ÎÑÅÍÜ
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AUTUMN
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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
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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.
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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
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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!"
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ÊÎÃÄÀ ÌÓÆ×ÈÍÅ ÑÎÐÎÊ ËÅÒ
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WHEN A MAN IS 40
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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
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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.
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 ÏÎÃÎÍÅ ÇÀ ÄÅØÅÂÎÉ ÏÎÏÓËßÐÍÎÑÒÜÞ
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IN CHASE OF CHEAP POPULARITY
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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
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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.
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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
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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.
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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
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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.
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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
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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».
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Î Ãðóçèÿ,
íàì ñëåçû âûòèðàÿ,
òû - ðóññêîé ìóçû êîëûáåëü âòîðàÿ.
Î Ãðóçèè
çàáûâ íåîñòîðîæíî,
â Ðîññèè áûòü ïîýòîì íåâîçìîæíî.
1978
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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.
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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
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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.
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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
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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.
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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
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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.
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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
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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.
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ÄÂÎÅ
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TWO LOVERS
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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
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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.
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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
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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...»
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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
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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.
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