Stravinsky's approach to literary text as purely syllabic material on the one hand, as well as his view regarding language as sonorous element in its own right, raises a problem in translation of the text. Stravinsky's approach to the translation of the Russian text used in his works was not only taken for granted, but also sought after. The question would be how successful this approach would have been for performers, and whether the aesthetic meaning of the work would have become clearer because of it. An archival document concerning the French translation of the text Les Noces not being taken into account as yet, may shed some light on the working methods of Stravinsky and Ramuz. A brief example taken from the manuscript will show how Ramuz's version modifies the sonority of the original Russian text without betraying the spirit of it. Various stages of the translation are dealt with, starting with the literal translation presented by Stravinsky. Ramuz in his translation pays particular attention to the number of syllables in each line, as well as to the rhyme scheme of the original text, in which each end-rhyme corresponds to the end of a musical phrase. Ramuz also meticulously regards the pattern of accents and internal rhymes. This painstaking effort, carried out in close collaboration with the composer, results in a virtual re-creation of Les Noces, which one could consider, perhaps as a second original version.