chas pokidaet ego, kak tol'ko uznaet, chto on lishilsya nasledstva, i ustremlyaetsya v pogonyu za "bezumnym" Valentinom, u kotorogo est' shansy stat' bogatym zhenihom; chtoby dobit'sya svoej celi, Tettl pereodevaetsya v odezhdu monaha, a missis Frejl - monahini, no blagodarya lovkosti slugi Valentina, Dzheremi, okazyvayutsya povenchannymi... drug s drugom. Poistine karnaval'naya nerazberiha! Lyudej prinimayut za maski, maski - za lyudej. Boltun Trttl gubit chuzhie reputacii, delaya vid, chto hochet ih "podshtopat'", skeptik Skendl izlivaet svoyu zhelch', "pokazyvaya portrety" svoih znakomyh, gde neredko v odnom lice mozhno uvidet' "spes' i glupost', pohotlivost' i zhemanstvo, zhadnost' i vetrenost', licemerie, zlobu i nevezhestvo". Raznica lish' v tom, chto "Tettl sobiraet portrety teh, kto okazal emu milost', a Skendl - teh, kto otkazal emu v nej" (I). Sredi sutoloki, caryashchej v dome starogo Forsajta, svoim hladnokroviem vydelyaetsya missis Forsajt, dama raschetlivaya i cinichnaya. Po slovam Skend-la, vyjdya zamuzh, missis Forsajt "obzavelas' neischerpaemym istochnikom naslazhdenij", izmenyaya "astrologu" s kem ugodno. Soblaznyaet ee i Skendl. No kogda on napominaet missis Forsajt "o vostorgah proshloj nochi", ona nevozmutimo otvechaet, chto proshlaya noch' nichem ne otlichalas' ot predydushchej. I tol'ko tut Skendl vspominaet, chto emu govorili o redkom svojstve svoej vozlyublennoj: pozabyt' nautro muzhchinu, s kotorym provela noch', i otricat' svoyu blagosklonnost' s eshche bol'shim besstydstvom, chem darit' ee (IV). "Ostroumec" Valentin nadelen umom, pronicatel'nost'yu, samoobladaniem. Sderzhannost' pokidaet ego lish' v moment, kogda emu kazhetsya, chto on navsegda poteryal Anzheliku. O proshlom Valentina, ego lyubovnyh pohozhdeniyah i prodelkah my uznaem iz rasskazov personazhej p'esy. Pered nami zhe - molodoj dzhentl'men, predanno lyubyashchij Anzheliku. Kongriv v svoem otvete Koll'eru pisal, chto Valentin chestnyj, blagorodnyj i iskrennij yunosha, dobrodeteli kotorogo namnogo prevoshodyat ego poroki. Valentin, s tochki zreniya Kongriva, yavlyaet soboyu novyj tip "ostroumca", vo mnogom nepohozhego na geroev |teridzha ili Uicherli. Valentin - pravdolyub. Kogda v scene "bezumiya" on govorit: "YA istina", |to ne tol'ko shutka ili uslovie igry: geroya iskrenno volnuet sootnoshenie v mire pravdy i lzhi, iskrennosti i fal'shi. "A sejchas ya vam skazhu vot chto: zadam vam vopros, na kotoryj i znatoku arifmetiki ne otvetit'. Skazhite, kakih dush bol'she - teh, chto Bibliya spasla v Vestminsterskom abbatstve, ili teh, chto ona pogubila v Vestminster-holle?" (IV). Dostaetsya ot Valentina i religii; vot chto predrekaet etot "bezumec": "V obychnoe vremya v pustyh cerkvah budut chitat' molitvy. A za prilavkami vy uvidite lyudej s takimi samozabvennymi licami, tochno v kazhdom labaze torguyut religiej" (IV). V Valentine privlekaet tonkost' uma, sposobnost' ponyat' edva ulovimye dvizheniya chelovecheskoj dushi, umenie cenit' prekrasnoe. V odnoj iz poeticheskih scen p'esy on govorit Anzhelike, chto ona "zhenshchina, odna iz teh, kogo nebo nadelyalo krasotoj v tot samyj chas, kogda privivalo rozy na shipovnike. Vy - otrazhenie nebes v prudu, i tot, kto k vam kinetsya, utonet..." (IV). Takogo priznaniya nel'zya uslyshat' ot geroev Uicherli, SHeduella ili |teridzha. Kongriv poruchaet Valentinu raznye roli: vozlyublennogo, poeta, "bezumca", muchenika. Dramaturg slovno materializuet slova Tezeya iz shekspirovskoj komedii "Son v letnyuyu noch'": U vseh vlyublennyh, kak u sumasshedshih, Kipyat mozgi: voobrazhen'e ih Vsegda sil'nej holodnogo rassudka. Bezumnye, lyubovniki, poety - Vse iz fantazij sozdany odnih. (V, 1; perevod T. SHCHepkinoj-Kupernik) Vse sposoby ispytyvaet Valentin, chtoby zavoevat' serdce Anzheliki, i ni odin ne pomogaet. Dazhe naigrannoe bezumie. I togda yunosha pribegaet k poslednemu sredstvu - "bezumstvu podlinnomu", podnimayushchemu ego nad vsemi personazhami komedii: chtoby dokazat' Anzhelike svoyu lyubov', on gotov otkazat'sya ot nasledstva, stat' nishchim. "Obladaj ya vselennoj, i togda by ya ne byla dostojna takoj velikodushnoj i predannoj lyubvi, - govorit Anzhelika, porazhennaya namereniem Valentina. - Vot moya ruka, a serdce moe vsegda bylo vashim, tol'ko ego terzalo zhelanie udostoverit'sya v iskrennosti vashih chuvstv" (V). Lyubov' za lyubov'. Vernost' za vernost'. Vozmozhno Anzhelika i Valentin sumeyut protivostoyat' miru lzhi i pritvorstva? Geroi uhodyat iz social'nogo mira zla i obmana v mir iskrennego chuvstva. Oni schastlivy, tak kak pod mishuroj karnaval'nogo kostyuma sumeli rasslyshat' bienie chelovecheskogo serdca. Publika holodno prinyala poslednyuyu komediyu Kongriva "Tak postupayut v svete". Vprochem, dramaturg eto predvidel. V posvyashchenii k p'ese on pisal, chto "ona lish' v maloj stepeni byla naznachena udovletvoryat' vkusam, kotorye po vsemu sudya gospodstvuyut nynche v zale". Kongriv podcherkival, chto ryad personazhej ego novoj komedii "budut smeshny ne v silu prirodnoj gluposti (ona ved' neispravima i potomu neumestna dlya sceny), a bol'she iz-za zhelaniya vo chto by to ni stalo vykazat' svoj um; stremlenie sojti za umnika sovsem ne est' priznak uma". V etih slovah chuvstvuetsya inoe otnoshenie i k "ostroumcam" v celom, i k metodu sozdaniya personazhej, i k zadacham komedijnogo zhanra. Poslednyaya komediya polna razmyshlenij nad sud'bami cheloveka i obshchestva. "Vse poucheniya, Mirabell!" - vosklicaet v razdrazhenii missis Millament, vyslushav odnu iz nastavitel'nyh tirad svoego poklonnika. I verno: Kongriv stremitsya v etoj komedii, kak nigde prezhde, razvlekaya, pouchat'. V p'ese po sravneniyu s predydushchimi tremya gorazdo men'she "skepticheskogo" i "frivol'nogo" yumora. Zdes' mnogo associacij istoricheskih, teatral'nyh, literaturnyh: Millament i Mirabell citiruyut Dzhona Saklinga, v kabinete ledi Uishfort lezhat knigi Kuorlza, Prinna, Ben'yana i Koll'era, svoyu sluzhanku Peg ledi Uishfort sravnivaet s asturijkoj Maritornes iz "Don Kihota" Servantesa, mnogie personazhi znakomy s grecheskoj mifologiej, dazhe nevezhestvennyj ser Uilful upominaet Oresta i Pilada. Vse v etoj komedii kak budto by i privychno: znakomaya rasstanovka sil, stolknovenie stolichnyh dzhentl'menov s provincial'nymi skvajrami, konflikt pokolenij. I, odnako, mnogoe izmenilos'. Samyj pokazatel'nyj v etom smysle - obraz Mirabella, geroya novogo vremeni, ispytyvayushchego na sebe nesomnennoe vliyanie veka Prosveshcheniya. Ego osnovnoe oruzhie - zdravoe suzhdenie, ego rech' obretaet tochnost' i logiku horosho sbalansirovannogo rassuzhdeniya, ona elegantna, ne izobiluet igroj slov, net izbytka sravnenij i metafor: Fejnell. Ty nastoyashchij kavaler, Mirabell. I hotya u tebya hvataet zhestokoserdiya ne otvetit' na strast' damy, ty dostatochno velikodushen, chtoby pech'sya o ee chesti. Odnako naigrannoe bezrazlichie vydaet tebya s golovoj. Ty otlichno znaesh', chto prenebreg eyu. Mirabell. Zato tvoj interes k etomu delu otnyud' ne kazhetsya naigrannym. Tvoi mysli yavno bol'she zanyaty upomyanutoj damoj, chem zhenoj (I). Kak otlichaetsya etot otvet Mirabella ot grubyh replik Hornera iz "ZHeny-provincialki" Uicherli ili svetskoj perebranki Dorimanta iz "Raba mody" |teridzha. Zdes' vse - namek, forma predlozheniya otpolirovana, udar spryatan v podtekst. V otlichie ot rannih geroev Kongriva, Bellmura i Vejnlava, Mirabell skromen, on spravedlivo polagaet, chto podlinnyj um i dushevnaya dobrota neotdelimy. Mirabell horosho znaet zhizn', znaet, chto lyubov' neset volneniya, trevogi, perezhivaniya: "...Dazhe vzdumaj kto poselit'sya na vetryanoj mel'nice, i ego ne zhdet stol'ko peredryag, skol'ko predstoit cheloveku, doverivshemu svoj pokoj zhenshchinam..." No esli Valentin otgonyal podobnye mysli, menyaya temu razgovora, to Mirabell zaklyuchaet: "Soznavat' eto i vse-taki lyubit', vse ravno, chto postich' istinu razumom, no po-prezhnemu tvorit' gluposti pod vliyaniem instinkta" (II). Vo mnogom Mirabell napominaet Valentina: iskrennost'yu, umom, chestnost'yu. On lyubit Millament i veren ej, chem navlekaet na sebya gnev missis Marvud i ledi Uishfort. Odin iz interesnejshih epizodov komedii - razgovor Mirabella i Millament o predstoyashchej sovmestnoj zhizni (tak nazyvaemaya scena "vydvizheniya uslovij", akt IV): vpervye geroj komedii perioda Restavracii tak zabotitsya o budushchej sem'e i detyah, reputacii doma, zdorov'e zheny. Imenno Mirabellu poruchaet Kongriv prochest' zaklyuchitel'nye stroki komedii: Vot i urok tem lyudyam bezrassudnym, CHto brak skvernyat obmanom oboyudnym: Pust' chestnost' obe storony blyudut, Il' syshchetsya na pluta dvazhdy plut. Millament, obayatel'naya, tonkaya, sochetaet v sebe koketstvo i um, pritvorstvo i iskrennost'. Ona lyubit pozlit' Mirabella, podraznit' poklonnikov, prikinut'sya legkomyslennoj i vetrenoj. No pritvorstvo nuzhno Millament dlya edinstvennoj celi - spryatat' glubokoe i sil'noe chuvstvo k Mirabellu. Svetskoe koketstvo - shchit, za kotorym skryvaetsya podlinnaya Millament. Vyderzhka, takt, umenie vesti sebya s raznymi lyud'mi i v raznyh obstoyatel'stvah - primechatel'naya cherta geroini. V otkrytyj boj ona vstupaet, lish' kogda nuzhno zashchitit' svoe chuvstvo: v poedinke s missis Marvud (III) ona oderzhivaet blestyashchuyu pobedu. Fejnell i missis Marvud vo mnogom napominayut Projda i ledi Truhldub iz "Dvojnoj igry". Oba oni egoistichny, zhestoki, stremyas' dobit'sya udovol'stviya i vlasti lyuboj cenoj. "YA znayu, Fejnell - chelovek somnitel'nyh pravil, bol'she drug sebe, chem komu-libo, i vdobavok verolomnyj lyubovnik..." - govorit Mirabell (II). CHto zh, Fejnell sam priznaetsya, chto zhivet i postupaet, "kak polozheno v svete". Kongriv reshitel'no osuzhdaet etot svet, ego zakony i moral'. On osuzhdaet i teh, kto prinimaet svetskoe obshchestvo takim, kakoe ono est', miryas' s ego cinizmom i porochnost'yu. Geroi Kongriva proshli slozhnyj put' evolyucii ot veselogo i besputnogo Bellmura do filosofa Mirabella, ot svetskoj koketki Belindy do umnoj i soderzhatel'noj Millament, kotoroj blizok i ponyaten mir dobra i chuvstva. Kongriv tvoril na rubezhe vekov, v epohu perelomnuyu, slozhnuyu, formiruyushchuyu novye ponyatiya, moral' i eticheskie normy. Komedii Kongriva, proizvedeniya podlinno talantlivye i yarkie, sozdannye edkim nasmeshnikom nad nravami veka, otrazili svoe vremya, svoyu epohu. ^TISTOCHNIKI^U Komedii Kongriva "Staryj holostyak", "Dvojnaya igra" i "Tak postupayut v svete" perevodyatsya na russkij yazyk vpervye; komediya "Lyubov' za lyubov'" publikovalas' ranee (M., "Iskusstvo", 1965), dlya nastoyashchego sbornika ona zanovo otredaktirovana. Vse perevody sdelany s anglijskogo izdaniya: William Congreve. The Complete Plays. The Mermaid Series. London, 1947. Bibliografiya izdanij komedij Kongriva obshirna. Nizhe privoditsya perechen' naibolee vazhnyh izdanij, poyavivshihsya v period s 1712 po 1967 g. William Congreve. Five Plays. London, 1712. William Congreve. The Works, vols. 1-3. London, 1730. William Congreve. The Dramatick Works. London, 1733. Drama. A Collection, vol. 2. London, 1826. The Dramatic Works of Wycherley, Congreve, Vanbrugh, and Farquhar. Ed. by Leigh Hunt. London, 1840. William Congreve. The Complete Plays. Ed. by Alex. Charles Ewald. The Mermaid Series. London, 1887. Plays of the Restoration and XVIII century. Ed. by Dougald MacMillan and Howard Mumford Jones. New York, 1931. William Congreve. Comedies. Ed. with Introduction and Notes by Bonamy Dobree. The World's Classics. Oxford, 1939. Restoration Plays. With an Introduction by Brice Harris. New York, 1953. William Congreve. The Complete Works. Ed. by Montague Summers, vols. 1-4. New York, 1964. Four Great Restoration Plays. Ed. and with an Introduction by Louis B. Wright and Virginia A. LaMar. New York, 1964. Restoration Drama. Ed. and with Introduction by Eugene Waith. New York, 1968. Restoration Plays. With and Introduction by Edmund Gosse. Everyman's Library N 604. London, 1972. William Congreve. The Way of the World. Ed. by Kathleen M. Lynch. Regents Restoration Drama Series. Lincoln: University of Nebraska Press, 1965. William Congreve. Love for Love. Ed. by Emmett L. Avery. Regents Restoration Drama Series. London, 1967. Uil'yam Kongrgsv. Lyubov' za lyubov'. Perevod R. Pomerancevoj. M., "Iskusstvo", 1965. William Congreve. Letters and Documents. Collected and Edited by John C. Hodges. London, 1964. U komedij Kongriva zavidnaya teatral'naya sud'ba: v techenie bolee dvuh s polovinoj stoletij oni idut na scenah razlichnyh anglijskih teatrov. Obrazy, sozdannye Kongrivom, voshli v tvorcheskuyu biografiyu mnogih akterov i aktris raznyh epoh. Sovetskomu zritelyu izvesten spektakl' Nacional'nogo teatra Anglii "Lyubov' za lyubov'", postavlennyj rezhisserom Piterom Vudom i pokazannyj vo vremya gastrolej teatra v Moskve v 1965 g. Russkomu chitatelyu imya Kongriva znakomo sravnitel'no malo. V konce XIX v. ego raboty upominalis' v stat'yah obzornogo haraktera, posvyashchennyh anglijskomu teatru i dramaturgii (sm., naprimer: A. A. CHebyshev. Ocherki iz istorii evropejskoj dramy. Anglijskaya komediya konca XVII i poloviny XVIII vv. - "ZHurnal ministerstva narodnogo prosveshcheniya", 1897, aprel' i maj, | 310-311). V 1929 g. imya Kongriva upominalos' v knige A. S. Bulgakova "Teatr i teatral'naya obshchestvennost' Londona epohi rascveta torgovogo kapitalizma", izdannoj v Leningrade. V 40-60-e gody Kongrivu posvyashchalis' stranicy v uchebnikah i hrestomatiyah po anglijskoj literature, ego tvorchestvo harakterizovalos' v rabotah i issledovaniyah A. A. Aniksta, A. A. Elistratovoj, YU. I. Kagarlickogo, E. L. Lanna, V. D. Raka. Nizhe privoditsya perechen' nauchno-kriticheskih rabot anglijskih avtorov, posvyashchennyh tvorchestvu Kongriva v celom i ego otdel'nym komediyam, a takzhe trudov, naibolee polno osveshchayushchih anglijskuyu komediyu perioda Restavracii. Alleman Gellert. Matrimonial Law and the Materials of Restoration Comedy. Walling-ford: University of Pennsylvania, 1942. Avery Emmett. The London Stage: Part 2-1700-1729. 2 vols. Carbondale: Southern Illinois University Press, 1960. Berkeley David. Preciosite and the Restoration Comedy of Manners.Himtington Library Quarterly, 1955, XVIII, 109-28. Gibber Colley. An Apology for the Life of Mr. Colley Gibber. Ed. and with and Introduction by B. R. S. Fone. Ann Arbor: University of Michigan Press, 1968. Collier Jeremy. A Short View of the Immorality and Profaneness of the English Stage. London, 1699. A Comparison Between the Two Stages. London, 1702. Dennis John. Critical Works. Ed. by Edward Hooker. 2 vols. Baltimore, 1938-1943. Dobree Bonamy. Restoration Comedy. 1660-1720. Oxford, 1924. Dobree Bonamy. William Congreve. Writers and their Work, N 164. London, 1963. Fujimnra Thomas H. The Restoration Comedy of Wit. Princeton, 1952. Gagen Jean. Congreve's Mirabell and the Ideal of the Gentleman.- PMLA, 1964, LXXIX, 422-27. Genest John. Some Account of the English Stage. 10 vols. Bath, 1832. Gosse Edmund. Life of William Congreve. New York, 1924. Hazlitt William. Lectures on the English Comic Writers. London, 1906. Hodges John C. William Congreve: The Man; A biography from New Sources. New York, 1941. Holland Norman. The First Modern Comedies. Cambridge, Mass., 1959. Jacob Giles. The Poetical Register. London, 1719. Johnson Samuel. "Congreve". Lives of the Poets. Ed. by George B. Hill. 3 vols. Oxford, 1905. Krutch Joseph Wood. Comedy and Conscience after the Restoration. New York, 1961. Lamb Charles. The Works. London, 1840. Leech Clifford. Congreve and the Century's End.- Philological Quarterly, 1962, XLI, 275-93. Loftis John. Comedy and Society from Congreve to Fielding. Stanford, 1958. Lynch Kathleen. The Social Mode of Restoration Comedy. New York, 1926. Lynch Kathleen. A Congreve Gallery. Cambridge, Mass., 1951. Meredith George. Essays on Comedy and the Uses of the Comic Spirit. Ed. by Lane Cooper. New York, 1918. Mignon Elizabeth. Crabbed Age and Youth. Durham, 1947. Mueschke Paul and Miriam. A new view of Congreve's "Way of the World". Ann Arbor: University of Michigan Press, 1958. Muir Kenneth. The Comedies of William Congreve. In: Restoration Theatre. Ed. John Brown and Bernard Harris. Stratford-upon-Avon Studies, N 6. London, 1965. Nicoll Allardyce. History of English Drama 1660-1900, vol. 1-2. Cambridge, 1969. Novak Maximillian E. William Congreve. New York, 1971. Palmer John. The Comedy of Manners. London, 1913. Perry Henry Ten Eyck. The Comic Spirit of Restoration Drama. New Haven, 1925. Smith John Harrington. The Gay Couple in Restoration Comedy. Cambridge, Mass., 1948. Swift Jonathan. Journal to Stella. Ed. by Harold Williams. 2 vols. Oxford, 1948. Taylor D. Crane. William Congreve. New York, 1963. Voris William Van. The Cultivated Stance. Dublin, 1965. Wilkinson D. R. M. The Comedy of Habit. Leiden, 1964.