Эмили Дикинсон
77
Я никогда не слышу слово "бегство"
Без ускорения в крови,
Чаянья внезапного
Ощущения полёта!
Я никогда не слышу о просторных тюрьмах,
Взломанных солдатами,
Но я по-детски трясу свою решётку
Только чтоб снова кончить крахом!
77
I never hear the word "escape"
Without a quicker blood,
A sudden expectation
A flying attitude!
I never hear of prisons broad
By soldiers battered down,
But I tug childish at my bars
Only to fail again!
ДРУГИЕ ПЕРЕВОДЫ
Когда я слышу про побег -
Забьется кровь сильней -
Внезапная надежда -
Крылья за спиной.
Когда я слышу - что тюрьму
Снес натиск мятежа -
По-детски тереблю затвор -
И вновь - не убежать.
Перевод Т. Стамова
Услышу слово я «побег» —
И закипает кровь,
И я готова полететь —
Жива надежда вновь.
Но вот я слышу — беглеца
Они смогли поймать —
И тщетно прутья я трясу —
Решетку не сломать!
Перевод А. Гаврилов.
Poem 77 F144 ‘I never hear the word “escape”
Emily does not say what she wishes to escape and fly away from, but merely that it is childish to try to do so, as she knows it is impossible. One out of many possible meanings could be that she knows she has to spend some time doing her share of the household duties, however much she might like to escape to her room and write poems.
Her niece, Martha, Austin’s daughter, told the story of how at times Emily would
look down from the landing outside her room, and, with her thumb and forefinger
closed on an imaginary key, say, with a quick turn of her wrist, ‘It’s just a turn – and freedom, Matty.’
There are two escapes described here. The first is the “flight” part of the fight-or-flight response. A bird will quickly fly away when it senses a cat or other threat near by. The word “Escape” triggers this response in the poet: if she just hears the word she imagines herself taking flight.
The second stanza is the more somber type of escape that is associated with imprisonment. Yes, soldiers have been able to batter down their prison walls, `a la the Bastille, but most prisoners must simply wait, day after day, year after year, for their release. And so the poet feels imprisoned. Despite the hopelessness of the attempt she still tries, in childish hope, to shake or pull the bars loose. This time the trigger for these feelings of trapped helplessness come over the poet when she hears of prisons – it reminds her of her own.
One can read this as a soul being trapped in a body and wanting to fly free. Birds are typically symbols of the spirit and of freedom. But it may also remind us that life for a uniquely creative woman in her day and place would be very challenging. Especially when Father, Mother and brother exert pressure on the woman to stay home and tend the sick, the kitchen, and the garden. Although Dickinson voluntarily withdrew from larger society, eventually staying within her own property line, her real confinement was in, dare I say it?, not being a man and free to tramp about the world as her male friends did. The creative women she knew were either quite conventional or looked at askance in polite society (her friend and sister-in-law Sue). Better, perhaps, to stay at home and let the mind run free than to battle as George Eliot and other Victorian creative women did for freedom and respect. The fact that Mary Anne Evans took a male pseudonym speaks volumes about that.
Posted by Susan Kornfeld at 4:11 PM
http://bloggingdickinson.blogspot.com/2011/12/f144-1860-77.html