The basis of Chinese civilization is hieroglyphics. And Chinese poems are specially organized hieroglyphs, presented in the most convex and multifaceted way, where all their concrete and abstract, audible and visible, structural and integral qualities are significant. It is not a mistake to recognize that it is in the poems that the quintessence of Chinese civilization is contained. Therefore, the translation of "frivolous poems" is no less important than the translation of scientific treatises, many of which, if not completely poems, then contain poetic lines.

Our culture itself is gradually approaching the Chinese one, and since the beginning of the XX century, European and Russian poets have been trying to write "Chinese poems" in English, French, Russian, etc. There are more or less successful examples of this. Therefore, it would be particularly interesting. analyze the original Chinese poetry, identify its distinguishing features, and outline search directions for translators and stylizers.

DOES JADED EUROPE ALSO NEED CHINESE POEMS?

Over the centuries of its existence, our Western civilization has accumulated so much diamond "junk" that a carat more, a carat less - is no longer noticeable. Therefore, although the nuggets of artists have not disappeared, but they are no longer perceived as unique and so do not shake the minds, such as Michelangelo or Dante. Being focused on novelty in art, rather than on tradition, our culture is sometimes not averse to throwing off the ballast of the past from the" virtual rockets "of modernity, but," one step forward and two steps back", the further it goes, the more often and more deeply it reverses. If the beginning of the XIX century is marked by fantasies about ancient Greece, then its end and the beginning of the XX - about ancient Egypt, and the end of the XX century-already about the supposedly pre-Egyptian Atlantis. Today's civilization is trying to sum up something in the forms of classicism, postmodernism and encyclopedism, to recall, to repeat what it has acquired over the millennia, or as a" common cause " to resurrect the dead, to embody them in tomorrow's publications and productions. And ideally, turn the oldest into the newest, visualizing it, like the face from the Shroud of Turin, on digital computer portraits.

European culture has been rushing back and forth along the time line for more than a century, and the distance from "retro" to "avant-garde" is increasingly narrowing. But its search goes not only deep into the archaeological layers, but also into the breadth of the earth's parallels. Self-confident Eurocentrism has long been replaced by a hyper-interest in other cultures.

In such an era, the role of the interpreter-interpreter becomes especially significant, and translation turns out to be a mutually noble matter. On the one hand, he is an emissary

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a different cultural tradition, extending its achievements beyond linguistic boundaries and serving the cause of the resurrection of its dead. On the other hand, it enriches the Russian civilization, which has long lost its autochthonous self-sufficiency, and gives new impulses.

When a modern cultural search focuses on Chinese civilization, all its directions - backward, outward, and forward - can miraculously coincide. Back - because the highly developed Chinese culture is the most ancient of the current "actual" ones. Outside - because it is extremely different, even anthropologically (a different race). Forward - because without the perception of the experience of this cyclically reviving culture, Europe can no longer survive: only this experience can help turn the time axis that is directed into the abyss into a one-year ring, closing the future with the past.

The basis of Chinese civilization is hieroglyphics. And Chinese poems are specially organized hieroglyphs, presented in the most convex and multifaceted way, where all their concrete and abstract, audible and visible, structural and integral qualities are significant. It is not a mistake to recognize that it is in the poems that the quintessence of Chinese civilization is contained. So, in fact, one of the founding fathers of Russian sinology, Academician V. M. Alekseev, who devoted a lot of works to Chinese poetry and the problem of its translation, believed 1 . The oldest reference texts in China are the "Canon of Verses "(Shi Jing, XI-III centuries BC) and the "Chu Stanzas" (Chu ci, IV-II centuries BC). Poems are written in the fundamental Taoist treatise "Canon of the Way and Grace" (Tao te Ching, VI-III centuries BC).All Chinese scientists and philosophers, as well as emperors, up to Mao Zedong, were poets. The ability to create poetic texts is still considered a sign of the highest degree of culture (wen), and the latter in the Chinese tradition is more honorable than other merits. According to V. M. Alekseev, poetry is the "heart of Chinese culture" 2 . Thus, the translation of "frivolous poems" is no less significant, if not more so, than the translation of scientific treatises, many of which, if not completely poems, then contain poetic lines.

Translating Chinese poems into Russian is a particularly important task also because in Russia, just as in China, even on different grounds, "the poet is more than the poet." Therefore, not only Russian poets, but also many sinologists, referring to Chinese poems, tried to create not a scrupulous translation with many comments, but an artistic text3 .

Translation of any literary text has two aspects: substantive and formal. Maintaining the unity of form and content when translating from Western languages is a very real task due to the proximity of both the principles of versification and the general grammatical structure. Even the phonetics of any Western language that is difficult to speak without an accent will seem almost identical to ours when you remember the gulf that separates the sound of all the languages of the Indo-European group and the toned waves of Chinese speech. So, due to the absence of all that is inherent in European linguistics in the Chinese language, the transmission of the content and phonetic form of Chinese poetry is on different planes.

IS A FORMAL PHONETIC APPROACH APPROPRIATE?

The history of Russian-language Chinese poetry dates back about 150 years, and some of the first were secondary transcriptions performed by Russian poets (the first, probably, was A. A. Fet) from Western translations. At the same time, the solution of substantive issues was difficult, and formal ones were completely excluded. In the first half of the XX century, many texts were created with the co-authorship of the poet and sinologist, who prepared the interlining. Some poetic-form sinologists worked alone .4 However, it was not until the second half of the twentieth century that Chinese language experts began to translate poetry. At the same time, one of the most popular cars was formed.-

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There are still a number of reputable translation schools, the theorist of which was L. Z. Eidlin. His developments concerned exclusively the forms of structuring the Russian text in order to convey the sound of Chinese poetry. Since it is his tradition that most modern translators follow, I consider it necessary to analyze its main tenets.

1. Convey to the reader "the feelings that Chinese poetry evokes" 5 .

Such a task is not only not concrete, subjective, and replaces the attempt to penetrate the material with optional "feelings" of the intermediary translator, but it is also dangerous, since it can lead translated poetry to the same "self - expression" that has already overwhelmed and almost destroyed the author's poetry.

2. Pass "laconism". Do not increase the volume of the verse, keep the number of lines 6 .

The Chinese character is a structural cell of the Chinese worldview in its micro-volume equal to the whole. In the poetic text, however, no hieroglyph is accidental, and each of its internal components adds a thought and image. Inter-hieroglyphic relationships here are built not so much according to the rules of grammar, but rather according to associative (parallel and cross, co-directional and counter-directional, etc.) rows. The requirement of "hieroglyphic conciseness" forces us to translate the hieroglyph in monosyllables, choosing a single equivalent, which, for all its Russian polysemantic nature, will never really be identical to the Chinese original / prototype. Such an approach turns translation into a flat, emasculated scheme (in general, multi-dimensionality, game polysemantism of hieroglyphic texts can hardly find an unambiguous correspondence in a phonetic language). Ignoring the side meanings of hieroglyphs and their figurative allusions in the name of multiplicity of the final text negatively affects both the information content and the imagery of translations.

I do not in any way deny the possibility of the Russian language, it is no less rich than Chinese, but it is rich in a different way, a different cultural tradition, a different imaginative system. And when it is possible to find a more or less complete equivalent of this or that Chinese concept, it is an unspeakable success. The Chinese idea of the similarity of all levels of the universe leads to the fact that the same character can be interpreted at different levels - from concrete everyday to abstract philosophical, from market realities to metaphors of the universe, from physiologisms to astronomical terms. In scientific and other non-artistic texts, as a rule, only one aspect of meaning is meant, but this is impossible in poetry.

For three or seven characters of the line, a native speaker of the hieroglyphic culture (or a translator immersed in it) he is able to see the whole poem, and sometimes more than one, which the reader will not see if the translator does not try to expand the inner nuance inaccessible to the surface view. Even if it will be like an artist's attempt to break up a three-dimensional but unified world into many picturesque strokes and expand it on the canvas plane , this attempt will still be more interesting than printing only the external outline of forms.

As an example, I will cite excerpts from the "Ode to the Western Throne" (Xi jing fu) by the Han scholar and poet Zhang Heng (78-139), which is part of the second Juan compiled by Xiao Tong (501-531) of the canonical "Literary Selection" (Wen Xuan). The ode contains many descriptions of mountain steeps and high castles, but there are no hieroglyphic repetitions. Following the original, the English translator D. R. Knecteges also uses an infinite number of English synonyms, which is formally true, but does not contain the original artistic images .7

Below are some of my translations of such places. They do not stand up to any criticism from the point of view of conciseness and preservation of the rhythmic pattern

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However, they contain an attempt to reveal the figurative content that arises from the use of specific hieroglyphs 8 .

stk. 35 9

To the left, from the east - double gorges: there the blades of the Yao rocks tear the zenith, and the scabbards of the Han-gu hide the peaks of the cross. Between them, the outposts are twisty thread
10

.

stk. 47-48

Steeps rise, cliffs melt,
bumpy ridges, like snake scales.
stk. 54-55

To the north, back to the tablelands, the plain
settled on the Wei, its back curled lazily.
And heels tucked to the banks of the adjacent Ching,
the hills sleep on their haunches, in bumps of gray hair
11

.
stk. 101 - 102

The top of the Dragon's head was cleared, leveled.
On the crown of the rocks circular armor-
massive towers and walls rockfall,
ridge crests, window cascade
12

.
stk. 256

So abysmally hidden, so haughtily pompous - a luminary, a permanent rooster on his back carries roosts, or a well crane higher-deeper, fly and swim.

If we follow the formal self-restraint put forward by L. Z. Eidlin, the last passage will look like this:"How hidden, pompous, how high, sheer!". Isn't the originality and poetry of the original lost?

I do not encourage you to deliberately inflate translated poems. Brevity is always appreciated. I just want to say that it is unwise to sacrifice depth of content in its name. It may seem to some that this contradicts the postulate of L. Z. Eidlin's tradition of conveying to the reader the "own feelings" that Chinese poetry evokes, which I have criticized above, but this is not so. I do not suggest replacing the original with your own feelings, but only encourage you to "dissect" and enrich it. Given the multiplicity of interpretation of Chinese verse, such dissection can be considered subjectivist, but there is more subjectivism in choosing "one single equivalent". In a detailed translation, you can try to take into account different understanding options, or even make more than one translation.

As an illustration of this approach, I will give a couple of examples from my translations.

The first is another passage from Zhang Heng's " Ode to the Western Throne "(pages 223-232), in which everything is built on the play of meanings, including the opposite (such as: "prostrate soared"), a small number of hieroglyphs.

The tsar built a belvedere of Cypress balusters, but the handrail of carved masterpiece is devoted to fiery misfortunes. And then the Yueh priest-a fire-catcher victim-presented the king with a recipe for marking out the edge and center,

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how to measure the exact plan-the sky and land balance (calculate their shadow and light), to block out trouble. Here is the scale - and here is the palace - a new fat giant. The Monolithic Sample was twice as large as the Wei Yang. The Standard of Architecture and Regalia of Sagittarius, New Moon Face, New Year's Tour are man-made Attributes. At its gates grow a cyclopean pair of cylindrical columns, a tiara that has grown into a heavenly throne. Gemini parade of portal roofs, tile battlements; a pair of memorial mountains with an isthmus between the platforms. And on them are sculptured metal firebirds, either soaring to the base, soaring to the heels of prostration, or thrown down in height, but always turned to the winds
13

.

The second example is Zhang Heng's" Four Sorrowful Verses "(Si chou shi), which are included in the 29th yuan of the "Literary Choice" 14 . Since this love poem can be read from both a man's and a woman's perspective, I have made two opposite translations of them. I will give two detailed understandings of the binomial (chi chu) used in the verses, in general, it means heart difficulties, when you want to move from a place, but do not move; or the movement is cyclical and closed on itself, like a pendulum or a shuttle of a weaving machine (back and forth). I may be accused of illegitimacy of the following dissections or additions, but in this poem, which consists of four uniform and almost identical blocks, all parallel binomials are synonymous. And only these hidden meanings, which are not directly revealed in the text, but can manifest themselves with other contextual references to the same hieroglyphs, distinguish these blocks and create what is called poetry.

Here are two rows of images that have emerged from a single binomial: Like a clepsydra, I am filled with water with a dream: the tank is overflowing... And he toppled over in an instant-the clock's strict rhythm was reset... Once again, he is submissive to the drops. Like a shuttle in the middle of a calm, I lost my bearings. And like a shadow of fruitless effort, a rock stood in the way. There will be no joint movements and the rhythm of joint seconds. And we can't sew a piece together. Not yarn, but a crumpled piece - not a needle and a shuttle together.

3. Save the compositional technique of parallel lines (couplets). From what has been said above, it is also clear that the Chinese couplet can not always take up only two or four lines in translation without compromising the meaning.

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My limited experience in translating Chinese poetry led me to the following conclusion: when translating poems of the Tang (618-907) and Ming (1368-1644) eras, it was often involuntary to follow the principle of equal number of lines or their doubling. However, when referring to the odic poetry of the Han period (206 BC-220 AD), and specifically to the work of Zhang Heng, this turned out to be impossible. However, of course, Zhang Heng is a special person in Chinese culture. According to W. Eberhard, "his essay - like poems are so full of rare expressions that only his contemporaries could appreciate them." 15 However, in Eberhard is not quite right. Overcoming language difficulties, you discover a wise and bright poet in a modern way, whose texts are complex and interesting not only linguistically, but also meaningfully; you are convinced that this was the greatest intellectual who had broad knowledge and was able to penetrate deeply into the essence of phenomena (it is no coincidence that he remains one of the most famous scientists of antiquity); a refined artist, in the thoughts of which brings aesthetic joy.

In general, the more interesting a poet is, the richer and more layered his texts are, the more allusions they cause, the less opportunities there are for preserving the volume of his verse in translation without the risk of impoverishment and schematization. I emphasize that not only the measure, but also the goal of Chinese poetry is not a line or a couplet, but the character itself, as a micro-forming element, i.e. the word as the basis and end in itself.

4. Save the rhythmic "outline" of the poem (i.e. transfer the number of hieroglyphs to the number of stops).

This principle, in my opinion, is just as unnecessary as the previous ones, although it is possible as a formal game, but it should not be used as L. Z. Eidlin suggests.

This "preservation of the rhythmic contour" was once used by me in translating the" Precious Scroll of the Righteous Huang " (Huang shi nu bao - chuan), quoted in chapter 74 of the novel "Jin, Ping, Mei" 16 . In the first passage, the alternation of lines of six and four hieroglyphs is transmitted by alternating six-stop and four-stop Iambic lines, in the second-six-stop Iambic lines of six hieroglyphs are transmitted.

Turn to the west, burned incense in the bedroom, Prayed in the evening and in the morning, And taught precious scrolls there, read the Diamond Sutra. Before she had finished repeating the canons, the incense suddenly melted: Her prayer to the Buddha is so pure and strong That the sound pierces the firmament. The Word reached the heavenly spheres and the gates of hell, And the magic light blinded. When King Yan-lo
17

saw it, he was overjoyed and showed his royal face. "Has the Buddhist Patriarch grown up in the sublunary world of
18

, amidst passions and troubles?" He called the two judges of the underworld to a council and ordered them to question him. "Lord wise," says the judge in reply, " This voice, it is from Nan-hua, Over Cao-chou
19

, shone the light of heaven Through the Prayer of Mrs. Huang. The knowledge of this righteous woman is deep, Dressed modestly, fasts, Does good, her achievements are great - The firmament rejoices in them.

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.. Let's leave aside how Ling-fang suffered. Let's talk about Juan going to the world of shadows. Reached the infernal banks of the Nai-He River
20

. In front of the Golden Bridge, she slowed her steps. "Who is awarded the Golden Bridge to go?" "One who reads the sutras with faith in his breast." And under the bridge rose a column of blood spray, And terrified cries of grief, crying and screeching. Snakes were circling in the midst of blood puddles, And so many sinful souls were suffering from their venom! Here is a mountain of Broken coins ahead "What is the secret of this name? ""People burn sacrificial money," was the answer, " They do not burn it to ashes, and so for millionths of years-The mountain has accumulated from such half-coins. So they called it. And there are no other secrets." Innocently killed hail before Huang-They have no rebirth, their fate is fog
23

. Compassion made Huang's head ache, and the words of the "Diamond Sutra"came out. Sinners opened their eyes in the river, Covered the mountain of corpses with lush forests, The Earth is not from fire - from lotuses is red-Hell covered the heavens with a good cloud. Huang's boys are rushing to leave the city, rushing to submit a report to the Yan-lo ruler. ...

In my opinion, the principle of transmitting the number of hieroglyphs by the number of rhythmic stops still leads to one undesirable effect. Such long lines in Russian poetry are perceived as heavy, which does not correspond to the Chinese original (this is not a Greek hexameter). The hieroglyph is only one syllable, while the foot contains two or three syllables. Therefore, on the contrary, the shorter the string and the harder the rhythm, the closer the sound will be to the original original. If you still pass the number of characters in stops, then it is advisable to connect the lines not only with end rhymes, but also with intermediate intra-line rhymes, given that Chinese poems in general are extremely rhymed due to the phonetics of the language. And in Russian poetry, too, skillful systematic rhyming is traditionally especially appreciated.

Isn't the following song ode from Chapter 55, "Jin, Ping, Mei," much easier to read than the text of the Precious Scroll? 25 :

Under the colors I think nature is juicier:
A small river snakes between the pink mountains,
And a living duckweed in the chest turning green,
The lake expanse stretched out to its heart's content.
And autumn is colorful in the flower glade,
And the river was covered with a haze of grasses.
The peasants dressed in straw in the field,
And the catfish jumps in the back of the fisherman
26

.
Paths on dry land moonlight highlights,
And a pale glow over the depth.
Cranes can be heard flying away shouting,
And gulls don't soar over a frozen wave.
An inspired creator, a great artist
He shook off the mundane moments like dust.
And as if Tsan-lan is a water hermitage of many faces
.

,
He sang this land as a sacred past.
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As for large works, those poems that I met did not follow a single rhythm from beginning to end, but interspersed passages with lines of three to seven hieroglyphs. Compliance with this principle of polyphony and polyrhythmy in Russian translation can musically enrich and diversify the work. But I would not insist on changing the rhythm always and only in the place of its break in the original. Translation is already a work of a different culture and it has its own harmonic laws.

In general, the idea of transmitting the length of a line with rhythmic stops can cause significant harm to translation. First of all, this applies to works of the yue-fu poetic and song genre, since they did not follow the principle of equal or rhythmically alternating lines, their melody was set by musical chants. If this is reflected in the translation, then for the Russian ear such a chaos of dimensions will sound like a cacophony. Now I will focus on the notorious caesura in the middle of the Chinese line, where it is usually customary to make a ladder. Russian poetics has been familiar with intra-line caesura for more than 100 years, and it is natural in it due to the unequal stress of stressed syllables in a line. Internal rhythmic splitting of the string in half was invariably used, for example, by Blok and Pasternak, and this did not require any ladder because of the pendulum-like dimension of such a rhythm. The ladder, on the contrary, appeared to demonstrate rhythmic glitches, asymmetry, and additional accents. In principle, I don't mind a ladder for Chinese poems, but I don't think it's necessary. In addition, most modern translators have replaced it with the real sound of caesur and in general any rhythm. In my opinion, it would be much more reasonable to make an intra-line rhyme in place of the caesura, as in the song ode quoted above.

After analyzing the rhythmic features, I will move on to thinking about the role of rhyme.

5. According to L. Z. Eidlin, for the sake of observing the previous four principles, it is possible to sacrifice rhyme, and it is not at all necessary to preserve in translation a single rhyme that unites the entire Chinese poem, especially since "monorithm is violent for Russian poetry" 28 .

I consider the condition of refusing to rhyme to be the most ridiculous. On the one hand, the source, i.e. Chinese poetry, is extremely rhymed; on the other hand, even the author's non-rhymed poetry has not yet taken root in Russian literature. Therefore, both to convey the melody of the source, and in order for translated poems to become a fact of Russian literature, it is necessary to work on the rhyme.

At one time, N. I. Konrad was very ambiguous about L. Z. Eidlin's proposal to abandon rhyme: "Rhyme in Chinese verse is a constructive element of verse (one of them); it plays the same role in Russian verse. What can justify the lack of rhyme in the Russian translation? Only one thing: non-mastery of rhyme (concealed-as in L. Z. Eidlin). I can accept a rhyme in translation from Japanese, where there are no rhymes, because Russian verse is primarily a rhyme; and I cannot accept the absence of Russian rhyme in translation from those languages where the verse is based on rhyme. " 29

Unfortunately, the idea of using a rhyme only where it exists in the Chinese original, and only as it is used in it, is ineffective and quite reasonable, which was proposed and implemented by L. N. Menshikov. Since Russian words are much longer, this arrangement of the rhyme makes it so remote that it becomes almost invisible, while in the original it is dominating. Thus, a false melody is created and instead of a system where the sound is cramped, sprawling long notes appear, and even with rhythmic carelessness.

The construction of rhymes in Chinese is very specific. There it is built on the last sound, which is not enough for the Russian language, and is enhanced by

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fixed in phonetics modulating four tones, which is not available to the Russian language 30 . In other words, Chinese poems are hyper-rhymed, but within a fundamentally different phonetic framework. Therefore, it is desirable for a Russian translation to also be hyper-rhymed, but with an exquisite Russian rhyme, both accurate, root, and semantic, permeating the entire text, combined with a rigid rhythm and alliteration. Next to the exact rhyme, it doesn't hurt to play with a multi-beat one (such as bell/colloquium). As for alliteration, in Chinese poetry it is brought to a limit inaccessible to other languages due to the abundance of homonyms of various degrees: absolutely equivalent (up to several dozen per tone); with a change in only the modulation tone; with an interchangeable sound within one tone (such as "zhi/zi", "zhao/tsao") and considered almost identical (chi/ji; jiao/qiao; zi/ci; chu/zhu/shu, etc.). The Chinese verse is technical, and this does not interfere with the Russian translation.

L. N. Menshikov's more thorough analysis of the formal principles of the converging transition from Chinese to Russian deserves much more attention than the postulates of L. Z. Eidlin. However, do they always work well in practice? In my opinion, only translations of works of small forms, especially quatrains from the "Canon of Poems" ("The dove and turtledove gurgle, gurgle / Together on the shallows sat river. / A recluse, a modest maiden, will be a glorious wife to a noble young man. " 31 Long lines that are not "flavored" with an internal rhyme of five - or seven-stop lines, especially if it is a three - dolon, look very heavy and amorphous.

In general, such an archaic monument as the "Canon of Poems"is interesting for formal translation because most of its lines are written in nominal sentences, which may correspond to more than one grammatical and semantic interpretation. This feature is also combined with a short chopped rhythm, hard rhyming, including intra-line. As an example, I will give just one line from the ode "Continuity" (Mian) 32 .

- yue zhi yue shi (lit.: "It says 'stop', it says 'time'"). These are probably the words of an oracle, although it is not mentioned. We are talking about the fact that a place and time have been chosen for the resettlement of the people. How can we find an adequate expression for this form, almost a formula, given a poem in which only one backbone is left? Here are two solutions in Russian. The first is A. A. Shtukin, whom I consider a good translator of Chinese poetry:

Stay here! Fate pointed it out.

My attempt to convey "as much as possible" actually led to a double repetition of the original phrase:

The doubling is dictated by the fact that the first two lines, in my opinion, very adequately convey the original (closer than the line of A. A. Shtukin), are not enough for the semantic understanding of the Russian-speaking reader, as, however, the four characters of the original may not be enough for an untrained modern Chinese.

L. N. Menshikov also considers the monorithm inherent in Chinese poems, which was noted by L. Z. Eidlin, to be "unnatural" for the Russian language .33 As your non-repo-

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I will also give some examples from my own translations to "justify" the monorithm:

Zhang Heng. Excerpt from" Ode to the Return to the Fields " (Gui tian fu), part of ts. 15 Wen xuan 34 :

... And the pool of grass multiplication is bottomless and the songs of heaven in harmony. An unrestrained mating call with a tuning fork of spring free pleasures. The orioles ' sympathetic wail is monotonous. The angler eagle drums its wing. They weave goiters with an unabashed moan and stretch their necks, flying straight ahead. From the latitudes of the deep waters, dragons sigh, sing out of the waters. And the tigers roar, looking for primordial pairs on the peaks of the rocky heights.

Bo Xingjian (776-826). Excerpt from " Ode to the Great Joy of the love interweaving of Heaven and Earth, shadow and Light "(Tian di yin yang jiao huan da le fu) 35 :

An obedient mistress, an obliging concubine , with soft cheeks like a semicircle and thin eyebrows, eyes black and narrowed, lashes of weeping lace, and on the lips of the air peonies turn purple, between them the friendly snows of her teeth sparkle, she walks as if spinning, and her ears are two pearls - everything in her inspires the betrothed both joy and love. ...

Song from the unpublished Russian translation of Chapter 96 of the novel "Jin, Ping, Mei" 36 . This example is partly a hoax. Due to the poetic weakness and low content of the original, the slightly outlined images in it were significantly developed by the translator with the introduction of standard Chinese song images:

Ah, because of you, my falcon, I have lost my happiness. Above the eaves, a magpie screams in the slush and bad weather. Only meetings of the desired dates are not in the magpie's power. Fate has prepared for me sorrows and misfortunes. Ah, because of you, my swan, I am heartbroken. You remember when we used to fight with our wings in the sky. Do not love me, do not cherish, I wait for my demise soon. Sun, you hear my prayer, your day is black as a shadow.

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Ah, because of you, my stork, dried up, faded. I see off the flock of birds, I part forever. A healer is useless at the bed of love mysteries. Life melts and melts in the deadly heat. They lived as a pair of nightingales, circling in a cloud. The sky has fallen like an avalanche of tears, and the land is alien.

In none of these texts does the end-to-end monorithm seem violent to me. Of course, it is not always possible to observe it even in a short poem without sacrificing its content, and even more so in a poem. However, why not strive for a monorithm whenever possible and, when it turns out, do not regard it as luck. However, as for large works, they are rarely completely built on one rhyme, or even on one rhythm, as already mentioned above, and usually represent poetic monorhythmic and monorhythmic blocks or cycles.

MUSICAL PICTURES AND THEIR INVISIBLE ECHOES

Having analyzed the basic principles of the Eidlin school, which can be called formal-phonetic, I want to touch on a more complex and, in my opinion, more significant layer of Chinese poetry. In Western languages, it is akin to music. In the central state of "ritual and music" that China calls itself, it is also akin to painting. And the point is not only that many Chinese poets were painters and created synthetic works, including the text of the verse in the pictorial work, and not only that poetry was usually combined with skillful calligraphy. Russian poetry since the beginning of the XX century. she has already started moving closer to the Chinese one, introducing a pictorial element, as well as special fonts and ways of arranging text.

In hieroglyphic culture, the visibility of poetry is initially set by the figurativeness of the hieroglyphs themselves. In a certain sense, Chinese poetry is a cipher, a concise scheme of the multidimensional world. At the same time, the scheme is perceived not only and not so much by ear, but also visually. Both the hieroglyphs themselves and the elements that make up them can create additional meaning, so it is often necessary to dissect the text even more deeply, paying attention to the agreement of the hieroglyphs,and to the agreement, parallelism of their keys, which creates fraternal or hostile pairs.

A certain role in the "poetic text code" can be played not only by the key element, but also by any additional element, such as phonetics. As an example, I will cite a small episode again from Zhang Heng's " Ode to the Western Throne "(pages 370-371). The story of the chancellor (cheng-hsiang)is mentioned there Gong-sun He, a confidant of the Emperor Wu-di (140-87 BC); his son Kung-sun Jing-sheng, a horse steward (tai pu), who embezzled the army treasury; Princess Yang-shi gong-zhu, the secret mistress of the horse steward; and also revealed all their machinations and villainies of the Han noble robber, a fighter for truth and a knight of Zhu An-shi. The whole story is not given in the ode, and therefore in my translation, using parentheses, I restore it from the text of Chapter 66 " The life of Gongsun-He (Gung-sun He le chuan) Han Shu 37 . The text of the ode says: The nobles are punished-the son and the father

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At the same time, the hieroglyph (zhu), meaning "punishment", is clearly not chosen by chance, because it includes as a phonetic the surname of Zhu An-shi, who contributed to their punishment. In this regard, I added the following line in the translation in parentheses:

(Zhu gives them an inglorious ending in the dungeon.)

Unfortunately, a full-volume reading of the Chinese text is often unavailable or indescribable. Phonetic translation turns out to be only a projection on the plane of three-dimensional forms, or a sound recording of a "video clip" devoid of an image (by no means mass culture). A Chinese poem can really be compared to an ideal video clip, in which the sound and visual series enter into a complex relationship, as a result of which something third is created, called an impression. Here it is worth recalling the statement of S. M. Eisenstein that cinema is hieroglyphics.

Sometimes just translating a poetic text is simply impossible, because it will seem meaningless. And the meaning arises only from the correlation of images and allusions. In general, "straight-talking" is not typical of poetry. And then the translation-interpretation comes into force, or, more precisely, the translation-hypothesis, the translation-guess, in which an attempt is added to reconstruct this third, alas, which cannot arise in the reader of a different culture. As an example, I will give my translation of two poems by Zhang Heng. :

Ode to Geese (Hong Fu)

Hiding from the first frosts of winter on the southern axis of the Crossbar of the Sun
39

. Sublime rhymes and hearts insomnia, unthinkable distance saddlebag... (Like the distance of migrating geese to the churchyard) - a refined sound, a standard step. Chetoyu zhar-birdstvets sotsvetye falls (then yellow, then red shades soaring)
40

. Their forged rods are strong plumage, but they beat their wings against the walls, against the wind... And with the shadow of his betrothed alone, the rarest couple predchuzhdogo term wander long... They're delirious... And here... And here: shur-shur sha-wei, bi-bi
41

- from ducks, chickens the earth ripples, heels, heels, (twenty-five: shelves, rations, pirki, orders)
42

. The beaks click on the puny grains - all the pustotsvet is a dry purse.

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I'm not bitter, not bitter: fifty years have so suddenly run out, as if it were a trifle. Again about myself. Whether business, or troubles, worries, troubles, whether so, or so. A bunch of unraveled threads in your hand, and it's sad that it's so necessary to be in a tangle. Well, I somehow unsubscribed with an ode about the fluff of migratory geese. (Years, years...)
43

Ode to the fan (Shan Fu)

Mature bamboo is chosen by epiphany. It's like we're awake... Exactly on a whim... Here is this stalk, so fragile elastic-a natural fan and created to be it! Be picturesque with drawings of rocks, water expanses - universal symbols. To be exemplary, like life patterns, is a stroke of a human fraction of a bit... The fan on the compass is rounded at the top, the degrees are adjusted with a square at the bottom... A wave - and the meadow sparkles with a hundred flowers. A wave - and the measure seems to be thrown away. The brilliance of his painting is so many-sided. His whims of all appointments are diverse and variegated. He is proud and great... with a belt niknet tassels on a leash. Smooth edge, fateful whim! Svit on straws folded raft. Carelessness - a hole, a gap-the clay will close, the abyss will swallow. Gently relaxed elbow and hand. The ascent fills, the descent exhausts... and repeats in space the sketch of the fan-the body. And draws poses.

I may be accused of calling for non-fiction "straight-talking" in translation, of stripping Fleur's Chinese poetry of its mystery. But nurturing this mystery does not allow the content to break through and makes translations uninteresting.

So, on the one hand, direct translation of the Chinese text in poetry is often insufficient. However, on the other hand, the physiologically literal rendering of the literal meaning of the character, which is usually feared by interpreters, can make the translation much more poetic, while bringing it closer to the original. In this case, it turns out not just "I'm sad", but " sadness in the arms "(Huai - in "Four Sad Verses"), not "frost and the sun", but "the sun holds ice in its mouth" (Han - in "Ode to the Western Throne", stk. 60), etc.

For some reason, carnal naturalism, which is "weighty and visible" in Chinese culture, has always been accepted to "ennoble", round it up, and present it more abstractly (in case someone misunderstands it), which does not benefit translations. The three-dimensional flesh is again contained in the hieroglyph itself, which is a structure not of ephemeral, only audible sounds, but of visible concrete objects and phenomena,

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which the Chinese culture considered basic and through them graphically explained the whole world.

Russian translators did not use the method of "preparing hieroglyphs", as a result of which it is impossible to determine from Russian translations what is the peculiarity of each Chinese poet. All are approximately equally impersonal. Only some translators are more skilled, have a better command of the rhythm and melody of the verse, such as L. Z. Eidlin (despite my rejection of his translation principles) 44, A. A. Shtukin 45, L. E. Bezhin, S. A. Toroptsev 46, A.M. Gitovich 47, Yu. K. Shchutsky 48, B. B. Bakhtin 49 others are less skilled, and their poems are heavy and clumsy .50 I think that only the charm of a well-known name makes the translations of A. A. Akhmatova so appreciated by many people .51 However, the translated text, both for those who do not master the poetic form, and for those who do, as a rule, does not convey the richness of the Chinese original, the images are smoothed and almost devoid of originality.

The combination of literalism and multidimensional interpretation can, in my opinion, make translations from Chinese more voluminous and sensual, bring them closer to the physical feel of the originals up to touch and taste, saturate the text with visible images, visualize it at the level of words, without resorting to drawing, although it is highly desirable to introduce visual series into Chinese poetry publications, the use of special graphically complementary fonts, non-random arrangement of lines. It would be good to think about creating hand-drawn signs based on the pictograms that gave rise to hieroglyphs, which can be understood by the European eye. However, such requests rest on the fact that it is difficult to find a person who knows the technique of versification, the Chinese language, and even an artist. But this is a standard question of our time, when synthetic creativity is more effective (for example, poets who can create a video audio disc).

Thus, our culture itself is gradually approaching the Chinese one, and soon we will be writing Chinese poems in Russian, especially since there are already some examples of this, although not very successful so far (it is especially popular among aesthetic poetesses to imitate Japanese three-lines).

The forerunner of the Orientalist style of Western poetry is the English-speaking imagist poet of the first half of the 20th century. Ezra Pound. Creating semi-translations, semi-original poems, he used interlinear translations and the ideas of the American Japanese scholar Ernest Fenollosa, which, in my opinion, are very successful. E. Pound postulated one of the principles of imagism: "do not use words that do not create a visual image" 53, and this principle should be taken into account by all translators of hieroglyphic poetry. Be a painter of words.

CONTENT RESEARCH OR POETICS OF FORM?

There is, however, a different, purely scientific approach to the translation of Chinese texts, which does not set the task of artistic transformation, but contains a meticulous and scrupulous study of the text, which can be found, for example, in V. M. Alekseev, L. N. Menshikov and M. E. Kravtsova.

Among the translations of Chinese texts known to me, the most thorough and fully relevant to the research tasks, in my opinion, is the translation by D. R. Knecteges into English of ots-fu from the Literary Izbornik (Wen Xuan) 54 . Each line of this translation is provided with detailed comments explaining and complementing the meaning, containing other versions of the translation and messages about the controversy surrounding this passage, and sometimes a separate character; references indicating direct or indirect borrowings of the poet from texts of previous eras; allusions and parallelisms that are characteristic of Chinese literature are transmitted.

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Unfortunately, there are almost no verbatim analyzed and commented research translations in Russian. There are separate studies and separate translations, which not only writers, but also scientists sought to give poetry. But I would like to see a text that is interesting both from an educational and artistic point of view; a literary work without heavy comments, which maximally conveys the shades of meaning of not just a foreign language, but a hieroglyphic original, showing its semantic scope, and not limited to one of the possible interpretations.

Chinese poetry is written in a certain cultural environment that is not entirely clear to the Western reader, and contains an abundance of historical and literary allusions, references to certain subjects, and references to historical and legendary characters. Meanwhile, the need to constantly look at links interferes with the artistic perception of the text. Wasn't I. Bunin right when translating the Song of Hiawatha, all the notes and explanations were woven into the poetic fabric of the work? To be scientific, you can enclose such "otsebyatina" in parentheses and add notes about its origin. Thus, research and artistic tasks will not contradict, but, on the contrary, complement and mutually enrich each other.

Another feature of Chinese poetry is its quotability. Many poems include direct or indirect quotations, or even are based solely on them (pure postmodernism).

358-359 from Zhang Heng's" Ode to the Eastern Throne "(Dong jing fu) 55, which are quotations from two poems by Shi jing (II, III, 8, 2 "The Court Twinkles" - Ting liao) and (IV, II, 8, 1 "The Beginning of the Audience" - Zai jian) 56 .

The first characters of the lines form the desired Zhang Heng binom (luan he) - bells on a team, then they are followed by onomatopoeia: in the first - hui-hui, defined as harmonious singing; in the second-yang-yang, (or ying-ying), defined as a slight tinkling. At the same time, the hieroglyph "luan" also means the mythical firebird-luan. Here is my interpreted translation of this pair of strings:

CHINESE POETRY IN RUSSIAN OR "ON THE RUINS OF THE ORIGINAL"

So, summing up my thoughts, I will single out three equal types of translations. I. Translation, the purpose of which is to convey the sound forms of Chinese poetry. In this case, it is possible to:

1. Transfer of the hieroglyph

a) with your foot,

b) a short line (in general, when translating Chinese poetry, I encourage you to use the chopped rhythm of short lines).

In both cases, it is necessary to strengthen the rhyme using intra-line ones, and it is desirable to make one of the rhymes through.

2. Passing strings. If they consist of an even number of hieroglyphs in the original, then divide them into Russian lines either in pairs or even more fractionally (for example, a line consisting of six hieroglyphs may well be transmitted by three Russian characters, and such a couplet by a Russian six-line with rhyming variants 1 - 2,4 - 5, 3-6 or 1-4, 2 - 5, 3 - 6; 3 - 6 - required). It is advisable to connect Russian-language lines that correspond to the endings of the original lines in translation with a single end-to-end rhyme (for example, all even numbers, every third or every fourth).

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However, this approach is not indisputable; moreover, for some genres, such as the prose - poetic genre of od - fu and song yue-fu, in which the line lengths vary, not always preserving even the same pairs, it is not suitable.

II. Poetic research (on the contrary, especially suitable for od-fu and other large forms). Here, the preparation of the text comes to the fore, taking into account all acceptable interpretations and introducing a large number of explanatory and enriching comments into the poetic fabric. As for the poetic form, it is enough that the poems are translated into verses (rhythmic and rhymed), and the reproduction of Chinese beats and rhythms is not so fundamental.

III. Purely imagist translation; in which words are visualized to the degree of hieroglyphs, and nothing is added for the sake of euphony (the principle of early E. Pound). English sinologist A. Graham saw E. Pound's style as a source for modern English-language translations of Chinese poetry .57 However, in my opinion, this translation option is ideally suited for non-rhymed Japanese poetry, while translating the poetry of the Central "state of music", especially into Russian verse, which is traditionally especially musical and takes care of rhyme, it is not advisable to ignore the sound.

IV. A translation that can combine the principles of all three types of translations without defining anything as a law - translation-remark; impression, or translation-hypothesis; interpretation; translation-game, or dialogue that is not punctual, but represents one or more of the possible understandings of the deep meaning.

Free yourself from the formal shackles of the original! Literary translation, in my opinion, should not set the task of complete identity. More important is how interesting the final work is from the point of view of the novelty of the introduced Chinese content and how good it is from the point of view of the Russian-language form. Literature is always a function of language. So in a certain sense, no translation is possible at all, it is always a new original work on the topic of foreign-language content. Who wrote "Dark Peaks sleep in the darkness of night" by Goethe or Lermontov? And Pushkin's fairy tales were not invented by him. And there are many similar examples. When transforming hieroglyphic texts, in principle, a situation of complete inadequacy arises. A more or less scrupulous attempt to achieve adequacy will lead, firstly, to the need to use other, non-literary visualization tools; and secondly, to the rejection of any Russian grammar and the use of only linguistic roots. This option is possible as an experiment and even interesting; it is possible that it can create a new style of Russian poetry. However, the Chinese content will still not be perceived by the reader. Today, it is pointless to call on all Russians to understand Chinese. But to give the Russian-speaking reader other figurative forms, to engage in a game of explicit and implicit meanings, while remaining within the framework of the Russian language-this is quite feasible and interesting. There is no need for punctually slavish imitation of the source text, it will still be illusory.

It is appropriate to quote V. M. Alekseev here: "Let's quickly review the criticism addressed to our translations. We are reproached either for moving away from the text, or for the opposite; or for fitting the style of the original, or for the opposite. If you collect all these reproaches and make a practical synthesis out of them in order to improve your work, it will immediately become clear that the work is impossible and translation does not exist at all." 58 Therefore, not to approach the original, but to extract as much as possible from it and thereby enrich Russian literature-this approach seems to be the most productive.

V. M. Alekseev spoke about translation- "transplantation" - the transplantation of a foreign cultural organ into a new environment, and translation- "transformation" - transformation, up to

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creation of a new work "on the ruins of the original" 59 . I perceive the work on translation more as a dialogue, as a conversation or consonance (not unison). with someone, alive, dead, completely unknown, who suddenly became more important and closer to others. Without admiring, without delving so deeply into the text that its illusory line spacing becomes palpable, while omitting the question of the adequacy of this feeling (it is insoluble), you cannot create a response work. A similar opinion was shared by E. Pound, who believed that "the ideal translator intuitively gets used to the mental state of the original author and improvises his essential likeness by means of his language" 60. Therefore, in translation, it is not forbidden to develop the images outlined in the original, to reveal their polyphony and underlying paradoxes.

I will tell you an incident that struck me when translating Zhang Heng's" Ode to the Skull " (Du-lou fu) 61 . This ode is inspired by a parable from Chapter 18 of Zhi le ("Supreme Happiness")." Teachers of Chuang " (Chuang Tzu) 62 the famous philosopher, one of the founders of Taoism, Chuang Zhou (IV-III centuries BC). In the parable, Chuang Tzu asks the skull (an analogy with "Hamlet" suggests itself) if he regrets the joys of life, to which the skull responds negatively, stating that that death confers freedom from the fetters of life and mergence with the Path (tao). In the ode, Zhang Heng himself finds Chuang Tzu's skull lying around and prays for it to come back to life, for "isn't that the master's dream?" What is the answer of Chuang Tzu-skulls?:

And he answered: "The speech of the Venerable One -

a strange time of perishable refuge..."

Zhang Heng's text says only that "the venerable one's speech is extremely difficult", but the idea that the "difficulty" comes from the burden of his living frailty, which will disappear after death, is absent, i.e., it can be said that this is a complete failure of the translator. However, later, when I turned to Chuang Tzu's own text,I found that the parallel phrase, the one that was the original one for Zhang Heng, was exactly what I added. Does this mean that our dialogue with Zhang Heng is approaching the level of understanding thoughts that are not expressed in words? Perhaps this is a presumptuous illusion.

Thus, translation activity can be compared simultaneously with the work of an actor who gets used to the image of the author he is translating; and a stage director who puts a foreign-language work on the stage of his own cultural environment, emphasizing something in it, additionally playing up, and putting something in the shade. And there is no one right solution here.

On this, the only indisputable statement in my article, I want to end my thoughts. In general, there is no one right thing in art. Seek and find! Or don't find it, as it turns out. First of all, I will address the last remark to myself.

NOTES AND COMMENTS

1 See: Alekseev V. M. Kitayskaya literatura [Chinese Literature], Moscow, 1978.

2 Ibid., p. 77.

3 See: Alekseev V. M. Decree, op.; Kravtsova M. E. Poeziya drevnego Kitay [Poetry of ancient China]. St. Petersburg, 1994; Chisty potok. Poetry of the Tang era / Trans. Menshikova L. N. St. Petersburg, 2001.

4 See: Distant Echo. Anthology of Chinese Lyrics (VII-IX centuries) / Translated by Yu. K. Shutsky, St. Petersburg, 2000.

5 Chinese classical Poetry / Trans. Eidlina L. M., 1984. P. 8.

6 Ibid., pp. 8-9.

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7 Wen Xuan or Selections of Refined Literature / Tr. with ann. and intr. by Knechteges D. R. Prinston, 1982. .V. l.P. 180 - 241.

8 I have translated from the following publications: Wen Xuan. Xiao Tong Xuan. Li Shan zhu (Literary Chooser. Selected by Xiao Tong, comment. Li Shan). Beijing, 1959. Vol. 1. Tsz. 2. pp. 25-46; Liu chen zhu wen xuan ("Literary Selection" with six accompanying comments). Vol. 2. Tsz. 2 / / Si bu tsun kan (Collection of publications on four sections). Vol. 2714. Shanghai, 1929-1937 (Includes comments. Li Shan and five commentators of the eighth century-Lu Yan-ji, Lu Xiang, Liu Liang, Zhang Xian, Li Zhou-han); Zhao ming wen xuan and zhu (The famous "Literary Selection" with translations into modern Chinese and commentaries). Changchun, 1987, vol. 1, pp. 92-154 (comment. modern commentators); Zhang Heng shi wen ji xiao zhu (Verified and commented collection of poems and prose by Zhang Heng). Reconciliation and comments. Zhang Zhen-jie. Shanghai, 1986. pp. 19-92. This translation is published for the first time. In the previous edition, see: Gorodetskaya O. M. From the hieroglyph to the word (Chinese poetry in Russian) / / XXXII Scientific Conference "Society and the State in China", Moscow, 2002. pp. 204-205.

9 The line numbering is given according to the division adopted in the above publications.

The Yao Mountains are located east of Chang'an on the southwestern border of present-day Lin Bao County, He Nan Province.

Han-gu - mountain gorges on the north-eastern border of the same county, a risky passage between the modern provinces of Shen-xi and He-nan.

The Wei River is 11th main arm of the Huang He. The Jing River is an arm of the Wei River. The topography of the Yun-zhou prov. area is described. Shen-xi near the Han capital Chang'an.

Dragon's Crown 12 (Lun Shou) is the name of the mountain on which the Han Wei-yang Palace stood. It describes its construction at the beginning of the second century BC during the time of the founder of the Han dynasty, Gao-tzu. Stk. 102 consists of 4 synonyms that demonstrate the massiveness, steepness, height and sheerness of the palace complex.

13 A translation of this passage is being published for the first time.

Belvedere of Cypress Balusters (Bo-liang) - in Chapter 6 of Han shu's" Records of the [Deeds] of Wu-di " (Wu di ji), it is said that it was built by the Emperor Wu-di in the second year under the motto Yuan-ding (115 BC) at the northern walls of Chang-an and in the first year under the motto of Tai-chu (104 BC), it burned down [Er shi u shi (Twenty-five Chronicles). Shanghai, 1934. Vol. 1. pp. 305, 306]. The priest (shaman), originally from the Yue specific kingdom, provided his calculations of the necessary measures to prevent the disaster from happening again, one of which was to increase the size of the structure. This is how the Jian-zhang palace complex was created. It is believed that it was built with a doubling of the scale of Wei Yang. About this, see: Shi ji, Chapter 28; Han shu, Chapter 6, Chapter 25, Part 2. [Er shi wu shi (Twenty-five Chronicles). Shanghai, 1934. Vol. 1. pp. 117, 306, 397; Sima Qian. Istoricheskie zapiski [Historical notes]. Vyatkina R. V. and Taskina B. C. M., 1986. Vol. IV. P. 190].

Monolithic Model, Standard Of Architecture, Regalia [constellations] Sagittarius, an attribute of the Beginning of the lunar year [according to the rotation of the handle of the Dipper of the Big Dipper], is all a variety of meanings that can be reconstructed from the name of the Jian-zhang palace.

The name of the paired towers crowned with firebirds-(Tse-shi), repeats the name of the "memorial" mountains in the Bo-hai region.

According to Xue Zong's comment, the firebirds were fixed on a rotating base and therefore were always turned towards the wind.

14 Previously, they were translated into German by Von Zach [Zach, Erwin von. Die Chinesische Anthologie: Ubersetzungen aus dem Wen hsuan, Cambridge, 1958. V. 1. S. 523-525]; translated into Russian by L. N. Menshikov (not published); and translated into modern Chinese by Shen Wen-fan [Han, Wei, Liu-chao shi san-bai shou shi-zhe (Translation and translation of 300 poems of the Han, Wei, and Six Dynasties). Shen Wen-fan. Jilin, 1999, pp. 6-8].

My translation is based on the publications listed in note 8, the interpretation of Shen Wen-fan, and another modern interpretation-the commentators of the Liang Han edition wen-xue shi tsan-kao tzu-liao (Reference materials on the literary history of the Two Han Periods). Beijing, 1978. pp. 596-598. The entire previous version of the translation on behalf of a man with parallel hieroglyphic lines is published: Gorodetskaya O. M. Edict. op. s. 197-199.

Eberhard W. 15 Chinese Holidays, Moscow, 1977, p. 20.

16 The translation of the precious scroll is based on the publication of the novel from which it comes, Jin ping sei tsy hua (Jin, Ping, Mei in the poetical-narrative [genre] (tsy-hua)). Shanghai, [B. G.]. The full translation is published in the Journal. "East (Oriens)". 2002. N 2. pp. 145-158.

Yan-lo, 17 aka Yan-wang, aka Yama-the Great Prince of darkness, the lord of the afterlife.

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Sublunary world - 18 letters in Chinese terms: "the world of the sun, or the world of the light male active element yang, the image of a living world of vanity, which is opposed to the shadow world, or the dark female passive element Yin, the kingdom of the dead."

Cao-zhou Region, Nan-hua County- 19th prov. Shan-tung.

Nai-hae- 20 the river of blood in which sinners dwell in hell.

The Golden Bridge over Gai-he 21 is designed for the passage of the righteous.

Mountain of Broken coins - 22 According to qian shan.

The city of the innocently slain (wang-si-cheng) is 23rd region of the underworld, where the souls of the innocently slain stay until the deadline.

Youths - 24 messengers of Yan-lo.

25 Translated from Jin, Ping, and Mei ts'i hua, vol. 3, p. 647. The previous version of the translation of this ode was published in the unfinished Russian-language edition "Jin, Ping, Mei" (Jin. Pin, Mei, or Plum blossoms in a golden vase. Irkutsk, 1994, vol. 3, p. 272).

26 Just a small fish was specially turned into a catfish by the translator for the sake of consonance with the word "straw".

Tsang-lan is the ancient name of the Han-shui River, or Xia-shui, mentioned in classical treatises and associated, first of all, with the work of Qu Yuan "The Fisherman Father" included in the collection "Chu Stanzas", where this name is associated with the image of hermithood and purification.

28 Chinese classical Poetry, pp. 8-9.

Konrad N. I. 29 Unpublished works. Letters, Moscow, 1996, p. 307.

30 For more information about the features of the Chinese rhyming system, see: Kravtsova M. E. Poeziya drevnego Kitay. St. Petersburg, 1994; Chisty potok. Poetry of the Tang era / Trans. Menshikova L. N. St. Petersburg, 2001.

31 Clean stream. p. 21.

32 Shi Jing, III, I, 3, 3. I am not a translator of Shi jing, but I have translated only some passages because they are quoted in the historical odes of Zhang Heng that I am currently working on. This line is quoted in the stk. 163 " Odes to the Eastern Throne "(Dong ching fu). The translation is based on the same publications as the translation of "Ode to the Western Throne" (see note. 8) and clarified by the publication of Shi Jing (Mao shi zheng yi-The correct meaning of the" [Canon] of Poems " by Mao) / / Shi san jing zhu shu (Thirteen-canon with comments and interpretations). Peking, 1957. Vol. 4/8. Tsz. 16(2) / 50. L. I. S. 1323. Translated by A. A. Shtukin, this ode is called "Ode on the Migration of the Zhou tribe" (Shijing. The Book of Songs and hymns / Translated by A.M. Shtukina, 1987. pp. 222-224).

33 Clean stream. p. 18.

34 The translation is based on the publications listed in the note. 8 and Liang Han wen xue shi ... Fully published in the Literary Almanac "Orpheus" 2001. N 1. Pp. 53-64. Cf. other translations into Russian (From Chinese classical poetry. Jia I. Zhang Heng, Sun Cho, and Tao Qian. Torchinova E. A. / / Petersburg Oriental Studies. 1992. Issue 1. p. 228]; into German (Zach, Erwin von. Op. cit. S. 229, etc.) and into English (Wen Xuan or Selections of Refined Literature. Prinston, 1996. V. 3. P. 138-143) languages.

35 Translated from Bo Xingjian. Tian di yin yang jiao huan da le fu iz (Ode to the Great Joy of the love plexus of Heaven and Earth, Shadow and Light) / / Zhong-guo fang-shi yang-sheng ji yao (Collection of books on Chinese erotology and [teaching] about nurturing life). Beijing, 1991. pp. 254-282. The full text of this ode has not been published.

36 Translated from the Jin Publishing House. Ping, Mei ci hua, vol. 5, pp. 1244-1245. See another edition of the translation: Plum Blossoms. Chinese Love Lyrics / Trans. Gorodetskoy O. M., 2000, pp. 228-230.

37 Er shi u shi. p. 236.

38 Both poems were translated from: Quan shang-gu, San-dai, Qin, Han, San-guo, Liuchao wen (Complete ancient texts of Three epochs, Qin, Han, Three Kingdoms and Six Dynasties) / Comp. Yang Ke-jun (1762-1843). Shanghai, 1948. Vol. 1. Tsz. 54. pp. 770-771. Previously published (Gorodetskaya O. M. From the hieroglyph to the word, pp. 200-202).

The crossbar of the Sun (Heng-yang) is a locality in the modern prov. Hu-nan.

A pair of firebirds - 40 pairs of mythical phoenixes - yellow (yuan) and five-colored with a predominance of red or green feathers (luan). They, like sublime rhymes, are contrasted with the ordinariness of chickens and mallards.

Sha-wei, bi-bi (bai) - 41 semantic phrases also contain onomatopoeia of beaks clicking on empty husks from grains.

Heels (wei wu) - 42 letters: "create [groups of] five". According to the" Zhou rituals " (Zhou li), the main military units were five soldiers (wu), who were united by five in columns (han) of 25 people each, in turn, they were also united by five, etc.

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43 Comparing the speed of years flickering with the flight of migrating geese is a standard metaphor in Chinese poetry. Without being expressed directly, in my opinion, it is still present.

Бо Цюй-и. 44 Lyrica / Trans. Eidlina L. M., 1965; same name. Poems / Trans. Eidlina L. M., 1978; same name. Quatrains / Trans. Eidlina L. M., 1951; Chinese classical poetry / Trans. Eidlina L. M., 1984; Poetry of the Tang era, Moscow, 1987; Poets of China and Vietnam / Trans. Eidlina L. M., 1986; Tao Yuanming. Poems / Trans. Eidlina L. M., 1972; Eidlin L. Tao Yuan-ming and his poems. Minsk. 1994.

45 Shijing / Translated by A. A. Shtukin.

46 Chinese landscape lyrics of the III-XIV centuries, Moscow, 1984.

Wang Wei. 47 Poems / Translated by Gitovich A.M., 1959; Du Fu. Lyrica / Translated by Gitovich A.M., 1967; on. Poems/Trans. Gitovich A.M., 1955; Li Bo. Selected lyrics/Trans. Gitovich A.M., 1957; Poetry of the Tang era, Moscow, 1987; Qu Yuan. Poems, Moscow, 1954.

48 Distant echo. Anthology of Chinese Lyrics (VII-IX centuries) / Translated by Yu. K. Shutsky, St. Petersburg, 2000.

49 Yuefu. From ancient Chinese songs / Trans. Bakhtina B. B. M., 1959.

50 Chinese landscape lyrics of the III-XIV centuries, Moscow, 1984; Li Qing-zhao. Stanzas from faceted jasper / Trans. Basmanova M. M., 1974; Lu Xin. Collected Works in four volumes, vol. 1; Lu Yu / Trans. Golubeva I., Moscow, 1960; Sky Bridge. The poetry of Gao Qi (1336-1374) / Trans. Smirnova I. St. Petersburg, 2000; Cloud Monastery. Poetry of the Sun Era, St. Petersburg, 2000; Poetry of the Tan era, Moscow, 1987; Transparent Shadow. Poeziya epokhi Ming [Poetry of the Ming Era]. Smirnova I. St. Petersburg, 2000; Svetly istochnik. Medieval Poetry of China, Korea, and Vietnam, Moscow, 1989; Xin Qiji. Poems / Trans. Basmanova M. M., 1985; Lines of love and sadness. Poems of Chinese poetesses / Trans. Basmanova M. M., 1986; Su Dong-po. Poems, melodies, poems / Trans. Golubeva I. M., 1975; Cao Zhi. Seven Sorrows / Translated by L. M. Cherkassky, 1973.

51 Poetry of the Tang era; Light spring; Qu Yuan.

Kudrya D. 52 Chinese stanzas / / Orpheus. 2001. N 1. pp. 84-85.

Pound E. 53 The Middle Kingdom. Poems based on classical Chinese poetry / Translated from English. Kistyakovsky A. Will enter, art. and note. Malyavina V. V. / / Vostok-Zapad, Moscow, 1982, p. 248.

54 Wen Xuan or Selections of Refined Literature. V. 1 - 3.

55 Wen xuan, Tsz. 3. At present, I have not completed the translation of this ode-epic, but it is being carried out according to the editions listed in Note 8.

56 Cf. on the commented edition of Shi Jing (Mao shi zheng yi). Vol. 3/7. Tsz. 11(1) / 36. L. 3. P. 911; Vol. 6/10. Tsz. 19(3)/35. L. 7. P. 1778; and also with the translation by Shtukin A. A. Shijing. P. 149, 286.

Graham A. C. 57 Poems of the Late T'ang. Introduction. L., 1965. P. 13.

Alekseev V. M. 58 Decree. op. P. 67.

59 Ibid., pp. 67-68.

Pound E. 60 Edict. op. p. 256.

61 Translated by me from the non-commented edition of Quan shang-gu, San-dai, Qin, Han, San-guo, Liu-chao wen. Vol. 1. p. 770.

62 See Chuang tzu ji jie ("[Treatise] Teachers of Zhuang" with a collection of interpretations) / / Zhu zi ji cheng ("Corpus of Philosophical Classics")- Peking, 1956. Vol. III. p. 111; see Russian translations: Pozdneeva L. D. Atheists, materialists, dialectics of ancient China. Moscow, 1967. pp. 223-224; Malyavin V. V. Chuang-tzu. Le-tzu, Moscow, 1995, pp. 170-171.

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