Практикум по художественному переводу_____

led at the gap between the Russian traditional metric sys-ind English tradition of free verse that, effectively, has re-;d metre and rhyme in modern poetry. This has formed a in readers' expectation; unlike in Russia, serious poetry mly associated nowadays with free verse while rhyme is ture of popular song. This differentiation causes some ten-in perceiving quite serious Russian poetry 20^th century :ranslating.it into English. The reverse is also interesting: lussian reader, vers libre sounds (or, rather, looks) some-marginal, at least, considered not in the category of the г" poetry. Besides, certain peculiarities of Russian phonet-nd syntax require more definite forms of expression in ry than a simple flow of words not bound by any syntactic i. Yet another problem is the incompatibility of associa-; that connect words with cultural, historical and psycho-:al preferences and symbols more or less evident and com-ensible to one national mentality and alien, if perceivable , to another.

In prose, things do not get easier. Here we come across lifference in the ways and principles of manifesting a pic-of the world in words. A literary picture of the world may ide hidden but quite well known quotations from famous trical, literary, political or religious sources that, even if liar and recognizable to the translator, the child of two ires, will require commentary or other guidance to be per-sd by the foreign reader. The measurements of sentiment, our or philosophy in depicting ideas and imagery very rare-lincide between the cultures; what sounds bright and amus-o one may become dull and clumsy to another in any cor-translation. Thus, Babel's usage of the Odessa Jewish di-t loses almost all its expressive flavour in translation: a ilar phrase «я имею сказать вам пару слов» turns into leutral and dull "I have a couple words to say." However, wrong to do as some translators have and to substitute a st dialect for a source dialect, for their stylistic and cultural

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