Cecil Parrott, the translator of this edition, was the British Ambassador to Czechoslavakia for a time in the 60s and is also the author of The Bad Bohemian, a biography of Jaroslav Hasek. The previous reviewer complained of basic grammatical errors in the translation and about a slapdash approach which obscured plot details. These faults, if they are to be considered faults, are more true to the original serialised novel than previous translations of Svejk have allowed for.
The last translation of Svejk published by Penguin was translated by Paul Selver and had been abridged to such an extent that it was two-thirds the length of the Parrott version. Also, much of the coarse language of Hasek was removed altering the spirit of the novel. For instance, when the secret police agent arrests Palivec, in Selver's version he says,
'I've got you for saying that the flies left their trademark on the Emperor'.
Parrott's translation, truer to the original, reads;
' "But what am I going for?" moaned Palivec. Bretschneider smiled and said triumphantly: "Because you said the flies shitted on His Imperial Majesty." '
As Hasek says in his epilogue to part I; 'in these two volumes the soldiers and civilian population will go on talking and acting as they do in real life.'
Which, presumably, means including not only their swearing but their grammatical errors.
Concerning the problem with translation, the following is a paraphrase of Parrott's introduction. 'There is no authorised text to base a translation on. Hasek only saw the first and second editions of Svejk during his lifetime and their is no certainty that even these texts represent what he wrote or approved as only a part of the manuscript has been preserved. Hasek cared little about what he had written once he sent it off to the printer. There are two groups of texts, the texts published before the second world war and the texts published from the 50s onwards which were revised in orthography, grammar and syntax. (Parrott) drew on both groups of texts, chosing whichever version seemed clearer and more consistent. Svejk and many of the other characters in the book use what is called common Czech. This cannot adequately be rendered in English, since the only equivalent would be dialect or bad English. (Parrott) felt dialect would create the wrong atmosphere as any British dialect would be associated with people and conditions of a very different kind.
It is characteristic of Svejk's way of telling a story that he does not bother about syntax. This of course is an indication of his mentality and a part of his character, but it is also a reflection of the author's disregard of grammatical rules.'
As for lapses in the plot, the very nature of the novel is plotless, episodic, elliptical, meandering. Hasek was writing to make money and spun out the book to increase his earnings, digressing as he saw fit.
The Good Soldier Svejk is an anarchic masterpiece. And, if you're a literary train-spotter, compare it with Catch 22 and Slaughterhouse 5 to see where Heller and Vonnegut 'borrowed' from...