Ministry of higher education, science and innovation of the republic of uzbekistan national university of uzbekistan

2.2 Features of poetry translation from English into Russian 
Poetry translation, as all variations of translation, is an act of interlingual and 
intercultural communication. Poetry translation performs expression of poetical 
information by means of especially and only completed text, every separated part 
of this text has the true meaning exactly and only in content of this integral text, 
and never has its own integral meaning. In this case the acting poetical speech 
theory in whole and poetical translation particularly, can be the communicational 
and textual theory, if it is needed. 
At last, verbal-artistic communication, expressed by means of poetic texts, is 
poetic communication. The meaning part of the text in all sides of view we will 
call the information of present text. This only definition can be used for 
understanding the literary communication theory.
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The poetic text information is divided into two different parts: semantic and 
esthetic. Semantic information is also divided into two parts: factual and 
conceptual ones. Factual information performs about some facts and causes, which 
took, take or only will take part in real or fantastic world. This kind of information 
is contained in every, even non-literature text. For example: «Я помню, как ты 
неожиданно вошла в мою комнату, и я подумал: это не женщина, а чудо!» 
But every literary text contains not only superficial factual information, which is 
much more important than just clear facts and causes. It expresses, at last, world 
conception, that means, author’s world understanding conclusion about what this 
world is like and what it should be like. This information is always implicit by its 
nature and, we can say, it doesn’t have any verbal bearers – it performs by non-
verbal form, but by means of factual content. 
For example: «Я и поныне помню, как ты внезапно появилась предо 
мной, - и подумалось мне, что это лишь мимолетный мираж, запечатлевший 
в облике своем божественную красоту». That is literary text – it has the same 
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Vieira E. R. 'The White Wall: Pre-Facing SilvianoSatiago. – London, 1999. 7-15 pp. 

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factual information as in former, but it is filled by special conceptual means – 
literal hero worship for female beauty. But in true – literal text are many other 
informational “units”, which are expressed except the means. This informational 
non-means complex can be named as esthetical information. In poetry, especially 
in lyrical one, esthetical information usually is more important then factual and 
conceptual ones.
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So we can see that, former examples of literal prosaic texts, which have 
special conceptual information, are less informed then their poetic version, wrote 
by A. S. Pushkin: 
Я помню чудное мгновенье: 
передо мной явилась ты, 
как мимолетное виденье, 
как гений чистой красоты.
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Esthetical information also is very complicated informational complex, 
consisted of esthetical information (evaluation and experience of the recipient that 
the content format), catorical information (not harmony, but intense conflict 
between different levels of literal text structure), hedonistic (the pleasure, that the 
recipient gets from connecting to the mysterious poetic code, from virtuoso author 
skills, who perfectly wields lingual and poetry techniques), acseological 
information. 
But if verse words means don’t coincide with their true means, if in poetic 
texts “white” can be “black”, can we even find routine means understanding and 
means-agreement between original and translated poetry text? Could such 
closeness be the true indication of catastrophically original difference? It is clear 
for us that: first of all, poetic communication exists only if the author created some 
kind of poetical text, characterizing all its units by interconnection and 
intersemantics, belonged to special language system; secondary especially these 
interconnection and intersemantics, connecting all linguistic units – from phoneme 
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Yinhua X. Equivalence in Translation: Features and Necessity. – Pekin, 2011, 169-171 pp. 
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Пушкин A.C. Собрание сочинений в десяти томах. – М.: Издательство «Правда», 1981. 

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till statement – make the expression of informational complex in text absolutely 
impossible, which takes please in the original text. 
So we can say that every time the interpreter has to make a choice, what and 
why he should make a sacrifice. There are four different methods to translate one 
poetic text. It depends on how much true information the interpreter wants to get 
from the origin into another language, (also it depends on communicative function 
which the interpreter chooses for his art-work). 
1. POETICAL TRANSLATION. Poetry – is one of the most difficult 
literary genres, requiring very sensitive responsive, intelligent, deep action 
understanding. The Poet transforms the world into lyrics, “retracting it by prism of 
artistic image. That is the main problem of poetic text! 
This interpreter has the clear artistic aim: to understand this image. To 
appear in it, to feel… just for expressing all its beauty, emotional experience. 
That’s why the poetic translation is the most independent literary work of art. And 
of course no one can understand the poet, but another poet. The poetry translation 
is the interpretation of already existing integral work of art, and its literary level 
depends only on interpreters skills. Any poetic text is versal but not in the opposite. 
The verse text is only a text minimum, devoted into verse-lines. 
The interpreter has to create new poetical text, equivalenting for the origin 
by its conceptual and aesthetical information. And what about factual one? It is 
expressed only if it doesn’t hurt the conceptual and aesthetical expression. 
The poetic translation contains taking the translated text into alive literal 
process, into cultural tradition and literal memory of that language it exists in. Here 
is the example of poetic translation done by me.