300 years since the birth of V. K. TREDIAKOVSKY

At the end of the XVII - beginning of the XVIII century, a flood of translated chivalrous and adventurous novels literally flooded into Russia. Interest in them is associated with both external entertainment and an abundance of new information. The novel came to Russian literature as an "alien" genre. The first Russian prose writers could not avoid the experience of Western European literature. O. L. Kalashnikova identifies "three main streams in which novel experience was accumulated during this period" (Kalashnikova O. L. Genre varieties of the Russian novel of the 1760s - 1770s.Dnepropetrovsk, 1988). These are "histories", stories of Peter's time, imitative novels, and mostly handwritten translations of Western European novels. It is noted that " all three streams were a living literary phenomenon of their time, forming a single Russian literary process of the first half of the XVIII century "(Kalashnikov. Edict. op.).

One of the reformers of Russian verse, V. K. Trediakovsky, is well known to poetry lovers and philologists. Less well-known is his role in the development of Russian prose, which coincided with the beginning of literary activity. In the early thirties of the XVIII century, he returned from France, where he received a European education, learned several languages and was eager to serve the enlightenment of Russia.

In 1730, V. K. Trediakovsky translated into Russian the love story of Paul Tallemann "Riding to the Island of Love" (1663). For the Russian reader, the idea of a new genre will be connected with a love conflict for a long time. The translation of this amorous and gallant novel is considered an important milestone in Russian artistic development. L. V. Pumpyansky noted: "With this book begins the history of the French service of the noble household and moral culture (...) most readers welcomed the elegant novelty; it was needed; it met the urgent need for cultural love.-

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bovno-romannoy belletristike" (Istoriya russkoi literatury: V 10 t. M-L., 1947. Vol. 4).

V. K. Trediakovsky felt and expressed the aesthetic quest of his time, the matured linguistic and literary situation. "Ride to the Island of Love" was a kind of allegorical encyclopedia of love, French erotic poetry was supposed to complement the love lyrics of Peter's time. Thus, in the first half of the 18th century, translation was used for thematic and genre updating of literature, as well as for enriching the stylistic arsenal.

In the noble society, there was an ambiguous attitude towards the success of the translation of "Ride to the Island of Love". Reactionary clergy perceived the publication of the novel as a bold challenge to official literature, and Trediakovsky was called "the corrupter of Russian youth." At the same time, he was granted an audience with the Empress in January 1732, and the Academy of Sciences began to entrust him with translations, and from 1733 Trediakovsky was enlisted in its staff as a translator.

Trediakovsky was proud of the fact that he chose the book, the translation of which brought him success and marked the beginning of the development of Russian prose: "When I was in Hamburg (...) His Excellency Prince Alexander Borisovich Kurakin (...) he commanded me (...) translate some French book into our language (...) then fell into my mind this " (Riding to the Island of Love. Foreword / / Trediakovsky V. K. Sochineniya: V 3 t. SPb., 1849.T. III). But he did not exploit the success of the novel, he thought a lot about the problem of translation, the role of the novel as an emerging genre.

The novel was inseparable from the life of the literary salon. The heroes of novels could easily be found among its visitors. It was only a hint or half a word to plunge into the novel's world, so clear and real. Studying the literary process of the XVIII century in the cultural aspect, Yu. M. Lotman noted: "... in the context of French culture, the salon (literary environment) gave rise to the novel, and in Russian conditions the novel was intended to give rise to a certain cultural environment. There life generated the text, here the text should have generated life" (Lotman Yu. M. Essays on the history of Russian culture of the XVIII-early XIX century / / From the history of Russian culture. Moscow, 2000. Vol. IV). Based on novels, they learned not only to love, but also to live and build relationships.

The period of prose activization in Russia coincided with the struggle of French encyclopedists with salon literature. The only difference was that the pace of development of various modifications of the novel in Russian literature is inferior to European ones.

V. K. Trediakovsky knew both the salon culture and the academic tradition very well. Yu. M. Lotman noted: "His goal was not to join the struggle on anyone's side, but to transfer him to St. Petersburg.-

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the Russian literary situation in its entirety. In the future, the desire to synthesize trends that appear irreconcilable in the Western context will be characteristic of the Russian attitude to the European cultural tradition in principle "(Lotman. Edict. op.).

Translated novels and experiments of the first Russian authors formed new literary tastes. Reading has become a way of spending time. Especially popular were romance novels, in which the depiction of passion and love adventures contrasted with the usual descriptions of family, legalized relationships.

Translators and writers appealed mainly to the heart and feelings of the reader, they wanted to "render a service to the fatherland", "benefit their fellow citizens". From this point of view, Trediakovsky's activity is typical of his time. He acted not only as an academic translator, but also on his own initiative. In his address to the Reader, V. K. Trediakovsky confessed: "When I was in Paris, I read it with the great pleasure of my heart, being delighted with its very reasonable fiction, its short style, and its very sweet and pleasant verses, and above all with its wise moral teaching, which it closed in itself in almost every line in such a way that At the same time, I had a burning desire to translate it into our language" (A trip to the Island of Love. Preface). The educational thesis of "utility" is not accidentally highlighted by the author. One of the main requirements of the new genre was to combine "pleasant with useful".

The appeal to the love theme brings Trediakovsky closer to many contemporary poets. So, for example, at this time there are numerous translations from the Anacreon, made by Lomonosov, Kantemir, and a number of other poets. Cantemir is known to have translated almost the entire Anacreon. He wrote: "The general good opinion about Anacreon prompted me to communicate it to our people through a Russian translation" (Cantemir A.D. Works, letters and selected translations: In 2 vols. St. Petersburg, 1867. Vol. 1). This filled the gap that was in the literature of the first third of the XVIII century.

A distinctive feature of the initial stage of formation of the Russian novel is the free handling of translators with the text of the work. Most often, young translators did not perceive translation as a profession, they turned it into an art, made it artistic, that is, co-creation. This is exactly what Trediakovsky did. In the preface to A Trip to Love Island, he remarked: "The translator from the creator has just changed his name." This does not mean that the work of the author and translator is equal. Trediakovsky wanted to draw attention to the hard work of the translator. Later, he will address this problem again: "I have such a connection with the protected author that read with him in some way the same person: for the translator breathes to say so, only that the author.

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by the soul" (Trediakovsky V. K. The Tragedy of Argenides, a heroic story composed by John Barclay, and from Latin... translated version... from Vasily Trediakovsky. In 2 vols. St. Petersburg, 1751. Vol. 1). Thus, Trediakovsky emphasizes the special role of translation in the creation of Russian prose.

"Riding to the Island of Love" is a secular book of rather light content, the first work on a "worldly" theme, published in the early 30s of the XVIII century. The translator had to determine his attitude to Old Slavonic and Archaisms, the use of "almost the simplest Russian word". He cites three reasons:: "The' first ' language of Slavonia is the language of the church, but this book is a worldly one. Another: the language of Slavonia is very dark in our present age, and many of our readers do not understand it; but this book is the SWEETNESS OF LOVE, and for this reason it should be intelligible to all. Third: which may seem to you the easiest, but which I take for the most important, that is, that the language of Slavenskaya is now cruel to my ears ... " (Driving to the Island of Love).

It should be noted that Trediakovsky's linguistic concept contained contradictions. He repeatedly advocated the creation of a literary language based on oral speech, but also did not call for a complete break with the Old Slavonic language, using certain categories of Slavonisms in the novel "Riding to the Island of Love". He assigned an important role to the Old Slavonic language in the development of the Russian literary language. Thus, the above arguments of V. K. Trediakovsky pose one of the important problems of translation theory: the translation of a secular book required a new language form, a common language.

Translations of the novels were aimed at a wide democratic readership. The priest's son, a raznochinets intellectual V. K. Trediakovsky, particularly pointed out the need for "enriching Russia with the choicest books": "And so let them translate everything that is most useful and worthy in other languages that flourish in our art into our Russian language; let them enrich Russia with the choicest books; let them quench the thirst of the whole world." the ability that they have to read, to receive instruction, to enjoy the mind and heart, to acquire not only more enlightenment in the mind, but what is in it, and the most solid correction in the virtuous heart... "(Word about vitistvo / / Trediakovsky V. K. Works: In 3 vols. Vol. III).

Yuzhno-Sakhalinsk.

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