Abstract
The article examines the reception of Western European modernism in Russia in the late 19 th — early 20th centuries, with the emphasis on the phenomenon of the “crooked mirror” of a different nation perception, which not only endows the work of a foreign author with new functions, but sometimes also gives it a new scale (as with Byron, Zola, some of whose novels were published in Russian translation earlier than in the original in France, the Parnassian poet Jose Maria de Heredia, who received real fame in Russia, in contrast to the very short recognition in his homeland). The subject of the analysis is the texts that are maximally indicative and convincing for the stated topic, above all the translations from Paul Verlaine by Fyodor Sologub, who, along with Bryusov, opened the French poet to the Russian reader, and his original poems, created in the course of and largely as a result of work on translations. The systematization of observations on specific texts makes it possible to conclude that Russian Symbolists, adhering to sometimes opposite views on art, relying on the authority of Baudelaire and Verlaine who are perceived in France more as predecessors of Symbolism than its representatives, walked alongside them, never meeting along the way, but recognizing the “other” as “equal”.
Highlights
The article examines the reception of Western European modernism in Russia in the late 19th — early 20th centuries, with the emphasis on the phenomenon of the “crooked mirror” of a different nation perception, which endows the work of a foreign author with new functions, but sometimes gives it a new scale
The systematization of observations on specific texts makes it possible to conclude that Russian Symbolists, adhering to sometimes opposite views on art, relying on the authority of Baudelaire and Verlaine who are perceived in France more as predecessors of Symbolism than its representatives, walked alongside them, never meeting along the way, but recognizing the “other” as “equal”
«Первый» или «неудачный»: о роли перевода стихотворения Поля Верлена «Le ciel est, par-dessus le toit...» в творческой биографии Федора Сологуба // Русская литература
Summary
Институт русской литературы (Пушкинский Дом) Российской академии наук, Санкт-Петербург, Россия. Аннотация: В статье рассматривается проблема рецепции западно-европейского модернизма в России в конце XIX — начале XX в., акцент сделан на феномене «кривого зеркала» инонационального восприятия, которое не только наделяет произведение зарубежного автора новыми функциями, но и подчас придает ему новый масштаб Максимально показательные и убедительные для заявленной темы, прежде переводы Федора Сологуба из Поля Верлена, открывшего, наряду с Брюсовым, французского поэта русскому читателю, и его оригинальные стихотворения, созданные в ходе и во многом в результате работы над переводами. Систематизация наблюдений над конкретными текстами дает возможность сделать вывод, что русские символисты, придерживаясь подчас противоположных воззрений на искусство, опираясь на авторитет Бодлера и Верлена, воспринимаемых во Франции скорее как предшественники символизма, чем его представители, шли с ними рядом, никогда не встречаясь в пути, но признавая «другого» за «равного».
Sign-in/Register to view highlights & summary Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
