6. The activities of m.Drahomanov and Mykhailo Starytskyi
Mykhailo Drahomanov was a Ukr. political theorist, economist, historian, philosopher, ethnographer and public figure in Kiev. Mykhailo Petrovych Drahomanov Was born in Poltava region, Gadyach, in a family of small gentry. His father, Petro Yakymovych, had a university education, studied ethnography and appeared in Russian journals of literary works and had radical progressive views. His sister Olga (per name Olena Pchilka) was a widely known writer and a cultural and community activist, and mother of the famous Lesia Ukrainka. In 1863 M. Drahomanov graduated the Historical and Philological Faculty of Kyiv St. Vladimir University, was kept at the Department of General History and was preparing to become a professor. Social and political activity of M.P. Drahomanov was in progress in the years 1960-1990. M.P. Drahomanow was not only a bystander but also a grand figure of the social processes in Ukraine in 1859-1861. Drahomanov wrote the first systematic political program for the Ukrainian national movement. He himself defined his political convictions as "ethical socialism," and was deeply impressed by socialist literature as a teenager.
1882-Foreword to “Faust” tr-ed by Franko
While pursuing an academic career, Drahomanov rose to a position of leadership in the Ukrainian secret society the Hromada of Kyiv
Dragomanov wrote a number of works on the history of the Ukraine, including Historic Poland and Great Russian Democracy and An Appeal To “Hromada.” In his research on Ukrainian and Slavic folklore, Dragomanov basically adhered to the theory of borrowing. He is the author of the works Historic Songs of the Ukrainian People (vols. 1-2, 1874 75, coauthored by V. B. Antonovich) and New Ukrainian Songs About Public Events, 1764- 1880 (1881).
As a literary critic Dragomanov struggled for the affirmation of realism and the national principle in Ukrainian literature and for the unity of Ukrainian and Russian literature. Social Democrats and representatives of revolutionary democratic currents in the liberation movement, whom Dragomanov had criticized from a position of bourgeois liberalism, criticized him for his political narrow-mindedness. At the same time, they noted positive features in his creative work and public activities.
Drahomanov was an outstanding Ukrainian political thinker. He dealt extensively with constitutional, ethnic, international, cultural, and educational issues; he also engaged in literary criticism. Drahomanov’s ideas represent a blend of liberal-democratic, socialist, and Ukrainian patriotic elements, with a positivist philosophical background.
Drahomanov’s vision embraced all ethnic Ukrainian lands. Drahomanov envisaged a systematic co-operation among various Ukrainian lands, cutting across state boundaries.
A notable part of Drahomanov’s works are his memoiristic and epistolary writings: ‘Avtobiograficheskaia zametka’ (Autobiographical Note, 1883) with a ‘Dobavlenie’ (Supplement, 1889) and Avstrorus’ki spomyny, 1867–1877 (Austro-Ruthenian Reminiscences, 1867–1877, 1889–92). He corresponded with Mykhailo Pavlyk (7 vols), Ivan Franko (2 vols), and Meliton Buchynsky, Volodymyr Navrotsky, Teofil Okunevsky, and Nataliia Kobrynska (1 vol each), among others.
There exists no complete edition of Drahomanov’s works, although a three-volume (four-book) edition of his Vybrani pratsi (Selected Works) appeared in Kyiv in 2006–2007.
Mykhailo Starytskyi (dec 14, 1840-April 27, 1904) was a Ukrainian writer, poet and playwright.
Orphaned in childhood, Starytsky was raised by his uncle, the father of Mykola Lysenko. He was the cousin of M.Lysenko and grandfather of I.Steshenko. Starytskyi wrote librettos, songs, dramas. Later in life worked with Lysenko, collecting UA folksongs and transforming them into plays and operas. Studied at Kharkiv and Kyiv Uni. Wrote Librettos for many Lysenko operas ( Christmas Nigh).
Was forced to emigrate (after Emsk Ukase) to Geneva. In emigration he continued his political, scholarly and publishing activities. In 1885–95, he was a professor at the University of Sofia.
Lately returned and continue publishing activity and theatre work. Headed 1st Ukrainian professional theatre. Founded new troupe with young actors and 10 years later devoted himself only to literature. Starytsky's contribution to Ukrainian dramaturgy was large. He began by reworking prose for the stage and rewriting dramatic works, and proceeded to write many of his own, the most notable of which are the social dramas Ne sudylos’ (It Was Not Destined, 1883), U temriavi (In the Darkness, 1892), and Talan (Destiny, 1894). His drama Oi ne khody, Hrytsiu, ta i na vechornytsi (Don't Go to Parties, Hryts!, 1892) became very popular. His historical dramas: Bohdan Khmel’nyts’kyi (1897) and Marusia Bohuslavka (1899) merit particular attention.
He translated a lot from French and Russian. A man of rather Ukrainian nobility. He turned his attention on English. He wanted to describe the Ukrainian history. He used for the first time the word “батьківщина”. He translated Hamlet, he created a lot of new words. Starytskyi was the first who translated “Parus” by Lermontov. He wrote an article “ГАМЛЕТ В ПОСТОЛАХ” in the journal Kievljanka. He translated Pushkin, Lermontov, Nekrasov, Haine, Byron. Mickiewich, Serbian songs and others. He wrote own prose, published it in Galician publishing houses. Pseudonim-M.Starchenko!
Starytsky was first published in 1865. His translations of the tales of H.C. Andersen were published under the pseudonym Starchenko in Kyiv in 1873. Also published in Kyiv were his translations of Serbian folk dumas and songs (1876), the collection of poetry Z davn’oho zshytku: Pisni ta dumy (From an Old Notebook: Songs and Dumas, [2 parts, 1881, 1883]), and other works.
Particularly noteworthy is his translation of William Shakespeare's Hamlet (1882). An important part of Starytsky's literary legacy is his poetry on social issues, which is characterized by populist and patriotic motifs, glorification of the Ukrainian past, and protests against tsarism. Starytsky also wrote lyric poetry, exemplified by ‘Monolohy pro kokhannia’ (Monologues on Love.) Some of the lyric poems became folk songs, such as ‘Nich iaka, Hospody, misiachna zoriana’ (Lord, What a Moonlit, Starry Night).
During the last years of his life Starytsky wrote the historical novel Obloha Bushi (The Siege of Busha, 1891), the novels Pered bureiu (Before the Storm, 1894) and Razboinik Karmeliuk (The Robber Karmeliuk, 1903), and other works in Russian. Collections of his works were published under the titles Poezii (Poems, 1908), Dramatychni tvory (Dramatic Works, 1907–10), Vybrani Tvory (Selected Works, 1954 and 1959), and Tvory v vos’my tomakh (Works in Eight Volumes, 1963–5).
Входив в об”Єднання «Плеяда» разом з: Лисенком, Олена Пчілка (Косач), Леся Українка та ін7) Ivan franko as a translator and TS scolar.
(1856 – 1916) was a Ukr poet, writer, social and literary critic, journalist, whose tr.works are basis for lit.and ling.research.
Rendering foreign poetry, poetry of different times and peoples in the native language enriches the soul of the whole nation, endowing it with such forms and expressions of feelings as it has never had before. It builds the golden bridge of understanding and compassion between us and remote peoples and generations.
Ivan Franko: translation is a powerful social-political means of educating people, expanding the outlook of the readers and breaking the walls of national limitations.
Ivan Franko translated works of different genres, different literatures and different epochs: Bulgarian, Serbian folk songs, A. Pushkin, M. Lermontov, A. Mickiewicz, J. Neruda. English poetry (W. Shakespeare, G. Byron, P. B. Shelley, Th. Moore), Scottish (R. Burns), German (J. W. Goethe, F. Schiller, H. Lessing, H. Heine), French (V. Hugo), Latin (Horace, Ovid), Old Greek (Homer, Sappho, Alcaeus, Xenophon, Sophocles), Italian(Dante), and others. Abstracts of the Nibelungenlied (The Nibelungs’ Song). Old Scottish, Old Icelandic and Old Norwegian Ballads, Old Chinese, Portuguese and Albanian folk song, Spanish romances and Romanian folk legends, etc.
Ivan Franko translated a lot from Ukrainian into German: 20 Shevchenko’s verses (“Caucuses”, “Testament”, “Beside the hut the cherries are in bloom”, abstracts from the poem “Maria” a. o.), plenty of Ukrainian folk songs.
Ivan Franko was the author of more than 50 articles in different languages about Shevchenko’s creativity.
Ivan Franko – Historian and Literary Studies scholar: stressed the necessity of deep knowledge of culture and history of different peoples. Often provided his translations with historical and bibliographical commentaries, sometimes with profound insights into the epoch of author and literary-public value of the work.
Ivan Franko as a Tranlation Studies Theorist studied the history of the Ukrainian translations of the works of A. Mickiewicz (“Adam Mickiewicz in the Ukrainian literature”), of W. Shakespeare (the prefaces and commentaries to the Ukrainian translations). He initiated the study of German Shevchenkiana (“Shevchenko in German Clothes”, “Shevchenko in German”). He studied the translation legacy of S. Rudankskyi, L. Borovykovskyi, M. Starytskyi, A. Krymskyi, P. Nishchynskyi and others. He voiced the idea, that it is very difficult to translate from cognate language, especially a closely cognate language.
Ivan Franko initiated the method of the linguostylistic analysis of translation, for the first time in the Ukrainian literaty science he suggested that the translation be treated integrally in literary, linguistic, linguostylistic, psychological and aesthetic aspects.
“Каменярі. Український текст і польський переклад. Дещо про штуку перекладання” (1911) – a brilliant example of the linguostylistic analysis of translation. The article summed up the demands to the translator.
Ivan Franko stressed that a translator should always remember the didactic power and educational value of the translated literature.
Demands to rendering versified original:
Ivan Franko paid special attention to rendering not only the idea but also the form, tone and menre of the ST.
Ivan Franko promoted the equilinearity principle.
Ivan Franko also stressed the necessity of keeping up with the grammatico-syntactic peculiarities of the work if they bear a stylistic load.
Ivan Franko accentuated that the proportion of the word of both categories in the original must be preserved in the translation.
Ivan Franko emphasizes the necessity of at least relative preservation of the original melody (the balance between the vowels and consonants).
Ivan Franko paid special attention to the choice of words with regard to the context. He meant not just formal faithfulness but faithfulness related to the general meaning and tone of the text.
The necessary precondition of an artistically faithful translation is preservation of the national, local and historical coloring of the original. At the same time Ivan Franko sometimes allowed for some domestication, especially in translations of folk songs, ballads, etc.
Ivan Franko raised the problem of popular translations.
The main principles of Ivan Franko’s theory of translation
The translator bears responsibility to the society;
The task of a translation is to maximum precisely render the original by means of the TL so that it could replace the original to the target reader;
The translator should reflect all aspects of the original: content, style, form, with content prevailing;
The translator should be knowledgeable in the SL and TL and should study the original in its relation to the author’s creativity, historical epoch, life of people (scholarly approach);
Poetic works can be translated only by poets;
Translations must be done only from the original (with few exceptions);
Precision of the translation depends not on conveying the words but on conveying the spirit;
The language of the translation must comply the literary norms;
The translator should faithfully reproduce the nationally-based features of the original in the content, style and form;
The translator should always have in mind the peculiarities of the wide readership (notes, explanations, etc.)
ші. – серед молоді. Заохочвали молодь перекладати.
8.
The Neoclassicists (M. Zerov, M. Ryl’s’kyi, P. Fylypovych, O. Burghardt, and M. Dray-Khmara) represented the rationalistic current Ukrainian romanticist literaturе. They never established a formal organization or program, but they shared cultural and esthetic interests. Mykhailo Mohyliansky, Viktor Petrov are also included in this loose grouping. The group's name is derived from their use of themes and images of antiquity. All translations by the Neoclassicists illustrated the highest level of artistic versification of the 1920's and 1930's in regard to content, artistic merits, and pragmatic orientation of each foreign belles-lettres work. A standard of masterly versification during the years of the so-called Ukrainian renaissance, however, were and will always remain Zerov's translations. It was owing to Zerov (1890-1937) that rationalism finally prevailed in Ukr literary transl, while parodies, travesties, burlesques and the overdomesticating tradition were dealt a final coup de grace. As a professor and scholar in ancient literatures and in the field of translation, he improved and successfully applied new, effective methods of faithful versification, which established his leading position among the Neoclassicists and Ukrainian translators (He concentrated on the sonnet and Alexandrine verse and produced excellent examples of both forms, translations of works by ancient Greek, Roman and West European poets, the works of the French poet J.Heredia; the Anthology of Roman Poets (Kyiv, 1920)).
Another prominent place in the constellation of the Neoclassicists belongs to the poet Oswald Burhardt, pen name Yuriy Klen (1897 – 1947), who happened to survive during the Bolshevist holocaust and terror in the 1920's and 1930's probably because of his German descent. His first significant Ukrainian collection of German poets (The Iron Sonnets) appeared in 1925 and was followed by more translations of world's greatest English, German and French poets (Shakespeare, Shelley, Goethe, Rilke, Rimbaud, Valéry, Маllаrmé, Verlaine and others).
Close to O.Burghardt stood M.Drai-Khmara (1889 – 1937), who also pursued the aim of enriching our literature and culture via faithful artistic versification and who met his martyr's death together with M.Zerov in Sandarmokh in 1937. He translated mainly the works of the most outstanding French poets (S.Bodlaire, P.Verlaine, S.Leconte de Lisle, S.Маllаrmé, Sully Prud'homme) and completed Dante's The Divine Comedy, which was confiscated by the NKVD1 during his arrest and was never found again after that. He also translated Polish (A.Mickiewicz), Czech (J.Hora, J.Mahard), Russian (A.Pushkin, M.Lermontov, A.Blok, S.Yesenin) and poets of other nationalities.
The most outstanding place among the surviving Neoclassicists, and one who made a significant contribution to Ukrainian literature and culture by his poetic translation, belongs to Maxym Rylskyi (1895 – 1964). He outlasted all his co-literary companions and managed to introduce via his high quality Ukrainian translations many masterpieces of world literature. His translations originated from Polish (Mickiewicz, Słowacki), French (Hugo, Verlaine, Racine, Molière, Boileau, Voltaire, Musset, Gautier, Herédia, Maeterlinck), German (Göthe), Russian (Pushkin, Lermontov, Fet, Blok) and other national literatures. M.Rylskyi was also a very active literary critic of translation who practically laid the foundation for scientific Ukrainian criticism of belles-lettres translation in Soviet times. His well-grounded theoretical articles and reviews of several translations helped considerably to raise the level of faithfulness in the succeeding prose and poetic translations in Ukraine.
Pavlo Fylypovych published two collections of poetry, contribution to the comparative study of Ukrainian literature, particularly to the study of Taras Shevchenko and Ukrainian romanticism.
The up-to-date methods of artistic versification and adherence to neoclassicism in opposition to the inconsistent artistic translation of poetic works of the day, made the Communist critics, who were ignorant of and hostile to neoclassicism even more incensed. As a result, M.Zerov, P.Fylypovych, M.Drai-Khmara and hundreds of other outstanding Ukrainian poets, authors and scientists were arrested in early 1930's and suffered a martyr's death during the waning days of October and the first days of November 1937 in Sandarmokh (Karelia), but their mass graves were found in deep forest only in 1997. Their execution was dedicated to the twentieth anniversary of the «glorious October Revolution of 1917.
So with the start of the Reformation of neoclassicism l M. Zerov finds out first thematic neoclassical works, including translations of M. Zerov collection "Anthology of Roman poetry" and original poetry Rylsky "Pid ossinimy zirkamy."
To Russian direction first of all M. Zerov considers classics of Russian poets, Pushkin's work, poets of his age and formed views on literature of the time, the Russian Symbolists, namely Bryusov, Blok, J. Ann, namely his work "The book of reflections" and A. White, indicating large-scale works of Rila translations of Russian literature, such as poetry, drama and prose works of Pushkin, absolutely crucial in terms of both practice and theory of translation.
Principles I. Annenskogo as interpreter and translation criticism heard repeatedly emulated in neo-classical works, including M. Zerov. I. Ann, one of the representatives of the Russian symbolism, working in parallel on translations and original works. M. Zerov and turned to neoclassicism I. Annenskogo critical works on poetics, imagery and correct reading works that produce a kind of theory of literariness that is based on the principles of aesthetics, poetry maximum dexterity and depth of poetic images.
9) Hryhoriy Kochur as a Translator and Translation Studies Scholar
Hryhoriy Kochur, a translator practitioner and translation theorist, played an important role in Ukraine during his career that spanned more than four decades (in the fifties - early nineties). He exercised a powerful and enormous influence upon many other translators and men of letters. A brilliant erudite, a connoisseur of many foreign languages he had a faultless grasp of his native Ukrainian tongue, an abundant versatility in the use of it and he constantly worked at it - selflessly, self devotionally. He was born on Nov. 17, 1908 to a peasant family in an obscure village of Fes’kivka in Chernihiv province. His father taught him to read and write and since then reading became an all-absorbing passion of his. He has always been a voracious reader with a wide-ranging intellect. “Ishche khlopya, nepomitne mizh liudom, // Spianiavsia ya liuds’koho slova chudom”,
While at the secondary school in the neighbouring town of Mena he started (quite unconsciously) his activity as a translator. Then he issued a handwritten journal with an ambitious title “Zorya mystetstva” (“The star of art”). There he used to publish some articles on literature, his own verses, as well as translations from his favourite Russian poets F. I. Tiutchev, A. A. Fet, L. A. Mei and of the German poets whose verses were printed in his German textbook. Later, while he worked as a petty official in Mena, H. Kochur obtained the writings by M. Zerov, M. Ryl’s’kyi and the young Tychyna. Ever since he had been worshipping these writers who influenced him very much. On entering the Kyiv Institute of People’s Education (at that time the name of University was cancelled to be renewed only in 1933) H. Kochur had the good fortune to listen to the lectures of many brilliant professors,
M. Zerov (the lectures in Ukrainian literature) and Ye. Tymchenko (the lectures in the history of the Ukrainian language) among them. H. Kochur studied languages and nurtured his talent for poetry. Soon it so happened that he had an opportunity to meet often his beloved professor M. Zerov.
H. Kochur was a brilliant student, devoted to literature in the most extreme sense, but on graduating from the University he was not allowed to proceed with his postgraduate studies. The matter is at that time he was considered a kind of dissident, having openly expressed his indignation at the noxious show trial of the fabled organization “Union for the Liberation of Ukraine”.
To many geniuses of world literature, first-rate poets H. Kochur presented a new life, while at the same time enriching and strengthening the culture of his nation. H. Kochur translated very many poems for both anthologies. But these were not just anthologies of translations. Under the conditions of the Soviet totalitarian regime and rigid Soviet censorship these were books full of associations with Ukrainian history, books which taught their readers to love their native land. The choice of the authors and their poems was exemplary. H. Kochur translated Shakespeare’s tragedy “Hamlet” for the Ukrainian three-volume edition to commemorate the four hundredth anniversary of Shakespeare’s birth. He also translated some novels by the Slovak writer V. Minac. In 1968 H. Kochur became a member of the Writers’ Union. The next year the first collection of his translations under the title “Vidlunnia” (“The reverberation”) was published. H. Kochur somehow spontaneously became the key figure of the Ukrainian literary translation. In spite of all the humiliations and hostilities undertaken on the part of the supporters of the regime he participated (very often as a leader) in each serious creative endeavour in the domain of the literary translation. Like M. Zerov and M. Ryl’s’kyi before him he did all he could (very often more than he could) to systematically and energetically introduce the translated literature into the mainstream of the national culture. H. Kochur, his followers and colleagues continued and developed the principles and strategy of translation elaborated by I. Franko and M. Zerov. For them the form of a verse was understood as its structure, embracing all its components in such a way that the form of the verse constituted the very verse. They never sought to make their translations fluent by depriving them of source-language cultural values (a practice prevailing now in the American - English culture)
Despite really hard conditions H. Kochur was not a personality to be broken, to be scared, to bow before authorities. Gradually H. Kochur was shaping a kind of the University of Ukrainian literary translation.
Wasting a lot of his precious time, he helped the beginners patiently to climb the steep paths of research. Very often H. Kochur used to warn that an article in Translation Studies should not be an inventory of the translators’ blunders and howlers. It should contain a profound linguistic analysis the author taking into consideration the peculiarities of comprehending both the world and human life by representatives of various languages and cultures. H. Kochur taught how to get rid of the panegyric tone and hyperbolic praise, to be very careful towards one’s own speech, which should be exact and transparent; to always keep in mind that poetry constitutes the art of the Word and the Word should be artful in translation; that one should be very critical towards one’s own translations and always feel when the translation is not up to the mark. He corresponded with many researchers and translators.
In addition to his translations H. Kochur produced a number of serious scholarly studies, mainly in the domain of the history of the Ukrainian literary translation. He was the author of “Shakespeare in Ukraine” (1966), “Mykola Zerov and the Polish literature” (1966), “Some tips to Maksym Ryl’s’kyi’s portrait” (1970), “Dante in Ukrainian literature” (1971), “Aristophanus’ laughter” (1981), “Zerov and Slowacki” (1988), “Some notes on Vassyl’ Myssyk and his translation of “Romeo and Juliet” (1988), “The phenomenon of Mykola Lukash” (1989). H. Kochur has also written prefaces to Ukrainian translations of the works of P. Verlaine, F. Schiller, G. Boccaccio, Ya. Hashek, many articles for the Ukrainian Literary Encyclopaedia, reviews of translations for various periodicals.
BIOGRAPHICAL NOTE
1908 – born in Feskivka, Chernihiv Region, to a family of peasants
Studied in the Kyiv Institute of Popular Education and later taught in the pedagogical institutes in Tiraspol and Vinnytsia
1943 – sentenced to penal servitude in GULAG mines
1953 – released
1962 – rehabilitation and return to Ukraine
1965 – signs the “protest letter of 139” in defense of persecuted Ukrainian intelligentsia
1973 – expelled from the Writers’ Union of Ukraine and denied publication
1988 – restored to the Writer’s Union
1991-92 – participates in scholarly conferences in the USA, Poland and the Czech Republic
1994 – dies in Irpin, Kyiv Region
10. Translating theatre. The contribution of I. Steshenko to Ukrainian translated literature.
In the history of translation studies, less has been written on problems of translating theatre texts than on translating any other text type. The generally accepted view on this absence of theoretical study is that the difficulty lies in the nature of the theatre text, which exists in a dialectical relationship with the performance of that same text and is therefore frequently read as something 'incomplete' or 'partially realized'. In the twentieth century, the notion of a spatial or gestural dimension that is seen as inherent in the language of a theatre text becomes an issue of considerable importance, and a whole series of theoreticians attempt to define the nature of the relationship between the verbal text on the page and the supposedly gestic dimension that is somehow embedded in that text, waiting to be realized in performance.
Naturalist drama imposed the idea of the scripted play, the preperformance text that actors and directors alike have to study in minute detail and reproduce with some measure of fidelity. So powerful has this concept of the playtext been that theatre history has frequently been reshaped to fit texts produced in pre-naturalist eras into the same mould. So despite the fact that Shakespeare's texts exist in Quarto and Folio forms, and versions of the same play can vary considerably, there has been a tendency to consider those same texts as sacred cows and to assume that they were written as unified wholes and then reproduced by actors. In Hamlet and in A Midsummer Night's Dream Shakespeare himself gives us a portrait of performers trained to improvise, to reproduce set speeches, to learn new parts and, in short, to assemble a playtext from a combination of the written and the physical, the new and the memorized, and we know from the commedia délïarte tradition that this mode of creating a performance was standard Renaissance practice. The fragmentary written text, such as it was, functioned as a blueprint on which performers could build from their own experience. The notion of the fixed playtext, with its detailed stage directions, with each player's speech patterns carefully calculated by the playwright did not at that time exist.
I. Steshenko is a granddaughter of the father of Ukr. theatre M. Starytsky. Born on the 5th of July, 1898 in Kyiv.From the early age she learned foreign l-s. After graduation grom gymnasium she knew 4 l-s: Russian, German, French and Eng. She was an actress of L.Kurbas theatre “Beresil” (1923-1933). She was a close friend of the wife of L.Kurbas. Her carieer as a translator was connected with P. Tychyna who asked her to translate some comedies for theatre such as:“Skapen-shtukar”, “Mishchanyn-shljahtych” by Molier - She transl. 6 of them.She devotes her life to artistic transl in 1949.The fact that she was an actress helpes her very much – she played in “Magbeth”, Гайдамаки, Мина Мазайло).The most productive t-or of Shakespear (6 plays: “Merchant of Venece”(1950), “Othello” (1950), “Romeo and Juliet” (1952) «Much Ado About Nothing» (1952), “Comedy of errors” (1954), “Two seniors from Verona” (1964)
In 1954 joned the Soviet Writer’s Union.
She translated:Horkyi,Goethe («Еґмонт»), Shiller «ДонКарлос», Ґ. Мопассана, Г. Ібсена
The top work M.Twain “Adventures of Hucklbery Finn”(1960) – diff. in finding the equivalents of dialects.
1913– stated transl J.London, in 1969—72 - 12 volumes of translations (The Faith of man - «Віравлюдину», To The Man On The Trail-«Затиххтовдорозі», The valley of the Moon- Місячна долина)
Her last wish was to put portrait of Les’ Kurbas in her coffin.
11. M. Lukash (Dec 19, 1919-Auh 12,1988)
He translated from 14 languages.Was born in the town of Krolovets’. He hadn’t spoken till 4 years. He was fond of reading, learning foreign languages. In the 5th form he tr. Heine’s poem. The Ukrainian folklore was in the focus of his attention. On graduating the secondary school he entered Kyiv State University, historical faculty. Being the 4th year student he tr. the first part of poetic drama “Faust”. The fullest edition of Faust was published in 1955 (20years). He worked as a head of the poetry section on magazine “Vsesvit”.
1959-his translations of R.Burns poems were published as a separate collection. It was the work of both translators Lukash and Mysyk.