превод

In our time, when the importance of literary translation as a connecting link between the cultures of individual nations has grown unusually, there are more and more grounds to raise the question of the independent nature of this type of literary work. For more than 150 years, literary translation in the modern sense of the word has been distinguished as a field with its own goals and objectives, with its own problems, with its own creative process. Creative individuals have emerged in this field with their own specific characteristics, related to the peculiarities of their activity. Regularities have emerged in the history of literary translation that also speak of an independent development. A theory of translation has been created, which has been significantly enriched and deepened, especially in recent decades. The benefit of correctly distinguishing literary translation work from other related fields is more than obvious. Only on this plane can one resist some misconceptions that are particularly reflected in the theory and criticism of translation. The necessity of such a separation stands out particularly clearly today, when within the boundaries of translation a new field is rapidly developing and expanding its reach, from which the translation of fiction must be clearly distinguished - machine translation based on modern cybernetic technology.

Nikolai Ivanovich Gnedich was a poet, a contemporary of Pushkin, and a translator who recreated the Iliad in Russian - a translation that continues to be talked about today, because it was made with great knowledge of both languages ​​and a subtle poetic taste. Decades would pass and the Gnedich family would give Russian literature other representatives. Until our days, when Tatyana Grigorievna Gnedich is the continuer of this family tradition... For several years, Byron's Don Juan has not left the stage of the Leningrad Comedy Theater. The newspapers wrote a lot about the beautiful performance and even more about the translation of the famous poem, made with incredible grace, linguistic orchestration, and beautiful verse. This translation belongs precisely to the aforementioned Tatyana Grigorievna Gnedich. The translation of Don Juan has a very interesting and instructive story. And it is as follows.

A more detailed acquaintance with the preserved Old Slavonic manuscripts allows for a more complete disclosure of the repertoire of the old Slavic literatures, their genre richness, and connections with other literatures (Byzantine and Western European). Too often it presents the researcher with new and interesting details concerning the activities of individual writers. One such case is discussed in the present note, related to the literary activities of the prominent Old Bulgarian writer John the Exarch, a participant in the construction of the "Golden Age" of Bulgarian literature during the time of Tsar Simeon. The work "Heaven" - a work by the Byzantine writer John of Damascus (8th century) is closely associated with the name of John the Exarch, because it was first through his translation that it penetrated the old Slavic literatures (Bulgarian, Russian, Serbian), received wide distribution and had a profound impact on the religious and philosophical thinking of the medieval reader. It became generally accessible to the scientific world thanks to the efforts of O. M. Bodyansky, who prepared it for publication, and the publication itself was published under the editorship of Andrei Popov in 1878 under the title "Theology of Saint John of Damascus in the translation of John the Exarch of Bulgaria. According to the haratheon list of the Moscow Synodal Library". Our writer approached his task quite soberly - taking into account the specific reality of Bulgarian society and the cultural preparation of his reader, he did not translate "Heavens" in its entirety, consisting of 100 chapters, but translated only 48 chapters, the most necessary and suitable for the reader.

Saturated with intense reflection and feelings, the epic poem by the great Hungarian poet Sándor Petőfi "The Madman" is one of the first translations of Hungarian literature in our country. It is associated with the name of the national poet Ivan Vazov. He was the first to translate and print it in his magazine "Dennitsa". Although not very popular in Hungary, in Bulgarian translation "The Madman" became one of the most recited poems in our country. Its dramatic texture, the sharply posed problems in a socio-ethical aspect, the bold and direct conclusions, reaching at some moments a decisive protest conscious and directed in a certain direction, make it not only a relevant, but also a highly influential work for the time. For such great popularity, Vazov also has some merit, who with a sense of proportion and poetic flair managed to give artistic flesh to the hatred for the world of corruption or indolence, which permeates the tragic monologue of the Hungarian poet. In 1967 in "Studia slavica". organ of the section "Linguistics and Literary Studies" of the Hungarian Academy of Sciences published an interesting article by Istvan Pot. 2 In it, the Hungarian scholar poses the question - through the mediation of which language Ivan Vazov translated "The Madman". This question, as I. Pot himself shares, is "still unresolved". Written in an argumentative manner, with a specific analysis of the artistic and literary-historical facts, this article nevertheless calls for an answer to those problems that have not found a place in it, as well as to further clarify the statement considered by I. Pot about the source of Vazov's translation.