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Russian Translation Reception of Wordsworth's 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. <E.F.Korsh> (1835), poéticas rusas de esta balada creada por Ya.K.Grot (1842) and of the newest translation I.I.Kozlov (1832), E.K. <E.F.Korsh> (1835), by I.S.Melamed (1996). Noting the general Ya.K.Grot (1842) y de la traducción más reciente aspiration to adapt the work of the English author por I.S.Melamed (1996). Sin embargo, to Russian reality, the authors of the article, observando la aspiración general de adaptar el however, conclude that only I.I.Kozlov, the only trabajo del autor inglés a la realidad rusa, los of the early Russian translators, succeeded in autores del artículo concluyen que solo IIKozlov, transferring the internal atmosphere of the el único de los primeros traductores rusos, logró English original most fully. Whereas transferir la atmósfera interna del original en V.N.Semyonov’s prosaic interpretation contains inglés más plenamente. Mientras que la semantic inaccuracies, E.F.Korsh’s translation is interpretación prosaica de V.N.Semyonov characterized with randomly added literary contiene inexactitudes semánticas, la traducción details alien to the spirit of the original, de E.F.Korsh se caracteriza por detalles literarios K.Ya.Grot’s translation oriented on children’s agregados al azar ajenos al espíritu del original, audience has typical lexical and grammatical la traducción de K.Ya.Grot orientada a la means. I.S.Melamed’s translation created one and audiencia infantil tiene medios léxicos y a half centuries after interpretations of gramaticales típicos. La traducción de predecessors, taking into account qualitatively I.S.Melamed se creó un siglo y medio después de different requirements to literary translation, can que las interpretaciones de los predecesores, be hardly compared with the translations of the teniendo en cuenta los requisitos 1830-s – 1840-s directly. At the same time, it cualitativamente diferentes de la traducción belongs to the number of literary triumphs of literaria, difícilmente puedan compararse con las I.S.Melamed who managed to be exact both in traducciones de los 1830-s - 1840-s recreation of literary details and preservation of directamente. Al mismo tiempo, pertenece al the general emotional background of the original. número de triunfos literarios de I.S.Melamed que logró ser exactos tanto en la recreación de los Keywords: Wordsworth, Russian-English detalles literarios como en la preservación de los literary relations, poetry, ballad, literary antecedentes emocionales generales del original. translation, reception, tradition, cross-cultural communication Palabras claves: Wordsworth, relaciones literarias ruso-inglesas, poesía, balada, 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 Encuentre este artículo en http://www.udla.edu.co/revistas/index.php/amazonia-investiga ISSN 2322- 6307 Zhatkin, D.N., Ryabova, A. /Vol. 8 Núm. 19: 529- 539/ Marzo - abril 2019 530 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. <E.F.Korsh> (1835), Ya.K.Grot (1842) e da mais nova tradução de I.S.Melamed (1996). Observando a aspiração geral de adaptar o trabalho do autor inglês à realidade russa, os autores do artigo concluem que apenas o IIKozlov, o único dos primeiros tradutores russos, conseguiu transferir a atmosfera interna do original em inglês de forma mais completa. Enquanto a interpretação prosaica de V.N.Semyonov contém inexatidões semânticas, a tradução de E.F.Korsh é caracterizada com detalhes literários adicionados aleatoriamente alheios ao espírito do original, a tradução de K.Ya.Grot orientada para o público infantil tem meios lexicais e gramaticais típicos. A tradução do I.S.Melamed criada um século e meio depois das interpretações dos predecessores, levando em conta requisitos qualitativamente diferentes da tradução literária, dificilmente pode ser comparada às traduções de 1830-s- 1840-s diretamente. Ao mesmo tempo, pertence ao número de triunfos literários de I.S.Melamed quem conseguiu ser exato tanto na recriação de detalhes literários como na preservação do contexto emocional geral do original. 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 Encuentre este artículo en http://www.udla.edu.co/revistas/index.php/amazonia-investiga ISSN 2322- 6307 Vol. 8 Núm. 19 /Marzo - abril 2019 531 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<go> I<mperatorskogo> and belief in immortality of this love are V<elichestva> (His Imperial Majesty) successor emphasized with artlessness and from which it is not allowed to borrow. April 14, unpretentiousness of Wordsworth’s poem. 1831” (Semyonov, 1983). These marks show that Possibly, the English poet consciously used there was no publication in “Literaturniye incomplete rhyming of quatrains in the spirit of a Pribavleniya k “Russkomy Invalidu”” as the folk ballad, avoiding internal rhymes. And only translation had been issued before in the most once, at the moment of culmination, in the tenth unique now edition prepared for the successor of stanza when the girl, having lost her patience, the throne by his tutor V.A.Zhukovsky in 1831. with sincere bewilderment explained to the adult This edition – “Muraveynik, literaturniye listy, that her dead brother and sister did not disappear, izdavayemiye neizvestnym obshchestvom that they were nearby, Wordsworth used an neuchyonykh ludey” (No.
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