MOTIVE “L’ENNUI DE VIVRE” IN POETRY OF P. VERLAIN AND TRANSLATIONS OF I. ANNENSKY: RECEPTIONS AND INTERPRETATIONS

Abstract

Purpose – to find out how the translation strategy of I. Annensky is being implemented in the reception and interpretation of the “l’ennui de vivre” motive, and to determine the specifics of its transformation in translations from P. Verlaine.

Methods: comparative-typological (by means of a comparative analysis of the work of the poets-symbolists, the typological and original features of the artistic realization of the motive complex “l’ennui de vivre” are determined), textual and contact-genetic (comparative analysis of the texts of the original and artistic translation, revealing the influence of translation work on original work, the comparison between several poetic translations in order to find out the individual features of the reception and transformation of elements of the motive complex “l’ennui de vivre”).

Results. The article develops the thesis that the precondition for typological coincidences in the implementation of the motive complex “l’ennui de vivre” is the complex system of contact-genetic links. It is proved that the main factor of intercultural communication is the process of poetic translation. The poetic works of P. Verlaine in the translations of I. Annensky have been analyzed. The specificity of the reception and transformation of the motive complex “l’ennui de vivre” in the process of poetic translation was studied, and the translation strategies of I. Annensky were determined.

Conclusions. The distance of I. Annensky’s translations from the original allows to determine its translated texts as free variations. According to the chosen translation strategy, the specificity of the artistic embodiment of the motive complex “l’ennui de vivre” by the means of the recipient language is determined. Conclusions are made on the poet-translator’s interpretation of the motive complex “l’ennui de vivre”, namely: mitigating the tanatological motive, shifting the emphasis on the motive of creativity, the tendency to change the rhythmic-syntactic features of the originals. “The melancholy of life” (“l’ennui de vivre”) is interpreted not only as a personal experience, but also as a characteristic feature of the outlook of the epoch. According to a set of poetic motives, translations of I. Annensky from P. Verlaine form a single entity with his original lyric poetry.