The images of Byrons italy in poetic translations of russian romanticist I.I. Kozlov

Poetic system establishment process of one of the early Russian Romanticists - IvanKozlov - was going under the influence of two major personalities of his times - G.G. Byron and V.A. Zhukovskiy. For these two Italywas a vital part of historical, philosophic conception. Reflexes of this mythologized Italys image - the country, which Kozlov nevervisited, but which became the spiritual motherland, the source of creative power and inspiration, are multidimensional and complex.Three levels of reflection of Italian semiosphere are differentiated: the reflection of Byrons Italy in Kozlovs original and translatedpoetry; the reflection of Italian topoi and aesthetic complexes connected with them; and the picture of Italian poetry itself, seen throughhis translations from Italian. The most interest is aroused by Kozlovs creative-aesthetic perception and reflection of Italian semiospherein translated poetry, as, though it being based on the same aesthetic principles as the original one, it is, first of all, the re-creation offoreign originals and it has the most genuine relation to poetics and aesthetics of a translated author. The poetics analysis of Kozlovsfragmental translations from the 4th, Italian canto of Byrons poem Childe-Harolds Pilgrimage demonstrate the following. Kozlovshared the historical and philosophical conception of Zhukovskiy, in which Italy played a special role, being the home of creativegenius, the evidence of human thoughts grandeur. But he did not only share it, but also reflected it in his poetic works. And astranslations are discussed, it is evident, that under its influence there fall both the translators choice of texts and the quality parametersof translated texts. The Italian topoi acquires conceptual role in Kozlovs creative works. Among all types of them the Italian one turnsout to be the most capacious, it is characterized by the ability to produce new senses only by its appearing in a translation. Italy turnsinto a sustained extended metaphor of blooming spring, but moreover the metaphor of spiritual spring, the time of love, whichconstitutes one of characteristic features of Kozlovs poetic style; for him the motif of the past youth is not a romantic cliché, it is deeplydetermined by his own life circumstances. Even the translation of the beginning lines of Byrons Bride of Abydos, which give thedescription of an exotic Eastern country, contains reflexes of Italian topoi at associative level, generating the poetic senses, whichKozlov needs to make a brighter contrast between the land described and the actions done on it. Italian images as reflections of Kozlovspersonal perception, its images seen through Zhukovskiys eyes, and most of all, its images, inherited from the favourite author -Byron - as translations, poetic imitations and even translations from Italian, parallel to Byrons, create a significant segment in Kozlovscreative aesthetic and poetic sphere.

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