The culture of advanced Arab countries in the Renaissance (Ennahda) (the second half of the XIX-beginning of the XX century), marked by enlightenment, was characterized by intensive development of translation activities. An important place in this process, along with Western translated literature, was occupied by translations of works of classics of Russian prose. In particular, A. P. Chekhov's short stories became particularly popular in the Arab world; one of their first translators from Russian, the Syrian writer Antun Ballan, published a collection in 1913, which included five Chekhov short stories-scenes. The humor of the great Russian writer turned out to be close to the Arab readership.

Keywords: Ennahda, A. P. Chekhov translated into Arabic, the art of literary translation, Russian literature in the East.

The first translations of works by foreign-language authors began to appear in Egypt in the 30-40s. 19th century, during the reign of Muhammad Ali (1805-1848). In 1935, a School of Languages (Dar al-alsun) and a Translation Agency (Qalam at-tarjama) were established in Cairo. In January 1842, the Khedive's Advisory Council even adopted a special resolution on the selection of materials from the Western press for Egyptian newspapers and magazines and on the need to publish excerpts from literary works by foreign authors [Hamza, 1950, p.123].

The focus of Egyptian translators was mainly on Western European literature. Periodicals played an important role in its popularization. Since the 1870s, almost all socio-political newspapers and magazines have published translated short stories and novels in appendices or special sections. Since the end of the XIX century. Egypt is becoming the center of political, cultural, and particularly literary life in the Arab East. As noted by the famous Egyptian journalist, philosopher, poet and novelist Abbas Mahmoud al-Akkad (1889-1964), Cairo at that time was the center of all the appeals that attracted the attention of world states, for which the Middle East was coveted; Cairo was the center of all the appeals that propagandists of the Islamic University and Arab Unity, supporters of the Young Turks, spread He is also the author of a series of political reforms in Iran and Central Asia , and propagandists of national movements in Egypt itself and other African countries, from the north, including the Maghreb, to the south - the coastal countries and Zanzibar (al-Akkad, 1964, p.57). Khedive Ismail (1863-1879), according to al-Akkad, turned Cairo into a piece of Europe, where the interests of opposing powers and various legal and cultural trends within the Ottoman Empire itself collided. Freedom of the press and assembly was established [ibid., p. 59]. It is not by chance that many representatives of the creative intelligentsia emigrated to Egypt in the late 19th and early 20th centuries.

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a number of Arab countries, mainly from al-Sham (Palestine, Syria, Lebanon). According to the Syrian poet Shafiq Jabri (1898-1980), they went there to enjoy the freedom of thought that prevailed there... once settled there, they could publish their most daring projects... they founded newspapers and magazines, wrote books. The Egyptian land became the last refuge for many of them [Jabri, p. 50].

It is characteristic that not only until 1881, when Egypt was invaded by England, but also during the British occupation, under the influence of the established tradition, mainly French literature was translated, which of all European literature most corresponds, in the words of the famous Egyptian translator and writer Ahmad Hassan al-Zayyat, "to the sophisticated tastes and ardent feelings of the Egyptians" (cit. but: [Shusha, 1960, p. 18]).

The situation was different in the Palestinian-Syrian region, where there was a whole group of translators directly from Russian. Russian literature appeared to educated Arabs as a highly cultured phenomenon. The schools and seminaries of the Russian Imperial Orthodox Palestine Society, established in 1882 and "aimed not only at helping Russian pilgrims to Palestine and studying its past and present, but also at cultural and educational activities in the Middle East" [fr. Augustin (Nikitin), 1996, p. 62]. They were taught by teachers invited from Russia, as well as Arabs who received an education there. For example, Alexander Iskander, a native of Damascus, was the director of the Nazareth Teachers ' Seminary (or, as it was called locally, the "Moscow School"), which was opened in 1886 Kezma (1860-1935), graduated from the St. Petersburg Theological Seminary and studied at the St. Petersburg Theological Academy. Russian schools operated in Damascus, Homs, Hama and other cities in Syria. Arabs got acquainted with the works of Russian classics - Pushkin, Gogol, Turgenev, Chekhov - not only in school classes, but also through libraries that existed at schools and "were far from poor in the selection of Russian books" [Krymsky, 1971, p.314]. Among their students were future Syrian writers, including the poets Nadra Haddad (1881-1950) and Nasib Arida (1887-1946); both were born in the city of Homs and after studying went to work in North America (the first - in 1897, the second - in 1905).

Nasib Arida and Nadra Haddad's younger brother Abd al-Mesih Haddad (1890-1963), who also emigrated to America in 1907, were students of the Nazareth Teachers ' Seminary. The formation of their literary tastes and views was greatly influenced by Russian literature.

A graduate of the Nazareth Teachers ' Seminary was a Palestinian named Selim Cobain, who emigrated to Egypt. An ardent fan of Russian literature, S. Cobain made four works of Gorky available to the Arab reader, combining them into a collection (1907), wrote the book " The Teaching of Tolstoy "(1901), including translations of excerpts from the autobiographical trilogy of the great Russian novelist, translated Tolstoy's Gospel (1904) and The Kreutzer Sonata (1904). In March 1914, the Egyptian magazine "Al-Hilal" ("Crescent") wrote about Cobain as a connoisseur of Russian literature and noted that the Egyptians are close to Russian literature.

Another student of the teachers ' seminary in Nazareth, Khalil Baydas (1875-1949), was widely known. He was very successful in introducing Russian literature to the Arabs. A talented Palestinian journalist, Beidas was a frequent contributor to Beirut periodicals. He knew Russian perfectly, was a good stylist, highly appreciated and understood Russian literature, and, in Krymsky's words, simply bombarded Arabic readers with translations from Russian [Krymsky, 1971, p. 315]. Later, Beidas worked as the director of a Russian elementary school in the Syrian city of Homs, and then taught and even, according to his Arab biographers, at one time he was the director of a similar school in Lebanon, in Biskinta, where Mikhail Nuaymeh studied from 1899 to 1902. M. Nuaymeh later recalled that for the first time "in his entire history, I learned to know the Russian language." Biskinta, what is a model school, for the first time in its history?

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we started studying together with the boys... For the first time, we felt that we were in a school where there was a program and order" [Nuayme, 1980, pp. 60-61]. According to M. Nuayme, the news of the opening of the Russian school in Biskinte "spread through the town like the light of dawn. The Orthodox met her with joy and pride. This is not surprising. The people of Lebanon, when the country was an Ottoman province, were accustomed to the fact that Russia was the traditional patron saint of the Orthodox, France of the Maronites, England of the Protestants and Druze, and Turkey of the Muslims. But Russia surpassed its rivals, because it opened free schools for Orthodox Christians in Palestine, Syria, and Lebanon... " [ibid., p. 60].

H. Beidas was the first translator into Arabic of A. S. Pushkin, his translation of" The Captain's Daughter "appeared on the pages of the Beirut magazine" Al-Manar " in 1898.The main task of his translation activities and educational program Beidas saw in introducing compatriots to the cultural achievements of other countries. For this purpose, in 1908, he began publishing his own weekly magazine in Haifa, An-Nafais ("Jewels"), each book of which, according to Krymsky," was a vivid influence of Russian literature " (Krymsky, 1971, p.315). The magazine, which in December 1909 was renamed "An-Nafais al-Asriyya" ("Modern Jewels"), and two years later was published in Jerusalem, thanks to the insignificant subscription price and a successful selection of materials, quickly gained enormous popularity, which ensured that Russian writers were known in the widest circles of the Arab population [Krachkovsky, T. A., and others. 3, p. 269].

According to Abd ar-Rahman Yaghi, Khalil Baydas and Antun Ballan, who was published in his magazine, were the best of those who "opened a window into Arab life by introducing the breath of rich Russian literature" (Yaghi, 1981, p. 111).

Attention to European literature, the desire to improve the quality of literature. Beidas to acquaint fellow citizens with the life of other nations determined the nature of the magazine. In the introductory article of the first issue, he wrote that in addition to these goals, his task was also to entertain the magazine's readers with modern humor [al-Iagi, 1969, p. 78].

Along with the great Russian masters of fiction (Pushkin, Tolstoy, Turgenev, Dostoevsky) promoted by H. Beidas, A. P. Chekhov began to gain fame in the Arab world, and above all in the Palestinian-Syrian region. Chekhov's lyrical, humorous works, especially the early ones, won the hearts of Arabs. Chekhov's fascination was widespread.

His enthusiastic admirer was the Syrian Ibrahim Jabir, a native of Homs, who taught at the Nazareth Russian Seminary. In 1905. he published a collection with the euphonious title " A friendly Pearl in precious stories "("Al-Durra al-anisa fi rivayat an-nafisa"), which included 6 short stories by Russian writers translated from the original, including Chekhov's story "Pari", called Jabir "Ash-Shart" ("Condition"). In order to make the Russian story understandable to the Arabic reader, to bring it closer to the literary style familiar to him, Ibrahim Jabir introduced typical Arabic speech phrases and expressions into the translated text of Chekhov's Pari, explicitly stating in the subtitle to the collection that the stories included in it are "free translations" (Jabir, 1905).

In the X log. Beidas also published many short stories by Chekhov and other Russian writers. In its pages, in 1912, translations of Chekhov's short stories were published by another passionate propagandist of Russian literature, Antun Ballan1, who also taught at the Nazareth Teachers ' Seminary for a time. According to I. Y. Krachkovsky, " from the beginning of the 20th century until the First World War, Chekhov maintained a strong position in this field of Arabic literature, which was created and diverged by the main author.

1 A native of Homs, he received an excellent spiritual education in Russia - at the Poltava seminary and the Kazan Theological Academy. After teaching in Nazareth, Ballan worked for many years as a schoolteacher in his hometown of Homs and introduced his students to the heights of Russian culture in the classroom.

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mainly among the Arab intelligentsia, who spiritually gravitated towards Russia" [Krachkovsky, vol. 3, p. 313]. The scientist sees the reasons for the growing popularity of Chekhov as a short story writer in this environment as follows:: "The very form of Chekhov's early stories was particularly convenient for the purposes of these translators: small in volume, they easily fit in one issue of a newspaper or magazine. The entertaining plot turned out to be accessible to even the average reader, and the plot, which directly introduced the life of modern Russia, was especially attractive for the Syrian Arab of that era, whose sympathies often turned to our country more than to Western Europe " [ibid., p. 55].

Chekhov's fame was promoted by the magazine "Niva", in the appendix to which his stories were published. Niva was very popular among Palestinian readers, both Russian and Arab, who were interested in Russian reality. I. Y. Krachkovsky, who visited this region in 1908-1909, writes about the role of this magazine, as well as Russian schools, in the dissemination of Russian literature in Lebanon and Syria: "I often met teachers who were so fluent in the language (Russkiy - E. A.) that I had to wonder how they could have been so proficient in the Russian language. learn it without ever leaving your homeland. If not all of them spoke with ease, then all of them knew and subscribed to the Niva magazine well, each of them could see volumes of Turgenev or Chekhov in their room, even green collections of Znaniya that had just begun to appear, and sometimes such literature that was considered forbidden in Russia itself" [ibid.].

However, translators of those years perceived Chekhov mainly as an entertaining storyteller, a "funny" writer. Their interest in the work of the Russian novelist was limited to the plot side of his stories. Chekhov's plays and novels remained out of their attention for a while. They were also not attracted by the peculiarities of the writer's artistic skill, because, as it is rightly noted, "the new developing literature at the beginning of the XX century barely left the stage of enlightenment and did not yet feel the need for new forms for its expression" [ibid., p. 314].

Antun Ballan left a significant mark on the history of translations of Russian literature, in particular Chekhov's short stories, and on the development of translation in the Arab world as a whole. Among his Nazareth students was Michael Nuayme, whose dream was to continue teaching "in the country that gave birth to Tolstoy" (Nuayme, 1980, p. 110). While working hard on the Russian language, M. Nuayme in Nazareth read Zh. Some of the short stories by Chekhov and Tolstoy, and Dostoevsky's Crime and Punishment, were true in Russian translation, although, by his own admission, he could not understand half of what he read. But this was enough to ignite in his soul "the fire of striving to delve deeper into the study of the Russian language and literature" [ibid., p. 111], in which his teacher A. Ballan provided him with invaluable help.

A. Ballan was fluent in Russian. In 1899, the Cairo newspaper "Ruh al-asr" ("Spirit of the Times"), published by Abd al-Fattah al-Qadi, first published the stories translated by M. Gorky "About the Devil" and "More about the Devil". They were followed by "Song of the Falcon" (1903), the story "The Old Man" (1906). Antun Ballan's translations were also published by the Homs newspaper, published in Homs. At the beginning of the 20th century, this newspaper published many stories by Russian writers, as well as Western authors, translated by Ballan from Russian. In 1913. They were published in Homs as a separate publication called Reflection (An-Najwa) with the following subtitle: "This is a collection of humorous short stories by the philosopher Leo Tolstoy and famous writers-Chekhov, Leskov, Mark Twain and others, translated from Russian by Antun Ballan" [An-Najwa, 1913]. In addition to five short stories by Mark Twain, the collection contained one short story by Oscar Wilde, also translated by Ballan from Russian. Obviously, for Ballan, as for X. According to Beidas and other translators of that time, Russian served as an intermediary language for getting acquainted with Western literature.

Like other Arabic translators, Ballan handled the originals freely, with a fair amount of creative imagination, which was caused by the "requirements of the time". Five short stories by Chekhov appeared in the collection" Reflection " translated by A. Ballan:

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"Diplomat", "Groom and daddy", "Guest", "Intelligent log", "About the dangers of tobacco". Ballan's use of these skits was not accidental. To the Arabic translator, they seem to have been close in spirit and style, primarily because of their soft humor, as well as the author's interest in human characters and types. Ballan prefaced his translations of Chekhov's scenes with the following explanation:"Selections from the works of the Russian writer Chekhov."

It is known that in Chekhov's short story-skit, which is "a short extremely dramatized prose work", the main role is played by dialogues, and the author's speech is "minimal in volume and carries a smaller plot load" [Chudakov, 1971, p. 13]. Ballan generally tried to preserve the features of this genre form, its main feature is conciseness. Basically, he does not break the sequence of actions in Chekhov's works, tries to follow the ironic tone, convey the humorous images of the Russian prose writer, the comical situations on which his stories are built-scenes. It is even believed that Ballan "managed to perceive and reproduce the artistic style, emotionality and rhythm of Chekhov's stories" (Akhmed, 1987, p. 11).

Meanwhile, the Arabic translator did not quite manage to convey all the nuances of the language of the individual colloquial speech of Chekhov's characters, and this is understandable: after all, Ballan used literary language not only in the author's narration, but also in the dialogues. Thus, an important artistic component of Chekhov's short stories and skits was largely lost. Without allowing for a rethinking of the content of the Russian text, Ballan allowed changes and other "liberties" in terms of style and artistic manner, which was typical for early translators.

A greater or lesser degree of "freedom" is observed in all Chekhov's translations of Ballan. It is also present in the transmission of story titles, Russian proper names, various realities, stable phraseological expressions and other components of the artistic system, and sometimes affects the structure of original texts, in particular the ratio of the author's speech and character dialogues.

First of all, it is striking that Ballan, following the traditional style and taking into account the reader's tastes, often adds favorite Arabic epithets that are not present in the original, using them as an effective means of emotional influence on the reader. This primarily affected the titles of short stories. Thus, Chekhov's "Guest" in Ballan is translated as "Heavy guest" ("ad-Daif al-sakil")," Diplomat " - " Skillful diplomat "("Siyasi mahir"). Chekhov's story "An Intelligent Log" is transformed into "A Modern dullard" ("Balid Asri"), and" The Groom and the Father "gets a completely new name from Ballan - "Reprehensible" ("Min al-Malum"), the author's postscript to the last story - "Something Modern" - he simply omits. The title of the story-skit "About the dangers of tobacco" Ballan conveys at length, considering, obviously, that this will increase the effect: "A modern report on a useful topic about the dangers of tobacco" ("Hitab asri fi mawdu an adrar at-tabg").

References to military ranks and positions that occur in the stories and are understandable to the Russian reader, but unknown to the Arabic one, Ballan either removes or replaces with other, understandable ones. Use names that have a universal character, such as" mister"," mistress"," monsieur"," madame", which are absent from Chekhov. The translator replaces the Russian ruble with the riyal, an Arabic currency. Almost all geographical names are ignored. When transmitting certain phraseological units, especially proverbs, Ballan, not finding an equivalent for them, resorts to descriptive translation.

As for proper names, the translator omits patronymics, since they are unusual for the Arabic reader, for the same reason he excludes names with a diminutive affectionate connotation, for example, Nastenka in the story "The Groom and Daddy". Guided by his own logic, Ballan alternates between replacing Russian names with Arabic ones , and then Chekhov's story appears in a national adaptation, or interspersing Russian ones.

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names with Arabic characters. When translating The Diplomat scene, Ballan retained almost all, with rare exceptions, the names of the original; of the listed translations, this one is probably the closest to the original. The story is almost fully translated. Here all the same actors appear as in Chekhov: titular adviser Mikhail Petrovich Kuvaldin is called adviser Michel Kuvaldin, his wife Anna Lvovna-Hanna, his friend, Colonel Piskarev Aristarkh Ivanovich, is Colonel Aristarkh Piskarev. Although the name Michael is not uncommon among Christian Arabs, Ballant renders it in the French manner - Michel, apparently for simplicity, since in the original there is also its incomplete form - Misha.

The beginning of the scene was transformed. Chekhov's first sentence: "The wife of the titular councilor Anna Lvovna Kuvaldina has expired" and the following dialogue is a conversation between relatives and acquaintances of the deceased, who are discussing the need to notify their husband, who "although he did not live with her, still loved the deceased" (Chekhov, vol. 3, 1955, p. 257). translated in its entirety, they turn into a retelling on behalf of the author: "Mrs. Hanna, the wife of the adviser, has passed away. At the time of her death, her husband had not lived with her for a year. Relatives and acquaintances gathered and began to wonder who would bring such sad news to him. In the end, they entrusted this serious mission to Colonel Aristarchus, their mutual friend "[Al-Najwa, 1913, p. 27]. As you can see, the phraseological unit "gave up the ghost" is translated as" died " (intakalat ila rahma), while it exists in Arabic (fadat anfasuha).

And further at Chekhov's:

"Aristarkh Ivanovich! - the tearful aunt turned to Colonel Piskarev, who was taking part in a family meeting. - You are a friend of Mikhail Petrovich. Please go to his office and let him know about this misfortune! Only you, my dear fellow, don't knock him out right away, but don't let anything happen to him. Painful. You should prepare it first, and then ... [Chekhov, vol. 3, 1955, p. 257].

In Ballan, this passage is given in a simplified form, the style of colloquial speech is lost: "The aunt of the deceased turned to him with tears filling her eyes:

"You, my lord, are a friend of Michel's. Go to the board and tell him the news, but please treat him gently, don't hit him with one blow, so as not to kill him. Prepare it first and then..."[An-Najwa, 1913, p. 27].

Chekhov's phrases " Colonel Piskarev put on his cap and went to the board of the road, where the newly-made widower served. I caught him trying to find the balance" [Chekhov, vol. 3, 1955, p. 257] and the subsequent dialogue between two friends in Ballan sounds in a typical Arabic style: "The colonel took his cap and went to the board where Michel worked. I came in and greeted him. I sat down at his desk (Chekhov simply means "to the table"), wiping sweat from my face and neck (Chekhov means "wiping sweat"), and said, without paying attention to him: "Ugh, how much dust there is on the street, devouring everything (Chekhov: "Yes, and the dust on the street, God forgive me"). Write. Write... I won't interfere with your work (in Chekhov: "I won't interfere...")... I'll rest a little and leave (in Chekhov's phrase, "I'll sit and leave")... I knew you worked here, and I came in to see you... I have a small matter for you (in Chekhov: "I was walking, you know, by and I think: but Misha serves here! Let me come in! By the way, and that... there is a deal...") " [An-Najwa, 1913, p. 27].

As is known, A. P. Chekhov devoted relatively little space to descriptions of the landscape, invariably showing laconism in this case. When translating The Diplomat, Chekhov's reference to natural phenomena is highlighted by such attractive epithets for Arabs. At Chekhov: "The colonel scratched his collar and continued:' It's stuffy here, but the street is pure paradise... Sunny, it's a bit of a breeze, you know... birds... Spring! I'm walking down the boulevard, and I feel so good, you know!..""[Chekhov, vol. 3, 1955, p. 258]. At Ballan: "Here the air is heavy, but there, on the street, the sun is shining, the breeze is cool, the birds are singing... In short, a delightful spring. There I felt the sweetness of life... "[An-Najwa, 1913, p. 28].

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Further, Chekhov's character, wanting to prepare a friend for the news of the death of his wife, praises the advantages of his free life as a widower: "I am an independent person, a widow... Wherever I want, I go... I want to go to the porter's shop, I want to ride the horse-drawn car back and forth, and no one dares to stop me, no one is howling after me at home... No, brother, and it's better to live than to be single. At ease! Free! You breathe and feel like you're breathing! I'll come home now and have none... No one will dare ask where he went... I'm my own boss... Many people, my dear brother, praise family life, but in my opinion it is worse than hard labor... These fashions, turns, gossip, screeching... every now and then guests... one by one, the kids are crawling into the light of day... Expenses... Ugh! " [Chekhov, vol. 3, 1955, p. 258].

Here the translator completely saves some parts of the monologue, and in others, although he makes substitutions and omissions, he generally accurately conveys the intonation of the interlocutor: "I am an independent widower. I go where I want. If my soul wants to get drunk, I'll direct my steps to the store, if I want to, I'll take the tram back and forth, and no one will interfere with me or howl at home behind me. Free. Independent... I breathe deeply. When I get home, no one will dare ask me for an account of where I've been or what I've done. I am my own master. Many people exaggerate the virtues of family life, and in my opinion, it is worse than exile with its hard labor. New dresses, backbiting friends, shouting - all this fills your ears. And the guests, and the children? One by one... Together with them, incalculable expenses " [An-Najwa, 1913, p. 28]. In this fragment, the "conca" unknown to the Arabs is replaced by the well-known "tram", "porter" (i.e. beer) - "shop", the French word "turns" (a specific style of a woman's skirt) - by the generalized "new dresses"; at the same time, Chekhov's difficult expression "and no one at home will follow me" is literally transmitted. howling" (wa lam yanbah fi-l-beit varai). In the meaning of the epithet "incalculable" (expenses), Ballan introduces paired synonyms peculiar to the Arabs (masarif pa tuadd wa la tuhsa).

It is noteworthy that the translator adequately quotes the proverb from Chekhov's text: "Listen with your ear, not with your belly!", finding its Arabic counterpart - isma biuznik vala bibatnik. He also accurately conveys the proverb: "Love does not grow, you will not snatch it soon "(Leysa hubb bishaara fi ra's fatakla bi-l-hin). However, he changes other specific expressions taking into account the domestic reader: "Satan in a skirt" in translation becomes "Satan (Iblis) in women's clothes"; "for whole days it itches and itches" - "day and night does not give you rest". And the phrase of Chekhov's Colonel Piskarev: "God bless her! May she have the kingdom of heaven and eternal rest!" It takes on the following form: "Allah will make her path easier, grant her the kingdom of heaven and peace" [An-Najwa, 1913, p. 29]. Ballan excludes some emotional Russian expressions and grammatical forms, for example: "Howl!".

The description that Chekhov's colonel gives to the deceased: "Please leave it! I know her! Feisty, willful, crafty! Every word is a venomous sting, every look is a sharp knife... And it is impossible to express the malice that was in her, in the dead woman" [Chekhov, vol. 3, 1955, p. 258], Ballan conveys in his own way: "The colonel shouted: "Look at him! I know Hannah. Evil, willful, cunning, her words are a hot spring, her gaze is a sharp knife. As for the malignity of the deceased, say whatever you want, I'll believe everything! "" [An-Najwa, 1913, p.28]. Added by the translator himself, the expression "say what you want, I will believe everything" is a phraseology, a common Arab proverb (fa haddas anhu wa la haraj).

Ballan takes much more "liberties "when translating the story-scene"The Groom and the Father". In the Arabic text, Russian names are preserved only partially and interspersed with Arabic ones; here (as in the previous translation), the French name Pierre is used instead of the name Peter.

The story begins with a dialogue conducted by one of the main characters, Pyotr Petrovich Milkin, and his friend, whose name is not mentioned:

"And I hear you're getting married!" - one of his acquaintances turned to Pyotr Petrovich Milkin at a country ball. - When will you celebrate the bachelor party? "How did you know I was getting married?" Milkin blushed. "What fool told you that?" [Chekhov, vol. 3, 1955, p. 368].

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The translated text begins with the author's narration, followed by a dialogue: "A group of friends gathered for a party with music, among them was Pierre Milkin, a well-mannered young man. After another dance, his friend Vasil (Chekhov's name is not called) came up to him and said: "It's come to our attention that you're going to get married. Congratulations from the bottom of my heart." Pierre blushed with embarrassment and said: "Who told you this? What a fool came up with this news!""[An-Najwa, 1913, p. 31].

Further on in Chekhov, the "acquaintance" explains at length to Milkin that everyone is talking about his marriage to Anastasia (Nastenka), one of Kondrashkin's seven daughters.

Ballan keeps the name Anastasia (in the form-Anastas), and turns her father - Kondrashkin - into Ibrahim-effendi. In the "speech" of a friend, transmitted very close to the original, the phraseological unit "we see through you" (Chekhov, vol. 3, 1955, p. 368) is replaced by a descriptive translation: "your face testifies to this" (An-Najwa, 1913, p. 31), and another phraseological unit "the matter is already quite over" (Chekhov, vol. 3, 1955, p. 368). hat" - the phrase "the issue is resolved". Instead of the word "father", with which "acquaintance" refers to Milkin, Ballan has the address "friend" (kindergarten).

Attention should be paid to the translation of exclamations with the so-called erased religious coloring ("God grant", "glory to god", etc.), they are either omitted or replaced. So, Chekhov's phrase: "Well? God forbid! I'm not as happy for you as I am for Kondrashkin himself... Seven! Is it a joke? At least one God brought to attach..."[Chekhov, vol. 3, 1955, p. 368] Ballant conveys in a typical Arab style: "I assure you, Monsieur Pierre, this circumstance pleases us, we ask Allah for success for you, this is especially pleasing to us in view of the family situation of poor Ibrahim Effendi. He has seven daughters, seven daughters! We are glad that he managed to arrange at least one of them" [An-Najwa, 1913, p. 31].

The intonation of Chekhov's "bridegroom" thoughts, his arguments about the fear of losing "freedom", depicted in the form of an internal monologue, is somewhat muted by the translator, he removes some expressions, adds others.

Chekhov: "Damn it... Milkin thought. "This is the tenth time he's told me about marrying Nastenka! And from what they concluded, damn them all! From the fact that I have lunch every day at the Kondrashkins', I go for a walk with Nastenka... No, it's time to stop this talk, it's time, otherwise they'll get married and be anathematized... I'll go and explain myself to that fool Kondrashkin tomorrow, so that I don't get my hopes up in vain, and then let's go" [Chekhov, vol.3, 1955, p. 368].

At Ballan's: "Pierre thought: Oh, devils! This is the tenth time I've heard something like this conversation. How they fabricated this case to make them disappear. Allah has blinded them with the fact that I am having lunch at the house of Ibrahim and walking with the young lady Anastasia. Enough. I must put an end to all this talk, or they will marry me off without my knowledge. Tomorrow I will open up to the fool, Father Anastas, about this, so that I will lose all hope" [An-Najwa, 1913, p. 32].

When translating Chekhov's phrase "The day after the conversation described, Milkin, feeling embarrassed and somewhat afraid, entered the country office of the court adviser Kondrashkin" [Chekhov, vol. 3, 1955, p. 369]. Ballan eliminates the rank of Kondrashkin, turns the country study into a "private room", adds label signs: "The next day Pierre entered Ibrahim's private room with fear. Ibrahim, as was his custom, greeted him with expressions of greeting: "Welcome, Monsieur Pierre, what brings monsieur to us? Oh, dear! Please, Anastas will be back soon" [An-Najwa, 1913, p. 32]. Ballan omits the following words of Chekhov's character: "I ran to the Gusevs for a minute".

Chekhov Milkin, in order to stop the country gossip and avoid an unwanted marriage, is to Kondrashkin and informs about his hasty departure, which causes the anger of the owner of the house:

"Allow me, sir..." said Kondrashkin, turning purple... I don't quite understand you... Of course, everyone has the right to leave... You can do whatever you want, but my dear sir, you are... otvilivaete... It's not fair, sir! [Chekhov, vol. 3, 1955, p. 369].

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This passage in the Arabic translation, lexically replenished, reads as follows: "The blood rushed to the face of Ibrahim. He was shouting: "I don't understand the meaning of your words! It's true that everyone is free and has the right to leave, and you have the right to do what you want, but as far as I'm concerned, you're shirking your duty. Your action shows your lack of honor!""[An-Najwa, 1913, p. 32].

And further in Chekhov: "I went here all summer, ate, drank, encouraged, sharpened the balusters here with the girls from dawn to dawn, and suddenly on you, I'm leaving" [Chekhov, vol. 3, 1955, p. 369]. In Ballan: "Ibrahim said:' All summer he visited us, we ate and drank together, encouraged us, spent time with the girls chatting from morning to night, and now he has come to please us that you are leaving '" [An-Najwa, 1913, p. 32].

At Chekhov's Milkin says: "Nastasya Kirillovna is very nice... good girl... I respect her... And I wouldn't want a better wife, but ... .. we did not agree on our beliefs and views" [Chekhov, vol. 3, 1955, p. 370]. In Ballan's words:" Anastasia, my lord, is sweet and well-bred, and I respect her from the bottom of my heart and would not want a better wife for myself than her, if it were not for the differences in our principles and views " [An-Najwa, 1913, p.33].

The form of Kondrashkin's address to the groom "my darling" in Ballan is replaced by "my dear". And his expression: "Mostovaya, while it is new, it is impossible to drive, and as soon as they drive it a little, then my respect "[Chekhov, vol. 3, 1955, p. 370] translates as follows:" It is difficult to walk on a new road, but when it is trampled, it becomes very good " [An-Najwa, 1913, p. 370]. 33]. Although the word "pavement" is in Arabic (rasif), Ballan replaces it with "dear", since the Arabic reader is more familiar and understandable with this word, and the typical Russian phrase "my reverence" is neglected, not finding a match for it in his native language. He does the same with the typically Russian confession of Chekhov Kondrashkin: "I was young myself,I overflowed. It is impossible without it... "[Chekhov, vol. 3, 1955, p. 370].

At Chekhov's, Milkin, seeing that all his" vices " do not make a special impression on Kondrashkin, informs him:" I take bribes, "to which" papa "replies:" Milasha, but who doesn't take them? Heh-heh-heh. Eka hit me!" [ibid.]. At Ballan we read: "Honey, who doesn't take bribes in our time? Here is another great vice!!" [An-Najwa, 1913, p. 33]. As you can see, the translator has preserved the meaning, but not all turns of Russian colloquial speech have equivalents in the receiving language.

Then Chekhov's dialogue follows without the intervention of the narrator. At Ballan's we read: "Pierre saw that all this was not sufficient proof for Ibrahim of his inability (to marry), and he said: "I don't have the right to get married before I know the outcome of my case. I hid from you, and now you have the right to know that I am on trial for stealing public money" " [An-Najwa, 1913, p. 34].

The words of Chekhov: "Kondrashkin was taken aback" [Chekhov, vol. 3, 1955, p. 370] Ballan conveys the expression "As if lightning hit Ibrahim's head" [An-Najwa, 1913, p. 34].

Further at Chekhov: "N-yes sum! Yes, the story really smells like Siberia... A girl like that can go to hell for nothing. In this case, there is nothing to do, God is with you... " [Chekhov, vol. 3, 1955, pp. 370-371]. Translated: "O misfortune! The amount is huge. The smell of exile to Siberia is felt, there is nothing to do, go your own way "[An-Najwa, 1913, p. 34]. While retaining the name "Siberia", Balan omits the toponym" Tomsk Province", which is also present in the original.

Another example. In Chekhov: "What an uncooperative devil! Milkin thought. - I would be ready to give my daughter away for an unclean person, if only to push her off my shoulders" [Chekhov, vol. 3, 1955, p. 371]. At Ballan's: "Pierre thought,' Oh, shit, it won't budge. He has only one concern - to get rid of his daughter, even if the devil wants her" "[An-Najwa, 1913, p. 34].

Chekhov's doctor Fityuev, whom Milkin turned to for evidence that he was crazy, turns into Ballan's friend, Dr. Khalil-effendi. Chekhov's answer to the doctor's question: "You don't want to get married?" - Milkin answers: "Not for any price tag" [Chekhov, vol. 3, 1955, p. 372]. The phraseological unit" not for any cakes " Ballan replaces opi-

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with a final translation: "He screamed: "I don't want to, I don't want to!" " [An-Najwa, 1913, p.35].

The ending of the story is reproduced close to the original, almost adequately, with minor verbal enhancers:

In Chekhov's words: "In that case, I won't give you a certificate," said the doctor, touching his coif. "Anyone who doesn't want to get married isn't crazy, but on the contrary, the smartest person... But when you want to get married, well, then come get a certificate... Then it will be clear that you have gone mad "[Chekhov, vol. 3, 1955, p. 372].

At Ballan's: "The doctor said, touching the disheveled hair on his head: "If you don't want to get married, then I can't give you a certificate, because the one who doesn't want to get married is not a madman, but a smart, wise man. Whenever you feel like it, it will be clear to me that you have lost your mind. Then come to me and get the certificate you are looking for" " [An-Najwa, 1913, p. 36].

Unlike the first two stories, when translating Chekhov's skit "Guest" (Ballan's "Heavy Guest"), absolutely all proper names are replaced with Arabic ones. A. P. Chekhov's interpretation of this story is a typical example of national adaptation.

Ballan omits the first sentence of the original, "Zeltersky, a private attorney, had his eyes closed" (Chekhov, vol.3, 1955, p. 373) and begins the translation with a landscape sketch that follows this phrase in Chekhov. In the original: "Nature plunged into darkness. The breezes subsided, the choirs of birds fell silent, and the flocks lay down " [ibid.]. In the translated text, purely Arabic stylistic solutions appear: "The night has spread its wings, the breeze has died down, the birds have calmed down, and nature has fallen asleep" [An-Najwa, 1913, p.46].

The owner of the house Zeltersky turns into lawyer Amin-effendi, and his guest - a neighbor, retired Colonel Peregarin-into Lieutenant Said-effendi. As in the original, the nameless wife of the owner of the house and the servant are also mentioned here. Chekhov's phrase "Zeltersky's wife had long since gone to bed, the servants were also asleep, all the animals were asleep, only Zeltersky was not allowed to go to the bedroom, although a three-pound weight hung on his eyelids" [Chekhov, vol. 3, 1955, p. 373] Ballan reports as follows: "The servants slept in the house of lawyer Amin-effendi and the owner of the house went to bed, all the animals experienced the sweetness of peace, except for the lawyer himself, he sat and could not go to the bedroom, although a heavy weight fell on his eyelids, so that he could barely open his eyes" [An-Najwa, 1913, p.36].

Then Chekhov says: "The fact is that he had a guest, a neighbor in the country, a retired Colonel Peregarin. As soon as he came in after dinner and sat down on the sofa, he never got up again, as if stuck. He sat and told in a hoarse, nasal voice how in 1842 in the city of Kremenchug he was bitten by a rabid dog. I told him and started again. Zeltersky was desperate. What did he not do to survive?! He kept looking at his watch, saying he had a headache, and kept leaving the room where the guest was sitting, but nothing helped. The guest did not understand and continued to talk about the mad dog" [Chekhov, vol. 3, 1955, p. 373]. According to Ballan: "No one stopped him from going to bed, except Lieutenant Said Effendi, his neighbor in the country house, he did the house the honor after dinner and continued to sit up all the time, telling the lawyer in a nasal voice (bi sawt ahan) how a mad dog (al-kalb al-kalib) bit him in 1842 year. When he had finished his story, he began to tell it again, imagining that he was doing a favor, and not knowing that the lawyer was in despair, not knowing what to do, how to get rid of his heavy guest. He sometimes looked at his watch, yawned, shouted in the presence of the guest that he felt a pain in his head, and sometimes left the hall, leaving him alone; these tricks did not succeed, because Said effendi did not understand their meaning and continued his story with the dog that bit him in 1842" [An-Najwa, 1913, p. 36].

Chekhov's expression: "This old bastard will sit until morning! Zeltersky was angry. - Such a club..." [Chekhov, vol. 3, 1955, p. 373] gets the following sound from Ballan: "This ignoramus will not leave me until morning "[An-Najwa, 1913, p. 36].

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These excerpts are typical examples of Ballan's national adaptation technique with all its omissions, additions, and lexical substitutions.

It seems an incident that, having replaced all proper names with Arabic ones, Ballan retained the Russian toponym mentioned in the story: "I had a friend, I met him in the city of Serpukhov. I will tell you the story of one of his amazing habits" [An-Najwa, 1913, p. 37].

Chekhov's acquaintance of Peregarin, Klyushkin, gets the name Selim-effendi from Ballan. At Chekhov's: "And the colonel, stammering, smacking his lips and gesturing with greasy fingers, began to tell about Klyushkin. Twelve o'clock struck, and the hour hand was ticking toward twelve-thirty, and he was telling me everything. Zeltersky broke out in a sweat" [Chekhov, vol. 3, 1955, p. 374]. Then there is improper direct speech. At Ballan's: "And he began in a nasal, broken voice, with pauses, to tell a story that lasted for a long time, and did not finish it until midnight. The lawyer felt a fire burning in his heart, he was amazed at the stupidity of the neighbor, his tactlessness and did not know what to do" [An-Najwa, 1913, p.37].

Chekhov's final sentence: "Peregarin quickly shook Zeltersky's hand, put on his cap and left. The owner was triumphant" [Chekhov, vol. 3, 1955, p. 377] Ballan lengthened it by using more lexical units: "Saying goodbye, he shook his hand, put on his cap and left. The lawyer rejoiced at his successful ruse and went to the bedroom, satisfied with the victory" [An-Najwa, 1913, p. 40].

In the story-skit "Intelligent log" ("Modern dumbass") also, almost all the characters received Arabic names. The retired cornet Arkhip Eliseich Pomoev was transformed into an army officer Abdallah Samjun; his wife's brother, Lieutenant Nitkin, into Adil-efendi; Justice of the Peace Pyotr Sergeevich Shestikryloe into Judge Fawzi-efendi Rishvan; footman Grigory Vlasov (Grishka) into a servant of Naif Jakhshan; cook Agashka into a servant Selma. At the same time, Ballan somehow keeps the name of Pomoev's wife-Natalia Yegorovna (Natasha), who is mentioned in passing by Chekhov, and calls her Seyida Natal (i.e., Mrs. Natal), or simply "madame".

The language of the story in translation has become much simpler, since Chekhov's characters often use colloquialisms that are almost untranslatable into Arabic. Here, as in the previous translation, it is rather a matter of transcribing Chekhov's scenes for the Arab reader, which was expressed not only in the nationality of the characters, but also in a significant stylistic and lexical transformation of the original.

The beginning of the Arabic version is more extensive than Chekhov's: "Abdallah Samjun, an army officer, left the military service and lived in his dacha, enjoying poker, wine, hunting and flirting with beauties. One day an office boy from the court came to him and handed him an envelope, he opened it and read the following words:: "You are invited to the judicial department on Thursday... regarding the complaint filed against you by the farmer Naif Jahshan... and so on."

When he saw the summons signed by Fawzi Effendi Rishwan, he looked up at the court messenger and asked him, " Who sent you to me with this summons?" He said: "His Honor is Judge Fawzi effendi."

He looked at him questioningly: "Fawzi-effendi? Why is he inviting me to his place?"

The messenger said, " Look at the subpoena, my lord, I think he's inviting you to the trial."

The officer read the summons again, then gave the courier a look of surprise and muttered:: "About the complaint against me... What a joker! Tell him: okay. I'll be there at the right time. Let him prepare a delicious meal. Tell him I won't be late. Give my regards to Mrs. Natal, wife of Fawzi Effendi, and a kiss from me to his sons."

The court messenger went on his way, and Samjun entered the room of his wife's brother Adil efendi, who came to spend the summer holidays with him" [An-Najwa, 1913, p. 40-41].

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As you can see, instead of Chekhov's "tsiduli", Ballan leaves the word "paper" ("agenda") clear to the reader, and instead of" frishtik", he uses the generalized Arabic concept of "delicious food" (taam laziz). He also uses the same technique when transmitting the phrase "fried carp". Shestikrylov's words addressed to the Slop: "Let's go eat at Natasha's!" and the author's subsequent phrase "In ten minutes, friends were sitting in the hotel's apartment and having fried carp for breakfast "[Chekhov, vol. 3, 1955, p. 320] in the Arabic text look like this:"..."Now let's go home and eat." Ten minutes later, they were all sitting at the dinner table and filling their bellies with delicious food" [An-Najwa, 1913, p. 44].

As already mentioned, the translator was not always able to find an equivalent to the Russian original. It was especially difficult for him to convey phraseological units. For example, in the dialogue between Nitkin and Pomoev. At Chekhov's:

"He's not asking you to visit," Nitkin said, after reading the summons. "He's subpoenaing you as a defendant... He'll judge you...

"Me?" The dog... The milk on his lips isn't dry yet, for all I know... It floats fine... It's just a joke... [Chekhov, vol. 3, 1955, p. 317].

At Ballan's:

Adil said after reviewing the actual state of the case:

"But Fawzi does not invite you to a feast, but summons you to a trial, and you will be tried on the charges brought against you.

Samjoon burst out laughing and said:

"Judge me? Will Fawzi judge me? His arms are short. How good! No doubt, he sent this paper as a joke [An-Najwa, 1913, p. 41].

So, the translator omitted Chekhov's "the milk on his lips is still wet", but the phraseology "shallow swims" was successfully replaced by "his hands are short" (yadahu kasira), and the Arabic expression "How good!" (ma sha'a Allah!) in this context, it has an ironic and even sarcastic connotation. Chekhov's" there will be no laughter "(Chekhov, vol.3, 1955, p. 317) is translated by Ballan as" laughter will turn into sadness "(An-Najwa, 1913, p. 41), and" You are mad, brother " - "Without a doubt, you are mad" (ibid.). The words "You're an oddball, by God" turn into a long, ornate phrase: "Samjoon started patting his wife's brother on the shoulder, saying,' Indeed, your words are like the laughter of a mother who has lost a child '" [An-Najwa, 1913, p. 41]. Instead of swearing words of Slop addressed to Grishka: "Fool. Shval " Ballan uses the word "donkey", which corresponds to the iconic surname of his character - Jahshan (jahsh in Arabic means"young donkey"). Ballan does not always leave out words with religious overtones that are present in the original, as can be seen, in particular, in the above-mentioned example (omitted "by God"), but sometimes adds them where they are not in the Chekhov text. So, in the original:

"On Thursday, Pomoev went with Nitkin to Shestikrylov. They found the magistrate in the cell at the trial.

- Great, Petyukha! Pomoev said, coming up to the judges ' table and offering his hand. "Judging little by little?" Are you being crooked? Суди, суди... I'll take a look, I'll take a look... This is probably my wife's brother... Is your wife well?"

- yes... healthy... Sit there... in public... [Chekhov, vol. 3, 1955, p. 317]. In translation:

"On Thursday, the two of them were in town. We entered the court to talk about the aforementioned complaint. Samjoon walked up to the judge and offered his hand.:

"Hey, Fawzi! You're having fun with the trial and sentencing. Allaah will give you health (Allaah ya'tiqa al-afiyyah). Keep working, it's okay, I'll wait here until you're free. I introduce you to my wife's brother. How is Madame's health?" [An-Najwa, 1913, pp. 41-42].

In this dialogue, Ballan omits the last remark of Chekhov's character, as well as the description of Grishka's appearance (clothing) when he appears at the trial. However, it is close to the Russian text, with minor modifications, and transmits its readings to

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response to the judge's request to explain the case. Let's compare the original and Ballan's interpretation.

At Chekhov's:

"Very simple, sir! As you can see, I was their footman, a sort of usher-in-waiting... It is known that our position is a penal servitude, your v-e... They get up by themselves at nine o'clock, and you stay up at first light... God knows if they'll wear boots, or buckskins, or maybe they'll spend the whole day in shoes, but you clean everything: and boots, and shibblets, and boots... All right, sir... They call me to get dressed in the morning. I, of course, went... He put on a shirt, trousers, and boots... everything is as it should be... I started putting on my vest... So they say: "Give me a comb, Grishka. They say it's in a side pocket, in a frock coat." All right, sir... I rummage in my side pocket, and the comb feels like the devil has devoured it - no! I rummaged and rummaged and said, " There's no comb here, Arkhip Eliseich!" They frowned, went to the coat, and took out a comb, not from the side pocket as they had been told, but from the front pocket. "What's this? Not a comb?" "they say poke me in the nose with a comb." So all the teeth and walked on the nose. My nose bled all day afterwards. As you can see, your nose is swollen all over... I have witnesses. Everyone has seen it [Chekhov, vol. 3, 1955, pp. 318-319].

At Ballan's:

"It is a simple matter, my lord. I was with him as his personal servant, and it is no secret, Your Holiness, that our position is such that death is easier than death. The master himself does not wake up until nine o'clock, but requires us to wake up before dawn to prepare his necessary things and clean his shoes. One morning, he called me to help him. I went in and put on his shirt, trousers, and boots. Everything was in perfect order. Then he began to put on his waistcoat and asked me to bring a comb (Chekhov's speech here is direct) from his jacket pocket (Chekhov's from the side pocket of his coat). I searched for a long time, but found nothing, as if the devil had swallowed it. I said: "I have found nothing, my lord." He frowned, went to his jacket, and pulled a comb out of another pocket, not the one he'd told me about. And he shouted in my face, saying:

"What's this?"

Then he slapped me across the face with a comb, and the prongs bit into my nose, and I bled all day. My visibly swollen face confirms the truth of my words. I have witnesses to what happened" [An-Najwa, 1913, pp. 42-43].

Another example of modification of the Chekhov text. In the original version:

"Well, thank God! - said Shestikryloe, entering the office after reading the verdict. "Thank you for ending it like this... Like a thousand pounds off my shoulders. You pay Grishka ten rubles and you can rest easy.

I'm Grishka... ten... rubles?! - stupefied Slop... "Are you out of your mind?".. [Chekhov, vol. 3, 1955, p. 320].

At Ballan's:

"After the meeting ended, Fawzi came in to Samjoon looking happy and elated and shouted:

- Thank God, the case ended kindly, safely. I swear to God (kisman bilakh, Chekhov is missing), a heavy weight fell off my shoulder. We have imposed a fine of ten rials on you, which you will pay to the other side. Samjoon shouted angrily:

"I, I'll pay ten rials to that idiot?" Are you crazy, Fawzi?.."[An-Najwa, 1913, p. 44].

Ballan's emotional dialogue is followed by Chekhov's missing phrase: "The referee made it clear with a hand sign that enough is enough..." [ibid.].

Ballan adequately conveys the surprise and indignation of Chekhov's character that the judge "did not put Grishka in the prison" because he dared to file complaints against him, completely preserves the ending of the original, while adding their own "colors" to her style: "The Judge and Adil began to prove to him the innocence of the servant, but he did not I understood their words. As they were returning home, he said to Adil in a broken voice:

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"What was the case?".. I keep thinking about my opinion on Fawzi. To tell you the truth, I don't think he's the right person for the job.

I do not deny that he is a kind person, graduated from a high school, and is virtuous... but it is not suitable for this position, can not judge fairly. I regret to say that I will not vote for him in future elections [ibid., p. 45].

When translating the scene "On the Dangers of Tobacco", A. Ballan, according to the observations of A. A. Dolinina, "softened all the tragic notes that sounded in it, trying to make this monologue only funny, no more" [Dolinina, 1960, p. 203].

Thus, Chekhov entered Arabic literature primarily as an author of humorous stories.

It is worth recalling the impression that the famous Egyptian writer Mahmoud Teymour (1894-1973) had on the stories of the Russian novelist at that time: "When I began to get acquainted with the world literature and select the best of its works for reading, I got to know the great Chekhov. I fell in love with his stories, which became a source of knowledge and inspiration for me. Subsequently, I became involved in all Western literature, but, as before, I remained true to my love for this brilliant short story writer... Reading Chekhov, I think that people similar to the characters from his stories can be found among us; they have the same character traits, the same habits" [Arab writers..., 1958, pp. 65-66].

Arabic translations of Chekhov's short stories, made at an early stage of translation with all the specific features inherent in them, played an important role both in introducing the Arabic reader to Russian literature, and in the formation of Arabic literature proper, and first of all the genre of short stories. This is exactly what Khalil Beidas said, emphasizing the special significance of translated literature and paying tribute to the noble mission of the first Arab popularizers of the work of great Russian artists of the word, whose works, even with "distortions", became a beacon for his fellow writers and took a worthy place in Arab culture.

list of literature

O. Augustin (Nikitin). Nazareth. Church of the Annunciation // Russia and the Arab world. Scientific and cultural relations. Issue 9. St. Petersburg, 2001.

O. Augustin (Nikitin). Schools of the Imperial Orthodox Palestinian Society in Nazareth / / Russia and the Arab World. Scientific and cultural relations. Issue No. 2. St. Petersburg, 1996.

Al-Akkad Abbas Mahmoud. Hayat kalam (Life of the Pen). Cairo, 1964 (in Arabic).

Arab writers on Russian and Soviet literature. Makhmud Tsymur / / Modern East. 1958, September, No. 9.

Ahmed Abdsl-Rahim (Abu Zikra). A. P. Chekhov in the Arab countries (problems of literary translation). diss. M., 1987.

Jabir Ibrahim. Al-Durra al-anisa fi riwayat an-nafisa (A friendly pearl in precious stories). B. M., 1905 (in Arabic).

Jabri Shafiq. Muhadarat an Muhammad Kurd Ali (Lectures on Muhammad Kurd Ali). Cairo, 1957 (in Arabic).

Dolinina A. A. Russkaya literatura v araby stranakh [Russian literature in Arab countries].

Iagi Abd ar-Rahman. Al-Adab al-filastini al-hadith (Modern Palestinian literature). Cairo, 1969 (in Arabic).

Iagi Abd ar-Rahman. Hayat al-adab al-filastini al-hadith min awwal nahda hatta al-nakba (Modern literary life in Palestine from the beginning of the rise to the catastrophe). Beirut, 1981 (in Arabic).

Krachkovsky I. Y. Izbrannye sochineniya [Selected works]. In 6 vols. Vol. 3. M.-L., 1956.

Krymskiy A. E. Istoriya novoi arabyskoi literatury [History of New Arabic Literature], Moscow, 1971.

An-Najwa (Reflection) / Translated from Russian. Antun Ballan. Homs, 1913 (in Arabic).

Nuaims M. Moi sevestiye let [My seventy years] / Translated from Arabic, Moscow, 1980.

Sidki Najati. Chekhov. Cairo, 1947 (in Arabic).

Hamza Abd al-Latif. Adab al-makala al-suhufiyya fi Misr (Genre of article in the Egyptian press). Vol. 1. Cairo, 1950 (in Arabic).

Chekhov A. P. Sobranie sochineniy [Collected Works]. In 12 volumes, vol. 3. Moscow, 1955.

Chudakov A. P. Chekhov's Poetics, Moscow, 1971.

Shusha Faruk. Ahmad Hasan al-Zayat / / Al-Adab. Beirut, 1960. N 9 (in Arabic)

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