The Creativity of Bernard Shaw in the Literary-Critical Perception of K.I.Chukovsky

The early reception of Bernard Shaw’s creativity is of considerable interest since it helps to characterise Russian-English historical, cultural and literary connections better, being an indicator of the impact of the aesthetics and drama by B. Shaw on creating a new drama and the development of Russian theatrical art. The research aims to examine the specific perception of the creativity of the English playwright B. Shaw by K.I. Chukovsky. The focus was mostly on the article Bernard Shaw from the series of Anglo-American notebooks, which analyses the works of the English playwright, as well as his aesthetic views, are fragmented. Thus, K.I. Chukovsky paid much attention to the ideological position of B. Shaw, which social-reformist trends in a society strongly influenced formation. In particular, he noted that the adoption of socialism by B. Shaw was slightly mental than emotional, correlated with the features of the social processes that were taking place. The article contained K.I. Chukovsky’s analysis of reviews of A.V. Lunacharsky on the works of B. Shaw and the statements of M. Gorky about paradoxes in English literature, fully characterising the attitude of social thought in Soviet Russia to the artistic legacy of the English playwright. It also reveals the specific understanding of the influence of creativity of G. Ibsen on theatrical innovations and aesthetic beliefs of B. Shaw, reflected in the essay Quintessence of Ibsenism. The role of the discussion as a structure-forming element in B. Shaw’s dramaturgy is defined.  Notes on individual plays by B. Shaw, presented in the works of K.I. Chukovsky, show that the plays of the playwright were accepted in the Russian cultural consciousness and were perceived in the light of the current social and literary trends

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

Tradições de «Lalla Rookh» de Thomas Moore em V.A. Composições de Zhukovsky

The article deals with the traditions’s revealing and understanding of Thomas Moore’s eastern poem «Lalla Rookh» in the works of V.A. Zhukovsky. The analysis of the works of the Russian poet, which reflected the events of the Berlin theatrical festival in 1821 («Lalla Rook», «The phenomenon of poetry in the form of Lalla Rook») is done in this article. The facts and circumstances that helped Thomas Moore and V.A. Zhukovsky’s indirect acquaintance are distinguished. Theoretically, the article is based on a historical and literary approach to the subject of study, combined with a comparative historical and formal methods of analyzing literary works. In the field of methodology of historical and literary knowledge, the works of Alexander N. Veselovsky, Yu.N. Tynianov, B.V. Tomashevsky, V.E. Vatsuro have special significance for this study. The acquaintance of V.A. Zhukovsky with the poetical work of Thomas Moore was due to the «Arzamasets» and diplomat D.N. Bludov, who sent to the Russian poet several books of an English contemporary. Obviously, Thomas Moore first heard about the famous Russian poet-translator due to the response of J.G. Byron to his work after reading the «Russian anthology» of J. Bowring and the appearance of numerous positive responses to the translations of V.А. Zhukovsky from J.G. Byron. The poems «Lalla Rookh» and «Poetry Appearance in the Form of Lalla Rookh» dedicated to Grand Duchess Alexandra Feodorovna are among the significant texts that determined the key stages of Zhukovsky’s creative evolution and helped to the formation of the «pure beauty genius» in Russian poetry. Zhukovsky’s poems «The Dream», «Peri» and «Bedouin’s Song» dated by 1831 year, have a single original source - the album «Living pictures and pantomime scenes at the «Lalla Rookh» celebration» written by S.G. Shpiker and published in Berlin in 1823. These works, which are close interpretations of the texts of the German poet, characterized by a weakening of Oriental motifs, felt in the transformation of syntactic structures, the use of neutral lexemes instead of words with oriental coloring. Contemporaries highly appreciated Zhukovsky as a talented translator of foreign literature, including his interpretations from Thomas Moore’s poetry, drew parallels between Western European originals and their Russian interpretations; the creative closeness of Zhukovsky and Moore was also emphasized, which was felt both in the figurative system of poetical works, and in their stylistics and emotional tonality.El artículo trata sobre la revelación y comprensión de las tradiciones del poema del este de Thomas Moore «Lalla Rookh» en las obras de V.A. Zhukovsky. El análisis de las obras del poeta ruso, que reflejó los eventos del festival teatral de Berlín en 1821 («Lalla Rook», «El fenómeno de la poesía en forma de Lalla Rook») se realiza en este artículo. Los hechos y circunstancias que ayudaron a Thomas Moore y V.A. conocimiento indirecto de Zhukovsky se distinguen. Teóricamente, el artículo se basa en un enfoque histórico y literario del tema de estudio, combinado con un método histórico y formal comparativo de análisis de obras literarias. En el campo de la metodología del conocimiento histórico y literario, las obras de Alexander N. Veselovsky, Yu.N. Tynianov, B.V. Tomashevsky, V.E. Vatsuro tienen un significado especial para este estudio. El conocido de V.A. Zhukovsky con la obra poética de Thomas Moore se debió a los «Arzamasets» y al diplomático D.N. Bludov, quien envió al poeta ruso varios libros de un inglés contemporáneo. Obviamente, Thomas Moore escuchó por primera vez sobre el famoso poeta-traductor ruso debido a la respuesta de J.G. Byron a su trabajo después de leer la «antología rusa» de J. Bowring y la aparición de numerosas respuestas positivas a las traducciones de V.А. Zhukovsky de J.G. Byron. Los poemas «Lalla Rookh» y «Aparición poética en la forma de Lalla Rookh» dedicados a la Gran Duquesa Alexandra Feodorovna se encuentran entre los textos significativos que determinaron las etapas clave de la evolución creativa de Zhukovsky y ayudaron a la formación del «genio de la belleza pura» en Poesía rusa Los poemas de Zhukovsky «The Dream», «Peri» y «Bedouin's Song», fechados en 1831 años, tienen una única fuente original: el álbum «Imágenes vivientes y escenas de pantomima en la celebración de« Lalla Rookh »», escrito por SG Shpiker y publicado en Berlín. en 1823. Estas obras, que son interpretaciones cercanas de los textos del poeta alemán, caracterizadas por un debilitamiento de los motivos orientales, se sintieron en la transformación de las estructuras sintácticas, el uso de lexemas neutros en lugar de palabras con colores orientales. Los contemporáneos apreciaban mucho a Zhukovsky como un talentoso traductor de literatura extranjera, incluidas sus interpretaciones de la poesía de Thomas Moore, estableciendo paralelos entre los originales de Europa occidental y sus interpretaciones rusas; También se hizo hincapié en la cercanía creativa de Zhukovsky y Moore, que se sintió tanto en el sistema figurativo de las obras poéticas, como en su estilística y tonalidad emocional.O artigo trata da revelação e compreensão das tradições do poema oriental de Thomas Moore «Lalla Rookh» nas obras de V.A. Zhukovsky. A análise das obras do poeta russo, que refletiu os eventos do festival teatral de Berlim em 1821 («Lalla Rook», «O fenômeno da poesia na forma de Lalla Rook») é feita neste artigo. Os fatos e circunstâncias que ajudaram Thomas Moore e V.A. O conhecimento indireto de Zhukovsky é distinto. Teoricamente, o artigo é baseado em uma abordagem histórica e literária do objeto de estudo, combinado com um método histórico e formal comparativo de análise de obras literárias. No campo da metodologia do conhecimento histórico e literário, os trabalhos de Alexander N. Veselovsky, Yu. Tynianov, B.V. Tomashevsky, V.E. Vatsuro têm um significado especial para este estudo. O conhecimento de V.A. Zhukovsky com a obra poética de Thomas Moore deveu-se aos «Arzamasets» e ao diplomata D.N. Bludov, que enviaram ao poeta russo vários livros de um contemporâneo inglês. Obviamente, Thomas Moore ouviu pela primeira vez sobre o famoso poeta-tradutor russo devido à resposta de J.G. Byron ao seu trabalho depois de ler a «antologia russa» de J. Bowring e o aparecimento de numerosas respostas positivas às traduções de V.A. Zhukovsky de J.G. Byron. Os poemas «Lalla Rookh» e «Aparição de poesia na forma de Lalla Rookh» dedicados à grã-duquesa Alexandra Feodorovna estão entre os textos significativos que determinaram os principais estágios da evolução criativa de Zhukovsky e ajudaram na formação do «gênio da pura beleza» em Poesia russa. Os poemas de Jukovsky «O Sonho», «Peri» e «Canção Beduína» datados de 1831, têm uma única fonte original - o álbum «Imagens vivas e cenas de pantomima na celebração«Lalla Rookh »» escrita por SG Shpiker e publicada em Berlim em 1823. Estas obras, que são estreitas interpretações dos textos do poeta alemão, caracterizam-se por um enfraquecimento dos motivos orientais, sentidos na transformação de estruturas sintáticas, o uso de lexemas neutros em vez de palavras com coloração oriental. Contemporâneos altamente apreciados por Zhukovsky como um talentoso tradutor de literatura estrangeira, incluindo suas interpretações da poesia de Thomas Moore, traçaram paralelos entre os originais europeus ocidentais e suas interpretações russas; a proximidade criativa de Zhukovsky e Moore também foi enfatizada, o que foi sentido tanto no sistema figurativo de obras poéticas quanto em sua estilística e tonalidade emocional

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