But a free magazine arrived from the health insurance fund. To entertain your clients, in addition to your ownQuite bland news, popular science trivia is published there from time to time. Today we talked about the color blue.But not in the medical sense. We just picked up a few catchphrases in German that involve the color blue. And they explained their origin.
Blaues Wunder (Blue miracle) - this is what they call an unpleasant surprise when nothing seemed to predict...
The phrase comes from the Middle Ages, when people had not yet studied chemistry at school and knew little about the nature of things. Fabrics were dyed blue as follows: the fabric was immersed in liquid yellow color, and then hung it in the air. The organic dye oxidized and turned from yellow, first to green, and then to blue. Well, why not a miracle?
The question arises: how did ancient people obtain the organic yellow liquid that provided this miracle? Yes, easily: urea was the main one integral part this solution. The answer to the next question is even simpler: dyers produced it themselves, from urine. To increase production volumes, I had to drink a lot. And even then it was common knowledge how an abundance of beer affects a person. So we tried our best. But in the morning, of course, I had to suffer. Albeit for production reasons. I only had enough strength to hang up the canvases that got wet at night and wait for a miracle in a semi-conscious hangover.
This is where it came from popular expression Blaumachen (Make blue). We have the verb “bruise,” but it’s not about later, so I haven’t found an exact analogue yet. Nowadays it means idleness, shirking from work, skimping.
Den Blauen Brief bekommen (Get a black mark blue letter) - unpleasant official news. In 18th-century Prussia, as now, they cared about information security. Particularly important royal letters were sent in thick blue envelopes, the paper for which was made from scraps of blue uniforms that had fallen into disrepair. Such letters were not read in the open. But they obviously didn’t expect anything good from them, since the expression is still preserved.
The expression Blaues Blut (Blue Blood) - many people know this - originated from Spain. The nobility there was mostly “in large numbers.” And marriages were often concluded with the same pale-skinned aristocrats from the northern lands, which is why noble dons and dons were distinguished by a lighter skin tone, through which blue veins gently shone through. Not like the common people, smoked by the southern sun, with hot scarlet blood bubbling through their arteries.
Blaue Augen machen (to make blue eyes) - ignorance and childish naivety.
We owe the origin of the expression not to blue-eyed, stupid blondes - the ideal target for boorish jokes of misogynists. If you take a good look around, all babies up to about a year old are blue-eyed (at least I didn’t come across others), because the pigment of the iris does not begin to appear immediately. Therefore, our analogue fits the meaning: “naive, like a baby”
Well, a lot about eye color: English and Danish scientists somehow found out that all people on Earth were born with brown eyes. And only 6-10 thousand years ago one blue-eyed mutant was born. That's all! We, the light-eyed ones, then all came from him and that means we are all relatives))
In general, the color blue is associated in society with the sky, water, and therefore with freedom.
Our yoga teacher assured us that it was good for communication. Advised for important meetings for success. wear something in a matching blue tone.
Believe it or not, I interviewed with 3 companies this summer. In blue. And I received a job offer from all three.
Well, for those who read to the end, a little lyrical bonus.
My husband and I met at the wedding of his friend and my girlfriend. The winter brunette looked irresistible in a bright blue shirt. And I couldn’t take my eyes off the tanned (after the holidays) platinum blonde in pale blue. Maybe our “blue clothes”, or maybe a couple of glasses of vodka with the wedding “bitter”, made our communication so much easier that we left the wedding together and never parted again))
Poem " Blue color"(in the original - without title), written by N. Baratashvili in 1841 and translated by B. Pasternak no later than 1938, has long become a kind of business card brilliant Georgian poet. When thinking about him, the lines “The color of heaven, the color blue / I fell in love from an early age…” spontaneously appear in my memory. Few people can remember Baratashvili’s other poems, but “The Color Blue” is known to absolutely all fans of Russian poetry. Before Pasternak, this poem was translated into Russian by V. Gaprindashvili, whose translation was published in 1922 in what was then Tiflis and, of course, could not reach the Russian public. In Georgia, Pasternak's translation is known quite widely, although the attitude towards it is not as reverent as in Russia, but more jealous and biased. And, I must say, there are reasons for this. But more on that below.
Until now, none of the Russian critics had somehow thought to compare the original “The Color Blue” with its translation. There are, in my opinion, at least three reasons for this. First: the genius of Pasternak’s text, which I don’t even want to find fault with. The second is the reluctance of professional literary critics to spoil their reputation by criticizing a Russian classic. It is possible to understand them: the overwhelming majority of Russian philologists do not know the Georgian language, “The Blue Color” was translated long ago, the translation itself is not just a masterpiece, but a part of Russian culture. The third reason is the possible absence in Pasternak’s archives of precisely the interlinear translation from which the Russian poet translated the Georgian poet’s poem.
Maybe this will not seem entirely correct to some, but I intend to make a kind of experiment: compare Pasternak’s translation with someone else’s (almost word-for-word) interlinear translation, done at my request by the poetess I. Sanadze, since I myself cannot boast of knowing the Georgian language. And although interlinear translations of the same poem, compiled different people at different times, can and should differ in some ways, but in the main they must still coincide: the language in which the original poem was written remains the same, explanatory dictionaries no one has canceled it, and possible nuances of meaning in this case are unimportant. Especially with the approach (I will say, looking ahead) that Pasternak demonstrated, transposing the Georgian original into Russian poetry.
Pasternak’s translation achievements, as the largest Russian translator and translation historian E. Vitkovsky rightly notes on his website, will undoubtedly never lose their significance, despite the fact that, say, “Hamlet in his translation is more likely Pasternak’s Hamlet than Shakespeare’s”(http://vekperevoda. com/1887/pasternak. htm). To paraphrase another statement by Evgeniy Vladimirovich, Pasternak’s presentation makes us believe that "... there is something in the original". Moreover, I will add on my own behalf, something very, very significant, not taken into account by the poet, discarded by him as unnecessary, taken out of the brackets of the original text. This is especially true for N. Baratashvili’s poem “Blue Color”.
I intend to penetrate into the texts sequentially, stanza by stanza, gradually bringing to the pages both the original in its interlinear presentation and the poetic translation. This contradicts the generally accepted practice of correlating the original with its poetic transcription, but in this case a departure from it seems necessary, allowing a more thorough understanding of both the features of the original text and the congeniality of the corresponding interpretation. After all, to experiment is to experiment!
When assessing the accuracy and freedom of the translation, I decided to use, among other things, the methodology of the late Russian philologist M. Gasparov, outlined by him in the article “Interlinear and measure of accuracy” (Gasparov M. L. About Russian poetry: Analyzes, interpretation, characteristics. - St. Petersburg, 2001. - 480 pp.; http://www.philology.ru/linguistics1/gasparov-01e.htm). Mikhail Leonovich proposed, as he put it, “... a simple and crude, but, I think, a fairly indicative way of measuring accuracy for a start: counting the number of significant words (nouns, adjectives, verbs, adverbs) preserved, changed and omitted-added in the translation compared to the interlinear translation”. Having thus compared this or that translation with the corresponding interlinear translation, Gasparov determined “...the accuracy indicator is the proportion of accurately reproduced words from the total number of interlinear words; and the indicator of freedom - the proportion of arbitrarily added words from the total number of words in the translation (both as a percentage)", capable, in his opinion, “...characterize the translation as a whole”.
This is exactly what I will now do in relation to Pasternak’s translation of Baratashvili’s poem “The Blue Color”. Moreover, if Mikhail Leonovich did not take into account the synonyms and synonymous constructions used by translators, so as not to be accused of being biased towards Pasternak, I will still take them into account as significant. Bold Coincidences of significant words in the interlinear and translation are highlighted in font; underlined words introduced by the translator into the translation.
Interlinear (1 stanza) [in square brackets explanations of the author of the interlinear]:
IN sky color, blue color,
Pristine color
And unearthly [not of this world]
I'm with in love with my youth.
Translation (1 stanza):
Heavenly color, blue color
Loved it I'm with small years.
IN childhood he told me meant
Sinev other began.
Accuracy rate: 66.7%, freedom rate: 50%. (Hereinafter: intermediate data are omitted. Anyone can check the calculation results themselves. If any discrepancies are found, please notify the author of this article so that appropriate adjustments can be made to it.)
Pasternak, on the one hand, conveyed the first stanza almost congenially - the accuracy rate is quite high; on the other hand, brought into translation a large number of gag. If missing from the source text pristineness colors and most color(used by Baratashvili three times, by Pasternak twice), then introduced from outside - small summer , doubling youth original, and an attempt to replace this very pristineness blue expression blue other began . In general, the impression from the translation of the first stanza remains quite good: the meaning is, in principle, conveyed, and it is generally unthinkable to imagine Pasternak’s translation without an outright gag. True, Baratashvili only outlines the topic in the first lines, with some trepidation, it seems to me, reporting that he has long fallen in love with the unearthly color of heavenly azure and the universal fundamental principle. Unlike the Georgian poet, Pasternak confidently takes the bull by the horns, that is, he not only declares his love for blue, but also interprets his love for it in the way I indicated. However, in general, I repeat, Pasternak’s text does not spoil the interlinear text.
Interlinear (2nd stanza):
AND now that blood
I'm getting cold,
I swear - I I won't love you
Never different color.
Translation (2nd stanza):
AND now that has reached
I peaks days theirs,
IN victim other colors
Blue Not I'll give it back.
Accuracy rate: 44.4%, freedom rate: 60%.
The decrease in the first and increase in the second indicators is explained by the fact that Pasternak in the first couplet conveyed the metaphor of the original with his own metaphor, and in the second he changed, so to speak, the direction of the love of the lyrical subject: the Georgian poet vows not to love different color , Russian - stay true to the same blue blossom. In this case, in my opinion, some defectiveness of Gasparov’s method is revealed: the indicators of accuracy and freedom of translation have clearly deteriorated, while in general Pasternak coped with conveying the meaning of this stanza (even to a greater extent than the first). And this, I believe, is the main criterion of the translation craft. What confuses me (unlike the readers of this article, who is familiar with interlinear translation) is the noun in the translation text victim , but I will talk about it in its own place.
Interlinear (3rd stanza):
IN eyes V beautiful
I'm heavenly in love color;
He, rich sky,
Radiates delight.
Translation (3 stanza):
Accuracy rate: 55.6%, freedom rate: 44.4%.
Almost the culminating moment of the unfolding of the text. Despite the fact that, compared to the previous stanza, the indicator of accuracy has increased, and the indicator of freedom has fallen, it is here that Pasternak decisively moves away from the original, sharply narrowing the pathos of the source text. (Another confirmation of the incomplete adequacy of the method proposed by Gasparov. However, he would never have put an equal sign between richness of the sky And drunk with blue , as a result of which the indicator of accuracy of translation of a given stanza would decrease, and the indicator of freedom would increase. Moreover, the first expression refers to blossom , second - to look .) In the third stanza, which is complex in terms of syntax, Baratashvili talks about love for heavenly-colored eyes, for any blue eyes - no matter who they belong to. Pasternak declares his love for drunk with blue the eyes of a specific person, a specific lover (“ This sight bottomless is yours"). (This is why I did not equate the participle in love original to adjective loved ones translation: these are two different love.) Unfortunately, the brightest characteristic was left out of the translation heavenly colors : He radiates delight, and thanks to the enthusiastic blue, the turquoise eyes also, presumably, shine with joy. According to Baratashvili, the owners of blue eyes, through the blueness that is contained in them, have a cheerful attitude towards everything that exists. And Pasternak paints beautiful blue eyes, looking exclusively at the lyrical subject. The difference is significant.
Interlinear (4th stanza):
Duma - dream
Pulls me to the heavenly heights
So that melted from love [charm],
I merged with blue color.
Translation (4th stanza):
Accuracy rate: 33.3%, freedom rate: 66.7%.
As they say, the frost has deepened: the accuracy of translation is falling, freedom is rapidly growing. This is quite understandable: it is from the fourth stanza that Pasternak begins to speak loudly about his own, and not about what is contained in the original. The translator's text is connected to the interlinear translation with only three words (gerund participle melted I equated it to a noun solution , otherwise the connection with the interlinear translation would be reduced by a third). Apparently, here the translator got tired of sticking to the framework of the source text, and he, the translator, as they say, soared creatively. In the fourth stanza, Baratashvili no longer talks about his beloved blue; the author, drawn to heaven by a thought-dream, intends to merge there with it once and for all. But not just merge, but pre- melted from love. From love - to what or to whom? The answer is obvious: to the Divine, to some Universal Essence, to the Creator, who created the heavenly color (color pristine- see the first stanza), leading the author into a kind of ecstasy. Whereas Pasternak stands firmly on the ground and, looking up, reflects on what, in his opinion (and not in the opinion of the original author), blue is: color dreams lyrical subject , paint heights , container earthly space . But I repeat, discussions about supermundane turquoise no longer interest the spiritually soaring Baratashvili: enchanted by the azure, he dreams of complete dissolution in it, in other words, with the Divinity Himself. It is at this point that the reader begins to vaguely guess: is this really a prayer? And for a positive answer to this question, as will be seen from the further presentation, there are good reasons. But let's continue.
Interlinear (5th stanza):
I'll die and I won't see you
Tears I'm dear
Instead the sky is blue
Sprinkle me with the dew of heaven.
Translation (5th stanza):
Accuracy rate: 11.1%, freedom rate: 85.7%.
The result is stunning. There is no need to talk about accuracy at all, since translation has practically nothing to do with interlinear translation. All significant words were removed from it and replaced by the translator with his own. The case is almost unique in the translation practice of the twentieth century. Baratashvili speaks with sadness about his death, about the fact that he, having died and merged with the heavenly blue, becoming a spiritual essence, will not see from there a single tear shed for him by those close to him in spirit; but the poet is ready to come to terms with this, because - he is sure - his favorite blue sky sprinkle(will sanctify) heavenly moisture in his ashes. Pasternak, following the long tradition of portraying the poet as unhappy, poor, early dead, undeservedly forgotten, talks about the funeral of the lyrical subject, his complete disappearance (in the interlinear lyrger the hero dissolves or intends to dissolve in the Divine azure) and about the relatives mourning the deceased. But in the case of Baratashvili, it is hardly legitimate to talk about his loved ones in such a context. The poet's high-ranking relatives, among whom was his uncle, general and ruler of Avaria Grigol Orbeliani, did not help him in any way; During his lifetime, the poet could not even get published. Is it conceivable that in what is perhaps his most lofty, bright and sad poem, he would talk about relatives? Hardly.
Interlinear (6th stanza):
grave mine when
Will make fog ,
Let him be sacrificed too
A ray [glow] to the blue sky!
Translation (6th stanza):
Accuracy rate: 20%, freedom rate: 77.8%
The ending of the poem. The interlinear version and the translator's version are separated, so to speak, by 180 degrees. Literally. Baratashvili understands: his name will be forgotten by his descendants, but he hopes that a ray, one should think, God’s ray, will dispel the foggy darkness over his grave - for the poet’s unrequited love for blue, azure heights, turquoise infinity. What becomes significant here is a completely non-significant part of speech, the particle let. She confirms the assumption that this poem is a kind of prayer. The poet, confident in everything heavenly, in his future dissolution in the azure of the Creator, is not confident in anything earthly, therefore he himself sacrifices everything earthly for the sake of the heavenly. Moreover. He sacrifices his frailty to an unearthly eternity, where only his spirit, oppressed by the hopelessness of existence, can become free. Pasternak not only covers the poet’s grave blue , but sparse, frost , but also throws a cover gray winter smoke - smoke of oblivion - in the name of the brilliant author of “The Color Blue”.
For Baratashvili, blue is exclusively in heights inaccessible to the mortal body, at the very top of the universe; for Pasternak, it doesn’t matter where: in pure supermundaneity or on the sinful earth that hides the ashes of the great poet. Baratashvili in his poem rises up - from earth to heaven - and from there observes what is happening in the secret hope that his spiritual component, his essence will not be forgotten. Parsnip, in translation, stands firmly on the ground, turning his gaze from the azure skies to a dead tombstone, tightly draped in a double veil of frost and smoke, over which no blue, even the Divine, has power. Baratashvili creates an almost spiritual poem, Pasternak - frankly lyrical. Therefore, it was no coincidence that he confiscated victim from the last stanza for the sake of the second, because I never bothered to remember it by the end of the translated poem. The translator had no time for that: starting from the text of an unknown Georgian poet, he created his own work of art on his own theme. Dry numbers speak to this. Accuracy rate of the entire translation: 37.5% (fluctuations: from 66.7 to 11.1), freedom of the entire translation: 62.5% (fluctuations: from 44.4 to 85.7).
Not considering it necessary to stick to the original, Pasternak initially changed the formal features of the translated poem. Baratashvili's original is written in logaed, a complex meter that combines dactyl and trochee. But Pasternak does not need this kind of complexity, and he arbitrarily changes logaed to a standard trochee, which in the practice of this translator is not a crime at all. (Although discussions about the metric of Georgian versification are beyond the competence of the author of these lines, it was not difficult to make sure that the translator did not adhere to the metrical outline of the original.) In addition, Pasternak, reflecting on what the blue color is for the lyrical subject, used translation, a lexical anaphora: the author of the translation begins seven lines with the particle (connective) “this”, which is not even mentioned in the source text. As a result, the translation, starting from the third stanza, resembles a kind of register of the essential features of the color blue. Of course, thoughts about this come to mind only when comparing the translation with the original; Pasternak’s work itself does not evoke such feelings, but within the framework of this article I am talking about the relationship between the source text and its transcription.
Thus, Pasternak’s work has practically nothing to do with translation as such. Moreover. It is a telling illustration of how poetry should not be translated. Pasternak's text is not even an adaptation, retelling or translation based on the original. Pasternak’s “The Color Blue” has to be assessed in two ways: as an original poem it has no value; as a translation of Baratashvili’s poem, it simply does not exist - no matter how paradoxical this statement may be. If Pasternak had called his text, say, “Blue Color (in memory of Nikoloz Baratashvili),” this would have removed all future questions. But he calls his poems a translation, clearly understanding that this is not a translation at all...
The information that Pasternak, to put it mildly, did not quite adequately interpret Baratashvili’s “Blue Color,” overtook me quite a long time ago, about 20-25 years ago. I remember a book whose heroes, Georgians, discussed this topic. Taking a closer look at Pasternak’s translation style, the merits of which are everything but careful attitude to the original, I wanted to get acquainted with the stunning “Blue Color” as briefly as possible, preferably at the interlinear level. Over time, I was overcome by an irresistible desire to translate this poem myself.
Last year, on one of the literary sites, I accidentally discovered poems by the poetess Irina Sanadze. I wrote her a letter outlining my request for an interlinear translation of Baratashvili’s poem, and luckily for me she responded. Exactly the day before Orthodox Christmas I received from her not only the original poem and its interlinear translation, but also the transliteration; Having examined it, I have established some of the formal features of "Blue." In order to penetrate into the text of the original, I had to learn for some time to pronounce out loud sound combinations unusual for a Russian person, but in the end I - I won’t say I learned it - but was imbued with the fantastic sound of the original, the transliteration of which I want to give in full.
Cisa Pers, Lurjsa Pers,
pirvelad kmnilsa pers
yes ar amkvekniurs,
sikrmitan vetrpodi.
Yes akhlats, grew siskhli
makvs gatsiebuli,
vpitsav me - ar vetrpo
ar oden persa khvas.
Tvalebshi mshveniers,
vetpi me cisa pers;
mosruli igi qit
gamokrtis siamit.
Pikri me sanatri
mimitsevs cisa cads,
rum ashhit damdnari
Shewerto Lurjsa Pers.
Movkvdebi - ver vnahav
tsremlsa me mshobliurs, -
mis matsvlad tsa lurji
damaprkvevs tsvars tsiurs!
Samaras chamsa grew up
gars nisli moetsvas, -
Igitsa shestsiros
cyagma lurjsa tsas!
As we managed to establish, the formal component of “The Color Blue” (except for the size being identical in all stanzas) was the least of interest to its brilliant author. The first three stanzas are written in couplets, the second three - using cross rhymes. I had to think about the rhymes. The second couplets of the first and second stanzas turned out to be unrhymed, in the fourth stanza the concord connecting the second and fourth lines turned out to be not entirely accurate, and in the fifth stanza the first and third verses did not rhyme with each other. How to translate? On the one hand, there was a temptation to preserve the rhyme field of the original, on the other hand, there is a text by Pasternak with absolutely accurate rhymes. And the fact that my translation would be compared with Pasternak’s, in advance giving the palm to the classic, was beyond doubt. And since Pasternak, translating “The Color Blue,” conveyed the local agreement accurately, we had to allow some slack, that is, translate it the same way as he did.
And one last thing. The translation of my favorite poem by Baratashvili is a kind of low bow to Georgia, which was my home for almost two years when I served in the ranks Soviet army. Until now, my memory retains the names of the villages (Patara Lilo, Dili Lilo, Varketili); amazing Georgian hospitality (we, soldiers, could not pass by the rural holiday: they would drink and feed us); inimitable feasts, when you get drunk not so much from the magnificent wine, but from the festive union of souls. There was also a unique delicacy - pita bread with grapes, when there was an extra fifty dollars in a skinny soldier's wallet. There were also raids on the vineyards, when the gardeners, finding us there, not only did not take away what had already been collected for sidors, but also added a box or two of their own (“Soldier, just don’t steal. Come, ask, and we’ll give it ourselves!”). There were also unauthorized absences to beautiful Tbilisi, where, despite citizen(civilian clothes), they still recognized us as soldiers and let us go everywhere without a queue. There were also cable cars flying to Mount Mtatsminda, and a visit to Griboedov’s grave, and much more that will never be forgotten...
In pure azure color,
into the original light,
in a supra-worldly blue tone
I've been in love since my youth.
But also when my ardor
the veins have almost cooled down,
I'm with no one else
color incompatible.
Dear to me for a long time
turquoise eyes;
mesmerized by the sky
he beams with happiness.
My
thoughts of me on the air,
where, dissolving in love,
I will pour sapphire into the heavenly one.
Hardly a dear tear
my outcome will be sprinkled,
but there's dew on me
the sky will shed azure.
Darkness over my hill
will get up, but let her
there will be smoke like sacrifices,
ascended into the sky!
P.S. I express my deep gratitude and deep gratitude to Irina Sanadze, who gave the author of this article the happiness of working on the translation of “The Color Blue” by N. Baratashvili.
Lifshits Yuri Iosifovich. Genus. in 1957 Poet, translator, writer, member of the Union Russian writers. Translated seven plays by Shakespeare: Hamlet, Macbeth, King Lear, Romeo and Juliet, As You Like It, Twelfth Night, Much Ado About Nothing. Also translated by L. Carroll (“Alice in Wonderland”, “Alice Through the Looking Glass”, “The Hunting of the Snark”), A. Milne (“Winnie the Pooh”, “The Little House at Pooh Edge”), A. Rimbaud (“Drunken”) ship"), performed an arrangement of "The Tale of Igor's Campaign". Wrote the novel-CD “And We”, a manual “How to translate Shakespeare’s sonnets”.
1. Lifshits Yu. I. The Tale of Igor’s Campaign: Arrangement // Scientific. zap. Shevchenko Institute. Notebook No. 5. Orenburg, 1995.
2. Lifshits Yu. I. Notebook and Word and Shelf: Sat. poems Chernogolovka: Bogorodsky Printer, 2001.
3. Lifshits Yu. I. Poem about Nothing // newspaper “School Psychologist”, 2001, Moscow.
4. Shakespeare W. Sonnets 137, 152 / Trans. Yu. I. Lifshits // Shakespeare W. Sonnets: An Anthology of Modern Translations. St. Petersburg: ABC-classics, 2004.
5. Shakespeare W. Sonnets / Trans. Yu. I. Lifshits. Ekaterinburg, Ural University Publishing House, 2006.
6. Shakespeare W. Sonnets 19, 55, 66, 71, 73, 74, 90, 106, 116, 130 / Trans. Yu. I. Lifshitz // magazine “Vesi”, Ekaterinburg, 2007, No. 1, p. 48-49.
7. Carroll L. Hunting for the Snark / Transl. Yu. I. Lifshitz // Carroll L. Hunting for the Snark. St. Petersburg: ABC-classics, 2007.
8. Florya A.V., Lifshits Yu.I. The 66th sonnet of W. Shakespeare as presented by B.L. Pasternak // Bulletin of the Chelyabinsk State pedagogical university. - 2008. - No. 4. ISBN 1997-9886. pp. 323-333.
9. Lifshits Yu. I. “Blue Color” by Nikoloz Baratashvili translated by Boris Pasternak / M.: Literary Studies, 2009, No. 6. P. 125-135.
10. Shakespeare W. Hamlet / Trans. Yu. I. Lifshits. Production of the Chelyabinsk Youth Theater. Seasons 1991-92, 1992-93
Blue color Pasternak Baratashvili Siny Tsvet Pasternak Baratashvili
Uploaded 12/31/2010
The color is heavenly, blue. poetry full text video video. Poetry. A poem by the brilliant Georgian poet Nikolo (Nikoloz) Baratashvili, written in 1841. The author of this translation into Russian is the brilliant Russian poet Boris Pasternak, rare video rare video video HD The poem was written by Boris Pasternak in the period before 1938. Read by Gabriadze.
Siny Tsvet. Deep Blue Color. The best Georgian poetry is written by genius poet Nikolo Baratashvili and translated into Russian by genius Russian poet Boris Pasternak.Gabriadze is reading. rare video rare video video HD
Nikolo (Nikoloza) Baratashvili
Interlinear translation, literal translation into Russian, made by the modern Georgian poetess I. Sanadze.
IN sky color, blue color,
Pristine color
And unearthly [not of this world]
I'm with in love with my youth.
AND now that blood
I'm getting cold,
I swear I won't love you
Never different color.
IN eyes V beautiful
I'm heavenly in love color;
He, rich sky,
Radiates delight.
Duma - dream
Pulls me to the heavenly heights
So that melted from love [charm],
I merged with blue color.
I'll die and I won't see
Tears I'm dear
Instead the sky is blue
Sprinkle me with the dew of heaven.
When ogil mine
Will make fog,
Let him be sacrificed too
A ray [glow] to the blue sky!
1841
Boris Pasternak
Color of heaven, blue color poems full text video video
Heavenly color, blue color
Loved it I'm with small years.
IN childhood he told me meant
Sinev other began.
AND now that has reached
I peaks days theirs,
IN victim other colors
Blue Not I'll give it back.
He beautiful without embellishment.
This color loved ones eye.
This sight bottomless is yours,
Filled with blue.
This color my dreams.
This dye height.
In that blue solution
Immersed terrestrial space.
This easy transition
IN unknown from worries
And from crying relatives
On funeral mine.
This blue sparse
Frost over mine stove.
This gray winter smoke
Mists above name mine.
The poem was written before 1938.
http ://www. poezia. ru/article. php? sid=67283
Excellent teaching material for conducting classes at school, lyceum or university on the topic of Russian literature and history of the 19th and 20th centuries, Georgia and Russia, Georgian civilization, lyrical hero in Russian culture.
All rights belong to the copyright holders - the creators and owners of this work, and they are inalienable. Published only for the sake of saving and preserving the best works of Russian culture.
The author’s cultural and socio-political project “Charming Russia” by Alexander Bogdanov - “The spiritual life of Russian people in Russia of the 20th and 21st centuries” is an example of how, with the help of new information technologies can be saved, preserved and united best works, created in Russia, for the sake of a new life for these beautiful works in the general culture of our people.
siny_tsvet_pasternak_baratashvili_gabria dze.69.4m.wmv.wmv
russia, russia n culture, poetry, boris pasternak, siny tsvet, georgia, georgia n culture, nikolo baratashvili , Blue color, Nikolo Baratashvili, Russian poetry, Georgian poetry, Tbilisi, georgia, Georgia, Caucasus, gabriadze, gabriadze, tbilisi, video , video, color of heaven, tsvet heaven,
“The Color Blue” by Nikoloz Baratashvili, translated by Boris Pasternak
read by Boris Pasternak
Russian poet Boris Leonidovich Pasternak was born on January 29 (February 10, New Style) 1890 in Moscow and died on May 30, 1960 in Peredelkino from lung cancer. His entire life was seventy years, three months and twenty days.
The poem “Blue Color” (untitled in the original), written by N. Baratashvili in 1841 and translated by B. Pasternak no later than 1938, has long become in Russia a kind of calling card of the brilliant Georgian poet. When thinking about him, the lines “The color of heaven, the color blue / I fell in love from an early age…” spontaneously appear in my memory. Few people can remember Baratashvili’s other poems, but “The Color Blue” is known to absolutely all fans of Russian poetry. Before Pasternak, this poem was translated into Russian by V. Gaprindashvili, whose translation was published in 1922 in what was then Tiflis and, of course, could not reach the Russian public. In Georgia, Pasternak’s translation (as far as I know, there are simply no others) is known quite widely, although the attitude towards it is not as reverent as in Russia, but more jealous and biased. And, I must say, there are reasons for this. But more on that below.
Until now, none of the Russian critics had somehow thought to compare the original “The Color Blue” with its translation. There are, in my opinion, at least three reasons for this. First: the genius of Pasternak’s text, which I don’t even want to find fault with. The second is the reluctance of professional literary critics to spoil their reputation by criticizing a Russian classic. It is possible to understand them: the overwhelming majority of Russian philologists do not know the Georgian language, “The Blue Color” was translated long ago, the translation itself is not just a masterpiece, but a part of Russian culture. The third reason is the possible absence in Pasternak’s archives of precisely the interlinear translation from which the Russian poet translated the Georgian poet’s poem.
Maybe this will not seem entirely correct to some, but I intend to make a kind of experiment: compare Pasternak’s translation with someone else’s (almost word-for-word) interlinear translation, performed at my request by the poetess I. Sanadze, since I myself cannot boast of knowing the Georgian language. And although the interlinear translations of the same poem, compiled by different people at different times, can and should differ in some ways, in the main they must still coincide: the language in which the original poem was written has remained the same, no one has canceled explanatory dictionaries , and possible nuances of meaning in this case are unimportant. Especially with the approach (I will say, looking ahead) that Pasternak demonstrated, transposing the Georgian original into Russian poetry.
