The conditions of light overthrowing the burden,
How he, lagging behind the hustle and bustle,
I became friends with him at that time.
I liked his features
Dreams involuntary devotion
Inimitable strangeness
And a sharp, chilled mind.
I was embittered, he is sullen;
We both knew the passion game;
The life tormented both of us;
In both hearts the heat died down;
Anger awaited both
Blind Fortune and people
In the very morning of our days.
XLVI
Who lived and thought, he cannot
In the soul do not despise people;
Who felt, that worries
The ghost of the irretrievable days:
There are no more charms
That serpent of memories
That repentance gnaws.
All this often gives
Great charm of conversation.
First Onegin's language
Confused me; but I'm used to
To his caustic argument,
And for a joke, with bile in half,
And the anger of gloomy epigrams.
XLVII
How often in the summer
When transparent and light
Night sky over the Neva
And waters cheerful glass
Does not reflect the face of Diana,
Remembering past years novels,
Remembering the old love
Sensitive, careless again
With the breath of a supportive night
We silently drank!
Like a green forest from prison
The sleepy convict has been moved,
So we were carried away by a dream
By the beginning of life young.
XLVIII
With a heart full of regrets
And leaning on granite
Yevgeny stood thoughtfully,
As piit described himself.
Everything was quiet; only night
Sentinels called to one another;
Yes, a distant knock
With Millionne it suddenly resounded;
Only a boat, waving oars,
Floated on a dormant river:
And we were captivated in the distance
The horn and the song are remote ...
But sweeter, in the midst of nightly fun,
The chant of Torquat octaves!
XLIX
Adriatic waves,
Oh Brent! no, I see you
And, full of inspiration again,
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 at will
With a young Venetian
Now talkative, then dumb,
Floating in a mysterious gondola;
With her my mouth will find
The language of Petrarch and love.
L
Will the hour of my freedom come?
It's time, it's time! - I call to her;
Wandering over the sea, waiting for the weather,
Manyu sails ships.
Under the robe of storms, arguing with the waves,
Along the freeway of the sea
When will I start freestyle running?
It's time to leave the boring beach
I hostile elements,
And among the midday swells,
Under the sky of my Africa,
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 fate
Divorced for a long time.
His father then died.
Gathered before Onegin
Lenders greedy regiment.
Everyone has their own mind and sense:
Eugene, hating litigation,
Satisfied with his lot,
gave them an inheritance,
Big loss in not seeing
Ile foretelling from afar
The death of the old uncle.
LII
Suddenly got it really
From the manager's report,
That uncle is dying in bed
And I would be glad to say goodbye to him.
Reading the sad message
Eugene immediately on a date
Rushed through the mail
And already yawned in advance,
Getting ready for the money
On sighs, boredom and deceit
(And so I began my novel);
But, having arrived in the uncle's village,
I found it on the table
As a tribute ready to the earth.
LIII
He found the yard full of services;
To the dead from all sides
Enemies and friends gathered
Funeral hunters.
The deceased was buried.
Priests and guests ate and drank
And after importantly parted,
As if they were doing business.
Here is our Onegin - a villager,
Factories, waters, forests, lands
The owner is complete, but hitherto
The order of the enemy and the waster,
And I am very glad that the old way
Changed to something.
LIV
Two days seemed new to him
solitary fields,
The coolness of the gloomy oak,
The murmur of a quiet stream;
On the third grove, hill and field
He was no longer interested;
Then they would induce sleep;
Then he saw clearly
As in the village boredom is the same,
Although there are no streets, no palaces,
No cards, no balls, no poetry.
The blues 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 rural silence:
In the wilderness, the lyrical voice is louder,
Live creative dreams.
Leisure devotion to the innocent,
Wandering over the desert lake
AND far niente my law.
I wake up every morning
For sweet bliss and freedom:
I read little, I sleep a lot,
I do not catch flying glory.
Isn't it me in the old days
Spent in inaction, in the shadows
My happiest days?
LVI
Flowers, love, village, idleness,
Fields! I am devoted to you in soul.
I'm always glad to see the difference
Between Onegin and me
To the mocking reader
Or any publisher
Intricate slander
Matching here my features,
I did not repeat later shamelessly,
That I smeared my portrait,
Like Byron, poet of pride,
As if we can't
Write poems about others
As soon as about himself.
LVII
I note by the way: all poets -
Love dreamy friends.
Used to be cute things
I dreamed and my soul
She kept their secret image;
After the muse revived them:
So I, careless, chanted
And the girl of the mountains, my ideal,
And the captives of the banks of the Salgir.
Now from you my friends
I often hear the question:
“About whom does your lyre sigh?
To whom, in the crowd of jealous maidens,
Did you dedicate a chant to her?
LVIII
Whose gaze, exciting inspiration,
He rewarded with touching affection
Your thoughtful singing?
Whom did your verse idolize?
And, others, no one, by God!
Love crazy anxiety
I have experienced it remorselessly.
Blessed is he who combined with her
The fever of rhymes: he doubled that
Poetry sacred nonsense,
Petrarch walking after
And calmed the torment of the heart,
Caught and fame meanwhile;
But I, loving, was stupid and mute.
“Think with your head”, “What was your head thinking about?”, “What are you even thinking about?”, “Where was your head?” - we often hear from childhood. Meanwhile, female inner world consists mainly of feelings, emotions, experiences.
Of course, it is easier to rely on reason (at first glance), and, as it were, safer (namely, our parents are concerned about safety when they say such phrases). Feelings are associated with fatal mistakes made in an unhealthy outburst of passions.
Yes, there is definitely something to it. But such a systematic reduction of feelings to the level of an interfering and impractical role leads the girl to the fact that femininity itself is muffled, with its richest resources and energies - intuitiveness, sensitivity and immense wisdom, which grows not from the mind, but from the very depths of a knowing heart.
Feelings contain not only the ballast of unnecessary, empty experiences, but also the most valuable gift - the voice of the Soul (and it is the Soul, as a divine navigator, that helps us in making the most significant decisions, in choosing a true Beloved, in determining our mission, destiny, etc. .)
Just hearing the voice of the Soul is much more difficult than the mind. This requires not to drown out feelings, but on the contrary, to be very sensitive and observant to yourself. Turn around to the feelings and go through them, through that foam, which, of course, is contained in a fair amount of impurities ...
Ignorance of one's emotional component, ignorance of the laws by which feelings live, leads to the fact that women don't know how to deal with them.. Either he throws himself at them with his head, which he later regrets, or breaks off contact with them. And stores them in the most secret places - far away and for a long time. And then it remains for her to live in her mind and listen to her internal dialogues ...
labyrinth internal dialogues - this is how you can characterize the state in which we are, as in a trance, 90% of our waking time. This is a waking dream - in fact, our eyes are turned into a running line of the mind and constantly read what is there now. Sometimes they read, for the millionth time, the same thing. Feelings atrophy over time, brightness and taste disappear from them. And along with this, female magnetism, spontaneity, lightness, play, whims, fluidity, smoothness, inner eroticism also leave.
By command magic wand thoughts cannot be stopped, and the mind will not stop producing them. What can help?
Feminine practices that help us slow down, relax and enter the inner Realm of the Sacred Feminine. There is an endless resource healing energies and states that return a woman to her natural state, centered not on the activities of the mind, but on the inner presence. It is from this state. Free from fuss and analysis, a woman creates great and small miracles of her life, like a Sorceress and Priestess.
A huge resource for this is women's practices based on Art Therapy, where we come into contact with our power, recognize its taste and get used to it, fix it in the soul and body. Spots, lines, shapes, colors reflect not only our conscious thoughts and feelings, but also the underwater part of the iceberg - unconscious processes that can be difficult to express in words.
These practices help stop the fuss of the mind and plunge into another dimension - where the Inner Woman lives.
If you feel that you live "in the head", if you find it difficult to hear your true desires, if you are tired of looped internal dialogues without beginning and end, if you have begun to lose the feminine taste of life, if you have been swallowed up by “necessary”, and “I want” started somewhere, we invite you to Women's Art Marathon Awakening Shakti. This is a powerful internal refresh of your feminine state, your capabilities and path. The special art therapy practices of this course provide gentle and healing access to the deepest layer of the personality, from which one can draw strength and energy.
The conditions of light overthrowing the burden,
How he, lagging behind the hustle and bustle,
I became friends with him at that time.
I liked his features
Dreams involuntary devotion
Inimitable strangeness
And a sharp, chilled mind.
I was embittered, he is sullen;
We both knew the passion game:
The life tormented both of us;
In both hearts the heat died down;
Anger awaited both
Blind Fortune and people
In the very morning of our days.
INTERESTING FROM NABOKOV:
“I became friends with him at that time” - Under this line in the draft manuscript, Pushkin drew his own somewhat monkey profile - with a long upper lip, a sharp nose and a sharply everted nostril.
"features" - Gallicism.
So: a portrait young rake”, which appeared in the second stanza, is written. A handsome young man appeared who - despite his indifference to poetry and the absence of any creativity– dreams rule more ... than reason; extremely strange - although the author nowhere directly explains what exactly his strangeness lies in; endowed with a cold and caustic mind - probably more subtle and mature than the one that dictates to him harsh, vulgar words in a conversation with Lensky (ch. 3, v); gloomy, self-absorbed, rather disappointed than bitter; still young, but very sophisticated in "passions"; a sensitive and independent young man who turned away - or is about to turn away - both Fortune and Humanity.
... a description of Onegin's character ... all further approaches to its disclosure presented in the novel ... will either be variations on this theme, or a slow, as in a dream, fragmentation of its true meaning.
Now the poet meets his hero on an equal footing and, before dissociating himself from him ... shows what they have in common.
“I was embittered, he is gloomy” - The momentary bad mood of the author (in the white manuscript is even more familiar “I was angry”) is contrasted with the typical gloom of his older friend, Onegin.
PISAREV:
Onegin's demonism sits entirely in his wallet. As soon as the wallet is empty, Onegin will immediately go to the office and turn into Famusov.
So, Onegin is bored not because he does not find a reasonable activity for himself ... but simply because he has easy money in his pocket, which gives him the opportunity to eat a lot, drink a lot ...
His mind is not cooled by anything - it is only completely untouched and undeveloped.
"the science of tender passion" ... About the existence of others, more strong passions, - passions directed to the idea, he does not even have any idea.
Onegin spent the heat of his heart on boudoir scenes and on masquerade adventures.
LOTMAN:
Conditions of Light Overthrowing the Burden- Theme Replacement big light a friendly circle is developed in Pushkin's poetry of these years and reflects the biographical reality.
MY INSINUATION:
In the eclecticism of the first chapter, this is not particularly noticeable - but in general, this way of reviving a half-dead character through an "eyewitness account" can be assessed as an admission of failure in its creation.
By this convergence in the hall of the owner of the institution to revive the business, Pushkin, firstly, indirectly confirms this, and secondly, “lowers the stakes”. Say, he didn’t even think of writing any special “hero of our time”, but he portrayed an original acquaintance, and nothing more.
Pushkin realized that he could not get out from under Byron, and - throws Onegin, what he is in the first chapter, the same in the eighth - a shell without a core. Pushkin turns to the creation of other, more "promising", original characters, and - finds his Tatyana.
She, of course, is still an image (“inconceivable and inexpressive” by V. Rozanov), but, at least, Byron did not write anything about such people.
ANOTHER OPINION ABOUT THE STROPHE:
Writes petrazmus
: Another lyrical digression, proving Pushkin's interest in himself, in positive value this words. And, at the same time, something unreal is described in the stanza, more precisely, something that does not correspond to time, not synchronized. Everything seems clear and can be explained. But there is also a nuance.
Two young people met. Both experience a certain disappointment in the atmosphere or environment around them, Both belong to the same circle, both have already experienced the play of passions, and both have already “burned out”. And all this happens in the very morning of days.
But if you look at the axis of time, it turns out that the period in which young people could meet, get to know each other, make friends, be disappointed in the environment together is very short. Pushkin graduated from the Lyceum in 1818, and already in 1820 he was sent away from St. Petersburg. But at that time he wrote poetry, and "hussar", and in literary societies took part, and caused annoyance of the king. And does he have time for a subtle analysis of Onegin and rapprochement with him?
Do not have the time. This twist is pure fiction. Like a movie - they don’t show all 9 months between the wedding and the birth of the heir ....
Pushkin at this moment of his life needs a character with the help of whom he would find his own inner balance. He is young, inexperienced in a good way, experiences polar impressions from acquaintance with light ( social life), experiences polar assessments of himself by society. He needs to lean on someone, but not in the sense of protection, but in the sense of "feeling the back or elbow of his comrades-in-arms." Among the former lyceum friends, he does not dare to openly find them in the novel, because they may not have such a desire, they may not feel such a need. Yes, and this friendship, although it was born over the years, but over the years of a different, youthful life. Not everyone will continue to be close in life. Alexander Sergeevich tactfully does not call them.
Onegin is not bound by any past or present conventions. You can easily attribute cute (to yourself) and close (to yourself) features to him. You can tell a fictional character about your doubts or hesitations without fear of misunderstanding, indifference, gloating or even ridicule. After all, the poet himself was very sharp in language, as well as easily injured. If someone from real life guess the author and try to be ironic, you can always defend yourself by referring to fiction, literary.
Onegin in this (!) stanza is the background, but not revealing, but masking Pushkin. Onegin is a demonstration not of his (Pushkin's) exclusivity, but of his (Pushkin's) mass character, non-uniqueness. Demonstration that skepticism and critical (and essentially OTHER) views exist. And this cannot be ignored. This cannot be punished or prosecuted. But this is exactly what happened to the poet - he was expelled not for criticism or protest, but for a different vision. In his youth, he could not take it more calmly.
No matter how talented and great Pushkin is, he understands that the voice of one is always quieter than the voice of two or three or many. And these voices of many are easier to hear. Onegin is a kind of amplifier, and at the same time a support for the author.
In today's realities, Pushkin is an excellent political strategist and connoisseur of media methods.
Eugene Onegin received a fashionable home upbringing and education typical of his time and social position: first a French governess, and then a tutor - “a poor Frenchman, so that the child would not be exhausted, taught him everything jokingly, did not bother with strict morality ...” As a result, “He knew enough in Latin, so that epigraphs can be parsed”, had a sufficient idea of literary process, in order to maintain a secular conversation: “... he remembered, though not without sin, two verses from the Aeneid”, “scolded Homer, Theocritus”, although “he could not distinguish an iambic from a chorea, no matter how hard we fought, to distinguish”. His knowledge of world history was just as shallow, “but the days of the past anecdotes from Romulus to the present day he kept in his memory.” True, Eugene "... read Adam Smith and was a deep economy", but just progressive economic theories were not discussed among his acquaintances.
In a word, Onegin's education was superficial, unsystematic, and only "... a happy talent without being forced to touch everything lightly in a conversation, with a learned air of an expert to remain silent in an important dispute" allowed him to look quite enlightened, critical in the eyes of others thinking person. In addition, the requirements of the aristocratic society were very low, and Onegin was willingly accepted in the light:
He was perfectly able to speak and write in French; Easily danced the mazurka And bowed unconstrainedly: What do you want more? Light decided that he was smart and very nice.
Onegin leads a lifestyle typical of the “golden youth” of his time: he attends balls, restaurants, theaters, then sleeps in the afternoon, meets with ladies whom he knew how to “scare with ready despair, amuse with pleasant flattery ... win with intelligence and passion”. But Onegin stands out from the general mass of aristocratic youth: no matter what he does, he is constantly accompanied by a state of disappointment, dissatisfaction, "spiritual emptiness." His “dreamy devotion, inimitable strangeness and sharp cooled mind”, inner nobility, self-criticism, decency did not allow him to indulge in idleness, lead a wasteful lifestyle, and “free, in color best years, among brilliant victories, among everyday pleasures ”Onegin experiences a feeling of bitterness, boredom, contempt for the“ empty light ”:
He was tired of the light noise; Beauties were not long the subject of his habitual thoughts; Treason managed to tire; Friends and friendship are tired ... ... Russian melancholy He took possession of little by little; He shot himself, thank God, He did not want to try, But he completely lost interest in life.
Onegin is trying to escape from the unspiritual, artificial, vicious circle despised by him secular society through privacy, literary works, “... but hard work was sickening to him ...” The death of his uncle brought him on Wednesday local nobility, but an outstanding mind, freedom-loving moods, a critical attitude to reality, emphasized independence, unwillingness to support burdensome secular relations condemned him to complete loneliness. Limited, narrow-minded landowners gave him an unflattering description of the “most dangerous eccentric”, emphasizing Yevgeny’s aloofness, unlike the stereotypes of the “secular mob” of his behavior:
“Our neighbor is ignorant; crazy; He is a pharmacist; he drinks one glass of red wine; He does not fit the ladies' hands; All yes yes no; won't say yes, sir, or no, sir." That was the general voice.
Onegin carried out a progressive socio-economic transformation on his estate: and the slave blessed the fate, ”but that was where all his participation in the life of the peasants ended. In the province, Onegin meets the educated, romantic young poet Lensky, who believed in the progressive transformation of society, “believed that his friends were ready to accept fetters for his honor ... That their immortal family would someday illuminate us with irresistible rays and bestow bliss on the world.” Enthusiasm, enthusiasm, daydreaming, “ardent conversation” of the young poet evoked a condescending smile of Onegin disappointed by life, having no illusions, having no ideals, not believing in the “world of perfection” Onegin. But the mind, education, rejection of the surrounding world of prudence and lack of spirituality brought the heroes closer:
They agreed. Wave and stone, Poetry and prose, ice and fire Not so different from each other. At first, by mutual differences, they were boring to each other; Then they liked...
But this friendship ended tragically: “loving the young man with all his heart,” Onegin, nevertheless, could not rise above public prejudices and, due to a stupid quarrel, killed Lensky in a duel. The love of a beautiful, sincere girl Tatyana Larina could bring Onegin back to life, awaken his feelings, give meaning to his life. Eugene really took possession of the “feelings of the old ardor”, spiritual emptiness was ready to falter under the impression of a surging stream of real feelings, but Onegin did not find enough emotional strength in himself for inner rebirth and rejected Tatiana’s love. Much later, having met the married Tatyana shining in the light, Onegin experienced true love, but it is impossible to return the past: true to her first deep feeling, Tatyana does not want to destroy the world of her family. Onegin's conviction that "liberty and peace are a substitute for happiness" was refuted by his whole life, the result of which is bleak:
Having lived without a goal, without labor Until the age of twenty-six, Languishing in the inactivity of leisure Without service, without a wife, without work, He did not know how to do anything.
The “chilled mind” of the hero remained unclaimed by society, and his life path led to a dead end, to hopelessness, to hopelessness.
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“Chilled mind” of the hero (based on the novel “Eugene Onegin”)
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Portrait of Eugene Onegin
I liked his features, Involuntary devotion to dreams, Inimitable strangeness And a sharp, chilled mind.
A.I. Herzen on Eugene Onegin
"... Onegin is Russian, he is possible only in Russia; he is needed in it, and he is met at every turn. Onegin is a loafer, because he has never done anything, a superfluous person in the area in which he is, and not having sufficient strength of character to get out of it ... He did not start and did not bring anything to the end, he thought the more the less he did, he is already old at twenty, and, starting to grow old, becomes younger through love. always expected something, like all of us, because a person is not so crazy as to believe in the duration of the current situation in Russia ... Nothing came, and life was leaving ...
The youth finds no real interest in this world of servility and petty ambition. And, however, in this society he is condemned to live, since the people are even more distant from him ... "
Two views on the character and personality of Onegin in V.V. Golubkova
| Belinsky's view | Pisarev's view |
|
1.
Onegin is an outstanding, outstanding nature: a) he is capable of sensitivity, sympathy for people, friendship, love and poetry; b) he has a "devotion to dreams" (albeit vague) about the other, a better life; c) "he is not fit to be a genius, he does not climb into great people, but inactivity, the vulgarity of life stifle him"; d) he is very demanding of himself and people: that is why he is dissatisfied with himself and disappointed in life; his longing is "true suffering, without phrases and draperies"; e) he is a smart person who understands others and himself. 2.
What some critics accuse Onegin of does not speak of his callousness and selfishness, but only that he is not a hero: 3. Onegin does not engage in fruitful useful activity, not because he is not capable of it, but because such activity is impossible in the society of his time. Fate itself condemned him to privacy and boredom. He is "a reluctant egoist, a suffering egoist." |
1.
Onegin is an ordinary empty secular person, a dozen nature: a) he is incapable of any feelings... b) he dreams not of a better life, but of female beauty; c) is bored in the world..., his boredom is "a simple physiological consequence of his disorderly life..." d) disappointment in life is sham ... e) mental capacity its not very shiny... 2.
What Belinsky justifies Onegin cannot be justified... 3. Onegin is an egoist by nature - a secular tuniyadets. |
The image of Eugene Onegin in the assessment of Belinsky
"Most of the public completely denied Onegin's soul and heart, saw in him a cold, dry and selfish person by nature. It is impossible to understand a person more erroneously and crookedly! .. Savor did not kill feelings in Onegin, but only cooled him to fruitless passions and petty entertainments ... Onegin did not like to blur in dreams, he felt more than he spoke, and did not open himself to everyone. An embittered mind is also a sign of a higher nature, because a person with an embittered mind is dissatisfied not only with people, but also with himself.
"Onegin is not Melmoth, not Child Harold, not a demon, not a parody, not a fashion fad, not great person, but simply - "a kind fellow, like you and me, like the whole world" ... Onegin is a kind fellow, but at the same time a remarkable person. He is not fit to be a genius, he does not climb into great people, but the inactivity and vulgarity of life stifle him; he doesn’t even know what he wants, that he doesn’t want what makes mediocrity so content, so happy.”
"We have proved that Onegin is not a cold, dry, soulless person, but we have so far avoided the word egoist - since an excess of feeling, the need for grace does not exclude egoism, we will now say that Onegin is a suffering egoist ... He can be called an unwilling egoist; in his egoism one should see what the ancients called "fatum" (fate, fate)".
Portrait of Tatyana LarinaSo, she was called Tatyana, Neither the beauty of her sister, nor the freshness of her ruddy face Would she have attracted the eyes. Dika, sad, silent, Like a doe of the forest, timid, She seemed to be a stranger in her own family. She did not know how to caress To her father, nor to her mother; A child herself, in a crowd of children She did not want to play and jump, And often, alone all day, She sat silently at the window. *** Dika, sad, silent, Like a timid deer in the forest, She is in her own family It seemed like a stranger girl. By nature she is endowed with a rebellious imagination, a living mind and will, and a wayward head, and a fiery and tender heart. *** The coquette judges in cold blood, Tatyana loves in earnest And unconditionally indulges in Love, like a sweet child.
The image of Tatyana in the assessment of Belinsky
“... Among this world of morally crippled phenomena, truly colossal exceptions occasionally succeed, who always pay dearly for their exclusivity and become victims of their own superiority ... Such is Tatyana Pushkina. You are briefly acquainted with the respectable Larin family. very stupid, and not quite smart; not that a man, and not an animal, but something like a polyp, belonging at the same time to two kingdoms of nature - vegetable and living ... "
Noble life and borrowed western culture determined the romantic mood of Lensky's thoughts and feelings, far from real Russian life. Onegin's "half-Russian neighbor", "an admirer of Kant and a poet" does not have any clear idea of real life.
As Pushkin jokingly remarked, "his poems are full of love nonsense." Lensky is young. He is "nearly... eighteen years old." Lensky could keep his heat, his heart, but he could also turn into an ordinary landowner who, like Dmitry Larin, would “wear a quilted robe” and end his life in a very ordinary way:
I drank, I ate I was bored, I grew fat, I grew weak And finally in my bed I would die in the midst of children, Crying women and lackeys ..
Lensky is 18 years old in the novel. He is 8 years younger than Onegin. Lensky is partly young Onegin, not yet mature, not having time to experience pleasure and not knowing deceit, but already heard about light and read about it:
I hate your fashionable light, dearer to me is the home circle.
Main artistic role Lensky - to shade the character of Onegin. They mutually explain each other. Lensky - friend, worthy of Onegin. He, like Onegin, is one of the best people then Russia. A poet, an enthusiast, he is full of childish faith in people, romantic friendship to the grave and in eternal love. Lensky is noble, educated, his feelings and thoughts are pure, his enthusiasm is sincere. He loves life. Many of these qualities favorably distinguish Lensky from Onegin. Lensky believes in ideals, Onegin is idealless. Lensky's soul is filled with feelings, thoughts, poems, creative fire. Like Onegin, Lensky meets the hostility of the landlord neighbors and is subjected to "strict analysis". And he did not like the feasts of the masters of the neighboring villages.
A.I. Herzen about Vladimir Lensky
"Next to Onegin, Pushkin placed Vladimir Lensky, another victim of Russian life..."
"Pushkin portrayed the character of Lensky with the tenderness that a person has for the dreams of his youth, for memories of that time when a person is full of hope, purity and ignorance."
From the article "On the development revolutionary ideas in Russia"
"Pushkin in" Onegin "presented a gratifying phenomenon in Vladimir Lensky, and shot him, and for the cause. What could he do but die in order to remain a noble, beautiful phenomenon? In ten years he would have grown weaned, would have become smarter, but would be Manilov.
From the diary
V.G. Belinsky about Vladimir Lensky
"Onegin is a real character, in the sense that there is nothing dreamy, fantastic in him ... In Lensky, Pushkin portrayed a character ... completely abstract, completely alien to reality ...
Lensky was a romantic both by nature and by the spirit of the times. There is no need to say that it was a being, accessible to everything beautiful, lofty, a pure and noble soul. But at the same time, "he was ignorant at heart," always talking about life, never knowing it. Reality had no effect on him; his joys and sorrows were the creation of his imagination... In Onegin's simple desire to play a trick on him, he saw betrayal, seduction, and bloody resentment. The result of all this was his death, which he had previously glorified in vaguely romantic verses... The poet loved his ideal, realized by him in Lenskoye, and mourned his fall in beautiful verses...
There was a lot of good in him, but the best thing is that he was young and died in time for his reputation. It was not one of those natures for which to live means to develop and move forward. This - we repeat - was a romantic, and nothing more.
Portrait of Olga LarinaAlways modest, always obedient, Always as cheerful as the morning, As the life of a poet is simple-hearted, As sweet as the kiss of love; Eyes like the sky, blue, Smile, linen curls, Movement, voice, light body, Everything in Olga ... but take any novel and find it right Her portrait: he is very sweet, I used to love him myself, But he bored me immensely .
