Book monuments of the Pskov region. The main types of subordinate clauses Eugene Onegin read with stress

There are (by analogy with the secondary members of the proposal: definitions, additions and circumstances) three main type adnexal: definitive, explanatory and circumstantial; the latter, in turn, are divided into several types.

Subordinate clause can refer to a specific word in the main (conditional adjectives) or to everything main (non-verbal adventitious).

For determining the type of subordinate clause three interrelated features must be taken into account: 1) a question that can be asked from the main clause to the subordinate clause; 2) the conditional or non-verbal nature of the subordinate clause; 3) a means of communication of the subordinate with the main.

Clauses

Like definitions in a simple sentence, attributive clauses express a sign of an object, but, unlike most definitions, they often characterize the object not directly, but indirectly - through the situation one way or another related to the subject.

In connection with the general value of the attribute of the subject attributive clauses dependent on the noun(or from a word in the meaning of a noun) in the main clause and answer the question which? They join the main only with allied words - relative pronouns (which, which, whose, what) and pronouns (where, where, where, when). In a subordinate clause, allied words replace that noun from the main one on which the subordinate clause depends.

For instance: [One of the contradictions, (which creativity is alive Mandelstam), concerns own nature of this creativity] (S. Averintsev)- [n., (what (= contradictions)),].

Allied words in complex sentences with can be divided into main (which, what, whose) and minor (what, where, where, where, when). Non-basic can always be replaced by the main allied word which the, and the possibility of such a replacement is a clear sign definitive adjectives.

The village where(wherein) Eugene was bored, there was a lovely corner ... (A. Pushkin)- [noun, (where),].

I was reminded today of a dog that(which) was friend of my youth (S. Yesenin)- [n.], (what).

At night, in the desert of the city, there is one hour, imbued with longing, when(in which) for the whole city at night got off ... (F. Tyutchev) -[n.], (when).

In the main sentence there are often demonstrative words (demonstrative pronouns and adverbs) that, such For example:

It was that famous artist whom she saw on stage last year (Yu. Herman)- [uk.sl. that - n.], (which).

Pronoun-defining clauses

By value, relative clauses are close pronominal-defining clauses . They differ from the proper attributive clauses in that they do not refer to the noun in the main clause, but to the pronoun (that, each, all etc.), used in the meaning of a noun, for example:

1) [Total, (what knew more Evgeniy), retell to me lack of leisure) (A. Pushkin)- [local, (what),]. 2) [Not oh (what you think), nature]... (F. Tyutchev)- [local, (what),].

Like attributive clauses, they reveal the attribute of an object (therefore, it is better to ask a question about them too which?) and join the main sentence with the help of allied words (the main allied words are who and what).

Wed: [That Human, (who came yesterday Today didn't show up] - adjective attributive. [indicative + noun, (which), ].

[That, (who came yesterday Today didn't show up] - adjectival pronoun. [local, (who),].

Unlike proper attributive clauses, which always come after the noun they refer to, pronoun-defining clauses can also appear before the word being defined, for example:

(Who lived and thought), [he can't in the shower do not despise people] ... (A. Pushkin)- (who), [loc. ].

Clauses of explanatory

Clauses of explanatory answer case questions and refer to a member of the main sentence that needs semantic distribution (addition, explanation). This member of the sentence is expressed by a word that has the meaning speech, thoughts, feelings or perception. Most of the time these are verbs. (say, ask, answer and etc.; think, know, remember and etc.; be afraid, rejoice, be proud and etc.; see, hear, feel etc.), but there may be other parts of speech: adjectives (happy, satisfied) adverbs (known, sorry, necessary, clear) nouns (news, message, rumor, thought, statement, feeling, feeling and etc.)

Clauses of explanatory are attached to the explained word in three ways: 1) with the help of unions what, how, as if, so that when and etc.; 2) with the help of any allied words; 3) using the union-particle whether.

For example: 1) [The light has decided], (that t smart and very mil) (A. Pushkin)- [vb], (what). [I AM_ was afraid], (so that in a bold thought you me could not blame) (A. Fet) - [ vb.], (so that). [Her dreaming], (as if she goes on a snowy glade, surrounded by a sad mist) (A. Pushkin)- [vb.], (as if).

2) [You you know himself], (which the time has come) (N. Nekrasov)- [vb], (what). [Then she started asking me], (where am I now working) (A. Chekhov)- [vb], (where). (When he will arrive), [unknown] (A. Chekhov)- (when), [adv.]. [I AM_ asked and the cuckoo] (how yo i live)... (A. Akhmatova)- [vb], (how much).

3) [Both very wanted to know\, (brought whether father the promised piece of ice) (L. Kassil)- [vb], (whether).

Clauses of explanatory can be used to convey indirect speech. With the help of unions what, like, when indirect messages are expressed using the union to- indirect urges, with the help of allied words and union-particles whether- indirect questions.

In the main clause, with the explained word, there may be a demonstrative word then(in different cases), which serves to highlight the content of the subordinate clause. For instance: \Chekhov through the mouth of Dr. Astrov expressed one of his absolutely amazingly accurate thoughts about] (that forests teach a person to understand the beautiful) (K. Paustovsky)- [n. + uk.slov.], (what).

Distinguishing between subordinate attributive and subordinate explanatory

Certain difficulties are caused distinction between subordinate attributive and subordinate explanatory that refer to the noun. It should be remembered that attributive clauses dependent on the noun as parts of speech(the meaning of the noun being defined is not important for them), answer the question which?, indicate the sign of the subject that is called the noun being defined, and are attached to the main one only with allied words. Adnexal same explanatory depend on the noun not as a part of speech, but as from a word with a specific meaning(speech, thought, feeling, perception), except for the question which?(and it can always be set from a noun to any word or sentence depending on it) case question, they disclose(explain) content speeches, thoughts, feelings, perceptions and join the main unions and allied words. ( adnexal, attachable to the main unions and union-particle whether, can only be explanatory: The thought that he was wrong tormented him; The thought of whether he was right tormented him.)

More difficult distinguish between subordinate attributive and subordinate explanatory clauses depending on nouns when explanatory clauses join the main one with the help of allied words (especially the allied word what). Compare: 1) Question what(which the) he was asked, seemed strange to him. Thought that(which) came into his head in the morning, haunted him all day. The news that(which) I received yesterday, very upset me. 2) The question of what to do now tormented him. The thought of what he had done made him uneasy. The news of what happened in our class amazed the whole school.

1) The first group - complex sentences with adverbial attributive. union word what can be replaced by an allied word which the. The subordinate clause indicates the sign of the object named by the noun being defined (from the main clause to the subordinate clause, you can only ask a question which?, case question cannot be asked). The demonstrative word in the main clause is possible only in the form of a pronoun agreed with the noun (that question, that thought, that news).

2) The second group is complex sentences with subordinate explanatory clauses. Allied word replacement what allied word which the impossible. The subordinate clause not only indicates the attribute of the object named by the noun, but also explains the content of the words question, thought, message(from the main clause to the subordinate clause, a case question can be asked). The demonstrative word in the main clause has a different form (case forms of pronouns: question, thought, news about that).

Adverbial clauses

Majority adverbial clauses sentences have the same meanings as the circumstances in a simple sentence, and therefore answer the same questions and, accordingly, are divided into the same types.

Adventitious mode of action and degree

Characterize the method of performing an action or the degree of manifestation of a qualitative trait and answer questions as? how? in what degree? how much? They depend on the word that performs the function of an adverbial mode of action or degree in the main clause. These subordinate clauses are attached to the main clause in two ways: 1) with the help of allied words how, how much, how much; 2) with the help of unions that, to, as if, exactly, as if, as if.

For example: 1) [The offensive was on because provided at headquarters) (K. Simonov)- [vb + uk.el. so], (as) (subordinate modus operandi).

2) [The old woman is the same wanted to repeat my story], (how much do I listen) (A. Herzen)- [vb + uk.el. so many],(how much) (subordinate clause).

Adventitious mode of action and degree may be unambiguous(if they join the main allied words how, how much, how much)(see examples above) and two-digit(if joined by unions; the second value is introduced by the union). For example: 1) [White acacias smelled so strong] (that their sweet, cloying, candy the smell was felt on the lips and in the mouth) (A. Kuprin)-

[uk.sl. So+ adv.], (what) (the meaning of the degree is complicated by the meaning of the consequence, which is introduced into the meaning of the subordinate conjunction what).

2) [Beautiful the girl must be dressed so that stand out from the environment) (K. Paustovsky)- [cr. + uk.sl. So],(to) (the meaning of the course of action is complicated by the meaning of the goal, which is introduced by the union to).

3) [Everything is small plant So sparkled at our feet], (as if it was really made from crystal) (K. Paustovsky)- [uk.sl. so + vb.], (as if) (the value of the degree is complicated by the value of the comparison, which is introduced by the union as if).

adnexal places

adnexal places indicate the place or direction of action and answer questions where? where? where? They depend on the whole main sentence or on the circumstance of the place in it, expressed by the adverb (there, there, from there, nowhere, everywhere, everywhere etc.), and join the main sentence with the help of allied words where, where, where. For instance:

1) [Go the free way], (where entails you free cm)... (A. Pushkin)- , (where).

2) [He wrote everywhere], (where caught his thirst write) (K. Paustovsky)- [nar.], (where).

3) (Where the river went), [there and the channel will] (proverb)-(where), [uk.sl. there ].

adnexal places should be distinguished from other types of subordinate clauses, which can also be attached to the main clause using allied words where, where, where.

Compare: 1) AND [ Tanya enters to an empty house], (where(in which) lived recently our hero) (A. Pushkin)- [n.], (where) (subordinate definitive).

2) [I AM_ began to remember], (where went during the day) (I. Turgenev)- [vb], (where) (subordinate explanatory).

Adventitious time

Adventitious time indicate the time of the action or manifestation of the sign, which is referred to in the main sentence. They answer questions when? how long? since when? How long?, depend on the entire main sentence and join it with temporary unions when, until, as soon as, barely, before, while, until, since, suddenly etc. For example:

1) [When the count is back], (Natasha impolitely rejoiced him and hurried to leave) (L. Tolstoy)- (kog2) (Till does not require poet to the sacred sacrifice of Apollo), [in the cares of the vain world, he cowardly submerged} (A. Pushkin)- (bye), .

The main sentence can contain demonstrative words then, until then, after and others, as well as the second component of the union (then). If there is a demonstrative word in the main clause then, then when in the subordinate clause is a union word. For instance:

1) [I AM_ sitting until I don't start to feel hunger) (D. Kharms)- [uk.sl. until], (bye).

2) (When in winter eat fresh cucumbers), [then in the mouth smells spring] (A. Chekhov)- (when), [then].

3) [The poet feels the literal meaning of the word even then], (when gives him in a figurative sense) (S. Marshak)- [uk.sl. then],(when).

Adventitious time must be distinguished from other types of subordinate clauses attached by a union word when. For instance:

1) [I AM_ saw Yalta that year], (when (- in which) her left Chekhov) (S. Marshak)- [indicative + noun], (when) (subjective definitive).

2) [Korchagin repeatedly asked me] (when he can check out) (N. Ostrovsky)- [vb], (when) (subordinate explanatory).

Subordinate conditions

Subordinate conditions indicate the conditions for the implementation of what is said in the main sentence. They answer the question under what condition? if, if ... then, when (= if), when ... then, if, as soon as, once, in case etc. For example:

1) (If I get sick), [to doctors I won't apply]...(Y. Smelyakov)- (if), .

2) (Once we started talking), [then it's better to finish everything to the end] (A. Kuprin)- (times), [then].

If conditional clauses stand in front of the main one, then in the latter there may be a second part of the union - then(see 2nd example).

Adventitious targets

Adnexal suggestions goals indicate the purpose of what is being said in the main clause. They refer to the entire main sentence, answer questions why? for what purpose? for what? and join the main with the help of unions so that (to), in order to, so that, then so that, in order (obsolete) etc. For example:

1) [I AM_ woke up Pashka] (so that he didn't fall off from the road) (A. Chekhov)- , (to);

2) [He used all his eloquence], (so that turn away Akulina from her intention) (A. Pushkin)-, (to);

3)(In order to be happy), [necessary Not only be in love, but also to be loved] (K. Paustovsky)- (in order to), ;

When dismembering a compound union, a simple union remains in the subordinate clause to, and the rest of the words are included in the main sentence, being a demonstrative word and a member of the sentence, for example: [I AM_ mention about it solely for the purpose] (to emphasize unconditional authenticity of many things Kuprin) (K. Paustovsky)- [uk.sl. for],(to).

Adventitious targets must be distinguished from other types of subordinate clauses with a union to. For instance:

1) [I want], (to the bayonet equated pen) (V. Mayakovsky)- [vb], (to) (subordinate explanatory).

2) [Time landings was calculated so], (to the place of landing get into at dawn) (D. Furmanov)- [red.adj. + uk.sl. So],(to) (subordinate modus operandi with an added meaning of purpose).

Adnexal causes

Adnexal suggestions causes reveal (indicate) the reason for what is said in the main sentence. They answer questions why? for what reason? from what?, refer to the entire main clause and join it with the help of unions because, because, since, for, because, because, because, due to the fact that, due to the fact that etc. For example:

1) [Sending her all my tears as a gift], (because not live me before the wedding) (I. Brodsky)- , (because)

2) [Any work is important], (because ennobles person) (L. Tolstoy)- , (because).

3) (Thanks to we set every day new plays), [ theatre ours is quite willing visited] (A. Kuprin)- (thanks to), .

Compound unions, the last part of which is what, can be dismembered: a simple union remains in the subordinate clause what, and the remaining words are included in the main sentence, performing the function of a demonstrative word in it and being a member of the sentence. For instance:

[That's why roads to me people], (what live with me on earth) (S. Yesenin)- [uk.sl. because],(what).

Adventitious concessions

In the subordinate concession, an event is reported, in spite of which an action is carried out, an event called in the main clause. In concessive relations, the main sentence reports such events, facts, actions that should not have happened, but nevertheless happen (happened, will happen). In this way, subordinate concessions called as if "non-working" cause. Adventitious concessions answer questions in spite of what? contrary to what? refer to the entire main sentence and join it 1) unions although, although... but, not despite the fact that, despite the fact that, despite the fact that, let, let etc. and 2) allied words in combination With particle nor: no matter how much, no matter what (whatever). For instance:

I. one) And (although he was a rake ardent), [but he fell out of love finally, and abuse, and a saber, and lead] (A. Pushkin)- (at least), [but].

Note. In the main clause, in which there is a concessive subordinate clause, there may be a union but.

2) (Let rose plucked), [she more blooms] (S. Nadson)- (let), .

3) [In steppes it was quiet and overcast], (despite what the sun has risen) (A. Chekhov)- , (though).

Item 1) (No matter how protected myself Pantelei Prokofievich from all sorts of difficult experiences), [but soon had to endure him a new shock] (M. Sholokhov)- (whatever), [but].

2) [I_, (however would love you), getting used to fall out of love immediately) (A. Pushkin)- [, (however),].

Comparative clauses

The types of adverbial clauses considered above correspond in meaning to the same-named categories of circumstances in a simple sentence. However, there are three types of adjectives (comparative, consequences and connecting), which do not correspond among the circumstances in a simple sentence. A common feature of complex sentences with these types of subordinate clauses is the impossibility, as a rule, to ask a question from the main clause to the subordinate clause.

In complex sentences with comparative clauses the content of the main clause is compared with the content of the subordinate clause. Comparative clauses refer to the entire main clause and join it with unions like, exactly, as if, buto, as if, like as, as if, than ... asand etc. For example:

1) (As we swarm in the summer midge flies on the flame), [flocked flakes from the yard to the window frame] (K. Pasternak](how), ["].

2) [Small leaves bright and friendly turn green], (as if who their washed up and varnish on them brought) (I. Turgenev)-, (as if).

3) [We threesome started talking], (as if a century whether familiar) (A. Pushkin)- , (as if).

A special group among relative clauses make sentences with conjunction how and double union than... that. Double conjunction clauses than... the have comparative meaning, mutual conditioning of parts. Adverbs with the union how, in addition, they do not refer to the whole main thing, but to the word in it, which is expressed in the form of the comparative degree of an adjective or adverb.

1) (The smaller the woman we love), [the easier like us her] (A. Pushkin)- (than), [those].

2) [As time went slower] (than clouds were creeping across the sky) (M. Gorky)- [compar. step. out], (than).

Comparative clauses can be incomplete: they omit the predicate if it coincides with the predicate of the main clause. For instance:

[Existence his concluded into this cramped program], (as egg in shell) (A. Chekhov)- , (how).

The fact that this is precisely an incomplete two-part sentence is evidenced by a minor member of the predicate group - into the shell.

Incomplete comparative clauses should not be confused with comparative turns in which there cannot be a predicate.

Adnexal consequences

Adnexal consequences indicate a consequence, a conclusion that follows from the content of the main sentence .

Adnexal consequences refer to the entire main clause, always come after it and join it with a union so.

For instance: [ Heat all increased], (so it was getting hard to breathe) (D. Mamin-Sibiryak); [ Snow all became whiter and brighter], (so ached eyes) (M. Lermontov)- , (so).

Adventitious connecting

Adventitious connecting contain additional information, comments on what is reported in the main sentence. Connecting subordinate clauses refer to the entire main clause, always stand after it and are attached to it with allied words what, what, O why, why, why, why and etc.

For example: 1) [Her should not be late to the theatre], (from whatshe very was in a hurry) (A. Chekhov)- , (from what).

2) [The dew has fallen], (what foreshadowed good weather tomorrow) (D. Mamin-Sibiryak)- , (what).

3) [And the old man Cuckoos n fast allotment glasses, forgetting to wipe them] (what with him for thirty years of official activity never didn't happen) (I. Ilf and E. Petrov)- , (what).

Syntactic analysis of a complex sentence with one subordinate clause

Scheme for parsing a complex sentence with one subordinate clause

1. Determine the type of sentence according to the purpose of the statement (narrative, interrogative, incentive).

2. Indicate the type of sentence by emotional coloring (exclamatory or non-exclamatory).

3. Determine the main and subordinate clauses, find their boundaries.

Draw up a sentence scheme: ask (if possible) a question from the main to the subordinate clause, indicate in the main word on which the subordinate clause depends (if it is conditional), characterize the means of communication (conjunction or allied word), determine the type of the clause (definitive, explanatory, etc.). d.).

An example of parsing a complex sentence with one subordinate clause

1) [In storm time turned out with the root of a tall old pine], (which is why formed this pit) (A. Chekhov).

, (from what).

The sentence is narrative, non-exclamatory, complex with a subordinate clause. The subordinate clause refers to everything main and joins it with an allied word from what.

2) (To be contemporary clear), [all wide open open the poet] (A. Akhmatova).(to), .

The sentence is narrative, non-exclamatory, complex with a subordinate clause of purpose. The adjective answers the question for what purpose?, depends on the entire main clause and joins it with a union so that.

3) [I I love everything], (to which in this world there is no consonance, no echo No) (I. Annensky).[local], (what).

The sentence is narrative, non-exclamatory, complex with a pronoun-defining clause. The adjective answers the question which?, depends on the pronoun all in the main, joins with an allied word what, which is an indirect complement.

"Eugene Onegin", Chapter One, Stanza VIII

Everything that Eugene knew,
Retell me lack of time;
But in what he was a true genius,
What he knew more firmly than all sciences,
What was madness for him
And labor, and flour, and joy,
What took all day
His melancholy laziness, -
There was a science of tender passion,
Which Nazon sang,
Why did he end up a sufferer
Your age is brilliant and rebellious
In Moldova, in the wilderness of the steppes,
Far away from Italy.

In Nabokov's "Comments" we read: "These lines echo the following, related to Ovid, dialogue from Pushkin's Gypsies, a Byronic poem begun in the winter of 1823 in Odessa and completed on October 10, 1824 in Mikhailovsky; the poem was published anonymously at the beginning of May 1827 in Moscow (lines 181-223) (followed by a long meaningless quotation from "Gypsies").

Then, to get out of Ovidian Moldavia, Nabokov explains the history of geography about Bessarabia and Moldavia, makes the assumption that Publius Ovid Nason was exiled to Moldavia for the same reason that the current director Polanski is hiding from American justice in pedophile-friendly Switzerland, but nothing does not explain Onegin's connection with "My Italy". In other words, Nabokov refers "Italy" to Nazon, and not to Onegin, although even a trio will guess that no Moldavia existed at the time of Ovid. Lotman, by the way, further than a brief biography of Nazon and his trip to Moldova also does not have any explanations for this line.

It is clear that Moldova and Italy belong to Onegin, and not to Nazon. Pushkin simply informs us that Onegin ended his life in Moldavia. Why?

Meanwhile, this stanza would not raise any questions from the Russian reader of the first half of the 19th century, who is familiar with the history of the Capulet and Montague families. Finished his life away from Italy - a beautiful metaphor, meaning only that Onegin died a natural death, and was not killed according to the custom of blood feud.

Some of Pushkin's friends called "EO" a weak imitation of Byron. And although in "EO" you can find many direct and indirect quotations from Childe Harold, Pushkin himself, when writing the poem, took Shakespeare's tragedy "Romeo and Juliet" as a model. See the letter to Nik. Raevsky dated July 19, 1825: "... mais quel homme que ce Schakespeare! je n" en reviens pas. Comme Byron le tragique est mesquin devant lui!..

The story of Eugene Onegin, told by Pushkin, is the final bloody vendetta between the Larin and Onegin families. At the very beginning, the author barely hints that Onegin is ... heir to all his relatives- remained an orphan. Only one uncle is alive, but his end, apparently, is close - ... or foreseeing from afar the death of an old uncle. At the uncle's sudden funeral at his estate... Enemies and friends came from all sides, but among them the reader does not see (!) the closest neighbors - the landowners Larins. A vague assumption visits Onegin - Larina and there are uncle's blood enemies! Immediately after the commemoration, Eugene makes an audit of the things left after his uncle and does not find any diaries or notes - ... not a speck of ink anywhere. But in the eighth year calendar mysterious crosses were discovered, coinciding with the dates of the sudden death of numerous Onegin relatives.

Onegin dreams of killing the head of the Larin family and thus avenging his uncle. He has to get in touch with the young and stupid Lensky - Olga Larina's fiancé - in order to penetrate the enemy's lair. Onegin's disappointment is immeasurable - the head of the Larin family has long been resting in the churchyard, a completely neutral flaunts on his grave "A humble sinner, Dmitry Larin, the Lord's servant and brigadier, Under this stone he eats the world". From the inscription it is not even clear whether dad was killed, as expected, by one of the Onegins, or simply gave his soul to God from a volvulus. Onegin realizes, however, that it was this same Madame Larina who killed his uncle. The widow is a woman no longer young, but powerful. At the time, she... she discovered the secret of how to rule her husband autocratically ... she went to work herself, salted mushrooms for the winter, kept expenses, shaved her foreheads ... beat the maids angry ... used to write with blood in the albums of tender maidens... This one will stop at nothing! Surely it was she who personally pickled a jar of pale toadstools, bribed her uncle's servant and - bang! - uncle suddenly fell ill! But you can’t kill a woman, according to the Sicilian customs of blood feud, one of the men must be killed.

What to do? Eugene rushes about in search of a solution. Ba! - And what about Lensky? After all, he is already almost a member of the Larin clan. God, what an unexpected joy! Eugene decides to wait for the wedding of Olga and Vladimir, so that everything will be an honor by honor. But here, confusing all the cards, Olga's older sister Tatiana comes into play. Tatyana writes an enthralling letter to Onegin and he realizes that he himself has long been under the hood. Run! Anywhere, to the village, to hell, to the wilderness, to Moldova! But before that, you need to fulfill the duty of honor. Onegin goes for broke. At a party at the Larins', he dances a quadrille with only Olga, constantly winks at her and tells old St. Petersburg jokes. In the end, the enraged Lensky challenges Onegin to a long-awaited duel. The experienced shooter Onegin hurriedly kills the future husband of Madame Larina's youngest daughter, and on the same night, without saying goodbye to anyone, he runs, covering his tracks, no one knows where. And that's right, it's better to die of old age somewhere in Moldova than of youth in Italy.

Alexander Sergeevich Pushkin

Eugene Onegin

Novel in verse

Pe€tri de vanite€ il avait encore plus de cette espe`ce d'orgueil qui fait avouer avec la me^me indiffe€rence les bonnes comme les mauvaises actions, suite d'un sentiment de supe€riorite€, peut-e ^tre imaginaire.

Tire€ d'une lettre particulie're

Not thinking proud light to amuse,
Loving the attention of friendship,
I would like to introduce you
A pledge worthy of you
Worthy of a beautiful soul,
Holy dream come true
Poetry alive and clear,
High thoughts and simplicity;
But so be it - with a biased hand
Accept the collection of colorful heads,
Half funny, half sad
vulgar, ideal,
The careless fruit of my amusements,
Insomnia, light inspirations,
Immature and withered years
Crazy cold observations
And hearts of sad notes.

Chapter first

And he is in a hurry to live, and he is in a hurry to feel.

Prince Vyazemsky

"My uncle of the most honest rules,
When I fell ill in earnest,
He forced himself to respect
And I couldn't think of a better one.
His example to others is science;
But my god, what a bore
With the sick to sit day and night,
Not leaving a single step away!
What low deceit
Amuse the half-dead
Fix his pillows
Sad to give medicine
Sigh and think to yourself:
When will the devil take you!

So thought the young rake,
Flying in the dust on postage,
By the will of Zeus
Heir of all his relatives. -
Friends of Lyudmila and Ruslan!
With the hero of my novel
Without preamble, this very hour
Let me introduce you:
Onegin, my good friend,
Born on the banks of the Neva
Where might you have been born?
Or shone, my reader;
I once walked there too:
But the north is bad for me.

Serving excellently, nobly,
His father lived in debt
Gave three balls annually
And finally screwed up.
The fate of Eugene kept:
First Madame followed him
Later Monsieur replaced her;
The child was sharp, but sweet.
Monsieur l'Abbe€, poor french,
So that the child is not exhausted,
Taught him everything jokingly
I did not bother with strict morality,
Slightly scolded for pranks
And he took me for a walk in the Summer Garden.

When will the rebellious youth
It's time for Eugene
It's time for hope and tender sadness,
Monsieur kicked out of the yard.
Here is my Onegin at large;
Cut in the latest fashion;
How dandy London dressed -
And finally saw the light.
He's completely French
Could speak and write;
Easily danced the mazurka
And bowed at ease;
What do you want more? The world decided
That he is smart and very nice.

We all learned a little
Something and somehow
So education, thank God,
It's easy for us to shine.
Onegin was, according to many
(Judges resolute and strict),
A small scientist, but a pedant.
He had a lucky talent
No compulsion to speak
Touch everything lightly
With a learned air of a connoisseur
Keep silent in an important dispute
And make the ladies smile
The fire of unexpected epigrams.

Latin is out of fashion now:
So, if you tell the truth,
He knew enough Latin
To parse epigraphs,
Talk about Juvenal
At the end of the letter put vale,
Yes, I remember, though not without sin,
Two verses from the Aeneid.
He had no desire to rummage
In chronological dust
Genesis of the earth;
But the days of the past are jokes,
From Romulus to the present day,
He kept it in his memory.

No high passion
For the sounds of life do not spare,
He could not iambic from a chorea,
No matter how we fought, to distinguish.
Branil Homer, Theocritus;
But read Adam Smith
And there was a deep economy,
That is, he was able to judge
How does the state grow rich?
And what lives, and why
He doesn't need gold
When simple product It has.
Father could not understand him
And gave the land as a pledge.

Everything that Eugene knew,
Retell me lack of time;
But in what he was a true genius,
What he knew more firmly than all sciences,
What was madness for him
And labor, and flour, and joy,
What took all day
His melancholy laziness, -
There was a science of tender passion,
Which Nazon sang,
Why did he end up a sufferer
Your age is brilliant and rebellious
In Moldova, in the wilderness of the steppes,
Far away from Italy.

……………………………………
……………………………………
……………………………………

How early could he be hypocritical,
Hold hope, be jealous
disbelieve, make believe
To seem gloomy, to languish,
Be proud and obedient
Attentive or indifferent!
How languidly he was silent,
How eloquently eloquent
How careless in heartfelt letters!
One breathing, one loving,
How could he forget himself!
How swift and gentle his gaze was,
Shameful and impudent, and sometimes
He shone with an obedient tear!

How could he be new?
Joking innocence to amaze
To frighten with despair ready,
To amuse with pleasant flattery,
Catch a moment of tenderness
Innocent years of prejudice
Mind and passion to win,
Expect involuntary affection
Pray and demand recognition
Listen to the first sound of the heart
Chase love and suddenly
Get a secret date...
And after her alone
Give lessons in silence!

How early could he disturb
Hearts of note coquettes!
When did you want to destroy
Him his rivals,
How vehemently he cursed!
What nets he prepared for them!
But you, blessed husbands,
You were friends with him:
He was caressed by the crafty husband,
Foblas is an old student,
And the distrustful old man
And the majestic cuckold
Always happy with myself
With my dinner and my wife.

……………………………………
……………………………………
……………………………………

He used to be in bed:
They carry notes to him.
What? Invitations? Indeed,
Three houses for the evening call:
There will be a ball, there is a children's party.
Where will my prankster go?
Who will he start with? Does not matter:
It is no wonder to be in time everywhere.
While in the morning dress,
Wearing wide bolivar,
Onegin goes to the boulevard
And there he walks in the open,
Until the dormant breguet
Lunch will not ring for him.

“The science of tender passion, which Nazon sang…”

On the eve of the birthday of A.S. Pushkin involuntarily come to mind certain lines of our brilliant poet.

Everything that Eugene knew,
Retell me lack of time;
But in what he was a true genius,
What he knew more firmly than all sciences
What was madness for him
And labor, and flour, and joy,
What took all day
His melancholy laziness, -
There was a science of tender passion,
Which Nazon sang,
Why did he end up a sufferer
Your age is brilliant and rebellious
In Moldova, in the wilderness of the steppes,
Far away from Italy.

(A.S. Pushkin. Eugene Onegin. Chapter 1. VIII)

The Rare Book Center holds a wonderful edition of Publius Ovid Nason's book The Art of Love, which A.S. Pushkin mentions in the VIII stanza of the first chapter of "Eugene Onegin".

Publius Ovid Nason (43 BC -18 AD) - Roman poet, whose works are distinguished by virtuoso lightness and flexibility of verse. Social and philosophical problems are alien to Ovid; erotic themes decisively predominate in his work. In the early poems "The Art of Love" and "Remedies for Love", the poet gives instructions in the field of love relationships. The transition to large works in the spirit of Hellenistic "learned" poetry is marked by the creation of the poem "Metamorphoses", which is conceived as an epic and contains about 250 mythological and folklore tales about the transformation of people into animals, plants, constellations and even into stones. At the end of 8 AD. e. Ovid was exiled by Emperor Augustus to the city of Toma (now the port of Constanta in Romania), where he died. In the last period of his life, "Sorrowful Elegies" and "Pontic Epistles" were written. A.S. Pushkin, during the years of southern exile, felt the kinship of his fate with the fate of the ancient Roman poet-exile, which he reflected in the poems “In the country where he is married by Julia”, “To Ovid”, the poem “Gypsies”

Note that Ovid's The Art of Love can indeed be regarded as a manual. At the very beginning of the book, the author clearly draws the outline of his essay:

"He who wants to become

under the battle banners of Amur,

must first choose

the object of his love;

then his task is to achieve

the location of the girl he has chosen;

and finally he must make a relationship

long with her.

That's my plan, that's my goal

I want to reach, that's the way

on which I will go to this goal.

And I will lead those who want

master the art of love

So, for the reader who wants to study The Art of Love, the Rare Book Center offers a magnificent richly illustrated deluxe edition published by the Russian State Library as part of the Classics of World Literature: Word and Image project. The text of Ovid on each page is accompanied by high-quality reproductions of paintings by famous masters, mainly on the subjects of Greek and Roman mythology.

The copy of the book, which is now stored in the Rare Book Center of the Pskov Regional Library, is also remarkable in that it is one of three hundred issued in a leather cover and the same case.

"My uncle has the most honest rules,
When I fell ill in earnest,
He forced himself to respect
And I couldn't think of a better one.
His example to others is science;
But my god, what a bore
With the sick to sit day and night,
Not leaving a single step away!
What low deceit
Amuse the half-dead
Fix his pillows
Sad to give medicine
Sigh and think to yourself:
When will the devil take you!

II.

So thought the young rake,
Flying in the dust on postage,
By the will of Zeus
Heir of all his relatives.
Friends of Lyudmila and Ruslan!
With the hero of my novel
Without preamble, this very hour
Let me introduce you:
Onegin, my good friend,
Born on the banks of the Neva
Where might you have been born?
Or shone, my reader;
I once walked there too:
But the north is bad for me (1).

III.

Serving excellently, nobly,
His father lived in debt
Gave three balls annually
And finally screwed up.
The fate of Eugene kept:
At first Madame followed him,
Then Monsieur replaced her.
The child was sharp, but sweet.
Monsieur l'Abbé, poor Frenchman,
So that the child is not exhausted,
Taught him everything jokingly
I did not bother with strict morality,
Slightly scolded for pranks
And he took me for a walk in the Summer Garden.

IV.

When will the rebellious youth
It's time for Eugene
It's time for hope and tender sadness,
Monsieur was driven out of the yard.
Here is my Onegin at large;
Cut in the latest fashion;
How dandy (2) London dressed -
And finally saw the light.
He's completely French
Could speak and write;
Easily danced the mazurka
And bowed at ease;
What do you want more? The world decided
That he is smart and very nice.

v.

We all learned a little
Something and somehow
So education, thank God,
It's easy for us to shine.
Onegin was, according to many
(Judges decisive and strict)
A small scientist, but a pedant:
He had a lucky talent
No compulsion to speak
Touch everything lightly
With a learned air of a connoisseur
Keep silent in an important dispute
And make the ladies smile
The fire of unexpected epigrams.

VI.

Latin is out of fashion now:
So, if you tell the truth,
He knew enough Latin
To parse epigraphs,
Talk about Juvenal
Put vale at the end of the letter
Yes, I remember, though not without sin,
Two verses from the Aeneid.
He had no desire to rummage
In chronological dust
Genesis of the earth;
But the days of the past are jokes
From Romulus to the present day
He kept it in his memory.

VII.

No high passion
For the sounds of life do not spare,
He could not iambic from a chorea,
No matter how we fought, to distinguish.
Branil Homer, Theocritus;
But read Adam Smith,
And there was a deep economy,
That is, he was able to judge
How does the state grow rich?
And what lives, and why
He doesn't need gold
When a simple product has.
Father could not understand him
And gave the land as a pledge.

VIII.

Everything that Eugene knew,
Retell me lack of time;
But in what he was a true genius,
What he knew more firmly than all sciences,
What was madness for him
And labor and flour and joy,
What took all day
His melancholy laziness, -
There was a science of tender passion,
Which Nazon sang,
Why did he end up a sufferer
Your age is brilliant and rebellious
In Moldova, in the wilderness of the steppes,
Far away from Italy.

IX.

. . . . . . . . . . . . . . .

. . . . . . . . . . . . . . .

x.

How early could he be hypocritical,
Hold hope, be jealous
disbelieve, make believe
To seem gloomy, to languish,
Be proud and obedient
Attentive or indifferent!
How languidly he was silent,
How eloquently eloquent
How careless in heartfelt letters!
One breathing, one loving,
How could he forget himself!
How swift and gentle his gaze was,
Shameful and impudent, and sometimes
He shone with an obedient tear!

XI.

How could he be new?
Joking innocence to amaze
To frighten with despair ready,
To amuse with pleasant flattery,
Catch a moment of tenderness
Innocent years of prejudice
Mind and passion to win,
Expect involuntary affection
Pray and demand recognition
Listen to the first sound of the heart
Chase love, and suddenly
Get a secret date...
And after her alone
Give lessons in silence!

XII.

How early could he disturb
Hearts of note coquettes!
When did you want to destroy
Him his rivals,
How vehemently he cursed!
What nets he prepared for them!
But you, blessed husbands,
You were friends with him:
He was caressed by the crafty husband,
Foblas is an old student,
And the distrustful old man
And the majestic cuckold
Always happy with myself
With my dinner and my wife.

XIII. XIV.

. . . . . . . . . . . . . . .
. . . . . . . . . . . . . . .
. . . . . . . . . . . . . . .
. . . . . . . . . . . . . . .

XV.

He used to be in bed:
They carry notes to him.
What? Invitations? Indeed,
Three houses for the evening call:
There will be a ball, there is a children's party.
Where will my prankster go?
Who will he start with? Does not matter:
It is no wonder to be in time everywhere.
While in the morning dress,
Wearing a wide bolivar(3)
Onegin goes to the boulevard
And there he walks in the open,
Until the dormant breguet
Lunch will not ring for him.

XVI.

It's already dark: he sits in the sled.
"Drop, drop!" - there was a cry;
Frost dust silver
His beaver collar.
To Talon (4) rushed: he is sure
What is Kaverin waiting for him there.
Entered: and a cork in the ceiling,
The comet's guilt splashed current,
Before him roast-beef bloodied,
And truffles, the luxury of youth,
French cuisine best color,
And Strasbourg's imperishable pie
Between Limburg cheese alive
And golden pineapple.

XVII.

More glasses of thirst asks
Pour hot fat cutlets,
But the sound of a breguet informs them,
That a new ballet has begun.
The theater is an evil legislator,
Fickle Admirer
charming actresses,
Honorary citizen backstage,
Onegin flew to the theater
Where everyone, breathing freely,
Ready to slam entrechat,
Sheath Phaedra, Cleopatra,
call Moina (in order
Just to be heard).

XVIII.

Magic edge! there in the old days,
Satyrs are a bold ruler,
Fonvizin shone, friend of freedom,
And the capricious Knyazhnin;
There Ozerov involuntary tribute
People's tears, applause
I shared with the young Semyonova;
There our Katenin resurrected
Corneille is a majestic genius;
There he brought out the sharp Shakhovskoy
Noisy swarm of their comedies,
There Didlo was crowned with glory,
There, there under the shadow of the wings
My young days flew by.

XIX.

My goddesses! what do you? Where are you?
Hear my sad voice:
Are you all the same? other le maidens,
Replacing, did not replace you?
Will I hear your choruses again?
Will I see the Russian Terpsichore
Soul filled flight?
Or a dull look will not find
Familiar faces on a boring stage
And, aiming at an alien light
Disappointed lorgnette,
Fun indifferent spectator,
Silently I will yawn
And remember the past?

XX.

The theater is already full; lodges shine;
Parterre and armchairs, everything is in full swing;
In heaven they splash impatiently,
And, having risen, the curtain rustles.
Brilliant, half-air,
obedient to the magic bow,
Surrounded by a crowd of nymphs
Worth Istomin; she,
One foot touching the floor
Another slowly circles
And suddenly a jump, and suddenly it flies,
It flies like fluff from the mouth of Eol;
Now the camp will soviet, then it will develop,
And he beats his leg with a quick leg.

XXI.

Everything is clapping. Onegin enters,
Walks between the chairs on the legs,
Double lorgnette slanting induces
On the lodges of unfamiliar ladies;
I looked at all the tiers,
I saw everything: faces, headwear
He is terribly dissatisfied;
With men from all sides
Bowed, then on stage
I looked in great confusion,
Turned away - and yawned,
And he said: “It’s time for everyone to change;
I endured ballets for a long time,
But I'm tired of Didlo" (5)).

XXII.

More cupids, devils, snakes
They jump and make noise on the stage;
More tired lackeys
They sleep on fur coats at the entrance;
Haven't stopped stomping yet
Blow your nose, cough, hiss, clap;
Still outside and inside
Lanterns are shining everywhere;
Still, vegetating, the horses are fighting,
Bored with your harness,
And the coachmen, around the lights,
Scold the gentlemen and beat in the palm of your hand:
And Onegin went out;
He goes home to get dressed.

XXIII.

Will I portray in a true picture
secluded office,
Where is the mod pupil exemplary
Dressed, undressed and dressed again?
All than for a plentiful whim
Trades London scrupulous
And along the Baltic waves
For the forest and fat carries us,
Everything in Paris tastes hungry,
Having chosen a useful trade,
Inventing for fun
For luxury, for fashionable bliss, -
Everything decorates the office.
Philosopher at the age of eighteen.

XXIV.

Amber on the pipes of Tsaregrad,
Porcelain and bronze on the table
And, feelings of pampered joy,
Perfume in cut crystal;
Combs, steel files,
Straight scissors, curves,
And brushes of thirty kinds
For both nails and teeth.
Rousseau (notice in passing)
Could not understand how important Grim
I dared to clean my nails in front of him,
An eloquent madcap (6) .
Defender of Liberty and Rights
In this case, it's completely wrong.

XXV.

You can be a good person
And think about the beauty of nails:
Why fruitlessly argue with the century?
Custom despot among people.
The second Chadaev, my Eugene,
Fearing jealous judgments
There was a pedant in his clothes
And what we called a dandy.
It's three hours at least
Spent in front of the mirrors
And came out of the restroom
Like windy Venus
When, wearing a man's outfit,
The goddess is going to the masquerade.

XXVI.

In the last taste of the toilet
Taking your curious gaze,
I could before the learned light
Here describe his attire;
Of course it would be bold
Describe my case:
But pantaloons, tailcoat, vest,
All these words are not in Russian;
And I see, I blame you,
What is it my poor syllable
I could dazzle much less
In foreign words,
Even though I looked in the old days
In the Academic Dictionary.

XXVII.

We now have something wrong in the subject:
We'd better hurry to the ball
Where headlong in a pit carriage
My Onegin has already galloped.
Before the faded houses
Along a sleepy street in rows
Double carriage lights
Merry pour out light
And rainbows on the snow suggest:
Dotted with bowls all around,
A splendid house shines;
Shadows walk through solid windows,
Flashing head profiles
And ladies and fashionable eccentrics.

XXVIII.

Here our hero drove up to the entrance;
Doorman past he's an arrow
Climbing up the marble steps
I straightened my hair with my hand,
Has entered. The hall is full of people;
The music is already tired of thundering;
The crowd is busy with the mazurka;
Loop and noise and tightness;
The spurs of the cavalry guard jingle;
The legs of lovely ladies are flying;
In their captivating footsteps
Fiery eyes fly
And drowned out by the roar of violins
Jealous whisper of fashionable wives.

XXIX.

In the days of fun and desires
I was crazy about balls:
There is no place for confessions
And for delivering a letter.
O you venerable spouses!
I will offer you my services;
I ask you to notice my speech:
I want to warn you.
You also, mothers, are stricter
Look after your daughters:
Keep your lorgnette straight!
Not that…not that, God forbid!
That's why I'm writing this
That I have not sinned for a long time.

XXX.

Alas, for different fun
I lost a lot of life!
But if morals had not suffered,
I would still love balls.
I love crazy youth
And tightness, and brilliance, and joy,
And I will give a thoughtful outfit;
I love their legs; only hardly
You will find in Russia a whole
Three pairs of slender female legs.
Oh! for a long time I could not forget
Two legs ... Sad, cold,
I remember them all, and in a dream
They trouble my heart.

XXXI.

When, and where, in what desert,
Fool, will you forget them?
Ah, legs, legs! where are you now?
Where do you crumple spring flowers?
Cherished in eastern bliss,
On the northern, sad snow
You left no trace
You loved soft carpets
Luxurious touch.
How long have I forgotten for you
And I crave glory and praise
And the land of fathers, and imprisonment?
The happiness of youth has disappeared -
As in the meadows your light footprint.

XXXII.

Diana's chest, Flora's cheeks
Adorable, dear friends!
However, Terpsichore's leg
Prettier than something for me.
She, prophesying the look
An invaluable reward
Attracts by conditional beauty
Desires masterful swarm.
I love her, my friend Elvina,
Under the long tablecloth
In the spring on the ants of the meadows,
In winter, on a cast-iron fireplace,
On the mirror parquet hall,
By the sea on granite rocks.

XXXIII.

I remember the sea before the storm:
How I envied the waves
Running in a stormy line
Lie down at her feet with love!
How I wished then with the waves
Touch cute feet with your mouth!
No, never in hot days
Boiling my youth
I did not want with such torment
To kiss the lips of the young Armides,
Or roses of fiery cheeks,
Ile percy, full of languor;
No, never a rush of passion
So did not torment my soul!

XXXIV.

I remember another time!
In cherished dreams sometimes
I hold a happy stirrup...
And I feel the leg in my hands;
Again the imagination boils
Again her touch
Ignite the blood in the withered heart,
Again longing, again love! ..
But full of praise for the haughty
With his chatty lyre;
They are not worth the passion
No songs inspired by them:
The words and gaze of these sorceresses
Deceptive ... like their legs.

XXXV.

What about my Onegin? half asleep
In bed from the ball he rides:
And Petersburg is restless
Already awakened by the drum.
The merchant gets up, the peddler goes,
A cabman is pulling to the stock exchange,
The okhtenka is in a hurry with a jug,
Beneath it, the morning snow crunches.
I woke up in the morning with a pleasant noise.
The shutters are open; pipe smoke
A column rises blue,
And a baker, a neat German,
In a paper cap, more than once
I have already opened my vasisdas.

XXXVI.

But, exhausted by the noise of the ball,
And turning the morning at midnight
Sleeps peacefully in the shadow of the blissful
Fun and luxury child.
Wakes up after noon, and again
Until the morning his life is ready,
Monotonous and variegated.
And tomorrow is the same as yesterday.
But was my Eugene happy,
Free, in the color of the best years,
Among the brilliant victories,
Among everyday pleasures?
Was he really among the feasts
Careless and healthy?

XXXVII.

No: early feelings in him cooled down;
He was tired of the light noise;
The beauties didn't last long
The subject of his habitual thoughts;
Treason managed to tire;
Friends and friendship are tired,
Then, which could not always
Beef-steaks and Strasbourg pie
Pouring champagne in a bottle
And pour sharp words
When the head hurt;
And though he was an ardent rake,
But he fell out of love at last
And abuse, and a saber, and lead.

XXXVIII.

Illness whose cause
It's high time to find
Like an English spin
In short: Russian melancholy
She took possession of him little by little;
He shoot himself, thank God,
Didn't want to try
But life has completely cooled off.
Like Child-Harold, sullen, languid
He appeared in drawing rooms;
No gossip of light, no boston,
Neither a sweet look, nor an immodest sigh,
Nothing touched him
He did not notice anything.

XXXIX. XL. XLI.

. . . . . . . . . . . . . . .
. . . . . . . . . . . . . . .
. . . . . . . . . . . . . . .

XLII.

Freaks of the big world!
He left you all before;
And the truth is that in our summer
The higher tone is rather boring;
Though maybe a different lady
Interprets Sey and Bentham,
But in general their conversation
Unbearable, though innocent nonsense;
And besides, they are so innocent.
So majestic, so smart
So full of piety
So careful, so precise
So impregnable for men
That the sight of them already gives rise to spleen (7) .

XLIII.

And you, young beauties,
Which later sometimes
Carry away the droshky
Petersburg bridge,
And my Eugene left you.
Renegade of violent pleasures,
Onegin locked himself at home,
Yawning, took up the pen,
I wanted to write - but hard work
He was sick; nothing
did not come out of his pen,
And he did not get into the fervent shop
People I don't judge
Then, that I belong to them.

XLIV.

And again, devoted to idleness,
languishing in spiritual emptiness,
He sat down - with a laudable purpose
Assign someone else's mind to yourself;
He set up a shelf with a detachment of books,
I read and read, but to no avail:
There is boredom, there is deceit or delirium;
In that conscience, in that there is no sense;
On all different chains;
And outdated old
And the old is delirious with novelty.
Like women, he left books
And the shelf, with their dusty family,
Draped with mourning taffeta.

XLV.

The conditions of light overthrowing the burden,
How he, lagging behind the hustle and bustle,
I became friends with him at that time.
I liked his features
Dreams involuntary devotion
Inimitable strangeness
And a sharp, chilled mind.
I was embittered, he is sullen;
We both knew the passion game:
The life tormented both of us;
In both hearts the heat died down;
Anger awaited both
Blind Fortune and people
In the very morning of our days.

XLVI.

Who lived and thought, he cannot
In the soul do not despise people;
Who felt, that worries
The ghost of the irretrievable days:
So there is no charm.
That serpent of memories
That repentance gnaws.
All this often gives
Great charm of conversation.
First Onegin's language
Confused me; but I'm used to
To his caustic argument,
And to the joke with bile in half,
And the anger of gloomy epigrams.

XLVII.

How often in the summer
When transparent and light
Night sky over the Neva (8) ,
And waters cheerful glass
Does not reflect the face of Diana,
Remembering past years novels,
Remembering the old love
Sensitive, careless again
With the breath of a supportive night
We silently drank!
Like a green forest from prison
The sleepy convict has been moved,
So we were carried away by a dream
By the beginning of life young.

XLVIII.

With a heart full of regrets
And leaning on granite
Yevgeny stood thoughtfully,
How Piit described himself (9) .
Everything was quiet; only night
Sentinels called to one another;
Yes, a distant knock
With Millionne it suddenly resounded;
Only a boat, waving oars,
Floated on a dormant river:
And we were captivated in the distance
The horn and the song are remote ...
But sweeter, in the midst of nightly fun,
The chant of Torquat octaves!

XLIX

Adriatic waves,
Oh Brent! no, I see you
And full of inspiration again
Hear your magical voice!
He is holy to the grandchildren of Apollo;
By the proud lyre of Albion
He is familiar to me, he is dear to me.
Golden nights of Italy
I will enjoy the bliss in the wild,
With a young Venetian
Now talkative, then dumb,
Floating in a mysterious gondola;
With her my mouth will find
The language of Petrarch and love.

L

Will the hour of my freedom come?
It's time, it's time! - I call to her;
Wandering over the sea (10), waiting for the weather,
Manyu sails ships.
Under the robe of storms, arguing with the waves,
Along the freeway of the sea
When will I start freestyle running?
It's time to leave the boring beach
I hostile elements,
And among the midday swells,
Under the sky of my Africa (11)
Sigh about gloomy Russia,
Where I suffered, where I loved
Where I buried my heart.

LI

Onegin was ready with me
See foreign countries;
But soon we were fate
Divorced for a long time.
His father then died.
Gathered before Onegin
Lenders greedy regiment.
Everyone has their own mind and sense:
Eugene, hating litigation,
Satisfied with his lot,
gave them an inheritance,
Big loss in not seeing
Ile foretelling from afar
The death of an old uncle.

LII.

Suddenly got it really
From the manager's report,
That uncle is dying in bed
And I would be glad to say goodbye to him.
Reading the sad message
Eugene immediately on a date
Rushed through the mail
And already yawned in advance,
Getting ready for the money
On sighs, boredom and deceit
(And so I began my novel);
But, having arrived in the uncle's village,
I found it on the table
As a tribute to the ready land.

III.

He found the yard full of services;
To the dead from all sides
Enemies and friends gathered
Funeral hunters.
The deceased was buried.
Priests and guests ate, drank,
And after importantly parted,
As if they were doing business.
Here is our Onegin villager,
Factories, waters, forests, lands
The owner is complete, but hitherto
The order of the enemy and the waster,
And I am very glad that the old way
Changed to something.

LIV.

Two days seemed new to him
solitary fields,
The coolness of the gloomy oak,
The murmur of a quiet stream;
On the third grove, hill and field
He was no longer interested;
Then they would induce sleep;
Then he saw clearly
As in the village boredom is the same
Although there are no streets, no palaces,
No cards, no balls, no poetry.
The blues was waiting for him on guard,
And she ran after him
Like a shadow or a faithful wife.

Lv.

I was born for a peaceful life
For rural silence:
In the wilderness, the lyrical voice is louder,
Live creative dreams.
Leisure devotion to the innocent,
Wandering over the desert lake
And far niente is my law.
I wake up every morning
For sweet bliss and freedom:
I read little, I sleep a lot,
I do not catch flying glory.
Isn't it me in the old days
Spent in inaction, in the shadows
My happiest days?

LVI.

Flowers, love, village, idleness,
Fields! I am devoted to you in soul.
I'm always glad to see the difference
Between Onegin and me
To the mocking reader
Or any publisher
Intricate slander
Matching here my features,
I did not repeat later shamelessly,
That I smeared my portrait,
Like Byron, poet of pride,
As if we can't
Write poems about others
As soon as about himself.

LVII.

I note by the way: all poets -
Love dreamy friends.
Used to be cute things
I dreamed and my soul
She kept their secret image;
After the Muse revived them:
So I, careless, chanted
And the girl of the mountains, my ideal,
And the captives of the banks of the Salgir.
Now from you my friends
I often hear the question:
“O whom does your lyre sigh?
To whom, in the crowd of jealous maidens,
Did you dedicate a chant to her?

LVIII.

Whose gaze, exciting inspiration,
He rewarded with touching affection
Your thoughtful singing?
Whom did your verse idolize?
And, others, no one, by God!
Love crazy anxiety
I have experienced it remorselessly.
Blessed is he who combined with her
The fever of rhymes: he doubled that
Poetry sacred nonsense,
Petrarch walking after
And calmed the torment of the heart,
Caught and fame meanwhile;
But I, loving, was stupid and mute.

LIX.

Love passed, the Muse appeared,
And the dark mind cleared.
Free, again looking for an alliance
Magic sounds, feelings and thoughts;
I write, and my heart does not yearn,
The pen, forgetting, does not draw,
Close to unfinished verses
No women's legs, no heads;
The extinguished ashes will no longer flare up,
I'm sad; but there are no more tears
And soon, soon the storm will follow
In my soul it will completely subside:
Then I'll start writing
A poem of twenty-five songs.

LX.

I was already thinking about the form of the plan,
And as a hero I will name;
While my romance
I finished the first chapter;
Revisited it all rigorously:
There are a lot of contradictions
But I don't want to fix them.
I will pay my debt to censorship,
And journalists to eat
I will give the fruits of my labors:
Go to the Neva shores
newborn creation,
And earn me glory tribute:
Crooked talk, noise and abuse!

An epigraph from P. A. Vyazemsky's Poem (1792-1878) "The First Snow". See the fable of I. A. Krylov “Donkey and Man”, line 4. (1) Written in Bessarabia (Note by A. S. Pushkin). Madame, tutor, governess. Monsieur abbot (French). (2) Dandy, dandy (Note by A. S. Pushkin). Be healthy (lat.). See missing stanza. See missing stanzas. (3) Hat à la Bolivar (Note by A. S. Pushkin). Hat style. Bolivar Simon (1783-1830) - leader of the national liberation. movements in Latin America. It has been established that Pushkinsky Onegin is going to the Admiralteisky Boulevard that existed in St. Petersburg. (4) A well-known restaurateur (Note by A. S. Pushkin). Antrasha - jump, ballet pas (French). (5) A trait of chilled feeling worthy of Child Harold. The ballets of Mr. Didlo are filled with the wonder of imagination and extraordinary charm. One of our romantic writers found much more poetry in them than in all of French literature (A. S. Pushkin's note). (6) Tout le monde sut qu'il mettait du blanc; et moi, qui n'en croyais rien, je commençais de le croir, non seulement par l'embellissement de son teint et pour avoir trouvé des tasses de blanc sur sa toilette, mais sur ce qu'entrant un matin dans sa chambre, je le trouvai brossant ses ongles avec une petite vergette faite exprès, ouvrage qu'il continua fièrement devant moi. Je jugeai qu'un homme qui passe deux heures tous les matins à brosser ses onlges, peut bien passer quelques instants à remplir de blanc les creux de sa peau. (Confessions de J. J. Rousseau)
Grim defined his age: now in all enlightened Europe they clean their nails with a special brush. (Note by A. S. Pushkin).
“Everyone knew that he used whitewash; and I, who did not believe it at all, began to guess not only from the improvement in the complexion of his face or because I found jars of whitewash on his toilet, but because, going into his room one morning, I found him cleaning nails with a special brush; this occupation he proudly continued in my presence. I decided that a person who spends two hours every morning brushing his nails could spend a few minutes whitewashing imperfections in his skin. (French). Boston is a card game. Stanzas XXXIX, XL and XLI are marked by Pushkin as missing. In Pushkin's manuscripts, however, there is no trace of any gap in this place. Probably Pushkin did not write these stanzas. Vladimir Nabokov considered the pass "fictitious, having a certain musical meaning - a pause of thought, an imitation of a missed heart beat, an apparent horizon of feelings, false stars to indicate false uncertainty" (V. Nabokov. Comments on "Eugene Onegin". Moscow 1999, p. 179. (7) This whole ironic stanza is nothing but subtle praise for our beautiful compatriots. So Boileau, under the guise of reproach, praises Louis XIV. Our ladies combine education with courtesy and strict purity of morals with this oriental charm that so captivated Madame Stael (See Dix anées d "exil). (Note by A. S. Pushkin). (8) Readers remember the delightful description of the St. Petersburg night in the idyll of Gnedich. Self-portrait with Onegin on the Neva embankment: self-illustration to Ch. 1 novel "Eugene Onegin". Litter under the picture: “1 is good. 2 should be leaning on granite. 3. boat, 4. Peter and Paul Fortress. In a letter to L. S. Pushkin. PD, No. 1261, l. 34. Neg. No. 7612. 1824, early November. Bibliographic notes, 1858, vol. 1, no. 4 (the figure is reproduced on a sheet without pagination, after column 128; publication by S. A. Sobolevsky); Librovich, 1890, p. 37 (rev.), 35, 36, 38; Efros, 1945, p. 57 (play), 98, 100; Tomashevsky, 1962, p. 324, note. 2; Tsyavlovskaya, 1980, p. 352 (play), 351, 355, 441. (9) Reveal the favored goddess
Sees an enthusiastic piit,
That spends sleepless nights
Leaning on granite.
(Ants. Goddess of the Neva). (Note by A. S. Pushkin). (10) Written in Odessa. (Note by A. S. Pushkin). (11) See the first edition of Eugene Onegin. (Note by A. S. Pushkin). Far niente - idleness, idleness (Italian)