Finishing the second chapter, Pushkin told his friends about his new work. He wrote to Vyazemsky: “Now I am not writing a novel, but a novel in verse — a diabolical difference. It seems, Don Juan “- there is nothing to think about the press, I write carelessly” (November 4, 1823). Delvig: “I am now writing a new poem in which I am utterly chattering. Birukov (the censor) will not see her ”(November 16). AI Turgenev: “I am writing a new poem at my leisure, Eugene Onegin,” where I choke on bile. Two songs are already ready ”(December 1). Apparently, the picture of the serf village drawn in the second chapter seemed to Pushkin so harsh that he had no hope that the censorship would allow this chapter to be published.
Pushkin wrote about the same thing at the end of the chapter: “There is nothing to think about my poem: if it is ever published, then, surely, not in Moscow and not in Petersburg” (A. Bestuzhev, February 8, 1824). However, later, having revised the text of the chapter and made some reductions and censorship changes in it, Pushkin sent the chapter to the press, and it did not meet in this form with great difficulties in censorship.
The chapter was published in a separate book in 1826 (published in October) with the indication: "Written in 1823" - and republished in May 1830 ()
36. So exactly an old invalid ... - disabled in the language of the early XIX century. equal in content to the modern "veteran". ()
37. Stanzas XX – XXII - stanzas are written in the key of romantic elegiac poetry and represent a retelling of the everyday situation (Lensky's childhood, his departure, the friendship of fathers-neighbors, etc.) in the language of cliches of Russian romantic-idyllic poetry of the 1810s - 1820s ... In the middle of the XXII stanza, images such as "golden games", "dense groves", "solitude", "silence", which from constant repetitions turned into cliche signals of the elegiac-idyllic style, are replaced by personifications (graphically expressed in capital letters): "Night "," Stars "," Moon ". An excerpt from Kuchelbecker's article may comment on these stanzas. Wed: "And something, and foggy distance" (2, X, 8). (
I continue to comment on "Eugene Onegin"
WHERE I AM: The ninth stanza of the second chapter. Continuation of the description of Lensky
TEXT:
Resentment, regret,
For the good pure love
And glory sweet torment
Blood was agitated in him early.
He traveled with the lyre in the world;
Under the skies of Schiller and Goethe
By their poetic fire
The soul ignited in him.
And muses of sublime art,
Lucky, he was not ashamed;
He proudly preserved in songs
Always sublime feelings
Gusts of a virgin dream
And the beauty of important simplicity.
All EO heroes are emphatically "literary".
Onegin - "Muscovite in a Harold's cloak"
Tatiana - "fell in love with deceptions and Richardson and Russo",
Lensky - "Under the sky of Schiller and Goethe, the soul ignited in it."
(Even Zaretsky - and he plants cabbage "like Horace").
At times Nabokov goes so far as to regard the EO heroes as merely characters of Western European literature, artificially transplanted by Pushkin onto Russian soil, while Lotman, on the other hand, as people inclined to reading of that era, who fell under the spell of this literature (its various directions).
It seems that Lotman's approach more faithfully reflects the essence of the EO heroes, as they emerged from the pen of Pushkin. Look - in all cases, the poet not only refers the reader to the "origins" of his heroes ("Like Child-Harold," "imagining a heroine ... Clarice, Julia, Dolphin", "their soul was kindled in him with poetic fire"), but also specifically talks about their acquaintance with the primary sources ("He excluded the singer Giaur and Juan from disgrace", "novels, they replaced everything for her", "under the sky of Schiller and Goethe").
About each hero, Pushkin tells a completely plausible story about how he came to such a life that he became a character in Western European literature. Here is Lensky: before us is a story about how an impressionable young man who sprinkled amateur rhymes for his beloved girl, having got to Germany, under the influence of her "air", her poets and his studies, imagines himself called to poetry. Why couldn't this have happened? Why is he a character who was "taken and transplanted"
Yes, in the description of Onegin, Lensky, Tatiana, there is an exaggeration, somewhere even grotesque - but is it possible only on this basis to complain that they are "not our" personages? Moreover, the heroes are presented to us by the poet extremely ingenuously, with references and explanations (was it not from Pushkin that Gogol took his way of presenting his heroes?)
Hello dear.
Let's continue our conversation about part 2 of the wonderful work of AS Pushkin. The previous post can be seen here here:
There won't be much explanation today. Just enjoy the text.
So, let's begin:-)
To my village at the same time
A new landowner galloped
And the same strict analysis
In the neighborhood, the reason was:
Named Vladimir Lenskoy,
With a soul straight from Göttingen,
Handsome, in full bloom of years,
Kant's admirer and poet.
He's from foggy Germany
Brought fruits of scholarship:
Freedom dreams
The spirit is fiery and rather strange
Always a rave speech
And black curls up to the shoulders.
Alma mater Lensky
As they say - here is a phenomenon and a new hero for you. Landowner, handsome man with long hair, poet and good education... He studied in Germany at the famous University of Göttingen in Lower Saxony, which operates to this day. there studied, for example, the Great Heine, therefore it is not surprising that Lensky was Germanophilic.
From the cold debauchery of the light
Even before it fades,
His soul was warmed
Greetings from a friend, caress of virgins;
He was an ignorant dear at heart,
Hope cherished him
And the world has a new shine and noise
They also captivated the young mind.
He amused with a sweet dream
The doubts of his heart;
The purpose of our life for him
Was a tempting mystery
He racked his head over her
And he suspected miracles.
He believed that his soul was dear
I must connect with him,
That, melancholy,
She waits for him every day;
He believed his friends were ready
For his honor to take the shackles
And that their hand will not tremble
Break the vessel of the slanderer;
That there are chosen ones by destinies,
People are sacred friends;
That their immortal family
Irresistible rays
Will light up us someday
And the world will bestow bliss.
Romantic and idealist. I would especially like to draw your attention to the brilliant turnover " my dear heart was an ignoramus". In my opinion, brilliant.
Resentment, regret,
For good, pure love
And glory sweet torment
Blood was agitated in him early.
He traveled with the lyre in the world;
Under the skies of Schiller and Goethe
By their poetic fire
The soul was kindled in him;
And muses of sublime art,
Lucky, he did not shame:
He proudly preserved in songs
Always sublime feelings
Gusts of a virgin dream
And the beauty of important simplicity.
He sang love, love obedient,
And his song was clear
Like the thoughts of an innocent virgin,
Like a baby's sleep, like the moon
In the deserts of the serene sky,
Goddess of secrets and gentle sighs.
He sang separation and sorrow
And something, and a hazy distance,
And romantic roses;
He sang those distant lands
Where long in the bosom of silence
His living tears flowed;
He sang the faded color of life
Nearly eighteen years old.
Such a not weak characteristic, and very even flattering. Apparently, Lensky was very promising. And very young. 18 years.
In the desert where Eugene is alone
I could appreciate his gifts
Lords of neighboring villages
He didn't like feasts;
He ran their noisy conversations.
Their conversation is prudent
About haymaking, about wine,
About the kennel, about your relatives,
Of course, he did not shine with any feeling
No poetic fire
Neither sharpness nor intelligence,
No hostel art;
But the conversation of their lovely wives
He was much less intelligent.
Rich, handsome, Lensky
He was accepted everywhere as a groom;
Such is the village custom;
All daughters read their
For a semi-Russian neighbor;
Will he ascend, immediately conversation
Turns on the word side
About the boredom of living single;
They call the neighbor to the samovar,
And Dunya is pouring tea;
They whisper to her: "Dunya, take note!"
Then they bring a guitar:
And she will squeak (my God!):
Come to me golden! ... 
Young, interesting, not poor - of course an enviable groom. But was he interested in these provincial ambitions and local beauties? Despite his young age - not at all. The lady squeaks, by the way, the aria of the mermaid Lesta from the Russian adaptation of Cauer's opera "The Danube Fairy", which was called "The Dnieper Rusalka" and which was considered a great vulgarity.
But Lensky, not having, of course,
Hunt the bonds of marriage,
With Onegin I wished heartily
Acquaintance is shorter to reduce.
They converged. Wave and stone
Poems and prose, ice and fire
Not so different among themselves.
Mutual difference first
They were boring to each other;
Then I liked it; then
Traveled every day on horseback
And they soon became inseparable.
So people (I first repent)
Friends have nothing to do.
But there is no friendship between us.
Destroying all prejudices,
We honor everyone with zeros
And in units - yourself.
We all look at Napoleons;
Millions of two-legged creatures
For us, the tool is one;
We feel wild and funny.
Evgeny was more bearable than many;
Though he knew people, of course
And generally despised them, -
But (there are no rules without exceptions)
He was very different from others
And he respected the feeling.
Well, here are 2 heroes ... so different in temperament and age.
To be continued...
Have a nice time of the day.
1.2.2. How and why does the tone of Lermontov's Duma change from beginning to end?
Read the fragment of the work below and complete tasks 1.1.1-1.1.2.
| VI To my village at the same time A new landowner galloped And the same strict analysis In the neighborhood, the reason was: Named Vladimir Lenskoy, With a soul straight from Göttingen, Handsome, in full bloom of years, Kant's admirer and poet. He's from foggy Germany Brought fruits of scholarship: Freedom dreams The spirit is fiery and rather strange Always a rave speech And black curls up to the shoulders. Vii From the cold debauchery of the light Even before it fades, His soul was warmed Greetings from a friend, caress of virgins; He was an ignorant dear at heart, Hope cherished him And the world has a new shine and noise They also captivated the young mind. He amused with a sweet dream The doubts of his heart; The purpose of our life for him Was a tempting mystery He racked his head over her And he suspected miracles. VIII He believed that his soul was dear I must connect with him, That, melancholy, She waits for him every day; He believed his friends were ready For his honor to take the shackles And that their hand will not tremble Break the vessel of the slanderer; That there are chosen ones by destinies, People are sacred friends; That their immortal family Irresistible rays Will light up us someday And the world will bestow bliss. IX Resentment, regret, For good, pure love And glory sweet torment Blood was agitated in him early. He traveled with the lyre in the world; Under the skies of Schiller and Goethe By their poetic fire The soul was kindled in him; And muses of sublime art, Lucky, he did not shame: He proudly preserved in songs Always sublime feelings Gusts of a virgin dream And the beauty of important simplicity. X He sang love, love obedient, And his song was clear Like the thoughts of an innocent virgin, Like a baby's sleep, like the moon In the deserts of the serene sky, Goddess of secrets and gentle sighs. He sang separation and sorrow And something, and a hazy distance, And romantic roses; He sang those distant lands Where long in the bosom of silence His living tears flowed; He sang the faded color of life Nearly eighteen years old. |
A. Pushkin "Eugene Onegin"
Read the work below and complete tasks 1.2.1-1.2.2.
| Thought Sadly I look at our generation! His future is either empty, or dark, Meanwhile, under the burden of knowledge and doubt, In inaction it will grow old. We are rich, barely from the cradle, By the mistakes of the fathers and their late minds, And life weary us, like a straight path without a goal, Like a feast at a stranger's holiday. Shamefully indifferent to good and evil, At the beginning of the race, we wither without a fight; Shamefully cowardly in the face of danger And before the authorities - despicable slaves. So skinny fruit, ripe for a time, Neither our taste pleases nor the eyes, Hanging between flowers, an orphaned stranger, And the hour of their beauty - the hour of his fall! We have dried up the mind with sterile science, Taya envious of neighbors and friends Disbelief of ridiculed passions. We barely touched the cup of pleasure, But we did not save our youthful strength; From every joy, afraid of satiety, We have extracted the best juice forever. Poetry dreams, art creation They do not stir our mind with sweet delight; We greedily cherish the rest of the feeling in our chest Buried with avarice and useless treasure. And we hate, and we love by chance, Sacrificing nothing for malice or love, And some secret cold reigns in the soul, When the fire boils in blood And the luxurious fun of our ancestors is boring, Their conscientious, childish depravity; And we hurry to the grave without happiness and without glory, Looking back mockingly. In a crowd gloomy and soon forgotten We will pass over the world without noise or trace, Without abandoning for centuries a fertile thought, Not the genius of the work begun. And our ashes, with the severity of a judge and a citizen, The descendant will offend with a contemptuous verse, The bitter mockery of a deceived son Over the squandered father. |
M. Yu. Lermontov
1.1.1. What epithets are most important in characterizing Lensky and why?
1.2.1. Why does the lyrical hero condemn the generation of his day?
Revelation.
1.1.1. Epi-te-you serve for the creation of hu-do-zhestven-no-ra-za. In ha-rak-te-ri-sti-ke Len-sko, an important role is played by epi-te-you. Push-kin tells us about the main quality of his hero: Lensky is a poet-ro-man-tik, he studied in Germany, according to -this-mu he is "with a soul straight get-ting-gen-skoy." Ro-man-ti-kam are inherent in "free-no-bi-vie dreams", "ardent spirit and quite strange", "always wins speech ”,“ sweet dreams ”.
1.2.1. The new generation departed from participation in public life and the corner-bi-els in the employment of "childless na-u-koi" do not tremble about good and evil; it shows "good-spirited little souls before the danger", is-la-et-sya "awful-mi slaves before power. " These people do not say anything about e-ziya or art. Their fate without-happy-on:
Tol-sing my gloom and soon after-for-that
We will pass over the world without noise or trace,
Do not throw-siv-shi for centuries, no thought of bad-do-vi-that,
Neither he-nor-em on-cha-th work.
Such a su-ro-vaya assessment of Ler-mon-to-vm of his co-times-men-nikov pro-dik-to-va-on his public-n-glances-da-mi pe-re-do-in-th poet. Equal-to-soul-to-public life - this is the spiritual death of man. Su-ro-vo-r-tsaya for this equally-soul-shy, for the departure from the public-but-in-li-ti-t-che-wrestling-would be his own nie, Ler-mon-tov, as it were, calls him to moral-no-nov-leu-nii, to awakening from the spiritual hibernation.
Revelation.
1.1.2. The author pro-ti-po-stu-la-et re-a-li-stu One-gi-nu ro-man-ti-ka Lena. Lena blisok on-west-in-va-te-lyu with its own-e-ti-ti breath-no-ve-ni, Push-kin loves in him his own youth , loves that spiritual state of mind of the ascending sword-that-tel-ness, which-swarm with go-da-mi without-gates-but ear-child. However, the author of criticism treats Lena as a poet-ro-man-ti-ku and judges him by e-ziyu for a devil grip and sweetness:
He sang love, listening to love,
And his song was clear
Like the thoughts of a virgin, just a soul,
Like the dream of a baby, like the moon
In the hollows of the sky without-me-soft ...
Many co-times-men-ni-ki Push-ki-na na-ho-di-li in Lena is similar to the author of "Ev-genia One-gi-na". Ler-mon-tov, for example, in the poem “Death of a Poet” directly compares Push-ki-na with Len-sky:
Like that poet, not-ve-home, but sweet,
Do-by-cha roar-no-sti deaf-hoy,
He chased him with such a wonderful power,
Fucked-up, like him, no-merciless hand.
1.2.2. Sty-ho-tv-re-ness of-no-sit-Xia to fi-lo-sof-skoi li-ri-ke Ler-mon-to-va. In it, the poet, in a global scale, is thinking about the fate of the battle since the 30s, he is following his so-tsi-al -nye and du-hov-nye po-ro-ki. Condemning the present-day generation, the poet does not teach, but co-suffers, without detaching himself from the generation ... Mu-chi-tel-noe, with sharp-ki-mi pe-re-pa-da-mi to-tune-e-li-ri-che-sko-th hero pe-re-da-yut different -ny hu-do-same-nye pri-e-we: pe-re-pa-dy rhythm, pe-re-no-sy of verse, abundance of in-ver-sii, in the second-ditch, separate members of the proposition. The knowledge of the li-ri-che-hero gives birth not to an action, but to a feeling:
Meanwhile, under the burden of knowledge and co-me-nya
In no-action, it stays.
The ring-ts-va-zi-zation of the sti-ho-to-re-ny is able to reveal the main idea of \u200b\u200bthe poet: the pro-lightness of the poet's time-to-date. Trouble after-generation: from-day to social, civic goals. Even science is devil-of-fruit, not in a-hundred-one-ny to overcome the ru-ti-well of life, you-come-from the crisis. Go-speech from these thoughts-lei na-ras-ta-et to the end of the verse-ho-tv-re-niya, that's why the following lines sound-chat already like an alarm: za-du -may-tees, for the sake of boo-doo-shch-go, we must live differently!
Resentment, regret,
For good, pure love
And glory sweet torment
Blood was agitated in him early.
He traveled with the lyre in the world;
Under the skies of Schiller and Goethe
By their poetic fire
The soul ignited in him.
And muses of sublime art,
Lucky, he was not ashamed;
He proudly preserved in songs
Always sublime feelings
Gusts of a virgin dream
And the beauty of important simplicity.
All EO heroes are emphatically "literary".
Onegin - "Muscovite in a Harold's cloak"
Tatiana - "fell in love with deceptions and Richardson and Russo",
Lensky - "Under the sky of Schiller and Goethe, the soul ignited in it."
(Even Zaretsky - and he plants cabbage "like Horace").
At times Nabokov goes so far as to regard the EO heroes as merely characters of Western European literature, artificially transplanted by Pushkin onto Russian soil, while Lotman, on the other hand, as people inclined to reading of that era, who fell under the spell of this literature (its various directions).
It seems that Lotman's approach more faithfully reflects the essence of the EO heroes, as they emerged from the pen of Pushkin. Look - in all cases, the poet not only refers the reader to the "origins" of his heroes ("Like Child-Harold," "imagining a heroine ... Clarice, Julia, Dolphin", "their soul was kindled in him with poetic fire"), but also specifically talks about their acquaintance with the primary sources ("He excluded the singer Giaur and Juan from disgrace", "novels, they replaced everything for her", "under the sky of Schiller and Goethe").
About each hero, Pushkin tells a completely plausible story about how he came to such a life that he became a character in Western European literature. Here is Lensky: before us is a story about how an impressionable young man who sprinkled amateur rhymes for his beloved girl, having got to Germany, under the influence of her "air", her poets and his studies, imagines himself called to poetry. Why couldn't this have happened? Why is he a character who was "taken and transplanted"
Yes, in the description of Onegin, Lensky, Tatiana, there is an exaggeration, somewhere even grotesque - but is it possible only on this basis to complain that they are "not our" personages? Moreover, the heroes are presented to us by the poet extremely innocently, with references and explanations (wasn't it from Pushkin, by the way, that Gogol took his way of presenting his heroes?)