What personality traits of Tatyana are revealed in this fragment?
XIV.
But the crowd hesitated
A whisper ran through the hall...
The lady approached the hostess,
Behind her is an important general.
She was slow
Not cold, not talkative
Without an arrogant look for everyone,
No claim to success
Without these little antics
No imitations...
Everything is quiet, it was just in it,
She seemed like a sure shot
Du comme il faut... (Shishkov, I'm sorry:
I don't know how to translate.)
XV.
The ladies moved closer to her;
The old women smiled at her;
The men bowed down
They caught the gaze of her eyes;
The girls passed quietly
In front of her in the hall: and all above
And raised his nose and shoulders
The general who entered with her.
No one could have her beautiful
name; but head to toe
Nobody could find it
The fact that fashion is autocratic
In the high London circle
It's called vulgar. (I can not...
XVI.
I love this word very much
But I can't translate;
It is new for us,
And it is unlikely to be in honor of him.
It would fit in an epigram ...)
But I turn to our lady.
Sweet carefree charm,
She was sitting at the table
With the brilliant Nina Voronskaya,
This Cleopatra of the Neva;
And you would rightly agree
That Nina marble beauty
I couldn't outshine my neighbor
Even though it was stunning.
XVII.
"Really, - thinks Eugene, -
Is she? But definitely... no...
How! from the wilderness of steppe villages..."
And the unobtrusive lorgnette
He draws every minute
On the one whose appearance reminded vaguely
He has forgotten features.
"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. -
XVIII.
"So you're married! I didn't know the wound!
How long?" - About two years. -
"On whom?" - On Larina. - "Tatyana!"
- Do you know her? "I'm their neighbor."
- Oh, let's go. - The prince approaches
Brings to his wife and her
Family and friend.
The princess looks at him...
And that her soul did not embarrass,
No matter how hard she
Surprised, amazed
But nothing changed her.
She kept the same tone.
Her bow was also quiet.
XIX.
Hey! not that she shuddered
Ile suddenly turned pale, red...
Her eyebrow did not move;
She didn't even purse her lips.
Although he could not look more diligently,
But also the traces of the former Tatyana
Could not find Onegin.
He wanted to talk to her
And - and couldn't. She asked,
How long has he been here, where is he from?
And not from their sides?
Then she turned to her husband
Tired look; slipped out...
And he remained motionless.
Show full text
This fragment reveals such personality traits of Tatyana Larina as her simplicity, pride, restraint.
So, if at the beginning of the novel in the poems "Eugene Onegin" Tatyana was a timid, shy, dreamy girl who could not hide her feelings, then in this fragment the heroine appears in a different light: she grew up, became a married society lady, learned to restrain her feelings and emotions. Naivety and daydreaming were replaced by such qualities as pride and restraint. This is how A.S. Pushkin characterizes Tatyana:
"She was slow
Not cold, not talkative
Without an arrogant look for everyone,
No claim to success
Without these little antics
Without imitative
Small-grass 17.06.2011 - 15:19
XIII
They were overcome with anxiety,
Wanderlust
(Very painful property,
Few voluntary cross).
He left his village
Forests and fields solitude,
Where is the bloodied shadow
Appeared to him every day
And began wandering without a goal,
accessible to the senses alone;
And travel to him
Like everything in the world, tired;
He returned and got
Like Chatsky, from the ship to the ball.
+++++++++++++++++++++++++
XIV
But the crowd hesitated
A whisper ran through the hall...
The lady approached the hostess,
Behind her is an important general.
She was slow
Not cold, not talkative
Without an arrogant look for everyone,
No claim to success
Without these little antics
No imitations...
Everything is quiet, it was just in it,
She seemed like a sure shot
Du comme il faut... (Shishkov, I'm sorry:
I don't know how to translate.)
XV
The ladies moved closer to her;
The old women smiled at her;
The men bowed down
They caught the gaze of her eyes;
The girls passed quietly
Before her in the hall, and all above
And raised his nose and shoulders
The general who entered with her.
No one could have her beautiful
name; but head to toe
Nobody could find it
The fact that fashion is autocratic
In the high London circle
It's called vulgar. (I can not...
XVI
I love this word very much
But I can't translate;
It is new for us,
And it is unlikely to be in honor of him.
It would fit in an epigram ...)
But I turn to our lady.
Sweet carefree charm,
She was sitting at the table
With the brilliant Nina Voronskaya,
This Cleopatra of the Neva;
And you would rightly agree
That Nina marble beauty
I couldn't outshine my neighbor
Even though it was stunning.
++++++++++++++++++++++++++++++
XVII
“Really,” Evgeny thinks: -
Is she? But definitely... no...
How! from the wilderness of the steppe villages ... "
And the unobtrusive lorgnette
He draws every minute
On the one whose appearance reminded vaguely
He has forgotten features.
"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. -
XVIII
"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.
The princess looks at him...
And whatever troubled her soul,
No matter how hard she
Surprised, amazed
But nothing changed her.
She kept the same tone.
Her bow was just as quiet.
XIX
Hey! not that she shuddered
Ile suddenly turned pale, red...
Her eyebrow did not move;
She didn't even purse her lips.
Although he could not look more diligently,
But also the traces of the former Tatyana
Could not find Onegin.
He wanted to talk to her
And - and couldn't. She asked,
How long has he been here, where is he from?
And not from their sides?
Then she turned to her husband
Tired look; slipped out...
And he remained motionless.
XX
Is it the same Tatyana,
Which he alone
At the beginning of our romance
In a deaf, distant side,
In the good fervor of moralizing,
I used to read instructions
The one from which he keeps
Letter where the heart says
Where everything is outside, everything is free,
That girl... is it a dream?
The girl he
Neglected in humble share,
Was she with him now?
So indifferent, so bold?
XXI
He leaves a close rout,
He goes home thoughtfully;
A dream, sometimes sad, sometimes charming
His late sleep is disturbed.
He woke up; they bring him
Letter: Prince N dutifully asks
Him for the evening. "God! To her!..
Oh, I will, I will!” and soon
He smears a courteous answer.
What about him? what a strange dream he is in!
What moved in the depths
Souls cold and lazy?
Annoyance? vanity? or again
Care of youth - love?
XXII
Onegin counts the clock again
Can't wait for the day to end again.
But ten beats; he's leaving
He flew, he is at the porch,
He enters the princess with trepidation;
He finds Tatyana alone,
And together for a few minutes
They are sitting. Words are missing
From the mouth of Onegin. Sullen,
Clumsy, he barely
She answers. Head
It is full of stubborn thought.
He looks stubbornly: she
Sitting calm and free.
The description is interesting in that it goes from Antithesis to Thesis...
She was NOT..., Not..., not...
And which one - everyone draws - in their own way ...
Great description!
Dr. Shooter 19.06.2011 - 23:48
the main thing was a darn boob))
Small grass 20.06.2011 - 13:54
Dr. Shooter
the main thing was a darn boob))
There is NO description of Tatiana's appearance in the novel...
Dr.Shooter 20.06.2011 - 14:27
It doesn't matter if Tatyana is demon siseg, then all spiritual thoughts are secondary! 😀 First of all, a woman should be a woman, and not a board with a hole and fucking conceit
Small grass 20.06.2011 - 18:47
Here is another similar description of Beauty from Cervantes.
The cunning Hidalgo demands to believe in Beauty without seeing it...
Don Quixote assumed a warlike stance and
raised his voice:
- Everything, how many of you there are, - from a place, until everything, how many
you don’t exist, they don’t recognize that, no matter how many beauties there are in the world,
most beautiful of all the Empress of La Mancha, Dulcinea of Toboso!
At these speeches, and at the sight of the man who delivered them, such a strange
Outwardly the merchants stopped; and although by his speech and appearance they immediately
guessed that he was crazy, but they wanted to find out from him
little by little, why did he need the confession he sought from them, and
here is one of the merchants, prone to scoffing and very much in his own mind,
said:
- Señor Cavaliero! We do not know who this venerable person you
interpret. Show us her, and if she really is as beautiful as you
affirm, then we will willingly and voluntarily carry out your command and
testify to this truth.
“If I show it to you,” objected Don Quixote, “what will it cost you?
bear witness to the undeniable truth? It's all about not seeing
believe, testify, confirm, swear and defend, and
otherwise I will challenge you to a fight, you impudent and arrogant rabble. Come out one by one
as required by the knightly charter, or, as is usual with a similar kind
people, true to their bad habit, attack all of a sudden. With full
with the consciousness of my rightness, I will meet you with my chest and give you a proper rebuff.
- Señor Cavaliero! the merchant spoke again. - On behalf of everyone
of the nobles present here, I turn to you with a humble request: that
we must not burden our conscience with evidence in favor of the person whom we
never seen and about which absolutely nothing was heard, and in addition not to humiliate
similar testimony of empresses and queens of Alcarria and Estremadura,
be so kind, your grace, show us any portrait of this
persons, even the size of a grain of wheat: after all, a pig is recognized by a bristle,
then we will be completely sure, consider ourselves completely satisfied and, in our
turn, we will not remain in your debt and will please your grace. I confess
we are already fascinated by her, and even if we look at the portrait we
it became clear that the person in question was crooked in one eye, and out of the other she
cinnabar and sulfur ooze, anyway, for the sake of your grace, we recognize her
any merit.
“She doesn’t ooze anything like that, you vile creature!” - blazing with anger
cried Don Quixote. “She doesn’t ooze anything like that,” I say, “it’s
heavenly creature exudes only ambergris and musk. And she is not at all crooked and not
humpbacked, but slender as the ice needle of Guadarrama. You pay me now
for the greatest blasphemy, for you have defiled the divine beauty of my
ladies.
With these words, he took the spear at the ready and with such fury and
fiercely rushed at his interlocutor, that if, for the happiness of the impudent
merchant, Rocinante did not stumble and fall along the way, then he would not
hello.
In those days when in the gardens of the Lyceum
I blossomed serenely
Apuleius read willingly,
Didn't read Cicero
In those days, in the mysterious valleys,
In the spring, with the cries of swans,
Near the waters shining in silence
The Muse began to appear to me.
My student cell
Suddenly lit up: Muse in her
Opened a feast of young inventions,
Sang children's fun,
And the glory of our antiquity,
And heart trembling dreams.
II.
And the light met her with a smile;
Success inspired us first;
Old man Derzhavin noticed us
And, descending into the coffin, he blessed.
. . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .
III.
And I, imputing myself to the law
Passion is a single arbitrariness,
Sharing feelings with the crowd
I brought the frisky Muse
To the noise of feasts and violent disputes,
Thunderstorms of the midnight watch;
And to them in crazy feasts
She carried her gifts
And how Bacchanochka frolicked,
At the cup she sang for the guests,
And the youth of bygone days
Behind her violently dragged -
And I was proud among friends
My windy girlfriend.
IV.
But I fell behind their union
And ran into the distance ... she followed me.
How often the affectionate Muse
I delighted the dumb way
The magic of a secret story!
How often, along the rocks of the Caucasus,
She is Lenore, by the moon,
Riding a horse with me!
How often along the banks of Taurida
She me in the darkness of the night
Led to listen to the sound of the sea,
The silent whisper of the Nereid,
Deep, eternal choir of shafts,
A hymn of praise to the father of the worlds.
v.
And, forgetting the distant capital
And glitter and noisy feasts,
In the wilderness of Moldova sad
She's humble tents
Tribes wandering visited,
And between them went wild
And forgot the speech of the gods
For poor, strange languages,
For the songs of the steppe, dear to her ...
All of a sudden everything changed:
And here she is in my garden
She appeared as a county lady,
With a sad thought in my eyes,
With a French book in hand.
VI.
And now I'm Muzu for the first time
I bring you to a social event (44);
On the charms of her steppe
I look with jealous timidity.
Through the close row of aristocrats,
Military dandies, diplomats,
And proud ladies she glides;
Here she sat quietly and looked,
Admiring the noisy crampedness,
Flashing dresses and speeches,
Apparition of slow guests
Before the young mistress,
And the dark frame of men
Around the ladies as about the pictures.
VII.
She likes order
oligarchic conversations,
And the chill of calm pride,
And this mixture of ranks and years.
But who is in the chosen crowd
Stands silent and misty?
For everyone, it seems like a stranger.
Faces flash before him
Like a series of boring ghosts.
What, spleen or suffering arrogance
In his face? Why is he here?
Who is he? Is it Eugene?
Is he really? .. So, exactly he is.
- How long has he been brought to us?
VIII.
Is he still the same, or has he calmed down?
Ile poses as an eccentric?
Can you tell me how he came back?
What will he present to us?
What will it be now? Melmoth,
Cosmopolitan, patriot,
Harold, Quaker, prude,
Or another flaunts a mask,
Or just be a good little one,
How are you and me, how is the whole world?
At least my advice is:
Get behind the shabby fashion.
He fooled the world enough ...
- Do you know him? - Yes and no.
IX.
Why so unkind
Do you respond to him?
For the fact that we are restless
We're busy, we judge everything,
What ardent souls carelessness
selfish insignificance
Or offend or make laugh,
That the mind, loving space, crowds,
That too often talk
We are happy to take on business
That stupidity is windy and evil,
That important people care about nonsense,
And that mediocrity alone
We are on the shoulder and not strange?
x.
Blessed is he who was young from a young age,
Blessed is he who is ripe in time,
Who gradually life is cold
With years he knew how to endure;
Who did not indulge in strange dreams,
Who did not shy away from the mob of the secular,
Who at twenty was a dandy or a grip,
And at thirty profitably married;
Who got free at fifty
From private and other debts,
Who is fame, money and ranks
Calmly got in line
Who has been talked about for a century:
N.N. is a wonderful person.
XI.
But it's sad to think that in vain
We were given youth
What cheated on her all the time,
That she deceived us;
That our best wishes
That our fresh dreams
Decayed in rapid succession,
Like leaves in autumn rotten.
It's hard to see in front of you
One dinner is a long row,
Look at life as a ritual
And following the orderly crowd
Go without sharing with her
No shared opinions, no passions.
XII.
Becoming the subject of noisy judgments,
Unbearable (agree on that)
Between prudent people
Become a fake weirdo
Or a sad madman
Or a satanic freak,
Or even my Demon.
Onegin (I'll take care of him again),
Killing a friend in a duel
Having lived without a goal, without labor
Until the age of twenty-six
Languishing in idle leisure
No service, no wife, no business,
Couldn't do anything.
XIII.
They were overcome with anxiety,
Wanderlust
(Very painful property,
Few voluntary cross).
He left his village
Forests and fields solitude,
Where is the bloodied shadow
Appeared to him every day
And began wandering without a goal,
accessible to the senses alone;
And travel to him
Like everything in the world, tired;
He returned and got
Like Chatsky, from the ship to the ball.
XIV.
But the crowd hesitated
A whisper ran through the hall...
The lady approached the hostess,
Behind her is an important general.
She was slow
Not cold, not talkative
Without an arrogant look for everyone,
No claim to success
Without these little antics
No imitations...
Everything is quiet, it was just in it,
She seemed like a sure shot
Du comme il faut… (Shishkov, sorry:
I don't know how to translate.)
XV.
The ladies moved closer to her;
The old women smiled at her;
The men bowed down
They caught the gaze of her eyes;
The girls passed quietly
In front of her in the hall: and all above
And raised his nose and shoulders
The general who entered with her.
No one could have her beautiful
name; but head to toe
Nobody could find it
The fact that fashion is autocratic
In the high London circle
It's called vulgar. (I can not…
XVI.
I love this word very much
But I can't translate;
It is new for us,
And it is unlikely to be in honor of him.
It would fit in an epigram ...)
But I turn to our lady.
Sweet carefree charm,
She was sitting at the table
With the brilliant Nina Voronskaya,
This Cleopatra of the Neva;
And you would rightly agree
That Nina marble beauty
I couldn't outshine my neighbor
Even though it was stunning.
XVII.
"Really, - thinks Eugene, -
Is she? But definitely... no...
How! from the wilderness of the steppe villages ... "
And the unobtrusive lorgnette
He draws every minute
On the one whose appearance reminded vaguely
He has forgotten features.
"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 Zhenya. -
XVIII.
"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.
The princess looks at him...
And whatever troubled her soul,
No matter how hard she
Surprised, amazed
But nothing changed her.
She kept the same tone.
Her bow was also quiet.
XIX.
Hey! not that she shuddered
Ile suddenly turned pale, red...
Her eyebrow did not move;
She didn't even purse her lips.
Although he could not look more diligently,
But also the traces of the former Tatyana
Could not find Onegin.
He wanted to talk to her
And - and couldn't. She asked,
How long has he been here, where is he from?
And not from their sides?
Then she turned to her husband
Tired look; slipped out...
And he remained motionless.
XX.
Is it the same Tatyana,
Which he alone
At the beginning of our romance
In a deaf, distant side,
In the good heat of moralizing
I used to read instructions
The one from which he keeps
Letter where the heart says
Where everything is outside, everything is free,
That girl... is it a dream?
The girl he
Neglected in humble share,
Was she with him now?
So indifferent, so bold?
XXI.
He leaves a close rout,
He goes home thoughtfully;
A dream, sometimes sad, sometimes charming
His late sleep is disturbed.
He woke up; they bring him
Letter: Prince N. obediently asks
Him for the evening. "God! To her!..
Oh, I will, I will!" and soon
He smears a courteous answer.
What about him? what a strange dream he is in!
What moved in the depths
Souls cold and lazy?
Annoyance? vanity? or again
Care of youth - love?
XXII.
Onegin counts the clock again
Can't wait for the day to end again.
But ten beats; he's leaving
He flew, he is at the porch,
He enters the princess with trepidation;
He finds Tatyana alone,
And together for a few minutes
They are sitting. Words are missing
From the mouth of Onegin. Sullen,
Clumsy, he barely, barely
She answers. Head
It is full of stubborn thought.
He looks stubbornly: she
Sitting calm and free.
XXIII.
The husband comes. He interrupts
This unpleasant tête-à-tête;
With Onegin he remembers
Pranks, jokes of former years.
They are laughing. Guests enter.
Here is a coarse salt of secular anger
The conversation began to liven up;
Before the hostess, light nonsense
Flashed without stupid affectation,
And interrupted him meanwhile
Reasonable sense without vulgar topics
Without eternal truths, without pedantry,
And did not frighten anyone's ears
With its free vivacity.
XXIV.
There was, however, the color of the capital,
And know and fashion samples,
Everywhere you meet faces
Necessary fools;
There were old ladies
In caps and roses, looking evil;
There were a few girls
Not smiling faces;
There was a messenger who said
About state affairs;
There he was in fragrant gray hair
The old man, joking in the old way:
Superbly subtle and smart
Which is kind of funny these days.
XXV.
There was an avid epigram
Angry sir to everything:
The master's tea is too sweet,
On the plane of ladies, on the tone of men,
To talk about a vague novel,
On the monogram given to two sisters,
To the lies of the magazines, to the war,
On the snow and on his wife.
. . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . .
XXVI.
There was Prolasov, who deserved
Known for the meanness of the soul,
In all albums blunted,
St.-Priest, your pencils;
At the door another ballroom dictator
He stood like a magazine picture,
Blush, like a willow cherub,
Tightened, dumb and immovable,
And the vagrant traveler,
Overstarched impudent,
Away smile raised a smile
With your caring posture,
And silently exchanged glance
He received a general verdict.
XXVII.
But my Onegin evening is whole
Tatyana was busy alone,
Not this timid girl,
In love, poor and simple,
But an indifferent princess,
But impregnable goddess
Luxurious, regal Neva.
O people! everyone looks like you
On the progenitor Eva:
What is given to you does not attract;
The serpent is constantly calling you
To yourself, to the mysterious tree:
Give you forbidden fruit
Otherwise, you won't be in heaven.
XXVIII.
How Tatyana has changed!
How firmly she entered her role!
As oppressive dignity
Receptions soon accepted!
Who would dare to look for a tender girl
In this majestic, in this careless
Legislator Hall?
And he moved her heart!
About him she is in the darkness of the night,
Until Morpheus arrives,
It used to be virginally sad,
Raises languid eyes to the moon,
Dreaming with him someday
Complete the path of humble life!
XXIX.
Love has no age;
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
The dead trail of passion is sad:
So cold autumn storms
The meadow is turned into a swamp
And expose the forest around.
XXX.
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.
Mind not listening to strict penalties,
To her porch, glass porch
He drives up every day;
He follows her like a shadow;
He is happy if she throws
Boa fluffy on the shoulder,
Or touch hot
Her hands, or part
Before her is a motley regiment of liveries,
Or raise a handkerchief to her.
XXXI.
She doesn't notice him
No matter how he fights, even die.
Accepts freely at home
Away with him says three words,
Sometimes he will meet with one bow,
Sometimes they don't notice at all.
There is not a drop of coquetry in her -
He is not tolerated by the upper world.
Onegin begins to turn pale:
She either can’t see, or isn’t sorry;
Onegin dries up, and hardly
He no longer suffers from consumption.
Everyone sends Onegin to the doctors,
They send him in chorus to the waters.
XXXII.
But he does not go; he advance
Ready to write to great-grandfathers
About an early meeting; and Tatyana
And there is no case (their gender is like that);
And he is stubborn, does not want to fall behind,
Still hoping, busy;
Courage healthy, sick
Princess with a weak hand
He writes a passionate message.
Even if it makes little sense
He saw in letters not in vain;
But, to know, heartache
It has already come to him unbearable.
Here is his letter to you.
Letter
Onegin to Tatyana
I foresee everything: you will be offended
Sad mystery explanation.
What bitter contempt
Your proud look will portray!
What I want? for what purpose
Will I open my soul to you?
What evil fun
Maybe I'll give you a reason!
When I accidentally met you,
I notice a spark of tenderness in you,
I didn't dare believe her.
Habit sweet did not give way;
Your hateful freedom
I didn't want to lose.
Another thing tore us apart...
The unfortunate victim of the Lena fell ...
From everything that is dear to the heart,
Then I tore off my heart;
Alien to everyone, not bound by anything,
I thought: liberty and peace
replacement for happiness. Oh my God!
How wrong I was, how punished!
No, every minute to see you,
Follow you everywhere
The smile of the mouth, the movement of the eyes
Catch with loving eyes
Listen to you for a long time, understand
Soul all your perfection,
Freeze before you in agony,
To turn pale and go out ... that's bliss!
And I am deprived of that: for you
I trudge around at random;
The day is dear to me, the hour is dear to me:
And I spend in vain boredom
Fate counted days.
And they are so painful.
I know: my age is already measured;
But for my life to last
I have to be sure in the morning
That I will see you in the afternoon ...
I'm afraid: in my humble prayer
Will see your stern gaze
Contemptible cunning ventures -
And I hear your angry reproach.
If only you knew how awful
Longing for love,
Blaze - and mind all the time
Subdue the excitement in the blood;
Want to hug your knees
And, sobbing, at your feet
Pour out prayers, confessions, penalties,
Everything, everything that could be expressed.
And meanwhile feigned coldness
Arm both speech and gaze,
Have a calm conversation
Look at you with a cheerful look! ..
But so be it: I'm on my own
Can't resist anymore;
Everything is decided: I'm in your will,
And surrender to my destiny.
XXXIII.
No answer. He sends again:
Second, third letter
No answer. In one meeting
He's on his way; just entered ... him
She is towards. How harsh!
They do not see him, not a word is with him;
Wu! as now surrounded
Epiphany cold she!
How to keep resentment
Stubborn lips want!
Onegin fixed a sharp look:
Where, where is confusion, compassion?
Where are the stains of tears?.. They are not, they are not!
On this face there is only a trace of anger ...
XXXIV.
Yes, maybe fear of a secret,
So that the husband or the world does not guess
Leprosy, random weaknesses ...
All that my Onegin knew...
There is no hope! He is leaving,
He curses his madness -
And, deeply immersed in it,
He renounced the world again.
And in a silent office
He remembered the time
When the cruel blues
Chased him in the noisy light,
Caught, took by the collar
And locked in a dark corner.
XXXV.
He began to read again indiscriminately.
He read Gibbon, Rousseau,
Manzoni, Herdera, Chamfort,
Madame de Staël, Bisha, Tissot,
I read the skeptical Bel,
I read the works of Fontenelle,
I read from our someone,
Rejecting nothing:
And almanacs, and magazines,
Where teachings tell us
Where now they scold me like that,
Where are these madrigals?
I met myself sometimes:
E semper bene, gentlemen.
XXXVI.
So what? His eyes read
But thoughts were far away;
Dreams, desires, sorrows
Crowded deep into the soul.
He is between the printed lines
Read with spiritual eyes
Other lines. In them he
It was completely deep.
Those were secret legends
Hearty, dark antiquity,
Dreams unrelated to anything
Threats, rumors, predictions,
ile long tale nonsense alive,
Ile letters of a young maiden.
XXXVII.
And gradually in lull
And he flows into feelings and thoughts,
And before him Imagination
His motley mosque pharaoh.
That he sees: on melted snow,
As if sleeping at night,
The young man lies motionless,
And he hears a voice: so what? killed.
He sees the forgotten enemies,
Slanderers, and evil cowards,
And a swarm of young traitors,
And a circle of contemptible comrades,
That rural house - and at the window
She sits ... and that's it!
XXXVIII.
He's so used to getting lost in it
That almost drove me crazy
Or not become a poet.
To admit: I would have borrowed something!
That's right: the power of magnetism
Poems of Russian mechanism
I hardly realized at that time
My clueless student.
How he looked like a poet
When I sat alone in the corner
And in front of him a fireplace was burning,
And he purred: Benedetta
Il Idol mio and dropped
In the fire, then a shoe, then a magazine.
XXXIX.
The days raced by; in warm air
Winter was already allowed;
And he did not become a poet,
Didn't die, didn't go crazy.
Spring makes him alive: for the first time
Their chambers are locked
Where he wintered like a marmot,
double windows, fireplace
He leaves on a clear morning
Rushing along the Neva in a sleigh.
On the blue, cut ice
The sun is playing melts dirty
The streets are full of snow.
Where is your fast run on it
XL.
Striving Onegin? you in advance
You already guessed; exactly:
Rushed to her, to his Tatyana
My uncorrected weirdo.
He walks like a dead man.
There is not a single soul in the hallway.
He is in the hall; next: no one.
He opened the door. What is it
Striking with such force?
The princess is in front of him, alone,
Sitting, not cleaned, pale,
Reading a letter
And quietly tears flow like a river,
Rest your cheek on your hand.
XLI.
Oh, who would mute her suffering
I didn't read it in this quick moment!
Who is the former Tanya, poor Tanya
Now I wouldn't recognize the princess!
In anguish of insane regrets
Eugene fell at her feet;
She trembled and was silent,
And looks at Onegin
No surprise, no anger...
His sick, fading gaze,
A pleading look, a silent reproach,
She understands everything. simple maiden,
With dreams, the heart of the old days,
Now she has risen again.
XLII.
She doesn't pick it up.
And without taking his eyes off him,
From greedy lips does not take away
His insensitive hand...
What is her dream now?
There is a long silence,
And finally she is quiet:
"That's enough, get up. I must
You explain frankly.
Onegin, remember that hour
When in the garden, in the alley we
Fate brought, and so humbly
Have I heard your lesson?
Today is my turn.
XLIII.
"Onegin, I was younger then,
I seem to be better
And I loved you; and what?
What have I found in your heart?
What answer? one severity.
Isn't it true? You weren't news
Humble girls love?
And now - God - the blood runs cold,
As soon as I remember the cold look
And this sermon... But you
I do not blame: in that terrible hour
You have acted nobly.
You were right before me:
I am grateful with all my heart...
XLIV.
"Then, isn't it? - in desert,
Far from the vain rumors,
You didn't like me... Well now
Are you following me?
Why do you have me in mind?
Is it not because in high society
Now I must appear;
That I am rich and noble
That the husband is mutilated in battles,
What is it that the yard caresses us for?
Is it because my shame
Now everyone would be noticed
And could bring in society
You seductive honor?
XLV.
“I cry ... if your Tanya
You haven't forgotten so far
Then know: the causticity of your abuse,
Cold, strict conversation
If only I had power,
I would prefer hurtful passion
And these letters and tears.
To my baby dreams
Then you had at least pity,
Though respect for years ...
And now! - what's on my feet
Has it brought you? what a little!
How is it with your heart and mind
To be the feelings of a petty slave?
XLVI.
“And to me, Onegin, this splendor,
Hateful life tinsel,
My progress in a whirlwind of light
My fashion house and evenings
What's in them? Now I'm happy to give
All this rags of masquerade
All this brilliance, and noise, and fumes
For a shelf of books, for a wild garden,
For our poor home
For those places where for the first time,
Onegin, I met you
Yes, for a humble cemetery,
Where is now the cross and the shadow of the branches
Over my poor nanny ...
XLVII.
And happiness was so possible
So close!.. But my fate
Already decided. Carelessly
Perhaps I did:
Me with tears of spell
Mother prayed; for poor Tanya
All the lots were equal ...
I got married. You should,
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.
XLVIII.
She left. Worth Eugene,
As if struck by thunder.
In what a storm of sensations
Now he is immersed in his heart!
But spurs suddenly rang out,
And Tatyana's husband showed up,
And here is my hero
In a minute, evil for him,
Reader, we will now leave,
For a long time ... forever ... Behind him
Pretty we are one way
Wandered around the world. congratulations
Each other with the shore. Hooray!
Long ago (wouldn't it?) it's time!
XLIX.
Whoever you are, my reader,
Friend, foe, I want to be with you
To part now as a friend.
Sorry. Why would you follow me
Here I did not look for careless stanzas,
Are rebellious memories
Rest from work
Living pictures, or sharp words,
or grammatical errors,
God forbid that in this book you
For fun, for dreams
For the heart, for magazine hits
Although I could find a grain.
Let's part for this, I'm sorry!
L.
Forgive me and you, my strange companion,
And you, my faithful Ideal,
And you, alive and permanent,
Even a little work. I knew with you
All that is enviable for a poet:
Oblivion of life in storms of light,
Conversation sweet friends.
Many, many days have passed
Ever since young Tatyana
And with her Onegin in a vague dream
Appeared to me for the first time -
And the distance of free romance
I'm through the magic crystal
Still unclear.
L.I.
But those who are in a friendly meeting
I read the first stanzas...
There are no others, and those are far away,
As Sadie once said.
Without them, Onegin is completed.
And the one with whom he was educated
Tatyana dear Ideal ...
Oh, a lot, a lot Rock took away!
Blessed is he who celebrates Life early
Left without drinking to the bottom
Glasses of full wine
Who has not finished reading her novel
And suddenly he knew how to part with him,
As I am with my Onegin.
Farewell, and if forever, then forever goodbye. Byron is the beginning of Byron's poem "Forgive me" (1816), related to his divorce from his wife. (44) Rout, an evening meeting without dancing, actually means a crowd. (Note by A. S. Pushkin). "decency ..." (French)."vulgar" And excellent. "blessed" "my idol"
Chapter 18 Impeccable Manners
"Somme il faut" oh? "je ne sais quoi"
"How to" or "I don't know what" (French)
“... She was leisurely,
Not cold, not talkative
Without an arrogant look for everyone,
No claim to success
Without these little antics
No imitations...
Everything is quiet, it was just in it,
She seemed like a sure shot
Du compe il faut ... (Shishkov, sorry:
I don't know how to translate.)
A. S. Pushkin. "Eugene Onegin"
Pushkin's playful appeal to Shishkov, who fought against the use foreign words and expressions, emphasizes the specific meaning of the expression comme il faut. Its literal translation is “as it should be”, but it does not convey the content of the concept that was denoted by this idiom. "The true shot du comme il faut" is an example of excellent education, impeccable manners, impeccable taste. It is possible to single out the necessary signs, individual signs of these qualities, but it is impossible to determine the general impression that people who fully possess them made on those around them.
Chesterfield often used the expression je ne sais quoi (I don't know what) instead of comme il faut, confessing that "everyone feels it, although no one can describe it." In fact, Pushkin, describing Tatyana, lists mainly those qualities that were not in her (not cold, not talkative, etc.). In the same way, Leo Tolstoy describes mm Berg: “She entered neither late nor early, not soon, not quietly (...) Her every movement was light and graceful and free (...) She went forward, not lowering her eyes and not looking in the crowd in confusion, but calmly, firmly and easily ... "(From the drafts of the novel" War and peace").
And here is a description of Lady Roseville from Bulwer-Lytton's novel: “But most of all, Lady Roseville was captivated by her manner of carrying herself in society, completely different from how all other women behaved, and yet you could not, even in the smallest trifles , to determine what exactly is the difference, and this, in my opinion, is the surest sign of refined education. It delights you, but it must appear so unobtrusively and inconspicuously that you cannot in any way establish the immediate cause of your admiration.
Chesterfield argues in the same vein: “I knew many women, well built and beautiful, with regular features, who, however, no one liked, while others, far from being so well built and not so beautiful, fascinated everyone who saw them. Why? Yes, because Venus, when there are no graces next to her, is not able to seduce a man in the same way that they seduce them in her absence. (The word "grace" Chesterfield usually uses as a synonym for the expression je ne sais quoi). Apparently, Pushkin also means the same thing:
“…But I am addressing our lady.
Sweet carefree charm,
She was sitting at the table
With the brilliant Nina Voronskaya,
This Cleopatra of the Neva;
And you would rightly agree
That Nina marble beauty
I couldn't outshine my neighbor
Even if it was stunning."
("Eugene Onegin")
Chesterfield remarked: “Perhaps nothing is acquired with such difficulty and nothing is as important as good manners ...” Pelam exclaimed in his tone: “What a rare gift - the ability to behave! How difficult it is to define it, how incomparably more difficult to partake of it!” To develop such a gift in a child, of course, all those who hoped to introduce their pupil into a good society strove.
It would be appropriate to make a small digression regarding the limits of the possibility of any system of education. Our heroes - people of the 18th-19th centuries - were prone to educational exaggeration of the role of education and upbringing, placing too high hopes on them.
It is not surprising that Chesterfield, who put so much effort into raising his son, dreamed that the young man would be close to perfection ... Alas! Philip Stanhope did not inherit the intelligence and charm of his father, and, according to the testimony of people who knew him as an adult, he was a well-bred man, but completely ordinary.
This is an eloquent example of the fact that neither an aristocratic origin, nor the best education can replace natural talents.
But, on the other hand, there is also an encouraging point here: it is not at all necessary to belong to a noble family in order to properly use the wise advice of the Earl of Chesterfield.)
Trying to determine what true upbringing is, Chesterfield compared it with some kind of invisible line, crossing which a person becomes unbearably ceremonial, and not reaching it - cheeky or awkward.
The subtlety lies in the fact that a well-mannered person knows when to ignore the rules of etiquette in order to maintain a good tone.
Leo Tolstoy liked to remind children of a famous historical anecdote about Louis XIV. The king, wishing to test a certain nobleman, who was famous for his courtesy, invited him to enter the carriage first. Etiquette strictly obliged to let the king go first, but that man, without hesitation, got into the carriage first. “Here is a truly well-bred man!” - said the king. The meaning of this story: good education is designed to simplify, not complicate relationships between people.
It was, of course, impossible to teach the elusive comme il faut with the help of some specific, well-established techniques that guarantee the desired result. Chesterfield wrote to his son: "If you ask me how you can get what you and I are not able to establish or determine, then I can only answer - by observing."
Obviously, the ability to behave is one of those skills that is transmitted only from hand to hand, through observation and involuntary imitation, absorbing the atmosphere of the environment where this skill was developed to the level of art.
Chesterfield advised his son in a business-like manner: “In the evenings, I advise you to be in the company of secular ladies, they deserve your attention, and you should give it to them. In their company, you will polish your manners and get used to being helpful and courteous ... "V. A. Sollogub argued in exactly the same spirit:" If real lines catch your eye young man entering the worldly field, may he not disdain my advice to always beware of society without ladies, I mean - decent ones. With them, one must involuntarily behave cautiously, politely, seek grace and acquire the right habits. Self-respect is also strengthened by respect for a woman.
Young people “entering the worldly field” in Russia in the 1830s and 1840s had ample opportunity to follow such advice by visiting the brilliant salons for which both capitals were famous. Recalling these salons, K. D. Kavelin wrote that, among other things, they were very important “precisely as a school for young beginners: here they were brought up and prepared for their subsequent literary and scientific activities. Introduced into wonderfully educated families by the kindness and cordiality of the hosts, the young men who had just left the student bench received access to the best society, where they felt good and free, thanks to the amazing simplicity and ease that reigned in the house and at the evenings. Kavelin wrote these lines in 1887 and sadly added: “Now we don’t hear about such salons anymore, and that’s why now it’s much more difficult for young people to be brought up to an intelligent life ...”
This is not the place to go into an analysis of the reasons why such circles and salons took root with difficulty in Russian life. But it is obvious that Kavelin's reflections cannot be attributed only to the usual elegiac longing for the days of his youth. The next more than a hundred years convincingly demonstrate that it was becoming more and more difficult in Russia to "be educated for an intelligent life."
That elusive "je ne sais quoi", the special charm of people from "good society", largely consisted precisely in the simplicity and ease of their behavior, which we have already discussed. Pushkin loved the word "carelessly", using it in the sense of "at ease", "gracefully":
(“When diligently behind the hoop
You sit, leaning casually,
Lower your eyes and curls ... ")
But it was not for nothing that this simplicity and ease turned out to be so inaccessible for imitation, so painfully inaccessible to people of a different circle, who in secular salons became either constrained or cheeky. Many of them theoretically knew the rules of behavior very well, but, as Chesterfield rightly noted, “You must not only be able to be polite, (...) the highest rules of good manners also require that your politeness be at ease.” Easy to say!..
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On January 25, congratulating all Tatyanas on their name days, I remembered the very first Tatyana from my school days. Probably, almost everyone had her first - Pushkin's Tatiana from "Eugene Onegin". Recently I reread this immortal work of my favorite poet again with constant interest and spiritual benefit. I remember that we wrote an essay about the image of Tatyana, compared it with the “brilliant Nina Voronskaya” and our ideas of the ideal female image ...So, she was called Tatyana.
Nor the beauty of his sister,
Nor the freshness of her ruddy
If she didn't attract the eyes...
A lot of “water has flowed under the bridge” since then... Fashion and our ideas about it have changed, our external images have also changed, professional image stylists have appeared in our country and city. And we tried to improve externally - face, hairstyle, figure, clothes ... But over the years we began to notice that the more attention is paid to the external, the less it remains for the main thing - our internal state. And they did not notice how in society the external began to make its claims to supremacy: a cult of the body, external beauty and entertainment appeared. And we, looking with amazement at what was happening, began to fully agree with Alexander Sergeevich: "There is no life in them - all wax dolls."
And then they saw that even image stylists sometimes have no happiness, tk. Husbands leave and families collapse... So, it's not about styles and images... But what is it? And how can we find harmony between our internal and external state. We often see, and sometimes we ourselves feel, when there is no correspondence between these important concepts, we get only empty acting, a mask, and in society - a masquerade.
For myself, I again found confirmation of the expression of this harmony in the image of Tatyana Larina:
She was slow
Not cold, not talkative
Without an arrogant look for everyone,
No claim to success
Without these little antics
No imitations...
Everything is quiet, it was just in it,
She seemed like a sure shot
Du comme il faut… (Shishkov, sorry:
I don't know how to translate.)
The ladies moved closer to her
The old ladies smiled at her
The men bowed down
They caught the gaze of her eyes;
The girls passed quietly
Before her in the hall; and all above
And raised his nose and shoulders
The general who entered with her.
No one could have her beautiful
name; but head to toe
Nobody could find it
The fact that fashion is autocratic
In the high London circle
It's called vulgar...
But I turn to our lady.
Sweet carefree charm,
She was sitting at the table
With the brilliant Nina Voronskaya,
This Cleopatra of the Neva;
And you would rightly agree
That Nina marble beauty
I couldn't outshine my neighbor
Even though it was stunning.
We never found out: how tall was Tatyana, what was she like - fragile or vice versa? What were her eyes and hair like? No one called her "beautiful", her appearance did not cause admiration and worship from anyone. But, as we see, Tatyana herself was indifferent to this - she did not care at all to impress with her appearance. But at the same time, we see that she enjoys the undoubted respect of both her husband and the whole society: “Ladies moved closer to her; Old women smiled at her; Men bowed lower, Caught the look of her eyes; the nose and shoulders were raised by the General who entered with her.
And the secret, apparently, is that Tatyana is beautiful and charming not in her external, but in her inner disposition, - that sweet and charming femininity, which Onegin later regretted so much, which was rare even then, and now is so extremely rare in modern women. …
Thank you for the lesson, Alexander Sergeevich!
