The article presents a reading of the cycle “Winter Morning” (“Zimnee utro”) from Boris Pasternak’s fourth book of poetry, Themes and Variations (Temy i variatsii, 1923). The cycle is constructed from variations on the images and motifs of predecessors, both poets and musicians, including Aleksandr Pushkin, Vasilii Zhukovskii, Apollon Maikov, Aleksandr Blok, and Petr Tchaikovskii and his Children’s Album. This analysis of the text – at the level of its lexical, rhythmic and syntactic features – demonstrates the profound convergence of music and poetry, the interweaving of literary and musical allusions, and the inclusion of contemporary experience into the course of history as basis for the creative transformation of the world in Pasternak’s poetics. With this analysis, we demonstrate why and how lyrical poetry functions as a key source for the reconstruction of the poet’s political, cultural-historical, conceptual, and spiritual views.
The article is focused on the texts of the poem ‘Prophet’ written by Alexander Pushkin and its translation made by one of the greatest British poets of the last century Ted Hughes. The main emphasis is placed on the transformations which were created by the translator (intentionally or unintentionally) to show that they were aroused by the specific character of the target language and culture as well as the peculiarities of the epoch and the individual manner characteristic of the poet acting as a translator.