Sonnet 66

Sonnet 18

Shall I compare thee to a summer's day?

Thou art more lovely and more temperate:

Rough winds do shake the darling buds of May,

And summer's lease hath all too short a date;

Sometime too hot the eye of heaven shines,

And often is his gold complexion dimm'd,

And every fair from fair sometime declines,

By chance or nature's changing course untrimm'd:

But thy eternal summer shall not fade,

Nor lose possession of that fair thou ow'st,

Nor shall Death brag thou wand'rest in his shade,

When in eternal lines to time thou grow'st.

So long as men can breathe or eyes can see,

So long lives this, and this gives life to thee.

С. Маршак. Из письма К.И.Чуковскому, 31 октября 1963 года.

"...Видели ли вы в трех номерах лондонского "Times" статью о Шекспире (в частности, о Сонетах), написанную историком Елизаветинской эпохи доктором Рауз? В ней много интересного, но шекспироведы, несомненно, примут ее в штыки, – слишком уж много у автора апломба.

А мне лично очень неприятен его биографический метод расшифровки стихов. (Может ли служить комментарием к "Чудному мгновенью" известное письмо Пушкина об Анне Керн?!) Да и как-то принижает этот историк Шекспира долгими рассуждениями о его материальной зависимости от графа Саутгемптона в годы чумы, когда все театры были закрыты. Вероятно, Шекспир и в самом деле мог бы помереть с голоду без помощи этого мецената. Но и в самых комплиментарных сонетах нет и тени подобострастия. А лучшие сонеты полны гордости, достоинства, презрения к судьбе и к случайным ее баловням.

Хорошо, по крайне мере, что Рауз начисто отметает какое бы то ни было подозрение в том, будто Шекспир был гомосексуалистом (а вот Марлоу – по его утверждению – был).

Я внимательно прочел все эти статьи, но не нашел в них почти ничего такого, что заставило бы меня изменить что-либо в моих переводах. Вот только в одной строфе известного сонета (20-го) я исправил две строчки, сделав их откровеннее и грубее.

У меня было: Тебя природа женщиною милой

Задумала, но, страстью пленена,

Она меня с тобою разлучила,

А женщин осчастливила она.

Две последние строчки я хочу заменить такими:

Она тебя приметой наделила,

Что мне в тебе нисколько не нужна.

Я был рад, когда нашел слово "примета". Раньше я пробовал перевести это "one thing to my purpose nothing" более вещественно, но получалось слишком уж похабно."

Tired with all these, for restful death I cry,

As, to behold desert a beggar born,

And needy nothing trimm'd in jollity,

And purest faith unhappily forsworn,

And guilded honour shamefully misplaced,

And maiden virtue rudely strumpeted,

And right perfection wrongfully disgraced,

And strength by limping sway disabled,

And art made tongue-tied by authority,

And folly doctor-like controlling skill,

And simple truth miscall'd simplicity,

And captive good attending captain ill:

Tired with all these, from these would I be gone,

Save that, to die, I leave my love alone.

1

Томимый этим, к смерти я взываю;

Раз что живут заслуги в нищете,

Ничтожество ж – в веселье утопая,

Раз верность изменяет правоте,

Раз почести бесстыдство награждают,

Раз девственность вгоняется в разврат,

Раз совершенство злобно унижают,

Раз мощь хромые силы тормозят,

Раз произвол глумится над искусством,

Раз глупость знанья принимает вид,

Раз здравый смысл считается безумством,

Раз что добро в плену, а зло царит –

Я, утомленный, жаждал бы уйти,

Когда б тебя с собой мог унести!

2

Я жизнью утомлен, и смерть – моя мечта.

Что вижу я кругом? Насмешками покрыта,

Проголодалась честь, в изгнанье правота,

Корысть – прославлена, неправда – знаменита.

Где добродетели святая красота?

Пошла в распутный дом: ей нет иного сбыта!..

А сила где была последняя – и та

Среди слепой грозы параличом разбита.

Искусство сметено со сцены помелом:

Безумье кафедрой владеет. Праздник адский!

Добро ограблено разбойническим злом;

На истину давно надет колпак дурацкий.

Хотел бы умереть; но друга моего

Мне в этом мире жаль оставить одного.

3

Я смерть зову, глядеть не в силах боле,

Как гибнет в нищете достойный муж,

А негодяй живет в красе и холе;

Как топчется доверье чистых душ,

Как целомудрию грозят позором,

Как почести мерзавцам воздают,

Как сила никнет перед наглым взором,

Как всюду в жизни торжествует плут,

Как над искусством произвол глумится,

Как правит недомыслие умом,

Как в лапах Зла мучительно томится

Все то, что называем мы добром

Когда б не ты, любовь моя, давно бы

Искал я отдыха под сенью гроба.

5.4. Исторические хроники. Реконструкция средневековой истории Англии в пьесах Шекспира.

Shakespeare’s first period was one of experimentation. His early plays, unlike his more mature work, are characterized to a degree by formal and rather obvious construction and by stylized verse. Chronicle history plays were a popular genre of the time, and four plays dramatizing the English civil strife of the 15th century are possibly Shakespeare’s earliest dramatic works. These plays, Henry VI, Parts I, II, and III (1590-1592) and Richard III (1592-1593), deal with evil resulting from weak leadership and from national disunity fostered for selfish ends.

Richard III continues the story of England’s dynastic civil Wars of the Roses. The protagonist, Richard of Gloucester, is a Machiavellian villain: a hero who wins the crown by treachery and murder. Yet unlike playwright Christopher Marlowe's supermen, Richard is refined and developed into a more subtle character. Characteristically Shakespearean features are the presence of a nemesis that pursues and destroys Richard, and the subtle implication that Henry Tudor's victory over Richard at the Battle of Bosworth Field, which initiated the Tudor dynasty, laid the foundation of the greatness and unity of England.

The four-play cycle closes with the death of Richard III and the ascent to the throne of Henry VII, the founder of the Tudor dynasty, to which Elizabeth belonged. In style and structure, these plays are related partly to medieval drama and partly to the works of earlier Elizabethan dramatists, especially in the bloodiness of many of their scenes and in their highly colored, bombastic language. Here is an example.

CATESBY

Rescue, my Lord of Norfolk, rescue, rescue!

The King enacts more wonders than a man,

Daring an opposite to every danger.

His horse is slain, and all on foot he fights,

Seeking for Richmond in the throat of death.

Rescue, fair lord, or else the day is lost!

[Alarums.] Enter [King] Richard.

KING RICHARD

A horse, a horse! my kingdom for a horse!

CATE.

Withdraw, my lord, I'll help you to a horse.

K. RICH.

Slave, I have set my life upon a cast,

And I will stand the hazard of the die.

I think there be six Richmonds in the field;

Five have I slain to-day in stead of him.

A horse, a horse! my kingdom for a horse!

[Exeunt.]

5.5. Игра судьбы и случая как основа коллизий в комедиях Шекспира. Разрешение трагического конфликта в пьесе «Ромео и Джульетта». Победа гармонии над хаосом в ранних произведениях Шекспира.

Shakespeare’s second period includes his most important plays concerned with English history, his so-called joyous comedies,and two of hismajor tragedies. In this period, his style and approach became highly individualized.

Outstanding among the comedies of the second period is A Midsummer Night’s Dream (1595), which interweaves several plots involving two pairs of noble lovers, a group of bumbling and unconsciously comic townspeople, and members of the fairy realm, notably Puck, King Oberon, and Queen Titania.

Two major tragedies, differing considerably in nature, mark the beginning and the end of the second period. Romeo and Juliet (1595) is famous for its poetic treatment of the ecstasy of youthful love. It dramatizes the fate of two lovers victimized by the feuds of their elders and by their own hasty temperaments.

Jul. Ay me!

Rom. She speaks:
O! speak again, bright angel; for thou art
As glorious to this night, being o'er my head,
As is a winged messenger of heaven
Unto the white-upturned wond'ring eyes
Of mortals, that fall back to gaze on him
When he bestrides the lazy-pacing clouds,

And sails upon the bosom of the air.

Jul. О Romeo, Romeo! wherefore art thou Romeo?
Deny thy father, and refuse thy name;
Or, if thou wilt not, be but sworn my love,
And I'll no longer be a Capulet.

Rom. [Aside. ] Shall I hear more, or shall I speak at this?
Jul. ‘Tis but thy name that is my enemy;
Thou art thyself though, not a Montague.
What's Montague? it is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O! be some other name:
What's in a name? that which we call a rose
By any other name would smell as sweet;
So Romeo would, were he not Romeo call'd,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name;
And for that name, which is no part of thee,
Take all myself.

5.6. Тематика и проблематика трагедий «Гамлет», «Отелло», «Король Лир», «Макбет».

Shakespeare’s third period includes his greatest tragediesand his so-calleddark or bitter comedies. The tragedies of this period are considered the most profound of his works. In them he used his poetic idiom as an extremely supple dramatic instrument, capable of recording human thought and the many dimensions of given dramatic situations.

Hamlet(1601), perhaps his most famous play, exceeds by far most other tragedies of revenge in picturing the mingled sordidness and glory of the human condition. It is atragedy of revenge and probably written in 1601. Hamlet is generally considered the foremost tragedy in English drama. Numerous commentaries have been written analyzing every aspect of the play, and interpretation of Hamlet’s character and motivation continue to be subjects of considerable interest.

The story of Hamlet originated in Norse legend. The earliest written version is Books III and IV of Historia Danica (History of the Danes), written in Latin around 1200 by Danish historian Saxo Grammaticus. Shakespeare's source for Hamlet was either an adaptation of Saxo's tale, which appeared in Histoires Tragiques (1576) by Franзois Belleforest, or a play, now lost, which was probably written by English dramatist Thomas Kyd. The lost play is referred to by scholars as Ur-Hamlet, meaning “original Hamlet.”

Hamlet opens at Elsinore castle in Denmark with the return of Prince Hamlet from the University of Wittenberg, in Germany. He finds that his father, the former king, has recently died and that his mother, Queen Gertrude, has subsequently married Claudius, his father's brother. Claudius has assumed the title of king of Denmark. Hamlet’s sense that “something is rotten in the state of Denmark” is intensified when his friend and fellow student Horatio informs him that a ghost resembling his dead father has been seen on the battlements of the castle. Hamlet confronts the ghost, who tells him that Claudius murdered him and makes Hamlet swear to avenge his death. In order to disguise his feelings, Hamlet declares that from now on he will demonstrate an “antic disposition.” His behavior appears to everyone but Claudius to be a form of madness.

To satisfy his growing questions about whether Hamlet is feigning madness, Claudius makes three attempts to verify Hamlet’s sanity. In his endeavor he makes use of Ophelia, the daughter of the lord chamberlain, Polonius; Rosencrantz and Guildenstern, university friends of Hamlet; and finally Polonius himself. Polonius, sure that Hamlet's madness is the result of disappointed love for Ophelia—for Polonius has instructed her to keep aloof from the prince—arranges a “chance” encounter between the lovers that he and the king can overhear. Hamlet is not deceived. He bitterly rejects Ophelia and uses the occasion to utter what Claudius alone will recognize as a warning.

In the meantime, Rosencrantz and Guildenstern have arrived at court. They talk about the company of players that has followed them to Elsinore. This suggests to Hamlet a means for eliminating all doubts about the king's guilt. He has the players perform a piece, “The Murder of Gonzago,” that reproduces the circumstances of his father's murder. Claudius interrupts the performance, and Hamlet and Horatio interpret this as a betrayal of his guilt.

Queen Gertrude, angered at what she considers Hamlet's rudeness at the play, summons him to her chamber. On his way Hamlet comes upon Claudius kneeling in prayer. Hamlet overhears the king’s plea to heaven for forgiveness for the act that procured him his crown and his queen. No longer doubting the king's guilt, Hamlet still refrains from killing him. He reasons that the present circumstances seem too much like absolution and that he should reserve his revenge for some occasion when Claudius's death would be certain to be followed by damnation.

By the time Hamlet arrives at his mother's chamber, Polonius, with the complicity of both the king and the queen, has concealed himself behind a tapestry in the hope that Hamlet will reveal the cause of his odd behavior. The queen begins the interview in a challenging tone that infuriates Hamlet, who has long brooded over his mother’s marriage to Claudius so soon after his father's death. Hamlet’s response is so violent that Gertrude screams, causing Polonius to cry out for help. Thinking it is the king, Hamlet thrusts his sword through the tapestry and kills Polonius.

Claudius then sends Hamlet to England, escorted by Rosencrantz and Guildenstern, ostensibly for the prince's safety but in fact to have him executed on his arrival. During Hamlet's absence Laertes, the son of Polonius, returns from Paris, France, to avenge his father's death. Laertes finds that his sister Ophelia, grief stricken by her father's death at the hands of the man she loves, has gone mad. Her suicide by drowning increases Laertes's desire for revenge.

Meanwhile, Hamlet is attacked by sea pirates and persuades them to return him to Denmark. Rosencrantz and Guildenstern, however, continue on their way to England; Hamlet has replaced their written order for his execution with another naming them as the victims. When Hamlet returns unexpectedly to witness the funeral of Ophelia, the king suggests to the vengeful Laertes that he challenge Hamlet to a fencing match in which Laertes will use an unprotected foil tipped with poison.

As a backup, should Laertes's skill or nerve fail, the king prepares a poisoned cup of wine to offer Hamlet. In the excitement of the ensuing duel, the queen insists on drinking from the cup. Hamlet and Laertes are both mortally wounded, for in the violence of the bout the rapiers have changed hands. The dying queen warns Hamlet of the poison. Laertes points to the king as the chief instigator, and Hamlet at once stabs his uncle with the poisoned foil. With his last breath Hamlet exchanges forgiveness with Laertes and asks Horatio to make clear to the world the true story of his tragedy.

Fortinbras, a prince of Norway, appears on the scene. He had earlier been granted permission to lead the Norwegian army across Denmark to attack Poland and has now returned from his military campaign. With all of the claimants to the Danish throne dead, Fortinbras claims the crown.

Hamlet’s volatile character and ambivalent behavior have been the subject of much analysis. One major issue is the question of the hero's sanity. Most critics maintain that Hamlet only pretends madness and then only at certain times. They are supported by Hamlet's explicit avowal to Horatio after he has seen the ghost of his father that he plans to “put an antic disposition on.”

Many critics believe that Hamlet feigns insanity to conceal his real feelings and to divert attention from his task of revenge. Other critics assert that Hamlet hopes that Claudius, thinking him mad, will lower his guard and reveal his guilt in Hamlet's presence.

Another discussion issue is Hamlet’s delay in seeking revenge. The conventions of the age during which the play was written provide one possible explanation for Hamlet’s procrastination. In Elizabethan times, a ghost was generally believed to be a devil that had assumed the guise of a dead person. These ghosts sought to endanger the souls of those nearest the deceased through lies and other damnable behavior. In Hamlet, when the ghost first appears on the palace battlements, no one affirms that it is the spirit of Hamlet's father, only that it looks like him. Hamlet waits to be convinced that the ghost is indeed the spirit of his late father. When Hamlet decides to present “The Murder of Gonzago” before the king, he states as his motive:

The spirit that I have seen

May be the devil; and the devil hath power

To assume a pleasing shape; yea and perhaps

Abuses me to damn me.

However, once he is convinced that the ghost is truly his father, Hamlet still appears to hesitate. Some critics have explained this by analyzing his situation. Because the murder of the late king took place secretly, the Danish court neither suspects nor disapproves of Claudius. His reaction to “The Murder of Gonzago” is significant only to Hamlet and Horatio, and Hamlet cannot kill the king before publicly proving him a murderer (as he is dying, Hamlet's main concern is that Denmark know his reasons for killing Claudius). Also, if Hamlet kills the king without supporters present to uphold the act, he himself might be immediately killed as a regicide. When Hamlet rushes at the king in the last scene, the whole court with one voice shouts, “Treason! Treason!” although Laertes has already exposed Claudius's villainy.

Like the Oedipus of Sophocles and Shakespeare’s own King Lear, Hamlet is a tragic hero and thus largely determines his own fate. Shakespeare portrays him as an extraordinarily complex young man—brilliant, sensitive, intuitive, noble, philosophic, and reckless. He is larger than life, a great repository of emotion and intellect. This unfocused “excess” of personality is the source of his tragedy. The emotional side of Hamlet’s nature is almost immediately evident: At the play's opening he is shown consumed by anguish and shock even before he sees the ghost. He has abandoned himself to melancholy; in his first soliloquy, he expresses the wish that suicide were permissible.

Hamlet's emotions occasionally impel him to act precipitously, often with disastrous consequences. During his encounter with Gertrude, for example, he becomes so angry that he does not wait to determine the eavesdropper’s identity but immediately runs him through with his saber. Only after doing so does Hamlet ask, hopefully, “Is it the king?”

Hamlet's impetuosity is not the only factor that complicates an already intricate situation. Hamlet has a superb mind and is able to articulate his thoughts with great precision and wit. His soliloquies reveal that he is of a highly contemplative, generalizing nature, often given to periods of agonizing introspection. The great generalizing power of Hamlet's mind is dramatically revealed in the scene at Ophelia's grave. Instead of planning how best to kill Claudius, he broods over the just-discovered skull of his father's jester, Yorick:

Alas, poor Yorick! I knew him Horatio: a fellow

of infinite jest, of most excellent fancy ... Where

are your gibes now, your gambols, your songs?

His thoughts then wander to mortality in general and the futility of even the greatest human achievement:

To what base uses we may return Horatio! Why may

not imagination trace the noble dust of Alexander

till he find it stopping a bung hole? ...

This kind of imaginative but impractical mental activity helps ensure Hamlet's tragic destiny. A man who soon must pit his life against the fury of Laertes and the guile of Claudius simply does not have the leisure to philosophize about death.

Hamlet's impetuosity and emotionalism is also the source of his major weakness, impatience. In the “To be or not to be” soliloquy he asks if it is better to suffer and wait, or to put an end to doubts and scruples by acting at once:

Whether 'tis nobler in the mind to suffer

The slings and arrows of outrageous fortune,

Or to take arms against a sea of troubles,

And by opposing end them?

The greatest obstacle to direct action is his own complex personality, and as the soliloquies reveal, he is constantly impatient with himself:

How all occasions do inform against me,

And spur my dull revenge ... Now whether it be

Bestial oblivion or some craven scruple

Of thinking too precisely on the event ...

I do not know ... How stand I then,

That have a father kill'd, and mother stained,

And let all sleep?

Hamlet's impatience often prevents appropriate planning, so that when he does act he does not achieve his desired results. In the final scene, anxious to get on with the duel, Hamlet fails to inspect the foils and thus to notice that Laertes's foil is not blunted. This final impatience costs him his life.

Hamlet is not only the most discussed but also the most quoted of Shakespeare's plays. Many of its lines have become well known. The following are among the most famous:

1 This above all: to thine own self be true ...

2 There are more things in heaven and earth, Horatio,

Than are dreamt of in your philosophy.

3 Brevity is the soul of wit.

4 What a piece of work is a man! How noble in reason!

How infinite in faculty! in form and moving

how express and admirable! in action how like an angel!

in apprehension how like a god! the beauty of the world!

the paragon of animals!

Othello (1604) portrays the growth of unjustified jealousy in the protagonist, Othello, a Moor serving as a general in the Venetian army. The innocent object of his jealousy is his wife, Desdemona. In this tragedy, Othello’s evil lieutenant Iago draws him into mistaken jealousy in order to ruin him.

King Lear (1605), conceived on a more epic scale, deals with the consequences of the irresponsibility and misjudgment of Lear, a ruler of early Britain, and of his councillor, the Duke of Gloucester. In the original English legend that King Lear is based upon, Lear, king of Britain, decides in his old age to divide his kingdom among his three daughters. He asks how much they each love him. The two elder daughters overwhelm him with expressions of their love, but the youngest daughter simply says that she loves him as a child should. Enraged at his youngest daughter's reply, Lear drives her into exile and divides the kingdom between the other two. After receiving their share of the kingdom, the ungrateful daughters treat King Lear so cruelly that he flees to the youngest, who in the meantime has married the king of France. This daughter returns to Britain with an army, defeats the wicked sisters, and places Lear again on the throne.

Shakespeare converted the legend of Lear into a great and terrible tragedy. The play’s intensity is heightened by Shakespeare’s portrayals of the madness of Lear, brought on by the cruelty of his older daughters, Goneril and Regan; the murder of his youngest daughter, Cordelia; and the death of Lear with Cordelia's body in his arms. These aspects of the story are original to Shakespeare’s play, as is the character of the Fool, whose bitter jests bring home to Lear the folly of his action. Both Lear's madness and the Fool's wit raise the explicit theme of the play—inhumanity in the form of filial ingratitude—to a higher level of philosophical meaning and resolution.

In Macbeth (1606), Shakespeare depicts the tragedy of a man who, led on by others and because of a defect in his own nature, succumbs to ambition. In securing the Scottish throne, Macbeth dulls his humanity to the point where he becomes capable of any amoral act.

5.7. Столкновение сил добра и зла в трагикомедиях и его разрешение; близость поздних пьес Шекспира к моралите («Буря»). Место Шекспира в мировой драматургии и судьба его наследия в культуре Нового времени

The fourth period of Shakespeare’s work includes his principal romantic tragicomedies.Toward the end of his career, Shakespeare created several plays that, through the intervention of magic, art, compassion, or grace, often suggest redemptive hope for the human condition. These plays are written with a grave quality differing considerably from Shakespeare’s earlier comedies, but they end happily with reunions or final reconciliation. The tragicomedies depend for part of their appeal upon the lure of a distant time or place, and all seem more obviously symbolic than most of Shakespeare’s earlier works. To many critics, the tragicomedies signify a final ripeness in Shakespeare’s own outlook, but other authorities believe that the change reflects only a change in fashion in the drama of the period.

Perhaps the most successful product of this particular vein of creativity, however, is what may be Shakespeare’s last complete play, The Tempest(1611), in which the resolution suggests the beneficial effects of the union of wisdom and power. The story of The Tempest—a storm, a shipwreck, and the adventures of the shipwrecked party on an enchanted island—was suggested to Shakespeare by reports received in London late in 1610 of the wreck of an English ship off the Bermuda Islands. The survival of the crew during a winter's sojourn in the islands provided a timely topic for a play, but little plot. Somewhere, however, in old stories and in Italian comedies Shakespeare picked up accounts of a banished prince who was also a wise magician. This prince had a fair daughter whom he contrived to marry to the son of a hostile king in order to end an old feud. Shakespeare set these characters and their story in an enchanted island after a shipwreck and the result was The Tempest.

The plot of The Tempest is alone among Shakespeare's plays in observing the unity of time. The play contains something for all tastes: exciting action; lovely songs; a stately masque with music and dancing; the farcical comedy of the monster Caliban, the drunken butler Stephano, and the clown Trinculo; the love story between Ferdinand and Miranda; and, controlling and directing all, the figure of the wise and benevolent magician Prospero. Such theatrical spectacles must have taxed the resources of the Blackfriars stage, the London theater where The Tempest was performed. Yet The Tempest is also a multi-layered, lyrical play, containing beautiful verse, wisdom of thought, and themes of repentance and reconciliation. Above all, there is the sense of finality. The famous lines given to Prospero, beginning with the words, “Our revels now are ended," are interpreted by many to announce Shakespeare's retirement from the theater.