Головна

Soviet era bards and their ballads

  1. A) Match the words and their definitions
  2. A) Study the definitions of the words with similar meanings and think about their proper Russian equivalents.
  3. And made love with all their clothes on, their mouths glued together. When they
  4. And to balance it a photograph of Roger, their son.
  5. B) Ask your fellow-students to give their responses.
  6. B) Match the words and their definitions
  7. B) Say what classes of shares are usually issued by companies and what rights they give their holders.

The growth of balladry in Russian literary tradition seems to have been the sign of the changing times. The wind of revolutionary change was reflected and immortalized in ballads much better than in marble or guilded monuments. The monuments turned out to be transient; the poems did remain.

New generations of poets emerged in the Soviet years, and they wrote balladry and songs. It all began during the early years of the Revolution. Nikolai Tikhonov, 25 years of age, writes in 1922 року:

Я одержимий дикун, я гол.

Скелею крейдяний блищить балкон.

До Тучкова мосту шхуну привів

Сивий дивак Стівенсон ...

At about the same time Eduard Bagritsky, the most romantic, perhaps, of all Soviet romanticists, translates Burns ' John Barleycorn. There was another wave of ballad-like writing when a new generation grew up and turned to poetry in the 1930s. Pavel Kogan, 20 years of age, writes in 1938:

Набридло говорити і сперечатися

І любити стомлені очі.

У Флібустьєрському, далекому синьому морі

Бригантина піднімає вітрила.

Was it a mere chance that the poem was soon turned into a song by a much younger school student? Probably, it was not. The time was ripe for the new minstrels and bards to come. Those were the poets who took a guitar in their hands - the instrument held in disregard previously - and began to sing their own poems.

Mikhail Ancharov, one of the founding fathers of the new trend, composed his first song in 1941. Five years later Bulat Okudzhava wrote an imitation to 'ancient student songs' thus having begun what later became 'intelligentsia's folklore' in the USSR. In the 1950s, Alexander Galich, Yury Vizbor, Vladimir Vysotsky, and lots of others joined in.

If you come to think about it, was it a mere chance that these authors are usually referred to as bards - after the ancient Scottish minstrels of olden days? The word somehow caught on. Every twenty years in the 20th century, a new generation of bards used to come. Curiously, at the closing of his days, Vladimir Nabokov decided to translate nothing other but one of Okudzhava'a ballads into English: Speranza, I will come ... Speranza, not merely "hope". To the aging maestro, the poem might have looked like a promise of new and resurrected Russia. So, if the author's calculations are valid, the early 21st century will see a rising interest in such balladry.

INDIVIDUAL AND / OR SMALL GROUP TASKS

1. Preapare to define 'popular balladry' making use of Text 11.

2. Think of ways to illustrate some peculiar problems of translation using Text 12.

3. Evaluate the quality of the translation made by Wilhelm Levik (Text 13).

4. Describe the essence of literary balladry (Text 14, 15).

5. Analyze the translations of the same excerpt and show their advantages (Texts 16).




Text 07 | Text 09 | Text 10 | OF BALLADS AND OF BARDS | Text 11 | Text 12 | Text 13 | Text 14 | Late Victorian ballads | Text 15 |

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