TO THE TRANSLATION OF THE SONNET “STEPY AKERMANSKIE” BY ADAM MITSKEVICH INTO THE AZERBAIJANI LANGUAGE

Abstract

This article is devoted to the analysis of the poem “Akkerman Steppes” by the famous Polish poet Adam Mickiewicz into the Azerbaijani language. It is known that this poem is the first of the cycle “Crimean Sonnets”, published in 1826 in Moscow. “Crimean Sonnets” were a kind of beginning of romantic poetry in Polish literature, which was a challenge against the rules of classicism. For the first time, a new lyrical hero bursts into Polish poetry, full of a world of spiritual experiences, sometimes in conflict with life circumstances and the environment. Naturally, this lyrical hero embodies the poet’s own experiences and reflects his spiritual aspirations. The inner world of the lyrical hero was determined by the poet’s impressions of his trip to Crimea. At the same time, it was precisely the ideological function of the lyrical hero that served as the poet’s appeal to the oriental style. Mickiewicz, through depicting the greatness of nature, magnificent landscapes, through the prism of a European, but with an internal acceptance of Eastern understanding, creates his own poetic cosmogony. You can approach the analysis of the poet’s texts in different ways, but to deny their oriental stylization, in our opinion, will not be correct.

All of the above once again confirms the difficulty of transmitting these poetic works into a foreign language. First of all, it can be expressed in the loss of the system of images while maintaining the form of the poem. Sometimes, while maintaining the lexical-semantic content, you can lose the form of a poetic text. In the analysis of Mitskevich's poem into the Azerbaijani language, an attempt is made to reveal the correspondence of the phonetic, graphic and linguistic features of the poetic text. Considering the multi-level structure of the poetic text, which includes different lengths of lines, attention is drawn to the conveyance of the aesthetic and emotional mood of the poet. The latter is expressed by elements of phonetic form, the ratio of rhymes, alliteration, assonance, repetitions of sounds, etc. It would seem that oriental stylistics allows us to somewhat simplify the translation technique. However, the analysis shows that this apparent ease is negated by the poet’s aesthetic attitudes, which must be taken into account when translating.