-Ìåòêè

a revery annie miller arthur hughes aspecta medusa baron von gloeden beata beatrix bluebird burne-jones carlisle wall christina georgina rossetti christina rossetti clark cristina rossetti dante gabriel rossetti dr john polidori dudley gallery edward poynter eleanor fortescue-brickdale elizabeth eleanor siddal elizabeth siddal english version eugene onegin fanny co feet fetish fiammetta first anniversary ford madox brown found francois-joseph navez frederic william burton gabriel charles dante gabriel charls dante rossetti george price boyce girls goblin market hans suren he story of st. george and the dragon holy grail jacques-louis david john byam shaw john everett millais john roddam spencer stanhope karl truppe kelmscort manor kent la pia de' tolomei lady lawrence lempica liberty list of pre-raphaelite paintings louis de taeye magdalene maria francesca mariana mary magdalene at the door of simon the pharisee mary nazarene moore morris naked nude orient goods oxfordshire painting pallas pansy patricia peasant venus pre-raphaelite raphaelite brotherhood rayskin reich rossett rossetti self portrait sevenoaks sir john everett millais soviet study the third reich the blessed damozel the raven vampyre vanitas vision of fiammetta w b scott william holman hunt women working men's college àä äàíòå / dante's inferno 1967 àðòóð õüþç áàëåðèíû áàëåò áåëûå ðîçû áåñïëàòíî áëàæåííàÿ áåàòðè÷å âîðîí ãåòåðà ãîëóáü ãðàíò âóä äàíòå äàíòå ãàáðèýëü ðîññåòòè äâåíàäöàòàÿ íî÷ü äæåéí ìîððèñ äæåéí ìîððèñ á¸ðäåí äæîí óèëüÿì ïîëèäîðè åâãåíèé îíåãèí æèâîïèñü æèâîòíûå èíòåðíåò èñêàòåëü èñêóññòâî êåííåò êèíî êëàðê êîëåãîâà êîðîëåâà êðèñòèíà ðîññåòòè ëàðåö êîðîëÿ ðåíå? ëåìïèöêà ëåìïèöêàÿ ëåðìîíòîâ ìàðèèíñêèé ìàðèÿ ôðàí÷åñêà ìåíàäû ìåíäåëååâ ìîððèñ ìóçåè ìýäîêñ áðàóí íàãîòà íàéäåíà íàéäåííàÿ íàñèëèå íîâûé ðîìàí íîæêè îáíàæ¸ííàÿ îíëàéí ïèÿ äå òîëîìåè ïîýçèÿ ðîññåòòè ïîýçèÿ ðîññåòòè ïðåðàôàýëèòû ïðîçåðïèíà ðîìàí ðîññåòòè ñàìîõâàëîâ ñåêñ ñèääàë ñêîòò ôèòöæåðàëüä ñìîòðåòü ñîìîâà ñîöðåàëèçì ñòàñîâ ñòèõè òàìàðà ëåìïèöêà òðåòèé ðåéõ óèëüÿì ìîððèñ óîòåðõàóç ôàííè êîðíôîðò ôåòèø ôèàìåòòà ôîòî ôðèäåðèê ëåéòîí õàíò õüþç ÷ààäàåâ øàðëîò ñòðèò ý ë á å ð ò ã ð ý ì ýâåëèí äå ìîðãàí ýêçèñòåíöèÿ ýëèçàáåò ñèääàë ýïèãðàô ýññå

 -Ðóáðèêè

 -Ïîèñê ïî äíåâíèêó

Ïîèñê ñîîáùåíèé â ëþäàí_êóïîë

 -Ïîäïèñêà ïî e-mail

 

 -Ñîîáùåñòâà

Ó÷àñòíèê ñîîáùåñòâ (Âñåãî â ñïèñêå: 1) Live_Memory

 -Ñòàòèñòèêà

Ñòàòèñòèêà LiveInternet.ru: ïîêàçàíî êîëè÷åñòâî õèòîâ è ïîñåòèòåëåé
Ñîçäàí: 27.08.2009
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Íàïèñàíî: 559


ÊÐÈÑÒÈÍÀ ÐÎÑÑÅÒÒÈ. ÏÎÝÒÈ×ÅÑÊÎÅ ÒÂÎÐ×ÅÑÒÂÎ

×åòâåðã, 16 Èþëÿ 2026 ã. 23:38 + â öèòàòíèê

ÏÎÝÒÈ×ÅÑÊÎÅ  ÒÂÎÐ×ÅÑÒÂÎ

    Êðèñòèíà Ðîññåòòè - îäíà èç íàèáîëåå çíà÷èòåëüíûõ ïîýòåññ, òâîðèâøèõ â  Àíãëèè 19 âåêà â "Âèêòîðèàíñêóþ ýïîõó"                             

 

    Ñ 1842 ãîäà Ðîññåòòè íà÷àëà çàïèñûâàòü è äàòèðîâàòü ñâîè ñòèõè, â ýòèõ ðàííèõ ïðîèçâåäåíèÿõ ïðîñëåæèâàåòñÿ ñèëüíîå âëèÿíèå å¸ ëþáèìûõ ïîýòîâ. Ñ 1847-ãî îíà íà÷àëà ýêñïåðèìåíòèðîâàòü ñî ñòèõîòâîðíûìè ôîðìàìè — ñîíåòàìè, ãèìíàìè, áàëëàäàìè, ÷åðïàÿ ñþæåòû êàê èç Áèáëèè, òàê è íàðîäíûõ ñêàçîê. Ðàííèå ðàáîòû Ðîññåòòè îòíîñÿò ê ðîìàíòèçìó, â íèõ ÷àñòî çâó÷àò ðàçìûøëåíèÿ î ñìåðòè è óòðàòàõ. Ïîìîùü è ñîâåòû ïî ïåðâûì ïóáëèêàöèÿì Êðèñòèíå äàâàë Ñêîòò, Óèëüÿì Áåëë [2].

   Íà÷àëîì ïóáëè÷íîé  êàðüåðû Ðîññåòòè-ïîýòåññû ñòàëè ïóáëèêàöèè â ëèòåðàòóðíîì æóðíàëå ïðåðàôàýëèòîâ "Ðîñòîê" (The Germ) (1850) ïîä ïñåâäîíèìîì Ellen Alleyn è ïóáëèêàöèè â «Àòåíåå» (1848). [4].

    Ñàìûé èçâåñòíûé ñáîðíèê — «Ðûíîê ãîáëèíîâ è äðóãèå ñòèõè» — âûøåë â 1862 ã. è âûçâàë ïîõâàëó êðèòèêîâ. Ïîýìà-ñêàçêà Goblin Market (1862), õðèñòèàíñêàÿ àëëåãîðèÿ ãðåõà è èñêóïëåíèÿ, ïåðåäàííàÿ â õàðàêòåðíûõ äëÿ ïîýòèêè ïðåðàôàýëèòîâ ÷óâñòâåííûõ, îñÿçàåìûõ îáðàçàõ; áûëà îïóáëèêîâàíà â The Germ è ïîëó÷èëà øèðîêèé ðåçîíàíñ.

 

    Äðóãàÿ ïîýìà, The Prince's Progress(1866), î äîëãîì ïóòè Ïðèíöà ê óìåðøåé Âîçëþáëåííîé, òàêæå íîñèò àëëåãîðè÷åñêèé õàðàêòåð. Îñíîâíîé ëåéòìîòèâ òâîð÷åñòâà Ê. Ðîññåòòè — íåïðèÿòèå ìàíÿùåãî áëåñêà ìàòåðèàëüíîãî ìèðà, óòâåðæäåíèå âå÷íûõ öåííîñòåé â ïîñòîÿííîì ïðîòèâîñòîÿíèè ÷óâñòâåííîãî è äóõîâíîãî íà÷àë.  îòëè÷èå îò äðóãèõ ïðåðàôàýëèòîâ, îáðàçíàÿ ñèñòåìà ïîýòåññû îòìå÷åíà ïðîñòîòîé è îòñóòñòâèåì èçîùðåííîé äåêîðàòèâíîñòè.

ÈÇÁÐÀÍÍÛÅ  ÏÐÎÈÇÂÅÄÅÍÈß

 

 

  • GOBLIN MARKET AND OTHER POEMS, 1862
  • PRINCE'S PROGRESS AND OTHER POEMS, 1866
  • COMMONPLACE AND OTHER SHORT STORIES, 1870
  • SING-SONG: A NURSERY RHYME BOOK, 1872  was illustrated by Arthur Hughes in 1872
  • SEEK AND FIND, 1879
  • A PAGEANT AND OTHER POEMS, 1881
  • CALLED TO BE SAINTS: THE MINOR FESTIVALS, 1881
  • TIME FLIES, 1888
  • THE FACE OF THE DEEP, 1892
  • VERSES, 1893
  • NEW POEMS, 1896
  • POETICAL WORKS, 1904 (ed. by W.M. Rossetti)
  • FAMILY LETTERS, 1908.
  •     Ïîýòåññà îòäàëà áîëüøóþ äàíü æàíðó ñîíåòà. Íåêîòîðûå èç íèõ íàïèñàíû íà òàê íàçûâàåìûå "bout rimes" - çàðàíåå çàäàííûå ðèôìû, - èãðà, â êîòîðîé ïðèíèìàëè ó÷àñòèå âñå ÷ëåíû ñåìüè Ðîññåòòè. Èçâåñòíî áîëåå 60 ñîíåòîâ, ñðåäè êîòîðûõ âûäåëÿþòñÿ äâà öèêëà: 14 ñîíåòîâ Ìîïïà Innominata. A Sonnet on Sonnets è28 ñîíåòîâLater Life: A Double Sonnet ofSonnets. Oáà öèêëà îïóáëèêîâàíû â ñîáðàíèè ñî÷èíåíèé À Pageant and Other Pîåmsâ 1881ã.
  •     Ñîíåò ïîÿâëÿåòñÿ â òâîð÷åñòâå ïîýòåññû ñ 1848 ã. Ê. Ðîññåòòè èñïîëüçóåò àíãëèéñêèé ñîíåò, òàê íàçûâàåìóþ "wave form", êîãäà ýìîöèÿ è ìåëîäèÿ ñòèõà êàê áû íàðàñòàþò ê êîíöó îêòàâû è àíòèôîíè÷åñêè îòñòóïàþò â ñåêñòåòå; êàê è â ìèëüòîíîâñêîì ñîíåòå, íåò ðàçäåëåíèÿ îêòàâû è ñåêñòåòà. Áðàò Êðèñòèíû Âèëüÿì Ìàéêë ðåäàêòèðîâàë ïîëíîå ñîáðàíèå å¸ ñî÷èíåíèé  â 1904 ãîäó. Îäíàæäû îí ñêàçàë: "Êðèñòèíà ïðèâûêëà òâîðèòü ñïîíòàííî. Îäíàæäû ÿ ïîèíòåðåñîâàëñÿ, ñëó÷àëîñü ëè åé õîòÿ áû îäíàæäû îáäóìàòü òî, ÷òî îíà ñîáèðàåòñÿ íàïèñàòü è çàòåì, ïðèñòóïèâ ê ñþæåòó, ðàáîòàÿ ðåãóëÿðíî, èñïîëíèòü çàäóìàííîå. Âìåñòî ýòîãî ÷òî-òî âëèÿëî íà å¸ ÷óâñòâà èëè "ïðèõîäèëî â ãîëîâó" è å¸ ðóêà ïîä÷èíÿëàñü äèêòîâêå. ß ïîäîçðåâàþ, ÷òî îíà öàðàïàëà ñòðîêè äîñòàòî÷íî áûñòðî, à çàòåì ïðèëàãàëà òî êîëè÷åñòâî óñèëèé, êîòîðîå ñ÷èòàëà íåîáõîäèìûì äëÿ òîãî, ÷òîáû ïðèâåñòè íàïèñàííîå â  ïðàâèëüíóþ ôîðìó". Ðàáîòà Êðèñòèíû ñòðàäàëà îò ñîêðàùåíèé è óðåçàííîé èíòåðïðåòàöèè, íî â íàñòîÿùåå âðåìÿ îíà âñ¸ áîëåå ïðèîáðåòàåò ïðèçíàíèå, êàê áîëüøîé Âèêòîðèàíñêèé ïîýò. Äëÿ å¸ ïîýçèè õàðàêòåðíû "ïåñåííîå" èñïîëüçîâàíèå ñëîâ è êîðîòêèå, íåðåãóëÿðíî ðèôìîâàííûå ñòðîêè.  åå ïðîèçâåäåíèÿõ, äåìîíñòðèðóþùèõ áåçóïðå÷íîå âëàäåíèå ñàìûìè ðàçíûìè ïîýòè÷åñêèìè ôîðìàìè, íåðåäêè òåìû èñêóøåíèÿ è ñïàñåíèÿ, ðåëèãèîçíûå ðàçìûøëåíèÿ, ðàçäóìüÿ î ðîëè æåíùèíû â îáùåñòâå, ìîòèâû ÷óâñòâåííîé ñòðàñòè, ñòðàäàíèÿ è èñêóïëåíèÿ, ðàñïëàòû çà ìèíóòíûé ïîðûâ. Ïîýòåññó âñåãäà çàíèìàëà ìûñëü î òîì, êàê äîñòîéíî âñòðåòèòü ñìåðòü, óòåøèòü áëèçêèõ, îáëåã÷èòü ðàññòàâàíèå («Â ãîðó», «Ïîìíè», «Ïåñíÿ», «Êîãäà ÿ óìðó»). Ñòèõè äëÿ äåòåé — åùå îäíà ãðàíü åå òàëàíòà. Îïûò, ïðèîáðåòåííûé Êðèñòèíîé Ðîññåòòè â þíîñòè, êîãäà îíà ïðåïîäàâàëà â ÷àñòíîé øêîëå, ïðèãîäèëñÿ åé âïîñëåäñòâèè: îíà íàïèñàëà ìíîæåñòâî äåòñêèõ ñòèõîâ, à â 1872 ãîäó áûë îïóáëèêîâàí ñáîðíèê «Äèíü-äîí» (Sing-Song), âîøåäøèé â çîëîòîé ôîíä àíãëèéñêîé ëèòåðàòóðû äëÿ äåòåé.

    Èçîáðàæåíèå àâòîãðàôà
  • ÑÎÍÅÒÛ

        Ñðåäè ñîíåòîâ Êðèñòèíû Ðîññåòòè (÷èñëîì áîëåå 60), êîòîðûå îíà ñòàëà ïèñàòü ñ 1848 ã., ìîæíî âûäåëèòü äâà öèêëà: ñîíåòû «Monna Innominata» è 28 ñîíåòîâ öèêëà «Later Life» (1881).

    https://readeralexey.narod.ru/Library/ChRossetti_1990.pdf

     

          Monna Innominata: A Sonnet on Sonnets Öèêëïèñàëñÿìåæäó1866-1881 ãã.  ïðåäèñëîâèè ê öèêëó ïîýòåññà ññûëàåòñÿ íà çíàìåíèòûõ ãåðîèíü ïðåæíåé ïîýçèè: Áåàòðè÷å Äàíòå è Ëàóðó Ïåòðàðêè, êîòîðûì ïðåäøåñòâîâàëî ìíîãî «áåçûìÿííûõ ìàäîíí» ìåíåå èçâåñòíûõ ïîýòîâ, ÷üÿ ëþáîâü (ñ÷àñòëèâàÿ èëè íåñ÷àñòíàÿ) ìîãëà áû çàíÿòü äîñòîéíîå ìåñòî ðÿäîì ñ íèìè. Ñîíåòû íàñûùåíû àâòîáèîãðàôè÷åñêèìè ìîòèâàìè; äîìèíèðóþùàÿ òîíàëüíîñòü — áåçûñõîäíîñòü è ìåëàíõîëèÿ.

     

    From "MONNA INNOMINATA” 

                                        "Con miglior corso e con migliore stella."—DANTE.

                                        "La vita fugge e non s'arresta un' ora."-PETRARCÀ.

     

     

     

    Time flies, hope flags, life plies a wearied wing:

              Death following hard on life gains ground apace;

              Faith runs with each and rears an eager face,

    Outruns the rest, makes light of everything,

    Spurns earth, and stiil finds breath to pray and sing;

         While love ahead of all uplifts his praise,

         Still asks for grace and still gives thanks for grace,

    Content with all day brings and night will bring.

    Life wanes; and when love folds his wings above

       Tired hope, and less we feel his conscious pulse,

              Let us go fall asleep, dear friend, in peace:

                 A little while, and age and sorrow cease;

                 A little while, and life reborn annuls

    Loss and decay and death, and all is love. 

     

                                 "Con miglior corso e con migliore stella."—DANTEÅ.

                                  "La vita fugge e non s'arresta un' ora."- PETRARCA.

    Ëåòÿò ãîäà. Æèçíü çàìåäëÿåò õîä.

    Ñìåðòü ãîíèòñÿ çà íåé, êîñîþ êîñèò.

    Íàä íèìè âåðà ñòðàñòíûé ëèê ïðîíîñèò,

    Íåáåñíûé ñâåò íà âñþ îêðóãó ëüåò,

    È ìîëèòñÿ óñåðäíî, è ïîåò.

    À íàäî âñåì - ëþáîâü. Âñå ïåðåíîñèò,

    Âñå ïîêðûâàåò è õâàëó âîçíîñèò

    Çà òî, ÷òî äåíü ïðèíåñ è íî÷ü íåñåò.

  • Æèçíü óáûâàåò. Òàê ÷òî â ÷àñ, êîãäà

    Ëþáîâü óêðîåò ñëàáóþ íàäåæäó,

    Äàâàé, ìîé äðóã, ñîìêíåì íàâåêè âåæäû...

    Åùå íåìíîãî, è óéäåò áåäà,

    Åùå íåìíîãî, è çà ñìåðòüþ âíîâü

    Âîçíèêíåò æèçíü, åå ðîäèò ëþáîâü.

    Â. Ëóíèíà 

     

    "LATER LIFE: A DOUBLE SONNET OF SONNETS” 

        Later Life: A Double Sonnet of Sonnets Öèêëïèñàëñÿäî1881 ã, îïóáëèêîâàíâ1881 ã. âñáîðíèêåA Pageant and Other Poems. Èç28 ñîíåòîâöèêëà24 îáðàùåíûêäðóçüÿì, ñîíåòû3, 4, 5, 8- êáîãó.

     

    So tired am I, so weary of to-day,

    So unrefreshed from foregone weariness,

    A So overburdened by foreseen distress.

    So lagging and so stumbling on my way,

    I scarce can rouse myself to watch or pray,

    To hope, or aim, or toil for more or less,

    Ah always less and less, even while I press

    Forward and toil and aim as best I may.

    Half-starved of soul and heartsick utterly,

    Yet lift I up my heart and soul and eyes

    (Which fail in looking upward) toward the prize:

    Me, Lord, Thou seest though I see not Thee;

    Me now, as once the Thief in Paradise,

    Even me, O Lord my Lord, remember me.

     

    ß òàê óñòàëà, òàê èçíåìîãëà ÿ,

    Ïîáëåêëà òàê îò ìàÿòû áûëîé,

    Òàê ìó÷óñü îæèäàåìîé áåäîé,

    Òàê ìåäëåííî, òàê òÿæåëî øàãàþ.

    Ñåáÿ ÿ âñå òðóäíåå ïîäâèãàþ

    Íà æèçíü, ìîëèòâó, âñòðå÷ó ñ ñóåòîé.

    Âñå ìåíåå ñïðàâëÿþñü ñ ìàåòîé,

    Õîòü äâèãàþñü, ñåáÿ ïðåâîçìîãàÿ.

    ß ïàëà äóõîì, â ñåðäöå — íåò îãíÿ,

    Íî ñåðäöå, è äóøà ìîÿ, è âçãëÿä

    Íàéòè íàãðàäó âñå åùå õîòÿò

    Íåçðèìûé Áîã, òû çðèøü âñå ëèêè äíÿ.

    ß, êàê ðàçáîéíèê òîò, ÷òî â ðàé áûë âçÿò,

    Ïðîøó, Ãîñïîäü ìîé, ïîìÿíè ìåíÿ. 

    Ïåðåâîä Â. Ëóíèíà

  •  

     

    Êðèñòèíà ìíîãî ïèñàëà î ñìåðòè, î ìèìîë¸òíîñòè æèçíè, î òùåòíîñòè íàäåæä.

AFTER  DEATH

 

 

Sonnet

The curtains were half drawn, the floor was swept
       And strewn with rushes, rosemary and may
       Lay thick upon the bed on which I lay,
Where through the lattice ivy-shadows crept.
He leaned above me, thinking that I slept
       And could not hear him; but I heard him say:
       'Poor child, poor child:' and as he turned away
Came a deep silence, and I knew he wept.
He did not touch the shroud, or raise the fold
       That hid my face, or take my hand in his,
       Or ruffle the smooth pillows for my head:
       He did not love me living; but once dead
       He pitied me; and very sweet it is
To know he still is warm though I am cold.

Ïîñëå ñìåðòè - ñîíåò

  Â ñòèõîòâîðåíèè "Ïîñëå ñìåðòè", íàïèñàííîì â 1849 ãîäó, ïîýòåññà, îò èìåíè êîòîðîé âåä¸òñÿ ïîâåñòâîâàíèå ëåæèò â ãðîáó. Ãðîáîâîé ïîêðîâ çàêðûâàåò åé ëèöî, íî òåì íå ìåíåå, îíà íàáëþäàåò çà òåì, ÷òî ïðîèñõîäèò âîêðóã ïåðåä ïîãðåáåíèåì. 

 

" Ìåíÿ æèâóþ íå ëþáèë îí, à òåïåðü,

 Êîãäà ÿ ïîìåðëà - æàëååò.

Ïðèÿòíî âñ¸ òàêè óçíàòü, ÷òî îí  òåïëåå ñòàë êî ìíå,

Õîòÿ ñàìà ÿ íåñêîëüêî îñòûëà."

 

 

Ïîðòüåðû ñïóùåíû, ïîë ÷èñòî ïîäìåòåí,


Óñòåëåí ëàïíèêîì, è ðîçìàðèíà öâåò


Ñêðûâàåò ëîæå; â ëîæå ÿ è ñìåðòü.


Ñî÷èòñÿ ñâåò â îêíî, óâèòîå ïëþùîì.



Ñêëîíèâøèñü íàäî ìíîé, îí äóìàë, ÷òî ìîé ñîí


Íå ïîòðåâîæèòü áîëå, íî åìó ÿ âíåìëþ,


"Àõ, áåäíîå äèòÿ", è îòâåðíóëñÿ â ñòåíó,


È â ìåðòâîé òèøèíå ðàçäàëñÿ òèõèé ñòîí.



Ñêðûâàþùèõ ëèöî íå ïîäíÿë ïîêðûâàë,


Íå òðîíóë ñàâàíà  è çà ðóêó íå âçÿë,


Íå âçáèë ïîäóøêó ïîä ìîåþ ãîëîâîé –



Êàê ìèëî, ÷òî ìåíÿ îí íå ëþáèë æèâîé,


Íî ì¸ðòâîé ïîæàëåë; ñìîòðèòå, íåáåñà:

 


Êàê òîëüêî ÿ îñòûëà - òåïëà åãî ñëåçà.

 

ÍÅ ÏÎÇÀÁÓÄÜ

Íå ïîçàáóäü ìåíÿ, íå ïîçàáóäü,

Êîãäà óéäó îäíà âî òüìå áåççâåçäíîé,

È íè òåáå, íè ìíå ìîëüáîþ ñëåçíîé

Óõîäà ìîåãî íå îòòÿíóòü;

Êîãäà ïðèäåòñÿ ðóêè ðàçîìêíóòü

È äåíü, è ãîä ãðÿäóùèé âñòðåòèòü ðîçíî,

- Íå ïîçàáóäü! — ïðîøó, ïîêà íå ïîçäíî

Åùå óñëîâèòüñÿ î ÷åì-íèáóäü.

Íî òîëüêî íå ãðóñòè! Ïóñòü íà ìãíîâåíüå

Ìåíÿ çàáóäåøü — ýòî íå áåäà:

ß ïðåäïî÷òó, èñ÷åçíóâ íàâñåãäà

Òàì, çà ïîðîãîì òëåíà è çàáâåíüÿ,

×òîá òû ìåíÿ ñ óëûáêîé çàáûâàë -

×åì, âå÷íî ïîìíÿ, âå÷íî ãîðåâàë.

                                                                       Ïåðåâîä Ì. Áîðîäèöêîé

     Îò íàñ ïðè æèçíè îòäàëèëñÿ äðóã,

Íî ìîæåò ñìåðòü åãî ïðèáëèçèòü ñíîâà,

×òîá ñëûøàë îí ëþáîå íàøå ñëîâî,

×òîá ëèöà áëèçêèõ óâèäàë âîêðóã.

Âîò òîëüêî íå ñóìååò äàæå âäðóã

Çàãîâîðèòü îí ãîëîñîì æèâîãî

È ïîêàçàòü îïÿòü ñåáÿ áûëîãî,

È ñîëíöåì áðûçíóòü â ñóìðà÷íûé íàø êðóã.

Áûòü ìîæåò, íàøè ìåðòâûå äðóçüÿ

Ñåé÷àñ, ñðåäü íàñ ëåòàÿ â òèøèíå,

Ãëÿäÿò íà íàñ áåññîííûìè î÷àìè,

Ïîëíû âñåì òåì, ÷òî íàì óçíàòü íåëüçÿ,

Ïîëíû äëÿ íàñ íåñëûøíûìè ñëîâàìè,

Ïîëíû è ê âàì ëþáîâüþ, è êî ìíå.

 

 Song.

When I am dead, my dearest,

          Sing no sad songs for me;

Plant thou no roses at my head,

          Nor shady cypress tree:

Be the green grass above me

          With showers and dewdrops wet;

And if thou wilt, remember,

          And if thou wilt, forget.

 

I shall not see the shadows,

           I shall not feel the rain;

I shall not hear the nightingale

          Sing on, as if in pain:

And dreaming through the twilight

          That doth not rise nor set,

Haply I may remember,

          And haply may forget.

(Wr. 1848; pub. 1862)

 

                                                            

 

 

 ÏÅÑÍß

Êîãäà óìðó, ìîé ëþáèìûé

Íå ïîé ïå÷àëüíûõ ïåñåí ìíå

È ó ìîãèëû íå ñàæàé íè ðîç êóñòû, íè êèïàðèñ ïå÷àëüíûé.

Ïóñòü íàäî ìíîé òðàâà èñêðèòñÿ îò ðîñû,

À òû, ìîé äðàãîöåííûé,

ïðîäîëæè çåìíîé ñâîé ïóòü

È åñëè õî÷åøü - ïîìíè,

À íå çàõî÷åøü - çàáóäü.

Íè ñâåò è íè òåíü íå óâèæó

È äîæäü íå íàìî÷èò ëèöà,

Ñåðèÿ ñîîáùåíèé "ros text":
text
×àñòü 1 - Gabriel Charls Dante Rossetti 1828-82. Äàíòå Ãàáðèýëü Ðîññåòòè.
×àñòü 2 - ÊÐÈÑÒÈÍÀ ÐÎÑÑÅÒÒÈ. ÏÎÝÒÈ×ÅÑÊÎÅ ÒÂÎÐ×ÅÑÒÂÎ
×àñòü 3 - ÏÎÝÇÈß ÊÐÈÑÒÈÍÛ
×àñòü 4 - äåä ïî ìàòåðè


 

Äîáàâèòü êîììåíòàðèé:
Òåêñò êîììåíòàðèÿ: ñìàéëèêè

Ïðîâåðêà îðôîãðàôèè: (íàéòè îøèáêè)

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