In 1912 he went to Paris, stayed there for about a year, visiting the Academy R. Julien, where he studied with M-P. Laurent. Upon his return to St. Petersburg entered the circle of young artists (N. Altman, N. Tyrsa, PV Miturich, PI Lvov), which includes an interest in constructivism VE Tatlin. Graphic works Bruni in 1913-1915 were published in the journals "Voice of Life," New magazine for all. Since 1915 member and exhibitor association "World of Art". Got carried away by the art of Japan and China. In 1916 he worked with Tatlin. I created kontrrelefy who exhibited at "Store" in Moscow. In 1916 he drafted for military service. In 1917, painted with other artists interiors Cafe Pittoresk "in Moscow. In the same year joined the association "Jack of Diamonds". In 1919 he married the daughter of the poet KD Balmont Nina Balmont. For some time he lived in the southern Urals. In 1920 he returned to Petrograd. Created a number of non-objective compositions. He took part in a festive decoration of streets and squares of the city. In 1920-1921 he taught at the Higher workshops of arts and crafts (formerly School of Technical Drawing of Baron Alexander Stieglitz). In 1923 he moved to Moscow. In 1923-1927 he taught at the Faculty of graphic VKhUTEMAS (from 1924 - professor), and in 1927-1930 - VHUTEINa. In the 1924-1925 term and the exponential association "Makovets", in 1925-1926 - "4 Art. In the 1930's while he taught at several institutions: in 1930-1933 - at the Moscow Textile Institute, in 1931-1938 - at the Moscow Institute of Fine Arts, in 1935-1938 - at the Moscow Polygraphic Institute. In 1935-1938 also led the studio of monumental painting at the Moscow Architectural Institute. Summer months in the 1920's - 1930's carried out in Optina Kaluga. These visits were for Bruni, an extremely fruitful in the creative respect: it was there was done much of the drawings and watercolors 1920 - 1930. In 1930 a lot of work in the field of monumental art, creating murals and paintings in the Central House of the pioneers in Moscow (1935), pavilions VSHV (1938-1939), Soviet pavilion at the World Exhibition in Paris (1937), the Central Red Army Theater in Moscow (1939-1940). Since the late 1910-s has been active in book illustration, designed many books, including book NS Gumilev "Mick and Louis" (1915), VV Khlebnikov's poem "Error death" (1917-1920), "Stories children "I. Potapenko (1910)," Fairy Tales "by R. Kipling (1929), the book" The guys on зверятах "O. Perovskoj (1933)," The Algerian Captive O. profitable, "Lyrics" Nizami, Shah -Name "Ferdowsi (all - 1930) and others. During the Second World War, was evacuated to Kazakhstan. In 1944 he returned to Moscow. In 2000, the State Tretyakov Gallery held a retrospective exhibition of works by the artist. Bruni entered the history of Soviet art primarily as a first-class master of drawing, watercolors and book illustrator. At the beginning of his career he turned to painting and sculpture: creating portraits, paintings of mythological character, kontrrelefy, but since the early 1920's worked almost exclusively on graphics: easel painting and book illustration. Instead of painting came watercolor. In 1930, along with graphics, he worked as a master of monumental painting. He created his own style of illustration, the formation of which had a significant influence French drawings late XIX - early XX century, he had seen during their stay in Paris in 1912, Japanese and Chinese watercolors, as well as avant-garde experiments in which he actively participated in 1910 -e. The artistic heritage Bruni is great. His works are in many Russian museums and private collections. Significant collections of graphics masters have GMII im. Pushkin, the State Tretyakov Gallery, State Russian Museum.

And finally, another genealogical detail: his wife, PF Sokolova was Julia Brullov, sister of the great Charles. In the immediate surroundings - the artist's grandfather, father, architect. Sam Lev Bruni, later recalled that as a child was sure: "All people - artists. His own natural gift was inevitable. When one of the drawings came to himself, Alexander Benois, he praised the 14-year old boy as an account of the talent. Vocational Bruni was quite short: two winters at the Academy of Arts, a year in Paris. The young artist, who just turned 20, begins to exhibit together with the "World of Art" and immediately became known. Everything is given to him easily, everyone else loves him, calling none other than Lyovushka. One of those who knew him recalled: "He was younger than all of us, seemed to the boy, but was able to collect and people to push their foreheads ..." In his workshop in the house on the University Embankment regularly occurred "evening", which became a fact of history of Russian culture. They are now referred to as the literary and artistic circle "Flat No.5". Its permanent members were artists Altman, Miturich, Tyrsa, poets, M., Klyuev, Balmont, Lurie, a composer, critic Punin. Appeared in the apartment No.5 Mayakovsky, Chagall, Khlebnikov, Rozanova, Zaitsev, Tatlin ... Under the influence of Tatlin Lev Bruni began creating constructivist "kontrrelefy" - abstract rebounds from different materials. Together with Tatlin and Rodchenko took part in a futuristic exhibition "Shop" where shown "broken barrel of a cement and glass, pierced by a bullet." But it is hardly possible to argue that Bruni seriously immersed in a battle that led supporters of gay avant-garde. For him there was no struggle, but was friendly solidarity and, most importantly, search for - "living" art that make life so rich and intense. Later in his unfinished memoirs, NN Punin admitted that, if they were all "was given another piece of history, perhaps, these meetings have survived ... would be remembered as the time period most life complete ..." However, times have not choose. " It was in 1916, and the time that they all fell, with the arrogant certainty intruded in such a happy and full life. In November, the artist called in the army. And soon with all the growing insistence sounded "music revolution". She succumbed to the hypnotic rhythm of many, but not Lev Bruni. For it is far more important was another sound - let no one else heard, but for him a distinct melody of its own destiny. In the summer of 1917 he traveled to the Urals, in Miass. Lives there with his family Konstantin Balmont and goes to school the poet's daughter - Nina. The wedding of Nina Balmont and Lev Bruni held in the same Miasse spring of 1919.
Around the world will crumble in the chaos of civil war. They go to the east - in Omsk, then Novo-Nikolaevsk. During this period, the homeless wandering artist and stop using oils. But he, like never before, learn to paint everything: the lake and sleeping wife, flower pots and carriage of their first child, surrounded by chickens and puppies ... It will not just diary "clipping" or protocol reports. This will be that the language of definitions of art is called "easel chart. In short, complete and self-sufficient works of art. "When you knew of a litter \ grow verses without knowing shame ..." The most simple things have infinite value and beauty. This truth is clearly distinct from opened Bruni is in those "damn day. It turned out that this homeless and not burdened with material things of life had many - love, the world around in the infinity of forms and diversity of mysterious relations. And, then, was that oppose the chaos and confusion that bedevil all.
When he returned to Petrograd, Bruni once again closely communicates with Tatlin, even lived in his studio, where the model going utopian monument III International. And illustrates the phantasmagoria of Hoffmann. In general. Lev does not become an active creator of the new revolutionary art. Circumstances seemed to divert him from this. Thus, at the last moment was rejected already prepared a draft November decoration of the Palace Square. And he Bruni moved to Moscow at the invitation of V. Favorsky. With family went to Optina desert and lived there for a long time. It is in the 20 years in Optinoj artist creates his best stuff.
In his works, nothing happens, or rather, is the most important thing: they bend under the weight of wet snow, the first trees that glisten just washed with rain, the roof, the sunlight penetrates the forest thicket ... All are one, well, animation and brittle. This fragility and impermanence simply require that to be etched. The artist responds to a silent demand.

It operates continuously, life and art to it are tangled, twisted. Creativity highest test becomes part of everyday life, should be, because he was a carefree attitude to Mozart's already completed their work and their future. When in the mid 30's a prominent art critic A. Chegodaev decided to select the exhibition several of his works. Lev launched from under the sofa battered suitcase. He was brim full of watercolors - crumpled, with edges that curved in order to put the sheets in a suitcase, then izgryzannymi someone - as it turned out, dog. One sheet was eaten by a third. Shaken by what he saw, turned to art restorers ...
Now, this saved watercolor - one of the best works of Bruni, among those, unfortunately, the few that are kept in the Tretyakov Gallery. Pink frog froze between the thin blades of grass. It may be a long talk about the profundity of that in the visual arts equivalent gesture in favor of sound, movement, and space is always - a repository of mysterious silence, and that this work of Lev Alexandrovich it leaves the space, turning space in the world, has a decisive importance ... But probably better just to stay in the middle of the hustle of life addictive to watch and see. And with the sharpness, usually accessible only to children but to artists, to experience wonder and admiration of every drop of this world.

Author: Tanya YUDKEVICH

  From 1915 begins to appear at trade shows, especially "World of Art". In his workshop at the University Embankment going to St. Petersburg artistic elite, young innovators and rebels, ready to overthrow everything. This - Mayakovsky, Osip Mandelstam, Khodasevich, V. Tatlin, D. Mitrokhin, P. Miturich, N. Punin, N. Tyrsa, I. Zdanevich, VA Voinov, N. Altman ...

God and the idol of Bruni and his followers became avant-garde art, through which he passed with enthusiasm, passion and even radicalism. Passed, but did not remain, as many of his friends. It was this, rather, the obsession with youth, spectacular and promising novelty. His non-figurative compositions of this period are deprived of individuality, identity.

The flowering of creativity Lev Bruni accounts for 1920 - 30-ies. He actively participates in exhibitions. Especially striking and significant in such iconic as "Makovets" and "4 Arts", which establishes the continuity of artistic tradition and the high professional quality of work - are the main goals and objectives, which Bruni followed all his life. In whatever genre it acted - in painting, drawing, book illustration, in the monumental and decorative art.

Starting as a painter, Lev Bruni finally comes mainly to watercolors and drawing as the most suitable to its own inner freedom.

In my opinion, Lev Bruni, there was no secondary, anadromous themes and subjects. Even fast-situ sketches became one piece, fully finished products with their imaginative vision and profound meaning. Even, say, simply "Aspen", just "branch above the water," "Shed" or "Aryk. Whatever he represented - a pine forest in the Urals or the sea near Sudak, "winter" or "May in Izmailovo", "Portrait of a writer Novikova," or "aunt's Bazaar" - did so gracefully and elegantly, without any visible effort or strain, making inspiration and enthusiasm.

And more fun, with humor, with a smile. Actually, people, animals, things under the brush or pencil Lev Bruni seemed to become kinder, happier, warmer. Particularly charming, sweet and touching his "animal" work - illustrations for "Fairy Tale" by R. Kipling, in his book "The children of зверятах" O. Perovskoy, sketches of a tiger, wolf, dog, falcon ...

Lev Bruni illustrated many books - Gumilev, V. Khlebnikov, Ferdowsi, Musset, Merimee, A. Gaidar ... At the end of life conceived a great work - mounted illustrations for "Lyrics" Nizami - this book was published after his death.

The work of Lev Bruni imbued with such inner artistic and spiritual culture, such high taste - and for him was wonderful the whole world in all its manifestations - that you know: all this can not work out, all this comes only by inheritance, it is - from the deepest roots of the family. And in the work of Lev Bruni was that in 1916, said his friend N. Punin: "The Bruni is somehow ... the elements, lyrical power, which often rises to great pathos to this high sense of harmony with the universe. .."

B. I'm a lousy feeling. Well, you know - Pasternak ... I went to him, I have been with him topics to talk ... And then ... He thought I was among his friends. He and I have also lived and breathed beside me. I absolutely it ... And talk something was not ... Simply allow to be present in their lives.
     D. So you watched closely this life?
     B. Yes. I am very friendly with his wife, but most of all after his death, of course, with Zinaida Nikolaevna, with his malchikami2. Well, Zhenya something I knew long ago ... I remember a Stasik's birthday, 30 years old he was, Stanislaw, ... and ... Ivanov3, which is terribly drunk on his birthday, was to expose BL, that he himself is terrible that all his friends have to fill their cars with gasoline and flee to the ends of the earth, that he puts them in a position where they must either flee or reject it: "You would at least have pity on us, are not you ashamed" ... Here's how it is so. And Boris Leonidovich began answering him ... I can not restore what he said ...
     D. is very important.
     B. I can not restore it in memory. He said something: "Well, you know how it is: fried potatoes, and now oil is over, begins to stick ... Oil - a literature ..." Here are some things. Once I was admiring them, and I missed the main so ... True, it was there and drank a lot, and people of the mass was and all that. I inquired, as he gave the manuscript ...
     D. "Zhivago".
     B. Yes. I remember how he came to Akhmatova, she had translated "Chinese wall" 4 and invited him to listen. He sat and listened, then quickly began to gather and said: "I must go, I need to work." She said: "What do you write a novel?" He said: "Yes." So Akhmatova broke out: "Why do you need?" 5
     D. against the novel?
      B."... such beautiful poems he wrote ... "
     D. Oh, when he left, she broke?
     B. No, then, that evening.
     D. When there or ...?
     B. No, he was gone, of course.


-------------------------------------------------- ------------------------

Notes

Nina K. Balmont Bruno (1900-1989), wife of the artist LA Bruni.
About NK Balmont Bruni-see, in particular, in the memoirs of M. Ardov: <...> man was goodwill, an unusually sociable and completely overlooking the lifestyle <...> When Akhmatova died, Nina K. came to Leningrad to the funeral.
<...> To "a civil funeral, she did not go, and we all waited a long time to Komarovskoe cemetery until brought the coffin ...
It was very cold. At some point, Nina K. called me aside. It opened its roomy handbag, took out flyazhechku with cognac and a glass, we had to drink, to warm up a bit ... After the funeral we went <...> in the booth. There was a requiem. <...> Nina K. benefited from the same church his bag slender candle and lit it.
Then I realized that she - the great man "(M. Ardov, B. Ardov, A. Batalov. Legendary Ordynka. Pp 198-200).

     1. "Before eh, my dear, it was a soft glaze with us." - Quoted strings fables of IA Krylov "Dragonfly and the Ant." up
     2. ... with Zinaida, with ... boys ... - I mean Zinaida Pasternak (nee Eremeev, first marriage Neuhaus, 1897-1966), second wife of Boris Pasternak, Yevgeny B. Pasternak (b. 1923), son of Boris Pasternak and his first wife, Ye . Pasternak, and Stanislav Genrikhovich Neuhaus (1927-1980), pianist, son of 3. H. Pasternak and H. Neuhaus. up
     3. ... Ivan ... - Probably refers to the writer Vsevolod Ivanov (1895-1963). up
     4. ... then she translated "Chinese wall" ... - Refers to the Akhmatova translations of Chinese poets included in the anthology of Chinese poetry (Moscow, 1957). up
     5. So Akhmatova broke out: "Why do you need?" - Describes Balmont Bruno met Pasternak and Akhmatova dated November-December 1957 By this time, Akhmatova had time to read the handwritten lists of pacing in the novel, Pasternak's "Doctor Zhivago" and give him the following assessment: "There are pages completely unprofessional. I think they wrote Olga ( Ivinskaya. - OF). Do not laugh. I'm serious. I've never been <...> editorial proclivities, but then I would grab a pencil and cross out page after page crosswise. And in this novel is landscapes ... I frankly say, equal to the Russian literature there. None of Turgenev or Tolstoy, none. They are brilliant, like "grow hazel" (L. Chukovskaya. Notes on Anna Akhmatova. Vol 2. C . 271). Continues bitterly scold novel BL.
     - People are dead, invented. One of nature alive. Doctor Zhivago is wrongly that name. He, too lifeless. And - you noticed? - He was no doctor. Most Holy Russian doctors have always been treated, all, and that no one ever ... And somehow he has children everywhere "(ibid.. S. 273)

In 1894, there is a collection of poems under the northern sky, with whom Balmont really part of Russian poetry. In this book, as in close to her time in the immensity of collections (1895) and Silence (1898), Balmont, the established poet and exponent of zhiznechuvstvovaniya turning point era, yet gives give "nadsonovskim, vosmidesyatnicheskim tones: his hero is languishing" in the kingdom dead helpless silence ", he is tired of" waiting in vain the spring ", is afraid of the quagmire of everyday that" lure, compress, suck. " But all these familiar experiences are given here with renewed energy injection, voltage. The result is a new quality: a syndrome of decline, decadence (from Fr. Decadence - the decline), one of the first and most prominent exponents of which in Russia and became Balmont. Death, lulled me - this countless repetitions in fashion at the turn of the century line the young poet - a characteristic example of the aesthetically "death game", which featured decadent muse. Transfiguration of romantic decadent inherent lyricism "end of the century", is clearly visible in rethinking poet motif of the ship - one of the most beloved of the Romantics Byron and Lermontov to Rimbaud. Thus, in the poem Balmont 1893 canoe longing heroism of Lermontov's "sail", which "requests the storm" for "ray of golden sun, with a" black canoe, vainly searching for "bright palace of dreams" in a dream world filled with "a bitter sorrow" at night a month . Lermontovsky majeure shall, in verse Balmont elegiac minor, generally characteristic of Russian poetry "senior" symbolism.

Balmont specifies the sample self-awareness and perception of the world decadent-symbolist. The embodiment of life as dreams, illusions, fantasies and look at the world through the prism of "I" of the poet - all provoked extreme subjectivism. Everything around me is subject to capricious mobility lyric "I". I - a little cloud, I - breath of wind, - wrote Balmont and elevates to the cult of variability, fluctuation of moods and feelings, their transience: I do not know wisdom, suitable for others. /Only transience puts me in a verse /Only in fleeting, I see the worlds /Complete changeable, rainbow play.

Best such ephemeral, vibrating sensation passed Impressionist painting technique, as it destroys the visual image. Impressions are valuable in their initial confusion, they are united no logical connection, and associative similarity. And in the verses they lie like beads on a thread identical terms: it is unclear rainbow. Distant star. /Valley and cloud. And the sadness of the inevitable.

Along with A. Fet, Balmont most vivid impressionist Russian poetry. Even the titles of his poems and cycles carry the deliberate vagueness of watercolor paints: moonlight, We were in a golden mist, in the soft haze of gold, air-and-white. World Balmont's poems, as in the canvases of artists of this style, blurred, raspredmechen. It is not dominated by people, not things, and not even feelings, and incorporeal quality, formed from adjectives with an abstract noun suffix "beard": transience, vastness, vseglasnost etc.

Rushing, like other symbolists, the "synthesis of arts", Balmont fills Russian verse unprecedented musical instrumentation, energetic flow of alliteration and assonance, ie harmonies of consonants and vowels: A swan floated in the gloom, /Into the distance, under the moon Bele. /Snuggle up to the wave paddle, /snuggle up to moisture Lileya ... (Moisture, 1899). Workshops harping sounds L and Y here creates a sonic image of gently splashing water, like some of the effects of impressionistic music, and also calls to mind the flowing curves of art and architecture of Art Nouveau.

Balmont made and the most glaring of the reformer of Russian Symbolist poetic rhythm, especially the "long", "slow" sizes. I - refinement Russian drawl ... /I first discovered in this speech deviations /Perepevnye, angry, gentle ringing ... /I - exquisite verse. - He said about himself. А как экспериментатор в области жанра Бальмонт позднее, в 1917, создал не знающую себе аналогов в мировой поэзии книгу Сонеты солнца, меда и луны. Song of the Worlds, which contains 255 (!) Samples of the most difficult poetic form.

Sonorous and often too insatiable in his "beautiful" experiments Balmont certainly have been evaluated and accepted by a large Russian poetry. At the same time by the end of 1900's, they have created the unthinkable number epigones, nicknamed "balmontistami" and bringing to the limit of vulgarity lavish ornamentation of his teacher.

Zenith creativity Balmont up in the collections of the early 1900's BEST of the building (1900), Let the sun (1903), Only Love (1903), the Liturgy of Beauty (1905). It dramatically changes the intonation: replace onetime melancholy and pathos menorah comes acceptance of life in all its manifestations, its ecstasy, rapture and rage gust upwards, strong-willed aggressive pressure. Also manifest general mystical enthusiasm of Russian poetry of pre-revolutionary era. In the center of the poetic universe Bal'monta these years - the images of elements: light, fire, sun. It is shocking the audience of his demonic pose, "burning building" (an image that goes back to the "world conflagration" F. Nietzsche). By singing "hymns" vice, bro through the centuries from the Roman Emperor Nero, the villain. Most of his friends (I. Ann, Bryusov, Gorky, and others) considered Masquerade "superhuman" the claims of these collections, alien "feminine nature" "the poet's tenderness and gentleness." Only Vyach. Ivanov defended bravado Balmont desire sharp metaphors highlight the strength of opposition to any rules and regulations, the desire "to approve the existence of extremes of light and darkness."

Many contemporaries in assertiveness balmontovskogo vote saw revolutionary meaning. Balmont, indeed, paid tribute to social protest. But his "revolutionary" - not the result of a conscious and strong public position, but rather anarchic riot "indignant at the sight of injustice," the poet - a rebellion that could bring notoriety. That was in 1901, when a small poem Sultan, the response to the dissolution of a student demonstration, Balmont banned for two years to live in the capitals. So it was with collections of the revolutionary period 1905-1907 Poems (1906, confiscated by the police) and Songs of the Avenger (1907, released in Paris, Russia banned the spread). At the same time Balmont is moving closer to Gorky, working in the Bolshevik newspaper "New Life" and published by A. Amfiteatrov socialist magazine Red Flag.

In 1907-1913 Balmont lives in France, seeing himself as a political emigre. A lot of traveling around the world: circumnavigate the globe, visiting America, Egypt, Australia, the islands of Oceania, Japan. During these years, critics wrote more about his "sunset": the factor of novelty balmontovskogo style ceased to act, got used to him. Technique poet remained the same and, in the opinion of many, transformed into a stamp. However Balmont these years, discovers a new thematic horizons, appeals to myth and folklore. First Slavic antiquity sounded more in the collection of hex (1906). Subsequent books Firebird. Pipe Slav (1907) and Green Vertograd. Word of Kissing (1909) include the processing of folk stories and texts, paraphrasing the "epic" Russ on "modern" way. The greatest attention is paid for any kind of Arcane spells and Khlyst zeal, which, in his view, reflects the "people's minds." These attempts were unanimously appreciated by critics as derisory and false styling, reminiscent of a toy "neo-Russian style" in painting and architecture of the era. Bryusov emphasized that the legendary heroes Balmont "absurd and pathetic" to "coat decadent.

Indefatigable thirst for poetic "infinity" makes Balmont refer to "pervotvorchestvu" other non-Slavic, peoples and in the collection of 1908 Calls of antiquity to give artistic transcriptions of ritual magic and poetry of priestly America, Africa and Oceania.

February Revolution of 1917 Balmont met with enthusiasm, but the October Revolution makes him a terror to "chaos" and "hurricane of madness" "Time of Troubles" and to revise its former "revolutionary". In 1918 a book publicist I revolutionist or not? represents the beginning of the Bolshevik carriers devastating, overwhelming personality. Having received permission to temporarily go abroad on a business trip, along with his wife and daughter in June 1920 left Russia forever, and through Revel gets to Paris.

France feels the pain of isolation from other Russian emigres, and this feeling contributes samoizgnannichestvom: seeking refuge away from Paris and settled in the small town of Capbreton on the coast of the province of Brittany.


The only consolation Balmont-exile for two decades has remained an opportunity to remember, to dream and to "sing" about Russia. The name of one of my books on the Motherland - She (1924) - the last creative motto of the poet. Emigre poetry Balmont on Russia for the Russian emigre poetry is as important as for the prose novels Summer of the Lord Shmeleva or Life of Arseniev Bunin.

Until the mid 1930's creative energy Balmont unabated. Of the 50 volumes of his works went into exile 22 (last collection Svetosluzhenie - in 1937). But neither the new reader, or freedom from want no avail. Among the new motifs in the poetry Balmont these years - religious enlightenment experiences. Since the mid 1930's all clearly displayed signs of mental illness that had blighted the last years of the poet's life.

Balmont died Dec. 24, 1942 in Noisy-le-Grand in France, listening to the reading of his poems, in old people's home near Paris, hosted by Mother Mary (E.Yu.Kuzminoy-Karavaeva).



I - refinement Russian drawl ...

  Balmont KD

I - Russian delicacy slow speech,
Before me other poets - Baptist,
I first discovered in this speech deviations
Perepevnye, angry, gentle chimes.

I - a sudden break,
I - playing thunder
I - clear stream,
I - for everyone and nobody.

Pereplesk mnogopenny, torn-blended,
Semi-precious stones original land,
Roll call of forest green in May --
All understand, everything will take, others taking.

Eternally youthful, like a dream,
Strong that love
And in themselves and in others,
I - exquisite verse.

We still show a sullen burrows,
We even dressed up in festive attire.

Глянем and blow you away, stuffing in our dreams.
We'll show you the freshness of novelty.


Wait, the old, always knew
Only two swings, but no and yes.

There will be a revelation, the kingdom of darkness erupts.
Morning breathes purple ... Hark! Shouting eagles!

And the Crucified, over all the Christs
Taken up body exquisitely pale,
And the long spear that stood in rows
Above abusive hero, humbly triumphant!
      These Infanta with Philip the Fourth,
      So sensually brilliant poet-king, --
      Во всем этом блеске, для нас распростертом,
      We have gold dust, like bees, we take!

We draw strength for our creations
In the living spring, not issyakshem hitherto;
And in the strength born of thee outlines
Welcome lush oasis in the desert.
      We did not know by what authority the same
      You were - and an oasis and along mirage --
      Fate it, dream it, mind or passion,
      You forever - the past, and our coming!

No, I hesitated. Now turn on for us
Young Moon. Here - you see? Lit!
Breathing dark blue. Well, kiss it! You my friend?
Here. And here. So. And here ... Oh, how sweet
                                                                 with you!

Our king - misery blind,
Prison and the whip, the jurisdiction, shooting,
King - gallows, the lower half,
As promised, but did not dare to give.

He is a coward, he feels with hesitating,
But will the day of reckoning awaits.
Who began to reign - Khodynka
That will end - standing on the scaffold.

Well this wild freestyle will;
Stretched hand, and touched the hand,
And bound the two - at the moment, no more than --
The moment of love that will last century

Realizing the credibility of flour
She nursed you in the blood,
Loving distorted hand
How love kiss of love.

You expressed the horror of slavery --
Threw in the starless limit
Nightmares performed pain
Thou hast broken bodies.

Telling us that the horrors of torture
In creating dreams are good
You clearly revealed to us the excess
And rabies powerful soul.

And darkness, as charoy, owning,
You're accustomed to the darkness of beauty
You - his brother Prometheus
Which is always in the dark

In the castle, in sweet delirium,
She sang, she sang the violin.
And in the garden was in the pond
Goldfish.

And swirled in the moonlight,
Similarly, cut-out,
Intoxicated by the spring,
Moths are nocturnal.

Pond shaking in my star,
Bent grass flexibly
I flashed it in the pond
Goldfish.

Although not seen it
Musicians ball
But from the fish, from her
Music sounded.

Just come silence
Goldfish
Glide across, and once again visible
Between guests smile.

Again, the violin will sound
The song is heard.
And in the hearts of love murmurs,
And spring laughs.

The eyes gaze to the whispers: "I'm waiting!"
So light and vague,
Because it was there in the pond --
Goldfish.