RECEPTION OF PERI'S IMAGE IN RUSSIAN POETRY OF THE XIX CENTURY (THE SECOND ARTICLE)
AUTHORSHIP INTRODUCTION
Tatiana A. Yashina Having come to Russian poetry thanks to the
Department of Translation and Methods of Translation, Penza State creative work of the Irish writer Thomas Moore, Technological University, Penza, Russian Federation . whose poems attracted the attention of ORCID: https://orcid.org/0000-0002-7628-9416 Russian writers with their freedom–loving E-mail: [email protected] ideas, enthusiasm for Eastern Orientalism, the Dmitry N. Zhatkin image of the peri began to appear with stable
Department of Translation and Methods of Translation, Penza State periodicity in the works of such outstanding Technological University, Penza, Russian Federation. representatives of Russian poetry of the XIX ORCID: https://orcid.org/0000-0001-5673-8395 century as M.Yu. Lermontov, N.A. Nekrasov, E-mail: [email protected] Received in: Approved in: K.F. Ryleev, A.P. Maikov, A.A. Fet. A huge 2021-07-02 2021-08-012 influence on the development of Eastern DOI: https://doi.org/10.24115/S2446-62202021731342p.560-566 poetry of the Irish bard and the appearance of «a sustainable mage–symbol of the peri in Russian literature» (ZHATKIN, DOLGOV, 2007) was influenced by the appearance of V.A Zhukovsky's interpretation of the second frame tale «Paradise and the Peri» from Thomas Moore's oriental romance «Lalla Rookh». V.A Zhukovsky, as one of the most talented translators of the golden age of the Russian literature, managed to «pass the poem through his own perception» (ZHATKIN, DOLGOV, 2007), weaken the «oriental flavor of the work» (ZHATKIN, DOLGOV, 2007), to make it interesting and understandable for the Russian reader. Many critics note Zhukovsky's focused change in the interpretation of the image of the peri, which originates in ancient Iranian mythology and appears as a winged creature descending from heaven in the guise of a beautiful, young woman, surrounded by fragrances and capable, thanks to supernatural powers, to help ordinary earthly mortals to fight against evil demons. as well as evoking clear associations when compared with the image of a good fairy, a sorceress, which was later entrenched in the European literary tradition. V.A Zhukovsky managed to give the peri «a special ethereal airiness characteristic of Christian angels» and thereby make this image close and accessible to Russian readers of the 19th–20th centuries. It should be noted that a special surge of interest to the image of peri was observed in Russia in the first half of the 19th century, which was directly related to the admiration of many representatives of the Russian intelligentsia for the work of Thomas Moore, who was perceived as a «creator equal to Byron» (ZHATKIN, DOLGOV, 2007), and even his introduction into the triumvirate of English poets along with J. –G. Byron and Walter Scott. In the 1820–1830s, many famous writers and translators often turned to the work of Thomas Moore, borrowing images and motives of his oriental romance «Lalla Rookh», mainly relying on the interpretation of the frame tale «Paradise and the Peri» written by V.A. Zhukovsky. V.A. Zhukovsky's translation talent was noted by K.F.Ryleev in the poem «Message to N.I. Gnedich» (1821), in which the future Decembrist highly appreciates Zhukovsky's poetic abilities and his role in the development of the Russian literary tradition, the aesthetic tastes of the whole generations of young writers, before whom he «in response to scolding people» opens the door «for the young peri» (RYLEEV, 1971). The image of peri, traditionally replacing a young woman with a special charm and beauty hidden from prying eyes, the ability to captivate men and make them forget about everything, appears in M.Y. Lermontov's poem «Sashka» and his later poem «Tamara», describing insidious charm of an oriental beauty. All the same image of the sultry oriental beauty–peri is recreated in the poem written by N.A. Nekrasov «The Turkish Woman», filled with elements of oriental exoticism in describing the customs and traditions of the inhabitants of countries where the Koran is worshiped. However, despite the gradual decline of interest to the poetry of the Irish bard, associated with the rethinking of his work, which over time began to seem «elegantly pretentious and unnatural <...> under the influence of Byron's powerful talent» (ZHATKIN, DOLGOV, 2007), the symbolic image of the peri has not lost its relevance, although in most cases it has «turned into an ordinary cliche peculiar to the work of secondary poets» (ZHATKIN, DOLGOV, 2007).
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It is worth paying attention to the fact that in the second half of the 19th century, such significant poets as A.A. Fet and A.N. Maikov could not get around in their work the symbolic image of the peri. In the poem by A.A. Fet «Give me your hand, give me your hand, wicked peri ...» in a distinctive and graceful manner, the image of peri is presented as a fatal beauty taking the muse from the poet. A.N.Maikov, on the contrary, draws the image of ethereal peri angels, taking with them to heaven the soul of a deceased person, creating an atmosphere of solemnity of Christian descriptions by choosing special lexical means of expression (YASHINA, 2010). An interesting fact is that in D.S. Merezhkovsky's poem «Orvasi» (1886), published already at the end of the 19th century, we meet the same familiar image of a peri, an elusive oriental beauty who captivated the heart of a lyric hero trying to capture her wonderful features in liana leaves, in a stream, in peacock feathers, in a flower bud. The previously studied material about the peculiarities of the perception of the image of the peri by the talented poets and translators of Thomas Moore's works – I.I. Kozlov, D.P.Oznobishin, P.A.Vyzemsky, helps to make the conclusion that the symbolic image of peri, which appeared in the original compositions of Russian poets, in general, reflects the mood of the literary era, allows you to express the attitude of the lyric hero to the ideal of female beauty, is a definite evidence of the continuity of the traditions of English literature in Russian society. In this article, we continue to explore the peculiarities of the reception of the symbolic image of the peri, attracting the samples of the work of the second–row poets, which cannot be unnoticed when reconstructing the complete and detailed picture of the reception of the image of the peri in the 19th century Russian literature.
LITERATURE REVIEW The image of the peri came to Russian poetry from the works of Thomas Moore, special attention to this problem was paid in the studies of M.P. Alekseev, A.N. Girivenko, D.N. Zhatkin, T.A. Yashina, V.A.Vasina. Among the works of recent years, conceptually related to this article, it should be noted the book written by M.P. Alekseev «Russian–English literary relations (XVIII – first half of the XIX century)» (ALEKSEEV, 1982), the monograph by A.N. Girivenko «Russian poetic translation in the cultural the context of the era of romanticism» (GIRIVENKO, 2000), the dissertation of V.A Vasina «Thomas Moore in the creative perception of V.A Zhukovsky» (VASINA, 2007), the article by D.N. Zhatkin and A. P. Dolgov «Peri in Russian poetry» (ZHATKIN, DOLGOV, 2007), the monograph by T.A. Yashina «The Works of Thomas Moore in Russian translations of the first third of the 19th century» (YASHINA, 2010). The article is also of interest to A.N. Girivenko's publications on the status of poetic translation in Russian literature in the first third of the 19th century.
MATERIALS AND METHODS The material for the study was the works of Russian poetry, which recreated the symbolic image of the Peri and were published in the 19th century. These are poetic texts of the authors of the «second row» – D.V. Davydov, I.P. Myatlev, E.P. Rostopchina, L.A. Yakubovich, V.S. Pecherin, S.Ya. Nadson, P.F. Yakubovich. In the process of studying the scientific problem, comparative– historical, comparative, cultural–historical and historical–typological approaches were used, as well as methods of complex analysis. Methodologically, the study is based on fundamental works in the field of historical poetics, comparative studies, the history of Russian translated fiction, theory and history of poetic translation (ALEXANDER; VESELOVSKY; ALEXEY; VESELOVSKY; ZHIRMUNSKY; ALEKSEEV; LEVIN; FEDOROV and others).
RESULTS Turning to the problem of the perception of the image of the peri, let us name the previously unremarked evidence associated with the appearance of this symbolic figure in Russian poetry of the 19th century. Thus, in previous studies, we noted many facts of borrowing some motives and images from the oriental romance of Thomas Moore «Lalla Rookh», in particular the image of the peri, which became popular among such classics of Russian literature of the 19th century as A.S. Pushkin, M.Yu. Lermontov , I.I. Kozlov, N.V. Gogol, I.S. Turgenev, thanks
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• 562 Reception of peri's image in Russian poetry of the XIX century (the second article) to the appearance of the interpretation of V.A. Zhukovsky, which had a tremendous influence on the formation of aesthetic and literary views of the representatives of the Russian intelligentsia. The symbolic image of peri is often found in the works of «second–row» poets and writers. So, in 1833, the poem of the poet and memoirist, religious thinker V.S Pecherin «Smolny Monastery» was published. Pecherin's works, as well as his letters and memoirs, often reflected his pro–Western views, philosophical considerations about the future of Russia. «Smolny Monastery» is one of the works of the cycle «Poetic Fantasies», in which the poet paints pictures related to memories about Russia, which are closely connected with his perception of Russian society. Arguing, in a manner typical for many Russian authors of the 19th century, about the destructive beauty of a young woman, whose image, accompanied by the original epithets «blue eyes» and «pearl speech», appears surrounded by airy peri, overshadowing all other beauties, the author of «Smolny Monastery» focuses on the experiences of the lyrical hero, who is ready, like peri, having tasted earthly blessings, to disappear into heaven: «Eshche ya pil iz chashi, polnoj yada! / No, bozhe moj, kak sladok etot yad! / Za mig odin, za dva prekrasnyh vzglyada / Cvet zhizni i vsyu zhizn' otdat' ya rad! / Vozdushny peri predo mnoj mel'kali, / Mezh nih cariceyu ona byla; / Mne ochi golubinye siyali, / Mne rech' ee zhemchuzhnaya tekla» (GINZBURG, 1972). In V.S. Pecherin's understanding, poetry and music are as elusive and barely accessible as the beauty of a woman behind a mist of airy peri, creating an atmosphere of mystery and solemnity: «Itak, druz'ya, kak vidno, ya reshilsya / Izlit' vsyu dushu v zvukah i stihah! / O! esli b ves' ya v zvuki prevratilsya / I tak zhe, kak oni, ischeznul v nebesah!» (GINZBURG, 1972). Following the tradition of V.S. Pecherin, expressed in a subtle, philosophical perception of the image of the peri, D.V. Davydov, known as a lyricist who praised the carousing, a master of puns, who pays great attention to female beauty in his poems, which was typical of a warrior– singer, charismatic favorite of the female audience, refers to the mysterious image of the peri in the poem «Voshla, kak Psiheya, tomna i stydliva, / Kak yunaya peri, strojna i krasiva, – / I shepot vostorga bezhit po ustam, / I krestyatsya ved'my, i toshno chertyam!» (DAVYDOV, 1984). In this poem of the madrigal type, there is an original comparison of a young woman with the ancient Greek goddess Psyche and the eastern peri, based on the intertwining of two different cultures, helping to bring two mythological creatures closer together, due to their common features such as the ability, in the classical representation, to appear in the form of an air girls with wings surrounded by a aura of subtle scent. This comparison helps, in our opinion, to enhance the element of delight from the unearthly beauty of a young virgin, to uplift her above everyone else and figuratively oppose dark forces. The principle of antithesis in the poetic work of D.V. Davydov is based on the opposition of a young maiden, whose attractiveness is comparable to the beauty of ancient mythological creatures, to the rest of the guests at the ball, appearing as «witches» and «devils» (DAVYDOV, 1984), which helps the poet to expose in a humorous, veiled form the disadvantages of a secular society, where envy, gossip and matchmaking are present. In the poem «Black Disease» (1835) E.P. Rostopchina, a Russian poet, playwright and translator, compares herself with a «passionate» peri (ROSTOPCHINA, 2019), looking for a way home, touching upon the theme of unrequited love. Being the mistress of the literary salon, whose visitors were often A.S. Pushkin, V.A. Zhukovsky, N.V. Gogol, P.A. Vyazemsky and many other famous writers of the first half of the 19th century, who actively supported her work, E.P. Rostopchina herself often became a muse for the lyrical hero in the works of various poets, delighted them with her beauty and talent. Poets such as F.I. Tyutchev, A.A. Fet, N.P. Ogarev and many others dedicated their poems to her. «The Black Disease» by E.P. Rostopchina is her story about the impossibility of being close to her beloved, about the passions that overwhelm her on a frosty evening and about the impossibility of being transported to a warm land of happiness, where one can freely love and taste forbidden heavenly fruits: «A ya, rozhdennaya dlya solnca i vesny, / Perenesennaya iz yuzhnoj storony / Oshibkoyu sud'by na stuzhu polunochi, – / Mongol'skih hanov doch' na beregah Moskvy, – / Ya vyanu, ya skorblyu, – i vse mne snites' vy – / Poludnya zharkogo plenitel'nye nochi…» (ROSTOPCHINA, 2019). Carrying her thoughts to the east, E.P. Rostopchina mentions the dwelling of peri – Eden, where she herself would like to find a way in search of eternal spring and «fulfillment of thoughts»: «K tebe
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Tatiana A. Yashina; Dmitry N. Zhatkin • 563 moi mechty, – kak dumy strastnoj Peri / K edemu tajnomu, – letyat, begut volnoj – / Volnoj kipucheyu neukrotimoj lavy!.. » (ROSTOPCHINA, 2019). The next Russian poet, who did not have a special talent, but became close to many writers of the first half of the 19th century so that he was eagerly published in popular magazines and almanacs of that era, L.A. Yakubovich, in a stereotyped manner, resorts to using of the image of the peri for a symbolic appeal to a young girl in the poem «To the Sister» (1835): «No ty, kak peri molodaya, / Glyadi na chudnyj lik pevca, / Ego sud'bu vospominaya, / ZHalej v nem muzha i otca» (GINZBURG, 1972). In the poems of L.Ya. Yakubovich, one can trace a hidden comparison of the deep drama of Byron's poetry and the «pacified melancholy», «artificial pretentiousness» of the works of Thomas Moore (ZHATKIN, D.N., DOLGOV, 2007). Sharing thus the opinion of the majority of representatives of the Russian intelligentsia that the creativity of the Irish bard can hardly compete with the «mighty talent» (ZHATKIN, D.N., DOLGOV, 2007) the genius of English literature, L.Ya. Yakubovich, hinting at the inaccessibility of the deep meaning of Byron's works for understanding the young peri, points to her frivolity, usually inherent in young ladies, encourages more mature readers to study the heritage of the great romantic poet: «Vnimaj emu bez sozhalen'ya, / Bez slez, bez skorbi, bez strastej, / Ishchi v nem slov dlya vyrazhen'ya / Uzhasnyh muk dushi svoej…» (GINZBURG, 1972). In the poem of L.A. Yakubovich, outdated lexemes are used – «lanits», «lik», words of high poetic coloring – «charovat'», «vopl'», «skorb'», necessary to create an atmosphere of solemnity. Closer to the middle of the 19th century, two poems came from the Russian poet I.P. Myatlev, known for his humorous works – «Fantasy on Chopin's Mazurka, played by Liszt in a concert on April 22, 1842» (1842) and «Violin» (1843). After retirement in the status of current position councilor, I.P. Myatlev opened a salon in St. Petersburg and arranged musical evenings, to which A.S. Pushkin, P.A. Vyazemsky, V.A. Zhukovsky, M.Yu. Lermontov came with pleasure. Being on friendly terms with many famous writers of that era, I.P. Myatlev earned, thanks to his work, not only a reputation of a witty man, but also got a unique opportunity to participate actively in the literary life of Russia, to get acquainted with the latest works of Russian classics. In the poem «Fantasy on a Mazurka ...» Myatlev in a comic form describes a meeting at a ball with a young beauty who «delights everyone, like Kharita» (MYATLEV, 1969), the ancient Greek goddess, personifying grace and attractiveness; she charms the lyrical hero, but suddenly turns away from him and goes to another man: «No tol'ko vymolvil – i glyad', / Ona menya vnezapno pokidaet, / S drugim idet, emu vnimaet, / A ya kak vkopannyj stoyu!» (MYATLEV, 1969). Salvation from melancholy, the lyrical hero of the work «Fantasy on a Mazurka ...» sees in the sky where the peri angels live, helping people to restore peace of mind: «Ya v nebo unesus' paryashcheyu mechtoyu: / Tam somny angelov, tam peri divnyj roj, / Oni mne vozvratyat i radost' i pokoj, / Tam otdohnet dusha bol'naya» (MYATLEV, 1969). It is in this interpretation that I.P. Myatlev is especially close to the interpretation of the symbolic image of the peri in the translation of V.A. Zhukovsky «Peri and the Angel» of the second frame tale «Paradise and Peri» from the oriental romance of Thomas Moore «Lalla Rookh», when the peri becomes ethereal Christian angel, taking with it to heaven the souls of people, relieving them of earthly suffering. However, the lyrical hero I.P. Myatlev is just as frivolous and reckless as his beloved; he quickly comes to his senses, forgetting about the previous grievances, and again begins to dance with her: «Spasibo, angel moj prelestnyj! / Spasibo… Radosti nebesnoj / Ty dolyu mne v sej zhizni podala; / Kak horosha ty, kak mila, / Mne bolee uzhe ne tyazhelo, ne skuchno» (MYATLEV, 1969). In the poem of I.P. Myatlev, the image of a young and carefree beauty and the image of an angel–peri seem to have merged together, which confirms the use of the lyric hero's appeal to his beloved «angel of heaven»; it is also worth paying attention to the use of the verbs of the movement «flutter», «fly», a sunstainable combination – «wings of joy», allowing you to create an atmosphere of airiness, frivolity, imagine how everything is spinning around in the sounds of a mazurka (MYATLEV, 1969). Nevertheless, at the climax of the happiness of the main character of the poem «Fantasy on Chopin's Mazurka, played by Liszt in a concert on April 22, 1842» is considering about the fleetingness of happy moments and the volatility of female nature; he seems to be afraid to make a mistake, like a peri, and to lose the way to the heavens: «Mazurka sladostno i zvuchno, / I veselo, i radostno gremit, / So mnoj krasavica letit, / Na kryl'yah radosti dusha moya stremitsya. / No dolgo li mazurka prodolzhitsya?» (MYATLEV, 1969). Laplage em Revista (International), vol.7, n. 3, Sept. - Dec. 2021, p.560-566 ISSN: 2446-6220
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In the poem written by I.P. Myatlev «Violin», which is essentially an allusion to the translation of V.A. Zhukovsky «Peri and the Angel» of the second inserted poem «Paradise and Peri» from the frame tale of Thomas Moore, from which I.P. Myatlev borrows the main the idea of a story about the transformation of a peri into a fallen angel, who was bored with the life in paradise and had an opportunity to descend to earth for consolation in search of pleasures and physical desire, a certain transformation of the image of peri takes place, which represents the soul of a once–in–love earthly girl who untimely passed away and went to Heaven: «Govoryat, est' v nebe peri, / Eto – dushi zdeshnih Meri, / Liz, Katishej i Annet, / Chto ostavili nash svet, / Vek zabotnyj ne dozhivshi, / Poblesnuv i polyubivshi, / I otpravyas' v nebesa» (MYATLEV, 1969). In the interpretation of I.P. Myatlev, the peri itself is the personification of love as an earthly feeling that causes pain, confusion and even anger, as happened in the example of the story of the Italian Baritoni, who lost everything because of love and failed to forgive his «peri»: «No, vzglyanuv na krasotu / Peri, vspomnil nishchetu, / V koej zhizn' ego tomilas', / I vsya zloba probudilas'…» (MYATLEV, 1969). Despite all the drama of the description, in the work of I.P. Myatlev, the story of the peri sounds easy and natural, because, thanks to the author's ability to describe events with a slight touch of humor, even the death of the peri causes only irony on the part of the reader: «Tut on peri v ruki vzyal, / Zadushil ee i smyal, /V skripku bednuyu zapryatal, /CHarodejski zapechalal, / Obvyazal i zakleil, / I v prodazhu otpustil» (MYATLEV, 1969). However, in the opinion of the author of the poem, only love, and not earthly blessings, can make a person happy: «No emu ne sdobrovalo: / Skoro i ego ne stalo, – / Vse v nuzhde kryahtel, kryahtel / I so zlosti okolel» (MYATLEV, 1969).
DISCUSSION An interesting fact is the appeal to the symbolic image of the peri in the poetry of S.Ya. Nadson, the Russian poet of the civil orientation of the late 19th century, of the so–called era of timelessness, in many of whose works the romantic sufferings of the lyric hero are described. In S.Ya. Nadson's poem «Poetry» («Pretty, half naked ...»), published for the first time in 1880, the poet personifies poetry and compares it with a young girl – peri, emphasizes, following other poets of the 19th century, her high divine origin, bringing her to the ancient Greek goddess: «Prelestnaya, polunagaya, / S venkom na mramore chela, / Ona, kak peri molodaya, / V nash mir iz tihoj seni raya, / Stydyas' i raduyas', soshla» (NADSON, 1962). Creating a complex image of poetry in descriptions of its «triumphant» appearance in moments of human joy and grief, «over the ashes of a burial urn», «at the table, to the sound of a glass», in the circle of «feasting guests», the author of the poem tells about different forms of its expression, in particular, in the form of a song and a hymn, he focuses on universal acceptance and love on the part of ordinary people: «Vezde, gde rech' lilas' lyudskaya, / Ej bylo mesto i pochet, / I mir vstrechal, blagoslovlyaya, / Ee bozhestvennyj prihod» (NADSON, 1962). S. Ya Nadson's poem is filled with the atmosphere of solemnity characteristic of many authors of the era of romanticism, and the image of peri, along with words of high poetic coloring –«chelo», «prah», «prihod», original verbal combinations –«ronyat' pesnyu», «venchat' lyubov' i radost'», «ozhivlyat' gimnom», with the epithets «polunagaya», «zazdravnyj», «bozhestvennyj», only broadens the impact of the read composition. In a peculiar context, the reader is presented with the image of the peri in the poem «Carrion» (1880) by P.F. Yakubovich, a revolutionary writer, a representative of the People's Will movement, who earned positive reviews from V.G. Belinsky, I.S. Turgenev, N.A. .Nekrasov, I.A. Goncharov. The poet intuitively feels the approach of a new time, the change of eras and the emergence of new trends and directions in the development of Russian literature. Obviously, the image of the peri is associated in the understanding of P.F. Yakubovich with the work of such talented representatives of the 19th century as V.A. Zhukovsky, A.S. Pushkin, M.Yu. Lermontov, P.A. Vyazemsky, D.P. Oznobishin, who presented the Russian reader with samples of high and pure poetry. According to P.F. Yakubovich, it was thanks to the work of these poets that the symbolic image of the peri was firmly entrenched in the literary works of the era. The poem by P.F. Yakubovich, which is a translation from S. Baudelaire, is permeated with the thought of the corruption of everything in the Earth, including female beauty, fading over time: «I, odnako, i vam etot zhrebij grozit – / Byt' takim zhe gnilym, otvratitel'nym sorom, / Vam, moj angel, s goryachim rumyancem lanit, / S vashim krotko mercayushchim vzorom! (YAKUBOVICH, 1960).
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Expressing regret and fear in connection with the change of mood in society, being indignant at the death of many well–known representatives of the intelligentsia, P.F. Yakubovich in the translated poem «Carrion» in a veiled form informs about the incorruptibility of real poetry and the values that it keeps in itself, calls to preserve «the image of the perishable beauty»: «Tak skazhite zh chervyam, chto spolzutsya v svoj srok / Pozhirat' vashi laski na trizne uzhasnoj, / Chto ya dushu lyubvi moej mertvoj sbereg, / Obraz peri netlenno prekrasnyj» (YAKUBOVICH, 1960).
CONCLUSION As you can see, the image of Peri, which came to Russian poetry thanks to the appearance in Russian of the frame tale of Thomas Moore's «Eastern story» «Lalla Rookh» «Paradise and the Peri» in a free translation created by V.A. Zhukovsky «Peri and an Angel», enjoys great popularity in Russia in the 1820–1830s. and influenced the development of aesthetic tastes of not only well–known poets of that time, such as V.A. Zhukovsky, A.S. Pushkin, M.Yu. Lermontov, P.A. Vyazemsky, D.P. Oznobishin, but also poets and translators of the «second row», whose work was less noticeable, but at the same time preserved and continued to develop the best traditions in Russian literature, helped to recreate vivid images and plots related to Orientalism. The facts of the appeal to the symbolic image of Peri of S.Ya. Nadson, P.F. Yakubovich, I.P. Myatlev, E.P. Rostopchina, L.A. Yakubovich, D.V. Davydov, V.S. Pecherin allow us to conclude that the image of peri, which became the standard of femininity and beauty, correlated with the image of a young girl, was firmly entrenched in the understanding of various representatives of the Russian intelligentsia as a symbol of the era of romanticism, which allows the idea of the ideal of beauty, its lightness and elusiveness to be figuratively and solemnly embodied in poetry , to present moments of exceptional happiness, try to understand the volatility of a woman's nature and the inviolability of eternal values.
ACKNOWLEDGEMENTS The article is made within the project # 17–18–01006р «The Evolution of the Russian Poetic Translation (the XIXth – the beginning of the XXth centuries)» of the Russian Science Foundation.
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• 566 Reception of peri's image in Russian poetry of the XIX century (the second article)
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Reception of peri's image in Russian poetry of the XIX century (the second article)
Recepção da imagem de Peri na poesia Russa do século XIX (o segundo artigo)
Recepción de la imagen de Peri en la poesía Rusa del siglo XIX (el segundo artículo)
Resumo Abstract Resumen O artigo apresenta acréscimos à The article presents additions to the El artículo presenta adiciones a la investigação científica de DN Zhatkin scientific research of D.N. Zhatkin investigación científica de DN e AP Dolgov «Peri na poesia russa», and A.P. Dolgov «Peri in Russian Zhatkin y AP Dolgov «Peri en la publicada em 2007 na revista poetry», published in 2007 in the poesía rusa», publicada en 2007 en «Língua russa» e compreendendo os magazine «Russian speech» and la revista «Habla rusa» y factos que influenciaram no processo comprehending the facts that comprende los hechos que influenced on the process of de assimilação da imagem simbólica influyeron en el proceso de assimilation of the symbolic image de Peri, que veio da mitologia asimilación de la imagen simbólica of Peri, who came from Eastern oriental e apareceu nas obras de mythology and appeared in the de Peri, quien Proviene de la escritores e tradutores russos graças works of Russian writers and mitología oriental y apareció en las à recepção das obras de Thomas translators thanks to the reception obras de escritores y traductores Moore, nomeadamente um dos seus of the works of Thomas Moore, rusos gracias a la recepción de las contos-quadro da história oriental namely one of his frame tales of the obras de Thomas Moore, a saber, «Lalla Rookh» «Paraíso e Peri». Este eastern story «Lalla Rookh» uno de sus relatos marco de la artigo é o primeiro a sistematizar «Paradise and Peri». This article is historia oriental «Lalla Rookh» materiais sobre o tema relacionado the first to systematize materials on «Paraíso y Peri». Este artículo es el com a obra literária de poetas da the topic related to the literary work primero en sistematizar materiales «segunda linha» como D.V. Davydov, of such poets of the «second row» sobre el tema relacionado con la as D.V. Davydov, I.P. Myatlev, E.P. I.P. Myatlev, E.P. Rostopchina, L.A. obra literaria de poetas de la Rostopchina, L.A. Yakubovich, V.S. Yakubovich, V.S. Pecherin, S. «segunda fila» como D.V. Davydov, Pecherin, S. Ya.Nadson, P.F. Ya.Nadson, P.F. Yakubovich. Em suas I.P. Myatlev, E.P. Rostopchina, L.A. Yakubovich. In their works, Russian obras, os poetas russos da «segunda poets of the «second row» Yakubovich, V.S. Pecherin, S. linha» tradicionalmente continuaram traditionally continued to use the Ya.Nadson, P.F. Yakubovich. En sus a usar a imagem simbólica do peri symbolic image of the peri to obras, los poetas rusos de la para descrever uma mulher com uma describe a woman with an unusual «segunda fila» continuaron atratividade e leveza incomuns. attractiveness and lightness. utilizando tradicionalmente la imagen simbólica del peri para describir a una mujer con un atractivo y una ligereza inusuales.
Palavras-chave: Literatura e cultura Keywords: : Russian–English literary Palabras-clave: Ruso-inglés literario Russo – inglesa. Romantismo. Ciência and historical and сulturalties. e histórico y cultural. Romanticismo. comparada. Tradução artística. Romanticism. Comparatives Ciencia comparativa. Traducción Comunicação intercultural. science. Artistic translation. artística. Comunicación Intercultural communication. intercultural.
Laplage em Revista (International), vol.7, n. 3, Sept. - Dec. 2021, p.560-566 ISSN: 2446-6220