TRADITIONS OF THE LAKE SCHOOL IN ROBERT BROWNING’S AND OSCAR WILDE’S CREATIVE WORK

Abstract. Objectives: The article is aimed at finding traditions of the Lake School – of William Wordsworth, Samuel Taylor Coleridge, Robert Southey – in the creative work of Robert Browning and Oscar Wilde. Methods: The comparative and historical, comparative and typological research methods, technics of the comparative analysis were used in the article. Findings: Traditions of William Wordsworth, Samuel Taylor Coleridge, Robert Southey are found in works by Robert Browning. “The Dance of Death” is created under the influence of Coleridge’s war eclogue “Fire, Famine, and Slaughter”, “The First-Born of Egypt” has features similar to Southey’s dramas and “The Ruined Cottage”of Wordsworth; both works are characterized by the form of a drama monologue borrowed by Browning from Romantic poets. In the poem “Childe Roland to the Dark Tower Came” Coleridge’s innovation (“The Rime of the Ancient Mariner”) and Wordsworth’s poetic language (“Peter Bell”) are notable. Browning actively realizes the ballad genre developed by Romantic poets in his poems. Traditions of the poem “The Rime of the Ancient Mariner” by Samuel Taylor Coleridge are seen in “The Ballad of Reading Gaol” by Oscar Wilde. The thematic and structural interrelation is manifested in the characteristic imagery and use of close motives and literary details (common elements in the interpretation of suffering and forgiveness and ballad elements designed to emphasize tension and to add monotony and tediousness to descriptions of grief and torment). Novelty: The poems by Robert Browning, which attracted Russian translators at the beginning of the 20 th century (Korney Chukovsky, Raul Rabinerson, etc.), caused thegreatest interest among Russian translators (O.V.Valetova, V.V.Rogov, etc.) at the turn of the 20 th and 21 st centuries. The work of Oscar Wilde, being close to the peculiarities of the Russian perception of the world, also became popular in Russia what was manifested in the emergence of translations created by K.D.Balmont, M.F.Likiardopulo, V.Ya.Bryusov, A.I.Deutch at the turn of the 19 th and 20 th centuries.Key words: Lake School, Robert Browning, Oscar Wilde, poetry, reminiscence, literary tradition, EnglishRomanticism, ballad, intercultural communication, literary detail

FinTech Market Development Perspectives

Fast development of technologies has led to emergence of the new market – FinTech – which is very attractive for investors today. By now this market has a great number of different concepts: P2P-crediting, E-wallets, Bitcoins, mPOS-acquiring, T-commerce, mobile banks, etc. Many of these tools have already heavily entered our ordinary life. People can obtain any credits through special services on the Internet from other users without participation of banks, pay by credit card using mobile devices, and get information about expenses and incomes according to the card anywhere in the world. Users do not need to go to banks anymore and to spend their time for credit arrangements, currency exchange, to look for ATMs to remove cash. Purchases on the Internet can be paid not only in rubles, but also in new digital currency. These tools make life easier, however, they pose a serious threat for banks. Now, bank institutions should create more convenient and utility services for the clients to keep clients. Therefore, bank and credit systems start to change actively

Traditions of S.T. Coleridge’s ‘The Rime of the Ancient Mariner’ in ‘The Ballad of Reading Gaol’ by O. Wilde

This article aims to analyse the poetic traditions of The Rime of the Ancient Mariner by S.T. Coleridge, which migrated into The Ballad of Reading Gaol by O. Wilde. A comparative analysis of original poems and their Russian translations reveals a thematic and structural link that connects these two poems. The article highlights the common features and the differences in literary devices used by Coleridge and Wilde to transmit the complex concepts of suffering and forgiveness through their characters and to declare values and philosophical ideas. The literary devices in point define how these concepts are covered, and serve a common theme in the work of Coleridge and Wilde. The article also provides arguments to confirm the social situation described in the works. The lyrico-epic genre allows using both poetry analysis tools and prose research methods, which ensures high-quality research. The article frames values of the modern culture and creates conditions for discovering a conceptual similarity in the symbolism of The Rime of the Ancient Mariner and The Ballad of Reading Gaol

Tradiciones de la escuela Lake en el trabajo creativo de Robert Browning y Oscar Wilde

The article is aimed at finding traditions of the Lake School – of William Wordsworth, Samuel Taylor Coleridge, Robert Southey – in the creative work of Robert Browning and Oscar Wilde. The comparative and historical, comparative and typological research methods, technics of the comparative analysis were used in the article. Findings: Traditions of William Wordsworth, Samuel Taylor Coleridge, Robert Southey are found in works by Robert Browning.El artículo tiene como objetivo encontrar tradiciones de la Lake School -de William Wordsworth, Samuel Taylor Coleridge, Robert Southey- en el trabajo creativo de Robert Browning y Oscar Wilde. Los métodos de investigación comparativos e históricos, comparativos y tipológicos, las técnicas del análisis comparativo se utilizaron en el artículo. Las tradiciones de William Wordsworth, Samuel Taylor Coleridge, Robert Southey se encuentran en obras de Robert Browning

Recepción de la traducción en ruso uma balada de Wordworth "Somos sete"

The article is devoted to comprehension of Russian translation reception of William Wordsworth’s ballad “We are Seven” (1798). It introduces the prose translation of this work made by V.N.Semyonov in 1831 for research use. It presents a comparative analysis of the early Russian poetic translations of this ballad created by I.I.Kozlov (1832), E.K. <E.F.Korsh> (1835), Ya.K.Grot (1842) and of the newest translation by I.S.Melamed (1996). Noting the general aspiration to adapt the work of the English author to Russian reality, the authors of the article, however, conclude that only I.I.Kozlov, the only of the early Russian translators, succeeded in transferring the internal atmosphere of the English original most fully. Whereas V.N.Semyonov’s prosaic interpretation contains semantic inaccuracies, E.F.Korsh’s translation is characterized with randomly added literary details alien to the spirit of the original, K.Ya.Grot’s translation oriented on children’s audience has typical lexical and grammatical means. I.S.Melamed’s translation created one and a half centuries after interpretations of predecessors, taking into account qualitatively different requirements to literary translation, can be hardly compared with the translations of the 1830-s – 1840-s directly. At the same time, it belongs to the number of literary triumphs of I.S.Melamed who managed to be exact both in recreation of literary details and preservation of the general emotional background of the original.El artículo está dedicado a la comprensión de la recepción de la traducción al ruso de la balada de William Wordsworth "We are Seven" (1798). Introduce la traducción en prosa de este trabajo realizado por V.N.Semyonov en 1831 para uso de investigación. Presenta un análisis comparativo de las primeras traducciones poéticas rusas de esta balada creada por I.I.Kozlov (1832), E.K. <E.F.Korsh> (1835), Ya.K.Grot (1842) y de la traducción más reciente por I.S.Melamed (1996). Sin embargo, observando la aspiración general de adaptar el trabajo del autor inglés a la realidad rusa, los autores del artículo concluyen que solo IIKozlov, el único de los primeros traductores rusos, logró transferir la atmósfera interna del original en inglés más plenamente. . Mientras que la interpretación prosaica de V.N.Semyonov contiene inexactitudes semánticas, la traducción de E.F.Korsh se caracteriza por detalles literarios agregados al azar ajenos al espíritu del original, la traducción de K.Ya.Grot orientada a la audiencia infantil tiene medios léxicos y gramaticales típicos. La traducción de I.S.Melamed se creó un siglo y medio después de que las interpretaciones de los predecesores, teniendo en cuenta los requisitos cualitativamente diferentes de la traducción literaria, difícilmente puedan compararse con las traducciones de los 1830-s - 1840-s directamente. Al mismo tiempo, pertenece al número de triunfos literarios de I.S.Melamed que logró ser exactos tanto en la recreación de los detalles literarios como en la preservación de los antecedentes emocionales generales del original.O artigo é dedicado à compreensão da recepção da tradução russa da balada de William Wordsworth “We are Seven” (1798). Introduz a tradução em prosa deste trabalho feita por V.N.Semyonov em 1831 para uso de pesquisa. Apresenta uma análise comparativa das primeiras traduções poéticas russas desta balada criada por I.I.Kozlov (1832), E.K. <E.F.Korsh> (1835), Ya.K.Grot (1842) e da mais nova tradução de I.S.Melamed (1996). Observando a aspiração geral de adaptar o trabalho do autor inglês à realidade russa, os autores do artigo concluem que apenas o IIKozlov, o único dos primeiros tradutores russos, conseguiu transferir a atmosfera interna do original em inglês de forma mais completa. . Enquanto a interpretação prosaica de V.N.Semyonov contém inexatidões semânticas, a tradução de E.F.Korsh é caracterizada com detalhes literários adicionados aleatoriamente alheios ao espírito do original, a tradução de K.Ya.Grot orientada para o público infantil tem meios lexicais e gramaticais típicos. A tradução do I.S.Melamed criada um século e meio depois das interpretações dos predecessores, levando em conta requisitos qualitativamente diferentes da tradução literária, dificilmente pode ser comparada às traduções de 1830-s-1840-s diretamente. Ao mesmo tempo, pertence ao número de triunfos literários de I.S.Melamed quem conseguiu ser exato tanto na recriação de detalhes literários como na preservação do contexto emocional geral do original

Destino russo de "A história trágica do doutor Faustus" por Christopher Marlowe (A segunda metade do século 20 - o início do século 21)

The article continues the comprehension of literary and critical and translation perception in Russia of one of Christopher Marlowe’s most considerable works – “The Tragical History of Doctor Faustus”, the attention is paid to researches and translations of the second half of the 20th century – the beginning of the 21st century. The comparative and historical and comparative and typological research methods, technics of the comparative analysis were used in the article. In the second half of the 1940-s – 1950-s there were new translations of “The Tragical History of Doctor Faustus”, made by Birukova and Amosova, books and articles by Anikst, Pinsky, Parfyonov, Samarin, etc. were published later. They allowed to comprehend Marlowe’s text in the context of the theatrical development of Elizabethan England, to go deeper into understanding of literary details of descriptions. Zakharov, Makarov, Chernozemova, Shaytanov, Kovalevskaya’s works became events of the last years (Zakharov and Makarov, 2013; Chernozemova, 2012; Shaytanov, 2013; Kovalevskaya, 2012). In them, with reference to the Western European experience of understanding of Marlowe’s heritage, some separate peculiarities of his outlook, which in an essential measure had influenced the creation of “The Tragical History of Doctor Faustus”, are underlined. The research conducted allows to claim that the attention of Russian literature to Marlowe’s was expressed in the appearance of new translations of the tragedy, publication of interesting observations over motives and images of Marlowe’s work by leading Shakespearean scholars in the second half of the 1940-s – 1950-s. In the second half of the 20th century the work was also interesting for many writers who presented literary interpretations of Marlowe’s tragic death (Gubin, 1974; Nagibin, 1990; Bulychev, 2005; Parnov, 2005).El artículo continúa la comprensión de la percepción literaria y crítica y de la traducción en Rusia de una de las obras más importantes de Christopher Marlowe, "La trágica historia de Doctor Fausto", se presta atención a las investigaciones y traducciones de la segunda mitad del siglo XX, a principios del siglo XXI. En el artículo se utilizaron los métodos de investigación comparativos, históricos, comparativos y tipológicos, técnicas del análisis comparativo. En la segunda mitad de la década de 1940, década de 1950, hubo nuevas traducciones de "La historia trágica de Doctor Fausto", hecha por Birukova y Amosova, libros y artículos de Anikst, Pinsky, Parfyonov, Samarin, etc. Ellos permiten comprender el texto de Marlowe en el contexto del desarrollo teatral de la Inglaterra isabelina, para profundizar en la comprensión de los detalles literarios de las descripciones. Las obras de Zakharov, Makarov, Chernozemova, Shaytanov, Kovalevskaya se convirtieron en eventos de los últimos años (Zakharov y Makarov, 2013; Chernozemova, 2012; Shaytanov, 2013; Kovalevskaya, 2012). En ellos, con referencia a la experiencia de comprensión de la herencia de Marlowe en Europa occidental, se subrayan algunas peculiaridades de su perspectiva, que en una medida esencial influyeron en la creación de "La historia trágica de Doctor Fausto". La investigación realizada permite afirmar que la atención de la literatura rusa a Marlowe se expresó en la aparición de nuevas traducciones de la tragedia, la publicación de observaciones interesantes sobre motivos e imágenes de la obra de Marlowe por parte de destacados estudiosos de Shakespeare en la segunda mitad de la década de 1940. - 1950-s. En la segunda mitad del siglo XX, el trabajo también fue interesante para muchos escritores que presentaron interpretaciones literarias de la trágica muerte de Marlowe (Gubin, 1974; Nagibin, 1990; Bulychev, 2005; Parnov, 2005).O artigo continua compreensão da percepção e crítica literária e tradução na Rússia uma das obras mais importantes de Christopher Marlowe, "A Trágica História do Doutor Fausto" atenção à pesquisa e tradução da segunda metade empresta Século XX, no início do século XXI. O artigo utilizou métodos de pesquisa comparativos, históricos, comparativos e tipológicos, técnicas de análise comparativa. Na segunda metade dos anos 1940, 1950, houve novas traduções de "A Trágica História do Doutor Fausto", feita por Birukova e Amosova, livros e artigos Anikst, Pinsky, Parfyonov, Samarin, etc. Eles permitiram compreender o texto de Marlowe no contexto do desenvolvimento teatral da Inglaterra elisabetana, para aprofundar a compreensão dos detalhes literários das descrições. Zakharov funciona, Makarov, Chernozemova, Shaytanov, Kovalevskaya tornou-se acontecimentos dos últimos anos (Zakharov e Makarov, 2013; Chernozemova, 2012; Shaytanov, 2013, Kovalevskaya, 2012). Neles, referindo-se a experiência de compreensão do legado de Marlowe na Europa Ocidental, algumas peculiaridades de sua perspectiva, uma medida essencial influenciado a criação de "A Trágica História do Doutor Fausto" é sublinhado. A pesquisa feita para sugerir que a atenção da literatura russa Marlowe foi expressa no surgimento de novas traduções da tragédia, a publicação de observações interessantes sobre temas e imagens da obra de Marlowe pelos principais estudiosos de Shakespeare na segunda metade dos anos 40. - 1950-s. Na segunda metade do século XX, o trabalho também foi interessante para muitos escritores que apresentaram interpretações literárias da trágica morte de Marlowe (Gubin, 1974; Nagibin, 1990; Bulychev, 2005; Parnov, 2005)

P.B. Shelley's Poem Ozymandias in Russian Translations

The article presents a comparative analysis of Russian translations of P.B.Shelley's poem Ozymandias (1817), carried out by Ch. Vetrinsky, A.P. Barykova, K.D. Balmont, N. Minsky, V.Ya. Bryusov in 1890 - 1916. These translations fully reflect the peculiarities of the social and political, cultural and literary life in Russia of the late 19th - early 20th Centuries, namely weakening of the political system, growing of interest to the culture of Ancient Egypt, and strengthening of Neoromanticism in opposition to Naturalism in literature. In the process of the analysis, we used H. Smith's sonnet Ozymandias, P.B. Shelley's sonnet Ozymandias and its five Russian translations. The methods of historical poetics of A.N. Veselovsky, V.M. Zhirmunsky and provisions of the linguistic theory of translation of A.V. Fedorov were used. The article will be interesting for those studying literature, languages, philology

Recepción de la traducción al ruso del poema de Robert Burns “John Anderson my Jo”

The article considers the history of Russian translation reception of Robert Burns’s poem “John Anderson my Jo” in the middle of the 19th – the beginning of the 21st centuries. The first translation of this work into Russian made by M. L. Mikhaylov in 1856 became an undoubted creative triumph of the interpreter, having considerably predetermined the interest of Russian criticism in “John Anderson my Jo” and stimulated the emergence of the subsequent interpretations. In the next years P. I. Veynberg (1869), V. M. Mikheyev (the 1880-s), A.  M. Fedorov (1896), S. Ya. Marshak (1938), S. A. Orlov (1939, 1959), S. B. Bolotin and T. S. Sikorskaya (1954), S. Sapozhnikov (2014) translated Burns’s poem. Comparison of the translations of different years allows seeing the specifics of each of the interpretations caused both by features of creative identity of Russian interpreters and distinctions connected with the evolution of approaches to poetic translation in the course of literary development. Burns’s poem “John Anderson my Jo” was mentioned by I. S. Turgenev in his letter to P. Viardot of November, 23 (December, 5), 1870; K. I. Turner, R. Ya. Right-Kovaleva, S. A. Orlov, Ye. S. Belashova, A. A. Golikov etc. wrote about it in their researches. The poem “John Anderson my Jo” became one of the most popular Burns’s works in Russia thanks to the achievements of Russian translators.El artículo considera la historia de la recepción de la traducción al ruso del poema de Robert Burns «John Anderson my Jo» a mediados del siglo XIX, principios del siglo XXI. La primera traducción de este trabajo al ruso hecha por M. L. Mikhaylov en 1856 se convirtió en un triunfo creativo indudable del intérprete, habiendo predeterminado considerablemente el interés de la crítica rusa en «John Anderson my Jo» y estimuló el surgimiento de las interpretaciones posteriores. En los años siguientes P. I. Veynberg (1869), V. M. Mikheyev (los 1880-s), A. M. Fedorov (1896), S. Ya. Marshak (1938), S. A. Orlov (1939, 1959), S. B. Bolotin y T. S. Sikorskaya (1954), S. Sapozhnikov (2014) tradujeron el poema de Burns. La comparación de las traducciones de diferentes años permite ver los detalles de cada una de las interpretaciones causadas tanto por las características de identidad creativa de los intérpretes rusos como por las distinciones relacionadas con la evolución de los enfoques de la traducción poética en el curso del desarrollo literario. El poema de Burns “John Anderson my Jo” fue mencionado por I. S. Turgenev en su carta a P. Viardot del 23 de noviembre (5 de diciembre) de 1870; K. I. Turner, R. Ya. Derecha-Kovaleva, S. A. Orlov, Ye. S. Belashova, A. A. Golikov, etc., escribieron sobre esto en sus investigaciones. El poema “John Anderson my Jo” se convirtió en una de las obras más populares de Burns en Rusia gracias a los logros de los traductores rusos

"La historia tragical de Doctor Faustus" por Christopher Marlowe (The 19th century - The first half of the 20th century)

Objetivos: El artículo, preparado en un año del 425 aniversario desde la fecha de la trágica muerte de uno de los contemporáneos más brillantes de Shakespeare y predecesores, Christopher Marlowe, se dedica al estudio de la percepción literaria y crítica y de la traducción de uno de sus más importantes obras - "La historia trágica del Doctor Fausto" - en Rusia del siglo XIX - la primera mitad del siglo XX. Métodos: los métodos de investigación comparativa e histórica y comparativa y tipológica, las técnicas del análisis comparativo se utilizaron en el artículo. Hallazgos: La historia de la recepción rusa de "La historia trágica del Doctor Fausto", que tuvo casi dos siglos, se remonta a la primera mención de esta tragedia en 1825 en la anotación del diario "el europeo ruso" A.I. Turgenev. Artículos literarios y críticos de I.S. Turgenev, N. A. Nekrasov, E.M. Feoktistov, S.F. Uvarov, V.P. Botkin, D.D. Minayev, M.L. Mikhaylov testificó la penetración gradual y, al mismo tiempo, armoniosa del "Fausto" de Marlowe en la literatura y la cultura rusas del siglo XIX. Los primeros estudios literarios, que comprenden la tragedia de Marlowe en general o sus ciertos detalles, fueron escritos en el último tercio del siglo XIX por N.I. Storozhenko, Alexander N. Veselovsky, N.V. Shakhovskoy, M.Ya. Frishmut. La aparición de la traducción completa de "The Tragical History of Doctor Faustus", realizada por K.D. Balmont en 1899, y los juicios de Marlowe y su tragedia más famosa en los artículos "How I Learned to Write" (1928), "About Plays" (1933), en la nota "Concerning the Plan of the Anthology" (<1935> ) por AM Gorky  se convirtió en eventos considerables de la época posterior. El destacado filósofo G.G. El interés de Shpet por el trabajo creativo del dramaturgo fue notable en el contexto de las declaraciones sociológicas vulgares sobre la obra de Marlowe en los artículos de críticos literarios rusos de la década de 1930 (S.R. Babukh, I. A. Aksenov, A. A. Smirnov). Se dirigió a la traducción de "Fausto" de Marlowe. Novedad: la investigación realizada permite afirmar que la atención de la literatura rusa y la crítica literaria a la tragedia de Marlowe tenía un carácter sistemático y, al mismo tiempo, difería en variedad de manifestaciones. Las traducciones más importantes de "Fausto" de Marlowe se crearon a fines de la década de 1850, a principios de la década de 1870 y en el cambio de siglo XX. Durante la era de la Edad de Plata, el interés en el trabajo encontró su reflejo en el trabajo creativo de escritores tan destacados como K.D. Balmont, V.Ya. Bryusov, M.I. Tsvetaeva, M.A. Kuzmin Objectives: The article, prepared in a year of the 425th anniversary from the date of the tragic death of one of the brightest Shakespeare’s contemporaries and predecessors Christopher Marlowe, is devoted to the study of literary and critical and translation perception of one of his most considerable works – “The Tragical History of Doctor Faustus” – in Russia of the 19th century – the first half of the 20th century. Methods: The comparative and historical and comparative and typological research methods, technics of the comparative analysis were used in the article. Findings: The history of Russian reception of “The Tragical History of Doctor Faustus”, having almost two centuries, dates back to the first mention of this tragedy in 1825 in the diary entry of “the Russian European” A.I. Turgenev. Literary and critical articles by I.S. Turgenev, N.A. Nekrasov, E.M. Feoktistov, S.F. Uvarov, V.P. Botkin, D.D. Minayev, M.L. Mikhaylov testified gradual and, at the same time, harmonious penetration of Marlowe’s “Faustus” into Russian literature and culture of the 19th century. The early literary studies, comprehending Marlowe’s tragedy in general or its certain details, were written in the last third of the 19th century by N.I. Storozhenko, Alexander N. Veselovsky, N.V. Shakhovskoy, M.Ya. Frishmut. The appearance of the full translation of “The Tragical History of Doctor Faustus”, made by K.D. Balmont in 1899, and judgments of Marlowe and his most famous tragedy in the articles “How I Learned to Write” (1928), “About Plays” (1933), in the note “Concerning the Plan of the Anthology” (<1935>) by A.M. Gorky became considerable events of the subsequent time. The outstanding philosopher G.G. Shpet’s interest to the playwright’s creative work was notable against the background of the vulgar-sociological statements about Marlowe’s play in the articles of Russian literary critics of the 1930-s (S.R. Babukh, I.A. Aksenov, early A.A. Smirnov). He addressed to the translation of Marlowe’s “Faustus”. Novelty: The research conducted allows to claim that the attention of Russian literature and literary criticism to Marlowe’s tragedy had a systematic character and, at the same time, differed in variety of manifestations. The most considerable translations of Marlowe’s “Faustus” were created at the end of the 1850-s – the beginning of the 1870-s and at the turn of the 20th century. During the era of the Silver Age interest in the work found its reflection in creative work of such leading writers as K.D. Balmont, V.Ya. Bryusov, M.I. Tsvetaeva, M.A. Kuzmin.  Objetivos: O artigo, preparados em um ano o 425 º aniversário da data da morte trágica de um dos mais brilhantes contemporâneo de Shakespeare e antecessores, Christopher Marlowe, é dedicada ao estudo da percepção e crítica literária e tradução de um de suas obras mais importantes - "A trágica história do doutor Faust" - na Rússia do século XIX - a primeira metade do século XX. Métodos: os métodos de comparação e pesquisa histórica e comparativa e tipológica, as técnicas de análise comparativa foram utilizados no artigo. Resultados: A história da recepção russa de "Doctor Faustus", que levou quase dois séculos, que remonta à primeira menção desta tragédia em 1825 na entrada de diário "Russian Europeia" A. I. Turgenev. Artigos literários e críticos de I.S. Turgenev, N. A. Nekrasov, E.M. Feoktistov, S.F. Uvarov, V.P. Botkin, D.D. Minayev, M.L. Mikhaylov testemunhou a penetração gradual e ao mesmo tempo harmoniosa do "Fausto" de Marlowe na literatura e cultura russa do século XIX. Os primeiros estudos literários, que compreendem a tragédia de Marlowe em geral ou seus certos detalhes, foram escritos no último terço do século XIX por N.I. Storozhenko, Alexander N. Veselovsky, N.V. Shakhovskoy, M.Ya. Frishmut O aparecimento da tradução completa de "A História Trágica do Doutor Fausto", realizada por K.D. Balmont em 1899, e dos juízos da Marlowe e sua mais famosa tragédia nos artigos "Como eu aprendi a escrever" (1928), "Sobre Plays" (1933), a nota "A respeito do Plano do Anthology" (<1935 >) por AM Gorky se tornaram eventos consideráveis do tempo posterior. O notável filósofo G.G. Interesse Shpet pelo trabalho criativo do dramaturgo foi notável no contexto das demonstrações sociológicos vulgares sobre a obra de Marlowe nos artigos de críticos literários russos da década de 1930 (S. R. Babukh, I. A. Aksenov, A. A. Smirnov). Ele se virou para a tradução de Marlowe de "Faust". Novidade: a pesquisa realizada nos permite afirmar que a atenção da literatura russa e da crítica literária à tragédia de Marlowe era sistemática e, ao mesmo tempo, diferia em uma variedade de manifestações. As traduções mais importantes do "Fausto" de Marlowe foram criadas no final da década de 1850, no início da década de 1870 e na virada do século XX. Durante a Era de Prata, o interesse pelo trabalho encontrou seu reflexo no trabalho criativo de escritores tão proeminente quanto o K.D. Balmont, V.Ya. Bryusov, M.I. Tsvetaeva, M.A. Kuzmi