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