THE MATURATION OF VERS LIBRE IN THE PROSODIC CRUCIBLE OF TRANSLATION

The aim of the article is to investigate the preconditions for the emergence of the form of vers libre in the French literary language in the 1820s. The examples of translations and arrangements of European poetry (English, American, German, Serbian) show the prosodic changes present in the publications of female writers (M. Desbordes-Valmore, E. Vo ï art) who did not reach the peak of fame, but prepared the field for the perception and comprehension of the new poetic form, which took place in the 1880s. Both linguists (Jakobson) and literary historians (Gasparov) have pointed out that in poems where meaning is merged with form, translation leads to significant transformations, indicating a search for adequate means of expression (Poe’s poem “The Raven”, translated by Baudelaire and Mallarmé (poetic prose), Rollinat and Hubert (syllabic verse)). Poetic adaptation with a complete replacement of the original prosody by a form familiar to the reader can be considered a manifestation of domestication, and translation in poetic prose, emphasizing the foreign language origin of the text, - foreignization. Between these two extreme forms lies the recording of unrhymed poetic text in columnar form. This defamiliarizing form remained marginal, considered acceptable only in the sphere of translation.Non-rhymed translations (presented into verses/lines) became the prototype of vers libre, the theoretical justification of which was given in the 1880s. Poetic language is the highest form of development of a national language, that is why overcoming the boundaries established by tradition has not only aesthetic value, but carries an underlying philosophical content associated with cultural values and the basic principles of building a society (national or multinational).