He mainly wrote ballads based on legendary or mythological plots - they are what give his works brightness and originality. The poem "Glove" was no exception. Schiller described the era of brave, strong knights and beautiful ladies, and although these times are long gone, the themes of the works are still relevant and interesting for readers.
All ballads of the poet are filled with a special drama that hides deep knowledge. The heroes in them must constantly prove to society their courage and devotion to their homeland, show nobility, courage, fearlessness and selflessness. In many of Schiller's works, there is a similarity with the works of Shakespeare, the great English playwright. It can be said with all certainty that Friedrich became his faithful follower.
Schiller based the ballad "The Glove" on a real historical fact. The plot takes us back to the time of the knights and it may seem rather banal and unremarkable, but the author managed to show the real deep meaning of the work, made the reader think about the situation, find out who is right and who is wrong. The events that took place at the court of the French king in the 15th century are described in his ballad by Schiller - "The Glove".
The summary of the work can be divided into several scenes. Initially, the king and nobles gathered for a performance to watch the fight between wild animals. The first to be released into the arena was a huge lion, which soon lay down on the sidelines. Then a brave tiger came out, but, seeing a stronger opponent, he did not get into trouble. Two leopards that ran after them attacked the striped animal, but the lion's formidable roar forced them to step aside. But she wanted to continue the bloody spectacle ... Creating the ballad "The Glove", Schiller wanted to emphasize human cruelty and heartlessness.
Among the spectators shone the young beauty Kinigunda, who wished to test the sincerity of the feelings of the knight Delorge for her, and at the same time to have fun. The lady deliberately threw her glove into the arena, which fell right between the predators. Kinigunda turns to the knight with an innocent request to bring the dropped thing and thereby prove his devotion. Delorge understands that the beauty did it on purpose, but she cannot refuse the request, because refusal will undermine his reputation. With the help of the ballad "Glove" Schiller wanted to draw the reader's attention to how valuable human life is.
The animals did not touch Delorge - he brought the glove to his lady, but he did not want her praises and confessions, because he realized that Kinigund did not love him and did not appreciate his actions. Moreover, the glove flew to the arrogant beauty in the face.
The main meaning of the work is that nothing can be more valuable than a human life, and it is stupid to risk it for the whim of a spoiled girl. Despite the fact that so much time has passed, the ballad still attracts attention and makes one think about the meaning - Schiller created the eternal work... sacrifices and meaningless proofs of feelings... Reading a ballad, one involuntarily thinks about the true value of love and life.
CREATION
SCHOOL ESSAYS
Comparative analysis of translations of F. Schiller's ballad "Glove"
|
Der Handschuh Vor seinem L?wengarten, |
Friedrich Schiller (1759 - 1805)
|
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Glove The nobles stood in a crowd And the king waved again From above then fall And suddenly turning to his knight, And the knight runs from the balcony in a minute And the audience is timidly waiting around, Translation by M.Yu. Lermontov |
M.Yu. Lermontov (1814-1841) |
|
GLOVE Before your menagerie The king gave a sign with his hand - And the guests are waiting for the battle to begin. Knights and ladies, with such impudence, Translation by V. Zhukovsky |
V.A. Zhukovsky (1783-1852) |
Comparative analysis of translations of F. Schiller's ballad "Glove"
Before us is the ballad of the great German poet I.F. Schiller "The Glove" and translations of this work into Russian by the classics of Russian poetry of the 19th century V.A. Zhukovsky and M.Yu. Lermontov. Let's try to compare all three poetic works.
F. Schiller took the plot of the ballad from Saintfoy's book; it describes a real incident that occurred at the court of King Francis 1. Theme: the shame of a hard-hearted beauty. The German poet paints for readers a picture of medieval entertainment at the royal court with the participation of wild animals and a brave knight performing a feat in the name of a beautiful lady.
Quite, it would seem, a traditional medieval plot. However, the ending of the ballad is unusual: a brave knight, having accomplished a brave but senseless feat, refuses to reward the lady, behaves rudely and contemptuously towards the beauty.
Why did Schiller choose this particular historical plot for the ballad? Why did this particular ballad attract the attention of Russian poets?
Answers to these and other questions can be found by studying the life and work of great poets.
Johann Friedrich Schiller (1759 - 1805) - theorist of the art of enlightenment, the founder of German classical literature. The rebellious desire for freedom, the assertion of human dignity, hatred of feudal orders are already expressed in youthful dramatic works ("Treachery and Love", "Robbers"). The clash of educational ideals with reality, interest in the social upheavals of the past determine the intense drama of his works. ("Don Carlos", "Mary Stuart"). Schiller creates the theory of "aesthetic education" as a way to achieve a just society.
Vasily Andreevich Zhukovsky (1783-1852) - author of elegies and ballads, translator of Schiller, Byron, Homer. A sentimental romantic, who was characterized by the thought of the extra-class value of the individual, the clash between dream and reality, thinking about undiscovered talent. Zhukovsky never expressed an open protest, but his work, detached from the exciting issues of our time, is imbued with deep humanity. The poet retained impeccable honesty, moral independence and straightforwardness of character at court. Nothing could make him forget about "the most holy of titles: man."
Mikhail Yuryevich Lermontov (1814 -1841) - the great Russian poet, whose work developed after the Decembrist uprising. Disappointment in reality, longing for the ideal of a free and rebellious personality fed his early romantic poems and mature lyrics. The rebellion of the individual against the injustice of the "world order", the tragedy of loneliness run like a red thread through all his work. In the lyrics of Lermontov, social, civic, philosophical and deeply personal motives are closely intertwined. He introduced into Russian poetry a verse marked by an unprecedented energy of thought and melodiousness.
Based on the foregoing, we can conclude that all three poets are united by common moral values, which are based on the human person. But, nevertheless, Schiller and Lermontov are also united by a rebellious spirit, and the desire to change the injustice of the social system.
I think that is why the plot of the ballad became interesting to all three poets.
At first glance, when comparing the text of the original and translations, it is clear that Zhukovsky's text conveys the content of the ballad much more fully, while Lermontov feels more emotional passions, the action develops rapidly (although some lines are omitted).
Schiller, with German punctuality, adheres to the historical chronicle, names the characters, but it seems that the rebellion of the knight, who no longer wants to be a hostage to the traditions of medieval society, is most important for him.
Zhukovsky calls his version of the translation "tale", retains the names of the king and knight, but the name of the lady ("beauty") does not matter to him.
For the young Lermontov ("Glove" - one of the first attempts at translation), all attention is focused on the personality of the young beauty, only her name is mentioned. But the reader feels that the author clearly sympathizes with the nameless noble knight and perhaps even associates himself with his hero.
F. Schiller pays great attention to the description of animals, their behavior in the arena, their relationships. Perhaps this is a symbol of the hierarchical ladder of medieval society hated by the German poet:
Lion - tiger - leopards
King - Duke - knights?
Zhukovsky, being a virtuoso translator, tried to convey the description of animal behavior as accurately as possible, trying not to miss a single detail.
Lermontov is limited to only mentioning the presence of a lion and a tiger in the arena. Obviously, this description is not of great importance for a 15-year-old boy, all his attention is riveted to the relationship between a knight in love and a beautiful lady.
It should be noted that in the future, Mikhail Yuryevich very clearly and accurately described the snow leopard in Mtsyri:
"……………. Suddenly on her
A shadow flashed, and two lights
Sparks flew ... and then
Some kind of beast in one jump
Jumped out of the bowl and lay down,
Playing, back on the sand.
That was the desert's eternal guest -
Mighty bar. raw bone
He gnawed and squealed merrily;
That bloody gaze directed,
Wagging your tail gently
For a full month - and on it
The wool shimmered with silver.
It is a pity that Lermontov did not consider it necessary to translate the description of huge cats in detail. I think it would have been expressive for him.
The image of the beautiful Kunigund and her relationship with the knight Delorge is the most mysterious and controversial moment of the ballad.
Schiller does not give a vivid description of the relationship of the main characters, the appeal "Fraulein" indicates that Kunigund is a young unmarried girl. She is delighted with the act of the knight and is ready to generously reward the brave man:
"…….mit zartlichem Liebensblick
Er verheisst ihm sein nahes Gluck….."
In relation to Kunigund, Lermontov used the wonderful purely Russian concept of “maiden”, the relationship between the lady and the knight is more defined, emotional and romantic (“….. And suddenly turning to his knight…”). The return of the hero was also greeted enthusiastically: "... And a gentle, flaming look -
A pledge of near happiness ... "
The heroine of Lermontov is perceived by the reader as a spoiled and eccentric girl, and her act is only a fleeting, playful idea. She doesn't think about the consequences of her words. The glove was dropped by her, apparently unintentionally: "...Fate is a random game ...". However, the words: "... Knight, I love torturing hearts ....", make it clear that she does not understand the feelings that the knight has for her.
Perhaps the image of the beautiful but cruel Kunigund became for Lermontov the personification of secular ladies of his time: beautiful and cold.
Zhukovsky in his translation does not even indicate the marital status of the "beauty", there is no hint of the relationship of the characters, but the act of the lady is clearly characterized ("... his beauty looks with a hypocritical and sharp smile ...."). It seems that the lady is clearly older and more experienced than her admirer, and her act is well thought out.
The protest of a noble knight against such a cruel and senseless test - a glove thrown in the face of a lady - the climactic denouement is reflected in both translations. But in Lermontov, the finale is determined by an angry line: "... cruel annoyance blazing in the fire ...", while in Zhukovsky the knight behaves more restrained.
Each of the translations is good in its own way. Lermontov tried to preserve the rhythm and meter of the verse as much as possible, but he reduced a lot, added drama, energy and personal attitude. Zhukovsky tried to convey the full content as accurately as possible, but, being a master in the genre of creating ballads, he created his own rhythm, more familiar to the Russian ear; own attitude towards the characters is not clearly expressed.
However, none of the translators could do without the traditional Russian vocabulary in the descriptions: “maiden”, “..bewitching blooming charms…”, “young knight”, “hello to her eyes”.
Personally, according to my perception, the translation of Vasily Andreevich is closer. His text is more poetic, more precise and Russified.
But, if you want to understand a poetic work absolutely accurately, you should read it only in the original. No one better than the author will convey his idea to the reader.
I am very glad that I can (albeit with a dictionary) read really (in the original) German classics. For the sake of such pleasure, it is worth learning languages.
The literature of any country is made up of two elements: domestic literature and translated literature. In the modern era, truly significant works of all national literatures are translated into foreign languages and become fully owned by the literatures of other peoples. To study and, if possible, adequately translate foreign literary works is our goal and main task.
Each literary work undergoes significant changes in the process of translation, but this is not the main indicator of the quality of a newly created opus.
More N.G. Chernyshevsky in 1857 in the preface to the collection "Schiller in the translations of Russian poets" wrote that Russian translated literature before Pushkin and Gogol was incomparably higher than the original, therefore much more attention should be paid to translated literature.
Studying literary translations of the great authors of past centuries in literature lessons is a great opportunity not only to study the history and traditions of other peoples, but also to join the global cultural values.
I offer my version of the translation of F. Schiller's ballad "The Glove".
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Glove (From Schiller) Before the menagerie, waiting for the battle, The king waved his hand in rings He waved a second time. Bold tiger A wave of the third royal hand. And suddenly from a high balcony And the knight flies from the balcony, And the warrior returns to the assembly, Translation by E. Afanasyeva |
Research
Interpretation of two translations
ballads by F. Schiller "The Glove"
Supervisor:
Repina Nadezhda Pavlovna, teacher of the highest qualification category
2011
CONTENT
Introduction …………………………………………………………..p. 3
Chapter 1.Comparative analysis of the plot of the ballad by F. Schiller
"Glove" …………………………………………………………...p. 5
Chapter 2Comparison of characters' images and author's attitude
to them.……………………………………………………………....with. nine
Chapter 3Comparative analysis of translations of the ballad by F. Schiller
"Glove"………………………………………………………....p. eleven
Conclusion………………………………………………………...p. thirteen
List of used literature……………………………….p.14
Introduction
Today, there is again a genuine interest in the Western European lyrics of the early 19th century, including translations of Russian authors of works by European poets.
The literature of any country is made up of two elements: domestic literature and translated literature. In the modern era, truly significant works of all national literatures are translated into foreign languages and become fully owned by the literatures of other peoples. To study and, if possible, adequately translate foreign literary works is our goal and main task.
Each literary work undergoes significant changes in the process of translation, but this is not the main indicator of the quality of a newly created opus.
More N.G. Chernyshevsky in 1857 in the preface to the collection "Schiller in the translations of Russian poets" wrote that Russian translated literature before Pushkin and Gogol was incomparably higher than the original, therefore much more attention should be paid to translated literature.
Studying literary translations of the great authors of past centuries in literature lessons is a great opportunity not only to study the history and traditions of other peoples, but also to join the global cultural values.
Russian authors of the early 19th century turned to the poetry of Schiller, Goethe and Heine, as they were close to their romantic worldview. They were especially attracted to the ballad genre. (Ballad- a lyrical epic work, that is, a story presented in poetic form, of a historical, mythical or heroic nature.).
One of the merits of acquaintance of the Russian reader with the European ballad belongs to V. A. Zhukovsky. The ballad is his favorite genre. Zhukovsky translated the ballads of Goethe and Schiller so masterfully that his works could rightfully compete with the famous originals.
The ballad "" is one of the best works of V. A. Zhukovsky, written by him in 1831. It tells about the entertainments of the French court during the time of King Francis I and depicts the image of the knight Delorge, about whose amazing deeds there were many legends at that time.
M. Lermontov also turned to Western European lyrics, and in his work we also find translations of the ballads of Goethe, Heine and Schiller, including the ballad "Glove".
The purpose of this study is to give a comparative analysis of two translations of F. Schiller's ballad "Glove" (M. Lermontov and V. Zhukovsky), to reveal the artistic originality of these translations.
Tasks:
To get acquainted with the original version of Schiller's ballad "The Glove" (in German) and identify the features of the interlinear.
Get acquainted with the translations of V. Zhukovsky and M. Lermontov of F. Schiller's ballad and make their comparative analysis.
Chapter 1. Comparative analysis of the plot of the ballad by F. Schiller "The Glove"
Let's try to compare two poetic translations into Russian of the ballad of the great German poet I.F. Schiller "The Glove" by the classics of Russian poetry of the 19th century V.A. Zhukovsky and M.Yu. Lermontov.
The plot of the ballad F. Schiller took from the book of Saintfoy, it describes a real incident that occurred at the court of King FrancisI. The theme of the plot is the shame of a hard-hearted beauty. The German poet paints for readers a picture of medieval entertainment at the royal court with the participation of wild animals and a brave knight performing a feat in the name of a beautiful lady.
Quite, it would seem, a traditional medieval plot. However, the ending of the ballad is unusual: a brave knight, having accomplished a brave but senseless feat, refuses to reward the lady, behaves rudely and contemptuously towards the beauty.
The second part draws wild animals, which should inspire real fear in the reader. Here and "shaggy lion", and "brave tiger", and "two leopards". The hero of the ballad is in real danger.
In the third part of the ballad, the image of a cruel and conceited beauty arises, who, demanding worship, commands the knight to get her glove from the menagerie. The price of someone else's life is too small for her and she values herself too highly. Beauty tests Delorge in the lowest way. What is she waiting for? The fact that the hero will get cold feet and on the gases of the whole audience will refuse a reckless act? Or maybe that he will throw himself behind the glove and amaze everyone with his devotion to the beauty?
Why did Schiller choose this particular historical plot for the ballad? Why did this particular ballad attract the attention of Russian poets?
Answers to these and other questions can be found by studying the life and work of great poets.
Johann Friedrich Schiller (1759 - 1805) - theorist of the art of enlightenment, the founder of German classical literature.
The rebellious desire for freedom, the assertion of human dignity, hatred of feudal orders are already expressed in youthful dramatic works ("Treachery and Love", "Robbers"). The clash of enlightenment ideals with reality, interest in the social upheavals of the past determine the intense drama of his works. ("Don Carlos", "Mary Stuart"). Schiller creates the theory of "aesthetic education" as a way to achieve a just society.
Vasily Andreevich Zhukovsky (1783 - 1852) - author of elegies and ballads, translator of Schiller, Byron, Homer.
A sentimental romantic, who was characterized by the thought of the extra-class value of the individual, the clash between dream and reality, thinking about undiscovered talent. Zhukovsky never expressed an open protest, but his work, detached from the exciting issues of our time, is imbued with deep humanity. The poet retained impeccable honesty, moral independence and straightforwardness of character at court. Nothing could make him forget about "the most holy of titles: man."
A. S. Pushkin prophetically said about the work of Zhukovsky:
His poetry captivating sweetness
Centuries of envious distance will pass ...
The prediction of the great poet came true. And today we are reading the amazingly poetic ballads of Zhukovsky, a subtle lyricist and an unsurpassed translator.
Mikhail Yuryevich Lermontov (1814 - 1841) - the great Russian poet, whose work developed after the Decembrist uprising.
Disappointment in reality, longing for the ideal of a free and rebellious personality fed his early romantic poems and mature lyrics. The rebellion of the individual against the injustice of the "world order", the tragedy of loneliness run like a red thread through all his work. In the lyrics of Lermontov, social, civic, philosophical and deeply personal motives are closely intertwined. He introduced into Russian poetry a verse marked by an unprecedented energy of thought and melodiousness.
Based on the foregoing, we can conclude that all three poets are united by common moral values, which are based on the human person. But, nevertheless, Schiller and Lermontov are also united by a rebellious spirit, and the desire to change the injustice of the social system.
I think that is why the plot of the ballad became interesting to all three poets.
At first glance, when comparing the text of the original and translations, it is clear that Zhukovsky's text conveys the content of the ballad much more fully, while Lermontov feels more emotional passions, the action develops rapidly (although some lines are omitted).
Schiller, with German punctuality, adheres to the historical chronicle, names the characters, but it seems that the rebellion of the knight, who no longer wants to be a hostage to the traditions of medieval society, is most important for him.
Zhukovsky calls his version of the translation "tale", retains the names of the king and knight, but the name of the lady ("beauty") does not matter to him.
For the young Lermontov ("Glove" - one of the first attempts at translation), all attention is focused on the personality of the young beauty, only her name is mentioned. But the reader feels that the author clearly sympathizes with the nameless noble knight and perhaps even associates himself with his hero.
F. Schiller pays great attention to the description of animals, their behavior in the arena, their relationships. Perhaps this is a symbol of the hierarchical ladder of medieval society hated by the German poet:
Lion - tiger - leopards;
King - Duke - knights?
Zhukovsky, being a virtuoso translator, tried to convey the description of animal behavior as accurately as possible, trying not to miss a single detail.
Lermontov is limited to only mentioning the presence of a lion and a tiger in the arena. Obviously, this description is not of great importance for a 15-year-old boy, all his attention is riveted to the relationship between a knight in love and a beautiful lady.
It should be noted that in the future, Mikhail Yuryevich very clearly and accurately described the snow leopard in Mtsyri:
"……………. Suddenly on her
A shadow flashed, and two lights
Sparks flew ... and then
Some kind of beast in one jump
Jumped out of the bowl and lay down,
Playing, back on the sand.
That was the eternal guest of the desert -
Mighty bar. raw bone
He gnawed and squealed merrily;
That bloody gaze directed,
Wagging your tail gently
For a full month - and on it
The wool shimmered with silver.
It is a pity that Lermontov did not consider it necessary to translate the description of huge cats in detail. I think it would have been expressive for him.
The image of the beautiful Kunigund and her relationship with the knight Delorge is the most mysterious and controversial moment of the ballad.
Schiller does not give a vivid description of the relationship of the main characters, the appeal "Fraulein" indicates that Kunigund is a young unmarried girl. She admires the act of the knight and is ready to generously reward the brave man.
In relation to Kunigund, Lermontov used the wonderful purely Russian concept of “maiden”, the relationship between the lady and the knight is more defined, emotional and romantic (“…..And suddenly turning to his knight ..."). The return of the hero was also enthusiastically received: "...And a gentle, flaming look - A bet of short-range happiness …."
The protest of a noble knight against such a cruel and senseless test - a glove thrown in the face of a lady - the climactic denouement is reflected in both translations. But in Lermontov, the finale is determined by an angry line: "...cruel vexation blazing in the fire …", while Zhukovsky’s knight behaves more restrainedly.
Chapter 2. Comparison of images of heroes and the author's attitude towards them.
How do poets translate words and expressions that characterize the characters, their actions, their feelings? How can the author's attitude be traced in this? What words disappear in translation? What are added? What changes from this?
In Zhukovsky, the relationship between the characters is closer ("you
», «
my faithful knight
”), but the lady is hypocritical, cold, and in the end only friendly; in Lermontov, the lady frankly tests her admirer (one of many) and after the act of the knight is full of love. In this Lermontov is closer to the original.
The hero of the ballad responds to the words of the conceited lady with a courageous act:
Delorge, without answering a word,
Goes to the animals
He boldly takes the glove
And returns to the meeting again.
The knight behaves with restraint and coolness. He is proud. He is not alien to self-esteem, and this explains his behavior at the end of the ballad. Delorge does not need the beauty's gratitude, because she perceives her act as an attempt to humiliate her and wants to show her that she has no right to play human life.
The knight of Lermontov is more youthful, hot, impetuous than that of Zhukovsky and Schiller. Phrase "I don't need your thanks " sounds more "offended" and "scandalous" than "I don't want a reward ". That is why Lermontov must add:And immediately left the proud ”, and in Zhukovsky, the knight uttered such words and with such force and dignity, after which there is nothing to add. Schiller's hero in this case is more "neutral". Especially indicative is the moment when the translators add the characteristics of the state of the knight who returned from the arena, which are absent in Schiller: in Zhukovsky he is cold, and in Lermontov he burns in the fire of annoyance.
The heroine of Lermontov is perceived by the reader as a spoiled and eccentric girl, and her act is only a fleeting, playful idea. She doesn't think about the consequences of her words. The glove was dropped by her, apparently unintentionally: "...Fate is a random game …". However, the words: "…Knight, I love to torture hearts, ....", make it clear that she does not understand the feelings that the knight has for her. Perhaps the image of the beautiful but cruel Kunigunde became for Lermontov the personification of secular ladies of her time: beautiful and cold.
Zhukovsky - the translator does not save the name of the heroine from the original work - Kunigund, and this is his assessment of the beauty's deed. She is soulless and cold.
Zhukovsky in his translation does not even indicate the marital status of the "beauty", there is no hint of the relationship of the characters, but the act of the lady is clearly characterized ("...with a hypocritical and caustic smile, his beauty looks ....") It seems that the lady is clearly older and more experienced than her admirer, and her act is quite deliberate.
Based on this, we can conclude that we meet Schiller's knight in Zhukovsky's translation, and Schiller's lady in Lermontov's translation. But the lady of Zhukovsky and the knight of Lermontov are “their own”, not the same as in the original. This reveals the question why Schiller has both heroes named by name, while Zhukovsky leaves the lady nameless, and Lermontov the knight.
But this question does not and cannot have an unambiguous solution. However, it leads to important reflections both on Schiller's ballad and on translational interpretation as such. Thinking about it, we can assume that:
1. Each translator leaves the name of the character he took from the author. And he invents the second hero himself, he is not the same as Schiller's, so the author leaves him nameless.
2. Each translator leaves the name of the hero whose deed is more important to him. Zhukovsky writes more about the act of a knight, and Lermontov - about the act of a lady.
3. Lermontov writes rather a lyrical poem, therefore his knight is himself, and the poet does not give him a name.
Chapter 3
Comparing two translations, we are convinced that two translations are two different texts. Different in mood, in the pictures that they evoke in the reader's imagination, in the author's attitude to the characters and their actions. We also saw the characters in the ballad differently. The heroes of Zhukovsky seem to them older than Lermontov's. Zhukovsky's beauty is hypocritical and cold and takes the knight's act for granted, while the knight is self-possessed and full of self-esteem; Lermontov's lady is a frivolous coquette, whose heart, however, ignites with love from the act of a knight, and he himself is young and impetuous. At the end of the ballad, the knight of Zhukovsky acts outwardly calmly, having made a deliberate decision and in no way betraying the excitement of passions. He throws a glove in the beauty's face,coldly accepting the hello of her eyes ", And the hero of Lermontov is seized by a fit of despair, is simply offended by the behavior of his lady,"cruel vexation blazing in the fire ».
If you make a literal translation like Schiller's, you will notice a significant remoteness of both translations from Schiller's text. It can be noted that Zhukovsky is closer to Schiller "in content", and Lermontov is "musically" closer.
However, we will be able to see more clearly both the digressions and their causes and consequences only after a detailed comparative analysis of the three texts.
After that, we can conclude that Zhukovsky's four Schiller scenes, depicting the exit of animals, merge into one. Hence, the impression of the exit of the animals is somewhat reduced, which shows the danger of the task facing the knight; the “cinematographic” of the scene, its “pictoriality” is reduced. With Lermontov, the scene of the appearance of animals in general is significantly reduced, their number decreases. The emphasis in the ballad shifts to the dialogue between the knight and the lady. But the fall of the glove stands out in a separate picture (“frame”), again emphasizing the most important conflict for Lermontov.
In Schiller, the image of danger is expressed both through composition (expansion of pictures) and through vocabulary; Lermontov creates tension with vocabulary - epithets that characterize animals; Zhukovsky is more epic and reserved than Lermontov and Schiller.
Each of the translations is good in its own way. Lermontov tried to preserve the rhythm and meter of the verse as much as possible, but he reduced a lot, added drama, energy and personal attitude. Zhukovsky tried to convey the full content as accurately as possible, but, being a master in the genre of creating ballads, he created his own rhythm, more familiar to the Russian ear; own attitude towards the characters is not clearly expressed.
However, none of the translators could do without the traditional Russian vocabulary in the descriptions: "girl
", "..
enveloping blooming beauty
…", "
young knight
", "
hello to her eyes
".
When comparing translations, the question arises: "Why does Zhukovsky give the subtitle "The Tale", which Schiller does not have?" It turns out that Schiller's epic (narrative) and lyrical (subjective-personal, emotional) beginnings of the ballad are in relative balance, while Zhukovsky strengthens the narrative beginning. And Lermontov's ballad is more like a lyrical poem, and its hero is like the poet himself.
It can also be said that in the era of Lermontov and Zhukovsky there was no such border between the native and the translated, as it is now. Zhukovsky said that he had almost everything translated and, at the same time, all of his: the poet translated what was close to him, and in the way he understood it - and therefore expressed his soul in poetry, first of all.
Conclusion
We again come to the conclusion that the two translations give a different idea of the source text. And the final question in this respect is: “Why did two poets, equally fluent in both language and poetic skill, translate one poem in such a different way?”
Answering this question, we can say that the translator translates the text as he understands it, sees it, feels it; he reveals and brings to the fore what personally offends him, excites him; it does not copy, but transforms the original text.
The question of the limits of freedom in literary translation is especially acute when the translator is a great poet, since such translations, as a rule, are the least accurate, but most captivate the reader with talent, beauty and poetic power. No wonder V. A. Zhukovsky said that a translator in prose is a slave, and in poetry a rival.
Thus, comparing the translations and referring to the interlinear when studying Schiller's ballad helped me to better understand the work under study, to realize the features of the ballad as a lyrical epic genre, and also gave me an idea of the features of the poetic world of Zhukovsky and Lermontov, with which I have yet to come into contact in the future.
Personally, according to my perception, the translation of Vasily Andreevich is closer. His text is more poetic, more precise and Russified. But, if you want to understand a poetic work absolutely accurately, you should read it only in the original. No one better than the author will convey his idea to the reader.
For the sake of such pleasure, it is worth learning languages.
Bibliography
Zhukovsky V.A.Ballads, poems and fairy tales. - M.: Pravda, 1982.
Lermontov M.Yu. Selected writings. - M .: Children's literature, 1977
"I know the world." - Publishing house "Enlightenment", 1998
"Poetic Russia". – Soviet Russia, 1974
Shamanskaya L.P.Zhukovsky and Schiller: poetic translation in the context of Russian literature. - M., 2000.
Danilevsky R.Yu.Schiller in Russian Lyrics of the 1820s–1830s // Russian Literature.1976. № 4.
Ermolenko S. I. Lyrics by M. Yu. Lermontov: genre processes. Yekaterinburg, 1996.
Andronikov I. L. Lermontov: research and finds. M., 1977.
Appendix.
Translation by M. Lermontov. "Glove"
The nobles stood in a crowd
And they silently waited for the spectacle;
Sitting between them
King majestically on the throne;
Around on the high balcony
The choir of ladies shone beautifully.
Here they listen to the royal sign.
The creaking door is opened,
And the lion comes out steppe
Heavy foot.
And silently suddenly
Looks around.
Yawning lazily
shakes yellow mane
And, seeing everyone,
The lion lies down.
And the king waved again
And the tiger is stern
With a wild jump
Soared dangerous
And, meeting with a lion,
Howled terribly;
He beats his tail
Then
Quietly bypasses the owner,
The eyes of the bloody do not reduce ...
But a servant before his master
Futilely grumbling and angry
And involuntarily lies down
He is next to him.
From above then fall
Glove with a beautiful hand
Fate is a random game
Between hostile couple.
And suddenly turning to his knight,
Cunigunde said, laughing slyly:
“Knight, I love to torture hearts.
If your love is so strong,
How do you tell me every hour
Then pick up my glove!”
And the knight runs from the balcony in a minute,
And boldly he enters the circle,
He looks at the glove among wild animals
And raises a bold hand.
And the audience is timidly waiting around,
Trembling, they look at the young man in silence.
But now he brings the glove back.
From everywhere praise flies
And gentle, flaming look -
Pledge of short-range happiness -
He meets the hero with the girl's hand.
But cruel annoyance blazing in the fire,
He threw a glove in her face.
"I don't need your gratitude!"
And immediately left the proud.
Translation by V. Zhukovsky. "Glove"
Before your menagerie
With the barons, with the crown prince,
King Francis was seated;
From a high balcony he looked
In the field, waiting for the battle;
Behind the king, bewitching
blooming beauty look,
The ladies of the court were in a magnificent row.
The king gave a sign with his hand -
The door opened with a thud,
And a formidable beast
With a huge head
shaggy lion
Comes out;
Around the eyes sullenly leads;
And so, looking at everything,
He wrinkled his forehead with a proud posture,
Moved his thick mane,
And stretched and yawned,
And lay down. The king again waved his hand -
The shutter of the iron door rattled,
And the bold tiger sprang from behind the bars;
But he sees a lion, he is shy and roars,
He beats himself with his tail on the ribs,
And sneaks, squinting eyes,
And licks the face with the tongue,
And, bypassing the lion around,
He growls and lays next to him.
And for the third time the king waved his hand -
Two leopards as a friendly couple
In one jump they found themselves over the tiger;
But he gave them a blow with a heavy paw,
And the lion stood up with a roar...
They reconciled
Bared their teeth, moved away,
And they growled and lay down.
And the guests are waiting for the battle to begin.
Suddenly the woman fell from the balcony
The glove...everyone is looking after it...
She fell among the animals.
Then on the knight Delorge with a hypocritical
And looks with a sharp smile
His beauty and says:
"When me, my faithful knight,
You love the way you say
You will return the glove to me."
Delorge, without answering a word,
Goes to the animals
He boldly takes the glove
And returns to the meeting again.
Knights and ladies, with such impudence,
My heart was troubled by fear;
A young knight
Like nothing happened to him
Calmly ascends to the balcony;
He was greeted with applause;
He is greeted by beautiful looks ...
But, coldly accepting the greeting of her eyes,
In her face a glove
He threw and said: "I do not require a reward."
Der Handschuh
Glove (interlinear)
Vor seinem Löwengarten,
Das Kampfspiel
zu erwarten,
Saβ
Konig Franz,
Und um ihn die Groβ
en
der Crown,
Und rings auf dem
Balkone
In front of your lion garden
Waiting for the fight (battle game)
King Francis sits
And around him the most important people of the kingdom,
And sitting on the balcony
Die Damen in schönem Kranz.
Ladies beautiful crown.
Und wie er winkt mit dem Finger,
And as soon as he moves his finger,
The cage opens
Auftut sich der weite Zwinger,
Und hinein mit bedächtigem Schritt
Ein Lowe tritt
Und sieht sich stumm
ring um,
Mit langem Gahnen
Undschüttelt die Mähnen
Und streckt die Glieder
Und legt sich nieder.
Und der Konig winkt
wieder,
And inside with a careful step
The lion enters
And looking silently
Around
With a long yawn
shakes his mane
And stretches out its paws
And lies down.
And the king waves again
(finger)
They open up fast
second gate,
From there rushes
Da offnet sich behind
wild jump
Ein zweites Tor,
Tiger out.
Daraus rent
As soon as he sees a lion,
Mit wildem Sprunge
growls loudly,
Ein Tiger hervor.
beats with the tail,
Wie der den Löwen schaut,
Drawing out terrible figures for them,
Brollt er laut,
And sticks out his tongue
Schlagt mit dem Schweif
Timidly walking around the lion,
Einen furchtbaren Reif
Roaring furiously;
Then he stretches out, grumbling,
Und recket die Zunge,
Aside.
Und im Kreise scheu
Umgeht er den Leu
And the king waves again
Grimmigschnurrend;
Two open doors
Houses
Darauf streckt er sich murrend
Spit out two at once
leopards.
They, wanting to fight, attack
Zur Seite nieder.
bravely
On a tiger;
Und der König winkt wieder,
He knocks them over with his
ferocious paws,
Da speit das doppelt geoffnete Haus
And a lion with a roar
rises, becomes
Zwei Leoparden auf
quiet;
einmal aus,
And there in a circle
Die störzen mit mutiger Kampfbegier
Where in murderous passion
Terrible cats settled down,
Auf das Tigertier;
Das packt sie mit seinen
It falls there from the edge of the terrace
grimmigen Tatzen,
Glove with a beautiful hand
Und der Leu mit Gebröll
Between tiger and lion
Richtet sich auf, da wird's still;
in the middle.
Und herum im Kreis,
Von Mordsucht heiβ
,
And to the knight Delorge,
mocking,
Fraulein Kunigunde addresses:
"Mr. knight, is it so hot
Lagern die Greulichen Katzen.
Your love,
As you swear to me every hour,
Da fellt von des Altans Rand
Pick up my glove!"
Ein Handschuh von Schöner Hand
Zwischen den Tiger und den Leun
Mitten hinein.
And a knight
Descends down into the terrible
cage
Und zu Ritter Delorges,
firm step,
spottender,
And from the monstrous middle
Wendet sich Fraulein Kunigund:
Fast moving
"Herr Ritter, ist Eure Liebe so heiβ ,
He takes the glove with a bold hand.
Wie Ihr mir's schwört zu jeder Stund,
And with surprise and horror
Ei so hebt mir den Handschuh auf!”
Und der Ritter in schnellem Lauf
Steigt hinab in den furchtbaren
Watching knights and noble ladies
And coolly he returns with a glove.
Zwinger
There he hears praise from
Mit festem Schritte
every mouth,
Und aus der Ungeheuer
But gentle love
Mitte
look,
Nimmt er den Handschuh mit keckem Finger.
Promising him near happiness,
Fraulein accepts it
Kunigund.
Und mit Erstaunen und mit Grauen
And he throws the glove in her face:
Sehens die Ritter und Edelfrauen,
Und gelassen bringt er den Handschuh zurück.
Da schallt ihm sein Lob aus jedem Munde,
Aber mit zärtlichem Liebesblick -
Er verheiβ
t ihm sein nahes Gluck -
Empfängt ihn Freulein Kunigunde.
Und er wirft ihr den Handschuh ins Gesicht:
“Den Dank, Dame, begehr’ ich nicht!”
Und verlässt sie zur selben Stunde.
“Thanks, lady, I don’t demand!”
And immediately leaves her.
Johann Friedrich Schiller is famous for his lyrical ballads, which are based on mythological and legendary stories. The motives that Schiller's works are full of still remain relevant, despite the fact that the times of knights and noble ladies have long ended.
Creativity Schiller
Schiller's ballads are distinguished by deep drama, his characters constantly go through life's trials, the poet sings of such qualities as nobility, selflessness, courage and courage.
In many, especially the early works of Johann Schiller, the influence of the great English playwright Shakespeare is felt, and after the first production of his play The Robbers, the poet was dubbed the "German Shakespeare."
The Deep Intention of the Ballad "The Glove"
The plot of the ballad "Glove" is based on a specific historical fact. The story that Schiller tells is quite simple and includes several scenes.
But the lyrics of the German poet are full of a deeper meaning, this is not just a cultural and historical creation, it is already a work full of passionate poetic thoughts, the idea of which is to show the true value of human life.
Schiller tells us about the events that took place in the court of the king of France in the 15th century. The royal nobles amuse themselves by watching the beasts fight in the arena. A lion, tigers and leopards fight among themselves. But everyone is waiting for some stunning sight, and suddenly a glove falls into the arena.
The lovely lady Kunigunde asks the knight of her heart to bring her glove from the arena. Thus, she wishes the knight Delorge to express his love and loyalty to her. The fearless Delorge descends into the arena, picks up his glove, and the beasts do not touch him.
But returning to the beauty, the knight throws the gauntlet to his chosen one in the face. After all, the glove ended up in the arena for a reason, the young Kunigunde decided to play a trick on the knight and draw attention to herself. She comes up with a cruel and unjustified test for her noble chosen one, if only he could prove his love in her.
But Delorge understands that for the beauty this is just fun, she does not care that he can die, his life means nothing to her. Therefore, he responds to her gesture of "love" in the same way, Delorge publicly neglects her, throwing the glove raised from the arena to Cunigunde in the face.
After all, being a knight, he could not help but answer her challenge, as this would cast doubt on his courage and nobility. Cunigunde took advantage of this, and this makes Delorge doubly uncomfortable.
Analysis of the ballad "Glove"
Schiller's lyrics are characterized by a high level of artistry and a bright and rich depiction. His works are aesthetic and colorful, and "The Glove" is one of the most striking examples of his expressive and humane lyrics.
During the period of creativity, when The Glove was written, Schiller decided to move away from dramaturgy, and turned to legends, trying to describe to others their deep meaning. Indeed, in the poem "The Glove" Schiller shows how Delorge realizes the true attitude of his chosen one towards him, and thus Schiller points to the real price of life and love.
Schiller was born into the family of a regimental doctor. As a child, he was sent to a closed educational institution - the Military Academy, founded by the Duke of Württemberg. The goal of the Academy was to educate obedient servants to the throne. Schiller spent many years on this "slave plantation". From here he endured a burning hatred of despotism and a love of freedom. After graduating from the Academy, where he studied medicine, Schiller was forced to accept the position of a doctor in a military garrison, but did not give up his dream of devoting himself to literature.
The play "The Robbers" written at the Academy in 1782 was accepted for staging at the then famous Mannheim Theater. Schiller really wanted to attend the premiere of his play, but he knew in advance that he would be denied leave, and therefore secretly went to Mannheim, which was not subject to the Duke of Württemberg. For violating the charter of the garrison service, Schiller served two weeks in prison. Here he made the final decision regarding his future fate. On an autumn night in 1782, he secretly leaves the duchy, never to return there again. From this time on, years of wandering, deprivation, need begin, but at the same time, years filled with hard literary work. In the early period of his work, Schiller creates works filled with protest against arbitrariness and tyranny.
In the summer of 1799, the writer's wanderings ended: he moved permanently to Weimar, which became the largest cultural center in Germany. In Weimar, Schiller is intensively engaged in history, philosophy, aesthetics, replenishing the knowledge that, as he felt, he lacked. Over time, Schiller becomes one of the most educated people of his era and for a long time even teaches history at one of the largest German universities.
Schiller left a rich creative legacy. These are both lyrical and philosophical poems, and ballads, which Pushkin and Lermontov especially appreciated. But, of course, the most important thing in his life is dramaturgy. The early dramas "Robbers" and "Cunning and Love" (1784) immediately won the love of the audience. And the historical dramas Don Carlos (1787), Mary Stuart (1801), The Maid of Orleans (1801), William Tell (1804) brought him European fame.
Schiller called the ballad "The Glove" a story, because it was written not in the form of a ballad, but in the form of a narrative. Zhukovsky included it among the stories, the critic V. G. Belinsky had no doubt that this was a ballad.
The Glove was translated by Lermontov in 1829 (published in 1860), Zhukovsky - in 1831.
Glove
Translation by M. Lermontov
The nobles stood in a crowd
And they silently waited for the spectacle;
Sitting between them
King majestically on the throne:
Around on the high balcony
The choir of ladies shone beautifully.
Here they listen to the royal sign.
The creaking door is opened,
And the lion comes out steppe
Heavy foot.
And silently suddenly
Looks around.
Yawning lazily
Shaking yellow mane
And, seeing everyone,
The lion lies down.
And the king waved again
And the tiger is stern
With a wild jump
Dangerous took off
And, meeting with a lion,
Howled terribly;
He beats his tail
Then
Quietly bypasses the owner,
The eyes of the bloody do not reduce ...
But a servant before his master
Futilely grumbling and angry
And involuntarily lies down
He is next to him.
From above then fall
Glove with a beautiful hand
Fate is a random game
Between hostile couple.
And suddenly turning to his knight,
Cunigunde said, laughing slyly:
“Knight, I love to torture hearts.
If your love is so strong,
How do you tell me every hour
Then pick up my glove!”
And the knight runs from the balcony in a minute
And boldly he enters the circle,
He looks at the glove of wild beasts
And raises a bold hand.
-
_________
And the audience is timidly waiting around,
Trembling, they look at the young man in silence.
But now he brings the glove back,
And gentle, flaming look -
- Pledge of short-range happiness -
He meets the hero with the girl's hand.
But burning with cruel annoyance in the fire,
He threw a glove in her face.
"I don't need your gratitude!" -
And immediately left the proud.
Glove
Translation by V. Zhukovsky
Before your menagerie
With the barons, with the crown prince,
King Francis was seated;
From a high balcony he looked
In the field, waiting for the battle;
Behind the king, bewitching
blooming beauty look,
The ladies of the court were in a magnificent row.
The king gave a sign with his hand -
The door opened with a thud.
And a formidable beast
With a huge head
shaggy lion
It turns out
Around the eyes sullenly leads;
And so, looking at everything,
He wrinkled his forehead with a proud posture,
Moved his thick mane,
And stretched and yawned,
And lay down. The king again waved his hand -
The shutter of the iron door rattled,
And the bold tiger sprang from behind the bars;
But he sees a lion, he is shy and roars,
He beats himself with his tail on the ribs,
"Glove". Artist B. Dekhterev
And sneaks, squinting eyes,
And licks his face with his tongue.
And, bypassing the lion around,
He growls and lays next to him.
And for the third time the king waved his hand -
Two leopards as a friendly couple
In one jump they found themselves over the tiger;
But he gave them a blow with a heavy paw,
And the lion stood up with a roar...
They reconciled
Bared their teeth, moved away,
And they growled and lay down.
And the guests are waiting for the battle to begin.
Suddenly the woman fell from the balcony
The glove... everyone is looking after it...
She fell among the animals.
Then on the knight Delorge with a hypocritical
And looks with a sharp smile
His beauty and says:
"When me, my faithful knight,
You love the way you say
You will return the glove to me."
Delorge, without answering a word,
Goes to the animals
He boldly takes the glove
And returns to the assembly again,
Knights and ladies, with such impudence,
My heart was troubled by fear;
A young knight
Like nothing happened to him
Calmly ascends to the balcony;
He was greeted with applause;
He is greeted by beautiful looks ...
But, coldly accepting the greeting of her eyes,
In her face a glove
He threw and said: "I do not require a reward."
Thinking about what we read
- So, before you is Schiller's ballad "The Glove". We invite you to read and compare two translations made by V. Zhukovsky and M. Lermontov. Which translation is easier to read? In which of them are the characters of the characters more clearly revealed?
- What did the beauty want? Why is the knight so offended by her?
- As you can see, the genre of this work was defined differently. How would you call "The Glove" - a ballad, a story, a story? Repeat the definitions of these genres according to the dictionary of literary terms.
Learning to read expressively
Prepare an expressive reading of the translations of Zhukovsky and Lermontov, while reading, try to convey the peculiarities of the rhythm of each of the translations.
Phonochristomatia. Listening to acting
I. F. Schiller. "Glove"
(translated by V. A. Zhukovsky)
- On the perception of what events does the musical introduction set up?
- Why does the actor so diligently reproduce the character of the behavior of a shaggy lion, a bold tiger, two leopards?
- What character traits did the actor convey when reading the words of the heroine addressed to the knight?
- Prepare an expressive reading of the ballad. Try in your reading to reproduce the picture of the splendor and grandeur of the royal palace, the appearance, character, behavior of wild animals, the characters of the beauty and the knight.
