Forms of interpretation of the Turkic syllabic verse in Russian poetry

The article deals with the possibilities of working out an imagologically verified model of the Turkic syllabic verse in Russian poetry on the basis of syllabic and accentual-syllabic meters. The difference between the two poetic systems and the unrelated nature of phonological data of the Turkic and Russian languages lead to seemingly insurmountable problems in the course of the presentation of certain specific features of Turkic poetry. The Russian syllabic form which essentially differs from the Turkic national verse barmak does not allow reproducing all the relevant features of the translated text: the segmentation of lines into rhythmic groups, i.e. bunaks (turaks) marked by the fixed stress, the monotonic system of the verse terminations, etc. But the development of the resistive poetic translation theory (which is original-oriented) encourages the translator to set experiments aimed at reconstructing the sound form of the Turkic syllabic verse. It is therefore not by chance that certain synthesis of poetic phenomena constantly takes place on the borderline between the literary systems, which creates an image of the foreign language poetry and, in a broader sense, an image of the culture which is in many ways alien to the reader. By analogy with the metric experiments in translating samples of the European syllabic verse, a repertoire of poetic means of imitating Turkic syllabism is taking shape in the Russian translation tradition. Most of all, it consists of metric substitutes for the Turkic syllabic verse: the 6-syllable verse is most often represented by the anapestic dimeter, the 7- or 8-syllable verse is represented by the iambic or trochaic tetrameter, for representing the 11-syllable verse the trochaic hexameter is used, the 13-syllable verse is represented by the amphibrachic or anapestic tetrameter, etc. In this case, Russian translators often use specific modifications of accentual-syllabic forms that are typological counterparts of their Turkic prototypes. The use of the masculine word endings and the rhythm of the word boundaries creates specific forms of the verse that have a marked semantic potential in the poetic translation. A particular role among them is played by transformations of the metrical caesura division that is traditional for Russian poetry: the caesural shift, the use of the truncated or augmented forms, the increment of rhythmic groups caused by the increasing quantity of caesuras, etc. The translations of L.M. Penkovsky, D.G. Brodsky and other translators who do not just convey the content, but also pay attention to the formal aspect of the original text prove to be a success in creating the imagological shape of the Turkic verse. Individual successful steps in this direction give us an opportunity to speak about the inexhaustible potential of the Russian accentual-syllabic and accentual verse in the sphere of the search for the metro-rhythmic equivalents of the Turkic syllabic verse.

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