Материалы к уроку английского языка, посвященного А.С.Пушкину
методическая разработка по английскому языку (9, 10, 11 класс)

Материалы к уроку английского языка, посвященного дню рождения А.С.Пушкина

Alexander Pushkin (1799 – 1837)

Presenter: Dear friends!

Today’s English Party is devoted to our great poet Alexander Pushkin whose books are loved by both children and grown-ups all over the world. He was “the sun of Russian poetry.

A.Pushkin was the great Russian national poet, he was the maker of fairy tales, the author of the first realist novel “Eugene Onegin” and our best historical drama “Boris Godunov”.

A.Pushkin was the founder of our great Russian literature and Russian literature is truly said to begin with him.

His poetry has a set standard of beauty that has never been surpassed; his prose tales established the literary tradition followed by the great novelists that came after him.

As poet Pushkin is untranslatable: the exquisite beauty and austere simplicity of his verse cannot be rendered into a foreign language. Every word of his poetry is so perfect in its context that it is impossible to replace it by any other.

Prose was not Pushkin’s instinctive medium, and it was only after 1830 that he turned his attention to it.

Biography.

Alexander Pushkin was born in Moscow on 26th May (6th June) 1799, of an old noble family. His parents were people in good society and led a fashionable life, troubling themselves little with the bringing up of their children who were left to the care of foreign tutors.

Pushkin’s father was interested in literature, received in his house the intellectual elite of the day, and had an excellent French library where the boy could help himself to any book he liked. He early developed a passion for reading and acquired a mastery of the French language.

The Russian influence in his childhood came from his grandmother and his nurse Rodionovna, to whom he owed his knowledge of Russian folk-lore. The affection of these two excellent women made up for his mother’s neglect, and had a profound influence on Pushkin’s mind and character.

At the age of twelve he was sent to the Lyceum at Tsarskoe Selo, an aristocratic boarding-school for boys opened in that year under special patronage of the Emperor Alexander I. Pushkin was very happy there, and the memory of his school years remained sacred to him throughout life; some of his best poems are inspired by it. It was at the Lyceum that Pushkin began to write poetry, the quality of which was recognized by his teachers and schoolfellows.

On leaving school he threw himself into a life of pleasure which did not, however prevent him from working hard at his writing. He did not take his duties seriously at the Foreign Office where he had some small post, but he never trifled with his art, and spent a great deal of care on the lightest of his poems.

In 1820 he published “Ruslan and Ludmila”, a fantastic narrative poem which made his name famous throughout Russia: such charming and graceful poetry had never been written in Russian before. A graduate of the Tsarskoselsky Lyceum, Pushkin, like his fellow students, had a good knowledge of the literature of classicism with its poetic evocation of a past rich in heroic deeds. It was his first major work. “The sun of Russian poetry”, as the poet came later to be called, was rising.

In the same year Pushkin aroused the anger of Alexander I by his “Ode to Liberty”. He was banished from Petersburg to the south of Russia; his recklessness and defiance of conventions made him fresh enemies among the governing class, and in 1824 he was ordered to settle permanently on his estate Mihailovskoe in the Province of Pskov.

The years of exile provided Pushkin with plenty of new impressions, and it was during this period that he wrote “The Prisoner of the Caucasus”, “The Gipsies”, “The Fountain of Bahchisarai”, the early chapters of “Eugene Onegin” and a number of beautiful short poems.

After the death of Alexander I and the mutiny of 14th December 1825, in which many of Pushkin’s friends were implicated, he was sent for by the new emperor, Nicholas I. Nicholas asked Pushkin if he would have taken part in the rebellion had he been in Petersburg; Pushkin answered in the affirmative. The Tsar, impressed by his sincerity, granted him a complete pardon and promised to be his special patron and only censor; Pushkin went away captivated by the tsar’s generosity. But Nicholas passed on the supervision of Pushkin’s writings to the chief of the gendarmes, Count Benckendorff, a stupid and spiteful man. As time went on, Pushkin came to resent bitterly the restrictions placed on his work.

His marriage in 1831 to a young society beauty, Natalya Nicolaevna Goncharov, made his life still more difficult. He was deeply in love with his wife, but they had very little in common. She had no intellectual interests, and was incapable of appreciating her husband’s genius; she liked fashionable society, and enjoyed the court atmosphere which Pushkin found so irksome.

For her sake he put up with a style of living that was distasteful to him and that he could ill afford. The smart people with whom they associated looked down upon Pushkin for being poor and of low rank in his service; they thought nothing of his greatness as a poet.

Pushkin, proud and sensitive, suffered keenly from the contempt of his intellectual inferiors, and retaliated by bitter sarcasms and epigrams which made him many enemies. He felt more and more isolated, and often thought of retiring to the country where, free from perpetual money worries, and the silly trivialities of fashionable life, he could devote himself entirely to writing. But there was a group of men who particularly disliked him for his proud and independent spirit. He was pestered by anonymous letters, reflecting on his wife’s honour, and was goated at last into fighting a duel with Baron Georges d’Anthes, a French royalist in the Russian service.

Pushkin was fatally wounded and died three days after, on 29th (19) January 1837. His death was mourned throughout Russia as a national disaster.

Succeeding generations have recognized even more clearly the significance of his works, and the cult of Pushkin has become the spiritual heritage of every educated Russian.

Alexander Pushkin Museum Flat

The Museum is situated at 12 Moika Embankment in St.Petersburg and was opened in 1925. The poet lived there from September 12, 1836 till his death on, January 19, 1837.

The sad news that Pushkin had been seriously wounded spread around the city at once. He died three days later.

Thousands of people walked to the house to bid farewell to their dear poet.

In 1987 the museum was restored after long repairs.

Unfortunately there are few of Pushkin’s things and most of them are in his study, where he died. The study is a large, light and clean room. There is a desk with an armchair, bookshelves with four thousand books in 14 languages, a writing bureau, a fireplace with a mantelpiece clock showing the time of the poet’s death. One can see some sheets of paper, books, a goose-quill pen and a bronze inkstand with a figure of a Negro boy. The figure reminded him of his great grandfather Ibrahim Hannibal.

In his study there are portraits of his fellow poets Anton Delvig, Jevgeny Baratynsky and Vasily Zhukovsky.

The bookshelves with different books occupy much space. During his life the poet was fond of collecting old and rare books.

In the hall visitors can see the poet’s waistcoat he was wearing at the duel, his deathmask and the locket with a lock of hair.

Перевод произведений А.С.Пушкина на английский язык сопряжен с большими трудностями. Это объясняется как расхождениями в грамматическом строе языков, так и различиями путей исторического и культурного развития английского и русского народов.

Прошло более полутора веков с тех пор, как было создано выдающееся произведение А.С.Пушкина – роман в стихах «Евгений Онегин» (1823-1831). С лингвистической точки зрения оно представляет для нас огромную ценность, так как являет собой чудеса пушкинского искусства.

Исключительное богатство языка, художественная законченность этого произведения вызывает большие трудности при переводе его на английский язык.

Рассмотрим несколько отрывков из перевода на английский язык романа в стихах А.С.Пушкина «Евгений Онегин» - A Novel in Verse “Eugene Onegin” (by Walter Arndt).

Как выяснилось в ходе анализа произведения одним из самых распространенных способов перевода русских реалий является уточняющий перевод (или перевод с помощью функционального аналога)

Нижеследующий пример буквально изобилует словами, в семантике которых имеется указание на их употребление в торжественной, поэтически приподнятой речи. Таковы лексические архаизмы: «уста», «перси», «ланиты», «лобзать»; они имеют эстетическое значение – являются важнейшими источниками речевой экспрессии.

        Нет, никогда средь пылких дней

        Кипящей младости моей

        Я не желал с таким мученьем

        Лобзать уста младых Армид,

        Иль розы пламенных ланит,

        Иль перси, полные томленьем.

                                (Е.О., с.199)

Перевод У.Арндта:

        Ah – never, even in the blaze

        Of early youth’s tumultuous days,

        Was I so racked with the desire

        A kiss on maiden lips to claim,

        On cheeks on which the roses flame,

        On breasts astir with sultry fire.

                        (E.O., pg.19)

«Лобзать» - целовать – “kiss”

«Уста» - рот, губы – “lips”

«Ланиты» - щеки – “cheeks”

«Перси» - женская грудь; грудь вообще – “Breasts”

На первый взгляд, может сложиться впечатление, что перевод этот не вполне эквивалентный, ибо слова “kiss”, “lips”, “cheeks”, “breasts” имеют нейтральную стилистическую и регистровую характеристику, в то время как русские «лобзать», «уста», «ланиты», «перси» относятся к возвышенному регистру.

Между тем, данный перевод является вполне эквивалентным. Дело в том, что употребление немаркированных по стилю и регистру слов “kiss”, “lips”, “cheeks”, “breasts” вместо возвышенных «лобзать», «уста», «ланиты», «перси» является здесь ничем иным, как компенсацией, которая восполняет потерю соответствующей стилистической и регистровой характеристики в других местах переводимого отрывка, как, например:

“blaze” – a bright, hot gleam or glow;

“tumultuous” – highly disturbed or agitated, as the mind or emotion.

Особый интерес представляет следующий отрывок из «Евгения Онегина»:

                Им овладело беспокойство,

                Охота к перемене мест

                (Весьма мучительное свойство,

                Немногих добровольный крест.)

                                (Е.О., с.319)

Перевод Арндта:

                The travel-fever took possession

                Of him, the up-and-going fit

                (A most unfortunate  obsession,

                Though some do volunteer for it.) (E.O., pg.201)

«Крест» - перен. о тяжелой доле, судьбе, страданиях.

Здесь можно отметить ошибку переводчика. Переводчик счел возможным не переводить выделенный семантический архаизм оригинала, выражающий определенную очевидную мысль (что эта тяжелая судьба присуща немногим).

У.Арндт делает акцент на слове «добровольный» (volunteer), а вместе с этим не принимает во внимание, что у Пушкина употреблено выражение «немногих добровольный крест», что следовало бы перевести как “Though few do volunteer for it”.

Вот еще один отрывок:

                И вот сосед велеречивый

                Привез торжественный ответ.

                                (Е.О., с.281)

У Арндта:

                And here his chatty neighbor, breathing

                Solemnity, returns with it.

                                (E.O., pg.144)

«Велеречивый» - многословный, красноречивый.

В русском варианте «велеречивый» звучит более возвышенно, чем его английский родо-видовой гипоним “chatty” (слово ИЯ, обозначающее видовое понятие, передается словом ПЯ, называющим понятие родовое).

Поскольку значения единиц русского и английского языка полностью не совпадают, замещающие друг друга элементы оригинала и перевода, как правило, не тождественны по смыслу.

Библиография

1. A.Pushkin. Selected Works in Two Volumes”. Moscow, 1974 (на англ.яз.)
2. Pushkin A.S. Eugene Onegin (translated by Walter Arndt) – New York, 1963
3. Pushkin A.S. The Captain’s Daughter and Other Stories (translated by Natalie Duddington) – London, 1933
4. Словарь языка Пушкина. Т.1-4 – М., 1956
5. Федоров А.В. Основы общей теории перевода (лингвистические проблемы).

М., 1983

      6.  Пушкин А.С. Сочинения в 3-х томах. – М., 1986

      7. Турнаева Л.Ю. Способы передачи русских архаизмов на английский язык (на       материале переводов произведений А.С.Пушкина). (Дипломная работа). – СПб, 1997

                                                                        Приложение 1

        Унылая пора! Очей очарованье!

        Приятна мне твоя прощальная краса –

        Люблю я пышное природы увяданье,

        В багрец и золото одетые леса,

        В их сенях ветра шум и свежее дыханье,

        И мглой волнистою покрыты небеса,

        И  редкий солнца луч, и первые морозы,

        И отдаленные седой зимы угрозы.

        O dear and cheerless time, you charm the eye and tender!

        Contentment to the heart. How wondrous to behold

        Your dying beauty is, the lush and sumptuous splendor

        Of nature’s farewell bloom; the forests clad in gold;

        The wind’s refreshing breath; the azure sky’s surrender

        To greyish, pearly haze; the pinch of early cold;

        The fitful ray of sun, too rare to be persistent,

        And hoary winter’s threats, still undefined and distant.

                                Translated by I.Zheleznova

                                                                        Приложение 2

Prologue (extract from “Ruslan and Ludmila”)

On seashore far a green oak towers,

And to it with a gold chain bound,

A learned cat whiles away the hours

By walking slowly round and round.

To right he walks, and sings a ditty:

To left he walks, and tells a tale…

What marvels there! A mermaid sitting

High in a tree, a sprite, a trail

Where unknown beasts move never seen by

Man’s eyes, a hut on chicken feet,

Without a door, without a window,

An evil witch’s lone retreat;

The woods and valleys there are teeming

With strange things… Dawn brings waves that gleaming,

Over the sandy beaches creep,

And from the clear and shining water

Step thirty goodly knights escorted

By their Old Guardian, of the deep

And ancient dweller… There a dreaded

And hated tsar is captive ta’en;

There, as all watch, for cloud banks headed,

Across the sea and o’er a plain,

A warlock bears a knight. There, weeping,

A princess sits locked in a cell,

And Grey Wolf serves her very well;

There, in a mortar, onward sweeping

All of itself, beneath the skies

The wicked Baba-Yaga flies;

There pines Koshchei and lasts for gold…

All breathes of Russ, the Russ of old!..

                                Translated by I.Zheleznova

У лукоморья дуб зелёный;
Златая цепь на дубе том:
И днём и ночью кот учёный
Всё ходит по цепи кругом;
Идёт направо — песнь заводит,
Налево — сказку говорит.
Там чудеса: там леший бродит,
Русалка на ветвях сидит;
Там на неведомых дорожках
Следы невиданных зверей;
Избушка там на курьих ножках
Стоит без окон, без дверей;
Там лес и дол видений полны;
Там о заре прихлынут волны
На брег песчаный и пустой,
И тридцать витязей прекрасных
Чредой из вод выходят ясных,
И с ними дядька их морской;
Там королевич мимоходом
Пленяет грозного царя;
Там в облаках перед народом
Через леса, через моря
Колдун несёт богатыря;
В темнице там царевна тужит,
А бурый волк ей верно служит;
Там ступа с Бабою Ягой
Идёт, бредёт сама собой,
Там царь Кащей над златом чахнет;
Там русский дух… там Русью пахнет!
И там я был, и мёд я пил;
У моря видел дуб зелёный;
Под ним сидел, и кот учёный
Свои мне сказки говорил.

                                                                Приложение 3

A monument I’ve raised not built with hands,

And common folk shall keep the path well trodden

To where it unsubdued and towering stands

        Higher than Alexander’s Column.

I shall not wholly die – for in my sacred lyre

My spirit shall outlive my dust’s corruption –

And honour shall I have, so long the glorious fire

        Of poesy flames on one single scutcheon.

Rumour of me shall then my whole vast country fill,

In every tongue she owns my name she’ll speak.

Proud Slav’s posterity, Finn, and – unlettered still –

        The Tungus, and the steppe-loving Kalmyk.

And long people yet will honour me

Because my lyre was tuned to loving-kindness

And, in a cruel Age, I sang of Liberty

        And mercy begged of Justice in her blindness.

Indifferent alike to praise or blame

Give need, O Muse, but to the voice Divine

Fearing not injury, not seeking fame,

        Nor casting pearls to swine.

                        Translated by Avril Pyman

Я памятник себе воздвиг нерукотворный,
К нему не зарастёт народная тропа,
Вознёсся выше он главою непокорной
Александрийского столпа.**

Нет, весь я не умру – душа в заветной лире
Мой прах переживёт и тлeнья убежит –
И славен буду я, доколь в подлунном мире
Жив будет хоть один пиит.

Слух обо мне пройдёт по всей Руси великой,
И назовёт меня всяк сущий в ней язык,
И гордый внук славян, и финн, и ныне дикий
Тунгус, и друг степей калмык.

И долго буду тем любезен я народу,
Что чувства добрые я лирой пробуждал,
Что в мой жестокий век восславил я свободу
И милость к падшим призывал.

Веленью бoжию, о муза, будь послушна,
Обиды не страшась, не требуя венца;
Хвалу и клевету приeмли равнодушно
И не оспоривай глупца.

                                                                Приложение 4

I loved you, and that love, to die refusing,

May still – who knows! – be smouldering in my breast.

Pray be not pained – believe me, of my choosing

I’d never have you troubled nor yet distressed.

I loved you mutely, hopelessly and truly,

With shy yet fervent tenderness aglow;

Mine was a jealous passion and unruly…

May Heaven grant another loves you so!

                        Translated by I.Zheleznova

Я вас любил: любовь еще, быть может,

В душе моей угасла не совсем;

Но пусть она вас больше не тревожит;

Я не хочу печалить вас ничем.

Я вас любил безмолвно, безнадежно,

То робостью, то ревностью томим;

Я вас любил так искренно, так нежно,

Как дай вам бог любимой быть другим.

                                                                Приложение 5

To ***

O wondrous moment! There before me

A radiant, fleeting dream you stood,

A vision fancy fashioned for me,

A glimpse of perfect womanhood.

Through all life’s sadness, all its’ flaunted

But hopeless flurry and unrest

Your lovely face my spirit haunted,

Your tender voice my ear caressed.

Swift tempests, o’er me, wrathful, breaking,

Dispelled the dulcet dreams of yore.

Your image blurred, my heart forsaking,

Your voice caressed my ear no more.

In cold and gloomy isolation

The years sped by, the lonely years,

Bereft of God, of inspiration,

Bereft of life and love and tears.

And then – o bliss! – time’s flight defeating,

You came again and ‘fore me stood,

A vision radiant and fleeting,

A dream of perfect womanhood.

My heart is filled with sweet elation,

Anew it craves, anew reveres,

And it awake to inspiration,

Awake to life and love and tears.

                                Translated by I.Zheleznova

К***

Я помню чудное мгновенье:
Передо мной явилась ты,
Как мимолетное виденье,
Как гений чистой красоты.

В томленьях грусти безнадежной,
В тревогах шумной суеты,
Звучал мне долго голос нежный
И снились милые черты.

Шли годы. Бурь порыв мятежный
Рассеял прежние мечты,
И я забыл твой голос нежный,
Твои небесные черты.

В глуши, во мраке заточенья
Тянулись тихо дни мои
Без божества, без вдохновенья,
Без слез, без жизни, без любви.

Душе настало пробужденье:
И вот опять явилась ты,
Как мимолетное виденье,
Как гений чистой красоты.

И сердце бьется в упоенье,
И для него воскресли вновь
И божество, и вдохновенье,
И жизнь, и слезы, и любовь.