Abstract
Objectives: The article provides a detailed, holistic analysis of ten translations of the lyrical works of the Irish poet Thomas Moore, created by A.A. Kursinsky and included into his poetic collection “Poluteny. Lyrical poems published in 1894 and 1895 years”. Peculiarities of the perception of this poetic collection are characterized by V.Ya. Bryusov, who noticed A.A. Kursinsky's intention to “imitate ruthlessly” to K.D. Balmont, with the adoption of both his “appearance” and “the very sense of his poetry” and proposed his own interpretations of two Thomas Moore’s poems from the list of previously translated by A.A. Kursinsky. Methods: In the methodological aspect, the article is based on the foundations of historical poetics, set forth in the fundamental works of Alexander N. Veselovsky, V.М. Zhirmunsky, the theses of M.M. Bakhtin's theory about dialogue and “stranger's word”, the works of the representatives of the Leningrad school of comparative-historical literature, created by M.P. Alekseev. In the process of analysis, sociocultural, comparative-historical, cultural-historical and comparative-typological methods of research are used. Findings: At the time of the appearance of A.A. Kursinsky's translations from the lyrical poetry of Thomas Moore, the free translating-imitations that freely interpreted the ideological and artistic content of the original were widely known to the public as well as the “realistic” translations that were intended to reproduce as accurately as possible the spirit and form of the Irish original. A.A. Kursinsky found some valuable material for philosophical reflection in the poetry of Moore and skillfully preserved the features of the rhythm and melodies of the original works. Moore’s poetry attracted V.Ya. Bryusov’s attention dew to the interpretations of A.A. Kursinsky. V.Ya. Bryusov offered his vision of the works of the Irish poet, reinterpreted separate thoughts and images in a new way. Novelty: In the framework of the comparative analysis of Thomas Moore’s translations written by A.A. Kursinsky and V.Ya. Bryusov, the authors of the article form representations of Russian translators about the peculiarities of perception of ideas, images, artistic details, which characterize the original texts of the Irish poet-predecessor.
Highlights
The interest of Russian poets-translators to the creative works of the famous Irish poet Thomas Moore, whose peak of popularity in Russia was in the 1820–1830s, found its reflection both in literary creative work as well as in musical and theatrical art, which cannot be ignored while creating the maximum complete picture of the perception of the poetic heritage of the Irish bard in Russia and its significance for Russian culture
On the threshold of the 1920th centuries the interest of Russian literature to the artistic advantages of the works of the Irish poet, a fighter for the freedom of his people, appeared with renewed strength, being caused and reinforced by romantic tendencies on the contrary to the naturalism of the works of many contemporary authors, and provoked by a freedom-loving desire to change the foundations of the world order, and the characteristic elegiac tonality of poetic texts, which reflects at the same time disappointment of life, lyricism and humility with the accomplished life events
A special role in the history of Russian artistic translation was played by V.Ya
Summary
The interest of Russian poets-translators to the creative works of the famous Irish poet Thomas Moore, whose peak of popularity in Russia was in the 1820–1830s, found its reflection both in literary creative work as well as in musical and theatrical art, which cannot be ignored while creating the maximum complete picture of the perception of the poetic heritage of the Irish bard in Russia and its significance for Russian culture (see, for example: Vasina, 2007; Zhatkin & Yashina, 2006, pp.167171). Serov, who represented in his article “Spontini and his music” (1892, pp.86–122) a detailed analysis of the stage performance of Gaspare Spontini, which was created for the famous Berlin holiday in 1821 (Zhatkin & Yashina, 2009, pp.165–170), A.G. Rubinshtein who created the opera “Feramorz”, the work on which was conducted for more than twenty years, turned to the interpretation of Thomas Moore’s poem. Rubinshtein who created the opera “Feramorz”, the work on which was conducted for more than twenty years, turned to the interpretation of Thomas Moore’s poem His Opera competed on Moscow and St. Petersburg stages with works of Western European composers, which were created on the plot of “Lalla Rookh” – the oratorio of R. Did not prevent the young participants of the competition “in the greatest ecstasy of starting to compose a cantata” (Zolotarev, 1957, p.191)
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
