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yuèdòulāi méng tuō fū Mikhail Yuryevich Lermontovzài诗海dezuòpǐn!!! | |||
莱蒙托夫图片
1837年2月，普希金在决斗中重伤后去世。莱蒙托夫愤然作《诗人之死》一诗，直言杀害普希金的罪魁祸首是俄国上流社会。他因此被流放到高加索。1838年4月回到圣彼得堡原部队。在此期间，除写了《述怀》、《诗人》、《匕首》等一系列抒情诗外，还发表《波罗金诺》和《沙皇伊凡·瓦西里耶维奇、年轻的近卫士和勇敢的商人卡拉希尼科夫之歌》两首长诗。
1839～1841年完成长篇小说《当代英雄》，由5个相对独立的中短篇组成。作品通过原来精力充沛、才智过人的贵族青年毕巧林在当时社会条件下无法施展才能，结果成了只好在一些无聊小事上消耗自己生命的“多余人”的经历，强烈表现对黑暗现实的否定态度。小说的大部分篇幅用主人公日记的形式，重在自我心理剖析，兼有现实主义的客观具体描写和浪漫主义直抒主观情思的特色。
莱蒙托夫亲笔绘画，内容是对高加索的回忆
1840年新年，莱蒙托夫参加一个贵族的假面舞会，写了《一月一日》一诗，引起上流社会不满。同年2月，沙皇当局挑起他与法国公使之子巴兰特决斗，事后借机将他逮捕。当年4月，他再度被流放到高加索；途经莫斯科时在果戈理的命名日宴会上朗读自己的新作长诗《童僧》，表现一个想逃脱监狱般的修道院回家的少年僧徒的痛苦和急切心情。
1840年6月，莱蒙托夫到达流放地，7月参加对山民的战斗。翌年2月获准回圣彼得堡休假。不久完成长诗《恶魔》，描写天国的反叛者恶魔到了人间，仍感孤独，而且给人带来不幸，诗人以此表现对恶魔叛逆天国的赞赏，揭示其利己主义的悲剧结局。它和《童僧》均属俄罗斯浪漫主义诗歌的杰作。同年4月《祖国纪事》发表的《祖国》一诗，否定俄国的军事荣耀，讴歌俄罗斯的壮丽山川和淳朴农村生活，是他最重要的力作之一。1841年夏，莱蒙托夫休假后回部队途中在决斗时被杀害。
莱蒙托夫其多数优秀诗歌和小说作品，都有较好的中文译本。
诗人的童年是在奔萨州的阿尔谢尼耶娃的塔尔罕内庄园中度过的。他接受首都式家庭教育，从小就能流利的说法语和德语。1825年夏，外租母带莱蒙托夫到高加索的矿泉疗养；儿时对高加索的自然风光和山民生活的记忆在他的早期作品里留下了印记(《高加索》1830年；《蓝色的高加索山，你好…》1832年）1827年莱蒙托夫全家搬到莫斯科，1828年他作为半寄宿生进入莫斯科大学附属贵族寄宿学校四年级，在那里接受人文教育。还在塔尔罕内时，莱蒙托夫就对文学和诗歌创作表现了强烈的兴趣。在寄宿学校，他的主要方向是研究A·C·普希金和拜论风格长诗。拜伦式长诗成为莱蒙托夫早期的主要作品。1828—1829年，他写下了《海盗》、《罪犯》、《奥列格》、《两兄弟》 (死后发表)、《最后的自由之子》、《伊兹麦尔一白》和《恶魔》等诗篇。
这些长诗的主人公都是与社会抗争、践踏社会和道德规范的英雄、被抛弃者和暴乱分子；“罪恶”悬在他们头上，这种罪恶通常被秘密笼罩，并以苦难的表象出现。
1830年3月，根据枢密院令，莫斯科寄宿学校改为普通中学。1830年，莱蒙托夫“请求”退学，在莫斯科郊外斯托雷平家族的谢列德尼 科沃庄园避暑消夏，同年考取莫斯科大学思想政治系。莱蒙托夫的初恋发生在这段时期，他深深迷恋上 了E·A·苏什科娃(1812—1868年)。他是在友人A·M·韦列夏金娜的家中结识苏什科娃的。因为她，诗人于1830年开始了自己的抒情诗创作期(《致苏什科娃》、《乞丐》、《十四行诗》、《夜》)。
不久以后，莱蒙托夫又疯狂地爱上了剧作家Ф·Ф·伊万诺夫的 女儿H·Ф ·伊万诺娃(1813—1875年)，尽管这只是一段短暂的恋情。
诗人的个性形成于这几年(1830一1832年)，不断地移情别恋很大程度上只是在尝试了解自己。这时，诗歌出现了“片断思维” 体，诗的中心部分是不停地进行自我剖析和自我认知。他在1830—1831年创作的诗歌开始表现社会主题。莱蒙托夫鲜有直接意义上的政治抒情诗；社会政治课题通常融入到他的哲学和精神思考体系中。这在莱蒙托夫19世纪30年代初创作的诗歌中体现得尤为明显。莫斯科大学哲学和政治氛围浓厚，学校成立了兴趣小组和学生社团(И·B·斯坦克维奇、A·И·赫尔岑和B· Г·别林斯基都组建过社团)。没有资料显示莱蒙托夫与这些团体有何关联，但他有可能赞同它们在政治上特有的反对派精神，甚至参加过学生活动(将M· Я·马洛夫教授赶出教室)。这些思想早在《土耳其人的哀怨》(1829年)和献给1830—1831年欧洲革命(《1830年7月30日》巴黎、《1830年7月10日》)、法国大革命(《来自安德烈·申尼耶》，1830一1831年)及普加乔夫起义(《预言》，1830年)的组诗中就有体现。莱蒙托夫这个时期开始构思展现1774—1775年农民起义全景的小说《瓦季姆》，这是他第一次尝试写小说。
他这一阶段诗歌的抒情对象是巴赫梅捷夫的妻子、莱蒙托夫大学同窗的妹妹 B·A·洛普希娜(1815一1851年)。他对她的感情最为热烈，也最持久。洛普希娜既是他早期诗歌(《K.莱蒙托夫1831年、《她不是骄傲的美人……》1832年等)，又是晚期作品(《瓦列里克》，《恶魔》第六次印本的题词)的抒情对象或主人公原型；她的形象走进了诗歌《不，我没有如此强烈地爱着你》和《利托夫斯卡娅公爵夫人》(维拉)。1830—1831 年，诗人早期的抒情诗创作达到颠峰，之后开始走下坡路。
1832年后，莱蒙托夫开始涉足叙事诗（《心愿》1832年、《美人鱼》 1832年)和散文体小说领域。
莱蒙托夫此时诗歌关注的主题有两个：一个是中世纪的俄罗斯历史(《最后的自由之子》1831年、 《立陶宛女人》1832年)，另一个是 异域的高加索题材(《伊兹麦尔一白》1832年、《巴斯通志村》1833 —1834年、《哈吉—阿勃列克》1833年)。
1832年，莱蒙托夫离开莫斯科大学前往圣彼得堡，希望在圣彼得堡大学继续求学；但他在莫斯科所听课程被拒绝评定合格。为了不重新开始学业，莱蒙托夫听从亲戚们的建议选择从军；1832年11月他通过近卫士官生入学考试，在军校度过了两年时光，队列勤务、值勤和阅兵几乎占去了他所有的创作时间 (军校生活粗糙自然地反映在他的士官生诗中—《彼得戈夫的节日》等)。1835年，在莱蒙托夫毕业成为禁军骠骑兵团的一名骑兵少尉 (1834年9月)后，他的创作又趋活跃。这一年面世的长诗《哈吉—阿勃列克》是莱蒙托夫第一次在印刷刊物上发表作品(据传，手稿是在未经作者同意的情况下投给杂志社的)。莱蒙托夫将剧本《假面舞会》的初稿交给书刊审查机关，同时还在创作诗歌《萨申卡》和《大贵族奥尔沙》，并开始写作小说《利托夫斯卡娅公爵夫人》。莱蒙托夫同A· H·穆拉维约夫、И·И·科兹洛夫以及与正在组建的斯拉夫主义小组关系密切的人的交情众所周知。在小说《利托夫斯卡娅公爵夫人》（写于1836年，未完成，1882年发表)中，莱蒙托大首次对社会生活进行描写，并提前预料到19世纪40年代出现的“生理学”。他同时还在创作《假面舞会》(1835— 1836年)，这是第一部他认为值得发表的作品，他三次将剧本交付审查，两次修改，但剧本最终还是被禁。
1836一1837年，莱蒙托夫创作了第一首成熟的独具特色的长诗《大贵族奥尔沙》(1835—1836年)。奥尔沙是他第一次尝试塑造的历史人物—一名伊凡雷帝时期按照贵族荣誉法则生活的农奴主。这个主题在《沙皇伊凡·瓦西里耶维奇、年轻的禁军士兵和勇敢的商人卡拉什尼科夫之歌》(1838年)中得到延续。莱蒙托夫与之相类似的抒情诗还有《波罗金诺》，这首写于波罗金诺战役25 周年（1837年)的诗篇是关于1812年人民战争的“微型叙事诗”。
1835—1836年，莱蒙托夫还没有进入到与普希金关系最亲密的圈子里．与普希金也并不认识。然而，他在获悉普希金去世的消息后立刻写就的《诗人之死》却引发了轰动。1837年2月l8日莱蒙托夫被捕，“禁诗”政治案件的调查开始了。莱蒙托夫在被捕期间创作了《邻居》、《囚徒》，《女邻》(1840年)、《被囚的骑亡》(1840年)等诗篇。其中，《囚徒》是他辉煌的“狱中诗” 创作周期的开始。
1837年2月，莱蒙托夫接到调任下诺夫哥罗德高加索骑兵团准尉的最高指令；他于3月出发，途经莫斯科。由于中途患上感冒，莱蒙托夫留在斯塔夫罗波尔、皮亚季戈尔斯克和基斯洛沃茨克治疗；在追随骑兵团的路上“游遍了沿线各个地方，从基兹利亚尔到塔曼，他翻山越岭，足迹遍布舒沙、库巴、舍马哈、卡赫季，他身着切尔克斯人服装，肩背步枪，在旷野中过夜，伴着胡狼的嗥叫声入眠……”， 11月份到达季夫里斯。1837年，莱蒙托夫开始记录有关阿希克·克里布的民间神话 (《阿希克—克里布》)，他努力再现东方语言的色彩和“土耳其”说书人的心理活动；诗人在《捷列克的恩赐》、《哥萨克摇篮曲》和《逃亡者》中揭示了高加索民族的性格。在皮亚季戈尔斯克，莱蒙托夫遇见了莫斯科寄宿学校的旧交H·M·萨京以及别林斯基和H·B·迈尔医生(《梅丽公爵小姐》中韦尔纳医生的原型)；结识了被流放的十二月党人(C·И·克里夫佐夫、B·M· 戈利岑、B·H·利哈廖夫和M·A· 纳济莫夫)，与A·И·奥多耶夫斯基过从甚密(1840年写下《追忆A· И·奥多耶夫斯基》)。
在流放期间和以后的日子里，从小痴迷绘画的莱蒙托夫的艺术天分充分展露出来。他的画主要是水彩画、油画和素描，种类有风景画、 风俗画、肖像画和讽刺画，其中又以高加索题材的画为最佳。
经过外祖母的多方奔走和向A·X·本肯多夫疏通，莱蒙托夫的流放时间缩短了。 1837年10月莱蒙托夫接到调往格罗德诺骠骑兵团(诺夫哥罗德州)、然后调回位于皇村的禁军骠骑兵团的命令。1838年1月下旬，莱蒙托夫回到圣彼得堡。1838—1841年是他在文坛名声大噪的几年。他很快进入普希金文学圈，认识了B·A·茹科夫斯基、 П·A·维亚泽母斯基、 П·A·普列特尼奥夫和B·A·索洛古布，卡拉姆津家庭接纳。最后一次流放前，莱蒙托夫在卡拉姆津家中阅读了《乌云》。1840年，其生前唯一一部诗集和《当代英雄》在圣彼得堡出版发行。
不算上剧本和未完成的散文体小说，到1840年，莱蒙托夫留给世人的作品包括约400首诗歌和30首长诗。其中绝大多数是在诗人死后发表的。
1838—1840年，诗人加入“16人小组”—一个由小圈子行为规则和成员的政治对立情绪联合起来的军界年轻贵族团体。
这一阶段，在他的诗歌和散文体小说中似乎运用了普希金的一些方法。但莱蒙托夫散文体小说的基本架构(诗歌亦是如此)在许多方面 与普希金是对立的；普希金散文体小说的简约和诗歌“和谐准确”的风格不是他的特点。莱蒙托夫并没有与普希金的圈子结成密切的关系： 无论茹科夫斯基、维亚泽姆斯基，还是普列捷尼奥夫，远非所有人都接受他的创作。“有选择”地接受他的还有正在形成的莫斯科斯拉夫主义小组。莱蒙托夫也在仔细观察未来斯拉夫主义者(A·C·霍米亚科夫、 Ю·Ф·萨马林)的活动，与他们保持着私人关系，还在《莫斯科维亚人》(1841年)上发表叙事诗《争吵》，但对待他们理论中的社会哲学基础却态度冷漠(《祖国》1841年)。
与莱蒙托夫关系最牢固的是《祖国纪事》杂志社。正是这家杂志刊登了他生前和死后发表的大部分诗篇，以及《贝拉》、《宿命论者》和《塔曼》。
1840年2月，在公爵夫人拉瓦尔的舞会上，莱蒙托夫与法国公使的儿子Э·巴兰特发生冲突；直接原因是上流社会的竞争—两人都对M·A·谢尔巴托娃公爵夫人感兴趣，而公爵夫人更喜欢莱蒙托夫。争执超出了私人范畴，上升到捍卫国家尊严的层面。2月18日举行的决斗以双方和解结束。但莱蒙托夫还是被交给了军事法庭，朋友和文学界的相识纷纷前来探狱。在此期间，对莱蒙托夫与巴兰特之间的冲突进行了新的解释，这恶化了事态的发展。1840年4月，上面发布将诗人调往高加索现役军队田加骑兵团的调令。他6月份才踏人斯塔夫罗波尔高加索军队司令 П· X·格拉别的房间，7月份就参加了与高加索山民的小型战斗和血腥的瓦列里克战役。
1841年2月初，莱蒙诺夫得到两个月的休假，返回彼得堡。他因作战勇猛而被推荐受奖，但尼古拉一世拒绝了推荐。诗人在首都度过的3个月中备受关怀；他有很多创作计划，打算退役并重新投身到文学活动中。在高加索接触到的东方精神生活令他感兴趣；在自己的一些作品中，他触及到了“东方世界观”的问题(《塔马拉》、《争吵》)。
1841年4月14日，没有得到延期许可的莱蒙托夫回到高加索。5月，他来到皮亚季戈尔斯克，获准在矿泉停留疗养。在这里，他写下一系列诗篇：《梦》、《悬崖》、《他们相爱…》、《塔马拉》、《约会》、《叶》、《我独自上路…》、《海的公主》和 《预言家》。
在皮亚季戈尔斯克，莱蒙托夫找到了过去的老友，其中还有士官生学校的同学马丁诺夫。一次，在韦尔济林的家庭晚会上，莱蒙托夫 的玩笑激怒了马丁诺夫。争吵过后马丁诺夫发出决斗的挑战；莱蒙托夫对这个小争执并未在意，接受了挑战，他没打算向同学开枪，结果 自己被一枪打死。莱蒙托夫被安葬在塔尔罕内的家族墓穴中。
Lermontov was born in Moscow to a respectable noble family of the Tula Governorate, and grew up in the village of Tarkhany (in the Penza Governorate), which now preserves his remains. According to one disputed and uncorroborated theory his paternal family was believed to have descended from the Scottish Learmonths, one of whom settled in Russia in the early 17th century, during the reign of Mikhail Fedorovich Romanov. However this claim had neither been proved nor disproved just the same, and remains a legend.
Lermontov's father, Yuri Lermontov, like his father before him, was a military man. Having moved up the ranks to captain, he married the sixteen year old Mariya Arsenyeva, to the great dismay of her mother, Yelizaveta Alekseyevna. A year after the marriage, on the night of October 3 (Old Style), 1814, Mariya Arsenieva gave birth to Mikhail Lermontov. According to the tradition, soon after his birth, some discord between Lermontov's father and grandmother erupted, and unable to bear it, Mariya Arsenieva fell ill and died in 1817. After the daughter's death, Yelizaveta Alekseyevna devoted all her love to her grandson, always in fear that his father might move away with him. Either because of this pampering or continuing family tension or both, Lermontov as a child developed a fearful and arrogant temper, which he took out on the servants, and smashing the bushes in his grandmother's garden.
As a small boy Lermontov listened to stories about the outlaws of the Volga region, about their great bravery and wild country life. When he was ten, Mikhail fell sick, and Yelizaveta Alekseyevna took him to the Caucasus region for a better climate. There, young Lermontov for the first time fell in love.
School years
The intellectual atmosphere in which he grew up differed little from that experienced by Pushkin, though the domination of French had begun to give way to a preference for English, and Lamartine shared his popularity with Byron. In his early childhood Lermontov was educated by a Frenchman named Gendrot. Yelizaveta Alekseyevna felt that this was not sufficient and decided to take Lermontov to Moscow, to prepare for gymnasium. In Moscow, Lermontov was introduced to Goethe and Schiller by a German pedagogue, Levy, and shortly afterwards, in 1828, he entered the gymnasium. He showed himself to be exceptional student. Also at the gymnasium he became acquainted with the poetry of Pushkin and Zhukovsky, and one of his friends, Katerina Hvostovaya, later described him as "married to a hefty volume of Byron". This friend had at one time been an object of Lermontov's affection, and to her he dedicated some of his earliest poems, "Нищий (У врат обители святой)" (The Beggar). At that time, along with his poetic passion, Lermontov also developed an inclination for poisonous wit, and cruel and sardonic humor. His ability to draw caricatures was matched by his ability to pin someone down with a well aimed epigram or nickname.
At the university
After the academic gymnasium, in the August 1830, Lermontov entered the Moscow University. That same summer the final, tragic act of the family discord played out. Having been struck deep by his son's alienation, Yuri Lermontov left the Arseniev house for good, only to die a short time later. His father's death on such a note was a terrible loss for Mikhail, and is reflected in his poems: "Forgive me, Will we Meet Again?" and "The Terrible Fate of Father and Son".
Lermontov's career at the university was short-lived. He attended lectures faithfully, but he would often read a book in the corner of the auditorium, and rarely took part in a student life. What brought his time at the University to an end was a prank a group of students pulled against one of the professors named Malov. Several biographers see this incident as the reason for Mikhail's departure.
Lermontov Museum in the village of Taman.
Young cadet - first poems
The events at the University led Lermontov to seriously reconsider his career choice. From 1830 to 1834 he attended the cadets school in Saint Petersburg, and in due course he became an officer in the guards. There Lermontov got a chance to show his incredible strength: he and another junior officer would tie steel ramrods, as if they were simple ropes, into knots, until they were caught at this task. When they were caught doing it,by General Schlippenbach he yelled them "What are you kids doing, pulling pranks like these?" and since then Lermontov would laugh:"Such kids! to tie steel ramrods into knots!"
At that time he began writing poetry. He also took a keen interest in Russian history and medieval epics, which would be reflected in the Song of the Merchant Kalashnikov, his long poem Borodino, poems addressed to the city of Moscow, and a series of popular ballads.
Fame and exile
To express his own and the nation's anger at the loss of Pushkin (1837) the young soldier wrote a passionate poem the latter part of which was explicitly addressed to the inner circles at the court, though not to the tsar himself. The poem all but accused the powerful "pillars" of Russian high society of complicity in Pushkin's murder. (Note: Pushkin was not murdered. He was killed in a duel, in which he was the challenger.) Without mincing words, it portrayed that society as a cabal of self-interested venomous wretches "huddling about the throne in a greedy throng", "the hangmen who kill liberty, genius, and glory" about to suffer the apocalyptic judgement of God. Cleaving the repressive atmosphere of 1830's Russia like a lightning bolt from a still sky, the poem had the power of biblical prophecy.
Lermontov took delight in painting mountain landscapesThe tsar, however, seems to have found more impertinence than inspiration in the address, for Lermontov was forthwith sent off to the Caucasus as an officer in the dragoons. He had been in the Caucasus with his grandmother as a boy of ten, and he found himself at home, with feelings deeper than those of childhood recollection. The stern and rocky virtues of the mountain tribesmen against whom he had to fight, no less than the scenery of the rocks and of the mountains themselves, were close to his heart; the tsar had exiled him to his native land.
Lermontov visited Saint Petersburg in 1838 and 1839, and his indignant observations of the aristocratic milieu, wherein fashionable ladies welcomed him as a celebrity, occasioned his play Masquerade. His not reciprocated attachment to Varvara Lopukhina was recorded in the novel Princess Ligovskaya, which he never finished. His duel with a son of the French ambassador led to Lermontov being returned to the army fighting the war in the Caucasus, where he distinguished himself in hand-to-hand combat near the Valerik River.
A landscape painted by Lermontov. Tiflis, 1837By 1839 he completed his most important novel, A Hero of Our Time, which prophetically describes the duel like the one in which he would eventually lose his life.
Tragic death and the aftermath
On July 25, 1841, at Pyatigorsk, fellow army officer Nikolai Martynov, who felt hurt by one of Lermontov's jokes, challenged Lermontov to a duel. The duel took place two days later at the foot of Mashuk mountain. Lermontov chose the edge of a precipice for the duel, so that if either combatant was wounded, he would fall down the cliff. Lermontov was killed by Martynov's first shot. Several of his verses were posthumously discovered in his notebook.
Lermontov's life must be viewed as one of the most epic and dramatic in the history of literature. After attacking the tsar as complicit in the de facto assassination of Pushkin, Lermontov himself fell in a duel that many believe was also the work of a tsarist conspiracy designed to silence nascent rebellion. His major works, which can be readily quoted from memory by many Russians, suffer from the generally poor quality of translation from Russian to English - Lermontov therefore, remains largely unknown to English-speaking readers. His poem "Mtsyri" ("The Novice") tells the story of a young man who finds that dangerous freedom is vastly preferable to protected servitude, and speaks as eloquently as anything written by Thomas Jefferson for the spirit of the American revolution. The presence of Lermontov with his enormous talent and growing popularity was dangerous for the tsarist system in Russia.
Works
Lermontov poetic development was unusual. His earliest unpublished work that he circulated through his friends in the military was pornographic in the extreme, with elements of sadism. His subsequent reputation was clouded by this, so much so that admission of familiarity with Lermontov's poetry was not permissible for any young upper-class woman for a good part of 19th century. These poems were published only once, in 1936, as part of a scholarly edition of Lermontov's complete works (edited by Irakly Andronikov).
During his lifetime, Lermontov published only one slender collection of poems (1840). Three volumes, much mutilated by censorship, were published a year after his death. His short poems range from indignantly patriotic pieces like Fatherland to the pantheistic glorification of living nature (e.g., Alone I set out on the road...) Lermontov's early verse has been termed by some puerile, for despite his dexterous command of the language, it usually appeals more to adolescents than to adults. But like Percy Bysshe Shelley, with whom he is often compared, he attempted to analyse and bring to light the deeper reasons for this metaphysical discontent with society and himself.
Mikhail Vrubel's illustration to the Demon (1890).Both patriotic and pantheistic Lermontov's poems had enormous influence on later Russian literature. Boris Pasternak, for instance, dedicated his 1917 poetic collection of signal importance to the memory of Lermontov's Demon, a long poem featuring some of the most mellifluous lines in the language, which Lermontov rewrote several times. The poem, which celebrates the carnal passions of the "eternal spirit of atheism" to a "maid of mountains", was banned from publication for decades. Anton Rubinstein's lush opera on the same subject was also banned by censors who deemed it sacrilegious.
For his only novel, Lermontov deserves to be regarded as one of the founding fathers of Russian prose. A Hero of Our Time is actually a tightly knitted collection of short stories revolving around a single character, Pechorin. The short stories comprising this work are intricately connected, and the reader moves from a superficial glimpse of the character's actions to an understanding of his philosophy and of the secret springs of his seemingly mysterious behavior. The structure of the novel is modern, and has inspired several imitations, notably by Vladimir Nabokov in his novel Pnin (1955).
Legacy
A minor planet 2222 Lermontov discovered in 1977 by Soviet astronomer Nikolai Stepanovich Chernykh is named after him.
A sample of Lermontov's poetry
The Dream is one of Lermontov's last poems, featured in his posthumous diary. Vladimir Nabokov, whose translation follows, thought this "threefold dream" prophetic of the poet's own death.
Mikhail Lermontov.Сон
The Dream
В полдневный жар в долине Дагестана
С свинцом в груди лежал недвижим я;
Глубокая еще дымилась рана,
По капле кровь точилася моя.
In noon's heat, in a dale of Dagestan
With lead inside my breast, stirless I lay;
The deep wound still smoked on; my blood
Kept trickling drop by drop away.
Лежал один я на песке долины;
Уступы скал теснилися кругом,
И солнце жгло их желтые вершины
И жгло меня - но спал я мертвым сном.
On the dale's sand alone I lay. The cliffs
Crowded around in ledges steep,
And the sun scorched their tawny tops
And scorched me -- but I slept death's sleep.
И снился мне сияющий огнями
Вечерний пир в родимой стороне.
Меж юных жен, увенчанных цветами,
Шел разговор веселый обо мне.
And in a dream I saw an evening feast
That in my native land with bright lights shone;
Among young women crowned with flowers,
A merry talk concerning me went on.
Но, в разговор веселый не вступая,
Сидела там задумчиво одна,
И в грустный сон душа ее младая
Бог знает чем была погружена;
But in the merry talk not joining,
One of them sat there lost in thought,
And in a melancholy dream
Her young soul was immersed -- God knows by what.
И снилась ей долина Дагестана;
Знакомый труп лежал в долине той;
В его груди, дымясь, чернела рана,
И кровь лилась хладеющей струей.
And of a dale in Dagestan she dreamt;
In that dale lay the corpse of one she knew;
Within his breast a smoking wound shewed black,
And blood coursed in a stream that colder grew.
Written by: Mikhail Lermontov
Translated by: Vladimir Nabokov
References
^ Schmadel, Lutz D. (2003). Dictionary of Minor Planet Names, 5th, New York: Springer Verlag, p. 181. ISBN 3540002383.