Secrets of the craft. Akhmatov readings.
Vol. 2. M., 1992. P. 230-232.

About translations in the literary heritage of Anna Akhmatova

There is a brief mention of my participation in the translation activities of A. A. Akhmatova in the commentary to the poet’s letters to me. Some memoirists of the “anniversary period” also mention this. Therefore, I felt it necessary to provide more detailed information here.

I am not a professional translator. My translations are very far from perfect, and I do not want them to end up in the literary heritage of a poet like Akhmatova.

At the end of the 40s. Anna Andreevna invited me to be her employee in this rather boring and exhausting task. I responded with a decisive refusal to her proposal to sign translations with two surnames. I would refuse even if I were a so-called “poet.”

The first joint experience was the translation of a poem by the Azerbaijani poet Sarivelli. The long hours of work turned out to be so difficult and painful that Akhmatova decided not to translate anymore.

But her poetic activity (after Zhdanov’s speech) virtually ceased. Translations were the only available means of subsistence. At that time they paid 15 rubles per line. Work on translations resumed and after a while it somehow got better. A certain professional level has been achieved.

In this matter, the advice of B. L. Pasternak, burdened with translations, also helped, who, with unique whirlwind intonations and not without slyness, rumbled: “Well, it’s very simple: first you need to somehow see the whole, and then everything will go well.”

Many translations were made by Akhmatova single-handedly. No less is mine. It should be borne in mind that many translations were jointly edited.

Unfortunately, I did not compile a bibliography of Akhmatova’s translations and therefore I can only mention those of my translations that were published in the collections located in my library.

I'll start with the collection of works by Qu-Yuan (1954), where Akhmatova's name appears under two translations.

The translation of the famous poem "Lisao" ("The Sorrow of the Exile") is entirely my own.

Recently ("Soviet Culture", 1989, 13. VI) Chinese literary critic Chao Man quoted a statement from a Moscow sinologist, claiming that the translation of the poem "maybe (!) ... is not inferior to the original." This overly enthusiastic assessment is not reduced even by the prudent “maybe.” Translation of another work by Qu-Yuan, “Summoning of the Soul,” by Akhmatova (with my participation).

In the collection "Chinese Classical Poetry" (1956, 1958), I own most of the translations. I still have copies of both editions with numerous of my corrections for the failed third edition.

In the two-volume collection “Serbian Epic” (1960) four of my translations were published: “The Feast at Prince Lazar”, “Ivan Kosančić in the Turkish Camp”, “The Death of the Yugović Mother”, “The Death of Ilia Smiljanic”.

In the collection of works by S. Galkin "Poems. Ballads. Dramas" (1958), I own all four "Akhmatov" translations.

A year before A. A. Akhmatova’s death, in 1965, her collection of selected (previously published) translations “Voices of Poets” was published.

The collection was compiled and published hastily. I did not participate in the compilation of this collection (due to illness). It turned out that 10 of my translations were mistakenly included in the collection: three poems by Jiri Volker, three poems by Stanislav Neumann, two poems in the section “Serbian Epic”: “The Feast at Prince Lazar”, “The Death of the Yugović Mother”, Ibsen’s poem “In this House They ..." and the poem "Gerd" by Nordahl Grieg.

Perhaps the collection was compiled with the participation of the author of the preface, A. Tarkovsky, who made “amendments” without resorting to interlinear translations.

As a result, textual distortions occurred in several of my translations.

In Ibsen's poem the last stanza should be read as follows:

She will not find her faith burned,
He will not find burnt happiness.

And they find, these two people,
Necklaces, pendants, wrists, -
She will not find only her burned faith,
and to him - his former happiness.

In N. Grieg's poem the last stanza is not separated.

In the poem "The Death of the Yugovich Mother" a gross mistake by the interlinear author (N. Kravtsova) remained uncorrected.

Next to them are nine fierce lions,
The field resounded with the roar of a lion.
(Lions in Yugoslavia!)

Next to them are nine fierce dogs,
The field was filled with their roars.

“Love” is not a lion, but a dog, a dog (husky).

The translation of I. Volker's poem "In the Park Around Noon" is especially damaged. After the first stanza, the fifth line fell out, rhyming with the eighth line:

Today I am a boy, clinging to joy...

The correct reading of the syntactically related sixth line is not

I can love

And I can love.

After the eighth line, the ninth line that rhymed with it disappeared:

But prayer also grows stronger, ripening like an apple in the thick of leaves...

Finally the rhyme in the penultimate line is broken.

Printed:

I must become one;
A warrior prays with a saber.

Correct reading:

I am worthy of them;
A warrior prays with a saber.

In the recently published book of Akhmatova’s translations “Breath of Song” (1988), in addition to the poems I mentioned by Ibsen, N. Grieg, S. Neumann and S. Galkin, I own the entire cycle of poems by the Tatar poet G. Tukay.

I cannot list here all the “Akhmatova” translations that I have made and are in various collections and periodicals.

Some of my translations are included in the collection “Masters of Russian Poetic Translation (Tuvim, Bronevsky, etc.), published in 1968,” as well as in the author’s collections “Poems and Poems” by Markish (1969) and Charents (1973).

I translated poems by Makhi, Kvitka, Baumwohl and others, which I have not mentioned here.

Collaboration on translations stopped in the early 60s.

G.P. Kozubovskaya, E.V. Malysheva

A. Akhmatova’s turn to oriental poetry was not an accident. There are a number of reasons (biographical, historical, literary) that explain Akhmatova’s interest in another culture. In the minds of early Akhmatova, “exotic” is interpreted as poetic. Obviously, this is how the myth about the name arose: “They named me Anna in honor of my grandmother Anna Egorovna Motovilova. Her mother was a Chingizid, Tatar princess Akhmatova, whose surname, not realizing that I was going to become a Russian poet, I made my literary name.” The East is the sphere of interests of her husband, V. Shileiko, a famous Assyrian and orientalist. The story of the conception of the unfinished drama “Enuma Elish”, which dates back to the ancient Middle Eastern tradition, is connected with it. The poem about the creation of the world was translated by V. Shileiko. Akhmatova’s passion for the East began not without the influence of the early A. Blok, A. Bely and N. Gumilyov.

With Akhmatova’s stay in Tashkent (in evacuation), her introduction to the East and its culture begins.

It is well known that Akhmatova turned to translations during her most difficult years, when she was not published. It can be assumed that turning to “alien” poetry, “alien culture” is associated with the desire to encrypt, hide one’s pain, the drama of one’s soul, to hide it from prying eyes.

The image of the East is formed in Akhmatova’s poetry not without the influence of “bookish” poetry, i.e. cultural tradition. In the poetic sketches of the East, the material world with its realities coexists and the world reflected in ancient legends, captured in memory. In “oriental” landscapes, symbolic detail predominates, connecting, tightening times, giving generality to the momentary sketch. Such different times are united by the image of Scheherazade, symbolizing the East. The world, perceived from Scheherazade’s point of view, seems to emerge from her legends; it bears the stamp of grace, beauty, and unusualness. A world created by the Word - this is the formula of Akhmatova’s eastern sketches.

Scheherazade, on the one hand, is for Akhmatova the embodiment of Eternal femininity in its eastern version, therefore any woman born on this earth is her kind of double, especially if this woman is also endowed with natural talent. WITH

on the other hand, Scheherazade is a double of the heroine herself. Endowed with the gift of speech, she saves herself from death, prolonging life with a new tale told (or turning life into a song). Therefore, in the image of Scheherazade we can feel the autobiographical subtext.

The Eastern myth that has developed in Akhmatova’s poetry doubles the image of the East. There are two distinct aspects to it. The East itself correlates with the masculine principle. This is a kind of ideal space, a blessed land reminiscent of paradise. The East in Akhmatov’s lyrics absorbs the tradition of its depiction and interpretation that exists in Russian literature, according to which the “East”, in contrast, in the “Western” is presented as a kingdom of sleep, laziness, excess luxury, but at the same time filled with special wisdom. The leitmotif of oriental paintings is antiquity. It is no coincidence that the multi-digit number 700 appears, symbolizing the redundancy of the existence of the East. “700” is also an indication of the antiquity of the world in which the heroine resides, the age of superhuman existence (the heroine, having entered the mythological space, feels as ancient as this world). In the context of Akhmatova’s lyrics, “700” is a sign of existence predetermined by the Bible, and at the same time a sign of a return to the origins of Genesis, to the beginning of the creation of the world

The tradition of hyperbolization is clearly expressed in the rough sketches, where the stay in the East is represented by a number with several zeros: “I have eight hundred magical days / under your blue thicket / lapis-azure cup / you breathed, burning garden...” (I, 353)

Obviously, for Akhmatova, numbers with a large number of zeros have a certain magic, creating a world similar to an alien one, taking them into the space of sleep. For Akhmatova, multiplied by a hundredfold is a sign of the unearthly, otherworldly. Perhaps the motives for the unreality of what is happening, illusoryness, dreamlikeness, etc. are connected precisely with this.

But the East also manifests itself in a female form. “Asia” correlates with the feminine principle, but this image is also doubled. On the one hand, it expresses the unearthly beauty of oriental women, seductive and magnificent in their natural beauty, on the other hand, a predatory element is visible. Therefore, recognition of the East is recreated as pursuit and pursuit, i.e. in the traditions of eastern imagery: “These are your lynx eyes, Asia/ (they spotted something in me,/ they teased something hidden,/ and born of silence...” (I, 207).

Akhmatova came to Eastern culture through turning to the Bible; The series “Bible Verses” is an interpretation of some biblical stories while maximally preserving the feeling of the original source at the stylistic level. Akhmatova chooses such

episodes in which the main characters are women (although in the Bible even chapters are named mainly by the names of men). This re-emphasis allows us to more clearly define the author’s concept and understand the role of women in the world around us. Focusing on the female soul, Akhmatova tries to understand another person ancient culture, while at the same time emphasizing the similarities women's destinies, regardless of their belonging to the era, time, nation, culture. Not contrasting East and West, but discovering commonalities in experiences is Akhmatova’s task as a poet. But through the common, she comprehends the spirit of someone else, its history and culture

In your statements, notes different years Akhmatova often highlighted her translations from Korean and spoke about the passion with which she worked on them. Work with interlinear translations was accompanied by the study of Eastern culture. Experts say that Akhmatova managed to convey the features of Korean poetry, get closer to the original, and convey the worldview of a person of an ancient era with his special philosophy and culture.

For Akhmatova, there is an “image” of oriental poetry that she developed during the period of work on translations. “Imitation of Korean,” which remained in the drafts, expresses Akhmatova’s attitude towards foreign culture and the method of her work with foreign texts. In “Imitation...” someone else’s word becomes one’s own, “one’s own” is presented in a form dressed up as “alien.” The illusion of alienation, carefully simulated, becomes the basis of the hoax. The need to exist in an alien form corresponds to Akhmatova’s idea of ​​the culture of “eastern” experience (restraint, verbal unpretentiousness, simplicity, grace, a combination of laconicism resulting in verbal formulas, and the elusiveness of the feeling itself).

“Imitation of Korean” is based on the motive of a mistake, the consciousness of which is tormented by unresolved guilt, turning life into a kind of circle into which a person is driven by his own past prophecy. At the same time, the motives of Akhmatov’s poetry are indicated here (separation and expectations, meeting in a dream, giving insight, unfamiliarity and unrecognizability, reminiscent of Lermontov’s “They loved each other...”, removing the boundaries between dreams and reality, communication with shadows, ghosts , ghosts, etc.). There is a clear connection between this poem and “Poem without a Hero.”

The image of oriental poetry is echoed in the form of couplets - one of the characteristic forms of oriental poetry. Akhmatova’s direct dependence on the eastern form cannot be detected. Couplet in

Akhmatova’s poetry carries the following content load: 1) the form embodies a consciousness close to folklore, residing in the cycle of existence and following the established order for centuries (“I won’t drink wine with you...”, “It would be better for me to cheerfully call out ditties.. . " and etc.). Moreover “ simple life” is most often perceived as inaccessible precisely because of its simplicity and clarity, a given orderliness that prescribes a certain type of behavior for a person; 2) the form becomes a sign of catastrophism and reproduces the situation of “an abyss on the edge” associated with the expectation of a “deadline” and the need for choice (“Third Conception”, “Vastlands spread out on the right...”, “Unforgettable dates have come again...”), and self-quotation is noticeable (a repeating set of landscape details, frozen pictures, in the symbolism of which pain is hidden); 3) “mystical” form - a dialogue of a personified soul, aware of its own sinfulness (“Voice of memory”, “So dark souls fly away...”, “And youth beckons...”), and the last two recreate from within the delusional consciousness carried away to the beginning of being or bargaining with Satan himself for the return of the irreversible. Common to all varieties is the consciousness of the unrealizability, otherness, unreality of what is happening, which is expressed in one of the “eastern” couplets: “And we will go to Samarkand to die / to the homeland of immortal roses...” (I, 325), associated with a biographical context.

Akhmatova’s methodology, be it critical notes or Pushkin’s studies, is the same. This is a “biographical method”, the purpose of which is to discover autobiographical subtext in the work of any artist, because from Akhmatova’s point of view, the poet “copies” the characters from himself (the formula that Pushkin used to designate Byron’s method, which he rejected), turning them into his doubles. “Subtext” is the theme of Akhmatova’s thoughts, no matter how ironically she treats this literary concept.

In translations, Akhmatova follows the tradition of preserving the “spirit” of the original without the subjective interpretation introduced by the “rival” - the translator - this method is hidden, but the subtext can be restored. Therefore, the research method will consist in the reconstruction of the “subtext”, the careful encryption of the personal one belonging to the translator. The most productive way seems to be the following - identifying similar motifs, clarifying their function both in Akhmatova’s original poetry and in her translations.

The closest in terms of the principles of depicting oriental poetry are Akhmatova’s early lyrics, distinguished by laconicism, aphorism, resulting in verbal-figurative formulas, accentuated

a flexible part that carries a psychological load. Eastern poetry in many ways correlates with oriental painting. Thus, the landscape is unfolded not in time, but in space (in poetry this is expressed in a kind of stringing of objects, indicating the sliding of the gaze, fixing the objects of the surrounding world), which creates the impression of some randomness of the set. The landscape resembles a frozen image, because... created by a line that recreates the outline of an object, hinting at the real object; the line corresponds to a symbolic subject in poetry. Finally, there is no perspective in the picture, the image is flat, there are no changing plans that create a hierarchy of the world. The poem conveys the unhurried passage of time, as if uniting the momentary and the eternal. In poetry, as in painting, the role of subtext is great, due to the fact that experience is encrypted in the material world, it is transferred to objects and elements, among which man is just a small particle. The presence of subtext makes poetry more philosophical.

The favorite genre of oriental poetry in which Akhmatova worked is sijo (three verses, where each verse is divided into two hemistiches by a caesura). The design of the material in sijo is subject to the principle of trinity (a theme is outlined, developed in parallelism with the image of the first stanza, generalization, conclusion, summary of what has been said). Sijos were of a philosophical nature, aimed at understanding existence and the place of man in the universe. The shape of the sijo is due to its historical origins, the origins of the sijo in ancient spells performed by a masked man. The function of the mask was not unambiguous, on the one hand, it gave generality to the sounding verse (a specific person disappeared behind it), and secondly, the mask protected from evil spirits and their influence. That. the mask as a form of alienation created the opportunity to “get used to” another. The magic of the genre lies in the fact that the reader, like the author, feels like a part of the Universe, for man, as the researcher of oriental poetry N. Chernova notes, is “the point of application of eternal, elemental, cosmic forces, their conductor.”

Akhmatova’s poetry and Korean poetry are brought together by the motifs of the moon, wind, water and other natural “elements”.

The moon motif in Korean poetry is semantically unambiguous. The moon symbolizes a double friend, which means kinship with the natural elements. Most often, the moon in landscape sketches is not only part of the natural world, it is a witness of what is happening, an eternal luminary, a bearer of ancient wisdom.

So little in the sky

but illuminates all nature.

Tell me where else to find it

such a lamp in the pitch darkness?

He looks at you and is silent - This is the image of a true friend!

(II, 274. Yoon Seon Do)

The specificity of the image in the structure of the poem is that it is two-dimensional. Landscape sketches are “frozen” pictures. Like oriental painting, they are flat, there is no perspective or hierarchy of plans. The “natural” and “human” series are parallel. The philosophical plan is created by the initial given associations (images are carriers of cultural meanings). Philosophical meaning arises precisely from the interaction of these plans, from the fact that the details of nature in the landscape mean not only as part of nature and the cosmos. But the comparison appears only in the finale, indicating the background. Before this, the “spiritual” was, as it were, encrypted in the landscape, on an objective level, existing in the subtext. The second plan is gradually “assembled” from fragments, and the meaning of the comparison is clear only in the finale. The comparison is realized by comparing common features (real - the moon, ideal - a person), while maintaining an “objective” image, a “mythological” plan is highlighted. According to ancient Korean ideas, the “moon” is almost a deity, it performs a cosmos-organizing function, is associated with the most important cycles of human existence, it controls the formation and disintegration of the body (that is, it controls the most important processes of earthly existence - life and death). The moon is like the other side of the earth, it is the land of the dead, a haven of souls. The deceased wanders on the moon, the “highest sphere”, apparently, one of the places where the soul-life resides.

Light, silence and understanding are the most important categories for Eastern poetry and philosophy. This is the meaning of equating man and nature; in nature there is a measure of human values, from it man draws wisdom.

The motif of kinship with the elements is repeated in the poetry of Lee Hwan and Kim Soo-jan. Natural images are included in the circle of ethical values; they are associated with the idea of ​​ideal human existence. Agreement with nature is a prerequisite for a person who has not yet separated from nature and feels his connection with it. Existence, similar to nature, for Koreans is the key to “correct” existence, because they perceive nature outside the antinomy of good and evil.

I wish I could hide in a tent of fog,

I wish I could be friends with the wind and the moon

And meet old age without illnesses In this age of great silence.

(II, 278. Lee Hwan)

Existing on an equal footing with nature gives a feeling of moral purity. “A pure name”, “old age without illness” is the result of fulfilling moral commandments that are obligatory for everyone without exception. The norms of human behavior expressed in the commandments reflect a holistic system of views on the life of ancient man and contain an idea of ​​the meaning of human life and the purpose of man on earth.

In poems of this nature, kinship with the elements is not conveyed in subjunctive verbs, but is presented as a fact, meaningful and becoming a sign of important “discoveries.”

So my life is becoming easier and simpler, and now I finally have

There are maybe a dozen vines and a volume of my favorite poems.

And they never leave me, which means they love me: the wind and the moon.

(Kim Soo Jang. I, 281)

In a situation of “looking back,” human life closes in a circle: peeling off everything superfluous and accumulated, it returns a person to the original sources, to the primordial. And the primary values ​​here turn out to be natural ones; life begins with them and ends with them. Nature has an enduring value in the eyes of ancient man: being unchangeable, “eternal,” it preserves man’s eternity. “Simplification” does not at all mean a rejection of “spiritual” culture; on the contrary, this culture organically coexists with nature. We are talking about the freedom to express human will, which successfully links one thing to another. It is curious that the “vine” in Korean poetry is a symbol of spiritual values ​​and spiritual bestowal of a person, as well as a symbol of fertility (there is a clear parallelism between flesh and spirit in terms of bestowal). The “inversion” of man’s relationship with nature (love comes from nature) again returns to philosophy: love is understood as a kind of cosmic force, similar to the force of gravity. In Eastern philosophy

fii is not a destructive, but a creative force. The ancient Koreans even saw in the movement of celestial bodies a manifestation of some kind of universal love. The love of the wind and the moon here gives a person the consciousness of his own value, the value of being. And again we return to the idea of ​​the non-isolation of man from nature, which determines the worldview of ancient man. Ideal existence is an existence in which a person is surrounded by objects endowed with the status of eternal values.

I don’t know who broke the paper in the window, and the moon’s ray hit the jug of wine.

I wish I could swallow this wine soon!

I want to drink this ray with wine.

Truly, how my heart would brighten if I could drink the moon.

The ray of the moon, which turns out to be a connecting thread between the worlds - earthly and heavenly - is the beginning that permeates the world and the soul. The moon becoming a drink symbolizes joining another world. Wine, according to folklore, is a drink that evokes dreams, visions, and dreams. In combination with the moon, wine acquires the status of a divine drink. “Drinking the moon” means learning the secret of existence, getting closer to it. “Divine knowledge” and communication with the souls of the dead, acquired through drinking, are the result of the merging of man with the cosmos.

In Akhmatova’s original poetry, the “moon” is different from the “month” as different phases, but the same functions are preserved. Being part of the landscape, the moon and the month become witnesses to the events of the earthly world, catastrophes, mysterious incidents (“Beyond the lake, the moon stopped and looked out the open window, where something bad happened...” I, 145; “And the month, bored in the cloudy in the darkness, cast a dim glance into the upper room...” I, 165; “And I saw the evil moon, lurking at the gate, as I exchanged my immortal glory for that evening,” I, 329; “... To see the shapeless fragment of the month again. deep in the channel”, I, 311, etc.). The general thing is that nature supports a person in a state of feeling universal loneliness; - in translations, the tragedy is removed: by mastering a foreign culture, Akhmatova “reincarnates” into a person with a different worldview. The predominance of the “natural” point of view on the world, the consistency of the human soul with the laws of existence, leads to the removal of the very possibility of “rebellion” against injustice

these laws, and the opportunity to see this injustice (nature is good).

Akhmatova’s lunar principle is the feminine principle; the existence of a woman is associated with it, which is defined as dreamlike (“You breathe the sun, I breathe the moon...”, I, 56). “The month in the meaning of “moon” is ambiguous. On the one hand, it is his appearance that creates the “ballad” atmosphere of some poems (“New Year’s ballad”); the truncated outline of the month is associated with the murder weapon, so in poems about the “fatal duel” the “month” is a sign of dream existence, existence on the edge of two worlds, a sign of misfortune, premonitions, projection of internal experiences onto the outside world, “overturning” of dramatic experiences to the outside (“ I fall asleep. The blade is thrown into the sultry darkness. My warm heart beats again,” I, 105). The month is associated with the motif of “sharpness” that permeates the poetry of Acmeism. On the other hand, the month is a crafty witness to bargaining, the sale of the soul to the devil, a kind of amulet against evil forces overtaking a person. The light of the moon is also ambiguous in Akhmatova’s poetry. On the one hand, light is a carrier of memory, a sign of otherworldly existence, present in situations of communication with shadows (“If the lunar horror splashes, the city is all in a poisonous solution...” I, 175, “Or was it just the swaying of branches under the black wind, green magic rays, like poison, drenched, and yet - two people I know are disgustingly similar?”, I, 210). The combination of “moon” with “water” (two elements of the heroine of Akhmatova’s poetry) creates the metaphor of diving to the bottom (cf. “basement of memory”, “bottom of the Neva”, etc.), into the depths of memory. But the light of the moon is associated with rebirth, renewal, resurrection. For example, the cycle “Moon at the Zenith” gives the image of a “silver moon”, which is distinguished by its enormous size (the oriental theme is framed in the poetics of hyperbolization). Solemn appearance of the moon; musical in its essence (which elevates the image to ancient philosophy and cosmogony), is associated with the arrival of music in the world, the return of lost harmony to it (“From mother-of-pearl and agate, from smoky glass, it floated so unexpectedly and so solemnly, as if “ Moonlight Sonata “immediately crossed our path”, I, 205). The motif of swimming refers to the water element, Lethe, and, therefore, to the miracle of purification.

Both in original and translated poetry, nature is always a messenger, a prophetess. But in translated poetry, “description” hides the drama of the soul, a laconic image creates subtext, giving the experience a restrained grace.

The moon that I saw you

I want to see you.

She opened the window to the east and began to wait for her,

But tears flowed from the eyes - and that moon was in the haze.

The possibility of a conflict with nature over a lover is removed; Eastern culture offers a “reasonable” solution to such conflicts

“And just the rustle of leaves on the autumn trees.

And don’t be angry at the leaves if my friend is to blame!”

(Lee Hwan Jin. II, 280)

In Akhmatova’s poetry, the elements that bring news are blissful, due to the fact that any knowledge is a necessity for her, freeing her from the shackles of ignorance.

The pine motif (for Korean poetry, pine is a symbol, an image expressing the essence of national existence) is not dominant for Akhmatova’s original poetry. But it is precisely this motive that makes it possible to detect the relationship between “us” and “alien” both in poetry and in translations.

The pine tree with its evergreen needles becomes for Koreans a symbol of moral fortitude, inner strength, inflexibility, and firmness. Pine, on the one hand, is likened to the world tree, on the other hand, it remains an element of the national landscape. But the second meaning does not remain in the subtext, it is introduced into the text. In the context of Korean poetry, a pine tree becomes a kind of double of a person with whom he relates himself after death. The pine tree is thus a symbol of the cycle of life and the eternal soul.

If you ask who I will become after death, I will answer: above the top of Pynlay I will become a tall pine tree.

Let the whole world freeze under the snow, I will be the only one to grow green.

(Song Sam Moon. II, 279)

Pine is endowed with the properties of immortality due to the fact that it becomes a guide to the kingdom of the dead, located on the edge of the local and other worlds. Involved in the mysteries of existence incomprehensible to mere mortals, pine serves as a reminder of the fragility of human life. The memory of ancestors is a prerequisite for human moral existence.

If it's hot, the flowers will bloom, if it's cold, the leaves will fall off.

Why, pine tree, are you not afraid of snowstorms or frost?

I know: your strong roots have penetrated deeply into the kingdom of the dead...

(Yoon Sun Do. II, 273)

Akhmatova, while preserving the poetic imagery of Korean lyricists, nevertheless brings “European” consciousness into the world of Eastern poetry. So, for example, in the translation by Yoo Eun Bu:

Last night the wind blew, and snow covered the ground, and the strong trunks of the pine trees were thrown into dust.

So what can I say about the flowers that won't bloom?

According to Eastern philosophy, only the remains of a person who died could be called ashes. In the last lines a rhetorical question appears that carries a philosophical meaning. This question requires an answer. The question is the author’s answer: a reflection on man’s powerlessness in the face of nature, on the futility of efforts, on the hopelessness of existence. The turbulent landscape and its consequences are characteristic of Eastern poetry. The elements are interpreted here as catastrophic forces that destroy everything in their path, breaking even a strong pine tree. “Ashes” are referred to here as the remains of a pine tree. Apparently, this is the will of the translator, who gives this word to an inanimate creature. The meaning of such a replacement is obvious. The parallelism of the two plans is eliminated, an overlap of images arises, one plane replaces the other (in the spirit of Akhmatov’s original poetry). Akhmatova translated the image from subtext into text.

In Akhmatova’s original poetry, “pine” does not appear immediately. In the early lyrics, “willow”, “maple”, “poplar” predominate, and there is an opposition garden/forest as the opposition of “one’s own”/“alien” spaces. These trees are twins of Akhmatov’s heroine, they become the key to the dream world of song reality. Later, the dominant image will be the “linden tree” - the bearer of the cultural code (an attribute of a noble estate, “Kern Alley”, a folklore image - a symbol of national nature, and most importantly - a symbol of memory). “Pine” takes place in the background. “Pine” in the poem “You are an apostate...” becomes

a symbol of the homeland, a symbol of national existence, like the icons mentioned here (by the way, the image of the homeland recreated here is reminiscent of fairy-tale places lost among the forests, possessing an enchanting, witchcraft power, an image that deliberately contrasts with the civilized West). “Pine” is replaced by “cedar”, “spruce”, “coniferous forest” is mentioned, all this is evidence of the unconscious significance of the image.

Another semantic plan arises in the context of a death rehearsal, where a “pine” tree turns into an attribute of a funeral rite (“pine bed”) - (“Cast iron fence”, I, 160). Playing with the sleep-death motif creates a field for all sorts of substitutions: the opposition living/dead permeates the story about a quiet life without love and without a soul. Later, the meaning of “memory” is assigned to “pines” (cf. in the early one: “The needles of the pine trees densely and sharply cover the low stumps... Here lay his cocked hat and the disheveled volume of Guys,” I, 24).

This semantic complex is picked up and strengthened by another meaning - secret knowledge, involvement in mystery in the cycle “Secrets of Craft,” where silent pine trees become a source of creativity for the poet. Subsequently, pines (Komarovskie) are associated with folklore keepers of treasures located in marginal space, at the entrance to oblivion (“Pines”), the only real interlocutors are carriers of the soul (“Delivers”), native creatures whose language is understandable, a sign of the harmony of existence, in which old age is paradoxically realized as the acceptance of being (“On Christmas Eve”).

The cuckoo motif in Akhmatova’s poetry and Korean poetry makes it possible to establish intertextual connections between the original and the translation. Eastern and western culture differ in that in one the dialogue is a rite of fortune-telling, in the other there is no such thing.

Cuckoo in the desert mountains?

Tell me, what are you crying about?

Are you really just like me, cruelly abandoned by someone?

And no matter how much you cry, you will never hear an answer!

(Park Hye Gwan. II, 281)

In Akhmatova’s “I asked the cuckoo” there is the same situation of a question that remains unanswered. But what is exposed in eastern poetry (parallelism, the cry of the soul, hopelessness) is hidden in Akhmatova’s subtext. The poem is supported by an antithesis (the silence of the cuckoo/the “speaking” of the world that is responsible for the cuckoo, the trembling of pine trees, the fall

sunbeam on the grass, touch of the wind). The silence of the cuckoo results in the muteness of the world, frozen by a terrible question, prohibited and hopeless. The heroine finds herself surrounded by a living world that mourns for her (like fairy-tale situations, she is like a stranger in this world). Sympathy for the world means the heroine’s organic incorporation into it as opposed to the social world. Restrained emotion is encrypted in the details of the landscape.

When my death comes, my soul will turn into a cuckoo,

I’ll hide in the thick foliage of blooming pears at midnight

The cuckoo as the external soul of the heroine Akhmatova has already been said. The motif of the murdered bird-soul sounds in the cycle of poems, but the murder is violent. Posthumous recognition is played out in the metaphor of soul-bird-longing. Thus, in the eastern text, diverse motives intersect (love-hate and love-sacrifice, etc.).

In Eastern poetry, what is deeply hidden in one’s own is “spoken out”; in this sense, one can say that “someone else’s” has become “one’s own”. In the simplicity of the stranger, Akhmatova felt quite free, finding a language in which she could tell about unspoken secrets.

Notes:

1. Akhmatova A.A. Works: In 2 volumes. T. 2. M., 1986. P. 239-240. The following is quoted from this edition. The volume and page numbers are indicated in parentheses following the text. The Roman numeral means the volume number, the Arabic numeral means the page number.

2. See note about this: Akhmatova A.A. Works: In 2 volumes. T. 2. M., 1996 (edited by M.M. Kralin. P. 259, 387, 388.

3. The tradition of such perception goes back to the Russians’ understanding of the “East” as an other being. See about this: Russian literature and the East. Tashkent, 1988.

4. In this sense, one should take into account both the “philosophical” line of understanding the East and, accordingly, the literary one; “eastern”

interests of Russian poets (for example, the Caucasus), travel to exotic countries by N. Gumilyov, eastern philosophy of N. Roerich, as well as Western philosophers, for example, W.O. Schlengler “The Decline of Europe” and others. See: Russian Knot of Eurasianism: The East in Russian Thought. M., 1997.

5. Akhmatova repeatedly wrote about the meaning of words in the spiritual space of culture. See, for example, the following:

“The most lasting of all on earth is sadness And the most lasting is the royal word (I, 329).

6. On duality, see: Kozubovskaya G.P. Poetics of the inscription in Akhmatova’s poetry // Linguistic and aesthetic aspects of text analysis. Solikamsk, 1997; Kozubovskaya G.P. Myth and image in the poetry of A. Akhmatova // Kozubovskaya G.P. The problem of mythology in Russian poetry XIX - early. XX centuries Samara-Barnaul, 1995.

7. See the motives of muteness and silence in Akhmatova’s poetry. The image of a murdered bird-soul-longing becomes a symbol of muteness, equivalent to the death of the heroine. (See next page). Scheherazade is associated with another aspect of Akhmatova - the prophetess Sibyl. In V. Vilenkin’s memoirs, an autobiographical passage was published in which Akhmatova spoke about her “Tashkent deliriums”: “A round-headed man without a face sat on a chair near my bed and told me everything that would happen to me when I returned to Leningrad. I burned the recording of his story along with all the other prose of that time.” (Vilenkin V. In the hundred and first mirror. M., 1986. P. 204).

8. Analysis of Akhmatova’s poem “And in memory, as if in a patterned arrangement” in the work “Akhmatova’s Code” by Faryn // Russian litera-tura. 1874. No. 7-8.

9. Akhmatova mentions the “rose” more than once in her eastern cycles. The vegetative code refers, on the one hand, to the Russian poetic tradition (see, for example, the epigraph to the cycle “The Moon at its Zenith”: “The howl of this rose”; A. Fet, like other poets, develops the theme “The Nightingale and the Rose”, symbolizing the “East”), on the other hand, to the rose as a symbol of the beginning of Genesis, in her poetry the heroine often likens herself, in accordance with the Christian Orthodox tradition, to a rose, a blade of grass in the garden of God.

10. Such a calculation follows the eastern folklore tradition, for example, “1000 and 1 night,” where the infinitely indefinite and concrete are hidden. Akhmatova herself indicated that dates do not matter to her. Her chronology is of a cultural nature; the era is associated with cultural values ​​and is measured by them. The numbers that organize the world of Akhmatova’s early poetry are “3”, “7”; their meaning is clear. In later lyrics the symbolism of numbers is more hidden,

encrypted in poetic forms (2, 4, 5, etc.). The year 1921, introduced in the title of the book “Anno Domini”, is indicated in Roman numerals, then removed from the title. Numbers with a large number of zeros indicate overcoming the “immeasurable” line; they are associated with being in an alien space and special time, with resurrection after death.

11. An indication that the cycle has a biographical overtone is contained in the comments of M. Kralin in the publication of Akhmatova’s works under his editorship. Akhmatova A.A. Decree. Op. T. 1. pp. 394-395.

12. See about this: note. in decree ed. T. 1. P. 436., as well as the work of Associate Professor of the Department of Russian Language G.A. Pak, placed in this collection.

13. See, for example, the most consistent manifestation of the method in the following lines: “How did Onegin end? - Because Pushkin got married. Married Pushkin could still write a letter to Onegin, but he could not continue the romance” // Akhmatova A.A. Works: In 2 vols. T. 2. M., 1986. P. 146.

14. The concept of a translator-rival came into literary use from the criticism of V.A. Zhukovsky: See: Zhukovsky V.A. About the fable and fables of Krylov // Zhukovsky V.A. Aesthetics and criticism. M., 1985. P. 189.

15. For some features of Korean poetry, see: Nikitina M.I. Ancient Korean poetry in connection with ritual. M., 1987; subtext arises as a consequence, on the one hand, of the laconicism of the text, and on the other, of the increased suggestiveness of the image, which contains a cultural tradition.

16. See: Nikitina M.I., Trotsevich A.B. Essays on the history of Korean literature. M., 1969; Kholodovich A. Vst. article // Korean classical literature. L., 1958.

17. See more about the trinity in the image: Nikitina M.I. Decree. Op. P. 39. The poetic image simultaneously receives three incarnations: anthropomorphic, light, plant, which finds expression in direct and reflected images.

18. About the mask in ancient rituals, see: Avdeev A.V. Origin of the theater. L.-M., 1959; Avdeev A.V. Mask (experience of typological classification) // Sat. Museum of Anthropology and Ethnography. M.-L. 1957; Avdeev A.V. The mask and its role in the process of the emergence of theater. M., 1964; Chernova N. Fragment of the universe // Theater. 1992. No. 8. P. 160.

19. Ibid.

20. Nikitina M.I. Decree Op. P. 268.

21. About pine, see: Nikitina M.I. Decree. op. P. 299.

22. See: Kozubovskaya G.P. Myth and ritual in Akhmatova’s poetry // Kozubovskaya G.P. Problems of mythology in Russian poetry XIX - early. XX centuries Samara-Barnaul, 1995.

Composition

There is a side to Anna Akhmatova’s multifaceted and original creativity that deserves special attention. This is her translation activity. Akhmatova’s translations are a unique anthology of world poetry. Knowledge of several foreign languages and poetic talent allowed Anna Andreevna to translate more than two hundred poetic works. Among them are the poetry of Victor Hugo, Henrik Ibsen, Rainer Maria Rilke.

Akhmatova translated from the most different languages world: Armenian, Bulgarian, Greek, French, Italian, Korean, Polish, Portuguese, etc. A special place in Akhmatova’s translated lyrics is occupied by oriental poetry, which was in tune with the mental makeup and appearance of the poetess. Anna Andreevna knew and loved Ukrainian language. She brilliantly translated Ivan Franko’s book “The Ziv’yale of the Leaves.” This translation was highly appreciated by Maxim Rylsky: “Akhmatova’s translations really excite me.” It is known that Rylsky even had a plan to write an article “Franco in Akhmatova’s translation,” which, unfortunately, did not come true.

INTRODUCTION

1.1 The concept of fiction

2 Lyric poetry as a form of art

1.3 Organization of speech in poetry as a means of verbal-figurative depiction of reality

1.3.1 Versification systems

3.3 Stanza

BASIC CONCEPTS OF TRANSLATION THEORY

1 The concept of translation

2.2 Equivalence and adequacy as the main features of translation

2.3 Problems and features of poetry translation

POETRY OF ANNA AKHMATOVA IN THE ASPECT OF TRANSLATION

3.1 The place of A. Akhmatova’s creativity in women’s poetry of the Silver Age

3.2 Acmeistic roots of A. Akhmatova’s poetry

3 Periodization of A. Akhmatova’s creativity

3.4 Translation transformations in the translation of works by Anna Akhmatova

3.4.1 Permutations

4.2 Substitutions

4.3 Additions

4.4 Omissions

3.4 Analysis of individual translations of poems by A. Akhmatova

CONCLUSION

INTRODUCTION

A huge amount of research has been devoted to the problems of literary translation in domestic and foreign translation studies, which indicates the versatility of this phenomenon and the inexhaustibility of its problems. Within the framework of these works, a significant layer consists of studies devoted to the translation of poetry. Translations of poetic texts are more difficult, requiring greater subtlety of linguistic flair and higher professional training than translation of prose. The special organization of poetic texts imposes additional restrictions on the translator. It has been experimentally proven that metaphor, one of the characteristic properties of art in general, more inherent in poetry than prose, is half lost in the translation of poetic texts /12/.

Preserving the unity of form and content, the intonation and rhythmic properties of the original, the connection between its sound and meaning in translation is not always feasible due to the difference in the structural and typological features of the languages ​​involved in the communication process. The translation of poetic texts, therefore, provides more material for observation than prose translations.

The problem of translating poetic texts was dealt with by many scientists, such as Yu.M. Lotman, Ya.I. Retzker, V.M. Zhirmunsky, A.A. Potebnya, L.S. Barkhudarov, V.N. Komissarov, N.V. Pertsov.

The relevance of this work is determined by the difficulty of conveying the unique unity of content and form of a poetic work in a foreign language text.

The purpose of the thesis research is to identify the features of translations of poetic texts.

The achievement of this goal is facilitated by solving the following tasks:

-consider the features of lyric poetry as a type of fiction;

-highlight the main problems and features of translations of poetic texts;

-determine the main types of translation transformations when translating poetic texts.

-perform an analysis of translations of A. Akhmatova’s poems into English.

The object of this work is the poetic texts of Anna Akhmatova in the aspect of translation.

The subject of the study is the features of translations of these texts into English.

During the study, methods of translation analysis, methods of morphological, linguistic and stylistic analysis are used.

The theoretical significance lies in the fact that the study complements a number of works in the field of linguistics and poetics concerning the translation of Russian poetic texts into English. As part of the thesis, the features of translating A. Akhmatova’s poems into English were identified and the main errors made during translation were identified.

The practical significance of the work lies in the fact that the main provisions, results and language material can be used in lectures and seminars on the stylistics and linguistics of the text, and in practical classes in the English language.

The material for this study was 50 poems by A. Akhmatova from the “White Flock” cycle, translated by I. Shambat.

1. LYRICAL POETRY AS A KIND OF FICTION

1Concept of fiction

Literature is a type of art. Basically, this term is used to refer to works that are enshrined in written form and have public significance. In the broad sense of the word, literature means the totality of any texts /1/. The text occupies a central position in the general theory of text, but its typology is not sufficiently developed - the general criteria that should be the basis for typologization have not been defined. Objectively, this is explained by the multidimensionality and therefore complexity of the text phenomenon itself; subjectively, by the relatively short period of development of text problems, when they began to form a general theory. The main difficulty is that in textual differentiation it is unlawful to proceed from any one criterion, since this is not enough for a strict classification /38/.

At present, there are still quite large differences in the interpretation of the concept of “text type”. It is interpreted sometimes too narrowly, sometimes too broadly. However, based on the data accumulated by science, it is possible to outline the main criteria for distinguishing between different manifestations of texts. These criteria should be composed of a number of indicators and cover at least the main features of the text: informational, functional, structural-semiotic, communicative.

When focusing on different criteria, one can focus on the division of “scientific and non-scientific texts” in primary differentiation; “fiction and non-fiction texts”; “monologue and dialogic texts”; “mono-address and multi-address texts”, etc. Each of these divisions actually exists, but from the point of view of a general and unified typology they are incorrect: for example, a literary text, on the one hand, will fall into the group of non-scientific ones, and on the other, simultaneously into the groups of monological and dialogical /5/.

To avoid such crossings, this work uses the most established classification, based on extratextual factors, i.e. factors of real communication (communicative-pragmatic).

The overwhelming majority of authors dealing with text problems, when taking into account the factors of real communication, according to the spheres of communication and the nature of the reflection of reality, initially divide all texts into non-fiction and fiction /12/.

We should look at literary texts in more detail.

Fiction is any verbal text that, within a given culture, is capable of realizing an aesthetic function /41/. Thus, the main quality of a work of art is its aesthetic component. Concretizing this definition, we can identify 5 principles of artistry /30/:

.The principle of integrity, which determines the internal organization and completeness of a literary work.

.The principle of convention, which assumes that literature models life, but is not such, which is reflected in the specificity of aesthetic experience as a reflexive feeling, “playful” in its essence.

.The principle of creative generalization, which means identifying in the infinite diversity of life certain universal constants of being and consciousness.

.The principle of creative novelty and uniqueness, which distinguishes a truly artistic work from a handicraft or epigone imitation.

.The principle of targeting, which implies that literary work always intended for a specific readership. The “image of the audience,” the degree of “manifestation” of the addressee in the work, is an important structure-forming factor in the literary text.

In addition to the above, the essential features of fiction are also called:

) lack of direct connection between communication and human life;

) implicitness of content (presence of subtext);

) attitude towards ambiguity of perception /12/.

A literary text is constructed according to the laws of associative-figurative thinking; in it, life material is transformed into a kind of “small universe”, seen through the eyes of a given author. Therefore, in a literary text, behind the depicted pictures of life, there is always a subtextual, interpretive functional plan, “secondary reality,” while a non-fiction text is one-dimensional and one-dimensional. A literary text affects the emotional sphere of the human personality; the law of psychological perspective operates in artistic representation. Unlike non-fiction texts that perform a communicative and informational function, fiction texts perform a communicative and aesthetic function.

Thus, for a literary text, the emotional essence of facts, which is inevitably subjective, is important. It turns out that for an artistic text the form itself is meaningful, it is exceptional and original, it contains the essence of artistry, since the “form of life-likeness” chosen by the author serves as material for expressing another, different content, for example, a description of a landscape may not be necessary in itself , this is just a form for conveying the internal state of the author and characters. Due to this different, different content, a “secondary reality” is created. The internal figurative plane is often conveyed through the external subject plane. This creates a two-dimensional and multifaceted text, which is contraindicated in a non-fiction text.

Texts of fiction are also distinguished by the nature of analyticism - here it has a hidden character, it is based on individually chosen laws. The artist, in principle, does not prove, but tells, using concrete figurative ideas about the world of objects.

Literary texts have their own typology, focused on gender-genre characteristics.

One of the founders of Russian literary criticism was V.G. Belinsky. It is he who owns the scientifically based theory of three literary genres, according to which three types of fiction are distinguished: epic (from the Greek epos - “narration”), lyrical (from the Greek lyrikos - “pronounced to the sounds of the lyre”) and dramatic (from the Greek. drama - “action”) /11/.

Presenting the reader with this or that subject of conversation, the author chooses different approaches to it.

The first approach: you can talk in detail about the subject, the events associated with it, the circumstances of the existence of this subject, etc.; in this case, the author’s position will be more or less detached, the author will act as a kind of chronicler, narrator, or choose one of the characters as the narrator; The main thing in such a work will be the story, the narration about the subject, the leading type of speech will be the narration; This kind of literature is called epic.

The second approach: you can tell not so much about the events as about the impression they made on the author, about the feelings they aroused; the image of the inner world, experiences, impressions will belong to the lyrical genre of literature; it is the experience that becomes the main event of the lyrics.

Third approach: you can depict an object in action, show it on stage; present it to the reader and viewer surrounded by other phenomena; this kind of literature is dramatic; in a drama, the author’s voice will be heard least often - in stage directions, that is, the author’s explanations of the actions and remarks of the characters /11/.

Within the framework of this work, the lyrical genre of fiction will be examined in more detail. According to the Great Encyclopedic Dictionary of A.M. Prokhorov, lyric poetry is a literary genre (along with epic, drama), the subject of display of which is the content of inner life, the poet’s own “I” /6/. Even if there is a narrative element in the works, the lyrical work is always subjective and focused on the hero. The characteristics of a lyrical work are “conciseness”, “monologue”, “unity of the lyrical plot” and “instantaneity” (“preciseness”, “modernity”) Most lyrical works relate to poetry.

2Lyric poetry as an art form

Among other arts, poetry occupies a very special place, depending on the element that is usually called its material - words. The word is an instrument of human communication, a means for expressing thoughts; the poet uses it to embody his formless abstract thought into an image.

According to the definition, poetry (Greek “creativity, creation”) is a special way of organizing speech; introducing into speech an additional measure (dimension) not determined by the needs of ordinary language; verbal artistic creativity. In a narrow sense, poetry is understood as poetic, rhythmically organized speech /22/. In this sense, poetry is contrasted with prose.

Often the word “poetry” is used in a figurative sense, meaning the beauty of the presentation of the depicted object, and in this sense, a purely prosaic text can be called poetic.

According to V.G. Belinsky, poetry is the highest kind of art. “Poetry is expressed in the free human word, which is a sound, a picture, and a definite, clearly spoken idea,” writes Belinsky. - Therefore, poetry contains within itself all the elements of the other arts, as if it suddenly and inseparably uses all the means that are given separately to each of the other arts. Poetry represents the entirety of art, its entire organization and, embracing all its aspects, clearly and definitely contains all its differences” /11/.

Lyric poetry is subjective. The poet's personality is in the foreground. Lyrical poetry reflects the inner world of the author, using images and pictures to express the ugly and formless feeling that constitutes the inner essence of human nature.

Many writers equate poetry with music. For example, many Russian folk songs are retained in the memory of the people not by their content and meaning of words, but by the musicality of sounds, words, rhythms of poetry and motive in singing. Other lyrical plays, without containing any special meaning, express the meaning through the mere musicality of their verses.

A lyrical work, expressing only a feeling, acts only on a feeling. It does not arouse curiosity and does not support attention with objective facts. For all the richness of its content, the lyrical work seems to be devoid of any content. This again shows a similarity with music - shaking to the very depths of the soul, it is completely unpronounceable in its content, because this content is untranslatable into human words. You can always not only retell to another the content of a read poem or drama, but even influence, more or less, on another with your retelling - whereas you can never grasp the content of a lyrical work, it can neither be retold nor interpreted, it can only be felt.

A lyrical work, coming out of a momentary sensation, cannot and should not be too long; otherwise it will be cold and forced and, instead of enjoying, will only tire the reader.

However, a lyrical work is still not the same as a musical work.

In a lyrical work, as in any work of poetry, a thought is expressed in words, but at the same time hidden behind a feeling that is difficult to translate into a clear and definite language of consciousness.

And this is all the more difficult because a purely lyrical work is like a picture, while the main thing in it is not the picture itself, but the feeling that it arouses in us.

This or that impact on the reader, the transmission of this or that feeling directly depends not only on the chosen rhythm and certain vocabulary, but also on the means of expressive speech used by the author. In poetic speech, such figurative and expressive means as metaphor, personification, synecdoche, comparison, metonymy, allegory, hyperbole, and irony are actively used.

Metaphors are words used in figurative meaning based on the similarity of impressions from different objects /48/. For example, in A. Akhmatova’s poem “Oh, it was a cool day,” the sunset is so bright that it resembles a fire, which is reflected in the line “The sunset lay like a crimson fire.”

In this way, in a metaphor, the properties of an animate object are transferred to an inanimate one, or the properties of an inanimate material object are transferred to an animate and abstract one.

Let's give another example. In the poem “Everything is taken away: both strength and love...” remorse is described on the basis of similarities with violence:

“And only conscience becomes more terrible every day

He is furious: the great one wants tribute.

Covering my face, I answered her...

But there are no more tears, no more excuses.”

In these lines, a metaphor is based on a technique such as personification, or personification: conscience - something abstract, intangible - rages as if alive, wants tribute, the lyrical heroine speaks to it. In this example, by transferring the properties of an animate object to an inanimate one, we gradually, so to speak, animate the object.

Metonymy is a trope in which one concept is replaced by another based on the close connection between the concepts /16/. A close connection exists, for example, between cause and effect, tool and action, author and his work, owner and property, material and the thing made from it, containing and content, etc. Concepts that are in such a connection are used in speech one instead of the other.

For example,

“And prayed for the time to come

Meeting your first joy."

(A. Akhmatova “Walked for a long time through fields and villages”)

In this example, metonymy is built on the relationship “a person - the emotion that he causes.”

A special case of metonymy is synecdoche. Synecdoche is a trope in which one concept is replaced by another based on a quantitative relationship between the concepts. An example of synecdoche is clearly demonstrated in the poem “Dying, I yearn for immortality...”

“The hour of death, bending down, will give you a drink

Transparent sublimate.

Comparison is a figurative expression built on the comparison of two objects, concepts or states that have common feature, due to which the artistic significance of the first object is enhanced /28/. The simplest form of comparison is usually expressed through auxiliary words - like, exactly, as if, as if, like, as if, as if, similar to, like that, etc.

For example,

“We almost didn’t have time to notice

How he appeared near the wagon.

The eyes of stars turned blue,

Illuminating the exhausted face"

"The wings of black angels are sharp,

There will be a final trial soon.

And raspberry bonfires,

They grow like roses in the snow."

Comparison is the initial stage, from which almost all other paths flow in order of gradation and branching - parallelism, metaphor, metonymy, synecdoche, hyperbole, litotes, etc. /28/

Hyperbole consists of excessive, sometimes to the point of unnatural, enlargement of objects or actions in order to make them more expressive and thereby enhance the impression of them:

“I won’t say a word to anyone for a week,

I’m still sitting on a stone by the sea.”

In poetry, a special role is played by archaic vocabulary, which has a special poetic quality and adds sublimity to speech. Examples of such vocabulary in A. Akhmatova’s poems are the following lines:

“And he came to our city gloomy

In the late evening quiet time..."

“So I, Lord, prostrate myself:

Will the fire of heaven touch..."

“...Let the lips merge in eerie silence

And my heart is torn to pieces with love.”

“The seer looked at me,

And he said: “Christ’s bride!”

Thus, lyric poetry is one of the types of fiction and is a special type of art that consists of conveying feelings and experiences through figurative, allegorical expression. The imagery and sincerity of a lyrical work depends on the choice of certain ways of expressing one’s inner state, the use of certain stylistic devices.

3 Organization of speech in poetry as a means of verbal-figurative depiction of reality

3.1 Versification systems

The internal organization of poetic texts created in different centuries by different peoples has always been associated with the phonetic (sound) features of a particular national language, cultural, historical and literary traditions of the people. Its main determinant was a certain rhythmic ordering of repetitions within poetic lines /58/. The diversity of this ordering among different peoples has formed different systems of versification.

The most ancient system of versification was antique, or metric versification (from the Greek Metron - measure) - a system of versification based on the ordering of the number and arrangement of syllables of a certain length in verse. Vowels in ancient Greek differed in length and frequency.

The alternation of words with such sounds set the rhythm of the verses, which were sung to the accompaniment of a lyre or cithara. Ancient poetry was inseparable from music; accordingly, poetic speech was inextricably linked with song speech. There was no rhyme /17/.

Since the mid-17th century, Russian poetry began to use syllabic versification (Greek Syllabe - syllable) - a system of versification based on the ordering of the number of syllables in a verse. Due to the fact that this system versification was suitable primarily for languages ​​with constant stress - Turkic, Romance (French, Spanish, Italian), etc., in the 30s of the 18th century, syllabic versification in Rus' was abolished by the Trediakovsky-Lomonosov reform and replaced by syllabic-tonic /18/.

Syllabic-tonic versification (Greek Syllabe - syllable and tonos - stress) is a type of tonic versification based on the ordered arrangement of stressed and unstressed syllables in a verse: on strong places of the meter there are exclusively stressed syllables, on weak ones - unstressed.

Tonic versification (Greek Tonos - stress) is a system of versification based on the order of the appearance of stressed syllables in a verse. It is used in languages ​​with strong dynamic stress and weakening of unstressed vowels - Russian, German, English, etc. Within tonic versification, a distinction is made between “pure-tonic” versification and syllabic-tonic versification; in the 1st, only the number of stresses is taken into account; in the 2nd, their location in verse /17/ is also taken into account.

The basis for the organization of poetic speech is rhythm. IN ancient Greece the term rhythmos meant regularity, consistency and harmony in movement /18/. It is rhythm that is most characteristic of music and poetry. The rhythmic organization of poetic works is distinguished by repeating elements that give the movement of poetic lines a special harmony and orderliness.

In the reference book on versification by V.V. Onufriev defines rhythm as the sound structure of a specific poetic line; general orderliness of the sound structure of poetic speech /17/. A special case of rhythm is meter.

Meter (Greek Metron - measure, size) - an orderly alternation of stressed and unstressed syllables (strong and weak points) in a verse, a general scheme of sound rhythm /47/.

The main meters of syllabic-tonic versification are iambic, trochaic, dactyl, amphibrachic, anapest.

Iambic (Greek Iambos) is a two-syllable poetic meter with stress on the second syllable. Most common in Russian versification. Iambic scheme "_/".

For example,

“There is a cherished quality in the closeness of people,

She cannot be overcome by love and passion, -

Let the lips merge in eerie silence

And my heart is torn to pieces by love.”

Choreus (Greek Choreios - “dancing”; obsolete term “trochey”) is a two-syllable meter with stress on the first syllable. Scheme "/_".

For example:

“The ancient city seemed to have died out,

My arrival is strange.

Above his river Vladimir

Raised a black cross."

Dactyl (Greek Daktylos - finger) is a three-syllable meter with stress on the first syllable. Dactyl pattern "/_ _". Example:

"The darkest days of the year

They must become light.

I can’t find words to compare -

Your lips are so tender."

Amphibrachy (Greek Amphibrachys - short on both sides) - a three-syllable meter with stress on the second syllable. Scheme "_/_ ". For example:

"Under the frozen roof of an empty house

I don't count the dead days

I read the letters of the apostles,

I read the words of the psalmist.”

Anapaest (Greek Anapaistos - reflected, i.e. “Reverse dactyl”) - three-syllable meter with stress on the last syllable:

"Was my blessed cradle

Dark city by the menacing river

And the solemn wedding bed,

Above which lay wreaths"

A foot is a repeated combination of a strong and a weak point in poetic meter, serving as a unit of verse length.

A special case of meter is size.

Poetic meter is a way of organizing the sound composition of a separate poetic work or its fragment /51/. In syllabic versification it is determined by the number of syllables; in tonic number of stresses; in metric and syllabic-tonic meter and number of feet. The length of the size is determined by the number of feet: two-foot, three-foot, four-foot, pentameter, etc. The most common sizes are short.

3.3 Stanza

Such a complex rhythmic unit of poetic works as the stanza is based on the order of rhymes in poetry.

A stanza (Greek strophe - turn) is a group of verses with a periodically repeating organization of rhythm and (or) rhyme. As a rule, each stanza is devoted to one thought, and when the stanza changes, the topic also changes /28/. In writing, stanzas are separated by increased intervals. The main feature of a stanza is the repetition of its elements: stops, size, rhyme, number of verses, etc.

The smallest of the stanzas is the couplet (distich) - the simplest type of stanza consisting of two verses: in ancient poetry - distich, in eastern poetry - beit, in syllabic poetry - verse.

If a couplet forms an independent stanza, it is a strophic couplet.

Graphically, such couplets are separated from each other.

As an example, let us cite lines from A. Akhmatova’s poem “It would be better for me to cheerfully call out ditties,” consisting of couplets.

“It would be better for me to rock your baby,

And help you out with fifty dollars a day,

And go to the cemetery on memorial day

Yes, look at God's white lilacs"

The most common type of stanza, including in the works of A. Akhmatova, is the quatrain (quatrain) - a simple stanza of four verses, popular due to the abundance of rhyme systems.

For example:

“I don’t need little happiness,

I’ll take my husband to my sweetheart’s

And, satisfied, tired,

I'll put the baby to bed.

Again I'm in a cool room

Pray to the Mother of God...

It's hard, hard to live as a recluse,

It’s harder to be cheerful”

In addition to quatrains, octaves and terzas were also common in classical poetry of the past.

Octave (octave) - a stanza of eight verses.

"Give me the bitter years of illness,

Choking, insomnia, fever,

Take away both the child and the friend,

And the mysterious gift of song -

So I pray at Your liturgy

After so many tedious days,

So that a cloud over dark Russia

Became a cloud in the glory of the rays."

A tercet (terzetto) is a simple stanza of three verses. An example is “Seaside Sonnet”, written by A. Akhmatova in 1958.

“And it seems so easy,

Whitening in the emerald thicket,

I won’t tell you where the road is...

There among the trunks it is even brighter,

And everything looks like an alley

At the Tsarskoye Selo pond."

There are also stanzas: five lines (quintet), six lines (sextet), seven lines (septima), nine lines (nona), ten lines (decima).

The vast majority of lyrical works are written using rhymes. In poetry it plays a significant rhythm-forming and compositional role. Rhyme (from the Greek rhythmos - “harmoniousness”, “proportionality”) is a sound repetition, mainly at the end of two or more lines /46/.

The important role of rhyme is explained by the main features of poetic speech itself. Its main rhythmic units are verses (lines). And the return at regular intervals of consonant endings of verses clearly highlights the boundaries and comparability of those rhythmic series that represent verses. But rhyme not only especially emphasizes the division of a poetic work into verses. As a figurative and expressive means, in many cases she highlights words that have the main semantic meaning in the verse. This is the fundamental property of rhymed poetry: rhyme is not an end in itself, it works for the content of the work and has an impact on the reader /23/.

Refusal of rhyme is acceptable, but in this case the author must work flawlessly with syllables and letters, otherwise the poetic work cannot be classified as poetry.

Depending on the position of stress in a rhymed word, several types of rhyme are distinguished /47/:

-Masculine rhyme is a rhyme with the stress on the last syllable in the line. For example, in A. Akhmatova’s poem “Dream” the following rhymes are used: you are a dove, fall asleep is the way, garden is a fence, etc.

-Feminine rhyme - a rhyme with stress on the penultimate syllable in the line: damned - chamber, ringing - laws, there - shame, etc.

-Dactylic rhyme - rhyme insipid - Sunday, forgetful - unsmiling, etc. Rarely found in Akhmatova’s poems.

Akhmatova, as a rule, alternates female and male rhymes. For example:

“Oh, there are unique words,

Whoever said them spent too much.

Only blue is inexhaustible

Heavenly and mercy of God."

The arrangement of rhyming lines within a stanza can be arranged in different ways. This order of alternating rhymes in a stanza is called rhyming /28/. The following types of rhymes are possible in quatrains.

a) ring (encircling or enveloping) - the first and fourth, second and third lines rhyme (ABBA).

Oh it was a cool day

In the wonderful city of Petrov.

The sunset lay like a crimson fire,

And the shadow slowly thickened.

b) adjacent (paired) - adjacent lines rhyme (AABB).

Yes, I loved them, those nightly gatherings, -

Above the black coffee is the fragrant winter steam,

And the friend's first glance, helpless and creepy

c) cross - the first and third, second and fourth lines rhyme (ABAB).

I prayed like this: “Quench

A dull thirst for song!"

But no earthly things from the earth

And there was no liberation.

In addition to the above, it is worth noting the idle rhyme “АВСВ”, where the first and third verses do not rhyme. This type of rhyme is widely used when translating poems. For example, a stanza from Akhmatova’s poem “No secrets and no sorrows” with cross rhyme is translated into English as a stanza with a single rhyme.

Not mystery and not sadness, Not the wise will of fate - These meetings have always given Impression of fight and hate.

2. BASIC CONCEPTS OF TRANSLATION THEORY

1 The concept of translation

Translation provides immediate and long-term contact between people and facilitates the exchange of information of various kinds, and this exchange is the basis of human progress, since society can only exist if its members are able to communicate with each other through speech, to carry out speech communication.

Each message exists in two forms, which are not completely identical: the message transmitted by the sender (text for the speaker), and the message perceived by the recipient (text for the listener).

There is potentially and actually a certain degree of commonality between these forms, and in the act of communication they are united into a single whole, that is, they are in relation to each other in terms of communicative equivalence.

The task of translation is to provide a type of interlingual communication in which the created text in the “translating language” could act as a full-fledged communicative replacement for the original and be identified.

Thus, translation can be defined as a type of language mediation in which a text is created in the target language that is communicatively equivalent to the original /35/.

This means that during translation the units of expression are replaced, but the content remains unchanged. Consequently, when translating any text, it is necessary to determine the minimum unit to be translated, or, as it is commonly called, translation units /53/.

A translation unit is understood as such a unit in the source text, to which a correspondence can be found in the translation text, but the component parts of which individually do not have correspondences in the translation text. In other words, a translation unit is the smallest (minimum) linguistic unit in a text in the source language that has a correspondence in the text in the target language.

In linguistics, it is generally accepted that the minimum meaningful unit is a morpheme, but there are numerous cases when it is not the morpheme that has a single, indivisible meaning, but a linguistic unit of a higher level - a word, phrase or even a sentence, or vice versa, in the translating language there is no suitable correspondence to the parts units of source text. In such cases, the unit of translation turns out to be, again, not a morpheme (and often not even a word or phrase), but the entire “higher” unit of the source language.

In fact, the translation unit can be a unit of any language level. In modern linguistics, it is customary to distinguish the following levels of the language hierarchy:

-level of phonemes (for written speech - graphemes);

Morpheme level;

Word level;

-level of phrases;

-level of offers;

-text level /23/.

Depending on what level the translation unit belongs to, they are distinguished accordingly: translation at the level of phonemes (graphemes), at the level of morphemes, at the level of words, at the level of phrases, at the level of sentences, at the text level.

2 Equivalence and adequacy as the main features of translation

One of the main tasks of a translator is to convey the content of the original as completely as possible through the means of another language, while preserving its stylistic and expressive features. However, translation losses are inevitable. In other words, absolute identity of the translation with the original is unattainable, but this does not prevent the implementation of interlingual communication.

Due to the lack of absolute identity between the content of the original and the translation, the term “equivalence” was introduced, denoting the commonality of content, i.e. semantic proximity of the original and translation. Since the importance of maximum agreement between these texts seems obvious, equivalence is usually considered as the main feature and condition for the existence of a translation /40/.

In the works of a number of authors, the main emphasis is on the variability of this concept, on the existence of different types and aspects of equivalence. Werner Koller believes that the concept of equivalence acquires real meaning only when the type of equivalent relations between texts is specified /32/. The type of equivalence is specified by indicating those specific properties of the original that must be preserved in the translation. He distinguishes the following five types of equivalence:

) denotative, providing for the preservation of the substantive content of the text;

) connotative, which involves conveying the connotations of the text through a targeted selection of synonymous linguistic means;

) textual-normative, focused on the genre characteristics of the text, on speech and language norms;

) pragmatic, providing for a certain focus on the recipient;

) formal, focused on conveying artistic, aesthetic, punning, individualizing and other formal features of the original /26/.

Each time, when translating a text, the translator is faced with the task of establishing a hierarchy of values ​​to be preserved in translation, and on its basis - a hierarchy of equivalence requirements in relation to a given text. The hierarchy of requirements varies from text to text. The relationship between the various requirements for translation is variable. However, the main requirement remains to convey the communicative effect of the source text. It implies the determination of that aspect or component that is leading in the conditions of a given communicative act. In other words, it is this equivalence that sets the relationship between other types of equivalence.

Unlike V. Koller, V.N. Komissarov distinguishes the following levels (types) of equivalence of semantic commonality between the translation and the original: 1) the purpose of communication, 2) identification of a situation, 3) “a way of describing situations,” 4) the meaning of syntactic structures and 5) verbal signs /21/.

Along with the term “equivalence,” the concept of “adequacy” is often used. These terms have long been used in translation studies literature.

In some cases, the term “adequacy” is interpreted as interchangeable with the term “equivalence”, as, for example, by J. Catford, who defines translation equivalence as the adequacy of the translation /39/. At the same time, other scientists, in particular V.N. Commissioners consider equivalent and adequate translation as non-identical, although closely interrelated concepts. Komissarov considers the term “adequacy” more broadly. Within the framework of this work, we will rely on his interpretation of adequate translation as a synonym for “good” translation, ensuring the necessary completeness of interlingual communication in specific conditions, while equivalence is characterized as a semantic community of units of language and speech equated to each other /21/.

Thus, we can conclude that an adequate translation always implies a certain (corresponding to a given specific case) level of equivalence, while an equivalent translation is not always adequate.

3 Problems and features of translating poetic texts

Literary translation differs significantly from other types of translation, because involves influencing the recipient by transmitting aesthetic information, the so-called speech creativity. The translation itself works of art represents a certain problem for the translator, dictated by the need to find suitable words and expressions that can most accurately reflect what the original author wanted to say.

Translation of poetic texts, as a type of literary translation, seems even more difficult. Strict restrictions imposed on poetic works due to the specifics of the genre itself, the need to convey in translation not only the content, but also the rhythmic-melodic and compositional-structural side of the original, the dependence of a poetic work on the characteristics of the language in which it is written - all this makes translation of poetry is one of the most difficult areas of translation activity. According to L.S. Barkhudarov, the difficulties of translating poetic works are due to “differences between the structure of the two languages ​​and the strict formal requirements imposed on poetic texts” /7/. The translator needs to convey the rhythm, rhyme, alliteration, assonance, onomatopoeia, sound symbolism and other expressive means of poetry.

This type of translation is primarily an act of interlingual and intercultural communication. In this case, the transfer of poetic information is carried out only with the help of a completed text, each component part of which acquires true content only as part of this integral text and never has meaning in itself. A poetic text, like any other, is a carrier of certain information. Information should be understood as the content side of the text in its entirety /21/.

The information of a poetic text is clearly divided into two fundamentally different subtypes: semantic and aesthetic.

Semantic information (reflection in the mind of the recipient of a certain referent situation) in turn is divided into two types: factual and conceptual /16/.

Factual information is a message about some facts and/or events that took place, are taking place, or will take place in the real or fictional world. Such information is contained in any text, including non-fiction.

However, every literary text contains, in addition to superficial factual information, also deep conceptual semantic information, which is much more important than facts and events. It represents the author's conclusion about what this world is like or what it should or should not be. This information is always implicit in nature and does not have its own verbal carriers - it is objectified not by verbal form, but by means of factual content /59/.

However, in a poetic text there is also a whole array of information conveyed in addition to its own meaning. This informational non-semantic complex can be generally designated by the term aesthetic information /21/. In poetry, and especially in lyric poetry, aesthetic information often dominates not only factual but also conceptual information. It is the transmission of aesthetic information that is the main task of the translator.

Depending on the type of information that the translator wants to reproduce with maximum accuracy, three fundamentally different methods of translating the same poetic original are possible /6/.

Philological translation is a translation of a poetic text, performed in prose and aimed at conveying the factual information of the original as completely as possible. This type of translation is auxiliary and, as a rule, is accompanied by a parallel text of the original or extensive comments. Philological translation does not perform the function of poetic communication, but is of particular importance to the work of a researcher or writer, since it conveys every factual detail of the original with maximum accuracy.

Poetic translation is a method of translating poetry in which the factual information of the original is conveyed in the target language not by poetic speech, but only by poetic speech. This type of translation is very close to the original in terms of words and expressions, as well as stylistically. This type of translation distorts conceptual information and practically does not reproduce aesthetic information.

This type of translation is useful and suitable for special and specific purposes: for example, for fragmentary quotation of poetry in scientific and philological works, for academic editions of literary monuments, designed not for a reader seeking aesthetic communication, but for a narrow circle of specialists who are not interested in the original as aesthetic phenomenon, and as an anatomical object - a source of factual and formal-stylistic information. Since this type of translation is not suitable for conveying aesthetic information, it itself does not participate in the literary process /21/.

Poetic translation as such. This is the only way of translating poetry, intended for poetic communication itself - this type of communication between the author and the recipient, in which, through a poetic text, the simultaneous transmission of two-tier semantic (factual and conceptual) and multi-layered aesthetic information is carried out.

It is important to note that every poetic text is poetic, but not vice versa.

A poetic text is simply text, at least divided into poetic lines.

This condition alone is enough to neutralize the law of theme-rhematic division of a phrase operating in prose and include a special verse intonation, which influences the meaning of linguistic and speech units in a fundamentally new way.

However, in the overwhelming majority of cases, division into lines alone, which does not necessarily coincide with the syntactic division of discourse, is not enough to saturate the text with conceptual and aesthetic information. The poet has at his disposal a large number of other techniques for aesthetically enriching the text - meter, rhythm, rhyme, occasional phonetic structures, rhyme and much more.

But the most important condition for performing this type is that the translator has the talent of a poet, in which the translator will be able to convey all the conceptual and aesthetic information contained in the original text. Only in this case can we talk not about a poetic text, but about a poetic text. And only a poetic text is capable of carrying out poetic communication. Without this condition, the poetic text has nothing to do with poetry /54/.

Thus, poetic translation is the translation of a poetic text created in one language using a poetic text in the target language. This means that the translator must create a new poetic text that is equivalent to the original in its conceptual and aesthetic information, but which, if necessary, uses completely different linguistic and sometimes verse forms. In this case, factual information is reproduced only to the extent that it does not harm the transmission of conceptual and aesthetic information.

Each of the listed types of translation performs a specific function, but it is poetic translation, under certain conditions, that can become a full-fledged replacement for the original in the recipient’s language.

The process of translating poetry poses a number of difficulties and problems. Among the main problems, the following should be highlighted /34/:

)Preservation of national identity. The poem reflects a certain reality associated with the life of a particular people, whose language provides the basis for the embodiment of images. The solution to this problem is possible only by maintaining the organic unity of form and content, in its national conditionality.

The loss of national identity is clearly demonstrated in the translation of the poem “Dream”.

You saw the queen's garden, White palace, luxurious one, And the black patterned fence Before resounding stone perron.

It is due to the translation of the possessive pronoun “Tsaritsyn” by the equivalent of “queen’s”. In this case, the option “tsarinas” would be much more successful.

) Preservation of the spirit and time of the work. The time factor leaves a certain imprint on the work, and it must be reflected in the translation. On the one hand, the translation must meet the needs of the modern reader, on the other hand, in the translation it is necessary to create the atmosphere of the past without excessive archaization.

The work of Anna Akhmatova is rich in archaic vocabulary, which gives a special poetry to her works. Often this vocabulary cannot be reproduced during translation (for example, “city” and “city” are translated the same way as “city”). However, there are cases when a translator avoids exact equivalents for certain reasons. For example, in the poem “Thus I prayed: Quench” the line “So I, Lord, prostrate” is translated as “Thus I, O Lord, before thee bow.” This translation cannot be called unsuccessful, since the poetic vocabulary (“thee” - you, you, poet., outdated) is preserved. However, there is another translation option: “to prostrate oneself” - “to fall on your face.” In this case, this option would have been more successful, but, probably, in order to preserve the rhyme, the translator did not use it.

) The choice between accuracy and beauty of translation. This problem is still unresolved, since there are different opinions about what the translation should be - as accurate as possible or as natural-sounding as possible. This difficulty is caused by the fact that translation is a reflection of the artistic reality of the original, and therefore it is obliged to recreate the form and content of the original in their unity. Unfortunately, in modern practice there are many cases when, in order to maintain accuracy, the translator sacrifices the harmonious sound of a poem. However, even more unfortunate are the cases when the meaning is distorted for the sake of rhyme.

For example, in the analyzed translations, the translator, as a rule, neglects the rhythm (mainly the size changes), the rhyme becomes, as a rule, idle. But in an effort to preserve this rhyme, the translator, as a rule, deviates from the meaning of the poem. Eg:

In intimacy there exists a line That can"t be crossed by passion or love"s art - In awful silence lips melt into one And out of love to pieces bursts the heart. There is a cherished line in the closeness of people, Love and passion cannot cross it ,- Let the lips merge in eerie silence And the heart is torn to pieces with love.

To preserve the rhyme art - heart, the translator transforms the noun “falling in love” into “love's art” (love art). In this poem, falling in love is understood as “the beginning of love,” a feeling that later develops into something more. In translation, it is transformed in “art” - something “artificial”, unreal. In this case, the attempt to preserve rhyme is not justified, as a result the texts are not equivalent.

Semantic equivalence is one of the most important characteristics translation text. The poetic form imposes certain restrictions on translation and requires some sacrifices. However, it is important to note that one cannot sacrifice meaning (meaning the meaning of a poetic text as the minimum unit of meaning in a poetic work), as well as stylistic dominance /61/. If the translator is focused on conveying the form of the poem as closely as possible, then he may lose the meaning and stylistic features of the work, as in the example described.

Speaking about stylistic equivalence, it should be noted that the presence of the same stylistic categories in different languages ​​does not mean their functional adequacy. An example is a comparison of neutral styles in Russian and French. According to Yu.S. Stepanova, the French neutral style is shifted towards bookish speech, and the Russian neutral style - towards familiar speech /36/.

Equivalence at the syntax level has a certain communicative significance, since replacing some syntactic structures with others can affect the overall understanding of the work /38/. For example, in the translation of the poem “You have been inseparable from me for a whole year,” in a number of cases the active voice is replaced with the passive one:

For a whole year you have been inseparable from me, And as before, you are cheerful and young! Are you really not tormented by the Vague song of haunted strings - Those that were tight and ringing before, And now they only moan slightly, And my waxy, dry hand torments them without purpose... It’s true that little is needed for happiness For those who are gentle and loves brightly, That neither jealousy, nor anger, nor vexation touches the young brow. Quiet, quiet, and doesn’t ask for affection, He just looks at me for a long time And with a blissful smile endures The terrible delirium of my oblivion. All year long you are close to me And, like formerly, happy and young! Aren't you tortured already By the traumatized strings" dark song? Those now only lightly moan That once, taut, loudly rang And aimlessly they are torn By my dry, waxen hand. Little is necessary to make happy One who is tender and loving yet, The young forehead is not touched yet By jealousy, rage or regret. He is quiet, does not ask to be tender, Only stars and stars at me And with blissful smile does he bear My oblivion"s dreadful insanity.

It is important to note that this poem discusses why the lyrical hero, despite everything, still remains nearby. It is important to understand the influences on the hero from the outside (the hand torments; jealousy, anger touches). In the translation text, on the contrary - “strings tormented by hand”, “brow touched by anger...”. Thus, there was a change in the nature of the system of images of the poetic text, the active voice was replaced by the passive voice. As a result, the reader's impression changes and incorrect associations remain when reading the translation.

Semantic equivalence of the original and translation texts is considered a necessary condition for the translation process; it exists not between individual elements of these texts, but between texts as a whole /7/, since the information that makes up the semantics of a word is heterogeneous, and qualitatively different components can be distinguished in it. Taken by itself, any of these components can be reproduced by means of another language, but often the simultaneous transmission in translation of all the information contained in a word turns out to be impossible, since the preservation of some parts of the semantics of a word in translation can be achieved only at the expense of the loss of others. parts. In this case, the equivalence of translation is ensured by the reproduction of the communicatively most important (dominant) elements of meaning, the transmission of which is necessary and sufficient in the conditions of a given act of interlingual situation /21/.

The most important task of the translator is to correctly convey the poetic form of a poetic work.

I.S. Alekseeva formulated the following basic requirements for preserving the components of the poetic form and system of images /2/:

) preservation of size and footness.

) preservation of cadence, that is, the presence or absence of the stressed part of the rhyme, since replacing a female rhyme with a male one changes the musical intonation of the verse from energetic, decisive to melodious, indecisive.

These two requirements correspond to the lines of the translation of A. Akhmatova’s poem “Escape”

On your arms, as I lost all my power, Like a little girl you carried me, That on deck of a yacht alabaster Incorruptible day "s light we"d meet.

The translation text, like the original text, is written in 3-foot anapest with female rhyme in the first and third lines, male rhyme in the second and fourth.

) preservation of the type of alternation of rhymes: adjacent - for the song structure, cross - for the plot narrative, encircling - for the sonnet form. This requirement is maintained in the following lines:

How vast these squares are, How echoing and steep the bridges are! Heavy, starless and peaceful Above us is the cover of darkness How spacious are these squares, How resonant bridges and stark! Heavy, peaceful, and starless Is the covering of the dark.

4) preservation in full or mainly of the sound recording;

) maintaining the number and place of lexical and syntactic repetitions in the verse. For example:

That is why we love the sky, the thin air, the fresh wind, and the blackening branches behind the cast-iron fence. That is why we love the strict, watery, dark city, And we love our separations, And the hours of short meetings. For this reason we love the sky, And fresh wind, and air so thin, And the dark tree branches Behind the fence of iron. For this reason we love the strict, Many-watered, and dark city, And we love the parting, And brief meetings" hour.

As a result, a number of provisions can be formulated:

Poems should, as a rule, be translated into verses and, therefore, the work of the translator is akin to the work of the original poet.

In different languages, the same form can have different pragmatic meanings, which can interfere with the adequacy of perception. When translating lyrics, most often the task is to reproduce the impression left by the original.

A literal translation of poetry has the right to exist only for utilitarian purposes or for a highly specialized purpose.

In poetic translation, significant transformations of many aspects of the original are inevitable.

In this case, the main principle is a dialectical approach to the translation problem, consisting in the understanding that the inevitable deviations and additions during poetic translation should be equivalent in their poetic dignity to accurately reproduced details of the original, due to which they not only do not destroy the aesthetic concept of the author, but, on the contrary, help its complete reconstruction.

3. POETRY OF ANNA AKHMATOVA IN THE ASPECT OF TRANSLATION

1 The place of A. Akhmatova’s creativity in women’s poetry of the Silver Age

At the turn of the 19th and 20th centuries, Russian poetry experienced a rebirth, which was later called its Silver Age. Nikolai Gumilyov, Osip Mandelstam, Innokenty Annensky and others famous poets During this period they wrote their best works.

The Silver Age period chronologically coincided with the time of women's struggle for equality in all areas of life /50/. The only full-fledged area of ​​application of social temperament at this time was literature, therefore, among the priceless spiritual treasures with which Russia is currently rich, a special place belongs to women's lyrical poetry of the Silver Age.

Lyric poetry serves as a catalyst for feelings and thoughts. Women's lyrics are accessible to the whole gamut of feelings - love and anger, joy and sadness, despair and hope. She is literally saturated with love.

There are a lot of poets who published their poems from the end of the 19th century to the 1920s. Let's look at some of them.

From the second half of the 90s of the 19th century, a period of symbolism began in Russian poetry. The work of Mirra Lokhvitskaya develops in its vein. The classic form of her lyrical works is combined with explosive, unconventional content. Lokhvitskaya's songs are songs of passion that reveal the hidden secrets of a woman's heart. It was Mirra Lokhvitskaya who was the first to cross the “taboo” imposed on the limits of female confession. In all layers of society, she aroused a thirst to express themselves to the end, to get to the bottom of the essence of human relationships, to understand as fully as possible both the overflows of love feelings and the changes of passion.

In Lokhvitskaya’s love lyrics, all shades of the ancient and eternally young theme of love are heard - from its subtle origins to violent manifestations and “memory of the heart.” Mirra Lokhvitskaya was the most energetic and brilliant poetess of the 19th century /37/.

The work of Sofia Parnok is little known to contemporaries. Of the two and a half hundred poems written by her, no more than a dozen can be added to the golden fund of Russian poetry. And yet, in the lines that were strikingly simple in intonation, there was enormous charm.

The poetess is close to what is now called intellectual poetry. This is philosophical lyricism with its ineradicable thirst for the ideal, attempts to understand both the cosmos of being and the microcosm of one’s self. Under the pen of Sofia Parnok, previously favorite themes specific to women's lyrics are replaced by universal themes /29/.

Zinaida Gippius stood at the origins of Russian symbolism. Her poetry is marked by an expressive combination of intellectual depth and psychological agility, rhythmic sophistication and stylistic mastery.

In her early poems, Gippius professed a cult of loneliness and irrational premonitions, trying to overcome spiritual division and spiritual crisis on the paths of faith in God. None of the poets of the 19th century was so lonely.

In his work, Gippius never surrenders to the flow of emotional elements; it is not spontaneous or impulsive.

But over the years, her poetic speech turned into a single passionate impulse. The symbolic fog cleared and a furious ode began to sound, filled with pain and horror, an apocalyptic feeling of death. This is largely the result of the process of mastering the traditions and forms of biblical lyrics /37/.

Thus, a characteristic feature of women's lyricism of the Silver Age is the inseparability of the poetic word and state of mind. But women found their full poetic voice in the persons of Anna Akhmatova and Marina Tsvetaeva.

Akhmatova and Tsvetaeva, like two opposite sides, outlined the contours of Russian women's poetry in its most classical manifestation, giving their contemporaries and descendants a huge number of bright, original and very sincere poems. But if Akhmatova’s work is the calm and confident power of water, then in Tsvetaeva’s poems we feel a hot, impetuous flame.

Women's poetry always includes a lot of love lyrics. It was with her that Anna Akhmatova’s work began. But from the very first collections of poetry, her lyrics sounded in their own way, with a unique intonation. We find all feminine traits: an attentive gaze, a reverent memory of sweet things, grace and notes of whims in Akhmatova’s early poems, and this gives them true lyricism.

Tsvetaeva’s first poetic experiments also contain many traditional love plots; moreover, the classical, strict form of the sonnet is masterfully used, allowing one to judge the high skill of the young author. But the sound, intonation, intensity of passions of Marina Tsvetaeva are completely different. Her poems always contain impulse and strain, and at the same time a sharpness, even harshness, that is completely unusual for female lyrics. There is no external calm contemplation here - everything is experienced from the inside, each line seems to be born with pain, even when the themes are light and major /25/. And if in Akhmatova’s poems the severity of forms and rhythm are, as a rule, preserved, then Tsvetaeva soon moves away from the severity of sonnets into the world of her own poetic musicality, sometimes far from any traditions, with torn lines and an abundance of exclamation marks.

Both Akhmatova and Tsvetaeva lived and worked at the junction of eras, in a difficult and tragic period Russian history. This confusion and pain penetrates into poetry, because women feel everything that is happening very keenly. And gradually love lyrics go beyond the framework of the relationship between two people: in it one can hear notes of change, breaking stereotypes, and the harsh winds of time /29/.

Through their inner world, through their emotions and experiences, both poetesses revealed to us the spiritual side of their time. They revealed it in a feminine way, brightly and subtly, giving the reader many unforgettable moments.

Their work is characterized by deep, tragic lyricism, extreme sincerity, bordering on confessionalism. Their main theme was always love.

As part of this study, we will dwell in more detail on the work of Anna Akhmatova, who became the most prominent representative of such a literary movement as Acmeism.

2 Acmeistic roots of Anna Akhmatova’s poetry

Acmeism (from the Greek Akme - the highest degree of something, flourishing, maturity, peak, edge) is one of the modernist movements in Russian poetry of the 1910s, the basis of which was the rejection of polysemy and fluidity of images and the desire for material clarity of the image and accuracy, precision of the poetic word /17/.

The “earthly” poetry of the Acmeists is prone to intimacy, aestheticism and poeticization of the feelings of primordial man. Acmeism was characterized by extreme apoliticality, complete indifference to the pressing problems of our time.

The new movement began in the fall of 1911, when a conflict arose in the poetry salon of Vyacheslav Ivanov. Several talented young poets defiantly walked out of the next meeting of the Academy of Verse, outraged by the criticism leveled at them by the “masters” of symbolism.

A year later, in the fall of 1912, six poets who formed the Union of Poets, decided not only formally, but also ideologically to separate from the Symbolists. They organized a new commonwealth, calling themselves “Acmeists.” At the same time, the “Workshop of Poets” as an organizational structure was preserved - the Acmeists remained in it as an internal poetic association /43/.

The Acmeists did not have a detailed philosophical and aesthetic program. But if in the poetry of symbolism the determining factor was transience, the immediacy of being, a certain mystery covered with an aura of mysticism, then a realistic view of things was set as the cornerstone in the poetry of Acmeism. The vague instability and vagueness of symbols was replaced by precise verbal images. The word, according to Acmeists, should have acquired its original meaning.

The highest point in the hierarchy of values ​​for them was culture, Distinctive feature The Acmeist circle of poets was their “organizational cohesion” /57/. Essentially, the Acmeists were not so much an organized movement with a common theoretical platform, but rather a group of talented and very different poets who were united by personal friendship. The Symbolists had nothing like this. The Acmeists immediately acted as a single group.

The main principles of Acmeism were:

liberation of poetry from symbolist appeals to the ideal, returning it to clarity;

rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness;

the desire to give a word a certain, precise meaning;

objectivity and clarity of images, precision of details;

appeal to a person, to the “authenticity” of his feelings;

poeticization of the world of primordial emotions, primitive biological natural principles;

echoes of past literary eras, broad aesthetic associations, “longing for world culture” /20/.

In February 1914, it split. The "Poets' Workshop" was closed. As a literary movement, Acmeism did not last long - about two years, but it had a significant influence on the subsequent work of many poets.

Acmeism has six of the most active participants in the movement: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut.

The early work of Anna Akhmatova expressed many of the principles of acmeistic aesthetics, perceived by the poetess in an individual understanding. However, the nature of her worldview distinguished her from other Acmeists. Blok called her a “real exception” among Acmeists. “Only Akhmatova, as a poet, followed the path of the new artistic realism she discovered, closely connected with the traditions of Russian classical poetry...” wrote Zhirmunsky /26/. The attraction to the classical, strict and harmoniously verified tradition of Russian poetry of the twentieth century was predetermined long before Akhmatova’s emergence as a poet. Important role Her classical education, her childhood spent in Tsarskoe Selo, and her upbringing given in the best traditions of Russian noble culture played a part in this.

A feature of Akhmatova’s early work of poetry is the interpretation of the poet as the guardian of the flesh of the world, its forms, smells and sounds. Everything in her work is permeated with sensations of the surrounding world /29/.

“The stuffy wind blows hotly,

The sun burned my hands

Above me is a vault of air,

Like blue glass;

Immortels smell dry

In a scattered braid.

On the trunk of a gnarled spruce

Ant Highway.

The pond is lazily silvering,

Life is easier in a new way...

Who will I dream about today?

In a light hammock net?

Within the framework of Acmeism, Akhmatova developed an understanding of being as presence, which is an important principle for the philosophy of Acmeism - the principle of “domestication”, habituation of the surrounding space as a form of creative attitude towards life. This homely, intimate feeling of connection was reflected in Akhmatova’s later work.

A purely value-based perception of the real world, including the “prose of life”, was the ideological basis of a new way of embodying emotions /48/.

But contrary to the Acmeistic call to accept reality “in all its beauty and ugliness,” Akhmatova’s lyrics are filled with the deepest drama, an acute sense of the fragility, disharmony of existence, and an approaching catastrophe.

Akhmatova’s poetry has a property that distinguishes it from other Acmeists: it is intimacy, self-absorption, immersion in the secrets of the soul - feminine, complex and refined /49/.

But this intimacy is supported by clarity and rigor, which does not allow any “openness”.

“Oh, be quiet! from exciting passionate speeches

I'm on fire and shaking

And frightened tender eyes,

I'm not taking you away.

Oh, be quiet! in my young heart

You awakened something strange.

Life seems like a wonderful mysterious dream to me

Where are the kissing flowers

Why did you lean towards me like that?

What did you read in my gaze,

Why am I shaking? Why am I on fire?

Leave! Oh, why did you come."

The work of Anna Akhmatova in the group of Acmeists and in Russian poetry in general should be defined as “tragic lyricism.” The tragedy, even in her early poems, is deeper and more distinct, the brighter, sometimes even more joyful, the background against which this tragedy is shown. If her colleagues in Acmeism are defined by the principle of artistic transformation of external reality in the objective aspect, in the energy of action, in the direct experience of culture as memory and as one of the goals of life, then Akhmatova focuses her artistic attention on the internal, emotional sphere, on the formation of personality, on internal conflicts that a person goes through /29/. Let's look at the lines:

It struck three in the dining room,

And saying goodbye, holding the railing,

She seemed to have difficulty speaking:

“That's all... Oh, no, I forgot,

I love you, I loved you

Already then!" - "Yes".

This is Akhmatova’s lyrical conflict. Here you can already feel the tragic intensity that is the source of Akhmatova’s late work.

Main topic Akhmatova's lyrics have always been about love. She developed a special concept of love, the embodiment of which was a psychological and poetic discovery in Russian lyric poetry of the twentieth century /29/. Akhmatova moved away from the symbolist stereotype of depicting love as a refraction in the human soul of certain world essences (universal harmony, elemental or chaotic principles) and focused her attention on “earthly signs”, the psychological aspect of love:

It was stuffy from the burning light,

And his glances are like rays.

I just shuddered: this

Might tame me.

He leaned over - he would say something...

The blood drained from his face.

Let it lie like a tombstone

On my life love.

The essence of love, according to Akhmatova, is dramatic, and not only love without reciprocity, but also “happy.” A “stopped moment” of happiness dies, because the quenching of love is fraught with melancholy and cooling. The poem “There is a cherished trait in the closeness of people...” is devoted to the analysis of this state.

The interpretation of love affected the development of the image of the lyrical heroine. Beneath the external simplicity of her appearance hides a completely new image of a modern woman - with a paradoxical logic of behavior that eludes static definitions, with a “multi-layered” consciousness in which contradictory principles coexist.

Contrasting facets of consciousness are personified in different types lyrical heroine /29/. In some poems she is a representative of literary and artistic bohemia. For example:

“Yes, I loved them, those nightly gatherings,”

There are ice glasses on the small table,

Above the black coffee there is a fragrant, thin steam,

The red fireplace is heavy, winter heat,

The hilarity of a caustic literary joke

And the friend’s first glance, helpless and creepy.”

Sometimes the lyrical “I” is stylized as a village woman:

“My husband whipped me with a patterned one,

Double folded belt.

For you in the casement window

I sit with the fire all night..."

The tendency to alienate the lyrical hero from the author’s “I” is characteristic of the poetics of Acmeism. But if Gumilyov gravitated towards a personalistic form of expression of the lyrical “I”, and the hero of the early Mandelstam “dissolved” in the objectivity of the depicted world, then with Akhmatova the “objectification” of the lyrical heroine occurred differently.

The poetess seemed to be destroying the artistic convention of poetic outpouring. As a result, the “stylistic masks” of the heroine were perceived by readers as authentic, and the lyrical narrative itself as a confession of the soul. The effect of “auto-recognition” was achieved by the author by introducing everyday details into the poem, specific indications of time or place, and imitation of colloquial speech.

“In this gray, everyday dress,

In worn out heels...

But, as before, a burning embrace,

The same fear in the huge eyes.”

Proseization and domestication of the lyrical situation often led to a literal interpretation of the texts and the birth of myths about her personal life.

On the other hand, Akhmatova created an atmosphere of understatement and impenetrable mystery around her poems - the prototypes and addressees of many of her poems are still debated. The combination of the psychological authenticity of the experience with the desire to “remove” the lyrical “I”, to hide it behind a mask image represents one of the new artistic solutions of early Akhmatova /51/.

She created vivid, emotional poetry; more than any other Acmeist, she bridged the gap between poetic and colloquial speech. She avoids metaphorization, the complexity of the epithet, everything is built on the transfer of experience, state of mind, on the search for the most accurate visual image. For example:

“The insomniac nurse has gone to others,

I don't languish over gray ash,

And the tower clock has a crooked hand

The arrow doesn’t seem lethal to me.”

Akhmatova's poems stand out for their simplicity, sincerity, and naturalness. She apparently does not have to make any effort to follow the principles of the school, because loyalty to objects and perceptions flows directly from her nature. Akhmatova acutely feels things - the physiognomy of things, the emotional atmosphere that envelops them. Some detail is inextricably intertwined with her mood, forming one living whole. Early Akhmatova strives for indirect transmission of psychological states through recording external manifestations of human behavior, outlining an event situation, surrounding objects. Eg:

“So helplessly my chest grew cold,

But my steps were light.

I put it on my right hand

The glove from the left hand."

Thus, Acmeism had a great influence on Akhmatova’s work, but at the same time, her poems in their concept differ sharply from the works of other Acmeist poets.

Acmeists refused to embody unknown entities that could not be verified. Akhmatova’s approach to internal experiences was essentially the same, but her unmanifested essences move from the ontological plane to the psychological. The world in Akhmatova’s poems is inseparable from the perceiving consciousness. Therefore, the picture of reality is always doubled: the realities of the external world are valuable in themselves and contain information about the internal state of the heroine.

However, the poetic revolution accomplished by Akhmatova was not that she began to use words with objective meaning to embody emotion, but that she united two spheres of existence - external, objective and internal, subjective, and made the first a plane of expression for the latter. And this, in turn, became a consequence of new - Acmeistic - thinking.

3 Periodization of Anna Akhmatova’s work

Anna Akhmatova lived a bright and tragic life. She witnessed many epochal events in the history of Russia. During the period of her life there were two revolutions, two world wars and a civil war, she experienced a personal tragedy. All these events could not help but be reflected in her work.

Speaking about the periodization of A.A.’s creativity. Akhmatova, it is difficult to come to a single conclusion where one stage ends and the second begins. Creativity A.A. Akhmatova has 4 main stages /51/.

1st period - early. Akhmatova’s first collections were a kind of anthology of love: devoted love, faithful and love betrayals, meetings and separations, joy and feelings of sadness, loneliness, despair - something that is close and understandable to everyone.

Akhmatova’s first collection, “Evening,” was published in 1912 and immediately attracted the attention of literary circles and brought her fame. This collection is a kind of lyrical diary of the poet.

Some poems from the first collection were included in the second, “The Rosary,” which was such a widespread success that it was reprinted eight times.

Contemporaries were struck by the exactingness and maturity of A. Akhmatova’s very first poems /49/. She knew how to talk about trembling feelings and relationships simply and easily, but her frankness did not reduce them to the level of commonplace.

Period 2: mid-1910s - early 1920s. At this time, “White Flock”, “Plantain”, “Anno Domini” were published. During this period there was a gradual transition to civil lyrics. A new concept of poetry as sacrificial service is emerging.

period: mid-1920s - 1940s. This was a difficult and difficult period in Akhmatova’s personal and creative biography: in 1921 N. Gumilyov was shot, after which his son Lev Nikolaevich was repressed several times, whom Akhmatova repeatedly saved from death, having felt all the humiliation and insults that befell mothers and wives of those repressed during the years of Stalinism /5/.

Akhmatova, being a very subtle and deep nature, could not agree with the new poetry, which glorified the destruction of the old world and overthrew the classics from the ship of modernity.

But a powerful gift helped Akhmatova survive life’s trials, adversities, and illnesses. Many critics noted Akhmatova’s extraordinary gift for establishing a connection with her creations not only with the time in which she lived, but also with her readers, whom she felt and saw before her.

In the poems of the 30s and 40s, philosophical motives are clearly heard. Their topics and problems deepen. Akhmatova creates poems about the beloved poet of the Renaissance (“Dante”), about the willpower and beauty of the ancient queen (“Cleopatra”), poems-memories about the beginning of life (“Youth” cycle, “Memory Cellar”).

She is concerned about the eternal philosophical problems of death, life, love. But it was published little and rarely during these years. Her main work of this period is “Requiem”.

period. 1940-60. Final. At this time, the “Seventh Book” was created. "A Poem without a Hero." " Motherland" The theme of patriotism is widely explored, but the main theme of creativity is understatement. Fearing for the life of his son, he writes the series “Glory to the World,” glorifying Stalin. In 1946, her collection of poems “Odd” was banned, but then returned. A.A. Akhmatova forms the seventh book, summing up her work. For her, the number 7 bears the stamp of biblical sacred symbolism. During this period, the book “The Running of Time” was published - a collection of 7 books, two of which were not published separately. The topics are very diverse: themes of war, creativity, philosophical poems, history and time.

Literary critic L.G. Kikhney in his book “The Poetry of Anna Akhmatova. Secrets of Craft" introduces a different periodization. L.G. Kikhney notes that each poet’s artistic comprehension of reality occurs within the framework of a certain worldview model, which determines his main aesthetic and poetic guidelines: the author’s position, the type of lyrical hero, the system of leitmotifs, the status of the word, the specifics of figurative embodiment, genre-compositional and stylistic features and etc. /29/

In the work of Anna Akhmatova, several similar models are identified, going back to the Acmeistic invariant vision of the world. As a result, we can distinguish 3 periods of A.A.’s creativity. Akhmatova, each of which corresponds to a certain angle of the author’s vision, which determines one or another range of ideas and motives, a commonality of poetic means.

1st period - 1909-1914 (collections "Evening", "Rosary"). During this period, the phenomenological model is realized to the greatest extent;

1st period - 1914-1920s (collections "White Flock", "Plantain", "Anno Domini"). During these years, the mythopoetic model of worldview was realized in Akhmatova’s work.

1st period - mid-1930s - 1966 (collections "Reed", "Odd", "The Passage of Time", "Poem without a Hero"). Kikhney defines the worldview model of this period as cultural.

At the same time, the Russian classical philologist and poet M.L. Gasparov identifies 2 main periods - the early one, before the collection “Anno Domini”, which then followed a long pause, and the late one, starting with “Requiem” and “Poem without a Hero”, but then proposes to divide each into 2 more stages, based on an analysis of the changes in features verse by Akhmatova /19/. This periodization reveals the structural features of A.A.’s poems. Akhmatova, so it should be considered in more detail.

According to M.L. Gasparov, the periods of Anna Akhmatova’s work are divided as follows: early Akhmatova’s poems differ from 1909-1913. - “Evening” and “Rosary” and poems 1914-1922. - “White Flock”, “Plantain” and “Anno Domini”. Late Akhmatova has poems from 1935-1946. and 1956-1965

The biographical boundaries between these four periods are quite obvious: in 1913-1914. Akhmatova breaks up with Gumilyov; 1923-1939 - the first, unofficial expulsion of Akhmatova from the press; 1946-1955 - second, official expulsion of Akhmatova from the press.

Tracing the history of the poem by A.A. Akhmatova, one can discern trends operating throughout her work. For example, this is the rise of iambs and the fall of trochees: 1909-1913. the ratio of iambic and trochaic poems will be 28:27%, almost equally, and in 1947-1965. - 45:14%, more than three times more iambs. Iambic traditionally feels like a more monumental meter than trochee; this corresponds to the intuitive feeling of evolution from the “intimate” Akhmatova to the “high” Akhmatova. Another equally constant tendency is towards a lighter verse rhythm: in the early iambic tetrameter there are 54 stress omissions per 100 lines, in the late - 102; This is understandable: a novice poet strives to beat out the rhythm with accents as clearly as possible, an experienced poet no longer needs this and willingly skips them /19/.

Further, in Akhmatova’s verse one can discern trends that come into force only in the middle of her creative path, between the early and late eras. The most noticeable thing is the appeal to large poetic forms: in the early Akhmatova it was only outlined in “Epic Motifs” and “Near the Sea”; in the later Akhmatova it was “Requiem”, “The Path of All the Earth”, and “Northern Elegies”, especially "Poem without a Hero", which she worked on for 25 years. By contrast, small lyrical works become shorter: in the early Akhmatova their length was 13 lines, in the later - 10 lines. This does not harm the monumentality; the emphasized fragmentation makes them seem like fragments of monuments.

Another feature of the late Akhmatova is a more strict rhyme: the percentage of imprecise rhymes, fashionable at the beginning of the century (“courteous-lazy”, “dove-to you”), drops from 10 to 5-6%; this also contributes to the impression of a more classic style /19/. This feature was not taken into account when translating the poems.

The third feature is that in stanzas the reversal from ordinary quatrains to 5-verses and 6-verses becomes more frequent; this is a clear consequence of the experience of working with the 6-line (and then more voluminous) stanza of “Poem without a Hero.”

Let us consider the periods of Anna Akhmatova’s creativity in more detail.

The first period, 1909-1913, is the statement of A.A. Akhmatova in the advanced poetry of her time - in that which has already grown from the experience of Symbolist verse and is now in a hurry to take the next step.

Among the Symbolists, the proportions of the main meters were almost the same as in the 19th century: half of all poems were iambic, a quarter were trochees, a quarter were trisyllabic meters combined, and only from this quarter little by little, no more than 10%, was devoted to experiments with long lines interspersed with other non-classical sizes.

At A.A. Akhmatova’s proportions are completely different: iambs, trochees and dolniks are represented equally, 27-29% each, and trisyllabic meters lag behind to 16%. At the same time, the dolniks are clearly separated from other, more important non-classical sizes, with which they were sometimes confused by the Symbolists.

Second period, 1914-1922 - this is a departure from the intimate record and experiments with sizes that evoke folklore and pathetic associations. During these years A.A. Akhmatova already appears as a mature and prolific poet: during this time, 28% of all her surviving poems were written (for 1909-1913 - only about 13%), during the “White Flock” she wrote an average of 37 poems per year (in during the "Evenings" and "Rosary" - only 28 each), only in the revolutionary years of "Anno Domini" did its productivity become more meager. If in “Evening” and “Rosary” there was 29% of dolnik, then in the alarming “White Flock” and “Plantain” - 20%, and in the harsh “Anno Domini” - 5%. Due to this, the iambic 5-meter increases (previously it lagged behind the 4-meter, now even in almost the very last years of Akhmatova it is ahead of it) and, even more noticeably, two other meters: the trochee 4-meter (from 10 to 16%) and 3-foot anapest (from 7 to 13%). More often than at any other time, these meters appear with dactylic rhymes - a traditional sign of an attitude “on folklore”.

At the same time, Akhmatova combines folklore and solemn intonations.

And the solemn lyrical iambic easily turns into the solemn epic iambic: during these years “Epic Motifs” appeared in blank verse.

In 1917 - 1922, at the time of the pathetic "Anno Domini", in Akhmatov's 5-foot pattern a tense, ascending rhythm, quite rare for Russian verse, was established, in which the second foot is stronger than the first. In the next quatrain, lines 1 and 3 are constructed in this way, and lines 2 and 4 of the former, secondary rhythm alternate with them in contrast:

Like the first spring thunderstorm:

They'll look over your bride's shoulder

My half closed eyes...

As for inaccurate rhyming, in women's rhymes Akhmatova finally switches to the dominant truncated-amplified type (from “morning-wise” to “flame-memory”).

The third period, 1935-1946, after a long break, was marked primarily by a turn to large forms: “Requiem”, “The Path of All the Earth”, “Poem without a Hero”; the large unpreserved work “Enuma Elish” also dates back to this time.

The use of 5-verses and 6-verses in lyrics is also becoming more frequent; Until now, no more than 1-3% of all poems were written by them, and in 1940-1946. - eleven%.

At the same time, “Northern Elegies” are written in white iambic pentameter, and its contrasting alternating rhythm again subordinates the rhythm of the rhymed pentameter: the ascending rhythm of “Anno Domini” becomes a thing of the past.

Over Asia - spring fogs,

And Horribly Bright Tulips

The carpet has been woven for many hundreds of miles...

Imprecise rhymes become one third less than before (instead of 10 - 6.5%): Akhmatova turns to classical rigor. The proliferation of iambic 5-foot in the lyric poetry and the 3-ictic dolnik in the epic decisively pushes aside the 4-foot trochee and 3-foot anapest, and at the same time the iambic 4-meter. The sound of the verse becomes easier due to the increasing omission of stress.

From mother of pearl and agate,

From smoky glass,

So unexpectedly sloping

And it flowed so solemnly...

That hundred-year-old enchantress

Suddenly woke up and was having fun

I wanted it. I have nothing to do with it...

In total, about 22% of all Akhmatova’s poems were written during this third period.

After the 1946 decree, Akhmatova’s work again experienced a ten-year pause, interrupted only by the official cycle “On the Left of the World” in 1950. Then, in 1956-1965, her poetry came to life again: her late period began - about 16% of everything she wrote . The average length of a poem remains, as in the previous period, about 10 lines; the longest poems are those written in 3-foot amphibrachium and which set the tone for the cycle “Secrets of the Craft” -

Just think, it’s also work -

This is a carefree life:

Listen to something from the music

And pass it off jokingly as your own... -

The iambic stop finally begins to decline, and its rhythm returns to the smoothness that it had at the beginning of its evolution. Suddenly, iambic tetrameter comes to life, as at the very beginning of the journey.

The tetrameter trochee almost completely disappears: apparently, it is too small for the majesty that Akhmatova demands for herself. And vice versa, the 3-foot anapest is for the last time intensified to the maximum (12.5-13%), as it once was during the years of “Anno Domini”, but loses its previous folk intonations and acquires purely lyrical ones.

Along with it, the previously inconspicuous 5-foot trochee rises to a maximum (10-11%); he even writes two sonnets, for which this size is not traditional

The number of imprecise rhymes is reduced even more (from 6.5 to 4.5%) - this completes the appearance of the verse according to the classicizing Akhmatova.

Thus, from the above analysis we can conclude that in the early stages of creativity there was a mastery of poetry and the development of one’s own style of versification. The later stages largely pick up and continue each other. The early periods correspond to the “simple”, “material” style of the acmeistic Akhmatova, the later periods correspond to the “dark”, “bookish” style of the old Akhmatova, who feels like the heiress of a bygone era in an alien literary environment.

4 Translation transformations

To fully convey the meaning of the original, the translator is forced to resort to numerous rearrangements, permutations and redistribution of individual semantic elements, called translation transformations.

R.K. Minyar-Beloruchev gives the following definition of transformation. “Transformation is the basis of most translation techniques. It consists of changing the formal or semantic components of the source text while preserving the information intended for transmission /42/.

ME AND. Retzker defines transformations as “techniques of logical thinking, with the help of which we reveal the meaning of a foreign word in context and find its Russian correspondence, which does not coincide with the dictionary one” /52/.

Currently, there are many classifications of translation transformations proposed by various authors.

For example, L.K. Latyshev gives a classification of transformations according to the nature of deviation from interlingual correspondences, in which all translation transformations are divided into /40/:

-Morphological - replacement of one categorical form with another or several: rain (singular) - rains (plural);

-Syntactic - changing the syntactic function of words and phrases. For example, “losing breath and looking for keys.” The predicate was transformed and the participle.

-Stylistic - changing the stylistic coloring of a piece of text. For example, when translating A. Akhmatova’s line “I deliberately pass your red house” into “Your red house I avoid on purpouse,” the book word “pass” is replaced with the neutral “avoid” (avoid). As a result, expression decreases.

-Semantic - a change not only in the form of expression of the content, but also in the content itself: cast iron - iron (iron);

-Mixed - lexical-semantic and syntactic-morphological.

Retzker Ya.I., on the contrary, names only two types of transformations. This linguist talks about such techniques for their implementation as:

1.Grammatical transformations (the same as Latyshev’s morphological and syntactic transformations).

2.Lexical transformations /52/.

Within the framework of this work, the classification proposed by L.S. will be considered in more detail. Barkhudarov. Here translation transformations differ according to formal characteristics on /7/:

Rearrangements;

Substitutions;

Additions;

Omissions.

It should be noted that such a division is largely approximate and conditional. Firstly, in a number of cases, this or that transformation can be interpreted with equal success as one or another type of elementary transformation, and secondly, these four types of elementary translation transformations in practice “in their pure form” are rarely encountered - usually they combine with each other, taking on the character of complex, “integrated” transformations.

4.1 Permutations

Rearrangement as a type of translation transformation is a change in the arrangement (order) of language elements in the translation text compared to the original text. Elements that can be rearranged: words, phrases, parts complex sentence, independent sentences /7/.

The rearrangements are due to a number of reasons, the main one of which is the difference in the structure (word order) of sentences in English and Russian. An English sentence usually begins with a subject followed by a predicate, i.e. the rheme - the center of the message (the most important thing) - comes first. Topic (secondary information) - circumstances are most often located at the end of the sentence.

The word order of a Russian sentence is different: at the beginning of the sentence there are often secondary members (adverbs of time and place), followed by the predicate and only at the end - the subject.

In the translation of poetry, rearrangements are most often due to the need to maintain rhythm or maintain rhyme.

For example, in the translation of A. Akhmatova’s poem “Consolation”, in order to preserve the rhyme in the second stanza, the translator abandoned inversion and retained the sentence structure characteristic of in English.

May your spirit be still an peaceful, There will be no losses now: He is new warrior of God's army, Do not be about him in sorrow.

3.4.2 Substitutions

Substitutions are the most common and diverse type of translation transformations. During the translation process, both grammatical units - forms of words, parts of speech, members of sentences, types of syntactic connections, etc. - and lexical ones can be replaced.

Grammatical transformations include /7/:

a) Replacement of word forms - replacement of number in nouns, tense in verbs, etc. The reason for such transformations may be a discrepancy between the norms of two languages, or a change in the grammatical form of a word is caused by purely stylistic reasons. For example, in the poem “So many stones have been thrown at me” the plural noun “window” is translated as “window”, the comparative adverb “earlier” is translated as “early”. The tense of the verb also changes: “The tower has become” - “Tower stands”.

b) Part of speech substitutions are the most common type of substitution. “I"m grateful to” (grateful) - “thank you.” The simplest example is the so-called “pronominalization,” or replacing a noun with a pronoun.

c) Replacement of sentence members. When replacing sentence members in the translation text, the syntactic scheme of sentence construction occurs.

Thus, in most cases, when translating from English into Russian Russian offer does not overlap with English, does not coincide with it in structure. Often the structure of a Russian sentence in translation is completely different from the structure of an English sentence. It has a different order of words, a different sequence of parts of a sentence, and often a different order of arrangement of the sentences themselves - main, subordinate and introductory. In a number of cases, the parts of speech that express members of an English sentence are conveyed accordingly by other parts of speech. All this explains the widespread use of grammatical transformations in translation.

Syntactic transformations include: replacing the main clause with a subordinate clause and vice versa, replacing an essay with a subordination and vice versa, replacing a conjunction with a non-conjunction.

When translating poetic texts, the replacement most often used is simple sentence complex and vice versa. This kind of replacement is often caused by grammatical reasons - structural discrepancies between the sentences of the source and target languages. For example:

And we walk on the fresh snow As if we were mortal people.

In this example, the comparative phrase is replaced by a subordinate clause of an unreal condition.

With lexical substitutions, individual lexical units of the source language by lexical units of the target language, which are not their dictionary equivalents, that is, taken in isolation, have a different referential meaning than the units of the source language conveyed by them in translation /21/.

Most often there are three cases - specification, generalization and replacement based on cause-and-effect relationships (replacing an effect with a cause and a cause with an effect).

a) Concretization is the replacement of a word or phrase in the source language with a broader meaning with a word or phrase in the target language with a narrower meaning /7/. Most often, this type of transformation is applied when translating from English into Russian, since the Russian language is characterized by greater specificity than the corresponding lexical units of the English language.

An example of specification when translating from Russian into English is the correct selection of the equivalent of the noun “hand” when translating various poems by A. Akhmatova:

“And the pigeon from my palms eats wheat...”

“Waxy, dry hand...” - “By my dry, waxen hand...”

“Exhausted, in your arms...” - “On your arms, as I lost all my power...”

b) Generalization - a technique opposite to specification, consists in replacing the particular with a general, specific concept with a generic one.

When analyzing translations of Anna Akhmatova’s poetic texts, one can find a number of unsuccessful examples of generalization, since the general sense of atmosphere is lost.

In the poem “Everything promised it to me” in the line “On the rusty cast iron of the fence,” the noun “cast iron” is translated as “iron.” As a result, what the reader sees is not old, rough black cast iron, but rust-eaten iron, which affects the overall impression.

c) Replacement of an effect with a cause and vice versa. During the translation process, lexical substitutions often take place based on cause-and-effect relationships between concepts. Thus, a word or phrase in a foreign language can be replaced during translation by a word or phrase in a foreign language, which, according to logical connections, denotes the cause of the action or state indicated by the translated unit of the language.

For example, “We don’t know how to say goodbye” - “To say goodbye we don"t know.”

It is important to take into account that in poetic texts the equivalence of translation is ensured at the level not of individual elements of the text (words in particular), but of the entire translated text as a whole. In other words, there are untranslatable particulars, but there are no untranslatable texts.

3.4.3 Additions

Addition refers to the introduction of additional words or structures into the structure of a sentence /55/.

The reasons for the need for lexical additions in the translation text may be different.

The most common of them can be called “formal lack of expression” (absence) of the semantic components of a phrase in the source language /6/. However, in poetic texts, additions are due to other reasons.

As a rule, this is the need to maintain the rhythm and rhyme of the poem. For example, to preserve the structure of the poem “I Stopped Smiling,” additional structures were introduced:

I have ceased and desisted from smiling The frosty wind chills lips - say so long To one hope of which will be lesser, Instead there will be one more song.

From the point of view of vocabulary, English speech fully allows the use of a synonymous pair of verbs, which in Russian mean the same thing.

Likewise, introducing the preposition “Instead there” is not considered an error, since it does not affect the meaning of the poem.

Often, lexical additions are determined by the need to convey in the translation text the meanings expressed in the original by grammatical means. For example, when transmitting English plural forms of nouns that do not have this form in Russian /7/.

4.4 Omissions

Omission is the exact opposite of addition. When translating, words that are most often omitted are those that are semantically redundant in terms of their semantic content /7/.

However, in translations of Anna Akhmatova’s poems, omission is not used as an adequate translation transformation, since the author of the translation strives to reproduce all units of the original. The omission of any lexical units is more of a mistake than a translation technique. An example of such an omission is the translation of the poem “Under the frozen roof of an empty dwelling.”

As you know, Akhmatova’s work is permeated with religious notes; her trees have a certain sacred meaning.

A significant part of the meaning is lost when translating the line “And in the Bible red Maple Leaf Laid on the Song of Songs" with the following version: "And in the Bible a leaf On Song of Songs is sitting."

As a result, not only the indication of the tree to which the leaf belongs is lost, but also of the color, the symbolism of which is also important in the work of A. Akhmatova.

5 Analysis of translations of individual poems by Anna Akhmatova

This thesis examines translations of Anna Akhmatova’s works from the “White Flock” cycle. The author of the translations is Ilya Shambat, a Russian-American-Australian poet-translator. I. Shambat Born in Moscow, USSR, he began writing poetry at the age of 11. From the age of 12 he lived in the USA. Currently lives in Melbourne, Australia. Among his works is the book “Poems for Julia”, translations from Akhmatova, Tsvetaeva, Mandelstam, etc. /63/

As part of the research project, 50 translations of Anna Akhmatova’s poems were analyzed, however, due to the large volume, only a few were examined in detail.

When analyzing translations, it is necessary to take into account the peculiarities of the vocabulary of two languages, since an incorrect interpretation of the meaning of words or phrases can lead to both a loss of expressiveness and the meaning of the work as a whole.

The lexical level in the general tier structure of the language studies the problems of the word, its structure and meaning. The main unit of the lexical level is the word, which can be defined as the main two-sided, fully formed, independently existing unit of language, which serves to name (name) objects, phenomena, relationships between objects of reality, as well as qualities, actions, processes, etc. /24/

The lexical meaning of each individual lexical-semantic variant of a word represents a complex unity. It is convenient to consider the composition of its components using the principle of dividing speech information into information that constitutes the subject of the message, but is not related to the act of communication, and information related to the conditions and participants of communication. Then the first part of the information corresponds to the denotative meaning of the word, which names the concept. Through a concept that reflects reality, denotative meaning correlates with extra-linguistic reality. This part is mandatory.

The second part of the message, associated with the conditions and participants of communication, corresponds to connotation. By connotation, we understand the emotional, evaluative or stylistic coloring of a linguistic unit of a usual (fixed in the language system) or occasional character. In a broad sense, this is any component that complements the subject-conceptual (or denotative), as well as grammatical content of a language unit and gives it an expressive function based on information correlated with the empirical, cultural-historical, worldview knowledge of speakers of a given language, with emotional or the speaker’s value relationship to the signified or with stylistic registers characterizing the conditions of speech, the sphere of linguistic activity, social relations of participants in speech, its form, etc. In a narrow sense, this is a component of the meaning, meaning of a linguistic unit, acting in the secondary function of a name, which, when used in speech, complements its objective meaning with an associative-figurative idea of ​​the designated reality based on awareness of the internal form of the name, i.e. signs correlated with literally trope or figure of speech that motivated the rethinking of this expression /56/.

In the structure of connotation, the associative-figurative component acts as the basis for evaluative qualification and stylistic marking, connecting the denotative and connotative content of a linguistic unit. The latter gives a “total” expressive coloring to the entire expression, which can be dominated by: figurative representation (“empty skies”, “gentle coolness”); assessment qualification - emotional (“arrow”), quantitative (“rain”); any of the stylistic registers (solemn “to erect”). Usual connotation is formed by suffixes of subjective assessment, conscious internal shape, onomatopoeia, alliteration, expressively colored words and phraseological units. However, connotation is characterized by non-localization, spread throughout the text, creating the effect of subtext.

Due to the fact that lyric poetry is subjective and uses images and pictures to express feelings that constitute the inner essence of human nature, the connotational meaning here is special meaning.

The figurativeness and expressiveness of a lyrical work depends on the correctly chosen vocabulary.

Discussing the choice of vocabulary, let us turn to A. Akhmatova’s poem “He was jealous, anxious and tender” and the translation of this poem by I. Shambat.

He was jealous, anxious and tender, Like God's sun, he loved me, And so that she would not sing about the past, He killed my white bird. He said, entering the little room at sunset: “Love me, laugh, write poetry!” And I buried the cheerful bird behind a round well near an old alder tree. I promised him that I would not cry, But my heart became stone, And it seems to me that always and everywhere I will hear her sweet voice. He was jealous, fearful and tender, He loved me like God's only light, And that she not sing of the past times He killed my bird colored white. He said, in the lighthouse at sundown: “Love me, laugh and write poetry!” And I buried the joyous songbird Behind a round well near a tree I promised that I would. not mourn her. But my heart turned to stone without choice, And it seems to me that everywhere And always I"ll hear her sweet voice.

First of all, it is worth noting such a trope as metaphor. By "white bird" is meant individuality and freedom, pure and innocent as it is. Therefore, this phrase should be used as an indivisible whole. When translating this poem, the translator transformed “white bird” into “bird colored white”, which is an unsuccessful translation option, because in this case there is an indication of a physical sign (coloring) and it seems that we are really talking about a real “bird” white».

When describing the hero’s feelings for the poetess, adjectives such as “jealous, anxious, tender” were used. In the translation text these words are translated as “jealous, fearful and tender”. If “jealous” and “tender” are completely equivalent adjectives when translated, then “fearful” cannot in any way be translated as “anxious.” In this text, “anxious” means “full of anxiety, excitement” /51/. Indeed, the hero of the work was constantly worried that he would lose his beloved. The word “fearful” in the explanatory dictionary is given as meaning “frightened, full of horror,” which cannot in any way be used as an equivalent translation option.

In the next line, Akhmatova continues the description of the hero’s feelings: “How God’s sun loved me.” In this line one can feel the reverent feeling experienced by the hero for the poetess; he treats her as something sacred. It is noteworthy that it was the archaic ending “-ie” that was used, which evokes associations with religious feeling, with sacred awe. However, from the point of view of morphology, it is not possible to translate this technique, so I. Shambat translated “God’s Sun” as “God "s only light." It was the indication of the “only light” that made it possible to feel the same sacred awe and love experienced by the hero. This replacement, including the addition of the word “only” and the metonymic, specifying replacement of the word “sun” with the word “light”, is completely justified, since it retains expressiveness in translation.

However, the stylistically sublime vocabulary could not be reproduced in the third line: the poetic “spoke” was translated by the neutral “said”.

In the sixth line, the author used generalization - instead of indicating a specific type of tree (“alder”), a simple reference to “tree” was used. It was not in vain that Akhmatova pointed specifically to alder, since alder was previously considered a sacred tree. As a result, the poem begins to lose the sacred, religious meaning embedded in the words.

From the point of view of vocabulary, the author of the translation made a serious mistake. There should not have been any difficulties in translating the word “svetlitsa”, since the Russian-English dictionary gives the exact translation - “front room”. However, the translator translates “svetlitsa” as “light house”, which means “lighthouse”.

This poem is written in iambic 5-foot, with cross-female and masculine rhyme.

The translation text retains the meter, it is also written in iambic 5-foot, but the rhythm and rhyme are lost in the 3rd line. The rhyme in the translation text can be described as empty - only even lines with a masculine rhyme rhyme.

Let us turn to the poem “I rarely remember you,” which A. Akhmatova dedicated to Alexander Blok, whose meeting made an indelible impression on the poetess.

I rarely think about you And I’m not captivated by your fate, But the mark of an insignificant meeting with you is not erased from my soul. I deliberately pass your red house, Your red house is above the muddy river, But I know that I bitterly disturb Your sun-pierced peace. Let it not be you who bent over my lips, begging for love, Let it not be you who immortalized my longings with golden verses, - I secretly conjure over the future, If the evening is completely blue, And I anticipate a second meeting, An inevitable meeting with you. I remember you only rarely And your fate I do not view But the mark won"t be stripped from my soul Of the meaningless meeting with you. Your red house I avoid on purpose, Your red house murky river beside, But I know, that I am disturbing Gravely your heart- pierced respite. Would it weren't you that, on to my lips pressing, Prayed of love, and for love did wish, Would it weren't you that with golden verses Immortalized my anguish Over future I do secret magic If the evening is truly blue, And I divine a second meeting, Unavoidable meeting with you.

In the translation of this poem, one can also encounter errors associated with the wrong choice of equivalent during translation due to a similar, but not identical meaning.

For example, the phrase “insignificant meeting” is translated as “meaningless meeting”. After meeting with A. Blok, Akhmatova could not forget about him. As a result, when she spoke of an insignificant meeting with him, she meant that this meeting seemed to mean little, but left a certain mark. It could not be considered meaningless, without any significance.

In the same poem, the word “peace” is translated as “respite” (“respite”), which is not a very good choice. From a stylistic point of view, the noun “peace” is connoted as a sublime, bookish word. “Peace” in this poem also means “a serene state” that characterizes the spiritual plane of a person, which is reflected in the dictionary /51/.

In the third stanza the word “languor” is translated as “anguish”. Firstly, the word “languor” is a plural noun, as a result of which a feeling of duration of the experienced state is created. The lyrical heroine emphasizes that she has been “languishing” for quite a long time; this quality was lost in translation. Secondly, “anguish” means “suffering, torment” and has a rather negative connotation, while “languishing” means, according to dictionaries, “sorrow, sadness” /51/. In the context of Akhmatova’s poem, this word has a rather positive connotation.

In the last quatrain, the verb “to conjure” is translated as “to do magic.” Both words mean “to perform magical, mysterious techniques,” but the verb “to conjure” is used here in the meaning of “to guess, make a wish,” as a result an atmosphere of something mysterious, enigmatic is created, which the combination “to do magic,” meaning “to perform miracles,” does not have. "

From the point of view of syntax, one can note a number of both successful and unsuccessful options in the translation. For example, the translator managed to save repeated constructions:

I pass your red house on purpose, Your red house is above the muddy river... Let it not be you above my lips... Let it not be you with golden verses... Your red house I avoid on purpose, Your red house murky river beside... Would it not"t you that, on to my lips pressing… Would it not"t you that with golden verses…

On the other hand, refusing inversion in the line “Your red house...” leads to a decrease in expression, since the emphasis is on the red color.

Speaking about preserving the structure of the poem, we note that the cross rhyme in the original was transformed into a single rhyme. Even lines rhyme.

Among the transformations, it is worth noting the translation of the construction “Let it not be you” with the subjunctive mood “Would it not be you”. Thus, the translator, resorting to some poetic license, gives the translation greater poetry.

“And for love did wish” was also added in the second stanza. This addition does not harm the meaning, and is used to maintain rhyme and rhythm.

But in some translations the addition technique is unfounded. Let's consider the translation of the first stanza of the poem “After all, somewhere there is simple life and light...”.

Somewhere is light and happy, in elation, Transparent, warm and simple life there is. A man across the fence has a conversation With a girl before the evening, and the bees Hear only the tenderest of conversation.

In the first two lines, in addition to adding additional definitions, the syntactic relationships in the sentence change. As a result, when translated, instead of “simple life” and “transparent, warm and cheerful light,” we get “light” and “happy, enthusiastic, transparent, warm and simple life.”

The rhythm of the poem is not maintained either. The rhyme also changes - from a combination of female and male rhymes (M-F-M-F-M) in the original, in translation the reverse combination is obtained - F-M-F-M-F.

The syntax error is the following. Let's look at the line

… and the beesonly the tenderest of conversation.

From these words it seems that the particle “only” refers to the word “conversation”, and not to “bees”, as in the original.

As a result, instead of the meaning “only bees hear the conversation,” it turns out “bees hear only the conversation.”

It is also worth noting the generalization technique in the third line: the noun “neighbor” is translated as “man”. As a result, indications of acquaintance and housing in the neighborhood are erased.

Another not entirely successful example of translation can be demonstrated in the following poem:

My voice is weak, but my will does not weaken, I even feel better without love. The sky is high, the mountain wind is blowing and my thoughts are pure. The insomniac nurse has gone to others, I do not languish over the gray ash, And the crooked hand of the tower clock does not seem like a deadly arrow to me. How the past loses power over the heart! Liberation is near. I'll forgive everything. Watching the ray run up and down the wet spring ivy. My voice is weak, but will do not get weaker. It has become still better without love, The sky is tall, the mountain wind is blowing My thoughts are sinless to true God above. The sleeplessness has gone to other places, I do not on gray ashes count my sorrow, And the skewed arrow of the clock face Does not look to me like a deadly arrow. How past over the heart is losing power! Freedom is near. I will forgive all yet, Watching, as the ray of sun runs up and down The springtime vine that with spring rain is wet.

Here the translator avoids inversion in the very first line, while the rules of the English language completely allow translating the first line as “Weak is my voice.” As a result, expression is reduced.

In the same line you can give an example of an unsuccessful translation from a morphological point of view. Thus, the verb “do” can be replaced by the modal verb “shall”, in which case the modality of the statement that the voice will never weaken (i.e. will not weaken) will be more strongly expressed.

It is also a morphological error to translate “arrow” and “arrow” with the same word “arrow”, despite the fact that it is the presence of the suffix that creates the opposition between the clock hand and the arrow of a bow.

From a lexical point of view, the translation for the phrase “sky is tall” was incorrectly chosen, since “tall” means “above average height” and refers to a person. Here a more acceptable translation would be the adjective “high”.

It is also incorrect to use the phrase “true God”, since from the point of view of any religion there is one God, and he cannot be false.

The adjective “crooked” is translated as skewed (oblique), as a result the meaning becomes unclear, while a crooked hand is immediately represented on a tower clock. In addition, the omission technique used when mentioning a tower clock leads to the reader imagining a regular dial. Consequently, much of the meaning is lost in translation.

The same technique of omission is unsuccessful when translating the line “The insomniac nurse has gone to others.” The word "nurse" is omitted, resulting in a loss of expression and the important device of personification simply not being used, and adding the word "places" at the end of the line contributes to this.

This poem was written in 1913, during the period of the breakdown of Akhmatova’s relationship with her husband N. Gumilyov. This poem is about choice life path, about the preference for service over art love relationships.

Is yours White House and I’ll leave the quiet garden. Let life be deserted and bright. I will glorify you, in my poems, as a woman could not glorify you. And you remember your dear friend In the paradise you created for her eyes, And I sell rare goods - I sell your love and tenderness. I"ll leave your quiet yard and your white house - Let life be empty and with light complete. I"ll sing the glory to you in my verse Like not one woman has sung glory yet. And that dear girlfriend you remember In heaven you created for her sight, I"m trading product that is very rare - I sell your tenderness and loving light.

From the point of view of denotative, objective meaning, the poem practically does not lose its meaning during translation, but the degree of expressiveness of the statements decreases.

For example, when translating the word “deserted,” which in this context means rather “like a desert, lonely, calm,” the noun “empty” is used, which means “empty, deserted,” indicating the spatial attribute of the “cavity” of an object. In addition, the adjective "empty" is stylistically neutral, while the short adjective "empty" has a more elevated meaning. Thus, this translation option is unsuccessful, since as a result the expressive coloring is lost.

In the same poem, the word “girlfriend” is used as a translation of the word “girlfriend”, indicating a gender characteristic. While in the original this word means more like “companion” and defines something higher than just a person’s gender. By using a literal translation, the author has lost the connotative meaning.

The same literal translation is used in the phrase “trading product” (I trade goods). According to the explanatory dictionary of the English language, the word “trading” is interpreted as “business activity, buying and selling activity”; when interpreting the noun “product”, the emphasis is placed specifically on the industrial manufacturing process /62/. In the poem, the words “trade” and “commodity” mean something different, namely “to make something into an article of trade” and “that which is an article of trade,” respectively. Indeed, Akhmatova turns love and tenderness - something intangible, intangible, into poems that will be sold as an item of trade. Thus, this phrase in translation takes on a meaning close to economic terminology, without any connotative meaning, which leads to a loss of expression.

At the same time, there are also successful translation options that maintain a sublime tone and expressiveness. For example, “glorify” is translated as “sing the glory to you” (sing the glory of you), “svetla” as “with light complete”. As a result, the meaning embedded in the words of the original is fully conveyed and at the same time the expressive coloring is preserved.

In this poem, from a lexical point of view, there is a translation error. The word “love” is translated as “loving light.” Love light cannot be synonymous with love, while in the poem what is meant is love, in the full sense of the word. This replacement, when translated into English, was probably made to preserve the rhyme (sight - light), but this leads to even greater losses in terms of vocabulary.

From a morphological point of view, there were also some inaccuracies in the translation. For example, in the line “Like not one woman has sung glory yet,” a more successful option would be to use the modal verb “can” in the past form, instead of “has.” The verb “to have” in this context suggests that the man, for some reason, has not yet been glorified, while “can” simultaneously indicates the reason - the inability of a woman to glorify the way Akhmatova would have done.

From the point of view of syntax, the loss of the refrain “You, you” should be considered a translation failure, since the repeated reference to the addressee of the address speaks of its peculiarity, uniqueness, creating the impression that the addressee is the only one for the author. During the translation, in order to preserve the overall rhythm of the poem, this technique was omitted, which led to the same loss of expressiveness.

Let's start analyzing the translation of the poem “Ah! It's you again. Not a boy in love..."

A! It's you again. Not as a boy in love, but as a bold, stern, unyielding husband, you entered this house and look at me. The silence before the storm is terrible to my soul. You ask what I did with you, entrusted to me forever by love and fate. I betrayed you. And to repeat this - Oh, if you could ever get tired! So the dead man speaks, disturbing the murderer's sleep, So the angel of death waits at the fatal bed. Forgive me now. The Lord taught me to forgive. My flesh languishes in a sorrowful illness, And my free spirit already rests serenely. I remember only the garden, see-through, autumnal, tender, And the cries of the cranes, and the black fields... Oh, how sweet the earth was to me with you! Ah! It is you again. You enter in this house Not as a kid in love, but as a husband Courageous, harsh and in control. The calm before the storm is fearful to my soul. You ask me what it is that I have done of late With given unto me forever love and fate. I have betrayed you. And this to repeat -- Oh, if you could one moment tire of it! The killer"s sleep is haunted, dead man said, Death"s angel thus awaits me at deathbed. Forgive me now. Lord teaches to forgive. In burning agony my flesh does live, And already the spirit gently sleeps, A garden I recall, tender with autumn leaves And cries of cranes, and the black fields around.. How sweet it would be with you underground!

In the second line you can immediately see two translation errors. According to the Great Encyclopedic Dictionary, “youth” is a teenager, a young man /51/. The English Dictionary defines the noun “kid” - child, baby. In this case, it would be much more successful to use the noun “youth” - young man.

In the same line, the word “husband” is translated as “husband”, which indicates the bond of marriage. However, in the poem the noun “husband” is used in the meaning of “a man in adulthood,” thereby Akhmatova contrasts a young man and a man. The translator did not take this aspect into account.

The translation in the last stanza of the noun “spirit”, which has a positive connotation and has a synonym “soul”, is unsuccessful. This word is translated "spirit", meaning "evil spirit" /62/.

This poem also contains many stylistic mistakes, which consist in translating words of bookish, sublime vocabulary into neutral words. For example, the verb “to hand over” with a solemn connotation is translated as “to give”; the verb “to begin” in the meaning of “to die” is translated as “to sleep” (sleep); the book “serenely” is translated by the neutral “gently” (calmly).

The translation of this poem uses the addition technique. In the line “You ask me what it is that I have done of late,” “of late” is an addition. From the point of view of vocabulary, this transformation is not required, and rather, on the contrary, is undesirable, since it indicates a time (lately, recently), which, firstly, is not in the original text, and secondly, does not fit in meaning, so how the hero of the poem asks not about a specific period of time, but about his entire life. This transformation was used to preserve the rhythm of the poem and rhyme.

For the same purpose, the noun "earth" was translated as "underground". As a result, the poem, written in iambic 6-foot, retained its meter in the target language, and the paired rhyme with alternating male and female rhymes was also preserved. However, a grave mistake was made, since the meaning of the poem was completely changed due to the incorrect translation of the last line.

"Underground" means "below the ground." Simultaneously with the lexical one, stylistic and morphological errors. The adjective “sweet” refers to bookish, poetic vocabulary, while “sweet” has a neutral connotation; Also, during the transformation, the interjection “O” was omitted. As a result, speech loses expression and approaches conversational speech. Additionally, the past tense verb "to be" is translated into English as the subjunctive verb "would have been".

As a result, instead of memories of a happy past, “Oh, how sweet the earth was with you!” the meaning turns out to be approximately the following: “How pleasant it would be for you and me to lie underground.”

This example indicates that in an attempt to preserve the rhyme, the translator moved away from the meaning of the poem. As a result, the impact was completely different.

Let's start analyzing the poem “Heavy are you, love memory!”

You are heavy, loving memory! For me to sing and burn in your smoke, For others it is only a flame, To warm a cold soul. To warm a satiated body, They need my tears... For this reason, Lord, did I sing, For this reason did I partake of love! Let me drink such poison, So that I become dumb, And wash away my inglorious glory with radiant oblivion. True love's memory, You are heavy! In your smoke I sing and burn, And the rest -- is only fire To keep the chilled soul warm. To keep warm the sated body, They need my tears for this Did I for this sing your song, God Did I take part of love for this? Let me drink of such a poison, That I would be deaf and dumb, And my unglorious glory Wash away to the final crumb.

In this poem, Akhmatova expresses regret that no one can feel her works, the suffering in which she knew from her own experience, as keenly as the poetess herself.

Starting from the first lines, an inaccuracy should be noted in the translation: Akhmatova’s love is always true, therefore, when translating the noun “love”, adding the adjective “true” is incorrect in the case of the works of this particular poetess.

The translation option for the noun “flame”, which relates to book vocabulary, was unsuccessfully chosen. The noun "fire" is neutral. In this case, it would be better to choose the equivalent “flame”.

The phrase “they need” is translated as “they need.” As a result, coloring (“need” refers to outdated vocabulary) and expressive impact are lost as a result of a change in voice.

Adjectives “sated” is translated as “saturated”. For the correct interpretation of the poem in translation, it is necessary to preserve the meaning of “re”.

Of the gross errors, it should be noted the translation of the verb “to take communion” as “take part” (to take part). Communion is a sacred act, and the meaning of this act in Akhmatova’s poems must be conveyed. To take communion is to give away part of oneself, while “take part” is translated as “to take part.” As a result, lexical, stylistic and semantic errors were made at the same time.

The translation of the phrase “radiant oblivion” with the variant “to the final crumb” is also incorrect in many aspects. First, the religious motives for sacred oblivion are completely lost. Secondly, the chosen option can in no case be equivalent in terms of style and lexical meaning of words.

Such unsuccessful translation options do not allow us to convey all the emotions that Akhmatova put into the poem.

In addition, the translator avoids inversion (“True love”s memory, You are heavy!” - “You are heavy, love memory!”), impersonal sentences are transformed into definitely personal ones (“I will sing and burn in your smoke” - “In your smoke I sing and burn"), the parallelism of the structures is not respected:

Did I for this sing your song, God? Did I take part of love for this?

Let's start analyzing the poem “The Blue Varnish Tarnishes in the Sky,” written during the period of the breakdown of Akhmatova’s relationship with her husband N. Gumilyov.

The blue varnish in the sky has faded, and the song of the ocarina can be heard more clearly. It's just a pipe made of clay, there's nothing for her to complain about like that. Who told her my sins, And why does she forgive me? Or is this voice repeating your last poems to me?..The blue lacquer dims of heaven, And the song is better heard. It"s the little trumpet made of dirt, There"s no reason for her to complain. Why does she forgive me, And whoever told her of my sins? Or is that this voice that now repeats The last poems that you wrote for me?

It is immediately worth noting that during translation, the 6-foot trochee was transformed into a 4-foot trochee, which affected the overall rhythm of the poem. The nature of the rhyme (cross) remained the same, but the rhyme became inaccurate.

A number of lexical errors should be noted in this poem.

For example, the noun “clay” is translated as “dirt”, “pipe” - as “little trumpet” (small pipe).

The clerical language “There’s no reason” was used, resulting in a decrease in poetic speech.

In addition, a transformation was applied: the noun “ocarina” was omitted, as a result the metaphor (“the song of the ocarina”) was lost, and the meaning of the poem was lost, since the ocarina is the key symbol in the poem. The lyrical heroine hears music in the distance and imagines the words of her former lover.

Thus, when analyzing translations of Akhmatova’s poems, we can conclude that the translator sought to convey factual information, often without noticing the hidden aesthetic meaning of the work. For the most part, his translations can be called adequate, with the exception of a few. The main translation transformation used by the translator is permutations dictated by the difference in sentence structures of the Russian and English languages. Additions are usually used to maintain rhythm or create rhyme. Techniques of omission, as a rule, lead to a loss of meaning or expressive coloring.

translation poetry Akhmatova transformation

CONCLUSION

In the final qualifying work, a study was carried out of the features and problems of translating Anna Akhmatova’s poetic texts.

As part of the scientific research project, it was established that poetry belongs to the genre of fiction. It was determined that the main function of a literary text is the aesthetic function. Main feature Lyric poetry, when compared with epic and dramatic poetry, is a deepening into oneself, a description not of events, but of internal experiences. When considering the concepts of “equivalence” and “adequacy”, it was noted that they are not identical, but in translation theory they often overlap. Every adequate text is equivalent, but not every equivalent text will be considered adequate.

As part of the final qualifying work, the works of Anna Akhmatova were examined and the influence of Acmeism on her work was determined. Akhmatova’s poems are considered “earthly”; she is not used to expressing her feelings through unearthly, transcendental images. Her feelings are conveyed through a description of the surrounding world, smells, sounds, and surrounding objects. An important feature that distinguishes her from other Acmeists is her deepening into herself, the transmission of her inner state through images of the surrounding world.

To analyze the translations, about 50 texts of translations of A. Akhmatova’s poems from the collection “The White Flock” were selected, brief conclusions on which are presented in the theoretical part of the thesis in the form of examples and explanations of definitions. Due to the large volume of written material, in the third part only a few translations of poems were considered, which reflected the specifics of I. Shambat’s translations.

Based on the analysis of these translations, the following conclusions can be drawn.

Anna Akhmatova's poetics is based on associations. By mentioning a certain object of reality, the poetess evokes in the reader’s memory certain memories that characterize the author’s state of mind, forcing him to experience the same thing. Her lyrics are allegorical, but not overly metaphorical. Akhmatova does not overuse metaphor, which, on the one hand, allows her poems to be translated almost “word by word.” But on the other hand, the translator should be more careful, since the likelihood of not noticing the means of expression used and translating the text literally increases. A similar example can be observed when translating the poem “He was jealous, anxious and tender.”

The most popular transformation used by translator Ilya Shambat is permutation caused by differences in the syntactic structures of Russian and English. To preserve the syntactic structure of the English language, the translator often neglected inversions, which can significantly affect the reader’s emotional perception.

The translator strives to reproduce every word in the translation, trying to avoid omissions. They are used rather to preserve rhythm or rhyme, rather than to convey the deep meaning of the poems.

Additions are often used. Their main purpose in these translations, again, is to preserve the rhyme or rhythm of the poem. In some translations, additions do not affect the meaning or stylistic coloring poems (such as the use of paired synonyms in the translation of the poem “I Stopped Smiling”), in others, on the contrary, they give additional meaning, which entails an incorrect perception of the poem.

The author of the translations largely managed to follow one of the principles of translating poetry - a poem is translated by a poem. However, often the translator had to change the rhythm of the poem, which is explained by the difference in the lexical structure of the two languages. These changes are not particularly desirable, since the rhythm of the poem often gives the poem dynamics or the necessary lyrical notes. However, they are quite acceptable if it is impossible to maintain the original rhythm.

The following can be said about rhyme: the translator manages to preserve the character of the rhyme - the cross rhyme in the original remains cross in the translation, the encircling rhyme remains encircling, the parallel rhyme remains parallel. Often, idle rhyme is allowed in translation texts; the first and third lines do not rhyme, but this does not affect the melody of the poem. However, the type of rhyme often changes during translation: a female rhyme changes to a male one and vice versa. These changes affect the overall rhythm of translation.

The translation texts contain a significant number of inaccuracies in terms of morphology, which is caused by significant differences between synthetic Russian and analytical English. The author of the translation makes virtually no attempt to find optimal translation methods (for example, to find a way to differentiate the cognate nouns “strelka” and “arrow” during translation).

In general, the analyzed translations of Anna Akhmatova’s poems are quite adequate from the point of view of translation. However, some translations of poems, such as, for example, “Ah, it’s you again...” cannot be considered not only adequate, but also equivalent at any level of equivalence.

Thus, translation of poetry can be characterized as the most difficult type of translation, since in addition to aesthetic information, which sometimes requires searching for completely different ways of expression in a foreign language, the translator needs to preserve the external structure of the text, ideally leaving the same as in the original, rhythm, size, type and character of rhyme.

In the analyzed translations, the translator was able to create the external form of the poems, however, the plan of content was not fully conveyed.

From the point of view of the types of translation of poetic texts, the translations performed by Ilya Shambat can be designated as poetic, but not poetic.

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There is a side to Anna Akhmatova’s multifaceted and original creativity that deserves special attention. This is her translation activity. Akhmatova's translations are a unique anthology of world poetry. Knowledge of several foreign languages ​​and poetic talent allowed Anna Andreevna to translate more than two hundred poetic works. Among them are the poetry of Victor Hugo, Henrik Ibsen, Rainer Maria Rilke.
Akhmatova translated from a variety of languages ​​of the world: Armenian, Bulgarian, Greek, French, Italian, Korean, Polish, Portuguese, etc. A special place in Akhmatova’s translation lyrics is occupied by oriental poetry, which was in tune with the mental makeup and appearance of the poetess. Anna Andreevna knew and loved the Ukrainian language well. She brilliantly translated Ivan Franko’s book “The Ziv’yale of the Leaves.” This translation was highly appreciated by Maxim Rylsky: “Akhmatova’s translations really excite me.” It is known that Rylsky even had a plan to write an article “Franco in Akhmatova’s translation,” which, unfortunately, did not come true.

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