Abstract
The article discusses the issues of recreating the aesthetic of the original text in literary translation. The aesthetics of the original and translated texts must, to a certain extent, coincide in the aspect of creative reproduction of key poetic characteristics and the creation of an equivalent aesthetic sensation. The aesthetics of the text here is understood as a set of interconnected motivic, figurative-style, structural, intonation, rhythmic, melodic, and other elements of poetics that have intentional and communicative functionality, cognitive capacity, and variability. The basic requirement for poetic translation is the preservation of the stylistic features of the original since style is the quintessence of a literary text, the combination of content, and semantic dominants with overt formal elements such as rhythm, composition, melody, and others. Even the verse volume of the text can act as a kind of marker of the author’s idiostyle, reflecting his aesthetic choice, a reflection of the semantic determinant. The object of the study is the lyrical poems of modern Kazakh poetesses Fariza Ungarsynova and Akushtap Bakhtygereeva and their translations into Russian and English. An extreme discrepancy between the aesthetic content and style of the original and the presented translations into Russian is established, resulting in a semantic, communicative, and interpretative dichotomy. The last negatively affects the perception of the original text as a complete semantic and artistic artifact. The issue of adequate perception and subsequent reconstruction of the semiosis of the original in translation invariants is considered. Semiotically and semantically rich elements of poetics, such as metaphors, hidden cultural allusions, personal and authorial reminiscences, ethno cultural markers must be creatively recreated in translation. As a result, the translation also becomes a cultural artifact of the literature in the language of which the translation was carried out.