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Here there is another case in the field of social-political literature.

It is closely connected with the ideological society of the country with its history and its historical specifics and it can never be separated from country peculiarities and demands, political conditions, the events of its time and it is changed by the factors that reflect the notion development. National peculiarities, problems and interests put impress both on the contents and style of any author. In general the translation of social-political literature is more similar with scientific literature.

Comparing the works of J. Steinbeck, J. Austin and others we shall see the specific of author's personality and country specific.

The national beginning of one or another country reflected in its literature culture and in written culture that is especially interesting for us from the translation point of view is the aggregate of characteristic peculiarities and features that are specific for this nation and the constant historical development of this nation.

It also has common to all mankind, international character to which historical conditions give its own national coloring, its self- expression. That is why we speak about national specific character that was formed in the certain historical, social, geographic and other conditions of this country. This specific character has enough concrete expression where one or another sign is predominant and that is seen in one or another nation form. There is national originality reflected in the literature and other fields of social science and it has the more significance the more it is rich in content, progressiveness, brightness: other nations are enriched meeting with it discovering something new, interesting, useful and important for them in this specific character.

The difficulties while translating are connected most of all with conveyance of national character of one or another work: the brighter it reflects national life the more illuminate characteristic situations the more difficult for the translator to find adequate functional figurative means.

It will be enough to recollect the difficulties that the translator faced with translating wonderful works of outstanding American writer

John Steinbeck. Steinbeck is not only a deeply national, original writer but also a modern writer. His creative work could appear only in our days. Many translators mark out originality of his feature world and that is why the originality of his language and style and the specific usage of popular speech and dialectisms. For example: It’s the grapes! –

Вот это жизнь! Got to blow town. – Mне пора сматываться из города.

Steinbeck often uses parallel literary words and its dialect synonyms.

For example: dish also translated into Russian as красотка, деваха, jazz is translated as болтовня, брехня, болтология.Therefore, the translator must determine national peculiarities of the contents and the form (that is language peculiarities, melodies, rhyme and so on) and substitute national figurative means (realias, poetic images) for others that are equivalents to the firsts in their national determination to convey its national contents. The task of the translator is to find and rail the essence of national peculiarities and specific character. Correct conveying of these nationality elements opens the way to reveal internationality in the work. The popular speech, dialectisms, social coloring, realias in Steinbeck’s works do not only total the basing of his original stylistics but also express certain over-text or behind-the- text peculiarities of his work, modern feelings system, the exclusive rich fantasy, deep thoughts, piercing visible and spiritual words, plastic gift and ability of transformation. All of these are united into complete combination of original artistic picture of life together with unique intellectual foreshortening of views on it. For example: Don’t you have a silly bone in your body? - Неужели у вас нет ни капли юмора?

Therefore it is not possible to create only conveying realias, social coloring and so on to display of national character while translating.

It can be got only if the translator is able to create the combination of varied forms of national character in the creative work of one author or another in his works. National coloring is not an appendix in the work but it is one of its main parts that total the work structure.

Originality and specific character do not show that the work cannot be translated but they show the creative character of the translation process. World literature knows many examples when translators managed to convey all the originality of works and these translations became masterpieces as their originals. Originality, national coloring of the work is not lost in the succeed translations and that is one of the main principals of creative translation activity. National coloring like everything in the world is in the constant movement. Here the translation ‘s role is enriched with one positive moment. His task is to carry this constantly changing stability to readers of other nations. It is interesting that for some works this process lasts more than ten years till the form is adopted and reconstructed.

Reconstruction of national coloring in the translation very often depends on the prevailing methods used in different literary schools.

The volume of the translation is not underlining of national specifics of origin text but it is the creation of its truly wholeness, finding of adequate concrete form that is to help to show the unity of national and common to all mankind coloring in the origin.

Translator must convey adequately the national character connected with the real representation of life. It means that he must know social conditions and nation development whose literature he translates, he must know and understand the specific spiritual way of life, find explanations of problems caused with peculiarities of this nation and originality of his development. For example, the figure of Marullo in

John Steinbeck’s novel The winter of our discontent is a collective figure of one of the representatives of Italian emigrant in America who became rich in the period of 20-s years. Such figures were in many other works of that period and like them Marullo is the bearer of common for native Americans problems but at Steinbeck’s work this figure differs with his national and artistic originality, caused by peculiarities of

American emigrants development at that period.

What does every translator imply and what kind of tasks are in front of him? Why does he begin to translate works from another national literature?

At first he must know and understand the individuality, unique of figures. Every artistic figure is unique according to its nature and irrespective of its national origin.

Secondly he must know and understand the essence of figures and ideas of works of social class.

Thirdly he must take into account the national originality reflected in the work: its plot, form, images, style, language etc.

Fourthly he must reveal international coloring of the work that is significant for different countries, states and nations elements.

Fifthly he must reveal elements common to all mankind irrespective of their belonging to any country, epoch, and nation.

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