INTRODUCTION
Rationale
It is obvious that our life is very much dependant on communication
Language is a unique means of communication that fulfills all human needs, making it essential in our daily lives Every moment, people engage in talking, writing, or reading, highlighting the importance of using language effectively Rhetorical devices such as personification, simile, metaphor, and metonymy enhance our communication, with metaphors being particularly powerful They bring words to life, making subjects more relatable and complex ideas easier to grasp, while also enriching our writing with vivid imagery.
Metaphors, as defined by Newmark (1988), encompass various figurative expressions, including the transfer of meaning from physical words, the personification of abstract concepts, and the application of terms beyond their literal definitions They can be categorized as 'single' metaphors, which consist of a single word, or 'extended' metaphors, which include phrases, idioms, sentences, proverbs, allegories, or even entire imaginative texts.
Metaphors are increasingly perceived as literal expressions rather than figurative language, highlighting the rise of cognitive linguistics as a powerful theory for understanding natural language and its connection to social and physical experiences Recently, individuals have been able to contribute their own terms to dictionaries focused on cognitive linguistics.
In 1980, Lakoff and Johnson introduce readers their cognitive theory on
Metaphors are integral to everyday life, influencing not only language but also thought and action They serve as essential tools for enhancing the semantics and vocabulary of natural languages, enabling humans to describe, perceive, and transform the world around them Particularly prominent in literature, metaphors enhance the effectiveness of literary works by making complex or abstract ideas more accessible to readers According to Culler (1975), the unique poetic function of metaphors aids writers in conveying their messages clearly, allowing for a deeper understanding of their intended meanings.
To Hoai is a prominent figure in Vietnamese literature, renowned for his masterful use of metaphors, particularly in his acclaimed work "Diary of a Cricket." This book resonates deeply with readers worldwide, captivating not only Vietnamese audiences but also foreign adults and children, as well as scholars Translated into fifteen languages, it has garnered admiration from international readers, with writer Bang Viet noting their surprise at its profound humanity Many foreign authors regard the book as timeless, solidifying its status as a literary classic.
In light of the reasons outlined, I have decided to conduct a study titled “Conceptual Metaphors in ‘Dế Mèn phiêu lưu ký’ by To Hoai and Its English Translation by Dang The Binh.” This research aims to explore the various types of conceptual metaphors present in “Dế Mèn phiêu lưu ký.”
In "Dế Mèn phiêu lưu ký" by To Hoai, translated into English by Dang The Binh, the analysis reveals significant shifts in conceptual metaphors between the original text and its translation Examining these metaphorical changes uncovers both the losses and gains in meaning, highlighting the intricacies of cultural nuances and the challenges of maintaining the author's original intent This exploration emphasizes the importance of metaphor in conveying deeper themes and emotions within the narrative.
To Hoai when they are translated into English by Dang The Binh.
Aim and objectives
This study investigates the translation of conceptual metaphors from To Hoai's "Dế Mèn phiêu lưu ký" into English by Dang The Binh, focusing on the aspects of loss and gain in the translation process.
In order to achieve the aims stated above, I tried to focus on the following objectives
First of all, I identified and classified the conceptual metaphorical expressions used in “Dế Mèn phiêu lưu ký” by To Hoai and its English version translated by Dang The Binh
Second, I tried to explore the loss and gain when these conceptual metaphorical expressions are translated into English by Dang The Binh.
Research questions
To achieve the aim and the objectives of the study, the research is trying to answer the following two questions:
1 What types of conceptual metaphors are used in “Dế Mèn phiêu lưu ký” by To Hoai and in its English version translated by Dang The Binh?
2 What are the loss and gain of the conceptual metaphors in “Dế Mèn phiêu lưu ký” by To Hoai when they are translated into English by Dang The Binh?
Scope of the study
In this study, I only concentrated on analyzing the three types of conceptual metaphors: ontological metaphors, orientational metaphors, and
This study explores four structural metaphors in the literary work "Dế Mèn phiêu lưu ký" by To Hoai, alongside its English translation by Dang The Binh It aims to identify both the similarities and differences in the conceptual metaphors between the two languages, although the research is limited by time constraints.
Significance of the study
This thesis is a contribution to understanding more about metaphors
In terms of theory, the finding of the study will hopefully provide knowledge about how the conceptual metaphors in “Dế Mèn phiêu lưu ký” by
To Hoai were translated into English by Dang The Binh in terms of loss and gain
The study's findings offer valuable insights for teachers and students, particularly in the field of conceptual metaphor translation It aids educators in recognizing and categorizing conceptual metaphorical expressions, enabling them to enhance their training methods Consequently, teachers can better equip students to translate these expressions effectively into English.
Organization of the study
There are five main chapters in this study
Chapter one , Introduction, introduces the study by giving its rationale, aims, objective, research questions, significance, scope, and organization
Chapter two focuses on the literature review and theoretical background, examining prior studies relevant to the research Additionally, it offers foundational insights into metaphors and conceptual metaphors pertinent to the subject matter.
Chapter three , Methodology, describes the research methods, procedures, data collection, and data analysis…
Chapter four , Findings and discussion, analyzes, describes, and discusses the results
Chapter five , Conclusions and Implications, summarize the main findings of the study, provides implications for teaching and learning English, and gives suggestions for further research
LITERATURE REVIEW
Theoretical Background
This chapter provides a concise overview of the theoretical foundations for the thesis, focusing on two key areas: traditional metaphors and conceptual metaphors By distinguishing between these two types, readers will gain a clearer understanding of their relationship Additionally, the chapter includes a summary of the tale, enhancing the overall context.
“Dế Mèn phiêu lưu kí” as well as the theory of translation will be also mentioned
Metaphors have significantly influenced our lives and have garnered the interest of numerous linguistic researchers, both foreign and Vietnamese, who explore them through various linguistic lenses, including semantics, syntax, pragmatics, and translation.
Aristotle, a pivotal figure in the history of Western rhetoric and poetics, profoundly influenced the understanding of metaphor through his seminal works, Rhetoric and Poetics He defined metaphor as "the application of an alien name by transference either from genus to species, or from species to genus, or from species to species, or by analogy, that is proportion" (Aristotle, 2006) This definition positions metaphor as an expressive mechanism that replaces one term with another, laying the groundwork for future explorations of figurative language.
According to Snell-Hornby (1988), the translatability of a metaphor relies on its structure and function within the specific text, rather than on abstract rules Peter Newmark, in "A Textbook of Translation," defines metaphor as any figurative expression, including the transferred meaning of physical words, personification of abstractions, and the application of words to non-literal contexts This encompasses polysemous words, such as "heavy" in "heavy heart," and many English phrasal verbs, indicating their potential metaphorical nature.
In 1980, renowned linguists Lakoff and Johnson introduced a transformative perspective on metaphors in their influential work "Metaphors We Live By," highlighting that metaphors not only enhance the vividness and interest of our thoughts but also shape our awareness and understanding of the world.
(1980) they open a new investigation on metaphor study in which the idea of
“conceptual metaphor” was first known Lakoff and Johnson state that
Metaphors are integral to our daily lives, influencing not only our language but also our thoughts and actions According to Lakoff and Johnson (1980), our conceptual framework is inherently metaphorical, shaping how we think and behave Their research highlights the importance of metaphors as cognitive tools that enhance human communication, understanding, and reasoning in everyday interactions.
After publishing “Metaphors We Live By” in 1980, many scholars and researchers focus on studying this field Ahrens in Politics, Gender, and
In her 2009 study on conceptual metaphors, the researcher analyzes linguistic data from five countries to explore the similarities and differences in metaphor usage between male and female politicians The findings reveal that both genders employ notions of femininity and masculinity based on their objectives, indicating that metaphors are frequently utilized as persuasive tools to garner support from constituents.
In "Cognitive Linguistics: From General Theory to Practical Application in Vietnamese," Lý Toàn Thắng (2005) provides a comprehensive overview of cognitive linguistics, discussing concepts such as cognitive maps and language models, as well as the spatial models of the world However, the book primarily emphasizes key concepts of cognitive linguistics and does not delve into the aspect of conceptual metaphor.
Metaphors play a crucial role in everyday communication, serving as a significant "linguistic phenomenon." Over the past few decades, researchers and linguists have explored various definitions of metaphors Max Black (1962) argues that metaphors should not be viewed as mere decorative elements or implicit comparisons; instead, he presents an interaction theory that highlights their conceptual significance According to Black, metaphors enhance language and thought through the interaction between the "principal subject" and the "subsidiary subject." Additionally, Aristotle, in his work Poetics (2006), defines metaphors as the application of a name from one category to another, illustrating their complex relationships across different categories.
Metaphors, such as "She is a bee," illustrate comparisons without using "like" or "as," consisting of two essential components: the tenor, which is the subject, and the vehicle, the metaphorical term that conveys the comparison This relationship, known as the ground, highlights similarities between the two elements Cicero's insights into metaphors have significantly influenced linguists, emphasizing that they enliven and diversify language, moving beyond mere decoration to enhance expression He noted that metaphors enrich communication, offering speakers dignified and delightful ways to articulate thoughts Lakoff defined metaphor as a novel linguistic expression that employs terms outside their conventional meanings to convey similar concepts, while Lakoff and Johnson explored metaphors in pre-cognitive contexts, further underscoring their importance in language.
Metaphors are often seen as poetic devices that elevate language beyond the ordinary, yet many view them solely as linguistic embellishments rather than essential elements of thought or action Consequently, a common belief is that one can navigate life effectively without the use of metaphors.
Cognitive Linguistics is a school of modern linguistics that rose in the late 1970s and the early 1980s George Lakoff and Ronald Langacker are
In 1975, George Lakoff introduced the term "cognitive grammar" in his paper "Cognitive Grammar: Some Preliminary Speculations," marking a significant milestone in the field of cognitive linguistics He further popularized the term "cognitive linguistics" in his influential 1987 book, "Women, Fire, and Dangerous Things." Alongside Ronald Langacker, Lakoff's contributions in 1987 demonstrated the maturation of cognitive linguistics as a discipline The establishment of the magazine Cognitive Linguistics and the founding of the International Cognitive Linguistics Association in 1990 further solidified the field's academic presence.
The emergence and evolution of cognitive linguistics are underscored by various activities that highlight its significance According to Taylor (1997), research in language is inherently tied to cognitive research, positioning language as a manifestation of cognitive processes Consequently, cognitive linguistics examines language through the lens of human cognition, making it a vital area of scientific inquiry.
Cognitive linguistics encompasses three primary approaches: the experiential view, the prominence view, and the attentional view, as outlined by Ungerer and Schmid (2001) The experiential view emphasizes the significance of human experience, which is crucial in shaping the Conceptual Metaphor Theory from a cognitive perspective.
Cognitive linguistics, as defined by Ly Toan Thang in 2005, is a contemporary branch of linguistics in Vietnam that explores language through the lens of human experience and perception This field examines how individuals conceptualize and understand the objective world, focusing on the relationship between language and the ways people interpret their surroundings.
Previous studies
In their 2014 article, “A Cognitive Study of Happiness Metaphors in Persian and English,” Safarnejad, Ho-Abdullah, and Mat Awal explore emotive metaphorical expressions of happiness in both languages, utilizing Lakoff’s (1980) Theory as a foundational framework for their analysis The study aims to uncover the cultural and linguistic nuances that shape the understanding of happiness through metaphor in English and Persian.
Metaphors play a crucial role in shaping our understanding of emotions across different languages, particularly in the context of happiness Both English and Persian utilize common conceptual metaphors such as HAPPINESS IS UP, HAPPINESS IS LIGHT, HAPPINESS IS FLUID IN A CONTAINER, and HAPPINESS IS ANIMALISTIC BEHAVIOUR, indicating their universality However, there are notable differences in how happiness is expressed linguistically; for instance, while English conceptualizes happiness as HAPPINESS IS AN ENERGY, Persian employs distinct expressions to convey this metaphor This highlights the unique ways in which cultural nuances influence emotional understanding through language.
Electricity, in Persian, symbolizes intense energy reflected in the eyes, representing happiness In English, happiness is associated with a high-energy state, often expressed through activities like dancing, singing, or jumping This connection highlights the universal nature of joy as an energetic experience.
The Persian metaphor 'shakhe shemshad' (boxtree) highlights a distinct perspective on happiness, framing it as a natural phenomenon However, current studies primarily concentrate on happiness metaphors, often neglecting other dimensions such as the concepts of loss and gain in translation To address these overlooked areas, further research is essential to provide a more comprehensive understanding of happiness in translation.
In her 2014 article "Social Conflict through Conceptual Metaphor in Media Discourse," Antonova explores the role of conceptual metaphors in shaping the portrayal of social conflict within media narratives She identifies key conceptual domains and their structural elements that contribute to metaphorical representations of conflict Antonova argues that the use of various types of conceptual metaphors—structural, orientational, and ontological—significantly influences how social conflict is interpreted by audiences.
The analysis of 26 media discourses reveals that structural metaphors dominate, comprising 52.9% of metaphorical expressions, primarily portraying conflict as a dangerous and destructive social phenomenon Utilizing various metaphors allows for a multifaceted interpretation of conflict, emphasizing its unique characteristics and influencing readers' perceptions of reality This representation shapes the framing of conflict within Russian media discourse, contributing to a broader understanding of the Russian worldview The findings also hold potential for application in conflict research across social sciences, including sociology and psychology However, the study is limited by its focus on a single conflict and restricted text material, indicating the need for further exploration of additional aspects.
In his 2014 article, Marugina explores the conceptual metaphor "A Man is an Animal/Beast" within literary discourse, using examples from Bulgakov's works to demonstrate its modeling potential He argues that this metaphor reflects the behavior and social status of individuals, as well as the shared dualistic nature of humans and animals The study reveals that the metaphor serves multiple functions in literature, acting as an integrated phenomenon and exhibiting a "folding and unfolding" mechanism that connects readers to other significant textual elements.
This article explores 27 metaphors and metaphorical expressions, highlighting their significance in literary discourse The findings reveal how these conceptual metaphors, shaped by culture and intricately woven into narratives by authors, serve to unveil new dimensions of the world.
In the same year, Burmakova and Marugina (2014) publish the article
The article "Cognitive Approach to Metaphor Translation in Literary Discourse" examines the translation of metaphors in literary works, specifically focusing on Vasily Shukshin's short stories and their English translations It emphasizes the anthropomorphous metaphor, analyzing the conceptual mapping between the concepts of MAN and NATURE in both source and target texts Grounded in Mandelblit's (1995) Cognitive Translation Hypothesis, the study reveals that translators often retain the original metaphorical structure, particularly the formula NATURE IS MAN, while adapting it to fit a more specific context The findings indicate that the translation of these metaphors reflects a frequency distribution that aligns with anthropocentric perspectives The primary translation models identified include metaphors with similar mapping conditions, those with similar mappings but different lexical realizations, and metaphors exhibiting different mapping conditions.
The significant contributions of the aforementioned research to the field of cognitive linguistics are undeniable However, these findings primarily stem from studies conducted on foreign languages, which may introduce various linguistic nuances and complexities.
28 cultural characteristics different from Vietnamese and there aren’t any mentions about the loss and gain when translating the source language text into the target language one
In Vietnam, research on cognitive linguistics has significantly expanded, influenced by the theories of Lakoff and Johnson (1980) A notable study by Ha Thi Ngoc Loan (2015) explores the role of conceptual metaphors in English tourism advertisements, revealing their crucial impact on advertising effectiveness Metaphors serve two primary purposes: they clarify abstract concepts related to tourism products and act as efficient tools for maximizing limited advertisement space However, this research focuses solely on English advertisements, leaving a gap in comparative studies across different languages.
An investigation into conceptual metaphors in "Fifty Shades Darker" by Erika Leonard James and its Vietnamese equivalents by Nguyen Thi Kim Thoa reveals the significant role of metaphors in enhancing mental imagery and reader engagement Metaphors serve as powerful literary devices that vividly portray characters and themes The study highlights that ontological and structural metaphors are prevalent in both English and Vietnamese versions, enriching the narrative Nguyen's research identifies instances of meaning loss and gain due to factors such as language proficiency, chosen translation methods, and linguistic differences However, her analysis is limited to James's novel, suggesting a need for further exploration of metaphorical expressions in other literary works.
Another researcher who is interested in this field is Nguyen Tan Thanh
(2017) with “conceptual metaphors denoting love in Truyen Kieu by Nguyen
The article analyzes the major losses and gains in the translations of Nguyen Du's "Truyen Kieu" by Michael Counsell and Huynh Sanh Thong, focusing specifically on the conceptual metaphors related to love However, it acknowledges that the thesis is limited in scope, as it primarily examines love metaphors while overlooking other crucial aspects of conceptual metaphors and stylistic devices that warrant further exploration.
Nguyen Thi Kim Anh (2018) explores the role of conceptual metaphors in Michelle Obama’s speeches, highlighting their significance in enhancing audience engagement and adding vividness to her messages The study reveals that these metaphors effectively make her speeches more interesting, emotional, and inspiring, as they leverage high meaning transference to fulfill her communicative goals However, the research is limited to a small aspect of her speeches and lacks a comparative analysis between English and Vietnamese, indicating a need for further investigation into this area and the potential for cross-linguistic studies.
In her 2019 study, Pham Thi Ai Hoa highlights the differences between the conceptual metaphors of sorrow in "Truyen Kieu" by Nguyen Du and their English equivalents by Huynh Sanh Thong The research identifies three types of conceptual metaphors, categorized into 20 metaphor patterns derived from 112 metaphorical expressions Notably, the metaphor mapping SORROW IS A FLUID IN A CONTAINER emerges as the most prevalent, reflecting a significant density of related verses in the poem The study's findings further indicate the nuanced ways in which sorrow is expressed across languages.
SUMMARY
This chapter provides a comprehensive review of prior studies to identify research gaps, alongside a theoretical foundation of conceptual metaphors based on Lakoff and Johnson's framework It includes an overview of traditional metaphors, a detailed examination of conceptual metaphor categories, and relevant examples Additionally, the chapter introduces the tale "Dế Mèn phiêu lưu ký" by To Hoai and its English translation by Dang The Binh, highlighting both the author and translator A thorough analysis of the conceptual metaphors in "Dế Mèn phiêu lưu ký" and its English version will be presented in Chapter 4, grounded in this theoretical background.
METHODOLOGY
Research approaches
This research was carried out by using the following methods which helped me find out the characteristics of conceptual metaphors
This study utilized both qualitative and quantitative methods to identify conceptual metaphors in "Dế Mèn phiêu lưu ký" by To Hoai and its English translation by Dang The Binh.
The quantitative approach was conducted to point out the frequency of occurrence of the conceptual metaphors in the work
The qualitative approach helped me not only get a better insight into the linguistic features of conceptual metaphors but also recognize metaphorical expressions used in the tale
A comparative and contrastive analysis was conducted to identify the similarities and differences in the conceptual metaphors present in "Dế Mèn phiêu lưu ký" by To Hoai and its English translation by Dang The Binh This analysis, grounded in cognitive semantics, aimed to explore the nuances of loss and gain in the translation process.
Data collection
This research focuses on the analysis of metaphorical expressions in the tale "Dế Mèn phiêu luu ký," authored by To Hoai and translated by Dang The Binh We meticulously gathered data from both the original text and its translated version to explore the rich use of metaphors within the narrative.
After that, based on the conceptual metaphors by Lakoff & Johnson
(1980), these metaphor expressions were analyzed and classified into three categories: structural metaphors, ontological metaphors, and orientational metaphors
The source of the data was collected from the books “Dế Mèn phiêu
32 lưu ký, Kim Dong Publishing House, 2019” and “Diary of a Cricket, Kim Dong Publishing House, 2014”
The procedure of collecting data was carried as follows:
+ Reading the tale “Dế Mèn phiêu luu ký” written by To Hoai and its version translated by Dang The Binh carefully
+ Picking out all the conceptual metaphorical expressions included in the works
+ Examining whether the conceptual metaphorical expressions in “Dế Mèn phiêu luu ký” by To Hoai exist in its English version translated by Dang The Binh or not
+ Using Lakoff and Johnson’s framework of conceptual metaphors to identify the conceptual metaphors
+ Analyzing and classifying the data into three categories: structural metaphors, ontological metaphors, and orientational metaphors
+ Synthesizing and evaluating the result to give some implications for teaching, learning and translating language
After collecting data from the work “Dế Mèn phiêu lưu ký” and choosing Lakoff & Johnson’s Conceptual Metaphor, the following steps were executed:
+ Identifying and classifying the metaphorical expressions into three types of conceptual metaphors: ontological, structural, and orientational metaphors
+ Making data comparison to recognize and represent the loss and gain of meaning and structure of metaphors when they are translated into English by Dang The Binh
FINDINGS AND DISCUSSIONS
Quantitative analysis of metaphors in “Dế Mèn phiêu lưu ký” by
by To Hoai and “Diary of a Cricket” by Dang The Binh
This section presents the findings on metaphorical expressions found in "Dế Mèn phiêu lưu ký" by To Hoai and their translation by Dang The Binh The identified metaphors are categorized into three types: structural, ontological, and orientational metaphors Table 4.1 provides a quantitative analysis of these metaphors in both "Dế Mèn phiêu lưu ký" and "Diary of a Cricket," along with the corresponding percentages for each type.
Table 4.1 Types of conceptual metaphors
“Dế Mèn phiêu lưu ký” by
“Diary of a Cricket” by Đặng Thế Bính Number Percentage (%) Number Percentage (%) Structural metaphors 61 32.4 26 34.2
The comparison of metaphorical expressions in To Hoai's "Dế Mèn phiêu lưu kí" reveals a significant disparity, with 188 metaphors in the original Vietnamese text versus only 76 in the English translation by Dang The Binh This highlights the prevalence of metaphors as a crucial rhetorical device in Vietnamese literature Additionally, the differing usage of metaphors between English and Vietnamese presents challenges for translators.
In the Vietnamese version, ontological metaphors comprise 36.7% of the total conceptual metaphors analyzed, making them the most prevalent type, followed by structural metaphors at 32.4%, and orientational metaphors at 30.9% In contrast, in "Diary of a Cricket" by Dang The Binh, ontological metaphors account for only 31.6%, despite their prominence in the Vietnamese text Structural metaphors appear 26 times, representing 34.2% and sharing the same rank as orientational metaphors This indicates that while ontological metaphors are significant in the Vietnamese version, they are less commonly used in the English version.
As far as the ontological metaphors are concerned, 10 subtypes were found in the work as presented in the following table
Table 4.2 Subtypes of ontological metaphors and their occurrence frequency in “Dế
Mèn phiêu lưu ký” by To Hoai
No The ontological metaphors Number Percentage
2 THINGS ARE HUMAN BODY PARTS 23 33.3
No The ontological metaphors Number Percentage
6 PART OF BODY IS A CONTAINER 3 4.3
From Table 4.2, we realize that the most common subtype is
To Hoai's portrayal of nature as a person, evident in 23 samples that make up 33.3% of his work, brings the animal world to life, captivating both children and adults globally This unique perspective invites readers to explore the vibrant interplay between humanity and nature, enriching their understanding and appreciation of the natural world.
[4.1] …đất cát cũng đã ngấm no nước (p.28) (All the galleries were flooded.)
Examples [4.1] illustrate that with the verbs “no”/full, the “nature”, non – human object, is portrayed as a person with the ability to act like a human
The article explores various personification metaphors that utilize diverse target domains, including EMOTION, LANGUAGE, STOMACH, and RANDOM These metaphors, which appeared 15 times, effectively convey the characters' emotional states by attributing human-like activities to nonhuman objects.
“chờ đón”/wait, “đánh liệt”/strike, “háu ăn”/ gluttonous, “thúc giục”/ urge,
“nhảy múa”/dance and so on to increase their liveliness and make readers become more interested in the story
A notable subtype of ontological metaphors found in the work is "THINGS ARE HUMAN BODY PARTS," which appears 23 times, paralleling the frequency of the metaphor "NATURE IS A."
The author explores the concept of similarity in form or position through various examples, such as the "foot of a mountain" (p.91), the "foot of an arena" (p.103), and the "head of a river" (p.96) These phrases illustrate how language reflects spatial relationships in nature and constructed environments.
The rest subtypes are utilized to contribute to making the story more vivid and interesting
Ontological metaphors provide a clearer structure to concepts that may otherwise seem vague or abstract Hoai effectively employs these metaphors to enhance readers' understanding of events, actions, states, and activities This technique adds vividness and liveliness to the narrative, making the story more engaging and relatable.
As for Orientational metaphors, 8 subtypes were found as follows:
Table 4.3 Subtypes of orientational metaphors and their occurrence frequency in
“Dế Mèn phiêu lưu ký” by To Hoai
No The Orientational metaphors Number Percentage
1 WEAK IS DOWN/ STRONG IS UP 17 29.3
2 HAPPY IS UP/ SAD IS DOWN 10 17.2
3 WINTER IS SAD/ SPRING IS HAPPY 9 15.5
7 NIGHT IS DOWN/ SUN (DAY) IS UP 3 5.2
As can be seen in Table 4.3, the most productive subtype is “WEAK IS DOWN/ STRONG IS UP” with 17 samples, taking up 29.3% The following example illustrates this kind of metaphor
[4.6] “.….nhưng em nghèo sức quá …” (p.15) (but I don’t have the strength to improve it )
Another subtype which frequently occurs is “HAPPY IS UP/ SAD IS DOWN” 10 samples of this subtype were found The conceptual metaphor
The phrase "HAPPY IS UP, SAD IS DOWN" highlights the connection between body posture and emotions, illustrating how individuals often slouch when feeling sad or depressed, while they tend to stand tall and lift their heads when experiencing happiness and satisfaction This metaphor is exemplified in the statement, "As for me, I was glad to have done the first good indeed in my life," which reflects a sense of joy and accomplishment.
To Hoai's exploration of orientational metaphors reveals significant patterns in human experience with nature and social status The metaphor WINTER IS SAD/SPRING IS HAPPY appears nine times, reflecting a shared human connection to seasonal changes Similarly, ENDURANCE/BONDAGE IS IN is noted seven times, comprising 12.1% of the expressions, while HIGH STATUS IS UP is mentioned five times These metaphors illustrate the societal notion that high status equates to the responsibility of controlling tasks and people, emphasizing the interplay between social criteria and individual perception.
“đứng đầu thiên hạ”/ head of the world (p.12), [4.9] “coi thiên hạ như rác”/treat people like trash (p.34), [4.10] “đứng đầu vùng này”/ head of our canton (p.115)
The subtype “BAD IS DOWN” appears twice in the work and is considered the least common one of orientational metaphors
In "Dế Mèn phiêu lưu ký," To Hoai utilizes a diverse range of orientational metaphors, totaling 58 expressions that reflect our experiences within physical space These metaphors enhance readers' understanding and engagement with the narrative.
38 only learn the way people reflect the world but also find the work interesting and easier to understand
The last type of conceptual metaphor is structural metaphors In my analysis, 18 subtypes were found and illustrated in Table 4.4 below
Table 4.4 Subtypes of structural metaphors and their occurrence frequency in
“Dế Mèn phiêu lưu ký” by To Hoai
No The structural metaphors Number Percentage
1 EMOTION IS expressed through THE
3 CHARACTER IS expressed through THE
4 STATE IS expressed through THE
7 EMOTION AND CHARACTER ARE expressed through ACTIONS 3 4.9
8 GROWTH IS expressed through THE
9 PART OF BODY IS A PLACE 2 3.3
12 LIVING CONDITION IS expressed through EVENT 2 3.3
No The structural metaphors Number Percentage
17 NATURE IS expressed through PLANT 1 1.6
18 CAPTIVE LIFE IS A FOUL CITY 1 1.6
As indicated in Table 4.4, with 15 samples (24.6%), the metaphor
“EMOTION IS expressed through PARTS OF BODY” appears with the highest frequency Here are some examples to illustrate this case:
[4.11] Tôi đã hơi nóng gáy và ngứa hết hai cái càng (p.32) (Hearing this, I felt blood starting to run wild in my veins.)
The longhorn, filled with anger, ground his teeth while his antennae quivered in frustration However, he felt powerless to act as long as the children remained nearby.
As we know, EMOTION includes complex and abstract concepts, but in examples [4.11] and [4.12], the author employed parts of the body like
The article explores the use of vivid imagery in character emotions, illustrating how terms like "nape," "claw," "horn," and "teeth" are paired with adjectives such as "hot" and "tingle," along with the verb "quiver." This combination effectively conveys the intensity of anger, allowing readers to grasp the character's feelings more clearly.
The subtypes "LIFE IS A JOURNEY" and "CHARACTER IS EXPRESSED THROUGH THE HUMAN BODY PARTS" are the next most prevalent, appearing 7 times and accounting for 11.5% of the work These metaphors effectively connect target domains to source domains that are intricately linked.
40 people’s daily life and experience so they are understandable for common people Here are some examples found in the work
[4.13] Từ đây, tôi bắt đầu vào cuộc đời của tôi (p.9) (From that day on, I started life on my own)
[4.14] Những quân lang chạ ở đâu đến rõ bọn đầu trộm đuôi cướp
(p.93) (those “intruders who behaved worse than pirates.”)
Table 4.4 reveals that the metaphor "LIFE IS WAR" appeared four times, ranking alongside "EVENTS AND ACTIONS ARE NUTRIENTS." Conversely, some subtypes, despite their infrequent occurrence—such as "TIME IS MONEY," "AFFLICTION IS FIRE," "ATTITUDE IS COLD," "DISTANCE IS TIME," and "NATURE IS expressed through PLANT"—made significant contributions to the overall success of the work.
Qualitative analysis of metaphors in “Dế Mèn phiêu lưu ký” by To Hoai
This section presents a qualitative analysis of metaphors in "Dế Mèn phiêu lưu ký," highlighting the lexical and semantic characteristics of conceptual metaphors and comparing them with their English translation by Dang The Binh.
The study will analyze the findings related to the losses and gains in conceptual metaphors during the English translation by Dang The Binh in the subsequent sections.
4.2.1 Semantic features of conceptual metaphors in “Dế Mèn phiêu lưu ký” by Tô Hòai
"Dế Mèn phiêu lưu kí" is a quintessential piece of children's literature that skillfully captures the psychological landscape of adolescence To Hoai employs conceptual metaphors to vividly portray a realm filled with fresh emotions, adventurous aspirations, and a profound appreciation for the beauty of life and nature, enhancing the accessibility of his narrative These conceptual metaphors are explored in depth through various interpretations and analyses.
According to Kửvecses (2002: 6), there is a set of mappings between the source domain JOURNEY and the target domain LIFE
Life is a journey filled with travelers, companions, and guides who offer valuable suggestions along the way It begins at birth and encompasses the distance covered, events experienced, and obstacles encountered Each individual faces different roads and choices, leading to various destinations, goals, and achievements Ultimately, the journey concludes with death, marking the end of this unique adventure.
From that, we can find the constituent elements of the conceptual domain JOURNEY are in systematic correspondence with constituent
The article explores 42 elements within the conceptual domain of LIFE, emphasizing how the journey metaphor enhances our understanding of this complex concept By applying the journey framework to the life domain, readers gain clarity on the characters' experiences, as this metaphor is utilized seven times throughout the narrative These examples illustrate the significance of the journey in portraying the intricacies of the characters' lives.
To Hoai employs a conceptual metaphor to depict the life of a cricket as a journey rich with lessons, challenges, heartaches, joys, celebrations, and significant moments, all of which ultimately guide him toward his destination and purpose in life.
Vietnamese by To Hoai English by Dang The Binh
[4.13] Từ đây, tôi bắt đầu vào cuộc đời của tôi (p.9)
From that day on, I started life on my own (p.8)
[4.15] … còn em, em vừa ra đời có mấy hôm……(p.38)
Hardly had he seen me when he cried out for mercy (p.25)
[4.16] Tôi nhìn ra cửa hang, nơi mới ngày nào còn trứng nước ở đây
In the metaphors "started life on my own," "new," and "just born," Dế Mèn embarks on a journey filled with both joy and heartache This signifies that he will face numerous challenges that will test his courage, strengths, and faith As he navigates through life, he will encounter obstacles that may hinder his destined path Overcoming these challenges is essential for him to follow the right direction, and his reactions to these experiences will ultimately shape the outcomes of his journey.
43 journey through life would be like
Vietnamese by To Hoai English by Dang The Binh
[4.17] … câu thề ngày trước rằng từ đây sống chết có nhau (p.158) omitted
During their journey, he formed a deep friendship with Trui, and together they shared both joys and sorrows The phrase “sống chết có nhau,” meaning "to live and die together," illustrates the strength of their bond and their unwavering commitment to one another.
Life is inherently complex, making it challenging for readers, particularly children, to grasp the events in characters' lives without the metaphor "LIFE IS A JOURNEY." While this metaphor may be occasionally omitted in English translations due to cultural and language differences, its significance in the narrative remains undeniable.
Everyone will go through numerous difficulties and challenges in life
Life is frequently likened to war, as both require individuals to confront and overcome challenges to thrive Despite being distinct concepts, the parallels between life and war shape our understanding and experiences, highlighting the struggles and battles we face in our daily lives.
In both war and life, individuals battle for essential needs such as territory, sustenance, and success This struggle for survival is reflected in the metaphorical expressions found in To Hoai's literary works, showcasing the parallels between conflict and the human experience.
Vietnamese by To Hoai English by Dang The Binh
[4.18]…., nhất định trúng giữa lưng chú, thì chú có mà đi đời! (p.14)
What if a falcon mistakes you for prey? (p.11)
In this example, we can see that Choắt isn’t strong enough to build a decent home which can protect him from dangerous things, and maybe he will
44 die if a falcon mistakes him for prey Therefore, the phrase “đi đời” / go away indicates the obstacle he can not overcome and must pay by his life
Vietnamese by To Hoai English by Dang The Binh
[4 19] Thế mà đù đờ đến nỗi anh tôi thua Anh tôi co cổ chạy (p.61)
In a surprising turn of events, my brother was outmatched and forced to flee (p.44) The phrase “co cổ chạy” illustrates the plight of a defeated individual who must escape after losing a battle Despite the Tailorbird being a relatively small and non-threatening opponent, Dế Mèn’s brother's defeat stemmed from his lack of intelligence and courage.
Sau thời gian dài xa cách, em đã trải qua những phút giây khó khăn, với tính mạng luôn treo lơ lửng Anh có biết điều đó không?
I explained that I had come through many dangers before having the chance to visit him that day (p.45)
[4.21] - Còn anh, chẳng hay bấy lâu nay anh mưa gió đường đời ra sao?
Then he asked, “What about you? How has life treated you?” (p.102)
The term "minute" typically refers to a unit of time; however, the phrase "arduous minute" captures the essence of challenging moments Similarly, while a "beard" is a long, thin part of the body, it symbolizes the weight of one's destiny The author skillfully intertwines the concept of enduring difficult minutes with the metaphor of fate being hung by a thread, creating a profound reflection on life's trials.
“tính mệnh treo đầu sợi râu”, “mưa gió” is natural forces with “đường đời”/life to talk about the struggle that Dế Mèn came through in his life
This metaphor appeared four times in the story to help the author describe the events of the character's life in a more simple and understandable concept
In this metaphor, TIME is equated with MONEY, creating a framework that connects two distinct domains of experience This conceptualization illustrates how we perceive and value time through the lens of financial investment, emphasizing the importance of time management in our lives.
Loss and gain in conceptual metaphor in “Dế Mèn phiêu lưu ký”
According to Bassnett (2002:38), there is one principle that is accepted
Translation inherently involves a loss and gain dynamic, as no two languages can be identical This highlights the often undervalued nature of translation, evidenced by the extensive discussions surrounding the elements that are lost when a text is translated.
SL to TL whilst ignoring what can also be gained, for the translator can at times enrich or clarify the SL text as a direct result of the translation process
In this part, I am going to analyze the conceptual metaphorical expressions in
“Dế Mèn phiêu lưu ký” and its English version by Dang The Binh to find out their loss and gain
4.3.1 The unchanged metaphors in “Dế Mèn phiêu lưu ký” by To Hoai and their English version by Dang The Binh
While the English translation of "Dế Mèn phiêu lưu kí" by Dang The Binh may lose some metaphorical nuances, several expressions remain intact, as demonstrated in the following key examples.
Table 4.7 The unchanged metaphors in Dang The Binh’s version
Dế Mèn phiêu lưu ký by To Hoai Diary of a Cricket by Dang The
RANDOM IS A PERSON [4.59] … một sự tình cờ đã đến mở mắt tôi (p.37)
…, something happened that opened my eyes (p.25)
MIND IS AN ENTITY [4.83] …muốn mở mang trí óc thì phải bước chân đi ra bốn phương
“…I know that traveling is good for anyone who wishes to broaden his mind” (p.46)
EMOTION AND CHARACTER ARE expressed through ACTIONS [4.84] Ông là ếch ngồi đáy giếng, “What do you know, you frog – at –
Dế Mèn phiêu lưu ký by To Hoai Diary of a Cricket by Dang The
Binh ếch ngồi đáy giếng,…! (p.93) the - bottom – of – a – well!”(p.68)
NATURE IS A PERSON [4.2] - Cái rét đã đến ngoài đồng, (p.118)
“the cold has set in .” (p.88)
LIFE IS A JOURNEY [4.13]Từ đây, tôi bắt đầu vào cuộc đời của tôi [p.9]
From that day on, I started life on my own [p.8]
LANGUAGE IS A PERSON [4.57] Những tiếng: giang hồ, hoạt động, đi kết nghĩa anh em trong thiên hạ đến nhảy múa trong óc tôi
Familiar words flashed through my mind: adventure, action …(p.105)
HAPPY IS UP/ SAD IS DOWN [4.69] Suốt ngày nằm phục vị, thở dài (p.44)
I was so sad that I lost my appetite and lay prostrated on the ground all day long (p 30)
HIGH STATUS IS UP [4.85] …tôn chúng tôi lên là chánh phó, thủ lĩnh đứng đầu các làng trong vùng cỏ may (p.115)
I was immediately appointed chief and Mole – cricket deputy – chief of this canton of grasshoppers (p.86)
As we can see although the differences in environment, climate, cultural development, etc…, among various communities, may be extremely significant, human societies are basically linked by a common biological
The reality we inhabit is not identical across different contexts, yet it shares significant similarities Our universe consists of tangible elements that we must constantly engage with, shaping our identities in relation to them This commonality across human societies leads to the use of similar metaphors in various language systems For instance, in To Hoai's "Dế Mèn phiêu lưu ký," 17 metaphorical expressions were found to remain unchanged in Dang The Binh's translation One example is the metaphor "RANDOM IS A PERSON," where the expression "mở mắt tôi" was translated while preserving its original imagery.
The phrase "open my eyes" serves as both a verb and a noun, signifying a human activity that aids in understanding personal issues Additionally, the metaphor is illustrated in Table 4.7, highlighting its dual significance.
The phrase “mở mang trí óc” was effectively translated as “broaden his mind,” preserving its original meaning and part of speech Similarly, the metaphor “ếch ngồi đáy giếng” is utilized in both English and Vietnamese to describe an ignorant person who judges their surroundings, reinforcing the idea that "emotion and character are expressed through actions." Additionally, Tô Hoài's metaphor “bắt đầu vào cuộc đời của tôi,” which likens a cricket's life to a journey, was retained in Đặng Thế Bính’s translation, maintaining the same imagery.
The metaphorical expressions listed in Table 4.7 retained their meanings during translation, similar to the previous examples This demonstrates that Dang The Binh aimed to maintain fidelity to the original text's context when translating metaphors, ensuring that all semantic features were accurately conveyed.
To maintain the cohesive effect of metaphors, it is essential for translators to preserve the imagery inherent in the source text This not only enhances readers' understanding but also draws attention to the language used The optimal outcome occurs when the metaphorical images from the original text are effectively retained in the translation, ensuring an accurate and faithful representation of the intended meaning.
4.3.2 The unchanged metaphors with the modified metaphorical expressions in English version by Dang The Binh
Besides 17 metaphorical expressions were found unchanged by reproducing into the same image to keep the metaphors, some are replaced by other ones but the metaphors are unchanged Table 4.8 below will present some typical examples of this case
Table 4.8 The unchanged metaphorical expressions in English version by
Dế Mèn phiêu lưu ký by To Hoai
Diary of a Cricket by Dang The Binh
The changes in metaphorical expressions
LIFE IS MONEY [4.86] … chỉ tổ đem thân mà trả nợ những cử chỉ ngu dại của mình thôi (p.13)
Alas, I didn’t know that one would have to pay dearly for such foolish bluster
The phrase “đem thân” is omitted while “dearly” is supplemented, but the metaphor is not changeable
WEAK IS DOWN [4.6] … nhưng em nghèo sức quá
… but I don’t have the strength to improve it (p.11)
The expression “nghèo sức quá” was modified into “don’t have the strength” However, the metaphor still exists
Dế Mèn phiêu lưu ký by To Hoai
Diary of a Cricket by Dang The Binh
The changes in metaphorical expressions
EMOTION IS expressed through THE HUMAN BODY PARTS
[4.11] Tôi đã hơi nóng gáy và ngứa hết hai cái càng
Hearing this, I felt blood starting to run wild in my veins (p.22)
“nóng gáy” and “ngứa hết hai cái càng” were replaced by
“blood starting to run wild” in the version does not change the metaphor
LESSON IS AN AVAILABLE COMMODITY [4.63] … tôi được thêm bài học mới vừa đắt, vừa đau đêm ấy (p.42)
My antennae never grew back, which was the price I paid for my second lesson (p.28)
The expression “ đau” does not appear in the version, the phrase
“vừa đắt” is translated into “the price I paid” but the original metaphor is unchangeable HAPPY IS UP/ SAD IS DOWN
[4.7] trong lòng hoan hỉ vì đã làm được ….(p.54)
I was glad to having done the first good indeed (p.38)
Although the phrase “trong lòng” disappears, the metaphor is kept
DEATH IS DOWN [4.87] …cho đến lúc nhắm mắt vẫn phải ân hận …
I would not like to leave this world without knowing … (p.42)
The appearance of the phrase
“leave this world” to replace for
“nhắm mắt” remains the metaphor
LIFE IS WAR [4.19] Thế mà đù đờ đến nỗi anh tôi
… My brother was outfought and had to
The metaphorical expression “co cổ chạy” is modified into “run
Dế Mèn phiêu lưu ký by To Hoai
Diary of a Cricket by Dang The Binh
The changes in metaphorical expressions thua Anh tôi co cổ chạy (p.61) run for his life
(p.44) for his life” to keep the metaphor “LIFE IS WAR”
EMOTION IS A PERSON [4.81] cái đói ghê gớm cứ đánh liệt dần từng bộ phận trong người (p.78)
Hunger had taken away all our strength (p.56)
The verb phrase “đánh liệt” in the original version is lost with the replacement of the phrase
“taken away” in the translated version does not make the metaphor change
NATURE IS A PERSON [4.52] Tôi định thần nhìn kỹ thấy quanh đấy có luồng sóng cồn đuổi theo (p.95)
In his wake, the water grew agitated (p.70)
Despite the fact that the sentence
“luồng sóng cồn đuổi theo”, disappears, the metaphor was kept due to the replacement of the sentence “the water grew agitated”
LIVING CONDITION IS expressed through EVENT [4.44] Thưa hai võ sĩ, đất lành chim đậu, … (p.115)
“Sirs, there is an old saying that ‘birds come to propitious land’ … (p.86)
Similarly, “đất lành chim đậu” is modified into ‘birds come to propitious land’ without changing the metaphor
Table 4.5 shows that Đặng Thế Bính enhanced reader comprehension of the metaphorical expressions in “Dế Mèn phiêu lưu ký” by substituting them with alternative phrases, ensuring the original meaning remained intact.
The article discusses 89 metaphors, highlighting how certain idioms are translated while preserving their meanings For example, the Vietnamese idiom “đất lành chim đậu” is translated as “birds come to propitious land,” maintaining the metaphor of "LIVING CONDITION IS EVENT." Similarly, the phrase “co cổ chạy” is translated to “run for his life,” reflecting the metaphor “LIFE IS WAR” without altering its meaning In another instance, “đánh liệt,” which conveys the idea of causing extreme pain, is translated as “taken away,” preserving the metaphor “EMOTION IS A PERSON.” Additionally, both “nhắm mắt” and “leave this world” refer to death and share the same grammatical roles, yet differ in word equivalence, while the metaphor “DEATH IS DOWN” remains unchanged Overall, the translation process retains the essence of the metaphors, ensuring that their meanings remain intact across languages.
In short, the ways of varying metaphorical expressions in translation enable the translator to keep the meaning of the origin and make them more reader-friendly
4.3.3 The replaced metaphor or other stylistic devices in English version by Dang The Binh
In "Dế Mèn phiêu lưu ký," the metaphors are not only preserved but also adapted through the use of alternative stylistic devices, enhancing the flexibility of the translation This transformation is detailed in Table 4.6.
Table 4.9 The changed metaphors by replacing metaphors with other stylistic devices in English version by Dang The Binh Examples Original metaphor
Translation by Dang The Binh
[4.73] Thảm hại, mới nếm thêm có cái đá hậu, …
I went on raining blows on my unfortunate victim, … (p.26)
BLOWS are expressed through NATURAL FORCE [4.24] chú mày đờ mặt ra thế kia thì liệu có mấy hột sức…? (p.35)
“I don’t suppose a bumpkin like you will be able to
[4.38] Anh dế bên lồng kia sang cũng không dám đánh tôi, thế là nhạt trò (p.45)
…… Neither did my adversary dare to attack me, which was completely ruined the game (p.31)
[4.64] … con đã rèn được tấm lòng chín chắn …
Life has made you a worthy man, … (p.40)
[4.89] …các cụ ENDURANCE/ There is an old TRAVELLING
Translation by Dang The Binh
Metaphor in the translation không khuyên ta ngồi xó đâu
“Travelling shapes a young man’s character”,
[4.47] Nhưng đầu tôi đầu gỗ lim tôi lựa cách đỡ, …
NATURE IS expressed through PLANT
But my skull was as hard as ironwood … (p.83) simile
[4.21]bấy lâu nay anh mưa gió đường đời ra sao? (p.134)
LIFE IS WAR How has life treated you?”
The cultural differences between English and Vietnamese are prominently reflected in their languages, particularly through metaphorical expressions When translating Vietnamese metaphors into English, unique cultural references can pose challenges for comprehension Consequently, translators often adapt these expressions, replacing their literal meanings with contextually appropriate interpretations, utilizing alternative metaphors or various stylistic devices to enhance understanding.
In "Dế Mèn phiêu lưu ký" by Nguyễn Du, various cultural factors are expressed through metaphorical language, particularly with references to human body parts, such as "đờ mặt," "rèn được tấm lòng chín chắn," and "cứng cả khoeo." Additionally, idiomatic expressions and proverbs also play a significant role, exemplified by phrases like "mưa gió đường đời" and "đầu gỗ lim." These elements highlight the rich cultural context embedded in the text.
In the provided examples, certain Vietnamese expressions, such as "ngồi xó," lack direct English equivalents, prompting translator Đặng Thế Bính to employ alternative metaphors or stylistic devices For instance, the metaphor "EMOTION IS expressed through THE HUMAN BODY PARTS" was transformed into "EMOTION IS COLD," with the phrase "cứng cả khoeo" being replaced by "was frozen with fear." This adjustment enhances the English reader's ability to visualize the protagonist's intense fear Similarly, in example [4.24], the translator opted for a different metaphor to convey the intended meaning effectively.
In the translation of "Dế Mèn phiêu lưu ký" by Tô Hoài, the phrase “đờ mặt” was creatively transformed into “a bumpkin like you” using simile to convey the disdain of Dế Mèn’s opponent This approach effectively combines semantic and communicative translation, enhancing reader comprehension Out of 188 metaphors in the work, 19 were similarly altered to clarify the characters and elements, ensuring a more vivid and relatable understanding for the audience.
4.3.4 The loss of metaphors “Dế Mèn phiêu lưu ký” by To Hoai in English version by Dang The Binh
SUMMARY
In chapter 4, we explored To Hoai's innovative use of conceptual metaphors in “Dế Mèn phiêu lưu ký.” The analysis revealed that all three types of metaphors appeared in both the Vietnamese and English versions, albeit with varying frequencies Ontological metaphors were notably prevalent in the Vietnamese text, marking them as the most significant type, while their usage in the English version was less common Orientational metaphors were also present but slightly less dominant Overall, these metaphors were organized into 36 distinct patterns, with the most frequent subtypes being “NATURE IS A PERSON” and “THINGS ARE HUMAN BODY PARTS,” each represented by 23 examples.
To Hoai skillfully employs elements of nature and human anatomy to create a vibrant and captivating animal world, appealing to both children and adults globally.
Moreover, parts of speech were employed effectively and varied in distribution to enable readers to have a clear understanding of the animal world such as their social, emotional, and intellectual
In his translation, Dang The Binh aimed to preserve the meaning of metaphors by identifying equivalent images in the target language; however, the phenomena of loss and gain are inevitable due to his translation approach and the inherent differences between languages Consequently, 112 original metaphors were absent in the English version, with only 17 metaphors remaining identical in both versions The remaining metaphors were either unchanged but expressed differently or replaced with alternative stylistic devices Nonetheless, these losses and gains were not errors, but rather intentional choices made to enhance the fluidity and clarity of the target text.