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     William Blake. Songs of Innocence and Experience
     Shewing the Two Contrary States of the Human Soul
     Perevod S.Stepanova
     OCR: Maksim Bychkov
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     Uil'yam BLEJK



    Pesni Nevinnosti
        i Opyta
       Pokazyvayushchie
dva protivopolozhnyh sostoyaniya
     dushi chelovecheskoj








Piping down the valleys wild
Piping songs of pleasant glee
On a cloud I saw a child.
And he laughing said to me.

Pipe a song about a Lamb:
So I piped with merry chear,
Piper pipe that song again -
So I piped, he wept to hear.

Drop thy pipe thy happy pipe
Sing thy songs of happy chear,
So I sung the same again
While he wept with joy to hear.

Piper sit thee down and write
In a book that all may read -
So he vanish'd from my sight,
And I pluck'd a hollow reed.

And I made a rural pen,
And I stain'd the water clear,
And I wrote my happy songs,
Every child may joy to hear



SHel ya s dudochkoj vesnoyu,
Zanimalasya zarya -
Mal'chik v tuchke nado mnoyu
Ulybnulsya, govorya:

"Pesnyu mne sygraj pro agnca!"
YA sygral - razveselil!
"Ty sygraj-ka eto snova!"
YA sygral - on slezy lil.

"Dudochku ostav' i spoj mne
To, chto prezhde ty igral".
I poka ya pel tu pesnyu,
On smeyalsya i rydal.

"Vyjdet kniga neplohaya -
Pesni eti pust' prochtut", -
Molvil mal'chik, ischezaya...
Srazu vzyalsya ya za trud:

Dlya pis'ma slomil trostinku,
Brosil v vodu gorst' zemli -
Zapisal vse pesni detyam,
CHtoby slushat' ih mogli!



How sweet is the Shepherds sweet lot,
From the morn to the evening he strays:
He shall follow his sheep all the day
And his tongue sliall be filled with praise.

For he hears the lambs innocent call.
And he hears the ewes tender reply.
He is watchful while they are in peace,
For they know when their Shepherd is nigh



Dolya pastyrya tak horoshi!
Na lugu on vstrechaet rascvet,
Do zakata ovechek paset -
Doli luchshe na svete i net!

Ibo slyshit on agncev svoih,
Berezhet ih vse nochi i dni;
Ovcy pastvoyu mirno idut --
Ibo pastyrya znayut oni.



The Sun does arise,
And make happy the skies.
The merry bells ring,
To welcome the Spring.
The sky-lark and thrush,
The birds of the bush,
Sing louder around,
To the bells chearful sound,
While our sports shall he seen
On the Ecchoing Green.

Old John with white hair
Does laugh away care,
Sitting under the oak,
Among the old folk.
They laugh at our play,
And soon they all say,
Such such were the joys,
When we all girls & boys,
In our youth time were seen,
On the Ecchoing Green.

Till the little ones weary
No more can be merry
The sun does descend,
And our sports have an end:
Round the laps of their mothers,
Many sisters and brothers,
Like birds in their nest,
Are ready for rest:
And sport no more seen,
On the darkening Green.



CHut' solnyshko vstalo -
I vse zablistalo!
CHista i yasna,
Prihodit vesna!
I net ugomonu
Ee perezvonu,
I pesnya zvonka
U zhavoronka!
My plyashem v krugu
Na Zvonkom Lugu.

Pod dubom zelenym
So staren'kim Dzhonom
Mamashi sidyat -
Na igry glyadyat.
I slyshno sred' smeha
I zvonkogo eha:
"My tozhe det'mi
Rezvilis' do t'my,
Tancuya v krugu
Na Zvonkom Lugu!"

No v niknushchem svete
Ustalye deti
Glyadyat na zakat,
I teni lezhat...
I sestry, i brat'ya,
Ceplyayas' ea plat'e
Mamashi rodnoj,
Idut na pokoj.
I tiho v krugu
Na temnom Lugu.



  Little Lamb who made thee
  Dost thou know who made thee
Gave thee life & bid thee feed,
By the stream & o'er the mead;
Gave thee clothing of delight,
Softest clothing wooly bright;
Gave thee such a tender voice,
Making all the vales rejoice:
  Little Lamb who made thee
  Dost thou know who made thee

 Little Ldmb I'll tell thee,
 Little Lamb I'll tell thee;
He is called by thy name,
For he calls himself a Lamb:
He is meek & he is mild,
He became a little child:
I a child & thou a lamb,
We are called by his name.
 Little Lamb God bless thee,
 Little Lamb God bless thee.



 Milyj Agnec, rasskazhi,
 Kem ty sozdan, rasskazhi?
Iz kakih ty vyshel ruk?
Kto tebya privel na lug?
Kto pushok pridumal tvoj,
CHistyj, myagkij, zolotoj?
Kto tebe tvoj golos dal,
CHtob tak nezhno on zvuchal?
 Milyj Agnec, rasskazhi,
 Kem ty sozdan, rasskazhi?

Milyj Agnec, ya skazhu,
Milyj Agnec, ya skazhu! -
Imya Agnca on izbral,
Ibo tak sebya nazval.
Kak ditya, on tih i mil -
On prishel i vseh prostil.
YA ditya, i Agnec ty -
I u nas ego cherty!
 Milyj Agnec, Bog s toboj!
 Milyj Agnec, Bog s toboj!



My mother bore me in the southern wild,
And I am black, but O! my soul is white,
White as an angel is the English child:
But I am black as if bereav'd of light.

My mother taught me underneath a tree
And sitting down before the heat of day,
She took me on her lap and kissed me,
And pointing to the east began to say.

Look on the rising sun: there God does live
And gives his light, and gives his heat away.
And flowers and trees and beasts and men recieve
Comfort in morning joy in the noon day.

And we are put on earth a little space,
That we may learn to bear the beams of love.
And these black bodies and this sun-burnt face
Is but a cloud, and like a shady grove.

For when our souls have learn'd the heat to bear
The cloud will vanish we shall hear his voice,
Saying: come out from the grove my love & care,
And round my golden tent like lambs rejoice.

Thus did my mother say and kissed me.
And thus I say to little English boy.
When I from black and he from white cloud free,
And round the tent of God like lambs we joy:

I'll shade him from the heat till he can bear,
To lean in joy upon our fathers knee.
And then I'll stand and stroke his silver hair,
And be like him and he will then love me.



V inoj strane ya svet uvidel Bozhij;
YA chernyj, no dusha moya bela;
Anglijskij mal'chik - angel belokozhij,
Menya zhe mama chernym rodila.

I poutru ona mne govorila,
Sklonyayas' s poceluem nado mnoj
I ukazuya vzglyadom na svetilo,
Eshche ne razlivayushchee znoj:

"Vzglyani na solnce - to Gospod' siyaet!
Daruya svet i blagostnuyu ten',
On vse zhivoe shchedro odelyaet
Zabotoj utrom, laskoj v yasnyj den'.

Zdes', na zemle, chtoby dusha sumela
K lucham lyubvi privyknut' - znoj surov!

Nam chernye dany lico i telo,
No eto tol'ko vremennyj pokrov.
Kogda nuzhdy ne budet nam v zashchite,
Pokrov spadet - uslyshim v nebesah:
"O chada, k Moemu shatru pridite
I agncami blazhenstvujte v luchah!"
Tak mama ob®yasnyala mne osnovy -
I tak skazhu ya bratu svoemu,
Kogda on snimet belye pokrovy
I chernye pokrovy ya snimu.

I mal'chiku anglijskomu vozhatym
YA budu na doroge v nebesa
I tam kak ravnyj vstanu ryadom s bratom,
Ego zlatye gladya volosa.



Merry Merry Sparrow
Under leaves so green
A happy Blossom
Sees you swift as arrow
Seek your cradle narrow
Near my Bosom.

Pretty Pretty Robin
Under leaves so green
A happy Blossom
Hears you sobbing sobbing
Pretty Pretty Robin
Near my Bosom.



Radostnyj Vorobyshek,
Pod listom Cvetok
Zataen:
ZHdu - streloyu sladkoj
Lyazhesh', kak v krovatku,
V moj buton!

Milaya Malinovka,
Pod listom Cvetok
Zataen:
Slyshu - ty rydaesh'
I slezu ronyaesh'
V moj buton!



When my mother died I was very young,
And my father sold me while yet my tongue,
Could scarcely cry weep weep weep weep.
So your chimneys I sweep & in soot I sleep.

Theres little Tom Dacre, who cried when his head
That curi'd like a lambs back, was shav'd, so I said,
Hush Tom never mind it, for when your head's bare,
You know that the soot cannot spoil your white hair.

And so he was quiet, & that very night,
As Tom was a sleeping he had such a sight,
That thousands of sweepers Dick, Joe, Ned & Jack
Were all of them lock'd up in coffins of black,

And by came an Angel who had a bright key,
And he open'd the coffins & set them all free.
Then down a green plain leaping laughing they run
And wash in a river and shine in the Sun.

Then naked & white, all their bags left behind,
They rise upon clouds, and sport in the wind.
And the Angel told Tom, if he'd be a good boy,
He'd have God for his father & never want joy.

And so Tom awoke and we rose in the dark
And got with our bags & our brushes to work.
Tho' the morning was cold, Tom was happy & warm.
So if all do their duty, they need not fear harm.



Kogda ya eshche nachinal lepetat',
Ushla navsegda moya bednaya mat'
Otec menya prodal, - ya sazhu skrebu
I chernuyu vam prochishchayu trubu.

Zaplakal obstrizhennyj nagolo Tom.
Ego ya uteshil: "Ne plach', ved' zato,
Pokuda kudryami opyat' ne obros,
Ne smozhet i sazha ispachkat' volos".

Zatih i usnul on, pritknuvshis' k stene,
I noch'yu prividelis' Tomu vo sne
Groby na polyane - i ih million,
A v nih trubochisty - takie, kak on.

No Angel yavilsya v siyanii kryl
I luchikom sveta groby otvoril.
I k rechke pomchalas' vataga detej,
CHtob sazhu v vode otteret' poskorej.

Meshki pobrosav i rezvyas' na vetru,
Zateyali v oblake belom, igru.
Skazal Tomu Angel: "Bud' chistym dushoj!
I Bog, kak otec, vstanet ryadom s toboj".

So vsemi vo t'me probudilsya nash Tom,
So vsemi za shchetku s tyazhelym meshkom -
I utrom promozglym sogret trubochist:
Trudyashchijsya chestno pred Gospodom chist.



Father, father, where are you going
0 do not walk so fast.
Speak father, speak to your little boy
Or else I shall be lost,

The night was dark no father was there
The child was wet with dew.
The mire was deep, & the child did weep
And away the vapour flew.



"Otec, otec, kuda zhe ty?
Zachem tak toropit'sya?
Ne slysha slova tvoego,
Mogu ya zabludit'sya!"

Ditya izmoklo ot rosy,
V tryasinu ostupilos';
Otca s nim net - propal i sled,
Viden'e rastvorilos'...



The little boy lost in the lonely fen,
Led by the wand'ring light,
Began to cry, but God ever nigh,
Appeard like his father in white.

He kissed the child & by the hand led
And to his mother brought,
Who in sorrow pale, thro' the lonely dale
Her little boy weeping sought.



Zaplakal mal'chik v temnote,
Sredi bolot bluzhdaya -
I tut pred nim otcom rodnym
Predstal Gospod', siyaya!

I za ruku rebenka vzyal,
I k materi otvel,
CHto noch' brela, ditya zvala,
Slezami polnya dol.



When the green woods laugh with the voice of joy
And the dimpling stream runs laughing by,
When the air does laugh with our merry wit,
And the green hill laughs with the noise of it.

When the meadows laugh with lively green
And the grasshopper laughs in the merry scene,
When Mary and Susan and Emily,
With their sweet round mouths sing Ha, Ha, He.

When the painted birds laugh in the shade
Where our table with cherries and nuts is spread
Come live & be merry and join with me,
To sing the sweet chorus of Ha, Ha, He.



Kogda, zalivayas', smeetsya ruchej
I polon vozduh veselyh rechej,
Smeetsya roshcha, smeemsya my,
I ehom smeyushchimsya vtoryat holmy,

Smeyutsya luga zelenoj travoj,
Smeetsya kuznechik, ukrytyj listvoj,
I devushki, sladkie guby raskryv,
Vyvodyat so smehom veselyj motiv,

I pticy zgenyat, oglashaya dol,
I v teni nakryt s ugoshchen'em stol
A nu-ka s nami vesel'ya ispej
I hohotom, hohotom radost' izlej!



Sweet dreams form a shade,
O'er my lovely infants head.
Sweet dreams of pleasant streams,
By happy silent moony beams

Sweet sleep with soft down,
Weave thy brows an infant crown.
Sweet sleep Angel mild,
Hover o'er my happy child.

Sweet smiles in the night,
Hover over my delight.
Sweet smiles Mothers smiles
All the livelong night beguiles.

Sweet moans, dovelike sighs,
Chase not slumber from thy eyes,
Sweet moans, sweeter smiles,
All the dovelike moans beguiles.

Sleep sleep happy child.
All creation slept and smil'd.
Sleep sleep, happy sleep,
While o'er thee thy mother weep

Sweet babe in thy face,
Holy image I can trace.
Sweet babe once like thee,
Thy maker lay and wept for me

Wept for me for thee for all,
When he was an infant small.
Thou his image ever see.
Heavenly face that smiles on thee.

Smiles on thee on me on all,
Who became an infant small,
Infant smiles are his own smiles,
Heaven & earth to peace beguiles,



Sladkij son, pelenoj
CHado miloe ukroj -
Iz lunnyh luchej
Ty nad nim svoj polog svej.

CHado, spi - zlatym vencom
Puh siyaet nad chelom,
I kruzhit v golovah
Krotkij angel na krylah.

Ty, ulybka, prihodi -
S nami noch' provedi;
I ulybkoj stanet mat'
CHado noch'yu ohranyat'.

Pust' ni legkij vzdoh, ni ston
Ne trevozhat detskij son -
Nezhnoyu ulybkoj mat'
Stanet vzdohi otgonyat'.

CHado, spi - krugom temno,
Vse s ulybkoj spyat davno.
Spi, radost' moya -
Nad toboj poplachu ya.

Glyadya v kolybel' tvoyu,
Lik svyashchennyj uznayu:
Nekogda sozdatel' tvoj
Tak oplakal zhrebij moj.

Kak rebenok, tih i mil -
On prishel i vseh prostil,
I ego nebesnyj lik
Nad vselennoyu voznik.

Budet on vsegda s toboj,
CHtob ulybkoyu svyatoj
Na tvoih ustah siyat',
Prolivaya blagodat'.



To Mercy Pity Peace and Love,
All pray in their distress:
And to these virtues of delight
Return their thankfulness.

For Mercy Pity Peace and Love,
Is God our father dear:
And Mercy Pity Peace and Love,
Is Man his child and care.

For Mercy has a human heart
Pity, a human face:
And Love, the human form divine,
Ahd Peace, the human dress.

Then every man of every clime,
That prays in his distress,
Prays to the human form divine
Love Mercy Pity Peace.

And all must love the human form,
In heathen, turk or jew.
Where Mercy, Love & Pity dwell,
There God is dwelling too.



Dobro, Terpimost', Mir, Lyubov'
V neschast'e my zovem
I sim dostoinstvam svyatym
Voznosim nash psalom.

Dobro, Terpimost', Mir, Lyubov' -
Vse eto Bog Blagoj;
Dobro, Terpimost', Mir, Lyubov' -
Vse eto my s toboj!

Ved' nashe serdce u Dobra,
Terpimost' l'et nash svet.
Svyatoj nash obraz u Lyubvi -
I Mir, kak my, odet.

My - lyudi, zhiteli zemli,
V neschast'e vse zovem
Dobro, Terpimost', Mir, Lyubov'
Vo obraze lyudskom!

O esli b obraz nash svyatoj
Lyuboj v lyubom bereg!
Gde Mir, Terpimost' i Lyubov' -
Tam, sobstvenno, i Bog!



Twas on a Holy Thursday their innocent faces clean
The children walking two & two in red & blue & green
Grey headed beadles walkd before with wands as white
                                                 as snow
Till into the high dome of Pauls they like Thames waters
                                                    flow

O what a multitude they seemd these flowers of
                                             London town
Seated in companies they sit with radiance all their own
The hum of multitudes was there but multitudes of lambs
Thousands of little boys & girls raising their innocent
                                                    hands

Now like a mighty wind they raise to heaven the voice
                                                  of song
Or like harmonious thunderings the seats of heaven
                                                    among
Beneath them sit the aged men wise guardians
                                           of the poor
Then cherish pity; lest you drive an angel from
                                               your door



I vot nastal Svyatoj CHetverg - kolonnoyu nesmetnoj
SHagayut deti parami v odezhde raznocvetnoj.
K Svyatomu Pavlu ih vedut nastavniki sedye
Kak budto Temza potekla pod kupola svyatye.

O skol'ko, London, ty taish' cvetov dikorastushchih,
V nevinnyh lichikah svoih siyanie nesushchih!
I gul pod svodami stoit - to agncy Boga prosyat
I tysyachi nevinnyh ruk oni gore voznosyat.

Edinym duhom, slovno vihr', vzmyvaet pesnopen'e
I slovno druzhnyj grom, gryadet v Nebesnye Vladen'ya!
A vy, zastupniki sirot, dobro svoe tvorite
Stuchashchegosya angela s poroga ne gonite.



The sun descending in the west,
The evening star does shine,
The birds are silent in their nest,
And I must seek for mine,
The moon like a flower,
In heavens high bower;
With silent delight,
Sits and smiles on the night.

Farewell green fields and happy groves,
Where flocks have took delight;
Where lambs have nibbled, silent moves
The feet of angels bright;
Unseen they pour blessing,
And joy without ceasing,
On each bud and blossom,
And each sleeping bosom.

They look in every thoughtless nest,
Where birds are coverd warm;
They visit caves of every beast,
To keep them all from harm:
If they see any weeping,
That should have been sleeping
They pour sleep on their head
And sit down by their bed.

When wolves and tygers howl for prey
They pitying stand and weep;
Seeking to drive their thirst away,
And keep them from the sheep,
But if they rush dreadful;
The angels most heedful,
Recieve each mild spirit,
New worlds to inherit.

And there the lions ruddy eyes,
Shall flow with tears of gold:
And pitying the tender cries,
And walking round the fold:
Saying: wrath by his meekness
And by his health, sickness,
Is driven away,
From our immortal day.

And now beside thee bieating lamb,
I can lie down and sleep;
Or think on him who bore thy name,
Grase after thee and weep.
For wash'd in lifes river,
My bright inane for ever,
Shall shine like the gold,
As I guard o'er the fold.



Na zapade gorit zakat
Vecherneyu zvezdoj,
Po gnezdam ptenchiki molchat
I mne uzh na pokoj.
A v nebe bezbrezhnom
Socvetiem nezhnym,
CHista i bledna,
Raskrylas' luna.

Proshchajte, zvonkij lug i dol!
Proshchaj, zelenyj les! -
Uzh angelov dozor soshel
S blistayushchih nebes:
I kazhdoj bylinke
Oni po slezinke
Nesut Bozhij dar -
Blazhenstva nektar.

I k kazhdoj norke podojdut,
I k kazhdomu gnezdu,
Versha svoj miloserdnyj trud,
CHtob otvesti bedu:
Uslyshav rydan'ya
Zemnogo sozdan'ya -
So snom pospeshat
I bol' utishat.

A esli tigry v etu noch'
Hotyat ovcu nabrat' -
Speshat rydan'yami pomoch'
I alchiost' ih unyat'.
A esli ne mnogo
Dala ih podmoga -
To dushu s soboj
Berut v mir inoj.

A tam ovechek smirnyj lev
Na pastbishche hranit -
Smeniv na slezy prezhnij gnev,
On ovcam govorit:
"Vash Pastyr' lyubov'yu
I prolitoj krov'yu
Grehi iskupil -
I mir nastupil.

S toboyu, agnec, na lugu
My budem spat' vdvoem -
Zdes' vechno dumat' ya mogu
O Pastyre tvoem.
YA grivu omoyu
ZHivoyu vodoyu,
CHtob shar zolotoj
Siyal nad toboj".



Sound the Flute!
Now it's mute.
Birds delight
Day and Night.
Nightingale
In the dale
Lark in Sky
Merrily
Merrily Merrily to welcome in the Year

Little Boy
Full of joy.
Little Girl
Sweet and small.
Cock does crow
So do you.
Merry voice
Infant noise
Merrily Merrily to welcome in the Year

Little Lamb
Here I am,
Come and lick
My white neck.
Let me pull
Your soft Wool.
Let me kiss
Your soft face.
Merrily Merrily we welcome in the Year



Trubnyj zvuk
Smolkyaul vdrug,
I krugom
Ptichij gam!
Slyshu ya
Solov'ya -
I dlya vseh
Zvonkij smeh!
Veselo, veselo, prihodi, Vesna!

Mil i shum
Malysham,
Smeh detej
Vse slyshnej!
Petushok -
Na shestok!
Pokrichim
Vmeste s nim!
Veselo, veselo, prihodi, Vesna!

Agnec moj,
Ty so mnoj,
Tak igriv
I kudryav
I tebya
Budu ya
Obnimat',
Celovat'!
Veselo, veselo, prihodi, Vesna!



When the voices of children are heard on the green
And laughing is heard on the hill,
My heart is at rest within my breast
And everything else is still

Then come home my children, the sun is gone down
And the dews of night arise
Come come leave off play, and let us away
Till the morning appears in the skies

No no let us play, for it is yet day
And we cannot go to sleep
Besides in the sky, the little birds fly
And the hills are all coverd with sheep

Well well go & play till the light fades away
And then go home to bed
The little ones leaped & shouted & laugh'd
And all the hills ecchoed



Kogda, igraya, deti shumyat
I smehom polnitsya lug,
Den' zaversha, pokojna dusha,
I tak pokojno vokrug.

Pora po domam, skoro zakat,
I lug rosa ostudit!
Pora, pora! Vernemsya s utra!
Vse igry eshche vperedi!

Ah, rano, net-net! Tak radosten svet!
Kakoj zhe mozhet byt' son!
Eshche ne zakat, i ptichki ne spyat,
I pestreet ovcami sklon!

Nu ladno, stupajte, eshche poigrajte!
No k zakatu vse po domam!
Vostorg ih velik, i radosten krik,
I eho letit po holmam!



I have no name
I am but two days old. -
What shall I call thee?
I happy am
Joy is my name, -
Sweet joy befall thee!

Pretty joy!
Sweet joy but two days old.
Sweet joy I call thee:
Thou dost smile.
I sing the while
Sweet joy befall thee.



- Mne imya daj -
Ved' mne vsego dva dnya!
- Kak zhe naevat', ya gadayu?
- V zhizn' ya prishla,
Radost' nashla!
- Schast'ya tebe pozhelayu!

Ditya moe,
Tebe vsego dva dnya -
Radost'yu ya narekayu!
Stoya nad zybkoj
S nezhnoj ulybkoj,
Schast'ya tebe pozhelayu!



Once a dream did weave a shade,
O'er my Angel-guarded bed,
That an Emmet lost it's way
Where on grass methought I lay.

Troubled wilderd and folorn
Dark benighted travel-worn,
Over many a tangled spray,
All heart-broke I heard her say.

O my children! do they cry,
Do they hear their father sigh.
Now they look abroad to see,
Now return and weep for me.

Pitying I drop'd a tear:
But I saw a glow-worm near:
Who replied. What wailing wight
Calls the watchman of the night.

 I am set to light the ground,
 While the beetle goes his round:
 Follow now the beetles hum,
 Little wanderer hie thee home.



Spal ya, okruzhennyj t'moyu -
Angel vilsya nado mnoyu...
YA lezhu v trave, a v nej
Zabludilsya Muravej.

Mrakom on okutan temnym -
Strashno byt' v nochi bezdomnym!
On idti uzhe ne mog
I v kornyah koryavyh leg.

"Vidno, ne dojdu do domu!
Deti po lesu gluhomu
Tshchetno klikayut menya -
No vo mrake ni ognya..."

I zalilsya ya slezami...
Vizhu - Svetlyachok nad nami
Zasvetilsya i skazal:
"Kto nochnogo strazha zval?!

YA - Ogon' v Nochi Goryashchij,
I so mnoyu ZHuk ZHuzhzhashchij -
Poletim nad golovoj.
Pospeshi-ka ty domoj!"



Can I see anothers woe,
And not be in sorrow too.
Can I see anothers grief,
And not seek for kind relief.

Can I see a falling tear,
And not feel my sorrows share,
Can a father see his child,
Weep, nor be with sorrow fili'd.

Can a mother sit and hear,
An infant groan an infant fear -
No no never can it be.
Never never can it be.

And can he who smiles on all
Hear the wren with sorrows small,
Hear the small birds grief & care
Hear the woes that infants bear -

And not sit beside the nest
Pouring pity in their breast.
And not sit the cradle near
Weeping tear on infants tear.

And not sit both night & day,
Wiping all our tears away.
O! no never can it be.
Never never can it be.

He doth give his joy to all.
He becomes an infant small.
He becomes a man of woe
He doth feel the sorrow too.

Think not, thou canst sigh a sigh,
And thy maker is not by.
Think not, thou canst weep a tear,
And thy maker is not near.

O! he gives to us his joy,
That our grief he may destroy
Till our grief is fled & gone
He doth sit by us and moan.



Esli gore u drugih -
Kak ne muchit'sya za nih?
Esli blizhnemu nevmoch' -
Kak zhe mozhno ne pomoch'?

Kak na strazhdushchih smotret'
I pri etom ne skorbet'?
Kak otcu pri detskom plache
Ne prolit' slezy goryachej?

I kakaya mozhet mat'
Plachu chada ne vnimat'?
Net! Takomu ne byvat'!
Nikogda ne byvat'!

Kak Tomu, Kto vsem Otec,
Videt', chto v bede ptenec,
Videt', kak ditya stradaet,
Slyshat', kak ono rydaet,

I ne podojti k gnezdu,
I ne otvesti bedu,
I ne byt' vse vremya ryadom,
I ne plakat' vmeste s chadom,

V izgolov'e ne stoyat',
Gor'kih slez ne otirat'?
Net! Takomu ne byvat'!
Nikogda ne byvat'!

Kak ditya. On tih i mil -
On prishel i vseh prostil;
On izvedal gore Sam -
Potomu snishodit k nam.

Esli ty grustish' poroyu -
Znaj: Tvorec grustit s toboyu.
Esli plachesh', udruchen -
Znaj: s toboyu plachet On.

Radost' On neset s Soboyu,
B'etsya s nasheyu bedoyu.
I pokuda vseh ne spas -
On stradaet podle nas.









Hear the voice of the Bard!
Who Present, Past, & Future sees
Whose ears have heard,
The Holy Word,
That walk'd among the ancient trees.

Calling the lapsed Soul
And weeping in the evening dew:
That might controll
The starry pole:
And fallen fallen light renew!

O Earth O Earth return!
Arise from out the dewy grass;
Night is worn,
And the morn
Rises from the slumberous mass.

Turn away no more:
Why wilt thou turn away
The starry floor
The watry shore
Is giv'n thee till the break of day.



Slushaj Barda Glas!
Vse vremena prozrev,
On slyshal ne raa
Svyashchennyj Nakaz
Slova, chto shlo mezh derev.

Padshih ono zovet,
Plachet vechernej rosoj;
Versha s vysot
Sozvezdij hod,
Svetoch zazhzhet nad t'moj!

Vorotis', o Zemlya, skorej!
Vosstan' ot rosnyh trav!
Rassvet sil'nej
Nochnyh Tenej -
On gryadet, ot sna vosstav!

Slovo tebya zovet!
Slushaj, slushaj menya!
A zvezdnyj svod
I bereg vod
Ischeznut s prihodom Dnya!

EARTH'S ANSWER

Earth rais'd up her head,
From the darkness dread & drear,
Her light fled:
Stony dread!
And her locks cover'd with grey despair.

Prison'd on watry shore
Starry Jealousy does keep my den
Cold and hoar
Weeping o'er
I hear the Father of the ancient men

Selfish father of rtien
Gruel jealous selfish fear
Can delight
Chain'd in night
The virgins of youth and morning bear.

Does spring hide its joy
When buds and blossoms grow?
Does the sower?
Sow by night?
Or the plowman in darkness plow?

Break this heavy chain,
That does freeze my bones around
Selfish! vain!
Eternal bane!
That free Love with bondage bound.



Zemlya otvetila, v slezah
Privstav s ledyanoj posteli -
Lish' t'ma i strah
V ee ochah,
I volosy posedeli.

"YA v beregah zatochena -
Zvezdy moj son storozhat;
A ya, bledna
I holodna,
Tvorcu vnimayu, drozha.

Samovlyublennyj Tvorec!
O strazhnik zhestokij. Strah!
Merknut v nochi
Sveta luchi -
YUnost' ne mozhet cvesti v kandalah!

Razve cvetam i butonam vesne
Radovat'sya zapreshcheno?
Razve zerno
Seyut v nochi?
Kto zh pashet, kogda temno?

Pridi, osvoboditel'!
V zhilah moih stynet krov'!
Vechnyj Uchitel' -
Vechnyj Muchitel'! -
Cepyami skoval Lyubov'!"



Love seeketh not Itself to please,
Nor for itself hatli any care;
But for another gives its ease,
And builds a Heaven in Hells despair.

So sang a little Clod of Clay,
Trodden with the catties feet;
But a Pebble of the brook,
Warbled out these metres meet.

Love seeketh only Self to please,
To bind another to Its delight:
Joys in anothers loss of ease,
And builds a Hell in Heavens despite.



"Lyubov' prekrasna i skromna,
Korysti ej ne nado;
Za nas v ogon' pojdet ona -
S nej Raj i v bezdne Ada!" -

Tak pel Kom Gliny v kolee,
Popavshij pod kopyto.
Na eto Kamen' iz ruch'ya
Otvetil yadovito:

"Lyubov' korystna i zhadna!
Pokoya nas lishaya,
Vse pod sebya grebet ona -
S nej Ad i v kushchah Raya!"



Is this a holy thing to see,
In a rich and fruitful land,
Babes redued to misery,
Fed with cold and usurous hand?

Is that trembling cry a song?
Can it be a song of joy?
And so many children poor?
It is a land of poverty!

And their sun does never shine.
And their fields are bleak & bare,
And their ways are fili'd with thorns
It is eternal winter there.

For where-e'er the sun does shine,
And where-e'er the rain does fall:
Babe can never hunger there,
Nor poverty the mind appall.



Blagoe l' delo na zemle
Bogatoj, plodorodnoj
Smotret', kak detyam podaet
Bogach s dushoj holodnoj?

Ne slavu vznosit etot hor
Ne s radosti poyushchih -
Zdes' tyshchi malen'kih sirot!
Zdes' Carstvo Vopiyushchih!

Zdes' solnca luch ne svetit im,
Zdes' ih terzaet golod,
Zdes' tropy terniev polny
I vechen lyutyj holod.

A gde zemlya pod solnyshkom
I dozhdikom polita,
Ditya ne mozhet golodat'
I Nishcheta zabyta!



In futurity
I prophetic see,
That the earth from sleep,
(Grave the sentence deep)

Shall arise and seek
For her maker meek:
And the desart wild
Become a garden mild.



In the southern clime,
Where the summers prime,
Never fades away;
Lovely Lyca lay.

Seven summers old
Lovely Lyca told,
She had wanderd long,
Hearing wild birds song.

Sweet sleep come to me
Underneath this tree;
Do father, mother weep, -
"Where can Lyca sleep".

Lost in desart wild
Is your little child.
How can Lyca sleep,
If her mother weep.

If her heart does ake,
Then let Lyca wake;
If my mother sleep,
Lyca shall not weep.

Frowning frowning night,
O'er this desart bright,
Let thy moon arise,
While I close my eyes.

Sleeping Lyca lay;
While the beasts of prey,
Gome from caverns deep,
View'd the maid asleep

The kingly lion stood
And the virgin view'd,
Then he gambold round
O'er the hallowd ground:

Leopards, tygers play,
Round her as she lay;
While the lion old,
Bow'd his mane of gold,

And her bosom lick,
And upon her neck,
From his eyes of flame,
Ruby tears there came;

While the lioness
Loos'd her slender dress,
And naked they convey'd
To caves the sleeping maid.



CHtob ne zabyvali,
Vybej na skrizhali:
"Pridut vremena
Sbrosit' puty sna -

I Zemlya ochnetsya
I k Tvorcu vernetsya,
I pustynya kanet -
CHudnym sadom stanet!"



Tam, gde vechno leto
I zemlya sogreta,
Devochka lezhala -
Vot chto vspominala:

Po lesu bez kraya,
Pen'yu ptic vnimaya,
Dolgo Lika shla -
Otdohnut' legla.

Mne by spat' i spat'! -
No otec i mat'
Plachut den' i noch':
"Gde ty, nasha doch'?!"

Ax, neschast'e s Likoj -
Brodit v chashche dikoj
I ne mozhet spat' -
Slyshit: plachet mat'!

Slysha eti kriki,
Ne zabyt'sya Like;
A zatihnet mat' -
Mozhno Like spat'.

Progoni zhe. Noch',
S neba tuchi proch'!
Vysveti lunu -
YA togda usnu.

Les vokrug shumit -
Lika krepko spit;
Tiho vyshli zveri,
ZHivshie v peshchere:

Vyshel lev moguchij
S grivoyu dremuchej,
Oboshel stepenno -
Spyashchaya svyashchenna!

Vkrug igrali igry
Leopardy, tigry;
Lev, nad Likoj stoya,
Grivoj zolotoyu

Klonitsya vse nizhe,
Nezhno Liku lizhet -
Slezy, kak rubiny,
Katyatsya na gliny.

L'vica pozhalela -
Spyashchuyu razdela;
I ukryli zveri
Devochku v peshchere.



All the night in woe,
Lyca's parents go:
Over vallies deep,
While the desarts weep.

Tired and woe-begone,
Hoarse with making moan:
Arm in arm seven days,
They trac'd the desart ways.

Seven nights they sleep,
Among shadows deep:
And dream they see their child
Starv'd in desart wild.

Pale thro' pathless ways
The fancied image strays,
Famish'd, weeping, weak
With hollow piteous shriek

Rising from unrest,
The trembling woman prest,
With feet of weary woe;
She could no further go.

In his arms he bore,
Her arm'd with sorrow sore:
Till before their way,
A couching lion lay.

Turning back was vain,
Soon his heavy mane,
Bore them to the ground;
Then he stalk'd around.

Smelling to his prey,
But their fears allay,
When he licks their hands:
And silent by them stands.

They look upon his eyes
Fili'd with deep surprise:
And wondering behold,
A spirit arm'd in gold.

On his head a crown
On his shoulders down,
Flow'd his golden hair.
Gone was all their care.

Follow me he said,
Weep not for the maid:
In my palace deep,
Lyca lies asleep.

Then they followed,
Where the vision led:
And saw their sleeping child,
Among tygers wild.

To this day they dwell
In a lonely dell
Nor fear the wolvish howl,
Nor the lions growl.



Mat' s otcom vsyu noch'
Tshchetno ishchut doch' -
|ho, plachu vtorya,
Delit s nimi gore.

Tak sem' dnej idut,
Devochku zovut
I vzdyhayut tyazhko:
"Gde ona, bednyazhka?!"

Spali sem' nochej
Sred' gluhih tenej;
V strashnom sne im snilos':
"Lika zabludilas' -

V chashche, bez dorogi,
Ocarapav nogi,
Brodit dni i nochi -
Vyplakala ochi!"

Son lish' muki mnozhit -
Mat' idti ne mozhet.
No, ee zhaleya,
Stal otec sil'nee -

I bez dolgih slez
Sam ee pones.
Vdrug iz t'my dremuchej
Vyshel lev moguchij!

Pali mat' s otcom
Pered strashnym l'vom...
Nozdri razduvaya,
Grivoj potryasaya,

Lev obhodit krugom
Skovannyh ispugom
I, sklonivshis' nizhe,
Laskovo ih lizhet.

I glazam ne verya,
Mat' s otcom ne zverya -
CHudo Zolotoe
Vidyat pred soboyu!

Duh predstal pred nimi
S kudryami l'nyanymi,
A venec i laty -
Iz litogo zlata!

On skazal: "Idem
V moj peshchernyj dom -
Tam v podzemnom grote
Doch' svoyu najdete".

Vskore, kak hoteli,
Mat' s otcom uzreli,
Kak vkrug Liki tigry
Zavodili igry.

I podnes' v peshchere
Ne strashny im zveri;
Tam ne slyshno ryka -
Spit spokojno Lika.



A little black thing among the snow:
Crying weep, weep, in notes of woe!
Where are thy father & mother? say?
They are both gone up to the church to pray.

Because I was happy upon the heath,
And smil'd among the winters snow;
They clothed me in the clothes of death,
And taught me to sing the notes of woe.

And because I am happy, & dance & sing,
They think they have done me no injury:
And are gone to praise God & his Priest & Kingj
Who make up a heaven of our misery.



Ves' v sazhe na belom snegu on mayachit.
"Pochishchu! Pochishchu!" - krichit, slovno plachet.
"Kuda podevalis' otec tvoj i mat'?"
"Ushli oni v cerkov' psalmy raspevat'.

Zatem, chto ya pel po vesne, slovno ptica,
I byl dazhe v zimnyuyu poru schastliv,
Zastavili v savan menya obryadit'sya
I pet' nauchili na grustnyj motiv.

Zatem, chto ya snova plyashu i poyu,
Spokojno roditeli v cerkov' ushli
I molyatsya Bogu, Svyatym, Korolyu,
CHto Nebo na nashih slezah vozveli".



When the voices of children, are heard on the green
And whisprings are in the dale:
The days of my youth rise fresh in my mind,
My face turns green and pale.

Then come home my children, the sun is gone down
And the dews of night arise
Your spring & your day, are wasted in play
And your winter and night in disguise.



Kogda, igraya, deti shumyat
Na vesennem zvonkom lugu,
YA vspominayu yunost' svoyu
I gorech' unyat' ne mogu.

Pora po domam, skoro zakat,
I lug rosa ostudit!
Kak slavno igrat' vse dni i ne znat'
Ni zimy, ni t'my vperedi!



0 Rose thou art sick.
The invisible worm,
That flies in the night
In the howling storm;

Has found out thy bed
Of crimson joy:
And his dark secret love
Does thy life destroy.



O Roza, ty chahnesh'! -
Okutannyj t'moj
CHerv', reyushchij v bezdne,
Gde burya i voj,

Puncovoe lono
Tvoe razoryaet
I chernoj lyubov'yu,
Nezrimyj, terzaet.



Little Fly
Thy summers play,
My thoughtless hand
Has brush'd away.

Am not I
A fly like thee?
Or art not thou
A man like me?

For I dance
And drink & sing:
Till some blind hand
Shall brush my wing.

If thought is life
And strength & breath:
And the want
Of thought is death;

Then am I
A happy fly,
If I live,
Or if I die.



Bezdumno tanec
Motyl'ka
Oborvala
Moya ruka.

A chem i ya
Ne motylek?
Ved' nam odin
Otpushchen srok:

Porhayu
I poyu, poka
Slepaya
Ne somnet ruka.

Schitayut: mysl'
Est' zhizn' i svet,
A net ee -
I zhizni net;

A ya porhayu
Nad cvetkom -
Takim zhe tochno
Motyl'kom!



I Dreamt a Dream! what can it mean?
And that I was a maiden Queen:
Guarded by an Angel mild:
Witless woe, was neer beguil'd!

And I wept both night and day
And he wip'd my tears away
And I wept both day and night
And hid from him my hearts delight

So he took his wings and fled:
Then the morn blush'd rosy red:
I dried my tears & armd my fears,
With ten thousand shields and spears.

Soon my Angel came again:
I was ann'd, he came in vain:
For the time of youth was fled
And grey hairs were on my head



I byl v nochi mne son chudnoj:
Byla ya Devoj molodoj;
So mnoyu bilsya Angelok:
Ledyshku! - soblaznit' ne mog!

YA den' i noch' byla v slezah -
Stoyal moj Angel v golovah;
I den', i noch' tomilas' ya,
ZHelan'e ot nego taya.

Togda menya pokinul on;
Zarej zardelsya nebosklon;
Devich'im Straham poskorej
Dala ya tysyachu mechej!

Vernulsya Angel iz nochi -
Zachem?! - Pri mne moi mechi!
Mladoe vremya proneslos' -
Prishla pora sedyh volos...



Tyger Tyger, burning bright,
In the forests of the night;
What immortal hand or eye,
Could frame thy fearful symmetry?

In what distant deeps or skies,
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand, dare sieze the fire?

And what shoulder, & what art,
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand? & what dread feet?

What the hammer? what the chain,
In what furnace was thy brain?
What the anvil? what dread grasp,
Dare its deadly terrors clasp?

When the stars threw down their spears
And water'd heaven with their tears:
Did he smile his work to see?
Did he who made the Lamb make thee?

Tyger Tyger burning bright,
In the forests of the night:
What immortal hand or eye,
Dare frame thy fearful symmetry?



Tigr, o Tigr, v kromeshnyj mrak
Ognennyj vperivshij zrak!
Kto sumel tebya sozdat'?
Kto sumel ot t'my ot®yat'?

Iz puchiny il' s nebes
Vyrvan ogn' tvoih oches?
Kto k ognyu proster kryla?
CH'ya desnica unesla?

Kto uzlom zheleznyh zhil
Tvoe serdce napruzhil?
Kto slyhal, kak dik i yar
Pervyj beshenyj udar?

Kto uzhasnyj mlat vzdymal?
Kto v kleshchah tvoj mozg szhimal?
A kogda soshel na net
Predrassvetnyj zvezdnyj svet -

Neuzheli byl on rad.
Vstretiv tvoj zloveshchij vzglyad?
Neuzheli eto byl
Tot, kto Agnca sotvoril?

Tigr, o Tigr, v kromeshnyj mrak
Ognennyj vperivshij zrak!
Kto posmel tebya sozdat'?
Kto posmel ot t'my ot®yat'?



A flower was offerd to me:
Such a flower as May never bore.
But I said I've a Pretty Rose-tree,
And I passed the sweet flower o'er.

Then I went to me Pretty Rose-tree:
To tend her by day and by night.
But my Rose turnd away with jealousy:
And her thorns were my only delight.



Kosnut'sya prekrasnejshih ust
Cvetok pomanil i raskrylsya...
"A ya lyublyu Rozovyj Kust!" -
Skazal ya i ne naklonilsya...

I vskore, pripav u Kusta,
Hotel nasladit'sya ya Rozoj -
No ta zatvorila usta,
SHipy vystavlyaya s ugrozoj.



Ah Sun-flower! weary of time,
Who countest the steps of the Sun:
Seeking after that sweet golden clime,
Where the travellers journey is done.

Where the Youth pined away with desire,
And the pale Virgin shrouded in snow:
Arise from their graves and aspire,
Where my Sun-flower wishes to go.



Ax, Podsolnuh, prikovannyj vzglyadom
K Svetilu na vse vremena!
Kak manit blistayushchim Sadom
Blazhennaya prisno strana!

Tuda iz mogil'noj temnicy
I deva, stroga i gorda,
I yunosha strastnyj stremitsya -
I ty, moj Podsolnuh - tuda!..



The modest Rose puts forth a thorn:
The humble Sheep, a threatning horn:
While the Lilly white, shall in Love delight,
Nor a thorn nor a threat stain her beauty bright.



Stydlivaya Roza shipami grozit,
Ovechka-tihonya bodnut' norovit -
Lyubit otkryto lish' belaya Liliya
I ne vershit nad soboyu nasiliya.



I went to the Garden of Love.
And saw what I never had seen:
A Chapel was built in the midst,
Where I used to play on the green.

And the gates of this Chapel were. shut,
And Thou shalt not, writ over the door;
So I turn'd to the Garden of Love,
That so many sweet flowers bore,

And I saw it was filled with graves,
And tomb-stones where flowers should be:
And Priests in black gowns, were walking their rounds,
And binding with briars, my joys & desires.



YA odnazhdy poshel v Sad Lyubvi -
YA glyadel i ne veril glazam:
Na lugu, gde igral stol'ko raz,
Posredine postavili Hram.

Byli dveri ego na zamke -
Prochital ya nad nimi: "Ne smej!"
I togda zaglyanul v Sad Lyubvi
Posmotret' na cvety yunyh dnej.

No uvidel mogily krugom
I nadgrobiya vmesto cvetov -
I svyashchenniki s pen'em moim naslazhden'yam
Iz vervij ternovyh krepili okovy.



Dear Mother, dear Mother, the Church is cold.
But the Ale-house is healthy & pleasant & warm:
Besides I can tell where I am use'd well.
Such usage in heaven will never do well.

But if at the Church they would give us some Ale,
And a pleasant fire, our souls to regale:
We'd sing and we'd pray all the live-long day:
Nor ever once wish from the Church to stray.

Then the Parson might preach & drink & sing,
And we'd be as happy as birds in the spring:
And modest dame Lurch, who is always at Church,
Would not have bandy children nor fasting nor birch.

And God like a father rejoicing to see,
His children as pleasant and happy as he:
Would have no more quarrel with the Devil or the Barrel
But kiss him & give him both drink and apparel.



Ax, matushka, v cerkvi skvoznyak produvnoj!
Kuda kak teplej i priyatnej v pivnoj!
Tam piva v dostatke, i p'yut bez oglyadki -
V rayu zhe, izvestno, drugie poryadki.

Vot kaby nam v cerkvi pivka na zakaz
Da vozle ognya otogreli by nas,
Tak noch'yu i dnem molit'sya nachnem -
Iz cerkvi ne vystavish' nas nipochem!

Svyashchenniku pit' by i pet' by psalmy -
I slovno ptency, byli b schastlivy my!
A strogoj staruhe vernem opleuhi -
I pust' popostitsya sama s goloduhi!

I Bog vozlikuet, otecheski rad,
Uvidev bozhestvenno schastlivyh chad,
I vnidya v cerkvushku, zakatit pirushku,
Delya s Satanoyu deryuzhku i kruzhku!



I wander thro'each charter'd street,
Near where the charter'd Thames does flow
And mark in every face I meet
Marks of weakness, marks of woe.

In every cry of every Man,
In every Infants cry of fear,
In every voice; in every ban,
The mmd-forg'd manacles I hear

How the Chimney-sweepers cry
Every blackning Church appalls,
And the hapless Soldiers sigh
Runs in blood down Palace walls

But most thro' midnight streets I hear
How the youthful Harlots curse
Blasts the new-born Infants tear
And blights with plagues the Marriage hearse



Po uzkim ulicam vlekom,
Gde Temza skovanno struitsya,
YA vizhu nishchetu krugom,
YA vizhu gorestnye lica.

I v kazhdoj nishchenskoj mol'be,
V slezah mladencev bezgrehovnyh,
V proklyat'yah, poslannyh sud'be,
YA slyshu lyazg okov duhovnyh!

I trubochistov krik tryaset
Fundamenty cerkvej surovyh,
I krov' soldatskaya techet
Votshche u gordyh sten dvorcovyh.

I strashno mne, kogda v nochi
Ot voplya devochki v bordele
Sleza nevinnaya gorchit
I brachnye smerdyat posteli.



Pity would be no more,
If we did not make somebody Poor:
And Mercy no more could be,
If all were as happy as we:

And mutual fear brings peace:
Till the selfish loves increase.
Then Cruelty knits a snare,
And spreads his baits with care.

He sits down with holy fears,
And waters the ground with tears:
Then Humility takes its root
Underneath his foot.

Soon spreads the dismal shade
Of Mystery over his head;
And the Gatterpiller and Fly,
Feed on the Mystery.

And it bears the fruit of Deceit,
Ruddy and sweet to eat:
And the Raven his nest has made.
In its thickest shade.

The Gods of the earth and sea,
Sought thro' Nature to find this Tree
But their search was all in vain;
There grows one in the Human Brain



Kogda ne stanem obirat',
Ne nuzhno budet podavat' -
Ni goloda, ni zhazhdy,
I budet schastliv kazhdyj.

Na Strahe derzhitsya pokoj,
Na Sebyalyubii - razboj,
A kovy Besserdech'ya
V dushe plodyat uvech'ya.

V tiskah zapretov i prepon
Slezami poit zemlyu on -
I vshodit pryamo iz-pod jog
Smireniya rostok.

I Drevo Very mrachnyj svod
Nad golovoyu vozvedet -
A Gusenica s Motyl'kom
Listvu sgryzut na nem.

I eto Drevo prineset
Obmana sladkij plod;
I Voron syadet, nedvizhim,
Pod pologom gluhim.

Vse bogi morya i zemli
Iskali Drevo - ne nashli!
I ne vidal nikto ni razu -
A Drevo vzrashchivaet Razum!



My inother groand! my father wept.
Into the dangerous world I leapt:
Helpless, naked, piping loud:
Like a fiend hid in a cloud.

Struggling in my fathers hands:
Striving against my swadling bands:
Bound and weary I thought best
To sulk upon my mothers breast.



Mat' s otcom lomali ruki -
Narodilsya ya na muki!
YA, bespomoshchnyj, krichal,
Slovno bes menya terzal.

YA raskidyval ruchonki,
Razvorachival pelenki
I, ne priznavaya mat',
Grud' ee ne stal sosat'.



I was angry with my friend:
I told my wrath, my wrath did end.
I was angry with my foe:
I told it not, my wrath did grow.

And I waterd it in fears,
Night & morning with my tears:
And I sunned it with smiles,
And with soft deceitful wiles.

And it grew both day and night,
Till it bore an apple bright.
And my foe beheld it shine,
And he knew that it was mine.

And into my garden stole,
When the night had veild the pole;
In the morning glad I see,
My foe outstretchd beneath the tree.



Drug obidel, razozlil -
YA v slovah svoj gnev izlil.
Vrag nanes obidu mne -
Gnev zaryl ya v glubine.

Son utratil i pokoj,
Okroplyal ego slezoj,
Nad rostkami koldoval,
Kovy tajnye koval.

Drevo vyroslo, i vot -
Zolotistyj vyzrel plod,
Glyancem raduya menya
I vraga k sebe manya.

On tajkom vo t'me nochnoj
Plod otvedal nalivnoj...
Mertvym ya vraga nashel -
I s ulybkoyu ushel!



Nought loves another as itself
Nor venerates another so,
Nor is it possible to Thought
A greater than itself to know:

And Father, how can I love you,
Or any of my brothers more?
I love you like the little bird
That picks up crumbs around the door,

The Priest sat by and heard the child,
In trembling zeal he siez'd his hair:
He led him by his little coat:
And all admir'd the Priestly care.

And standing on the altar high,
Lo what a fiend is here! said he:
One who sets reason up for judge
Of our most holy Mystery.

The weeping child could not be heard,
The weeping parents wept in vain:
They strip'd him to his little shirt,
And bound him in an iron chain.

And burn'd him in a holy place,
Where many had been burn'd before:
The weeping parents wept in vain.
Are such things done on Albions shore.



"Prevyshe sobstvennogo YA
Nikto ne stavit nikogo!
Togo Rassudku ne ponyat',
CHto za predelami ego.

Otec! Kak bol'she mne lyubit'
Tebya i blizhnih zaodno?
Lyublyu tebya ya, kak ptenca,
CHto s paperti klyuet zerno".

Svyashchennik, eto uslyhav,
Shvatil ditya za volosa
I k pastve vyvolok ego
Pod odobren'ya golosa.

Zatem s amvona vozopil:
"Se Diavol v obraze lyudskom!
Proniknut' tshchilas' tvar' siya
V Svyatye Tainstva umom!"

Zaplakal mal'chik, no votshche! -
Ne pomogli i mat' s otcom:
On do ispodnego razdet,
I cep' zheleznaya na nem.

Ditya na ploshchadi sozhgli,
Gde zheg otstupnikov Zakon -
Ne pomogli i mat' s otcom...
Ty videl eto, Al'bion?




 Children of the future Age,
 Reading this indignant page;
 Know that in a former time,
 Love! sweet Love! was thought a crime.


In the Age of Gold,
Free from winters cold:
Youth and maiden bright,
To the holy light,
Naked in the sunny beams delight.

Once a youthful pair
Fili'd with softest care:
Met in garden bright,
Where the holy light,
Had just removd the curtains of the night.

There in rising day,
On the grass they play:
Parents were afar:
Strangers came not near:
And the maiden soon forgot her fear.

Tired with kisses sweet
They agree to meet,
When the silent sleep
Waves o'er heavens deep;
And the weary tired wanderers weep.

To her father white
Game the maiden bright:
But his loving look,
Like the holy book,
All her tender limbs with terror shook.

Ona! pale and weak!
To thy father speak:
0 the trembling fear!
0 the dismal care!
That shakes the blossoms of my hoary hair.




 "S gnevom, Budushchego deti,
 Prochitajte stroki eti,
 Gde povedano stihom,
 Kak Lyubov' sochli Grehom!"


V drevnej toj strane
Net konca vesne -
Tam i zhili Dvoe
ZHizniyu svyatoyu,
Ne smushchayas' vovse nagotoyu.

Kak-to raz Oni
Vyshli v Sad odni -
I serdca zabilis',
Svetom ozarilis',
Ibo t'my zavesy priotkrylis'.

I Oboih pyl
Na travu sklonil -
V etot chas rassveta
Vse dremali gde-to,
I Ona ne vspomnila Zapreta!

I poznav Lyubov',
Sgovorilis' vnov'
Vyjti na svidan'e
V chas, kogda v molchan'e
Na zakate slyshitsya rydan'e.

Pred Otcom Ona
Radosti polna -
No, pronzaya vzglyadom,
On grozit ej Adom,
Slovno On v Sadu byl s neyu ryadom!

"Una! Ty molchish'!
Otchego drozhish'?
O! S kakoj Vinoyu
Vstala predo Mnoyu?!
Ty Menya pokryla sedinoyu!"



Whate'er is Born of Mortal Birth,
Must be consumed with the Earth
To rise from Generation free:
Then what have I to do with thee?

The Sexes sprung from Shame & Pride
Blowd in the morn; in evening died
But Mercy changd Death into Sleep;
The Sexes rose to work & weep.

Thou Mother of my Mortal part,
With cruelty didst mould my Heart.
And with false self-decieving tears,
Didst bind my Nostrils Eyes & Ears.

Didst close my Tongue in senseless clay
And me to Mortal Life betray:
The Death of Jesus set me free.
Then what have I to do with thee?



Rozhdennomu v zemnuyu chast'
Pridetsya snova v zemlyu past',
CHtob vstat' odnazhdy, ne skorbya -
I chto mne zheno do tebya!

V Sadu dva pola rascveli,
Otbrosiv Styd, - na gibel' shli;
No greshnyh pozhalel Gospod',
Na trud i plach obrekshij Plot'.

O Mat' moih zemnyh cepej
I gorestnoj tyur'my moej!
Menya ty zatochila v sklep,
V kotorom ya i gluh, i slep.

Ty rot zabila mne zemlej -
I tyazhek zhrebij moj zemnoj!
No spas menya Hristos, skorbya -
I chto mne zheno do tebya!



I love to rise in a summer morn,
When the birds sing on every tree;
The distant huntsman winds his horn,
And the sky-lark sings with me.
O! what sweet company.

But to go to school in a summer morn,
O! it drives all joy away;
Under a cruel eye outworn,
The little ones spend the day,
In sighing and dismay.

Ah! then at times I drooping sit,
And spend many an anxious hour,
Nor in my book can I take delight,
Nor sit in learnings bower.
Worn thro' with the dreary shower.

How can the bird that is born for joy,
Sit in a cage and sing.
How can a child when fears annoy,
But droop his tender wing,
And forget his youthful spring.

0! father & mother, if buds are nip'd;
And blossoms blown away,
And if the tender plants are strip'd
Of their joy in the springing day,
By sorrow and cares dismay,

How shall the summer arise in joy
Or the summer fruits appear.
Or how shall we gather what griefs destroy
Or bless the mellowing year,
When the blasts of winter appear.



Priyatno vyjti na luzhok
Rassvetnoyu poroj -
Trubit ohotnichij rozhok,
I zhavoronok so mnoj
SHCHebechet ozornoj.

A v shkolu ne hochu idti -
I mne tam ne s ruki,
Gde pod nadzorom vzaperti
V uzilishche toski
Korpyat ucheniki.

O skol'ko dnej ya zagubil,
Vojdya v postylyj klass!
Nad knigami lishalsya sil,
No znanij ne zapas -
Oni mne ne ukaz!

Poet li ptica ili net
Iz sputannyh tenet?
Kak detyam byt', kogda Zapret
Ih krylyshki somnet
I radosti ub'et?

Otec i mat'! Kol' veshnij cvet
Obronit lepestki,
Kol' ne uvidyat yarkij svet
Nezhnejshie rostki
Pod pologom toski, -

To chto sozreet mezh vetvej
Na dereve takom?
I poru yunosti svoej
Pomyanem li dobrom
Gluhim osennim dnem?




Youth of delight come hither,
And see the opening morn,
Image of truth new born.
Doubt is fled & clouds of reason,
Dark disputes & artful teazing.
Folly is an endless maze.
Tangled roots perplex her ways,
How many have fallen there!
They stumble all night over bones of the dead:
And feel they know not what but care:
And wish to lead others when they should be led.



Pridi zhe, Otrok strastnyj!
Svet istiny uzri
V rozhden'i novoj zari!
Bessil'ny nyne Razum kosnyj
I slovoprenij trud naprasnyj!
V labirint po bezdorozh'yu
Glupost' zavlekaet lozh'yu -
I tyshchi sebya tam sgubili!
Bluzhdayut vo mrake kladbishchem gluhim,
Vozhdyami sebya vozomnili -
Da vot povodyr' by im nuzhen samim!




        Stihi Blejka, kak i vsyakaya ser'eznaya poeziya, trebuyut vnimatel'nogo i
vdumchivogo prochteniya. |ti  kommentarii  lish'  pomogut  prosledit'  nekotorye
sistemnye  svyazi, sushchestvuyushchie vnutri kazhdoj ego knigi i mezhdu nimi, a takzhe
obosnovat' nekotorye perevodcheskie resheniya, sdelannye na osnovanii  toj  ili
inoj  traktovki  teksta.  Oni  otnyud'  ne  pretenduyut  na istinu v poslednej
instancii i ne otricayut svobody  tolkovaniya  -  tem  bolee  chto  blejkovskoe
Slovo,  kak  i  vsyakuyu  zhivuyu  poeziyu,  nevozmozhno  vtisnut'  v  uzkie ramki
odnoznachnoj interpretacii.
        Anglijskij tekst "Pesen Nevinnosti i Opyta" daetsya po  gravirovannym
plastinam,  s  tochnym  soblyudeniem  avtorskoj  orfografii  i  punktuacii.  V
ostal'nyh tekstah, v  sootvetstvii  so  slozhivshejsya  v  anglijskih  izdaniyah
tradiciej,  orfografiya  i  punktuaciya  neskol'ko  uporyadocheny dlya oblegcheniya
vospriyatiya.



               Vstuplenie

        Pervoe stihotvorenie cikla vvodit chitatelya  v  mir  idej  i  obrazov
"Pesen  Nevinnosti":  v nem poyavlyayutsya Ditya i Agnec, simvoliziruyushchie Hrista,
"Biblejskaya pastoral'" - idillicheskij pejzazh, navodyashchij na mysl' o Vechnosti,
i Poet, kotorogo Gospod', predstayushchij v obraze  mladenca,  blagoslovlyaet  na
trud.  Blejk takzhe formuliruet zdes' svoyu koncepciyu sozdaniya stiha: muzyka -
slovo - zapisannyj tekst. Zametim, chto uzhe zdes' ditya i smeetsya i plachet, to
est' Blejk s samogo nachala vvodit dve temy "Pesen Nevinnosti": blazhenstvo  v
Vechnosti i stradaniya na zemle.

                 Pastuh

        Zashchita  i  zashchishchennost'  -  osnovnaya tema etogo stihotvoreniya, tema,
central'naya dlya vsego cikla. Zdes' kak nel'zya luchshe  proslezhivaetsya  "vtoroj
plan",  stol'  vazhnyj  dlya pravil'noj interpretacii poezii Blejka: pastyr' -
hranitel' stada - yavlyaetsya za- shchitnikom svoih ovec, i, znaya, chto on  blizko,
ovcy  chuvstvuyut  sebya  v  bezopasnosti.  Tochno  tak zhe Bog yavlyaetsya nebesnym
Pastyrem zemnoj pastvy, kotoraya "znaet" svoego Pastyrya,  to  est'  veruet  v
nego i oshchushchaet ego zashchitu (sr. Ioann, 10: 14: "YA esm' pastyr' dobryj; i znayu
Moih, i Moi znayut Menya").

              Zvonkij lug

        V  etom  stihotvorenii  Blejk  pol'zuetsya svoim izlyublennym priemom:
opisyvaya privychnuyu, zemnuyu real'nost', on traktuet ee v shirokom  filosofskom
smysle  i  tem  samym  vkladyvaet  v  nee  novoe  vnutrennee  soderzhanie.  V
stihotvorenii proslezhen cikl zhizni ot "rassveta" do "zakata" -  ot  rozhdeniya
do  smerti,  i  ego  personazhi  (deti  i  staren'kij  Dzhon) olicetvoryayut dva
protivopolozhnyh polyusa zhizni - srazu  posle  prihoda  iz  Vechnosti  i  pered
vozvrashcheniem v nee. (Sr. u Svedenborga: "Stareya, chelovek sbrasyvaet plotskuyu
obolochku i snova stanovitsya kak mladenec, no mladenec, nadelennyj mudrost'yu,
i  odnovremenno  kak  angel,  ibo angely - eto deti, kotorym darovana vysshaya
mudrost'".)
        Lug (angl. Green) - eto obyazatel'naya  v  kazhdoj  anglijskoj  derevne
ploshchadka  dlya  sborishch,  prazdnikov  i  detskih igr. V "Pesnyah Nevinnosti" on
stanovitsya takzhe proobrazom Raya, nebesnoj  idillii.  Zametim,  chto  dejstvie
mnogih stihotvorenij cikla proishodit imenno na lugu. Ne sluchajno poyavlyaetsya
i  zelenyj  dub, v "Pesnyah Nevinnosti" - simvol istinnoj very i bozhestvennoj
zashchity.

                 Agnec

        Stihotvorenie,  postroennoe  kak  dialog  (v  kotorom,   razumeetsya,
rebenok   govorit   i   za   sebya,  i  za  yagnenka),  porazhaet  chetkost'yu  i
vyrazitel'nost'yu kompozicii: stroki, povtoryayushchiesya refrenom  v  nachale  i  v
konce,   pokazyvayut,   kak  mysl'  rebenka  dvizhetsya  ot  vospriyatiya  zemnoj
dejstvitel'nosti k ponimaniyu Boga. Vnov', kak i vezde v "Pesnyah Nevinnosti",
podcherkivaetsya tesnaya svyaz' zemnogo i bozhestvennogo.
        Sleduet otmetit', chto otvet na vopros "kem  ty  sozdan?"  dan  zdes'
vpryamuyu  i  ne vyzyvaet somnenij: agnec sozdan Bogom, kak i ditya, pri etom i
tot i drugoj sut' obrazy Boga na zemle.
        |to - odno iz samyh izvestnyh stihotvorenij Blejka.

             CHernyj mal'chik

        Social'nyj  pafos,  napravlennyj  protiv  rasovogo  neravenstva,   -
nemalovazhnyj, no daleko ne glavnyj smyslovoj plast etogo stihotvoreniya, hotya
Blejk,  vsled  za  Svedenborgom,  otstaival  ravenstvo pred Bogom vseh ras i
religij. (Sr.: "...YAzychnik mozhet obresti spasenie, kak  i  hristianin:  Nebo
sushchestvuet v cheloveke, i vsem, kto nosit Nebo v sebe, doroga tuda otkryta".)
Blejk  utverzhdaet,  chto zemnye stradaniya vsegda vlekut za soboj vozdayanie na
Nebe i tol'ko cherez nih vozmozhen put' v Vechnost'. CHernyj  mal'chik  chuvstvuet
sebya obdelennym iz-za cveta svoej kozhi, no vmeste s tem imenno ona pozvolyaet
emu privyknut' k lucham Lyubvi Gospodnej i stat' posle smerti nebesnym vozhatym
anglijskomu  mal'chiku,  oblachennomu v "belye odezhdy", no ne proshedshemu cherez
stradaniya na zemle. V etoj zhizni ravenstvo nevozmozhno, no v Vechnosti  chernyj
mal'chik "kak ravnyj" vstanet ryadom s anglijskim rebenkom i dazhe okazhetsya ego
pokrovitelem  i  zastupnikom  pered  Bogom;  takim  obrazom,  chernyj mal'chik
simvoliziruet Hrista, stradaniem iskupivshego grehi  lyudej  i  ukazavshego  im
put' na Nebo.

                 Cvetok

        |to,  pozhaluj, odno iz samyh "temnyh" stihotvorenij cikla, po povodu
kotorogo sushchestvuyut samye raznorechivye  mneniya.  Nam  naibolee  ubeditel'noj
predstavlyaetsya traktovka stihotvoreniya kak obraznogo opisaniya akta zachatiya i
zarozhdeniya  novoj  zhizni.  Cvetok  -  rasprostranennyj  obraz,  oboznachayushchij
zhenskoe nachalo, zhdet soedineniya so stremitel'nym  Vorobyshkom  (svoeobraznyj,
no  dostatochno  otchetlivyj  fallicheskij simvol). Vo vtoroj strofe Malinovka,
olicetvoryayushchaya  dushu  tol'ko  chto  zachatogo  rebenka,  rydaet,  ibo   otnyne
zaklyuchena  v  telesnuyu obolochku i obrechena projti cherez vse muki i stradaniya
zemnoj zhizni.
        Prinyatyj v  takoj  traktovke  "Cvetok"  okazyvaetsya  neposredstvenno
svyazannym  so  stihotvoreniem  "Ditya-  Radost'".  |to  podcherkivaet  i obshchaya
kompoziciya soprovozhdayushchih ih risunkov.

          Malen'kij trubochist

        Biblejskaya osnova etogo stihotvoreniya  dostatochno  prozrachna:  kogda
dusha,  projdya cherez vse stradaniya zemnoj zhizni, vosstanet iz "chernogo groba"
ploti, ej budet darovano vechnoe blazhenstvo - pri uslovii, chto dusha ostanetsya
chistoj v zamarannom gryaz'yu tele. Voznikaet edes'  i  eshche  odna  tema,  ochen'
vazhnaya  dlya "Pesen Nevinnosti": Dobro, Terpimost', Mir, Lyubov' - nash dolg no
otnosheniyu k blizhnemu,  to,  chto  sostavlyaet  "bozhestvennoe  sootvetstvie"  v
cheloveke, a posemu starshij trubochist, perenosyashchij tyagoty zhizni s pokornost'yu
Hrista,  -  takoj  zhe  Angel-hranitel'  malen'kogo  Toma,  kak  i  Gospod' -
Hranitel' trubochista.
        Gryadushchaya  radost'  v  idillicheskoj  Vechnosti  otnyud'   ne   otmenyaet
miloserdiya  na  zemle.  Poslednyaya  strochka, v svoej pryamolinejnosti zvuchashchaya
nekotorym dissonansom po otnosheniyu k liricheskomu stroyu  "Pesen  Nevinnosti",
podcherkivaet  biblejskuyu  didaktiku  stihotvoreniya, odnako u Blejka smysl ee
shire pryamogo nazidaniya:  "trudyashchijsya  chestno"  -  eto  ne  tol'ko  malen'kij
trubochist, no i vsyakij, kto ispolnyaet na zemle svoj dolg - prezhde vsego dolg
lyubvi k blizhnemu.

           Zabludivshijsya syn
             Obretennyj syn

        |ti  dva  parnyh  stihotvoreniya  dopuskayut  raznoobraznye, hotya i ne
protivorechashchie   drug   drugu   traktovki.   Nam   predstavlyaetsya   naibolee
ubeditel'nym  sleduyushchee  tolkovanie:  Blejk v allegoricheskoj forme opisyvaet
put' ot somnenij  k  obreteniyu  very,  ot  lozhnoj  idei  k  istinnomu  Bogu.
"Videnie"  takim obrazom stanovitsya simvolom duhovnyh metanij i zabluzhdenij,
a ego utrata oznachaet vozvrashchenie k  istinnomu  Otcu  (Bogu)  i  k  istinnoj
Materi  (Cerkvi,  kotoraya  na  etom  etape  eshche  vosprinimaetsya  Blejkom kak
pribezhishche istinnoj very i zhilishche Boga na  zemle).  Sleduet  otmetit'  vazhnyj
kontrast   simvolov   stihotvoreniya:  "videnie"  besplotno,  obmanchivo,  kak
bolotnyj ogonek, togda  kak  Gospod',  kotoryj  vozvrashchaet  rebenka  materi,
oblechen   v   chelovecheskij   obraz  (v  sootvetstvii  so  svedenborgianskimi
predstavleniyami).

             Veselaya pesnya

        Samoe rannee iz stihotvorenij cikla, vpervye  ono  poyavilos'  eshche  v
"Poeticheskih  nabroskah".  Po  zamechaniyu Girsha, eto skoree idillicheskaya, chem
biblejskaya pastoral', i interesna ona ne stol'ko sama po sebe,  skol'ko  kak
svidetel'stvo  stanovleniya  Blejka-poeta. Izvestno, chto Blejk lyubil napevat'
ee na im zhe pridumannyj motiv - mnogie "Pesni Nevinnosti" imeli  muzykal'nuyu
osnovu,  no  Blejk  ne vladel notnoj gramotoj, poetomu melodii ego do nas ne
doshli.

              Kolybel'naya

        Ideya  identichnosti  cheloveka  i  Boga,  stol'  vazhnaya   dlya   "Pesen
Nevinnosti",  ochen'  otchetlivo  zvuchit  v  etom stihotvorenii: mat' poet nad
mladencem, spyashchim v kolybeli, otozhdestvlyaya ego s mladencem Hristom pri  etom
ona,  kak  i Hristos, ohranyaet ot napastej svoego rebenka, a Bog ohranyaet ee
samu. Bog oberegaet ditya, i v etom otozhdestvlyaetsya s mater'yu,  no  vmeste  s
tem  on  sam  zaklyuchen v obraze mladenca - tak zamykaetsya krug obrazov etogo
stihotvoreniya.
        Zdes', kak i v bol'shinstve stihotvorenij "Pesen Nevinnosti", Hristos
predstaet ne v obraze stradayushchego cheloveka, a v  obraze  bezmyatezhno  spyashchego
dityati.  Radost'  v  "Kolybel'noj"  sochetaetsya  s  pechal'yu,  "ulybki"  -  so
"vzdohami", no obshchaya ee tonal'nost' skoree svetlaya, chem tragichnaya;  v  konce
koncov duhovnaya blagodat' pobezhdaet stradaniya i tyagoty zemnoj zhizni, kotorye
zastavlyayut mat' oplakivat' zhrebij mladenca, Hrista - zhrebij ee i vseh lyudej.

              Svyatoj Obraz

        V etom stihotvorenii, central'nom dlya "Pesen Nevinnosti", v naibolee
otchetlivoj   forme   predstaet   osnovnaya   ideya   cikla:  priroda  cheloveka
bozhestvenna. CHelovek i Bog - odno. Lyubya cheloveka, my lyubim i 5oga, v Boge zhe
lyubim  ego  chelovechnost'.  Zdes'  pryamo  nazvany  osnovnye,  fundamental'nye
dobrodeteli   mira  "Pesen  Nevinnosti";  Dobro,  Terpimost',  Mir,  Lyubov',
odinakovo vazhnye kak dlya zhizni zemnoj, tak i  nebesnoj.  |ti  dobrodeteli  v
"sovershennoj"  svoej  forme  sushchestvuyut  na  nebesah,  a v "otrazhennom" vide
(soglasno "ucheniyu o sootvetstviyah") dany  lyudyam,  i  lyudi,  nosyashchie  v  sebe
Svyatoj  Obraz, dolzhny delit'sya imi drug s drugom. Istinnyj hristianin - tot,
kto ispoveduet Dobro, Terpimost', Mir, Lyubov', i v etom smysle net  razlichiya
mezhdu  naciyami  i  religiyami  (sr.  u  Svedenborga: "CHeloveku, ispoveduyushchemu
lyubov' k blizhnemu, put' na Nebo otkryt, nezavisimo ot ego zemnoj  religii  -
vera  poznaetsya  ne  religiej.  Lyuboj  chelovek, vedushchij zhizn' nravstvennuyu i
duhovnuyu, zaklyuchaet v sebe Nebo").

             Svyatoj CHetverg

        Temoj  dlya  etogo  stihotvoreniya  posluzhila   ezhegodnaya   londonskaya
ceremoniya:  v  Svyatoj  CHetverg  (Den' Vozneseniya) detej iz sirotskih priyutov
privodili  v  sobor  Sv.Pavla,  chtoby  oni  mogli  vozblagodarit'  Boga   za
miloserdie  i  dobrotu. Pod perom Blejka eta scena priobretaet bolee shirokij
smysl: deti - Agncy, voploshchenie Nevinnosti - vhodyat  v  sobor  pod  nadzorom
svoih  nastavnikov-bidlej,  to est' zemnyh hranitelej, no vnutri, pred likom
Bozh'im, roli menyayutsya -  deti  stanovyatsya  olicetvoreniem  Hrista,  to  est'
nebesnogo   Hranitelya,   i  stihotvorenie  prevrashchaetsya  v  gimn  Gospodnemu
miloserdiyu.

                  Noch'

        |to stihotvorenie legko  prochityvaetsya  s  tochki  zreniya  sistemnogo
podhoda,  to  est'  v  ramkah  vsego cikla, ibo v nem ispol'zovany vse te zhe
obrazy. Krome togo, zdes'  vpervye  voznikaet  tema  smerti;  rech'  idet  ne
stol'ko  o zhestokosti cheloveka, skol'ko o zhestokosti prirody, protiv kotoroj
bessil'ny  dazhe  angely  -  oni  mogut  lish'  "rydan'yami   pomoch'".   Odnako
stihotvorenie  skoree  pechal'no,  chem  tragichno: smert' - eto lish' perehod v
inoj, bolee sovershennyj mir, gde ne budet ni slez, ni zhestokosti  (sr.Isaiya,
II:  6: "Togda volk budet zhit' vmeste s yagnenkom, i bars budet lezhat' vmeste
s kozlenkom; i telenok, i molodoj lev, i vod  budut  vmeste,  i  maloe  ditya
budet vodit' ih").

                 Vesna

        V   etom   stihotvorenii  takzhe  netrudno  razglyadet'  vtoroj  plan,
"perenesenie" dejstviya: s odnoj storony, eto prosto pesnya radosti po  povodu
probuzhdeniya  prirody,  s drugoj - pervye dve stroki nedvusmyslenno ukazyvayut
na to, chto rech' idet o trubah Strashnogo  Suda,  Apokalipsise  i  posleduyushchem
voskresenii,  to  est'  stihotvorenie  prorocheski  risuet  kartinu Vechnosti,
kotoruyu dano uzret' tem,  kto  prebyvaet  v  sostoyanii  Nevinnosti.  Sleduet
pomnit',  chto  dlya Blejka "Nevinnost'" ne ravnoznachna "nevedeniyu", naprotiv,
eto sostoyanie  predpolagaet  vysshee,  "prorocheskoe"  videnie  i  sposobnost'
Duhovnym  vzorom  postigat'  yavleniya, skrytye ot prostogo glaza, vozmozhnost'
usmatrivat' v zemnyh sobytiyah ih  istinnyj,  bozhestvennyj  smysl.  Simvolika
stihotvoreniya dostatochno prozrachna: Agnec simvoliziruet Boga, prihod Vesny -
nachalo novoj zhizni.

               Pesnya nyani

        Detskoe  znanie  i  znanie,  obretennoe s vozrastom, - osnovnaya tema
etogo stihotvoreniya. Nyanya ugovarivaet detej ujti s veselogo luga, znaya,  chto
vecher  (i dnya, i zhizni) neset s soboj temnotu i holod, no deti - kak i ovcy,
i ptichki - vedayut lish' odno: den' eshche ne ugas i mozhno prodolzhat' igru.  Nyane
izvestno,  chto  den'  smenyaetsya  vecherom,  a  rascvet  - starost'yu, no deti,
obladayushchie "mudrost'yu angelov", veruyut lish' v  Radost',  ibo  etu  veru  oni
prinesli   iz   Vechnosti;  i  nyanya  podchinyaetsya,  ibo  detskoe  intuitivnoe,
darovannoe Bogom znanie vernee, chem opyt, priobretennyj chelovekom na zemle.

              Ditya-Radost'

        Syuzhet etogo stihotvoreniya prost: mat' daet imya svoemu novorozhdennomu
mladencu (moment zachatiya kotorogo, soglasno nashej traktovke, opisan vyshe,  v
"Cvetke").  Zadavaya  novorozhdennoj  docheri  voprosy  i  otvechaya na nih, mat'
vybiraet imya: Radost' (Joy - Radost' - dovol'no rasprostranennoe  anglijskoe
zhenskoe imya). Sleduet, odnako, pomnit' i ob inom smysle, kotoryj privnositsya
v  stihotvorenie v ramkah obraznoj sistemy cikla: ditya tol'ko chto yavilos' iz
Vechnosti i eshche ne utratilo "bozhestvennogo videniya" i Radosti kak sledstviya i
atributa svoej Nevinnosti. Narekaya doch' Radost'yu, mat' odnovremenno  zhelaet,
chtoby  zhizn'  devochki  byla  svetloj  i bezoblachnoj, i zapechatlevaet v imeni
otgolosok  bozhestvennoj  blagodati,  kotoruyu  prines  s   soboj   na   zemlyu
novorozhdennyj mladenec.

                  Son

        Snova    v    polnuyu   silu   zvuchit   tema   bozhestvennoj   zashchity,
rasprostranyayushchejsya na vseh i kazhdogo: Angel ohranyaet  son  spyashchego.  Muravej
dumaet o svoih detyah, ostavlennyh bez zashchity. ZHuk i Svetlyachok berut pod svoyu
opeku i zashchitu zabludivshegosya Murav'ya. V sisteme simvolov "Pesen Nevinnosti"
vse eti hraniteli yavlyayutsya obrazami odnogo Zashchitnika - Boga.
        Interesno,   chto  v  rannih  redakciyah  "Pesen"  Blejk  perenes  eto
stihotvorenie v "Pesni Opyta" - vozmozhno, osnovaniem dlya etogo posluzhilo to,
chto v nem  vospevaetsya  bozhestvennost'  prirody,  real'noj  zhizni,  risuetsya
kartina  mira,  ne  sootnesennogo  s  Vechnost'yu.  Odnako, po vsej vidimosti,
vposledstvii Blejk schel ideyu bozhestvennoj zashchity bolee vazhnoj i vernul "Son"
v pervyj cikl.

           O skorbi blizhnego

        Zaklyuchitel'noe stihotvorenie cikla vbiraet v sebya vse temy i simvoly
"Pesen Nevinnosti": chelovek identificiruetsya s  Bogom,  poskol'ku  i  tot  i
drugoj  nesut  Dobro,  Terpimost',  Mir,  Lyubov',  i  tot  i drugoj yavlyayutsya
hranitelyami: my zhaleem blizhnego, poskol'ku Bog zhaleet nas.
        Zametim, chto v etom stihotvorenii tema stradanij i pechali dominiruet
nad temoj radosti, blazhenstva, lyubvi. Blejk postavil "O skorbi  blizhnego"  v
finale  cikla,  chtoby  sdelat'  bolee  plavnym  perehod  k surovomu, polnomu
skorbej miru "Pesen Opyta".




               Vstuplenie

        V  stihotvorenii,  otkryvayushchem  cikl,  Blejk  otozhdestvlyaet  sebya  s
Drevnim  Bardom,  nadelennym prorocheskim videniem, kotoryj slyshal i sohranil
slovo Istiny, proiznesennoe v  davnie  vremena,  eshche  do  Grehopadeniya.  Pod
Grehopadeniem ponimaetsya upadok Voobrazheniya i vocarenie na ego meste kosnogo
Razuma  - Urizena, olicetvorennogo "zvezdnym svodom" i "beregom vod". Odnako
Bard prorocheski predrekaet prihod novogo dnya - to est' apokalipticheskij krah
carstva   Urizena.   Sleduet   otmetit',   chto   eto   stihotvorenie   nosit
promezhutochnyj,   perehodnyj   harakter  (ono  napisano  srazu  posle  "Pesen
Nevinnosti"): s odnoj storony, Blejk govorit o "vozvrashchenii Zemli", to  est'
o  zemnom,  real'nom  Apokalipsise,  s  drugoj storony, on predrekaet prihod
"vechnogo dnya" - Vechnosti "Pesen Nevinnosti", gde ischeznut "zvezdnyj  svod  i
bereg   vod"  -  teneta  Razuma,  zaprety,  skovyvayushchie  duh  cheloveka  (sr.
beskonechnoe Nebo i bezbrezhnoe More kak simvoly svobody).

              Otvet Zemli

        "Otvet Zemli" yavlyaetsya  neposredstvennym  prodolzheniem  i  razvitiem
"Vstupleniya", odnako prorocheskij optimizm pervogo stihotvoreniya smenyaetsya vo
vtorom  holodnym  otchayaniem;  "zvezdnyj  svod.  l  bereg vod" vidyatsya Blejku
tyur'moj,  iz  kotoroj  net  vyhoda,  gde  revnostno  storozhit  svoyu   zhertvu
"samovlyublennyj   Tvorec"  -  Razum,  "cepyami  skovavshij  lyubov'",  to  est'
estestvennoe proyavlenie  chuvstv.  Vmesto  tradicionnyh  biblejskih  simvolov
"Pesen  Nevinnosti"  zdes'  poyavlyayutsya  obrazy, svyazannye s real'nym, zemnym
mirom,  a  Bog  iz  blagostnogo,  krotkogo  Agnca  prevrashchaetsya  v  "Vechnogo
Muchitelya"  -  despota  i  tirana.  Na  mesto  "radosti",  "yunosti", "sveta",
"svobody"   vstayut   "strah",   "sedina",   "noch'",   "cepi";    zavershaetsya
stihotvorenie  prizyvom  k  Osvoboditelyu - Poetu, kotoryj dolzhen siloj slova
razbudit' porugannoe Voobrazhenie.

           Kom Gliny i Kamen'

        |to stihotvorenie, postroennoe s soblyudeniem  strozhajshej  simmetrii,
predstavlyaet  soboj  dialog  dvuh  "sostoyanij  dushi chelovecheskoj": Kom Gliny
proslavlyaet   beskorystnuyu,   passivnuyu,   pokornuyu   lyubov',   svojstvennuyu
Nevinnosti, - idealom dlya nego yavlyaetsya Raj, zavoevannyj samopozhertvovaniem.
Kamen',  olicetvoryayushchij  sostoyanie Opyta, prevoznosit vlastnuyu, egoistichnuyu,
aktivnuyu lyubov', idushchuyu iz Ada (sr. vospriyatie Ada  v  "Brakosochetanii...").
Simmetricheski   organizuya  stihotvorenie  (po  shest'  strok  otdano  kazhdomu
personazhu), Blejk ne daet prioriteta ni toj, ni drugoj tochke zreniya, kak  by
utverzhdaya,  chto  oba  nachala  ravno  vazhny  dlya  zhizni,  ibo  v sovokupnosti
sostavlyayut  estestvennyj  poryadok  veshchej.  Myagkij,  podatlivyj   Kom   Gliny
associiruetsya s zhenskim nachalom, tverdyj Kamen' - s muzhskim: i ta, i drugaya;
lyubov'  nevozmozhny  drug  bez druga, ibo kazhdaya nuzhdaetsya v protivopolozhnom:
passivnoe -  v  prinuzhdenii,  aktivnoe  -  v  podchinenii.  V  etom  korotkom
stihotvorenii  zalozhena  vsya  dialektika "Pesen"; Nevinnost' i Opyt, yavlyayas'
protivopolozhnostyami, ne mogut, - odnako, sushchestvovat' drug  bez  druga,  kak
Dobro bez Zla, Svet bez T'my, Radost' bez Stradaniya i t.d.

             Svyatoj CHetverg

        |to  odno  iz  chetyreh stihotvorenij, yavlyayushchihsya pryamymi parallelyami
("satiricheskogo" tolka) k sootvetstvuyushchim stihotvoreniyam "Pesen Nevinnosti".
Ono, pozhaluj, greshit  nekotoroj  pryamolinejnost'yu:  pytayas'  sozdat'  polnuyu
oppoziciyu  svoim bolee rannim vzglyadam, Blejk prines v zhertvu tonkie nyuansy,
sostavlyayushchie prelest' ego  poezii,  i  social'nyj  pafos  zatmil  v  "Svyatom
CHetverge"   vse  ostal'noe.  V  etom  stihotvorenii  ne  hvataet  utonchennoj
blejkovskoj dialektiki, "plach", "stradanie", "holod" vozvedeny v absolyut,  a
potomu ono neskol'ko proigryvaet na fone ostal'nyh.

           Zabludivshayasya doch'
            Obretennaya doch'

        Celyj  ryad  prichin  delaet  dva etih vneshne prozrachnyh stihotvoreniya
ves'ma slozhnymi dlya traktovki. Ih syuzhetnaya kanva, na pervyj vzglyad  prostaya,
dopuskaet  mnozhestvo  vsevozmozhnyh  tolkovanij.  Dostatochno  ubeditel'noj (i
podderzhannoj mnogimi issledovatelyami) yavlyaetsya sleduyushchaya tochka zreniya:  rech'
idet  o  smerti  i  voskresenii,  no  ne v Vechnosti, a v zemnom Rayu, kotoryj
stanet vozmozhen posle togo, kak "Zemlya  ochnetsya".  Malen'kaya  Lika  yavlyaetsya
simvolom  bezgreshnoj,  chistoj  dushi; les, v kotorom ona bluzhdaet, - simvolom
zemnoj  zhizni,  a  Lev,  predstayushchij  pozdnee  v  obraze  Zolotogo  Duha,  -
olicetvoryaet  Angela  Smerti:  prezhde  chem  uvesti  devochku k sebe v peshcheru,
l'vica razdevaet ee, to est' lishaet plotskoj obolochki.  Vse  eto  govorit  o
tom, chto, vstretiv L'va, Lika umerla, kak neskol'ko pozdnee i ee roditeli, i
vse  oni  vossoedinilis'  v nekoj Peshchere, kotoraya stanovitsya simvolom novogo
blejkovskogo Raya, no uzhe ne nebesnogo, nedostizhimogo, a real'nogo,  zemnogo.
V  etom  stihotvorenii  ochen' chetko vidny novye vzglyady Blejka, dlya kotorogo
net bolee Neba, otdel'nogo ot Zemli.
        Po  zamechaniyu  Girsha,  eto  stihotvorenie   yavlyaetsya   prorochestvom,
predrekayushchim "ne Vechnost', no Gryadushchee", Raj, no ne na nebesah, a na zemle.
        Iznachal'no  oba  eti  stihotvoreniya vhodili v "Pesni Nevinnosti", no
vposledstvii byli pereneseny v "Pesni Opyta". Prichina ochevidna: hotya rech'  v
nih i idet o voskresenii, traktuetsya ono v duhe bolee pozdnego cikla.

          Malen'kij trubochist

        |to  stihotvorenie  - tipichnyj primer polemiki Blejka vremen ".Pesen
Nevinnosti" s Blejkom vremen  "Pesen  Opyta":  geroi  dvuh  stihotvorenij  s
odinakovym  nazvaniem  shozhi  mezhdu  soboj,  no v pervom malen'kij trubochist
neschasten iz-za svoih nevzgod,  vo  vtorom  -  sposoben  ispytyvat'  radost'
vopreki  im.  V  pervom  on  nahodit  uteshenie  v Boge, osvobozhdayushchem ego iz
"groba" zemnoj zhizni, vo vtorom - oblachen v "savan" na zemle i imenno  Bogom
(tochnee, svoimi bogoboyaznennymi roditelyami) obrechen na stradaniya.
        Oblichitel'nyj  pafos ravno silen v oboih stihotvoreniyah, no v kazhdom
on zvuchit po-svoemu: v pervom  -  schast'e  vozmozhno  lish'  na  nebesah,  kak
iskuplenie  zemnyh pechalej, vo vtorom - schast'e bylo by vozmozhno i na zemle,
esli by ne beschelovechnost' sushchestvuyushchih poryadkov.

               Pesnya nyani

        I zdes' Blejk  otkrovenno  vstupaet  v  polemiku  s  sootvetstvuyushchim
stihotvoreniem  "Pesen  Nevinnosti"  ;  deti  zdes'  -  uzhe  ne  mladency, a
podrostki (chto vidno i iz illyustracii), i  slova  nyani  obretayut  sovershenno
inoj  smysl  -  glyadya  na  detej,  ona s gorech'yu vspominaet svoyu sobstvennuyu
yunost', neudovletvorennuyu  strast',  nesostoyavshuyusya  lyubov'.  CHuvstvuya,  chto
"zakat"  ee  zhizni  blizok,  ona ispytyvaet zavist' k detyam, kotorym suzhdeno
poznat' plotskuyu lyubov', priobresti nedostupnyj ej opyt. |to stihotvorenie -
o podavlenii estestvennyh plotskih zhelanij,  kotorye  Blejk  v  etot  period
schital  velichajshim  chelovecheskim  darom,  naryadu s Voobrazheniem; no plotskie
instinkty skovany cepyami Urizena (sm. takzhe "Angel"), poetomu vtoraya  "Pesnya
nyani"  rezko  kontrastiruet  s pervoj, gde rech' idet o svobodnyh proyavleniyah
radosti i lyubvi k zhizni.

             CHahnushchaya Roza

        Simvolika etogo stihotvoreniya dostatochno prosta i tradicionna:  Roza
olicetvoryaet  Krasotu,  zhenskoe  nachalo  voobshche; "CHerv', reyushchij v bezdne", -
shiroko rasprostranennyj obraz Diavola (po vsej  vidimosti,  pozaimstvovannyj
Blejkom u Dante). Odnako, chtoby polnost'yu ponyat' vnutrennyuyu dialektiku etogo
stihotvoreniya,   neobhodimo  prinyat'  vo  vnimanie  "pro-sataninskie"  idei,
kotorye Blejk ispovedoval v to vremya i podrobno  izlozhil  v  "Brakosochetanii
Neba i Ada".

                Motylek

        Problema  zhizni  i smerti osveshchaetsya v "Pesnyah Opyta" sovsem ne tak,
kak v "Pesnyah Nevinnosti": "Pesni Nevinnosti" videli v smerti lish' perehod v
inoe sostoyanie, edinenie s  Bogom,  togda  kak  "Pesni  Opyta",  privyazannye
isklyuchitel'no  k  zemnoj  zhizni,  usmatrivayut  v smerti bespovorotnyj konec,
kotoryj ravno tragichen i dlya cheloveka, i dlya motyl'ka, i v  etom  vse  tvari
Bozhij  ravny.  Bog  daroval  zhizn' i motyl'ku, i cheloveku, on zhe sudil oboim
umeret', i v etom zhrebij ih odinakov; mezhdu nimi est' lish' odno  razlichie  -
cheloveku  dana  Mysl',  to est' Razum. Odnako, po Blejku, Razum ne vozvyshaet
cheloveka nad motyl'kom, poskol'ku Razum  lish'  podavlyaet  inye,  kuda  bolee
vazhnye  svojstva,  prisushchie  vsyakomu  zhivomu  sozdaniyu;  a  posemu chelovek i
motylek  odinakovo  vazhny  i  cenny  dlya  Tvorca,   ibo,   kak   skazano   v
"Brakosochetanii Neba i Ada", "Vse ZHivoe - Svyashchenno".

                 Angel

        Kak  i "Pesnya nyani", eto stihotvorenie - o nesostoyavshejsya lyubvi, i v
nem   yavstvenno   zvuchit   polemika   s   "Pesnyami   Nevinnosti.":    vmesto
Angela-hranitelya   zdes'   poyavlyaetsya  sovsem  inoj  angel,  simvoliziruyushchij
neudovletvorennye zhelaniya. V carstve Urizena podavlenie  estestvennogo  zova
ploti schitaetsya dobrodetel'yu, i Deva, oboronyayas' slezami, a potom i "tysyach'yu
mechej" (to est' zapretov), naveki lishaet sebya plotskih radostej. Bitva mezhdu
angelom   -   nositelem   estestvennogo   (bozhestvennogo)  miroporyadka  -  i
urizenovskoj dobrodetel'yu zavershaetsya torzhestvom Urizena.  Blejk  otstaivaet
svoe   ponimanie   lyubvi:   svobodnaya,  ne  skovannaya  uslovnostyami  strast'
prekrasna, a  podavlenie  prirodnyh  instinktov  -  greh.  |tim  on  brosaet
ocherednoj   vyzov   Svedenborgu,   kotoryj   neodnokratno  podcherkival,  chto
po-nastoyashchemu prekrasnoj i schastlivoj mozhet  byt'  lish'  lyubov',  osvyashchennaya
zakonnym brakom, ibo lish' ona yavlyaetsya "sootvetstviem" lyubvi nebesnoj.

                  Tigr

        "Tigr"  po  pravu  schitaetsya  velichajshim  tvoreniem Uil'yama Blejka i
odnim iz samyh vydayushchihsya proizvedenij anglijskoj literatury. Kak i "Agnec",
parnoe stihotvorenie iz "Pesen Nevinnosti", "Tigr" nachinaetsya s voprosa: kto
tvoj Sozdatel'? Odnako esli v bolee rannem stihotvorenii  otvet  ocheviden  i
odnoznachen,  to  "Tigr"  ves'  sostoit  iz  cepochki voprosov, ostayushchihsya bez
pryamogo otveta. V "Pesnyah Nevinnosti" tigry, l'vy  i  prochie  "dikie  zveri"
predstavlyayut   silu,   vrazhdebnuyu   Agncu   (t.e.  Bogu)  i,  sledovatel'no,
negativnuyu. Teper' Blejk ne tol'ko osparivaet eto utverzhdenie, no  podspudno
otvergaet svoe "odnobokoe" miroponimanie vremen "Pesen Nevinnosti": zloveshchaya
krasota  Tigra  -  stol'  zhe  neobhodimaya  chast' miroporyadka, kak i krotost'
Agnca, i odno nevozmozhno bez drugogo. Kto  sozdal  Tigra,  Bog  ili  Diavol,
kakoj  ogon',  nebes ili preispodnej, gorit v ego ochah - vot osnovnoj vopros
stihotvoreniya.  Blejk  ne  daet  pryamogo  otveta,  no  hodom   svoej   mysli
podtalkivaet  chitatelya k etomu otvetu: Tigra sozdal ne kto inoj, kak Diavol,
kotoryj, sledovatel'no, yavlyaetsya  Tvorcom  naravne  s  Bogom.  Odnako  Tigr,
vyshedshij iz d'yavol'skoj kuzni, vnushaet ne tol'ko uzhas, no i voshishchenie svoej
"ustrashitel'noj  sorazmernost'yu" (Fearful symmetry). Sozdannyj Adom, Tigr ne
est' Zlo v  ego  obychnom  ponimanii,  no  zaklyuchennaya  v  plot'  yarostnaya  i
prekrasnaya    |nergiya,    kotoraya,    soglasno   koncepcii,   izlozhennoj   v
"Brakosochetanii Neba i Ada", dvizhet vsyakim razvitiem.

         Moj milyj Rozovyj Kust

        Pervoe  iz   treh   "cvetochnyh"   stihotvorenij   na   temu   lyubvi,
nagravirovannyh  na  odnoj plastine. Smysl etogo malen'kogo shedevra dovol'no
prost: Cvetok predlagaet poetu svoyu lyubov', no tot sohranyaet vernost'  Roze;
odnako,   vernuvshis'  k  Roze  i  polozhiv  k  ee  nogam  svoyu  nezapyatnannuyu
dobrodetel', poet nahodit lish' zhaloby i shipy  revnosti.  Nezamyslovataya  (i,
skoree  vsego,  avtobiograficheskaya) kolliziya prevrashchaetsya pod perom Blejka v
izyashchnuyu allegoriyu, raskryvayushchuyu prevratnosti zemnoj lyubvi.

            Ah, podsolnuh...

        Eshche odno iz rannih stihotvorenij cikla, otnosyashcheesya k  1789-1790  g.
Zdes'  perepleteny  temy  i  simvoly  "Pesen  Nevinnosti"  i  "Pesen Opyta":
podsolnuh, simvoliziruyushchij vechnuyu tyagu k nedostizhimomu, sleduet vzglyadom  za
solncem  v  poiskah  nekoj  blazhennoj  strany  -  to  est'  Vechnosti  "Pesen
Nevinnosti". Tam i  tol'ko  tam  smogut  udovletvorit'  svoi  zhelaniya  Deva,
skovannaya    putami    urizenovskoj   dobrodeteli,   i   YUnosha,   istochennyj
neudovletvorennoj strast'yu k Deve (obrazy "Pesen Opyta").

                 Liliya

        Roza,   simvol   stydlivosti,    i    ovechka,    simvol    krotosti,
transformiruyutsya  v  etom  stihotvorenii v obrazy lzhi i pritvorstva: zashchishchaya
urizenovskuyu  dobrodetel',  oni  izvrashchayut  tem  samym   svoyu   bozhestvennuyu
sushchnost',  V  protivopolozhnost'  im Liliya, voploshchayushchaya "Opytnuyu Nevinnost'",
otkryto proyavlyaet svoyu lyubov', a potomu chuzhda pritvorstva. V  tom,  chto  ona
"ne  vershit  nad  soboyu  nasiliya", no svobodno sle duet svoim pobuzhdeniyam, i
est' vysshaya, bozhestvennaya dobrodetel'.

               Sad Lyubvi

        Prevrashchenie  Luga  "Pesen  Nevinnosti"   v   tverdynyu   urizenovskih
ustanovlenij,  perehod  ot  Nevinnosti  k  "snu  Zemli"  - vot osnovnaya tema
stihotvoreniya. Vmesto Luga glazam predstaet Hram - simvol hanzheskoj  religii
(sr.  s  predstavleniyami  o  cerkvi  kak  zhilishche  Boga  na  zemle  v "Pesnyah
Nevinnosti"),  vmesto  cvetov,  simvolov  lyubvi,  poyavlyayutsya   mogily,   gde
shoroneny neudovletvorennye zhelaniya, vmesto svobody i radosti - naslazhdeniya,
zakovannye  v  ternovye  okovy.  Estestvennyj  poryadok  veshchej  (pod kotorym,
vidimo,  podrazumevaetsya  "Opytnaya   Nevinnost'")   narushen   iskusstvennymi
ustanovleniyami hanzheskoj religii, kotoraya yavlyaetsya plodom zakabaleniya chistoj
Very Razumom.

           Malen'kij brodyaga

        Tema hanzhestva oficial'noj religii podhvachena i v etom stihotvorenii
- Blejk ne   sluchajno   vkladyvaet   obvinitel'nye  slova  v  usta  rebenka,
podcherkivaya ih spravedlivost' ego chistoserdechiem:  rebenok  ne  negoduet  na
Boga za zhestokost' cerkvi, no, veruya v ego lyubov' i dobrotu, prosit izmenit'
sushchestvuyushchij  na zemle poryadok. Sleduet otmetit', chto v analogichnoj situacii
v "Pesnyah Nevinnosti" (sm. "Malen'kij trubochist") rech' shla ob udovletvorenii
zhelanij tol'ko v Vechnosti; dlya malen'kogo brodyagi Raj vozmozhen i  na  zemle,
chto  tipichno  dlya "Pesen Opyta", no prezhde nadlezhit izmenit' zemnye poryadki,
pridumannye ne Bogom, a lyud'mi.

                 London

        Netrudno usmotret' v etom stihotvorenii, pomimo  otkrytogo  protesta
protiv  sushchestvuyushchih  social'nyh  ustanovlenii,  i  blejkovskuyu traktovku ih
pervoprichiny: takovoj yavlyayutsya "duhovnye okovy", kotorymi v carstve  Urizena
skovan kazhdyj. |to stihotvorenie napravleno ne stol'ko protiv industrial'noj
revolyucii i zhestokosti, beschelovechnosti stremitel'no rastushchih gorodov (tema,
ne  raz  zvuchavshaya  v  literature  blejkovskoj epohi), skol'ko protiv zhizni,
porozhdennoj diktatom Razuma nad Voobrazheniem, "skovannost'yu"  mysli  (otsyuda
"uzkie" ulicy i "skovannoe" techenie Temzy). Osnovnuyu vinu Blejk vozlagaet na
cerkov',  kotoraya  dopuskaet  stradaniya malen'kih trubochistov (sr. vyshe), na
korolevskuyu vlast', kotoraya posylaet tysyachi soldat na bessmyslennuyu  smert',
i  na  institut  braka  (u  Blejka - simvol nesvobodnoj, protivoestestvennoj
lyubvi), kotoryj kosvennym obrazom sposobstvuet vozniknoveniyu prostitucii.  V
takom  mire dazhe pervaya "nevinnaya sleza" mladenca otdaet gorech'yu, ibo i emu,
nahodyashchemusya v sostoyanii Nevinnosti, ne izbezhat' "duhovnyh okov".

         CHelovecheskaya sushchnost'

        |to stihotvorenie (parnoe k "Svyatomu Obrazu"  iz  pervogo  cikla)  -
central'noe dlya ponimaniya filosofskoj sistemy "Pesen Opyta".
        Zdes'  Dobro,  Terpimost',  Mir,  Lyubov' stanovyatsya sostavnoj chast'yu
protivoestestvennyh social'nyh ustanovlenij, sushchestvuyushchih v carstve Urizena,
- to est' polnost'yu razvenchivaetsya filosofskaya koncepciya "Pesen Nevinnosti".
Pokazav lzhivost' i hanzhestvo osnovnyh dobrodetelej Nevinnosti, Blejk  stroit
novuyu   allegoriyu   vnutrennego   mira  cheloveka,  v  osnove  kotoroj  lezhit
izlyublennyj im obraz Dreva. Vzrastaet ono iz Straha i Smireniya -  hanzheskogo
smireniya  ovechki  (sr.  stihotvorenie  "Liliya") i vskore raskidyvaet mrachnuyu
kronu Very, to  est'  neestestvennoj,  nadumannoj  religii,  kotoraya  pitaet
Gusenicu i Motyl'ka, yavlyayushchihsya zdes' simvolami svyashchennosluzhitelej. Nakonec,
Drevo  prinosit plod Obmana, to est' lzhi i pritvorstva (potomu on sladok), i
na Dreve poyavlyaetsya Voron - simvol smerti. Takimi vidyatsya Blejku  vnutrennij
mir  cheloveka  i  duhovnyj  put'  chelovechestva, skovannogo putami Urizena. V
poslednej strofe podcherknuto,  chto  "bogi  morya  i  zemli",  to  est'  zhivoj
prirody,  edinoj  s  Voobrazheniem,  ne  mogli  otyskat' eto Drevo, poskol'ku
nahoditsya ono v  chelovecheskom  mozgu  i  vzrashchivaet  ego  Urizen  -  kosnyj,
netvorcheskij Razum.

               Ditya-Gore

        |to   stihotvorenie  ne  stol'ko  otricaet  "Ditya-Radost'",  skol'ko
povorachivaet tu zhe temu inoj storonoj: ditya rozhdaetsya na radost', no v to zhe
vremya vhodit v mir v mukah, a mir etot polon gorestej i stradanij. Ditya-Gore
(zametim, chto eto mal'chik, togda  kak  Ditya-Radost'  -  devochka:  Nevinnost'
associiruetsya  u  Blejka  s zhenskim nachalom. Opyt - s muzhskim) poyavlyaetsya na
svet s gromkim voplem protesta, ono voistinu oderzhimo besom, no  eto  -  bes
"Pesen  Opyta",  negoduyushchij  protiv kosnosti i passivnosti. Vyryvayas' iz ruk
otca i otkazyvayas' sosat' materinskuyu grud' (vspomnim blejkovskuyu simvoliku:
Otec - Bog, Mat' - Cerkov'),  mladenec  protestuet  protiv  skovyvayushchih  put
roditel'skoj voli. Odnako Ditya-Radost', simvol krotosti, i Ditya-Gore, simvol
buntuyushchej  energii, ne otricayut drug druga, no sostavlyayut v svoej dialektike
neobhodimoe mnogoobrazie mira.
        Pervonachal'no "Ditya-Gore"  bylo  chast'yu  dlinnogo  stihotvoreniya  iz
"Manuskripta  Rossetti",  povestvuyushchego o zhiznennom puti cheloveka i bor'be s
"duhovnymi okovami".

               Drevo YAda

        Simvolika etogo stihotvoreniya, gde takzhe  ispol'zovan  obraz  Dreva,
dostatochno  prozrachna: nevyskazannye, zataennye pomysly protivoestestvenny i
vedut k tragedii. Zdes' umestno vspomnit' odnu iz "Pritch Ada"; "Udavi  luchshe
ditya  v  kolybeli,  no  ne  davi  zhelanij svoih". O tom, chto tajnoe zlo huzhe
yavnogo, krasnorechivo govorit i central'nyj simvol stihotvoreniya - prekrasnyj
plod, soderzhashchij smertel'nyj yad; on zhe smykaet  stihotvorenie  s  biblejskim
mifom   o   Grehopadenii.   Sarkazm   Blejka   vsego   otchetlivee  zvuchal  v
pervonachal'nom  nazvanii  stihotvoreniya  -  "O  hristianskoj   dobrodeteli",
kotoroe bylo otvergnuto, vidimo, po prichine svoej chrezmernoj yazvitel'nosti.

             Zabludshij syn

        Rebenok  utverzhdaet,  chto lyubov' k sebe prevyshe vsego, a dalee - vse
sozdaniya ravny, ibo vse oni sut' tvoreniya Bozhij. (Tak Blejk  v  etot  period
predstavlyaet  sebe  estestvennyj,  prirodnyj  vzglyad na veshchi i poetomu rezko
polemiziruet so Svedenborgom, kotoryj neodnokratno podcherkival: net  hudshego
greha, chem lyubov' k sebe, pravo na sushchestvovanie imeyut lish' dva vida lyubvi -
lyubov' k blizhnemu i lyubov' k Bogu.) Za eto on ob®yavlen Diavolom (i, po suti,
yavlyaetsya  takovym,  ibo  protestuet  protiv idushchego ot cerkvi pritvorstva) i
sozhzhen na kostre u altarya Urizena, kak otstupnik, derznuvshij vosstat' protiv
gospodstvuyushchej religii. Gorech' stihotvoreniya zaklyuchaetsya v tom, chto rebenok,
nahodyashchijsya v sostoyanii Nevinnosti, chuzhdyj vsyakoj lzhi i neestestvennosti, to
est' nosyashchij v sebe Boga, prigovarivaetsya k smerti imenem etogo samogo Boga,
kotoryj stanovitsya lish' orudiem v rukah cerkvi.

             Zabludshaya doch'

        Allegoriya, napravlennaya protiv neestestvennyh zakonov, podavlyayushchih i
osuzhdayushchih estestvennye zhelaniya, podana zdes' v forme mifa  o  Grehopadenii,
kotoryj   Blejk  perenosit  v  nekuyu  "drevnyuyu  stranu"  i  adresuet  "detyam
budushchego": po suti, i pervoe, i vtoroe - ne chto inoe, kak zemnaya real'nost',
tol'ko v pervom sluchae  skovannaya  cepyami  Urizena  (voploshchennogo  v  figure
Otca), a vo vtorom - sbrosivshaya ego okovy.
        |to  odno  iz  samyh pozdnih stihotvorenij cikla, voshedshee tol'ko vo
vtoroe avtorskoe izdanie "Pesen".

                K Firce

        |to stihotvorenie bylo napisano pochti cherez desyat' let posle  "Pesen
Opyta"  (ego  datiruyut  1802-1805  gg.)  i  opiraetsya  na principial'no inuyu
filosofskuyu sistemu. Firca (ist. -  stolica  Severnogo  Carstva;  sr.  Pesn'
Pesnej,  6:  4:  "Prekrasna  ty,  vozlyublennaya  moya, kak Firca, lyubezna, kak
Ierusalim") yavlyaetsya u Blejka simvolom ploti, fizicheskoj sushchnosti  cheloveka,
v   protivopolozhnost'   Ierusalimu,   simvolu   sushchnosti   duhovnoj.  Vmesto
proslavleniya zemnyh, plotskih  radostej,  harakternogo  dlya  "Pesen  Opyta",
Blejk  s  negodovaniem  otvergaet  zakrepostivshuyu  dushu  plotskuyu  obolochku,
"sklep",  v   kotorom   tomitsya   chelovecheskij   duh.   Zdes'   ispol'zovana
perefrazirovannaya biblejskaya citata (Ioann, 2: 4: "CHto Mne i Tebe, ZHeno?") -
obrashchenie  Hrista  k materi. Vtoraya strofa yavlyaetsya szhatym izlozheniem mifa o
Grehopadenii, odnako teper' Blejk vozvrashchaetsya k kanonicheskoj ego traktovke:
chuvstvennaya lyubov'  zakrepostila  chistuyu  duhovnost',  kotoraya  byla  udelom
cheloveka  do  padeniya.  Nynche  chelovechestvo  prebyvaet  v sostoyanii duhovnoj
slepoty i gluhoty, no Hristos, iskupiv pervorodnyj greh, vernul cheloveka  ot
plotskogo,  nizmennogo na put' k vysotam duha, kotorye, po novoj Blejkovskoj
koncepcii, prevyshe vseh chuvstvennyh naslazhdenij.
        Takim obrazom, po zamechaniyu Girsha, stihotvorenie "K Firce"  yavlyaetsya
po  otnosheniyu  k  "Pesnyam  Opyta" tem zhe, chem sami "Pesni Opyta" yavlyayutsya po
otnosheniyu k "Pesnyam Nevinnosti" - razvenchaniem prezhnej filosofskoj koncepcii
i  deklaraciej  novoj,  bolee  shirokoj.  |to  stihotvorenie  stoit  v  cikle
neskol'ko  osobnyakom,  ibo  daet  predstavlenie  o  mirovozzrenii  Blejka na
sleduyushchem etape ego duhovnogo puti.

                 Uchenik

        Pervonachal'no stihotvorenie vhodilo v "Pesni  Nevinnosti").  Vidimo,
duh protesta, kotorym ono pronizano, zastavil Blejka pozdnee perenesti ego v
"Pesni Opyta", hotya ego pastoral'nye obrazy skoree tipichny dlya bolee rannego
cikla.  S drugoj storony, protivopostavlenie estestvennoj zhizni, voploshchennoj
v prirode. i  suhogo,  dogmaticheskogo,  knizhnogo  znaniya  bolee  svojstvenno
blejkovskim  vzglyadam  perioda "Pesen Opyta". Odnako po svetlomu, radostnomu
obraznomu stroyu stihotvorenie blizhe k "Pesnyam  Nevinnosti",  ya  ego  sleduet
rassmatrivat' kak "promezhutochnoe" mezhdu dvumya ciklami.

          Glas Drevnego Barda

        |to  stihotvorenie takzhe pervonachal'no vhodilo v "Pesni Nevinnosti",
no prinadlezhit v ravnoj mere oboim ciklam i sluzhit zaversheniem  vsej  knigi:
ono  primiryaet  oba  "sostoyaniya  dushi  chelovecheskoj",  ibo zaklyuchennoe v nem
prorochestvo ravno prilozhimo i k Vechnosti, i k Rayu na zemle - i k Nevinnosti,
i k Opytu  i  vyrazhaet  glavnuyu,  skvoznuyu  mysl'  obeih  ciklov:  torzhestvo
svobodnogo,  raskreposhchennogo  duha,  izbavlennogo  ot  pritvorstva i vekovyh
zabluzhdenij, kak i torzhestvo Voobrazheniya nad Razumom, vozmozhno i neizbezhno.




       Uil'yam BLEJK
       perevod S.Stepanova

       Kniga Tel'



O tom, chto v yame, rasskazhet Orel
Ili  Krot otvetit slepoj?
I Mudrost'  v serebryanom est' li zhezle,
A Lyubov'  -  v chashe zlatoj?


Tel'



Svoi stada po krugu gnali dshcheri Serafima.
Vse, krome mladshej, -  ta, blednaya, potishe ugolok
Iskala, chtob bessledno rastayat', slovno prelest' utra.
Vniz po Adone  ee stenan'ya tihie nesutsya
I, vypadaya utrennej rosoj, nishodyat dolu.

.

I Liliya  Doliny,  blagouhayushchaya v raznotrav'e,
Otvetila prekrasnoj deve: . CHto zh Tel'
                                         pechalit?
O chem vzdyhaet vozlyublennaya Tel' v dolinah Gara?>

Skazala tak ona i ulybnulas' ej skvoz' slezy.

Tel' otvechala: 



Spustilos' Oblachko, a Liliya golovku naklonila,
Vernuvshis'  k svoim delam besschetnym i zabotam.

    II

. Glavu zlatuyu Oblachko otkrylo i zablistalo, Spustivshis' s podnebes'ya pryamo k Tel'. . I Oblachko na nevesomom trone otkinulos' i tak skazalo: I CHerv' bessil'nyj vypolz i leg na listik Lilii, A Oblachko uplylo iskat' svoyu napersnicu v doline. Ill V izumlen'i smotrela Tel' na blednoe sozdan'e. . I tut malyutku uslyhala Glina, nad nim sklonilas' I mlechnym pitiem mladenca napoila. Zatem na Tel' vzglyanula, potupiv ochi. No za chto? Ne znayu ya, i znat' mne ne dano - Ponyat' pytayus', no tshchetno; zhivu ya i lyublyu>. Kraem odezhdy Doch' Krasoty uterla slezy I tak skazala: . .

    IV

Reshetku vechnyh vrat pripodnyal Privratnik strashnyj, I Tel' voshla i uvidala nevedomuyu zemlyu. Ej lozha mertvecov otkrylis', otkrylis' korni Serdec zhivushchih, trevozhashchie shevelen'em glub' - YUdol' skorbej i slez, ne znavshaya vovek ulybki, Brela ona v yudoli tuch i t'my, vnimaya Stenaniyam, i podle svezhevyrytyh mogil Prislushivalas' k golosam zemli v molchan'i, Pokuda k sobstvennoj mogile ne prishla. Prisela tam, I skorbnyj ston iz pustoty provala k nej donessya: I Deva sodrognulas', i s voplyami bezhala mest sih, Poka ne vozvratilas' bez prepon v doliny Gara.

    KONEC

THE BOOK of THEL (1789) THEL'S Motto, Does the Eagle know what is in the pit? Or wilt thou go ask the Mole: Can Wisdom be put in a silver rod? Or Love in a golden bowl?

    THEL

    I

The daughters of Mne Seraphim led round their sunny flocks. All but the youngest; she in paleness sought the secret air. To fade away like morning beauty from her mortal day: Down by the river of Adona her soft voice is heard: And thus her gentle lamentation falls like morning dew. O life of this our spring! why fades the lotus of the water? Why fade these children of the spring? born but to smile & fall. Ah! Thel is like a watry bow. and like a parting cloud. Like a reflection in a glass. like shadows in the water. Like dreams of infants. like a smile upon an infants face, Like the doves voice, like transient day, like music in the air; Ah! gentle may I lay me down, and gentle rest my head. And gentle sleep the sleep of death. and gentle hear the voice Of him that walketh in the garden in the evening time. The Lilly of the valley breathing in the humble grass Answer'd the lovely maid and said; I am a watry weed, And I am very small, and love to dwell in lowly vales; So weak, the gilded butterfly scarce perches on my head. Yet I am visited from heaven and he that smiles on all. Walks in the valley. and each morn over me spreads his hand Saying, rejoice thou humble grass, thou new-born lilly flower, Thou gentle maid of silent valleys. and of modest brooks; For thou shalt be clothed in light, and fed with morning manna: Till summers heat melts thee beside the fountains and the springs To flourish in eternal vales: then why should Thel complain, Why should the mistress of the vales of Har, utter a sigh. She ceasd & smild in tears, then sat down in her silver shrine. Thel answerd. O thou little virgin of the peaceful valley. Giving to those that cannot crave, the voiceless, the o'ertired. t6 Thy breath doth nourish the innocent lamb, he smells thy milky garments, He crops thy flowers. while thou sittest smiling in his face, Wiping his mild and meekin mouth from all contagious taints. Thy wine doth purify the golden honey, thy perfume, Which thou dost scatter on every little blade of grass Revives the milked cow, & tames the fire-breathing steed. But Thel is like a faint cloud kindled at the rising sun: I vanish from my pearly throne, and who shall find my Queen of the vales the Lilly answerd, ask the tender cloud, And it shall tell thee why it glitters in the morning sky, And why it scatters its bright beauty thro' the humid air. Descend O little cloud & hover before the eyes of Thel. The Cloud descended, and the Lilly bowd her modest head: And went to mind her numerous charge among the verdant grass.

    II.

O little Cloud the virgin said, I charge thee tell to me, Why thou complainest not when in one hour thou fade away: Then we shall seek thee but not find; ah Thel is like to thee. I pass away. yet I complain, and no one hears my voice. The Cloud then shew'd his golden head & his bright form emerg'd, Hovering and glittering on the air before the face of Thel. O virgin know'st thou not. our steeds drink of the golden springs Where Luvah doth renew his horses: look'st thou on my youth, And fearest thou because I vanish and am seen no more. Nothing remains; O maid I tell thee, when I pass away, It is to tenfold life, to love, to peace, and raptures holy: Unseen descending, weigh my light wings upon balmy flowers; And court the fair eyed dew. to take me to her shining tent; The weeping virgin, trembling kneels before the risen sun, Till we arise link'd in a golden band, and never part; But walk united, bearing food to all our tender flowers Dost thou O little Cloud? I fear that I am not like thee; For I walk through the vales of Har. and smell the sweetest flowers; But I feed not the little flowers: I hear the warbling birds, But I feed not the warbling birds. they fly and seek their food; But Thel delights in these no more because I fade away, And all shall say, without a use this shining woman liv'd, Or did she only live. to be at death the food of worms. The Cloud reclind upon his airy throne and answer'd thus. Then if thou art the food of worms. O virgin of the skies, How great thy use. how great thy blessing; every thing that lives, Lives not alone, nor for itself: fear not and I will call The weak worm from its lowly bed, and thou shalt hear its voice. Come forth worm of the silent valley, to thy pensive queen. The helpless worm arose, and sat upon the Lillys leaf, And the bright Cloud saild on, to find his partner in the vale.

    III.

Then Thel astonish'd view'd the Worm upon its dewy bed. Art thou a Worm? image of weakness. art thou but a Worm? I see thee like an infant wrapped in the Lillys leaf: Ah weep not little voice, thou can'st not speak. but thou can'st weep; Is this a Worm? I see thee lay helpless & naked: weeping, And none to answer, none to cherish thee with mothers smiles. The Clod of Clay heard the Worms voice, & raisd her pitying head; She bowd over the weeping infant, and her life exhal'd In milky fondness, then on Thel she fix'd her humble eyes. O beauty of the vales of Har. we live not for ourselves, Thou seest me the meanest thing, and so I am indeed; My bosom of itself is cold. and of itself is dark, But he that loves the lowly, pours his oil upon my head. And kisses me, and binds his nuptial bands around my breast. And says; Thou mother of my children, I have loved thee. And I have given thee a crown that none can take away But how this is sweet maid, I know not, and I cannot know, I ponder, and I cannot ponder; yet I live and love. The daughter of beauty wip'd her pitying tears with her white veil, And said. Alas! I knew not this, and therefore did I weep: That God would love a Worm I knew, and punish the evil foot That wilful, bruis'd its helpless form: but that he cherish'd it With milk and oil, I never knew; and therefore did I weep, And I complaind in the mild air, because I fade away, And lay me down in thy cold bed, and leave my shining lot. Queen of the vales, the matron Clay answerd; I heard thy sighs. And all thy moans flew o'er my roof. but I have call'd them down: Wilt thou O Queen enter my house. 'tis given thee to enter, And to return; fear nothing. enter with thy virgin feet.

    IV.

The eternal gates terrific porter lifted the northern bar: Thel enter'd in & saw the secrets of the land unknown; She saw the couches of the dead, & where the fibrous roots Of every heart on earth infixes deep its restless twists: A land of sorrows & of tears where never smile was seen. She wanderd in the land of clouds thro' valleys dark, listning Dolours & lamentations: waiting oft beside a dewy grave She stood in silence. listning to the voices of the ground, Till to her own grave plot she came, & there she sat down. And heard this voice of sorrow breathed from the hollow pit. Why cannot the Ear be closed to its own destruction? Or the glistning Eye to the poison of a smile! Why are Eyelids stord with arrows ready drawn, Where a thousand fighting men in ambush lie? Or an Eye of gifts & graces, show'ring fruits & coined gold! Why a Tongue impress'd with honey from every wind? Why an Ear, a whirlpool fierce to draw creations in? Why a Nostril wide inhaling terror trembling & affright. Why a tender curb upon the youthful burning boy! t7 Why a little curtain of flesh on the bed of our desire? The Virgin started from her seat, & with a shriek. Fled back unhinderd till she came into the vales of Har The End

    * KOMMENTARII *

    KNIGA T|LX

"Kniga Tel'" - vtoraya iz "prorocheskih poem" Blejka (ej predshestvoval tol'ko "Tiriel'"). "Kniga Tel'" byla zavershena i nagravirovana v 1789 godu i otnositsya k periodu, "promezhutochnomu" mezhdu "Pesnyami Nevinnosti" i "Pesnyami Opyta". Tel' - odin iz pervyh "emblematicheskih personazhej" Blejka, simvoliziruyushchij chistuyu dushu, "Neopytnuyu Nevinnost'", kotoraya, s odnoj storony, tyagotitsya svoej neopytnost'yu, a s drugoj - ne v silah vosprinyat' Opyt i v uzhase bezhit ot nego. Deviz Tel' - dve pary obrazov etogo chetverostishiya zadayut dve osnovnye temy povestvovaniya: Orel simvoliziruet nebesnoe (Nevinnost'), Krot - zemnoe (Opyt); zhezl i chasha oboznachayut muzhskoe i zhenskoe nachala i odnovremenno chuvstvennuyu lyubov'. Adena - vidimo, imeetsya v vidu reka Adonis, upomyanutaya v "Poteryannom Rae" Mil'tona. Poliny Gara. - blejkovskij pastoral'nyj mir, carstvo Nevinnosti, yavlyayushcheesya "sootvetstviem" miru nebesnomu. Ego otlichie ot mira "Pesen Nevinnosti" zaklyuchaetsya v tom, chto zdes' carstvuet neponyatnaya dlya Tel' chuvstvennaya lyubov' (o kotoroj govoryat Oblachko i Glina), i v celom etot mir, gde kazhdomu otvedena svoya, estestvennaya rol', gde vse obrecheno na konechnoe umiranie, po-svoemu blizok k "naturalisticheskomu" miru "Pesen Opyta", Gar i Heva - "emblematicheskie personazhi", oboznachayushchie praroditelej roda chelovecheskogo; poyavlyayutsya eshche v "Tiriele". Liliya i Glina, (sr. obrazy v "Pesnyah Opyta") - oboznachayut "Opytnuyu Nevinnost'", bolee blizkuyu Blejku v etot period, chem nevinnost' Tel'. CHisto "zemnaya" sushchnost' etih personazhej lishnij raz podcherkivaet dvizhenie Blejka k "naturalisticheskomu" mirovozzreniyu. Luva - v blejkovskoj mifologii - vtoroj Zoa, simvoliziruyushchij chuvstvennoe i emocional'noe v cheloveke. Zachem ne v silah... - rech' zdes' idet o pyati chuvstvah, v odnom ryadu s kotorymi postavlena plotskaya lyubov'; Blejk podcherkivaet, chto tol'ko raskreposhchenie chuvstv i lyubvi mozhet privesti k istinnoj, dopolnennoj Opytom duhovnosti, bolee glubokoj, chem ta, kotoraya sushchestvuet v idillicheskih dolinah Gara.

    * The Marriage of Heaven & Hell *

Brakosochetanie Neba i Ada perevod S.Stepanova

    PREDVARENIE

Rintra rychit, mechet molnii v nebe navisshem; Alchnye tuchi klokochut v puchine. Nekogda krotkij, opasnym putem SHel pravednik Dolinoyu smerti. Rozy posazheny v ternie, Pchely poyut Na opustoshennoj zemle. Vot put' opasnyj i ozhil; B'yut klyuchi Iz-pod kamnej i nadgrobij, Belye kosti Obrosli aloyu perst'yu. Zlodej ostavil pokoya puti, CHtob opasnymi shestvovat', Vverg pravednika v opustoshennye zemli. Nyne aspid kovarnyj Prebyvaet v smiren'i, Pravednik zhe vopiet po pustynyam, Gde obitalishche l'vov. Rintra rychit, mechet molnii v nebe navisshem; Alchnye tuchi klokochut v puchin>. I kak yavleno novoe nebo, tomu uzhe tridcat' tri goda, vosstal Vechnyj Ad. Vot i Svedenborg sidit, aki Angel u groba, v svitkah svoih sochinenij, aki v holstine. Dnes' gospodstvo Edoma i vosstanovlen'e Adama v Edeme. Smotri Knigu proroka Isaii, gl. XXXIV, XXXV. V otsutstvie Protivopolozhnostej nikakogo dvizheniya net. Prityazhenie i Ottalkivanie, Rassudok i |nergiya, Lyubov' i Nenavist' nasushchny bytiyu CHeloveka. Vse to, chto imenuyut chtushchie religiyu Dobrom i Zlom, iz sih proistekaet. Dobro bezvol'no - im pomykaet Rassudok. Zlo zhe alchno i proistekaet iz |nergii. Dobro - Nebo. Zlo - Ad.

    GLAS DIAVOLA

Vse Biblii, t. e. svody svyashchennyh pisanij, sut' pervovoprichina sleduyushchih zabluzhdenij: 1. CHto CHeloveku prisushchi dva nachala, a imenno: telo i Dusha. 2. CHto |nergiya, imenuemaya Zlom, edinstvenno ot Tela; Rassudok zhe, imenuemyj Dobrom, edinstvenno iz Dushi. 3. CHto Gospod' obrechet CHeloveka na Vechnye Muki, ibo sej ustupaet svoim |nergiyam. V to vremya kak Istina kak raz v Protivopolozhnom: 1. Net CHeloveku Tela otdel'no ot Dushi ego; ibo imenuemoe Telom est' chastica Dushi, otlichennaya pyat'yu CHuvstvami, vratami Dushi v veke sem. 2. |nergiya i est' edinstvenno zhizn', i est' ot Tela; Rassudok zhe est' |nergii verv'e i privhodyashchee. 3. |nergiya est' Vechnoe Blazhenstvo. Kto ugnetaet ZHelan'e spravlyaetsya tol'ko so slabym; Ugnetatel' zhe, t. e. Rassudok, beret vlast' i pravit bezvol'nym. A podavlennoe, malo-pomalu chahnet ono, pokuda ne stanet ten'yu ZHelan'ya. Sie povestvuet , gde Vladyka, t.e. Rassudok, naimenovan Messiej. A pervorodnyj Arhangel, arhistratig Nebesnogo voinstva, naimenovan Diavolom, t. e. Satanoj; deti zhe ego - Grehom i Smert'yu. Odnako zhe v Knige Iova mil'tonov Messiya naimenovan Satanoj. Vot pochemu Kniga Iova byla prinyata obeimi partiyami. V samom dele. Rassudok vidit: kak budto by ZHelan'e i posramleno; Diavol zhe tolkuet, chto pal Messiya, Nebo zhe sotvoril on iz togo, chto ukral iz Preispodnej. Tak skazano v Evangelie, gde Messiya molit Otca poslat' Uteshitelya, t. e. ZHelan'e, daby mog Rassudok operet'sya na Voobrazhenie; biblejskij zhe Iegova ne kto inoj, kak Messiya, prebyvayushchij v Geenne Ognennoj. Tak chto posle smerti Hrista Messiya stal Iegovoj. A po Mil'tonu Otec est' Neizbezhnost', Syn - Racio pyati chuvstv. Duh zhe Svyatoj - Vakuum! DOBAVLENIE: Prichina, po kotoroj Mil'ton pisal ves'ma sderzhanno o Boge i ob Angelah i ves'ma svobodno ob Ade i o Diavole, zaklyuchaetsya v tom, chto byl on istinnym Poetom i, sam togo ne vedaya, prinadlezhal partii Diavola.

    DOSTOPAMYATNOE VIDENIE

Progulivayas' mezh yazykov Adskogo plameni i vkushaya naslazhdeniya Geniya, koi Angely pochitayut za smertnuyu muku i bezum'e, sobiral ya Adskie Pritchi; polagaya, chto skol' recheniya naroda otrazhayut ego nrav, stol' zhe Pritchi Ada ukazuyut sushchnost' Diavol'skoj premudrosti, i kuda luchshe, nezheli opisan'e kostyumov i sluzhb. Prishedshi v sebya, t. e. v puchinu pyati chuvstv, gde hmuryj utes navisaet nad mirom sim, uvidel ya okutannogo chernymi tuchami mogushchestvennogo Diavola paryashchim u otvesnoj steny; zhguchimi molniyami on vytravlival nadpis', dnes' postignutuyu i prochitannuyu chelovekami na zemle:

    PRITCHI ADA

K poru seva vnimaj, v zhatvu nastavlyaj, zimoyu blazhenstvuj. Telegu i plug vedi po kostyam mertvyh. Tropa izlishestva vedet v chertogi mudrosti. Blagorazumie - debelaya vzdornaya staraya deva, poyataya Bessiliem. Vozzhelav i ne sdelav, razvodish' chumu. CHerv' rassechennyj plug ne klyanet. Topi v reke vzalkavshego vody. Glupec sledit inoe drevo, nezheli mudrec. CHej lik ne tochit sveta, tomu zvezdoj ne stat'. Plody brennogo vozlyubleny Vechnost'yu. Rabochej pchele gorevat' nedosug. Vek gluposti otmeryayut chasy, veka zhe mudrosti nikakimi chasami ne izmerit'. Zdorovuyu pishchu berut bez tenet i kapkana. V golodnyj god plyun' na meru, chislo i ves. Pet takoj pticy, chtob svoim krylom izlishne vosparila. Mertvyj ne mstit. Verh velichiya - priznat' drugogo vyshe. Stoj na svoem bezumii glupec - i stal by mudrecom. Plashch plutnej - prostota. Smiren'e - plashch gordyni. Tyur'my stoyat na skrizhalyah Zakona, bludilishcha - na dogmatah Very. Samovlyublennost' pavlina - slava Gospoda. Pohot' kozla - shchedrost' Gospoda. YArost' l'va - mudrost' Gospoda. Nagota zheny - tvoren'e Gospoda. Izlishek gorya smeetsya. Izlishek radosti plachet. L'vinyj ryk, volchij voj, yarost' voln i razyashchij mech sut' tolika vechnosti, koyu ne emlet zrak chelovekov celikom. Lisa klyanet kapkan, a ne sebya. Radosti plodotvoryat. Goresti rozhdayut. Muzhu l'vinaya shkura, zhene ovech'e runo. Ptice gnezdo, pauku teneta, cheloveku druzhba. Predvzyatyj ulybchivyj glupec i mrachnyj nahmurennyj glupec pokazhutsya ravno mudry, predstan' oni bichom Gospodnim. Dnes' ochevidnoe vchera tol'ko mnilos'. Krysa, mysh', lisa i krolik zhdut kornevishcha; lev, tigr, kon' i slon dozhidayut plodov. Vodoem priemlet, istochnik izvergaet. Odna mysl' zapolnyaet beskonechnost'. Vsegda bud' iskrenen - podlec obojdet storonoj. Vse, vo chto mozhno poverit' - obraz istiny. Lish' popustu orel potratit vremya, poshli ego uchit'sya u vorony. Lisa prigotovlyaet korm sama, l'vu zhe - Gospod'. Dumaj s utra. Vershi dnem. Esh' vvecheru. Spi v noch'. Kto pozvolyaet sebya naduvat', naduvaet tebya. Skol' plug sleduet slovu, stol' Gospod' vnemlet molitve. Tigry gneva mudree mulov nastavleniya. ZHdi otravy v stoyachej vode. Ne znaya izbytka - i mery ne znat'. Glupec tebe penyaet - slushaj! Se korolevskaya chest'! Ochesa ognya, nozdri vozduha, usta vody, boroda zemli. Slabyj muzhestvom na hitrosti gorazd. Ne ishchet yablon' buka, kak cvesti, ni lev konya, kak brat' dobychu. Blagodarnyj vozdaet storicej. Izbegni gluposti drugie - my sami vpali by v nee. Dushi chistejshih naslazhdenij nichem ne zamarat'. Sledya polet orla, emlesh' toliku Geniya; podymi lice tvoe! Kak gusenica dlya yaichek ishchet list poluchshe, tak i svyashchennik dlya proklyatij ishchet luchshih iz uslad. Daby sotvorit' i malyj cvetok potreben trud vekov. Proklyatie ukreplyaet. Blagoslovenie rasslablyaet. Vino cenitsya vyderzhkoj, voda - svezhest'yu. Molitvy ne pashut! Gimny ne zhnut! Radosti ne smeyutsya! Goresti ne plachut! Golova - Velichie, serdce - Sostradanie, chresla - Krasota, ruki i nogi - Garmoniya. CHto vozduh ptice, volny rybe - to i prezrenie prezrennym. CHernyj mir vorone lyub - sove zhe belyj lyub. Strast' prekrasna! I lev by stal lukav, poslushaj on lisu. Uchen'e uravnivaet puti; Genij zhe idet krivymi putyami, kak oni est'. Udavi luchshe ditya v kolybeli, no ne davi zhelanij svoih. Gde cheloveka net. Priroda besplodna. Ne vnemlyut istine, pokuda ne poveryat. znachit . Drevnie poety oduhotvoryali oshchushchaemyj mir, vselyaya v nego Bogov, t. e. Geniev, davali im imena, pripisyvali im kachestva lesov, rek, gor, ozer, gorodov, narodov i vsego togo, chto mogli oni razlichit' vo mnozhestve utonchennyh svoih oshchushchenij. I osobo staralis' oni, chtoby kazhdyj gorod, kazhdaya derevnya imeli svoego Geniya, predostavlyaya im pokrovitel'stvo sobstvennogo Duhovnogo Bozhestva. Tak slozhilas' Sistema, iz kotoroj nekotorye izvlekli vygodu: oni porabotili chern', pridav samosushchnost' Duhovnym Bozhestvam, ot®yav sii ot ih ob®ektivnoj osnovy - otsyuda, pocherpnuv svyashchennye tainstva iz poeticheskih skazanij, poshlo Svyashchenstvo. V konce zhe koncov, oni vozvestili, chto tak zapovedali Bogi. Vot kak lyudi zabyli, chto vse Bozhestva gnezdyatsya v grudi chelovecheskoj.

    DOSTOPAMYATNOE VIDENIE

Proroki Isaiya i Iezekiil' trapezovali so mnoj; i voprosil ya ih, kak mogli oni tak bezogovorochno utverzhdat', chto imenno Bog govoril im; i ne poseshchali li ih somneniya, chto nepravil'no ponyatye posluzhat oni prichinoyu obmana. Isaiya otvetil: . Togda ya sprosil: On otvetil: . Tut vmeshalsya Iezekiil': Slushal ya i divilsya, ibo priznal v etom svoi sobstvennye ubezhden'ya. Posle trapezy prosil ya Isaiyu oblagodetel'stvovat' mir utrachennymi svoimi pisan'yami; on skazal, chto nichto vazhnoe ne utracheno. I to zhe samoe skazal Iezekiil' o svoih. I sprosil ya Isaiyu, chto pobudilo ego tri goda hodit' nagim i bosym. On otvetil: . I sprosil ya Iezekiilya, otchego on el navoz i lezhal stol' dolgo na pravom i na levom boku. On otvetil: . Kak slyhal ya v Adu, drevnee prorochestvo, chto po proshestvii shesti tysyach let mir sej pozhretsya ognem, istinno. Ibo Angelu s mechom ognennym uzhe vedeno ostavit' strazhu u dreva zhizni; i kak svershitsya sie, pozhretsya vse tvorenie i yavitsya beskonechnym i svyashchennym, kak nyne razvrashcheno ono i konechno. Pridet zhe sie chrez ochishchenie chuvstvennyh naslazhdenij. No sperva nuzhno izbavit'sya ot samoj mysli, chto est' cheloveku telo otdel'no ot dushi ego; i sie sdelayu ya sam, pechataya sataninskim sposobom s pomoshch'yu kislot, koi v Adu celebny i blagotvorny, rastvoryaya vneshnie pokrovy, obnazhaya potaennoe beskonechnoe. Esli b raschishcheny byli vrata vospriyatiya, vsyakoe predstalo by cheloveku, kak ono est' - beskonechnym. Ibo chelovek zamuroval sebya tak, chto vidit vse chrez uzkie shcheli peshchery svoej.

    DOSTOPAMYATNOE VIDENIE

Byl ya v Adskoj Pechatne i videl sposob, koim znaniya peredayutsya iz pokoleniya v pokolenie. V pervoj peshchere CHelovek-Drakon udalyal pustuyu porodu ot vhoda; vnutri zhe neskol'ko Drakonov dol6ili steny. Vo vtoroj peshchere byl Zmej, obvivshijsya vkrug skaly, i prochie zmei ukrashali ee zlatom i serebrom, i dorogimi kamen'yami. V tret'ej peshchere byl Orel s kryl'yami i per'yami vozduha; vnutrennost' peshchery zastavlyal on byt' beskonechnoyu. Vokrug zhe Lyudi-Orly vysekali chertogi v ogromnyh utesah. V chetvertoj peshchere L'vy Geenny Ognennoj metalis' krugom i plavili metally v tekuchie zhidkosti. V pyatoj peshchere Bezymyannye tvari otlivali metallicheckie listy. Zatem listy popadali k Lyudyam, zanimavshim shestuyu peshcheru, i prevrashchalis' v knigi, i rashodilis' po bibliotekam. Giganty, osnovavshie mir sej v ego chuvstvennom bytii i yakoby nyne prebyvayushchie v okovah, sut' istinnye prichiny zhizni mira sego i sut' istochniki vsyakogo deyan'ya; okovy zhe sut' ulovki slabyh i pokornyh, koim dostalo sily protivit'sya energii. Soglasno pritche - slabyj muzhestvom na hitrosti gorazd. Tak odna storona bytiya est' ZHivotvoren'e, drugaya zhe Pozhran'e. Pozhiratelyu predstavlyaetsya, chto tvorec yakoby prebyval v okovah svoih; no eto ne tak - sej lish' prinimaet toliku bytiya za celoe. Ved' ZHivotvoren'e ne bylo b takovym bez Pozhiratelya, kotoryj, kak more, pogloshchaet izbytok naslazhdenij. Skazhut: Otvechu: . |ti dve kategorii lyudej vsegda prisutstvuyut v mire sem, i vsegda im dolzhno vrazhdovat': kto zhe pytaetsya primirit' ih, ishchet gibeli sushchego. Religiya i est' takaya popytka. DOBAVLENIE: Iisus Hristos ne zhelal ob®edinit' ih, no razdelit', kak v pritche ob agncah i kozlishchah! On govorit: . Messiya, sirech' Satana, ili Iskusitel', ot veku pochitalsya odnoyu iz pervoosnov, koi sut' nashi |nergii.

    DOSTOPAMYATNOE VIDENIE

Pristupil ko mne Angel i vozopil: . YA skazal: . I povel on menya v hlev, ottuda v cerkov', potom soshli my v sklep i tam dobralis' do mel'nicy. Projdya zhe cherez mel'nicu, okazalis' my v peshchere. Vniz po izvilistomu podzemel'yu nashchupyvali my nash kamenistyj put', poka ne otkrylas' pod nami pustota, beskrajnyaya, kak dol'nee nebo; ucepilis' my za korni derev'ev i povisli nad bezdnoj. I skazal ya: . A on otvetil: . I ostalsya ya s nim, povisnuv na koryavom korne duba. A on ucepilsya za poganku, kotoraya rosla shlyapkoyu v bezdnu. Malo-pomalu rassmotreli my beskonechnuyu Preispodnyuyu, klokochushchuyu, kak dym nad pylayushchim gorodom; beskonechno daleko pod nami bylo solnce, chernoe, no siyayushchee; vokrug nego byli natyanuty pylayushchie kanaty, po kotorym polzali ogromnye pauki v poiskah dobychi, kotoraya letala ili, skoree, plavala v bezdne, v vide samyh uzhasnyh tvarej, ischadij razvrata; i vozduh kishel imi, i, kazalos', celikom sostoit iz nih - to byli Diavoly, imenuemye Silami Nebesnymi. Tut ya sprosil sputnika moego - kakov zhe moj vechnyj zhrebij? On otvetil: . I tut v tuche mezh chernym i belym paukom udarila molniya i progrohotala bezdnoyu, zavolakivaya mrakom vse pod nami; i dno puchiny pochernelo, kak more, i so strashnym grohotom svernulos'. Nichego vnizu ne bylo vidno - lish' chernyj smerch, poka ne uvidali my mezh tuch, klubyashchihsya na Vostoke, potok krovi vperemeshku s ognem; i v neskol'kih broskah kamnya ot nas pokazalos' i pogruzilos' snova cheshujchatoe kol'co chudovishchnogo zmeya. Nakonec na rasstoyanii treh kolen ego k vostoku pokazalsya nad volnami ognennyj greben'. Medlenno podnimalsya on, slovno gryada skal, poka ne uvidali my dva krovavoognennyh oka, ot kotoryh rashodilis' volny v klubah dyma; i stalo yasno nam, chto sie golova Leviafana. Lob ego byl issechen zelenymi i purpurnymi polosami, kak lob tigra. Vskore my uvideli past' ego i krasnye zhabry, pokazavshiesya pryamo iz klokochushchej peny, izlivavshie potoki krovi v chernuyu bezdnu i ustremivshiesya k nam so vsej yarostiyu Duhovnogo Bytiya. Moj sputnik Angel pospeshno vskarabkalsya obratno na mel'nicu; ya ostalsya odin, i videnie bol'she ne vozobnovlyalos'; no okazalsya ya sidyashchim na tihom beregu reki v lunnom svete, vnimayushchim arfistu, pevshemu pod akkompanement arfy vot chto: . Po podnyalsya ya i razyskal mel'nicu; tam obnaruzhil ya moego Angela, kotoryj s udivleniem osvedomilsya kak eto ya ucelel. YA otvetil: Angel tol'ko posmeyalsya moemu predlozheniyu; togda siloyu obhvatil ya ego i poletel na zapad skvoz' t'mu, poka ne podnyalis' my vyshe zemnoj teni, zatem ya brosilsya vmeste s nim pryamo v kipyashchee solnce. Zdes' oblachilsya ya v beloe i, vlozhiv v dlan' svoyu toma Svedenborga, pokinul siyayushchuyu stranu, i minoval vse planety, vplot' do Saturna. Zdes' peredohnul ya, a potom ustremilsya v pustotu mezh Saturnom i nepodvizhnymi zvezdami. YA skazal: . Vskore my uvideli hlev i cerkov', podvel ya ego k altaryu, raskryl Bibliyu, i - o chudo! - otkrylos' glubokoe podzemel'e, v kotoroe soshel ya, tolkaya Angela vperedi sebya. Vskore my uvideli sem' kirpichnyh domov. V odin iz nih my voshli; tam bylo mnozhestvo martyshek, pavianov i prochih obez'yan, sidevshih na cepi; oni skalilis' i rvalis' drug k drugu, no korotkie cepi ne puskali ih. Nesmotrya na eto, ya zametil, chto vremenami ih stanovilos' bol'she - togda sil'nye hvatali slabyh i s oskalennymi rozhami snachala sovokuplyalis' s nimi, a zatem pozhirali ih, otryvaya snachala odnu konechnost', potom druguyu, poka telo ne stanovilos' bespomoshchnym obrubkom. Skalyas' i celuya ego s pritvornoj nezhnost'yu, oni pozhirali i eto; i krugom videl ya obgladyvayushchih s zhadnost'yu svoi sobstvennye hvosty. Tak kak stoyalo zlovonie, nevynosimoe nam oboim, vernulis' my na mel'nicu; ya zhe prihvatil s soboyu skelet, okazavshijsya, kak vyyasnilos', aristotelevoj . Angel skazal: . YA otvetil: .

    RAZDOR - VOT ISTINNAYA DRUZHBA.

Splosh' i ryadom vizhu ya, chto Angely iz tshcheslaviya govoryat o sebe kak o Edinstvenno Mudryh. Delayut oni eto s samonadeyannoj naglost'yu, proistekayushchej ot sistematicheskih mudrstvovanij. Tak i Svedenborg pohvalyaetsya, chto ego sochineniya sut' otkrovenie; v to vremya kak oni sut' perezhevyvanie davno izvestnyh knig. Nekij chelovek vodil napokaz obez'yanu - i buduchi nemnogim umnee ee, vozomnil o sebe i pochel sebya semi pyadej vo lbu. Tochno tak i Svedenborg: on bichuet poroki v cerkvyah, vystavlyaet napokaz licemerov - da tol'ko mnit on o sebe, chto vse sut' religiyu chtushchie, a on - edinstvennyj na zemle, vyrvavshijsya iz tenet. Vo-pervyh, Svedenborg ne napisal nichego novogo. A vo-vtoryh, on povtoril vsyu staruyu lozh'. I vot pochemu: Svedenborg besedoval s Angelami, kotorye vse splosh' religiyu chtut, no ne besedoval s Diavolami, kotorye vse kak odin religiyu nenavidyat, ibo okazalsya on bessil'nym v silu svoego samomneniya. Tak chto svedenborgovy sochineniya sut' svod vsyacheskih poverhnostnyh suzhdenij, dopolnennyj analizom naibolee vydayushchihsya - i ne bolee togo. I vot eshche chto: lyuboj borzopisec mozhet sostryapat' iz sochinenij Paracel'sa ili YAkoba Bºme desyat' tysyach tomov ravnoj cennosti so svedenborgovymi, a iz sochinenij Dante ili SHekspira - beschislennoe mnozhestvo. No, sovershiv sie, da ne pohvalyaetsya on, chto znaet bol'she uchitelej svoih, ibo zhzhet on svechi na solnce.

    DOSTOPAMYATNOE VIDENIE

Odnazhdy uvidel ya ob®yatogo plamenem Diavola, kotoryj predstoyal Angelu, vossedavshemu na oblake; i govoril Diavol: . Vnimavshij semu Angel snachala posinel, zatem, sovladav s soboyu, pozheltel, nakonec pobelel, porozovel - i s ulybkoyu otvetil: Diavol otvetil: . Poka on tak govoril, ya uvidel, kak Angel, raspraviv kryla, obnyal plamya i byl pozhran, i voznessya, kak Iliya. DOBAVLENIE: Sej Angel, stavshij nyne Diavolom, moj zakadychnyj drug. I chasto vmeste my tolkuem Bibliyu v ee infernal'nom, sirech' diavol'skom, smysle, kotoryj otkroetsya lyudyam, esli zasluzhat oni togo. Est' u menya i Bibliya Ada, kotoruyu poluchat lyudi, hotyat oni togo ili net. Volu i l'vu zakon edin - Nasil'e.

    PESNX SVOBODY

1. Vozopila ZHena Vechnaya! Slyshno po vsej Zemle. 2. Bolen breg Al'biona, bezmolven; luga Ameriki vyanut! 3. V ozerah i rekah vstayut teni prorochestv - grohochut za okean: temnicu, Franciya, rush'! 4. Zlataya Ispaniya, smeti prepony vethogo Rima! 5. Bros' klyuchi svoi, Rim, pryamo v bezdnu, v bezdnu na samoe dno! 6. I vosplach'! 7. Novoyavlennyj uzhas, rychashchij, v dlani grozyashchej eya. 8. Nad gorami beskrajnimi sveta, tam za Atlantikoj, novoyavlennyj ogn' predstal Knyazyu Zvezd! 9. Snezhnobrov, grozen likom, rasproster nad puchinoj svoi vezdesushchie kryl'ya. 10. Vspyhnula v nebe desnica s kop'em, shchit otstavlen; mezhdu ognennyh igl yavilas' dlan' mesti, novoyavlennoe chudo izvergla v zvezdnuyu t'mu. 11. Molnii, molnii mechet! 12. V nebo, v nebo glyadi! O londonskij zhitel', krepis'! Bros', Iudej, svoe zlato! Vorotis' k vinu i eleyu! O Afrikanec! O chernyj! (Sojdi, krylataya mysl', chelo ego ukrepi.) 13. Molnii-dlani, igly ognya, kak sevshee solnce v zapadnoe more. 14. Vosstav ot vechnogo sna, izlilas' pervostihiya. 15, Poverzhen revnivyj korol', kryl'yami bil on votshche; ego sedobrovye starcy, gromoboi-voiteli, namorshchennye soratniki smeshalis' sred' shlemov, shchitov, kolesnic i konej, slonov i znamen, ukreplenij, prashchej i kamnej. 16. Poverzheny, gibnut, begut! Pogrebeny pod ruinami, tonut v peshcherah Urtony; 17. Vsya t'ma pod ruinami; ih zloveshchee plamya ugaslo, stoyat vkrug poblekshego korolya. 18. V ogne i grohote, vyvodya svoe zvezdnoe voinstvo opustoshennoj zemlej, otdaet svoi desyat' prikazov, sverkaya ochami nad bezdnoj v strahe kromeshnom. 19. Gde s vostoka syn plameni v oblake svetlom, poka utro chistit per'ya zlatye svoi, 20. Ispeshchrennye proklyat'yami tuchi rvet v kloch'ya, vo prah topchet skrizhali zakona, vechnyh konej vypuskaya iz logova t'my, provozglashaya:

    IMPERII BOLXSHE NET!

Hor: Net bole ni hriplyh proklyatij chernyh Svyashchennikov Vrana zari synov'yam naslazhden'ya! Ni ego mnogochislennoj bratii, koyu narek on svobodnoyu - verv'e vyazat' i svody vozvest'. Ni zhalkih cerkovnyh zapretov, imenuyushchih devstvennymi teh, kto vozzhelal i ne sdelal!

    IBO VSE ZHIVOE SVYASHCHENNO!

THE MARRIAGE of HEAVEN and HELL The Argument. Rintrah roars & shakes his fires in the Hungry clouds swag on the deep Once meek, and in a perilous path, The just man kept his course along The vale of death. Roses are planted where thorns grow. And on the barren heath Sing the honey bees. Then the perilous path was planted: And a river, and a spring On every cliff and tomb; And on the bleached bones Red clay brought forth. Till the villain left the paths of ease, To walk in perilous paths, and drive The just man into barren climes. Now the sneaking serpent walks In mild humility. And the just man rages in the wilds Where lions roam. Rintrah roars & shakes his fires in the Hungry clouds swag on the deep. ____________________________________________ As a new heaven is begun, and it is now thirty-three years since its advent: the Eternal Hell revives. And lo! Swedenborg is the Angel sitting at the tomb; his writings are the linen clothes folded up. Now is the dominion of Edom, & the return of Adam into Paradise; see Isaiah XXXIV & XXXV Chap: Without Contraries is no progression. Attraction and Repulsion, Reason and Energy, Love and Hate, are necessary to Human existence. From these contraries spring what the religious call Good & Evil. Good is the passive that obeys Reason[.] Evil is the active springing from Energy. Good is Heaven. Evil is Hell. The voice of the Devil All Bibles or sacred codes. have been the causes of the following Errors. 1. That Man has two real existing principles Viz: a Body & a Soul. 2 That Energy. calld Evil. is alone from the Body. & that Reason. calld Good. is alone from the Soul. 3. That God will torment Man in Eternity for following his Energies. But the following Contraries to these are True 1 Man has no Body distinct from his Soul for that calld Body is a portion of Soul discernd by the five Senses. the chief inlets of Soul in this age 2. Energy is the only life and is from the Body and Reason is the bound or outward circumference of Energy. 3 Energy is Eternal Delight Those who restrain desire, do so because theirs is weak enough to be restrained; and the restrainer or reason usurps its place & governs the unwilling. And being restraind it by degrees becomes passive till it is only the shadow of desire. The history of this is written in Paradise Lost. & the Governor or Reason is call'd Messiah. And the original Archangel or possessor of the command of the heavenly host, is calld the Devil or Satan and his children are call'd Sin & Death But in the Book of Job Miltons Messiah is call'd Satan. For this history has been adopted by both parties It indeed appear'd to Reason as if Desire was cast out. but the Devils account is, that the Messiah fell. & formed a heaven of what he stole from the Abyss This is shewn in the Gospel, where he prays to the Father to send the comforter or Desire that Reason may have Ideas to build on, the Jehovah of the Bible being no other than he, who dwells in flaming fire. Know that after Christs death, he became Jehovah. But in Milton; the Father is Destiny, the Son, a Ratio of the five senses. & the Holy-ghost, Vacuum! Note. The reason Milton wrote in fetters when he wrote of Angels & God, and at liberty when of Devils & Hell, is because he was a true Poet and of the Devils party without knowing it A Memorable Fancy. As I was walking among the fires of hell, delighted with the enjoyments of Genius; which to Angels look like torment and insanity. I collected some of their Proverbs: thinking that as the sayings used in a nation, mark its character, so the Proverbs of Hell, shew the nature of Infernal wisdom better than any description of buildings or garments. When I came home; on the abyss of the five senses, where a flat sided steep frowns over the present world. I saw a mighty Devil folded in black clouds, hovering on the sides of the rock, with corroding fires he wrote the following sentence now percieved by the minds of men, & read by them on earth. How do you know but ev'ry Bird that cuts the airy way, Is an immense world of delight, clos'd by your senses five? Proverbs of Hell. In seed time learn, in harvest teach, in winter enjoy. Drive your cart and your plow over the bones of the dead. The road of excess leads to the palace of wisdom. Prudence is a rich ugly old maid courted by Incapacity. He who desires but acts not, breeds pestilence. The cut worm forgives the plow. Dip him in the river who loves water. A fool sees not the same tree that a wise man sees. He whose face gives no light, shall never become a star. Eternity is in love with the productions of time. The busy bee has no time for sorrow. The hours of folly are measur'd by the clock, but of wisdom: no measure. All wholsom food is caught without a net or a trap. Bring out number weight & measure in a year of dearth. No bird soars too high. if he soars with his own wings. A dead body. revenges not injuries. The most sublime act is to set another before you. If the fool would persist in his folly he would become wise Folly is the cloke of knavery. Shame is Prides cloke. Prisons are built with stones of Law, Brothels with bricks of The pride of the peacock is the glory of God. The lust of the goat is the bounty of God. The wrath of the lion is the wisdom of God. The nakedness of woman is the work of God. Excess of sorrow laughs. Excess of joy weeps. The roaring of lions, the howling of wolves, the raging of the stormy sea, and the destructive sword. are portions of eternity too great for the eye of man. The fox condemns the trap, not himself. Joys impregnate. Sorrows bring forth. Let man wear the fell of the lion. woman the fleece of the sheep. The bird a nest, the spider a web, man friendship. The selfish smiling fool. & the sullen frowning fool shall be both thought wise. that they may be a rod. What is now proved was once, only imagin'd. The rat, the mouse, the fox, the rabbet; watch the roots, the the horse, the elephant, watch the fruits. The cistern contains: the fountain overflows One thought. fills immensity. Always be ready to speak your mind, and a base man will avoid you. Every thing possible to be believ'd is an image of truth. The eagle never lost so much time, as when he submitted to learn The fox provides for himself. but God provides for the lion. Think in the morning, Act in the noon, Eat in the evening, Sleep He who has sufferd you to impose on him knows you. As the plow follows words, so God rewards prayers. The tygers of wrath are wiser than the horses of instruction Expect poison from the standing water. You never know what is enough unless you know what is more than Listen to the fools reproach! it is a kingly title! The eyes of fire, the nostrils of air, the mouth of water, the The weak in courage is strong in cunning. The apple tree never asks the beech how he shall grow, nor the how he shall take his prey. The thankful reciever bears a plentiful harvest. If others had not been foolish. we should be so. The soul of sweet delight. can never be defil'd, When thou seest an Eagle, thou seest a portion of Genius lift up As the catterpiller chooses the fairest leaves to lay her eggs on, lays his curse on the fairest joys. To create a little flower is the labour of ages. Damn. braces: Bless relaxes. The best wine is the oldest. the best water the newest. Prayers plow not! Praises reap not! Joys laugh not! Sorrows weep not! The head Sublime, the heart Pathos, the genitals Beauty, the hands Proportion. As the air to a bird or the sea to a fish, so is contempt to the The crow wish'd every thing was black, the owl, that every thing Exuberance is Beauty. If the lion was advised by the fox. he would be cunning. Improvement makes strait roads, but the crooked roads without Improvement, are roads of Genius. t148 Sooner murder an infant in its cradle than nurse unacted desires Where man is not nature is barren. Truth can never be told so as to be understood, and not be Enough! or Too much The ancient Poets animated all sensible objects with Gods or Geniuses calling them by the names and adorning them with the properties of woods, rivers, mountains, lakes, cities, nations, and whatever their enlarged & numerous senses could percieve. And particularly they studied the genius of each city & country. placing it under its mental deity. Till a system was formed, which some took advantage of & enslav'd the vulgar by attempting to realize or abstract the mental deities from their objects: thus began Priesthood. Choosing forms of worship from poetic tales. And at length they pronounced that the Gods had orderd such things. Thus men forgot that All deities reside in the human breast. A Memorable Fancy. The Prophets Isaiah and Ezekiel dined with me, and I asked them how they dared so roundly to assert. that God spake to them; and whether they did not think at the time, that they would be misunderstood, & so be the cause of imposition. Isaiah answer'd. I saw no God. nor heard any, in a finite organical perception; but my senses discover'd the infinite in every thing, and as I was then perswaded. & remain confirm'd; that the voice of honest indignation is the voice of God, I cared not for consequences but wrote. Then I asked: does a firm perswasion that a thing is so, make it He replied. All poets believe that it does, & in ages of this firm perswasion removed mountains; but many are not capable of a firm perswasion of any thing. Then Ezekiel said. The philosophy of the east taught the first principles of human perception some nations held one principle for the origin & some another, we of Israel taught that the Poetic Genius (as you now call it) was the first principle and all the others merely derivative, which was the cause of our despising the Priests & Philosophers of other countries, and propheying that all Gods would at last be proved. to originate in ours & to be the tributaries of the Poetic Genius, it was this. that our great poet King David desired so fervently & invokes so patheticly, saying by this he conquers enemies & governs kingdoms; and we so loved our God. that we cursed in his name all the deities of surrounding nations, and asserted that they had rebelled; from these opinions the vulgar came to think that all nations would at last be subject to the jews. This said he, like all firm perswasions, is come to pass, for all nations believe the jews code and worship the jews god, and what greater subjection can be I heard this with some wonder, & must confess my own conviction. After dinner I ask'd Isaiah to favour the world with his lost works, he said none of equal value was lost. Ezekiel said the same of his. I also asked Isaiah what made him go naked and barefoot three years? he answerd, the same that made our friend Diogenes the I then asked Ezekiel. why he eat dung, & lay so long on his right & left side? he answerd. the desire of raising other men into a perception of the infinite this the North American tribes practise. & is he honest who resists his genius or conscience. only for the sake of present ease or gratification? The ancient tradition that the world will be consumed in fire at the end of six thousand years is true. as I have heard from For the cherub with his flaming sword is hereby commanded to leave his guard at the tree of life, and when he does, the whole creation will be consumed, and appear infinite. and holy whereas it now appears finite & corrupt. This will come to pass by a improvement of sensual enjoyment. But first the notion that man has a body distinct from his soul, is to be expunged; this I shall do, by printing in the infernal method, by corrosives, which in Hell are salutary and medicinal, melting apparent surfaces away, and displaying the infinite which was hid. If the doors of perception were cleansed every thing would appear to man as it is: infinite. For man has closed himself up, till he sees all things thro' narrow chinks of his cavern. A Memorable Fancy I was in a Printing house in Hell & saw the method in which knowledge is transmitted from generation to generation. In the first chamber was a Dragon-Man, clearing away the rubbish from a caves mouth; within, a number of Dragons were hollowing the cave, In the second chamber was a Viper folding round the rock & the cave, and others adorning it with gold silver and precious stones. In the third chamber was an Eagle with wings and feathers of air, he caused the inside of the cave to be infinite, around were numbers of Eagle like men, who built palaces in the immense cliffs. In the fourth chamber were Lions of flaming fire raging around & melting the metals into living fluids. In the fifth chamber were Unnam'd forms, which cast the metals into the expanse. There they were reciev'd by Men who occupied the sixth chamber, and took the forms of books & were arranged in libraries. The Giants who formed this world into its sensual existence and now seem to live in it in chains; are in truth the causes of its life & the sources of all activity, but the chains are, the cunning of weak and tame minds. which have power to resist energy. according to the proverb, the weak in courage is strong in cunning. Thus one portion of being, is the Prolific. the other, the Devouring: to the devourer it seems as if the producer was in his chains, but it is not so, he only takes portions of existence and fancies that the whole. But the Prolific would cease to be Prolific unless the Devourer as a sea recieved the excess of his delights. Some will say, Is not God alone the Prolific? I answer, God only Acts & Is, in existing beings or Men. These two classes of men are always upon earth, & they should be enemies; whoever tries to reconcile them seeks to destroy Religion is an endeavour to reconcile the two. Note. Jesus Christ did not wish to unite but to seperate them, as in the Parable of sheep and goats! & he says I came not to send Peace but a Sword. Messiah or Satan or Tempter was formerly thought to be one of the Antediluvians who are our Energies. A Memorable Fancy An Angel came to me and said. O pitiable foolish young man! O horrible! O dreadful state! consider the hot burning dungeon thou art preparing for thyself to all eternity, to which thou art going in such career. I said. perhaps you will be willing to shew me my eternal lot & we will contemplate together upon it and see whether your lot or mine is most desirable So he took me thro' a stable & thro' a church & down into the church vault at the end of which was a mill: thro' the mill we went, and came to a cave. down the winding cavern we groped our tedious way till a void boundless as a nether sky appeard beneath us & we held by the roots of trees and hung over this immensity; but I said, if you please we will commit ourselves to this void and see whether providence is here also, if you will not I will? but he answerd. do not presume O young-man but as we here remain behold thy lot which will soon appear when the darkness passes away So I remaind with him sitting in the twisted root of an oak. he was suspended in a fungus which hung with the head downward into the deep: By degrees we beheld the infinite Abyss, fiery as the smoke of a burning city; beneath us at an immense distance was the sun, black but shining[;] round it were fiery tracks on which revolv'd vast spiders, crawling after their prey; which flew or rather swum in the infinite deep, in the most terrific shapes of animals sprung from corruption. & the air was full of them, & seemd composed of them; these are Devils. and are called Powers of the air, I now asked my companion which was my eternal lot? he said, between the black & white spiders But now, from between the black & white spiders a cloud and fire burst and rolled thro the deep blackning all beneath, so that the nether deep grew black as a sea & rolled with a terrible noise: beneath us was nothing now to be seen but a black tempest, till looking east between the clouds & the waves, we saw a cataract of blood mixed with fire and not many stones throw from us appeard and sunk again the scaly fold of a monstrous serpent. at last to the east, distant about three degrees appeard a fiery crest above the waves slowly it reared like a ridge of golden rocks till we discoverd two globes of crimson fire. from which the sea fled away in clouds of smoke, and now we saw, it was the head of Leviathan. his forehead was divided into streaks of green & purple like those on a tygers forehead: soon we saw his mouth & red gills hang just above the raging foam tinging the black deep with beams of bood, advancing toward us with all the fury of a spiritual existence. My friend the Angel climb'd up from his station into the mill; I remain'd alone, & then this appearance was no more, but I found myself sitting on a pleasant bank beside a river by moon light hearing a harper who sung to the harp. & his theme was, The man who never alters his opinion is like standing water, & breeds reptiles of the mind. But I arose, and sought for the mill, & there I found my Angel, who surprised asked me, how I escaped? I answerd. All that we saw was owing to your metaphysics: for when you ran away, I found myself on a bank by moonlight hearing a harper, But now we have seen my eternal lot, shall I shew you yours? he laughd at my proposal: but I by force suddenly caught him in my arms, & flew westerly thro' the night, till we were elevated above the earths shadow: then I flung myself with him directly into the body of the sun, here I clothed myself in white, & taking in my hand Swedenborgs volumes sunk from the glorious clime, and passed all the planets till we came to saturn, here I staid to rest & then leap'd into the void, between saturn & the fixed stars. Here said I! is your lot, in this space, if space it may be calld, Soon we saw the stable and the church, & I took him to the altar and open'd the Bible, and lo! it was a deep pit, into which I descended driving the Angel before me, soon we saw seven houses of brick, one we enterd; in it were anumber of monkeys, baboons, & all of that species chaind by the middle, grinning and snatching at one another, but witheld by the shortness of their chains: however I saw that they sometimes grew numerous, and then the weak were caught by the strong and with a grinning aspect, first coupled with & then devourd, by plucking off first one limb and then another till the body was left a helpless trunk this after grinning & kissing it with seeming fondness they devourd too; and here & there I saw one savourily picking the flesh off of his own tail; as the stench terribly annoyd us both we went into the mill, & I in my hand brought the skeleton of a body, which in the mill was Aristotles Analytics. So the Angel said: thy phantasy has imposed upon me & thou oughtest to be ashamed. I answerd: we impose on one another, & it is but lost time to converse with you whose works are only Analytics. Opposition is true Friendship. I have always found that Angels have the vanity to speak of themselves as the only wise; this they do with a confident insolence sprouting from systematic reasoning: Thus Swedenborg boasts that what he writes is new; tho' it is only the Contents or Index of already publish'd books A man carried a monkey about for a shew, & because he was a little wiser than the monkey, grew vain, and conciev'd himself as wiser than seven men. It is so with Swedenborg; he shews the folly of churches & exposes hypocrites, till he imagines that all are religious. & himself the single one on earth that ever broke a Now hear a plain fact: Swedenborg has not written one new truth: Now hear another: he has written all the old falshoods. And now hear the reason. He conversed with Angels who are all religious, & conversed not with Devils who all hate religion, for he was incapable thro' his conceited notions. Thus Swedenborgs writings are a recapitulation of all superficial opinions, and an analysis of the more sublime, but no Have now another plain fact: Any man of mechanical talents may from the writings of Paracelsus or Jacob Behmen, produce ten thousand volumes of equal value with Swedenborg's. and from those of Dante or Shakespear, an infinite number. But when he has done this, let him not say that he knows better than his master, for he only holds a candle in sunshine. A Memorable Fancy Once I saw a Devil in a flame of fire. who arose before an Angel that sat on a cloud. and the Devil utterd these words. The worship of God is. Honouring his gifts in other men each according to his genius. and loving the greatest men best, those who envy or calumniate great men hate God, for there is no other God. The Angel hearing this became almost blue but mastering himself he grew yellow, & at last white pink & smiling, and then Thou Idolater, is not God One? & is not he visible in Jesus Christ? and has not Jesus Christ given his sanction to the law of ten commandments and are not all other men fools, sinners, & The Devil answer'd; bray a fool in a morter with wheat. yet shall not his folly be beaten out of him: if Jesus Christ is the greatest man, you ought to love him in the greatest degree; now hear how he has given his sanction to the law of ten commandments: did he not mock at the sabbath, and so mock the sabbaths God? murder those who were murderd because of him? turn away the law from the woman taken in adultery? steal the labor of others to support him? bear false witness when he omitted making a defence before Pilate? covet when he pray'd for his disciples, and when he bid them shake off the dust of their feet against such as refused to lodge them? I tell you, no virtue can exist without breaking these ten commandments: Jesus was all virtue, and acted from impulse: not from rules. When he had so spoken: I beheld the Angel who stretched out his arms embracing the flame of fire & he was consumed and arose as Elijah. Note. This Angel, who is now become a Devil, is my particular friend: we often read the Bible together in its infernal or diabolical sense which the world shall have if they behave well I have also: The Bible of Hell: which the world shall have whether they will or no. One Law for the Lion & Ox is Oppression A Song of Liberty 1. The Eternal Female groand! it was heard over all the Earth: 2. Albions coast is sick silent; the American meadows faint! 3 Shadows of Prophecy shiver along by the lakes and the rivers and mutter across the ocean! France rend down thy dungeon; 4. Golden Spain burst the barriers of old Rome; 5. Cast thy keys O Rome into the deep down falling, even to eternity down falling, 6. And weep! 7. In her trembling hands she took the new, born terror howling; 8. On those infinite mountains of light now barr'd out by the atlantic sea, the new born fire stood before the starry king! 9. Flag'd with grey brow'd snows and thunderous visages the jealous wings wav'd over the deep. 10. The speary hand burned aloft, unbuckled was the shield, forth went the hand of jealousy among the flaming hair, and hurl'd the new born wonder thro' the starry night. 11. The fire, the fire, is falling! 12. Look up! look up! O citizen of London. enlarge thy countenance; O Jew, leave counting gold! return to thy oil and wine; O African! black African! (go. winged thought widen his 13. The fiery limbs, the flaming hair,shot like the sinking sun into the western sea. 14. Wak'd from his eternal sleep, the hoary, element roaring fled 15. Down rushd beating his wings in vain the jealous king: his grey brow'd councellors, thunderous warriors, curl'd veterans, among helms, and shields, and chariots horses, elephants: banners, castles, slings and rocks, 16. Falling, rushing, ruining! buried in the ruins, on Urthona's 17. All night beneath the ruins, then their sullen flames faded emerge round the gloomy king, 18. With thunder and fire: leading his starry hosts thro' the waste he promulgates his ten commands, glancing his beamy eyelids over the deep in dark dismay, 19. Where the son of fire in his eastern cloud, while the morning plumes her golden breast, 20. Spurning the clouds written with curses, stamps the stony law to dust, loosing the eternal horses from the dens of night, Empire is no more! and now the lion & wolf shall cease. Chorus Let the Priests of the Raven of dawn, no longer in deadly black, with hoarse note curse the sons of joy. Nor his accepted brethren whom, tyrant, he calls free; lay the bound or build the roof. Nor pale religious letchery call that virginity, that wishes but acts not! For every thing that lives is Holy

    * KOMMENTARII *

    BRAKOSOCHETANIE NEBA I ADA

Napomnim, chto kniga sozdavalas' v 1789-1790 gg. i otrazhaet korennoe izmenenie filosofskih vzglyadov Blejka ot uslovno nazyvaemyh "hristianskimi" (predstavlennyh v rannih stihotvoreniyah i "Pesnyah Nevinnosti") k uslovno"naturalisticheskim" (dominiruyushchim v "Pesnyah Opyta"). Blejk prihodit k mysli, chto Dobro nevozmozhno bez Zla, ibo Dobro (Poryadok, Rassudok, Nebo) - passivno, podchinitel'no, a Zlo (|nergiya, Voobrazhenie, Ad) - sozidatel'no. Tol'ko vzaimodejstvie oboih nachal obrazuet estestvennyj poryadok veshchej, i odno nemyslimo bez drugogo. S drugoj storony, kniga Blejka yavlyaetsya svoeobraznoj parodiej na traktat |.Svedenborga "Nebo i Ad" (1758), v kotorom izlagayutsya dogmaty "Novoj cerkvi", i prezhde vsego "uchenie o sootvetstviyah", chetko razgranichivayushchee material'noe i duhovnoe. Na bolee rannem etape Blejk nahodilsya pod sil'nym vli- yaniem Svedenborga, odnako teper' Svedenborg, utverzhdavshij, chto "Gospod' est' Poryadok", stanovitsya simvolom kosnosti i dogmatizma. Predvarenie Soglasno prinyatomu nami tolkovaniyu (lish' odnomu iz vozmozhnyh) "Predvarenie" opisyvaet duhovnye perezhivaniya Blejka, kotorye priveli k formirovaniyu "naturalisticheskogo mirovozzreniya", i v etom pereklikaetsya s bolee pozdnim stihotvoreniem "Putem duhovnym" (sm. nizhe). Rintra - u Blejka bog gnevnoj, buntuyushchej energii, duhovnogo protesta; "rychaniem Rintry" soprovozhdaetsya vsyacheskoe dvizhenie i izmenenie. "Pravednik", idushchij "opasnym putem" (t.e. putem zabluzhdenij) - eto, po vsej vidimosti, Blejk perioda Nevinnosti; v etot period Zemlya yavlyaetsya "dolinoyu smerti", no ona nachinaet postepenno ozhivat' s prihodom novyh, "naturalisticheskih" vzglyadov, napravlennyh na real'nyj mir. V ozhivayushchem mire izpod nadgrobij b'yut klyuchi (zhivaya voda), a kosti "obrastayut aloj perst'yu", t. e. odevayutsya plot'yu (sr. "Sozda Bog® cheloveka, perst' vzem® ot zemli" (Bytie, 2: 7)). Napomnim, chto Blejk, ranee schitavshij plotskoe sushchestvovanie "nizshim", teper' nachinaet rassmatrivat' plot' kak svyashchennuyu substanciyu, neotdelimuyu ot dushi. "Zlodeem" Blejk, po vsej vidimosti, imenuet samogo sebya, namekaya na svoi novye "sataninskie" vzglyady. Blejk-zlodej izgonyaet Blejka-pravednika, to est' staroe mirovozzrenie smenyaetsya novym. Satana ("aspid") teper' stanovitsya drugom i "duhovnym soratnikom" Blejka i potomu prebyvaet v smiren'i, a svoi bylye vzglyady i predstavleniya Blejk teper' schitaet "glasom vopiyushchego v pustyne". I kak yavleno novoe nebo... Novoe nebo - sr.: Otkrovenie, 21: 1: "I uvidel ya novoe nebo i novuyu zemlyu, ibo prezhnee nebo i prezhnyaya zemlya minovali, i morya uzhe net". "YAvleniem novogo neba" Svedenborg nazyval osnovanie "Novoj cerkvi". Tomu uzhe tridcat' tri goda... - v svoih traktatah Svedenborg predrekal prishestvie Messii v 1757 godu. |ti god rozhdeniya Blejka i god osnovaniya "Novoj cerkvi". Kogda pisalos' "Brakosochetanie Neba i Ada", poetu bylo tridcat' tri goda. Svedenborg sidit, aki angel u groba... - sr.: "...Angel Gospoden', soshedshij s nebes, pristupiv, otvalil kamen' ot dveri groba i sidel na nem" (Matfej, 28: 2). Blejk namekaet na uchenie Svedenborga o tom, chto posle smerti lyudi, zhivshie na zemle dostojno, stanovyatsya angelami. ...aki v holstine - v traktate "Nebo i Ad" Svedenborg podrobno opisyvaet odezhdu, v kotoruyu oblacheny angely. Edom - strana starshego iz synovej Isaaka, Isava (Edoma), lishennogo pervorodstva Iakovom; v Biblii - simvol yazychestva i vragov Bozhiih. Kniga proroka Isaii, gl.HHH1U, XXXV - tak nazyvaemyj "malyj Apokalipsis". V etih glavah govo- ritsya ob otmshchenii Bogom Edomu i o posleduyushchem novom rascvete zemli (t.e. vozvrashchenii Adama v Edem). Glas Diavola Sleduet napomnit', chto v "Brakosochetanii..." Diavol est' sila, vrazhdebnaya Bogu, no ne cheloveku: on voploshchaet v sebe tvorcheskuyu |nergiyu - energiyu nepovinoveniya; Blejk razvivaet bogoborcheskuyu tradiciyu, zalozhennuyu v anglijskoj literature Dzh.Mil'tonom. Imenno v usta Diavola Blejk vkladyvaet slova istiny, postulaty "Biblii Ada", kotorye izlozheny predel'no yasno i vryad li trebuyut raz®yasneniya. CHto cheloveku prisushchi dva nachala... - Svedenborg osobenno goryacho otstaivaet biblejskij postulat o netozhdestvennosti tela i dushi. Kto ugnetaet... Rech' vnov' idet o prevoshodstve |nergii (zdes' - ZHelaniya), kak estestvennogo poryva, nad Razumom. V podkreplenie svoej mysli Blejk opiraetsya na Mil'tona, kotoryj schital Satanu olicetvoreniem |nergii, a Boga -olicetvoreniem podavleniya i despotii. Satana blizhe Mil'tonu, kak poetu, ottogo, chto voploshchaet v sebe tvorcheskoe, sozidatel'noe nachalo. Odnako zhe v knige Iova... - sr. Iov, 1: 6-12 i 2: 1-7: "Byl den', kogda prishli syny Bozhij predstat' pred Gospoda; mezhdu nimi prishel i satana. I skazal Gospod' satane: otkuda ty prishel? I otvechal satana Gospodu, i skazal: ya hodil po zemle i oboshel ee". Satana, kak i Messiya, ispytyvaet zdes' lyudej na vernost' Bogu. Tak skazano v Evangelii... - Ioann, 14: 16: "I YA umolyu Otca, i dast vam drugogo Uteshitelya". A po Mil'tonu.... - Mil'ton izobrazhaet Boga-Otca (Iegovu) kak bezzhalostnogo despota, Boga-Syna - kak nenavistnoe Blejku Racio, a Svyatoj Duh ne upominaetsya im voobshche, pochemu Blejk i nazyvaet ego "Vakuumom". Dlya Blejka Iegova - mstitel'noe, despotichnoe bozhestvo (on zhe - Urizen), podavlyayushchee estestvennoe v cheloveke. Emu protivopostavlen Hristos, istochnik blagostnoj |nergii, to est' prinadlezhashchij ravno i Nebu, i Adu, Svedenborg revnostno otstaival edinstvo Boga-Otca i Boga-Syna. Blejk zhe povorachivaet etu mysl' inache: Messiya yavlyaetsya odnovremenno i Iegovoj, i Diavolom. Dostopamyatnoe videnie Nazvanie soderzhit yavnuyu satiru na "Dostopamyatnye otkroveniya" - allegoricheskie pritchi, kotorymi Svedenborg v pozdnij period dopolnyal kazhduyu glavu svoih rabot. Progulivayas' mezh yazykov... - "Nebo i Ad" soderzhit celyj ryad glav, gde Svedenborg opisyvaet svoi videniya, v kotoryh on poseshchal Nebo. Pritchi Ada Sostavlyayut naibolee chasto citiruemuyu chast' blejkovskogo naslediya, mnogie iz etih aforizmov prochno voshli v zhivuyu anglijskuyu rech'. Blagodarya svoemu tematicheskomu mnogoobraziyu i obraznosti, oni vbirayut v sebya prakticheski vse osnovnye idei poeta. "Pritchi" soderzhat mnogochislennye vypady protiv biblejskih Pritch Carya Solomona i sluzhat eshche odnim utverzhdeniem bogoborcheskih vzglyadov Blejka. Vozmozhno, neposredstvennaya forma "Pritch" byla podskazana "Aforizmami" shvejcarca Ioganna Kaspara Lavatera (1788), kotorye Blejk vnimatel'no izuchal i illyustriroval. Odnako podrobnye kommentarii k etomu "svodu Biblii Ada" mogli by sostavit' otdel'nuyu knigu, poetomu my vozderzhimsya ot kakih-libo raz®yasnenij. V dannom sluchae tekst dolzhen govorit' sam za sebya. Dostopamyatnoe videnie Blejk v ocherednoj raz utverzhdaet prioritet Poeticheskogo Geniya (Voobrazheniya) nad prostym chuvstvennym vospriyatiem, podkreplyaya svoyu pravotu slovami vethozavetnyh prorokov Isaii i Iezekiilya. Poet Car' David - David schitaetsya avtorom biblejskih psalmov. I sprosil ya, Isaiyu... - po veleniyu Gospoda, Isaiya tri goda hodil nagoj i bosoj (Isaiya, 20). Diogen (412-323 gg. do n.e.) - grecheskij filosof-kinik. Schital, chto kratchajshij put' k sovershenstvu lezhit cherez istyazanie ploti; otstaivaya svoi idei, namerenno podvergal sebya fizicheskim mucheniyam. I sprosil ya Iezekiilya... - vo iskuplenie grehov Ierusalima Gospod' povelel Iezekiilyu trista devyanosto dnej lezhat' na levom boku i sorok na pravom, pitayas' lepeshkami, zameshannymi na korov'em pomete (Iezekiil', 4: 12-15). Blejk privodit eti pritchi kak primery vernosti Idee. Kak slyhal ya v Adu... Soderzhit opisanie blejkovskogo Apokalipsisa, to est' gibeli mira v ochistitel'nom ogne Ada - osvobozhdennogo Voobrazheniya i tvorcheskoj |nergii. |ta gibel' "raschistit vrata vospriyatiya", to est' polozhit konec vladychestvu Urizena. Pechataya sataninskim sposobom... - metafora soderzhit namek na tehnologiyu sozdaniya "illyuminirovannoj pechati" - gravirovku travleniem. Dostopamyatnoe videnie Rech' idet o rozhdenii mysli i sposobah peredachi ee lyudyam. Drakony - simvoly chuvstvennogo vospriyatiya - udalyayut "pustuyu porodu" staryh predstavlenij i peredayut mysl' Zmeyu, to est' razumu, kotoryj ukrashaet ee kamen'yami - pretvoryaet v slova. Dalee Orel (Poeticheskij Genij) voznosit mysl' na vershiny Voobrazheniya, posle chego ona prevrashchaetsya v "tekuchie zhidkosti", to est' cherez tvorcheskij akt stanovitsya tvoreniem Hudozhnika, a zatem oblekaetsya v material'nuyu formu (eshche odin namek na sozdanie "illyuminirovannyh listov") i v vide knig popadaet k lyudyam. Ne isklyucheno, chto v etom "Videnii" zalozhen i eshche odin smysl: Blejk opisyvaet pyat' chuvstv (zrenie, sluh, obonyanie, vkus, osyazanie), a takzhe shestoe, "sinteziruyushchee" dostizhenie pervyh pyati. Giganty, osnovavshie mir... Blejk delit vseh lyudej na ZHivotvoryashchih (sluzhitelej |nergii) i Pozhiratelej (sluzhitelej Razuma) , kotorye, soglasno ego dialektike, nevozmozhny drug bez druga, ibo sostavlyayut dva neobhodimyh zhiznennyh nachala: ZHivotvoryashchie - muzhskoe, aktivnoe, buntuyushchee; Pozhirateli - zhenskoe, passivnoe, smirennoe (sr. simvoliku "Pesen Opyta"). Pritcha ob agncah i kozlishchah - "Kogda zhe prijdet Syn CHelovecheskij vo slave Svoej i vse svyatye Angely s Nim: togda syadet na prestole slavy Svoej; i soberutsya pred Nim vse narody; i otdelit odnih ot drugih, kak pastyr' otdelyaet ovec ot kozlov; i postavit ovec po pravuyu Svoyu storonu, a kozlov po levuyu" (Matfej, 25: 31-33). Ne mir prishel YA prinesti, no mech" - Matfej, 10: 34. ...odnoyu iz pervoosnov... - sr. Bytie, 6:4: "V to vremya byli na zemle ispoliny, osobenno zhe s togo vremeni, kak syny Bozhij stali vhodit' k docheryam chelovecheskim, i oni stali rozhdat' im". Blejk namekaet, chto Satana byl odnim iz praroditelej roda chelovecheskogo. Dostopamyatnoe videnie Svedenborgianskij angel pokazyvaet Blejku ego uchast', provodya ego cherez hlev "mulov nastavleniya" (sr. "Pritchi Ada") i cerkov' - pribezhishche dogmaticheskoj religii - v sklep, gde pokoyatsya ubitye zhelaniya, a potom - na mel'nicu (simvol n'yutonovskogo, materialisticheskogo ponimaniya mira, protiv kotorogo rezko vosstaval Blejk) i v peshcheru, pod kotoroj otkryvaetsya opisannyj Svedenborgom Ad, gde dushi Blejka i emu podobnyh terzayut chernyj i belyj pauki - tradicionnye koncepcii Dobra i Zla. S vostoka - iz obiteli Voobrazheniya - poyavlyaetsya Leviafan, simvol |nergii i strasti, kotorogo Blejk ne sluchajno sravnivaet s Tigrom. Dlya angela on uzhasen, dlya poeta - prekrasen v svoem groznom velichii. Zatem Blejk vnimaet arfistu, poyushchemu o cheloveke, ne menyayushchem suzhdenij (to est' priverzhence tradicionnoj koncepcii Neba i Ada), posle chego siloj uvlekaet angela v svoyu Vselennuyu. Oni snova popadayut v cerkov', gde obnaruzhivayut Bibliyu - vhod v podzemel'e dogmaticheskoj very; tam oni vidyat sem' domov - sem' hristianskih cerkvej (sr. Otkrovenie, 1: 4), v kotoryh pozhirayut drug druga vsevozmozhnye religioznye i filosofskie koncepcii. Odna iz nih - "Analitika" grecheskogo filosofa Aristotelya (384322 gg. do n.e.). Aristotel', posledovatel' Platona, otverg dialektiko-idealisticheskie predstavleniya svoego uchitelya i sdelal popytku ob®yasnit' poznanie, ishodya isklyuchitel'no iz chuvstvennogo vospriyatiya. ...vplot' do Saturna - Saturn v te vremena schitalsya poslednej planetoj nebesnoj sfery. Razdor - vot istinnaya druzhba. - V avtorskom izdanii eto sentenciya nagravirovana vnizu lista. Ona predstavlyaet soboj svoego roda "repliku v storonu", svyazannuyu s tekstom po smyslu, no vypadayushchuyu iz ego struktury. Splosh' i ryadom... Otstuplenie soderzhit otkrytuyu kritiku vzglyadov Svedenborga. Paracel's, Teofrast Bombast (1493-1541) - shvejcarskij vrach, alhimik, teolog-mistik. Beme YAkob (1575-1624) - nemeckij filosof-mistik. Dostopamyatnoe videnie Angel, stoyashchij na pozicii Svedenborga, otstaivaet triedinstvo Boga. Diavol zhe dokazyvaet "chelovecheskuyu" sushchnost' Hrista, kotoryj posledoval bozhestvennoj dogme, no postupal soglasno zhelaniyu, to est' povinuyas' estestvennym dvizheniyam dushi. Glumilsya nad Subbotoj... - "I sluchilos' Emu v subbotu prohodit' zaseyannymi polyami; i ucheniki Ego dorogoyu nachali sryvat' kolos'ya. I farisei skazali Emu: smotri, chto oni delayut v subbotu, chego ne dolzhno delat'? On skazal im: neuzheli vy ne chitali nikogda, chto sdelal David, kogda imel nuzhdu i vzalkal sam i byvshie s nim?.. I skazal im: subbota dlya cheloveka, a ne chelovek dlya subboty" (Mark, 2: 23-27). Ne On li otvratil zakon ot bludnicy... - sm. Ioann, 8: 1-11. Ne On li prisvaival chuzhoj trud... - "Posle sego On prohodil po gorodam ch seleniyam... i s Nim Dvenadcat', i nekotorye zhenshchiny.. kotorye sluzhili Emu umeniem svoim" (Luka, 8: 1-3) - to est' zabotilis' o Ego hlebe nasushchnom, chtoby On mog vse vremya posvyashchat' propovedi Svoego ucheniya. ...prenebregaya zashchitoyu pred Pilatom - "Togda govorit Emu Pilat: n" slyshish', skol'ko svidetel'stvuyut protiv Tebya? I ne otvechal emu ni na odno slovo, tak chto pravitel' ves'ma divilsya" (Matfej, 27: 13-14). ...kogda velel im otryahnut' prah... - "A esli kto ne primet vas i ne poslushaet slov vashih, to, vyhodya iz doma ili iz goroda togo, otryasite prah ot nog vashih" (Matfej, 10: 14). Bibliya Ada - Blejk imeet v vidu svoi "prorocheskie" knigi. Volu i l'vu zakon edin - nasilie. - Sr. vyshe, Razdor - vot istinnaya druzhba. Pesn' Svobody Gimn torzhestvu Voobrazheniya nad Razumom, Diavola nad Bogom. Ochistitel'naya |nergiya viditsya Blejku v revolyucionnyh sobytiyah (prezhde vsego vo Francuzskoj Revolyucii 1789 goda, kotoruyu on goryacho privetstvoval v period sozdaniya "Brakosochetaniya Neba i Ada"), a Rim stanovitsya simvolom religioznogo dogmatizma. Dalee razvorachivaetsya bitva mezhdu Knyazem Zvezd, Urizenom (sr. "zvezdnyj svod" vo "Vstuplenii" k "Pesnyam Opyta"), i Satanoj (Knyazem T'my), personificiruyushchim Voobrazhenie. Syn Plameni - eto, skoree vsego, Ork, blejkovskij bog bunta. Zavershaetsya "Pesn' Svobody" osnovnym postulatom "Biblii Ada" - "Vse ZHivoe - Svyashchenno", to est' otricaniem Boga, otdel'nogo ot cheloveka, provozglasheniem bozhestvennosti CHeloveka i Prirody, dialekticheski ob®edinyayushchih v sebe Dobro i Zlo.

    PUTEM DUHOVNYM

YA peresek Stranu Lyudej, Muzhchin i ZHenshchin videl tam - I Strah voshel v menya takoj, CHto na Zemle nevedom vam. Ditya rozhat' u nih - vostorg, A vot zachat'e - gor'kij trud; Tak seyut v mukah semena - Zato potom s ulybkoj zhnut. Kogda u nih roditsya Syn, Ego Staruha zaberet - Raspnet Mladenca na skale I vopli v chashu soberet. Ternovyj dast emu venec, Pronzit konechnosti gvozdem - A serdce, vyrvav iz grudi, Kladet na led i zhzhet ognem. Pereberet za nervom nerv, Ej vopli mal'chika - bal'zam; I molodeet s kazhdym dnem, A on muzhaet po chasam. I sbrosiv cepi, on vstaet Pred Devoj Otrokom v krovi - I podminaet pod sebya, I predaet svoej Lyubvi. I vot pobedno, slovno muzh, V nee on kornevishchem vros, Vorvavshis' v plodonosnyj Sad, Gde rdeet luchshaya iz roz. Mezh tem on chahnet na glazah - Obhodit Ten'yu Dol'nij Dom; Krugom sokrovishcha ego, CHto vzyaty potom i trudom. Tam zoloto bezumnyh dum I zhemchuga vlyublennyh glaz, Rubiny vyplakannyh slee I strasti bleshchushchij almaz. Oni - Vino ego i Hleb! Tolpa golodnyh u dverej - I dveri nastezh': zahodi! I dosyta zdes' esh' i pej! On prinyal muki - i emu Teper' pod svodami zvonyat... No novorozhdennaya Dshcher' Vstaet pred nimi iz Ognya! Ona, kak zoloto, gorit, Ee ne tronut' i ne vzyat' - Ognem Pylayushchuyu Plot' Nikto ne smeet spelenat'! Ona k Lyubovniku idet, Ishcha ne zoloto, ne pyl; A Dryahlyj Prizrak vygnan von On Dshcheri Ognennoj ne mil! Gde Stariku iskat' priyut? - Bredet, sogbennyj i slepoj, Poka ne smozhet obresti Ob®yatij Devy molodoj. Lish' holodeyushchuyu plot' On opalit ee Ognem - Zasohnet plodonosnyj Sad I ruhnet obvetshalyj Dom. I Postoyal'cy Doma - proch'! Inomu Oku - Vzor inoj! Smeshalis' CHuvstva - i Ob®em Vosstal iz Ploskosti Zemnoj! Zatmilis' Solnce i Luna, Pomerkli miriady Zvezd. CHto pit' emu? CHto est' emu? - Lish' kamni golye okrest... Ee ulybki chistyj med, Ee ochej manyashchij vzglyad, Vino i Hleb nevinnyh ust Ego pitayut i celyat. Tak est i p'et - a mezhdu tem On vse molozhe s kazhdym dnem; Oni v otchayan'i bredut Pustynej skorbnoyu vdvoem... Strah Devu gonit ot nego I rasstavlyaet zapadni, Uvodit v Labirint Lyubvi, Gde noch' i den' begut oni. Ona puskaet v hod Kapriz, Razrossya v zarosli Obman - A v nih medved' i volk zhivut, I lev bluzhdaet mezh polyan. On stal - Zabludshee Ditya, Ona - uzhe Staruha vnov'... Migayut Zvezdy v Nebesah, I vsyudu carstvuet Lyubov'! Otvedat' radostej ee Plody roskoshnye zovut; I zhivopisny shalashi, V kotoryh Pastuhi zhivut. No tol'ko Groznoe Ditya Predstanet pered Pastuhom, On diko kriknet: - I v uzhase pokinet Dom. Izvestno: lish' Ischad'e tron' - Otsohnet dlan', - i ne pomoch'! Plody popadali s vetvej, I zveri ubezhali proch'. Pridet Staruha - ej odnoj S Mladencem spravit'sya dano; Ischad'e Groznoe raspnet, A dal'she - kak zavedeno...

    THE MENTAL TRAVELLER

I traveli'd thro' a land of men, A land of men and women too; And heard and saw such dreadful things As cold earth-wanderers never knew. For there the Babe is born in joy That was begotten in dire woe; Just as we reap in joy the fruit Which we in bitter tears did sow. And if the Babe is born a boy He's given to a Woman Old, Who nails him down upon a rock, Catches his shrieks in cups of gold. She binds iron thorns around his head, She pierces both his hands and feet, She cuts his heart out at his side, To make it feel both cold and heat. Her fingers number every nerve, Just as a miser counts his gold; She lives upon his shrieks and cries, And she grows young as he grows old. Till he becomes a bleeding Youth, And she becomes a Virgin bright; Then he rends up his manacles, And binds her down for his delight. He plants himself in all her nerves, Just as a husbandman his mould; And she becomes his dwelling-place And garden fruitful seventyfold. An aged Shadow, soon he fades, Wandering round an earthly cot, Full filled all with gems and gold Which he by industry had got. And these are the gems of the human soul, The rubies and pearls of a love-sick eye, The countless gold of the aching heart, The martyr's groan and the lover's sigh. They are his meat, they are his drink; He feeds the beggar and the poor And the wayfaring traveller: For ever open is his door. His grief is their eternal joy; They make the roofs and walls to ring; Till from the fire on the hearth A little Female Babe does spring. And she is all of solid fire And gems and gold, that none his hand Dares stretch to touch her baby form, Or wrap her in his swaddling-band. But she comes to the man she loves, If young or old, or rich or poor; They soon drive out the Aged Host, A beggar at another's door. He wanders weeping far away, Until some other take him in; Oft blind and age-bent, sore distrest, Until he can a Maiden win. And to allay his freezing age, The poor man takes her in his arms; The cottage fades before his sight, The garden and its lovely charms. The guests are scatter'd thro' the land, For the eye altering alters all; The senses roll themselves in fear, And the flat earth becomes a ball; The stars, sun, moon, all shrink away, A desert vast without a bound, And nothing left to eat or drink, And a dark desert all around. The honey of her infant lips, The bread and wine of her sweet smile, The wild game of her roving eye, Does him to infancy beguile; For as he eats and drinks he grows Younger and younger every day; And on the desert wild they both Wander in terror and dismay. Like the wild stag she flees away, Her fear plants many a thicket wild; While he pursues her night and day, By various arts of love beguil'd; By various arts of love and hate, Till the wide desert planted o'er With labyrinths of wayward love, Where roam the lion, wolf, and boar. Till he becomes a wayward Babe, And she a weeping Woman Old. Then many a lover wanders here; The sun and stars are nearer roli'd; The trees bring forth sweet ecstasy To all who in the desert roam; Till many a city there is built, And many a pleasant shepherd's home. But when they find the Frowning Babe, Terror strikes thro' the region wide: They cry 'The Babe! the Babe is born!' And flee away on every side. For who dare touch the Frowning Form, His arm is withered to its root; Lions, boars, wolves, all howling flee, And every tree does shed its fruit. And none can touch that Frowning Form, Except it be a Woman Old; She nails him down upon the rock, And all is done as I have told.

    KOMMENTARII

    PUTEM DUHOVNYM

Stihotvorenie "Putem Duhovnym" datiruetsya 1799-1800 gg. i vhodit v tak nazyvaemyj "Manuskript Pikeringa" (odnu iz ne opublikovannyh pri zhizni blejkovskih rukopisej, nazvannuyu po imeni pervogo vladel'ca, izdatelya Bezila Pikeringa). V etom stihotvorenii Blejk proslezhivaet sobstvennyj "duhovnyj put'", a takzhe - v vide obobshcheniya - put' vsego chelovechestva. Napomnim, chto stihotvorenie otnositsya k periodu, kogda Blejk razocharovalsya v svoih "naturalisticheskih" vzglyadah i nashchupyval put' k novomu, chisto duhovnomu vospriyatiyu. Hotya eta svoeobraznaya ispoved' napisana dostatochno prostym yazykom i v dostatochno neslozhnoj obraznoj sisteme, ona, tem ne menee, dovol'no trudna dlya ponimaniya, poetomu my predlagaem analiz po strofam. 1-2: V etih strofah opisyvaetsya strana duha, naselennaya Muzhchinami i ZHenshchinami - dvumya tipami idej, - po kotoroj stranstvuet Putnik (zametim, chto nachinaetsya stihotvorenie ot pervogo lica). Estestvennye zakony zemnogo mira postavleny v etoj strane "s nog na golovu": zachat'e (zarozhdenie idei) zdes' muka, a rody (pretvorenie v zhizn') - radost'. 3-7: Syn - eto naturalisticheskaya, idushchaya ot real'nosti ideya (ne sleduet zabyvat', chto muzhskoe nachalo associiruetsya u Blejka s prirodnym, estestvennym). Sledovatel'no, Blejk nachinaet opisanie svoego duhovnogo puti s "naturalisticheskogo" perioda. V obraze "Staruhi" skryta odryahlevshaya, otmirayushchaya idejno-duhovnaya paradigma, sushchestvovavshaya k momentu prishestviya naturalisticheskoj idei (to est' mirovozzrencheskie vzglyady Blejka, svyazannye s periodom Nevinnosti). Staraya paradigma terzaet i otvergaet vsyakuyu novuyu ideyu, kotoraya v mukah i goneniyah postepenno muzhaet i nakonec oderzhivaet verh, oplodotvoriv soboj starye predstavleniya (vspomnim, chto na etom etape Blejk rassmatrivaet fizicheskuyu lyubov' kak ochistitel'nuyu, a svobodnoe proyavlenie strasti - kak proyavlenie duhovnosti). 8-10: Vostorzhestvovav, "naturalisticheskaya" ideya nachinaet staret', odnako pri etom prodolzhaet pitat' soboj "Dol'nij Dom" - zemnuyu real'nost'. Krome togo, ostayutsya "sokrovishcha" - duhovnye bogatstva nakoplennye za vremya vladychestva dannoj idei (primenitel'no k samomu Blejku - ego proizvedeniya, sozdannye v "naturalisticheskij" period). Strofa 9 soderzhit svojstvennuyu Blejku besposhchadnuyu "avtoparodiyu" na stihotvorenie iz "Manuskripta Rossetti", napisannoe mezhdu 1789 i 1793 gg., to est' v period torzhestva Nevinnosti:

    Riches

The countless gold of a merry heart, The rubies and pearls of a loving eye, The indolent never can bring to the mart, Nor the secret hoard up in his treasury.

    Bogatstva

Veselyh umov zolotye krupinki, Rubiny i zhemchug serdec Bezdel'nik ne sbudet s prilavka na rynke, Ne spryachet v podvaly skupec. Perevod S.Marshaka. 11-13: Kogda zemnoj ideal, odryahlev, dokazyvaet svoyu nesostoyatel'nost', emu na smenu prihodit novaya ideya sovershenno inogo tolka ("Dshcher'"). Ona oblechena v "Ognennuyu Plot'", chto podcherkivaet ee nesvyazannost' so vsem material'nym. |to - ideya chisto duhovnaya, kotoroj chuzhdo vse zemnoe, plotskoe (t.e. "zoloto" i "strast'"). Tak Blejk opisyvaet svoi vzglyady, k kotorym priveli duhovnyj krizis i polnoe otverzhenie "naturalisticheskih" predstavlenij. 14-15: Starik, olicetvoryayushchij teper' staruyu paradigmu, vytesnen novym idealom. Bessil'naya, odryahlevshaya paradigma, utrativ byluyu veru, ishchet novyj, duhovnyj ideal, kotoryj dano obresti v Deve, okrepshej duhovnoj idee. Pri ih ob®yatii zemnoj, "naturalisticheskij" Raj ("Dom" i "Sad") ischezaet okonchatel'no. 16-17: Blejk opisyvaet sostoyanie rasteryannosti i smyateniya, v kotorom on prebyval posle utraty "naturalisticheskogo" ideala, kogda u nego zarozhdalos' novoe, "chetyrehmernoe" videnie, kotoroe, skoree vsego, i podrazumevaetsya pod "Ob®emom". |to - dolgij period vnutrennego krizisa, v kotoryj i bylo napisano "Putem Duhovnym". 17-19: "Dol'nij Dom" - Mir "naturalisticheskogo" ideala - merknet i umiraet, prevrashchaetsya v "skorbnuyu pustynyu", odnako nadezhda na vozrozhdenie, hotya i slabaya, zaklyuchena v Deve - chisto duhovnoj idee (idee novoj, "Opytnoj" Nevinnosti), i, nasyshchayas' eyu. Starik postepenno molodeet (vpityvaet novuyu veru). 20-21: Postepenno duhovnaya ideya nachinaet menyat' oblik, v nej poyavlyaetsya Obman, i ona nasazhdaet zarosli, v kotoryh bluzhdayut dikie zveri, - "Dol'nij Dom" priobretaet otchetlivo zloveshchij ottenok. Zdes' vnov' zvuchit otgolosok togo, chto Blejk razocharovalsya v sposobnosti duhovnoj idei izmenit' zemnuyu zhizn'. 22-26: Zdes' poyavlyaetsya novaya ideya (Ditya), togda kak Deva, stavshaya Staruhoj, odryahlev, nachinaet umirat'. Odnako pri etom i ona ostavlyaet svoi plody; kak v sluchae s Ideej-Synom, sleduet opisanie "obnovlennoj real'nosti". V dannom sluchae Blejk opisyvaet sostoyanie garmonii vnutrennego ideala s vneshnim mirom (v ego mifologii eto sostoyanie nazvano Beula). Odnako eto mnimaya i nedolgovechnaya garmoniya: novaya ideya, kotoraya pitaet ee, - eto Zabludshee Ditya, ibo mir Beuly ochen' pohozh na mir "Pesen Nevinnosti" (nedarom Blejk ispol'zuet pastoral'nye obrazy) - illyuziyu, kotoraya teper' associiruetsya u Blejka s pritvorstvom i religioznym hanzhestvom. Zabludshee Ditya eto "lozhnyj Messiya", mladenec-Hristos farisejskoj religii. Vosklicaniem "Rodilos'!" Blejk yavno namekaet na biblejskoe prorochestvo: "Ibo mladenec rodilsya nam; Syn dan nam; vladychestvo na ramenah Ego..." (Isaiya, 9: 6). Beula prevrashchaetsya v carstvo farisejstva i duhovnogo besplodiya, i nuzhna novaya ideya, chtoby obnovit' ee; a dalee vse sleduet po krugu. "Inostrannaya literatura", N 7, 1997 Proshlo sto sem'desyat let s togo dnya, kak telo Blejka opustili v bezymyannuyu yamu dlya nishchih, - horonit' umershego bylo ne na chto, zaboty o pogrebenii vzyal na sebya gorod London. Davnym-davno v znamenitom Ugolke poetov Vestminsterskogo abbatstva stoit doska, udostoveryayushchaya, chto vygravirovannoe na nej imya prinadlezhit istorii. Dlya anglichan takoe svidetel'stvo vesomee, chem vyskazyvaniya lyubyh avtoritetov. Hotya i vyskazyvaniya mozhno bylo by privodit' desyatkami, a prostoe perechislenie knig o Blejke zanyalo by polovinu etogo zhurnal'nogo nomera. Vse otnosyashcheesya k ego biografii, pohozhe, vyyasneno do poslednih melochej - naskol'ko podrobnosti poddayutsya vyyasneniyu, kogda distanciya vremeni uzhe tak velika. Vrode by dolzhen byt' ischerpan i repertuar dopustimyh interpretacij ostavlennogo im naslediya. No tak tol'ko kazhetsya. Pristal'nyj vzglyad po-prezhnemu obnaruzhivaet chto-to zagadochnoe i v tvorchestve Blejka, i v ego sud'be. Popytki razgadat' etu tajnu ne prekrashchayutsya. Poslednyaya iz nih predprinyata Piterom Akrojdom. Romanist, kotorogo segodnya mnogie schitayut samoj yarkoj figuroj na anglijskoj literaturnoj scene, otdal rabote nad belletrizovannoj biografiej Blejka bez malogo desyatiletie. Poltora goda nazad kniga nakonec vyshla v svet i, kak sledovalo ozhidat', sprovocirovala ostruyu polemiku. Akrojd ne istorik literatury, dlya nego intuitivnye dogadki vazhnee ustanovlennyh arhivistami dostovernostej, kotorye, esli prismotret'sya, vydayut predvzyatost' teh, kto ih ustanavlival - s oglyadkoj na preobladayushchie mneniya i vkusy. Kak i v "Zaveshchanii Oskara Uajl'da" ili romane-biografii Dikkensa, gde on pereskazyval sobstvennye sny i vel zadushevnye besedy so svoim geroem, Akrojd i na stranicah blejkovskogo toma stol' zhe daleko othodit ot strogogo izlozheniya faktov, schitayushchihsya besspornymi, uvlekaetsya gipotezami i ohotnee doveryaet psihologicheskoj rekonstrukcii, a ne vykladkam s oporoj na obshcheprinyatye tolkovaniya. Ponyatno, chto literaturovedov takaya metodika ne ubezhdaet. No u nee est' hotya by odno besspornoe preimushchestvo: glyanec udaetsya snyat', skvoz' naplastovaniya akademicheskih shtudij nachinaet proglyadyvat' zhivoe lico. |to lico neponyatogo, osmeyannogo, gluboko neschastnogo cheloveka, kotoryj fanatichno veren svoej glavnoj idee, namnogo operedivshej epohu, v kakuyu emu dovelos' zhit'. Ideej Blejka, dominantoj ego lichnosti i tvorchestva byla organika. Nikakih uslovnostej, v zhertvu kotorym zastavlyayut prinosit' estestvennye pobuzhdeniya. Nikakih tabu - tem bolev v iskusstve. Vprochem, i v zhizni. Nichem ne dorozha tak sil'no, kak chuvstvom vnutrennej garmonii" Blejk radi etoj neskovannosti byl gotov s legkost'yu otbrosit' pravila social'nogo novovvedeniya, obyazatel'nye dlya podavlyayushchego bol'shinstva ego sovremennikov. On priznaval tol'ko te eticheskie neprelozhnosti, kotorye provozglashala ispoveduemaya im hiliasticheskaya doktrina: zarodivsheesya eshche v XII veke uchenie o blizkom Vtorom prishestvii, Strashnom sude i tysyacheletnem zemnom carstvovanii Spasitelya. Schitayas' eres'yu, eta teologiya stoletiyami privlekala obezdolennyh i otverzhennyh povsyudu v Evrope. Syn chulochnika, desyati let ot rodu otdannyj v obuchenie k graveru i dal'she dobyvavshij hleb neprestizhnym, nepribyl'nym remeslom, Blejk okazalsya predraspolozhen s gotovnost'yu prinyat' i eto nekanonicheskoe hristianstvo, i vypestovannye im ponyatiya o moral'nyh obyazannostyah. Blago obyazannosti okazyvalis' primerno temi zhe, kakie predpolagalo sluzhenie hudozhestvennomu geniyu. A iskra geniya vspyhnula ochen' rano, eshche v tu poru, kogda Blejk proboval osvoit' normativnyj izobrazitel'nyj yazyk zhivopisi, dopushchennoj v togdashnyuyu Akademiyu, i normativnye predstavleniya o prekrasnom, kotorye gospodstvovali v togdashnej poezii. Iz podobnyh staranij nichego ne poluchilos'. Blejk ne vpisyvalsya v togdashnyuyu hudozhestvennuyu atmosferu. I ne hotel etogo. On izbral dlya sebya dorogu, prolegavshuyu v storone ot literaturnyh salonov, ot gospodstvuyushchih veyanij. Vypustiv u izdatelya pervuyu, eshche dovol'no naivnuyu knizhku "Poeticheskie nabroski" (1783), on bol'she nikogda ne obrashchalsya k tipografshchiku. Izobrel sobstvennyj sposob "illyuminovannoj pechati" - vruchnuyu izgotavlivalos' neskol'ko ekzemplyarov gravyury, soprovozhdaemoj poeticheskim tekstom, zhivopisnyj obraz voznikal odnovremenno so stihovym, inogda predshestvuya emu, inogda ego dopolnyaya, - i pytalsya prodavat' sbroshyurovannye listy. Tak byli izdany "Pesni nevedeniya" (1789). a vsled im i "Pesni poznaniya" (1792); zatem oba cikla on opublikoval kak edinoe proizvedenie, chto i zamyshlyalos' s samogo nachala. Uspeha eti nachinaniya ne prinosili. Da i ne mogli prinesti: Blejk prekrasno znal, chto vkusy sovremennikov i ego ponyatiya o naznachenii hudozhnika rashodyatsya ochen' daleko. Vlast' norm i poryv k organike - Akrojd nahodit etot konflikt nerazreshimym, poskol'ku Blejka otlichalo neverie v kompromissy. Vostorzhestvovala, razumeetsya, normativnost', a vse ostal'noe bylo tol'ko sledstviem: proval edinstvennoj i nikogo ne zainteresovavshej vystavki 1811 goda, nerasprodannye ekzemplyary sobstvennoruchno nagravirovannyh poem (za etimi pervymi obrazcami samizdata teper' ohotyatsya i platyat beshenye den'gi kollekcionery). I tverdo ustanovivshayasya reputaciya bezumca. I fond obshchestvennogo prizreniya, kuda prishlos' obrashchat'sya, kogda v 1827 godu semidesyatiletnij Blejk umer v polnom zabvenii i nishchete. Akrojd uveren, chto Blejk osoznanno vybral dlya sebya etu ternistuyu dorogu, ne strashas' nevzgod i ne dumaya o slave - posmertnoj, a tem bolee prizhiznennoj. Skoree vsego, Akrojd prav. Est' mnogo dokumentov, govoryashchih, chto Blejk slovno by sam iskal stolknovenij so svoim vekom. Vidimo, on byl iz teh hudozhnikov i poetov, kotoryh vposledstvii stanut nazyvat' to autsajderami, to marginalami, to buntaryami, podrazumevaya, v sushchnosti, odno i to zhe - dlya nih rashozhdenie s preobladayushchimi veyaniyami i ustanovkami stanovitsya principom, opredelyayushchim tvorcheskuyu poziciyu. Im ne dano prisposablivat'sya. Oni ne prodolzhateli, a, pol'zuyas' slovom, kogda-to predlozhennym v stat'yah YUriya Tynyanova, "novovvoditeli". Dlya perevodchika takie poety i osobenno zamanchivy, i, navernoe, osobenno trudny - svoej rezko ocherchennoj original'nost'yu. <...> Blejk byl "novovvoditelem" nichut' ne men'she, chem Hlebnikov, chej opyt potreboval etogo neologizma. I ego novovvedeniem stali ne tol'ko neobychnye kompozcii ili cvetovye sochetaniya, porazhayushchie na nagravirovannyh im listah. Ne tol'ko metafory, peredayushchie obraznost' simvolistov, slovno za stoletie do nih Blejk uzhe predoshchushchal, chto v poezii nesvodimost' smysla k logicheski vystroennomu ryadu, skol' on ni slozhen, stanet cenit'sya vyshe vsego ostal'nogo. Kak avtor on vpisal svoe imya i v istoriyu zhivopisi, i v istoriyu literatury, odnako eshche sushchestvennee, chto Blejk byl pervym iz anglichan, kto vyrazil novoe samosoznanie lichnosti. Romantiki v etom otnoshenii obyazany emu vsem, skol' by skeptichno ni otzyvalsya o nem, naprimer, Vordsvort i kak by daleko ni rashodilsya s nim Kolridzh po harakteru hudozhestvennogo myshleniya. V 1799 godu, cherez pyat' let posle togo kak byli nagravirovany "Pesni nevedeniya poznaniya", ostavshiesya ego vysshim poeticheskim sversheniem, on pisal nekoemu doktoru Trjeperu, vidimo odnomu iz potencial'nyh mecenatov: "YA znayu, chto etot mir prinadlezhit Voobrazheniyu i otkryvaetsya tol'ko Hudozhniku. To, chto ya izobrazhayu na svoem risunke, mnoyu nevydumano, a uvideno, no vse vidyat po-raznomu. V glazah skupca gineya zatmevaet solnce, a koshelek s monetami, vytershijsya ot dolgoj sluzhby, zrelishche bolev prekrasnoe, chem vinogradnik, gnushchijsya pod tyazhest'yu lozy... CHem chelovek yavlyaetsya, to on i vidit". Godom ran'she vyshli "Liricheskie ballady", sovmestnyj sbornik Vordsvorta i Kolridzha, a eshche cherez dva goda dlya pereizdaniya Vordsvort napisal vstupitel'nuyu stat'yu, stavshuyu manifestom romantizma. Tam tozhe mnogo bylo skazano o verhovnyh pravah voobrazheniya, o magii iskusstva, postigayushchego real'nost' kak tajnu, o neposredstvennosti chuvstva, kotoroj sleduet dorozhit' bol'she, chem lyubymi uhishchreniyami, o vysokoj bezyskusnosti formy. Byla razrabotana celaya koncepciya, ochen' vazhnaya dlya istorii romantizma, -t imenno koncepciya, nekaya filosofiya poezii, neizbezhno otdayushchaya umozritel'nost'yu. Adlya Blejka voobrazhenie bylo ne otvlechennoj kategoriej, no toj podavlennoj chelovecheskoj sposobnost'yu, kotoruyu dolzhno probudit' iskusstvo, vospityvaya novoe zrenie, - a mozhno skazat' i po-drugomu: netrafaretnoe vospriyatie, organichnoe oshchushchenie mira, a znachit, i novuyu sistemu cennostej. Tak smysl i cel' poezii ponimal v tu poru odin Blejk. Dolzhno byt', poetomu on odin i stal chem-to napodobie proroka. Ili, po men'shej mere, kul'tovoj figuroj dlya mnogih pokolenij posle togo, kak cherez dvadcat' let posle ego uhoda Dante Gabriel Rossetti, tozhe sochetavshij v sebe darovaniya poeta i hudozhnika, pust' namnogo bolee skromnye, sluchajno natknulsya v Britanskom muzee na pyl'nuyu svyazku gravyur, i dlya Blejka nachalos' bessmertie. Rossetti i blizkie emu literatory - Aleksandr Gilkrist, ostavivshij, zanyatiya istoriej iskusstva, chtoby napisat' pervuyu bol'shuyu biografiyu Blejka, poet Aldzhernon Suinbern - byli porazheny i pokoreny original'nost'yu otkryvshegosya im mira. YArkost' poeticheskih obrazov srazu pozvolyala pochuvstvovat' glaz zhivopisca, moshchnaya filosofskaya simvolika gravyur vydavala poeta, dlya kotorogo obrazcom vdohnoveniya sluzhil Dante, a adresatom polemiki Mil'ton - i ne men'she. Sposobnost' videt' nebo v chashechke cvetka, esli procitirovat' blejkovskoe chetverostishie, kotoroe vspominayut chashche vsego, kazalas' nepodrazhaemoj. Veroyatno, eta sposobnost' i teper' budet vosprinyata kak unikal'naya chitatelem, zadumavshimsya nad strokami Blejka, dazhe takimi po pervomu oshchushcheniyu bezyskusnymi, kak stihotvorenie o motyl'ke (ili muhe, ili moshke - v XVIII veke "fly" oboznachalo prosto nasekomoe yarkoj okraski). Bezdelka, izyashchnaya veshchica v stile rokoko - no obratim vnimanie na neozhidannyj otkaz podtverzhdat' pravo na sushchestvovanie gotovnost'yu i umeniem myslit'. A zadetye etoj strannost'yu dolzhny budut vspomnit' - ili uznat', - chto i s Mil'tonom Blejk sporil kak s racionalistom, kotoryj, sam togo ne vedaya, blagoslovil ploskij razum, podavlyayushchij zhivoe chuvstvo. Vspomnit', chto nad propovednikami zdravomysliya, kotoryh v ego vremya bylo velikoe mnozhestvo, Blejk ne ustaval ironizirovat', s osobennym yadom otzyvayas' ob ih strasti chitat' moral' po lyubomu povodu. CHto u nego Razum i Voobrazhenie pochti vsegda vystupayut kak antagonisticheskie nachala i prioritet on otdaet Voobrazheniyu. CHto vse ego stihi, otnosyashchiesya k zreloj pore tvorchestva, dolzhny vosprinimat'sya v oprede- lennom kontekste: oni sostavlyayut cikly, v kotoryh est' skvoznye temy i motivy, no net sluchajnyh strok. <...> |to bylo velikoe otkrytie. Dejstvitel'nost' vpervye osoznavalas' kak disgarmonichnoe edinstvo. Vo vsyakom sluchae, vpervye eto delalos' nastol'ko posledovatel'no: ves' poeticheskij syuzhet "Pesen nevedeniya i poznaniya" vyros iz temy nerastorzhimosti togo, chto viditsya kak protivopolozhnye sostoyaniya. Ottogo stiham, vosslavivshim blagost' i chistotu nevedeniya, obyazatel'no otyskivaetsya yavnaya ili neochevidnaya parallel' v cikle, izobrazhayushchem sumrachnuyu, zhestokuyu real'nost' poznaniya. Polyarnosti nevedeniya i poznaniya ne otricayut drug druga, vse vzaimosvyazano, vse sushchestvuet v edinstve. Naivny grezy o begstve iz tragicheskoj obydennosti v ideal'nyj estestvennyj mir, kotorogo poprostu ne sushchestvuet dlya lichnosti, postigshej real'nuyu dialektiku veshchej. Osoznavshej, chto zelenye polya i kushchi - poeticheskij landshaft "Pesen nevedeniya" - nepremenno smenyayutsya londonskimi kartinami poroka, gryazi, otchayaniya i vse eto odin mir, v kotorom tomitsya skovannyj chelovecheskij duh. CHto est' tainstvennaya sootnesennost' bezmyatezhnosti i gorya, schast'ya i stradaniya i nel'zya otvergat' odno, vosslavlyaya drugoe, potomu chto v zhizni vse perepleteno nerastorzhimo. Znamenitomu stihotvoreniyu "Tigr" tozhe est' parallel' v "Pesnyah nevedeniya" - stihi ob Agnce, pryamo otsylayushchie k Evangeliyu ot Ioanna: "Vot Agnec Bozhij, Kotoryj beret na Sebya greh mira". Stihotvorenie "YAgnenok", gimn krotosti, pridaet osobuyu vyrazitel'nost' obrazam "Tigra" - v nem nastoyashchij sgustok yarostnoj energii. No i "Tigr" ne antiteza, a neobhodimoe dopolnenie: vot ona, sokrushayushchaya yarost', kotoroj - tak kazalos' Blejku, - mozhet byt', dano pereborot' zabluzhdeniya i zlo mira skoree, chem hristianskomu smireniyu i lyubvi. I kak znat', ne eta li energiya budet vostrebovana chelovechestvom, reshivshimsya cherez temnye zarosli samoobmanov i dogm probit'sya k svetu nepoddel'nyh istin? S etim, vernee vsego, malo kto soglasitsya posle krovavogo opyta nashego stoletiya. No ne nado ulichat' Blejka v tom, chto on ne predugadal, kakov okazhetsya istinnyj hod veshchej. Dostojnee i spravedlivee - vozdat' dolzhnoe duhovnoj otvage, pobuzhdavshej ego idti naperekor verovaniyam svoego vremeni, a v iskusstve ostavivshej o sebe pamyat' shedevrami, nad kotorymi vremya ne vlastno. ALEKSEJ ZVEREV

Last-modified: Tue, 22 Feb 2000 05:01:24 GMT
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