Abstract
The article deals with English reception and interpretation of mythopoetics in Lesia Ukrainka’s Forest Song. The great difficulty of this work for foreign reception and interpretation due to the large number of mythical and folklore elements, which are important ethnic components of its poetics, is pointed out. The article is based on comparative and typological, structural, descriptive, interpretative methods and the holistic system analysis. It is noted that a significant part of the Forest Song mythology falls on demonology, where each of the demons has features attributed to him by folk beliefs. It is investigated that both translators managed to preserve ethnic specificity of these characters due to different ways of interpretation, although not without certain inaccuracies. It is also noted that an important component of the ethnic poetics of Lesia Ukrainka’s work is magic charm, the successful translation of which demonstrates the true interpretative findings of both translators. Translations of Ukrainian mythology of Lesia Ukrainka’s Forest Song by G. Evans and P. Cundy can be considered successful, as they are marked by the maximum approximation to the original content, spirit and style.
Highlights
Folklore and mythological tradition in Ukrainian literature dates back to I
The article deals with English reception and interpretation of mythopoetics in Lesia Ukrainka’s Forest Song
It is noted that an important component of the ethnic poetics of Lesia Ukrainka’s work is magic charm, the successful translation of which demonstrates the true interpretative findings of both translators
Summary
Cundy has no translation of this name); перелесник — Red Demon / Will-o’-the-Wisp; лісовик — Wood Goblin / Forest Elf; русалка — water sprite / Rusalka; злидні — Hunger imps / Starvelings); 2) transcription (Mavka, Koots / Kutz). Evans uses the most appropriate — combined method: when together with the periphrasis — the interpretation of the realia semantics, there is a transcription of the word — the preservation of its “foreignness,” national identity (lost children — poterchata, water sprite — rusalka, forest-pool king — vodyanik, hunger imps — zlidni). Evans’ interpretation — ghost-spirit of the mire); abstract concepts: доля (fate) and злидні (hunger imps / Starvelings). We consider this translation to be self-sufficient and quite successful. Successful interpretations of poetic examples of folk beliefs demonstrate the true interpretive findings of both translators
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