Сочинение на английском горе от ума

Комедия А.С.Грибоедова «Горе от ума» состоит из четырех действий и написана автором в стихотворной форме. 
Действующие лица – Павел Афанасьевич Фамусов, его дочь София, служанка Лизонька, секретарь Фамусова Алексей Молчалин, полковник Скалозуб, князья Тугоуховские, графини Хрюмины, Александр Чацкий.
Дело происходит в Москве, в доме Фамусова. 
Действие первое содержит десять явлений. Явление первое начинается пробуждением Лизоньки. Она громогласно возмущается тем, что уже наступило утро, а в комнате Софии до сих про находится Молчалин. Лизонька боится, что об этом узнает Фамусов, через дверь просит Софию и Молчалина «разойтись», а когда и это не помогает, переводит часы, чтобы хотя бы звон помешал им. Именно за этим делом ее застает Фамусов. Во втором явлении Фамусов беседует с Лизонькой, выясняет у нее, почему София все еще не спит. Появляется София, рассказывает отцу свой сон, в котором якобы видела своего неизвестного еще возлюбленного «умного, но бедного и робкого», на что Фамусов отвечает дочери одно: «Кто беден, тот тебе не пара». В явлении пятом Лизонька и София беседуют о возможных женихах Софии. Упоминается полковник Скалозуб — богатый, целеустремленный, но большой зануда: не знает иную тему разговора, кроме как о военном деле. Упоминается Александр Чацкий как самый чувствительный, веселый, остроумный, но, к сожалению, покинувший Москву. 
В седьмом явлении не сцене появляется Чацкий. Он с презрением отзывается о жителях Москвы, их нравах и привычках, а в итоге признается в любви к Софии. В десятом, заключительном явлении первого действия Фамусов рассуждает вслух о Молчалине и Чацком. Молчалин, по мнению Фамусова – «нищий», а Чацкий – «франт». 
Действие второе начинается беседой Фамусова и Чацкого. Фамусов жалуется Чацкому на нынешние времена, говорит, что раньше все было по-другому. 
В седьмом и восьмом явлении второго действия повествуется о падении Молчалина с лошади. София, которая это увидела, падает в обморок. У Чацкого, который находится в это время рядом, возникает подозрение, что Молчалин и есть тот человек, которому отдано сердце девушки.
В двенадцатом явлении Молчалин, оказавшись вдруг наедине с Лизой, говорит ей множество комплиментов, пытается ее обнять. Лиза возмущена: «Скажите лучше, почему Вы с барышней скромны, а с горничной повесы?»
В заключительном четырнадцатом явлении Лиза сетует на непостоянство мужчин, и добавляет, что любит лишь одного человека «буфетчика Петрушу».
Первое явление третьего действия начинается с беседы Чацкого и Софьи. Чацкий желает выяснить, кто больше «мил» ей – Молчалин или Скалозуб? Но о Молчалине от Софьи Чацкий узнает, что она его не уважает, а про Скалозуба говорит «не моего романа».
В последующих явлениях Чацкий беседует с посетителями дома Фамусова – с Хлестовой, Хрюмиными. 
В четырнадцатом явлении София выражает вслух свои возможные подозрения о сумасшествии Чацкого.
В двадцать первом явлении Хлестова, София, Молчалин, Хрюмины, Фамусов вновь беседуют о Чацком, и приходят к всеобщему выводу, что он действительно сошел сума.
В четвертом действии рассказывается о том, что София назначает Молчалину свидание. Чацкий прячется в этой же комнате. Лиза приводит Молчалина, Софья находится в этой же комнате, но он ее не видит. Молчалин вновь признается в своей страсти к Лизе, говорит, что с Софией он только в угоду Фамусову. Появляется Софья, Молчалин бросается перед ней на колени, но она прогоняет его прочь. 
В заключительных явлениях на сцене появляется Фамусов. Между ними разгорается спор, Фамусов кричит, что ему такой зять ни к чему, что Чацкий – не в своем уме. В итоге Чацкий выбегает из дома Фамусова с криком: «Карету мне, карету!» Он уезжает из ненавистной ему Москвы.
На этом завершается комедия А.С.Грибоедова «Горе от ума».

Ниже приводится школьное сочинение «Комедия в «Горе от ума»», которое размещено в качестве примера подобного рода сочинений, не претендует на идеальность и безошибочность, не предназначено для дословного копирования.

Как отмечают литературные критики, в пьесе А. С. Грибоедова «Горе от ума» есть черты, как комедии, так и драмы. Писатель хотел высмеять пороки современного ему общества, намеревался через театр донести свои мысли до соотечественников, чтобы они посмеялись над мелочностью и пошлостью персонажей, задумались о том, насколько такие черты характерны для них самих, их окружения, ужаснулись и постарались измениться в лучшую сторону. Попробуем описать признаки, позволяющие называть «Горе от ума» комедией и привести примеры из текста пьесы.

Безусловно, А. С. Грибоедов широко использует приёмы, характерные именно для комедии, в частности, «комическое несоответствие» – намеренное и очевидное, часто преувеличенное изображение явлений или предметов не похожими на ранее созданный образ, воспринимаемый как более достоверный. Например, в четвертом явлении первого действия пьесы Фамусов ставит себя в пример дочери, говоря, что он «монашеским известен поведеньем!..», однако читатель (или зритель) помнит, что за несколько минут до этого Павел Афанасьевич заигрывал со служанкой, а такое поведение явно нельзя назвать монашеским.

Автор также использует приём «разговора глухих», когда беседующие персонажи не слышат друг друга. В качестве примера можно привести диалог Фамусова и Чацкого во втором явлении второго действия пьесы:

«Фамусов

Ах! Боже мой! он карбонари!

Чацкий

Нет, нынче свет уж не таков.

Фамусов

Опасный человек!»

Фамусов, как будто, обращается уже не к Чацкому, а делится своими эмоциями с читателем (или зрителем). Комично воспринимается нежелание Фамусова даже слышать точку зрения, не совпадающую с привычной ему.

В пьесе задействован и приём «говорящих имен»: имя персонажа говорит о том, как автор относится к нему, какими чертами наделяет его. Так князь Тугоуховский глуховат, Молчалин немногословен, Скалозуб неуместно острит. Репетилов (фамилия образована от французского глагола со значением «повторять») озвучивает чужие мысли. Фамусов (латинское существительное «fama», означает «слава, известность») зависит от общественного мнения. Возможно, автор также предполагал, что подобный Фамусову человек известен каждому. Кроме того, многие имена персонажей пьесы впоследствии стали нарицательными.

Амплуа персонажей пьесы характерны для комедии: удачливый любовник (Молчалин), несчастный влюбленный (Чацкий), отец, которого все пытаются обмануть (Фамусов), хитрая служанка (Лиза), комические персонажи второго плана (Скалозуб, Тугоуховский и др.).

Характерен для комедии и язык пьесы: он прост, легок для восприятия, остроумен и насыщен афоризмами, обогатившими русский язык, такими как, например: «Счастливые часов не наблюдают», «Служить бы рад, прислуживаться тошно», «Ах, злые языки страшнее пистолетов» и многие другие.

Таким образом, пьесу «Горе от ума», безусловно, можно отнести к жанру комедии, при этом, важно понимать, что в основе сюжета лежит драматический конфликт героя и общества.

From Wikipedia, the free encyclopedia

Woe from Wit (Russian: Го́ре от ума́, romanized: Gore ot uma, also translated as «The Woes of Wit», «Wit Works Woe», Wit’s End,^[1][2] and so forth) is Alexander Griboyedov’s comedy in verse, satirizing the society of post-Napoleonic Moscow, or, as a high official in the play styled it, «a pasquinade on Moscow.»^[3]

The play, written in 1823 in the countryside and in Tiflis, was not passed by the censors for the stage, and only portions of it were allowed to appear in an almanac for 1825. But it was read out by the author to «all Moscow» and to «all Petersburg» and circulated in innumerable copies, so it was as good as published in 1825; it was not, however, actually published until 1833, after the author’s death, with significant cuts, and was not published in full until 1861.^[4]
The play was a compulsory work in Russian literature lessons in Soviet schools, and is still considered a golden classic in modern Russia and other minority Russian-speaking countries.

The play gave rise to numerous catchphrases in the Russian language, including the title itself.

Language[edit]

The play belongs to the classical school of comedy, with principal antecedents in Molière. Like Denis Fonvizin before him and like the founders of the Russian realistic tradition after him, Griboyedov lays far greater stress on the characters and their dialogue than on his plot. The comedy is loosely constructed but in the dialogue and in the character drawing Griboyedov is supreme and unique.

The dialogue is in rhymed verse, in iambic lines of variable length, a meter that was introduced into Russia by the fabulists as the equivalent of La Fontaine’s vers libre and that had reached a high degree of perfection in the hands of Ivan Krylov. Griboyedov’s dialogue is a continuous tour de force. It always attempts and achieves the impossible: the squeezing of everyday conversation into a rebellious metrical form.^{[citation needed]}

Griboyedov seemed to multiply his difficulties on purpose. He was, for instance, alone of his time to use unexpected, sonorous, punning rhymes. There is just enough toughness and angularity in his verse to constantly remind the reader of the pains undergone and the difficulties triumphantly overcome by the poet. Despite the fetters of the metrical form, Griboyedov’s dialogue has the natural rhythm of conversation and is more easily colloquial than any prose. It is full of wit, variety, and character, and is a veritable encyclopedia of the best spoken Russian of the period. Almost every other line of the comedy has become part of the language and proverbs from Griboyedov are as numerous as proverbs from Krylov. For epigram, repartee, terse and concise wit, Griboyedov has no rivals in Russian.^{[citation needed]}

Characters[edit]

Griboyedov’s characters, while typical of the period, are moulded from the really common clay of humanity. They all, down to the most episodic characters, have the same perfection of finish and clearness of outline.

• Pavel Afanasyevich Famusov, the father, the head of an important department, the natural conservative, the cynical and placid philosopher of good digestion, the pillar of stable society;
• Sofia Pavlovna, his daughter, the heroine neither idealized nor caricatured, with a strange, drily romantic flavour. With her fixity of purpose, her ready wit, and her deep, but reticent, passionateness, she is the principal active force in the play and the plot is advanced mainly by her actions.
• Liza, Sofia’s maid, the headstrong and powerless maid. She boldly speaks her mind as she is unable to take action given her gender and station. She is a vehicle through which multiple characters expose their baser desires and reveal truths fiercely protected in public.
• Alexey Stepanovich Molchalin, Famusov’s secretary living in his house, the sneak who plays whist with old ladies, pets their dogs, and acts the lover to his patron’s daughter;
• Alexandr Andreyevich Chatsky, the protagonist. Sometimes irrelevantly eloquent, he leads a generous, if vague, revolt against the vegetable-like selfish world of Famusovs and Molchalins. His exhilarating, youthful idealism, his go, his élan is of the family of Romeo. Tradition tells that the character is modeled after Pyotr Chaadaev, an original and controversial Russian writer and philosopher, with whom Griboyedov was acquainted. It is significant that, in spite of all his apparent lack of clear-cut personality, his part is the traditional touchstone for a Russian actor. Great Chatskys are as rare and as highly valued in Russia as are great Hamlets in Britain.
• Colonel Skalozub, Sergey Sergeyevich
• The Goriches:
  • Natalia Dmitriyevna, young lady
  • Platon Mikhailovich, her husband
• Count Tugoukhovsky
• Countess, his wife, and six daughters
• The Khryuminas:
  • Countess Khryumina, the grandmother
  • Countess Khryumina, the granddaughter
• Anton Antonovich Zagoretsky
• Old woman Khlyostova, Famusov’s sister-in-law
• Mr. N.
• Mr. D.
• Repetilov, the Anglomaniac orator of the coffee room and of the club, burning for freedom and stinking of liquor, the witless admirer of wit, and the bosom friend of all his acquaintances;
• Petrushka and several speaking footmen;
• A large number of guests of all ranks and their footmen engaged during their departure;
• Famusov’s waiters.

A number of the characters have names that go a long way toward describing their personality.

• Famusov’s surname is derived from Latin fama, meaning «public opinion» or «repute», which is a matter of great importance to that character, while his name stands for «small» as in unremarkable and his patronymic is derived from Afanasy («immortal»).
• His daughter’s given name is Sofia («wise»), alluding to her pragmatism.
• «Chatsky», in addition to its reference to a contemporary figure, is also considered a bilingual reference, both to the English «chat» and the Russian чадить («to emit smoke»), alluding to the inconsequential nature of Chatsky’s extensive diatribes.
• Molchalin’s name comes from the verb molchat’, to be silent, and he is a character of few words. Tugoukhovsky’s name comes from the compound word tugoukhiy, a slang equivalent of the English phrase «hard of hearing».
• Skalozub’s name is an inversion of the Russian zuboskal, a mocker or jokester (literally, «one who bares teeth a lot»).

Mentions elsewhere[edit]

From Anton Chekhov’s^[5] A Dreary Story from the notebook of an old man

‘If no progress can be seen in trifles, I should look for it in vain
in what is more important. When an actor wrapped from head to foot in
stage traditions and conventions tries to recite a simple ordinary
speech, «To be or not to be,» not simply, but invariably with the
accompaniment of hissing and convulsive movements all over his body,
or when he tries to convince me at all costs that Tchatsky, who talks
so much with fools and is so fond of folly, is a very clever man, and
that «Woe from Wit» is not a dull play, the stage gives me the same
feeling of conventionality which bored me so much forty years ago when
I was regaled with the classical howling and beating on the breast.’

Dostoevsky’s «The Brothers Karamazov» refers to the play as «Sorrow from Wit».

From Mikhail Bulgakov’s ^[6] The Master and Margarita Chapter 5.

References[edit]

•  This article incorporates text from D.S. Mirsky’s «A History of Russian Literature» (1926-27), a publication now in the public domain.
• Maria Sergeyevna Durnovo (Griboyedova)

External links[edit]

• Горе от ума – full text with illustrations in Russian at Stixiya
• Горе от ума – full text in Russian
• Горе от ума – full text in Russian at Alexei Komarov’s Internet Library
• (in Russian) Woe from Wit public domain audiobook at LibriVox
• Gore ot ouma: A Comedy – full text of English translation by Nicholas Benardaky, 1857
• The Woes of Wit – full text of English translation by A. Vagapov, 1993
• The Woes of Wit – Alan Shaw’s translator’s introduction

Александр Грибоедов. «Горе от ума». На английском языке. Перевод Алика Вагапова

—

A.S.Griboyedov
WOE FROM WIT
(A Four-Act Comedy)
Translated by A.S.Vagapov

C A S T :

P a v e l A f a n a s y e v i c h F a m u s o v , head of office

S o f i a P a v l o v n a , his daughter

L i z i e , maid

A l e x e y S t e p a n o v i c h M o l c h a l i n , Famusov’s secretary living in his house

A l e x a n d r A n d r e y e v i c h C h a t s k y

C o l o n e l S k a l o z u b , S e r g e y D m i t r i y e v i c h

N a t a l i a D m i t r i y e v n a, young lady } the Goriches P l a t o n M i k h a i l o v i c h , her husband

C o u n t T u g o u k h o v s k y

C o u n t e s s , his wife with six daughters

C o u n t e s s , the g r a n n y } the Khryumins C o u n t e s s , the d a u g h t e r

A n t o n A n t o n o v i c h Z a g o r e t s k y

O l d K h l y o s t o v a , Famusov’s sister-in-law

M r. N.

M r. D.

R e p e t i l o v

P e t r u s h k a and some footmen. A large number of guests of all ranks and footmen engaged at departure of guests. Famusov’s waiters.

The scene is laid in Moscow at Famusov’s house.

A C T 1

Scene 1

A sitting room with a big clock in it, to the right is Sofia’s bedroom door, the sound of a piano and a flute come from Sofia’s room, and then the music ceases. Lizzie is asleep hanging down from the armchair (It is morning. The day is just about to break)

L i z i e (wakes up suddenly, raises from the chair, looks around)

It’s dawning ! . .. Oh! How fast

The night has passed !

They didn’t let me go to bed

‘In expectation of a friend’.

I had to be on the alert,

It’s only now that I could doze

Sitting like this, in such a pose !

I could have fallen from the chair !

It’s dawn . . . They must be unaware . . .

(knocks at Sofia’s door)

Sir ! Madame ! What a plight !

You have been chattering all night,

Sir, are you deaf ? Ma’am, do you hear ?

No, they do not seem to fear.

(walks away from the door)

Look out, uninvited guest !

The father may appear ! I serve a loving woman, yes !

( moves to the door again)

It’s time to part. Stop that conversation !

( S o f i a ‘ s v o i c e )

What time is it ?

L i z i e

The house is all in agitation.

S o f i a (from her room)

What is the time ?

L i z i e

It is about seven, eight or nine . . .

S o f i a (from the same place)

It isn’t true.

L i z i e ( goes away)

Ah, this damn amour !

They do not want to get me right . . .

Those shutters keeping out the light !

I’ll put the clock a little on, although

There’ll be a row, I know.

(gets on the chair, moves the hour hand; the clock strikes and plays the tune)

Scene 2

Lizzie and Famous

L i z i e

It’s you, sir ?

F a m u s o v

Yes, it’s me.

( stops the clock music)

You naughty little mischief maker ! I didn’t know !

I had just wondered what it could be:

Now it’s a flute, now it’s a piano,

It’s much too early in the day

For Sofia to play.

L i z i e

No, sir . . . For once . . .

I did it quite by chance.

F a m u s o v

That’s it:

I must be on the watch indeed,

It was intended to be sure.

(cuddles up to her)

You naughty girl, you mischief maker, you are ! . .

L i z i e

Naughty yourself ! The words you say

Do not befit you, do they ?

F a m u s o v

You’re modest but the frivolous kind,

Frivolities and mischief are all you have in mind.

L i z i e

It’s you who’s frivolous, let go, will you ?

Compose yourself, old man. F a m u s o v

I’m not quite old.

L i z i e

Should somebody come in, what shall we do ?

F a m u s o v

Who may come here now, uncalled ?

Is Sofia asleep ?

L i z i e

Just gone to bed.

F a m u s o v

Just now? And what about the night ?

L i z i e

She read.

F a m u s o v

The kind of whim she has, you see ?

L i z i e

She’s reading there under lock and key.

F a m u s o v

You tell her what: she mustn’t spoil her sight

For reading is of little worth. It’s just a fashion.

She doesn’t sleep from reading French at night,

I fall asleep when I read Russian.

L i z i e

When she gets up I’ll tell her so,

You’ll wake her up, I’m afraid, please go.

F a m u s o v

I’ll wake her up ? Why, it is you not me

Who starts the clock and makes it play a symphony.

L i z i e (raising her voice)

Now stop it, will you ?

F a m u s o v (shutting her mouth)

Why shout like that ?

Are you going mad ?

L i z i e

There’s something wrong about it, I fear.

F a m u s o v

About what, my dear ?

L i z i e

You ought to know for you’re not a little one:

Young women’s sleep is light at down,

They hear every whisper, a door creak, or a sigh,

They hear everything.

F a m u s o v

No, it’s a lie.

S o f i a (her voice comes from her room)

Ah, Lizzie!

F a m u s o v (quickly)

Hush !

(Tiptoeing out of the room hurriedly)

L i z i e (alone in the room)

He’s gone. Beware of masters, they

Will cause you trouble any day.

Of all the woes may God deliver us from both

From their love and their wrath.

Scene 3

Lizzie, Sofia candle in hand, followed by Molchalin.

S o f i a

What’s up, Liz ? You’re making such a noise . . .

L i z i e

You find it hard to part, of course,

Locked up all night — it is enough, my lady.

S o f i a

My, it’s the break of day already !

(puts out the candle)

It’s light and gloom. The night’s so quick to pass !

L i z i e

You may be gloomy. And I feel much worse.

Your father took me by surprise,

I shifted, dodged and told him lies. (to Molchlin) Don’t stand like that ! Just take your bow,

I see that you are scared, and how !

Look at the clock. Now just look out —

People are long up and about,

And in the house all is in motion:

They’re knocking, walking, cleaning, washing.

S o f i a

Happiness takes no account of time.

L i z i e

You watch the time or not, it’s up to you;

I’m in for trouble, I shall get my due.

S o f i a (to Molchalin)

Now you must go. We’ll have another tedious day.

L i z i e

God bless you ! Take your hands away !

(Separates them; Molchalin runs into Famusov in the doorway)

Scene 4

Sofia, Lizzie, Molchalin, Famusov.

F a m u s o v

What a surprise ! It’s you, Molchalin ?

M o l c h a l i n

Yes.

F a m u s o v

What brings you here, at this hour ? Do confess.

And, Sofia, you, too. Please tell me why

You got up early today ? Don’t tell a lie.

How do you come to be together now ?

S o f i a

He just came in.

M o l c h a l i n

I walked around, that is how.

F a m u s o v

Now tell me please, old bloke:

Cannot you choose a better place to walk ?

And you, young lady, hardly out of bed —

There is a man around! By your side !

You read those silly books at night

And that’s the fruit of it, I bet.

The French! With all their fashion shops and streets,

Their books and writers and artists,

They break our hearts, they make our money fly,

I wonder why

God will not save us from their needles, pins,

Their bonnets, hats and all the other things.

S o f i a

I’m sorry, father, I’m feeling ill at ease,

I’m so scared, I can hardy breathe.

You were so quick to come. My God!

I’m confused.

F a m u s o v

Well, thanks a lot !

I took you by surprise !

I scared and disturbed you! Very nice !

My dear Sofia, I dare say,

I’m upset myself. All day

I have to run about, full of care and bother.

Now one keeps pestering me now another.

Could I expect the trouble of being told a lie ?

S o f i a (through tears)

Whom by?

F a m u s o v

Well, I may be reproached that I

Keep grumbling all the time for nothing.

Now don’t you cry.

I’ll tell you something:

I’ve given you support and care.

Your mother died. I took on this Madame,

Madam Rosiet, your second mere.

A granny with a heart of gold I found for you,

So quick and wise, and of high morals, too.

There is one thing that doesn’t do her credit though:

For extra half a thousand or so,

She had the nerve to leave our house . . .

But anyhow it is beyond her powers.

Just look at me: I’m no boaster,

I’m strong and fresh, although my hair is grey,

I’m a widower, I’m free, I’m my own master

And of monastic chastity, they say.

L i z i e

May I ?

F a m u s o v

No, do shut up!

The wretched times! You don’t know what to open up !

I see nowadays

People grow wise before their years,

The daughters do, so do the old good men.

Who need the languages we learn ?

We hire tutors, resident or not,

That teach our daughters everything:

To court

And give a sigh, to sing and dance,

As if they wished to marry them to clowns.

You, visitor? Do you want anything ?

From a nowhere man in God forsaken Tver

I made you an assessor and a secretair.

Without me you would have surely been

A nobody. You, man without kith and kin !

S o f i a

I don’t know why you should be angry, father.

He’s living here, in this house. So what ?

He walked to one room and got into another.

F a m u s o v

He got where he wanted, did he not ?

Why is he here, uninvited?

S o f i a

I’ll tell you. Well, it goes like this:

When you were here, you and Liz,

I heard your voice and was so frightened

That I came running like a shot.

F a m u s o v

She’ll put the blame on me, it seems.

I came out of time and got them caught !

S o f i a

You caught me nodding, I had dreams.

I’ll tell you and you will understand.

F a m u s o v

What dreams had you ?

S o f i a

Shall I tell you ?

F a m u s o v (sits down)

Yes, if you can.

S o f i a

Well . . . Listen . . . First I see

A fragrant meadow and then me

Looking for some kind of grass,

I don’t remember which, alas.

Then comes a gentleman, one of those men

That make at once an old good friend.

A man so tactful, wise, as well as

Shy, you know those poor fellows.

F a m u s o v

Don’t talk to me about the poor.

A poor man is not a match for you.

S o f i a

And then all vanishes: the meadows and the sky — like magic !

We are in a room. It’s dark. Then, just imagine:

Down goes the floor and you come up.

And now the door flies open with a bang,

And in burst monstrous creatures, like a gang.

They fall upon the man, they tear us apart,

I reach for him: he seems so dear to my heart,

You hold him back and take away with you,

And this to hooting, jeering, whistling — boo !

Then he starts shouting.

I woke up there . . . Someone was chatting.

It was your voice, yes, it was you.

So I rushed out to find that you were two.

F a m u s o v

Too bad a dream it is indeed.

I see there’s everything in it:

The devil, love and flowers, fright. Too bad !

Well, sir, what do you say to that ?

M o l c h a l i n

I heard you voice . . .

F a m u s o v

It’s really strange.

What’s there in my voice? Did they arrange

to hear my voice and come around like a clock ?

Why did you come on hearing me talk ?

M o l c h a l i n

The papers, sir.

F a m u s o v

The papers? Oh what an idea !

What made you care for them, my dear ?

Why all this zest ?

(raises)

Now Sofia, I’ll set your mind at rest;

Dreams can be strange but I should think

Reality is a more frightful thing.

You looked for grass but in the end

You found a friend.

Well, put that out of your head,

Forget the miracles — they’re all wrong.

You’d better go now back to bed. (To Molchalin) Show me your papers, come along.

M o l c h a l i n

I want to tell you, sir, instead:

The papers are in such a mess !

They will be null and void unless

They’re certified

And all put right.

F a m u s o v

I’m awfully afraid

They might pile up, accumulate.

I know your kind. You’d keep them all

Stuck up for days in a pigeon-hole.

I’d rather have a paper signed.

Once signed — it’s out my mind !

(He and Molchalin go out. He makes way to Molchalin at the door)

Scene 5

Sofia and Lizzie.

L i z i e

The holiday is coming! Time for fun !

To me the day is not a happy one.

My eyes are dim, my heart is blue.

The sin does not much worry me, the rumours do.

S o f i a

I do not care for rumours. Let them be !

Though father will keep crying shame on me.

He always grumbles, scolds and makes one feel unhappy.

You know what he can do now after what happened.

L i z i e

He’ll lock you up. That’s what he’ll do.

I wish he locked up me with you,

I’m afraid, he’ll go as far as firing us:

Molchalin, me and all the others.

S o f i a

I’m thinking, happiness is so wayward !

A worse thing happens, yet you get away with it,

For once all worries seemed to be away,

We were lost in music, unaware of time of day,

It seems that fate was guarding us: The time just flew.

No doubt, no alarm . . . But trouble comes out of the blue.

L i z i e

That’s it !

You never listen to my foolish judgement.

I told you many times, and I’ll say it again

This love of yours is all in vain.

You wouldn’t find a better profit. Listen, please:

Like all the Muscovites your father is like this:

He wants a son-in-law with ranks and stars,

Not all of them are rich, alas.

He wishes he had money into the bargain

To live in clover, give a party now and again

Take colonel Skalozub, for instance, he isn’t bad:

A would be general and very rich at that.

S o f i a

It’s nice !

To hear him talk of ranks and lines !

I’d rather take my own life

Than marry him and be his wife.

Scene 4

C h a t s k y

He’s so fussy. There’s so much vim

And Sofia? Can she be engaged to him?

They’ve been avoiding me as if I were a stranger.

Oh, how I wish that she were here, my angel.

Who is this colonel whom he is so infatuated with?

And maybe Famusov is not the only one who is?

Oh, he who goes for three long years away

A fare well to love is doomed to say.

Scene 5

Chatsky, Famusov, Skalozub.

F a m u s o v

Sergey Sergeyich ! You’re welcome, dear.

You must be cold. Come here, get warm,

Please join us, it is warmer here;

We’ll open up the vent. Just make yourself at home.

S k a l o z u b (in a low voice)

Don’t do it. Let me do it, please.

An officer of honour, I’m feeling ill at ease.

F a m u s o v

Sergey Srgeyevich, my dear,

Let me do something for a friend;

Your hat, your sword, just put them here,

You may stretch out on this bed.

S k a l o z u b

It doesn’t matter where I sit.

(all sit down, Chatsky at a distance)

F a m u s o v

My dear friend, before it slips my mind

I’ll tell you: we are relatives of a kind.

Not close, and no inheritance behind.

I didn’t know it, nor did you,

I learned it from your cousin, dear,

Nastasya Nikolaeyevna — is she related to you, too ?

S k a l o z u b

I’m sorry, I have no idea,

We never served together, for all I know.

F a m u s o v

Sergey Sergeyich ! You don’t say so !

Oh no! There’s nothing I won’t do for relatives,

They won’t escape me by any means.

I have no outsiders working with me,

I take on children from my family tree.

Exceptions? Well, Molchalin is the only one,

He’s business-like, that’s why I took him on.

Now when it comes to offering a vacancy or giving an award.

It’s natural that for my relatives I should put in a word.

Your cousin happened once to mention

That he had gained a lot from your protection.

S k a l o z u b

In 1813 we cut our teeth,

First in the 13-th regiment, then in the 45-th.

F a m u s o v

One should be proud of a son like you.

You have an order, haven’t you ?

S k a l o z u b

It’s for the August fight. We were in a trench,

He got one on a band, I got this for a change.

F a m u s o v

He’s amiable, smart, as for as I can see.

A brilliant man your cousin seems to be.

S k a l o z u b

He follows some new rules he has acquired;

He was to get promotion but suddenly retired,

He took to reading in his country-house and . . .

F a m u s o v

The youth! They read, then all of a sudden, bump, the end.

You’re doing well, you can’t be wrong,

You’re a colonel though you haven’t served too long. S k a l o z u b

I’m a lucky man, you see ?

There’s right now a vacancy.

Some seniors fall in battle,

Others are cast out of saddle.

F a m u s o v

Yes, God gives everyone his due.

S k a l o z u b

Some people get on better that I do;

In the fifteenth division there’s a man,

The brigadier general, to mention only one.

F a m u s o v

You have got everything, haven’t you ?

S k a l o z u b

I can’t complain. Though it’s two years, my friend,

That I have strived for the regiment.

F a m u s o v

There’s no occasion for regret

For I should say, in some respect Your rivals you have outdone.

S k a l o z u b

No, in my corps I’m not the oldest one,

I’ve been in service now for years,

I know there are so many ways

To be promoted. All I say:

I wish I’d be a general some day.

F a m u s o v

I share your judgement, and I wish you health,

I also wish your generalship wealth.

And then . . . why should you put it off ? —

It’s time to think of your better half.

S k a l o z u b

To marry? I don’t care if I do.

F a m u s o v

People have daughters, sisters, nieces, too;

There’re many marriageable women here.

Indeed, they multiply with every passing year.

Of all the capitals, big or small,

Moscow is surely best of all.

S k a l o z u b

A city of tremendous size and space.

F a m u s o v

Good manners, elegance and grace;

Our life is governed by the laws;

We judge the children by the parents,

«The father makes the son» — the saying goes.

He may be bad but if he inherits

Two thousand hands, then people say:

«He makes a perfect fiancй.»

And if a man is not of noble birth,

However smart and full of self-respect,

No blessing from the family he should expect.

Or take the bread-and-salt reception,

I welcome all without expectation,

My doors are open to all. Yes.

Especially to foreign guests.

No matter, honest or dishonest, a gentleman or lady,

I always keep my dinner ready.

Look at the people of our city,

They have an imprint of peculiarity.

Look at our youngsters look at these

Boys — our sonnies and grand sonnies,

We scold them and we think them green,

While they can teach their grannies at fifteen.

As for the elders their word is law,

Once they start talking, they let it go,

They always talk with a knowing air,

To contradict them you don’t dare,

They’re old gentry, they make no bones

About talking on the government’s wrongs.

If someone overheard them, they’d be done for.

Not that they put forward new ideas, no !

It’s mere finding fault. That is the thing !

Making a noise about nothing.

They carry their arguments too far,

Retired chancellors they think they are.

I’ll tell you what: the time has not yet come, — Some day quite indispensable they may become.

As for the ladies they are hard to win.

Don’t try to judge them, They will judge everything.

When they come out like one at a table game,

Have patience! I have myself been married. Wait:

They will command an army on the front, they claim,

And will attend the senate to debate.

Irina Vlasyevna! Lukerya Alexevna!

Tatyana Yuryevna! Pulkheria Andryevna !

And if you saw their daughters, you would blush with shame.

His majesty the king of Prussia here once came,

It wasn’t girls and their pretty faces that attracted him,

They were well bread and had good manners in his esteem.

They can wear a veil and paint the face,

They never say a word without a grimace,

They sing a French romance

Forcing the highest notes,

With military men they take a chance

Because they say are patriots.

Of all the capitals, big or small,

Moscow is surely best of all.

S k a l o z u b

As far as I can judge,

To a large extent the fire made it such.

F a m u s o v

Don’t talk about the fire. Don’t tease.

So much has changed ever since:

The roads, the houses, the pavements and all . . .

C h a t s k y

The houses are new, the prejudices are old.

You should be pleased because a prejudice never dies,

It will survive the years, the fashions and the fires.

F a m u s o v (to Chatsky)

Ah you! Just keep your mouth shut,

Do me a favour, it isn’t hard.

(to Skalozub)

Well, let me introduce to you this gentleman:

The son of Chatsky, of the late friend of mine.

He doesn’t serve, though if he did, he would succeed.

It is a pity, I regret, for he is bright.

How well can he translate and write!

I can’t help feeling sorry for this man.

C h a t s k y

Can’t you feel sorry for some other one ?

I am annoyed to hear all your praise.

F a m u s o v

Well, anybody would condemn you in my place.

C h a t s k y

I wonder who the judges are !

With age they show hostility to freedom,

They read the press that dates as far

Back as the Crimean war. They call it wisdom.

They’re quick to criticize and curse

And always sing the same old song,

They never think they can be wrong.

The older these men are the worse.

Where are those fathers of the nation,

Good models for our generation,

The ones that roll in looted money

With influential friends and relatives on hand?

The ones that feast away their lives of honey

And dwell in houses magnificent and grand?

The houses in which the foul features of the past

Will never be revived by all this foreign caste.

The Moscow they will keep your mouth shut

By sending you a dinner party invitation card.

Or, maybe,

It is the man to whom you used to take me

For a bow when I was a baby?

The leader of outstanding rascals, he

Had a team of loyal servants

That during fight-and-drinking rounds

Had saved his life and honour, but then once

He suddenly exchanged them for three hounds.

And then there is the man, as good as all the others,

He gathered children for his ballet muse

By tearing them away from their mothers.

He set his mind on Zephyrs and Amours

And let the whole of Moscow admire their beauty,

And when it came to setting his accounts

He didn’t bother about credits. «Out of sense of duty»

All his Amours and Zephyrs he sold out.

Those are the men that now have grown old and grey,

The men enjoying high respect and estimation.

«They are indeed our fair judges» — you will say.

And if there is a man among the younger generation

That never strives for vacancy nor seeks an occupation

Who sets his mind on science and shows a thirst for knowledge

Or good himself fills him with inspiration

To creativity in art,

They scream: «Disaster! Fire!» and acknowledge

The man to be a dreamer and dangerous at that.

The coat! The coat! They wear it still,

So beautifully made, it used to hide

Their timidness and their flippant mind.

And that’s the road that we should take at will.

The wives and daughters, too, affect the coat

And so did I until a while ago.

I’m not an infant now, you know,

On things like that I shall no longer dote.

When some Guard’s officers one day

Were on a short time visit here

The women shouted: «Hurrah!»

And threw their bonnets into the air.

F a m u s o v (to himself)

He’ll let me down, I’m sure.

(in a loud voice)

Sergey Sergeyich, I shall go,

There in my room for you I’ll wait.

(goes out)

Scene 6

Chatsky, Skalozub.

S k a l o z u b

I really appreciate

The way you touched upon

The fact that Muscovites are fond

Of our Guards and Guardsmen, our perfect pets,

Their gold embroidery, the cut of coats and shirts.

Our First Army has never lagged behind;

The waists are narrow. The style is fine,

Our officers are spick and span,

They can speak French . . . Some of them can.

Scene 7

Chatsky, Skalozub, Sofia, Lizzie.

S o f i a (runs to the window)

My God! He’s fallen down ! He’s dead !

(faints)

C h a t s k y

Who’s that ?

S k a l o z u b

Who is in trouble ?

C h a t s k y

She so scared !

S k a l o z u b

Who on earth is it?

C h a t s k y

He’s hurt. Is he in good shape ?

S k a l o z u b

Is it our old boy who’s got into a scrape ?

L i z i e (trying to help the lady)

«No flying from fate» — the saying goes.

As our Molchalin was mounting the horse

It reared suddenly as if it were scared,

And he fell down bump on his head.

S k a l o z u b

Poor rider! Must have pulled the reins too tight.

Did he fall down on his breast or on his side ?

( goes out)

Scene 8

The same people except Skalozub.

C h a t s k y

How can we help her? Tell me, Liz.

L i z i e

There’s water over there . . .

(Chatsky runs to bring water. All speak in a low voice until Sofia regains consciousness)

Pour out a glass!

C h a t s k y

Well, there it is,

Let loose the lacing, give her air,

Now rub the temples with the vinegar,

Now sprinkle water. See? It really

Helps. She’s breathing freely.

Have you a fan?

L i z i e

Yes, here you are.

C h a t s k y

Look out!

Molchalin has come round !

L i z i e

It’s idleness that torments her.

Well, isn’t it a pity, sir ?

She cannot bear to see a man

Dash to the ground, like we can.

C h a t s k y

Go on with sprinkling.

There !

S o f i a ( with a deep sigh)

Who’s speaking ?

It’s like a dream.

(speaks fast in a loud voice now)

Where is he? What has happened to him ?

C h a t s k y

Whatever happened, never mind !

He nearly killed you. It serves him right.

S o f i a

You’re killing me with coolness, you !

I cannot bear the sight of you !

C h a t s k y

Do you expect me to shed tears ?

S o f i a

Go there and help him, if you please.

C h a t s k y

To leave you on your own here ?

S o f i a

I just don’t need you. Do you hear ?

It’s true: about others you are not worried.

If your own dad were killed, you wouldn’t care.

(to Lizzie)

Let’s go.

L i z i e (taking her a little aside)

No, wait. Just don’t get flurried.

He’s safe and sound. Look out there!

(Sofia looks out into the window)

C h a t s k y

The way she took it ! Fright. Confusion. Faint.

One only feels that way, I understand.

About the loss of a dearest friend.

S o f i a

They’re coming here. He cannot raise his hand.

C h a t s k y

I wish I had got killed with him.

S o f i a

Just keep your wishes to yourself, if you have any.

Scene 9

Sofia, Lizzie, Chatsky, Skalozub, Molchalin (with his bad arm bandaged)

S k a l o z u b

He’s alive again.

He got away with a little pain.

It was a false alarm, just a mistake.

M o l c h a l i n

I frightened you. Forgive me for God’s sake.

S k a l o z u b

I didn’t know you would be frightened.

As you dashed in we were startled,

You fainted suddenly. And now it’s clear,

There was no reason to feel fear.

S o f i a (looking aside)

Although I know that all is safe

I’m still shaking in my shoes.

C h a t s k y (to himself)

It seems, Molchalin is excused.

S o f i a

I never fear for myself.

Say, when the coach gets overturned

I wait until they put it right,

Set it in order. And on I ride.

I fear for others, for myself I don’t.

It doesn’t care whom I fear for.

C h a t s k y (to himself)

She’s making her apology

For having pitied somebody.

S k a l o z u b

Now let me tell you something about a dame,

A certain countess, Lasova by name.

She rides a horse. A widow, she prefers

To ride without her admirers.

She was so hardly hurt the other day,

The jockey must have turned his eyes away.

A clumsy woman, now she’s lost a rib. So she’s looking for a man. In short,

She needs a husband for support.

S o f i a

Andrey Andreyich, take my tip !

You’re a generous man. When people are in need,

You’re a friend indeed.

C h a t s k y

I’ve made my every effort now, and I’ve

Succeeded in bringing you back to life.

I don’t know though

Whom I have done it for.

(takes his hat and leaves)

Scene 10

The same people except Chatsky.

S o f i a

We have a gathering tonight. Will you join us ?

S k a l o z u b What time ?

S o f i a

Come early, there’ll be friends,

To piano music we shall dance.

We’re in mourning. So for a ball there’s no chance.

S k a l o z u b

I’m engaged. Yet I will come tonight.

I must be off.

S o f i a

Good bye.

S k a l o z u b ( shaking Molchalin’s hands)

I’m your man.

(goes out)

Scene 11

Sofia, Lizzie, Molchalin.

S o f i a

Molchalin, I have almost lost my mind.

Don’t risk your life. Be careful if you can.

You know how dear you are to me.

Now tell me, please, how is your arm ?

Shall I give you any kind of remedy ?

Or call a doctor? It will do no harm.

M o l c h a l i n

I’ve dressed it and it doesn’t ache.

L i z i e

I bet, it’s nonsense, just a fake;

For dressing there isn’t any need,

And you will not avoid publicity

For Chatsky will make fun of it,

And Skalozub will spread it through the city.

He’ll tell his story carrying it too far,

He’s fond of making jokes. All people are.

S o f i a

Which of the two I care for ?

It’s up to me — I can say «yes» or «no.

Molchalin, I restrained my feeling,

When I came in my mind was reeling,

I couldn’t breathe when they were there,

To look at you I didn’t dare.

M o l c h a l i n — No, Sofia Pavlovna, you’re too blunt.

I wish I could be restraint, I can’t.

I nearly jumped out of the window then,

And I don’t care about any one of them,

Let people grin or scold me if they want.

M o l c h a l i n

Well, if you hold you tongue, they won’t.

S o f i a

Will you be challenged to a duel? I hope not.

M o l c h a l i n

The vicious tongues, they are more frightful than a pistol shot.

L i z i e

They’re sitting there, I presume.

You’d better rush into the room

With a cheerful look, a happy face,

Tell them the words they want to hear,

They will believe words of praise.

As to Alexander Andreyich he

Will be just happy to converse

With you about the bygone years.

Just give a smile and he will do

Anything under the sun for you.

M o l c h a l i n

I don’t advise you anything.

(kisses her hand)

S o f i a

I’ll do it against my will. Although

I cannot feign pretence, I think.

What did God bring this Chatsky here for ?

(goes out)

Scene 12

Lizzie, Molchalin.

M o l c h a l i n

You’re such a happy creature, you !

L i z i e

Leave me alone. Without me you’re two

M o l c h a l i n

You’re such a beauty !

I love you so !

L i z i e

And Sofia, too ?

M o l c h a l i n

I love her out of duty,

I love you . . .

( wants to embrace her)

L i z i e

Out of boredom. Be off with you !

M o l c h a l i n

I have three things for you: here is

A toilet set, it’s got two mirrors,

One outside and one inside. Nice work.

There’s carving, gilt. Just have a look.

This little thing with a beads ornament. Not bad.

Nice little scissors an a needle pad.

There’s pomade, and here is another set:

Two bottles of perfume: jasmine and mignonette.

L i z i e

You know in things I take no interest.

You’d better tell me why

You’re so dissolute with me while with the mistress

You’re always modest, shy ?

M o l c h a l i n

I’m not well. My arm is dressed, you see ?

At dinner time, when we’re two,

I shall confine the truth to you.

(goes out through the side door)

Scene 13

Lizzie, Sofia.

S o f i a

There’s no one in the father’s room. Too bad !

I’ll miss the dinner. I’m not well today.

Go to Molchalin, tell him that

I want to see him right away.

( goes to her room.)

Scene 14

Lizzie.

L i z i e

So strange these people seem to be !

She craves for him, he craves for me,

And I’m . . . the only one who’s scared of love,

Barman Petrusha, my sweetest dove.

End of Act II

A C T III

Scene 1

Chatsky then Sofia.

C h a t s k y

I’ll wait till she confides to me.

Whom does she care for ? Molchalin! Skalozub! Who is it ?

Molchalin used to be so stupid,

A miserable creature, it was plain to see.

He hasn’t grown any wiser. And the other one

Is rough and hoarse, a husky man.

A constellation of mazurkas and manoeuvres. Love

Is doomed to play the blind man’s bluff.

And I . . .

(enter Sofia)

Oh, are you here? I’m very glad.

I wished it so.

S o f i a (to herself)

It is too bad.

C h a t s k y

It isn’t me you were looking for, is it ?

S o f i a

I didn’t look for you.

C h a t s k y

Maybe, it isn’t fit

That I should ask you. Tell me, be so kind,

Whom do you love ?

S o f i a

Good heavens! All mankind.

C h a t s k y

And whom do you prefer ?

S o f i a

Well, there are relatives . . .

C h a t s k y

You love me most of all!

S o f i a

Some of them, that is.

C h a t s k y

What do I hope for, when all is done ?

I’m prepared to kill myself while she’s having fun.

S o f i a

Shall I be frank with you ?

It’s not polite to laugh at everyone.

You always have a ready tongue

When people don’t behave the way you do.

And you . . .

C h a t s k y

I’m a funny man, you mean to say ?

S o f i a

You’re menacing. You look and talk that way.

You have a lot of other negatives like that,

Self criticism wouldn’t do you bad.

C h a t s k y

I’m queer! All men are queer as rule.

He isn’t queer who’s like a fool.

Molchalin, for example . . .

S o f i a

Well, it isn’t new to me;

You make no bones about pouring out your acidity.

I hate to bother you. I’ll leave.

C h a t s k y (holding her back)

Don’t go.

(To his side)

For once I’ll make believe.

(in a loud voice)

Let’s drop it. Arguments aside !

I’m sorry for Molchalin for I wasn’t right;

He may be different from what he used to be,

Such changes do occur, I will agree,

Changes in minds and morals, governments and rules,

There are important people that were known to be fools,

I’m afraid to mention them but you’ll agree:

Some weren’t successful in the army, some in poetry

And others — everybody says —

Have grown much too clever in recent years.

Molchalin may be bright and bold, it’s true,

But has he got emotions, passions

To think the world without you

To be just vanity and ashes ?

And is he sensitive enough

To have his heart-beat speeded up by love ?

So that whatever he might think and do

Would be entirely for you ?

That’s what I feel, but words just fail me.

I’m overwhelmed, I’m in despair,

It’s such a feeling that I couldn’t wish an enemy.

And he? Just hangs his head and doesn’t seem to care,

He’s timid. All such men are quiet,

He has a mystery of some kind.

Good knows what is it you’ve inspired

In him. Something he never had in mind.

Of all the merits, quite a few

He has inherited from you.

It isn’t he who’s sinful, it is you.

No, no, he may be wise and clever, too.

Is he a match for you? — that is the question.

As someone you grew up together with

A friend of yours, your nearest relation,

I want you to dispel my doubts, please,

So that I take the loss with ease.

I shall take care not to lose my mind,

I’ll go away to fall in reverie

And never think of love. Yet I shall find

A way to having fun and making merry.

S o f i a (to herself)

To drive him mad I really did not intend.

( aloud )

Why on earth should I pretend ?

Molchalin could have lost his hand.

I helped him, you should understand,

You were there and you saw it too,

And it did not occur to you,

It was the gesture of a friend.

Though, maybe, you’re right to some extent,

For him I may be biased,

Now tell me really,

Why should you talk so freely

Of your contempt for people, and never make disguise ?

You don’t show mercy even to the humblest one.

You’re always at it. Always joking, always having fun.

No matter who is mentioned during table-talks

Down on his head you hail your biting jokes.

C h a t s k y

My goodness ! Am I really the kind of man

Whose only aim of life is making fun ?

Meeting with funny people is adoring

Though for the most part I find them boring.

S o f i a

No, it does not apply to him.

Molchalin wouldn’t really seem

To you so boring, if you knew him well.

C h a t s k y ( with passion )

Why did you get to know him well?

S o f i a

I never tried. It was the wish of God.

Just look how many friends he’s got.

He’s been in service for three years,

When father loses temper for no reason

Molchalin never takes offence.

He’s kind and tries to do the pleasing.

And incidentally,

He could make merry if he wanted to.

Alas, he only does what the old people here do,

He sits playing with them all day long.

C h a t s k y

Playing all day!

He doesn’t contradict when they’re wrong !

(to his side)

No, she does not respect him, I should say.

S o f i a

One can be prompt and smart but deathly boring,

Another’s always swearing and scolding

Just to attract attention, grow the gossip seeds.

Is that the kind of wit a family needs?

C h a t s k y

Is moral and satire the meaning of this all?

(to his side)

She doesn’t care for him at all !

S o f i a

With every virtue his character is graced.

He’s modest and compliant, though not smart.

He has no signs of worry on his face

And doesn’t suffer wrong at heart.

He isn’t finding fault with all and everything,

That’s why I love him so.

C h a t s k y (to the side)

She doesn’t love him. It can be seen.

(aloud)

And I can tell you more

To help you finish up Molchalin’s portrait.

And Skalozub? Ah, what a treat!

He loves the army so!

His posture and his manners and the way

He looks and talks make him a hero.

S o f i a

Not of my novel anyway.

C h a t s k y

Not of you novel? It’s hard to find you out.

Scene 12

Chatsky is behind the column, Lizzie, Molchalin (stretches his arms and yawns), Sofia (sneaks down the stair).

L i z i e

You, sir, you heart of stone, thick skin !

M o l c h a l i n

Ah Lizzie! Who sent you over here ?

L i z i e

The lady.

M o l c h a l i n

There’s one thing I’m thinking off:

These cheeks, these veins and all

Have not yet seen the flush of love.

What makes you want to be at beck and call?

L i z i e

You suitors shouldn’t stay in bed

Idling away your time and lazing,

For handsome is who doesn’t get

Enough of sleep before the wedding.

M o l c h a l i n

The wedding ? Whom with ?

L i z i e

With the lady.

M o l c h a l i n

There’s room for hope before the wedding.

L i z i e But sir !

Is there any other fiancй ?

M o l c h a l i n

Who knows? I’m scared to think

About one thing:

I’m afraid that Pavel Afanasich may

Take us by surprise some day.

He’ll curse me! Fire me! I’ll be frank: you see,

Sofia has nothing to adore her for.

I wish her well. She will stop loving me,

Like she’s not in love with Chatsky any more.

I wish I cared half as much for her

As I do care for you, my dear.

Alas, no matter how I try to stir

My feelings — I cool down when I see Sofia.

S o f i a (to the side)

Oh what a wicked man!

C h a t s k y (from behind the column)

A scoundrel he is!

L i z i e

Aren’t you ashamed?

M o l c h a l i n

My father taught me this:

I must please all and everyone —

The host of house I would live in,

The boss I’d work with and the man

That would keep my clothes clean,

The sweeper of the yard, and, just in case,

His dog to win its love and kindness.

L i z i e

They are all guardians of yours.

M o l c h a l i n

Now I pretend to be a lover

To please the daughter of one of those…

L i z i e

The one that feeds you, gives you cover ?

Sometimes ranks, too ?

Well, that will do.

M o l c h a l i n

Let’s go. We’ve talked enough.

Let’s share our sad girl’s love.

Let me embrace you, most sincerely.

(Lizzie pushes him away)

I wish you were Sofia, really.

(He wants to go, but Sofia doesn’t let him)

S o f i a ( almost in a whisper. Talking is in a low voice during the whole scene)

Don’t you come near. I have heard it!

You scoundrel ! What a shame ! Oh what a mistake.

M o l c h a l i n

Why Sofia Pavlovna…

S o f i a Don’t say a word.

I can do anything. Don’t talk, for goodness sake.

M o l c h a l i n

(falls down on his knees, Sofia pushes him away)

Remember please! Have mercy. Look and see!

S o f i a

I don’t remember anything. Forget me ! — 173 — M o l c h a l i n (grovels at her feet)

Have pity…

S o f i a

Don’t be mean. Get up. You wretched thing.

I don’t want any answer. For I know

You’ll tell a lie again…

M o l c h a l i n

Have mercy…

S o f i a

No. No. No.

M o l c h a l i n

I said it just for fun . . . don’t make a fuss . . .

S o f i a

You’d better now leave me alone

Or else I’ll wake up everyone,

And I don’t care, if I ruin both of us.

(Molchalin raises)

I wish that I had never known you.

Do not expect me to complain, reproach or cry.

Get out of the house so that I

Might never hear of you again.

M o l c h a l i n

Well, as you wish.

S o f i a

Or else

I’ll tell papa the truth. I’ll get my due,

But I don’t care about the consequence.

Now go ! No, wait. You should be glad that you

Were more than shy

When you and I

Had dates at nights,

And even in the daytime

When everyone could see

You were dishonest, but not so saucy,

And I’m

Pleased to have discovered everything,

There’s nothing

To reproach me of. There are no witnesses

Except when I lost consciousness.

Chatsky was here . . . no . . .

C h a t s k y (comes up quickly between them)

Yes, you pretender!

L i z i e and S o f i a

Oh! Oh!

(Lizzie drops the candle out of fright. Molchalin goes into his room.)

Scene 13

The same people, except Molchalin.

C h a t s k y

She’s quick to faint. Now it can be justified,

There’s a reason for it this time.

That is the answer for the riddle for I’m

Aware to whom I have been sacrificed!

I just restrained myself which wasn’t wise,

I saw it- I did not believe my eyes !

As for the sweetheart who has betrayed a friend

And has ignored a woman’s fear and shame,

He’s hidden now behind the door in an attempt

To shirk the answer. Oh this fortune’s game!

Repudiated hateful men! The scourge!

Molchalins are as pleased as Punch!

S o f i a (in tears)

Don’t speak. It is my fault through and through,

But who could think he was so cunning!

L i z i e

There’s a knock! A noise! People are coming!

The father will be grateful to you.

Scene 14

Chatsky, Sofia, Lizzie, Famusov a crowd of footmen, candle in hand.

F a m u s o v

Be quick! Be quick! Come here! Follow me !

Bring candles, lanterns, I can’t see !

Where are the footmen? My! I see familiar faces !

My daughter Sofia Pavlovna! What a disgrace it is !

Where is she ? Whom with?! Upon my life !

She’s like her mother, my deceased wife.

My better half: each time I got away

She’d find a man to pass the time of day!

For heaven’s sake! How did he win your heart?

Wasn’t it you who called him mad?

I have been silly, blind. Oh my!

It is a plot. And all the guests and he

Were involved in that conspiracy.

C h a t s k y (to Sofia)

So is it you whom I should thank for all this lie?

F a m u s o v

No, brother, you’re cheating, and I’ll never let it pass.

I don’t believe you, it’s an invention of your own.

You, Filka, crazy stupid ass !

I made a doorman out of a lazybones !

Whatever happens, he never knows !

Where were you ? Where did you go ?

Why did you not lock up the doors ?

How come, you missed all this ? How come, you didn’t you know ? I’ll send you to the farm, to work there in the fields.

About selling me you’d make no bones.

You, watchful girl ! With your perpetual tricks;

That is the fruit of love of fashion shops and clothes !

You’ve learnt to pimp and pander lovers.

I’ll put you right. I know what I can do.

Go feed the poultry ! Move to the service-house !

My dear daughter, you, too, will get your due,

Have patience; my decision will be simple:

You will not live here in Moscow with the people.

In a day or two I’ll send you off

To a god-forsaken place, your aunt’s, near Saratov.

You’ll pass the time there grieving,

Sitting tambour in hand, card-reading.

And I should ask you, Chatsky, this:

You will not visit her by any means,

With you I’ll draw the line at this:

All doors will be locked up for you by all the families.

I’ll do my best to make a din,

I’ll make the whole of Moscow learn it.

I’ll make it public, ring the tocsin,

I’ll write the ministers, the sovereign and the Senate.

C h a t s k y (after a short silence)

I try to come to reason, But I can’t,

I listen but I do not understand.

As if I needed further explanation,

I’m at a loss… I’m in expectation…

(Passionately)

I’m blind! I wanted a reward

For all my efforts !… I just rushed along.

I hurried here for I thought

That happiness was close, but I was wrong.

The kind of a choice you’ve made. My goodness ! You !

Just think of whom you have preferred me to !

Whom did I talk to, humbly, lovingly, to-day ?

Why did I waste my words of tenderness in such a way ?

Why did you inspire hope in me ?

Why didn’t you tell me openly

That you had turned the past to fun

And that your memories ignore

All we had felt and said and done?

I’m still feeling as before.

And neither travels nor diversions

Have killed my tenderest emotions.

I lived with them through thick and thin.

If you had told me that you hated everything:

My coming home, the way I talk,

The sight of me, the way I walk,

I should have broken off with you

And would not have tried of course,

To find out who your admirer was…

(With derision)

You’d better now put up with him.

What is the use of worrying?

Just make the most of him. Make him an errand boy,

A sort of a domestic envoy,

A husband and a page, a husband and a footman,

The dream of every Moscow gentleman.

Enough! I’m proud to have broken off with you. And you, sir, you hold rank in reverence.

I wish that you remained in blissful ignorance:

The aim of marrying Sofia I don’t pursue.

There’ll be another, a well behaved one,

A toady and a business-minded man.

With all those merits and with many more

He’ll make an equal to his father-in-law.

So I’m enlightened. You should realize:

The dreams are over, and the scales are off my eyes.

Now I can have a bitter word

With you that used to court her

And with the whole wide world.

Where do I find myself by evil fortunes ?

How can I bear this crowd of torturers ?

They ostracize me! Curse me! All those story tellers !

Betrayers of love and enemies as well as

Ungainly connoisseurs and cunning laymen,

Malicious aged men and women

That grow discreet living on lies.

You all have made me known as a fool.

You’re right: he will get out of the fire who

After remaining a day with you,

And breathing air with people of your kind

Will not get out of his mind.

Away from Moscow ! Catch me being here again !

I’ll go around the world in search

Of a place with room for outraged feeling ! . .

The coach ! The coach !

(goes out)

Scene 15

All except Chatsky.

F a m u s o v

Well, he’s off his head, you see ?

Now tell me seriously:

What did this madman talk about here ?

Calling me names ! Talking of Moscow threatingly !

Do you intend to ruin me, my love ?

Isn’t my fate deplorable enough ?

My goodness !

What will countess

Marya Aleksevna say to this ?
T H E E N D

УДК 821.161.1

Е. В. Аблогина

«ГОРЕ ОТ УМА» А. С. ГРИБОЕДОВА В АНГЛИЙСКОМ ПЕРЕВОДЕ МЭРИ ХОБСОН

Предпринята попытка сравнительного исследования новейшего перевода комедии «Горе от ума», осуществленного в 2005 г. британской переводчицей Мэри Хобсон. Отмечаются приемы перевода вольного стиха комедии, реалий, историзмов и культурно-специфичных слов, имен персонажей. Основное внимание уделяется возможностям передачи средствами английского языка ключевого концепта «ум».

Ключевые слова: Горе от ума (Woe from wit), А. С. Грибоедов, перевод, ум, Мэри Хобсон.

Мэри Хобсон родилась в 1926 г. в Великобритании, сейчас живет в Лондоне. Окончила философский факультет Лондонского университета, имеет степень доктора наук. Кроме того, получила музыкальное образование в Королевском музыкальном колледже и является профессиональной пианисткой. (Интересно совпадение с биографией самого Грибоедова, который окончил философский факультет Московского университета, был виртуозным пианистом и автором популярных вальсов.) В 1988 г. в возрасте 62 лет Мэри Хобсон поступила на факультет славянской и восточноевропейской филологии Лондонского университета, где изучала русский язык и литературу. В 1995 г. она поступила в аспирантуру и вплотную занялась изучением творчества А. С. Грибоедова. Мэри Хобсон — автор трех романов о современной жизни англичан, переводчик сочинений А. С. Грибоедова и А. С. Пушкина. Ее перевод «Too Clever for Comfort, or the Misfortunes of a Thinking Man» [1]. Ассоциация переводчиков признала лучшим переводом комедии «Горе от ума» на английский язык, за что в 1996 г. Хобсон была награждена Золотой Пушкинской медалью. Примечательно, что после выхода первой редакции перевода комедии интерес к «Горю от ума» в Великобритании был столь велик, что в Лондонском театре возобновили постановку комедии. Мэри Хобсон продолжила работу над «Горем от ума», и в 2005 г. вышла ее книга «Aleksandr Griboedov’s Woe from Wit: A Commentary and Translation», в которую вошел переработанный перевод комедии, черновые наброски и обстоятельные комментарии о Грибоедове и его эпохе. Книга была несколько раз переиздана в Великобритании и США.

Переизданный в 2005 г. перевод «Горя от ума» был озаглавлен Мэри Хобсон «Woe from Wit» [2]. Такой вариант перевода заглавия, хотя он и является одним из самых частотных, нельзя считать вполне адекватным, учитывая значение слова «wit» — «остроумие», прочно закрепившееся в сознании английских читателей в связи с творчеством таких английских писателей XVIII-XIX вв., как Шеридан, Конгрив и Уайльд, выведших на сцену героев-остроумцев. В рамках этой литературной традиции под «людьми ума», «остроумцами» стали пониматься те, кто стремится выделиться и отличиться, кому претит практи-

ческая деятельность, кто «одержим тщеславием, нетерпим к порицанию и жаден до славы»; это франты, весельчаки, соревнующиеся в проделках, «в игре утонченного интеллекта», в изобретении новых «модных словечек в издевках над тупицами» [3]. Отождествлять Чацкого с уайльдовским остроумцем, лондонским денди нет оснований, но для англоязычного читателя на уровне ассоциативных связей это происходит, что, несомненно, обедняет характер грибоедов-ского персонажа.

Одной из трудностей перевода «Горя от ума» является передача вольного стиха комедии: такой стих, лишенный привычной равносложности, характеризуется повышенной смысловой нагрузкой, которая деформирует ритм и синтаксис, сближая стих с разговорным языком, развивая в нем сказовую, выразительную интонацию, выделяя при помощи коротких строк наиболее выразительные места. Рассмотрим перевод реплики Софьи:

Конечно, нет в нем этого ума,

Что гений для иных, а для иных чума,

Который скор, блестящ и скоро опротивит, Который свет ругает наповал,

Чтоб свет об нем хоть что-нибудь сказал;

Да эдакий ли ум семейство осчастливит? [4, с. 65].

Реплика представляет собой секстину (что не характерно для Грибоедова, предпочитающего катрен), написанную неравностопным ямбом с пиррихием, с точной мужской рифмой, где парная рифмовка чередуется с кольцевой, а женская с мужской, делая речь живой и динамичной. Примечательно, что Грибоедов часто рифмует слова одной части речи, носящие в данном контексте противоположные значения: ума — чума, опротивит — осчастливит. Дважды — в первой и в последней строфе — звучит слово «ум», создавая смысловую напряженность, «окольцовывая» реплику. Мэри Хобсон предлагает следующий перевод:

Of course, he hasn’t got that sort of mind Which some call genius, others — who are not so kind —

A plague. A quick bright mind with which we soon lose patience.

The world may curse it heartily so long

As it will talk about it. Am I wrong?

Can such a mind bring happiness to its relations? [2, p. 74].

Верная оригиналу, переводчица сохраняет секстину, разностопный ямб (но вместо пиррихия использует спондей), точную рифму, чередование открытой и закрытой рифмовки. Рифмуемые слова семантически не противопоставлены, но за счет лексических средств переводу удается передать живость и динамичность речи, идею реплики.

Что касается перевода имен действующий лиц, то использование транслитерации позволяет сохранить авторские номинации, однако затрудняет и часто делает невозможным перевод языковой игры, основанной на значении имен. Так, любой перевод реплики Чацкого «Ведь нынче любят бессловесных» [4, с. 29] будет неадекватным, если имя Молчалина передано транслитерацией и нет комментариев по поводу значения его внутренней формы. Выходом представляется комментирование и разъяснение непереводимых моментов, как это делает Хобсон. Переводчица избегает англизации, стремясь передать звучание русских имен, и точно следует подлиннику, снабжая перевод необходимыми комментариями (например, оговаривает, что «Lizanka» — уменьшительно-ласкательное от «Liza»).

Одно из достоинств перевода Мэри Хобсон — передача грибоедовских афоризмов. Например:

Нельзя ли для прогулок

Подальше выбрать закоулок? [4, с. 17].

If walking’s on the menu

Could you choose some more distant venue? [2, р. 11].

Творец мой! оглушил, звончее всяких труб! [4, с. 83].

Lord how he deafens one! It’s worse than Jericho! [2, р. 97].

Немалую сложность представляет перевод реалий. Хобсон бережно и аккуратно переводит и поясняет их, что, несомненно, способствует качеству ее перевода. Тем не менее ей далеко не всегда удается передать в переводе значение устаревших и культурноспецифичных слов: «ради», «испужал», «давиче», «искони», «вдругорядь», «девичья», «гиль», «турусы», «рюматизм», «столбовой», «перст», «толк» (разговоры), «ради» (старинная форма слова «рады»), «желтый дом» и др.

Стремясь передать национальный колорит, Мэри Хобсон оставляет многие историзмы и топонимы в транскрипции. Например, «versta», «barin», «Kuznetsky most», «Fontanka». Из всех топонимов опущена при переводе лишь Покровка. По мнению Н. А. Соловьёвой, «чужое слово в английском варианте подчеркивает непохожесть. <…> Перевод сохраняет аромат, непосредственность и свежесть разговорной речи благодаря вкраплению историзмов, что опять-таки подчеркивает особенность подлинника» [5, с. 188-189].

Поскольку комедия «Горе от ума» изначально ориентирована на постановку в театре, важную роль играют авторские ремарки. Грибоедов дает емкие и лаконичные указания о движении персонажей на сцене, об интонациях, с которыми должно произносить реплики и которые также характеризуют авторское отношение к персонажам и происходящему на сцене. Естественно, в данном случае переводчик должен особое внимание уделить переводу ремарок. Для Мэри Хобсон характерно стремление максимально точно и полно передать содержание подлинника, поэтому и ремарки она переводит с большим вниманием к мелочам.

Однако примерная точность и верность оригиналу, свойственная переводу Хобсон, иногда приводит к неточностям и неясностям в переводе. Так, Хобсон передает транслитерацией часто встречающиеся у Грибоедова междометия «Шш» [4, с. 94] и «Тьфу!» [4, с. 37, 101, 108], которые без потерь можно было бы передать английскими «Hush» и «Pah!», избегая непонятных англоязычному читателю слов.

Отдельно необходимо сказать о передаче ключевого для комедии Грибоедова концепта «ум». Для удобства анализа лексические репрезентанты этого концепта в «Горе от ума» условно разделим на три группы. К первой группе отнесем лексические единицы, носящие исключительно позитивные коннотации: «высокий ум» [4, с. 112], «ум бойкий» [4, с. 63], «умный» [4, с. 96, 106], «поумнеть» [4, с. 61], «образумиться» [4, с. 120], «умник» [4, с. 121] — о человеке «умном, образованном науками, ученом, с проницательным умом и даром слова» [6, с. 665]; «разумник» [4, с. 46] — «человек умный, сведущий, ученый, рассудительный и правый, мудрый» [6, с. 655]; «вразумить» [4, с. 89] и пр.

Ко второй группе можно отнести слова и выражения с негативной окраской: «с ума сходить» [4, с. 64, 85-87, 91, 92, 122], «с ума спрыгнуть» [4, с. 92], «свести с ума» [4, с. 64], «не в своем уме» [4, с. 85], «полоумный» [4, с. 83], «безумный» [4, с. 87, 92, 95, 109, 119, 121, 122], «сумасшедший» [4, с. 88], «в уме расстроен» [4, с. 93], «в уме поврежден» [4, с. 108], «умы коротки» [4, с. 96] и т. п.

К третьей группе отнесем выражения с нейтральной окраской: «иметь на уме» [4, с. 14, 107], «прийти на ум» [4, с. 23, 25], «по уму» [4, с. 46, 73] и т. д., а также слова «(не)уметь/суметь» [4, с. 18, 23, 25, 35, 47, 58, 64, 67, 99], которые могут получать у Грибоедова в зависимости от контекста то позитивную, то негативную коннотацию. Такое деление совершенно условно, так как в каждом конкретном случае на словарное значение слова или фразы накладывается индивидуальное авторское отношение, поэтому для достижения точного перевода важно учитывать не только контекст фразы и произведения, но и шире — контекст всего творчества Грибоедова и контекст эпохи.

Ум в сознании русского человека наделен рядом свойств и характеристик, типичных для живых и неживых объектов. Н. М. Сергеева указывает 23 группы признаков, присущих русскому концепту «ум»: вегетативные, зоологические, орнитологические, анималистические, гендерные, социальные и др. [7, с. 5]. Так, ум может быть коротким, т. е. недостаточно развитым, неполноценным. Носитель такого ума вовсе не является умным человеком. Например, Чацкий говорит о русских, слепо поклоняющихся европейской моде в одежде, прическах и даже образе мышления:

«Как платья, волосы, так и умы коротки!..» [4, с. 96].

«Short dress, short hair — intelligence is short too» [2, р. 117].

В английском языке такое сравнение звучит неорганично (для определения понятия «intelligence» допустимы лишь прилагательные «low» и «high»).

Уму могут быть присущи характеристики человека, принимающего самостоятельные решения, но в переводе это не находит отражения:

«Пускай в Молчалине ум бойкий, гений смелый…» [4, с. 64],

Let’s say Molchalin is a genius, a bold dreamer… [2, р. 70].

Даже в тех случаях, когда возможно передать реплику точно и полно, переводческое решение часто оказывается не в пользу передачи концепта:

Грибоедов: «Чтоб умный, бодрый наш народ…» [4, с. 96].

Хобсон: «Own lively people» [2, P. 116].

Мысль Грибоедова здесь заключается в том, что русские должны жить «своим умом», а не ориентироваться на Запад, поэтому номинация «lively», т. е. «живой, деятельный, веселый» — неадекватна.

Теперь обратимся к группе фраз, организующихся вокруг мотива безумия Чацкого. Четырежды повторяющееся восклицание разных действующий лиц о Чацком «С ума сошел!..» [4, с. 85-87] уместнее всего было бы передать одинаково, так как это значимо для сюжета: все действующие лица единогласно признают его сумасшедшим за его вольные мысли и смелость в высказываниях. Одна и та же фраза произносится с одной и той же восклицательной интонацией четырьмя персонажами, что очень выигрышно для произнесения со сцены. Но переводчица использует различные варианты перевода, разрушая авторскую задумку:

He’s gone insane!

He’s gone insane!

He’s off his head!

He’s mad! [2, р. 102, 103, 104].

Грибоедову для создания мотива безумия достаточно 8 слов и фраз (с ума сойти, с ума спрыгнуть, безумный, сумасшедший, полоумный, не в своем уме, в уме расстроен, в уме поврежден), которые повто-

ряются на протяжении комедии 27 раз. В переводе Хобсон это 12 различных слов и фраз: insane, lose one’s wits, afflicted in mind, madness, turn one’s mind, madman, madhouse, go insane, go mad, raving lunatic, silly, out of one’s mind, mad. Очевидно, что разница в звучании и значении отдельных слов препятствует последовательной и адекватной передаче концепта «ум».

С мотивом безумия органично связан мотив болезни: персонажи «Горя от ума» страдают целым спектром физических недугов. Интересно, что ум Чацкого получает в реплике Софии сравнение с болезнью: Конечно нет в нем этого ума,

Что гений для иных, а для иных чума [4, с. 65]. Мотив болезни оказывается непосредственно связан с заглавием комедии благодаря исконной связи болезни с горем, сохранившейся в русском языке: боль — «болезнь, хворь… чувство горя, истомы, душевных страданий» [6, с. 47]. Очевидно, что разница в звучании и значении отдельных слов уже не позволит этим понятиям в английском языке сложиться в концепт.

Теперь обратимся к группе лексем «(не)(с)уметь», которые также являются репрезентантами концепта «ум» в комедии и образуют особый критерий для характеристики персонажей. По замечанию А. Зализняк, ум состоит, в частности, в способности правильно предсказывать ход развития событий и потому может отождествляться с хитростью [8, с. 159-160]. Грибоедов активно обыгрывает такое значение ума: глагол «(с)уметь» обретает в контексте комедии особое значение — обладая знаниями или навыками, оказаться достаточно умелым, проворным и хитрым, чтобы осуществить что-либо. Те же персонажи, которые «не (с)умели» чего-либо, оказываются недостаточно хитры для того, чтобы стать успешными в глазах московского общества. Например, Фамусов рассказывает Софье, что после смерти ее матери он умел найти ей отличную гувернантку, но не повысил ей вовремя жалование, и ее переманили другие [4, с. 18]. В переводе нет слов, близких по значению к «уметь», поэтому передать смысл, вложенный Грибоедовым, переводчице не удается:

Your mother died. Madame Rose was hired -A second mother was required.

В другом случае Софья говорит Молчалину, что не сумеет скрыть своих к нему чувств, как того требуют приличия, и этим навлечет беду:

Грибоедов: Боюсь, что выдержать притворства не сумею [4, с. 57].

Хобсон: I’ll not maintain this false pretence — I won’t know how to [2, р. 65].

Чацкий поражается, как удалось Молчалину завоевать расположение Софьи:

Грибоедов: «Какою ворожбой умел к ней в сердце влезть! [4, с. 67]

Хобсон: What sorcery taught him to crawl into her heart? [2, р. 77].

Переводчица передает значение конкретных фраз, но не смысл всего диалога, всей комедии. Так, в последнем приведенном примере Чацкий вынужден признать, что Молчалин достаточно хитер, чтобы промолчать, когда это необходимо, согласиться, когда это выгодно, «моську вовремя погладить» и т. д. Идея Грибоедова состоит в том, что такие, как Молчалин, добиваются многого в современной ему Москве, где не нужно быть умным, но достаточно быть хитрым и прозорливым.

Приведенные примеры отражают общую тенденцию. Мэри Хобсон стремится полнее и точнее передать значение оригинала, однако часто не способна сохранить значение лексических репрезентантов концепта «ум» или передает его с помощью лексем, не имеющих даже отдаленного отношения к заявленному в заглавии «wit» («Woe from Wit»). В комедии Грибоедова 81 репрезентант концепта — однокоренные слова и фразы, их содержащие. В переводе Хобсон -61, причем эти лексические единицы несхожи по своим формальным признакам (это не однокоренные сло-

ва), они лишь частично передают значение слов-реп-резентантов концепта «ум» в оригинале.

Проведенное сопоставительное исследование гри-боедовской комедии и ее лучшего перевода демонстрирует общую тенденцию: трансфер ключевого концепта «ум» при переводе комедии на английский язык крайне затруднен в силу ограниченности возможностей языка-реципиента. Это подтверждает осуществленное нами сопоставление корпуса лексем со значением «ум» в русском и английском языках, которое показало, что в арсенале английского языка нет лексем, способных точно и полно передать специфику русского концепта. Следовательно, переводчик не может передать концепт лексическими средствами, а должен для полноты передачи содержания произведения компенсировать семантические потери на протяжении всего текста.

Статъя подготовлена при поддержке гранта Президента РФ для молодых ученых и ведущих научных школ № МК-1647.2010.6.

Список литературы

1. Hobson M. Too Clever for Comfort, or the Misfortunes of a Thinking Man. L., 1995. 240 p.

2. Hobson M. Aleksandr Griboedov’s Woe from Wit: A Commentary and Translation. L., 2005. 648 p.

3. Конгрив У. Комедии. М., 1977. 357 с.

4. Грибоедов А. С. Горе от ума // Полн. собр. соч.: в 3 т. Т. 1. СПб., 1995. С. 9-122.

5. Соловьёва Н. А. Мэри Хобсон — переводчик комедии А.С. Грибоедова «Горе от ума» в Пушкинской гостиной филологического факуль-

тета // Вестн. Московского ун-та. Сер. 9. Филология. 2007. № 1. С. 185-189.

6. Даль В. И. Толковый словарь живого великорусского языка. СПб., 2004. 735 с.

7. Сергеева Н. М. Концепты ум, разум в русской языковой картине мира: дис. … канд. филол. наук. Кемерово, 2004. 192 с.

8. Зализняк А. А. Ключевые идеи русской языковой картины мира. М., 2005. 540 с.

Аблогина Е. В., ассистент, аспирант.

Томский государственный университет.

Пр. Ленина, 34, г. Томск, Томская область, Россия, 634050.

E-mail: eva@docsis.ru

Материал поступил в редакцию 12.05.2010

E. V Ablogina

«WOE FROM WIT» IN ENGLISH TRANSLATION BY MARY HOBSON

The article reveals a comparative inquiry of the recent translation of «Gore ot uma», fulfilled in 2005 by a British translator Mary Hobson. Considering ways of translating the comedy’s free verse, nationally, cultural and historical based units, names of characters etc., much attention is devoted to the key concept «um» transfer.

Key words: Woe from Wit (Gore ot uma), Griboyedov, translation, um, Mary Hobson.

Tomsk State University.

Pr. Lenina, 36, Tomsk, Tomskaya oblast, Russia, 634050.

E-mail: eva@docsis.ru

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«Горе от ума» на английском языке. Перевод Алика Вагапова

A.S.Griboyedov
WOE FROM WIT
(A Four-Act Comedy)
Translated by A.S.Vagapov