Abstract
Maksimilian Voloshin was not a professional translator in the contemporary meaning of the word. For him translation was a part of his work as a poet, artist and literary critic. He constantly returned to translation during his lifetime because he considered it to be part of the literary process in general, part of an aesthetic training.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Notes
M. Voloshin, ‘Emil’ Verkharn i Valerii Briusov’, Vesy 2 (1907) p. 76.
M. Voloshin, ‘V zashchitu Gauptmana’, Russkaia mysl’ (May, 1990) p. 13.
M. Voloshin, Letter to M.V. Sabashnikova, Winter 1912–1913, cited by V. Perel’muter, ‘Tretii sobesednik’, Masterstvo Perevoda, 12 (1981) p. 421.
M. Voloshin, ‘Predvarenie o perevodakh’, Verkharn. Sud’ba. Tvor- chestvo. Perevody ( Moscow: Tvorchestvo, 1919 ) p. 29.
V.Briusov, ‘Fialki v tigele’, Vesy 7 (1905) pp. 9–17, cited from Russkie pisateli o perevode (Leningrad, 1960) pp. 534–9.
E. Etkind, ‘Poeticheskii perevod v istorii russkoi literatury’, introduction to Mastera stikhotvornogo perevoda (Leningrad, 1968 ) vol. 1, p. 65.
I. Annenskii, ‘Razbor stikhotvornogo perevoda liricheskikh stikhotvorenii Goraciia, P. F. Porfirova. Otdel’nyi ottisk iz otcheta o 15 prisuzhdenii Pushkinskoi premii’, (Spb. 1904) cited from Armelle Goupy, ‘L’art de traduire selon Annenskii’, Revue des études slaves, 47 (1968) pp. 39–53.
Rais Emmanuil, ‘Maksimilian Voloshin i ego vremia’ (Paris, 1965) cited from introduction to Maksimilian Voloshin, Stikhotvoreniia, vol. 1 (Paris, YMCA Press, 1982) p. xlvi.
L.A. Evstigneeva’s commentaries to Maksimilian Voloshin, Stikhotvoreniia ( Leningrad, Biblioteka Poeta, 1977 ) p. 451.
Briusov’s expression, used in assessing the best translators of Verhaeren’s poems: V. Briusov, ‘Verkharn na Prokrustovom lozhe’, Russkie pisateli o perevode (Leningrad, 1960 ) p. 545.
L.S. Barkhudarov, lazyk i perevod (Moscow, 1975) p. 15.
On Verhaeren’s symbols see H. Frets, L’élément germanique dans l’ceuvre d’Emile Verhaeren (Paris, 1967) pp. 246–62.
A. Fontaine, Verhaeren et son œuvre (Paris, 1929) p. 100.
H. Morier, Le rythme du vers libre symboliste (Genève, 1977) p.79.
G. Donchin, The Influence of French Symbolism on Russian Poetry ( The Hague: Mouton, 1958 ) pp. 54–66.
Editor information
Editors and Affiliations
Copyright information
© 1992 International Council for Soviet and East European Studies, and John Elsworth
About this chapter
Cite this chapter
Adamantova, V. (1992). The Poet as Translator — Creative Fidelity: Voloshin’s Version of Verhaeren’s ‘La Peur’. In: Elsworth, J. (eds) The Silver Age in Russian Literature. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-22307-7_4
Download citation
DOI: https://doi.org/10.1007/978-1-349-22307-7_4
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-22309-1
Online ISBN: 978-1-349-22307-7
eBook Packages: Palgrave Literature & Performing Arts CollectionLiterature, Cultural and Media Studies (R0)