Практикум по художественному переводу_____

tation. Anyway, it comes up to the reader's expectations if it irs in due time when moods and concepts of the reading pub- i ready to perceive new literary ideas and refreshing imagery it known in their national literature. A familiar example, prob-less brilliant than the Zhukovsky phenomenon, yet altogether le, is Ivan Bunin's Russian translation of Longfellow's Song awatha (1896). The Russian words that Bunin found for the and wild imagery half borrowed from Indian myths by Long-v and half altogether romantic fell upon the abundant soil of an neo-romanticism with its taste for exotic myths, names /ays and accorded with the main tendency of Russian Silver iterature.

Another role, no less popular among translators of litera-is that of ardent scholar and cultural purist. The role re-s strict and scrupulous reconstruction of the subtlest de-of the source text in the target language. One of the first ogists of the integrity of the literary form and its content in rocess of poetic translation was Pavel Katenin whose role; development of Russian literature and in critical review-f ranslation was great in the early nineteenth century⁶. The me of the scholar translator was Valery Bryusov whose main iple in translating poetry was to make the reader feel the dis-in time and between the translated text and himself and thus roduce a higher cultural level into the process of poetic com-cation. Bryusov, who mostly translated Ancient Greek, Latin ther authors remote in time, set certain standards for the qual-' translation that later would help to form the recognised na-I school of poetic translation in 2№ century Russia. One of lost important standards was Bryusov's requirement of the method of poetic translation⁷, which he saw as the right

⁶П. А. Катенин. Размышления и разборы. - М.: Искусство, 1981, -189.

⁷ В. Брюсов. Фиалки в тигеле / Перевод - средство взаимного сения народов. - М.: Прогресс, 1987.

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