Translation of Michelangelo’s Fifth Sonnet by Vyacheslav Ivanov: Issue of Equivalency and Translation Transformations

This article focuses on the translation of Michelangelo Buonarroti’s fifth sonnet by Vyacheslav Ivanov in 1925. The sources used include the translated text and the manuscript of the original text, accompanied by the author’s drawing. Comparative analysis results of Ivanov’s translation and a literal translation by the authors are presented. It emphasizes Michelangelo’s original concept related to deforming the sonnet form (20 lines instead of 14, with two additional tercets added), resonating with the sonnet’s content, specifically describing his physical sufferings and uncomfortable poses while painting the Sistine Chapel ceiling. Attention is given to the author’s drawing, highlighting the division of the lyrical subject and his doubts about the effectiveness of his work. Commentary is provided on Vyacheslav Ivanov’s translation decisions for this sonnet, linked to his poetic and aesthetic principles. A symbolist interpretation of the sonnet’s key antithesis is explored: Michelangelo portrays the lyrical subject as a “Syrian bow” (a phrase denoting a bow that never misses) and a “crooked crossbow”, interpreting his doubts through images of projectile weapons overcoming him. The translator interprets this antithesis through the classical contrast of “poet and crowd”, indicating that the artist fears condemnation and requires protection.