ПРАКТИЧНІ ЗАНЯТТЯ 11-12. ХУДОЖНІЙ ПЕРЕКЛАД ПОЕЗІЇ.

1. Поезія як вид літератури в художньому перекладі.

2. Поетична матриця та особливості перекладу поезій ( за І. Корунцем).
3. Техніка поетичного перекладу за Т. Казаковою.
4. Переклад творів В. Шекспіра.

Рекомендована література:

1. Казакова Т. А. Imagery in Translation. Практикум по художественному переводу.

– СПб., 2003. - 320 с .(English – Russian).
2. Коптілов В. В. Теорія і практика перекладу. – К.: Юніверс, 2002. - 280 с.
3. Корунець І. В. Теорія і практика перекладу (аспектний переклад). – Вінниця:
Нова книга, 2003. - 448 с.
4. Попович А. Проблемы художественного перевода. - М.: Высшая школа, 1980.–
199 с.
5. Алимов В. В., Артемьева Ю. В. Художественный перевод. Практический курс
перевода. – М.: Академия, 2010. - 256 с.
6. Солодуб Ю. П., Альбрехт Ф. Б., Кузнецов А. Теория и практика
художественного перевода.- М.: Академия, 2005. - 304 с.
7. Модестов В С Художественный перевод: История. Теория. Практика. – М.,
2006.
8. Зорівчак Р. П .Реалія і переклад. На матеріалі англомовних перекладів
української прози. – Львів, 1989. - 216 с.

Завдання Kazakova T. Imagery in Translation / Section 1: Translating Poetry

Techniques. P. 21-29.

POETRYUNIT1: TRANSLATING WILLIAM SHAKESPEARE INTO

RUSSIAN

Introductory Notes

William Shakespeare was and is the most mysterious au-of the brilliant Elizabethan age in
English literature. From lifetime to the present day his name, the dates of his birth and h, and the
very authorship of this or that work attributed to have been disputed. Some scholars stand firmly
on the Strat-ian position and say that the great Shakespeare was born in Stratford-on-Avon
(1564-1616), did not have any university education, spent a few years in London as a second-rate
actor in Globe Theatre, during which time he managed to write the dramatic works in the history
of European literature and a purely of the most delightful poems.
Some would still dispute this tradition and say that Shakes-re was the greatest mystification of the
time perpetrated by a jp of aristocratic poets. They would mention a variety of les, from
Robert Devereux, the Earl of Essex (1566-1601) to ;er Manners, the Earl of Rutland (1576-
1612), and bring ar-lents for the co-authorship of Elizabeth Sidney, Countess of land, in the
works that go under the name of Shakespeare1. h a line of argument may be quite strong when
applied to the of great poets, adventurers, explorers and rebels. Suffice it to ill a few names, like
 Sir Philip Sidney, Christopher Marlowe, Ben Johnson, Sir Walter Raleigh, and others who liked
to play both with life and death, with art and poetry, as well as with time and space.
Whoever their real author was, Shakespeare's Sonnets occupy a place apart among his
works. It was for them that Shakespeare was called "mellifluous and honey tongued" by his con-
temporaries, though, later, rejected and sharply criticised by John Dryden and George Stephens in
the 18"1 century only to be resurrected in the age of Romanticism.
First published in 1609 as a complete sequence of 154 sonnets, nowadays, in terms of the
number of researches and popularity among readers, the Sonnets are second only to Hamlet. Some
features of Shakespeare's poetry make him sound quite unusual for his time. His style was more
direct and natural than that of many of his contemporaries, who paid tribute to bookish stylistic
devices and conventional imagery. The best of Shakespeare's sonnets are filled with a sense of
reality.
The basis of his imagery, like in most poems of the English Renaissance, was comparison.
According to the aesthetics of the era, a subject should not be named directly, or even described; it
should be expressed through some likeness between it and any other subject thus making a conceit to
be guessed. Shakespeare was particularly skillful at that and especially resourceful in inventing
ever new similes and metaphors. Some of them were quite high-flown, others were almost prosaic.
Death and life, the sun and the moon, Time and Love, the friend and the beloved, all of these eternal
topics would appear in his sonnets in a diversity of forms, motions, colours and relations. The inner
world of his lyrical hero is affectionate, bright and somewhat sad. He plays with the reader; he asks
questions to puzzle him and gives tricky answers to obscure the obvious. Many hints, allusions and
enigmatic formulas have remained quite a mystery to the present day. A thoughtful reader may find
his own answers to the mystery of Shakespeare's sonnets, as have many of his translators.
Shakespeare's sonnets usually follow the classical English pattern (less sophisticated than its
Italian counterpart): 14 lines of iambic pentameter arranged in three quatrains and a
concluding couplet. Deviations from the standard form are rare. What is special about his
sonnet is its paradoxical development. According to the sonnet rules, a sonnet should be
devoted to a chosen theme, which had to be formulated in the very first line, while the rest
of the poem was a path througth to the conclusion. Shakespeare au daciously broke the
rules, making his thoughts run in contradictory manner, and his concluding couplets are
very often unexpected.
Considered as a whole, Shakespeare's sonnets remind one of a romance in poetic
letters; we can find certain cycles in them devoted to one and the same topic, written in a
particular mood, or concerned with one image.
The history of translation of these sonnets into Russian is very long and
complicated. The sonnets were not translated into Russian before the 19th century, the best
translations were done in the 20th century. The most famous and widely published transla-
tions are the work of Samuel Marshak (1930s), who translated the complete set of all
154 sonnets. Boris Pasternak tackled only four of them but his translations are, as always
with him, quite individual, subjective and expressive. One of the latest (but not the least)
Russian translators of Shakespeare is Sergey Stepanov, a writer, poet and translator from
St. Petersburg, who has re-searcheed the chronology of the Shakespearean sonnets.
Stepanov, an ardent supporter of the Rutlandian version of the Shakespeare mystery, has
done much to identify the part of Elizabeth Sidney, Duchess of Rutland, in the sonnets 2.
The sonnet under consideration is known as Sonnet 73 (the true chronology is
questionable, though). It is one of the best and, probably, most lyrical of the cycle. The
poet creates a cosmic landscape in words comparing his life first to the late autumn,
then to the fading light of sunset, and at last to the failing fire. The final couplet of the
sonnet is a paradox in itself, while it also contradicts the theme of the poem. Death is
there, but there also love. Between this death and this love, stand two human soul alone in
that vast and cold universe, fragile and yet capable < resisting the power of it.
 The three Russian translations we include here view th poem as if from different
positions, thus providing different versions of it. You may try to detect the translator's
position wi regard to the original poem in each version. The one by Marsh* is marked as it
were by a well-arranged cosmic view, wise and unhurried. Human, visible and almost
palpable is the realm translated by Pasternak. Tragedy and irony dominate in Stepanov
version through the choice of words and nervous prosody. In the Task for Comparison we
shall come back to all these and other differences to compare and evaluate them.
A general problem for translating the Sonnets is the arch ic diction: one has to
decide whether to follow the elevated style in Russian or to use contemporary style with
only subtle hig flown components. The first approach will make the text sour solemn and
remote in time (as we can observe in Marshak's translation), while the second admits that
Shakespeare himself w much ahead of his time in both poetic diction and imagery, ai not
archaic at all (in Pasternak's and Stepanov's versions we c< find the second principle in
action).
Chosen as the task for translation, Sonnet 102 is more tran parent, if such a description
is appropriate to Shakespeare's роеtry at all. Its imagery is not very sophisticated, though
again mark» by irony. Translating it, one may come across such problems the poetic
name Philomel for the nightingale, which further e hances the difficulty with the
feminine gender of the image English, whereas соловей is masculine in Russian.
Neither is easy to transfer the array of such key words in the sonnet as lay hymns, song,
pipe, music altogether into Russian. Difficulty m; be caused by such archaic forms as
doth and burthens, and n only by the forms but also by their functions, too. We have
decide whether to translate them in a way that reflects the poetry translation of the early 17th
century or to present them in contemporaries Russian as turns of phrase natural and not especially
poetic Shakespeare's time. As to the basic metaphor of the text, it is у important to balance
between such terms as merchandize 1 sing, and to retain the parallel between doth publish
every ere and burthens every bough.
SONNET 73
That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruin'd choirs, where late the sweet birds sang.
In me thou see'st the twilight of such day
As after sunset fadeth in the west;
Which by and by black night doth take away,
Death's second self, that seals up all in rest.
In me thou see'st the glowing of such fire,
That on the ashes of his youth doth lie,
As the death-bed whereon it must expire,
Consumed with that which it was nourisht by.
This thou perceivest, which makes thy love more strong
To love that well which thou must leave ere long.