Straight in her heart did mercy come,
Chiding that tongue that ever sweet
Was used in giving gentle doom,
And taught it thus anew to greet:
'I hate' she alter'd with an end,
That follow'd it as gentle day
Doth follow night, who like a fiend
From heaven to hell is flown away;
'I hate' from hate away she threw,
And saved my life, saying 'not you.'
145.
Tomilsya ya, i vdrug raskat
Iz ust lyubimyh: "Nenavizhu",
I groma tresk, i molnij ad;
No, uvidav, ya skorb'yu dvizhim,
Smyagchilos' serdce, i upr¸k,
CHto bran'yu otozvalos' eho,
Smutil yazyk, no vnov' izr¸k
Neskladnyj zvuk svoj neumeha:
"YA nenavizhu", - kak zlodej
B'¸t snopom iskr zemnye skaly,
Kak noch' igraet ten'yu dnej,
Pugaya gibel'nym oskalom;
"YA nenavizhu", - slovno yad,
No zhizn' vernulas', - "ne tebya".
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146.
Poor soul, the centre of my sinful earth,
[...] these rebel powers that thee array;
Why dost thou pine within and suffer dearth,
Painting thy outward walls so costly gay?
Why so large cost, having so short a lease,
Dost thou upon thy fading mansion spend?
Shall worms, inheritors of this excess,
Eat up thy charge? is this thy body's end?
Then soul, live thou upon thy servant's loss,
And let that pine to aggravate thy store;
Buy terms divine in selling hours of dross;
Within be fed, without be rich no more:
So shalt thou feed on Death, that feeds on men,
And Death once dead, there's no more dying then.
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146.
Neschastnaya dusha, centr ploti gnusnoj,
[Vokrug] tebya vojska tvoih rabov;
Zachem tomish'sya ty v lachuge grustnoj
I ukrashaesh' kreposti grehov?
Zachem ty tratish' sily zhizni kratkoj,
Dvorec vozvodish', zolotoj chertog?
CHtob chervi i nasledniki dostatka
Ego sozhrali? eto tvoj itog?
Dusha-dusha, sluzha chervyam kurguzym,
Skorb' umnozhaesh' tela svoego;
Menyaesh' dar nebes na nizkij musor;
Zemlya poglotit prah, i net ego:
Kogda zh gotovish' pishchu dlya uma,
S®edayut lyudi Smert', mirazh ona.
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147.
My love is as a fever, longing still
For that which longer nurseth the disease,
Feeding on that which doth preserve the ill,
The uncertain sickly appetite to please.
My reason, the physician to my love,
Angry that his prescriptions are not kept,
Hath left me, and I desperate now approve
Desire is death, which physic did except.
Past cure I am, now reason is past care,
And frantic-mad with evermore unrest;
My thoughts and my discourse as madmen's are,
At random from the truth vainly express'd;
For I have sworn thee fair and thought thee bright,
Who art as black as hell, as dark as night.
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147.
Moya lyubov' podobna lihoradke,
CHto pestuet bolezn' i mnozhit zhar,
A on gotovit novye zagadki,
CHtob bred ih razreshil bol'noj ugar.
Ne mozhet razum-lekar' ugadat',
Kakoe sredstvo utolit pechali,
I ostavlyaet plot' moyu stradat',
CHtob sily smerti mne lekarstvo dali.
V volnen'e ustremlyalsya ya nazad,
Iskal bezumnym razumom istoki;
No razum bednyj, vozvrashchayas' v ad,
Ne mog izvlech' poleznye uroki;
Lish' klyalsya krasotoj i mysl'yu yasnoj,
Pechal'noj slovno noch', kak ad uzhasnoj.
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148.
O me, what eyes hath Love put in my head,
Which have no correspondence with true sight!
Or, if they have, where is my judgment fled,
That censures falsely what they see aright?
If that be fair whereon my false eyes dote,
What means the world to say it is not so?
If it be not, then love doth well denote
Love's eye is not so true as all men's 'No.'
How can it? O, how can Love's eye be true,
That is so vex'd with watching and with tears?
No marvel then, though I mistake my view;
The sun itself sees not till heaven clears.
O cunning Love! with tears thou keep'st me blind,
Lest eyes well-seeing thy foul faults should find.
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148.
CHto za glaza u serdca moego?
Lyubov', ty iskazhaesh' vs¸ na svete!
A mozhet iz upryamstva svoego
Ne slushaet moj mozg pribory eti?
Nastol'ko lyubit mozg svoi glaza,
Speshit ispravit' zrimye kartiny?
Predpochitaet verit' v chudesa
I v mir privychnyh mnenij, chasto mnimyh?
Kak mozhet byt'? vokrug beda i sl¸zy,
Kak opravdat' obmannye glaza?
No, vprochem, verno, chto net very gr¸zam;
Tak solnce pryachet lik poka groza.
O, hitraya Lyubov'! ty slepish' glaz,
CHtob ne zametil vzdor tvoih grimas.
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149.
Canst thou, O cruel! say I love thee not,
When I against myself with thee partake?
Do I not think on thee, when I forgot
Am of myself, all tyrant, for thy sake?
Who hateth thee that I do call my friend?
On whom frown'st thou that I do fawn upon?
Nay, if thou lour'st on me, do I not spend
Revenge upon myself with present moan?
What merit do I in myself respect,
That is so proud thy service to despise,
When all my best doth worship thy defect,
Commanded by the motion of thine eyes?
But, love, hate on, for now I know thy mind;
Those that can see thou lovest, and I am blind.
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149.
O, uzhas! govorit', chto ne lyubil ya,
Kogda sebe pod kozhu ya zalez?
Uzhel' besplodny vse moi usil'ya?
Uzhel' vo mne muchitel' ne ischez?
Razve s prezrennym zlom ya v druzhbe nyne?
Razve besploden glupyj moj vopros?
Zachem chernee nochi ty, boginya?
Za chto ty mstish' mne dikim stonom groz?
CHem zasluzhil tvo¸ raspolozhen'e
I gordosti prezritel'nyj otkaz,
Ved' obozhal ya kazhdoe mgnoven'e,
Kogda svetilo solnce milyh glaz?
Lyubov', ya razgadayu rebus tvoj;
Ty lyubish' teh, kto vidit; ya slepoj.
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150.
O, from what power hast thou this powerful might
With insufficiency my heart to sway?
To make me give the lie to my true sight,
And swear that brightness doth not grace the day?
Whence hast thou this becoming of things ill,
That in the very refuse of thy deeds
There is such strength and warrantize of skill
That, in my mind, thy worst all best exceeds?
Who taught thee how to make me love thee more
The more I hear and see just cause of hate?
O, though I love what others do abhor,
With others thou shouldst not abhor my state:
If thy unworthiness raised love in me,
More worthy I to be beloved of thee.
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150.
Otkuda stol'ko sily, stol'ko vlasti
Plenyat' serdca, prityagivat' umy?
O, pochemu nesbytochnoe schast'e
V plenu illyuzij, uznikov tyur'my?
Kakoj bolezn'yu serdce porazila,
CHto, otvergaya pomoshch' i teplo,
Ono vnimaet gibeli i sile,
I temnotoj tvoej uvlecheno?
Kto nauchil tebya vnushat' lyubov',
I tem sil'nej, chem bol'she nenavizhu?
O, nakazan'e, mir, mne prigotov',
No dlya menya ty stanesh' tol'ko blizhe:
Uzh esli dazhe greh lyublyu ya tvoj,
Kakov zhe svet tvoj, dobryj moj geroj.
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151.
Love is too young to know what conscience is;
Yet who knows not conscience is born of love?
Then, gentle cheater, urge not my amiss,
Lest guilty of my faults thy sweet self prove:
For, thou betraying me, I do betray
My nobler part to my gross body's treason;
My soul doth tell my body that he may
Triumph in love; flesh stays no father reason;
But, rising at thy name, doth point out thee
As his triumphant prize. Proud of this pride,
He is contented thy poor drudge to be,
To stand in thy affairs, fall by thy side.
No want of conscience hold it that I call
Her love for whose dear love I rise and fall.
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151.
Pro sovest' znaet yunaya lyubov';
A ot lyubvi rozhd¸nnyj chto uznaet?
Somnen'em derzkim mne ne prekoslov',
Vo mne svoi oshibki otricaya:
YA izmenil predatel'skomu telu,
Tebe, nevernyj, veren do konca;
Zavisit telo ot dushi vsecelo;
U zerkala net mysli i lica;
I, esli ty vozvysish'sya nad plot'yu,
Ona voznagradit tebya s lihvoj.
Ne vozgordis', o dvoryanin v lohmot'yah,
Rabotaj i ostan'sya sam soboj.
Kak, chereduya vshody i zakaty,
Rabotayut nebesnye gromady.
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152.
In loving thee thou know'st I am forsworn,
But thou art twice forsworn, to me love swearing,
In act thy bed-vow broke and new faith torn,
In vowing new hate after new love bearing.
But why of two oaths' breach do I accuse thee,
When I break twenty? I am perjured most;
For all my vows are oaths but to misuse thee
And all my honest faith in thee is lost,
For I have sworn deep oaths of thy deep kindness,
Oaths of thy love, thy truth, thy constancy,
And, to enlighten thee, gave eyes to blindness,
Or made them swear against the thing they see;
For I have sworn thee fair; more perjured eye,
To swear against the truth so foul a lie!
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152.
Ty, verno, znaesh', ya narushil slovo,
No ved' i ty dva raza obmanul,
Lyubov'yu klyalsya ty i veroj novoj,
Potom prezren'em slovu moemu.
No pochemu upr¸k lish' v dvuh izmenah,
Hotya ya dvadcat' klyatv perestupil?
Narushil mnogo ya obetov cennyh,
Tebya vo mnogom lozhno obvinil,
No mne hotelos', vidyat nebesa,
Klyatv vernosti tvoej, lyubvi i pravdy,
I, chtob dobit'sya, ya slepil glaza
I izuchal ih hitrye landshafty;
I klyalsya ya, i klyatvy narushal,
CHtob ispytat' na prochnost' ideal!
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153.
Cupid laid by his brand, and fell asleep:
A maid of Dian's this advantage found,
And his love-kindling fire did quickly steep
In a cold valley-fountain of that ground;
Which borrow'd from this holy fire of Love
A dateless lively heat, still to endure,
And grew a seething bath, which yet men prove
Against strange maladies a sovereign cure.
But at my mistress' eye Love's brand new-fired,
The boy for trial needs would touch my breast;
I, sick withal, the help of bath desired,
And thither hied, a sad distemper'd guest,
But found no cure: the bath for my help lies
Where Cupid got new fire -- my mistress' eyes.
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153.
Amur, usnuvshij, fakel obronil:
Ego nashla ohotnica-boginya,
Nevdaleke holodnyj klyuch burlil,
I pogruzilsya ogn' v istochnik sinij;
Otdav potoku svoj svyashchennyj zhar,
Plamya Lyubvi usililo burlen'e,
K vode celebnoj vskore mlad i star
Put' prolozhili s cel'yu iscelen'ya.
No tot, kto ishchet ot lyubvi pokoj,
Tot ne najd¸t lekarstva ot durmana;
Hotel i ya spasitel'noj vodoj
Unyat' tosku i uspokoit' rany,
No bylo tshchetno: klyuch menya ne spas,
Menya izlechit plamya milyh glaz.
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154.
The little Love-god lying once asleep
Laid by his side his heart-inflaming brand,
Whilst many nymphs that vow'd chaste life to keep
Came tripping by; but in her maiden hand
The fairest votary took up that fire
Which many legions of true hearts had warm'd;
And so the general of hot desire
Was sleeping by a virgin hand disarm'd.
This brand she quenched in a cool well by,
Which from Love's fire took heat perpetual,
Growing a bath and healthful remedy
For men diseased; but I, my mistress' thrall,
Came there for cure, and this by that I prove,
Love's fire heats water, water cools not love.
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154.
Odnazhdy zadremal Amur - malysh,
Zabyv i fakel i ogon' goryashchij,
Tut nimfy strogie prokralis' v tish',
I vynuli ogon' iz ruchki spyashchej;
I totchas zharom vspyhnuli serdca
U chistyh dev, sogretye lyubov'yu;
Tak, son otrinuv, plennik iz dvorca
Na mir vziraet, voshishch¸nnyj nov'yu.
V holodnom tele etot zhar poleznyj
Gorit, soedinyaya nit' vrem¸n,
On - dobroe lekarstvo ot boleznej;
No ya, lyubvi pokornyj, iscel¸n
I miru govoryu, chto chelovek
Sogret ogn¸m, negasnushchim vovek.
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Sonety SHekspira privlekayut svoej
zagadochnost'yu: s odnoj storony, oni vzaimosvyazany, v nih obshchie personazhi
rasskazchika i slushatelya; oni obrazuyut gruppy, v kotoryh beseda ved¸tsya
yavno na obshchuyu temu: argumentaciya nachinaetsya v odnom sonete, logicheski
prodolzhaetsya v drugom i podderzhivaetsya v tret'em; s drugoj storony, tema
razgovora imeet privychku neob®yasnimym obrazom menyat' napravlenie (hotya,
dazhe i v etom sluchae, oshchushchenie edinstva soderzhaniya intuitivno
sohranyaetsya), prichudlivo menyaetsya nastroenie rasskazchika: on to
prevoznosit svoego sobesednika, to vdrug rezko (esli ne skazat' grubo)
za chto-to ego poricaet. Proishodit yavstvennoe nedoponimanie, chem vyzvana
podobnaya metamorfoza. Ona sbivaet s tolku. Sbivaet s tolku sovremennogo
chitatelya i, navernyaka, ozadachivalo togo, s kem ved¸tsya beseda. Mnogie
issledovateli tvorchestva SHekspira pytalis' razreshit' etot vopros: mozhet
byt', delo v lichnoj zhizni velikogo poeta? Mozhet byt', nuzhno otyskat'
prototipy glavnyh goroev? No, tshchetno.Svedenij o zhizni SHekspira malo. I
net nadezhdy, chto kogda-nibud' ih stanet bol'she. I osta¸tsya
literaturovedam, natykayas' na protivorechiya, nedoumenno pozhimat' plechami:
chto podrazumeval velikij poet, neizvestno...
Mezhdu tem, esli est' zagadka, dolzhna sushchestvovat' i ee otgadka.
Esli avtor zagadal nam zagadku, soprovodiv e¸ mnogochislennymi nam¸kami,
vydayushchimi fakt e¸ sushchestvovaniya, avtor zhe dolzhen i podskazat', v ch¸m
zaklyuchaetsya smysl zagadki i gde otyskat' klyuch, kotoryj vs¸ ob®yasnit.
Nuzhno tol'ko sledovat' za avtorom. Vnimatel'no i nastojchivo. I
neponyatnosti - propadut. Vozmozhno, ne vse. No mnogie.
Est' u menya ideya, blagodarya kotoroj vse sonety iz raznorodnogo
nabora slabosvyazannyh grupp svyazuyutsya v edinoe celoe, obretaya
dopolnitel'nyj smysl (pomimo togo, razumeetsya, kotoryj i tak vsem
ocheviden). I ya gotov etu ideyu nazvat'. Nazvat' odnim slovom. Gotovy li
vy k nej? Ona prosta. |to ideya reinkarnacii.
V samom dele. V sonetah SHekspira beseduyut dvoe. Dadim im dlya
opredel¸nnosti imena. Pervyj - eto Mudrec. On nachinaet besedu.
Vtoroj - ego Naslednik, ego slushatel'. Dva glavnyh geroya -
Mudrec i Naslednik. Cikl Sonetov - eto dialog mezhdu nimi. Odnako, nuzhno
sdelat' ogovorku: Hot' geroev i dva, tem ne menee, mozhno skazat' i tak,
chto geroj - odin. Takaya vot zanimatel'naya dialektika! Potomu chto, Mudrec
i Naslednik - eto odna i ta zhe sushchnost'. Naslednik - est' novoe
voploshchenie Mudreca. |to zhizn' dushi Mudreca v novom fizicheskom tele.
Mudrec umer. Vernee, umer tot chelovek, v tele kotorogo zhil duh Mudreca.
Kogda moj prah zabudut nebesa,
I kost', istlev, otdast zemle vse soki
Byt' mozhet, popadutsya na glaza
Tebe, moj drug, skupye eti stroki
(Sonet 32)
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Teper' duh Mudreca "zhivet" v drugom cheloveke, teper' on voplotilsya
v Naslednike. I, buduchi v inom voploshchenii, buduchi v novom tele, s
drugimi mozgami, kostyami i myasom, on utratil informaciyu o svoej
mudrosti, o svoih znaniyah. Byl mudrecom, stal molodym chelovekom,
"molodym grubiyanom i derevenshchinoj", "zaklyuchivshim kontrakt so svoimi
yasnymi glazami" (kak nelicepriyatno harakterizuet ego SHekspir v pervom
sonete). Ponyatna opasnost' novogo sushchestvovaniya: prohodya put' ot
rozhdeniya k poisku otvetov na vazhnejshie zhiznennye voprosy, cheloveku ne na
chto operet'sya. Vnov' rozhdennyj, on vynuzhden nachinat' zhizn' s urovnya
bespomoshchnoj kletki. Postigat' vse zanovo: uchit'sya polzat', hodit',
lepetat'. Poluchat' novyj opyt novoj zhizni. I est' opastnost' ne
dostignut' togo sostoyaniya znaniya, kakovym obladal v proshlom. Ostat'sya na
urovne "grubiyana" i "derevenshchiny". V tom sluchae, esli ne pochuvstvuesh' v
sebe Vechnyj Duh Mudreca, sushchestvuyushchij v tvo¸m tele, i do teh por, poka
ne pojm¸sh', chto On nachinaet s toboj besedu.
I vot pervyj sonet SHekspira - i est' nachalo besedy Mudreca, vechnogo
duha, prebyvayushchego v kazhdom, s chelovekom, kotoryj bez osoznaniya etogo
duha v sebe prebyvaet v sostoyanii "grubiyana" i "derevenshchiny".
Mne vozrazyat, chto tak ne byvaet? CHto tot, kto umer, ne mozhet ni
nachat', ni vesti besedu s tem, kto zhiv.
Da, mertvye ne razgovarivayut. No vot dovod: SHekspir umer; odnako,
on gotov besedovat' s tem, kto gotov ego uslyshat'. Pochti chetyre veka
proshlo s ego smerti, i kostochki sgnili, a on - razgovarivaet! Nehitroe
dokazatel'stvo sushchestvovaniya: tot, kto razgovarivaet, tot - zhivoj!
Tradicionno pervye 17 sonetov rassmatrivayutsya
takim obrazom, chto budto tot, ot lica kotorogo napisany sonety, ubezhdaet
togo, k komu sonety obrashcheny, "zhenit'sya i proizvesti na svet potomstvo".
Dejstvitel'no, esli chitat' sonety poverhnostno, mozhet slozhit'sya i takoe
vpechatlenie: chto rech' id¸t o banal'nyh ugovorah i banal'nom svatovstve.
Na polnom ser®¸ze vydvigayutsya versii i ishchetsya prototip: kogo eto tak
pylko ugovarivaet SHekspir? Ukazyvayut na Uil'yama Gerberta, grafa
Pembruka, budushchego lorda-kanclera Anglii. Budto sohranilis' dannye, chto
"rodnye yunogo aristokrata, rano poteryavshego roditelej, hlopotali o ego
zhenit'be" i, "vozmozhno, oni privlekli modnogo sochinitelya SHekspira
dlya sodejstviya ih planam".
Odnako, gospoda, vse eti poiski prevrashchayut Poeziyu v "vodevil'".
Vprochem, kto hochet, tot schitaet eti shatkie osnovaniya dostatochnymi. O,
esli b znali iz kakogo sora rastut stihi. No ya polagayu, chto rech'
id¸t ne o fizicheskih detyah, ne o fizicheskom potomstve. Vspomnim Pushkina:
Ty - car': zhivi odin. Dorogoyu svobodnoj
Idi kuda vlech¸t tebya svobodnyj um,
Usovershenstvuya plody lyubimyh dum,
Ne trebuya nagrad za podvig blagorodnyj.
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Itak, deti poeta - eto ego stihi, eto ego tvoreniya, eto "plody ego
lyubimyh dum". Vot o ch¸m id¸t rech'. Vot kakih detej imeet vvidu SHekspir i
tot, ot lica kotorogo ved¸tsya povestvovanie. I srazu stanovitsya ponyaten
i logichen perehod k sleduyushchim sonetam sonetnogo cikla. K nemu ya eshch¸
vernus'.
Poka zhe hochu skazat', chto sonety - est' Hudozhestvennoe
Proizvedenie. Oni ne ischerpyvayutsya real'nymi sobytiyami, hotya v nih i
vozmozhno usmotret' nekuyu analogiyu prishodyashchego v Anglii vo vremena zhizni
SHekspira. I obrashcheny sonety ne k sovremenniku, ne stol'ko k real'no
sushchestvovavshemu licu, a ko mnogim. I bolee vsego, sonety obrashcheny k
potomkam: k nam s vami. K lyudyam, zhivushchim stoletiya spustya, i k tem, kto
budet zhit' posle nas.
Dva geroya shekspirovskih sonetov - Mudrec i Naslednik - eto
hudozhestvennye personazhi. Kak Gamlet. Kak Korol' Lir. Kak Otello. Ih
otlichie ot Gamleta, Lira i Otello tol'ko v tom, chto oni - bezymyannye,
nenazvannye. Mudrec i Naslednik zhivut svoej zhizn'yu, pridumannoj im
avtorom. Mudrec ne svoditsya k SHekspiru, a Naslednik ne svoditsya k grafu
Pembruku. U geroev - svoya liniya povedeniya, u kazhdogo - svoj harakter.
CHast' sonetov razovarivaet yazykom Mudreca (napisana ot imeni Mudreca),
chast' sonetov - yazykom Naslednika. V nih raznaya stilistika!
Bolee togo, geroi nastol'ko raznye, chto mezhdu nimi proishodit
konflikt. Proishodit velichajshaya Ssora, kotoraya zavershaetsya velichajshim
Mirom. Konflikt zaklyuchaetsya v tom, chto Mudrec obeshchaet Nasledniku
bessmertie. Naslednik nedoumevaet. On rasteryan neponimaniem togo, kak
takoe vozmozhno? S odnoj storony, on gotov idti za Mudrecom, kogda tot
govorit o Lyubvi, o Svete, o Dobrote. S drugoj storony, on sovershenno
obeskurazhen tem, chto inogda Mudrec vyrazhaetsya slishkom grubo, nazyvaet
ego vorom, izmennikom, greshnikom. A inogda - prosto nasmehaetsya.
YAzvitel'no i obidno.
V konce koncov, eti protivorechiya usilivayutsya nastol'ko, chto
Naslednik reshaet, chto emu poprostu morochat golovu (a ona u nego i tak
idet krugom ot uslyshannogo). I sleduet nemedlennyj vzryv - Naslednik
obvinyaet Mudreca, chto nikakogo bessmertiya net, i chto vs¸, chto tot
govorit - est' polnaya chush'. Prich¸m, vysskazyvaet "nabolevshee" v o-ochen'
gruboj forme. V nastol'ko gruboj, chto v prilichnom obshchestve za takie
slova sleduet nemedlennaya duel'.
Konflikt proishodit v 66 sonete. Tradicionno schitaetsya, chto sonet
posvyashch¸n oblicheniyu social'nyh yazv. Tradicionno schitaetsya, chto on napisan
ot lica togo, ot kogo napisany i ostal'nye sonety. YA ne soglasen s etim:
v sonetah Mudreca est' neizmennaya igra slov, est' vspleski i padeniya. A
66 sonet - napisan "neumeloj" rukoj (v kavychkah, konechno, neumeloj). No,
pravda - tam net igry mysli. Igry net! A est' beskonechnoe i dlinnoe
perechislenie: "i eto ne tak, i eto ne tak, i eto ne tak, i eto".
Napisano no-vich-kom.
CHto zhe Mudrec? Mudrec otvechaet. Za mal'chisheskuyu vyhodku Naslednika
on, esli govorit' pryamo, sravnivaet togo s zeml¸j (sonety 67-70). Kakoe
uzh tut bessmertie! Naslednik smyat i razdavlen. Hochet ujti iz zhizni. No,
okazyvaetsya, chto i on ne lykom shit! Ego otvet - velikolepen! On
podstroil Mudrecu lovushku (sonety 71-72). Naslednik grozitsya pokonchit' s
soboj (podtverzhdaya, chto obvineniya 66 soneta - ser®¸zny) i prosit
(pros'ba umirayushchego svyashchena!), chtoby Mudrec zamolchal i vzyal svoi slova
obratno; chtoby ne uvlekal novyh posledovatelej ideej, kotoruyu Naslednik
schitaet lozhnoj. No Mudrecu est' chem otvetit' i na eto (sonety 73-74).
Dalee - hod Naslednika (sonet 75). I vnov' - Mudrec (sonety 76-79).
CHitajte i vy uvidite mnogo interesnogo!
Prich¸m, Mudrec v processe etoj besedy ne tol'ko polnost'yu
pereubezhdaet Naslednika, no i sovershaet Postupok, kotoryj perevorachivaet
techenie sonetnogo cikla s nog na golovu: on zayavlyaet Nasledniku, chto u
nego propal golos, ot nego uletela Muza i da¸t ponyat', chto trud i
sonetnyj cikl ostalsya nezaversh¸nnym, i zavershit' ego dolzhen on -
ego Naslednik. Naslednik dolzhen ispravit' oshibki i grubosti Mudreca (vot
hitrec!). A kak eto sdelat'? Planka podnyata slishkom vysoko. Naslednik
chuvstvuet, chto sil u nego - men'she, chem u ego predshestvennika. Pechal'
ego velika! No - delat' nechego - nado idti, nado preodolevat' sebya i
pytat'sya sootvetstvovat'. |to trudno. |to neimoverno trudno. I v to zhe
vremya, eto ochen' krasivo.
Vot tak. Sonety SHekspira delyatsya kak by na dve chasti - v odnoj
chasti besedu ved¸t preimushchestvenno Mudrec; vo vtoroj chasti - ego
Naslednik. Simmetriya - pochti strogaya. Kompoziciya sonetnogo cikla - ochen'
krasivaya. I dialog s 66 po 79 sonet - skazochno prekrasen. U menya net
slov, chtoby vyrazit', naskol'ko on horosh. Pochemu do sih por nikto
ne uvidel, chto eto - dialog?
Vzor Poeta pronizyvaet proshloe, nastoyashchee i budushchee. Nam ne
dano predugadat', kak slovo nashe otzov¸tsya, no stremlenie ponyat',
zhelanie predugadat', zaglyanut' za granicu sobstvennoj zhizni - ob®edinyaet
Poetov. Razgovor s temi, kto budet zhit' posle nas - eto estestvennaya
tema dlya Poeta i Hudozhnika. Primerov - mnozhestvo. Vot odin iz nih,
vozmozhno ne samyj udachnyj, no ves'ma opredelennyj v svoej prostote:
Slushajte, tovarishchi potomki,
agitatora, gorlana-glavarya.
Zaglusha poezii potoki,
ya shagnu cherez liricheskie tomiki,
kak zhivoj s zhivymi govorya.
(V.V.Mayakovskij)
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Otkuda on znaet, chto zaglushit? Otkuda on znaet, chto shagn¸t? CHto
zagovorit, zhivoj s zhivymi? On ne znaet, ibo znat' etogo nel'zya... A
uragan? A smerch? A pozhary? A sgoryat vse liricheskie tomiki? S
neliricheskimi vpridachu? A perestrojka i reformy? Komu on nuzhen teper',
glavar'-gorlan i agitator? No on Poet! Poetomu - znaet, chto shagn¸t! I
znaet, chto zagovorit! I zaglushit!
Tak ved' i SHekspir - Poet! Otchego zhe, chitaya ego sonety - stihi, v
kotoryh tema Smerti i Bessmertiya yavlyaetsya osnovnoj - my polagaem, budto
adresovany oni nekoemu molodomu cheloveku, ego sovremenniku?
Otkuda eto bezuderzhnoe stremlenie prinizit' Poeta? CHert znaet chto
poluchaetsya ot takogo stremleniya! CHitaya, kak avtor obrashchaetsya k
sobesedniku s beskonechnymi i pylkimi priznaniyami v lyubvi, my ne
ponimaem Prirody i Glubiny etogo chuvstva, i poseshchayut nas pozornye
podozreniya: a normal'noj li orientacii byl Vil'yam nash SHekspir? Mozhno li
takuyu strast', takoj napor ispytyvat' k cheloveku odnogo pola?
Odnako, sobesednik ego - eto ne ego sovremennik, eto ne konkretnoe
lico. |to - CHelovek. CHelovek voobshche. Lyuboj chelovek. Sovremennik,
potomok, hot' kto. Lyubov' k CHeloveku - eto lyubov' k ZHizni. Tak dedushka
lyubit vnuka, potomu chto gody starosti sochteny i nedaleko uzhe vremya
uhoda, a molodost' - ostaetsya. I net nichego v lyubvi deda k vnuku, chto
hot' otdalenno napominalo by plotskuyu lyubov'. Starost' lyubit zhizn' i
lyubit e¸ vo vseh proyavleniyah, i lyubit e¸ v teh, v kom ona est': ded
lyubit vnuka; i lyubit druzej vnuka; i nerozhd¸nnyh poka detej svoego
vnuka; i vnukov svoego vnuka; i chuzhyh vnuchat - tozhe lyubit! On lyubit
budushchee pokolenie, lyubit potomkov i, esli b mog, hotel by zagovorit' s
nimi, kak zhivoj s zhivymi.
Mladenca l' milogo laskayu,
Uzhe ya dumayu: prosti!
Tebe ya mesto ustupayu;
Mne vremya tlet', tebe cvesti.
(A.S.Pushkin)
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Vot kakuyu Lyubov' podrazumevaet SHekspir, kogda govorit v sonetah -
"lyublyu". Vot o chem id¸t rech'! a vovse ne o protivoestestvennoj strasti
nekoego geroya-izvrashchenca. K grafu Pembruku ili komu drugomu.
|to lyubov' otca - k synu, deda - k vnuku, eto - materinskaya lyubov'.
Ob etom - o tom, chto lyubov' materinskaya - skazano v Sonetah pryamym
tekstom (believe me, my love is as fair As any mother's child,
Sonet 21). Otchego te, kto hotyat videt' v Belokurom Druge nekoego
sovremennika SHekspira, ne zamechayut etogo?
2 * 7 * 11 = 154
matematicheskoe dejstvie
Iz stat'i Arkadiya Gornfel'da "Magiya
chetyrnadcati strok (istoriya soneta)" (|nciklopedicheskij slovar' /
Izdateli F.A.Brokgauz, I.A.Efron, SPb., 1900, T. XXXa.):
"Sonet (po-francuzski - sonnet, ot ital'yanskogo sonetto ili
starofrancuzskogo sonet - pesenka) - nebol'shoe stihotvorenie, sostoyashchee
iz dvuh chetverostishij (quatrains) na dve rifmy i dvuh trehstishij
(tercets) na tri rifmy. K etim pravilam strogaya teoriya pravil'nogo
soneta pribavlyaet eshch¸ nekotorye usloviya: rifmy v chetverostishiyah dolzhny
cheredovat'sya v poryadke abba, abba (v trehstishiyah - kak ugodno); zhenskie
rifmy dolzhny smenyat'sya muzhskimi, tak chto, esli sonet nachinaetsya zhenskoj
rifmoj, on zakonchitsya muzhskoj i naoborot; obyazatelen pyatistopnyj yamb,
tak chto sonet dolzhen zaklyuchat' 154 sloga; vospreshcheno povtoryat' slovo,
uzhe upotrebl¸nnoe v stihotvorenii; kazhdaya strofa dolzhna sostavlyat'
zakonchennoe po smyslu celoe. Lish' soblyudenie etih trebovanij da¸t, po
ukazaniyu Bualo ("Art poetique"), sonetu tu vysshuyu krasotu, blagodarya
kotoroj, kak glasit klassicheskij stih, "bezuprechnyj sonet ne ustupaet
poeme". No eti surovye trebovaniya ispolnyayutsya daleko ne vsegda..."
Zamechu, chto eti "surovye trebovaniya" ne ispolnyayutsya ne tol'ko
daleko ne vsegda, a - nikogda ne ispolnyayutsya. Vprochem, eto
neudivitel'no: trebovaniya - protivorechivy v svo¸m opredelenii.
Tak nevozmozhno napisat' sonet pyatistopnym yambom s cheredovaniem muzhskih i
zhenskih rifm, chtoby on zaklyuchal 154 sloga.
Osta¸tsya tol'ko dogadyvat'sya kakimi na samom dele dolzhny
byt' trebovaniya pravil'nogo soneta. Otkuda vzyalos' eto strannoe
trebovanie, chtoby ideal'nyj sonet soderzhal 154 sloga? V ch¸m ego smysl? I
est' li v n¸m smysl voobshche?
S drugoj storony, sonetov SHekspira - rovno sto pyat'desyat chetyre. Ni
bol'she, ni men'she. To est' rovno stol'ko, skol'ko slogov dolzhen
zaklyuchat' pravil'nyj sonet. Vozmozhno, eto sovpadenie. A vozmozhno, i net.
YA predpolagayu, chto cikl sonetov SHekspira predstavlyaet soboj nekij
meta-sonet. |takij Sonet Sonetov. Nekij "zashifrovannyj" sonet, kotoryj
podlezhit rasshifrovke, s ispol'zovaniem razlichnogo roda klyuchej. Mozhet
byt' otdel'nye sonety igrayut v rezul'tiruyushchem sonete rol' etakih slogov?
Pravda, kak zacepit'sya? Kak ponyat', kakoj imenno slog zashifrovan v tom
ili inom sonete? Srazu skazhu, chto u menya net opredelennosti v etom
voprose. Vozmozhno, podskazku nuzhno iskat' v tak nazyvaemyh nepravil'nyh
sonetah. Vozmozhno, ih rasshifrovka ukazhet posleduyushchij algoritm
sopostavleniya. "Nepravil'nyh" sonetov neskol'ko: vo-pervyh, sonet s
kodoj (99). Vo-vtoryh, s sokrashchennym chislom strok (126). V-tret'ih,
sonet, sostoyashchij iz chetyreh stop (145). V-chetvertyh, sonet s
propushchennym slovom (146).
Eshche koe-chto o numerologii sonetov. CHislo sto pyat'desyat chetyre,
razlagaetsya na prostye mnozhiteli: na dvojku, sem¸rku i odinnadcat'.
Netrudno zametit', chto dannaya posledovatel'nost' ves'ma pohozha na
znamenitye tri karty iz povesti Aleksandra Sergeevicha Pushkina "Pikovaya
dama", na znamenityj sekret, kotoryj otkryla Germannu staraya grafinya:
"Trojka, sem¸rka, tuz". Otlichie - v odnoj karte (dvojka i trojka).
No ved' sekrety ne peredayutsya otkrytym tekstom! V
posledovatel'nosti, poluchennoj Germannom, est' oshibka. Na ne¸ namekaet
Pushkin, privodya slova soshedshego s uma Germanna, kotoryj, sidya v
shestnadcatom numere Obuhovskoj bol'nicy, povtoryaet "trojka, semerka,
tuz, trojka, semerka, dama", proizvodya, kak vidno, zamenu tuza damoj.
Nepravil'naya zamena! Nuzhno ne tuza damoj zamenyat', a trojku - dvojkoj.
Dve postavlennye karty sygrali, tret'ya - ne sygrala, - novaya
informaciya o tom, chto "dva" - pravil'noe chislo, "tri" - nepravil'noe. V
poluchennom nabore "trojka, sem¸rka, tuz" iz tr¸h ukazannyh chisel - dva
pravil'nyh, a tret'e - ispol'zuetsya kak pomeha, shifruyushchaya soobshchenie.
Drugimi slovami, "tri" - chislo nepravil'noe, "dva" - pravil'noe.
Sledovatel'no, esli my zamenim nepravil'nuyu "trojku" pravil'noj
"dvojkoj", to poluchim neiskazh¸nnuyu, vernuyu, podrazumevaemuyu kombinaciyu:
dvojka, sem¸rka, tuz. Sonet!
Posle ryada utverzhdenij, kotorye mogut
pokazat'sya neskol'ko neozhidannymi, smelymi i ne vpolne obosnovannymi,
hochetsya perejti k podrobnomu analizu sonetov. Mo¸ glubokoe ubezhdenie,
chto sonetnyj cikl SHekspira - eto ne "sobran'e p¸stryh glav", ne
razroznennye sonety, slabo svyazannye drug s drugom. A sgustok! Gde niti
tyanutsya otovsyudu i gde vs¸ perepleteno.
O pervom sonete i pervom katrene slozhno rassuzhdat' v etoj svyazi. On
- kak verhushechka ajsberga, vidimyj nebol'shoj svoej chast'yu. Osnovnaya zhe
chast' ledyanogo velikolepiya okazyvaetsya sokrytoj pod vodoj.
Itak,
From fairest creatures we desire increase,
That thereby beauty's rose might never die
By as the riper should by time decease
His tender heir might bear his memory:
|
Podstrochnyj perevod takov:
Ot prekrasnejshih sozdanij my strastno zhelaem preumnozheniya,
CHtoby, takim obrazom, nikogda ne umirala roza krasoty,
No kak zrelosti nastupaet pora umiraniya,
E¸ lyubyashchij naslednik dolzhen sohranyat' o nej pamyat':
|
Pervoe, chto privlekaet vnimanie - eto ch¸tkost' i yasnost' izlozheniya.
Spokojnaya rassuditel'nost', vtisnutaya v tesnotu soneta. CHelovek znaet,
chto govorit. CHelovek nachinaet razgovor o smerti, no govorit o nej ne
emocional'no i ne spontanno (sravnite, naprimer, s "Ne zhaleyu, ne zovu,
ne plachu:" Sergeya Esenina), no predel'no logichno i obdumanno.
Oshchushchaetsya, chto chelovek vzvesil kazhdoe svo¸ slovo (vprochem, veroyatno,
inache i byt' ne mozhet: sonet ne raspolagaet k mnogosloviyu) i obrashchaetsya
k sobesedniku ne potomu, chto emu gor'ko osoznavat' neotvratimost'
sobstvennogo uhoda, no potomu, chto sushchestvuyut bolee vazhnye voprosy: ne
dolzhna umirat' roza krasoty. Vazhno, donesti do potomkov i naslednikov,
do teh, kto osta¸tsya, v ch¸m sostoit krasota, o ch¸m nuzhno pomnit' i chemu
nuzhno nauchit' vnukov.
Voobshche, posledovatel'nost' izlozheniya SHekspira - prosto
porazitel'naya: vyskazyvaetsya ideya, kotoraya zatem razv¸rtyvaetsya,
dopolnyaetsya, podkreplyaetsya. Slovno govorit sobesedniku: "govoryu tebe
to-to, a iz etogo sleduet eto, a iz etogo - vot eto". I snova, snova i
snova. Predel'naya nasyshchennost' mysli i iznachal'noj idei! Budto i ne
mysl' eto, ne slovo, ne vyrazhenie, ne predlozhenie. A budto - dejstvie!
Instrukciya! Fajl, szhatyj arhivatorom! Kak upakovannyj fajl, buduchi
razv¸rnutym, soderzhit gorazdo bol'she osmyslennoj informacii, tak i sonet
rascvechivaetsya kraskami, v rezul'tate togo, kak chitatel' nachinaet
sopostavlyat' mezhdu soboj ego chastichki: pervyj katren so vtorym, nachalo s
koncom, konec s seredinoj. Sonet kak by ozhivaet, i nachinaet svoj
razgovor. I, po mere togo, kak razvorachivaetsya mysl', yasnee stanovitsya
to, o ch¸m govorilos' ranee. |to udivitel'no!
Poyasnyu na primere. CHto takoe "beauty's rose" (roza krasoty) ?
Snachala neyasno. To li - prosto "cvetok", to li obraz. Esli obraz, to
kakoj? Pochemu - roza? Pochemu ne fialka? Pochemu roza ne umiraet? Ved'
vs¸ umiraet v etom mire. I ob etom govoritsya: "zrelosti nastupaet pora
umiraniya". A "roza krasoty" - govoritsya vo vtoroj strochke - ne umiraet.
Kak eto mozhet byt'?! Tret'ya stroka sporit so vtoroj! Zayavlyaet, kazalos'
by, polnuyu protivopolozhnost' tol'ko chto skazannomu! CHto eto takoe -
"roza krasoty"? CHto za zagadku zada¸t nam SHekspir, govorya, chto vs¸
umiraet, no ne umiraet roza krasoty?
A vot chto: sonet - est' "roza krasoty"! Znanie, kotoroe dolzhno
peredat' nasledniku, - est' "roza krasoty". Sama mysl', vyskazannaya v
pervom katrene, - est' "roza krasoty". Mysl', tol'ko chto ozvuchennaya, o
tom, chto vs¸ uvyadaet, no krasota - ne dolzhna uvyadat', - est' "roza
krasoty". Nasledniki - dolzhny sohranyat' pamyat' o krasote, i peredavat'
e¸ svoim naslednikam, tak zhe kak oni uznali o nej ot svoih
predshestvennikov. |takaya stereoskopiya tezisa: v n¸m est' ne tol'ko nekoe
informacionnoe soderzhanie, no eshch¸ i odnovremennaya illyustraciya etogo
soderzhaniya! I nam¸k na dopolnitel'nuyu informaciyu! Kogda dogadyvaesh'sya,
chto tot, kto nachinaet razgovor, vpolne vozmozhno, uznal odnazhdy ob etoj
mysli ot svoego predshestvennika. A tot - ot svoego. I kogda dumaesh' ob
etom, ohvatyvaet nekij trepet ot prikosnoveniya k chemu-to vazhnomu i
vozvyshennomu, chto pereda¸tsya iz pokolenie v pokolenie izustno.
Pereda¸tsya temi, kto znaet o tom, chto takoe "krasota" i kto hochet
rasskazat' o krasote svoim naslednikam.
I eshch¸, mysl' pervogo katrena - predel'no lakonichna. Udivitel'no,
kak stol' kratkimi sredstvami mozhno povedat' o stol' vazhnyh veshchah! I,
pritom, sohranyaya predel'nuyu yasnost' i logiku! Ved' kogda nachinaesh'
obdumyvat' skazannoe, kogda, nahodya novye ottenki smysla, nachinaesh'
sostavlyat' kommentarij, to ponimaesh', chto kommentarij, prizvannyj
vyyavit' glubinu originala, - utrachivaet ego lakonichnost'. Lyuboj
kommentarij utrachivaet krasotu originala! Lyuboj kommentarij ne mozhet
peredat' krasoty originala, kak ne mozhet peredat' e¸ - lyuboj perevod. I
chem bolee mnogosloven kommentarij, - tem menee v n¸m ostalos' ot
pervonachal'noj krasoty originala. Vot gore-to kommentariyu! I,
odnovremenno, chem bolee mnogosloven, sledovatel'no - nekrasiv,
kommentarij, tem bolee on obnaruzhivaet krasotu originala, prekrasnogo
svoej kratkost'yu (v tom sluchae, razumeetsya, esli kommentator ne
nachinaet rassuzhdat' o veshchah, kotorye ne soderzhatsya v originale vovse).
Ibo krasota soneta - v kratkosti formy i v informacionnoj
nasyshchennosti, kotoraya v n¸m mozhet zaklyuchat'sya, nesmotrya na etu
kratkost'. V nasyshchennosti, kotoruyu byvaet trudno zametit', blagodarya
toj zhe samoj kratkosti formy. Vot otchego pust' budet moj kommentarij
mnogosloven, sledovatel'no - urodliv, odnako, nadeyus', chto on, svoim
ob®¸mom, pomozhet privlech' vnimanie k krasote originala. Sonet - kak
brilliant, sposobnyj igrat' v zavisimosti ot togo, pod kakim uglom
zreniya ego rassmatrivayut. V konce koncov, ne dlya togo zhe daroval
SHekspir nam etot brilliant, chtoby my prohodili mimo nego.