Abstract

A brief account of the first Russian translation of The Cantos of Ezra Pound is presented. The problems encountered during translation are considered, and the translator’s and editorial decisions are discussed. An overview of the references used during the work on the translation and commentaries is presented. The central problem of translating The Cantos is identified as a lack of poetic language and techniques in Russian literature that are comparable with those of Anglo-American modernism. The methods of creating the modernist epic in Russian poetry are discussed and examples of similar attempts made by predecessors are mentioned. In particular, the translations made by N.I. Gnedich, M.L. Lozinsky, A.Ya. Sergeev, S.S. Khoruzhi and V.A. Hinkis, as well as translations of ancient Greek and Chinese literature are mentioned. Among all the various factors influencing the transition of the text from one literature to the other, authenticity, persuasiveness and laconism are stressed as the major reference points not only for translating the text, but also for commenting on the translation and writing the biographical notes. Every effort was made to ensure that the book would look and feel like an artifact of Pound’s lifetime. This is perfectly in line with the concept of Fortleben of the original text, as was suggested by Walter Benjamin. In this way, the translation is seen not only as an interpretation of the text, but as the renewal, survival and prolongation of the text’s life.