The terms differ from the words of the everyday vocabulary of specialized/pugh meanings, by the accuracy of semasiological boundaries... Accurate knowledge of a particular natural phenomenon or society requires a precise definition of its name.

BSE, vol. 42, p. 304.

Nowadays, it is hardly necessary to prove to anyone the importance of knowing terminology in a particular branch of science, including the humanities; for scientists studying foreign languages and foreign cultures, knowledge of foreign-language terminology and a complete understanding of the content of each foreign-language term, which may not coincide with the content of Russian, which seems at first glance, is of particular importance similar. These apparent analogies, which are often confirmed by bilingual non-specialized dictionaries, are a trap for the translator dealing with terminology. For an adequate understanding and transmission of foreign-language terms, the translator must also have background extralinguistic knowledge - ethnographic, historical-cultural, historical-literary, etc. Otherwise, inaccurate terms may appear in the Russian scientific literature or, even worse, inadequate use of terms already available in the Russian language. Both create a distorted view of the described phenomena of a foreign culture.

I will try to illustrate this with the example of a widespread Russian translation of two Arabic terms that appeared relatively recently in Arabic poetry studies and are associated with an important stage in the evolution of Arabic poetry - the formation of the romantic trend, which in the middle of the XX century became a decisive factor in the process of changing artistic consciousness in the literature of the leading countries of the Arab world. Romantic aesthetics, formed under the influence of English and French Romanticism and focused primarily on the poet's free self-expression, required updating the versification practice-abandoning the strict rules of the monorimic qasida, increasing attention to strophic structures-and brought to life new poetic forms-ash-shi'r al-hurr and ash-shi'r al-mansur breaking the strict laws of ' arud, a quantitative system of versification established in the Middle Ages, which became widespread in a number of Middle Eastern literatures [for more information about this process, see: Kudelin, 1975; Safronov, 2002; Safronov, 2003].

For the first time, these terms are found in the Lebanese writer, a representative of the so-called Syro-American school, Amin al - Reyhani (1876-1940), back in 1910, however, without a clear distinction between them. However, in modern Arabic-

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In general, they denote not only non-identical, but also in some sense opposite concepts, as will be seen later.

I will first turn to the term ash-shi'r al-hurr (hereinafter referred to as SHH), which denotes a metrical modification that finally-both practically and theoretically-became established in Arabic poetry in the late 40s of the XX century. [for more information, see Malaika, 1962; Khalusi, 1966, pp. 404-412; Silagadze, 1975; Kochubey, 1977].

SHH does not completely break with the traditional Arabic system of versification; it is characterized by the rejection of the mandatory isometrism of all the beits of the poem for 'arud, while maintaining various versions of the feet of one or another arud meter. In other words, SHH should be defined as different-foot unsettled verses, when the lines of the poem contain different numbers of feet of the same meter; naturally, the division of the Bayt into tents (half-verses) also disappears.

It goes without saying that for verses of this form, mainly meters based on the repetition of identical feet are suitable, i.e. meters of the II, III and V circles (va-fir, kamil, khazaj, rajaz, ramal, mutakarib and mutadarik) .1
As an example, here are some verses written in the SHH system:

No. 1. Salah ' Abd al-Sabur. The Tatar invasion. The Kamil meter. Number of stops per line: 1 - 3 - 4 - 4 - 4. Rhyming: aaabb

[Translation: Tatars attacked / And they destroyed our ancient city. / Our troops have returned, beaten to pieces, in the heat of the day / The black banner, the wounded and the caravan of the dead / The empty drum, the submissive indifferent step]

N 2. Adonis. Orpheus.

The mutadarik meter. Number of stops per line: 5 - 3 - 4 - 3 - 4 - 2 - 4 - 3.

Rhyming: abvavgbg

1 Sometimes there are truncated modifications of the size of basit (I circle), hafif (IV circle), as well as the size of sari (IV circle), where the last foot can be perceived as a truncated regez.

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[Translation: In love, I roll down in the darkness of hell / Stone, but I emit light. / I have a date with the priestesses / On the throne of an ancient deity. / My words are winds that shake life, / And my singing is sparks. / I am the tongue of the coming God, / I am the sorcerer who commands the dust]

N 3. Bahia Talab. A letter that will never reach my departed brother. The mutakarib meter. Number of stops per line: 2 - 2 - 2 - 2 - 1 - 1 - 4 - 4 -2. There is no rhyme.

[Translation: On my lips / The blood of a smile. / My face is stained / with the sorrow of serpents. / Do you remember / The girl / Who kicked off her shoes to run after you, / Wiping away her sadness with the hand of tears, / So that you wouldn't leave.]

The rejection of the monorym does not imply a fundamental rejection of the rhyme in general 2): it can be more or less ordered by stanzas (N 1), it can be unsettled (N 2), or it can be completely absent (N 3).

What term in Russian poetics corresponds to the Arabic SHH? Or should a new term be invented to translate it?

In Russian Arabic studies, there is a tradition of dictionary translation of the combination SHH as "free verse" [Baranov, 1976, p. 406; Timofeev, 1975, p. 323-335; Kochubey, 1977; Bobyleva, 1984, p. 9; Safronov, 2003, p. 56, etc.]. Both terms are Arabic and Russian - they have the same origin-from the French vers libre or the English free verse, but, despite the genetic relationship, they denote different concepts.

The content of the Arabic term has already been discussed at the time of its final approval, but we can only add that the European terms from which it originates are not identical, because, according to the European tradition, "in the ver-libre, it is usually set for a non-periodic and unlimited change of repetition measures" (emphasis added). - A. D.) [Zhovtis, 1971, p. 710].

In theory, the Russian term "free verse" should be closer to the European one than the Arabic one, at least due to the greater proximity of classical versification systems that have a qualitative basis, while the Arabic metric is quantitative. For the first time, this term was introduced into Russian verse studies by V. Ya. Bryusov: "Free verse refers to meters formed by a combination of arbitrary stops in an arbitrary number" [Bryusov, 1919, p. 119].

Throughout the 20th century, in the course of the formation and development of new Russian poetry, many different interpretations of this term appeared, sometimes expansive, which was reflected, for example, in the corresponding article of the Dictionary of Linguistic Sciences .

2 Утверждение В. В. Сафронова об отсутствии рифмы в ШХ [Сафронов, 2003, с. 56] опровергается практикой современной арабской поэзии. См. примеры N 1 и N 2.

стр. 27
terms" by O. S. Akhmanova, where among the definitions of versification, the following is also given: "A general name for various types of versification, in one way or another and in one way or another deviating from the traditions of this system of versification" [Akhmanova, 1966, p.596].

However, according to the definition of Yu. B. Orlitsky, given almost twenty years later, "the ver-libre can be called a "minus system" of modern Russian versification, which is characterized by a consistent rejection of all traditional rhythm-forming means" (emphasis added by me-L. D.) [Orlitsky, 1985, p. 314]. M. L. Gasparov, the greatest theorist of modern verse, makes it even clearer: "A verse that differs from prose only in its given dissection and is free from proper rhythm and rhyme is called free verse" (Gasparov, 1993, p.13).

This leads to the conclusion that the Arabic term SHH is inadequate to the Russian "free verse" (verlieb) in its modern use, while the usual translation only confuses the matter. It is worth noting that some Arab critics also recognize the inadequacy of the shape of the SHH to the European version. Thus, the Egyptian Muhammad al-Nuwayhi even suggested using a different name for this form - ash-shi'r al-muntalaq - an uninhibited (literally, "untied") verse [Timofeev, 1975, p. 326].

The Georgian researcher A. A. Silagadze, in his dissertation written in Russian, prefers to leave the term SH without translation, as a single declinable word, like the word "verlibre" (Silagadze, 1975).

But in Russian poetry there is a form that is much closer in structure to the Arabic one under consideration, namely free verse 3. Of course, a complete analogy cannot be drawn here, because we are talking about fundamentally different systems of versification, but you can immediately see the similarities between the Arabic and Russian forms.: 1) the use of stops only in classical meters; 2) a non-constant number of stops in a verse; 3) a free sequence of lines of unequal length.

In our view, free verse is associated primarily with the fable Iambic (see, for example, I. A. Krylov's fable "Quartet": The Monkey Prankster, / Donkey, / Goat, / Yes club-footed Bear / Started to play a Quartet. Number of Iambic stops in each verse: 3 - 1 - 1 - 3 - 4).

I. Bogdanovich's "Woe from Wit", "Masquerade", and "Darling" are written in free verse; examples of it can be found in the lyrics, and not only Iambic ones:

A. S. Pushkin: The day star went out, / On the sea blue evening fog fell. / Make noise, make noise, obedient sail, / Wave under me, sullen ocean (number of Iambic stops in each verse: 4 - 6 - 5 - 6. Cross rhyme).

A. S. Pushkin. "Bacchanalian Song": That the voice of gladness has ceased? / Get out, vak-xalny choruses! / Long live the gentle maidens / And the young wives who loved us! / Fill your glass more fully! / On the ringing bottom / In the thick wine / Cherished rings throw! (The number of amphibrachian stops in each verse: 3 - 3 - 3 - 4 - 3 - 2 - 2 - 3. Rhyming: abbavggvddezhezhzz).

K. Balmont. "Bells": Hear: for the wedding ringing holy, / Golden! / How much tender bliss there is in this song of the young! / Through the calm air of the night / As if someone's eyes are looking / And they shine, / From the wave of melodious sounds they look at the moon (the number of choreographic stops in each verse: 4 - 2 - 8 - 4 - 4 - 2 - 8. Rhyming: aaabbvv).

A comparison of the rhythmic structure of the above-mentioned Arabic verses written in the ShKh system with samples of Russian free verse shows that the term "free verse" means "free verse".

3 In the Short Literary Encyclopedia, free verse is defined as "a kind of syllabic-tonic verse characterized by a non-constant number of stops in the verse, and verses of unequal length are combined in a free sequence" [Free Verse (KSE), 1962, p. 1028]. In European poetics, special terms are used to denote free verse: vers libre classique and vers mele.

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"free verse" conveys much more precisely the essence of the Arabic term SHH, while the name "free verse" creates for the modern Russian reader an idea of a verse that has nothing to do with the traditional laws of versification. In other words, if an Arabic poem is said to be written in verlibre, we are more likely to imagine something analogous to Blokov's "She Came from the Cold", but not an Arabic likeness of Pushkin's elegy "The Light of Day went Out".

Another form of new Arabic poetry, ash-shi'r al-Mansur (SHM), reflects its further liberation from traditional laws and the creation of Arabic dysmetric verse. Hence the name mansur, i.e. "scattered" - in contrast to the metrically organized verse manzum, i.e. "strung".

Here are some examples 4: N 4. ' Adil Adib Agha. Palm of Time

[Translation: We met unexpectedly last night... / Wandering,... / I cried... / And the music of suffering flowed down his cheeks... / Dew... / And tears... / With prayers and memories.]

N 5. ' Ali ' Eid Hasan. Chapters from the book "Desert Woman".

[Translation: I can see that grief is drinking out your eyes, / O woman of the sands! / You have taught me the language of the sands, / I have taught you the language of the endless rain. / Your hands gave me signs / Through my tears.]

No. 6. ' Ali ' Abd al-Karim. Where is Jaffa, my dream?

[Translation: I am the waves... And the wind / I am a dream that deceives the birds with a nest. / I am an autumn leaf, / Killed by a passing gust of wind.]

4 Examples of CMM are taken by me from the Damascus magazine " Al-Mawqif al-adabi "(October 1979, N 102).

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Sometimes, obviously, lines with a clear meter intersperse into the fabric of a dysmetric verse, and sometimes - prose inserts. Most of the Arabic dysmetric verses are white 5, sometimes there is an unordered rhyme and very rarely a paired or continuous rhyme 6.

As we can see, CMM can be compared in structure to Russian free verse (verlieb), but we usually translate this term as "a poem in prose" [Baranov, 1976, p. 384; Safronov, 2002, p. 232; Safronov, 2003, p.51]. Such a translation, from my point of view, is absolute nonsense. After all, the first association that the Russian reader has when encountering this term is" Poems in prose " by I. S. Turgenev. However, for Turgenev, this is still prose, not poetry.

Let's turn to modern literary criticism. According to the definition given in the CLE, a prose poem is "a lyrical work in prose form" (emphasis added by me-A.D.) [Gasparov, 1971, p. 205]. In it, according to M. L. Gasparov, there can be everything that is inherent in the lyrical genre: "a general attitude to the expression of a subjective impression or experience, a range of images, motives, ideas characteristic of the poetry of a given time (...) plotless composition, increased emotionality of style. The only things that are missing are those features of verse that actually make a verse a verse: divisions into commensurate segments (emphasis added-A.D.) (...) That is why the form of such works remains prosaic" [Gasparov, 1993, pp. 11-12].

But modern Arabic poets, having abandoned the clear or modified dimensions of the ' arud, still write down their works in short lines, 7 that is, they position them as poems, indicating in such a division the only possible intonation rhythm of this poem, from the author's point of view, because with a prose recording, any other intonation would be possible for the reader..

The use of the Russian term "poem in prose" to refer to Arabic verses of the non-literary system is often opposed by their content, which is not always typical of the lyrical genre: on the contrary, a large place is given to political themes [Timofeev, 1975, pp. 332-334].

Thus, the term SHM (and not SHH!) fully corresponds to the Russian term " free verse "(free verse), especially since it is associated only with the formal features of the corresponding type of poetry.

The first "inventor" of Arabic verse terminology, Amin al - Reyhani, mentioned above, caused a thorough confusion in Arabic verse terminology. He used these new terms in the preface to his second collection of essays and poems, Ar-Reyhaniyyat, which he called Ash-shi'r al-Mansur8. As a matter of fact, ar-Reyhani still has these names

5 Here I want to take this opportunity to correct a mistake I made in my review of T. I "History of Egyptian Literature" by V. N. Kirpichenko and V. V. Safronov [Dolinina, 2004, p. 185], where I argue with the authors about the translation of the term qawafi mursal as "white verse" and suggest that here we are talking about "just a free arrangement of rhymes". In fact, the word qafiyyah (pl. qawafi) means not just "rhyme", but, more broadly, "the ending of the bayt"; thus, qawafi mursal - free (non-rhymed) line endings-in other words, can be translated as "white verse".

6 As an example, one can cite the poems of the collection" Hatawat Unsa "by a young Arab poet (b. 1981) Radina Mustafa al-Faylali (Beirut, b.g.), written in" scattered " rhymed verse.

7 V. V. Safronov's statement that CMMs "are arranged in paragraphs rather than separate lines on the page of a book" (Safonov, 2003, p.56) is refuted by the practice of modern Arabic poetry (see, for example, the examples of CMMs given above). If the text is arranged "not in separate lines, but in paragraphs", then this is not poetry, but prose.

8 " This kind of new poetry is called Vers Libre in French, and Free Vers in English, that is, "unbound free verse" - and this is the last achievement of poetic development among the French, and especially among the English and Americans. Shakespeare freed English poetry from the shackles of rhyme. And the American Walt Witman he freed her from the shackles of the metric system of versification, i.e., from the established meters and certain sizes. However, this free poetry has a special new rhythmic structure and within its framework poems can have many different sizes" [Reyhani, 1910, p. 9].

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they have not acquired the status of a term and their content is very vague, which allowed the poet to put an equal sign between them. By these names, ar-Reyhani meant poetic works that somehow went beyond the 'arud, the only system of Arabic versification at that time, which seemed unshakable at that time.

Ash-shi'r al-mansur (=ash-shi'r al-hurr) ar-Reyhani is the first attempt to create an Arabic verlibre in our understanding. But do not think that this form is entirely transplanted to Arab soil from the West, as ar-Reyhani himself says. He is undoubtedly deceitful: his verlibre also has an Arabic national origin-saj, i.e., as this term is usually translated, rhymed prose, and more specifically, in this case, the rhymed and rhythmized prose of the early suras of the Koran 9: ar-Reyhani, being a Christian, could afford to imitate the style of the Muslim holy book From their point of view , it is a unique and inimitable style, so that its convergence with the saj, which is common for the style of speech of pagan Kahins, is perceived as heresy.

From the point of view of Arabic philologists, "the system of saj was based not just on rhyme, but on a combination of rhyme and parallelism, which gave speech a measured rhythm, aligning the lines along the length" [Frolov, 1991, p. 78, 231 pr. 23]. The Arabs have always regarded the saj as a special form of speech and have never referred to it as poetry; this apparently prevented such works by ar-Reyhani from being considered poetry at the time.

I. Y. Krachkovsky, when translating his poetic works for the first time in 1917 [Reyhani, 1917], felt their "intermediate" position between prose and verse, and was the first to convey the name ash-shi'r al-mansur given by the author as "poems in prose", linking them with Turgenev's "Senilia" [Krachkovsky, 1917, with. 143]. Apparently, for him, the lyrical mood of these works, their increased emotionality, played a decisive role here; formal elements coming from saj, which might have seemed signs of poetic speech to a European, turned out to be less significant, especially in the light of traditional ideas about the structure of Arabic poetic speech that are close to the Arabist. It is not by chance that I. Y. Krachkovsky also attributed the miniatures of J. H. Gibran (1883-1931), who adjoins the same romantic wing of the Syro - American school, and their Egyptian follower Mey (1895-1941), which are closer to Turgenev's (at least in form) to the same genre of prose poems. 1928, pp. 59, 62]. I think that I. Y. Krachkovsky did not expect that by the end of the century, the Arabic "scattered" verse would have developed so much in the latest poetry of various genres and would depart so far from the ar-Reyhani created that the Russian term he introduced would later turn out to be completely unsuitable for it.

So what is to be done with the false equivalents of Arabic poetological terms that give the reader an erroneous idea of the subject? Once, about 25 years ago, my student K. A. Knorre and I tried to prove that the translation of the Arabic term SHH into Russian "free verse"was incorrect. But a note about this was published only in the Scientific Notes of the Eastern Faculty of Leningrad State University, which are not widely distributed [Dolinina and Knorre, 1981]. It remained almost unknown to the Orientalist community, and the term "free verse" proposed by us at that time for translating the Arabic Shkhneh entered scientific usage.10
You can, of course, always use the usual inadequate Russian terms, stipulate the convention of their use, put them in quotation marks, etc., or you can try to replace them: "free verse" - with "free"; "poems in prose" - with "prosaic" or "scattered" poetry 11.

9 Krachkovsky was the first to point this out [Krachkovsky, 1917, p.143; for more details, see Dolinina, 1988, p. 21-22].

10 So far, I have encountered the term "free verse" only twice in our Arabic studies [Asadullin, 1993, p. 105; Ali-zade, 2007, p. 290].

11 In order to avoid further confusion, I do not venture to suggest the term "free verse" (ver-libre), which is quite adequate for this form.

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Our experienced lexicologists now have the floor: perhaps they will offer a reasonable way out of this situation.

However, the question inevitably arises: is everything in order with the translation of Eastern terminology in other fields of science and culture?

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Asadullin F. A. Essay on the history of Libyan literature of the XIX-XX centuries. Moscow, 1993.

Akhmanova O. S. Dictionary of Linguistic Terms, Moscow, 1966.

Baranov Kh. K. Arabic-Russian dictionary. Ed. 5-E. M., 1976.

Bobyleva I. M. Poeticheskoe tvorchestvo Abd ar-Rahman al-Khamisi [Poetic creativity of Abd ar-Rahman al-Khamisi]. Avtoref. kand. dis. Moscow, 1984.

Kratkiy kurs nauki o stihe [A short course in the Science of verse]. Moscow, 1919.

Kratkaya literaturnaya entsiklopediya (KLE) [Short Literary Encyclopedia (KLE)], vol. 6, Moscow, 1962.

Gasparov M. L. Pokhotvorenie v proze [A poem in prose]. KLE. T. 7. Moscow, 1972.

Gasparov M. L. Russkie stikhi 1890-kh - 1925-go godov v komentariyakh [Russian poems of the 1890s-1925s in the comments]. Moscow, 1993.

Dolinina A. A., Knorre K. A. On one term of modern Arabic poetics // Oriental studies. Issue 8. Philologicheskie issledovaniya, L., 1981.

Dolinina A. A. Amin ar-Reyhani / / Amin ar-Reyhani. Favourites. L " 1988.

Dolinina A. A. [Rec. on:] V. N. Kirpichenko, V. V. Safronov. Istoriya egiptskoi literatury XIX-XX vekov [History of Egyptian literature of the XIX-XX centuries]. 2004. N 3.

Zhovtis A. L. Svobodny stikh [Free verse] / / KLE. T. 6. Moscow, 1962.

Kochubey Yu. N. The emergence of poetry "free verse" and its artistic features in the light of the tradition of Arabic poetry. Avtoref. kand. dis. Moscow, 1977.

Krachkovsky I. Y. Preface to the book. "Amin Reyhani. Selected works " / / Krachkovsky I. Y. Selected Works, vol. 3. Moscow-L., 1956.

Krachkovsky I. Y. Predislovie k kn. "Obrazki novoarabskoi literatury" [Preface to the book "Samples of New Arab Literature"]. Izbrannye sochineniya [Selected Works], vol. 3, Moscow-L., 1956.

Kudelin A. B. O puti razvitiya novoi arabyskoi poezii [On the ways of developing new Arabic poetry]. Poetics, stylistics, typology, interrelations. Moscow, 2003.

Al-Mawqif al-adabi. Damascus. October 1979. N 102.

Al-Malaika N. Kadaya ash-shi'r al-hadith. Beirut, 1962.

Orlitsky Yu. B.O prirode russkogo svobodnogo stikha (k postanovke voprosa) [On the nature of Russian free verse (to the formulation of the question)]. Traditions and problems of development, Moscow, 1985.

Ar-Reyhani A. Khitaf al-awdiyah. Beirut, 1955.

Reyhani Amin. Selected works / Transl. and notes by I. Y. Krachkovsky. Pg., 1917.

Safronov V. V. Poetry of Egypt in the first quarter of the XX century. Origin of the romantic direction / / V. N. Kirpichenko, V. V. Safronov. History of Egyptian literature of the XIX-XX centuries, Vol. I. M., 2002.

Safronov V. V. Egyptian poetry of the second half of the XX century in the context of Arab Post-Romanticism / / V. N. Kirpichenko, V. V. Safronov. History of Egyptian literature of the XIX-XX centuries. Vol. II. Moscow, 2003.

Silagadze A. A. Modern Arabic verse. Author's abstract of the cand. dis. Tbilisi, 1975.

Tazetdinova L. A. Poeticheskoe tvorchestvo Amina ar-Reyhani [Poetic creativity of Amin ar-Reyhani]. Avtoref. kand. dis. L., 1986.

Timofeev I. V. "New poetry" in the mirror of Arab criticism of the 60s / / Literature of Foreign Asia in the modern era. Moscow, 1975.

Frolov D. V. Classical Arabic Verse, Moscow, 1991.

Al-Halusi S. Fann at-taqti ' ash-shi'ri wa-l-kafiya. Beirut, 1966.

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