Hamlet as Translated by B.L. Pasternak and M. L. Lozinsky

Abstract

To better understand the role of Shakespeare and his works in the Russian cultural space, this article opens with a historical overview of Hamlet’s translation into Russian. This includes the approaches of Alexander Sumarokov, whose mid-18th century creation is more of an independent dramatic work than a translation; Mikhail Vronchenko, who established new translation guidelines; and Nikolai Polevoy, who produced a flawed yet popular translation of his time. After a brief outline of the current state of affairs and the period of so-called parasitic translation, we focus on developments in the first half of the 20th century. We highlight the attempts of the would-be Nobel laureate Boris Leonidovich Pasternak and Mikhail Leonidovich Lozinsky, considered to be one of the most accomplished Russian literary translators. We compare their translations of the first act of Shakespeare’s tragedy with each other, the original, and the Slovenian translation by Oton Župančič. Through examples, we examine how the translators tackled various semantic, phonetic, structural, and other challenges posed by the text. We are particularly interested in moments of notable divergence, while also noting instances where the translators opted for the same solution. To a lesser extent, we address the critical reception of the translations and integrate ideas from the field of translation theory. We find that Pasternak prioritized rhythm and tried to closely mimic the individualized speech typical of Shakespeare’s plays, whereas Lozinsky adhered almost word-for-word to the original, which resulted in a less life-like translation. Throughout, we pose the perennial translation question: is it more legitimate to translate freely or accurately? We consider the advantages and disadvantages of both translations and their legacies, which continue to resonate in Russia today.