"The science of tender passion, which Nazon sang..."
On the eve of A.S.’s birthday Pushkin, certain lines of our brilliant poet involuntarily come to mind.
Everything that Evgeniy still knew,
Tell me about your lack of time;
But what was his true genius?
What he knew more firmly than all sciences
What happened to him from childhood
And labor, and torment, and joy,
What took the whole day
His melancholy laziness, -
There was a science of tender passion,
Which Nazon sang,
Why did he end up a sufferer?
Its age is brilliant and rebellious
In Moldova, in the wilderness of the steppes,
Far away from Italy.
(A.S. Pushkin. Eugene Onegin. Chapter 1. VIII)
The collection of the Rare Book Center contains a wonderful edition of the book “The Art of Love” by Publius Ovid Naso, which A.S. Pushkin mentions “Eugene Onegin” in the VIII stanza of the first chapter.
Publius Ovid Naso (43 BC - 18 AD) is a Roman poet whose works are distinguished by virtuosic lightness and flexibility of verse. Social and philosophical issues are alien to Ovid; erotic themes decisively predominate in his work. In the early poems “The Art of Love” and “Remedies for Love,” the poet gives instructions in the field of love relationships. The transition to large works in the spirit of Hellenistic “scientific” poetry was marked by the creation of the poem “Metamorphoses,” which was conceived as an epic and contains about 250 mythological and folklore tales about the transformation of people into animals, plants, constellations, and even stones. At the end of 8 AD. e. Ovid was exiled by Emperor Augustus to the city of Tomy (now the port of Constanta in Romania), where he died. In the last period of his life, “Mournful Elegies” and “Pontic Epistles” were written. A.S. During the years of southern exile, Pushkin felt the kinship of his fate with the fate of the ancient Roman poet-exile, which he reflected in the poems “In the country where he was married to Julia,” “To Ovid,” and the poem “Gypsies.”
Note that Ovid's "The Art of Love" can indeed be considered as a guide. At the very beginning of the book, the author clearly outlines the plan for his essay:
"He who wants to become
under the battle banners of the Amur,
must first choose
the object of your love;
then his task is to achieve
the location of the girl he has chosen;
and finally he has to make a relationship
with her for a long time.
This is my plan, this is my goal
what I want to achieve, this is the way,
along which I will go to this goal.
And I will lead those who want
master the art of love"
So, for the reader who wants to study “The Art of Love,” the Rare Book Center offers a magnificent, richly illustrated gift edition, published by the Russian State Library as part of the project “Classics of World Literature: Word and Image.” Ovid's text on each page is accompanied by high-quality reproductions of paintings by famous masters, mainly on subjects of Greek and Roman mythology.
The copy of the book, now stored in the Rare Book Center of the Pskov Regional Library, is also remarkable in that it is one of three hundred published in a leather cover and the same case.
There are (by analogy with the minor members of the sentence: definitions, additions and circumstances) three main type subordinate clauses: definitive, explanatory And circumstantial; the latter, in turn, are divided into several types.
Subordinate clause may refer to a specific word in the main (proverbial subordinate clauses) or to the whole main thing (unverbal subordinate clauses).
For determining the type of subordinate clause It is necessary to take into account three interrelated features: 1) a question that can be asked from the main clause to the subordinate clause; 2) the verbatim or non-verbal nature of the subordinate clause; 3) a means of connecting the subordinate clause with the main one.
Subordinate clauses
Like definitions in a simple sentence, attributive clauses express the attribute of an object, but, unlike most definitions, they often characterize the object not directly, but indirectly - through situation, which is somehow related to the subject.
In connection with the general meaning of the attribute of an object attributive clauses depend on the noun(or from a word in the meaning of a noun) in the main sentence and answer the question Which? They join the main thing only with allied words - relative pronouns (which, which, whose, what) and pronominal adverbs (where, to where, from where, when). In a subordinate clause, allied words replace the main noun on which the subordinate clause depends.
For example: [One of the contradictions, (what creativity is alive Mandelstam), concerns own nature of this creativity] (S. Averintsev)- [noun, (by what (= contradictions)), ].
Conjunctive words in complex sentences with can be divided into basic (which, which, whose) And non-basic (what, where, where, where, when). Non-main ones can always be replaced by the main allied word which, and the possibility of such a replacement is a clear sign attributive clauses.
The village where(in which) I missed Evgeny, there was a lovely corner... (A. Pushkin)- [noun, (where),].
I remembered today a dog that(which) was friend of my youth (S. Yesenin)- [noun], (what).
Sometimes at night in the city desert there is one hour, imbued with melancholy, when(to which) for the whole city night got off... (F. Tyutchev) -[noun], (when).
The main clause often contains demonstrative words (demonstrative pronouns and adverbs) that one, that one, For example:
It was the famous artist whom she saw on stage last year (Yu. German)- [uk.sl. That - noun], (which).
Pronominal attributive clauses
They are close in meaning to subordinate clauses pronominal attributive clauses . They differ from attributive clauses proper in that they refer not to the noun in the main clause, but to the pronoun (that, every, all etc.), used in the meaning of a noun, for example:
1) [Total (that knew more Evgeniy), retell to me lack of leisure) (A. Pushkin)- [local, (what)]. 2) [No oh (what do you remember), nature]... (F. Tyutchev)- [local, (what)].
Like subordinate clauses, they reveal the attribute of the subject (therefore it is better to ask a question about them too Which?) and are joined to the main sentence using allied words (main allied words - Who And What).
Wed: [That Human, (who came yesterday), today didn't show up] - subordinate clause. [word + noun, (which), ].
[That, (who came yesterday), today didn't show up] - subordinate pronominal attributive. [loc., (who),].
In contrast to the actual attributive clauses, which always come after the noun to which they refer, pronominal clauses can also appear before the word being defined, for example:
(Who lived and thought), [he can't in the shower don't despise people] ... (A. Pushkin)- (who), [place. ].
Explanatory clauses
Explanatory clauses answer case questions and refer to a member of the main sentence that needs semantic expansion (supplement, explanation). This member of the sentence is expressed by a word that has the meaning speeches, thoughts, feelings or perception. Most often these are verbs (say, ask, answer etc.; think, know, remember etc.; be afraid, be happy, be proud etc.; see, hear, feel etc.), but there may be other parts of speech: adjectives (glad, satisfied) adverbs (known, sorry, necessary, clear), nouns (news, message, rumor, thought, statement, feeling, sensation etc.)
Explanatory clauses attached to the word being explained in three ways: 1) using conjunctions what, as, as if, in order to, when etc.; 2) using any allied words; 3) using a particle conjunction whether.
For example: 1) [The light has decided], (what t smart and very nice) (A. Pushkin)- [verb], (that). [I_ was afraid], (so that in a bold thought You me I couldn't blame) (A. Fet) - [ vb.], (so that). [To her dreaming], (as if she's coming along a snow glade, surrounded by sad darkness) (A. Pushkin)- [verb], (as if).
2) [You You know himself], (what the time has come) (N. Nekrasov)- [verb], (what). [Then she started asking questions me], (where am I now Working) (A. Chekhov)- [verb], (where). (When he will arrive), [unknown] (A. Chekhov)- (when), [adv.]. [I_ asked and the cuckoo], (How many yo I I'll live)... (A. Akhmatova)- [verb], (how much).
3) [Both are very I wanted to know\, (brought whether father the promised piece of ice) (L. Kassil)- [verb], (li).
Explanatory clauses can serve to convey indirect speech. With the help of unions what, how, as if, when indirect messages are expressed using a conjunction to- indirect incentives, with the help of allied words and particle conjunctions whether- indirect questions.
In the main sentence, with the word being explained, there may be an indicative word That(in different cases), which serves to highlight the content of the subordinate clause. For example: \Chekhov through the mouth of Doctor Astrov expressed one of his absolutely amazingly accurate thoughts about] (that the forests teach a person to understand the beautiful) (K. Paustovsky)- [noun + adjective], (what).
Distinguishing between attributive clauses and explanatory clauses
Causes certain difficulties differentiation between attributive clauses and explanatory clauses, which refer to a noun. It should be remembered that attributive clauses depend on the noun as parts of speech(the meaning of the defined noun is not important for them), answer the question Which?, indicate the attribute of the object that is named by the defined noun, and are attached to the main one only by allied words. Subordinate clauses or explanatory depend on the noun not as a part of speech, but as from a word with a specific meaning(speeches, thoughts, feelings, perceptions), except for the question Which?(and it can always be assigned from a noun to any word or sentence dependent on it) they can also be assigned case question, They reveal(explain) content speech, thoughts, feelings, perceptions and are attached to the main thing by conjunctions and allied words. ( Subordinate clause, attachable to the main thing by conjunctions and particle conjunctions whether, can only be explanatory: The thought that he was wrong tormented him; The thought of whether he was right tormented him.)
More difficult differentiate between attributive clauses and explanatory clauses, depending on nouns in cases where explanatory clauses join the main one with the help of allied words (especially the allied word What). Wed: 1) The question is what(which) they asked him, it seemed strange to him. The thought that(which) came into his head in the morning and haunted him all day. The news that(which) I received it yesterday, I was very upset. 2) The question of what he should do now tormented him. The thought of what he had done haunted him. The news of what happened in our class amazed the whole school.
1) The first group - complex sentences with subordinate clauses. Union word What can be replaced with a conjunction word which. The subordinate clause indicates the attribute of the object named by the noun being defined (from the main clause to the subordinate clause you can only ask a question Which?, case question cannot be asked). The demonstrative word in the main clause is possible only in the form of a pronoun agreed with the noun (that question, that thought, that news).
2) The second group is complex sentences with explanatory clauses. Replacing a conjunction word What union word which impossible. The subordinate clause not only indicates the attribute of the object named by the noun being defined, but also explains the content of the words question, thought, news(a case question can be asked from the main clause to the subordinate clause). The demonstrative word in the main sentence has a different form (case forms of pronouns: question, thought, news).
Adverbial clauses
Majority adverbial clauses sentences have the same meanings as the circumstances in a simple sentence, and therefore answer the same questions and are accordingly divided into the same types.
Clauses of manner and degree
Characterize the method of performing an action or the degree of manifestation of a qualitative characteristic and answer questions How? how? to what extent? how much? They depend on the word that performs the function of adverbial manner of action or degree in the main sentence. These subordinate clauses are attached to the main sentence in two ways: 1) using allied words how, how much, how much; 2) using unions that, to, as if, exactly, as if, as if.
For example: 1) [The offensive was underway because was provided at headquarters) (K. Simonov)- [verb + uk.el. so], (as) (clause of manner of action).
2) [The old lady is the same age I wanted to repeat it your story], (how much of it do I need listen) (A. Herzen)-[verb+uk.el. so many],(how much) (subordinate clause).
Clauses of manner and degree there may be unambiguous(if they join the main one with allied words how, how much, to what extent)(see examples above) and double digit(if added by conjunctions; the second meaning is introduced by the conjunction). For example: 1) [White the acacias smelled so much], (that their sweet, sugary, candy the smell was felt on the lips and in the mouth) (A. Kuprin)-
[uk.sl. So+ adv.], (that) (the meaning of the degree is complicated by the meaning of the consequence, which is introduced into the meaning of the subordinate conjunction What).
2) [Beautiful the girl must be dressed so that stand out from the environment) (K. Paustovsky)- [cr. + uk.sl. So],(to) (the meaning of the course of action is complicated by the meaning of the goal, which is introduced by the conjunction to).
3) [It's all small plant So sparkled at our feet] (as if it was really made made of crystal) (K. Paustovsky)- [U.S. so + verb.], (as if) (the meaning of the degree is complicated by the meaning of comparison, which is introduced by the conjunction as if).
Subordinate clauses
Subordinate clauses indicate the place or direction of action and answer questions Where? Where? where? They depend on the entire main sentence or on the circumstance of the place in it, expressed by the adverb (there, there, from there, nowhere, everywhere, everywhere etc.), and are attached to the main sentence using allied words where, where, where. For example:
1) [Go along the free road], (where entails free tsm for you)... (A. Pushkin)- , (Where).
2) [He wrote everywhere], (where caught his thirst write) (K. Paustovsky)- [adv.], (where).
3) (Where the river has flown), [there and there will be a channel] (proverb)- (where), [ uk.sl. there ].
Subordinate clauses should be distinguished from other types of subordinate clauses, which can also be attached to the main clause using allied words where, where, where.
Wed: 1) AND [ Tanya enters to an empty house], (where(in which) lived recently our hero) (A. Pushkin)- [noun], (where) (clause clause).
2) [I_ started to remember], (Where walked during the day) (I. Turgenev)- [verb], (where) (expository clause).
Clauses of time
Clauses of time indicate the time of the action or manifestation of the sign referred to in the main sentence. They answer questions When? How long? since when? until when?, depend on the entire main clause and are joined to it by temporary conjunctions when, while, as soon as, barely, before, while, until, since, when suddenly etc. For example:
1) [When the count is back], (Natasha discourteous I was happy him and I was in a hurry to leave) (L. Tolstoy)- (cog2) (Bye does not require poet to the sacred sacrifice Apollo), [in the worries of the vain world he is cowardly submerged} (A. Pushkin)- (Bye), .
The main clause may contain demonstrative words then, until then, after that etc., as well as the second component of the union (That). If there is a demonstrative word in the main clause Then, That When in a subordinate clause it is a conjunctive word. For example:
1) [I_ sitting until I'm not starting to feel hunger) (D. Kharms)- [uk.sl. until then], (Bye).
2) (When in winter eat fresh cucumbers), [then in the mouth smells in spring] (A. Chekhov)- (when), [then].
3) [The poet feels literal meaning of the word even then] (when gives it in a figurative sense) (S. Marshak)- [uk.sl. Then],(When).
Clauses of time must be distinguished from other types of subordinate clauses attached by a conjunctive word When. For example:
1) [I_ saw Yalta that year], (when (- in which) her left Chekhov) (S. Marshak)- [adjective + noun], (when) (clause clause).
2) [Korchagin repeatedly asked me] (when he can check out) (N. Ostrovsky)- [verb], (when) (expository clause).
Subordinate clauses
Subordinate clauses indicate the conditions for the implementation of what is said in the main sentence. They answer the question under what condition?, if, if... then, when (= if), when... then, if, as soon as, once, in case etc. For example:
1) (If I I'll get sick), [to doctors I won't contact you]...(Ya. Smelyakov)- (If), .
2) (Once we started talking), [That it's better to negotiate everything to the end] (A. Kuprin)- (times), [then].
If subordinate clauses stand before the main one, then the latter may contain the second part of the union - That(see 2nd example).
Subordinate goals
Subordinate clauses offers goals indicate the purpose of what is being said in the main clause. They relate to the entire main clause, answer questions For what? for what purpose? For what? and join the main thing with the help of unions in order to (so that), in order to, in order to, then in order to, in order to (obsolete) etc. For example:
1) [I_ woke me up Pashka], (so that he didn't fall down out of the way) (A. Chekhov)- , (to);
2) [He used all his eloquence], (so that disgust Akulina from her intention) (A. Pushkin)- , (so that);
3)(In order to be happy), [necessary not only love, but also to be loved] (K. Paustovsky)- (in order to), ;
When a compound conjunction is dismembered, a simple conjunction remains in the subordinate clause to, and the remaining words are included in the main sentence, being an indicative word and a member of the sentence, for example: [I_ I mention about this solely for the purpose] (so that emphasize the unconditional authenticity of many things by Kuprin) (K. Paustovsky)- [U.S. for that],(to).
Subordinate goals must be distinguished from other types of clauses with a conjunction to. For example:
1) [I Want], (to the bayonet equated feather) (V. Mayakovsky)- [verb], (so that) (expository clause).
2) [Time landings was calculated so], (so that to the landing place get in at dawn) (D. Furmanov)- [cr.adverb.+uk.sl. So],(so that) (clause of action with the additional meaning of purpose).
Additional reasons
Subordinate clauses offers reasons reveal (denote) the reason for what is said in the main sentence. They answer questions Why? for what reason? why?, refer to the entire main clause and are joined to it using conjunctions because, because, since, for, due to the fact that, then that, due to the fact that, due to the fact that etc. For example:
1) [I send her all my tears as a gift], (because Not live until the wedding) (I. Brodsky)- , (because)
2) [Any labor is important], (because ennobles person) (L. Tolstoy)- , (for).
3) (Thanks to the fact that we put new plays every day), [ theater ours quite willingly visited] (A. Kuprin)- (due to the fact that), .
Compound conjunctions, the last part of which is What, can be dismembered: a simple conjunction remains in the subordinate clause What, and the remaining words are included in the main sentence, performing the function of an index word in it and being a member of the sentence. For example:
[That's why roads to me People], (What live with me on earth) (S. Yesenin)- [uk.sl. that's why],(What).
Subordinate clauses
The subordinate clause reports an event in spite of which the action is carried out, an event called in the main clause. In concessional relations, the main sentence reports such events, facts, actions that should not have happened, but nevertheless occur (happened, will happen). Thus, subordinate clauses they call it a “failed” reason. Subordinate clauses answer questions no matter what? in spite of what?, refer to the entire main sentence and are joined to it 1) by conjunctions although, although... but, Not despite the fact that, despite the fact that, despite the fact that, let, let etc. and 2) allied words in combination With particle nor: no matter how, no matter how much, no matter what. For example:
I. 1) And (even though he was an ardent rake), [But he fell out of love finally, abuse, and saber, and lead] (A. Pushkin)- (at least), [but].
Note. In the main clause, which has a concessive clause, there may be a conjunction But.
2) (Let the rose is plucked), [she more blooms] (S. Nadson)- (let), .
3) [B steppes it was quiet, cloudy], (despite What the sun has risen) (A. Chekhov)- , (despite the fact that).
P. 1) (No matter how protected myself Panteley Prokofevich from any difficult experiences), [but soon had to go through a new shock for him] (M. Sholokhov)-(no matter how), [but].
2) [I_, (no matter how much would love you), getting used to it, I'll fall out of love immediately) (A. Pushkin)- [, (no matter how much), ].
Comparative clauses
The types of adverbial clauses discussed above correspond in meaning to the categories of adverbials of the same name in a simple sentence. However, there are three types of clauses (comparative, consequences And connecting), for which there is no correspondence among the circumstances in a simple sentence. A common feature of complex sentences with these types of subordinate clauses is the impossibility, as a rule, of asking a question from the main clause to the subordinate clause.
In complex sentences with comparative clauses the content of the main clause is compared with the content of the subordinate clause. Comparative clauses refer to the entire main clause and are joined to it by conjunctions as, exactly, as if, buto, as if, just as, as if, with... with whatAnd etc. For example:
1) (As in summer we swarm midge flies to the flame), [flocked flakes from the yard to the window frame] (K. Pasternak](How), ["].
2) [Small leaves bright and friendly turn green], (as if Who their washed and varnish on them directed) (I. Turgenev)- , (as if).
3) [We three of us started talking], (as if a century do you know each other?) (A. Pushkin)- , (as if).
A special group among comparative clauses make up sentences with a conjunction how and with a double union than... that. Subordinate clauses with double conjunction than... the have comparative meaning, mutual conditionality of parts. Subordinate clauses with a conjunction how, in addition, they do not refer to the entire main thing, but to the word in it, which is expressed in the form of the comparative degree of an adjective or adverb.
1) (The smaller the woman we love), [the easier like us to her] (A. Pushkin)- (than), [that].
2) [Time passed slower] (than the clouds were creeping across the sky) (M. Gorky)- [compare step.nar.], (than).
Comparative clauses can be incomplete: they omit the predicate if it coincides with the predicate of the main sentence. For example:
[Existence his concluded into this close program] (as egg into the shell) (A. Chekhov)- , (How).
The fact that this is precisely an incomplete two-part sentence is evidenced by the secondary member of the predicate group - into the shell.
Incomplete comparative clauses should not be confused with comparative clauses, which cannot contain a predicate.
Subordinate corollaries
Subordinate corollaries indicate a consequence, a conclusion that follows from the content of the main sentence .
Subordinate corollaries refer to the entire main clause, always come after it and are joined to it by a conjunction So.
For example: [ Heat All increased], (So it was getting hard to breathe) (D. Mamin-Sibiryak); [ Snow All became whiter and brighter], (So it ached eyes) (M. Lermontov)- , (So).
Subordinate clauses
Subordinate clauses contain additional information and comments to what is reported in the main sentence. Connecting clauses refer to the entire main clause, always come after it and are attached to it by conjunctive words what, what, O what, why, why, why etc.
For example: 1) [To her I shouldn't have been late to the theater], (whyshe Very was in a hurry) (A. Chekhov)- , (why).
2) [The dew has fallen], (what foreshadowed tomorrow the weather will be good) (D. Mamin-Sibiryak)- , (What).
3) [And the old man Cuckoos n quickly allotment glasses, having forgotten to wipe them], (which has never happened to him in thirty years of official activity didn't happen) (I. Ilf and E. Petrov)- , (what).
Syntactic analysis of a complex sentence with one subordinate clause
Scheme for parsing a complex sentence with one subordinate clause
1. Determine the type of sentence according to the purpose of the statement (narrative, interrogative, incentive).
2.Indicate the type of sentence by emotional coloring (exclamatory or non-exclamatory).
3. Determine the main and subordinate clauses, find their boundaries.
Draw up a sentence diagram: ask (if possible) a question from the main to the subordinate clause, indicate in the main word on which the subordinate clause depends (if it is a verb), characterize the means of communication (conjunction or allied word), determine the type of subordinate clause (definitive, explanatory, etc.). d.).
Sample analysis of a complex sentence with one subordinate clause
1) [In time of strong storm vomited with the roots of a tall old pine], (which is why formed this pit) (A. Chekhov).
, (why).
The sentence is narrative, non-exclamatory, complex with a subordinate clause. The subordinate clause refers to the entire main thing and is joined to it by a conjunctive word why.
2) (So that be contemporary clear), [all wide the poet will open the door] (A. Akhmatova).(so that), .
The sentence is narrative, non-exclamatory, complex with a subordinate clause of purpose. The subordinate clause answers the question for what purpose?, depends on the entire main clause and is joined to it by a conjunction so that
3) [I I love everything], (to which there is no consonance or echo in this world No) (I. Annensky).[local], (to).
The sentence is narrative, non-exclamative, complex with a pronominal clause. The subordinate clause answers the question which?, depends on the pronoun All in the main, it is joined by a conjunctive word what, which is an indirect object.
"Eugene Onegin", Chapter One, Stanza VIII
Everything that Evgeniy still knew,
Tell me about your lack of time;
But what was his true genius?
What he knew more firmly than all sciences,
What happened to him from childhood
And labor, and torment, and joy,
What took the whole day
His melancholy laziness, -
There was a science of tender passion,
Which Nazon sang,
Why did he end up a sufferer?
Its age is brilliant and rebellious
In Moldova, in the wilderness of the steppes,
Far away from Italy.
In Nabokov’s “Comments” we read: “These lines echo the following, related to Ovid, dialogue from Pushkin’s “Gypsies,” a Byronic poem begun in the winter of 1823 in Odessa and completed on October 10, 1824 in Mikhailovsky; the poem was published anonymously in early May 1827 in Moscow (lines 181-223) (the following is a long, meaningless quote from “Gypsies”).
Then, in order to get out of Ovid’s Moldova, Nabokov explains the history and geography of Bessarabia and Moldova, makes the assumption that Publius Ovid Naso was exiled to Moldova for the same reason that the current director Polanski is hiding from American justice in Switzerland, which favors pedophiles, but nothing does not explain Onegin’s connection with “My Italy”. In other words, Nabokov refers “Italy” to Nason, and not to Onegin, although even a triple-A student will guess that at the time of Ovid no Moldavia existed. Lotman, by the way, also does not have any explanations for this line beyond his short biography of Nazon and his trip to Moldova.
It is clear that Moldova and Italy belong to Onegin, and not to Nazon. Pushkin simply tells us that Onegin ended his life in Moldova. Why?
Meanwhile, this stanza would not have raised any questions for a Russian reader of the first half of the 19th century, familiar with the history of the Capulet and Montague families. I have finished my life far away from Italy - a beautiful metaphor that only means that Onegin died his own death, and was not killed according to the custom of blood feud.
Some of Pushkin's friends called "EO" a weak imitation of Byron. And although in “EO” you can find many direct and indirect quotes from Childe Harold, when writing the poem, Pushkin himself took Shakespeare’s tragedy “Romeo and Juliet” as a model. See letter to Nik. Raevsky dated July 19, 1825: "...mais quel homme que ce Schakespeare! je n"en reviens pas. Comme Byron le tragique est mesquin devant lui!..(...how amazing Shakespeare is! I can’t get over it. How petty Byron is compared to him...)"
The story of Eugene Onegin, told by Pushkin, is the finale of a bloody vendetta between the Larin and Onegin families. At the very beginning, the author barely hints that Onegin is... heir to all his relatives- remained an orphan. Only my uncle is alive, but his end, apparently, is near -... or foreknowledge from afar the death of the old man's uncle. For my uncle's sudden funeral at his estate... enemies and friends came from all sides, but among them the reader does not see (!) their closest neighbors - the landowners Larins. Onegin has a vague idea that the Larins are his uncle’s blood enemies! Immediately after the wake, Evgeniy inspects the things left behind by his uncle and finds no diaries or notes -... not a speck of ink anywhere. But in the eighth year calendar Mysterious crosses were discovered, coinciding with the dates of the sudden death of numerous Onegin relatives.
Onegin dreams of killing the head of the Larin family and thereby avenging his uncle. He has to come into contact with the young and stupid Lensky - Olga Larina's fiancé - in order to penetrate the enemy's lair. Onegin’s disappointment is immeasurable - the head of the Larin family has been resting in the graveyard for a long time, on his grave there is a completely neutral "The humble sinner, Dmitry Larin, the Lord's servant and foreman, tastes peace under this stone". It is not even clear from the inscription whether dad was killed, as expected, by one of the Onegins, or whether he simply gave his soul to God from a twisted intestine. Onegin realizes, however, that it was this same Madame Larina who killed his uncle. The widow is a woman no longer young, but powerful. At one time she... discovered the secret of how to autocratically rule a spouse... she went to work herself, pickled mushrooms for the winter, managed expenses, shaved their foreheads... she beat the maids in anger... sometimes she wrote in blood in the albums of gentle maidens... This one will stop at nothing! Surely it was she who personally salted a jar of pale toadstools, bribed her uncle's servant and - bang! - uncle suddenly fell ill! But you can’t kill a woman; according to the Sicilian customs of blood feud, one of the men must be killed.
What to do? Evgeniy rushes about in search of a solution. Bah! - And what does Lensky need?! After all, he is already almost a member of the Larin clan. God, what unexpected joy! Evgeniy decides to wait until Olga and Vladimir's wedding so that everything is honorable. But here, confusing all the cards, Olga’s older sister Tatyana comes into play. Tatyana writes a scathing letter to Onegin and he realizes that he himself has been under the hood for a long time. Run! Anywhere, to the village, to hell, to the wilderness, to Moldova! But before that, you need to fulfill your duty of honor. Onegin goes all-in. At the Larins' party, he dances a quadrille with only Olga, constantly winks at her and tells her old St. Petersburg jokes. In the end, the enraged Lensky challenges Onegin to the long-awaited duel. An experienced shooter Onegin hastily kills the future husband of Madame Larina's youngest daughter and that same night, without saying goodbye to anyone, he runs, covering his tracks, to God knows where. And that’s true, it’s better to die of old age somewhere in Moldova than to die of youth in Italy.
Hello dears.
We will continue to read “Eugene Onegin” together. Last time we stopped here:
Having no high passion
No mercy for the sounds of life,
He could not iambic from trochee,
No matter how hard we fought, we could tell the difference.
Scolded Homer, Theocritus;
But I read Adam Smith
And he was a deep economist,
That is, he knew how to judge
How does the state get rich?
And how does he live, and why?
He doesn't need gold
When a simple product has.
His father couldn't understand him
And he gave the lands as collateral.
The fact that Evgeniy could not distinguish an iambic from a trochee suggests that there were still gaps in his education, and most importantly, he was alien to versification and everything connected with it. Both iambic and trochee are poetic meters. Iambic is the simplest meter, which is widely and widely used. This is a two-syllable poetic foot with stress on the second syllable. Here is an example of iambic pentameter:
You are a wolf! I despise you!
You are leaving me for Ptiburdukov!
In Horea, the stress is on the first syllable. Example:
The clouds are melting in the sky,
And, radiant in the heat,
The river rolls in sparks,
Like a steel mirror
metric feet
Who Homer is, I think, there is no need to explain (His last name is not Simpson - I’ll tell you right away), but I think few people are familiar with Theocritus. Also a Greek, also a poet, who became famous for his idylls. I learned about him in more detail when I was on the beautiful Greek island of Kos, where this poet worked at the temple of Asclepius. And you know, I got into it. The place there is so right...
Theocritus on Kos
Adam Smith is in fact the prophet and apostle of modern economic theory. If you studied economics at university, you read the works of this Scot. Well, at least the work “On the Wealth of Nations,” which was extremely popular in those days. Eugene read it (and naturally in French, because English was not in honor) - and began to consider himself a prominent expert and teach his father.
Adam Smith
By the way, apparently, Pushkin deliberately played on the title of this book “he could judge how the state is getting richer.” A simple product is land, and these are already the theories of French economists of that time. Here Pushkin, apparently, shows us a kind of conflict between a more erudite son and a more erudite son. patriarchal father. But in essence, there is no conflict, because the author is ironic, calling Eugene a “deep” expert. And could a young man, who had superficially acquired knowledge of the basics of economics, help his father avoid ruin? No, of course, only in theory.
But let's quote the last part for today.
Everything that Evgeniy still knew,
Tell me about your lack of time;
But what was his true genius?
What he knew more firmly than all sciences,
What happened to him from childhood
And labor, and torment, and joy,
What took the whole day
His melancholy laziness, -
There was a science of tender passion,
Which Nazon sang,
Why did he end up a sufferer?
Its age is brilliant and rebellious
In Moldova, in the wilderness of the steppes,
Far away from Italy.
Ovid.
In general, Onegin was not only a sybarite and a lazy white-handed man, but also an insidious seducer. Which we will see later. Not only an amateur, but also a real pro :-)
Not everyone knows who Nazon is, but they have certainly heard the name Ovid at least once. This is the same person. Full name Publius Ovid Naso. An ancient Roman poet and wit, one of the most famous and popular, who lived at the turn of the 1st century AD. If you haven’t read his metamorphoses, I highly recommend it. And it’s interesting, and they acted as role models for a bunch of authors. The same Pushkin, as far as I know, loved and appreciated Ovid very much. He most likely sang the science of tender passion in his other famous major work, “The Science of Love.” Or perhaps in love elegies.
I discovered this while reading “The Science of Love” in the book of the Yantarny Skaz Publishing House, Kaliningrad, 2002
Under Emperor Augustus, who knows why, the extremely popular poet was exiled to the Black Sea region in the city of Tomy (now Constanta). The funny thing is. That this is not Moldova, but Dobrudzha, and moreover, this city is on the seashore, and not in the steppes. Pushkin, who was in exile in Chisinau, knows this absolutely clearly. Why he made a conscious mistake is unclear. Although, looking at his grades in geography at the Lyceum, maybe the mistake was unconscious :-)
To be continued…
Have a nice time of day
"My uncle has the most honest rules,
When I seriously fell ill,
He forced himself to respect
And I couldn't think of anything better.
His example to others is science;
But, my God, what a bore
To sit with the patient day and night,
Without leaving a single step!
What low deceit
To amuse the half-dead,
Adjust his pillows
It's sad to bring medicine,
Sigh and think to yourself:
When will the devil take you!”
II.
So thought the young rake,
Flying in the dust on postage,
By the Almighty will of Zeus
Heir to all his relatives.
Friends of Lyudmila and Ruslan!
With the hero of my novel
Without preamble, right now
Let me introduce you:
Onegin, my good friend,
Born on the banks of the Neva,
Where might you have been born?
Or shone, my reader;
I once walked there too:
But the north is harmful to me (1).
III.
Having served excellently and nobly,
His father lived in debt
Gave three balls annually
And finally squandered it.
Eugene's fate kept:
At first Madame followed him,
Then Monsieur replaced her.
The child was harsh, but sweet.
Monsieur l'Abbé, poor Frenchman,
So that the child does not get tired,
I taught him everything jokingly,
I didn’t bother you with strict morals,
Lightly scolded for pranks
And he took me for a walk in the Summer Garden.
IV.
When will the rebellious youth
The time has come for Evgeniy
It's time for hope and tender sadness,
Monsieur was driven out of the yard.
Here is my Onegin free;
Haircut in the latest fashion;
How dandy(2) Londoner is dressed -
And finally saw the light.
He's completely French
He could express himself and wrote;
I danced the mazurka easily
And he bowed casually;
What do you want more? The light has decided
That he is smart and very nice.
V.
We all learned a little bit
Something and somehow
So upbringing, thank God,
It's no wonder for us to shine.
Onegin was, according to many
(decisive and strict judges)
A small scientist, but a pedant:
He had a lucky talent
No coercion in conversation
Touch everything lightly
With the learned air of a connoisseur
Remain silent in an important dispute
And make the ladies smile
Fire of unexpected epigrams.
VI.
Latin is now out of fashion:
So, if I tell you the truth,
He knew quite a bit of Latin,
To understand the epigraphs,
Talk about Juvenal,
At the end of the letter put vale,
Yes, I remembered, although not without sin,
Two verses from the Aeneid.
He had no desire to rummage
In chronological dust
History of the earth;
But jokes of days gone by
From Romulus to the present day
He kept it in his memory.
VII.
Having no high passion
No mercy for the sounds of life,
He could not iambic from trochee,
No matter how hard we fought, we could tell the difference.
Scolded Homer, Theocritus;
But I read Adam Smith,
And there was a deep economy,
That is, he knew how to judge
How does the state get rich?
And how does he live, and why?
He doesn't need gold
When a simple product has.
His father couldn't understand him
And he gave the lands as collateral.
VIII.
Everything that Evgeniy still knew,
Tell me about your lack of time;
But what was his true genius?
What he knew more firmly than all sciences,
What happened to him from childhood
And labor and torment and joy,
What took the whole day
His melancholy laziness, -
There was a science of tender passion,
Which Nazon sang,
Why did he end up a sufferer?
Its age is brilliant and rebellious
In Moldova, in the wilderness of the steppes,
Far away from Italy.
IX.
. . . . . . . . . . . . . . .
. . . . . . . . . . . . . . .
X.
How early could he be a hypocrite?
To harbor hope, to be jealous,
To dissuade, to make believe,
Seem gloomy, languish,
Be proud and obedient
Attentive or indifferent!
How languidly silent he was,
How fieryly eloquent
How careless in heartfelt letters!
Breathing alone, loving alone,
How he knew how to forget himself!
How quick and gentle his gaze was,
Shy and daring, and sometimes
Shined with an obedient tear!
XI.
How he knew how to seem new,
Jokingly amaze innocence,
To frighten with despair,
To amuse with pleasant flattery,
Catch a moment of tenderness,
Innocent years of prejudice
Win with intelligence and passion,
Expect involuntary affection
Beg and demand recognition
Listen to the first sound of the heart,
Pursue love, and suddenly
Achieve a secret date...
And then she's alone
Give lessons in silence!
XII.
How early could he have disturbed
Hearts of coquettes!
When did you want to destroy
He has his rivals,
How he sarcastically slandered!
What networks I prepared for them!
But you, blessed men,
You stayed with him as friends:
The wicked husband caressed him,
Foblas is a long-time student,
And the distrustful old man
And the majestic cuckold,
Always happy with yourself
With his lunch and his wife.
XIII. XIV.
. . . . . . . . . . . . . . .
. . . . . . . . . . . . . . .
. . . . . . . . . . . . . . .
. . . . . . . . . . . . . . .
XV.
Sometimes he was still in bed:
They bring notes to him.
What? Invitations? In fact,
Three houses for the evening call:
There will be a ball, there will be a children's party.
Where will my prankster ride?
Who will he start with? Doesn't matter:
It’s no wonder to keep up everywhere.
While in morning dress,
Wearing a wide bolivar(3)
Onegin goes to the boulevard
And there he walks in the open space,
While the watchful Breget
Dinner won't ring his bell.
XVI.
It’s already dark: he gets into the sled.
“Fall, fall!” - there was a scream;
Silvery with frosty dust
His beaver collar.
He rushed to Talon(4): he is sure
What is Kaverin waiting for him there?
Entered: and there was a cork in the ceiling,
The current flowed from the comet's fault,
Before him roast-beef is bloody,
And truffles, the luxury of youth,
French cuisine is the best color,
And Strasbourg's pie is imperishable
Between live Limburg cheese
And a golden pineapple.
XVII.
Thirst asks for more glasses
Pour hot fat over cutlets,
But the ringing of the Breguet reaches them,
That a new ballet has begun.
The theater is an evil legislator,
Fickle Adorer
Charming actresses
Honorary Citizen of the Backstage,
Onegin flew to the theater,
Where everyone, breathing freedom,
Ready to clap entrechat,
To flog Phaedra, Cleopatra,
Call Moina (in order to
Just so they can hear him).
XVIII.
Magic land! there in the old days,
Satire is a brave ruler,
Fonvizin, friend of freedom, shone,
And the overbearing Prince;
There Ozerov involuntary tributes
People's tears, applause
Shared with young Semyonova;
There our Katenin was resurrected
Corneille is a majestic genius;
There the prickly Shakhovskoy brought out
A noisy swarm of their comedies,
There Didelot was crowned with glory,
There, there under the canopy of the scenes
My younger days were rushing by.
XIX.
My goddesses! what do you? where are you?
Hear my sad voice:
Are you still the same? other maidens,
Having replaced you, they didn’t replace you?
Will I hear your choirs again?
Will I see the Russian Terpsichore
Soul-filled flight?
Or a sad look will not find
Familiar faces on a boring stage,
And, looking towards the alien light
Disappointed lorgnette
An indifferent spectator of fun,
I will yawn silently
And remember the past?
XX.
The theater is already full; the boxes shine;
The stalls and the chairs, everything is boiling;
In paradise they splash impatiently,
And, rising, the curtain makes noise.
Brilliant, half-airy,
I obey the magic bow,
Surrounded by a crowd of nymphs,
Worth Istomin; she,
One foot touching the floor,
The other slowly circles,
And suddenly he jumps, and suddenly he flies,
Flies like feathers from the lips of Aeolus;
Now the camp will sow, then it will develop,
And with a quick foot he hits the leg.
XXI.
Everything is clapping. Onegin enters
Walks between the chairs along the legs,
The double lorgnette points sideways
To the boxes of unknown ladies;
I looked around all the tiers,
I saw everything: faces, clothes
He is terribly unhappy;
With men on all sides
He bowed, then went on stage.
He looked in great absentmindedness,
He turned away and yawned,
And he said: “It’s time for everyone to change;
I endured ballets for a long time,
But I’m tired of Didelot too” (5)).
XXII.
More cupids, devils, snakes
They jump and make noise on stage;
Still tired lackeys
They sleep on fur coats at the entrance;
They haven't stopped stomping yet,
Blow your nose, cough, shush, clap;
Still outside and inside
Lanterns are shining everywhere;
Still frozen, the horses fight,
Bored with my harness,
And the coachmen, around the lights,
They scold the gentlemen and beat them with their palms:
And Onegin went out;
He goes home to get dressed.
XXIII.
Will I portray the truth in the picture?
Secluded office
Where is the mod pupil exemplary
Dressed, undressed and dressed again?
Everything for a plentiful whim
London trades scrupulously
And on the Baltic waves
He brings us lard and timber,
Everything in Paris tastes hungry,
Having chosen a useful trade,
Invents for fun
For luxury, for fashionable bliss, -
Everything decorated the office
Philosopher at eighteen years old.
XXIV.
Amber on the pipes of Constantinople,
Porcelain and bronze on the table,
And, a joy to pampered feelings,
Perfume in cut crystal;
Combs, steel files,
Straight scissors, curved scissors,
And brushes of thirty kinds
For both nails and teeth.
Rousseau (I note in passing)
Couldn't understand how important Grim was
Dare to clean your nails in front of him,
An eloquent madman (6).
Defender of Liberty and Rights
In this case, he is completely wrong.
XXV.
You can be a smart person
And think about the beauty of nails:
Why argue fruitlessly with the century?
The custom is despot between people.
Second Chadayev, my Evgeniy,
Fearing jealous judgments,
There was a pedant in his clothes
And what we called dandy.
He's at least three o'clock
He spent in front of the mirrors
And he came out of the restroom
Like windy Venus,
When, wearing a man's outfit,
The goddess goes to a masquerade.
XXVI.
In the last taste of the toilet
Taking your curious glance,
I could before the learned light
Here describe his outfit;
Of course it would be brave
Describe my business:
But trousers, a tailcoat, a vest,
All these words are not in Russian;
And I see, I apologize to you,
Well, my poor syllable is already
I could have been much less colorful
Foreign words
Even though I looked in the old days
In Academic Dictionary.
XXVII.
Now we have something wrong in the subject:
We better hurry to the ball,
Where to headlong in a Yamsk carriage
My Onegin has already galloped.
In front of the faded houses
Along the sleepy street in rows
Double carriage lights
Cheerful shed light
And they bring rainbows to the snow:
Dotted with bowls all around,
The magnificent house glitters;
Shadows walk across the solid windows,
Profiles of heads flash
And ladies and fashionable weirdos.
XXVIII.
Here our hero drove up to the entryway;
He passes the doorman with an arrow
He flew up the marble steps,
I straightened my hair with my hand,
Entered. The hall is full of people;
The music is already tired of thundering;
The crowd is busy with the mazurka;
There is noise and crowding all around;
The cavalry guard's spurs are jingling;
The legs of lovely ladies are flying;
In their captivating footsteps
Fiery eyes fly
And drowned out by the roar of violins
Jealous whispers of fashionable wives.
XXIX.
On days of fun and desires
I was crazy about balls:
Or rather, there is no room for confessions
And for delivering a letter.
O you, honorable spouses!
I will offer you my services;
Please notice my speech:
I want to warn you.
You, mamas, are also stricter
Follow your daughters:
Hold your lorgnette straight!
Not that... not that, God forbid!
That's why I'm writing this
That I haven’t sinned for a long time.
XXX.
Alas, for different fun
I've ruined a lot of lives!
But if morals had not suffered,
I would still love balls.
I love mad youth
And tightness, and shine, and joy,
And I’ll give you a thoughtful outfit;
I love their legs; but it's unlikely
You will find in Russia a whole
Three pairs of slender female legs.
Oh! I couldn't forget for a long time
Two legs... Sad, cold,
I remember them all, even in my dreams
They trouble my heart.
XXXI.
When, and where, in what desert,
Madman, will you forget them?
Oh, legs, legs! where are you now?
Where do you crush spring flowers?
Nurtured in eastern bliss,
On the northern, sad snow
You left no traces:
You loved soft carpets
A luxurious touch.
How long have I forgotten for you?
And I thirst for fame and praise,
And the land of the fathers, and imprisonment?
The happiness of youth has disappeared -
Like your light trail in the meadows.
XXXII.
Diana's breasts, Flora's cheeks
Lovely, dear friends!
However, Terpsichore's leg
Something more charming for me.
She, prophesying with her glance
An invaluable reward
Attracts with conventional beauty
A willful swarm of desires.
I love her, my friend Elvina,
Under the long tablecloth of the tables,
In the spring on the grassy meadows,
In winter on a cast iron fireplace,
On the mirrored parquet hall,
By the sea on granite rocks.
XXXIII.
I remember the sea before the storm:
How I envied the waves
Running in a stormy line
Lay down with love at her feet!
How I wished then with the waves
Touch your lovely feet with your lips!
No, never on hot days
My boiling youth
I did not wish with such torment
Kiss the lips of the young Armids,
Or fiery roses kiss their cheeks,
Or hearts full of languor;
No, never a rush of passion
Never tormented my soul like that!
XXXIV.
I remember another time!
In sometimes cherished dreams
I hold the happy stirrup...
And I feel the leg in my hands;
Imagination is in full swing again
Her touch again
The blood ignited in the withered heart,
Again longing, again love!..
But it is enough to glorify the arrogant
With his chatty lyre;
They are not worth any passions
No songs inspired by them:
The words and gaze of these sorceresses
Deceptive... like their legs.
XXXV.
What about my Onegin? Half asleep
He goes to bed from the ball:
And St. Petersburg is restless
Already awakened by the drum.
The merchant gets up, the peddler goes,
A cabman pulls to the stock exchange,
The okhtenka is in a hurry with the jug,
The morning snow crunches under it.
I woke up in the morning with a pleasant sound.
The shutters are open; pipe smoke
Rising like a pillar of blue,
And the baker, a neat German,
In a paper cap, more than once
He was already opening his vasisdas.
XXXVI.
But, tired of the noise of the ball,
And the morning turns to midnight,
Sleeps peacefully in the shade of the blessed
Fun and luxury child.
Wake up after noon, and again
Until the morning his life is ready,
Monotonous and colorful.
And tomorrow is the same as yesterday.
But was my Eugene happy?
Free, in the color of the best years,
Among the brilliant victories,
Among everyday pleasures?
Was he in vain among the feasts?
Careless and healthy?
XXXVII.
No: his feelings cooled down early;
He was tired of the noise of the world;
The beauties didn't last long
The subject of his usual thoughts;
The betrayals have become tiresome;
Friends and friendship are tired,
Then, I couldn’t always
Beef-steaks and Strasbourg pie
Pouring a bottle of champagne
And pour out sharp words,
When you had a headache;
And although he was an ardent rake,
But he finally fell out of love
And scolding, and saber, and lead.
XXXVIII.
The disease whose cause
It's time to find it long ago,
Similar to the English spleen,
In short: Russian blues
I mastered it little by little;
He will shoot himself, thank God,
I didn't want to try
But he completely lost interest in life.
Like Child-Harold, gloomy, languid
He appeared in living rooms;
Neither the gossip of the world, nor Boston,
Not a sweet look, not an immodest sigh,
Nothing touched him
He didn't notice anything.
XXXIX. XL. XLI.
. . . . . . . . . . . . . . .
. . . . . . . . . . . . . . .
. . . . . . . . . . . . . . .
XLII.
Freaky women of the big world!
He left everyone before you;
And the truth is that in our summer
The higher tone is rather boring;
At least maybe another lady
Interprets Say and Bentham,
But in general their conversation
Unbearable, though innocent, nonsense;
Besides, they are so immaculate,
So majestic, so smart,
So full of piety,
So careful, so precise,
So unapproachable for men,
That the sight of them already gives rise to spleen (7).
XLIII.
And you, young beauties,
Which sometimes later
The daring droshky carries away
Along the St. Petersburg pavement,
And my Eugene left you.
Renegade of stormy pleasures,
Onegin locked himself at home,
Yawning, he took up the pen,
I wanted to write, but it’s hard work
He felt sick; Nothing
It did not come from his pen,
And he didn’t end up in the perky workshop
People I don't judge
Because I belong to them.
XLIV.
And again, betrayed by idleness,
Languishing with spiritual emptiness,
He sat down - with a laudable purpose
Appropriating someone else's mind for yourself;
He lined the shelf with a group of books,
I read and read, but to no avail:
There is boredom, there is deception or delirium;
There is no conscience in that, there is no meaning in that;
Everyone is wearing different chains;
And the old thing is outdated,
And the old are delirious of the newness.
Like women, he left books,
And a shelf with their dusty family,
Covered it with mourning taffeta.
XLV.
Having overthrown the burden of the conditions of light,
How he, behind the fuss,
I became friends with him at that time.
I liked his features
Involuntary devotion to dreams,
Inimitable strangeness
And a sharp, chilled mind.
I was embittered, he was gloomy;
We both knew the game of passion:
Life tormented both of us;
The heat died down in both hearts;
Anger awaited both
Blind Fortune and People
In the very morning of our days.
XLVI.
He who lived and thought cannot
Do not despise people in your heart;
Whoever felt it is worried
Ghost of irrevocable days:
There is no charm for that.
That serpent of memories
He is gnawing at remorse.
All this often gives
Great pleasure to the conversation.
First Onegin's language
I was embarrassed; but I'm used to it
To his caustic argument,
And to a joke with bile in half,
And the anger of gloomy epigrams.
XLVII.
How often in the summer,
When it's clear and light
Night sky over the Neva (8) ,
And the waters are cheerful glass
Diana's face does not reflect
Remembering the novels of previous years,
Remembering my old love,
Sensitive, careless again,
Breath of the favorable night
We reveled silently!
Like a green forest from prison
The sleepy convict has been transferred,
So we were carried away by the dream
Young at the start of life.
XLVIII.
With a soul full of regrets,
And leaning on granite,
Evgeniy stood thoughtfully,
How Piit described himself (9).
Everything was quiet; only at night
The sentries called to each other;
Yes, the distant sound of the droshky
With Millonna it suddenly rang out;
Just a boat, waving its oars,
Floated along the dormant river:
And we were captivated in the distance
The horn and the song are daring...
But sweeter, in the midst of nightly fun,
The chant of the Torquat octaves!
XLIX
Adriatic waves,
Oh Brenta! no, I'll see you
And full of inspiration again,
I will hear your magical voice!
He is holy to the grandchildren of Apollo;
By the proud lyre of Albion
He is familiar to me, he is dear to me.
Golden nights of Italy
I will enjoy the bliss in freedom,
With a young Venetian woman,
Sometimes talkative, sometimes dumb,
Floating in a mysterious gondola;
With her my lips will find
The language of Petrarch and love.
L
Will the hour of my freedom come?
It's time, it's time! - I appeal to her;
I'm wandering over the sea (10), waiting for the weather,
Manyu sailed the ships.
Under the robe of storms, arguing with the waves,
Along the free crossroads of the sea
When will I start free running?
It's time to leave the boring beach
Elements that are hostile to me,
And among the midday swells,
Under the sky of my Africa (11)
Sigh about gloomy Russia,
Where I suffered, where I loved,
Where I buried my heart.
LI
Onegin was ready with me
See foreign countries;
But soon we were destined
Divorced for a long time.
His father then died.
Gathered in front of Onegin
Lenders are a greedy regiment.
Everyone has their own mind and sense:
Evgeny, hating litigation,
Satisfied with my lot,
He gave them the inheritance
Not seeing a big loss
Or foreknowledge from afar
The death of my old uncle.
LII.
Suddenly he really got
Report from the manager
That uncle is dying in bed
And I would be glad to say goodbye to him.
After reading the sad message,
Evgeniy on a date right away
Swiftly galloped through the mail
And I already yawned in advance,
Getting ready, for the sake of money,
For sighs, boredom and deception
(And thus I began my novel);
But, having arrived at my uncle’s village,
I found it already on the table,
As a tribute to the ready land.
LIII.
He found the yard full of services;
To the dead man from all sides
Enemies and friends gathered,
Hunters before the funeral.
The deceased was buried.
The priests and guests ate, drank,
And then we parted important ways,
It's as if they were busy.
Here is our Onegin, a villager,
Factories, waters, forests, lands
The owner is complete, and until now
An enemy of order and a spendthrift,
And I’m very glad that the old path
Changed it to something.
Liv.
Two days seemed new to him
Lonely fields
The coolness of the gloomy oak tree,
The babbling of a quiet stream;
On the third grove, hill and field
He was no longer occupied;
Then they induced sleep;
Then he saw clearly
That in the village the boredom is the same,
Although there are no streets or palaces,
No cards, no balls, no poems.
Handra was waiting for him on guard,
And she ran after him,
Like a shadow or a faithful wife.
LV.
I was born for a peaceful life,
For village silence:
In the wilderness the lyrical voice is louder,
More vivid creative dreams.
Dedicating yourself to the leisure of the innocent,
I wander over a deserted lake,
And far niente is my law.
I wake up every morning
For sweet bliss and freedom:
I read little, I sleep for a long time,
I don’t catch flying glory.
Isn't that how I was in years past?
Spent inactive, in the shadows
My happiest days?
LVI.
Flowers, love, village, idleness,
Fields! I am devoted to you with my soul.
I'm always happy to notice the difference
Between Onegin and me,
To the mocking reader
Or some publisher
Intricate slander
Comparing my features here,
Didn’t repeat it shamelessly later,
Why did I smear my portrait?
Like Byron, the poet of pride,
As if it's impossible for us
Write poems about others
As soon as about yourself.
LVII.
Let me note by the way: all poets -
Love dreamy friends.
Sometimes there were cute things
I dreamed, and my soul
I kept their image secret;
Afterwards the Muse revived them:
So I, careless, sang
And the maiden of the mountains, my ideal,
And captives of the shores of Salgir.
Now from you, my friends,
I often hear the question:
“For whom does your lyre sigh?
To whom, in the crowd of jealous maidens,
Did you dedicate the chant to her?
LVIII.
Whose gaze, stirring inspiration,
Rewarded with touching affection
Your thoughtful singing?
Who did your poem idolize?”
And, guys, no one, by God!
Love's crazy anxiety
I experienced it bleakly.
Blessed is he who combined with her
The fever of rhymes: he doubled it
Poetry is sacred nonsense,
Following Petrarch,
And calmed the torment of the heart,
In the meantime, I also caught fame;
But I, loving, was stupid and dumb.
LIX.
Love has passed, the Muse has appeared,
And the dark mind became clear.
Free, looking for union again
Magic sounds, feelings and thoughts;
I write, and my heart does not grieve,
The pen, having forgotten itself, does not draw,
Near unfinished poems,
No women's legs, no heads;
The extinguished ashes will no longer flare up,
I'm still sad; but there are no more tears,
And soon, soon the storm's trail
My soul will completely calm down:
Then I'll start writing
Poem of songs in twenty-five.
LX.
I was already thinking about the form of the plan,
And I’ll call him a hero;
For now, in my novel
I finished the first chapter;
I reviewed all of this strictly:
There are a lot of contradictions
But I don’t want to fix them.
I will pay my debt to censorship,
And for journalists to eat
I will give the fruits of my labors:
Go to the banks of the Neva,
Newborn creation
And earn me a tribute of glory:
Crooked talk, noise and swearing!
Epigraph from the Poem of P. A. Vyazemsky (1792-1878) “The First Snow.”
See I. A. Krylov’s fable “The Donkey and the Man,” line 4.
(1) Written in Bessarabia (Note by A.S. Pushkin).
Madame, teacher, governess.
Monsieur Abbot (French).
(2) Dandy, dandy (Note by A.S. Pushkin).
Be healthy (lat.).
See missing stanza.
See missing stanzas.
(3) Hat à la Bolivar (Note by A. S. Pushkin). Hat style. Bolivar Simon (1783-1830) - leader of the national liberation movement. movements in Latin America.
It has been established that Pushkin's Onegin goes to the Admiralteysky Boulevard that existed in St. Petersburg
(4) Famous restaurateur (Note by A.S. Pushkin).
Entrechat - jump, ballet step (French).
(5) A trait of chilled feeling worthy of Chald Harold. Mr. Didelot's ballets are filled with wonder of imagination and extraordinary charm. One of our romantic writers found much more poetry in them than in all French literature (Note by A.S. Pushkin).
(6) Tout le monde sut qu’il mettait du blanc; et moi, qui n'en croyais rien, je commençais de le croir, non seulement par l'embellissement de son teint et pour avoir trouvé des tasses de blanc sur sa toilette, mais sur ce qu'entrant un matin dans sa chambre, je le trouvai brossant ses ongles avec une petite vergette faite exprès, ouvrage qu'il continua fièrement devant moi. Je jugeai qu'un homme qui passe deux heures tous les matins à brosser ses onlges, peut bien passer quelques instants à remplir de blanc les creux de sa peau. (Confessions de J.J.Rousseau)
Make-up defined its age: now throughout enlightened Europe they clean their nails with a special brush. (Note by A.S. Pushkin).
“Everyone knew that he used whitewash; and I, who did not believe this at all, began to guess about it not only from the improvement in the color of his face or because I found jars of whitewash on his toilet, but because, going into his room one morning, I found him cleaning nails with a special brush; he proudly continued this activity in my presence. I decided that a person who spends two hours every morning cleaning his nails could take a few minutes to cover up imperfections with white.” (French).
Boston is a card game.
Stanzas XXXIX, XL and XLI are designated by Pushkin as omitted. In Pushkin's manuscripts, however, there is no trace of any omission in this place. Probably, Pushkin did not write these stanzas. Vladimir Nabokov considered the omission “fictitious, having a certain musical meaning - a pause of thoughtfulness, an imitation of a missed heartbeat, an apparent horizon of feelings, false asterisks to indicate false uncertainty” (V. Nabokov. Comments on “Eugene Onegin.” Moscow 1999, p. 179.
(7) This entire ironic stanza is nothing more than subtle praise for our beautiful compatriots. So Boileau, under the guise of reproach, praises Louis XIV. Our ladies combine enlightenment with courtesy and strict purity of morals with this oriental charm, which so captivated Madame Stahl (See Dix anées d "exil). (Note by A. S. Pushkin).
(8) Readers remember the charming description of the St. Petersburg night in Gnedich’s idyll.
Self-portrait with Onegin on the Neva embankment: self-illustration for ch. 1 novel "Eugene Onegin". Litter under the picture: “1 is good. 2 should be leaning on granite. 3. boat, 4. Peter and Paul Fortress.” In a letter to L. S. Pushkin. PD, No. 1261, l. 34. Neg. No. 7612. 1824, early November. Bibliographic notes, 1858, vol. 1, no. 4 (the figure is reproduced on a sheet without pagination, after column 128; publication by S. A. Sobolevsky); Librovich, 1890, p. 37 (repro), 35, 36, 38; Efros, 1945, p. 57 (repro), 98, 100; Tomashevsky, 1962, p. 324, note. 2; Tsyavlovskaya, 1980, p. 352 (repro), 351, 355, 441.
(9) Show favor to the goddess
He sees an enthusiastic drink,
Who spends the night sleepless,
Leaning on granite.
(Muravyov. Goddess of the Neva). (Note by A.S. Pushkin).
(10) Written in Odessa. (Note by A.S. Pushkin).
(11) See the first edition of Eugene Onegin. (Note by A.S. Pushkin).
Far niente - idleness, idleness (Italian)
