AND EARLY SOVIET RULE
TRANSLATION DURING THE YEARS
OF UKRAINE'S INDEPENDENCE (1917-1921)
Our history of belles-lettres translation in the twentieth century divides into some primarily unfavourable and trying times for the Ukrainian people. The firstand the shortest period embraces the years 1917-1921, when the close ties which had existed before between the Russian and the Austro-Hungarian parts of Ukraine were fully restored as a result of Ukraine's gaining independence in 1917. During that short and unstable period of two wars with Bolshevist Russia not much could be translated. Hence, fiction works previously translated and published in Lviv, Chernivtsi or other places were now republished in Kyiv, Kharkiv, Poltava and other cities of Ukraine. Some of the translated works were brought from Halychyna (Western part of Ukraine) where books were published by the Vsesvitnya Biblioteka (World Library). The publishing house was founded by I. Kalynovych. This publishing house issued translated works of different foreign authors during 1914,1917-1921. Among the published works were Poems by F.Schiller (1914), Dramatic Works by A.Pushkin, the well-known poem Hermann and Dorothea by J.W.Gothe, the comedy Clouds by
Aristophanes, narratives by H.Hofmannsthal, Death of Titian, The Rolland Song (all published in 1918), and others. Among their translators were I. Franko, O.Luts'kyi, P.Dyatlov, V.Shchurat and others. These translated works could also be read in the then Ukraine. Among the very first to appear as early as 1917-1918 in Ukraine were also J.London's Stories of the North (translated by N.Romanovych-Tkachenko) and some other works translated before (The Happy Prince by O.Wilde, Treasure Island by R.C.Stevenson, Uncle Tom's Cabin by H.Beecher-Stowe, etc.). Quite a new Ukrainian translation which appeared among the notables during those years was, however, J.London's Iron Hee/(1918) accomplished by V.Trotsyna and a few others. Practically republished during the first and last years of Ukraine's independence in 1920-1921 were also several works of R.Kipling (Mowgli, 1920), E.A.Poe (The Red Death, 1922), W.Shakespeare (The Taming of the Shrew, 1922) and some others.
The artistic level of those translations, which were mostly free adaptations (except The Iron Heel, which was neither shortened nor adapted), left much to be desired. They mostly contained many lexico-semantic, syntactic/structural and stylistic inexactitudes which could often even pervert the meaning of the original sense units, as it was the case with V.Trotsyna's translation of The Iron Heel. The Ukrainian version of this J.London's work was marked by very many conspicuous literalisms of all kinds. There were, naturally, a few regular faithful translations too, as, for example, the little shortened O.OIes's versification of H.Longfellow's Song of Hiawatha reprinted in Kharkiv in 1923 (after first being published in Lviv in 1912).
The second period,this time in Soviet Ukraine's history of translation, began in 1923-1925 with the adoption of highly promising plans for the next 5 to 10 years (up to 1930's) which were supposed to give the readers separate works and collections of translated belles-lettres works by many outstanding foreign authors. The first to appear were partly abridged J.F.Cooper's novels of the Leather Stocking series: The Deerslayer translated by O.Baikar (pen name of F.Shelud'ko), The Pathfinder (translated by M.Lebedynets'), and The Spy (an abridged and free translation by D.Kardynalovs'kyi). A still larger, twenty-seven brochure-size volume collection of Jack London's works (originally planned as a fifty-volume collection) appeared during 1927-1932. This collection was prepared by the translators M.Ryabova, M.Lysychenko, M.Gray, O.Burhardt, I. Ryl'skyi (M.Ryl'skyi's brother) and others. Probably the highest level of prose interpretation in the
1920's and 1930's was shown by Mykola Ivanov (1886/7? -1945/6?), who translated into Ukrainian several masterpieces from French (Rabelais' GargantuaandPantagruel), English (J.F.Cooper, H.G.Wells, W.Shakespeare) and other languages. Translations of high artistic quality were always produced by Lesya Ukrainka's sister Olha Kosach-Kryvyniuk (1877-1945), who began translating as far back as 1892 (C.Dickens' short stories). She selected for Ukrainian children the best prose works by E.Seton-Thompson, R.Kipling, George Sand, P.Loti and others. Her translations continued to be published during Ukraine's independence in 1918 as well. She also translated some novels of Guy de Maupassant {Our Heart, 1930), A.Dumas' Queen Margot (1930), V.Hugo's The Year of Ninety-Three, Les Miserables (1932), short stories by I.Turgenev and other works of great authors. Undoubtedly the most outstanding translator of poetic works during 1920's - early 1930's was Mykola Zerov (1890-1937). As a professor and scholar in ancient literatures and in the field of translation, he improved and successfully applied new, effective methods of faithful versification, which established his leading position among the Neoclassicists and Ukrainian translators. Among Zerov's accomplishments were several brilliant translations of works by ancient Greek, Roman and West European poets. His first collection was comprised of works authored by several Roman poets (Catullus, Virgil, Horace, Propertius, Ovid, and Martial) and was published in the Anthology of Roman Poets (Kyiv, 1920). These translations represented a paragon of truly artistic versification for many years to come. M.Zerov managed to faithfully convey not only their main content, but also the artistic merits and the spirit (pragmatic orientation) of the originals. His translations maintain the ease and poetic beauty found in each original author's work. An ardent fighter against any translations of doubtful artistic quality as well as against any author's works of this kind, Zerov supported the ideas of M.Khvylyovyi who raised his voice in support of the «West European» way of development of arts. He defined as «Asiatic» the Communist or «proletarian», as it was officially called, way of development of literature and arts in the U.S.S.R. Zerov not only shared this view of Khvylyovyi but also practically realized the main principles of Khvylyovyi through his exemplary original and translated poems. A really high artistic level of Zerov's versification was confirmed again in his new collection of translations published in 1923 which included, apart from the Roman poets, also the works of the French poet J.Heredia (1842-1905). The up-to-date methods of
artistic versification and adherence to neoclassicism in opposition to the inconsistent artistic translation of poetic works of the day, made the Communist critics, who were ignorant of and hostile to neoclassicism even more incensed. As a result, M.Zerov, P.Fylypovych, M.Drai-Khmara and hundreds of other outstanding Ukrainian poets, authors and scientists were arrested in early 1930's and suffered a martyr's death during the waning days of October and the first days of November 1937 in Sandarmokh (Karelia), but their mass graves were found in deep forest only in 1997. Their execution was dedicated to the twentieth anniversary of the «glorious(l?) October Revolution of 1917.»
All translations by the Neoclassicists illustrated the highest level of artistic versification of the 1920's and 1930's in regard to content, artistic merits, and pragmatic orientation of each foreign belles-lettres work. A standard of masterly versification during the years of the so-called Ukrainian renaissance, however, were and will always remain Zerov's translations. He occupies a leading position as an exemplary poetic master whose versifications even today, more than 70 years after their publication, remain artistically complete and mostly unsurpassed. Another prominent place in the constellation of the Neoclassicists belongs to the poet Oswald Burhardt, pen name Yuriy Klen (1897-1947), who happened to survive during the Bolshevist holocaust and terror in the 1920's and 1930's probably because of his German descent. His first significant Ukrainian collection of German poets (The Iron Sonnets) appeared in 1925 and was followed by more translations of world's greatest English, German and French poets (Shakespeare, Shelley, Gothe, Rilke, Rembaud, Valery, Mallarme, Verlaine and others). Close to O.Burghardt stood M.Drai-Khmara (1889-1937), who also pursued the aim of enriching our literature and culture via faithful artistic versification and who met his martyr's death together with M.Zerov in Sandarmokh in 1937. He translated mainly the works of the most outstanding French poets (S.Bodlaire, P.Verlaine, S.Leconte de Lisle, S.Mallarme, Sully Prud'homme) and completed Dante's The Divine Comedy, which was confiscated by the NKVD1 during his arrest and was never found again after that. He also translated Polish (A.Mickiewicz), Czech (J.Hora, J.Mahard), Russian (A.Pushkin, M.Lermontov, A.BIok, S.Yesenin) and poets of other nationalities.
Unquestionably, the most outstanding place among the surviving Neoclassicists, and one who made a significant contribution to llki.unian literature and culture by his poetic translation, belongs to Maxym Rylskyi (1895-1964). He outlasted all his co-literary companions and managed to introduce via his high quality Ukrainian translations many masterpieces of world literature. His translations originated from Polish (Mickiewicz, Slowacki), French (Hugo, Verlaine, Racine, Moliere, Boileau, Voltaire, Musset, Gautier, Heredia, Maeterlinck), German (Gothe), Russian (Pushkin, Lermontov, Fet, Blok) and other national literatures. M.Rylskyi was also a very active literary OTltlc of translation who practically laid the foundation for scientific Ukrainian criticism of belles-lettres translation in Soviet times. His won grounded theoretical articles and reviews of several translations helped considerably to raise the level of faithfulness in the succeeding prose and poetic translations in Ukraine1.
The number of Ukrainian poets/authors who were also translators, and victims to the Bolshevist terror in the 1920's and 1930's, by far exceeds, however, the whole group of the Neoclassicists. Worth mentioning, at least briefly, among them are first and foremost the following: the brilliant poet, researcher and translator M.Johansen (1895-1937), who left behind quality translations from English (G.G.Byron, E.A.Poe and H.G.Wells); D.Zahul (1890-1937), who ti.'inslated from German (H.Heine, F.Schiller, J.W.Gothe, J.Becher), I i.inish (Andersen-Noxe); I. Kulyk (1897-1937), who translated the works of W.Whitman; M.lrchan (1897-1937), whose translations were from Polish, Czech and German literatures and V.Bobynskyi (1898-1938), the translator of some works of Polish, French, Russian and German authors.
Because of the Bolshevist terror and suppression during the mid 1920's and all through the 1930's, the far-reaching plans of publishing foreign belles-lettres translations adopted in 1923-1925, were only partly realized. There were published only incomplete collections of novels/narratives and separate best-known works by the world's most outstanding authors. Thus, from French belles-lettres there appeared some new translations (together with the republished ones during 1929-1930) of Zola's eighteen-volume collection of prose works, which were accomplished by the then familiar, and the now unknown
1 NKVD (People's Comissariat of Inner Affairs), the predecessor of the KGB.
1 See: Максим Рильський. Ясна зброя. - Київ, 1971. Максим Рильський. Мистецтво перекладу. - Київ, 1975.
translators, as N.Romanovych-Tkachenko, O.Pashkevych, K.Rubinskyi, K.Kakhykevych, O.Yezernets'ka, A.Volkovych, M.ll'tychna, V.Dubrovskyi, L. and V.Pakharevskyi, V.Chernyakhivs'ka, the young M.Tereshchenko and some others. In the same years Guy de Maupassant's ten volume collection came off the press in Kyiv and Kharkiv, some of his novels/narratives being republished without any changes from their nineteenth century translations. Among the translators were O.Kosach-Kryvyniuk, V.Shchurat, B.Kozlovskyi, M.Vyshnivska, Ye.Tymchenko, Ivan and M.Ryl'skyis, V.Derzhavyn, V.Pidmohyl'nyi and others. Some separate works of great French authors already known to Ukrainian readers from the nineteenth century translations, published in Halychyna, were republished in late 1920s - early and mid 1930's as well. These were A.Daudet's most popular works as Letters from the Windwill (1926), Tartarin from Tarascon (1936) and also some others translated in the preceding years by I. Franko, M.Chaichenko (Hrinchenko), M.Hrushevs'ka, V.Shcherbakivska, M.lvanov and A.Lyubchenko. Among these were also Honore de Balzac's works, some of which had also been translated in the nineteenth century. Thus, in 1895 Father Gorio came off the press in M.Podolyns'kyi's translation, and in 1927 it appeared under the title Gorio in S.Rodzevych'es qualified translation. Apart from these, translated and published were some other of Balzac's famous works as La Peau de Chagrin (1929) in V.Vrazhlyvyi's (Shtan'ko) translation, the Poor Relatives and Cousine Bette (1929) respectively in Y.Starynkevych'es and Y.Drobyazko's Ukrainian versions. In the 1920's and 1930's there were translated, republished or retranslated well-known works by J.Verne, among the translators being already familiar names of N.Romanovych-Tkachenko, A.Bilets'kyi, TChortoryz'ka, E.Rzhevuts'ka and others. No less frequently translated and published were also works by PMerime, namely: Colomba (1927), Carmen (1930), The Chronicle of King Charles /X(1930), Jacquerie (1936), which were translated respectively by M.Konstantynopols'kyi, S.Buda, M.Tereshchenko and others. The list of the French authors would be incomplete without H.Malot (1830-1907), whose work Without Kith and Kin (Without A Family) was twice translated and published in 1926 and 1931.
Very popular with Ukrainian readers during the late 1920's and all through the 1930's were two French language Belgian authors: Ch. de Coster with his highly artistic novel Till Ulenspiegel, which first appeared in a shortened version (1928) in L.Krasovs'kyi's translation
•nd its second almost complete edition in Y.Yegorova's and S.Sakydon's translation of 1935, and M.Maeterlinck, whose works woretranslated by P.Hrabovs'kyi, L.Ukrayinka and later by M.Voronyi, M loreshchenko, M.Ryl'skyi, Ye.Tymchenko and others.
A considerably more important place in the 1920's and 1930's belonged to translation of classical British and American authors whose novels, narratives, short stories and poems were not well-known to now Ukrainian readers. The list of the most outstanding authors was headed by such prominent names as C.Dickens, whose works, as wasmentioned, appeared in Ukrainian as far back as 1880 (Christmas < . iidI) and 1882 (The Chimes) which were translated respectively by y ( Hosnyts'kyi and I. Belay. In the 1930's some other works of the їй >volist were published, namely: A Tale of Two Cities, Dombey and ІОЛ (both in 1930), The Posthumous Papers of the Pickwick Club (1937), David Copperfield (1939). These and other works were presented by the highly qualified translators N.Surovtseva, V.Chernyakhivs'ka, M.lvanov, M.Saharda, K.Shmyhovs'kyi, YKorets'kyi «nd others. In 1928 appeared a two-volume collection of Conan Doyle's selected works and a separate edition of The Lost World which was followed by The Dog of the Baskerville's (1937). The works were translated by M.lvanov, S.Vilkhovyi, M.Kalynovych, V.Petrovs'kyi, 11 Knsyanenko, M.Roshkovs'kyi, M.Lysychenko and others. In 1930 l l Voynich's narrative Jack Richmond was published in M.Lysychenko's and M.Ryabova's translation. The 1920's and 1930's llto witnessed the appearance of some other works by prominent E-.nglish and American authors in Ukrainian translation. These were d.issical works directed toward juvenile readers for the main part. The in si to be published and republished (also in Halychyna), which fell under Polish occupation, were the works of G.K.Chesterton, H.B.Beecher-Stowe, R.L.Stevenson, W.Shakespeare (A Midsummer Niqht's Dream, 1927, all published in L'viv), H.G.Wells (1928), D.Defoe (1929, L'viv), W.Scott (Quentin Dorward, 1931), E.L.Voynich (The Gadfly, 1929, 1936, 1939), J.Conrad (1925, 1928 - two volumes), R.Kipling, C.Bronte and others. As to American authors, whose works wore repeatedly published in Ukrainian translation in those years, Mark I w.iin should be mentioned first (The Adventures of Tom Sawyerand The Adventures of Huckleberry Finn), as well as E.A.Poe's detective stories, O.Henry's stories (published in 1924,1926,1928,1930) and the narrative Cabbages and Kings (1932) first translated into Ukrainian by M.Ryabova.
A noticeable event in the history of Ukrainian translation during that period was the appearance of Italian belles-lettres - G.Boccaccio's Decameron, translated by LPakharevskyi and P.Mokhor (1928). This translation was followed by another outstanding work- R.Giovagnoli's Spartacus (1930) in P.Mokhor's translation. The same year appeared C.Goldoni's comedy The Sw/'nd/ertranslated by Marianna-Khmarka. In 1927 and 1928 the librettos of G.Puccini's opera Madame Butterfly and G.Rossini's opera The Barber of Seville were also translated for our opera theatres by Marianna-Khmarka. In 1931 Ada Negri's poems (she was befriended by Lesya Ukrainka) were published in versification of P.Hrabovskyi, V.Samiylenko, Marianna-Khmarka and some others.
Alongside of prose works many poetic works were also translated, i.e., versified in the mid 1920's and 1930's both in Soviet Ukraine and in the Polish occupied Halychyna. Most of the versifications of world classics were published, however, not in separate collections, but in different journals or anthologies. Among the more or less often translated were the poetic works of German, French and English poets (Heine, Schiller, Gothe, Hugo, Beranger, Verlaine, Rimbaud, R.Bums, Byron). Separate editions were much rarer, though not excluded altogether. Thus, Byron's famous poetic dramas and poems appeared in the following succession: Cain (1925), Mazeppa (1929), Manfred (1931) and his Tragedies in 1939. A separate edition had also the French poet P.Beranger (Selected Songs, 1933) as well as some others. Among the translators were D.Zahul, V.Samiylenko, M.Ryl'skyi, M.Tereshchenko, M.Yohansen, I. Kulyk and several others, not to mention the Neoclassicists.
The Bolshevist reprisals in the mid 1920's, however, began to be more and more directed towards the nationally minded intellectuals, first of all, towards the men of letters. The infamous S.V.U.1 trial instigated and carried out by the G.P.U. in 1930 brought drastic changes in the official Communist orientation in the domain of translation as well. The corresponding authorities issued orders directed at increasing the number of translated works of Russian authors, especially of those, who were ideologically trusted. The works of those authors, naturally, replaced the planned novels and narratives of Western and Eastern classics. Under the pressure of the Communist censorship in the 1920's and mid 1930's, and still more in the succeeding years
1 SVU (Spilka Vyzvolennya Ukrainy/Union for the Liberation of Ukraine). A fictitious political organization invented by the GPU for the purpose of staging a show trial to intimidate the Ukrainian intelligentsia and put an end to Ukrainization in early 1930's.
considerably more attention was now paid to works of contemporary authors, especially to those, who criticized life in capitalist society. As a result, there appeared several works containing much і evolutionary spirit and having mediocre artistic value. Ukrainian reader, received now works by authors who were practically unknown in the West such as C.Bercovici (collections of his Short Stories, 1927, 1929), M.Gold {Short Stories, 1929; Selected Poems, 1931), Myra Page (The Approaching Storm, 1934). There were also published some real belles-lettres works of T.Dreiser (Short Stories, 1929,1930); novels of J.Dos Passos (Manhattan, 1933; The Soldiers, 1934 and others); a several volume collection of U.Sinclair's novels, some of which were changed into plays and staged (Jimmy Higgins), etc. There also began to be translated and published works of this trend from German (B.Kellermann, W.Bredel, B.Brecht, E.Weinert, F.Wolf, A.Seghers), French (A.Barbusse, LAragon), Russian (R.Panfiorov, M.Shaginyan), etc.Translation of belles-lettres was also carried out in the 1920's and1930's in Western parts of Ukraine occupied by Poland and I tumania (Chernivtsi region). Active in the Polish part of Ukraine were suchprominent public figures and scientists as V.Shchurat, who hanslated mostly English and French poets, P.Karmans'kyi (French, German, Italian poets) and M.Rudnyts'kyi, who usually accomplished free interpretations of Honore de Balzac's and P.Merimee's works. During this period notable Ukrainian diaspora translators also actively worked in Western countries (O.OIes', S.Hordyns'kyi and others). Their translations, naturally, remained unknown to Ukrainian readers who lived behind the Iron Curtain.
The late 1930's and the beginning of 1940's marked the end of the second period in Soviet Ukraine's history of translation. The defining characteristic of this period was a gradual rebirth and active development of belles-lettres translation at its initial stage and a slowdown with apparent symptoms of stagnation at its closing stage. Persecutions, trials, murders and deportations to the Far North or to Siberia of many prominent Ukrainian translators such as M.Zerov, D.Zahul, V.Mysyk, M.Drai-Khmara, V.Pidmohyl'nyi, B.Ten, S.Fylypo-vych, H.Kochur and several others prevented them from enriching the Ukrainian literary tradition with masterpieces of world literature. The terror during these times almost stopped the entire process of cultural revival which had been initiated in Ukraine during the early 1920's. As I result, there remained only a few active translators who continued to acquaint the Ukrainian readers during the 1930's and early 1940's
with the best works of Western and Eastern belles-lettres. Their list is short and includes M.Ryl'skyi (he translated Polish, French and Russian poetry), M.lvanov (English and French prose works), Y.Korets'kyi (Byron, Shakespeare, Schiller, Dickens, Mayakovs'kiy), LPervomais'kyi (German poets) and the mediocre versifier M.Zisman (Gothe, Schiller, Lermontov).
TRANSLATION AND TRANSLATORS IN POST-WAR
UKRAINE. THE DEVELOPMENT OF THE
PRINCIPLES OF FAITHFUL TRANSLATION
The Second World War and the German occupation of Ukraine had for three years completely stopped any belles-lettres translation in the country. Hence, all work had to begin anew in 1944-1945 with the establishing of the publishing houses and republishing of some translations, which were completed before the war. Only in late 1940's the first newly translated foreign belles-lettres works began to appear in Ukrainian, though their number was very small. Therefore, the years 1944-1950 constitute a transitional period in the history of Soviet Ukrainian translation. Only in early 1950's, and especially after Stalin's death in 1953, the first signs of revival in belles-lettres translation began to be really felt. It became finally a reality only during Khrushchov's «thaw» and after the return from the concentration camps of some outstanding translators. This coincided with the peak in the literary activity of Ukraine's most versatile translator Mykola Lukash. The condemnation of Stalin's cult of personality in late 1950's loosened for a short time the ideological grip on Ukrainian intelligentsia. As a result, there appeared a war-hardened generation of talented and patriotically minded editors and translators, who graduated after the war from philological faculties of universities and institutes. It was during those years that several new editorial departments for translating works from foreign languages were opened at some major publishing houses. It was then that the question of quality of the translated belles-lettres works seriously and officially arose. As a consequence, in 1956 Oleksa Kundzich published his critical articles on the state of literary translation in Ukraine, in which he put forward a categorical demand to reject literalism and improve the artistic level of translation. In 1958, after a twenty-four years hiatus the translators' Vsesvitjournal came to life again. Thus, during the late 1950's and early 1960's, when the natural revival of artistic translation and its scientific criticism
had almost taken root, the third periodin Ukraine's history of Iftnslation began. It was soon marked in the mid 1960's, however, with new persecutions and reprisals against such prominent transla-iinsasH.Kochur, M.Lukash,I.Switlychnyi,V.Marchenko,I.Yushchuk, A.Perepadya, R.Dotsenko, O.Terekh and others, who were in the u. myuard of the Sixties Movement. They came under longer and heavy fire of the Communist ideologists. This last wave of Soviet persecutions and reprisals against Ukrainian intellectuals slowed down only in the IN irlod of Gorbachov's restructuring (Perestroika) during 1985-1989. The third periodin Soviet Ukrainian translation was also marked by the common understanding of the need for higher standard of artistic requirements, which were finally put before all translators of belles-iHtios by noted literary critics in the late 1950's and early 1960's. It was then that many regular samples of faithfully translated works of great foreign literary masters were published. This inspired the succeeding generation of post-war translators to follow the fine example of Ryl'skyi, Lukash, Mysyk, Tereshchenko, Borys Ten, and others. The older generation of translators, who were active already during the late 1920's and early 1930's and who produced highly faithful translations, were represented by some masters of the pen. First place among them belongs to Maksym Ryl'skyi (1895-1964), the patriarch <>l the twentieth century Ukrainian translation, who has created highly skilled poetic versifications from Polish (A.Mickiewicz's, Yu.Slowacki's and Yu.Tuwim's major works) and Russian (works of Pushkin, Lermontov, Fet, Blok, Voloshyn). But undoubtfully the greatest number of smaller and larger poetic works were translated from French: J.PMolliere's Tartuffe, The Marriage of Figaroby P.Beaumarchais, as well as Sidby P.Corneille, Fedra by J.Racine, The Misanthrope and I he Poetic Arts by N.Boileau, the Virgin of Orleans by F- M.Voltaire, and also several smaller poems of V.Hugo, A.de Musset, T.Gautier, J.Heredia, P.Verlaine, M.Maeterlinck, and others. Ryl'skyi has also translated some English poets (Shakespeare). Among the first-rate masters of the pen is also Valerian Pidmohyl'nyi (1901-1938), a prominent Ukrainian prose writer and translator who found his martyr's death together with M.Zerov, M.Drai-Khmara, L.Kurbas and hundreds of other Stalinist GULAG victims in Sandarmokh in late October or oarly November 1937. He succeeded in recreating several masterpieces of French belles-lettres, among them being The Prison by P. Amp, Candidby D.Diderot, Letters from the Windmillby A.Daudet, Colomba by PMerimee, works by J.Verne and J.Romanis. During 1927-1930 he prepared and edited Balzac's and E.Zola's (18 volumes) as well as