Imagery in Translation

literature, royalist in politics, and Anglo-Catholic in religior(1927).

Beginning with the 1930s Eliot turned to drama and wroi several verse and prose plays, Sweeney Agonistes (1932), Mu, der in the Cathedral (1935), The Cocktail Party (1950) and number of others. His book of verse for children, Old Possum Book of Practical Cats, became a classic. Among his most infh encial critical works may be mentioned The Sacred Wood: E. says in Poetry and Criticism (1920), Notes Towards the Defin tion of Culture (1948), Poetry and Drama (1951), On Poetry ar, Poets (1957) and others.

Two poems should be commented upon in more detail; characteristic not only of Eliot but also of major poetry general' in the twentieth century. The first of them, The Waste Land (1922 consists of five sections, "The Burial of the Dead," "A Game i Chess," "The Fire Sermon," "Death by Water" and "What tl Thunder Said", supplemented by Eliot's own "Notes", which e: plain his multi-cultural allusions and sources of imagery, "the Grc legend" and Frazer's The Golden Bough among them. The se ond (and practically, the last serious piece of poetry Eliot pr< duced), Four Quartets, was started as early as in 1935 but pu lished as a whole only in 1943. It includes "Burnt Norton," "Ea Coker," "The Dry Salvages," and "Little Gidding." The four qua tets represent the four seasons and the four elements, the fo places and the four fundamentals of Christian faith, and probab more. In this poem Eliot is concerned with time past and tin present, with despair and vision, with faith and reason.

Journey of the Magi (1927) was written as a Christm poem but it is far more serious than just a story about the Ma and the Nativity. It is a poem about how difficult the way to re Christian values is, how alien it may seem to manyj how triflii the important tokens of the truth may look. The po'em has bei translated by many Russian poets. It is written in free verse ai based on a certain syntactic rhythm. The first lines in quotatii marks belong to Anglican Bishop Lancelot Andrews (1555-162(

Практикум по художественному переводу

'he three trees," the white horse," "hands dicing for pieces of ver," and other details are allusions to the Gospels and other its of the Bible. It is a challenge to the translator into Russian, st, due to the principal difference in functions of vers libre in iglish and Russian poetry and, second, due to many allusions a religious and cultural character that are not so evident to a issian reader. At the same time, the task is very creative as the inslator is made to experience the potential of Russian syntax form new means of poetic expression. The main achievement this area might be the reconstruction of the rhythmic effect of 2 original text by means of Russian syntax varying from the rupt and tense rhythm of the dynamic development of the im-ery to the wide and flowing pattern of poetic contemplation or ophetic vision.

The poem for translation (The Hollow Men) includes many erary and cultural allusions and is marked by both irony and rrow. The poem differs from The Magi as it is based on the ntrast between the tragic theme and very lively, almost danc-g rhythm. The basis of its imagery is the idea of a disguise, a isk that separates man from man, soul from soul, and man >m himself.