Vol. 8 Núm. 19 /Marzo - abril 2019 529
Artículo de investigación Russian translation reception of Wordsworth’s ballad “We are seven”
Recepción de la traducción en ruso a Wordworth's ballad "We are seven" Recepción de la traducción en ruso uma balada de Wordworth "Somos sete"
Recibido: 26 de abril de 2019. Aceptado: 20 de mayo de 2019
Written by: Dmitry N. Zhatkin (Corresponding Author)172 Anna A. Ryabova173
Abstract Resumen
The article is devoted to comprehension of El artículo está dedicado a la comprensión de la Russian translation reception of William recepción de la traducción al ruso de la balada de Wordsworth’s ballad “We are Seven” (1798). It William Wordsworth "We are Seven" (1798). introduces the prose translation of this work made Introduce la traducción en prosa de este trabajo by V.N.Semyonov in 1831 for research use. It realizado por V.N.Semyonov en 1831 para uso presents a comparative analysis of the early de investigación. Presenta un análisis Russian poetic translations of this ballad created comparativo de las primeras traducciones by I.I.Kozlov (1832), E.K.
172 Department of Translation and Methods of Translation, Penza State Technological University, Penza, Baidukov Thoroughfare / Gagarin Street, 1a / 11, Penza, Russian Federation 173 Department of Translation and Methods of Translation, Penza State Technological University, Penza, Russian Federation
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traducción literaria, recepción, tradición, comunicación intercultural.
Resumo
O artigo é dedicado à compreensão da recepção da tradução russa da balada de William Wordsworth “We are Seven” (1798). Introduz a tradução em prosa deste trabalho feita por V.N.Semyonov em 1831 para uso de pesquisa. Apresenta uma análise comparativa das primeiras traduções poéticas russas desta balada criada por I.I.Kozlov (1832), E.K.
Palavras-chave: Wordsworth, relações literárias Russo-Inglês, poesia, balada, tradução literária, recepção, tradição, comunicação intercultural.
Introduction
One of the best-known ballads by William considered the ballad to be a symbol of Wordsworth “We are Seven” was written at ideological and art falling of the poet who was Alfoxden in 1798, though the English poet met accused of a sermon of humility, apology of the girl, who became the heroine of the work, children’s attitude and excessive enthusiasm for near Goodrich Castle in 1793. He then was afterlife problems. However, thinking travelling from Alfoxden to Lenton in a company objectively, it is easy to notice that the poet of his sister Dorothy and friend Samuel Taylor “concerns not so much the question of afterlife, Coleridge, visited the Isle of Wight and Salisbury but the difference in two types of consciousness: Plain and continued the way up the River Wye. It logical and rational, sober awareness of adults is interesting that at first Wordsworth wrote the and naive and mythological, intuitive children’s last line of the first stanza, and only when the awareness which is characterized with poem was almost finished he returned to its mysticism, religiousness, as well as direct and beginning, having asked Coleridge to help. His sensual concreteness” (Gusmanov, 1995). In the option with small Wordsworth’s corrections girl’s perception a soul and a body of a person do opens the ballad: not exist separately from each other, moreover, she cannot understand death as destruction of the – A simple child, life, which appeared once. Therefore, for her to That lightly draws its breath, die means to leave, move in space, but not to And feels its life in every limb, change qualitatively, not to break relations with What should it know of death? (Wordsworth, the world of the living; for her there is no 1892). difference between departure of brothers by ship or departure to the city and death of her brother The greater part of the work (except for the first and sister. Being surprised with the girl’s three stanzas) represents a dialogue of the lyrical persistence, the author, at the same time, with all hero and the girl met by him who is stubborn, emotional spirit of the poem brings the regret while claiming that in her family there were shade caused by the fact that he cannot share a seven children, though two of them had already sincere childlike faith any more. According to died by then. Wordsworth’s emphasis caused I.G.Gusmanov, it is this that means “the romantic rejection of many contemporaries who
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poet’s melancholy for the lost integrity of 21, 1831) in the Department of Manuscripts of attitude” (Gusmanov, 1995). the Russian National Library in the fund of censorial materials (fund 831). On the first page The poetic power of the English poet’s ballad is of the manuscript there is a mark “To LPRI” (i.e. explained by harmony of its content and form: to “Literaturniye Pribavleniya k “Russkomy simplicity, naturalness of the little heroine with Invalidu””) and censorial conclusion: “Not her light look, spontaneity, attachment to nature, permitted because this article was printed in the the cemetery, the house, with her love to relatives journal of E
Results “Ty govorish, chto dvoye zhivut v Konvaye i dvoye na more, a vsyo-taki vas semero. Ob”yasni Wordsworth’s ballad attracted Russian poets and mne, dushen’ka, otchego eto tak?” translators in the 1830-s. We found the first prose translation of “We are Seven” created by V.N.Semyonov (the translation is dated – March
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Devochka vozrazila: “Nas semero, mal’chikov i Two of us, i.e. my brother with sister lie at the devochek, no dvoye iz nikh na kladbishche pod cemetery, and I live with mother in a small house bol’shim derevom”. beside them”.
«Smotri, kak ty rezva, kak zdorova, yesli dvoye “You say that two live in Conway and two are at iz vas na kladbishche, to vas ostalos’ tol’ko sea, nevertheless, you are seven. Explain to me, pyat’”. my little soul, why is it so?” “Na mogilakh ikh rastyot trava; ty uvidish ikh v The girl objected: “We are seven, boys and girls, dvukh shagakh ot nashey hizhiny; oni spyat odin but two of them are at the cemetery under a big podle drugogo. tree”.
Tam ya chasto popravlyayu chulki moi, “Look, how you are quick, how healthy, if two of razveshivayu platki, tam chasto lezhu ya i poyu you are at the cemetery, then you are only five”. pesni. “On the graves of them grows the grass; you will see them two steps away from our hut; they sleep I chasto, sudar’, kogda syadet solnyshko za les, one beside the other. kogda stanet smerkat’sya, ya sazhus’ na ikh mogilu, beru chashku i uzhinayu s nimi. There I often repair stockings of mine, hang out kerchiefs, there often lie I and sing songs. Sestritsa Anna prezhde umerla; ona davno stonala na svoyey posteli, poka Bog ne izbavil And often, sir, when sets the little sun beyond the yeyo ot muchen’ya i ne vzyal k sebe. wood, when it starts getting dark, I sit down on their grave, take a cup and have supper with Yeyo otnesli na kladbishche, a kogda proshlo them. leto, brat moy Zhan i ya igrali vokrug mogily. I kogda zemlya pokrylas’ snegom, kogda Little sister Anna died before; she for a long time mozhno bylo begat’ i katat’sya, brat moy Zhan had been groaning in her bed until God saved her dolzhen byl uiti za neyu; i yego polozhili podle from torture and took to him. sestritsy”. She was carried to the cemetery, and when was – No skol’ko zhe vas, – skazal ya, – kogda dvoye over the summer, brother of mine Jean and I na nebe? – Devochka podkhvatila: “Akh, sudar’, played around the grave. nas semero”. And when the ground got covered with snow, “No oni umerli; dvoye iz vas umerli, dushi ikh na when it was possible to run and slide, brother of nebesakh”. Naprasno teryal ya slova; devochka mine Jean had to follow her; and he was put nikak ne khotela ustupit’ mne i tverdila odno: beside little sister”. “Nas semero”. – But how many of you, – told I, – when two are [Can the child, who breathes freely, is full of life, in the heavens? – The girl replied up: “Oh, sir, we in his/her simplicity, know what death is?! are seven.”
I met a village girl. According to her words, she “But they died; two of you died, their souls are in was eight years old. Her hair curled and the heavens”. In vain I lost words; the girl would decorated a picturesque head. not want to give in to me and harped on one string: “We are seven”. (Semyonov, 1983). As a child of nature, she had a rough appearance, her dress resembled clothes of savages; but her The biography of the first Russian translator of eyes were fine. – And I smiled at the sight of this Wordsworth’s ballad Vasily Nikolayevich beauty. Semyonov (1801–1861) is well studied by K.Ya.Grot [Grot, 1881), therefore, we will note – Tell me, my little soul, – asked I her, – how only some details. It is known that many brothers and sisters do you have? – How V.N.Semyonov was in friendly relations with many? We are seven in all, – answered she, A.S.Pushkin during their study in Tsarskoye Selo looking at me with surprise. Lyceum (1814– 1817) and in the last decade of the great Russian poet’s life (1826–1837); when – Where are they? Tell me. – She answered: “We creating his translation, he worked as “the third- are seven, two live in Conway, and two are at sea. party censor” in the Main Censorial Committee where he was quite often criticized for his
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liberalism. The first half of the 1830-s was a nasledstvo” devoted to Johann Wolfgang von bright creative period in V.N.Semyonov’s life Goethe mistakenly attributed the pseudonym and when he was interested in literature, translation, publications under it to Elizaveta Alekseyevna Russian history and historiography; however, Karlgof-Drashusova who had publications “his too devoted, changeable and unstable signed by “E.K.” in “Sovremennik” for 1844 character did not allow him to focus on (Rozenblium et al, 1971; Masanov, 1956). something one and specialize his works” (Grot, 1881). V.N. Semyonov composed and issued the The English ballad was also interpreted by young almanac “Kometa Bely” for 1833, interpreted Yakov Karlovich Grot (1812–1893), Ernst Benjamin Salomo Raupach’s drama “Die subsequently, the prominent scholar-literary Erdennacht: Ein dramatisches Gedicht in fünf critic; he published the translation focused on Abtheilungen” (“The Earth Night”, 1820) in children’s audience in the journal verses and published “Peterburgskiye “Zvyozdochka” in 1842 (Grot, 1881), issued by vedomosti” in cooperation with P.I.Keppen in A.O.Ishimova and then included it into his 1835, however, his works “were not duly collection “Stikhi i proza dlya detey” (“Poems appreciated”, did not attract “that deserved and and Prose for Children”) which appeared in St. incentive” attention for which V.N.Semyonov Petersburg in 1891 (Grot, 1881). The orientation “certainly had the right” (Grot, 1881). He also of the translation on young readers was planned the edition of the twelve-volumed significant in selection of lexicon, graphic means “Biblioteka inostrannykh pisateley o Rossii” of expression, however, it did not break formal which would include materials of the 15th–17th compliance to the original, basic for Ya.K.Grot, centuries, however, only one volume (1837) was in metrics, rhyme and even total number of lines issued and got Demidov’s award. (sixty nine).
In 1832 the ballad was translated by the famous Our analysis would be incomplete without Russian romantic poet Ivan Ivanovich Kozlov reference to the latest translation of the ballad (1779–1840); this translation which entered the “We are Seven” created by Igor Sunerovich second part of “The Collection of Poems of Ivan Melamed (1961–2014), the poet, translator, Kozlov” (SPb., 1833) (The collection of poems essayist, who worked in different years as the by Ivan Kozlov, 1833), was close to the English editor of the journal “Yunost’” and the research original with figurativeness, characteristic associate in B.L.Pasternak’s house-museum in intonations, form of construction and Peredelkino. I.S.Melamed, the author of books preservation of the meter and total number of “Insomnia” (1994), “In black paradise” (poems, lines; not numerous changes added to the text by translations and articles about Russian poetry, the translator were insignificant and, in general, 1998), “Requital” (2010), “About poetry and did not change the main idea of the work. poets” (essays and articles, 2014), the interpreter of works of William Wordsworth, John Donne, The translation “Nas semero. We are seven. Samuel Taylor Coleridge, Edgar Poe, for the first Vordsvorta” was printed with the signature time published his translation in No. 11 of “E.K.” in “Biblioteka dlya chteniya” in 1835 “Oktyabr’” for 1996 (the selection was preceded [E.K.
Encuentre este artículo en http://www.udla.edu.co/revistas/index.php/amazonia-investiga ISSN 2322- 6307 534 boundless vital force inherent in the child’s also replacement of “eyes <…> fair” with “krasa mentality: vzglyada” (“a beautiful look”): Yeyo golovku oblegla Radushnoye ditya, Struya gustykh kudrey; Legko privyksheye dyshat’, <…> Zdorov’yem, zhizniyu tsvetya, I radoval menya krasoy Kak mozhet smert’ ponyat’? (Kozlov, 1960) Malyutki miloy vzglyad (Kozlov, 1960). Rebyonku tak legko dyshat’ na svete! On zhizni polon, – i zachem yemu Korsh, enthusiastically characterizing dense O smerti znat’? Net, mysli eti curls of the heroine and her “glazki, chudo Nesrodny detskomu umu. krasoty” (“eyes, miracle of beauty”), brought a mention of shoulders onto which her hair fell into And in translation of Grot it is identified with the translation: happiness, carelessness, playfulness: Divlyus’ gustym yeyo kudryam, …Kak shchastlivo ditya! Volnami v’yushchimsya na plechi! Kak bezzabotno, kak rezvo! and then drew the resolute conclusion which is V nyom zhizn’ igrayet i kipit; not corresponding to the original: “Vsyo v etoy Smert’ neponyatna dlya nego. (Grot, 1881) devochke otrada”.
In the contemporary I.S.Melamed’s translation Grot, along with curly hair and “yarkiye glaza” comparison is used for greater expressiveness: (“bright eyes”), noted “rumyanost’” (“rosy cheeks”) of the girl’s face and compared her Rebyonok prostodushniy, chey charm to the charm of an angel: Tak legok kazhdiy vdokh, V kom zhizn’ struitsya, kak ruchey, Kak angel prelesti polna. Chto znat’ o smerti mog? (Wordsworth, 1892). U ney kudryavy volosa, Rumyano lichiko u ney, Semyonov, Kozlov and Melamed precisely I chto za yarkiye glaza! specified the age of the girl who, according to the Ot nikh mne stalo veseley! (Grot, 1881). English original, was eight years old: “She was eight years old, she said” (Wordsworth, 1892) – Semyonov described not only the hair and eyes, “According to her words, she was eight years but also the child’s head: “Her hair curled and old” (Semyonov, 1983); “Let vosem’ bylo yey” decorated a picturesque head” (Semyonov, (Kozlov, 1960); ““Mne vosem’”, – molvilo 1983); “…but her eyes were fine. – And I smiled ditya” (Wordsworth, 1995). In other at the sight of this beauty” (Semyonov, 1983). interpretations the girl was younger: Korsh claimed that she was seven years old (“Sem’ let In the latest translation of Melamed, though yey, po yeya slovam”), Grot – that she was not “kudryavaya golova” (“the curly head”) is seven years old (“Yey byl sed’moy lish god;..” mentioned, the attention, nevertheless, is focused (Grot, 1881). on the eyes, on the look that is reached by means of epithets: While creating the portrait of the young heroine, …ditya Wordsworth paid his main attention to her thick curly hair: S kudryavoy golovoy. (Wordsworth, 1995); No miliy vzglyad yeyo ochey Her hair was thick with many a curl Byl krotok i otkryt (Wordsworth, 1995). That clustered round her head. (Wordsworth, 1892) As a result of significant processing, the and to expressive eyes: beginning of the third stanza of the English Her eyes were fair, and very fair; original, characterizing the girl in shabby clothes – Her beauty made me glad. (Wordsworth, as a female resident of the remote village among 1892). the woods, got a different sense in Kozlov’s translation – his heroine lives in the steppe, she Kozlov tried to obtain special warmth of the has a wild look and a wild simple dress: description by means of the appropriate use of She had a rustic, woodland air, diminutive-hypocoristic lexicon (“golovka” (“little head”), “malyutka” (“little child”)) and And she was wildly clad; (Wordsworth, 1892) I dik byl vid yeyo stepnoy,
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I dik prostoy naryad, (Kozlov, 1960). Volnami v’yushchimsya na plechi!
Moving the scene of the action from the woody If Wordsworth, in fact, uses only one address to area to the steppe, the translator made the text to the girl – “little (sweet) Maid (Maiden)”, then sound a little Russian, as England is known to addresses in Grot’s interpretations are extremely have no steppes; at the same time, an outstanding multiple: “kroshka” (“little child”), “malyutka” nature, originality, singularity of the heroine, (“small child”), “dushen’ka” (“small soul”), daughter of steppes, similar to romantic Gipsy “svetik” (“small light”), “moy drug” (“my girls/women from works by contemporaries of friend”). Kozlov, being not inclined to addresses, Kozlov, were emphasized. only once calls the girl “druzhok” (“small friend”); Semyonov uses the address Korsh, having missed the mention of the woody “dushen’ka” (“small soul”) twice; in Korsh’s area, focused his attention on distinctions translation the address “vostrushka” (“witty between city and simpler rural ways of life, small girl”), underlining the girl’s intelligence, which affected the girl’s appearance, gave and stereotyped inverse phrases “dusha moya” “dikaya strannost’” (“wild strangeness”) to her (“soul of mine”) and “drug moy” (“friend of dress: mine”) are used (Melamed also inclined to the last method – “moy svet” (“my light”) (without Prostiye, sel’skiye cherty, inversion), “ditya moyo” (“child of mine”), I strannost’ dikaya naryada, “angel moy” (“angel of mine”)). In her turn, the girl in Wordsworth’s ballad called her unfamiliar Greater isolation of the child from a civilization companion “Sir” and “Master” that was is shown in Semyonov’s translation: “As a child transformed by Russian interpreters as Russian of nature, she had a rough appearance, her dress “barin” (“master”) (I.I.Kozlov, E.F.Korsh) and resembled clothes of savages” (Semyonov, “sudar’” (“sir”) (Semyonov, 1983;Grot, 1881). 1983). “Conway” (the city or county) mentioned by Grot deviated from the English original more Wordsworth in the fifth and seventh stanzas that than others, he reduced the whole fragment to the is situated in Northern Wales (“And two of us at short message about a poor dress of the heroine Conway dwell, / <…> / …two at Conway dwell” given, moreover, in the form of a small note (Wordsworth, 1892), became in Russian taken in parentheses with the purpose to translations a village: emphasize all its insignificance in comparison with the child’s charm: Nas dvoye zhit’ poshli v selo, …ona <…> (Hot’ v bednom plat’itse) byla (Grot, 1881). …dvoye zhit’ v selo poshli, (Kozlov, 1960) In the newest translation of Melamed also rather or a city without any certain name: wretchedness of clothes than simplicity and …dvoye v gorode;.. discrepancy to norms peculiar to the original is <…> presented: Da dvoye v gorode zhivut, Grot mentions neither village, nor city at all, Odezhda zhalkaya na ney, moreover, for some reason he decides that I dikovatiy vid. (Wordsworth, 1995). Wordsworth’s heroine means two brothers, though in reality it is not told anywhere whether The use of numerous exclamatory syntactic they are brothers or sisters: constructions designed to show the author’s Zhivut dva brattsa u rodni, admiration of the child’s beauty and spontaneity <…> became the characteristic of Grot’s translation Dva u rodni, ti govorish; (Grot, 1881) (“…Kak shchastlivo ditya!”; “Kak bezzabotno, Semyonov and – later – Melamed preferred the kak rezvo!”; “I chto za yarkiye glaza!” (Grot, method of transcription/transliteration, reflecting 1881). In Wordsworth’s original and in the reality, but giving no explanations, though Semyonov’s, Kozlov’s and Melamed’s Melamed calls the place “dalyokiy” (“far”) (later translations there are no such sentences; Korsh’s it becomes “chuzhbina” (“foreign land”)): “two incentive constructions are a little artificial, live in Conway” (Semyonov, 1983); though they perform the function of underlining …“Ushli ot nas pathos of the description: V dalyokiy Konvey dvoye, Rebyonku tak legko dyshat’ na svete! <…> I na chuzhbine dvoye? (Wordsworth, 1995). Divlyus’ gustym yeyo kudryam,
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An uncertain tree at the cemetery (“the Tam pod berezkoy ya sizhu churchyard tree”) from the eighth stanza of the I brattsam pesenki poyu. (Grot, 1881) English original is interpreted by Semenov and Melamed correctly: “at the cemetery under a big However, Grot introduced into his translation the tree” (Semyonov, 1983) and …na pogost – mention of the birch and the remark on the dead Pod derevom lezhat.” [Wordsworth U. “brothers”, incorrect in relation to the original, Prelyudiya. 1805, 2017: 400]. according to which at the cemetery the heroine’s brother and sister of are buried (“My sister and In Kozlov’s translation it becomes “iva” (“a my brother” (Wordsworth,1892). In Korsh’s willow”): translation such occupation of the girl as sewing of dresses for a doll is mentioned additionally Zdes’ na kladbishche dvoye nas, and also unexpected feelings of the heroine “kak Pod ivoyu v zemle. (Kozlov, 1960), v rayu” (“as in paradise”) beside the dead brother in Korsh’s interpretation – “yaseni” (“ash- and sister are shown: trees”): I ya hozhu tuda vyazat’ chulochek, V zemle, pod kupoyu yaseney. – in Grot’s Dlya kukly shit’ ili rubit’ platochek. translation – “beryoza” (“a birch”); by the way, Na travke sidya kak v rayu, in the eighth stanza of his translation the tree is Dlya nikh ya pesenki poyu. not mentioned at all and the burial happens to be located not at the cemetery, but at the hut (“Oni In Semyonov’s translation it is possible to see bliz hizhiny lezhat. –” (Grot, 1881), and only in unexpectedly inexact interpretation of verbs of the eleventh stanza the mention of the birch action – “popravlyat’” (“to repair, darn”) instead appears (“Tam pod berezkoy ya sizhu” (Grot, of “to knit”, “razveshivat’” (“to hang up”) 1881). The distance from mother’s house to the instead of “to hem”, “lezhat’” (“to lie”) instead children’s graves defined in the tenth stanza of of “to sit”: “There I often repair stockings of Wordthworth’s ballad as “twelve steps or more” mine, hang out kerchiefs, there often lie I and was translated by Melamed correctly: sing songs” (Semyonov, 1983).
Shagov dvenadtsat’ k nim In the newest translation of Melamed hemming Ot dveri v dom, gde my zhivyom [Wordsworth of the kerchief is replaced by a more general U. Prelyudiya. 1805, 2017: 400], occupation of tailoring: reduced by Kozlov to ten: I desyati shagov Ya chasto tam chulki vyazhu, Net ot dverey rodnoy moyey (Kozlov, 1960), Sebe odyozhku shyu. by Korsh – to five steps (“Za hizhinoy shagov I na zemle bliz nikh sizhu, pyatok nazad” I pesni im poyu. (Wordsworth, 1995). by Grot – also to five, but not from the house, but from the road (“Von ot puti shagakh v pyati…” The dinner of the heroine characterized by (Grot, 1881), Wordsworth in the twelfth stanza as “little by Semyonov – to two steps (“two steps away porringer” is presented in the Russian translation from our hut” (Semyonov, 1983). of Melamed as “misochka” (“a small bowl”), of Possibly, Grot read Kozlov’s translation what the Semyonov as “chashka” (“a cup”), of Kozlov as extreme proximity of interpretation of the “syr i khleb” (“cheese and bread”), and is not eleventh stanza indicates: mentioned in other interpretations of the 1830– 1840-s at all. My stockings there I often knit, My kerchief there I hem; If in the English original practically nothing is And there upon the ground I sit, told about summer games of the heroine near the And sing a song to them. (Wordsworth, 1892) graves of the relatives, but, at the same time, it is in Kozlov’s interpretation: claimed that she “would run and slide” near them Ya chasto zdes’ chulki vyazhu, in the winter: Platok moy zdes’ rublyu, I podle ikh mogil sizhu So in the churchyard she was laid; I pesni im poyu; (Kozlov, 1960) – And, when the grass was dry, in Grot’s one: Together round her grave we played, My brother John and I. Tam chasto ya chulok vyazhu, And when the ground was white with snow, Ili platochek svoy rublyu; And I could run and slide,
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My brother John was forced to go, Gde kamen’ grobovoy And he lies by her side. (Wordsworth, 1995). Nad neyu vyros, okruzhyon Vesenneyu travoy. In Grot’s translation, on the contrary, nothing is Kogda zh zasypal sneg puti mentioned about winter hobbies of the girl, but it I zablestel katok, is told how in the summer near the graves she Dzhon tozhe dolzhen byl uyti, picked flowers and twined wreaths: S sestroy on ryadom lyog. (Wordsworth, 1995).
Zaryli grob yeya; nad nim In the final of his ballad Wordsworth opposes Tsvetochki posle ya rvala, understanding of death by the adult and by the I s bratom malen’kim moim child, using the repetition, which shows the Vsyo leto tam venki plela. awareness of his correctness by the adult (“But Prishla zima: uzh brat ne mog they are dead; those two are dead!” Igrat’ po-prezhnemu so mnoy; (Wordsworth, 1892), and adding the fifth line to Zakryl glaza i v grobik lyog, the last of seventeen quatrains: “And said, “Nay, I spit on takzhe pod zemlyoy. – (Grot, 1881). we are seven!”” (Wordsworth, 1892). The characteristic method of repetition in the first line Grot does not translate the name of the girl’s dead of the final stanza reflected only in Semyonov’s brother John, though the name of her sister Jane prose (“But they died; two of you died, their souls is translated as Jannie. Kozlov mentions both are in the heavens” (Semyonov, 1983) did not unfortunate “malyutka Jannie” (“small child find any response in other Russian translations, Jannie”) and John, who died suddenly: however, Kozlov, nevertheless, used the repetition – in the line added to the last quatrain: Kogda zh yeyo my pogrebli “O net, nas sem’, nas sem’!” (Kozlov, 1960). I rastsvela zemlya – Korsh formed the construction with two denials, K ney na mogilu my prishli using that circumstance that in the Russian Rezvit’sya, Dzhon i ya. language, unlike the English one, there can be No tol’ko dozhdalas’ zimoy more than one denial in a sentence: Kon’kov ya i saney, Ushyol i Dzhon, bratishka moy, I yey kazalos’ ochen’ yasno, I lyog on ryadom s ney. (Kozlov, 1960). Chto zhit’ nel’zya ne vsemerom!
In Semyonov’s translation “little sister Anna” In Korsh’s translation the behavior of the girl is and “brother of mine Jean” are mentioned: “She presented unclear not only for the casual was carried to the cemetery, and when was over companion, but also for her mother: in the twelfth the summer, brother of mine Jean and I played stanza expanded due to the reduction of the around the grave. And when the ground got eighth stanza there is a line “Hot’ mamen’ke ne covered with snow, when it was possible to run po nutru”, not corresponding to the English and slide, brother of mine Jean had to follow her; original and showing oddness of the girl’s visits and he was put beside little sister” (Semyonov, of the dead at the cemetery for her mother. 1983). Korsh does not name the children at all, Perhaps, the last line is interpreted in the most rather evenly representing their summer hobbies close manner to Wordsworth’s original only in (games) and winter entertainments (“katan’ya”): Grot’s translation: “I vsyo tverdila: Net, nas Na kladbishche yeyo zaryli. sem’!” (Grot, 1881). Subsequently, the impossibility to overpersuade the girl happened Vsyo leto s brattsem my hodili to be the most essential thing for Melamed, he K ney nad mogilkoyu igrat’; transferred it by means of abundance of Vot stal i sneg uzh vypadat’, exclamations: Uzh nachalisya i katan’ya, – Brat zakhvoral – i, bez stradan’ya, Ikh net, uvy! Oni mertvy! On ryadyshkom s sestritsey lyog... Na nebesakh ikh dom! (Wordsworth, 1995) Ona zh po-prezhnemu: “Nas sem’!” Let’s note that in the modern reading of the (Wordsworth, 1995) ballad by Melamed there are only hints on summer and winter games; children are called Discussion according to the original “little sister/sister” and “brother”, Jane and John: The characteristic motive of blurring out the line between the temporal and eternal reached due to My tam igrali – ya i Dzhon, properties of human memory appeared in
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Russian literature thanks to Wordsworth. In this in many respects reflects modern requirements to regard it is interesting to mention the literary translation significantly different A.A.Akhmatova’s poem “We are Four from views of the 1830–1840-s and belongs to a (Komarovskiye sketches)” written in the number of literary triumphs of the translator. Leningrad hospital on November, 19–20, 1961 and preceded by epigraphs from Acknowledgements O.E.Mandelstam (“Face features are distorted…”), B.L.Pasternak (“To Anna The article is made within the project # 17-18- Akhmatova”) and M.I.Tsvetaeva (“Oh, the Muse 01006 «The Evolution of the Russian Poetic of Crying, the finest of Muses!..”): Translation (the 19th – the beginning of the 20th centuries)» of the Russian Science Foundation. I otstupilas’ ya zdes’ ot vsego, Ot zemnogo vsyakogo blaga. Reference Dukhom-khranitelem mesta sego Stala lesnaya koryaga. Akhmatova, A. A. (1999). Sobranie sochineniy: Vse my nemnogo u zhizni v gostyakh, v 6 t. M.: Ellis Lak, 4984. Zhit’ – eto tol’ko privychka. Wordsworth, W., & Bewick, T. (1892). We are Chuditsya mne na vozdushnykh putyakh seven. Meissner & Buch. Dvukh golosov pereklichka. Grot, K. Y. (1881). Moraviya i mad’yary s Dvukh? A yeshchyo u vostochnoy steny, poloviny IX do nachala X veka [Moravia and the V zaroslyakh krepkoy maliny, Magyars from the mid 9th till early 10th century]. Tyomnaya, svezhaya vetv’ buziny… St. Petersburg: Imperial Academy of Sciences. Eto – pis’mo ot Mariny (Akhmatova, 1999). Gusmanov I.G. (1995) Lirika angliyskogo romantizma. W.Blake, W.Wordsworth, As we can see, there is not only an external S.T.Coleridge, Th.Moore, G.G.Byron, J.Keats. association with Wordsworth (“We are seven” – Translations and comments. Oryol: Oryol State “We are four”), but also an internal one: Pedagogical University publishing house, 1995. Akhmatova realizes herself in the unity with her Kozlov, I. I. (1960). Polnoe sobraniie three talented contemporaries, who left forever. stikhotvorenii [Full collection of poems]. Edited The commentator of A.A.Akhmatova’s texts by Isaak Glikman. Leningrad: Sovetskii pisatel. N.V.Koroleva understands the name of the poem Koroleva, N. V. (1999). Kommentarii. In “We are Four” as the answer to the initial line of Akhmatova A.A. Sobramiye sochineniy: In 6 B.L.Pasternak’s poem “We are Few. We are, vol. Vol. 2. Book 2. Stikhi. 1959–1966. Maybe, Three…” (1921) (Koroleva, 1999). Composed, prepared, comments, article by However, in this case there are no substantial N.V.Koroleva. M.: Ellis Lak, 1999. P. 315–513. parallels as B.L.Pasternak thought of himself and Masanov, I. F. (1956). Slovar’psevdonimov his living contemporaries O.E.Mandelstam and russkikh pisatelei, uchenykh i obshchestvennykh V.V.Mayakovsky. deyatelei [Dictionary of Pseudonyms of Russian Writers, Scientists, and Public Figures]. Conclusions Moscow, Izdatel’stvo Vsesoyuznoi knizhnoi palaty. Vols, 1-4. This comparison of Wordsworth’s ballad “We Nasiri, M., Rezghi, M., & Minaei, B. (2014). are Seven” and its Russian interpretations of the Fuzzy dynamic tensor decomposition algorithm 1830–1840-s convinces us that all translators for recommender system, UCT Journal of sought to adapt the original work by the English Research in Science, Engineering and author to Russian reality by means of the active Technology, 2(2): 52-55. use of various lexical opportunities of the Piteira, M., Costa, C. J., & Aparicio, M. (2018). Russian language. Nevertheless, Kozlov Computer Programming Learning: How to transferred the internal atmosphere of the English Apply Gamification on Online Courses?. Journal original most fully, whereas it is possible to of Information Systems Engineering & observe semantic inaccuracies in Semyonov’s Management, 3(2), 11. prosaic interpretation, and some random Kenan, K. X. (2018). Seeing and the Ability to additional literary details alien to the spirit of the See: A Framework for Viewing Geometric Cube primary source in Korsh’s translation. Deviations Problems. International Electronic Journal of from the original in Grot’s interpretation are Mathematics Education, 13(2), 57-60. connected, generally, with its orientation on Rozenblium, L. M., dnevniki Dostoevskogo, T., children’s audience what required a special Zil'bershtein, I. I., & Rozenblium, L. M. (1971). choice of lexical and grammatical means. Literaturnoe nasledstvo. Moscow: Nauka, 83, 9- Melamed’s translation used for our comparison 92.
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Semyonov, V. N. (1983). The Financial-Credit Wordsworth, W. (1995). The Prelude: The Four Mechanism in the Development of Agriculture. Texts (1798, 1799, 1805, 1850). Penguin UK. Moscow: Finansy i Statistika. Yazdekhasti, A., Erfan, N., & Nazari, N. (2015). The collection of poems by Ivan Kozlov. (1833). Investigating the Relationship between Spiritual Parts 1 and 2. SPb.: [A.F.Smirdin’s publishing Intelligence and Social Adaptation among Girl house]; in the printing house of the Inspection High School Students in Shahreza City. UCT Department of the Ministry of Defence, 1833. Journal of Social Sciences and Part 2. Humanities Research, 3(1), 20-23. Wordsworth, W., & Coleridge, S. T. (2011). Lyrical Ballads 1798 a critical edition.
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