1999:27

C E X T E N D E D E S S A Y

Ronia, the Robber´s DaughterAn Analysis of the Translation of Ronja Rövardotter into English

Marie Nordlund

Luleå University of Technology

C Extended Essay English

Department of Language and culture

1999:27 - ISSN: 1402-1773 - ISRN: LTU-CUPP--99/27--SE

Luleå University of Technology Department of Communication and Languages

RONIA, THE ROBBER’S DAUGHTER

An Analysis of the Translation of Ronja rövardotter into English

English C Spring 1999 Author: Marie Nordlund Supervisor: Gunnar Persson Date: 1999-05-27

TABLE OF CONTENTS Page 1. INTRODUCTION 1 1.1 Background 1 1.2 Aim 2 1.3 Method and material 3 2. TRANSLATION 4 2.1 What is translation? 4 2.2 Difficulties in translation 4 2.3 Translation of children’s books 5 3. ANALYSIS OF THE TRANSLATION OF RONIA, THE ROBBER’S DAUGHTER 7 3.1 Translation of proper names 7 3.2 Translation of geographical names 9 3.3 Translation of names for mythical beings in the forest 11 3.4 Omissions 12 3.5 Additions 15 3.6 Cultural context adaptations 17 3.7 Purifications 19 3.8 Metaphorical language 20 3.9 Deviating language 23 3.9.1 The rumphob language 23 3.9.2 Dialectal words and colloquial language 24 3.9.3 Pipsvängen 25 3.10 Other deviations from the original text 26 4.SUMMARY AND CONCLUSION 29 BIBLIOGRAPHY 30

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1. INTRODUCTION

1.1 Background

For children growing up in Sweden it is almost impossible not to come into contact with the

works of Astrid Lindgren. When a child, the stories about Pippi Longstocking captivated me

and I went to the cinema to see all the movies, always envying the girl who had got the part as

Pippi. Together with the children of Seacrow Island and Bullerbyn (in the US denoted Noisy

Village) she constituted an important part of my childhood dreams and fantasies. Later on in

life, when my daughters became old enough to enjoy and appreciate books a little bit more

advanced, we together discovered Astrid’s more recent characters, such as Mardie and Ronia

the robber’s daughter. Especially the book about Ronia fascinated me with its poetic and

colourful, yet down-to-earth, language and the mystical, sometimes frightening, atmosphere

of the forest with all its wild creatures. Although seemingly simple, it is a book with several

dimensions. According to Metcalf (1995:95), ‘Ronia, the Robber’s Daughter presents a

Romeo and Juliet/Robinson Crusoe plot in a combination folktale, developmental novel, and

robber’s tale’. When asked from where the inspiration came to write a robber’s tale Astrid

Lindgren answered: ‘I wanted to get out into the woods’. (Edström 1992:261, my translation)

Her love for nature shines through in almost all of her books, maybe an influence from her

childhood.

Astrid Lindgren was born on November 14, 1907 to leaseholder Samuel August Ericsson

and his wife Hanna. (Edström 1992:10) She grew up together with one brother and two sisters

in Näs, a small village situated on the outskirts of Vimmerby, Småland. (Metcalf 1995:3)

There she experienced a good and happy childhood and she explains herself why it turned out

so good.

We had two things that made our childhood into what it was – security and freedom. It was secure with these two who cared so much for each other and who were always there when we needed them, but who otherwise let us roam freely and happily on the marvellous playground we had at our childhood’s Näs. (Metcalf 1995:3f)

At the age of 18 and expecting her first child, she moved to Stockholm. She studied

typewriting and shorthand and began working at KAK,1 where she also met her husband to

be, Sture Lindgren. They married in 1931 and together they have raised Astrid’s son Lars and

one daughter, Karin. (Edström 1992:8)

1 Kungliga Automobilklubben, i.e. the Royal Automobil Club (my translation)

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Her career as an author began in 1941 when Karin, suffering from pneumonia, asked her

mother to tell a story about Pippi Longstocking, a name which Karin came up with

spontaneously. Astrid let her imagination flow freely and invented one adventure after

another. Three years later, when she herself was forced to stay in bed due to an accident, she

wrote all the stories down in shorthand. She sent the manuscript to a publisher, who refused it.

A decision probably deeply regretted afterwards. The same year, however, her novel Britt-

Mari lättar sitt hjärta (not translated into English) was awarded second prize in a competition

for girls’ books. In 1945, encouraged by her previous success, she entered a competition for

children’s books with a revised version of Pippi Longstocking, which granted her the first

prize. (www.alv.se/info/artiklar/astrid.html)

Since then Astrid Lindgren has gone from strength to strength. She is one of the most

popular authors in Sweden, if not the most popular. Since 1944 she has published more than

100 titles including plays, screenplays, picture books, poetry, short stories, and novels. (CAO)

She is well-known all over the world and her books have been translated into 60 languages.

(Metcalf 1995:vii) Children in as various countries as Armenia, England, Nepal, Israel, and

China read and love her books and characters. How is that possible? Maybe Astrid Lindgren

herself has the answer to that question. ‘I don’t write books for children. I write books for the

child I am myself. I write about things that are dear to me – trees and houses and nature – just

to please myself.’ (CAO)

Ronia, the Robber’s Daughter has been translated into English by Patricia Crampton,

who was awarded the 1999 Marsh Award for Children’s Literature in Translation. She is a

member of SELTA2 and has worked as a freelance literary translator for 40 years. During this

time she has translated over 200 children’s books and more than 50 adult novels, most of

them from German, Dutch, and the Scandinavian languages. (www.lillsverige.demon.co.uk/

sbr/ se.html) Among other works of Astrid Lindgren translated by her we find the books about

Karlsson-on-the-Roof, Mardie (Madicken in Swedish), My Nightingale is Singing, and The

Dragon with Red Eyes. (www.lillsverige.demon.co.uk/sbr/pc-lindgren.html)

1.2 Aim

The purpose of this paper is to find out whether it has been possible for the translator of

Ronia, the Robber’s Daughter to capture and re-create the dynamic, poetic, and sometimes

inventive language of the author. Has the translator been faithful to the original text or have

2 Swedish-English Literary Translators’ Association

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changes been made? To what extent do modifications, if any, influence the tone of the book?

These are some questions that this paper hopefully will give an answer to.

1.3 Method and material

Primary sources for this study are, of course, the original novel in Swedish Ronja rövardotter

and the translated text Ronia, the Robber’s Daughter. To fulfil the purpose of the study a

sentence-by-sentence comparison has been made between the two texts. Special attention has

also been given to the translation of proper names, geographical names, and the different

creatures of the forest. In addition, a brief overview of the nature of translation and its

difficulties will be provided, including the special problems existing in the translation of

children’s books.

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2. TRANSLATION

2.1 What is translation?

Translation is code-switching. Translation is re-creation. As Snell-Hornby (1995:2) puts it:

‘[…] the text cannot be considered as a static specimen of language […], but essentially as the

verbalized expression of an author’s intention as understood by the translator as reader, who

then recreates this whole for another readership in another culture.’ And she continues:

‘Translation is a complex act of communication in which the [source language]-author, the

reader as translator and translator as [target language]-author and the [target language]-reader

interact.’ (81)

Translation is definitely not as easy as can be imagined. To be a good translator it is, of

course, imperative to have a good command of the target language as well as the source

language. Furthermore, a thorough knowledge of the source language-culture is indispensable.

Many translation errors are caused by the translator’s lack of knowledge, for example of

history. A translator must always try to keep up with language changes and changes in the

source language-society. Moreover, to render a word-for-word translation is not sufficient.

The translator must try to evoke the same feelings in the readers of the translated text as the

ones experienced by those reading the original text. That is the very core of translation.

2.2 Difficulties in translation

As mentioned above word-for-word translations are not satisfactory and a text may thus

present many pitfalls even to an experienced translator. Some of the difficulties a translator

has to cope with can be (Baker 1992:21ff):

• culture-specific concepts, i.e. when the source language-word expresses a concept which

does not exist in the target culture

• the source language-concept is not lexicalized in the target language, i.e. the source

language-concept is known but there is no target language-word to express it

• the source language-word is semantically complex, i.e. a single word can sometimes

express a more complex set of meanings than a whole sentence

• the target language lacks a superordinate

• the target language lacks a specific term (hyponym)

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These are of course only a few of the difficulties existing when translating. Others can be, for

example, false friends, idioms and metaphors, word plays, dialects, and proper names. There

are really no definite ‘laws’ telling the translator how to deal with problems encountered, only

recommendations. However, Baker (26ff) gives a few general ideas, which may serve as

guidelines:

• the use of a superordinate

• the use of a more neutral word

• cultural substitution, i.e. replacing a culture-specific item with a target language-item

which is likely to have a similar impact on the target language-reader

• the use of a loan word or a loan word plus an explanation

• paraphrasing

• omission

• illustrations

2.3 Translation of children’s books

Translating children’s books should not be different from translating adult books.

Nevertheless, differences do exist. Adaptation, i.e. adjustment, of the text is very often made

in the translation of children’s books. Adaptation can be made for two reasons: a) the aim to

give the readers a less difficult text, and b) the aim to contribute to the development of the

readers’ set of values. (Klingberg 1986:10) Adaptation in order to reach the first aim

Klingberg calls cultural context adaptation, the second aim is fulfilled through purification of

the text. (12)

It is important, however, to consider for whose sake purifications are made. Is it really the

children who demand them? Klingberg (1986:58) claims: ‘[The] aim [of purification] is to get

the target text in correspondence with the set of values of its readers – or rather in

correspondence with the supposed set of values of those who feel themselves responsible for

the upbringing of the intended readers: parents, teachers, librarians, critics.’ The motives for

purification may be ethical, religious, ideological, or commercial, and features subjected to

purification are, for example, talk of human excretion, bad manners in children, and

depictions of erring adults. (59)

Should children’s books be adapted then? The original text should, of course, be changed

as little as possible, but in some cases cultural context adaptation has to be used. Otherwise

the translation may be too difficult for the readers. And purification? The opinions for and

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against vary from time to time and from country to country. What is acceptable in one culture

might be considered very offensive in another. Customs change, but they change very slowly

and the speed of change differs from country to country. It is therefore most likely that

purifications will remain. My personal opinion, though, is that purification should be avoided

as much as possible. I do not think there is anything to gain in trying to protect children from

reality. If a book is considered offensive, the best solution is not to translate it.

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3. ANALYSIS OF THE TRANSLATION OF RONIA, THE ROBBER’S DAUGHTER

3.1 Translation of proper names

Proper names in Ronia, the Robber’s Daughter, denoting humans as well as animals, can be

roughly divided into four different groups.

Group one consists of names which have kept their original forms:

Lovis

Borka

Birk Borkason

Undis

Lia

In group two we find names which have been adapted to English, either because an English

equivalent exists, e.g. Matt and Pete, or because the translator has intended to make the

spelling, e.g. Ronia, and/or pronunciation, e.g. Pelle and Torm, conform to more English

conditions:

Ronja Ronia

Mattis Matt

(Skalle-)Per (Noddle-)Pete

Pelje Pelle

Tjorm Torm

These first two groups will not be further commented on here since their forms in the

translated text are identical or almost identical with those in the original text.

The third group, however, comprises names which have been more or less exactly

translated into their English equivalents and a more extensive analysis will be performed on

them:

Skalle-Per Noddle-Pete

Lill-Klippen Little-Snip

Sned-Skalle Skewhead

Rackarn Villain

Vildtoringen Savage

Tjegge Shaggy

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Fjosok Fooloks

Jutis Jutto

Joen Jep

Labbas Knuckles

Knotas Knott

The first three names in this group have been exactly and quite adequately translated into

English. No important qualities seem to have been lost in the translation and no further

comment is thus needed.

Rackarn, the original name of Ronia’s horse, has been translated into Villain. This seems

to me a good choice since the noun villain, said jocularly, conveys the same meaning as the

Swedish noun rackare, a rascal. (Prisma) To translate the name of Birk’s horse Vildtoringen

into Savage, however, is not equally successful. Certainly, the adjective savage means ‘wild’

and ‘fierce,’ semantic qualities shared with Vildtoringen, but somehow it does not have the

same ring as the author’s more colourful and creative language, possibly spiced with dialectal

influences.

The last six names belong to Matt’s robbers. They have no apparent meaning, but the

translation gives evidence that the translator has tried to find some kind of sense in them.

Tjegge is phonetically similar to the Swedish adjective skäggig meaning ‘bearded’ and may

derive from that word. If that is so, I find the translator’s choice to replace it with Shaggy

quite appropriate, even if the two words do not correspond exactly. They are phonetically

similar and have some semantic qualities in common.

Fjosok may derive from the Swedish adjective fjoskig which means ‘silly’ or ‘foolish.’ It

is translated to Fooloks, a compound of the adjective fool and a final syllable phonetically

identical with the noun ox. An ox is seldom thought to have any larger brain capacity, so the

combination works well.

Regarding the name Jutis I have not been able to find any satisfying source of origin and

the translation Jutto is simply an adaptation to English pronunciation. Neither has it been

possible to find any root to the name Joen. The reason why the translator has chosen to

replace it with Jep might be the first syllable Jo-. This is a form of the Swedish word for ‘yes’

corresponding roughly to the somewhat informal English word yep. The spelling has then

been changed in order to reach conformity concerning the initial letter.

Labbas is most likely a derivation from labb, a word with a slight colouring of slang

which means ‘a large hand.’ The translation Knuckles is related semantically and therefore

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quite acceptable. Knotas, then, is probably a derivation from knotig, an adjective which means

‘knotty.’ The translation Knott is thus to the point.

Finally, the forth group is made up of names with no connection between their original

forms and the translated ones:

Turre Tapper

Sturkas Bumper

Regarding this group all that can be said is that Sturkas might possibly derive from the

dialectal adjective sturk, which means ‘impudent’ or ‘proud’ (Rietz 1962), but otherwise it

has not been possible to find any sources of origin to the names, nor any reasons for the

translator’s choice of names.

Incidentally, it can be mentioned that even if the translator as well as I have tried to

figure out some logical meaning behind the names of Matt’s robbers, the fact remains that the

author has found inspiration for at least half of them on the map of Lapland. (Edström

1992:261) There we can find Pelje(kaise), Tjegge(lvas), Fjosok(en), Jutis, Joe(sjö), and

Labbas. Furthermore, a Laplander’s hut, Anironiarekåtan, is the source to the name Ronja.

The author simply liked the ring of it. (Edström 1992:299)

3.2 Translation of geographical names

Geographical names in Ronia, the Robber’s Daughter are almost all of them exact translations

of the Swedish version:

Mattisskogen Matt’s Forest / Matt’s Wood

Mattisberget Matt’s Mountain / Matt’s mountain

Mattisborgen Matt’s Fort

norrborgen the north fort / the North Fort

Borkaskogen Borka’s Wood / Borka’s Forest

Borkafästet Borka’s Keep

Rövargången Robbers’ Walk

Vargklämman Wolf’s Neck

Helvetesgapet Hell’s Gap

Grådvärgaskogen gray dwarfs’ wood / Gray Dwarfs’ Woods

Björngrottan the Bear’s Cave

Glupafallet Greedy Falls

Glupaklumpen Greedy Hump

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Some of them, however, show a bit of indecision with the translator. Mattisskogen has been

translated as ‘Matt’s Forest’ in 13 instances (including the variant ‘Matt’s forest’ in one case)

and as ‘Matt’s Wood’ in five others. Likewise, Borkaskogen has been given both the name of

‘Borka’s Wood’ as well as ‘Borka’s Forest.’ There has also been some indecision with regard

to the use of small or capital initials in the translation of Mattisberget, Grådvärgaskogen, and

norrborgen. Concerning Grådvärgaskogen we can also find the two variants ‘wood/woods.’

Since all of these five names, maybe with the exception of norrborgen, are geographical ones

denoting a specific area it would have been better if they had kept the same names and forms

throughout the entire book. Norrborgen, however, cannot really be said to denote a specific

geographical area. It is more of a term indicating a specific part of Matt’s Fort, but even so, a

consistent use of either small or capital initials would make a better impression.

The most interesting translation of geographical names is ‘Wolf’s Neck’ for

Vargklämman. I have spent quite some time pondering about why the translator has chosen

this particular translation. The Swedish name indicates a place where it is possible to catch

and kill wolves. This is also confirmed by Noddle-Pete: ‘I’ve caught many a wolf there in my

day.’ (Lindgren 1985:19) The name might also suggest that the place in question is so narrow

that even a wolf would have to squeeze itself through. Evidence to the fact that we are dealing

with a narrow passage through the mountain, a ravine, is also given in the text: ‘It wouldn’t be

possible to get through this ravine until spring […].’ (Lindgren 1981:80, my translation) If the

first mentioned meaning of the Swedish name were to be seized upon, a better choice could

have been ‘Wolf Trap.’ On the other hand, if the second meaning were to be regarded as most

important names such as ‘Wolf’s Gorge’ or ‘Wolf’s Ravine’ could be taken into

consideration. However, the second part of the chosen translation, neck, has several meanings.

Among others: a) the part of the body that connects the head to the shoulders, b) to kill by

breaking the neck, and c) a pass between hills or mountains. (ShOED) The reason why the

translator has chosen to replace Vargklämman with ‘Wolf’s Neck’ might be a mix of the three

mentioned meanings. Firstly, it might be possible to catch wolves with a noose around their

necks. Secondly, even if the verb neck usually denotes the killing of fowls, it might be used in

a figurative sense for the killing of other animals too. Thirdly, neck is an accurate description

of the place in question according to how it is depicted in the text. Though reluctant at first to

accept the translation, I must admit that the choice was a very good one. ‘Wolf’s Neck’ covers

both the Swedish senses suggested by the name Vargklämman.

Regarding the remaining geographical names there is not much to comment on. They are

accurately and appropriately translated into English. Especially apt is the translation of

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‘Greedy Falls’ for Glupafallet and in analogy with this ‘Greedy Hump’ for Glupaklumpen. It

conveys with precision the ravenous appetite of the water throwing itself out over the

precipice.

3.3 Translation of names for mythical beings in the forest

Swedish folklore is completely crammed with different mythical beings, a fact which Astrid

Lindgren utilizes to a great extent in Ronia, the Robber’s Daughter. As a child she probably

heard many stories of the supernatural and she has populated Matt’s Forest with a varied

selection of creatures, friendly ones as well as those wild and fierce:

vildvittror wild harpies

grådvärgar gray dwarfs

rumpnissar rumphobs

skumtroll murktrolls

de underjordiska the Unearthly Ones

oknytt goblinfolk / goblins

skymningsväsen twilight creatures

skumfolk shadow folk

Vildvittror, often just called vittror, are the cruellest and fiercest of all creatures living in

Matt’s Forest. In creating them, Astrid Lindgren has mixed the folklore of northern Sweden

with ancient myths. According to Schön (1998) vittra (plural) are specific to the folklore of

Norrland. They share traits with gnomes and trolls, as well as with wood-spirits. They live

underground or in mountains, they may spirit people away into the mountain and also lead

them astray in the woods. As a rule, though, they act peacefully, living in families, ageing and

dying just like humans. This is not a description suitable for vildvittror, which are big, fierce

birds with female faces. Inspiration to their appearances is found in Greek myths where

‘harpies,’ half women and half vultures, were seen as goddesses of punishment or revenge.

(Henriksson 1981) The translator has seized upon their looks and called them ‘wild harpies’

or simply ‘harpies.’ To ignore the allusions to Swedish folklore must be judged as justified.

Trying to transform vittror into English would mean too long and too complicated

explanations, which would ultimately burden the flow of the text.

Rumpnissar are friendly little creatures, recognizable by their broad rumps. Hence their

name. In Sweden nowadays we usually recognize nissar as small helpers to Father Christmas.

In previous times, almost every farm had its own nisse, who helped the farmer in various

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ways. (Schön 1998) The closest English equivalent to this creature would be a ‘brownie.’ ‘A

small, helpful elf or goblin in stories who does housework and other good deeds for people at

night.’ (Webster’s) The translator, however, has chosen to translate rumpnissar into

‘rumphobs.’ According to Webster’s a ‘hob’ is an elf or a goblin, both of which described as

evil or mischievous spirits. ‘Rumphobs’ might thus have negative connotations not conform

with the friendly nature of rumpnissar, but it certainly has a better ring to it than

‘rumpbrownies.’

Skumtroll are creatures who only show themselves at night. Even if murk suggests

something that is darker than the Swedish word skum, which would mean ‘dusky,’ I still

consider ‘murktrolls’ to be an adequate translation since murk and skum are semantically

related. But why has the translator not been consistent? Skumfolk as a general name for all

creatures of the night has been translated to ‘shadow folk.’ A possible explanation might be

that neither ‘shadowtrolls’ nor ‘murk folk’ sounded right in the translator’s ear.

Regarding grådvärgar and skymningsväsen there is not much to say. They are exactly

translated into English as ‘gray dwarfs’ and ‘twilight creatures’ respectively. The enticing

underground creatures known as de underjordiska, has been given the poetic name of ‘the

Unearthly Ones.’ Here we can see a difference between the two languages, since the translator

has been forced to add ‘Ones’ to the adjective, something that is unnecessary in Swedish

where conversion into a noun can be done very easily.

3.4 Omissions

The numbers of omissions found in Ronia, the Robber’s Daughter are quite extensive, but

since they are mostly minor ones I have chosen to list only some of them. Reference to pages

where the examples can be found is given in brackets.

Original text Translation

[…] tänk att stora träd och stora vatten fanns not translated (13) och var levande, måste man inte skratta då! (20) Då åt hon brödet och drack mjölken som Then she ate the bread and drank the milk she hon hade med sej i skinnpåsen. (22) had brought with her. (14) (this omission brings on a later addition) […] gjorde Ronja inget annat än aktade sej […] Ronia watched out for what was för det som var farligt [...] (25) dangerous […] (17)

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Inte kunde hon gå borta i skogen och akta She was to stay by the waterfalls. (17) sej för att trilla i älven. Skulle det vara någon nytta med det, så måste det ju ske vid forsarna och ingen annanstans. (25) […] och de skrattade bara de tänkte på hur […] and laughed at the very thought of the trindskallig den måste vara som försökte ta fools who might try to get into Matt’s Fort. sej in i Mattisborgen. (28) (19) Jaså, det hade man alltid hört! Vilken otrolig So that was what they always said! She began oförskämdhet! Det började koka i henne. (35) to boil. (24) Sannerligen, den lymmeln tänkte flöja över He was getting ready to fly across Hell’s Gap! Helvetesgapet! (35) (24) såna där ettförjordade dumheter (42) this make-believe (28) ‘Ryk och ränn och far åt pipsvängen med ‘I’ll gag all of you if you don’t hold your er, om ni inte kan hålla sams!’ (68:1) peace!’ (49) […] fyra stora älgtjurar som de hade fällt. […] four elk carcasses. (49) (68:2) Där stupade det tvärbrant ner, men hon hade It was a sheer drop, but she raced off fear- ju sin skidstav att bromsa med, och utan lessly […] (51) rädsla rände hon iväg […] (71:1) Hon såg sin skida försvinna utför branten She saw her ski disappearing down the slope. och bli borta […] (71:2) (51) ‘Du var länge i skogen idag’, sa Mattis, när not translated (56) Ronja hade satt sej vid elden för att försöka bli varm. ‘Har du haft det bra?’ ‘Ja, ganska bra’, sa Ronja och höll fram sina iskalla hän- der mot värmen. (79) […] och inte ens en luskam hade de i sin […] they did not even have a louse comb left! fattigdom! Men så mycket bättre! Hon But she liked feeling Birk’s soft hair […] (73) tyckte om att känna Birks lena hår […] (99) […] hundratals hästar som med fladdrande […] hundreds of horses charging through the manar sprängde fram genom skogen […] forest […] (78) (107) Länge satt de där stilla och var i våren. (108) For a long time they sat there silently. (79) Ronja nickade tyst. (108) Ronia nodded. (79) […] närmade de sej de två som skulle […] they approached the two horses[…] (79) fångas. (108)

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De satt där länge och hade det svårt, men They sat for a long time, with their troubles, de hade det tillsammans, och det var en but they were together, and that was a comfort. tröst. Lätt var det ändå inte. (118) (87) Men slängd över hans axel låg Birk med But over his shoulder lay Birk, his copper hair kopparhåret hängande ner över ögonen. hanging limply. (91) (125) […] och såg tvärs över Helvetesgapet på […] looking across Hell’s Gap at Ronia. (94) Ronja och hur hon grät. (129) Men han gick och var borta. (133) But he had gone. (97) Birk fick liv i glöden som pyrde under Birk poked life into them embers […] (106) askan. (146) Ronja kände de späda björklöven dofta, Ronia could smell the scent of the fresh young det luktade gott, det luktade vår […] (154) birch leaves, the scent of spring […] (112) ‘Lev ihop med din kniv du! Om du kan ‘You can live with your knife! If you can find hitta den. Och far åt pipsvängen förresten!’ it.’ (115) (158) ‘Hjälp! Det går åt pipsvängen, hjälp!’ (171) ‘Help! Help!’ (126) Men hon bet ihop tänderna om den […] (193) […] but she clenched her teeth […] (144) […] och fler sånger tänkte hon i detta livet […] and she had no intention of singing any inte sjunga för honom, så mycket var other songs for him as long as she lived. (145) säkert. (195) […] det röda kopparhåret föll ner […] (195) […] his copper hair hanging forward […] (145) i små sjöar (198) in lakes (148) Den slet upp furor och granar med roten Winds tore up fir trees […] (151) […] (201) Sedan ropade han med hög röst […] (205) Then he shouted […] (153) Då skrek Ronja, förtvivlad och ursinnig […] Ronia shouted furiously […] (155) (208) ‘Bara för att vi en mörk natt hämtade ut ‘Just because we took Pelle out of that Pelje ur den eländiga fånghålan där han miserable dungeon one dark night […] (160) satt. (214) ‘Men det är inte säkert att lille Borka för- ‘But we can’t be sure that Borka will under- står det.’ (215) stand that.’ (161)

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[…] där Mattisättens och Borkaättens […] […] in which their […] (168) (223) […] och snart skulle Mattisskogen var fri […] and soon Matt’s Forest would be free of från alla närgångna knektstruntar, påstod all those trashy soldiers. (171) Mattis tvärsäkert. (228) ‘Han har funnits jämt! Och nu finns han inte!’ ‘He’s always been here! And now he’s not!’ Om och om igen ropade han på samma vis: (173) ‘Han har funnits jämt! Och nu finns han inte!’ (231)

Some of the omissions seem to have been made because the translator has regarded the

information in the original text as superfluous or obvious considering the context, cf.

examples on pages 71:2, 107, 125, 133, 205, and 231 among others in the original text. In

other instances the omission is probably made because the translator has not been able to find

a satisfying translation solution, either due to the nature of the original text or differences

between Swedish and English. E.g. pages 20, 25, 68:1, 158, 171, and 193 in the original text.

Still others give the impression of being made without any specific reason, e.g. pages 35,

71:1, 79, 118, 129, and 154 in the original text. However, none of the omissions made affect

the progress of the plot. Unfortunately, though, some of the poetry, which characterizes the

language of Astrid Lindgren, is lost.

3.5 Additions

The number of additions found in Ronia, the Robber’s Daughter is not as extensive as that of

omissions, and the additions made are minor ones. Reference to pages where the examples

can be found is given in brackets.

Original text Translation

kottar (16, 17, 153) pinecones (10, 11, 111) Just som hon var färdig att gå, kom hon Just as she was ready to go, she remembered ihåg skinnpåsen. (23) the leather bag she had brought her food in. (15) (this addition is due to a previous omission) […] därför skuttade hon […] (25) […] so she hopped, skipped, and jumped […] (17) […] hejda dem med stora bullerstenar. (28) […] hold them there by rolling rocks at them. (19)

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Varje ryck i remmen, när Birk klättrade, Every tug on the rope as Birk climbed made fick henne att stöna. (40) her gasp with pain. (28) […] med ett vrål tog han två ölstånkor […] […] with a bellow he grasped two beer tan- Med ett vrål tog Mattis fårsteken […] Med kards […] With another yell Matt picked up ett vrål tog Mattis soppgrytan […] (43) the leg of lamb […] With a third yell Matt picked up the soup cauldron […] (29) ‘Att di skulle komma spasserande genom ‘That they’d come strolling through the Wolf’s Vargklämman och säja så där lite fint […]’ Neck and tell the guard, sweet as you please (45) […]’ (31) ‘Ja, jag kommer’, ropade hon om igen […] ‘Yes, I’m coming,’ she called for a third time (61) […] (43) […] men den var nu öde och tom. (67) […] but it was deserted now, and empty of loot. (48) ‘Hjälp mig att komma loss!’ (72) ‘Help me get my leg out!’ (52) […] så la han sej på magen bredvid hålet […] lay down beside her, and thrust his hands och körde ner handen så långt han kunde. as far as he could into the hole. (55) (77) Det snöade den natten […] (80) It went on snowing that night […] (57:1) […] inte ens Skalle-Per kunde minnas […] and even Noddle-Pete could not remem- värre. (80) ber a worse snowstorm. (57:2) […] sa Lovis. (84) […] Lovis accused the men. (61) Sin långa väntan […] (84) […] the long hours of waiting […] (61) […] där de stackars uslingarna hade suttit […] the corners where the poor wretches had […] (86) lived […] (62) […] stod dropp stilla och lyssnade […] (88) […] stood stock-still, not daring to move, listening […] (64) ärtor (95) dried peas (69) Ekorrar flängde i talltopparna […] (108) Squirrels dashed to and fro in the treetops […] (79) […] när hon till sist var framme […] (142) […] when at last she reached the cave […] (103) ‘[…] förstår du att vi är fria så man kan gap- ‘[…] do you realize that we are free?’ He skratta åt det?’ (147) threw back his head and roared with laughter at the very thought. (107)

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En stor lax var det […] (155) It was a fine, big salmon […] (113) ‘Hädanefter skall vi akta oss för onödan’, sa ‘From now on we are going to watch out for Birk. (167) those unnecessary things,’ said Birk. (122) Men än en gång kommer jag väl igen! (169) […] but I’ll be back! You’ll see! (124) Istället såg hon ut över älven och skogarna Instead, she sat looking out over the river and […] Ronja såg ut över älven och skogarna the trees. […] Ronia looked out over the river […] Ronja såg ut över älven och skogarna and the trees again. […] Ronia, still looking och frågade tyst […] (180) out over the river and the trees, asked quietly […] (132f) Nu måste de ta sej in till stranden, och det They knew then it was time to make for the var svårt och mödosamt. Sedan […] (183) bank, and that was hard and tiring. When they reached it […] (136) Skalle-Per (214) old Noddle-Pete (160) […] men inte två som […] (215) […] but never two separate bands who […] (161) ‘[…] om du lovar att inte tala om det för ‘[…] if you promise never to tell it to a living någon levandes människa.’ (226) soul except one!’ (168) ‘Jag har ont’, sa han. (227) ‘I’m in terrible pain,’ he said. (169)

The additions made are mostly brought about because the translator wants to make a sentence

more clear (e.g. pages 29, 31, 52, 55, and 132 in the translation) or to explain later events (cf.

page 168 in the translation). In some instances the addition is made because of grammatical

prerequisite, cf. pages 57:2, 79, 122, 136, 161, and 167 in the translation. None of the

additions made, however, affect the text in a negative way.

3.6 Cultural context adaptations

Reference to pages where the examples can be found is given in brackets.

Original text Translation

Ja, nog hade åskan slagit ner […] (13) Yes, the lightning had struck […] (7) välling (14, 15, 16) porridge (8, 9, 10) tjärnen (20 and others) the lake (14 and others) mörka granar (22), grankottar (22) the dark pines (14), pinecones (14) över grantopparna (22) above the treetops (14)

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‘Åsknattsbarn är du’, sa Lovis, ‘vittre- ‘You’re a storm-night child,’ said Lovis, ‘and nattsbarn också […]’ (29) a witch-night child, too […]’ (20) pojkbyting (43) boy (28) armborst (54, 68) bows (37, 49) (on page 108 the exact term ‘crossbow’ is used) fårfioler (69, 83, 95) legs of mutton (49) / roast mutton (60) / joints of mutton (69) tusen mil (84) thousand miles (61) […] och tiden blev lång. (85) […] and the days seemed long. (62) stenflis (87) stones (63) getmjölk (92) milk (67) messmör (95) soft whey cheese (69) Ekorrar flängde i talltopparna […] (108) Squirrels dashed to and fro in the treetops […] (79) En huggormhona […] (108), huggorms- A snake […] (79), the adder (82) honan (112) ett par vackra bruna unghästar (108) a pair of fine young chestnut horses (79) granris att sova på (145) branches to sleep on (105) på en tallstam (147) at a tree trunk (107) mesost och fårfiol (152) sheep’s cheese and mutton (111) skanken (156) the leg (114) mellan granarna (161) among the pines (118) Men bakom närmsta gran […] (163) /under But from behind the nearest pine […] (120) / en tät gran (164) / mellan granar och under a thick pine (120) / among pines and björkar (164) birches (121) vid en björk (164) to a tree (121) En orre eller en tjäder […] (172) […] a grouse […] (127) bakom granar och stenar (176) behind tree trunks and boulders (129) […] alla små sjöar och tjärnar och […] all the small lakes and springs and

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bäckar […] (184) brooks […] (136) […] alla smultrongläntor och blåbärs- […] all the wild strawberry patches and the ställen […] (184) blueberry bushes […] (136) vargskinnspäls (197) wolfskin (147) blåbärsris (198) blueberry bushes (148) tallarna (198) the fir trees (148) på sistone (207) these last months (154) ett stop mjölk (211) some milk (158)

Most of the cultural context adaptations found in Ronia, the Robber’s Daughter are somehow

connected to the environment, to flora and fauna. For example, granar are almost everywhere

translated ‘pines,’ which, according to Prisma, would mean ‘tallar.’ However, there are three

instances in which granar has been translated ‘fir trees’ (pages 69, 142, and 204 in the

original text and pages 49, 103, and 152 in the translation, not listed here). Also food, much of

which is typical of northern Sweden, has been adapted to facilitate the understanding for the

readers of the translated text. There is also an example of the problem connected to the

translation of distances, such as the pair mil and ‘mile.’ Thousand miles is definitely a much

shorter distance than tusen mil, but it gives a better flow to the text than 6,250 miles would.

3.7 Purifications

Reference to pages where the examples can be found is given in brackets.

Original text Translation

‘Jag ger mej satan på att den slog ner.’ (13) ‘I’ll take my dying oath it struck.’ (7) Men Mattis orkade aldrig rasa länge för en But Matt could not go on being angry about sak […] (13) anything for long […] (7) ‘[…] skulle han skratta så han pinka’ på ‘[…] he would split his sides laughing.’ (9) sej.’ (15) ‘Rakt åt pipsvängen med en fjärt’, sa Skalle- ‘We’ll send them straight to hell,’ Noddle-Pete Per belåtet. (28) said happily. (19) ‘[…] då ryker alla Borkarövare åt pip- ‘[…] then you’ll see all the Borka robbers svängen med en fjärt!’ (35) scattered with one blow!’ (24)

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[…] så hjälper det inte att ligga där och […] roaring won’t get rid of them. (30) gny. (44) hade sårfeber (116) was feverish (85) låg i dvala (116) lay inert (85) ‘Detta kan bara sluta med blodbad och ‘This can only end in bloodshed and elände […]’ (117) misery […]’ (86) ‘[…] fortare än han släpper sin första ‘[…] faster than his first belch after breakfast morronfjärt […]’ (120) […] (89) […] fortare än han släppte sin första not translated (93) morronfjärt [...] (127) Men Borka bad Undis fara åt pipsvängen. But Borka told Undis to hold her tongue. (94) (130) dödsfiende (133) enemy (97) ‘Fast egentligen skulle du ha på truten […]’ ‘You should really be getting it in the neck (171) […]’ (126) […] och råkade då släppa en liten fjärt. not translated (157) (210) […] sådant blev rövarna i sin enfald också not translated (157) tårögda av. (211) […] med alla sina råskinn till rövare. (227) […] and all its rascally robbers […] (169) ‘Gamla mäniskor skulle inte sitta och frysa ‘Old people have no business to go and freeze ändan av sej […]’ (228) themselves to the bone […]’ (170) Det fröjdades de åt i sitt oförstånd både not translated (174) Mattis och Borka […] (233)

The majority of purifications found in Ronia, the Robber’s Daughter are connected to bodily

functions. To fart seems to be the most horrid thing you can read in children’s book in

English! Hence, those parts of the original text are either not translated at all or are given

another, less offensive but also less expressive, form. Patricia Crampton, the translator,

explains:

In the world of robbers, not everything is going to be on a very high linguistic level, either, and there are still certain reticences, in English children’s books at least, that simply have to be observed. […] So when Ronia’s father cries triumphantly: ‘Nu ryker Borka åt pipsvängen

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fortare än han släpper sin första morronfjärt, tro mej!’ I had no choice but to produce, with permission: ‘Now Borka’s going to go to blazes faster than his first belch after breakfast, believe me!’ (www.lillsverige.demon.co.uk/sbr/pc-lindgren.html)

There are also a few instances in the original text where adults are ridiculed, which are not

translated at all, cf. pages 211 and 233 in the original text, or with a different meaning, cf.

page 44. Furthermore, I have found some cases where the translation is slightly toned down

compared with the original text, e.g. pages 13, 116, 117, and 227 in the original text.

3.8 Metaphorical language

Metaphorical language often comes to use in Ronia, the Robber’s Daughter. Much of it is not

conventional metaphors of general use, but Astrid Lindgren’s own inventions. Reference to

pages where the examples can be found is given in brackets.

Original text Translation[…] de var hennes vänner allihop och kunde […] they were all her friends and would go gå genom eld och vatten för hennes skull […] through hell and high water for her sake […] (28) (19) The metaphor used in the translation conveys the same meaning as in the original text. The

translator could also have used the expression ‘go through fire and water.’

[…] och örnen på klippans topp. (28, 44) […] and the eagle in its nest. (19, 30) Eagles always nest high up in the mountains. The images have thus the same meaning.

[…] efter någon att klösa blodet ur med sina […] for something to tear with their sharp skarpa klor. (29) claws until it bled. (40) The same image, but the original is more colourful. Då såg hon dimman komma över skogen. Then she saw the mist coming over the forest. Ullig och grå steg den […] (56) It rose, thick and gray […] (40) A similar image, but again, the original is more expressive. ‘Du måste vara listig som en gammal räv- ‘You’ll have to be as cunning as a fox […]’ hona […]’ (67, 90) (47, 65) Conveys the same meaning, but with the use of a superordinate. […] hon blossade hela flickan […] (81) […] her whole body was burning […] (58) The same image. […] de alla blev hjärtskrämda. (82) […] they were all scared to death. (59) The translation conveys the same meaning in a more traditional way.

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Ronja kände hur en liten fröjd spratt upp Ronia felt a little spurt of joy inside her […] inom henne […] (93) (68) […] den lilla fröjden spritte till i henne […] […] that little spurt of joy […] (77) (106) A similar image, but the original describes the joy as an independent being. Och så kom våren som ett jubelskrik över And then spring came like a shout of joy to the skogarna kring Mattisborgen. (104) woods around Matt’s Fort. (76) The same image. ‘Jag står och känner, hur vintern rinner ur ‘I’m standing here feeling the winter run out mej’, sa Ronja. (106) of me,’ said Ronia. (78) The same image. De hörde koltrast och gök spela och gala så They heard blackbirds and cuckoos singing att det fyllde hela skogen. (108) and calling till the sound filled the sky. (79) A similar image. Bara Mattis travade fram och tillbaka över Only Matt was pacing like an angry bear […] golvet som en ilsken björn. (113) (83) The same image. Nästan som i yrsel […] (128) Almost as if in a fever […] (93) A similar image. Blossande röd kom den fram ur morgon- Flaming red, it appeared from the morning dimmorna och lyste som en brand över mist and flared like a torch over the forest near skogarna nära och fjärran. (146) and far. (106) The same image. Men tanken kom tillbaka som den envisaste But the thought kept on coming back like the fäfluga och lämnade henne inte. (155) most stubborn gadfly and would not leave her alone. (113) The same image. Fler fäflugetankar ville hon inte veta av. She would have nothing more to do with any (155) plaguing thoughts. (113) The original refers back to the previous comment, while the translation disregards that

connection completely.

[…] men skrika ville hon och skrika skulle […] but scream she would, and scream she hon så att bergen rämnade! (192) should, until the mountains rang! (143) A different image. […] och snart flammade hela älvbranten i […] and soon the whole riverside was flaming guld och rött. (199) gold and red. (148f) The same image. Men allt de såg genom grottans öppning But all they could see through the cave

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var en mur av regn. (201) opening was a wall of rain. (151) The same image. Den där otäcka isklumpen som hon hade That awful lump of ice she had been carrying burit inom sej sista tiden, hur kunde hennes inside her – how was it that with just a few far med bara några ord få den att smälta som words her father could make it melt like a i en vårbäck? (207) brook in spring? (154) A similar image. The original refers back to the lump of ice, which Ronia has carried inside.

‘[…] och sluppit krama njurtalgen ur dej ‘[…] and not had to squeeze the kidneys out of nu’ […] (219) you now’ […] (165) A similar image, but less expressive than the original. ‘Jag kan så bra bara sitta här och vara i ‘I’m enjoying just sitting here in the midst of våren’, sa Birk. (107) spring,’ Birk said. (79) Länge satt de där stilla och var i våren. (108) For a long time they sat there silently. (79) ‘Men så har du också varit en hel dag i ‘But then, you have also spent a whole day in våren.’ (113) the midst of spring.’ (82) Men nu kunde hon inte längre bara sorglöst But now she was no longer able to enjoy the vara i våren […] (117f) spring carelessly […] (87) The expression vara i våren is maybe more poetical than it is metaphorical. It conveys the

feelings experienced by Ronia and Birk when spring finally comes after a long and hard

winter. The translations touch the underlying meaning of the phrase, but they do not cover it

completely.

Svartögona (93) the black eyes (68) […] och hade inte längre hungerögon […] […] and no longer had that famished look […] (99) (73) En vaknatt och en frysnatt fick de […] It was a night of vigil and a night of cold […] (163f) (120) hans svarta krushuvud (235) that black curly head of his (176) These four examples give evidence of the author’s readiness to create new compounds as well

as of how easily this can be done in Swedish in comparison with English.

3.9 Deviating language

3.9.1 The rumphob language

Anyone who has seen the screen version of Ronia, the Robber’s Daughter has difficulty in

forgetting the rumphobs’ tiny little voices asking: ‘Voffor gör ho på detta viset?’ Their

language is characterized by being ungrammatical and containing dialectal elements. For a

translator, a text like this must be a nightmare. Patricia Crampton, however, has managed to

find a very good solution to the problem when calling on her own local Wiltshire dialect.

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(www.lillsverige.demon.co.uk/sbr/pc-lindgren.html) Here follow a few examples of her

efforts. Reference to pages where the examples can be found is given in brackets.

Original text Translation

‘Voffor gör ho på detta viset? (71) ‘Woffor did un want to do that?’ (52) ‘Ho setter fast i taket, voffor gör ho på detta ‘Un’s stuck in t’roof, woffor did un do it?’ viset?’ (72) (52) ‘Väcker lille gossen, och han får jord i ygona, ‘Woke li’l boy up, an’ ‘e got dirt in ‘s eyes, voffor gör ho på detta viset?’ (77) woffor did un do it?’ (55)

3.9.2 Dialectal words and colloquial language

In the original text to Ronia, the Robber’s Daughter there are many examples of dialectal

words and colloquial language. This is quite natural since we are dealing with uneducated and

rough-mannered robbers. They spice their language with an abundance of colourful

invectives, such as skitstövel / ‘dirty devil,’ ormyngel / ‘snake fry,’ hundhedning / ‘heathen

dog,’ ärkemicklar / ‘snakes in the grass,’ and tjyvahundar / ‘thieving rats, thieving hounds’

only to mention a few.

There are many cases where the dialectal form di is used instead of the standard forms

de/dem. They are translated with the English standard form ‘they’ throughout the whole

novel, except in two cases in which the definite article is used (di åtta barna / ‘the eight

children,’ åt di fattiga / ‘to the poor’) and three others in which the demonstrative pronouns

‘these’ and ‘those’ are used (på di andra / ‘of those other,’ om di där / ‘to those two,’ di där /

‘these two’). Other colloquial forms, e.g. blitt instead of blivit, are all of them replaced with

an English standard form.

Ronia’s father, Matt, often addresses his daughter with the affectionate Ronja mi. The

translator is not consistent in her interpretation of this phrase. She has chosen three different

approaches, two of which may be said to, in some extent, reflect the form of the original

phrase: ‘Ronia mine,’ ‘my Ronia,’ and ‘Ronia darling.’ In analogy with this we find Birk’s

söstra mi translated ‘sister mine.’

Astrid Lindgren is very creative in her use of language and sometimes it is difficult to

know if the words she is using are taken from her childhood dialect or if they are inventions

of her own. To avoid the problem the translator has mostly chosen to use English standard

forms, which gives an accurate translation of the meaning. Much of the colour, however, is

lost. Here follow a few examples:

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tosingar / madmen

det dångade och skångade / there was such a bonging and donging

slurvade i sig soppa / slurping up their soup

vilken trindskalle / what fool

vildtoringar / little savages

flöja / fly

nagelspräck i fingrar och tår / frozen toes and fingers

rävungar kultrade omkring / fox cubs scampered about

rumpnissar fnattade mellan träden / the rumphobs snuffled among the trees

hästarna blev kollriga / the horses went crazy

3.9.3 Pipsvängen

A central expression in Ronja rövardotter is gå / fara åt pipsvängen. This is definitely one of

Astrid Lindgren’s own inventions and it lingers through the whole book. It is probably an

euphemism for the more offensive expression gå / dra åt helvete, ‘go to hell.’ The translator

has not been able, or has maybe not tried, to find a similar expression. Sometimes she has

chosen to leave out the phrase all together, sometimes it has been replaced with another,

already existing English phrase.

Original text Translation

‘Ja’, sa Mattis, ‘rakt åt pipsvängen […]’ ‘Yes,’ said Matt, ‘finished and done for […]’ (12) (6) ‘Far åt pipsvängen!’ (25, 41) ‘Go […]’ (16) / ‘Get out of here!’ (28) ‘[…] så åker di åt pipsvängen […]’ (28) ‘[…] they’ll be sorry!’ (19) ‘Far åt pipsvängen med dej […]’ (61) ‘Be gone then […]’ (43) […] åt pipsvängen. (88) […] at the bottom of Hell’s Gap. (64) ‘Nu ryker Borka åt pipsvängen […]’ (120) ‘Now Borka will go to blazes […]’ (89) ‘Far åt pipsvängen med er […]’ (125) ‘I’m sick of all of you.’ (91) ‘Far åt pipsvängen och det tvärt!’ (149) ‘Be off with you, at once!’ (109) ‘Nä, far åt pipsvängen!’ (230) ‘No, no, be quiet!’ (172)

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3.10 Other deviations from the original text

Under this heading I have collected what seems to be mistakes, misinterpretations, or in any

other way deviates from the original text. Reference to pages where the examples can be

found is given in brackets.

Original text Translation

[…] nej, världen var större än så. (20) […] no, the world was bigger than Matt. (13) […] och skrattade när hon märkte att hon […] and tried to see if she could make them kunde få dem att guppa iväg bara genom bob away just by splashing with her feet. (14) att med fötterna. (22) […] därför skuttade hon med liv och lust på […] so she hopped, skipped, and jumped de hala stenarna […] (25) warily over the slippery stones […] (17) […] och akta sej för att trilla i Helvetes- […] and look for Hell’s Gap. (21) gapet. (31) Det räckte att han och hans skitstövlar hade All right, he and his dirty boots had planted skaffat sej ett fäste i Mattisborgen […] (36) themselves on Matt’s Fort […] (25) Och den hurrilen lärde mej […] (53) And it was that bully who taught me […] (37) […] och det var den underligaste sång. (60) […] and it was the most wonderful song. (41) ‘Titt som tätt vart tionde år.’ (66) ‘Every ten years, give or take a year.’ (47) ‘Redan slut med vaggvisera!’ (73) ‘Un’s bin and stopped rockin’ now!’ (53) […] och när Ronja ändå satt stenhårt […] and when Ronia still lay motionless […] fast […] (74) (54) Varje morgon kivades de om vem som stod They cast lot every morning for guard duty. i tur. Några av dem måste skotta upp stigen Some of them had to labor up the path to the till källan […] (84) spring […] (61) ‘Ja, jag får se hur jag gör.’ (107) ‘Yes, I’ll have to see how I get on.’ (78) ‘De hade inte vett att försvara sej […]’ (114) ‘They had no way of defending themselves […]’ (83) ‘För att Borka nu äntligen ska ut ur Mattis- ‘It would get Borka out of Matt’s Wood at last. borgen, kan ni fatta det, era våp!’ (117) Can’t you understand that, you goose!’ (86) ‘Mattis och Borka hinner helt simpelt inte ‘Matt and Borka simply don’t have the chance ha ihjäl varann.’ (118) to kill each other.’ (87)

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Ronja kved tyst, där hon stod. (127) Ronia caught her breath. (93) ‘Hör du, Mattis, ska du […]’ (130) ‘Do you hear, Matt? Are you […]’ (94) Tjegge (138) Tapper (101) (should be Shaggy) […] det turades de om med [..] (156) […] they were successful with that […] (114) Han såg dimma stiga upp över älven. (160) He watched the dusk move in over the river […] (117) […] damp hon i backen. (169) […] she plumped into the brook […] (124) […] hennes rätta vildhästliv. (173) […] the rest of her life as a wild horse. (127) […] och de talade mycket […] (176) […] and talking happily […] (129) […] hur kunde du lämna mej ensam med det […] how could you leave me alone at the värsta och svåraste? (186) worst time? (138) […] vätte hennes sträva yllekjortel […] […] made her rough yellow gown wet […] (194) (145) Luften blev klarare och kyligare. (198) The sky was growing clearer and cooler. (148) […] vrängde de av sej de våta kläderna […] […] they wrung out their soaking clothes […] (201) (150) ‘Och nu har jag lärt den rackarns fogden ‘And now I’ve taught that rascally Pelle […]’ […]’ (214) (160) […] och alla hans många knektar […] (215) […] and all his merry men […] (161) […] fri från alla närgångna knektstruntar […] […] free of all those trashy soldiers. (171) (228) ‘[…] du glömmer inte det där du vet?’ (230) ‘[…] you won’t forget what you know, will you?’ (172) ‘[…] då hade jag livat värre.’ (235) ‘[…] it could have been worse.’ (176)

The deviations listed above are not to be considered as especially serious, since they do not

affect the development of the plot. Some of them seem to be caused by possible

misunderstandings of the original text, cf. pages 36, 169, 194, 201, and 235 in the original

text, or the semantic of certain Swedish phrases, cf. pages 130 and 230 in the original text.

Others are probably only miswritings, cf. pages 20, 117, 138, and 214 in the original text. Still

others give a somewhat different sense to the context, e.g. pages 22, 25, 31, 84, 114, and 156

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in the original text. The largest alteration of the original text, however, is an inversion of

paragraphs found on page 136f in the translation:

‘I’m thinking that … there are murktrolls living under that enormous rock,’ said Ronia. ‘I saw them dancing there in springtime. And I like murktrolls and rumphobs, but not gray dwarfs and wild harpies, I’ll have you know!’

‘No, who does?’ said Birk. ‘But I hate harpies most,’ she said. ‘And it really is extraordinary that we have been left in peace here for so long. They can’t know that we’re living in the Bear’s Cave.’ ‘It’s because they have their own caves in the mountains on the other side of the forest and not by the river,’ said Birk. ‘And perhaps the gray dwarfs have kept quiet for once – otherwise we’d have had the harpies down on us long ago.’

Ronia shuddered. ‘It’s not good to talk about them. We might bring them here.’ It was getting dark more quickly now. The time of the light nights was over. In the evening they sat by their fire and saw pale stars sparkling in the sky. And as the darkness deepened, the stars became more and more brilliant, burning clear and bright over the woods. It was still a summer sky, but Ronia knew what the stars were saying: soon it will be autumn!

The corresponding part in the original text (pages 184f) reads as follows:

‘Jag tänker på att … det bor skumtroll under den där jättestenen’, sa Ronja. ‘Jag såg dem dansa där i våras. Och skumtroll och rumpnissar tycker jag om, men inte grådvärgar och vildvittror, så mycket du vet det!’

‘Nej, vem gör det’, sa Birk. Det mörknade fortare nu. De ljusa nätternas tid var förbi. Om kvällen satt de vid sin eld och såg bleka stjärnor spricka ut på himlen. Och allteftersom mörkret djupnade, tändes fler och fler, klara och lysande brann de över skogarna. Ännu var det en sommarhimmel, men Ronja visste vad stjärnorna hade att säja: Snart är det höst! ‘Nej, vildvittror hatar jag’, sa hon. ‘Och nog är det underligt att vi har fått vara i fred här så länge. De måtte inte veta att vi bor i Björngrottan.’ ‘Det är bara för att de har sina egna grottor i bergen på andra sidan skogen och inte utmed älven’, sa Birk. ‘Och grådvärgarna har kanske hållit truten för en gångs skull, annars hade vi haft vittrorna över oss för länge sen.’

Ronja ryste. ‘Det är inte värt vi talar om dem’, sa hon. ‘För då kanske vi manar hit dem.’

The reason why the translator has decided to inverse the paragraphs is probably that she has

thought it to be more coherent in this way. If reading only the translated text it is certainly

difficult to detect any alterations, because the conversation between Ronia and Birk,

interrupted in the original text by a description of the evening sky, is about the same topic.

However, a closer examination uncovers that the first part takes place in the forest when they

are horseback riding and the second one later in the evening when they are back at the cave.

Even though the alteration is quite extensive I do not consider it to be very serious, since it

does not affect the story as a whole.

29

4. SUMMARY AND CONCLUSION

The aim of this paper has been to examine to what extent it has been possible for Patricia

Crampton, translator of Ronia, the Robber’s Daughter, to capture and cling to the very

personal style in which Astrid Lindgren writes. I also wanted to find out if any adaptations of

the text were made and, if any, how they have affected the tone of the book. To fulfil this

purpose a thorough comparison of the original text and the translation has been made.

The first chapter consists of an introduction presenting the background to my choice of

topic and giving a short presentation of Astrid Lindgren and her career as an author. The

second chapter treats different problems related to translation in general and to translation of

children’s books in particular. Chapter three, the main bulk of this study, contains a thorough

analysis of the translation of Ronia, the Robber’s Daughter. The following areas have been

investigated:

• translation of proper names

• translation of geographical names

• translation of names for mythical beings in the forest

• shortenings

• enlargements

• cultural context adaptation

• purifications

• metaphorical language

• deviating language

• other deviations from the original text

The conclusion to be drawn from this study is that Astrid Lindgren is an author who is

very difficult to translate. Her language is colourful, inventive, poetical, and she uses very

vivid metaphors. She writes unorthodox and long sentences, divided with commas. The

translation uses ‘normal’ sentences and the language is somewhat more plain and ordinary.

There are, of course, alterations in the text, but that is inevitable in translation. It is impossible

to give a word-for-word translation and expect it to turn out satisfactorily. Moreover, the

alterations made are mostly minor ones, which do not affect the flow and the tone of the

original text. Even if the translator has not always managed to keep up with the inventiveness

of Astrid Lindgren’s language, she definitely has made a very good translation. She has been

able to preserve much of the poetic tone and rough down-to-earth humour which pervades

many of Astrid Lindgren’s works and Ronia, the Robber’s Daughter in particular.

30

BIBLIOGRAPHY

Primary sources Lindgren, A. (1985) Ronia, the Robber’s Daughter. New York: Puffin Books. Translated by Patricia Crampton (1983) Lindgren, A. (1981) Ronja rövardotter. Stockholm: Rabén & Sjögren Secondary sources Baker, M. (1992) In Other Words. A coursebook on translation. London: Routledge CAO Contemporary Authors Online (1999) Astrid (Ericsson) Lindgren. A concise summary of the author’s life and works. The Gale Group Edström, V. (1992) Astrid Lindgren – Vildtoring och lägereld. Stockholm: Rabén & Sjögren Henriksson, A., Törngren, D. & Hansson, L. (1981) Hexikon. Höganäs: Bra Böcker Internet. www.alv.se/info/artiklar/astrid.html 1999-05-12 Internet. www.lillsverige.demon.co.uk/sbr/pc-lindgren.html 1999-04-27 Internet. www.lillsverige.demon.co.uk/sbr/se.html 1999-04-27 Klingberg, G. (1986) Children’s Fiction in the Hands of the Translators. Malmö: LiberFörlag Metcalf, E-M. (1995) Astrid Lindgren. New York: Twayne Publishers Prismas engelska ordbok. 3rd ed. (1995) Stockholm: Rabén Prisma Rietz, J. E. (1962) Svenskt dialektlexikon. Lund: Gleerups Schön, E. (1998) Svensk folktro A-Ö. Hur vi tänkt, trott och trollat. Stockholm: Prisma ShOED The Shorter Oxford English Dictionary. 3rd ed. (1973) Oxford: Oxford University Press Snell-Hornby, M. (1995) Translation Studies. An integrated approach. Philadelphia: John Benjamins Publishing Company Webster’s New Twentieth Century Dictionary. 2nd ed. (1979) New York: Simon and Schusters