Iskandary Mahnush

Any translation and especially that of poems from one language into another is accompanied by compensation, since the presence of rhyme, meter, figures of speech and emotional tension is inherent in the poem, and the transfer of all these poetic elements is impossible from the source language into the translating language. This article, relying on the comparative method and translation methods, examines the ways of compensation used in the Russian translation of Saadi Shirazi’s “Gulistan” by R. Aliyev and A. Starostin. The goal is to identify the positions and levels in the poem, where elements of poetic speech are lost, and also to identify the techniques and methods used to compensate for the loss of these elements. The scientific novelty of the article lies in the classification of positions of loss of meaning and poetic elements when translating poems from Persian into Russian, in particular “Gulistan” by Saadi Shirazi, made by R. Aliyev and A. Starostin, and in the study of methods of their compensation. As a result, the authors come to the conclusion that the loss of elements of poetic speech during the translation of Saadi’s “Gulistan” from Persian into Russian is compensated by alliteration, assonance, the use of rhyming words, anaphora, etc.

Russian is a synthetic language, whereas Persian is an analytical language. The structures of these two languages are different from each other. The difference between the structures of these two languages makes it difficult to translate from one language to the other. One of these differences is the presence of gender pronouns in Russian and its absence in Persian. This difference will lead to the fact that if there are two gender pronouns in a Russian sentence, the translator will have to apply some tricks to clarify the gender content of the above pronouns. The purpose of the article is to identify techniques and methods for clarifying the gender content of Russian gender pronouns when translating from Russian into Persian. The novelty of the article lies in the fact that this article for the first time considers this problem when translating from Russian into Persian and identifies methods for solving it. This study uses a descriptive and systematic approach. The static population of this study included Russian sentences containing gender pronouns from the text of the play “The Cherry Orchard” by Anton Chekhov. At the end of the article, the methods of translating Russian gender pronouns from Russian into Persian are listed and illustrated by the Persian translation of “The Cherry Orchard” made by Simin Daneshvar.