Speaking In Tongues
Guided by Voices

Åâãåíèé Åâòóøåíêî

Yevgeny Yevtushenko

 

Translated by Alec Vagapov

 

ÎÑÅÍÜ

AUTUMN

 
 
Âíóòðè ìåíÿ îñåííÿÿ ïîðà.
Âíóòðè ìåíÿ ïðîçðà÷íî ïðîõëàäíî,
è ìíå ïå÷àëüíî è, íî íå áåçîòðàäíî,
è ïîëîí ÿ ñìèðåíüÿ è äîáðà.
 
À åñëè ÿ áóøóþ èíîãäà.
òî ýòî ÿ áóøóþ, îáëåòàÿ,
è ìûñëü ïðèõîäèò, ãðóñòíàÿ, ïðîñòàÿ,
÷òî áóøåâàòü — íå ãëàâíàÿ íóæäà.
 
À ãëàâíàÿ íóæäà — ÷òîá óäàëîñü
ñåáÿ è ìèð áîðüáû è ïîòðÿñåíèé
óâèäåòü â îáíàæåííîñòè îñåííåé,
êîãäà è òû è ìèð âèäíû íàñêâîçü.
 
Ïðîçðåíüÿ — ýòî äåòè òèøèíû.
Íå ñòðàøíî, åñëè øóìíî íå áóøóåì.
Ñïîêîéíî ñáðîñèòü âñå, ÷òî áûëî øóìîì,
âî èìÿ íîâûõ ëèñòüåâ ìû äîëæíû.
 
Ñëó÷èëîñü ÷òî-òî, âèäèìî, ñî ìíîé,
è ëèøü íà òèøèíó ÿ ïîëàãàþñü,
ãäå ëèñòüÿ, äðóã íà äðóãà íàëàãàÿñü,
íåñëûøèìî ñòàíîâÿòñÿ çåìëåé.
 
È âèäèøü âñå, êàê ñ íåêîé âûñîòû,
êîãäà ñóìååøü ê ñðîêó ëèñòüÿ ñáðîñèòü,
êîãäà áåññòðàñòíî âíóòðåííÿÿ îñåíü
êëàäåò íà ëîá âîçäóøíûå ïåðñòû.
1965
 
 
It's autumn time inside me, as I feel.
It's cool and lucid, and I see quite clearly,
although I’m sad, I am not despaired, really,
and I am filled with patience and good will.
 
And if , at times, I do get wild indeed,
I do it when I fade and leave my foliage,
and then I come to sad and simple knowledge
that rage and rampage isn't what we need.
 
But what we really need is just a chance
to see the raging world and our own selves
in all the bareness of autumn spells,
when we can see all through, at once.
 
Enlightenment is the child of peace and calm.
So never mind if we don't rage and riot.
We'd better shuffle off all wrangles and keep quiet
in order that we see new foliage come.
 
Something has happened to me, for I trust
and I rely exclusively on silence
where leaves pile on the ground, tired of violence,
and turn, inaudibly, to earth and dust.
 
Then you see all, like from a mountain bed,
when you can drop your foliage duly,
and when your inner autumn gently, coolly,
will put its airy palpi on your head.
 
 

* * *

 
 

* * *

 
 
Ìíå ñíèòñÿ — ÿ òåáÿ óæå ëþáèë.
Ìíå ñíèòñÿ — ÿ òåáÿ óæå óáèë.
 
Íî òû âîñêðåñëà â îáëèêå èíîì,
êàê äåâî÷êà íà øàðèêå çåìíîì
â èçãèáèñòî íàèâíîé ïðîñòîòå
ó ðàííåãî Ïèêàññî íà õîëñòå.
è ïîïðîñèëà, ðåáðàìè ìîëÿ:
«Ëþáè ìåíÿ!», êàê: «Íå ñòîëêíè ìåíÿ!»
 
ß òîò óñòàëûé âçðîñëûé àêðîáàò,
îò ìóñêóëîâ áåññìûñëåííûõ ãîðáàò,
êîòîðûé çíàåò, ÷òî ñîâåòû — ëîæü,
÷òî ðàíî èëè ïîçäíî óïàäåøü.
 
Ñêàçàòü ìíå ñòðàøíî: «ß òåáÿ ëþáëþ»,
êàê áóäòî âûäàòü: «ß òåáÿ óáüþ».
 
Âåäü â ãëóáèíå ïðîçðà÷íîãî ëèöà
ß âèæó ëèöà, ëèöà áåç êîíöà,
êîòîðûå êîãäà-òî íàïîâàë
èëè íå ñðàçó — ïûòêîé — óáèâàë.
 
Òû îò áàëàíñà ñòðàøíîãî áåëà:
«ß çíàþ âñå. ß ìíîãèìè áûëà.
ß çíàþ — òû ìåíÿ óæå ëþáèë.
ß çíàþ — òû ìåíÿ óæå óáèë.
Íî øàð çåìíîé íå ïîâåðíó ÿ âñïÿòü:
ëþáè îïÿòü, ïîòîì óáåé îïÿòü».
 
Äåâ÷îíêà òû. Îñòàíîâè ñâîé øàð.
ß óáèâàòü óñòàë. ß ñëèøêîì ñòàð.
 
Íî øàð çåìíîé íîæîíêàìè ãîíÿ,
òû ïàäàåøü ñ íåãî: «Ëþáè ìåíÿ».
È ëèøü âíóòðè — òàêèõ ïîõîæèõ — ãëàç :
«Íå óáèâàé ìåíÿ íà ýòîò ðàç!»
1967
 
 
I fancy, I've already loved you.
I fancy, I've already killed you.
 
But you revived embodied in a girl,
as an ingenuous figure on a ball;
your body bent, you try to keep your balance —
as if you were from Picasso's canvass.
You ask me with your heart and soul :
"Do love me!", like "Don't push me off the ball!"
 
I am that weary acrobatic man,
my muscles make me look a humpbacked one
who knows that all advice is false and leads astray,
and you are sure to fall down anyway.
 
I want to say: "I love you", but I fear,
it's like announcing: "I'll kill you, dear".
 
For in the depth of the transparent face
I see no end of faces, full of grace,
of which I've loved and killed a lot,
by torturing, or crushing on the spot.
 
You're pale from fear, balancing the ball:
"I've been among them, and I know it all.
I know that you've already loved me.
I know that you've already killed me.
But I will not reverse the world. I won't.
Love me again, then kill me if you want".
 
I tell you, girl, do stop your ball.
I'm tired of killing. I'm too old.
 
But you drive on the planet with your feet,
and saying: "Love me do", you fall off it.
And deep inside the eyes, - so much like yours, -
I read: "You will not kill me, I suppose!"
 
 

ÊÎÃÄÀ ÌÓÆ×ÈÍÅ ÑÎÐÎÊ ËÅÒ

 
 

WHEN A MAN IS 40

 
 
Êîãäà ìóæ÷èíå ñîðîê ëåò,
åìó ïîðà äåðæàòü îòâåò:
äóøà íå îäðÿõëåëà? -
ïåðåä ñâîèìè ñîðîêà,
è êàæäîé êàïëåé ìîëîêà,
è êàæäîé êðîøêîé õëåáà.
 
Êîãäà ìóæ÷èíå ñîðîê ëåò,
òî ñíèñõîæäåíüÿ åìó íåò
ïåðåä ñîáîé è áîãîì.
Âñå ñëåçû òå, ÷òî ïðè÷èíèë,
âñå ñîïëè ëæèâûå ÷åðíèë
åìó âûõîäÿò áîêîì.
 
Êîãäà ìóæ÷èíå ñîðîê ëåò,
òî íàëîæèòü ïîðà çàïðåò
íà æàæäó óäîâîëüñòâèé:
âåäü åñëè ïëîòü íå ïîáîðîòü,
óð÷èò, îáëèçûâàÿñü, ïëîòü -
ñúåñòü äóøó óäàëîñü åé.
 
È ïëîòè, â îáùåì-òî, êðàíòû,
êîãäà âêîíåö çàìóñëåí òû,
êàê ëæå-Õðèñòîñ, ãóáàìè.
Îäèí ðîìàí, äðóãîé ðîìàí,
à â ðåçóëüòàòå ëèøü òóìàí
è ãîëûõ áàá - êàê â áàíå.
 
Äî ñîðîêà ÿñíåå öåëü.
Äî ñîðîêà âñÿ æèçíü êàê õìåëü,
à â ñîðîê ëåò ïîõìåëüå.
Îòÿæåëåëà ãîëîâà.
Íå ñî÷åòàþòñÿ ñëîâà.
Êàê â ÿìå - íîâîñåëüå.
 
Äî ñîðîêà, äî ñîðîêà
ñõâàòèòü óäà÷ó çà ðîãà
íà ÿðìàðêó ìû ñêà÷åì,
à â ñîðîê ñ ÿðìàðêè ïåøêîì
ñ ïóñòûì ìåøêîì áðåäåì òèøêîì.
Îáâîðîâàëè - ïëà÷åì.
 
Êîãäà ìóæ÷èíå ñîðîê ëåò,
îí äîëæåí äàòü ñåáå ñîâåò:
îò ÿðìàðêè ïîäàëüøå.
Òàì íå îáìàíåøü - íà ïðîäàøü.
Îáìàíåøü - ñàì óæå òîðãàø.
Òàêîâ çàêîí ïðîäàæè.
 
Åùå ïðîòèâíåé ðæàòü, äðîæà,
êîíåì â ðóêàõ ó òîðãàøà,
ñêâàëûãè, æèâîãëîòà.
Äâà ðàâíîçíà÷íûå ñòûäà:
êîãäà òîðãóåøü è êîãäà
òîáîé òîðãóåò êòî-òî.
 
Êîãäà ìóæ÷èíå ñîðîê ëåò,
æèçíü åãî êðàñèò â ñåðûé öâåò,
íî åñëè íå êàóðûì -
áóäü ñåðûì â ÿáëîêàõ êîíåì
è íå ïðîäàé áàçàðíûì äíåì
íè ÿáëîêà ñî øêóðû.
 
Êîãäà ìóæ÷èíå ñîðîê ëåò,
òî íå ñîøåëñÿ êëèíîì ñâåò
íà ÿðìàðî÷íîì ãàìå.
Âñå âïåðåäè - òû ïîãîäè.
Òû ëèøü â êîìåäü íå óãîäè,
íî íå òåðÿéñÿ â äðàìå!
 
Êîãäà ìóæ÷èíå ñîðîê ëåò,
èëè ðàñïàä, èëè ðàñöâåò -
ìóæ÷èíà ñàì ðåøàåò.
Ñåáÿ îò ñìåðòè íå ñïàñòè,
íî, êðîìå ñìåðòè, ðàñöâåñòè
íè÷òî íå ïîìåøàåò.
1972
 
 
At forty years of age a man
should give account: is he done?
Is he worn out and beaten?
and answer for each year he's lived,
each drop of milk he has received,
each crumb of bread he's eaten.
 
At forty years a man should not
expect allowances from God
and be too self-assertive,
for all the feelings he has hurt
and every scribbled lying word
rebound on him, for certain.
 
At forty years of age a man
should have to put up with a ban -
no pleasure is allowed.
For if the body overcomes
so smug and happy it becomes:
the soul has been devoured.
 
The body, too, is lost and gone
when, gradually, you’re frayed and worn
like pseudo Christ, from kisses.
Perpetual love affairs will end
in haziness, confusion and
a crowd of naked misses.
 
When young we clearly see our course,
and live the life of a carouse,
at forty we are crapulous.
Our feet are heavy, we’re tongue tied.
Words, failing us, can’t be combined.
Our new home is lightless.
 
When we are young, at breakneck pace
we hurry to the market place
to vanquish fortune there.
At forty tediously we drag,
back home with our empty bag :
we have been robbed at fair!
 
At forty years of age a man
should tell himself and everyone:
do not set foot on fairs.
You’ll never sell if you don’t cheat
and if you cheat, you’re in for it,
such are the trade affairs.
 
It’s worse when, trembling like a horse,
you neigh, tied by your trading boss,
the crook that gets you round.
While you feel equally ashamed
both when you are involved in trade
and when they sell you out.
 
Life paints a man of forty grey;
well, if you cannot be a bay
be grey such as a dapple;
and bear in mind one little thing :
do not sell out off your skin
a single spot, called «apple»1.
 
When you are forty years old
you should remember that the world
is not just trading session.
The best is yet to come your way,
avoid a comedy, and play
your part with self-possession!
 
At forty think about your fate,
decide if you should bloom or fade,
which is a better virtue?
You can’t escape the day of doom,
however, if you choose to bloom
no power can prevent you.
 
 

 ÏÎÃÎÍÅ ÇÀ ÄÅØÅÂÎÉ ÏÎÏÓËßÐÍÎÑÒÜÞ

 
 

IN CHASE OF CHEAP POPULARITY

 
 
Ìíå ñêîðî òðèäöàòü. ß ãåðîé ïàðîäèé,
ñòàòåé, ðàçîáëà÷èòåëüíûõ ñòèõîâ.
Ïðèïèñàíû ìíå ïðî÷íî âñå ïîðîêè
è âñå èç ñóùåñòâóþùèõ ãðåõîâ.
 
Ìíå ãîâîðÿò ïîðîé, ÷òî ÿ ïèøó
â ïîãîíå çà äåøåâîé ïîïóëÿðíîñòüþ,
Âîçìîæíî, ñêàæóò âñêîðå, ÷òî äûøó
â ïîãîíå çà äåøåâîé ïîïóëÿðíîñòüþ.
 
Êîãäà-íèáóäü ÿ âñå-òàêè óìðó.
È ïîñòàðàþñü òèõî, à íå áóéíî.
Íàäåþñü, ÷òî õîòü ýòèì ÿ óéìó,
óìàñëþ ÿ óìàÿâøèõñÿ óéìó.
 
Íå áóäåò õèòðîé öåëè ó ìåíÿ.
Íî êòî-òî ñ ïëîõî ñäåðæàííîþ ÿðîñòüþ,
íàâåðíî, ïðîøèïèò, ÷òî óìåð ÿ
â ïîãîíå çà äåøåâîé ïîïóëÿðíîñòüþ.
1957-1961
 
 
I shall be 30 soon, and I’m a hero
of parodies and rhymes that rail and scold.
With one accord they claim that I’m a bearer
of all the sins and vices in the world.
 
Some people tell me that I write to please,
in chase of cheap success and popularity.
They will be claiming shortly that I breathe
in chase of cheap success and popularity.
 
Some day, I know, I’ll die, and I will try
to do it quietly, it won’t be loud.
I hope that in that way I’ll mollify
and soothe the crowd of the haggard and worn out.
 
I will not set a cunning goal of any kind.
But someone, in a rage, will say,with clarity,
contemptuously hissing, that I died
in chase of cheap success and popularity.
 
 

* * *

 
 

* * *

 
 
Ïðèøëè èíûå âðåìåíà.
Âçîøëè èíûå èìåíà.
 
Îíè òîëêàþòñÿ, áåãóò.
Îíè âðàãîâ ñåáå ïåêóò,
ïðèíîñÿò íåóäîáñòâà
è âûçûâàþò çëîáñòâà.
 
Íó, à çàòî îíè - «âîæäè»
è èõ äåâ÷îíêè æäóò â äîæäè
è, âãëÿäûâàÿñü â ñóìðàê,
óêðàäêîé áðîâè ñëþíÿò.
 
À ãäå æå, ãäå òâîè âðàãè?
Õîòü èõ îïÿòü èñêàòü áåãè,
Äà âîò îíè - ðàäóøíî
êèâàþò ðàâíîäóøíî.
 
À ãäå òâîè äåâ÷îíêè, ãäå?
Äëÿ èõ çäîðîâüÿ íà äîæäå
îïàñíî - íå èíà÷å -
èì íàäî âíóêîâ íÿí÷èòü.
 
Óêðàëè âñåõ òâîèõ âðàãîâ.
Óêðàëè ëåãêèé ñòóê øàãîâ.
Óêðàëè ÷åé-òî øåïîò.
Îñòàëñÿ òîëüêî îïûò.
 
Íî ÷òî æå òû çàãîðåâàë?
Ñêàæè, òû ñàì íå âîðîâàë,
íå çàâîäÿ ó÷åòà,
âñå ýòî ó êîãî-òî?
 
Ëþáàÿ þíîñòü - âîðîâñòâî,
è â ýòîì æèçíè âîëøåáñòâî:
íè÷òî â íåé íå óõîäèò,
à ïðîñòî ïåðåõîäèò.
 
Òû íå çàâèäóé. Áóäü ìóäðåé.
Âîðîâ ñ÷àñòëèâûõ ïîæàëåé.
Âåäü êàê íè îçîðóþò,
èõ òîæå îáâîðóþò.
 
Ïðèäóò èíûå âðåìåíà.
Âçîéäóò èíûå èìåíà.
1963
 
 
New times have set in nowadays,
and they have brought along new names.
 
They dash around, run and fuss
make enemies and kick up rows;
they cause discomfort and privation,
stir up annoyance and vexation.
 
But they are «leaders». There are girls
awaiting them in rains and whirls,
and peer through the darkness,
collating their smartness.
 
But where are your downright foes?
It’s hard to find them, I suppose.
Oh there they are! Looking so friendly,
they smile and nod approval gently.
 
And where are your girls? Yes, where?
It’s raining, and they should take care,
bewaring of getting wet -
they’ll have to nurse grandchildren yet.
 
They’ve stolen all your enemies,
the gentle footsteps which you miss,
they’ve stolen someone’s whisper...
All that remains is wisdom.
 
Why are you sad, you poor thing?
Haven’t you stolen anything
from anyone without
even keeping count?
 
Young age is larceny and bluff,
and that’s the miracle of life:
there’s no evaporation,
there’s only transformation.
 
Do not be envious. Be wise.
Just spare the happy thievish guys.
No matter how they fool about,
they, too, will be cleaned out.
 
New times will come some of these days,
and they will bring along new names.
 
 

* * *

 
 

* * *

 
 
Íå òðàòüòå âðåìÿ, ÷òîáû ïîìíèòü çëî.
Ìåøàåò ýòî âíóòðåííåé ñâîáîäå.
Ìåøàåò ïðîñòî - ÷åðò âîçüìè! - ðàáîòå, -
íó, â îáùåì, ýòî õëîïîòíî çåëî.
 
À ïîìíèòå äîáðî, áëàãîäàðÿ
çà ëàñêó îêðóæàþùèõ è áîãà.
Íà ýòî äåëî, ê ñòàòè ãîâîðÿ,
è âðåìåíè óéäåò íå òàê óæ ìíîãî.
1964
 
 
Don’t waste your time, don’t keep the bad in mind
for it impedes your freedom, at your instance.
In fact, it hampers work and causes hindrance,
it’s much too troublesome, a real bind!
 
But bear the good in mind , and give the due
to God and all around you for endearment.
Just try, and you will see it isn’t hard to do,
and, incidentally, it all won’t take a minute.
 
 

* * *

 
 

* * *

 
 
Ìíå ÷óæäû ýêñòðåìèñòû... Ìíå ïðèåëèñü
èõ òðåïîòíÿ, èõ óìñòâåííûé ðàçâðàò.
Âñÿ ýòà óëüòðàëåâîñòü, óëüòðàïðàâîñòü
ðóòèíîé îäèíàêîâîé ðàçÿò.
 
È â ìèðå, äâóíàïðàâëåííîì, ðóòèííîì,
ãäå ðâóòñÿ ê âëàñòè ñ áîìáîé ïîä ïîëîé,
ñïàñåíüå íå â «äà çäðàâñòâóåò!» ðåòèâîì,
íè â çëîáíî-ðàçðóøèòåëüíîì «äîëîé».
 
Íî ìåæäó «ïðî» è «êîíòðà» åñòü íà ñâåòå.
Êàê áóäòî ìåæäó ìå÷óùèõñÿ ïóëü,
ðóòèííîñòü îìåðçèòåëüíàÿ òðåòüÿ -
òðóñëèâàÿ âîçâûøåííîñòü ÷èñòþëü.
1975
 
 
I can’t digest extremists... I’m sick with
their twaddle and perverted scope of mind.
Those ultra left and ultra right are equals:
smell of routine of the unvarying kind.
 
In this two-sided world routinely turning round
where they fight for power, bombs up the sleeve,
there’s no salvation in the angry screams of «Down!..»
nor in the zealous shouts of «Long live!..»
 
Between the «pros» and «cons», as though between
the bullets flying by, obscure,
there is a third, detestable, routine,
and it’s the cowardly highness of the «pure».
 
 

* * *

 
 

* * *

 
 
Î Ãðóçèÿ,
íàì ñëåçû âûòèðàÿ,
òû - ðóññêîé ìóçû êîëûáåëü âòîðàÿ.
Î Ãðóçèè
çàáûâ íåîñòîðîæíî,
â Ðîññèè áûòü ïîýòîì íåâîçìîæíî.
1978
 
 
Oh Georgia,
wiping away our tears of lamentation,
you are another cradle of Russia’s inspiration.
Forgetting Georgia,
like a thoughtless dasher,
it is impossible to be a poet here in Russia.
 
 

* * *

 
 

* * *

 
 
Íå õî÷ó áûòü ëþáèìûì âñåìè
èáî âìåñòå ñ áîðüáîé â ìåíÿ
âðåìÿ âñàæåíî, áóäòî ñåìÿ,
à, áûòü ìîæåò, è âñå âðåìåíà.
 
Íå èãðàþ ñ îãëÿäêîé íà Çàïàä,
íå ìîëþñü, êàê ñëåïîé, íà Âîñòîê.
Ñàì ñåáå ÿ çàäà÷è íå çàäàë,
âûçûâàòü äâóñòîðîííèé âîñòîðã.
 
Íåâîçìîæíî â æåñòîêîì ñðàæåíüå,
ðóêó íà ñåðäöå ïîëîæà,
ñðàçó áûòü è ñòîðîííèêîì æåðòâû,
è ñòîðîííèêîì ïàëà÷à.
 
Ïðîäîëæàþñü ÿ, âñåõ çàïóòàâ,
Âñåì ïîíðàâèòüñÿ - ýòî áëóä.
Íå óñòðàèâàþ íè ëèçîáëþäîâ,
íè ðàñêàëûâàòåëåé áëþä.
 
Íå õî÷ó áûòü ëþáèìûì òîëïîþ -
ÿ õî÷ó áûòü äðóçüÿìè ëþáèì.
ß õî÷ó áûòü ëþáèìûì òîáîþ
è êîãäà-íèáóäü - ñûíîì ñâîèì.
 
ß õî÷ó áûòü ëþáèìûì òåìè,
êòî ñðàæàåòñÿ äî êîíöà.
ß õî÷ó áûòü ëþáèìûì òåíüþ
ìíîé ïîòåðÿííîãî îòöà.
1979
 
 
I don’t want to please everybody
for along with the habit to fight
I have time, or all times, in my body
like a seed, implanted inside.
 
I don’t play looking timidly westward,
I don’t worship the East, like blind,
I don’t want to be doubly favoured
for it’s not what I have in mind.
 
When engaged in a fierce battle
one cannot sincerely side
both with those getting killed like cattle
and the ones who commit genocide.
 
I get on. People find me ambiguous...
Pleasing all is indecent and lewd.
I do not gratify the obsequious
nor the ones who stir up a feud.
 
I don’t want to be loved by a crowd,
but I want to be loved by you,
by my friends and well-wishers around,
and some day by my sonny, too.
 
I just want to be loved and favoured
by the ones who fight to the last.
I want to be loved by the shade of
my father whom I have lost.
 
 

* * *

 
 

* * *

 
 
Ìîé ñûí êóðëû÷åò ïåñåíêó ñâîþ,
ïîäîáíóþ æóð÷àùåé ïòè÷üåé ðå÷è,
è ÿ áîþñü, ÷òî âäðóã íà ÷üè-òî ïëå÷è
ÿ ñ ïëå÷ ìîèõ ñòðàäàíèÿ ñâàëþ.
 
Áîþñü, ÷òî íà äðóãèõ ñâàëþ âèíó
çà âñþ èãðó ëþäüìè èëè ñëîâàìè.
Áîþñü, ÷òî íà äðóãèõ ñâàëþ âîéíó,
âèñÿùóþ ó íàñ íàä ãîëîâàìè.
 
Êîãäà ìû òðóñèì â ÷üþ-òî øêóðó âëåçòü,
ñ íåñ÷àñòüÿìè äðóãèõ èãðàÿ â ïðÿòêè,
â ñåìåéíîì ëè÷íîì ñ÷àñòüå ÷òî-òî åñòü
îò ëîâêåíüêî ïîäêèíóòîé íàì âçÿòêè.
 
Äà áóäü ÿ èç áëàæåííî âñåáëàãèõ,
äà áóäü ÿ è âåëèêèé-ïðåâåëèêèé,
íå çàñëóæèë ÿ ïîäëûõ ïðèâèëåãèé
íå ìó÷èòüñÿ - õîòÿ áû çà äðóãèõ.
 
Êîíå÷íî, ìíå õîòåëîñü áû âñåõ áëàã,
êîíå÷íî, ìíå õîòåëîñü áû ïî÷åòà,
íî äóìàþ ïîðîé - êàêîãî ÷åòà
íàïðàøèâàòüñÿ ìíå íà ýòîò áëàò?
 
Ñïàñàéòåñü îò ïîçîðà íå ñòðàäàòü,
íå ïîìîãàòü, íå äóìàòü, íå áîðîòüñÿ.
Ñîìíèòåëüíà òàêàÿ áëàãîäàòü -
ê íåñ÷àñòèþ íà ñ÷àñòüå íàïîðîòüñÿ.
 
È åñëè ÷åðåñ÷óð ìíå õîðîøî,
âñå ñäåëàþ, ÷òîá ñòàëî ìíå ïîõóæå,
÷òîáû, ïðîíçèâ, ìîðîç ïîøåë ïî êîæå
êîãäà ëàñêàþò ñëèøêîì ãîðÿ÷î.
 
Íàðî÷íîå ïðèäóìûâàíèå áåä
÷óæèå áåäû, âïðî÷åì, íå îïëàòèò.
Âñåãäà, êîãäà ñâîèõ ñòðàäàíèé íåò,
÷òîá íå òóïåòü, ÷óæèõ ñòðàäàíèé õâàòèò.
1979
 
 
The song my son is softly humming spells
a quiet babbling twitter of a bird, and
I am afraid that I may shift the burden
of all my torments on somebody else.
 
I am afraid that I may blame some others for
the tricks I played on words, my friends and brothers.
I am afraid that I may shift the war,
that hangs above our heads, on others.
 
When with the people suffering grief we toy,
afraid of sharing their pains and sorrows,
behind the happy life that we enjoy
there’s somewhat of a bribe palmed off upon us.
 
If I were the greatest man, or say,
the finest and the worthiest human being,
I wouldn’t have the privilege of living
without pain - for others, anyway.
 
Of course, I’d like to have the best in life,
of course, I’d like to win respect and veneration,
but why the hell, I wonder, should I strive
for creature comforts, coveting protection?
Beware of a shameful life without pain,
a life without thinking, striving, suffering...
It is, indeed, a doubtful blessing when
you have a stroke of luck as an unwanted happening.
And if I chance to go through happy days
I’ll do my best to make them gloom and shadow
so that I shake with cold, chilled to the marrow,
when hearing the flaming words of praise.
 
The sufferings that we invent will not
make up for other people’s troubles.
When our own grieves we haven’t got
we can avail ourselves for those of others.
 
 

* * *

 
 

* * *

 
 
ß âèæó ñ îòâðàùåíèåì íàñêâîçü
âàñ, ðîçîâîå ïëåìÿ íàñëàæäåíöåâ,
öèíè÷åñêè èãðàþùèõ ìëàäåíöåâ...
À âðåìÿ? Âðåìÿ ñæàëèòñÿ àâîñü.
 
ß íå æåëàþ âàì íåñ÷àñòíûõ äåòñòâ,
íî â çðåëîñòè ïîáîéòåñü ïîãðåìóøåê
è ñëèøêîì óæ áåñïå÷íûõ ïîòÿãóøåê
ñ óáîãèì âîñêëèöàíüåì: «Íàñëàæäåí!»
 
 èñòîðèè äàâíî è ñëåä ïðîñòûë
òåõ, êòî èñêàëè òîëüêî íàñëàæäåíüÿ.
Îêàçûâàåò âå÷íîñòü ñíèñõîæäåíüå
ëèøü òåì, êòî ñíèñõîæäåíüÿ íå ïðîñèë.
1979
 
 
I look upon you with repulsion and disgust,
you, rosy race of pleasure hunters
that cynically play the little bantams...
Time will, you think, take pity on your past.
 
You may enjoy your babyhood all right
but as you get mature, beware of rattles,
and don’t stretch out idly on a mattress
exclaiming : «I’m pleased and satisfied!»
 
The names of those who wanted just to strive
for pleasure have all sunk into oblivion.
Eternity is only merciful and lenient
to those who never wanted lenience in life.
 
 

* * *

 
 

* * *

 
 
Åñòü ïðÿìîòà,
êàê áóäòî êðèâîòà.
Îíà âíóòðè ñàìîé ñåáÿ ãîðáàòà.
Æèçíü ïåðåä íåé
áåçâèííî âèíîâàòà
çà òî, ÷òî òàê ðèñóíêîì íå ïðîñòà.
 
Ïîáîéòåñü æèçíü ñïðàìëÿòü,
íå ïîíèìàÿ,
÷òî ìîæíî âûïðàâëåíèåì ñîãíóòü,
÷òî èíîãäà â èñòîðèè ïðÿìàÿ
ìåæ òî÷êàìè äâóìÿ -
äëèííåéøèé ïóòü.
1979
 
 
Straightforwardness
can be a little off.
It’s crooked inside, oblique and bending.
Though guiltless,
life is guilty of presenting
a pattern which is not facile enough.
 
Don’t try to straighten out your life :
by simple logic
it’s an attempt to mend or mar, and, I should say,
a rectilinear path between two distant objects
historically,
can be the longest way.
 
 

ÄÂÎÅ

 
 

TWO LOVERS

 
 
Äâîå, êòî ëþáÿò äðóã äðóãà, -
ýòî ìÿòåæ âäâîåì.
Ýòî - ñêâîçü ÷üþ-òî ðóãàíü
øåïîò, ñëûøíåé, ÷åì ãðîì.
Äâîå - â ñåíå è æèìîëîñòè
ýòî - ñäâîåííûé Áîã,
ýòî - âñåõ íèòåé æèçíè,
âàëüñèðóþùèé êëóáîê.
Äâîå, êòî ëþáÿò ùåìÿùå,
ýòî äâå ñèðîòû,
òêíóâøèåñÿ ïî ùåíÿ÷üè
â çâåçäíûé ïîäîë êðàñîòû.
Ýòî ÷èòàòåëè êîæè,
ýòî ëèíãâèñòû ãëàç.
Äëÿ ïîíèìàíüÿ äðîæè
ðàçâå èì íóæåí ïîäñêàç ?
Ïðîñòûíè, ñìÿòûå èìè,
èì äðàãîöåííåé çíàìåí.
Âûøåïòàííîå èìÿ -
âûøå âåëèêèõ èìåí.
Ýòî îïàñíîå äåëî,
Çàãîâîð, è áîëüøîé.
Ýòî âîññòàíèå òåëà
ïðîòèâ ðàçëóêè ñ äóøîé.
Ýòî íåïîäêîíòðîëüíî.
Ýòî êàê äâå ñòðàíû,
ñëèâøèåñÿ äîáðîâîëüíî
áåç îáúÿâëåíüÿ âîéíû.
Ñ ãàäåíüêèìè ãëàçàìè,
æäåò, óõìûëÿÿñü, òîëïà
ñêîðîãî íàêàçàíüÿ,
èáî ëþáîâü ñëåïà.
Íî ñòîèëî ëè áû âåí÷àòüñÿ,
åñëè áû ÿ è òû
âäðóã èçëå÷èëèñü îò ñ÷àñòüÿ
âñåâèäÿùåé ñëåïîòû?
Ìèð, ãäå èçëèøíå áðåçãëèâî
îñìåÿíà ñëåïîòà,
ìîæåò ïîãèáíóòü îò âçðûâà,
âîñêðåñíóòü - îò øåïîòà...
6 èþëÿ 1996
 
 
Two people loving each other
make a rebellion of two.
It is a thundering whisper
breaking abuses through.
Two lovers in hay, or woodbine,
make God Almighty’s light,
it is like a waltzing ball of
innumerous threads of life.
Two people adoring each other
resemble two orphan kids
that cling to the skirt of beauty
like puppies reaching for feeds.
They are a sort of skin-readers
and linguists of human eyes.
To understand the tremors
they don’t need any advice.
The bed-sheets they’ve crumbled they value
more than anything else.
The names that they whisper are greater
than any of greatest names.
It is a serious menace,
conspiracy, biggest of all.
It is a rebellion of body
against separation from soul.
It is uncontrollable, and it’s
like two kingdoms, or
two nations merged voluntarily
without declaring a war.
Staring like freaks and sneering,
the crowd have got a good mind
to wait for severe punishment
for love is said to be blind.
But would it be worth getting married
if we were to decide
to cure ourselves from happiness,
the pleasure of being blind?
If blindness is laughed at squeamishly,
then, I imagine, the world
can perish from an explosion,
and rise from a whispered word.
 
 

* * *

 
 

* * *

 
 
Áåçóìåí ìèð. Êðóãîâîðîò ðàçóìåí.
Íå óìåðëî íè÷òî. Íèêòî íå óìåð.
 
Íåò ïðîøëîãî. Îíî âñåõ íàñ òàÿùåå.
Íåò áóäóùåãî. Òîëüêî íàñòîÿùåå.
 
È Àëåêñàíäð Îñâîáîäèòåëü, âçîðâàííûé
íåáëàãîäàðíîé áîìáîþ ïîçîðíîþ,
 
òàê Ãîðáà÷åâó ãîâîðèò íåçëî:
«À , çíàåòå, âàì, â îáùåì ïîâåçëî...»
3 èþíÿ 1996
 
 
The world is mad. It’s reasonably furnished.
No one has died. Nothing has vanished.
 
There is no past. We’re in it’s haze, and
there is no future. There is only present.
 
Tsar Alexander, the Liberator,
blown up by a disgraceful traitor
 
says sympathetically to Gorbachev:
«You were lucky, after all, by Jove...»
 
 

* * *

 
 

* * *

 
 
Íàâåðíî, ñ òå÷åíèåì äíåé
ÿ ñòàíó åùå îäíåé.
 
Íàâåðíî, ñ òå÷åíèåì ëåò
ïîéìó, ÷òî ìåíÿ óæå íåò.
 
Íàâåðíî ñ òå÷åíüåì âåêîâ,
çàáóäóò, êòî áûë ÿ òàêîâ.
 
Íî ëèøü áû ñ òå÷åíèåì íåé
íå æèòü áû ñòûäíåé è ñòûäíåé.
 
Íî ëèøü áû ñ òå÷åíèåì ëåò
äâóëèêèì íå ñòàòü, êàê âàëåò.
 
È ëèøü áû ñ òå÷åíüåì âåêîâ
íå çíàòü íà ìîãèëå ïëåâêîâ.
1984
 
 
With days, I suppose, I may
be lonelier than I am today.
 
With years I may get to know
that I don’t exist any more.
 
With ages one may, I suppose,
forget who I really was.
 
If only with days I would not
feel shame for my fated lot.
 
If only with years, cursed or praised,
I wouldn’t be double faced.
 
If only with ages people
wouldn’t cover my grave with spittle.



ÑÌÅßËÈÑÜ ËÞÄÈ ÇÀ ÑÒÅÍÎÉ

THEY LAUGHED BEHIND THE WALL

 
 
Ñìåÿëèñü ëþäè çà ñòåíîé,
à ÿ ãëÿäåë íà ýòó ñòåíó
ñ äóøîé, êàê ñ äåâî÷êîé áîëüíîé
â ðóêàõ, ïóñòåâøèõ ïîñòåïåííî.
 
Ñìåÿëèñü ëþäè çà ñòåíîé.
Îíè êàê áóäòî èçìûâàëèñü.
Îíè ñìåÿëèñü íàäî ìíîé,
è êàê áåññîâåñòíî ñìåÿëèñü!
 
Íà ñàìîì äåëå òàì, â ãîñòÿõ,
óñòàâ êðóæèòüñÿ ïî ïàðêåòó,
îíè ñìåÿëèñü ïðîñòî òàê, —
íå íàäî ìíîé è íå íàä êåì-òî.
 
Ñìåÿëèñü ëþäè çà ñòåíîé,
ñåáÿ âèíîì ïîäîãðåâàëè
è îáî ìíå ñ ìîåé áîëüíîé,
ñìåÿñü, è íå ïîäîçðåâàëè.
 
Ñìåÿëèñü ëþäè... Ñêîëüêî ðàç
ÿ òîæå, òîæå òàê ñìåÿëñÿ,
à çà ñòåíîþ êòî-òî ãàñ
è ñ ýòèì ãîðåñòíî ñìèðÿëñÿ!
 
È äóìàë îí, áåäîé ãîíèì
è åé ïî÷òè óæå ñäàâàÿñü,
÷òî ýòî ÿ ñìåþñü íàä íèì
è, ìîæåò, äàæå èçäåâàþñü.
 
Äà, òàê óñòðîåí øàð çåìíîé
è òàê óñòðîåí áóäåò âå÷íî:
ðûäàåò êòî-òî çà ñòåíîé,
êîãäà ñìååìñÿ ìû áåñïå÷íî.
 
Äà, òàê óñòðîåí øàð çåìíîé
è òåì âîâåê íåóâÿäàåì:
ñìååòñÿ êòî-òî çà ñòåíîé,
êîãäà ìû ÷óòü ëè íå ðûäàåì.
 
È íå ïðèìè íà äóøó ãðåõ,
êîãäà òû ìðà÷íûé ì ðàçáèòûé,
òàì, çà ñòåíîþ, ÷åé-òî ñìåõ
íå ñ÷åñòü çàâèñòëèâîé îáèäîé.
 
Êàê ðàâíîâåñüå — áûòèå.
 íåì çàâèñòü — ñàìîîñêîðáëåíüå.
Âåäü çà íåñ÷àñòèå òâîå
÷óæîå ñ÷àñòüå — èñêóïëåíüå.
 
Æåëàé, ÷òîá â ÷àñ ïîñëåäíèé òâîé,
êîãäà çàìðóò ãëàçà, ñìûêàÿñü,
ñìåÿëèñü ëþäè çà ñòåíîé,
ñìåÿëèñü, âñå-òàêè ñìåÿëèñü!
1963
 
 
Somebody laughed behind the wall,
I stared at it, sad and lonely,
and in my arms I had my soul,
my ailing daughter, fading slowly.
 
They laughed behind the wall as though
they were making fun and teasing.
They laughed at me, and it was so
disgraceful, shameless and displeasing!
 
It was a feast. They seemed to be
relaxing, tired of dancing round.
In fact, they didn’t laugh at me,
nor anyone as I found out.
 
They laughed and joked behind the wall,
(what they were drinking wasn’t water),
and they were not aware at all
of me, nor of my ailing daughter.
 
They were laughing... I recall
I, too, would often laugh, elated,
while somebody behind the wall
was fading, and he couldn’t help it!
 
Despaired by trouble, feeling grim,
about to give in, resigning,
he thought that I was teasing him
and even mocking and deriding.
 
Such is the world. Once and for all
it’s been established, as it were:
when someone weeps behind the wall
we laugh rejoicing, free of care.
 
And that’s the reason why the world
is never fading, it appears:
somebody laughs behind the wall
while we’re down shedding tears.
 
When broken-hearted, keep your soul
without sin, just show your lenience, —
if someone laughs behind the wall
don’t take it as a jealous grievance.
 
Life seems to balance all, so don’t
give way to envy, — pain and torture,
for your misfortune is atoned
by someone’s lucky chance and fortune.
 
When you receive the final call
and shut your eyes at the last minute
let people laugh behind the wall,
yes, laugh, not cry and morn, I mean it!
 
 

ÏÎÇÄÍÈÅ ÑËÅÇÛ

 
 

OLD AGE TEARS

 
 
Æèâîòíûå — ýòî äðóãèå íàðîäû,
è íå èç ñëåçëèâîé, êàê ëþäè, ïîðîäû.
Íî ïëà÷óò ñîáàêè íå ñïüÿíó — òâåðåçû.
Èõ ñòàðîñòü âûäàâëèâàåò èì ñëåçû.
 
Ñîáàêàì ãëàçà âûòèðàþò óøàìè,
÷òîá ñòàðîñòè ñëåçû èì æèòü íå ìåøàëè.
Äà ðàçâå óâèäèøü ëèñó èëè çàéöà,
êîãäà òâîè î÷è ñîáà÷üè ñëåçÿòñÿ.
 
ß â äåòñòâå øèêàðíî ðûäàë, íèàãàðíî,
ïîðîé ïðèòâîðÿëñÿ — îòíþäü íå áåçäàðíî,
à ïîçäíèå ñëåçû íå ðâóòñÿ íàðóæó, —
ÿ òðóøó, ÷òî ñ íèìè ñâîé ñãîâîð íàðóøó.
 
Âñå ÷àùå ðûäàíèÿ ïðÿ÷à â ñâîé âûäîõ,
ñòîÿ, ñëîâíî êàìåííûé, íà ïàíèõèäàõ.
ß ñòàë äîãîâàðèâàòüñÿ ñ ãëàçàìè.
×òîá äîãîâîðèëèñü îíè ñî ñëåçàìè.
 
Íå ïëàêàòü ìíå õî÷åòñÿ — âûòü, êàê ñîáàêà,
ëèøü âíîâü ñâåæåêðàøåííûì ãðîáîì çàïàõëî,
à âîçëå ãëîòàþùåé äðóãà ìîãèëû
è ïëàêàòü íåò ñèë, è íå ïëàêàòü íåò ñèëû.
25 àâãóñòà 1994
 
 
Though animals do have some human features
they differ from humans, the snivelling creatures.
A dog doesn’t whine with its head full of bees, —
old age is what squeezes out its tears.
 
We wipe their eyes with their own ears
to rid their living of old age tears.
How can a dog see a fox or a hare,
with tears in its eyes, how can it stare?
 
When I was a child I would howl like crazy,
at times I pretended and did it amazingly;
late tears, however, are held in concealment,
and I am afraid I may break that agreement.
 
And hiding my sobs in a sigh, feeling nervous,
I stand like a stone at a funeral service.
I talked to my eyes, and I pricked up my ears
to hear them reach an agreement with tears.
 
I don’t want to weep but howl like a hound
when smelling the paint of a coffin around;
and here on the grave where my friend disappears
I cannot help crying, nor holding my tears.
 
 

* * *

 
 

* * *

 
 
Òû ñïðàøèâàëà øåïîòîì:
«À ÷òî ïîòîì?
À ÷òî ïîòîì?»
Ïîñòåëü áûëà ðàññòåëåíà,
è òû áûëà ðàñòåðÿíà...
Íî âîò èäåøü ïî ãîðîäó,
íåñåøü êðàñèâî ãîëîâó,
íàäìåííîñòü ðûæåé ÷åëî÷êè,
è êàáëó÷êè-èãîëî÷êè.
 òâîèõ ãëàçàõ —
íàñìåøëèâîñòü,
è â íèõ ïðèêàç —
íå ñìåøèâàòü
òåáÿ
ñ òîé ñàìîé,
áûâøåþ,
ëþáèìîé
è ëþáèâøåþ.
Íî ýòî äåëî —
çðÿøíîå.
Òû äëÿ ìåíÿ —
â÷åðàøíÿÿ,
ñ áåñïîìîùíî çàáûâøåéñÿ
òîé ÷åëî÷êîþ ñáèâøåéñÿ.
È êàê ñåáÿ ïîñòàâèøü òû,
è êàê ñ÷èòàòü çàñòàâèøü òû,
÷òî òàì äðóãàÿ æåíùèíà
ñî ìíîé ëåæàëà øåï÷óùå
è ñïðàøèâàëà øåïîòîì:
«À ÷òî ïîòîì?
À ÷òî ïîòîì?»
1957-1975
 
 
You whispered in my ear:
«What’s then?
What’s then, my dear?»
The bed was made for two of us,
and you were somewhat at a loss...
And now you’re in the crowd,
look beautiful and proud;
your golden bang is haughty,
your high-heeled shoes are sporty.
Your sneering eyes
tell everyone
not to confuse you
with the one
who
still remembers
having
once been beloved
and loving.
But that is useless,
anyway,
to me
you are from yesterday;
forgotten, like that fair
dishevelled bang of hair.
And how will you present it?
You know I can’t accept that
it was some other woman
I slept with in that room then
who whispered in my ear:
«What’s then?
What’s then, my dear?»
 
 

* * *

 
 

* * *

 
 
Êàêîå íàñòóïàåò ïðîòðåçâëåíüå,
êàê íàøà ñîâåñòü ê íàì ïîòîì ñòðîãà,
êîãäà â çàñòîëüíîì ÷üåì-òî îòêðîâåíüå
íå çàìå÷àåì âêðàä÷èâîñòü âðàãà.
 
Íî ñòðàøíî íè÷åìó íå íàó÷èòüñÿ
è â áäèòåëüíîñòè ðåâíîñòíîé îïÿòü
íåçðåëîñòè ìåòóùåéñÿ, íî ÷èñòîé
íå÷èñòûå ñòðåìëåíüÿ ïðèïèñàòü.
 
Óñåðäüå â ïîäîçðåíüÿõ íå çàñëóãà.
Ñëåïîé ñëóãà íàðîäó íå ñóäüÿ.
Ñòðàøíåå, ÷åì âðàãà ïðèíÿòü çà äðóãà,
ïðèíÿòü ïîñïåøíî äðóãà çà âðàãà.
 
1956
 
 
It later comes as such a revelation
and pangs of conscience tantalize us so
when in somebody’s open, frank confession
we fail to see the shrewdness of a foe.
 
And keeping vigilance like guardians of purity,
forgetting lessons of the past, again
we take the restless but unerring immaturity
for an unscrupulous ambition, with disdain.
 
Suspecting others isn’t good, by any means.
A people’s judge must have a vision sense.
We hastily take friends for bitter enemies,
which is much worse than taking foes for friends.
 
 

ÄÂÅÐÈ

 
 

THE DOORS

 
 
Èãðóøå÷íàÿ ñóìî÷êà â ðóêàõ.
Ãëàçà ÷óòü óäèâëåííû è ðàñêîñû,
è ðûæèå êîëå÷êè íà âèñêàõ
ïîõîæèå íà ðûæèå âîïðîñû.
 
Âîò åå äîì, ãëûáàñòûé ìðà÷íûé äîì.
Íàïûùåííî îí ñìîòðèò è íàäóòî.
ß íèêîãäà, êàê ïîìíþ, íå áûë â íåì
è, ñëàâà áîãó, íèêîãäà íå áóäó.
 
Îíà ñî ìíîé ïðîùàåòñÿ â äâåðÿõ,
öåëóåò â ëîá è ðóêó ãëàäèò íåæíî,
íî ìíå â åå ãëàçàõ ñïîêîéíûõ íå÷òî
âíóøàåò ãðóñòü, ïîõîæóþ íà ñòðàõ.
 
Íå çàãëóøèòü ìíå ñòðàõ è íå çàïèòü!
ß çíàþ åå æåíñêóþ íàóêó:
ïîöåëîâàòü, ïîãëàäèòü íåæíî ðóêó,
øàãíóòü çà äâåðü è ñðàçó âñå çàáûòü.
 
Äà, äâåðè ìåíÿ ñäåëàëè ìóäðåé.
Îíè æåñòîêî ìíå ïðåïîäàâàëè.
Íå ðàç ïî îáå ñòîðîíû äâåðåé
ìåíÿ òàê àðòèñòè÷íî ïðåäàâàëè.
 
Èãðàåò â äîìå êòî-òî «äî-ðå-ìè»,
è ñíîâà ÷òî-òî ÿ ïðèïîìèíàþ...
Êàêàÿ òû ñî ìíîé — ÿ ýòî çíàþ.
Êàêàÿ òû çà ýòèìè äâåðüìè?!
1959
 
 
A little bag in hand, she looks at me;
her slanting eyes, a bit surprised, stare me out.
Her golden rings of curls appear to be
like golden question marks, as signs of doubt.
 
Here is her house, lumpy, dark and all.
A house with a pompous sullen glare.
I never went inside, as far as I recall,
and never will, thank God, and I don’t care.
 
Outside her door we say our good-byes;
she kisses me, caressing, — such a dear!
But there is something in her quiet eyes
that causes pain and sorrow, mixed with fear.
 
I can’t suppress, nor drown my fear in wine!
I know her woman’s tricky «golden virtue»:
she’ll kiss you tenderly, caress you like divine
then shut he door and right away forget you.
 
With time the doors have made me wise, of course.
They’ve taught me bitter lessons of a demon.
Many a time behind the either side of doors
I’ve been so artfully betrayed by women.
 
I hear music play. It’s «sol-fa» scale, I gather...
Again some recollections fill my heart.
I know what you are like when we’re together.
I wonder what you’re like when we’re apart.
 
 

ÑÓÄÜÁÀ ÈÌÅÍ

 
 

THE FATE OF NAMES

 
 
Ñóäüáà èìåí — ñóäüáà âðåìåí.
Ó ñëàâû åñòü ïðèëèâû è îòëèâû.
Íå îáìàíóòü èñòîðèþ âðàíüåì.
Îíà, êàê ìàòü, ñòðîãà è ñïðàâåäëèâà.
 
Âñå ëþäè åé, âñåâèäÿùåé, ÿñíû,
â êàêîé îíè ñåáÿ íè ïðÿ÷óò ïàíöèðü.
Íàïðàñíî êòî-òî íà åå âåñû
ïûòàåòñÿ íàæàòü óêðàäêîé ïàëüöåì.
 
Êàê íè õîòÿò ïðîëåçòü â íåå èçâíå,
êàê íà ïðèìàíêó ëæè åå íè ëîâÿò,
â êîíöå êîíöîâ íà ìûñëÿùåé çåìëå
âñå íà ñâîè ìåñòà îíà ñòàíîâèò.
 
 êîíöå êîíöîâ îíà êëåéìèò ëæåöîâ,
â êîíöå êîíöîâ ñìåòàåò äàìáû äîãìû, —
ïóñòü ýòîãî åå «â êîíöå êîíöîâ»
ïîðîþ æäàòü ïðèõîäèòñÿ òàê äîëãî!
 
Åå âñåâûøíèé ñóä ñóðîâ è ïðÿì.
Îíà ïëþåò íà ïîøëûé ãîìîí ÷åé-òî.
è âîçâðàùàåò ÷åñòü òåì èìåíàì,
êîòîðûå çàñëóæèâàþò ÷åñòè.
 
È, ïåðåä ÷åëîâå÷åñòâîì ÷åñòíà,
äîñòàòî÷íî ðàçáîð÷èâà è ãðàìîòíà,
ñòèðàåò âëàñòíî ñ ìðàìîðà îíà
òå èìåíà, ÷òî íå äîñòîéíû ìðàìîðà!
1962
 
 
The fate of names is in itself the fate of times.
Fame has its ups and downs, as it were.
One can’t cheat History by telling lies,
for It’s like mother, strict and fair.
 
No matter how they hide themselves in shells,
It sees all human beings through, entirely.
To no avail somebody tries to press
his fingers on It’s scale of justice, slyly.
 
No matter how they try to creep inside,
entrap It and by telling lies disgrace It,
eventually, It sets the world of reason right
and puts all things in their proper places.
 
It puts to shame the liars in the end
and roots the dams of dogma out
although it takes too long to wait and see the “end”,
and yet eventually It does come round.
 
It’s highest court of law is rigorous and straight.
It doesn’t care a damn about the grumbling moaner
when It restores the reputation of the great
distinguished names deserving honour.
 
It’s honest in the face of human race
knows what is what, by far not gullible;
majestically, It wipes the scribbled names
of the unworthy off the slabs of marble.
 
 

Ê ÂÀØÅÌÓ ÑÂÅÄÅÍÈÞ

 
 

FOR YOUR INFORMATION

 
 
ß õî÷ó äîâåñòè äî âàøåãî ñâåäåíèÿ,
ïàññàæèðû â ãðîõî÷óùåì ïîåçäå ëåò,
÷òî íà êàðòå íå çíà÷èòñÿ
ñòàíöèÿ ñëåäîâàíèÿ,
äî êîòîðîé âû âçÿëè ïëàöêàðòíûé áèëåò.
 
Óñòàíîâëåíî òî÷íî â õîäå îáñëåäîâàíèÿ:
ýòîé ñòàíöèè —
Þíîñòü Âòîðàÿ —
íåò.
ß õî÷ó äîâåñòè äî âàøåãî ñâåäåíèÿ,
÷òî íàïðàñíî âû ïåðâóþ þíîñòü ñâîþ
ïðîâîðîíèëè, áóäòî áû äóðíè ïîñëåäíèå,
è, ê ïðèñêîðáèþ, â âàñ
ÿ ñåáÿ óçíàþ.
ß õî÷ó äîâåñòè äî âàøåãî ñâåäåíèÿ
òî, ÷òî äàëåå — ñòàíöèè Ñòàðîñòü è Ñìåðòü,
íî áåññìåðòüå ñîìíèòåëüíî èñïîâåäóÿ,
âû íå õî÷åòå ýòîãî ïðåäóñìîòðåòü.
 
ß õî÷ó äîâåñòè äî âàøåãî ñâåäåíèÿ
òî, ÷òî åñëè ó âàñ,
ãîñïîäà,
â áàãàæå
ãðóç ïðîãíèâøèé è ëèøü àíåêäîòèêè ñâåæåíüêèå,
âû äî ñòàíöèè Ñìåðòü
äîêàòèëèñü óæå.
ß õî÷ó äîâåñòè äî âàøåãî ñâåäåíèÿ
òî, ÷òî ãîäû âàñ âñåõ,
íå ÷èõíóâ,
ïîãëîòÿò —
òîëüêî áëåäíûå êóðèöû,
âàìè ñúåäåííûå,
âñëåä çà ïîåçäîì
ïðèçðàêàìè ïîëåòÿò...
1973
 
 
I’d like to give you this information,
you, travelling in the rattling train of years:
the station
you’ve chosen as your destination
is not to be found anywhere on earth.
 
Investigation has shown it clearly:
there is no
such station as
«Second Youth».
I’d like to inform you that it was extremely
unwise of you, silly and stupid, too,
to have let your first youth slip, and, really,
I have to admit
I am one of you.
I’d like to inform you of our reality:
the stations that follow are Old Age and Death,
but you believe in your immortality
insisting upon it for all you are worth.
 
I’d like to inform you,
ladies and gentlemen:
if all that you have
in your travelling bag
is junk
and some funny stories for merriment,
you’ve reached Death Station,
with no way back.
I’d like to inform you of what will happen:
You will be absorbed by years,
all the same;
and only the chicken
you had for supper,
like shadows
will follow your rattling train...
 
 

* * *

 
 

* * *

 
 
Îïàñåí äàð èìïðîâèçàöèè, —
ñìîòðè, ïîýò, íå îñðàìèñü! —
íî â íåì ïîðîþ ïðîðåçàåòñÿ.
îøåëîìëÿþùàÿ ìûñëü.
 
Êàê ùè ñ èçëèøíåé ìíîãîñóòî÷íîñòüþ,
ïðîêèñíóâ äàæå ïîä ëåäêîì,
ìûñëü, ïîðîæäåííàÿ ðàññóäî÷íîñòüþ,
íå óñòîèò ïåðåä áðåäêîì.
 
È, íå ãíóøàÿñü îáîðìîòàìè,
íåò-íåò — â èõ âàðâàðñêèõ ñòèõàõ
ïðîñòóïèò âå÷íîñòü, íàáîðìîòàííàÿ,
íàáîëòàííàÿ âïîïûõàõ...
1977
 
 
The talent of improvisation
is dangerous. — Don’t go to pot! —
but it can be realisation
of an astounding, brilliant thought.
 
Like cabbage soup, matured and seasoned,
turns sour like a brewing mash
a thought begot by sense of reason
will be inferior to «trash».
 
And never mind the fools that prattle:
their barbaric crazy rhymes,
pronounced hastily like babble,
show the eternal truth at times...
 
 

ÍÅ Â ÏÅÐÂÛÉ ÐÀÇ
È ÍÅ Â ÏÎÑËÅÄÍÈÉ ÐÀÇ

 
 

IT’S NOT A SECOND TIME

 
 
Íå â ïåðâûé ðàç è íå â ïîñëåäíèé ðàç
ñòðàäàåøü òû… Óéìèñü, çàéìèñü òðóäàìè,
è òû ïîâåðü — íå ëó÷øå ïðî÷èõ ðàáñòâ
áûòü â ðàáñòâå è ó ñîáñòâåííûõ ñòðàäàíèé.
Íå â ïåðâûé ðàç è íå â ïîñëåäíèé ðàç
òû òàê íåñïðàâåäëèâî áûë îáèæåí.
Íî ÷òî òû â ñàìîæàëîñòè ïîãðÿç?
Âåäü òîëüêî óíèæàþùèé — óíèæåí.
Áåçíðàñâñòâåííî ñòðàäàíüå íàïîêàç —
íà ýòî íàëîæè çàïðåò ñòðîæàéøèé.
Íå â ïåðâûé ðàç è íå â ïîñëåäíèé ðàç
ñòðàäàåøü òû…
Òàê ÷òî æå òû ñòðàäàåøü?
1976
 
 
It’s not a second time. You’re suffering again.
Don’t worry. Do some work. More bravery!
Believe me, being the slave of suffering and pain
is not the most exciting form of slavery.
It’s not a second time, as I recall,
that you’ve been so unfairly offended.
But why all this self-pity? After all,
it’s he who humbles others is degraded.
You shouldn’t put your torments out for show,
it is immoral. Put a ban upon it!
It’s not a second time, for all I know,
that you are suffering…
Why all this torment?
 
 

* * *

 
 

* * *

 
 
Èäåè ïðàâûå, ðîäíûå,
çà÷åì ïóñêàòüñÿ âàì â îáìàí,
çà÷åì âàì êîñû ïðèïëåòíûå
è ñòîëüêî ïóäðû è ðóìÿí?
 
 ñëîâàõ ìåðçàâöà-ïóñòîáðåõà,
÷òî óêðàøàåò ãðÿçü òðàíøåé,
ïðèóêðàøàåòñÿ ýïîõà
è ýòèì êàæåòñÿ ñòðàøíåé.
 
Êàê íàäîåëè êðåì è êðàñêà,
íàëîæåííûå ïîäëåöîì,
è ïðèðàñòàþùàÿ ìàñêà
íàâåê ñòàíîâèòñÿ ëèöîì.
1978
 
 
Ideas, dear, right and fair,
what’s this make-up for, false and feigned ?
Why all this wig, this switch of hair,
why so much powder and paint?
 
The words of scoundrels and liars
that ornaments the filth of drains
embellish real life of ours,
which only covers it with stains.
 
I hate a scoundrel that cares
so much for powder, cream and all…
The mask of make-up which he wears
becomes his face once and for all.
 
 

ËÅÄ

 
 

THE ICE

 
 
ß òåáÿ ðàçëè÷àþ ñ òðóäîì.
×òî âîêðóã íàòâîðèëà âîäà!
Ìû ñòîèì ðàçäåëåííûå ëüäîì,
Ìû ïî ðàçíûå ñòîðîíû ëüäà.
 
Ïîõóäåëè äîìà è ëåñà.
Êëåí êà÷àåòñÿ áëåäíûé, õóäîé.
Ñåâøè íà âîäó, ãîëîñà
òèõî äâèæóòñÿ âìåñòå ñ âîäîé.
 
Ëüäèíû ñòîíóò è òîíóò â áîðüáå,
è, êàê ëüäèíêà âäàëè, òû òîíêà,
è îáëîìîê òðîïèíêè ê òåáå
ïî òå÷åíüþ óíîñèò ðåêà.
1956
 
 
I can hardly discern you. My eyes!
I’m amazed at what water can cause!
We’re on opposite sides of the ice
separated by drifting floes.
 
Trees and houses are thin and light.
Swaying maples are pale and slim.
Voices, landing on water, slide
down the river along with the stream.
 
Blocks of ice moan and sink breaking way,
thin as ice you appear to be,
and the river is dragging away
bits of path between you and me.
 
 

ÏÎÑËÅÄÍÈÉ ÌÀÌÎÍÒ

 
 

THE LAST MAMMOTH

 
 
Ñòóïàë îí òðóäíî ïî îòðîãó
íàä ëåäîâèòîþ ðåêîé.
Èõ áûëî ðàíüøå,
ãîðäûõ,
ìíîãî,
è áûë ïîñëåäíèé îí òàêîé.
 
Íå ðàç èñïðîáîâàííûé â áóðå,
ñåãîäíÿ ñäàë îí, êàê íàçëî.
Åìó îò ñòðåë,
òîð÷àùèõ â øêóðå,
âíåçàïíî ñòàëî òÿæåëî.
 
Îí çàòðóáèòü ïûòàëñÿ ñëàáî,
÷òîá ýõî âçäðîãíóëî âäàëè,
íî ïîâàëèëñÿ ñ õðèïîì íàáîê,
è ñòðåëû
ãëóáæå
â áîê âîøëè.
 
Óæå íàä øêóðîé êòî-òî òðÿññÿ,
è, çàíèìàÿñü äåëåæîì,
óìåëî êòî-òî ðåçàë ìÿñî
òÿæåëûì êàìåííûì íîæîì.
 
Î, çíàëè á ëþäè ýòè åñëè,
÷òî ìàìîíò,
ãðîçåí è ñóðîâ,
ïîòîìêàì áóäåò èíòåðåñíåé,
âñåõ èñïîëíèòåëüíûõ ñëîíîâ
 
è ÷òî, èñïûòàííûå â áèòâå,
êîãäà îí ì÷àëñÿ íàïðîëîì,
åùå íå ñäàâøèåñÿ áèâíè
õðàíèòüñÿ áóäóò ïîä ñòåêëîì!
1956
 
 
He dragged His feet amidst the mammals
along the frozen glacier stream.
There’d been
a lot of
such big mammoths,
he was the last one, it would seem.
 
Gone through the mill and the nightmare
of storms and whirls, He now gave in.
For once
He found it hard to bear
the arrows stuck into His skin.
 
He tried to bellow, losing powers,
to make the echo turn the tide,
but He fell down, and the arrows
went,
piercing,
deep into His side.
 
Somebody wished His skin devoutly,
while the distributor of meat
was working with a stone knife artfully
and competently cutting it.
 
If only they, so good at hunting,
knew that their progenies would find
the dreadful mammoths
more exciting
than elephants, the humble kind,
 
and that His tusks, well tried and tempered
in struggle, as He forced His way,
His solid tusks, not yet surrendered,
would be exposed for show some day!



* * *

* * *

 
 
Êàê ÿ ìó÷àþñü — î áîæå! —
íå æåëàþ è âðàãó.
Íå ìîãó óæå ÿ áîëüøå —
ìåíüøå òîæå íå ìîãó.
 
Ìó÷àò áåäíîñòü è áåçáåäíîñòü,
ìó÷àò ñëåçû, ìó÷àò ñìåõ,
è ìó÷èòåëüíà áåçâåñòíîñòü,
è ìó÷èòåëåí óñïåõ.
 
Íî èìååò ëè çíà÷åíüå
ìîå ëè÷íîå ìó÷åíüå?
Ñàì òàêîé æå — íå èíîé,
êàê âåëèêîå ìó÷åíüå,
ìèð ëåæèò ïåðåäî ìíîé.
 
Êàê îí ìó÷èòñÿ, îãðîìíûé,
ìóêîé ñâåòëîé, ìóêîé òåìíîé,
õî÷åò æèçíè íå áåçäîìíîé,
õî÷åò ñ÷àñòüÿ, õî÷åò åñòü.
 
Åñòü â ìó÷åíüå ýòîì ñëàáîñòü,
åñòü â ìó÷åíüå ýòîì ñëàäîñòü,
è êàêàÿ-òî â íåì ñâÿòîñòü
óäèâèòåëüíàÿ åñòü.
1959
 
 
I am suffering — good gracious! —
wouldn’t wish it to a foe.
On the brink of losing patience,
I can’t make it any more.
 
I am suffering from tears,
laughter, shortage and excess,
all is painful, it appears,
fame, obscurity, success...
 
But my sufferings and torments,
do they have any importance
when the world turns out to be
like a sea of pains and sorrows
lying right in front of me?
 
It is suffering, huge and hopeless,
from the light and night-dark tortures,
wishing it would not be homeless,
wishing joy and bread and salt.
 
In its torments there’s some weakness,
in its torments there’s some sweetness,
and some sanctity I witness
in the torments of the world.
 
 

* * *

 
 

* * *

 
 
Ïîä íåâûïëàêàâøåéñÿ èâîé
ÿ çàäóìàëñÿ íà áåðåãó.
Êàê ëþáèìóþ ñäåëàòü ñ÷àñòëèâîé?
Ìîæåò, ýòîãî ÿ íå ìîãó?
 
Ìàëî åé è äåòåé è äîñòàòêà,
æàëêèõ âûëàçîê â ãîñòè, â êèíî
Ñàì ÿ íóæåí åé âåñü áåç îñòàòêà,
à ÿ âåñü èç îñòàòêîâ äàâíî.
 
Ïîä ýïîõó ÿ ïëå÷è ïîäñòàâèë,
òàê ÷òî èõ îáäèðàëî ñó÷üå,
à ëþáèìîé ïëå÷à íå îñòàâèë,
÷òîáû âûïëàêàëàñü â ïëå÷î.
 
Íå öâåòû èì äàðÿ, à ìîðùèíû,
âîçëîæèâ íà ëþáèìûõ âåñü áûò,
âîðîâñêè èçìåíÿþò ìóæ÷èíû,
à ëþáèìûå — ëèøü îò îáèä.
 
Êàê ëþáèìóþ ñäåëàòü ñ÷àñòëèâîé?
C ÷åì ê íîãàì åå ïðèâîëîêóñü,
åñëè æèçíü ïðåïîäíåñ ÿ ÷åðâèâîé,
äàæå òîëüêî íà ïåðâûé âêóñ?
 
×òî çà ðàäîñòü — ëþáèìûõ òàê ÷àñòî
îáèæàòü íè çà ÷òî, ãíè ïðî ÷òî?
Êàê ëþáèìóþ ñäåëàòü ñ÷àñòëèâîé —
çíàþò âñå. Êàê ñ÷àñòëèâî — íèêòî.
1981
 
 
On the bank of the river I happened
to be sitting, absorbed in thought.
How can I make my sweetheart happy?
Can I possibly do it or not?
 
She’s well off, has got friends and a family,
goes to parties, and pictures with kids.
But she wants to possess me entirely,
as a whole, while I’m broken to bits.
 
I have carried the world, like a boulder,
on my back, splinters grazing my skin,
and I left my beloved one no shoulder
to cry on, — that's the way I have been.
 
What we give them is wrinkles, not flowers,
we don’t spare their lives, full of care;
men are thievish and sly seeking lovers,
whereas women do it out of despair.
 
How can I make her happy, my woman?
What on earth should I bring to her side
when the life that I gave her was wormy
which was clearly seen at first sight?
 
To no purpose so often we happen
to offend dear sweethearts of ours.
We can make our sweethearts unhappy,
but we can’t make them happy, alas!
 
 

* * *

 
 

* * *

 
 
Òû ïëà÷åøü, áåäíàÿ, òû ïëà÷åøü,
è ïëà÷åøü, âåðíî, îò òîãî,
÷òî íè÷åãî ñîáîé íå çíà÷èøü
è ÷òî íå ëþáèøü íèêîãî.
 
Êîãäà öåëóþ òâîþ ðóêó
è ãîâîðþ î ïóñòÿêàõ,
êàêóþ ÷óâñòâóþ ÿ ìóêó
íà âëàæíûõ òåïëûõ ïåðñòåíüêàõ!
 
Íà êàðòàõ âåñåëî ãàäàåøü,
äðàçíÿ, ñåðåæêàìè áðåí÷èøü,
íî âñåé ñîáîþ òû ðûäàåøü
íî âñåé ñîáîþ òû êðè÷èøü.
 
È ïðîðâàëèñü òâîè ðûäàíüÿ,
è ÿ óâèäåë â ïåðâûé ðàç
íåçàùèùåííîå ñòðàäàíüå
òâîèõ íåâûäåðæàâøèõ ãëàç.
1956
 
 
You’re crying bitterly, my darling,
the reason for it is, I think,
that you’re incapable of loving,
and you are not worth anything.
 
I kiss your hand, so wet and warm, and
talk nonsense, chattering to you,
I feel excruciating torment
upon your fingers when I do.
 
You shake your ear-rings and tease,
in reading cards you take delight,
but deep at heart you’re all in tears,
the whole of you just screams inside.
 
You burst out sobbing for the moment
and I was taken by surprise:
I saw the unprotected torment
of your unchecked, impetuous eyes.
 
 

* * *

 
 

* * *

 
 
«Ìíå ãîâîðÿò —
òû ÷åñòíûé ÷åëîâåê».
Íåïðàâäà.
Íèêîãäà ÿ íå áûë ñìåëûì,
Ñ÷èòàë ÿ ïðîñòî íåäîñòîéíûì äåëîì
óíèçèòñÿ äî òðóñîñòè êîëëåã.
 
Óñòîåâ íèêàêèõ íå ïîòðÿñàë.
Ñìåíÿëñÿ ïðîñòî íàä ôàëüøèâûì,
äóòûì.
Ïèñàë ñòèõè.
Äîíîñîâ íå ïèñàë.
È ãîâîðèòü ñòàðàëñÿ âñå ÷òî äóìàë.
 
Äà çàùèùàë òàëàíòëèâûõ ëþäåé.
Êëåéìèë áåçäàðíûõ.
Ëåçóùèõ â ïèñàòåëè.
Íî äåëàòü ýòî, â îáùåì, îáÿçàòåëüíî,
À ìíå òâåðäÿò î ñìåëîñòè ìîåé.
 
Î, âñïîìíÿò ñ ÷óâñòâîì ãîðüêîãî ñòûäà
Ïîòîìêè íàøè,
ðàñïðàâëÿÿñü ñ ìåðçîñòüþ,
òî âðåìÿ î÷åíü ñòðàííîå,
êîãäà
ïðîñòóþ ÷åñòíîñòü
íàçûâàëè ñìåëîñòüþ!
1960
 
 
They say that I’m brave,
which isn’t true.
I’ve never been courageous,
and I know it.
I just believe that it’s unworthy of a poet
to stoop to cowardice, as colleagues do.
 
I’m not a trouble maker of a kind
and never sapped
my country's foundations.
I just ridiculed falsehood,
And I spoke my mind
by writing poems, not denunciations.
 
I do defend the gifted men, it is true,
while wretched writers, the go-getters,
I disparage.
But that is something one just ought to do,
it’s not a sign of bravery and courage.
 
The future generations, with disgrace,
combating vicious practices
and devilry
will recollect
the oddity of days
when honesty
was looked upon as bravery!
 
 

ÂÎË×ÈÉ ÑÓÄ

 
 

THE WOLVES’ TRIAL

 
 
Îäíàæäû òðè âîëêà
ïî ïðàâèëàì âîë÷üåãî òîëêà
íà îáùåì ñîáðàíüå
ñóäèëè ÷åòâåðòîãî âîëêà
çà òî, ÷òî çàäðàë îí, ìàëü÷èøêà,
áåç èõ ïîçâîëåíüÿ
è ê íèì ïðèâîëîê, óâÿçàÿ â ñóãðîáàõ,
îëåíÿ.
Îëåíü áûë áû ñëàäîê,
íî èõ ñàìîëþáüå çàäåëî,
÷òî êòî-òî èç ñòàè
îäèí ñîâåðøèë ýòî äåëî.
Äëÿ ñòàè, ãäå çàâèñòü —
êàê áóäòî áû øåðñòü íà çàãðèâêàõ ãóñòàÿ,
âñåãäà îñêîðáëåíüå —
ïîáåäà áåç ïîìîùè ñòàè.
Ó ãëàâíîãî âîëêà,
ìàòåðîãî õàìà, ïàõàíà,
óãðþìàÿ çëîáà
ìîðùèíàìè ëîá ïðîïàõàëà.
Çàáûâ, ÷òî îëåíü áûë äëÿ ñòàè
íåæäàííûé ïîäàðîê,
îí âäðóã âîçìóòèëñÿ,
õàíæà, êëèìàêòåðèê, ïîäàãðèê.
Òàëàíòëèâûé õèùíèê,
óäà÷è ÷óæîé îí íå âûíåñ.
Âçðû÷àë ïðîêóðîðñêè,
èãðàÿ â ñâÿòóþ íåâèííîñòü.
Âîë÷èøêà âòîðîé —
òðóñîâàòûé õîëîäíåíüêèé ßãî
ñòàðàëñÿ âñåãäà ïîêàçàòü,
÷òî îí âîëê-äâîðÿíèí — íå äâîðíÿãà
Ñ íàäìåííûì ëèöîì
øåëóäèâîãî àðèñòîêðàòà
îí ñêîðáíî âçèðàë
íà çàáëóäøåãî ìëàäøåãî áðàòà
Íî ïî íîñó áûëî,
òàêîìó íþõó÷åìó, ÿñíî,
÷òî êàê íè áðåçãëèâ îí,
à õî÷åòñÿ, õî÷åòñÿ ìÿñà.
À òðåòèé âîë÷èøêà ïîòóïèëñÿ,
åæèëñÿ çÿáêî:
íå âîëê, à òåëåíîê,
áåçâîëüíûé àíòàáóñíèê, òðÿïêà.
Áîÿëñÿ îí ïåðâîãî âîëêà,
âòîðîãî îí òîæå áîÿëñÿ.
×åòâåðòîãî âîëêà îáèäåòü áîÿëñÿ,
è ìÿëñÿ, è ìÿëñÿ.
è ìèð ñîõðàíèòü áû õîòåëîñü,
è êîñòî÷êó òîæå,
è äîðîãî òîâàðèù,
à âñå-òàêè ñòàÿ äîðîæå.
 
Ïàõàí ïðîðû÷àë:
«Ýòîò âîëê — íå èç âîë÷üåãî òåñòà.
Îí äåëàë êàðüåðó,
ïðåäàòåëÿì â ñòàå íå ìåñòî»
Åãî ïàõàíÿòà
áîÿëèñü äîéòè äî ðû÷àíüÿ,
è ãðóñòíî êèâíóëè îíè
â áëàãîðîäíîì ìîë÷àíüå.
À âîëê-ïîäñóäèìûé,
íå âåðÿ ñåáå, ðàñòåðÿëñÿ.
õîòåë îí çàâûòü: «Äóðàêè!
ß äëÿ âàñ æå ñòàðàëñÿ!»
Çàáûë îí, ÷òî â ñòàå
íàä ÷óâñòâàìè òîëüêî ñìåþòñÿ.
Ïîäàðêè âîëêàì
íåîòìùåííûìè íå îñòàþòñÿ.
Ñ âîëêàìè òû æèë, âûë ïî-âîë÷üè,
òåïåðü íå âçûùè òû!
Íà âîë÷üåì ñóäå
íèêîãäà íå áûâàåò çàùèòû.
Ïîáðåë îí ïî ñíåãó
îãíÿì îòäàëåííûì íàâñòðå÷ó,
ñîâñåì îäèíîê
è ïî-âîë÷üè è ïî-÷åëîâå÷üè.
Ãäå áûë òîò îëåíü,
òàì çåìëÿ ÷óòü äûìèëàñü, ïóñòàÿ:
äîáû÷ó ñòÿíóëà óæå
êîíêóðèðóþùàÿ ñòàÿ.
È âîëê óñìåõíóëñÿ íàä ñóäüÿìè:
«Òàê èì è íàäî.
×òî ñòàÿ âîëêîâ?
Ëèøü ïðåçðåííîå òåìíîå ñòàäî.
Êàê âñå ýòî òóïî,
êàê âñå ýòî ìåðçêî è ãëóïî:
ïàõàíñòâî è ðàáñòâî,
è âñå ýòè ãðóïïî÷êè, ãðóïïû.
Îíè ïîõâàëÿþòñÿ òåì,
÷òî ñâîáîäà èõ — ëüãîòà,
íî â ñòàå ëþáîé
åñòü âñåãäà ïîëèöåéñêîå ÷òî-òî».
Âîëê øåë íà îãíè,
ãäå äûìû íàä äîìàìè êðóæèëè:
«Ñâîè — çàãðûçóò.
Ïóñòü óæ ëó÷øå ïðèñòðåëÿò ÷óæèå».
 
*
 
Äîâîëüíî ïðî âîëêîâ, ïåñöîâ è ëåáåäÿò.
Âîò ëèñò. Ïóñêàé ÷èòàòåëÿ ãëÿäÿò:
ëèñò îêðîâàâëåí, êàê íà ôðîíòå ñíåã.
Íà íåì ëåæèò è ñòîíåò ÷åëîâåê.
 
 
One day in accordance
with set regulation
three wolves tried a forth one
at their convention.
They blamed him for killing a deer,
violating tradition
and carrying it to them through snow storms,
without permission.
The deer was good,
but thy found his action insulting:
how dared he do it alone
without consulting?!
To wolves in the woods
where greed is a natural instinct
a conquest without the help of a pack
is an insult.
The boss of the wolves, the inveterate boor,
the mugger,
he had all his forehead ploughed up
with the wrinkles of anger.
Forgetting the deer,
which came as a present from heaven,
he was outraged, the old cripple,
the ignorant layman.
The talented beast couldn’t bear
the fortunate instance,
in an imperious manner he roared
with an air of innocence.
The second one, cool as Iago,
a cowardly being,
had always been trying
to pose as a noble by breeding.
A beggarly aristocrat,
with an arrogant look of “His Highness”,
he looked at his junior brother, a sinner,
with sadness.
But judging by how he was turning his nose
it was clear
that though he was squeamish
he did want some meat of the deer.
The third little wolf dropped his eyes
looking sickly and fevered,
as meek as a lamb, spineless creature,
with fear he shivered.
He feared the wolves,
both the first and second one equally;
he feared the forth one as well,
and was wavering meekly.
He wanted a bone
and the name of a real peace-setter,
his mate was all right
but the pack he belonged to was better.
 
“He’s not one of us — roared the boss —
he’s a real go-getter.
We’ll turn him away, —
there’s no room in the pack for a traitor”.
His helpers, refraining from snarling,
kept silent with dignity,
they nodded approval in silence,
assuming nobility.
Bewildered,
the wolf at the bar was about to howl,
“I did it for you, stupid fools” —
was all he could growl.
He must have forgotten that wolves
only laughed at emotions,
and bringing a gift was a crime,
so one had to be cautious.
You lived with the wolves and you did as they did,
so do not bear grudges.
There’s no such a thing as defence
when the wolves are the judges.
He plodded on snow
to the shimmering lights in the distance,
as lone as a wolf, or a human, can be
in the wilderness.
The deer was gone,
and the site was now fuming, deserted;
the prey had been looted by rivals
which they had invaded.
“Those judges, it does serve them right, —
said the wolf with a sneer.
For what is a pack?
Herd of cattle, benighted and drear.
Those masters and slaves, little groupies and groups, —
all is vanity,
or should I say, it’s stupidity,
madness, insanity.
They boasted that freedom
was their advantage and mercy,
but life in a pack
always tends to be somewhat oppressive”.
The wolf, on his way to the lights and the chimneys,
his journey proceeded:
“I’d better be shot by a hunter
than bitten to death by my kindred”.
 
*
 
I’d better stop this talk about wolves and geese.
I’ve got a sheet of paper, look at this:
The paper is in blood like snow on battle-plain,
a man is lying on it racked with pain.
 
 

ÁÀËËÀÄÀ Î ÐÀÇÁÅÃÅ

 
 

THE BALLAD OF A RUNNING TAKE OFF

 
 
Àó, ëåáåäåíîê, îòñòàâøèé îò ñòàè!
Òåáÿ ïîíèìàþ — ìû îáà îòñòàëè.
Êîíå÷íî, áîæåñòâåí òâîé íåæíûé èçãèá,
À êðûëüÿ òâîè áåëîñíåæíîñòüþ áðîñêè,
Íî ÷òî æå ïîäåëàòü — îíè íåäîðîñòêè,
È òû, ëåáåäåíîê, äëÿ íåáà ïîãèá.
 
Çàòî íà çåìëå òåáÿ âñå çàëàñêàëè —
Òåáÿ çàèãðàëè, òåáÿ çàòàñêàëè.
Äà, åñòü íåäîñòàòêè ïî ÷àñòè ìó÷íîé
Äà, åñòü íåäîñòàòêè ïî ÷àñòè ìîðàëè,
Íî â íàøåì ïîñåëêå — ó÷åñòü íå ïîðà ëè? —
Èìååòñÿ ëåáåäü, è, êñòàòè, ðó÷íîé.
 
Ñòðåìÿñü çàõâàòèòü â ñâîþ ñîáñòâåííîñòü íåáî,
Ïóðãà ïðîâîäà ðàçðûâàëà, êàê íåðâû.
Ïî âîçäóõó ïðûãàëè áî÷êè, ñòîëáû,
è äàæå ñîðâàâøèéñÿ ÿùèê äëÿ ïèñåì
ëåòåë, êóâûðêàÿñü, ê çàîáëà÷íûì âûñÿì, —
ëèøü êðûëüÿ òâîè åùå áûëè ñëàáû.
 
Íèêòî è íå çíàë ñðåäè ñíåæíîãî ñâèñòà,
Ñðåäè îãîëòåëîãî ïüÿíñòâà è ñâèíñòâà,
×òî íî÷üþ, êîãäà íàä ïîñåëêîì íè çãè,
 êâàðòèðå, ïðîïàõøåé ñåëåäêîé è äóñòîì,
Ïîä òóìáî÷êîé ñ ÷üèì-òî ôàðôîðîâûì áþñòîì
Ðàñòóò òâîè êðûëüÿ ñ ìó÷èòåëüíûì õðóñòîì
Ñøèáàÿ õîçÿéñêèå ñàïîãè.
 
Äà, êðûëüÿ òâîè ñòàíîâèëèñü äðóãèìè, —
Îíè óæå áûëè òóãèìè-òóãèìè,
È òû îò ñîçíàíèÿ ñèëû øàëåë,
È åñëè áû òû çàõîòåë — âïîëçàìàõà
Êàê àéñáåðã, ðàçíåñ áû êâàðòèðó çàâìàãà,
À òû íåíàâèäåë åãî, íî æàëåë.
 
È òîëüêî îäíàæäû, âîññòàâ ïðîòèâ ïðàâèë,
Òû êðûëüÿ ñâîè áåëîïåííî ðàñïðàâèë,
Êàê áóäòî ðàñêðûëñÿ ÷åðåìóõè êóñò,
È àõíóë õîçÿèí — íî íå îò âîñòîðãà,
À îò âîçìóùåíüÿ, ÷òî — ãîðäîñòü ðàéòîðãà —
Ðàñêîêàëñÿ êðûëüÿìè ñøèáëåííûé áþñò.
 
Õîçÿèí ñìåêíóë, ÷òî òåïåðü òû îïàñåí.
 êóðÿòíèê òåáÿ? Íî òû ñëèøêîì ïðåêðàñåí
äëÿ îáùåñòâà êóð, è íàðîä íå ïîéìåò.
Çàæàðèòü òåáÿ? Íî òû ñëèøêîì èçâåñòåí.
Îñòàâèòü â êâàðòèðå? Òû â íåé íåóìåñòåí.
Ñåãîäíÿ — ôàðôîð, íó à çàâòðà — êîìîä.
 
È ñîòíè ëþäåé ñîáðàëèñü íà îòêîñå
Ñêðûâàë óñìåøêó — êàê äàð íå ïîäíîñå,
Òåáÿ îáàëäåâøåãî, âûíåñ çàâìàã.
Âñå ëåçëè ïîáëèæå, è âñå íîðîâèëè
Ïîùóïàòü òâîé íîñ è ïîäåðãàòü çà êðûëüÿ
Ïîä ùåëêàíüå âñïûøåê è ÿðîñòü ñîáàê.
 
Íà çåìëþ çàâìàãîì êàðòèííî ïîñòàâëåí,
Ñòîÿë òû íåäâèæèìûé, — õðóïêî õðóñòàëåí,
Êàê áåëàÿ âàçà íà ãðÿçíîé çåìëå,
À ëþäè âñå ëåçëè, âñå ëåçëè, âñå ëåçëè,
È ñàëüíûå ïàëüöû ñþñþêàâøåé ëåñòè
Îáñóñîëèëè ïåðüÿ íà êàæäîì êðûëå
 
Óæå, ïîæèìàÿ ïëå÷àìè, êîðèëè:
"×òî æ òû íå âçëåòàåøü, — íå âûðîñëè êðûëüÿ?
À ìîæåò, çàíîñèøüñÿ? Èøü òû êàêîâ!"
À ìàëü÷èê îäèí ïîäïóñòèë äëÿ àçàðòó?
"Òû ñëàáûé? À ìû ïðîõîäèëè ïðî Ñïàðòó, —
Áûë â Ñïàðòå çàêîí — äîáèâàòü ñëàáàêîâ".
 
È âäðóã — êðóãëîëèöàÿ, ñëîâíî âàòðóøêà,
Íà ïîìîùü ê òåáå ïîäêàòèëàñü ñòàðóøêà,
Âîñòðóøêà, à ëåò åé, íàâåðíî, ïîä ñòî,
È êðûëüÿ ïðèêðûâ, çàêðè÷àëà ðàñïåâíî:
"Ðàçáåãó åìó íå äàåòå, ðàçáåãó!
Âû ëþäè, òîâàðèùè, èëè âû êòî?"
 
È âñåì ïîêàçàâ ñâîé çàäèðèñòûé íîðîâ,
 ìîìåíò ðàñêèäàëà çåâàê, ðåïîðòåðîâ,
Òîëïó îòòåñíèëà, ÷òîá ÷èùå äûøàë,
Ñêàçàëà: "Ñûíîê, óëåòà ïîñêîðåå!" —
È âçëåòíîé äîðîæêîé, ðàñ÷èùåííîé åþ,
Òû âäðóã ïîáåæàë — áåæàë, è áåæàë...
 
Áåæàë îò çàâìàãà, îò ÿðîñòíîé äàâè,
Îò ëàÿ êàêîé-òî çàäðèïàííîé øàâêè,
È âçìûë â íåáåñà — â ñâîé îòå÷åñêèé êðàé,
Ëèøü ñëûøàëîñü ñíèçó èç ãîð è óðî÷èù:
"Ñ÷àñòëèâî, ñûíîê... Óëåòàé, êóäà õî÷åøü
íî òîëüêî ïîäàëüøå, ñûíîê, óëåòàé..."
1967
 
 
You’ve fallen behind from your flock, little swan!
I know how it feels to be left all alone.
Your delicate body pleases the eye,
your wings, white as snow, are extremely alluring
but they are belated, — well, nothing doing, —
you are as good as dead for the sky.
 
But here on the earth you've been petted and pampered,
they fondle you, play with you till you are battered.
It's true, there's a shortage of flour for bread,
it's true, there's a shortage of moral immunity,
but there is a swan in our community,
and it's a tame bird, one shouldn't forget!
 
Attempting to capture and conquer the skies
the heart-breaking blizzard was smashing the wires;
stones, barrels and posts were high up above,
and even a mail box, as high as the cloud,
dislodged from the hinges rolled up and around.
And only your wings were not strong enough.
 
So, getting along to the whistle of blizzard,
amid brutes and drunkards the villagers pigged it.
They were unaware of the fact that at night
in one of the houses, constantly smelling
of bug-killing powder, pickles and herring,
under the cupboard where you were dwelling
your wings grew upturning the boots by your side.
 
Your wings had been changing now slowly but surely,
they now were solid, developing duly.
Aware of your strength you were happy as hell.
You knew, if you wished, then, collecting your powers,
you'd smash at one stroke both the boss and the house.
But, hating him, somehow you treated him well.
 
One day, violating the master's instruction,
you spread wide your wings — what a daring action! —
a bush that had burst into bloom overnight.
"Good heavens!" — the master exclaimed, and he didn't
look happy at all, he was rather indignant,
you'd broken the stature, the object of pride.
 
You were dangerous now, it was clear.
Should you be moved? But you're such a dear,
too lovely to share the coop with the hens.
Should you be fried? But you are too famous.
Should you stay put? But here you're a menace:
you've broken the stature. Who knows what comes hence?
 
Now hundreds of people came out to cheer:
the boss took you out, concealing his sneer
and carrying you like a gift on a tray.
To camera flashes and barking of hounds
all tried to get closer to you through the crowds,
each trying to pinch you and touch you some way.
 
The boss put you playfully down on the ground.
You lay there motionless, making no sound,
resembling a white crystal vase in the dirt.
Yet people were pushing their ways with obsession
to give you a flattering touch of affection
besmearing the wings of the delicate bird.
 
They started reproaching you shrugging their shoulders:
"Why don't you fly? You've got wings, so make bold as
to fly right away. Come on, take off at length!
"Are you a weakling? — a boy put in, pressing, —
as far as we know from the History lesson,
the Spartans would put them, the weaklings, to death!"
 
Now suddenly, forcing her way through the crowd,
to help you a chubby old woman came out,
about a hundred years old but so tough!
She covered your wings to protect you and shouted:
"The swan needs a runway! But it's overcrowded!
Come on! Step aside! It's a running take off!"
 
Displaying her firm disposition and purpose
she quickly dispersed the reporters and gapers,
and pushed back the crowd, so you could run.
"Fly off birdie, dear, — she said — it's cleared out!"
And all of a sudden you rose from the ground,
and down the runway you ran on and on...
 
away from the boss and the violent crowd,
away from the barking of shabby old hound,
right off to your homeland — the sky and the sun.
And all you could hear were the words in the air:
"Good luck, birdie, dear! Fly off! Anywhere!
As far from this place as you possibly can!"
 
 

ÏÎÏÛÒÊÀ ÁÎÃÎÕÓËÜÑÒÂÀ

 
 

AN ATTEMPT TO SPEAK BLASPHEMY

 
 
Îáðàùàÿñü ê âå÷íîìó ìàãíèòó
â ÷àñ, êîãäà â äóøå ìîåé íè çãè,
ÿ âñåãäà øåï÷ó îäíó ìîëèòâó:
"Ãîñïîäè, ïðîñòè è ïîìîãè!"...
 
È ãîñïîäü ïðîùàåò, ïîìîãàåò,
ðàçâîäÿ ðóêàìè îòòîãî,
÷òî ëþäñêîå ïëåìÿ ïîìûêàåò
ìèëîñòÿìè ñòîëüêèìè åãî.
 
Âèäíî, áîã íà íàñ ãëÿäèò ñî ñòðàõîì.
êàê áû êòî åãî íè íàçûâàë —
Èåãîâîé, Áóääîé è Àëëàõîì, —
îí îäèí è áîãîì áûòü óñòàë.
 
Áóäü îí äàæå íåêàÿ áåñòåëîñòü
èëè ïîðòàòèâíûé èäîëîê,
êàê îò ïîïðîøàåê áû õîòåëîñü
ñïðÿòàòüñÿ â óêðîìíûé óãîëîê.
 
Òîëüêî åìó ïðÿòàòüñÿ íåãîæå,
è, ñîãáåííûé, áóäòî â ðàáñòâå íåãð,
õî÷åò áîã ïîâåðèòü â áîãà òîæå,
íî äëÿ áîãà â ìèðå áîãà íåò.
 
È êîãäà ìû ñ ïðîñüáèøêàìè ëèïíåì,
çàáûâàÿ îòäàâàòü äîëãè
íåêîìó øåïòàòü åìó ìîëèòâó:
"Ãîñïîäè, ïðîñòè è ïîìîãè!..."
1967
 
 
When I am down, driven to despair,
to the magnet of the world I turn my word
whispering devoutly my prayer,
begging: "Pardon me and help me, Lord".
 
God forgives and helps for He's gracious,
and He wonders why the human race
bothers Him with pious incantations
trespassing His charity and grace.
 
God Almighty must be feeling fear,
and it doesn't matter what He's called —
Buddha, Allah or Jehovah — it is clear
He is one, — and tired of being God.
 
Even if he's immaterial and shapeless,
or a tiny little idol of a kind,
He would like to hide himself from beggars
in a quiet place that He could find.
 
But He cannot hide for He is God Almighty;
so He bends His head, a humble lot.
God would trust in God and live in piety,
but there isn't any God for God.
 
When we pester Him with petty pleas and dare
to forget about the debts we've got
there is nobody to listen to His prayer:
"Pardon me and help me, please, my God"
 
 

ÑÒÀÐÓÕÈ

 
 

THE OLD WOMEN

 
 
 òîò äåíü âûñîêèì îáùåñòâîì ñòàðóõ
ÿ áûë äîïóùåí ê áóáëèêàì è ÷àþ
öàðèë, ñïàñåííûé îòî âñåõ ðàçðóõ,
åñòåñòâåííîé èçûñêàííîñòè äóõ,
êàêîé ÿ íûí÷å ðåäêî çàìå÷àþ.
 
Î ëó÷øèõ ëþäÿõ âðåìåíè òîãî
ìíå ãîâîðèëî ëó÷øå ëåòîïèñöà
âîñïèòàííîå òîíêî îçîðñòâî,
ñêðûâàåìîå òîíêî ëþáîïûòñòâî.
 
È äëÿ ìåíÿ, ÷üÿ ðå÷ü áåäíûì — áåäíà,
êàê äîì, êîòîðûé êåì-òî îáâîðîâàí,
ïî÷òè êàê èíîñòðàííàÿ áûëà
çàáûòîñòü ÷èñòî ðóññêèõ îáîðîòîâ.
 
Ñòàðóõè áûëè çíàìåíèòû òåì,
÷òî èõ ëþáèëè òå, êòî çíàìåíèòû.
Íàêëàäûâàë íà áðåííîñòü ïòè÷üèõ òåë
ïðè÷àñòíîñòè âîçâûøåííóþ òåíü
íåâèäèìûé ìàñîíñêèé çíàê ýëèòû.
 
Íå âìåøèâàÿñü â ýòîò ðàçãîâîð,
è ÷óâñòâîâàë ñåáÿ ïîðîé îò âçãëÿäà
íåëåïûì, êàê ìûòèùèíñêèé êàãîð
â êîìïàíèè "êëèêî" è "ìîíòèëüÿäî".
 
Íî îáâèíèòü èõ â áàðñêîì ÷åì-íèáóäü,
ðó÷àþñü, — áûëî á ýòî, ïðàâî, ñêîòñòâî.
â èõ ïðåâîñõîäñòâå íå áûëî íè÷óòü
ïëåáåéñêîãî ñîçíàíüÿ ïðåâîñõîäñòâà.
 
À ñêîëüêî âîéí, èõ äóøè íå ñïàëÿ,
ïðîøëî ïî íèì â ñâîèõ ïîæàðàõ ãíåâíûõ:
äâå ìèðîâûå, è îäíà ñâîÿ,
è òûùè áåñïîæàðíûõ, åæåäíåâíûõ.
 
 êàêèå äàëè êàðà èõ ãíàëà!
È â ïðîâîëî÷íîì ñêðåæåòå, ðû÷àíüå
ìíå âèäåëèñü Èíòà, Êàðàãàíäà
íàä ÷îïîðíûìè ÷àøå÷êàìè ÷àþ.
 
Ê ñòàðóõàì íå ïðèñòàë íàëåò áëàòíîé,
è â ñòåãàíêàõ, ñëóæèâøèõ èì áåç ñðîêà,
îäåðãèâàëè ÷åé-òî ìàò áëàæíîé
íàäìåííûì âçîðîì íåçíàêîìîê Áëîêà.
 
È, ìåðçëûé ãðóíò êîïàÿ äîòåìíà,
êîãäà èõ âüþãè ñòðàøíûå øàòàëè,
ïðîñëàâëåííûå ÷üè-òî èìåíà
ïî ïðàâó óìåíüøèòåëüíî øåïòàëè.
 
Ñòðàíà ñâåðõñêîðîñòåé è ñâåðõíàóê,
Ñâåðõôèçèêîâ, ñâåðõëèðèêîâ, ñâåðõñòðîåê.
Ðîññèÿ, òû åùå ñòðàíà ñòàðóõ,
áûòü ìîæåò, ñâåðõïðîùàþùèõ, íî ñòðîãèõ.
 
... âîðîòíè÷êàõ íåìîäíûõ îòëîæíûõ,
ïî÷òè áåñïëîòíû, ÷àé ñòàðóõè ïèëè,
íî áëàãîäàðíî âèäåë ÿ, ÷òî â íèõ
âîïëîùåíû ÷åðòû Ðîññèè áûëè.
 
ß ñëóøàë èõ, âåñü îáðàùåííûé â ñëóõ.
À ÷òî îíè îò íàñ åùå óñëûøàò?
Õî÷ó ïèñàòü ÿ äëÿ òàêèõ ñòàðóõ.
äëÿ äåâî÷åê ïóñêàé äðóãèå ïèøóò.
1966
 
 
That day I sat over a cup of tea
amid the high society of grannies
there reigned the atmosphere of courtesy
something these days one doesn't often see, —
intact and unaffected manners.
 
The high-bred mischief in the playful eyes
the subtle curiosity, well hidden,
were telling me about the former times
much more than what historians had written.
 
To me whose mother tongue is scant
as poor as a house, robbed and damaged,
the pure Russian phrases were like cant
and phrases borrowed from a foreign language.
 
In fact, the grannies were famous just
because of famous people's admiration.
The sign of the invisible Masonic caste
upon the feathered creatures cast
a lofty shadow of participation.
 
Somehow at cutting in I drew the line,
at times a glance would really make me shudder.
I felt out of place like home-made wine
amid "clicot" and “amotillado”.
 
It would have been a brutish thing to do
to call them snobs, or highbrows, or whatever.
They were superior to me, and yet I knew
they didn't think they were too clever.
 
I thought about the devastating wars
they had gone through and still were waging -
The two world wars and thousands of those
they'd been perpetually engaged in.
 
They had been forced to go so far!
Behind the grinding sound of wires
I saw such places as Karaganda
at table over tea with cakes and pies.
 
And yet the grannies hadn’t grown profane
like ladies, dressed in quilted jackets, really,
they would cut short the swearer with disdain
by looking down on him or her austerely.
 
They’d dig the frozen ground for hours and days
the stormy blizzard knocking down the diggers,
they would disparage muttering the names
of some distinguished outstanding figures.
 
A super power of supersonic sound,
of super-sciences and engineering,
to me, my dear Russia, you’re a land
of grannies, p’rhaps too strict but all-forgiving,
 
I noticed that the clothes they wore
and their turn-down collars were quite old fashioned…
I watched them and with gratitude I saw
they were, actually, the embodiment of Russia.
 
I listened to them pricking up my ears.
What would I say getting a word in edgeways ?
I’d rather write for grannies such as these,
let others write their poems for teenagers.


1. A horse with a mottled skin (a dapple) in Russian is called «a horse in apples», i.e. a horse with apple shape spots. - A.V.