ut ot portretov, kotorye dejstvitel'no mogut zapylit'sya, kak pred osteregaet "Dvenadcataya noch'", no prodolzhayut svidetel'stvovat' ne v pol'zu dannoj versii. Tak, sudya po portretam, Meri Fitton ne byla zhguchej chernoglazoj bryunetkoj, kotoruyu risuyut sonety. U nee byli kashtanovye volosy i serye glaza, hotya na dvuh cherno-belyh portretah ee volosy i glaza kazhutsya chernymi {Ajvor Braun. Tam zhe. S. 302.}. Uil'yam Herbert priehal v London lish' v 1598 g., kogda, soglasno Miresu, sonety uzhe byli izvestny druz'yam SHekspira, mezhdu tem, soglasno sonetam, ih avtor znaet yunogo krasavca ne pervyj god: Moj drug, ty ne stareesh' dlya menya, Hot' minovali celyh tri zimy S togo obvorozhitel'nogo dnya, Kogda naveki povstrechalis' my. (Sonet 104) V 1598 g. starshij graf Pembrok byl eshche zhiv i umer lish' tri goda spustya, v 1601 g., a v sonete 14 o nem govoritsya kak ob umershem: Puskaj tebya pomyanet kto-nibud', Kak ty otca ne mog ne pomyanut'. I, nakonec, opyat'-taki portretnoe shodstvo ili neshodstvo. Volosy u tret'ego grafa Pembroka byli ne svetlye, a temnye {Rictor Norton. P. 3.}. Vprochem, cvet volos i glaz v sonetah mozhet ne imet' pryamogo otnosheniya k volosam i glazam istoricheskih prototipov, esli oni byli. Vozmozhno, cvet volos i glaz v sonetah opredelyaetsya storonami lyubovnogo treugol'nika, a ne vneshnost'yu real'nyh dejstvuyushchih lic: Tak ya zhivu vo vlasti duhov dvuh: Hranitelyu perechit nedrug moj; Muzhchinoj predstaet mne svetlyj duh, A zhenshchina grozit mne vechnoj t'moj. (Sonet 144) Togda vozlyublennyj svetel (a man right fair), a vozlyublennaya temna (a woman colour'd ill: pagubnogo, zloveshchego cveta), tak chto glaza i volosy u oboih okrasheny soobrazno ih funkcii. Veskij argument protiv rasprostranennyh gipotez vydvinul Oskar Uajl'd, usomnivshis' v tom, chto kto by to ni bylo osmelilsya v nachale semnadcatogo veka oboznachit' lorda Sautgemptona ili lorda Pembroka abbreviaturoj Mr. W. H. - nedopustimaya derzost' po otnosheniyu k tomu i k drugomu lordu. K tomu zhe Mr. oznachalo togda dazhe ne "mister", a "master", "molodoj gospodin", tem bolee nevozmozhnoe obrashchenie k lordu {Rictor Norton. P. 2.}. Takim obrazom, lico, kotoromu posvyashcheny sonety, ne moglo byt' aristokraticheskogo proishozhdeniya. Ishodya iz etogo, Oskar Uajl'd predpolozhil, chto sonety SHekspira posvyashcheny yunomu krasavcu-akteru iz ego truppy, igravshemu v p'esah SHekspira zhenskie roli, tak kak zhenshchinam poyavlyat'sya na scene togda zapreshchalos'. Imya etogo aktera Willie Huges (W. H.), Villi H'yus, vyvoditsya Oskarom Uajl'dom iz soneta 20: "A man in hue, all hues in his controlling": "chelovek v cvetu, vse cveta (mozhet byt', vse obrazy) v ego vlasti". Oskar Uajl'd ne otrical, chto u ego gipotezy net istoricheskih dokazatel'stv, i vmesto nih napisal charuyushchuyu novellu "Portret mistera W. H.". Geroi etoj novelly ubezhdayut drug druga v sushchestvovanii Villi H'yusa, kak v dogmate very, zhertvuya zhizn'yu, chtoby pridat' etomu obrazu real'nost'. Nado skazat', chto Oskaru Uajl'du udalos' vvesti Villi H'yusa v shekspirovedenie. Svoeobrazie ego metoda zaklyuchaetsya v tom, chto sushchestvovanie Villi vyvoditsya ne iz istoricheskih dannyh, a iz samih sonetov. Dazhe podlog, sovershennyj vo imya Villi H'yusa, obretaet istinnost'. Avtor sonetov zaklinaet svoego vozlyublennogo peredat' svoyu krasotu potomstvu, no eto potomstvo - ne deti vo ploti, a roli, kotorye on sygraet v teatre SHekspira, pust' eti roli - teni, no drugogo bessmertiya i ne byvaet, esli sama istina dlya Oskara Uajl'da - istina masok, a Prospero v "Bure" govorit, chto nash sostav podoben sostavu snov, i k Villi H'yusu vpolne mogut byt' otneseny stroki: Kakov, skazhi mne, plotskij tvoj sostav? Odnoyu ten'yu kazhdyj nadelen. Prisvaivaesh' teni, zablistav; Ih u tebya, dolzhno byt', million. Adonis byl by na tebya pohozh, Bud' on, kak ty, plenitel'no krasiv; No, kak sama Elena, ty horosh, V otlichie ot grekov drevnih zhiv. (Sonet 53) Avtor sonetov predlagaet yunomu krasavcu brak ne so smertnoj zhenshchinoj, a so svoej muzoj, ot kotoroj rodyatsya bessmertnye deti: Ne bojsya! Nevozmozhen tvoj zakat, I dlya potomstva yasnye cherty Ostanutsya; vospetyj mnoyu klad, Do svetoprestavlen'ya budesh' ty. (Sonet 55) Izmena i pozor yunogo krasavca svyazany, po Oskaru Uajl'du, ne s "temnoj ledi", a s ego perehodom v teatr drugogo dramaturga. Namek na takuyu izmenu takzhe vstrechaetsya v sonetah: Nachav pisat', ya duhom past' gotov; Tebya vospel vladyka iz vladyk, Neprevzojden v mogushchestve stihov, Tak chto nemeet u menya yazyk. No v okeane sovershenstv tvoih Derzaem plavat' oba: on i ya, Bol'shoj korabl' sred' burnyh voln morskih I malen'kaya, zhalkaya lad'ya. (Sonet 80) Oskar Uajl'd ubeditel'no dokazyvaet, chto molodoj akter izmenil SHekspiru s Kristoferom Marlo. V istoricheskoj drame Kristofera Marlo "|duard II" Villi H'yus dolzhen byl igrat' Gevestona, tozhe yunogo krasavca, v kotorogo |duard II vlyublen. Lankaster v drame Marlo upodoblyaet Gevestona "grecheskoj shlyuhe", i ne na eto li upodoblenie ssylaetsya stroka v sonete 53: "No, kak sama Elena, ty horosh"? Korol' ne v silah porvat' s Gevestonom; on otkryto predpochitaet Gevestona koroleve, za chto ta zhestoko mstit svoemu suprugu. Korol' |duard II teryaet prestol, on uzhe ne dorozhit zhizn'yu, utrativ Gevestona. Geveston vyzyvaet nenavist' vseh anglijskih baronov, no v etoj nenavisti ugadyvaetsya strast' k nemu; ego ubivayut, potomu chto pered nim nevozmozhno ustoyat'. Prostoe upominanie Villi H'yusa v roli Gevestona pridaet emu v novelle Oskara Uajl'da takuyu soblaznitel'nuyu zhiznen- nost', chto ne tol'ko Oskar Uajl'd izoshchryaetsya, nahodya dokazatel'stvo ego sushchestvovaniya. Ne zabudem, chto stat'ya Riktora Nortona tak i nazyvaetsya: "Villi H'yus kak Dzhul'etta". Imenno Oskar Uajl'd vyskazyvaet predpolozhenie, chto rol' Dzhul'etty v tragedii SHekspira igral Villi H'yus i eto podtverzhdaet sonet 101: Konechno, on horosh i bez pohval, No, Muza, ty molchanie narush', CHtob nad vekami vostorzhestvoval On, perezhiv zlatoj grobnicy glush'. Familiya "H'yus" byla tak rasprostranena v Anglii, chto predpolagaemogo Villi H'yusa, ego rodichej i dvojnikov najti netrudno sredi akterov, muzykantov i poetov. Oskar Uajl'd uveryaet, chto Mr. W. H. ne mog byt' znatnogo proishozhdeniya, no sredi argumentov Oskara Uajl'da po men'shej mere odin ne podtverzhdaetsya sonetami. Slovo "birth" v sonete 37 vryad li mozhet oznachat' chto-nibud', krome znatnogo proishozhdeniya, da eshche v sochetanii s velikolepiem: Kak znatnosti, kak tonkomu umu Izyashchestvom sebya ne proyavit'! I ya k velikolep'yu tvoemu Moyu lyubov' osmelilsya privit'. A znatnost' snova vlechet za soboj izyskannyj obraz molodogo lorda i bespokojnyj prizrak pridvornoj damy, kakaya by temnaya ili dazhe chernaya ona ni byla. Alhimiya v treh licah Oskar Uajl'd balansiruet na grani anahronizma. Esli sonet 80 namekaet na Kristofera Marlo, sonet dolzhen byt' napisan ne pozdnee 1593 g., kogda Marlo byl ubit, a Mires, kak my pomnim, datiruet "sladostnye sonety" SHekspira 1598 godom, hotya sonety mogli byt' napisany ran'she. Poeticheskaya gipoteza Oskara Uajl'da ne stanovitsya ot etogo menee veroyatnoj, chem drugie gipotezy, v svoyu ochered', ne bolee veroyatnye, chem gipoteza Oskara Uajl'da. Istoricheskie dannye lish' otchasti, ne bez neuvyazok i nesoobraznostej dokumentiruyut roman v sonetah SHekspira i ostayutsya lish' nabroskami k etomu romanu, kotoryj ne vyvoditsya iz nih, a naprotiv, oni svodyatsya, v konce koncov, k nemu zhe. V romane dva geroya i geroinya: starshij drug, mladshij drug i temnaya ledi. Intriga romana zaklyuchaetsya v tom, chto starshij drug prihodit v gnevnoe otchayan'e, kogda mladshij gotov, nakonec, obresti zhenskoe lono, prednaznachennoe dlya prodleniya roda, a k chemu, esli ne k etomu, prizyval mladshego starshij drug v pervyh sonetah. Esli prinyat' versiyu s Uil'yamom Herbertom i s Meri Fitton, to zhenskoe lono po etoj versii otnyud' ne bylo besplodnym i moglo peredat' po nasledstvu charuyushchuyu krasotu mladshego druga. No dazhe esli otvlech'sya ot lorda Pembroka, mladshij drug kak budto ispolnyaet zavet starshego, a starshij v otchayan'e. Vozmozhno, ego otchayan'e vyzvano revnost'yu: mladshij drug sovratil vozlyublennuyu starshego, ili ona sovratila ego. No esli starshij drug neistovstvuet ot revnosti, revnuet li on svoyu vozlyublennuyu k mladshemu drugu, ili mladshego druga - k svoej vozlyublennoj? Sonety opredelenno zastavlyayut predpolozhit' vtoroe. Na muzhnem poseve v zhenskom lone, po sushchestvu, nastaivayut lish' pervye poltora desyatka sonetov. V sonete 16 starshij drug eshche propoveduet prevoshodstvo zhizni nad iskusstvom: Devich'i raspuskayutsya sady, Gde dlya tebya ni v chem otkazu net, I mogut poyavit'sya tam plody, Kotorym ustupil by tvoj portret. Sumeet zhizn' sebya zapechatlet', Zatmiv iskusstvo, vremya nizlozhiv; V glazah lyudej ty mozhesh' ucelet', Bez moego pera v gryadushchem zhiv. Takoe smirenie pache gordosti, i ne nastaivaet li avtor na obratnom ot protivnogo: utonchennomu vkusu mogut oprotivet' devich'i sady, "gde dlya tebya ni v chem otkazu net". Uzhe v sleduyushchem sonete predpolagaemyj otprysk mladshego druga i stih starshego uravnoveshivayutsya v sovershenstvah: Togda napomnit' mog by otprysk tvoj: Ty v nem, kak i v stihe moem, zhivoj. Iz soneta v sonet narastaet vera v svoj stih: "Cela v moem stihe moya lyubov'" (sonet 19). V dvadcatom sonete proishodit vzryv nezhnosti ili kul'minaciya: zhenstvennaya priroda mladshego druga otkrovenno prevoznositsya nad zhenskoj: Tvoj lik prirodoj zhenstvennoj otmechen; Vladyka, ty vladychica zhelanij, Po-zhenski nezhen ty, no bezuprechen: Izmenchivyh ne znaesh' kolebanij. Sprashivaetsya, neuzheli starshij drug sovetuet predpochest' sovershenstvu nesovershennuyu zhenstvennost', da i sposobna li ona peredat' po nasledstvu sovershennuyu krasotu? Mladshemu rekomenduetsya dopuskat' k svoim usladam ne zhenshchinu, a zhenshchin, tak chto rech' yavno idet ne o zhenit'be na odnoj iz nih, a "zavetnym kladom" mladshij ostaetsya dlya starshego, chto ne vyzyvaet somnenij v eroticheskoj blizosti mezhdu nimi. Starshij predosteregaet mladshego, chto eta blizost' postydna v glazah neposvyashchennyh: YA ne mogu tebya nazvat' moim, Ne opozoriv druga navsegda; Priznaesh'sya, chto ya toboj lyubim, I ne uberezhesh'sya ot styda. (Sonet 36) Istinnyj smysl prizyvov k braku v tom, chto mladshij vstupaet v brak s muzoj starshego, i starshij gor'ko zhaluetsya, kogda etot brak rasstraivaetsya: "Itak, moej ty muze ne suprug" (Sonet 82). Tem ne menee, pervye sonety ponimayutsya ne tol'ko perevodchikami, no i mnogimi dobrosovestnymi kommentatorami kak dopodlinnyj sovet zhenit'sya i obzavestis' det'mi. Sovet ne bez gorechi, no gorech' etu ob®yasnyayut neschastlivoj semejnoj zhizn'yu starshego druga. No dazhe esli prinyat' takuyu tochku zreniya, nel'zya ne priznat', chto gde-to okolo soneta 20 matrimonial'nye zaklinaniya smenyayutsya obeshchaniyami poeticheskogo bessmertiya. Odno iz dvuh: ili starshij otchayalsya obratit' mladshego na put' istinnyj, ili mladshij obratil starshego v svoyu veru, prepodav starshemu urok erotiki, pered kotoroj starshij ne ustoyal. "Kak znatnosti, kak tonkomu umu izyashchestvom sebya ne proyavit'", i vpolne mozhno sebe predstavit', kak yunyj aristokrat-intellektual chitaet starshemu poetu "Pir" Platona so svoimi vol'nymi kommentariyami. Skrytye i otkrytye citaty iz "Pira" vstrechayutsya v sonetah; mozhno dazhe utverzhdat', chto sonety osnovany na etih citatah: Ne potomu li my obrecheny Na etom svete drug bez druga zhit' I na dva sushchestva rassecheny, CHtoby toboj mne bol'she dorozhit'? (Sonet 39) V "Pire" Aristofan povestvuet: "Skazav eto, on (Zevs - V. M.) stal razrezat' lyudej popolam, kak rezhut yajco voloskom... I vot kogda tela byli takim obrazom rassecheny popolam, kazhdaya polovina s vozhdeleniem ustremilas' k drugoj svoej polovine, oni obnimalis', spletalis' i, strastno zhelaya srastis', umirali ot goloda i voobshche ot bezdejstviya, potomu chto nichego ne hoteli delat' porozn'" {Platon. Sobr. soch.: V 4-h t. M., 1993. T. 2. S. 99.}. CHto zhe kasaetsya strastnyh prizyvov ostavit' potomstvo v pervyh sonetah, to oni prochityvayutsya v slovah Diotimy: "Delo v tom, Sokrat, chto vse lyudi beremenny kak telesno, tak i duhovno, i kogda oni dostigayut izvestnogo vozrasta, priroda nasha trebuet razresheniya ot bremeni. Razreshit'sya zhe ona mozhet tol'ko v prekrasnom, no ne v bezobraznom" {Platon. T. 4. S. 116-117.}. |ta beremennost', svojstvennaya lyudyam oboego pola, pri stremlenii rodit' v prekrasnom, i zapechatlena v sonetah. Otsyuda stroki: Svoih podobij, skazhem, desyati Ne pozhalej dlya budushchih vremen; Smert' ne sob'esh' li ty togda s puti, Desyatikratnym schast'em nadelen. Ne ostavlyaj v nasledstvo krasotu Mogil'nomu chervyu ili krotu. (Sonet 6) No priroda etih podobij ne tak prosta, kak mozhet pokazat'sya chitatelyu sonetov. Diotima v "Pire" vyskazyvaetsya nedvusmyslenno: "Te, u kogo razreshit'sya ot bremeni stremitsya telo, obrashchayutsya bol'she k zhenshchinam i sluzhat |rotu imenno tak, nadeyas' detorozhdeniem priobresti bessmertie i schast'e i ostavit' o sebe pamyat' na vechnye vremena". Tak i govoritsya v sonetah: Oplatish' krasotoj svoeyu schet, I krasota tebya perezhivet. (Sonet 4) No Diotima na etom ne ostanavlivaetsya. Ona prodolzhaet: "Beremennye zhe duhovno - ved' est' i takie, - poyasnila ona, - kotorye beremenny duhovno, i pritom dazhe v bol'shej mere, chem telesno, - beremenny tem, chto kak raz dushe i podobaet vynashivat'. A chto ej podobaet vynashivat'? Razumenie i prochie dobrodeteli. Roditelyami ih byvayut vse tvorcy i te iz masterov, kotoryh mozhno nazvat' izobretatel'nymi" {Platon. Tam zhe. S. 119.}. Vot vstrechnoe iskushenie, kotoroe vydvigaet starshij, prel'shchaya svoego mladshego sovratitelya: Dlya ran lyubovnyh vremya - eliksir, I, kazhetsya, mne smert' podchinena; I ya v moih stihah bessmertno sir, Bezgramotnye vymrut plemena. Moim stiham nevedom etot risk. Drugoj tebe ne nuzhen obelisk. (Sonet 107) Bukval'no to zhe samoe govorit Diotima: "Da i kazhdyj, pozhaluj, predpochtet imet' takih detej, a ne obychnyh, esli podumaet o Gomere, Gesiode i drugih prekrasnyh poetah, ch'e potomstvo dostojno zavisti, ibo ono prinosit im bessmertnuyu slavu i sohranyaet pamyat' o nih, potomu chto i samo nezabyvaemo i vechno" {Platon. Tam zhe. S. 120}. Tut v rechah Diotimy proishodit harakternyj sdvig, proishodyashchij i v sonetah: "...nelepo dumat', budto krasota u vseh tel ne odna i ta zhe" {Platon. Tam zhe. S. 120.}. Dal'she eta mysl', tak skazat', utochnyaetsya: "I tot, kto blagodarya pravil'noj lyubvi k yunosham podnyalsya nad otdel'nymi raznovidnostyami prekrasnogo i nachal postigat' samo prekrasnoe, tot, pozhaluj, pochti u celi" {Platon. Tam zhe. S. 121.}. Pavsanij v "Pire" formuliruet etu mysl' eshche pryamolinejnej i rezche: "|rot zhe Afrodity nebesnoj voshodit k bogine, kotoraya, vo-pervyh, prichastna tol'ko muzhskomu nachalu, no nikak ne k zhenskomu - nedarom eto lyubov' k yunosham, a vo-vtoryh, starshe i chuzhda prestupnoj derzosti" {Platon. Tam zhe. S. 90.}. Esli govorit' ob |pohe Vozrozhdeniya pri vsej somnitel'nosti etoj metafory, togda, nesomnenno, vozrozhdalas' platonicheskaya lyubov' takogo roda, i v opravdanie SHekspira, esli on nuzhdaetsya v opravdanii, sleduet skazat', chto roman v sonetah - ne apofeoz, a tragediya takoj lyubvi, bezyshodnoj, gor'koj i razrushitel'noj pri vseh svoih utonchennyh soblaznah. V atmosfere platonovskogo "Pira" temnaya ledi bezuslovno inorodnoe telo, i strast' k nej ne mozhet ne privodit' v yarost', zastavlyaya upivat'sya otvrashcheniem k ee prelestyam. V dvuh poslednih sonetah, obrazuyushchih epilog romana, bog lyubvi pogruzhen v son i svoej ushcherbnost'yu napominaet |rota, o kotorom govorit opyat'-taki Diotima: "... on vsegda beden i vopreki rasprostranennomu mneniyu sovsem ne krasiv i ne nezhen, a grub, neopryaten, ne obut i bezdomen; on valyaetsya na goloj zemle, pod otkrytym nebom..." {Platon. T. 4. S. 113.}. V sonete 153 on "fakel svoj zabyl v trave", i kogda v oboih poslednih sonetah ih avtor proizvodit ot nego svoj nedug, eta izyashchnaya metafora vopreki uhishchreniyam literaturnosti obretaet zloveshchuyu, smertel'nuyu ubeditel'nost', na chem i prostroen roman v sonetah. No sonety ne ischerpyvayutsya i takim podhodom. Uzhe v pervom sonete poyavlyaetsya roza, stol' tradicionnaya dlya zhanra sonetov; v romane SHekspira roza ne vsegda yavlyaetsya simvolom vozlyublennoj ili vozlyublennogo, i v pervom sonete roza - simvol razmnozheniya, no oznachaet ona skoree nekuyu preemstvennost', nezheli nasledstvennost': Kak zaveshchaet roza krasotu Gryadushchej roze prezhde uvyadan'ya. Na etu rozu strannym obrazom prolivaet svet nekij alhimicheskij manuskript, napisannyj v 1606 g., za tri goda do publikacii sonetov i cherez vosem'-desyat' let posle ih predpolagaemogo napisaniya, iz chego ne sleduet, chto svedeniya, soobshchaemye manuskriptom, ne mogli skazat'sya i v sonetah, buduchi kuda bolee drevnimi. V manuskripte privodyatsya izobrazheniya desyati retort. Uzhe iz pervoj retorty voznikayut tri cvetka, iz vtoroj chetyre zolotyh cvetka; iz devyatoj retorty voznikaet "zolotaya belaya roza", kotoraya v desyatoj retorte smenyaetsya krasnoj rozoj {Menli Palmer Holl. |nciklopedicheskoe izlozhenie masonskoj, germeticheskoj, kabbalisticheskoj i rozenkrejcerovskoj simvolicheskoj filosofii. M., 2003. S. 722-723.}. |to cheredovanie roz, vozmozhno, imeet otnoshenie k roze, zaveshchayushchej svoyu krasotu drugoj roze v pervom sonete. Alhimiya pryamo upominaetsya v sonete 114, gde ona svojstvenna mladshemu drugu, vydaet za svet nochnuyu t'mu, a glavnoe, koronuet starshego druga, chto nevozmozhno bez alhimicheskogo zolota. Uzhe v sonete 33 nebesnaya alhimiya zolotit reki. V sonete 12 fialka vozveshchaet ugrozu vremeni, na kotoruyu otvet izvesten: Serp vremeni ostree chto ni god. Plodis' - i sam sebe sozdash' oplot. Fialka vozvrashchaetsya v sonete 99, u kotorogo lishnyaya stroka i kotoromu predshestvuet znamenatel'noe dvoetochie: Moshennica-fialka, - govoryu, - Pohitila tonchajshij aromat Iz ust, lyubov' moya, tvoih; zaryu Prisvoil by bledneyushchij zakat. Fialka, eshche odin simvol mladshego druga, ne prosto sootnositsya s fialom, v kotorom sovershaetsya alhimicheskaya reakciya; fialkoj oboznacheno dvupoloe: "Vladyka, ty vladychica zhelanij", i v to zhe vremya fialka - simvol alhimicheskogo Rebisa (Rebis), a Rebis - kamen', odna veshch', sozdannaya iz dvuh veshchej {|zhen Kasel'e. Alhimiya. M.: |nigma, 2002. S. 72.}. Takoj Rebis dolzhny obrazovat' starshij i mladshij drug v sonetah. Smysl alhimii v tom, chtoby sochetat' elementy, sami po sebe ne sochetayushchiesya v prirode. V alhimii preobladaet sochetanie v otlichie ot himii, v kotoroj preobladaet razlozhenie. No sochetaniyu elementov, obrazuyushchih filosofskij kamen', predshestvuet raspad i gnienie {Tam zhe, s. 50.}. Ne otsyuda li chervotochina v roze (sonet 95)? CHernota ("nigrum nigrius nigro", "chern' chernee chernoj cherni") igraet v sonetah rokovuyu rol'. Alhimii znakoma chernaya zhenshchina, kotoraya stanovitsya beloj {Tam zhe, s. 84.}, no v sonetah etogo ne proishodit. Starshij drug i mladshij drug - elementy, kotorye ne sochetayutsya sami po sebe, no ih moglo by soedinit' Velikoe Iskusstvo (Ars Magna). CHernaya zhenshchina (v sonetah temnaya ledi) estestvenno sochetaetsya s kazhdym iz nih, no kak raz tem samym delaet nevozmozhnym ih edinenie mezhdu soboj. Otsyuda tragediya vseh treh. Namechaetsya lzhetriada, v kotoroj chernaya zhenshchina ne dostigaet zhelannoj belizny, raz®edinyaya dva svetlyh nachala. Temnaya ledi - odin iz puzyrej zemli, kotorymi yavlyayutsya ved'my Makbeta, poistine Bespokojnyj Prizrak. Zato element W. H. transformiruetsya. K nemu podhodit eshche odno tolkovanie, soglasno kotoromu W. H. - eto William Himself, to est' avtor sonetov. Togda nesluchajno v posvyashchenii on oboznachen kak edinstvennyj porodivshij (Begetter) nizhesleduyushchie sonety, i oni prinesli bessmertie emu i ego drugu, kto by ni byl mladshij drug. TO. THE. ONLIE. BEGETTER. OF. THESE. INSVING. SONNETS. MR. W. H. ALL. HAPPINESSE. AND. THAT. ETERNITIE. PROMISED. BY. OVR. EVER-LIVING. POET. WISHETH. THE. WELL-WISHING. ADVENTVRER. IN. SETTING. FORTH. T. T. EDINSTVENNOMU. PORODIVSHEMU. NIZHESLEDUYUSHCHIE SONETY. MISTERU W. H. VSYACHESKOGO SCHASTIYA. I OBETOVANNOJ VECHNOSTI. VOZVESHCHPNNYH BESSMERTNYM PO|TOM. ZHELAET. BLAGOZHELATELXNYJ IZDATELX. OTVAZHIVSHIJSYA. NAPECHATATX IH. T. T. Sonnet I From fairest creatures we desire increase, That thereby beauty's rose might never die, But as the riper should by time decease, His tender heir might bear his memory: But thou contracted to thine own bright eyes, Feed'st thy light's flame with self-substantial fuel, Making a famine where abundance lies, Thy self thy foe, to thy sweet self too cruel: Thou that art now the world's fresh ornament, And only herald to the gaudy spring, Within thine own bud buriest thy content, And, tender churl, mak'st waste in niggarding: Pity the world, or else this glutton be, To eat the world's due, by the grave and thee. Ty posmotri, kak mnozhatsya v cvetu ZHelannye, prekrasnye sozdan'ya, Kak zaveshchaet roza krasotu Gryadushchej roze prezhde uvyadan'ya. Lyubovnik nezhnyj sobstvennyh ochej, Gotovyj predpochest' samosozhzhen'e, Soboj pitaya zhar svoih luchej, Ty prazdnuesh' svoe unichtozhen'e. Tebya poslala nam sama vesna, I dlya nee drugogo net oplota, No krasota v tebe pogrebena: Skupec, ty rastochitel'nee mota. Sokrovishchem svoim upivshis' vslast', Vselennuyu ty mozhesh' obokrast'. Sonnet II When forty winters shall besiege thy brow, And dig deep trenches in thy beauty's field, Thy youth's proud livery so gazed on now, Will be a totter'd weed of small worth held: Then being asked, where all thy beauty lies, Where all the treasure of thy lusty days; To say, within thine own deep sunken eyes, Were an all-eating shame, and thriftless praise. How much more praise deserv'd thy beauty's use, If thou couldst answer "This fair child of mine Shall sum my count, and make my old excuse,' Proving his beauty by succession thine! This were to be new made when thou art old, And see thy blood warm when thou feel'st it cold. Kogda vojska zimy sorokovoj Obezobrazyat rvami gordyj lob, Ty budesh' shozh s pobleksheyu travoj, V kotoroj zatailsya vethij grob. I esli sprosyat vdrug tebya v upor: "Kuda deval ty krasotu tvoyu?" Otvetish' li, skryvaya svoj pozor: "Ee v glazah zapavshih ya tayu"? A ty by mog parirovat' udar, Skazav: "Moj syn prekrasnej rascvetet I, opravdav otca, kotoryj star, Prigozhestvom svoim oplatit schet. Tvoya zastynet krov', odnako v nem Ona vzygraet sladostnym ognem. Sonnet III Look in thy glass, and tell the face thou viewest Now is the time that face should form another; Whose fresh repair if now thou not renewest, Thou dost beguile the world, unbless some mother. For where is she so fair whose unear'd womb Disdains the tillage of thy husbandry? Or who is he so fond will be the tomb Of his self-love, to stop posterity? Thou art thy mother's glass and she in thee Calls back the lovely April of her prime; So thou through windows of thine age shall see, Despite of wrinkles this thy golden time. But if thou live, remember'd not to be, Die single and thine image dies with thee. Glyan' v zerkalo, i skazhet lik tvoj zrimyj: "Vselenskoe ty sohrani edinstvo, Vozobnovi sebya, nepovtorimyj, Daruya devstvennosti materinstvo". Kakomu lonu zhenskomu ne mil Blagoslovennyj muzhnij tvoj posev, I kto sebya v sebe pohoronil, Sebyalyubivo sklep zapechatlev? V tebe uvidet' materi dano Aprel', v kotorom vsya ee vesna; Dlya starosti svoej gotov' okno, CHtoby tvoya vesna byla vidna. Sebya ne zaveshchaesh' v svoj chered, I milyj obraz tvoj s toboj umret. Sonnet IV Unthrifty loveliness, why dost thou spend Upon thy self thy beauty's legacy? Nature's bequest gives nothing, but doth lend, And being frank she lends to those are free: Then, beauteous niggard, why dost thou abuse The bounteous largess given thee to give? Profitless usurer, why dost thou use So great a sum of sums, yet canst not live? For having traffic with thy self alone, Thou of thy self thy sweet self dost deceive: Then how when nature calls thee to be gone, What acceptable audit canst thou leave? Thy unused beauty must be tombed with thee, Which, used, lives th' executor to be. Ty poluchil v nasledstvo krasotu, Zachem zhe vvodish' sam sebya v razor? Priroda govorit nachistotu: "YA dlya svobodnyh chestnyj kreditor". Prekrasen ty, skupec, odnako prost, I tvoj uron poetomu velik, Kak esli by, davat' reshayas' v rost, Bespechnyj razorilsya rostovshchik. Pohitiv svoj zhe sobstvennyj zalog, Ty sam sebya nameren obmanut', Kak dumaesh' ty podvesti itog, Kogda otpravish'sya v poslednij put'? Oplatish' krasotoj tvoeyu schet, I krasota tebya perezhivet. Sonnet V Those hours, that with gentle work did frame The lovely gaze where every eye doth dwell, Will play the tyrants to the very same And that unfair which fairly doth excel; For never-resting time leads summer on To hideous winter, and confounds him there; Sap checked with frost, and lusty leaves quite gone, Beautyo'er-snowed and bareness everywhere: Then were not summer's distillation left, A liquid prisoner pent in walls of glass, Beauty's effect with beauty were bereft, Nor it, nor no remembrance what it was: But flowers distill'd, though they with winter meet, Leese but their show; their substance still lives sweet. Sluzhit' gotovy ramoyu chasy Dlya obraza, prel'shchayushchego vzor, Odnako ne shchadyat oni krasy I ej vynosyat smertnyj prigovor; Tak vremya letu konchit'sya velit Ugryumoj nepriglyadnoyu zimoj, Kak budto sok derev'ev golyh slit S bezzhiznennoyu, zasnezhennoj t'moj. I esli by essenciej svoej, Tomyashchejsya sredi steklyannyh sten, Ne nadelilo leto zimnih dnej, Ostalsya by nam razve tol'ko tlen; Odnako zhe essenciya v cvetah Bessmertnaya, vse ostal'noe - prah. Sonnet VI Then let not winter's ragged hand deface In thee thy summer, ere thou be distilled: Make sweet some vial; treasure thou some place With beauty's treasure ere it be self-killed. That use is not forbidden usury, Which happies those that pay the willing loan; That's for thy self to breed another thee, Or ten times happier, be it ten for one, - Ten times thy self were happier than thou art, If ten of thine ten times refigured thee: Then what could death do if thou shouldst depart, Leaving thee living in posterity? Be not self-willed, for thou art much too fair To be death's conquest and make worms thine heir. Tak pust' persty kostlyavye zimy Ne rashishchayut leta tvoego; |ssenciyu svoyu ty daj vzajmy, Greh ubivat' svoe zhe sushchestvo, Puskaj s desyatikratnoyu lihvoj Tvoya dolzhnica dolg tebe vernet. Procent bez kolebanij ty prisvoj! Rostovshchika ona ne proklyanet. Svoih podobij, skazhem, desyati Ne pozhalej dlya budushchih vremen; Smert' ne sob'esh' li ty togda s puti, Desyatikratnym schast'em nadelen? Ne ostavlyaj v nasledstvo krasotu Mogil'nomu chervyu ili krotu. Sonnet VII Lo! in the orient when the gracious light Lifts up his burning head, each under eye Doth homage to his new-appearing sight, Serving with looks his sacred majesty; And having climbed the steep-up heavenly hill, Resembling strong youth in his middle age, Yet mortal looks adore his beauty still, Attending on his golden pilgrimage: But when from highmost pitch, with weary car, Like feeble age, he reeleth from the day, The eyes, "fore duteous, now converted are From his low tract, and look another way: So thou, thyself outgoing in thy noon Unlocked on diest unless thou get a son. Svet podnimaet zhguchee chelo I dvizhetsya s vostoka na prostor, Gde srazu zhe siyan'e privleklo K sebe blagogovejnyj smertnyj vzor. A skol'ko voshishchennyh pylkih dush Vziraet, ne spuskaya glaz, potom, Kak shestvuet nad mirom yunyj muzh V svoem palomnichestve zolotom. A popoludni prodolzhaet put' On, merknushchij, pod gnetom sediny, I na byloe nekomu vzglyanut': Ne na nego glaza ustremleny. Umresh', svoj byvshij blesk v nochi gubya, Kogda ne budet syna u tebya. Sonnet VIII Music to hear, why hear'st thou music sadly? Sweets with sweets war not, joy delights in joy: Why lov'st thou that which thou receiv'st not gladly, Or else receiv'st with pleasure thine annoy? If the true concord of well-tuned sounds, By unions married, do offend thine ear, They do but sweetly chide thee, who confounds In singleness the parts that thou shouldst bear. Mark how one string, sweet husband to another, Strikes each in each by mutual ordering; Resembling sire and child and happy mother, Who, all in one, one pleasing note do sing: Whose speechless song being many, seeming one, Sings this to thee: "Thou single wilt prove none." Ot muzyki, ty muzyka dlya sluha, Uslada suprotiv inyh uslad, Ispytyvaesh' ty upadok duha. Zachem zhe ty podobnoj skorbi rad? Ne potomu li mozhet ogorchat' Tebya svoim soglasiem akkord, CHto predpochel otdel'no ty zvuchat', Razladom svoevol'nym etim gord? K suprugam-strunam struny priterpelis', Garmonii zhivuyu dan' platya, Kak budto by mezhdu soboyu spelis' Roditeli i nezhnoe ditya; Edinoe poet v nih sushchestvo; A kto odin, schitaj, chto net ego. Sonnet IX Is it for fear to wet a widow's eye, That thou consum'st thy self in single life? Ah! if thou issueless shalt hap to die, The world will wail thee like a makeless wife; The world will be thy widow and still weep That thou no form of thee hast left behind, When every private widow well may keep By children's eyes, her husband's shape in mind: Look what an unthrift in the world doth spend Shifts but his place, for still the world enjoys it; But beauty's waste hath in the world an end, And kept unused the user so destroys it. No love toward others in that bosom sits That on himself such murd'rous shame commits. Neuzhto ty vstupat' ne hochesh' v brak, O budushchej vdove svoej skorbya? No celyj mir odenetsya vo mrak, Utrativ neozhidanno tebya. Tvoya vdova Vselennaya togda Zaplachet, ne najdya tvoih primet Ni v kom, a zhizn' samoj sebe chuzhda, Kogda nigde tvoih podobij net. V bezumstve rastochitel'nyh shchedrot Tyagchajshaya utrata v mire mnima; Za vekom vek idet krugovorot, I tol'ko krasota nevospolnima. Ot chelovekolyubiya dalek Tot, kto soboj postydno prenebreg. Sonnet X For shame deny that thou bear'st love to any, Who for thy self art so improvident. Grant, if thou wilt, thou art beloved of many, But that thou none lov'st is most evident: For thou art so possessed with murderous hate, That "gainst thy self thou stick"st not to conspire, Seeking that beauteous roof to ruinate Which to repair should be thy chief desire. O! change thy thought, that I may change my mind: Shall hate be fairer lodged than gentle love? Be, as thy presence is, gracious and kind, Or to thyself at least kind-hearted prove: Make thee another self for love of me, That beauty still may live in thine or thee. Stydis'! Tebe neuzhto ne obidno? Priznajsya, ty zhe mnogimi lyubim, No nikogo ne lyubish', ochevidno, Tvorya nasil'e nad soboj samim. Ubijstvennoyu nenavist'yu ty Ohvachen, zagovorshchik; ty gotov Dotla razrushit' zdan'e krasoty, Hotya tvoj dolg - hranit' prekrasnyj krov. Opomnis'! Nakonec, menya utesh'! Zachem vrazhde plenitel'nyj chertog? Ty podnyal sam protiv sebya myatezh, Ne bud' zhe k samomu sebe zhestok. Ne otkazhi v podobii svoem Ty miru, gde s toboyu my vdvoem. Sonnet XI As fast as thou shall wane, so fast thou grow'st In one of thine, from that which thou departest; And that fresh blood which yoimgly thou bestow'st, Thou mayst call thine when thou from youth convertest. Herein lives wisdom, beauty, and increase; Without this folly, age, and cold decay: If all were minded so, the times should cease And threescore year would make the world away. Let those whom nature hath not made for store, Harsh, featureless, and rude, barrenly perish: Look whom she best endow'd, she gave the more; Which bounteous gift thou shouldst in bounty cherish: She carv'd thee for her seal, and meant thereby, Thou shouldst print more, not let that copy die. Nachnesh' ty uvyadat', i rascvetesh'