Статья посвящена исследованию перевода стихотворения О. Уайльда «The Harlot's House» Ф. Сологубом. Рассматриваются темы основных произведений Ф. Сологуба, одна из которых - это тема несогласия с существующей несправедливой реальностью. Писатель считает, что с помощью искусства можно изменить несовершенство мира. Обращаясь к идеям Ф. Сологуба о влиянии искусства на жизнь человека, можно сделать вывод, что они во многом совпадают с эстетической философией О. Уайльда. Рассмотрены общие моменты мироощущения и поэтики двух писателей, повлиявшие на выбор переводимого произведения. Выполнен анализ художественно-изобразительных средств, использованных при воспроизведении ключевых образов. Проанализированы также изменения, внесённые поэтом на лексическом, грамматическом и фонетическом уровнях и оказавшие влияние на стиль и концепцию перевода.

The aim of this article is to study the conceptual and stylistic features of the translation of O. Wilde's work "The Harlot's House" by F. Sologub. The work uses the comparative historical and literary-historical methods and techniques of translational analysis. One of the main themes which appears in many works of F. Sologub is the negation of existing reality. The writer believes that with the help of Art you can change the imperfection of the world. Like many poets of the turn of the century, F. Sologub turned to the translation of Western literature. The ideas of the English writer Oscar Wilde on the impact of art on human life was close to the creative pursuits of F. Sologub. Interest of F. Sologub to Wilde's theory of the transformation of life to art is obvious. Common elements of the attitude and styles of both writers were especially evident in the translation of "The Harlot's House". It refers to the second period of O. Wilde's poetry. His works of this period reveal the strong influence of the French literary school. "The Harlot's House" depicts the outside world in the manner of impressionism which is common to all O. Wilde's works. His poems are characterized by an excellent color gamut, vivid imagery, expressiveness of feelings and moods. The works of the English poet are decorative and not emotional, which is a feature of Wilde's impressionism. This work fully embodies the trends of the era of decadence: failure to follow any moral rules, the glorification of sin and thrills. The translator was attracted to this poem by the motives which were very close to him: something unusual, surreal, the philosophical discourse on Love, Death and Vice. As Russian readers are acquainted with Wilde's work in translation, it is very important to raise the question of how accurately Sologub transferred its conceptual and stylistic originality. It is necessary to check the translation changes on the figurative, lexical and phonetic levels. When analyzing the translation, it can be concluded that the formal organization of the translation is fairly accurate. The translator seeks to preserve not only the form of the poem but also to reconstruct the main images that are particularly important for this work, as they reveal the originality of the perception of the lyric hero. Semantic substitution and conversion, inevitable in the poetic translation, allow So-logub to transfer and preserve the images created by Wilde. However, F. Sologub transformed the original text in accordance with the features of his poetic world. F. Sologub perceives and interprets Wilde's text and subjects it to some changes. If the original Wilde ironically refers to the conventional values and does not give evaluation, in Sologub's translation the real feeling overcomes Vice, and even Death.