Отдельно по поводу "Истории Куллерво" — остался крохотный кусочек предисловия (остальной было опубликовано в "Палантире", но я завяз в "Гавейне" (извините за выражение), и поэтому привожу этот текст (часть текста) здесь. Вдруг кто переведет?
It has long been known from Tolkien’s own comments in his letters that that the Finnish mythology Kalevala had a powerful effect on his imagination and his legendarium. Just how powerful is strikingly apparent in “The Story of Kullervo” and the two drafts of “On the Kalevala,” all three here published for the first time. Both the story and the essay provide substantial evidence of Tolkien’s early enthusiasm for and desire to communicate the unfettered exuberance, the unspoiled pagan quality, and what he called the “delicious exaggerations” of what were to him “wild . . . uncivilized and primitive tales.” At the time Tolkien was writing, Elias Lönnrot’s compilation of Finnish folk-ballads was a relatively recent addition to the world’s mythological literature. Tolkien first discovered the Kalevala through Kirby’s English translation in 1911, when he was at King Edward’s School in Birmingham. When he went up to
Oxford in the fall of that year, he checked out a Finnish grammar from the Exeter College Library hoping to read the Kalevala in the original, which hope was largely frustrated (see essay “On the Kalevala,” section I, paragraph 4).
While working on his degree at Oxford in October of 1914 he wrote to his future wife (then fiancée) Edith Bratt that he was “trying to turn one of the stories [of the Kalevala]—which is really a very great story and most tragic—into a short story somewhat on the lines of Morris’ romances with chunks of poetry in between” (Letters 7). Although he never finished it, Tolkien later gave this story credit as being “the original germ of the Silmarillion” (Letters 87), since it became transformed into the tale of Túrin Turambar, the epic, tragic hero of Tolkien’s own mythology.
“The Story of Kullervo” presents Tolkien’s treatment of a figure who has had many incarnations ranging from the medieval Icelandic Amlodhi to the Danish Amlethus of Saxo Grammaticus’s Gesta Danorum to Shakespeare’s moody, erratic, vengeful Renaissance Prince Hamlet, and culminating in the Finnish Kullervo to whom Tolkien is most indebted.
The narrative trajectory of Tolkien’s story follows Runos 31-36 in the Kalevala. These tell of a quarrel between brothers which leaves one dead, the other the murderous guardian of the dead brother’s newborn son Kullervo. The boy grows up to exact revenge for his family’s destruction but is himself destroyed by his discovery of his unwitting incest with a sister he did not recognize. Tolkien’s story follows its source closely; its main departure is in the matter of names. He began by following the Kalevala nomenclature, but subsequently changed to his own invented names or nicknames for all but the major characters, Kalervo, Kullervo, and Untamo; and even for these he supplied a variety of nicknames. His text is not always consistent, however, and he occasionally reverts to, or forgets to change, an earlier discarded name. His use of diacritical marks over the vowel—chiefly macrons but also occasionally breves—is also somewhat random. In regularizing his usage, I have made the present transcript more consistent in this regard than is the actual text. Tolkien’s most notable change is from “Ilmarinen,” the name of the smith in Kalevala, to “Äsemo” (see the entry for Äsemo the smith in the Notes and
Commentary for a longer discussion on the etymology of the name).
“The Story of Kullervo” exists in a single manuscript, Bodleian Library MS Tolkien B 64/6. This is a legible but rough draft, with many crossings-out, marginal and above-line additions, corrections, and emendations. The text is written in pencil on both sides of 13 numbered bifold foolscap folios. The main narrative breaks off abruptly halfway down the recto of folio 13, at a point about three quarters through the story. It is followed on the same page by notes and outlines for the remainder, which fill the rest of the space and continue onto the top portion of the verso.
There are in addition several loose sheets of variable size containing what are clearly preliminary plot outlines, jotted notes, lists of names, lists of rhyming words, and several drafts of one verse section of the story, “Now in sooth a man I deem me.” If, as appears likely, Tolkien B 64/6 contains the earliest and (aside from the note pages) the only draft of the story,
Tolkien’s revisions on this manuscript must stand as his final ones.
I have left Tolkien’s sometimes quirky usage and often convoluted syntax intact, in a few instances adding punctuation to clarify meaning. Square brackets enclose words missing from the text but supplied for clarity. False starts, cancelled words and lines have been omitted, with three exceptions. In these instances, wavy brackets enclose phrases or sentences cancelled in the MS but here retained as of interest to the story.
These are: 1) “when magic was yet new”; 2) “and to Kullervo he gave three hairs . . .”; and 3) “I was small and lost my mother . . . ”. I have preferred not to interrupt the text (and distract the reader) with note numbers, but a Notes and Commentary section follows the narrative proper, explaining terms and usage, citing references, and clarifying the relationship of Tolkien’s story to its Kalevala source. This section also includes
Tolkien’s preliminary outline notes for the story, enabling the reader to track changes and follow the path of Tolkien’s developing imagination. (…)
A Note On Names
It has been pointed out to me by Carl Hostetter that some of the invented names in “The Story of Kullervo” echo or prefigure Tolkien’s earliest known efforts at his invented language Qenya. Qenya-like names in the story include the god-names Ilu, Ilukko and Ilwinti, strongly reminiscent of the Silmarillion’s godhead figure Ilúvatar. Kullervo’s nickname
Kampa appears in early Qenya as a name for Earendel with the meaning “Leaper.” The place-name Kēme, Ke˘me˘nüma, in Tolkien’s story glossed as “The Great Land, Russia,” is in Qenya “earth, soil”. The place-name Telea (Karelja) evokes the Teleri of the Silmarillion, one of the three groups of elves to go to Valinor from Middle-earth. Manalome, Manatomi, Manoini, “sky, heaven,” recall Qenya Mana/Manwë, chief of the Valar, the demigods of the Silmarillion. One can only speculate as to the chronological relationship between the names in “The Story of Kullervo” and Tolkien’s burgeoning Qenya, the earliest evidences for which are contained in the Qenya Lexicon, a notebook bearing no date, but apparently written in 1915-16. For a more extended look at the development of Qenya see Tolkien’s “Qenyaqetsa: The Qenya Phonology and Lexicon,” published in Parma Eldalamberon XII, 1998.
