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««Сравнительный анализ перевода 66 сонета У. Шекспира»»
МУНИЦИПАЛЬНОЕ БЮДЖЕТНОЕ ОБЩЕОБРАЗОВАТЕЛЬНОЕ
УЧРЕЖДЕНИЕ «СРЕДНЯЯ ШКОЛА № 5» ГОРОДА СМОЛЕНСКА
СМОЛЕНСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ
СЕКЦИЯ «ИНОСТРАННЫЙ ЯЗЫК (АНГЛИЙСКИЙ)»
«Сравнительный анализ перевода 66 сонета У. Шекспира»
Смоленск, 2019 год
Introduction 3
1. What a sonnet is 5
1.1 The features of sonnet as a genre 5
1.2 The features of Shakespeare's sonnets 6
1.3 The popularity of Shakespeare's sonnets among Russian writers 9
2. The main part 10
2.1 The text of Sonnet 66 and the analysis of the original 10
2.2 The translation of S.Ya.Marshak and its analysis 13
2.3 The translation of B.L. Pasternak and its analysis 15
Conclusion 18
Literature 19
Appendix 20
Introduction
Modern researchers of the sonnets form two main areas: some believe that everything in them is autobiographical while others, on the contrary, see in the sonnets a purely literary exercise in a fashionable style, but they do not deny, however, the values of some autobiographical details.
It should be noted that the appearance of the autobiographical theory is due to the presence of "dark spots" in the biography of Shakespeare and is directly related to the so-called "Shakespeare question". Its essence is in the fact that the authorship of Shakespeare's works is questioned.
As for the sonnets, the history of translations into Russian will be discussed in the first Chapter and there is a similar story: after the "Marshak era" translators, embodying a variety of translation principles, actively took up the creation of their versions of Shakespeare's lyrical works. Special attention should be paid to a well-prepared edition of sonnets published in the publishing house "ABC-Classic" in 2005. In addition to the original text, careful translation and several modern versions of each sonnet, there is a substantial article written by V. Nikolaev and A. Sharakshane where the history of Russian translations of Shakespeare's sonnets is considered. The very construction of this publication shows a deep respect for the Great bard and emphasizes the fact that the creation of Russian lyrical Shakespeare is an open question.
Contemporary the interest in Shakespeare's sonnets on the part of literary scholars is also great. It is seen in the proceedings of the conference "Shakespeare readings" - the standing conference of researchers on the part of Shakespeare conducted by the Shakespeare's Commission existing in the Scientific Council "History of world culture" in Russian Academy of Sciences.
Thus, the relevance of this work, firstly, is due to the fact that the translation and theoretical interest in Shakespeare's sonnets has significantly intensified in recent years. Secondly, the works of modern translators have not received a sufficiently clear assessment in comparison with the existing translations of Shakespeare's sonnets.
The goal of our work is to study the 66th Shakespeare sonnet and to determinate the adequacy of the perception of the identified features by Russian translators.
The implementation of this goal has led to the formulation of the following tasks:
to determine the structure of the composite construction of the sonnet;
to identify stylistic features;
to describe the shape of the sonnet system;
to reveal the semantic content of the sonnet with the features
of the Renaissance;
to carry out the analysis of Russian translations of the 66th sonnet of Shakespeare.
The object of the research is philosophical and stylistic features of Shakespeare's 66th sonnet and their reflection in the texts of selected Russian translations, in our own translation.
The subject of the research is the original 66th Shakespeare sonnet and selected Russian translations.
The material consisted of the original of Shakespeare's 66th sonnet, its interlinear translation and four of ist poetic translations.
We used the following research methods:
- a comparative analysis
- a method of observation
- the description of linguistic facts.
The work consists of the introduction, main part, conclusion and a list of references.
The obtained data can be used for a deeper understanding of Shakespeare's lyrical individuality and may help to create a new poetic version of Shakespeare's 66th sonnet.
What a sonnet is
The features of sonnet as a genre
A sonnet is a special form of poetry created in the beginning of the XIII century, probably by the Provencal troubadours. From them this kind of poetic works moved to Italy where it was used by different poets who improved its form. Dante was among the great masters of poetry who created sonnets. His compatriot Francesco Petrarch, the first humanist poet, turned to the form of the sonnet after him. The Spanish, the French and the British adopted the sonnet form from the Italian poets in the sixteenth century.
The sonnet was introduced into English poetry in the reign of the king Henry VIII. In 1557 the publisher Richard Tottel released an anthology of "Songs and sonnets”. However, the real height of the sonnet in English rose with the heyday of the Renaissance in England. In 1592 there was a collection of sonnets by the poet Daniel that had an undoubted impact on the young Shakespeare. In the 90th years of the XVI century a sonnet was the most common poetic form in England. In the seventeenth and eighteenth centuries the sonnet form almost disappeared from poetry. The interest in it revived in the early nineteenth century in the era of romanticism.
A sonnet is a rigid poetic form, it's a poem of 14 lines, forming 2 of the quatrain (rhyme 2) and 2 tertset (2 or 3 rhyme). Some „rules“ for the content of the sonnet were recommended – a verse should end with a point, the words should not be repeated, the last word should be a ”key" word; four verses relate a thesis – development – antithesis – synthesis or as a tie – development – culmination – denouement and so on. The sonnet makes strict formal requirements to the poet.
The English sonnet like the classic Italian one consists of 14 lines written in a 5-point iambic (deviations from the metric form are very rare). Unlike the Italian sonnet, in the English sonnet the rhymes of the first quatrain are not usually repeated in the second. The Italian sonnet is constructed either from two verses (8 or 6 lines) or from two quatrains and two three-lines. English sonnet often consists of three quatrains and one couplet. In the final sonnet couplet its content is summed up. The rules of sonnet poetry required each poem to be dedicated to a single theme. It was considered desirable that the theme should be expressed in the first line. Then the poet developed his theme, complicated it with contrasting motifs or surrounded it with a number of parallel images. Next it is necessary to consider the features of Shakespeare's sonnets who paid a generous tribute to the most rigorous and slender poetic form.
1.2 The features of Shakespeare's sonnets
To understand whether Shakespeare's sonnets correspond to the rigid form that is the main characteristic of sonnets as a genre let us consider the linguistic features of sonnets and the main storylines.
In 1609 a publisher Thomas Thorpe released "Shakespeare's sonnets that had never been printed before ". More sonnets in Shakespeare's life did not come out. Only in 1640 a poet John Benson published a new edition of sonnets. To address readers Benson noted that among the works of Shakespeare's sonnets had less success than the plays. The fact is that Shakespeare's lyrics was still imbued with the spirit of the humanistic worldview of the Renaissance. And in the beginning of XVII century the new direction in poetry appeared, a major representative of which was John Donne. He broke with the traditions of the Renaissance lyrics. His poetry lacked the idealization which was inherent to sonnet writers.
Benson, describing the poetic works of Shakespeare wrote: "After reading them you will see that they are clean, clear and have elegant simplicity. Their noble tone will please and not tire your mind. There is no intricate or vague content that can confound. On the contrary, you will find here a brilliant eloquence.”
John Keats wrote to a friend in 1817: “I took three books with me, one of them is Shakespeare's lyrics. Never before I have found so much beauty in the sonnets, they are full of beautiful things said as if unintentionally and they differ in the depth of poetic images.“
Nowadays the sonnets (by the general opinion of experts) are among the greatest phenomena of poetry of the late Renaissance. As noted by the researcher of Shakespeare A. Anikst, the main difficulty for the modern reader is associated with the poetic form of sonnets. First comes a plot layer. It is the most approachable one. In general Shakespeare's sonnets fall into two groups: the first 126 sonnets are dedicated to a friend, sonnets 127 – 152 – to a lady. Admiration for the beauty and greatness of a man is an important feature of the humanistic worldview of the Renaissance. For Shakespeare it was not an abstract ideal. The first 19 sonnets tell the same story: a friend must marry in order to his beauty can come to life in descendants. Through the whole group of sonnets the opposition of the impermanence of beauty and the insatiability of time passes. If the first friend was portrayed as the epitome of all perfections, starting from 33 to 96 sonnet its bright image was marred. The entire cycle of love that one person makes to accept a lie and to be deceitful completes.
Platonic idea of love as a spiritual feeling gained in the sonnets a complete victory. In the drama unfolding before us in the sonnets there are three characters: a friend, a lady and a poet. The first two we see through the eyes of the poet. From the descriptionsof the poet’s feelings we see a large and challenging image of the main lyrical character of the sonnets. The main character appears not very experienced in life, full of ideals and illusions. Then he goes through trials, his spirit is tempered, gaining an understanding of reality in all its complexity and contradictions. He admits his weaknesses but he does not close himself in the world of personal experiences. He is presented with the spectacle of calamities that defile all life.
The fact that the sonnets begin with the hymn of life and end with moods close to tragedy reflects in this cycle the entire spiritual, real history of the era. The sonnets are a lyrical synthesis of the Renaissance. One of the beauties of this kind of poetry is vivid imagery. The basis of the figurative system of the poetry of the English Renaissance and Shakespeare is metaphority. The theory of the Renaissance poetry believed that you can not just call the subject. Every thought, event, experience must be expressed by comparison, by likening one object to another. From the first poems that make up the Shakespearean cycle the reader is immediately faced with this feature of Shakespeare's poetry. Their theme is simple – Shakespeare is infinitely inventive in creating new comparisons and metaphors. Many of them belong to a sublime poetic style, while others are surprised by their prose and lowland (A.A Anikst, 1963).
Let us consider the compositional features of Shakespeare's sonnets. Shakespeare wrote sonnets composed of three quatrains and a concluding couplet. He adhered to a uniform rhyme system: abab cdcd efef gg. But he could dramatically disrupt the smooth flow of thoughts and a concluding couplet came in conflict with what was said before. As observations show the structure of the sonnet in Shakespeare has a number of significant features. The analysis of the semantic structure of sonnets revealed that the relationship of parts of the sonnet as statements is understood by individual publishers in different periods in different ways. The composition of the sonnets seemed to be hesitating between the two trends. The first is expressed in the subordination of the internal semantic and syntactic structure of sonnets to their external architectonic structure. The second trend, reflecting the traditions of the classical sonnet, divides the thematic content of the sonnet into octave and sextet.
Some sonnets are a combination of four quatrains and one couplet. In this group of sonnets sentences with a complex structure are most often used. These are compound sentences with subordination. The sonnet is a concise, economical poetic form and with a small, strictly regulated linear volume it should cover a large, in a certain way organized thematic material. Compliance with the complex laws of internal composition in a small volume of the poem is achieved due to the structural organization of the work.
On average the sonnet contains only 154 syllables. It is clear that the number of words in it is relatively small. The transfer of themes and emotional background of the piece depends on the specific organization of these units, from the nature of relations between them. Therefore, it is most advantageous to use a syntactic structure that guarantees the ability to express as much as possible using a limited number of elements. This requirement is met by complex syntactic structures. In all sonnets there is the following compositional pattern: at the beginning of the work there is a sentence with a complex syntactic structure which carries the entire load of the introduction and development of the theme of the sonnet. The next sentence is less complicated – it develops the theme presented at the beginning of the sonnet. The conclusion of the sonnet (the last couplet) fits within an even simpler syntactic structure. In a number of sonnets the composition goes on the way back. After a syntactically simple beginning, the structure of the statement becomes more complex with the development and refinement of a thought.
1.3 The popularity of Shakespeare's sonnets among Russian writers
Although the sonnets made up a book, Shakespeare did not write his works on a clear schedule. His sonnets were a kind of lyrical diary, which he protected from prying eyes. But forbidden fruit is always sweet, that is why the sonnets "of the Creator of Macbeth" has long attracted the of Russian writers: V.G. Benediktova, V.Ya. Bryusov, B.L. Pasternak, S.Ya. Marshak.
The main part
The text of Sonnet 66 and the analysis of the original
1 Tired with all this, for restful death I cry,-
2 As, to behold Desert a beggar born,
3 And needy Nothing trimm'd in jollity,
4 And purest Faith unhappily forsworn,
5 And gilded Honour shamefully misplaced,
6 And maiden Virtue rudely strumpeted,
7 And right Perfection wrongfully disgraced,
8 And Strength by limping Sway disabled,
9 And Art made tongue-tied by Authority,
10 And Folly, doctor-like, controlling Skill,
11 And simple Truth miscall'd Simplicity,
12 And Captive Good attending captain Ill:
13 Tired with all this, from these would I be gone.
14 Save that, to die, I leave my love alone.
The 66th Sonnet is a favorite of critics and researchers. No other Shakespeare’s sonnet is written about as much as about the 66th. And yet, we venture to consider it again: this time in terms of alliteration.
Alliteration is clearly expressed in at least ten verses of this sonnet. In most verses of the 66th sonnet alliteration is associated with syntax. The construction of verses from the 3rd to the 12th is stereotypical. An anaphoric syllable is followed by an abstract noun and then by a post-positive attribute in the form of participle. The grammatical parallelism of verses is emphasized by alliteration. Alliteration serves as a bridge connecting the semi-hillocks separated by caesura.
For example:
... and purest faith unhappily forsworn ...
Such a paired alliteration naturally begs for an analogy with an Old English verse.
Similarly, the words of the 7th verse echo through caesura:
... right - wrongfully disgraced ...
The same in verse 8:
... strength - sway disabled ...
In the 12th verse, the consonant sequence of the word captive (kptv) in the first half of the verse (before cesura) is almost completely repeated in the word captain (kptn) in the second half-half (after cesura).
The second half-ashy sounds: beggar born. Verse 3 is phonetically somewhat differently organized: in it, each part has its own alliteration: to caesura by n (... and needy nothing ...), and after caesura - by l / d (... trimm'd in jollity ...); it is characteristic that in this line there are 10 alveolar on 15 consonants.
In verse 11, the single-root words "simple" and "simplicity" are used; moreover, in its phonetic pattern the word "simplicity" repeats the content of the first half-spile "simple truth".
Shakespeare singles out most vividly with the help of alliteration verse 9. This line is oversaturated with alveolar t / d: ... and art made tongue - tied by authority ... This physically difficult to pronounce combination perfectly conveys the meaning of the verse: the dumbness of the "associated language".
So, using the example of 66 sonnets, we are convinced that alliteration for Shakespeare is an important component of the form.(Mezenin SM, "Sound and Significance in Shakespeare's Sonnets", Moscow, 1971)
The poet says he is tired of everything “Tired with all these” which makes him wish for death to rest forever, “for restful death I cry,” he does not like seeing deserving people become poor beggars “behold desert a beggar born” and those who are rich and need nothing are dressed in fancy clothes “a needy nothing trimmed in jollity” and people’s faith and sacred vows easily broken “purest faith unhappily forsworn”
He says that honors are bestowed on those who don’t deserve them “honor shamefully misplaced,” which is shameful and women who are supposedly chaste act like vulgar compromised women, “maiden virtue rudely strumpeted,” those who are innocent are slandered and wrongly disgraced “right perfection wrongfully disgraced “and strong people are disabled by weak authority “strength by limping sway disablèd,”
Artists are subdued by corrupt authorities “art made tongue-tied by authority” and the stupid are in control of the wise people like a doctor over the sick “folly, doctor-like, controlling skill, “and the truth is regarded as simplicity “simple truth miscalled simplicity” and simple-mindedness and the good are held captive by people who are evil “captive good attending captain ill.”
And since he is tired of seeing such things, “Tired with all these” he wishes he was gone, “from these would I be gone, “except that if he did die then he would end up leaving his love the fair youth alone “Save that to die, I leave my love alone.”
The translation of S.Ya.Marshak and its analysis
Зову я смерть. Мне видеть невтерпеж
Достоинство, что просит подаянья,
Над простотой глумящуюся ложь,
Ничтожество в роскошном одеяньи,
И совершенству ложный приговор,
И девственность, поруганную грубо,
И неуместной почести позор,
И мощь в плену у немощи беззубой,
И прямоту, что глупостью слывет,
И глупость в маске мудреца, пророка,
И вдохновения зажатый рот,
И праведность на службе у порока.
Все мерзостно, что вижу я вокруг..
Но как тебя покинуть, милый друг!
The first quatrain completely defines the intonation and lexical character of the entire poem: high style, solemn words and stately elevation of speech. In this vein the whole translation is completed. Where does such a translation key come from? It is derived from a clearly understood position of the author. This is the position of the tribune, the apostle of virtue, angrily denouncing public vices.
Paphos conviction is the sonnet nerve. Moreover, reproof is carried out not so much from the outside, but from above, from that moral height on which the poet stands: he himself is beyond those phenomena that he fixes with a verse and with which he is sentenced. These phenomena are respectively beyond him.
Images of the poem are with emotional content, everything is permeated with noble indignation, but they lack the immediacy of feeling. Images evoke an emotional response not suddenly but through a filter of reason. We need at least a little to think about this, for example, the expression: «и неуместной почести позор» (the line, by the way, is magnificent in its capacity and accuracy, one of the best in the poem). The poet thinks only in abstract categories, universals, maintaining here the fullest stylistic unity: dignity, worthlessness, perfection, virginity, etc. I note that this is not exactly the case with Shakespeare. The second line of the original literally translates as follows: : «...поскольку вижу достойного, рожденного нищим». Here “desert” is not dignity as a general concept, close to the concepts of honor, nobility, but a certain personification: a worthy person, that is a good, right person. The deviation of the translation from the original here at first glance is not at all essential and quite justified but it is a characteristic of Marshak’s interpretation of the 66th sonnet: the tone is more elevated than that of Shakespeare and yet, the line sounds great.
In general, the artistic persuasiveness of the poem rests on an excellent coinage of the word, raising individual lines to the level of aphorisms. This circumstance is especially emphasized by the translation of O. Rumer and some other translations of the 66th sonnet, which strive for the same interpretation of the original, which gives Marshak's translation, but incomparably inferior to the latter in perfect execution.
The 66th sonnet in Marshak’s translation is perceived as an angry philippic, thrown into the eyes of society, as a magnificently fashioned rhetorical tirade.
The translation of B.L. Pasternakand its analysis
Измучась всем, я умереть хочу.
Тоска смотреть, как мается бедняк,
И как шутя живется богачу,
И доверять, и попадать впросак,
И наблюдать, как наглость лезет в свет,
И честь девичья катится ко дну,
И знать, что ходу совершенствам нет,
И видеть мощь у немощи в плену,
И вспоминать, что мысли заткнут рот,
И разум сносит глупости хулу,
И прямодушье простотой слывет,
И доброта прислуживает злу.
Измучась всем, не стал бы жить и дня,
Да другу трудно будет без меня.
The very first words are artlessly simple, colloquial to earthiness and create a natural intonation, devoid of any literary character but full of genuine feeling. This is a different translation key, a different human position of the poet. Here it’s not loud pathos of conviction that is heard, but a quietly pronounced complaint to the death of a tired, exhausted man’s life. He is not indignant, he is "longing to look" at everything around him. This is the mood of the 66th sonnet of Shakespeare, the first line of which in the subscript means: "tired of everything (or: exhausted by all), I dream of a pacifying (literally: soothing) death."
This is not a formidable pamphlet, but a lyrical confession and in such a key Pasternak translates the entire sonnet. Instead of Marshak's formula:
“Над простотой глумящуюся ложь”
appears:
“И доверять, и попадать впросак”
The string carries a striking authenticity of experience; it is self-expression, lyrics in the exact sense of the word.
Those phenomena that in the first translation are submitted from the outside, here shine through the inside, for they are the inner wealth, the pain of the poet. At the same time, it is significant that the power of generalization is not lost, but increases, the objectivity of thought does not lose, but benefits from the subjectivity of feeling. I will try to prove it.
By Marshak:
“И девственность, поруганная грубо” - that is, committed violence.
By Pasternak:
“И честь девичья катится ко дну”
It is rolling itself, as if unaware of this. A deeper and more tragic sense of the phenomenon has been obtained: there is a spontaneous inevitability of the decline of social mores. The same is true in the original, where a girl’s honor is said to be “strumpeted”; from the ancient word "strumpet" Shakespeare formed the verb form, participle. In the same vein Pasternak goes on:
“И разум сносит глупости хулу”
“И доброта прислуживает злу”
The tragedy is not only in the advantage of evil over good but also in the reconciliation of good with its helplessness.
By Marshak:
“И вдохновения зажатый рот”
It would seem that the word "inspiration" is very close to the original "art"; but inspiration is not the property of society, it is not an expression but a state of an individual spirit, an elusive thing in itself. To pinch inspiration with your mouth is to prevent it from manifesting in creativity. This is possible but here there is an obvious narrowing of the original image.
By Pasternak:
“И вспоминать, что мысли заткнут рот”
The word “thought” in a certain meaning (and in this context) does not come down to the rational principle alone, it approaches the concept of spiritual creativity in general. You can also perceive the word “art”, which has a wider meaning in English than the word “art” in Russian. In this sense thought, like art, is a social function, the suppression of which is a social evil.
I repeat, the civilian sounding of the sonnet is not weakened, but strengthened, deepened, although it is not an end in itself, as in the first translation, but something derived from a purely personal feeling.
Now let us compare the last couplets of both translations. The role of the last lines is great in any poem and in the English sonnet it is colossal; the crowning couplet is the result, the emotional-semantic concentrate of the work.
By Marshak:
“Все мерзостно, что вижу я вокруг...
Но как тебя покинуть, милый друг!”
These lines are not stronger, but weaker than others. Experiences are directed not so much at a friend, as at the author himself. The interrogative question (Shakespeare does not have it) gives flirtatiousness and lightness to the last line. The combination of the words "dear friend" in Russian has for some time acquired a playful or ironic tone.
Even here, in the last couplet, the conviction continues: «Все мерзостно». In the original it is not so. Shakespeare, in violation of the formal rules of the sonnet, almost repeats the first line of the poem in the penultimate line which has tremendous meaning and what the translator did not want to be considered in this case.
Pasternak reproduced this feature of the 66th sonnet religiously:
“Измучась всем, не стал бы жить и дня,
Да другу трудно будет без меня.”
This is a piercing couplet whose poetic power does not need any comment. The sonnet is over, and unlimited free space opens, into which we enter in the footsteps of Shakespeare.
Conclusion
We achieved our original goal by comparing and analyzing Shakespeare's sonnets through translations of Russian writers. Summing up, I would like to say that comparing so different and so great masters, we see that their translations were, among other things, also translations from culture to culture, so you should not focus on the amateur look, since there is their canons, that translate and create artistic heritage. Once again we could be convinced that literary translation is an amazing phenomenon of artistic culture capable of endless creative revival of its best achievements. And the translator of the cultural language of the new time, which places upon itself in the dialogue of epochs the high responsibility of the creative guide, increases its credibility, gaining the artistic weight of the timeless insights.
Shakespeare's sonnets are works deeply lyrical. They include pictures of nature, friendly messages, polemics with other poets, hymns of love and friendship, confessions of sinful passion, alternating with explosions of sincere repentance –they are a diverse gamut of feelings and thoughts. The author, his friend and the lady are heroes of sonnets, letters in verses. In each such monologic letter one can hear the agitated voice of a person living a rich spiritual life, illuminated by a great feeling of love, which saves him from the heavy blows of fate.
Thus, we can argue that the sonnets of Shakespeare represent a harmonious unity, reflecting all the contradictions and complexity of human feelings.
Shakespeare's sonnets are a single whole for a number of reasons: they are united by the main character, the images and concepts associated with it, the drama that permeates every sonnet, the same poetic principle, and the most important aspect of Shakespeare's ethics: trust and love for the person. And one more irrefutable feature of Shakespeare's sonnets is the voice of the poet himself.
Literature
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