Sivtceva–Maksimova, P., Arkhipova, E., Egorova, S., Rufova, E./Vol. 8 Núm. 21: 372 - 381/ Julio - agosto 2019 372

Artículo de investigación TRANSLATIONS OF M.YU. LERMONTOV’S POETRYIN THE YAKUT LANGUAGE

ПЕРЕВОДЫ ПОЭЗИИ М.Ю. ЛЕРМОНТОВА НА ЯКУТСКИЙ ЯЗЫК

TRADUCCIONES DE M.YU. LERMONTOV POETRYIN LA LENGUA YAKUT

Recibido: 1 de junio del 2019 Aceptado: 6 de julio del 2019

Written by: Praskovia Vasilievna Sivtceva–Maksimova108 Elena Afanasievna Arkhipova109 Sargylana Ivanovna Egorova110 Elena Stepanovna Rufova111

Abstract Аннотация

The paper presents the history of translations of В статье представляется история переводов Lermontov works to the Yakut language. The произведений М.Ю. Лермонтова на якутский relevance of the study is determined by the main язык. Актуальность исследования task of translation criticism based on literary обусловлена основной задачей contacts, which are valuable for the addressee переводческой критики, основанной на because of the translators’ work with the original литературных контактах, ценность которых с language. This paper is aimed at identifying the точки зрения воспринимающей стороны, forms of artistic device as a basis of artistic обеспечивается работой переводчиков creation by comparing the original text with its непосредственно с языком оригинала. В связи translation variants in the Yakut language. The с этим, данная статья направлена на purpose of the study is to determine the выявление форм художественной рецепции typological convergence with motifs and images как основы художественного творчества на of Russian classical literature in the individual примерах сопоставления текстов оригинала с styles of the Yakut writers, to identify ways and вариантами переводов на якутском языке. methods of creative development of the Russian Цель исследования - определить literary traditions in the formation and типологические схождения с мотивами и development of national literature. The materials образами русской классики в represented by the works of M. Yu. Lermontov индивидуальном стиле якутских писателей, and the Yakut writers A.E. Kulakovsky, I.E. выявить пути и приемы творческого освоения Sleptsov, Ivan Arbita, G.M. Vasiliev, S.T. Rufov традиций русской литературы в становлении enable practical comparative analysis of literary и развитии национальной словесности. texts in two languages. The main research method Материалы, представленные произведениями included the techniques of comparative- М.Ю. Лермонтова и якутских писателей А.Е. typological and textual analysis of the poetical Кулаковского, И.Е. Слепцова-Ивана Арбиты, works. The issues of theory and history of Г.М. Васильева, С.Т. Руфова, дают translation are based on the provisions and практические возможности проведения conclusions of the studies on poetry and сопоставительного анализа художественных comparative literature. This paper concludes that текстов на двух языках, где главным методом

108 Doctor of Philology, Professor, Director of Institute of A.E. Kulakovsky, North-Eastern Federal University, Yakutsk, Russia, [email protected]. Researcher ID: 000450202100027. ORCID …EJ1121251, ORCID: 0000-0002-0706-4715. https://elibrary.ru/author_items.asp?authorid=658654&show_refs=1&show_option=1 109 Candidate of Sciences (Philology), Associate Professor, Department of Sakha Literature North-Eastern Federal University, Yakutsk, Russia. ORCID: 0000-0003-3965-6720. https://elibrary.ru/author_items.asp?authorid=138200&show_refs=1&show_option=1 110 Candidate of Sciences (Philology), Associate Professor Department of Sakha Literature North-Eastern Federal University, Yakutsk, Russia. ORCID: 0000-0003-0578-3932 111 Candidate of Sciences (Philology), Associate Professor, Department of Oriental Languages, North-Eastern Federal University, Yakutsk, Russia. ORCID: 0000-0002-1276-7087. https://elibrary.ru/author_items.asp?authorid=641472&show_refs=1&show_option=1

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comprehensive study of the features of literary исследования выступают приемы translation in terms of the studied topic acts as a сравнительно-типологического и rationale of distinguishing the forms of cross- текстуального анализа произведений. language literary communication. Thus, this Вопросы теории и истории перевода paper reveals the importance of translating the обосновываются положениями и выводами из works written by Yakut writers, and determines работ по проблемам стиховедения и the cases of the translation affecting the creation сравнительного литературоведения. Статья of the forms of metric verse and the extension and приводит к выводу, что комплексное specification of types of alliterative poetry. The изучение особенностей художественного materials of this paper are of practical value for перевода в русле представленной темы further studies on translators’ creative personality выступает обоснованием для выявления in the context of identifying the role of their own форм межъязыковой литературной creative attitudes towards artistic interpretation or коммуникации. В этом направлении в статье towards the best possible transmission of Russian раскрывается значение переводческой classical texts. Reasoned description of the деятельности якутских писателей, problem of translation as creativity and its определяются факты влияния переводов на functions in the natural historical and cultural становление форм метрического стиха, на development of literature raises significant расширение и уточнение видов interest. аллитерационной поэзии. Материалы статьи представляют практическую ценность для Keywords: Russian classics, artistic tradition, дальнейшего исследования творческой translator’s artistic personality, literary индивидуальности переводчика на основе communication. выявления роли его творческой установки по отношению к художественной интерпретации или максимально приближенной, в иных случаях, точной передачи классических текстов русской литературы. Особое значение получает аргументированное представление проблемы перевода как творчества и его функции в естественном историко-культурном процессе развития литературы.

Ключевые слова: русская классика, художественные традиции, творческая индивидуальность переводчика, литературная коммуникация.

Resumen

El artículo presenta la historia de las traducciones de las obras de Lermontov al idioma yakut. La relevancia del estudio está determinada por la tarea principal de la crítica de traducción basada en contactos literarios, que son valiosos para el destinatario debido al trabajo de los traductores con el idioma original. Este documento tiene como objetivo identificar las formas del dispositivo artístico como base de la creación artística mediante la comparación del texto original con sus variantes de traducción en el idioma yakut. El propósito del estudio es determinar la convergencia tipológica con motivos e imágenes de la literatura clásica rusa en los estilos individuales de los escritores Yakut, para identificar formas y métodos de desarrollo creativo de las tradiciones literarias rusas en la formación y desarrollo de la literatura nacional. Los materiales representados por las obras de M. Yu. Lermontov y los escritores Yakut A.E. Kulakovsky, I.E. Sleptsov, Ivan Arbita, G.M. Vasiliev, S.T. Rufov permite el análisis comparativo práctico de textos literarios en dos idiomas. El principal método de investigación incluyó las técnicas de análisis comparativo- tipológico y textual de las obras poéticas. Los temas de la teoría y la historia de la traducción se basan en las disposiciones y conclusiones de los estudios sobre poesía y literatura comparada. Este artículo concluye que el estudio exhaustivo de las características de la traducción literaria en términos del tema estudiado actúa como una justificación para distinguir las formas de comunicación literaria en varios idiomas. Por lo tanto, este documento revela la importancia de traducir las obras escritas por los escritores de Yakut y determina los casos de traducción que afectan la creación de las formas del verso métrico y la extensión y especificación de los tipos de poesía aliterativa. Los materiales de este documento son de valor práctico

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Palabras clave: Clásicos rusos, tradición artística, personalidad artística del traductor, comunicación literaria.

Introduction classic Yakut Saasky Kem (Springtime) N.E. Mordinov-Amma Achchygyya (Burtsev & The folklore traditions are essential for the Burtseva, 2004) started his artwork choosing the formation and development of the Yakut form of large prose with a reference to literature. However, the real state of the written Lermontov’s novel. Moreover, he further literature without the creative perception and dedicated a significant period of his career to practical learning in the forms of mastering the translation of the Russian classics. He is the experience of Russian classical literature would author of translations of major works of Russian be different. This is proved by the fact that the literature like War and Peace by L.N. Tolstoy main features of the literary life of Yakutia in the and And Quiet Flows the Don by M.A. 20th century were a constant living connection Sholokhov. with the traditions of verbal folklore and the same constant active strive to master the artistic Thus, from the beginning of the last century to norms of Russian culture. The relevance of this the 1990s Lermontov’s literary heritage is a problem lies in the real facts of the literary significant original sphere in the history of the process in Yakutia. For example, the first Yakut literature, which reflects the real facts of publication of the poetical works of A.E. influence of the Russian classics on the national Kulakovsky (Burtsev & Burtseva, 2004) refers to literature. The Yakut literature with its 1908 and is associated with the poetry of M.Yu. democratic principles paid particular attention to Lermontov. The newspaper Yakutsky Krai making its reader closer to the Russian classics. published his translation of the poem The In this context, Lermontov’s artistic heritage on November 16. Since that time the original takes a special place, since reading great poem by A.E. Kulakovsky Oath of the Demon literature in the native language is one of the was recognized as a work that marked the greatest indicators not only of the creative beginning of the publication of the poetic works learning of authors, but also of reader’s respect by the classical Yakut writer. Also, the plot and (in this case, the entire nation’s respect) to the the composition of the Yakut poem Өrүs Russian culture. belekhtere (Gifts of the River, 1909) were inspired by M.Yu. Lermontov’s poem Gifts of the Goals and Hypothesis Terek (1839). However, the problems and the set of images in their content and artistic style are The aim of this research is the in-depth study of rooted the national perception of the world and translations of Lermontov’s poetry into the nature in the context of ethno cultural traditions Yakut language. Another aim is to disclose forms of the Yakut people. The comparability of the and techniques of creative development of images of the Arctic ocean in the Gifts of the images and traditions of the Russian classics and River and the Caspian sea in the Gifts of the Terek to exemplify the impact of Lermontov’s artistic has a typological proximity of these works at the style on the works by the Yakut writers (which level of structural and narrative motifs. Besides generally is treated as a significant value of this fact, the authors of this paper discovered the literary contacts). Moreover, the paper is also proximity of artistic phenomena in the history of aimed at representation of separate translation various national literatures (Sivtceva- variants as a form of art based on individual Maksimova, 2017). perception of adaptation of images in another text, in the context of another national culture. These two emphasized examples justify the The study of translation in this context opens the special interest of the founder of Yakut literature following lines of research: finding the to the works by M.Yu. Lermontov. This interest typological similarities with Lermontov’s motifs continued in artistic searches of Kulakovsky’s and images in the individual style of the Yakut followers. Lermontov’s verses, poems and the poets; determining the impact of translated text novel were published as on the formation of different forms of metric separate books in the Yakut language in the verse, which had enriched the traditional forms 1940-1960s. It is interesting that the author of the of folk free verse and alliterative poetry;

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identifying the skill level of literary translations that the original is written in his native language. of Lermontov’s verses in the context of the Others say that the purpose of the translation is classification of forms and methods of practical exactly opposite: it is necessary to save the translation. The work also determined the unusual turns of speech for the stronger feeling significance of the translation of the novel A that the work is written by a stranger. The great Hero of Our Time in the works of Yakut classical poet Aleksander Pushkin was also a great prosaic writer N.E. Mordinov – Amma translator. Achchygyya. Pushkin as a translator is a real corrival of the Methodological Framework original text, not its slave; at the same time, he not only changes the precision of the The work used textual and poetic analyses, transmission of the original text, but vice versa, typological comparison of the works on the basis makes his idea and artistic virtue very distinct. of translations versions. The use of these Some translated original texts acquire the tone methods and approaches can be reasoned by the that the reader perceives them as Pushkin’s own fact that the first creative contact with verses. (Gachechiladze, 1970: 29). Lermontov’s poetry begins with the work of A.E. Kulakovsky (1877-1926). To some extent, this Pushkin was an opponent of word-for-word event becomes a significant phenomenon. High translation, since such translation forces the authority of the founder of the Yakut literature as translators to pay no respect to their native a writer and a thinker gains imperishable value of language and commits violence on it. G. the “age of Kulakovsky” in the spiritual culture Gachechiladze emphasized: “Word-for-word of the Sakha people. His ideas, images, and translation can never be accurate. Each language national poetic aesthetics are the high ideal for has its own turns of speech, its own set of the Yakut writers, starting with his rhetorical figures, its learned expressions that contemporaries. cannot be translated into another language with the same words” (Gachechiladze, 1970: 33). Results and Discussion V.G. Belinsky demanded firstly the tone of the translated works, which can be achieved only if Literary translation is a literary phenomenon of the translator recreates the work in his own creativity. The famous theorist of literary language. It is a translation as a full-fledged translation Givi Gachechiladze defines artistic creativity. Some researchers and the translation as “a kind of creativity, where the translators themselves assure that “literary original performs the function similar to that translation is an art, and one should search for performed by a living reality for art. According criteria of the future theory in the paths of to his worldview, the interpreter reflects the aesthetic analysis” (Modestov, 2006: 22). A brief artistic reality of a certain works in the unity of overview of literary translation problems form and content” (Gachechiladze, 1970: 91). assumes the presence of two types of translation: In literary studies, literary translation theory is 1) free translation, which is artistic, but not close given a prominent place. Literary translation was enough to the original text; 2) word-for-word practiced by known researchers, world-class translation, which is close to the original, but not theorists of the art of translation, such as, M. artistic. Gasparov and G. Gachechiladze (Georgia), I. Kashkin and I. Levy (Czech Republic), A. Lilova Dyurishin (1979) dedicated some of his (Bulgaria), L. Mkrtchyan (Armenia), Ya. publications to the theory of comparative Retsker, V. Rossels, L. Ozerov, P. Toper, A. literature studies. He especially emphasized that Fedorov, I. Charota (Belarus), E. Etkind, and translator’s work has “not only the objective others. In his work High Art, Korney Chukovsky factors, such as specific historical and literary wrote that “the efforts of our most unique poet canon, normal everyday life, but also the shaving pronounced individual style with the subjective factors – translator’s own poetics”. In sharp features of the creative personality are our case it is significant that the Yakut literature given to the art of translation” (Chukovsky, has translations of the same works of Lermontov 2008: 5).In opinion of I. Levy (1974: 233), made by several different authors. Hence, the “modern theory of translation persistently comparative analysis determines the originality emphasizes the necessity of preserving national of translator’s individuality on the part of the and historical specificity of the original text”. perceiver. They also got the opportunity to cover Which translation is considered the best? Some the problem of translation as creativity in terms say the translation is good if a reader forgets the of comparing the literatures in particular areas – original text while reading, and it seems to him

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Russian classics and national literature of the In the text of Oath of the Demon, the paired Russian Federation. meaning and a figurative combination of stanzas in the form of repeating units of verse is There are 39 verses in editions of Lermontov’s characteristic of Kulakovsky's poetic style of poetry, including 5 poems translated by 12 comparing the opposite image definitions. This is authors. The periodicals and separate books of confirmed by the change in the strophe pattern of different authors contain more than 60 works by the original text, the equal rhythmic structure of M.Yu. Lermontov translated into the Yakut the parts and the key word repeated on a separate language. The early translations were published line to intensify the dramatic monologue. Thus, in periodicals and had more than 20 items. The the dialogic basis of repetition in the poem systematization of the sources should indicate Abaahy andaҕara (Oath of the Demon) in the that there are other versions of translations. The perception of the Yakut reader is associated with poems Demon, The Fugitive and short poems the very significant ritual. However, the , The Cliff, The Prophet, translation fully corresponds to the content of the Tamara, The Prisoner, The Pine Tree, Palm original poem, which can be confirmed by some Branch of Palestine, and Will – all of them have examples from the texts. three different translations made by different authors. Lermontov’s works , The Клянусь я первым днем творенья, Клянусь Thought, Angel, Goethe, Three palms, Little его последним днем, Clouds, Why have two variants of translation. Клянусь позором преступленья The poem The Sail has five different translations. И вечной правды торжеством. These facts substantiate the socio-historical Клянусь паденья горькой мукой, approach to describing the translations and Победы краткою мечтой; identifying the motives and reasons of the Yakut Клянусь свиданием с тобой writers considering the cultural heritage of И вновь грозящею разлукой. M.Yu. Lermontov. In certain examples, the comparative analysis of the translated variants is (Demon) Lermontov, 1988: 576). based on textual analysis with the identification of translation authorship. It is the attribution of By the first day of the creation texts in terms of the refinement of the early pen- And by its latest day I swear, names of famous poets, more detailed study of By God’s law and its violation the creative fate of the unknown and little known The triumph of eternal truth, authors of the 1920-1930s. The available The bitter shame of sin I bear; materials on the translations of Lermontov’s By the brief glory of this dream works cover the overall history of the Yakut I swear, and by our meeting here literature of the 20th century. In this context, the And by the threat of separation; rest of the works that were not included in I swear by all the spirit hosts. publications acquire additional contexts not only of objective but also of subjective nature. The Demon. Translated by Avril Pyman (Lermontov, 1976: 114) The need for the systematization of the corpus of texts by in the Yakut Kulakovsky translated this poem like that: language is determined by the desire to study the historical and creative origins of the Yakut poets’ Andaҕayabyn consideration of the works of this poet. It is Aan daydy bastaan ayyllybyt chaaһynan, characteristic that this movement has begun in Keneҕes kini kem-kerdiite siterinen; the art heritage of A.E. Kulakovsky, which Andaҕayabyn reflects the real facts of the influence of Russian An'yy ald'arkhaydaakh saatynan, culture. Authorized translation Oath of the Sytyybat kyrd'yk kyayyytynan; Demon is accompanied by an introduction in Andaҕayabyn prose that tells the plot of the poem before the Kyattarar kyryystaakh kyһyytynan, oath itself. After the monologue the sad story of Kyayar kylgas ymsyytynan; Queen Tamara and the fallen angel is told. These Andaҕayabyn texts are written in rhythmical prose that suggests Eyiigin kytary kөrsөrүm үөrүүtүnen, that Kulakovsky was familiar with one of the first Adaҕyyan turar arakhsyym abatynan. versions of Demon. Mikhail Lermontov started this poem in 1829; the final version was dated by (Abaaһy andaҕara, Kulakovsky, 2009:165). 1839.

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This example is significant because of the fact waves. Lyric poetry of Arbita, who was a good that the founder of the Yakut literature selected connoisseur and admirer of Mikhail Lermontov, for translation the part, where the Demon begins reveals the severe atmosphere of public life in the a declaration of love to young Tamara with the 1930s (Arkhipova, 2018). Most of Arbita’s oath, from the entire monologue. He called the verses and the poem Dolgunnar (Waves), written poem Abaaһy andaҕara (literally – The Oath of with rhymes-homonyms, were not published in the Evil Spirit) and noted in Russian: Free his lifetime. The talented poet died in 1943 in one translation of the Oath of the Demon by of the Siberian prisons when he was only 29. His Lermontov. Kulakovsky dated his verse by 1908. works were published only in the 1990s. The two The Yakut writer translated 32 lines of 90 volumes of Ivan Arbita’s poetry were prepared comprising the Demon’s monologue and for publication by writer and translator S.T. arranged them in 34 verses (the translation is Rufov (Burtsev & Burtseva, 2004). The Arbita’s almost word-for-word). Then Kulakovsky added manuscript in two books was kept in the personal 14 verses, repeating the key word: in the original archive of the poet’s friend for more than fifty text, the words “I swear” are repeated 10 times at years. Famous literary critic G.M. Vasiliev the beginning of the line. This specific variability bequeathed to his daughter to hand over the in the lyrics was noted in the analyses of poetic manuscript only in case of actual publication and structures in the classic work of Hugo Friedrich: personally to S.T. Rufov. Characteristically, “Poetry has always been known for the moments these two literary scholars were the translators of when the verse rises to autocracy tone, which Mikhail Lermontov: a large part of currently affects the content with the energy. This is the known translations of his poems were made by particular importance of the “sound dominant” in Ivan Arbita, GeorgyVasil’ev and Semen Rufov the translation by Kulakovsky, where (Arkhipova, 2018). themonologic oath preserves the “suggestive power” of the original (Friedrich, 1956: 60-61). The earliest translations by Ivan Arbita belong to It should be clarified that pathos of the Demon’s 1931. These were the translations of a fable by speech does not correspond to the established Ivan Krylov Leaves and Roots (Sebirdekhteekh style of native Yakut poetry. However, in the silis) and Lermontov’s verses. According to the Yakut literature, the content of this type is most memoirs of contemporaries, Ivan Arbita read a often transmitted in a special form of rhythmic lot when he was a schoolboy and translated prose. That is why A.E. Kulakovsky gives the Mikhail Lermontov. During the interrogation, he brief content of the poem in high prose and calls admitted that he had translated about 200 works his work “free translation”. Biographer L.R. from Russian into the Yakut language. Today Kulakovskaya agreed with E.E. Alekseev, who only a part of Ivan Arbita’s translations were studied Kulakovsky’s works and wrote: “the found. They were 97 of the translations made in image of Demon with his powerful spirit and different years, one drama, 50% of translation love of freedom attracted the poet-translator” (47 pieces) were lyrics by , (Kulakovskaya, 2008: 89). the rest included 11 translations of the lyrics by Mikhail Lermontov, 9 verses by Vladimir Dynamic images and the drama of thoughts in Mayakovsky, 4 works by Valery Bryusov and Lermontov’s poetry attracted the young poet I.E. Heinrich Heine for each, 2 translations for each Sleptsov–Ivan Arbita (Burtsev & Burtseva, Toktogul Saltyganov and Pavlo Tychina, and 16 2004). He is known as a pioneer poet who translations from lyric poetry of various authors. enriched the Yakut lyrics with subtle In the history of the Yakut literature translations psychologism and brilliant technique of are an integral part of the natural historical and versification. His translations of Mikhail cultural process that can confirm the Lermontov are characterized by preservation of systematization of a corpus of texts by Mikhail the artistic features of the original text. The Lermontov translated into the language of the creative acquisition of another text (like imitation Sakha people. Ivan Arbita worked on the and translation from Russian and foreign translation of the poem Demon in the early classics) contributed to the formation of the 1930s. The first nine chapters were published in original author’s style, a unique poetic “voice”, the newspaper Kyym in 1935. It is interesting that which undoubtedly enriched the entire Yakut the poem Demon closes the cycle of juvenile poetry not only with the images, but also with works of Mikhail Lermontov, “... it is a various forms of syllabic verse. We may take as monument from Lermontov to his childhood and an example the introduction of conditional his youth, and like most monuments, it is symbolic images in meditative lyrics, such as a idealized and symbolic” (Modestov, 2006: 59). welcome shore, rickety bark boat, the golden At the same time, the translation and publication waterfall, the images of cruel time, the play of of this poem in the newspaper Kyym finishes Ivan

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Arbita’s positive period of his life in Yakutsk. rhythm, and intonation enables to perform the During this time he graduated from pedagogical romance in the Yakut language, too” college and started working as a teacher in the (Kulakovskaya, 2015: 372-373). district. In the subsequent years he translated ten Love lyrics by M. Lermontov, translated by I. more verses by Lermontov. These variants can Arbita, is represented by two poems Why rightfully be called classic translations. On the (Tuokhtan) and The Ballad. initiative of I. Arbita a collection of translations from Mikhail Lermontov, dedicated to the Мне грустно, потому что я тебя люблю, 100thanniversary of the poet’s tragic death, was И знаю: молодость цветущую твою published in 1941 in Yakutsk. It was the first Не пощадит мольбы коварное гоненье, experience of mass translation of the works of За каждый светлый день иль сладкое Russian poet in the Yakut language. The мгновенье Lermontov’s poetry was translated by nine Yakut Слезами и тоской заплатишь ты судьбе. poets for this event; the translations of 23 verses Мне грустно... потому что весело тебе and 3 poems were issued. An introductory article was written by G.M. Vasiliev, where he (Lermontov, 1988: 197). acquainted the readers with the biography and works of the Russian poet. In the end of the I’m sad because I love you article, he expressed a great hope that over the And I know that all your blooming youth years, the translations of Lermontov’s poetry Will not be spared by insidious rumors, would be even better and better. The collected For every good day or for lovely moment poems were issued in 8000 copies (Lermontov, You’ll have to pay the Fate with grief and tears 1941). In 1966 the book was republished with from your lovely eyes supplements. That time the works of 12 I’m sad because you are so cheerful and blithe interpreters were presented to the Yakut readers, including 34 verses and 5 poems (Lermontov, Word for word translation 1966). Lermontov’s poem in the Yakut language Mikhail Lermontov (1814-1841) and Ivan Arbita sounds like: (1913-1943) are the talented poets of the two peoples and two different centuries, though they Eyiigin taptaammyn sanaaҕa khaaytardym, are much alike. They both experienced the Bilebin eyienin үүner kүөkh saastargyn underestimation of their work during their Kharyһyyya suoҕa tyl kytaanakh үүrүүte. lifetime, unrequited love, even the name of the Uruydaakh oloҕuҥ, biir syrdyk mүnүүte lovers was the same – Varvara. While reading Kharaҕyҥ uutunan tөlөnүө dien taaydym. and translating the poetry of Mikhail Lermontov, En үөrүүҥ berditten... sanaaҕa khaaytardym. Ivan Arbita had learned a lot. His admiration of the great Russian poet was disclosed in the poem (Arbita, 1966: 29). M.Yu. Lermontovka (To M.Yu. Lermontov) (Arkhipova, 2018). The first version of the The theme of unrequited love later gets its dedication was published in the book response in the lyrical poem by Ivan Arbita Mungurdanyy (Dead End) and was unfinished Dolgunnar (Waves). The original form of this (Arbita, 1993). Three years later, the final full verse (the “ring”) is also found in several original version of the poem was found in the National works of the poet, for example...Min seriilehe library of the Sakha Republic. It was included in barabyn (...I’m going to war) and Kүһүn the collected works Min kөtөr kynattaaҕym (Autumn). Lermontov’s Ballad, inspired by F. buollar...(If I had wings...) (Arbita, 2013: 87). Schiller, was written in distiches with paired Translations by Ivan Arbita from the works of rhymes: Mikhail Lermontov can be divided by the themes into four groups: landscape lyrics, love lyrics, «Достань ожерелье, спустися на дно; Caucasus lyrics, and thinking over the destiny of Сегодня в пучину упало оно! man. Three poems belonging to landscape lyrics Ты этим докажешь свою мне любовь!» saw the light in the Yakut language. They were Вскипела лихая у юноши кровь The Sun (Kүn), Three Palms (Үspal'ma) and Alone I Set Out on the Road... (Soҕotoҕun (Lermontov, 1988: 32) takhsabyn suol ustun). The alternate rhyme in the first and third poems and plain rhyme in the second one were strictly imitated by the “Get my necklace, sink to the depths, translator. “Exact concurrence of syllables, Today it has fallen into the abyss!

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You’ll prove your love to me with this deed!” In a small fragment, one can see the complete Young man set his sights straightly on it match of content and form of the poem in the Yakut language (syllabic organization, rhyme) Word for word translation with its original text. This good translation preserves the horizontal and vertical alliteration Ivan Arbita preserved the poetic form in his and consonance vowels. translation: The fate of man is a volumetric and relevant “Tahaaran kulu yl kiergel simekhpin; theme in the work of any writer. Man is a child Muora tүgeҕer tүһeren kebistim! of nature, therefore, Mikhail Lermontov showed Miigin taptyyryҥ chakhchyta kөstүөҕe!” fate through the allegoric verses, like Clouds Orguya tүste uol sүreҕe (Bylyttar), A Leaflet (Sebirdekh), Desire (Arbita, 2013:175). (Baҕasanaa). The poem Clouds was translated into the Yakut language by Semen Bazarovand The authors of this paper assume that the images published in the newspaper Belem Buol in 1939. of the sea and the waves in this particular ballad When comparing systems of expression, form have been reflected in the main poem by Ivan and the intonation of the translations made by Arbita Waves and in his other verses. Arbita’s Arbita and by Bazarov with the original, it is translations of Lermontov’s poetry about noticeable that the form, rhyme, intonation, and Caucasus also raise much interest. Let us even punctuation in both translations coincide consider the Gifts of the Terek (Terek belekhtere) with the original. However, from the lexical point and Dispute (Mөkkүөr). The Terek River and the of view, there are differences: For example, the Caspian Sea embody the most characteristic line “Rush, you, outcasts, like me” Bazarov phenomena of the Caucasus. The second poem is translated like "Kөtөҕүt, miekhe dyly kyydana one of the last Lermontov’s works. Exactly one achchyktar". It sounds not as harmonious and hundred years later, Ivan Arbita gave the Yakut beautiful as Arbita’s variant: “Kөttүgүt, kөstүgүt readers the opportunity to read this verse in their min kurdukүүrүllen”. We can confirm the native language. superiority of the poetic skill of Ivan Arbita with the assessment of his work made by the famous И, томим зловещей думой translator, a recognized expert in theory and Полный черных снов, practice of translation, the national writer of Стал считать Казбек угрюмый - Yakutia Semen Rufov: “This verse (Clouds by И не счел врагов. Lermontov) is a vivid example of the real Грустным взором он окинул translation. The content is so fully conveyed, the Племя гор своих, external form is perfectly observed!”(Arkhipova, Шапку на брови надвинул 2018: 67). И навек затих. (Lermontov, 1988: 216) In the verse A Leaflet (The leaf cut off from the mother branch) Mikhail Lermontov depicts Khara tүүl-bit khaayan, saban living in a foreign land. Ivan Arbita uses the Kazbek tuluybat, image of “Үs doydu үrdүnen kөppүt saһarbyt Өstөөkhtөrүn aaҕan baran - sebirdekh” (a yellowed, torn leaf) as a symbolic Akhsaanyn bulbat... image, foretelling his poetic destiny. Kieҥ delegey telgeһetin Ivan Arbita was the translator of the ballad Kөrbөkhtөөn khaalla, Desire, based on the legend about the Scottish Khaaһygar khaar bergeһetin ancestors of M.Yu. Lermontov. Let us compare Khappakhtyy taalla. the initial verse of the original text with its (Arbita, 1966: 36) translation:

Tired of sinister thoughts, Зачем я не птица, не ворон степной, Full of his black dreams, Пролетевший сейчас надо мной? Kazbek began to count - Зачем не могу в небесах я парить Butfailed in summingup his enemies. И одну лишь свободу любить? Sadly casting look around At the tribe of his native hills, (Lermontov, 1988: 82) He has pulled his hat upon his brows And his life has ceased. Why am I not a bird, not a steppe crow, Flying high above me now? Word for word translation Why can’t I float high in the sky

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And love only freedom? Why? translated variants in the Yakut language. Thus, in line with the topic the scientific coverage of Word for word translation the features of cross-language literary communication is quite possible to realize the In the Yakut language this poems sounds like values of translation activities of the writers. In that: this respect, the importance of the writer for people in general, the magnitude of his creative Toҕo kөtөrgө kynata suokhpunuy, pen-name really confirmed the significance of Khara sour buolbatakh sorbunuy? his translations, “one of the forms of existence of Toҕo khallaaҥҥa kөrүlүү kөppөppүn, a literary work” (Zajac, 1987: 157). This Biir ere kөҥүlү kөrbөppүn? provision is the basis of modern publications dealing with translation and analysis of Mikhail (Arbita, 2013: 177). Lermontov’s works (McMillin, 2009; O’Neil, 2009; Schultze, 2011; Sobol, 2011). The Talented Ivan Arbita accurately conveys the materials of this paper are of practical value for subject, the idea, the content of the verse and further studies on translators’ creative style of Mikhail Lermontov. He also preserves personality in the context of identifying the role the external form of the original text, taking into of their own creative attitudes towards artistic account every word, epithet, or repetition. interpretation or towards the best possible Arbita’s translations are considered the highest transmission of Russian classical texts. achievements of the Yakut translation practice and still remain unsurpassed. The young Yakut When translating major works in prose, the poet always kept accurate: 1) the number of lines original text and its author are most often as of the original text; 2) meter and measure; 3) considered very significant. No less important alternation of rhymes; 4) the character of feature is the specificity of era and the particular enjambment; 5) the essence and type of the period of time, when ideas and images of works rhyme; 6) features of vocabulary; 7) types of correspond to the spirit of public life. In this comparisons; 8) particular style of poetic images; respect, the dedication of publishing the novel A 9) the changes and shades of intonation. It is Hero of Our Time (Biһigi kemmit geroya) in the actually equal to the nine “commandments” of a Yakutsk State Publishing House in 1941 to the talented translator. Lyuben Lyubenov was right centenary of the death of Mikhail Lermontov when he wrote that raises no doubt. However, the work on the novel of Mikhail Lermontov in the creative heritage of a translator must understand everything that the Amma Achchygyya is associated with the author had used in the original text: rhythm, beginning of his switching to a larger form of repetition, implied sense, antithesis, aphorisms, prose. It may reveal the particular perspectives of etc. Translators should remember that they are the Russian writer’s influence on the artistic not the authors or co-authors of the translated searches of the author of the first epic novel in text, but first and foremost translators. They the Yakut language. On the other hand, further should strive to keep the stylistic features of the translation made by Amma Achchygyyaalso original that are not inconsistent with the syntax originates from the creativity of Mikhail. of the native language. (Modestov, 2006: 450). Lermontov.

In general, the study of translation is significant Conclusion by the fact that this form of creativity is an important component of literary contacts in the Translations of Russian literature into the methodology of comparative literature studies as languages of the peoples of Russia as a historical well. In these aspects the value of studying process can be studied from various angles, one translation into the Yakut language, especially of which is an artistic interpretation based on from the point of view of the addressee, is individual creativity. Theoretical and practical provided by the translator’s work with the studies of this phenomenon have attracted great original language. Identifying the level and forms interest, since the translation is equal to the of translation and adaptation is one of the continuation of life and expansion of a classic relevant tasks of translation criticism. Obviously, literary work. Thus, from the viewpoint of one article cannot cover the entire topic. studying the history of the Yakut literature the However, available Lermontov’s works in the works of Mikhail Lermontov attract attention Yakut language provide a real opportunity for from several angles as the argument of the comparative analysis of literary texts in two examples of literary influence, creative languages, and a comparative analysis of the acquisition of Russian literary forms, and the

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artistic style. The novelty of the tasks set in this Gachechiladze, G. (1970). Introduction to the paper defines the object of the research, which to theory of literary translation. Tbilisi: Tbilisi date has not received in-depth study as a University Press. scientific problem – Lermontov’s works Kulakovskaya, L.R. (2008). Scientific biography translated into the languages of the peoples of of A.E. Kulakovsky: poet’'s personality and his Russia. The translations of the poet’s works are time. Novosibirsk: Nauka. as unique, as his creativity: Eastern themes and Kulakovskaya, L.R. (Ed.) (2015). Problems of images, particular lyricism and psychological national literature: artistic searches of the second reflections on home, time and fate demand the half of the XX century and modern time. best possible translation skills. As exemplified by Proceedings of the All-Russian scientific the analysis in line with the stated topic, the conference dedicated to the centenary of a writer, relevance of the study lies in the pursuit of teacher and folklorist R.A. Kulakovsky reasoned scientific proof of current trends in the (Yakutsk, June 18-19, 2014). Novosibirsk: study of the processes of literary communication. Nauka. Problems of intertextual relations in the aspects Kulakovsky, A.E. (2009). Poetry. Vol. I. of studying the issues of literary translation Novosibirsk: Nauka. confirm the practical importance of this area of Lermontov, M. (1941). Khoһoonnor, poemalar. creativity in the forms of mastering the classics, Yakutsk: Knizhnoe Izdatelstvo. where the “text” and the “context” are the main Lermontov, M. (1966). Khoһoonnor, poemalar. targets and tasks, providing a natural need for Yakutsk: Knizhnoe Izdatelstvo. translation. Lermontov, M. (1976). Selected Works. Moscow: Progress Publishers. Acknowledgment Lermontov, M.Yu. (1988). Works in 2 vol. Moscow: Pravda. The paper has been sponsored by Russian Levy, I. (1974). Art of translation. Moscow: Foundation for Basic Research according to Progress. the research project No. 19-012-00467a. McMillin, A. (2009). Setting Lermontov: Some musical versions of the poet’s works. New References Zealand Slavonic Journal, 43, 3-22. Modestov, V.S. (2006). Literary translation: Arbita, I. (1966). Kemuskurulgen. Book 1. history, theory, and practice. Moscow: A.M. Yakutsk: Yakutpoligraizdat. Gor'ky Literary Institute Press. Arbita, I. (1993). Mungurdanyy. Book 2. O’Neil, C. (2009). Byronic Motifs in Yakutsk: Yakutpoligrafizdat. Lermontov’s Fantasy about His Father. Moscow: Arbita, I. (2013). Min keter kynattaagym A.M. Gor'ky Literary Institute Press, 112-124. buollar… Verses, poems, short stories. Schultze, B. (2011). Translational and translations . Yakutsk: Bichik. intermedial diversification: MichailJu. Arkhipova, E.A. (2018). Poetry of Ivan Arbita. Lermontov’s Maskarad (1835) in Czech (1929- Yakutsk: SVFU Press. 2008). Zeitschriftfür Slawistik, 56(2), 214-228. Burtsev A.A. & Burtseva M.A. (2004). Yakut Sivtceva-Maksimova, P. (2017). Poetic Images Literature in Portraits and Persons.Yakutsk: in the Literary Works of Sakha Classics. Sakhapoligrafizdat Proceedings of the SGEM International Chukovsky, K.I. (2008). High Art. Principles of Multidisciplinary Scientific Conference on literary translation . Saint Petersburg: ID Social Sciences and Arts. Bulgaria, Albena, 577- Azbuka-klassika. 586. Dyurishin, D. (1979). Theory of comparative Sobol, V. (2011). The Uncanny Frontier of literature studies. Moscow: Progress. Russian Identity: Travel, Ethnography, and Friedrich, H. (1956). Die Struktur der modernen Empire in Lermontov’s Taman. Russian Review: Lyrik. Von dir Mitte des neunzehnten bis zur. An American Quarterly Devoted to Russia Past Mitte des zwanzigsten Jahrhunderts. Hamburg. and Present, 70(1), 65-79. Zajac, P. (1987). Creativity of Translation. Slavica Slovaca, 2, 157.

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