JYVSKYL STUDIES IN THE ARTS

UNIVERSITY OF JYVSKYL

JYVSKYL 2003
Editors
Erkki Peuranen
Department of Languages, University of Jyvskyl
Pekka Olsbo and MarjaLeena Tynkkynen
Publishing Unit, University Library of Jyvskyl

ISSN 00754633
ISBN 9513914461

Copyright by University of Jyvskyl

Jyvskyln University Printing House, Jyvskyl 2003

 3

ABSTRACT
Zakharov, Nikolai
ekspir v tvorteskoi evoljutsii Pukina
Jyvskyl: University of Jyvskyl, 2003, 283 p.
(Jyvskyl Studies in The Arts,
ISSN 00754633; 83)
ISBN 9513914461
Finnish summary
Diss.

The present thesis is concerned with the problem of Pushkins creative evolution under the
influence of Shakespeares creative works, with a special emphasis on his play Measure for
Measure. The central focus of the research is Pushkins creative development, his spiritual,
philosophical and artistic growth during the years of his studies of Shakespeare, namely,
from early 1820s up to his death in 1837.
The essence of the problem can be summarised as follows: the dialogue between
Pushkin and Shakespeare is a significant part of the history of Russian literature and
philological studies. This thesis attempts to examine the presence of Shakespeare in
Pushkins creative works, the latters reference to the formers plays as well as his
characters and plots. The research delineates the terms of Pushkins Shakespearism,
providing a detailed analysis of Pushkins texts and its degree of dependence on
Shakespeare.
The study presents a detailed analysis of the traces of Shakespeares influence in one
particular poem by Pushkin, entitled, The Angelo. This poem was named after
Shakespeares infamous character from his socalled problem play Measure for Measure.
Prior to writing Angelo Pushkin undertook an attempt to translate Shakespeares play.
Pushkin translated the first scene from Measure for Measure in 1833, but abandoned the
project in order to create his own original literary product. Pushkins incomplete, albeit
successful (one might even venture to call it brilliant!) translation was a first step towards
the composition of his poem The Angelo. Many Russian and foreign researchers share the
common opinion that Pushkins remake of Measure for Measure is not only as good as the
original, but even more complete than Shakespeares play. Pushkin changed the genre,
plot, composition and the conception of Shakespeares characters. He changed the title of
Shakespeares creation and gave the poem a new original spirit, with a Russian accent,
wherein lies the most important part or even the embryo of his creativity. Nevertheless,
most of the poems text consists of Shakespeares words and appears to be a free
translationrecreation.
Pushkins work on the poem The Angelo reflects his need for spiritual growth and
creative evolution. Pushkins main artistic aim during this period of his creative evolution
was the embodiment of the national character in Russian literary tradition. Pushkin, like
his predecessor and mentor Shakespeare, also participated in creation of the national
literary language of his native country.
The present study attempts to provide a comprehensive account of Shakespeares
influence on Pushkin which will be elaborated during defence of this thesis. The completed
research is fundamental for the philosophical generalisations that underline comparative
research on these two geniuses, the English, Shakespeare, and the Russian, Pushkin.

Key words: Pushkin, Shakespeare, comparative research, creative evolution, adaptation,

translation
Authors address Nikolai Zakharov
Petrozavodsk State University
Department of Russian Literature
185640 Petrozavodsk, Russia
Email: nikoltine@yandex.ru

Supervisor Professor Tatjana Mal'chukova

Department of Classical Philology
Petrozavodsk State University
Petrozavodsk, Russia

Reviewers Professor Viatsheslav Koshelev

Department of Russian Classic Literature
Novgorod State University after Yaroslav the Wise
Novgorod the Grate, Russia

Professor Erkki Peuranen

Department of Languages
Russian Language and Literature
University of Jyvskyl, Jyvskyl, Finland

Opponent Professor Viatsheslav Koshelev

Department of Russian Classic Literature
Novgorod State University after Yaroslav the Wise
Novgorod the Great, Russia


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The Northwestern State University Of
Louisiana (Natchitoches, U.S.A.), 1996
(Helaine Razovsky).

(Measure for Measure ),


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3.2 ................................................ 54
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3.4
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4.2 ............................... 112
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.................................................................................................. 258

TIIVISTELM ....................................................................................................... 263

............................................................ 267
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1 Aleksandr Sergeevich Pushkin (17991837) means to Russian what Shakespeare means

to the Englishspeaking world... Pushkins life coincided with the golden age of Russian
poetry, and he was the cynosure of what came to be called the Pushkin plead of poets
(Terras 1991, 204).
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38

; 1831
Crabbe, Wordsworth, Southey Shakespeare
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40

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54

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56

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.
 57

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Le Furet de St. Petersbourg, 1831, 6, 21
; . : [. . ]
// . 1831. 6. . 8384; [ . .] ,
// . 1831. 2. . 244246; [ .
. ] // , 1833, 1. . 117147, 2. . 289327.
54
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( . 1977, 33).
55 . . ,
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58

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59 . : . . .
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 61

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III
( 1880, 224), 63
(.: 1887,
7176). . .
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63 , ,
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5, . 1, : Yet heres a spot <> Out, damned spot!
out, I say! .: 1997, 6.
62

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 63

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64

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 65

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( 1996, 1314).
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,
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66 ., : " ,
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: " , / ,
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66

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67 (. II. ., 1824)
, 1825, . XXX XXXI. . :
1977, 93116.
68
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. 150151). 1821 . ,

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 67

( 1996, 363364). ,
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(Ibid., 362). ,
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, (Ibid., 365).
: ,
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(Ibid., 391392). ,

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, (Ibid., 365366)69.

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.

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. .
,

69 .: (
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.
( 1996, 365).
68

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( 1996, 363).

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70 , , , , ,
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(1831, . 1833 .) ,
, , , ,
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71 . 1883. . II. 3. . 206. .: 1931, 361368.
 69

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70

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(Ibid.),
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( 1999, 331),
.
1821
,
.
. ( 1972, 244). . .
:

,
, .

( 1999, 331).
,
, , ,
. .,
, ,
Cours de littrature dramatique, traduit de l'allemand
par mme Necker de Saussure (ParisGeneve, 1814, t. II, p. 174175)
. . :
, ;
,
; ,
; ,
(Ibid.).

: , ,
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72. . . : ,
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,


( 1999, 332). . .
V

72 . . . () // . 1839. . IV. 27. . 51.

 71

( 1910, 13). V (III, 4)

,
,
( 1999, 332)73. :
,
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P. .
. .
:
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( 1999, 333),
, ,
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(Ibid.).
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,
,
Pie voleuse
( 1927a, 4950), ,

, 8 I
. ,
. . :
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,
.
,

( 1927b, 56). ,
,
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73 . . ,
, (., , .
) ,
( 1999, 334).
72

, ,
( 1898, 686). ,

.
. . : ,

,

( 1999, 333334).
:
,
: ,
,

( 1972, 255).
,
74,
( ),
,
1820 ( 1996, 5. .: 1967, 339
350; 1974, 5885). ,
, 75.

76. . . :
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,
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,
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( 1965, 16).
. . ,
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74 .: 1999, 248282. ., ,
. . , ,
, : ,
.

(, 1831, 4. . 557).
75 . . . .
1934
. . (), . . (), . .
(). . . . .
(1936), .
, .
.: 1936, 205211.
76
: 1941, 365436; 1951; 1965; 1967, 339356.
 73

, ,
( 1974, 6061). ,
,
,
( 1974, 61). , . .
, ,

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,
.
, . XVI .,
,
,
( 1974, 70).
. .
, :
,
. ,

, ,
,
.
( 1974, 62).
(Buland 1912), . .

,
( 1974, 62).
,
, ,
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,
, (Ibid., 63).
V ,
,
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,
( ,
: ,
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, (Ibid.).
,
,
74

.
,

.
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.
,
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:
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,

( 1974, 63).

, (. II, . 1)
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( 1974, 63).

, .

III ,

( 1974, 64),
, ,
( 1478 1485 ); :
, ,
, 17 ,
,
( 1974, 64). ,

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,
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( 1974, 64).
,
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 75

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, 5 (.
),
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. 6 (
) 7 (
), ,
, . . ( 1974, 6566).

. ,
. . , , :

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, ,
( 1936, 207). . . ,
, , ,
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. 24
,
( 1951, 71).
,
, ,
, 77.

, . .
III (. III, . 7) ,
IV (. II, . IV, . 5)

. , . 7 . III III,
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IV,
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77 . . ,
( 1974, 66).
76

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IV .
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 77

( 1974, 67; 1983, 197).

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( 1974, 67).

. .
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IV IV
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78

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 79

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80

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Pushkin: a critical study ( Shaking off Shakespeare). ,

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80 one of the guiding hands behind the writing (Briggs 1983, 160).
 81

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81 Nevertheless his article shows how Pushkin learned to direct his attention to his own
national past and specifically to the depiction of bloody dynastic feuds and, more
importantly, how Pushkin imitated Shakespeare by creating a drama which was
fundamentally real, a creation like life itself. Herford points out that all of Shakespeares
nine histories deal with usurpation, murder, the removal of other pretenders and often
the awaiting Nemesis. Each ruler has to take account of the considerable power of his
own nobles. An important innovation in the Russian theater is Pushkins recreation of
Shakespeares human truth, the mixing together of lofty personages from history with
common folk, cobblers children, fools, gravediggers and the like. He discusses
similarities between the Inn Scene in Boris Godunov and that in Henry IV, Part I
(Briggs 1983, 161).
82 The minor character Margeret is based upon Fluellen (Henry V). Richard III is recalled
by the seizure of power after the murder of an innocent child (cf. also King John and
Macbeth), while Boriss feigned reluctance recalls that of Julius Caesar and also that of
Gloucester (Richard IIItobe) and his unease and foreboding put us in mind of those of
Macbeth and Richard. Dimitrys career recalls that of Bolingbroke up to his accession;
Bolingbroke figures prominently in Richard II and will later become Henry IV whose
cares of state will be reflected in those of Godunov. Their deaths, as we have seen, were
similar; full of guilt and foreboding, they hope their sons (rightful heirs, not usurpers)
will be happier and more successful. Kurbskys joy on returning to Russia reminds us of
Richard IIs emotional return from Ireland. The address made by Gavrila Pushkin (no
relation) to the crowd may owe something to Mark Antonys, and so on (Briggs 1983,
161).
82

)
,
. ( 10)
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83 It is difficult to resist the temptation to add to this list. Each new reader will see his own,
new borrowings. For instance, in Richard III, Clarence, Gloucesters brother, tells of a
dream in which Gloucester knocks him down from a great height into the see and he is
drowned (Act I, scene iv) The recitation of the dream, the fall, the correct foretelling of a
tragic fate (thought in Pushkins case this does not come within the play) bring to mind
Dmitrys dream in the fifth scene of Boris Godunov he falls from a high tower. When
Boris presses Shuysky (scene 10) for verification of the death of Dmiry, saying: Didst
thou recognise the murdered child? he speaks and behaves like the anxious Richard III:
But didst thou see them dead? (IV, iv). At another point Richard number the enemy (V,
iii) and his chances seem good; Dimitrys appear to be less promising when he does the
same thing in scene 18. Then there are the reflections by Boris on conscience: these
remind us of many such reflections in Shakespeare, in Henry IV, Richard III (Richard and
the second murder as well as in Macbeth and Hamlet (Briggs 1983, 161162).
84 .: Shaw 1991, 135. Shaw 1994.
2002 : 2002.
85 .
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 83

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: For you and I are past our dancing days (Romeo and Juliet, Act.
I, Scene 5).
,
( 1997, 58).
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Jul. Whats in a name?
Rom. Call me but love and Ill be new baptized87. (1863: II, 3, p. 884)

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Jul. O, swear not by the moon, the incon
Stant moon,
That monthly changes in her circled orb...
Or, if thou wilt, swear by thy gracious self,
Which is the god of my idolatry,
And Ill believe thee88. (1863: II, 3, p. 884)

87 .: , .
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84

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 85

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86

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Nurse. What's this? what's this?
Jul. A rhyme I learn'd even now
Of one I danc'd withal.
[One calls within, Juliet!]
Nurse. Anon, anon:
Come, let's away; the strangers all are gone!
[Exeunt]
Enter Chorus.
Now old desire doth in his deathbed lie,
And young affection gapes to be his heir;
That fair, which love groan'd for, and would die,
With tender Juliet match'd, is now not fair.
Now Romeo is belov'd, and loves again,
Alike bewitched by the charm of looks;
But to his foe suppos'd he must complain,
And she steal love's sweet bait from fearful hooks:
Being held a foe, he may not have access
To breathe such vows as lovers use to swear;
And she as much in love, her means much less
To meet her newbeloved any where:
But passion lends them power, time means to meet,
Tempr'ing extremities with extreme sweet. [Exit] (1863: I, 5, p. 883)89

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 87

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, ( 2002, 310).
Rom. If I profane with my unworthy hand
[To Juliet]
This holy shrine, the gentle fine is this,
My lips, two blushing pilgrims, ready stand,
To smooth that rough touch with a tender kiss.
Jul. Good pilgrim, you do wrong your hand too much
Which mannerly devotion shows in this;
For saints have hands, that pilgrims' hands do touch,
And palm to palm is holy palmer's kiss.
Rom. Have not saints lips, and holy palmers too?
Jul. Nay, pilgrim, lips that they must use in prayer.
Rom. O then, dear saint, let lips do what hands do;
They pray, grant thou, lest faith turn to dispair.
Jul. Saints do not move, though grant for prayers' sake.
Rom. Then move not while my prayer's effect I take. [Kissing her.] (1863: I, 5, p. 882)90.

,
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88

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Cap. You are welcome, gentlemen! I have seen the day,
That I have worn a visor; and could tell
A whispering tale in a fair lady's ear,
Such as would please; 'tis gone, 'tis gone, 'tis gone!
[........................................]
Ah, sirrah, this unlook'dfor sport comes well!
Nay, sit, nay, sit, good cousin Capulet!
For you and I are past our dancing days:
How long is't now, since last yourself and I
Were in a mask?
2 Cap. By'r lady, thirty years.
1 Cap. What, man! 'tis not so much; 'tis not so much!
'Tis since the nuptial of Lucentio,
Come pentecost as quickly as it will,
Some fiveandtwenty years; and then we mask'd.
2 Cap. 'Tis more, 'tis more! his son is elder, Sir!
His son is thirty.
1 Cap. Will you tell me that?
His son was but a ward two years ago. (1863: I, 5, p. 882)91

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 89

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90

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92

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93 I suggest that it was precisely the opening scenes of Julius Caesar that gave Pushkin a
way to refashion Karamzins fauxnaif, even Romantic, portrayal of the will of the
people into Machiavellian study of charisma and the crowd (Greenleaf 1994, 172).
94 The first four scenes of the play show us the Russian people yearning for political
stability and national prosperity; they implore Boris to become tsar. He refuses and then,
in the manner of Shakespeares Julius Caesar, accepts with a show of reluctance
(Briggs 1994, 159).
94

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) (Greenleaf 1994, 190).
,
:
Macmorris. It is no time to discourse, so Christ save me! The day is hot, and the
weather, and the wars, and the king, and the dukes. It is no time to discourse. The
town is beseeched, and the trompet call us to the breach, and we talk, and, be Chrish,
do nothing.
Jamy. By the mess, ere theise eyes of mine take themselves to slomber, ayll do gud
service, or ayll lig I th grund for it! Ay, or go to death! And ayll payt as valorously
as I may, that sall I surely do, that is the breff and the long. Mary, I wad full fain
heard some question tween you tway.
Fluellan. Captain Macmorris, I think, look you, under your correction there is not
many of your nation
Macmorris. Of my nation? What ish my nation? Ish a villain and a bastard, a knive,
and a rascal! What ish my nation? Who talks of my nation?
Fluellan. Look you, if you take the matter otherwise than is meant, Captain
Macmorris, peradventure I shall think you do not use me with that affability as in
discretion you ought to use me, look you, being as good a man as yourself, poth in
the disciplines of war, and in the derivation of my pirth, and other particularities.
Macmorris. I do not know you so good a man as myself. So Chrish save me, I will cut
off your head!
Gower. Gentlemen both, you will mistake each other.
(Act 3, sc. 2, lines 97124)

( ). ! ! ! ! , !
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. poshol, , .
. Quoi? Quoi?
. ! ! , , ;
.
. Qu'estce dire pravoslavni?... Sacrs gueux, maudite canaille! Mordieu,
mein herr, j'enrage: on dirait que a n'a pas des bras pour frapper, a n'a que des
jambes pour foutre le camp.
. . Es ist Schande...
. Ventresaintgris! Je ne bouge plus d'un pas puisque le vin est tir, il
faut le boire. Qu'en ditesvous, mein herr?
. . Sie haben Recht.
. Tudieu, il y fait chaud! Ce diable de Samozvanetz, comme ils l'appellent,
est un bougre qui a du poil au cul. Qu'en pensez vous, mein herr?
. . Oh, ja!
. H! voyez donc, voyez donc! L'action s'engage sur les derrires de
l'ennemi. Ce doit tre le brave Basmanoff, qui aurait fait une sortie.
. . Ich glaube das.
. Ha, ha! voici nos Allemands. Messieurs!.. Mein herr, ditesleur donc
de se rallier et, sacrebleu, chargeons!
. . Sehr gut. Halt! Marsch!
. Hilf Gott! (. .)
 95

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96 Such a recitation of apparent borrowings might give the impression that Boris Godunov is
little more than Shakespeare with a Russian overcoat on. In fact it is not like that at all.
Pushkin changes so much that the play is truly personalised and Russified. How is this
done? (Briggs 1983, 162).
96

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97 First, Pushkin localises his material firmly in Easter Europe and overlays it richly with
so many details of Russian life and history that it gathers its own authentication. The age
of Godunov is illustrated by references to cathedrals and icons: the robed Patriarch, Tsar
and nobles; the plan of Muscovy which little Fedor is busy drawing; the yurodivyy, an
idiot boy gifted with prophecy who, although in this play he may give something to
Lears fool, is nevertheless an established Russian phenomenon; traditions and practices
of a particularly Slavonic character (like the habit of inverting an empty wineglass and
rapping of the bottom of it to call for service), and also by music, for the play contains a
number of folk songs or laments closely related to folk music. There are geographical
references not only to Russia (including several named towns) but also to Poland, the
Ukraine and Lithuania. Historical references abound: Monomakh, Ivan, Feodor, right
back to the Varangians, Pimens chronicle, Boriss memories, a long speech by the
Patriarch. There is certainly no danger of the reader imagining the action to be anywhere
but in Eastern Europe of the sixteenth and early seventeenth centuries (Briggs 1983, 162).
98 Second, Pushkin asserts his independence in an individualised style of theatrical action,
at some points very different from his sources. He uses one or two scenes of very short
duration, he changes locale with greater frequency than Shakespeare and he has a good
number of characters who are used only once (Briggs 1983, 162).
99 Third, Pushkins use of language is more sober, downtoearth and truetolife than
Shakespeares. He presents a broader range of differentiated manners of speech, so much
so that he was much criticised at first for the shocking vulgarity of the dialogue in, for
instance, the inn scene (Briggs 1983, 162).
 97

100.
,
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.
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XIX ,
, .
, , VII ,
, V ,
. (poor)
!
,

100 Fourth, he seems in some ways deliberately to assert his independence from
Shakespeare. The Inn Scene, for example, is quite unShakesperean. There is no really
drunken behaviour to speak of, no bawdiness or knockablout humour. Instead the scene
is tight and tense, involving three confrontations and a sharp climax (Briggs 1983, 163).
98

<...>
, XIX .
, ,
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(Reynolds 1936, 2122).

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 99

101.
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( 1957, 6869, 1974, 7374).
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101 at one point Boris is said to have consulted astrologers but there are no luminous
Shakespearean soothsayers or witches to direct the action. The play is actually about
ethical conduct, uneasy conscience and political responsibility (Briggs 1983, 160).
100

,
.
.

.


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 101

4.1 ,

(1825) The
Rape of Lucrece ( ,
Measure For Measure).
, 1830 ,
( ):
1825 . ,
102 , :
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102 . . , The Rape of Lucrece

:
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2000 ) , ,
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103 . . ( 1908, 387387) ,
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102

, , , ,
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(XI, 188).
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( 1957, 74). , . . ,
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The Rape of Lucrece) :
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259). ,
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104 Pushkin's ideas about the role of chance in history as they are artistically rendered in
Count Nulin can be traced back to Boris Godunov. Insofar as it is a "parody of history,"
Pushkin's mock poem represents also a parody of Boris Godunov. Count Nulin recreates a
situation that markedly diminishes the historical role of accidental events, reducing it
almost to zero. Boris Godunov, by contrast, presents a highly volatile historical
atmosphereone that increases the impact of chance and special influences, similar to
the episode from Roman history utilized by Shakespeare in his poem Lucrece. In his mock
 103

. . ,
20
:
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( 1937, 349357), , ,
, ,
,
105.
. .
, ,

( 1937, 355)106.
I,
,
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, 107,
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1829 2 3 , :
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poem and his tragedy Pushkin experiments with two different contextsprivate and
historicaltesting the role of chance in history. In The Captain's Daughter, a historical novel
that treats history in a "domestic manner," Pushkin strives to combine in one text a
historical realm with a private one in order to reveal the dynamics of chance and
necessity both in history and private life. As Boris Eikhenbaum observed, the relationship
between private life and history becomes one of the central issues of the literature of the
1830s (1962, 279) (Evdokimova 1999, 75).
105 : ,
, .
; , .
.
(Mably 17941795, 86).
106 .:
,
. ,
,
1825 . ,
( 1974, 79).
107 . (1828,
4 150); (1828, 12); (1829,
5 12), (1829, 1), (1829 6)
(1829, 2 3).
108
,
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(. VII, 129).
104

.

, . . : ...
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,
( 1996, 7).
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 105

( 1972, 271272). ,
tout court ,
. . . The rape of Lucrece
,
110.
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His falchion on a flint he softly smiteth,

That from the cold stone sparks of fire do fly,
Whereat a waxen torch forthwith he lightenth...

, ,
(stallionlike nature) (stallion 1. , ; 2. .
, ),
, ,

110 Pushkins parody of Shakespeare exemplifies the art to perfection: it is exactly imitative,
reductive in terms of length and tone, yet devoid of malicious intent (Briggs 1983, 104).
111 "Tarquin is filled with Machiavellian scheming, weighing the risks of his conduct against
the demands of his passion, seriously torn between dread and desire. Nulin is scared but
hopeful, tense but terribly amusing. Tarquin is described solemnly as this lustful lord;
Nulin ironically as our ardent hero..." (Briggs 1983, 104105).
112 Tarquin throws his mantle rudely oer his arm (and he will need it to protect him
against the cold in the castle) whereas Nulin dons a gaily decorated silk dressinggown
(Briggs 1983, 105).
106

, 113.
. . ,

.
:
,

,
,

. (V, 10)

, ,
: , .
, ,
.
,
,
.
, ,
:
,
, .

, ,

... , ,



, ?

, ,




...
,
, ,
, , ,

, , ,
, ! (V, 1011)

113 This is in keeping with his stallionlike nature and in one line here Shakespeare cleverly
calls up ten of the strong monosyllabic words in which the English language is
particularly rich in order to avoid feminine mellifluousness and create an impression of
bold, strongstanding masculinity (Briggs 1983, 105).
 107

. . ,
, , ,
:
Yet, foul night walking cat, he doth but dally,
While in his hold fast foot the weak mouse panteth

,
, :

,
,
:
, ,
,
, ,

. (V, 10)

. .
114. ,
. ,
, ,
,
, ()
.

.
, , . . ,
( 1996, 9).
. .
. , 40 50
(40 or 50 lines of mock heroics),
. :
, ,
, .
,
.
265
, (
ababbcc), ,
, 1, 325 ,
530 , 1,855 .

114 He (Pushkin . .) appropriated it for his own use, deciding, however, to extend the
feline implications and use them to depict his own hero. Nulin, after knocking over the
chair, is represented by the following slightly extended metaphor in which the cat, for all
its predatory intent, is somehow emasculated by comparison with Shakespeares
(Briggs 1983, 106).
108

370 115.
,
, ,
. ,
.
, ,

,
116. . .
, , .
, ,
. '
',
,
,
. 117,
.
, .
,
.
, ,
. , ,
,
,
, ,
. , ,
, ,
. ,
, , 118.

115 Pushkin strips everything away from Shakespeare, changes his characters into their
opposites and ends up telling only superficially similar story in his own way. For the
wellinformed he also manages to imply that the original poem is overblown to the point
of absurdity. Its turgidity is ridiculed by Pushkins attitude to Shakespeares 265 complex
Chaucerian septets of the type known as rhyme royal (rhyme ababbcc), consisting of five
pentameters rounded off with a hexameter couplet, which comes to 1, 325 pentameters
accompanied by 530 hexameters, no less than 1,855 lines in all. Pushkin rendered them
down to 370 freely rhymed tetrameters with a joke in every line (Briggs 1983, 106).
116 the poem does more than serve as a grotesque mirror of a grand, largely forgotten
poem. The story has been Russified, ruralised and modernised, taken over by Pushkin as
his own to such an extent that, if we were to remove the two or three references to Lucrece
and with it Pushkins wellknown note on the poem, only the lynxeyed or imaginative
would see any connection between the two (Briggs 1983, 107).
117 ,

: God damn! (V, 169).
221 : ? (V, 9)
, ( 129),
: W. Scotta (V, 167).
118 This poem contains more satire than parody. Nulin himself is an absurd fop but he
represents a type not unknown to contemporary society and worthy of a satirical shaft or
two. He has something in common with the superfluous man soon to become a
 109

. . ,
, , .

: (
) , ,

( 1937, 174). . . :
, ,
,
( 1996, 10).
. . .
,
,
,
, , ,
. , ,

( 1974, 78).
, ,
.

: ,
( 1996, 10). . .

(
,
)119,

traditional figure in nineteenthcentury Russian literature, though he is spiritually too

shallow and sexually too dynamic to pass for an adequate representative of the species. A
pretentious gallomaniac, he has lost all contact with his native country. His come
uppance is merited and we rejoice in it. His significance is expressed in his name, the
English equivalent of which would be Count Nullity. The other two characters, Natalya
and her husband, are portrayed sketchily but with full conviction. They tell us much
about the rural landowning class, adding to the store of knowing to be gleaned elsewhere
in Pushkin Their boring lives, trival pursuits, dismal distractions, inadequate
personalities and spiritual impoverishment are encapsulated in this small narrative poem
the sociological content of which, although presented in an offhand manner, is a matter of
consequence. What is depicted here is that vulgar emptiness of character described by
Gogol as poshlost, yet there is no jaundice in its description. There is little enough malice
anywhere in Pushkin and not an iota in Count Nulin which is as lighthearted as a
summers day (Briggs 1983, 107).
119 ,
. ,
,
, .
. . 1830
(1969)
: ,
; ,
, .
, , .
110

, ,
( 1969a, 88).
. : ,
,
,
( 1926, 45).
,
,
.
,
, ,
,
( 1996, 10). . .
,
( 1957, 76), ,
. . , , ,
, ( 1996 10).

(
19 ), , . . ,
: ,
.
:
,
( 1957, 76). . . ,
, The
Rape of Lucrecia , ,
, 1830 :
, ,
, ,
(Ibid.).
, , . , ,
. ,
. . , 14
. ,
,

( 1996 10). ,
. . . ,
, ,
.
:
<> (XI, 431)

,
( 1969b, 29).
 111

, , ,
: ; :
,
<> (XI, 431). 1825 .
,
,
;
( 1974, 79. .: 1909, 485; 1937, 350
353).
. . , ...
.
,

( 1909, 485).
, (
/
; V, 1011), "
( 1974, 79). . .
:
(.
. . ).
, ,

( . 1941, 453).
, , . .
, . .
. .
( 1974, 79).
:
, ,
,
( 1926, 45),
,
( 1937, 352),

, , ,
( 1957, 7576),
The Rape of Lucrece (, )
, ( 1972,
259), ,
,
, , ,
, ( 1981, 95).
" " ,
, (
112

, ,
120), ,
( 1962, 235239),
. :
, ,
, .

,
( 1995, 6061).
, ,
The Rape of Lucrece.
,
Pushkins Parody of Lucrece.

, ,
(.: 1972,
259).

4.2

: ,
, ,
, ,
.
;
,
( 1972, 259260). ,
,

120 . : 1974, 240280; 1995, 6071; 1996, 729.

(Ibid., 1216). . .
, ,

.
, ,
, (Ibid., 17),
, ,
. ,
,
, ,
. . ,
. ,

, . . ( 1978, 1617).
 113

: . .
1830 . (., 1829).
,

( 1972, 260), ,
121.
,
:
( . . .)
couleur local ,
,
... ( 1972, 260). : ,
, , , , ,
, , concetti.
(XI, 83)122.
123 . .
,
(. III, . 1),
. .

( 1972, 260).
. .
: ( . . )
, , ,

;
,
Juliet124, Juliette Julia;
, , . . ,
. , , 30
:
. . ( 1825 .)
121 ., .: , , ,
.
,

, (XI, 83).
122 .
.
123 : , ,
, , ,
, ,
. ,
, XVI (XI, 83).
124 .
.
Juliet, Isabella .
, ,
.
114

Schakespear (30 1829 .): Scheks<peare>;

30 ( 1972, 260. . ,
: 1965, 304313).
,
( . . ),
. . ,
, : ,
,
, ( 1855,
169). . . . . ,
, , . . 21 1830 .:
,
: 1) ,
? :
: , ,
, ( )... 2)
, (. . )
( 1885, 353).
? ,
, ,
? ( 1972, 261).
. . , ,
( , ,
), ,
.
: ,
,

( 1999, 169). . .
,
, ,
Tabletalk, 1834 .
. . :
, 18261836 .,

( 1972, 261262).
, (1826)

: ,
, . (XI, 40);
,
(1827) ,
, ,
,
 115

, ,
, , (XI, 61).
1828 .
:
, ,
(XI, 73). .
(18291830) : Shakespeare, , Walter Scott
(XII, 195).
(1830)
: , ,
, , ...
, , ,
? ? ...
, , ,
(XI, 419).
. . , ,
25
1830 , ,

(As You Like It) ( 1972, 262). .:
, :
, ? ,
,
, 1830
(XII, 178).
1830 .
. . ,
( 1830, 15).
, ,
, , ,
( 1972, 262).
. . , ,
, .
3 III
,
(Audrey) , , ,
: , ,
. ?
? : ,
( . 1939, 462
464).

.

.
116

, ,
.

.
,
,
125. , , 1830 .
. .
. (., 1830),
(
1972, 263264). 22 1830 (. 244
245) ,
. . :
.
. ,
, ,
. .
, , , ,
, , !! ,
( 1934, 505). 1833
,
. . 126. . .
, ,
. . . , , ,
,
. .
. . ( 1972, 264).
. . , ,
. . , 1836
( 1910, 115, 424).
127.
. .
: ...
: ,
. .

; ,

125 ,
1830 . ,
. . . . . ,
,
1828 . ( 1961, 191192).
126 . . .
( 19261935. . III, 572573).
127 21 1836
. .
. .
. .: 1956, 556557.
 117

,
;
15
1837 ., ;
1844
( 1972, 264265). . . :

, .

, , . ,
, : Midsummer nights dream
,
( 1966, 8392).
. . :
:

: <> <>
<> ( ,
1830; XI, 179). 1830
,
. : Sh<akespeare>, , W.<alter> Scott
. (
<>) , la dignit et la
noblesse. Ils sont familiers dans les circonstances ordinaires de la vie, leur parole
n'a rien d'affect, de thtral mme dans les circonstances solennelles car les
grandes circonstances leur sont familires128 (XII, 195).

,
,
, ,
,
,
.
. .
, ,
129,
. , . .
( 1972, 266), . .

128 : .
, , ,
,
(.) (XII, 482)
129 , ,
, , .
, ,
, ( 1888, 199).
118

( 1935, 491) . . ( 1958, 444)

.
, ,
.
. 130 "Tabletalk" ( ),
131,
183436 .
, , ,
,
:
, ;
, ,
.. (XII, 157)132.
,
(
,
. . : 1964, 41, 1134), :
: . ,
,
:
Je ne suis point jaloux ... Si je l'tais jamais!..133 (XII, 157)

. . ,


. (1829); ,

( 1960, 14). . .

, ( 1972,
268).

130 Hezlitt, William. Tabletalk: or original essays. Paris, 1825, 2 vols; Specimens of the
Tabletalk of the late Samuel Taylor Coleridge. London, 1835. : 1910,
246, 974 198, 760. .: 1926, 139140.
131 (VII) , (XVIII)
(1837. . VIII. 4. . 226 234236).
132

', .
,
, , , : ,
. ,
,
:
, ,
, , (XII, 351).
133 : " ... !"
. .: 1960,
1314.
 119

, ,
, , ,
, ,

: , ,
? (XI,
158). ,

,
. ,
, ,
,
(1835) , ,
(Ibid.):

,
?
,
.
: ,
,
,
, ,

.
(VIII, 269)

, 30
, . .
. .
, 18301831 .
.
, 18361837 ..
. . ( 1972, 266).


, ,
.
, I.
(18271829).

( 1972, 266),
. . :
, ,
. ,

. ,
120

( 1986,
213214).
1824 .
. .
134: , ,
.

. ,
, , , , , ,
,
,
( 1986, 214).
, , ,
,
( 1980;
1981): ,
, . . .
,
, , ,
. ,
.
( 1986, 214).
:
,
. :
,
, , . ,
, .
,
(VIII, 13), .
,
(Ibid).


, .
,
, , ,
. . ,
.
( ,
1823; , 1825),
Orlando Furioso (1826),
. ,

134 : (XII, 157).

 121

. ,

( 1986, 214). ,
, ,
, , ,
, ,
.
,

: ,
, , , ,
; , ,
;
(XII, 159160).
,
, ,
: C ;
, , , ,
(XII, 160) , . . ,
.
, .
,
( 1960, 267).
.
, , ,
, , ,
, , ,
(XII, 160)135. ,
, :
, , ,
, . , ;
.
: ,
,
,
(XII, 160). , ,
:
. , .
, .
. , .
(the Sack)136, ;
, , (XII, 160).

135 . . ,
( 1972, 270).
136 the sack, . . ,

122

,
.

, :
. ,
, ; ,
! (XII, 160).

4.3

. . ,

;
( 1972, 283). ,
(1830)
(. 5, . 1),
( ,
, VIII,
89) , . . ( 1928, 111112),
, XXIV
. , ,
, .
, ,
.
III (. V, . 4) A horse, a
horse! My kingdom for a horse! . .
11 1831 ., . . ,
,
, (1831, 16
). (1830)
(III, 214), , ,
. . . . ( 1926, 122124),
,
(Scorn not the sonnet, critic)
(Ne ris point des sonnets, , critique
moqueur): , ,

, ,

IV ,

,
( 1972, 270271).
 123

( 1972, 284). ,
. . ( 1930, 124), . .
(1836),
, ,
(III, 420). ,
,
Alfred Musset,
. ,
. ( ) , ,
: ,
.
(1828),
. . (
)
.
12 19, ,
(Briggs 1983, 88).
, . . ,
,
.
,
,
.
(1829)
,

:
,
;

,
,
... (III, 159)

, , 137,
,
,
( 1972, 272).

.
, 1830 .

137 ,
, , . (III,
726).
124

,
,
( 1972, 273).
. .
,
XVII ., , ,
,
( 1972, 273).

. , , . .
,
, 1841
III138:
III
( III) 139, , ,
, , ,
.
; , ,
,
( 1841, 246).
. , , ,
( 1960, 73).
( III, 2 I ,

138
. . , ,
,
( 1999, 280). ,
. . , , , ,
,
, , . . .
,
, ,
, ,
, ,
( ,
, ),
( ),
(
: ,
, ,
), .
, ,
:
, , ,
, . ( 1910, 16).
139 , , . .
: III.
,
. II I
, .
.
<>
( 1960, 312).
 125

,
IV, )140.
. . :
,
:
, , , , ,
( 1995, 56). :
,
. , , :
, ,
,
. , ,
,
. , ;
,
:
, .
;
, ,
(
), (Ibid.).

(
?): ,
. (
, ) .

140 . . :
III ,
, ,
, ,
. ,
, .
. . , ,
2 I (
, , 2 II ;
) ,
:
: : . :
Juliet
How cam'st thou hither, tell ,
me, and wherefore? ,
?..
; And the place death,
, conidering who thou ,
art, ,
If any of my kinsmen find
. (VII, 169) thee here. (Romeo and
Juliet. Act II, sc.1). .
, . .
,
,
( 1958, 189).
126

? ;
:
? (. . ).
.
. :
? ( )
: () !. ,
,
... (, 1991, 107).
,
, ,
,
(XI, 64).

, . .
: ,
,


( 1972, 273274).
: (,
, , ), ,
, , ,
, , ,
( 19531959. . 7, 563).
. . . . 2 1853
, ,
, :

<...> ,
,
,
, ,
, , ,
, ,
, ,

?... (VII, 113)

: ,
( 1961. . II, 121).
. . , ,
, ,
,
( 1929, 218220). . .
 127

, :
, ,
(. III, . 4).

(. V, . 1). (. I, . 4):
Why the sepulchre,
Where in we saw thee quietly in urn'd,
Hath op'd his ponderous and marble jaws,
To cast you up again! (1863: I, 4, p. 911)141

,
(. III, . 2), II
IV ,
(. I, . 4). , . . ,
.
, :
( 1929, 218220). .

( 1992, 183). . .
( 1969, 1720).
. :
. ,
remorse ,
, remorse ( 4, . 1; 1824: 167).
'' (., .,
Shakespeare 1974: 275, .) piti
(Shakespeare 1821, 13: 390).
remorse, ' ',
,
, ,
.

( 2002, 382).
,
.

142,
: ,
, :

141 ,
,
,
? ( 1960. . 6, 30; . . ).
142
,
.
128

,
( 1998, 108).
. . ,
,
,
, ,
, , ,
, .
,
, ,
.
.
, ,
( 1988, 193).
. .

( 1996, 7071).

. , , .
,
, ( 1937,
416): ,
(1669),
,
(1665)143. , . .
:
. ,
.

, ,
.
, ,
, , ( 1960, 309).
. ,
( )
( ) Tabletalk (XII, 159160)
,
( 2002, 367). ,
,

(

143 , ,
(15711648),
, .
 129

2), ,
(Ibid.).
, .
: , ,
. :
, , ,
.
, ,
,
, ,
, .
. , ,

,
, .
,
, ,

,
. , ,
,

,
.
, ,
( , ,
). ( 2)
,
. ,
, ( 2002, 367368).
,
,

. , . ,
: ,
( )
( 2002, 368).

,
, ;
, ( 2002, 368).

: ,
( 2002, 368)
130

?
!
. (VII, 102)

, ,

covetous .
,
, ;
, (2.36. 36)
, , . . ,
, , . avarice.
,
( 2002, 368369).
:
: The Covetous
Knight144.
covetous .
Covetous Knight
( 2002, 366). . , covetous
; ,
,
,
, ,
(Ibid.). , . ,
covetous
V,
: I am not covetous for gold... / But if it be a
sin to covet honour, /I am the most offending soul alive (4.3. 2429) (...
, ,
...) ( 1992).
.
.
,

, , ,
( 1, 3), , (
2, 1).
23 , , 1,
( 2002, 370).
. ,
, : ,

144
(17141763), .
.
 131

. . ,
,
,
, ,
.

(Ibid.).
.
, :
,
. ,
,
, . ,
,
.
,
,
,
, ( 2002, 371).

, 5, 1:

Bassanio. . Sweet Portia,

If you did know to whom I gave the ring,
If you did know for whom I gave the ring,
And would conceive, for what I gave the ring,
And how unwillingly I gave the ring,
When nought would be accepted but the ring,
You would abate the strenghth of your displeasure
Portia. If you had known the virtue of the ring,
Or half of worthiness that gave the ring,
Or your own honour to contain the ring,
You would not then have parted with the ring.
(1863: V, 1, p. 203204)

5 , ring,
, if when;
,
: ,
( 2002, 371). .
,
145.

145
(VII, 46).
132

, . ,
.
,
, , (
2002, 372).
,

. .
, , ,
, ()
, .
daughter ducats
, ducats
( 2002, 372).

( 2, 8, 1863 .):

Solano. My daughter! ducats! daughter!

Fled with a Christian! Christian ducats!
Justice! the law! my ducats, and my daughter!
A sealed bag, two sealed bags of ducats,
Of double ducats, stol'n from me by my daughter!
And jewels; two stones, two rich and precious stones,
Stol'n by my daughter! Justice! find the girl!
She hath the stones upon her, and the ducats!146
Salerio. Why all the boys of Venice follow him,
Crying, his stones, his daughter and his ducats.
(1863: II, 8, 191)

. ,
, .
,
3 .

3, 1,
, :

: . ,
...
: ? ? , ?
: ... .
: ! ! ? ?
: , .
: , ! , , !
? ?
: , , .

146 .
 133

: : !
! !
(1863: III, 1; 162)

, . , ,
,
, ( 2002, 373).
,

, ,
,
. ,
: (), ( )
( ) ( 2002, 373):

. , .
. , , .
. , .
. , , : .
. , .
. ? ?
?
. , .
( , 1, 3; 1824: 155156)

. ,
. ,
.
,
( 2002, 374).
3 1
, 1863 .:

Shylock. Fair sir, you spit on me on Wednesday last;

You spurn'd me such a day, another time
You calld me dog; and for these courtesies
I'll lend you thus much monies.
Antonio. I am as like to call thee so again,
To spit on thee again, to spurn thee too.
If thou wilt lend this money, lend it not
As to thy friends; (for when did friendship take
A breed of barren metal of his friend?)
But lend it rather to thine enemy;
Who, if he break, thou may'st with better face
Exact the penalty.
Shylock. Why, look how you storm!
(1863: I, 3, 186)
134

. /,
. ,
. ,
( , .1. 4647),
, ,
, ,
, . ,
, . , ,
, .
,
, , :
, ,
,
( 2002, 374375).
.
, ,
( 2002, 375),
,
, ,
.
, .
,
,
, , , , ,
. . ,
, .

,
,
. . ,
.
,
, , ,
, .
:
,
.
, ,
: , ,
, ,
( 2002, 375). , . ,
, . , ,

. , ,
,
 135

: .
.
, ,
: , () ( 2002, 375
376).

.
, .

, ,
. , ,
, ,
,
; ,
, (
) ( 2002, 379).
.
,
, .
,
: , :
(. 10. 77)
, , ;
. ,
( )
, ,
, ( 2002, 380).
, ,
,
,
. ,
. , ,
,
.
,
: , , ,
IV ( 2002, 382383).
. ,
,
, ( 2002, 383),

IV: , , , ,
,
. ( )
, (
136

). (stingy), (covetous)
, , ,
(Ibid.).
. ,


,
:
, .
, , .
,
.
,
. ,
, ( ,
).
; , ,
, , ()
( 2002, 399).

. . , ,
,
. ,
. (
) . ,
, ;
, , ,
,
. ,
, ,
. ( )
, " ",
" " ( 2002, 399400).
, ,
,
.
. .


IV ( 1981, 280).
,
,
:
 137

Fal. Glasses, glasses, is the only drinking

and for thy walls, a pretty slight drollery, or
the story of the prodigal, or the German hunt
ing in water work, is worth a thousand of
these bed hangings and these fly bitten tapes
tries. (1863: II, 1, II Henry IV, p. 426427)147

. . ,

IV, ,
.
. . , ,
,
,
. IV ,
, ,
( 1987, 115): that you would
think, that I had a hundred and fifty tattered prodigals, lately come from
swinekeeping, from eating draff and husks (1863: IV, 3, Henry IV, p. 413)148.
. .
, , ,
: There's his chamber, his house , his castle, his standingbad, and
trucklebad; 'tis painted about with the story of the prodical, fresh and new149.
(IV, 5, p. 28)
,
. . :

IV.
,

. , ,
,
.
,
, .

,

147 , .. ,
, , ,
,
. . IV / . . .
( 1937. . III, 401402).
148 ,
, .
. . ( 1937. . III, 334).
149 , , ,
, ( IV, 5).
. . . ( 1937. . I, 587).
138

. , ,
,
, (
1987, 116).

. . : , ,
150;
, ,
: , ?
. ?...

?... ( 1910, 15) ,
:
odi t amo;
,
,
.
:
, ,
, .
, , :
:
(Ibid.). , ,
. . ,
,
: , ,
,
. ,
: ,
, ,
,
.
, ,

150 ,
, . .
,

, (is not a better
work). (E. Blom, Mozarts Death. Music and Letters, 1957, October, vol. 38, 4, p.
315326). . , ,
, : ,
, . .
, , ,
. . . ,
: ,
, , ,
. ,
,
( 1962, 256).
 139

,
, ( 1910, 1516).
. .
:

,
,
, ,
?
!... (VII, 124)

, , .
( ).
, :

, ,
, : To be
or not to be.
, , ,

. ( 1996, 55).
. . , ,
to the happe few ( ),
, :
, (VII, 133), ,
V
( 4, 3) ( 1986, 222).

. . . . . ,
,
, :
,
. , ...

. ,
, ,
, ,
, ( , 1991, 87).

,
, ,
,
, ,
, ,
140

,
. ,
, ,
,
151. ,
,
. ,
, , , .

. , ,
, , .
, ,
, , ,

(, 1991, 87). ,
,
,
,
,
.
. . ,
(. I, . 3), ,
(1832),
:

;
.

.


... , ...
,
... ...
! :
.
(VII, 193)

. . ,
, (. I, . 3).
:
: . :
Cleo. Courteous lord, one word.
Sir, you and I must part, but thats not it: , !
Sir, you and I have lovd, but theres not it; ... , .

151 ,
, , ,
.
 141

That you know well: something it is I would, ... , .

O, my oblivion is a very Antony, ?
And I am all forgotten. , .
Ant. But that your royalty
Holds idleness your subject, I should take you ,
For idleness itself. , .
Cleo. Tis sweating labour
To bear such idleness so near the heart , ,
As Cleopatra this. ,
(1863: I, 3, p. 716) ( 1968, 578).

, ,
. . , :
, ,
,
( 1903b, 224).
. . ( 1935, 137140).
.
, ,
,


( 1940, 182). . .
,

( 1935, 139).
. . ,

( 1934, 22). . . , ,
:

,
: , ,
( 1941, 320). . .

1824 ,
. ,
.
. . ,

, . ,

( 19561961. . 1, 6061).
,
( 19531959. . 7, 566), . .
( 1910, 16),
,

142

, , . ., ,
,
(Ibid.).
. ,
.
. , ()
, ,
:
...
( 1998, 310).
. . ,
(1835).

, ,
;
, ;
, , :
, , ,
, ,
( 1972, 8586).
,
.
. .
,
, , ,
,
,
,
. ,
,
,
, 152.

152 ,
. . , :
<> . ! . <>
. ! .
. : <>.
, ,
<>, . <> <>,
., <>, . !
, ( 1913, 79).
. . ,

. . (1821),
( 1972, 251).
,
1825 : ,
(XIII, 247248).
 143

, 20
.
.
.
: ,
, . :
.
,
.

: ,
,
,
.

.
5

5.1

1834 .

.
,
. ,
, ,
,
,
153.
,
: , ,
, . ,
, , ,
, ,
, ,
,
: , , . .154.

,
, 24 ,
;
, ,
,

153 , 1834, 22, 340341.

154 Ibid., 338.
 145

,
.
,

( 1834, 374-375).
Measure for Measure
, ( 1834,
375).
,
:
, .
, ,
,
,
, (Ibid.).
. .
(, 1834, . VIII, (I).
38, . 173176), ,
, ,
:
, !
( 19531959. . 1, 21). . .
, ,
(1846 ., . XLVIII, 10, . V. , . 41
68). :
;
.
, . ,
.
, , ,
, , . :
.
( 19531959. . 7, 553).

. . .
155.

155
. , . . :
, , , .
,
( 1956
1961. . 2, 407, 408).
,
. . :
,
. ,
( )
.
146

. ( 1855), . .
( 1867, 448), . . . ,
1880
. . ,

:
, ,
,
( 1880, 227).

. . .
. .
,
,
.
( 1941, 351). ,

, :


. ,
( 1941, 253).
. . :
, ,
, ,

, , , (
, ) ,
, ( 1991, 36).
. . ,

:
, ,
,
156 ( ,
) . . ( 1900).
, . .

, ,
( 1991, 33).
156 ,
, Isabella, ,
Juliet.
.
.
 147

157, ,
XVXVI , .
. . , ,
,
,
I,
158. ,
, , ,
I... ( 1900, 158, 163164).
. .

( 1941, 349378).
, ,
. ,
, .
,
( 1941, 354). . .
:
, ,
,
, . ,
,
(Ibid.). :
, ,
,
, .
.
,
.

,
( 1941, 355). , , ,

159:
,

.

157 : 1934, 377389.

158 . . :
:
. , ,
( 1982,
103).
159 . . ,
, :
,
( 1941, 356).
148

,
. ,
, ,
,
. ( 1941, 356).

.
, 1965
. . , . . , . . . ,
. . ,
, ,
, . . . .
( 1966, 394398). , . .
,
:
. . ( 1972)160,
"" . . ( 1968, 7985),
. . ( 1975, 141153),
"" . . ( . 1995,
237252)161, " ", "" " "
. . ( 1976, 186192),
. . ( 1974, 77),
. . . . 1830 (18331836)
( 1982, 98130). ,
.
. .
. . ( ), ,

,

( 1975, 141153).

. .
"". ,
,
, ,

. ,
,
,
. . . ,

160 . .
( , 1965, ),
. 196198.
161 .: . .
. . . . . . , 1973.
 149

:
( ), ,
( ),
;
( .1995, 442)162.
. . ,
, .


I 1825
I,
I,
.
I .
, ,
, . .
, ,
( ) ( . 1995, 242).
, , ,

,
(Ibid.). , ,

, , . . ,
,
,
(, )
(), ( . 1995,
240). . .
I ,
, I ,
( ),
:

162 . . , . .
, , ,
: ..
/ , /
, / /
... ( 19571960. . 6, 173). (
!) ,
: (
), . :
, , .
(, , ,
. . , )
. (
!)
... ( 1982,
105). .
150

,
( . 1995, 241). . . : ,
,
. ,
( . 1995, 242).
, ,
( 1982, 106).
,
, . , . .

,
, .
. . . .

. :
,

. , :
, ,
. ,
,
:
,
( 1982, 107).
. . ,
, ,
I
. . .
, .
. . :
. ,
,
,
( 1982, 107). . . :
,
(
!), ,
, ,
, (Ibid.).
,
. . , .
, , ,
, , ( . 1995, 247).

, :
 151

.

( . 1995, 250)163.
,
, ,
164, . . ,
,
,
( . 1995, 244).

,
. . (.: . 1960, 134. 1986, 238).
, ,
. . 165, , ,
(XIII, 159),
,
?
, , ,
,
.
,
I,
,
,
,
,
. , 1833
,
I 166.

163 . . , ,
, ,
. . . ,
, :
, ,
(. . ., 1887. . 47) ( 1982,
108).
164 Duke: His act did not oertake his bad intent,
And must be buried but as an intent,
That perishd be the way: through are not
Subintens but merely thoughts (1863: V, 1, p. 116).
165 . . 15 1826 .
. ,
, ,

I. ,
.
166 . . . :
,
,
( 1986, 231).
152

, 167, . .
,
(
1825 . )
( . 1995, 243).
,
1830 , . .
,, ":
,
.
,
,
,
( . 1995, 14) . , . . ,
168

(Ibid.).
:
1830 .
.
,
, ... ,
,
, ,
.
"", ,, " ( . 1995, 16, 18)169.

,
.
. ,
,
,
. ( 1990. .
2, 184).
,

1833 (.: 1968, 7985;
1974, 8185; 1982, 110130). , . .
, (. . .)

167 Duke: Old Escalus,

Though first in question? Is thy secondary (1863: I, 1, p. 94).
168 30
.: 2000, 204215.
169 ( )
. . ,
, , ,

( 1982, 109).
 153

. ,
,
. : ,
, XVI
.
,
.

( 1982, 110111).

.
,
,
( 1982, 111). . . ,
,

.
, ,
.
,
, . ,
, , ,
<...> .
, ,
.

( 1982, 111112).
, :

()
.


,
,
,
.
( 1982, 112).
. . . ,
,
,
. ,
, ,
.
,
154

.
, 14
1825
.
.
.
.
, , ,
; ( !)
.
(Ibid.). . . : ,
,
: ,
. ,
: ,
, .
. ,
( 1982, 112113). ,

.
, .

, . . . ,

(), ,
( 1982, 113).
, :
, , ,
, ,
,
, ,
(Ibid.).
, ,
, .

.
. . . .
(
) . . .
,
: ,
,
, , .
<> .
( 2002, 102).
 155

. .
, :
, , ,
, , ,
: ,
, , ,
, .

. ,

( 2002, 91).
, :
( ) . ,
,

, (The nature of
our people, / Our city's institutions, and the terms / For common justice)
( , , ).
(/ , ,
)
:

( , ).

.
. . . .
. . 1830 :
,
.
(1833)170
.
.
, ,
, , ,
. , , / ,
, / , /
, /
, , ,
: .
, ,

170 , ,
, ,
. ,
. . :

. ( . 237447. , . 54).
( . . .)
156

.
, ,
( 1978, 4445).
:
,
, . ,
.
,

. , ,
, , ,
, ,
.
, .
,
.
,
:

, ,
.

,
. : ,
. , :
, . .,

, . ,
,
, :
, / ( 1978, 45).

,
. , . .

( . 1995, 238).
: ,
, . (VIII, 296), . .

, , ,
: . . / ,
( 19571960. . 6, 184.
. ).
. . . .

( 1999, 38)
 157

. ,
,
, .
;
( 1999, 37).
, ,
. . ,
I: , ,
. (Ibid.). ,

. . 25 1825 . (

. ?
?),
. . ,
,
( 1999, 3738).
. . :


, (1830).
,
, ,
. ,
,
, ; ,
, , ,
, (,
, ) ( 1999, 38).
,
.

. . ,
,
1833 .
, ,
. . ,
. ,

, . . , ,
,
. ,
.
,

158

, .

. , . ,
( 1983, 183192),
,
,
. . .
,
30 1833 , ,
: , ,
, ,
. .
, . ,
. , , (XIII, 90). ,
,
,
( . 2001, 221). ,

, .
,
.
, ,
. ,
, . ,
, ( 1983, 190).
, , ,
, ,
,

, ,

. , . ,
:
,

( 1999, 3334).

. , . .
(exceptional and atypical) .
,
problem
plays (, ),
 159

(problem poem)171.
. . :
, .
.
, ,
,
172. . .
. , , ,
, ,
,
,
(Mirsky 1926, 207). . . :
173.
:
(John Bayley) , (has
no flavour) (Bayley 1971, 186), (Walter Vickery),
(it leaves
behind a certain feeling of distaste for human kind) (Vickery 1970, 141),
(T. Wolf), ,
(Pushkin extracted the kernel of the play, but in
doing so he sacrificed its life) (Wolf 1952, 197). . .
,
,
.
174.
. .
, , ,
175.
, (John Wain):
, , ,
176.
(strange choice)

171 a problem
piece ( ). .: Vickery 1974, 6768.
172 Pushkins problem poem is Andzhelo. No one knows what to make of it. There is
virtually no received opinion as to its quality. Critics always have to admit either it is an
excellent attempt at something difficult which has a number of drawbacks or that it is a
misguided attempt at something impossible in which there are some leftovers of
Pushkian quality. The nonplussed attitude universally adopted of Pushkinian quality
(Briggs 1983, 112.
173 Since that time opinion has, if anything, hardened against it (Briggs 1983, 112).
174 Moreover, the writing of Andzhelo coincided with the composition of Pushkins
undisputed masterpiece The Bronze Horsemen and was thus credited in his maturity and
at an inspirational high point. For these reasons alone it deserves a close scrutiny
(Briggs 1983, 112113).
175 It comes as no surprise that he should revert to Shakespeare, but the choice of the
shapeless, unnatural Measure for Measure is scarcely what one might have expected
(Briggs 1983, 113).
176 This play is no doubt Shakespeares most interesting failure, all things considered, it is
(Wain 1978, 92).
160

(Walter Vickery):
,
177.
,
, , ,
,
, ,
. , . . ,
. ,
, . ,
. . : ,
,
,
,
. , , ,
178.
:

, ?
,
? 179
. . ,
,
(nonMuslim society)
,
(Briggs 1983, 113).
, . . ,
,
, ,
,
.
,
, 180.
177 Pushkins interest in Measure for measure had its basis in Pushkins own feeling of
vulnerability and jealousy caused by the Tsars attention to his wife (Vickery 1974, 336).
, . ( 1990. . 2,
184).
178 Certainly Pushkin reduced and refined his material as always, but he turned away once
more from the recognisable modern world in which all his most successful works are set,
ignored even the documented past and entered a remote fictional territory. The settings is
actually Italian but nowhere and no one in it is at all familiar (Briggs 1983, 113).
179 Why did Alexander Pushkin, at this advance stage of his career, suddenly turn to this
alien form, an awkward and stylised line of verse? Why did he tackle a subject lacking
any kind of verisimilitude and contemporary relevance? (Briggs 1983, 113).
180 On the one hand Pushkin adjusts and simplifies Shakespeares story, much increasing
its verisimilitude, especially at the climax and denouement which Shakespeare drags out
unforgivably for a whole act, convoluting the plot into still further torments foe Claudio,
On the other, there is nowhere near enough truthtolife for him to present this as a
straight story modernised like Count Nulin or made to seem like real history
(Briggs 1983, 113114).
 161

; , , , ,
, ,
,
. ,
, , ,

. . , ,
181.
. . ,

, .
, ,
. ,
,
, , ,
,
, ,
, ,
182.
. . ,
, ,
,
183.
,
,
, , ,

, .
, . .
: , (simple but unreal stories)
,
. , , ,

181 It seems mistaken to accuse Pushkin of a laps of taste or an inaccurate aim must have
known what he was doing and must have done it in the way he originally intended, in
view of his repeated defence and approval of the poem notwithstanding the antipathy or
idifference of his readers. The story, and the form in which it is recounted, re both of
them stylised, rendered artifical, removed from the norm governing both everyday life
and most of Pushkins literally experience. This was a conscious step. That, in turn, must
be the helpful clue in evaluating Andzhelo (Briggs 1983, 114).
182 It must not be compared with the bulk of his other poems for the comparison is without
profit. The same criteria can hardly be applied. It should be set apart, judged differently
and considered as far as possible in vacuo. It is not meant to effervesce with narrative
interest like Count Nulin or The Robber Brothers, nor to recapture the true spirit of a past
age, remote area or alien people, like Boris Godunov or the four Southern poems, it is
devoid of satire and parody, for all its closeness to the original play, and it certainly does
not tell a story for its own sake (Briggs 1983, 114).
183 they are presented here in a way which is unique in Pushkin but not unknown to
literature in general. (Briggs 1983, 114).
162

, :

, :
,
,
, , , ,
, ,
, ,
.
,

,
,
, .
184

:
, ,
.
,
. , ,
, , .
, , , ,
.
,
.
,
.
.
,
, .

, 185.

184 The very unreality of the events and the narrative actually underscores the moral truth
which is always the same: that good sence and natural love are more important than
rulemaking, that honesty and sincerity may be expressed only in what people do, not in
what they say in general terms that common sense, altruism, simple goodness of spirit
and human nature must triumph over stupidity, officiousness, inordinate selfseeking
and duplicity. The more unreal and stylised are the behaviour of the characters and the
presentation of the story, the more the write emphasises the gulf between the everyday
world of common sense and the inane posturings which are a potential development of
human behaviour realised occasionally by some individuals who lose their sence of
reality (Briggs 1983, 114115).
185 This complicated idea may be assisted towards simplification by reference to a different
art form, the painting of icons. Here, too, we encounter stylisation and such defiance of
the law of verisimilitude that in certain instance they are actually inverted. Perspective,
for instance, is often reversed in an icon so that parallel lines is obviously not to represent
the real physical world but to encourage the mind and spirit to soar upwards in a state of
receptivity. At the same time simplicity concentrates the attention by eliminating
distractions. This is why the faces on icons which look to the untrained eye like gloomy
or solemn countenances are intended to be merely devoid of expression. Thus the hand
 163

. .
186.
: , ?
,
:
,

187.
, ,
,
,
, ,
,

( 1966, 398).

:
, ,
( 1998. . 2, 233).
.

5.2

1833 ,
.
. . . . ,
, :
, " ",
, , , ,
, . ,
,
( 1998. . 2, 233).
, ,
. , ,

of the devoted artist prepares the mind of the onlooker for a spiritual experience. By not
dissimilar methods a fictional writer may sometimes create a simplified, unrealistic work
in order to impress an idea upon his readers. In all such case the essential ingredient is
consummate artistic skill without which the idea collapses into absurdity (Briggs 1983,
115).
186 it is impossible to pronounce an unequivocal verdict on Andzhelo as a work of art
(Briggs 1983, 115).
187 How can one say whether Andzhelo is successful or not? Everything depends upon the
readers readiness to accept the methods and standards of a new medium. This work
stands so far away from its fellows that a comparison between them is like bringing
together a Gregorian chant and a Mozart symphony or paintings by Rublev and Repin
(Briggs 1983, 115).
164

(
29 1 , 24 ),

. . .
:
,
1830
("", " ") ( 1974, 7980).
. .
: , ,
, ,
: , ,
. . ...

( 1974, 80).

. ,
, " ",
(Ernest Joseph Simmons).
.
: ?
: ( . . .)
, (Johnson)
(Coleridge) (Swinbure) (Brandes).
(Sir Arthur QuillerCoach)
; ,
". , ,
. , ,
, , ,
... ,
, o.
, :
, ,
, . o
.
,
(Esclus), (Barnardine), (Elbow), (Pompey)
. ,
. o
,
.
, ,
"188. ,

188
"It (Measure For Measure. . .) has been lamented and apologised for by most of the critics,
from Johnson and Coleridge to Swinbure and Brandes. Sir Arthur QuillerCoach pronounces
 165

, , ""
,
" ".
,
( 1971, 100).
1604 , "
" (Revels Account) 26 1604 : By his Maiesties
plaiers. On St. Stiuens night in the Hall A play Caled Measure for Mesr.
Shaxberd (Shakespeare 1978).
.
: ... . (26 )
, ,
. "
"
( . . .).
, , ,
, ,
, .
, " " ,
, ,
( 1985, 320).


(Gibbons 1991).
,
:
,
.

(Gibbons 1991, 56).
,
,

.
(G. B. Giraldi

Measure for Measure "a great play in parts and in despite that its parts do not fit". Pushkin
must have react the same way. He was drawn to this play, began to translate it, gave up the task,
and finally embarked on a modified version, partly in narrative form... Attracted by this character,
and annoyed by the gaucherie of a craftsman, Pushkin composed Angelo. Whatever it merit,
Angelo is free from main faults of Measure For Measure, from its coarse bawdy, crude comedy,
top heavy parallelism of actors and scenes and glaring superfluities. In Angelo the action moves
smoothly and swiftly with finer modification. Overboard have gone such dispensable and rather
confusing characters as Esaclus, Abhorson, the Barnardine, Elbow, Pompey and others. The Duke
is burdened with years and experience, and is spared the ordeal of making "Oh, so sudden" a
proposal to Isabella in the last scene. Lucio is less of an importable nuisance on the sage, and
Isabella less of a soulless prig. Above all else, Angelo is portrayed as a man of inner
contradictions, caught in tragic conflict with himself and less obviously mean and unscrupulous"
Cross, S. H. 1937, 77.
166

Cinthio Hecatommithi) (1565)189. ,

(Fernando Gonzaga)190. (Cinthio)
,
. ,
,
: ,
.
, ,
(Innsbruck),
(Maximilian) (Juriste),
. ,
, . ,
, , .
,
, .
(Epita)
. , ,
, , ,
,
, , .
, .
, ,
.
, .

, .
, ,
. ,
.
,
, ,
, .

. , , ,

189 . . , ,
, ,
. , . . , , ,
,
. (
.) ( 1999,
33). , ,
, 1565 ,
1604 ,
.
190
:
2002, 8289.
 167

.
, ,
, . ,
, .
, .
.
, ,
. .
, ,
, ,
.
,
: 52 ,
,
, 56 ,
, .
,
, .
(
1573, 1583 ).
,
. ,
.
,
,
.
, . ,
,
. ,
,
, .

(George Wetstone,
Promos and Cassandra, 1578),
.
,
.

.

,
1833 ().
. . ,
. . 1903 . ( 1903, 7174).
, . , . .
168

. . ( 1935. . III, 674675). 1936
. . ( 1936, 144
148), , . . ,

"" ( 1972,
276).
, . . ,
,

( ). . .
,
, ,
,
( 1936, 144). ,
,
I I ( ).
, , ,
. ,
.

, ,
, (Ibid.).
, . . :
,
,
, , ,
.
109358 ; 11339 .
. 35,
,
. . .
( 1936, 144145).

: ,
( ),
,
. ,
, .
, (
: Duke: Escalus! / Escal: My lord).

. ,
,
, :
 169

, .

. ,
( 1936, 147148).

. , . .
( 2001, 47) ,
,
(15,5 19
), ,
(Ibid.)
,
(),
, ,
.

. . ,

.
, , ,
, ,
.

.

Duke. Escalus,
Escal. My lord?
(Shakspeare 1863, p. 94)

, :

Duke. Of government the properties to unfold, .

Would seem in me to affect speech and
discourse; .
Since I am put to know, that your own science, .
Exceeds, in that, the lists of all advice .
My strength can give you: Then no more .
remains , ,
But that to your sufficiency, as your worth is , .
able, .
And let them work. The nature of our people, .
Our city's institutions, and the terms
For common justice, you are as pregnant in, ?
As art and practice has enriched any ,
That we remember: There is our commission, ,
From which we would not have you warp.
Call hither, ,
I say, bid come before us Angelo. ?
[Exit an Attendant.]
170

What figure of us think you he will bear?

For, you must know, we have with special soul
Elected him our absence to supply;
Lent him our terror, drest him with our love;
And given his deputation all the organs
Of our own power: What think you of it?
Escal. If any in Vienna be of worth
To undergo such ample grace and honour,
It is Lord Angelo. ,
Enter Angelo. .
Duke. Look, where he comes.
.
Ang. Always obedient to your grace's will,
I come to know your pleasure. ,
.
Duke. Angelo,
There is a kind of character in thy life, ,
That, to the observer, doth thy history , .
Fully unfold. (1863: I, 1, p. 94) (, 324325)

. ,
:
. . . .

, ,
,
, .
. .
, , ,
, .
,
, ,
, :
. , .
.
, .
.
.
,
. .
, ,

?
, ,
.
, ;
.
, , , ,
! .
. . ?
( .)
.
.
. ,
?
, , :
 171

?

, .
, ,
, ,

, .
?
,


!
?

!
,
,
, , .
. .

, ! . .


, ,
, , .
, .
?

, :
214 953 ; 125
605 ; . 161 792 ,
. . 151 751 , . 133 647
.
,

, . ,
,

,
,
, ,
,
. ,
,
,
.
, ,
.
,
,
:
172

: :
Duke. Of government the properties to unfold, .
(1863: I, 1, p. 94) 191

properties
.
, . , .
. :
: :
Would seem in me to affect speech and
discourse192 (1863: I, 1, p. 94)

,
, ,

.
:
: :
Since I am put to know, that your own science, . 194
Exceeds, in that, the lists of all advice . (III, 324)
My strength can give you193 (1863: I, 1, p. 94)

science (, )
. ,
, , , .
. .
, ,
, ,
.

:
: :
Then no more remains
But that to your sufficiency, as your worth is 196
able,
And let them work195. (1863: I, 1, p. 94)

191 : (III, 937).

,
properties , science,
: Since I am put to know, that your own science.
192 .: , .
193 .: ,
,
194 :
. . . . .
,
(III, 937).
 173

:
.

:
: :
The nature of our people, , ,
Our city's institutions, and the terms , 198.
For common justice, you are as pregnant in,
As art and practice has enriched any
That we remember197, (1863: I, 1, p. 94)

,
:
: :
There is our commission, 200: ,
From which we would not have you warp. .
Call hither, .
I say, bid come before us Angelo199. (1863: I, 1, p.
94)

(with special soul),
:
: :
What figure of us think you he will bear?
For, you must know, we have with special soul ?

195 .: , ,
.
196 :
. . .
<> <> <>
(III, 937938).
197 .: ,
, , .
198 :
. , , . , ,
<> ,

. , . , [],
, ,
(III, 938).
, , : justice.
199 .: , . , ,
.
200 :
. : . .


(III, 938). commission
, .
174

Elected him our absence to supply; ,

Lent him our terror, drest him with our love; , 202
And given his deputation all the organs 203
Of our own power: What think you of it?201 ,
(1863: I, 1, p. 94) ?

,
, terror.

,
(III, 937). terror (, )
: . , . . .
, love ,
, : .
:
: :
Escal. If any in Vienna be of worth
To undergo such ample grace and honour,
It is Lord Angelo. ,
Enter Angelo. (1863: I, 1, p. 94) .

grace (, )
, honour
(, ), .
: :
Duke. Look, where he comes.
.

201 .: , ? / , /
. / ,
, / / .
?
202 :
. : , . ,
. : , . ,

(III, 938).
203 , ,
, , :
,
, ,
,
, , ,
love .
: ( .
. .) / <> (V, 434).
 175

Ang. Always obedient to your grace's will,

I come to know your pleasure. (1863: I, 1, 204,
p. 94) 205.

,
grace's
will .

:
Duke. Angelo,
There is a kind of character in thy life, ,
That, to the observer, doth thy history , 207.
Fully unfold206. (1863: I, 1, p. 94) (, 324325)

the observer ,
. .

history ,

.

.
: ,
, ,
.
.

.
. . ,
.
, ,
,
( 2001, 47)208:

204 : . (III, 938).

always,
grace's, .
205 : (III,
938). : I come to know your pleasure.
206 .: , / . /
.
207 :
. . .

.: (III, 938).
208
. . , , ,
, :
; ,
, . ,
,
176

Angelo,
There is a kind of character in thy life,
That to th observer doth thy history
Fully unfold209. (1863: I, 1, p. 94)

. . :
(,
/ , ,
,
,
: , , ,
, ( 2001,
47). ,
. , . . ,
,
:
. , ,
,
, ,
.
, ,
,
, , .
: ,
, ,
.
,
.
, ,

, , ,
, , .
,
, kind of character in thy life, the observer, history fully
unfold. ,
,
. , ,
, , ,
, .

.
: , ,
( , ,
..), , ( 2002, 91).
,
.
209 ,
. .
( 1936, 144).
 177

,
history
, , .
,
. ,
. . ,
.
, , .
: ,
,
.
:
. . . .
: : :
, !
,
, ,
, ,

. . .
(.., 162) (.., 354) (.., 276)

,
. ,
. . ,

( 1936, 148).
. .
: ,

(, , . . ,
,
210), , ,

( 2001, 47).
: ,
(
), . 211,
, ,
, . . , .
. . , ,
, .

210 . .
( 1968, 255258). . .
: 1974, 5885.
211 Lamb, Ch. Tales from Shakespeare. Designed for the use of young person. 5th ed. London,
1831. .: 1910, 267, 1068.
178

. . ,
,
( ,
( 1974, 81). . .
.
.

, , .
,
,
(Ibid.). , . . , (.
. .) , , . .
, ,
(Ibid.).
, . . . ,
, ,
Tales from Shakespeare. Designed for
the use of young person . , ,
,
212.

. :
,
, ,
,
.
, , , . . ,

, ;
, 213
( ., . 1968, 147).
( , ,
) (The nature of our people, / Our city's
institutions, and the terms / For common justice) :

212 Tales from Shakespeare. Designed for the use

of young person . , . .
. . ,
. :
, , ,
, ,
, ,
( 3)
( 2001, 47). . . ( 1941,
368). :
: (.: <...> heaven in my
mouth,/ As if I did but only chew his name [ II, 4]) ( 2001, 47).
213 1954, 272. ( . . .)
 179

, (
. ..) . (Ibid.).
,
,
.

. , ,


. ,
.

5.3

, .
,

,
. ,
, , ,
.

,
,
, .
, ,

. ,
,
.
, ,
,
.

, . ,
,

,
.

. ,
,

.
180

. . ,
, ,
,

( 1941, 367368):
: :
We have strict statutes and most biting laws, ,
(The needful bits and curbs to headstrong ( ),
steeds) ,214
Which for this nineteen years we have let sleep; ,
Even like an o'ergrown lion in a cave, ,
That goes not out to prey: Now, as fond fathers, ,
Having bound up the threat'ning twigs of birch,
Only to stick it in their children's sight, ,
For terror, not to use; in time the rod , ,
Becomes more mock'd than fear'd; so our
decrees, , 215,
Dead to infliction, to themselves are dead; ,
And liberty plucks justice by the nose; .
The baby beats the nurse, and quite athwart .
Goes all decorum. (1863: I, 4, p. 96) .
.
(.., 172173)

, :
,
216 217.

. ,
,
,

. (V, 107)

, an o'ergrown lion in a cave, That goes not out to

prey
, liberty plucks justice by the nose The
baby beats the nurse ,
, /

214 ,
( ),
,
: . , .
, . . , .
.
215 ( 5859)
: <> <?> <>
/ (V, 426).
216
. . .
217 : ( . .)
,
an o'ergrown lion. .: (V, 425).
 181

/ .
,
.
, ,
,
( 1941, 368).
:
, ,
;
? , ,
,

,
218 . (V, 107)

:
: . . :
I do fear, too dreadful: , ;
Sith 'twas my fault to give the people ,
scope,
'Twould be my tyranny to strike, and gall , ;
them ,
For what I bid them do: for we bid this be .
done, (.., 369)
When evil deeds have their permissive
pass,
And not the punishment. (1863: I, 4, p. 96)

, . . ,
,
. ,
.
, evil deeds ( , )
,
.
. . , ( 1,
4) ,
,
( 1941, 366). , ,
, ,
, ,
(Ibid.).
, :
, ,
, ,

218 :
(V, 425).
182

, ,
219,
,
220 <...> (V, 108)

,
:
: . . :
Upon his place, ,
And with full line of his authority, ,
Governs Lord Angelo; a man, whose ,
blood ,
Is very snowbroth; one who never feels ,
The wanton stings and motions of the , ;
sense;
But doth rebate and blunt his natural , .
edge (.., 370)
With profits of the mind, study and fast.
(Act I, Scene V, p. 97)

. . ,
( 1941, 371).

:
.

:
: . :
He (to give fear to use and liberty, ,
Which have, for long, run by the hideous ,
law, ,
As mice by lions) hath pick'd out an act, ,
Under whose heavy sense your brother's ,
life .
Falls into forfeit: he arrests him on it;
And follows close the rigour of the
statute, .
To make him an example: all hope is ,
gone, .
Unless you have the grace by your fair ,
prayer .

219 . :
. .

(V, 425).
220 . :
. . , .

(V, 425426).
 183

To soften Angelo: And that's my pith (.., 176177)

Of business 'twixt you and your poor
brother.
(Act I, Scene V, p. 97)

. . ,

( 1941, 371). ,
:
. 221

,
. (V, 109)

, :
,
. (V, 109)

:
: . :
We must not make a scarecrow of the
law, , ,
Setting it up to fear the birds of prey, , , ,
And let it keep one shape, till custom .
make it (.., 179)
Their perch, and not their terror.
(Act II, Scene I, p. 97)

,
, ,
,
.
,
, ,
:
: . :
I have done so, but he's not to be found. : .
I prithee, Lucio, do me this kind service: :
This day my sister should the cloister
enter .
And there receive her approbation: , , ,
Acquaint her with the danger of my state: ,
Implore her, in my voice, that she make

221
use
and liberty , :
184

friends : .
To the strict deputy; bid herself assay him: , , ,
I have great hope in that; for in her youth , ,
There is a prone and speechless dialect, ; ,
Such as move men; beside, she hath ,
prosperous art .
When she will play with reason and (.., 171)
discourse,
And well she can persuade.
(Act I, Scene III, p. 96)

,
:
, , ! :
. ,
;
, ,
.
, , ,
,

. (V, 109110)

:
(V, 427).
,
.
:
, ,
, 222.
(
). ,
, , ,

<?>
<>
[ ] < >,
(V, 434435).


, . . ,
.
( 1936,147148).
222 , , . . , ,
.
, , ,
. ,
, ,
, , ,
, , ,
(.: 1941, 363).
 185

, .
, ,
, ,
, ,
,
.

, :
: . . 223:
Isab. Peace and prosperity! Who is't . ?
that calls? (.., 368)

:
, ,
: " ?"224

,
,
.
:
: :
Lucio. Hail, virgin, if you be; as those " ( ,
cheekroses , ),
Proclaim you are no less! Can you so stead
me, ,
As bring me to the sight of Isabella,
A novice of this place, and the fair sister ?"226 (V, 110)
To her unhappy brother, Claudio? (I, 5, p.
97)225.

, ,
, ,
: Hail, virgin, if you be; as those cheek roses / Proclaim you
are no less! ( , ! , , (

223 , ,
, ,
, . . ,
. , . .
224 : . ? (V, 427).
225 . :
, ! , ,
(
). ,
?
,
. (..,174175)
226 : ... (V, 427).
186

)).
cheekroses ,
(. . . ),
(fair ) (unhappy brother
). ,
, . , :
bring me to the sight of Isabella,
, :
.
:

: :
Why her unhappy brother? let me ask; "?.. ? ?
The rather, for I now must make you know :
I am that Isabella, and his sister227. (1863: I, 5, p. ". (V, 110)
97)

, ,
, , (
) .
:
: :
Gentle and fair, your brother kindly greets you: , ? .
Not to be weary with you, he's in prison228. . :
(1863: I, 5, p. 97)
. (V, 110)

,
, ,
. your brother
kindly greets you ,
( . ,
. ( 1902, 228),
, . . (. ., 369),
, , . (. ., 284),
( ).
()
. , ,
,

227 . . :
! ?
,
. (.., 369)
228 . :
,
. :
. (.., 175)
 187

, , , ,
.
, :

: . :
Woe me! for what? (1863: I, 5, p. 97) ! ? (.., 175)

, , ,
, ,
, , : ?
,
( ):
: . :
For that, which, if myself might be his , , ,
judge,
:
He should receive his punishment in
.
thanks:
(.., 175)229
He hath got his friend with child. (1863: I,
5, p. 97)

:
: . :
Sir, make me not your story. (1863: I, 5, p. , , .
97) (.., 284)

,
,
. ,
, (sainted), (enskied),
,
(maids) (virgins):
: . :
It is true. .
I would not thought 'tis my familiar sin ,
With maids to seem the lapwing, and to ...
jets,
Tongue far from heart,play with all .
virgins so: ,
I hold you as a thing enskied and sainted; , ,
And to be talk'd with in sincerity, ,
As with a saint. (1863: I, 5, p. 97) . (.., 175)

229 . . . : " ,
: " (.., 369).
188

:
: . :
Do not believe it. Fewness and truth, 'tis ! :
thus:
Your brother and his lover have embrac'd: .
As those that feed grow full; as blossoming , , ,
time, ,
That from the seedness the bare fallow ,
brings
To teeming foison; even so her plenteous , ,
womb (.., 175176)
Expresseth his full tilth and husbandry230.
(1863: I, 5, p. 97)

,

.
, .
:
,

,

. (V, 110)

,
, ,
. ,

.
,
,
, .
, . . ,

( 1941, 366).
:

230 ,
(The stealth of our most mutual entertainment / With character
too gross is writ on Juliet (Act I, Scene II)), :
, / , /
.
 189

: :
all hope is gone, , ,
Unless you have the grace by your fair
prayer ,
To soften Angelo: and that's my pith of
business . (V, 110)
'Twixt you and your poor brother231. (1863:
I, 5, p. 97)

, , ,

fair prayer poor brother.
,
, . ,

. (unhappy
brother ) (fair ),
. ,
,
,
. ,
,
, ,

. ,
, ,
.
,
:
Isab. Doth he so seek his life?
Lucio. Has censur'd him
Already; and, as I hear, the provost hath
A warrant for his execution232. (1863: I, 5, p. 97)

, ,

.

231 . :
,
.
,
. (.., 177)
232 . :

?


,
. (.., 177)
190

,
:
: :
Isab. Alas! what poor ability's in me " , ,
To do him good?
Lucio. !..234
Assay the power you have. ; ..."
Isab. My power? Alas! I doubt,233 (1863: I, (V, 110)
5, p. 97)

,
. :
: :
Our doubts are traitors, ,
And make us lose the good we oft might ,
win,
By fearing to attempt: Go to Lord Angelo, 236.
And let him learn to know, when maidens , ,
sue, ,
Men give like gods; but when they weep , ,
and kneel, , .
All their petitions are as freely theirs (V, 110111)
As they themselves would owe them235.
(1863: I, 5, p. 97)

,

, :
, ,
237

233 . :

! , ,
?

.

! ? ... (.., 177)
234 : (V, 427).
235 . :

:

, ,
. !
: , ,
, .
, ,
, ,
, . (.., 177)
236 : [] (V,
427).
 191

, ,
. (V, 111)

. ,
. ,
,
. ,

, .
, , , , ,
. ,

.
, .
, ,
,
, :

: . :
This will last out a night in Russia, , ,
When nights are longest there: I'll take ...
my leave, . .
And leave you to the hearing of the , .
cause; (.., 184)
Hoping, you'll find good cause to
whip them all. (1863: II, 1, p. 99)

,
, .
,
, .
. . :
.


( 1941, 376).
,
, :

", ,
; ;
".
(V, 111).

237 : [ ]
(V, 427).
192

,
,
, ,
. .
.
, , ,
:
: . :
Ang. Condemn the fault, and not the actor ! ,
of it! ?
Why, every fault's condemn'd, ere it be
done: .
Mine were the very cipher of a function, ,
To fine the faults, whose fine stands in
record, ! (.., 193)
And let go by the actor.
(1863: II, 2, p. 100)

, .
.

,
.
, ,
:
,
,

,
, (
) .
, :
: :
Lucio. [To Isab.] Give't not o'er so: to him " , ,
again, entreat him; ; ,
Kneel down before him, hang upon his gown; , ; , ,
You are too cold: if you should need a pin,
You could not with more tame a tongue desire it: . ,
To him, I say!238 (1863: II, 2, p. 100) .
, , , , .
! !239 (V, 111)

238 . :
!
! , .
, !
!
. ! (.., 193)
 193

, ,
, .
,
:

240.

,
:

: . :

Too late? why, no; I, that do speak a word. ?

May call it back again. ! ,
(1863: II, 2, p. 100) . (.., 194)

, ,
, , , .
.
: :
Well believe this, " , ,
No ceremony that to great ones 'longs, ,

239 :
. ; ; , . ; ; ,

.
.
! ! :

! < !>
(V, 427428).
240 . :
Isabella
Must he needs die?
Angelo
Maiden, no remedy.
Isabella
Yes; I do think that you might pardon him,
And neither heaven nor man grieve at the mercy.
Angelo
I will not do't.
Isabella
But can you, if you would?
Angelo
Look, what I will not, that I cannot do.
Isabella
But might you do't, and do the world no wrong,
If so your heart were touch'd with that remorse
A s mine is to him?
Angelo
He's sentenced; 'tis too late.
194

Not the king's crown, nor the deputed , ,

sword,
The marshal's truncheon, nor the judge's 242
robe, ,
Become them with one half so good a . .
grace,
As mercy does. If he had been as you ,
And you as he, you would have slipt like , ,
him; but he, like you, would not have been ,
so stern. (1863: II, 2, p. 100)241 , "243. (V,
111)

,
( : the judge's robe),
.
, ,
, , ,
.
:
"Pray you, be gone". (1863: II, 2, p. 100)

, ,
:

" , " (V, 112)244

,
,

241 . :
:
, ,
,
,
.
, ,
, ; ,
, . (.., 194)
242 :
. [] . [
]

(V, 428).
243 . :
, ,


,



. (V, 422).
244 ., , . ,
, : "!" (..,
194).
 195

,
.
,
, :
: . :
I would to heaven I had your potency, , !
And you were Isabel! should it be thus? , !
No; I would tell what 'twere to be a judge, ? !
And what a prisoner. (1863: II, 2, p. 100) , ,
. (.., 194)

, , ,
, .
,
, , ,
. ,
, , , ()
:
", ,
, ,
,
; : ?
,
,
"245. (V, 112)

. :
: . :
Alas! alas! , !
Why, all the souls that were, were forfeit ,
once; , ,
And He that moght the vantage best have ? ,
took,
Found out the remedy: How would you ? ,
be.
If He, which is the top of judgment, should ,
But judge you as you are? O, think on that; . (.., 195)
And mercy then will breathe within your
lips,
Like man new made. (1863: II. 2. p. 100)

,
. the souls
(. ), (. ),
(. . ), (. ),

245 : (V, 428).

196

,
. ,
,
the souls that were forfeit
once (: , ),
, .
.

.
: He
that moght the vantage best have took / Found out the remedy (. :
, , . : ,
/ . the
remedy246, : (,
) ( ),
,
. .
,
: How would you be / If He, which is the top of judgment,
should / But judge you as you are? ( , / ,
, / ?).
you () ,
us:
/ ; : ?
,
: ,
/ , / .

,
247. ,
: O, think of that; / And mercy then will breathe
within your lips, / Like man new made. r (
pity , , , kindness
)
.
lips ()
. Like man new made
(: )
. :
. .

246 :
Maiden, no remedy.
247
:
But might you do't, and do the world no wrong,
If so your heart were touch'd with that remorse
As mine is to him?
 197

, . . . man
new made .
:
: :
Ang. Be you content, far maid; "; .
It is the law, not I, condemns your , .
brother: ,
Were he my kinsman, brother, or my son, "249. (V, 112)
It should be thus with him; he must die
tomorrow. (1863: II, 2, p. 100)248

, ,
(Be you content, fair maid) :
Were he my kinsman, brother, or my son, / It should be thus with him
( , , /
).
,
:
: :
Tomorrow! O, that's sudden! Spare him, ! ? , .
spare him! ,
He's not prepard for death! Even for our ...251
kitchens
We kill the fowl of season; shall we serve .
heaven .
With less respect than we do minister .
To our gross selves? Good, good my lord, , : ,
bethink you: , ,
Who is it that hath died for this offence?
There's many have committed it. (1863: II, ,
2, p. 100)250 ;
252. (V, 112)

248 . . :
,
:
, .
,
: . (.., 195)
249 . :
/ <> (V, 423).
250 ? ? , ! !
, ! .

.
,
? ,
, : ,
?
. (.., 195)
251 :
... , (.: 1834, 57; 1835,
195).
252 . :
198

, : shall we
serve heaven / With less respect than we do minister / To our gross selves?
( ,
?). ,
(
).

, .
:
: . :
The law hath not been dead, though it , .
hath slept: ,
, ,
Those many had not dar'd to do that evil,
! ,
If the first man that did the edict infringe,
, ,
Had answer'd for his deed: now, 'tis

awake;
Takes note of what is done; and, like a ,
prophet,
Looks in a glass, that shows what future .
evils, :
(Either new, or by remissness new . (.., 195196)
conceiv'd,
And so in progress to be hatch'd and
born,)
Are now to have no successive degrees,
But, where they live, to end. (1863: II. 2. p.
101)

,
: , /
(V, 112).
: Yet show some
pity (.: ), :
!
:
: . . :
I show it most of all, when I show justice;
For then I pity those I do not know, ,
Which a dismiss'd offence would after .
gall; ,
And do him right, that, answering one ! .
foul wrong, , 253.

, ...
, .
.

(V, 428).
253 . , ,
.
,
 199

Lives not to act another. Be satisfied; (.., 390)

Your brother dies tomorrow; be content.
(1863: II. 2. p. 101)

, ,
:
,
, . (V, 112)

,
.
: So you must be the first that gives this
sentence, / And he, that suffer's,
,
unhappy:
? / .
(O, it is excellent
To have a giant's strength; but it is tyrannous / To use it like a giant)
,
( ):
, ! .
? :
? (V, 113)

: . . :
Because authority, though it err like , , ,
others, ,
Hath yet a kind of medicine in itself, ,
That skins the vice o' the top: Go to your . ,
bosom; ,
Knock there; and ask, your heart, what it ,
doth know ,
That's like my brother's fault: if it confess
A natural guiltiness, such as is his, .
Let it not sound a thought upon your (.., 391392)
tongue
Against my brother's life.
(1863: II. 2. p. 101)

. , ,
: , :
, :
, ,
;
, .
,
.
. . . (.., 196)
200

bosom (), . ,
. , . . , .
.
,
, ,
,
.

, (
):
,
.

, , ,
,
:

: :

Isab. Hark, how I'll bribe you: Good my : , !

lord, turn back. , .
Ang. How! bribe me? ... ,
Isab. Ay, with such gifts, that heaven , ,
shall share with you. :
Lucio254. You had marr'd all else.
Isab. Not with fond shekels of the tested ,
gold, ,
Or stones, whose rates are either rich, or , ,
poor, , 256,
As fancy values them: but with true ,
prayers, .
That shall be up at heaven and enter there, (V, 113)
Ere sunrise; prayers from preserved
souls,
From fasting maids, whose minds are
dedicate
To nothing temporal255. (1863: II. 2. p. 101)

254 , .
255 . . :
,
,
, ,
,

,
. (.., 392)
256 : , []
/ , (V, 428).
 201

(to bribe,
),
. ,
:
to bribe
(Shakespeare 1994, 76).
,
,
, ( ),
, , ,
.
,
,
:
,

. (V, 113)

.
,

, . ,
,
, ,
:

: . :
From thee, even from thy virtue! !
What's this? what's this? Is this her fault, !
or mine? ! ? ?
The tempter, or the tempted, who sins ? , ,
most? Ha. , ? , :
Not she; nor doth she tempt: but it is I, , .
That lying by the violet, in the sun, , ,
Do, as the carrion does, not as the flower, , ...
Corrupt with virtuous season. Can it be, ,
That modesty may more betray our sense , ?
Than woman's lightness? Having waste ,
ground enough, ,
Shall we desire to raze the sanctuary, ?
And pitch our evils there? O, fie, fie, fie! , , , !
What dost thou? or what art thou, Angelo ?
Dost thou desire her foully, for those ?
things ?
That make her good? O, let her brother !
live: ,
Thieves for their robbery have authority, ... (.., 199)
When judges steal themselves. (II. 2. , 101)
202

,
.
, .
:

, , ,
;
. (V, 114)

,
.
:
: :
What? do I love her, ? 261,
That I desire to hear her speak again, ,
And feast upon her eyes? What is't I dream
on?257 262?
O cunning enemy258, that, to catch a saint, 263
With saints dost bait thy hook! Most dangerous ...
Is that temptation, that doth goad us on ,
To sin in loving virtue: never could the ?
strumpet259, 264,
With all her double vigour, art and nature, .
Once stir my temper; but this virtuous maid
Subdues me quite; Ever, till now, , ,
When men were fond, I smild, and wonder'd !...... (V, 114)
how. [Exit.]260 (1863: II, 2, p. 101)

257 Dream on allow myself to fantasise about (Shakespeare 1994, 78), . .

, , , .
258 Cunning . , , . Enemy . , .
().
cunning enemy. enemy
( , ),
. . .
(. ., 393), . (. ., 298). .
(.., 199).
259 Strumpet seductress, wanton , .
.
260 ?
,
?
?
? , !
,
.
,
, ...

,
,
.

!
(.) (.., 199200)
261 : . ? (V, 428).
 203

,
,
.
, , ,
, ,
, ,
, .
.
. ,
,
,
:
: :
When I would pray and think265, I think and , ,
pray , .
To several subjects: Heaven hath my empty ,
words; . 269,
Whilst my invention, hearing not my tongue, 270.
Anchors on Isabel266: Heaven in my mouth, . 271
As if I did but only chew his name; 272. ,
And in my heart, the strong and swelling evil267 , ,
Of my conception: The state, whereon I . ; 273,
studied, ;
Is like a good thing, being often read, , ,
Grown fear'd and tedious; yea, my gravity, 274,
Wherein (let no man hear me) I take pride, ,
Could I, with boot, change for an idle plume,
Which the air beats for vain268. (1863: II, 4, p. ....
102)
275.
(V, 114).

262 .
263 : ? (V,
429).
264 : (V, 429).
265 ray and think , , ,
.
266 : Whilst my invention
Anchors on Isabel, / .
267 vil , , . .
268 ,
, ...
:
,
...
, , ,
...

,
, .
,
,
,
,
204

? ,
, .
,
( ),
.
,
,
. ,
:
O heavens! !
Why does my blood thus muster to my ,
heart;
Making both it unable for itself,
And dispossessing all my other parts ?..
Of necessary fitness?
So play the foolish throngs with one that , :
swoons ,
Come all to help him, and so stop the air , .
By which he should revive: and even so ,
The general, subject to a wellwish'd king, ,
Quit their own part, and in obsequious
fondness .
Crowd to his presence, where their (.., 203204)
untaught love
Must needs appear offence. (1863: II, 4, p.
102)

... (.., 202203)

269 .
270 : (.:
1834, 60; 1835, 200).
271 : /
. (V, 429).
272 / ,
.
273 .
274 ,
.
275 ,
:
: . :
O place! O form! ! !
How often dost thou with thy case, thy
habit, ,
Wrench awe from fools, and tie the wiser !
souls .
To thy false seeming! Blood, thou art blood: : ,
Let's write good angel on the devil's horn, . (.., 203)
'Tis not the devil's crest
(II, 2)
 205

: How now, fair

maid! ( , ?, .
). : ?276
: I am come to know your
pleasure277. :
.
:
: :
That you might know it, would much , !..
better please me, ... 278.
Than to demand what 'tis. Your brother (V, 115)
cannot live. (1863: II, 4, p. 102)

,
.
.
( ),
: Yet may he live awhile. ,
,

. , ,
:
Isab. Even so? Heaven keep your
honour! . , .
[Retiring.] ( .)
Ang. Yet may he live awhile; and, it may
be, ,
As long as you, or I: Yet he must die. . .
Isab. Under your sentence?
Ang. Yea. ?
Isab. When, I beseech you? that in his
reprieve, .
Longer or shorter, he may be so fitted,
That his soul sicken not279. (1863: II, 4, p. ? , ,
102)

. (.., 204)

:
Ha! fie, these filthy vices! It were as good , !
To pardon him, that hath from nature ,
stolen , ,

276 : . , ?.... (V, 429).

277 . : . (.., 204).
278 . :
,
. . (.., 204).
279 :

?
206

A man already made, as to remit

Their saucy sweetness, that do coin , ,
heaven's image . .
In stamps that are forbid: 'tis all as easy ,
Falsely to take away a life true made,
As to put metal in restrained means,
To make a false one. (1863: II, 4, p. 102)
(.., 204).

:
?
? . (V, 115)

filthy vices (,
) : ,
nature () .

.
, ,
.
, ,
:
: :
'Tis set down so in heaven, but not in ,
earth280. ? (V, 115)
(1863: II, 4, p. 102)

, .
.
:
: :
Say you so? then I shall pose you quickly. ?
Which had you rather, That the most just :
law ,
Now took your brother's life; or, to redeem 282
him, , 283
Give up your body to such sweet ?284 (V, 115)
uncleanness,
As she that he hath stain'd?281 (1863: II, 4,
p. 102)

280 . :
. (.., 204)
281 . . :
? .
,
, ,
,
, ? (.., 399)
282 :
 207

law 285,
.
, .
,
,
: such sweet uncleanness (.
).

:
: :
Sir, believe this, , ,
I had rather give my body than my soul. . (V, 115)
(1863: II, 4, p. 102)286

believe this .
,
.

:
: . . :
I talk not of your soul: Our compell'd sins :
Stand more for number than accompt. ,
(1863: II, 4, p. 102) , 287. (.., 399)

: How say you?, .

: ?
:

Nay, I'll not warrant that; for I can speak , , .

Against the thing I say. Answer to this; . :
I, now the voice of the recorded law,
Pronounce a sentence on your brother's life: .
Might there not be a charity in sin, ,

. [] . [ ]
.
. . .
(V, 429).
283 : (V, 429).
284 : (V, 429).
285 ,
(
: , , , , , , ,
, , , , ..), , ,
.
286 . :
!
, . (.., 205)
287 .: . :
?
. (.., 205)
208

To save this brother's life? (1863: II, 4, p. 102) ?

(.., 205)

.
(I talk not of your soul...)
:
Pronounce a sentence on your brother's life: / Might there not be a charity in
sin / To save this brother's life?:

... :
;
? (V, 116)

,
, .
:
Please you to do't, ! .
I'll take it as a peril to my soul, , !
It is no sin at all, but charity. (1863: II, 4, p. 102) (.., 205)

:

: ,
, . !288
, . (V, 116)

,
, .
:

Pleasd you to do't, at peril of your soul,

Were equal poise of sin and charity. (1863: II, 4, .
p. 102) (.., 205)

, , .
:
,
? (V, 116)

.
:

288 : . : / ;
/ . ! (V, 429).
 209

That I do beg his life, if it be sin, ,

Heaven, let me bear it! you granting of my suit, !
If that be sin, I'll make it my morn prayer , ,
To have it added to the faults of mine,
And nothing of your answer. (1863: II, 4, p. 102)
! (.., 205)

,
:

!
( .)
. (V, 116)

: :

Nay, but hear me: , ,

Your sense pursues not mine: either you
are ignorant, ,289
Or seem so, craftily; (1863: II, 4, p. 102) ,
:
. (V, 116)

and that's not good

( )
,
: I'll speak more gross: / Your
brother is to die290.

289 : (V, 429).

290 .
:
Ang. Nay, but hear me: :
Your sense pursues not mine: either you are
ignorant, . ?
Or seem so craftily; and that's not good. ? .
Isab. Let me be ignorant, and in nothing :
good. , ,
But graciously to know I am no better. , !
Ang. Thus wisdom wishes to appear most :
bright ,
When it doth tax itself; as these black masks .
Proclaim an enshield beauty ten times ,
louder . ... .
Than beauty could, display'd.But mark me; , :
To be received plain, I'll speak more gross: . (.., 206)
Your brother is to die.
210

,
,
.

, :
: :
Ang. And his offence is so, as it appears
Accountant to the law upon that pain. 291.
Isab. True.
.
Ang. Admit no other way to save his life,
(As I subscribe not that, nor any other, .
But in the toss of question,) that you, his (
sister, ,
Finding yourself desird of such a person, )
Whose credit with the judge, or own : ,
great place, ( ,

Could fetch your brother from the
,
manacles
),
Of the allbridling law; and that there

were

No earthly mean to save him, but that
,
either
293
You must lay down the treasures of your
; .
body
?
To this supposed, or else to let him suffer;
? (V, 117)
What would you do?292 (1863: II, 4, p. 103)

291 : . (V, 429).

Pain ( penalty )
, .
292 . :

.

,
.

.

, .
( ,
!) .
,
... ,
...
,

,
,
, ...
? (.., 206)
. :
. :
: Finding yourself desird of such a person.
293 :
 211

,
.
,
: the treasures of your body ( ).
:
,

(. 303 ).
, ,
. ,
,
.

.

.

: :
As much for my poor brother as myself: , ,
That is, were I under the terms of death, ,
The impression of keen whips I'd wear as 295
rubies,
And strip myself to death, as to a bed ,296
That longing have been sick for, ere I'd . (V, 117)
yield
My body up to shame294. (1863: II, 4, p. 103)

. , : . , : . ,
, ,
, , , , <>,

,
[ <><?>] [<><?>] ,
,

[]

[<>] []




[]

.
(V, 430).
294 . . :
, :
,
, ,
,
,
. (.., 401)
. ,
:
... , :
212

, , ,
,
, . ,
death
, rubies ()
,
rubies, .
:
: :
Then must your brother die297. (1863: II, 4, . (V, 117)
p. 103)

, ,
, , ,
:

: :
And 'twere the cheaper way: ?
Better it were, a brother died at once, , , 299.
Than that a sister, by redeeming him, 300.
Should die for ever298. (1863: II, 4, p. 103) ,
301. (V, 117)

,
, ,
, ,
! (.., 206207; . ..)
295 :
. < .
> <?>
(V, 430).
296 :
. : <><?> .

(V, 430).
297 :
... . (.., 207)
298 . :
!
,
, ,
. (.., 207)
. . . :
:
,
, ,
. (.., 401)
299 : (V,
430).
300 :
. .

(V, 430).
301 : (V,
430).
 213

,
: .

, , ,
,
: Better it were a brother died at once.
:
: :
Were not you then as cruel as the sentence
That you have slander'd so?302 ?
: . ?
You seem'd of late to make the law a ,
tyrant;
And rather proved the sliding of your . (V, 117)
brother
A merriment than a vice303. (1863: II, 4, p.
103)

:
Ignomy in ransom, and free pardon,
Are of two houses: lawful mercy
Is nothing akin to foul redemption304. (1863: II, 4, p. 103)

?
?
.
:
O, pardon me, my lord; it oft falls out, , ! ,
To have what wed have, we speak not , ,
what we mean: .
I something do excuse the thing I hate,
For his advantage that I dearly love. (1863: , .
II, 4, p. 103) (.., 207)

, .
. ! 305

302 .: ,
? (.., 207)
303 .: ? , ,


? (.., 207)
304 . :
,
.

! (.., 207)
214

,
,

, :
. (V, 117118)

,
: We are all frail
....
:
Else let my brother die,
If not a feodary, but only he,
Owe and succeed this weakness306.

:
Nay, women are frail too. (, ).

:
Ay, as the glasses where they view , ...
themselves; ,
Which are as easy broke as they make .
forms. , ...
Women! Help heaven! men their ...
creation mar , ,
In profiting by them. Nay, call us ten times . ,
frail; ,
For we are soft as our complexions are, . (.., 208)
And credulous to false prints. (1863: II, 4, p.
103)

:
I think it well: , !
And from this testimony of your own sex,
(Since, I suppose, we are made to be no (, , , ,
stronger ...) .
Than faults may shake our frames,) let me :
be bold; , . , ,
I do arrest your words; Be that you are,
That is, a woman; if you be more, you're .
none; (
If you be one, (as you are well express'd ), ,

305 :
. , . ,

,
(V, 430).
306
,
! (.., 207)
 215

By all external warrants,) show it now, : ,

By putting on the destined livery. (1863: II, .
4, p. 103) (.., 208)

,
:
,
,
: ,
.
. (V, 118)

,
.
,
, :
. (V, 118)

:
I have no tongue but one: gentle my lord,
Let me entreat you speak the former language307. (1863: II, 4, p. 103)

,
.
:
: :
Plainly conceive, I love you308. (1863: II, 4, : 309. (V, 118)
p. 103)

, ,
:
: :
My brother did love Juliet; and you tell me, ! ?
That he shall die for it310. (1863: II, 4, p. 103) , , 311.
(V, 118)

307 , : ,
, , ! (.., 208)
308 : . (.., 208)
309 : . : (V, 430).
310 . ,
. (.., 208)
311 :
. , . ,
... ...
(V, 431).
216

,
.
:
He shall not, Isabel, if you give me love312. (1863: II, 4, p. 103)

, :
(V, 118).
:
: :
I know, your virtue hath a licence in't, :
Which seems a little fouler than it is, , 314
To pluck on others313. (1863: II, 4, p. 103) (V, 118)

,
.
,
:

: :
Believe me, on mine honour, , ,
My words express my purpose315. (1863: II, ;
4, p. 103) . (V, 118)

,
19 ,
, .
,
believe me ( ),
, on mine honour.
XVI
.

:
: :
Ha! little honour to be much believd, , !
And most pernicious purpose! Seeming, !.. !
seeming! !
I will proclaim thee, Angelo; look for't: ,
Sign me a present pardon for my brother,

312 , ! (.., 208)

313 , :
,
, . (.., 208)
314 : .... (V, 431).
315 ,
, ! (.., 209)
 217

Or, with an outstretch d throat I'll tell the

world
Aloud, what man thou art316. (1863: II, 4, p. . (V, 118119)
103)

,
:
. .

.
, brother
317. I'll tell the world,
the world (), .

.
, :

: :
Who will believe thee, Isabel? ?
My unsoil'd name, the austereness of my ;
life, , ,
My vouch against you, and my place i'the 319
state,
Will so your accusation overweigh,
That you shall stifle in your own report, .
And smell of calumny. I have begun; .
And now I give my sensual race the rein: ;
Fit thy consent to my sharp appetite; : ,
Lay by all nicety, and prolixious blushes, 320,
That banish what they sue for; redeem thy . ,
brother .
By yielding up thy body to my will;
Or else he must not only die the death, 321.
But thy unkindness shall his death draw .
out , .
To lingering sufferance: answer me to , 322.
morrow, .
Or, by the affection that now guides me (V, 119)
most,
I'll prove a tyrant to him: As for you,
Say what you can, my false o'erweighs
your true318. (1863: II, 4, p. 103)

316 ! !
!
!
,
! (.., 209)
317 : (V, 431).
318 , ?
,
,
,
,
,
218

, , ;
.
. .
, (unsoil'd
name), (the austereness of my life),
(vouch against you),
(place i'the state). , ,
.
,
, (That you shall
stifle in your own report, / And smell of calumny),
: .
, (Fit thy
consent to my sharp appetite, redeem thy [brother / By yielding up thy body
to my will) :
/ .
,
, .

, .
,
. ,

.
.
.
, ,
, ...
!
.
,

.
. , ,
,
! , ,

.
(.) (.., 209)
319 : , , (V, 431).
320 : , (V,
431).
321 :
. .


. , .
;
;

(V, 431).
322 : , . (V, 431).
 219

.
:
To whom should I complain? Did I tell this, ?
Who would believe me? O perilous , ?
mouths, , !
That bear in them one and the selfsame :
tongue ,
Either of condemnation or approof! ,
Bidding the law make court'sy to their will;
Hooking both right and wrong to the . :
appetite, ,
To follow as it draws! I'll to my brother: .
Though he hath fallen by prompture of the ,
blood,
Yet hath he in him such a mind of honour, ,
That had he twenty heads to tender down ,
On twenty bloody blocks, he'd yield them !
up, , .
Before his sister should her body stoop .
To such abhorrd pollution.
Then, Isabel, live chaste, and, brother, die: ,
More than our brother is our chastity. !
I'll tell him yet of Angelo's request, (.) (.., 209210)
And fit his mind to death, for his soul's
rest. (1863: II, 4, p. 103)

,
.
:
, ,
,
, ,
,
, ,
, .
,
,

.
,
.
: !323
, .
, ,
.
. (V, 119120)

: , ,
,
:

323 : What, ho! Peace here; grace and good company!

, ! / ! (.., 212)
220

So, then, you hope of pardon from Lord Angelo?

( ?) :
The miserable have no other medicine
But only hope:
I have hope to live, and am prepared to die324.

:
<> ,

. (V, 119120)

Be absolute for death; either death, or life, ,

Shall thereby be the sweeter. Reason thus
with life: .
If I do lose thee, I do lose a thing :
That none but fools would keep: a breath , ,
thou art, .
(Servile to all the skiey influences,) ,
That do this habitation, where thou keep'st,
Hourly afflict: merely, thou art death's fool; ,
For him thou labour'st by thy flight to
shun, .
And yet run'st toward him still: Thou art ,
not noble; ,
For all the accommodations that thou . :
bear'st, , ,
Are nursd by baseness: Thou art by no !
means valiant, ,
For thou dost fear the soft and tender fork ,
Of a poor worm: Thy best of rest is sleep, ! ;
And that thou oft provokst; yet grossly , ,
fear'st .
Thy death, which is no more. Thou art not ,
thyself; ,
For thou exist'st on many a thousand !
grains ,
That issue out of dust: Happy thou art not; , ,
For what thou hast not, still thou strivst to , .
get; :
And what thou hast, forget'st: Thou art not .
certain; , ,
For thy complexion shifts to strange effects, ,
After the moon: If thou art rich, thou art ,
poor; .
For, like an ass, whose back with ingots ; ,

324
.
. (.., 211)
 221

bows, ,
Thou bear'st thy heavy riches but a ,
journey, , .
And death unloads thee: Friend hast thou ?
none; , , ,
For thine own bowels, which do call thee : ,
sire, , .
The mere effusions of thy proper loins,
Do curse the gout, serpigo, and the rheum, ,
For ending thee no sooner: Thou hast nor ;
youth, nor age; ,
But, as it were, an afterdinner's sleep, ,
Dreaming on both: for all thy blessed youth , , ,
Becomes as aged, and doth beg the alms .
Of palsied eld; and when thou art old, and , ?
rich,
Thou hast neither heat, affection, limb, nor ... ,
beauty, !
To make thy riches pleasant. What's yet in (.., 211212)
this,
That bears the name of life? Yet in this life
Lie hid more thousand deaths: yet death
we fear,
That makes these odds all even. (III, 1, p.
104)

,
:
I humbly thank you.
To sue to live, I find I seek to die;
And, seeking death, find life: let it come on325. (1863: III, 1, p. 104)

, , ,
, .
:
: :
Now, sister, what's the comfort?326 (1863: , ,
III, 1, p. 104) ? (V, 120)

:
Why, as all comforts are; most good, most good indeed.
Lord Angelo, having affairs to heaven,
Intends you for his swift ambassador,
Where you shall be an everlasting leiger:
Therefore your best appointment make with speed;

325 . ...
,
.
! (.., 212)
326 , ? ? (.., 213)
222

Tomorrow you set on327. (1863: III, 1, p. 104)

:
, . (V, 120)

:
: :
Is there no remedy?328 (1863: III, 1, p. 104) ? (V, 120)

:
: :
None, but such remedy, as to save a head, ,
To cleave a heart in twain329. (1863: III, 1, p. ? (V, 120)
104)

.
:
: :
Claud. But is there any?
?
Isab. Yes, brother, you may live;
There is a devilish mercy in the judge, , . .
If you'll implore it, that will free your life, .
But fetter you till death330. (1863: III, 1, p. :
104) 331.
(V, 120)

327 , .
, , .

,
.

. (.., 213)
328
?
<>

, , !
.
. ,
. (.., 214)
329 . :
: ,
. (.., 214)
330
?
<>

,
: ,
 223

.
devilish mercy ( ),
mercy, ,
.
, :
: :
Claud. Perpetual durance?
? ?
Isab. Ay, just, perpetual durance; a
restraint, ,
Though all the world's vastidity you had. . (V, 120)
To a determined scope332. (III, 1, p. 104)

perpetual durance ( )
, :
: :
Claud. But in what nature?333 (1863: III, 1, p.
104) , ? (V, 120)

:
Isab. In such a one as (you consenting to't)
Would bark your honour from that trunk , ,
you bear, , ,
And leave you naked. .
Claud. Let me know the point. (1863: III, 1,
p. 104) ! (.., 214)

, ,
,
, :
: :
Isab. O, I do fear thee, Claudio; and I quake
Lest thou a feverous life shouldst ,
entertain, ! ... ,
And six or seven winters more respect ,
Than a perpetual honour. Darst thou die? ,
The sense of death is most in apprehension;
And the poor beetle, that we tread upon, ? ,
In corporal sufferance finds a pang as great ?
As when a giant dies334. (1863: III, 1, p. 104) ? .
?335

, ,
. (.., 214)
331 : [] (V, 431).
332 ? (.., 214)
333 ? (.., 214)
224

,
336. (V, 121)

,
. six
or seven winters ,
. the
poor beetle ( ), .
, , ,
. , . . , .

. , ,
.
, , ,
, ,
. ,
:
: :
Why give you me this shame? ! ?
Think you I can a resolution fetch
From flowery tenderness? If I must die, ?
I will encounter darkness as a bride, , 338,
And hug it in mine arms337. (1863: III, 1, p. ;
104) ,
339. (V, 121)

: Why give you me this shame? (

?),
: ! ?
: Think you I can a resolution fetch / From flowery tenderness?
( , / .

334 , . .
, ,

. ?
.
, ,
,
! (.., 214)
335 :
(V, 432).
336 : (V, 432).
337 ? ,

?
, ,
, ,
! (.., 215)
338 : (V, 432).
339 : , (V, 432).
 225

. . ). bride ()
, darkness () .
,
.
:
: :
There spake my brother; there my father's grave ! ;
Did utter forth a voice! Yes, thou must die: . :
Thou art too noble to conserve a life ; .
In base appliances. This outwardsainted de , :
puty, , ,341
Whose settled visage and deliberate word ,342
Nips youth i'the head, and follies doth enmew, ,343
As falcon doth the fowl, is yet a devil; ;
His filth within being cast, he would appear
A pond as deep as hell340. (1863: III, 1, p. 104) . (V, 121)

(falcon),
;
devil () ,
.
, ,
,
.
The priestly Angelo?, .
: ? ? (215),
: ?
:
O, 'tis the cunning livery of hell, ! ,
The damned'st body to invest and cover
In priestly guards! Dost thou think, Claudio, ! , !
If I would yield him my virginity, ,
Thou might'st be freed. (III, 1, p. 104) . (.., 215)

340 !
! ! :
,
.
,

,
. !

, , , ,
! (.., 215)
341 : , (V, 432).
342 :
. : .

(V, 433).
343 : (V, 432).
226

, :

. !..344
: 345
, !346 (V, 121)

:
O heavens! it cannot be. (1863: III, 1, p. 104) , ! (.., 215)

, 347. (V,121)
:
Yes, he would give it thee, from this rank , ,
offence, .
So to offend him still: This night's the time
That I should do what I abhor to name, ,
Or else thou diest tomorrow. (1863: III, 1, . .
p. 104) (.., 215)

,
:
,
, ,348
. (V, 122)

:
: :
Thou shalt not do't349. (1863: III, 1, p. 104) , . (V, 121)

:
: :
O, were it but my life, !
I'd throw it down for your deliverance ,
As frankly as a pin. (1863: III, 1, p. 104) , ,
, .
(.., 216)

344 : , !... (V, 432).

345 :
. , . :
(V, 432)
346 : , (V, 432).
347 : : (V, 432).
, ,
.
348 : (V, 432).
349 ! (.., 215)
 227

:
!
:
,
350
. (V, 122)

:
: :
Claud. Thanks, dear Isabel351.
, !
Isab. Be ready, Claudio, for your death to
morrow352. , ,
.
Claud. Yes.Has he affections in him,
That thus can make him bite the law by the , ...
nose, !
When he would force it? Sure, it is no sin; ;
Or of the deadly seven it is the least353. ? (V, 122)
(1863: III, 1, p. 104)

, (, )
: That thus can make him bite the law by the
nose. , , :
, .
: Which is the least? (
? .., 420). : ?
(V, 122)
, , :
: :
If it were damnable, he, being so wise,
Why, would he for the momentary trick .
Be perdurably find? O Isabel!354 (1863: 355
III, 1, p. 104) ?
, . .
, ! (V, 122)

350 Pin . , . .
351 , ! (.., 216)
352 , , . (.., 216)
353 , :
,
?
, ,
! (.., 216)
354 ,


? ! (.., 216)
355 : . (V, 432).
228

: What says my brother? (.:

? .., 420), : , ? (V,
122)
: : :
Claud. Death is a fearful thing.
! , !
Isab. And shamed life a hateful.
(1863: III, 1, p. 104) .
(V, 122) (.., 216)

:
: :
Ay, but to die, and go we know not where; ... ,
To lie in cold obstruction, and to rot: ,
This sensible warm motion to become ... !
A kneaded clod; and the delighted spirit ,
To bathe in fiery floods, or to reside . :
In thrilling region of thickribbed ice; ,
To be imprison'd in the viewless winds,
And blown with restless violence round ,
about ,
The pendent world; or to be worse than
worst ,
Of those, that lawless and incertain ...357
thought , ...358
Imagine howling! 'tis too horrible! , : ,
The weariest and most loathed worldly ,
life, , , ...
That age, ache, penury, and imprisonment
Can lay on nature, is a paradise ,
To what we fear of death356. (1863: III, 1, p. 359. (V, 123)
104)

356 ... , ...

...
, ,
...

,

,
,
,
,
,
?
, !..
:
, , , ,
,
, . (.., 216217)
357 : , ...
(V, 432).
358 : : ... (V, 432). .: or to be
worse than worst.
 229

, ,
. , obstruction (,
) , to rot ()
.
This sensible warm motion to
become / A kneaded clod ( , /
. . ., 410).
: ! , / . :
/ . (the delighted spirit)
(To bathe in fiery floods),

. ,
or to reside / In thrilling region of thickribbed ice ( /
) :
. : To be
imprison'd in the viewless winds, / And blown with restless violence round
about / The pendent world /
, 360... ,
(age, ache, penury, and
imprisonment , , , ),
: , , / , ,
.
. .
( III, 1):
.
,
,
.
.
,
, ,
,
, ,
: , 361.

359
. .: 1834, 72; 1835, 211.
. . , 11 1834
: ,
. :
, , .
, , ,
, ! ( 1998.
. 2, 280).
360 .: /
/ (.., 410).
361 . . :
, ,
, , ...
230

, ,
, ,
,
,
: ,
...
a kneaded clod, thickribbed ice, viewless winds, the pendant
world, .
,
, , , , ,
, ,
, ,
( 2001, 48).

:
: :
Isab. Alas! alas!362
!
Claud. Sweet sister let me live:
What sin you do to save a brother's life, ! ! .
Nature dispenses with the deed so far, ,364
That it becomes a virtue363. (1863: III, 1, p. 104) . (V, 123)

, ,
:
The weariest and most loathed worldly life
That age, ache, penury and imprisonment
Can lay on nature is a paradise
To what we fear of death (1863: III, 1 127130).
. . ,
,
,
, , .
,
,

.
, :
(Let it come on, III, 1). ,
: :
,
.
. . ,

. , (Gifford 1947, 159).
, , ,
, ( 1974, 83). . .
.
362 , ! (.., 217)
363 !
, !
,
! (.., 217)
364 : (V, 432).
 231

: Nature dispenses
with the deed so far / That it becomes a virtue (
, / ).

:
: :
Isab. O, you beast! ?
O, faithless coward! O, dishonest wretch! ! !
Wilt thou be made a man out of my vice? 366
Is't not a kind of incest, to take life !.. !
From thine own sister's shame? What ,
should I think? , ,
Heaven shield my mother play'd my
father fair? . ,
For such a warped slip of wilderness !
Ne'er issud from his blood. Take my , ,367
defiance; . . 368
Die; perish! might but my bending down ,369
Reprieve thee from thy fate, it should
proceed: 370.
I'll pray a thousand prayers for thy death, ,
No word to save thee365. (1863: III, 1, p. ... (V, 124)
105)

,
, , (beast).
, .

, .
, faithless coward ( )

365 , !
, , , !
?
, ?

? , ?
?

! :
! ! , ,
,
, !
,
.
! (.., 217)
366 : , /
. ! . (V, 433).
367 : : (V, 433).
368 : [] . (V,
433).
369 :
. .
,
(V, 433).
370 : (V, 433).
232

dishonest wretch ( ),
: ! !.
faithless, beast, . ,
faithless . .
: lacking in Christian faith (as a man who should view
death not as something to be feared but as the gateway to eternal bliss)
(Shakespeare 1994, 114).
.
,
:
Claud. Nay, hear me, Isabel.
!
.
Isab. O, fie, fie, fie!
Thy sin's not accidental, but a trade. ! , , !
Mercy to thee would prove itself a bawd: ,
'Tis best that thou diest quickly.[Going.] .
. (
.)
Claud. O, hear me, Isabella!
Reenter Duke. (1863: III, 1, p. 105) , ...
. (.., 217218)

,
:
, , !
, !371 (V, 124)

:

.
,
, ,
, . (V, 124)

.
:

.
,
, . (V, 125)

, ,
,

371 :
: / ; . (V, 433). .: O, fie, fie, fie! /
Thy sin's not accidental, but a trade.
 233

, .

(V, 119):

, , ,
, ,

, , , ,
, .
;
,
. (V, 125)

. ,
VIII ,
,

. ,
,
.
,

.
,
:

, , ,
;
. ,
; . (V, 125)

:
Duke. Might you dispense with your
leisure,
I would by and by have some speech with ,
you: , ,
the satisfaction I would require, is likewise . (. ., 309)
your own benefit. (1863: III, 1, p. 105)

, , ,
.
,
, ,
.

234

,
, .

,
,
. , ,
.
,
, ,
, ,
. : , ,
? ,
?
?

:

. (V, 125)
,
:
! , 372,
, ,

?373
? . ,
,
, ,
, .
. ,
,
;
, :
,
.
.
, 374.
,
375. (V, 126)

.
.
376 , ,

372 : , (V, 433).

373 : ? /
? (V, 433).
374 :
(V, 433).
375 : (V, 433).
376 : ,
(V, 128).
 235

, ,
. . :
, ,
, ; ,
, ,
(1977: IV, 429). ,

: . ,
, ,
, (
.
. .).
: ? ,
,
377. . . ,
,
( 1880, 227).

, ,
, , ( ? ?
,
?). .
,
:

. , 378
.

.
.
, ,
,

, ,
, , .
: 379.
,
. (V, 126)

. .
, ,
, ,
. ,

377 1963. . II, 456.

378 : . <>).
379 . : Remember now my brother.
236

/.
:
Little have you to say
When you depart from him, but, soft and low,
Remember now my brother.380 (1863: IV, 2, p. 108)

,
, ,
, .
:

, , .
.
:
,
.

. : ?

. (V, 127)

,
, ,
.
:
,

,
,
,
,381
, ,
,
. (V, 127)

,
:

,
. ,
.
. ,
, ,382
.

380 ,
, , :
! (.., 235)
381 : (V, 433).
382 : , (V,
433).
 237

, ,
.

. (V, 127)

,
:
Justice, O royal duke! Vail your regard ,
Upon a wrong'd, I would fain have said, a !
maid! , ,
O worthy prince, dishonour not your eye ! !
By throwing it on any other object, ,
Till you have heard me in my true ,
complaint, .
And given me justice, justice, justice, ! !
justice! (.., 256)
(1863: V, 1, p. 113)

, !
, ,
!.. (V, 127)

,
:
Duke. Relate your wrongs: in what? By whom?
be brief: ? ?
Here is Lord Angelo shall give you justice; . :
Reveal yourself to him. .
.
Isab. O, worthy duke,
You bid me seek redemption of the devil: !
Hear me yourself; for that which I must speak ?
Must either punish me, not being believd, , , :
Or wring redress from you: hear me, O, hear me, ,
hear. (1863: V, 1, p. 113) ,
.
, , .
... (.., 256)

,
:
, ,
...
. ,
, , ,
.
... (V, 127128)

:
238

My lord, her wits, I fear me, are not firm: !

She hath been a suitor to me for her , .
brother,
Cut off by course of justice. (1863: V, 1, p.
113) . (.., 257)

,
, .
:
,
,
, , !
383.
, ! , ! (V, 128)

:
Sir, by your leave: ...
Hast thou or word, or wit, or impudence, (.)
That yet can do thee office? If thou hast, ,
Rely upon it till my tale be heard, ,
And hold no longer out. (1863: V, 1, p. 116) ?
,
,
. (.., 257)

, ,
, ,
. , ,
:
O my dread lord, !
I should be guiltier than my guiltiness, ,
To think I can be undiscernible, ,
When I perceive, your grace, like power , , ,
divine, . !
Hath look'd upon my passes: Then, good .
prince, :
No longer session hold upon my shame, .
But let my trial be mine own confession; , .
Immediate sentence then, and sequent (.., 271)
death,
Is all the grace I beg. (1863: V, 1, p. 116)

,
, ,
,
,
:

383 : (V, 433).

 239

. , 384,
, ;
,
; : , , 385,
? ,
: .
:
. (V, 128)

, ,
:
I am sorry, that such sorrow I procure: ,
And so deep sticks it in my penitent heart, .
That I crave death more willingly than
mercy; ,
'Tis my deserving, and I do entreat it. , .
(1863: V, 1, p. 117) : .
(.., 276)

,
:
Go take her hence, and marry her instantly.
( . .., 273).

,
:
, ,
. (V, 128)

,
:
O my most gracious lord, , ,
I hope you will not mock me with a , , ,
husband386! (1863: V, 1, p. 116) ,
; .
(V, 128)

, ,
:
It is your husband mock'd you with a husband: , ,
Consenting to the safeguard of your honour, ,

384 : . (V, 433).

385 :
. . , , . ; : , ,

(V, 433).
386 !
? (.., 273)
240

I thought your marriage fit; else imputation, .

For that he knew you, might reproach your life, ,
And choke your good to come: for his . (V, 128)
possessions,
Although by confiscation they are ours,
We do instate and widow you withal,
To buy you a better husband387. (1863: V, 1, p.
116)

,
,
.
, ,
, ,
,
.
:
.
, ! ,
!
?
.
! ! !
, ,
. (V, 128)

Mari. O my dear lord,

I crave no other, nor no better man. !
, !
Duke. Never crave him; we are definitive.
: .
Mari. Gentle, my liege, [Kneeling.]
...
( .)
Duke. You do but lose your labour;
Away with him to death. [to Lucio] Now, !
sir, to you. .
( .)
, !
Mari. O my good lord! Sweet Isabel, take

387 , !

,
, ,

.

,
.
. (.., 273274)
 241

my part; ! , !
Lend me your knees, and all my life to come ,
I'll lend you, all my life to do you service. .
Duke. Against all sense you do importune
her: :
Should she kneel down in mercy of this fact, ,
Her brother's ghost his paved bed would
break, .
And take her hence in horror.
Mari. Isabel,
Sweet Isabel, do yet but kneel by me; !
Hold up your hands, say nothing, I'll speak !
all. ,
They say, best men are moulded out of ,
faults; .
And, for the most, become much more the .
better . ,
For being a little bad: so may my husband. ? !
O, Isabel! will you not lend a knee? ?
Duke. He dies for Claudio's death. (1863: V, 1,
p. 116) . .
(.., 274275)

, ,
. , :

Isab. Most bounteous Sir, [Kneeling.]

Look, if it please you, on this man ( .)
condemn'd, !
As if my brother livd: I partly think, ,
A due sincerity govern'd his deeds, . ,
Till he did look on me; since it is so, ,
Let him not die: My brother had but ,
justice, . ,
In that he did the thing for which he died: .
For Angelo, , ,
His act did not o'ertake his bad intent; ...
And must be buried but as an intent ,
That perish'd by the way: thoughts are no .
subjects, , ,
Intents but merely thoughts. .
(1863: V, 1, p. 116) ...
(.., 275)

,
, ,
. ,
, ,
, .
, . :
, , / ,
242

... (
):

: :
I partly think, , , .
A due sincerity govern'd his deeds, 388
Till he did look on me; since it is so, . (
Let him not die. (1863: V, 1, p. 116) ,
) ,
.
! (V, 128129)

, ,
( ):
. (V, 129)

, ,
.
. . :
,
,
( . .) ( 2001, 48).

,
(Ibid.). ,
(
60% ),
,
, a . 280
4
, 13 , ,
,
(( 2001,
4748).
,
,
,

: ,
.

( 1941, 367).
. .
.
,

388 : (V, 424).

 243

,
,
. ,

, , ,
, , ,
,

2001, 48).
,

,
, ,
.
, ,
, ,
. ,
.

5.4

, .
, , ,
.
:
.
, ,
, ,
. ,
, ,
:
,
( 1999, 3334).
,
. :

.
, , ,
, ,
, , , ,
.

.
244

.
,
, .
. . , ,
, ,
,
( 1941, 360).
,
, ,
( 1941,
361). ,

, :
, ,
( 1941, 360).
, , , ,
, , .
, .
. . ,

, .

.
,
389. .
: , ,
, , , ,
, . , ,
, , ,
390.
. .

( 19531959. . 7, 553). ,
. . ,

.
(1578)

389
. . : 1972, 277278.
390 ., , :
: "" ,
;
, ( 1977, 171, 175). :
,
,
, ,

. ( 2002, 82). . . .
 245

,
:
("Epitia"), , ,
. ,
. , " "
, ,

( 1934, 377389).
. . , . . ,
,
. , , "",
, " "
,
( 1972, 278).
, . . .
,
, . . ( 1994, 314, 331):
(
).

. . . ,
. :
..., ,
, , "
", " " (
),
( 1968, 256). . .
: , (. . .)
, , . . , ,
.

,
( 1974, 80).
. (
), . .
, .
, ,
,
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246

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 247

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248

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 249

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250

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Mortality and mercy in Wienne
Live in thy tongue and heart.


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252

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393
she can understand Mariana's anguish at the prospect of losing her newly gained
husband, and Angelo's predicament which is so like her brother's, and she will kneel
beside Mariana and plead for the life of her enemy. She can put herself in Mariana's
place, and she can see her brother's place and be generous (Bennett 1966, 7172).
254

, ,
, , ,
,
: An Angelo for Claudio, death for death! (
, !).
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( 1999,
38).

394
Isabella has learned through grief, the New Law: Judge not, that ye be not judged. For
with what judgement ye judge, ye shall be judged: and with what measure you meet, it
shall be measured to you again (Bennett 1966, 73).
 255

.
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256

,
( 1999, 39).
396 397,
.
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. (G. Gibian. "Measure for Measure" and Pushkin's
"Angelo". PMLA, 1951, vol. LXVI, 4, p. 429431),
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(G. Gibian, p. 430) ( 1972, 278279).

(Ernest Joseph Simmons),
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,
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398.

.

396 . .
( . 1995, 251).
397 .: 1995.
398 "Shakespeare undoubtedly helped Pushkin to find himself and to bring out that
psychological realism which had been inherent in him throughout his literary
wanderings. Like Russia, Pushkin was a late comer in western civilisation. Like Russia,
he benefited from the absence of deeply rooted tradition and the resultant ease of
adoption, especially with regard to technique. Pushkin's sense of measure taught him
how to enrich his native letters with the finest jewels of world literature. At the same time
his national genius continues to be the cornerstone of literature Russia. So national, in
fact, is his genius, that to feel Pushkin fully one must be born in Russia. This is
unfortunate, for not only is Pushkin largely untranslatable, but even those foreigners who
read him in the original often missing the essence of that genius" (Cross 1937, 77).
 257

,
: ( 1998,
27), , ( , )
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258

.
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 259

,
399.
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(. . , . , . , . . , . . ,

399 Despite such a short life, Pushkin left a great literary heritage in verse and prose. In both
he showed a rare capacity for adapting himself to others in order to adapt them to
himself. He came under a number of literary influences, without however succumbing to
any of them. Having absorbed and digested them, he thereby increased the wide range
and peculiar originality of his own genius. The strongest influences came from England
and were connected with the names of Byron, Shakespeare and Sir Walter Scott. Yet all of
them, while acting as stimuli, were remodeled by Pushkin in his own image
(Lavrin 1973, 53).
260

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Measure for Measure
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 261

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262

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 263

TIIVISTELM

Tyn aiheena on Pukin ja Shakespeare, erityisesti Shakespearen vaikutus

venlisen runoilijan tuotantoon, mink merkityst ja syvyytt tyss
tarkastellaan.
Tyn metodologia on perinteinen. Vertailevaa historiallista ja typologista
metodia sovelletaan taideteoksen tulkintaan hermeneutiikan nkkulmasta.
Pohdittavat kysymykset mrittvt mys tutkimuksen rakenteen.
Ensimmisess luvussa asetetaan ongelma Pukinin shakespearismista,
selvitetn mill kielell runoilija luki Shakespearea, kuinka hyv oli hnen
englannin kielen taitonsa ja miten Pukin ja hnen aikalaisensa ymmrsivt
runomuotoisen knnksen funktion. Toisessa luvussa ksitelln sit, kuinka
Shakespearen dramaturgian periaatteet ilmenivt Boris Godunov nytelmss.
Kolmas luku keskittyy runoilijan aikalaiskritiikkiin ja tutkimuskirjallisuuteen.
Erityisesti tarkastellaan sit, miten niiss nhtiin Shakespearen vaikutus
Pukinin Boris Godunov nytelmn jlkeiseen tuotantoon. Neljnness
luvussa esitetn Angelo runoelman tekstologinen analyysi suhteutettuna
Shakespearen Mitta mitasta nytelmn ja muiden kirjailijoiden siit tekemiin
knnksiin. Tss pohditaan mys Angeloa sek knnksen ett itsenisen
teoksena. Lopussa kootaan yhteen keskeisimmt tutkimustulokset.
Byronin ja sitten Shakespearen lytminen 1820luvulla muutti Pukinin
lukijanintressej. Niden kirjailijoiden lukeminen aluksi venlisin ja
ranskankielisin knnksin hertti runoilijassa halun opiskella englannin
kielt ja tutustua teoksiin alkukielell. 1820 ja 30 luvuilla Pukin tutustui
mys muihin englantilaisiin kirjailijoihin, mutta syvimmn vaikutuksen hneen
teki Shakespeare. Kaksi neroa osoittautuivat sukulaissieluiksi, ja Pukin alkoi
nhd maailman Shakespearen silmin, kuten hn itse tunnusti.
Shakespearismi, mink sanan otti kyttn Pukinin ensimmisen
elmkerran kirjoittaja P.V. Annenkov, ei ole ehk kaikkein onnistunein, mutta
se luonnehtii riittvn tarkasti (analogisesti usein kytetyn byronismi sanan
tavoin) Pukinin Shakespeare harrastuksen maailmankatsomuksellista puolta.
Nin Pukinin shakespearismi merkitsee taiteellisesteettist ideamaailmaa,
joka luonnehtii englantilaisen kirjailijan tapaa nhd ja ymmrt historiaa ja
nykyaikaa, mennytt ett tulevaa. Juuri nm seikat ovat luonteenomaisia
Shakespearelle, ja juuri ne Pukin hnelt omaksui. Ne muuttivat runoilijan
nkemyst historiasta, kirjallisuudesta ja elmst sek antoivat hnelle uusia
taiteellisia kokemuksia.
Pukinin sanankytn tsmllisyys ja osuvuus ovat hmmstyttvi.
Tuntuu kuin Pukin olisi ollut mys elmssn ja runoudessaan taideilmi.
Luomisty merkitsee hnelle tekijn ja teoksen tajuamisen korkeinta astetta.
Hnen henkilkohtaiset havaintonsa omista teoksistaan ylittvt
merkityksens, syvllisyytens ja ilmaisuvoimansa puolesta niist annetut
tieteelliset arviot. Pukin selitti itsen paremmin kuin hnest kirjoittaneet
arvostelijat. Mys hnen omat arvionsa Shakespearesta ovat suuresti
vaikuttaneet aiheesta kirjoittaneiden tutkijoiden nkemyksiin. Pukinin
264

kirjeest ystvlleen N.N. Rajevskille ja Godunov esipuheen luonnoksista

lytyy draaman ongelmien syvllinen analyysi, tekijn tarkoitteiden,
vaikutusten ja pyrkimysten selvitys sek kielen tyylivalintaan, runomittojen
kyttn ja omaperisten henkilhahmojen syntymiseen vaikuttaneet tekijt.
Niden kirjeiden, esipuheen luonnosten ja tekijn kommenttien kyttvoima on
niin valtava, ett niit voidaan nimitt avaimeksi moniin Pukinin nytelmn
ongelmiin. Runoilijan ideoista, ajatuksista ja sanoista lytyy viisautta ja
syvhenkisyytt siin mrin, ett ne voivat loputtomiin ruokkia lukijoiden
ajatusmaailmaa. Epilemtt Pukin oli 1820luvun puolivlist alkaen yksi
Venjn merkittvimmist Shakespearen ja englantilaisen kirjallisuuden
asiantuntijoista ja ymmrtjist.
Venlisen runoilijan Shakespeare teksti on hyvin laaja. Tuon tekstin
hahmottamiseen on osallistunut lukematon mr venlisi ja lnsimaisia
tutkijoita. Ongelmaa ksitelleist tutkijoista voidaan mainita mm. P.V.
Annenkov, N.I. Storozenko, M.N. Rozanov, G.O. Vinokur, M.P. Aleksejev, Ju.D.
Levin, C. Herford, H. Gifford, Ja. Lavrin, A.P. Briggs, T. Shaw ja I. Ronen.
Pukinin Shakespeare harrastuksen jlki lytyy monista hnen teoksistaan.
Ne ilmenevt sitaatteina, alluusioina, palautumina ja motiiveina, ideoina,
runokuvina, draaman ja kerronnan teknisin lainauksina, runoasussa ja
henkilkuvien antropologisina periaatteina ja monina taiteellisina novaatioina.
Pukinin Shakespeareharrastus rohkaisi runoilijaa hnen poeettisissa
ratkaisuissaan, jotka muistuttivat Shakespearen periaatteita, mutta eivt olleet
niiden jljittely. Pukinille oli ominaista hydynt varhemman kirjallisuuden
saavutuksia. Monessa tapauksessa hn lysi niist jotakin omaa tai muutti
nerokkaalla tavalla vieraan omakseen, miss hnen trkein opettajansa oli
Shakespeare.
Selkein esimerkki Pukinin nerokkaasta oppimisesta hnen
shakespearisminsa alkuvaiheilta on nytelm Boris Godunov. Venlinen
runoilija omaksui Shakespearen dramaattisuuden ja historiallisuuden,
luonteiden kuvauksen, paradoksaalisuuden ja samalla taiteellisten ratkaisujen
luonnollisuuden. Lydettyn kansallisvaikutteisuuden Shakespearelta hn
lyt sen mys Venjn historiasta. Englantilaisen nytelmkirjailijan
innoittamana hn kirjoittaa aidosti venlisen draaman ja samalla kaikkein
shakespearilaisimman nytelmns Boris Godunovin, joka uutuutensa ja
taiteellisten arvojensa ansiosta on vhintnkin yht merkittv kuin
varhemmin aloitettu runomuotoinen romaani Jevgeni Onegin.
Shakespearen vaikutus Pukiniin oli hedelmllist ja monipuolista. Siin
ei ollut kyse vain kirjallisista assosiaatioista ja muistumista. Pukinin
Shakespeareharrastus paljastaa molempien kirjailijoiden henkisen
lheisyyden. Pukinin oppikaudella oli knteentekev
maailmankatsomuksellinen vaikutuksensa. Hn alkoi tarkastella monia
henkilkohtaisia ja historiallisia tapahtumia Shakespearen nkkulmasta.
Samalla Pukinin shakespearismi 1820loppupuolelta alkaen oli luonteeltaan
jatkavaa eik jljittelev, kuten tutkija M.M. Pokrovski on osuvasti
todennut.
 265

Tm Pukinin luomistyn piirre ilmeni Boris Godunov nytelmss ja

pienoistragedioissa, mutta selvimmin Mitta mitasta nytelmn
keskenjneess venjnnksess ja sen myhemmss muunnelmassa Angelo
runoelmassa.
Nykyn runoelman tekstihistoria ja sen kirjalliset lhteet on selvitetty.
Lisksi on tehty Shakespearen nytelmn ja Pukin runoelman kerronnan ja
juonirakenteiden erojen vertaileva analyysi sek pyritty tarkastelemaan
kriittisesti Mitta mitasta nytelmn knnst. Tst huolimatta Pukinin
itsens Angelo runoelmasta lausumat sanat kuulostavat tnnkin
ajankohtaisilta ja yllttvilt. Hnen mukaansa Kriitikkomme eivt ole
kiinnittneet huomiota thn teokseen ja luulevat, ett se on huonoja
tuotoksiani, vaikka en ole kirjoittanut mitn parempaa.
Pukin on lyhytsanainen Mitta mitasta nytelmn knnksess samoin
kuin Angelo runoelmassakin. Vaikka yleisesti ollaan sit mielt, ett hnen
englannin kielen taitonsa oli puutteellinen, niin kntjn tystn hn selviytyi
loistavasti. Keskenjneell nytelmknnksell oli merkittv osa
runoelman syntyhistoriassa. Pukin on lakoninen sek nytelmn ett Angelo
runoelmanmukaelmanknnksen sislln ilmaisemisessa. Tm on Pukinin
evoluution yleinen tendenssi.
Molempien teosten runolliset periaatteet ovat samankaltaiset, ero on vain
siin, ett Angelo on nytelmst poiketen sankarikeskeinen. Tllaisen
ratkaisun ainutlaatuisuus on selv, tosin vieraan juonen omaperinen ksittely
ktkee pyrkimyksen knnksen kongeniaalisuuteen, nerolliseen
vastaavuuteen, joka on ers runoelman piirteist. Pukin ei ainoastaan
innostunut Shakespearen teoksesta, vaan pyrki lhestymn sen tekij
ryhtymll hnen kntjkseen. Nin Pukinin runoelman teksti on Mitta
mitasta nytelmn vapaa knns eli kuten tutkija A. Dolinin toteaa, runoelma
ei ole vain runoilijan tekem vapaa muunnelma, vaan valikoitu Shakespeare
knns. Runoilija vierastaa alkuteoksen ja useiden sen knnsten
monisanaisuutta. Hn on rimmisen lakoninen. Pukin vlitt Shakespearen
tekstin yleisen merkityksen mahdollisimman selvsti ja tarkasti. Hn poistaa
kuitenkin toistoja, monia henkilhahmoja ja repliikkej. Pukin lyhent kaiken
sen, mik on hnest juonen kannalta tarpeetonta. Hn vlitt omin sanoin
juonen dramaattiset knteet, dialogien ja monologien vaikeaselkoisen
kaunopuheisuuden. Hn valitsee kaikkein kiinnostavimmat fraasit ja knt
ne runollisesti ja riittvn tarkasti.
Miltei kaikki Pukinin runoelman sanat lytyvt Shakespearelta. Angelon
teksti koostuu Mitta mitasta nytelmn kuvista, metaforista, idiomeista ja
nytelmhenkiliden repliikeist. Tst huolimatta, paradoksaalista kyll, me
luemme Pukinin muunnelmaa kuin alkuperist venlisen runoilijan teosta,
jossa juoni, genre, faabeli, kompositio on muutettu, henkiliden luonteet
muokattu uudelleen, Shakespearen nytelmn eettist konfliktia vahvistettu ja
runoelmalle on annettu uusi nimi, mik kaikki yhdess toi teokseen venlisen
hengen juonen tarjoaman italialaisen koloriitin sijasta. Pukin teki
266

vertaisknnksen Shakespearen nytelmst ja hnen omaperinen

runoelmansa Angelo on mys kaunokirjallisen kntmisen mestarinyte.
Runoelma Angelo on vuoden 1833 syksyn eli tunnetun toisen Boldinon
syksyn suuria taiteellisia voittoja. Tuolloin yksi toisensa jlkeen hnen
kynstn ilmestyivt tunnustetut mestariteokset Pugatevin kapinan
historia, runoelma Vaskiratsastaja, novelli Patarouva, puolalaisen runoilijan
Adam Mickiewiczin kaksi runoknnst, parhain runoilijan saduista Satu
kalastajasta ja kalasta ja runo Syksy.
Runoelma heijasti Pukinin tuotannon ja Venjn kirjallisuuden yleisi
tendenssej, joita olivat kansanomaisuus, venlisen kirjallisuuden
aliarvostamisen voittaminen ja kansallisen itsetunnon kehittminen sek
realismin ja historiallisuuden vakiinnuttaminen kirjallisuudessa. Runoelman
kirjoittaminen vastasi Pukinin henkisten tarpeiden kehityst, ja siin ilmenivt
poliittiset pyrkimykset ja kristillisiin arvoihin perustuvat eettiset periaatteet.
Pukinin Shakespearen kanssa kym dialogi merkitsi sanan erityisen
syvllisen merkityksen lytmist, ihmisluonnon ja vallan vlisten suhteiden
ymmrtmist. Siksi Angelo on Shakespearen venlisen oppilaan paras teos,
koska tmn onnistui voittaa luomiskilvassa suuri ja arvostettu opettaja,
jollaisena Pukin nki englantilaisen neron.
 267

. ., . ., . ., . .,
. ., 1994.
. .: .
. , 338.
. . 1999. . .: . 4(20),
9899.
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. . 1931. .
. 15 1927
.).
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. . 1987. . . .
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, . 1991. [ ]
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268

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