The history of the creation of the work "Eugene Onegin"
It was created from May 1823 to September 1830, that is, more than seven years. However, work on this text did not stop the author until the last edition appeared in 1833. In 1837, the last author's version of the work was published. Alexander Sergeevich no longer has other creations that would have such a long history of creation. Pushkin's novel "Eugene Onegin" was by no means written by the author "in the same breath", but took shape at different times in his life. This work covers four periods of Alexander Sergeevich's work - from the southern exile to the time known as the Boldin autumn (1830).
All chapters from 1825 to 1832 were published as independent parts and became great events in literary life even before the completion of the novel itself. If we take into account the discontinuity, fragmentation of Pushkin's work, perhaps it can be argued that this work for him was something like a notebook, an album. Alexander Sergeevich himself sometimes calls the chapters of his novel "notebooks". The records were replenished over the course of more than seven years with "observations of the mind of the cold" and "notes of the heart."
The role of the retreat "Love is submissive to all ages" by Pushkin in the work
In the eighth chapter, Pushkin describes a new stage that Onegin experienced in his spiritual development. Having met Tatyana in St. Petersburg, he changed a lot. Nothing remained in him of the former rational and cold person. This ardent lover did not notice anything but the object of love, which is very reminiscent of Lensky. For the first time in his life, Onegin experienced a real feeling, which turned into a love drama. Now Tatyana cannot answer the protagonist's belated love. "All ages are submissive to love," the author's digression from the eighth chapter, is a kind of Pushkin's explanation of the psychological state of Onegin, his love drama, which is inevitable.
The inner world of the hero in the eighth chapter
In the foreground in the characterization of the character, as before, is the relationship between feeling and reason. Now the mind has been defeated. Eugene fell in love without listening to his voice. The author notes, not without irony, that Onegin almost or did not become a poet. In the eighth chapter, we do not find the results of the spiritual development of this character, who finally believed in happiness and love. Onegin did not achieve the desired goal; as before, there is no harmony between reason and feeling in him. The author of the work leaves his character unfinished, open, emphasizing that Onegin is capable of a sharp change in his value orientations, that he is ready for action, for action.
Onegin from nihilism comes to love
It is interesting how the author reflects on friendship and love in the digression "All ages are submissive to love." These poems are dedicated to the relationship between friends and lovers. These two types of relationships between people are touchstones on which a person is tested. They reveal his inner wealth or, on the contrary, emptiness.
The protagonist, as you know, did not stand the test of friendship. The cause of the tragedy in this case was his inability to feel. It is not for nothing that the author, commenting on Onegin's state of mind before the duel, notes that he could have revealed a feeling instead of "bristling like a beast." In this episode, Onegin showed himself deaf to the voice of the heart of his friend Lensky, as well as his own.
Eugene closed himself off from the false values of the world, despising their false brilliance, but neither in the countryside nor in St. Petersburg did he discover true human values for himself. Alexander Sergeevich showed how complex is the movement of a person to understandable and simple, it would seem obvious life truths. The author shows what trials a person needs to go through in order to understand with his heart and mind the significance and greatness of friendship and love. From prejudices and class limitations, inspired by an idle life and upbringing, through denying not only false, but also true rational nihilism, Onegin comes to the discovery of a high world of feelings, love.
Wrong interpretation of the Onegin line
The story of not only the life of Alexander Sergeevich, his work, a single work, such as, for example, Pushkin's novel "Eugene Onegin", is amazing. Even one line of this great poet's poem sometimes has a life of its own. "All ages are submissive to love", the author's digression of Alexander Sergeevich, is quoted very often today. Often, looking in the work not for the depth of Pushkin's thought, but for the justification of his cowardice, the human consciousness snatches this line out of context and cites it as an argument. We begin to assert and convince others that if the poet has allowed, then you can fall in love.
Love in adulthood
This idea has become so familiar today that there is even an explanation in encyclopedic publications that this phrase is used to explain (justify) the manifestations of feelings between people of an older age. However, the first line of the stanza "All ages are submissive to love" (the verses that follow confirm this) is not really permission to get involved at any age. On the contrary, this is the author's warning. It is no coincidence that the next verse begins with the union "but": "But to young, virgin hearts ...", Pushkin writes, her impulses are beneficial, but at the turn of the years they can be very sad.
Love, indeed, can overtake a person in adulthood, but the consequences for many people who have become close will be catastrophic. Of course, this does not mean that the wise Alexander Sergeevich forbade mature people to fall in love. However, Pushkin's ideal, Tatyana, did not allow herself this feeling after her marriage.
Why is the line of interest to us often misunderstood?
The researchers explain why the phrase "All ages are submissive to love", the author of which is Pushkin, is often misinterpreted, and also why it has gained such popularity. Fame was brought to her by the wide distribution of the opera called "Eugene Onegin". Konstantin Shilovsky was the author of the libretto for it. He changed the text, in which, after the first line, the third immediately follows: "Her impulses are beneficial." That is, Shilovsky remade this passage from "Eugene Onegin". He changed the meaning in such a way that love became useful both to a young man who had barely seen the light, and to a "fighter with a gray head." Due to this, the line of interest to us today is often misinterpreted.
History of the surname "Gremin"
This is not the only case when the adaptation of a work changes its content. Operas and performances often bring something of their own to the story. For example, the names of the characters change, new ones appear.
In the novel "Eugene Onegin" the name of Tatyana Larina's husband is not mentioned. Pushkin said only that this is a general of 1812. However, in Tchaikovsky's opera of the same name, he has the surname Gremin. "Eugene Onegin" therefore it is better to study, based on the author's original. This is the only way to avoid misinterpretations and factual errors.
I am 46 years old and I am married, she is 20 years old and the distance between us is 4000 km. We live in different countries.
If I had been told a year ago that I was capable of falling in love again for real, to the point of shivering, I would probably have said that it was impossible. Previously, it seemed to me that a real feeling of love, and not falling in love with another person, can only be experienced at a young age. I was sadly mistaken! All ages are submissive to love - this is not just a beautiful line from Pushkin's poem, this is a life truth!
Where does love begin? We ask this question most often only when we lose it. After all, when everything around us blooms and sings, we do not think about anything, but simply follow the call of the heart. But if a moment comes when from the very height of heaven we fall to the ground and lose our treasure, we try to understand, realize, accept. And when nothing good comes out of it, we ask ourselves the question: “How did it all begin? How did it all turn around so quickly? Where did this love come from?
It all started on vacation. The first time I saw her was at the reception in a hotel.
The first glance at a person so unfamiliar to me, an acquaintance, a conversation about nothing.
It all starts with physical attractiveness. For example, how do guys think? “Wow, what a figure, what a face, I like her!” On this basis, there is a physical attraction to anything usually non-committal.
And now, after checking in, I go to the sea, and a spectacular scantily clad blonde with gathered hair from behind in glasses and tattoos comes towards me. I don’t recognize her naturally (she was with her hair down, in jeans), but my brain sends me a signal - Sexy. But when she lays down on a sunbed nearby, I understand it's her! Then there were wonderful days, or rather evenings. Alcohol, laughter and fun, conversations on various topics. It was good and easy, and most importantly, I felt as if I had known this person for a very long time.
But then it was time to part. A light hug, familiar words at parting. But in my heart I felt some kind of sadness. But there was no feeling of love yet, rather, there was a feeling of affection, well, maybe easy love.
And here I am at home and soon went to work. We start chatting. And here a feeling of some kind of inferiority of my life gradually began to roll over me. Like I'm missing something. Appetite disappears, it's time for sleepless pastime. At home, at work, in general, everywhere I start thinking only about her! And then everything becomes clear to me - I fell in love!
Be that as it may, all the greatest feelings begin with a thought. A strange thought creeps into our head, which gives a signal to the whole body that calm times are over. She crept in to me a long time ago, just hiding in the bins of the heart. The thought that without this person the days are grey-gray, the music sounds quieter, and the colors of the rainbow are much less. I want to talk about this feeling, but there is no one.
I become different from myself. I start doing stupid things for which I am still ashamed. I talk to her several times on the phone, but when I hear her angelic favorite voice, I'm stupidly lost as a teenager and don't know what to say. And this is me, a person who can talk on any topic for hours, "the soul of the company."
But here's the paradox of our relationship - we didn't have sex. Probably, everyone will be surprised at this and say, well, everything that you said earlier is complete nonsense! What can be love without intimacy? After all, it is the game of hormones that leads to the emergence of emotions and affection. Maybe this is so, I will not argue, at least when I was in love in my youth everything was different. But don't think that love and sex mean the same thing to me. The latter is only the usual satisfaction of physical needs, while love for me is an inseparable combination of sexual and spiritual attraction.
And now I find out that my loved one told me not the truth about his work. She is a webcam model. For me it was an unexpected shock. I was confused, I did not know what to do, I did not find a place for myself. I admit, I even showed weakness, I cried. In another situation, I would immediately end all relations with this person. But I loved! And so I accepted it.
Not much time has passed and a new blow. I learn that she periodically needs sex. I am terribly jealous, although I understand that this person does not owe me anything and can do as he pleases. But it still hurts me!
It is necessary to appreciate love, remember every moment, every look and smile of your beloved, and it doesn’t matter if love starts slowly or very quickly, the main thing is that it is in us, in our hearts!
Well, here I am, finally, and expressed my thoughts, which have been tormenting me for some time. Did it get easier for me after that? This is an interesting question!
Moral lessons of Russian literature
(Recommended reading)
“Great literature is born when
awakens a high moral sense.
L. Tolstoy
One of the common mistakes in quoting is that a phrase is taken out of context and applied, used as an argument, which the cited author did not mean at all.
“All ages are submissive to love” - it is said as an axiom from Pushkin, and further it is understood that love is beautiful at any age, and especially in old age. And it has become a commonplace - to think so. But the poet does not have a period after these words, a semicolon and then the text:
"But to young virgin hearts
Her impulses are beneficial,
Like spring storms to fields:
In the rain of passions they freshen up,
And they are renewed and ripen -
And a mighty life gives
And lush color and sweet fruit.
But at a late and barren age,
At the turn of our years
Sad passion dead trail:
So cold autumn storms
The meadow is turned into a swamp
And expose the forest around.
As you can see, Pushkin put a completely different meaning into this statement. In Tchaikovsky's opera Eugene Onegin, Tatyana's husband's aria already contains the meaning that is implied when this phrase is quoted.
"Love for all ages,
Her impulses are beneficial
And a young man in his prime,
Barely seeing the light
And scorched by fate
A fighter with a gray head.
Onegin, I will not hide:
Madly I love Tatyana ... "
When the future spouse is first pointed out: “Here he left ... now he became sideways ...”, Tatyana asks: “Who? is this general fat? That is, from Pushkin's novel we learn that Tatyana's husband was related to Onegin and was fat. And we know from history that both 20 and 30-year-olds became generals. “That the husband is mutilated in battles, that the court caresses us for that,” says Tatyana. The novel does not say anything about the general's age. But there are lines from the novel, from which it becomes clear that Tatyana's husband is almost the same age as Onegin.
"Tell me, prince, don't you know,
Who is there in a raspberry beret
Are you talking to the Spanish ambassador?
The prince looks at Onegin.
- Yeah! You haven't been in the world for a long time.
Wait, I'll introduce you. -
"But who is she?" - My wife.-
"So you're married! I didn't know before!
How long ago? - About two years, -
"On whom?" - On Larina. - "Tatyana!"
- Do you know her? “I am their neighbor.”
- Oh, let's go. - The prince approaches
Brings to his wife and her
Family and friend.
Onegin, as an old acquaintance and relatives, freely visits the prince's house, talks with Tatyana.
The husband comes. He interrupts
This unpleasant tete-a-tete;
With Onegin he remembers
Pranks, jokes of former years.
They are laughing. Guests enter.
It follows from this text that the prince is not an old man at all, even if they have common “pranks, jokes of former years” in their memories. Therefore, they are people of the same generation, at least, and it is possible that they are the same age.
But in the opera, Tatyana Larina's husband is "a fighter with a gray head." But what does Pushkin have to do with it? He wrote something completely different. Not about an unequal marriage at all.
Tyutchev has a remarkable poem.
"When decrepit forces
We are starting to change
And we must, as old-timers, -
Give newcomers a place, -
Save us then, good genius,
From cowardly reproaches,
From slander, from anger
For a life-changing….”
This is the beginning of the poem, and at the end - these lines:
“... And senile love is more shameful
Grumpy old man's enthusiasm."
F.I. Tyutchev, who wrote this poem at the age of 63, lived a difficult life, full of love and tragedy. Few, in his opinion, there are manifestations of feelings of shameful senile love, except perhaps enthusiasm.
By the way, according to the memoirs of T.A. Kuzminskaya about L.N. Tolstoy (Letter to G.P. Blok): “When Fet still brought his new works to read aloud, and if they were of young love condemned him, saying that it is disgusting to see in an old man the manifestation of a young passion.
Pushkin has the lines: “And, perhaps, on my sad sunset Love will flash with a farewell smile,” but this is not about old age. The sunset of life was not far from the dawn, no one is given to know their dates, the life of Pushkin himself was short.
Having once begun to quote incorrectly, adherents of senile love cannot stop attributing to Pushkin a statement that he did not express. And this is unfair to the poet. It would be more correct to refer to Tchaikovsky's opera, to its libretto, and not to the novel "Eugene Onegin" and its author.
The heroine of the novel in her "rebuke" to Onegin says:
"I got married. You must,
I ask you to leave me;
I know that there is in your heart
And pride and direct honor.
I love you (why lie?),
But I am given to another;
I will be faithful to him forever.
Tatyana, the "sweet ideal", the author's favorite heroine of the novel, the pronoun "I", repeated six times in seven lines. This prevents all dialogue possibilities. After Onegin's letter to Tatyana, according to the time indicated in the novel, a whole winter passes before this monologue takes place.
Pushkin in the notes to "Eugene Onegin" wrote: "We dare to assure you that in our novel time is calculated according to the calendar." During this period, Tatyana made a firm decision, and therefore does not discuss it with Onegin, although she explains that “to be a petty slave of feelings” is unworthy of his heart and mind. The author, five stanzas before Onegin's letter, ironically:
"Give you the forbidden fruit,
And without that, paradise is not paradise for you. ”
Pushkin was a supporter of such a position of a married woman as expressed by Tatyana. “And the sun of marriage overshadows the star of bashful love” (A.S. Pushkin “To the Rodzyanka”). It is gratifying to know that the poet's wife, the most worthy Natalya Nikolaevna, had the same concept of marital fidelity. Natalya Nikolaevna answered all Dantes’ persuasion to “violate her duty for his sake”: “... I love you like I never loved, but never ask me for more than my heart, because everything else does not belong to me, and I don’t I can be happy otherwise than by respecting my duty ... ”(This is from a letter from Dantes to Gekkern on February 14, 1836.)
In one of the articles about Pushkin's work, Vissarion Grigorievich Belinsky, quoting Tatyana Larina's words “but I have been given to another and I will be faithful to him for a century,” exclaims: “But I am given to another, given, and not given! Eternal fidelity - to whom and in what? Loyalty to such relationships, which constitute a profanation of the feeling and purity of femininity, because some relationships that are not sanctified by love are highly immoral ... "
Of course, the "furious Vissarion", as his contemporaries called him, did not condemn, but reasoned. Maybe not always those relationships that are consecrated during the wedding and are consecrated by sincere earthly love? Without hypocrisy in this matter, it should be noted that this happens. As Yevgeny Baratynsky wrote in the poem "Confession", "we are not hearts under marriage crowns - we will unite our lots." But the union is consecrated by the church!
Marriages are performed in the temple - with the full, by the way, declared voluntariness of those who are getting married. This means that there comes an additional moral responsibility for a person who has become a spouse. Responsibility not only to people and to oneself, but also to God.
These are extremely serious matters. And not everyone can afford to neglect church bonds in favor of passions and hobbies. Or in favor of even the most true love. Natalya Nikolaevna, for example, did not allow herself this, like Tatyana Larina, the heroine of the great novel, a fictional character by the poet. The heroine of Leo Tolstoy's novel "Anna Karenina", by the will of the author and by the logic of her act and character, ended her life terribly. (Like the heroine of Gustave Flaubert's great French novel Madame Bovary).
One can try to find examples in the literature that justify adultery, but they are somehow already outside the moral tradition. In the novel Anna Karenina, with all the author's desire to understand the heroine who betrayed her debt, Tolstoy finds no other way out of such love than death.
Pushkin wrote to his friend P.A. Pletnev: “It is very possible to live without political freedoms, it is impossible to live without family integrity.” He expressed the same thought in a letter to his wife. In any case, the poet did not manage to live when his family immunity was violated.
When you read the story by S.T. Semenov "Gavrila Skvortsov" (1904), the novel "Eugene Onegin" (1823 - 1831) comes to mind, and not only because the heroes of these works are the title ones.
Seemingly incomparable things: a novel written by a nobleman about high society and a story written by a peasant about peasants. But Russian literature, with all its diversity, exists in one spiritual space. Therefore, the works of different authors rhyme, echo, complement each other, offering solutions to the most difficult life problems.
It would be nice if S.T. Semenov's story "Gavrila Skvortsov" was recommended for reading at school simultaneously with the study of A.S. Pushkin's novel "Eugene Onegin"! In a mysterious way, the story contains an answer to the question that arises after reading the novel: why does Tatiana, loving Onegin, remain faithful to her husband.
The writer Sergei Terentyevich Semenov (1868 - 1922), with a preface by L.N. Tolstoy, published a six-volume collection of works, for which he was awarded the prize of the Russian Academy of Sciences in 1912. A prose writer, playwright, publicist, writer Semenov was an encyclopedist - a very rare phenomenon among peasant writers, even more rarely among them there were winners of the Academic Prize. He met the October Revolution with enthusiasm and, five years later, in 1922, he was killed by a gang of kulaks for being a "hut", a librarian, as they would say now. He was 54 years old.
Sergei Zalygin in the preface to Semenov's book wrote: “However, here's the thing: in addition to historical meaning and experience, events have a psychological meaning and experience that can enrich our ideas about the people from whom we descended, and therefore ourselves. current ... What complex, sometimes hopelessly tangled relationships exist between individuals, what tests moral rules are subjected to. Not a sermon, not a confession, but “artistic evidence of the surrounding life” (Zalygin) can be found in the works of the peasant Semyonov.
As the same Zalygin notes, Semenov’s word is “unskillful, but only true”, therefore there is an unconditional spiritual sympathy for the characters and complete trust in the author. And although the story ends on a tragic note, some kind of enlightenment still sounds in the soul for a long time.
V.A. Soloukhin has a poem that mysteriously echoes the story of Semenov. I will quote it in full.
There with this woman I kissed for a long time,
I kissed her all day long.
And here I live. And here I look, bored,
To the sky in monochromatic clouds.
And the soul is deserted and dim,
It's like I haven't kissed at all.
And fresh. And it wouldn't hurt to wash
And rinse the soul with hot alcohol,
Faceted overturned glass.
There with this woman we walked through the evening forest,
I didn't hold my hands on her.
I didn't kiss her at all,
Only on the hands carried through the stream.
She confidently clung to me,
Looked misty into my eyes
And burned my cheek with my breath.
And here I live. And my chest is full of joy
And light whirling, as if
I drank alcohol and immediately got tipsy,
And on the cheek hot breath
Still lives. I'm afraid to touch
To not erase it. Do not destroy.
So what is female love?
Of course, this is a question - from the category of eternal. But there are traditions of morality, the spokesmen of which are great writers, they speak directly about what is characteristic of the national character, they answer eternal questions.
How is Semenov's story similar to Pushkin's novel? And the fact that he speaks of happiness, which would be “so possible, so close” for the heroes of the novel, if Onegin was worthy of his love, and loving Tatyana would not think of him: “Isn’t he a parody?”.
The authors of these works argue that the observance of moral rules is a necessary condition of life. And nothing is more reliable, more truthful than life itself, the authors of real works of art and those "from whom they paint portraits."
part 2
“Inspiration is not for sale, but you can sell the manuscript” - when these words are cited, they refer to the authorship of Pushkin. Of course, the author is Pushkin. But to whom in the story does this phrase belong? After all, if we turn to the work in which this line, it will immediately become clear that this is not the poet's thought. This is the character's statement.
A literary character is not even a lyrical hero, who can bear signs of the author's character or be a spokesman for his thoughts. The speech of a literary hero, to whom the author communicates certain traits, characterizes only himself, composed and invented. Not always the opinion of the artist coincides with the opinion of the character, far from it.
Why did the words of the Bookseller (as the hero is designated) from the poem “The Conversation of the Bookseller with the Poet” come from Pushkin himself? Here is the context of the frequently quoted phrase:
Bookseller
So, weary of love,
Boring with the babble of rumors,
You have already given up
From your inspired lyre.
Now leaving the noisy light
And muses and windy fashion,
What will you choose?
Poet
Freedom
Bookseller
Wonderful. Here's some advice for you.
Listen to the useful truth:
Our age is a merchant; in this age of iron
There is no freedom without money.
What is glory? - Bright patch
On the old rags of the singer.
We need gold, gold, gold:
Save up the gold to the end!
I anticipate your objection;
But I know you, gentlemen:
Your creation is dear to you,
While on the flame of labor
Seething, seething imagination;
It freezes and then
You are tired of writing too.
Let me just tell you:
Inspiration is not for sale
But you can sell the manuscript.
Why slow down? They're coming to me
impatient readers;
Journalists roam around the shop,
Behind them are skinny singers:
Who asks for food for satire,
Some for the soul, some for the pen;
And I confess - from your lyre
I foresee a lot of good.
You are absolutely right. Here is my manuscript. Let's agree.
This is where the poem ends. But in general it is on five pages, the conversation is serious. As you can see, there is no doubt that the positions of the author of the poem and the hero of the poem, the Bookseller, to put it mildly, do not coincide.
The nature of creativity, as you know, is such that compromises are contraindicated for it. As soon as the hero of the poem, the Poet, agreed with the Bookseller, he immediately switched to prose. Here it can be understood that he ceased to be a poet. Otherwise, why is this phrase in the poem written in prose?
The poet agrees with the suggestion of the Bookseller, expressed very cynically:
Poems of a favorite of the Muses and Graces
We will instantly replace the rubles
And in a bunch of cash banknotes
Let's turn your leaves.
Words of a diminutive shade sound like pejorative: “rhymes”, “leaves”.
And it is all the more unfair that the speech of such a character is attributed to Alexander Sergeevich himself! So it is said: "As Pushkin said, inspiration is not for sale, but you can sell the manuscript." Pushkin did not say this! This statement belongs to the character. Precisely on the same basis, one could argue that Pushkin said: “We need gold, gold, gold; Save up the gold to the end!” It's from one tirade, in general.
It seems to me that it is even somehow insulting to the memory of a genius when this, so to speak, quote sounds. It's a shame that the poet himself is identified, in this case, with a character who is hardly spiritually close to him.
After all, how cleverly the Bookseller turned the little thought around, how he adjusted it, how he screwed it in! Oh, this mercantile spirit, this desire to make servants out of the creator!
The poet asks: “What is glory? Is the reader whispering? Persecution or low ignoramus? Or the admiration of a fool? ”, and the Bookseller to him:“ What is glory? A bright patch on the dilapidated rags of the singer”, but, nevertheless, he admits: “I foresee a lot of good from your lyre”. That's why he convinces to sell the manuscript, because he expects to receive a profit. What seems to be wrong with this? Of course, at that time there was no definition of "intellectual property", but in our time is there any protection against the arbitrariness of traders with their approachers?
Art is not commerce, any attempt to make a commodity out of it harms art. During his life, Pushkin was never able to "free himself from private and other debts." And this is the creator of such a talent!
In the 19th century, it was believed that a true artist serves his gift, but does not force his talent to serve his own personal benefit. As E.A. Boratynsky wrote: “Literary work is its own reward; with us, thank God, the degree of respect that we acquire as writers is not commensurate with commercial success. Pushkin tried to live by literary work. Therefore, the theme of the relationship between the poet and the bookseller is especially close to him.
Not so harmless are those who want to make money on someone else's talent. Here is an article by V.F. Odoevsky, written in defense of Pushkin. In 1836 it could not be printed, because there were no literary publications in St. Petersburg, except for those against which it was directed.
Here is what Odoevsky writes. “There was a time when Pushkin, carefree, careless, threw his precious beads at every crossroads; quick-witted people raised it, boasted about it, sold it and made a profit; the craft was profitable, as soon as the poet got bored and put into the air a few phrases about his disinterestedness, about his love for science and literature. The poet took his word for it, because he had a commendable habit of not even looking at those articles that were placed next to his works. “Then all literary industrialists knelt before the poet, smoking incense before him of praise, deserved and undeserved.” Further, Odoevsky writes: “But there is a time for everything. Pushkin matured, Pushkin understood his significance in Russian literature, understood the weight that his name gave to publications honored by his works; he looked around him and was struck by the sad picture of our literary reprisals - its vulgar abuse, its commercial direction, and Pushkin's name disappeared from many, many publications! What were the literary merchants to do then?.. The merchants, knowing that they had the exclusive right of literary life and death, decided to test whether they could do without Pushkin. And the praises of the poet fell silent. Shut up when? When Pushkin published "Poltava" and "Boris Godunov", two works that gave him a solid, undeniable right to the title of the first poet in Russia! Almost no one said a word about them, and this silence alone speaks more than all our so-called analysis and criticism.
Pushkin allowed himself to move away from biased publications and made an attempt to publish Sovremennik. There were four issues of which each subsequent one was more unprofitable than the previous one, and this was an action organized by the public.
Odoevsky writes: “The poet's anger is heavy! It is hard to admit to subscribers that Pushkin does not participate in this or that publication, that he even clearly reveals his indignation against people who have seized the literary monopoly! Something else was invented: is it possible to prove that Pushkin began to weaken, that is, precisely from the moment he stopped taking part in the journals of these gentlemen? .. Many people worked on this laudable deed, worked diligently and for a long time.
Then, for example, from the magazine pages of "Northern Bee" it was announced to the reading public that "Pushkin is no longer a poet, because he publishes a magazine." Karamzin and Zhukovsky, Schiller and Goethe were journalists, and no one blamed them for this, but persecution began against Pushkin, which ended with the fact that by the time the poet died in a duel, he had so many debts that he was hardly ever with them I could pay for it in my lifetime.
The role of merchants from literature in the death of the poet is no less significant than the role of Dantes. Dantes Dantes, but what the “knights-industrialists” (Odoevsky’s definition) and the reading public, who betrayed their poet, did to the poet, is a special conversation. No one reproached Pushkin's contemporaries for their cruelty towards a genius. As you know, there is no collective responsibility, there is only collective irresponsibility.
When N.V. Gogol entered Pushkin's circle of writers, he also had no mercy from the public square journalism. He wrote to Pushkin: “I’m not angry that my enemies scold literary, corrupt talents, but I’m sad about this general ignorance that drives the capital ... It’s sad when you see what a pitiful state the writer is in.”
That's why when you get acquainted with the documents of the last year of the life of a genius, it seems that the duel was suicidal in the sense of resolving already insoluble problems. The mortally wounded Pushkin said that he did not want to live. Hounded.
The poem "A Poet's Conversation with a Bookseller" precedes "Onegin" in all lifetime editions. This poem accompanied, at the behest of the author, his most significant and popular work! It must mean something!
Pushkin’s friend E.A. Baratynsky, in an epigram from 1820, compares the poet and the “businessman” like this:
So, he is a sloth, he is a rascal,
He is just a poet, he is an empty man;
And you, you are a snitch, a spy, a huckster and a pimp...
O! you are a business person.
This is how the Bookseller in Pushkin's poem relates to those who write: "Journalists roam around the shop, Skinny singers follow them." It's not about personal respect or lack thereof, it's about a cynical attitude towards people's creativity, which is regarded only as a way to make money. And is it really the prerogative of dealers to evaluate works and decide which “skinny singers” will be, and which ones they will financially support? Why do artists, living in poverty, living in poverty, giving away their paintings for nothing, become great only after death?
Van Gogh sold one painting during his lifetime, and after his death, Sunflowers and other canvases for a long time broke records in value. Who rules the world, finally? Is it just gold? And if only it, gold, rules the world, is it possible to recognize this order of things as normal, agree with it and rejoice in it?
“But it is strange that, while respecting the creation, the creator is often forgotten. Homer and Correggio, whose works live for centuries, starved to death! Where is the talent that would have been fully rewarded in life? People often only need to die to become immortal. And they begin to live from the day they are dead!” - wrote Pushkin's contemporary Fyodor Glinka.
I propose nevertheless to distinguish and separate the heroes of the works from the authors. And stop attributing to A.S. Pushkin the statement that he did not express.
If we go further in the reasoning, we can assume that Pushkin's poem has something in common with the poem "Chervonets" by N.F. Pavlov, written five years later. By the way, the expression "I'm not a gold coin, so that everyone will like it," it is possible that it came from this work. The poem, in which the protagonist is "a chervonets, dull, thin," ends like this:
I didn't get into the poet's pocket
And in the hands of honest players!
... I also did not buy another:
Heavenly fire love
And the inspiration of the saint
They didn't sell for me.
I will quote the poem in its entirety, because it is worth reading.
But first, a little information about the author. In general, the work of Nikolai Filippovich Pavlov (1803 - 1864) is not fairly forgotten. He became famous at the beginning of his career with the book “Three Tales”, highly noted by Belinsky: “Mr. Pavlov belongs to a small number of our excellent prose writers, ”Tyutchev in his letters, Gogol, Pushkin and other contemporaries, Pavlov wrote both poetry and critical articles and was engaged in publishing.
It was the latter circumstance that played a fatal role in the fact that he was forgotten for a long time and firmly. As AI Herzen describes the situation, Pavlov's newspaper Nashe Vremya received material support from the government. This could be understood in such a way that she was noted as the best. The mood of the reading public was such that as soon as the news of the subsidy became known, the subscription to the newspaper almost ceased. The newspaper fell in the eyes of public opinion and was declared reactionary. The next year, several publications were already given financial support from the government, and they accepted it, and were not considered reactionary. But Pavlov's edition ended its existence, and subsequently, up to the present day, in references to Pavlov it was indicated - "reactionary". Soon the publisher died of a heart disease.
Herzen, who has a negative attitude towards Pavlov, nevertheless involuntarily testifies in his favor. The fact that Pavlov is a victim of the tragic contradictions of Russian reality is evidenced, for example, by the fact that he was a serf by social origin. Pavlov is the illegitimate son of the landowner Grushetsky and a Georgian woman brought from the Persian campaign by Count Zubov. He received his surname from a courtyard man, to whose family he was assigned and considered the property of the Grushetskys until the death of his father, according to whose will he received his freedom. Pavlov's biography is replete with such details that it could well become the basis of an interesting film script or the plot of a novel.
As a writer and critic, Pavlov was distinguished by his “acute formulation of topical social problems,” as it was written about him in an article for the publication of his selected works already in 1989. That is, "reactionary" is gradually forgotten.
By the way, this "reactionary" was in prison and exile on political charges for the whole of 1853, because forbidden books and Belinsky's letter to Gogol were found in his possession. His lines full of irony were widely known: "We are meek people, we do not build barricades and loyally rot in our swamp."
The same Pavlov in 1841 - 1844 with "exemplary zeal" served as an official for special assignments. And there is nothing contradictory in these facts. The personality of the writer Pavlov, like many others, should not be squeezed into the narrow framework of some political and ideological ideas.
Belinsky himself highly valued Pavlov's criticism. In the article "A Look at Russian Literature of 1847" he wrote that the best of the works on the analysis of Gogol's book "Selected passages from correspondence with friends" belongs to N.F. Pavlov. “In his letters to Gogol,” wrote Belinsky, “he adopted his point of view in order to show his infidelity to his own principles.”
How much do we know, not only contemporary, but also in the past, of examples of such, not crafty, but intelligent and penetrating criticism?
So, the poem by N.F. Pavlov "Chervonets". 1829
Burnt wax candle
Gone are the bustles of the day,
And the thought, tearing the heart,
Chased my dream and dreams.
Mighty demon and crafty,
Free traveler on earth
Chervonets, dull, thin,
Lying on my table.
Poet's imagination
It settled on
Who many times on the stage of light
I saw a strong slave;
Who, running through our hands
Been both happiness and misfortune
Creator of both joy and boredom,
The reward of human meanness!
"Where was he, what did he do? .." - with a sad look
I asked expensive metal;
And suddenly, inspired, right, by hell,
Chervonets answered me like this:
Everywhere I paved the way,
Where people had no way;
Skilled from the hut to the halls
To carry out another jester.
I know that earthly glory
I saw geniuses fly
They were passed by the state,
My state will not pass!
I've been north, south
I saw everything and everyone alone,
Was forever in people's service
And forever was their ruler!
Everything earthly was sold to me!
I have witnessed at times
How cheap those were bought
Who values himself very much.
Fame, temporary glory,
Shine of honors, a crowd of friends
I bought more than once, for fun
For your joyless days!
Long-standing nobility patents
I often wrote to the rich;
To the one who is superfluous in the world,
Gained the darkness of extra ancestors,
Criminal of honor and law
With me he was fearless;
That's why I'm everywhere defense,
Who are persecuting justice!
Whom the rumors of the holy power
Drove from the society of people
And rightly branded
With its strict seal,
I saved him from your revenge,
And a storm swept past;
Everywhere he listened to the sounds of flattery,
Everyone looked into his eyes
And who is stronger armed
For the life of my client,
He ate most diligently
At his delicious table!
I quarreled with Pylades Orestes,
Friends was an eternal misfortune;
With me the old bride
Was often young!
And beauty, this angel of peace,
This best reflection of the deity,
And inspiring lyre,
You recognized my rights! ..
I am the gentle look of love feigned
Stopped at richer
And for me the submissive poet
He brought poetry to madmen!
I slander and accusations
A cry of unbridled praise,
Your sufferings, your pleasures
And he bought the doorman's life!..
I travel the world
Wearied by the deceptions of the Jews!..
I didn't hit the poet's pocket
And in the hands of honest players!
..I also did not buy otherwise:
Heavenly fire love
And the inspiration of the saint
They didn't sell for me."
And now imagine such a situation, when Chervonets's reasoning would be attributed to the author of the poem ... Really, absurd! After all, we are talking about morality, and this is a sphere, although subtle, but still really existing. So you need to pay more attention to the context of the quote. And if you quote, it will not be superfluous to refer to the original source. It's useful and interesting.
Literary critic V.V. Kozhinov wrote about the work of F.N. Glinka and other poets of the Tyutchev school who were close to him in spirit: “We should talk about specific artistic integrity.” This artistic integrity of literature can be traced in the best works of Russian authors, when a variety of artists said, bequeathed moral rules to readers, because, as Fyodor Glinka said, “the past is instructive for our future destiny.”
How often do we pronounce memorized phrases on the machine, completely unaware of who said them and what they really mean. Woman's Day has chosen winged expressions, the meaning of which has been distorted over time.
1. “Love is submissive to all ages”
We use a phrase from Pushkin's "Eugene Onegin" when we want to say that people of age can also build relationships. But here's the problem! In fact, this quote is taken out of context and has the opposite meaning.
Alexander Sergeevich writes that love is available to everyone, but useful only to "young, virgin hearts." That is, the author does not advocate changing a wife in old age or having a young lover when her husband gets bored. On the contrary, he says that “at a late and barren age, at the turn of our years, the death trail of passion is sad.” Read carefully!
Love for all ages;
But to young, virgin hearts
Her impulses are beneficial,
Like spring storms to fields:
In the rain of passions they freshen up,
And they are updated and ripen -
And a mighty life gives
And lush color and sweet fruit.
But at a late and barren age,
At the turn of our years
Sad passion dead trail:
So cold autumn storms
The meadow is turned into a swamp
And expose the forest around.
2. "The people are silent"
Another quote that Alexander Pushkin gave us. We interpret it to mean: "passive people" or "people indifferent to everything." But let's go back to the original. In the tragedy Boris Godunov, the author uses this phrase when he speaks of a people who refuse to accept what is being imposed on them. See for yourself!
Masalsky: People! Maria Godunova and her son Fedor poisoned themselves with poison. (The people are silent in horror.) Why are you silent? Shout: long live Tsar Dimitri Ivanovich!The people are silent."
3. "Live and learn"
How interestingly people shortened the phrase of the Roman politician and philosopher Seneca! It actually sounds like this: "Live a century - learn a century how to live." We believe that here we are not talking about knowledge and higher education, but about worldly wisdom, which is much more difficult to obtain.
4. "Beauty will save the world"
The phrase is taken from the work of Fyodor Mikhailovich Dostoevsky "The Idiot". Most often it is used to indicate the physical attractiveness of a person (it's funny when plastic surgeons or cosmetologists use it!). Wherein the author has in mind the beauty is not external, but spiritual.
5. "Elementary, Watson!"
Did you know that the famous Sherlock Holmes quote does not belong to its creator writer Arthur Conan Doyle, but to the directors? In other words, in works about a detective, this expression does not occur.
6. "The end justifies the means"
So say people who consider it right to go over their heads in order to achieve their goal. In fact, the expression was taken out of context, and in the full version it has the opposite meaning and sounds like this: “If the end is the salvation of the soul, then the end justifies the means”. By the way, the quote belongs to the Catholic Saint Ignatius de Loyola.
Love for all ages,
when you are strong and healthy
then you shamefully run away from your wife,
to the depraved maiden under cover!
You are all in the arms of sinful caresses
in cozy havens of love,
and the ardor of love subsides
at the first glimmer of dawn!
Husband is elderly, like a camel,
carries a heavy baggage of worries,
but won't give up food
love with a stupid girl!
Hussar, on the march as an executioner,
the peasant women are tormented in the miraculous darkness.
Then, with a bored face,
he baptizes children in the local church!
And pop there like a youngster
runs on demand to the parishioner.
The judge is gray-haired, like a stallion,
caresses the kept woman's breasts!
The banker is mean to his family,
debauched with disgrace,
I give a thousand for a ruble,
even though he is afraid of his own Torah!
And Vanya Masha, like a cat,
will change with a submissive widow,
and Masha Vanya in the New Year,
will give a bush of shameful horns!
The widower walks heartily
with the girls and will not get tired.
Obedient virgins, good,
when money jingles in your pocket!
P.S.
And I love delicious food.
I love to eat more than life.
Love for a woman is always
Change to love for the Fatherland!
Is the disease of love incurable? Pushkin! Caucasus!
But I was lovingly deaf and dumb! Pushkin!
Everyone in the world has enemies! Pushkin!
Oh, it's not hard to deceive me! Pushkin!
Beautiful must be majestic! Pushkin October 19
Brides! The billionaire is waiting for you!
Not the poet who knows how to weave rhymes! Pushkin!
In the photo above
Natalia Nikolaevna Goncharova, in Pushkin's first marriage,
in the second Lanskaya (August 27, 1812, Karian estate,
Tambov province - November 26, 1863, Petersburg)
- wife of the great Russian poet Alexander Sergeevich Pushkin.
The poem was written under the impression
novel in verse Eugene Onegin A. Pushkin.
Here is an excerpt from it:
Love for all ages;
But to young, virgin hearts
Her impulses are beneficial,
Like spring storms to fields:
In the rain of passions they freshen up,
And they are updated and ripen -
And a mighty life gives
And lush color and sweet fruit.
But at a late and barren age,
At the turn of our years
Sad passion dead trail:
So cold autumn storms
The meadow is turned into a swamp
And expose the forest around.
There is no doubt: alas! Evgeniy
In love with Tatiana like a child;
In the anguish of love thoughts
And he spends day and night.
Reviews
The window to the secret has opened
You shine like a star.
Everything seemed to be no coincidence,
And an arrow pierced my heart.
I dream of our meeting,
And now you are not more desirable
And candles burn before me
And you madly beckon me.
The skies above me have opened
And angels heal my soul
Yin and yang merged in the middle
I think you are the best.
I fly under blue skies
Dreams weave happiness out of my thoughts,
There is no one more beautiful than you
I dream about you...
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