ADAPTATION OF THE PUSHKIN’S POETRY IN ITS TRANSLATIONS INTO THE TATAR LANGUAGE (EARLY XX CENTURY)
Translations of A.S. Pushkin’s works on the Tatar language have a long history. It starts at the first two decades of the twentieth century. That period was characterized by the revival of the Tatar literature, the growing interest to the Russian literature. Tatar interpreters found in "foreign" fiction what was peculiar to their "own" national literature. In the article various types of Pushkin''s poetry adaptations (generic, genre, nominative and others) under the influence of the Tatar literature traditions are analyzed. Terminology is introduced, reasons are established, artistic characteristic is given. One of the types of adaptation can be conditionally denoted “lirisation” of different kinds of literature in the Pushkin’s work. The lyrics were the leading type in Tatar literature in the beginning of the last century. It also includes translations not only lyrical kind. So, the poem "Bakhchisaraiskiy fontan" was first presented to the Tatar readers in the form of extract from it. "Tatar song" was misinterpreted as the independent lyric. Fragments from "Eugene Onegin", the fairy-tales ("The Tsar Saltan" and others), poems of Pushkin (“Poltava” and others) (translators are Rakhmankulyi, Tukay, Derdmend) also received the titles and were published without reference to their location in the structure of other literature kinds. The first translators were concerned about transferring the title of the text and often changed Pushkin’s titles: ("Romance" - Umetbaev: "Unhappy love"; "Curious" - Tukay: "Between two friends", "Imitation of the Koran", "Liberty" - Sunila: "Revelation", "Holy war!"). In Tatar literature of the beginning of the last century moral education normativity, accompanied by mentoring were clearly expressed. Poetry should have the name that was supposed to indicate traditional values. Unhappy love, friends conversations, Holy war, etc. are phrases with well-known allusions of Tatar artistic consciousness as for translators so for readers. This reason also explains entitling of Russian poems, which have not their original names ("In the depths of the Siberian ores...", "I built the monument...", “The raven flies to the raven...” and others). The genre system of Russian poetry of the Pushkin’s epoch and Tatar poetry of the early twentieth century differed in many aspects. In Tatar poetry for example an Elegy did not exist as an established genre. An Idyll, messages, epigrams were also rare. Therefore, an adaptation of the Pushkin’s poetry genre to the appropriate poetics of Tatar lyrics was a common phenomenon in the translations of the considered time. So, the Pushkin’s romance "Pleasure" in the Umetbaev’s translation came out with a note "Song". Genre feature of the work has changed. And this change is not just the nominative change. Umetbaev brings the Pushkin’s lyrical poem to the Bashkir folk song. In his translation, "Delibash" defines as “bait” (the genre of Tatar poetry with folklore basis). In Tukai’s translations of Pushkin''s works, it was transformed into imitations and traditional gazelles. A notable feature of the Tatar translations of the Pushkin’s lyrics is the extension of translated texts, inserting of an additional plot. Tatar lyrics (in comparison with Russian) is more intrigue, it has more narrative elements. That is why Tatar interpreters often try to "complete", "discipline" the translated work. For example, Tukay gives moralizing, humorous final to the Pushkin''s works ("the Tenth commandment", "When your youth...", "Who is there to love?..). This feature in the translation of Pushkin''s lyrics into Tatar language could be called "the translation conceptualism". From the modern point of view, it determines the serious deviations from the original Pushkin’s poetry. But from the historical point of view, it facilitates the reception of Pushkin''s texts, makes them accessible, understandable for the most of the Tatar readers of the certain time. In addition, in this period movement from the perception of Pushkin as "their" poet to the eventual realization of its national originality had began