Reception of the musical beginning of Federico Garcia Lorca's drama "The Blood Wedding" in Russian translations

Sitnikova Inna Senior Lecturer; Department of Romano-Germanic Philology at the Oriental Institute-School of Regional and International Studies; Far Eastern Federal University 52 Balyaeva str., 65 block, Vladivostok, Primorsky Krai, 690087, Russia agur77@mail.ru Other publications by this author

The problem of the musicality of an artistic work is in the focus of attention of domestic and foreign researchers. According to A. A. Zhitnev, "one of the most important trends in modern literary criticism is the interest in forms of representation of sensory experience in the text" ^{[1, p. 65]}. The article examines the relationship and interaction of music and literary text, the influence of music on verbal text. This interaction can manifest itself at different levels and perform different functions. In this regard, such "phenomena as "philosophy of music", "music of nature", "symbolism of musical instruments", "musical names", "musical plots" appear, as N. P. Kolyadenko notes ^{[2, p. 142]}. There is a search in artistic texts for analogies with musical forms, a special rhythmic pattern similar to the rhythm of a musical composition. Music in a work of fiction can be not only a background, played by the hero, but also a tool for unfolding the plot, creating the image of the hero, the general atmosphere, a means of artistic expression, creating lyrical, tragic effects, and special tension. According to J. Rimondi, it becomes "an organic component of the search for new means of artistic expression" ^{[3, p. 28]}.

A special role is played by music, the musical principle in a dramatic work. According to D. A. Olitskaya, "the double aesthetic code (literary and theatrical) defines the ontological intermediality of a dramatic text," drama has special significance in understanding the problem of the interaction of literature and music, it "comes to life" on stage ^{[4, p. 19]}. In this regard, according to N. A. Smetanina, "playwrights, taking into account the specifics of the theatrical embodiment of their work, develop an original system of artistic and visual means necessary to create a play. In the poetics of drama, there are always references by the author to the intonation-emotional structure of the characters' speech, psychologically pointed remarks; recommendations on the ornamental and material arrangement of scenes and mise en scene, and the musical design of the play" ^{[5, p. 2099]}. In the performance, which is an artistic whole, according to N. A. Tarshis, "music directly participates in the interpretation of the conflict of drama", it also "has the gift of indirectly "voicing the "scenic existence of drama" ^{[6, p. 64]}. Music is important for many playwrights of the 20th century, it indicates "one or another type of artistic disclosure of the world and man," it contains characteristic historical features" ^{[6, p. 64]}.

Federico Garcialorca was not only a poet and playwright, but also an artist, director and musician. He received a musical education at home, played the piano and composed music. He was familiar with folk music since childhood, traveled to Spain, recorded, collected, arranged Spanish folk songs and studied Spanish folklore, "not as a scientist, but as a poet" ^{[7, p. 81]}, comprehending the depth of the ancient song style of Cante hondo, played the guitar beautifully and loved flamenco. Friendship with famous musicians and composers of that time, Manuel de Falla, Adolfo Salazar, Gustavo Pittaluga, guitarists Andres Segovia, Rejino Sanchez de la Masa, singer Encarnacion Lopez (Argentinita) influenced Lorca's work as a poet and playwright.

According to M. I. de Vicente-Yague Jara, "musical forms and genres: songs, waltzes, coples or nanas are revealed in his poems, and in dramatic works songs and musical instruments are played throughout the action, giving them a resemblance to ballet or opera" ^{[8, p. 82]}.

In Lorca's plays, "music is not an accidental decoration, but the most important component of Lorca's expressive stage solutions. <...> It is felt that the poet needs a musical rhythm and melody in order to give special power to the word and achieve the most complete stage expression. No author (including Lope) turns to music with such constancy, no one has such an organic connection with the development of the plot," said a friend of the poet, H. M. Guarnido ^{[9, p. 187]}.

Russian researchers: T. I. Esaulova, M. V. Yakushevich and G. I. Tamarli point to the versatility of Garcia Lorca's creative nature, and note the peculiarity of his poetics, where the interaction of words and music participates in the creation of an individual artistic world. According to M. V. Yakushevich, Lorca's plays "inextricably intertwine music, speech dialogue, dance and plastic solutions to stage situations. On this basis, the poetic theater of Lorca is being formed" (Yakushevich M. V. Synthesis in the art of Spain and its implementation in the work of F. Garcia Lorca and M. de Falla: dissertation of the cand. Art Criticism / Yakushevich M. V. Novosibirsk, 2004. p. 121).

Lorca's play "The Bloody Wedding" is embodied in various stage forms — opera, ballet, flamenco musical performance. The work of Klas Vounsch is devoted to the connection of the play "The Bloody Wedding" with classical music, where the author correlates the composition and plot of the play with J. S. Bach's cantata "Wachet auf, ruft uns die Stimme" BWV 140" ("Wake up, the voice is calling us"), created by the composer based on a church song by Philip Nicolai.

L. Cuba Tamayo, considering the connection of the play "The Bloody Wedding" with the folk art of flamenco and cante hondo, points to the flamenco traditions in the music created by Lorca for the play "The Bloody Wedding", speaking about the similarity of rhythm and leading motifs with flamenco genres and their folklore basis. According to her, "Lorca is not only a poet and a playwright, but a musician who knew how to convey flamenco rhythms in literary language," and "The Bloody Wedding" is a play "in which there is intensity, complexity and authenticity of flamenco music" ^{[10, p. 44]}.

The music for the play "The Bloody Wedding" was written by the author himself, processing folk melodies, and he also acted as its director. When staging the play, Lorca was particularly attentive to the transmission of the song elements. As A. Bensoussan notes, Lorca had already written musical fragments for the dramas Mariana Pineda (1925) and The Wonderful Shoemaker (1926), but it was in the drama The Bloody Wedding that he showed himself to be a real composer, "he wanted all the lyrical passages in this tragedy to be sung" ^{[11, p. 288]}. Garcia Lorca created six musical compositions for the performance. The rhythm of the piece is based on Spanish folk songs, coples and flamenco rhythms.

The art of flamenco is an inseparable combination of singing, dancing and guitar accompaniment. It is always dramatic. Love, struggle, passion, life and death are his main themes. In the change of rhythms, there is a fascinating, magical effect and a special drama of the flamenco performance.

In an interview with "Garcia Lorca puts on Folk Songs" (1933), he tells the actors and musicians, tracing a rhythmic pattern in the air: "Rhythm! The main thing is to keep the rhythm! (...) Rhythm is perhaps the most important thing for me" ^{[7, p. 81]}.

The flamenco rhythm (compass) is strict and intermittent with alternating monotonous and harsh fragments, created not only by guitar accompaniment, but also by finger snaps (pitos), palm claps (palmas), heel tapping (zapateado) and a loud cry of "Ole!". Improvisation in all its components is possible in the structure of the performance. S. A. Magon notes that, depending on the genre, there are four main rhythms of flamenco. For example, a binary compass is typical for tangos, a ternary compass for fandango, an amalgam/variable compass for petenera and guajira, and a complex 12/8 compass for sigiriya and solea. The rhythms of such flamenco genres as sigiriya, nanas, tangos, alborea, in our opinion, became the basis of the musicality of the play "The Bloody Wedding" (Magon S. A. Flamenco: history, genre, conceptosphere: dis. candide. Art Criticism / Magon S. A. Novgorod, 2019. pp. 38-39).

The translation of the play "The Bloody Wedding" began the acquaintance of Russian readers with the drama of Lorca. Her prose text was translated by A. V. Fevralsky in 1939, and her songs and poems by F. V. Kelin. In the afterword to the first edition of the play, A.V. Fevralsky notes Lorca's talent as a musician, points to the musical beginning in the play, where "the build-up of excitement and a change of pace increase the emotional power of the play, the psychological state of the characters is conveyed through songs that are outwardly unrelated to the plot" ^{[12, p. 105]}.

The second translation of the play appeared almost sixty years after the first. It was commissioned by the Moscow Theater "Involvement" for a new stage version of the play in 2000. Its authors, N. R. Malinovskaya and A.M. Geleskul, devoted many works to Lorca's poetry and drama.

N. R. Malinovskaya notes that the play "The Bloody Wedding" is her favorite work of Lorca, but for a long time she did not dare to translate it and believes that the translation of dramatic works requires a special approach: "The play should be translated so that it can be staged, and not just read, so that it is said from the stage, of course it was said" ^{[13, p. 329]}. N. R. Malinovskaya, not only a translator, but also a researcher of Garcia Lorca's work, writes in the book "Theme with Variations" (2014): "Perhaps the most impressive example of the primacy of music in drama is The Bloody Wedding. The poems, songs and prose in this "tragic poem", according to the author's definition, are as inseparable and necessary to each other as its two planes — the real and the symbolic" ^{[14, p. 268]}.

A.M. Geleskul, poet, translator, essayist, researcher of Spanish folk song poetry, translated all the lyrical works of Garcia Lorca. In translation, he strives not so much for accuracy as for recreating expression, considering translation to be art: "akin to performing, transcribing from one musical instrument to another" ^{[13, 156]}. This is the essence of his translation strategy — to get away from literalism, to make the text understandable to the Russian reader, but at the same time, according to N. Yu. Vanhanen, "sing in unison with the author's voice" (Vanhanen N. Y. Poetry given in all senses // Book Club, No. 2, 2006 URL: https://geleskulam.narod.ru/translate.html ).

We will turn to examples from the key scenes of the play, illustrating the peculiarities of the translation perception of the musical principle, the reconstruction of images and style of the Spanish text in Russian.

The first scene of the play opens with a dialogue between the Mother and the Groom, consisting of jerky remarks. Their rhythm is close to the binary compass of tango, one of the ancient types of flamenco, and at the same time is associated with the accompanying melody of palmas (claps) or zapateado — the sound of heels. The translations preserve the laconic lines of the original, similar to the singer's exclamations at the beginning of the flamenco performance.

Table 1. Fragment of the dialogue between the Mother and the Groom

The groom asks for a knife, and the mention of the knife is repeated several times in the Mother's remarks and monologue, which is how the motif of death appears in the first picture of the play. "Knife, knife..." the Mother says, and then her speech becomes longer, the rhythm changes. Listing and cursing all kinds of weapons, she repeats: “La navaja, la navaja... Malditas sean todas y el bribón que las inventó. <…> Y las escopetas y las pistolas y el cuchillo más pequeño, y hasta las azadas y los bieldos de la era. <…> Todo lo que puede cortar el cuerpo de un hombre. Un hombre hermoso, con su flor en la boca, que sale a las viñas o va a sus olivos propios, porque son de l, heredados” ^{[15, p. 19]} (Knife, knife... damn all knives and the crook who invented them. And guns, and pistols, and the smallest knife, even old picks and pitchforks. Everything that can hurt the body of a handsome man, with the flower of death on his lips, he goes to the vineyard or to his olives, because they are his olives, inherited by him. Here and further, the subscript is ours. — I. S.).

Repetitions of enumerative constructions with the conjunction y, lexical repetition with the variation el cuerpo de un hombre. Un hombre hermoso gives her speech both a songlike drawl and a monotonous character of lamentation. This is typical of the sigiriya and solea genres with their sad intonations of solemn sadness and hopelessness.

A. V. Fevralsky's translation preserves the repetitions and monotonous nature of speech, recreating the drama of Sigiriya: "Knife, knife... damn them, all knives and that bum who invented them."… <...> And guns, and pistols, and the smallest knife, even picks and shovels. <...> Anything that can kill a man. A handsome man with a flower in his mouth goes to the vineyard or to his own olive trees — all this is his, he inherited it" ^{[16, pp. 197-198]}.

In N. R. Malinovskaya's translation, phrases become exclamation marks, sharp, jerky; the emotional coloring is enhanced lexically: "damn them/ it", pauses and ellipses appear, creating a rhythm and pointing to the hidden meaning: "Knife! Always those knives! Damn them, even the Dr. Yan who invented them! <...> And guns, damn them, and pistols, and all the knives there are in the world, and swords at the same time, and scythes… <...> Damn it, whatever it takes and whatever it takes…A man goes to his vineyard, to his blood vineyard, or to the olives. A beautiful, well-shaped flower in her teeth..." ^{[17, p. 111]}. Sound repetitions add rhythm and intensity to the Mother's speech.

The groom interrupts her speech with short phrases and harsh requests, but she continues to talk about the past: about the deaths of her husband and son. Then the speech becomes meditative. Her phrases turn into a wailing song, a crying song, reminiscent of Cante Hondo's "gloomy" songs about grief and despair coming from the depths of the soul: "Cien a nos que yo viviera no hablar a de otra cosa. Primero tu padre, que me olía a clavel y lo disfruté tres años escasos. Luego, tu hermano. <...> P asan los meses y la deses p eración me pi ca en los ojos y hasta en las p untas del p elo” ^{[15, p. 20]} (If she had lived a hundred years, she would not have talked about anything else. At first, your father, I loved him and was happy with him for only three years. Then, your brother. <..Months pass, and despair burns my eyes and reaches to the ends of my hair). Repetitions of a muffled sound [p] create tension in speech, it is difficult for a mother to talk about her grief, she cannot forgive those responsible for the death of her loved ones.

The translators follow the author's ideas and the main motives of the Gypsy-Andalusian song, emphasizing the grief and despair of the Mother with the phrases: "I will never shut up. As time goes on, despair burns my eyes more and more and covers me to the tips of my hair" ^{[16, p. 198]} (translated by A.V. Fevralsky); "No, I will not stop! As the days go by, despair grows, it grows to the roots of the hair and stings the eyes" ^{[17, p. 112]} (translated by N. R. Malinovskaya Street). The meaning of the original expression "m e olía a clavel" — literally "he smelled like a carnation to me" is accurately conveyed in the translation by N. R. Malinovskaya, the symbolism of the carnation, a symbol of conjugal love and passion, is preserved: "I lived with him for only three years – as in a fragrant garden!" ^{[18, p. 112]}. Along with the motive of death, there is also the motive of love. The translators do not convey alliteration, but the words "burns" and "stings" emphasize the "sharpness" of the Mother's mental pain. Translated by N. R. Malinovskaya, the heroine's despair has already "grown" to the limit, to the very "roots of her hair." This is how the tonality of sigiriya is recreated, which, according to Lorca, "burns the singer's heart, throat and lips like alcohol" ^{[7, p. 66]}.

In the house of Leonardo, who is in love with the Bride, his Wife and Mother-in-law are cradling a baby. A lullaby is playing. This is one of the six scenes of the play to which the playwright wrote the music. Lullaby (nana) is one of the ancient types of Andalusian singing that became the flamenco style. "Nanas are sung or recited, their rhythm is adapted to the rhythm of sigiriya," L. Kube notes Tamayo ^{[10, p. 46]}. The lyrical narrative tempo alternates with harsh and disturbing notes. The women try to calm the baby down, but the gloomy song about the "black horse with a knife in his forehead" sounds more and more alarming and acts as a spell not only in meaning, but also in rhythm, thanks to a repetitive refrain similar to the "compass" in flamenco: "Duérmete, clavel, / Que el caballo no quiere beber. / Duérmete, rosal, / Que el caballo se pone a llorar” ^{[15, p. 33]} (Go to sleep, my flower! / The horse doesn't want water, / Go to sleep, my little bush, / The horse took it and cried.) According to A. N. Panamareva, "music can become a readable text closely related to the plot. It is able to establish not only external semantic connections with the plot, but also to contain the plot in itself" (Panamareva A. N. Musicality in Anton Chekhov's dramaturgy: dissertation of the Candidate of Philological Sciences. Tomsk. 2007. P. 43). Thus, the nanas-style lullaby is closely connected with the plot of the drama and foreshadows the tragic ending of the play.

Table 2. Fragment of a lullaby from the first act of the drama

The song translated by F. V. Kelin acquires a tone similar to a Russian lullaby with the characteristic chorus "bye bye", but the three-fold repetition of the adjective "black" creates a darker atmosphere. This disturbing atmosphere is emphasized by the rhyme, the change of rhythmic pattern in the translation by A.M. Geleskul: along with the affectionate and gentle address, "bye bye", it is sung about the "grave darkness", the "black" color prevails, and "the horse does not drink" - this is the motif of death, characteristic of the Spanish nanas.

Table 3. Fragment of a lullaby from the first act of the drama

The imperfect verbs "froze", "ran" and "froze" give the song dynamics, and the rhythm accelerates. The image of the horse, associated with Leonardo's main character, literally "comes to life", and the "terrifying" phrase "the silver dagger has frozen in the horse's eye", foreshadows the imminent death of the hero.

In the first picture of the second act of the drama, Leonardo is the first to arrive at the Bride's house on the wedding morning. There is a tense and expressive dialogue between the former lovers. It's like a duet of two proud dancers, 'escobillo' ("escobillo") — "foot music", where flamenco dancers create their own rhythm by tapping it with their heels. Resentment, pain, and disembodied passion torment the hero's soul. Pride did not allow lovers to be together once, and now the proud bride decides to marry the unloved one. Leonardo admits that pride did not help him forget about his love for his Bride and he did not find happiness in marriage:“Callar y quemar es el castigo más grande que nos podemos echarencima. ¿De qué me sirvió a mí orgullo y el no mirarte y el dejarte despierta noches y noches? ¡De nada! ¡Sirvi ó para echarme fuego encima!" ^{[15, p. 47]} (To remain silent and burn is the greatest punishment to which you can subject yourself. Why did I need pride and the fact that I didn't see you and you didn't sleep at night because of me? There's no need! She just made me burn!). Lexical, sound repetitions and alliteration enhance expression and create a rhythm consonant with footsteps in flamenco dance.

The translations by A. V. Fevralsky and N. R. Malinovskaya, with some syntactic and grammatical transformations, fully convey the expression of the original. Leonardo's remark, translated by A. V. Fevralsky, sounds passionately: "Burning in silence is the most terrible punishment that we can subject ourselves to. Did my pride help me, did it help that I didn't see you and you didn't sleep at night? Not at all! Only I was on fire!" ^{[16, p. 216]}. Translated by N. R. Malinovskaya ("To burn in silence is the torture of torture. Did pride help me when I didn't look up at you, but woke you up at night with the sound of hooves? It didn't help, it just burned everything" ^{[17, p. 134]}) "pride" is a "torture" that "burned" the hero, the embodiment of the "fiery" style of flamenco dance and the main features of the Spanish national character — pride and passion. Here, the translator introduces additional phrases departing from the original, but explaining the action makes it more understandable to the viewer. Leonardo's horse was driven so hard that he had to change his shoes, because at night he carried the hero to his beloved's house.

A wedding song is being sung behind the stage: “Despierte la novia / La ma nana de la boda! / ¡qué los ríos del mundo/ llevan tu corona” (Wake up bride / morning of the wedding. / May the rivers of the world / take away your wreath). L. Kube Tamayo notes that the 6X8 compass of the musical composition, written by Lorca for the wedding song, corresponds to the flamenco genre of alborea. It is a form of song and dance of Gypsy origin, traditionally performed at weddings at dawn as a symbolic prediction of a new life. "Exclamation "¡Despierte la novia!"it implies an emphasis on the first beat and a weak second beat, fast as the clatter of heels in a dance, a beating heart or an opening fan" ^{[10, p. 47]}. F. V. Kelin's translation is close to the original in meaning and rhythm: "Wake up, bride, / it's the morning of the wedding, / know that the rivers of the world / will take away your wreath!" ^{[16, p. 213]}. A.M. Geleskul departs somewhat from the original: "Wake up, bride, wounded—early, / the morning of the wedding is long-awaited, / and with the sunrise / your wreath / he will sail on the waters!" ^{[17, p. 132]}. He uses reduplication ("early-early"), emphasizing the specifics and meaning of the wedding ceremony, creates a rhyme and rhythmic pattern similar to Russian wedding songs, while preserving the symbolic images and metaphors of the original: the image of water — the eternal movement of life and the wedding wreath – a symbol of youth and purity of the bride.

Gradually, the entire second act turns into a flamenco performance with alternating cheerful melodies of the wedding song and dialogues of the characters. Here the author introduces all the elements of this art. The guests sing, dance, and the rhythm of the stage is comparable to the cheerful flamenco genre of alegreas or bulerias, where a fast two-track rhythm, freedom of improvisation, and an abundance of clapping create an atmosphere of noisy fun. But after returning from church, the Mother again remembers her dead son and husband. Leonardo's wife reports on the flight of her husband and Bride. The scene develops to the rhythm of 'cante valiente' ("bold singing"), this rhythm, which sounds at the climax of the flamenco performance, is a complex melody with a high tone. The action ends with a tense monologue from the Mother. She calls on all the relatives of the Bride and Groom to go in pursuit of "por todos los caminos" ^{[15, p. 68]} (along all roads), exclaiming: "Ha llegado otra vez la hora de la sangre" ^{[15, p. 68]} ("The hour of blood has come again" ^{[16, p. 230]} / "The hour of blood has struck!" ^{[17, p. 153]}).

In the third act of the drama, according to the author, "poetry dominates." She gradually penetrates into the prosaic dialogues of the drama, creating a certain pattern from a calm narrative to a surge of emotions, as it happens in flamenco songs and dances. Against the background of the night forest, three lumberjacks appear on the stage to the sound of violins. Like the Greek choir, they comment on what is happening, justifying the act of Leonardo and the Bride. "Hay que seguir la inclinación n: han hecho bien en huir" ^{[15, p. 69]} (One must follow one's aspirations: they did well to run), says the Second woodcutter, the first echoes him: “hay que seguir el camino de la sangre <...> Vale más ser muerto desangrado que vivo con ella podrida” ^{[15, p. 69]} (One must follow the path of blood. <...> It is better to be drained of blood dead than alive with rotten blood).

A.V. Fevralsky and N. R. Malinovskaya follow the main idea of the author. "We must obey our hearts: they did well to run. / We must follow the dictates of the blood. <...> It is better to bleed out and die than to live with rotten blood" ^{[16, p. 216]}, — writes A.V. Fevralsky. With the word "blood" repeated three times, the motive of death arises here, inextricably linked with the motive of love. "Rotten blood" is a life without love, like death. This triple repetition and fusion of the motifs of love and death are preserved in translation.

Translated by N. MalinovskayR. Malinovskaya: "When the heart tells you to go, you have to go. You did well to escape. <...> We must go when the blood calls. <...> It is better to bleed out than to rot it" ^{[17, p. 154]}, like a proud Spaniard, death is better than lack of freedom.

Gradually, the speech of the lumberjacks turns into an incantation song, a pleading song, beginning with the expressive interjection "¡Ay!" ("Ay /Ah!"), as in the ancient songs of Cante hondo. The chorus conjures the moon not to be cruel, to hide the lovers from the chase: “¡Ay luna mala! / Deja para elamorlaoscurarama. / ¡Aytristeluna! / ¡Deja para elamorlaramaoscura!” ^{[15, p. 71]} (Ah, evil moon / Leave a dark branch for love / Ah, sad moon / Leave a dark branch for love). The translations preserve the style and expression of Kante hondo: "Ah, the moon, don't be cruel!" ^{[16, p. 232]}, the chorus's call sounds in F. V. Kelin's translation. In A.M. Geleskul, the Moon—Month, according to a remark, appears in the "guise of a young woodcutter with a bloodless face": "Ah An uninvited month, finally <...> Ah, an evil month..." ^{[17, p. 155]}.

The last dialogue between Leonardo and the Bride is resolved in a poetic form. The characters' words are full of despair, sensuality and tenderness. Like a loud "Ole!" sounds the fervent confession of the Bride, who feels that she and her lover can no longer be saved: "¡T e quie r o! ¡Te quiero! ¡Aparta! Que si matarte pudiera, te pondría una mortaja con los filos de violetas!” ^{[15, p. 78]} (Oh, I love you! I love you! Go away!.. If I could kill you, I would cover you with a shroud of violets!). In her speech, thanks to the sound repetitions of hard consonants, a clear rhythm is created in tune with the tapping of heels (zapateado) or the beats of castanets. The exclamations remain in the translations, but the rhythmic pattern changes somewhat and the Bride's lines acquire a more melodic song intonation ("Oh, I love you! I love you! / Go away! Oh, if only I could make it out of a delicate fabric, I would put on a shroud! Go away! ^{[16, p. 237]} — translated by F. V. Kelin. "Welcome! Go away, desired one! / I could have killed you, but I killed you / and dressed you in a shroud of forget—me-nots/, darling!" ^{[17, p. 162]} — translated by A.M. Geleskul). In the poetic declaration of love between Leonardo and the Bride, as in a bright, passionate dance, the image of fire, a symbol of passion, appears. The bride exclaims: “¡Ay, qué lamento, qué fuego / Me sube por la cabeza! ¡Qué vidrios se me clavan en la lengua!” ^{[15, p. 78]} (Ah, what a scream, what a fire is rising in my head! What kind of glass stuck in my tongue!).

Translated by F. V. Kelin ("Oh, what a sorrow! And what a flame / my head is raging! / What kind of glass has stuck into the tongue!" ^{[16, p. 236]}) the words "sorrow", "flame" and "glass" give a tragic sound to the Bride's speech, and translated by A.M. Geleskula ("How the head burns! / I have no strength! / And a wound on a wound! / It's not tears that choke, it's not tears — / glass fragments in the larynx!" ^{[17, p. 162]}) the degree of expression increases: The bride is "burning" from mental wounds, her pain is even deeper, physically felt, the phrase "glass fragments in the larynx" enhances the image of the original.

The scene ends with a remark, the author explains the climax, framing the background of the tragedy with music and light: “Aparece la luna muy despacio. La escena adquiere una fuerte luz azul. Se oyen los dos violines. Bruscamente se oyen dos largos gritos desgarrados y se corta la música de los violines” ^{[15, p. 81-82]} (The moon appears very slowly. The scene takes on a rich blue light. The sounds of two violins are heard. Suddenly, two long, piercing screams are heard, and the violin music stops.) Two violins— two voices, two heroes. The music of violins — the life of the characters is cut short by a "desperate scream", as in Kant, where, according to V. Y. Siliunas, "the singing breaks into a scream, which seems to have something primevally wild, and a cry of horror and a plea for help" ^{[18, pp. 58-59]} ("Suddenly one after another are heard two heart—rending screams, and the music stops" ^{[16, p. 239]} - translated by A.V. February. "Suddenly she is interrupted by a long, desperate cry, followed by another" ^{[17, p. 165]} — translated by N. R. Malinovskaya).

The action ends with the funeral cry of the Wife, the Bride and the Mother. The last line of the Mother in prose turns back into a sad sigiriya. Mourning her second son, she repeats to the Bride like a spell:

«Pero ¿qué me importa a mí tu honradez? ¿Qué me importa tu muerte? ¿Qué me importa a mí nada de nada? Benditos sean los trigos, porque mis hijos están debajo de ellos; bendita sea la lluvia, porque moja la cara de los muertos. Bendito sea Dios, que nos tiene juntos para descansar" ^{[15, p. 90]} (But what do I care about your honor? What do I care about your death? What do I care about anything at all? Blessed is the wheat, for my sons are under it; blessed is the rain, for it washes the faces of the dead. Blessed be God, who keeps us together so that we can rest). Both translations are close to the original and retain all lexical and syntactic repetitions, conveying the intonation of lamentation ("What do I care about your purity? What do I care about your death? What's it to me? Blessed is the wheat, for my sons are under it. Blessed is the rain, for it washes the dead. Blessed be God, for he will calm us all" ^{[16, p. 246]} — translated by A. V. Fevralsky. "What do I care about your honor? What do I care about your death? What do I care about all the fuss of the earth? Blessed is the rye – my sons are under it. Blessed is the rain — it washes the dead. Blessed be God, for He will calm us down with them" ^{[17, p. 172]} — translated by N. R. Malinovskaya). The expression "nada de nada" ("nothing") – "all the vanity of the earth" in the translation by N. R. Malinovskaya elevates the Mother's speech, enhances the mournful note of her loneliness, characteristic of Sigiriya.

The mother utters a complex phrase, starting with the mention of a knife, as in the beginning of the play, the Bride repeats part of this phrase, and in F. V. Kelin's translation, these words of the Bride became the finale: “Y esto es un cuchillo, / que apenas cabe en la mano; / pez sin escamas ni ri o / para que un d? a se ? alado, entre las dos y las tres, / con este cuchillo / se quedan dos hombres duros / con los labios amarillos” ^{[15, p. 92]} (And this is a knife / that it would barely hold in your hand / a fish without scales and without a river / so that on the appointed day, between two and three o'clock / there would be two proud men / with yellowed lips). Translated, her remark is distinguished by its sublimity and tragic pathos: "With this knife."…It's so small that it falls out of my hands. / He was a fish without scales, / he seemed like a fish thrown onto the shore / before, but on the day / that fate had appointed for them, / between one hour and two, / two proud and stern husbands stabbed each other with a knife with this /. / Now they lie motionless, / death turns yellow on their lips" ^{[16, p. 247]}. But in the original, the play ends with a difficult-to-understand remark from the Mother: “Y apenas cabe en la mano, / pero que penetra fr ?o / por las carnes asombradas / y all ? se para, en el sitio / donde tiembla enmara?ada / la oscura ra ?z del grito” ^{[15, p. 92]} (And barely fits in your hand / but it penetrates the cold / into the affected flesh / and stops there, in the place / where the tangled / dark root of the scream trembles). These lines are the final chord of her sigiriya, it sounds like a piercing cry of pain and despair in the translation of A.M. Geleskul: "And only a palm wide, / but into a living body / the tip, piercing with trembling, / enters to the limit, / to that last limit, / where it is dark and wild / the blind are braided our roots / the core of the cry"^{[17, p. 174]}.

Federico Garcia Lorca's play "The Bloody Wedding" is the most musical play by the Spanish playwright. Her poetics are associated with images of Spanish folklore, ritual songs, rhythms of Spanish music and flamenco musical performance. The musical element in the drama is manifested in thematic and emotional contrasts, a change in the tonality of structural components. All these components are connected by a common mood of anxiety and increasing tension, similar to that carried by the folk art of flamenco. It was with the translation of this play that the acquaintance of the Russian reader with the drama of the Spanish author began. The first translators of the play strove for accuracy, transforming the text, sometimes emphasizing the tragic pathos, conveyed its flavor and musicality in their own way. Their goal was to introduce the Spanish author to Russian literature. The second, later translation was preceded by a long-term study of Lorca's creativity and aesthetics by domestic and foreign literary critics. This translation was focused on the stage version of the play. Despite the transformations, the change of rhythm and tonality, the translators certainly perceived and recreated the musical beginning of the play and its folklore basis, thanks to which the Russian "Bloody Wedding" retains its expressiveness and vivid Spanish flavor.