Translation Problems of ‘Just só Stories’by R. Kipling

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Despite Kipling’s popularity as an author and his standing as a politically controversial figure, much of his work has remained relatively unexamined due to its characterization as children’s literature. Sue Walsh challenges the apparently clear division between ‘children’s’ and ‘adult’ literature, and poses important questions about how these strict categories have influenced critical work on Kipling and on literature in general. In Kipling’s tales morality is firmly fixed in descriptions and dialogues, which are full of stylistic and expressive means. They have several hidden intentions of moralizing, instructing and teaching. But unlike the fable morality, Kipling gives an opportunity to choose and it does not sound like a verdict. On the contrary, the author insists on freedom of choice, on the acceptability of all possible ways for the development of the individual. This is the greatness of Kipling, which initially emphasizes the importance of a small pioneer. Animal stories always have been a center of attraction in children literature. These stories not only open the doors of excitement for children but also present the supreme examples for brotherhood fraternity and compassion for others. It’s not a new genre of literature yet still grasps the attention for readers as well as writers. Even centuries ago, when no record found of any literature, some fables and moral lesson were found in civilizations to be sung or acted before the audience on festivals and on other happy occasions. There are many writers who got fame by writing animal stories and became popular among children throughout the world. Rudyard Kipling is one the famous writers for children literature; who earned a vivid place by writing “Jungle Book”. It is evergreen gems among all of his stories written for children. In Kipling tales the language play is used for content conveyance, appropriate mood creation and also for contribution of the speech musicality. And what is more important, the the child-listener also gets involved in the play narrative. Language game is an important element of a tale. It is natural, spontaneous and universal. In other words, the phenomenon of language play seems to be refracted through the prism of the regional, social, professional and cultural characteristics of the perceiving personality. There are different ways of language manipulation which are used by professional authors for achieving their goals. “Curvature” is manifested in the contrast of rhythm and pause, in alliteration and rhyme, in spelling, in word order or in lexical choice, and in many other effects that are dormant in deep prototype language layers. The narrator plays with the language norms, awakening the reader’s “appetite” and the experimenter. Most effects are results of pronunciation, spelling or syntax rule violations. Unexpected alteration of word forms, breaking of usual word associations, manipulation of sound patterns and deviation from spelling norms form the basis of language play. But how important is the language play for an evolving child? Infant psychologist Jean Piaget among other things drew his attention to the concept of “play as a practice.” He notes that children are more likely to operate skills in the process of acquiring. Thus, Kipling’s tales can be considered illustrations or even tools of thought that the language itself helps us to learn the language. For a language play at a certain level of perception it is necessary for a person to realize what “norm” is, and to be ready to deviate from it.