РИТМІКО-МЕТРИЧНІ СХЕМИ Ф. Г. ЛОРКИ ТА ПРОБЛЕМАТИКА ЇХ ВІДТВОРЕННЯ УКРАЇНСЬКОЮ ТА РОСІЙСЬКОЮ МОВАМИ

Abstract

У статті висвітлені особливості метричної будови іспанського вірша, ідеометричні схеми Ф.Г. Лорки та проблематика їх перекладу українською та російською мовами. Проаналізовано співвідношення ритміко-метричних структур ВТ та ПТ. Вивчено попередній досвід досліджень метрики та важливості її відтворення у тексті перекладу. Спираючись на отриману інформацію доведено, що ритміко-метрична побудова тексту оригіналу є більш неоднорідною, ніж у перекладах, адже в українському перекладі є схильність до хореїзації, а в російському – до дольника 1. The article highlights the features of the metric system of the Spanish poetry, F.G. Lorca’s authors metric schemes and the problems of their translation into the Ukrainian and Russian languages. It analyzes the correlation between rhythmic-metric structures in source text and target text. Studied previous research experience of metrics and importance of its interpreting in the translated text. Based on the information received it is proved that rhythmic and metric construction of the original text are more heterogeneous than in translation, because in Ukrainian translation there is a tendency to trochee, and in Russia - to accentual verse. Purpose. The purpose of our research is to identify and study author’s metric schemes and methods of transferring them into foreign languages. Results. Given the objective data we can state that in the Ukrainian and Russian translations the original metric scheme is reflected only partially. In both translations the verse is interpreted with syllabic eight syllable verse , but with a clear tendency to trochee (a PT1) and to accentual verse (PT2 ). The original meter is not reproduced in full, but there is no doubt that the authors of translations had skills to do it. So we can assume that not full trochee in the Ukrainian language and translation by accentual verse only the first part of the Russian version say that translators domestificated their versions of the poem, leaving the reader to feel the original sound of the Spanish syllabic poetry. Conclusions. Our results open perspectives for further study of translations from F.G. Lorca for a deeper understanding of his works. His authors metrics and stylistics and the way to translate them in other languages are currently not studied enough, and the originality of our study consists in giving this problem a new vew.