ABSTRACT
This chapter aims to combine David Magarshack's primary concerns and principles as outlined in his notes, lectures, interviews, and articles on translation theory with an analysis of his Penguin practice and professional idiosyncrasies as seen in his first Penguin commission, his 1951 translation of Dostoevskii's Crime and Punishment. The methods which Magarshack explained in his private papers and strove to implement in practice single him out from his Russian-English literary predecessors. Magarshack's and Rosemary Edmonds's strategy for rendering dialogue is akin to a method of translation which Chukovskii criticised as ‘vulgarized translation’. Aside from dialect and domesticated dialogue, Magarshack's translation of Crime and Punishment demonstrates a number of other domesticating techniques, which also appear in his other Dostoevskii translations. There is a deeper context to Magarshack's practice, which has emerged only through close analysis of his notes on translation and his translation practice.
