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The paper aims at a linguistically based analysis of one of the pearls of Russian love lyrics written by Tyutchev, and of its two Hungarian translations. Master of small forms, the poet concentrates his poetic devices (ambiguities, antitheses, repetitions, etc.) to a high degree, and attains to a harmonious fusion of different stylistic traits. The translation of the poem made by Lőrinc Szabó, a well-known Hungarian poet of the 20th century is handicapped by the use of an intermediate text, and some elements of his own poetical vision here and there outweigh essential features of the original. The translation of Árpád Galgóczy, one of the best contemporary translators of Russian poetry, comes in a lot of instances more close to the original.

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The present paper gives a positive answer to the question about the possibility of adequate poetic translation. It presents extracts of Russian poetry that contain various phonic devices (e.g. rhythmic variations, sound repetitions, vowel alternations, consonant clusters, etc.) which, in addition to other verbal means, make up the peculiar aesthetic value of a poetic work. The Hungarian translations of the extracts from Pushkin’s The Bronze Horseman and Eugene Onegin, Tyutchev’s Autumn Evening, and Tvardovsky’s Vassili Tyorkin, made by the prominent poets and translators Lajos Áprily, Árpád Galgóczy, and Lőrinc Szabó, masterly reproduce the phonic qualities of the Russian texts, and prove the validity of the Pushkinian claim on the “alliance of sound, thought, and sentiment” in lyric poetry.

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