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An Unnoticed Aspect of Pasternak's Translations
Published online by Cambridge University Press: 25 January 2017
Extract
Translation of foreign fiction and poetry in twentieth-century Russia developed into an important field of literary activity which, in terms of prestige, came to be considered even superior to the essay. This can probably be traced back to the beginning of the nineteenth century when Vasilii Zhukovsky, a major poet, built practically all of his poetic work on translations. Now Russia has a whole army of highly competent translators, occasionally joined by poets whose original work is well known both inside and outside Russia (Marshak, Zabolotsky, Tikhonov). Mikhail Lozinsky (1886-1955), who is considered by some to be the greatest Russian translator of all time, received a Stalin prize for his translation of Dante's Divine Comedy and was held in very high esteem in Soviet literary circles. Theory of translation is taught at the Soviet university, and the problems of artistic translation are often vividly and interestingly discussed in books and numerus articles by poets, critics, and scholars.
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- Notes and Comment
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- Copyright © Association for Slavic, East European, and Eurasian Studies 1961
References
1
In 
(New York: Chekhov Publishing House, 1955), p. 145; and in Boris Pasternak,I Remember: Sketch for an Autobiography (New York: Pantheon, 1959), p. 86.Google Scholar
2
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4 As quoted by и. OkceHOB in his review in 3бe3∂a, No. 5, 1941, p. 180.Google Scholar
5 Ibid.
6
«Quoted from
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7 Ibid.
8 Ibid., p. 39.
9 Ibid., p. 40.
10 In the original form, in
, the passage read (p. 65): 
but in the 1947 edition (Moscow-Leningrad: 
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