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| The poem is my uncle with the most honest rules. My uncle has the most honest rules. Game - Burime |
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Hello dears. Having no high passion 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: 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... Adam Smith is actually 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. Evgeny read it (and naturally in French, because English was not in honor) - and began to consider himself a prominent expert and teach his father. 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. Everything that Evgeniy still knew,
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 :-) 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 :-) Very subjective notes IN THE FIRST STRONGS OF MY LETTER... The first line of “Eugene Onegin” has always aroused great interest among critics, literary scholars and literary historians. Although, strictly speaking, it is not the first: two epigraphs and a dedication are placed before it - Pushkin dedicated the novel to P. Pletnev, his friend, the rector of St. Petersburg University. The first stanza begins with the thoughts of the hero of the novel Eugene Onegin: "My uncle is the most fair rules, Both the first line and the entire stanza as a whole have evoked and still evoke numerous interpretations. NOBLEMS, COMMON AND ACADEMICIANS N. Brodsky, the author of the commentary to the EO, believes that the hero ironically applied to his uncle verses from Krylov’s fable “The Donkey and the Peasant” (1819): “The donkey had the most honest rules,” and thus expressed his attitude towards his relative: “Pushkin in the reflections of the “young rake” about the difficult need “for the sake of money” to be ready “for sighs, boredom and deception” (stanza LII) revealed the true meaning of family ties, covered with hypocrisy, showed what the principle of kinship turned into in that real reality, where, as Belinsky puts it, “internally, out of conviction, no one... recognizes him, but out of habit, out of unconsciousness and out of hypocrisy, everyone recognizes him.” This was a typically Soviet approach to interpreting the revelation passage birthmarks tsarism and the lack of spirituality and duplicity of the nobility, although the hypocrisy in family ties characteristic of absolutely all segments of the population, and even in Soviet time it has not disappeared from life at all, since, with rare exceptions, it can be considered an immanent property of human nature in general. In Chapter IV of EO, Pushkin writes about relatives: Hm! hmm! Noble reader, Brodsky's commentary was first published in 1932, then reprinted several times in Soviet times; this is a fundamental and good work of a famous scientist. But even in the 19th century, critics did not ignore the first lines of the novel - the poems served as the basis for accusing both Pushkin himself and his hero of immorality. Oddly enough, the commoner, democrat V.G. Belinsky, came to the defense of the nobleman Onegin. Sigh and think to yourself: Many people are still extremely dissatisfied with this." Belinsky analyzes the first stanza in detail and finds every reason to justify Onegin, emphasizing not only the lack of pharisaism in the hero of the novel, but also his intelligence, natural behavior, ability for introspection and a host of other positive qualities. "Let us turn to Onegin. His uncle was alien to him in all respects. And what could there be in common between Onegin, who already yawned equally Among the fashionable and ancient halls, And between the venerable landowner, who in the wilderness of his village They will say: he is his benefactor. What kind of benefactor if Onegin was the legal heir of his estate? Here the benefactor is not an uncle, but the law, the right of inheritance.* What is the position of a person who is obliged to play the role of a grieved, compassionate and tender relative at the deathbed of a complete stranger and stranger to him? They will say: who obliged him to play such a low role? Like who? A sense of delicacy, humanity. If, for whatever reason, you cannot help but accept a person whose acquaintance is both difficult and boring for you, aren’t you obligated to be polite and even kind to him, although internally you tell him to go to hell? That in Onegin’s words there is some kind of mocking lightness visible, only intelligence and naturalness are visible in this, because the absence of strained, heavy solemnity in the expression of ordinary everyday relationships is a sign of intelligence. For secular people it is not always intelligence, but more often it is manner, and one cannot but agree that this is an excellent manner.” Belinsky, if you wish, can find anything you want. Thus, we are convinced that the habit of analyzing the frivolous thoughts of the young dandy cited by Pushkin was brought into fashion by Belinsky. He was followed by N. Brodsky, Y. Lotman, V. Nabokov, V. Nepomnyashchy. And also Etkind, Wolpert, Greenbaum... Surely someone else who has escaped our close attention. But a unanimity of opinion has not yet been achieved. So, returning to Brodsky, we state: the literary critic believed that the words “my uncle has the most honest rules” correlate with a line from Krylov’s fable and hint at the poverty of Uncle Eugene’s mental abilities, which, strictly speaking, is by no means refuted by the subsequent characterization given to the uncle in II chapter of the novel: He settled in that peace, Yu.M. Lotman categorically disagreed with this version: “The statement found in the comments to the EO that the expression “the most honest rules...” is a quote from Krylov’s fable “The Donkey and the Man” (“The donkey had the most honest rules... ") does not seem convincing. Krylov does not use any rare utterance, but a living phraseological unit oral speech that time (cf.: “...he ruled the pious..” in the fable “The Cat and the Cook”). Krylov could be for Pushkin in this case only a model of appeal to oral, living speech. Contemporaries were unlikely to perceive this as a literary quotation.” * The question of the right of inheritance in relation to Onegin requires commentary from a professional lawyer or legal historian. KRYLOV AND ANNA KERN It is difficult to say how Pushkin’s contemporaries perceived this line, but the fact that the poet himself knew the fable is reliably known from the memoirs of A. Kern, who very expressively described the reading of it by the author himself at one of the social events: “At one of the evenings at the Olenins’, I met Pushkin and did not notice him: my attention was absorbed in the charades that were then being played out and in which Krylov, Pleshcheev and others took part. I don’t remember, for some reason Krylov was forced to read one of his fables. He sat down on a chair in the middle of the hall; we all crowded around him, and I will never forget how good he was reading his Donkey! And now I can still hear his voice and see his reasonable face and the comic expression with which he said: “The donkey had the most honest rules!” Judging by these memoirs, even if we attribute A. Kern’s “children of charm” more to her coquetry than to her sincerity, Krylov’s fable was well known in Pushkin’s circle. In our time, if we have heard about it, it is primarily in connection with the novel Eugene Onegin. But it is impossible not to take into account the fact that in 1819, in the Olenins’ salon, at a gathering of society and in the presence of Pushkin, Krylov read the fable “The Donkey and the Peasant.” Why did the writer choose her? A fresh fable, just recently written? Quite possible. Why not present a new work to a discerning and at the same time friendly public? At first glance, the fable is quite simple: Donkey and man Man in the garden for the summer The man instructed the donkey to guard the garden, and the diligent but stupid donkey, in pursuit of the birds eating the harvest, trampled all the beds, for which he was punished. But Krylov blames not so much the donkey as the man who hired the diligent fool for the job. LITERATURE AND POLITICS It is known that Krylov loved to respond to current political events - both international and those occurring within the country. So, according to the testimony of Baron M.A. Korf, the reason for creating the fable “Quartet” was the transformation of the State Council, the departments of which were headed by Count P.V. Zavadovsky, Prince P.V. Lopukhin, Count A.A. Arakcheev and Count N.S. Mordvinov: “It is known that we owe the long debate about how to seat them and even several successive transplants to Krylov’s witty fable “Quartet.” Wasn’t the fable “The Donkey and the Man” a similar response to well-known events? For example, the introduction of military settlements in Russia in the first quarter of the 19th century can be considered such an event to which the attention of the entire society was attracted. Didn’t Krylov portray the all-powerful minister Arakcheev, under the guise of an overly dutiful donkey, a doofus of the tsar, but not a heavenly one, but a completely earthly one, and the tsar himself as a short-sighted man, who so unsuccessfully chose an honest donkey to carry out an important task (Arakcheev was known for his conscientiousness and incorruptibility ), but overly diligent and zealous? It is possible that, in portraying a stupid donkey, Krylov (despite his outward good nature, the famous fabulist was a man with a sharp tongue, sometimes even poisonous) was aiming at the Tsar himself, who borrowed the idea of military settlements from various sources, but was going to introduce the system mechanically, without taking into account neither the spirit of the Russian people, nor the practical details of the implementation of such a responsible project. A. Kern’s meeting with Pushkin at the Olenins’ took place at the end of the winter of 1819, and already in the summer strong unrest broke out in one of the settlements, ending in the cruel punishment of the dissatisfied, which did not add popularity to either the idea of such settlements or Arakcheev himself. If the fable was a response to the introduction of military settlements, then it is no wonder that it was well known among the Decembrists and nobles, who were distinguished by freethinking. PHRASEOLOGISM OR GALLICISM? As for the “living phraseology of oral speech of that time” as an example of addressing oral, living expression, this remark does not seem so impeccably true. Firstly, in the same line of the fable “The Cat and the Cook”, to which Yu.M. Lotman resorts to quote to prove his thought, the word “funeral” is not used at all, and the lines themselves represent the speech of the author, a person educated, able to apply literary expression. And this literary turn of phrase could not be more appropriate here for the reason that the lines sound ironic and parody the statement of one of the characters in the fable - the Cook, a person very inclined to the art of rhetoric: Some Cook, literate, And secondly, in such phraseological units there is little oral, living speech - the phrase “an honest person” would sound much more natural in the mouth of a Russian person. A man of honest rules is clearly a bookish education; it appears in literature in the middle of the 18th century and may be a tracing paper with French. A similar phrase was probably used in letters of recommendation, and it can rather be attributed to written business speech. “It is significant that, although Gallicisms, especially as a model for the formation of phraseological units in the Russian language, actively influenced Russian linguistic processes, both Shishkovists and Karamzinists preferred to blame each other for their use,” Lotman writes in comments to EO, confirming that the very idea that often it was Gallicisms that were the source of the formation of Russian phraseological units. In Fonvizin’s play “The Choice of a Governor,” Seum recommends the nobleman Nelstetsov to the prince as a mentor: “. These days I met a staff officer, Mr. Nelstetsov, who recently bought a small village in our district. We became friends during our first acquaintance, and I found in him an intelligent man, honest and honorable.” The phrase “fair rules” sounds, as we see, in an almost official recommendation for the position of a teacher. Famusov recalls Sophia’s first governess, Madame Rosier: “Quiet character, rare rules.” In I.A. Krylov’s play “A Lesson for Daughters,” he uses a similar phrase in his speech, equipped with book expressions (and it must be said that often these book phrases are tracings from French, despite the fact that the hero fights in every possible way against the use of French in everyday life ), educated nobleman Velkarov: “Who can assure me that in the city, in your lovely societies, there will not be marquises of the same cut, from whom you gain both intelligence and rules.” In Pushkin’s works, one of the meanings of the word “rules” is the principles of morality and behavior. The “Dictionary of Pushkin’s Language” provides numerous examples of the poet’s use of phraseological units (Gallicism?) with the word “rule” and the usual phrase “honest person”. But the firmness with which she was able to endure poverty does credit to her rules. (Byron, 1835). He is a man of noble rules and will not resurrect the times of word and deed (Letter to Bestuzhev, 1823). Pious, humble soul My soul Pavel, What will Alexey think if he recognizes his Akulina in the well-bred young lady? What opinion will he have about her behavior and rules, about her prudence? (Young lady-peasant, 1930). Along with the book usage of “noble rules”, we also find colloquial “honest fellow” in Pushkin’s texts: Ivan Petrovich Belkin was born from honest and noble parents in 1798 in the village of Goryukhin. (History of the village of Goryukhina, 1830). RELY ON YOUR UNCLE, BUT DON’T FAIL YOURSELF The first line is interesting not only from the point of view of linguistic analysis, but also in terms of establishing archetypal connections in the novel. The archetype of the uncle-nephew relationship has been reflected in literature since the time of mythological legends and in its embodiment gives several options: uncle and nephew are at enmity or oppose each other, most often not sharing the power or love of the beauty (Horus and Seth, Jason and Pelius, Hamlet and Claudius , Rameau's nephew); the uncle patronizes his nephew and is on friendly terms with him (epics, “The Tale of Igor’s Campaign”, “Madosh” by Alfred Musset, later “My Uncle Benjamin” by K. Tillier, “An Ordinary History” by I. Goncharov, “Philip and Others” by Seys Notebooma). Within the framework of this paradigm, it is possible to distinguish transitional models, characterized by varying degrees of certainty of relationships between relatives, including an ironic or completely neutral attitude towards the uncle. An example of an ironic and at the same time respectful attitude towards his uncle is the behavior of Tristram Shandy, and a transitional model can be the relationship between Tristan and King Mark (Tristan and Isolde), which changes repeatedly throughout the narrative. Examples can be multiplied almost endlessly: in almost every literary work there is your own uncle, even if he is lying around - a reasoner, a guardian, a comedian, an oppressor, a benefactor, an adversary, a patron, an enemy, an oppressor, a tyrant, and so on. Numerous reflections of this archetype are widely known not only in literature, but also directly in life; it is enough to recall A. Pogorelsky (A.A. Perovsky), the author of “Lafert’s Poppy Tree,” the famous fairy tale “The Black Hen,” and his nephew, a wonderful poet and writer A.K. Tolstoy; I.I. Dmitriev, a famous writer of the early 19th century, fabulist, and his nephew M.A. Dmitriev, literary critic and a memoirist who left memories from which many draw interesting information from the life of literary Moscow at the beginning of the nineteenth century and from the life of V.L. Pushkin; uncle and nephew of the Pisarevs, Anton Pavlovich and Mikhail Alexandrovich Chekhov; N. Gumilyov and Sverchkov, etc. First of all, of course, we should talk about Alexander Sergeevich himself and his uncle Vasily Lvovich. Autobiographical motives in the opening lines of the EO are noted by many researchers. L.I. Volpert in the book “Pushkin and French literature” writes: “It is also important that in Pushkin’s time direct speech was not highlighted with quotation marks: the first stanza did not have them (we note, by the way, that even now few people keep them in memory). The reader who encounters a familiar “I” (in the form possessive pronoun), was filled with confidence that we're talking about about the author and his uncle. However, the last line (“When will the devil take you!”) plunged me into amazement. And only after reading the beginning of the second stanza - “So thought the young rake” - the reader could come to his senses and breathe a sigh of relief.” I can’t say exactly how things are going with the publication of individual chapters, but in the famous edition of 1937, which repeats lifetime edition 1833, quotation marks. Some of the writers complained about the youth and simplicity of the Russian public, but still they were not so simple-minded as not to understand that EO is still not the autobiography of a poet, but piece of art. But, nevertheless, some game, allusiveness, is undoubtedly present. L.I. Volpert makes an absolutely charming and accurate observation: “The author somehow mysteriously managed to “crawl” into the stanza (in internal monologue hero) and express an ironic attitude towards the hero, the reader and himself. The hero is ironic at his uncle, the “well-read” reader, and at himself.” GOOD UNCLE Alexander Sergeevich's uncle, Vasily Lvovich Pushkin, a poet, wit and dandy, for all that he was a good-natured, sociable person, in some ways even naive and childishly simple-minded. In Moscow he knew everyone and enjoyed great success in secular living rooms. His friends included almost all prominent Russian writers late 18th – early 19th centuries. And he himself was a fairly famous writer: Vasily Lvovich wrote messages, fables, fairy tales, elegies, romances, songs, epigrams, madrigals. An educated man who knew several languages, he was successfully engaged in translation activities. Vasily Lvovich's poem "Dangerous Neighbor", extremely popular due to its piquant plot, humor and lively, free language, was widely distributed in lists. Vasily Lvovich played a significant role in the fate of his nephew - he took care of him in every possible way and arranged for him to study at the Lyceum. A.S. Pushkin responded to him with sincere love and respect. To you, O Nestor Arzamas, In your letter you called me brother; but I didn’t dare call you by that name, it was too flattering for me. I haven't completely lost my mind yet Under the humorous and free form of addressing the uncle, sympathy and good attitude are clearly felt, slightly, however, diluted with irony and mockery. In his message to Vyazemsky, Pushkin again recalls his uncle, whom he flattered very cleverly in this short poem, calling him a “tender, subtle, sharp” writer: Satirist and love poet, This, however, did not stop him from making fun of his kind relative, and sometimes from writing a parody, though not so much offensive as witty. In 1827, in “Materials for “Excerpts from Letters, Thoughts and Remarks,” Pushkin writes, but does not publish (printed only in 1922), a parody of his uncle’s aphorisms, which begins with the words: “My uncle once fell ill.” The literal construction of the title involuntarily makes one recall the first lines of EO. “My uncle once fell ill. A friend visited him. “I’m bored,” said the uncle, “I would like to write, but I don’t know what.” “Write whatever you get,” the friend answered, “thoughts, literary remarks and political, satirical portraits, etc. This is very easy: this is how Seneca and Montagne wrote." The friend left, and his uncle followed his advice. In the morning they made him bad coffee, and this made him angry, now he philosophically reasoned that he was upset by a trifle, and wrote: sometimes mere trifles upset us. At that moment they brought him a magazine, he looked into it and saw an article on dramatic art written by a knight of romanticism. My uncle, a radical classicist, thought and wrote: I prefer Racine and Moliere to Shakespeare and Calderon - despite to the cries of the newest critics. “My uncle wrote another two dozen similar thoughts and went to bed. The next day he sent them to the journalist, who politely thanked him, and my uncle had the pleasure of re-reading his printed thoughts.” The parody is easy to compare with the original text - the maxims of Vasily Lvovich: “Many of us are ready for advice, rare for services. And to draw a simple conclusion, quite obvious: Pushkin’s parody is a kind of tracing paper that makes fun of his uncle’s truisms. The Volga flows into the Caspian Sea. Talk to smart, polite people; their conversation is always pleasant, and you are not a burden to them. The second statement, as you might guess, belongs to the pen of Vasily Lvovich. Although, it must be admitted, some of his maxims are very fair, but at the same time they were still too banal and suffered from sentimentality, reaching the point of sentimentality. However, you can see for yourself: It is interesting that both Vasily Lvovich’s text and Pushkin’s parody echo an excerpt from L. Stern’s novel “The Life and Opinions of Tristram Shandy, Gentleman” (volume 1, chapter 21): Tell me what the person was called - I write so hastily that I The characterization of Uncle Toby is also close to Onegin’s statement about his uncle: My uncle, Toby Shandy, madam, was a gentleman who, along with the virtues usually characteristic of a man of impeccable integrity and honesty, also possessed, and, moreover, of the highest degree, one that is rarely, if not at all, included in the list of virtues: it was extreme, unparalleled natural modesty... Both of them were uncles of the most honest rules. True, everyone had their own rules. UNCLE NOT MY DREAM So, what do we learn about Uncle Eugene Onegin? Pushkin devoted not very many lines to this off-stage character, this simulacrum, no longer a person, but a periphrastic “tribute to the ready earth.” This is a homunculos made up of an English inhabitant of a Gothic castle and a Russian lover of a down sofa and apple liqueurs. The venerable castle was built He settled in that peace, The uncle’s house is called a “venerable castle” - before us is a solid and solid building, created “in the taste of smart antiquity.” In these lines one cannot help but feel a respectful attitude towards the past century and a love for ancient times, which for Pushkin had a special attractive force. “Antiquity” for a poet is a word of magical charm; it is always “magical” and is associated with the stories of witnesses of the past and fascinating novels in which simplicity was combined with cordiality: Then a novel in the old way I will retell simple speeches Onegin’s uncle settled in the village about forty years ago, Pushkin writes in the second chapter of the novel. If we proceed from Lotman's assumption that the action of the chapter takes place in 1820, then the uncle settled in the village in the eighties of the eighteenth century for some reasons unknown to the reader (maybe punishment for a duel? or disgrace? - it is unlikely that the young man would go to live in the village of his own free will - and obviously he did not go there for poetic inspiration). At first he equipped his castle according to last word fashion and comfort - damask wallpaper (damask is a woven silk fabric used for wall upholstery, a very expensive pleasure), soft sofas, colorful tiles (a tile stove was an item of luxury and prestige) - most likely, the capital's habits were still strong. Then, apparently succumbing to the laziness of the everyday course of life, or perhaps the stinginess developed by the village view of things, he stopped monitoring the improvement of the house, which was gradually deteriorating, not supported by constant care. Uncle Onegin's lifestyle was not distinguished by a variety of entertainment - sitting by the window, quarreling with the housekeeper and playing cards with her on Sundays, killing innocent flies - that, perhaps, was all his fun and amusement. In fact, the uncle himself is just like a fly: his whole life fits into a series of fly phraseological units: like a sleepy fly, what kind of fly has bitten, flies die, white flies, flies eat you, under a fly, as if you swallowed a fly, they die like flies, - among which the one given by Pushkin has several meanings, and each characterizes the philistine existence of his uncle - being bored, drinking and killing flies (the last meaning is direct) - this is a simple algorithm of his life. There are no intellectual interests in his uncle’s life - no traces of ink were found in his house, he only keeps a notebook of calculations, and reads one book - “the calendar of the eighth year.” Pushkin did not specify which calendar exactly - it could be the Court calendar, the Monthly Book for the summer from R. Chr. 1808 (Brodsky and Lotman) or Bryusov calendar (Nabokov). The Bruce calendar is a unique reference book for many occasions, containing extensive sections with advice and predictions, which for more than two centuries in Russia were considered the most accurate. The calendar published planting dates and crop prospects, predicted weather and natural disasters, victories in wars and the state of the Russian economy. The reading is entertaining and useful. The uncle's ghost appears in the seventh chapter - the housekeeper Anisya remembers him when she shows Tatyana the manor's house. Anisya immediately appeared to her, I dined with him here in the winter This is, perhaps, all that we learn about Onegin’s uncle. The appearance of the uncle in the novel resembles real person- Lord William Byron, to whom the great English poet was a great-nephew and only heir. In the article “Byron” (1835), Pushkin describes this colorful personality as follows: “Lord William, brother of Admiral Byron, his own grandfather, was Lord William never entered into relations with his young The stingy and suspicious old lord with his housekeeper, crickets and reluctance to communicate with the heir is surprisingly similar to Onegin’s relative, with one exception. Apparently, well-mannered English crickets were more trainable than the unceremonious and annoying Russian flies. And Uncle Onegin’s castle, and “a huge neglected garden, a haven of brooding dryads,” and a werewolf housekeeper, and tinctures - all this was reflected, as if in a crooked magic mirror, in “ Dead souls» N.V. Gogol. Plyushkin's house has become the image of a real castle from Gothic novels, smoothly moved into the space of post-modernist absurdity: somehow prohibitively long, for some reason multi-story, with rickety belvederes sticking out on the roof, it looks like a man who is watching the approaching traveler with his blind eyes-windows. The garden also resembles an enchanted place, in which the birch tree is rounded with a slender column, and the chapberry looks at the face of the owner. The housekeeper who meets Chichikov quickly turns into Plyushkin, and the liqueur and inkwell are full of dead insects and flies - aren’t they the ones that Onegin’s uncle crushed? The provincial landowner-uncle with his housekeeper Anisya also appears in Leo Tolstoy’s “War and Peace.” Tolstoy's uncle noticeably improved, the housekeeper turned into a housekeeper, gained beauty, a second youth and a middle name, she was called Anisya Fedorovna. The heroes of Griboyedov, Pushkin and Gogol, migrating to Tolstoy, are transformed and acquire humanity, beauty and other positive qualities. And another funny coincidence. One of the features of Plyushkin’s appearance was his excessively protruding chin: “His face did not represent anything special; it was almost the same as that of many thin old men, one chin only protruded very far forward, so he had to cover it with a handkerchief every time, so as not to spit... - this is how Gogol describes his hero. F.F. Wigel, memoirist, author of the famous and popular “Notes” in the 19th century, familiar with many figures of Russian culture, represents V.L. Pushkin as follows: “He himself is very ugly: a loose, fat body on thin legs, a slanting belly, a crooked nose, a triangle face, a mouth and chin, like a la Charles-Quint**, and most of all, thinning hair not more than thirty years he was old-fashioned. Moreover, toothlessness moistened his conversation, and his friends listened to him, although with pleasure, but at some distance from him.” V.F. Khodasevich, who wrote about the Pushkins, apparently used Wiegel’s memoirs:
** UNCLE VASYA AND COUSIN In 1811, Vasily Lvovich Pushkin wrote the comic poem “Dangerous Neighbor.” A funny, although not entirely decent plot (a visit to the pimp and a fight started there), a light and lively language, a colorful main character (the famous F. Tolstoy - the American served as the prototype), witty attacks against literary enemies - all this brought the poem well-deserved fame. It could not be published due to censorship obstacles, but it was widely circulated in copies. Main character of the poem Buyanov is the narrator's neighbor. This is a man of a violent disposition, energetic and cheerful, a careless drinker who squandered his estate in taverns and entertainment with gypsies. He doesn't look very presentable: Buyanov, my neighbor<…> This hero A.S. Pushkin calls him his cousin (Buyanov is his uncle’s creation) and introduces him into his novel as a guest at Tatyana’s name day, without changing his appearance at all: My cousin, Buyanov, In EO he behaves as freely as in “Dangerous Neighbor”. ... Buyanova heel In the white version, he entices one of the ladies to dance: Buyanov sped away to Pustyakova, But in the mazurka he played a peculiar role of fate, leading Tatiana and Olga to Onegin in one of the dance figures. Later, the arrogant Buyanov even tried to woo Tatyana, but was completely refused - how could this spontaneous cap-holder compare with the elegant dandy Onegin? Pushkin is worried about the fate of Buyanov himself. In a letter to Vyazemsky, he writes: “Will something happen to him in his offspring? I am extremely afraid that my cousin will not be considered my son. How long before sin?” However, most likely, in this case, Pushkin simply did not miss the opportunity to play with words. In the EO, he accurately determined the degree of his relationship with Buyanov, and brought out his own uncle in the eighth chapter in a very flattering manner, giving a generalized image of a secular man of the past era: Here he was in fragrant gray hair Vasily Lvovich, indeed, joked “excellently subtly and cleverly.” He could defeat opponents to death with one verse: The two stalwart guests laughed and reasoned The snake bit Markel. As for the “fragrant gray hairs,” one involuntarily recalls the story of P.A. Vyazemsky from the “Autobiographical Introduction”: “Upon returning from the boarding house, I found Dmitriev, Vasily Lvovich Pushkin, the young man Zhukovsky and other writers with us. Pushkin, who even before his departure had already given an account of his travel impressions with Dmitriev’s pen, had just returned from Paris. . He was dressed to the nines from head to toe in Paris. His hairstyle was la Titus, angled, anointed with ancient oil, huile antique. In simple-minded self-praise, he let the ladies sniff his head. I don’t know how to determine whether I looked at him with awe and envy or with a hint of mockery.<...>He was pleasant, not at all an ordinary poet. He was kind to infinity, to the point of ridiculousness; but this laughter is not a reproach to him. Dmitriev correctly portrayed him in his humorous poem, saying for him: “I am truly kind, ready to heartily embrace the whole world.” AN UNCLE'S SENTIMENTAL JOURNEY The humorous poem is “The Journey of N.N. to Paris and London, written three days before the trip,” created by I.I. Dmitriev in 1803. M. A. Dmitriev, his nephew, tells the story of the creation of this short poem in his memoirs “Little things from the stock of my memory”: “A few days before his (Vasily Lvovich) departure to foreign lands, my uncle, who was briefly acquainted with him back in guard service, described his journey in humorous verses, which, with the consent of Vasily Lvovich and with the permission of the censor, was published in Beketov’s printing house, under the title: N.N.’s journey to Paris and London, written three days before the trip. A vignette was attached to this publication, which depicts Vasily Lvovich himself in an extremely similar way. He is presented listening to Talma, who gives him a lesson in recitation. I have this book: it was not on sale and is the greatest bibliographic rarity.” The joke was indeed a success, it was appreciated by A.S. Pushkin, who wrote about the poem in a short note “The Travel of V.L.P.”: “The journey is a cheerful, gentle joke on one of the author’s friends; late V.L. Pushkin went to Paris, and his infantile delight gave rise to the composition of a small poem in which the whole of Vasily Lvovich is depicted with amazing accuracy. “This is an example of playful lightness and jokes, lively and gentle.” P.A. also rated “Journey” highly. Vyazemsky: “And the poems, although humorous, belong to the best treasures of our poetry, and it is a pity to keep them under wraps.” From the first part I know all the paths of the boulevard, From the second part Against the window in the sixth building, From the third I'm in London, friends, and coming to you The light, lively narrative perfectly conveyed the good-natured character of Vasily Lvovich and his enthusiastic attitude towards everything he saw abroad. TELL US, UNCLE... A.S. Pushkin knew I. Dmitriev from childhood - he met him at his uncle’s house, with whom the poet was friends, read Dmitriev’s works - they were part of the study program at the Lyceum. Makarov Mikhail Nikolaevich (1789-1847) - a writer-Karamzinist, left memories of a funny meeting between Dmitriev and the boy Pushkin: “In my childhood, as far as I remember Pushkin, he was not one of the tall children and still had the same African facial features with which He was also an adult, but in his youth his hair was so curly and so elegantly curled by African nature that one day I. I. Dmitriev said to me: “Look, this is a real Arab.” The child laughed and, turning to us, said very quickly and boldly: “At least I will be distinguished by this and will not be a hazel grouse.” The hazel grouse and the arabian remained on our teeth the whole evening.” Dmitriev was quite favorable towards the poems of the young poet, his friend’s nephew. A black cat ran between them after the publication of Pushkin’s poem “Ruslan and Lyudmila”. Contrary to expectations, Dmitriev treated the poem very unkindly and did not hide it. A.F. Voeikov added fuel to the fire by quoting Dmitriev’s personal oral statement in his critical analysis of the poem: “I see neither thoughts nor feelings here: I see only sensuality.” Under the influence of Karamzin and the Arzamas people, Dmitriev tries to soften his harshness and writes to Turgenev: “Pushkin was a poet even before the poem. Although I am disabled, I have not yet lost my sense of grace. How can I want to humiliate his talent?" This seems like a kind of justification. However, in a letter to Vyazemsky, Dmitriev again balances between compliments through clenched teeth and caustic irony: Pushkin was offended and remembered the offense for a long time - sometimes he could be very vindictive. Vyazemsky wrote in his memoirs: “Pushkin, for we are, of course, talking about him, did not like Dmitriev as a poet, that is, it would be more correct to say, he often did not like him. Frankly, he was, or had been, angry with him. At least that's my opinion. Dmitriev, a classic - however, Krylov was also a classic in his literary concepts, and also French - did not very kindly welcome Pushkin’s first experiments, and especially his poem “Ruslan and Lyudmila”. He even spoke harshly and unfairly about her. Probably, this review reached the young poet, and it was all the more sensitive to him because the verdict came from a judge who towered above a number of ordinary judges and whom, in the depths of his soul and his talent, Pushkin could not help but respect. Pushkin in ordinary, everyday life, in everyday relationships, was inordinately kind-hearted and simple-hearted. But in his mind, under certain circumstances, he was vindictive, not only in relation to ill-wishers, but also to strangers and even to his friends. He, so to speak, strictly kept in his memory a ledger, in which he entered the names of his debtors and the debts that he accounted for them. To help his memory, he even substantially and materially wrote down the names of these debtors on scraps of paper, which I myself saw from him. This amused him. Sooner or later, sometimes quite by accident, he collected the debt, and collected it with interest.” Having recovered with interest, Pushkin changed his anger to mercy, and in the thirties his relationship with Dmitriev again became sincere and friendly. In 1829, Pushkin sent I.I. Dmitriev the just published “Poltava”. Dmitriev responds with a letter of gratitude: “I thank you with all my heart, dear sir Alexander Sergeevich, for your gift, which is priceless to me. I’m starting to read right now, confident that when we meet in person I will thank you even more. Your devoted Dmitriev embraces you.” Vyazemsky believes that it was Dmitriev who was brought out by Pushkin in the seventh chapter of EO in the image of an old man straightening his wig: Having met Tanya at the boring aunt, The characterization is quite neutral - not warmed by special sincerity, but also not destroying with deadly sarcasm or cold irony. The same chapter is preceded by an epigraph from I. Dmitriev’s poem “Liberation of Moscow”: Moscow, Russia's beloved daughter, But all this happened later, and while writing the first chapter of the EO, Pushkin was still offended, and who knows if, when writing the first lines of the EO, he remembered Uncle I.I. Dmitriev and his nephew M.A. Dmitriev, who in his critical articles acted as a “classic”, an opponent of new, romantic trends in literature. His attitude towards Pushkin’s poetry invariably remained restrained and critical, and he always bowed to his uncle’s authority. Mikhail Alexandrovich’s memories are simply replete with the words “my uncle,” to which one would like to add “the most honest rules.” And already in the second stanza of EO Pushkin mentions the friends of “Lyudmila and Ruslan”. But the ill-wishers remain unnamed, but implied. By the way, I.I. Dmitriev enjoyed the reputation of an honest, exceptionally decent and noble person, and this was well deserved. IN CONCLUSION A LITTLE MYSTICITY An excerpt from the memoirs of Alexander Sergeevich’s nephew Meanwhile, Sergei Lvovich received privately from Moscow news of the sudden illness of his brother and also his dear friend, Vasily Lvovich. Upon returning from Mikhailovskoye, Alexander Sergeevich stayed in St. Petersburg for a very short time. He went to Boldino and on his way visited Moscow, where he witnessed the death of his dearly beloved uncle, the poet Vasily Lvovich Pushkin... Alexander Sergeevich found his uncle on his deathbed, on the eve of his death. The sufferer lay in oblivion, but, as his uncle reported in a letter to Pletnev dated September 9 of the same year, “he recognized him, grieved, then, after a pause, said: “How boring Katenin’s articles are,” and not a word more. At the words spoken by the dying man, says Prince Vyazemsky, a witness of Vasily Lvovich’s last days in his memoirs, Prince Vyazemsky, who then came from St. Petersburg, “Alexander Sergeevich left the room to “let his uncle die historically; Pushkin,” Vyazemsky adds, “was, however, “I was very touched by this whole spectacle and behaved as decently as possible all the time.”
This is how the novel “Eugene Onegin”, written by Pushkin, begins. Pushkin borrowed the phrase for the first line from Krylov’s fable “The Donkey and the Peasant.” The fable was published in 1819, and was still popular among readers. The phrase “the fairest rules” was expressed with obvious subtext. My uncle served conscientiously, fulfilled his duties, but, hiding behind “honest rules” during his service, he did not forget about his beloved self. He knew how to steal unnoticed, and made a decent fortune, which he now received. This ability to make a fortune is another science. Pushkin, through the mouth of Onegin, ironizes about his uncle and his life. What remains after it? What did he do for the fatherland? What mark did you leave with your deeds? He acquired a small estate and made others respect him. But this respect was not always sincere. In our blessed state, ranks and merits were not always earned through righteous labors. The ability to present oneself in a favorable light in front of superiors, the ability to make profitable acquaintances both then, in the time of Pushkin and now, in our days, work flawlessly. Onegin goes to his uncle and imagines that he will now have to pretend to be a loving nephew in front of him, be a little hypocritical, and in his heart think about when the devil will take away the sick man. But Onegin was incredibly lucky in this regard. When he entered the village, his uncle was already lying on the table, calm and tidied up. When analyzing Pushkin's poems, literary critics still argue over the meaning of each line. Opinions are expressed that “he forced himself to be respected” means he died. This statement does not stand up to criticism, since, according to Onegin, his uncle is still alive. We must not forget that the letter from the manager had been galloping on horses for more than one week. And the journey itself took Onegin no less time. And so it happened that Onegin ended up “from the ship to the funeral.”
My uncle has the most honest rules, Analysis of “My uncle has the most honest rules” - the first stanza of Eugene OneginIn the first lines of the novel, Pushkin describes Uncle Onegin. The phrase “the most honest rules” was taken by him from. Comparing his uncle with a character from a fable, the poet hints that his “honesty” was only a cover for cunning and resourcefulness. Uncle knew how to skillfully adapt to public opinion and, without arousing any suspicion, carry out his shady deeds. Thus he earned a good name and respect. My uncle's serious illness became another reason to attract attention. The line “I couldn’t have come up with a better idea” reveals the idea that even from an illness that can cause death, Onegin’s uncle tries (and succeeds) to derive practical benefit. Those around him are sure that he fell ill due to a neglectful attitude towards his health for the benefit of his neighbors. This apparent selfless service to people becomes a reason for even greater respect. But he is unable to deceive his nephew, who knows all the ins and outs. Therefore, there is irony in Eugene Onegin’s words about illness. In the line “science is his example to others,” Pushkin again uses irony. Representatives of high society in Russia have always made a sensation out of their illness. This was mainly due to issues of inheritance. A crowd of heirs gathered around the dying relatives. They tried in every possible way to gain the favor of the patient in the hope of reward. The dying man's merits and his supposed virtue were loudly proclaimed. This is the situation that the author uses as an example. Onegin is the heir of his uncle. By right of close kinship, he is obliged to spend “day and night” at the patient’s bedside and provide him with any assistance. The young man understands that he must do this if he does not want to lose his inheritance. Do not forget that Onegin is just a “young rake.” In his sincere reflections, he expresses real feelings, which are aptly designated by the phrase “low deceit.” And he, and his uncle, and everyone around him understands why his nephew does not leave the dying man’s bed. But the real meaning is covered with a false veneer of virtue. Onegin is incredibly bored and disgusted. There is only one phrase constantly on his tongue: “When will the devil take you!” The mention of the devil, and not God, further emphasizes the unnaturalness of Onegin’s experiences. In reality, the uncle’s “fair rules” do not deserve a heavenly life. Everyone around him, led by Onegin, is eagerly awaiting his death. Only by doing this will he render a real invaluable service to society. London dressed - And finally saw the light. He's completely French He could express himself and wrote; 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 VI.Latin is now out of fashion: So, if I tell you the truth, He knew quite a bit of Latin, At the end of the letter put vale , Yes, I remembered, although not without sin, No matter how hard we fought, we could tell the difference. 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 His father couldn't understand him 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, And labor and torment and joy, What took the whole day His melancholy laziness, - There was a science of tender passion, 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 impudent, 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 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, And there he walks in the open space, Dinner won't ring his bell. XVI.It’s already dark: he gets into the sled. Entered: and there was a cork in the ceiling, 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, To flog Phaedra, Cleopatra, A noisy swarm of their comedies, Soul-filled flight? Or a sad look will not find Familiar faces on a boring stage, And, looking towards the alien light 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; One foot touching the floor, The other slowly circles, And suddenly he jumps, and suddenly he flies, 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, XXII.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 in the palm of their hands: And Onegin went out; He's going 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. Dare to brush your nails in front of him, 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. He's at least three o'clock He spent in front of the mirrors 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 to describe his outfit; Of course it would be brave Describe my business: But trousers, tailcoat, 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 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 Cheerful shed light And they bring rainbows to the snow: The magnificent house glitters; The legs of lovely ladies are flying; In their captivating footsteps Fiery eyes fly And drowned out by the roar of violins 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? 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.Lovely, dear friends! However, Terpsichore's leg Something more charming for me. She, prophesying with a glance An invaluable reward Attracts with conventional beauty A willful swarm of desires. Under the long tablecloth of the tables, In the spring on the grassy meadows, In winter on a cast iron fireplace, There is a hall on the mirrored parquet floor, By the sea on granite rocks. XXXIII.I remember the sea before the storm: Running in a stormy line Lay down with love at her feet! How I wished then with the waves No, never on hot days My boiling youth I did not wish with such torment Or fiery roses kiss their cheeks, The merchant gets up, the peddler goes, 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 XXXVI.But, tired of the noise of the ball, And the morning turns to midnight, Sleeps peacefully in the blessed shade 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?
. . . . . . . . . . . . . . . XLII.Freakies of the big world! XLIII.And you, young beauties, XLIV.And again, betrayed by idleness, XLV.Having overthrown the burden of the conditions of light, XLVI.He who lived and thought cannot XLVII.How often in the summer, XLVIII.With a soul full of regrets, XLIX.L.Will the hour of my freedom come? LI.Onegin was ready with me LII.Suddenly he really got LIII.He found the yard full of services; Liv.Two days seemed new to him LV.I was born for a peaceful life LVI.Flowers, love, village, idleness, LVII.Let me note by the way: all poets - LVIII.Whose gaze, stirring inspiration, LIX.Love has passed, the Muse has appeared, LX.I was already thinking about the form of the plan, 3) - a slacker, a naughty person. 4) Postal - horses that transported mail and passengers; post horses. 5) Zeus - the ancient Greek omnipotent god Zeus is the main god in the pantheon of Greek gods. 6) - poem by A.S. Pushkin, written in 1820. 7) Written in Bessarabia (Note by A.S. Pushkin). 8) “Serving excellently and nobly” is the official characteristic when certifying a civil service official. 9) Madame, teacher, governess. 10) "Monsieur l" Abbe" - Mister Abbot (French); Catholic priest. 11) - a public garden in the Central District, on Palace Embankment, a monument to landscape gardening art of the first third of the 18th century. 12) Dandy, dandy (Note by A.S. Pushkin). 13) "Mazurka" - Polish folk dance. 14) Pedant - According to the definition of the Pushkin Dictionary, “a person who flaunts his knowledge, his scholarship, who judges everything with aplomb.” 15) Epigram - a small satirical poem ridiculing a person or social phenomenon. 16) To parse epigraphs - parse short aphoristic inscriptions on ancient monuments and tombs. 17) Decimus Junius Juvenal (lat. Decimus Iunius Iuvenalis), very often just Juvenal (c. 60 - c. 127) - Roman satirist poet. 18) Vale - Be healthy (lat.). 19) The Aeneid (lat. Aeneis) is an epic work in Latin, authored by Virgil (70 - 19 BC). Written between 29 and 19 BC. e., and is dedicated to the history of Aeneas, the legendary Trojan hero, who moved to Italy with the remnants of his people, who united with the Latins and founded the city of Lavinium, and his son Ascanius (Yul) founded the city of Alba Longa. Passages from the Aeneid were included in the initial course in Latin. 20) - a fictional, short story about a funny, amusing incident. 21) Romulus is one of two brothers, according to legend, who founded Rome. Brothers Romulus and Remus (lat. Romulus et Remus), according to legend, were born in 771 BC. e. Remus died in April 754/753, and Romulus on July 7, 716 BC. e. 22) Iambic is a poetic meter consisting of a two-syllable foot with stress on the second syllable. Example - “My uncle, the most honest rules...” (Pushkin). 23) Trochee - poetic meter with emphasis on odd syllables of the verse. Example - “The wind walks across the sea” (A.S. Pushkin). 24) (8th century BC) - legendary ancient Greek poet. 25) Theocritus (c. 300 - c. 260 BC) - ancient Greek poet of the 3rd century. BC e., famous mainly for its idylls. 26) Adam Smith (1723 - 1790) - Scottish economist and ethical philosopher, one of the founders of economic theory as a science. 27) “Simple product” - The initial product of agriculture, raw materials. 28) “And he gave the lands as collateral” - That is, he pledged the estates to the bank in exchange for receiving money (loans). When pledged, in case of failure to return the money to the bank, the estate was sold at auction 29) From childhood - from a young age. 30) Publius Ovid Naso (lat. Publius Ovidius Naso) (43 BC - 17 or 18 AD) - ancient Roman poet, author of the poems “Metamorphoses” and “Science of Love”, as well as elegies - “ Love Elegies" and "Sorrowful Elegies". According to one version, due to the discrepancy between the ideals of love he promoted and the official policy of Emperor Augustus regarding family and marriage, he was exiled from Rome to the western Black Sea region, where he spent the last years of his life. In 1821, Pushkin dedicated an extensive message in verse to Ovid. 31) Note - Here: inveterate. 32) Faublas (French Faublas) is the hero of the novel “The Love Affairs of the Chevalier de Faublas” (1787-1790) by the French writer J.-B. Louvais de Couvray. Foblas is a handsome and resourceful, elegant and depraved young man, the embodiment of the morals of the 18th century. The name of this skillful seducer of women has become a household name. 33) Bolivar - hat à la Bolivar (Note by A. S. Pushkin). Hat style. Bolivar Simon (1783-1830) - leader of the national liberation movement in Latin America. 34) Boulevard - it has been established that Pushkin’s Onegin goes to the Admiralteysky Boulevard that existed in St. Petersburg 35) Breguet - watch. A watch brand that has existed since the late 18th century. The Breguet company came to Russia in 1801 and quickly gained popularity among the nobility. 36) "Fall, fall!" — The cry of a coachman dispersing pedestrians while driving fast through crowded streets. 37) Talon is a famous restaurateur (Note by A.S. Pushkin). 38) Kaverin Pyotr Pavlovich (1794 - 1855) - Russian military leader, colonel, participant in foreign campaigns of 1813-1815. He was known as a reveler, a dashing rake and a brute. 39) Comet Wines - Champagne from the unusually rich harvest of 1811, which was associated with the appearance of a bright comet in the sky that year. 40) “bloody roast beef” is a dish of English cuisine, a new item on the menu in the 20s of the 19th century. 41) Truffles (truffle) - a mushroom that grows underground; brought from France; the truffle dish was very expensive. 42) Strasbourg pie - a delicious foie gras pate with the addition of truffles, hazel grouse and ground pork. Baked in dough to retain its shape. It was invented by the Norman chef Jean-Joseph Clause in 1782. 43) Limburg cheese is a semi-soft cheese made from cow's milk with a strong aroma, a characteristic pungent taste and a yellow creamy mass covered with a thin red-brown rind. 44) Entrechat - jump, ballet step (French). 45) “Phaedra, Cleopatra, Moina” - The most notable roles of the theatrical repertoire of that time: Phaedra - the heroine of the story of the same name by J.-B. Lemoine, based on Racine's tragedy, which was staged in St. Petersburg on December 18, 1818. Cleopatra is possibly a character in one of the performances of the French troupe that toured St. Petersburg since 1819. Moina is the heroine of V. Ozerov's tragedy "Fingal", in which in 1818 A. M. Kolosova made her debut. 46) (1745 - 1792) - Russian writer. 47) Knyazhnin Ya. B. (1742 - 1791) - Russian playwright who often borrowed plots from the works of French playwrights. 48) Ozerov V. A. (1769 - 1816) - Russian playwright, author of sentimental and patriotic tragedies that were a huge success with the public. 49) Semenova E. S. (1786 - 1849) - a popular actress who played in the tragedies of V. A. Ozerov - “Dmitry Donskoy”, “Oedipus in Athens” and others. 50) Katenin P. A. (1792 - 1853) - friend of the poet (1799 - 1837), officer of the Preobrazhensky Regiment, poet, playwright. 51) Corneille Pierre (1606 - 1684) - one of the founders of French classicism. Corneille's tragedies were translated into Russian by P. A. Katenin. 52) Shakhovskoy A. A. (1777 - 1846) - Russian poet and playwright, author of popular comedies, director, in charge of the repertoire policy of the imperial theaters. 53) Didelot Karl (1767 - 1837) - French choreographer and dancer. From 1801 to 1830 chief St. Petersburg choreographer. 54) Terpsichore is the muse of dance. Depicted with a lyre and plectrum. 55) - folding glasses in a frame with a handle. 56) Raek - the upper balcony in the auditorium. 57) Nymphs - forest deities; characters from classical operas and ballets. 58) Istomina A.I. (1799 - 1848) - prima ballerina of the St. Petersburg theater, one of Didelot’s best students, performer of the role of the Circassian woman in his ballet based on the plot of “Prisoner of the Caucasus”. It is known that in his youth Pushkin was fond of Istomina. Her images are available in the poet's manuscripts. 59) Aeolus is the god of the winds in ancient Greek mythology. 60) Double lorgnette - theater binoculars. 61) 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). 62) - in mythology and poetry - the deity of love, depicted as a winged child with a bow and arrow. 63) “They sleep on fur coats at the entrance” - in the theater of the early 19th century there was no wardrobe. Servants guarded the clothes of their masters. 64) “Amber on the pipes of Constantinople” - about long Turkish smoking pipes with amber mouthpieces. 65) Rousseau Jean Jacques (1712 - 1778) - famous French educator, writer and publicist. 66) Grim (Grimm) Frederick Melchior (1723 - 1807) - encyclopedist writer. 67) 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). |
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