«TRANSLATION OF “RUSTAM AND ZOHRAB” BY VASILY ZHUKOVSKY AS A PHENOMENON OF TRANSCULTURAL COMMUNICATION»

Abstract

The concept of transcultural communication implies going beyond the boundaries of one culture and forming a special “transitional” space, in which different national cultures, different types of art, and texts in different languages meet. As a result, there emerges a special multicultural field, in which the individual, while preserving a national identity, is open to the influence of diverse cultural practices. Zhukovsky translated the piece “Rustam and Zohrab” from Firdausi’s epic Shah-nameh in 1846–1847 in the process of transcultural communication. The work on the translation went in several stages. Zhukovsky first read the Persian epic in a German retelling by the critic and publicist Johann Joseph Görres (Gorres, J. J. (1820). Das Heldenbuch von Iran aus dem Schah Nameh des Firdussi. Berlin: Reimer).  Zhukovsky further read another German version of “Rustam and Zohrab” translated in verse by Friedrich Rückert (Rückert, F. (1838). Rostem und Suhrab. Eine Heldengeschichte in 12 Buchern. Erlangen: Th. Biasing). This book has been preserved in the poet’s book collection with his numerous notes in it. Zhukovsky’s translation of “Rustam and Zohrab” is a free imitation of Rückert. Its central episode is the duel between father and son. Zhukovsky enhanced the ethical pathos of Rückert’s poem in the translation, depicting a live human in the supreme ruler. Zhukovsky also introduced new episodes into the translation: the appearance of the maiden Gurdaferid before the dying Zohrab and presentation of the horse with the Zohrab. In these fragments, Zhukovsky largely relies on the leading images and motifs of his romantic lyrics and the tradition of Russian folk tales. Thus, Zhukovsky’s version of “Rustam and Zohrab” as a transcultural translation is based on an episode from Firdausi’s Persian epic written in Farsi, which the Russian poet perceived through the German language. The German source was the basis for the Russian translation.

Extended abstract:

The concept of transcultural communication involves transcending the boundaries of a single culture and creating a unique “transitional” space where different national cultures, art forms, and texts in various languages converge. This results in the formation of a multicultural field in which individuals, while retaining their national identity, become open to the influence of diverse cultural practices. A striking example of such transcultural communication is Vasily Zhukovsky’s translation of the episode “Rustam and Zohrab” from Firdausi’s epic *Shah-nameh*, completed in 1846–1847. Zhukovsky’s work on this translation unfolded in several stages, reflecting a complex interplay of languages, cultures, and literary traditions.

Zhukovsky first encountered the Persian epic through a German retelling by the critic and publicist Johann Joseph Görres (*Das Heldenbuch von Iran aus dem Schah Nameh des Firdussi*, 1820). Later, he read another German version of “Rustam and Zohrab,” translated into verse by Friedrich Rückert (*Rostem und Suhrab. Eine Heldengeschichte in 12 Büchern*, 1838). This book, preserved in Zhukovsky’s personal collection, contains numerous notes made by the poet, indicating his deep engagement with the text. Zhukovsky’s translation of “Rustam and Zohrab” is a free imitation of Rückert’s version, with its central focus on the tragic duel between father and son. However, Zhukovsky introduced new episodes into his translation, such as the appearance of the maiden Gurdaferid before the dying Zohrab and the presentation of the horse with Zohrab. These additions reflect Zhukovsky’s reliance on the imagery and motifs of his romantic lyrics, as well as the traditions of Russian folk tales.

Thus, Zhukovsky’s version of “Rustam and Zohrab” represents a transcultural translation based on an episode from Firdausi’s Persian epic, originally written in Farsi, which Zhukovsky accessed through German intermediaries. The emergence of Zhukovsky’s translation marked a significant event in Russian literature, as it introduced Russian readers to the epic *Shah-nameh* in an accessible and engaging form. The translation’s success lies in its ability to highlight the parallelism of individual plot motifs and situations, which reveal universal laws governing history, society, human life, and nature. These elements emphasize the epic nature of the text and its timeless relevance.

Zhukovsky’s innovative approach is also evident in his use of blank (unrhymed) iambic meter, which gives the translation a rhythmic quality reminiscent of prose. This stylistic choice contributes to the creation of a unique intercultural space, shaped by Persian–German and Persian–German–Russian literary connections. This space emerges through a process of “multiple” translation: the original text of Firdausi in Farsi, the prose retelling in German by Johann Joseph Görres, the poetic translation in German by Friedrich Rückert, and finally, Zhukovsky’s poetic translation from German into Russian, titled *Rustam i Zokhrab*.

In transcultural dialogue, the components of communication do not simply double, as in the case of bilingual translation, but multiply depending on the number of intermediary texts. In this instance, four texts interact: the original Farsi text by Firdausi, the two German intermediary texts by Görres and Rückert, and Zhukovsky’s Russian translation. This process involves the productive interaction of four authors, three translator-readers, three languages (Farsi, German, and Russian), and three cultures: Iranian–Tajik, German, and Russian. Through this intricate web of connections, Zhukovsky’s translation not only bridges cultural divides but also enriches the literary traditions of both the source and target cultures.