It is known that it is in draft form. George Lucas' drafts: how the look of Star Wars was created

Option No. 2147186

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Indicate the numbers of sentences in which the MAIN information contained in the text. Write down the numbers of these sentences.

1) Pushkin’s poetry, thanks to the expansion of the range of use of sound writing, has reached perfection: it has unified form and content, it has merged image and sound.

2) Pushkin expanded the range of use of sound writing, including all the lexical wealth of the Russian language.

3) In the pre-Pushkin era, sound writing was a sophisticated stylistic device and was used to describe “ high images"and feelings.

4) A real poet always watches only for the euphony of his poetry.

5) Pushkin achieved the unity of word and image in his work, including by expanding the range of sound recording.

Answer:

Which of the following words or combinations of words should be missing in the third (3) sentence of the text?

Contrary to this

Exactly

In its turn

That's why

(1) It is known that in the pre-Pushkin era, sound painting was a sophisticated stylistic device and was used only when describing lofty images, the beauty of nature, and sublime feelings. (2) Pushkin expanded the range of artistic use of sound writing, including in it all the lexical wealth of the language, including vernacular (colloquial speech of the urban population: parts of the clergy, small and medium-sized officials, common intelligentsia, middle class) and the language of folk songs, epics, and fairy tales. (3)(...) Pushkin in his work achieved the unity of word and image; in his poetry, the artistic form never came into conflict with the content, for a true artist would never allow beautiful sounds to obscure or impoverish thought and content.

Answer:

Read the dictionary entry that gives the meaning of the word IMAGE. Determine in what meaning this word is used in sentence 3. Write the number corresponding to this meaning in the dictionary entry.

IMAGE, -A; m.

1) Type, appearance. Create something. in one’s own image and likeness (i.e., similar to oneself; bookish). Lose o. human(the same as losing human appearance). In the image of someone.(in the form of someone).

2) A living, visual representation of someone. Svetly O. mother.

3) In art: a generalized artistic reflection of reality, clothed in the form of a specific individual phenomenon. The writer thinks about.

4) In a work of art: type, character. Plyushkin O. miser. The artist entered Fr.(getting into character).

5) Order, direction of something., way. About life. O. thoughts. O. action.

(3)(...) Pushkin in his work achieved the unity of word and image; in his poetry, the artistic form never came into conflict with the content, for a true artist would never allow beautiful sounds to obscure or impoverish thought and content.

Answer:

In one of the words below, an error was made in the placement of stress: the letter denoting the stressed vowel sound was highlighted incorrectly. Write this word down.

spoiled

Let's call

will look back

Answer:

One of the sentences below uses the highlighted word incorrectly. Correct the lexical error by choosing a paronym for the highlighted word. Write down the chosen word.

CHOOSE the only right path, the path that is destined for you from above, guess it, do not turn away from it...

A real teacher should strive to ENCOURAGE all his students.

The music salon presented a huge SELECTION of discs with recordings of famous performers and aspiring singers.

The plan drawn up by the project manager has undergone major changes in the process of its development.

I definitely remembered an EXTRACTION from this musical piece, but I could not reproduce it completely, no matter how hard I tried.

Answer:

In one of the words highlighted below, an error was made in the formation of the word form. Correct the mistake and write the word correctly.

DRY in the wind

over SEVEN HUNDRED and fifty thousand

distant VILLAGES

all ages

Answer:

Establish a correspondence between the sentences and the grammatical errors made in them: for each position in the first column, select the corresponding position from the second column.

A) Oleg tried to unhook the sled, but it seemed to be stuck, and the rider turned and shook his head, and Alena just looked after her friend.	1) incorrect construction of a complex sentence
B) Traveling with a backpack along hiking trails requires considerable endurance.	2) violation of the connection between subject and predicate
C) Many critical comments and valuable suggestions were made during the discussion of the issue.	3) violation in the construction of a sentence with an inconsistent application
D) The house is full of people.	4) error in constructing a sentence with homogeneous members
E) One of the Russian customs valued by many old Muscovites was oral storytelling.	5) incorrect construction of sentences with participial phrases
	6) violation in the construction of sentences with participial phrases
	7) violation of management standards

A	B	IN	G	D

Answer:

Identify the word in which the unstressed vowel of the root being tested is missing. Write out this word by inserting the missing letter.

obsession

coll..shareholder

sunbathe

combination

Answer:

Identify the row in which the same letter is missing in both words. Write out these words by inserting the missing letter.

on..severe, on..bitten;

pr..exalt, pr..vision;

dis..integration, pre..history;

careless, and..sharpen;

heavenly..exhausting..withdrawal.

Answer:

Write down the word in which the letter I is written in place of the gap.

kumach..vyy,

heat..heat

master

delicious..nice

Answer:

Write down the word in which the letter U is written in place of the gap.

disturbing

chirping..chirping

Answer:

Determine the sentence in which NOT is spelled together with the word. Open the brackets and write down this word.

I didn’t want to think now about the (un)fulfilled promise yesterday.

The estate was surrounded by a (in)frequent but high fence.

There are three miles left, (not) more.

In bad weather they didn’t even let me out onto the porch.

Since Christmas we (didn’t) have our own bread, and we bought flour.

Answer:

Determine the sentence in which both highlighted words are written CONTINUOUSLY. Open the brackets and write down these two words.

(SO) TO arrive (TO) THE MEETING on time, we left early.

(DUE to) the prolonged (NOT) NASTY, the trip was cancelled.

The Meshchera region is just as modest as Levitan’s paintings, and there is in it the SAME grandeur and tranquility as in the artist’s paintings.

We looked (TO) THE RIGHT, but we still (NOT) SAW the roads.

(B) DUE to bad weather, we (SAME) stayed in the hut until the evening.

Answer:

Indicate all the numbers in whose place NN is written.

The sun was golden in the east behind the dim (1) strip of green (2) forests, behind the wide lowland (3) which the ancient Russian city looked at from the low bank.

Answer:

Place punctuation marks. Indicate the numbers of sentences in which you need to put ONE comma.

1) The caravel had three masts with straight and oblique sails and could move in the desired direction even with a headwind.

2) Leaves of all kinds of flowers are scattered in the forest and you expect to see mushrooms among them.

3) Bright poppies and delicate tulips and shaggy marigolds were planted in the flowerbed.

4) Representatives of the intelligentsia have always strived for semantic accuracy and expressiveness of speech and fought against distortion and contamination of their native language.

5) The yellowish or pink petals of this plant grow singly or in pairs.

Answer:

The maple (1), turning green (2) in spring and summer (3) and shedding its leaves in autumn (4), became for the heroine of the novel a symbol of the eternal natural cycle.

Answer:

Add all missing punctuation marks: indicate the number(s) in whose place(s) there should be a comma(s) in the sentence.

In late autumn or winter, flocks of either melodiously chirping or sharply screaming birds appear on city streets. It is (1) apparently (2) for this cry that the birds got their name - waxwings, because the verb “waxwing” (3), as linguists believe (4) once meant “to whistle sharply, to shout.”

Answer:

Place all punctuation marks: indicate the number(s) in whose place(s) there should be a comma(s) in the sentence.

That same river (1) on the bank (2) of which (3) Eugene spent most of his life (4) was unrecognizable.

Answer:

Place all punctuation marks: indicate the number(s) in whose place(s) there should be a comma(s) in the sentence.

His hand trembled (1) and (2) when Nikolai handed the horse to the horse breeder (3) he felt (4) the blood rushing to his heart.

Answer:

Which of the statements correspond to the content of the text? Please provide answer numbers.

1) The retreat of our troops takes place without battles, without blood.

3) To become a real man, you don’t always have to prove your physical strength; sometimes it’s more important to test your mental strength.

5) Rodion did not write for a long time because he was shell-shocked.

(According to L. Leonov*)

Answer:

Which of the following statements are true? Please provide answer numbers.

Enter the numbers in ascending order.

1) Sentences 17, 18, 20, 22 list the sequential actions of the characters.

2) Sentences 3–5 present the reasoning.

3) Sentences 8–9 include description.

4) Sentences 24–26 contain narration.

5) The predominant type of text is reasoning.

(1) Polya’s inflamed state, and most importantly, her confused, ambiguous speech - everything suggested the worst guesses, much more terrible than even Rodion’s captivity or his mortal wound.

(2) “No, this is completely different,” Polya shuddered and, turning to the wall, took out a crumpled, over-read triangle from under the pillow.

(3) Subsequently, Varya was ashamed of her initial assumptions. (4) Although rare transit trains did not stay in Moscow, the stations were nearby, and Rodion knew Polina’s address. (5) Of course, the command might not have allowed the soldier to leave the train for the Blagoveshchensk dead-end street, then why didn’t he at least write a postcard to his beloved one on his way to the active army?..

(6) So, this was his first news from the front, more than two weeks late. (7) In any case, now it will become clear with what thoughts he went to war. (8) Varya impatiently unfolded the piece of paper, which was all pierced with a pencil - apparently it was written on her knee. (9) I had to go to the lamp to make out the dim, half-finished lines.

(10) Varya immediately came across the main place.

(11) “Perhaps the only reason“, my dear, why was he silent all this time - there was nowhere to settle down,” Rodion wrote briefly, with unexpected completeness and straightforwardly, as if in confession. (12) – We are still retreating, retreating day and night, occupying more advantageous defensive positions, as the reports say. (13) I was also very sick, and even now I haven’t fully recovered: my illness is worse than any shell shock. (14) The most bitter thing is that I myself am quite healthy, completely intact, there is not a single scratch on me yet. (15) Burn this letter, I can tell you alone in the whole world about this,” Varya turned the page.

(16) The incident happened in a Russian village, which our unit passed through in retreat. (17) I was the last in the company... and maybe the last in the entire army. (18) In front of us on the road stood a local girl of about nine years old, just a child, apparently taught at school to love the Red Army... (19) Of course, she did not really understand the strategic situation. (20) She ran up to us with wildflowers, and, as it happened, I got them. (21) She had such inquisitive, questioning eyes - it’s a thousand times easier to look at the midday sun, but I forced myself to take the bouquet, because I’m not a coward, I swear to you by my mother, Polenka, that I’m not a coward. (22) I closed my eyes, but took it from her, abandoned to the mercy of the enemy... (23) Since then, I have kept that dried broom with me constantly, on my body, like a burden of fire in my bosom, I order it to be put on me in the grave, if anything happens. (24) I thought I would bleed seven times before I became a man, but this is how it happens, dry... and this is the font of maturity! - (25) Then two lines came across that were completely illegible. - (26) And I don’t know, Polenka, whether my whole life will be enough to pay for that gift...”

(27) “Yes, he has grown up a lot, your Rodion, you’re right...” Varya said, folding up the letter, because with such a mindset, it is unlikely that this soldier would be capable of any reprehensible act.

(28) Hugging, the girlfriends listened to the rustling of the rain and the rare, fading beeps of cars. (29) The topic of the conversation was the events of the past day: the exhibition of captured aircraft that opened on the central square, the unfilled crater on Veselykh Street, as they were already accustomed to calling it among themselves, Gastello, whose selfless feat resounded throughout the country in those days.

(According to L. Leonov*)

*Leonid Maksimovich Leonov (1899–1994) – Russian writer, public figure.

Answer:

Find among the given options the one where the word is used in figurative meaning. Write this word down.

unfolded (sentence 8)

burn (sentence 15)

closed his eyes (sentence 22)

thundered (sentence 29)

(1) Polya’s inflamed state, and most importantly, her confused, ambiguous speech - everything suggested the worst guesses, much more terrible than even Rodion’s captivity or his mortal wound.

(2) “No, this is completely different,” Polya shuddered and, turning to the wall, took out a crumpled, over-read triangle from under the pillow.

(10) Varya immediately came across the main place.

(11) “Perhaps the only reason, my dear, why I was silent all this time was that there was nowhere to settle down,” Rodion wrote briefly, with unexpected completeness and straightforwardly, as in confession. (12) – We are still retreating, retreating day and night, occupying more advantageous defensive positions, as the reports say. (13) I was also very sick, and even now I haven’t fully recovered: my illness is worse than any shell shock. (14) The most bitter thing is that I myself am quite healthy, completely intact, there is not a single scratch on me yet. (15) Burn this letter, I can tell you alone in the whole world about this,” Varya turned the page.

(According to L. Leonov*)

*Leonid Maksimovich Leonov (1899–1994) – Russian writer, public figure.

Answer:

Among sentences 15–19, find one(s) that is related to the previous one using a personal pronoun. Write the number(s) of this sentence(s).

(1) Polya’s inflamed state, and most importantly, her confused, ambiguous speech - everything suggested the worst guesses, much more terrible than even Rodion’s captivity or his mortal wound.

(2) “No, this is completely different,” Polya shuddered and, turning to the wall, took out a crumpled, over-read triangle from under the pillow.

(10) Varya immediately came across the main place.

(According to L. Leonov*)

*Leonid Maksimovich Leonov (1899–1994) – Russian writer, public figure.

(15) Burn this letter, I can tell you alone in the whole world about this,” Varya turned the page.

Answer:

Read an excerpt from the review. It discusses language features text. Some terms used in the review are missing. Fill in the blanks with numbers corresponding to the number of the term from the list.

“A fragment from L. Leonov’s novel “Russian Forest” confirms the idea that even complex philosophical problems can be spoken about in an accessible way. This is achieved with the help of tropes: (A)_____ (“font of maturity” in sentence 24), (B)_____ (“inquisitive, questioning eyes” in sentence 21), (C)_____ (“the midday sun is a thousand times easier to look at " in sentence 21). Enhances the effect of reading (D)_____ (“let’s retreat” in sentence 12, “I’m not a coward” in sentence 21). This technique fixes the reader’s attention on the main thing and emphasizes the author’s most important thoughts.”

List of terms:

1) anaphora

2) metaphor

3) hyperbole

4) professional vocabulary

5) parcellation

6) lexical repetition

7) opposition

8) epithets

9) contextual synonyms

Write down the numbers in your answer, arranging them in the order corresponding to the letters:

A	B	IN	G

(1) Polya’s inflamed state, and most importantly, her confused, ambiguous speech - everything suggested the worst guesses, much more terrible than even Rodion’s captivity or his mortal wound.

(2) “No, this is completely different,” Polya shuddered and, turning to the wall, took out a crumpled, over-read triangle from under the pillow.

(10) Varya immediately came across the main place.

(1) Polya’s inflamed state, and most importantly, her confused, ambiguous speech - everything suggested the worst guesses, much more terrible than even Rodion’s captivity or his mortal wound.

(2) “No, this is completely different,” Polya shuddered and, turning to the wall, took out a crumpled, over-read triangle from under the pillow.

(10) Varya immediately came across the main place.

(According to L. Leonov*)

*Leonid Maksimovich Leonov (1899–1994) – Russian writer, public figure.

Write an essay based on the text you read.

Formulate one of the problems posed by the author of the text.

Comment on the formulated problem. Include in your comment two illustrative examples from the text you read that you think are important for understanding the problem in the source text (avoid excessive quoting). Explain the meaning of each example and indicate the semantic connection between them.

The volume of the essay is at least 150 words.

Work written without reference to the text read (not based on this text) is not graded. If the essay is a retelling or a complete rewrite of the original text without any comments, then such work is graded 0 points.

Write an essay carefully, legible handwriting.

(1) Polya’s inflamed state, and most importantly, her confused, ambiguous speech - everything suggested the worst guesses, much more terrible than even Rodion’s captivity or his mortal wound.

(2) “No, this is completely different,” Polya shuddered and, turning to the wall, took out a crumpled, over-read triangle from under the pillow.

(10) Varya immediately came across the main place.

(According to L. Leonov*)

*Leonid Maksimovich Leonov (1899–1994) – Russian writer, public figure.

Solutions to long-answer tasks are not automatically checked.
The next page will ask you to check them yourself.

Complete testing, check answers, see solutions.

V - In the draft version of the stanza, the nature of Onegin’s conversations was emphasized more sharply:
[We all] learned little by little
Something, and somehow
And education, thank God,
It's no wonder for us to shine
Onegin was, in the opinion of many
Decisive [and] strict judges
A small scientist but a pedant.
The ladies saw talent in him
And he could actually do it with them
Conduct [scientific conversation]
And [even] a courageous argument
About Beyron, about Manuel
About carbonara, about Guys
About General Jomini
(VI, 217).
The range of the listed topics fully justified the definition of the conversation as “courageous”: Byron in 1819-1820, when Onegin was arguing in St. Petersburg salons, evoked memories of the “carbonaris”, i.e. carbonari, Italian revolutionaries-conspirators - during this period he took an active and probably leading part in their movement. Manuel, Jacques-Antoine (1775-1827) - French left-wing politician, in 1818-1823. Member of Parliament; the fact of his election at the very end of 1818 constituted current political news during the action of the first chapter. However, these names remained relevant in 1823, when the chapter was written: in early August, Byron landed in Greece. Connected with this, as well as with the discussion of the Greek question in Decembrist circles, is the hesitation in the wording of verse 15: “About the carbonari” or “about heteria.” Version 12 of verse: “O Benjamin, about Manuel” - acquired a special meaning in connection with conversations in Decembrist circles about the need for international contacts. V. S. Tolstoy testified during the investigation: “Indeed, Aninkov told me that our society is connected [...] with the French one, in which the leaders are Manuel and Benjamin-Constant (Decembrists. New materials. M., 1955, p. 131) . Jomini Heinrich Velyamovich (1779-1869) - Swiss, military theorist, French general, went into Russian service. Jomini set himself the task of summarizing the military experience of the Napoleonic wars. In 1817, a Russian translation of it was published.
book "General Rules of the Art of War". The book evoked responses in the Military Journal, one of the publishers of which was Fyodor Glinka, a close friend of P. The controversy surrounding Jomini's theoretical principles is related to the desire of the Decembrists to replace fruntomania in the army with an interest in military science. Wed. in the comedy sketch P:
In their circle they
They talk about sensible things, read Jomini
(VII, 246).
In “Song of the Old Hussar” by D. Davydov:
Jomini yes Jomini!
And not a word about vodka!
(Davydov, p. 102).
The Evariste boys (Désiré de Forges) (1753-1814) - French poet. Zd. is probably mentioned not as the author of elegies, but as the creator of blasphemous, anti-Christian poetry, the tradition of which P turned to in 1821, working on the “Gabriiliad” (See: L. Volpert. On the literary origins of the “Gabriiliad.” - “ Russian literature", 1966, No. 3, pp. 95-103; Alekseev, p. 288). The contrast between the seriousness, even political taboo, of the topic of the conversations and the secular nature of the audience (“The ladies saw talent in him...”) casts an ironic light on the nature of Onegin’s interests (cf. the same contradiction in Repetilov’s behavior).
V, 7 - A small scientist, but a pedant... - Pedant z.: “a person who flaunts his knowledge, his learning, who judges everything with aplomb” (Pushkin Dictionary of Language, III, 289). This is precisely the use of the word “pedant” in all texts of P:
You're right - the scientist Firs is intolerable,
Pouty and sophisticated pedant
(II, I, 132).
“Pelevoy set out on Anti-Criticism without you! He is long and boring, a pedant and an ignoramus” (XIII, 227), etc. In this regard, Brodsky’s interpretation (pp. 44-46) seems far-fetched. The ironic sound in the commented text arises due to the contradiction between the real level of Onegin’s knowledge and the idea of “society” about him, in the light of which the mental outlook of people in the secular circle appears in an even more pitiful form.
14 - Fire of unexpected epigrams. - Epigram of the building: “A caustic, witty remark, ridicule, wit” (Pushkin Dictionary of the Language, IV, 1007). The fact that one of the genres of satirical poetry is not meant here follows from Onegin’s emphasized inability to write poetry. Therefore, Brodsky's explanation of this verse (p. 46) is inaccurate.
VI, 1-8 - Latin is out of fashion now... Two verses from the Aeneid. - Knowledge of Latin, common among students of theological seminaries, was not included in the circle of secular noble education. However, Radishchev also emphasized the importance of the Latin language for the education of civic feelings: “The sun, rising to illuminate the works of the earthly, often found him [F. Ushakov. - Yu. L.] talking with the Romans. What attracted him most in the Latin language was the power of expressions. Filled with the spirit of freedom, these rulers of the Kings expressed the elasticity of their souls in their speech. It was not the flatterer Augustus and not the liar of Maecenas who seduced him, but Cicero, thundering against Catiline, and the caustic Satirist, merciless of Nero" (A. N. Radishchev, Complete collection of works. , vol. I. M.-L., 1938, p. 179). Latin for the common intelligentsia XVIII - early XIX centuries was the same password language as French for the nobility. From Lomonosov, who shouted at one of his opponents at the Academy: “What kind of a person you are [...] speak to me in Latin” 1 (if you can’t, it means you’re not a scientist!), to Nadezhdin, who equipped his articles with epigraphs and quotes in In ancient languages, in order to remove literary criticism from the sphere of noble amateurism, a single thread of early Russian raznochinsky culture stretched out. It is known that it was created in the last third of the 18th century. officials I.K. Strelevsky and I.N. Buida anti-government proclamation in Latin.
1 The protocol depicts the following as follows: “He responded that I don’t know how, to which he: you are rubbish, worthless and unworthily produced” (Bilyarsky P.S. Materials for the biography of Lomonosov. St. Petersburg, 1865, p. 29) .
However, the Latin language also gained some popularity among nobles who were striving for a serious education. So, A.S. Kaisarov, having arrived at the beginning of the 19th century. in Göttingen, first of all, he took up Latin, and in 1806 he already wrote and defended a dissertation in Latin “On the need to emancipate slaves in Russia.” The fashion for Jesuit teachers in the early 1800s. also contributed to the fact that Latin began to be included in the range of knowledge necessary for a nobleman. Onegin, who studied under the guidance of a Catholic abbot, would, of course, have to thoroughly master Latin with minimal diligence. The characteristics: “He could not [read] Tacitus,” “he could not conjugate tabula” (VI, 219) are ironic.
With the closure of the Jesuit boarding houses in 1815, Latin fell out of the circle of “secular” education (“has now fallen out of fashion”). By the 1820s knowledge of Latin began to be perceived as evidence of a “serious” education, as opposed to a “secular” one. Knowledge of the Latin language was widespread among the Decembrists. Pushkin “studied the Latin language well at the Lyceum” (Pokrovsky M. M. Pushkin and antiquity. - Pushkin, Vremnik, 4-5, p. 28) and later read even relatively little-known Latin authors in the original (See: Amusin I. D. Pushkin and Tacitus. - Pushkin. Vremnik, 6, pp. 160-180).
Latin language owned by Yakushkin, M. Orlov, Kornilovich, Dmitriev-Mamonov, Batenkov, N. Muravyov, N. Turgenev and many others. In contrast, V. A. Mukhanov’s characterization of Nicholas I’s poor preparation is indicative: “As for the political sciences, they were not mentioned during the upbringing of the emperor [...] The late sovereign, after his marriage, took up the languages German and English. Sometimes with doctors he used several Latin words, for example: commode, vale and others. When it was decided that he would reign, the sovereign himself was afraid of his ignorance" (Russian Archive, 1897, No. 5, pp. 89-90). The coincidence of the insignificant crumbs of Latin vocabulary that Pushkin puts into the mouth of his hero, and the memoirist - Nicholas I, is significant.
4 - To understand the epigraphs... - Epigraphs of buildings: ancient inscriptions on monuments, buildings and tombs. The most famous of the ancient epigraphs were included in popular French anthologies and were included in the initial course of ancient languages.
5 - Talk about Juvenal... - Juvenal (b. about 42 - d. about 125 AD) - Roman satirist poet. In European culture of the 18th century. entered as a generalized image of the poet-accuser of political despotism and moral depravity. The scourge of satire “in the hand of the harsh Juvenal” (Kuchelbecker, vol. I, p. 131) is a stable image of Decembrist political poetry. However, the combination of Juvenal’s name with the careless “explain” and the general context of the discussion about Onegin’s poor knowledge of Latin gives Onegin’s conversations about Juvenal an ironic overtone, separating them from similar conversations of the Decembrists.
8 - Two verses from the Aeneid. - The Aeneid is an epic poem by the Roman poet Publius Virgil Maron (70-19 BC). The study of passages from the Aeneid was part of the initial course in Latin literature. P treated Virgil's poetry ironically, perhaps due to opposition to the theorists of classicism. Wed:
In those days when in the gardens of the Lyceum
I blossomed serenely
I read Apuleius on the sly
And he yawned over Virgil
(VI, 507).
9-14 - He had no desire to rummage... He kept it in his memory. - Interest in historical information was widespread in the Decembrist environment and especially intensified in connection with the controversy surrounding the first volumes of Karamzin’s “History of the Russian State.” The philosophical and journalistic approach to history in Decembrist circles opposed the view of history as a chain of anecdotes - descriptions of piquant incidents from the life of the court. Wed. in “Evening in Chisinau” by V. F. Raevsky: “the major [i.e., the author himself. - Yu. L.] attacks the Bon-mot of the valet of Louis 15” and adds: “I can’t stand those jokes [that for news for you], which have long been forgotten in coffee shops in Paris" ("Lit. Heritage", 1934, vol. 16-18, p. 661). This work, containing a strict analysis of the elegy “Napoleon on the Elbe,” was, of course, known to P. P meant conversations with Raevsky, emphasizing that Onegin remembered “the jokes of days gone by.”
Romulus is the legendary founder and first king of Rome (8th century BC).
VII, 1-4 - Having no high passion... No matter how hard we fought, to distinguish. If among the Karamzinists the idea of poetry as a measure of progress in the cause of civilization was widespread (cf. Batyushkov’s keynote speech “Speech on the influence of light poetry on the language”, 1816), then, for example, N. Turgenev (his opinion was well known to P) believed that poetry distracts young people from important political activities. In the “prospectus” of the magazine he designed in 1819, he complained that Russian literature is limited “almost to poetry alone. Works in prose do not touch upon political subjects” (Diaries and letters of Nikolai Turgenev, vol. III. Pg., 1921, p. 369). Wed. exclamation of the “major” in “Evening in Chisinau” by V. F. Raevsky: “I can’t stand poetry!” ("Lit. Heritage", 1934, vol. 16-18, p. 661), especially remarkable in the mouth of the poet and testifying to a certain orientation of minds in the Union of Welfare and in circles close to it. Calling poetry a “high passion” (cf. Pasternak’s paraphrase “high disease”; the Church’s “passion” could mean “suffering”, “torment”, “illness”) and pointing out the danger of the poetic craft in Russia (“for the sounds of life there is no to spare"), P polemicized his political friends with this idea.
5 - 6 - Scolded Homer, Theocritus;
That's why I read Adam Smith...
Homer (Omir - Byzantine form of the name, adopted by the Russian medieval tradition and passed into the “high style” in the 18th century) - ancient Greek folk poet (aed), life time - presumably from the 12th to the 7th centuries. BC e. Ancient tradition attributed to him the authorship of the epic poems "Iliad" and "Odyssey". Theocritus (III century BC) - ancient Greek poet, author of idylls. The work of Homer and Theocritus aroused increased interest in the era of pre-Romanticism, during the search for ways to a nationally distinctive heroic and folk culture, opposed to the salon art of the Rococo era. In Russia at the beginning of the 19th century. Homer and Theocritus were translated by poets of a distinctly democratic orientation - Merzlyakov and Gnedich. Their experiments had a great impact on Russian civil (including Decembrist) poetry. However, in those circles of the Union of Welfare with which P came into contact (N. Turgenev’s circle), the passion for ancient poetry evoked an ironic attitude. P was aware of the words of N. Turgenev in his introductory speech at the reception to Arzamas, ironically contrasting the useless, in his opinion, translation of the Iliad by Gnedich with useful works on political economy: “I, occupying my thoughts [...] with finances, took it into my head , what would be more appropriate for the assistant librarian and translator of Homer, instead of the Iliad, to translate in verse, and even in exameter, for example: Süssmilch Göttliche Ordnung or Justi Abhandlung von den Steuern und Abgaben "i.e. Süssmilch, Divine Order, Justi, Treatise on Taxes and income - the works of economists studied by Turgenev in Gottingen (Arzamas and Arzamas protocols. L., 1933, p. 193). Adam Smith (1723-1790) - English, economist, who had a strong influence on N. Turgenev and the political economic ideas of the Decembrists. Conversations between L and N. Turgenev, who argued that “poetry and fine literature in general cannot fill our souls, which are open to important, decisive impressions” (Russian Bibliophile, 1914, No. 5, p. 17), and who, following Adam, believed Smith that “money constitutes a very small part of the people’s wealth” and that “peoples are the richest”, “who have the least pure money” (Turgenev N. Experience in the theory of taxes. 2nd edition. St. Petersburg, 1819, p. 93), reflected in the characterization of Onegin’s views.
Thus, Onegin, following Adam Smith, saw the way to increase the profitability of the farm in increasing its productivity (which, according to Smith’s ideas, was associated with the worker’s growing interest in the results of his labor, and this implied the right of ownership for the peasant to the products of his activity). Onegin’s father preferred to follow the traditional path for Russian landowners: the ruin of the peasants as a result of increased duties and the subsequent mortgage of the estate to the bank (see pp. 39-41).
Interest in political economy was a striking feature of the public mood of young people in 1818-1820. Wed. in Pushkin’s “Novel in Letters”: “At that time, the severity of rules and political economy were in fashion” (VIII, I, 55).
12 - When a simple product has. - A simple product - translation of one of the basic concepts economic theory physiocrats 1 "produit net" (pure product) - an agricultural product, which, in their opinion, forms the basis of national wealth. In U P italics emphasize the quotative and terminological nature of this expression.
1 Physiocrats - French economists of the 18th century who considered land as the only source of wealth and rejected any form of government intervention in the economy
These poems attracted the attention of K. Marx, who in his work “On the Critique of Political Economy” wrote: “In Pushkin’s poem, the hero’s father cannot understand that the commodity is money” (K. Marx and F. Engels. Works. 2nd ed. , t. 13. M., 1959, p. 158). F. Engels in “The Foreign Policy of Russian Tsarism,” analyzing the economic foundations of an aggressive foreign policy, wrote: “It was the time when Eugene Onegin (Pushkin) learned from Adam Smith
"How the state gets rich..."
(ibid., vol. 22, p. 29).
VIII, 5 - What was it for him from his youth... - From his youth (church). The use of the word “from childhood,” which is only possible in a high style, gives the stanza an ironic tone.
9-14 -...the science of tender passion, Which Nason sang...
Ovid Naso - Roman poet (43 BC - 16 AD), author of Metamorphoses and elegies. He was exiled by Emperor Augustus to the city of Tom at the mouth of the Danube. During the Kishinev period, P repeatedly draws parallels between his fate and the fate of Ovid. "The Science of Tender Passion" is an obscene didactic poem by Ovid "The Science of Love" (Ars amatoria). The mention of the “Science of Love” sharply reduces the nature of Onegin’s love interests. This was especially felt in the draft versions of the first chapter with their references to “shameless pleasures” (VI, 243):
It is not nature that teaches us love
And the first dirty novel...
(VI, 226).
The reference to Ovid as the creator of the “science of love” is traditional in “dandy dialect.” A. V. Khrapovitsky in the preface to the “Love Lexicon” wrote: “Everyone knows that Ovid, a citizen of ancient Rome, noticing love’s tricks, wrote a book about the art of love. So then love became a science” (Love Lexicon. Translated from French ed. M., 1779, p.
IX - In the printed text, the stanza is omitted and replaced by three lines of dots. In the white autograph:
The ardor of our hearts torments us early.
Charming deception
It is not nature that teaches us love
And Steel or Chateaubriand.
We are hungry to know life in advance,
We recognize her in the novel
We found out everything, meanwhile
We didn't enjoy anything
Nature's voice warning
We only harm happiness
And it's late, late after him
Young ardor flies
Onegin experienced this
For how he recognized women
(VI. 546).
Omissions of stanzas later become a compositional device in P, creating a multifaceted artistic space of the text (see: Hoffman M. L. Omitted stanzas of “Eugene Onegin.” - Pushkin and his contemporaries, issue XXXIII - XXXV. Pb., 1922, p. 1 - 328; Tynyanov Yu. N. About the composition of “Eugene Onegin”. - In the book: Tynyanov Yu. N. Poetics, history of literature, M., 1977).
XII, 2 - Hearts of coquettes! - Note building: “inveterate, notorious, generally recognized” (Pushkin Dictionary of the Language, II, 84). “Coquette of note” is an expression that had almost a terminological meaning, cf. in Baratynsky’s poem “My Life” (1818 - 1819?):
I love you with a beauty note
On a bed of bliss and oblivion
By the will of a young prank
Diversify your pleasures
(Baratynsky, I, 266).
This poem was first published in 1936, but its autograph was in the album of lyceum student Yakovlev. This album was in the hands of 77, who wrote his poem “I love the evening feast...” in it. This expression in P means women of the demi-monde (the concept of “good manners” excluded the possibility of outright coquetry for a woman of “the world”: “There is not a drop of coquetry in her. High society does not tolerate it” - VIII, XXXI, 7-8), who combined freedom of treatment with greater than that of society ladies, the liveliness of conversations, spontaneous gaiety and courage in love interests. The author of EO distinguished shades of address between “the subtle politeness of the nobility” and “[the frivolity of] sweet whores” (VI, 351). Wed. a parallel phraseological unit “record dandies” (VII, LI, 9), apparently formed under the influence of the first.
XII, 10 - Foblas is a long-time student... - Foblas is the hero of the novel by Louvet de Couvray (1760-1797) “The Adventures of the Cavalier Foblas”. Common name for a female seducer. On the attitude of 77 to Louvet de Couvray, see: Volpert L. I. "Faublas" Louvet de Couvray in the works of Pushkin. - In the book: Problems of Pushkin studies. L., 1975, p. 87-119.
XIII-XIV - P omitted these two stanzas, replacing them with three lines of dots. The draft autograph reads:
XIII
How he knew how to make a humble widow
Attract the pious gaze
And with her, modest and confused
Start blushing [conversation]
Captivate with tender inexperience
and reliable loyalty
[Love] that does not exist [in the world]
And the ardor of innocent years
How he knew how to treat any lady
To talk about platonism
[And play with dolls with the fool]
And suddenly an unexpected epigram
Confuse her and finally
Tear off the solemn crown.
XIV
So frisky darling of the maid
Anbar guardian mustachioed cat
Sneaks after the mouse from the bed
Reaches out, goes, goes
Half-squinting, [steps up]
Curls up into a ball and plays with his tail
Expand the claws of cunning paws
And suddenly the poor thing gets scratched
So the predatory wolf languishes from hunger
Coming out of the depths of the forests
And prowls near the careless dogs
Around an inexperienced herd
Everyone is asleep - and suddenly a ferocious thief
The lamb rushes into the dense forest
(VI, 224-226)
The image of the cat as an image of cunning red tape finds a close correspondence in Voltaire’s “The Virgin of Orleans”:
Our Montrose was more knowledgeable.
He questioned the servants very cleverly.
Where Agnes sleeps, where is her peace,
Noticing everything with a cautious glance,
Like a cat that goes, lying in wait
A shy mouse, stepping slightly
With the silent gait of a thief,
His eyes sparkle, his claws are ready
And, seeing the victim, he instantly catches...
(Voltaire. The Virgin of Orleans.
Per. edited by M. L. Lozinsky.
M., 1971, p. 156).
This episode, having fallen out of EO, ended up in “Count Nulin”. The fact that Voltaire’s poem was in P’s field of vision at the time of his work on the first chapter is evidenced not only by this passage. There are noticeable echoes between the preface to the first chapter of EO and the preface of Father Apuleius Rhizorius Benedictine, under whose guise Voltaire published his preface to the poem. Not only the image of a conventional publisher - a person outsider in relation to the author of the poem - resonates, but also more specific details - the ironic statement: “We are especially consoled that in our “Virgin” there is much less insolence and liberties than in all the great Italians who wrote in of this kind" (ibid., p. 30) and: "...may we be allowed to draw the attention of the most respectable public and journalists to a dignity that is still new in the satirical writer: observation of strict decency. in their comic descriptions of morals, Juvenal, Petron, Voltaire and Byron often failed to retain due respect for the readers and the fair sex" (VI, 528). In the preface and notes, Voltaire calls himself a “modest author” (ibid., pp. 32 and 243). P also called himself in the note (VI, 193).
The omission of two stanzas in the final text marked the boundary between the part devoted to the characterization of the hero (stanzas I-XII) and the description of his day (XV-XXXVI). The character of Onegin, as he is depicted in the first twelve stanzas, is marked by a contradiction between traits that allow him to be included in the circle of young people who experienced the influence of the Union of Welfare, and properties that are completely incompatible with such a characterization. Onegin either approaches the ideal of a “smart man,” or merges with the polar opposite type of “secular young man.” Fluctuations in this typological field created the possibility of switching the tone of the narrative, now into a satirical, now into an ironic, now into a lyrical plane.
Highlighting the history of the day of the secular dandy as a special satirical theme (cf. the satirical message of Ya. N. Tolstoy “To a St. Petersburg resident.” - In the collection: My idle time. St. Petersburg, 1821; parallels between the poem of Ya. N. Tolstoy - friend P according to “The Green Lamp” - and the stanzas dedicated to Onegin’s day give a picture of convincing correspondences, see: Brodsky, pp. 85-86) quite naturally in the context of the social sentiments of the 1820s. The life of a St. Petersburg dandy was subject to the general law of noble culture - the desire for ritualization of life, which almost completely excluded the possibility of an individual daily routine. In this sense, the life of a dandy approached such seemingly distant and strictly organized forms as the life of an officer or the course of “work” in a Masonic lodge. In all these cases, the sequence of moments (day or meeting) was strictly established and was not subject to individual variations. The generation of Decembrists, having put forward demands for people to actively shape their behavior and be personally responsible for their actions, sharply opposed the ritualization of everyday life. The “active idleness” of secular ritual was contrasted with free solitude and desk work of thought. Both the parade and the Masonic lodge began to be perceived as painful and meaningless rituals. The target of satirical arrows is the mechanical monotony of a once-for-all established secular ritual, the theme of “wasting time.”
XV, 1 - It happened that he was still in bed... - The dandy’s Day routine is shifted in relation to the average norms of social pastime. Onegin's day begins later than usual (“he will wake up at noon”). Wed:
"IN high society the day began quite early at 10 o'clock, we got up, lunch usually took place at 4-5 o'clock" (Severtsev G. T. Petersburg in the 19th century. - "Historical Bulletin", 1903, May, p. 621). See pp. 73-79 .
5 - There will be a ball there, there will be a children's party. - Children's party - ball for teenagers. The “ladies” at children's parties were 13-16 year old young ladies who came accompanied by their mothers. However, the age of the “gentlemen” could be very diverse. Wed. description of the “children's holiday”) by Yogel in “War and Peace” (vol. II, part 1, chapter 12). Children's parties began and ended earlier than regular balls, so the young man could still have time to stop by the theater from the children's party and then go to the ball.
10 - Putting on a wide bolivar... - Italics and familiar metonymic replacement of the hat with the name of the one who glorified it politician indicate P's conscious use of jargon from the dandy dialect. Bolivar Simon (1783-1830) - leader of the national liberation movement in Latin America, the idol of European liberals of the 1820s. Judging by the iconographic materials, P wore a hat a la Bolivar. Wed. in V. Hugo’s novel “Les Misérables”: “This happened during the struggle of the South American republics with the Spanish crown, the struggle of Bolivar with Morillo. Hats with narrow brims belonged to the royalists and were called “Morillos”, liberals chose hats with wide brims, called “Bolivars” "(Part I, Book V, Chapter XII).
And - Onegin goes to the boulevard... - Boulevard (see p. 79) - Nevsky Prospekt in St. Petersburg until the spring of 1820 was planted in the middle with an alley of linden trees and in everyday speech was called a boulevard. Around two o'clock in the afternoon it was the place of people's morning walk." good society". "...The closer to two o'clock, the number of tutors, teachers and children decreases: they are finally forced out by their gentle parents, walking arm in arm with their motley, multi-colored, weak-hearted friends" (N.V. Gogol, "Nevsky Prospekt ").
13- 14 - While the watchful Breget
Dinner won't ring his bell.
Breguet is a watch made by the Parisian mechanic Breguet (or rather, Breguet) Abraham-Louis (1747-1823). Onegin's behavior in many ways does not coincide with the norms of dandyism, deviating towards the traditional behavior of the Russian dandy-petimeter. Wed. the use of a clock by a “brainless petimeter” in Lukin’s “The Scrupuler”: “... they will wake him up at midnight at twelve o’clock and later; [...] they will show the time when he should go on a date with his mistress...” ( Russian comedy and comic opera of the 18th century. M.-L., 1950, pp. 101-102).
Compare, on the other hand, in “Pelham...” Bulwer-Lytton: “Tell me, Mr. Pelham, have you already bought a watch from Breguet?” “A watch?” I asked. Do you really think that I would wear a watch? ? I don’t have such plebeian habits. Why, pray tell, does a person need to know exactly the time if he is not a businessman who spends nine hours a day at his desk and only one hour at lunch in order to arrive on time where he is invited? - you will say; I agree, but - I added, casually playing with the most charming of my curls, - if a person is worthy of being invited, he is, of course, worthy of waiting for him" (Bulwer-Lytton, p. 74) .
Lunch will ring for him. - “Rehearsal” pocket watches were equipped with a mechanism that, if you pressed a special spring, “ringed out” the time. Thus, the time could be found out without opening the lid that covered the dial. The fashion for Breguet watches was supported not only by their accuracy, but also by the fact that A.-L. Breguet never produced two identical hours. Each sample was unique. The museum collection of the Moscow Kremlin contains a breguet with seven dials, showing hours, minutes, months of the revolutionary (watch produced in 1792) and Gregorian calendars, days of the week and decades.
XVI, 2 - "Fall, fall!" - there was a cry... - “Drop!” - the cry of a postilion dispersing pedestrians. Driving quickly through crowded streets was a sign of panache. "...Everything that was an aristocracy or pretended to be an aristocracy, rode in carriages and carriages in fours, in a train, with a postilion. For good form, or, as they say now, for chic, it was required that the postilion be, as much as possible, a little boy, moreover, that he had one, as high as possible, note of his voice [...] This note, with the sound and! Kazansky Bridge. A noble competition ensued between the postilion boys, who would outshout whom..." (Przhetslavsky O.A. Memoirs. - Landlord Russia... pp. 67 - 68).
5 - 6 - He rushed to Talon: he is sure
What is Kaverin waiting for him there?
The Talon restaurant existed until the spring of 1825. It was located on Nevsky Prospekt (now Nevsky 15, its premises now house the Barrikada cinema). Kaverin Pyotr Pavlovich (1794-1855) - P’s friend during his Lyceum and St. Petersburg years. He studied in Gottingen (1810-1811), served in the Life Hussars and Pavlograd Hussars regiments. He was known for his riotous behavior and free-thinking, and was a member of the Union of Welfare. See P.'s poems "To the Portrait of Kaverin" and "To P. P. Kaverin."
A merry fellow, a well-known rake who easily made debts and did not repay them well, a hussar and a duelist, Kaverin was at the same time a member of the Green Lamp, a friend of N. Turgenev (despite the misunderstandings caused by his carelessness in money matters), Griboedov, Pushkin, Vyazemsky and Lermontov. Kaverin is best characterized by N. Turgenev’s letter to his brother Sergei dated May 29, 1818. Having told about the serfdom antics of his cousin “vile Boris,” N. Turgenev continues: “Compare with this the act of a rake [emphasized by N. Turgenev. - Yu. L.] Kaverin, to whom the coachman brought 1000 rubles and asked for freedom. He answered that he would give him his 1000 rubles for one idea about freedom: but, having no money, he gives him a vacation pay" (Decembrist N.I. . Turgenev. Letters to brother S. I. Turgenev. M. - L., 1936, p. By bringing Onegin together with Kaverin, P introduced the hero into his own inner circle.

Forgotten and little-known facts

Joseph Vissarionovich Stalin retained the warmest memories of the classic of Georgian literature Ilya Grigorievich Chavchavadze all his life. In a conversation with film director M. Chiaureli, I.V. Stalin remarked: “Isn’t it because we pass by Chavchavadze that he is one of the princes? And which Georgian writer gave such pages about the feudal relations between landowners and peasants as Chavchavadze? This was, of course, the largest figure among Georgian writers of the 19th and early 20th centuries.”

If I.V. Stalin decided to devote his life to poetry, then I. Chavchavadze could play a significant role in the life of young I.V. Stalin, when he selected several of the best poems of a sixteen-year-old seminarian and published them in the Tiflis literary newspaper Iveria, which he published. /…/

As an aspiring poet, I.V. Stalin immediately received recognition. Thus, his poem “Morning”, on the recommendation of Ilya Chavchavadze, was included in the ABC book of “Deda En” and for many years it remained one of the favorite first poems of Georgian children. /…/

Of all that was written by the young poet Soso Dzhugashvili, only six poems published by him have survived, those that were published in the newspapers “Iveria” and “Kvali” in 1895-1896.
(Source - Balayan L. Stalin. // stalin.su)
***

The poet and translator Alexander Oyslender told me how he was once called to the secretary of the party’s Central Committee for propaganda and given the opportunity to translate poetry from Georgian into Russian. Oyslander saw these verses in an old textbook “Native Word” for a Georgian elementary school and immediately realized that they belonged to Stalin. On Georgian language these poems are exhibited in the museum in Gori. When Oyslander brought the translations, sluggish with fear, he was given a briefcase. At home he opened it - the briefcase was full of money. The poems were never published in Russian. We can only guess about the reason.
(Source - Druzhnikov Yu. Pushkin, Stalin and other poets. // www.druzhnikov.com)
***

In 1949, on the initiative of L.P. Beria made an attempt, secretly from Stalin, to publish his poems in gift format in Russian for the leader’s 70th birthday. For this purpose, under the strictest secrecy, they brought in best translators, - allegedly, among them were B. Pasternak and A. Tarkovsky. Having familiarized himself with the nameless interlinear translations, without knowing about their authorship, one of the masters of poetic translation innocently said: “They are up for the Stalin Prize, 1st degree...” But in the midst of work on the translations, a formidable order was received: to urgently stop this activity. I think there is no need to guess where this order came from. So the poet Joseph Dzhugashvili, at the behest of Stalin, did not become a laureate of the Stalin Prize.
(Source - Kotyukov L. Forgotten poet Joseph Stalin. // Legion of "White Death" M., 2002. P. 65.)
***

/…/ Galina Neuhauz reports on the poet’s telephone conversations with the leader. It is in her stories that Stalin’s legendary appeal to Pasternak with a request to read and evaluate the poems of one of his friends appears. The poet realized that we were talking about the poems of Stalin himself. Maybe here lies the key to unraveling their relationship? The modest poet Stalin, in turn, also falls under the influence of “charismatic individuality” great poet Pasternak. The idea seems absurd only at first glance. The epithet “modest” is almost devoid of irony - while in power, the leader did not initiate the publication of his poems, even through rudeness and familiarity his respect - even condescending - for the poet shines through, and we cannot unconditionally assert that Stalin was incapable of realizing the depth Pasternak's poetic gift. “A few days later they brought poetry to Pasternak. The poems turned out to be quite primitive and uninteresting. Boris Leonidovich was painfully thinking about how to tell him about this, but there was no call for a long time, and he calmed down, deciding that everything had already been forgotten. Suddenly the call rang. And then Pasternak resolutely said that the poems were bad and “let his friend better do something else, if he has one.” After a pause, Stalin said: “Thank you for your frankness, I will tell you so!” After this, Pasternak expected that he would be imprisoned.
(Source - Golovanova A. Pasternak and Stalin. Notes of a non-eyewitness. // www.agniart.ru)
***

The poems of Joseph Dzhugashvili (Stalin) were translated by Arseny Tarkovsky and Boris Pasternak (they were admired by the classic of Georgian literature Ilya Chavchavadze)
(The article was published in the Nabat newspaper No. 26 (143) dated October 26, 2006)

The famous Georgian poet and revolutionary democrat Ilya Chavchavadze (1837-1907), who published the newspaper “Iveria” in Tiflis, in 1895 published five poems he liked by the then unknown 16-year-old Joseph Dzhugashvili. The poems were about awakening the beauty of nature and the Motherland; about the poet’s hopes for life, despite all its hardships, about a lyrical conversation with the moon; about the people's suffering and the appointment of a singer and poet in Georgia; about the tragedy of a man who brought good to people, and about human ingratitude that destroyed this man; and, finally, about how old age comes and how the old man does not want to surrender to the hands of death. These poems amazed the classic of Georgian literature Ilya Chavchavadze. So on June 14, 1895, in issue No. 123 of the Iveria newspaper, the first poem by I.V. Stalin appeared, which later became known as “Dila” (“Morning”). It was this poem that in 1912, a prominent person in Georgia, Jacob Gogebashvili, included in the textbook “Native Language” (“Deda Ena”) for primary school:

The wind smells of violets,
The grass glows with dew,
Everything around is waking up
Lit up with roses.

And the singer from under the cloud
Everything is livelier and sweeter,
Nightingale endlessly
Sharing joy with the world:

"How you make me happy, Motherland,
Beauty with its rainbow,
So everyone works
I must please my homeland."

This poem was published in Georgian in 1948 in Tbilisi as a separate well-illustrated book in color with a circulation of 10,100 copies at a price of 7 rubles per book.

Nikolai Dobryukha (translated the poem “Morning” into Russian), laureate of the Moscow Komsomol literary prize, spoke about this.

Another translator of Joseph Dzhugashvili’s poems, Lev Kotyukov, wrote several years ago in the Moscow newspaper “Zavtra”:
“In their youth, many dream of becoming poets, but, having lost their passion in the desire to be published and become famous, they resign themselves to defeat - and in their mature years they remember their home-grown verses with a smile. Joseph Dzhugashvili was not a failed poet, he did not dream of poetic recognition: he was a poet , was recognized and noted as a poet at the dawn of his foggy youth. Georgian newspapers and magazines willingly provided him with their pages. So why does the proud, ambitious young Dzhugashvili not follow his recognition? Why, having been born a poet and, like Arthur Rimbaud, having become famous at the very beginning, does he go into hiding? revolution and forgets about himself as a poet until the end of his days? Let’s try to answer this as best we can.

The end of the 19th century in Russia was marked by the rapid development of capitalism. The 1880-90s were truly anti-poetic times. Forgetting about eternity, people turned time into money, despising poetry, they did business. This fact speaks for itself: the brilliant book “Evening Lights” by Afanasy Fet (who once served as an officer in Novogeorgievsk, now flooded by the Kremenchug reservoir), published by the author at his own expense, was practically not sold out. Let us also recall the then popular disparaging statement about the poetry of Leo Tolstoy: “Writing poetry is like dancing behind a plow...”

Young, wise beyond his years, Joseph Dzhugashvili knew perfectly well that the poetic path promises not only glory, but also humiliation, and did not want to put up with this, because since childhood he was more than full of bitter knowledge. He leaves poetry.
In 1949, on the initiative of L.P. Beria, an attempt was made, secretly from Stalin, to publish poems in gift format in Russian for his 70th birthday. For this purpose, the best poet-translators were brought in under the strictest secrecy, among whom was the future laureate Nobel Prize in literature Boris Pasternak, author of the famous novel "Doctor Zhivago" and Arseny Tarkovsky (father of the world famous film director who directed the films "Ivan's Childhood", "Andrei Rublev", "Solaris", "Mirror", "Nostalgia" by Andrei Tarkovsky). Having familiarized himself with the nameless interlinear translations, without knowing their authorship, one of the masters of poetic translation innocently said: “They are up for the Stalin Prize of the first degree...”

The poetic activity of Joseph Dzhugashvili lasted only four years - from 1893 to 1896. The manuscripts of his poems are irretrievably (?) lost, the search for his lifetime publications is limited for objective reasons. Today we are publishing several poems by a poet undeservedly forgotten by us and ourselves.

In the canonical biography of I.V. Stalin, published by the Marx-Engels-Lenin Institute during his lifetime and, allegedly, written and edited by him, there is not even a word about the poetic work of the leader.
In their youth, many dream of becoming poets, but, having lost their passion in the desire to be published and become famous, they resign themselves to defeat and in their mature years remember with a smile their home-grown verses. Therefore, probably, the leader did not consider it necessary to mention his passion for poetry in his monumental biography.
This begs the answer. But he will be fundamentally wrong. Joseph Dzhugashvili, unlike the failed artist Adolf Hitler, was not a failed poet, did not dream of poetic recognition, he was a poet, was recognized and noted as a poet at the dawn of his foggy youth. Georgian newspapers and magazines willingly provided him with their pages, and his poems were learned by heart. Particularly eloquent is the fact that not just anyone, but the living classic of Georgian literature Ilya Chavchavadze singled out Joseph Dzhugashvili from the host of young men “with a burning gaze” and included his works in school anthologies. Which of today's young and middle-aged poets can boast of such early enchanting recognition?..

So why doesn’t the proud, ambitious, young Dzhugashvili follow his calling? Why, having been born a poet and, like Rimbaud, having become famous at the very beginning, goes into the revolution - and forgets about himself as a poet until the end of his days? Let's try to answer to the best of our ability.

The end of the 19th century in Russia was marked by the rapid development of capitalism. The eighties and nineties were truly anti-poetic times. Forgetting about eternity, people turned time into money, despising poetry, they did business. This fact speaks for itself: the brilliant book “Evening Lights” by Afanasy Fet, published by the author at his own expense, was practically not sold out. It would be useful to recall the popular spiteful statement about the poetry of the then ruler of thoughts, Leo Tolstoy: “Writing poetry is like dancing behind a plow.”

Young, wise beyond his years, Joseph Dzhugashvili knew perfectly well that the poetic path promised not only glory, but also humiliation - and did not want to put up with this, because from childhood, under the weight of the secret of his origin, he was more than fed up with this bitter knowledge. He leaves poetry... Leaves to fight global humiliation. We know the result of this struggle.

We do not know whether Joseph Dzhugashvili forgot the poet within himself forever, appearing to the world under the name of Stalin? Poets jealously guard their secrets for eternity. And who knows, who knows... But it is known that in Soviet times his poems were not published and, moreover, were not included in school anthologies, although it would seem... True, in 1949, on the initiative of L.P. Beria, An attempt was made, secretly from Stalin, for the leader’s 70th birthday, to publish his poems in gift format in Russian. For this purpose, the best translators were brought in under the strictest secrecy. As they say, among them were B. Pasternak and A. Tarkovsky.

Having familiarized himself with the nameless interlinear translations, without realizing their authorship, one of the masters of poetic translation innocently said: “They are up for the Stalin Prize, 1st degree...”
But in the midst of work on translations, a formidable order was received: to urgently stop this activity. I think there is no need to guess where this order came from. So the poet Joseph Dzhugashvili, at the behest of Stalin, did not become a laureate of the Stalin Prize.

The end of the 20th century in Russia, like the end of the 19th, was marked by a sharp decline in interest in poetry among our public, enlightened by Mexican television series. On everyone's mind and lips - money, money, money... And it seems that the Russian birch trees are rustling not with green leaves, but with these same damn “green” ones, and everywhere – humiliation, humiliation, humiliation...

P.S. (compiled by V. Stavitsky): The history of the creation of the cycle of poems by I. Stalin, given by Lev Kotyukov, aroused increased interest among the employees of the FSB Central Election Commission. However, the search for manuscripts or translations of the collection of poems by I. Stalin prepared by L. Beria has not yet yielded results. Only one handwritten page from the archive of a free translation from Georgian, made by someone in a rough version around 1952, allows us to judge the late poetic work of I. Stalin.

Below is a version of this poem, processed by V. Stavitsky, supposedly belonging to I. Stalin.

Novices (free translation of I. Stalin's poems)
Let's talk about eternity with you:
Of course, I am to blame for a lot of things!
But someone ruled my destiny,
I felt that omnipresent gaze.
He gave me neither sleep nor peace,
He lived in me and ruled over me.
And I, as a slave to the universal mood,
He ruled the country with an iron will.
Who was my secret, supreme overlord?
What did he want by controlling me?
I'm like a slave, a judge and a performer -
He was everything over this poor country.
And everything was incomprehensible then:
Where did the strength, will, power come from?
My soul is like the wheel of a car,
Millions were moved by passion.
And only then, in the spring, in 1945,
He whispered quietly in my ear:
"You were my novice, soldier
And your peace is not far away!

Perhaps Stalin was afraid or did not want anyone to look into his soul. After all, poetry is the voice of heaven and soul. But something else is important for us: in these verses there is a kind of cosmic perception of history, not as a private earthly event (victory over fascism), but as a Universal process, as something more that interferes with what is happening.

Especially when humanity reaches a dead end. Indeed, from the point of view of military, economic, mobilization, Nazi Germany was invincible, but the Almighty ordered otherwise...

And one more fact: as you know, I. Stalin had a hand in significantly editing the text of the USSR Anthem, but categorically refused co-authorship.
(Author Lev Kotyukov.)

Dzhugashvili (Stalin) Joseph Vissarionovich (1879-1953)
Poems

1.
Moon

Swim as before, tirelessly
Above the cloud-covered land,
With its silver shine
Dispel the thick darkness of the fog.

To the land stretched sleepily,
Bow down with a gentle smile,
Sing a lullaby to Kazbek,
Whose ice tends upward towards you.

But know for sure who was once
Thrown into dust and oppressed,
Still equal to Mtatsminda,
Inspired by his hope.

Shine on the dark sky
Play with pale rays
And, as it used to be, with even light
You illuminate my fatherland.

I will open my chest to you,
I will extend my hand towards you
And again with trepidation
I will see the bright moon.
(Iveria. 1895. No. 123 (in Georgian language).
Note. Mtatsminda - mountain range).
***

To the poet, singer of peasant labor, Prince Rafael Eristavi

When the peasant's bitter share,
Singer, you were moved to tears,
Since then there has been a lot of burning pain
You got to see it.

When you were jubilant, excited
The greatness of your country,
Your songs sounded like
They poured down from the heavenly heights.

When, inspired by the Fatherland,
You touched the cherished strings,
It's like a young man in love,
He dedicated his dreams to her.

Since then we have been together with the people
You are bound by the bonds of love,
And in the heart of every Georgian
You have erected a monument to yourself.

Singer of the Fatherland works hard
The award must crown:
The seed has already taken root,
Now you reap the harvest.

No wonder the people glorified you,
You will cross the line of centuries,
And let the likes of Eristavi
My country raises sons.
(Iveria. 1895. No. 203 (in Georgian language)).
***

He walked from house to house,
Knocking at other people's doors,
With old oak panduri,
With his simple song.

And in his song, and in his song -
As pure as the sun's shine,
The great truth sounded
Sublime dream.

Hearts turned to stone
Managed to make it beat,
He awakened the minds of many,
Dozing in deep darkness.

But instead of the greatness of glory
People of his land
Poison to the outcast
It was presented in a bowl.

They told him: "Damned one,
Drink, drain to the bottom...
And your song is alien to us,
And your truth is not needed! "
(Iveria. 1895. No. 218 (in Georgian)
Note. Panduri is a three-stringed plucked musical instrument).
***
Another translation of this poem is known, belonging to
F.I. Chuev (See Chuev F. Molotov: Semi-sovereign ruler. M., 2002. P. 314):

3.2.
He wandered from house to house,
like a detached demon,
and in a pensive tune
truthful shore.

It dawned on many people
this song is golden
and people thawed out,
thanking the singer.

But we woke up, staggered,
filled with fear
a cup filled with poison,
raised above the ground

and they said: - Drink, you damned one,
undiluted fate,
we don’t want heavenly truth,
It is easier for us to lie on earth.
***

3.3
He walked from house to house,
Knocked on strangers' doors.
Under the old oak panduri
A simple motive sounded.
In his tune and in his song,
As pure as a ray of sunshine,
There lived a great truth -
Divine dream.
Hearts turned to stone
A lonely chant woke me up.
A flame dormant in the darkness
Soared higher than the trees.
But people who have forgotten God
Keeping darkness in the heart,
I'll use poison instead of wine
They poured it into his cup.
They told him: “Damn you!
Drink the cup to the bottom!..
And your song is alien to us,
And your truth is not needed!
***

When the moon shines
Suddenly the earthly world illuminates
And its light over the far edge
Plays with pale blue,

When above the grove in the azure
The nightingale's trills roar
And the gentle voice of Salamuri
Sounds free, without hiding,

When, having calmed down for a moment,
The springs will ring in the mountains again
And the wind is a gentle breath
The dark forest is awakened in the night,

When a fugitive, persecuted by the enemy,
Once again he will find himself in his sorrowful land,
When, tormented by pitch darkness,
The sun will see by chance, -

Then the clouds oppressing the soul
The gloomy shroud will be dispelled,
Hope with a mighty voice
It awakens my heart again.

The soul of the poet strives upward,
And the heart beats for a reason:
I know that this hope
Blessed and pure!
(Iveria. 1895. No. 234 (in Georgian language).
Note. Salamuri is a Georgian wind musical instrument, a type of whistle flute).
***

5.1.
MORNING

A pink bud has opened,
Clinging to the blue violet,
And, awakened by a light wind,
The lily of the valley bent over the grass.

The lark sang in the blue,
Flying above the clouds
And the sweet-sounding nightingale
Sang a song to the children from the bushes:

"Blossom, O my Georgia!
May peace reign in your native land!
And you study, friends,
Glorify your Motherland!"
(Iveria. 1895. No. 280 (in Georgian language)).
***

5.2.
Next to the sister violet
The scarlet rose opened.
Lily woke up too
And she bowed to the breeze.

They were ringing high in the sky
Lark overflows,
And the nightingale at the edge
He sang with inspiration and happiness:

"Georgia, dear, hello!
Bless us with eternal joy!
My friend, study the Fatherland too
Decorate and delight with knowledge."
-------------
5.3.
The wind smells of violets,
The grass glows with dew,
Everything around is waking up
Lit up with roses.

And the singer from under the cloud
Everything is livelier and sweeter,
Nightingale endlessly
Sharing joy with the world:

"How you make me happy, Motherland,
Beauty with its rainbow,
So everyone works
I must please my homeland."
***

Our friend Ninika has grown old,
Broken by evil gray hair.
The powerful shoulders drooped,
The hero has become helpless.

What a disaster! When it happened
He has a furious sickle
Passed across the field in a squall -
Sheaf after sheaf fell.

He walked straight through the stubble,
Wiping the sweat from my face,
And then the fun flames
The young man was illuminated.

And now my legs can't walk -
Evil old age has no mercy...
The poor old man is still lying there,
He tells his grandchildren fairy tales.

And when he hears from the fields
Song of free labor,
A heart so amazingly strong
He will perk up, as always.

Leaning on your crutch,
The old man will rise up
And, smiling at the guys,
Lights up for a moment.
(Kvali. 1896. No. 32 (in Georgian language)).

7.
Once Stalin took part in the translation of a fundamental work of Georgian literature - the poem "The Knight in the Skin of a Tiger." It happened like this: the author of the translation of the poem, Academician Shalva Nutsubidze, went to prison in the thirties as an enemy of the people. He just started working on Vityaz.
From prison, he wrote letters to Stalin asking him to give him the opportunity to translate, and in the end he was given a pencil and paper. Every evening, what was written during the day was taken away and returned the next morning. Nutsubidze was released from prison and met with Stalin. They talked about translating the poem. Joseph Vissarionovich suggested that the academician replace several stanzas that he did not like.

Stalin proposed his own options, which were included in the canonical edition of Vityaz. He restored the emphasis, discarded by the translator, on the repetition of the same sound, inherent in Georgian poetry. One of the stanzas written by Stalin:

Throwing down the sword, he grabbed the tigress
and pulled him into his arms.
In memory of her I wished kisses,
From whom am I engulfed in fire?
But the tigress roared
Animal curses for me,
And he killed her mercilessly,
And I became a madman again.
Truly, the classic was right when he said: “A poet in Russia is more than a poet!”

Translated from Georgian by L. Kotyukov

G Rebennikova Irina Filippovna,
teacher of Russian language and literature of the highest category
Municipal educational institution Secondary School No. 8 of Krasnodar

FROM EXPERIENCE IN WORKING IN VERSE

IN 6-7 CLASSES
(work with text)

I came to work as a school teacher immediately after graduating from university in 1984. Having gone through the literature program with my students from grades 5 to 11, I noticed that information about versification and means of artistic representation was given in literature textbooks (and in textbooks for any grade) as if in passing, always in the background. Sometimes among the questions for poems there were such, for example, tasks as in the textbook by V.Ya. Korovina for 7th grade:
“Why did the author prefer the words “calm appearance” to the epithets “meek”, “quiet”, “clear”? (We are talking about the drama by A.S. Pushkin “Boris Godunov”.)
“It is known that in the draft version there were the words “elderly magician”, in the final version – “inspired magician”. What changes in the idea of a hero’s character with the replacement of one word?” (We are talking about A.S. Pushkin’s ballad “Song of the Prophetic Oleg.”)
But there were very few such tasks, and most of them related, like the examples given, to epithets. This was apparently explained by the fact that at that time the content of the work was primarily important. It was strange and unnatural for me young specialist, who had just graduated from the university, where in class we talked about the unity of form and content, that only works that combine these two sides can be considered highly artistic (and these are the ones, in my opinion, that we should study with students, especially in middle classes).
Having decided for myself that I cannot help but study this material in class, I cannot say a few words about it and forget that there are means of artistic expression and Russian versification, having drawn the students’ attention only to the ideological content and basic images, I began to think about how to activate guys when going through this material.
About fifteen years ago, while studying poetry in grades 6-7 for the second time, I decided to give students independent work to determine the size (two-syllable or three-syllable) and rhyme in a particular quatrain. To do this, I prepared didactic material for each student. This was the first version of the card. The work caused excitement among the children, since it required attention to the material being studied.
For the next generation of students, already working on the A.G. program. Kutuzov, and then G.I. Belenky, I made a second version of the cards, more complex, i.e. Each card had both a two-syllable and a three-syllable meter. Two quatrains have already been given here, in each of which it is necessary to determine the size and rhyme.
Examples of cards:

The last cloud of the scattered storm!
Alone you rush across the clear azure,
You alone cast a dull shadow,
You alone sadden the jubilant day.

Option 1
1. Long dead between the waves
He swam swinging, as if alive;
Following him with my eyes,
Our man went home.

2. We are free birds; it's time, brother, it's time!
There, where the mountain turns white behind the clouds,
To where the sea edges turn blue,
Where only the wind walks... yes I!..

Option 2

About five years ago, working for the fourth time with sixth graders, I thought about how to improve the work with these cards and realized that the potential of working with them is much wider. Now that we are paying more and more attention artistic features text, cards can also be used to check the definition of artistic expression techniques found in these passages, using these tasks not only to determine size and rhyme. The question may also sound like this: “Determine what trope (what stylistic figure) and for what purpose did the poet use in this quatrain?”
Moreover, the cards can be used both for questioning the whole class, and for individual work with a student in not only literature lessons, but also the Russian language when studying visual and expressive means, as well as in preparing for the Unified State Exam.
Naturally, the cards will be changed to reflect, for example, tasks on the emotional perception of the text. Therefore, I began to form cards with the texts of small poems, so that, based on a holistic perception of the work, the student could answer questions affecting all levels of reader perception (emotions, imagination, content and form). This type of questioning is also necessary when preparing students for the Unified State Exam in literature. So the card for work on versification, and now also on the means of artistic expression, can be constantly improved.

How the prophetic Oleg is getting ready now
Take revenge on the foolish Khazars 1,
Their villages and fields for a violent raid
He condemned him to swords and fires;
With his squad, in Tsaregrad armor 2,
The prince rides across the field on a faithful horse.

From the dark forest towards him
An inspired magician is coming,
An old man obedient to Perun alone,
The messenger of the covenants of the future,
He spent his entire century in prayers and fortune-telling.
And Oleg drove up to the wise old man.

“Tell me, magician, favorite of the gods,
What will happen to me in life?
And soon, to the delight of our neighbors-enemies,
Will I be covered with grave earth?
Reveal to me the whole truth, do not be afraid of me:
You will take a horse as a reward for anyone.”

"Song of the Prophetic Oleg." Hood. V. Vasnetsov

“The Magi are not afraid of mighty lords,
But they don’t need a princely gift;
Their prophetic language is truthful and free
And friendly with the will of heaven.
The coming years lurk in darkness;
But I see your lot on your bright brow.

Remember now my words:
Glory is a joy to the warrior;
Your name is glorified by victory;
Your shield is on the gates of Constantinople;
Both the waves and the land are submissive to you;
The enemy is jealous of such a wondrous fate.

AND blue sea deceptive shaft
In the hours of fatal bad weather,
And the sling and the arrow and the crafty dagger
The years are kind to the winner...
Under the formidable armor you know no wounds;
An invisible guardian has been given to the mighty.

Your horse is not afraid of dangerous work;
He, sensing the master's will,
Then the humble one stands under the arrows of enemies,
Then he rushes across the battlefield 3.
And the cold and the slashing are nothing to him...
But you will receive death from your horse.”

Oleg grinned - however
And the gaze was darkened by thoughts.
In silence, leaning his hand on the saddle,
He gets off his horse, gloomy;
AND true friend with a farewell hand
And he strokes and pats the cool guy’s neck.

"Farewell, my comrade, my faithful servant,
The time has come for us to part;
Now rest! no one will step foot
Into your gilded stirrup.
Farewell, be comforted - and remember me.
You, fellow youths, take the horse,

Cover with a blanket, a shaggy carpet,
Take me to my meadow by the bridle;
Bathe; feed with selected grain;
Give me spring water to drink.”
And the youths immediately departed with the horse,
And they brought another horse to the prince.

The prophetic Oleg feasts with his retinue
At the clink of a cheerful glass.
And their curls are white as morning snow
Above the glorious head of the mound...
They remember days gone by
And the battles where they fought together...

“Where is my comrade?” said Oleg, “
Tell me, where is my zealous horse?
Are you healthy? Is his running still as easy?
Is he still the same stormy, playful person?”
And he heeds the answer: on a steep hill
He had long since fallen into deep sleep.

Mighty Oleg bowed his head
And he thinks: “What is this fortune-telling?
Magician, you lying, crazy old man!
I would despise your prediction!
My horse would still carry me.”
And he wants to see the horse's bones.

Here comes the mighty Oleg from the yard,
Igor and old guests are with him,
And they see - on a hill, on the banks of the Dnieper,
Noble bones lie;
The rain washes them, the dust covers them,
And the wind stirs the feather grass above them.

The prince quietly stepped on the horse's skull
And he said: “Sleep, lonely friend!
Your old master outlived you:
At the funeral feast 6, already nearby,
It’s not you who will stain the feather grass under the ax
And feed my ashes with hot blood!

So this is where my destruction was hidden!
The bone threatened me with death!”
From the dead head of the grave serpent
Hissing meanwhile crawled out;
Like a black ribbon wrapped around my legs,
And the suddenly stung prince cried out.

The circular buckets, getting lazy, hiss
At the mournful funeral of Oleg;
Prince Igor and Olga are sitting on a hill;
The squad is feasting on the shore;
Soldiers remember days gone by
And the battles where they fought together.

Questions and tasks

Prepare a detailed answer to the questions: what did the magician tell about the life of the prince? Compare the texts of the ballad and the chronicle. What do you see as the difference and what do they have in common?
How is the relationship between the “mighty ruler” and the “wise old man” revealed in their dialogue? What can you say about each of them and who do you think is more attractive? Whose side is the author on?
Literary scholars believe that with the words of the sorcerer, Pushkin proclaimed the independence of poetry and the spiritual freedom of the poet from the worldly power of the kings... Do you agree with this judgment?
The reader is always interested in the author's attitude towards his works. So, in a letter to A. Bestuzhev, A. S. Pushkin writes: “It seems to you that you don’t like Oleg; in vain. The old prince’s comradely love for his horse and concern for his fate is a trait of touching innocence, and the incident itself, in its simplicity, has a lot of poetry.”
How would you rate the own review“Song of the Prophetic Oleg” by Pushkin?
In many cases, Pushkin plays out the farewell to the horse dramatically (as in a play, in a film), pointing to gestures, posture, behavior, state, mood. Give examples. How is this reflected in V. Vasnetsov’s illustrations?
What other literary devices make a ballad a lively and emotional, solemn and heartfelt story about antiquity?

Develop your gift of words

Think about the purpose for which obsolete words are used in the ballad (funeral, brow, ax, etc.) and how you can explain the appearance of the words “deceptive shaft”, “wonderful fate”, “invisible guardian”, etc., which do not correspond to hoary antiquity.
Explain the word “prophetic”. To whom, in your opinion, does it apply more (to the prince or to the magician)?
It is known that in the draft version there were the words “elderly magician”, in the final version - “inspired magician”. What changes in the idea of a hero’s character with the replacement of one word?
A large place in the ballad is given to the prince’s farewell to his horse and memories of him. And here we notice the poet’s search the right word. In the original text we read: “He rides across the field on a quiet horse,” in the final version: “The prince rides across the field on a faithful horse.” What is achieved by replacing a word?

Enrich your speech

You have read the chronicle and Pushkin’s text “Songs about the prophetic Oleg”. Which of these texts is better to retell, which one to dramatize or read role-playing? Which works of fine art are preferable for each of the texts (illustrations, monuments, portraits of heroes)?
Prepare the ballad for expressive reading in class; while reading, convey your own attitude to the events and characters.
Look at the illustration. Is this how you imagined the heroes? If you were asked to prepare a monument to a literary hero, who would you erect it to - a prince or a magician? What would it look like (what is it made of, where is it placed)? Prepare a filmstrip script based on the text of “The Song of the Prophetic Oleg” using illustrations for it.

1 Khozars (or Khazars) are a people who once lived in the southern Russian steppes and attacked Ancient Rus'.
2. Armor - clothing made of metal plates or rings; protected the warrior from the blow of a sword or spear.
3 Vrannoe field (or battlefield) is a battlefield.
4 Sich - battle.
5 Youths - here: young servants of the prince.
6 Trizna is a funeral rite among the ancient Slavs.
7 Ax - a battle hatchet with a long handle.

It is known that it is in draft form. George Lucas' drafts: how the look of Star Wars was created

Questions and tasks

Develop your gift of words

Enrich your speech

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