Which translation of Romeo and Juliet is better? Translations

Undoubtedly, this play is one of the most difficult works to translate. The most obvious difficulty is created by the poetic rhythm of the work, not to mention other related difficulties. Table 1 will show how different translation authors dealt with this: Pasternak, Mikhalkovsky, Grigoriev, Radlova, Soroka, and Shchepkina-Kupernik.

Table 1

Features of the translation of the work “Romeo and Juliet” by different translators

Analysis of translations based on table 1:

Grigoriev's translation is particularly complex. Clarity was never part of Grigoriev's critical talent. It was not without reason that the extreme confusion and darkness of the presentation scared the public away from his works.

“Rom. What, shall this speech be spoken for our excuse?

Or shall we on without apology?

Ben. The date is out of such prolixity."

"Romeo. Well, how? With an apology speech

Or will we go in without excuses?

Benvolio. The fashion has passed by now,”

“The clear smile of the gray-eyed dawn

The gloomy night drives away and turns golden

Stripes of light from the clouds of the east, "

Grigoriev also tries to follow the original, which sometimes sounds very ridiculous in the original version:

Wife. Nurse, where's my daughter? Call her forth to me.

Nurse. Now, by my maidenhead at twelve year old,

I bade her come. What, lamb! what a ladybird!

“Enter SIGNORA CAPULET and THE NURSE.

Signora Capulet. Nurse, where is your daughter? Call her out!

Nurse. Yes, I clicked; here's my old one

Maiden's honor is a guarantee!

Oh, you little bird!

Oh, you little sheep! Lord have mercy!

Where's the goat? Where are you, Juliet?

Grigoriev's translation does not feel the rhythm of the original. In an effort to maintain the high style of the work, the translator’s text does not feel light, the lines are always different, the rhythm is lost, and in some places it even comes down to the usual translation:

Ben. See where he comes. So please you step aside,

I"ll know his grievance, or be much denied.

Mon. I would thou wert so happy by thy stay

“ROMEO appears in the distance.

Benvolio.

Here he is. You better get out of here...

I’ll find out if it’s not, but I’ll try.

Montagues. God bless you! At least he's with you

He was sincere! Wife, let’s go home!”

In Mikhailovsky's translation one can feel the rhythm of the original:

“Prince.” Rebellious subjects, enemies to peace,

Profaners of this neighbor-stained steel-

Will they not hear?

What, ho! you men, you beasts,

That quench the fire of your pernicious rage

With purple fountains issuing from your veins!

“Prince. Rebels, enemies of peace,

Disgracing their swords with blood

Fellow citizen! Hey! - don’t they hear?.. People, animals,

Extinguishing the fire of their enmity

Destructive purple jets

From your veins!

It can also be said that Mikhailovsky does not use words that are too difficult to understand; it is clear that he keeps to the middle:

"Enter Capulet"s Wife, and Nurse.

Wife. Nurse, where's my daughter? Call her forth to me.

Nurse. Now, by my maidenhead at twelve year old,

I bade her come. What, lamb! what a ladybird!

God forbid! Where"s this girl? What, Juliet!"

“Signora Capulet and the nurse enter.

Signora Capulet

Nurse, where is my daughter? Call

Her to me.

Nurse

My innocence at twelve years old

I swear I already called her.

Lamb, fluttering bird!

Oh, Lord, where is she? - Juliet!

A distinctive feature of Radlova's translation is its simplicity and ease. Its translation does not contain any complex structures, there are no sublime words, which provides the maximum opportunity for understanding the original:

“Cap. When the sun sets the air doth drizzle dew,

But for the sunset of my brother's son

It rains downright."

“Capulet. With the sunset the dew falls, But my nephew the sunset is drenched in rain.”

Excessive simplicity and freedom in translation confused critics of that time, for example, even K.I. Chukovsky accused Radlova of comprehensively coarsening her works.

Ben. See where he comes. So please you step aside,

I"ll know his grievance, or be much denied.

Mon. I would thou wert so happy by thy stay

To hear true font. Come, madam, let "s away,"

“Romeo enters.

Benvolio. Here he comes. I'll forgive you, go away

I will find out everything, or all the threads will be tangled.

Montagues. May your game be happy, To find out the truth. Let's go, it's time!

The enormous merit of Boris Pasternak in translating Shakespeare's play "Romeo and Juliet" lies in the fact that, translating primarily for the theater, he decisively broke with literalism, striving for internal rather than external similarity. Take for example the conversation between two servants at the very beginning of Romeo and Juliet. Here is the literal translation: “Gregory, honestly, we will not carry coals.” “No, otherwise we would become coal miners.” “I want to say: if we get angry, we will draw our swords.” “While you are alive, don’t get your neck caught in a noose.” The whole “salt” here is in puns: “Carrying coals” is doing the most pitiful, shameful job for a “noble lackey.” Pasternak superbly recreates the very spirit of these puns pouring in one after another: “Remember, Grigory, don’t hit your face in the dirt. - What are you. On the contrary. Just get caught in the face with dirt. - We’ll give them a bath. - We’d like to get away with it ourselves.” Dialogues of this kind in Pasternak are always lively and clear.

As can be seen from this example, Pasternak follows the path of “free translation”. At first glance, it may seem that he is simply reviving the traditions of the school of those old translators who did not so much strive to recreate the original as retell it in their own words.

“But soft! What light through yonder window breaks?

It is the East, and Juliet is the sun!”

“But what kind of shine do I see on the balcony?

There is light there. Juliet, you are as clear as day!”

After reading this translation, you will immediately notice that the lush colors of the “elegant Renaissance” have faded somewhat in it. Everything was illuminated with soft, white, daylight. Somehow the stormy, all-consuming flame of Shakespeare's passions softened; but there was more warmth, more sincerity in the feelings of the two young lovers.

The translation also contains deviations from the semantic content of the original. In some cases, he does not modify, but rather simplifies Shakespeare's thought.

"Friar." The grey-ey"d morning smiles on the frowning night,

Check"ring the Eastern clouds with streaks of light;"

“The night is angry, and the day is stealthily

Paints clouds with paint"

Pasternak’s translation preserves Shakespeare’s aphorism and pathos, for example in the words of Romeo:

Love brought me here.

Walls don't stop her.

If Pasternak's translation is more of a free translation, then Shchepkina-Kupernik's translation has a more careful approach: she better preserves the style of the original, uses more appropriate words and comparisons. For example, the famous: “Good pilgrim, you do wrong your hand too much, wich mannerly devotion shows in this...” Shchepkina-Kupernik translates the image and sound similar: “Dear pilgrim, you are too strict with your hand, only piety in her...", and Pasternak translates: "Holy Father, shaking hands is legal. Shaking hands is a natural greeting..." Maybe the general meaning is preserved, but there is no music. If Shakespeare says “pilgrim” and we can say “pilgrim” in Russian, then in principle there is no need to replace this word with a synonym. Yes, and I don’t really want to call Romeo a holy father, although “father” here means a monk or priest, but still this word does not sound in relation to a handsome, ardent young man, just as “holy mother” does not sound in relation to Juliet. There is another not entirely successful, in my opinion, place in Pasternak, when Signora Capulet speaks to Juliet about Paris’s matchmaking: “Speak briefly, can you like of Paris” love?” And Juliet replies: “I”ll look to like, if looking liking move..." Shchepkina-Kupernik translates this as follows: "As you look at his love, answer." - “I’ll try to look kindly...” Pasternak translates: “Well, will you take care of his special one?” - “I don’t know yet, I need to do a test...” - it sounds like this is a conversation between two experienced courtesans, which hurts the ear a little. True, one can also find oddities in Shchepkina-Kupernik. Juliet ends the exchange of allegories and kisses in Shakespeare with the words “You kiss by th” book, in place of which in Shchepkina-Kupernik there is “The guilt has been removed from you”, in Pasternak - “My friend, where did you learn to kiss?”, and in Mikhalovsky - “You, pilgrim, kiss according to the breviary.” (perhaps the most correct of the three options).

The translation of Hosea Magpies was made relatively recently. His translation shows how the line between a free translation and the transmission of the original’s thoughts is observed:

“Enter Benvolio and Romeo.

Ben. Tut, man, one fire burns out another's burning;

One pain is lessoned by another"s anguish;

Turn giddy, and be holp by backward turning;

One desperate grief cures with another"s language"

“Enter Benvolio and Romeo.

Benvolio. Give it up. After all, one fire extinguishes another,

And the pain is dulled by other pain,

And grief is drowned out by new misfortune,

And the dizziness stops by spinning backwards.”

Hosea Soroka has the rare gift of turning Shakespeare's original to us with such facets, revealing its hidden meanings to our eyes.

The translator frees and cleanses Shakespeare's text from later sentimental-romantic layers, from pseudo-classical rhetoric - he returns to Shakespeare's poetry the broad and free breath of the era that created him.

“Rom. I must indeed; and therefore came I hither.

Good gentle youth, tempt not a desp"rate man.

Fly hence and leave me. Think upon these gone;

Let them affright them. I beseech thee, youth,

But not another sin upon my head

By urging me to fury. O, be gone!

By heaven, I love thee better than myself,

For I come hither arm"d against myself.

Stay not, be gone. Live, and hereafter say

A madman's mercy bid thee run away."

“I’m going to my death.

Then I came.

Dear young man, don’t tease trouble.

Run away from here. Remember the dead

And be afraid. Oh don't make me angry

And don’t hang a new sin around my neck.

I love you more than myself.

After all, I came here to commit suicide.

Leave without delay, live -

And you will say yourself, saved from death,

That a madman spared you.”

Having analyzed Table 1, it was revealed: Grigoriev is a translator and writer of the old school who preferred free translation. Also in the translation there are complex and sublime words that complicate the understanding of the text. Mikhailovsky, as a translator who knows several European languages, tried to preserve the rhythm and beauty of the original. Radlova, a translator and poet, makes her translation simple and easy. Pasternak broke with literalism, striving for internal rather than external similarity. Shchepkina-Kupernik, as a translator-writer, has a careful approach to the translation of Shakespeare: she better preserves the style of the original, and also selects appropriate words and comparisons. Hosea Soroka, an experienced translator of English-language literature, frees the original from unnecessary rhetoric and layers, which returns broad and free breath to Shakespeare's poetry. Hosea Soroka's translation is a fresh look at old things.

Characters

Escalus, Duke of Verona.

Paris, a young patrician, is his relative.

Montagues and Capulets are the heads of two families at war with each other.

Uncle Capulet.

Romeo, son of Montague.

Mercutio, relative of the Duke, friend of Romeo.

Benvolio, nephew of Montague and friend of Romeo.

Tybaldo, nephew of Capulet's wife.

Lorenzo, Giovanni - Franciscan monks.

Balthasar, Romeo's servant.

Samson, Gregorio - Capulet servants.

Pietro, servant of Juliet's nurse.

Abramo, Montague's servant.

Pharmacist.

Three musicians.

An officer.

Page Mercutio.

Paris's page.

Signora Montague.

Signora Capulet.

Juliet, daughter of Capulet.

Juliet's nurse.

Verona citizens, relatives and relatives of both warring families, masks, guards and servants.

The location is Verona, one scene of Act V is Mantua.

Prologue

The Choir enters.

Choir

Two noble families, equal
Venerable ones, they lived in Verona,
But hatred tormented them for a long time, -
They were always at odds with each other.
Their strife led them to vengeance,
And their hands were stained with blood;
But they produced two hearts,
To the evil of enmity, burning with love,
And the sad fate of two loving people
The ancient discord has ceased.
The names of those fierce struggles,
Lovers' death, their passionate love's strength, -
This is what we will depict for you here,
I ask you for two hours of patience,
And if we miss something, we'll give it to you
We are in action on the stage of explanation.

Act I

Scene 1

City square in Verona. Samson and Gregorio enter, armed with swords and shields.

Samson

Gregorio, I guarantee that we will not allow anyone to spit in our faces!

Gregorio

Still would! The face is not a spittoon.

Samson

I want to say that when we are angry, we will quickly draw our swords from their scabbards.

Gregorio

And while you are alive, don’t get into trouble.

Samson

When I'm pissed off, I'm quick to strike.

Gregorio

But it won’t be long before you can be riled up enough to get hit.

Samson

Every dog ​​from the Capulet house drives me crazy.

Gregorio

To go out means to move, and to be brave means to stand strong; therefore, if you lose your temper, you will become afraid and run away.

Samson

The dog of the house of Capulet will make me stand strong; I’ll definitely hit the wall, fighting off every man or girl from this house.

Gregorio

Well, it’s clear that you are a weak slave: only the weakest are pinned to the wall.

Samson

Right; Therefore, women, as weaker vessels, are always pushed against the wall. I will push the Montague servants away from the wall, and I will push the maids against the wall.

Gregorio

But our masters are quarreling, and we are only their servants.

Samson

It does not matter. I will show myself as a tyrant: having beaten the men, I will not give mercy to the girls either: I will rip off their heads.

Gregorio

Will you rip the girls' heads off?

Samson

Well, yes, or their virginity, take it as you wish.

Gregorio

Those who feel should understand.

Samson

They will feel me; I stand up for myself; I'm known to be a healthy piece of meat.

Gregorio

It's good that you're not a fish; If you were a fish, you would be no good for hell. Take out your tool: there are people coming from the Montague house.

Abramo and Balthazar enter.

Samson

My weapon is drawn. Start a fight, and I will be behind you and support you.

Gregorio

Yes, you will run away!

Samson

Don't worry about me.

Gregorio

I'm not worried about you, damn it! Worry about you!

Samson

Let the law be on our side: let them begin.

Gregorio

I will furrow my brows as they pass us; let them take it as they wish.

Samson

That is, how dare they. I will bite my finger on them, and it will be a shame for them if they put up with it.

Abramo

Are you the one who bit your finger on us, sir?

Samson

(addressing Gregorio)

Will the law be on our side if I say yes?

Gregorio

Samson

No, sir, not on you, I just bit my finger.

Gregorio

Do you want to start a quarrel, sir?

Abramo

A quarrel? What quarrel? No, sir.

Samson

If you wish, I am at your service, sir. I am in the service of a master who is no worse than yours.

Abramo

And no better.

Samson

Okay, sir.

Benvolio appears in the distance.

Gregorio

Admit it's better. Here comes one of my master's relatives.

Samson

Yes, better, sir.

Abramo

Samson

Take out your swords if you are men. Gregorio, remember your famous blow.

(They fight.)

Benvolio enters.

Benvolio

Be gone, fools! Sheathe your swords; you don't know what you're doing.

(Knocks the swords out of their hands.)

Tybaldo enters.

Tybaldo

With a sword in hand, among these worthless servants!
Turn around, Benvolio, look
To your death.

Benvolio

I bring peace
No more. Sheathe your sword
Or help me separate this bastard.

Tybaldo

You take out your sword and talk about peace!
I hate that word just as much
Like hell, like all the Montagues and you.
Coward, defend yourself!
(They fight.)

Various adherents of both families enter, then citizens come running with sticks and reeds.

First Citizen

Hey! halberds, clubs and reeds!
Beat them! Down with the Montagues, Capulets!

Enter Capulet in a dressing gown and Signora Capulet.

Capulet

What's all this noise? Give me my long sword!

Signora Capulet

Crutch, crutch! Why do you need your sword?

Capulet

Sword, I say! Old Montague is coming,
He waves his blade,
With a threat to me.

Enter Montague and Signora Montague.

Montagues

Wretched Capulet!
(To my wife.)
Let me in!

Signora Montague

You won’t take a single step;
I won’t allow you to attack the enemy.

The Duke and his retinue enter.

Duke

Rebels, enemies of peace,
Disgracing their swords with blood
Fellow citizen! Hey! – don’t they hear?.. People, animals,
Extinguishing the fire of their enmity
Destructive purple jets
From your veins! On pain of torture, stop
Weapons from bloody hands
And listen to the angry prince.
Three times already internecine strife,
Of trifles, you old Capulet,
And you, Montagues, disturbed the peace
On the streets of Verona, forcing
Its citizens, sedately taking off their attire,
Grab the old reeds,
So that in your inveterate enmity
Take part, when again?
Dare to break the silence
On the streets, then you are with your life
Responsible for the outraged world.
This time let everyone else
They go away; you, old Capulet,
Come with me, and you, Montague, to our
The court of justice will come to us, in the afternoon,
To listen to our further orders.
Everyone - get away from here, under penalty of death!

The Duke, his retinue, Capulet with Lady Capulet, citizens and servants leave.

Montagues

Who reignited the old enmity?
Were you here when the quarrel arose?

Benvolio

No; your enemy and your servant
They were already gathered when I approached;
I wanted to separate them, but at that moment
Fiery Tybaldo appeared,
With a sword in hand; he insulted me
Waving your sword over your head
Through the air that only whistled
In response to him, as if with contempt.
While we were exchanging
With blows; more and more flocked
People from two warring sides,
To take part in the general dump,
Until our Duke separated them.

Signora Montague

Have you seen Romeo today?
I'm so glad that he wasn't there
During this fight! Where is he?

Benvolio

Signora,
An hour before at the golden window
The sun showed its face to the East,
Excited, I went out to wander
And in that fig grove to the west
It lies from the city, I saw
At such an early hour Romeo wandered.
I headed towards him, but I
Having noticed, he disappeared into the thicket of the forest.
I realized, judging by myself, that he
Is in that state of mind
In which we wish the more strongly
To get away from everyone, the more they look for us;
And, busy with himself, he didn’t
Disturb him by giving in to his thoughts.
I was glad to avoid meeting with him
Who ran from me, wanting to hide.

Montagues

We've seen him in the grove many times,
During the hours of the morning; cold dew
Romeo strengthened there with tears
And he added new clouds to the clouds
Through the mists of your deep sighs.
But only the farthest edge of the east
Illuminated by the all-pleasing sun,
There's barely any shady cover
He will begin to lift from Aurora’s bed,
My sad son is in a hurry to go home, -
And he locked himself in his room alone;
He drives the daylight out of there,
He closes all the windows there tightly
And creates an artificial night.
Romeo's dark despair
It will bring such despondency,
If no one saves him with advice,
It will not eliminate the cause of his melancholy.

Benvolio

Do you know her, my dear uncle?

Montagues

I don't know and I can't find out
From Romeo himself.

Benvolio

Have you tried
Persistently question him?

Montagues

I asked myself and through friends,
But in his feelings here he is his own adviser;
Is it good - I won’t say
But only he is so secretive, inaccessible,
Like a kidney where a worm is already sitting,
When she hasn't unfolded yet
In the air of beautiful petals
And she didn’t devote her beauty to the sun.
When would we just know why?
He is sad, if only we could save him.

Romeo appears in the distance.

Benvolio

Ah, here he is. Go away; will try
Find out his sadness, but I can’t guarantee.

Montagues

Oh, if only you could achieve what she did
Summoned in it! Let's go, let's go, wife.

The Montagues and Signora Montagues leave.

Benvolio

My cousin, good morning!

Romeo

Benvolio

Romeo

Ah, sad hours
So they drag on! Isn't that my father?
Did you leave here in a hurry?

Benvolio

Yes, that was him. Why does sadness last so long?
Your watch?

Romeo

The absence of
Which gives them a fast flow.

Benvolio

Romeo

Benvolio

Romeo

Deprived
Reciprocity.

Benvolio

Love like this
Beautiful in appearance, it should be
So hard, painful in fact.

Romeo

Alas, love, although it is blind,
Without eyes she will find which way to go
Reach us and rule over us.
Where will we have lunch? - Woe is me!
What kind of fight was there? However, no
Don't say: I heard everything; with enmity
There are so many worries involved here,
But more of them with love... Oh, love
Cruel! O loving malice!
Something created out of nothing!
Oh, sad fun, vanity
Serious, formless chaos
Beautiful shapes, lead feather,
Brilliant smoke, freezing flame,
Ailing health, sleepless sleep,
Which cannot even be called a dream!
This is how I feel love
Not feeling any joy in such love.
Aren't you laughing?

Benvolio

No, I'd rather cry.

Romeo

What is this about, kind soul?

Benvolio

About the sorrow that oppresses your soul.

Romeo

The cause of this sorrow is love.
I feel heavy from my own sorrows,
And you want to add yours to them,
Their excess will be strengthened by compassion.
Love is the smoke that rises from sighs;
She is the fire sparkling in the eyes
Lovers; in anxiety, this is the sea,
Which their tears feed.
What's next? That is cunning madness,
The bitter bile that suffocates us,
And the sweetness that sustains us.
Goodbye.

Benvolio

Wait, and I will go with you, -
It's a shame for me when you leave like that.

Romeo

I've lost myself, I'm not Romeo
He's not here, he's out there somewhere...

Benvolio

Tell
Seriously, who is the one you love?

Romeo

Demand that a sick person
In suffering, he made a will:
How the word will amaze the sick!
But, my cousin, I will tell you seriously:
I love a woman.

Benvolio

With your guess
I hit the target.

Romeo

Oh, you are a skilled shooter! –
Beautiful is the one I love so much.

Benvolio

The better the target, the easier it is to hit it.

Romeo

Well, here, cousin, you made a mistake: in her
You can't hit Cupid's arrow,
Diana's intelligence is given to her, innocence is in her
Protected by indestructible armor,
A child's bow of love won't hurt her.
She is indifferent to speeches of love,
Can't stand impudent eyes
Sometimes saints cannot be seduced.
Oh, she is rich in beauty - together
She is poor because when she dies,
Wealth is wasted in vain.

Benvolio

Or did she vow to remain a virgin?

Romeo

Yes; and will lead to a big loss
Such abstinence is fruitless:
After all, the whole offspring in it will die,
Losing my existence in advance.
She is pure, beautiful and smart, -
But is this what all these perfections are for?
So that, having plunged me into despair,
How can she earn bliss in heaven?
She took a vow of celibacy;
I am killed by that harsh vow,
Although I live and talk about it.

Benvolio

Listen, friend, forget about her and think about it.

Romeo

Oh, teach me how to do this!

Benvolio

Give free rein to your eyes, to other beauties
Pay attention.

Romeo

Here's a remedy - more often
I remember her beauty!
So masks that the faces of beautiful women
They touch, they make us think
About the beauty hidden underneath.
He who is blind cannot forget
Treasures of lost sight.
Oh, show me the beauty -
Out of the ordinary - and her beauty
It will only serve as a memory book for me,
Where will I read the features of another,
What surpasses her in beauty?
Goodbye; you can't teach me
You are oblivion.

Benvolio

I will teach or I will
I am indebted to you until my death.

Scene 2

Street. Enter Capulet, Paris and a servant.

Capulet

The same fine was imposed on Montague,
Like me; and us, two old men,
I think it would not be difficult to live in peace.

Paris

You are both deeply respected,
And it’s a pity that your discord continues.
But why are you interested in my matchmaking?
Will you tell me?

Capulet

What I said before:
That my daughter barely entered the world,
She is not yet fourteen years old;
When the beauty fades for another two years -
The time has come for her to be a bride.

Paris

There are mothers younger than her.

Capulet

But they fade too early.
I buried all my hopes
She is my only hope in the world.
But, my dear Paris, please her,
Try to achieve her love:
My consent is concluded
In the consent and choice of Juliet.
Today I give an evening feast,
According to the old custom of the family,
And I invited many guests
Of those whom I love; including
You will be my welcome guest.
And I'm waiting for you; come this night
To my humble home, to the earthly stars
There to see whose bright shine
The radiance of the heavenly stars eclipses.
I have that pleasure waiting for you,
Why do young men feel so much in the spring,
When she, blooming, goes
Behind the boring slow winter.
There in a flower garden of young buds
You will enjoy their beautiful view;
Listen to everyone and take a closer look -
And choose the best one.
And my daughter will be there among others
Just for the record: she is nothing before them.
Let's go, Count;
(servant)
and you hurry up and go
Around town; search and invite
Everyone who is written here on this list;
(giving the note)
Tell them that I’m waiting for them with affection and greetings.

Capulet and Paris leave.

Servant

Find those whose names are written here? And here it is written that the shoemaker should take the arshin, and the tailor the awl; for the fisherman to use a brush, and the painter to use a net. I was sent to find those whose names are written here; but I can’t find who exactly is written down here. I must turn to learned people. Oh, here they are by the way!

Enter Romeo and Benvolio.

Benvolio

One fire is lost in another,
Suffering will be reduced by suffering;
If your head is spinning,
Make her spin again;
One sorrow will be healed by another:
Let new poison enter your eyes -
And the old infection will disappear.

Romeo

Your plantain is useful here.

Benvolio

Romeo

For damaged bone
Your legs.

Benvolio

Are you crazy?

Romeo

No, he didn’t, but it’s worse than he did:
I am imprisoned, I am deprived of food,
I'm tormented, exhausted.
(To a suitable servant.)

Hello Darling.

Servant

Hello, sir. Tell me, please, can you read?

Romeo

My fate is in my misfortune.

Servant

You could learn this without books, but I ask if you can read what is written.

Romeo

Yes, if I know the letters and language.

Servant

You answer honestly. Happy stay.

(Wants to leave.)

Romeo

(Is reading.)

“Signor Martino with his wife and daughters; Count Anselmo and his beautiful sisters; widow of Signora Vitruvio; Signor Placenzio and his dear nieces; Mercutio and his brother Valentine; my uncle Capulet, his wife and daughters; my beautiful Rosaline; Libya; Signor Valenzio and his cousin Tibaldo; Lucio and cheerful Elena."

Wonderful society. Where is it invited?

Servant

Romeo

Servant

For dinner, at our house.

Romeo

Servant

To my master's house.

Romeo

I should have asked first of all who your master is.

Servant

I will answer you without asking questions. My master is a noble and wealthy Capulet; and if you are not of the Montague family, I beg you, come and drink a glass of wine. Happy stay.

Benvolio

At the Capulet party there will be
And your dear Rosaline,
And the first beauties of Verona:
Go there and, with an impartial gaze,
Compare her with others who
I will point out, and the white swan is yours
It will turn out to be a simple crow.

Romeo

If they become infected with such heresy
My eyes, then let them die;
Let their tears turn into fire,
Heretics and apostates will be burned!
To have another beauty
More beautiful than my beloved?
No, the sun, contemplating everything in the world,
I haven't seen another one like her.

Benvolio

You haven't seen others with her yet,
She alone owned your gaze;
On the cups of your crystal eyes
Weigh her appearance with the appearance of others -
And you will find very little beauty
The one that has captivated your gaze until now.

Romeo

I'll go there, but not for that
To admire other beauties:
I will admire mine there.

Scene 3

A room in the Capulet house. Signora Capulet and the nurse enter.

Signora Capulet

Nurse, where is my daughter? Call
Her to me.

Nurse

my innocence
When I was twelve, I swear I called.
Lamb, fluttering bird!
Oh God, where is she? - Juliet!

Juliet enters.

Juliet

What else is there? who's calling?

Nurse

Juliet

I'm here. What do you want?

Signora Capulet

That's the problem…
Nurse, leave us; we need
Talk in private. - Wait, come back.
I remembered that you should
Be present during our conversation.
You know that Juliet has grown up...

Nurse

I will count her years hour by hour.

Signora Capulet

She is not yet fourteen years old.

Nurse

Yes, it is true. I'm ready to give
Fourteen of my teeth, that's it.
(Fourteen is just for decoration here,
I only have four of them). How many
What's left until Peter's Day?

Signora Capulet

More
There are a little over two weeks left.

Nurse

Well, exactly two, or a little, but only
She will be fourteen years old
On the eve of Peter's Day; my Susanna
She is the same age - may she rest in peace
All Christian souls are Lord!
Susanna is with Him; I was unworthy
Have it. So, I say,
What on the night before Peter's Day to Juliet
Just turning fourteen.
Yes, exactly, I remember it firmly.
Now eleven years have passed
Since the earthquake; We
Then she was weaned from the breast.
I will never forget that day; of all
He remained memorable days of the year for me.
I smeared wormwood on my nipples -
And she sat down with her by the wall of the dovecote,
In the sun. You weren't there that day:
You went to Mantua with your husband.
(What a good memory I have!)
When the child tasted the breasts,
With wormwood, and felt bitterness, -
Poor thing, how wrinkled she is!
She dropped her chest, and at that very moment
Suddenly our dovecote began to shake.
I’ll get away quickly, God forbid, just my legs!
Eleven years have passed since then -
She already knew how to stand then.
No, what am I! I could walk and run,
Clinging to something. She
I bruised my forehead the day before
Same day; and my husband is a funny guy
There was a dead man - he picked up the child
And he says: “Your face fell,
But when you become smarter,

And the fool, I promise you, stopped
Immediately she cried and said: “Yes.”
You see how a joke helps.
Even if I lived a thousand years,
I wouldn’t forget this to the death.
"Isn't that right, baby?" - he asked; baby
She held back her tears and said, “Yes.”

Signora Capulet

Enough about this, stop it
Please.

Nurse

I'll stop, signora.
But I can't stop laughing
I just remember how, having left my crying,
She said: “Yes,” but she had
A huge lump appeared on my forehead -
She hurt herself painfully and began to cry.
He tells her: “I fell on my face,
Today you, when you grow up,
Then you will fall backwards. Is that right, baby?”
She restrained herself and said: “Yes.”

Juliet

You too, please, restrain yourself.

Nurse

OK.
I won't do it anymore. God bless you!
Of the children I fed,
You were the most beautiful of all.
Oh, if only I could wait until your wedding.

Signora Capulet

This is the subject I want
Talk. Juliet, daughter, tell me
Do you wish to get married?

Juliet

To me
He does not dream of this honor.

Nurse

Honor!
If only I were not your nurse
I was the only one, then I would say
That you sucked in the mind with milk.

Signora Capulet

So now think about marriage.
There are respectable gentlemen in Verona,
Mothers who are younger
You, Juliet; yes, me too
I was already a mother in those years,
What kind of girls do you remain in?
Here's the thing: young Count Paris
He wants your hand.

Nurse

Ah, Juliet,
Here's a man! such and such a person
What equal cannot be found in the world!
Picture, wax!

Signora Capulet

In Verona flower beds
There is no such flower in the summer.

Nurse

Yes, truly a flower, just as a flower is!

Signora Capulet

What do you tell me, Juliet? Can you
Will you love him? Today we have
You will see Paris at the evening.
Then read the whole book carefully
His faces, look at his features,
What are inscribed by the hand of beauty,
And notice how they all agree
One with the other; and if anything is unclear
You'll see that you can read his eyes -
Then you will understand everything unclear.
For the completeness of that precious book,
Unrelated, she needs a cover
As precise as the depth for a fish,
And outer beauty must
Give a glimpse of beauty from the innermost gaze.
For most it becomes more valuable
The whole book is from the richness of the binding;
The advantages here are shared with her,
In the eyes of the crowd, clasps, gilding;
So exactly everything that the count has,
In alliance with him, you will share in no way
Without losing what she had.

Nurse

Without losing! there is only one profit -
After all, women get fat from men.

Signora Capulet

Well, speak quickly, Juliet,
How do you like Paris's love?

Juliet

I will look at him to love him,
When love can be aroused,
Moreover, I will let my eyes look,
As much as you like.

A servant enters.

Servant

Signora, the guests have gathered, the dinner table is set, they are waiting for you, asking for the signorina, cursing the nurse in the pantry. The turmoil is terrible, I have to go serve. For God's sake, go quickly.

Signora Capulet

Let's go now. - Juliet, the Count is already there!

Nurse

Go, my light, to your happy days,
I wish you happy nights.

“It’s difficult to talk about Shakespeare, all conversations turn out to be unfounded... He is too rich, too powerful. There seems to be nothing in human life that he would keep silent about, that he would not recreate! And with what ease and freedom!”

Conversations with Goethe, J.-P. Eckerman

Use of site materials www.site only possible

with the permission of the author, the official representative of the Juliet Club in Russia.

Volumes of research have been written about Shakespeare, the great playwright and poet who was born, worked and died in England, but with the power of his creations crossed the borders of countries and centuries, and countless hymns have been composed in his honor. Devoting this section mainly to the history of the text of the tragedy "Romeo and Juliet", its publications and translations into Russian and some other languages, we consider it our duty to dedicate our material to the author of the famous play himself. In our section we provide biographical information about the playwright, articles about editions of Romeo and Juliet and research by Shakespeare scholars. Since two spellings of Shakespeare’s name have been established in the Russian language: “William” and “William,” we will use here both forms, found in different authors and inherent in different transcriptions. We do not delve into the notorious “issue of authorship” and the controversy between adherents of Stratfordian and non-Stratfordian views on this issue, presenting the materials mainly in a traditional manner.

~ * ~ * ~ * ~

William Shakespeare was born in 1564 in the city of Stratford-upon-Avon in Warwickshire, a county in the heart of England. It is believed (since the end of the 18th century) that he was born on St. George, April 23. But this date is rather symbolic, because... Shakespeare's exact birthday is actually unknown. However, thanks to the entry in the book of the church of St. Trinity - "Gulielmus filius Johannes Shakspere"- it is known that he received the sacrament of baptism on April 26, 1564. According to church rules, children were usually baptized three days after birth, so in this case the estimated number appears. The earthly journey of the Great Bard ended 52 years later, also in April, 23 or 24 days (according to another version - on the 11th). The inscription on the monument above his grave says: "Obiit anno 1616 aetat" is 53". Shakespeare was buried on April 25, 1616, under the choir of St. Trinity in Stratford. A few years later (probably in 1621) a bust by a Dutch sculptor was erected next to his grave Gerard Jensen / Gerart Jansen (Gerard Johnson) . It is possible that it was created based on Shakespeare's death mask, although the features of both images are not identical. The original feather was placed in the hand of the statue in 1790. In its original design, the bust was multi-colored; the original colors were revived during restoration in 1749. But, as they say, the painted image of Shakespeare did not suit the taste of his famous biographer and commentator Edmond Melon, who found the multicoloredness incompatible with his idea of ​​the great man, so in 1793 the bust was covered with light paint. Its original appearance was restored in 1861 and remains that way to this day.

“The enlightened reader knows that Shakespeare and Walter Scott both presented their gravediggers as cheerful and playful, in order to strike our imagination more strongly by this contrast.” (A. S. Pushkin, “Belkin’s Tales”)

Starting from the 19th century, the texts of Shakespeare's works began to be used as a source of biographical information. The sources of later studies of Shakespeare's life are, in addition to legends and not too numerous references to his contemporaries, official documents and notarized acts. All named sources are verified and compared.

In 1887 "Sketches of the Life of Shakespeare" released James Orchard Halliwell-Phillipps,1820-1889 , placing emphasis in his work on the presentation of factual material he carefully collected. The book was preceded by two of his works, published in 1848 and 1881. Features of the approach of the Danish researcher, literary critic George Brandes (1842-1927) was to connect facts from Shakespeare’s biography with his work and with the culture of the Renaissance in general. The result of his in-depth development was the work "William Shakespeare" , published in 1896.

The development of domestic Shakespearean studies was accomplished, to a large extent, thanks to the work of such prominent Soviet and Russian specialists as Mikhail Mikhailovich Morozov (1897-1952) - "Comments on Shakespeare's plays" (1941), "Shakespeare on the Soviet stage" (1947), "Shakespeare", a book in the series "The Life of Remarkable People" (1947); Smirnov Alexander Alexandrovich (1883-1962) - "The Work of Shakespeare", 1934, "Shakespeare", 1963, posthumously; Anikst Alexander Abramovich - (1910-1988) , "First editions of Shakespeare", 1974, "Shakespeare: The Craft of a Playwright", 1974, "Shakespeare's Work", 1963, "Shakespeare" (ZhZL), 1964, a series of educational television programs; Alexey Vadimovich Bartoshevich (born 1939) - “The Poetics of Early Shakespeare”, M., 1987, “Shakespeare Rediscovered”, “Shakespeare W. Comedies and Tragedies” trans. from English O. Soroki., M.: Agraf, 2001., a series of programs and lectures on television, including “Shakespeare. 20th century", "The Man from Stratford". This area of ​​knowledge is further expanded thanks to the diversity of research of the new generation of Shakespeare scholars.

Despite the works of many scientists, it cannot be said that Shakespeare’s biography has been studied thoroughly and there are no blank spots in it. We present here its main milestones. We have prepared and bring to your attention the following

IN 1623 in format folio, or folio(Folio is book size, corresponding to half a regular printer's sheet), The first complete works of the playwright William Shakespeare were published (with the exception of the plays "Pericles" and "The Two Noble Kinsmen"). This project was made possible thanks to the efforts of John Heminge and Henry Condell (John Heminge, 1556-1630 and Henry Condell, died in 1627) , friends and colleagues of Shakespeare. The book is preceded by a message to readers on behalf of Heminge and Condell, as well as a poetic dedication to Shakespeare by the playwright Ben Jonson (Bemjamin Jonson, 1572-1637) , who was at the same time his literary opponent, critic and friend who contributed to the publication "The Great Folio" (The Great Folio of 1623).

History of the text of the tragedy "Romeo and Juliet"

Romeo and Juliet, one of Shakespeare's early lyrical dramas, is generally dated to 1594-95. The earliest dating of the play has arisen in connection with the assumption that work on it may have begun as early as 1591, then been postponed and completed approximately two years later. Thus, 1593 turns out to be the earliest of the dates under consideration, and 1596 is the latest, because the following year the text of the play was already published. It is almost certain that the tragedy of Romeo and Juliet was presented by the troupe of the Lord Chamberlain's Men in 1596, apparently in James Burbage's Theater (then performances could have taken place on the stage of the Curtain Theater, where in 1597 year the troupe played). The role of Romeo in the play was performed by the main actor of the troupe Richard Burbage (1568-1619) , who was 28 years old at the time, most likely played the role of Juliet Robert Gough or Goffe (d. 1624) , a boy actor who often played the leading female roles in Shakespeare's early plays. Famous comedian of the troupe William Kemp (d. 1603) played by Pietro.

To this day, none of the manuscripts that belonged to Shakespeare himself are in possession. The text of the play was first printed in 1597 in the format Quattro, or in-quatro (Quatro - an edition of a single work, the page size of which was equal to a quarter of the printer's usual sheet). The title was proclaimed as follows: "The Tragedy of Romeo and Juliet, excellently presented, as it was many times (with great applause) enacted before the public by the Servants of the Right Honorable Lord Hunsdon." AN EXCELLENT conceited Tragedie of Romeo anf Juliet, As it hath been often (with great applause) plaid publiquely, by the right Honorable the L. of Hunsdon his Seruants. LONDON, Printed by John Danter. 1597. This is the first edition of the tragedy printed John Denter (d. 1599) in a pirate way, without indicating Shakespeare's name, it is customary to call "bad quatro" (Bad Quatro) , because it presents an incomplete version of the text, reconstructed from memory by the actors of the troupe. Although in the text of the first quattro There are many inaccuracies: omissions, repetitions or rearrangements of words or lines, this reconstruction contains notes and stage directions associated with the first productions of the play. None of the plays released in the format quattro, did not contain a breakdown into parts, with the exception of the first quattro"Romeo and Juliet" (on the contrary, in the text folio The acts and scenes of the play are carefully marked). Disadvantages of the first quattro(Q1) should have eliminated the second, "good quattro"(Q2). The new edition of the text of the tragedy in 1599 was presented as a complete replacement of the previous one, and not as an edition of it. The title page says this: “The most excellent and saddest tragedy of Romeo and Juliet. Translated, expanded and improved: as it has been repeatedly presented in public by the Servants of the Right Honorable Lord Chamberlain. - THE MOST EXCELLENT AND LAMENTABLE Tragedie of Romeo and Juliet. Newly corrected, augmented, and amended: As it hath bene sundry times publiquely acted, by the right Honorable the Lord Chamberlaine his Seruants. LONDON. Printed by Thomas Creede, for Cuthbert Burby, and are to be sold at his shop neare the Exchange. 1599. The text was printed in the printing house Thomas Creed (1593 - 1617) for publishers and booksellers Cuthbert Burby (d. 1607). It is believed that much of Q2's text was based on Shakespeare's drafts and working notes. All subsequent editions of the play are based to one degree or another on second quattro, including modern ones. Their long series opens:

"Nur ein Werk hat die Liebe selbst geschrieben: es ist Romeo und Julia",

G. E. Lessing, Hamburgische Dramaturgie, 1767-1769

"Only one work describes love itself - this is Romeo and Julia,"

G. E. Lessing, Hamburg Drama

Russian translations of Shakespeare's tragedy

"Translations are what gives every nation the opportunity

draw from the treasures of another, exchange your past,

share your present and forge the future together."

T. L. Shchepkina-Kupernik. About translations of Shakespeare, "Art and Life", 1940

“What motivates a translator when he takes on a work that has been translated many times...? He is motivated, inspired by the desire to find undiscovered treasures in this open country, the desire to see, hear and feel what has been neglected or what has eluded his predecessors "

A. D. Radlova. How I work on Shakespeare translations. Literary contemporary. - L., 1034. - No. 3

History of translations of the play "Romeo and Juliet"

It should be noted that in the 16th and 17th centuries the public became acquainted with Shakespeare not from the originals, but from various adaptations of his plays. This concerned not only the translation of Shakespeare's original into other languages, but also plot changes. Already in 1662 William Davenant (1606-1668) And James Howard presented the play "Romeo and Juliet" in two versions - with a tragic and a happy ending. Thomas Otway (1652 - 1685) wrote a drama based on Shakespeare's play "The History and Fall of Caius Marius" (1680) , the action of which was transferred to the times of ancient Rome. He named Romeo Marius and Juliet Lavinia. The warring parties were the senators Metellus and Marius the Elder, unequal in origin. Otway's adaptation was so popular that it displaced Shakespeare's original from the stage for many years. Other adaptations followed, adapting the content of Shakespeare's play to the style of classicism or romanticism. The most typical examples are the French versions Jean Francois Ducis (1722-1816) "Romeo and Juliet" (Romeo et Juliette, 1772) and Louis-Sebastien Mercier (1740-1814) "The Tombs of Verona" (Les tombeax de Verona, 1782) , Moreover, the happily ending drama in five acts of Mercier was based on Shakespeare’s play indirectly - through alteration "Romeo and Julia" / Romeo und Julie (1768) by the German playwright Christian Felix Weisse (1726-1804) . According to Shakespeare and Weiss Friedrich Wilhelm Gotter (1746-1797) in 1776 he wrote the libretto for the singspiel (musical and dramatic production) George Benda (1722-1795) Romeo und Julie .

The authors freely treated the Shakespearean text, introducing or excluding some dialogue and subplots, changing the ending. In turn, translators in other countries, including Russia, created stage adaptations of French adaptations. This approach to Shakespeare's drama persisted until about the 19th century, when there was a tendency to turn to the original texts. Edition (1748) of the famous David Garric (1717-1779) was already closer to Shakespeare. In Russia and in many other countries, Shakespeare's play about Romeo and Juliet became known from translations of the previously mentioned adaptation by Louis Sebastien Mercier (1782), made in 1790 by V. Pomerantsev and 1827 by A. Rotchev. These versions (with a happy ending) were used for stage productions. Subsequently, translations began to be based on Shakespeare's original.There are a number of Russian translations of Shakespeare's tragedy "Romeo and Juliet". Information about the earliest ones is given according to the list specified in the edition of the collected works of William Shakespeare edited by D. Mikhalovsky (5th edition. St. Petersburg, 1899)

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1. Romeo and Juliet. Tragedy in five acts by Shakespeare. Translation by I. Roskovshenko.

("Library for Reading", 1839 , vol. XXXIII, N 4, dep. I, pp. 81-228.)

Romeo and Juliet. Separate edition.

Moscow in the printing house of V. Grachev and Comp. 1861 . (In 8th d. l., pp. I-XXVI and 1-158.)

2. Romeo and Julia. Drama in five acts. Op. William Shakespeare. Translation by M. Katkov.

("Pantheon", 1841 , Part I, Dept. I, pp. 1-64.)

Even before appearing in the light of M. Katkov's complete translation, five excerpts from this drama (act I, act V, act II, act V, act III, act III and act V, acts I, II, III and IV) were published in "Moscow Observer" (1838, part XVI, pp. 94-95 and 385-400; part XVII, pp. 458-462; part XVIII, pp. 80-91; and 1839, part I, pp. 16-22); and in “Son of the Fatherland” (1839, volume VII, section I, pp. 15-42) the entire first act from this translation was published.

3. Romeo and Juliet. Drama in five acts by William Shakespeare. Translation by N. Grekov.

("Lamp", 1862 , book IV, dept. I, pp. 5-156.) Reprinted, in corrected form, in 1st and 2nd editions

"The Complete Dramatic Works of Shakespeare" in translations of Russian writers".

Three excerpts from this translation (Act I, Scene I, Act II, Scenes I, III and VI and Act V, Scene III) were published, before the full translation appeared, in the "Library for Reading" (1859, Vol. . CLIII, N 1, department I, pp. 68-80), "Moskovsky Vestnik" (1860, N 52, pp. 851-863) and in the first supplement to the magazine "V-k" for 1861 ( pp. 11-12).

4. Romeo and Juliet. The tragedy of William Shakespeare. Translation by Apollon Grigoriev.

("Russian Scene" 1864 , N 8, pp. 401-460.)

5. Romeo and Juliet. Tragedy in five acts by Shakespeare. Translation by A. L. Sokolovsky.

The Complete Works of Shakespeare. T. III. 1880 .

Also in his edition of all Shakespeare in his translations.

Romeo and Juliet. Shakespeare. Translation from English by N. Ketcher.

("Shakespeare", 1866 , part VI, pp. 331-437.) Prose translation.

E Five more translated passages from this tragedy:

1. Scene from Shakespeare's tragedy "Romeo and Julia". Translation**.

("Northern Flowers" 1829 , dept. II, p. 194,) Act II, scene II.

2. Scene from Shakespeare's tragedy "Romeo and Julia". Translation**.

("Northern Flowers" , 1830 , dept. II, pp. 108-123.) Act III, scene I.

3. Scenes from Shakespeare's tragedy "Romeo and Julia". Translation by M.

("Russian World", 1862 , N 13, p. 297.) Act II, scenes I and II.

4. Excerpt from the 2nd scene of the 2nd act of “Romeo and Julia”. Translation by Ustryalov.

("The Works of Heinrich Heine" 1864 , vol. III, p. 233.)

5. Scene from Shakespeare's tragedy "Romeo and Julia". Translation by P. Kuskov.

("Dawn", 1870 , N 10, p. 91.)

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By 1950, many of Shakespeare's plays had appeared in several Russian translations, individual works had been translated into twenty-seven languages ​​of the peoples of the USSR, more than one and a half million copies of editions of Shakespeare's plays had been published, and an edition of the complete works of Shakespeare had been published in English.

An essay by St. Petersburg philologist Konstantin Vasiliev is devoted to inaccuracies in Russian translations

Shakespeare's plays "Romeo and Juliet"

(Magazine "Siberian Lights", N 11, 2015)

“If we compare at least the opening lines of the play, we see a strong range of translation opinions, and for the Russian reader it remains a mystery: Shakespeare’s character “bites his finger” (“at someone”) or twists a fig, what is the connection with the coal miners, and what is with the wall : who clings to her, who is pulled away from her for some reason, and who is pressed... A literal translation of Shakespeare's text will be absurd: in many cases it is necessary to look for correspondences, come up with Russian wordplay to replace the English one... Shchepkina-Kupernik's translation is more accurate than others, she, for example, correctly conveys the play with the word "wall" in Samson's boast. I undertook to explain the meaning of only a small passage, noting that not all translators understood it, but there are about a dozen such places throughout the work (they were also received by native speakers conflicting interpretations). If my essay fits into your literary pages, you can post it on your website. Perhaps, over time, such explanations will be useful to those who undertake a new translation of the play."

Yesterday I wanted to read Romeo and Juliet. I love this play very much and I still haven’t bought the book, to my shame, I’m reading it on my computer. There are a great many translations. You can put together a whole collection, but you want to start with the one you like best. Many people like Boris Pasternak's translation. Others consider it not so much a translation as a retelling, they say, it is inaccurate. Very good translation by T. L. Shchepkina-Kupernik. These two were used to dub Franco Zeffirelli's film. But there are also translations by I. Raskovshenko, N. Grekov, D.L. Mikhalovsky, A.L. Sokolovsky, Apollo Grigoriev, A. Radlova, E. Savich, O. Soroki. But no one can say which translation is actually better. Each of them has advantages and disadvantages, inaccuracies and successful lines. So I'll post a mix of what I liked. But I don’t have all the translations, only four.

In two families equal in nobility and glory,
In Verona the lush flared up again
The enmities of days past are bloody discord,
Made civilians bleed.
From the loins of the hostile, under the ill-fated star,
A couple of lovers happened.
According to their terrible fate
The enmity of the fathers died with their death.
The whole course of their love, doomed to death,
And the rage of their loved ones that faded away
Only after the death of the lovers, -
It will probably take you two hours.
If you give us your attention,
We will make up for all the shortcomings with our efforts.
(T. Shchepkina-Kupernik)

The cause of this sorrow is love.
I feel heavy from my own sorrows,
And you want to add yours to them,
Their excess will be strengthened by compassion.
Love is the smoke that rises from sighs;
She is the fire sparkling in the eyes
Lovers; in alarm, this is the sea,
Which their tears feed.
What's next? That is cunning madness,
The bitter bile that suffocates us,
And the sweetness that sustains us.
(D. Mikhalovsky)

Benvolio

At the Capulet party there will be
And your dear Rosaline,
And the first beauties of Verona:
Go there and, with an impartial gaze
Compare her with others who
I will point out, and the white swan is yours
It will turn out to be a simple crow.

Romeo

If they become infected with such heresy
My eyes, then let them die;
Let their tears turn into fire,
Heretics and apostates will be burned!
To have another beauty
More beautiful than my beloved?
No, the sun, contemplating everything in the world,
I haven't seen another one like her.

Benvolio

You haven't seen others with her yet,
She alone owned your gaze;
On the cups of your crystal eyes
Weigh her appearance with the appearance of others -
And you will find very little beauty
The one that has captivated your gaze until now.

Romeo

I'll go there, but not for that
To admire other beauties:
I will admire mine there.
(D. Mikhalovsky)

We don’t foolishly procrastinate, and don’t rush to meet the deadline.
I don't expect any good ahead. Something,
What is still hidden in the darkness,
But it will begin with this ball,
Will shorten my life untimely
Due to some terrible circumstances.
But the one who steers my ship
Already raised the sail.
(B. Pasternak)

She outshone the rays of the torches!
Her beauty shines in the night,
Like incomparable pearls in the Moor's ear.
A rare gift, too valuable for the world?
Like a white dove in a flock of crows -
My beauty is among my friends.
As soon as the dance ends, I’ll seize the moment -
I touch her hand in reverence.
And I loved? No, renounce your gaze:
I haven't seen beauty until now!
(T. Shchepkina-Kupernik)

But what kind of light flashes in that window?
There is a golden east; Juliet is the sun!
Kill the envious moon, O sun;
She is pale with envy, sick,
That you, her maid, have become more beautiful.
Don't serve an envious mistress
Vestals, throw off your green clothes:
Of all people, jesters only wear it.
O my lady, my love!
Oh, I wish I knew who she is!
She spoke. No, he is silent. Well, what then?
After all, the eyes speak - I will answer them!
I am impudent, they are not talking to me.
The most beautiful two stars, to the point
Wanting to leave the sky, they ask
Her eyes will shine until they return.
How! If places were switched
Her eyes and stars? Glitter face
Would eclipse the stars like daylight a lamp,
And the birds, mistaking night for day, sang -
My eyes would shine so brightly in the sky.
She leaned her cheek on her hand.
Oh, I wish I had a glove to touch
Her cheeks!
(A. Radlova)

But what kind of shine do I see on the balcony?
There is light there. Juliet, you are like daylight!
Stand by the window. Kill the moon with proximity;
She's already sick with envy,
That you overshadowed it with whiteness.
Leave to serve the goddess of purity.
The virgin's dress is pitiful and inconspicuous.
He doesn't suit you. Take it off.
Oh dear! O my life! O joy!
She stands there, not knowing who she is.
He moves his lips, but no words are heard.
Empty, there are views speech!
Oh, how stupid I am! Others talk to her.
The two brightest stars, hurrying
They ask you to leave the sky on business,
Her eyes will sparkle for now.
Oh, if only her eyes were real
We have moved to the vault of heaven!
With their shine the birds would sing,
Mistaking the night for a sunrise.
Stands alone, palm pressed to cheek.
What was she thinking about on the sly?
Oh, if only there were a glove on her hand,
Glove on hand!
(B. Pasternak)

Juliet

Romeo! Why are you Romeo?
Oh, renounce your father,
On behalf of; and if you don't want to,
Then swear your love only to me -
And then I won’t be a Capulet.

Romeo

Should I answer or should I still listen?

Juliet

You are my enemy only in your name, but
By yourself you are not a Montague at all.
Montague... but what does this name mean?
It's not an arm or a leg,
It is not a part of any body.
Oh, choose another name for yourself;
What's in a name? Whatever you call the rose -
The aroma will remain the same:
So is Romeo with a different name
It will remain just as perfect.
Part with your name,
Romeo, and in return for this name,
In which there is not even a part of you, all of it
Take me!

Romeo

Catch you up on that.
Just call me your love -
And I will be baptized again
And I will forever lose my name.
(D. Mikhalovsky)

Juliet

I have no control over what I own.
My love has no bottom, but kindness
Like the vastness of the sea. The more I spend
The more vast and richer I become.
(B. Pasternak)

No, execution is not mercy! My heavens -
Where Juliet is. Every dog ​​and cat
Or a despicable mouse, any creature
Here he can live in paradise - see Juliet;
Romeo alone - no! Any fly
More worthy, happier than Romeo:
She can touch without interference
Juliet's hands are a miracle of whiteness,
Or steal the bliss of heaven from sweet lips,
What in virginal innocence is it as if
They blush from mutual touch,
Considering it a sin to kiss each other.
Any fly; but Romeo - no!
Freedom was given to her; and he is an exile.
And you say that death is not exile?
And you haven’t found a more terrible poison,
A knife is sharper, a weapon is more deadly
Exile to kill me! Exile!
Sinners repeat that word, groaning
In hell! How did you get the courage?
You, confessor, are my spiritual father,
Forgiving of sins, my old friend,
And you killed me by saying “exile.”
(T. Shchepkina-Kupernik)

Well, shame on you! Your Juliet is alive,
Because of which he recently died:
Luck! Tybalt attacked you,
And you killed him: luck again!
The law that threatened death has been relaxed -
And only you are expelled: luck again!
Yes, you are showered with a whole pile of blessings!
Happiness caresses you when you are dressed up.
But, like an impolite, evil girl,
You pout for happiness and love.
Come to your senses, otherwise you will die miserably.
(A. Radlova)

Juliet

How! do you want to leave? But far away
Before the day. This is not a morning person
And the nightingale alarmed your timid ears;
He always sings over there at night,
On a pomegranate tree. Trust me,
My dear, you heard the nightingale.

Romeo

It was not the nightingale, but the lark that sang.
Look, my love, how in the east
Clouds move apart from each other
And the bands of envious light
Like a fringe, they cover them.
The night lamps burned out;
It's a fun day on tiptoe,
Looking over the misty peaks
High mountains. I have to leave
To be alive; or stay here yet -
And die.
(D. Mikhalovsky)

How often do people just before death
Felt the fun! Called
His dying lightning. This
Shall I call it fun? Love! Wife!
Death has drunk the honey of your breath,
But she has no power over your beauty.
You are not submissive to her. Beauty sign -
The color of your lips and cheeks is pink;
The pale flag of death is not hoisted here. -
Are you here in a bloody shroud, Tybalt?
Oh, how can I honor you more?
How, with the same hand, I tore
The enemy who ruined your youth?
Forgive me, brother! Juliet, why
Are you still good now? Really?
Has disembodied death fallen in love with you?
And a skinny, vile monster in the dark
Does he keep you here for the pleasures of love?
I'm afraid - and that's why I'll stay with you,
And never from the black palace
I won't leave again. Here, here, with the worms,
I will remain your servants.
Here eternal rest for me will begin.
And here I will shake off the yoke of ominous stars
From a tired neck. - Well, for the last time,
Eyes, look; hands, hug!
You, lips, life's door, kiss
Seal the pact with selfish death! -
Come, bitter and stinking counselor,
My helmsman is hopeless, and break
O sharp stones, thin boat!
I drink to my love!
(A. Radlova)

And I still haven’t decided which one I like better.

Scene I13

Verona. Public place.

Enter SAMSON and GREGORIO, servants of the Capulets, with swords and round shields.

Gregorio, I swear, we won’t get dirty.

GREGORIO:

Oh no, we're not miners.

Out of anger, let someone else dig trenches14, and we stand for the sword.

GREGORIO:

As long as I'm alive, I won't plow.

If you hit me, I'm quick to deal.

GREGORIO:

Yes, just not to hurt you quickly.

One of the Montague dogs will hurt me.

GREGORIO:

To hurt is to scare away, to be brave is to stand15. That's why the victim runs away.

If a dog from their house hits me, I will get up. I will stand like an impregnable wall in the path of everyone named Montague.

GREGORIO:

This will show you weakness. Because the weak are pushed to the wall.

You are right. That’s why we push girls who are weaker than us to the wall. And if so, then I will throw all Montague’s people off the wall, and pin all his maids to it16.

GREGORIO:

Enmity affects only our masters and us, their servants.

Doesn't matter. I will be a tyrant myself. Having finished off the servants, I’ll take on the maids... I’ll cause fear!

GREGORIO:

Just fear?

“Fear”, “fucking”... interpret it however you want.

GREGORIO:

They will understand you by your feelings.

They will have to feel me while I am standing, and, as you know, I am famous for my dense flesh.

GREGORIO:

It's a good thing you're not a fish. Otherwise I would have shriveled up in a hot frying pan. Ready your sword! Those two serve at Montague.

Enter ABRAM and BALTHASAR, two servants of Montague.

I drew my sword. Fight! I'll cover your back.

GREGORIO:

But how? Are you planning to run away?

Don't be afraid for me.

GREGORIO:

No, I'm afraid of you!

So let us enlist the help of the law: let them begin.

GREGORIO:

When we're close, I'll frown and let them decide what they want.

Yeah, if they dare. I’ll show them the fig, but if they keep quiet, they’ll be disgraced.

Are you showing us a fig here?

I showed the fig.

I repeat: us?

SAMSON (towards GREGORIO):

The law is on our side if I answer yes?

GREGORIO (towards SAMSON):

No, I didn’t show you the fig, but I did.

GREGORIO:

Are you provoking a fight?

I? Not at all.

And if so, then I am at your service. Our owner is no worse than yours.

But not better either.

GREGORIO (towards SAMOSON):

Tell me which is better. There comes the master's nephew.

No, better.

Sneaky liar!

To arms, if you are men! Gregorio, remember the washing blow18?

Fighting19

BENVOLIO enters

BENVOLIO:

Hey, disperse, you fools! (He hits their swords with his own) Sheathe the sword! Think about what you are doing.

Enter TYBALT

What?! Have you decided to fight the headless herd20? Here I am, Benvolio, look at your death.

BENVOLIO:

I just reconcile them. Put away your sword. Or help me separate them.

Are fighting

Servants of both families enter, joining the fray; then three or four CITIZENS enter with clubs

TOWNSPEOPLE:

Club, pike, spear! Ruby! Kill them! Damn the Capulets! Death to the Montagues!

Old man CAPULET enters in robes and his wife, MADAME CAPULET.

CAPULET:

What's that noise? Give me my long sword21 now!

MRS CAPULET:

Crutch! Crutch! What kind of sword is there?!

CAPULET:

My sword, I say! Montagues are coming,

He waves his blade as if in a logging area.

ENTER OLDER MONTECHI AND MADAME MONTECHI

MONTAUGH:

Despicable Capulet! (to his wife) Get out of the way!

MRS MONTECHI:

Your sore legs carry you to the enemy...

The ruler ESKAL enters with his retinue.

Hey, rebels, opponents of peace,

The profane22 became in the stomachs of the neighbors!

Can't you hear me? You are truly animals

Once you put out the fire of blind anger

Purple fountains from the veins!

On pain of torture from bloody hands

Let go of the brainless weapon

And listen to a strict sentence!

From idle talk, three civil quarrels,

Bloated Montagues and Capulets,

They disturbed the peace of the city three times

And they forced the elderly Veronese people

Take off your posthumous regalia24,

So that with spears rusted in the world,

Separate the swords, corroded by anger25.

Just once again, disturb the peace in Verona,

You will have to pay with your life.

Now everyone get out of sight.

You, Capulet, follow me,

And you, Montague, appear in the evening

Find out our solution in this matter

To the Free City26, where we hold courts.

So, on pain of death, go home!

(Everyone leaves except MONTECHI, ​​MADAME MONTECHI and BENVOLIO)

MONTAUGH:

Who woke up the old quarrel again?

Nephew, did you notice the instigator?

BENVOLIO:

Here were the servants of your enemy

And yours. Everyone was fighting when I arrived.

I stepped in to separate them, and then

Tybalt hurries with a sword, ready to fight,

Challenges me with a whisper in my ear,

The wind cuts like a blade overhead...

And the wind only whistles contemptuously.

While we were beating each other up,

People came running to help them and us,

When the ruler came and separated us.

MRS MONTECHI:

Oh, where is Romeo? Have you seen him?

I'm happy that he didn't get involved in the fight.

BENVOLIO:

An hour before it was light

A face appears in the golden window of the east,

A troubled mind took me for a walk

And there, under the shadow of centuries-old plane trees,

What grows to the west of the city,

I see your son coming so early.

I rush to him, he sees me

And the fishing line hides in the shelter...

Having compared his desires with yours,

Striving only for solitude,

When you are no longer nice to yourself,

I continued my course, not his,

And he missed the one who was glad to hide.

MONTAUGH:

He is often seen there in the mornings

Sprinkling dew with bitter tears

And with the sighs of the flocks that bear fruit27.

But only the brave luminary should

From the eastern distances, pull the canopy

Over the gloomy bed of the sleepy Aurora,

My gloomy son is hurrying home into the darkness,

Locks himself in his personal chambers,

Closes the shutters, drives the sun away

And creates an artificial night.

His struggle with the light looks ominous.

The only way to remove the cause is with advice...

BENVOLIO:

My noble uncle, what is the reason?

MONTAUGH:

I don’t know, and he doesn’t say either.

BENVOLIO:

Did you torture him in any way?

MONTAUGH:

Both myself and through friendships,

But he is an adviser to his own passions,

He is a friend to himself... I don’t know how kind...

But so secret, bosom, close

And so far from self-knowledge...

He's like a bud that squeezes its petals

And he doesn’t show beauty to anyone,

Bitten by an envious worm.

If only we knew the cause of the disease,

We would give him the medicine right away.

Enter ROMEO

BENVOLIO:

Here he comes. Hurry up and leave.

I will find out where his illness lies.

MONTAUGH:

I hope you are lucky enough to find out

His illness is for you. Let's go, mother!

(MONTUCKY and MADAME MONTUCKY leave)

BENVOLIO:

Romeo, good morning!

Is the day so young?

BENVOLIO:

Only nine o'clock struck.

Oh my God! The time of sadness is endless.

Wasn't it my father who left?

BENVOLIO:

He is. What kind of sadness slows time down so much?

Lack of funds that hurries him29.

BENVOLIO:

BENVOLIO:

Outside of love?

Out of favor30 with the one I love.

BENVOLIO:

Alas, love, which is so tender in appearance, is rude and quarrelsome in reality.

Alas, love, although seemingly blind,

Confidently takes us to the edge.

Where can we have a snack?.. God, what happened?!

Don't answer, don't, I heard everything.

They blame it all on hostility. But here is love.

Hostile love! Love's wrath!

Something created out of nothing!

How heavy is lightness! Importance is in vanity!

Ugly is the chaos of apparent forms!

The feather is a leaden weight, the fog is transparent,

In fire there is frost, in health there is illness!

Call the awakening dream whatever you want!

I feel love, but without love...31

Aren't you laughing?

BENVOLIO:

No, rather, I'm crying.

Oh kind soul, why?

BENVOLIO:

Because your soul is in confusion.

Love does not see this as a crime.

The burden of sorrows pressed on my chest.

Your crying won't make it any easier,

And with the love that you show,

You are only adding fuel to the flame.

Love is just the smoke that sighs32 raise.

Clears up - the gaze of love sparkles;

If you get upset, there is a river of tears in love.

She is the madness of a smart mind,

The sweetest nectar of sickening shit.

Goodbye, cousin.

BENVOLIO:

Wait! And I'm with you.

Don't leave me alone with fate.

I'm lost, I'm no longer here,

And the one who is here is not called Romeo...

BENVOLIO:

Tell me with grief, so who do you love?

Should I moan your name?

BENVOLIO:

Moan? No! Just call it sad.

Forcing the patient to make a will,

Thus you multiply his suffering.

I confess sadly: I love a woman.

BENVOLIO:

I didn't miss. Are you in love. I knew.

Excellent shooter! And she's beautiful.

BENVOLIO:

It's a great target that you hit it first.

This is where you, brother, make a mistake.

You can’t scare the mind with an arrow from Dianin33.

She is in the armor of chastity.

She is not afraid of Cupid's joke34.

You can’t put her under siege with words,

You can't burn a hole in the defense with your eyes,

The bolt cannot be seduced by the temptation of gold.

She is rich in beauty, but poor,

After all, beauty will die, just like her35.

BENVOLIO:

Has she bound her flesh with an oath?

Alas, this justified the waste.

After all, beauty, deprived of feeding,

It deprives a generation of happiness.

She torments me so much with her mind,

That will never receive a blessing.

Her vow not to love until the grave

Doomed me to the fate of living as dead.

BENVOLIO:

Take my example: forget her!

Oh, teach me to forget how to think!

BENVOLIO:

Free your eyes, buddy.

See the beauty in others.

But then I

The more often I will remember her.

Those masks that kiss ladies' eyebrows

We are seduced more than we are hidden.

A blind person is unlikely to forget the beauty

Everything he had seen before.

A beauty passed by me -

Actually just a reminder

About the one who surpassed all beauties.

You won't teach me how to forget her...

BENVOLIO:

No, I’ll teach you so you don’t become a debtor36.

Enter CAPULET, PARIS and SERVANT.

CAPULET:

However, as punishment for Montague

He swore the same thing as me.

It’s not difficult for us old people to make peace.

You are both respected people

And it’s a pity that they were still in a quarrel.

What is your answer to matchmaking?

CAPULET:

My answer will be the same as before.

My child recently entered the world,

She is not yet fourteen years old37.

Let the leaves turn yellow twice.

Then, I think, the bride will mature38.

There are many mothers younger than her...

CAPULET:

A young mother gets old quickly.

The earth has devoured all my hopes39,

Besides her, the last one on earth40.

But you, my friend, look for favor

Her; After all, I am only part of her solution.

And if your daughter gives you consent,

In the evening, as in previous years, I

I am waiting for my dear people at the feast.

I invite you, dear Paris

And I carefully include it in the long list.

My humble home welcomes today

A flock of earthly constellations in the sky42.

The delight that we knew in our youth,

When April gave way to the melancholy of winter,

Among the tender crumbs is waiting for you today.

Inherit Him without grieving your heart.

Look at the girls, compare and listen.

Let your best touch your soul,

And the one that struck the majority

It's worth nothing in your eyes.

Come with me.

(TO THE SERVANT, returning the piece of paper to him)

Run around Verona

And find me every person,

Whose name will you see on the list?

You will respectfully invite them to my house.

(CAPULET and PARIS leave)

Find everyone whose name is on this list? Maybe they write here that a shoemaker should work with his ruler, a tailor with his last, a fisherman with his pencil, and a molar with his nets. I was sent to find those people whose names are written down here, but I cannot make out what names this literate person wrote. You need to ask scientists. Easy in sight!43

Enter BENVOLIO and ROMEO.

BENVOLIO:

One fire is extinguished by another fire,

And an attack of pain is treated with new pain.

Spin back, since the spinning is suffocating.

Sadness gnaws at sadness - and now the soul is healthy!

With a fresh infection, wound your eye,

And the old poison will go away immediately like a tear.

Your plantain will be very useful.

BENVOLIO:

But for what?

When you break your leg.

BENVOLIO:

Are you crazy?

No, but in the grip of a straitjacket,

I'm sitting alone in prison, without food,

Exhausted, beaten... Good evening!

Your unfortunate fate according to the stars...

Apparently, you learned this without books.

Yes, if I know the letters and language.

And you are honest! Farewell, gentlemen.

Wait, buddy! Let me see.

(reads the paper)

“Signor Martino, daughters and wife; Count Anselme with his beautiful sisters; widow of Vitruvio; Signor Placenzio and his dear nieces; Mercutio with his brother Valentin; my uncle Capulet, his wife and daughters; my niece Rosaline and Livia; Signor Valentino and his cousin Tybalt; Lucio and cheerful Elena."

(returning the paper)

Great choice! And where is the name?

Dine at our house.

Master's.

This is where I had to start...

Now I will answer myself. My master is the great and rich Capulet, and if you are not from the Montague nest, I ask you to come and taste the wine. I wish you good health! (leaves)

BENVOLIO:

To this ancient feast at the Capulet's

Your beauty Rosalina will come

Accompanied by all the brides of Verona.

Go there and look with indifference

Compare it with the other one I chose.

Your love will fly away like a crow.

Whenever the deity of my eyes

Appeared to be false... Tears, to the fire!

I drowned in them, but did not die from them...

Brief conversation with heretics!

More beautiful than my beloved

Haven't seen the white light since the beginning of days.

BENVOLIO:

But how can you love her?

Having not dared to compare with anyone before?

Entrust her love to the crystal scales44

And get ready for a farewell farewell.

After all, the one with whom I am ready to set you up,

She will be eclipsed easily, without further ado.

Let's go, but don't be amazed at the new things,

And only then to enjoy the same.

A room in the Capulet house.

Enter MADAME CAPULET and NURSE

MRS CAPULET:

Where is your daughter, nanny? Call her.

With my innocence at twelve years old45

I swear: I called her. Ah, dragonfly!

Oh my god, where is the minx? Where is Juliet?

JULIET enters

JULIET:

Well? Who called?

Your mother was looking for you.

JULIET:

MRS CAPULET:

The point is... Leave us alone for a while, nanny. We need to whisper. No, come back. I remembered you can listen to us. You know how young my Juliet is.

I know her age from the clock.

MRS CAPULET:

She's not fourteen.

Fourteen of my teeth are ready... although, alas, there are only four left... to pawn: there are no fourteen. How long is there left until Lammas46?

MRS CAPULET:

Two weeks... a little more.

The night before Lammas passes

She is fourteen years old, right on time.

Susanna and she... Lord have mercy...

Women of the same age. Now Susanna is with God47.

I didn't deserve it. However

She will be fourteen on the night of Lammas.

I remember clearly that the earthquake

Eleven happened years ago48,

When I weaned her off my breast.

I will never forget this day.

Then I applied wormwood49 to my nipples,

Sitting in the sun near the dovecote.

You and your husband were just in Mantua.

I'm head over heels. However, baby

I didn’t like the taste of wormwood,

Out of bitterness his stupidity immediately

She was offended by my chest, I remember!

Then the dovecote shook, and I

I had to tick.

Eleven years have passed since then

She knew how to stand, I swear

She knew how to run, waddle,

And even the day before I broke my forehead.

Then my husband (may he rest in peace,

He was a great funny man) takes the child

And he asks: “Did you fall on your face?

Is it clear, Dzhulka?” And I swear to the gods

The child, in tears, mutters “Yes” to him.

I wish I could see the jokes come true!

I am destined to live at least a thousand years,

I won’t forget how “Is that clear, Dzhulka?”

He asked, and the child nodded “Yes.”

MRS CAPULET:

Enough. Please calm down.

Yes, yes, madam. But this is hilarious

How do you remember that she said “Yes”.

I swear there was a lump on her forehead

The size of a rooster's egg.

The bruise hurts, the baby is crying bitterly...

“You,” my husband says, “fell on your face?

Over the years, you learn to fall backwards.

Is it clear, Dzhulka?” She falls silent: “Yes.”

JULIET:

And shut up, nanny, I beg you.

I'm silent, I'm silent. The Lord has marked you!

I have never met more beautiful children than you!

Now I dream of living to see the wedding.

MRS CAPUTELLI:

That's right, about the “wedding” I just wanted to

Talk. Tell me, Juliet,

How do you feel about getting married?

JULIET:

I don't even dream about this honor.

About honor? If only I hadn’t fed you,

I would say: I absorbed my mind with milk.

MRS CAPULET:

So start dreaming. Here in Verona

Younger than you girls from the nobility

Children are born. According to my calculations

At your age I gave you life50,

And you are all about girls... So, in short, listen:

The valiant Paris fell in love with you.

What a man! Yes such men

You can't find it in the world! It's like made of wax51.

MRS CAPULET:

The most beautiful of all Verona's flowers in summer!

Yes, he is a flower! he is a true flower!

MRS CAPULET:

What do you say? Could you fall in love with him?

You will see him at the feast today.

Take a good look at the appearance of young Paris.

Find delight in the strokes of the pen.

Explore the meaning behind every line,

Notice the agreement between one and the other,

And if the book confuses you in some way,

The answer lies in the patterns of his eyes.

This volume of love is only a little loose.

The cover will give it completeness.

How do fish live in the ocean?

So the binding is proud of its contents.

For many topics this volume is only valuable,

That the novel is hidden under a golden castle.

When you share your husband's share,

In the end you don't lose anything.

Are you losing?! No, this makes you fat!

MRS CAPULET:

Well, will you consider his love?

JULIET:

Yes, since examinations excite the blood...

But only so deep will my gaze go,

So as not to stumble upon your reproach there.

SERVANT enters

Madam, the guests are assembled, dinner is served, your name is called, your daughter is asked, the nanny is cursed in the pantry, everything is upside down. I'm running away to serve. Hurry, I beg you!

MRS CAPULET:

Let's go, let's go!

(SERVANT leaves)

Juliet, the Count is visiting.

Go and look for the joy of days in the nights.

Enter ROMEO, MERCUTIO, BENVOLIO, with five or six other MASKS, and TORCHMANS.

What kind of speech will we offer for the parish?

Or shall we pass without further apologies?

BENVOLIO:

Boredom is not held in high esteem these days.

We won't blindfold Cupid

And we won’t give him a Tatar bow52,

To frighten the girls with this scarecrow.

And we won’t mumble any prologues

We are at the prompter just for the sake of entry.

Let them evaluate us as they please,

And we will appreciate them - and go on our way.

Hey, torch for me! I am a stranger to their curtseys.

Let light be my burden.

MERCUTIO:

Romeo, dear friend, you must dance.

Not me, believe me. The soles of your shoes

Agile, but my soul is lead

I'm being pressed into the ground - I can't take a step.

MERCUTIO:

The lover is you. On Cupid's wings

You can soar in the heights beyond.

I'm too hurt by his arrow

To soar, and so definitely,

That I cannot reach the limits of sadness.

Under the burden of love I am only drowning...

MERCUTIO:

Burdening love, you will drown.

She is weak for such weight.

Is love weak?! Alas, she is mighty

Rude, noisy and sharp as a thorn.

MERCUTIO:

With rude love, treat rudely.

For being sharp, stab her and beat her.

Give me a case to cover my face.

Face after face! I don't care

To such ugliness that a stranger's gaze will see.

Let the mask blush for me.

BENVOLIO:

Knock and let's go. How do we get in?

We'll all start dancing right away.

Hey, torch for me! And let the fire of hearts

The soulless reeds are trampled by heels53.

I will hide behind an ancient proverb54,

Holding a candle, looking - this is my lot.

If you have won, then retire.

MERCUTIO:

"Retire"? That's what the constables say!

Since you're stuck up to your ears in a quagmire

As if with love, we will get you out.

Let's go, we are burning the sun in vain!

No, it's not like that.

MERCUTIO:

Delay is of no use,

How not to help the daylight with a candle!

Trust the judgment of five minds.

The five senses will hardly allow one to come to him55.

We came here following the mind,

But it's unreasonable...

MERCUTIO:

Is it true? Why?

I was having a dream.

MERCUTIO:

Imagine, I dreamed about it too.

What was yours about?

MERCUTIO:

That it’s not good to believe dreams.

In bed, dreams are harbingers of fate.

MERCUTIO:

The queen56 Meb57 crept into yours?

What serves as a midwife for fairies?

And as tall as a small agate pebble

On the index finger of a nobleman.

The team of small atoms58 is attracted

Along the noses of all those who are fast asleep.

The wheels have spokes made from spider legs,

The cover is made from the light wings of locusts,

The whole harness is made of the finest gossamer,

The collar is made of watery reflections of the moon,

The whip is the thread on the cricket bone,

The driver is a vile, dressed in a gray cloak,

Half the size of a roundworm

Extracted from the finger of a flaxen girl59.

An empty nut serves as her carriage,

And the carpenters were a beetle or a squirrel,

What they have been making for fairies since the old days.

This is how she wanders at night

The foreheads of lovers - they dream of love,

With the foot of a flatterer - and I dream of curtsies,

A lawyer's finger - I dream of money ringing,

The lips of a girl - I dream of kisses,

When your breath smells like sweets,

Meb gets angry and gets blisters.

Here she rushes along the nose of the sycophant,

And he dreams of the smell of profit.

And sometimes the priest's nostril

Scratch the tithe pig's tail60,

And the sleepyhead dreams of a new arrival.

Otherwise it will fly across the soldier’s neck,

And he sees how he cuts the enemy’s throat,

Ambushes, battle, Spanish blades,

Bottomless cups... Drum roll

It hits your ears. He jumps up abruptly

Desecrate61 in fright several prayers,

And back to sleep. This Meb is for the horses

Under the roof of the night he braids his manes,

And the unclean one marks the hair with a tangle,

And as soon as you comb it, you’ll immediately expect trouble.

She is the witch who lies to the lying maidens

Squeezes bellies, teaching patience,

And turning a woman into a vessel.

No, no, Mercutio, that's enough!

You're being idle.

MERCUTIO:

Yes, I'm talking about dreams,

Which are born idle in the brain,

Like the bitter fruit of unfulfilled hopes,

Which are more transparent than ether,

More changeable than the wind that caresses

The snowy surfaces of the northern bosom,

And tomorrow the angry one blows away,

Towards the south, wet with dew.

BENVOLIO:

I'm afraid it's too early. The feeling prophesies to me

Consequences lost in the stars.

A bitterly terrible date will begin

With nightly fun, but the deadline will end