IMAGES OF BYRON'S ITALY IN POETIC TRANSLATIONS OF RUSSIAN ROMANTICIST I. I. KOZLOV

Poetic system establishment process of one of the early Russian Romanticists - Ivan Kozlov - was going under the influence of two major personalities of his times - G. G. Byron and V. A. Zhukovskiy. For these two Italy was a vital part of historical, philosophic conception. Reflexes of this mythologized Italy's image - the country, which Kozlov never visited, but which became the spiritual motherland, the source of creative power and inspiration, are multidimensional and complex. Three levels of reflection of Italian semiosphere are differentiated: the reflection of Byron's Italy in Kozlov's original and translated poetry; the reflection of Italian topoi and aesthetic complexes connected with them; and the picture of Italian poetry itself, seen through his translations from Italian. The most interest is aroused by Kozlov's creative-aesthetic perception and reflection of Italian semiosphere in translated poetry, as, though it being based on the same aesthetic principles as the original one, it is, first of all, the re-creation of foreign originals and it has the most genuine relation to poetics and aesthetics of a translated author. The poetics analysis of Kozlov's fragmental translations from the 4th, "Italian" canto of Byron's poem "Childe-Harold's Pilgrimage" demonstrate the following. Kozlov shared the historical and philosophical conception of Zhukovskiy, in which Italy played a special role, being the home of creative genius, the evidence of human thought's grandeur. But he did not only share it, but also reflected it in his poetic works. And as translations are discussed, it is evident, that under its influence there fall both the translator's choice of texts and the quality parameters of translated texts. The Italian topoi acquires conceptual role in Kozlov's creative works. Among all types of them the Italian one turns out to be the most capacious, it is characterized by the ability to produce new senses only by its appearing in a translation. Italy turns into a sustained extended metaphor of blooming spring, but moreover the metaphor of spiritual spring, the time of love, which constitutes one of characteristic features of Kozlov's poetic style; for him the motif of the past youth is not a romantic cliche, it is deeply determined by his own life circumstances. Even the translation of the beginning lines of Byron's "Bride of Abydos", which give the description of an exotic Eastern country, contains reflexes of Italian topoi at associative level, generating the poetic senses, which Kozlov needs to make a brighter contrast between the land described and the actions done on it. Italian images as reflections of Kozlov's personal perception, its images seen through Zhukovskiy's eyes, and most of all, its images, "inherited" from the favourite author Byron - as translations, poetic imitations and even translations from Italian, parallel to Byron's, create a significant segment in Kozlov's creative aesthetic and poetic sphere.