ნინა გაბრიელიანის „კარუსელი“ – ტექსტი და თარგმანი

Abstract

The Georgian translations of five poems by Rusudan Chanturishvili of the Russian-speaking Armenian poet, Nina Gabrielian was published in the 2011 collection of translated poems Unquenchable Colors. The poems were taken from the collected works, Pomegranate Seeds published in 1992. From the poems presented in the collection, we took The Carousel for consideration, which is a text loaded with content and poetic means of expression. N. Gabrielian’s title The Carousel is a major marker of the poetics of the verse and, on the one hand, presents the model of the world and, on the other, the poet’s views on the world. N. Gabrielian’s Carousel is a text containing a musical component, as evidenced by the musical term Tocata enclosed in parentheses after the title. The title’s relation to the music is compositionally completed and manifested in the dedication / epigraph – “to K. S. Khachaturian”. As a matter of fact, the poem was written in the 1980s under the impression of Karen Khachaturian’s sonata, which is why the author tries to repeat the rhythm of its second part - Tokata - performed at a fast pace. In her translation, Rusudan Chanturishvili strictly follows the original’s title, remark and dedication / epigraph. Nina Gabrieliani’s Carousel, according to the author, is a conventional astrophic poem consisting of 21 lines irregular in syllabic arrangement; Rusudan Chanturishvili’s translation is also an astrophic rhythmic verse without fixed number of syllables per line. One of the most pronounced organizing means of the structure of Nina Gabrieliani’s poem is repetition, which the poet uses to enhance the artistic effect and repeats the same word, phrase, line throughout the poem. The alliteration and assonance coefficient is also high, which, in addition to the phonetic sound, also regulates its rhythmic structure. The anaphora represented by the verbs in the present tense serves the cause of organizing the poem’s rhythm. The poet also uses the refrain. The translation is to a certain extent accurate in repeating individual words, phrases and lines. Alliteration, groups of sounds, tautograms, and assonances are translated “conditionally according to the specific capabilities of the language.” However, where it is impossible to replicate the original elements, R. Chanturishvili uses the right strategy and replaces them with words of effective, expressive power in translation. The same is true about the anaphora and refrain. R. Chanturishvili’s translation preserves the original accelerated rhythm, intonation and mood of the lyrical hero, “although sometimes adherence to them leads to sacrificing the intellectual accuracy of the original.” Modified or new lexical items, lines appear (or are omitted) in the translation, “which plays a certain role in the poem’s rhythm-intonational organization and the sound.” The paper discusses examples of synonymous expansion, decrease, increase, replacement in translation and draws relevant conclusions.