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| | <div class="oldspell">{{Отексте | | <div class="oldspell">{{Отексте |
| | | АВТОР = [[Уильям Блейк]] (1757—1827) | | | АВТОР = [[Уильям Блейк]] (1757—1827) |
| − | | НАЗВАНИЕ = [[Иерусалим. Эманация Гиганта Альбиона (Блейк)|Иерусалим. Эманация Гиганта Альбиона]]/Лист 22 | + | | НАЗВАНИЕ = [[Иерусалим. Эманация Гиганта Альбиона (Блейк)|Иерусалим. Эманация Гиганта Альбиона]]/[[Jerusalem/22|Лист 22]] |
| | | ЧАСТЬ = | | | ЧАСТЬ = |
| | | ПОДЗАГОЛОВОК = | | | ПОДЗАГОЛОВОК = |
| Строка 27: |
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| | {|width=100% | | {|width=100% |
| | |- | | |- |
| − | |bgcolor= valign=top width=48%| | + | | valign=top width=48%| |
| | __NOTOC__ | | __NOTOC__ |
| | <h3><center>Лист 22</center></h3> | | <h3><center>Лист 22</center></h3> |
| − | |bgcolor= valign=top width=2%| | + | | valign=top width=2%| |
| − | |bgcolor= valign=top width=48%| | + | | valign=top width=48%| |
| | <h3><center>[[s:en:Jerusalem. The Emanation of the Giant Albion/Plate 22|Plate 22]]</center></h3> | | <h3><center>[[s:en:Jerusalem. The Emanation of the Giant Albion/Plate 22|Plate 22]]</center></h3> |
| − | |bgcolor= valign=top width=2%| | + | | valign=top width=2%| |
| | |} | | |} |
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| | [[Файл:Blake Jerusalem Plate 22 copy E.jpg|center|400px|thumb|<center>Jerusalem The Emanation of The Giant Albion, copy E, object 22 (Bentley 22, Erdman 22, Keynes 22)</center>]] | | [[Файл:Blake Jerusalem Plate 22 copy E.jpg|center|400px|thumb|<center>Jerusalem The Emanation of The Giant Albion, copy E, object 22 (Bentley 22, Erdman 22, Keynes 22)</center>]] |
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| | + | <center> {{R|Текст охраняется авторским правом.}} </center><!--{|width=100% |
| | + | |- |
| | + | | valign=top width=48%| |
| | + | |
| | + | {{poemx1|| |
| | + | |
| | + | «О Альбион, твоими страхами окружена, я вся дрожу! |
| | + | Когда сыны твои меня распяли на вратах своих, |
| | + | Явился Скоффилдов Нимрод — сей сильный зверолов пред Иеговой, |
| | + | Он с сыном Хушем снял меня с распятья и принёс |
| | + | {{nr|5}} К своим войскам в златом ковчеге, и хотя здесь тень моя парит, |
| | + | Плоть множества живых меня с рождения вскормила — |
| | + | Готовилась моя еда в кровавых битвах человека. |
| | + | О как прекрасен лай Нимродовых собак в долине |
| | + | Видений — в час, когда над нею вьётся дух войны. |
| | + | {{nr|10}} Любовь побеждена! Здесь ненависть царит взамен любви, |
| | + | А долг и право торжествуют над свободой. Для меня |
| | + | Ты был любимым сыном неба, но теперь как мне укрыться |
| | + | От ужаса в твоём лице, от ищущего взора? |
| | + | И в душу заглянув того, кого я так любила, |
| | + | {{nr|15}} Грех прозреваю в тайном уголке, и не могу вернуться». |
| | + | |
| | + | И Альбион вновь подал голос под луной безмолвной: |
| | + | |
| | + | «При свете дня узрел я гордую и чистую красу любимой. |
| | + | При свете дня узрел я, как иллюзия невинности исчезла!». |
| | + | |
| | + | И отвечала Иерусалим: «О Альбион, отец мой, |
| | + | {{nr|20}} Что сделал ты с душой моей? Все фибры из неё ты вынул |
| | + | И, словно лён, их разложил на солнце для просушки! |
| | + | Прекрасна радость детская, но если вскрыть её, |
| | + | Смертельным ужасом она тебя ошеломит. |
| | + | Что в ней отыщешь ты? Лишь мрак отчаянья и скорби!» |
| | + | |
| | + | {{nr|25}} И повернувшись к Иерусалим, так молвил Альбион: |
| | + | |
| | + | «О скройся, Иерусалим, в неосязаемую бездну, пусть никто |
| | + | Рукой к тебе не прикоснётся, оком не узрит, |
| | + | Как будто нет тебя, и никогда никто тебя не обнаружит. |
| | + | А ты, о Вала, нож возьми и выпусти мне кровь |
| | + | {{nr|30}} Всю до последней капли! Скрой меня в кровавой скинии твоей, |
| | + | Я Луву мною убиенного зрю в призраке моём |
| | + | Как зрю я Иерусалим в тебе, туманной и холодной…» |
| | + | |
| | + | И руку протянув к луне, так вопрошала Иерусалим: |
| | | | |
| | + | «Зачем завесу Наказанье ткёт железными колёсами войны? — |
| | + | {{nr|35}} Когда её должно свивать Прощение крылами херувимов!» |
| | + | |
| | + | И долгий Альбиона стон пронёсся над горами: |
| | + | |}} |
| | + | | valign=top width=2%| |
| | + | | valign=top width=48%| |
| | | | |
| | {{poemx1|| | | {{poemx1|| |
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| − | [[File:Blake Jerusalem Plate 22 copy E.jpg|center|400px|thumb|<center>Jerusalem The Emanation of The Giant Albion, copy E, object 22 (Bentley 22, Erdman 22, Keynes 22)</center>]]
| |
| | Albion thy fear has made me tremble; thy terrors have surrounded me | | Albion thy fear has made me tremble; thy terrors have surrounded me |
| | Thy Sons have naild me on the Gates piercing my hands & feet: | | Thy Sons have naild me on the Gates piercing my hands & feet: |
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| | Loud groand Albion from mountain to mountain & replied | | Loud groand Albion from mountain to mountain & replied |
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| − | </poem>{{poem-off}}
| + | }} |
| | + | |
| | + | | valign=top width=2%| |
| | + | |} |
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| − | [[File:Blake Jerusalem Plate 22 copy E top detail.jpg|600px|thumb|center|<center>Two separate figures that have been explained differently: as Spectre & Emanation, as Vala & Albion, as Vala & Jerusalem and as Leda & the swan.</center>]] | + | [[File:Blake Jerusalem Plate 22 copy E bottom detail.jpg|center|700px|thumb|<center>The design is related to lines 34-35.</center>]] |
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| − | [[File:Blake Jerusalem Plate 22 copy E bottom detail.jpg|600px|thumb|center|<center>The wheels and angels, illustrating lines 34-35.</center>]]
| + | == Примечания == |
| − | ==Notes== | + | {{примечания}} |
| − | <references/>
| |
| | | | |
| | + | ''Лист 22.'' Текст украшен летающими птицами (справа) и ангелоподобными фигурами. Две разлетающиеся в разные стороны фигуры ангела и женщины вверху над текстом трактуются комментаторами по-разному: как спектр и эманация ''(Дэймон)'', Вала и Альбион ''(Уикстид и Эрдман)'', Вала и Иерусалим ''(Грант)'', Леда и Лебедь ''(Стивенсон)''. Внизу под текстом изображены четыре ангела (или вернее четыре группы, в каждой из которых угадывается по три ангела, так что их здесь всего двенадцать). Они парят над тремя пылающими зубчатыми «железными колёсами войны», на три четверти погружёнными в воду, что особенно ясно показано в копии “E”. Рисунок этот относится к строкам 34-35: |
| | | | |
| | + | {{poemx1||Why should Punishment Weave the Veil with Iron Wheels of War |
| | + | When Forgiveness might it Weave with Wings of Cherubim |
| | | | |
| | + | «Зачем Наказание Свивает Завесу Железными Колесами Войны, |
| | + | Тогда как Прощение должно Свивать её Крыльями Херувимов?»|}} |
| | | | |
| | + | 1-24. Многие строки диалога Валы и Иеруcалим ''(1, 10-12, 14-15, 20-24)'' в переработанном виде перенесены сюда из поэмы ''«Четыре Зоа» (Ночь первая, 4)'', где они произносятся Энион и Тармасом. |
| | + | |
| | + | 2. Сыновья Альбиона, практикующие друидическую религию, пригвоздили Валу за руки и за ноги к воротам своего города, чтобы принести её в жертву своим богам и тем самым подчинить себе силы природы. |
| | + | |
| | + | 3-4. ''«...Скоффилдов Нимрод пришёл – сей сильный зверолов пред Иеговой, / И с сыном Хушем снял меня с распятья».'' – Библейский Хуш сын Хама и отец Нимрода. Выражение «Скоффилдов Нимрод» можно объяснить тем, что Блейк ассоциирует Скоффилда с Адамом, называя его земным отцом всех своих братьев ''(7:42-43)'', и таким образом, Нимрод, названный Блейком сыном Кобана ''(7:19)'', оказывается внуком Скоффилда. ''См. Нимрод.'' |
| | + | |
| | + | 34-35. Эти две строки проиллюстрированы внизу страницы. |
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| − | 23:7 But thou! O wretched Father!] Jerusalem now speaks.
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| − | 24:58 Dead . . . Alive] mended from dead . . . alive
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| − | 24:60 Followed by a line deleted almost without trace; compare 47:1.
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| − | Plate 26, engraved in white line, portrays “HAND” in flames and with nails in his extended palms, turned toward “JERUSALEM”, who lifts her hands in amazement. The rhymed lines are incised in outline alongside the figures.
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| − | 27:15 Willans] mended (perhaps from “Williams”)
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| − | Plate 28 exists in an early state (in a proof page in the Morgan Library); extensive changes were made in the picture, but not the text, before final printing. Female and male figures embracing in the center of a large flower were re-engraved from a position in which they could be assumed to be copulating to one in which they could not. Perhaps illustrating Jerusalem-Vala's attempt “to melt his [Albion's] Giant beauty, on the moony river” (19:47). (In 1977 the Morgan acquired another working proof, intermediate between the early and the final states.)
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| − | Plates 29-46 are found in two arrangements. The sequence followed here is that of copies A C F; numbers within brackets indicate the sequence of copies D E.
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| − | 29:47 involve] Possibly a mistake for “involves”; yet the construction “behold the cloud involve me” would not be unBlakean.
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| − | 31:18 States . . . Systems] These two words, in an unevenly deleted line, are somewhat conjectural.
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| − | 32:34 Conjectural restoration of deeply gouged deletion.
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| − | 33:1 Line added (by engraving) after the etching of the plate.
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| − | 33:10 blue] mended from pale (in all copies, but restored to “pale” in A; a proof exists of the unmended plate)
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| − | 35:6 Line crowded into a paragraph break, before etching, but indented to go with second paragraph.
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| − | 35:10 Line crowded into paragraph break, before etching.
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| − | 37:32-35 (reverse writing, on scroll):
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| − | Each Man is in his Spectre's power
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| − | Untill the arrival of that hour,
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| − | When his Humanity awake
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| − | And cast his Spectre into the Lake
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| − | These lines are close to the final draft in the Notebook (p 8- misbound as 12) except for an unfinished 2nd stanza. A rearrangement of the 1st stanza lines was tried by numbering them 4, 3, 1, 2, but the numbers were canceled. Here is the Notebook text:
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| − | [4] [This world]<Each Man> is in
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| − | [the]<his> Spectres power
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| − | [3] Untill the arrival of that hour
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| − | [1] [Untill]<When> [the]<his> Humanity awake
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| − | [2] And cast [the]<his own> Spectre into the Lake
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| − | And there to Eternity aspire
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| − | The selfhood in a flame of fire
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| − | Till then the Lamb of God
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| − | 40:40 Line lacking in proof (Morgan Library); added to plate by engraving.
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| − | 42:47 friend] sic, probably a parody of “aborred fiend”, though possibly a scribal error
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| − | 43:28 rocks] etched locks, but see line 2; emendation suggested by Joanne Witke
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| − | 43:83 trembling] mended from Albion slept (though “slept” is conjectural)
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| − | 47:1 Blake probably did not delete this line because of its redundancy with the plate's concluding line (for a similar refrain enclosing a plate, see America 9) but to accommodate some rearrangement of plates subsequently abandoned.
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| − |
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| − | [Begin Page 811]
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| − | 49:35 Void] ground rdg on plate, error in copying Milton 5:22
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| − | Plate 51, a full-page illustration, was inscribed “Vala Hyle Skofield” when issued as a separate print. Monogram WB in lower left corner (for use with separate print) is visible in copy A and posthumous copies.
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| − | Plate 52. The 7 stanzas beginning “I saw a Monk . . .” are an almost exact transcription of stanzas numbered 1 to 7 in a much longer draft in Blake's Notebook (p 8—misbound as 12). In order of composition these seven were originally stanzas 1, 2, 3, 4, 15, 16, and 14. (For another poem, of nine stanzas, drawn from the same Notebook draft, see “The Grey Monk” in the Pickering Manuscript, below.)
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| − | 1 Charlemaine] Constantine 1st ms rdg del
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| − | 3 as we] where he ms rdg
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| − | 5-8 A variant stanza was written beside this in the ms:
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| − | Gibbon plied his lash of steel
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| − | Voltaire turnd his wracking wheel
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| − | Charlemaine & his barons bold
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| − | Stood by & mockd in iron & gold
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| − | Another variant ms stanza was written in the margin:
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| − | The Wheel of Voltaire whirld on high
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| − | Gibbon aloud his lash does ply
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| − | Charlemaine & his Clouds of War
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| − | Muster around the Polar Star
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| − | (The final line 7 was composed after these variant stanzas were rejected.)
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| − | 7 The Schools . . . rolld] Charlemaine & his barons bold 1st ms rdg del
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| − | 9 Thou . . . afar] Seditious Monk said Charlemaine 1st ms rdg del
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| − | 10 In vain . . . War] The Glory of War thou condemnst in vain 1st ms rdg del
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| − | 11 your . . . you] thy . . . thou ms rdg
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| − | 17-20 When Satan . . . mercys Lord] ms stanza“5” (variant: Mercys), replacing:
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| − | Untill the Tyrant himself relent
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| − | The Tyrant who first the black bow bent
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| − | Slaughter shall heap the bloody plain
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| − | Resistance & war is the Tyrants gain
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| − | 21 Titus! Constantine!] O Charlemaine O 1 st ms rdg del
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| − | 23 Grecian Mocks] mocks & scorn 1st ms rdg del
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| − | 25 For a Tear] For the tear 1st ms rdg del; A tear 2nd ms rdg
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| − | 25-28 Variant ms stanza, abandoned but not deleted:
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| − | But The Tear of Love & forgiveness sweet
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| − | And submission to death beneath his feet
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| − | The Tear shall melt the sword of steel
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| − | And every wound it has made shall heal
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| − | (The “feet” in the second line are the Tyrant's.)
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| − | The following stanza, numbered “8”, was begun, alongside stanza 7:
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| − | a Grecian Scoff is a wracking wheel
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| − | [The] Roman pride is a sword of steel
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| − | [Vict] Glory & Victory a [?Ron][<plaited>] [?Trojan] phallic Whip
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| − | (“Ron” a start on “Roman”? These lines first a variant of stanza 2?)
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| − | 27 of a Martyrs] for anothers 1st ms rdg del; of the Martyrs 2 nd ms rdg
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| − | 53:8, Line added within a paragraph break, before etching
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| − | 53:24 Line added within a paragraph break, before etching
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| − | 55:20 Conclave] etched Concave, clearly wrong for the context
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| − | 56:37 earth-Worm] mended by pen to earth-Worms in copy F, perhaps not by Blake
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| − | Plate 57. In the illustration are the names “York London Jerusalem”.
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| − | 58:3 Street] possibly a mistake for Streets
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| − | 60:55 Not: but] Keynes emends to Nought but (yet compare 93:20 and 96:16; perhaps the intended opposition is “Art thou alive! or art thou Not:”)
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| − | 63:5-6 Albion's bringing Luvah “To justice in his own City of Paris” (here and in pl 66) points to a date of composition after one or more probably both the Treaties of Paris of 1814 and 1815. See Erdman 430[466].
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| − | 65:62 him from his] etched him from him his
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| − | [Begin Page 812]
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| − | 69:1 combined] mended in copper to conjoined (restored in the Mellon copy by pen)
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| − | 72:53 Mirror writing: Women the comforters of Men become the Tormenters & Punishers
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| − | 73:37,Deletion covered by vines in most copies; legible in posthumous copies, under magnification.
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| − | 73:43 Deletion covered by vines in most copies; legible in posthumous copies, under magnification
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| − | Plate 76 is a full-page illustration, with the names “Albion” and “Jesus” incised beneath its two figures. “Albion” is deleted in copies D E; “Jesus” in copies C D E F.
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| − | 77:1-4 I give you . . . wall] Four lines from Blake's Notebook (p 46 reversed)
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| − | 77:1 give] have given 1st ms rdg del
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| − | 77 The Real [Selfhood] . . . Man] incised in the bottom corners of the plate, partly legible in copy F and in posthumous copies. (The fourth segment is G. E. Bentley's deciphering.) Blake first deleted “hood” and later the whole passage.
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| − | Plate 81. The mirror writing in the inscription reads:
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| − | In Heaven the only Art of Living
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| − | Is Forgetting & Forgiving
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| − | Especially to the Female
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| − | But if you on Earth Forgive
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| − | You shall not find where to Live
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| − | 81:15-16 Since these two lines appear below the illustration, they may be considered as its caption; but they also serve as part of the text. (Keynes prints them as such but in a note says they are not part of teh text.)
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| − | Plate 82 shows many signs of haste. The deletion in lines 47-48 should perhaps be respected as a successful revision, but that in lines 67-68 leaves an awkward gap.
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| − | 82:43 his hands . . . & his feet] written his hands . . . & his hands
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| − | 83:1 Corruptibility] etched Corrupability mended in copy E
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| − | 83:30 Affection] mended from affection
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| − | 83:87 Awake] Whether given an exclamation point or not, this word seems to hang in midair. Plate 84 (different in technique, lettering, content) obviously did not originally follow. Part of the Daughters' song of building appears to be lost.
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| − | 85:11 Myriads] mended from myriads
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| − | 88:30 sending] etched sendinding
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| − | 89:2 endure] The plural subject of this verb must be the “double” nay “Twelvefold” Hermaphroditic form.
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| − | 89:26 flocks] Rocks in previous transcription, corrected by Bentley
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| − | 90:58 And] mended from and
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| − | 90:67 thunder's] I have inserted the apostrophe called for by the syntax and context; it is the thunder of Los that utters Plate 91.
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| − | 91:1 Preceded by a deleted line which I can partly decipher as “Forgiveness of Enemies ?can [ ] only [ ] God [ ]”
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| − | Plate 92 includes an illustration inscribed “Jerusalem”. A deleted line follows 93:1.
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| − | 94:27 Line probably added during a rewriting of the page. (Examination of Plate 95 reveals that the text of Plate 94 was first etched in the top half of 95 and was probably identical to the re-etched version except for this line.)
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| − | Plate 96 is etched on what was once the lower left quarter of a large plate on which Blake had etched a commercial manifesto for “MOORE & Co's Manufactory & Warehouse, of Carpeting and Hosiery Chiswell Street. MOOR-FIELDS” in 1797 or I798.
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| − | 98:11 Sexual Threefold] mended from Sexual Twofold (The plate bears other signs of hasty writing.)
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| − | 98:34 regenerations] mended from regenations
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| − | 98:45 the Covenant of] mended from thy Covenant (thy Covenant restored in the Morgan copy by pen)
| + | == Ссылки == |
| | + | * [http://www.blakearchive.org/exist/blake/archive/erdgen.xq?id=b1.16 www.blakearchive.org Электронный текст из издания Эрдмана] |
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| − | 98:48 Sacrifices] The terminal “s” almost hidden by the decorative border—but not a true deletion.
| + | <small>© Д. Смирнов-Садовский. Перевод. Комментарии.</small> |
| | | | |
| − | Plate 99 bears traces of an earlier use of the copper for some architectural and vaguely scenic design, not identified.
| + | {{CC-BY-NC-ND}} |
