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1/93 www.14

PASTERNAK’S TRANSLATIONS OF SHAKESPEARE:
TOWARDS A DEFINITION OF PASTERNAK’S POETICS AS TRANSLATOR

I'IEPEBOHBI HACTEPHAKA 1/13 IlIEKCIII/IPA:
K OIIPEHEIIEHI/IIO HOBTMKI/I IIACTEPHAKA -IIEPEBOlIHI/IKA

By

Svetoslav P. Pavlov

A DISSERTATION

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

DOCTOR OF PHILOSOPHY

Department of Linguistics and Germanic, Slavic, Asian and African Languages

1998

ABSTRACT
IIEPEBOHbI HACTEPHAKA M3 IIIEKCHMPA:

K OIIPEIIEIIEHI/IIO HOBTI/IKI/I HACTEPHAKA JIEPEBontIMKA
[PASTERNAK’S TRANSLATIONS OF SHAKESPEARE:
TOWARDS A DEFINITION OF PASTERNAK’S POETICS AS TRANSLATOR]
By

Svetoslav P. Pavlov

In Russian. The dissertation examines Pastemak’s translations of eight of Shakespeare’s
plays: Hamlet, Romeo and Juliet, Antony and Cleopatra, Othello, two parts of Henry IV,
and King Lear. It consists of an Introduction, four chapters (1 — survey of criticism; II —
grammatical and stylistic peculiarities of the translations: lexica, phraseology and syntax;
III — humor, imagery, wordplay, and individualization of the characters’ language; and IV
—— distortions and Pastemak’s treatment of Shakespeare’s Obscenities), and the
Bibliography.

The dissertation reveals that critics focused only on randomly-selected excerpts of
translations and paid attention to translations’ vocabulary; their conclusions were
contradictory. It, furthermore, finds that Pasternak shortened the plays, simplified their
syntax and imagery, ignored non-standard words (neologisms, malapropisms, slang, etc.),
and mitigated Shakespearean bawdiness. Pasternak adapted his translations for
contemporary stage productions and, in so doing, deviated from the originals.

Simplification of the texts served to elucidate places requiring commentaries. Russification

of translations facilitated the distinctiveness of characters’ speech and discerned the
folklore elements in King Lear and in Ophelia’s songs. Modernization of the texts ——
allusions to Stalinism and World War II — helped to recreate the time and atmosphere of
the plays, characteristic of war scenes, bloodshed, and cruelties. Pastemak’s preponderance
of substantives and nouns used with appositions contributed to the condensation of his
translations.

Pasternak compensated the unavoidable loss of some Shakespearean stylistic
features with his own singular style. Thus, he used colloquialisms profusely to
individualize characters’ language more distinctly than Shakespeare. Colloquialisms were
also used to enhance the expressiveness of imagery. Pasternak replaced numerous
metaphors with simplified similes making Shakespeare’s florid imagery more accessible to
the Russian audience. He counterbalanced his disregard for Obscenities with non-obscene
vulgarisms. Pasternak preserved Shakespeare’s energetic rhythm by shortening sentences
and simplifying their structure —— despite the fact that Russian words are longer than
English. He frequently used idioms in his toying with words substituting Shakespeare’s

homonymic puns difficult to translate.

Com/right by
SVETOSLAV P. PAVLOV
1998

HOCBHIHEHME

Huccepramno nocemnaro moefi noporofi CCMbC: mame Coqmu, ere Hecrm n

ceC'rpe Ilene. Mx 111060131) M normepxxy $1 oqub ueHIo.

flPM3HATEflbHOCTb

H xoqy Ehrpaam 6naronapnocrb moemy Hayqnomy pyxonomrremo npocbeccopy
Myrmpy Cenmmy 3a HOMOUIb, 6e3 Koropoi/i He may npencraam‘b ycnemHoe oxonqarme
yuefibr B acrmpaHType M pa6om Han nuccepTaunefi. H oésraaH eMy MHOI‘MM 14 He 3a6yny 06
3mm. H TaKxe xoqy no6naronapn'rb qneHOB III/ICCCpTaJII/IOHHOI/l KOMMCCMM: npocpeccopa
(Demca Pacxonbimxoea, npocbeccopa IIaBmIa I'lpecrensr M npocbeccopa HIOIIMMHy Hmyc,
—-—- 3a 3HaHMSI, KOTOprc H nonqur OT HMX BO BpeMH yqeobr B Mmmrancxom
rocynapcheHHOM yHnBepcu'reTe, a Taroxe 3a LICHHbIC Baueqarma K nepBbIM BapuarrraM
maceep'ramm, cnocoécmoeannme ee ynytrmermo. H TaIOKe npuanarenen npencranu'remo
Konnenxa npocpeccopy J'Iyncy Cm‘enboaymy 3a COBeTbI M yqacme B pa60Te

nuccepratmonnofi Komrccrm.

vi

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IIOCBHIIIEHME .............................................................................................................. v

ITPI/I3HATEJ'ILHOCTL ................................................................................................... vi

BCTYIIIIEHME ................................................................................................................ 1

I‘JIABA I

AHAJ'II/I3 KPMTI/IKM IIACTEPHAKA KAK I'IEPEBOIIIII/IKA HIEKCIII/[PA ........ 19

ITIABA H

HBBIKOBOE CBOEOBPA3I/IE IIEPEBOLIOB ............................................................ 58
J'IeKcmca ............................................................................................................... 5 8
0pa3eonomn ........................................................................................................ 80
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FIIABA HI

CBOEOBPA3I/[E OBPABHOCTI/I, I/IHHI/IBI/IIIYAJ'II/IBAIIMM PEIIM, IOMOPA 14

MPH CJ'IOB .................................................................................................................. 97
O6pa3Hoerb .......................................................................................................... 97
Mmmamyarmaarmn petm .................................................................................... 110
IOMOp M urpa cnoe ............................................................................................. 126

I‘JIABA IV

TEKCTYAIILHLIE OTKJTOHEHI/IH ITEPEBOIIOB .................................................. 139
Mcxaxenmr ......................................................................................................... 139
IIepenaqa mexcnnpoacm Henpmmrmocréfi ..................................................... 171
CoxpameHmI ....................................................................................................... 177

3AKIIIOIIEHME ........................................................................................................... 199

BMBIMOI‘PAGDMH ....................................................................................................... 206
IIIrmponamrbIe n yrIOMsIHyTbIe paOOTbI .............................................................. 206
Bcnomorarenbnaa IIMTepaTypa ........................................................................... 215

vii

BCTYHHEHME

HepCBOIIMTb IIIeKchpa HaCTepIIaK Hanan 3anonro no Toro, KaK 6mm
OHyOIIMKOBaHbI ero nepBbIe nepeBoan n3 IIIeKcrmpa. B HMCbMC K O. M. (bpei’menéepr OT
2 HOHOpH 1924 r. HaCTepHaK Imcan: «H TyT )KC pacprm FameTa u npmmncsr 33 em
nepeBoII, -— 3aMbICCJI, KOTopbn‘i y mean OTKJIaIIbIBaJICH TonaMM».1 OKOanTeanhIM
nofiyxcnetmeM K nepenony Obma HpOCbOa B. Meiiepxonbna cnenaTb nepeBon 111m ero
Teana.2 HaCTepHaK cnenan BOCCMb nepeBOIIOB nbec HIeKcrmpa. BflepBbIC OHM 6mm
OIIyOIMKOBaHbI B cnenyromeii HOCJICIIOBaTCIIbHOCTM: «Farmer, HpMHII narcxnfi» (1940),
«Pomeo u nynbeTa» (1943), «AHTOImfi M Kneonarpa» (1944), «OTeJmo» (1945),

«FCHPM IV» (qaC'm I 14 II) (1948), «KOpOIIb .HMp» (1949) M «MaKGCT» (1951).3

 

1 Bopnc HaCTepHaK. CoOparme commem/Ifi B 11m TOMax. H011 pen. A.A.
Bo3HeceHCKoro, ILC. Huxaqua, IUD. MaMJIeeBa, A.A. Mnxamloaa M EB. HaCTepHaKa.
14311-130 «XynoxeCTBeHHasr JIMTepaTypa», MOCKBa, 1989 (TOMa I M II), 1990 (TOM HI),
1991 (TOM IV) M 1992 (TOM V), T. V, cm. 160. B naJIbHefimeM Haaearme 3TOI‘O 14311810151
Gyne'r npuBoImeca COKpaIIICHHO: CoOp. con.

2 Homepxneime 3T0My MOXHO Hafi'm B rmcmuax HaCTepHaKa: O.M.
(Dpefinenfiepr. 14 (peBpansI 1940, MOCKBa. — C06p. com, T. V, CTp. 380; M.JI.
HoamICKOMy. l Mapra, 1940, MOCKBa. — CoOp. com, T. V, CTp. 382.

3 HepeBoan BIICpBbIC nosmmmcr: B cnenyiomux M311armax: FaMJIeT, npmm
narcxnfi. Tparemm B S-TM aKTax. Hep. M BCTyrI. BaMCTKa B. HaCTepHaKa. — Mononasr
mapnmi, 1940, N9 5-6, cm. 15-131; POMeo M LbeIIbeT'ra. Hep. B. HaCTepHaKa. MOCKBa,
BYOAH, 1943; AHTOHMfi M Kneonana. Hep. B. HacrepIIaKa. MOCKBa, FocrmmanaT,
1944; Orenno — BeHeImaHCKMfi MaBp. Hep. B. HaCTepHaKa. MOCKBa, BYOAH, 1945;
Fenpnx IV. I/ICTOpM‘ICCKaH xpomaxa B 2-x qaCTax. Hep. B. HaCTepHaKa. Pen,
nocnecnonne M KOMMeHT. M. Moposoea. MOCKBa-HCPflflfl‘paH, Hema, 1948; Koponb

1

M3 Bcex HepeBOIIOB y <<FaMneTa>> caMaSI cnoxmasr cynbéa. Hpu pa60Te Han HMM
HacrepHaK Haxoimncsr non HOCTOHHHLIM IlaBIICHMCM 3aKa3quKOB — Tearpa MXAT (B.
M. HeMMpOBMqa-IIqueIIKo M aKTepOB),4 MBIIaTCJIeI/I M peHaK'I‘OpOB.5 CoxpammOCB 12
BapMaHTOB nepeBona <<FaMneTa>>.6 primo cxaaaTB, KaKaH qaCTB nonpaBOK nenanace
HacrepHaKOM non IlaBJICHMCM, a KaKaH noOpOBonBHo c ueJIBIo ynquermn nepeBona. Ho-
Bum/(MOW, caMBIe I'ICpBbIC Bapnarrrbl nenanncr) non IIaBJICHMCM, omIaKo nocnemme

BapMaH'I‘bI cxopee Bcero noOpOBonBHo, TaK KaK HaCTepHaK He peKOMeHIIOBarI I‘.M.

 

J'Inp. Tparemm B 5-TM aKTax. Hep. B. HaCTepHaKa. Pea, nocneCJIOBMe u IIpMM. M.
MopOBOBa. MOCKBa-J'Iemmrpan, Herms, 1949; Koponb an. TpaI‘CIIMH B S-TM aKTax.
Hep. B. HaCTepHaKa. M., I‘ocmmianar, 1949; Tparemm. Hep. B. HacrepHaKa. Pen,
BCTyn. CTaTbH H mm. M. MOpOBOBa. MOCKBa-IICHMHI‘paII, HCTFI/IB, 1951 (
naCTepHaKOBCKMfi HCpCBOII «MaKOeTa» onyOJIMKOBaH BnepBBIe B 3TOM nanamm).

4 CM. 06 3TOM B KIL: B.H. BnneHKMH. Bocnowmarma c KomeHrameMM. MBII-BO
«I/chycc'rBo», Mocha, 1982, crp. 85-86.

5 HMCbMa HaCTepHaKa K (DpefineHOepr IIOKa3bIBaIOT, tITO HaCTepHaK 65m
BhIHyXJICH IICpClICIIbIBa'I‘b CBOM IICpCBOIIbI no Tpe60Ba1~mer penaKTopOB M BaKaBLIMKOBI
«Mae erpanmo 6B1 XOTCJIOCb, tITOOBI on [nepeBOII «I‘aMJIeTa». — C.H.] nonpanIcsr Te6e
n Mme, n XOTH a 31mm, ueM [1(prle HaCTepHaKa. — OH] 011 MM He HOHpaBMTCH, n
xom MMCHHO 3m peaxocm mm C'I‘paHHOCTM crnaerBI B penaKmm, rIpeIIHa3HaquHofi
mm I'ocrmmanaTOBCKoro M3IIaHMH (HO He mm MXATA!) <...>» (O.M. (Dpefinenéepr, 4
qJeBpaJm 1941 r. — Co6p. com, T. V, C'I'p. 393); «B IIOBepInerme oOmeifI CIICIJIKM ocmlwl
To, MthIIb o qu Bcema man or ceOsI KaK Betrro He ccbopMmepOBaHHo-pacmibmanoe u
Heocymeeeroe, — nepeCMOTp M nepenenKy «I‘awrera»... KaKon-To T‘pCOYIOIIIYIOCH,
HO KaKon MMCHHO? — Henonsrmo KaKon. Ero nepenanaer «IIe'I'IM3», M BOT, ornoxcMB B
cropony pOMaH, H nerKo c pa36era npomen ero, 06mm 14 ynpocmn>> (O.M.
(DpefineHOepr, 16 (beB. 1947 r. — C06p. com, T. V, crp. 459); «Toma 51 IIOHMCbIBaJI
nepBylo KHMI‘y pOMaIIa B npoae n B To me BpCMH KpomI u neperaMBan ceMB
nepeBeneHHbe CBOMX HIeKcrmpOchnx npaM, IIOCTyrIaBIIIMX n3 paerBIx nanaTenBCTB,
cornacno pa3HopetIManM noxenarmer 6ecqncnemrbrx penaKTopOB, cunsmmx TaM» (O.M.
(DpefineHOepr, 29 mom -1 OKTsr6ps1 1948 r. — C06p. coq. T. V, crp. 467).

6 CM.: ILC. Huxaqu. Bopnc HeOHMIIOBm HaCTepHaK. — Bcryrmerme. B CoOp.
com, TOM I, crp. 10. CM. Taroxe B 101.: Lazar Fleishman, “The Trials of Hamlet,” in Boris
Pasternak The Poet and His Politics (Cambridge, MA: Harvard University Press, 1990),
223.

KoammeBy, TOTOBuBmeMy TeananBHon nocraHOBKy «I‘aMIIeTa», IIOJIbSOBaTbCH C'I‘aprMM
BapnaHTaMM.7 Pa60Ty Han nepeBonOM <<raMJICTa>> HaCTepHaK (paK'mquKM npononxan no
Korma eBoefi )KM3HM; nocnemmfi BapnaHT nepeBona Ohm OHyOIU/IKOBaH nocne ero eMep'm,
B 1968 r., B ceppm «BMOIIMO’I‘CKa BceMMpHofi IIMTCpaTypr».8

Ha nepeBonBI OCTaJIbeIX IIBec y HaCTepHaKa He ymno CTOJIbKO BpCMCHM. Han
HCpCBOIIOM «POMeo M nynbe'rrbl» OH Hanan pa60TaTB Becnoi/I 1941 I‘. I4 qupHe
3aKOHqMJI ero 11 neKa6psr 1941 r.9 3a nepeBon «Amour/In M KneonanBI» HacrepHaK
B3SUICH, Korna eme nponomkan pa60TaTB Han nepeBonOM «POMeo M nymse'rm», M
3aKOHtmn ero Becaofi 1943 In”) Han nepeBonOM «OTenno» OH paOOTaJI B 1944 r.“ B

mape 1945 r. HaCTepHaK BaKIIIO‘H/UI KOHTpaKT Ha nepeBon oOevrx qaCTefi <<Fernxa

 

7 HaCTepHaK rmcan KoannneBy: «I/IMCCTCH HCCKOIIbKO MOMX pCHaKIH/Ifi FaMneTa.
BO3BpaIIIaTbCH OT npnnaraeMofi, 1951-To rona, K KaKofi-HMOynB M3 6onee paHan, He
meeT CMbICJIa» (B. HaCTepHaK n F. KoammeB. IIMCbMa o «I‘aMneTe» — «Bonpocm
IIMTCpaTypr», 1975, N9 1, CTp. 215).

3 CM.: A.H. I’op6yHOB. K MCTOpMM pyccxoro <<FaMneTa>>. — BCTymIeIme. B KH.:
Y. IIIeKcrmp. «Tamer M36paHHBIe nepeBonBI». COCT. A.H. Fop6yHOB. Man-Bo
«Panyra», MOCKBa, 1985, CTp. 22.

9 O6 3TOM HaCTepHaK rmcan nMpeKTopy Focmmaanara HM. IIamny or 12
neKaOpsr 1941 r.: <<qupa 51 BBIBen nocnenmoro CTpquy nepeBona. qupne «POMeo»
TOTOB, ero OCTaJIOCb OTneJIaTB n nepermcaTB» (CM.: KOHCTaHTMH KOBaneB. Ba
meKCTMpOBCKofi crpoxofi. —- «AJ'IbMaHaX 6M6Jmocbnna», 1981, N9 2, cm. 101).

10 BTO MO)KHO 3aKnquMTB M3 IMCBMa HacrepHaKa HM. IJammy OT 23 arrpensr
1943 T.: «36111: paHo mm noanno “POMeo” HOHBMTCH. “AHTOHMfi” I‘OTOB, M a ero CKopo
npnBesy» (TaM )Ke, C'I‘p. 105).

11 B HMCBMe K ILC. Hammy OT 31 neKa6psr 1943 r. HaCTepHaK rmcan: «Ceiltrac
onmI M3 TeanOB 3aKa3an MHe “Orenno” (CoOp. com, T. V, cm. 425), a tIepea nom"ona B
nMCBMe K O.M. (DpefineHOepr OT 30 mom 1944 r. I‘OBOpMJI 06 OKOanHMM nepeBona: «...sr
KOHLIMJI nepeBon “OTenno” tum onHoro Teana, KOTopBIfi MCHH nonronsm M Topormn»
(TaM me, up. 427).

IV».12 Hpmvrepno qepea nom‘ona OH nx nepeBen.13 HepeBon «Koponn ana» HaCTepnaK
cnenan 3a nonTopa Mecsma:
A n BOT anaeT IITo BBInenBIBan, HeqTo BapBapCKoe, HCHOBBOIMTeIIbHOC.
{be c nonomnofi TBIcsmM purpMOBaHHBIx C’I‘pOK III/[pm HeTerpn (openn
an onHa noaMa B 1500 C’I‘pOK), B MCCHH c Henenefi, «Koponn J'Inpa» B
nonTopa Mecsma.l4
EIne OBICTpee on cnenan nepeBon «MaKOeTa»: «H Mnoro paOOTan neTOM, nepeBen
B Mecsm IHeKchpOBCKoro MaKOeTa».15 HeCMOTpH Ha oquwnIon yCTaJIOCTb

HaCTepHaKa OT nepeBonOB, B IMCBMe K H.A. Ta6nn3e on npnanancn:

To HeMHoroe, tiTo MOKHO 6BIno cnenaTB cpenn npennTCTBnfi, KOTopBIe
C'FaBMJIO BpCMH, cnenaHo (nepeBon IIIeKchpa, (DayCTa, BapaTaIIIBMJIM).16

HaerepHaK HCOIIHOKpaTHO FOBOpMJI o npeeMCTBeHHocm eBoefi nepeBonueCKoti
nenTenBHocm, noaTOMy nenecoo6paano OCTaHOBMTbCH Ha MCTopun «pyccxoro
IIIeKcnnpa». Pyccxan mexcnnpnana HammaeTcn c cyMaPOKOBCKOl/I nepenenKn <<FaMneTa»

(1748) n nepeBonquKMx OIIbITOB EKaTeanBI II (1786).17 [[0 Banana XIX BeKa Ha

 

12 CM.: Evgeny Pasternak, Boris Pasternak The Tragic Years 1930-60, translated
by Michael Duncan; Ann Pasternak Slater and Craig Raine (of Boris Pastemak’s poetry)
(London: Collins Harvill, 1990), 155.

13 Hepea nonrona B IIMCbMe OT 29 moan 1945 r. K C.H. ,[Iypbumny HaCTepHaK
nucan: “Fenpnxa IV” nepBon qaCTB Te6e npvnnnIo, BTopon nonncuBan. .. Bcero
“I‘enpnxa” HaneIOCB 1(0me trepes MCCSIH» (CoOp. com, T. V, cm. 430).

14 OM. (DpetineHOepI‘, 8 mm. 1947 r. — C06p. com, T. V, CTp. 463.

15 HA. Ta6nn3e, 19 non6pn 1950 — CoOp. com, T. V, cm. 492.

15 HA. Ta6nn3e, 17 MPH 1953 r. — C06p. COIL, T. V, mp. 504.

17 CBeneImn no MCTopnn «pyccrcoro IIIeKcnvIpa» noqeanyTBI n3 Hecxormm

ncroqthOB. Cpenn HMX: LIIeKchp n pyccxan Kyanypa. Hon pen. AneKceeBa. Man-Bo
«HayKa», MOCKBa, 1965; 10. HernI. PyCCKne nepeBonBI IIIeKchpa. — B c6.:

pyccxofi cnene CTaBMJIMCb nepeBeneHHBIe c cbpannyacxoro ananTamm nbec IIIeKcrmpa.
HepBBIe nepeBonBI c HOIIJIMHHMKOB, CIICJIaHHbIC M.H. BponquKo 14 BA. HKMMOBBIM,
noannncs 11mm) B 20-30 TonBI XIX BeKa. 3TH nepeBonBI He MOI‘m/I ynOBneTBopMTB
TpeOOBarmn TeanOB, TaK KaK 6mm TSDKCJIOBCCHLI, MCCTaMM HeBpaByMMTCIIbeI n
TpeOOBaJm oOnmpHBIx KOMMCH'I‘apMCB. M3 Bcex pyccxnx nepeBonOB HBCC UIeKchpa
«I‘amwr» H.A. HoneBoro (1837) 6B1n caMbIM HOHyJIHprIM Ha pyccxofi cuene XIX BeKa,
xorn on Gun HeToqen n anaqMTenBHo Kopoqe nonmonrmca. B cepennne XIX BeKa
nepeBonrmKn CTann MCKaTb cnocoOBI coanannn KOMHpOMMCCHbIX nepeBonOB,
COBMemannmx Toqnocrb c HO3WOCTBIO n cueIIMtIHOCTBIo. Homan neo6xomn/IOCTB
)KepTB, nepeBonIMKn ynpomann n3BIK HIeKcrmpa, npn 3TOM C'I‘apaHCb He MCKaanTB
conepxannn. K TaKMM IICpCBOIIqHKaM npnnannexann A. M. Kpone6epr, H.M. CaTnn,
A.B. prmmn, A.A. propBeB M npyr'ne.

B Konne 20-x — Hanane 30-x TonOB XX BeKa pyCCKaH (bopManBHan mKona
0Ka3ana BIIMHHMC Ha Teopvno n npaKTnKy nepeBona. HepeBontnncn-(bopManncrbr
nplmensnm npmnmnbr BKBnmmeapnocm (paBnocrpOtmn), 3KBMMCTpMM n 3KBMpMTMI/IM
(BKBnpnTanIOCTn). «I‘aMneT» B nepeBone J'loanncxoro HBJIHCTCH nqunM 06pa3n0M
aToro HaflpaBJICI-MH, XO’I‘H on, MK II npyr'ne 6yKBaJIBHBIe HCpCBOIIbI, He oOnanaeT

XOpOIIDIMM CIICHM‘ICCKMMM KanCTBaMM.

 

«MacrepCTBo nepeBona 1966». Man-Bo «COBeTCKMfi nncaTenB», MOCKBa, 1968, CTp. 5-
25; FopOyIIOB. K MCTopMM pyccxoro <<FaMneTa», CTp. 7-26.

Ho noncquaM BopOBoro, HaCTepHaKOBCKMfi «I‘amer» 6131.11 nBannaTB TpeTBnM
mm nBannaTb quBepTBIM pyCCKMM nepeBonOM (H. BOpOBofi. IIBannaTB quBepTBrfi
«1"aMneT». — «JIMTepaTypHan rasera», 26 anpenn 1940, cm. 3). IO. HeBnH omeTmI, qTo
<<FaMHeT>> nomIOCTbIo nepeBonnncn Ha pyccrmii H3bIK 20 pa3, 810110an naCTepIIaKOBCKMfi
nepeBon (HeBnH. Pyccxne nepeBonBI IIIeKcnnpa, cm. 6).

Ha ncropnn nepeBona IIIeKcrmpa MOXHO npocnenvrrb aBonIonnIo nepeBonquKnx
anHIIMIIOB u CTaIIOBneHne Teopnn nepeBona B Poccnn. (DopManMCTCKoe HanpaBnenne
11chth COBeTcm neT n0Tepnno CBoe BJIPIHHMC K Konny 30-x TonOB 14 6mm OTBeeryTo
BenyanM COBCTCKMMM TeopeTnKaMn nepeBona, KOTopBIe nauano «peamicmeCKoro
nepeBona» (Kanona COBeTCKoii nepeBonquKofi IIIKOIILI) CBnBBIBanM c BCIIMHCKMM.
Bennncrorfi B CTaTBe o <<FaMneTe>> B nepeBone H. HoneBoro yKasan Ha nBa Tvma
nepeBonoB: «xynoxeCTBeImBIfi» n <<noaTmeCKMfi>>13 (npyrnMM enOBaMn: nocnomnsrfi n
eBOOOInIBIfi), — OTnaB npennhoerme nepBOMy. COBeTCKne nepeBonOBenBI CTpCMMJIMCb
paapenm'rb npomopeqne Mexny IIByMH KpafiHMMM nepeBonquKnMM TCHIICHHMHMM Ha
TeopeTmIeCKOM ypOBHC, BBIanHyB nonme «aneKBaTHoro nepeBona» (A.A. CMMpHOB19),
3aTeM — «nonnonennoro nepeBona» (A.B. (DenopOBZO) n, naKoneu, —
«peanncmqecxoro nepeBona» (H.A. KaInKmI, DP. Faqetmnanae21 n np.). KaK n
nepeBonqun BTopofi nonommbr XIX BeKa, OHM nommann neoOxonMMOCTB )KCpTB — B

ymep6 TOtIHOCTM n B IIIITepecax maTenei/I — nnn coanarmn yno6oanaeMoro (mm

 

13 CM.: B.I‘. BeIMHCKMfi. Honnoe coOpanne comermii, T. 11. "311-80 AKaneMMM
HayK CCCP, MOCKBa, 1953, cm. 427.

B COBpCMCHHOM nepeBonOBeneInm nonme «xynoxeCTBeHHBIfi nepeBon» MMCCT
npyroe snaqerme. Faqetmnanae onpenennn 3T0 nonme KaK «Bun xynoxeCTBeHHoro
TBopquTBa» (1‘an Faqetmnanae. BBeneIme B Teopmo xynoxeCTBennoro nepeBona. Man-
Bo TOMJIMCCKOI‘O yHnBepcheTa, T6nnncn, 1970, C'I'p. 148)

19 CM.: A.A. CMMpHOB. HepeBon. —— B BIHIMKJ'IOIICIIMM: JInTepaTypnan
ammoneimn. I’IBII-BO AH CCCP, Mocha-Hennm‘pan, T. 8, C'I'p. 527.

20 CM.: A.B. (DenopOB. BBCIICHMC B Teopmo nepeBona. Man. 2, nepepaOOTanIIoe.
Man-Bo JIMTepaTypBI Ha nnoerpannmx nabncax, MOCKBa, 1958.

21 CM.: 14. Km. B 60pb6e 3a peamacmecxnfi nepeBon. — B c6.: Bonpocsr
xynoxeCTBeHHoro nepeBona. Man-Bo «COBeTCKMfi nncaTenB», MOCKBa, 1955, mp. 120-
64; Faqetmnanae. BBeneIme B Teopmo xynoxeCTBennoro nepeBona, CTp. 151-53.

cnenmmoro) n nocrynnoro nnsr Mnomx nepeBona. I/ICTome «pyccxoro IIIexcnvrpa»
nOKaaana Hen36eXHOCTB Tam )KCpTB.

Hpntmnm cnoxnocm nepeBona IIIeKcnnpa nexaT B 06naCTn paanmmfi mexny
ain‘Jmficrch n pyCCKMM H3bIKaMM n B ocoOeHnocmx noaTnKn IIIeKcnnpa. FnaBHan
n3BIKOBan prnHOCTB eBnaana co anamenbnofi Kpa'I'KOCTbIO ainmn‘icxnx cnon B
cpaBneHnM c pyCCKnMM CHOBaMM. 06 aToii npoOneMe nncan KM. qYKOBCKMHI

B cpenHeM KEDKIIOC anrnnficxoe CJIOBO nhon BnBoe Kopoqe pyCCKoro.
3Ta KpaTKOC’I'b npnnaeT aHI‘JIMfiCKOI/I petm oc06on cnny n exaTOCTB; npn
nepeBone Ha pyccxnfi H3bIK HCM366)KHO BMeCTo anepnmnofi CCHTCHIIMM B
ceMB CTpOK nonytm'rcn Banan B onMHHannaTB mm nBeHanuaTB. 22
TaKoe yBeanenne OO’bCMa npn nepeBone CTMXOTBOpHOFO npaMaTmeCKoro TeKCTa
npnBonnT K naMeneHmo pMTMa n monamm peqn, a TaK>Ke K 3aMenneHmo neficmnn.
IITOOBI n36e)KaTB 3Toro, nepeBonm Bbmyxnen COKpamaTB TeKCT.

prran cepBeanan prnHOCTB ochnomIeHa paanwmsIMM Mexny BCTeTnKoii
PeHecccha, onpenenMBmeii noaTIIKy IIIeKImpa, n SCTeTMKofi peaJmaMa XIX-XX BeKOB.
Bo BpeMena Peneccanca Tpe60Bannn K xynoxecheHHOMy nponaBeneHmo 6511an
OIIpeIICJICHbI pnToanofi. COBpeMeIIanfi meKcnnponen BneiiK (N .F. Blake)
oxapaKTepMBOBan BCTCTW-ICCKMC BKbeI ennBaBeTmIcrcofi anoxn Anrnmr cnenyrornnM
06p330M2

The aim of rhetoric is artificial and literary; and it is important to bear this
in mind when dealing with a dramatist like Shakespeare in whose work
modern readers expect to find the adaptation of language to individual
characters in a naturalistic way. In this period the most approved language

was that which was most artificial; it was not that which approximated
most closely to realism [Kypan Moi/i. —— CH] of speech or colloquialism.

 

22 Kopnefi HyKOBCKIIfi. BbICOKOC MCKyCCTBo. O npnnnnnax xynoxeCTBennoro
nepeBona. M3n-Bo «I/ICKyCCTBo», MOCKBa, 1964, CTp. 173.

At the same time rhetorical precepts embodied an approach to language
which was shared by all people of the time: it was a known and approved
convention.23

C eropMKoM CBHBaHbI Tame ocoOeHHOCTM meKchpOBCKoro CTMnn, KaK HOBbIIIICHHaH
MeTacbopMHHOCTB M chpyMCTMtIHOCTB, OOMJme naTMHMSMOB, MMq)0norM3MOB M
KanaMprOB, a TaKxce CMHTaKCMHeCKm KOHCprKuMM, ocnoxnernme p33H006pa3HbIMM
CTMJIMCTMHeCKMMM daMrypaMM, MHBepcMeM M pMTOpMHeCKMM BIDMICMCOM. MeTacbopBI
IIIeKchpa, — OHeHB Ba)KHan HaCTB ero norm/n04, — ’I‘pyIIHbI nnn nepeBona He CTOIIbKO
no TengquKMM anHMHaM, OKonBKo no OCTeTquCKMM, TaK KaK an TOIIHOM nepeBone
OHM MoryT npOM3BonMTB Ha COBpeMeHHBIx pyccrcnx IIMTaTeneM COBepmeHHo He TOT
atbcpeKT, KaKOM OHM HpOMBBOIIMIIM Ha COBpeMeHHMKOB ILIeKchpa. B anoxy peanMBMa c
COprInMTenBHOM KpMTMKoM HIeKchpa BBIcTynMJI HeB ToncToM, KOTopBIM yTBepxnan:

Bee nMna HIeKchpa FOBOpH'F He mom, a Bcerna OIIHMM M TeM )Ke
meKchpOBCKMM, BbmyprnM, HeeCTecheHnBIM H3bIKOM, KOTOprM He
TOIIbKO He MornM TOBopMTB M306pa2KaeMBIe neMCTByIOInne man, no
HMKorna HMTne He MornM FOBOpMTb HMKaKMC )KMBbIe nIonM.

HMKame )KMBble nIonM He MOI‘y'l‘ M He MornM FOBOpMTb TOI‘O, HTO
TOBopMT IIMp, qTo on B rpoOy pa3Bencn 6B1 c CBoeM xenon, ech 6B1
Perana He anHsma ero, MnM IITO He6eca npopBchn OT KpMKa, trro BeTpBI
nonHyT, MnM HTO BeTep xoqu CIIyTb 3eMnIo B Mope, MnM HTO KynpnBBIe
BOIIhI XOTHT 3aJIMTb 6eper, KaK orIMCBIBaeT nerTnBMeH 6ypIo, MnM qTo
neme HeCTM eBoe rope M nyma nepeCKaKMBaeT MHOI‘O crpanaHMM, Korna
rope MMCCT npnyy, M nepenecerme (ropn) — TOBapMmCCTBo, tITO JIMp
06e3neTeH, a n 06e30TeHeH, KaK TOBoer 3nrap, M T.n. HeeCTeCTBeHHBIe
BprEDKCHMH, KOTOprMM nepenonHeHBI peHM Bcex neMCTBonme nMn BO
Bcex npaMax IHeKchpa.24

 

23 NF. Blake, Shakespeare ’3 Language: An Introduction (New York: St. Martin’s
Press, 1983), 18.

24 H.H. TonCToM. O IHeKchpe M o npaMe. — B KH.: H.H. ToncToM. «CoOpaIme
cquHeHMM B nBanuaTM TOMax». Hon pen. H.H. AxonOBoM, H.K. I‘ynaMn, H.H. cheBa,
M.B. XpanHeHKo. Man-Bo «XynoxeCTBeInIan nMTepaTypa», MOCKBa, 1964, T. 15, crp.
310.

Bro cyxnenne TOJICTOFO OKaaano BIIMHHMC Ha pychMx nepeBoonKOB
III 25 H Brit
eKchpa, B TOM tmcne M Ha aCTepHaKa, KOTop neonHOKpaTHo ynOMMHan

Toncroro B CBOMx CTaTbHX M nMCBMax o nepeBonax. HaIrpMMCp, B nMCBMe K C.H.

HyphInMHy on mean:

Th1 memo MOI‘ 6BI, Benen 3a HymKMHhIM M FeTe, onsrrb CKaBaTb o
IIIeKchpe, mm o HeM-HMOynb OKono Hero, c Mx InMpOToM M
HCIIpeIIB3HTOC’I‘bIO, rne-To B COCCIICTBC c TOJICTOBCKOIO nonemofi,
HanonOBMHy cnpaBennMBoM (M CMJIBHO npenonpenenMBIneM rnaBHon
pea/rucmuuecxyro, [KprMB MOM. — C.H.] ynpomalomyio TeHneHIIMIO MOMx
nepeBonOB).26

KaK BMnHo M3 aToro IIMCbMa, CBOIO ynpOCTMTenBCKyIO TeHneInIMIO HaCTepHaK
CBH3bIBaJI c peaJIMBMOM. OIIHaKO B OTIWC OT TOJICTOTO, OTBCpI‘IIICFO IIIeKchpa
nenMKOM, HaCTepHaK etIMTan IIbCCbI IIIeKchpa «myOOKo peanMCTMtanM no nyxy»,
XOTn, KaK M TonCTOM, ometran B nabrKe IIIeKchpa MCKyCCTBeHHOCTB M MHorocnOBMe:

Ero npaMBI rJIyOOKO peanMCTMHHBI no nyxy. Mx BbHIOIIHCHMC no-
paBFOBopHOMy ecreCTBeHHo B Meerax, HarmcaHHBIx npoaom, MIIM Korna
KyCKM CTMXOTBOpHoro manora conpnerBI c neMCTBMeM MnM anKeImeM.
B OCTanBHBIx MeCTax nOTOKM ero 6enoro cmxa nOBBIIneHHo
MCTaquW-IHLI, morna 6e3 HanOOHocTM M Torna B yInep6 npaBnononofiMIo.

OOpaBHan peqb IIIeKchpa HeonnoponHa. HopoM 3T0 BBIcoanmasI
noaaMn, 'I‘pCOyIOIIIaH K ce6e COOTBeTCTByIOInero OTHOIIICHMH, nopoM
OTKpOBCHHaH pMTopMKa, Hal‘pOMOXQIaIOIIIaH IICCHTOK nycrmx
OKothIHocreM BMeCTo onnoro BCpTCBIHCFOCH 113 name y aBTopa M
B'I‘OpOIIHX He ynOBneHHOTO cn0Ba.27

 

25 AB. prxcMHMH, omeHeHHBIM HaCTepHaKOM KaK onMH M3 nytIme
nepeBonqmwB IHeKcrIMpa, BBICKaBBIBancn o chne IlIeKchpa B nyxe TOJIC'I‘OI‘O. CM.: 10.
11. HeBMH. Pyccme nepeBoonKM XIX mm M pa3BMTne xynoxeCTBeHHoro nepeBona.
OTB. pen. A.B. (DenopOB. Man-Bo «HayKa», HeHMHr'pan, 1985, crp. 155-56.

26 H.C. HypBUIMHy. 29 MIOHH 1945, HcpCIIeIIKI/IHO. — C06p. COLL, T. V, cm. 431.

27 3aManHMH K nepeBonaM M3 IHeKchpa. — CoOp. COIL, T. IV, crp. 413- 14.

10

Erne ome CCprBHyIO np06neMy nepeBona IIIeKcrIMpa co3naIOT ero
HeannMHHOCTM, IIOHBJICHMC KOTopBIx Toxe canaano c 3OTeTMKoM PeHecccha,
BosponMBIneM aIrrMIIHBIM KynBT HenonequKoro Tena M OTKa3aBmeMcn OT cpenHeBeKOBoro
aCKeTMBMa. MHorqucneHHBIe YKaBaHMH Ha mm M Ha MHTMMHBIe HaCTM qenoaeqecxoro
Tena y IHeKchpa B OonBInMHCTBe cnyqaeB CKprTbI B Mrpe CJIOB, tITo HpCIICTaBJIHCT
TexHMHCCKon prJIHOCTb nnsr Mx nepeBona.28 OnHaKo rnaBHan cno>KHOCTB B nepeBone
HeananHOCTeM aaKmoqaeTcn B HeCOOTBeTCTBMM KyJIbTypr PeHecccha «nprTaHCKOM»

3C'I‘CTMKC pyccxoro peanM3Ma.

B CTaTbHX HaCTepHaKa MO)KHO BBInenMTB nBe BBaMMOCBHBaHHbIC nenM, KOTopBIe
OH craBMn nepen coOoM KaK nepeBomnnc IIIeKchpa. HepBan — 3T0 c03naIme
TeanaIIbHOI‘O, cneHwnIoro nepeBona:
Bnpoqu, peqb Inna 06 ocoOOM, BOIIbHOM, CBOOOIIHO BByHameM
nepenoerMM, ynOBneTBopMTenBHOM B cneHMHecKOM, a He KHPDKHOM
CMbICJIe.29
BTopan — co3narme nepeBona, 3BytIaInero, KaK caMOCTOHTCIIbHOC HpOMBBenenne:
Pa60Ty Hano cynMTB KaK pychoe opMIMHanBHoe npaMM'MHecKoe HpOMBBenenne,
HOTOMy HTO, nOMMMO TOHHOCTM, paBHocrpomIOCTM c HOIUMHHI/IKOM M npoqero, B

HeM 6onb1ne Bcero TOM HmepeHHoM CBOOOnBI, 6e3 KOTopOM He OHBaCT
HpMOIMXCHMH K OonmeM BeIIIaM.30

 

23 BneMK yKa3an, HTO mome COBpeMeHHBIe HMTaTenM HleKchpa name He
IIOIIO3pCBaIOT, HTO y IIIeKchpa OHeHb MHoro HeanthnIOCTei/i, TaK KaK MHome CJIOBa c
HCl'IpMJIW-IHHM anaqenneM yCTapenM MnM yrpaTMJIM 3T0 3Haqume. CM.: Blake,
Shakespeare ’s Language: An Introduction, 27.

29 FaMneT, anHn naTcKMM. (OT nepeBonHMKa). — TaM )Ke, CTp. 385. B OTaTBe
«BaManJ-IMH K nepeBonaM M3 IIIeKchpa» HaCTepHaK OIIHTb nonqepKHyn, HTO ero IICJIbIO

6BUIO coanarme TeanaanBIx nepeBonOB (TaM )KC, cm. 413).

30 TaM )KC, cm. 386.

ll

HacrepHaK KpMTMtIeCKM OTHOCMJICSI K nocnOBnomy MeTony nepeBona, K 3033peHMIo Ha
nepeBon KaK HBBKOBenquKyIO paOOTy31 M pyKOBOIICTBOBaJICH anHnMIIOM eB060nHoro
(TBoptIeCKoro) oOpameImn c opMIMHanOM:

B OTHomeHMM IIIeKchpa yMecTHBI TOJIbKO COBepIIICHHaH eCTeCTBeHHocTB
M nomran yMCTBCHHaSI CBOOOna.32

CBOM nepeBonqecme anHnMIIBI HaCTepHaK CBHBbIBaJI c TpaIIMIII/IHMM nepeBonHMKOB XIX
mm:
B CBOMx paOOTax MBI nomnM no CTOIIaM CTaprX nepeBontIMKOB, H0
crapaeMcsI yMTM eme nanbme B npecnenOBaHBM )KMBOCTM, eCTeCTBeHHOCTM
M TOI‘O, qTo Ha3BIBaeTcn peanM3MOM.33

Hymm nepeBoonKaMM IIIeKchpa npomnoro CToneTMn HaCTepHaK Ha3BIBan A.B.

IIpyxcMHMHa, A.A. Fpm‘opBeBa M H.H. MannOchoro.34 prxcMHMH 6BIn IICthIM, KTo

 

31 HaCTepHaK HeonIIOKpaTHo BBIpaxan eBoe HCIIpMHTMC 6yKBanMCTCKMX M
n3Bn<0BenHeCKMX anHnMITOB COBpCMCHHbIX eMy nepeBonHMKOB: «COBpeMeHHbIe
HepCBOIIbI IIIeKchpa, M3 KOTOprX nyqnme anHaIUICJKaT Ky3MMHy, HoaMHCKOMy,
3eHKeBMtry M PannOBoM, Ome, qu 3T0 nenanocs paHBme, 3HaKOMHT co CJIOBeCHBIM
COCTaBOM IIICKCIIMpOBCKMX TeKCTOB, c Mx neKCMKOHOM. OnHaKo nocn0BHBIe nepeBom
Bcerna 6BIBaIOT THXCJILI M B penKMX cnyqanx IIOHHTHbI. Mnen 6yKBaanoro nepeBona
HpCIIC’I‘aBJIHCT xpOHMIIeCKoe, HOC’I‘OHHHO M3)KMBaeMoe M HOCTOHHHO BosBpamanrneecn
3a6nyxnerme» (HOBBIM nepeBon «Orenno» IHeKchpa. — CoOp. coq. T. IV, crp. 402);
«H COBepnIeHHo OTpMnan COBpCMCHHbIC nepeBonqecme BO33pCHMH. PaOOTBI HoaMncxoro,
PanHOBoM, MapmaKa M IIyKOBCKoro naneKM MHe M KaJKyTCH MCKyCCTBeHHBnm,
Herny60KMMM M 6e3nyIngIMM. H CTOIO Ha TOtIKe 3pCHMH npOInnoro CTOJICTMH, Korna B
nepeBone BMnenM 3anaqy nMTepaTypHon, no BBICOTe nomarmn He OCTaBnanIyIO Mecra
anequnnM HBHKOBCII‘ICCKMM» [K nepeBonaM meKchpOBCKMX npaM. (M3 nepenMCKM
BopMca HacrepHaKa). — HMCBMO A.O. HayMOBoM OT 23 Man 1942 r. B c6.: «MaCTepCTBO
nepeBona 1969». M3n-Bo «COBeTCKMM rmcaTenL», MOCKBa, 1970, crp. 342].

32 O IIIeKchpe. — C06p. com, T. IV, cm. 388.
33 HOBBIM nepeBOn «Orenno» IIIeKchpa. — CoOp. com, T. IV, cm. 402.
34 MMeHa 3TMx nepeBonHMKOB HaCTepHaK ynOMMHan B IIMCBMax M Oecenax:

«...BenMKonernibIM npyxcMHMHCKMM JIMp, TaK rnyOOKo BomeanM B pyccxoe coanarme,
OKOJIO BeKa menIIIMM Ha cneHe 0 up. M up, 601']: enMHCTBeHHBIM n o n n M H H bl M pyCCKMM

12

TeopeTMHeCKM OOOcHOBan anHnMITBI KOMHpOMMCCHOFO nepeBona M Ha npaKTMKe
nOCTaBMn neano COBMeCTMTB noaTMtnIOCTB (B peaJIMOTMtIeCKOM mommaHMM) c
T0'-IHOCTI>IO.35 IIpy)KMHMH, FeropBeB, ManHOBCKMM M npyme nepeBontIMKM-peamICTBI
BTopOM non0BMHBI XIX BeKa ynpornanM BbrqyprIM OTMnB IHeKchpa, ancnocaOnMBan
ero K BCTeTMKe peanM3Ma, Ho CTapaJIMCB OBITB TOIIHBIIvm B nepenaqe conepxaHMH.
HacrepHaK chTan ce6n HpOIIOIDKaTCJICM TpanMItMM 3m nepeBontIMKOB. HOKaBaTCIIbHO,
HTO on B 3TOM CBHBM He yHOMMHan HoneBoro, XOTH HeKOTopBIe COBCTCKMC KpMTMKM
cpaBHMBaJIM HaCTepHaKa-nepeBoonKa c HoneBBIM.36

HaCTepHaK MBBeCTeH KaK eBonOpa3HBIM n03T M npo3aMK, no He Bce nOtIMTaTenM
ero TanaHTa 3HaIOT, HTO OO’beM CIICJIaHHbIX MM nepeBonOB npeBocxonMT OOBeM ero

opMI‘MHanBHOI‘o TBOpHeCTBa.37 B nepeBonHeCKOM TBopHeCTBe HaCTepHaKa IIIeKchp no

 

J'IMp» (K nepeBonaM meKchpOBCKMX npaM. — HMCBMO M.M. MopOBOBy OT 30 mm.
1947 1‘. B c6.: «MaCTepCTBo nepeBona 1969», mp, 362); «JIytnnMMM pyCCKMMM
nepeBonaMM «POMeo M leynbe'r'rbr» n otrMTan nepeBon ManJIOBCKoro B TpCXTOMHHKC
Fep6enn M nepeBon Anonnona I‘eropbeBa, XOTH nocnenHMM CTpanaeT qpe3MepHoM
pyccnchKamreM TeKcra» (AneKcaan I‘nanKOB. BeTpeHM c HaCTepHaKOM. — B KH.:
BOCIIOMMHaHMH o BopMce HacrepHaKe. M3n-Bo «CMOBo/Slovo», MOCKBa, 1993, C'I’p.
335).

35 O nepeBonHeCKoM nenTenBHOCTM prXMHMHa CM. KHMI‘y HeBMHa «PyOCKne
IICpCBOIIqMKM XIX mm M paaBnTne xynoxeCTBeHHoro nepeBona», crp. 144-61. Ho
MHeHmo HeBMHa, prXMHMH Ohm y MCTOKOB pearmcmecxoro HanpaBnennn B nepeBone:
«HepeBonqecme anHnMHBI prXMHMHa c Mx aneMeHTaMM conOCTaBMTeanoM
CTMJIMCTPIKM, OOBHCHneMoM MeToqueCKM, M CTpeMJIeImeM K aneKBaTHOCTM BpraJKCHMH
coorBeTchOBaJm, KaK M y BBeneHCKoro, paHHeMy 3Tany peaJmchHeCKoro nepeBona,
KOTOpBIM B MBBeCTHoM Mepe 6bUI aIIaII'I'MBI-IbIM. HOKaBaTeneH neMOKpaTM3M 3TMx
anHIIMIIOB» (J'IeBMH. Pyccxne nepeBoonKM XIX mm M paBBMTMC xynoxeCTBeHHoro

nepeBona, mp. 151).

36 Few: MneT o 10.11. HeBMHe M BM. COHOBBeBe. CM. 06 3TOM B I rnaBe
nncoepramm Ha crp. 35, 55.

37 Ha npeBBnnerme o6'BeMa nepeBonOB Han oerMHanBHBnm npOM3BeneImnMM
HacrepHaKa yKa3an EBI‘eHMM HaCTepHaK: “The volume of his translations is greater than

13

3HatIMMOCTM CTOMT Ha nepBOM MeCTe. Ha 3T0 yKaBBIBaeT nonran MC'I‘OpMH MHTepeca
HacrepHaKa K IIIeKchpy, KOTopon Moxno npocnenMTB B ero nMOBMax M CTaTan,
KothIeCTBo M OO’bCM nepeBeneHHBIx MM np0M3BeneHMM HIeKchpa, a TaK>Ke BIIMHHMC
IHeKchpa Ha HaCTepHaKa (3T0 IIOIITBCPXIIaIOT CTMXOTBOpCHMH «IIIeKchp»,
«Map6ypr», «YpOKM aHI‘IIMfiCKOI‘O», «He3neMOHa» M <<aneT>>). Erne an )KM3HM
HacrepHaKa ero nepeBonBI M3 IIIeKchpa neananMCB orpOMHBIMM TMpaxaMM, craBMrIMCB
Ha cueHe paathtHBIMM TeanaMM; B 3HmeHMTOM 3KpaHM3anMM «FaMJIeTa», cnenaHHoM
KO3MHIIeBBIM, McnonbaoBaH naCTepHaKOBCKMM nepeBon. HaCTCpHaKOBCKMC nepeBoan
310110qu B HOBeMInm COOpaHMH COIIMHeHMM np0M3BeneHMM IHeKchpa B pyCCKMX
nepeBonax. Bce 3TM (paKTBI FOBOpHT o He06xonMMOCTM M3yHeHM$I noaTMKM HaCTepHaKa
KaK nepeBonHMKa IIIeKchpa.

B TeopMM nepeBona cymeCTByeT HCCKOIIBKO HanpaBneHMM. McropMHeCKoe
HanpaBnenne IIpeIICTaBJIHIOT KHMIM (bpMnOepra (Maurice Friedberg) Literary Translation
in Russia: A Cultural History38 M HeMTOHa (Lauren G. Leighton) Two Worlds, One Art:
Literary Translation in Russia and America. 39 KHMI’M CTeMHepa (George Steiner) After

Babel“) M AnaMca (Robert M. Adams) Proteus, His Lies, His Truth41 HOCBsnneHBI

 

that of his own collected works” [Yevgeny Borisovich Pasternak, forward to Selected
Poems, by Boris Pasternak, translated by John Stallworthy and Peter France (New York:
W.W. Norton & Co., 1982), 12].

38 Maurice Friedberg, Literary Translation in Russia: A Cultural History
(University Park: Pennsylvania State University Press, 1997).

39 Lauren G. Leighton, Two Worlds, One Art: Literary Translation in Russia and
America (DeKalb: Northern Illinois University Press, 1991).

40 George Steiner, After Babel: Aspects of Language and Translation, 2d ed.
(Oxford: Oxford University Press, 1992).

l4

KOIIerTHBIM npoOneMaM nepeBona. KHMTa BaccneTT-MaKFBaep (Susan Bassnett-
McGuire) Translation Studies42 HBJIHCTCH npaKTquCKMM nocoOMeM nnn nepeBontIMKOB.
HpmepaMM Iflflil‘BMCTW-ICCKOI‘O HaIlpaBIIeHMH HBJIHIOTCH KHMTa HedJeBepa (André
Lefevere) Translating Poem/43 M MHOI‘OImcneInIBIe CTaTBM CeHnMHa (Munir Sendich) no
nepeBonaM c pychoro M aHI‘JIMMCKoro n3BIKOB.44

JIMHI‘BMC'IMHeCKOM MeTon B3HT 3a OCHOBy 3TOM nMCCOpTanMM, KOToprM
npennonaraeT nonnoe M TinaTenBHoe chtIeHne nepeBonOB c opananaMM M
COIIOC’I‘aBJICHMC Mx CTMJIMCTWICCKMX ocoOeHHOCTeM, a mum MccnenOBanne
nepeBonHecxoM TeXHMKM. Ba)KHo BbIHCHMTb He TOJIbKO, HTO cnenan HaCTepHaK, Ho M Kare,
xaxuuu cpedcmeauu OH 3T0 cnenan: Benb nepeBoonKM IHeKchpa pemanM Te )Ke 3anatIM
(CKEDKCM, cneHMtnIOCTM nepeBonOB) paarn/IIIIIBIMM cnocoOaMM. HpM onpeneneHMM
ocoOeHHOCTeM noamrm nepeBonOB nenaeTcn onopa Ha noaTMKy IlleKchpa (c CChUIKaMM
Ha MCCJICIIOBaHI/IH IIICKCI'IMpOBCIICHI/IH B 3TOM oOnaCTM). B 3TOM nnccepTanMM He
MccnenyIOTcsI Bce aCIICKTbI noaTMKM HaCTepHaKa-nepeBoonKa. IITOOBI yCTaHOBMTB MeCTo

HaCTepHaKa B MeTopMM «pyccxoro HIeKchpa», IIOTpCOyCTCH conOCTaBneHne ero

 

4‘ Robert M. Adams, Proteus, His Lies, His Truth: Discussion of Literary
Translation (New York: W.W. Norton & Co., Inc., 1973).

42 Susan Bassnett-McGuire, Translation Studies (London: Methuen & Co. Ltd.,
1980)

43 Andre Lefevere, Translating Poetry: Seven Strategies and a Blueprint
(Amsterdam: Van Gorcum & Co. 1975)

44 CpenM HMX craTBM: “English Translations of Tolstoj’s Vojna i mir: An
Analysis of Difficult Renderings.” Russian Language Journal XLI, nos. 138-139 (1988):
313-340; “English Translations of Chekhov’s T ri sestry: Why Chekhov Sounds Different
in English Than in Russian,” Russian Language Journal XLIX, nos. 162-164 (1995):
239-72.

15

nepeBonOB c nepeBonaMM npenmeCTBeHHMKOB M COBpeMeHHm<OB, a HTOOBI onpenenMTB
eBn3B nOBTMKM nepeBonOB c noaTMKoM ero opMIMHanBHoro TBopHeCTBa, norpe6yeTca
chHeIme nepeBonOB c ero n033MeM M npo3oM. TaKoro COHOCTaBMTCIIbHOI‘O aHanM3a HeT B
nnccepTanMM, xorsr B HeM eCTB OTnenBHBIe 3aMeanMH O cxoncTBe CTMJIH HaCTepHaKa-
nepeBoonKa M HaCTepHaKa-noaTa M npo3aMKa. OCHOBHLIM BKnanOM HacrepHaKa B
pyCCKon meKchpMaHy HBJIHIOTCH BoceMB ynOMnHyTBIx nBec, noaTOMy OHM 6ynyT
Il‘peIIMCTOM MCCIICIIOBaHMH nnn OITpCIICJICHMH noaTMKM HaCTepHaKa-nepeBontnnca.45

HepBan rnaBa nMccepTanMM IIOCBHIHCHa aHaJmay KpMTMKM naCTepHaKOBCKMX
nepeBonOB IIIeKchpa. PaOOTBI pyCCKMx (COBCTCKMX) M aHI‘JIOHSbI‘IHbIX KpMTMKOB
paCCManMBaIOTCH B xpononothIeCKOM nopnnKe, HaHMHaM c 40-x TonOB M KOHHan 90-MM.
AnanM3 3TMX paOOT noaBonMT BblIICIII/ITI) Mx IIOC’I‘OMHCTBa M HenOCTaTKM, a Tame
npoOenBI B M3ytIeHMM noaTMKM HBCTepHaKa-nepeBontha IHeKchpa.

Bo BTOpoM rnaBe paCCMOTpMBaeTCH CTMJIMC’I‘MKO-FPaMMaTWICCKaH OCHOBa
nepeBonOB: neKCMKa, cppaaeonomn M CMHTaKCMC. 3T3 HacTB nMccepTanMM no3BonMT
BBInenMTB OCHOBHBIe OTMJIMOTMHecme ocoOeHHOCTM nepeBonOB, a mum onpenenMTB
CTCIICHb Mx 611M3OCTM K opMTMHanaM M CTeneHB Mx n3BIKOBoro OoraTCTBa.

TpeTBn rnaBa HOCBHIIICHa caMbIM cnoxcrIBIM npoOneMaM nepeBona IHeKcrIMpa -——-
IOMopy, 06pa3HOCTM M mundBnnyanmarmM peIIM neMCTBonme mm. Yenemnoe MnM
Heynaqnoe pemerme 3TMx np06neM B OonbmoM CTeneHM onpenenneT KaHeCTBo nepeBonOB.

B HeTBepToM rnaBe paCCMOTpCHbI cnyHaM TeKCTyanBHBIx M CMBIcnonbrx

HeTOIIHOCTeM M OTKJTOHeHMM nepeBonOB OT opMI‘MHaJIOB. OrnenBHo paCCMOTpeHBI cnyan

 

45 KpOMe IIbCC IIIeCKnMpa HacTepHaK nepeBen nBa 00mm (66 M 73) M OprIBKM
M3 IIbCC — «My3Bn<a>> (M3 «Koponsr 1“eran IV») M «3mm» (M3 «Koponn I‘eran
VIII»).

l6

COK‘paIIICHMH TeKCTOB (KymopBI M exam) M cnyan TeKCTyanBHBIx M CMbICJIOBbIX
MCKaJKeHMM. Bonpoc nepenaqM meKchpOBCKMX HeannMIrHocTeM TO)Ke paCCMOTpeH
OTnenBHO, TaK KaK 3Ta xapaKTepHan HepTa noaTMKM IHeKchpa B nepeBonax ocna6neHa
nocpenCTBOM pa3thrHBIx aneMOB. 3Ta rnaBa Ba>KHa B onpeneneHMM TeKCTyaanoM
TOtmOCTM/HeTOHHOCTM nepeBonOB.

LIMccepTanMIo 3aBepInaeT 6M6nMOTpachn. OHa COCTOMT M3 nByx HaCTeM: 1.
OMOJIMOI‘patpMM IIMI'MpOBaInIBIx M yHOMMHyTBIx pa60T; M 2. OMOJIMOI‘pacpMM
BenOMoraTenBHoM nMTepaTypBI. OCHOBon HaCTB 3Toro pa3nena COCTaBJIHIOT paOOTBI o
HaCTepHaKe-nepeBonHJ/nce HIeKcrmpa M o noaTMKe IIIeKchpa. KpOMe 3TMX pa60T M
nepBOMCTquMKOB — TeKCTOB IIIeKchpa Ha aHrnMMCKOM M pyCCKOM H3bIKaX, — B Hee
BOIIIJIM paOOTBI no o6n1eM TeopMM nepeBona, no MeTopMM pyCCKMX nepeBonOB IIIeKchpa M

no noaTMKe HacrepHaKa.

HaC'I‘epHaKOBCKMC nepeBonhI MccnenOBaJIMCB no TeKCTaM, ony6nMKOBaInIBIM B
cnenyIOInMX coOpaHMHX cquHeHMM IHeKchpa: 1) BMW IIIeKchp. HonHoe coOparme
COIIMHeHMM B nechM TOMax. TOMa l M 3. COCT. A.M. IIImaMKMH. M3n-Bo «ArnconocT»,
Man-BO «JIa6MpMHT», MOCKBa, 1994; 2) BMJ'IbHM IHeKchp. Hormoe coOpaIme cquHeHMM
B 14-TM TOMax. TOM 10. M3n-Bo «Teppa», MOCKBa, 1995. B «HOIIHOM c06paHMM
cquHeHIdi B nechM TOMax» B nepBOM TOMe B nepeBonax HaCTepHaKa onyOJIMKOBaHBI
nepBan M BTOpaH HaCTM «Koponn 1‘eran IV», B TpeTBeM — «1"aMneT», «POMeO M
leynBeTTa», «Orenno», «KoponB HMp» M «MaKOeT». B «HOIIHOM c06paHMM B l4-TM
TOMax» B IICCHTOM TOMe ony6nMKOBaH «AHTOHMM M Kneonana». HpM IIMTMpOBaHMM

oervnIanBHBIx TeKCTOB IHeKchpa MCHOIIBBOBaHbI nBa M3naHMH: 1) Bevington, David, ed.

17

The Complete Works of Shakespeare, 4th ed. Haper Collins Publishers, 1992;46 2)
Shakespeare Study Guide: The Complete Works of William Shakespeare Plus Selected
Barron ’s Book Notes on One CD-ROM. CD-ROM. World Library, Inc., 1995.
HCOOIIbIIIMC OTthBKM IIM'IMpOBaJIMCb no Home Complete Works of Shakespeare; OTpBIBKM
B HeCKonBKo crpOK nepeHOCMnMCB M3 KOMIIBIOTepHOTO TeKCTa Shakespeare Stuay Guide c
nenBIO M36€X21HMH oneanOK. KpOMe HeKOTopBIx paathIMM B 0p¢0rpathM M
nyHKTyanMM, 3TM nBa COOpaHMH cquHeHMM IHeKchpa MMCIOT He3HaqMTenBHBIe
TeKcryanBHBIe OTWH. HaCTepHaK MononB3OBan aHrnMMcme BapMaHTBI rrbec IIIeKchpa,
KOTopBIe COBnanaIOT c TeKCTaMM B Shakespeare Study Guide. HaanM6p, ech onMH M3
nepconaxeM «MaKOeTa» B Complete Works of Shakespeare Ha3BaH “captain”, To B
Shakespeare Study Guide on Ha3BaH “sergeant”; B naCTepHaKOBCKOM nepeBone Mbl
HaxonMM CJIOBO <<CCpX<3HT>>. TaKMX OTKnOHeHMM B nByx COOpElHMHX IHeKchpa HeMHoro,
OHM ytITeHBI an conOCTaBneHMM nepeBonOB c oerMHanaMM.

C nenBIo yMCHbIIICHMH KothIeCTBa CHOCOK an COHOCTaBneHMM TeKCTOB
oerMHaJIOB M nepeBonOB Bcnen 3a aHrnMMCKOM uMTaToM B CKOOKax yKa3BIBaeTcsI
COKpaInennoe HaMMCHOBaHMC nBeCBI, aKT M cueHa, a TaKxe CTpaHIflla nMTaTBI M3 COOpaHMH
Complete Works of Shakespeare, Haanmep: (Mac, 1.1, 1223); Benen 3a pyCCKoM nMTaToM
anBonMTcsI MMH nepconaxa, KOTOprM np0M3HeceHBI nMTMpyeMBIe 01083, M OTpaHMna
TOMa onHoro M3 BBnneyHOMnHyTBIx pyCCKPIX coOpaHMM cquHeHMM IHeKchpa, mnpmep:
(cepxcaHT, 572); HameHOBarme COOpaHMH COWCHMH M HOMep TOMa He yKa3BIBaIOTcn, TaK

KaK pacnonoxerme HaCTCpHaKOBCKMX HCpCBOlIOB B IIBYX COOpaHMHX OTMCHCHO BBIIIIC BO

 

45 B nanBHeMmeM ccwn<a Ha 3TO M3narme 6yneT anBonMTcn COKpaInenno:
Complete Works of Shakespeare.

18

«BcrynneHMM». HpM aHanM3e nepeBona <<FaMneTa>> B nnccepTauMM McnonB3OBaH
nocnenHMM BapMaHT, BnepBBIe onyOmIKOBaHHBIM B cepMM «BM6nMOTeKa BceMMpHoM
JIHTCpaTypr» M nepeneHaTaHHBIM B «IIOIIHOM coOpaHMM cquHeHMM B IICCHTM TOMax».
TaKxe anHnT Bo BHMMEIHMC nepBBIM, )KypHanBHBIM, BapMaHT «FaMneTa», TaK KaK MMCHHO
OH BBI3Ban noneMMKy B COBeTCKoM npecce B 40-e I‘OIIbI.

KprMB M pa3pnnKa B nMTaTax cnenaHBI aB'I‘OpaMM; MHOIO >Ke nonqepKHyTBI CJIOBa,
MIUIIOCTpMpylonIm 3meqanne MnM yTBepxneIme. AHTnMMCKm HmeHOBaHMSI nbec
IIIeKchpa yKa3BIBaIOTcn COKpaIneHHo:

Ham — Hamlet

RJ — Romeo and Juliet

AC — Antony and Cleopatra
Oth — Othello

1 H4 — Henry the Fourth, Part I
2H4 — Henry the Forth, Part II
Lear — King Lear

Mac — Macbeth.

FHABA I

AHAHM3 KPMTMKM HACTEPHAKA KAK HEPEBOH‘IMKA HIEKCHMPA

XOTH IIOHBJICHMIO B 116an «FaMneTa» npemneCTBOBaJIM ny6nm<auMM
nacrepHaKOBCKMX nepeBonOB COHeTOB M OTpBIBKOB M3 HbCC IIIeKchpa,1 MMCHHO c
«I‘aMneTa» HananaCB KpMTMKa HaCTepHaKa KaK nepeBoonKa IIIeKchpa. 3TOT nepeBon
cpa3y X6 BBI3Ban np0TMBOpeHMBBIe OT3BIBB1 co C'I‘OpOHbI COBpeMeHHMKOB HaCTepHaKa.
HepBBIMM KpMTMKaMM nepeBona 6bUIM ero pr3bH, KonnerM-nncarenn M TeanaJIbeIe
IICHTCIIM, KOTopBIe O3HaKOMMJIMCb c nepeBonOM BO BpCMH aB’I‘OpCKMX HTeHMM M no
pyKonMCM. Mx MHCHMH o nepeBone COXpaHMJIMCb B BoonOMMHaHme M HMCbMaX. BonBIne
Bcero HapeKaHMM co CTOpOHbI nepBBIx KpMTMKOB nepeBona BBI3Ban ero H3bIK, OTIIMHHBIM
OT n3bnca nperx pyCCKMX nepeBonOB IHeKchpa M noaTOMy HCHpMBquHbIM nnn
tIMTaTeneM. M.H. AanOHMKOB, ancchrBOBaBmMM Ha HyOIIMqHOM HTeHMM nepeBona
«I‘aMneTa», BcnOMMHan, KaK HeKOTopBIx cnymaTeneM ynMBnnno oOmme HpOCTopetIHBIx

cnOB B nepeBone.2 Ho BOCIIOMMHaHMHM H.K. quOBCKOM, A.A. AXMaTOBa nana OHeHB

 

1 PeHB MneT o nepeBone «COHHeTa 73» («HOBBIM mp», 1938, N9 8, CTp. 49) M
nByx orpBIBKOB M3 IIbCC: «My3bnca» [M3 «Koponn 1‘eran IV»] M «Elma» [M3 «Koponn
1‘eran VIII»] («Kpacnan HOBb», 1938, N9 8, cm. 131). Ony6nm<0BaHBI BMeCTe B KH.:
BOpMc HaCTepHaK. «I/I36paHHble nepeBonBI». M3n-Bo «COBeTCKMM ImcaTenB», MOCKBa,
1940.

2 <<prTOBOp», N9 8, 1976, up 5. Man no: M.O. quIaKOBa. HeM3BeCTHBIM
KoppeKTypHBIM 3K3eumnnp c60pHMKa nepeBonOB B.H. HaCTepHaKa. — B 06.: «3anMCKM

19

20

BhICOKyIO oneHKy nepeBony.3 HpM nepBOM O3naKOMneHMM c nepeBonOM «Tamera»
pyKOBonMTenB MXATa HeMMpOBMn-Ilanqernco HaBBaJI nepeBon «BCIIMKOJICHHHM»,4
OIIHaKO an pa60Te nan nOCTaHOBKoM <<FaMneTa>> on M aKTCpr Teana CTanM TpeOOBaTB
OT HacrepHaKa M3MeHeHMM OTnenBHBIx MeCT TeKCTa.5 HeMMpOBMtIa-Hanqenko eMytnana
CHMXCHHOCTB CTMJIH, XO’I‘H B OTnenBHBIx MeCTax nepeBona «IITo-To Ka3anOCB eMy,
nao60pOT, Hpe3MepHO M3BICKaHnBIM MnM yxc OHeHB CJIOXHBIM, HTO-To — CIIMIIIKOM
“pyconnTBIM”» (84). Hanpmep, B CHOBaX FaMneTa «qac OT Hacy ne nerqe» on cnbnnan
«rpMOOenOBCKyIO MnronanMIO» (86).6

HyOIIMKaIIMH )Kypnanbnoro BapMaHTa <<FaMJIeTa>> B nepeBone HaerepnaKa
BBI3Bana MPHOBeHHon peaKnMIo co CToponBI HMTaTeneM M JIMTCpaTOpOB. HepBBIe
KpMTW-ICCKMC CTaTbM OBInM HaneHaTaHBI B nonynanBIx ra3eTax M )Kypnanax. Mnome

ameqannn nepBBIx KpMTMKOB MMCIIM 3MonMOHaanBIM xapaKTep, Mx BhIBOIIbI HaCTo OBIJIM

 

OTnena pyKormceM», TOM 39. M3n-Bo FocynapCTBeInIoM 6M6nMOTeKM MM. HenMHa,
MOCKBa, 1978, cm. 109.

3 LIyKOBCKan anBena BneanneIme AXMaTOBoM o nepeBone <<FaMneTa»:
«HepeBon neMCTBMTenBHO npeBocxonen: Moryqan Bonna CTan. M, KaK 3T0 HM CTpaHHO,
anero nacrepnaKOBCKoro. MapInaK CKa3an MHe, qTo, no ero MHeHMIO, FaMneT B
naCTepHaKOBCKOM nepeBone chInKOM IIIKOIIbHMK, ynpomen, no 51 He cornacna 0 am»
(11an IIyKOBCKan. 3anMCKM 06 Anne AXMaTOBoM, T. I. M3n-Bo «YMCA-Press», Paris,

1976, cm. 90).

4 CM.: BMJ'ICHKMH. BOCIIOMMHaHMH c KOMMCHTapMHMM. M3n-Bo «MCKyccTBO»,
MOCKBa, 1982, mp. 82. B nanBHeMmeM CTpaI-IMIIbI ny6nMKauMM an ccmnKax na nee
6yny'r yKaBBIBaTBcn B CKOOKax B OCHOBHOM TeKcre.

5 Ho BOCIIOMMHaHMHM BMneHKMHa, Mnome aKTCpr Teana BOCl'IpMHMMZUIM TeKcr c
prnOM, HCKOTOprC l'IpOTCCTBaJIM npOTMB nepeBona, M TonBKo HMBaHOB, peneTMpOBaBmMM
pom: FaMneTa, normocnno BeTan Ha CTopony HaCTepnaKa (85).

5 BMnenKMn 3aImcan B mIeBHMKe B 1939 r. CBOIO oneHKy nepeBona «I‘awrera»:
«HepeBon 3aMeHaTeanBIM. T OIIbKO Koe-rne BhH‘IMpaCT HpOCTOCJIOBMe, He HapquToe,
Beposrrno, eMy nnn Hero-To nyxnoe, no Bee-TaKM He Mnymee K “FaMneTy”>> (83).

21

HeOOOCHOBaHHBI M ne nonernnenBI xoponIMM 3nanneM opMTMHana M noaTMKM IIIeKcnnpa.
3T0 OTHaCTM OO’bHCHHCT 3natIMTeanB1e pacxoxcnennn KpMTMKOB B oueHKax nepeBona.7

HepBbIe nOJIOXMTenBHBIe OT3bIBbI annannexaT B. TM3eHray3eny, H. BOpOBOMy
M H.H. BMJIbmy-BMHBMOHTy. Mx HaOJIIOIICHMH M BBIBonBI o nepeBone cxoxcM. B.
TMBeHrayaen Imcan, HTO nepeBon narmcan «npeBocxonImnm CTanMM»8 M ynaqno
nepeBenenBI OCHOBHBIe cueHBI — nnanor FaMneTa M chenMM, cnena paBFOBOpa FaMneTa c
MaTepBIo, cuena OCBYMMH chenMM.

H. BOpOBoM Ha3BaH naCTepnaKOBCKMM nepeBon nquMM nocne Kpone6epTOBCKoro
M ame'mn, HTO HaCTepnaK ynaqno nepeBen M CTMXM, M npo3y M «Harmcan npeBocxothIe
ponM».9 KaK nonTBepxnenne BbICOKOI‘O KaHeCTBa nepeBona on anBen aKTepCKMM
Mononor o HMppe M paccxa3 I‘epryan o eMepTM OdJenMM. On OTMeTMn HaJIMLIIae B
nepeBonax TWO naCTepnaKOBCKMX CTpOK, B naCTHOCTM yKa3an Ha O’I‘prBOK,
natmnaromMMcn CJIOBaMM «...H c naMnTnoM nOCKM COpr Bce 3HaKM...», no peInMn, UITO
Tame CTpOKM B OOIIBIIIMncTBe cnyuaeB yMCCTHbI. On TaKXC yKa3an na pyecudmxaumo

nepeBona — «3T0 KaKoM-To pyCCKMM FaMneT» (3).

 

7 O np0TMBopeqMBOCTM BOCIIpMHTMH nacrepnaKOBcKoro nepeBona <<FaMneTa>>
rmcan aBTop C'I‘a'l‘bM «HeHaTB o “FaMneTe” B nepeBonax B. HaCTepHaKa», nonlmcaBInMMcn
MIME/18.11am E.<D. CTaTBn ansreTcn HepBbIM 063OpOM KpMTMKM naCTepHaKOBcKMX
nepeBonOB IIIeKchpa; B neM anBeneHBI cy)KneHM;I o nepeBone TM3eHray3ena,
AneKceeBa, BOpOBoro M MopoaoBa. CM.: E.<D. HeanB o «1"aMHeTe» B nepeBone B.
HaCTepnaKa». — «JIMTepaTypa B InKone», 1940, N9 6, CTp. 93-95.

8 B. TM3enray3en. «I‘aMneT» B nepeBone B. HaCTepnaKa. — «COBeTCKoe
MCKyCCTBO», 30 anpenn 1940, cm. 3.

9 H. BOpOBoM. LIBannaTB HeTBepTBIM «I‘aMneT». — «JIMTepaTypnan ra3eTa», 26
anpenn 1940, crp. 3. B nanBHeMmeM crpaHMnBI ny6nMKanMM an ccwn<ax Ha Bee 6an
yKa3BIBaTBcn B CKOOKax B OCHOBHOM TeKCTe.

22

H. H. BManM-BMJIBMOHT oquB BBICOKO OIICHMJI H3b1K nepeBona:
HMKOMy M3 pyCCKMX nepeBonHMKOB He ynaBaHOCB nepenaTB TparMHeCKMM
n3BtK «I'aMJIeTa» c TaKoM CMnoM M B CTOIIb TO‘IHOM COOTBeTCTBMM c
nonnMHnMKOM, KaK BopMcy HaCTepnaKy.10
CpenM IIOCTOMHCTB OH omeTMn OOBIneHHOCTB, HapOIIHOC’I‘b M naKOHMtnIOCTB n3bn<a,
MHIIMBMIIyaJIMBaIMIO peqM OTneanBIx nepconaxeM, xopomyro nepenaqy IOMopa
opMI'Mnana («MBI nMKorna He HMTanM TaK CMeInHo FOBOpHIIIeI‘O nO-pyCCKM Hononmr»,
290). HaMOOnee ynatInBIe CIlCHbI, no MneHMIo BMIIbHM3-BMIIBMOHT3: M3 CTMXOTBOprIX —
«MbIIIICJIOBKa»; M3 npo3aMHeCKMX — cnena OCBYMMH chenMM. I‘naBanM nenOCTaTOK
nepeBona BMJIBnM-BMJIBMOHT BMnen B OTcyTCTBMM «nMTaTnBIx MCCT» M3 npenBInyme
nepeBonOB, K KOTOprM HpMBhIKJIM HMTaTenM M KOTopBIe CTanM ac[)opM3MaMM.ll
CpaBHenne HOBoro nepeBona c npenmeCTBonnIMMM xapaKTepno M nnn npymx
penen3enTOB, onHaKo TaM, rne TM3eIn‘ay3en, BOpOBOM M BMnBer-BMnbMOHT yBMnenM
nOCTOMHCTBa nepeBona (a menno ero n3Bn<), npyme penen3eHTBI HamnM nenOCTaTKM. M.
AneKceeB yTBCpXIIaJI:
OCHOBHoe ueneycrpeMnenne nepeBona — cxaBaTB He TaK, KaK y)Ke 6Bmo

CKa3aHo nperMM nepeBonHMKaMM, nocnenOBaTenBHOCTB M nmepennocn)
OTKnoneHMM OT Bcex npenmeCTBeHHMKOB, naxe BonpeKM neoOxonMMOCTM,

 

10 H.H. BManM-BMnBMOHT. <<FaMneT>> B nepeBone BopMca HaCTepHaKa. ——
«Mirrepnamionanbnan nMTepaTypa», 1940, No 7-8, cm. 290. B nanBHeMmeM C'I‘paHMIIbl
ny6nm<auMM an ccwmax Ha nee 6ynyT yKa3bIBaTbCH B CKOOKax B OCHOBHOM TeKCTe.

11 BMnbnM-BMJIBMOHT yKaaan Ha OTcchTBMe B nepeBone HaCTepnaKa TaKMX
KnachneCKMX adaopM3MOB M3 npemneCTBonmMX nepeBonOB, KaK «mm B MOHaCTBIpBl»,
«Pacnanacn CBn3B BpeMeH» [y HaCTepnaKa B nepBOM BapMaHTe: «BeK BBIBMxnyn cycraB»
(BManM IHeKchp. FaMneT, anHu naTCKMM. TpaI‘CIIMH B 5-TM aKTax. Hep. M BeTyn.
3aMC'I‘Ka B. HacrepnaKa. — «Mononan mapnnn», 1940, N0 5-6, cm. 40)].

23

naxe Torna, Korna CJ'IOBa yupHMHTCH, caMM CKJIaIIbIBaIOTCH B anBBanBIe
coneTanMn.12

OCHOBHOM ocoOeHHOCTBIO HOBOTO nepeBona AneKceeB chTan ByIIbFapHOCTb CJIOBapH
Bcex neMcmyronmx nMu IILCCbI — OT MOI‘MJIBIIIMKOB no apMCTOKpaTOB. AneKceeB
nonernMJI CBoe Mnenne BBIneerKaMM M3 nepeBona, conocTaBMB Mx c nOCJIOBHBIM
nepeBonOM OprIBKOB M3 opanana. HpM TaKOM COHOCTaBneHMM cnenyromMe
nacrepnaKOche CJIOBa n0Ka3anMCB eMy HeyMeC’I‘HbIMM: «CTapaMcn/ Bepeqbcn
eBanox,no er BTpaBHCb,/ CmMOaMcn TaK, HTOO 6epernMCB npyrne»
(HonOHMM), «Hy M nepenonox,/ Korna nonBox HaTKHC'I‘CH Ha nonBox!» (I‘aMneT), «HOKa
MOM 3eMane o K a n H c T B a / He BbII‘OpHT no Tna» (KOpOJIb FaMneT).13 OOBMHMB
HaCTepnaKa B ByIIbI‘apMBaIlMM perm repoeB, AneKceeB He ynOMnnyn, HTO Mnome
KpMTMKM IHeKchpa (ocoOeHno XVII M XIX BeKOB) OOBMnnnM ero B TOM )Ke M naxe
npmepno B Tex )KC cnOBax.14 B naCTHOCTM, Boanep Ha3bIBaJI HpOM3BCIICHMH IHeKchpa

«BapBapCKMMI/I».15 HeynaquIMM AneKceeB etIMTan nepeBoan TaKMX KmoquBIx cnen, KaK

 

12 M. AneKceeB. <<FaMHeT>> BopMca HaCTepHaKa. — «MCKyCCTBO M )KM3Hb>>, 1940,
No. 8, cm. 15. B nanBHeMIneM CTpaHMHbI ny6nMKanMM an CCbUIKaX Ha nee 6ynyT
yKasbmaTBcn B CKOOKax B OCHOBHOM TeKCTe.

‘3 B 3TOM rnaBe HberI LIM’I‘MpyIO'I‘CH no pa60TaM KpMTMKOB.

‘4 Hanpmep, A. M. MeTMan mean o 116me KpMTMKax IJIeKchpa: “It was well
enough for the Nurse to talk the way garrulous old biddies talk, but the language
appropriate to her was not right for the honorable Capulet. It troubled them [KpMTMKOB
IIIeKchpa. — C.H.] when Antony, clasping Cleopatra in his arms, speaks of the ‘dungy
earth.’ And Shakespeare kept sinning in this way” [Arthur M. Eastman, A Short History
of Shakespearean Criticism (Lanham: University Press of America, 1985), 18]. B prI‘OM
MecTe Mchan rmcan, HTO KerMK IIIeKchpa XVHI BeKa leOHcon (Samuel Johnson)
o6BMnnn IHeKchpa B TOM, qTO myTKM Bcex ero repoeB OIMHaKOBO rpyOBI: “the
gentlemen and ladies insufficiently distinguished from the clowns” (TaM >Ke, CTp. 23).

‘5 CM.: Eastman, Short History of Shakespearean Criticism, 5-6.

24

Mononor I‘aMneTa «BbITb MnM He OBTTB», onncanne I‘eprynoM eMepTM OcpenMM,
pa3rOBop I‘aMneTa c MaTepBIo (3. 4),16 paCCKa3 I'eprynBI O eMepTM chenMM. AneKceeB
3aKmo‘mn pa360p nepeBona BBIBonOM, HTO OTMequnBIe nenOCTaTKM He HOBBOIIHIOT
<<an3naTB nonnyro M neocnopMMon anrOIIHOCTB HOBorO nepeBona “FaMneTa” nun
COBeTCKMX TeanOB» (16). AneKceeB conOCTaBMn OTnenBHBIe OTpBIBKM nepeBona M
oprn‘Mnana Bne KonTeKCTa IIO3'I‘MKM IHeKchpa, noaTOMy, HCCMOTpH Ha BepHOCTb
omernnrux BaMClIaHMM, ero oOoOmenmr o nepeBone KpaMne cnopHBI.

TOT )Ke nenocraTOK —— MI‘HOpMpOBaHMC noaTMKM IIIeKchpa — xapaKTepen M nnn
H. Pe3uona.17 YrKe caria nenb, ccpopMyJIMpOBannan Pe3IIOBBIM B Hanane CTaTBM, TOBOpMT
o ero HCIIpaBMJIbHOM nomamm 3anaqM MCCJICIIOBaTCIIH nepeBonquKOM paOOTBI. Pe3n0B
nOCTaBMn nenBIo paCCMOTpeTB nepeBon c nOBMItMM HMCTOTBI M «KynBTypHocTM» H3bIKa,18
a ne ero COOTBCTCTBMH n3bn<y Opmana, KaK 6B1 He COMHCBaHCb B trMCTOTe M
KynBTypHOCTM n3Bn<a IIIeKchpa, KOTopBIM conep)KMT orpomnoe KonMHeCTBo 6pannbrx
cnOB M ByIIbFapMBMOB HeanCToMnorO xapaKTepa. Pe3IIOB namen B nepeBone cnenbl

ynpochTeJTBCTBa, BynbrapM3anMM M pyccnchKanMM M B IIOIITBCPXJICHMC anBen IIMTaTbI:

 

16 AKTBI M cnenBI M3 IIbCC IIIeKchpa 6ynyT yKa3BIBaTBcsr apaOCKMMM nucbpaMM,
KaK B naHHOM cnyqae.

17 II. Pe3IIOB. HpMHn naTCKMM B HOBOM OCBeIIIeHMM. — «J'IMrepaTypnoe
oOo3penne», 1940, No. 20. CTaTbH ony6nMKOBana non py6pMKoM «3aMC'I'KM LIMTaTenn».
B nanbneMmeM crpanMIIbI ny6nMKaLtMM an CCbUIKaX na nee 6ynyT yKa3BIBaTBcn B
CKO6Kax B OOHOBHOM TeKCTe.

‘3 Pe3IIOB Imcan: «Onna M3 3TMx Banaq [COBeTCKOM nMTepaTypBI. — C.H.] ——
OopOTbcn 3a KyIIbTypHOCTb petIM, ee HCHOCTb M HMCTOTy, OOpOTBcn M flpOTMB BaCOpCHMH
pychoM perm, IIpOTMB Bcsncoro pona rpy6och, BynbrapmMHBI n3Bn<a TaM, rne ona He
OIIpaBIIhIBaC'I‘CH ocoOBIMM TpCOOBaHMHMM )Kanpa... CMTyanMM, 06pa3a.

Hon 3TMM M TOJIbKO non 3TMM yrn0M 3peHMH Mb] M XOTMM yKa3aTB na HeKOTopBIe
ocoOennOC'IM paOOTBI B. HaCTepnaKa...» (52).

25

«napMIIa ne6ecnan», «quIOBeqe», «C’bCBIlMTb no OmnKe» (TameT); «KacaTKa» (BMeCTo
anrn. «pretty» — KnaBIIMM); «qepTM coOatIBM», «I‘JIOTKy nepepBaTB», «KOJIyIIHyTb»
(Haapr) M np. Cormonor'quCKMM nonxonOM OTnaeT 3aMeHaHM6 PeSIIOBa o TOM, HTO
ycranOBKa HacTepnaKa Ha «llCMOKpaTMBaJIMIO» anBena K MCKarKeHMIO 06pa3a TameTa,
KOTOprM B nepeBone nmnen «(peonanbnoro nyxa» (MnM «pblnapCTBCHHOCTM», KaK B
CHOOKe yTOtInMJI Pe3IIOB) M noaTOMy npeBpaTMncn B «nonnMHHoro dreonana-prOOHa, c
HeKOT0pBIMM, Bnpoqu, HepTaMM pa3nomma-vnITennMTeHra XX mm» (54). KaK
nochKenne HaCTepHaKa Pe3IIOB omeTMn nMInB pMTM nepeBona.

HCCMO'I‘pH Ha To, HTO B nanane C'I‘aTbM Pe3IIOB yBepnn, HTO on 6yneT
paCCManMBaTB pa60Ty HaCTepHaKa «co3naTenBHo OTCTpaHHHCb... OT CpaBHCHMH ee 0
prr'MMM nepeBonaMM» (M neMcTBMTenBHo B CTaTbC HeT Mx CpaBHCHMH), on Bce )KC penIMn
OHpCIICIMI‘b MeCTo nacTepnaKOBCKoro nepeBona B pnny nperx. Ero 3aKnqueIme
aMOMBaneHTHo:

HepeBon B. HaCTepnaKa, cynn no OTnenBHBnM nperaannM ero MeCTaM
[penen3enT Mx ne anBonMT. — C.H.], MOT 6B1 npeTeHnOBaTB KaK
nocnennMM no cquy M Ha nepBoe (no nOCTOMHCTBaM) MeCTo, ech 6B1 He
npenB3srrBIM OTKa3 OT MCHOIIbBOBaHMH prna CBOMx npemneCTBeHnMKOB,
ech 6B1 ne 06yCJIOBMBman pan KOHKPCTHbIX omMOOK ynpOCTMTenBCKan
yCTaHOBKa B pa3pemenMM 06mero CTMJIH nepeBona (55).

XOTH CTa'I‘bH B. M. Cononbena «B HOMCKaX “TameTa”»,19 rne COHOCTaBJIHIOTCH
nepeBomgl «TameTa», cnenaHHBIe HO3MHCKMM M HaCTepHaKOM, He COIIerCMT BbIHaIIOB

HpOTMB HCpCBOIl‘IMKOB M YKaBBIBaCT Ha IIOCTOMHCTBa MX HCpCBOIIOB napnny C

HCIIOCTaTKaMM, OIHIaKO M 0H8 CTpaIIaCT OC3IIOKaBaTCHbHOCTbIO, a TaKXC

 

19 B. COJIOBBeB. B IIOMCKaX «Tamera». — «JIMTepaTypHBIM COBpeMeHnMK»,
1940, No. 12. B nanbneMmeM CTpaHMIIBI CTaTbM 6ynyT yKaBBIBaTBcn B CKOOKax B
OCHOBHOM TeKCTe no cnenyIOIneMy M3naHMIo: B HOMCKaX «TameTa» — B KH. B.

COJIOBBeB. «OT MeTopMM K COBpeMeHHOCTM. HMTepaTypno-Kerqucxne CTaTbM, oqepKM,
noneMMKa». MocKBa, 1973, CTp. 219-33.

26

pacnnBIBanocTBIO neKOTopBIx yTBepJKnenMM. TaK, ConOBBeB yTBeernan: «...Korna
HaCTepHaK uenMKOM pyKOBonCTByeTcn CMnaMM M 3aKOHOMepHocTsIMM, nerKaInMMM B
OCHOBe “TaMJIeTa”, on onepxcMBaeT 6011mme HOOCITbI» (221), — no He yKa3an, HTO 3T0 3a
«eMnBI M 3aKOHOMepHocTM» M B HeM 3aKmOHaIOTcn «Oomanme noOean». KaK nytnnMe
McCTa nepeBona COHOBbeB maeIIMJI MononorM T men: «0, ech 6 3TOT rpy3nBIM Kynb
MncnoM» (no MnenMIo COIIOBbCBa, nymmIM pyCCKMM nepeBon), Mononor o HMppe,
Mononor «15me mm He OBITB» (Toxe nymnMM pyCCKMM nepeBon), oOpamenne T ameTa K
an3paKy OTna («...HOMHMTB o Te6e?»). On TaK)Ke Ha3Ban ynatnIBIM Mononor‘ TeprynBI
o rMOeJIM chenMM. HaC’l‘epHaK, no MnenMIo COflOBbCBa, npeBocxonMT HO3MHCKoro B
neMxonorMHeCKoM 06pMCOBKe TaMneTa, no yCTynaeT B nepenane atpopMCTMIIHOCTM,
dmnocodrcxoro HaC'I‘pOH HpOMBBCIICHMH, B 3aKOHIIeIIHOCTM MBIch. KaK HenOCTaTOK
COHOBbCB OTMeTMJI crpemenne HaCTepHaKa
3aoc1pMTB 06pa3HOCTB peHM IneKchpOBCKMx nepconarKeM, cnenaTB eme
Oonee BBnTyKnoM nnaCTMHnocrb 3TOM perm, peaIIMBOBaTb meTacpopBI,
npeBpaTMTb no BOBMOXCHOCTM KaanIM KOMMynMKaTMBHBIM OOOpOT B
MnMOMaTMIIeCKMM M annaTB BceM quM HaMOOIIBInyIO paBTOBopHon
BBIpa3MTenBHOCTB (225-26).
3T0 anBeno, no MHeHMIo COHOBbCBa, K MCKaXCHMIO 06pa3OB opvn‘Mnana. Hanpmep,
TaM, rne TameT Bcero IIMIIIb cpaBHMBaeT ce6n c IIIyTOM, y HaCTepnaKa on TOBOpMT Oonee
BBIpaBMTeano: «T ocnoxm, panM Bac n M KoneCOM npoMnyCB!». Ha OCHOBaHMM 3Toro
3menannn COIIOBBeBa HMTaTenB MorKeT 3aKnIOIIMTb, HTO 06pa3nocTB nepeBona enorKnee
06pa3HOCTM Opmana, XOTH cnyqaeB ynpomennn 06pa3noro n3bn<a IIIeKchpa B
nepeBone 3natrMTeano OOIIBIIIe, HeM cnyttaeB ycnoxnennn. CpenM nperX HenOCTaTKOB
nepeBona COJ'IOBbCB O'I'MCTMH CHM)KenHOCTB petIM nepconarKeM, Mnorna annaromon Mx

BBaMMOOTHOIIICHMHM M3IIMIIIHC (pamanpHBIM xapaKTep, Hpe3MepnyIO MOIICpHMBaIIMIO

MCTBCbOpMI-IHOCTM M IIMCTO HaCTCpHaKOBCKOC BBy‘IaHMC OTHCIIbeIX M€CT. B BaKJIIOLICHMC

27

on ocynMH OBOOOItnoe oOpamenrre HacTepnaKa c OpMI‘MHaJIOM («IIpOMBBOJI», no ero
cnOBaM), XOTH He OOOCHOBan 3T0 OOBMHCHMCI
IHeKchpOBCKMM TeKCT HBJIHCTCH nnn HaCTepnaKa nopOIo TonBKo TeMoM, a
on pa3mpbmaeT CBOM BapManMM, Mnorna TOBOpH IIpHMO HpOTMBononorKHoe
TOMy, HTO Mbl HMTaeM B opmmrane (229).20
CaMBIM cepBe3HBIM anaJIM3OM nacrepHaKOBcKMX nepeBonOB IIIeKchpa B 40-e
TOIIbI HBJIHIOTCH C'I‘aTbM IneKchpOBena M.M. Mopoaona.21 HCCMOTpH na
ny6nMIxMCTMtnIOCTB ero CTaTeM, Mx conepxanne TOBOpMT ne TonBKo O HpOHMKHOBenMM
KpMTMKa B noaTMKy HaCTepnaKa-nepeBonHmca, no M 06 OCHOBaTerIBHOM 3nanMM noaTMKM
IIIeKchpa. OT C'I‘aTbM K CTaTbC MHCHMC Mopo3OBa o HaCTepnaKe KaK nepeBontIMKe
Mensmocr) B nytnnyro CTOpOHy. HepBan CTaTbH («“TameT” B nepeBone BopMca
HacTepnaKa>>22) OTparxaeT nBOMCTBeHnoe OTHOInenne MOpo3OBa K HOBOMy nepeBony:
HepeBon cnaqana aneKan, pan0Ban, 3a0TaBnnn no-HOBOMy noneerB B
>KM3HeHnon npaBny BenMKoro HpOMBBCIICHMH. BaTeM naCTynano

pa3oqapOBanne: OTnenBHBIe cnOBa M OOOpOTBI BBI3BIBanM HenoyMenne M
nocany, nopoM narKe pa3npax<anM.23

 

2° COJIOBbeB, nepeneHaTBIBasI 3Ty CTaTbIO Hepe3 TpnnnaTB TpM rona nocne ee
nepBOM ny6nvn<anMM, B cnocxe an3Hancn: «...H He yBepen, B KaKOM Mepe 3Ta BeCBMa
naBnnn Mon CTaTbH OTBeHaeT ToqnocTM B ero [naCTepnaKOBCKoro nepeBona. — C.H.]
TpaKTOBKe» (219).

2‘ Mopo3OB OTOBBaJICH B neanM Ha ny6nrn<anmo «Tmera», «POMeo M
llxynBeTrBI», «AHTOHMH M KJICOHanbI» M CBOM HaOJIIOIICHMH nan nepeBonaMM 3TMx nbec
OOOOIIIMJI B craTBst «IIIeKchp B nepeBonax B. HaCTepHaKa» (1943 r.), «IHeKchp B
nepeBone BopMca HaCTepHaKa» (1944) M KnMTe Shakespeare on the Soviet Stage (1947
r.). On Taere peuenaMpOBan pyKonMCB nepeBona «POMeo M IbenBeTrBI» nnn
TochTM3naTa, rne TOTOBMJIaCb HyOIIMKaIIMH TIbCCbI.

22 ManMn M. MopO3OB. «TaMneT» B nepeBone BOpMca HacTepnaKa. — «Team»,
1941, No 2.

23 TaM )Ke, CTp. 144.

28

B OTthme OT npenblnynmx peuen3eHTOB, B CBOOOIIHOM ornomenMM HacTepnaKa K
opMI'Mnany MopO3OB yBMnen KaHeCTBo, KOTopoe no3BonMJIo eMy nytnne, HeM
nepeBontIMKaM, cneno cnenOBaBInMM 3a TeKCTOM opvn‘Mnana, MnnMBmyaJm3MpOBaTB peHB
nepconarKeM. MopoaoB OTMeTMn nenocraTKM nepeBona rnaBHanI 06pa30M B oOnach
H3bIKa — 3T0 KOCHOHSbIlIMC M BynBrapM3auM51 OTnenBHBIx Mecr, CMBIcnOBBIe OTKnonennn
OT nonnMHHMKa, pyccnchKanMM. On yKa3an Ha HeTOtrnoch M MCKEDKCHMH B nepeBone
paCCKa33 T opanMO Tamery o sIBneHMM an3paKa (cpenM M 131046 BblanCHMH, KaK
«ocron6enenble rna3a», «3aMepInMM B3op», «OBepnmeMCB B cryneHB» M np.), a raere
anBen npvmepbr KOCHOHBblqMfl M CMbICJIOBbIX OTKnoneHMM OT oervnIana M3 nperx cuen:
«rnymm co3nanBsI», «no-xweneoncm» (Tamer), «He OFOBapMBaMTe B nenepxanbn»
(HononMM), «IIIaTOM Mapm» ((DOpTMnOpac); a Taere cnyan BynbrapM3anMM:
«(popMennBIM M0p03» (TopanMO), «nBMraM c OOTOM», «perm, Ha HpHMOTy» (HonOHMM);
«nponeTecB», «B Mopny» (TaMJIeT); pyCCMcpMKauMM M apxaM3a11MM: «OdJenMSI —
KacaTKa!» (KnaBnMM), «Men BMTHBSI» (chermn) M np.24

KaK npmep ynaqnoro nepeBona cnenBI Mopo3OB anBen paccxaa TeprpynBI o
eMepTM OcpenMM, chTan, HTO 3Ta cnena B nepenane HacTepnaKa OTJIMHaeTcn

3MonMOHaanOCTBIo M nCMxonoqunocTBIo.25

 

24 KO BpeMeHM HaIIMCEIHMH C’l‘aTbM «IHeKchp B nepeBone BopMca HacrepnaKa»
(1944) cymechOBanO ere TpM penaKnMM «Tawrera» B nepeBone HacrepnaKa,
ony6nMKOBaHnBIe B )Kypnane «Mononan TBapIIMSI» (1940), M3naTenBchaMM
«TochTMBnaT» (1941) M «Herrm» (1942). B 3TOM C'I‘aTbe Mopo3OB OTMCTMJI, HTO
HacrepHaK Bnec MCHpaBJICHMH B nocnenyronme BapMaHTbI, xorn COXpaHMJI Tame
neynaqnbre cbpa3BI, KaK «ocronOenenBIe rna3a», «npeBparMBmMCB B crynenb»,
«l'IpOTJIOTMB H3bIK» M Hp.

25 B crarbe «Illexchp B nepeBonax B. HacTepnaKa» MOpOBOB nan 3HatIMTenBHo
Oonee BhICOKyIO onenKy nepeBony «Tamera», qu B eBoeM nepBOM crarBe. CM.: ManMn
M. MopO3OB. IHeKchp B nepeBonax B. HacrepnaKa. — «HMTepaTypa M MCKyOCTBo», 7
aBrycra 1943, crp. 4.

29

B «OTBhIBe M.M. MopO3OBa Ha nepeBon “Pomeo M IbenBerrBI”» IIIeKchpa,
cnenaHnBIM n03TOM B. HacrepnaKOM»26 Mopo3OB Ha3Ban nepeBon «3aMeanenBHBIM
xynoxecrnennbm npOM3BenenneM» M OTMeTMJI, HTO ocoOenno ynaqno cnenanBI
xapaKTepHBIe nepconarKM. B ra3eTHoM crarbe o nepeBone «POMeo M Hrkynberrbr»
MopO3OB yTBeprxnan, HTO 3T0 «nquMM M3 cymechyronmx nepeBonOB “POMeo M
IbenberrBI”, a, Moxer OBITB, M BOOOIne nytnnMM M3 Bcex meKchpOBCKMx nepeBonOB Ha
pyCOKMM H3bIK».27 MOpO3OB nocraBMn aror nepeBon BBIIne nepeBona «Tamera». CTaTbH
COIIerCMT JIMIIIb OIIHO KpMTMtIeCKoe 3aMeHanne: «BpeMenaMM, npaBna, KopMMJIMIIa
connocrbro 6BTTOBOM pyccxoM peqM naanaeT HOXOJIM'I‘b Ha CBaxy Ocrpomxoro».28

B CTaTBe «HOBBIM nepeBon “Anrormn M Kneonarpbr”» MopoaoB ne pa36Mpan
TeKcr, a mains nan 06111on BbICOKyIO onernry nepeBony M name KaK 6B1 3an1MInan ero or
BO3MOJKHOM KpMTMKM:

Hpocrora M nocrynnocrb nepeBona HacrepnaKa nMHero He MMCCT 061nero
c ynpornenneM. McropMK CTMJIH MOXCT ynpeKnyTB ero B HapquTOM
npeneOperKeHMM K IIbIIIII-IOMy 6neCKy meKchpOBcKoM eropmcM.
TeKcronor OOHapyXMT pnn ornenBHBIx neroqnoeTeM. Ho BcerMM KpMTMK,
M3ytIMBmMM HOBBIM nepeBon, He MorKeT He an3HaTB ero BbICOKMX

xynorxechengIx nOCTOMnch, namenInMx HaMOOnee nonnoe CBoe
BprEDKCHMC B OoraTCTBe neMxonoqueCKMX KpaCOK M O'I'I‘CHKOB.29

 

26 CM. cnenyIOInon ny6nMKaIIMIo «OT3bIBa»: M3 neperMCKM M.M. MopO3OBa c
B.H. HacrepnaKOM. OT3BIB M.M. Mopo3OBa Ha nepeBon «POMeo M IDKynBeTTBI»
IIIeKchpa, cnenannbm n03TOM B. HacrepnaKOM. — B KH.: «Tearp HIeKchpa». Man-Bo
BTO, MOCKBa, 1984. «OT3BIB» 6m narmcan Mopo3OBbIM nnn TochTMBnaTa no
nphoeHMM pyKOHMCM nepeBona.

27 ManMn M. MopO3OB. HOBBIM nepeBon «POMeo M Ibkynberrm». —
«HMTepaTypa M MCKyccho», 21 non6pn 1942, crp. 4.

23 TaM )Ke, crp. 4.

29 ManMJI M. MopO3OB. HOBBIM nepeBon «AHTOHMH M KneonanBI» IIIeKchpa.
— «HpaBna», 2 OKTHOPH 1944, crp. 3.

30

O nenocraTKax nepeBona «Anronnn M KJICOHanbI» MOpOBOB rmcan B crarbnx
«IHeKchp B nepeBone BopMca HacrepnaKa» M «IIIeKchp B nepeBonax B. HacrepnaKa».
OH omernn Henocraronnyio HCHOCTb nepenaqM (pMnococpCKMx MBIcneM HbCCbI, a mum
TennennMIo «nepenech B nnan pa3TOBopnoM quM Te crpOKM IHeKcrmpa, KOTOpre
3Byqar, KaK HeCKonBKo ‘mmommle” acbopM3MBI».30

B 3aKnquMTenBHbe crarbnx Mopo3OB nocraBMn nepeBon «AHTOHMH M
KneonanBI» anne nByx npenrnechonmnx nepeBonOB, TaKMM 06pa30M naB nonm, HTO
Macrepcho HacrepnaKa KaK nepeBontIMKa pocno OT nepeBona K nepeBony. B crarbe
«IIIeKchp B nepeBone BopMca HacTepnaKa» on oOoOrnMJI CBOM HaOJIIOIICHMH nan
[IaCTCpHaKOBCKMM cnocoOOM MHHMBMJIyaJMBauMM perm:

OquB )KMBO 3ByHaT B nepeBone HacrepnaKa 3TM MH'I‘OHaLIMM, 3TH
«BHyTpennne pMTMbI», xapaKTepnBIe nnn petIM KaJKIIOI‘O M3 neMchyIOInMX
JIMII. y KarKnoro neMchyIOInero nMna ecrb CBon Mnronanun, y KaXIIOTO
eCTB CBOM r o n o c . HacrepnaK noOMncn 3Toro He nyTeM nonparxaHMSI, —
3T0 HBMJIOCb ecTecheHHBIM cnenchMeM TOTO, HTO HacTepHaK men or
nenocrnBIx )KMBbIX 06pa3OB. HeMchylonme nMna B ero nepeBone TOBOpHT

ne «cnOBaMM HleKchpa», no KEDKIIhIM TOBOpMT CBOMMM, coOchennBIMM
cnOBaMM. 31

 

30 M. MopO3OB. IHeKchp B nepeBonax B. HacrepnaKa. — «HMTepaTypa M
MCKyCCTBO», 7 aBrycra 1943, crp. 4. B CTaTBe «IHeKchp B nepeBone BopMca
HacTepnaKa» MopOBOB TorKe mean 0 ch)KenMM chnn B nepeBonax, B HacrHOCTM, O
HpCHCOpCXCHMM HacrepnaKOM 3BcbyM3MaMM, HTO, no ero MneHMIo, anBeno K
ocnaOneHMIo adropMCI'MHHOCTM B «T amere», a B «POMeo M LbenBeTre» — K MCKaerMIo
pequBIx ocoOeHnocreM POMeo (59). Bnpoqu, B KHMTe Shakespeare on the Soviet Stage
MopoaoB, HaOOOpOT, KaK 6B1 3amMInan HacrepnaKa OT KpMTMKM, ynpeKaBIneM ero B
chpanMM rpaHM Mexny BbICOKMMM M HM3KMMM chIIMCTquCKMMM nnanaMM (20).

3' M. MopO3OB. IIIeKchp B nepeBone BopMca HaCTepHaKa — B c6.: «Tearp.
Céopnmc craTeM M MarepMaJIOB». M3n-Bo BTO, MOCKBa, 1944, crp. 54.

31

3T0 Ha6nIoneIme MopO3OB l'IOB'l‘OpMJI B crarbe nBaanI, TeM caMbIM nonqepKHyB, qro
mIIIMBMlIyaJII/IBaIIMH petrM HBJIHCTCH OHeHB BarKnBIM nocrOMncTBOM nepeBonOB.32 B
orthme or npymx penenaeHTOB, MopOBOB nonnn, HTO MMCHHO OTKa3 or 6yKBanM3Ma
no3Bonnn HacTepnaKy noOMchn 3roro Kanecha nepeBonOB.

KpOMe Mopo3OBa, na nepBon ny6nMKauMIo nacrepHaKOBCKorO nepeBona «POMeo
M beynberrbr» OTO3BaJIaCb JI. HO3MHCKan. Ona Hana nonoxcnrenbnyro onenKy nepeBony,
cnnran, HTO on «Hpe3BBIHaMno OIIM3OK K HOIUIMHHMKy».33 Ho MneHMIO HoavnICKOM,
HacrepnaK oc06enno ynaqno Bocco3nan 06pa3BI KOpMMIIMIIbI M cnyr M nepenan OBITOBOM
KonOpMT nBeCBI — nocn0BMnBI, mm M ocrporbr.

A. AnMKcr B craTBe “Shakespeare in Russia” ynermn nBa a63ana
nacrepnaKOBCKOMy nepeBony «Tamera».34 OH He aHaJIMBMpOBaJI nepeBon, M ero onern<a
nepeBona neKOHerrna: “translation of Hamlet did not come up to expectations” (61).
AnMKcra yTBepxnan: “Everyone thought that Pasternak would introduce his complicated
and vague poetical style into Shakespeare’s poetry” (61). 35 HacrepnaK )KC, KaK rmcan

nanbme AHMKCT, ynpoerMn IIIeKchpa.

 

32 On rmcan B 3aKnIOHeHMM craTBM, qro HacrepnaK «nomen He or TeKcra, a or
neMCTBonmMX mm. M Kaxnoe M3 '3er neMcTByIOInMx JIMH 3aTOBOpMno CBOMM ronoc0M»
(TaM )Ke, crp. 61).

33 H. HO3MHCKan. HOBBIM nepeBon «POMeo M IDKynLerTBI». — «OroneK», 1942,
N0 46, crp. 13.

34 Alexander Anikst, “Shakespeare in Russia,” Soviet Literature (Apr.-May 1946).

35 O neOOTBeTCTBMM CTMJIH nepeBona «Tamera» C'I‘MJIIO OerMHaanoro
TBOptIecha HacrepnaKa Imcan TaIOKC Pe3IIOB: «CrMnB nepeBona “Tamera” CTOMT B
nporMBopeHMM ne TOIIbKO co C'I'MJICM “Tamera” nonmmnMKa, no M c TBopquKMM chneM
noara HacrepnaKa» (54).

32

HoneMMKa BOprr nacrepnaKOBcKMX nepeBonOB IHeKcnnpa B COBeTCKoM 116an
40-x ronOB, Korna OBIJIO ony6nMKOBano OOIImeHCTBO nepeBonOB, B 50-e 1‘0an erxna,
3aro HOHBMJICH Mnrepec K HacrepnaKy-nepeBoonKy B aHTJIOH3b111HbIX crpanax. Penn
(C.L. Wrenn) B craTBe “Boris Pasternak”36 ynenMJI Mecro nepeBonaM. HO ero MnenMIo,
HacrepnaK, HCCMOTpH Ha CBOOOIIHOC oOpaIIIenne c OerMHanaMM, B nepeBonax Tepner
Mano (“...Pastemak loses so little” — 95). McxmoqenneM HBIIHCTCH neynaqnoe
BocnpOMaBenenne xapaKTepHoro aHerMCKoro IOMopa (Penn ynomrnyn cneny c
MOTMJIbIIIMKaMM). MeradropMHeCKMM n3BIK JnoOOBHBIx cneH «POMeo M IDKynBeTTBI», KaK

CI—IMTaCT PCHH, HacrepnaK BaMCHMJI HyHIKMHCKMM HMpM‘ICCKMM HBBIKOM.

60-e ronBI OTnMHaIOTcn HaMOOJIblflMM KonMHechOM ny6nMKanMM, HOCBHIIICHHbIX
nacrepnaKOBCKMM nepeBonaM IHeKchpa. OnnoM M3 anHMH aroro 6B1no, HO-BMJIMMOMy,
)KCJIaHMC KpMTMKOB nonBeCTM MTOI‘ nepeBonHeCKOM nenrenbnoch noara. BMecro
KopOTKMX peuen31di, naKonen, nonBMJIMCB paOOTBI aKaneMMHeCKoro xapaKTepa.

Py6en Bpayap (Reuben Brower) B crarBe “Poetic and Dramatic Structure in
Versions and Translations of Shakespeare”37 cpaBHMII cneny pa3r0Bopa TeprpynBI c
TaMJIeTOM (1. 2) M «aKrepCKMM» Mononor TaMneTa B nepeBone HacrepnaKa c

OpmaHOM. HCIIOCTaTKOM CT 3TbM HBHHCTCH TO, I-ITO IHMpOKMC OOOOHICHMH CIICJIaHbI Ha

 

36 CL. Wrenn, “Boris Pasternak,” Oxford Slavonic Papers 2 (1951).

37 Reuben A. Brower, “Poetic and Dramatic Structure in Versions and
Translations of Shakespeare,” in Poetics, edited by Donald Davie, Kazimierz Wyka,
Roman Jakobson, et al (The Hague: Mouton, 1961). B nanBHeMmeM crpanMHBI
ny6nMKanMM an ccwncax Ha nee 6ynyT yKa3BIBaTBcn B CKOOKax B OCHOBHOM reKcre.

33

OOHOBaHMM ananM3a Bcero JIMInB nByx ne6oanIMx orpBIBKOB nepeBona. B nepeBone cneHBI
pa3r0Bopa TeprpynBI c T ameTOM Bpayap BbIIIeIIMJI xopomMM nepeBon MI‘pr cnOB

6‘

“seems” M is” («K2DKCTCH» M «CCTb»), HO yKa3an, HTO B nepeBone aroro 3IIM3ona
M3Menena MHTOHaHMH, TaK KaK napytnen Konrpacr Bonpoca M orBeTa: BOHpOCMTCJIbHOMy
HpCIUIOXCHI/IIO B oerMHane, Koropoe annaeT orBeTy Tamera MpOHquocrb B
coquaHMM c BCXUIMBOCTBIO, B nepeBone coorBerchyeT yTBeprxnenne. Ha OCHOBaHMM

pa360pa 3TOM onenBI Bpay3p 3aKnquMJI:

Pasternak’s Hamlet is neither so brightly philosophic as Zid’s, nor so
maliciously keen, as Sheakspeare’s (666).

Ornocmermno npyroro OprIBKa Bpayap 3aMeTMn, qro onnOTMIInoch OKOannMM
pyCCKMX annaraTenBHBIx («KpOBaBBIM, JDKMBBIM, 3noM, cnacromoOMnuMl») rIpMTynMJIO
ocrpoyMne Tamera. Ho ero MneHMIo, B nepeBone aroro Mononora He nepenano
naponMpOBanne CTMJIH CIIMBaBCTMHCKMX «TparenMM mech» M peqb TaMneTa 3BquT
cepbeaneM M ropxecheHneM, HeM B oerMnane.

B. MapKOB HBJIHCTCH nMOHepOM HOBOTO nonxona K nacrepnaKOBCKMM nepeBonaM
IHeKchpa. B craTBe «COBeTCKMM TaMner»38 MapKOB rmcan, LITO nepeBonBI HacrepnaKa
noch menu aBTOOMOI‘pacpMHnOCTM M COBpeMeInIOCTM.39 Cnenyronme C'I‘pOKM

«TaMJIeTa»:

 

33 B. MapKOB. COBeTCKMM FaMJICT. — «TpaHM», 1960, N0 45. Crarbn MapKOBa
“An Unnoticed Aspect of Pastemak’s Translations” smnsrercn BapMaHTOM CTaTbM
«COBeTCKMM Tamer» M HOBTOpHCT Te )KC HaOJIIOIICI-IMH [Vladimir Markov, “An
Unnoticed Aspect of Pasternak’s Translations,” Slavic Review 20 (1961)].

39 A. CMHHBCKMM TO)Ke chTan, HTO HaCTCpHaKOBCKMC nepeBonBI ornaCTM
aBTO6Mor'padquHBI: «CBOM nyme nepeBonBI HacrepnaK BbII-IaIIIMBaJ'I ronaMM,
IIOIH‘OTaBJIMBaHCb K nMM caMMM xonOM BHyrpennero pa38MTMH. B M3BecrHOM CMBIcne OHM
name aBTOOMOI‘pacpMHnBI» (AnnpeM CMHHBCKMM. H033Mn HacrepnaKa. — Bcrynnenm B

34

For who would bear the whips and scorns of time,

The oppressor’s wrong, the proud man's contumely,

The pangs of despised love, the law's delay,

The insolence of office, and the spurns

Than patient merit of the unworthly takes... —
B nepeBone B M3nanMM 1951 rona, no MHeHMIo MapKOBa, 3ByHaT KaK caMOBBIparxenne
HacrepnaKa:

A To KTo cnec 6B1 JIO)KHO€ BethIBe

HpaBMreneM, HeBerxecTBo BenBMorx,

BceoOmee anrBopCTBo, HeBo3Mox<noch

Msrmrb ce6n, neonacrnyro InoOOBB

M an3paqnocrb Bacnyr B rna3ax IIMWTOXCCTB.40

C6opnMK «Macrepcho nepeBona 1966» IIOCBHIIICH pyCCKMM nepeBonaM

IIIeKchpa M coneerMT neCKonBKo craTeM, B KOTOprX paCCMa'I'pMBaIOTCH nepeBoan nBec
M — BnepBBIe — coneTOB IHeKchpa, BmeIIHCHHbIe HacrepnaKOM. 3TM CTaTbM, KaK M
nepBBre peneH3MM 40-x ronOB, nocnr 3MOIIMOHanBHBtM xapaKTep, nepeBonBI B nnx He
nonBepr'HyTBI TIIIaTCJIbHOMy conocraBnenMIo c opImmanaMM, n03TOMy MnorMe
yTBerlICHMH KpMTMKOB B3aMMOMcKnIOHaIOII1M M CHOprI.

10.11. HeBMn B oqepKe «Pyccme nepeBonBI IIIeKchpa»41 npOTMBonocraBMn

HOBMHCKOTO M HacrepnaKa. HacrepnaK, no HernIy, «nonxonMJI K npmarypry KaK K

 

KH.: BopMc HacrepnaK, «CTMxorBopennn M H03Mb1». Pen. II. A. O3epOB. M3n-Bo
«COBeTCKMM Imcarenb», MOCKBa-Hemnnpan, 1965, crp. 52).

4° HonTeKcr 3TMX CTpOK MapKOB paCKprJI cnenyromMM 06pa30M: «B ornx
C'IpOKax Toqno M306pax<eno nonoxenvre caMOTO HacrepnaKa B Te ronBI, M Bpsrn nM
nyxno KOMMCHTMpOBaTb, qro cnenyer nonmaarn non “norKHbm BCWM npaBMTeneM” M
T.n. OcoOeHHo 3HaKOMa Obma HacrepnaKy “neBosMorKnocrb MBJIMTB ce651” B ronBI, Korna
on He MOT neqararb HMHero, KpOMe nepeBonOB. A “an3patInocTB Bacnyr B rna3ax
thIroxech” MOXCHO Omno xopomo H36nronarb Hepe3 nBannaTB ner nocne nepeBona
“Tamera” BO BpeMsr TpaBnM HacTepnaKa nocne IlpnchJICHMH eMy HoOeneBCKOM
npeMMM» (MapKOB. COBeTCKMM Tamer, crp. 120).

35

COBpeMennMKy, KaK K HenOBeKy, B3BOIIHOBaHHOMy ceronnnmneM 3noOOM nnn» (24), qro
c611M)Kaer ero c HOJICBbIM.42

IIBe CTaTbM c noneMqucKMMM HaBBaHMHMM («HyXHbI nM HOBbIC nepeBonBI
IIIeKchpa?» B. HeBMKa43 M «Heren nM HOBBIM nepeBon “TaMneTa” na pyCCKMM n3bnc?»
IO. TaprKa‘“) nocraBMnM Bonpoc o HCOOXOIIMMOCTM HOBbIX, Oonee COBepmenHBIx
nepeBonOB IlIeKchpa. HeBMK, KaK M HeBMn, nporMBOHOCTaBMn IICpCBOIIbI «TaMnera»,
cnenaHnBIe HO3MHCKMM M HacrepnaKOM, KaK 06pa3eu 6yKBaJIM3Ma (1103ch), c onnoM
CTOpOHbI, M cyO'bCKTMBM3Ma (HacrepnaK) — c npyroM. OrBeprnyB 06a Merona, J'IeBMK
yTBepxnan, HTO repOM «Tamera» B nepeBone HacrepnaKa TOBOpHT TMnI/mno

HaCTCpHaKOBCKMM HBIJIKOM.45 OH OTMCTMJI C OCYXIICHMCM, IITO

 

41 IO. HeBMH. Pyccme nepeBonBI IIIeKchpa. — B c6.: «Macrepcho nepeBona
1966». Man-Bo «COBeTCKMM Imcarenb», MOCKBa, 1968. B nanbneMmeM crpaHMnBI
ny6nMKanMM an ccnuncax Ha nee 6ynyT yKa3BIBaTBcn B CKOOKax B OCHOBHOM reKcre.

42 Penn MneT o HMKOJIae AneKceeBMHe HoneBOM (1796-1846), yn0MnnyTOM Bo
«BcrynneHMM» nMccepTanMM. ConOBBeB TOXC cpaBnMJI nonxon HacrepnaKa K IIIeKchpy
c nonxonOM HoneBoro (CM.: COHOBbCB. B nOMCKax T aMJIeTa, crp. 230).

43 B. HeBMK. nynBI nM HOBbIe nepeBoan IHeKchpa? — B c6.: «MacrechBo
nepeBona 1966». Man-Bo «COBeTCKMM Imcarenb», MOCKBa, 1968. B nanBHeMmeM
C'I’paHMIlbI ny6nMKanMM an ccwncax na Hee 6ynyT yKa3BIBaTBcn B CKOOKax B OCHOBHOM
reKcre.

44 IO. TaprK. Heren nM HOBBIM nepeBon «Tamera» Ha pyCCKMM SIBBIK? — B 06.:
«Macrepcho nepeBona 1966». I’IBII-BO «COBeTCKMM mcarenb», MOCKBa, 1968. B
naJIBHeMmeM crpaHMIIBI HyOIIMKaIII/IM an CCbIJIKaX Ha nee 6ynyT yKa3BIBaTBcs1 B CKOOKax B
OCHOBHOM reKcre.

45 CBoe yTBCpXIICHMC HeBMK He OOOOHOBan: «3neCB MHIIMBMIIyaJIbHOCTb
nepeBontIMKa ancchrByer pCIIIM'I‘CIIbHO Bcrony. Mbl IIEDKC Ha‘IMHaCM comeBaTBcn —
Ham JIM COBpCMeHHMK HacrepnaK? HOTOMy HTO, OKa3bIBaCTCH, ne TOIIbKO crapBIM KoponB
J'IMp, ne TonBKo Ionan lHKynBerra, Ho HEDKC 6e3rpaMOTnBIe MOTMJIbIIIMKM M3 “TaMJIeTa”
yxe HMTanM M CTMXM M npo3y HacrepnaKa, nonIo6MnM ero TBopHecho, 3apa3MIIMCB
orneanBIMM ero cnOBeHKaMM M oOnIMM crpoeM nacrepHaKOBCKoM drpa3BI» (97).

36

HacrepHaK cnenan Bce nnsr Toro, HTOOBI CHHTL y IHeKenMpa 3BcbyM3MBI,
ycnOBnOCTB, neKnaManMIo, HTOOBI an6nM3MTB OBITOBBIe xapaKTCpMCTMKM
nepconarKeM K nameMy IIOHMMEIHMIO M BceMepno oOnequTB aKrepaM
Banaqy cueHMtIeCKoro BOIUIOIIICHMH 06pa3OB IHeKchpa (98).
Bro, no Mnenmo TaprKa, anBeno K MCKEDKCHMIO chnn IIIeKchpa. OnnaKo on ne
yKa3an, KaK MOXHO 6BIJTO oOnemMTB «3anatry CLICHM‘ICCKOTO BOIUIOIIICHMH 06pa30B
IIIeKchpa», He HapyIIIMB meKcrIMpOBCKom chnsr. HCOIIpaBIIaHHO yTBeernenne HeBMKa,
HTO HacrepnaK «c6anaer pequBIe xapaKTepMchKM ero [IIIeKcrmpa. — C.H.]
nepconarKeM» (100), TaK KaK HacrepnaK, nanpOTMB, yCMnMJI miIMBMIIyaJUtIBaIMIO pan/1.46
HeBMK cnenan 3aKmonenne, uro nepeBon BBnnen 3HaqMTenbno 6ennee, tIeM opmnnan.
HoaMImn TaprKa Mano OTJIMHaeTcn or noamIMM HeBMKa. OrMerMB B nanane
CTaTbM B oOnIMX cnOBax nOCTOMncha nacrepnaKOBCKoro nepeBona «Tamera» («Mnoroe
B nepeBone xynoxechenno nOCTOBepHO, ocoOenno pennmcM Tamera» — 129), TaprK
nanee yTBeernan, qro «3T0 He conceM IneKchpOBCKMM Tamer» (129). TaprK, KaK M
IICBMK, nenooneHMJI pa60ry HacrepnaKa B oOnaCTM MmmBMnyanM3anMM petIM
nepconaxeM, CKa3aB, HTO HacrepHaK HaMCTMJI nMInB «KonrypBI» mInMBMnyanM3amIM. M3
nenocraTKOB m on OTMeTMn Marmmnroro MonepHM3anMIo, a TaKJKe Heroqnocrb M
Manononnrnocrb (rpaMMarMHeCKon 3anyrannocrb) ornenbnbrx Mecr. T aprK anBen
l'IpMMCpr neynaqnbrx, no ero MnenMIo, Mecr nepeBona: «Hy KaK, SIBJIHJIaCb nbtnne ara
cmparmocmb?» (“this thing”); «MepTBeIlbI Ha ynMIIax neBnnTMny MononM» (“The sheeted
dead did squeak and gobber in the Roman streets”); «TBOMM CHMHCTBCHHLIM BeneHBeM...

BCIO KHMI'y Mo3ra MchIny 6e3 Hu3koz‘i cuecu»; «CKEDKMTC TOHOM nanbnero 3HaKOMcha»;

«TopanMM, 51 wuuarocw». T aprK 6B1n npOTMB BaMeHbI IneKchpOBCKoro cnOBa “pajock”

 

46 Bonee nonpOOHo CM. 06 3TOM B paanene IIMCCCpTaIIMM «MHnMBMnyanM3anmr
peqM».

37

(nae/tun) cnOBOM «ocen» B nepeBone KanaMpra Tamera, no He yKa3an na To, HTO an
6yKBanBHOM nepeBone Mcqe3 6b] meKcrmpOBCKMM KaJIaMpr.47 Mononor Tamera «13be
mm ne OBITB?», no MHCHMIO T aprKa, «BBI3BIBaer cepBe3HBIe BOSpflXCHMH» (132): BMecro
HOBOI‘O npennrchMn (“there is the rub”) Tamer BMnMT pa3pemenne («BOT M OTBer»,
«BOT M pa3ranKa»); «HaOMeInKM nenocrOMnBIx nan nocrOMnBIMM» Bunenenbr B Mononore
KaK rnaBnoe 3no; KOHHOBKa Mononora rpaMMaqueCKM 3anyrana. C 3meHaHMHMM
T aprKa O Heroqnocrnx nepeBona MorKno cornacnrbcn, no 3T0 He naer OCHOBaHMSI nun
aaOpaKOBBIBaHMH nepeBona B nenOM. prnno COTJIaCM'TbCH c yTBerIICHMCM TaprKa, Hro
ain‘miMCKne OOpaIIICHMH B nepeBone (nopn, MMJTOpn, mnenM, cap) 3Byqar HeyMecrHo B

nepenaqe naTCKoro Konoera48 M qro Mx cnenOBano 6hr 3aMCHMTb pyCOKMMM. HacrepnaK

 

47 3TOT KanaMpr HacrepnaKa He nonpaBMncn M. MopO3OBy, HTO MorKno
3aKJnOtIMTB M3 TeKcra HMCbMa HacrepnaKa K MOpOBOBy or 15 MIOJIH 1942 1‘. CM.: «M3
nepenMCKM M.M. Mopo3OBa c B.H. HacrepnaKOM», crp. 289. B 3TOM CBH3M yMCCTHO
anBech BBInepchy M3 IIMCbMa HacrepnaKa MopO3OBy, rne annonnTcn apryMeHrBI B
nonbay TaKOTO nepeBona KanaMpra: «“Ocen”, a ne “naBnMH” BOT nOHeMy. HanBIne
TOBOpM'I‘CH: You might have rhymed. — “BBI MornM 6B1 M B pMcpMy”. MraK, co cnyxa
MOMeHTaanO nano noranarbcn, KaKan noanna 6B1na 6B1 OBITB pMcpMa. Hro 3T0 Morno
OBITB ass rpynno 6B1crpo cooOpa3MTB naxe B anpOIIHBIx nepBMHHBIx yCJIOBMnx
nonIIMHHMKa (mera OTHyCKaJIaCb aTH‘IManIPfiiOM nun anrthIan, B To BpCMH, Korna was M
ass Morno eme OBITB pMcpMoM). ...MO)KHO nM TOJIBKO HOTOMy, trro np0MenBKnyBInan co
CIICHbI (M 3a6BIBInancn) CTpOIIKa Konnanacb CJIOBOM “open”, paccmbmaTb, trro 3erenB
paCKycMr M3neBarenBcKon nonMOHy ocna nIOOBIM naneKMM, nepBBIM HOHaBIIIMMCH M
naMepenno He TeM cnOBOM... [Inn TOTO trrOOBI no-pyOCKM MorKHO Omo
noranarbcn, KaKon TyT nano pMcpMy, H r o T o n I: K o M H a n o n n n e r CMbICJ'IOM
cnenyIOInon pennMKy “BBI MOTIIM 6B1 M B pMcpMy”, pMcpMa noanna 6Brrb nOHTM
pa3)KeBana M B por nonorxena, M ryT eIne nenocraroqno 651.110 3ByKOBoM 611M300TM OOOMx
cnOB (ocen — ocerp), a anrnMMCKyro OOMaHBIBaromon nay3y nano OBIno nepenech
Bnyrpb caMOTO cnOBa. Torna nocne cnOBa open oce-rp, B ocofiennocrn nocne CJIOB “BBI
MornM 6B1 M B pMd)My”, Koneqno, ocen nanMIIO» (M.M. MOpO3OBy. 15. VII. 42. [TIMCbMO]
— K nepeBonaM meKchpOBCKMX npaM. (M3 nepenMCKM BOpMca HacrepnaKa). — B c6.:
«Macrepcho nepeBona 1969», crp. 345-46.

43 M. MOpO3OB B «OT3bIBC», a 3areM B IIMCbMC K HacrepnaKy OT 1 OKTHOpH 1942
r. Toxe mean 0 TOM, HTO McnOJIBBOBarme HacrepnaKOM CJIOBa «IDKCHTIIbMCHbI» B

38

MCIIOIIb3OBaH pyccme oOpameHMH Hapnny c aHrnMMCKMMM; OTKa3 or aHrnMMCKMx
oOpameHMM IIMIIIMJI 6B1 nepeBon anrnMMcKoro nyxa, KoropBIM mm IIIeKchpa OBIn Baxnee
narcxoro, TaK KaK on orpaxan 06pa3 )KM3HM M HpaBbI COBpCMCHI-IOM eMy AIB"JIMM.49
Be3nOKa3arenBHO yTBeprxneIme TaprKa o TOM, qro «B. HacrepnaK ne Bcerna BaOOTMTCSI
O BHpaBMTeHbHOCTM M ecrecheHnocTM perm» (132) B npo3aMHecKMx Mecrax, a TaKxe
yTBeernenne, HTO IOMOpMchquKm 3nM3oan «cmexa He BbI3bIBaIOT» (132). TaprK
raKrKe nenan neonpaBnannO IIIMpOKMC OOOOIIICHMH Ha OCHOBe OTneanBIx (ppa3 nepeBona
«Tamera»: on etIMTan, Bro B cnOBax Tamera: «HopBanacB nHeM CBH3yIOIIIaH nMTB./ KaK
Mne OOpBIBKM Mx coenMHMTB!» — «poMaHrMHecxoe BBIcrynaer Bnepen, peanMCTMIIecxoe
oronBMraercn B cropony» (131), a drpa3a: «6ecnnonbe yMOTBeInIOPO TynMKa» —
«...cOmDKaeT Tamera c COBpeMeHHLIMM orqaanMMncn 6yerya3HBIMM
MHTCIUIMTCH'I‘aMM» (13 1).

B TOM )Ke OOOpHMKe H. Osepon B crarBe,50 npenBapsnorneM ny6nMKanMIO amerox
HacTepnaKa o IIIeKchpe, Barnmnan HCpCBOII‘ICCKMC HpMHIIMlIbI HacTepnaKa or KpMTMKM,

6panMBmeM ero 3a OCOBpCMCHMBaHMC IJIeKchpa:

 

nepeBone “POMeO M nynberrbr” annaeT nbece aHrnMMCKMM KonOer. CM.: «M3
nepenMCKM M.M. MOpO3OBa c B.H. HacrepnaKOM», crp. 281, 290.

49 (D. 3nrenbc OKa3an no n0Bony «anrnMMCKOI‘O nyxa» HbCC IIIeKchpa: «Tne 6B1
HM npOMcxonMJIO B ero [IIIeKchpa — C.H.] nBecax neMcTBMe — B MTaJIMM, 0paHnMM MnM
HaBappe, — no cymechy nepen naMM Bcerna merry England, ponnna ero qynanKMX
npocromonMnOB, ero yMHMHannIMx mKonBHBIx ytIMTeneM, ero MMJIbIX, C'I‘paHHbIX
)KeHInMH; Ha BceM BMrtMInB, HTO neMchMe Moxer npOMcxonMTB TOJIBKO non anrnMMCKMM
HeOOM» (K. Mach M (D. BHI‘enBc. COHMHenMSI, Man. Bropoe, MOCKBa, 1957, T. H, crp. 59-
60. LIMTaTa no KH.: TaHeHMJIan3e. BBCIICHMC B reOpMIO xynorKechennoro nepeBona, crp.
174).

50 H. anpOB. 3aMCTKM HacTepnaKa o IIIeKchpe. — B c6.: «Macrepcho
nepeBona 1966». M3n-BO «COBeTCKMM rmcarenb», MOCKBa, 1968. (CTaTbM O3epOBa
«HacrepnaK M HIeKchp» (1977) M «Bannrnn IHeKCIIMpOM» (1983) ansnorcn
BapManraMM 3TOM CTaTbM [CM. pa3nen «BM6rmorpad3M51»]).

39

HO COBpeMennBIM ttMTarenB nOJDKen npOtIMTBIBarB IIIeKchpa MMCHHO KaK
COBpeMCHHOI‘O aBTOpa, 6e3 anMCCM CTMJIMBaIIMM M HaquMTOM
apxaMIIeCKOM naKva (115).
Hepenon HacrepnaKa on cunran TBOptICCKMM npoqrenneM OerMnana, a He MMMTaIIIIeM M
chJIM3a1meM. HO ero MnenMIO, HacrepHaK B nepeBone «...nonnepKMBaeT He anneropMM,
He ananorMM, ne HaMCKM — KpMBBIe M HpHMbIC, — a rnyOMHy H03HaHMH MCTOpMHeCKMX

xapaKTepOB, nonmpothtnocrb IIMCbMa, B3pBIBBI 06pa3HOCTM, reonoqueCKm cpe3BI

peaanOM )KM3HM, nnachI 93mm» (115).

70-e roan OTMeHeHBI caMbIM CCprBHbIM MCCHCHOBaI-IMCM HacrepnaKOBCKMX
nepeBonOB IIIeKnMpa, Koropoe nponenana Anna <Dp3nc (Anna Kay France) B KHMTC
Boris Pasternak's Translations of Shakespeare.5 1

(Dpanc OIIMpanaCB B CBOMx BBmonax He TonBKo Ha pe3ynbraTBI CJIMHCHMM
nepeBonOB C opm‘MnanaMM (pacxoxnennn, MCKaXCHMH, Kymopbr), Ho M Ha rpaKTOBKy
nepconarKeM HbCC B crarbnx HacrepnaKa. TaK, COCHaBIIIMCb na yTBCpXUICHMC HacrepnaKa

O )KepTBennoch Tamera52 M omerMB xpMcrnaHCKon TeMaTMKy ero CTMXOTBOpCHMH

 

51 Anna Kay France, Boris Pasternak’s Translations of Shakespeare (Berkeley:
University of California Press, 1978). B naaneMmeM CTpaHMIIBI ny6nMKanMM an
CCHIIKaX Ha nee 6ynyT yKa3bIBaTbCH B CKOOKax B OCHOBHOM reKcre.

B nepBOM rnaBe KHMIM (“Four Tragedies”) (Dpanc conocraBMna IICpCBOIIbI
«Tamera», «Orenno», «Koponn HMpa» M «MaKOeTa» c Opmanam, 06paTMB nperKne
Bcero Barmanm na TO, KaK HacrepHaK MnrepnpeTMpOBan OCHOBHbe nepconarxeM. B
cnenyromeM rnaBe (“Pastemak’s Realism”) ona pa306pana nepeBonBI «POMeO M
nynberrbr», «Teanxa IV» (I M II Hach) M «AHTOHMH M Kneonarpbr» B were Toro, KaK
HacrepnaKOBCKoe nonrmarme peanM3Ma orpa3Mn0CB B rpaKTOBKe HbCC an Mx nepeBone.
HaKonen, B rperBeM rnaBe (“The Style of the Translator”) OHa nonBeprna ananM3y
npoconmo M CTMXO'I'BOpHyIO CprKTypy nepeBonOB. HOHBHCHMIO 3TOM KnMrM
IIpCIIIIICCTBOBaJIM ny6nMKanMM ee crareM (CM. B pa3nene <<BM61morpacpMn>>).

52 B CTaTbC HacrepnaKa «Barneqannn K nepeBonaM M3 IJIeKcnnpa».

40

«Tamer», OHa 3aKJn0HMJIa, HTO y HacTepnaKa TaMHeT poncheH XpMCTy. B nepeBone
«TaMHera», no ee MHCHMIO, anTnymeHo 3Bynanne TeMbI noptIM M nopOtnIoch
(corruption), B TOM tmcne M ceKcyaanOM (ocoOenHo B nO3n:HMX MBHaIMHX, conepxanmx
anamenBHBIe KymopBI),53 MneanM3MpOBan Tamer, nonnepKnyTa HMCTOTa M neBMIInoch
OdrenMM (MCKnIOHeHa BOBMOXGIOCTI) TOTO, qro OHa oOnanana ceKcyaanBIM OIIbITOM M,
cnen0BaTeJIBHO, TorKe Obma nopoqna).

B aHanM3e nepeBona «Orenno» (Dponc BbIIICHMJIa cnenyronme OCHOBHbIC
OCOOeHHOCTM, OTanaIOIIme nepeBon OT Opanana: anTnymerme TeMbI )KeCTOKOCTM,
3BepMnOTO nanana B HenOBeKe (“bestiality and monstrosity”); ynpomenne 06pa3a HTO (on
men TeHMBnBHOCTM M apTMCTquOCTM); anTnymerme tIepr xapaKTepa Orenno,
COmDKaIOIIIMX eTO c HTO, M MneanM3anMIo He3neMOHBI.

Ho MnenMIo (Dpanc, «KOpOHb HMp» conepxcMT neMHOTO npOHyCKOB M OTKnonenMM
OT OpMTMHana, xorn B MnrepnperanMM nocnenHeM cneHBI «Koponn HMpa» HacrepHaK
CMHTHMJI HCCCMMMBM IIIeKchpa. B nepeBone «MaKOeTa» HacrepnaK, KaK nonaraer
<Dp3nc, Ohm Tanee B nepenaqe remOTo Banana B HeHOBeKe, qu B npyTMx nepeBonax,
xorn M ne nepenan no Konna pa3pymMrenBHon CMny MppaIIMOHaHbHOTO.

B TnaBe «PeannaM HacrepnaKa» (“Pasternak’s Realism”) (Dpanc, annn K
BBIBOIIy, qro nommanne HacrepnaKOM peanM3Ma nporMBopeqMBO, nOCTaBMna nenBIO
npoananM3MpOBaTB nepeBonBI Hempex nBec non yTnOM TOTO, KaK B HMX OTpa3MnaCB

HaCTCpHaKOBCKaH KOHIICIIIIMSI peanM3ma.54 Benen 3a npyTMMM penen3enraMM OHa

 

53 (Dpanc yKa3ana, Hro B M3naHMM 1940-To Tona HacrepnaK y6pan M3 TeKCTa
neCHIO OcpenMM, Koropyro ona noeT Bo BpCMH cyMaCLIICCTBMH, M, HatIMHan c [431181-0151 1941
Tona, MCKnIOHMJI onMn M3 nnanOTOB Mexny TameTOM M OcpeJmeM.

54 Mnome BbIBOITbI 3TOM THaBbI ee KHMTM HOB’I‘OpHIOT CKaaannoe B npenBInyIneM
(Hanpmep, 06 yrIpomeHMM xapaKTepOB, o anTnyIneHMM neCCMm3Ma IIJeKchpa) MnM

41

OTMeTMna OCOBpeMenMBaIme M pyCCMcpMKanMIo nepconarKeM, CImrKenne 06pa3OB 3naTM,
l'IpMOHMXCHMC Mx K ypOBHIO paJIOBBIx nroneM.

B pe3y115rare ananM3a nepeBonOB (Dpanc anInna K B51B0ny, HTO HacrepnaK He
65111 Toqen B nepenane Tex HacreM OpMTMHaJIOB, Tne MMp0B033penne IHeKcrIMpa
nporMBOpetmnO eTo MMpOBO33pCHMIO. HacrepnaK ne CMMITarM3MpOBan
rKeHOHenaBMCTnMHeCTBy, onyCTMn Mnome neananItanIe HaMCKM, B51CBernMJT TCMHbIC
croporm HenOBeKa M aKueHTMpOBan nonoxnren5n51e KaHeCTBa nepconarKeM (TaMJIeTa,
Orenno, OcpeJIMM, He3neMon51), nonqepKnyB cnoc06nocr5 nenOBeKa K COCTpananMIo M
caMOHOXCpTBOBaIfl/IIO. CTMn5 nepeBonOB, no MneHMIO (Dpanc, OmDKe K «KITaCCMIIeCKOMy»
CTMJnO no3nHeM n033MM HacrepnaKa, HeM K eTO CTMJIIO no Banana 40-x TonOB.
HpOTMBOpeqMBOCT5 peanMBMa HacrepnaKa — “‘On the one hand there is the miracle of
objectivity,’ on the other, the ‘self-willed’ ‘outpourings of his own genius’” (256), ——- no
(DpBHc, CKa3anaC5 B nepeBonax cnenyIOInMM 06pa30M: KaK OO’bCK’I'I/IBHBIM xynorKnMK
HacrepnaK 65m Toqen B nepenane CprKTyp51, (popM5I, Tona (tone) OpMTMIIaJIOB M
CMbICJIa (meaning), HO, O npyToM cropoan, on nepenKo OTXOIIMH OT OpMTMHaHOB C nen510
co3nanM51 np0M3BeneHMM, B KOTOprX orpa3Mncn eTo COOCTBeHanM TBopHeCKMM TeHMM,
MMpOBOBBpCHMC M nomanrre MCKyCCTBa.

Pa60Ta (Dpanc coneerMT yn3BMM51e mecra. TaK, TOBOpH O naCTepHaKOBCKOM
mIrepnpeTanMM IHeKchpa, Koropan, no ee MneHMIO, 3aKJnOHanaCB B TOM, qro HacrepnaK
«OCBerrmn» IIIeKchpa, ona MCXOIIMHa M3 nByx cnopn51x (paKTOB: 1) HacrepnaK

coanaren5no 6aynnepM3MpOBan IIIexcmrpa; 2) HacrepnaK BBIOpan M3 TeKCTOB MnM

 

6ynyT nOBrOpen5I B cnenyromeM (Hammep, O npocrore M MnMOMaTMtIHOCTM n351Ka).
CCbUIKM (Dpanc na penenaeHTOB HacrepnaKa OTHaCTM HOBTOpHIOT CKa3aHnoe BO

BCTynMTenBHOM TnaBe.

42

nepenan neaneKBaTno «IICCCMMMC’I‘W—ICCKMC» 06pa351 — 3T0 npexne BceTO 0THOCM'I‘CH K
06pa3aM, CBH3aHI-IbIM c reMoM noptIM-BaTHMBanMB (corruption) B «Tamere», M K
neMTMOTMBnOMy cnOBy “monster” B «Orenno». B nepeBonax neMchMren5Ho
OTcchrByIOT Mnome HCIIpMJIM‘niOCTI/I M BaTnyIIICHLI HaMCKM Ha ceKc, no 3T0 Moxer 651T5
065ncneno 'I’pCOOBaHMHMM nen3yp51. (Dpanc He oOparMnaCB K {[140wa HacrepnaKa,
conepxanIMM MHOTOHMCJIennme )Kan0651 Ha naBnenne M3nare11eM M penaKTopOB.55 Xorn B
cnOCKe <Dp3Hc yKa3a11a, qTO no3nnMC penaKIIMM «Tamera» npennasnaanIMC5 nnn
«HeTrM3a», ona TeM He Menee yrBepxnana, HTO anIlHepMBaIIMHS6 «Tamera» “might
appear to reflect no more than [KprMB MOM. — C.H.] personal taste” (33), — B To BpCMH
KaK HacrepnaK B IIMCbMe TnaBHOMy penaKrOpy M BaMCCTM'I‘CHIO nMpeKTopa HeTTM3a A.O.
HayMOBOM rmcan: «...Tpe6yere )KC 1351 cam ycrpanen5n Mecr HeanthnIBrx».57
CHOprIM annercn TaKxe yrBeprxnenm (Dpanc, Hro, y6paB onny M3 necen OcpenMM,
HacrepnaK IIMIIIMJI ee 3Hannn ceKca (“weakening the implication that she too possesses
sexual knowledge” (34), Tax KaK Ha OCHOBaHMM HCI‘IpMHMqHOI‘O COIICpxaHMH

(1)0115KnopHoM neCHM, KoropyIO Ocpennn noer Bo BpeMH cyMchechMn, ne1153n cnenar5

 

55 OprIBKM neKOTOp51x raKMx rmceM anBeneH51 BO «Bcrynnernm» nnccepranMM
na crp. 2 (B CHOCKe).

55 TepMMn «6aynnepM3anMM» no3aMMCTBOBan MHOM y meKchpOBenOB.
“Bowdlerize” (M11M “bowdlerise”) O3Hat1aer MB’bHTMC M3 reKcrOB Mecr c HCHPWM
conepxanneM. TepMMH 06pa3OBan or MMCHM penaKropa TOMaca Baynnepa (Thomas
Bowdler), M3Becrnoro CBOMM CB060nn51M 06pa1nern1eM c reKcraMM IHeKchpa.

57 A.O. HayMOBoM. 30. VII 42 [IIMCbMO] — K nepeBonaM IIICKCIIMpOBCKMX npaM.
— B 06.: «Macrepcho nepeBona 1969», crp. 358. HMCBMa, OIIyOIIMKOBaHHhIe B
«CoOpanMM commeHMM B HH'I'M TOMax», MOTJIM 651T5 nenocrynnu <Dp3nc, TaK KaK 3T0
M3na1me B511nno nocne IIOSIBJICHMH ee KHMIM. OnnaKo anBenennoe B5n11e HMCbMO K
HayMOBOM 651110 onyOIIMKOBano B 1969 T., M (Dpanc He MOTna He 3aMeTMT5 eTo, TaK KaK B
cnoeM KnMTe ona CC5111a11aC5 na ny611MKauMIO «K nepeBonaM IneKCTIMpOBCKMX npaM».

43

B5mon 0 cc nopOHnOCTM. Ton5KO B XX BeKe, KOTna ceKcya115HOCT5 crana MonOM,
neKOTOp5Ie meKCIIMpOBenBI M perKMCCCpBI cranM MnrepnperMpOBaTB 06pa3 OtpenMM KaK
nopoanM )KeHInMnBI.58 B TpaKTOBKe 115ec (Dpanc pyKOBonCTBOBanaCB MBHCKaHMHMM
MccnenOBaTeneM IHeKchpa, B51ne11MBn1MX y neTo Tame neMTMorMBnBIe 06pa351-TeM51,
KaK «nopna» MJIM «3an1MBa1me» (“corruption”) B «Tamere», «qynOBMIne» (“monster”) B
«Orenno» M np.59 Ona 06paTM11a Bramanne, HTO HacrepnaK He Bcerna nepeBoan
6yKBa115HO HOBTOpHIOIIICCCH B «Orenno» cnOBO “monster” KaK «IIynOBMIne»,
«qynOBMntIM» M T.n., n03TOMy, no ee MHeHMIO: “...Suggestion of the power impelling
men to such monstrous actions is weakened in translation” (57). OnnaKo BleI 11M
HacrepnaK coanare115no yMCHbIIIMJ'I KonMHechO CHOB <<qynOBm11e>> B nepeBone c nen510
3ar11y1neHM$1 IIICKCIIMpOBCKOI‘O neCCMMM3Ma. Bo-nepB51x, HacrepnaK nepeBonMJI He mom,
a MHCIIM («OT nepeBonOB cnOB M Meracbop 51 06paTMJICH K nepeBony MmcneM M cnen»60),
He annepxcMBanCB HOCJIOBHOCTM, n03TOMy BMeCTO cnOBa «HynOBMme» B nepeBone
Moxcno HaMTM cnOBa He BceTna ponCTBeHHBIe no 3nan1eHMIo, no Bce )Ke TorKnecheHnBIe
3MonMOHa115nO-3KcnpeCCMBnoM OKpaCKOM (KaK, nanpmep, cnOBa «crpamen» M
«M3BepT»): “As if there were some monster in thy though! Too hideous to be shown”

(0th, 3.3, 1143) — «TaK 11M MbICIIb TBon crpamna/ IITO T51 ee 60M1n5cn oOnaperMT5?»

 

53 HpMMCpOM TaKOTo nonxona K IHeKchpy MorKer cnerMTB 3KpaHMSaIIMH
«Tamera» c HMKoneM BMJIbHMCOHOM (Nicol Williamson) B TnaBnoM ponM, coneeramasr
cneny, B KoropoM Haapr M Ocpennn nenyrorcn, KaK JnOOOBHMKM [Hamlet, prod. Leslie
Linder, Martin Ransohoff (executive producers), and Neil Hartley, dir. Tony Richardson,
Columbia Pictures Industries, Inc., 1964, videocassette].

59 (DyHnaMeHTanBHOM paOOToM B 3TOM 0611ach anaercn KnMTa Cnepnxen:
Caroline F.E. Spurgeon, Shakespeare ’s Imagery and What it Tells Us (Cambridge:
University Press, 1958). BnepB51e onyOnMKOBana B 1935 T.

‘50 TaMneT, annn naTCKMM. (Or nepeBonHMKa). — C06p. COH., T. IV, crp. 386.

 

44

(Orenno, 339); “He cannot be such a monster” (Lear, 1.2, 1177) — «OH He MorKeT 65rr5

 

TaKMM M3BepTOM» (443). BO-Brop51x, HacrepnaK MOT npOCTO He 3Har5 M11M He 3aMCTMTb,
qro neKorop51e HOB’I‘OpHIOIIIMCCH cnOBa, KaKMX y IIIeKchpa oquB MHOTO, co3naIOT
onpenenennblM TeMaTMHCCKMM 06pa3. Ha MOM B3T11nn, HacrepnaK ynpoman 06pa3HOCT5
IIIeKCIIMpa nOBceMeCTnO, He 06pa1na51 BHMMEIHMC Ha To, 6511111 11M 3T0
«neCCMchMHeCKne» MJIM «onmmrcmqecme» 06pa351. Hanpmep, neMTMOTMBnoe
cnOBO-06pa3 “heart” B «Kopone Me» Be BceTna nepeBenenO KaK «cepnne»: “Let it fall
rather, though the fork invade/ The region of my h_ea_rt!” (Lear, 1.1, 1174) — «CrpennM,
He 60Mca npocrpenMT5 Mne m» (432). A B nepeBone «Koponn HMpa» ecr5 cnOBo
«HynOBMmHBIM» an orcyTCTBMM eTo 3KBMBaneHra B opMTMHane: “Abominable villain!”

(Lear, 1.2, 1177) — «liynOBMInnBIM neronnM» (442). Hro Kacaercn Mnea11M3anMM

 

HacrepnaKOM Tamera, nponBMBmeMcn nperKne BceTo B ynonoOnenMM eTO XpMcry, To
3anonTO no HacrepnaKa MnOTMC KpMTMKM IIIeKchpa yKa351BanM na exonCTBO c XpMCTOM
He T0115KO Tmnera, HO M caMOTo IIIeKCTIMpa;61 cnenOBarenBHo nacrepnaKOBCKoe
BMnenMC Tamera KaK )KeprBeHnoM (pMTypBI ne annercn ne06511n151M M ne TOBopMT 06

Mnea11M3anMM nepconarKa. Bepno, onHaKo, 3aMet1anIae (bpanc 06 ynpomeHMM xapaKTepa

 

6‘ TepMan MenBMnn cpaBth LIIeKchpa C XpMCTOM, Bepnapn Ifloy cpaBHM11
Tamera c XpMCTOM, rmcarenB M KpMTMK BMHJIaM H510Mc (Wyndham Lewis) narxe
cpaBnMJI Orenno c XpMCTOM. [CM. 06 3TOM B KH.: Arthur M. Eastman, A Short History of
Shakespearean Criticism (Lanham: University Press of America, 1985), 130, 170, 231-
32]. O )KCpTBCHHOCTM Tamera nncan BMKTOp TIOTO. [CM.: Victor Hugo, “William
Shakespeare,” in Oeuvres completes. In 18 volumes, vol. 12 (Club francais du livre,
1969): 153-326; mm B aHTnMMCKOM nepeBone: Victor Hugo, William Shakespeare
(London: Hurst and Blackett, Publishers, 1864), 195]. KnMTa T IOTO 65111a mOOMMOM
KHMTOM HacrepnaKa o TBOpHeCTBe HIeKCIIMpa, cynn no em HMCbMaM M BOCIIOMMHaI-IMHM
COBpeMeHHMKOB.

45

Hro. HepeBon «Orenno» neMchMTenbno COHCpXMT 601151noe KonMHecho OTKnonenMM or
IIOHJIMHHMKa M Kymop.

prme KerMHeCKMC pa60T51 70-x TonOB B OCHOBHOM HOBTOpHIOT M 0606ma10T
yxe CKa3aHnoe. CpenM MonorpacpMM o HacrepnaKe BnepB51e ynenena 11611351 TnaBa eTo
nepeBontIeCKOM nesrreanoch B KHMTe T ean TMtpqropna (Henry Gifford).62 HO MneHMIO
TMcpchpna, IlaCTCpHaKOBCKMC nepeBon51 HMTaIOTCM, KaK opMTMHan5H51e (nenepeBonn51e)
l'IpOMBBCIICHMH, narmcannbxe B nymKMnCKOM nyxe (B 3TOM CBH3M TMcptpOpn yHOMHHyII
«BopMca TonyHOBa»). Mx OTnMHaer or OpMTMHaJIOB neMnOTOCJIOBHOCTB M HCHOCTb n35n<a
(“taut and lucid” — 151), HO, neCMOTpn Ha 3TH OTWH, KaK Ctmraer T Mcpcpopn,
nepeBonBI He ansnorcn aHaIITaHMHMM, TaK KaK HacrepnaK 65111 HyTOK B nepenaqe TOHOB
(tones) OpMTMHanOB, Mx crpyKrypBI, a TaKXC pMTMMHeCKMx ocoOennocreM peqM
nepconarxeM. KaK M MapKOB, TMdrdropn Halnen B nepeBonax cnen51 COBpeMeHnOM
HacrepnaKy neMchMrenBHOCTM. HacraBneIme TaM11eTa aKTepaM «nOKa3ar5... KaanMy
BeKy MCTOpMM — eTo neanKpamennBIM 0611MK» (B OpMTMHane: “to show... the very age
and body of the time his form and pressure”), no MHenMIO TMqrchpna, nanOMMnaeT O TOM,
KaK prnno 651110 BbIHOHHMTb TaKyIO 3anat1y xynorKHMKy-COBpeMernnncy HacrepnaKa, a
nepeBon cppa351 “this fell sergeant, death” KaK «TynoM KOHBOMHBIM» HaBonMT Ha M51c115 o
COBeTCKMX nonMTMHeCKMX 3aK1noneHHBIx. TMcpcpopn anInen K BBIBony, HTO B Tex Mecrax,
me ch115 IHeKCIIMpa ornMHaercn npOCTOTOM (“most direct and luminous” — 158),

,9

HacrepnaK CO3na11 «nhoM COBepIneHHBIM 3KBMBa11eHr» (“almost the perfect equivalent

— 158).

 

62 Henry Gifford, “Pasternak as Translator,” in Pasternak (Cambridge: Cambridge
University Press, 1977). B nan5HeMIneM crpaHMH51 rIy611vn<anMM an CCbIIIKaX Ha nee
6ynyT yKa351BaT5051 B CKOOKax B OCHOBHOM reKcre.

46

Hyrnac KneMTon (J. Douglas Clayton) B CTaT5e “The Hamlets of Turgenev and
Pasternak: On the Role of Poetic Myth in Literature”63 06paTM11 Bmmarme Ha TO, KaK
«TameTOBCKMM mq)», co3nannBIM pyCCKOM nMTepaTypOM, npenomncn B MnrepnperanMM
HacrepnaKa. EnMHCTBennoe KpMTMtIeCKoe 3aMet1anne KneMTona, Kacaromeecn TeKCTa
nepeBona, annercn BapMaHTOM MbICHM (Dpancz64 HacrepnaK pa3pen1M11 nporMBOpetme
Mexny neBCTBeHnOCTBIO XpMCTa (c KoropBIM, no MneHMIo KneMTOHa, on CBn3a11 06pa3
Tamera) M ceKcya115n51M xapaKTepOM ornorneHMM Tamera K OcpenMM nocpenchOM
annnepMaanMM nepeBona.

311MHOp Poy (Eleanor Rowe) B we Hamlet. A Window on Russia65 B OCHOBHOM
nOBTOpMna (Dpanc, ne nonBeanyB nepeBon «Tamera» caMOCTOHTCHbHOMy ana11M3y. HO
MnenMIo Poy, HacrepnaK ynpochn Tamera, cnenaB eTO Oonee cep5e31151M, JIMIIIMB
MpOHMHnoch M capKa3Ma M nonnepKHyB eTo )KCpTBCHHOCTb.

Crar5n E.B. Ha3apeBOM66 rorxe nMHeTo He no6aB1151er K MccnenOBanMIO IIOBTMKM
HacrepnaKa KaK nepeBonHMKa IHeKchpa. B neM aBTOp yKa3a11a Ha HCCK0115KO
TCKC’TyaJIbeIX HeronnOCTeM nacrepnaKOBCKOTo «Tamera»: I‘paMMEITM‘ICCKM neroqno

nepeBenena (ppa3a “Frailty, thy name is woman!” — «O )KCHIIIMHbI, BaM MMH —

 

63 J. Douglas Clayton, “The Hamlets of Turgenev and Pasternak: On the Role of
Poetic Myth in Literature,” Germano-Slavica 2, no. 6 (1978).

54 B nenOM KneMron He ana11M3MpOBa11 TeKCT nepeBona M C05111a11cn na CTaTBIO
HacTepnaKa «BaMerKM K nepeBonaM HICKCHMpOBCKMX TpaTemIM», eTO CTMXOTBOpeime
«TaMJIer» M KHMTy (Dpanc.

65 Eleanor Rowe, “Pasternak and Hamlet,” in Hamlet. A Window on Russia (New
York: New York University Press, 1976).

66 EB. Ha3apeBa. HCCKon5Ko 3aMeanMM K nepeBonaM TpaTenMM «T aMneT». — B
c6.: «HeKOTopBIe np0611eM51 pyCCKoM M 3apy6e1KnoM 11MTepaTyp51». M3n-Bo
HanBHeBOCTOtInOTO TocynapCTBeHHOTO yHMBepCMTeTa, BnanMBOCTOK, 1974, crp. 88-95.

47

BeponOMchO!»; cnOBo «pO3OB51M» ne aneKBarno cnOBy “russet”; He nepenano pa311the
MerKny “it” M “he” B cnene C an3paKOM (nepeBeneHo onnMM CHOBOM «on»); Her HerKoM
nocnenOBare115nOCTM B nepeBone MecromeHMM “thou” M “you” COOTBerCTByIOmMMM
«r51» M «B51». Ha3apeBa He cnenana HMKaKMX OOOOIHCHMM, OTMCTMB an5 neCK0n5KO
TeKCTya115n51x OTKnonenMM.

E. 3TKMH11 B crar5e «O “Tamere” B nepeBonax B. HacrepnaKa M M.
HO3MHCKOTO>>67 cpannnn nBa BapMaHTa «Tamera» — HacrepnaKa M HO3MHCKOTO — KaK
nqum, na eTO B3T11nn, pyccme nepeBon51 115e051. OTKMHn 06paTM11 BHMMflHMC na 11%
1151ch HacrepnaKa O chne IIIeKchpa, B51CKa3aHHBIe M B CTar5e «3aMeTKM K
nepeBonaM meKCIIMpOBCKMX rparenMM»: 1. «...Bo MHOTMX eTO [IIIeKchpa — C.H.]
CTMXOTBOpn51x 311M3onax MCpCIIIaTCH cnenaHHBIe B CTanx HepHOBBIe H36pOCKM K npO3e»;
2. «HeTKOBepMe KoponeB51 [TeprpypnBL — C.H.] CKBO3MT ne TO115KO B ee cnOBax, a B
Manepe TOBOpMTB HapacneB M paCTHTMBaTb Tnacn51e».68 HO MHCHMIO 3TKMnna, 3TM
oc06ennOCTM OpMTMnana (KcraTM, C nepB51M 3aMeHarmeM HacrepnaKa '3TKMHn ne
COTHaCMJICH) 6511111 nepenan51 B nepeBone. 3ByKOByIO ocoOennOCTB peqM Teprpyn51
BTKMHn npOMJUIIOCTpMpOBaJI nMTaTOM, naHMHaIOIIIeMcn cnOBaMM «On Macro BcnOMMnan O
Bac, Tocnona», onnaKO yTBeernenne O npOBaMBaIIMM IIIeKCTIMpa HacrepnaKOM on

IIpMMCpaMM He nonernM11.

 

67 EdJMM M. O «Tamere» B nepeBonax B. HacrepnaKa M M. HO3MHCKOTO, in
Boris Pasternak 1890-1960: Colloque de Cerisy-la-Salle (1 1-14 septembre 1975).
Bibliothéque russe de l'Institut d'études slaves, no. 47 (Paris: Institut d'études slaves,
1979): 471-74.

‘53 IIMTaTBI BBHTbI M3 CTaT5M 3er1na, crp. 471-72.

48

Hocne pnna nonemneCKMx pa60T COBeTCKMX MccnenOBaTeneM 60-x TonOB M
yrny611ennoro nponrermn Bcex HacrepnaKOBCKMx nepeBonOB 115ec IHeKchpa,
nponenannOTO (Dpanc B 70-e Ton51, — B 80-e M 90-e Ton51 Ha61nonaercs1 cnan B 06nach
Maynennn HacrepnaKa KaK nepeBonHMKa IHexchpa. HeKOTop51e ny611MKanMM 0606mm
CKa3annoe IIpeIIIIICCTBCHHMKaMM: M. CBHHM‘I BO BcrynnenMM K CBoeM KHMTe Boris
Pasternak: A Reference Guide nan 0630p KpMTMKM HaCTepHaKOBCKOTO TBopHecha, B TOM
HMCJIe nepeBonOB;69 A.H. TOpOyHOB BO BCTynneHMM K nyOIIMKauMM pyCCKMx nepeBonOB
«TaMJICTa» cocnancn Ha HCCKOIIbKMX KpMTMKOB naCTepHaKOBCKOTO nepeBona
«TaMnera».7O Pona115n XMHTJIM (Ronald Hingley)71 ony611MKOBa11 penen3MIO na
paCCMOTpeHHyIO B511ne KnMTy (Dpanc. Ho MnenMIO XMnTnM, KnMTa (Dpanc nO3B011MJIa
tIMTaTenIo nacrepnaKOBCKMx nepeBonOB yBMneTB, Hro OHM He IIOCTOMHH ranaHTa
HacrepnaKa M cna6ee OpMTMHanOB (“disappointingly short Of Russian poet’s immense
potential, and even shorter of the Bard’s realised achievement” — 22). HpMHMHy
Heycnexa HacrepnaKa XMnrnM yBMnen B TOM, qro IlIeKchpa nepeBonM11 no3nHMM
HacrepnaK (“deutero-Pastemak” — 22), a ne pannMM (“proto-Pasternak” — 22), CTM115
KOTOpOTO, KaK yTBeernan XMHTJIM, 65111 611M)Ke K erM1no IIIeKcrmpa. TnaBnBIM
nenocraTOK penen3MM XMHTnM 3aK1110Haercn B TOM, qro nepeBonBI B neM OHCHMBaIOTCH no

B'I‘OpM‘IHOMy MCTOHHMKy. Hanpmep, XMnTnM neOOOCHOBannO yTBepxnan, CCbIHaHCb Ha

 

69 CM.: Munir Sendich, introduction to Boris Pasternak: A Reference Guide (New
York: Macmillan Publishing Co., 1994): 6-8.

70 T Op6ynOB. «K MCTOpMM pyCCKOTo «Tamera», crp. 22-24.
71 Ronald Hingley, “Pasternak’s Shakespeare. Alas, poor Boris...,” Encounter

(October 1980). B na115HeM1neM C'I‘paHMLIbI ny61nn<a1nm an CC5111Kax Ha nee 6ynyT
yKa35113aT5cn B CKOOKax B OCHOBHOM reKcre.

49

(bpanc, HTO HacrepnaK n06pOB0115nO M co3nare115Ho B51xona111MBa11 IIIeKCIIMpa:
“...Pasternak himself pioneered such emasculations, and did not have them forced upon
him by authority” — 23).

H.M. HIOOMMOB B51CTynMJT B KaHeCTBe 3an1MTnMKa nepeBonHeCKMx HpMHHMHOB
HacrepnaKa.72 HO eTO MnenMIO, HacrepnaK, HpMMCHMB annnnn «naMepennoM CB060n51»,
«1303ponM11 maccuuecrcue TpanMItMM pyCCKOTO CTMxorBOpHOTO nepeBona» (291), Korop51e
CTaBMJIM Ha nepBoe MeCTO 3a60ry O quaTen50KMx Mnrepecax. HIOOMMOB OTMeTMn, HTO
neKCMKa nepeBonOB HacrepnaKa TaK )KC MnorocnoMHa, KaK neKCMKa eTO OpMTMHanBHOM
n033MM, M HTO Mcn01153OBanne HacrepnaKOM npocropeqnbrx CJIOB B petIM meKCIIMpOBCKMX
TepoeB onpaBnano CTpCMHeHMCM M306pa3Mr5 Mx KaK )KMB51X moneM. HO MHCHMIO
HIOOMMOBa, CMnTaKCMC nepeBonOB He Menee pa3H006pa3en, neM Mx neKCMKa. B
nOKa3aren5cho on anBen peq5 Orenno no an65rrMM Ha Kan, cocrosnnyio M3
KOpOTKMx, mam (bpaa, COOTBeTCTByIOUIMX 3MOIIMOHa115HOMy COC’I‘OHHMIO TCpOSI,
cnemamero 06Mennr5cs1 HOBOCTHMM. HIOOMMOB onpaBnBIBan ynponlenne HacrepnaKOM
MeradropMHeCKOTO n35n<a IIIeKchpa:

IICPCBOIIW xopomo 3HaIOT, HTO neTHe Bocco3naT5 caMyIO
TonOBonOMnyIO Meracpopy, HeM HaMTM 3T0 KpaTKoe M npocroe B CBoeM
pa3TOBOpnOCTM: “HTOO Ha HMX CKa3a11M”73 (297).

H. (DneMmmaH74 Benen 3a MapKOB51M, KneMronOM, Poyap M orHaCTM <Dp3nc

06parMncn K TeMe HacmepHaK u TaM/rem. Ho yTBeerneHMIo (DneMlnMana, M51C11M M

 

72 HMKOJIaM H106MMOB. 3emoM npocrop. — B KH.: HMKonaM HIOOMMOB.
«HecropaeMBIe cnOBa». M3n-BO «Xynoxechennan nMTepaTypa», MOCKBa, 1983. B
na115neM1neM CTpaHMHbI ny611MKanMM an cc511n<ax na nee 6ynyT yKa351BaT5cn B CKOOKax B
OCHOBHOM reKcre.

73 M3 peqM nenM Mqur: «H KpOBbIO, ech on KpOBOTOHMTJ TaK cnyT paCKpatny,
HTOO Ha HMX CKa3a11M» (2.2, crp. 596).

50

nacrpoethI HacrepnaKa, KOTOp51e on xoren B51pa3MT5 B He3aBep1neHnOM pOMane O
HarpMKe,75 namnM B51xon B eTo nepeBone «Tamera», n03TOMy “it was not Patrick of
unfinished novel but Hamlet who became alter ego, assimilating features of Pasternak
himself, of Vsevolod Meyerhold, and of their entire generation” (220-221). KaK M
KneMTOH, (DneMlnMan yBMnen B nacrepHaKOBCKOM TaMneTe COBpeMeHnOTo «nMnIHeTO
HenOBeKa».76

OnenB B51C0Ky10 oneHKy nepeBonaM HacrepnaKa M3 LUCKCHMpa nan HMTep HeBM
(Peter Levi) B we Boris Pasternak.77 Bcnen 3a npyTMMM 3ana1n151MM MCCHCIIOBaTCHHMM
on OTMerM11 «aBTOOMOTpadJthocrb» nepeBonOB, Ho TeM He Menee nonnepKnyn, HTO
HacrepnaK “is the most accurate and best translator Shakespeare has ever had in any
language” —— 196). HarKe TaKMC nenocraKM nepeBonOB, KaK CManenne TeM51 noqu M
ceKcyaanOM McnOpHeHHOCTM, no MneHMIO HeBM, TaK )Ke anBneKaren5n51, KaK
nocrOMnCTBa (“His weaknesses as a translator are really as attractive as his strength” —

199).

 

74 Lazar F leishman, Boris Pasternak The Poet and His Politics (Cambridge, MA:
Harvard University Press, 1990). B nanbneMnIeM crpanMn51 ny611MKanMM an ccwncax Ha
nee 6ynyT yKa351Bar5C51 B CKOOKax B OCHOBHOM reKcre.

75 (DneMnman MMCJI B BMny ne3aBep1nenn51M pOMan HacrepnaKa, KOTOp51M KaK
nOBecr5 65111 ony611MKOBan B «HOBOM me» (1980, NO 6) non Ha3BanneM «Hanano
npo351 1936 Tona», a TaKrKe Haneqaran B COOp. con. (T. IV) non na35anneM «BanMCKM
HanMKa».

76 CM.: KneMTOH (459); (DneMlnMaH (221).

77 Peter Levi, Boris Pasternak (London: Hutchinson, 1990).

51

KaK BMHHO M3 ana11M3a KpMTMHeCKMx pa60T O HacrepnaKe-nepeBonHMKe
IIIeKchpa, HaM601151nee KonMHeCTBo 3aMet1aHMM Kacanoc5 n35nca, ocoOeHnO neKCMKM.
KpMTMKM OTMeHanM KaK nenocrarKM cnenyIOIIIMe oc06ennoch nepB51x BapMaHTOB
«TaM11eTa» (B OCHOBHOM >Kypna115noro): ucrcaotcenurz (Pe3n0B; AneKceeB), «CM51cnOB51e
OTKHOHCHMH», «601151n0e KonMHeCTBO CMyrnblx Mecr»,73 — MopO3OB; «co3naer 06pa3-
cnnaB, nopoM BCCBMa cy65eKrMBn51M, HeroanIM M ManononnerIM» — TaprK [131]);
ynpoweuue (Pe3nOB); cnuorcennocmb emu/m («“neMOKparMHeCKne” renneHnMM» —
Pe3nOB [53]; «CHIDKCHHLIM H3bIK», «HapquTan cpaMMnbanocr5» — ConOB5eB [228]);
pyccu¢urcauun u apxau3auu11 (<<d)am115anO-narpMapxa115H51M, pyCCMcpMnMpOBaImBIM
CTM115» — Pe3IIOB [53]; «crapopyccme CHOBa M oOopor51»79 — MOpO3OB); ceyutenue
Kpacorc (AnexceeB, MopO3OB); nodepnu3auwz (AneKceeB, ConOBBCB, TaprK);
eynbeapwauun (Pe3nOB, AneKCCeB, MOpO3OB); Hedopaoomannocmb (TaprK);
npo3au3auu51 (311011111); anenu3upoeanue (MMeeTcsr B BMny 3aMet1a1me TaprKa O
naanMM B nepeBone aHTnMMCKMX 06pa1neHMM); «nacmepuaku3auun» («MHOTna
nepconarKM IIIeKchpa natIMHaIOT TOBOpMTb TManno nacrepHaKOBCKMM H3bIKOM» —
COHOBbCB [229]); ocnaonenue a¢opucmutmocmu (MopO3OB).

H35ncy M CTMHIO nepeBonOB npyTMx 115cc IIIeKCTIMpa 651110 yneneno 3nat1MTe115Ho
Menbme BmmanMM. B nenOM B nepeBonax IIIeKchpa MccnenOBarenM OTMeHanM

cnenyIOInm CTMJTMCTMHeCKMC ocoOennoch; pyccu¢ukauun (MopO3OB); oepyG/Ienue

 

73 MopO3OB. «Tamer» B nepeBone BopMca HacrepnaKa, crp. 145 M 146.

79 TaM )KC, crp. 147.

52

(MOpOBOB); cnuorcermocmb a¢opucmutmocmu (MopoaoB); ocnadnenue 3696yucmuunocmu
(MOpO3OB); ynpozuenue mema¢opuunocmu (TdepOpn30); uduoruamuunocmb ((Dpanc).

Mopo3OB OTMCTMn «nenocr5 M npocrory»81 n35n<a nepeBonOB B nonorKMTenBHOM
CM51C11e. KpOMe Mopo3OBa, B51COKyIO oneHKy 935my «Tamera» nanM TM3enTay3en,
BOpOBOM M BMJIbHM-BMHBMOHT. BM115nM-BM115MOHT, MOpO3OB M HIOOMMOB yKa3311M Ha
neKCMnecxoe 60TarchO «Tamera». Pe3n0B rorxe an3na11 60Tarcho $1351Ka «Tamera»,
xorn CHMTan, trro HacrepnaK nenocraroqno C’I‘pOTO or6Mpa11 cnOBa.82 HO MneHMIO
HeBMKa, HacrepnaK, nanpOTMB, 06enHM11 cnOBap5 IHeKchpa.

MOpO3OB M TMdeopn nncanM 06 ynpomeHMM Meracpoqunoch B nepeBonax, a
ConOB5eB amerMn B nepeBone «Tamera» TenneHnMIO K YCHOXCHCHMIO 06pa3HOTO n35n<a.

CMnTaKCMC nepeBonOB ne MccnenOBancn; Ton5Ko HIOOMMOB OTMeTMn
CMHTaKCMHecxoe pa3n006pa3Me nepeBonOB.

BM115nM-BM115MOHT M Mopo3OB nepB51e BBInenMnM MIHIPIBMnyanM3anMIo peqM KaK
neCOMneHnyro 3acnyry HacrepnaKa. MOpO3OB OTMeTMn B nepeBonax neKCMHeCKyIO,
pMTMMHeCKyIO M MnronanMOHHyIO ocoOeHnOCTM peHM nepconaxeM. 3TKMHn anBen
anMOp droneTquCKOM mInMBMnyanMBamm petIM nepconarKa B nepeBone «Tamera», a

HIOOMMOB — CMnTaKCMHeCKOM. TMdrchpn TorKe OTMCTMH MnnMBMnyanM3anM10 peIIM KaK

 

30 TMcpcpopn no 3TOMy n0Bony rmcan: “Gone is much of the complexity in
Shakespeare’s metaphorical language...” (150); “he prefers paraphrase to metaphrase”
(152).

3‘ MopO3OB. IHeKCTIMp B nepeBone BopMca HacrepnaKa, crp. 55.

32 Pe3n0B B51pa3M11 CBOIO M51C115 cnenyromMM 06paBOM: «“BKcneCCBI” nepeBona
— pe3y115rar HepaIIMOHaJIbHOTO MCIIOIIb3OBaHMH nepeBonHMKOM CBoeTo TpOManHOTO
cnOBecnOTO 3anaca. He 0 6enHOCTM n35nca, a 06 M 3 6 51 T K e eTO B03MorKnocreM an
nenocraroqno CTpOTOM OTOOpe cnOB CBMneTenbchyIOT “neKCMHeCKMC” nsrncyCBI M
HeynaqM nepeBona» (55).

53

IIOC'I‘OMHCTBO nepeBonOB. HeBMK )KC CIIMTan, HTO HacrepnaK COHMBMH Tonoca
nepconarKeM.

KpMTMKM pa301n1IMCB B onenKe nepeBonOB KnroneBbtx cnen M MononOTOB n5ec.
Hanpmep, O nepeBone MononOTa Tamera «135rr5 M11M He 65115» rmcanM cnenytomee:
«HorKanyM, nyume tIeM RM 651 To 1111 651no npyTMM nepeBeneH HacrepnaKOM M MOHO1IOT
“135115 M1111 He 651r5”» (ConOB5eB, 222); «...nnmrercn, norKanyM, caM51M cna65IM MeCTOM
nepeBona>>33 (MopoaoB); «...B51351BaeT cep5e31151e Bo3parKeH1151» (T aprK, 132). BMJIbHM-
BM115MOHT yTBepxcnan, HTO HMKOTna no nepeBonOB HacrepnaKa MononorM Tamera «...ne
3Byna1m Ha pyCCKOM 1135n<e TaK TnyOOKO M nponvncn0Be1nro» (290).

HpOTMnononorKHBI MHCHMH KpMTm<OB M O nepeBone paCCKa3a TeprpynBI o eMepTM
OcpenMM: «...BCHMKOHCIIHO ynancn HacrepnaKy, nanpmep, MononOT TepIpynBI,
paCCKa351Ba10n1eM o eMepTM OtpenMM, Tne B nepeBone anytmr My351Ka crpamnmx
anTnMMCKMX 6a1111an, My351Ka aHTnMMCKOM HaponnoM n033MM...»34 (MOpO3OB); «IITO B
nepenaqe HacrepnaKa neMCTBMTe115Ho npeBocxonno — 3T0 paCCKa3 KoponeB51 o TMOenM
OdrenMM, IIMIIICHHBIM KaKMX 651 To HM 651110 caMquHnBIx napquTBIx «cnwKeHMM» M
Mcnonnenn51M OTpOMnOTO 11MpM3Ma; 310T paCCKa3 He weer ce6e paBHBIx HM B OIIHOM
npyTOM npOMBBeneHMM» (ConOB5eB, 231-32); «HocannoM M anoM Heynaqu 3Byqar B
nepeBone HacrepnaKa 3HaMeHMT51e cnOBa, B KOTOp5Ix KoponeBa onMC5IBaeT CMepT5

OcpenMM» (AneKCCeB, 16).

 

33 MopO3OB. IIIeKCHMp B nepeBone Bopnca HacrepnaKa, crp. 57.

84 TaM )KC, crp. 57.

54

Pa30mnMC5 KpMTMKM TaKrKe B oneHKe IOMOpa HacrepnaKa. MopO3OB Ha3Ban
HacrepnaKa «HaerosnnMM MacrepOM IOMopa».85 BMHbHM-BMHBMOHT yrBepxnan, trro
HononMM no HacrepnaKa HMKOTna He TOBopMn TaK CMemno. B To me BpeMH y TaprKa
IOMopMchHCCKm cneH51 «Tamera» He B51351Ba11M CMexa, a Penn nOCHMTan neynaHH51M
nepeBon xapaKTepnOTo aHTnMMCKOTo IOMopa 3TOM 115e051.86

He 651110 CIIMHOTJIaCMH MerKny KpMTMKaMM M B oneHKe chnn nepeBonOB B nenOM M
nepeBonquKMX annIIMIIOB HacrepnaKa. Herm, HeBMK M orqach TaprK CIIMTanM, qro
nepeBon51 HacrepnaKa cyOBeKrMBHBI (OCOOeHHO 3TO Kacaercn «TaM11eTa») M B HMX
orpasMncn CTM115 opMTMnanBHOTO TBoptIecha HacrepnaKa. B To me BpeMsr AXMaTOBa,
Pe3nOB M AHMKCT, neCMorpn Ha necxorkecr5 Mx MnenMM o KaHeCTBe nacrepHaKOBCKOTo
«TaM11eTa», 6511111 yOCrKneHBI, Irro nepeBon ne COHCpXMT t1epr51 OpMT11na115nOTo
TBopquTBa HacrepnaKa. 37 XMHTnM CtIMTan, qro CTM115 nepeBonOB COOTBeTchyeT
noanneMy rBopqechy HacrepnaKa, xorn CTM115 eTO paHneTo rBopqecha 6111130K K CTM1no

IIIeKchpa.88

 

35 TaM )KC, 0111.61.

86 “The marvel is that — save in passages of especially English humor like the
grave-diggers scene in Hamlet — Pasternak loses so little” (Wrenn, “Boris
Pasternak,”95).

37 BOT HeCKon5Ko anMCpOB nporMBopenMB51x 3a11BneHMM KpMTMKOB:
«[HacrepHaK. — C.H.] nepeBonMJI IIIeKchpa TeM )Ke n35n<0M, KOTOp51M 1111can caM, — M
neKCquCKM, M MnrOHanMOHHO, M CTM11MCTMI1eCKM» (HeBMn, 24); «3T0 He COBceM
meKchpOBCKMM Tamer» (TaprK, 129); «1111qu0 nacrepnaKOBCKOTo» (AxMaTOBa — no
BOCIIOMMHaHMHM IIyKOBCKOM, 90).

83 Hingley, “Pasternak’s Shakespeare,” 22. CxorKee HaOmonenMO cnenan
T Mcpdropn: “For him [Pasternak — S.P.] ‘the highest poetry’ in Shakespeare alternates
with ‘undisguised rhetoric, piling up a dozen empty circumlocutions instead of the one
word on the tip of the author’s tongue which in his haste he did not find’. This comment
on Shakespeare is oddly similar to Shklovsky’s on Pasternak: ‘He spoke as usual, threw

55

1501151ne BceTO cnopOB B513Ban nepeBon «Tamera». B eTO ana11113e 651110
xapaKTepnO HpOTMBOHOCTaBHHTb HpMHIIMII «Tearpa115noro» nepeBona HacrepnaKa
«aKaneMMtIeCKOMy» annnMny HO3MHCKOTO (ConOB5eB, Mopo3OB, BM115nM-BM115MOHT,
HCBMK).89 ConOB5eB OTnan npennhoeHMO HO3MHCKOMy; BMHbHM-BMHbMOHT M Mopo3OB
— HacrepnaKy. HeBMK OTpMnan 06a anHIIMHa. OOpanlenne HacrepnaKa C IHeKCHMpOM
nanOMHMJIO ConOB5eBy M HeBMny Manepy HoneBOTo. Ho ConOB5eBy, CBOOOnnoe
oOpamenMC HacTepnaKa C OpMTMHanOM — «npOM3Bon» (230), a no AnexceeBy —
«norman l'l‘pOMBBOHbHOCTb MnrepnperanMM» (15). OnnaKO <Dp3nc npenynpexcnana
mareneM, qro “...it should be kept in mind that Pasternak’s willfulness and freedom as a
translator can be, and sometimes have been, exaggerated” (12), a HeBM OTneC HacrepnaKa
K nytmlMM M caM51M TOttHBIM nepeBonHMKaM IHeKCIIMpa.

HeynatIHBIM, ManoynaHnBIM M11M neCOBepIneHn51M nepeBon «Tamera» CHMTanM
Pe3nOB, AneKceeB, HeBMK, HeBMn, T aprK M erm, ynaHeM M 3aC11yTOM Hacrepnaxa —
TM3eHTay3eH, BOpOBoM, BMIIbSIM-BMIIBMOH'I‘ M MOpO3OB. B51COKyIO 06111y10 onenKy
nepeBonaM na11M MopoaoB, H106MMOB, O3epOB, Penn M HeBM.

BOIIbIIIOC KOIIMHCCTBO pa3HOTnaCMM B513Bana HaCTCpHaKOBCKaH MnrepnperauMH

06pa3a TaMneTa. MOpO3OB CqMTaH naCTepnaKOBCKOTO Tamera aneKBaTHBIM

 

put his words in a dense throng to one side and the other, but the most important thing
was not said’.” (150-151).

39 0115Ta AXMaHOBa M Benra 3anopHOBa, pacnpenenMB pyccme nepeBon51 no
TpeM prrmaM: nenaHrMHeCKm, M1111 6111431046 K OerMnany; CB060111151e M
KOMIIpOMMCCHBIe, ornocnr nepeBon51 HacrepnaKa KO BropoM prnne BMecre C
nepeBonaMM HoneBOTO, H. THethIa M A. MeCKOBCKOTO, a nepeBon51 HO3MHCKOTO — K
nepBOM. CM. Olga Akhmanova and Velta Zadornova, “The Present State of Shakespeare
Translation in the USSR (Russian Translations of Shakespeare),” Shakespeare
Translation 2 (1975): 40.

56

OpMTMnany.90 Mnome KpMTMKM, onnaKO, yTBeernanM, HTO HacrepnaK CO3nan
cy6'5eKTMBHbIM 06pa3 Tamera M OCOBpeMCHMJI eTo. Pe3nOB yBMnen B T amere
HacrepnaKa OITHOBpCMCHHO «(peonana-préona» M «pa3n0t111nna-1mre1111111‘enra XX
mm» (54), a MapKOB 3merM11 B neM ‘16me, OCOBpCMCHMBaIOIIIMC eTO M c61111xa1011me C
HacrepnaKOM. O cy65eKrMBnoM MnrepnperanMM Tamera 1111ca1n1 raKxe TaKMC
wepMKancme MccnenOBarenM, KaK (Dpanc, Poy, KneMTOH M (DneMInMan. (bpanc CBn3a11a
naCTepHaKOBCKOTO Tamera c XpMCTOM, KneMTOH — c COBpeMenH51M TMnOM «HMIIIHeTO
HenOBeKa», (DneMlnMan — c «11111nHMM Hen0BeKOM», a TaK1Ke TepoeM neOKonueHnoro
pOMana HacrepnaKa HanMKOM.

HpoconMM M qropMe nepeBonOB yIICJIHHOCb Men5111e BrnmaHMH, neM n35ncy. Pe3nOB
OTMCTMH xoponIMM pMTM «Tamera». (Dpanc anmna K B51Bony, trro HacrepnaK 65111
Toqen B nepenaqe (popMBI OpMTMnanOB, xorn pMTM eTO nepeBonOB 60nee ynopnnoqen,
neM pMTM OpMTMHaHOB. MneHMC (Dpanc pa3ne111111 TMcbtpopn.91 (Dpanc M H106MMOB
yKa3a11M Ha 3aMCnaren5nyIO 3ByK0nMC5 HacrepnaKa.

KaK BMnno M3 CKa3aHnOTO, MHCHMH KpMTMKOB pa30n111MC5 no BceM nyrmraM.
HeKorOp51e pa60r51 naBonnT Ha MbICHb, HTO KpMTMKaM 6511111 xopomo 3HaKOM51 111160
T0115KO nonnMnHMKM, 111160 nepeBon51. AneKceeB nMTMpOBan He na anTnMMCKMM reKCT, a
pyCCKMM nonCTpOttnMK. ConOB5eB cpaBH11n nBa nepeBona «Tamera» (HacrepnaKa M

HOBMHCKOTO), no 1111 pa3y He cocnancn Ha opMTMnan. XMnT1n1 M Poy B CBOMx B51Bonax

 

90 «Y HacrepnaKa on [Tamer — C.H.] 3nepTMt11151M, nOJIHOKpOBHBIM, a TnaBnoe
— onenB M o 11 o n o M M OOaHTeanBIM HenOBeK; onnMM cnOBOM, cornacno crapMnnOM
TearpaanoM TpallMllMM, BocxonsnneM 6ynTo 651 K 3noxe IHeKchpa, npencraer
“MOHOIIbIM HenOBeKOM, nenrenbnblM M MnOTOOOenIalonIMM”» (MopO3OB. «TaM11er» B
nepeBone BopMca HacrepnaKa, crp. 145).

9‘ TMcpcpopn OTMeTMn: “...The structure though more spare is in no way distorted”
(152).

57

CC5111a11MC5 Ha <Dp3nc. B pa60rax Pe3nOBa, AneKceeBa, HeBMKa M T aprKa 3aMeTHa
TenneHnMO3HOCT5: O nenocrarKax 01111 111mm MnOTO M KOHerTHO, a o nOCTOMnchax —
HMHeTO M1111 B OHeHB 061111111 cnOBax.

Hacr5 pacxoxcneHMM KpMTMKOB B oneHKe «Tamera» MorKeT 651T5 065ncnena TeM,
HTO KpMTMKM tmranM pa3n51e BapMaHT51 nepeBona. BOHbIIIMHCTBO 3aMCHaHMM nepB51x
KpMTMKOB HacrepnaKa nenanOCB no npoqreHMM )KypHaJIbHOTO BapMaHra. (Dpanc paOOrana
C TeKCTOM 1953 n92 M nenana B51Bon51 Ha OCHOBaHMM ana11113a 3TOTO reKCTa (C yquOM
neKorop51x npenmeCTByIOInMx), B To BpCMH KaK caM51M nocnennMM BapMaHT nepeBona

65111 naneqaran B 1968 T.

 

92 CM: France, Pasternak ’s Translations of Shakespeare, 18.

THABA II

H3bIKOBOE CBOEOBPABME HEPEBOHOB
HeKCMKa
OnnMM M3 BarKneMInMx MepMn KaHeCTBa nepeBona HBJIHCTCH 60TaTCTBO M
pa3n06pa3Me eTO neKCMKM, OCOOCHHO KOTna 3T0 Kacaercn nepeBona IHeKCHMpa, I1eM
neKCMKOH CHMTaercn onnMM M3 60TaTeMInMx B MMpOBOM nMTepaType. Ha1111q11e 60115mOTO
KOITMHeCTBa cvn10HMMMt1nBIx CHOB B nepeBonax annercn nOKa3aTeneM Mx KatIeCTBa.l O
BarKnOCTM CMHOHMMMKM y IHeKchpa HacrepnaK 11110a11 B CBOMx «3aMeTKax O
IIIeKchpe»:
B Tamere nBaxan [y HacrepnaKa nponymeno CKa3yeM0e. — C.H.]
06pa3 cnyxa 3pMTeneM, paCKaHbIBaCMOTO TpOMOI‘IIaCHOCTbIO. Ho MorKnO

65115 yBepeHHBIM, Hro ech B OIIHOM cnyqae on CKarKer cleave, TO B
npyTOM 3T0 6yner split.2

HacrepnaK Mnorna narxe men na1151ne IHeKchpa B Mcnon530BaHMM CMHOHMMOB:
ech y IIIeKCIIMpa nepenylorca Te )Ke cnOBa M1111 B KaHeCTBe CMnOHMMOB BBICTynaIOT
onncaren5n51e drpa351, To y HacrepnaKa OHM, KaK npaBMno, 3aMeHeH51 cnOBaMM-

CMHOHMMflMMZ

 

’ O BarKnoch OOTaTCTBa cnOBapn nepeBonHMKa, B TOM qMCHe pa3n006pa3MM
CMnOHMMOB 111151 KaHeCTBa nepeBona, 1n1can IIyKOBCKMM (CM.: HyKOBCKMM, BbICOKOC

MCKyCCTBO. crp. 47, 280).

2 3aMCTKM O IHeKchpe. — C06p. com, T. IV, crp. 689. «3aMCTKM O IIIeKCIIMpe»
HBJ'IHIOTCH qepHOBBIMM BaIMCHMM HacrepnaKa, Korop51e OH nenan BO BpCMH pa60r51 Han
nepeBonOM «TaMHeTa» M «POMeO M ny115err51».

58

59

«Tamer»: “If you have hitherto concealed this sight, [Let Q
tenable in your silence still...” (1.2, 1071) — «KaK B51 CKp51Ba11M cnyan
no em nop, [TaK 'I‘O‘IHO M Bnepen eTO '_r_a_M_T_§» (Tamer, 24);

«AHTOHMM M Kneonarpa»: “Why, then, we m our women. ...if
they suffer our departure, death’s the wor ” (1.2, 1300) — «310 m
HarnMx )KCHIIIMH. Ham or5e3n nOKOHaeT Mx» (3H06ap6, 248); “Antony:
Dead, then? — Mardian: M” (4.14, 1334) — «Anmonuii: KaK,
Kneonarpa yMCpna? — Mapduan: CKOHtIanaC5» (424); “He words me,
girls, he words me, that I should not /Be noble to myself” (5.2, 1341) —
«KaK on BMnneT,/ KaK on M...» (Kneonarpa, 461);

«Kopon5 HMp»: “They durst not do ‘t! They could not, would not
do ‘t” (2.4, 1189) — «OHM ne pglIIMJIMCb, He MOT11M,/ He nOKyCMnMCB 651»

 

(HMp, 478).
K HICKCHMpOBCKMM nOBropaM (dead — dead, words —— words) HacrepnaK
nonoOpan CMHOHMMMHn51e cnOBa: yMepna — CKOannaCB, BMJIHCT — IOJIMT.

Onncaren5HB1e (ppa351 OH 3aMeHM11 OTne1151151MM CHOBaMM-CMHOHMMEIMM. Tne y IIIeKCHMpa
Ha60p cnOB, nepenaroumx enMHMtInoe neMCTBMe (“let it be tenable in your silence” —
6yKBa115n0: nycr5 3T0 6yner HaIICXCHbIM B BatneM MOINaHMM), TaM y HacrepnaKa 011110
cnOBO — «TaMre». Tne y IIIeKchpa CTM11MCTMHeCKM neMTpanBHbIe Mona.115H51e TnaT01151
— “durst not”, “could not”, “would not”, — TaM y HacrepnaKa 3M01n10na115no
OKpameHHBIe TJIaTOJIbI B thrnoM (popMe — «peIIIM11MC5», «nOKyCM11MC5».

HacrepnaK yMenO Menon53OBa11 pa311MHnyro CTM11MCTMHeCKy10 TOHMpOBaHHOCT5
CMHOHMMOB. B cnenytomeM npmepe on orTeHMJI pnn0M crosmme CMHOHMMBI M3 pa3n51x
crmmchquKMx nnaCTOB: “Ghost: Pity me not, but lend thy serious hearing [To what I
shall unfold. Hamlet: Speak. I am bound to hear” (1075) — «IIpu3parc: He corKaneM, no
8361311051 BceM nymoro /M B51c1_1y_1naM. TaM/rem: Bn1mar5 Te6e — MOM now» (33). Bropoe
cnOBO («BHMMEITB») nocpenchOM B51COKOTO CTMJIMCTW-ICCKOI‘O 3By11an1151 nonqepKMBaeT
cep5e3nocr5 MOMenTa M CBIHOBHIOIO IIO‘ITMTCHbHOCTb Tamera, qro yCMJIMBaCTCH TaK1Ke

cnOBOM «norm», He MMCIOHICM 3KBMBa11eHTa B opMTMnane. IIpmivr HpMMCpOM BbllICHeHMH

60

3Hatmre115noch cnOBa nocpenCTBOM nOB511neHMH eTO 3M011110nan5nO-3KcnpeCCMBHOTO
sBytIaHMM B cpaBnenMM CO CTM11MCTMHCCKM HeMrpa115HBIM CMnOHMMOM annercn
06pa1neHI1e PeTa1151 K 311MOHny, KOTOpOTo OHa ny6nM11no 065anner CBOMM «TocnOIIMHOM
M cynpyTOM»: “General” (Lear, 5.3, 1214) — «BOMTe115 MOM» (554). HO 3TOTO ona
Ha3Bana eTo «nonKOBonneM»: “He led our powers” (Lear, 5.3, 1214) — «On nOIH<OBonen
MOM» (554). XO'I‘H “general” COOTBeTCTByeT pyCCKOMy cnOBy «n01n(OBonen», HacrepnaK
He nOBTOpMn mom, a anOeT K eTo Oonee B03B51me1n10My CMHOHImy, cnocoOCTByIOIneMy
CMeHe 111110an M onpenenenMIO B3aMMOTOHon1eHMM MCXIIy nepconarxaMM:
ToereCTBennoe cnOBO B ycrax PeTaHBI TOBopMT 0 cc oc0651x 11me K 3nMOHny.
3neC5 onsrr5 Bnnna Tennemmn HacrepnaKa 3aMCHHTb on11care115H51e cppaBBI (“lend thy
serious hearing”, “he led our powers”) 011mm cnOBOM.

HacrepnaK oOparMn BHMMEIHMC Ha CMnOHMMMKy He T0115Ko 611MBCT011111MX cnOB.
TaKOM HeanaIIMTeanmM nepconark «Koponn HMpa», KaK Tep0115n, KOTOp51M c351BaeT
HpO’I‘MBHMKOB Ha noenMHOK, y HacrepnaKa B pa31151x Mecrax Ha3Ban nO-paBHOMy:
TnamaTaM (3nrap, 549), Tep0115n (31mm, 550), rpyan (OtpMnep, 556). B opMTMHane on
TO115KO “herold”, (B neKOTOp51x Mecrax Ha Mecre naCTepHaKOBCKOTo <<pr6atra» CTOMT
“trumpet”). OxpaHnMKM Hyrncana B «MaKOere» B nepeBone Ha3BaH51 «opyrkenocnaMM»,
«cnyraMM», «croporKaMM» M «cnan5nMKam», qro COOTBeTCTByer cnOBaM “chamberlains”
(1.7, 1230) M “grooms” M11M cnOBOCOtIeTaHMHM; “those sleepy two/ Of his own chamber”
(1.7, 1230), “those of his chamber” (2.3, 1234).

HacrepnaK Mcn01153OBan pa31n1m1y10 CTM11MCTMHeCKyIO OKpaIIICHHOCTb CMnOHMMOB
111151 xapaKTepM3anMM nepconaxeM. Hanpmep, MaKOeT an nepBOM Bcrpetre c Ben5MaMM

na351BaeT Mx «Tana115n1MI1aMM» (578) — “imperfect speakers” (1.3, 1225), 3areM B

61

Mononore on ynOMMnaer Mx KaK «Kynechn» (609); B OpMTMHane — “sisters” M “they”. C
pOCTOM caM0yBepeHnOCTM, HaIIMCHHOCTM M )KCCTOKOC'I‘M MaK6eTa Mennercn eTO
06pa1ne1111e K OprrKanmMM: B eTo nocnenneM BCTpeIIe c BenBMaMM, Tne eTo npoc56a
3BquT 601mme KaK anKaB, on oOparnaercn K HMM npene6perKMre115nO-BBICOKOMepHO:
nepTOBKM: “you secret, black, and midnight hags” (4.1, 1243) — «qu 3anar51, annBIe
B51 HepIOBKM?» (629). HacrepnaK ne nepeBen 6yKBa115HO cnOBa “sisters” M “they”,
3aMCHMB Mx cnOBOM «KynechII5I». TaKMC 3aMen51 MecromeHMM M ormcare115H51x (ppa3
caMocronTe1151151MM cymeCTBMTCJIBnBIMM cnOCOOCTBOBanM 6011ee KOHerTHOMy
onpenenenMIO nroneM M HpCIIMCTOB, HeM B orne115n51x Mecrax OpMTMHaJIOB.

CnOBapnoe 60TarCTBO nepeBonOB noanepxnaIOT TaK1Ke nepeBoan Knroqubrx
cnOB 115cc, xapaKTepM3y101nMX KaKOC-1m60 BEDKHOC anenne, KaK, K npmepy,
cwacmechMe T men. 0 cyMacmeCTBMM TaMneTa HOJIOHMM nepeBona TOBOpMT
cnenyIOInMMM cnOBaMM M qrpa3aMM;

“Mad for thy love” (2.1, 1078) — «OT CTpaCTM 06e3yMen?» (44); “This is
the very ecstasy of love” (2.1, 1078) —— «B3p51B nIOOOBHOTo 6e3yMCTBa»
(45); “That hath made him mad” (2.2, 1079) — «BOT on M cm!» (45);
“Your noble son is mad. /Mad call I it, for, to define true madness, /What
is ‘t but to be nothing else but mad?” (2.2, 1080) — «Bam 05m comen c
yMa. /C yM3, CKa3an 11, M60 gMacmemnMM/ M ecr5 1111110, comenmee c
yMa» (49); “That he’s mad, ‘tis true” (2.2, 1080) — «qu on nOMenIan —
cpaKT» (49); “Though this be madness” (2.2, 1081) — «ECHM 3T0 M
Ocame» (53); “madness” (2.2, 1081) — «nono same» (53); “I have

found/ The very cause of Hamlet’s lunacy” (2.2, 1079) — «Yanan
antIMHy T amerOB51x OrgfleM» (47).

 

 

TaKoe pa3n006pa3Me CMHOHMMOB B peIIM HOJIOHMH xapaKTepMayeT eTO KaK BMpryO3a
51351Ka, B rmece KOHKprpyIOIIICI‘O B 3TOM 06naCTM Ton5KO C TaM11eTOM. prTMC
nepconarKM nononnsnor pa3n006pa3Me CMHOHMMOB cnOBa «cyMacmenInMM» M eTO

onnoxopenn51x:

62

“your son’s distemper” (2.2, 1079) — «Ha neM Ban] 05m Hecnacran
HOMCIIIaJICSI» (KoponB, 48); “my wit is diseased” (3.2, 1093) — «y Menn
MO3TM He B nOpnnKe» (Tamer, 88); “This bodiless creation ecstasy /Is very
cunning in” (2.2, 1079) — «Ho qaCTM HyXOB 6e11a11 Topma /Bon51nOM
MCKyCHMK» (KoponeBa, 100).

 

 

y HacrepnaKa B naHHOM cnyqae CMHOHMMMHCCKMM pan naxe 111Mpe, HeM y
IIIeKchpa, KOTOp51M B OCHOBHOM Mcn01153OBan nBa 01n10KopeHHb1x cnOBa — “mad” M
“madness”. HacrepnaK anMnyn CTM11MCTMHeCKMM cneKTp CMHOHMMOB B cropony
npocropetmn: «cnsrmn», «MO3TM He B nopsInKe»; «6enan TomeKa» (MenvaHCKMM
TepMMn, KOTOp51M HacrepnaK ynorpe6M11 B npOCTOpeHHOM CM51C11e).

H35n< 115cc IIIeKCIIMpa 60Tar ne T0115Ko 3a CHeT cnOB, cymechOBaBInMx B
a1nm1MCKOM 11351Ke B e11113aBeTMnCKoe BpCMH, no M 3a cqer HeOJIOTMBMOB.3 OnnaKO
HacrepnaK B CBOMx nepeBonax He nepenan IneKchpOBCKyIO neonOTM3a1n110. B nepeBonax
MOXCHO HaMTM COBceM HeMnOTo HecnOBapH51x cnOB: «CBepxcararmnCTBo»,
«CBepmeTnannen» M «6e3naua115e». OCOOeHHOCTBIO cnOBa «6e3naqa115e» B nepeBone
HacrepnaKa SIBHHCTCH To, qro HacrepnaK 06511‘pa11 eTO nBOMnoe IIpOMCXOXJICHMC -— OT
«nanano» M or «Hatia115HMK» (OTcyTCTBMe HaHa115HMKa, BerOBHoM Bnach), TaKMM
06pa30M annaB cnOBy ne1151M cneKTp 3HaHeHMM — 6e3BpeMe115e, xaoc, 6ecnopnnOK,
6e3Bnacrbe: “O my poor kingdom, sick with civil blows! /When that my care could not

withhold thy riots, /What wilt thou do when riot is thy care?” (2H4, 4.5, 840) —- «KOTna

 

3 IIIeKchpOBen51 pacxonnrcn B KOJIMHeCTBe coanaHanx IIIeKchpOM cnOB. B.
Tapnep IICquMCJIMJI 600 neonOTM3MOB IIIeKchpa, 06pa3OBannBIx OT HaTMHCKMX KopHeM
[CM.: Bryan A. Garner, “Shakespeare’s Latinate Neologisms,” in A Reader in the
Language of Shakespearean Drama, comp. Vivian Salmon and Edwina Burness
(Amsterdam: John Benjamins Publishing Co., 1987), 207-15]. Ho MnenMIO T apnepa,
KoanechO neonOTM3MOB IIIeKchpa, yKa3annoe BeMnM, — 9450 cnOB — 3natIMTe115HO
3aBBImenO [Harold Bayley, The Shakespeare Symphony (London: Chapman & Hall,

1906)].

63

M 51 He cnac CBoeM 3a60TOM [T e651 OT 6e3naqa115n, 6e1n151M KpaM, [HeCHaCTn0e, 60115H0e
KoponeBCTBo, [Hro cranercn c TOOOIO B 1111M, KOTna fTBoeM 3aO'OTOM craner 6e3naqa115e?»
(Kop0115 TerMx IV, 401). HCCMOTpH Ha nathme B nepeBonax 3TMx HCOOH‘HibIX cnOB,
nen53n CKa3aT5, qro HacrepnaK crpemncn nepenar5 neonOTM3anMIO IIIeKchpa, TaK KaK
on He non530Bancn meKCIIMpOBCKMMM cnOBOOOpa3OBaTe115115n1M cnocoOaMM M He
Kmmp0Ban eTo HeonorM3M51: “It out-Herods Herod” (Ham, 3.2, 1088) —— «Bro y)K

KaK0e-TO CBepxcaTaHMHcho» (Tamer, 75); “that sprightly Scot of Scots” (1H4, 2.4, 781)

 

— «3TOT CBepmeTnanneu Hyrnac» ((Danbcracp, 246). BOHbIIIaH Hacr5 HOBOBBeneHH51x

 

IIIeKC11MpOM CHOB B «POMeo M nynberre», mnpmep, nocrpoena nocpenchOM
CHOXCHMH annaTaTeanOTo c anHacrneM: fiery-footed4 (OTneHnOHOTMM). PyCCKMM 1135n<
HOBBOJIHCT C03na1111e TaKMx cnOB, HO HacrepnaK He Mcn011530Ban 3Ty BO3MorKHOCT5.5
MHOIO naMnen T0115Ko onMn npmep HOI'IbITKM HacrepnaKa nepenar5 IneKchpOBCKyIO
neOJIOTM3anMIO — 06pa3OBaHI1e TnaTona or cymechMTen5HOTO: “we do sugar o’er The
devil himself” (3.1, 1087) — «HpM cnyHae M Hepra caMOTO /OOCaxapMM» (Honomdi, 70).

O 60TaTCTBe n35n<a HaCTCpHaKOBCKMX nepeBonOB TOBOpMT TaK)Ke 6o115mOM
CTM1n1C1quCKMM cneKTp CJIOBapH — OT npocropeanIx cnOB M By115TapM3MOB no

apxaM3MOB M CHaBHHM3MOB. 3neC5 B onenKe nepeBonOB IIIeKchpa BO3HMKaIOT

OO'bCKTMBIIbIC BanynHCIMH, THaBHbIM M3 KOTOprX HBHHCTCH TO, HTO B HICKCIIMPOBCHCHMM

 

4 MBch OTMC'I’MII, qTO «POMeo M HrKynberTa» conep>KMT OCOOeHnO 601151noe
KOJIMHCCTBO raKMX neon0TM3MOB [CM.: B. Ifor Evans, The Language of Shakespeare’s
Plays (Londonz'Methuen & Co. Ltd., 1952), 169].

5 M3 pyCCKMX nepeBonHMKOB IIIeKchpa OTpa3MT5 cnOBorBopHecho KaK onny M3
ocoOennocreM CTMHH IIIeKCIIMpa nOIIBITancn O. COpOKa B nepeBone «Koponn HMpa»
(CM.: 0. CopOKa. BaHeM HMpy nBeT51? 3aMeTKM nepeBontIMKa. — <<OKTn6p5», 1982, NQ

3, crp. 189).

64

Her enMnOTO MHCHMH, naCKon5KO 1135n< n5ec IHeKchpa 65m pa3TOBop1151M M
npocropenn51M.6 COBpeMeHnOMy maTCIHO-BPMTCHIO n35n< n5ec IIIeKCIIMpa KarKercn
M311M1nne B51cnpenn51M M MCKyCCTBeHn51M, TaK KaK on 65111 nonBeereH BHMHHMIO
pMTOpMKM, — n03TOMy ToereCTBeImocrb y IIIeKchpa nepenKO B51crynaer Ha nepB51M
nnan M OC’I‘aBHHCT B TeHM npocropetme. IIIeKchp annaBan B51COK0e 3Byna1n1e TonocaM
TepoeB He cron5KO C nOMOIn510 apxaM3MOB, CKon5Ko 3a cqer pa31111111151x pMTOqueCKMx
(pMTyp, a TaK1Ke naTMH113MOB, MHOI‘MC M3 Korop51x 6511111 eTo HOBOOOpaSOBaHMHMM.
PyCCKMM 1135n< He B COCTOHHMM aneKBaTHO OTpa3MT5 3Ty OCOOeHHOCT5 CTM1111 IIIeKchpa,
TaK KaK nar51115 B POCCMM He MTpana TOM po1111, KaKyIO OHa MTpana na 3anane M B
KarormneCKMX crpanax. B POCCMM ee Mecro 3an1151a11 nepKOBno-CnaBHHCKMM n35n(,
poncheHHBrM pyCCKOMy M 3By11a1nMM apxaMHHO B COBpeMeHnOM TeKCTe. H03TOMy

eCTeCTBeHnO, HTO HacrepnaK nepenaBan B51COKMM CTM11MCTMIICCKMM C110M

 

6 B IneKchpOBenenMM KnaCCMHeCKOM anonomeM IIIeKchpa KaK naponnoro
rmcarenn annercn C’I‘aTbH YMnCOHa “Shakespeare and the Diction of Common Life”, B
KoropoM OH 1111ca11: “The conditions of Shakespeare’s art as a dramatist did not permit
him to stray far from popular idiom, but even if they had his mind was of a cast that
would still have found the material upon which it worked mainly in the diction of
common life” [F.P. Wilson, Shakespeare and the Diction of Common Life (London:
Humbhrey Milford Amen House, EC, 1941), 5]. Mnenne YMncona pa3nensnor npyrne
IneKchpOBen51 [CM., HaanMCp: D.S. Bland, “Shakespeare and the ‘Ordinary’ Word,” in
A Reader in the Language of Shakespearean Drama, 23 8]. OnnaKO neKOTOpBIe
IneKchpOBenBI He CHMTaIOT 1135111 Ulexchpa pa3TOBopHBIM: “Quite apart from artificial
conventions of language in the Elizabethan period, Shakespeare’s language was less
colloquial than that of many contemporaries” [N.F. Blake, Shakespeare ’s Language: An
Introduction (New York: St. Martin’s Press, 1983), 29]. Hacr5 meKchpOBenOB Bonpoc o
pa3TOBOpHOCTM 1135n<a IIIeKchpa CHMTaer HepemeHnBIM BBMny eTo neonocraroqnoM
M3yqe1n10ch: “it seems that, in the absence of Objective criteria for describing colloquial
English of the period, assesments of his style as realistic or artificial must depend on
critical intuitions which may differ widely” [Vivian Salmon, “Elizabethan Colloquial
English in the Falstaff Plays,” in A Reader in the Language of Shakespearean Drama,
37]. “It is probably impossible for us now to recreate the spoken English of lower-class
life in Shakespeare’s time, especially its grammar and syntax — vocabulary is easier.”
[S.S. Hussey, The Literary Language of Shakespeare (London: Longman, 1982), 141].

65

IIICKCIIMPOBCKOI‘O CHOBapH C HOMOIIIbIO CHaBHHMBMOB M apxaM3MOBI BOHMCT, THaBa, CTCBH,
COHM M Hp..

«Tamer»: “Cry to be heard, as ‘twere from heaven to earth” (4.5,
1 104) — «Bee 3T0 B01111er C ne6ec Ha 3eM1no» (Haapr, 121);
_ «AHTOHMM M Kneonarpa»: “looked over Caesar’s head” (2.2, 1305)
— «C annonnnroM TnaBoM» (3n06ap6, 277); “Be’t as our gods will
have’t!” (2.1, 1305) — «y Hac onna M» (HomeM, 277); “all the
number of the stars” (3.2, 1317) — «HeCMeTHBIM COHMOM 3Be31151» (Hem,
337); “The heaven and earth may strike their sounds/ together” (4.8, 1332)
— «Hycr5 3emn M TBepgrg/ Con510r CBOM Tyn...» (AHTOHMM, 412) M np.

«MaK6eT»: “And champion me to th’ utterance!” (3.1, 1236) —
«n060peMcn, cyn56a, /He Ha )KMBOT, a Ha CMepr5!» (Mqur, 609); “And
wears upon his baby brow the round/ And top of sovereignty?” (4.1, 1244)
— «C KoponoM na maneHHeCKOM m» (Maerr, 631); “He only lived
but till he was a man” (5.8, 1254) — «On Ionomero mm M wep MereM»
(Pocc, 664).

«Kop0115 Teanx IV» (I 11.): “Let heaven kiss earth!” (1.1, 810) —
«IlyCT5 He6eca pa3Bep3HyT xnnOM Bon» (HOpTeMOepnenn, 316);

 

 

Bce cnOBa-apxaM3M51, Korop51e HacrepnaK BKmOHMn B nepeBonBI, ansnorcn
pacnpocrpaneHnBIMM nMTepaTypnBIMM «n03TM3MaMM», 3HaKOM51MM 06pa30BaHHOMy
tIMTaTenIO, M He 3a1pynnsnor BOCl'IpMHTMC reKcra. HacrepnaK CKyno non5305a11cn MMM,
BKquan Mx B TopxecheHHme petIM KoponeM M Be115MO)K COBceM He 06113are115no TaM,
Tne y IIIexchpa naTMHM3M M1111 apxaM3M. Hanpmep, HacrepnaK nepenan aOcypnnoe
CMCHICHMC B51COKOTO CTMJIH c HM3KMM B peqM HMCTOJIH, no TaM, Tne B opMTMHane H113Koe,
B nepeBone OKa3anOC5 BBICOKoe: “Falstaff: What, is the old King dead? — Pistol: As nail

in door” (2H4, 5.3, 845) — <<0anbcma¢: Crap51M Kopon5 yMep? — Hucmonb: OH

 

wep, M renep5 on — xnanHBIM rpyn» (418).

MHOTna y HacrepnaKa apxaM3M51 B CMny CBoeM petncoch (M n03TOMy BaMCTHOCTM
Ha (pone npyTMx cnOB) 06peTaIOT CMMBOJIMHCCKyIO OKpaCKy M aKneHTMpyIOT Ba1Kn51e
TeIM51 115ec. OnenB 3Haman B «Kopone HMpe» reMa nOMa M ceM5M B nepeBone

aKnenTMpyerca Onaronapsr cnOBy «KpOB»: “Rather I abjure all roofs” (2.4, 1191) — «Her,

66

nytnne 11 or 13110133 OTKa>KyC5>> (HMp, 485); “I am your host” (3.7, 1200) — «H nan BaM
£1102» (Tnocrep, 511).

ECJIM npocroperme IHeKchpa — Bonpoc cnopHBIM, To pa3TOBopnoe M
npocropeqnoe 3By11a1111e nacrepnaKOBCKMx nepeBonOB He B51351Baer HMKaKMX COMneHMM.
Pqu nepconaxeM B nepeBonax Oonee pa3TOBOpHa, neM B opvmrnanax, M 3T0 nposrnnnercn
ne T0115Ko B neKcvnce, HO M B CMHTaKCMCC. YCMneIme pa3TOBopnOCTM He HMBenMpOBano
Tonoca nepconarKeM, KaK CHMTan HeBMK,7 a HaOOOpOT, annano MM 601151ny10 creneH5
MHIIMBMIIyaJIbnOCTM. OnHaKo npocropetme M Byn5TapM3M51 xapaKTepHBI nnsr nepconarKeM
nepeBonOB B neonMnaKOBoM creneHM. KpOMe TOTO, nonsr npocropetIMSI M By115TapM3MOB OT
nepeBona K nepeBony yMeHBInaercn (3a MCKnroqermeM «Teran IV», Tne M B OpMTMnane
np03aneCKMM $135n< nepconaxeM Oonee pa3TOBOpen, neM pet15 nepconaxeM
CTMxorBopH51x n5ec). Bon51ne BceTO npocropeanIx cnOB B nepeBonax «Tamera» M
«POMeO M ny115err51», Mano — B «MaK6ere» M «HMpe», xorn, no MnenMIO HaprpMmKa
(A.C. Partridge), M3 Bcex n5ec HIeKchpa n35n< «HMpa» caM51M pa3TOBOp1151M.8
Hpocropeqnoe 3Byua1n1e «Tamera» yCMneno B 601151neM creneHM, neM npyTMx 115cc,
HCCMOTpH Ha T0, HTO HacrepnaK 3nat1MTem)HO CMHTqMH pr65m cnOBap5 «T mnera» B
penaK111111x, cnenyronth 3a )KypHaJIbeIM BapMaHTOM. M3 nepconaxeM nepeBonOB
npocropeqnbre cnOBa xapaKTepHBI npexne BceTO nnn HOHOHMH, Tamera, KopMMJ1M1151,
(Danbcracpa M eTO npy3eM. B Mecrax, Tne y IIIeKchpa (ppa3a pa3TOBopna, no cnOBa He

06n3aren5no npocropetrn51, y HacrepnaKa cnenyer orKMnaTB npocropetIMe:

 

7 CM. I TnaBy 1mccepranMM.

8 CM.: A.C. Partridge, The Language of Renaissance Poetry: Spenser,
Shakespeare, Donne, Milton (London: Andre Deutsch, 1971), 202.

67

«Tamer»: “crimes” (2.1, 1078) — «nponenKM» (HononMM, 43);
“This business is well ended” (2.2, 1080) — «C 3111M pa3Bn3a11MC5»
(HonOHMM, 49); “hath his solicitings” (2.2, 1080) — «n106e3n1111an on c
neM» (HononMM, 50); “look to it” (2.2, 1081) — «He 3eBaMTe, annrenB»
(TaM11eT, 53); “be even and direct with me” (2.2, 1082) — «6e3 M3BopOTOB
CO MHOM» (Tamer, 57); “Methinks it is like a weasel” (3.2, 1093) — «HO-
MoeMy on CMaXMBaC'I‘ Ha xop5Ka» (Tamer, 90); “Calls virtue hypocrite”
(3.4, 1096) — «IIJe115MyeT npaBny» (TaMneT, 97); “jowls” (5.1, 1108) —
«InMsIKnyn» (Tamer, 134); “Why do we wrap the gentleman in our more
rawer breath?” (5.2, 1112) — «K quy annnenM B51 3TOTO
IDKeHrnBMeHa?» (Tamer, 148).

 

 

 

Ha1111£111e B nepeBonax npocropetIHO-pr651x cnOB He OTpaHMHMBaercn pen510
yn0M11nyT51x nepconarxeM. Mx MO)KHO HaMTM TaK>Ke B peqM MnOTquCJIeHn51x
BTOpOCTeneHH51x nepconarxeM, a TaKXC B peHM )KCHIIIMH — HrKynBeTTBI, He3neM01151 M
nepenKO Kneonarp51. Hanpmep, Hrkyn5erra ynorpeOnneT C110BO «Menem5» (B 3naquMM
«TOBopMIn5») B paBTOBope C KopMMnMneM: “Blistered be thy tongue” (RJ, 3.2, 1003) —
«HTO T51 Menem5?» (beyn5erra, 229). TaKOTo pona neKCMKa ecr5 narKe B peHM KoponeM
M BenBMorK, nnn Korop51x B OpMTMHaHaX B nenOM xapaKTepeH ToprxecheHn51M
pMTOpMMCCKMM CTM115.

CnyHaM HaCTOTO ynorpe6neH11n neKOTop51x npocropeHHBIx cnOB an orcyTCTBMM
Mx nMTepaTypHBIx CMHOHMMOB B TeKCTax IIIeKchpa TOBOpHT O anBn3aHHOCTM
HacTepnaKa K npocropeqMIO. HaHpMMCp, CHOBO «TnOTKa» Bcrpeqaercn B HCCKOJIbKMX
nepeBonax, HO nMTne HeT cnOBa «Topno», xorn IneKC1n1pOBCKoe “throat” MorKHO

COBCpIIICHHO aIICKBaTHO HCpCBCCTM BTMM CHOBOMZ

«Tamer»: “lofiy and shrill-sounding throat” (1.1, 1068) —
«Heryx, pr6a11 3apM, CBoe10 TnorKOM /HpOH3MTe115nOIO 6ynMT OTO cna
/HHeBHOTo Oora» (TopanMO, 14); “an thou’lt mouth” (5.1, 1110) — «T51
nyMan TnorKoM B311T5?» (Tamer, 143); “To cut his throat i’ the church”
(4.7, 1106) — «YBMxy B nepKBM — Tnorky nepepBy» (Haapr, 127);

«AHTOHMM M Kneonarpa»: “The gold I give thee will I melt and
pour/ Down thy ill-uttering throat” (2.5, 1310) — «H 3T0 3onoro Berno
pacnnaBMr5 /M TnorKy nonnyro TBOIO 3a11510» (Kneonarpa, 300);

68

«Orenno»: “DO, with like timorous accent and dire yell” (1.1,
1 123) — «BOBCIO KquMTe. He )KaneMTe TnOTKM» (HTO, 283);
«Kopon5 T erMx IV» (H. II): “delivered o’er to the voice” (4.3,
836) — «HpOHMInaIOTCM n35n< M TnorKa» ((Danbcrad), 390).
Bo115n10e KOJIMHechO 6pannBIx cnOB M Byn5TapM3MOB B nepeBonax 06eMx HaCTeM
«T eran IV» eCTeCTBennO, TaK KaK MMM nac5nnen reKCT OpMIMHanOB: “rogue!” (1H4,
2.4, 778) —— «me151» (anHH, 235); “naughty varlet” (1H4, 2.4, 782) — «CBonoqb»
(<Da115cracp, 249) M np. B neKoropblx cnynanx Byn5TapM3M51 He COOTBeTCTByIOT cnOBaM
opMTMnana, no COOTBeTchyIOT KonreKcry: “I'll thrust my knife in your moldy chops”
(2H4, 2.4, 821) — «a nonocny Te611 CTOJIOBbIM HO)KOM no Mopge» (Hon5, 349); “Do thou
amend thy face” (1 H4, 3.3, 790) — «HaBenM nopnnOK y ce611 na p_o>Ke» (<Da115crad), 267).
HacrepnaK annan M31111mn1010 rpyOOCTB $1351Ky HTO, HTO BMIIHO M3 eTO 06pamen11M K
)KCHC: “Nay, get thee gone” (2.3, 1140) — «Ha HTO T51 Bce Toqum5?» (HTO, 329); “What
do you here alone?” (3.3, 1145) — «T51TyT onna? 321qu T51 TyT Topqmnb?» (HTO, 346).
y IIIeKchp 3Bd1eMM3M51 nepe1n<O 3aMCH$UIM neancroMnBIe cnOBa, M HacrepnaK
OTpa3M11 3T0 B nepeBonax:9
«Orenno»: “a finder out of occasions” (2.1, 1135) — «He
nponychT cnynan, t110651 ne HOHOJIbBOBaTbCSI» (HTO, 315); “For I fear
Cassio with my nightcap too” (2.1, 1135) — «HfleHCKOM HaCTM 06a
xopomM» (HTO, 316); “That he hath used thee” (1162) — «HTO 65111 c
TOOOM B cnomeHBe» (Orenno, 408).
«Kop0115 HMp»: “My father compounded with my mother under
the Dragon’s tail” (1.2, 1178) — «Oren npOKa3HMtIan c Marep510 non
coaBeanMCM HpaKOHa» (3nM0nn, 444); “But have you never found my

brother’s way/ To the forfended place?” (5.1, 1212) — «A 551 K neM
HMKOTna HC’HOQOMQaHMCb [TaMKOM or 311m?» (PeTaHa, 547).

 

 

 

9 O Mecre M pOJIM aBdreMMBMOB y IIIeKchpa rmcan prK: “There are many
euphemisms with sex in the plays. Many of these pass unnoticed today because of
changes in linguistic fashion” [G. L. Brook, The Language of Shakespeare (London:
Andre Deutsch, 1976), 56].

69

HacrepnaK an6eTa11 K 3B¢eMM3Max HEDKC B Tex cnyqanx, KOTna IHeKCIIMp ne CTHEDKMBaH
HeanthIHOCTB M CKa6pe3nocr5:

“went to a bawdy house not above once in a quarter” (1H4, 3.3, 790) —
«XonMn B nexopomMe Mecra T0115Ko no HeTBepTaM, pa3 B HeTBepTB naca»
(<Da115CTacp, 267); “Keep thy foot out of brothels” (Lear, 3.4, 1196) — «15
6eTaM 3a IOOKaMM» (31n‘ap, 500); “Why dost thou lash that whore?” (Lear,
4.6, 1208) — «T51 yIIMtIHyIO )KeHIIn/my nneTBMM /3at1eM cenemb, nonnen,
BannetInBIM Macrep?» (HMp, 536).

 

 

 

Tame CTM11MCTMHeCKm C1IOM n35n<a IHeKchpa, KaK rKapTOH (apro), cneHT M
nuaneKTMBMu, HacrepnaK He OTpa3Mn (Bnpoqu, y IIIeKchpa KonMHeCTBO 3TMX cnOB
He3natn1ren5Ho).10 M3 Bcex n5ec IIIeKCITMpa nuaneKrnan pe115 ecr5 TOJ15KO B «Kopone
HMpe» — 3T0 pa3TOBOp 31n‘apa, HpMHHBIIICTO BMII HMIneTO no MMCHM TOM, C OCBa115nOM.
B perm 3nTapa-T0Ma IIIeKCIIMp Mcn01153OBan TpatmlmonnbrM B eTO BpeMn «cnethIeCKMM»
nnaneKr, OCHOBaHn51M Ha IO)KHOM nOHnOHCKOM ImaneKre M OTnMIIaBnrMMcn or
crannaprnoro n35n<a B OCHOBHOM (ponequeCKM.ll HacrepnaK pe115 31n‘apa nepenan He
KorncpernuM 06naCTHBIM 1ma11eKTOM, a ce115CKMM npocropetmeM M B51ne111111 ee He

(pOHeTMHeCKMMM cpenchaMM, KaK y IIIeKchpa, a neKCquCKMMM:12

 

’0 Hanpmep, na 3T0 yKa3an BneMK: “. . .There is a marked absence of cant, slang
and dialect in all Shakespearean plays. NO individual is characterized as a cant or slang
speaker, though a few words from this register are found” (Blake, Shakespeare ’s
Language, 30).

’1 06 3TOM rmcan BneMK: “This dialect speech is distinguished from the standard
through differences in sound rather than in vocabulary, and these sound differences are
principally those of the consonants. ...It had become a standard feature of this stage
dialect” (Blake, Shakespeare ’s Language, 32). CM. 0 TOM >Ke y prK (Brook, The
Language of Shakespeare, 177-78).

12 HeMTOH chTaeT, qro nepeBon m‘IaJICKTHOI‘O n35n<a 1111a11eKTHBIM neBoaMoxen:
“The translation of dialect using dialect does not work” [Lauren G. Leighton, Two
Worlds, One Art: Literary Translation in Russia and America (DeKalb: Northen Illinois
University Press, 1991), 211].

70

Good gentleman, go your gait, and let poor voke pass. An chud ha' bin
zwagger'd out of my life, 'twould not ha' bin 20 long as 'tis by a vortnight.
Nay, come not near th' old man. Keep out, Che vore ye, or Ise try whether
your costard or my ballow be the harder. Chill be plain with you (Lear,
1209, 4.6, );

HpoxonM, TocnonMn xopomMM, nyTeM-nOpoerBKOM M ne CBn351BaMcsI C
npocr51M naponOM. M He nOMMHaM Mne, cnenaM MM110CT5, npo CMepT5, a To
KaK 651 BnpaBny 11 He nOMep co crpaxy. A or craquKa nona115me,
nona1151ne or CTapma, a TO 11 nBMHy Te611 no 6a1nKe ny611noM, nOCMOTpIO,
HTO ernHe. YXonM TOJIyO‘IMK, n0n06py-n03nOpOBy (3nrap, 540).

Ha npocronaponnocrb peHM nacrepnaKOBCKOTO 311Tapa yKa351Ba1OT cnenyromMe
YCTOM‘IMBBIC cnOBOCOHeTaHMH: «Tocnonnn x0pon1MM», «cnenaM mnOCTB», «nOMep CO
crpaxy»; — napn51e COHeTanMH CMnon11MMtIeCKOTO xapaKTepa: «nyTeM-nopoerBKoM»,
«nonoOpy-no3nOpOBy», — cnOBa C weanMrerIBHBIMM cycpcprcaMM: «crathIOK»,
«Tony6qMK>>; — Byn5TapM3M «6a111Ka».

ApTOTM3MOB M cneHTa y IIIeKchpa neMnOTO, no 601151ne, neM nnaneKTM3MOB.
OIIHaKO HacrepnaK He OTpa3M11 3TOT CTM1B1CTMHeCKMM nnacr OpMTMHaJIOB. Hanpmep, B
nepBOM HaCTM «T eanxa IV» ecr5 neCKOIIBKO CJIOB BOpOBCKOTo )KapTOHa: “purchase”
(naBap), “setter” (TOT, KTO CTOMT Ha crpeMe) M np.l3 HacrepnaK He nepeBen 31M cnOBa
)KapTonOM: “O, 'tis our setter. I know his voice” (1 H4, 2.2, 775) — «Bro Ham pa3Bentr1_1K.
Ero Tonoc» (l'IoMHC, 225); “Thou shalt have a share in our purchase, as I and a true man”
(1 H4, 2.1, 775) —— «KaK HeCTHBIM neMOBeK, 06e1na10 Te6e nonro B no65111e» (T enCXMn5,

14
224). 3a npenenaMM nepeBonOB OKa3a11MC5 TaKXC MananponM3M51 IIIeKCIIMpa, Korop51e,

KCT a111, BCTpC‘IaIOTCH y HCTO “1211116, HCM CHOBa BbIIIICYKafBaHHOH HCKCMKM.

 

’3 O )KapTOHM3Max IIIeKchpa CM.: S. Musgrove, “Thieves’ Cant in King Lear,” in
A Reader in the Language of Shakespearean Drama, 245-46, 250.

’4 TepMMH «MananponMBM» (“malapropism”) BBH'I‘ M3 anrnon35111noro
nMTepaTypOBenermn. On oananaer MCKOBepKannoe cnOBO Mnonawinoro HpOMCXOXlICHMH,
3By11an1ee B TaKOM BMne KOMMHHO, M 06pa3OBaH OT MMCHM nepconarxa IIIepMnaHa Mrs.

71

TnaBnoM n35n<OBOM oc06ennocr510 nepeBonOB, OTnMHanmeM Mx OT OpMTMnanOB,
HBJIHCTCH pyCCMcpMKanMSI, Koropan nenocpenCTBeHno CBn3ana C npOCTOpetIMCM, nOTOMy
qro MHOTMC npocropeHHBIe cnOBa M (ppa351, KOTOp51e Mcn011530Ban HacrepnaK B
nepeBonax, MMCIOT HMCTO pyCCKMM KonopMT. OnHMM M3 caM51x HaCT51x npocropeHnBIx
pyCM3MOB B nacrepnaKOBCKMx nepeBonax annercn cnOBO «6a6a» (C npOM3B0111151MM
cnOBaMM) B HpHMOM M nepeHOCHOM (pyTaTe115HOM) 3naHeHMHx:

«POMeo M nynBerra»: “Thy tears are womanish” (3.3, 1005) —
«Cne311MBOCT510 T51 w» (6par HopeHIIMO, 234); “you cotquean” (4.5,
1013) — «mg C npnrmoM!» (nenM KanynerTM, 255);

«AHTOHMM M Kneonarpa»: “transformed/ Into a strumpet’s fool”
(1.1, 1297) — «Ha nonorxenbe 6a65eTO myra» ((DMnOH, 233); “the devil
himself will not eat a woman” (5.2, 1342) — «He60C5 6a60M caM Hepr
IIOIIaBMHCH...» (nocensrnMH, 467);

«Orenno»: “A fellow almost damned in a fair wife” (1.1, 1122) —
«Ba6MM XBOCT» (HTO, 281); “If thou be’st valiant” (2.1, 1134) — «ECJIM
T51 He gag» (HTO, 314);

«Kop0115 Teanx IV» (I 11.): “he is as tedious/As tired horse, a
railing wife” (3.1, 786) — «OH xere 6&51 3110M» (T orcnep, 259);

«Kopon5 T eanx IV» (11 11.): “She was then a bona-roba” (3.2,
828) — «Ha, pa36MrHan 65111a 6a6eHKa» (Hlennoy, 371); “For women are
shrews” (5.2, 844) — «HTO §a_6a, TO Ben5Ma» (CaMnenc, 413); “there’s not
a better wench in England” (2.2, 817) — «He 651n0 651 nyHIneM 6_aO_g B
nenoM AnTnMM» ((Dan5cracp, 334); “Tell thou an earl his divination lies”
(1.1, 808) — «CKaJKM, HTO Tpaq) TBOM Lafia M nypaK» (HopTeM6epnenn,
315); “You see, my good wenches, how men of merit are sought afier”
(2.4, 825) — «BMnMTe, nopome 6360115KM, nlonM C 3acnyTaMM Tpe6yIOTcn
napaCXBar» (<Da1150radr, 358);

«MaK6eT»: “Lechery, sir, it provokes and unprovokes” (2.3, 1233)
— «BMHO Bener TaK1Ke K 6a6HMHaHBIo» (anBpaTHMK, 598).

 

Malaprop. HpMMCp nepeBona cnen51, coneprxameM MananponM3M51, ecr5 B qaCTM
«MI-UMBMIIyaJIM3aIIMH perm» 111 TJIaBbI nMCCCpTaIIMM, crp. 125.

72

HacrepnaK nepenKO BKpannnn B TeKCT cnOBa, OTHOCHIIIMCCH K pyCCKMM peaJIMHM.
CpenM nMx pyccme HaSBaHMH nener — «KoneMKa», «nonymKa», «rpom» — M Mep51
n111n151 — «aprnMn», «n51115», — HOHBJIHIOIIIMCCH, KaK npaBMno, B COCTaBe mom

“with no money at all” (Oth, 2.3, 1140) — «6e3 KoneMKM neHeT»
(PoanTo, 329); “not a penny” (Ham, 2.4, 997) — «He nano H11 noanM»
(KopMMnMna, 212); “Redeeming time when men think least I will” (1H4,
1.2, 770) — «BepHy 11 no non KM» (mm, 212); “A foutre for thine
office!” (2H4, 5.3, 845) — «TaK M Te6e nena!» (HMCTOJIB, 418); “Give
crowns like pins!” (2H4, 2.4, 822) —— «)KM3HM [EOE nena!» (HMcronb,
350); “Whose tongue shall ask me for one penny cost” (1 H4, 1.3, 771) —
«KTO M xorn 6 nonpOCMT» (Kop0115, 214).

B nepeBonax MOXHO BcrpeTMTB pyccme HaSBaHMH Mep: “yard” (RJ, 1.2, 984) — apmMH
(cnyTa, 175); “Not a jot more” (Ham, 5.1, 1108) — «H11 Ha 01n1y w» (T opanMO, 135).
AnTrIMMCKm Ha3BaH11n MTp HacrepnaK 3aM6HMJI pyCCKMMM:
“play at loggets” (Ham, 5.1, 1108) — «M_TpaT5 M B 6a6KM?» (Tamer,
135); “a’plays at quoits well” (2H4, 2.4, 823) — «B516MBaeT To 0 »
(<Da115cracp, 353); “and such other gambol faculties” (2H4, 2.4, 823) —
«HOTOMy HTO HOMnC MTpaeT B Hexapgy» (<Da1150racp, 353).
HpM nepeBone 06pa1neHMM M cnOB, onpenensnornMx ponCTBeHH51e OTHOIIICHMH,
HeM36ean annanMC TeKCTy KonOera npyToM Ky115ryp51; onnaKO HacrepnaK yCMnMBan
pyCCMdrMKanMIO nepeBonOB, Mcnon53yn raKne cnOBa, KaK «mprn», «recr5», «Kym» M r.n.

narxe HpM OTCyTCTBMM MX 3KBMBaJICHTOB B OpMTMHaJICZ

“That murdered my love’s cousin” (RJ, 5.3, 1017) — «MOHTeKKM 3T0,
mprna y6MMna» (HapMC, 268); “shall ransom straight/ His brother-in-
law” — «11To6 BbmyIIMHM mprna eTo» (Kop0115, 214); “how you cross my
father” (1H4, 3.1, 786) — «3aHeM B51 me 2%, MM1151M HepCM?»
(MoprMMCp, 258); “And how doth my cousin your bedfellow?” (2H4, 3.2,
826) — «Hro none1151BaeT MOH m M Bama 611aTOBepnasI?» (IIIennoy,
363); “my boy” (Lear, 1.4, 1180) — «K MaHeK» (myT, 453).

Hapnny C anTnMMCKMMM OOpaIIICHMSIMM Tvma mnenM, MMnOpn M np., HacrepnaK

Mcn011530Ban pyCCKMC: cynap51nn, cynap5 M np. AHTHMMCKMC npocropeqnbre 06pa1nenM11

73

HacrepnaK 3men11n TImMHnO pyCCKMMM, KOTOp51e nepenKO B nepeBonax 3ByHaT eme
6011ee npOCTOpean M draMMJIBSIpHO;

“honest soldier” (Ham, 1.1, 1066) — «crapMna» (Mapnenn, 8); “Good
lads” (Ham, 2.2, 1081) — «pe611ra» (TaM11eT, 54); «TOBapMIIIM» (Tamer,
59) — B OpMTMHane Her OOPameHI/IH.

CnOBa c yMeanIMTenBH51MM M1111 yBe1111qMTe115H51MM cycpcpMkcaMM annaIOT peqM
nepconarkeM pa3TOBopnOCT5 M B To rKe BpCMH pyCCKocr5, a Mnorna (paMM115npnOCT5,
orcyTCTByronIyIO B OpMTMHanax, KaK, CKaXCM, B cnytranx, KOTna cnOBo “sir” nepeBeneHo
KaK «T011y6qMK», “good Reynaldo” KaK «npyxox», “madam” KaK «Tony6OH5Ka»:

“sir” (Ham, 2.1, 1077) —— «Tony6q11K» (HOJIOHMM, 41); “good Reynaldo”
(Ham, 2.1, 1077) — «npyxox» (HOJIOHMM, 41); “Ophelia” (Ham, 3.1,
1088) — «nOtIypKa» (HonOHMM, 74); “sweet lady” (Ham, 4.5, 1101) —
«Tony6y1nKa» (KoponeBa, 114); “your mother” (Ham, 3.2, p.1092) —
«MarymKa» (TM115nencrepn, 87); “Madam!” (RJ, 2.2, 993) —
«Tony6OHBKa» (KOpMMHMHa, 200).

Mnorna HacrepnaK pyCCMtpMnMpOBan mena C nenbro nepenatrM IOMopa M1111 yKa3aH1151 Ha
npocronaponnoe npOMcxorknerme nepconarKa:
Potpan (RJ, 1.5, 988) — Anron COTeMInMK (nepB51M cnyra, 185); Susan
Grindstone (RJ, 1.5, 988) — Hanerxna HarKnaLIHMHa (nepB51M own, 185);
“my lord fool” (1 H4, 2.3, 776) — «MM110pn nypaneeBMq» (T orcnep, 229).
HepenKo B nepeBonax Bcrpeqaercn MCTOpM3M «xonon», chOHMMMHnBIM cnOBy «pa6», no

B51pa1Ka101nMM TMIIMHHO pyCCKyIO (pOpMy pa6CTBa:

“0, what a rogue and peasant slave am I!” (Ham, 2.2, 1085) — «KaKOM
)KC 11 xonon M Heroner!» (Tamer, 66); “Whip me such honest knaves”
(0th, 1.1, 1122) — «H11er5MM TaKMX xononOB!» (HTO, 282); “Throw this
slave/ Upon the dunghill” (Lear, 3.7, 1201) — «a MepTBOTo xonona —
/Ha CBamcy» (Tepnor KopnyanBCKMM, 515); “slave” (Lear, 2.2., 1186) —
«XOJIOII» (KCH'I‘, 470).

B nepeBonax CCTI) CHOBa, KOTOprC BHCCHM B HbCCbI OTTCHOK pyCCKOM crapm151,

(pOIILKJIOpHOCTM:

74

“Club” (AC, 4.12, 1333) -— «na1n1na» (AHTOHMM, 420); «KMKMMOp51»
(BnTap, 501) — B OpMTMHane ner COOTBeTCTByIOIIIeTO cnOBa (Lear, 3.4,
1197); «x0pOBon» (Ben5M51, 576) — B OpMTMHane Her COOTBeTCTByromeTO
cnOBa; “washing blow” (RJ, 1.1, 981) — «MononenKMM ynap» (CaMCOH,
167); “Good sir, no more” (Lear, 2.4, 1190) — «OCTaB5re
CKOMopomHMHaT5» (Perana, 483); “feeds well” (0th, 3.3, 1144) ~—
«x11e6ocor15na» (Orenno, 342).

HpMBKyC 651111111110ch annaer cnOBo «60TaT51p5» (c HpOM3BOJIHbIMM):

«AHTOHMM M Kneonarpa»: “Behold this man” (4.8, 1332) ——
« H03B0115 Te6e 60Tar51p11 npencraBMT5» (AHTOHMM, 411);

«Kop0115 Teanx IV» (I 11.): “Gallants, lads, boys, hearts of gold”
(2.4, 780) — «HeTM MOM, 60TaTbIQM MOM» ((Da115crad), 244); “and brave
Archibald! That ever-valiant and approved Scot” (1.1, 767) — «M
OOTflTbIQb mornannCKMM quM6a115n» (Yachopnenn, 204);

«Kop0115 TerMx IV» (11 11.): “she-knight-errant” (5.4, 846) —
«ynanan 60Tar5lprna!» (nepB51M nOJIMHCMCKMM, 419); “you whoreson little
valiant villain” (2.4, 823) — «A Ben5 T51 y MCHH 60TaT51p5» (H0115, 352).

caMbIM HaCTbIM pYCMBMOM B nepeBonax HBHHCTCH CHOBO «CKflBKfl»!

«MaK6eT»: “A woman’s story at a winter’s fire” (3.4, 1240) ——
«3MMOM, 33 CKa3KaMM!» (nenM MaK6eT., 619); “Horrible sight!” (4.1,
1244) — «M 3pe11MIne — He CKa3Ka» (MaK6eT, 632); “and my fell of hair/
Would at a dismal treatise rouse and stir/ As life were in’t” (5.5, 1252) —
«a or crpamnmx CKaBOK /B3n5ma11MC5 Bon0C51 Ha TonOBe» (MaK6eT, 657);
“It is a tale/ Told by an idiot” (5.5, 1252) — «)KM3Hb — CKa3Ka B
nepeCKa3e/T11ynna» (MaK6eT, 658);

«Orenno»: “but that’s a fable” (5.2, 1165) — «H Kon51T He Bme./
HaBepnO, CKa3KM» (Orenno, 420);

«Kop0115 TerMx IV» (I 11.): “This is the strangest tale that ever I
heard” (5.4, 802) — «HMKOBMHHeM He cnbnnan B )KMBHM CKa3KM»
(Harmacrep, 304);

«Kop0115 Teanx IV» (11 11.): “Thou art as valorous as Hector of
Troy, worth five Agamemnon, and ten times better than the Nine
Worthies” (2.4, 823) — «T51 npocro KaKoM-TO BMTn35 M3 CKa3KM...»
(110115, 352).”

 

 

'5 CJIOBO «CKaBKa» nepenKo BCTpeqaercn B 111105Max HacrepnaKa: <<...CKa30m<y
nOJDKeH 65111 11 paCCKa3aT5 Te6e, 3T0 KOTna 1151115 yneTnaCB M 3HT€JIM nponanM... M 3T0
65m cmounuii nom‘; TOTna $1 xoren paCCKaaarb Te6e CKa3Ky O 3acraBax...» (O.M.
0peMnen6epT — Co6p. com, T. V, crp. 8); «Ech 651 3T0 65111 T0115KO Topon! A 3T0
KaKaH-TO CpenneBeKOBan CKa3Ka» (H.O. HacrepnaKy — Co6p. COIL, r. V, crp. 27).

75

HpMBKyC pyCCKoM (ponbxnopnocrn annanM nepeBonaM Tame Haponn51e
n03TM3M51, KaK «TOpIOtme cne351» (KOpMMnMIIa, 179); «nyT5-nopora» (Kneonarpa, 254);
<<prcr5-TOCKa» (nepBan Ben5Ma, 575); «nyT5-nOpO)KeHBKa» («HMp»); «MBa-Mnymxa»
(35111111151, 419). 3aranonnoe Ha3BaH11e paCTCHMH, COKOM Koroporo 65111 OTpaBnen T aM11eT-
oren (“juice of cursed hebona” [1.5, 1075]), HacrepnaK 3aMCHMJ1 cnOBOM «6e11ena»
(an3paK, 35), Koropoe 3naer Ka>Kn51M pyCCKMM no nOTOBOpKe «6enen51 o65e11csI». Cwy
nOTOBopKy Moxno naMrM B «MaK6ere»: “0 have we eaten on the insane root” (1.3, 1225)
— «M115 M51 C TO6OM o65e11MC5 6e11e1151?» (BaHKO, 579).

HepeBon51 pyCCMqrMnMpOBaHBI ne Ton5Ko 3a CHeT pyCM3MOB 311MHCCKOTO
xapaKTepa, no M 3a qur cnOB, cnOBoo6pa30BaTe1151151e (popM51 KOTOp51x xapaKTepn51 111111
pyCCKOTO n35n<a M He xapaKTepHBI 111111 aHTrIMMCKOTO M nnsr reKcrOB mCKCHMpa. CpenM
HMX cnOBa c yMe1151nMre115HBIMM M yBeanMTenBHBIMM cycpcprcaMM, cymechMre115H51e C
HpMHOXCHMHMM, cy6CTaHTMBMpOBaHn51e annaTaTe1151151e M onpene1111ren5n51e
MCC’I‘OMMCHMH M raKMC npocropeanIe cnOBa, — no (popMe cymeCTBMTe115H51e, no no
ynorpe6nenMIo Tnaron51, — KaK «menK» (nepBan Ben5Ma, 575) M «mBapK» (nepBan
Ben5Ma, 627). OHeHB Hacro Bcrpetrarorcn B nacrepnaKOBCKMx nepeBonax cnoxcnme cnOBa
C annorKeHMHMM M cy6cran'TMBMpOBaHnBIe annaTaTe115H51e M MCCTOMMCHMH. Oco6enno
qaCTBI cy6CTaHrMBMpOBann51e annararen5H51e M MCC’I‘OMMCHMH B «MaK6ere»:

“crazed/ Say” (3.], 1236) — «Hro M 6e3MO3T1151M nomKeH 65111
HOHHTb» (MaK6eT, 610); “The devil damn thee black, thou cream-faced
loon!” (5.3, 1251) — «HTO6 Hepr re611 o6yT111111, 6e110Mopn51M!» (MaK6eT,
653); “let’s away” (3.4, 1239) — «HoMneMTe K caMOMy» (nepB51M y6MMna,
616); “At first] And last, the hearty welcome” (3.5, 1239) — «M51 pan51
BceM, M nepB51M M nocnenHMM» (MaK6er, 616); “we’ll drink a measure/

The table round” (5.3, 1239) — «M51 551115eM prTOByIO» (MaK6er, 617);
“NO son Of mine succeeding” (3.1, 1236) — «He curry on nocranercn —

 

 

 

76

q )KOM » (MaK6er, 609); “the cruel ministers/ Of this dead butcher” (5.8,
1254) — «HOCO6HMKOB M 611M3KMx KpOBonMMn51» (Ma1mx0n5M, 666); “I
have drugged their possets” (2.2, 1231) — «B HanMTOK /H nonMCmana
connOTo» (neIIM MaK6eT, 594); “all my pretty chickens” (4.3, 1249) -——
«Bcex MOMx xopome?» (MaKnyd), 646).

CymeCTBMTeanBIe c IIpMJIOXCHMHMM CO3na10T B nepeBonax nonOJIHMTeanon
06pa3nOCT5, orcyTCTByromy1O B Opm‘Mnanax. Hpmepno nonOBMna TaKMX cnOB — B
«Tamere»:

“Th’ extravagant and erring spirit” (1.1, 1068) — «CKMTanen-nyx»
(T opanMO, 14); “old Norway” (1.2, 1068) — «crapen-KoporIB» (Kop0115,
15); “a goodly king” (1.2, 1070) — «Kpaca-KoponB» (T OpanMO, 20); “0
most pernicious woman!” (1.5, 1076) — «)KenInMna-3noneMKa» (T MINT,
36); “the satirical rogue” (2.2, 1081) — «KaHaJIbH-Ca'I'MpMK» (TaMHeT, 53);
“the false steward that stole” (4.5, 1103) — «Bop-KmoanK» (OdrenMH,
119); “Rebellious hell” (3.4, 1096) — «MCKyCMTenB-6ec» (Tamer, 98);
“The Queen his mother” (4.5, 1104) — «KoponeBa-Marb» (Kop0115, 123);
“Your fat king and your lean beggar” (4.3, 1100) — «TOHO'I‘HK-KOpOJ'Ib»,
«xyno6a-TopeM51Ka» (Tamer, 107).

HeKOTop51e 31111301151 B HaCTCpHaKOBCKMX nepeBonax nocnr BJIMHHMC pyCCKOTo
(p0115K110pa. 3T0 OTHOCMTCH K IICCHHM OcpenMMM M He3neMOHBI. KOTna He3neMOHa
TOBopMT O CBoeM )KCJIaHMM cner5 neCHIO, ona Mcn01153yer cnOBo <<3aTHHyTb>>, Koropoe
xapaKTepM3yer npOTmKn51e pyccme naponn51e neCHM: «M, KaK BapBapa, 3aT11H »
(He3neMOHa, 392). TeKCT ee neCHM Toxe conep1KMr 3T0 cnOBo: “Sing willow, willow,
willow” (0th, 4.3, 1158) — «3ar11neMTe MByInKy, MBy onoeM, /Ox, MBa, 3enenan MBa!»
(He3neMona, 393). Hech OcpenMM M He3neM01151 conepxcar HeCKOII5Ko won 0
yMCanMTenBHBIMM cytptprcaMM, 'I'MIIW-{HbIMM nnn pyCCKoro (ponbxnopa: «npyxcox»,
«Kamymex», «nepeBne», «T011y6OK» (OcpenMM, 114); «MByInKa» (He3neMona, 393). B

onnoM M3 necen OcpenMM raK)Ke ecr5 npocropeqnoe cnOBO «CKOK-CKOK» (119), B HPYI’OM

— pyCCKMM MCTOpM3M «xopOM51» (1 15 ).

77

HeKOT0p51e IIOBTOpHIOIIIMCCH cnOBa B nepeBonax B51351BaIOT accon11anMM C
COBpeMeHnOM HacrepnaKy neMCTBMTe115n0CT510. B nepeBonax ecr5 neCKon5Ko
«neMTMOTMBH51x» CJIOB M3 cnencr5enno-nponeccyan5noro CHOBapH, M, BO3MO)KHO, Mx
IIOHBHCHMC B TeKCTax 651110 1188651110 n51xa1111eM cranMHCKOTO BpeMeHM, KOTna
HpOBOIIMJIMCb MOHOTOHMCJICHHBIC nOJIMTquCKMC cyne61151e nponeCC51. OnnMM M3 TaKMX
cnOB HBJIHCTCH «yrn1Ka», Koropoe B 601151nMnche cnyqaeB ne nonernneno anan0TOM B
OpMTMnanax. HepeBon51 Bcex 115cc, KpOMe BTOpoM nach «T eran IV», coneeraT 3ro
cnOBo, xorsr Mame BceTo ono Bcrpenaercn B nepeBone «Orenno»:

“Nothing, but this is 50” (1.3, 1127) —— «On 11MtreH» (Bpa6aHnMO, 295);
“for now I shall have no reason” (3.3, 1144) — «Ynmc IIOKaMCCT Her»
(HTO, 342); “I’ll have some proof” (3.3, 1146) — «H 1pe6y10 ynmc»
(Orenno, 350); «TM ynmc B MoeM 3anace HeT,/ Ho KOCBenHBIe nann51e B
na1n1n5e,/ M B51 BceTna Mx Moxere MMCTb» (HTO, 350) — “If imputation
and strong circumstances/ Which lead directly to the door of truth/ Will
give you satisfaction, you might have it” (3.3, 1147); “But this denoted a
foregone conclusion” (3.3, 1147) — «KaK ythIaer 3T0 CHOBMneHBe!»

(Orenno, 351); “And this may help to thicken other proofs” (3.3, 1147) —
«Oco6enno B pnny npyTMK ynMK» (Hro, 351);

prme qacrme cnOBa M3 cnenCTBeHnO-cyne6noro neKCMKOHa — 3T0 «crarbn» M
«nonoc» («nonochK»), Korop51e TO)Ke nepenaror OTTOJIOCKM COBpeMeHnOM HacrepnaKy
neMCTBMTeJIBHOCTM:

«Tamer»: “of the article designed” (1.1, 1067) — «ETO 3emn no
Ha3BannOM CTaT5eZ BCH Tamery nOCTanaC5» (TopanMO, 12); “dilated

articles” (1.1, 1068) — «HepxcMreCB B COBenIaHan c HMM TpaHMII,
/HO3BoneHH51x CTaTBsIMM» (Kop0115, 15); “On such regard of safety and
allowance,/ As therein are set down” (2.2, 1080) — «Hon Bepnoe

pyqaren50TBO, CTaT5M» (B0115r111v1ann, 48);

«Orenno»: “My name, that was as fresh /As Dian’s visage, is now
begrimed and black /As mine own face” (3.3, 1146) — «Ee
6e3yKopM3neHnoe MMH /Hy1151 6enee 651110, a renep5 Nepno, KaK n, or
TBoeTO nonoca» (Orenno, 35 1);

78

«Kop0115 HMp»: «C nymormoM nonOCIIMKa» (KeHT, 470) — B
OpMTMHane COOTBeTCTByIOIneTO cnOBa neT (2.2, 1186).16

HeKOTOp51e cnOBa Mnon3BIIIHOTO HpOMCXOXHeHMH TO>Ke cnOCO6CTBOBa11M
OCOBpeMeHMBanMIo nepeBonOB. B03M01Kno, HacrepnaK Mcn01153OBan Mx c ne11510 3aMe1m1
IIICKCTIMpOBCKMX naTMnMBMOB: “But yet methinks it is very sultry and hot for my
complexion” (Ham, 5.2, 1113) — «M Bce me, n 651 CKa3an, crpamnan )Kapa M nyxora 11.1111
MoeM Komnegw» (TaMner, 147); “as the wretch whose fever-weakened joints” (2H4,
1.1, 809) — «KaK B HOBOM napOKCM3Me 1111xopanKM» (HOpTeM6ep11enn, 316); «AHTOHMM
TO xpa6ercn, To w» (Cup, 417).

BoeHnan neKCMKa nepeBonOB TorKe OCOBpeMeHMBaeT Mx. Mnome cnOBa M drpa351
3TOM KareTopMM OHeHB xapaKTepHBI nnn xynorxeCTBeHnoM nMTepaTypBI M nepMonMKM
3noxM cra11Mn113Ma. HeKoropBIe M3 HMX, Tame, KaK «BOCHHaH O6CTanOBKe», «KOMaHnnBIM
COCTaB», — pacnpocrpanennBIe BoeHHBIe K11Mme XX mm:

“In a town of war” (0th, 2.3, 1138) — «B BoeHHOM O6CTanOBKe» (Orenno,
324); “Let our best heads /Know” (AC, 4.1, 1328) — «OnOBeCTM
KOMgflfllfi Ham 99w» (IIe3ap5, 392); “your dismission /Is come from
Caesar” (AC, 1.1, 1297) — «Mnatre He3ap5 M Te6e OTCTaBKy»
(Kneonarpa, 236).
CnOBO «T51n», Koropoe Bcrpeqaercn B nepeBonax (“if I be left behind /A moth Of peace”
[0th, 1.3, 1130] —— «OC’I‘a'I‘bCH MMpnoM MomKOIO B m» [He3neMOHa, 300]; “all you that
kiss my lady Peace at home” [2H4, 1.2, 813] — «Bac Bcex, ocraromecn B MMpHOM
T_5g1y» [(Danbcraq), 324]), HeTOtIno nepenaer BoeHHBIe neMCTBMn B n5ecax IIIeKCIIMpa, TaK

KaK Bo BpeMeHa IHeKCIIMpa He 651110 HM T51na, HM (pponra, 3 6511111 6MTB51 Ha ne6on5n10M

yqache TeppMT0pMM. 3aro 3ro cnOBO COTBeTCTByeT BoennOM neMCTBMTe115nOCTM XX

 

'6 KenT OCKOp6nneT OCBan5na, nepet1MC11MB HM3KMC KaHeCTBa eTO xapaKTepa,

79

mm. HeMenKOC cnOBO «Kanyr» (Konen), Koropoe Mcn01153OBan HacrepnaK (“Fools had
ne’er less grace in a year” [Lear, 1.4, 1181] — «HpronMT nypaKaM 1m» [myr, 454]),
crano pacnpocrpaHeHnBIM B pyCCKOM n35n<e CO BpeMeHM BTOpOM MMpOBOM BOM1151.
HCCKOHBKO pa3 B nepeBonax BCTpeqaercsI cnOBo «pyxonamnan», TOXC OHeH5 TMnMHnoe
nnn neKCMKM 40-x TonOB. M, KaK BMnHO M3 HpMMCPOB, B opMTMnanax BKBMBaneHTOB 3TOTO
cnOBa HeT:
“Confronted him with self-comparisons” (Mac, 1.2, 1224) — «Comencn C
HMMM B )KapKOM pyxonamnoM» (POCC, 574); “if I were not at half-sword
with a dozen of them two hours together” (1H4, 2.4, 779) — «ech 11 He
OT6MBancn nBa Haca prxonamnyro» ((Danbcrad), 240); “Strives in his little
world of man to outstorrn fl“ he to-and-frO-conflicting wind and rain”

(Lear, 1.3, 1193) — «Korop51e cnenMJIMCB B pyKonamnoM» (annBopnBrM,
491).

 

 

 

B nacrepnaKOBCKMx nepeBonax IHexchpa ecr5 cnOBa, Korop51e MO1KHO Ha3BaT5
«cnOBaMM-cpaBoeram», TaK KaK OHM Bcrpeqarorcsr oco6enno Hacro. HeKoropBIe M3
3TMx cnOB, 611aronap51 CBoeM nOB511nennoM Hacrornoch, co3na10r HOByIO 06pa3nOCT5,
MnOTna OCOBpeMenMBaror reKcr51 M1111 annaIOT MM nononnnren5ny1o Tona115HOCT5.
Hanpmep, B nepeBonax «Tamera», «POMeo M ny115e1'r51», «Orenno», «Koponn
HMpa» M «MaK6eTa» ecr5 cnOBa c KOpHeM «Topsm». 3TH cnOBa B naCTepHaKOBCKOM
ynorpe6neHMM meror necxormKo 3Haqe1n1M: remepaMenTnocrb, 6e3yme, 6one3ne1n151M
)Kap, xaoc, — M coorBeTCTByIOT pa3nOKopeHH5n1 M pa3n03naqn51M cnOBaM IIIeKCHMpa.
O65enMneHH51e OCHOBH51M 3naqenMCM Kopnn «Topsrq» — )Kap, naKan, — OHM
nonnepKMBaIOT naKan crpacreM.l7 Oco6enno Hacr51 3TM cnOBa B «POMeO M nynberre»,

Tne OHM nepenaror 10)KH51M Konoer n5eC51:

 

onnaKO B opMTMHane on HMTne He na351Baer eTO «nOHOCqMKOM».
’7 «Topnnnocr5» TepoeB naCTepHaKOBCKMX nepeBonOB annaeT MM cxonCTBo C
TepOHMM HocroeBCKOTO. He cnyanno HacrepnaK B CTaT5e «3meqa1n1n K nepeBonaM M3

80

“It is too rash, too unadvised, too sudden” (2.2, 993) — «Bee C1111111KOM
Broponnx M CTO 1111a» (nynBeTra, 199); “Had she affections and warm
youthful blood” (2.5, 998) — «KOTna 6 ona /B5111a C TopntIeM KpOBbIO...»
(Ibkynberra, 213); “Jesu, what haste!” (2.5, 998) — <<HonyMaen15,
11091111113!» (KOpMMnMna, 214); “Come, come, thou art as hot a Jack in thy
mood as any in Italy” (3.1, 999) — «MM1151M MOM, T51 T091111, KaK Bee B
MranMM» (MepKynMO, 218); “You are too hot” (3.5, 1009) — «B51
C11111HKOM Topon» (nenM KanynerrM, 245); “A madman’s mercy bid thee
run away” (5.3, 1017) — «Te611 60115HOM B Topnqke noxanen» (POMeO,
269).

XapaKTepn51M naCTepnaKOBCKMM cnOBOM HBHHC'I‘CH cnOBO «nonnor», Koropoe
MO)KnO Ha3BaT5 aBrOpCKMM, nOTOMy qro HacrepnaK Mcn01153OBan eTO He T0115Ko B

BHBHCHMM «HOHIICIHQI», HO M — HO BBYKOBOMy CXOHCTBy -— B 3Ha‘ICHMM «HOIUIOCTB» M

«JIOXb»: 18

«Orenno»: “And what is he then that says I play the villain” (2.3,
1 139) — «Kro ynpeKHeT renep5 Menn B nonnore?» (HTO, 328);

«Kop0115 HMp»: “and my invention thrive” (1.2, 1176) — «M ech
MOM nonnor COMneT ycnemno» (311M0nn, 440);

«MaK6eT»: “who committed treason enough for God’s sake” (2.3,
1232) — «310 no1n<ynnOM CBMneTen5, KOTOp51M HanyBan B cynax O6e
C’TOpOHbI M nanOMoanMJI nonnOTOB c Topy» (anBpaTnmc, 597).

@pa3eonon1n

Ech npocropean-pr651M cnOBap5 xapaKTepeH nnn nepconaJKeM nepeBonOB B

pa3nOM CT CHCHM, TO MHMOMaTM‘IHOCTb HBJIHCTCH BaXHOM OCOOCHHOCTBIO H3bIKa BCCX

 

IIIeKchpa» CKa3a11 o «MaK6ere»: «TpaTCJII/IH “MaK6eT” c 11011115151 npaBOM MOTna 651
na351BaT5csr “HpecrynnenneM M HaKa3a1111eM”. H ne MOT OTnenar5cn OT napanneneM C

HOCTOCBCKMM, KOTna nepeBonMJI ee» (BopMc HacrepnaK. B03ny1n1151e nyTM. Hp03a
pa31151x ner. M3n-BO «COBeTCKMM 1111care115», MOCKBa, 1982, crp. 408).

’8 310 cnOBO, KCTaTM, ecr5 B «IIOKTOpe )KMBaTO», Tne OObIprIBaCTCH eTO
3ByKOBoe cxoncho CO cnOBOM «nonnocr5»: «3TOT MMp nonnoch M non1IOTa...» (Co6p.
0011., T. HI, crp. 34). Ono TaIOKe ecr5 B crar5e «3aMeHaHM51 K nepeBonaM M3 Hlexcmrrpa»
— Co6p. 0011., r. IV, crp. 429.

81

IIICKCI'IMpOBCKMX IICpCBOIIOB 11Bec. IIIMe11110 3a 0161" (ppaseonorMBMOB HacrepnaK yCM11M11
paarOBopHoch 513mm Bcex nepconaxefi. <Dpa3eonorM3Mb1 Taxxe cnOCO6CTBOBa11M
xapaKTepMBauMM repoeB. CKaxeM, d)pa3e0110rM3MBI 110110111151 «BbIMO'I‘aTb nymy»,
«3apy6MrB 11a Hocy» M «upmarb K CTCHC» y1<a3BIBaIOT 11a Tame 110me ero xapaKTepa,
KaK pasnpaxmenbnocrb M IUIyTOBaTOCTbZ
“wrung from me my slow leave” (1.2, 1069) — «OH BbIMOTaJI MHc gyI_ny,
rocynapb» (110110111111, 16) ; “And these few precepts in thy memory/ Look
thou character” (1.3, 1072) —— «I/I 3apy6M-Ka BOT 1110 11a HOC » (11011011101,
26); “Look you lay home to him” (3.4, 1095) — «K crene e10 gpMXMM're»
(1101101117111, 94).
(DpaaeonorMM AH'I‘OHMSI BBmaeT B HeM BOCHHOI‘O, HpMBbIKIIICI‘O K cxcaTBIM

daopMyJIMpOBKaM M anKaBaM:

“On” (1.2, 1299) — «Py6M c uneqa. LITO 6121110, TO 11p0111110» (AHTOHMM,
245); “I learn you take things ill which are not so” (2.2, 1306) — «T51
CTaBMIIIb Mm 113 BE xaxofi-To npOMax» (AHTOHMM, 280).

 

HeKOTOpBIe (bpfi3COIIOI‘MBMbI Orenno HOH‘ICpKMBaIOT ero nOBepIIMBOCTB, npmonynme M
qecmocrbz

“Make it a darling like your precious eye” (3.4, 1148) — «BeperM nnarox
/3a60111MBee, qu 3e OKa» (OTCIIHO, 357); “Thy honesty and love
doth mince this matter” (2.3, 1138) — «110 1106po1‘e 11va» (O're1mo,
325); “And weigh’st thy words before thou giv’st them breath” (3.3, 1143)
— «M flue man 651 11a BeTep 6poca'rB» (OreJIno, 339).

 

nepeBon «Koponsr HMpa» xapaKTepMsyeTca cbpaseonomsMaMM-CMMBOHaMM,
aKueHrMpyromMMM OCHOBHBIe TeMBI M MO'I'MBbl 11BeCB1. Hanpmep, 011cm: Baman B
«Kopone 11Mpe» TeMa anponbl (oco6e11110 pas6y1neBaBmefi051 — B BMIIC 1‘p03bl),
nomepoBaeTcsI c nOMomBIO (bpaaeonorM3M0B, meoanOme c110Ba «B0113» M «110x111».

Tame (bpaaeonorMBMBI xapaKTepme TonBKo 111111 nepeBona 310M IIBeCBI:

 

82

“Thou out of heaven’s benediction com’st/ To the warm sun!” (2.2, 1188)
— «11011a11 TbI M3 110x112 113 11011 KaIICIIb» (KeHT, 476); “Time shall unfold
what plighted cunning hides” (1.1, 1176) — «III Bce 11a Bony CBexyIO
BbIBOM» (K0p11e11m1, 438); “seek him out” (1.2, 1177) — «BbIBCfl ero 11_a
tmclyro Bony» (I‘nocrep, 443); “and art nothing but the composition of a
knave, beggar, coward, pander, and the son and heir of a mongrel bitch”

(2.2, 1186) — «Ocrae'rcn 06B1KHOBe11110171 ra11MHofi 1{Mcroiii 3011131» (KeHT,
470).

 

 

 

 

TeMa 3p$1quTM M cnenOTBI B nepeBone «K0p01111 J'IMpa» (y J'IMpa OTKprBaIOTCH 111a3a 113
mm 11111111) 110c11e Toro, KaK 011 mamaercsr BnaCTM; Fnocrep «11p03p6BaeT» nocne
oc11e1111e111151) yCM11e11a (ppa3e0110rM3MaMM co cnOBaMM, MMCIOIIIMMM omomeflne K spew/110:

“Thus Kent, 0 princes, bids you all adieu” (1.1, 1174) — «YXOHMT Kem
Kyna rna3a 1115111511» (KeH'r, 435); “All that follow their noses are led by
their eyes but blind men” (2.4, 1189) — «Bce 11101111 c 1110x0M, M anTOM
He CJICI'IbIC, rnsumr B 06a» (myT, 480); “at my entreaty forbear his
presence” (1.2, 1178) — «Pa11M Bcero CBsrroro, 11c nonggaficn eMy Q
1M» (311M01111, 445); “Thou but rememberest me of mine own
conception” (1.4, 1179) — «Her, Ber, TbI Ha3Ban T0, 1110 Mm caMOMy
6pocaJIOCB B rnaaa» (JIMp, 450).

 

 

 

B 06eMx qacrsrx «1‘eran IV» pyccme IIOI‘OBOpKM cnoc06c1ByIOT nepenano aTMoccbepBI

d)011bK110p110c1‘M M anapquoch:
“But you must bear, the heart’s all” (2H4, 5.2, 844) —— «qu 60mm, TeM
M pagy» (HeBM, 413); “tap for tap, and so part fair” (2H4, 2.2, 817) ~—
«KaK ayKHeTcn, Tax M O'I'KJIMKHCTCSI» (<Da11bc1‘acb, 336).

111111 :3er meKchpOBCKMX nbec rpy6ocrb M npocropetme 6011ee xapaKTepHBI, t1eM 111111

mm, 0 qu CBMIICTCIILCTByCT 11a11the B max rpy60M cbpaaeonorMM:

“hath done nothing but prate to me” (2H4, 3.2, 830) — «Yum B31135:
cnymaTB» ((Danbcracb, 375); “the gallows shall have wrong” (2H4, 2.2,
818) — «I10 BTOMy uBerKy 11113qu BMcemma» (BapnOIIBd), 339); “whose
mare’s dead?” (2H4, 2.1, 815) — «an K06Bma nonoxna?» (<Da11BCTacb,
330).

BoraTCTBy s13B1Ka IICpCBOJIOB cnOCO6CTBOBa11M He TOIIbKO pa3n006pas1rble

HpOCTOquHbIC CIIOBa M (bpflBCOJIOI‘l/IBMBI, HO M KaHIICHHpM3MbI Id KIIMHIC THHa

83

«cmnrqalomm o6cr011Te11Bcha», «11011)1c110c1'110e 1111110», «11011)KHOCTHOM 11001», «an

MCIIOJIHCHMM 11011ra» M 11p”:
“As the time, the place, and the condition of this country stands” (01h, 2.3,
1139) — «110 yc110BM51M Boe11110r0 BpeMeHM» ($110, 327); “the nobleman”
(2H4, 1.2, 811) — «11011)KHOCTHoe 1111110» (11am, 319); “Whiles I was busy
for the commonwealth” (2H4, 5.2, 843) — «Korna $1 6B111 11a
IIOIDKHOCTHOM IIOCTy /I/I B011110111a11 3a1<o1IHOCTB M nopsulox» (BerOBHBrfi
cynbsr, 410); “To have her gentleman abused, assaulted,/ For following her
affairs” (Lear, 2.2, 1187-88) — «I1030p11T 311ec13 11pM MCIIOIIHeHBe 110111‘a»
(PeraHa, 475).

CMnTaKcMc

CMnTaKCMC HaCTepHaKa 311aqMTe11b110 OTIIMHaCTCH 0T mexchpOchoro

CMnTaKCMca, KOTome xapaKTepMByeTcn 06M1111eM pa311MqHBIx CTM11MCTMt1ec1<Mx dmryp,

nOMaromMX eCTeCTBeHHBIfi CTpofi 11pe11110)1<e111111.20 <Dpa3a HaCTepHaKa Kopoqe, qu

IIIeKchpa; B neM 3Ha‘IM'I‘CIIbHO MeHBme pa38€TBJICHMfi, 06paBOBaHHbIX annaTOImBIMM

HpCILHOXCHMSIMM M11M 06oc0611e11M11MM. 3Ta oc06e11HOCTB CMnTaKCMca nepeBonOB 6011mm

Bcero 3aMeTHa B Mononomqecxofi peqM, TaK KaK MMCHHO 11,1111 MOHOJIOTOB IIIeKchpa

xapaKTepHBI 11111411111316, paSBeTBIIeHHhIC HpCHJIOXCHMSI.

anomenne CMnTaKCMca IHeKchpa HacrepnaK 11p0BO11M11 c11e11y10111MM 06p330M:

{1336141383 IUIMHHHC HpCIIJIOXCHMSI 11a HCCKOIIbKO KOpOTKMX; y11p0111a11 CTpYK'Typy

 

19 Bcaxoro pona cnOBeCHBIe 111TaMI1B1 CCTb M y HIeKchpa. Tp10M3MBI HJeKchpa
11pMBO1151T prK (CM.: Brook, The Language of Shakespeare, 27) M Fp311BM11n-Bapxep
[CM.: Harley Granville-Barker, Preface to Hamlet (New York: Hill and Wang, Inc., 1957),
185}

2° CMH’I‘aKCMC H1e1<c11Mpa M npymx rmcaTeJIefi CI‘O BpeMeHM anamemno
0T11Mt1aeTcsI OT HOpM COBpemeHHoro a11111Mficxoro 113mm, MTO BhIBbIBaCT 1101101111MTe11B11B1e
prIIHOC'I'M nepenaqM ero B nepeBonax. BOT qTo 1mca11 prK: “Many of the differences
between Elizabethan syntax and that of the present day can be explained if we remember
that the Elizabethans preferred vigour to logic” (Brook, The Language of Shakespeare,
65).

84

npe11110>Ke11Mfi M yKopaqMBan Mx 3a cqu Bbl6paCbIBaHMSl 0T11e11b11b1x I1aCTefi. C11611y10111ee
c110)K110e Bonpocmenbnoe npe11110xe1me HaCTepHaK pa36M11 11a 11m npennoxemafi, M3
KOTOprX TpM — BOIIpOCMTCIIbeIC:

Mar. Good now, sit down, and tell me he that knows,

Why this same strict and most observant watch

So nightly toils the subject of the land,

And why such daily cast of brazen cannon

And foreign mart for implements of war;

Why such impress of Shipwrights, whose sore task

Does not divide the Sunday from the week.

What might be toward, that this sweaty haste

Doth make the night joint-laborer with the day? (Ham, 1.1, 1067) —

l'IOCTofiTe. CSIIICM. KTO MHe o6'bsrc11MT,

K quy TaKasr CTpOI‘OCTb Kapay110B,

CTec111110111a11 I‘anIIaH 110 110an?

qu BB13Ba11a 0T11MBKa Me1111b1x nymeK

I'I BB03 opyxm M3-3a py6e)Ka

III KOpa6CIIbeIX IUIO'I‘HMKOB Bep60BKa,

Ycep1111B1x B 6y1111M M B Bocxpecnblfi new)?

I1T0 KpOCTCSI 3a 3Tofi 110T110fi ro111<0fi,

I10Tpe60BaBmefi 110111) B 11011M01y 111110?

KTO Oé'bflCHMT MHe 3T0? (Mapueml, 11-12).
prroe c110)K1loe npe11110x<e11ue c pa311Mtn1BHMM BM11aMM CBSIBM qaCTefi M c o60c0611e1111bm1M
OIIpCIICJICHMHMM IIaCTepHaK nepeBen IIByMSI HpOCTbIMM, 11Mt1eM He oc110>K11e1111B1MM
npeimoerMMMM, an 3TOM c0KpaTMB KommeCTBo He TOJIbKO cnOB, 110 M nay3, qTo
anBeJIo K M3MeHe11MIo mrronamm: “And, which is worse, all you have done/ Hath been
but for a wayward son,/ Spiteful and wrathful, who, as others do,/ Loves for his own ends,

not for you” (Mac, 3.5, 1241) —— «Ho rope B qu? MaK6eT — 311011611/ Be3 Banmx

K0111IOBCKMX 3aTeM» (I‘eKaTa, 624).
naCTCpHaK 14110111a 110x011M11 110 co311aHM11 cnOB-npennoxemrfi 11a MCC’I‘C c110)K11B1x
M pacnpocrpaHeHHBm npe11110)Ke11Mfi oerMHana. B cnenyromeM npmepe B opvmmane 11Ba

IIBYCOCTaBHbIX ITpCIUIOXCHMSI, B UCpCBOHC — 1113a I‘IIaFOJIbeIX CJIOBa-I'IpCIUIOXCHI/ISI M OIIHO

85

cnoxcnoe 6ecc0103110e, COCTosnuee M3 rnaroanoM qaCTM M omIOCOCTaBHOM Mmemrofi:
“Peace, break thee off! Look where it comes again!” (Ham, 1.1, 1066) — «MOM.
BaMpM. FHHIIM, BOT 011 OHSITB» (MapueJm, 9). prroe cnoxmoe npe11110xe1111e c 11ByM11
c0103aMM pa36MTo 11a TpM npOCTbIX, 11Ba M3 KOTOprX — OIIHOCOCTaBHhIC M
HepacnpocrpaHeHHBIe: “Good now, sit down, and tell me he that knows...” (Ham, 1.1,
1067) — <<IIOCT01‘1Te.C$1116M. KTO MHe 06131101111...» (MapneJUI, 11).

HacrepnaK 65111 BbIHyXlICH COKpaIIIaTb TeKCT c 11e11B10 COXpaHeHMfl paBHOCTquMM
(B HCKOToprX cnyqasrx 011 name yMeHBman K011MtreCTBo CTpOK B cpaBHeHMM c
oprM11a110M). LIame Bcero HacrepnaK 1106MBa11051 3Toro IIOCpClICTBOM Bbl6paCbIBaHI/IH
HOBTW—ICCKMX M HenoameCKMx onpe11e11e11Mi1, KOTOpBIMM IIJeKchp 111e11po praman CBOM
11p0M3Be11e11MS1.21 BBI6paCBIBa1111e 601113111010 KOIquCTBa 311MTeTOB Hapymano 06paBHOCTb
M B BeKOTopofi CTCIICHM xapaKTepM3a11M10 nepconaJKefi. B OprIBKe, r11e KeHT 11aeT
xapaKTepMCTMKy OCBa11B11y, y IIIeKchpa TpM cymechMTeIIBHLIx MMCIO'I‘ 15 omiopommrx
OHpCIICJICHMfi, a y IIaCTepHaKa 11a MeTBIpe cymeCTBMTCIIbeIX — 11m onpenenemm: “a
base, proud, shallow, bgggarlv. three-suited, hundred-pound, filthy, worsted-stocQg
knave; a lilv-liver’d, action-taking. whoresonL glass-gaz_ing. superserviceable. finical
rogue; one-trunk-inheriting_slave” (Lear, 2.2, 1186) ———- «Hnarmfi, 11a11yTb111 mm M
11p0111e11B11‘a, BOT TbI KTO. X011011 M xo3s1ficm yro11HMK B IIICpCTSleIX qymcax, c
11y111011KoM nonocma, c nOManofi M 3epKa11B11eM B cy1111y11Ke, TBOMM e11MHCTBe1111B1M

6oraTCTBOM» (KeHT, 470).

 

2' Ha11M3B1Ba1me HeCKOJIBKMX 311MTeTOB SIBJISICTCSI xapaKTepHofi qepTofi 01111151
IIIeKchpa: “A cumulation of two or three epithets, for instance, is a common means of
emphasis. Shakespeare, fresh to the theatre, finds their accumulation into a very catalogue
to be a much-practiced dramatic trick, which he practices himself for a time” (Granville-
Barker, Preface to Hamlet, 183).

86

MHor11a I'IaCTepHaK COBceM onyCKa11 o11pe11e11e111111. B BBIMBmIJIeHHofi MCTOpMM
311MOH11a 0 11211131161110! 11a Hero ero 6paTOM 311rap0M B nepeBone onymeHBI Bce
onpe11e11e111111 (annaraTeJIBHBIe, 11ape111111, anqaCTMH):

Seeing how loathly opposite I stood

To his unnatural purpose, in fell motion

With his prepared sword he charges home

My unprovided body, lanch'd mine arm... (Lear, 2.1, 1 184) —

YBM11eB MOM Mc11yr M OTBpaIIICHbC,
011 BbIHyJI Meq, 11a11ec c1111et1a y11ap
I/I pa111111 B pyKy (311M01111, 466).

B nepeBonax HaCTepHaKa TaKxe 311a11MTe11B110 110c1'pa11a11M pa3n006pa311B1e
22 u as
dmrypbr nOBTopa M napa1111611M3Ma, qacrue B oer'MHanax. C0103y and , KOTopBIM

IIOBTOpHCTCSI B CJICIIYIOHICM OprIBKC IIICCTI) pa3, B IICpfiBOIIC COOTBCTCTByCT CHOBO «TO»,

2
KOTopoe nOBTopsreTcsr quBIpe pa3a: 3

0, she says nothing, sir, but weeps an_d weeps;
M now falls on her bed, an_d then starts up,
;An_d Tybalt calls; gig then on Romeo cries,
_A_ng then down falls again (RJ, 3.3, 1005) —

LITO TOBOpMT? PeBeT, pCBMH-pCBCT.

1‘9 11a HOCTCIIb HOBaJIMTCSI, m BCKOMMT,

E 3aKquMT — «POMCO»;E — «TnfiaJIb'I‘»
III CHOBa HaB311Mq 11a11aeT (KopMM11MI1a, 234).

Hapannenbmale KOHcrpyKuMM He Bcer11a HCpCHaHbI aneKBaTHO. B cnenyromeM

O'I'prBKC B 0pmafle TpM HpCLU'IOXCHI/Ifl, BXOIISIIIIMC B COCTaB OIIHOI‘O CIIOJKHOFO,

 

22 Each 1111ca11: “Verbal repetition as recommended by the handbooks could be
used by Shakespeare in a fairly mechanical way or in a highly charged utterance...”
(Blake, Shakespeare ’s Language, 47).

23 MHOTOKpaTHBm 110BTop 001033 “and” 11B11neTcs1 pMTOquCCKMM aneMOM,
HaSBIBaIOIIIMMCSI polysyndeton. O11 TM11Mt1e11 111151 CTM1151 «POMe M llxynberm». [CM. 06
3T0M, Hanpmep, B KH.: John Porter Houston, Shakespearean Sentences: A Study in Style
and Syntax (Baton Rouge: Louisiana State University Press, 1988), 46].

87

nocrpoena 110 ananoquHoM cxeMe, KOTopyro HacrepnaK 11c Bbmepxan, coxpaHMB
eIIMHOHaqame 11mm: B 1113yx crp0Kax (BMCCTO Tpex):

As England was his faithful tributary,

As love between them like the palm might flourish,

As peace should still her wheaten garland wear... (Ham, 5.2, 1111) —

BBMlIy 1010, 1110 AHI‘IIMSI 11am 11a1111MK

I/I Mama 11py)K6a HaJIbMOIO IIBeTeT,

I/I Hac c611M)KaeT mm B Be11Ke mneHMImOM... (FaMJIeT, 145).

He Bbmepxan CMnTaKcmeCKMfi napanne11M3M M B c11e11y10111eM npennoxemm, O6e

Mach KOTOpOI‘O nocrpoena M11e11TMt1110: “The head is not more native to the heart,/ The
hand more instrumental to the mouth” (Ham, 1.2, 1068) — «He 6011mm 11a11MT c cep1111eM
I‘OJIOBa,/ H1111 11011B3BI pTa 11c 6011B1ne c11y)KaT pyKM» (KOpOHb, 16). prroe npe11110x<e1111e
oerMHana MMCCT CMMMeTquHoe coquaHMC omiopommx onpeneneHMfi 110 cxeMe:
nonomenbnoe — OTpMuaTenBBoe, 110110)KMTe11B110e — OTpMuaTenbnoe. Y IIaCTepHaKa
3TOI‘O H6T:24 “Forward, not permanent, sweet, not lasting” (Ham, 1.3, 1071) ~—
«Hex11a11110171, 1*M6110M, c11a11Koi1, o6peqe111101‘1» (prr, 25). KaK BM11110 M3 11pMBe11e1111B1x
anmepOB, I1aCTep11aK TOIIBKO qaCTtho nepenan cmrraKCqucme HOBTOpr HIeKc11Mpa.

3WCCKMC npennoxemm nepeBonOB 11c OTpaxcaIOT crpofi npemroerMfi

OpI/II'PIHBJIOB. B oerMHanax 11611011111316 II'pCIIJIOXCHMSI SIBJISIIOTCSI CJICIICTBMCM BIIPISIHMSI

 

24 O6pa111e1me HaCTepHaKa c TeKCTaMM IIIeKchpa SIBHO 11c c00TBeTchyeT
nepeBonquKMM 11pM1111MnaM qYKOBCKOI‘O, KOTopbrfi rmcan, qTo «B Tex cnyqasrx, Kor11a
CMHTaKCMC nepeBo11MM0m TeKCTa Ky11BTMBMpyeT BcnKoro po11a IIOB'I‘Opr, napa1111e11M3MBI,
enMHOHaanMM, cmeTquecxne c110Bec11B1e x011b1, HpM HOMOIIIM KOTOprX opra11M3yeTcn
011pe11e11e1111a51 pMTMMKa noaqueCKofi M npo3aneCKoM peqM M KOTOprc JICI‘KO nepenan.
cpenchaMM pyCCKoro c1111TaKcMca, —- Bocnp0M3Be11e1111e 3TMx cmrraKCquCKMX (eryp B
nepeBonax 11a pyccxMfi SIBBIK 06113aTe11B110» (HyKOBCKMfi. «BHCOKOC MCKyCCTBo», cm.
169).

88

pMTOpMKM, Tpe6OBaB111efi OT rmcaTencM 3McbaTMqCCKOH KpaTKOCTM.25 B nepeBonax
3111mmecme npennoxemm, KaK npaBMno, 110ch pa310B0p11b1fi xapaKTep. Hepc11K0 y
HacrepnaKa Ha MeCTe 110111113111 npennoerMfi 311111111TMt1eCKm: “Hush! Here comes
Antony” (AC, 1.2, 1298) — «1101mm BB1, — A111011Mfi» (31106ap6, 243); “Look, look,
here comes my John of Lancaster” (2H4, 4.5, 841) — «CMOTpM, — 11a11KaCTep!»
(KOpOJIb, 403); — “and for myself,-/ My virtue or my plague, be it either which,-/ She’s
so conjunctive to my life and soul” (Ham, 4.7, 1104-1105) — «A xopomo 11M, 11110110 111)
— Bame 11e110,/ Ho 11ac c )Kenofi Bonofi 11c pa3011Be111b» (KOpOJIb, 123). B HCKOTOprX
c11y11a11x 31111MIICMC CBs13a11 c acbopMCTthOCTBIO, KaK K011110BKa «POMeo M llnyIBeTTBI»:
“For never was a story of more woe/ Than this of Juliet and her Romeo” (RJ, 5.3, 1020)
— «Ho 11c 611110 cy11b6BI rpyCTBeM Ba CBeTe,/ qu Bbmana POMeo M IbenBeTre» (1011131),
278). 01111aKo B nepeBonax COBceM 116M11010 onnmITqucxMx npennoerMfi, HOCTpOCHHbIX
110 cxeMe meKchpOBCKMx: “But you must know, your father lost a father;/ That father

lost, lost his” (Ham, 1.2, 1069) — «H0 TBOM mm M caM OTna yTpaTMJI, [I/I TaK )KC TOT»

 

(KoponB,17)
141101113 KOIIM‘pOBaHMC BmBmTquCKMX KOHcrpyKuMfi OerMBaHOB 3aTeMI111110
CMB1c11 npennoxemafi: “Mine will now be yours;/ And, should we shift estates, yours

would be mine” (AC, 5.2, 143) — «MOM Tenepb TBOM, a M3Me1111cB/ Cy11B6a 011m, TBOM

 

25 O (pyHKuMM M MCC’I‘C 3111111110Mca B TBOquCTBC HIeKchpa ImcaJIOCb cne11y10111ee:
“...Almost any part of speech may be omitted” (Blake, Shakespeare’s Language, 126);
“Elizabethan love of brevity tolerated almost any ellipsis provided that the missing words
could be understood from the context” (Brook, The Language of Shakespeare, 68);
“Eclipsis, or ellipsis, the omission of a word easily understood, contributes to the
compressed character of Shakespeare’s later style, although it appears throughout his
wor ” [Sister Miriam Joseph, Shakespeare’s Use of the Arts of Language (New York:
Columbia University Press, 1966), 58].

89

MM 6 CTaJIM» (Kneonana, 459). 11011 cnOBaMM «MOM» M «TBOM» Kneonana MMCCT B
may CBOMx 1101111a1111h1x (c11yr, IIpMOJ'MXCHHbIX M T.11.). B cne11y10111eM npmepe MO)KHO
BOCCTaHOBMTB 1101111y10 (bopmy npennoxenmr opMTMHana M nepeBona 11111111) 611a1011ap11
KOHTCKCTy, anqu CMBICJI KaK a11r11Mficxoro, TaK M pyccxoro npenuoerMfi MO)KHO
TpaKTOBaTb IIBOSIKO:

Hot. Why say you so? Looks he no for supply?

Ver. So do we.

Hot. His is certain, ours 's doubtful. (1H4, 4.3, 795) —

FOTcnep: OHM )Kny'r 11011Kp61111e11m‘1.

BepHOH: KaK M MbI.
I‘OTcnep: Ho Mx pacquBI TBep11b1, HarnM — 11mm (282).

 

«Haum maTKM» oanaqaeT «Baum pacquBI 11a no11er1111e11MC 11mm»; 110 MO)KHO
mrrepnpeTMpOBaTB M KaK «Baum pacquBI 11a 1106e11y maTKM», nOTOMy 1110 B 3Tofi cueHe
yqacmMKM Msrrexa pemaIOT, Bcrymrrb 1111 M B 6011 B 3TOT new), M11M man)
11011er1111611Mfi, ‘TI‘OOBI o6ec11et1MTb 1106e11y, —- CTa110 61,111: 01111 He yBepCHbI B 1106e11e 6e3
11011er1111e1111fi.

Pa3111111a10T011 l'IpCILHOXCHMSI nepeBonOB M oerMHanOB M HOpflIIKOM CJIOB. B
OTJWC 0T meKchpOBCKMX npelmoerMfi, xapaKTepMByIOIIIchn CBO601111b1M

26

pacnonoxermeM CJIOB, IIOpSIIIOK CJIOB B nepeBonax B OOIIbIIII/IHCTBC c11y11aeB

npaBM11b11B1fi. H03T0My npe11110>Ke11M$1 HaCTepHaKa B pe11KMx cnytiasrx, B 0T11the 0T

 

26 O HenpaBM11b110M 110p11111<e c110B 11pc11110)1<e11Mfi IIIeKc11Mpa 1mca11M

MCCHCIIOBaTCIm ero 113mm: “Shakespeare uses anastrophe, or unusual word order,
throughout the plays, but especially in the later ones” (Joseph, Shakespeare ’s Use of the
Arts of Language, 54); “An aspect of Shakespeare’s language which strikes modern
readers immediately is the apparent liberty which he takes with word order”(Blake,
Shakespeare ’s Language, 1 18).

90

npennoerMfi opMIMHana, pr11111>1 111111 1101111Ma111111.27 M36eraTB MHBepCMM B nOBTMtreCKOM
TeKCTe HacrepnaKy nOMorana 3Hatn11e111111311 KpaTKOCTb ero npe11110>Ke111111 B cpaBHeHMM c
npe111101Ke111111MM IHeKchpa, a mum y11311e1111e OT pMTOpMKM. 011113Ko B nepeBo113x Bce
)Ke Moxno 113m 1111Bep0Mp0B31111BIe HPCHHOXCHMSI, noc1poe111111e 110 06p33113M

oerMHana: “'Tis given out that, sleeping in my orchard,/ A serpent stung me” (Ham, 1.5,

 

1075) — «OO’bSIBJICHO, IITO c1111111ero B ca11y/ Me1111 3Me11 yxa1111113» (HpM3paK, 34); “And

 

in the cup an union sh_all he throw” (Ham, 5.2, 1114) -— «Cefiqac B 60K311 )KquyxcMHy

 

O11 6pocm» (KOpOJIb, 154). BKJIIO‘ICHMC MHBepCMpOBaHHbIX npe1111011<e111111 111101113 Moxe'r
6BITB o6151c11e110 Heo6xo11MMOCTb10 coxpa1111TB CTMXOTBopBBIfi pMTM: “in which our
valiant Hamlet—For so this side of our known world esteemed him—Did slay this

Fortinbras” (Ham, 1.1, 1067) — «B 6010 ocm1M11 111136me FaMJIeT 113111,/ TaKMM M

 

CHBIBmMfi B 11pOCBe111e11110M MMpe» (FopauMO, 12); “So excellent a king, that was to this/

 

Hyperion to a satyr” (Ham, 1.1, 1070) — «KaK 001111113 11pKMfi 11y11/ C_)K_MBOTHI>IM BTMM
113110411» (1‘ aMJIeT, 19).

HaCTepHaK 11epe11K0 nepeBo111111 HOBCCTBOBaTeIIbelC 11pe111101Ke111111
BOCKJIMIIaTenBHBIMM M BOUpOCMTCJIbeIMM M 11ao6op0T:28 “We cannot call her winds and
waters sighs and tears...” (AC, 1.2, 1300) — «P33Be 11p0 Bee M0)K110 CKa3aTb, 11m 0113

nnaqu M B311B1xaeT?» (31106ap6, 248); “Whip me such honest knaves” (Oth, 1.1, 1123)

 

27 O pr11110cm HOHMM3HMSI meKchpOBCKMX npennoerMfi c HenpaBMJIBHBnM
110p1111KOM c1103 11110311 Bne1‘1K: “The alternation of word order are more likely to affect the
placing of subject, verb and object. This freedom is still taken for granted by poets...
Shakespeare, however, alters the word order much more drastically than this so that
ambiguity can easily result” (Blake, Shakespeare’s Language, 119).

28 B TeKCTax IIIeKchpa cymeCTByeT nyTa11MI13 c0 3HaKaMM nperrMHaHmI,
oco6e11110 c BOCKJBmaTeJIBHBm M BOI'IpOCMTeIIbeIM 3HaKaMM. CM.: Blake, Shakespeare ’s

91

— «IIJTeTBMM TaKMx x0110110B!» (5110, 282). B HCKOTOprX 011y11311x HacrepnaK nepeBomm
pMToqueCKm BonpOCMTenBHBIe npe111101Ke111111 nOBechOBarenBHBran “Is it not like the
King?” (Ham, 1.1, 1066) — «0031111011 —— BBUIMTBIM KOpOJIb 110K011I1Brfi» (BepHapno, 9).
C11e11y10111ee 11111111110e npennoxeme, 33K3111111B3101neccsr pmopmeCKMM BonpOCOM,

IICpCBCIICHO IIBYMSI HOBCCTBOBBTCJIBHBIMM:

...Wherefore should I

Stand in the plague of custom, and permit

The curiosity of nations to deprive me,

For that I am some twelve or fourteen moonshines

Lag of a brother? (Lear, 1.2, 1176) —

B )KM311M

51 11111111 Te6e nocnymen. $1 OTBepr

11pOK11111'Be 11pe11paccy111<0B M 11pr

He HOCTleIIOCb, HyCTb M113111ne 11, qu 6paT (311M01111, 439-40).
IIp11M311 petrb BHyrpM npaMOM peqM (MOHOHOFOB M permMK) B nepeBonax 110pe11Ko
nepenana KaK K00Be1111311. 3T0 o6nemaeT aK'I‘CpCKyIO Mpr, TaK KaK 11p11M311 peqb c6MB3eT
TCMII M Tpe6yeT CMCHbI M111011311MM: “and that’s a marvelous searching wine, and it
perfumes the blood ere one can say ‘What’s this?’ How do you now?” (2H4, 2.4, 820)—
«a 3T0 B11110 336opMCToe, y113p11eT B I‘OHOBy, 1110Tr1y11 — M K011110110» (TpaK'mprmma,
346); “crazed/ Say, “Thus did Banquo” (Mac, 3.1, 1236) — «HTO M 6e3MO3111B11‘1 11011)Ke11
65111 1101111TB,/ I1T0 3T0 BaHKO» (MaK6eT, 610).

YCTaHOBKa 113 pa310BopHOCTB anBena 11c TOJIbKO K y11p0111e111110 cm1TaK0Mca, 110 M

K OTKJIOHCHMSIM OT 1111TepaTyp1rbrx 110pM M 003113111110 cyry6o npocropetmbrx

KOHchyKnMfi — coneuM3M0B. K 1111M 0THOC$ITC$I cnenylome: “What do you call the

play?” (Ham, 3.2, 1091) — «KaK HaBBaHbe IIBeCBI?» (KOpOJIb, 84) — (BMeCTo

 

Language, 122. O11113K0 HacrepnaK Mensm Ka‘ICCTBO npe11110>1<e1111fi 11c M3-3a nyrammbr B
meKchpOBCKMX TeKCTax, KOTOpble l'IpMBCIICHbI B 110p11110K pCHaKTOpaMM, a HPOMBBOJILHO.

 

92

JIMTepaTypHo HpaBI/UIBHOI‘O «KaK 1133BIBaeT011 nbeca?»); “What, my lord?” — «Hero,
MM110p11?» (FwIBneHCTepH, 88) -— (BMeCTo «HTO, MM110p11?»). HpOCTopethIfi xapaKTep
11pM113eT cnenyromMM cnOBaM K113B11M11 0M1111e110Mc — 11B3 011110p0111m cnOBa, MM01011111e
pa311111111y10 rpaMMaTquCKyIO (popMy («c y1IBI6KOi1 M B 01163311»): “With an auspicious
and a dropping eye,/ With mirth in fiineral and with dirge in marriage” (Ham, 1.2, 1068)

— «CO eMemaHHBIMM quCTBaMM 11e1131111/ I/l pa1100TM, c yJIBI6K011 M B 011e33x» (KOpOIIb,

 

15). HMTcpaTypHO npaBMJIBHBIM 651110 631 «c y11B16K011 M 00 0110331111». P331‘OBop11BIM M
cyry60 pyccxMfi xapaKTep 11pM11311 011e11y10111eMy npennoxenmo pOIIWI‘eJIbeIfi 11311e1K,
Bocxo1111111M171 K BWCCKOM)’ IlaTCIIbHOMy nanexy: “you whoreson little valiant villain”
(2H4, 2.4, 823) — «A B0111) TbI w 6oraTBIpB» (110111, 352).

H311111111e 601111111010 K0111111echa cppa3eo1lorM3M0B B nepeBonax 0K3331IOCB 113
CMHTaKCMCC. B 011e11y10111eM meKcrrMpOBCKOM HpCIIHOXCHMI/l HeT (bpa3e01101‘M3MOB, B
nepeBone — 11Ba: «TyT KaK TyT» M «110 nepBOMy )KCJIaHbIO»: “We shall express our duty

in his eye” (Ham, 4.4, 1100) — «Mbl Tyr KaK Tyr 110 nepBOMy )Kenanbro» ((DOp'rMI16pac,

 

109). 111101113 0 11011110 nepenatm 11p0010113po1111011 petm HacrepnaK BK111011311 B
npemloxenm 311eMe11TBI, OTcyTCTByronIm y HIeKchpa M 11c xapaKTep11BIe 111111
3111‘1111110K01‘o 113131113. l'IpOCTopetmbrfi 01Te110K 011e11y101neMy npe11110x<e111110 11p111130T
BBO11110e 0110BO «I‘OBOpIO», KOTOpoe cnOCO6CTByeT nepenaqe 11111011311101 meKchpOchoro
HpCILHOXCHMSI, co11ep)K3111ero nOBTop o6pame111111 “sir”: “No, sir, I do not bite my thumb
at you, sir; but I bite my thumb, sir” (RJ, 1.1, 981) — «A rpbray, TOBOpro, HOI‘OTb, 03p»

(CaMCOH, 167).29

 

29 l" 1131011131100 BBOJIHOC 0110Bo B npocropeqHOM HpelUIOXCHMM eCTB B «HOKTope
)KMBaro»: «Bene110 0K33311), 0K3)KM, I‘OBOQSIT, anBe3 )KeHy 01111111KOM paHo...» (Co6p.
0011., T. 111, crp. 104).

93

Mnorna B pe3yanaTe coxpamermfi M BJUIMIICMCEI npezmoxceHMH CTaHOBMJIMCb
cnoxHuMM 111151 nonMM3BM51: “You, as your business and desires shall point you,/ For
every man hath business and desire,/ Such as it is; and for my own poor part,/ Look you,
I'll go pray” (Ham, 1.5, 1076) -—— «y Bcex CBOM xenanbn M nena, —/ SI — no CBOMM;
Tounefi — 6enmn< omeTBIfiJ Hofiny momma» (Farmer, 38). CMbICII cnOB «SI —- no
CBOMM» 11011er 61111) cnenyromMM: «51 nofiny no CBOMM nenaM». BOCCTaHOBMTb normyro
(bopMy aroro cnoxnoro npennoxermn prnno, TaK KaK ono paaopBano B necxonbex
mecrax nponycxaMM cnOB. Hecrconbxo IIByCMbICJICHHO 3Byt1M'r nepeBon cnenyromero
npennoxenmr: “I saw her once/ Hop forty paces through the public street;/ And, having
lost her breath, she spoke, and panted,/ That she did make defect perfection,/ And,
breathless, pow'r breathe forth” (AC, 2.2, 1309) — «HpM Mne e171 KaK-TO 3aXBaTMno nyx/
Or copoxa mar0B» (3H063p6, 292). He ncno, or 1mm, LIbMX IIIaFOB M noquy y
Kneona'rpbx «3aXBaTMJIO nyx»? OquMmro, «efi 3aXBaTMno nyx» or copoxa mar0B 110115651,
HO Torna Moxcno penIMrb, WI‘O Kneonana cna6a 3HOPOBBCM M crpanae'r onbnnxofi. B
OpMI'MHaJIe Kneonarpa TSDKCJIO nbmrana (“lost her breath and panted”) 01" 1101113611
Bl'IpMIIprKKy. l'Iponycx tmenoB HpCIUIOXCHMSI aaTeNmMJI CMbICJI B STOM npmwepe: “‘But
yet’ is as a jailer to bring forth/ Some monstrous malefactor” (AC, 2.5, 1310) — «“Ho”
— 3T0 qTo-To Bpone nanaqa/ B flpCIIIIICCTBMM 3nonesr» (Kneona'rpa, 303). Henonsrrno,
tn‘o 3113M «nanaq B npemnechMM anoneg». B oerMHane CMbICJI COBepmeHno SICCH, Irro
BMIHIO M3 6yKBaan0ro nepeBona: «“Ho” — 310 KaK nanaq (BMceannMK), anBonsnnMfi
(BenytnMfi c 006011) yxacnoro anCTyIIHMKa».

B nepeBonax CC’I‘b Hecxonbxo nperx, Ha M011 Barnsm, CTMJIMCTMtrecxM Heynatnnnrx

npennoerMfi. Heynaqen Bbl6op coqeranMM «B TaKOM xony» B npennoxenm: “For what

94

we know must be, and is as common/ As any the most vulgar thing to sense,/ Why should
we in our peevish opposition/ Take it to heart?” (Ham, 1.2, 1069) — «Il'ro HeM36exno M
B TaKOM xony,/ KaK caMbIC 06mm 51311011551...» (KOpOJIb, 17). Penn) MneT 0 CMep‘I’M
FaiMJIeTa-orna: KOpOIIb yBenIeBaeT Famera OCTaBMTb Tpayp, TaK KaK norepn 01113
mne'rca 06mm SIBJICHMCM. Bbrpaxerme «B xony» 6onee ymecrno, Korna petn) MneT 0
M011e, nonynnpnoch, cnpoce Ha Bro-111160. HacrepnaK IIOCTaBMH cn0B0 B BMHMTenbnom
nanexe BMCC’I‘O ponMTenbnoro B coquanMM «HpMcyxnanr IIOIIOHKM o61necha».
erMTenbnbrfi nanex 65111 6H wecren, ech 651 cn0Bo ynorpe6n51nocs B
nepBonaqaanOM 311311010114 — KaK neonyrneBneHnoe. B 3TOM npennoerMM 0110
onymeBneBBoe M Tpe6ye'r pOHMTCIIbHOI‘O nanexa (HOIIOHKOB), KaK M cnenyronme 33 HMM
OIIHOpOIIHbIC cn0Ba: “Your purpos’d low correction/ Is such as basest and contemn’dest
wretches/ For pilt’rings and most common trespasses/ Are punish’d with” (Lear, 2.2,
1187) — «K Taxomy HaKa3311B10 HpMCYXJIaIOT/ [1011011101 o61neC'1'Ba, 6ponnr, Bop0B/ M
npqufi c6p011» (I‘nocrep, 475). B CHeHyIOIIICM npennoerMM nanexo OTCTOSIT npyr OT
npyra omropomme nononnenmr «Te6s1» M «nonnarnrbrx», B pe3yanaTe qero ocna6nena
C8513}: Memy HMMM: “If I do not beat thee out of thy kingdom with a dagger of lath and
drive all thy subjects afore thee like a flock of wild geese, I’ll never wear hair on my face
more” (1H4, 2.4, 779) — «an1; Mile 6e3 onnoro Bonoca, ecrm :1 He nporomo m
nepeBsnmofi cxanxofi M3 TBoero KOpOJICBCTBa M Bcex TBOMX nonnannbrx, KaK CTano rycefi,
BMeC're c 106010» ((Danbcracb, 239).
0
513m naCTepnaKOBCKMx nepeBonOB 60raT M pa3n006p33eH. 310 non'rBepxcnaeT

o6mme CMHOHMMOB, 60mm0fi CTMJIMCTquCKMfi nM3na30H CJIOBapSI M pa3n006pa3Me

95

1(0110'1‘py1c11MM npennoerMfi. CTM115 HepCBOIIOB 0611311301 HCKOTOprMM 01‘11MtIM'1‘011511511m
0'1 CTMJISI l'IOIUIMHHMKOB 000601111001511111. Py00McpMKanMM nepeBonOB 0n0006chy10'r mom
0 YMCHLIIIMTCIILHHMM M yBCIMqMTCIIbeIMM cycpdmxcaMM, npocropeqnme py0M3M51,
pyCCKI/IC o6pame11M$1 M M11033 HeKorop51x B'ropocrenemm nepconaxefi, 0n0B3,
0Bn3a1111510 c py00KMM 6511014 (py00KM0 1133B311M$1 11e11er, Mrp, mep 1111111151), 3 Taloxe c
pyccxMM (p0115xn0p0M. HeKCMKa M (bpaBCOJIOI‘MSI, xapaKTeprIe 11.1151 meparypbl M
ny6nMI1MCTvnm Boennoro M nocneBoeHHoro BpeMCHM, OCOBpCMCHMBaIOT nepeBon51.
I/ImmBMHyanwbrfi 0111115 HaCTepHaKa-nepeBonma npOSIBMHCSI B Mcn0115308311MM
60115n101‘0 Komecha 0110B 0 l'lpI/IHOXCHMSIMM, cy6C'I‘aHTMBMpOBaHHbIX annaraTen51151x M
M0010MM011MM, By11513pM3M0B. £35m nepeBonOB own/1113101 or n35n<a HOHJIMHHMKOB M
nperx pyCCKMX nepeBonOB Taroxe HCKOToprC oco6e11110 11301510 011033: «ropsrq»,
«morn» M 11p. He 01pax<e1151 B nepeBonax Tame nexcmecme 0110M H01UIMIfl-IMKOB, KaK
neonorM3M51, M3nanponM3M51 M cnem, M3 KOTOprX neonorM3M51 smnsnorcn Baxnofi
oco6e1n100'r510 mexchpOchofi n03'rMKM.

MnMOMa'quHocrb xapaKTepna 111151 $1351Ka nepconaxefi Bcex nepeBenenHux IILCC.
0113 0n00060'rByeT y0M11enM10 p3310Bopn00'rM M mnnmnnyanmamm perm. B «J'IMpe»
Hexo'rop51e (bpa300norM3M51 aKneHTMpyIOT Temy anpon51 (rpo351) M Temy 3pe1ms1
(npo3peB3HM51) 6naronapn n0B'1‘0py Bx01151n1MX B 11MX 0110B.

M3MCHCHMSI 010113ch3 cnoco6ch0Ba11M paBI‘OBOpHOCTM perm. OHM Taxxe
CBSBaHbI c neo6xonMM00'r510 COXpaHCHMSI ee TeMna M CO6JIIOIICHM$I p3B1100'1p0t1MB.
Cnoxonne, pa3Be'ane1n151e npennoerMH y HacTepnaKa nepena1151 HecxonbeMM
KopOTKMMM; onyme1nn Mnome 01n10p01111510 011033 (0006011110 OflpCIICJICHMSI), 0010351,
BBOLIHBIC 011083 M npyme t11101151 npennoxemtfi c nemno o6ne1‘qe11M51 Mx Koncrpymnm.

Cxame npezmoerMfi menner 14111011310110 nepconaxefi, 0m13K0 CHOCO5C’I‘ByCT

96

coxpanenMIo 101013 pet1M, 11010me an nocn0B110M nepeBone 65111 651 331101111011 B 0M11y
1111010011011111001M pyccxMx 0110B. H0 B00133 M 110 nom1001510 n0p01131151 p33th111510
chJIMCI'qucxM0 chrypBI (nap3nne11M3M51, 31131110p51, pM10thI00KM0 Bonp0051).
3113men5110 y6aBn0110 11011111100130 MHBepCMp0B311115111 M 3W6CKMX np011no111011Mfi.
HpMMOp0B pM10pMu00Koro (311111131qu011010) 31111MIICM03, 1M11Mtn101‘0 111151 IIIeKchpa, B
nepeBonax 33310110115110 110115n10, 110 601151n0 p3310B0pBoro 311nMncnca. P3310B0p11001M
perm 0n000601By101 1310110 00110111131151 M 33110113 npsmofi peqM K00B01n10fi.

H00M01pn 113 B00 31M M3M01101ms1, H3010p11311 nepenan, 110111 B 33310110115110
MCHmeM 0650110, mome oco6e1n1001M m01<011Mp0BOK010 cmrraKCMca: pMTOquecKMM'
3111111110Mc, M11B0p0M10, pa3n006pa311510 an0M51 n0B10pa. l'Ipe11n011101n151 nepeBonOB 110 1311
pa311006pa31151 no noc1poe11MIo, 11311 npenno1I1011M$1 0pM1M113110B, 110 110 B51351B3101
1py1111001M B no11M11311MM, 3a HCKJIIO‘ICHMCM 01110115115111 cnyqaeB. 33110113 3Bd1yM3M0B,
01010310115115111 cbpa3 01110115151101, caMOC’I‘OSITCIIbeIMM cnOBaMM (cymechM10n51151MM M
rnaronaMM) 0n000601B0Ban3 1101111p01M3311MM np011M010B, nepconaxefi M neMCTBMM M

06nemMJIa n011M1131me 0011er3111151.

FJ'IABA III

CBOEOBPA3ME OBPABHOCTM, MHHMBMHYAJII’BAHI’IM PE‘II'I,
IOMOPA M MI‘PbI CIIOB

06pa3110015

B 10x cnyqanx, 1101113 65111 303110111011 6yKB31151151M nepeBon 06p33110fi petm,
1'13010p11311 an601311 11 11011y: “Forgive my fearful sails!” (AC, 3.11, 1324) — «Hp001M
M01111 ny11m135111 n3py03M» (Kn00n31pa, 370). 011113110 B 601151nMI101Be cnyqaeB 06pa311351
p0t15 B nepeBonax ynpomena. 0110115 113010 H3010p11311 n0p0B011M11 M013d10p51 601100
np00151MM n0 1101101py1111MM xy11011100130111151MM cpaBneHMSIMM 0 00103011 «11311». 06pa3,
0031131111511 n00p01101B0M cp3B110111111, 1101113 B 11011 ancy101By101 063 0p3B11MB30M5111
11013101101113, 1101111p011100 M npome, L10M 06pa3, 003113111n31fi nocp01101B0M M013¢0p51, —
(baKTPNCCKM smnmomeficn 011p5115m cp3B11011M0M, — M 113 cnyx Bocananaema neme,
t10M M0131popa. T01 1113111, 1110 cpaB1101m11 nepeBonOB n001p001151 B 36001110111011
601151nMi101B0 cnyqaeB c n0M01n510 001033 «11311», — 0311010 pacnpoc1pa1101111010 M3
BO3M01111151x 001030B cpaB11011MS1, — 10B0pM1 0 01p0M11011MM IIaCTepHaxa 11 M3110MM311511011
n0115m1001M 06pa3a. CnyqaeB 331101151 M013cbop 11y110111001B01111511v1M CpaBHCHMSIMM 0

COIOBOM «11311» OQCHI) MHOFO. BOT HCCKOIleO l'IpPIMCpOBI

“Sweet flower, with flowers thy bridal bed I strew” (RJ, 5.3, 1017) —
«1'101KM B 11B01311 — 03113, 1133 031:1 B 11B01y» (HapMc, 267); “Truth’s a dog
must to kennel. He must be whipped out, when the Lady Brach may stand
by the fire and stink” (Lear, 1.4, 1180) -— «npaBny B00133 1011111 M3 110113,

97

98

£35 010pox10By10 006311y, 3 30011: 110m B 1101111310 M 30111101, 114311
110Bp01113» (my1, 452); “Ill-weaved ambition, how much art thou shrunk!”
(1H4, 5.4, 802) — «3aHOC‘IMBOCTb — Henpqumfi 1131epbsmz/ 0113, g
01Mp311311 1113111), 0311111011» (11p111111, 302).

LIpyrofi 0110111: 113011111 0110006 ynpome111111 o6p3311001M B nepeBonax — 33110113
06pa311brx BBIpaerMfi MJJMOMEIMM. 33110111111 111011011Mp0B011M0 MCTflCbOpr py001111MM
M11M011311M, H3010p11311 110113110110 01111101131103 01 3031M11M IIIeKCIIMpa, 1311 11311 111101M0
o6p3311110 BB1p3>11011M11 IHeKCIIMpa 11136110111111.l 141111011131 — 10110 1113611011131, 111101M0 M3
111111 — 3301B1B11me 110131130p131. H3010p11311 113010 11pM601311 11 1311M11 3aCTbIBIIIMM
11013cpop3M, 11011111115111 M anBBmeIM 111111 1131111010 py0011010:

— “But this intrusion shall/ Now seeming sweet, convert to bitterest gall”
(RJ, 1.5, 990) — «H0 B3111 1103Ba1111mfi 1001B.../ E1110 B311 6y1101 1111010
KpOBM CTOI/fl‘b!» (TM631111, 189); “There she shook/ The holy water from
her heavenly eyes,/ And, clamor-moistened” (Lear, 4.3, 1204-1205) —
«Ty1 0110311 11333011 11111111me y 3011» (an11Bop11BIM, 525); — “He cannot
buckle his distempered cause/ Within the belt of rule” (Mac, 5.2, 1250) —
«011110 11111111 110110: 1110 B 0B0Mx 110113x/ H0 110x101 011 0B001M 11011110B c
KOElaMM» (K311100, 652); “The devil damn thee black, thou cream-faced
loon!” (Mac, 5.3, 1251) — «TH 6011, 11311 x01101» (MaK6eT, 653);
“Whereon this Hydra of war is born” (2H4, 4.2, 833) — «01 31010 gm;
601) M 3310p011011» (3pXM01111011011, 383).

 

 

 

 

 

HCKOTOprC meKcriMp0B011M0 06p33B1 110p011311br nperMM 06pa3311M. 141101113 310
0110113110 M3-33 HCBOBMODKHOCTM M1111 110y1100111001M 6yKBaJIbHoro nepeBona. H311pM110p,
011p011011011110 repuora K0p11y3111>011010 010 31011011 1100pe1101B0M 0110B “3 moral fool”
(@10pr11111111 11yp311») H3010p11311 33110111111 o6p33011 0 11311011011 113 BM6111110: “Whilst

thou, 3 moral fool, sits still and cries” (Lear, 4.2, 1203) — «B 10 Bpe1111/ K311 11:1, 311001011

 

l B 31011 0B113M (1)0ch y1133311 113 11p061101vry M3yt1011M11 o6p3311001M [Hexcrmpaz
“...much of Shakespeare’s imagery is borrowed, proverbial or commonplace” [R.A.
Foakes, “Suggestions for a New Approach to Shakespeare’s Imagery,” in Shakespeare
Survey: An Annual Survey of Shakespearean Stuaj» & Production, ed. Allardyce Nicoll
(Cambridge: University Press, 1952), 82].

99

11p_01001M, 01111111115/ 14 11111115 831151x301115: “111111 11010 B00 310?”» (I‘o110p1111511, 522).
BM611011011311 31111103M11 0001B0101Bye'1 1103111110 IIIeKchpa, t15M 10110151 0011er31
6011511100 110111111001B0 6M61101101111x o6p330B M 31111103M11.2 1301100 1010, 1311011 nepeBon
011p3B11311 10M, 1110 11p0115111y111110 01p011M oerMHana co110px131 110111011010Boe cp3B11011110
10p11013 c XpMCTOM: “Milk-livered man,/ That bear’st a cheek for blows, a head for
wrongs” (Lear, 4.2, 1203) — «)KaJIKMM prc/ C 11101131111 111111 1101110111111, 0 1030B011/ 111111
npo113x0B!» (Fonepm1511, 521). T0311011111111 H3010p113113 11pM601315 11 6M611011011MM
31111103M11M npoaBMn305 M B nepeBone 11011010p51x 11py1Mx 11001: “And do not spread the
compost on the weeds/ To make them ranker” (Ham, 3.4, 1097) — «110113111005/ B

00110111111011 M 60p01M1005 Bnp0115./ TpaBy xy11y1o B51p5IB3101 0 1101911011» (1‘3111101, 100-

 

101); “Give me some music; music, moody food/ Of us that trade in love” (AC, 2.5,

1310) — «SI 6 my35111y 110011ym3113. 0113/ H30y111115111 x1106 B11106110111151x» (K11001131pa,

 

298).

141101113 M311011011110 06p33a 11p0110111101 010 conepx311110. CKaxeM, Bo Bpe110113
1.1101101111p3 BepMJIM, 1110 1110111151 1101111113113 111113111105 11p0B510 MaTepM,3 11031011y J'IMp
IIIer101111p3 cpaB111111 0B0Mx noqepefi 0 110151111 1101111113113: “’Twas this flesh begot/ Those
pelican daughters” (Lear, 3.4, 1196). By11B31151151fi nepeBon 11011011111011 («110111111311011M0

110110pM»?), 110310My H3010p11311 311M101 “pelican” 33110111111 011p011011011M011

 

2 BM611011011MM 31111103M11M B 11500311 IHeKcrmpa 1100B111110110 1111010 p3601. Cp011M
111111 1111111M: Richmond Noble, Shakespeare ’s Biblical Knowledge and Use of the Book of
Common Prayer as Exemplified in the Plays of the First Folio (New York: Octagon
Books, 1970); John Erskine Hankins, Shakespeare’s Derived Imagery (Lawrence:
University Kansas Press, 1953).

3 C11. 11011M01113pMM B 1111111311: Complete Works of Shakespeare, 1196; G.
Blakemore Evans, 0d. The Riverside Shakespeare. In two volumes, vol. 2 (Boston:

100

«11p08011131111510»: «1411 10110 B11110B310/ B pox1101150 KpOBoxagumx noqepefi» (IIMp, 500).

 

B «A111011MM M K11001131p0» 11011 “downy windows” X3p11M3113 M11001 B may 111333
(B011M): “Downy windows, close” (AC, 5.2, 1343). H3010p11311 00xp3111111 06pa3, pacmMpMB
010: «C11y01M1005, B011M, 33113B0011M 11133» (Xap11113113, 469). B 11py1Mx 011y11311x pMd1Ma M
pMTM B5111y>111131111 H3010p113113 M3110111115 06pa3: “I never yet did hear/ That the bruised
heart was pierced through the 031” (0th, 1.3, 1129). — «M 110 y11111510 p3110BM1151— 11y15/
B 01p311311511MM M010p3a1111y10 1py115» (Bpa6a1111110, 299).

M1101M0 06pa311510 B51pax1011M11 331101101151 p3310Bop1101’1 p011510. Hpexne 30010 310
1130301011 3B1pyM3M0B. C11011y10111Me B51011p01111510 cppa351 P0M00 o beyn50110 B nepeBone
3By1131 11311 601100 001001B01111311 peqb: “0, she doth teach the torches to burn bright!” (RJ,
1.5, 989) — «E0 0M111150 11131101151 33111M110» (P01100, 187); “What lady’s that which doth
enrich the hand/ Of yonder knight?” (RJ, 1.5, 989) —— «K10 2113 6ap511111111 py113 0 pyKofi/
C 10M KaBaJIepOM?» (P01100, 187).

H001pa1131111 111101M0 MMd101101M110011M0 06pa351. MMcponoquecxM0 M110113,
Mcn011530Ba1111510 1H011011Mpo11 B 110p0110011011 3113110111111, H3010p11311 110p011110 33110111111
113p11113101151151MM 0110BaM11: «11y110BM1110» B110010 Gorgon, «60)KCCTBO» B110010 Mars M
1.11.:

“Though he be painted one way like a @rgo_n,/ The other way’s a
M_3LS”(AC, 2.5, 1312) — «011 — we 01111010 010po110fi/ M
60111001B0 — 11py1011» (K11001131pa, 309); “For YerLus smiles not in a
house of tears” (RJ, 4.1, 1010) — «mg 110 110 11Bopy B 110113x, 1110
1payp» (HapMc, 247); “Think on me/ That 3m with My; amorous
pinches black,/ And wrinkled deep in time?” (AC, 1.5, 1304) — «B00 1111/

011 1101111111, 01131101111y10, 1101111/ B 011011311 3arapa, 0 110111010 B 110p111MHax?»
(K11001131pa, 269).

 

Houghton Mifflin Co., 1974), 1276 (B 1131153011111011 005111113 113 310 M311311110 6y1101
11pMB011M15011 0011p3111011110: Riverside Shakespeare).

101

Hep0301151 110 01p33M1111 3311111y10 113015 11031M11M 11101101111pa — 010 3111110151,
06pa30331111510 01 11311111011M11 110p110fi, 1101011y 1110 M11 110303M0>11110 110p0300111 311011331110.
Y IIIeKcrrMpa 111101001103111510 11311113131151 113 1110110 110p0'111MX 3111110-03110011011101 0110B
351111111111 110065111110 M 33001p11101 o6p33110015, 011113110 py00111111 1135111 110 110330111101
11311511Mp03315 1311M0 011033 IIIeKcrrMpa. K11300M110011M11 rrpM110p0M 11101101111p03011011
06pa311001M, 11001110033011 113 0011030 11311131131103, 113111101011 011011y10111M11 01p513011,
0011er311111171 011033 “multitudinous” M “incarnadine”, 110p0301101111510 H3010p11311011 11311
«MOpCKMX» M «11011p3011001»:

What hands are here? Ha, they pluck out mine eyes!
Will all great Neptune’s ocean wash this blood
Clean from my hand? No, this my hand will rather
The multitudinous seas incarnadine,

Making the green one red (Mac, 2.2, 1232) —

M110 Mx 111333

M3 3113111111 351p513301. OK03113

He x331M1 Mx 0115115. Cxopeti 30113

MopcxMX 11y11MI1 01 11p03M 1101193011001 (M311601, 596).

He 3001113 110p0301101151 011011111510 o6p3351, n001p001111510 113 111pe 01103. B nepeBone
011011y10111010 01p513113 M3 <<F3M11013>> 1101 06pa3a 01151 (1111pa) x111111111113, 11010p5111 3

0pM1M113110 110p011311 1100p011013011 01103 “Sharked up”, “food and diet” M “stomach”:

Now, sir, young Fortinbras,

Of unimproved mettle hot and full,

Hath in the skirts of Norway here and there

Sharked up a list of lawless resolutes

For food and diet to some enterprise

That hath a stomach in’t, which is no other (Ham, 1.1, 1067) —

E10 11301101111M11, M11311111M11 <Dop111116pac,

B M36511110 11pMp0)11110111101o 33110p3

Ha6p311 110 300171 HopBe1MM OTpSIII

33 111106 101035111 3 6011 1011030pe303 (1"0p311M0, 12).

102

HepeBon51 13111110 110 nepe1131111 311011331110 11py1y10 0006011110015 mexchp030110M
o6p3311001M — 06M11110 npocp000M01131151151x 01103, M0301153033111151x 3 nepe1100110M M1111
o6p33110M 3113110111111. K 1111M 011100111011 TCpMMHbI 3001111510, M0p011M0, 10pM1111110011M0,
0110pm311510, OXOTHM‘IBM, 001150110x03111101301111510. I1011y1111p11311 30 3peM0113 IIIeKchpa
00110111111311 0x013 113111113 y 11010 01pa>11011M0 3 o6p33ax, nocrpoem151x 113 OXOTHM‘IBHX
TepMMHax. B cnenylomeM 01p513110 F010110p 0p3311113301011 0 0011011011 1100p0110130M
M0131bop51, conepxamefi 011033 01101111115010 110110M110113 “prune” M “bristle up”: “Which
makes him any himself and bristle up/ The crest of youth against your dignity” (1 H4,
1.1, 767) —- «301 F010110p M 33311311011 M 13me Ho MOIIOJIOCTM 1101, 336513 11pM11111150»
(Y301Mop1101111, 205). C11030 M3 11011011110113 00110111111011 0110151 “mewed up” y1101pe6111101
11011M K311y11011'M 3 311p00 ley1150'1151: “Tonight she’s mewed up to her heaviness (RJ,
3.4, 1006) -— «0113 yrp31ofi 3011 n011101110113» (236). B 11py10M 011y1130 HaCTepHaK,
01113333111M05 01 nepeBona cnopTMBHofi (6op110301101’1) TCpMMHOIIOI‘MM opmana (“have
[somebody] on the hip’”), 003113.11 03011 06pa3, 0030p111011110 11001101111111 0 06pa30M
opM1‘11113113: “I’ll have our Michael Cassio on the hip,/ Abuse him to the Moor in the rank
gar ” (0th, 2.1, 1135) — «P011pM10 11 011y111y, 11311 1103 00 030p51,/ Ha K300Mo» (5110, 316).
C11011y101111111 01p513011 op11111113113 0011er1111 Mop01101‘1 10p11013 “topgallant”,
110p030110111151171 H3010p113110M 11311 «30pm11113», 1311 11311 33111111101100 011030 0311311301
camy10 3510011y10 Malay:5 “Which to the high M3111 of my joy/ Must be my convoy in
the secret night” (RJ, 2.4, 997) — «110 110W B36epy05 11 11011510 113 30pm 011301511»

(P01100, 212). C11030 M3 110p11103011010 011033p11 “to unseam” H3010p11311 nepeBen 11311

 

4 CM. KOMMeHTapMfi 3 11111110: Complete Works of Shakespeare, 1 135.

5 CM. KOMM01113pM11 3 11111110: Complete Works of Shakespeare,997.

103

«cnec», xom MOI“ MCHOIIb3OBaTb aBeKBaTHoe «pacxpom‘B»: “Till he unseamed him from
the nave to th’ chops” (Mac, 1.2, 1224) — <<ron0By emy c paaMaxy LHe_c» (cepxaHT,
572).

HCKOTOprC nepconaxm IIIexcrmpa traC'ro HOJIbByIOTCSI npocbeccuonanbnofi
TepMmionomefi, I‘OBopsmIefi 06 14x npocbeccvm mm 06paae warm. Hanpnmep, B petm
Hro BeTpeqarorcsr MOpCKMC TcpMIfiIbI.6 B HCKOTOprX cnyuasrx HacrepnaK nepeBen nx:

“I must show out a flag and Sign of love,/ Which is indeed but s_ign.” (1.1,
1124) — «51 Bbmyxnen ancngbmarb rum vay/ l'Ipen renepanom
prxeC'rBeHHblfi MJ Ho 3T0, pasymee'rcsr, nmmna» (286); “hath

boarded a land carrack” (1.2, 1125) — «OH Hmme 3aXBaTw1/ Fanepy c
rpysoM» (289).

 

Ho B npymx HaCTepBaK samemm mm onycrvm TaKoro pona CJIOBa, q'ro ooemnmo perm
Hro:

“must be beleed and calmed/ By debitor and creditor” (1.1, 1122) —— «Ho
Bbl6paH on» (282); “Or put upon you what restraint or grievance/ The
law.../ Will give him cable” (1.2, 1125) — «Wm B OTMechy MC’I‘OMM'I‘
cynaMM» (288); “I confess me knit to thy deserving with cables of
perdurable toughness” (1 .3, 1131) — B nepeBone nponycx (303).

[lame 11pm 01611143.]lebe CHOB HCpCHaHbI BOCHHIJIC TCpMMHbI, OLICBMIIHO,
HOTOMy, ‘ITO OHM CZMBIC I‘IEIC'I'bIC B opm‘mianax:

“And let us once again M your ears,/ That are so fortified against our
story” (Ham, 1.1, 1066) — «pa3pemme mTprOBaTB Barn cnyx,/ CTOIIb
prenneHHBIfi HpOTMB Hac, paccxaBOM» (BepHapno, 9); “And keep you i_n
the rear of your affection,/ Out of the shot and danger of desire” (Ham, 1.3,
1072) — «Ocreperaficsr, KaK quBI, BnequBH/ Ha BbIC'I‘pCJI or Bsammocm

66m» (J‘Iaap'r, 25).

 

 

6 Ha 3T0, B qacmocm, yKaBaJm Muxann MOpO3OB Id Kapomma Cnepmxen
(Morozov, “The Individualization of Shakespeare’s Characters Through Imagery,” 89;
Spurgeon, Shakespeare ’s Imagery and What it Tells Us, 337).

104

B nepeBonax ynpomeBa TeMa'mqecxasr 06pa3HOCTb HIeKcrmpa, Tax KaK He Bcema

IICpCBCIICHbI net’rrMornBHbre CJIOBa, coanalonme 06pa3BI-TeMBI. Konmrecho Tam cnOB

ymenbmeno HOBCCMCCTHO. Baxnan B «MaK6eTe» meTacpopa OIICXIIBI KaK nomocm

HCJIOBeKa PLUM CFO MCCTa cpezm oxpyxaroumx nepenaHa B TCX CJIyanIX, KOFIIa B

opunmane ona acpopucrwma:

“Why do you dress me/ In borrowed robes?” (1.3, 1226) — «He
nomaroJ 3aqu psmu'rb Mensr B qyxofi Hapsm?» (MaK6eT, 580); “New
honors come upon him,/ Like our strange garments, cleave not to their
molds/ But with the aid of use” (1.3, 1226) — «OH nomen K HOBofi
noqecm npnBBIKHyTB/ Ee, KaK rmaTbe, nano O6HOCM'I‘b» (BaHKO, 581);‘
“Now does he feel his title/ Hangs loose about him, like a giant’s robe/
Upon a dwarfish thief” (5.2, 1250) — «qTO myn Koponn Ha HCM BMCMTJ
KaK maH'msr mran'ra Ba Bopnmxe» (AHryc, 652).

OIIHaKO, eCJm meracpopa MaJIOBpraBMTCIEbHa, HacrepnaK napacbpaBMpOBan cc:

“and I have bought/ Golden opinions from all sorts of people,/ Which
would be worn now in their newest gloss,/ Not cast aside so soon” (1.7,
1229) — «51 B HapOIIHOM MHeHBe/ CTOIO TaK BbICOKO, mo 51 6 XO'I‘CJI/
Dom HeMHoro 3Tofi no6pofi cnaBoi/i» (MaK6eT, 589); “Was the hope
(1an Wherein you dressed yourself? Hath it slept since? And wakes it
now, to look so green and pale/ At what it did so freely?” (1.7, 1229) —
«TaK trro 3a 3Bepb B TOT p33 Teosr 3aCTaBmI/ MHe OTKprBa'I'b HaMCpCHbfl
CBOM?» (new MaK6eT, 589).

B MOBonorax-oomermsrx arbopncmqnocrb ycmrena, praIIICHHOCTb ocna6nena,

OHM 3Byan B nyxe pyccxofi rpaxcnancxofi J'IMpMKM. B cnenyiomeM Mononore ana He

nepenano ommeTBoperme: B oprmmane npOTMBonocraBanTcsr “raggedness” M “pomp”

(«O60HpaHHOCTb» B 3Haqemm «Gemlble» — M «IIOMIICBHOCTL» B 3Baqemm «601‘a'I'bIe»).

HacrepnaK KOHermaupyeT npOTMBonocraBneIme — y Hero 3T0 «ooraq» n «oermme»:

Your loop’d and window’d raggedness, defend you
From seasons such as these? 0, I have ta’en

Too little care of this! Take physio, pomp;

Expose thyself to feel what wretches feel,

That thou mayst shake the superflux to them

And show the heavens more just (Lear, 3.4, 1195) —

105

BOT Te6e ypox,

Boraq HaIIMCHIIbIfil Cram) Ha mecro 6eyblx,

Hoquchyfi TO, trro quCTByIOT OHM,

III Bafi MM qacrb OT CBOCI‘O M36bITKa

B 3Ha1< Bblcmefi cnpaBemmBocm He6ec (1114p, 498).

l'Ipocropetme M mnwmo naCTepnaKOchne cnOBa morna cnocoochOBama

BBIpaBMTeJIBHocm PI cxa'rocm 06pa30B. B nepeBone cnenyromero npemroxermsr Bce
arlm‘em, xapaKTepuaonmMe ronoc neTyxa, onymeHBI, no tax OTcyTCTBMe BocnonHeHo
npocropethIM CJIOBO «I‘JIOTKa», Koropoe 06pa3Ho caMO no ce6e: “The cock, that is the
trumpet to the mom,/ Doth with his lofty and shrill-sounding throat/ Awake the god of
day” (Ham, 1.1, 1068) — «I'Ie'ryx, proaq 3apM, CBoeIo rnomofi/ Hponsm‘enbnoro 6yner
0T0 cna...» (I‘opauno, 14). B npymM npelmoxemm nBa marona (“squeak and gibber”)
BaMCHCHbI ommM — «MOJIOTb», nBa 3Haqerms1 Koroporo o6brr'paHBI. IIpsnvroe 3Haqerme
(pacmpaTB trTo-Jmoo) nepenaer CMbICJI marona “squeak” HOCpCIICTBOM accomaamm
CJIOBa co CKpMIIOM )KCpHOBOB; ero npom‘opeqnoe nepeHocnoe 3Baqerme (FOBOpMTb)

nepenaer CMBIcn rnarona “gibber”: “Did squeak and gfiibber in the Roman streets” (Ham,

1.1, 1067) —— «Ha ymmax HeBHsmmy MOHOIIM» (I‘opamao, 13). B «POMeo u IbeJIBeTre»

 

o6pa3noe CJIOBO «maTyH» nopoxmae'r 3pMTeJIBHBIe acconnamm: “To fetch a ladder, by the
which your love/ Must clime a bird’s nest soon when it is dark” (RJ, 2.5, 999) —
«BepeBquasr JICCTHI/flla Hyma/ 11ml TBoero Hquoro mar a» (Kopmumma, 216). CJIOBo
«maTyH» 06pa30BaHo OT CHOBa «IIIaTaTbCSI», M TaK KaK 0H0 COCCIIC'I‘ByCT co
cnOBocoquarmeM «BepeBquaa necmmra», TO cosnaeT accounaumo: Illa'I‘KaSI BepeBquasr
necmmra n B36nparonmficsl no Hefi Pomeo. HacrepnaKOBCKne cymeCTBMTeJIBHBIe c

npmroxermerM TOXC CHOCO6CTByIOT cxarmo meKCImpOchofi O6p33HOCTM. B

106

CJICHyIOHICM npumepe 11Ba amneTa opnmnana 3aMCHCHbI OIEHMM npmroxenneM: “Th’
extravagant and erring spirit” (Ham, 1.], 1068) — «cmaneu—nyx» (I‘opamro, 1068).
YHpOCTMB o6pa3m na cnOBecn0M yp0Bne, HacrepnaK OOOPaTMJI MX 3ByK0Byro
cropony. B cnenylomeM npmvrepe 3ByKonMCB opnmnana, conepxamero CBMCTSIIIIMC
3ByKM, nepenaror nOBTopsnomnecsr cornacnbre «C» III «11». 3TOT 3ByK0Bofi I'IOBTOp
Bbmenne'r KmoquBIe cnOBa: “In the rank sweat of an en_s_eamed bed,/ §tewed in
corruption, honeying and making love/ Over the nasy m!” (Ham, 3.4, 1096) —
«me951 B gane/ l'IpozIaBnennofi KpOBaTM, yrona'rb/ B ngnapnne nopoxa, IIIOOOBaTbQSI/
QBOMM nanenBeM» (Farmer, 98). KpaanbIfi 06pa3 paCCBeTa B «Tamere» ynanno
nepenan ne TOIIbKO B CJIOBCCHOM ornomenpm, no M B 3ByK0B0M. 06a TeKCTa conepxca'r
nOBTop 3ByKa «o» (B pyccxom TeKCTe unorna pCIIyuMpOBaHHOI‘O), Korophlfi B cnny CBoefi
«orcpyrnocm» (npn nponanomenlm n nanncamm) accompyercn c COJIHIICM: “But, look,
the mom in russetmantle clad/ Walks o’er the dew of you high eastward hill” (Ham, 1.1,
1068) — «Hg B_O_T u yrpg B pQBQBQM Imame/ chy HpMPQpKQB TonneT na BQCTQKC»
(Foparmo, 14). B nperM cnynae cmexcnbre CJIOBa nepeBona conepxaT 3ByK0Bofi HOBTOp
rnacnbrx M cornacnbrx; onn KaK 6m nannsanbr npyr na npyra M nepenanT nenpepBanoch
Tenenmr KpOBn: “With purple fountains issuing from your veins” (RJ, 1.1, 981) —
<<C1pyerM Kpacnofi )KMJIKOCTM 143 m» (168). Henpmn'noe 3Bynanne Tpenefi xaBoponKa
nepenano IIOBTOpOM nmnsmmx «x» n «m»: “It is the lark that sings so out of tune,/
Straining harsh discords and unpleasing sharps” (RJ, 3.5, 1007) — «CBe'raeT.
_)I_(aBoponox-ropnonep/ CBoefi necxnammefi naM pe;K_eT ngM» (nyIIbC'ITa, 238).
3Bcpyncmnecxan (ppasa “the round/ And top of sovereignty” cxaTa no oxrnoro CJIOBa

«xopona», no npn 3TOM 06pa3 oooramen cosByImeM armre'ra c CYHICCTBMTCIIBHBIM: “And

107

wears upon his baby brow the round/ And top of sovereignty?” (Mac, 4.1, 1244) — «C

Koponofi na manenquKOM nene» (MaK6eT, 631). B cnenyromeM npmepe 3IIM'I‘C'I‘

 

opm‘unana “tawny” BblpaBMTCIIbHCC Bnm‘era nepeBona «nepmarfi», no 3T0 ocna6nenne

6‘

BHpaBMTCJIbHOCTM BO3MCIII€HO COBBY‘IMCM BIIMTCTa C OIIpCIICJISICMhIM MM CJIOBOMI HOW

bend, now turn,/ The office and devotion of their view/ Upon a tawny front” (AC, 1.],
1297) — «Monm‘Benno HpMKOBaH K ggpnofi gene» ((Dnnon, 233).

HacrepnaK ynpocmn crpyKTypy OprIBKOB, conepxannax cnoxnbre rponu n
crmmcrmecme cburypu. AHTM’I‘CBBI Hacrepnaxa B npenenax ozrnoro O'I‘prBKa reKcra
nocrpoena no cxoxefi cxeme, B ornwme or an'rn're3 Hlexcnnpa. B cnenyromeM OprIBKC
y Hacrepnaka Bce npennoxennn c KOHTpaCTHbIMM CJIOBaMM — BOCKJIMIIaTeIIthIC (onno
HOBCCTBOBaTCIIbHOC), B TO BpCMSI KaK nepeBon conepxn'r onno BOl'IpOCMTCJIbHOC (“Did
ever dragon keep so fair a cave?”). Bce npennoxermn B nepeBone — OIIHOCOCTaBHbIC
mennbre, B TO Bpemsr KaK opnrnnan conepm nBycocraBnBre npennoxenmr:

O serpent heart, hid with a flow’ring face!

Did ever dragon keep so fair a cave?

Beautiful tyrant! fiend angelical!
Dove-feather’d raven! wolvish-ravening lamb!
Despised substance of divinest show!

Just opposite to what thou justly seem’st-
A damned saint, an honourable villain! (RJ, 3.2, 1003) —

O KyCT IIBCTOB c Tasnneficn 3meefi!

Hpaxon B OOBOpOXM'I‘CJIbI-IOM oome!

Mcnanbe a11a c anrenbcng IDflIOM!

I'Ionnenbnblfi rony6B! BOIIK B 0Beqbefi mxype!
HmoxceCTBo c nepTaMM 6oxecha!

Hycran BMWOCTBI HpOTnBopque!

CBsn‘ofi n neronnfi B onnofi nnom! (beynberra, 228).

Ta )KC oonernennocrb Koncrpyxlmfi npezmoxennfi samerna B OprIBKaX,

conepxamnx mnepoonbr. B opumnane c0Beprna10T nefichnn ne TOJIbKO AnTonnfi, no u

108

nacm ero Tena (meronmvmn): ero norm (“his legs”), pyxa (“his rear’d arm”), ronoc (“his
voice”); B nepeBone merommm orcyrchye'r B B0 Bcex npennoxennsrx orrnopomme
cymeCTBmeanBxe 3amenenbr mecrormenneM «on»:

His legs bestrid the ocean; his rear’d arm

Crested the world. His voice was propertied

As all the tuned spheres, and that to friends;

But when he meant to quail and shake the orb,

He was as rattling thunder. For his bounty,

There was no winter in’t; an autumn ‘twas

That grew the more by reaping. His delights

Were dolphin-like: they show’d his back above

The element they liv’d in. In his livery

Walk’d crowns and crownets; realms and islands were
As plates dropp’d from his pocket (AC, 5.2, 1340) —

 

HoraMM

l'Iepecrynan on oxean. PyKofi

Qn HaKprBaJI Bcenennyro, KaK mneMOM.

Kasancn ronoc My3bIKOIO ccbep,

Korna on pa3r0BapnBan c npysbsnvm,

Korna )K 3emnofi oxpyxnocm rpozmn,

FpeMen, KaK rpom. Q_n cxynocm ne Benan,

Ho, cnOBno ocenb, paccmnan napbl

I/I nmcorna ne npeBpamaJIcn B army (Kneonarpa, 453).

B HCKOTOprX cnynanx CJIOXCHBIC pa3Bepny'rbIe MCTEKbOpr H6 IICPCIIflHbI COBCCM.

Hanpmwep, B nepeBone cnenyromero OprIBKa orcchrByeT cpaBnenne «npomaxa» J'Inpa c

,9 ‘6

McxaHMBMOM, KOTOpOC B opnrnnane nepenano IIOCpCIICTBOM CJIOB “engine , wrench’d”,
“frame”, “fixed” n “drew”:

Which, like an engine, wrench’d my frame of nature
From the fix’d place; drew from my heart all love
And added to the gall (Lear, 1.4, 1182) —

SI TaK npeyBeIMtn/In 3TOT npomax,
Hro BprBaJI M3 Hymn CBoefi Jno60BB
I/I rpynb BBaMCH nanonnnn SUIOM )Kentm? (HMp, 457).

109

HeCMOTpn na TO, trro l'IaCTepnaK ynpocrnn pa3BepnyTBIe meTacbopBI, Mnome 143
max no BblpaBMTCIIbHOCTM ne yCTynaIOT meKchpOBCKMM. Cnenyronmfi OprIBOK M3
«Pomeo n nynBeTrBI» nOCTpoen na meTacpope, Tne moOOBB c nepBorO Barnsnla
cpaBHMBaeTcn c noemnan. Fnaron «nepeBnaaTB» — uenrpanbnoe CJIOBO B MeTacbope —
Bupaan'renen Onaronapsr ero nBOfiHOMy anatrenmo («nepe6nnTOBaTB» n «coernnmrb»):

I’ll tell thee ere thou ask it me again.

I have been feasting with mine enemy,

Where on a sudden one hath wounded me

That’s by me wounded. Both our remedies

Within thy help and holy physic lies.

I bear no hatred, blessed man, for, 10,

My intercession likewise steads my foe (RJ, 2.3, 994) —

Cefinac, OTen, TBI rnaBnoe y3naemb.

Bnepa n panen 6w], npmm na 6an,

14 na ynap ynapOM OTBenaJI.

I'Iep_eBn)KM nac nocxopefi 060m.

BOT 51 3aqu B TBonx CBH’I‘bIX noxonx.

KaK 3aIIOBCIII> won me nopora!

H 3113 ne nOMnIo M npocrnn Bpara (POMeo, 204).

Onenb naCTan y IIIeKchpa MeTacpopa )KMBHM KaK Knnm BcrpenaeTcsr n B

OpMI‘MHaJIbHOM TBopneCTBe I'IaCTepnaKa: «KaK 0 now, )KMSHb M010 nOCTana/ I/I nBUIB
Oényna>>7. HepeBonbl 3Tofi MeTad)OpBI 3BynaT, KaK nnTaTBI n3 noasrm HaCTepnaKa: “One

writ with me in sour misfortune’s book” (RJ, 5.3, 1018) —— «MbI B we pOKa na onnofi

CTpOKe» (Porno, 270).8

 

7 M3 cyeBeszI. — CoOp. COIL, T. I, mp. 121.

8 O TOM, qTo HaCTepnaK 111061411 3T0 06pa3noe BhIpZDKCHMC, rOBopMT ranpOBarme
ero B «HOKTope )KnBoro»: «— Paccxaxm Mne noOoane O myxe. “MBI B KHMI‘C pOKa na
onnofi crpoxe”, —— KaK FOBOpM'I‘ Illexcnnp» (CoOp. com, T. 111, crp. 395).

110

Mnnnnunyanmauun peIm

HaCTepnaK, no cnOBaM IIyKOchoro, I‘OTOBFICb K nepeBonaM Illexcnnpa, npoqyrran
OOIIbIIIOC KormneCTBo IMTCpaTypr 0 Being. TeM ne menee, peman 3anaqy
mitIMBMlIyaJmsaunn petm meKchpOchnx nepconaxei/r, on nonxen Ohm CTonKnyTBcn c
npoOneMofi Manonsynennocrn orofi oOnacm ero nozaTnKM.10 Bonee Toro, cpenn
KpMTKKOB IHeKchpa neT emanoro Mnennn o TOM, HaCKOIIbKO WMYWBW perm
anneTcsr xapaKTepnOfi nepTOii noa'mrm IIIeKcnnpa. Bnorpacpbr M KOMMCH'I‘aTopbl
IHeKchpa XVIII BCKa Poy (Nicholas Rowe) M Anexcannp I'Ion (Alexander Pope)
canaJm muMBmeaJmsanmo petm neCOMnennofi 3acnyrofi IHeKchpa,11 B To BpeMSI KaK
HeB ToncTofi yTBepxcnan, trTo nepconaxcn IHexcnnpa, ocoOenno ero Koponn, 3BynaT

12
ommaKOBo. IIIeKchpOBenBI XX BeKa yKa3BrBaIOT na neKOTOpBIe ocoOennocrn nsbma

 

9 LIyKOBCKMl/I nncan O nom‘OTOBnTeanofi paOOTe HaCTepnaKa: <<prxrno 6Bmo
6B1 na3BaTB CKOIIbKO-HMOyIIb Bbmaronmficn prn, HOCBSIIJICHI-[hlfi HleKcnnpy, KOToporo
ne npoqman 6B1 Bopnc I'IaCTepnaK, npmmmancs 3a IICpCBOJlbI “OTenno” n “FaMBeTa”>>
(LIyKOBCKMfi. «BbICOKOC MCKyCCTBO», crp. 280).

'0 Mnxann MOpO3OB B CTaTBe “The Individualization of Shakespeare’s
Characters Through Imagery” rmcan: “The degree to which and the means by which
Shakespeare individualized the style of speech used by his various characters are still
unsettled” (Morozov, “The Individualization of Shakespeare’s Characters Through
Imagery”, 83).

11 IIon yTBepxnan: “. . .had all the Speeches been printed without the very names
of the Persons, I believe one might have apply’s them with certainty to every speaker”
[Alexander Pope, “Preface to ‘The Works of Shakespear’,” in Eighteenth Century
Essays on Shakespeare, edited by D. Nichol Smith (Oxford: Clarendon Press, 1963)]

‘2 Bunepxcxa n3 CTaTbM TOJICTorO «O IIIeKchpe n o npame» HpMBOHMJIaCb Bo
«Bcryrmenym» nucceprallvm.

111

nepconaxcefi IHeKchpa, no ne chTaIOT MHIIMBMJIyanMBanMIo peqM HCCOMHCHHBIM
HOC'I'PDKCHMCM npaMaTypra.13

Cnoxcnocrb OIIpCIICJICHMSI ocoOeHHOCTeM SIBbIKa nepconaxefi IIIeKchpa
saxmonaeTcn B TOM, nTO nOBBnnennan pMTopMnnoch xapaKTepna mm peqM Bcex ero
I‘JIaBHbIX repoeB, trTo cOmoxaeT Mx ronoca. Bucnpennocrb M BmeBaTOCTB cnora
ocoOenno xapaKTepnBI 11,1151 meKchpOBCKMX Koponefi M BeJIBMO)K,l4 M ech flcpCBOIIm
cymen BBuIenMTB MX OTJanTeanBIe nepTBI, TO ero sacnyra B WWIBMJIyaJIMBanMM peqM
neCOMHenna. HO3TOMy uenecooépasno cpaBnMTB pequBIe OCOOCHHOCTM IIByx Koponefi
— Knaan M JIMpa, — nTOOBI y3naTB, KaKMMM cpeIICTBaMM l'laCTepnaK HOOMBancn
mIIMBMIIyanMBaIm perm.

Hpexne Bcero, HacrepnaK yCMnMJI IIpOCTOquHOCTb M pa3TOBopnOCTB petIM
nepconaxefi, nTO cnocoOCTBOBano ee mmMBMnyanMBamrM. Onnaxo COCTaB

npocropennBIx cnOB M cbpa3 y KHaBIIMSI M J'IMpa pasthren. Mnome npOCTOpeanIe

cnOBa JlMpa nonqepKMBaIOT nerennapnbrfi (noxpncrnancxnfi) M (pOJIBKnopnBIfi xapaKTep

 

'3 PoOepT XbIOM 0606mm] BaKJIIO‘ICHMSI KpMTMKOB 06 MHIMBMIIyaJIMBamm peqM
nepconaxefi IIIeKchpa: “Few of us would say with Tolstoy that all of Shakespeare’s
characters sound alike, but neither would many say with Pope that we could properly
assign all the speeches if the speakers were unidentified” [Robert D. Hume,
“Individuation and Development of Character Through Language in Antony and
Cleopatra, ” Shakespeare Quarterly 24 (1973): 280-300].

'4 BOT mo 06 3TOM rmcan OIIMH M3 MccneIIOBaTenefi petrM nepconaxefi IIIeKchpa
beefiMc Ca3epnenn: “Shakespeare’s kings and princes and dukes, too, are usually given
a measured eloquence; they speak with a confident fullness of speech” [James
Sutherland, “How the Characters Talk,” in Shakespeare ’5 World, edited by James
Sutherland and Joel Hurstfield (New York: St. Martin’s Press, 1964), 119]

112

1
IIbCCH. 5 Ero H3bIK COIICpXMT cnOBa CCJIbCKOI‘O, erCTBsrncxoro neKCMKona: nenemxa,
Benpo, oropon, CKa3Ka:

“A pestilen gall to me!” (1.4, 1180) — «Kamenb B Mofi oro O » (452);
“You cataracts and hurricanoes, spout” (3.2, 1193) — «JIefi, 1mm, 15g
M3 Be a» (493), “Strike flat the rotundity o’ the world!” (3.2, 1193) —
«B nenenIKy annoch BBnryKnOCTB Bcenennofi» (493), “and tell old
tales” (5.2, 1213) — «I/I CKa3KM CKa3bIBaTB» (552).

 

513mecxoe 3aKJII/1HaHMC «cmnb» B npoxnsrrbsrx J'IMpa yxa3BIBaeT na noxpMcrnancxMfi

xapaKTep IIberI:
“Blasts and fogs upon thee!/ Th’untended woundings of a father’s curse/
Pierce every sense about thee!” (1.4, 1182) — «I/Icqaxrm/ III chnB OT
110le HponanM OT $138» (458-59); “Death, traitor!” (3.4, 1196) —
«CrMnB, OTpMnaTenB!» (499).

JIMp nMKorna ne TOBOpMT o KOpHCJIMM «Mnamnan», on TOBOpMT «menbman», qTo

annaeT ero peqM (ponbxnopnocrbz

“Great rivals in our youngest daughter’s love” (1.1, 1172) — «IIBa
3naTnb1x COMcxaTenn pyKM/ Menbrnofi M3 nonex» (429); “our last and

least” (1.1, 1173) — «LITO cxaxeT naM Menbman 11qu, anyTB/
Hmémasr ne MenBrne» (430); “our youngest” (2.4, 1191) — «menbmofi»
(485).

B peqM JIMpa mnoro CJIOB c yMeanMTeanBIMM cycbchKcaMM, KOTOpBIe TOXC meIOT

nepTBI (bOJIbKJIOPHOCTM M OIIHOBpeMeHHO xapaKTepM3yIOT J'IMpa KaK noOporo M

 

'5 Hanpmep, o nerennapBOM M (ponbxnopnom xapaKTepe «Koponsr HMpa»
aBTop BCTynMTeanofi CTaTBM K nbece B coOpanMM Complete Works of Shakespeare
3aMCTMJI2 “To a remarkable degree, this play derives its story from folklore and legend,
with many of the wondrous an implausible circumstances of popular romance. A prose
rendition might almost begin, ‘Once upon a time there was a king who had three
daughters....”’ (Complete Works of Shakespeare, 1 168).

HacrepnaK Toxe yKa3BIBaJ1 na 3Ty ocoOennocrb IIBeCBr: «BemB [“Koponb J'IMp”.
— C.II.] c 3TMM conepxarmeM narmcana SIBBIKOM BCTXO3aBCTHbIX l'IpOpOKOB M OTnecena
B nerennapnue BpeMena noxpMcmancxoro BapBapcha» (3ameqanM51 x nepeBonaM M3
IIIeKchpa. — C06p. com, T. IV, crp. 429).

113

6633MOI‘O CT apvma, BHaBIIICI‘O B IICTCTBOI n'quKa, 006anKa, I‘OJIOCOK, OClIHSDKKa M

11p.:

“0, well flown, bird” (4.6, 1207) — «Xopomo cneTana, nTMqKa!» (534);
“They flattered me like a dog” (4.6, 1207) — «OnM naCKanM M61151, KaK
c06aqu» (534); “wren goes to’t, and the small gilded fly” (4.6, 1208) —
«140me M mm» (534); “small vices” (4.6, 1208) — « emOK»
(536); “Her voice was ever sofi” (5.3, 1217) — «y nee 6Bn1 nexnufi
ronocox» (565); “And my poor fool is hanged!” (5.3, 1218) — «MOIO/
BeganKy ynaBMnM!» (566).

 

B npOCTopetrMM KHaBIIMSI neT CJICIIOB HanMapanIbHOCTM, nanpOTMB, ero peqb

COBpeMenna:

“Grating so harshly all his days of quiet” (3.1, 1086) — «qu B3BMnnen
on» (68), “And drive his purpose into these delights” (3.1, 1086) —
«Hycrb ne x MT» (69).

XOTsr BanUIBnMBBIfi M pa3npa)KMTe11BnB1fi npaB JIMpa nposansreTcn B yn0Tpe611enMM

MHOI‘O‘IMCJICHHBIX OCKOpOJ'ICHMfi, CFO l'IpOCTOpC‘IMC ne HCCCT TaKOT‘O HCFaTMBHOI‘O

3apn11a, KaK npOCTopetme KJIEIBIIMSI, cnOBa KOTOporo BblnaIOT ero 31106nOCTB M

BbICOKOMCpMCI

“O, speak of that!” (2.2, 1079) — «O, ne mm» (47); “I like him not, nor
stands it safe with us/ To let his madness range” (3.3, 1094) — «SI ne
111061110 ero M nOTaKaTBZ Be3yMB10 ne nmepen» (91); “Will nothing stick
our person to arraign/ In ear and ear” (4.5, 1102) — «BMHOBHBR ne
nafiTM,/ TaK Bce na nac M CBaJISIT» (116); “And you, the judges, bear a
wary eye” (5.2, 1114) — «Emmanbe, cynbM! HpOCMM ne 3eBaT1,» (154).

Ilpyran HaCTb JICKCMKM, KOTOpaSI B nepeBonax CMJIbHO OTJIM‘IaCT l‘OJIOCfl 11Byx

Koponefi — 3T0 CJIOBa-OOpaIIICHMSI. KnaBnMfi pCIIKO 06pan1aeTcn K KOMy-1m60, a coma

IICJIaCT 3T0, TO HaBBIBaC'I‘ nepconaxa IIO MMCHM MJIM MCHOJIb3y€T OCbIflIMZIJIbHYIO (bOpMy

06pamenmr, TaKMM 06pa3OM coxpansm nMCTarmMIO memy 006011 M oxpyxaronIMMM:

“Good gentlemen, give him a further edge” (3.1, 1086) ——
«IbKCHTJIbMCHbL/ I/I nanbrne noompsrfiTe 3Ty crpach» (69), “Sweet

 

114

Gertrude, leave us too” (3.1, 1086) — «M051 I‘epryna, ynanMCB M TH»
(69).

 

[1.1151 JIMpa )Ke xapaKTepnBI o6pa1nenM$1 onenoqnoro xapaKTepa. MnorMe M3 nMX
HaC’I‘OJIbKO OCKOpOMTCIIbeI, t1T0 HacrepnaK neCKonBKo CMnrqaeT Mx:

“My lord’s knave! You whoreson dog, you slave, you cur!” (1.4, 1179)
-— «BOT KaK, noggen repnora? Ax, CM CBIH? Ax, MepaaBeg!» (450).

IIaCTepnaK HCCKOIIbKO yCM11M11 HOIIOXMTCIILHBIC 3M011MM B 06pamenM$1x J'IMpa M name
110n011nM11 TeKCT 06pa1nenMMMM, BBmaronIMMM ero 1106pOTy M I1e110Bet111OCTB. Hanpmvrep,
B pa3r0BOpe c nonepBMM J'IMp Mcn011B3yeT naCKaTeanBIe cnOBa, OTcyTCTByronIm B
OpMTMHane: 11MT11, neTM, nonenBKa:

“Speak” (1.1, 1173) — «I‘OBopM, ~mgr» (429); “Good morrow to you
both” (2.4, 1190) — «I'IpMBeT BaM, geTM» (482); “What makes that
frontlet on?” (1.4, 1181) — «A, goqenBKa! K neMy 3Ta mypocrb?»
(454).

Mnome o6pa1nenM11 J'IMpa — 3T0 mom 0 yMeanIMTeanBIMM cydxpMKcaMM (B
011110M cnynae c yBeanMTeanBIM cydacpMKCOM, no c naCKaTenanIM OTTCHKOM:
((prmc»). I/Inorna 01m MMCIOT crmcxonMTeanBIl/i xapaKTep, no name Bcero
naCKaTeanBIfi. Bo BcerOM cnynae, Bce OOpflIIICHMSI FOBopnT O necpopManBHOM
xapaKTepe OTnornenMM JIMpa c OprxaromMMM: nepenKO onM nocrpoenbr na ocn0Be
Kopnefi «npyr» M «6paT» M nomepKMBaIOT 61msoCTB KOpOJISI K 111011501:

“1 thank thee, fellow” (1.4, 1180) — «CnaCM60, me!» (451);
“Why, my boy?” (1.4, 1180) — «111151 nero, gpyXOK?» (451); “What
canst tell, b_oy?” (1.5, 1183) — «LITO )Ke TbI anaemb, gpyXOK?» (461);
“Come on, my boy. How dost, my boy? Art cold?/ I am cold myself.
Where is this straw, my fellow?” (3.2, 1194) — «HTO, MMMBIM npyr, c
T060117 03:16, 6e11anKa?/ 03116 M 11. — Fne, 6paTeg, TBOM manam?»
(495); “True, boy” (3.2, 1194) -— «Bepno, gpyXOK» (495); “In, boy; go
first” (3.4, 1195) — «M1111 Bnepen, )KOK» (498); “NO, lad” (1.4, 1180)
— «Her, 6 an » (453); “When were you wont to be so full of songs,
M?” (1.4, 1 181) — «IIaBnO 11M 3T0 TbI, 6w, TaK pacnencsr?» (454).

115

£11111 JIMpa xapaKTepnBI c110>KnB1e 01mm 0 COCIMIMTCJIBIW TnaanIMM. 31M
cnOBa neBqu M flpO'I‘SDKHbI 3a cqu 6onmnoro Kothrecha rnacnbrx M nBoMnoro
ynapermn M annaIOT OTWTeJIBme nepTBI ronocy JIMpa:

“plenteous rivers” (1.1, 1173) — «IIOJIHOBOIILCM mm (429); “NO less in
space, validity and pleasure” (1.1 1173) — «Kpacofi M nnonopongbeM»
(430); “My train” (1.4, 1182) — «TenoxpanMTenM MOM» (457); “fruitful”
(1.4, 1182) —— «11a 0 o 51» (457); “To have a thankless child!” (1.4,
1182) — «I/ImeTB ne611ar011apn0ro pe6enKa» (458); “Her eyes are fierce,
but thine/ Do comfort” (2.4, 1191) — «Ee nanmermbrfi B3r11$111 anBonMT
B npOCTB,/ A TBOM — MMpOTBopMT» (484); “Poor naked wretches” (3.4,
1195) — «name r0p_eMBn<M» (498); “Those pelican daughters” (3.4,
1196) — «KpOBoxannBIx nonepeM» (500); “adultery” (4.6, 1208) -—
«IIpeJIIOOOILCfiCTBO» (534); «go6pogeTe11B» (535) — HeT B oerMnane
COOTB. CJ'IOBa; “gilded butterflies” (5.3, 1213) — «necrpcmpwm
MOTBIJIBKOB» (552); “blessing” (5.3, 1213) — <<611aroc110BenBe» (552),
«me CHbfl» (552) — neT B opMTMnane COOTB. cnOBa.

 

 

 

 

 

 

 

 

Peqb KHaBIIMSI COIICPDKM'I‘ rpyrn1y O6p33nBIx 0110B, ananorM KOTOprX
0TcyTCTBy10T B oerMnane. 3m CJIOBa nonnepmaIOT TeMy IIbCCbI, KOTopan B
acpopMCTquOM (popMe onpenenena FaMneTOM cnenyromMM 06pa30M: “Denmark’s a
prison” (2.2, 1082) —— «HanMM — TIOpra» (55). B petrM IneKchpOchoro KnaBzmn
«TropeMnBIM» 06pa3 noanneTcn 0mm pa3:

Arm you, I pray you, to this speedy voyage,

For we will fetters put about this fear,

Which now goes too free-footed (Ham, 3.3, 1094) —
l'onaerMCTa, CKopeM c6eereCB B nyTB.

Hopa 3a6MTB B KononKM 3TOT y)Kac,

I‘ynsnomMfi na Bone (92).

B petrM naCTepnaKOBCKOI‘O KJIaBIIMSI 06pa3nBIe cnOBa, nopoxnaronme
accormanMM c TropBMOM M nBrrKOM, nOBTopsnorcsr neonnoxpaTno. Ero cnOBa

«IIOIILITaTbCSI», «1106mm» M (ppa3eonorM3M «y3naTB nonnorornyro» HMCIO’I‘ O6mee

3HaI-ICHMC M HpOMCXOXlICHMC -— y3HaTb npaBny HOCpCIICTBOM CMJILI; CJIOBa «Myanb»,

116

«01111011», «nOMaTB», «BBI6MTB» M «pBenBe» (OT «pBa'I‘b») Toxe aCCOLIMMPYIOTCSI c
naCMJmeM. OOPaIIIaSICb K P03enKpanny M FMJIBneHCTepny c np00B6011 y3naTB O anqMHe
6011e3nM FaMneTa, KnaBmafi McnonB3yeT Tnaronm «nonbrraTbcn» M «MytraTB». B 3T0M
)Ke ne6011B1n0M OTpBIBKe eCTB cnoBo «CMno1‘1», 3KBMBa11enT KOToporo OTcyTCTByeT B
OpflI‘MHaJIe:

...so by your companies

To draw him on to pleasues, and to gather

SO much as from occasion you may glean,

Whether aught to us unknown afflicts him thus
That, opened, lies within our remedy (2.2, 1079) —

...BTnnMTe anHna CMnoi1

B paccennbe M B o6n1eCTBe 0 006011,

Fne TOIIbKO 6yneT cnynal1, nonbrrafi'reCB,
KaKan Tafina Mflae'l‘ ero

14 MT 11M 0T nee y nac neKapCTBa (46).

B pa3r0Bope c Po3e1n(panueM M I‘MJIBIIeHCTepnOM KnaBImfi onsrrb n011b3yeTcs1 neKCMKOM
3Tof1 rpyrnm: “And can you by no drifi of conference/ Get from him why he puts on
this confusion...” (3.1, 1086) — «TaK, 3na11MT, BbI ne MoxeTe go6MTBcs1,/ BaneM on
naHyCKaeT 3Ty 611m?» (68). B oervmane cnOBy «IlOOMTbCSI» COOTBeTCTByeT
3M011110n311bno nefu'panbnoe “get”.
B pa3r0Bope c HonormeM o FaMMeTe KnaBJIMfi Mcn011B3yeT neraTMBno

OKpaIIICHHbIC cnOBa «BBI6MTB» M «nomaTB»:

Haply the seas and countries different

With variable objects shall expel

This something-settled matter in his heart,

Whereon his brains still beating puts him thus

From fashion of himself. What think you on’t? (3.1, 1088) —

BbITb Moxer, MOpe, HOBbIC Kpan

M 11101111 BB16B10T y nero M3 cepzma

To, 1110 C14de TaM M nan neM on em
J'IOMaeT r0110By 110 OTynean? (74)

117

06pa3nBIe cnOBa 3Toi1 rpyrnIBI y KnaBnMM HOSIBJISIIOTCSI, KaK npaBMnO, B
pa3r0B0pe c FameTOM mm 0 FaMneTe, no Mnorna on an6eraeT K HMM M B nperx
cnytranx, KaK, naanNtep, B pa3r0Bope c J'Ia3pT0M O eMepTM ero own: “If you desire to
know the certainty/ Of your dear father...” (4.5, 1103) — «BBI 6 y3_nag xenanM/ Bc10

nonnorornyro npo CMepTB 0111a?» (118); “And we shall jointly labor with your soul/ To

 

give it due content” (4.5, 1104) — «I/I MBI B co103e c BaMM KaK-HMOyIIb/ go6BeMcs1
npaBflbl» (121). CnOBa «nonnorornan», «110611113051» M «nonbrraTBcsr» BO3Bpan1a10T nac K
3n0xe cperrneBeKOBBn, Korna l'IpMHSITbIM cn0c060M Bonpoca 6B111a anKa, BKnroanman
BKaJIbIBaHMC OCprIX npeIIMCTOB non HOI‘I‘M M 6MTBe.

TaIOKe pa31n1qen BB160p 0110B 11Byx Koponefi an BB1pa>KenMM 011M11aKOBB1x
nyBCTB. KnaBnMM 611ar011apMT BoanMmanna 3a xopome nOBOCTM M c11y)K6y
cnenylomMM 06pa30M: “Meantime we thank you for your well-took labor” (2.2, 1080)
— «BnaronapMM 3a BCHLC» (48). C11030 «pBeHbC» 06pa30Banno 0T rnarona «pBaTb»,
neMCTBMe KOToporO npennonaraeT npmvrenenrae CMnLI. Bnaronapnocrb J'IMpa BpraXCHa
c HOMOIIIbIO cnOB, yKa3B1Ba10me na ero 1106p011y111Me: «npymee», «npaBMTcsr»: “I
thank thee, fellow. Thou serv’st me, and I’ll love thee” (1.4, 1180) — «Cna0M6o,
npyXMme! Mne npaBMTcn TBOM cny)K6a!» (451).

prrasr OTJIMMMTeanan nepTa peqM nByx KoponeM — 3T0 ee pa3nas1 MHTOHam/ISI
M pMTM. IIaCTepnaK nepenan 3TM pa311MIIM51, a Mnorna naxe ycmmn Mx. O6a Koponn
nosansnOTcn na cnene c TopxeCTBennoM qubIO — 3T0 Mononor KflaBIMSI, B KOTOpOM
TOBOpMTcsr O eMepTM ero 6paTa, 0 ero )KenMTB66 M o nonMTMtIecm nOBOCTsrx, M
Mononor JIMpa no n0Bony pa3ne11a KoponeBCTBa. PMTM o6OMx M0n0110r0B

pa3MepennB1M. OnnaKo ech pa3MepennB111 pMTM M cnepxcannan MHTOHaJIMH xapaKTCprI

118

111151 KflaBIH/ISI nonTM 11a np0T51x<enMM BceM IIbchl, TO peqb JIMpa c6MBaeTC51 an nepBB1x
an3naKax ero pa3npa)KMTe11Bnoch M ner0n0Ba11M51. l'IpM 3T0M MnTonauMM J'IMpa OT
ypaBHOBernennBIx M cnepxannbrx K nopBIBMCTBIM neoxwranno mennrorcn B npenenax
onnoro peneBoro O’l‘prBKa, nTo ne xapaKTepnO 111151 KnaBnMB. XapaKTepanM HpMMCpOM
pe3Koro nepexona OT cnepxannoch K nopBIBMCTOCTM 51B1151eTC51 o6pa1nenv1e JIMpa K
I‘1100Tepy, B KOTOpOM Bnpaxeno ero nenoyMerme no n0Bony ne51BKM PeranBI M repnora
K0pny311BCK0rO nocne ane311a Wm B Mx 110M. IIaCTepnaK nepenan 3T0 M3Mene1meM
pMTma, KOTOpBIM pe3KO c6MB3eTC51 B HOCJICIIHMX 11Byx crpoxax. Kpome Toro,
BOHpOCM'I‘CIIbHyIO MirronanMIO oerMHana HacrepnaK 3me1n111 BOCKmmaTeanoM; B
oerMnane npe0611a11aeT MnronanM51 nenoymenMH, B nepeBone — 06M11B1 M OTna51nM51, To
eCTb KonTpaCT nepexona 0T nepBonaqaanofi MrrronauMM caMoyBepennocm K
13110an 061mm B Konne peqM 3a0crpen:

The King would speak with Cornwall. The dear father

Would with his daughter speak, commands, tends service.

Are they informed of this? My breath and blood!

Fiery? The fiery Duke? Tell the hot Duke that —

No, but not yet (2.4, 1190) —

BOT nano KaK CKa3aTb:

KOpOJIb )KenaeT rOBOpMTB c Kopny3110M,

C ponnoro HO‘IKOI/l — 1110651111Mi1 OTeu,

III )KneT ee yc11yr. CKa3311 TB1 3T0?

HeT! )KM3nB M KpOBb M051! CKa>KM, CKa>KM

HeprOTMMOMy... nOCToM He nano (481).

B npyTOM MeCTe (B nanane IIbCCbI) I'IaCTepnaK nOBenMTeanyro MnronanMIO

3aMenMJI BonpOCMTeanOM; B oerMHane HCpCHaHbI rneB, B nepeBone —
pa3npa)KMTe11bn00TB M nenoyMenMC. HaCTepnaK yCMnMJI cna6ocrb JIMpa: no HepeBOJIy

nonynaeTc51, ‘ITO c11er BbIKfiBbIBaIOT HpMBHaKI/I HCIIOIIPII/[HCHMSI C caMoro nanana IIbCCbI

— eme no oxonnaTeanoro pa3ne11a KoponeBCTBa: “Who stirs? Call Burgundy” (1.1,

119

1174) —- «Bbl c11Bn11MTe? Byprynncxnfi repuor rne?/ HTO Bbl CTOMTe? He cnblxanM, t1T0
11M?» (432). HeCOMnenno, MnTonanMM M3Menena co3naTe11Bno, TaK KaK OTpBIBOK
nepeBona mmnnee c00TBeTCTBy10111ero OprIBKa oerMHaJIa M COIICpXMT
nonOJmMTeanBIe BonpOCBI, OTcyTCTBylonme B opMTMnane, — M 3T0 neCMOTp51 na To,
t1T0 HacTepnaK 061151110 COKpanIan nBeCBI.

B HCKOTOprX MCCTaX TaKxe CM51rt1enBr nOBe11MTe11BnB1e MnTonanMM KnaB11M51. B
opMI‘MBane on OTnaeT anKa3 FMJIBneHCTepny M P03enKpaHny nafiTM I‘aMneTa M Teno
Hononmn “G0 seek him out, speak fair, and bring the body/ Into the chapel. I pray you,
haste in this” (4.1, 1098-99) — «He pa3npa)Ka51 annna, nano B351TB/ TMxoano Teno M
O'I‘HCCTb B naCOBnIo» (104). Hpennoxerme conerMT neCKOIIBKO onnoponnmx rnaron0B
B nOBe11MTe11Bn0M naKnonenMM: seek, speak, bring. B nepeBone neT 1111 01111010 rnarona B
nOBenMTenBHOM naKnonenMM. l/InTOBanMM KnaBnM51 B nepeBone Mme — 3T0 npOCB6a
neMOBeKa, a ne anKa3 Monapxa. CM511‘t1enMIo MnTonanMM cnOCO6CTByeT TaIOKe c110Bo B
yM6nB1nMTenbnoi1 (popMe «TMxoano».

I/IncrpyMenTOBKa petrM HMpa 0T11M!1aeTC51 OT MncrpyMenTOBKM peqM KHaBIIMSI. Y
Ma ona 3ByK0nonpax<aTe11Bna51 — nonpaxanne anpone, y KnaBnM51 — HOCMT
OpaTopCKMM xapaKTep. KnaBnMM Men51eT MnronanMIo M 3ByKOBy10 (paKTypy, 11T06b1
n0B11M5rTB 11a cnynraTen51 MID/I BaOCTpMTb MB1c11B. B nepeBone CJICIIyIOIIICI‘O OTpB1BKa M3
Mononora KnaBnM51 TeMa nOTepM (CMCpr 6paTa) nonnepKnyTa IIOBTOpCHMCM 3ByKa
«ne»:

Though yet of Hamlet our dear brother's death

The memory be green, and that it us befitted

To bear our hearts in grief, and our whole kingdom
To be contracted in one brow of woe,

Yet so far hath discretion fought with nature
That we with wisest sorrow think on him

120

Together with remembrance of ourselves.

Therefore our sometime sister,

now our queen (1.1, 1068) —

XOT51 eme MBI Tpaypa 13 cm

1'10 nameM 6paTe, I‘aMJIeTe pom10M,

H0 nano 6yneT OBJIaLIeTB 006010

I/I IfiCKOJIbKO ymepeniiee BIIpeHb

CKop6eTB 0 HEM, ce651 11g 3a6B1Ba51.

C mm M penIMnM MBI B cynper B351TB

CeCpr M Hhflig KoponeBy na111y... (15).

Opanan ne conepxm" 11M onnoro OTmeanM51, a B IICpCBOIIC Mx nBa: «ne mm»

M «ne 3a6B1Ba51». KnaBnMM CTpeMMTcn y6e11MTB BCIIbMOX B TOM, qTo on nepe>KMBaeT
CMepTB 6paTa KaK nOTep10, neCMOTp51 na ero nocnenrnhrfi 6paK BnOBOM. l'IpM 06pan1enMM
KnaBnMM K FaMneTy B nepeBone 3T0r0 )Ke M0n0110ra 3ByKOBa51 cpaKTypa mennercn. B
ronoce KnaBnMM n051Bn5110TC51 BaMCKMBaIOIIIMC MnTonauMM c OHOprIM cnOBOM «naCKa»,
KOTopoe HaXOIIMT 3ByKOBoe IIOBTOpCHMC B cnOBe «rna3». C03Byt1nBI TaKxe mom «can»

M «can0BnMK». Bce neTBIpe cnOBa conepxaT CBM0T5n11Mi1 cornaanIM «c». BpMnmaJIe neT

3Tofi 3ByK0B011 MrpBI, HeT M ananora c110Ba «nacxa», na mecre KOTOporo B TeKCTe “cheer
and comfort”:

And we beseech you bend you to remain

Here in the cheer and comfort of our eye,

Our chiefest courtier, cousin, and our son (1.2, 1069) —

...pa311ymal1 M OCTaHbCSI

I'Ipen naMM, 311e0B, non nacxofi HarnMx r1133,

KaK nepBBIM B pone, can 11am M caHOBnMK (18).

l/IHC'I‘pyMCHTOBKa peqM J'IMpa T0)Ke pa3n006pa3na. I/Inorna ona cnOCO6CTByeT

BBIpa3MTe11BHOCTM 06pa33, KaK B cnenyromeM npmepe, File 003By1111e apxaMt1nB1x CJIOB

«Knmry» M «neno» ycmmBaeT B03BB11nennoe 3By11a1114e peqM: “I do not bid the thunder-

bearer shoot,/ Nor tell tales of thee to high-judging Jove” (3.2, 1191) — «SI crpen ne

121

K1_1Mt1_y na TBoe genoj IOnMTepy ne Boccmnalo )Kan06» (486). 3ByKOBa51 Mrpa B peqM
JIMpa ne opaTOpCKMfi aneM c nenbro yCMnenM51 B11M51nM51 na cnymaTeneM. 0613111110 3T0
3ByKon0npa>Ka1me anpone. IIIm151nme M CBMCTflmm cornaanIe nepeBona cnenyromero
OTphIBKa nepenaIOT myM 110m M CBMCT BeTpa:

Blow, winds, and crack your cheeks! Rage, blow!

You cataracts and hurricanoes, spout
Till you have drenched our steeples, drowned the cocks! (3.2, 1193) —

llyfi, BeTep! IIyM, nOKa He normyr geKM!
Hen, 11010111), KaK M3 Benpa M 3aronM
BepxynpcM @nmrepoB M K0110K011en! (493).

llpyrofi O'I‘prBOK nperacno nepenaeT myM KprIbCB MOTbUIbKa HOCpCIICTBOM

BMCCOHananIx nOBTOpOB «nopx» — «nech» — «Kme»: “At gilded butterflies” (5.3,
1213) — <<Hopxa1meM necrpOKmeBIx MOTbUIbKOB» (552).
Peqb 11Byx Koponel1, KaK M npymx nepconaJKeM, 0T1n1naeT TaKxe 06pa3nOCTB.16
OIIHaKO HaCTepnaK BbmeJIMJI Tonoca nepconaxefi rnaBnBIM 06pa30M ne 0 nOMombro
06pa3nOCTM (meTachp M nefiTMOTMBnBDt 06pa3nB1x 0110B), a, meme Bcero,
IIOCpeIICTBOM neKCMKM, a TaK>Ke pMTMa, MnTonanMM M (poneTMKM.

IIpOCTopetme, K KOTOpOMy THI‘OTCJI l'IaCTepnaK, n03B011MJIO eMy 3nat1MTe11Bno
yCMnMTB peneBbxe oco6ennOCTM nepconaxefi B cpaBnenMM c nommnnMKaMM. B ommme
0T O6meyn0Tpe6MTe11BnB1x 0110B, npOCTopennBIe cnOBa 3M0uM0naJIBno oxpamenu M
0611a11a10T 601mme1’1 BhIpaBMTCJIbHOCTbIO. COCTaB 0110B M CTeIIeHb npocropeqnocm

pa311quBI B peqM pa3nB1x nepconaxefi. Y KnaBnM51 npOCTopet1M51 Menbme, neM y JIMpa.

Y MaK6eTa eme Menbme. IIpOCTOpequ J'IMpa rOBopMT 0 cm 6111130ch K npochIM

 

’6 O6 MHIIMBMJIyaJIM3aIMM peqM nepconaxcei1 IIIeKchpa nocpeIICTBOM 06pa3n00TM
Imcan Mopo3OB B yn0M51nyToM panee warm “The Individualization of Shakespeare’s
Characters Through Imagery.”

122

11101151M, KnaB11Mi1 )KC Mcn011B3yeT npOCTopeanre cnOBa B KaneCTBe opaTopCKoro
aneMa. Hanpmuep, KnaB11Mr‘1, C'I‘pCMSICb y6e11MTB pa3r0p51qern10ro JIaBpTa B TOM, 1110
BC on ero Bpar, a FaMneT, an6eraeT K eanennoM, nechpMaanOM neKCMKe, t1TO6B1
KynM'rB 110BepMe J'IaBpTa:

You must not think
That we are made of stuff so flat and dull

That we can let our beard be shook with danger
And think it pastime (4.7, 1105) —

BB1 11yMaeTe, 51 TaKOM gyp_6an,
I1T0, 006CTBennoi1 onacnoc'rM ne BM1151,
llaM e11 MI‘paTb CBoero 60po11011? (123).

Hoxanyfi, B 6011B1nefi crenenM, neM 111151 K0r0-11M60, npocroperme xapaKTepno
111151 KopMMnMnBI. Ee npOCTOpetrnBIC cnOBa BB111aIOT ManorpaMOTHOCTB M n03TOMy
OTIM‘JaIOTCSI 0T npOCTopetrnbrx CJIOB JIMpa M KnaBIIM51:

“I’ll lay fourteen of my teeth—/ And yet, to my teen be it spoken, I have

but four” (1.3, 985) — «51 npo3aK11311y10 CBOMx neTBrpnamraTB 3y60B,
gapOM nTO Mx TO11BKO neTBrpe, trTo neTy» (178); “’Tis since the
earthquake” (1.3, 985) — «3T0My IQSICCHBIO 3eM11M» (179); “Sitting in
the sun under the dovehouse wall” (1.3, 985) — <<r011y651Tn51 nepeno
MHOIO KyBBer», «113Ba11 601‘ now» (179) — B opMIMHaJIe neT COOTB.
cnOB; “To see now how a jest shall come about!” (1.3, 986) — «qTo 3a
CMeXOTa!» (179); “Yet I cannot chose but laugh” (1 .3, 986) — «pa3Be ne
yMopa?» (179); “Lord, how my head aches! What a head have I!” (2.4,
998) — «I‘OJIOBflKy KaK mm, M TpecneT» (215); “He’s gone, he’s
killed, he’s dead” (3.2, 1002)— «Y6MT, 6011e3nB111, 0T11a11 60ry nymy»
(227); “but weeps and weeps” (3.3, 1005) — «PeBeT, peBMn-peBeT»
(234).

 

 

£11151 nee, TaK )KC KaK 111151 JIMpa, xapaKTepnBr 011082! c yMermmmemrrbMM
cydeMKcaMM, 011naK0 ee penB — pe3y11BTaT 1111MTe11Bn0r0 o6111enM51 c pe6enK0M

(<<HO)KKM», «1106MK» M 11p), M ona xapaKTepM3yeT p011 ee 3an51TM51:
“She could have run and waddled about” (1.3, 986) — «Ona y)Ke Tor11a

na nochM CTaHOBMnacB» (179); “she broke her brow” (1.3, 986) —
«pacmM6na ona ce6e B To BpeMe 1106MK» (179); “The pretty wretch lefi

123

crying” (1.3, 986) — «YTepna M051 KpomKa cne3B1» (179); “Madam!”
(2.2, 993) — «I‘ony60nBKa!» (200); “For the gentlewoman is young”
(2.4, 997) — «M051 6aannn51 COBceM eme M011011enBKa51» (211).

 

Bce nepconaxM nepeBonOB Mcn011B3y10T pa3r0BopnB1e dapa3e01101‘M3MB1, KOTOpBIe
Toxe cnoco6chy10T Mn11MBM11ya1m3a11MM Mx peqM. <Dpa3e0110rM3MB1 110110111151 conepxar
rnaronBI neMCTBMn M CM11B1 (<<an)KMMTe», «3apy6M», <<anKOBBrBai1>> M 11p.),
OT11Mtra101nMeC51 0T rnaronOB naCM11M51 M mm B peqM KnaB11M51:

“Look you lay home to him” (3.4, 1095) — «K CTene ero nmeMMTe»
(94); “wrung from me my slow leave” (1069) — «On BBIMOTan Mne
nymy» (16); “And these few precepts in thy memory” (1.3, 1072) — «I/I
3apy6M-Ka BOT mo na nocy» (11011010111, 26); “Grapple them unto thy soul
with hoops of steel” (1 .3, 1072) — «l'IpMKOBBIBafi CTaJIBnBIMM 06pynawr»
(110110111111, 26); “but being in,/ Bear ‘t that th’ opposed may beware of
thee” (1.3, p. 1072) — «a CIICIIMIIIbCSI — 6epMCB/ 3a 11e110 Tax...» (26).

A1111MTepa11M51 M acconanc T0)Ke xapaKTepnBr 111151 513B1Ka necxonBKMX
nepconaxefi nepeBonOB. CKa)KeM, a1111MTepa11M51 3ByKa «p» eCTB B penM FonepMnBM
(«K0p011B JIMp») M A11T0nM51 («AHTOHMM M Kneona'rpa»). O11naK0 a1111MTepa11M51
FonepMnBM BB111aeT ee 31106HOCTB, a a1111MTepa11M51 AnT0nM51 an11aeT ero penM
TBCpIIOCTb, yBepeHHOCTB M CMny — KaneCTBa npo¢ec0Mona11Bn0ro Boennoro. B
naCTaBMTeanoM petrM FonepMnBM, 06pan1ennofi K JIMpy, IIOBTOpSICTCSI 3Byr< «p» (Mnorna
B coneTanMM c rnaanrM «O»), KOTOpBIM np0M3BO11MT BnetraTnerme pBrtranM51 co6aKM:

This admiration, sir, is much 0’ the savor
Of other your new pranks. I do beseech you
To understand my purposes aright <...>
The shame itself doth speak

For instant remedy. Be then desired,
By her that else will take the thing she begs (1.4, 1181-82) —

B Bonpgce BameM CT011BKO )Ke HpMTBQpC’I‘Ba,
KaK B mm Ba1nMx BB1x011Kax. I'ngny
110n51TB Menn KaK cnenyeT...

PacngpnnMTeCB nperaTMTB 6echncha,
KaK 11011)Ken CTB111 CaMI/[M BaM noncrca3aTB.

124

Bac umcm Ta, KOMy ne n01106aeT
HpQCMTb M 6B1110 6 Meme anKa3aTB (456).

B 31011 perm FonepMJ1BM 110an Bce rnaronBI conepxaT 3ByK «p»: nporny,
pacnop5111MTeCB, anKa3aTB. Y AnronM51 3TOT 3ByK c011epx<aT paWC I1aCTM peqM M
on COCCIICTByCT c pa311MtrnB1MM maanrMM;

Speak to me home; mince not the general tongue.
Name Cleopatra as she is called in Rome;

Rail thou in F ulvia’s phrase, and taunt my faults
With such full license as both truth and malice

Have power to utter. 0, then we bring forth weeds
When our quick minds lie still, and our ills told us

Is as our caring. Fare thee well awhile (1 .2, 1299) —

Hpmee! BBrpaxenMfi ne CM511‘11a11.

30BM, KaK MoryT B BMMC, Kneonarpy.
Eyraficn B 11yxe (DynBBMM. Co MHOM

By11B TaK )Ke pe3OK, KaK Bpaxna M neCTHOCTB.
Be3 ocy)K11eHB51 3apacre1nB TpaBofi.

aneK noneaen, KaK nponaana n01151.

IIOKa 110B011Bno. BB11111M (246).

B petrM KneonanBI nepe1IKo nOBTop51eTC51 3ByK «11», KOTOpBIfi B coquanMM c
6011B1nMM K01mneCTBOM I‘naanrx annaeT ee Tonocy MSII‘KOCTb:

Now I feed myself

With most delicious poison. Think on me,

That am with Phoebus’ amorous pinched black
And wrinkled deep in time. Broad-fronted Caesar,
When thou wast here above the ground, I was

A morsel for a monarch (1.5, 1304) —

Hpornuana 01_1a1111a11111MM 51110M. Bce 1_n1
On nOMnMT, 0na1_1enny10, Men51
B cnenax 3arapa, c KO)Ke10 B MopIIIMHax?
O, 51 ch'ra1_1a0B naKOMBIM KyCKOM» (269).
Llaxe Korna Kneonana naxo11MTC51 B cocronnMM rneBa, B ee petrM npeo611a11aeT 3ByK

«11», a ne «p», KaK y FonepMnBM:

The gold I give thee will I melt and pour

125

Down thy ill-uttering throat (2.5, 1310) —

H 3T0 301_10T0 Be1_110 pacnnaBMTB
I/I r1_10TKy n0111_1y10 TBOIO 3a1_1B10 (300).

BTopOCTenennBIe nepconaXM ne IIpClICTaBJIHJIM 111151 naCTepnaKa prnnocm B
nnane nepenaQM Mx peneBBrx oco6eHHOCTef1. Y IHeKchpa Mx pqu nepenKo
xapaKTepnee petrM rnaBnBIX repoeB, TaK KaK ona B Meanefi CTenenM pMTOquna.
IIaCTepnaK ycnernno nepenan «BMnerpeTnyro» petrB HMCT01151 — a6cyp11noe CMCIIICHMC
CJIOB BbICOKOFO CTM1151 c0 cnOBaMM HM3KOI‘O, 6pa1n: npy3ei1 <Da11BCTacpa, necypa3nB111
CMnTaKCMC M0FM11B111MK0B, c6MBt1MBy10, ManorpaMOTnyro 601110B1110 KopMMJIMnBI,
nepeBencxyro petrB 311Tapa-T0Ma. OTTorO, MTO HaCTepnaK ne np051BM11 MnTepeca K
MananponM3My, Mcqe3na xapaKTepnan nep'ra peqM MMCTpMc Kymch («I‘eanx IV»),
KOTopa51 naCTo KOBepKaeT cnOBa. CKaxeM, B cnene apeCTa (DanBCTacpa (2H4, 2.1)
MMCTpMc Kym<11M nBrraeT051 pa3r0BapMBaTB na M3B10KanHOM 513Bn<e c nOJIMHCMCKMMM
KnernOM M Kor'reM M KOBepKaeT cnenyronlMe cnOBa: “continuantly” BMeCTo
“continually”, “infinitive” BMeCTo “infinite”, “temperality” BMeCTO “temper”.l7 B
nepeBone 3T011 cnenBI Mananp0nM3M0B neT: “he’s an infinitive thing upon my score”
(2.1, 815) — «Honry 3a nMM cyma51 1‘M6enB, MCTMnnoe pa30penBe» (TpaKrMpmMua,

330); “’A comes continuantly to Pie Comer... to buy a saddle” (2.1, 815) —

 

«nanpaBMncsr 011 3a 0e11110M B rmpoanrfi p5111» (TpaKTMpmMna, 330).

 

’7 CM. 06 3T0M B KH.: Margaret Schlauch, “The Social Background of
Shakespeare’s Malapropisms,” in A Reader in the Language of Shakespearean Drama:
92-93. I/InM KomenTapMM B KH.: Complete Works of Shakespeare, 815.

126

IOMOp M Mrpa cnOB

HepeBon IOMopa IIIeKchpa — o11na M3 cnoxcnefinmx 3anatr 111151 HepeBOII‘II/IKa.
HpMnMH 3T0My necxonBKo. M3MenMnMCB flpCIICTaBJICHMH COBpeMennoro t1e110BeKa 0
10M0pe B cpaBnenMM c IIOHHTMCM CMemnoro BO BpeMena Peneccanca; naanMCp,
BbIIIyCKaHMC ra30B M3 mema B0 BpeMena IIIeKchpa 6B1110 TpaIIMIIMOHHbIM n0B0110M
111151 CMexa,18 M IHeKchp ne 6pe3r0Ba11 myTKaMM TaK0r0 pona. KanaM6ypB1 Bo BpeMena
IIIeKchpa 6B111M TnaBnBIM cn00060M OCTpocn0BM51 M 011nMM M3 cpe110TB
xyIIOXCCTBCHHOCTI/I, BB111BMI‘aeMB1M pMTOpMKoi1.19 l'IpOM3Be11enM51 LHeKchpa conepxcaT
TaKoe 6011B1n0e K011MtreCTBo KanaM6ypOB, trTo nepeBon Mx Bcex HCBO3MOX6H. TOIIBKO
«POMeO M llxynBeTra» c011ep>KMT, no Kpafinefi Mepe, 175 Ka11aM6yp0B.20 Mnome
KanaM6ypB1 IIIeKchpa n0051T nean11Mtn1BIi1 xapaKTep. Hepenana Mx B nepeBone
npe110TaB115111a 0110)Kn00TB 111151 I'IaCTepnaKa B «nprTancxm» BpeMena CTa11MnM3Ma.

I/l3 BOCBMM nepeBe11ennBIx HaCTepnaKOM 11Bec TonBKO 11Be (<<Feanx IV», I M II

naCTM) KOMe11Ml’1nB1. Ho M B Tpare11M51x ech Komecme nepcona>KM M cuenBI. HacrepnaK

 

’8 O6 3T0M rmcan HaprMnx: “Flatulence was, in Shakespeare’s day, the source
and the target of humour and wit among all classes: nowadays, its popularity as a subject
is, in the main, confined to the lower and lower-middle classes and to morons elsewhere”
[Eric Partridge, Shakespeare’s Bawdy: A Literary & Psychological Essay and a
Comprehensive Glossary (London: Routledge & Kegan Paul, 1948), 11].

'9 PMTOpMKa npe1111ara11a neTBIpe BMIIa KanaM6yp0B: 1) antanaclasis —
nOBTOperme CJIOBa B ero pa31n111nB1x 3naqe1m51x; paronomasia — nOBToperme c03BynnBrx
c110B (OMOHMMOB M naponMMOB); syllepsis — MCHOJIb3OBaHMC cnOBa c IIBOMHBBM
3nane1n1eM; asteismus — IIOBTOpCHMC cnOBa, Mcn011B3OBannoro 01IHMM neMCTByronIMM
JIMMOM, — nperM neMCTByIOHmM III/HIOM 6e3 OCOBHaHMH ero 11B01‘1noro 0MBIcna. CM. 06
3T0M B KH.: Brian Vickers, “Shakespeare’s Use of Rhetoric,” in A Reader in the Language
of Shakespearean Drama, 31.

20 CM. B CTaTBe: M.M. Mahood. “Wordplay in Romeo and Juliet,” in
Shakespeare’s Tragedies, l7.

127

nepenan 10M0p Bcex KOMMtreCKMX cnen nBec, XOT51 nepeBen ne Bce KanaM6ypB1, TaKMM
06pa30M COKpaTMB 06BeM OCTpoyMM51, MponMM M capKa3Ma. l'IaCTepnaK ne 11Brra11051 T051110
nepenaTB meKchpOBCKyro CprKrypy MTpBr 0110B. Ec1n1 y IHeKchpa Mr‘pa CJIOB, KaK
npaBMno, nocrpoena na n011M0eMMM, OMOHMMMM M napormwrM, To HacrepnaK onenb naCTo
00311aBa11 mpy 0110B na 0cn0Be pa3JIOX<CHMH (bpa3eonorM3M0B, O6B11pB1Ba51 Mx 3nat1e1111e
KaK CMBICMOBBrx CIMHMH M 3naqe1111e Bx01151111Mx B 1er 0110B. Haanmep, B cnene B
TpaKTMpe «Ka6anB51 TonOBa» (<<Feanx IV», nach 1, 2.4) (DanBCTaq), ne 3na51 MCTMnnoro
mm mm, IIOIIprHMBaCT nan anrnreM M H0111100M 3a OCFC’I‘BO c MeCTa nana11e1n151 na
BO3WOB M KanaM6prT, 06Ban1Ba51 1133 3naqenM51 cnOBa “back” — «IIOIIJICPXOIBaTb» M
«chna» («nOKa3B1BaTB crmny»): “Call you that backing of your friends? A plague upon
such backing! Give me them that will face me” (1 H4, 2.4, 779). l'IaCTepnaK pacqnenMM
M11M0My <<prTOBa51 nopyKa» M O6B1rpa11 0111111 M3 ee KOMIIOHCHTOB: prTOBa51 — prrOM:
«HaBepnoe, BOT noquy BaM ne CTB111no nOKa3B1BaTB 1no1151M cm1nB1. l/I 3TOT nOBOpOT

prEOM BB1 Ha3B1BaeTe prrOBOM nopyKoM?» (239). BenBonMO (B cnene anxona

 

KOMnanMM POMeo B 110M KanyneTTM) 06Ban1BaeT B CBoeM OCTpOTe MHOI‘OBHa‘lHOCTb
0110Ba “measure” (B nepBol1 CTpOKe ono meer 3natrenMC «cy11MTB», a B0 BTopoi1 (ppa3a
“measure a measure” oananaeT «McnonnMTB Tanen»): “But let them measure us by what
they will,/ We’ll measure them a measure, and be gone” (1.4, 987). HaCTepnaK
n01111epx<a11 cnerKa 3a1mpMchIi1 T011 BenB01n10 M nepenan ero ocrpoyMI1e, MCIIOIIBBOBaB
norOBopKy «n1151caTB n011 qB10-11M6o 11y1n<y»: «floggygrgy Mx ne 6y11eM MB1 n115rcaTB,/ A
cn1151111eM non CB010 M y11a1n1MC51» (182).

B 11pyFOM MCC’I‘C («KOpOIIb Feanx IV», naCTB II, 5.1) HaCTepnaK BKIIIOW

M11MOMy «CMernaTB c rp513B10» c 116an nepenaqM MpOHWIeCKOI‘O 0Tn01ne11M51 011er cy11BM

128

Illennoy K KOMnanMM (DanBCTacba, anTnarnennoM cynbefi B FOCTM. Y IIIeKchpa
OObII‘paHbI cnOBa “backbite” M “backbitten”. B nepeBone nepenan CMBrcn MponMM HeBM,
nanenennofi na netrMCTonJIOTnoch CHyTHMKOB (DanBCTacpa, n0 neT nweKa na To, qTo Mx
Tena nOKycanBI naceKOMBmm-napa3mam: “SHALLOW: Use his men well, Davy, for
they are arrant knaves, and will backbite. —- DAVY: N0 worse than they are backbitten,
sir, for they have marvelous foul linen” (5.1, 841) — «IIIennoy: ...Y611a1Ka11 ero 1n011e11,
flew, a TO 01111 na516e11nMr1a10T eMy M nocrapa10T051 CMemaTB Te651 c rp513B10. — IleBM:
Toma-840% c neM 01111 cm CMCIIIaHbI. BB1 nOCMOTpenM 6B1 11a Mx 11M)Knee 6e11Be!» (406).
prrMM IIpPIMCpOM anB513annocm IIaCTepnaKa K d>pa3eonorM3MaM B nepeBone
KanaM6yp0B IIIeKchpa 51B1151eTC51 OCTpOTa myTa B «Kopone 11Mpe»: “He that has a house
to put’s hgaiin has a good headpiece” (3.2, 1194) -— «Y Koro eCTB 110M, Ky11a cynyTB

10110By, TOT, 6eccnopn0, c 1‘0110BOM na nneqax» (494). B 10MopM01qucrc11x cnenax TO)Ke

 

Mnoro cbpa3e0110rM3M0B. B pa310B0pe MCXHy I‘peropMO M CaMCOHOM B «POMeo M
llxynBeTre» 06Bmpano cpa3y necxonBKO (ppa3eo110rM3M0B. B opMI'MHaJIe Mrpa B
ocn0Bn0M nOCTpoena na naponmvrax (“coals”, “colliers”, “choler”, M “collar”), B
nepeBonax — na pa3nox<enMM (ppa3e0110rM3MoB («1111110M B rp513B ne y11apMTB», «3a1IaTB
6an10» M «BB111TM chMMM M3 B011B1»):

SAMSON Gregory, on my word, we’ll not carry 93115.-

GREGORY No, for then we should be colliers.

SAMSON I mean, an we be in choler, we’ll draw.
GREGORY Ay, while you live, draw your neck out of collar (1 . 1 , 980) —

CaMcon: l'IOMnM, FperopMo, 1111110M B rp513B ne ynapnTB.

FperOpMoz I1T0 TB1! Ha060p0T. Fp513B10 B 1111110, T011BK0 KTO nonauMCB.
CaMcon: 3ana11MM MM 6an10.

FperOpMo: CaMMM 6B1 BB111TM chMMM M3 B011B1 (164).

 

129

0pa3e0110rM3MB1 nepeBona COTBCTCTByIOT TeMe pa3r0B0pa Me>K11y CaMconOM M
FperopMO. (Dpa3e01101‘M3M OerMHana “we’ll not carry coals” o3nat1aeT «MB1 ne 6y11eM
cnOCMTB 00Kop611e111151». FperopMo )Ke o6paTM11 Brnmarme TOIILKO na 0111111 M3 ero
KOMnonenTOB — “coals”, M nooTOMy CKa3a11 “then we should be colliers”, To eCTB 6y11eM
HpCIICTaBMTeJIHMM rp513noi1 M nenpecmxnofi npocpeCCMM. TeMa rp513M M I1MCTOTB1
pa3BMBaeT051 11a11B1ne, Korna CaMcon rOBOer: “I will take the wall of any man or maid of
Montague’s”, — MMe51 B may, 1110 B 11paKe na y111111e on 6yneT anIIepxcMBaTBcn t1M0T011
croponBr y CTenBI, BBrnyxnan npOTMBnMKOB TonTaTBcn B rp513M. HaCTepnaK ne nepenan
Bce c011ep>1<a1111e pa3rOB0pa c11yr, no nepenan CMBrcn MrpBr 0110B 611aro1lap51
KOH’I‘paCTHOCTM 6yKBa11BnB1x 3113qu (ppa3e0110rM3M0B: ne ynapMTB B rp513B 11MHOM,
3anaTB 6an10 M BBrfiTM chMMM M3 B011B1.

E01111 HacrepnaK ne naxo111111 a11eKBaTnoi1 oerMnany MrpBr CJIOB, C'I‘pCMHCb
coxparmrB 10Mop UleKchpa, on Men5u1 O6BeKT naCMenIKM. B cnene na60pa peryTOB B
«I‘eanxe IV» (11 naCTB, 3.2) B OerMHane 0111111 M3 peryTOB nOCMT npo3BMn1e Wart —
60p011aBKa. (DanBCTacp oprmmana BBICMeMBaeT Tmenymnoe cnoxerme peryTa,
Mcn011B3y11 cnOBa-MeTanOpBI M3 CTpOMTeanoro 06Mx011a: prick, built, frame, pins.
HaCTepnaK 11aeT nepconaxy npO3BMme JIMmafi M CTpOMT Mrpy c110B c IIOMOIIIbIO 3T0ro
cnOBa: “SHALLOW: Shall I prick him, Sir John? — FALSTAF F: It were superfluous, for
his apparel is built upon his back and the whole frame stands upon pins. Prick him no
more” (3.2, 828) — «Illennoy: OrMeTMTB ero, 03p IDKOH? — (DanBCTacp: Taxoro
BnrMBoro? BaneM ero OTMeanB? CMOTpMTe, KaK on caM Bcero ce651 pa3MeTM11 necanBeM.

Cnnornnan OTMeTMna» (369).

130

Tax KaK Mnome KOMMneCKm cnenBI UleKchpa 000T051T M3 pa3TOBopa 111111
11113Koro cocn0BM51 (KOpMMJIMIIa M 011er B «Pomeo M IbenBeTTe», MOI‘MJIBHIMKM B
«I‘aM11eTe», anBpaTnMK B «MaK6eTe», noce1151111111 B «AHTOHMM M Kneonarpe» M 11p.), To
10Mop B 3TMX cuenax nepe11Ko nocrpoen na CTMJIMCTquCKMx M 1101‘MneCKMx 0111M6Kax M
BcnKOTO pona cnOBeanrx 1151110ycax nepconaxefi (MananponM3Max M neoco3nannB1x
KanaM6ypax). B 3TMx cnenax HaCTepnaK ne Bcer11a nepenan 111py cnOB, no 6B111 6011ee
nocne110BaTe11en B nepenaqe CMnTaKCMneCKMX M CMblCJIOBbIX 01nM6OK. B cnene c
MorM11B111MKaMM B <<FaM11eTe>> nepBBrM MorManMK rOBopMT: “Is she to be buried in
Christian burial, when she willfully seeks her own salvation?” (5.1, 1107). ByKBaJIBno
nO-pyCCKM: «MOXCT 11M 011a 6B1TB noxoponena B coorBeTCTBMM c xpnmancrcmm
noxoponaMM, Korna 011a co3naTe11Bno MmeT CBoe cnacenrre?». IIpe11110)KenI1e OpMI‘MHaJIa
conepoT ne0K011BKo CMnTaKCquCKMX M CMB10110BB1x 01nM60K: 1) TaBTonorMM: “buried
in... burial”; 2) “when” BMeCTo “if”; 3) na0T051111ee BpeM51 (“she... seeks”) 111151 wepmero
mma. HaCTepHaK ne nepenan Bce 01nM6KM, no o6o3natn1n nenpaBmmrmrfi cmrraKCMc:
CJIOBO «KOTopa51» B annaTOtmOM npennoxenMM nepeBona ne coornocuTcn HM 0 mm
nperM cnOBOM rnaBnoro npe11110)KenM51: «A npaBMano 11M XOpOHM'I‘b no-xpMmancKM
[)Kennmny], KOTopa51 caMOBO11Bno 1106MBaJ1aCB [BMeCTo «1106MBaeT051»] Bennoro
611a)KeBCTBa» (131). AnanorMIIHBIe CTMJIMCTMtreCKm 0111M6KM B HOC’I‘pOCHMM
cnoxnononmmemoro IIpCIUIOXCHMH 11e11a10T 11pyme nepcona>KM nepeBonOB, M 3T0
MO)KeT BB13BaTB CMex y qMTaTenn M1111 3pMTe1151: “If a man were porter of hell gate, he
should have old turning the key” (Mac, 2.3, 1232) — «Ec1n1 CJIyXMTb B CTopoxax an

BpaTax ana, 3T0, Bepno, pa60Ta!» (anBpaTnMK, 597); “Those that to die of it do seldom

131

or never recover” (AC, 5.2, 1342) — «KOTopBre yMMpanM, pe11K0 M1111 nMKor11a ne
nonpaBn511n1cB» (nocen5111Mn, 466).

OrcchrBMe MananponM3MOB B nepeBonax 06B51cn51eTc51, oquM11no, TeM, qTo
COBpCMCHHaH HacrepnaKy pyCCKaH 1111an0-001111311Bna51 neMCTBMTeJIBHOCTB ne
COOTBeTCTBOBana 513Bn<0B011 CMTyanMM AHI‘IIMM XVI BeKa, Korna KOBepKanBe 0110B
naTMHCKoro npOMcx0)K11enM51 6B1110 T1111M111H1M. 3310 KOMMIre0Ka51 npeTennM03n00TB
nerpaMO'rnBrx nepconaxefi na MBHCKaHHOCTb petrM B nepeBonax nepenana nocpenchOM
a6cyp11a — Korna nepconaxcM HpOMBHOCHT cbpa3B1, KOTOpBre accom1Mpy10TC51 c M11M0MaMM
M1111 K11Mme, neyMecrnBrMM B 11311110M KonTeKCTe. 0111111 M3 MOTMJIBIIIMKOB «I‘aM11eTa»
rOBopMT: “... unless she drowned herself in her own defense” (5.], 1107) — «Ho6p0 6B1
ona y'ronM11aCB B COCT05111MM caMOBamMTBI» (131). B cne1ICTBe1n10M npOTOKone, 513Bn<y
KOToporo nonpaxcaIOT MOFMJIBIIIMKM, 6B1110 6B1 eCTeCTBennee BeTpeTMTB (ppa3y «B
COCTO5n1MM onB51nenM51». B nperM MeCTe MOI‘MJIBLIIMK I‘OBOpIdT: “But if water come to
him...” (1107, 5.1) — «ExenM naMneT na nero Bona...» (6yKBa11BnO B opMIMHane: «H0
ec11M an11eT K neMy Bona...»). C110B0 «Banner» an onmanMM neMxonoquecxoro
000T05111M51 caM0y6Mi111B1 nopoxnaer accormarIMM c (ppa3011 «nafineT 611a)KB (nypB)».
LIByCMBICJIermo 3BynaT cnOBa naannennoro O3pMKa B «raMJICTC»: “full of most
excellent differences” (5.2, 1112) — «nommfi caMBrx 3aKon11ennB1x nOCTOMHCTB» (148),
— 1116 wow «3aK0nt1ennB1x» BBquT KOMquo, TaK KaK ono neyMCCTno B coquanMM c0
CJIOBOM «1100T0Mnch», no accouMMpyeTcn c M11M0MOM <<3aKOquHHbIfi nypaK».

B nepeBonax nepenan 10Mop Bcex KOMe11MI‘1HBIx cnen, — naxce B TOM cnynae, com
on rpy6. Hanpmep, I'IaCTepnaK nepenan rpy6B111 10Mop myTa B «OTenno», KOTopBIM

3aK1nonaeTc51 B yno110611enMM 11yx0BB1x MneprMenTOB (“wind instruments”) 3a11111111e,

132

anKpBITOM XBOCTOM. HaCTepnaK 06Bn‘pa11 cnOBo «11yx» M namen (ppa3eonorM3M,
KOTOpBrfi nepenan Mrpy cnOB myTa: “Go, vanish into air, away!” (3.1, 1140) — «11T06B1
nyxy Barnero 311e0B ne 6B1110» (331). O11naK0 noxoxMfi rpy6B1i1 10M0p B cnene «I‘aMJIeTa»
(B K0T0p011 110110111111 coo61naeT FaMneTy 0 ane311e aKTepOB) I'IaCTepnaK ne nepeBen
aneKBaTno. B oerMnane B 0TBeT na coo61ne1111e 110110111151 0 ane311e aKTepOB FaMneT
np0M3B011MT neanthnner 3ByK “Buz, buz!”, KOTopBrM no-pyCCKM MO)KnO nepeBech KaK
«nyK-nyK», M naMeKaeT na To, trTo 310T 3ByK (T.e. «nyK») l'IpOMBBOIIHT OCIIbI, na KOTopB1x
anexanM aKTepBr.21 HaCTepnaK M3Me111111 mery: “Buz, buz!” on nepeBen KaK «Ky11ax-
Tax-Tax, Kynax-Tax-Tax...» (61), M Mp0nM51 FaMBeTa CBCJIaCb K TOMy, nTo on cpaBnMJI
110110111151 c cyeT11MBOi1 Kprnefi, cnemarnefi c006111MTB CTapyIO nOBOCTB.

BoanMBCTBO neanCTOi1nB1x myTOK M naCMemeK ne narnnM OTpa>Ke1111e B
nepeBonax. He nepenanBr ceKcyaanBIe HaMCKM B cnene pa3r0B0pa MCXUI)’ MepKy11M0,
BenBonMO, POMeo M KOpMMJIMneM (RJ, 2.2),22 B cuene c nocen51nMnOM, r11e na ceKc
yKa3B1Ba10T c110Ba “worm” (c IIOIITCKC'I‘OM — (pannoc), “to lie” M “die” (B 3na11enMM
«ManITBIBaTB opra3M»).23 IIaCTepnaK ne nepenan CKa6pe3nBrl1 nmeK B cuene na60pa
peryTOB (2H4, 3.2), 1116 B pa3r0Bope c I‘pM6KOM OObII‘prBaIOTCH cnOBa c ceKcyaJIBnBrM
nonTeKCTOM: pricked, undone, husbandry M spent; Talch B cuene pa3r0B0pa CaM00na M
PperopMo, r116 06B11‘pB1Ba10T051 CJIOBa “heads” M “maiden-heads”: “SAMSON: ...I will be
civil with the maids — I will cutoff their heads. —— GREGORY The heads of the maids?

— SAMSON Ay, the heads of the maids, or their maiden-heads” (RJ, 1.1, 981). B 3T011

 

2‘ CM. pa360p 3Toi1 cnenBI B KH.: Partridge, Shakespeare’s Bawdy, 12.
22 CM. pa360p 31011 cuenBr y HaprMIDKa. TaM )KC, crp. 35.

23 CM. KOMMenrapMM B KHMTe: Complete Works of Shakespeare, 1342.

133

cnene HaCTepnaK nepenan TeMy ceKca TonBKo naCTquo, an 3T0M c0KpaTMB qach
TeKCTa: “Therefore I will push Montague’s men from the wall and thrust his maids to the
wall” (1.1, 980-81) — «CaMcon: Bcex 110 011noro. M011011110B B CTopony, a 11eBOK no
yrnaM M B menB» (165). BblanCm/IC «B menB» MO)KHO MnTepnpeTMpOBaTB KaK yKa3anr1e
na COBOKynnerme.

3T0 BpraJKeHMC ne e11MnchennB111 npmep neancroi’rnoch B nepeBonax. HweK
na ceKc nepenan B cnOBax Hro: “You rise to play, and go to bed to work” (AC, 2.1, 1133)
— «C nOCTenM BB1 BcraeTe 111151 6e31lenB51, /A 11e110M 3aHMMEICTer B nOCTeJIM» (Hro, 310);
TaK)Ke B pa3r0Bope I‘aMneTa c Ocpe1B1ei1: “Be not you ashamed to show, he’ll not shame
to tell you what it means” (Ham, 3.2, 1090) — «11a, M 11106011 BemM, K0T0py10 BB1 eMy
nOKaxeTe. He CTB111MTeCB TOJIbKO nOKa3B1BaTB, a 0n 6e3 CTB11ra 6y11eT 06B510n51TB, trTo 3T0
311atrMT» (FaMneT, 81). B HCKOTOprX cnyqanx HaCTepnaK 11a)Ke an11a11 TeKCTy
CKa6pe3n00TB TaM, r11e ee neT B opMIMnane. <Da11BCTacp nepeBona yn0Tpe61151eT CJIOBO
«noxepMTB», KOTopoe 06pa30Bano 0T pa310Bopnoro 3BcpeMM3Ma «xep», o603naqa10n1ero
Myxcxofi nonOBOM opran: “There’s that will sack a city” (1H4, 5.3, 800) — «Xepecy B
neM nOCTaToqno, MT06B1 noxeerB nenbrfi ropon» ((DanBCTadJ, 298). 11pMHn Feanx
KanaM6prT B a11pec an11Bopnoro, npe1111ara51 nocnaTB ero «K MaTyrnKe»: “HOSTESS:
...He says he comes from your father. PRINCE: Give him as much as will make him a
royal man, and send him back again to my mother” (1H4, 2.4, 781) — «TpaKrMpmMna:
...On FOBOpMT, MTO on K BaM 0T Barnero 6aT101nKM./ HpMnn: Tor11a BBICTaBB 3Toro
an11Bopnor0 na 11B0p K Moei1 MaTyrnKe» (244). 3TO'I‘ KanaM6yp annna Feanxa

acconMMpyeTcn c BblanCHI/IeM «noc11aTB K e... MaTepM».

I34

HeynaanM HacrepnaKa B nepeBone m‘pm CIIOB sanerorca CIICHH pa3r0Bopa
I‘aMJIeTa c KnaBm/IeM M I‘eprpynofi. B pa3TOBOpc memy FaMJIeTOM M KnaBzmeM y
IIIeKcnnpa oGBIrpBIBanrcsr mom “son”, “kin”, “kind” M “sun”:

KING: ...But now, my cousin Hamlet, and my son —
HAMLET: A little more than Lin, and less than mg,
KING: How is it that the clouds still hang on you?
HAMLET: Not so, my lord. I am too much in the §u_n
(1.2, 1069) -—

Koponbz ...Hy, KaK Ham Farmer, swam cepzmy CbIH?
Palmer: (B cropony) M name cnmnxorvr Grimm, K CO)KaHCHbIO.
Kopom): 0mm: noprrro quaMM mmo?

FaMJIeT: 0 Her, HanporuB: cormeqno HCKCTaTM (16—17).

HacrepnaK He nepenan npommnoe ornomerme FaMneTa K IIByCMhICIICHHOCTM
pOIIC’I‘BCHHbIX ornomermfi memy HMM u KnaBrmeM: c omiofi croporm I‘aMJre'r —
unemsrmmx anmm, c npyrofi — CbIH, Tomiee, HaCbIHOK. I/Ipormsr I‘aMJIe'ra B cueHe er‘o
pa3r0Bopa c MaTCprO nepenaHa qacrmmo. B nepeBone 06bII‘paHbI CJIOBa «KEDKCTCSI» n
«CCTb» “seems” M “to be”), HO He nepenana MHoroauaqucrb CIIOBa “common” —
«06mm» n «Bynbrapubrfi», 14 BTO cmrrtmno pC3KOC'I‘b ofipameHmr FaMJIeTa c marepbro:

QUEEN ...Thou know’st ‘tis common, all that lives must die,

Passing through nature to eternity

HAMLET Ay, madam, it is common.

QUEEN If it be,

Why seems it so particular with thee?

HAMLET Seems, madam? Nay, it is. I know not “seems” (1.2, 1069) —

KoponeBa: TaK coanaH MMp: q'ro )KMBO, TO yMpe'r
M BCJICII 3a )KMBHBIo B Bequcrb orofiner.
I‘aMJIeT: TaK coanaH MMp.

KoponeBa: Hro )K Kaxerca Toma

CTOIIb pCIIKOCTHOfi Te6e TBOSI ocna?

I‘aMJIeT: He KaxeTcsr, cynapbmsr, a CCTb (17).

B nepeBonax CCTb OpIfl‘MHaJIbeIC KanaMGypBI TaM, me nx HeT y IIIeKcrmpa.

(Danbcracb oépamaercsr K npmmy FerMxy c npocraoofi OTMCHMTb Ka3HM, Korna Ferrpnx

135

CTaHCT KOpOIICM, n 6bl'l‘b crmcxormrenmmm K momemmxam, nenonbaysr B CBoeM
oépamemm cnOBo “curb” («OGyBIIbIBaTb»): “And resolution thus fubbed as it is with the
rusty curb of old father Antic the law?” (1H4, 1.2, 768). HacrepnaK BKJIIOW CJIOBO
«CKOBbIBaTb», oéurpaB ero npsmoe 3Haqerme «HaIICTb OKOBBI» M nepenocnoe —
«ooyarrera'rB»: «PI 3aKon no-npexneMy 6yner CKOBbIBaTb Mononyro npermpmmmocrb»
((DaJchracp, 206). B oGpamemm I‘aMJIe'ra K qepeny (B cueHe Ha Knanoume) ycmreHa
upommnocrb FaMJIeTa 6naronapsr OpMI‘MHEUIbHOMy KanaMGypy «1103y600KaJmTB Han
coGCTBeHHoi/I 6e33y60crbro»: “Not one now, to mock your own grinning?” (Ham, 5.1,

1109) — «Hmero B 3anace, q'roo no3yGOCKaJmTB Han coocheHHofi 6e33y60crbro?»

 

 

(139). HacrepnaK c03nan opnrmrarrbnufi KaJIaMoyp B ofipamemm IleaneMonu K Hro —
«11ypna, HO M He nypa»: “How if she black and witty.” (0th, 2.1, 1133) — «Hy xopomo.
A qro CKa3arB o rofi,/ KOTOpafl m, HO M He ma?» (Hesnemona, 310). 3114
KanaMoypBI HacrepnaKa HOC’I‘pOCHbI Ha coaBquBIx CJ'IOBaX M coorneTchyror I103TMKC
IIIeKcrmpa.

B nepeBone cbpaabr “Barbary horse” (nomam: HOpOIIbI M3 ceBepHofi Achpm),
HameKalomef/r Ha paCOBoe nponcxoxnerme Oremro, CJIOBOM «MHOXOJIHBI» mono
paCCIIblIIIaTb HameK Ha HaIIMOHaflbeIC npenpaccymm B POCCMM, TaK KaK CJIOBO
«maoxormbr» 33qu now KaK «mopomrm»: “you’ll have your daughter covered with a
Barbary horse; you’ll have your nephews neigh to you; you’ll have coursers for cousins
and jennets for gerrnans” (0th, 1.], 1123) — «groom Baum BHyKM pxcama M y Bac 65mm

pbrcaKM B pony M CBHBM c moxomramn» (Hro, 284).

 

Hroébr nepenan) KanaMGyp Famera, B KOTOpOM KnaBmafi cpaerBaeTcsr c

IIaBIIMHOM (“pajock”) B TCKCTC, HO 0 OCJIOM B IIOJII‘CKCTC (CJIOBO “was” He pndmye'rcsr c

136

“pajock”, HO BO Bpemena IIIeKcrmpa pucpMOBaJIOCB c IIOIIpa3yMCBaCMOM FameTOM
CJIOBOM “ass”), HacrepnaK 3ame1mn “pajock” cnOBOM «ocerp», Koropoe c03Bytmo co
CJIOBOM «ocen». Mamemm meKcrmp0Bcrorfi TCKCT, HacrepnaK coanan HOBBrfi KanaM6yp,
n03BomrBumfi emy coxparmb HaMCK B nonreKcre:

For thou dost know, 0 Damon dear,

This realm dismantled was

Of Jove himself, and now reigns here

A very, very — pajock (3.2, 1092) —

TBI 3HaemB, noporofi HaMOH,

IOmrrepa open

CneTeJI c npecrona, 14 Ha TpOH

BocceJI npocrofi oce... 1p (86).

Mrpa CJIOB B nepeBonax moma nonomreHa m‘pofi 3ByK0B, KaK B cnenyronmx

npmepax: “A happiness that often madness hits on, which reason and sanity could not so

prosperously be delivered 01” (Ham, 2.2, 1081) — «HaxomBrBoch, Koropasr qacro

oceHsreT nonoyMHbe 14 He Bcerna 6B1BaeT y BnpaBOMBICJmmMX» (Honormfi, 53); “we did

 

sleep day out of countenance and made the night light with drinking” (AC, 2.2, 1308) ——

 

 

«th MB1 ryémm 6CCIIpOCbIIIHbIM CHOM, a Hqu 6ecrrp06ymrbrM IIbSlHCTBOM» (3H06ap6,
290). B nocnemreM npmepe new (14 COOTBCTC’I‘BCHHO 003Bytmm) anCTaBKM CJIOB.
B nperM cnyqae 06BIrpBIBanrcsr cnOBa «KOHCII» n «HaKOHCII», a TaloKe Heonnoxpa'moe
n0B'roperme 3ByKa «H» + rnacnasr: “Things at the worst will cease, or else climb upward/
To what they were before” (Mac, 4.2, 1245) —— «M 111460 nonxeg IflCTynM'I‘b Korgu, Mm

HaKOIflH IflCTangT o6nemeHbe» (Pocc, 635).

YIUIOTHCHMC TCKCTOB HpMBCJIO K HOTCpC 60HbIIIOI‘O KOJIM‘JCCTBa BIMI‘CTOB, a PIX

O6IICI‘HCHMC HpOHBMHOCb B IICpCBOIIC MHOI'PIX meracbop XYIIOXCCTBCHHLIMM CpaBHCHMSIMM,

137

chpyMcrmeCKI/rx Bbrpaxermfi — mmomaMu mm napacbpasom. Y6aBmI00B Komrqecho
3B¢yncmqecrmx Bbmaxemrfi, nefirmommrmx cnOB-06pa303, npocbeccnonarmsMOB,
onnsmmx B meradmpbr M cpaBHeBmI; 06nemeHBr Koncr'pmem pa3BepHy'rBIx Meracbop,
cnomrx mnepéon n npymx crmcmqecm (pm‘yp. Ocnaonerme me'racpopmmoc'm B
ofirmwrrenbnbrx MOHOJIOFaX npnrrano MM aByanme, xapaKTepHoe mm pyccxofi
rpaxqrancxofi Impmm. npocropetrrrbre wow 14 3ByKorm0B CHOCO6CTBOBaJIM
BblpaBM'I‘eJIbHOCTM 06p330B. OcooeHHo BpraBMTCIIthI B nepeBonax paBBepHyTBIe
MCTa¢Opr-CpaBHCHI/[fl )KMBHM c Kmrrofi. 3T0 M0)KeT 613m; oGBBCHeHo HeKoropofi
6m30crbro acrermoa M dmnococbm nByx xynoxorMKOB, TaK KaK 06pa3Hoe cpaBHerme
20431114 c Kmrrofi CCTb B OpMI‘MHaJIbHOM TBopqeche HacrepnaKa.

I‘onoca nepconaxefi B nepeBonax 6011ee pa3IMqMMbI, qu B opmmranax, trro
SIBHSICTCSI Becomermofi 3acnyrofi HacrepnaKa-nepeBonma. OH oc06eHHo ycmrmr
OTIIM‘IMTCIIBHBIC ocooermocm ronoc0B rnaBHBIX nepconaxcefi, KOTOpre y IIIeKcrmpa
c6rrmKeHBI ycnomrocrmvm pmopm. Hpexne Bcero 3T0 Kacae'rcsr «Tamera», «POMeo
M IbenBeTrBr» u «Koponsr HMpa». Omermmofi mumBMIIyaJmBamm perm nepconaxefi
HacrepnaK no6m1csr CBOMMM npneMaMn, He Bcerna COOTBCTCTByIOIIIMMM meKchpOBCKMM
npuemaM, eme OCHOBaTCIIbHO He nocneHOBaHHBIM. Yemerme pa3r0BopHocm H3bIKa
nepconaxefi BKmoqermeM 601mmoro Kormqecha npocropetmblx cn0B n
¢pa3€0n0m3MOB cnocoéchOBano mimnnyamraamm nx petm. HacrepnaK Bapr‘pOBaJI
Konmrecho M cocraB npocropemro-paarompnofi JICKCMKM n d3pa3e0nonm B perm
nepcouaxefi. 11,1151 Hupa xapaKTCprI flaCKaTCIIbeIC mom 0 yMeHbmnTenBHHMM
cycpcancaMM, mm KnaBrmsr 06paBHBIe CJIOBa, accompylomnecsr c cmrofi, HaCMJIMCM M

IIBITKOH, HHS! KOpMI’UIMIIbI — IIpOCTOpC‘IMC, BbIlIaIOIIICe CC MaIIOFpaMOT‘IIOCTb M 13011

138

Bansrmfi. Pqu nepconaxefi TElIOKC ormmaercsr monarmormo, pMTMmeCKM M
(pone'mqecm.

HacrepnaK cmmmn meKCImpOBCKm‘i IOMOp. OH He nepenan HCKOToprC smomrme
HaCMCHIKM Tamera, Mnome 111mi u KanaM6ypB1 c HaMCKOM Ha ceKc, oc06eHHo
xapaKTepHme rum MepKyuno. HacrepnaK nepeBomm Henpmmqrme my'ncn M KanaM6ypBI
B Tex cnyqasrx, Korna CIICHH IICIIMKOM 6B111M nocrpoena Ha CK36pC3HOCTM, KaK,
Hanpmep, cueHa CCOpr cnyr Kanyner'm n MOH‘I‘CKKM. MHorna OH meusm crpyKTypy
KanaMGypOB, 06'BeKT HacmemKu, coxpansrsr OCHOBHBIe TCMbI Iomopncmecm cueH. OH
MCIIOIIbBOBaJI noq'm Bce HICKCI'mpOBCKMC IIpMCMbI IOMOpa (I‘JIaBHbIM ncxmoqermeM
srBJIsrercsr KOBCpKaHbe cnOB), Bce BMIIBI mpm cn0B, XOT51 B orrrwme or IIIeKcrmpa, y
Koroporo GOHBIIIMHCTBO KanaM6yp0B nocrpoeHo Ha uomacewm, npemromrran C'I‘pOMTb
KanaM6ypB1 Ha pa3n02Kem/m (ppa3e0n0m3MOB. TaKofi IOMOp ormmaercsr or 10M0pa
IIOIIMCCMMM, TaK KaK conepxm anemerrr aécypna.

MHorna HacrepnaK 3aocrpsm KanaMfiypBI mm coanaBan CBOM Ha mecre, me y
IIIeKcrmpa nx Her. HacrepnaK nepenan IOMOp Bcex IOMopncmqecm cneH.
Crmmcrmecme omM6KM manorpamonrbrx nepconaxefi (MOI'MJIBIIIMKOB M3 «I‘aMJreTa»,
anBparmaKa n3 «MaK6eTa» 14 up.) 0H nepenan c 601mm ycnex0M, qu 14x KanaM6ypBI.
Ynatmo nepenaHBI MHome Iomopucmecme CIICHBI — ccopa cnyr B «POMeo M
IbeJIbeTre», 6ece11a MOI‘MJIbIIIMKOB B «I‘aMJrere», — a TaKxe IOMOp petm (Danbcracba,

KOpMI/UIMIIBI, HOJIOHMSI.

FHABA IV

TEKCTYAJ'IbHLIE OTKHOHEHMH HEPEBOIIOB

Mcxaxeuml

TaK KaK HacrepnaK He CTaBMJI uenmo co3na1me rqube, aKaneMquCKMx
HCpCBOIIOB, TO ecrecheHHo, q'ro qacrb TeKCTyanBHbe M3MeHe1mfi M0)KeT 611m)
oo'bsrcnena ero C'I‘pCMHCHMCM K ynpomermro TeKcra. TeM He MCHCC ornenbnue Mecra
nepeBonOB He BbIBbIBaIOT comremm B TOM, 1L1T0 TaM 6B111M IIOIIyIIICHbI omM6Kn B
pe3y11B'ra're Henpaerbuoro npoq'renmr opumnaJmB 111114 B pe3y11BTaTe Chem 11
He6pexnocm. YeTaHOBKa HacrepnaKa Ha nerKo maeMBIfi M mommaeMufi TeKC'r no-
pa3Homy orpa3n11aCB 11a Tormocm nepeBonOB M pemanacr: HaC'I‘CpHaKOM paBJMImBrMM
cpenchaMn. 011110 v13 cpench nocrmKermn nerKo maemoro reKcra — 3T0
noacnm‘enbrmfi nepeBon, K Koropomy HCpCIIKO npuéeran HacrepnaK. HpM
nosrcumemanom nepeBone TCKCT M3MCHCH$ICTC$I c uenbro nepenatm conepxamm B 6011ee
nocrynnofi (bopme. Mecra opumnanom KOTOprC 11pm 6yKBaIIbHOM nepeBone y
pyccxoro marena M0ryr BbIBBaTb Henoymerme, HacrepnaK B HCKOToprX cnyqasrx
HHTCpIIpCTI/IPOBEUI no-CBoeMy. Mm 113 KOMMCH'I‘aTOpOB IIIeKcrmpa He moxer

06135101114“ CMbICJI 3aMB1c110BaT0171 (bpaabr Foparmo “A piece of him”, orBeqaromero Ha

139

140

Bonpoc qaCOBor‘o Bepnapno “Say, what, is Horatio there?”l HacrepnaK nepeBen 0TBCT
Fopa1mo, COXpaHMB neonpenenemrocrb 11 name Henonsrmom ero CJIOB, 110 naoexaB
a6cypm10cm 6yKBaJIBHoro nepeBona: “A piece of him” (Ham, 1.], 1066) —— «11a, B
HeKoropOM pone» (8). B npyrom cnyqae 6yKBaJIBHbIfi nepeBon o6ofineH c nenblo
coxpaHeHmr norm pasBma nefichmr. <Dpa3a KnaBmm B «I‘aMJIeTe» “Most welcome
home!” (2.3, 1080), CKaaarrHasr 11pm npomamm 0 1100mm, npn 6yKBaIrbH0M nepeBone
moxer co3narb Bneqarnerme Heymecrnocm B pyCCKOM KOH’I‘CKCTC, nooromy HacrepnaK
nepeBen: «110 CKopofi Bcrpetm!» (48). B cueHe pa3r0Bopa memy MaKnycpom,
MaJIbKOIIbMOM n Pocc0M B opnnmane HCHOHSITHO, KOI‘O weer B may MaKnycb —
MaerKonbma mm MaK6eTa, — Korna I‘OBOpMT “He has no children”. HacrepnaK permm

ornecm 3m cn0Ba K MaK6ery:

MALCOLM. Be comforted.
Let's make us medicines of our great revenge,

To cure this deadly grief.
MACDUFF. He has no children. All my pretty ones? (Mac, 4.3, 1249) —

MaIIBKonbM: MaKIchb, Myxaficsr 14 Hafimr ncxon
B nocrofiHOM MmeHbe.
MaKnyd): Ho MaKGeT 6e3neTeH! —
Bcex 6e1111eHBKnx Moux? (646).
prroti B1411 noncmrrenbnoro nepeBona, anMCHeHHbrfi HacrepnaKOM, — 3T0
nepeBon He TeKCTa, a CKopee KOMMCHTapMCB K HeMy. prIIHO CKa3aTB, KaKMMM

KOMMCHTapMSIMM HICKCIIMPOBCKMX TCKCT OB HOJIb3OBflHCH HacrepnaK, OIIHaKO 11a

OCHOBaI-IMM aHaJIMBa OTKJIOHCHI/[fi IICpCBOIIOB OT OpMI‘I/lHaJIOB, MOXCHO BaKJIIO‘II/I'I'b, HTO

 

l Hommcxnfi, Hanpmep, nepeBen 3Ty cppasy 6yKBaIIbHO.

141

HacrepnaK npnoeran K noncnenmm mexcnnpwenoaz C11030 “scholar”, ynorpe6nennoe
MapuenJIOM no omomenmo K Fopalmo, HacrepnaK He nepeBen 6yKBanBHo —
«ytrenbrfi», KaK cnen0Bano 651 omarb, a «CBenym»: “Thou art a scholar. Speak to it,
Horatio” (Ham, 1.1, 1066) — «Tm c_Begyr_n; 06paTMCb K neMy, I‘opaunfi!» (9), — qro
coorBe'rchyer mrrepnperarum cn0Ba opnmnana, nannoii pa3nmn1b1mr
KOMMerrra'ropaMM.3 I‘eorpacpnqecxoe MCCTO B «Forum 14 beymaer're» c HaBBaHMCM “old
Freetown” (RJ, 1.1, 982), Kyna 1015131) nocne CCOpr cnyr nByx 110M0B nanaseraeT
ancn Mon'reKKn, HacrepnaK nepeBen KaK «BnnacbpaHK» (169), nafinsr 3T0 Ha3Ba1me
y KOMMCH’I‘a'I‘OpOB, yKasaanx, trro Ha3BaHne “old Freetown” IlIeKchp no3a1mchOBan
y prKa, Koropbrfi nepeBen TaKMM 06pa30M Ha3Banne Villa Franca B CBoeM
np0M3Bene1nm Romeus and Juliet.4 HacrepnaK B nepeBone BoccraHOBnn ncmmroe
11a3Ba1n4e, neKaxennoe prKOM M IIIeKcnnp0M. HameK (Danbcracpa Ha ain‘mrficxyro
nor0BopKy, cprrrbrfi B cnOBax: “I bought him in Paul's, and he'll buy me a horse in/
Smithfield”5 (2H4, 1.2, 811), — HacrepnaK paCKme l'IOCpCIICTBOM nepeBona caMOfi

nor0BopKM, Koropyro on Toxe MOI‘ Hafim y KOMMeHTapOB: «ECTB nor0BopKa: “He

 

2 M3 crarbn HacrepnaKa «I‘aMJIeT, anHu Harcxnfi» meo, trro 011 nonb30Bancs1
KOMMCHTapMCM: «£11151 nommnenmr mch0B 11a cnacrbe $1 nepeBomm, TaK CKa3aTB, c
3aBH3aHHbIMM rnaaaMn, naennne co cnOBapeM v1 HeoonmeM MBHaTCflbCKMM
KOMMCH’I‘apMeM» (Coop. 0011., T. IV, crp. 385).

3 CM. KOMMeHTapnM B Krmrax: Complete Works of Shakespeare, 1066; Alexander
Schmidt, Shakespeare Lexicon and Quotation Dictionary, vol. 2 (New York: Dover
Publications Inc, 1971), 1010.

4 CM. K0MMe11TapnM B Kmarax: Complete Works of Shakespeare, 982; Schmidt,
Shakespeare Lexicon and Quotation Dictionary, vol. 1, 454.

5 CM. KOMMenTapMM B Krmrax: Complete Works of Shakespeare, 811; Riverside
Shakespeare, 890.

142

Hammafi cnyru c naneprn, He n0Kynafi nonranefi B CMMTcpMJIBne 14 He )KeHMCB 11a nepBofi
Bcrpetnrofi”» ((Danbcracp, 319).

TeMHoe Mecro B «MaK6ere» n3-3a Henonnrnoro B KonreKcre OTphIBKa 3Haqenm1
CIIOBa “spy” 6 HacrepnaK PIH'I‘CpIIpCTMpOBaII no-CBoeMy: “Within this hour at most/ I will
advise you where to plant yourselves,/ Acquaint you with the perfect spy o’ the time,/
The moment on’t” (3.1, 1237) — «Hepe3 qac, He 6011mme,/ Pamem BaM noxaxcer,
rne BaM crarb,/ I/I BaM Ha3natmr Mnr tum Hananenbsr» (MaK6eT, 611).

Honcrnrrrenmey nepeBony 6mm raK)Ke nonBepmyrBI Mnome
MMCbonomneCKI/re MMCHa n ncropMBMBI, KOTOprC, oquunHo, 61mm xopomo 3naK0MB1
COBpCMCHHMKaM IIIeKcrmpa, no Moryr BbI3BaTb 3arpym1enm1 y tmrarenefi v1 spurenefi
XX BeKa. Ha Mecre ncropmrecrmx men Pacorus n Orodes («Arrronnfi M Kneonarpa») B
nepeBone naxonnM cnoBa «CbIH» n «napb»: “Thy Pacorus, Orodes,/ Pays this for Marcus
Crassus” (AC, 3.1, 1316) — «BMIIMIIIB, )KM3HB10 M/ Tu 3annarnn 3a Kpacca, gapi)
napgbsm» (Bennnrnfi, 329). BMecro MMeHM orua MaK6era — Sinel,7 — Koropoe
ynommaercn B opnrvmane, y HacrepnaKa «Mofi oren»: “By _S_i1£l’§ death I know I am
Thane of Glamis” (Mac, 1.3, 1225) — «Honsmro, ech wep Mofi ore1;,/ Fnamrccrmfi
ran, 51, 31mm, ran rnawmccrorifr» (MaK6eT, 579). YerapeBmee cnOBo “kerns”

(npnanncxne nexormmbl) UCpCBCIICHO KaK <<ercrbs1ne HaeMHBre»: “I cannot strike at

 

6 COBpCMCHHbIC KOMMCH’I‘aTOphI cqmanr, qro B naHHOM KonreKcre cn0B0 weer
3Haqe1me “espial, observation”. CM. KOMMCHTapMM B Krmrax: Complete Works of
Shakespeare, 1237; Riverside Shakespeare, vol. 1, 1324.

7 CM. Komenrapmr B Kmax: Complete Works of Shakespeare, 1225; Schmidt,
Shakespeare Lexicon and Quotation Dictionary, vol. 2, 1063.

143

wretched kems” (Mac, 5.7, 1253) — «51 He Mory py6MrB ercrbsm HaCMHbIX»

 

(MaKHycb, 661).

I'IosrchTenBHBrfi nepeBon MncponorMneCKMx men Bnec M3MeHeHMM B nepenatry
o6pa3110fi CMC’I‘CMBI IIIeKchpa, TaK KaK Mnome cpaBHeHMSI M Meramopm y IIIeKchpa
nocrpoena 11a MncbonoqueCKMx menax. B 6011anMHC'rBe cnynaeB HacrepnaK
coxpanMJI mcbonormecme mena, oco6e11110 HaM6onee M3Becer1e COBpeMeHnOMy
nenOBeKy: 3eBc, Anonnon M 11p. B npymx cnyqasrx on swan/1n Mx HapMnareanbrMM
cnoBaMM, KaK B cnenyromeM cnytrae: “So excellent a king, that was to this/ Hyperion to

a 8am” (Ham, 1.2, 1070)—— «TaKOM KOpOJIb! KaK comma npKMfi nyq/ C )KMBorHBIM

 

3rMM pfllIOM» (I‘aMne'r, 19). O6paa «flpKOI‘O nyqa» nonBMncsr B pe3y115rare
HOSICHMTCIIBHOI‘O nepeBona cn0Ba “Hyperion” — MMCHM OJIHOI‘O M3 TMraHOB M 0111a
I‘enM0ca, 6ora comma, a CJIOBO «mornoe» — KaK paa'bncnerme IIOHSITMH «carMp»
(IIOIIy‘ICJIOBCK-HOJIyXMBOTHOC). B «AHTOHMM M Kneonarpe» nerMOHep cpaBHMBaeT
AnronMM c IOnMTepOM: “Your emperor/ Continues still a .1919” (AC, 4.6, 1331). Cn0Bo
“Jove” nepeBeneHo KaK «601‘ menpoch», qro coorBerchyer KOHTCKCTy, raK KaK
AHronMfi pacnopsoKaercn, qro6BI nepe6e)KqMKy 3no6ap6y nepenanM ero mm B narepb

nporMBnMKa: «Banr n0BenM'reJIB/ Bor menpoch, KaK npexqre» (nemonep, 407). B

 

coorBerchMM c KOMMCH'I‘apMSIMM pacmMcprBaHBI cn0Ba “Arabian bird” KaK «theme»:
“0 Antony, O thou Arabian bird!” (AC, 3.2, 1317) — «“AnronMfi”, r0Boere? 3ro
m» (Arerma, 332). Heonpenenennoe pacrerme B «MaK6ere» “insane root”
KOHKpCTMSMpOBaHO — «6e11ena»: “Or have we eaten on the insane root” (Mac, 1.3,

1225) -—— «I/Inb Mbl c ro6oii o6BenMCB 6eneHB1» (BanKo, 579). B0 II qacm «I‘eanxa IV»

Horn: TepmMr o6pa111aercs1 K HMcronro: “Since when, I pray you, sir? God's light, with

144

two points on your shoulder?” (2H4, 2.4, 821) — «KaK TbI eMen HaIICIIMTb Ha ce651

Karnrrancme mHypKM He no my» (Honb, 349). Ha caM0M IICJIC “two points” 116

 

«Kamrrrancme IIIHypKM», a pCMCIIIKM HHS! HpMKpCIUICHMH OPYXCMSI,8 HO TaK KaK 11811131116 B

cueHe B rpaKrMpe OOBII‘prBaeTCSI «KanMTaHCTBo» npanopmMKa I'IMcronn, ro HacrepnaK
cnenan TaKOM nepeBon B coorBerchMM c norMKoiti pa3BMrM51 nefichMn.

Xorsr HacrepnaK CMC’I‘CMaTM‘ICCKM c0Kpa1nan KonMIrecho cnOB B nepeBonax c
IICIIbIO nocrmKeHMM paBHocrpoqmr M ynpomerrmr, TeM He Menee an HOSICHM'I‘CIIBHOM
nepeBone 011 MHorna nononrmn reKcr. B cnenyromeM npelmoxenmr oerMHana
orcyrchyer 3KBMBaneHr cnOBa «nomecmfi», Koropoe M02010 o611apyxom: B
nepeBone: “Marry, I tell thee it is not meet that I should be sad, now my father is sick”
(2H4, 2.2, 818) — «IIoMMM, He nonaraercn MHC BbrnaBarB neqanM, Korna oren MOI/I

6oneH, uro6B111e B036y)KnarB nonMTquCKoro 6ecn0Koficha» (mm, 337).

 

Ech HOSICHM'I‘CHbelfi nepeBon nOMoran HacrepnaKy HpOSICHM'I‘b CMbICJI
HCKOTOprX Mecr rmec, TO COKpaIIICHMSI MHorna anBonMnM K BaTeMHeHMIO, MCKaerMIo
MnM Henonnofi nepenaqe conepxarmn oerMHaJIOB. B pe3ynbrare cmanmr reKcra B
nepeBone «Orenno» 3areM11en CMBIcn cnOB BMMnMM, CKa3aHnBrx nepen CMep’l‘bIO
HeaneMonm. IleaneMona 1030er BMW, qro 011a npornaer quIOBeKa, 0KneBeTaBmero
ee: “If any such there be, heaven pardon him!” (0th, 4.2, 1156) -— «Ech CCTb raKoM,/
IIpoch eMy FOCIIOIIb» (387). Ha trro BMMIMM orBeqaer: “A halter pardon him! And hell

gnaw his bones!” (0th, 4.2, 1156), — ro ech )Kenaer KneBerHMKy 6Brrb HOBCIHCHHHM M

 

8 CM. KOMMCH'I‘apMM B KHMI‘aXI Complete Works of Shakespeare, 821; Riverside
Shakespeare, vol. 1, 899.

145

nonacrb B an (6yKBaJIbHO: «l'chrb BepeBKa [BMce11MnB1] npochT ero M an cxyeT ero
Koch»). HacrepnaK 3T0 nepeBen TaK: «l'Ipoch, BepeBKa,/ H mm y qeprefi B 3y6ax,
npoch!» (3MM11M51, 387). B nepeBone onymeno 011110 c110Bo, «ero», M noquy-To
nepeMHaqua Bropa51 nacrb 11p0K1151rB51 31411111411; or aroro CMBICJI HpCHJIOXCHMSI M ero
0B513B c npemnechyromva cnOBaMM IleaneMonm HapyIIICHbI. B pe3y11BTare Toro, qTo
HacrepnaK 11e o6paTMn Bmmarme 11a onpenenennmfi apTMKJIb “the” M He nepenan ero
nocpenchOM MCCTOMMCHMSI «3TOT», 3areMI1e11 CMbICII cnenylomero npennoxenmr: “O, 0
that the slave had forty thousand lives!/ One is too poor, too weak for my revenge” (0th,
3.3, 1147) — «0, ech 6 pa_6 )KMn TBIcnqe1o )KMBHeM. 111151 nonHofi MeCTM Mano Mne
01.111011» (O'renno, 352). Hon «pa60M» Orenno MMCCT B may KaCCMo, Koroporo B arofi
cne11e 0KneBeTan flro; y HacrepnaKa )KC Henonnrno, K KOMy ornocnrcn cnOBo «pa6».

B pachase o nepBofi Bcrpetre Arrrornm c Kneonarpoii 31106ap6 coo6n1aeT o
TOM, qTo AHTOHMM anrnaCMn Kneonarpy 11a y)KMr1, H0 B orBeT 11a 3T0 anrnamenne
caM 65111 anrnameH Kneonarpofi: “Upon her landing, Antony sent to her,/ Invited her
to supper. She replied] It should be better he became her guest;/ Which she entreated”
(AC, 2.2, 1308). HacrepnaK cxan reKcr, M B pe3y115rare aroro HOWOCB, qro
AnronMfi 613111 y)Ke 3apa11ee anrnameH K Kneonarpe: «Korna 011a anqanMJIa,
AHTonMfi/ HosBan ee 11a yxcMH, 110 Earn] HTo caM K neM npm‘namen» (31106ap6, 292).
prrMM npmepOM HeBepHofi nepenaqM conepxaHMM B pe3y11BTaTe cxarMn 5an51eT051
coo6n1e1me IIe3ap51 OKTaBMM 0 TOM, I1T0 Amonnfi anBneK K Bovine nporMB Hero
6om:1110e KOIM‘ICC’I‘BO uapefi. IIe3apB nepetmcnner nacrb men M 3aBep1naeT nepeqenb
cnOBaMM “With a more larger list of scepters” (AC, 3.6, 1320). B opvnMHane Her

YKaBElHMH 11a CTCIICHI) BEDKHOCTM BTMX III/III, HacrepnaK )KC HCHCpC‘IMCIICHHbIX napeii

146

11me «Bropocrenerrnbnvm»: «y)K He r030p51/ O nenOM M110)Keche Bropocrenerrrrbrx»
(IIe3apb, 353). Heroqnocrb nonymena B nepeBone c1103 KaCCMo: BMecro “I hope to be
saved” (0th, 2.3, 1137) (6yKBanBHo: «SI HaneIOCB CIIaC'I‘MCb») HacrepnaK nepeBen
«Hanpmep, 51 cnacyCB» (KaCCMo, 320), annaB 3aXMeneBn1eMy KaCCMo 6onmne
6aXBa11Bcha M caMonane5111Hoch.

Bonbnroe Kothrecho MCKaxerrMfi np0M30n1no or ynponrenMM o6pa3110ro M
BBcpyMCTquCKoro 513B1Ka. B nepeBone pa3r0Bopa IbenBeTrBr c MaTCprO HacrepnaK
c115111 meKcrmp0BCKMfi 3Bd)yM3M, nponchB CMHCJI p33r0Bopa, 110 norepsrB an 3TOM
TOHKOCTB HweKa nocnennefi (bpasbr leynberrbr 11a TO, Mro CKop6b ee ornocnrcn 11c K
y6MT0My TM6a11bTy, a K M3r11a11110My P0Meo:

Jul. Yet let me weep for such a feeling loss.

Lady. So shall you feel the loss, but not the friend

Which you weep for.

Jul. Feeling so the loss,

I cannot choose but ever weep the friend (RJ, 3.5, 1007) —

llxynberra: A ech TaK yTpaTa BenMKa?
J'IenM Kanynerm: Bern: cne3 TB0Mx yTpaMeHHbrfi 11c BM11MT.
llxymaerra: Ila 51 )K Mx no CBoeM oxore 111510 (241).

 

AHTJIMMCKMi/i reKcr 6yKBa11B110 no-pyCCKM 311351111“: «Ilomrma 11M Th1 quchOBarb
norepro, ec11M 11e tryBchyernb [IIpMCYl‘CTBMSI] npyra, no Korop0My TbI nnaqemb.
llxynberra: TaK quchyM norepro, 51 He Mory nocrynaTB no-npyTOMy, KpOMe KaK Bce
BpeM51 onnaKMBaTB npyra». y HacrepnaKa nocnem15151 (bpasa IbenBeTm mnnena

KOHTCKCTyaJIbHOI‘O CMHCHa.

B nepeBone I trach <<Feanxa IV» 3aMeHa oBtpyMBMa Forcnepa MHMOMofi «1111 3a
Karme nenbrM» (B 3HaqenMM: HM 3a trro, HM B KoeM cnyqae), anBena K IIByCMbICIIMIIe:

an nocnoBHOM npoq'reBMM M11M0MBI nonyuaercn, qTo KOpOJIb BbIKyIIaeT

147

BOCHHOIIJICHHBIX (BOMHOB nporMBnMKa) y CBoero no1n<0Bo11na, qro 11e nonpa3yMeBan
IIIeKchp: “And if the devil come and roar for them/ I will not send them” (1H4, 1.3,
771) — «Her, ne annrnro 1111 3a Kame nenbrM» (Torcnep, 215).

Mnorna B pe3y1IBTaTe 00Kpa1ne11MM M3Men51erc51 MHT011a11M51 r0Bop51mero, qro
CKaBaJIOCb 11a TpaKTOBKe nepconaxefi M B3aMM00T1101ne11Mfi Me)K11y HMMM. B nepeBone
pa3r0Bopa Me)K11y Ile3apeM M AmormeM B «AHTOHMM M Kneonarpe» B ronoce He3ap51
6o11mne pe3K0ch, neM B oprmmane, 3T0 nonqepKHyno BropocreneHHocrb AHT011M51 no
ornornenmo K Ile3ap10: “You praise yourself/ By laying defects of judgment to me; but/
You patch’d up your excuses” (AC, 2.2, 1306) — «B 3an1MTy caM 11c 3naer, trro
CKa3aTb,/ A 1‘0B0pMT — 51 an11MparocB» (He3apb, 281).

MeracbothreCKoe cpaBHerme KnaB11M51 c myT0M, cnenarmoe FaMneTOM, B
nepeBone 3aMCHCHO cpaBHCHMCM c Mrpymxofi, KyKnofi, xor51 “shreds and patches” —
MeTacpopa, o60311a11a101na51 necrpbrfi myTOBCKofi KocrroM, cocrommrfi M3 1100KyT0B:9 “A
king of shreds and patches” (Ham, 3.4,1096) — «Co eB51T011110fi MprrnKofi...» (I‘aMneT,
99).

Ha npennoxerme ponMTenefi BBIMTM 3aMpK 3a I'IapMca llxynberra orBetraeT,
‘1'1‘0 011a CKopee y6BeT ce651, neM Bbrfiner 3aM)’)K. 011a anB011MT HeCKonBKo cn0c0603
caMoy6MMcha, M 0111111 M3 HMX — BhIfiTI/I 11a 110pory, KMmamy10 pa36ofi11MKaMM. B
nepeBone (bpa3a <<ancoce2KyCB K pa360fi11MKaM» 3Byt1MT, KaK )Kenarme IbenberrBr
ancoe11Mr1MTBC51 K pa360fiHMKaM, a He KaK I‘OTOBHOC'I‘b yMepeTb: “0, bid me leap, rather

than marry Paris,/ From off the battlements of yonder tower,/ Or walk in thievish wavs”

 

9 CM. K0MMe11TapMM B KHMTax: Complete Works of Shakespeare, 1096; Riverside
Shakespeare, vol. 2, 1168.

148

(RJ, 4.1, 1011) — «Hro6 3aMy)K 3a HapMca 11c M11TM,/ H nytnne 6p01nyCB c 6am11M,

ancoceMcriK pa360fi11MKaM» (beynberra, 249).

 

HCKOTOpre M3MCHCHMSI B nepeBonax Moryr 611m; o6mcnenm crpeMnermeM
HacrepnaKa COXpaHMTb (popManbrrbre 0c06e111100rM oerMHanOB: pMTM, onpeneneHHyro
11.11MHy cmxorBopnofi crp0KM, pMchbr M 11p. Toqnufi nepeBon cnenyromefi C'I'pOKM
Hapynmn 6B1 511M6M11ec1c11171 pMTM: “But this troubles me” (Ham, 1.2, 1071) —
(6yKBaano: «Ho 3T0 6ecn0K0MT Me1151») — «Cei/mac 51 yCl'IOKOIOCb» (I‘ aM11er, 22).
CoxpanermeM pMTMa MOXCT 65111, 06B51c11e11a BpeMern1a51 11er01n10crb B c006111e11MM
Tornra Forcnepy o 6011e3nM ero orua: “He did, my lord, four days ere I set forth” (1 H4,
4.1, 792) — «11a, on c11er/ Ba gem) MID: @a 110 Moero 0TBe31Ia» (ronen, 276). B npyr0M
npmepe BKnroqerme cnOBa «1106p0ra», MCKa3MBmer0 conepxarme, 651110 o6ycn0B11e110
pMcpMOM. B 0erm1a11e np0TMBon0craB115110T051 He 11Mtn1bre Kaqech ,[Ixynberru M
P03a11Man (1106pora — 31106110crb), KaK B nepeBone, a Mx qucra K P0Me0: “She whom I
love now/ Doth grace for grace and love for love allow/The other did not so” (RJ, 2.3,
995) — «H0 3Ta npenbmymefi He Mera. [I‘ a 3no6MnaCB, a 3T3 1106p0Ta» (P0Me0, 205).

O1111a Heroqnocrb B nepeBone «P0Meo M IbenbeTTBr» Moxer 65111: 06155rcrrena
reananbnoi/I Tpamflmefi. B Tpex Mecrax B peMapKax B cnene pa3r0B0pa llxynberrbI c
P0Me0 nocne 6a11a (2.2) HacrepnaK yKa3an 11a 6a11K011 KaK Mecro Haxoxnermn
IbenberrBr: “Juliet is visible at her window” (RJ, 2.2, 992) — «Ha 6a11K011e
noxaaeraercn IbenBerra (195)»; “Enter Juliet, above” (RJ, 2.2, 993) — «Ha 6a1n<011
B03BpamaeTC51 nyJIBeTra» (200); “Enter Juliet [above] again” (RJ, 2.2, 993) — «Ha
6a11K011 B03Bpa111aeTC51 LbenBerra» (201). B opanane HeT yn0MMI1a11M51 6a111<011a, M

TpaIIMI1M51 «CIICHbI Ha 6a11K011e» MneT He or IIIeKchpa, a or rean0B. YeTynKofi Teany

149

MOXHO nochTarb M cnenylomyro Heroqnocrb B nepenaqe BHenrHoch Kaccno. Cyn51 no
oerMHany, KaCCMo 613111 60p011aT: “did I today/ See Cassio wipe his bead with” (0th,
3.3, 1147). Bra 11eTa1115, no-BMnMMOMy, onyrnena, t1T06Br He HaB513B1BaTB TearpaM TaKOM
BnernnMfi BM11 rep051: «SI BMnen, KaCCMo ee n11arKOM/ Cerom151 yTMpan CBofi

M60po110x» (Orenno, 352).

 

OCOBpCMCHMBaHMC nepeBonOB BB13Ba110 KOHTCKCTyaJIbeIC M aCCOHMaTMBHhIc
nerornroch. B «AHTOHMM M Kneonane» XapMnana Bcn0MMHaeT eMenIHyro Mcroero c
AmormeM, Korna 111:1p5111b111MK n011BeCM11 A11T011Mro 11a y11011Ky conenyro pH6y: “when
your diver/ Did hang a salt fish on his hook, which he/ With fervency drew up” (AC,
2.5, 1310). HacrepnaK M311Mrn11e MonepHM3MpOBan ManeHBKyro cueHKy, nepeBe1I51
“diver” KaK <<Bo11011a3», a “salt fish” KaK «cene11Ka»: «Bog011a3 HaBeCM11/ AHT011Mro
cenegy non BonofiJ A TOT — T5111yrb, T5111yTB!» (Xapmana, 299). B nepeBone
amoetpepa anTMnnoch ycrynMJIa Mecro XX BeKy. Oco6enno OCOBpCMCHMBaCT cueny
CJIOBO «B01101Ia3», BbI3bIBaIOIIICC accormanMM c )Kene3HBIM K0CT10M0M, CBMHIIOBbIMM
60TMHKaMM M KMCJIOpOlIHbIM 11111a11r0M.

B HCKOTOprX c11y11a51x HacrepnaK 1106aBn5111 reKcr, eCIIM 3T0 cnoco6c1‘BOBano
mntMnyaJm3an1m peqM. B nepeBone perm Bpa6a1111110, 0T11a10n1er0 pacnomeerme
HafiTM 11e311eM011y M Orenno, 1106aB11eHa pa3r030p11a51 (ppa3a («Kyna )K BbI queiz’r?»),
nontrepKMBarornan Bnacrnbrfi M BOp‘IJIMBbIfi xapaKTep Bpa6aHr1M0: “Call up my brother.
0, would you had had her!/ Some one way, some another” (0th, 1.1, 1124) —-
«Cxo11MTe K 6pary. — )Kanb, qro 3a Te651/ He ornan 51 ee. — Kyna )K 3131 quefiW
tIacrr: B 3Ty cropony, npyra51 B Ty» (Bpa6a1n1110, 287). 110n01111e1me K peqM anHua

1‘eran («Tbl c yMa cornen?») T0)Ke yCMnMBaeT pa3r0B0pH00TB: “Dost thou speak like

150

a king?” (1 H4, 2.4, 782) — «TB1 c yMa cornen? Pa3Be 3T0 KOpOJICBCKMC Bnpaxermn?»

 

(an1111, 249). Tennemmefi yCMnMTB pa3r0B0p110ch petrM MOXHO 06135101111111, MCKa>Ke1111e
0110B HopTeM6ep11e111ra: “Tell thou an earl his divination lies” (2H4, 1.1, 809) —

«CKEDKM, trro rpacp TBOM 6a6a M nypaK» (315, HopreM6epne1111).

M0>K110 HpCmIOJIOXM'Fb, qro HCKOTOprC cnyan MCKaxe11M51 necnoxcnbrx 111151
nepeBona Mecr nomIMHHMKOB 803111110111 B pe3y1mTaTe np0M3Bo1IBHoM Mrrrepnperamm —
Toro, qro HyKOBCKMfi 11a3eran «orce651r1111011».10 KaKyro-ro traCTB 3TMX cnytraeB
MO)KHO OIIpaBIIaTb Heo6x011MM00TB10 ynpome11M51 mm c nenbro co3na11M51 cnemrqrrbnr
nepeBonOB.

B <<FaM11eTe» 11e c0BceM Bep110 nepenan pa3r0B0p I‘aMneTa c P03e111<pa1111eM M
I‘MnbnencrepHOM, qro B11ecno M3Mene1me B 06pa3 FaMnera. Be311e B arofi cnene CJIOBO
“ambition” HacrepnaK nepeBen KaK <<F0pIIOCTb>>, a He qecron106Me, aM6MuM51:
“ROZENCRANTZ: Why then, your ambition makes it one. ‘Tis too narrow for your
mind” (Ham, 2.2, 1082) — <<P03e1n<pa1nrz 311a11MT, Tloprofi 11e11aeT ee Barna ropnocrb.
BarnMM Tpe60Ba111151M TCCHO B 11e17'1» (55). C110B0 “mind” roxe He nepeBeneHo
6yKBa11b110: «yM». B oerMHane Po3e11Kpa1111 M FMJIbnencrepn nomepKMBaror w M
qecron106Me I'aMnera, B nepeBone — ero ropnocrb. C nenbro np051011e111151
3aMBrc110BaTBrx pennMK Fmrbnencrepna HacrepnaK 110n01111MJI TeKcr nByM51
nonqeprmyruMM 311ec1: IIpCIUIOXCHMM: “GUILDENSTERN: Which dreams indeed are
ambition, for the very substance of the ambitious is merely the shadow of a dream”

(Ham, 2.2, 1082) (6yKBaJIbHO: <<C11B111efichMre1IBH0 51B115110TC51 aM6MImeM, TaK KaK caMa

 

'0 CM. 101MTy HyKOBCKoro «Bbrcoxoe MCKyccho».

151

cynmocrbro aM6MnMo3110ro 11a caM0M nene Tern, cna») — «A 01111 anxo1151r M3
ropnoch. F 013116ng necymechyrornMM. 011 nMTaeTc51 TeMQJTO B030MHMT o ce6e M

ce6e ann11111er. 011 rem) CBOMx c1103, orpa2<er1ne 0B0Mx BbrnyMox» (55-6). B 3r0M

 

110n01111MTe11B110M npe1m02<e111111 HacrepnaK c110Ba MCIIOIIBBOBaJI cn0B0 «ropnocrb»,
armemMpOBaB menno 3ro Kaqecho xapaKTepa FaMneTa. Cn030 «ropnm'bcn» 011
BKnrquJr B orBeT I‘aMneTa 11a paccy2<11e1me I‘Mnbnencrepna o qecromo6MM: “Then are
our beggars bodies, and our monarchs and outstretched heroes the beggars’ shadows”
(Ham, 2.2, 1082) — «I/ITaK, TOJIBKO 111111ro2<echa, 11c MMCIOIIIMC oc110Ba11M51 10 C51
c06010,— TBepIIbIC rena, a 11101111 0 3acnyTaMM — Te11M 1111111021ecrn» (56). B nepeBone
He nepenano HpOTMBOIIOCTaBJICHMC beggars — monarchs (heroes), TaK KaK 6yKBaJ1LHO
nepeBeneno TOJIBKO cn0B0 “beggars”. B nepeBone 111310111: FaMneTa Bupaxena
K011erT11ee, 110 TaK KaK B nocnenneM npennoxenMM 3T011 CIICHBI He nepenano
yn0110611e1111e FaMneTa HMIIIeMy, Metre311a ero Mp011M51: “Beggar that I am, I am even poor
in thanks...” (Ham, 2.2, 1082) — «XOT51 6e11110crb craBMT rpammbr Moefi
6nar011ap1roch, 51 611ar011ap10 Bac» (56).

B nepeBone «POMeo M leynberrbr» ecr5 11ec1<o1rbr<o Heroqnocreii, Korop51e
MCKa3M11M xapaKTep B3aMM00T110111e11Mfi Memy nepconaxaMM. KopMMnMHa,
pa3nocan0Ba1111a51 meraMM MepKy11M0 M nacannocrbro IIeTpa, r0BopMT nocneIIHeMy:
“And thou must stand] by too, and suffer every knave to use 111;: at his pleasure!” (RJ,
2.4, 997). Mecromerme “me” HacrepnaK nepeBen KaK «rocnoxa»: «CTOMT, KaK neHB,
M eMorpMT, KaK Ka2011>1fi Heronnfi nenaer c ero rocnoxofi qro xoqer» (211).
Ornornemm Me)K11y I'IeTp0M M KopMMJrrmefi Bp5111 11M M02010 onpe11e11MTb, KaK

OTHOIIICHMSI MCXIIy CHYI‘OI/l III I‘OCIIOXOHI 063 OHM SIBJISIIOTCSI cnyraMM CCMbM KaIIYJIC'I'TM.

 

152

B 11Byx Mecrax HacrepnaK neonpaBnanHo nopo11111111 I'IapMca M llxcynberry. B 011110M
Mecre IIapMc yn0MMr1aer TM6a11BTa KaK CBoero «mprHa», XOT51 011 He 61111 2<e11aT 11a
Ky31111e TM6a11BTa beynberre: “my love’s cousin” (RJ, 5.3, 1017) —— «M01rre10cM 3T0,
mprHa y6M1111a» (IIapMc, 268). B cnene 11a Knan6mne naCTepnaKOBCKMM na2< r0BopMT o
IIapMce KaK e011M 611 011 611111 My2ceM beynberrbrz «O11 B03naran ImeTBI 11a rpo6
m...» (flax, 278), — trTo OIISI'I‘b He coorBeTchyeT opMI‘MHany: “He came with
flowers to strew his lady’s grave...” (RJ, 5.3, 1020). Tame MCKa2<eHM51 Moryr 6B1TB
061151011e11151 11e06xonMM00TB10 c2<aTM51 TeKcra (BMecro Tpex c110B “my love’s cousin” B
nepeBone 011110 — «2ce11a»). 01111 anBe1n1 K 6011b1ne11 K011erTM3a11MM ornorneHMfi
Me201y nepconaJKaMM: IIapMc Meqran cnenaTB IbenBeTry CBoeM )KCHOIlI, M HacrepnaK
3T0 )Kenanne M3 o6nach nonco3HaTenB110ro nepe11ec B o6nacr1: c0311are1115110ro.
(DaMMJIBMpnoe c611112<e1111e nepconaxefi np051BM1100B M B nepeBone o6pa111e11M51
leynberrbr K P0Meo, r11e 011a Hanpmyro, a He K00Be11110, KaK B opMTMHane,
BBICKa3B1BaeT eMy CBoe 2<ena1n1e CTaTb ero 2(e11011:

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 (RJ, 2.2, 992) —

OTpMHL 0T11a 11a MM51 M3Me11M,

A ech Her, Me1151 2<e11010 cnenafi,

I1T06 KanynerrM 6o111:1ne Mne He 615111) (IDKynBerra, 195).

B nepeBone «Orenno» To2<e CCTb cnyMaM neonpaBnaHnoro COJIPDKCHMSI

ornornenMfi Me201y rep051MM. He3neMona Bo BpeM51 pa3MonBKM Me201y Orenno M Kaccno
Han0MM11aeT OTe11110, qro KaCCMo cnoc06ch0Ban c611mxe111110 31110611011012, a B

nepeBone 011 615111 mad1ep0M («11py20<oro») Orenno 11a ero eBanB6e, XOT51 B nbece Her

ormca11M51 2<e11MTB6br OTe1I110 M 11e311eM011B1: “What? Michael Cassio/ That came a-

_-

153

wooing with you, and so many a time...” (0th, 3.3, 1142) — «A pen: 0 K0M? O Kaccno!

TOM caM0M/ l'IpM51Te11e M 11py20<e )Ke11112a (He311eM011a, 337)».

 

B nepeBone «A11T0111151 M KneonanBr» HeCKOJIBKo Mcxa2<e11 xapaKTep
B3aMM00T110111e11Mi1 Me2<11y He3apeM M A11T01111eM. IIocne caM0y6Mficha AHT011M51
He3apb co2<a11eeT o6 yTpaTe coparHMKa M Bcn0MMr1aeT o6 A1rro1111M: “Friend and
companion in the front of war/ The arm of mine own bodv” (AC, 5 .1, 1338). HacrepnaK
nepeBen coqera1111e «pyKa Moero Tena» KaK «npaBa51 pyKa», TeM caMbIM HeCKonbxo

anHM3MB 311aqe1me A1110HM51: «T0BapMI11 B 6MrBax, npaBa5r pyKa» (He3apb, 444).

 

 

l/InMOMa «npaBa51 pyKa» 01010100011013 cnOBaM «n0M011111MK», ((BaMCC'I‘I/ITCIIL», 011113Ko
A11T011Mi1 He 613111 3aMeCTMTe11eM IIe3ap51, a paBHOIIpaBHbIM conpaBMreneM. Hesapb
opMTMHana nonqepKMBaeT 611M30crb K neMy A11T0111151 6e3 naMeKa 11a ero
BTOpOCTCHCHHOCTb.

B nepeBone meKchpOBCK011 rpy6ocTM Her MeTKo11 nocneHOBareJILnoch. B
npenenax 01111011 IIbCCbI M02010 11ai1TM 0TK11011e11M51 B o6e croponm: npeyBeJIMtreHHaM
rpy6ocrb B cpaBHeHMM c oerMr1an0M M — CMmeme meKchpOBCKo11 rpy6och. B
«AHTOHMM M Kneonarpe» orpy611e11a myTKa XaledaHbI BKHIO‘ICHMCM cn0B «51
CMOpKaIOCb n51TK011»: “Nay, if an oily palm be not a fruitful prognostication, I cannot
scratch mine ear” (AC, 1.2, 1298) — «Ech norna51 nanonb 11e nOKa3aTenb
n110110BMT00TM, Mo2<emB CKa3aTb, qro 51 CMOpKaIOCb 1151'1'Koi1» (Xapmana, 242). B r011
2(e IIBCCC He nepenana rpy6ocrb Bbrpaxe111151 CKapa: “We’ll beat’em into bench holes”
(AC, 4.7, 1331). ero3a CKapa B anpec nporMBHMKa (6yKBaJILHo: «MbI 3a6MbeM M B
OTBepCTMSI 0M11e111151 [11y201MKa]») B nepeBone 3Bytr11r 6011me KaK yrpo3a B anpec nerefi:

«Mm Mx 3ar01111M no11 cronm M naBKM» (Cup, 409). I/IHTOHaLIMSI B o6pa111e111111 He3ap51 K

154

H0Mne10 (B cne11e neper0Bop0B c HMM) B nepeBone 6onee pe3Ka51, neM B OpMI‘ItIHaJIC:
“Take your time (AC, 2.6, 1312)” — «He np0Max11MCB» (Ile3apb, 310). CnoBa Ile3ap51
M02010 nepeBech KaK «IIo11yMa11» M1111 «IIpononxafi».

HeCKOIIbKO MCKa2<e11a pom) Hermna B cue11e nepeTOBopOB c 1'10MneeM
BKnroqermeM npocropetmoro cnOBa «3arecarbc51» B 3aMeqa1111e c11y2<MTen51 0 Beware:
“Why, this it is to have a name in great men’s fellowship” (AC, 2.7, 1314) —— «Bor Irro
3H3‘IMT 3arecaTBC51 B KOMna111110 K BenMKMM 1110mm» (BT0p011 cny2CMTe11B, 318).
ByKBaJIbHO B oerMHane: «B0T qro 311atrMT 0611a11arb [TOIIBKO] MMCHCM B KOMIIaHMM
Be1111101x n1011e11». ECTeCTBenHo, Henna KaK 0111111 M3 MneHOB TpMyMBMpaTa 11c 3arecanC51
B KOMHaHMIO He3ap51 M A11T011M51, x0T51 ero 311a11e1111e cpe11M 11112 611110 HeBenMKo.

B nepeBone «Orenno» HacrepnaK 1106aBM11 TeKcr K cnOBaM 31111111111,
o6pa111a10111e11C51 K OTen110 nocne y6M110TBa He311eM011B1, qro MCKa3M110 ornornerme
3MMnMM K OTenno: “ f he say so, may his pernicious soul/ Rot half a grain a day!” (0th,
5.2, 1163) -— «Hy, ec1111 caM TbI 11a Hero He BpCHIb,/ IIyCKaM ero nora11a51 11y111011Ka/
F1111er BeKa no no1n<pynM11101 B new,» (3MMJU151, 413). B03M02010, 1111111111111 TeKcr
n05rBM11csr B pe3y1n>Tare Toro, qro c110Ba 31111111111 “If he say so”, ornocnnmecn K Hro, a
He K OTenno, HacrepnaK npquTan KaK “if you say so”.

HeCKonBKo cnynaeB MCKa2<e11M51 conepxanMH CCTb B nepeBone I traCTM «1‘eran
IV». l'Io IIIeKchpy, KOpOIIb FerMx IV an yn0MM11a1111M F0Tcnep0M MMCHM
MOp’I’MMCpa BblpaBMII quCTBo Mcnyra, no HacrepnaKy — 3110ch: “And on my face he
turned an eye of death/ Trembling even at the name of Mortimer” (1 H4, 1.3, 771) --

«firm on 3T0 MM51 ycnbrxanj KaK B311p0r11y11 M n03ene11en 0T 3110cr11» (F0Tcnep, 215).

 

155

Cornacno anoxthqueCKOMy McrquMKy, npmm I‘erMx n0Tep5111 CBoe Mecro B
KoponeBCKOM 00Bere 3a 11paKy,ll 11a trro HmeKan IHeKcrmp: “Thy place in Council thou
hast rudely lost” (1H4, 3.2, 788). I10 HacrepnaKy, nonyqaercn, 1(1'10 np111m npocro
npe11e6peran eB0MMM o6513a111100r5rMM: «XOHM’I‘b B c0Ber TH He cmaernb HYXHBIM»
(KOpOIIb, 788). He601mmoe M3Mene1111e B nepeBone I Mach «I‘eanxa IV» 003113110
nenpaBManoe Bneqarne1111e o Bo3pacre 1‘eran IV. B nepeBone repnor
HaHKacrepCKMM, 6y11ynn111 Koponb I‘erMx IV, no B03Bpan1e11MM M3 CCBIJIKM 6B111
«1011110M OCBbeIM», x0T51, no OpMI‘MHaJIy, eMy 6131110 0K0110 11Ba1111arM mecr'M 11er
(6yKBa11B110: «11e 651110 IIOIIHbIX 11Ba11uaTM 111ech ner»): “And when he was not six-and-
twenty-strong” (1 H4, 4.3, 795) —— «B Te 111111 011 613111 eme IOHIIOM 6e3ycsnv1» (Torcnep,
284).

B nepeBone 11 11ach «I‘enpnxa IV» T02<e Bcrpeqarorcsr 11er011110ch B nepenaqe
conep2<a111151. Mopron paCCKa3B1BaeT HopTeM6epne1111y 0 nopa2<e1111M B0110K Forcnepa
(eBIHa HoreM6ep11e1111a) M o nnenenMM ero 6paTa Bycrepa, 110, no HacrepnaKy,
nonyqaerca, 1110 Bycrep 6B111 He B351T B nnen (CMn011), a cnancn B n11e11 (HOOpOBOJIbHO):
“Then was that noble Worcester/ T00 soon ta’en prisoner” (2H4, 1.1, 809) — «Toma
6paT Bycrep Barn cnanc51 B nne11» (MopTor1, 316).

B pe3ynBTaTe Hexoropblx coxpameHMfi M 11er011110cre11 Mcqe311a Mpo1rM51 M
3areM11MJIcsr eMBIcn c110B repnora A1rb6aHCKoro B ero pa31030pe c Peranofi nepen
noe11Mm(0M Sarapa M 311M01111a («KOpOIIb J'IMp»). Korna Perana xoqer 0615mm

n0M011BKy c 311M011110M, repnor A1116a110K1111 MponMBMpyeT no 3T0My n0Bony, TaK KaK

 

'1 CM. K0MMe11rapMM B KHMTax: Complete Works of Shakespeare, 788; Riverside
Shakespeare, vol. 1, 867.

156

M3 nocraBneHHoro repuory rm0BMa cnenyer, trro ero )Kena I‘onepMan T02(e
nperennyer 11a Mecro cynper 3111101111a. 110310My repuor 0TB011MT anT513a11M51 Pera11151
B Mnrepecax CBoe11 menu (“1 bar it in the interest of my wife”), a He Bmcrynaer B
Kaqeche ee oneKyna, KaK B nepeBone. I/Ip0111111110e npennoxerme repnora Perane crarb
ero 111060B11Mne11 111m 2<e11011 (“If you will marry, make your loves to me”) B nepeBone
ro2<e He nepenano ‘ICTKO:

I bar it in the interest of my wife;

‘Tis she is subcontracted to this lord

And 1, her husband, contradict your banes.
If you will marry, make your loves to me;
My lady is bespoke (5.3, 1214) —

Cecrpa, 51 11011er BarnM anr513aHb51

O'I‘BCCTB, KaK oneKvH M0e11 )KCHbII

011a y2<e n0M011B11ena c MMJropn0M.

XorMTe 3aMy2< — BbIOOp BaM 0111111:

He 3an51T 51, a new He 0B06o1111a (555, repnor A11L6a11010111).

 

 

£11151 repoeB IIIeKchpa 6B1110 xapaKTepHo (B coorBeTchMM c nyx0M anom)
an3HaBaTBC51 B rpexax M nponrarb nporMBHMKOB nepen eMepTBro.12 B 011110M cnytrae
HacrepnaK He T011110 nepenan 3Ty oco6e111100TB IIIeKchpa. Hocne noe11MHKa 6parbeB
311M01ma M 3111‘apa 0Meprenb110 panem1b111 311MOH11 npomaer 0Boero 6paTa (“I do
forgive thee”), 11a qro 3111ap orBeqaeT npomermeM (“Let’s exchange charity”). Y
HacrepnaKa 6paTb51 Bcero 11mm) 06M011MBarorc51 <<an311a11M51MM>>, xor51 HacrepnaK B
petrM 311M01111a Mcn011B30Ba11 0110Ba «rpex» M «nperpemenbg»:

Edm. That hast this fortune on me? If thou'rt noble,

 

'2 O6 3ro11 0006e111100TM n03TMIo1 IIIeKchpa IbKe1111 HonaBepc runner: “Often in
Shakespeare’s plays what the dying man passes on is wise counsel. In these cases, another
commonplace influences Shakespeare: a dying man always speaks the truth for fear of his
sole” [Jane Donawerth, Shakespeare and the Sixteenth-Century Study of Language
(Urbana: University of Illinois Press, 1984), 70].

157

I do forgive thee.
Edg. Let's exchange charig.

I am no less in blood than thou art, Edmund;
If more, the more th’ hast wronged me.
My name is Edgard, and of our pleasant vices
Make instruments to plague us (5.3, 1216) —

311M01111: K0My TaK nocua0T11MBM1100b co M11010?
Oer011051 pblllapb. SI Te651 nponry.

311rap: HpM311armeM 0TBe11y 11a an311a11Be.

He 11112<e no pomenmo 51, qu Tbl,

A e01111 BbIIIIC — TeM rB011 {pix T51)Ke11e

Me1151 30Byr Sm‘ap, M 51 TB011 6paT.

Ho 60m HpaBbI, 11a0 3a nperpernenbn

K031151 nnonaMM narnero r_'p_exa (559).

 

 

Mnorna HacrepnaK He 3a6orM11051 0 Torrnoti nepenaqe neranefi, ecn11 3T0 He
MCKEDKaJIO 010x01 M 06pa3B1 nepconaxe11. B «AHTOHMM M Kneonane» yn0M1111aeT051
McroqueCKMfi (ham 0 T0M, 11T0 Kneonarpy 1100M1n1 Ha 0BM11a1111e K He3apro 3aBep11yro11
B Marpac. B nepeBone Marpac 3aMeHe11 MemKOM: “A certain queen to Caesar in a
mattress” (2.6, 1313)] — «IIapMny/ H00Mn B norelvn<ax IIesapro B MCHIKC» (311063p6,
315)]. B T011 2<e nbece He3apb ynpeKaeT A11T011M51 B TOM, I1T0 011 0rxa3a11051 IIa'I‘b eMy
0B0Mx BOMHOB (“denied”), 11a 11To AHT011M11 0TBeqaeT, qro 011 ynycmn 3T0 M3 BMny
(“neglected”). 1'10 HacrepnaKy )Ke, A11r0111111 nan BOMMOB: “Neglected, rather” (AC, 2.2,

1307) — «HenpaBna, nan, 110 n0311110» (AHTOHMM, 283). MbICIIb n011KOB01111a Ber111MTM51

 

o anqMHax ero 0Kp0Mnoch B nepeBone «AHTOHMSI M Kneonarpbr» nepenana Bepno, 110
ero B03M020100TM KaK n011K0B01111a 3HaLIMTCIIbHO npeyBe11M11e11B1, TaK KaK B opMTMHane
Her 0110Ba «ynecnrepMTB»: “I could do more to do Antonius good,/ But 'twould offend
him” (AC, 3.1, 1316) — «SI Mor 61:1 nerKo y11ec51TepMTb/ 3aB0eBa111151, 110 601001:
06M11eTB/ A1110111151 M 3TMM nory6Mrb/ 1111011131 crapa11M11» (Be1111MTM11, 330). IIBer B01100

OKTaBMM, no ormcanmo ro1111a, cnenarn10M 111151 Kneonarpbr, “brown” (AC, 3.3, 1318),

158

100 coorBeTchyeT py00K0My «KarnranoBBrfi»; B nepeBone nBeT ee B01100 CBernee:
«remo-pycmfi» (342). HO c110BaM Kneonarpbr oerMHana, Kopa611M Ile3ap51 He nynme
Kopa6nei1 Kneonarphr; no nepeBony — 011M xy2(e: “I have sixty sails, Caesar pop;
pm” (AC, 3.7, 1321) — «M0M ranepbr/ Bce mecrbnecnr, KaK 11a n01160p, CMJIbHCI/IJ
IIeM He3apeBBI (Kneonarpa, 358).

B nepeBone «OTenno» HacrepnaK cnenan 11000Boi1 nnaT0K Orenno ero
CBaIICOHBIM nonapKOM He3neMo110. B oerMHane yn0M1111aeTc51, qro 3T0 61111 nepBbr11
nonapox Orenno He311eMo11e, 110 He yKa3a110, Korna OH 61111 npenonnecen: “I gave her
such one. ‘Twas my first gift” (0th, 3.3, 1147) — «SI e11 ero 11a 0Ba11b6y nonapMn»
(Orenno, 352). HacrepnaK 110ny0TM11 erne 01111y HeTquocrb B McropMM c nnaTK0M
Ile311eM011B1, Koropyro M02010 0615101111115 HOSICHMTCIILHBIM HepCBOIIOM. B OpltII‘MHaHC
nnaT0K 1100Ta11051 MaTepM Orenno or erMIrr5111101, B nepeBone — or LIbII‘aHKM: “That
handkerchief/ Did an Egyptian to my mother give./ She was a charmer...” (3.4, 1148) —

«Ilnarox 1100Ta11051 MaTyrnKe M0e11/ B nonapOK 0T BopoxeM-ubn‘amm» (Orenno, 356).

 

HquMHBI MCKa2<e11M51 n0115n'11blz HacrepnaK MCIIOIIBBOBaH 3TMM01101'M10 cn0Ba “gypsy”
(«ubrrane»), Bocxo1151111y10 B a111"11M110K0M 513Bn<e K “Egyptian”, TaK KaK CpeIIHCBCKOBbIC
11101111 6511111 y6e201011BI, ‘1'1‘0 mane 6511111 Bbrxo1111aMM M3 ErMHTa, a He 1411111111. H0
n051011e1111e HacrepnaKa neonpaBnanHo. BO-HCpBbIX, anoquHa 3TMM0nor'M51: pa3 IIbn‘aHe
Bbrxomrbr M3 Emnra, To erMnT5111e — mane. Bo-Bropux, OTenno 611111 06861311th
arbpMKanueM M, crano 651%, m Tne-T0 n0611M300TM 0 ErMHTOM. B-TpeTbe, 0110B0
“mummy” B ormcanMM nnaTKa (“was dyed in mummy” — «'I‘KaHb/ OKparneHa
MOI‘MHBHOfi KpaCKofi MyMMM») T0)Ke yKa3B1BaeT 11a ero enmercxoe np0Mcx02<11e1111e, TaK

KaK erMnT5n1e, a ne 11111111111111 MmechnMpOBanM yMepme. B npyr0M Mecre 3r011 IIbCCbI

159

011030 “sheriff” nepeBeneHo CJIOBOM «cyubn», x0111 cneHOBano 61:1 e10 nepeBech
6yKBaIIbHO — «mepMd)»: “Hath Butler brought those horses from the M” (1H4,
2.3, 777) —— «A BaTJIep 01 gyghM/ BCpHyJICSI e nomaubMM?» (Torcnep, 230).

B nepeBone «Koponn J'IMpa» HacrepnaK M3MCHMII neranb B onexne Burapa-
Toma: e10 Barora B nepeBone anKpBrra IICpCIIHMKOM, a He onesmom, KaK B oerMHane,
x0151 onesmo — 6011ee eCTeCTBeHHBIfi a1pM6y1 6mm, Hoqyromero BHe 110MB: “Nay, he
reserv’d a blanket, else we had been all sham’d” (Lear, 3.4, 1196) — «TOJIbKO
HCpCIIHMK 001ancs1. A 10 IBM 651110 6B1 11e110on CMO’I‘pCTb 11a Hero (myT, 499).

B nepeBone «Max6e1a» n01103pe1me BaHKO B yMaCTMM MaK6eTa B y6Mfi01Be
KOpOIISI HyHKaBa ocna611e110: “and I fear/ Thou plav’dst most foullv for’t” (Mac, 3.1,

1235) — «VI 11 601001), TbI CIIHyTOBaJI HeMnoro» (BaHKo, 606).

 

HaCTepHaK 11e 6B111 Toqu B nepenaqe pa311M1111131x cyMM 11e11er, KOTOprC
y110MM11a101011 B rmecax. Hexoropbre cyMMbI IICpCBClICHbI 6yKBa11B110; yc1apeBnme
Ha3Ba11MM nenemrx 61111111111 3aMeHeHbI MJIM 6011ee 11011911111101 (B COO’I‘BCTCTBMM c
KomemapMsIMM), MJIM CJIOBOM «301101011»: “Till he disbursed, at Saint Colme’s Inch,/
Ten thousand dollars to our general use” (Mac, 1.2, 1224) —— «l'ona KOpOIIb Mx CBeH He
3a1ma1M11/ B CeB-Konbivre necm 113101111 3011011311111» (Pocc, 574) Mnoma cyMMBI neHer
M3MeBe11B1. Haanmep, B oerMHane P0Meo nae1 a111e1cap10 3a noxymcy 5111a copox
nyxa10B; Pomeo nepeBona nepermaqMBaeT, oquMnBo, n010my, 1110 cn0Ba «copox
nyKBTOB» BapymMnM 6B1 11M6Mt1ec1cMfi pMTM CTpOKM: “Hold, there is fofly ducats” (RJ,

5.1, 1016) — «B01 naTBnecm maTOB. IIaM me any» (Pomeo, 265).

 

B nepeBonax CCTb HCTO‘IHOCTM OTHOCMTCIIBHO MCCTa M BpCMCHM Rel/101' BMSI. YXC

yIIOMMHaJIaCB «cueHa 11a 6a.111<011e». IIaCTepHaK Tame IIOIIyCTMJI 11Be 0111M6KM B

160

onpeneneBMM M001a nepBOM 6pa11110171 11011M 01e11110 0 110311011011011. B caMOM Haqane
111260111 5110, Poanro M Bpa6a1111M0 3a01a101 01011110 M He3neM011y B0 BpeM51 Mx nepBOM
6pa111101‘1 11011M B Sagittary, 1110, cornacno K0MM0H1apM51M, 513111101051 10011011111011.
Ha01epHaK )Ke nepeBen Sagittary KaK «apcenan»: “Lead to the _S_agitt_ary the raised
search,/ And there will I be with him”(0th, 1.1, 1124) — «EH 0 HMMM HanpaBJmMTeCB K
apceHanyJ OH TaM» (5110, 286); “Send for the lady to the Sagittgy” (Oth, 1.3, 1128) —
«IIomnMTe B a 0011311» (01011110, 296). B0 BTOPOM neMCTBMM IIbCCbI Bo BpeM51
npe6B1Ba11MM repoeB Ha Kane 5110 rOBopM'r, 1110 01e11110 eme He ycnen HaCJIaIIMTbCSI
11e311eM01101‘71, 110, no nepeBony, 11011y11301011, 1110 01e11110 npOBeJI eme omry «nepByro
6pa1111y10 110%» B ern001M 11a Kane: “He hath not yet made wanton the night with
her, and she is sport for Jove” (Oth, 2.3, 1136) — «910 ero I'ICpBaSI 6pa1111a11 110111). A 11a
Bee 3arn5111011011 611 M caM IOI'IMTep» (Hro, 317).

ECTB 11e0K011bKo 011y11aeB HyTaHMIIbI 0 mm, mm CKa3a11b1 cnOBa M1111 K KOMy 011M
011100111011. nynberra, yanIInaB 101100 MaTepM BO Bpemr ee pa31030pa c POMeo,
rOBopM1 ce6e (MJIM POMeo) o maTepM B TpCTbCM me (“she”, “her”), a B nepeBone 0113
Henocpen01Be11110 o6pamaeTcsr K MaTCpM (y)Ke B0 BTOpOM 1111110: «BbI», <<BaM»): “Who
is't that calls? It is my lady mother./ Is s_he_ not down so late, or up so early?/ What
unaccustom'd cause procures M hither?” (RJ, 3.5, 1007) — «K10 10B0pM1 co MHOIO?/
Q, maTymKa? Eme DE 110 11ernM/ M111) 110111151111101)? I110 1121110 By TaK pa110?»
(nynbe'r'ra, 241). PemapKa, cnenyromasr 3a ee CJIOBaMM M 010y10'rByIOIIIaSI B nepeBone
(“She goeth down from the window”), 10>Ke yKa3bIBaeT 113 TO, 1110 IbeJIbe'I'ra
06paTM11a0B K MaTepM 1011BKO nocne 31Mx 01103. B0 II 11a0'm «1“eran IV» 11pM1111

FerMx 10B0pM1 0 11a)Ke (DaJIBCTadm, K010poro 011 emy nonapMn, M cpaBHMBaeT c

161

060311111011 He (DaJIBC'racba, KaK y H301ep113x3, 3 naxaz “’A had him from me/ Christian;
and look if the fat villain have not transform'd him ape” (2H4, 2.2, 818). — «011 61111

00Bep111011110 110pM311b1111M pe6e11K0M, a 0M01pM, BO 1110 HpCBpaTMJICSI v 31011 o6e31111111»

 

(anHII, 338). AH31101M1111311 nyTamma e011) B nepeBone npyroro M0013 H 1130111
«I‘eanxa IV». B oer'MHane 11011110 nompymaeT 11311 «3ap11eB111MM» (“blushing”)
Bapnonbcpom, men B may Kp301101y ero 1111113, 11pM11MHe1111y10 3111(01011eM, a IIaCTepBaK
aBTOpOM 001p0111 cnenan Bapnonbcba M 113110111111 00 113 113)K3 (Danbcracba: “POINS.
Come, you virtuous ass, you bashful fool, must you be/ blushing? Wherefore blush you
now? What a maidenly man-at-arms are you become!”(2H4, 2.2, 818) — «Bapnonbch:
BMnenM B11 1110-1m6yIIb 1101106110e? B01 ocen! 0115111: 33p1101130b 313 Kpacnasr 110mm!»
(338).

B «AHTOHMM M Kneonane» paarneBaHHbIfi A111011MM 1100110 nopaxcemm 0B0Mx
Boficx B pe3y1131310 6erc1'Ba (1)1101M11MM K11001131p11 o6emae1 ce6e pa3110113'rbcsr c
uapMnefi; IIaCTep113K He nepeBen 0110B0 “worthiest”, 1110 anBeno K M3MeHeHMIo 011110113
0110B A111011MSI. B oerMHaJIe A111011MM co6Mpae'rcs1 «IIOIIaBMTB xymnyro 113015 00651», M,
cy1111 110 K01rreK01y, 011 MM001 B BMny 110 caMoy6Mfi01Bo, a )KCJIaHMC nonaBMrb 0B010
anBs1331111001B K K11001131pe, 11010My 1110 33 am paccyxoleHMCM cnenyeT ero yrpo3a
Mec1'M Kneonane: “...And with those hands that grasp’d the heaviest club/ Subdue my
worthiest self. The witch shall die” (AC, 4.12, 1333) — «...M 1131111110171 CBoeM/
PacnpaBMncsr 0 006010. CMCpr Konnynbe!» (A111011Mfi, 420). B nepeBone 1011 )K0 11130011
11011011111110, K K0My 011100111011 0110B3 H01136e111111 <<CM01pM, KaK 011 061111111311» -— K

110Man111eMy y11MTe1110 A111011M;1, nocnannomy M B narepb Ile3ap11 111111 IICpCI‘OBOpOB,

I

162

M1111 K nopaerHomy A111011MIo; B oerMHane 1101 31011 11By0M11011MI111 — 0110B3
011100111011 K A11101n110:

DOLABELLA. Caesar, 'tis his schoolmaster:
An argument that he is pluck'd, when hither
He sends so poor a pinion of his wing,
Which had superfluous kings for messengers
Not many moons gone by (1324) —

1101136011113: [1011311111111 MXfiV‘MI‘CIIb.
CM01pM, KaK 011 061111111311. Y 11010

B Kp11110 1101 11y11111Mx 110pr. A 113B110 1111
10111111 011 c 110py11011b51MM uapefi? (372).

 

 

H0K010p110 0111M6KM, noxoxe, B031111K1111 B pe3y1111310 aBTOpCKoM
110311111131011311001M MJIM 1106pe1K11001M, 10 0011) H0000311311110. TaKMO 0111M6KM
LIyK0B0KM11 113311B311 «115111cy03MM»,13 3 FopbKMM — «3B10p0K011 1‘11y1101011».l4
HenpaBMnbno n0p0B0110113 pen1111Ka F3M11013, 0K3331111311 M B cropony an pa310Bope c
I‘M11111011010p110M M P03011Kpa11110M: “Nay, then, I have an eye of you” (Ham, 2.2, 1082)
— «Hy B01, 110 B 6pOBb, 3 B 11133!» (I‘3M1101, 57). CMI1011 peru111KM B oerMHane — «11
BPDK)’ Bac HaCKBo3B», — a B nepeBone 11011011111110, K 110My OTHOCMTCSI (ppa33 «110 B
5POBb, 3 B 11133», 13K KaK 0113 110mm CJIYXGdTb K0MM0H13pM0M K KaKOMy-10 1011110My
M1111 OCTpOYMHOMy 33111013111110, 11010 1101 B 10K010.

Cepbe31111M 1111110y00M B «P011100 M HDKyIIbC'I'I‘C» 11B111101011 cnenyromMfi 11pMMOp:
“The earth hath swallowed all my hopes but she; / She is the hopeful lady of my earth”

(RJ, 1.2, 984) — «M3 30011 1101011, nporno110111111x M01M11011, / M110 TOIIbKO 31y 11060

 

13 B 010 me «BbICOKOC MCKy001B0» 0011: rnaBK3 0 H33B311110M «C11083p11110
1111110y011». B 3111‘110-3M0pMK3110K0M KpM1MK0 IICpCBOIIOB 13KM0 0111M6KM 113311B3101
bloopers, howlers, crabs, fleas M1111 slips.

14 CM B KH.: A. KBHTKOBCKMM. H031M1100KM11 CJIOBapb. 14311-80 «C0B010K311
31111111010110111111», M00KB3, 1966, 01p. 10.

163

coxpa1111110» (K311y1101'rM, 174). CM11011 npennoxemm 11011111011, 110 1101M1100KM
a6cyp11011: 11060 110 MOFJIO coxpaBMTB Koro-11M60 M3 1101011, 0011M B00 011M yxe 6111111
11p011101101111 MorMnoM, 1.0. yMepJIM. prrMMM 0110BaMM, 11p011110x<011110 y H3010pH3K3
311311111: M3 Bcex mepnmx 1101011, 001313011 B )KMB11x TOJIbKO IbenbeTra. B oerMHane
1101 310M 36cyp1111001M, 13K KaK 6yKB3111110 313 MbICIIb 3By11MT cnenyromMM 06pa30M:
« 30111111 npornomna B00 M0M 3310x1111, KpOMe 1100. 0113 11311011013 M0011 30M1111».
HorM1I00K311 0111M6K3 nonymena B nepeBone 0110B CeJIeBKa. K11001131pa 11301
1106011M101110 Ile3ap10 0111100K 0B0Mx 6013101B M 0011130101 113 030010 K331131101 CeneBKa
0 11011110 11011130p11MTB, 1110 3101 0111100K 11011111111. K333311011 npe11301 K11001131py,
0K333B, 1110 0113 0013BM113 ce6e «1100131011110 [6013101B], 1110611 CKYIIMTb 10, 1110
110p011M0110H0 B 011MCK0»: “Enough to purchase what you have made known” (AC, 5.2,
1341). IIaCTepHaK nepeBen: «H00131011110, 11106 0111100K OTKYIIWI'b» (CeneBK, 458), —
x0111 011110011 03M 110 0060 Bp1111 1111 0611311301 KaKofi-11M6o 1101111001110. HaCTaBJICHMC
F3M11013 aKTepaM “Suit the action to the word...” (Ham, 3.2, 1088) HacrepnaK nepeBen:
«HBMI‘afiTCCb B 00111a0MM c 11M311010M...» (F3M1101, 75). B opnrMHane pe1rb M101 0
0001B0101BMM Mrp11 TeKcry, a HacTepnaK orpa11M111111 «10K01» (6yKB3111110: «011030» —
“word”) JIMIIIB 01111011 (popMofi p0110Boro B11pa)Ke11M11 — <<11M311010M>>. Bonpoc
BerOBHoro cynbM, CII‘paIIIMBaIOIIICI‘O 1p3K1Mp1111111y, «33 KaKyro cymy» 1101113 0113
1101101 3p0010B31B $31110131pa — “For what sum?” (2H4, 2.1, 816) — HacrepnaK
nepeBen: «H3 KaKyro cyMMfl» (Bepx0B111111 cy11b11, 331).

P11101113 110311311111011111110 110K0M1100KM0 M3M011011M11 B nepeBonax nopoxnanM
311311M1011111110 cm10110m10 01101011011111. M3111 leyJIBeT'rBr FOBOpMT, 1110 0113 611113

11pMM0p110 Bo3paCTa IbenbemI, Korma p011M113 00: “By my count, /I was your mother

164

much upon these years/ That you are now 3 maid” (RJ, 1.3, 986). HacrepnaK 310
nepeBen: «M01111110 1101, 110M 111,/ C13110B1110$1 B Bepone M310p11MM,/ A 11 10651 M p31111110
p011M113» (11011M K311y11011M, 180). nynbefle B 115000 B0010 14 1101. Ho cnOBaM 11011M
K311y11011M nepeBona, 11011y11301011, 1110 110K010p110 )KCHIIIMHBI 013110B111011 M310p11MM B
Bep0110 B 13 1101 («M01111110 1101, 110M 111»), a 0113 03M3 013113 M310p110, 0110BM11110, B 12
1101 («A 11 10611 M pa1111110 p011M113»). Bo-nepB11x, yK33311Mfi 113 131(00 pa111100
M310pMI101B0 11011M Kany110'1'1M B oerM113110 1101, B0-B10p11x, M310pM1101B0 B 12 1101
B11111$IIIMT KaK M3110B0p0111111111 (1131(1.

prrMM 11pMM0p0M 110110110ch 11B111101051 IICpCBOII 0110B Ar‘er11111 0 K1100n31pe:
“She made great Caesar lay his sword to bed./ He ploughed [plowed] her, and she
cropp’d” (A C, 2.2, 1309). O110BM11110, H3010p1131< 11111311011 M366X3Tb 110p011311M 113M0Ka
Ar‘pMImBI 113 001(0 B 0110Bax “He ploughed [plowed] her, and she cropp’d”, 110 an 310M
00xp311MTB «arp3p1n10» 06p3311 IHexchpa M 00311311 011011y10n1y10 B0p0M10 0110B
A1p11111111: «BeIIMKMfi LleBapb, name 011 0M0111411/ M01 113 0p3110 y 00 1100101111» (Arerma,
292). «CMCHMTb M01 113 0pa110» — (ppa3001101M3M M 311113131011111111 acpopMaM 110me
1101 00B010K011 B11301M. O11 11M1<31< 110 11011x011M1 K 10111110 H033p10,15 M60 y IIIeKchpa
1101 HaMexa 113 10, 1110 Ile3apB 11011 BJIMSIHMCM 113p K11001131p11 M3 B01113 Il'pCBpaTMJ'ICSI B
30M110113111113, 13K KaK «opano» — 011110111111 0110B3 «1111yr».

llonymena nomecxafl 0111M6Ka B pe3y11B1310 110101111010 nepeBona 0110B
M31<6013 an 11011B11011MM 11pM3paKa Bamco. C110113 np0M0xo11M1 B an0y101BMM 1001011,

110310My B 06p3111011MM MaK6013 K 11pM3p31<y Ba1n<0 B opmane B1101<33311 101111<0

 

‘5 B 11311110M 011y1130 pe111> M1101 0 10111111 Heaape, a 110 o H033p0-10p00 11B0011. CM.
KOMM01113pM11 B 11111110: Complete Works of Shakespeare, 1309.

165

113M011 113 y6M1101B0 (“Thou canst not say I did it” [Mac, 3.4, 1239]), a 110 11pM311311110 B
y6M1101B0, 11311 B nepeBone: «M0111 110 MOXCUIB B 0M0p1M 111 BM11MTB» (MaK6eT, 619).

HacrepnaK 11011y01M11 0111M6KM HpM nepeBone 0110B 0 y013p0B111MMM 31131011111111.
H011010p110 M3 31Mx 0110B 113xy101 11p00111M11 11111 nepeBona, 110 113 03M0M 110110
1B11110101 «110)111111MM 11py3B1MM 110p0Bo11111111a»,16 1311 11311 01111 — 11101311111110
33MM01B0B311M1, MM010111M0 M B 31111111110110M M py00110M 1311113x 01111113110By10 (popMy, 110
pa311110 311311011111. B nepeBone M0010 06op3 B011011 A111011M1 110p011 6M1B011 0 1103ap0M
onp0110110110 11311 «B3M0pB0», a 110 10po11011M0 B0p013 (“port”). C110B0 “port” H3010p11311
11011111 6yKB3111110 — «110p1», x011 K0MM0111310p11 M1110p11p0111py101 010 11311 “gate”
(p01101B0111100 py00110My «110p1311»):17 “A thousand, sir,/ Early though't be, have on their
riveted trim,/ And at the mg expect you” (AC, 4.4, 1330) — «T110111M yx, 100y113pb,/
C1011 M )1111y1 1061 B 111011031111x 11313x/ Ha B3Mopbe, H00M01p1 113 p311111111 1130»
(1101M0110p, 402).

C110B0 “complexion” 1BM1100B 11py1MM [IOIIBOIIHBIM 113M110M M3-3a 010 pOIICTBa 0
py0011MM «110M111101111M1»: “But yet methinks it is very sultry and hot for my complexion”
(Ham, 5.2, 1112) — «I/I B00 1110, 1 611 01133311, 01pam1131 )113pa M 11yx013 1111 M001

Kommegim» (FaM1101, 147). T311011 nepeBon MOXCCT 11p0M3B001M B110113111011110 11011110111

F3M11013. Ha caMOM IICJTC F3M1101 MMCCT B BI/IIIy H6 CBOC TCIIOCJIOXCHMC, a TCMI'ICpaMCHT,

 

‘6 TepMMH 11033MM01B0B311 M3 111mm: A111110-py0011M11 M py00110-a11111M1101111fi
CJIOBapb «110111111111 11py3011 nepeBo111111113». C001. B.B. A11y11011110. M3II-BO «C0B0101131
3111113111011011111», MOCKBa, 1969.

'7 CM. K0MM01113pMM B 11111113x: Complete Works of Shakespeare, 1330; Riverside
Shakespeare, vol. 2, 1375.

166

11311 010 1101111M311M B0 Bp0M0113 IIIexcrmpa, 1.0. 001101311110 110111p0x 1yM0p0B
l8
110110B011001101o 10113 .
C11011y10111110 01p011M beynB01111, 60131110 06pa311011 p011110, BB13B311M

11000M1101111110 331pyIIHe11M1 y H3010p113113:

Conceit, more rich in matter than in words,

Brags of his substance, not of ornament.

They are but beggars that can count their worth;

But my true love is grown to such excess

I cannot sum up sum of half my wealth (RJ, 2.6, 999) —

I/chy001B011110011) M 0M113 B01110 Bp03b.

C060 B11011110 1111111B 1111111111 31301 Hwy.

H1060BB M01 1311 01p3111110 pa3p001130b.

I110 11110 110 OXBaTMTB M 110110BMHI1 (llxynbena, 217).
HepBy10 0111M611y B IICpCBOlIC 31010 01p11B113 H3010p11311 00B0p111M11 B pe3y1111310
11011paBM11111010 11011111311111 311311011111 0110B3 “conceit” B 310M 110111011010. 01 nepeBen
010 11311 «11011y001Be1111001B», 110 0003113B31, 1110 B0 Bp0M0113 IIIeKchpa 310 0110B0
06113113110 nperM 311311011110M — «11011111311110, 1001101101110» (0110 cpomm 0110By
“conceive”). 310 110110p33yM011110 110B11011110 33 006011 HenpaBMnBHoe 11p0111011110
01pI1B113 M p30111M1pp0B11y 010 06pa311001M. H0pB110 1130 01p011M nepeBona 3By1131
arpopM011111110, 110 111111311 101M10011M 110 0B1331111 c 1100110111111MM 11ByM1 01p0113MM M 110
1100y1 111111311011 0M110110B011 1131py311M B pa3B0p111B31111M M11011M nynbem. ByKBa111110
0110B3 leynbe1111 MOXHO nepeB001M 011011y10111MM o6p330M: «1'101111M311110, 601100
6013100 0y1110 (p0311111001110), 110M 0110B3MM/ XB31111101 31011 0y1B10, a 110

YKpaIIICHMCM. TOHbKO HHIIIMC 110 MOFYT 00011111311) CBOM IICHHOCTM;/ HO M051 MCTI’IHHaSI

11106081) BprOCJIa IIO TaKMX pa3M0p0B/, LITO H 110 MOFy 00011111311) Id HOJIOBMHBI MOCFO

 

18 CM. 110MM01113pMM B 11111113x: Complete Works of Shakespeare, 1112; Schmidt,

Shakespeare Lexicon and Quotation Dictionary, vol. 1, 227.

167

6013101Ba». beynbefla MM001 B way, 1110 1130101111M0 11yB01Ba 110 11y)1111310101 B
0110B001111x y11pam011111x M 10111110 11M111M0 M01y1 1101110 0001111131B 0B0M 6013101Ba, B 10
Bp0M1 11311 nymefla 1311 601313 111060B110, 1110 110 B 000101111111 0001111131B M
110110BM1111 31010 6013101Ba.

C110B0 “carriers” B I 11301M «I‘ 011pr3 IV» (1 H4, 2.1, 774) H3010p11311 nepeBen
0110B0M «M3B03111111M», x011 611110 611 10111100 nepeB001M 11311 «B0311MKM» (221), 1311 11311
“carriers” B 111000 110 11y110pa M 110 mm, a 10p10B1111, B03y111M0 0B011 10Bap 113 11p0113111y.
0111111 M3 Bo3tn1110B np0111131301 11py10My HOIUIOXU/ITB 110111311M 11011 0011110 1100110111110
«K110111363» (“flocks”), 1311 11311 y 1100 11310p13 01111113. H3010p11311 0110B0 “flocks”
1101111p01M3Mp0B311 — «11311111»: “I prithee, Tom, beat Cut’s saddle, put a few flgc_l1s in
the point” (1 H4, 2.1, 774) — «C11y111311, TOM, IIOHJTOXM 110611110 m 11011 0011110. y 1100
B01 0111113 B panax» (M3B03111111, 221). 011113110 11311111 («1py600 BOJIOKHO, 11011y1130M00
11311 01x01 B 11p0110000 06pa60111M 111113 M1111 KOHOIIJIM>>19) — Bp111 1111 xopomee
0M111131011100 0p01101B0 11111 pam1, 110310My 1101100006p331100 611110 611 nepeBecm
“flocks” 11311MM-10 11py1MM 0110B0M («BCTOIIIb», «B010111113», «1p1m13» M 1.1.).

B0 II 1130111 «I‘eanxa IV» MM0113 00601B01111110 “Windmill” M “Saint George’s
Field”, 11010p110 K0MM0111310p11 011pe110111101 11311 1133B31100 60p110111 (M1111 10011111111111) M
11yp0p111010 M0013,20 H3010p11311 nepeBen 11311 «M01111111113» M «110111113 B C0111-

leopmrce»: “0, Sir John, do you remember since we lay all night in the/ Windmill in

 

'9 C110Bapb py0011010 1311113 B 110111p0x 10M3x. M311. 2-0. M311-B0 «Py0011M11

131111», MOCKBa, 1983,1. III, 01p. 11.

20 CM. K0MM01113pMM B 1111111311: Complete Works of Shakespeare, 828; Riverside
Shakespeare, vol. 1, 905. B 11011010p11x M311311111x Hlexchpa 0110B0 “Windmill”
11311011313110 0 11p011MC11011 6yKB11, M 10 B00 K0MM0111310p11 111110p11p01Mpy101 010 11311
1133B311110 6op110111.

168

glint George’s Field?” (2H4, 3.2, 828) — «0, 03p 11111011, 110MHM10 11011111y B C0111-

 

gggpm M 6yp11y10 1101111y 113 Menbmge?» (IIIeJmoy, 371).

HenpaBMJI1111111 nepeBon Bp0M011M 011011311 H3010p113110M B p01111 031110131113,
nom3y1011101001 10pM11M11001111MM 0110B3M11 11111 M01111011011M1 Bp0M01111: “I will devise
matter enough out of this Shallow/ to keep Prince Harry in continual laughter the
wearing out of six/ fashions, which is four terms, or two actions” (2H4, 5.1, 842). —
«31010 [Hennoy XBaTM'I‘ M110 113 yB00011011110 anHua Feanxa B npo11011>11011110 m
31%» (03111301311), 407). “Four terms” 00013B111101 0111111 1011,21 a 110 1110011 11011, 11311 B
nepeBone. “Dolphin chamber” (2H4, 2.1, 816) B 1001111111110 1p3111Mp111MI111 MM0rpMc
KyMKJIM I'IaCTepHaK nepeBen 11311 «11011111111110Ba1 1101111313» (1p3111Mp111Mua, 332), 01113110
11011010p110 K0MM0111310p11 IIIeKchpa 01M0113101, 1110 “Dolphin” 1B11101c1 B3pM31110M
“Dauphin” — «1101111111».22 T310110, 0011130110 K0MM01113pM1M, «11p301131 1111101111113» —
“red wheat” (2H4, 5.1, 841), — 11010po11 x0101 330011B 110110011y 110111 cy11111 1H011110y,
1B11101c1 0311M011 11y11111yp011,23 a 110 «1p0B010 11111011111011», 11311 B nepeBone (IIIennoy,
405). HpOByro 11m0111111y 3300MB3101 B0011011, a 110 11010M. B 1011010 em 11py1M0
y1133311M1 113 10, 1110 1101ichMe 11p0M0x011M1 11010M (HaanM0p, 111011110y 33311B301
031110131113 OCMOTpC'I‘b 0311 M 110001b 1111p01 c 16110113MM B 600011110, 01p 412).

HenpaBMJIbHo 11011110 313101110 0110B3 “judgment” B p011M Ke1113, 1110 1100110111110

M01133M110 010 xapaKTep. 0110 nep0B0110110 11311 «0611100 111101110», x011 B oerMHaJIe

 

21 CM. K0MM01113pMM B 11111113x: Complete Works of Shakespeare, 842; Riverside
Shakespeare, vol. 1, 911.

22 CM. KOMM01113pM11 B 11111110: Complete Works of Shakespeare, 816.

23 CM. KOMM01113pM11 B 11111110: Complete Works of Shakespeare, 841.

169

4
MM001 311311011110 «0y113» (1501111010):2 “

...to converse with him that is wise and says
little, to fear judgment, to fight when I cannot choose, and to eat no fish” (Lear, 1.4,
1179) — «...311311011 0 10M, 1110 p300y11111011011 11 M3110 10B0p111. 01111311011 0 0611111M
111101111011» (K0111, 448). Bp1111 1111 K0111, 11010p11fi, B011p01111 311paBOMy 0M11011y 11 B010
HMpa, 0111p1110 B1101133311 eMy 0Boe 11001106p011110 pa3110113 KoponeBCTBa, 3 3310M,
33M301111p0BaB1111101, 1100110110B311 33 11311131111111 II11p0M, M01 01133311, 1110 111111 11010
BEDKHO 0611100 111011110.

HerrpaB11n1110 nep0B0110110 0110B0 “tending” B 06p31110111111 1101111 MaK6eT 11 0113110.
H3010p113113 yB0110 B 010p011y 0110B0 “tender”, B 10 Bp0M11 K311 “tending” SIBJIHCTCSI
y013p0B111011 (110pM011 0110B3 “attendance” (06011y11111B311110).25 B 0pmane 1101111
M311601 11p00111 011y1y 06011yx11111 BepHmeerocsr 110M011 11031111113, 3 110 «61111 c 1111M
11011106033011», 11311 B IICpCBOIICZ “Give him tending;/ He brings great news” (Mac, 1.5,
1228) — «By111 0 1111M 110111060311011./ 011 c Bax111011 110B001110» (1101111 M311601, 585).

H00110111110 1101011110 110p011311 xapaKTep 01110130111111 M011111y HesapeM 11
A111011110M B 0110110, B 11010p01/1 01111 06M011MB3101011 HpMBCTCTBMSIMM 1100110 11p1103113
A1110111111 B P11M. 1103ap1 11 A1110111111, 11B3 conpaB11101111, 11311 611 M0p11101011 0111131111,
1101113 np01111313101 11py1 11py1y 00011. 33 11x BeXUB1B001110 11p001011 con0p11111100130.
H033p1 B01101 00651 11311 x03111111 111111 1120110 11311311111131, 11p0111131311 A1110111110 00011, 1110
011, 11311 paB111111, MOXCT 011011311 11 603 H033peBa r1p1111131110111111-11p1111333. H0310My

A11101111fi HpMHMMflCT 1311011 >110 11033110111111 11 11311311101Be11111111 1011. B nepeBone 1101103

 

24 CM. K0MM01113p1111 B 1111111311: Complete Works of Shakespeare, 1179; Riverside
Shakespeare, vol. 2, 1261.

25 CM. K0MM01113p1111 B 11111110: Complete Works of Shakespeare, 1228.

170

11101101111p0B011111’1 11011101101. BM0010 «C3111101 111 110pB1111» 611110 611 11y111110 110p0B00111
«H01, 111 03111101»:

CAESAR. Welcome to Rome.
ANTONY. Thank you.

CAESAR. Sit.

ANTONY. Sit, sir.

CAESAR. Nay, then (2.2, 1306) —

I.Ieaapbz 1106p0 110113.110B311 11 113M B P1111.

A11101111i1: C11301160.

H033p1: CaIMCb.

A1110111111: Cam101 111110p111fi.

I.Ie3ap1: Xopomo (279-80).
B 11py10fi 0110110 1110011 1103ap1 110 co611p301051 33M3111111 A1110111151 B 110By11111y, 113K y
HacTepnaKa, 3 10B0p111, 1110 110p060)111111110B 113 11310p11 A1110111111 1311 M11010, 1110 11x
1100131011110 11 603 B01101: Hesapa, 1110611 11060111111 A1110111111: “Within our files there are/

Of those that serv'd Mark Antony but late/ Enough to fetch him in” (AC, 4.1, 1328) —

«B panax y 1130 110M3110 11p0>111111x 011y1/ A1110111111. C 11x 110110111110 33M31111M,[ E10 B

 

M (H033p1, 392).

£1011y1110113 1101011110011 B nepeBone 011011y10111010 11p0111101110111111: “Bardolph, get
thee before to Coventry; fill me 3 bottle of/ sack. Our soldiers shall march through”
(1H4, 4.2, 793) — «M11 0 0011113131111 06011110M 10p011 11py10M» ((DaJImTacp, 279).
<Dan10131b 11001111301 Bap1101111b3 B 10p011 3a B11110M 110 onna B 11010 B011011, a B
110p0B0110 11011y11301051, 1110 Boficxa o6xo11111 10p011.

H011010p110 M31101101151111110 M0013 110111111111111110B 110p0101101111 6y1133111110, 11 m1
0M11011 001311051 Henp011011011111111. B 01101 113 Bonpoc K113B111151 “How fares our cousin
Hamlet?” (Ham, 3.2, 1089) — «K311 311paBCTBy01 11p111111 11p0B11 113111011 131111101?»

(110p0111, 78) — F3M1101 011011301 0 11p0111101‘1, 11010py10 110 COBceM y113B1111B301 K113B1111fi

171

11 110310My 3aM011301, 1110 01B01 F 31111013 110 0001B0101By01 010 Bonpocy: “I have
nothing with this answer, Hamlet. These words are not mine” (Ham, 3.2, 1090) — «310
01B01 110 B M010 010p011y, F3M1101. 310 110 M011 0110B3» (110p0111, 78). I1110611 110p011311
01111011 01103 K113B111111, 1100110111100 npe11110111011110 0110110B3110 611 110p0100111: «310 110

01B01 113 11011 Bonpoc».

Hepenaqa mexcnuponcxux nenpnnuqnoc'reii

C11y1130B, 1101113 HacrepnaK 110p0B0111111 11011p1111111111110 0110B3 IlIexcrmpa 0110B3M11,
61111311111111 no 011111110111110011011 011p30110, 1101111010. T0111110 B 110p0B0110 «01011110»
B01p011301011 0110B0 «1111110xa» — 031100 pe31100 113 Bcex 1py61111 0110B nepeBonOB, x0111
010 31111011101010 311B11B311011111 (1131110 3M011110113111110 601100 01111111110) 101p0113101011 B
0p11111113110 B 601111110M 110111111001B0. 14360111311 y1101pe6110111151 0110B3 «1111110xa» B
110p0B0110 «01011110» 1py11110, 1311 11311 11101101111p0B01111fi 01011110 1100110111110 pa3
yn01pe6111101 010 33111111101010 311B11B311011111 B a11pec HCBIICMOHBI, 11 11010110111111 1111 B
nepeBone — 311311111 11011Bep111y11 xapaK10p11 11 10M311111y 1110011 cep1031111M
113M01te111111M. X0111 11 B 11py111x 11100311, 0006011110 B «I‘011p11xe IV», 1311010 po113 011013
110p011110 110mm 113 y01 110p001131110171, 1311 01111 110 3311111 B 13110171 0101101111, 11311 B
«01011110», 111111 011p0110110111111 BBaMMOOTHOIIIeI—Mfi M0)1111y 10p0511111. 0110B1111110, 110310My
H3010p11311 601111110 11111110 110 yn01p06115111 0110B0 «1111110xa». C110B, 33311011111111111
py00110My «1111110113», B 11100311 IIIexcrmpa 131100 6011111100 1101111100110, 1110 113 npmepax
11x 110p0B0113 MO)KHO 111110111111 00110B11110 11p110M11, 11 11010p1111 11p11601311 H3010p11311 0
11011110 110p01131111 11101101111p0B01111x 11011pm111q11001011. Bo 1111011111 011y11311x H3010p11311

0011p3H5111 CMbICJI IHCKCIMPOBCKMX HPEIUIOXCHMVI C HCI'IPMJ'II’IquN 00110p111311110M, HO

172

331ym0B11B311 11x p03110011, 1101101113y11 3B1peM113M11. IHCKCImpOBCKOC 0110B0 “whore” 11
010 0111101111M11 110p0B01101111 cneny1011111MI1 3BcpeM113MaM11: 33110111111313, 11y611111111311
1110111113113, 113M0111111113, y11111111311 11101111111113 11 11p.:

“He’s for a jig or tale of baw 1y” (Ham, 2.2, 1085) — «£11111 11010
cymechy101 10111110 0311111110 311011110111, 3 01 np011010 011 3301111301»
(F3M1101, 64); “And gives his potent regiment to a tr_ufl” (AC, 3.6, 1321) —
«I/I B00 M01ym001Bo 110B0p1111/ Hanogmge» (I.Ie3ap1, 354); “Will catch at
us like strumpets” (AC, 5.2, 1342) — «H30 6ynyT 11311311, 11311 31611113111111
xeflmr» (K11001131pa, 463); “L0 now, if it lay in their hands to make me
a cuckold, they would make themselves whores but they’ld do’t!”(AC, 1.2,
1299) — «K311101011, 001111 611 01 111111 33B1100110 011011311 M01111 p013111M,
01111 1111111111 611 10p101311 006010 113 y111111y, 11111111 611 31010 11061111011»
(A11011030, 243); “He’s mad that trusts in the tameness of a wolf, a horse’s
health, a boy’s love, or a whore’s oa ” (Lear, 3.6, 1198) — «110110me
310 BOT 1110: 1110 B0p111 B 11p010011 1011113, B 11001110011 11011011010
6ap111111111113, B 111060B1 M31111111113 11 1101131301011 113 1111111111 mew»
(myT, 506); “Why dost thou lash that whore?” (Lear, 4.6, 1208) — «T11
31111111113110 1110111111111y 11110111111/ 3330M 001101111, 110311011, 33131011111111
Mac'rep?» (HMp, 536); “She turned to folly, and she was a whore” (Oth,
5.2, 1163) — «0113 p33Bp311111113113 11 1113113» (01011110, 412).

 

 

 

B 11py111x M0013x nepeBonOB M11 113110111111 3Bd1y110111110011110 0110B3 11 111p3311,
11010p110 B 01110 60111111011 0101101111 0011361111101 11011p11111111110011 0011er311111: 0131111111 B
0My1, np01101311111 111113111 B 111p11B11x 011011311, np0113111113, 1y111111 11 11p.:

“Ay, truly, for the power of beauty will sooner transform honesty from
w_hat it is to a bawd” (Ham, 3.1, 1087) — «III 0110p00 11p30013 w
11003301310011 B M» (1‘3M1101, 72); “Some squeaking Cleopatra boy my
greatness/ 1’ th’ posture of a whore” (AC, 5.2, 1342) — «IIp0110131111
111113111 u3p111111 K11001131p11/ B 11111an 011011311» (Kneonana, 464);
“Villain, be sure thou prove my love a whore!” (0th, 3.3, 1146) ——
«M0p3aB011, 110111111,/ E0 110309 111 11011111011 1101133311 (01011110, 349);
“Leave thy drink and thy whore” (Lear, 1.4, 1180) — «H0 1y111111, 110
Kym» (myr, 452); “fortune, that arrant whore” (Lear, 2.4, 1189) —
«Cy1116a nflmaxna 11 11113113» (my'r, 479).

 

B 11011010p11x M001311 nepeBonOB 110B03M0111110 111111 1py11110 11p0111101101111111
1103p11111111110011 0001B0101By1011111x 01p1IBK0B op11111113110B. TaM 113 M0010 0110B 111113

“whore” 010111 11p0010p01111110, 110 110 By11113p11110 0110B3: qepTOBKa, 6363 (6361111),

 

173

cynapymKa, nquonKa, 6eccrbDKan, ne6e11ymxa, Kpacaera, 6e33anmman neBymKa,
Bosmofinerman, flpMflTCJIbI-flfllbl M np.:

“housewives in your beds” (0th, 2.1, 1133) — «LICDTOBKM B
myqemmeCKOM BCHIIC» (Hro, 309); “The triple pillar of the world
transform’d/ Into a strumpet's fool ” (AC, 1.1, 1297) — «0mm :43 I‘JIaBHhIX
Tpex crormoa BceneHHofi/ Ha nonoxerrbe 6a6bero my'ra» ((Dvmon, 233);
“She gave it him, and he hath given it his whore” (0th, 4.1, 1153) — «OHa
napu'r emy una'rox, a on OTnaeT ero CBoefi gym (Hro, 373); “He
sups tonight with a harlofl” (0th, 4.2, 1157) — «Ceromm on ymae'r c
omiofi gquonxofi (51m, 390); “Villainous whore!” (0th, 5.2, 1164) —
«BeccrbDKasI, mom!» (film, 417); “Minion, your dear lies dead,/ And
your unblest fate hies. Strumpet, I come!” (0th, 5.1, 1159) —
«Heoegma, mo6onum< TBofi 3aKOJIOT./ Hopa Te6e 3a HMM» (Oremro,
397-98); “yet she’s a simple David” (0th, 4.2, 1154) — «Ha TO 14 away»
(OTCJUIO, 381); “Throw the guean in the channel” (2H4, 2.1, 815) — «A
3Ty Kpacanmry B KaHaBy» ((Danbcrad), 330); “You a captain! you slave, for
what? For tearing a poor whore’s ruff in a bawdy-house?” (2H4, 2.4, 822)
— «He 3a TO JIM nonytmn TbI Kamrrancho, trro xoqemb ooopBaTb
prxceBa Ha Gemiofi, 6e33amm'nofi neBymKe?» (norm, 349); “Let’s beat
him before his whore” (2H4, 2.4, 823) — «O'rxonomm ero Ha rnaaax
Bosmoonermofi» (IIofiHc, 354); “and the whores called him mandrake”
(2H4, 3.2, 830) — «a npun'renbmmu Hamero prra 313mm...» ((Danbcrad),
375).

 

 

 

 

 

 

 

 

 

Cnono «mmoxa» smnnercsr caMbnu rpyfibIM cnonom y Hacrepnaxa. B nepeBonax
HeT cnOB, xapaxrepuayronmx nonorzofi “T, M 3KBMB8JICHTOB cnona “brothel” n
cmrormMmmmx. 14x 3amen5nor 38¢eMM3MbI mm KOCBCHHHC ormcamm Tuna «IIOKprTb
no3op0M» u «Toprosbrfi norm»:

“...and whored my mother” (Ham, 5.2, 1112) — «... n MaTb/ Hogpbm
nosopom» (I‘aMJIeT, 146); “He hath and is again to 99p; your wife” (0th,
4.1, 1151) — «BuBan on 611M3OK c Bamelo )KeHofi» (51m, 369); “Cassio
did tgp her” (0th, 5.2, 1163) — «Ee mooommx Kaccno» (OTemIo, 412);
“Would you, the supervisor, grossly gape on? Behold her topp’d?” (0th,
3.3, 1146) — «Xorm‘e HM 8131 nornsme'rb TafiKOMJ Korna OH c H610 6yner
oénmwa'rbcsr» (51m, 350); “‘I saw him enter such a house of sale,’/
Videlicet a brothel” (Ham, 2.1, 1078) — «51 ermeTeJIbJ KaK xomrr on B
011MB Togosblfi 110M] M npenaeTcn 6yficr13y» (Honormfi, 43); “Keep thy
foot out of brothel” (Lear, 3.4, 1196) —— «He 6erafi 3a 106mm» (Bump,
500); “This house is turned bawdy house” (1H4, 3.3, 790) — «Bro
Boposcxofi won» ((Danbcraq), 270); “Epicurism and lust/ Make it more

 

 

 

174

like a tavern or a brothel/ Than a grac’d palace” (Lear, 1.4, 1181) —-
«Bnaronapsr KOTOprM 3TOT 3aMOK/ Hoxox Ha 6anaran mm Ka6aK»
(Fonepmtbsr, 456).

B Tex cnytranx, Korma y IIIeKcrmpa Henpmmqnoe conepxarme nepenano
Henpmo, B nepeBonax 0H0 eme 6onmne cmrrqeno mm 80061116 OTCTy'I‘CTByeT. (Dpaaa
I‘aMJIeTa B opm‘mrane “That’s a fair thought to lie between maids’ legs” (Ham, 3.2, 1090)
B nepeBone npeBpamaeTcn B «A 8611b 3T0 qymiafl MbICIIb — nexarb y 1101‘ neByImm!»
(Farmer, 80), cnoaa J'Inpa “whose face between her forks presages snow” (Lear, 4.6,
1208) B nepeBone nepenanbl: «Barnsmemb — noGponeTeJIb, nen,/ CKa3aTb
JIByCMucneHHocm He nomzonm» (J'Inp, 536). (Dpasa c Hamexom Ha mm B «OTCJUIO»
“pour our treasures into foreign laps” (Oth, 5 .1, 1159) nepeBeneHa: «pacxogyro'rcsr Ha
npymx» (3mg, 395), — XOT51 non “treasures” IHeKcrmp men B Bully He IICHLI'M mm
Marepnanbnbre ueHHocm, a Myxcxoe CCMSI.26 LIacrbrfi y IIIeKcrmpa Hmex Ha
cynpyxecxyro HCBcpHOCTb, Bbrpaxemrbn‘a’ nocpencmom cnona “horn”, B nepeBonax, KaK
npaBmIo, 0TcyTCTByeT, KaK M npyme cna60 BprflXCHHbIC HaMeKM Ha IIOJIOBhIe Opl‘aHbI u
cexc:

“Well, happiness to their sheets!” (0th, 2.3, 1136) — «Ila 6yner
6naronaTeH nx c0103» (51m, 318); “A bump as big as a young cockerel’s
stone” (RJ, 1.3, 986) — «a BCIIB IIIMIIIKa-TO 6mm 3110p0BCHHaSI, c
rony6mroe afiuo» (Kopmuuma, 179); “A horned man’s a monster and a
beast” (0th, 4.1, 1151) — «Pora — ornmme qyimm n asepefi» (OreJmo,
368); “O that I were/ Upon the hill of Basan to outroar/ The M herd!”

(AC, 3.13, 1327) — «SI 6 M01“ CTana Bacchxoro xomvra/ HCpCpCBCTb»
(Amormfi, 386).

 

 

26 CM. Komemapnfi B KHMI‘C: Complete Works of Shakespeare, 1158. IIaprmpx
Taroxe yKa3blBaJI, Irro CJIOBO “lap” y IIIeKcmrpa oqem: traCTo MMCCT ceKcyanbnbrfi
nonrexcr. CM. B KH.: Partiridge, Shakespeare ’s Bawdy, 22.

175

Korma y IIIeKcrmpa KOCBeHHoe ouncarme IIOJIOBbIX omomermfi neTaano,
HacrepnaK y6aBJIsm Kommecho neranefi M CMsrranI ux TOHaJIbHOCTb. TaK, Ha MCC’I‘C
‘6 ' ,9

reechy leSCS B «Tamere» <<n063am>sr>>; B MMCTMCpMIIMpOBammM ormcamm Hro
omomermfi Kaccno M Healer/tom He IICpCBCIICHO CJIOBO “prime” («noxormmufi»),
yKaseranmee Ha ceKcyanBHBIfi xapaKTep 3m omomermfi; B npyrom mecre (bpaaa 51m
“lie on her” nepenaHa KaK «npmxmancn» M cnOBo “her”, nOBropsnomeecsI HCCKOJIIJKO
pa3, He nepeBeneHo BOBce:

“Let the bloat king tempt you again to bed,/ Pinch wanton on your cheek,
call you his mouse,/ And let him, for a pair of reechy kisses,/ Or paddling
in your neck with his damned fingers...” (Ham, 3.4, 1097) — «Ionorrecr:
Hoqbro c KOpOJICM B IIOCTCIIB/ M B Gnaronapnocrb 3a ero no63anbsr,/
KOTOprMM OH 6yner Bac nymMTB...» (FaMIIeT, 101); “Were they as prime
as goats, as hot as monkeys,/ As salt as wolves in pride, and fools as gross/
As ignorance made drunk” (0th, 3.3, 1146) —- «Orm/ He napa 06eabsm, He
BOIIK c Bommuefi» (51m, 350); “Lie with her? Lie on her? We say ‘lie on
her’ when they belie her. Lie with her? (0th, 4.1, 1151) — «IIexan.
Hpnmancn. On ee 6eccnaBm» (OTeJmo, 367).

Hexoropbre Henpmrwmble mecra 3aMeHeHBI TeKCTaMM, He MMCIOIIMMM
HeanCToiftHoro conepxarmsr:

“I’ll to my wedding bed,/ And death, not Romeo, take my maidenhead”
(RJ, 3.2, 1004) —- «51 nary Ha KpOBaTb, /He xermxa, a cxopofi cmep'm
man.» (Ibkynbe'rra, 230) “we shall buy maidenheads as they buy
hobnails, by the hundreds” (1H4, 2.4, 781) — «JIIonefi 6ynyr c6BIBaTb
comm, KaK Ky3BeqHBIe rBOBIIM» (npmm, 247).

B Hecxonbmx cnyqanx HacrepnaK onycrvm BeanCTofiHBIe cn0Ba mm (ppaabl,
coxpaHMB OCTanBHofi TCKCT:

“Out, out, thou strumpet Fortune!” (Ham, 2.2, 1085) — «CTbIlIMCb,
(DopTyHa! Hafi're efi orcrany» (nepBBIfi aKTep, 63); “Thy bed lust-stain’d
shall with lust's blood be spotted” (0th, 5.1, 1159) — «14 Bee, T06010/
CBepmeHHoe, TBOCIO KpOBbIO cmoro» (OTCIIJ‘IO, 398); “And Fortune, on his
damned quarrel smiling,/ Show’d like a rebel’s whore” (Mac, 1.2, 1223)
— «Cynb6a crapanacs normepxcarb HOBCTaHHa,/ Ho mero nonenarb He
Morna» (cepxau'r, 572); “That cannot say as much. This is a subtle whore”

176

(0th, 4.2, 1154) — PaccnpamuBaTB ee — Momma, rp06» (OreJIno, 381);
“Though this knave came something saucily into the world before he was

sent for, yet was his mother fair, there was good sport at his making”

(Lear, 1.1, 1172) — «X0131 3TOT copBaHeu SIBPUICSI Ha mm 663
npnrnamermn, MaTb ero 6mm Kpacanma (Fnocrep, 428).

I‘py6B1e HaMCKM, CKpbl'l‘bIC B KanaMGypax, B 6OIIbHIMHCTBe cnyqaeB He nepenaHBI.
OrcyTCTBonr Henpmrmmble amend B nepeBone pa3r0Bopa MCXII)’ FaMneTOM,
I‘mIBneHcrepHOM n P03eHKpaHHCM, rne 06Bn‘pBIBaeTcsr cpaBHeHue (Dopryubr c0 mmoxofi
(Hammasr co cnOB: “Happy in that we are not overhappy” [Ham, 2.2, 1081] — «I'Io
cqaCTBIo, Hame cqaCTBe He trpeaMepHO...» [erbnencrepm 54]), B CJIOBaX MepKytmo
“This cannot anger him. ‘Twould anger him...” [R.], 2.1, 991] — «A c06C'rBeHH0 Ha trro?
I/Inasr BCIIIb...» (194); “If love be blind, love cannot hit the mark” (RJ, 2.1, 991) —
«Cnenasr crpacrb He nocmaeT 1161114» [194]); B pa3r0B0pe MepKyImo c BCHBOIIMO n
PoMeo (Haman c0 cnOB: “Thou desirest me to stop in my tale against the hair” [1?], 2.4,
996] — «Tbl 60mm, trro 3T0 6yner HPOTMB mepcnm?» [MepKyrmo, 208]). He nepenan
Bynbrapnufi CMbICJI MCKOBCpKOBaHHOI‘O rparcmpmmrefi menu anronn (Peesel BMCCTO
Pistol), KOTOpOC B TaKOM BMIIC 3Bytmr, KaK Henpmmqnoe CJIOBO co 3HaqermeM «non0Bofi
opI‘aH».27 3T0T MananpormaM Moxmo 6131110 651 TpancnmepMpOBaTb — HuceIIB, n Toma
no-pyccm OH Toxe 3Byqan 6B1 Henpmrmmo: “Good Captain BLsel, be quiet” (2H4, 2.4,

822) — [[06me KamrraH Hucronb, ycnoxofi'recry (Ipax'mpnnma, 350).

 

27 CM. 06 3TOM B Kmu‘e: Hussey, The Literary Language of Shakespeare, 139.

177

Coxpamenmr

311cm: 6ynyT orMeqenbr Kymopbr mm cnyqan cxamn TCKC’I‘a nocpenchOM
3natmTenBHoro coxpamenmr Konwrecha cnOB B npemloxenmrx, npnBenmero K
yMeHBnIeHmo Konmrecha crpox. prnno cxaaarb, name KyIIIOpr 6mm cnenanbr
HacrepnaKOM no6p0BonBH0, a Karme — no Tpe6OBaHMSIM penaK'ropOB n M3naTenefi. B
n1060M cnyqae HacrepnaK, cynn no ero IIMCbMy KosmnreBy, crm'ran coxpamenne TCKCTOB
IHeKcnnpa nen0M nonycranm 14 name H606XOIIMMI>IM.28

Kymopbl MO)KHO 06'Bncmfrb Hecxonbngn npmnmaMM. Mnorne n3 aux CBnaaHBr c
6aynnepn3a1mefi IHeKcnnpa. Bonbnmncho Kymop B nepeBone «Tamera» — 3T0 Mecra
c nenpnnmnIBIM conepxanneM. B nepeBone orcyTC'rBye'r npemloxerme B o6pamenm1
FaMneTa K Honormro, B KOTOpOM 6nar0napn nBofiHOMy 3Haqenmo cnOB “conception” n
“conceive” («aaqame», «3aqarb» n «nomarme», woman») conepxmcn Hamex Ha
ceKc: “Let her not walk i’ th’ sun. Conception is a blessing. but not as your daughter may
conceive. Friend, look to’t” (Ham, 2.2, 1081) — «He nycxafire ee Ha come. He
3eBai’rre, npnsrrenb» (FaMHeT, 53). He nepeBeIIeHbI cnenyronme cn0Ba KoponeBBI Ha cnene
Bo BcraBHofi nBece, pa3urpaHHofi B KoponeBCKOM nBope: “A second time I kill my
husband dead/ When second husband kisses me in bed” (Ham, 3.2, 1091). l'IponymeH

HaMCK Ha c0B0Kynnerme B oGpamemm FaMneTa K Ocpenvm Bo BpeM51 cneKTaKnn:

 

28 BTO Bunno n3 IMCBMa Hacrepnaxa 0T 27 OKTSI6pSI 1953 r. KoannueBy,
r0'r0Ban1eMy Tea'rpanbnyro nocraHOBKy FaMHeTa no naCTepnaKOBCKOMy nepeBony:
«Pexme, coxpamafire u neperanBafire CKOIIbKO xorvrre. qu 6011mm: Bu BBI6pocn're :43
man, TeM nque. Ha nonommy npmarnqecxoro TeKC'ra Bcnxofi IIbCCbI, caM0fi
Han6ecCMepmefimefi, Knaccmecxofi n rermanbnofi 51 Bcerna CMOTpIO KaK Ha
pacnpocrpanennyro peMapKy, Hamrcarmyro aB'I‘OpOM mm Toro, t1106111 BBecm
nenomlm‘enefi KaK Moxno rny6>1<e B cymecho paabanIBaeMoro nefichnsr» (HacrepnaK
n KoammeB. Mama 0 «I‘aMneTe», crp. 216).

178

“HAMLET: I could interpret between you and your love, if I could see the puppets
dallying. — OPHELIA: You are keen, my lord, you are keen. — HAMLET: It will cost
you a groaning to take off mine edge” (3.2, 1092). B nepeBone Her 01111011 143 necen
Ocpemm, conepxamefi 6onmnoe KOIIM‘ICCTBO nenpncrofinmx HaMCKOB:

By Gis and by Saint Charity,

Alack, and fie for shame!

Young men will do’t if they come to’t

By Cock, they are to blame.

Quoth she, ‘Before you tumbled me,

You promis’d me to wed.’

He answers:

‘So would I 'a' done, by yonder sun,

An thou hadst not come to my bed’ (Ham, 2.2, 1102).

B nepeBone «P0Meo n IIxynBe'rrBr» ecrb TOIIbKO onna Kymopa, CB513aHHas1 c
ceK00M — 3T0 cn0Ba Mepxyuuo 0 Tn6anbre “’A very good whore’” (RJ, 2.4, 996).

B nepeBonax 06eMx qacrefi «I‘enpnxa IV» OT Kymop 6011mm Bcero nocrpanana
pqu (Danbcracba. B I qacrn IIbCCbI onymena 6011511151 11am pa3r0Bopa Mexny HMM n
npmnreM rerMXOM, conepxcamasr 06Men KomcocrnMM, mpy CJIOB n Henpnnmmbre
Hmexn. I/[3 aroro OTphIBKa nepeBeneHo TOJIbKO nepBoe npennoxcenne, Koropoe
npncoenmreno K 113qu TeKcra, cnenylomero 38 Kynropofiz

Fal. By the Lord, thou say’st trueLlad- and is not my hostess of the tavern a
most sweet wench?

Prince. As the honey of Hybla, my old lad of the castle- and is not a buff
jerkin a most sweet robe of durance?

F a1. How now, how now, mad wag? What, in thy quips and thy quiddities?
What a plague have I to do with a buff j erkin?

Prince. Why, what a pox have I to do with my hostess of the tavern?

Fal. Well, thou hast call’d her to a reckoning many a time and OR.

Prince. Did I ever call for thee to pay thy part?

Fal. No; I'll give thee thy due, thou hast paid all there.

Prince. Yea, and elsewhere, so far as my coin would stretch; and where it
would not, I have used my credit (1 H4, 1.2, 768) —

(Danbcracp: Knnnycrs 60r0M, 3T0 npaBna, M0171 Henarnnmrbrfi (206).

179

B Hecxonbxnx cnyuasrx HacrepnaK onycxan qacrb manora, HpephIBaeMOFO
TpCTbMM JIMHOM. B nuanore Memy (DamscrachM n Tpaxmpnmnefi MMC’I‘pMC Kyuxnn
HacrepnaK He nepeBen Bonpoc npmnra Fenpnxa 11 wow co6ecemmKOB, BB13BaHHBIe BTMM
Bonp0c0M. TeKcr conepxnr HaMCK Ha c0B0Kynnerme, CKpBrrBIfi B mom “to have”:

Prince. An otter, sir John! Why an otter?
F al. Why, she’s neither fish nor flesh; a man knows not where to have her.

Host. Thou art an unjust man in saying so. Thou or any man knows where
to have me, thou knave, thou! (1 H4, 3.3, 791).

He nepeBeneHa tram pa3r0B0pa Bo3IJm<0B, conepxaman BynbraprIe mom:

2. Car. Why, they will allow us ne'er a jordan, and then we leak in your
chimney, and your chamber-lye breeds fleas like a loach.

1. Car. What, ostler! come away and be hang’d! come away! (1H4, 774,
222)

B nepeBone II qacrn <<Fenpnxa IV» B cnenylomeM OprIBKC IIOII‘ICPKHyTaH qacrb
TeKcra c 116an conepxarmeM CMsn‘qua, a npyran onymena:

FALSTAFF. A man can no more separate age and covetousness th_an_'a
can part young limbs and lechery; but the gout galls the one, and the pox
pinches the other; and so both the degrees prevent my curses

(2H4, 813) ——

Bnnno, cxynocrb Tax )KC Heornemma OT crapocm, KaK Becenbrfi 06pa3
10131114 0T Mononocm ((Danbcracb, 324-25).

Onymena qaCTb nepenanKM Memy (Danbcrade M Honb. Cn0Ba (Danbcratpa conepxar

HCCKOJIbKO ceKcyanbnbrx HaMCKOB B cnOBax “cannon”, “breach”, “pike”, “surgery”,

29
“conger” n “bear”:

DOLL. Yea, joy, our chains and our jewels.
FALSTAFF. ‘Your brooches, pearls, and ouches.’ For to serve bravely is
to come halting off; you know, to come off the breach with his pike bent

 

29 CM. Komen'rapnn B Krmrax: Complete Works of Shakespeare, 821; Riverside
Shakespeare, vol. 1, 898.

180

bravely, and to surgery bravely; to venture upon the charg’d chambers
bravely- (2H4, 2.4, 820-21).

B 31071 )KC cnene nponymenbr 11Be (ppaabl (Danbcratpa M 11140101151 c Henpnnmnrbm
naMeKOM B anpec IIonB B cn0Bax “discharge”, “bullets” n “pistol-proof”:3O
PISTOL. I will discharge upon her, Sir John, with two bullets.
FALSTAF F . She is pistol-proof, sir; you shall not hardly offend her (2H4,
2.4, 821).
TaM )KC He nepeBeneHBI (ppa3B1 (Danbcracba n IIOJIB c HameKOM Ha ceKc:
F ALSTAF F. A rascally slave! I will toss the rogue in a blanket.
DOLL. Do, an thou dar’st for thy heart. An thou dost, I’ll canvass thee
between a pair of sheets (2H4, 2.4, 823).
I'Iponynren orperox, conepxanmfi nrpy cn0B c cexcyanbnbm nonreKC'rOM B cnene
naGopa (Danbcrade peryTOB:
SHALLOW. Shall I prick him, Sir John?
FALSTAFF. It were superfluous; for his apparel is built upon his back,
and the whole frame stands upon pins. Prick him no more.
SHALLOW. Ha, ha, ha! You can do it, sir; you can do it. I commend you
well. Francis Feeble! (2H4, 3.2, 828).
Hponymena qacrb perm (Danbcradaa Bynbrapnoro xapaKTepa B cneHe pa3r0B0pa c
BerOBHbIM cynbefi, rne yn0rpe6neno CJIOBO “pox” B 3Haqenym «cmbnnnc»:31 “but the
gout galls the one, and the pox pinches the other; and so both the degrees prevent my
curses” (2H4, 1.2, 813). B nepeBone perm npyrnx nepconaxefi II qacrn «I‘enpnxa IV»

Kynrop 3Hatmrenbno MCHbIIIC. I'Iponymena qacrb pa3r0Bopa npmnra Fenpuxa n

 

30 CM. Komenrapnfi B Krone: Complete Works of Shakespeare, 821.

31 CM. Komemapnn B Kmax: Complete Works of Shakespeare, 813; Schmidt,
Shakespeare Lexicon and Quotation Dictionary, vol. 2 , 887.

181

Bapnonbcpa, B KOTOpOM npmm cpaBHMBaeT H0111: Tepmm c npocrn'ryrkofi (“road” —
.32
npocrnTyTKa).
PRINCE. Fare you well; go.
Exeunt BARDOLPH and PAGE
This Doll Tearsheet should be some road.
POINS. I warrant you, as common as the way between Saint Albans and
London (2H4, 2.2, 819).
HponymeHBI (bpa3m Hofinca n npnnna Tenpnxa c HCHPW KonKocrsnvm B anpec

(Daimcracba M £10111):

1) POINS: Is it not strange that desire should so many years outlive
performance? (2H4, 2.4, 823);

2) PRINCE. Saturn and Venus this year in conjunction! What says th’
almanac to that?
POINS. And look whether the fiery Trigon, his man, be not lisping to his
master’s old tables, his note-book, his counsel-keeper (2H4, 2.4, 823).
prme Kynropbl Moryr OblTb OO‘bSICHeHbI rpynnocmMM nepeBona orpBIBKOB c
nrpoii cnOB. B nepeBone «I‘awrera» orcyrchyeT HecxonBKo crpox B pa3r030pe TaMneTa
c MomnbnrnKOM. Bynytm He B cocromnm nepenan) nrpy cn0B 31011 cnenu, nocrpoeHHon
11a Mnoro3natn10crn cn0Ba “lie” — «ne)Karb» 11 «man», a Tame HCKOToprX npyI‘nx
cnOB, HacrepnaK, no-BnnMMOMy, penmn noxeprBOBarb HecxonBKMMn npennoxenmrMM:
Ham. Thou dost lie in’t, to be in’t and say it is thine. ‘Tis for the dead, not
for the quick; therefore thou liest.
Clown. ‘Tis a quick lie, sir; ‘twill away again from me to you. (Ham, 5.1,
1109)
B nepeBone «POMeo n beynberrm» nponymeno HCCKOJIbKO npennoxennfi

KOpMMJ'IMIIbI n Mepxyuno (2.4) c KanaM6yp0M MepKyImo “is the worst well”:

Nurse. You say well.

 

32 CM. Komem‘apnn B Krmrax: Complete Works of Shakespeare, 819; Riverside
Shakespeare, vol. 1, 897.

182

Mer. Yea, is the worst well? Very well took, i’ faith! wisely, wisely (RJ,
2.4 997).

Ocrpora MepKyrmo ocn0Bana Ha 6kaanbnofi TpaKTOBKe cnOB P0Meo B npennoxemm,
npemnechyromeM Kymope: “I am the youngest of that name, for fault of a worse” (RJ,

2.4, 997)— «M3 monefi c BTMM MMCHCM $1 caMBIfi Mnamnnfi, 3a HCMMCHMBM xymnero»

 

(P0Meo, 210). Mrpa cnOB B 310M orpBIBKe He rpynna 111151 nepeBona.
B I nacm «I‘enpnxa IV» onymenu nBe penmnm (Danbcratpa M Hofinca, B KOTOphIX

OObfl‘prBaCTCSI MHorosnaqucrb cn0Ba “points” — «naxonetnnncn» (Innarn) n

«nrnypKM»:33

F ALSTAF F: Their points being broken—
POINS: Down fell their hose (1H4, 2.4, 780).

OnymeHBI nBa npennoxemm B pa3r0Bope (Danbcratpa n npmnra Fenpnxa. HacrepnaK
nepeBen nocnommy, no onycrnn qacrb TCKC'I‘a c nrpofi cn0B, nocrpoernrofi Ha nocnomnre:
Prince. He that rides at high speed and with his pistol kills a sparrow
flying.
Fal. You have hit it.
Prince. So did he never the sparrow (1H4, 2.4, 781) —

IIPI/IHLI. I/I Ha BceM cxarcy nonanae'r M3 rmcrone'ra B nersnnero BOpOObSI?
(246).

Onymen 06MeH K01n<oc1nMn c m‘pofi cn0B Memy (DanbcranM n npmmeM:

Fal. ...What a plague mean ye to colt me thus?
Prince. Thou liest; thou art not colted, thou art uncolted (1 H4, 775).

He nepeBeneno npennoxcerme Bapnoanm n qacrb petm (DanBcracpa — orBeT 11a c110Ba
Bapnonbcpa. Hpenbrnymee npennoxenne (Danbcracba npncoemmeno K ocraTKy perm

(Danbcratba nocne KyI'IIOpr: «HOTpaTb noxa CBOM. [Kymopa] Cxaxcn nefirenan'ry Hero...»

 

33 CM. Komem‘aprm B max: Complete Works of Shakespeare, 780; Riverside
Shakespeare, vol. 1, 860.

183

((Danbcrad), 278). (Danbcrad) nepeMHatuaeT CMbICJI c110B Bapnonbcba, Koropblfi I‘OBOpMT,
trro 6y'rB111Ka, 3a Koropofi nocmnae'r ero (Danbcracb, CTOMT necsrrb IIIMJIJIMHI‘OB (“angel” —
necsrrb HIMJUMII‘OB34). (Danbcraq) npennoqm‘ae'r nonsrrb ero c110Ba KaK «Ha 31011 6yTB11n<e
$1 3apa601an necsrrb HIMJIJIMHI‘OB»:
Bald. This bottle makes an angel. ,
Fal. An if it do, take it for thy labour; an if it make twenty, take them all;
I’ll answer the coinage (1 H4, 4.2, 794).
Onynrena qacrb pa3r0Bopa MCXII)’ Fencxnnb n KOpMIIOprIM. LIBa pequBIx O'I‘prBKa
Fencxnnn HacrepnaK OO’bCIII/IHMJI B 0111111: «Y nac B nene BCpXM onecha, 6ypr0M11c1pr,
pa36ofimn<n noqmne Hac 0 106011 [Kynropa], M opynyeM Mbl KaK 3a Kmennofi CTeHofi...
(Fencxnnb, 223). B nenepeBeneran orpBIBKe 06Bn'pBIBaeTcn nonncemm cn0Ba “boots”
— «noébrqa» (“booty”) 11 «601mm»:
Gads. ...Such as will strike sooner than speak, and speak sooner than
drink, and drink sooner than pray; and yet, zounds, I lie; for they pray
continually to their saint, the commonwealth, or rather, not pray to her, but
prey on her, for they ride up and down on her and make her their boots.
Cham. What, the commonwealth their boots? Will she hold out water in
foul way?
Gads. She will, she will! Justice hath liquor’d her (1 H4, 2.1, 774-75).

B0 II qacm <<Fenpnxa IV» onymeno nocnennee npennoxenne B peqn (Danbcratpa
nocne 6MTBB1 c 6yn10B1nM1<aMn n 06MeH peIUIMKaMM Mexcny (Danbcrade u HarncacrepOM
(npnnueM HXOHOM), BbI3BaI-1HbIMM 3111M npennoxenneM. O6Men pennnKaMM conepxn'r
nrpy CJIOB, nocrpoennyro na cnOBax “mount” — n0BBnneHne (B mane) n nonmrme

(TSDKCCTM), a Taxxe “thick” — Tmenbtfi n Henpo3patnnalfi:

FALSTAF F. Therefore let me have right, and let desert mount.
PRINCE JOHN. Thine’s too heavy to mount.

 

34 CM. KOMMCI-I'I‘apMM B max: Complete Works of Shakespeare, 794; Schmidt,
Shakespeare Lexicon and Quotation Dictionary, vol. 1, 39.

 

184

FALSTAF F . Let it shine, then.

PRINCE JOHN. Thine’s too thick to shine.

FALSTAF F. Let it do something, my good lord, that may do me good, and
call it what you will (2H4, 4.3, 835).

llpyrne KyIIIOpr Moryr 65m) 06Bncne11h1 cnoxmocrnMM nepeBona
mexcnnponcxnx a111no3nfi, yKa3B1Ba10nn1x Ha anrnnficxue peamm, He MMCIOIIIHC
BKBMBaJIeHTa B pycc1<0M nabnce n pyccxofi Kynbrype. B nepeBone «Tamera» onymenbl
rpm O'I'phIBKa, conepxanme Tame a111no3nn. HacrepnaK ncxmoqnn orpBIBox c yxa3a1meM

Ha HCCOXpaHMBHIYIOCSI MCTOpI/IIO 06 06631351116 M IITMHC B 13331“ 030136 Tamera C MaTCprO

(3.4). nepeBeneHHBrfi MM B nepBOM Bapnanre «I‘amnera»:35

“‘Twere good you let him know,

For who that’s but a queen, fair, sober, wise,
Would from a paddock, from a bat, a gib,

Such dear concerning hid? Who would do so?

No, in despite of sense and secrecy,

Unpeg the basket on the house’s top,

Let the birds fly, and like the famous ape,

To try conclusions, in the basket creep

And break your own neck down” (Ham, 3.4, 1098).

B nepeBone «POMeo n Ibkynbem» HacrepnaK onycrnn qacrb pa3r0Bopa P0Meo

M Mepxyuno. Kymope npemnechyer 311143011 c nrpofi CJIOB n amnosnefi, yxaahmaromefi

 

35 HepeBon aroro Mononora B )KypHaJIbHOM Bapnanre nonnocrbro ormmaercn or
nocnennnx penaxunfi. l'IponymeHnan K011110Bxa B nepBOM Bapnanre nepenana cnenyroan
06pa30M:

I'IpaBna, npoéonrafirecra!

K my 1111 KoponeBe-Kpacore

CKprBaTb or ynbrpn, Kora £1 xafim

Tame BCIIIM? Her. Ha060p0T.

Ha 3no ymy n c0Becrn, 336epnreCB

C Kopannxom Ha Kp0Be11BnB1fi Kapnna,

I'chrure nrmr M B nonpaxanbe crae,

KaK o6e3bs1na B 6acne, 6poc1>rec13 BHMB

I/I, np06y51 nerarb, cn0Mafire mero
CM. ny611m<a1mroz BnnbnM IIIeKcnnp. FaMner, npvnm narcxnii. Tparemm B 5-rn aKrax.
Hep. M Bcryn. amerxa B. Hacrepnarca. — «Mononan rBapnnn», 1940, N9 5-6, crp.88.

185

11a anrnnficxyro pomecheHCKyro MI‘py.36 3ror 311143011 HacrepnaK nepeBen Heroqno,
MBMCHHB CMBICJI Mrpbr c110B. TaK KaK cnenylomMfi 3a HMM TeKcr normeCKM CBSIBaH c HMM,
ro y HacrepnaKa 6BB1 BB16op: M11M onychrb ero, M11M 3aMCHMTb CBOMM reKcr0M,
orthnIBIM or opImmana. On npennoqen onycrnrb reKcr:

Mer. I mean, sir, in delay

We waste our lights in vain, like lamps by day.
Take our good meaning, for our judgment sits
Five times in that ere once in our five wits.

Rom. And we mean well, in going to this masque;
But ‘tis no wit to go (RJ, 1.4, 987).

B npyr0M Mecre <<P0Meo M beynberrm» orcyrchyer OTphIBOK, rne OOBII‘prBaIOTCSI
c110Ba M (bpa3B1, ornocsmmecn K nonynnpnofi Bo Bpemena IlleKchpa Kormofi MIpez37

Rom. Swits and spurs, swits and spurs! or I’ll cry a match.

Mer. Nay, if our wits run the wild-goose chase, I am done; for

thou hast more of the wild goose in one of thy wits than, I am sure,

I have in my whole five. Was I with you there for the goose?

Rom. Thou wast never with me for anything when thou wast not

there for the goose.

Mer. I will bite thee by the ear for that jest.

Rom. Nay, good goose, bite not!

Mer. Thy wit is a very bitter sweeting; it is a most sharp sauce.

Rom. And is it not, then, well serv’d in to a sweet goose?

Mer. O, here's a wit of cheveril, that stretches from an inch narrow to an
ell broad!

Rom. I stretch it out for that word ‘broad,’ which, added to the goose,
proves thee far and wide a broad goose (RJ, 2.4, 996).

prme nponycxM M0ryr 613m) OO’bSICHCHbI neofixommocrbm ofinemennn M
ynpomeHMM reKcrOB c IICIILIO CO3IlaHMSI cneHMqHBIx nepeBonOB. B nacraBneHMM J'Iaapra

CCCTpC OI'IYIIICHO HCCKOJIbKO CTpOK, KOTOprC orqach IIOBTOpSIIOT BbICKaBaHHYIO B

 

36 CM. K0MMe11rapMM B KHMI‘aX: Complete Works of Shakespeare, 987; Riverside
Shakespeare, vol. 2, 1064.

37 CM. KOMMe11rapMM B KHMI‘e: Complete Works of Shakespeare, 997.

186

I'IpCIIbIIIYIIICM flpCIUIOXCHMM MbICJIb O TOM, t{TO FaMner He CBOOOIICH B BbIOOpC )KCHLI, a
orpanmen IIOJIOXCHMCM npecrononacnemmaz38

Then if he says he loves you,

It fits your wisdom so far to believe it

As he in his particular act and place

May give his saying deed; which is no further

Than the main voice of Denmark goes withal (Ham, 1.3, 1072).

B Mononore KOpOJISI na cnene, HaqMHalomeMcn cnOBaMM «Mne Beercsr, Bbl McxpeHHM Bo
BceM» (3.2) orcyrchyror 4 crp0KM, KOTOprC B npyrofi (bopMe nonropsnor Mblcnb 06
M3Mene npy3eii B cnyqae Hecqacrbn, Bbrpaxennyro BBnne (“The great man down, you
mark his favourite flies,/ The poor advanc'd makes friends of enemies” (Ham, 1091, 83).
HacrepnaK nBa BapMaHra chJI B 011MB:

And hitherto doth love on fortune tend,

For who not needs shall never lack a friend,

And who in want a hollow friend doth try,

Directly seasons him his enemy (Ham, 3.2, 1091) —

TBI B mm, M npy3eM XOTb or6aB11nM,

Th1 B rope, M nocnemme npomafi (KOpOIIb Ha cnene, 83).

B «POMeo M leynberre» onymena Macrb nnMnnoro M Manoanatmrenbnoro B

croxere pa3r0Bopa beynberrbr M IIapMca B cnene B xenbe 6para J'Iopenno (4.1):

Par. Do not deny to him that you love me.

Jul. I will confess to you that I love him.

Par. So will ye, I am sure, that you love me.

Jul. If I do so, it will be of more price,

Being spoke behind your back, than to your face (RJ, 4.1, 1010).

B nepeBone aror TeKcr nponymen nocne c110B: «OTBC'I’MTB — 6B1n0 6B1 Mcn03enbro BaM»

(nymerra, 248). Onymeno HecxonBKo (bpa3 B ormcanMM MepKyuMO xapaxrepa

 

38 Cnenyronme c110Ba npenmechyror onymeHHOMy orpBIBKy:
The safety and health of this whole state,

And therefore must his choice be circumscrib'd

Unto the voice and yielding of that body

187

M'I‘aJIbflHIICB M BeHBonMO (RJ, 3.1, 1000). Onyrnenbr cn0Ba BenBonMO B ero paCCKa3e o
11y311M P0Me0 c TM6a11Br0M, flleaIOIIIMC P0Meo qeprBI Manoch; “All this- uttered/ With
gentle breath, calm look, knees humbly bow’d-” M “‘Hold, friends! friends, part!’ (RJ, 3.1,
1001). Onymeno o6pa3noe cpaBBerme P0Meo c pOCTOBmMKOM B 1111MHHOM Mononore-
nacraBnenMM 6para Hopenuo: “Which, like a usurer, abound’st in all,/ And usest none in
that true use indeed! Which should bedeck thy shape, thy love, thy wit” (RJ, 3.3, 1005).

B «Orenno» OIIyIIICHbI cn0Ba Mon'raHo B pa3r0Bope c I‘anlIaHaMM Kana, He
npencraannomne rpymioch 11ml nepeBona, HO M ne smnsnonmecn Ba>KHB1MM 111151
pa3BMrMM c10)Kera: “If that the Turkish fleet/ Be not enshelter’d and embay’d, they are

drown’d;/ It is impossible to bear it out”(0th, 2.1, 1132). Onymena Mach UPCLUIOXCHMSI

Hro: “Men should be what they seem;/ Or those that be not, would they might seem

'99

none (Oth, 3.3, 1143) — «Bce 613111) 1101010151 neM Kaxyrcn» (Slro, 340).

B I Mach <<Teanxa IV» orcyrchyer Macrb pa3r0Bopa c 06Men0M ocrporaMM
Mexny HOMHCOM M anrnleM I‘erMx0M B a11pec (Danbcradm B cuene B KOMnare anrma
Feanxa (1.2). Kymopa cnenyer 3a cnOBaMM anHua «IIMaBony — 111438011080» (anHu,

208):

Poins. Then art thou damn’d for keeping thy word with the devil.
Prince. Else he had been damn’d for cozening the devil (1 H4, 1.2, 769).

B aroii )Ke cnene onymen 06Me11 KonKocrnMM Me)K11y 0mmcracb0M M HOMHCOM, B
nepeBone Kymopa cnenyer 3a cnOBaMM (Danbcracpa: «...yKnonMBrnMMCM )Kena10 60nrarbcs1
11a BMce11MI1e» ((Danbcrad), 209):

Pa]. Hear ye, Yedward: if I tarry at home and go not, I’ll hang you for

going.
Poins. You will, chops? (1H4, 1.2, 769).

 

Whereof he is the head.

188

B nepeBonax CCTb COKpaIIICHMSI HOOOWX nefichMfi, B KOTOphIX rperbe 1111110
IIpeprBaCT pa3r0Bop 11Byx mm. B pa3bnpa1n10fi M6)K11y (Danbcrade M annneM
FerMx0M MHCI16HMp0BK6 orcyrchyer (bpa3a anHna, IIpepHBaIOIIIeI‘O (Danbcradia: “Thy
state is taken for a join’d-stool, thy golden sceptre for a leaden dagger, and thy precious
rich crown for a pitiful bald crown” (1H4, 2.4, 782). K011110BKy M naqano orpBIBKOB
M6)K11y Kynropofi HacrepnaK COCHMHMJI: «...a ara n011y1nKa — M0611 Koponofi. [Kymopa]
Ech nocnennsm Mcxpa 611aro11arM 116 yracna B r666...» (<Da11bcrad‘1, 247). B npyrofi cneHe
HacrepnaK onsrrb onychn O’I‘phIBOK, B Korop0M rperbe 1111110 Bropraercn B 666611y 11Byx
npymx:

F al.. . .Thou art essentially mad without seeming so.

Prince. And thou a natural coward without instinct.

Fal. I deny your major (1H4, 2.4, 783).
HacrepnaK CHOBa COCIIMHMJI KOHIIH, 611MB 1136 peqM (Danbcracpa B 01111y: «1'10MHM, FappM,
nenM Bacrosnnee 30110ro M 116 eMenIMBaM ero c nonnerncofi. [Kymopa] HaneIOCB, ru M61151
He anarnb» ((Danbcracp, 251). Onymen 61116 0111111 311113011, npeperalomMM OCHOBHOC
neMchMe, — 3ro Manenbxan ccopa M6)K11y 1161111 HepCM M 66 MyXCM I‘orcnep0M B cnene
MCIIOIIHCHMSI nech neHM MoprMM6p:

Lady P. Wouldst thou have thy head broken?

Hot. No.

Lady P. Then be still.

Hot. Neither! ‘Tis a woman’s fault.

Lady P. Now God help thee!

Hot. To the Welsh lady’s bed.

Lady P. What’s that? (1H4, 3.1, 787).
Komrbl pa3pBIBa — cnOBa I‘orcnepa 110 KyUIOphI c ocrarK0M c1103 Torcnepa nocne nee —

coemmenm: «51 6B1 c 6011B11MM yn0BonBchMeM nocnyman, KaK Mon nnraBan «1161111»

6yner BbITb no-MpnanncxM. [Kymopa] OmiaKo rMIne» (Torcnep, 261). B cuene Ha

189

nocronn0M 11B0p6 onymenbl c110Ba KopMnopHoro: “They are up already and call for eggs

and butter” (1 H4, 2.1, 774).

B nepeBone Bropofi Mach «I‘eanxa IV» caM0M 6011131110171 Kynropofi smnnercn

qacrb pa3r0Bopa M6)K11y (DanbcrachM M BerOBHbIM cynbefi. OrpBIBox cnoxcen 111111

nepeBona, COIICPXMT OOMCH KOJIKOCTSIMM M MI'py CJIOB. TCKCTBI HO M HOCJIC KYIIIOpr

COCIWIHCHIJIZ

FALSTAF F. My lord-

CHIEF JUSTICE. But since all is well, keep it so: wake not a sleeping
wolf.

FALSTAF F . To wake a wolf is as bad as smell a fox.

CHIEF JUSTICE. What! you are as a candle, the better part burnt out.
FALSTAF F. A wassail candle, my lord- all tallow; if I did say of wax, my
grth would approve the truth.

CHIEF JUSTICE. There is not a white hair in your face but should have
his effect of gravity.

F ALSTAF F . His effect of gravy, gravy,

CHIEF JUSTICE. You follow the young Prince up and down, like his ill
angel.

FALSTAFF. Not so, my lord. Your ill angel is light; but hope he that
looks upon me will take me without weighing. And yet in some respects, I
grant, I cannot go- I cannot tell. Virtue is of so little regard in these
costermongers’ times that true valour is turn’d berod; pregnancy is made a
tapster, and his quick wit wasted in giving reckonings; all the other gifts
appertinent to man, as the malice of this age shapes them, are not worth a
gooseberry. You that are old consider not the capacities of us that are
young; you do measure the heat of our livers with the bitterness of your
galls; and we that are in the vaward of our youth, must confess, are wags
too (2H4, 1.2, 812).

B aroii )KC cnene onymen 11pyroM’ 601113111011 OprIBOK —— qach cn0B (Danbcraqm,

06pa11161111wt K Bepx0B110My cynbez

and he that will caper with me for a thousand marks, let him lend me the
money, and have at him. For the box of the ear that the Prince gave you-
he gave it like a rude prince, and you took it like a sensible lord. I have
check’d him for it; and the young lion repents- marry, not in ashes and
sackcloth, but in new silk and old sack (2H4, 1.2, 813).

190

TaM )Ke onyureno npennoxelme B pa3r0Bope (DanBcratpa c IIEDKOM: “I look’d ‘a should
have sent me two and twenty yards of satin, as I am a true knight, and he sends me
security” (2H4, 1.2, 811).

B 6116116 B rpaKrMpe «Ka6anbn ronOBa» HacrepnaK M3 rpex cnyxmrenefi
COXpaHMJI 11Byx. B OIIHOM cnytiae on cnoBa TpCTbCI‘O cnyxcMrenM nepenan nepBOMy, a B
npyr0M — onychn: “THIRD DRAWER. Dispatch! The room where they supp’d is too
hot; they’ll come in straight” (2H4, 2.4, 820). Coxpamen orBer anHna Feanxa 11a
cn0Ba Hofinca B KOHIIC 2-011 61161151 11 arcra. HepeBenean r011bKo caMhIC nocnemme c110Ba:

PRINCE. From a god to a bull? A heavy declension! It was Jove’s case.
F rom a prince to a prentice? A low transformation! That shall be mine; for
in everything the purpose must weigh with the folly. Follow mePNed
(2H4, 2.2, 819) — B61111Kon61n10. I/IlleM, H611(flpMHI1, 342).

E1116 OIIMH cnyuafi, Korna HacrepnaK MCKnrquJI reKcr, npepBIBaiomMM ocnomroe
neMCTBMe, M01010 oénapyxcM'rB B nepeBone Mononora (Damacracpa nocne yxona M3 110Ma
cynBM IIIennoy. HacrepnaK 116 nepeBen OOPaIIICHMC (Damacracba K [Hennoy M Bapnonbcby
(“I’ll follow you, good Master Robert Shallow. [Exit SHALLOW] Bardolph, look to our
horses”[ 2H4, 5.1, 842]), coxpaHMB cnOBa (Danbcratpa, CKa3a1n1bre MM meme 6 606011.

B nepeBone «MaK66ra» nponymena Macrb pa3r0Bopa M6)K11y MaKnquM M
MaJleOJIbMOM:

MALCOLM. I grant him bloody,

Luxurious, avaricious, false, deceitful,

Sudden, malicious, smacking of every sin

That has a name. But there’s no bottom, none,
In my voluptuousness. Your wives, your daughters,
Your matrons, and your maids could not fill up
The cistern of my lust, and my desire

All continent impediments would o’erbear
That did oppose my will. Better Macbeth

Than such an one to reign.

MACDUFF. Boundless intemperance

191

In nature is a tyranny; it hath been

The untimely emptying of the happy throne,

And fall of many kings. But fear not yet

To take upon you what is yours. You may

Convey your pleasures in a spacious plenty

And yet seem cold, the time you may so hoodwink.
We have willing dames enough; there cannot be
That vulture in you to devour so many

As will to greatness dedicate themselves,

Finding it so inclined (Mac, 4.3, 1247).

IIpM 60Kpa111611MM nepeBonOB HacrepnaK an6era11 raK>Ke K cxarmo, onycxan

raxoe KOJIMHCCTBO OTIICJIbeIX CJIOB M (1)1383, IITO HCPCBCIICHHIILH OprIBOK CT aHOBMHCSI

 

anatmrenbno Kopoqe coorBerchyronIero OprIBKa oerMHana. HpM cxa'IMM nocrpanan
o6pa311Bm M 3Bq1yMchqec1<Mfi $13Bnc IIIeKchpa. HacrepnaK BbIOpaChIBaJI OTIICIILHHC
311M'rerb1, Meracpophl, IIOBTOpr M npyme TpOIIbI M chmrchquKM6 (erypBI, ynpomasr
KoncrpyKnMIo npennoerMM M c0Kpamas1 Mx 1111MHy. Bonune Bcero cnytraeB cxarMM
reKcra B nepeBone «01611110». yMCHbIIICHMC 6011Bmoro K011Mtiecha 311Mrer0B B nepeBone
cnenyromero Mononora 51r0 cnenano ero 11a 01111y C’I‘pOKy Kopoqe coorBerchylomero
OprIBKa oermiana:

Never, Iago. Like to the Pontic Sea,

Whose i_cy current and compulsive course

Ne’er feels retiring ebb, but keeps due on

To the Propontic and the Hellespont,

Even so my bloody thoughts, with violent pace,
Shall ne'er look back, ne’er ebb to humble love,
Till that a capable and m revenge

Swallow them up. Now, by yond marble heaven,
In the glu_e reverence of a sacred vow

I here engage my words (0th, 3.3, 1147) —

 

Her.

Her, Hro HMKorna. KaK B HepHOM Mope
Xonoggoe reqenbe IICHb M 110%
Hecercn HeyKnonno K Fennecnonry,
TaK M Kp0BaBB1M n0MB1611aM MOMM

192

110 r011 110pr 116 6yner yronenbn,

1'10Ka 11 B Mmenbe Mx 116 M3011B10.

KnsnIyCB roéofi, Mepgaloggee 11660,

B CBHTOM cosnanbe 3er c_rpa1n11B1x cn0B,

11a10 066T pacnnarbl (Orenno, 352-53).

331byM6queCKy10 petn: HacrepnaK nepenKo napacppa3Mp0Ban. 0606611110 qacro

OH 11611a11 3r0 B «Orenno». l'IepMcppaabr IIIeKchpa HacrepnaK 33M6H$IJI ornenBHBIMM
cnOBaMM, qro n03B01mn0 eMy coxpamarb OO’bCM reKcra an coxpanenMM o6BeMa

MHd>opMa11MM B cneny10n1Mx cnOBax Orenno 1116K611Mp0B6K0My BBIpa>K611MIo “The gravity

and stillness of your youth” B nepeBone coorBerchyer 011110 cn0B0 — «cnepxcannocrb»,

 

BpraXCHMIO “The world hath noted, and your name is great/ In mouths of wisest censure”
— «cnaBMchn»:

Worthy Montano, you were wont be civil;

The grpvity and stillness of your youth

The world hath noted, fl your name is great

In mouths of wisest censure. What’s the matter,

That you unlace your reputation thus,

And spend your rich opinion for the name

Of a night-brawler? Give me answer to it (0th, 2.3, 1138) —

BbI cnepxannocrmo CJIaBMJIMCb, Monrano.
KaKan CMna Bac Morna r011K11yrB

CB010 crenennocrb np0MeHm 11a MMSI

Hquoro npaqyna? OrBerBre M116 (Orenno, 324).

 

Maorna HacrepnaK napacppaBMpOBan reKcr opMIMHana HpMOJIMBMTCJ'ILHO, nepenaBan
TOJIbKO ero 06n1MM CMbICJI. B raKOM nepeBone Her npsmoro coorBerchMn Mexny
reKcraMM nepeBona M oerMHana. Bonbme Bcero cnytraeB an611M3Mrenbnoro nepecxaaa B
nepeBone pet1M SIro:

1) For when my outward action doth demonstrate

The native act and figure of my heart
In complement extem... (0th, 1.1, 1123) —

193

Ho ‘ICM oerBrrB 1111110 6B06... (Hro, 282);

2) So shall you have a shorter journey to your desires by the means I shall
then have to prefer them, and the impediment most profitably removed,
without the which there were no expectation of our prosperity (0th, 2.1,
l 135) —

Home, 011 11am rnaBHBIfi COl'IepHMK (51m, 316);
3) Though I perchance am vicious in my guess,
As, I confess, it is my nature’s plague

To spy into abuses, and oft my jealousy

Shapes faults that are not- (0th, 3.3, 1143) —

Y M61151 necqacmbrfi npaB.
H0B61011y B )KM311M 11y11511‘651 M116 K0311M (51m, 340).

B cneny101116M nplmepe aliaJTOI'MquIM 06pa30M C)KaTbI CJIOBa 1163116M011b1:
Most gracious Duke,
To my unfolding lend your prosperous ear,
And let me find a charter in your voice

To assist my simpleness (0th, 1.3, 1129) —

ECTb y110611b111 Bb1x011.
51 BaM npyroe cpencho npennoxy (£163116M011a, 299).

3BcbyMch1166KM6 cbpa3b1 136113011110, pacnonoxennme 11a 1151rM crp0Kax, B
nepeBone yMCC'I‘MJII/ICB 11a 11Byx c HOMOUIbIO napacppa3Mp0BanMH:
I- measuring his affections by my own,
Which then most sought where most might not be found,
Being one too many by my weary self-

Pursu’d my humour, not Pursuing his,
And gladly shunn'd who gladly fled from me (RJ, 1.1, 982) —

I/I raK KaK 011 M6Ka11 ye111111611B5I,
To 51 ero ocraBMn 011110ro (BCHBOJ'IMO, 170).

Hapadapa3Mp0Ba11M6 Meraqmp HOBBOIIMJIO HacrepnaKy anatmremno cxarb reKcr.
B pa3r0Bope TaM116ra c MaTCprO (3.4) HacrepnaK pa3Bep11yry10 Meradmpy anBBIMKM

KaK Moncrpa CBCJT K JIaKOHMT-IHOH CCHTCHIMMI

194

That monster, custom, who all sense doth eat

Of habits evil, is angel yet in this,

That to the use of actions fair and good

He likewise gives a frock or livery,

That aptly is put on. Refrain to-night,

And that shall lend a kind of easiness

T0 the next abstinence; the next more easy (Ham, 3.4, 1097) —

B Ma6K6 1106p0rB1
Bbl 6Kop0 caMM ancrpachreCB K 611ary (aner, 101).

HacrepnaK raKxe cman reKcr, Mcn011B3y51 cpa3y necxonBKo aneM0B. B
Mononore FaMnera «0111111 51. HaKonen-ro» (2.2, 66) HacrepnaK coxparMn HCCKOIIbKO
crp0K, y6paB OIIHOpOIIHbIC cnOBa, napa11n611M3MBr M arrereabx. HacrepnaK 116 nepenan
anere3y “Make mad the guilty and appall the free” (6yKBaJIbHO: «C11611a11 6B1 663y1vn1a
BM110B11B1M M anB611 6111 B Mcnyr [611611a11 6116mm] 116BM11110r0»). Y IIIeKchpa 11a>Ke
HCBMHOBHBIfi Mcnyranca 611, a y HacrepnaKa — TOJIbKO B11110B11hIM:

He would drown the stage with tears
And cleave the general ear with horrid speech;
Make mad the guilty and appall the free,

Confound the ignorant and amaze indeed
The very faculties of eyes and ears (Ham, 2.2, 1085) —

 

 

011 may 6 yron11n
B n0r0Ke cn63. B ero “IBQDEDKCHBC
BMHOBHBIfi 6B1 npoqen CBOM HpMI‘OBOp (I‘aMHer, 66).

 

B paCCKa3e Slro 0 nora60BKe M6)K11y Ka66M0 M P011ero HacrepnaK y6pa11 pa3B6p11yroe
cpaBHe11116, 060606116111106 npennoxerme M HeKoropBIe npere 6110Ba M coxparMn 0616M
reKcra BnBoe:

Friends all but now, even now,

In quarter, and in terms like bride and groom
Devesting them for bed; and then, but now
(As if some planet had unwitted men),
Swords out, and tilting one at other’s breast,
In opposition bloody (0th, 2.3, 1138) —

195

13511111 rMnI5 11a rna115,
KaK Bnpyr, 116 r0B0p51 xy110r0 cn0Ba,
011M py6M'r5651 11atra11M (Hro, 324).

B Mononore 110p11a Bapnonbcpa M3 II qach «I‘enpnxa IV» onynren51 0r11611511516 61105a M
ynpomen 3BcbyMchtrecKMfi 5135nc

It was, my lord; who lin’d himself with hope,

Eating the air and promise of supply,

Flatt’ring himself in project of a power

Much smaller than the smallest of his thoughts;

And so, with great imagination

Proper to madmen, led his powers to death,

And, winking, leapt into destruction (2H4, 1.3, 814) —

011 115ch11 66651 1166651101n1011 Metrrofi

III nonarancsl raK 11a 066111a11551,

Hro oqerncn c apivmefi B 66116

M B np0nacr5 p1111ync51, rna3a 3a1KMpr (nop11 Bapn0115tp, 326).
Cxara p6115 Facr1111rca 3a cqer napadapa3Mp0Ba11M51 3Bd)yMch1166KMx B51pa1K611MM:

Grant that our hopes- yet likely of fair birth-

Should be still-bom, and that we now possess’d

The utmost man of expectation,

I think we are so a body strong enough,

Even as we are, to equal with the King (2H4, 1.3, 814) —

I/IM610111M6651 y Hac 11011104

III 663 nopreM6epne11110B51x cyM610r

1T0Mep51r5651 c B0M6KaMM Kopon51 (FachHrc, 327).

HepeBon51 Bcex 11566 conepxar orKnon611M51 or 0p111'1111a1105 — MCKEDKCHMH M
60Kpa1ne11M51. M6Ka1Ke111151 B0311MKnM no 1166K0115KMM anthaMM: (1) B pe3y115rare
n051611MT6n5110r0 nepeBona, Korna HacrepnaK orcrynan or 1106110B1106rM 6 11611510
np051611611M51 6M516na Mecr, 116n0111111151x 663 K0MM6111apMeB; (2) B p63yn5rare pCIIIeHPISI

HacrepnaKOM CJTCIIYIOIIIMX IICpCBOLIHCCKMX 33113112 YHPOIIICHMSI M COKpaIJICHMSI TCKCT OB,

nepenaqM (popMa1151151x 06066111106refi OpMI‘MHaJTOB (chxorBopHoro pa3Mepa, 1111111151

196

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HeBepnoro npOtrrenMM 01116115115111 Mecr op1111111a1105.

B nepeBone «I‘aMnera» cep5631151x 01K11011611MM' or n0111111111111Ka 116M110r0.
H66K0n5Ko M3M611611 06pa3 FaMnera — eMy anImcaHa n0111101a M3-3a nenpaBM115110ro
nepeBona cn05a “complexion” M B51116ne110 raKoe KaquTBO, KaK ropnocrb, BMecro
«HGCTOJIIOOMSI».

«P0M60 M ny11561'ra» COIICpXMT 60115n16 56101111061611 M normecxMX 0mM60K.
M3-3a Herowocrefi nepeBona B3aMM001110m611M51M Mexny llxynwrrofi M l'IapM60M
annaH 601166 (ham/111551p115111 xapaKTep, a Mexny KopMMmmeM M l'Ierp0M y5611Mt1611a
601111a11511a51 11M61a1n1M51. Honymena nyramma B Bo3pacre rocnoxcM KanynerrM. B
011110M cnyqae 06pa111611M6 Lben561'1‘51 K P0Meo (M11M K caMOM 6666) B nepeBone crano
o6pan1611M6M K 66 MaTepM. HacrepnaK 0111a11 11a115 rearpan5110fi rpanvaM, BKmquB
peMapKy «cnena 11a 6311110116», Koropoii 1161 y IIIeKchpa.

B nepeBone «Orenno» nepBy10 6pa1111y10 110115 Orenno M 1163116M011a npoBenM n6
B rocr111111116, a 11a 50611110111 cxnane — apcenane; nonymenbl 1156 01nM6KM 6 nonapKOM
01611110 1163116M0116 — n11arK0M; y6pa11a 1161a115 M3 B11611111061M Ka66Mo —- 60po11a.

B nepeBone «Kop01151 J'IMpa» 3aM611611a 116er B 0611MKe Bnrapa-TOMa — ero
Harora anKp511a nep61111MKOM, a 116 011651110M. B pe3y1151a16 nenpaBM115110ro np0111611M51
61105a “judgment” MCKEDKCH 6M516n 61105 Kenra. C6p563110fi 0111M6K011 515115161651
rpaK105Ka IIOCJICIIHCI‘O pa31‘050pa 311rapa M 311111011111 5 Korop0M nep6011a1KM
06Me11MBa101651 an311a11M51MM, a 116 npon16111151MM npyr npyra. TaKan TpaKTOBKa 116
nepenaer xpMcmancxoe MMp05033p61me I.IIeKchpa, 0rpa3M51neec51 B 31011 6116116.

IIepeBo11 «A111011M51 M Kneonarp51» 116 60116p1KMT cep5631151x M6Ka1Ke11M1’1

COHCpxaHMSI. B OTJTIIIHMC 0T opm‘MHana, B LIByX CHCHaX HCCKOJIBKO IIOqupKHYTO

197

npeBocxoncho I.Ie3ap51 Han A111011116M, KpOMe 1010 B 6116116 neper050p05 c IToMneeM
annMero 311a11611116 JIenM11a B rpMyMBMpare. He nepenan naMeK 11a ceKcya1151151M
xapaKrep 01110156111111 Kneona1p51 M 1015151 I.Ie3ap51.

066 Mach «I‘enpnxa IV» conepxar 601151n06 Koanecho M6Ka1K611M11
COHCpXflHMSI, Korop516 16M 116 Menee 116 51166151 cep5631151x M3MeHeHMM B 610>Ker M
xapaK16p51 11566. 31M 0n1M6KM 6511111 nony11161151 B pe3ynbrare M1111 1166p61KH061M, M11M
orcyrchMn y HacrepnaKa K0MM6111apMeB, Korop516 M0r11M 651 np0516111115 116K010p516
TCMHBIC Mecra 11566. He6pexcr1061510 M1111 1165mmaren511061510 MOXCHO 065516111115
nepeBon “sheriff” KaK «6y11551». Honymena nyramma B onpeneneHMM Boapacra repnora
JTaHKacrepCKoro. MM51 6066156111106 “Field” nepeBencno KaK «n0n5111a»; HenpaBM115110
nepenano BpeM51 («1116615 3MM» BMecro 115yx n61); cnena1151 1156 01nM6KM B nepeBone
666611 nepconaxefi: 1) y HacrepnaKa anHn Feanx non 066355111011 MMCCT B BMny
(Dan561acpa, a y I.IIeKchpa — naxa <Da11561ad)a; 2) B nepeBone Bap110115d) 5516M6M5aer
na>Ka, a B oer1111an6 — 11011116 B516M6M5aer Bapnomscpa. Honymena McrothreCKan
1161011110615: (paKr M3r11a11M51 anHua Feanxa M3 KoponeBCKoro 60561a n011a11 KaK ero
orKa3 mm B 60561.

B nepeBone «MaK6era» M61151n6 Bcero cep5631151x MCKaerMM. Honymena
noqueCKan 0111M6Ka B nepeBone Mucnefi MaK6era, np0M311666111151x Bcnyx an
n051511611MM an3paKa 11y111<a11az B nepeBone MaK6eT r050er 06 y6MMche B
ancyrchMM rocrefi. HepeBon51 11566 conepxar M nper6, He CTOJIb cep56311516
01K11011611M51 or oer1111a1105.

IHeKchp B nepeBonax HacrepnaKa 6ay11116pM3Mp05aH, 110 116 B51x0110111611.
H6Korop516 Mecra 6 116an111111115111 conepxca11116M 0ny11161151, 110 B 60n5111MHche cnytraeB

OHM coxpane1151, XOT51 llaJTCKO H6 866F113 11613611311131 aHCKBaTHO. M0)KHO BbIIICJIMTb

198

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cnyqa51x HCl’IpMJMIHbIC 611053 M 1(3113M6yp51 56p6531151 35611531110 (1135pMM6p, 611050
“whore” M 610 CMHOHMMH 5 116p65056 «01611110» 116p6111<0 56p6531151 K311 «15150xa»); (2)
1165pM11MII11516 611053 M cbpa351 3aMCHCHH 35¢6MM3M3MM; (3) QaMCHCHLI 5pyI'MM TCKCTOM;
(4) 011y1561151; (5) HCI'IpMJMIHOC 6056px311116 01p515K05 061136116110 y63511611116M
11011111166153 rpy651x 61105 M HaMCKOB; (6) 116 56p6113110 311611531110 60115511516150
K3113M6yp05 6 66K6y31151151M 113M6K0M. C6K6y31151106 6056pxa11116 5 6011551611 6161161111
60xp3116110 5 «01611110». 143 IICpCBCIICHHbIX mo «K0po115 J'I11p» M 060661510 «M35661»
6056px31 113MM61155166 K01mq66150 11611pM11111111061611,39 50310My Mx 116p650551 116
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63y11116pM3311MM 116p650505 061361651 011(p511551, 13K KaK 1161 noxyM611105,
IIOIITBerlIaIOIIIMX, 1110 H3616p1131< 6ay11116pM311p05311 IIIeKCIIMpa 50 606615611110My
11011M11y M 5 6001561615MM 60 CBOMMM 51(y63MM, 3310 HCCOMHCHHa 33556MM0615
HacTepnaKa 01 33113311111<05 116p6501105, p6531<10p05 M 1161130p05.

C>1<31M10, 5606x01111110My 51151 60xp311611M51 p355061p011M51, 6551M 501156pn1y151 566
556651 (110111 116 5 011M113K0501’1 6161161111), 110 116 566 1156651 6551M 60Kp3m61151 33 quT
Kymop. 01 Kymop M exam 161(6105 60115156 56610 11061113531111 066 113ch «1611pr3
IV», 0606611110 1-51 656113 2-10 31(13 (3 Kym0p51) M 2-51 6116113 4-10 31113 (3 Kym0p51)
nepBOM 11361M «1611pr3 IV» M 2-51 6116113 4-10 3513 510p011 5361M «I‘611pr3 IV» (4
Kym0p51). 3316M 61165y101 «I‘ 3M1161» M «P0M60 M bey1156113». H61 Kym0p 5 «AHTOHMM
M K1160531p6» M «K0p0116 JIMpe». B «Kopone J'IMpe» M «MaK66TC» 1161 65yt1365

35315116555010 6X31M51, 3310 1111 MHOI‘O 5 «01611110», 060661510 5 mm 5110, 1116

 

39 Ha 310 yKa3515311 HaprMIDK. CM.: Partiridge, Shakespeare’s Bawdy, 54.

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n

199

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011y1561111516 01p515KM 116 1py111151 51151 56p650113. 310 011106M1651, Hanpmep, K HByM
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0111111, 0606611110 x3p31¢16p1106 51111 116p650113 «I‘611pr3 IV», TOXC 65060661505350
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