Creation. school essays

Research

Interpretation of two translations

F. Schiller's ballad "The Glove"

Supervisor:

Repina Nadezhda Pavlovna, teacher of the highest qualification category

2011

CONTENT

Introduction………………………………………………………..p. 3

Chapter 1.Comparative analysis of the plot of F. Schiller's ballad

“Glove”………………………………………………………...p. 5

Chapter 2.Comparison of characters' images and author's attitude

to them.……………………………………………………………....With. 9

Chapter 3.Comparative analysis of translations of F. Schiller's ballad

“Glove”……………………………………………………....p. eleven

Conclusion………………………………………………………...p. 13

List of references…………………………….p.14

Introduction

Today, there is again a genuine interest in Western European lyric poetry of the early 19th century, including translations of works by European poets by Russian authors.

The literature of any country is composed of two elements: domestic literature and translated literature. In the modern era, truly significant works of all national literatures are translated into foreign languages and become fully part of the literatures of other peoples. To study and, if possible, adequately translate foreign literary works is our goal and main task.

Each literary work undergoes significant changes during the translation process, but this is not the main indicator of the quality of the newly created opus.

Also N.G. Chernyshevsky in 1857, in the preface to the collection “Schiller in Translations of Russian Poets,” wrote that Russian translated literature before Pushkin and Gogol was incomparably higher than the original, therefore much more attention should be paid to translated literature.

Studying literary translations of great authors of past centuries in literature lessons is an excellent opportunity not only to study the history and traditions of other peoples, but also to become familiar with global cultural values.

Russian authors of the early 19th century turned to the poetry of Schiller, Goethe and Heine because their romantic worldview was close to them. They were especially attracted to the ballad genre. (Ballad- a lyric epic work, that is, a story presented in poetic form, of a historical, mythical or heroic nature.).

One of the credits for introducing the Russian reader to the European ballad belongs to V. A. Zhukovsky. Ballad is his favorite genre. Zhukovsky translated the ballads of Goethe and Schiller so masterfully that his works could rightfully compete with the famous originals.

The ballad "" is one of the best works of V. A. Zhukovsky, written by him in 1831. It tells about the entertainments of the French court during the time of King Francis I and depicts the image of the knight Delorge, about whose amazing deeds there were many legends at that time.

M. Lermontov also turned to Western European lyrics, and in his work we also find translations of ballads by Goethe, Heine and Schiller, including the ballad “The Glove”.

The purpose of this study is give a comparative analysis of two translations of F. Schiller’s ballad “The Glove” (M. Lermontov and V. Zhukovsky), identify artistic originality translation data.

Tasks:

Get acquainted with the original version of Schiller’s ballad “The Glove” (in German) and identify the features of the interlinear translation.

Get acquainted with the translations of V. Zhukovsky and M. Lermontov of F. Schiller’s ballad and make a comparative analysis of them.

Chapter 1. Comparative analysis of the plot of F. Schiller’s ballad “The Glove”

Let's try to compare two poetic translations into Russian of the ballad of the great German poet I.F. Schiller "The Glove" by the classics of Russian poetry of the 19th century V.A. Zhukovsky and M.Yu. Lermontov.

F. Schiller took the plot of the ballad from Saint Foy's book; it describes a real incident that occurred at the court of King FrancisI. The theme of the plot is the shaming of a cruel beauty. The German poet paints readers a picture of medieval entertainment at the royal court with the participation of wild animals and a brave knight performing a feat in the name of a beautiful lady.

It would seem to be a completely traditional medieval plot. However, the ending of the ballad is unusual: the brave knight, having accomplished a brave but senseless feat, refuses the lady’s reward, behaves rudely and contemptuously towards the beauty.

The second part depicts wild animals that should instill real fear in the reader. Here there is a “shaggy lion”, and a “brave tiger”, and “two leopards”. The hero of the ballad faces real danger.

In the third part of the ballad, the image of a cruel and proud beauty appears, who, demanding worship, commands the knight to take her glove from the menagerie. The price of someone else's life is too small for her and she values herself too highly. The beauty tests Delorge in the lowest possible way. What is she waiting for? The fact that the hero will chicken out and, with the entire audience on the gas, refuse to take a reckless action? Or maybe that he will rush for the glove and amaze everyone with his devotion to the beauty?

Why did Schiller choose this particular historical plot for the ballad? Why did this particular ballad attract the attention of Russian poets?
Answers to these and other questions can be found by studying the life and work of great poets.

Johann Friedrich Schiller (1759 – 1805) - theorist of the art of education, founder of German classical literature.

The rebellious desire for freedom, the affirmation of human dignity, and hatred of the feudal order are already expressed in youthful dramatic works (“Cunning and Love”, “Robbers”). The clash of educational ideals with reality, interest in the social upheavals of the past determine the intense drama of his works. ("Don Carlos", "Mary Stuart"). Schiller creates the theory of "aesthetic education" as a way to achieve a just society.

Vasily Andreevich Zhukovsky (1783 – 1852) - author of elegies and ballads, translator of Schiller, Byron, Homer.

A sentimental romantic, who was characterized by the thought of the transcendental value of the individual, the clash between dreams and reality, and thoughts about untapped talent. Zhukovsky never expressed open protest, but his work, detached from the troubling issues of our time, is imbued with deep humanity. The poet retained impeccable honesty, moral independence and straightforwardness of character at court. Nothing could make him forget about “the holiest of titles: man.”

A. S. Pushkin prophetically said about Zhukovsky’s work:

His poems are captivatingly sweet

Centuries will pass in envious distance...

The great poet's prediction came true. And today we are reading the amazingly poetic ballads of Zhukovsky, a subtle lyricist and unsurpassed translator.

Mikhail Yuryevich Lermontov (1814 – 1841) is a great Russian poet, whose work developed after the Decembrist uprising.

Disappointment in reality, longing for the ideal of a free and rebellious personality fueled his early romantic poems and mature lyrics. The rebellion of the individual against the injustice of the “world order”, the tragedy of loneliness runs like a red thread through all of his work. In Lermontov's lyrics, socio-civil, philosophical and deeply personal motives are closely intertwined. He introduced verse into Russian poetry, marked by unprecedented energy of thought and melody.

Based on the above, we can conclude that all three poets are united by common moral values, which are based on the human personality. But still, Schiller and Lermontov are also united by a rebellious spirit and a desire to change the injustice of the social system.

I think that this is why the plot of the ballad became interesting to all three poets.

At first glance, when comparing the text of the original and the translations, it is clear that Zhukovsky’s text conveys the content of the ballad much more fully, while in Lermontov’s one one feels a more emotional intensity of passions, the action develops rapidly (although some lines are omitted).

Schiller, with German punctuality, adheres to the historical chronicle, names the names of the characters, but it seems that what is most important for him is the rebellion of the knight, who no longer wants to be a hostage to the traditions of medieval society.

Zhukovsky calls his version of the translation “story”, retains the names of the king and the knight, but the name of the lady (“beauty”) has no meaning for him.

For young Lermontov ("The Glove" is one of the first attempts at translation), all attention is concentrated on the personality of the young beauty, only her name is mentioned. But the reader feels that the author clearly sympathizes with the nameless noble knight and, perhaps, even associates himself with his hero.

F. Schiller pays great attention to the description of animals, their behavior in the arena, and their relationships. Perhaps this is a symbol of the hierarchical ladder of medieval society that was hated by the German poet:

Lion - tiger - leopards;

King - Duke - Knights?

Zhukovsky, being a masterly translator, tried to convey the description of animal behavior as accurately as possible, trying not to miss a single detail.

Lermontov limits himself to only mentioning the presence of a lion and a tiger in the arena. Obviously, this description does not have much meaning for the 15-year-old boy; all his attention is focused on the relationship between the loving knight and the beautiful lady.

It should be noted that later Mikhail Yuryevich very clearly and accurately described in “Mtsyri” snow leopard:

"……………. Suddenly on her

A shadow flashed and two lights

Sparks flew... and then

Some beast in one leap

He jumped out of the bowl and lay down,

While playing, lie down on the sand.

It was the desert's eternal guest -

Mighty leopard. Raw bone

He gnawed and squealed joyfully;

Then he fixed his bloody gaze,

Wagging its tail affectionately,

For a full month - and on it

The wool had a silvery sheen.

It is a pity that Lermontov did not consider it necessary to translate the description of the huge cats in detail. I think he would have done it expressively.

The image of the beautiful Cunegonde and her relationship with the knight Delorge is the most mysterious and controversial point ballads.

Schiller does not give a clear description of the relationship between the main characters; the address “Fraulein” indicates that Cunegonde is a young unmarried girl. She admires the knight's actions and is ready to generously reward the brave man.

Lermontov uses the wonderful, purely Russian concept of “maiden” in relation to Cunegonde; the relationship between the lady and the knight is more defined, emotional and romantic (“…..And suddenly turning to his knight ..."). The hero’s return was also greeted enthusiastically: “...And a gentle, glowing look - A pledge of short-term happiness …."

The protest of a noble knight against such a cruel and senseless test is a gauntlet thrown in the face of a lady - the climactic denouement is reflected in both translations. But in Lermontov, the ending is determined by the angry line: “...cruel vexation blazing on fire ... ", and in Zhukovsky the knight behaves more restrained.

Chapter 2. Comparison of the images of heroes and the author’s attitude towards them.

How do poets translate words and expressions that characterize heroes, their actions, their feelings? How can the author's attitude be traced in this? What words disappear in translation? Which ones are added? What changes does this make?
In Zhukovsky, the relationships between the characters are closer (“You », « my knight is faithful "), but the lady is hypocritical, cold, and in the end only friendly; in Lermontov, the lady openly tests her admirer (one of many) and after the knight’s act is full of love. In this Lermontov is closer to the original.

The hero of the ballad responds to the words of the vain lady with a courageous act:

Delorge, without answering a word,

He goes to the animals

He boldly takes the glove

And returns to the meeting again.

The knight behaves with restraint and composure. He's proud. He is not alien to self-esteem, and this explains his behavior at the end of the ballad. Delorge does not need the beauty’s gratitude, because he perceives her act as an attempt at humiliation and wants to show her that she has no right to play with human life.

Lermontov's knight is more youthful, hot-tempered, and impetuous than Zhukovsky and Schiller's. Phrase "I don't need your gratitude " sounds more "offended" and "scandalous" than "I don't want a reward " That is why Lermontov must add: “And he immediately left the proud one “, and in Zhukovsky, the knight uttered such words with such strength and dignity, after which there is nothing more to add. Schiller's hero in this case is more “neutral”. The moment is especially significant when the translators add characteristics of the state of a knight returning from the arena that are missing from Schiller: in Zhukovsky he is cold, and in Lermontov he is burning in the fire of vexation.

Lermontov's heroine is perceived by the reader as a spoiled and eccentric girl, and her act is only a fleeting, playful idea. She doesn't think about the consequences of her words. She dropped the glove, obviously unintentionally: “...Fate is a random game ..." However, the words: "...Knight, I love to torture hearts, ....", make it clear that she does not understand the feelings that the knight has for her. Perhaps the image of the beautiful but cruel Cunegonde became for Lermontov the personification of the secular ladies of his time: beautiful and cold.

Zhukovsky, the translator, does not retain the name of the heroine from the original work - Cunegonde, and this is his assessment of the beauty’s act. She is soulless and cold.

Zhukovsky in his translation does not even indicate Family status“beauties”, there is no hint of the characters’ relationship, but the lady’s action is clearly characterized (“...his beauty looks with a hypocritical and caustic smile ...."). One gets the impression that the lady is clearly older and more experienced than her admirer, and her action was completely deliberate.

Based on this, we can conclude that we meet Schiller’s knight in Zhukovsky’s translation, and Schiller’s lady in Lermontov’s translation. But Zhukovsky’s lady and Lermontov’s knight are “our own”, not the same as in the original. This reveals the question of why in Schiller both heroes are named, while Zhukovsky leaves the lady nameless and Lermontov the knight.

But this issue does not and cannot have an unambiguous solution. However, it leads to important reflections both on Schiller's ballad and on translation interpretation as such. Reflecting on this, we can assume that:

1. Each translator leaves the name of the hero he took from the author. And he comes up with the second hero himself; he is not the same as Schiller’s, so the author leaves him nameless.

2. Each translator leaves the name of the hero whose action is more important to him. Zhukovsky writes more about the deed of a knight, and Lermontov - about the deed of a lady.

3. Lermontov writes more of a lyrical poem, so his knight is himself, and the poet does not give him a name.

Chapter 3. Comparative analysis of translations of F. Schiller’s ballad “The Glove”

By comparing the two translations, we are convinced that the two translations are two different texts. Different in mood, in the pictures they evoke in the reader’s imagination, in the author’s attitude towards the characters and their actions. We also saw the characters in the ballad differently. Zhukovsky's heroes seem older to them than Lermontov's. Zhukovsky’s beauty is hypocritical and cold and takes the knight’s action for granted, while the knight is self-possessed and full of self-esteem; Lermontov's lady is a frivolous coquette, whose heart, however, is inflamed with love from the knight's act, and he himself is young and impetuous. At the end of the ballad, Zhukovsky’s knight acts outwardly calmly, making a deliberate decision and not betraying any excitement of passions. He throws his glove in the beauty's face, "coldly accepting greetings from her eyes “And Lermontov’s hero is seized by a fit of despair, simply offended by the behavior of his lady,”cruel vexation blazing on fire ».

If you make a literal translation like Schiller’s, you will notice a significant distance between both translations and Schiller’s text. It can be noted that “substantively” Zhukovsky turns out to be closer to Schiller, and “musically” Lermontov.

However, we will be able to see both the deviations and their causes and consequences more clearly only after a detailed comparative analysis of the three texts.

After which we can conclude that Zhukovsky’s four Schiller scenes depicting the exit of animals merge into one. Hence, the impression of the animals coming out, which shows the danger of the task facing the knight, is somewhat reduced; the “cinematography” of the scene, its “picturesqueness” decreases. In Lermontov, the scene of the animals coming out is generally significantly reduced, their number decreases. The emphasis in the ballad shifts to the dialogue between the knight and the lady. But the fall of the glove stands out as a separate picture (“frame”), again emphasizing the most important conflict for Lermontov.

In Schiller, the image of danger is expressed both through composition (unfolding of paintings) and through vocabulary; Lermontov creates tension with vocabulary - epithets characterizing animals; Zhukovsky is more epic and restrained than Lermontov and Schiller.

Each translation is good in its own way. Lermontov tried to preserve the rhythm and size of the verse as much as possible, but shortened a lot, added drama, energy and personal attitude. Zhukovsky tried to convey the full content as accurately as possible, but, being a master in the genre of creating ballads, he created his own rhythm, more familiar to the Russian ear; one’s own attitude towards the characters is not clearly expressed.
However, none of the translators could do without traditional Russian vocabulary in the descriptions: "girl ", ".. enchanting the blooming beauty …", " young knight ", " hello from her eyes ".

When comparing translations, the question arises: “Why does Zhukovsky give the subtitle “Tale”, which Schiller does not have?” It turns out that in Schiller the epic (narrative) and lyrical (subjective-personal, emotional) beginnings of the ballad are in relative balance, while Zhukovsky strengthens the narrative beginning. But Lermontov’s ballad is more like a lyric poem, and its hero is more like the poet himself.

It can also be said that in the era of Lermontov and Zhukovsky there was no such boundary between one’s own and the translated as there is now. Zhukovsky said that almost everything was translated and, at the same time, everything was his: the poet translated what was close to him, and in the way he understood it - and therefore expressed his soul in poetry, first of all.

Conclusion

We again come to the idea that the two translations give a different picture of the original text. And the final question in this regard is: “Why did two poets, equally proficient in both language and poetic skill, translate one poem so differently?”

Answering this question, we can say that the translator translates the text as he understands, sees, feels; he identifies and brings to the fore what personally touches and excites him; it does not copy, but transforms the original text.

The question of the boundaries of freedom in literary translation arises especially acutely when the translator is great poet, since such translations, as a rule, are characterized by the least accuracy, but most captivate the reader with talent, beauty and poetic power. No wonder V. A. Zhukovsky said that a translator in prose is a slave, and in poetry he is a rival.

Thus, comparing translations and turning to the interlinear translation when studying Schiller’s ballad helped me to better understand the work being studied, to realize the features of the ballad as a lyric-epic genre, and also gave me an idea of the features of the poetic world of Zhukovsky and Lermontov, which I have yet to come into contact with in the future.

Personally, my perception is closer to Vasily Andreevich’s translation. His text is more poetic, more accurate and Russified. But, if you want to understand a poetic work absolutely accurately, you should read it only in the original. No one can convey his thoughts to the reader better than the author.
It's worth learning languages for such pleasure.

Bibliography

Zhukovsky V.A.Ballads, poems and fairy tales. - M.: Pravda, 1982.

Lermontov M.Yu. Selected works. – M.: Children's literature, 1977.

"I'm exploring the world." – Publishing house “Prosveshcheniye”, 1998

"Poetic Russia". – Soviet Russia, 1974

Shamanskaya L.P.Zhukovsky and Schiller: poetic translation in the context of Russian literature. - M., 2000.

Danilevsky R.Yu.Schiller in Russian lyric poetry of the 1820s–1830s // Russian literature.1976. № 4.

Ermolenko S. I. Lyrics by M. Yu. Lermontov: genre processes. Ekaterinburg, 1996.

Andronikov I. L. Lermontov: research and findings. M., 1977.

Application.

Translation by M. Lermontov. "Glove"

The nobles stood in a crowd
And silently they waited for the spectacle;
Sitting between them
The king is majestically on the throne;
All around on the high balcony
The beautiful choir of ladies sparkled.

Here they heed the royal sign.
The creaky door opens,
And the lion comes out of the steppe
Heavy foot.
And suddenly silently
Looks around.
Yawning lazily
Shaking his yellow mane
And, having looked at everyone,
The lion lies down.
And the king waved again,
And the tiger is harsh
With a wild leap
Dangerous took off
And, having met a lion,
Howled terribly;
He beats his tail

After
Quietly he goes around the owner,
The bloody eyes do not move...
But a slave is before his master
Grumbles and gets angry in vain

And involuntarily lies down
He's next to him.
Then fall from above
Glove from a beautiful hand
Fate is a random game
Between a hostile couple.

And suddenly turning to his knight,
Cunegonde said, laughing slyly:
“Knight, I love to torture hearts.
If your love is so strong,
As you tell me every hour,
Then lift up my glove!”
And the knight runs from the balcony in a minute,
And he boldly enters the circle,
He looks at the glove between the wild animals
And he raises his bold hand.

And the spectators are around in timid anticipation,
Trembling, they look at the young man in silence.
But then he brings the glove back.
Praise flies out from everywhere,
And a gentle, flaming look -
A pledge of short-term happiness -
He meets the hero with the girl's hand.
But cruel vexation blazing in the fire,
He threw the glove in her face:
“I don’t need your gratitude!”
And he immediately left the proud one.

Translation by V. Zhukovsky. "Glove"

In front of your menagerie,
With the barons, with the crown prince,
King Francis was seated;
From a high balcony he looked
In the field, awaiting battle;
Behind the king, enchanting
Blooming beauty look,
There was a magnificent row of court ladies.
The king gave a sign with his hand -
The door opened with a knock,
And a formidable beast
With a huge head
Shaggy lion
Goes out;
He rolls his eyes around sullenly;
And so, having looked at everything,
Wrinkled his forehead with a proud posture,
He moved his thick mane,
And he stretched and yawned,
And lay down. The king waved his hand again -
Gate iron door thundered
And the brave tiger jumped out from behind the bars;
But he sees a lion, becomes timid and roars,
Hitting himself in the ribs with his tail,
And sneaks, glancing sideways,
And licks his face with his tongue,
And, having walked around the lion,
He growls and lies down next to him.
And for the third time the king waved his hand -
Two leopards as a friendly couple
In one leap we found ourselves above the tiger;
But he gave them a blow with a heavy paw,
And the lion stood up roaring...
They resigned themselves
Baring their teeth, they walked away,
And they growled and lay down.
And the guests are waiting for the battle to begin.
Suddenly a woman fell from the balcony
The glove... everyone is watching it...
She fell among the animals.
Then on the knight Delorge with the hypocritical
And he looks with a caustic smile
His beauty says:
"When me, my faithful knight,
You love the way you say
You will return the glove to me."
Delorge, without answering a word,
He goes to the animals
He boldly takes the glove
And returns to the meeting again.
The knights and ladies have such audacity
My heart was clouded with fear;
And the knight is young,
As if nothing happened to him
Calmly ascends to the balcony;
He was greeted with applause;
He is greeted by beautiful glances...
But, having coldly accepted the greetings of her eyes,
A glove in her face
He quit and said: “I don’t demand a reward.”

Der Handschuh

Glove (interlinear)

Vor seinem Lowengarten,
Das Kampfspiel
zu erwarten,
Saβ König Franz,
Und um ihn die Groβ en
der Krone,
Und rings auf dem
Balkone

In front of your lion garden,
Waiting for the battle (fighting game),
King Franz sits
And around him are the most important people of the kingdom,
And they sit on the balcony

Die Damen in Schönem Kranz.

Ladies are a wonderful crown.

Und wie er winkt mit dem Finger,

And as soon as he lifts a finger,
The cage opens

Auftut sich der weite Zwinger,
Und hinein mit bedächtigem Schritt
Ein Lowe tritt
Und sieht sich stumm
Rings um
Mit langem Gahnen
Und schüttelt die Mähnen
Und streckt die Glieder
Und legt sich nieder.
Und der König winkt
Wieder,

And inside with a cautious step
The lion enters
And looking around silently
Around
With a long yawn,
Shakes his mane
And stretches out its paws,
And he lies down.
And the king waves again
(finger)
They open up quickly there
Second gate
From there it rushes

Da öffnet sich behind

In a wild leap

Ein zweites Tor,

Tiger out.

Daraus rent

As soon as he sees the lion,

Mit wildem Sprunge

Roars loudly

Ein Tiger hervor.

Beats his tail

Wie der den Lowen schaut,

Drawing terrible figures for them,

Bröllt er laut,

And sticks out his tongue

Schlägt mit dem Schweif

Timidly walking around the lion,

Einen furchtbaren Reif

Growling furiously;
Then he stretches out, grumbling,

Und recket die Zunge,

Aside.

Und im Kreise scheu

Umgeht er den Leu

And the king waves again,

Grimmig schnurrend;

Two opened doors
Houses

Darauf streckt er sich murrend

They spit out two at once
leopards
They, wanting a fight, attack

Zur Seite nieder.

bravely
On the tiger;

Und der König winkt wieder,

He knocks them over with his
with fierce paws,

Da speit das doppelt geöffnete Haus

And the lion with a roar
rises, becomes

Zwei Leoparden auf

quiet;

einmal aus,

And there in a circle,

Die störzen mit mutiger Kampfbegier

Where in the murderous passion
Terrible cats settled down,

Auf das Tigertier;
Das packt sie mit seinen

Falls there from the edge of the terrace

grimmigen Tatzen,

Glove from a beautiful hand

Und der Leu mit Gebröll

Between a tiger and a lion

Richtet sich auf, da wird’s still;

In the middle.

Und herum im Kreis,
Von Mordsucht heiβ ,

And to the knight Delorge,
mocking
Fraulein Cunegonde addresses:
“Mr. Knight, is it so hot

Lagern die greulichen Katzen.

Your love,
How you swear to me every hour,

Da fällt von des Altans Rand

Pick up the glove for me!”

Ein Handschuh von Schöner Hand
Zwischen den Tiger und den Leun
Mitten hinein.

And the knight
Goes down into the terrible
cell

Und zu Ritter Delorges,

With a firm step,

spottender Weiss,

And from the monstrous middle

Wendet sich Fraulein Kunigund:

Quick movement

"Herr Ritter, ist Eure Liebe so heiβ ,

He takes the glove with a bold hand.

Wie Ihr mir's schwört zu jeder Stund,

And with surprise and horror

Ei so hebt mir den Handschuh auf!”
Und der Ritter in Schnellem Lauf
Steigt hinab in den furchtbaren

Knights and noble ladies are watching,
And coolly he returns with the glove.

Zwinger

There sounds praise for him from

Mit festem Schritte

every mouth

Und aus der Ungeheuer

But tender loving

Mitte

glance,

Nimmt er den Handschuh mit keckem Finger.

Promising him close happiness,
The fraulein receives him
Cunegonde.

Und mit Erstaunen und mit Grauen

And he throws the glove in her face:

Sehens die Ritter und Edelfrauen,
Und gelassen bringt er den Handschuh zurück.
Da schallt ihm sein Lob aus jedem Munde,
Aber mit zärtlichem Liebesblick -
Er verheiβ t ihm sein nahes Glück -
Empfängt ihn Fraulein Kunigunde.
Und er wirft ihr den Handschuh ins Gesicht:
“Den Dank, Dame, begehr’ ich nicht!”
Und verlässt sie zur selben Stunde.

“Gratitude, lady, I don’t demand!”
And immediately leaves her.

GLOVE

The king gave a sign with his hand -
The door opened with a knock:
And a formidable beast
With a huge head
Shaggy lion
Goes out;
He rolls his eyes around sullenly;
And so, having looked at everything,
Wrinkled his forehead with a proud posture,
He moved his thick mane,
And he stretched and yawned,
And he lay down. The king waved his hand again -
The shutter of the iron door banged,
And the brave tiger jumped out from behind bars;
But he sees a lion, becomes shy and roars,
He hits himself in the ribs with his tail,
And sneaks, glancing sideways,
And licks his face with his tongue,
And, having walked around the lion,
He growls and lies down next to him.
And for the third time the king waved his hand -
Two leopards as a friendly couple
In one leap we found ourselves above the tiger;
But he gave them a blow with a heavy paw,
And the lion stood up roaring...
They resigned themselves
Baring their teeth, they walked away,
And they growled and lay down.

And the guests are waiting for the battle to begin...
Suddenly a woman fell from the balcony
The glove... everyone is watching it...
She fell among the animals.
Then on the knight Delorge with the hypocritical
And he looks with a caustic smile
His beauty says:
"When me, my faithful knight,
You love the way you say
You will return the glove to me."

Delorge, without answering a word,
He goes to the animals
He boldly takes the glove
And returns to the meeting again.

The knights and ladies have such audacity
My heart was clouded with fear;
And the knight is young,
As if nothing happened to him
Calmly ascends to the balcony;
He was greeted with applause;
He is greeted by beautiful glances...
But, having coldly accepted the greetings of her eyes,
A glove in her face
He quit and said: “I don’t demand a reward.”

Translation - V. A. Zhukovsky

in German

Vor seinem Lowengarten,
Das Kampfspiel zu erwarten,
Saß König Franz,
Und um ihn die Großen der Krone,
Und rings auf hohem Balkone
Die Damen in Schönem Kranz.

Und wie er winkt mit dem Finger,
Auf tut sich der weite Zwinger,
Und hinein mit bedächtigem Schritt
Ein Lowe tritt,
Und sieht sich stumm
Rings um
Mit langem Gähnen,
Und schüttelt die Mähnen,
Und streckt die Glieder,
Und legt sich nieder.

Und der König winkt wieder,
Da öffnet sich behend
Ein zweites Tor,
Daraus rent
Mit wildem Sprunge
Ein Tiger hervor.
Wie der den Löwen erschaut,
Brüllt er laut,
Schlägt mit dem Schweif
Einen furchtbaren Reif,
Und recket die Zunge,
Und im Kreise scheu
Umgeht er den Leu
Grimmig schnurrend;
Drauf streckt er sich murrend
Zur Seite nieder.
Und der König winkt wieder,
Da speit das doppelt geöffnete Haus
Zwei Leoparden auf einmal aus,
Die stürzen mit mutiger Kampfbegier
Auf das Tigertier,
Das packt sie mit seinen grimmigen Tatzen,
Und der Leu mit Gebrüll
Richtet sich auf, da wilds still,
Und herum im Kreis,
Von Mordsucht heiß,
Lagern die greulichen Katzen.

Da fällt von des Altans Rand
Ein Handschuh von Schöner Hand
Zwischen den Tiger und den Leun
Mitten hinein.

Und zu Ritter Delorges spottenderweis
Wendet sich Fraulein Kunigund:
"Herr Ritter, ist Eure Lieb so heiß,
Wie Ihr mirs schwört zu jeder Stund,
Ei, so hebt mir den Handschuh auf.”

Und der Ritter in Schnellem Lauf
Steigt hinab in den furchtbarn Zwinger
Mit festem Schritte,
Und aus der Ungeheuer Mitte
Nimmt er den Handschuh mit keckem Finger.

Und mit Erstaunen und mit Grauen
Sehens die Ritter und Edelfrauen,
Und gelassen bringt er den Handschuh zurück.
Da schallt ihm sein Lob aus jedem Munde,
Aber mit zärtlichem Liebesblick –
Er verheißt ihm sein nahes Glück –
Empfängt ihn Fraulein Kunigunde.
Und er wirft ihr den Handschuh ins Gesicht:
"Den Dank, Dame, begehr ich nicht",
Und verläßt sie zur selben Stunde.

annotation

Literature lesson notes for 6th grade.

Topic in work program: “Extracurricular reading lesson. V.A. Zhukovsky “The Glove” (F. Schiller).”

Sources:

Literature. Grade 6: lesson plans based on the textbook edited by V. Ya. Korovina / Author-comp. Shadrina S. B. – M.: Uchitel, 2012.
Marantsman V. G. Literature. 6th grade. Guidelines/prosv.ru

I. F. Schiller’s ballad “The Glove” in translations by V. A. Zhukovsky and

M. Yu. Lermontova

Goals:

expand students’ understanding of foreign literature;
update knowledge about the concept of “ballad”;
develop text analysis skills, artistic analysis text and comparative analysis.

Equipment: textbook of literature, ed. G.I. Belenky, notebook, handouts (texts of 2 ballads), presentation Presentation for the lesson on Schiller.ppt (1.3 MB)

During the classes:

Organizing time.
Work on the topic of the lesson.

Teacher's word. We will read the ballad “The Glove” in two translations: by M. Yu. Lermontov and V. A. Zhukovsky. How old was Lermontov when he translated this ballad in 1829? The year of birth of M. Yu. Lermontov is 1814.

How old was Zhukovsky, whose translation was made in 1831? The year of birth of V. A. Zhukovsky is 1783.

Question to the class: why is it important for us to know how old the translators were?

V. A. Zhukovsky in 1831 was the most famous Russian poet and experienced translator.

M. Yu. Lermontov, although he was fluent in French and German by this time, was just finishing his home education and preparing to study at the university. He was only 15 years old.

Translations of F. Schiller's ballad "The Glove" are read by the teacher.

Conversation based on the text by V. A. Zhukovsky:

At what time do you think such events could take place?

Answer: Middle Ages. A knight could declare a girl or woman from a noble family as his Beautiful Lady, perform in knightly tournaments in her honor, and compose and perform songs. A knight who declared a girl or woman his Beautiful Lady swore an oath to serve her, fulfilling any of her desires. Ladies, according to the customs of that time, favorably accepted the attention of knights. Just as in Ancient Rome gladiator fights were the custom, so in the Middle Ages knightly tournaments were organized, and kings could maintain their own menageries in order to set animals against each other and amuse themselves with this spectacle.

How do you imagine the place where the ballad takes place?
What kind of lady do you imagine? Knight? (Pay attention to age, appearance, color of clothing.) If you were making a film, how would the lady and knight appear in it?
Everyone admired the audacity and courage of the knight who went down to the wild animals. Do you admire this act?
Why did the knight, “coldly accepting the greeting” of the beauty’s eyes, throw his glove in her face? What did she want to achieve by sending the young man who loved her to the animals? What in her words offended the knight?
Why is the ballad called “The Glove”? What does the glove symbolize (traditionally and in this ballad)?

Let's read the translation M. Yu. Lermontova.

Question to the class: how does M. Yu. Lermontov’s translation differ from V. A. Zhukovsky’s translation?

Comparison of the composition (writing in a notebook):

*Zhukovsky*	*Lermontov*
	1. King and ladies on the balcony (exposition).
2. The appearance of animals (lion, tiger, leopards).	2. The appearance of a lion.
3. The glove falls and the lady is “challenged”.	3. The appearance of the tiger and his meeting with the lion.
4. Knight in the arena.	4. Glove drop
5. Return of the glove	5. “Challenge” the lady.
	6. Knight in the arena.
	7. Return of the glove

Conversation:

Find the words spoken by the girl in two translations. Is there a difference in their meaning? If yes, which one?
How do the two poets talk about the return of the knight with the gauntlet and his bitter words?
Which translation speaks more expressively about the game of human life? In which translation does the knight’s answer sound brighter and sharper? Explain why you think so.
Which translation do you find more dynamic and intense? Why? What role does different line lengths play in M. Yu. Lermontov’s translation?

Reflection on a problematic issue:Why does Zhukovsky leave the lady nameless, and Lermontov the knight?(By the way, in Schiller both heroes are named.)

Possible answers:

1. Each translator leaves the name of the hero he took from the author. And he comes up with the second hero himself; he is not the same as Schiller’s, so the author leaves him nameless.

2. Each translator leaves the name of the hero whose action is more important to him. Zhukovsky writes, rather, about the deed of a knight, and Lermontov - about the deed of a lady.

3. Lermontov writes, rather, a lyrical poem, so his knight is himself, and the poet does not give him a name.

Let's try to draw a conclusion: why did two poets, equally fluent in both language and poetic skill, translate one poem so differently?

The translator translates the text as he understands, sees, feels; he identifies and brings to the fore what personally touches and excites him; it does not copy, but transforms the original text. This is especially true in the case when the translator is himself a great poet with his own creative individuality.

It can also be said that in the era of Lermontov and Zhukovsky there was no such boundary between one’s own and the translated as there is now. All educated people who read Zhukovsky and Lermontov knew German and could read Schiller in the original. Therefore, the translation introduced them rather not to Schiller, but to Zhukovsky and Lermontov.

3. Summing up the lesson, grading.

4. Homework: reading of A.N. Maykov’s ballad “Emshan”. Oral message “Impression of the ballad I read.” Answers to questions from the textbook reference material about A.N. Maikov.

Application

Glove

Tale (Translation by V. Zhukovsky)

In front of your menagerie,

With the barons, with the crown prince,

King Francis was seated;

From a high balcony he looked

In the field, awaiting battle;

Behind the king, enchanting

Blooming beauty look,

There was a magnificent row of court ladies.

The king gave a sign with his hand -

The door opened with a knock,

And a formidable beast

With a huge head

Shaggy lion

He rolls his eyes around sullenly;

And so, having looked at everything,

Wrinkled his forehead with a proud posture,

He moved his thick mane,

And he stretched and yawned,

And lay down. The king waved his hand again -

The shutter of the iron door banged,

And the brave tiger jumped out from behind the bars;

But he sees a lion, becomes timid and roars,

Hitting himself in the ribs with his tail,

And sneaks, glancing sideways,

And licks his face with his tongue,

And, having walked around the lion,

He growls and lies down next to him.

And for the third time the king waved his hand -

Two leopards as a friendly couple

In one leap we found ourselves above the tiger;

But he gave them a blow with a heavy paw,

And the lion stood up roaring...

They resigned themselves

Baring their teeth, they walked away,

And they growled and lay down.

And the guests are waiting for the battle to begin.

Suddenly a woman fell from the balcony

The glove... everyone is watching it...

She fell among the animals.

Then on the knight Delorge with the hypocritical

And he looks with a caustic smile

His beauty says:

"When me, my faithful knight,

You love the way you say

You will return the glove to me."

Delorge, without answering a word,

He goes to the animals

He boldly takes the glove

And returns to the meeting again.

The knights and ladies have such audacity

My heart was clouded with fear;

And the knight is young,

As if nothing happened to him

Calmly ascends to the balcony;

He was greeted with applause;

He is greeted by beautiful glances...

But, having coldly accepted the greetings of her eyes,

A glove in her face

He quit and said: “I don’t demand a reward.”

Glove

(From Schiller)

Translation by M.Yu. Lermontov

The nobles stood in a crowd

And silently they waited for the spectacle;

Sitting between them

The king is majestically on the throne:

All around on the high balcony

The beautiful choir of ladies sparkled.

And the king waved again,

And the tiger is harsh

With a wild leap

The dangerous one took off,

And meeting a lion,

Then fall from above

Glove from a beautiful hand

Fate is a random game

Between a hostile couple.

And suddenly turning to his knight,

Cunegonde said, laughing slyly:

“Knight, I love to torture hearts.

If your love is so strong,

As you tell me every hour,

Then lift up my glove!"

And the knight runs from the balcony in a minute

And he boldly enters the circle,

He looks at the glove between the wild animals

And he raises his bold hand.

And the spectators are around in timid anticipation,

Trembling, they look at the young man in silence.

But now he brings the glove back,

Praise flies out from everywhere,

And a gentle, flaming look -

A pledge of short-term happiness -

He meets the hero with the girl's hand.

But cruel vexation blazing in the fire,

He threw the glove in her face:

“I don’t need your gratitude!”

And he immediately left the proud one.

Ballads are not only a fairy-tale story about fatal love or personal drama. This genre often describes legends and curious incidents - anecdotes. One of the most famous works This kind of work is Schiller’s “The Glove,” which was very popular among Russian poets and translators of the 19th century. V.A. Zhukovsky, who had a great interest in German ballads, also did not ignore this poem.

The plot of the ballad is based on historical fact. King Francis I, who ruled in France, loved to entertain his subjects with bloody entertainment. On one of these evenings, the court lady Cunegonde, famous for her beauty and cruel heart, drops her gauntlet into the arena with wild animals in order to test her faithful knight Delorge. This anecdote attracted Schiller at the end of the 18th century.

Translations of ballads of German poets V.A. Zhukovsky was engaged in the mature period of his work, in particular, this ballad was first published in 1831. Zhukovsky’s text is as close as possible to the original, although it has compositional and rhythmic differences, and V.K. Kuchelbecker considered this interpretation an “exemplary translation,” which is fully proven by the analysis of the poem “The Glove.”

Genre and size

Features of speech different languages cannot but affect the translation. What looks conversational and narrative in German sounds better in iambic on Russian soil. So Zhukovsky chooses for his translation a free iambic with a varying number of feet in verse.

The definition of the “Gloves” genre causes a lot of controversy. The original author gave the subtitle “story,” perhaps trying to indicate the authenticity of the events described. Zhukovsky drew attention to the narrative nature of the work and gave an appropriate definition of the genre.

There are few direct references specifically to the ballad in “The Glove.” There are no traditional mystical motives here, there is only a love conflict and unusual circumstances under which the action takes place. Rather, this is an anecdote in its literary, rather than generally accepted, meaning, since there is an interesting short story told in a special manner.

Direction

The era of romanticism awakens interest not only in folk art, but also in the development of existing historical sketches and legends. So in 1797, Schiller created the ballad “The Diver,” which is based on the legend of Nikolaus Pesce, a Sicilian diver. A little later he writes “The Glove,” which, according to Goethe, is “a successful parallel and antithesis” to “The Diver.” V.A. Zhukovsky translated both of these ballads into Russian; “Diver” in his interpretation was called “Cup”.

The ballad “The Glove” occupies a special place in Russian literature. In addition to Zhukovsky, it was translated by M. Zagorsky, N. Devite, but the adaptation by M.Yu. deserves special attention. Lermontov. In his version, the conflict is presented much more sharply, the name of the fatal beauty is not omitted, and the characters’ characters are written out more clearly.

The main characters and their characteristics

Comparing Zhukovsky’s translation of “The Glove” with Lermontov’s interpretation allows us to more deeply understand the characters of the main characters. For example, if Zhukovsky’s character just throws down the gauntlet with the words “I don’t demand a reward,” then in Lermontov the wounded knight “immediately” leaves the narcissistic Cunegonde.

Zhukovsky gives an accurate description of the cruel beauty: she “looks with a hypocritical // And caustic smile” at her admirer. Cunegonde laughs at his love; for her it is only satisfaction of self-esteem.
Delorge is a knight of honor and dignity, he will not allow his heart to be treated like a toy. He openly expresses his feelings and commits, perhaps, the wisest and most worthy act within the framework of the ethics of romanticism. Having raised his glove, he does not lose his dignity: the knight accomplishes a kind of feat! Proudly returning the glove to its owner, he lets her know that he no longer intends to let her play with his feelings.

Themes

Pride. The beautiful Cunegonde is proud of her beauty and believes that she is allowed a lot. She is flattered that many fans are ready to fall at her feet, but a miscalculation awaits her. Delorge is courageous and strong in spirit. He knows what manhood is and what to do so as not to lose face.
Dignity. The ballad raises the issue of honor and dignity, condemning the admiration for the thoughtless entertainment of the “powers of this world.” Undoubtedly, the daredevil's entry into the arena among the predators added to the spectacle of the performance. It is cruel to play with the lives of wild animals, but risking human life is the limit of bloodthirstiness.
Tyranny and indifference. The beauty, bored in her idleness, is deprived of all feelings. The lack of humanity in her knows no bounds: she is ready to risk the life of the person who loves her to satisfy her naive curiosity.
Love. Delorge is in love with Cunegonde and is ready to do anything to prove it. The beauty cleverly takes advantage of this, but goes too far. Perhaps she will regret her cruelty, but the story ends with the scene of the return of the ill-fated glove.

Idea

The debunking of courtly ideals was relevant even in the era of classicism. Romanticism has a completely different idea of love, does not tolerate oppression of the individual and tyranny of rulers, so such a plot was very attractive to V.A. Zhukovsky and other poets. The idea of heroism for the sake of love is presented here in a completely different way. Delorge is not able to disinterestedly, as in the code of chivalry, have a platonic feeling for Cunegonde and endure all her whims. The incident in "The Glove" is viewed from the perspective of romanticism. For the hero, there is a risk for the sake of love, and there is the satisfaction of an eccentric lady who does not even value human life. Cunegonde remained defeated and disgraced in the eyes of the world - it is difficult to imagine a more cruel punishment for her.

Interesting? Save it on your wall!

Schiller was born into the family of a regimental doctor. As a child he was sent to a closed educational institution- Military Academy founded by the Duke of Württemberg. The purpose of the Academy was to educate obedient servants to the throne. Schiller spent many years on this “slave plantation.” From here he endured a burning hatred of despotism and a love of freedom. After graduating from the Academy, where he studied medicine, Schiller was forced to accept a position as a doctor in a military garrison, but did not give up his dream of devoting himself to literature.

The play “The Robbers,” written at the Academy, was accepted for production in the then famous Mannheim Theater in 1782. Schiller really wanted to attend the premiere of his play, but he knew in advance that he would be denied leave, and therefore secretly went to Mannheim, which was not subject to the Duke of Württemberg. For violating the garrison service regulations, Schiller served two weeks in prison. Here he made his final decision regarding his future fate. On an autumn night in 1782, he secretly leaves the duchy, never to return there again. From this time on, years of wandering, deprivation, and need begin, but at the same time, years filled with persistent literary work. In the early period of his work, Schiller created works filled with protest against arbitrariness and tyranny.

In the summer of 1799, the writer’s wanderings ended: he moved permanently to Weimar, which became the largest cultural center in Germany. In Weimar, Schiller intensively studied history, philosophy, aesthetics, replenishing the knowledge that he felt he lacked. Over time, Schiller became one of the most educated people of his era and for a long time even taught history at one of the largest German universities.

Schiller left a rich creative heritage. These are lyrical and philosophical poems, and ballads, which were especially highly valued by Pushkin and Lermontov. But, of course, the most important work of his life was drama. The early dramas “The Robbers” and “Cunning and Love” (1784) immediately won the love of the audience. And the historical dramas “Don Carlos” (1787), “Mary Stuart” (1801), “The Maid of Orleans” (1801), “William Tell” (1804) brought him European fame.

Schiller called the ballad “The Glove” a story because it was written not in ballad form, but in the form of a narrative. Zhukovsky included it among the stories; the critic V. G. Belinsky had no doubt that it was a ballad.

“The Glove” was translated by Lermontov in 1829 (published in 1860), and by Zhukovsky in 1831.

Glove

Translation by M. Lermontov

The nobles stood in a crowd
And silently they waited for the spectacle;
Sitting between them
The king is majestically on the throne:
All around on the high balcony
The beautiful choir of ladies sparkled.

Here they heed the royal sign.
The creaky door opens,
And the lion comes out of the steppe
Heavy foot.
And suddenly silently
Looks around.
Yawning lazily

Shaking his yellow mane
And, having looked at everyone,
The lion lies down.
And the king waved again,
And the tiger is harsh
With a wild leap
The dangerous one took off,
And, having met a lion,
Howled terribly;
He beats his tail
After
Quietly he goes around the owner,
The bloody eyes do not move...
But a slave is before his master
Grumbles and gets angry in vain

And involuntarily lies down
He's next to him.
Then fall from above
Glove from a beautiful hand
Fate is a random game
Between a hostile couple.

And suddenly turning to his knight,
Cunegonde said, laughing slyly:
“Knight, I love to torture hearts.
If your love is so strong,
As you tell me every hour,
Then lift up my glove!”

And the knight runs from the balcony in a minute
And he boldly enters the circle,
He looks at the glove of me than wild animals
And he raises his bold hand.

_________

And the spectators are around in timid anticipation,
Trembling, they look at the young man in silence.
But now he brings the glove back,
And a gentle, flaming look -
- A pledge of short-term happiness -
He meets the hero with the girl's hand.
But burning with cruel annoyance,
He threw the glove in her face:
“I don’t need your gratitude!” -
And he immediately left the proud one.

Glove

Translation by V. Zhukovsky

"Glove". Artist B. Dekhterev

And sneaks, glancing sideways,
And licks the face with his tongue.
And, having walked around the lion,
He growls and lies down next to him.
And for the third time the king waved his hand -
Two leopards as a friendly couple
In one leap we found ourselves above the tiger;
But he gave them a blow with a heavy paw,
And the lion stood up roaring...
They resigned themselves
Baring their teeth, they walked away,
And they growled and lay down.

And the guests are waiting for the battle to begin.
Suddenly a woman fell from the balcony
The glove... everyone is watching it...
She fell among the animals.
Then on the knight Delorge with the hypocritical
And he looks with a caustic smile
His beauty says:
"When me, my faithful knight,
You love the way you say
You will return the glove to me."

Delorge, without answering a word,
He goes to the animals
He boldly takes the glove
And returns to the meeting again,
The knights and ladies have such audacity
My heart was clouded with fear;
And the knight is young,
As if nothing happened to him
Calmly ascends to the balcony;
He was greeted with applause;
He is greeted by beautiful glances...
But, having coldly accepted the greetings of her eyes,
A glove in her face
He quit and said: “I don’t demand a reward.”

Thinking about what we read

So, before you is Schiller’s ballad “The Glove”. We invite you to read and compare two translations made by V. Zhukovsky and M. Lermontov. Which translation is easier to read? Which of them reveals the characters' characters more clearly?
What did the beauty want? Why is the knight so offended by her?
As we can see, the genre of this work was defined in different ways. What would you call “The Glove” - a ballad, a story, a short story? Repeat the definitions of these genres in the dictionary of literary terms.

Learning to read expressively

Prepare expressive reading translations of Zhukovsky and Lermontov, try to convey the peculiarities of the rhythm of each of the translations when reading.

Phonochristomathy. Listening to an actor's reading

I. F. Schiller. "Glove"
(translation by V. A. Zhukovsky)

What events does the musical introduction set you up to perceive?
Why does the actor so diligently reproduce the behavior of a shaggy lion, a brave tiger, two leopards?
What character traits did the actor convey when reading the heroine’s words addressed to the knight?
Prepare an expressive reading of the ballad. Try in your reading to reproduce the picture of the splendor and grandeur of the royal palace, appearance, character, behavior of wild animals, characters of a beauty and a knight.