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|  Âëàäèìèð Âëàäèìèðîâè÷ Ìàÿêîâñêèé
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|  Ïàðèæ
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   Âëàäèìèð Ìàÿêîâñêèé
   Ïàðèæ (1924–1925)

 //-- Öèêë ñòèõîòâîðåíèé --// 


   ÅÄÓ


     Áèëåò —
              ùåëê.
                    Ùåêà —
                           ÷ìîê.
     Ñâèñòîê —
               è ðâàíóëèñü òóäà ìû
     êóäà,
           êàê ñåëüäè,
                       â ñåòè ÷óëîê
                              ïëûâóò
            êðóãîñâåòíûå äàìû.
     Ñåãîäíÿ ïðèåäåò —
                       óðîäîì-óðîä,
     à çàâòðà —
                óçíàòü ïîñìåéòå-êà:
     â îäíî
            ðàçóáðàí
                     è ãîðîä è ðîò —
     ïîìàäû,
                                       îãíåé êîñìåòèêà.
     Âåñåëûõ
             òÿíåò â ýòó âîò äàëü.
     Â Ïàðèæå ãðóñòèòü?
                        Åäâà ëè!
     Â Ïàðèæå
              ïëîùàäü
                      è òà Ýòóàëü,
     à çâåçäû —
                òàê ñïëîøü ýòóàëè.
                              Çàñâèñòûâàé,
                  òðèñü,
                         âðåçàéñÿ è ðåæü
     ñêâîçü Ëüåæè
                  è îá Áðþññåëè.
     Íî íîæ
            è Ïàðèæ,
                     è Áðþññåëü,
                                 è Ëüåæ —
     òîìó,
                                     êòî, êàê ÿ, îáðóñåëè.
     Ñåé÷àñ áû
               â ñàíè
                      ñ íîãàìè —
     â ñíåãó,
              êàê â ãàçåòíîì ëèñòå á…
     Ñâèñòè,
             çàíîñè ñíåãàìè
     ìåíÿ,
           ïðèõåðñîíñêàÿ ñòåïü…
                              Âå÷åð,
            ïîëå,
                  îãîíüêè,
     äàëüíÿÿ äîðîãà, —
     ñåðäöå ðâåòñÿ îò òîñêè,
     à â ãðóäè —
                 òðåâîãà.
     Ýõ, ðàç,
              åùå ðàç,
     ñòèõ – â ïëÿñ.
                              Ýõ, ðàç,
              åùå ðàç,
     ðèôì õðÿñê.
     Ýõ, ðàç,
              åùå ðàç,
     åùå ìíîãî, ìíîãî ðàç…
     Ëþäè
          ðàçíûõ ñòðàí è ðàñ,
     êîïàÿ ïîðÿäêîâ ãðÿäêè,
     óâèäåâ,
                                       êàê ÿ
                   ñåáÿ ïðîòðÿñ,
     ñêàæóò:
             â ëèõîðàäêå.

   1925


   ÃÎÐÎÄ


     Îäèí Ïàðèæ —
                  àäâîêàòîâ,
                             êàçàðì,
     äðóãîé —
              áåç êàçàðì è áåç Ýððèî.
     Íå îòîðâàòü
                 îò âòîðîãî
                            ãëàçà —
     îò ýòîãî ãîðîäà ñåðîãî.
                              Ñî ñòåí îáåùàþò:
                      «Un verre de Koto
     donne de l’energie»[1].
     Âèíîì ëþáâè
                 êàêèì
                       è êòî
     ìîþ âçáóäîðàæèò æèçíü?
     Ìîæåò,
            êðèòèêè
                    çíàþò ëó÷øå.
                              Ìîæåò,
            èõ
               è ñëóøàòü íàäî.
     Íî êîìó ÿ, ê ÷åðòó, ïîïóò÷èê!
     Íè äóøè
             íå øàãàåò
                       ðÿäîì.
     Êàê ðàíüøå,
                 ñâîé
                      ðàñêà÷èâàé ãîðá
                              âïåðåäè
             ïîýòîâûõ àðá —
     íåñè,
           îäèí,
                 è ðàäîñòü,
                            è ñêîðáü,
     è ïðî÷èé
              ëþäñêîé ñêàðá.
     Ìíå ñêó÷íî
                çäåñü
                                                îäíîìó
                             âïåðåäè, —
     ïîýòó
           íå íàäî ìíîãîãî, —
     ïóñòü
           òîëüêî
                  âðåìÿ
                        ñêîðåé ðîäèò
     òàêîãî, êàê ÿ,
                    áûñòðîíîãîãî.
                              Ìû ðÿäîì
              ïîéäåì
                     äîðîæíîé ïûëüöîé.
     Îäíî
          æåëàíüå
                  ïó÷èò:
     ìíå ñêó÷íî —
                  æåëàþ
                        âèäåòü â ëèöî,
     êîìó ýòî
                                        ÿ
                ïîïóò÷èê?!
     «Je suis un chameau»[2],
                           â ïëàêàòå ñòîÿò
     ëèòåðû,
             êàæäàÿ – ôóò.
     Ñîâåðøåííî âåðíî:
                       «je suis», —
                                     ýòî
                                          «ÿ»,
                              a «chameau» —
                    ýòî
                        «ÿ âåðáëþä».
     Ëèëîâàÿ òó÷à,
                   ñêîðåé íàãíèñü,
     ìåíÿ
          è Ïàðèæ ïîëåé,
     ÷òîá òîëüêî
                 ñêîðåé
                        çàöâåëè îãíè
                              äëèíîé
            Åëèñåéñêèõ ïîëåé.
     Âî âñ¸ îãîíü —
                    è íåáó â òåìü
     è â ÷åðíü ïðîìîêøåé ïûëè.
     Â îãíå
            æóêàìè
                   âñåõ ñèñòåì
     æóææàò
            àâòîìîáèëè.
                              Ãîðèò âîäà,
                 çåìëÿ ãîðèò,
     ãîðèò
           àñôàëüò
                   äî ææåíèÿ,
     êàê áóäòî
               çóáðÿò
                      ôîíàðè
     òàáëèöó óìíîæåíèÿ.
     Ïëîùàäü
                                      êðàñèâåé
                      è òûñÿ÷
                              äàì-áîëîíîê.
     Ýòà ïëîùàäü
                 îïðàâäàëà á
                             êàæäûé ãîðîä.
     Åñëè á áûë ÿ
                  Âàíäîìñêàÿ êîëîííà,
     ÿ á æåíèëñÿ
                 íà Place de la Concorde[3].

   1925


   ÂÅÐËÅÍ È ÑÅÇÀÍ


     ß ñòóêàþñü
                î ñòîë,
                        î øêàôà îñòðèÿ —
     ÷åòûðå ìåòðà åæåäíåâíî ìåðü.
     Ìíå òåñíî çäåñü
                     â îòåëå Istria[4] —
     íà êîðîòûøêå
                  rue Campagne-Premiere[5].
     Ìíå æìåò.
                                         Ïàðèæñêàÿ æèçíü íå ïðî íàñ —
     â áóëüâàðû
                òîñêó ðàññûïàé.
     Íàïðàâî îò íàñ —
                      Boulevard Montparnasse[6],
     íàëåâî —
              Boulevard Raspail[7].
     Õîæó è õîæó,
                  íå ùàäÿ êàáëóêà, —
     õîæó
                                    è íî÷ü è äåíü ÿ, —
     õîæó òðàôàðåòíûì ïîýòîì, ïîêà
     â ãëàçàõ
              íå âñòàíóò âèäåíüÿ.
     Òóìàí – ïàðèêìàõåð,
                         îí äåëàåò ãåíèåâ —
     çàãðèìèðîâàë
                  îäíîãî
                         áîðîäîé —
     Äîáðûé âå÷åð, m-r Òóðãåíåâ.
                              Äîáðûé âå÷åð, m-me Âèàðäî.
     Ïîøåë:
            «Çà ÷òî áîðîëèñü?
                              À Ðóäèí?..
     À âû,
           èìåíüå
                  âîçüìè ïîäïàëüíè»…
     Ìíå
         èõ ðàçãîâîð ýìèãðàíòñêèé
                                  íóäåí,
                              è þðêàþ
             â êàôå îò ñêóëüíè.
     Äà.
         Ýòî îí,
                 âîò ýòà ñîâà —
     íå òðîíóë
               âåëèêîãî
                        òëåí.
     Ïðèïîäíÿë øëÿïó:
                      «Comment ca va,
                              cher camarade Verlaine?»[8]
     Îòêóäà âàñ çíàþ?
                      Âàñ çíàþò âñå.
     È âîò
           äîâåëîñü ñîñòóêàòüñÿ.
     Ëåò ñîðîê
               âû òÿíåòå
                         ñâîé àáñåíò
     èç òûñÿ÷è ðåïðîäóêöèé,
     ß ðàíüøå
                                        âàñ
                  ïî÷òè íå ÷èòàë,
     à íûí÷å —
               âûøëî èç ìîäû, —
     è ðàä áû ïðî÷åñòü —
                         íå ïîéìåøü íè ÷åðòà:
     ïî-ðóññêè äðÿíü, —
                        ïåðåâîäû.
     Íå çëèòåñü, —
                   ñî ìíîé,
                                                      äîëæíî áûòü, è âû
     çíàêîìû
             ëèøü ïîíàñëûøêå.
     Ïîãîâîðèì
               î ïóñòÿêàõ ïóòåâûõ,
     î íàøèíñêîì ðåìåñëèøêå.
     Òåïåðü
            ïëîõèå ñòèõè —
                           òðóõà.
     Õîðîøèé —
                                         ñåáå äîðîæå.
     Ñ õîðîøèì
               è ÿ á
                     ñâîè ïîòðîõà
     ñëîæèë
            ïîä çàáîðîì
                        òîæå.
     Áóìàãè
            ãëàäü
                  îáëåâûâàÿ
                              ïåðîì,
            êîíöîì ãóáû —
     ïîýò,
           êàê áëÿäü ðóáëåâàÿ,
     æèâåò
           ñ ñëîâöîì ëþáûì.
     ß æèçíü
             îòäàòü
                    çà ñåãîäíÿ
                               ðàä.
                             Êàêàÿ ýòî ãðîìàäà!
     Âû ÷óåòå
              ñëîâî —
                      ïðîëåòàðèàò? —
     åìó
         ãðàíäèîçíîå íàäî.
     Èç êîæè
             íàäî
                  âûëàçèòü òóò,
     à íàñ —
                                      ê æóðíàëü÷èêàì
                            ïðåìèåé.
     Êîãäà æ ïîéìóò,
                     ÷òî ïîýçèÿ —
                                   òðóä,
     ÷òî ìåñòî íóæíî
                     è âðåìÿ åé.
     «Ëèöîì ê äåðåâíå» —
                         çàäàíüå äàíî, —
     çà ãóñëè,
                                        ïîýòû-äðóãè!
     Ïîéìèòå æ —
                 ëèöî ó ìåíÿ
                             îäíî —
     îíî ëèöî,
               à íå ôëþãåð.
     À òóò è ÃÓÑ
                 îòâåðçàåò óñòà:
     âîïðîñ íå ðåøåí.
                      «Êîòîðûé?
                             Ïîýò?
           Òàê âåäü ýòî æ —
                            ïðîñòî êóñòàðü,
     ïðîñòîé êóñòàðü,
                      áåç ìîòîÐà».
     Ïåðî
          òàêîìó
                 â ÿçûê âîíçè,
     ïðèáåé
            ê âåêàì êóíñòêàìåð.
                             Òû âðåøü.
               Åùå
                   íå íàéäåí áåíçèí,
     ÷òî äâèæåò
                ñåðäåö êóñêàìè.
     Èäåþ
          íåëüçÿ
                 çàìåøàòü íà âîäå.
     Â âîäå
            îòñûðååò èäåéêà.
                             Ïîýò
          íèêîãäà
                  è íå æèë áåç èäåé.
     ×òî ÿ —
             ïîïóãàé?
                      èíäåéêà?
     Ê ðàáî÷åìó
                íàäî
                     èäòè ñåðüåçíåé —
     íåäîîöåíèëè èõ ìû.
                             Ïîýòû,
            ïîêàéòåñü,
                       ïîêà íå ïîçäíî,
     âî âñåõ
             îòãëàãîëüíûõ ðèôìàõ.
     Ó íàñ
           ïîýò
                ñîáûòüÿ áåðåò —
     îïèøåò
            â÷åðàøíèé ãóë,
                             à íàäî
            ðâàòüñÿ
                    â çàâòðà,
                              âïåðåä,
     ÷òîá áðþêè
                òðåùàëè
                        â øàãó.
     Â ñàäàõ êîììóíû
                     âñïîìíÿò î áàðäå —
     êàêèå
                                    ïòèöû
                 çàëüþòñÿ èì?
     ×òî
         áóäåò
               ñ âåòîê
                       òîâàðèù Âàðäèí
     ðàññâèñòûâàòü
                   ñâîè ðåçîëþöèè?!
     Çà ãëîòêó âîçüìåì.
                        «Òåïåðü ïîîðè,
                             íåñáèòàÿ áûòà ìîðäà!»
     È âèæó,
             çàâèñòü
                     çàæãëàñü è ãîðèò
     â ãëàçàõ
              ìîåãî íàòþðìîðòà.
     È êàïëåò
              ñ Âåðëåíà
                        â ñòàêàí ñëåçà.
     Îí âåñü —
                                        êàê çóá íà ñâåðëå.
     Òóò
         ê íàì
               ïîäõîäèò
                        Ïîëü Ñåçàí:
     «ß
        òàê
            íàïèøó âàñ, Âåðëåí».
     Îí ïèøåò.
               Ñìîòðþ,
                                                êàê êðàñêà ñâåæà.
     Monsieur,
               ïðîñòèòå âû ìåíÿ,
     ó íàñ
           ñòàðèêàì,
                     êàê ïîä õâîñò âîææà,
     áûâàëî
            îò âàøåãî èìåíè.
     Áûâàëî —
              ñåçîí,
                                              íàø áîã – Âàí-Ãîã,
     äðóãîé ñåçîí —
                     Ñåçàí.
     Òåïåðü
            óøëè îò èñêóññòâà
                              âáîê —
     íå êðàñêó ëþáÿò,
                      à ñàí.
     Ïòåíöû —
              ó íèõ
                                              ìîëîêî íà ãóáàõ, —
     à ñ äåòñòâà
                 ê ñìèðåíèþ ïàäêè.
     Áîëüøóùåå èìÿ âçÿëè
                          ÀÕÐÐ,
     à ÷åøóò
             îòâåòñòâåííûì
                           ïÿòêè.
     Íåáîñü
            íå íàïèøóò
                                                ìîé ïîðòðåò, —
     íå òðóò
             ïîíàïðàñíó
                         êèñòè.
     Âåäü òî æå
                ëèöî êàê áóäòî, —
                                  àí, íåò,
     ðèñóþò
            êòî ïîöåêèñòåé.
     Ñåçàí
                                    îñòàíîâèëñÿ íà ëèíèè,
     è âåñü
            ðàçìåðñèëñÿ – òðîíóòûé.
     Ïàðèæ,
            ôèîëåòîâûé,
                        Ïàðèæ â àíèëèíå,
     âñòàâàë
             çà îêíîì «Ðîòîíäû».

   1925


   NOTRE-DAME


     Äðóãèå çäàíèÿ
                   ëåæàò,
                          êàê ãðÿçíàÿ êîðà,
     â âîñïîìèíàíèè
                    î Notre-Dame’e[9].
     Ïðîøåäøåãî
                âîçâûøåííûé êîðàáëü,
     î âðåìÿ çàöåïèâøèéñÿ
                          è ñåâøèé íà ìåëü.
                              Ðàñêðûëè äâåðü —
                      òîñêè òÿæåëåé;
     æåëå
          èç æåëåçà —
                      íåëåïåå.
     Ïðîøëè
            ñêâîçü ìîíàøèé
                           ñëóæèëûé åëåé
     â ñîáîðíîå âåëèêîëåïèå.
     ×èòàë
                                     ïèñüìåíà,
                     óêðàøàâøèå õðàì,
     ïðî áîãîâû áëàãà
                      íà íåáå.
     Ñïóñêàëñÿ â ïàðòåð,
                         ïîäûìàëñÿ ê õîðàì,
     ñìîòðåë óäîáñòâà
                      è ìåáåëü.
     ß âûøåë —
               ñî ìíîé
                                                 ïåðåâîä÷èöà-äóðà,
     ùåáå÷åò
             áàíòèêîì-ðîòèêîì:
     «Íó, êàê âàì
                  íðàâèòñÿ àðõèòåêòóðà?
     Êàêàÿ íåáåñíàÿ ãîòèêà!»
     ß âçâåñèë âñå
                   è îáäóìàë, —
                                íó âîò:
     îí ëó÷øå Áëàæåííîãî Âàñüêè.
                              Êîíå÷íî,
              ïîä êëóá íå ïîéäåò —
                                   òåìíîâàò, —
     îá ýòîì íå äóìàëè
                       êëàññèêè.
     Íå ñòèëü…
                 ß â ýòèõ äåëàõ íå ìàñòàê.
     Íå äàëñÿ
              ñòàðüþ íà ñúåäåíèå.
     Íî òî õîðîøî,
                                             ÷òî óæå ìåñòà
     ãîòîâû òåáå
                 äëÿ ñèäåíèÿ.
     Åãî
         íè ê ÷åìó
                   ïåðåñòðàèâàòü çàíîâî —
     ïðèëàäèì
              ñ ãðåõîì ïîïîëàì,
     à â íàøèõ —
                 íè ñòóëüåâ íåò,
                               íè îðãàíîâ.
     Êîïí¸øü —
               îäíè êóïîëà.
     È ëó÷øå á îðêåñòð,
                        äà èãðà äîðîãà —
     ñíà÷àëà
             íå áóäåò ôèíàíñîâ, —
     à òî ëè äåëî,
                   êîãäà îðãàí —
     èãðàé
                                     õîòü ïÿòü ñåàíñîâ.
     ßñíî —
            ðåïåðòóàð èíîé —
     ôîêñòðîòû,
                à íå ñîïåíüå.
     Íåëüçÿ æå
               ôðàíöóçñêîìó Ãîñêèíî
     äóõîâíûå ïåñíîïåíèÿ.
     À äëÿ ðåêëàìû —
                     íå õðàì,
                                                        à êðàñà —
     ñòàðàéñÿ
              âî âñå òÿæêèå.
     Ýëåêòðîðåêëàìå —
                      ëó÷øèé ôàñàä:
     ìåæ áàøåí
               ïóñòèòü ïåðåòÿæêè,
     äà áóêâàìè ðàçíûìè:
                         «Signe de Zoro»[10],
     ÷òîá áóêâû áåæàëè,
                                                  êàê ìûøü.
     Òàêàÿ ðåêëàìà
                   òàê çàîðåò,
     ÷òî âèäíî
               âî âåñü Boulmiche[11].
     À åñëè
            è ëàìïî÷êè
                       âñòàâèòü â ãëàçà
     õèìåðàì
             â óãëàõ ñîáîðà,
                             Òîãäà —
             íèêòî íå óéäåò íàçàä:
     ïîäðÿä —
              áèòêîâûå ñáîðû!
     Äà, íàäî
              áûòü
                   áåðåæëèâûì òóò,
     ÿäðîì
           ÷åãî
                íå ïîïîðòèâ.
                             Â îñîáåííîñòè,
                    åñëè ïîéäóò
     ãðîìèòü
             ïðåôåêòóðó
                        íàïðîòèâ.

   1925


   ÂÅÐÑÀËÜ


     Ïî ýòîé
             äîðîãå,
                     ñïåøà âî äâîðåö,
     áåñ÷èñëåííûå Ëþäîâèêè
     òðÿñëè
            â øåëêàõ
                     çîëî÷åíûõ êàðåòö
     òåëåñ
           äåñÿòèïóäîâèêè.
                              È ëÿæåê
             ñâîèõ
                   îòìàõàâ øàòóíû,
     ïî íåé,
             ìàðñåëüåçîé ïðîïåò,
     ïëþÿ íà êîðîíó,
                     òåðÿÿ øòàíû,
     áåæàë
           èç Ïàðèæà
                     Êàïåò.
                              Òåïåðü
            ïî íåé
                   âåñåëûé Ïàðèæ
     ãîíÿåò
            àâòî ðàññèÿâ, —
     êîêîòêè,
              ðàíòüå, ïîäñ÷èòàâøèé áàðûø,
     àìåðèêàíöû
                è ÿ.
     Âåðñàëü.
                                        Âîçãëàñ ïåðâûé:
     «Õîðîøî æèëè ñòåðâû!»
     Äâîðöû
            íà òûùè ñïàëåí è çàë —
     è â êàæäîé
                è ñòîë
                       è êðîâàòü.
     Òàêèõ
           âòîðûõ
                  è ïîñòðîèòü íåëüçÿ —
                              õîòü öåëóþ æèçíü
                      âîðîâàòü!
     À çà äâîðöîì,
                   è ñþäû,
                          è òóäû,
     ÷òîá æèçíü èì
                   áûëà
                        ñâåæà,
     ïðóäû,
            ôîíòàíû,
                                               è ñíîâà ïðóäû
     ñ ôîíòàíîì
                èç ìåäíûõ æàá.
     Âîêðóã,
             â ïîîùðåíüå
                         æàíòèëüíûõ ìàíåð,
     äîðîæêè
             ïîëíû ñòàòóÿìè —
     âåçäå Àïîëëîíû,
                     à ýòèõ
                                                      Âåíåð
     áåçðóêèõ, —
                 òàê öåëûå óéìû.
     À äàëüøå —
                æèëüÿ
                      äëÿ èõ Ïîìïàäóðø —
     Áîëüøîé Òðèàíîí
                     è Ìàëåíüêèé.
     Âîò òóò
             Ïîìïàäóðøó
                                                  âîäèëè ïîä äóø,
     âîò òóò
             ïîìïàäóðøèíû ñïàëåíêè.
     Ñìîòðþ íà æèçíü —
                       àõ, êàê íå íîâà!
     Êðàñèâîñòü —
                  àæ äóõ âûìàòûâàåò!
     Êàê áóäòî
               âëèï
                    â àêâàðåëü Áåíóà,
                              ê êàêèì-òî
                ñòèøêàì Àõìàòîâîé.
     ß âñå îñìîòðåë,
                     ïîîùóïàë âåùè.
     Èç âñåé
             êðàñîòèùè ýòîé
     ìíå
         áîëüøå âñåãî
                      ïîíðàâèëàñü òðåùèíà
     íà ñòîëèêå
                                          Àíòóàíåòòû.
     Â íåãî
            øòûêà ðåâîëþöèè
                            êëèí
     âîãíàëè,
              ïëÿøà ïîä ðàñïåâêó,
     êîãäà
           ñàíêþëîòû
                     ïîâîëîêëè
     íà ýøàôîò
                                        êîðîëåâêó.
     Ñìîòðþ,
             à âñå æå —
                        çàâèäíûå âèäèêè!
     Ñàäû çàâèäíûå —
                     â ðîçàõ!
     Ñêîðåé áû
               êóëüòóðó
                        òàêîé æå âûäåëêè,
     íî â íîâûé,
                                          ìàøèííûé ðîçìàõ!
     Â ìóçåè
             âîò ýòè
                     ëà÷óãè á âûìåñòè!
     Ñþäà áû —
               ñòàëüíîé
                        è ñòåêîëüíûé
     ðàáî÷èé äâîðåö
                    ìèëëèîííîé âìåñòèìîñòè, —
     òàêîé,
                                     ÷òîá è ãëàçó áîëüíî.
     Âñåì,
           åùå èìåþùèì
                       êóïîíû
                              è ìîíåòû,
     âñåì öàðÿì —
                  åùå èìåþùèìñÿ —
                                  â íàçèäàíèå:
     ñ ãèëüîòèíû íåáà,
                       ãîëîâîé Àíòóàíåòòû,
                             ñîëíöå
            ïîêàòèëîñü
                       óìèðàòü íà çäàíèÿõ.
     Ðàñïëûëàñü
                è ëèï
                      è êàøòàíîâ òîëïà,
     ñëåãêà
             ëèñòî÷êè âîðñÿ.
     Ïðîçðà÷íûé
                âå÷åðíèé
                                                  íåáåñíûé êîëïàê
     çàêðûë
            ìóçåéíûé Âåðñàëü.

   1925


   ÆÎÐÅÑ


     Íîÿáðü,
             à íàðîä
                     çàæàò äî æàðû.
     Ñòîþ
          è ñìîòðþ äîëãî:
     íà øèíàõ ìàøèííûõ
                       ìèìî —
                              øàðû
     êàòàþòñÿ
                                        â òðåóãîëêàõ.
     Âîéíîé îáàãðåííûå
                       ðóêè
                            óìûâ,
     è êðàñíûå
               øàíñû
                     âçâåñèâ,
     êîììåðöèþ
               íîâóþ
                     âáèëè â óìû —
                              õîòÿò
           ñïåêóëüíóòü íà Æîðåñå.
     Ïîêàæóò ðàáî÷èì —
                       ñìîòðèòå,
                                 è îí
     ñ âåëèêèìè íàøèìè
                       òîæå.
     Æîðåñ
           íàñòîÿùèé ôðàíöóç.
                              Ïàíòåîí
                              íå ñòàíåò æå
                  îí
                     òðåâîæèòü.
     Ãîòîâû
            ïîòîêè
                   ñëåçëèâûõ ôðàç.
     Ýñêîðò,
             êîëåñíèöû —
                         ýôôåêò!
     Íè ñ ìåñòà!
                                           Ñêàæèòå,
                          êåì èç âàñ
     â îêíå
            ïðèñòðåëåí
                       Æîðåñ?
     Òåïåðü
            ïðèøëè
                   ïàíèõèäàìè âûòü.
     Çîð÷å,
            ðàáî÷èé êëàññ!
                              Òîâàðèù Æîðåñ,
                    íå äàé óáèòü
     ñåáÿ
          âî âòîðîé ðàç.
     Íå äàñò.
              Ïîäíÿâ
                     çíàìåí ìà÷òîâûé ëåñ,
     ñïàÿâ
           ëþäåé
                 â îäèí
                                                   ïëûâóùèé ôëîò,
     ãðîìîâûé è æèâîé,
                       ïî-ïðåæíåìó
                                  Æîðåñ
     ïðîõîäèò â Ïàíòåîí
                        ïî óëèöå Ñóôëî.
     Îí â ýòèõ êðèêàõ,
                       íåñóùèõñÿ ââåðõ,
     â çíàìåíàõ,
                 â øàãàõ,
                                                    â ãîðáàõ
     «Vivent les Soviets!..
                             A bas la guerre!..
     Capitalisme a bas!..»[12]
     È âîò —
             âçáåãàåò îãîíü
                            è ãîðèò,
     è ïåñíÿ
             êðàñíååò ó ðòà.
     È êàæåòñÿ —
                                           ñíîâà
                       â äûìó
                              ïóøêàðè
     èäóò
          ê ïàðèæñêèì ôîðòàì.
     Ñïèíîþ
            ê âèòðèíàì îòæàëè —
                                è âîò
     èç êíèæåê
               âûæàëèñü
                                                  òåíè.
     È ñíîâà
             71-é ãîä
     âñòàåò
            ó ñòðàíèö â øåëåñòåíèè.
     Ãîðà
          íà ãðóäè
                   ìîãëà á ïîäíÿòüñÿ.
     Òàì
         ãíåâíûé îêðèê îðåò:
                             «Êòî ñìåë ñêàçàòü,
                        ÷òî ìû
                               â ñåìíàäöàòîì
     ïðåäàëè
             ôðàíöóçñêèé íàðîä?
     Íåïðàâäà,
               ìû ñ âàìè,
                          ôðàíöóçñêèå áëóçíèêè.
     Çàáóäüòå
              ýòîò
                                            ïîêëåï äðÿííîé.
     Íà âñåõ áàððèêàäàõ
                        ìû âàøè ñîþçíèêè,
     ðàáî÷èé Êðåçî,
                    è ðàáî÷èé Ðåíî».

   1925


   ÏÐÎÙÀÍÈÅ

 //-- (ÊÀÔÅ) --// 

     Îáûêíîâåííî
                 ìû ãîâîðèì:
     âñå äîðîãè
                ïðèâîäÿò â Ðèì.
     Íå òàê
            ó ìîíïàðíàñöà.
     Ãîòîâ ïîêëÿñòüñÿ.
     È Ðåì
           è Ðîìóë,
                    è Ðåìóë è Ðîì
     â «Ðîòîíäó» ïðèäóò
                        èëè â «Äîì»[13],
     Â êàôå
            èäóò
                 ïî ñîòíÿì äîðîã,
     ïëûâóò
            ïî áóëüâàðíîé ðåêå.
     Âïëûâàþ è ÿ:
                  «Garcon,
                                                     un grog
     americain!»[14]
     Ñíà÷àëà
             ñëîâà
                   è ãóáû
                          è ñêóëû
     êàôåéíûé ãîìîí ñëèâàë.
     Íî âîò
            ïîøëè
                  âûëóïëÿòüñÿ èç ãóëà
                              è ëåïÿòñÿ
               ôðàçîé
                      ñëîâà.
     «Òóò
          ïðîõîäèë
                   Ìàÿêîâñêèé äàâå÷à,
     õðîìîé —
              íå âèäàëè ðàçè?» —
     «À ñ êåì îí øåë?» —
                         «Ñ Íèêîëàé Íèêîëàè÷åì», —
                              «Ñ êàêèì?» —
                  «Äà ñ âåëèêèì êíÿçåì!»
     «Ñ âåëèêèì êíÿçåì?
                        Áóäåò âðàòü!
     Îí êðóãë
              è ëûñ,
                     êàê ëàäîíü.
     ×åêèñò îí,
                ïîñëàí ñþäà
                            âçîðâàòü…» —
                              «Êîãî?» —
               «Áóà-äþ-Áóëîíü[15].
     Åçæàé, ìîë, Ìèøêà…»
                           Äðóãîé ïîïðàâèë:
     «Âû âðåòå,
                ïðîòèâíî ñëóøàòü!
     Ñîâñåì è íå Ìèøêà îí,
                           à Ïàâåë.
     Áûâàëî, ñÿäåì —
                    Ïàâëóøà! —
                              a òóò æå
              åãî, ñóïðóãà,
                            êíÿæíà,
     áðþíåòêà,
               ëåò ïîä òðèäöàòü…» —
     «×üÿ?
           Ìàÿêîâñêîãî?
                        Îí íå æåíàò». —
     «Æåíàò —
              è íà èìïåðàòðèöå». —
                              «Íà êîì?
              Åå æå ðàññòðåëÿëè…» —
                                       «È îí
     ïîâåðèë…
                Ñäåëàéòå ìèëîñòü!
     Åå æ Ìàÿêîâñêèé ñïàñ
                          çà òðèëüîí!
     Îíà æå æ
              îìîëîäèëàñü!»
     Áëàãîðàçóìíûé ãîëîñ:
                                                    «Äà íåò,
     âû âðåòå —
                Ìàÿêîâñêèé – ïîýò». —
     «Íó äà, —
               âìåøàëîñü äâîå ñàâðàñîâ, —
     â êîíöå
             ñåìíàäöàòîãî ãîäà
     â Ìîñêâå
              ÷åêîé êîíôèñêîâàí Íåêðàñîâ
     è âåñü
                                      Ìàÿêîâñêîìó îòäàí.
     Âû äóìàåòå —
                  ñàì îí?
                          Ñáîíäèë äî èîò —
     âåñü ñòèõ,
                ñ çàïÿòûìè,
                            ñêðàäåí.
     Äîñòàíåò Íåêðàñîâà
                        è ïðîäàåò —
     ÷åðâîíöåâ ïî äåñÿòü
                                                  íà äåíü».
     Ãäå âû,
             ñâàõè?
                    Ïîäûìèñü, Àãàôüÿ!
     Ïðåäëàãàåòñÿ
                  æåíèõ íåâèäàííûé.
     Âèäàíî ëü,
                ÷òîá ÷åëîâåê
                             ñ òàêîþ áèîãðàôèåé
     áûë áû õîëîñò
                                            è ñòàðåë íåâûäàííûé?!
     Ïàðèæ,
            òåáå ëü,
                     ñòîëèöå ñòîëåòèé,
     ê ëèöó
            ýìèãðàíòñêàÿ íóäü?
     Ñìàõíè
            çà óøìè
                    ýìèãðàíòñêèå ñïëåòíè.
     Ïðîâèíöèÿ! —
                                           íå ïðîäîõíóòü. —
     ß âûøåë
             â ðàçäóìüå —
                          ÷åðò åãî çíàåò!
     Îòïëþíóëñÿ —
                   òüôó, íàïàñòü!
     Äûðà
          â óøàõ
                 íå ó âñåõ ñêâîçíàÿ —
     äðóãîìó
                                      ìîæåò çàïàñòü!
     Ñëóøàéòå, ÷èòàòåëè,
                         êîãäà ïðî÷òåòå,
     ÷òî ñ ×åð÷èëëåì
                     Ìàÿêîâñêèé
                                äðóæáó âåðòèò
     èëè
         ÷òî æåíèëñÿ ÿ
                       íà êóëèäæåâñêîé òåòå,
     òî, ïîêîðíåéøå ïðîøó, —
                                                      íå âåðüòå.
     1925
     [13] Êàôå íà Ìîíïàðíàñå.
     [14] Îôèöèàíò,
                       ãðîã
                           ïî-àìåðèêàíñêè! (ôðàíö.)



   ÏÐÎÙÀÍÜÅ


     Â àâòî,
             ïîñëåäíèé ôðàíê ðàçìåíÿâ.
     –  êîòîðîì ÷àñó íà Ìàðñåëü? —
     Ïàðèæ
           áåæèò,
                  ïðîâîæàÿ ìåíÿ,
     âî âñåé
             íåâîçìîæíîé êðàñå.
     Ïîäñòóïàé
                                         ê ãëàçàì,
                         ðàçëóêè æèæà,
     ñåðäöå
            ìíå
                ñàíòèìåíòàëüíîñòüþ ðàñêâàñü!
     ß õîòåë áû
                æèòü
                     è óìåðåòü â Ïàðèæå,
     Åñëè á íå áûëî
                    òàêîé çåìëè —
                                 Ìîñêâà.

   1925


   ÏÐÈÌÅ×ÀÍÈß

   [1] Ñòàêàí Êîòî äàåò ýíåðãèþ (ôðàíö.)
   [2] ß âåðáëþä (ôðàíö.)
   [3] Ïëîùàäü Ñîãëàñèÿ (ôðàíö.)
   [4] Èñòðèÿ (ôðàíö.)
   [5] Íàçâàíèå óëèöû â Ïàðèæå (ôðàíö.)
   [6] Áóëüâàð Ìîíïàðíàññ (ôðàíö.)
   [7] Áóëüâàð Ðàñïàé (ôðàíö.)
   [8] Êàê äîæèâàåòå, äîðîãîé òîâàðèù Âåðëåí? (ôðàíö.)
   [9] Ñîáîð Ïàðèæñêîé áîãîìàòåðè (ôðàíö.)
   [10] Çíàê Çîðî (ôðàíö.)
   [11] Áóëüâàð â Ïàðèæå (ôðàíö.)
   [12] Äà çäðàâñòâóþò Ñîâåòû!..
   Äîëîé âîéíó!..
   Äîëîé êàïèòàëèçì!.. (ôðàíö.)
   [15] Áóëîíñêèé ëåñ.