In this way the text is drawn nearer to the traditions of Latvian culture and a reader's perception.

Taking into consideration Wilde's peculiar style and his artistic expression, Ezeriņš mainly preserves the foreign words for their authenticity and supplements them by insertion the explanatory phrases in the Latvian language. Ezeriņš' translation approach is a tolerant attitude towards both the source text and its author, as well as the target language and Latvian reader. The reasons for translating or not translating a part of the foreign text lie in the combination of the objective causes (historico-cultural space and time, the peculiarities of the language) and subjective factors, manifested through the translator's linguistic proficiency and communicative competence. The focus is laid on the translation of the concept 'the portrait' of foreign (mainly French) words or foreign language quotations separate proper names etc. The article focuses on the comparison of the translated texts with the aim to bring out the motives for one translation to become an organic part of Latvian national literature and for the other translation to be implicitly denied. Another translation of Wilde's novel was published in 1933 by the literary critic and translator Roberts Kroders. He not only translated other works by Wilde, e.g., the stories 'Lord Arthurís Savile's Crime', 'The Canterville Ghost', 'The Sphinx without a Secret', but was also deeply interested in Wilde's personality and philosophy of life and art. Both the translations were carried out by Jānis Ezeriņš, short story and novella writer, simultaneously a translator of several other foreign authors' works. Shortly, at the end of 1920, the book version was released (republished in 19). The novel 'The Picture of Dorian Gray' (1891) by Oscar Wilde was first translated into the Latvian language in 1920 and published in 64 continued publications in the newspaper 'Latvijas Sargs'.

The 1000 eyes og sumaru