a translation quality assessment of the first three chapters of the novel the da vinci code by do thu ha (2005) based on j.house's model = đánh giá chất lượng bản dịch ba chương đầu tiên trong cuốn tiểu thuyết

ĐẶNG THỊ PHƯỢNG A TRANSLATION QUALITY ASSESSMENT OF THE FIRST THREE CHAPTERS OF THE NOVEL “THE DA VINCI CODE” BY DO THU HA 2005 BASED ON J.HOUSE’S MODEL ĐÁNH GIÁ CHẤT LƯỢNG BẢN DỊCH

VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES

FACULTY OF POST-GRADUATE STUDIES

o0o

ĐẶNG THỊ PHƯỢNG

A TRANSLATION QUALITY ASSESSMENT OF THE FIRST THREE CHAPTERS OF THE NOVEL “THE DA VINCI CODE” BY DO THU HA (2005) BASED ON

J.HOUSE’S MODEL

(ĐÁNH GIÁ CHẤT LƯỢNG BẢN DỊCH BA CHƯƠNG ĐẦU TIÊN

TRONG CUỐN TIỂU THUYẾT “MẬT MÃ DA VINCI” CỦA DỊCH GIẢ ĐỖ THU HÀ (2005) DỰA THEO MÔ HÌNH CỦA J.HOUSE )

M.A MINOR PROGRAM THESIS

Hanoi, 2012 Field: English Linguistics Code: 60 22 15

VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES

FACULTY OF POST-GRADUATE STUDIES

o0o

ĐẶNG THỊ PHƯỢNG

A TRANSLATION QUALITY ASSESSMENT OF THE FIRST THREE CHAPTERS OF THE NOVEL “THE DA VINCI CODE” BY DO THU HA (2005) BASED ON

J.HOUSE’S MODEL

(ĐÁNH GIÁ CHẤT LƯỢNG BẢN DỊCH BA CHƯƠNG ĐẦU TIÊN

TRONG CUỐN TIỂU THUYẾT “MẬT MÃ DA VINCI” CỦA DỊCH GIẢ ĐỖ THU HÀ (2005) DỰA THEO MÔ HÌNH CỦA J.HOUSE )

M.A MINOR PROGRAMME THESIS

TABLE OF CONTENT

PART I INTRODUCTION 1

I Rationale of the study 1

II Scope and objectives of the study 2

III Research questions 2

IV Research methodology 2

V Organization of the study 3

PART II: DEVELOPMENT 4

CHAPTER I THEORETICAL BACKGROUND 4

I.1 Translation theory 4

I.1.1 What is translation? 4

I.1.2 Translation procedures and methods 5

I.1.3 Translation equivalence 6

I.2 Views and models of translation quality assessment 7

I.2.1 Hatim & Mason‘s model (1990) 7

I.2.2 Peter Newmark‘s model 7

I.3 Development of J House‘s model 8

CHAPTER II: LITERATURE REVIEW 12

II.1 Application of House‘s model in Vietnam 12

II.2 Application of House‘s model in other countries 12

CHAPTER III: METHODOLOGY AND PROCEDURES 14

III.1 Subject of study 14

III.2 Methodology 14

III.3 Data Collection Procedure 14

III.4 Data Analysis Procedure 15

CHAPTER IV: FINDINGS AND DISCUSSION 16

IV.1 Brief introduction of the original text 16

IV.1.1 Writer 16

IV.1.2 Readers 16

IV.1.3 Purpose 16

IV.1.4 Organization 16

IV.1.5 Summary of the original text‘s content 16

IV.2 Findings of the study 17

IV.2.1 Analysis of the original text based on J House‘s model and Halliday‘s systemic-functional model 17

* Statement of Function 26

IV.2.2 ST and TT comparison 27

IV.3 Discussion: statement of quality 39

PART III: CONCLUSION 42

I Recapitulation of main ideas 42

II Limitations of the study 42

III Recommendation for further research 43

REFERENCES 44 APPENDICES I Appendix 1: First three chapters of ―The Da Vinci Code‖ by Dan Brown I Appendix 2: First three chapters of ―Mật mã Da Vinci‖ by Đỗ Thu Hà XVII

PART I INTRODUCTION

I Rationale of the study

There are various areas in translation among which translation quality assessment is a subject of interest To what degree a translation text is ―good‖ all depends on a large variety of factors, one of those would be the angle from which the translation text can be looked at Translation theorists developed their own models of translation quality assessment (TQA); however, J House‘s is widely adduced for its applicability J House is a German linguist who has developed her own TQA model after criticizing previously proposed ones by other linguists like Newmark‘s or Hatim

& Mason‘s This paper is conducted based on her TQA model to assess the first three chapters of the novel ―Mật mã Da Vinci‖ by Đỗ Thu Hà (2005) This translation work has raised a heated controversy over its quality among various translators and readers Tran, T.C.D, a famous translator, in his article ―Bản dịch Mật mã Da Vinci: Một thảm

http://www.baomoi.com/Chi-can-%C4%91oc-la-thay-loi/152/7153208.epi), indicates that the translation version is the result of the translator‘s lack of knowledge of language, history, and religion in combination with her carelessness, laziness and the publisher‘s irresponsibility and shamelessness Another article discussing this issue is

―Mật mã Da Vinci dịch ẩu, NXB VHTT nói gí?‖ Retrieved from the website http://vietbao.vn/Van-hoa/Mat-ma-Da-Vinci-dich-au-nha-xuat-ban-VHTT-noi-

gi/70027621/181/, this article also argues that the translation text contains numerous errors such as vocabulary, grammar, expression, and obmission, etc Nonetheless, several scholars such as Thái Bá Tân, Vũ Thế Khôi and Lê Bầu (as cited in http://evan.vnexpress.net/news/phe-binh/dich-thuat/2005/11/3b9acaf9/) hold that the quality of ―Mật mã Da Vinci‖ is not that poor and it should not be considered to be a

―catastrophe‖ though there are noticeable mistakes in it Hence, the conductor of this research wishes to employ a recognized model of TQA in order to evaluate the

translation quality of the first three chapters of this novel to contribute a voice to the controversy raised

II Scope and objectives of the study

Under the constraints of time and size, the study only focuses on the first three among 105 chapters in the book ―Mật mã Da Vinci‖ by Đỗ Thu Hà in 2005 In this study, the investigated chapters will be analyzed under the light of J House‘s approach

of TQA in order to reach the objectives of (1) discovering the features of the source text (ST) in the light of Halliday‘s functional grammar and House‘s dimensions and (2) assessing the level of quality that the translation text reaches Due to the fact that House‘s model is constituted based on pragmatic theories of language use meanwhile concerning semantic and textual aspect, the scope of this study is not limited as its title may arouse The paper covers quite a large range of applied linguistics, for example, constrastive analysis, cross-cultural study, functional grammar, and translation

III Research questions

In order to fulfill its objectives stated above, this paper needs to answer the following research questions:

1 What are the features of the ST in the light of Halliday‘s functional grammar and House‘s dimensions?

2 To what degree does the translation text (TT) meet the standard of quality as proposed in House‘s TQA model?

IV Research methodology

- Qualitative method: This research is a qualitative evaluation; hence, the source

of data is document, and information is gathered by an analysis of documents and materials Data are categorized into patterns as the primary basis for organizing and reporting results Qualitative method allows the researcher to study individual text closely It also enables multiple analytic strategies

- Synthetic and analytic methods: The analysis of the texts is also approached from the combination of analytic and synthetic methods: analytic perspective to identify, isolate certain aspects to concentrate on, and synthetic perspective to investigate the interdependence of these constituents – how they work together as a whole

- Descriptive and comparative methods: In order to provide in-depth and detailed descriptions of translation and evaluation, the study is descriptive and comparative in nature

V Organization of the study

The first part of the study is the Introduction which provides a general view of the research such as methods, objectives, and scope

In the second part – Development, the study aims to present the theoretical background of the research (Chapter I) and review the existing literature by presenting some related concepts of translation theory and typical TQA models (Chapter II) Chapter III focuses on the Methodology and Procedures of the research Chapter IV is the Findings and Discussion which present the results of data analysis and discussions

In part 3, the conclusion of the study will be stated with three components: Recapitulation of the study, Limitation of the study, and Recommendations for further research

PART II: DEVELOPMENT CHAPTER I THEORETICAL BACKGROUND I.1 Translation theory

I.1.1 What is translation?

There are various definitions of translation by different authors; nonetheless, certain definitions will be discussed in this section due to the restriction of size of the thesis

Both Tudor, as cited in Duff (1989:5), and Hatim & Mason (1990) consider translation as a communicative activity which ―convey[s] messages across linguistic and cultural barriers‖ (Tudor) and ―takes place within a social context‖ (Hatim & Mason)

However, Catford (1965), in his book A Linguistic Theory of Translation,

defines translation as ―the placement of textual material in one language (source language) by equivalent textual material in another language (target language).‖ Holding the same opinion, some other authors also emphasize the significance of equivalence in translation from the source text to the target text As Wills (1982a: 112) argues, ―Translation is a procedure which leads from a written source language text (SLT) to an optimally equivalent target language text (TLT).‖ Moreover, he indicates other requirements such as ―the syntactic, semantic, stylistic and text pragmatic comprehension by the translator of the original text.‖ This definition is strongly accepted by J House (1997); in her words, she defines translation as ―the replacement

of a text in the source language (SL) by a semantically and pragmatically equivalent text in the target language (TL).‖

Those definitions above though differ from their expressions, they all share the same essence of translation which lies in the preservation of semantic, pragmatic, and textual aspects of meaning across two different languages As Hoang, V.V (2005)

science It is an art in the sense that it is performed by human beings and human beings are creative It is a science in the sense that it is a process going through different stages: analysis, transfer and restructuring…‖

I.1.2 Translation procedures and methods

I.1.2.1 Translation procedures

Translation is a field of various procedures In addition to word-for-word and sense-for-sense procedures, the translator may use a variety of procedures that differ in

importance according to the contextual factors of both the ST and the TT

According to Newmark (1988), there are fifteen translation procedures as follows:

As depicted by Nida (1964), translation procedures consist of two smaller

procedures: Technical procedures and Organizational procedures

I.1.2.2 Translation methods

Concerning the translation methods, there are many different classifications Based on Peter Newmark‘s classification, however, there are eight methods in translation which are divided into two main groups named semantic translation and communicative translation They are put in the form of a flattened V diagram as below:

Literal translation Free translation Faithful translation Idiomatic translation

Semantic translation Communicative translation

(Source: V-diagram of Translation method (P Newmark, 1988:45))

Among all above-mentioned translation methods, semantic and communicative translations are the two most common ones which are often used in literary translation

by translators P Newmark (1988) stated that a semantic translation is written at the author‘s linguistics level and used for ―expressive‖ texts, a communicative translation

at the readership‘s and used for informative and vocative texts, therefore, they are able

to fulfill the two main aims of translation, namely accuracy and economy

I.1.3 Translation equivalence

In translation theory, equivalence is regarded as a central concept The domain

of equivalents covers linguistic units such as morphemes, words, phrases, clauses, idioms, and proverbs Hence, finding equivalents is the most problematic stage of translation

Jakobson (1959) introduces the notion of ―equivalence in difference‖ and

―sameness in difference‖ (in other words: 'unity in diversity') Nida (1964) divides

equivalence into two types, namely formal equivalence and dynamic equivalence

Catford (1964) claims that translation equivalence (TE) occurs when SL and TL texts

or items are related to (at least some of) the same relevant features of situation substance Reiss (1971) introduces ―functional equivalence‖ – the starting point for her work and carrying the concept of equivalence one step further in her studies Baker (1992) explores equivalence at different levels (word and above word level) in relation

to the translation process such as grammatical, textual, and pragmatic aspects

J House (1977) emphasizes that equivalence is the conceptual basis not only of translation but also of translation criticism where equivalence is the fundamental criterion of translation quality In her article ―Text and Context in translation‖ (2006), she states that views of equivalence as simply bases on formal, syntactic, and lexical similarities alone are multiply ambiguous Further, purely formal definitions of

appropriate use in communicative performance This is why functional, pragmatic equivalence has been a concept accepted in contrastive linguistics for a long time, and

it is this type of equivalence which is most relevant for translation It is consequently used in the functional pragmatic model where it is related to the preservation of meaning across two different languages and cultures

I.2 Views and models of translation quality assessment

I.2.1 Hatim & Mason’s model (1990)

This model highlights the large impact of text-oriented approaches to translation which can be applied to translation pedagogy Hatim & Mason explain that the major principles involved in the translator's work are communicative, pragmatic and semiotic These principles can be identified as a set of procedures which place the translator at the centre of the communicative activity

Although Hatim and Mason propose foundations for a model of analyzing texts, they deal with a large number of concepts Moreover, it is not clear that their approach constitutes a model that can be ―applied‖ in the conventional sense of the term Alternatively, the authors‘ proposals can be taken as a list of elements to be considered when examining translation In particular, they concentrate on identifying ―dynamic‖ and ―stable‖ elements in a text These are presented as a continuum and linked to translation strategy: more ―stable‖ STs may require a ―fairly literal approach‖, while, with more dynamic STs, ―the translator is faced with more interesting challenges and literal translation may no longer be an option‖ (J House 1997)

I.2.2 Peter Newmark’s model

According to House (1997), noteworthy in the context of a linguistic textual approach to translation is also Peter Newmark‘s (e.g., 1981; 1988) applications of linguistic models (e.g., componential analysis, and case grammar) to the analysis of translations For translation evaluation, which he names as translation criticism, his

distinction between semantic and communicative translation has also been important and fruitful

House (1997) criticizes that Newmark has always spoken against the conception

of translation as solely a ―science‖ maintaining that the translation process is also a

―basic artistic process…requiring the translator‘s taste, wit and elegance‖ (1981: 137) Consequently, he has refrained himself from setting up a consistent model of translation quality assessment Although there is of course always a subjective factor in evaluating a translation, one must not overemphasize this ―subjective factor‖ denying the value of scientific inquiry, which enables one to abstract from the mass of details in individual translations leading to generally valid procedures and evaluative norms

I.3 Development of J House’s model

J House is a German linguistics who has devoted her life to find out a scientifically based frame work for translation assessment Her first book about this term was published in 1977 named ―A model for Translation Quality Assessment‖ and twenty years later, she revised and updated it into ―Translation Quality Assessment, a model revisited‖ Being different from scholar with mentalist view or response-based view, House takes discourse approach to be the original base of her theory Her model

to criticize a translation, for that reason, roots from five important foundations: Halliday‘s systemic-functional theory, Prague school ideas, speech act theory, pragmatics, discourse analysis and corpus-based distinctions between spoken and written language Her model is intended to analyze and compare the SL and TL in different levels: Language/Text, Register, and Genre This makes the evaluation to be more fair and complete In her article published in 2001, House mentioned clearly each element and the way to compare the two texts

Regarding the evaluation of the translation, it is said that a good translation insists the equivalence to the ST Translation is the replacement of a text in the source

(1997:31) Some people think that the translation should be in the same form and be a

―reproduction‖ of the original text However, in modern translation, this term must be changed under the light of discourse analysis and contrastive analysis, leading to the view of functional-pragmatic equivalence To be equivalent, the meaning must be preserved, and meaning here contains three aspects: semantic meaning, pragmatic and textual meaning This view opened the reader with new concepts of two types of translation: overt and covert translation

An overt is a case of ―language mention‖ in which recipient are quite overtly, not directly addressed In this kind of translation, the equivalence in level Language/text, genre and register are preserved, but in level of individual textual function, ―it can be described as enabling access to the function the original has in its discourse world or frame‖ (2001) As a result, in this kind, target text is not a ―second original,‖ it is embedded in a new context but still signaling ―foreign‖ origin Second language people can observe and judge the original‘s impact from outside Some examples can be seen in translation of literary texts, religious texts, political speeches, etc In contrast, the covert translation infers another assess In this kind of translation, the target text tends to keep the same status of original text in a new context It is the recreation of an equivalent speech event, reproducing original‘s functions The interpretation of journalistic texts, scientific texts, magazines, etc belongs to this type Moreover, in this later type of translation, translator takes new context into account via application of CULTURE FILTER

Culture filter is a means of capturing socio-cultural differences in shared conventions of behavior and communication, preferred rhetorical styles and expectation norms in the two speech communities It is an important concept for translation criticism because it helps people differentiate between a covert and overt version of translation

In her model, House adopts Halliday‘s terms ―ideational‖ and ―interpersonal‖ as labels for the referential and non-referential functional components

House‘s TQA model consists of specific situational dimensions grouped into two sections: Dimensions of Language User and Dimensions of Language Use

Dimensions of Language User Dimensions of Language Use

Social attitude Province

To be more concrete, in Language User, three situational dimensions are introduced to mark the provenance of a text producer Geographical origin indicates the text's producer geographical origin – Unmarked form: Standard British/ American English Social class indicates the text's producer position on a social scale – Unmarked form: Educated middle class speaker of the standard language Time provides clues to a text‘s temporal origin

In Language Use, five situational dimensions are introduced in order for the ST and TT to be analyzed Medium can be simple (spoken to be heard or written to be silently read) or complex (written to be spoken) Participation may also be simple (Monologue) or complex (the text contains features that show addressee participation) The text is complex even when a text produced by only one person – a monologue nonetheless contains features which would normally be assumed to characterize a dialogue Social role relationship is the relationship between the addresser and addressees which is divided into symmetrical (characterized by solidarity and equality between addresser and addressees) and asymmetrical (marked by some kind of authority relationship between them) Social attitude is the degrees of social distance or

reflects occupational and professional activity but also the field or topic of the text in its widest sense of ―area of operation‖ of the language activity, as well as details of the text production as far as these can be deducted from the text itself

When analyzing the situational dimensions, House makes use of the following means for characterizing the linguistic evidence present in the text: Syntactic Means, Lexical Means, and Textual Means The Textual Means comprise theme dynamics, clausal linkage, and iconic linkage

In addition to using those dimensions, House employs the following devices when analyzing and comparing ST and TT: Symbols such as [+ human], [- human], [+ abstract], [-abstract]; rhetorical-stylistic concepts such as alliteration and anacoluthon; other concepts, such as foregrounding x automatization, illocutionary force, emic x etic texts, ideational and interpersonal functions; textual features, such as overall logic structure and the presence of redundancy

As a result of the analysis mentioned above, a textual profile is established for the source text under the form of a Statement of Function The translation text is then analyzed using the same dimensions, and its textual profile is determined The comparison of the two textual profiles reveals the degree to which the translation text matches the source text being therefore adequate in quality, and a Statement of Quality

is provided When the source text's and the translation text‘s profiles do not match, there is an error House describes two types of errors:

COVERTLY ERRONEOUS ERRORS: those which result from a mismatch in one situational dimension

OVERTLY ERRONEOUS ERRORS: those which result from a dimensional mismatch Such errors can be divided into Breaches of the target language system: cases of ungrammaticality (clear breaches of the target language system) and cases of dubious acceptability (breaches of the norm of usage)

non-Mistakes in the denotative meanings of ST and TT consist of wrong selections, wrong omissions, and ambiguities

CHAPTER II: LITERATURE REVIEW

House‘s model, for its plausibility, can be found in a number of studies of TQA

A brief summary of such works is as follows

II.1 Application of House’s model in Vietnam

Firstly, in her MA thesis, Luong, T.L (2007) employs House‘s model to assess the translation quality of the English version of the Law on Investment 2005 of Vietnam It was found out that there are mismatches between the two texts on eight parameters of House‘s model and that the translation text was of poor quality because

it did not completely match the ST‘s functions as well as failed to employ similar means to perform the two functions of the text Luong also proposed four implications for translating Vietnamese legal documents into English

House‘s model is also found in a study of the translation quality of the travel guidebook ―Du lich Ha Long‖ by Nguyen, T.Y (2007) The results of the study indicated that though there were some mismatches between the ST and TT, the TT meet the requirements for equivalence of the ST and it had a function consisting of an ideational and interpersonal functional component

Another work based on House‘s model was conducted by Le, M H (2010) The findings stated that both covertly and overtly erroneous errors are found in the TT; however, the TT was claimed to convey both the ideational and interpersonal features

of the ST At the end of the study, several implications for literary translation are put forward

II.2 Application of House’s model in other countries

House‘s model is also found in studies conducted in other countries Yamini, H

& Abdi, F (2009) investigated the translation quality of the Persian translation of the

play ―Macbeth.‖ It was found out that the results do not blemish House‘s model in any ways; rather, they showed the strength of this model

Nazhand, N & Pur, M M (2011) applied House‘s model to evaluate the Persian translation of William Faulkner‘s ―The Sound and the Fury.‖ The conclusion drawn was that the translator wrongly translated some parts of the deemed sentences while the possible method for this work's translation The findings supported the claim that House's Model was capable of predicting the types of errors which were covertly and overtly erroneous errors

Almeida, L & Nascimento, S (1996) tested the applicability of House‘s model

to the translation of legal contracts and verified the usefulness of the model in the assessment of different translations of the same source text The application of the model to the corpus of this study revealed that it proved useful in the assessment of contract translations from English into Portuguese although the utilization of the model had some shortcomings

Another study by Jun, T & Yan, W (2011) based on House‘s model and its

procedure of operation was conducted to analyze and assess Zhang Peiji's translation of

―The Sight of Father's Back‖ by Zhu Ziqing Through the analysis and assessment, it was indicated that the translation is overt translation with a few overt and covert inappropriateness which have no influence on the entire function of this text The authors, hence, came to conclusion that the translation text corresponded to the source

text to a great extent Accordingly, the quality of the translation text was quite high

In conclusion, previous research has been done to investigate the quality of different translation texts in the light of J House‘s TQA models However, during the process of literature review, the writer of this paper recognized that many other literary works have not been methodologically evaluated in terms of translation quality; as a result, this study is conducted to assess the quality of the first three chapters of the novel ―Mật mã Da Vinci‖ by Do Thu Ha (2005)

CHAPTER III: METHODOLOGY AND PROCEDURES III.1 Subject of study

As the study of the whole text is beyond the scope of this paper, the object under investigation is the first three chapters in the SL ―The Da Vinci Code‖ written by Dan Brown in 2003 and their Vietnamese version translated by Đỗ Thu Hà in 2005

III.2 Methodology

The present study has a qualitative design This study is intended to find two kinds of errors as a consequence of comparing the ST with the TT The model to be used in this study is House‘s TQA Model This study is mainly a library research

Under House‘s model, the analysis and comparison of the source text (ST) and translated text (TT) are conducted in two sections: Dimensions of Language User and Dimensions of Language Use In the first part, three situational dimensions which refer

to the features marking the provenance of a text producer are introduced including Geographical origin, Social class, and Time In the second part, five situational dimensions namely Medium, Participation, Social relationship, Social attitude, and Province are applied for the analysis and comparison Also, on each of the dimensions, the author analyzes the texts on three aspects: syntactic, lexical, and textual means Also, under Halliday‘s functional grammar, the ST would be analyzed in terms of Field, Tenor, Mode, Transitivity system, Theme, and Mood

III.3 Data Collection Procedure

The researcher first read the original text thoroughly, and then the ST is compared to its translation to find two kinds of errors, namely overtly erroneous errors and covertly erroneous errors The House‘s model is commonly applied in TQA by doing the following chronological steps:

i Doing an analysis to get the ST profile (Analytic method)

ii Giving a statement of function to the ST related with ideational and

iii Comparing the two texts to produce a statement of ―in-equivalence‖ which is categorized into ―covertly erroneous errors‖ and ―overtly erroneous errors‖ (Comparative method)

iv Providing a statement of quality with reference to the translation result (Descriptive method)

III.4 Data Analysis Procedure

The mismatches and errors have been identified based on a comparison between the ST and TT Covertly erroneous errors are differentiated from overtly erroneous errors in that the latter results either from a mismatch of the denotative meanings of ST and TT elements or from a breach of the target language system

Findings and Discussion: This subsection is aimed at presenting the results of the application/implementation of the above-mentioned step and providing a statement

of quality of the TT

CHAPTER IV: FINDINGS AND DISCUSSION IV.1 Brief introduction of the original text

IV.1.1 Writer

Dan Brown (born June 22, 1964), a famous American writer of thriller fiction, is best known for his best-selling novel ―The Da Vinci Code‖ published in 2003 by Anchor Books Beside that success, he also wrote other fiction works which are also widely recognized all over the world such as ―Digital Fortress‖ (1998), ―Angels and Demons‖ (2000), ―Deception Point‖ (2001), and ―The Lost Symbol‖ (2009)

IV.1.2 Readers

Generally, the target readers of Brown‘s books are educated ones, especially readers who are interested in fiction, treasure hunts, and historical and religious themes For the novel ―The Da Vinci Code‖, its readers are people who are fond of thriller fiction, cryptography, fine art, and history of Christianity

IV.1.5 Summary of the original text’s content

Professor Robert Langdon is in Paris on business when he's summoned to The Louvre A dead body has been found, setting Langdon off on an adventure as he attempts to unravel an ancient code and uncover the greatest mystery of all time Joining Langdon‘s adventure is beautiful and gifted cryptologist named Sophie Neveu

At the end of the novel, the secrets about the Royal Blood and Christianity are unveiled

by Langdon without being revealed to anyone else

In the first three chapters, Langdon was staying at the Ritz in Paris where he had just delivered a lecture on religious symbology The phone call was from the concierge who told Langdon there was a very important man wanting to see him Minutes later, Lieutenant Jérôme Collet, an agent of DCJP, came to Langdon‘s room and asked for Langdon‘s help in investigating the death of Jacques Saunière – the curator of Louvre Museum Collet showed Langdon a strange picture of Jacques‘s corpse and drove Langdon to Louvre Museum

Meanwhile the albino, Silas, returned to his bare room to inform the Teacher that the three sénéchaux and the Grand Master were dead after giving the same information before they died Silas learned from them that the keystone was located in the Church of Saint-Sulpice in Paris, and then the Teacher said he would arrange for Silas to enter the church Before Silas went to the church, he practiced ―corporal mortification‖ After Langdon and Collet arrived at the Louvre, Langdon met Captain Bezu Fache, who informed Langdon that the photograph was only the beginning of what Saunière did

IV.2 Findings of the study

IV.2.1 Analysis of the original text based on J House’s model and Halliday’s systemic-functional model

The original text will be analyzed both in the light of Halliday‘s functional theory under five dimensions (Field, Tenor, Mode, Transitivity system, Theme, and Mood) and House‘s two sections (Dimension of Language User and Dimension of Language Use)

systemic-IV.2.1.1 Field

The original text is three chapters in a thriller fiction about a professor named Robert Langdon majored in religious symbology coming to Paris to give lectures He was called at midnight to help the French Judicial Police on a murder which required his talent This text is designed to be read

1 Lexical means: Preponderance of lexical items that are related to different fields such as symbology, religion, and judiciary which require that readers be educated and have general knowledge on those topics

2 Syntactic means: Preponderance of short clauses with simple structures throughout the text

3 Textual means: Strong textual cohesion to make the text comprehensible and digestible for readers

Theme dynamics: Thematic movement frequently arranged in sequences of theme-rheme movements to ensure given-new ordering For example:

+ ―Silas turned his attention now to a heavy knotted rope coiled neatly on the

+ ―Although his female colleagues insisted the gray only accentuated his

bookish appeal, Langdon knew better.‖ (p.9)

+ ―The hostess began reading choice excerpts from the inane article, and

Langdon felt himself sinking lower and lower in his chair.‖ (p.10)

IV.2.1.2 Tenor

A Author‘s Temporal, Geographical and Social Provenance

Marked – past (2003), Educated middle class speaker of the standard language, Standard American English

B Author‘s personal (Emotional and Intellectual) Stance:

The author views the incidents that happened in the text with seriousness and objectiveness as he is the teller of the story

Syntactic means: Presence of structures describing stressful situations without humor For example:

+ ―His books on religious paintings and cult symbology had made him a reluctant celebrity in the art world, and last year Langdon's visibility had increased a hundredfold after his involvement in a widely publicized incident at the Vatican Since then, the stream of self-important historians and art buffs arriving at his door had seemed never-ending.‖ (p.8)

+ ―Langdon was feeling anything but fortunate, and coincidence was a concept

he did not entirely trust.‖ (p.18)

C Social Role Relationship

Author – readers(s): author puts himself on a par with his addressees, i.e., the readers The relationship is symmetrical

Author – characters in the text: The author acts only as a story teller, he does not take part in the story; hence, the relationship between him and the characters is the one between the writer – producer and the characters – products

c Presence of utterances with an illocutionary force like refusal or urge, for example:

+ ―I‘m sorry,‖ Langdon said, ―but I‘m very tired and–‖ (p.8)

+ ―The agent checked his watch ‗My capitaine is waiting, sir.‘‖ (p.13)

* Syntactic means: Presence of elliptical clauses produced by the interlocutors For example:

+ ―‗Now?‘ Langdon managed.‖ (p.12)

+ ―Paris? Incredible It is almost too easy.‖ (p.15)

+ ―The driver shook his head ‗Interpol.‘‖ (p.19)

D Social attitude: consultative and casual The consultative style shows that the addresser (author) does not assume that he can leave out certain parts of his message which he may do in a socially close relationship where much of the message is understood Moreover, the addresser has to be fairly elaborative on supplying background information Besides, there are a lot of conversations among characters in the text, therefore, casual and informal styles are also employed

1 Syntactic means:

a Presence of elliptical clauses and contractions, for example:

+ ―‗What is the capital‘s name?‘ Langdon asked, changing topics

‗Bezu Fache,‖ the driver said,…‖ (p.23)

+ ―No, I haven’t climbed the tower.‖(p.19)

b Use of first, second, and third personal and possessive pronouns

+ ―‗Would you be so kind,‘ Langdon said, doing the best to remain polite,

‗could you take the…‘‖ (p.8)

However, the use of normal, everyday conversational expressions is dominant For instance:

+ ―‗Speak,‘ the voice commanded…‖ (p.12)

+ ―‗She is lovely, no?‘ The agent asked, looking over.‖ (p.19)

IV.2.1.3 Mode

A Medium: simple (written to be read)

Syntactic means: Frequency of elliptical structures typical of oral conversational encounters where the situation automatically disambiguates the incomplete utterances; frequencies of contractions; frequency of short coordinated clauses linked with ―and‖ (cf Social attitude above)

+ ―‗…I apologize for this intrusion, but you have a visitor…‘

+ Langdon still felt fuzzy A visitor?‖ (p.7)

b Presence of a well-planned, logical, simple structure: S – V – Od For instance:

+ ―Langdon held out his hand to shake.‖ (p.25)

+ ―You will meet the capitaine at the main entrance.‖ (p.22)

B Participation: Complex: monologue with built-in (fictional) dialogic parts Syntactic means:

a Use of both monologue and dialogue

b The text is a narrative fiction; therefore, there is an ample use of the first, second, and third personal and possessive pronouns in indicate direct and indirect interaction situations in the text

c Presence of declarative, interrogative, and imperative sentences The examples are as follows:

Declarative: + ―Our guest tonight needs no introduction He is the author of numerous books: The Symbology of Secret Sects, The Art of the Illuminati, The Lost Language of Ideograms, and when I say he wrote the book on Religious Iconology, I mean that quite literally Many of you use his textbooks in class.‖ (p.9)

+ ―We had hoped that you might help us answer that very question, considering your knowledge in symbology and your plans to meet with him.‖ (p.12)

Interrogative: + ―And you believed them?‖ (p.14)

+ ―‗Did you mount her?‘ the agent asked, looking over.‖ (p.19) Imperative: + ―‗Speak,‘ the voice commanded, sounding pleased to hear from him.‖ (p.14)

+ ―So, my pupil, tell me what I must know.‖ (p.14)

+ ―Somebody stop her.‖ (p.10.)

IV.2.1.4 Province

The original text is part of a thriller fiction which is written for educated readers

1 Syntactic means:

a Consistent use of the past simple tense, which is popular in narrative form

b Presence of use of verbal process to express the character‘s worry such as

―groan‖ (p.8) or excitement ―goad‖ (p.10)

c Presence of clausal linkage which is described by a system of basically logical relations between clauses and sentences in the text such as additive, alternative, causal, explanatory, or illative relations

d Absence of repeated structures

a Presence of adverb ―of course‖ (p.19) at the end of the sentence making the

text a little more natural and informal

b Preponderance of adjectives and adverbs to describe the character‘s psychological development or the scenery

c Use of lexical items marked [+human], for example:

+―The jacquard bathrobe hanging on his bedpost bore the monogram: HOTEL RITZ PARIS.‖ (p.7)

+―Sitting up now, Langdon frowned at his bedside Guest Relations Handbook, whose cover boasted: SLEEP LIKE A BABY IN THE CITY OF LIGHTS, SLUMBER AT THE PARIS RITZ.‖ (p.8)

3 Textual means:

a Use of a narrative frame to direct the addressees (readers) to the story

b Presence of sentences with a relentlessly repetitive structure: S – V – Od (cf Medium above)

c Presence of strong textual cohesion with theme-dynamics (cf Field above.) IV.2.1.5 Transitivity system

Various types of process are employed in the text such as material, verbal, mental, relational, behavioral, and existential process However, the first two types are the most dominant while the rest occupy a less proportion

Material process is used permanently throughout the text For instance, solely one short paragraph consists primarily of material process:

+ ―When they reached the intersection at Rue de Rivoli, the traffic light was red, but the Citroën didn't slow The agent gunned the sedan across the junction and sped onto a wooded section of Rue Castiglione, which served as the northern entrance to the famed Tuileries Gardens—Paris's own version of Central Park Most tourists mistranslated Jardins des Tuileries as relating to the thousands of tulips that bloomed here, but Tuileries was actually a literal reference to something far less romantic.‖

Moreover, as a narrative, the text possesses a large number of verbal processes

For example, ―say‖ (p.7, p.8, p.25), ―announce‖ (p.9, 25), ―goad‖ (p.10), ―ask‖ (p.12),

―pause‖ (p.13), ―answer‖ (p.14), ―command‖ (p.14), ―exclaim‖ (p.15), ―speak‖ (p.15)

In terms of mental process, Perception type [―…but he didn‘t like seeing proof

in the mirror‖ (p.9)], Cognition type [―We are closer than you think‖ (p.15)] could be

seen in the text

Regarding relational process, the text posses several examples such as ―It is almost too easy‖ (p.15), ―When we possess the keystone‖ (p15), ―She is the symbol of France‖ (p.19)

With respect to behavioral process, there are examples employing this process

like ―Langdon glanced up‖ (p19), ―As Langdon stared at the bizarre image, his initial revulsion and shock gave way to a sudden upwelling of anger‖ (p.12)

Last but not least, existential process plays a pretty important role in the text

For example, ―There was a momentary pause, as if for prayer‖ (p.14), ―There is the entrance‖ (p.23)

IV.2.1.6 Mood pattern

The ―Who is taking part?‖ of the text is presented in its mood patterns In terms

of speech function, the two role relationships could be seen; one is between the writer and the reader(s), and the other between the characters themselves According to Halliday, Mood consists of two elements: The Subject and the Finite The Finite expresses tense or modality

The fiction features worded in the nominal groups which are placed in the subject position are mostly noun complexes and pronouns The analysis shows that most of the Subjects in the clauses of the text are personal A large number of

sentences and clauses begin with the human subject such as ―Robert Langdon/ Langdon‖, ―he‖, ―the concierge‖, ―the hostess‖, ―the students‖, ―the hulking

nominal groups, for instance ―Tonight's lecture – a slide show about pagan symbolism hidden in the stones of Chartres Cathedral – had probably ruffled some conservative feathers in the audience Most likely, some religious scholar had trailed him home to pick a fight.‖ (p.8)

Regarding the Finite element, the function of making the proposition finite is done in two ways: primary tense and modality The finite elements in the narrative portion are combined with the simple past tense, while in the dialogic portion, they are

combined with a variety of tenses such as the simple present [―This is the concierge‖ (p.7)], present perfect [―I hope I have not awoken you‖ (p.7)], past perfect [―I had planned to introduce him…‖ (p.9)], future simple [―How will I enter?‖ (p.16)] Concerning the modality, expressions like ―must, would, could,‖ etc are seen in the text, for example ―You must retrieve the stone for me.‖ (p.15), ―He hung up before the concierge could protest‖ (p.8), ―I can't imagine who would do this to someone‖ (p.13),

―‗May I come in?‘ the agent asked‖ (p.12)

IV.2.1.7 Theme

Both simple and multiple themes occur in the text; however, simple theme accounts for larger proportion

Simple theme in the text consists of a large quantity of Topical ones As stated

in Mood, the ST is a narrative with simple structures; accordingly, personal pronouns and noun phrases are preferred, and unmarked themes are also referred as nominal

groups [The spiked cilice belt that he wore around his thigh (p13), The crisp April air (p.17), The new entrance to the Paris Louvre (p.22)] or common/proper nouns as Head (Langdon, Silas, Mitterand) Moreover, marked themes are also largely employed in

the text For example:

+ ―As expected, it was the concierge‖ (p.11)

+ ―Uncertain, Langdon slid off the bed, feeling his toes sink deep into the savonniere carpet‖ (p.11)

+ ―Outside, the city was just now winding down…‖ (p.18)

+ ―Out the right-hand window, south across the Seine and Quai Voltaire, Langdon could see the dramatically literary facade of the old train station…‖ (p.21)

+ ―Again the image of the curator's body flashed in his mind‖ (p.18)

With respect to the multiple theme, the most popular component is Textual element preceding the Topical (Experiential) element For instance:

+ ―But it was straight ahead, to the east, through the archway, that Langdon could now see the monolithic Renaissance palace that had become the most famous art museum in the world‖ (p.21)

+ ―And Mr Langdon's refusal to speak publicly about his unusual role in last year's Vatican conclave certainly wins him points on our intrigue-o-meter‖ (p.10)

+ ―But the concierge was gone‖ (p.11)

On the Medium dimension, the ―written to be read‖ mode, particularly the logical structure of the text revealing advance-planning for a certain effect supports the interpersonal component of the textual function

On the Participation dimension, the fact that the addresser (the author) inserts questions and commands supports the interpersonal functional component Moreover,

characters and their continuous interactions also filters into the interpersonal functional component because in the dialogue form, interest centers necessarily upon the dialogue participants as human beings

On the Social attitude dimension, the consultative, casual and informal style supports the interpersonal component by enhancing the text‘s intimately personal and emotive quality

On the Social role relationship dimension, it is recognized that the relationship between characters in the text are not of great intimacy This type of relationship also acts as a support of the interpersonal functional component in that its linguistic manifestations enhance the text‘s ―fictional‖ features The addresser also manages to exercise his position as a story-teller who does not involve in the flow of the story

On the Province dimension, the use of past simple tense and narrative frame to direct the characters (readers) to the story also seems to act in support of the interpersonal functional component

IV.2.2 ST and TT comparison

Mismatches on the following dimensions could be observed as a result of a comparison between the ST and TT on the basis of situational dimensions suggested in House‘s model

IV.2.2.1 Covertly erroneous errors

A Medium: Syntactic means

TT uses some contact which does not appear in the ST and changes in type of phrases such as:

2 Squinting at his surroundings he saw a

plush Renaissance bedroom with Louis

Liếc nhín xung quanh ông nhận thấy đó

là một phòng ngủ kiểu Phục Hƣng bằng

XVI furniture… (p.7) vải lơng với nội thất thời Lui XVI… (p.7)

3 According to lore, the brotherhood had

created a map of stone—a clef de vỏte

or keystone—an engraved tablet that

revealed the final resting place of the

brotherhood's greatest secret… (p.15)

Theo sách vở, tổ chức đĩ đã tạp ra mơt tấm bản đồ bằng đá – một viên đá đỉnh

clause ―đĩ là một phịng ngủ‖ and a verb phrase ―khắc vào đĩ‖ This kind of change in

TT, to some extent, supports the translator‘s aim in explaining and clarifying the situation which is considered not necessary in the ST as well as making the text more familiar to Vietnamese readers

B Social role relationship

Regarding the lexical mismatch, the TT differs from the ST in terms of use of pronouns as stated below:

1 ―I assume,‖ Langdon said, ―That

the American University of Paris told

you where I was staying?‖ (p.19)

―Tơi đốn,‖ Langdon nĩi, ―rằng Trường Đại

Học Mỹ ở Pari đã nĩi cho ơng biết tơi đang ở

đâu?‖ (p.18)

2 ―Did you mount her?‖ the agent

asked, looking over

Langdon glanced up, certain he had

misunderstood ―I beg your pardon?"

"She is lovely, no?‖ The agent

motioned through the windshield

toward the Eiffel Tower ―Have you

mounted her?‖

Langdon rolled his eyes ―No, I

haven't climbed the tower.‖

―She is the symbol of France I think

―Cái tháp thật đáng yêu, không phải sao?‖

Viên cảnh sát ra hiệu qua cánh cửa chớp về

phìa tháp Eiffel, ―Ông đã từng trèo lên trên

In the second extract, there is a difference in culture underlying the ST and TT

in the use of pronouns When referring to a thing or an animal, normally the pronoun

―it‖ is preferred; however, in the case that the speaker considers wishes to show his/her affection to that thing/animal, the pronouns ―she‖ and ―her‖ are employed That phenomenon happens in the sentences above when the agent is proud of the Eiffel Tower Nevertheless, the TT interprets those pronouns as ―trên ấy, trên đó, cái tháp, nó‖; hence, the meaning of the words in the ST is not preserved in the TT

C Social attitude

The consultative style level of the ST is violated when the translator adds more abundant words to the TT in order to make the text more intimate This may be caused

by the translator‘s attempt to create a more natural narrative and to bring the text closer

to the Vietnamese writing style The examples are listed below:

1 ―Outside the car, the pale wash of

halogen headlights skimmed over the

crushed gravel parkway…‖ (p.20)

Bên ngoài chiếc xe, ánh sáng nhạt của

những ngọn đèn pha cháy bằng khí halogien hắt xuống con đường rải sỏi

nghiền nhỏ (p.19)

2 ―Mr Langdon,‖ Fache's ebony eyes

locked on his "What you see in the photo

is only the beginning of what Sauniere

did (p.25)

―Ông Langdon,‖ đôi mắt đen như gỗ mun

của Fache lóe lên, ông ta ngắt lời

Langdon, ―Những gí ông thấy chỉ là khởi

đầu của những việc ông Sauniere đã làm.‖ (p.23)

3 ―Almost immediately, a heavy fist

pounded on Langdon‘s door.‖ (p.11)

―Gần như ngay lập tức, một nắm tay to

khỏe đập dồn dập vào cửa phòng

Langdon.‖ (p.10)

4 ―‗Ladies and gentlemen ‘ the hostess

had announced to a full house at the

American University of Paris's Pavilion

Dauphine.‖ (p.9)

―Thưa các quý ông và quý bà…‘ người giới thiệu tuyên bố trước phòng khách đầy

ắp của trường Đại học Mỹ, đường

Hoàng tử Pavillon ở Pari.‖ (p9)

5 ―…in a breeze scented with jasmine

dresser, a canvas mat in the

corner that served as his

bed…‖ (p.14)

bằng gỗ thông, một cái chiếu bằng vải bạt…‖

(p.13)

bằng gỗ thông, một cái chiếu bằng vải bạt ở góc nhà để làm giường…

2 ―…a pair of late night

3 ―Langdon strode to the

main entrance—an enormous

revolving door.‖ (p.24)

―Langdon đi thẳng tới lối vào chình – một cánh cửa khổng lồ.‖ (p.23)

Langdon sải bước đến lối vào chình – một cánh cửa xoay khổng lồ

4 ―My French stinks,

Langdon thought, but my

zodiac iconography is pretty

good Taurus was always

the bull.‖ (p.23)

―Tiếng Pháp của tôi rất

tệ, Langdon nghĩ, nhưng hiểu biết về các hính vẽ miêu tả cung hoàng đạo của tôi thí rất tốt.‖ (p.22)

―Tiếng Pháp của tôi rất

―nhưng hiểu biết của tôi

về hĩnh vẽ miêu tả các cung hoàng đạo lại rất tốt.‖ Chòm sao Kim Ngưu luôn có biểu tượng là con

bò đực

5 ―As he moved toward the

mist of the fountains…‖

D Province

In terms of syntactic means, past simple tense is mainly used in the ST, which is proper to a narrative fiction However, due to specific characteristics of Vietnamese language, the tense markers is not manifested in the TT apart from several sentences in which past simple tense is expressed with the word ―đã‖ such as:

+ ―Các cuốn sách của ông về các bức vẽ tôn giáo và biểu tượng thờ cúng đã làm

ông nổi danh một cách bất đắc dĩ trong giới nghệ thuật…‖ (p.8)

+ ―Ông và người quản lý đáng kình Jacques Sauniere đã sắp xếp để gặp nhau uống vài cốc bia sau buổi thuyết giảng tối nay của Langdon, nhưng ông Sauniere đã

không đến (p.11)

+ ―Mỗi người đều nói cho Silas một điều giống nhau – rằng viên đá đỉnh vòm

đã được giấu khéo léo tại một vị trì ở Pari…‖ (p.14)

+ ―Sự tha thứ đã được đảm bảo.‖ (p.15)

+ ―Tôi đoán,‖ Langdon nói, ―rằng trường Đại học Mỹ ở Pari đã nói cho ông biết

tôi đang ở đâu?‖ (p.18)

Moreover, in terms of lexical means, the use of lexical items marked [+human]

in the ST is not maintained in the TT, which affects the Province of the TT Below is

an example to illustrate the point:

―Sitting up now, Langdon

frowned at his bedside

Guest Relations Handbook,

whose cover boasted:

SLEEP LIKE A BABY IN

THE CITY OF LIGHTS,

PARIS RITZ.‖ (p.8)

Khi đã ngồi dậy, Langdon cau mày nhín cuốn sổ tay liên hệ với khách hàng

được ghi những lời hoa mỹ: Hãy ngủ như một đứa

trẻ ở Kinh đô ánh sánh

Hãy thiếp ngủ ở khách sạn Ritz Pari.‖ (p.8)

Khi đã ngồi dậy, Langdon cau mày trước Cuốn sách hướng dẫn cho Khách với trang bía khoe khoang: HÃY NGỦ NHƯ MỘT ĐỨA TRẺ Ở KINH ĐÔ ÁNH SÁNG, HÃY NGỦ SAY Ở KHÁCH SẠN RITZ PARIS

IV.2.2.2 Overtly erroneous errors

Apart from the mismatches from the ST as discussed above, the TT also presents other breaches which should be taken into consideration

Firstly, in terms of breaches of the target language system, the TT shows several cases of ungrammaticality as can be seen as follows:

mistake alternative

1 ―The frightening

image of the curator's

body remained locked in

his mind.‖ (p.17)

Những hình ảnh đáng

sợ về thi thể của người quản lý bảo tàng vẫn bám chặt trong tâm trì ông.‖ (p.17)

Number of noun

Hính ảnh

2 ―‗This symbol here,

and the way his body is

cơ thể ông ấy…‖

―Được sắp xếp phải không?‖

4 ―The Teacher fell

silent, as if letting the

triumph of this moment

settle over him.‖ (p.15)

―Thầy giáo yên lặng như thể để cho cảm giác chiến thắng trong giây phút này lan tỏa khắp cơ thể.‖

4 ―But it was straight

that Langdon could now

Cleft sentence mistranslated

Nhưng thẳng trước mặt, về phìa đông, qua cánh cổng mái vòm mới là nơi Langdon có thể thấy…‖

5 ―…but out of the

darkness below, a figure

appeared,

striding up the curving

― và một người xuất

hiện từ trong bóng tối

phìa bên dưới, bước lên cầu thang cong.‖ (p23)

Theme shifted

―…nhưng từ bóng tối bên dưới, một hính người xuất hiện, bước lên bậc

staircase.‖ (p.25) cầu thang cong.‖

Moreover, several cases of dubious acceptability such as literal translation or wrong translation could be observed throughout the TT as follows

mistake

Suggested alternative

1 ―Langdon had little

doubt.‖ (p.8)

ngờ.‖ (p.8)

Wrong translation

Wrong translation

their way deeper into

his thicket of coarse

black hair.‖ (p.9)

―…những sợi tóc hoa râm đang tăng lên làm cho chúng càng nổi bật trong mái tóc màu đen dày.‖ (p.8)

Wrong translation

verb ―make way deeper into…‖

…những lọn tóc màu hoa râm đang tăng lên, tiến sâu hơn vào mái tóc dày màu đen của ông.‖

4 ―An audience

member has just

handed me a far more,

nó là lời giới thiệu hấp dẫn.‖ (p.9)

Ambiguous expression

Một khán giả vừa đƣa cho tôi một thứ…nói thế nào nhỉ…một lời giới thiệu hấp dẫn hơn nhiều

Wrong translation

of ―gift‖

Tạp chì Boston rõ giỏi bịa đặt

the authority to stop

7 ―Langdon could not

help but feel a deep

sense of loss at the

curator's death.‖ (p.18)

―Langdon không thể làm gí nhưng cảm thấy

sự mất mát to lớn từ cái chết của người quản lý.‖

(p.17)

―Wrong translation

help but‖

Langdon không thể ngăn cảm giác mất mát sâu sắc trước cái chết của người quản

of ―anything but‖

Langdon tuyệt nhiên không hề cảm thấy may mắn…

Gardens - Paris's own

Park.‖ (p.20)

―…khu vực nhiều cây cối của phố Castiglione, giống như lối vào phìa Bắc của Vườn Tuileries – một khu vực đặc trưng riêng trong công viên trung tâm của Paris.‖

(p.19)

Wrong translation

pardon?‖ (p.19)

―Tôi mong nhận được

sự thứ lỗi của ông.‖

Literal translation

―Ông nói sao cơ?‖/

―Xin lỗi, sao cơ ạ?‖

11 ―I have other

business to attend to.‖

(p.24)

―Tôi có nhiệm vụ khác quan trọng hơn.‖

Wrong translation

of ―other‖

―Tôi có nhiệm vụ khác phải thực hiện rồi.‖