В третьей строфе английского оригин

В третьей строфе английского оригинала (строки 31–36) – благодаря творческому усилию поэта – происходит гармоничное слияние первого и второго пейзажей, рождается поэтический идеал. Здесь Колриджу удается примирить множество крайностей: прекрасное с возвышенным, архитектурное мастерство с дикой природой, устье с истоком. Отразившийся в его воображении прекрасный образ чертога поэт помещает в самый центр своей композиции.
Для этого поэт мысленно занимает позицию прямо на берегу реки Альф, как раз посередине (midway) между фонтаном ее начала и водопадом ее конца. Отсюда он способен слышать одновременно стоны женщины-призрака (у истока) и крики предков, предвещающих войну (у обрыва). Эти возвышенные звуки органично сливаются вместе, попадая в унисон, или – как пишет Колридж – в единый “смешанный ритм” (the mingled measure). Единение пейзажей происходит также на уровне зрительных образов. Стоя посередине воображаемого ландшафта, поэт любуется чертогом Хана Кублы – но не далекой каменной его ипостасью, находящейся на краю ландшафта, а полуэфемерной, тенеобразной: той, которая – вопреки законам природы, по поэтической воле поэта – чудесным образом отражается в водах священной реки прямо здесь: перед его лицом.

Results (English) 1:

In the third stanza, the English original (line 31-36)-thanks to the creative force of the poet-is a harmonious fusion of first and second landscapes, is a poetic ideal. Here the Kolridžu manage to reconcile the many extremes: excellent with a sublime, architectural skill with wildlife, the mouth with the source. Down in his imagination a wonderful image of the bridal poet puts at the center of his compositions.The poet mentally takes the position right on the banks of the river Alf, just in the middle (midway) between the fountain and waterfall to its end. From here he is able to hear women moaning at the same time-the ghost (the source) and the cries of ancestors, which point to the war (the cliff). These sublime sounds seamlessly meld together in unison, or-as written by Coleridge-into a single mixed rhythm "(the mingled measure). Unity of landscapes is also on the level of Visual images. Standing in the middle of an imaginary landscape, the poet admires the Palace of Khan Kubly-but not the distant stone his form, located on the edge of the landscape, and poluèfemernoj, teneobraznoj: that which is contrary to the laws of nature, for the poetic will miraculously poet-is reflected in the waters of the sacred river right here: in front of his face.

Results (English) 2:

In the third stanza the English original (lines 31-36) - thanks to the creative effort of the poet - there is a harmonious fusion of the first and second landscapes, born poetic ideal. Here Coleridge manage to reconcile a lot of extremes: fine with sublime architectural skills with wildlife, the mouth to the source. Reflected in his mind the image of a beautiful palace poet puts at the center of his compositions.
For this poet mentally takes a position right on the bank of the river Alph, just in the middle (midway) between the fountain of its beginning and its end waterfall. Hence he is able to simultaneously hear the groans female ghost (at the source) and screams ancestors portends war (the cliff). These sublime sounds organically blend together, falling in unison, or - as Coleridge wrote - in a single "mixed rate" (the mingled measure). Unity landscapes also occurs at the level of visual images. Standing in the middle of an imaginary landscape, the poet admires Kubla Khan Halls - but not far away the stone of his incarnation, located on the edge of the landscape, and poluefemernoy, teneobraznoy: one that - contrary to the laws of nature, by the will of the poet's poetic - miraculously reflected in the waters of the sacred river right here : in front of his face.

Results (English) 3:

The third строфе English original (line 31- 36) - thanks to the creative force of poet - is harmonious merging the first and second landscapes, born folk ideal.Here Колриджу unable to reconcile many extremes: excellent with elevated, architectural skills with nature and the wild, the mouth with underlay.Russian businessman Alisher Usmanov in his imagination a perfect image heaven poet puts in the most center of its songs.
the poem is mentally takes the position directly on the bank of the river Savage sighed,As times midway (midway) between the fountain its start and its the end of the waterfall. Hence he is able to hear simultaneously cries women-spectre (at the source) and cries ancestors, because war (the continuity).These lofty sounds seamlessly converge together, ingested in unison, or - as writes Колридж - in a single "mixed rhythm" (the mingled measure). Melding landscapes also occurs at the level visual images.Standing halfway imaginary landscape, the poet keeps a record чертогом Khan Кублы - but not a distant stone his face, located on the edge of the landscape, as well полуэфемернои, тенеобразнои: that which is contrary to laws of nature,The poetic language the will of the poet - miraculously is reflected in the waters sacred river directly here: before his face.