Reception of the B. Shaw’s play «Pygmalion» in Russian literature

. The article is devoted to the analysis of reception of B. Shaw's play «Pygmalion» in Russian literature. The article emphasizes that Russian literature had a huge impact on the formation and development of B. Shaw's aesthetic system and drama, as a result of which B. Shaw's drama acquired an epic character. The standard of «epic drama» is B. Shaw's play «Pygmalion». The extreme popularity, relevance and significance of B. Shaw's comedy «Pygmalion» for Russian literature are noted. The article examines translations of B. Shaw's play «Pygmalion» and individual-author's interpretations of Russian directors of English comedy as a form of reception of B. Shaw's play in Russian literature. It is said that the plot and images of B. Shaw's play «Pygmalion» received a new life in Russian literature. The author analyzes allusions and reminiscences with B. Shaw's comedy «Pygmalion» in Soviet prose and drama of the 20th – early 21st centuries. It is proved that B. Shaw's play «Pygmalion» is characterized by a rich reception in Russian literature.


Introduction
In the context of the dynamics of the development of modern literary criticism, interest in intercultural communication, namely, in the interpenetration of Western and Russian literature, has not weakened over the years. On the world stage, the figure of B. Shaw , as the largest representative of the «new drama» of the late 19 thearly 20th centuries, along with G. Ibsen, M. Maeterlinck, A. Strindberg, G. Hauptmann, K. Hamsun, L.N. Tolstoy and A.P. Chekhov, attracts special attention of Russian philologists. In this regard, the most urgent is the understanding of B. Shaw's artistic dialogue with Russian literature. Russian literature played an important role in the formation and development of B. Shaw's aesthetic system and drama, so L.N. Tolstoy's and A.P. Chekhov's literary works contributed to the fact that B. Shaw's drama acquired an epic character. Many of B. Shaw's plays, like the plays of Russian classics, can be defined as «epic dramas».
In modern science, B. Shaw's aesthetics and drama are studied in the context of the mainstream of modernity's philosophical and artistic trends, especially in, Nietzscheism.
In the historical and literary process B. Shaw's merit lies in the fact that he, along with other founders of the «new drama», made an aesthetic revolution, proposed qualitatively new approaches to the creation of a dramatic text and to its staging on stage. In his treatise «Bernard Shaw: His life. A critical biography», «Bernard Shaw: Playboy and prophet», as well as the monograph by St.J. Erwine «Bernard Shaw: Life, work and friends», which reveals the main milestones in the life and work of B. Shaw, the evolution of his aesthetic views [2][3][4][5][6].
B. Shaw's social and political views and worldview have been studied in detail by the English-speaking philologists: by E.E. Stokes in his book «William Morris and Bernard Shaw: a socialist -artistic relationship», by A. West in his work «A good man fallen among Fabians», by E. Strauss in his work «Bernard Shaw: Art and socialism» and others. Scientists unanimously characterized Shaw's outlook as socialist [7][8][9].
The scientific novelty of the article is determined by the fact that the reception of B. Shaw's play «Pygmalion» is interpreted in Russian literature in a new way. This work is the first to study allusions and reminiscences with B. Shaw's comedy «Pygmalion» in Soviet prose and drama of the 20th -early 21st centuries (based on the story by I. Grekova «On the trials», journalism by V.V. Ovchinnikov, the novel by I.M. Efimov «Court and deed», the tragicomedy by A.M. Volkov «The Liquidators»).

Materials and methods
This study uses descriptive-comparative, comparative-historical, cultural-historical methods. The

Results and discussion
As a result, we have a rich reception of B. Shaw's play «Pygmalion» in Russian literature.
The Russian readership got acquainted with the works of B. Shaw already at the turn of the 19th and 20th centuries, but it was quite difficult for the reader to fully appreciate the true beauty of the language and the sparkling style of the English playwright due to the fact that his works were published mainly in «craft» translations.  [10][11][12][13][14][15][16][17].
Translations of the comedy «Pygmalion» are significantly different in their artistic adequacy and the desire to convey the peculiarities of the style of the English playwright.
Despite the nuances, each translation of B. Shaw's comedy «Pygmalion» is original and corresponds to its time. Although the first translation made by I. R-skoy and S. Razsokhin in 1914 contains factual errors and inaccuracies, it deserves attention and recognition primarily because thanks to it the Russian reader first became acquainted with the play by the English playwright. Variants of translation of the main character's name made by B. Lebedev (Liza, Lizka, Eliza, Elsa, Elizabeth, Betsy, Bess) (Лиза, Лизка, Элиза, Эльза, Элизабет, Бетси, Бесс) and by V. Babkov (Lisa, Eliza, Elizabeth, Betsy, Bess) (Лиза, Элиза, Элизабет, Бетси, Бесс) are the most successful, because they contain a rich complex of associations that reflect the entire value context of the main character's name. G. Ryklin and E. Kalashnikova made the greatest dominance of deviations from the original when translating toponyms. V. Babkov's interpretation of toponyms does not deviate from the original [18][19][20][21].
Judging by the interpretations, all translators, except V. Babkov, support the concept of librettist A. Lerner and film director G. Pascal, which is based on a «romantic» reading of the comedy finale: Eliza dutifully returns to the laboratory after a quarrel with Higgins, finds him alone, and he asks to bring him slippers [22, p. 149-152]. According to the author's intention, Eliza leaves the house of Professor Higgins forever and marries Freddie, making a logical basis for her choice, which was reflected in his interpretation only by V. Babkov.
The latest translation by V. Babkov is the most adequate of all the translation options. Only V. Babkov managed to fulfill the requirement, which, according to the conclusion of the modern scientist Ya.V. Usacheva, contributes to an adequate interpretation of the literary text: «in a collision with the peculiarities of two cultures», not only to clearly imagine their differences, but also «to convey information as accurately as possible from the bearer of one culture to the bearer of another» [23, p. 250].
V. Babkov's translation can be regarded as the closest to the authentic text, i.e. the most «harmonious». Researchers L.V. Kushnina and L.P. Raskopina operate with a new dominant of translation, in addition to traditional translation dominants (adequacy and equivalence) -«harmony as the highest criterion for a quality translation». L.V. Kushnina and L.P. Raskopina believe that harmony in translation arises when «the relationship between the original and derived texts is built on semantic proportionality, semantic consistency, which are due to the manifestation of interlanguage and intercultural asymmetries» [24, p. 117]. In his research V.A. Milovidov reveals the concept of «semantic consistency and proportionality» of translation of a work of art: «this is a structural analogy that goes beyond literal analogies (equivalence at the level of vocabulary or syntax)». The scientist explains that «if the basic characteristic of the structure of a literary text is understood as a special type of relationship between form and content, then it is this relationship that should be re-expressed in translation» [25, p. 249-250]. The nomenclature of elements subject to harmonization in translation can be found in the work of a modern foreign researcher in the field of translation studies -J. House [26].
Despite the fact that V. Babkov's translation is the most adequate and harmonious of the existing ones, that is it conveys the author's intention with the greatest completeness and accuracy, most often the play is published in translations by P. Melkova and E. Kalashnikova. While studying the work, literary scholars wrote their research works about «Pygmalion», relying in most cases on the translation made by E. Kalashnikova, from which it follows that the reception of the play in Russia is formed mainly by E. Kalashnikova's translation.
Various interpretations of the comedy show that the translators often became «coauthors» of B. Shaw and participated in the creation of his author's myth and mythology that developed around the play.
Numerous Before the October Revolution, the comedy «Pygmalion» was extremely popular on the provincial stage. The play was staged in many provincial theaters. The role of Eliza was played by the actresses V. Yureneva, V. Alekseeva-Meskhieva, E. Polevitskaya and others.
After the October Revolution, the comedy became even more popular. In the Alexandria Theater, L.S. Vivien contacted it twice (1925 and 1945). In both productions, he himself played the role of Professor Higgins, his constant partner was E.M. Wolf-Israel. The play has become a part of the repertoire of metropolitan and provincial theaters. At the same time, the production of «Pygmalion» at the Moscow Maly Theater in 1946 stands out for its special wit and analyticalism. In 1952, «Pygmalion» was staged at the Pushkin Theater by director B. Dmokhovsky with T.I. Aleshina (Eliza) and V.I. Yantsatom (Higgins), the performance was designed by N.P. Akimov.
As for the modern productions of the comedy «Pygmalion», we would like to highlight the most significant of them. G. Volchek offered her original version of B. Shaw's play at the Sovremennik Theater in 1994-1995. The role of Henry Higgins was played by Valentin Gaft, the role of Eliza Doolittle was played by Elena Yakovleva. The play is based on the translation by E. Kalashnikova. The performance invariably attracted a full auditorium, like most of the performances of the Sovremennik Theater. This allows us to conclude that the English comedy has not lost its relevance for the modern audience.
In March 1998, the premiere of «Pygmalion» was staged by Honored Art Worker A. Belinsky. In this production the role of Professor Higgins was played by the People's Artist of Russia N. Burov, the role of Eliza was played by Y. Sokolova. The staging of «Pygmalion» by A. Belinsky is the long-awaited return of one of the best works of B. Shaw to the Alexandria stage. In the play, through the witty dialogues of the comedy, a nostalgic note is clearly heard. It is felt both in the music of Ch. Chaplin, which suddenly appeared in this work, and in the design by O. Zemtsova and M. Vorobeichik, who stylized the sets and costumes in the spirit of black and white cinema. The famous ballet film, filmed by A. Belinsky with the magnificent E. Maksimova in the title role, is invariably remembered.
In  [28, p. 277]. There is a bright detail in Gyndin's complement that indicates the purpose of Professor Higgins' experiment -to teach Eliza to speak as the Duchess speaks. Gindin explains his parallel with Ada Trofimovna's manners, her tact. The image of Ada Trofimovna acquires a contrast: the artistic elevation of this female character is replaced by irony: «Yes, in this sense, Ada is irreplaceable ... One problem is stupid as a goose» [28, p. 278].
Russian cultural consciousness of the XXth and XXIst centuries perceives Great Britain in many respects through the prism of the work of B. Shaw and his comedy «Pygmalion». A striking example of such cultural reception is V.V. Ovchinnikov's journalism, in particular, his book «Oak roots» (1974)(1975)(1976)(1977)(1978), where scenes of London life evoke associations in the author's mind with the comedy of the English playwright and its film adaptations. The Russian publicist was convinced that the main problem of the comedy «Pygmalion» is the portrayal of the social barriers of English society. In the essay «City by the bridge» V.V. Ovchinnikov emphasizes: «On both sides of such barriers, as in the times described by Bernard Shaw in «Pygmalion», Londoners not only speak different languages -they are physically different people» [29, p. 306].
Allusions and reminiscences with B. Shaw's comedy «Pygmalion» are manifested in modern prose, a striking example of which is the novel by I.M. Efimov «Court and deed». The author of the novel permanently resides in the United States, in connection with which the influence of American mass culture is reflected in his work, in which one of the key is the plot of the comedy of the English playwright in various adaptations. In the novel «Court and deed», the images of Pygmalion and Galatea functionally replace each other. The psychoanalyst Polina appears to be a powerful, intelligent and practical woman; she occupies a socially higher position than the «artistic nature» of Kiper. It was Polina who saved the hero from a prolonged depression. Metaphorically, Kiper is related to the stone: «He was then like a piece of stone -insensible, frozen, dangerous» [30, p. 53]. If Professor Higgins awakens Eliza's self-awareness, then psychoanalyst Polina helps Kiper to better understand his inner world, he gets rid of neurosis. The hero figuratively correlates Polina, who became his wife, with Pygmalion: «So he then had every reason, in moments of tenderness, to call his wife «my Pygmalion». She smiled flatteringly and waved her off. Nothing special to talk about! She was just lucky to find several important overtightened strings in it -and loosen them» [30, p. 53]. In the figurative world of the novel, two motive complexes arise, associated with the plot of Pygmalion and Galatea: 1) the ancient myth of the sculptor (artist); 2) allusions and reminiscences with B. Shaw's comedy «Pygmalion».
The first motive complex is embodied in a number of artistic details. So, the heroes settle after the wedding in the artist's house with a «four-height workshop». Although the acquaintance of Polina and Kiper ended in a wedding, their marriage is far from happy. In the image of Keeper, there are traits that bring him closer to Professor Higgins, first of all sarcasm.
The influence of B. Shaw's drama is manifested in the plays of contemporary Russian authors, in particular, in A.M. Volkov's tragicomedy «The Liquidators». Genre specificity, detailed remarks, the attitude to create a paradoxical (absurd) discussion bring this play closer to the drama of B. Shaw. The play by A.M. Volkov «The Liquidators» is a typical intertext for postmodernism, woven from allusions, reminiscences, and quotations. The play mentions numerous historical figures, writers, philosophers, and works of art. The characters in the comedy play with cultural contexts, one of which is the UK context: «Thank you sir!»; «Complete collection of plays by Sir William Shakespeare. London. One thousand eight hundred and fifty-nine year»; «Internship in England».
In the introductory remark of the tragicomedy the theme of the artist and creativity is already introduced: «There is a working mess on the table: a can of brushes, cans of paints, bottles of solvents, boards -here the owner works. He paints small icons, city landscapes, paints nesting dolls, in general, makes everything for which there is a tourist demand» [31, p. 85]. The artist's theme becomes see-through in the play; in connection with it allusions with the myth of Pygmalion and Galatea emerge organically. Comparison of Natalia with Galatea is born in Shakhov's mind spontaneously and explainable by the everyday context, by the nature of his occupation: «Yes, take off your raincoat, don't stand like Galatea, now it will be hot here, you will sweat, you will catch a cold ... » [31, p. 90]. The play metaphorically brings together the images of Aphrodite (Venus), Galatea and Madonna. Skulyaev, on the other hand, gives the myth of Galatea and Pygmalion an individual, biographical meaning associated with his attitude to his wife: «Which of us is Frankenstein then? Who is Pygmalion? Who is Galatea? You will say that you stayed with me, because sorry?» [31, p. 112]. In the play by a modern Russian author, as we can see, the plots about Frankenstein and Pygmalion, actively used by modern mass culture, are contextually brought together.
The myth of Pygmalion and Galatea was significant for Russian culture as well. In Russian classical poetry, we see frequent reference to this mythological plot, allusion and reminiscence with it. A striking example of individual myth-making is E.A. Baratynsky's elegy «The Sculptor» (1841), where the artist spiritualizes the stone with his creative impulse. The plot of Pygmalion and Galatea in this work of the Russian romantic becomes more complicated: the poet creates a series of images of the Nymph, the goddess, Galatea. An important role in the artistic world of the elegy is played by the symbol of the cover, which serves as the line between the real and the ideal world. Baratynsky reveals the artist's spiritual universality in the process of creativity: «infinitely longed for», «unhurried, gradual». In the final stanza, the image of Galatea appears which symbolizes the sculptor's insight into the meaning of life and creativity, the absolute ideal: «With the reciprocal gaze of Galatea ... ». Allusions with the myth of Pygmalion and Galatea are manifested in the lyrics of V.K. Kuchelbecker, D.V. Venevitinov, N.M. Satin.
The mythological plot about Pygmalion and Galatea was reflected not only in Russian poetry, but also philosophical reflection in prose. So, in the work of L.I. Shestov «Athens and Jerusalem» the Russian religious thinker, considering the metaphysics of God, immortality and free will, enters into polemics with the rationalistic philosophy of I. Kant, who perceived Pygmalion as a «voluptuous». In the myth of Pygmalion and Galatea, the Russian philosopher sees an assertion of a free creative impulse and hope for a miracle, which are more universal than a cold mind: «If Pygmalion's unbridled passion would enter our «thinking» as a new dimension, much that we consider «impossible» would become possible and what seems to be false would become true» [32, p. 97-98]. The image of «Pygmalion is considered by Shestov in unity with the images of Orpheus, Don Juan, the Biblical book «Songs of Songs», and the works of Alexander Pushkin. According to L.I. Shestov in the myth of Pygmalion a person's striving for liberation from the law, necessity, for the manifestation of his individuality, for gaining spiritual fullness is revealed.
In V.V. Nabokov's novel «The King, Queen, Jack» (1927)(1928), an appeal to the myth of Pygmalion and Galatea appears in unity with the motivational complex of an automaton man, traditional for European culture. Dreyer, together with the inventor, creates a series of electric mannequins. The hero hides his plan from his wife, mentally anticipating her ironic assessment: «I would consider it an empty whim. Elderly Pygmalion and a dozen electric Galateas. They were already coming to life, coming to life ... » [33, vol. 1, p. 239-240]. In the analyzed episode, there are numerous allusions with the myth of Pygmalion and Galatea: «The sculptor, who looked like a scientist, and the professor, who looked like an artist, also seemed extremely pleased with themselves» [33, vol. 1, p. 247]. This episode of the novel is built on the sharp contrast of expectation, first impression of the invention and further disappointment in it. The inventor surrounds the experiment with an aura of mystery. At first Dreyer admires a believable imitation, stylization. But later the hero realizes that electric mannequins are «sleepwalkers», monotonous and dead. In their image, the figurative series of death is forced. The technique did not justify the hopes for the miracle of the protagonist of the novel: «And Dreyer realized that all that these figures could give, they had already given, -that now they are no longer needed, devoid of soul, and charm, and meaning» [33, vol. 1, p. 271]. The miracle of transformation took place in the soul of the protagonist, in reality; electric mannequins grotesquely express the deadness of a technogenic civilization.
Images of Pygmalion and Galatea appear in Russian literature of the second half of the 20th century on the pages of works belonging to various thematic areas. So, these mythological heroes are mentioned in the science fiction prose of the Strugatsky brothers («Monday begins on Saturday», 1964), in the memoirs of N. Voronel («Without embellishment. Memories», 1975Memories», -2003, L. Smirnova («My love», 1997).
Allusions and reminiscences with the myth of Pygmalion and Galatea are widely represented in the prose of the late twentieth century, for example, in the story of M.N. Kuraev «Notes of a fugitive cinematographer». The allusion with the myth of Pygmalion and Galatea arises in this story in the context of an everyday scene and has an ironic orientation, ridiculing the artist whose wall panel adorns the restaurant: «Not every day, tankers manage to meet a master and a model nearby, as they say in a civilian,