Olga and Lensky - what's next? (about the benefits of slow reading). Essay “Lensky’s love for Olga. The relationship between Lensky and Olga in brief

A.S. Pushkin plays a dominant role in Russian literature. Any work by Pushkin is serious, compressed in essence and form; it is the fruit of deep reflection. In the literary field, Pushkin was distinguished by the fact that he was always in search of the unusual, the precise, the beautiful. Literary conventions were not an obstacle to him.

A.S. Pushkin’s novel “Eugene Onegin” is a novel about personalities and feelings, about life and morals. With this novel, Pushkin laid the foundation for works in which an objective analysis of modern reality is given “with a heap” of complexities and contradictions.

Literary scholars have more than once noted the author’s predilection for arranging the characters of the novel “Eugene Onegin” in pairs: Onegin - Lensky, Onegin - the author, Tatyana - Onegin.

Today the object of our attention is the couple Lensky - Olga.

Vladimir Lensky is a young, rich man. He recently returned to his native village from Germany, where he learned the basics of science. The author convinces us that Lensky has many positive qualities: he is pure in soul, freedom-loving, chaste, easy to communicate, affectionate. He is interested in poetry. Values ​​love and friendship. According to the poet,

“He was a dear ignoramus at heart,
He was cherished by hope,
And the world has a new shine and noise
They also captivated the young mind.”

Pushkin calls Lensky an ignoramus. Who is this ignoramus? A person who is ignorant of any subject. Lensky, whose “mind is still unsteady in judgment,” thought a lot, “racked his brains.” But, in fact, thinking about life, he did not know real life itself. He was nice, but ignorant.

Lensky did not notice Tatyana, a kind young lady, an integral nature, to whom, we note, the love of the author of the novel was given. Lensky is infatuated with Olga.

Olga Larina is a sweet girl. She is obedient, modest, cheerful. Olga is not inclined to think hard about the meaning of life. She flutters through life, frisky, carefree. The same as her mother was in girls, even simpler, because her mother was raised in Moscow, and Olga lived in the village from birth.

Olga Larina is the usual type of a simple noble girl of the early 19th century.

Olga lives among simple, rude people who know little and think little. She falls in love with a man (Lensky), whose character is as easy as her own.

Young people are happy. Everything is approaching a successful outcome. True, Pushkin notes:

“But Lensky, without having, of course,
There is no desire to tie the knot..."

That is, love is love, but the prospects are vague. But for now both are absorbed in high feelings:

“They are in the garden, hand in hand,
They walk in the morning...
He only dares sometimes
Encouraged by Olga's smile,
Play with a developed curl
Or kiss the hem of your clothes.”

Lensky decorates the pages of her album and gives her tender poems.

“And, full of living truth,
Elegies flow like a river...

This eternal love would have continued like this, but circumstances intervened. Evgeny Onegin, one of the central figures of the novel, following his selfish habit of destroying everything, decided to take revenge on Tatyana Larina, Olga’s sister, for her inappropriately nervous behavior at the holiday. Having refreshed his memory of the “science of tender passion,” Onegin publicly flirts with Olga. Olga, a frivolous and naively simple-minded girl, succumbed to the slight flirtation, blushed, and became cheerful. Noticing Onegin's courtship of Olga, Lensky writes down Evgeniy as his enemy.

“Lensky is unable to bear the blow;
Cursing women's pranks..."

“Two bullets - nothing more -
Suddenly his fate will be resolved.”

The enraged Lensky, taking the rules of honor as a basis, decided to challenge Onegin to a duel. The result of the duel is the death of Lensky. At first glance, Lensky laid down his head for Olga’s “good”. He decided to bring to life the idea, not devoid of selfish, ambitious thoughts, of becoming “her savior.”

Without understanding the situation, paying attention only to external manifestations, he decided to become a fighter for the “good of the world.” But all decisions in life must be made carefully. Lensky destroyed himself. “Jealous delusions” and unwillingness to curb and humble one’s pride led to a tragic ending. Lensky didn’t even consider it necessary to talk to his loved one, Olga. Which, in fact, was supposed to support him both in sorrow and in joy.

Based on this fact, we can say that the relationship between Lensky and Olga was not completely real, their love did not stand the test.

However, Lensky also has correct concepts about honor. On the last date, Lensky did not say anything to Olga about the upcoming duel. Forgetting about romanticism, which he “picked up in abundance” while studying at the University of Göttingen (the abode of German romanticism), he acted like a man, with restraint and nobility. To Olga’s question: “What’s wrong with you?”, he answered briefly: “So.”

What about Olga? How long had she suffered, having lost a dear person, a beloved friend? The young bride cried for a short time. Soon she married a lancer. Unable to bear any time of mourning, she rushed into a new relationship. And the one who acted as a defender of her honor was hopelessly, hastily forgotten.

Conclusion

Among Pushkin’s contemporaries there were people who did not understand the novel “Eugene Onegin,” but there were no indifferent people. Everyone followed the storyline, tried to understand the motives of the characters’ behavior, and understand the principles on which the novel was built.

In the novel we can observe life in all its manifestations. Lensky is an image whose appearance is determined by life itself. Fate treated Lensky cruelly. We feel sorry for the young romantic, sorry to part with him. Maybe something would have changed in his life, and Lensky would have rethought a lot. Who knows? And Olga, his gentle companion, did not cry for long; she very quickly found herself in the arms of another person.

Pushkin in “Eugene Onegin” was perhaps the first in Russian literature to widely and fruitfully use improperly direct speech. This is a special means of reproducing someone else’s speech in the author’s narrative. Two voices (the author and the character) are momentarily combined in one, but do not completely merge. The author speaks himself, but seems to imitate the character’s speech style, and the reader instantly guesses who owns the expressed opinion. Let's look at an example. Here Lensky invites Olga to dance. A short conversation takes place between them. The author sets out what the characters are talking about, feeling and deciding. The speech of Olga and Lensky is not highlighted in quotation marks here. There are no author's indications: Lensky thought so or Olga said so. Everything is presented in the voice of the author-narrator. But his narration not only sets out the essence of this cursory conversation, which had fatal consequences. Here the mood of the speakers is guessed, their intonation is felt. Through punctuation marks, repetitions, exclamations, as well as the construction of phrases, a clear idea of ​​the tone and emotional coloring of speech is created.

In fact: who here is seething with imaginary resentment, from trifles making a truly global and unfair conclusion about the supposedly known “depravity” of all women? Who exclaims: “Oh, God, God!” – and shows complete lack of control over himself, his feelings, his behavior? Yes, this is the simple-minded, naive and proud Lensky! It is he who so clumsily vents his irritation, and in the end decides to put his love and even his life on the line. Moreover, he decides in his characteristic poetic manner, resorting to a gloomy metaphor. Here three voices differ in intonation - Olga, Lensky and the narrator. And along with the voices, an idea arises of the state of the characters and how the narrator relates to them.

Here is another example: Tatyana, with the permission of Onegin’s housekeeper Anisya, examines the master’s office, peers at the situation, leafs through the books Onegin has read. The author provides an explanation of what is not entirely clear to Tatyana herself:

• Stored many pages
• To which he silently agreed.
• Mark sharp nails;
• In their fields she meets
• The eyes of an attentive girl
• The lines of his pencil.
• Onegin's soul is everywhere
• Tatiana sees with trembling,
• Involuntarily expresses himself
• What thought, remark
• Either with a short word, or with a cross
• That's a question hook.

The fact reported here is remarkable in itself. Pushkin had already spoken about Tatyana as a very extraordinary person. But here her vigilance, her ability to bring together disparate facts, her ability to come to an accurate conclusion about the essence of man from external manifestations are revealed to us with our own eyes. All this is true. But in this case we are interested in something else: how are different voices combined in the author’s narrative? The next stanza tells what Tatyana understood for herself, and then her own intonation arose:

And it starts little by little

My Tatyana understand

It's clearer now - thank God

The one for whom she sighs

Condemned by an imperious fate:

The eccentric is sad and dangerous,

The creation of hell or heaven

But these are not the author’s perplexities, not the narrator’s questions. Pushkin knows that his Onegin is not a parody of Western romantics, although he played this role at some point in his life. Here Pushkin truthfully and convincingly recreated the process of SEARCHING for truth, in which Tatyana is involved. It is she, doubting and questioning herself, relying on her own life and book experience, looking for an exact definition. And this is what she asks herself at the beginning of the next stanza.

The love story of Olga Larina and Vladimir Lensky Vladimir Lensky and Olga Larina have known each other since childhood. Lensky has known the Larins family since childhood, as they live in neighboring villages. Olga and Lensky have been considered the bride and groom for many years. No one doubts that they will get married: “... A little boy, captivated by Olga...” “And the children were destined for crowns / Friends-neighbors, their fathers...” Vladimir Lensky is madly in love with Olga. He admires more and more the beauty of Olga, who becomes prettier over the years: “...From hour to hour, captivated more / by the beauty of young Olga...” Lovers Olga and Lensky spend all their time together: “... He is always with her. her peace / The two of them sit in the dark; / They are in the garden, hand in hand, / Walking in the morning..." Lensky in love thinks about his beloved Olga all the time: "...Will he go home: and at home / He is busy with Olga his..." The poet Lensky dedicates his poems to Olsha: "... Whatever he notices or hears / About Olga, he writes about that..." In the novel "Eugene Onegin" Pushkin brings to the attention of readers a poem by Vladimir Lensky dedicated to Olga Larina (see: text of Lensky's poem to Olga). Duel between Lensky and Onegin Onegin meets Lensky at a time when he is practically preparing for his wedding with Olga Larina. However, this wedding is not destined to happen: “...He was cheerful. In two weeks / A happy date was appointed...” Shortly before the wedding day, Onegin and Lensky come to the Larins for Tatiana’s name day. Onegin is bored at the holiday. He decides to take revenge on Lensky for bringing him to the Larins. To take revenge on his friend, Onegin dances with his fiancée Olga and makes nice with her in front of his friend. After this, Lensky, blinded by jealousy, challenges Onegin to a duel. In a duel, Vladimir dies from Onegin's shot

Candidate of Technical Sciences D. VLASOV.

My uncle has the most honest rules.
When I seriously fell ill,
He forced himself to respect...

Who doesn’t know these textbook lines, this beginning of a great novel in verse? “Eugene Onegin” is inexhaustible; every stanza, if not line, when reread, reveals a deeper, and sometimes completely different meaning. What does “the fairest rules” mean? Pushkin’s contemporaries considered these words to be a paraphrase of a line from Krylov’s fable “The donkey had the most honest rules...”, but now the fable is not one of the most famous, and we hear (or think we hear) only the direct meaning of the line.

Many concepts and expressions of the Russian language have changed their meaning since Pushkin's times. Even names: the name “Tatyana” was considered common, but “Akulina” was considered noble (replaced, however, in everyday life by a more euphonious name - Alina) ...

No matter how much I read and re-read “Eugene Onegin,” I was always left somewhat bewildered by the fate of Olga and the posthumous fate of Lensky. Very little is said about this in the novel and nothing in the opera. Meanwhile, on the eve of the duel, the poet addresses his bride, and Lensky’s last aria in Tchaikovsky’s great opera has lived and moved us for more than a hundred years:

The world will forget me; notes
Will you come, maiden of beauty,
Shed a tear over the early urn...

And what? In the opera, even the names of Olga and Lensky disappear without a trace. In the novel:

There by the stream, in the thick shade
A simple monument was erected...

And in the next chapter VII:

In the shade of two obsolete pines,
To the newcomer the inscription says:
"Vladimir Lensky lies here,
Died early by the death of the brave,
In such and such a year, such and such years,
Rest in peace, young poet!

And Olga? Where is that “tear over the early urn”? Of course, we don’t expect eternal fidelity from her, but still, still...

It happened in late leisure
Two friends came here
And at the grave under the moon
They embraced and cried,
But now... the monument is sad
Forgotten. There's a familiar trail to him
I stalled. There is no wreath on the branch...

Meanwhile, even earlier, in Chapter VI, not Olga, but

... young city dweller
....
Reads with fluent eyes
A simple inscription - and a tear
Fogs tender eyes...
The soul has been in it for a long time
Lensky is full of fate;
And he thinks: “Something happened to Olga?
How long has her heart suffered?
Or is it time for tears soon?
And where is her sister now?..”

In due course I will report to you
I'll give you all the details.

Regarding Olga, the report is very short. Finally, in Chapter VII, there is a whole stanza:

My poor Lensky! languishing,
She didn't cry for long.
Alas! Young bride
Unfaithful to her sadness.
Another caught her attention
Another managed her suffering
To lull you to sleep with loving flattery,
Ulan knew how to captivate her,
Ulan loves her with all her soul...
And now with him in front of the altar
She's shyly down the aisle
Stands with his head bowed,
With fire in downcast eyes,
With a light smile on your lips.

So, everything has been said, there are still many experiences of the main characters and the reader’s empathy ahead.

“I love my dear Tatiana so much,” declares the author.

And yet it’s a shame for Lensky, it’s a shame for Olga, she never shed a tear...

But this is the power of not only reading, but also rereading. You finally notice that this stanza (“my poor Lensky”) has three numbers: VIII - IX - X - this occasionally occurs in other places in Eugene Onegin. This means that there were still lines and stanzas. Pushkin may have excluded them later, but did not change the continuous numbering in each chapter.

There are studies by Pushkin scholars concerning all the versions and drafts of Pushkin, but this is still special literature, you need to look for it... Maybe just take “The Complete Works”?

And here is the joy of almost a researcher, albeit an amateur, an amateur, but still a discovery, perhaps made for the 101st time. Indeed, in Pushkin’s draft manuscript there are two more stanzas that have just two “extra” numbers (VIII and IX). The same light and perfect Pushkin verse, but the lines are different, almost unknown to the general reader:

But once in the evening

One of the maidens came here.
It seemed like a painful melancholy
She was alarmed -
As if agitated by fear,
She is in tears before the sweet ashes
She stood with her head bowed -
And fold your hands in trepidation.
But here with hasty steps
She was overtaken by a young uhlan,
Tightened, stately and rosy,
Showing off his black mustache,
Bending his broad shoulders
And proudly sounding spurs.
She looked at the warrior.
His gaze burned with annoyance,
And turning pale, she sighed,
But she didn't say anything
And silently Lensky's bride
From an orphaned place
She left with him - and since then
She didn’t appear from behind the mountains.
So indifferent oblivion
Behind the grave it overtakes us:
Enemies, friends, lovers voice
He will fall silent. About one estate
Heirs jealous chorus
Starts an obscene argument.

The last 6 lines out of 28 were preserved in the next, XI stanza, but for this it was necessary to exclude the other 6 lines:

At least from the grave
Didn't go out on this sad day
His jealous shadow -
And at a late hour, dear Hymen,
Didn't scare the young people
Traces of grave apparitions.

What a pity that, for reasons only known to him, Pushkin excluded from the final edition of the text all these lines, which fly, as always, but in content “rehabilitate” Olga to some extent.

In quite a long time ago, in post-war Leningrad, there was a scribe well-known in all editorial offices and publishing houses. Conversations and meetings with him always ended the same way. Saying goodbye, he said: “You don’t read enough, my children...” And the “young people” - whether twenty or sixty years old - had nothing to object to.

Now I want to say after him:

30 volumes of Turgenev, 30 of Dostoevsky, and 90 volumes of Tolstoy await us.

And Pushkin - 10...

Shall we start with Pushkin?

He used indirect speech widely and fruitfully. This is a special means of reproducing someone else’s speech in the author’s narrative. Two voices (the author and the character) are momentarily combined in one, but do not completely merge. speaks himself, but seems to imitate the character’s speech manner, and the reader instantly guesses who owns the stated opinion. Let's look at an example. Here Lensky invites Olga to dance. A short conversation takes place between them. The author sets out what the characters are talking about, feeling and deciding. The speech of Olga and Lensky is not highlighted in quotation marks here. There are no author's indications: Lensky thought so or Olga said so. Everything is presented in the voice of the author-narrator. But his narration not only sets out the essence of this cursory conversation, which had fatal consequences. Here the mood of the speakers is guessed, their intonation is felt. Through punctuation marks, repetitions, exclamations, as well as the construction of phrases, a clear idea of ​​the tone and emotional coloring of speech is created.

In fact: who here is seething with imaginary resentment, from trifles making a truly global and unfair conclusion about the supposedly known “depravity” of all women? Who exclaims: “Oh, God, God!” - and shows complete lack of control over himself, his feelings, his behavior? Yes, this is the simple-minded, naive and proud Lensky! It is he who so clumsily vents his irritation, and in the end decides to put his love and even his life on the line. Moreover, he decides in his characteristic poetic manner, resorting to a gloomy metaphor. Here three voices differ in intonation - Olga, Lensky and the narrator. And along with the voices, an idea arises of the state of the characters and how the narrator relates to them.

Here is another example: Tatyana, with the permission of Onegin’s housekeeper Anisya, examines the master’s office, peers at the situation, leafs through the books Onegin has read. The author provides an explanation of what is not entirely clear to Tatyana herself:

• Stored many pages
• To which he silently agreed.
• Mark sharp nails;
• In their fields she meets
• The eyes of an attentive girl
• The lines of his pencil.
• Onegin's soul is everywhere
• Tatiana sees with trembling,
• Involuntarily expresses himself
• What thought, remark
• Either with a short word, or with a cross
• That's a question hook.

The fact reported here is remarkable in itself. Pushkin had already spoken about Tatyana as a very extraordinary person. But here her vigilance, her ability to bring together disparate facts, her ability to come to an accurate conclusion about the essence of man from external manifestations are revealed to us with our own eyes. All this is true. But in this case we are interested in something else: how are different voices combined in the author’s narrative? The next stanza tells what Tatyana understood for herself, and then her own intonation arose:

And it starts little by little

My Tatyana understand

It's clearer now - thank God

The one for whom she sighs

Condemned by an imperious fate:

The eccentric is sad and dangerous,

But these are not the author’s perplexities, not the narrator’s questions. Pushkin knows that his Onegin is not a parody of Western romantics, although he played this role at some point in his life. Here Pushkin truthfully and convincingly recreated the process of SEARCHING for truth, in which Tatyana is involved. It is she, doubting and questioning herself, relying on her own life and book experience, looking for an exact definition. And at the beginning of the next stanza she asks herself:

• Have you really solved the riddle?
• Has the word been found?

We have given examples of the most distinct combination and at the same time stratification of different voices in the author’s narrative. It would be possible to increase their number, but the essence of the question is already a dream: Pushkin mastered the difficult art of arousing the idea of ​​​​characters through voices in the author's speech.