Text preparation and comments Elena Glukhova(Moscow) and Fyodor Polyakov(Vein). Foreword Fyodor Polyakov.

The appeal to Dante's poetry permeates Ellis's creative path for almost four decades, confirming his fidelity to his youthful vow expressed in 1907 in a letter to Alexander Blok: “nothing will shake my steely determination to serve the incarnate Beauty to the end,<…>that face Beatrice which is only among the stars." In his declining years, he will write to Dmitry Merezhkovsky that “Life without hearing-seeing “Parsifal’ya” is as incomplete as life without revealing “God<ественной>Comedy" Dante<…>» .

The "Dante" constant of Ellis's creativity led to the creation of a special, stable mythopoetic series. Already in his early years, Ellis finds in Dante, according to an entry in his diary in 1905, a comprehensive (i.e. beyond literary) “positive and infinite ideal”, and at the same time he formulates the rule of his intimate spiritual contemplation: “Beatrice, as the highest symbol , there is something about which never should not speak, but always reflect and feel this symbol incessantly» (Ellis 2003: 343, 347, etc. [Ellis' italics]; see also: Lavrov 1981: 284, note 13).

The name Dante is included in the associative circle of Christian symbols that determined the religious worldview of Ellis. In one of his letters to E. Medtner from 1908, he reported: “For me, there is no Christianity without romanticism, without Dante, the legend of the Grail, without Elizabeth’s tears over Tannhäuser, without Gothic, without the cult of the Madonna<…>» . Here arises the association of Dante with Wagner, which became central in the post-Moscow period of Ellis's life.

The figure of Dante, linking eras and present in modern times, outside the cultural context in the mind of Ellis is sometimes endowed with a special magical property. In a letter dated September 19, 1913 to N.P. Kiselev Ellis, who left his native city, suggests that Kiselev, who remains in Moscow, use the words with which in Elysia the spirit of Anchises welcomes his son Aeneas, who is among the living (Dante, paradiso XV, 28-30):

“After the evening prayer, repeat the terzin<у>from Dante, if you want to be with me:

“o sanguis meus, o super infusa
Gratia Dei, sicut tibi, cui
Bis unquam Coeli janua reclusa?”

The Dante code is also used by Ellis for his own figurative-conceptual apparatus. Thus, in his correspondence with Blok, he reinterprets The Beautiful Lady in terms of a mystical interpretation of the Dante cosmos:

“Your “Beautiful Lady” for me, if not Beata Beatrix, then Matilda from Dante’s “Purgatory”, which plunges him into Oblivion, forcing him to forget everything earthly, and prepares his soul and body for the vision of Beatrice! In your poems about the Beautiful Lady - there is something true medieval… Can a modern soul pray to the images of the Middle Ages?.. Yes! It is worth revisiting the paintings of Gabriel Rosetti for this. !»

The same "Dante" configuration of images is used by Ellis to designate the substratum that also influenced the appearance of Blok's Beautiful Lady, namely the mystical experience of Vladimir Solovyov. About the vision of Eternal Femininity during Solovyov's second "date" Ellis later writes:

«<…>sie erschien ihm als “ewige Freundin”, verborgene Führerin (seine Beata Beatrix)

[<…>she appeared to him as an “eternal friend”, a hidden guide (his Beata Beatrix)]” .

Parallel to the literary sphere, Ellis extends this mystical association with the symbol of Beatrice to the function of scholasticism in the religious worldview of the Middle Ages: "<схоластика>

appeared as the embodiment of supernatural wisdom, as a reward for centuries of aspirations, deeds and prayers; She appeared to her servants and knights in the form of Beatrice, that is, Grace itself, her last secret was the Empyrean Rose, the heavenly unity of hierarchies and the direct knowledge and mystical touch of the Trinity; her path was a living and integral dual unity of faith and knowledge, but the hierarchism between them was strictly established.

The statement expressed in a letter to Blok dated the end of January 1907 about the isomorphism of Blok's poetry to medieval cult symbolism is repeated in Ellis's generalizing work to characterize the genesis of Blok's poetics (among the components of which the name Dante naturally appears):

“Among the followers of the new direction, Alexander Blok came forward, following Andrei Bely, who enclosed in refined forms of tenderly symbolic lyrics mystical contemplations directly coming from the lyrics of Vladimir Solovyov, and romantic motifs adjacent to that form of the cult of Eternal Femininity, which found its purest and a strict manifestation in the adoration of the Madonna, in the sonnets of Dante and Petrarch, and today a timid continuation in the early, youthful melodies of Rodenbach.

However, in the treatise Vigilemus!, in which the harshness of the assessments was determined by the polemical context of the book (Lavrov 2014), Ellis formulates his idea of ​​the relationship between Blok’s lyrics and the medieval Catholic ideal somewhat differently, introducing the motifs of “mistakes”, “forgetting”, which threaten to contaminate the two hierarchically different spheres:

“Alien to everything modern, the too directly feminine lyrics of Alexander Blok easily betray in him the soul of the late Middle Ages, the minstrel of the Blessed Virgin, who is the “Lady in the Golden Crown”, the Beautiful Lady, seducing Paradise, dooming her servants to death and redemption. Isn’t the old mistake of the troubadours repeated here, who forgot the teaching about the Cross as the key of Paradise, who confused with the vision of the Most Pure Virgin the vision of immeasurably lower Good Spirits, the vision of their Guardian Angel or one of the departed souls?

A similar association is used by Ellis almost two decades later in the preface to his last collection, Cross and Lyre (1938; cited in manuscript):

“The mystical lyrics of the “symbolists” A. Bely and A. Blok, based on the peculiar experience of the sophianic mysticism of Vl. Solovyov and refined erotic motifs, was an involuntary reproduction on Russian soil of the main antinomy of the medieval Minnesang’a and the cult of Femininity (service to the Lady) of the troubadours between the “heavenly” ( gottliche) and “terrestrial” ( weltliche) love ( minne).

“Poems about the Beautiful Lady” by A. Blok (as well as his drama “The Cross and the Rose”) and “Gold in Azure” and especially the “Northern Symphony” by A. Bely are especially characteristic in this respect.

In an essay on the development of Russian lyrics, designed for a German-speaking audience (completed in 1947, shortly before his death), Ellis returns to the motif of the hierarchical shift of Blok's lyrics - "a truly medieval mixture of the so-called" heavenly "and" earthly "love, the ideal" Ave " and “Eva”” (“der echtmittelalterlichen Vermischung von sogenannter “göttlicher mine” und “weltlicher Minne”, des Ideals “Ave” mit “Eva””) (Poljakov 2000: 117). Here, Ellis's observation about the confusion of hierarchical levels is devoid of polemical direction. This could be caused by the idea that in this case, too, the modern poet, albeit instinctively, “involuntarily”, but repeats the path of the poet-singer of the Western European Middle Ages. However, in the 1913 article "The Teacher of Faith", which opens the "Danteana" section in the journal "Works and Days", the consequences of such contamination (with the mention of Novalis and Blok), in particular, say:

«<…>and modern artistic symbolism, in A. Blok reaching the formula: “Maria = Mary”, is obviously hopelessly far away and, beyond any comparison, is low when compared with poem of faith Florentine Eagle".

When translating, Dante Ellis sought to find lexical means that would allow avoiding ambiguity in the transfer of sacred concepts by traditional poetic clichés. However, such a task often turned out to be impossible (see, for example, No. 1). The translation strategy was aimed at separating the figurative layer of pagan carnal erotica from Dante's system of ideas by highlighting Christian symbolism (see: Wachtel 2008: 172–175). How sharp was Ellis's rejection of the rapprochement of these spheres, can be seen from his reaction to Gumilyov's line "To all the gardens of the Madonna and Cyprida / He will not exchange memories" in a letter to Vyach. Ivanov dated May 1910; this line only deepened Ellis's suspicions of Ivanov's duality and his play with "sacred and last things" (Ellis 2003a: 381–384, no. 2).

Publishing his article on the religious nature of Dante's work in 1914 (i.e., already after his disappointment in anthroposophy and painful departure from Steiner), Ellis points out that the thoughts expressed in it are connected with his plan for a large work, Dante's Divine Comedy as a Christian mystery” (Ellis 2000: 229, note 1). However, this study was not completed due to the collaboration between Ellis and Johanna van der Moylen. Without touching here on her mystical teachings, which absorbed the experience of the religious quest of the Silver Age, we note that Ellis for many years becomes a propagandist for van der Moylen's books, published under the pseudonym Intermediarius. The semantics of the alias is transparent; he had to express the function of mediation, suppression of his own authorial principle (see Junggren 2009: 813), in the words of Ellis in his exegetical work (Kobilinski-Ellis 1929) - "überpersönlich auftretend" ("speaking transpersonally"). We have in our collection a 1929 copy of this book, owned by Ellis or van der Moylen; it was found in their home in Locarno after it was sold by the Dutch heirs, and in 2002 was presented to us by its then owner. On the title page of the book, part of the title "Nach der Lehre des Intermediarius" was sealed with a paper strip. The same feature is found in the copy of the translator Reinhold von Walter, with a dedication inscription by Ellis. Thus, randomness is excluded here. We believe that such proofreading, as a result of which the degree of Ellis's conceptual independence increases, also, apparently, expressed the desire of van der Moylen, after the publication of the book, to emphasize his special, mystically determined role of an intermediary - outside the usual ideas about the generation of the text by the author.

The beginning of cooperation dates back to 1914, when van der Meulen's article "On the Planetary Spheres of Dante's Paradise in the Light of Astrosophy" was sent to the editors of Musaget, which was soon published (Meulen 1916). The manuscript of the article has been preserved in the Musaget archive. Text transcribed by Ellis's hand; when editing, a pencil mark was made on the first page: “Danteana” (in connection with its inclusion in the corresponding section of the issue) and an indication: “(translation from the German manuscript)”, which was later crossed out and corrected to: “from the Dutch according to the manuscript”. Since Ellis' knowledge of Dutch is doubtful, it seems to us that the translation was nevertheless made from German - from the language in which he communicated with van der Moylen and in which she subsequently wrote down her Four Books of the Intermediarius. The publication reflected Ellis's plans to involve van der Moylen (mentioned in the correspondence at the time under her married name - Pullman) to participate in the Musageta program, which he developed in a letter to N.P. Kiselyov dated December 13, 1913:

"Mor<ально>-religious, esoteric center is needed and it will be. He already is! In the future, it is possible to receive grace-filled help through Johanna. Much here depends on you, as the only link between us (Ellis + Pullman) and Russia. Her forthcoming book will show the endless possibilities for such a center and indirectly for “Mus<аге>ta”.<…>then we will move one of the small works of Pullman under a strict pseudonym in the spirit of the old and chris<тианс>com about Lucifer. Shut up about the last one. It has already been translated and is ready for me.”

In the exegesis of the teachings of the Intermediarius, to which Ellis devoted a separate exposition, the name of Dante occurs repeatedly (Kobilinski-Ellis 1929: 12, 20, 31, 79, 103, etc.). The ideas he formulated here about the path and meaning of Dante are included in the interpretation based on the postulate of the Christian Sophian tradition. This line is contrasted by Ellis with a circle of teachings rejected as "reflexes of false magical wisdom, the sworn enemy of Christianity" ("<…>zu den Reflexen der falschen magischen Weisheit, des Erzfeindes des Christentums"), which "now continues its struggle under the guise of occultism (theo-, anthropo- and pansophia)" ("führt jetzt als Okkultismus (Theo-, Anthropound Pansophie) seinen Kampf weiter ”) (Kobilinski-Ellis 1929: 22). He offers a scheme for the development of Western European culture, according to which Dante embodied its stage when it is permeated with Christianity, while Goethe is characterized by a distance from Christianity, and for Wagner - a return to the symbolism of the Christian mystical tradition (Kobilinski-Ellis 1929: 20). Among the textbooks cited for the study of Dante, in connection with the religious quests of his time, the book of the prelate Franz Hettinger (1819–1890), Würzburg professor of theology (Hettinger 1889) is sympathetically mentioned. The approach that distinguishes van der Moylen's books is consistent with Ellis's earlier convictions about the insufficiency of Dante's aesthetic or literary analysis, his emphasis on the importance of mystical experience and the symbolic nature of Dante's language (Kobilinski-Ellis 1929: 12, Anm. 1):

“Es ist eine bittere Ironie des Schicksals, daß das Hauptwerk Dantes niemals ganz verstanden wurde, obwohl es eine ganze Literatur hervorrufen sollte. “Divina commedia” ist eine poetisch-symbolische Darstellung des wirklich-erlebten, visionären Initiationsweges Dantes. Beatrice ist seine höhere, verklärte Seele (anima beata), die sein gefallenes “Ich” zur reinigung (Purgatorio), Verklärung (Paradiso), Erleuchtung und Wiedervereinigung mit der Alleinheit des himmlichen, vollkomnen Seins (rosa mystica) führt.<…>”

[“It is a bitter irony that Dante’s main work has never been fully understood, although it has generated a vast literature. "Divina commedia" is a poetic-symbolic depiction of the truly experienced, visionary path of Dante's initiation. Beatrice- his elevated, transfigured soul (anima beata), which leads his fallen "I" to purification (Purgatorio<“Чистилище”>), transformation (Paradiso<“Рай”>), revelation and reunion with the All-Unity of heavenly, perfect being (Rosa mystica).<…>»]

The significance of the work on the exegesis of the books of the Intermediarius for Ellis himself can be judged from his remark in a late 1935 letter to his friend, poet and publisher Richard Knies (private collection):

“Überhaupt nur jetzt nach dem Erscheinen der 4 Werke des Intermediarius zum ersten mal kann man auch Dante richtig verstehen und erklären. Die Inspiration des Intermediarius stammt aus derselben Quelle. Das ist<die> Hauptsache, jedoch blieb Intermediarius von jede Art der Subjektivität und Willkühr<Willkur> ganz frei.

[“In general, only now, after the appearance of the four works of the Intermediarius, it is possible for the first time to correctly understand and explain Dante as well. The inspiration of the Intermediarius comes from the same source. This is the most important thing, but the Intermediarius remained completely free from any kind of subjectivity and arbitrariness.]

The idea of ​​the deep commonality of the semantic plan of The Divine Comedy and Parsifal (“Both creations are about the same in essence”) and their genesis (“The main secret and the original inspirational-mystical source are the same”) is contained in Ellis’s letter to D.S. . Merezhkovsky in Rome (1936), in which Ellis encouraged his correspondent to turn to a comparative study of both works. It can be assumed that from Ellis's position, the result of his many years of research on Dante allowed him to reveal the hidden elements of a single symbolic tradition in the context of Western European Christian culture and the religious and ideological unity of Dante and Wagner.

In our publication, on the basis of archival sources, the early stage of Ellis's work on the translation of Dante's Vita Nuova (hereinafter - VN) is considered. We provide translations of the sonnets, which in the initial version were not intended for publication by Ellis, and then were partially prepared for publication by N.P. Kiselev as part of Ellis's first collection of poems "Stigmata", but at the last moment they were withdrawn from the layout and did not receive distribution, although they could become known in the circles of Moscow symbolists.

As mentioned in Ellis's letter to Alexei Sidorov below, he turned to the VN translation "6 years ago". Since this letter was written shortly before Ellis's departure from Moscow (where, according to the final phrase of the note, he intended to return), it is most likely that the year 1905 is meant. As we learn from the same source, Ellis translated from French. Note that it was then that the new French translation VN (Dante 1905) was published; what edition Ellis could use in Moscow has not yet been established.

P. Davidson's study mentions two later evidence of VN translation (Davidson 1989: 232, 297 n. 8). This is, firstly, a phrase from Ellis's letter to E.K. Medtner (March 1907), in which, when discussing a possible publishing program for Musageta, he mentions:

« Dante(I have already translated 1/2 of “La vita nuova”), ancient classics, erotica and tragedics, where Seryozha Solovyov can work. Now german romanticism(I adore him)" .

Secondly, this is information in the edition of Baudelaire, published by the publishing house "Zarathustra" (Baudelaire 1908), about the forthcoming translations and poems of Ellis. Among them are Baudelaire's Poems in Prose (published in Musagete two years later, in 1910), Dante's Vita Nuova, and the collection Stigmata (sic, title given in Latin when published, also published by Musaget, but after the author's departure from Moscow; Ellis 1911). Both accounts show that throughout 1907 and 1908 Ellis was translating the VN and progressed to the point where he could announce its publication.

The autograph of the Ellis translations published below is stored in the Manuscripts Department of the State Museum of Fine Arts. A.S. Pushkin (Moscow) [OR Pushkin Museum] in the fund of art critic, book historian and collector Alexei Alekseevich Sidorov (1891–1978) . Ellis's materials in Sidorov's fund are not numerous, and it can be assumed that they were sent or handed over to him personally on the eve of Ellis's departure from Moscow (September 18, 1911; cf. Lavrov 2007: 509). A 96-page notebook in a black calico binding has traces of being put in an envelope; one of the last pages contains Ellis's explanatory note to Sidorov:

“Dear A.A.!
I give you the fragments and outline of the commentary on Dante's Vita Nova, which I made 6 years ago.
Although it is made from a French translation and cannot be printed, b<ыть>m<ожет>it will be useful for reading in a circle.
Ellis.
Save them until my return."

Ellis's acquaintance with Sidorov dates back to the period of the formation of youth circles at the publishing house "Musaget" ("Young Musaget"); in 1912 Medtner referred to him as "student Sidorov" (Lavrov 2007: 511). In 1910–1911, Ellis taught symbolism there (Polyakov 2009: 578–579).

The flyleaf contains a note about the intended content of the book, which, along with the VN translation, Ellis planned to include the following texts:

Translator's dedication
Foreword by Ellis
poems<орение>Ellis "I was d<евять>…»
Sonnet Rosetti
——Wilde
Text
_______ Comment

The title page of the notebook contains the following entry (see ill. 1):

Dante Alighieri
New life
La vita nuova

Ellis translation
with a preface

ill. 1. Title page of the VN translation (OR Pushkin Museum [C])

Most of the notebook is occupied by a record of the VN translation, extensive gaps are left in the text for the subsequent insertion of the translated sonnets; the text of the translation contains practically no edits and is made in a firm handwriting. The sonnets are attached separately, on 19 sheets of paper; the format of 15 sheets is the same - they are written on unlined notebook-sized paper, with corrections made. The newly discovered, first edition of the translation in this list is the only identified source for most of the sonnets (Nos. 2, 4–14, 16, 17, 19). The other four sonnets (No. 1, 3, 15, 18) are written, unlike the others, on the same lined A4 paper and folded together. It was the translations of these four sonnets that turned out to be among the materials of Ellis in the Musageta fund - Ellis planned to include them in his first collection Stigmata, therefore they were preserved in three versions - the earliest in the Sidorov fund and two subsequent ones - in the papers of the publisher, namely in the typescript and proofs of the collection, but, as already mentioned, at the last moment they were excluded from its composition and were not included in the printed edition.

It should be noted that in the collection Immorteli (Part II; 1904; EI [list of abbreviations see below, p. 195]), as well as in translations of sonnets from VN intended for publication as part of the collection Stigmata (M-6 and M-7), in several articles by Ellis (НН, pp. 9, 23, 48), as in Notebook C, Dante's work is called “Vita Nuova” (see also ill. 1). So, for example, in M-7 (fol. 2), it is written in ink by Ellis: “From “Vita nuova” by Dante Alighieri.”

In the printed edition of Stigmata (Ellis 1911: 129), the title of the poem is “On Dante's Vita Nova. From O. Wilde" contains the Latin form Nova, although the original is called “Vita Nuova” (“I stood by the unvintageable sea…”). However, in the typeset copy (NIOR RSL. F. 190.37.2. L. 83), Ellis uses the form Nuova. The edit was made by N.P. Kiselev; he also made for Ellis an interlinear translation of Wilde's sonnet, indicating in brackets his name as a translator.

Abbreviations:

Manuscript sources:

M-6= Research Department of Manuscripts of the Russian State Library (NIOR RSL, Moscow). F. 190 (Book publishing house "Musaget"). Cardboard 37, unit ridge 6: ““Stigmata” - Poems not included in the collection”; proof copy with author's corrections (translations of sonnets and canzones).

M-7= NIOR RSL. There, ed. ridge 7: "Stigmata", translations excluded from the collection at the proofreading stage (typescript, autographs, a page with a printed translation of the canzone from "Immortels").

With= Department of Manuscripts of the State Museum of Fine Arts. A. S. Pushkin (OR Pushkin Museum, Moscow). F. 52 (A. A. Sidorov). Op. II, section II, sg. ridge 113, l. 55–74.

Printed sources:

HH= Ellis 2000.

EI= Ellis 1904.

ES= Ellis 1996.

To everyone who reads my fiery sonnet at least once,
To all who knew how to love with an enthusiastic soul,
And to all who recognize the power of Love over themselves,
In the name of the terrible Lord, I send greetings!

It was already the fourth hour, the beam of planets was clear,
And the God of love suddenly appeared before me,
I only remember the formidable face, a confused dream
I'm all trembling now, even though there is no alien here.

The God of love was cheerful, and, squeezing his hand,
He carried my heart, but gently hugged
He is a donna sleeping under a light veil.

He woke her up, then gave her a taste
From my heart with trembling lips
Donna tasted, God, sobbing, suddenly disappeared.

Original: VN, cap. III, son. I "A ciascun'alma presa e gentil core..."

M-6, publ. in: HH, with. 453.
Art. nine With a clenched hand / M-7 perv.: squeezing his hand / correct.: holding with your hand / M-6 as M-7
Art. fourteen With God, sobbing, suddenly disappeared / M-7 perv.: God, weeping, suddenly disappeared / correct: God, seeing it, wept / M-6 as M-7

O you who walk the dangerous path of love,
Bow down your ears, I'm the most unfortunate here,
The abode of all sorrows is now my soul,
Tell me, what can I compare with my terrible longing?!

The great god of love gave me a wonderful destiny,
All the bliss, all the delight I found in him loving,
How often have I heard the words around me,
“For what is he blissful, O God, he is all-partner?!”

And now where is everyone?! Treasures of love
That gave me courage and bliss,
And now I have become a beggar, ripening perfection!

Afraid to open my mouth, I hide my words,
Before the light, I, proud, pretending to be cheerful,
In my heart I burn, mourn, shed tears.

Original: VN, cap. VII, son. II "O voi che per via d'Amor passate..."

Art. 2 From here everyone is unhappy / perv.: became the most unhappy of all
Art. 3 Since now my soul / perv.: in my soul
Art. 3 From the Abode of all sorrows - now my soul / perv.: Heavier (of all sorrows), alas, my sadness,
Art. 6 With all the bliss, all the delight / perv.: All the bliss and delight
Art. ten With what exuded me / perv.: Source of joy
Art. fourteen I burn in my soul, mourn / perv.: In the soul, forgetting peace

Oh cry, cry all of you, to come out in tears,
Now the God of love himself drops streams of tears ...
Oh sweet donnas! he only inclines his ears to those
Who knew how to love, who awakens sorrow in the hearts!

Merciless death turned everything to dust,
Than a mortal wife both beckons and captivates,
But the glory of decay and death does not know,
Her sinless spirit soars in heaven.

And the God of love honored her with his presence,
Above the sweet donna, who died forever,
He pours tears, bending over the coffin with tenderness,

But the look of his eyes looks up, there,
To the bright abode of her heavenly soul,
That the bottom once appeared to us charming.

Original: VN, cap. VIII, son. III "Piangete, amanti, poi che piange Amore..."

Version identical to variant M-6(as amended in Art. 10), publ. in: HH, with. 455.
Art. 3 S O donnas are cute / M-7 first: Oh dear donnas / correct.: O gentle donnas / M-6 as M-7
Art. 3 With only those inclines / M-7 first: only inclines to those / correct. tends to / M-6 as M-7
Art. 6 With What is a mortal wife / (it was started: All that is in the same) / In var. M-6 word underlined in pencil mortal and entered on the field gentle . This gloss indicates that when preparing the translations for publication, N.P. Kiselev compared them with the original, and noted the inconsistency of the translation mortal wife to the Dante epithet “in gentil donna sovra de l'onore"(loc. cit., v. 8).
Art. nine C And the God of love honored her / M-7 perv.: And the God of love honored her / correct.: The God of love honored her / M-6 as M-7
Art. ten With Above the sweet bottom / M-7 perv .: Above the sweet bottom / correct.: Over the bottom gentle / M-6 as M-7 / HH: Above the bottom tenderness

O merciless death, not knowing compassion,
You have been the mother of sorrows since ancient times,
Inevitable, the source of bitter troubles,
And I curse you, exhausted from suffering.

I will proclaim your shameful deed,
O merciless one, let the whole world know
What is heavier than sin was not and is not,
I will kindle anger in the hearts, to whom love is food!

You took away the grace of love from mortals,
All that in a woman enchants and captivates,
When a high spirit in her youth adorns;

Does she need my timid praise?!
For all those who do not find eternal salvation,
Connecting with her is a futile aspiration!

Original: VN, cap. VIII, son. IV "Morte villana, di pietà nemica..."

Recently I was driving a sad road,
How again the god of love appeared before me,
And the pilgrim was wearing a miserable outfit,
He quietly wandered alone, sullen and mute.

Downcast mournful face, thoughtful and strict;
Sighing sadly, he walked his path,
Seeing no one in tears in front of me
Filled with burning, but secret anxiety...

Recognizing me, he whispered my name
And he said - "I came here from distant countries,
Where I languished my spirit in deep suffering...

Now, so that you again experience the delight of love,
I returned to you! ”... But I felt sorry for him,
And all of a sudden the vision disappeared.

Original: VN, cap. IX, son. V "Cavalcando l'altr'ier per un cammino..."

Art. 3 With a wretched outfit / perv.: the outfit is simple
Art. 4 With sullen and dumb / perv.: in thoughtfulness strict
Art. 5 With thoughtful and strict / perv.: powerless and miserable

Love is the subject of my thoughts and dreams,
Their motley swarm embraced me from all sides,
Then I'm inspired by an invigorating dream,
Then again, madly full of shudders.

That hope pours me oblivion of all suffering,
Then again a tearful groan is torn from the chest,
But they all whisper the same thing - “You are smitten with horror,
Bless our swarm even in the abyss of trials!”

And now I don't know what to do, what to say;
Obscurity and love depresses my mind,
In vain a weak spirit strains all the forces.

In one living chord all dreams agree;
Alas, I am all languishing from severe suffering,
I call the enemy for help, Compassion.

Original: VN, cap. XIII, son. VI “Tutti li miei pensier parlan d’amore…”. Ellis italics (v. 14).

Art. thirteen C from severe suffering / from burning suffering

Oh donna dear, with your girlfriends
More than once you were captivated, looking at my face, -
He contemplated You, Your beauty
Transformed, shone with unearthly rays!

Oh if you knew all the torment before them
Would not resist the spirit, I know, your gentle;
Only the God of Love will see me before You,
He reigns over my thoughts again,

One suddenly fades away, he drives away, destroying,
To reign alone in my confused soul,
So that, forgetting everything, I contemplate You,

And I am transformed, inspired by You,
But the thoughts of the exiled and the thoughts of the fearful swarm
Torments and torments my renewed spirit!

Original: VN, cap. XIV, son. VII "Con l'altre donne mia vista gabbate ..."

In manuscript With title: Sonnet (From “Vita nuova”)
Art. 3 With He contemplated You, Your beauty / var.: Transfigured by Your lofty beauty,
Art. 6 The spirit would not resist, I know / var.: could not resist, I know, the mind / var.: spirit

Everything in me goes out in a moment, everything in my heart freezes,
Only before me your image will suddenly shine,
Myself god of love seeing me before You,
"Run away from death as soon as possible!" calls...

My pale face burns with fire, like the blood of the heart,
I'm looking for support, around the grave hills,
And parted instantly before me
Cold marble walls, yelling - "He's dying!"

Even a drop of pity, and again I am firm in soul,
Alas, I suffer in vain before you!
You do not want to resurrect my lost spirit!

Already my eyes stared into the twilight of the grave,
I already bless Death with my soul!
And you, cruel, laugh at me!

Original: VN, cap. XV, son. VIII "Ciò, che m'incontra ne la mente, more...".
Ellis italics (v. 4).

Art. one Everything in me goes out in an instant / perv.: Everything suddenly goes out in me
Art. 2 With Only in front of me / perv.: Only in front of me
Art. 3 Run away rather / perv.: Run away from here
Art. nine With At least a drop of pity / perv.: Ray of Pity
Art. nine With and again I am firm in soul / perv.: and again I would become firm
Art. eleven C Do not want / started: Oh woe
Art. thirteen With Already I am Death / perv.: Blessing Death
Art. fourteen C A You, cruel, laugh / started: Alas, you are laughing,

I often think about how funny I am
The insidious god of love will give birth to embarrassment in me
Alas, I'm not alone, but all without exception
They will share my lot, such is the law of love!

My spirit is so deeply affected by her,
That I can die every moment...
Only about You alone the thought is immortal,
I live alone by You, my mind is captivated by You!

I strain my mind, and I gather with spirit,
To see You again, to be healed again...
I raise my eyes a little, I tremble, I burn, I am embarrassed,

And love trembles my mind and heart,
The timid gaze dims, suffering grows in the chest,
I fall to the ground without life, without breath.

Original: VN, cap. XVI, son. IX "Spesse fïate vegnomi a la mente..."

Art. 5 With so much of her / var.: her so fast
Art. 12 With and shudders the mind / perv.: and shudders the spirit
Art. thirteen With a timid look / perv.: timid look
Art. nine Falling without life / var.: falling without feeling

You are right, sage, - Love with a high soul -
One great and whole link,
When they are separated, they are destined to die,
As the heart is separated from us, the mind withers at times.

If your spirit is filled with a great dream,
Love reigns in it, and the right is given to it
For years long, is it one moment,
Doze in your soul, surrendering to peace ...

Love is revealed to us in Your living features,
Oh donna, I am captivated by your purity,
And the god of my love again owns the soul,

And he awakens in me desire instantly
Satisfy the greedy spirit in silent admiration,
In your soul to find a reciprocal aspiration.

Original: VN, cap. XX, son. X "Amore e 'l cor gentil sono una cosa..."

Inscribed in pencil in the upper right corner above the poem: Plato
Art. 4 Wither in us / perv.: perishes in us / var.: How the wise mind withers, if it is separated from the dream
Art. nine With in Your features alive / perv.: in Her living features
Art. ten C O donna, / perv.: Oh donna clean
Art. 12-13 And he awakens in me desire in an instant / perv.: And desire awakens in the soul in an instant / started: to possess you

In Her eyes - Love, a single look of eyes,
And everything around is full of high value,
Where She walks, all eyes are in amazement
They stare at Her, their hearts tremble before Her.

Before Her, bowing her head, and paler than marble,
You are full of joy in that terrible moment,
Humbles pride, anger is one of Your manifestations,
Oh dear donnas, send your greetings to Her ...

And in a moment all tender dreams will speak,
All timid thoughts rise in my soul,
He will taste bliss, forget all suffering.

Who will see the bright face ... Alas, vain work, -
Capture that face, illuminated by a smile,
I see a bright beam of miracles in it, touched!

Original: VN, cap. XXI, son. XI "Ne li occhi porta la mia donna Amore ...". Ellis italics (v. 14).

Art. 5 With Before Her / perv.: When before Her

"Where are you from? Your eyes full of sadness
Lowered to the ground, it hurts my heart to squeeze,
And the pale color of the forehead more than once betrayed,
Secret unrest that tormented the heart!

You glorious donna I know contemplated
A stream of hot tears poured over the bright face,
And the formidable god of love tore her heart! ..
Your poses have already told me everything without words!

Oh sweet donnas! Kohl your sad look
I saw her longing and full of compassion,
Stay here with me and let me be told

Silent lips, what are Her sufferings about! ..
Sorrow has changed you, you are so many bitter tears
They plucked from the eyes that my question is terrible!

Original: VN, cap. XXII, son. XII "Voi, che portate la sembianza umíle...". Ellis italics (v. 4).

Art. ten Full of compassion / perv.: full of regret
Art. 12 From her suffering / perv.: Her languor

Who are you? Aren't you high speeches to us
That donna * dear so often praised,
Your voice, like a long time familiar, sounded,
But your appearance, alas, is so changed by sorrows.

What are you crying about? Copious tears
You called for the sympathy of the whole world ...
You may have seen a mournful donna,
And to hide involuntary tears is not powerful to us!

We shed tears too! She is the words of love
With streams of bitter tears poured into one stream,
All consolations in our heart cursed!

And on her features I trace my sadness
Imprinted so that the gaze of the eyes is one
For us it would be a sad end!

* Beatrice (approx. Ellis)

Original: VN, cap. XXII, son. XIII “Se’ tu colui c’ hai trattato sovente…”

Art. 2 With sweetheart / perv.: glorious

And again the ardor of love in my soul woke up
And again the god of Love appeared before me,
I did not recognize him, he is my native land,
Beaming with joy, he returned from distant lands.

“Give me honor!”... he said, smiled, -
And every word laughed at me...
I hesitated before him, but my involuntary gaze
I leaned on Him, and shuddered in my heart, -

Two gentle donnas walked towards me,
And I instantly recognized Vanna and Scourge in them,
Two miracles I saw with tender soul,

And the god of love whispered (I remember it quite), -
“That one is called Primavera, and the other
Love itself, reminding me in everything.

Original: VN, cap. XXIV, son. XIV "Io mi sentí' svegliar dentro lo core..."

Art. one With And again the ardor of love / perv.: And again the Spirit ( var.: spirit) of love
Art. 3 With him to the land of my dear / perv.: lively in carelessness
Art. 4 With beaming joy, returned from distant lands / started: he is from distant countries
Art. 7 With in front of him, but his involuntary gaze / options: a. then suddenly my eyes fixed; b. but then my gaze rushed
Art. eight With and heart shuddered / perv.: and my spirit trembled
Art. nine With two gentle donnas walked towards me / perv.: Two wonderful donnas (to me) walked towards
Art. ten S I Bath with Beach / perv.: In them a bath with whips

When You, pure, with a smile on your lips
You greet me as beautiful as a vision
My tongue goes numb, fear squeezes my heart,
And everything freezes in silent admiration.

In veils of modesty, as in pure vestments,
You are walking by, praise in all eyes,
It seems to us a miracle at that moment Your appearance
And You are the messenger of heaven in the earthly regions.

For all those who look up to You with admiration,
Inexplicable bliss radiates
Your immaculate gaze; radiant Paradise is opened,

Your breath is full of love
And every heart reveres you,
Listening tremulously: "Be silent and sigh!"

Original: VN, cap. XXVI, son. XV "Tanto gentile e tanto onesta pare..."

Version identical to (sic) variant M-6, publ. in: HH, with. 452.

In M-6 corrected: perv.: Sonnet VIII - fixed.: Sonnet XV.
Art. 1 C pure, with a smile on his lips / perv.: pure, beautiful Vision / M-7 and M-6 as With
Art. 2 C hello, beautiful as a vision / perv.: welcome, with a smile on your lips / M-7 and M-6 as With
Art. 3 C My tongue goes numb / perv.: The tongue is silent
Art. 4 C in the voiceless / perv.: in the silent
Art. 7 C It seems like a miracle to us M-7 perv.: It seems to us a miracle / correct.: And it seems like a miracle / M-6 as M-7
Art. 9 C, M-7 For all those who look up to You with admiration / From the first.: enthusiastically welcomes / M-7 correct.: For everyone whose gaze meets You enthusiastically / M-6 as M-7

To whom among her friends she shines,
That perfection mature, he was alive in paradise
Bless the Creator with your soul, your destiny,
When she shares a conversation with you,

In that heart did not know painful envy?
Who is the beauty of her healing stream
Drinking, I walked among the beautiful donnas, whose
The chest adorns tender love and valor.

Everything will fall before Her, and Her beauty
In her Soul, delight and happiness awakens,
And illuminates all who look at her,

And every step she involuntarily manifests
So much valor that the thought of it alone
As every breath of love is full of joy.

Original: VN, cap. XXVI, son. XVI "Vede perfettamente onne salute...". Ellis italics (v. 2).

Art. one With shining / perv.: shone
Art. 3 C Bless the Creator with your soul / perv.: As if sending praises in the soul
Art. 4 C When / perv.: Kohl
Art. 4 C shares / perv.: divided
Art. 5 C did not know / perv.: does not know
Art. 12 With involuntarily manifests / perv.: shows so much
Art. thirteen With the thought of her alone / perv.: one thought

O pure hearts, I long for compassion,
After a sigh breaks a sigh and tears from the eyes
May you not become Sorrow my grave,
There is no consolation for me from bitter suffering! ...

The tired gaze drooped ... Vain suffering, -
In streams of tears, pour out the torment of all sorrow,
And relieve the soul from the burden of sorrows! ..
And all her calls are incessant sobs! ..

Her immortal light in the sky illuminates,
Where the immaculate spirit found shelter...
Votshe my bitter groan that donna calls

My mouth and the world curse life in general,
I'm left here alone, I'm left here
The one who for me was bliss and a dream!

Original: VN, cap. XXXII, son. XVII "Venite a 'ntender li sospiri miei..."

Art. 2 C Breaks behind a breath / started: From chest
Art. 10 C Where is the immaculate spirit / perv.: Her sinless spirit
Art. 11 C Votshe / started: in vain
Art. 11 C Votshe my bitter groan that donna calls / perv.: But donna bitter cry calls in vain.

O glorious donna, for your deeds
The Creator has lifted you up to Mary, to Paradise bashful!
I aspire there and I am a lonely soul
You have fulfilled all my thoughts.

In the soul of the patient, the God of love rose again
And the shy sighs were encouraged by the fearful swarm:
"Be bolder soar up, you timidly, timidly
Deceased below, in shameful oblivion!

Then I wept, bending down with a groan of anguish
(A sad companion of uncontrollable tears)
They rushed up faster than fast dreams.

And the One for whom I now weep in separation,
Their light swarm whispered: “Today a year has passed
To how You ascended into the azure firmament!

Original: VN, cap. XXXIV, son. XVIII "Era venuta ne la mente mia..."

Version identical to (sic) variant M-6, publ. in: HH, with. 456.
Art. 3 C I aspire there and I / M-7 perv.: I aspire there and I / correct.: And I strive there w/ M-6 as M-7
Art. 4 C In the soul of the patient again rose / M-7 perv.: In the soul of the patient again perked up / correct.: And again in the soul of the patient perked up / M-6 as M-7
Art. 6 C And painful sighs / M-7 perv.: And painful sighs / correct.: From painful sighs / M-6 as M-7
Art. nine With I cried, bending over perv.: I cried, she
Art. 14 C To the way you ascended / M-7 perv.: To the way You ascended / correct.: Since You have ascended / M-6 as M-7

My gaze more than once caught in your beautiful features
Sympathy for my anxieties and sorrows,
You bowed your gaze to my dumb features,
Where the trace is imprinted on my worries of all frequent.

And my days of succession and gloomy and rainy
You are mature before you, my falls are shameful,
And the abyss scares me when I meet there
The sad, sweet gaze of Your beautiful eyes ...

And now I'm running away, afraid of Your eyes,
Again, streams of hot tears boil in the chest,
And so I say: “O cruel god of love.

Oh, you who drive away my feet from Her,
And tears stream from sad eyes,
You are inseparable from Her, you dwell with Her!”

Original: VN, cap. XXXV, son. XIX «Videro li occhi miei quanta pietate…»

Typescript with handwritten corrections.

Art. 1 C My gaze caught more than once / perv.: My gaze more than once
Art. 3 C You bowed your gaze to my dumb features / perv.: Only you bowed your gaze to my features
Art. 6 With You mature before yourself / perv.: You see in front of you
Art. 11 C And so I say / perv.: I say then
Art. fourteen With inseparable / perv.: inseparable

Appendix 1

Sorrow appeared to me in the evening silence,
Whispering: “Just want, I will stay with you for a century!”
She carried a host of sad ghosts with her.
But I answered: "Away, you are hateful to me! .."

She, embarrassed, fell silent before me;
I turned away my gaze and lingered aside,
And again the God of love appeared to me, as in a dream,
Dressed in black, with a crowned head.

The clothes are black, it seemed for the first time
Enveloped him; without drying your eyes,
He sobbed in front of me in the evening, quiet hour.

"Child! why are you crying?" - I said, asking,
And God answered: “For this I cry, brother,
That there is no more Her, She will not come back!”

Original - Dante Alighieri, Rome(Parte seconda), son. XXV:

Un dì si venne a me malinconia
E disse: "Io voglio un poco stare teco";
E parve a me ch'ella menasse seco
Dolore e Ira per sua compagnia.

E io le dissi: "Partiti, va' via";
Ed ella mi rispose come un greco:
E ragionando a grande agio meco,
Guardai e vidi Amore, che venia

Vestito di novo d'un drappo nero,
E nel suo capo portava un cappello;
E certo lacrimava pur di vero.

Ed eo li dissi: "Che hai, cattivello?"
Ed el rispose: "Eo ho guai e pensero
Che nostra donna mor, dolce fratello.

The transcription of the sonnet is included in M-6.
Version identical to (sic) variant M-6, publ. in: HH, with. 454.

List options M-7:
Art. one Introduced: / perv.: Appeared / M-6 as M-7
Art. 6 and hesitated aside / perv.: blazing as in fire / var.: blazing all over in fire / M-6 as M-7
Art. 7 And again God to me / perv.: And again God / M-6 as M-7

Annex 2

Canzone XXIII
(From "Vita Nuova")

Slipping into the vast expanse of heaven,
To a blessed land where the angels are holy
They taste peace in the serene valley,
You ascended, forever leaving
Beautiful wives, but not earthly troubles,
Not summer heat, not the cold of a snow storm
We were separated from your tender soul,
In the limits of Paradise Bice, carrying away ...
But the Creator himself in silent admiration
Summoned his immortal creation,
Joining the incorporeal hosts of Bice ...
So that our life grief and excitement
Your sinless soul was not touched,
Your eyes closed with the last sleep! ..

Original - second stanza (Inc.: “Ita n’ è Beatrice in l’alto cielo…”) from third(sic!) canzones: VN, cap. XXXI, canz. III "Li occhi dolenti per pietà del core...".

A transcription of this passage is published by Ellis himself: EI, with. 83 (in verse 6: " Neither summer heat, neither the cold of a snow storm). The text, unchanged, is also included in M-6 and M-7. By publication in EI reprinted in: ES, with. 232 (with a correction in v. 6. “Not summer heat, not cold ...”). - In the proofreading manuscript of the collection "Stigmata" ( M-6, l. 3) fixed: Canzone XXIII on the: From Canzone III. In typesetting copy (NIOR RSL. F. 190. Cardboard 37, item 1), as well as in M-7 it turned out that a page torn from Immortels with a text was enclosed, on the basis of which it was printed in Stigmata.

Annex 3

Behind the coffin
(Life of the dead)
(To the poet Armand Sylvester)

Let the black cross be erected above us,
Let the earth hide us in its hopeless dusk,
You will open a pale lily with a snowy halo,
I am a purple rose that is filled with blood! ..

Poet, your every verse was inspired by death,
Now her flight shakes us gently,
Mysterious paths will rush off into the boundless expanse
Where new stars heavenly light is lit.

Clinging to the hearth of a hot star,
We will merge with the eternal flame forever,
In fiery bliss we will drown without a trace,

So that there, in the land of shadows that Lyra gave birth to
A poet and a faithful friend, his immortal union
fastened, glory crowned saint!

Original: José-Maria de Heredia, La vie des morts ( Au poete Armand Silvestre).
Ellis italics (vv. 8, 14).

Art. 1 C: Let there be a black cross / perv.: Let the black cross
Art. 6 C: Now her flight / perv.: Her flight
Art. 7 C: The paths of the mysterious will rush / perv.: We will be carried away
Art. 14 C: Crowned with glory / perv.: Glory crowned

Index locorum:

Vita Nuova
Cap. III, son. I "A ciascun'alma presa e gentil core..." 1

Cap. VII, son. II “O voi che per via d’Amor passate…” 2

Cap. VIII, son. III "Piangete, amanti, poi che piange Amore..." 3

Cap. VIII, son. IV "Morte villana, di pietà nemica..." 4

Cap. IX, son. V "Cavalcando l'altr'ier per un cammino..." 5

Cap. XIII, son. VI “Tutti li miei pensier parlan d’amore…” 6

Cap. XIV, son. VII "Con l'altre donne mia vista gabbate ..." 7

Cap. XV, son. VIII "Ciò, che m'incontra ne la mente, more..." 8

Cap. XVI, son. IX "Spesse fïate vegnomi a la mente..." 9

Cap. XX, son. X "Amore e 'l cor gentil sono una cosa..." 10

Cap. XXI, son. XI “Ne li occhi porta la mia donna Amore…” 11

Cap. XXII, son. XII "Voi, che portate la sembianza umíle..." 12

Cap. XXII, son. XIII “Se’ tu colui c’ hai trattato sovente…” 13

Cap. XXIV, son. XIV "Iomi sentí' svegliar dentro lo core..." 14

Cap. XXVI, son. XV "Tanto gentile e tanto onesta pare..." 15

Cap. XXVI, son. XVI “Vede perfettamente onne salute…” 16

Cap. XXXI, canz. III "Li occhi dolenti per pietà del core..." App. 2

Cap. XXXII, son. XVII "Venite a 'ntender li sospiri miei..." 17

Cap. XXXIV, son. XVIII «Era venuta ne la mente mia…» 18

Cap. XXXV, son. XIX «Videro li occhi miei quanta pietate…» 19

Rome(Parte seconda)
Son. XXV "Un dì si venne a me Malinconia..." App. one

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Eine Studie über Leben und Werk. München (Slavistische Beiträge, 341).

Notes

1. Lavrov 1981: 282 (Ellis italics). - Let us mention the following works and reference publications: Danchenko 1973; Pepitoni 1989; Davidson 1989: 231–234; Potthoff 1991: 439–451, passim; Willich 1996: 49ff., 152ff.; Sproge 2009: 71–82. Let us separately refer to the reviews by A. A. Asoyan (Asoyan 1997; 2014; 2015: 229–249; 2015a: 255–278) and A. N. Zinevich (2010).

2. Letter dated April 14, 1936; Polyakov/Shishkin 2002: 151. On Ellis's occupations with Wagner, see Bartlett 1995: 168–194.

3. Lena Szilard (2002: 167 ff.) emphasizes the eclecticism of Ellis's Danteian conception.

4. NIOR RSL. F. 167. K. 7. Unit. ridge 59. L. 1–4 v.; postmark date 26 April 1912. For citation see also Rizzi 1995: 293; Bartlett 1995: 172, 181.

5. Correspondence between Ellis and N. P. Kiselev has been prepared by us for publication.

6. The afterlife greeting of Ankhiz is as follows: “O my blood, o the mercy of God bestowed beyond measure, before whom, if not before you, should the gates of heaven be opened twice?” (Dante 1967: 377).

7. Letter to Blok from the end of January 1907 (Ellis's italics), Lavrov 1981: 283, No. 2. Matilda from Dante's Purgatory - meaning Dante, Purgatorio XXVIII. The mention of Dante Gabriel Rossetti refers to his painting "Beata Beatrix" (1864; The Tate Gallery, London; Riede 1992: 84–86); cf. See also Potthoff 1984; Potthoff 1991. For "Dante's" parallels to Blok's image of the Beautiful Lady, see Sproge 1986: 103; Sproge 2009, loc. cit.; Pepitoni 1989: 307; De Michelis 1994.

8. Kobilinski-Ellis 1925: 60. - For the tradition of mystical interpretation of Beatrice, see Curtius 1960: 339–345; Gilson 1974.

9. Ellis 1914: 68–69 (Ellis 2000: 296). For Dante's Empyrean, see Maurach 1968: 88–89; Gilson 1974: 67–77; Kay 2003. See also on Beatrice in the Realm of the Empyrean: Ellis 1914: 25–26 (Ellis 2000: 265–266); Ellis 1914a: 66 (Ellis 2000: 232).

10. Ellis 1910: 264. - Note that Fr. Pavel Florensky connects the literary genealogy of Blok's vision of the Beautiful Lady with Pushkin, and the cult genealogy with the medieval Catholic cult of the Mother of God (Florensky 1974; Florensky 2004: 599–625).

11. Ellis 1914: 8 (Ellis 2000: 252).

12. Works and days, 1914, book 7, p. 63–78 (Ellis 2000: 229–243). The article is dedicated to G.A. Rachinsky, "teacher of faith" in the eyes of Ellis.

13. Ellis 2000: 241 (emp. Ellis).

14. Polyakov / Shishkin 2002: 151–152. Perhaps Ellis' appeal was a reaction to Merezhkovsky's news about the work on a book about Dante, the publication of which began soon, in 1937.

15. The question of Ellis's transfers from VN, on the basis of some of the evidence we draw on, is also discussed in Davidson 1989. - We take the opportunity to thank prof. Pamela Davidson (London) for providing one of the publishers with copies of their materials, which became a guide at the initial stage of our work.

16. Let us mention here the previous translation of Dante 1898; for earlier publications, see Trinchero 2015.

17. NIOR RGB. F. 167, k. 7, unit 4. L. 1–2 rev. (Ellis italics). March 1907 the letter is dated in the archival inventory. In the same letter, Ellis reports: “The book publishing house “Zarathustra” has arisen in Moscow, where I have some connections.<…>". In 1907 he published here a translation of Georges Rodenbach's drama "Le Voilé" (Rodenbach 1907). - In a letter to Ellis dated April 15, 1907, Medtner, speaking about the program of the publishing house, considers it desirable to publish Dante's treatise "De vulgari eloquentia" (NIOR RSL. F. 167. Map. 6. item 4); Lavrov 2005: 94; Lavrov 2015: 485–486.

18. In a letter to N.P. Kiselev dated September 15, 1908, he quotes a line from sonnet I of VN: “<…>I pray one thing do not forget your Ellis, do not forget those days when your old study was overflowing with the sounds of a funeral march, you silently walked along it with heavy steps, and for the first time I read you a first translated sonnet from "Vita nuova" "But he gently embraced donna sleeping! ... "<…>».

19. See detailed information about him, including materials from the Soviet era, in the publication: Minutes of the meetings of the experimental aesthetics circle at Musagete (Rhythmic Circle) / Prepared. text, comments by E. V. Glukhova. In: White 2014: 450.

20. “Dante and Beatrice”, the first poem of the cycle “From the “Imitations of Dante”. Dedicated to V. I. Astrov”, Ellis 1904: 101 (Ellis 1996: 243). A revised version without a dedication to Astrov was subsequently included in the "Beatrice" section of Stigmata, Ellis 1911: 120 (Ellis 1996: 72).

Current page: 1 (total book has 1 pages)

Dante Alighieri
SONETI

Dante Alighieri

(1265–1321)

BALADA

Go, balado, and see Kokhannya
And at once with him, like the spirit of my suffering,
Stand before my bottom,
Shchab not vydkinula my prohannya!
Your words are good and simple,
So go everywhere
Without comradeship, you could b, but still
Your guide on this path
Let Kohannya be -
You know less at the new one,
Bo the one to whom you carry blessings,
Been inspired by my soul;
Yakby herself stood in front of her,
Vaughn would not believe your words.
Promise you licorice before her,
Awakening the heart of a chule,
It's a pity to call in him a substitute image:
“Bless the one who glorifies me here,
So you yogo got bugged...
For something I want to ask you;
Yogo well kohannya zmushuє more than once
Minitsya on the face, fall into the rubbish,
Bow down before your eyes,
Ale, Yogo's soul is forever faithful to you.
Say it like this: “Becoming blessed,
You are truly dead.
I bring the soul of yoga mitzna,
I thought I was skin laden
Serve you back!”

In the Kokhannya of the eternal, who knows the truth,
Let's talk about everything, get out,
How not to believe in the word of this odverte,
Abo don't let me die -
That same time I will say goodbye to life,
І to Kokhannya ty beastly words -
Let it out with you
Vidmova supokiyno zustrіcha.
Say: “I bless you with what you sleep:
Do not come with a prayer,
Fight for your servant!”
If it’s easier for me, -
Hai fly to me vtiha gladly!
Break on the road, my balado,
Go to the radio news!

SONETI

1

The benevolence of a guinea in the darkness,
How will I beat you, clear to the dawn!
Love speech, and the word those suvore:
“Tiky vіd neї, more you will perish!”
The green fingers of the support are whispering,
I will rebuke the barvey's heart not to anger:
I crouched down to the cold stove,
That stone also wails: “Woe! Woe!”
That carry, like rubbish, eternal sin,
Who hands stretched out my hands
I did not help me to stand up,
If I'm falling on the kpini,
Mov on the sword, if not enough smіh
You threw eyes, scho pragli death!

2

Volodarka of my heart is sweet -
Slіpucha, sleepy lipota;
To beat her for a miracle
Look up, open your mouth.
Kindness illumined my eyes,
Submission was merciful camp.
She steps like this, holy mute,
What did she tell us about the vision of strength.
Marvel at her - grace!
And who does not know the almighty kind,
You can’t know happiness to hell.
From the mouth of її, mov plowed spring,
Where is the spirit of love
Pour into the heart and command: “Zitkhni!”

3

Who in the grave of my div will coal the panna, -
To pamper like a pure ideal.
I give praise to God,
If you go from afar, I'll look at her.
She will wake up the sadness of the shana,
High sense of the holy chorale;
Zarozumіlosti noisy shawl
In submission, I remake Rahmanna.
Їy do not need the glory of the voice!
Mov in the city, caress respected
Everyone is rewarded for humility.
Blessed thoughts and future
Paint! Who is the heart of the spirit її spіzna,
To that zavzhdi bude snitti about Kokhannya.

4

Revealed bezmir Nіzhnostі th turboti
Exposing your lagidne and sum
In that mile, yak you patted me,
A deep look of grief and sorrow.
I am sensible, scho, spovnena honesty
Because of my tightness, your heart is gone.
Crying appeared in the suffering on the surface,
I can't overcome yoga in an instant.
I'm going to choke on you,
So that you don’t beat my ride,
They did not know the depths of my uraz.
“Survey soul, - I’m moving, - to the end
From the bottom of my Kokhannya,
Through the yak I cry over and over again!

5

Kohannya kolir, verses with zhurba,
I mercy rice charіvni
Having cleaned your appearance from the wise mystery,
Yak wi patted in front of you
My quiet look, burning with tears,
Mouths are baiduzhi, clenched and confused.
You guessed the donna, what am I
I heart, th mind illuminated with beauty.
I can't see you with my eyes,
Which do not know the other way,
How to weep for eternal hopelessness.
Give strength to give me your spirit,
And tears - tse otuha all otukh,
I won't cry in front of you.

6

You, my eyes, spilled rivers
Harsh tightness, mournful supplication.
Before the reality of your zhurbi
Everyone lowered their eyes in tears.
Now forget about everything, yakby
At the health, I shukav faces for myself,
I donn tіy, scho vіdіyshla navіki,
Not remembering eternal praise.
All that for you is bliss,
For me - grief, nibi darkness, bottomless.
I'm afraid for you in front of ochima donny.
Її not guilty in any way
Forget vi - hіba scho in the house, -
So move my heart and zithaє.

7

In my soul there is a hidden secret
An affectionate thought has visited you.
Vaughn saddened her heart
Sweet words about love.
The soul feeds the heart: "What a power
Our mind is shaking to the core,
Silence the pain and turn it back
Yomu zhdan and mrіy cankrill ?! ”
And the heart - їy: "Conceived by the soul,
Here comes the new spirit of Kohannia,
We protect youth forever.
Vіn іy zavdyachuє your life,
What are our scars, sickness and suffering
Adopted in a drunken streak!”

8

Oh grief! Before the power of zіthannya,
What was born in my heart,
Quiet eyes hurried and steel
Hateful sins of greed.
The stench live at the pragmatic one -
Slimes show pity and suffering.
Vіnok tortur on them is a treasure of Kokhannya,
And light tears fog up on him.
Ide sorry from the heart, th heart in a new tone,
І spovivaє black impenetrable
Kokhannya, which is not painful.
Ale, most of your thoughts hurt,
De shovane im’ya my donnie,
What did you see for the coffin seal.

In her eyes she keeps Love;

Blessed is everything she looks at;

She goes - everyone hurries to her;

Will he greet - his heart will tremble.

So, all confused, he bows down his face

And he sighs about his sinfulness.

Haughtiness and anger melt before her.

O donnas, who will not praise her?

All the sweetness and all the humility of thoughts

Knows the one who hears her word.

Blessed is he who is destined to meet her.

The way she smiles

Speech does not speak and the mind does not remember:

So this miracle is blissful and new.

In your eyes you carry Kokhannya, -

On whom you look, to make yourself happy;

Like here, everyone sleeps behind her,

Trippoche heart in її vіtanya.

Vіn pale, nikne, multipliers of zіthannya,

Calm down your own selfishness.

Pride and anger od him to live.

Oh donnie, how can you fold the glorification?

Who feels її - humility of thoughts is holy

Penetrate in that heart kindly.

Someone strіv її, that vtіsheniy spovna.

If it's still smіhaetsya out,

Marnіє rozі і to mute the mouth.

Take-bo price new and beautiful marvel

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

Dante Alighieri Fragment from the poem "The Divine Comedy"

Having passed half of earthly life,

I found myself in a dark forest

Having lost the right path in the darkness of the valley.

What was he, oh, how to pronounce,

That wild forest, dense and threatening,

Whose old horror I carry in my memory!

He is so bitter that death is almost sweeter.

But, having found good in it forever,

I will tell about everything that I saw in this more often.

I don't remember how I got in there

So the dream entangled me with lies,

When I lost my way.

But approaching the foot of the hill,

Which closed this valley,

Constricting my heart with horror and trembling,

I saw, as soon as I raised my eyes,

That the light of the planet, guiding everywhere,

Already descended on the shoulders of the mountains.

Then sigh more freely

And the soul overcame a long fear,

Exhausted by a hopeless night.

And like the one who, breathing heavily,

Coming to the shore from the abyss of foam,

Looks back, where the waves are beating, frightening,

So is my spirit, running and confused,

Turned back, looking down the path,

Leading everyone to the predicted death.

On the pіvshlyakh of your earthly world

I drank at the gloomy forest,

Having put in a stitch, I will spit it out.

Oh, I'll take my clothes of roses

About the listatii tsei, suvorii, wild,

God zhah vіd riddles the beginning of growth!

Over death, I'm afraid of bitter wines, great, -

Ale for the good of those who know there,

Let's talk about everything that is in memory, taking the lessons.

I’m unkindly tyamlu, as if I’ve set up a schov,

For sleepiness has so captivated me,

From the song of the road I am zіyshov.

I leaned against the wall of the hump,

Yakim kinchavsya narrow dіl,

De fear lay on the heart with a veil.

I looked up the hill and shook my cheeks,

Already cleaning the sleepy room,

What do people give fresh strength.

Todi gradually subsided tremtinnya,

What did not give me peace

All the night, if the insurance is bleak.

On land viyshov, kicking ukritiy,

I look at the viri hanging, -

So my spirit, do not stop flying,

Looking back and looking at the stitch,

Yaka does not allow anyone to live.

Dante Alighieri

Poems of the Florentine period

DANTE DA MAIANO - TO THE POETERS

Do not refuse, wise one, do me a favor,

Pay attention to this dream.

Find out that I dreamed of a beauty -

4 The one that is in the heart in great honor.

With a thick wreath in her hands she appeared,

Wishing to present a wreath as a gift,

And suddenly I found myself wearing a shirt -

8 From her shoulder, I'm almost convinced.

Here I came to such a state,

That he began to embrace the lady passionately,

11 It is a pleasure for her - by all signs.

I kissed her; keep quiet

About other things, as he swore to her. And mother

14 My deceased was at the same time.

Showing a worthy mind in front of me,

Are you able to comprehend the vision yourself,

But, as I can, I will respond to the call,

4 Stated in graceful words.

The gift is a sign of love assuming

To the most beautiful and noble lady,

Love, whose outcome is not always happy,

8 I hope I will agree with you.

A lady's shirt should mean

How I think, how we both think

11 That she will love you in return.

And the fact that this strange person

I was with the deceased, and not alone,

14 Should mean love to the grave.

Checking gold for purity -

Simple for a jeweler

Fire will tell the master that gold

4 Has this price or that.

And I want to be honest

They all said about this song brother

You who are wise and judge without prejudice

8 And in whom the heights are praised for their virtues.

What flour is the greatest

Of the pains of love can you name?

11 (I have not created a song wiser than this one.)

Out of curiosity, I'm waiting for an answer:

I would like to know the price

14 I am sure of one thing - that I am not worthy of you.

Dante Alighieri -- TO DANTE DA MAIANO

The mantle of knowledge is on you,

It seems to me, and, having understood strictly,

You, my friend, do not need my help:

4 I praise you, but I am not your judge.

Compared to your knowledge of being,

Believe me, mine is very poor,

The road of knowledge is not my road,

8 And you are omniscient, not like me.

I will answer with my hand on my heart

And driving away any lie from yourself,

11 As it should be in conversation with a wise man.

Don't take it as conjecture

Such an answer: who is not loved, loving,

14 He experiences the most terrible torment.

With your exquisite answer, you

Besides, my friend, weighty, confirmed

All the justice of that good rumor,

4 By which people everywhere have honored you.

But it seems to me that yours are

Virtues that a person is not in power

To list them to the end, alas,

8 And you deserve great honors.

There is no more terrible love unrequited,

In your opinion, but there is another opinion

11 On this score. Trust me who?

As soon as you do not complicate the answer,

I rely on your clarification

14 To know who is right, O wise man.

Dante Alighieri -- TO DANTE DA MAIANO

Who I'm talking to - I don't know

And yet I, without further ado,

I find your wisdom so rare,

4 That fame cannot bypass it.

I judge you by your thoughts

And therefore I have the right to praise,

But if I could name you, I'll say:

8 It would be easier for me to praise you, right.

Find out friend (of course you are my friend)

That hurts the most, I regret that

11 Who, being in love, is not loved.

Unrequited love is a disease

Threatening everyone with his club.

14 Well, do you agree with my opinion?

DANTE DA MAIANO -- TO DANTE ALIGIERI

Amor tells me to love faithfully,

And I am doomed to this terrible fate,

And there is no hour, when involuntarily

4 I did not turn my heart to him.

Ovid remedy I decided

Try it, but Ovid lied, or something,

I, not getting rid of the pain of love,

8 I ask for mercy with the last of my strength.

Everything is wasted - art, spells,

Courage, wisdom: from love forever

11 There will be no salvation.

Serving Amor, knowing only suffering,

The man pleases him.

14 O my wise friend, the word is yours.

Dante Alighieri -- TO DANTE DA MAIANO

Mind, knowledge, ignorance, wide view,

Art, fame, indifference to flattery,

Courage, beauty and fidelity to honor

4 And money is far from a complete series

Virtues that Amora will win

Joy - individually and together:

Some of them deserve more honor,

8 But everyone contributes to the victory.

At the same time, my friend, if you intend

From virtues to see the use,

11 Natural or acquired,

Do not act against the deity of lovers:

Whatever means you use,

14 You will lose the battle, be sure.

TO LIPPO (PASCI DE "BARDI)

I hope, Lippo, you will read me,

But before you start

To delve into me, find out - my poet

I have been sent to honor you

5 And wish at the same time

You will find everything you need.

I hope you don't dismiss me

And call your soul

And the mind to decide what to do with the answer:

10 I, who call the most humble sonnet,

Came for advice

And I'm waiting for you to help me.

I brought this girl with me

However, ashamed of their nakedness,

15 She's Among People

He does not want, proud, to walk naked.

I ask you to sew a dress for an unknown maiden,

Do not bypass your friend with kindness,

To with any other

20 It was possible for her to compete.

Never atone for your guilt

To my eyes: they have fallen so low,

What, Garisenda are passionate about,

4 From where the gaze covers the distance,

The beauty that should

They would notice, overslept.

I am deeply offended by them,

8 And I have them now in disgrace.

And my eyes failed flair,

Which is so dull

11 Which did not tell them where to look.

And my decision was made:

As soon as I do not change my anger to mercy.

14 I will kill them so that they will not be foolish again.

GUIDO CAVALCANTI -- TO DANTE

Have you seen the limits of hope

Virtues were clear to you

In Amora secrets you are initiated,

4 Having overcome the lords of trial.

Boring he drives away desires

And he judges us - and we must serve.

He, joyfully disturbing our dreams,

8 Captivates hearts that did not know suffering.

In a dream, he took your heart away:

It seemed that death called your lady,

Through the pages of lyrics

Dante, Petrarch, Shakespeare.

Literary evening

And the heart burns again and loves because

That it cannot love.

Target: Acquainted with the life and work of great poets

Renaissance: Dante, Petrarch and Shakespeare, meditate

Above the eternal theme: Love.

What is love when it is born or when it dies?

To instill love for the beautiful, to cultivate a sense of respect

To others, develop the skills to listen, perceive and do

Findings. Practice reading skills and abilities

poetic texts.

Equipment: player, tape recorder, drawings of students -

Women of the Middle Ages, portraits of Dante, Petrarch and Shakespeare,

Drawn by students; (A. Pugachev's recording "Sonnet No. 40",

E. Maricone, D. Last "The Lonely Shepherd")

Love, were you born of suffering?

From admiration? ... But from the day of creation

Everyone wants your touch

Unable to avert pleading eyes!

Turn stones of torment us again and again

Everyone is forced by your power and bliss ...

So who are you and what are you, Love?

What are you from the Sun? Or from the snow?

Our literary evening is devoted to reflection on the eternal question of life - what is Love? Is it possible to unequivocally answer this question? Probably not. After all, for all of us it is different, unlike the love of other people and very multifaceted. And even more so, it is impossible to answer the question of when and how Love is born or dies. So why is everyone so obsessively chasing her? After all, sometimes it brings suffering and bitterness of disappointment, and just sadness. What is the secret?

It is difficult to answer these questions, so I propose to turn to those who have been singing love all their lives... Maybe their life and their work will help us...

At the lessons of literature, we met with the author of the Divine Comedy, the first poet of the Renaissance - Dante Alighieri.

“Children's dreams give the flavor of all life,” Romain Rolland once said. Dante's childhood dream was the girl Beatrice, the daughter of the Florentine Folco Portinari. The first time he saw her was when Beatrice was 8 years old and he was 9. The second meeting took place 9 years later. 18-year-old Beatrice looked at the lover, smiled and bowed to him. On this day, Dante wrote his first sonnet:

* * *

Her eyes spread light

Living nobility, and everywhere

Whatever you take - with them like a miracle,

For which there are no other names.

I see them and tremble in response,

And I swear: "I won't

Look at them, "- but I will soon forget

And your heartfelt fear, and that vow.

And here again I blame the guilty

My eyes and hurry there,

Where, blinded, I will close them again,

Where timidly melts without a trace

Desire that serves as their leader.

Amour not to know what's wrong with me?

* * *

So noble, so pure

When at a meeting he gives a sign of hello,

That the eye does not rise to answer

And dumbness binds the lips.

Exciting delights for a reason,

Dressed in happy serenity,

She goes - and it seems that it is

A wonderful dream, a heavenly dream.

You will see - and, as if through the door,

Sweetness passes through the eyes to the heart,

True with experienced feelings.

And the spirit of love - or is it only imagined?

From her mouth languidly flows

And he says to the soul: "Sigh, soul."

Dante's last meeting with Beatrice is at the coffin of his beloved. But with the death of Beatrice, love for her does not die. She lives in sonnets, in the Divine Comedy, in Dante's soul...

On July 20, 1304, a son was born in the family of the notary Pietro Di Parenso, or, as he was more often called Petraccolo or Petrarch, who was named Francesco. The boy was growing up and his father wanted Franchik to follow the family path. In his plans, he already saw his son as a lawyer. But the young man did not have a soul for jurisprudence. Francesco gave his preferences to literature.

It was literature that helped the young man express the range of feelings that were born on April 6, 1327. On that day, in the Church of St. Clara, Petrarch saw a beautiful young woman who conquered his heart at first sight. He named her Laura. And in his sonnets he sang his love for her.

* * *

And the sun in cloudless weather

Not so beautiful (I'm used to it!),

And a rainbow, another one for a moment,

Not so bright in the clear sky,

As on the day that put an end to freedom,

The sweet face was bright and beautiful,

Before which my tongue is poor,

Not knowing the words worthy in everyday life.

Inspired love her lovely eyes

And I'm my Senuccio, ever since

Clearer on the ground did not see a look.

She clutched a formidable bow in her hand -

And my life has been in the balance ever since.

And I would be glad to return this day.

“That spring in his life was 23, in hers - 20. And if he possessed all the beauty inherent in young years, an ardent heart and nobility of blood, then her young charm could be considered heavenly. Blessed, who saw her in life. She walked with her ebony-black eyelashes lowered. When she raised them, her sunny gaze struck him forever.

About his love, carefully carried through his whole life, love high and pure, knowing hope and despair. Petrarch told in his sonnets. A heart full of love for Laura responds sensitively to everything connected with her. Therefore, every corner where he saw her or painted in his imagination is precious:

She sang here, sat here, passed here,

Turned here, stopped here

Here she attracted with a beautiful look captivated ...

* * *

Blessed is the day, month, summer, hour

And the moment when my gaze met those eyes!

Blessed is that land, and that long is bright,

Where I became a prisoner of beautiful eyes!

Blessed is the pain that's the first time

I felt when I did not notice

How deeply pierced by the arrow that methyl

God is in my heart, secretly destroying us!

Blessed are the lamentations and groans,

How did I announce the dream of oak forests,

Waking echoes with the name of Madonna!

Blessed are you that so many words

Acquired for her, melodious canzones, -

Golden thoughts about her, a single alloy!

In the plague of 1341. On April 6, Laura died. She died on the day of the first meeting after 21 years. This news shocked the poet. But love for Laura, for this ideal of an earthly woman, does not die. He dedicates the Canzoniere (Book of Songs) to her.

* * *

You look at me from the dark

My nights, coming from a distant distance.

Your eyes are even more beautiful

Death has not distorted your features.

How happy I am that you brighten up

My long age filled with sorrow!

Who do I see next? Isn't it you

In the radiance of imperishable beauty.

Where songs once were tribute

My love, where I cry, grieving,

Despair on the verge, no - beyond?

But you come - and the end of suffering:

I recognize you by your steps

By the sound of speech, face, clothing.

For Dante, Beatrice is a symbol of love.

For Petrarch, Laura is the perfection of female beauty.

Shakespeare is original in the chanting of his beloved, she is, first of all, an earthly woman:

* * *

Her eyes don't look like stars

You can’t call the mouth corals,

Not snow-white shoulder open skin,

And a strand twists like a black wire.

With a damask rose, scarlet or white,

You can not compare the shade of these cheeks.

And the body smells like the body smells,

Not like a violet delicate petal.

You won't find perfect lines in it

Special light on the forehead.

I don't know how goddesses walk

But the darling walks the earth.

And yet she will hardly yield to those

Who was slandered in lush comparisons.

* * *

"I hate" - these are the words,

What from her sweet lips the other day

Broke in anger. But hardly

She noticed my fear, -

How to hold the tongue

Which me so far

He whispered caress, then reproach,

Not a harsh sentence.

"I hate," - subdued,

The mouth spoke, and the look

Already changed to mercy anger,

And the night rushed from heaven to hell.

"I hate" - but immediately

The coryphaeus of English Romanticism, William Wordsworth, called the sonnets "the key by which Shakespeare opened his heart."

* * *

Love is sickness. My soul is sick

A languid, unquenchable thirst.

She demands the same poison

Who poisoned her once.

My mind is a doctor who healed my love

She rejected herbs and roots.

And the poor doctor was exhausted

And leaving us, he lost his patience.

From now on, my illness is incurable.

The soul finds no rest in anything

Abandoned by my mind

And feelings and words roam at will.

And for a long time to me, devoid of mind

Hell seemed like heaven, and darkness seemed to be light!

Who are the characters in Shakespeare's sonnets? This is a poet, his friend and "dark lady".

In Shakespeare's sonnets, like two clouds in a river, an unusually strong friendship and an unusually strong love are reflected. But in the Renaissance, it was customary to consider friendship above love. Therefore, most of Shakespeare's sonnets are devoted to a friend and the theme of friendship. Friendship has all the fullness of love experiences: the joy of a date, and the bitterness of separation, and the pangs of jealousy. The very language of friendly explanations was at that time identical to the language of amorous madrigals. The people of the Renaissance were prone to enthusiasm. But here in the sonnets there appears a “dark-skinned lady”, who settles discord between the poet and the friend. The poet passionately loves her and at the same time complains about her for the same suffering that she causes him and his friend ...

* * *

Half grief is that you own it,

But to recognize and see that she

Owns you, it hurts me twice.

The loss of your love is terrible for me.

I came up with an excuse for you:

Loving me, you fell in love with her, and dear

Goodbye gives you

Because you are infinitely sweet to me.

And if I need to lose, -

I give you my losses

Her love was found by my one friend,

Beloved has found your love.

But if a friend and I are one and the same

That I, as before, is dearer to her than anything ...

* * *

Interfere with the union of two hearts

I don't intend to. Can treason

Love boundless put an end to?

Love - does not know loss and decay.

Love is a beacon raised above the storm,

Not fading in darkness and fog.

Love is the star that the sailor

Defines a place in the ocean.

Love is not a child's doll in the hands

By the time that erases the roses

On fiery lips and lips,

And she is not afraid of time threats.

And if I'm wrong and my verse lies, -

There is no love and there are no my poems!

Shakespeare has access to the amazing contrasts of life, the combination of the sublime and the base, the ugly and the beautiful, the funny and the majestic, the rough booth and the tragedy of rock.

* * *

If you fall out of love - so now,

Now that the whole world is at odds with you.

Be the bitterest of my losses

But not the last straw of grief!

(Recording performed by A. Pugacheva "Sonnet No. 40")