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Zhatkin and Ryabova. Space and Culture, India 2019, 7:1 Page | 56 https://doi.org/10.20896/saci.v7i1.420 SPECIAL ARTICLE OPEN ACCESS P.B. Shelley’s Poem Ozymandias in Russian Translations Dmitry Nikolayevich Zhatkin †*and Anna Anatolyevna RyabovaÌ Abstract The article presents a comparative analysis of Russian translations of P.B.Shelley’s poem Ozymandias (1817), carried out by Ch. Vetrinsky, A.P. Barykova, K.D. Balmont, N. Minsky, V.Ya. Bryusov in 1890 – 1916. These translations fully reflect the peculiarities of the social and political, cultural and literary life in Russia of the late 19th – early 20th Centuries, namely weakening of the political system, growing of interest to the culture of Ancient Egypt, and strengthening of Neoromanticism in opposition to Naturalism in literature. In the process of the analysis, we used H. Smith’s sonnet Ozymandias, P.B. Shelley’s sonnet Ozymandias and its five Russian translations. The methods of historical poetics of A.N. Veselovsky, V.M. Zhirmunsky and provisions of the linguistic theory of translation of A.V. Fedorov were used. The article will be interesting for those studying literature, languages, philology. Keywords: P.B. Shelley, Ozymandias, Poetry, Literary Translation, Russian-English Literary Relations

† Penza State Technological University, Penza, Russia * Corresponding Author, Email: [email protected], [email protected] Ì Email: [email protected] © 2019 Zhatkin and Ryabova. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/2.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

Zhatkin and Ryabova. Space and Culture, India 2019, 7:1 Page | 57

Introduction despotism, was eventually used to restore the Ozymandias is a Greek form of a throne name of old order, resulting in the loss of rights and Ramesses II the Great, the Pharaoh of the XIXth freedoms that had become entrenched in the dynasty, one of the greatest rulers of the ancient past decades. Turning to the millennial past, world, who ruled Egypt for 30-70–years; this is Percy Bysshe Shelley and his friend Horace Smith according to various sources from about 1279– sought for showing the impotence of tyrants and 1213 BC. Ramesses II is known to have ordered despots attempts to resist the course of history. to carve a proud inscription in memory of his During the research, we studied the works of greatness and victories on the pedestal of the contemporary researchers, who analysed P.B. colossus in Luxor. When visiting Egypt in the Ist Shelley’s creative work in various aspects. Century BC, the historian Diodorus Siculus found Semiotics of Shelley’s sonnet form and its the obelisk of Ozymandias collapsed and half perception in Russia was illustrated through the covered with sand, although the inscription was sonnet To Wordsworth. The sonnet To still discernible: “King of Kings am I, Ozymandias. Wordsworth (1816) is Shelley’s early work, If anyone would know how great I am and where famous as a reproach in betrayal of the I lie, let him surpass one of my works” (Diodorus, revolutionary ideals. Nevertheless, Shelley’s skill 1814: 370); Diodorus gave this inscription in the in sonnets creation, his emotionality and 47th chapter of the first book of his “Library of erudition are vividly seen in it. While comparing History”, describing the geography, culture and the sonnet To Wordsworth with traditional history of Ancient Egypt (The Poems of Shelley, models of the English sonnets in the late 18th – 1817–1819, 2000). early 19th Centuries (Petrarchan and Centuries passed, and the epoch of Napoleon Shakespearean), Shelley causticity of an exposer Bonaparte in Europe died. In 1817, two young was estimated. While explaining how men, Percy Bysshe Shelley and Horace Smith, Shakespeare’s practices, known to each impressed by the news of finding of the statue Englishman (sonnet 116 about everlasting true fragment with the name of Pharaoh Ramesses II Love), were reflected in Shelley’s sonnet, it was in Egypt or by watching the bust of “young shown that writing of the sonnet To Wordsworth Memnon” (a part of the Colossus in the “King of became for Shelley a fight with himself, with his Kings” funeral temple complex, described by ideals, doubts, poetic examples of his national Diodorus Siculus as “the grave of Ozymandias”) culture. The comment to Shelley’s experimental in the British Museum, arranged a creative sonnet served as a bright example to the fact contest, having written two sonnets with the that the semiotics of a form can be “foreign same name Ozymandias from 26-28 December culture”, and knowledge of poetic, symbolic 1817. Shelley’s sonnet was published in the systems and foreign languages is necessary for newspaper The Examiner on 11 January, and the successful cultural communication of Russia and sonnet of Smith on 01 February 1818 (The West, for adequate mutual understanding Poems of Shelley, 1817–1819, 2000). The poems (Khaltrin-Khalturina, 2008). were extremely relevant, as the French Due to the comparison of the peculiarities in the Revolution had paradoxical consequences in interpretation of the poet subject in Leaves of England: the struggle against Napoleon was, on Grass by W. Whitman and A Defence of Poetry by the one hand, the struggle for the commercial P.B.Shelley and the parallels built between and industrial interests of England, and on the separate fragments of the English romantic’s other hand, against the principles of the French treatise and Whitman’s ideas expressed in his Civil Code (the Code of Napoleon), which were poems provisions of Whitman’s poetic theory gradually established throughout Europe under were cleared and specified (Nikitina, 2010). the influence of France. The English love of freedom, originally directed against Napoleonic Zhatkin and Ryabova. Space and Culture, India 2019, 7:1 Page | 58

The relevance of Shelley’s invocations of the translation was established, the signs of the patriotism to our understanding of the individual translation style were revealed, the relationship between his poetry and his politics translation good and bad points were noted was argued. Often overlooked in Shelley’s (Matviyenko, 2016). writings, patriotism is an essential concept to The functional semantic analysis of occasional both Shelley’s radical politics and his collocations as a characteristic of the author’s sociopolitical aesthetic in that, as a negation of style in P.B. Shelley’s poetry helped to reveal self-love, it at once motivates the reformer and several types of occasional units, creating occasions community. Shelley’s radical originality of the poet’s lyrics: the author’s patriotism derives in part from the cosmopolitics metaphors, intended pleonasms, epithets, of the 1790s English radicalism, and it shares combinations of words, comprising opposite with Paine’s radicalism an orientation towards semes and, at the same time, incorporating the future, an as-yet-imagined, unwritten future general semes, on the basis of what the of England. Employed in the “popular songs”, but occasional value is created (Korshunova, 2017). explored in a diverse body of writings that includes political pamphlets and On Love, Communicative and pragmatic specifics of Shelley’s patriotism is a proof, whatever the colour naming in poetic texts of P.B. Shelley were circumstance, that we love something besides studied and the domination of the components, ourselves. As such, it bears a close relation to the defining a work form, its symbolical value was origin and function of poetry as theorised in A found in units of colouring (Velichko, 2017). Defence of Poetry (Borushko, 2006). While analysing B. Hewitt’s study of Goethe’s Literary features of the English romantic’s lyrical influence on two British poets – Byron and drama Prometheus Unbound were studied. On Shelley, it was stated that Goethe, Byron and the one hand, the poet’s views on the problem Shelley— all sought to push beyond tragedy’s of changes in space life and history of mankind reading of human existence, and especially its were analysed (Kazakova, 2010), on the other “understanding of the final limitedness of hand, it was concluded that both antique human potential”, towards an “epic” conception interpretations of the image of Prometheus – of human possibility, which encourages heroic, going back to Aeschylus’s tragedy, and “activity”, “disavows” tragic “limitedness”, and denying heroism, presented by Hesiodus, – provokes “political activity” in particular. Hewitt found reflection in Shelley’s work (Mikhaylenko, sees this process as the beginning, ambiguously, 2013). in Faust, I, then gaining greater momentum in Byron’s Manfred, Cain and Don Juan, Shelley’s The comprehension of the traditions of Prometheus Unbound and the second part of prophetical poetry in P.B. Shelley’s creative work Faust (Rawes, 2015). Hewitt argues, it was in comparison with W. Blake’s, one can conclude “German controversies about pantheism and that the poets understood the essence of poetic atheism” and other “disputes and theoretical prophecy differently: if Blake’s mystical visions debates about poetry’s relationship to other corresponded to the Bible prophecies in their discourses, especially philosophy and theology” spirit, for Shelley, who called himself an atheist, that so caught the attention of Byron and communication between the poet and prophet Shelley, who both developed “a sense that Faust had a metaphysical character (Mikhaylenko, I was vitally important, containing within it the 2014). seeds of a new way of representing, and, While studying modern Russian interpretations perhaps, affecting the course of human history of Shelley’s poem To... (“One word is too often with poetry” (Hewitt, 2017: 120). profaned...”), belonging to representatives of so- Shelley’s understanding of love as something called “boiler generation”, poets-dissidents, the sublime in close relation to the spirit of love or influence of the translation strategy on the the soul of love, making the soul strengthen its character, conception and semantic accents of power of good, enabling a man to live a Zhatkin and Ryabova. Space and Culture, India 2019, 7:1 Page | 59 philosophical life with sacred beauty, like it is education and the habits of mind it compels. The poem “Epipsychidion”, is considered to be most deleterious aspect of the sublime, and the different from that mentioned by ordinary source of Shelley’s unease with it in Alastor, is its people. Emily and “I” are combined into an close relationship with ideology; and this eternal One, and the divine love is shown with proximity is the target of Shelley’s critique, for the help of mythological narrative, which is like what Alastor warns of is the role of the sublime moist, fertile earth or lubricant that tends to in the onset of ideology role, what is explored make a literary work moving and touching through an engagement with a range of theories enough, full of charming power (Cao, 2017). of the sublime, from E. Burke’s to S. Ziek’s The overly polemical and didactic style of (Borushko, 2017). Shelley’s youthfully rebellious Queen Mab is Shelley’s public mourning the death of living W. considered to be an obstacle to its appreciation. Wordsworth in his poetry was studied. His Moreover, it is insufficiently recognised that renunciation of a narrow concept of selfhood Shelley’s approach in it has a solid literary and not only informs, but germinates, his philosophical foundation. His fierce “diatribes” psychological and political principles, and in the against the existing order of things – the process shapes his response to Wordsworth not endemic and infamous alliance of state, religion as an “egotistical” poet, but as one who and commerce – neither implode the aesthetics paradoxically and enviably escapes mutability by of the poem, nor are simply rough-hewn, being ontologically identified with forms of non- adolescent invectives against custom and life. Shelley brilliantly and correctly attributes privilege. The composition draws strength from this position to Wordsworth’s poetic thought earlier precedents, most notably Lucretius’s “De through his poetic thinking in works such as Rerum Natura” which markedly influenced the Peter Bell the Third, and Shelley also finds such Enlightenment. In the main body of his work, an alignment incomprehensible. His masked by the benign fairy, Queen Mab, Shelley construction of Wordsworth is a sceptical steers a course modulating from castigation to dialectician’s disavowal of mute or dull inclusion. mockery, counterbalancing diatribes with Shelley’s treatment of Wordsworth is connected encomia – presented as reverse reflections of to Shelley’s performative speech acts of each other. Similar to a caricaturist, Shelley inversion: life – death, heaven – hell, blessing – a decodes and belittles the icons of state power curse. Shelley abjures Wordsworth for excessive which form a closed circuit of depravity, sealed love for otherwise inanimate things and off from public scrutiny or reform. Although awakening slumberous “thought in a sense” compromised by vengefulness which the later (Lindstrom, 2017: 44). Hazlitt, Keats, Lamb, and Shelley disowns, the diatribes of Queen Mab others, were quick to note the egotistical drive clear a path towards a better world, pointing to that informed Wordsworth’s Peter Bell, but in the resonance and vitality of Shelley’s brave Peter Bell the Third Shelley claimed that intervention (Weinberg, 2017). Wordsworth went far beyond that. He insisted that Wordsworth had unintentionally satirised Shelley’s following the words of Byron’s “Epistle to Augusta” (1816, published in 1830) was found himself with devastating accuracy in the manner in his message to L. Hunt: “may [“many”] of Thomas Moore’s satire on political apostasy mountains & seas no longer divide those whose The Fudge Family in Paris. Shelley’s reading of affections are united” (1822) (Webb, 2017: 175). the poem casts a fresh light on the importance of Peter Bellfor an appreciation of the complexity It was argued that Shelley’s Alastor represents a of Wordsworth’s development as a poet at the critical engagement with the sublime, what time of writing Lyrical Ballads, a complexity that occurs under the sign of Shelley’s obvious relates both to the controversial style of Peter attraction to the sublime as an operative Bell, and to the ambivalent relationships within aesthetic and imaginative model. The poem the poem between the poet, narrator, critiques and warns of sublime aesthetic protagonist, and reader (Williams, 2017). Zhatkin and Ryabova. Space and Culture, India 2019, 7:1 Page | 60

In this article, we deal with the issue of historian and theorist of translation Antoine translation perception of English romantic Berman presented a translation as disclosure poetry in Russia. The comparative literary towards another that means a particular studies used to consider the issue were written paradox. He speaks both about renunciation of by M.P. Alekseyev and Yu.D. Levin (Levin and the native language ( that is, target language) Fedorov, 1960). In the process of the analysis, we and about fidelity to it, that is, about the took into account the views of the Russian expansion of borders of the native language and literature scholars − K.I. Chukovsky and, E.G. its enrichment at the expense of foreign Etkind about K.D. Balmont’s translations language. In this regard, undoubted interest (Chukovsky, 1968; Etkind, 1963). Interesting causes a theoretical controversy of modern facts about Shelley’s Ozymandias have French linguists-translators Henri Meschonnic represented in the works of the researchers of and Jean-René Ladmiral in the article Poetics… / P.B. Shelley’s creative works Ch. Vetrinsky and Theorems of Translation (Meschonnic and V.Ya. Bryusov (Vetrinskiy, 1892; Bryusov, 1994). Ladmiral, 2011), in which two powerful concepts Thus, this research began with the introduction and translation theories face. On the one hand, section , which sets up a rationale for the study; Meschonnic’s new poetics, constructed on the following this, materials and methods part theory of rhythm and creative subjectivity, on outlining the specificity of translations the other hand, Ladmiral’s language philosophy, comparing, preservation of semantic capacity of understood as knowledge, obliging to meet the the original and its national colouring are requirements of the author’s methodology, outlined. In the final sections, the results are critical self-checking, realised by argumentative discussed on the specific translations of Shelley’s rationalisation. works. All materials of Russian scientists can be divided Materials and Methods into two large, broad groups: these are works on As the material for the analysis, the sonnets with problems of the literary translation theory and the same name Ozymandias by P.B. Shelley and history and researches in the field of H. Smith were selected together with their comparative literary criticism, international translations, carried out in the late XIX-early XX literary and historical and cultural relations. Our centuries by Ch. Vetrinsky, A.P. Barykova, K.D. research, relying on A.V. Fedorov’s linguistic Balmont, N.M. Minsky, and V.Ya. Bryusov, translation theory, observations over the literary-critical articles, comprehending them. language and style of works of art, is historical The methods of historical poetics used, and literary as it is designed to introduce approved in the fundamental research of A.N. translated works into the context of the history Veselovsky, V.M. Zhirmunsky, allowed to of Russian literature. comprehend the motives and images and to The linguistic approach to the studying of the consider the features of originality. The translation offered by A.V. Fedorov touches its provisions of the linguistic theory of translation very basis – the language, out of which any of A.V. Fedorov were taken into account translation functions – its social and political (Fedorov, 2002). We used comparative- importance, its cultural and informative role, its historical, comparative-typological, and art value, and others are impracticable. At the juxtaposing methods of analysing poetic texts. same time linguistic studying of the translation, In the last decades, scholarly works on the i.e. its studying in connection of two languages, subject close to the problem studied were allows building work specifically, operating with published. In the 1980s, the French school of the the objective language facts. Any researches and philosophical translation provided the formation discussions on how the content of the original of a particular special area of the literary was reflected when translating, how the images translation study. Based on Benjamin’s of the literary work were recreated or re- hermeneutics, referring to Steiner, the French embodied, will be pointless if they are not based Zhatkin and Ryabova. Space and Culture, India 2019, 7:1 Page | 61 on the analysis of the language expressive means Results used when translating. The poem of H.Smith, being didactic and According to A.V. Fedorov’s technique, while monolinear, drawing a direct parallel to the comparing the translations, the following English history of conquering the British peoples aspects are subject to the consideration: by the Romans, was not unusual for Russian . lexical colouring of a word and a translators; only when preparing the notes for possibility of its transfer; the translation of Ozymandias by P.B. Shelley, . a figurative word meaning in various K.D. Balmont had to translate two small phrases; fragments of it in order to make some analogies: . transfer of a stylistic role of word-play; “I am great OZYMANDIAS,” saith the . use of morphological means of a stone, language; “The King of Kings; this mighty City shows . syntactic links and nature of a syntactic construction for a poetry rhythm; The wonders of my hand.” – The City’s . phonetic and graphics mean, a rhyme gone. and a meter in poetry. (Shelly, 1877) – However, all facts from the area of the literary “I’m Ozymandias, the king of kings, translation, in particular, the translator’s attitude to the content of the original, with his And this powerful town is a witness interpretation, and sometimes distortion, which Of miracles, made by my hand.” is expressed in omissions, insertions, some There’s no town. semantic changes, etc. cannot be explained using linguistics. Similar cases are caused by the (Balmont, 1907); ideology and aesthetics of the translator or the We wonder, – and some Hunter may whole literary direction, that is, factors which do express not have any relation to linguistics. At the same time, however, the analysis of such important Wonder like ours, when thro’ the questions of the literary translation as questions wilderness of the author’s language skill and transfer of his Where London stood, holding the Wolf in individual style, demand a robust linguistic the chase, basis— only in relation to the literary norm of He meets some fragments huge and both languages considered the degree of the stops to guess traditional or innovative character of the style of the original, and the degree of stylistic proximity What powerful but unrecorded race to it in the translation can be defined and Once dwelt in that annihilated place… estimated. So, a linguistic approach to studying, being not sufficient for the solution of all (Shelly, 1877) – problems of the translation (in particular, …over time some hunter will marvel at literary), is, undoubtedly, necessary in their the huge debris of the place, where once exhaustive research. Therefore, according to unknown London stood, and where he A.V. Fedorov, while comparing the translations, now hunts wolves (Balmont, 1907). preservation of semantic capacity of the original, The sonnet of Shelley, unlike the Smith’s, is built its national colouring, features connected with up much more difficult as it contains double the time of its creation and individuality of the irony, relying on playing up the meanings of two original in the translation are considered key verbs – survive and mock: (Fedorov, 2002). …its sculptor well those passions read Zhatkin and Ryabova. Space and Culture, India 2019, 7:1 Page | 62

Which yet survive, stamped on these (The Poems of Shelley: 1817–1819, lifeless things, 2000). The hand that mocked them and the heart that fed. word meanings survive 1) outlive (in time) 2) a) endure, withstand, bear 2) b) continue to exist; persist mock 1) a) mock; make fun of, deride 1) b) sneer, scoff 2) mimic; parody, reproduce 3) nullify (efforts); make useless, fruitless

Thus, we can talk about the interpenetration of (That stand a number of centuries in a two meanings: the new tyrants must despair pile of decay), both unable to compare themselves to the The hand of those who moved, the mind former despot on the scale of what was done of those who guided. and realise that everything is transitory in this world. Perhaps, no one of Russian translators in (Bryusov, 1994). the late XIXth – early XXth centuries managed to As you can see, Shelley’s sonnet was repeatedly convey the author’s irony that gave a double interpreted in Russia in the late XIXth – early meaning to the English original: XXth centuries: after the translation of Managed to portray the entire world of Ozymandias (from Shelley) by Ch. Vetrinsky, passions published in No. 39 of A. Gatsuk’s Newspaper in 1890. A.P. Barykova proposed some other The artist in these stone features... interpretation of the sonnet, published in her (Vetrinsky, 1890), book Stikhotvoreniya i Rasskazy (Poetry and In the face, recreated with an artful hand. Stories) in 1897. K.D. Balmont first prepared some separate editions of Shelley’s translations (Barykova, 1897), since 1893, and then a three-volume Complete The experienced sculptor put in the Poetical Works, published in 1903–1905 by soulless stone Znaniye Partnership. The passions that could live through the N. Minsky published the translation in volume 3 centuries. Prosvety of his own Complete Poetical Works in four volumes. V.Ya. Bryusov’s address of (Shelley, 1998), Shelley’s Ozymandias was subjected to They say, how deeply the sculptor controversy with K.D. Balmont (Bryusov wrote understood the passions that Balmont “is the worst of bad translators” (Levin and Fedorov, 1960: 303), “he neglects the That could survive the deceitful language, author’s style, while translating Shelley, Edgar The hand that served them, and the heart Poe, and Baudelaire with the same Balmont’s – their spring. language, ... and destroys all of them in the most (Minsky, 1907), precise sense of the word” (Levin and Fedorov, 1960: 351), and the poet’s own work, Say their creator knew the depths of specifically, the poems Assarhaddon, Ramesses, passions and thoughts Egyptian Slave. Later, the well-known Soviet Zhatkin and Ryabova. Space and Culture, India 2019, 7:1 Page | 63 translators V.V. Levik and B.N. Leytin also accusatory tasks related to them. One can feel addressed the interpretation of Ozymandias. this part in the translation of Ozymandias, Ch. Vetrinsky is a pseudonym of a historian of created at the time when the poetess, gradually Russian literature and public thought − publicist moving away from public life, came to L.N. and journalist, playwright and critic V.E. Tolstoy and, having fallen under the strong Cheshikhin − who not only translated the poem influence of his moral teaching, became an “Ozymandias” but also wrote a detailed literary active collaborator of his publishing house and critical essay on Shelley’s works, which was Posrednik. published in the journal “Kolosya” in 1892 Among numerous European authors who were (Vetrinsky, 1892). Bearing in mind that it was in the sphere of K.D. Balmont’s creative interests possible to “make up a correct concept” about (H. Ibsen, G.J.-R. Hauptmann, E.T.-W. Hoffmann, Shelley’s poetry only by being “a witness to his F.-M. Hoorne, A. Gaspari, H. Sudermann, R. daily life”, since “his words and actions best Muther, N. Lenau, Ch. Marlowe, W. Whitman, J.- illustrate his works” (Vetrinsky, 1892: 239). W. Goethe, A. Musset, H. Heine, A. Tennyson, J. Indeed, this Russian critic elaborated on the Slovaski, S.-T. Coleridge , Ch. Baudelaire, O. biography of the poet. He attempted to analyse Wilde, etc.), Shelley occupied a special place; his most significant works by supplementing his that was the reason for the Russian poet and material with prosaic translations of fragments translator to make the complete translation of of the poems The Spirit of Delight (1834), To a all the works of Shelley, realised in the late 19th Sky-Lark (1820), Ode to the West Wind (1819), – early 20th Centuries. Indeed, “the fact of the The Sensitive Plant (1820), Stanzas Written in individual translation of several tens of Dejection, near Naples (1824), the lyrical drama thousands of rhymed poems of such a complex Prometheus Unbound (1818–1819, published in and profound poet as Shelley can be called a feat 1820), the tragedy Cenci (1819, published in in the field of Russian poetic translated 1820), and also pointed out the features of the literature” (Russian Biographical Dictionary, poems The Cloud (1820) and Ode to Liberty 1998: 196). Dared to translate all of Shelley’s (1820). works, Balmont considered the English At an early stage of her creativity, a Russian predecessor to be close to him, admired him poetess and translator, A.P. Barykova was (this idea is imprinted in Balmont’s original poem creating her works that were democratic and “To Shelley”: actual, similar to the socio-accusatory, civic My best brother, my bright genius, tradition of N.A. Nekrasov. Speaking in defence With you I’ve merged into one. of the oppressed, persecuted and disadvantaged, she published her works in the Between us is a chain of tortures, newspaper Nedelya, journals— Of similar heavenly delusions Otechestvennyye Zapiski, Delo, Slovo, Russkoye bogatstvo, Severny Vestnik, Rodnik. In the 1870s Always a radiant link. – 1880s, along with the original poems, the (Balmont, 1980). poetess, who was fluent in French, German, However, he blamed the Russian interpreter for English and Polish, was actively publishing the his subjective predilections having imposed an translations from J. Richepin, V. Hugo, F. Coppee, indelible imprint on Shelley translations. P.-J. Beranger, J.-W. Goethe, H. Heine, A. Tennyson, E. Arnold, H. Longfellow, A. Chamisso When reproducing some verses of Ozymandias, and other poets. With her civic aspirations and with various adequacy, V.Ya. Bryusov democratic sympathies, when choosing works “accurately, as a whole, carrying out his for translation, she selected only those works translation, let the readers feel the great that were correspondent with Russian life; her simplicity and epical style of Shelley’s language, translations often served civic ideas and causing among them an effect identical to the original” (Nuralova et al., 2008: 299-300). The Zhatkin and Ryabova. Space and Culture, India 2019, 7:1 Page | 64 translation of Ozymandias by V.Ya. Bryusov, first Inhabitants of deserts, we are published in 1916, was the subject of separate insignificant whatever research (Bedjanian, 2002), but the concept In the ages of the earth and the eternity about the position, taken by this translation, of heaven. among the original works of both V.Ya. Bryusov himself and other Russian writers have never And then Ramesses stood in front of me. been considered. L.G. Panova in her article The same did Nabokov, but two decades later. It investigated similarities between Shelley’s poem was Ozymandias by Shelley, followed by and Ramesses (1899) by V.Ya. Bryusov, The Ramesses of Bryusov and The Grave in the Rock Grave in the Rock (1909) by I.A. Bunin, and I was of I.A. Bunin, who gave birth to Nabokov’s in the country of Memoirs… (1919) by Vl.Sirin traveller, excited by the slow verb (Etkind, 1963: (V.V. Nabokov), written as if they were a 67). continuation of Shelly: the sonnet Ozymandias by P.B. Shelley (1817), was in the sphere of his N. Minsky is the pseudonym of the talented poet V.V. Nabokov’s Anglophile interests... The N.M. Vilenkin; he, being fluent in modern and history of the creation of “Ozymandias” was ancient languages, translated two of the most known in the 1910-s, at least according to the famous Shelley’s poems in Russia – Queen Mab comments to the sonnet, made by its first (1812, published in 1813) and Alastor: or The translator Balmont... The first among Russian Spirit of Solitude (1815, published in 1816), his poets, who named the stone sculpture of poem Dedication (also called To Hurriet, 1810), Shelley’s Ozymandias as Ramesses, was Bryusov Good-night! (1820), The Cloud (1820), as well as in Ramesses (1899): several plays by W. Shakespeare and J.-B. Moliere, the poem by G.-G. Byron (Sonnet to Along the impassable roads of the royal Chillon, Sonnet to the Lake of Geneva, The desert, Dream, etc.), works of P. Verlaine, A. Musset, G. Weary with thirst, I wandered. Flaubert, and finally the full text of Homer’s Iliad (1896). It is interesting to note that the ... translation of Ozymandias coincided with the And, finding a monument, forgotten in emergence of poems and translations of N. the sands, Minsky, caused by the first Russian revolution of I fell to the stone platform. 1905–1907— the famous Hymn of the Workers (Workers of all countries, unite!..), and the ... translation of the Internationale by E.Pottier. Lines, circles, human faces, vultures – One of the best poems of Russian philosophical lyrics, called Like a dream the deeds and I sorted, trembling, the hieroglyphs: thoughts of people will pass..., written by N. “About oblivion, they tell me, – oh, Minsky, contains the following lines: laughter. The hero will be forgotten, the They tell the centuries about my mausoleum will decay, victories!” And in the common ashes will merge – Who are you, a daring warrior? an Wisdom, and love, and knowledge, and anxious spirit? rights, Are you Ozymandias? Assargadon? As from a slate board unnecessary words Ramesses? Will be erased by an unknown hand I do not know you, your predictions are false! (Russian Biographical Dictionary, 2001), This poem clearly resemble the theme of Ozymandias and reflect the spiritual closeness of Zhatkin and Ryabova. Space and Culture, India 2019, 7:1 Page | 65

English and Russian poets. Although according to the last verse of the third stanza moves to the the tasks and religious-philosophical system he fourth – abab cdcd efe fgg. N. Minsky did not developed, N. Minsky did not at all strive to always keep internal pauses and shifts, that slow follow the traditions, he was primarily down the movement of the verse, having concerned with meonism of lyric poetry, that is, partially lost the smoothness, solemnity and a bizarre mixture of scientific thinking and poetic majesty of the tone of the work; the rhythmic fantasy, coming from that charm, dear to the pattern of his interpretation is also different – human soul, of everything non-existent and abba ccdd efe fgg. incomprehensible. According to the concept of The original sonnet of fourteen verses is encased N. Minsky, only the extraterrestrial truth, by Shelley with an original compositional frame, nothingness, meon (after the Greek “non- a kind of introduction, creating the construction existent”, Plato’s term) could be a true sacred of a “story in a story”: thing, since every category of our mind, and also all moral categories, like conscience, the instinct I met a traveller from an antique land of self-sacrifice, faith, have their oppositions in Who said… the notion of their non-existence. Considering that only the idea of absolute non-existence, (The Poems of Shelley: 1817–1819, being the basis of everything that exists, can 2000). become the source of true, unselfish religion; N. Russian translators were mostly true to Minsky, in his original and translated texts, this method of Shelley: offered some kind of fusion of survivors of From the traveler I heard Narodnik ideas and motives of conscientiousness, caused by them, self-sacrifice The Story… in the name of people with Nietzsche’s ideas and (Vetrinsky, 1890), bizarre Eastern mysticism. I met a traveler, he came from distant Shelley’s sonnet is well orchestrated; the English countries original is full of multiple shifts, rustling sounds [s, z, ∫, ʒ, θ, ð, t∫, dʒ] and cross rhymes that give And told me… the rhythmic movement peculiar originality and (Shelley, 1998), create a gliding impression, resembling a Towards me a traveler came from the continuous rustle of sand. We should note, only ancient land Ch.Vetrinsky did accurately reconstruct the pattern of the original (abab acdc edef ef), while And uttered… Barykova abandoned the sonnet form and, (Minsky, 1907), retaining the author’s shifts, used paired rhymes (aabb ccdd ee), which broke the poem into brief I met a traveler who arrived from ancient rhythmic periods, what, in its turn, affected the countries. intonation. Only in the final of her interpretation …he said... that skillfully conveyed the expressive intonation (Bryusov, 1994), through rhythmic repetition, reinforced by in- line pauses, the pair rhyme began alternating However, Barykova, trying to make the picture with the covered one (fgg fhh), tonally reconstructed more monumental, immediately completing the narrative. Balmont’s scheme is begins the narrative with the depiction of the simpler than the original one, but it is much statue, omitting the introductory verses. closer to the classical form of an English sonnet, A truly sad sight is the remains of a former associated primarily with the name of colossus in the desert: Shakespeare – abab cdcd efef gg; Bryusov repeats in many respects Balmont’s scheme, …Two vast and trunkless legs of stone corresponding to the classical canons, however, Zhatkin and Ryabova. Space and Culture, India 2019, 7:1 Page | 66

Stand in the desert. Near them, on the (Bryusov, 1994), sand, Balmont: Half sunk, a shattered visage lies. … far away, where the eternity is (The Poems of Shelley: 1817–1819, guarding 2000). The desert silence, among the sands deep In the translation of Ch.Vetrinsky, one The fraction of the statue disintegrated pays attention to a steppe instead of a lies. desert, which does not agree with the real place of the action: (Shelley, 1998), … In the steppe there stood a pair of legs But Balmont omits the mentioning of the legs and the statue fraction, having facial features. Huge, stone. Near them lay Barykova extends the description of the A broken face, buried in the sand. Colossus, adding to the characterisation of the (Vetrinsky, 1890); desert an epithet boundless, and the image of a dilapidated high pedestal: However, having used inversion, the translator achieves some mysticism of the described A huge monument, a shrine of old times, picture. So did other interpreters, e.g. N.Minsky: Stands in sand waves of a boundless …among the sands – the ruins of the past desert: days – Two stone legs, a high pedestal Stand two stone legs of the giant, Dilapidated; and near, turned to dust, Lies a broken face in the dust not far. A legless idol with a broken head. (Minsky, 1907), (Barykova, 1897). Bryusov: Description of the fallen Colossus in Shelley’s In the desert… two stone legs poem acquires its colour due to the lexemes frown, wrinkled, sneer, cold and command: Stand, beside them a fraction that preserved …frown, The features of the face, lies, buried in the And wrinkled lip, and sneer of cold command. sands. (The Poems of Shelley: 1817–1819, 2000). word meanings frown 1) shifted brows; gloomy look; bend one’s brows, scowl 2) expression, display of disapproval wrinkled 1) wrinkly, crumpled sneer 1) mockery, prickly; contemptuous smile cold 1) chill 2) unfriendly, inhospitable; indifferent 3) impartial, objective, disinterested 4) cold (causing oppressive feelings) command 1) command, control 2) pressure, coercion 3) domination, power Zhatkin and Ryabova. Space and Culture, India 2019, 7:1 Page | 67

Ch. Vetrinsky strengthened the expressiveness Look on my works, ye Mighty, and of the description with the help of metaphors: despair!” With contempt, the forehead wrinkled (The Poems of Shelley: 1817–1819, was breathing, 2000), Cold laughter was snaking on the lips... Ch. Vetrinsky and Balmont attempted to (Vetrinsky, 1890). preserve Shelley’s allusion to contemporary history in verse: Striving to represent the expression of the statue’s face more accurately, Barykova I am Ozymandias, I am the king of kings! widened the fragment to a full stanza: Look! Everything was created by my In cold, contemptuous features, power! In a malicious and arrogant grin on his (Vetrinsky, 1890), lips I am Ozymandias, I am a powerful king of The passions, living in the cruel heart, are kings! frozen, Look at my great deeds, The triumph of unbreakable power is Lords of all times, all countries and all shining. seas! (Barykova, 1897). (Shelley, 1998). In Balmont’s translation, the power of passions At the same time, Shelly’s work lost its of the face is shown through hidden comparison meaningful ambiguity, being translated by both with all-devouring fire: translators, who omitted the important verb Through the features half erased there despair (lose heart, come to despair); only in the translation of Bryusov this ambiguity is clearly goes a haughty flame, preserved: Desire to make the whole world serve him. Bow down! (Shelley, 1998). This is Ozymandias, who is called King of Kings. In their most conservative interpretations, in terms of emotional expressiveness, N.Minsky My works, kings, see – and despair! and Bryusov omit the mentioning of the look, (Bryusov, 1994). and make the image of the former ruler not so For Barykova and N.Minsky, Shelley’s negative by softening certain characteristics: transparent allegory had no special philosophical Hardly compressed mouth, a grin of implication, as it was exclusively used for proud power. political purposes – for criticising the political (Minsky, 1907), system that existed in Russia; the translators show the collapse of absolute power with the The brow and the fold of the lips help of a method of tragic irony: arrogantly curved I am Ozymandias. I am the king of kings, Say their creator knew the depths of great. passions and thoughts. This is the work of my hands! Envy, rulers! (Bryusov, 1994). (Barykova, 1897), When interpreting the inscription on the monument: I am Ozymandias, a great king of kings. “My name is Ozymandias, king of kings: Look at my deeds and tremble!

Zhatkin and Ryabova. Space and Culture, India 2019, 7:1 Page | 68

(Minsky, 1907). However, it is characterised by the deliberate use of unfinished sentences, aimed to show the The empty, colourless and soundless picture, described by Shelley in the final of his work, is paradox of the former power of Ozymandias and slightly coloured by Ch. Vetrinsky (“yellow”) and complete oblivion of the results of his work. The voiced (“wind”) in the translation of N. Minsky: interpretation of Bryusov, which most accurately conveys the intention of the English author, is Nothing besides remains. Round the remarkable for the translator’s emphasising the decay vastness, the limitlessness of the picture Of that colossal wreck, boundless and described, what is strengthened by the original bare concluding verse: The lone and level sands stretch far away. There is nothing else. Around large stones (The Poems of Shelley: 1817–1819, Vastness, emptiness, and only flat sands 2000), Stretch far away, wherever you look. That’s all... Around the colossal remnants (Bryusov, 1994). Far away the desert without borders lies, Discussions Yellow in piles of sad sands... It should be noted that the specific translations (Vetrinsky, 1890), of Shelley’s works, made in the late 19th – early 20th centuries, including the translations of There is nothing around. A decayed Ozymandias, were not often the objects of mausoleum attention of the Russian literary criticism at that Is surrounded by the desert. Roams a free period. The exception was, perhaps, only wind, Balmont’s translations, which received ambiguous estimates. Thus, in the article in And stretch the sands, boundless and Severny Vestnik and in the review in Artist, barren. published in 1893, Balmont’s translations were (Minsky, 1907). rated as great and talented works, which, By repeating the lexeme everything three times, however, did not completely reveal the richness Barykova creates an effect of despair, doom, of Shelley’s poetry: “Mr. Balmont interprets, as which is closest to the original: he can, and his skill is, no doubt, remarkable… The author is just beginning to work in the field And everything is lifeless, everything is of literature and, judging by the beginning, we empty, everything is silent can hope that he will complete the work Around it. The desert stretches, mute, successfully; …in general it seems that an exact prosaic translation of such works is easier and Covering with sand the remains of the more expedient than an inaccurate poetic past. translation” (New Books. Poetry, 1893: 52-53); (Barykova, 1897). “The translator is a passionate admirer of the Balmont’s version does not go against the English poet. Shelley’s works coincide with the literary logic of the original, describing the desert personal mood of the translator; this is not sands that merge with the sky: formal work, but labour, combined with high pleasure… Shelley is most difficult to translate. There is nothing around... Deep silence... The most accurate translation in prose is not The desert dead... And the heavens above able to convey the tenderness and energy of it... poems, their poetics and deep content” (Balmont, 1893: 191-192). As we see, among (Shelley, 1998), various judgments, there were also some, that proposed, for greater accuracy of the English Zhatkin and Ryabova. Space and Culture, India 2019, 7:1 Page | 69 poetic originals rendering, to resort to prosaic sonnet, a brief epitome of poetic thinking, has translations into Russian, what, however, being outlasted empires: it has witnessed the deaths of justified in the first third of the 19th century, boastful tyrants, and the decline of the British could hardly be relevant in the late 19th – early dominion he so heartily scorned” (Mikics, 2010: 20th centuries. 127-128). K.I. Chukovsky’s opinion about Balmont’s In other words, following the thought of the translations was the most rigid; he considered critic L. Brisman, who remarked on “the way the the Russian translator complementing Shelley’s timelessness of metaphor escapes the limits of verses with “the candy-box beauty of cheap experience” in Shelley (Brinsman, 1978: insert romances”, at the same time “gluing some trivial page number), “Shelley’s poetic rendering of the epithet to almost every word”: “Balmontizing legend of Ozymandias is even more memorable Shelley’s poetry, Balmont gives the British poet than the original story itself. It is also an his own sweeping gestures… thus appeared a emphatic political statement indicating the cruel new person, half-Shelley, and half-Balmont – I and destructive nature of the empires of man would say, something like Shelmont. This is often and their outcomes. This beautiful sonnet the case with poets: when translating, they outlasts the so-called mighty empires based on overemphasize their selves and the more control and terror. These empires get eroded expressive the personality of the translator, the and destroyed, leading to the disintegration of more they obscure the author from us. Precisely civilisation and culture. However, neither time because Balmont has such an outstanding nor distance can obliterate the works of art, literary personality, he, having an excellent making the artist immortal” (Krishna, 2014: 154). talent, is not able to reflect the individuality of It was also shown how Shelley’s use of form and another poet in his translations. And with his vocabulary produce a poem that transcends its talent being somewhat dandified, Shelley turns sources (Hebron, 2014). also dandified with him” (Chukovsky, 1968: 104). The position of K.I. Chukovsky influenced greatly The intrinsic and extrinsic elements in Shelley’s on the literary criticism judgments of the poem Ozymandias were analysed by means of subsequent period (in particular, E.G. Etkind the formalist criticism approach, that is, making mentions that Balmont, true to the principle of the interpretation and analysis of the work of “pleasant translation”, “dilutes the concentrated literature itself, focusing on the words of the text thought of Shelley, explaining everything, which rather than facts about the author’s life or the does not seem clear enough to him and historical milieu in which it was written (Bhakti, decorating with epithets everything, which does 2016). Imagery (visual and auditory) and not seem beautiful enough to him” (Etkind, figurative (symbol and irony) language, which 1963: insert page number), and the minimal makes Shelley’s poem more beautiful and attention to the translations of Balmont from amazing to read, was described (Bhakti, 2016). Shelley in general. Only in 2007, the first thesis A line-by-line analysis of Shelley’s poem was defended at the Institute of Russian Ozymandias was made (Lompa, 2016). There Literature of the Russian Academy of Sciences, were found themes of power (of nature and one of the chapters of which was devoted to the politics) and pride (political and artistic), and the study of Balmont’s translations from Shelley only symbol of political tyranny – the statue of (Ivanova, 2007). Ozymandias (Lompa, 2016). Based on Shelley’s Ozymandias, it was proved While studying the reception of Shelley in Russia that “timelessness can be achieved only by the perhaps, the clearest case of political (mis)use of poet’s words, not by the ruler’s will to dominate. Shelley by Marx and Engels was found; they saw The fallen titan Ozymandias becomes an in the poet a “revolutionary through and occasion for Shelley’s exercise of this most through” who, had he lived longer, “would tenuous yet persisting form, poetry. Shelley’s consistently have stood with the vanguard of Zhatkin and Ryabova. Space and Culture, India 2019, 7:1 Page | 70 socialism” (Polonsky, 2008: 233). While referring appropriation of Shelley to the Symbolist world to this information in The Reception of P.B. view championed by Balmont. Shelley in Europe (The Reception of British and In our research we went further in comparison, Irish Authors in Europe Series), which consists of having added two more translations by Ch. eighteen chapters, written by a total of twenty- Vetrinsky, V.E. Cheshikhin and V.Ya. Bryusov, four scholars, and deals with the reception of the having studied critical articles and having author in France, Italy, the Iberian Peninsula, confirmed Shelley’s role as a catalyst in Romania, Germany, Scandinavia, the expressing a range of radically different Netherlands, the Czech Republic, Poland, aesthetic views. So, such comparative studies Hungary, Russia, Bulgaria and Greece, we can can provide new exciting results in perspective. find information devoted to Shelley and music (Schmid and Rossington, 2008). Conclusion There was an attempt to explain how a Speaking about the interest of Russian translator’s inappropriate linguistic choice may translators of the late 19th – early 20th influence the target language reader’s aesthetic Centuries to Shelley’s poem Ozymandias, we reaction, on the basis of the sonnet Ozymandias could explain a sudden burst of public attention by Shelley and its three Ukranian translations to the text, which emerged long before its first (Zasyekin, 2010). The outline of a theoretical Russian interpretation, by the events, actual for framework for the analysis of the translation of that epoch— political and social (weakening of literary texts viewed as a psycho-semiotic the political system in Russia, the first Russian phenomenon and based on the evaluation of revolution and others ), cultural (the growing earlier attempts in this direction, and the results attention to the culture of Ancient Egypt – during of a psycholinguistic empirical study of the three decades from the 1890s to the 1920s, translations, is given. Central to this framework the Russian poets wrote about two hundred is the recent insight that the human cerebral verses and poems on Egyptian themes (to hemisphere functional asymmetry somehow compare: this is seven to eight times more than plays a role in structuring the fictional text by its for the whole 19th Century before V.S. author and in its processing by the interpreter Solovyov), and literary (strengthening of (Zasyekin, 2010). Romanticism tendencies in Russian poetry, that is Neoromanticism, which appeared in contrast Also, Shelley’s contribution to the early to Naturalism in literature). Though none of the development of Russian Symbolism was Russian interpreters of Ozymandias escaped any analysed (Wells, 2013). Well’s paper highlights losses each of them created a translation close some features of Shelley’s Ozymandias, contains to the original, preserving the characteristic three Russian versions by Barykova, Minsky, shifts, slowing down the intonation, and even Balmont and shows that “the English poet could bringing it closer to epic one. be interpreted in different ways in order to support radically different aesthetic ideas, and Acknowledgements to reflect both the views of the literary This research is a part of the project #17-18- establishment and those of the emerging 01006 — The Evolution of the Russian Poetic Symbolist movement” (Wells, 2013: 1230). The Translation (the XIXth - the beginning of the XXth three different translations of Shelley’s centuries) of the Russian Science Foundation. Ozymandias reveal a considerable range of interpretive response – from the largely References utilitarian treatment of Barykova, through the Balmont, K.D. (1907). Notes. Shelley P.B. (pp. more nuanced approach of Minsky, which 438–480). St. Petersburg: Publishing House of combines promotion of the political theme with the Partnership “Znaniye”. a more sophisticated awareness of the multiple perspectives of Shelley’s poem, to the Zhatkin and Ryabova. Space and Culture, India 2019, 7:1 Page | 71

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