Вторая книга отражений

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Убит заговорщиками по наущению королевы."},{"id":"id471:0","kind":"heading","text":"105"},{"id":"id471:1","kind":"paragraph","text":"Эссекс Роберт (1567–1601) — фаворит королевы Елизаветы."},{"id":"id470:0","kind":"heading","text":"106"},{"id":"id470:1","kind":"paragraph","text":"Мимо, мимо всего этого… — Речь идет о крупнейших событиях шекспировской эпохи. Полемизируя со своими предшественниками, истолкователями «Гамлета» (в частности с Гервинусом), Анненский отрицает существенность биографических и исторических предпосылок для исследования «проблемы Гамлета»."},{"id":"id469:0","kind":"heading","text":"107"},{"id":"id469:1","kind":"paragraph","text":"… звезда вела мудрецов и показала им ясли бога… — Имеется в виду евангельская легенда о поклонении волхвов."},{"id":"id468:0","kind":"heading","text":"108"},{"id":"id468:1","kind":"paragraph","text":"Для Гамлета, после холодной и лунной ночи в Эльсинорском саду, жизнь не может уже быть ни действием, ни наслаждением. — Анненский называет «Эльсинорским садом» площадку перед замком, где Гамлету явился призрак его вероломно убитого отца и потребовал от Гамлета клятвы, что он отомстит за его убийство («Гамлет» I, 4)."},{"id":"id467:0","kind":"heading","text":"109"},{"id":"id467:1","kind":"paragraph","text":"Мочалов Павел Степанович (1800–1848) — русский трагический актер. Барнай Людвиг (1842–1924) — немецкий трагический актер. Сал вини Томмазо (1829–1916) — итальянский драматический актер. Знаменитые исполнители роли Гамлета."},{"id":"id466:0","kind":"heading","text":"110"},{"id":"id466:1","kind":"paragraph","text":"… ту ограниченность и теплоту жизни… — Под «ограниченностью» Анненский понимает конкретность, определенность образа (в отличие от интеллектуальной многоплановости вечно творимой идеи; см. его рассуждения об этом в статье «Драма на дне»)."},{"id":"id465:0","kind":"heading","text":"111"},{"id":"id465:1","kind":"paragraph","text":"Хитрый Гамлет легенды Бельфоре и витязь Саксона Грамматика… Бельфоре Франсуа де (1530–1583) — писатель и историк. Автор книги «Необычайные истории, извчеченные из многих знаменитых авторов» (1580). Сюжет одной из «Необычаиных историй», займе гвованный Бельфоре из «Истории Дании» Саксона Грамматика (1150–1220), был использ ован Шекспиром для трагедии «Гамлет». Имя героя истории Бельфоре — Амлет."},{"id":"id464:0","kind":"heading","text":"112"},{"id":"id464:1","kind":"paragraph","text":"… четвертый акт, который так солоно достался потом Гервинусу. Гервинус Георг Готфрид (1805–1871) — немецкий историк и литературовед. Анненский имеет в виду статью «Гамлет» в книге Гервинуса «Шекспир» (1849–1850). Может быть, с точки зрения Анненского, концепция Гервинуса несколько натянута, особенно в осмыслении IV акта трагедии. Гервинус, в частности, пишет: «Таким образом и это кровавое окончание не есть следствие эстетической ошибки со стороны поэта, а следствие нравственной ошибки его Гамлета, то следствие, на которое с самого начала указывал и смысл всей пьесы, и основа этого характера» (Гервинус Г. Шекспир. Т. 2. СПб., 1867, с. 334)."},{"id":"id463:0","kind":"heading","text":"113"},{"id":"id463:1","kind":"paragraph","text":"Гамлет нарисовал (лат.)."},{"id":"id462:0","kind":"heading","text":"114"},{"id":"id462:1","kind":"paragraph","text":"Валентинов день. — В день святого Валентина (14 февраля) первая девушка, встретившаяся юноше, становилась его «Валентиной» (нареченной). См. песню Офелии."},{"id":"id461:0","kind":"heading","text":"115"},{"id":"id461:1","kind":"paragraph","text":"Гипериона кудри… — Гиперион (в греческой мифологии) — титан, сын Урана и Геи, отец Гелиоса, Селены и Эос."},{"id":"id460:0","kind":"heading","text":"116"},{"id":"id460:1","kind":"paragraph","text":"Строки по переводу К. Р."},{"id":"id459:0","kind":"heading","text":"117"},{"id":"id459:1","kind":"paragraph","text":"Фишер Куно (1824–1907) — немецкий историк философии. Анненский имеет в виду книгу Фишера «Гамлет Шекспира» (в русском переводе: М., 1905)."},{"id":"id458:0","kind":"heading","text":"118"},{"id":"id458:1","kind":"paragraph","text":"Брандес Георг (1842–1927) — датский литературный критик. Имеется в виду его книга «Вильям Шекспир» (т. 1–3; СПб., 1895–1896)."},{"id":"id457:0","kind":"heading","text":"119"},{"id":"id457:1","kind":"paragraph","text":"Перевод К. Р."},{"id":"id456:0","kind":"heading","text":"120"},{"id":"id456:1","kind":"paragraph","text":"Бельфоре — см. прим. 111."},{"id":"id455:0","kind":"heading","text":"121"},{"id":"id455:1","kind":"paragraph","text":"Король обратился к матери… иметь его своим правителем. — Цитата из книги «Трагедия о Гамлете, принце Датском». Перевод К. Р. СПб., 1900, т. 2, с. 23–24. (К. Р. в своей книге приводит отрывок из Бельфоре)."},{"id":"id454:0","kind":"heading","text":"122"},{"id":"id454:1","kind":"paragraph","text":"Перевод К. Р."},{"id":"id453:0","kind":"heading","text":"123"},{"id":"id453:1","kind":"paragraph","text":"А для Эсхила рождавшим был еще отец, а не мать… — Анненский имеет в виду воззрения эпохи Эсхила, согласно которым главой и центром рода был отец, а не мать (патриархат)."},{"id":"id452:0","kind":"heading","text":"124"},{"id":"id452:1","kind":"paragraph","text":"Рождает мужчина (греч.)."},{"id":"id451:0","kind":"heading","text":"125"},{"id":"id451:1","kind":"paragraph","text":"«В ней есть все, что потрясает… Такова эта трагедия». — Цитата из статьи Юрия Николаева «Маджий в роли Гамлета» (Московские ведомости, 1892, э 84, 25 марта, с. 4)."},{"id":"id450:0","kind":"heading","text":"126"},{"id":"id450:1","kind":"paragraph","text":"Николаев Юрий (Говоруха-Отрок Юрий Николаевич; 1851–1896)."},{"id":"id449:0","kind":"heading","text":"127"},{"id":"id449:1","kind":"heading","text":"БРАНД-ИБСЕН"},{"id":"id449:2","kind":"paragraph","text":"Впервые: «Перевал», 1907, э 10, с. 42–48. Без изменений вошла в 2 КО, с. 95106. Автограф: ЦГАЛИ, ф. 6, оп. 1, ед. хр. 153. Существенных разночтений с опубликованным текстом статьи нет. Печатается по тексту книги."},{"id":"id449:3","kind":"paragraph","text":"Статью Анненский писал между декабрем 1906 г. и мартом 1907 г. См. письма к Е. М. Мухиной (14. XII 1906 г. и 18. III 1907 г.)."},{"id":"id449:4","kind":"paragraph","text":"«Бранд-Ибсен» — одна из статей, где наиболее отчетливо отразились принципы отбора материала Анненского-критика. Анненский пишет о «Бранде» совсем не потому, что ему близка или созвучна именно эта драма Ибсена, а потому, что может высказать в связи с этой драмой тревожащие его мысли плод собственного опыта и размышлений; притом высказать их в такой форме, которая почти не обнаружит субъективных проявлений его я. Вместе с тем в статье раскрыта не только сущность Бранда, но и психологические мотивы, побудившие Ибсена написать эту драму."},{"id":"id449:5","kind":"paragraph","text":"Не исключено, что Анненский был знаком с книгой Н. М. Минского «Генрих Ибсен» (СПб., 1897), однако концепция статьи с этой книгой не связана. В отличие от Минского, сосредоточенного на анализе характера Бранда, Анненский исследует внутреннюю связь между Ибсеном и его произведением. Отдельные совпадения в трактовке Анненского и Минского объясняются, по-видимому, общностью темы. Внутреннюю, «субъективную» связь между Ибсеном и «Брандом» ощущал, как и Аннеиский, Блок, который писал в 1908 г. о первом этапе творческого пути Ибсена: «В этот момент Ибсен — автор Бранда. Его воля напряжена до последнего предела. Его мозг искусился в вопросах о долге, призвании, личности, жертве, народе, национальности, обществе. Его сердце узнало любовь и сомнения, страх и сладость одиночества» («Генрих Ибсен», т. 5, с. 311)."},{"id":"id449:6","kind":"paragraph","text":"Все цитаты проверены по изданию: Ибсен Г. Полн. собр. соч. М., 1904, т. 3."}],"toc":[{"id":"id4191:0:1","label":"Иннокентий Анненский Вторая книга отражений","page":1,"pageUrl":"/books/0qDFGVUE#reader-content"},{"id":"id4190:0:1","label":"ПРЕДИСЛОВИЕ","page":1,"pageUrl":"/books/0qDFGVUE#reader-content"},{"id":"id4189:0:1","label":"ИЗНАНКА ПОЭЗИИ","page":1,"pageUrl":"/books/0qDFGVUE#reader-content"},{"id":"id4188:0:1","label":"МЕЧТАТЕЛИ И ИЗБРАННИК[1]","page":1,"pageUrl":"/books/0qDFGVUE#reader-content"},{"id":"id4187:0:2","label":"СИМВОЛЫ КРАСОТЫ У РУССКИХ ПИСАТЕЛЕЙ[8]","page":2,"pageUrl":"/books/0qDFGVUE?page=2#reader-content"},{"id":"id4187:1:2","label":"I","page":2,"pageUrl":"/books/0qDFGVUE?page=2#reader-content"},{"id":"id4187:12:3","label":"II","page":3,"pageUrl":"/books/0qDFGVUE?page=3#reader-content"},{"id":"id4186:0:5","label":"ЮМОР ЛЕРМОНТОВА[32]","page":5,"pageUrl":"/books/0qDFGVUE?page=5#reader-content"},{"id":"id4185:0:7","label":"БЕЛЫЙ ЭКСТАЗ","page":7,"pageUrl":"/books/0qDFGVUE?page=7#reader-content"},{"id":"id4184:0:7","label":"СТРАННАЯ ИСТОРИЯ, РАССКАЗАННАЯ ТУРГЕНЕВЫМ[47]","page":7,"pageUrl":"/books/0qDFGVUE?page=7#reader-content"},{"id":"id4183:0:9","label":"ИУДА[52] ИУДА, НОВЫЙ СИМВОЛ","page":9,"pageUrl":"/books/0qDFGVUE?page=9#reader-content"},{"id":"id4183:1:9","label":"I. 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