Eda. Poem (1824, published 1826)

The action of the poem takes place in Finland around 1807 - 1808.

In the spring, at sunset, two people are talking in front of a hut: a young Finnish woman, “kind Eda” with “golden hair” and “pale blue eyes” and a Russian, “young hussar”, a guest in her house. They are surrounded by majestic paintings: mountains, waterfalls, pine forests: “Do not the world of old lie // <...> gloomy ruins?”

The hussar assures the girl that she is like his beloved sister, left behind in her homeland, and asks Eda for sisterly love. Eda listens to him trustingly; when the hussar presses her hand to his heart, she tries to get angry, but cannot: “Clear gaiety shone // In her infant eyes.” Eda answers the hussar that he sees his love and has been answering him with love for a long time: “Isn’t it always // I’m in a hurry to please you?” - reminds him that she gave him a ring, that she brings flowers every morning, that she shares his joy and sadness. Eda was told that men were treacherous: “You may destroy me.” Here the hussar, dissuading Eda, kisses her for the first time with studied art: “How he controlled himself!” This kiss deprives Eda of his usual carelessness. Addressing his heroine, the poet says: “On your pink stones // Spring has brightened up playfully, // And the bright green moss on them <...> With its bliss, it’s terrible // You have a magical spring...”

The former simple and friendly relationship with the hussar, when she played with him and rejoiced at cheap gifts, is no longer possible: the girl hardly speaks to him in public, but she does not take her eyes off him, and in private “she is full of disastrous passion, // Her very mouth she // turns to his kisses,” and then is tormented by remorse and cries.

Eda's stern father, fearing that the hussar will seduce and abandon her, warns: "The slut is not my daughter."

The next evening, Eda reads the Bible in her little room, remembering with "habitual melancholy" the lost "pureness of heart." A hussar-"cunning" with a gloomy face appears, sits down, crossing his arms over his chest, and says that he is ready to part with Eda, in obedience to duty and not wanting to bring father's wrath on his daughter. The separation would surely kill him. Finally, the hussar asks for one night meeting in her room.

Eda vaguely senses the insincerity of the seducer and, clutching the Bible to her chest, first exclaims: “Leave me, you evil spirit!” - however, he soon concedes: “Do I control myself! // And what do I know!”

In the evening, the girl hesitates and still locks the door. Having curled her hair and undressed, she thinks about falling asleep, but she cannot, reproaches herself for her "willfulness" and finally unlocks the door; the hussars are already waiting outside the door.

“Alas! he got the victory he wanted that night...” In the morning, the heroine, amazed by what had happened, cries and does not listen to the hussar’s oaths.

Soon, however, she forgives the seducer and no longer parts with him: “she follows him like a tame deer // Walks everywhere.” During peaceful dates, the heroine is haunted by premonitions: she understands that the hussar will soon leave her. Eda tries not to annoy the hussar with her melancholy, but her “sad love” and tenderness are already weighing him down. To the joy of the hussar, the Russian-Swedish war begins, and the regiment sets out on a campaign.

Parting with Eda, the hussar is ashamed to look at her; she is silent, does not cry, “dead in face, dead in soul.” It’s winter in Finland. Withered with grief, Eda awaits death: “When, when will you, blizzard, sweep away my light trace from the face of the earth?” The poem ends with a description of Eda's abandoned grave.

Author of the retelling: G. V. Zykova

Ball. Poem (1828)

The poem begins with a description of a Moscow ball. The guests have arrived, elderly ladies in magnificent dresses are sitting near the walls and looking at the crowd with “dull attention.” Nobles in ribbons and stars sit at cards and sometimes come to look at the dancers. Young beauties are twirling, “The hussar twirls his mustache, // The writer is primly witty.” Suddenly everyone became embarrassed; questions started pouring in. Princess Nina suddenly left the ball. “Turning around merrily in a quadrille, // Suddenly she died! - What’s the reason? // Oh, my God! Tell me, Prince, // Tell me, what happened to Princess Nina, // Your wife?” “God knows,” the prince, busy with his Boston, answers with spousal indifference. The poet answers instead of the prince. The answer makes up the poem.

There is a lot of slander about the dark-eyed beauty Princess Nina, and not without reason: her house until recently was filled with paperwork and pretty young men, seductive connections replaced one another; Nina seems to be incapable of true love: “She has the heat of a drunken bacchante, // Hot heat is not the heat of love.” In her lovers she sees not them themselves, but a “wayward face” created in her dreams; The charm wears off and she leaves them coldly and without regret.

But recently, Nina's life has changed: "the messenger of fate appeared to her."

Arseny recently returned from foreign lands. It does not have the pampered beauty of ordinary visitors to Nina's house; on his face there are traces of difficult experience, in his eyes there is “gloomy carelessness”, on his lips there is not a smile, but a grin. In conversations, Arseny reveals knowledge of people, his jokes are crafty and sharp, he judges art discriminatingly; He is outwardly cold, but it is clear that he is capable of experiencing strong feelings.

Sufficiently experienced, Arseny does not immediately succumb to the charm of Nina, although she uses all the means known to her to attract him; finally, the "almighty moment" brings them closer. Nina is "full of the bliss of a new life"; but Arseny, two or three days later, is again the same as before: stern, dull and absent-minded. All Nina's attempts to entertain him are useless.

Finally, she demands an explanation: "Tell me, what is your contempt for?" Nina is afraid that Arseny is repelled by the thought of her turbulent past; The memories are heavy for her too. She asks Arseny to run away with her - at least to Italy, which he loves so much - and there, in obscurity and tranquility, spend the rest of his life. Arseny is silent, and Nina cannot but notice the "stubborn coldness" of his soul; desperate Nina cries and calls her unhappy love a punishment from above for sins. Here, with assurances of love, Arseny calms Nina for a while.

The next evening, the lovers sit peacefully in Nina's house; Nina is dozing, Arseny, thoughtfully, casually draws something on a business card and suddenly accidentally exclaims: “How similar!” Nina is sure that Arseny painted her portrait; looks - and sees a woman who doesn’t look like her at all: “a cutesy girl // With sweet stupidity in her eyes, // In shaggy curls, like a lapdog, // With a sleepy smile on her lips!” At first, Nina proudly declares that she does not believe that such a person could be a rival for her; but jealousy torments her: her face is deathly pale and covered with cold sweat, she is barely breathing, her lips are blue, and for a “long moment” she is almost speechless. Finally, Nina begs Arseny to tell her everything, admits that jealousy is killing her, and says, among other things, that she has a ring with poison - a talisman of the East.

Arseny takes Nina by the hand and says that he had a fiancée, Olga, blue-eyed and curly-haired; he grew up with her. After the engagement, Arseny brought his friend into Olga’s house and soon became jealous of him; Olga responds to Arseny’s reproaches with “childish laughter”; the enraged Arseny leaves her, starts a quarrel with his rival, they shoot, Arseny is seriously wounded. Having recovered, Arseny goes abroad. For the first time, he said, he could only find comfort with Nina. Nina doesn’t answer Arseny’s confession; you can only see that she is exhausted.

A few more weeks passed in spats and "unfortunate" reconciliations. One day - Arseny had not been with Nina for several days - Nina was brought a letter, in which Arseny said goodbye to her: he met Olga and realized that his jealousy was "wrong and ridiculous."

Nina does not go out and does not receive anyone, refuses food and “motionless, dumb, // Sits and from the place of one // Does not take her gaze off.” Suddenly her husband comes to her: embarrassed by Nina’s strange behavior, he reproaches her for her “quirks” and invites her to a ball, where, by the way, the young Arseny and Olga should be there. “Strangely revived,” Nina agrees, takes up her long-forgotten outfits and, seeing how she has turned ugly, decides to put on rouge for the first time in order to prevent her young rival from triumphing over her. However, she did not have the strength to withstand the ball: she felt ill and went home.

Deep night. In Nina’s bedroom, the lamp in front of the icon is burning faintly. “There’s a deep, dead sleep all around!” The princess sits "motionless", in a ball gown. Nina's old nanny appears, adjusts the lamp, "and the light is unexpected and alive // ​​Suddenly illuminates the whole peace." After praying, the nanny is about to leave, suddenly she notices Nina and begins to feel sorry for and reproach her: “And what is bad in your fate? <...> You have forgotten God...” Kissing Nina’s hand goodbye, the nanny feels that she is “icy-coldly cold,” looking into her face, she sees: “She is in the midst of a hasty death: // Her eyes are standing, and her mouth is foaming...” Nina fulfilled her promise to Arseny and poisoned herself.

The poem ends with a satirical description of a magnificent funeral: one carriage after another arrives at the prince's house; the important silence of the crowd is replaced by a noisy conversation, and the widower himself is soon engaged in a "hot theological debate" with some hypocrite. Nina is buried peacefully, as a Christian: the world did not know about her suicide. The poet, who dined with her on Thursdays, deprived of dinners, honored her memory with poems; they were printed in the Ladies' Magazine.

Author of the retelling: G. V. Zykova

Gypsy. Poem (1831, revised 1842)

The action of the "story" (as the author calls "Gypsy") takes place in Moscow.

Drunken guests disperse early on a summer morning. The owner, Yeletskoy, with a "obese eye" looks over the traces of "violent revelry" in his once magnificent, but neglected manor house. Opening the window, Yeletskoy "with spiritual enmity" looks at the "magnificent capital" rising from sleep; everything in his life is connected with Moscow, but he is more alien to it than anyone else.

Yeletskoy was orphaned in his youth. Social life soon seemed to him boring and stupid, and he "healed in the open" "between the brawlers and rake." In Yeletsky's revelry there was more "violence of thought" than cordial depravity; the sooner he restored general opinion against him.

Having squandered abroad, Yeletsky settled in Moscow and took a gypsy woman into his house; this finally destroyed his connection with the light.

One day during the holy week, during the festivities near Novinsky (a detailed description of the fair follows), Yeletskoy meets a beautiful and chaste girl, and she reminded him of the "vision" of "his picky spring." Yeletsky learns that she is a girl from a society prejudiced against him.

Without introducing himself to Vera, Yeletskaya, “having fallen in love with her suffering,” constantly tries to see her - on walks and in the theater. On Tverskoy Boulevard, he picks up the glove she dropped, alarming the girl’s imagination. But the “dubious happiness // of these instantaneous, poor meetings” is interrupted by autumn bad weather and winter.

Faith must be in one famous masquerade, where Yeletskaya goes with hope. The guests are “tormented by the demon of hoaxes,” but no one except Yeletsky has enough imagination for hoaxes: Yeletskoy intrigues Vera, having managed to find out about her those little things “in which the fatal secrets // Young girls see.” In a conversation with Vera Eletskaya, he calls himself a “spirit” that always accompanies Vera, and recalls that summer evening on Tverskoy when the darkness allowed him to take on the image of a mortal. Already leaving the hall, Yeletskoy, obeying Vera’s insistent request, takes off her mask. At this moment, “another face” appears at the ball, its eyes sparkling angrily and threatening Vera.

The next morning, Yeletskoy is unusually restless and joyful. Suddenly he notices the melancholy and anger of his friend, the gypsy Sarah, and asks about the reason. Sarah declares that she knows about Yeletsky’s love for the “noble young lady” and reproaches Yeletsky. Yeletskaya reminds her that when they got together, they promised not to restrict each other’s freedom, Sarah complains about the fate of the gypsies: “We were born to insults! // To amuse the whims of others // We must for food.” Yeletskoy tries to console her: he, rejected by the world, in this way looks like a gypsy, and the stronger his connection with Sarah.

Meanwhile, the relationship with Sarah has long ceased to satisfy Yeletsky: she gets bored in conversations with him, yawns, interrupts Yeletsky with a “side joke,” etc. True, not understanding Yeletsky’s “incomprehensible speeches”, the language of “educated feeling,” the gypsy still understands their “voice” is “vaguely touched” by him and becomes more and more attached to Yeletsky - while he grows colder towards her.

Yeletskoy often meets Vera at balls and soon, encouraged by her attention, openly tells her about his love. Vera, who saw Sarah at the masquerade, asks Yeletsky about her. Yeletskaya explains to Vera her rapprochement with the gypsy woman as a mistake: “I was not friendly with her! // I am not needed for her soul, // I need another for mine.”

Vera does not answer Yeletsky, but his words are very important to her. Capable of strong passions and falling in love for the first time, she is happy with Yeletsky's love, "well-off in soul" and does not suspect about the approaching "deadly thunderstorm".

Lent is approaching, when Yeletskaya will no longer be able to see Vera in theaters and at balls; the thought of the impending separation is hard for both, although Vera tries, but unsuccessfully, to hide her feelings. Yeletskaya decides to immediately marry Vera.

To explain, Eletskaya chooses the time when Vera is left alone at home. The unexpected arrival of the hero frightens the girl; she drives him away; he accuses her of coquetry. This reproach disarms Vera; she advises Yeletsky to ask her uncle, who replaced her father, for her hand in marriage. Yeletskoy assures her that the strict old man will not agree to marry her off to a person with such a bad reputation; the only way out is to run away and get married without the consent of relatives. Faith cannot decide on this at once; Eletskoy assures that separation will kill him, threatens that he will interrupt his acquaintance with Vera; finally she agrees.

Yeletsky returns home cheerful, but at the threshold his mood changes: he remembered Sarah.

He thought about everything in advance: in order not to offend Vera by meeting Sarah again, he would leave Moscow that same night and get married in a distant village. Yeletsky is not sorry for Sarah and her love - “calculating”, corrupt. And suddenly “reproach arose in his soul”...

One evening, Sarah feels especially bad. An old gypsy woman brought her a love potion. Yeletskoy comes and tells her that he is getting married, that they must separate today and that he will provide for her future. Sarah answers him with apparent calm, refuses “hateful favors” and asks him to drink to her health for the last time. Sarah’s calmness pleasantly surprises Yeletsky, he is again amiable and cheerful and drinks to the dregs. Sarah becomes more frank: she doubts Yeletsky’s happy family life - “You’ll be sick of a decent life” - and finally admits that she hopes to regain his love. Yeletskoy is surprised; The gypsy asks why the bride is better than her, complains that Yeletskoy tortured her: “Is this how you got me? // My eyes are dim from tears; // My face is withered, my chest is withered; // I just didn’t die!” Here Yeletskoy says that he feels ill - Sarah decides that it is the love potion that is working, triumphs and curses Vera, hugs Yeletskoy - and finally notices that he is dead.

Vera waited in vain for Yeletsky on the street at night. After that, she left Moscow and returned only two years later, cold to everything; it is either faithful to the memory of the past, indifferent to the present, or repents of its frivolity. Sarah has gone mad and lives in a camp; consciousness seems to return to her only when she sings with a gypsy choir.

Author of the retelling: G. V. Zykova

<< Back: Alexander Sergeevich Pushkin 1799-1837 (Ruslan and Lyudmila. Poem (1817-1820). Caucasian captive. Poem (1821-1822). Bakhchisarai fountain. Poem (1821-1823). Gypsies. Poem (1824, published 1827). Poltava. Poem (1828). The Bronze Horseman. Petersburg Tale Poem (1833). Eugene Onegin. Novel in verse (1823-1831). Boris Godunov. Tragedy (1824-1825, published 1831). The Miserly Knight. (Scenes from Chanston's tragicomedy: Thecovetousknight). Tragedy ( 1830). Mozart and Salieri. Tragedy (1830). The Stone Guest. Tragedy (1830). Feast during the plague. (From Wilson's tragedy: The city of the plague). Tragedy (1830). Stories of the late Ivan Petrovich Belkin (1830) Dubrovsky. Novel (1832, published 1841). The Queen of Spades. A Tale (1833). The Captain's Daughter. Novel (1836))

>> Forward: Alexander Fomich Veltman 1800-1870 (The Wanderer. Travel novel (1831-1832))

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