| Abstract [eng] |
Gumilev's as the head of Acmeism principal orientation towards the poetry and aesthetic views of Gautier and the Russian poet's interest in Baudelaire's poetry are well known. Gumilev strictly followed the 'precepts' of translation, which he himself formulated in one of his articles in 1919. These precepts concerned, above all, the respect of rhythmic, syntactic and lexical structure of the original, as well as the originality of its image system. Therefore, the analysed deviations from the originals of Gautier and Baudelaire seem, at first glance, unimportant. Nevertheless, they are not incidental, but reveal ideas that are conceptual for the translator's original work. In the translation of the last stanza of Gautier’s poems The Hippopotamus the poet deviates from the original and adds the adverb 'solemn', which clarifies the approach to the lyrical subject. This choice is motivated by the semantic and symbolic field of the lexeme solemnity in Gumilev's Russian poems: solemnity is associated with the acceptance of one‘s poetic destiny, which is defined as both dramatic and victorious. Without believing that the poet is the bearer of absolute truth, Gumilev seeks the Absolute both in his poetic craft and in his personal search for truth — some kind of 'golden door'. In his translation of Baudelaire's poem The Death of Lovers, the poet deviates from the French text and introduces his own theme of the 'golden door' in the last stanza. The half-opened doors, concrete enough in Baudelaire, receive in the Russian translation not only the meanings that are important for the poetry of the French poet (the semantics of the reversible movement of Eros and Thanatos, the proximity of this world and the otherworldly, the 'gateway to Infinite'), but are enriched with new meanings about the hidden, mystical knowledge associated with the 'golden door'. In translating Gumilev follows, on the one hand, his own advice to translators to be 'careful researchers and perceptive critics', but on the other hand, he violates his own thesis that the translator 'must forget his personality, thinking only about the personality of the author. |
