{"references": ["1.\t\u041b\u043e\u0442\u043c\u0430\u043d \u042e.\u041c. \u0438 \u0442\u0430\u0440\u0442\u0443\u0441\u0441\u043a\u043e-\u043c\u043e\u0441\u043a\u043e\u0432\u0441\u043a\u0430\u044f \u0441\u0435\u043c\u0438\u043e\u0442\u0438\u0447\u0435\u0441\u043a\u0430\u044f \u0448\u043a\u043e\u043b\u0430. \u041c\u043e\u0441\u043a\u0432\u0430 : \u0413\u043d\u043e\u0437\u0438\u0441, 1994, c.\t90.", "2.\t\u041d\u0430\u0442\u0430\u043b\u044c\u044f \u0428\u0443\u0442\u0451\u043c\u043e\u0432\u0430. \u041a \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u0435 \u0440\u0438\u0442\u043c\u0430 \u0432 \u043f\u043e\u044d\u0442\u0438\u0447\u0435\u0441\u043a\u043e\u043c \u043f\u0435\u0440\u0435\u0432\u043e\u0434\u0435. \u0412\u0435\u0441\u0442\u043d\u0438\u043a \u041f\u0435\u0440\u043c\u0441\u043a\u043e\u0433\u043e \u0443\u043d\u0438\u0432\u0435\u0440\u0441\u0438\u0442\u0435\u0442\u0430. \u0420\u043e\u0441\u0441\u0438\u0439\u0441\u043a\u0430\u044f \u0438 \u0437\u0430\u0440\u0443\u0431\u0435\u0436\u043d\u0430\u044f \u0444\u0438\u043b\u043e\u043b\u043e\u0433\u0438\u044f. 2010. \u21162. \u0441. 57.", "3.\t\u0420\u043e\u043c\u0430\u043d \u042f\u043a\u043e\u0431\u0441\u043e\u043d. \u041e \u043b\u0438\u043d\u0433\u0432\u0438\u0441\u0442\u0438\u0447\u0435\u0441\u043a\u0438\u0445 \u0430\u0441\u043f\u0435\u043a\u0442\u0430\u0445 \u043f\u0435\u0440\u0435\u0432\u043e\u0434\u0430. \u0412: \u042f\u043a\u043e\u0431\u0441\u043e\u043d \u0420. \u0418\u0437\u0431\u0440\u0430\u043d\u043d\u044b\u0435 \u0440\u0430\u0431\u043e\u0442\u044b. \u041c\u043e\u0441\u043a\u0432\u0430: \u041f\u0440\u043e\u0433\u0440\u0435\u0441\u0441, 1985, \u0441. 367.", "4.\tBeatrice Camelia Arbore. Traducerea literar\u0103 \u00eentre \u0219tiin\u021b\u0103 \u0219i art\u0103. Ia\u0219i: Casa Editorial\u0103 Demiurg, 2015, p. 74-75.", "5.\tIoan Lucian Popa. Translation Theories of the 20th Century (1900 \u2013 1990). Bac\u0103u: EduSoft, 2008, p. 103-104.", "6.\t\u0420\u043e\u043c\u0430\u043d \u042f\u043a\u043e\u0431\u0441\u043e\u043d. Op. cit., p. 363.", "7.\tEugene Nida, Charles Taber. The Theory and Practice of Translation. Leiden: E.J.Brill, 1982, p.\t12.", "8.\tAndr\u00e9 Levefere. Translating Poetry: Seven Strategies and a Blueprint, apud. Beatrice Camelia Arbore. Op.cit., p. 77.", "9.\tJosef Hrab\u00e1c. Introducere \u00een teoria versifica\u021biei. Bucure\u0219ti: Univers, 1983, p. 185.", "10.\t\u042d\u0432\u0430\u043b\u0434 \u041e\u0437\u0435\u0440\u0441. \u041d\u0435\u043a\u043e\u0442\u043e\u0440\u044b\u0435 \u0430\u0441\u043f\u0435\u043a\u0442\u0438 \u043f\u0435\u0440\u0435\u0432\u043e\u0434\u0430 \u0440\u0443\u0441\u0441\u043a\u043e\u0439 \u043f\u043e\u044d\u0437\u0438\u0438 \u043d\u0430 \u0430\u043d\u0433\u043b\u0438\u0439\u0441\u043a\u0438\u0439 \u044f\u0437\u044b\u043a. \u0412: \u0421. \u0413\u043e\u043d\u0447\u0430\u0440\u0435\u043d\u043a\u043e, \u0441\u043e\u0441\u0442. \u041f\u043e\u044d\u0442\u0438\u043a\u0430 \u043f\u0435\u0440\u0435\u0432\u043e\u0434\u0430 : \u0441\u0431\u043e\u0440\u043d\u0438\u043a \u0441\u0442\u0430\u0442\u0435\u0439. \u041c\u043e\u0441\u043a\u0432\u0430 : \u0420\u0430\u0434\u0443\u0433\u0430, 1988, \u0441. 117.", "11.\tJosef Hrab\u00e1c. Op.cit., p. 190.", "12.\tVladimir Nabokov. Theservile path, apud. \u041d\u0438\u043d\u0430 \u0416\u0443\u0442\u043e\u0432\u0441\u043a\u0430\u044f. \u041f\u043e\u044d\u0442\u0438\u0447\u0435\u0441\u043a\u0438\u0439 \u043f\u0435\u0440\u0435\u0432\u043e\u0434 \u0438 \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u0430 \u0430\u0434\u0435\u043a\u0432\u0430\u0442\u043d\u043e\u0441\u0442\u0438. \u0426\u0430\u0440\u0441\u043a\u043e\u0441\u0435\u043b\u044c\u0441\u043a\u0438\u0435 \u0447\u0442\u0435\u043d\u0438\u044f. 2014. \u0422. 1. \u211613. \u0441. 344.", "13.\t\u041d\u0438\u043a\u043e\u043b\u0430\u0439 \u0413\u0443\u043c\u0438\u043b\u0435\u0432. \u041f\u0438\u0441\u044c\u043c\u0430 \u043e \u0440\u0443\u0441\u0441\u043a\u043e\u0439 \u043f\u043e\u044d\u0437\u0438\u0438. \u041c\u043e\u0441\u043a\u0432\u0430: \u0421\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u0438\u043a, 1990, \u0441. 73-74.", "14.\t\u041d\u0438\u043d\u0430 \u0416\u0443\u0442\u043e\u0432\u0441\u043a\u0430\u044f. Op.cit., p. 342.", "15.\tRosa del Conte. Eminescu sau despre Absolut. Cluj: Dacia, 1990, \u0440. 248.", "16.\tMihai Eminescu. Opera liric\u0103: antologie rom\u00e2no-ucrainean\u0103. Cern\u0103u\u021bi: Pro Litera, 2010, p. 100-101.", "17.\t\u041a\u0440\u0456\u0441\u0442\u0456\u043d\u0456\u044f \u041f\u0430\u043b\u0430\u0434\u044f\u043d. \u0420\u0443\u043c\u0443\u043d\u0441\u044c\u043a\u0435 \u0442\u0430 \u0443\u043a\u0440\u0430\u0457\u043d\u0441\u044c\u043a\u0435 \u0441\u0438\u043b\u0430\u0431\u043e-\u0442\u043e\u043d\u0456\u0447\u043d\u0435 \u0432\u0456\u0440\u0448\u0443\u0432\u0430\u043d\u043d\u044f \u0425\u0406\u0425 \u0441\u0442\u043e\u043b\u0456\u0442\u0442\u044f (\u043c\u0435\u0442\u0440\u0438\u043a\u0430 \u0456 \u0440\u0438\u0442\u043c\u0456\u043a\u0430). \u0427\u0435\u0440\u043d\u0456\u0432\u0446\u0456: \u0427\u0435\u0440\u043d\u0456\u0432\u0435\u0446\u044c\u043a\u0438\u0439 \u043d\u0430\u0446\u0456\u043e\u043d\u0430\u043b\u044c\u043d\u0438\u0439 \u0443\u043d\u0456\u0432\u0435\u0440\u0441\u0438\u0442\u0435\u0442, 2019, \u0441. 150-152.", "18.\tGheorghe Toh\u0103neanu. Ritm dominant, substituiri ritmice, ritm secund. \u00cen: Toh\u0103neanu G. Dincolo de cuv\u00e2nt. Bucure\u015fti : Ed. \u015ftiin\u0163ific\u0103 \u015fi enciclopedic\u0103, 1976. p. 225.", "19.\t\u041d\u0438\u043a\u043e\u043b\u0430\u0439 \u0413\u0443\u043c\u0438\u043b\u0435\u0432. Op.cit., p. 31-32.", "20.\tMihai Eminescu. Op.cit., p. 102-103.", "21.\t\u041a\u0440\u0456\u0441\u0442\u0456\u043d\u0456\u044f \u041f\u0430\u043b\u0430\u0434\u044f\u043d. Op.cit., p. 74.", "22. Rosa del Conte. Op.cit., p. 248."]}

Una din cele mai dificile probleme ale traducerii poetice este păstrarea ritmului textului-sursă. Ritmul operei poetice nu este doar o caracteristică formală a textului, el reprezintă intenția poetică, atitudinea autorului și semnificația profundă a textului, ceea ce necesită transferul principiului ritmic al originalului în traducere. În articol, în baza poeziei lui Mihai Eminescu Dorința, vom încerca să prezentăm tehnicile de redare a particularităților ritmice ale originalului în traducere ucraineană. THE PROBLEM OF RHYTHM IN POETIC TRANSLATION One of the most difficult problems of poetic translation is keeping the rhythm of the source text. The rhythm of the poetic work is not only a formal feature of the text, it represents the poetic intention, the attitude of the author and the deep meaning of the text, which requires the transfer of the rhythmic principle of the original in translation. In the article we will try to present the techniques for rendering the rhythmic features of the original in translation through the example of the poetry of Mihai Eminescu Dorința (Desire).