It is known that in the draft version there were words. Drafts of George Lucas: how the look of "Star Wars" was created

: In the diary of L.N. Tolstoy there is a record of a burdock bush ("Tatar") he saw, accidentally preserved in the middle of a plowed field. In the draft version, one of the stories of Lev Nikolaevich was called "Burp". What is its final name?

Question 6: In 1845, English candle makers filed a petition complaining about unbearable competition from foreign manufacturers who flooded the market with cheap products. However, the French economist Frédéric Bayma noted that they have a much more serious enemy, with whom the English Parliament will not be able to do anything. What did he mean?

Question 7: On May 20, 1818, the governor of Java, Stamford Rafflesi, and his friend Joseph Arnold, while walking along the western coast of Sumatra, came across something that struck them with its size. Now, hearing its name, we involuntarily recall the names of its discoverers. What was it?

Question 9: 1910... autumn... 400 km from Moscow, Astapovo station. The railway doctor, having declared death, writes down in the medical card in the column "position" - "passenger from train N 12" and puts down the time 6h 05m. Since then, the clock on the station building shows this time. Why?

Question 13: The Spanish architect Alberto Loren from Zaragoza designed a very peculiar house. The author called his project "Girasol", which means "Sunflower". What is unique about this house?

Question 16: The administration of New York has many problems: the worsening crime situation, population growth, excessive urbanization. How did the local authorities convert two old ferries and two British transport ships that carried troops during the Falklands Crisis?

Tour 2

Question 2: English statisticians believe that the average Englishman who has reached the age of 60 eats 6 of them, walks 5, a man spends 4 years talking, a woman 5, of which a year on the phone. And what takes 8 years and 3 years, respectively?

Question 3: The following exhibits are presented at the National Museum in St. Louis (Missouri): "Relax-A", "organic energy accumulator", "security belt", orchid tubers, mouse tooth. What is the name of this museum?

Question 4: Potato, apricot, barley, mulberry, buckwheat, wood ... And which one was chosen by two visiting Americans for ease of manufacture?

Question 5: The hero of one of the stories of O. Henry, a Pittsburgh millionaire, compiled for himself, after spending 10 days in New York, a small register.
Round trip ticket - $21
Travel in a cab - $ 2
Hotel bill for $5 per day – $50
And what were the $5,750 written in the last column spent on?

Tour 3

Question 3: You know the saying of Archimedes: "Give me a point of support, and I will turn the whole world upside down." Over time, needs grow, and goals change - Descartes asked to be given "matter and movement." What for?

Question 5: The fact that this scientist received the Nobel Prize in 1921 precisely for explaining the photoelectric effect still surprises physicists. This is so unusual that it still surprises physicists. It is so unusual that you can easily remember his last name.

Question 12: Radioactivity was discovered by Becquerel in 1897. After 37 years, Frederic and Irene Joliot-Curie made a discovery that significantly expanded the understanding of this phenomenon and its scope. Which?

Tour 4

Question 1: During one of the expeditions of the 1920s along the Vetluga River, botanists sorted out their findings in the forester's hut. Seeing the familiar grass, the forester called it "drape galoshes." What is its better known name?

Option No. 2147186

When completing tasks with a short answer, enter in the answer field the number that corresponds to the number of the correct answer, or a number, a word, a sequence of letters (words) or numbers. The answer should be written without spaces or any additional characters. The answers to tasks 1-26 are a number (number) or a word (several words), a sequence of numbers (numbers).

If the option is set by the teacher, you can enter or upload answers to the tasks with a detailed answer into the system. The teacher will see the results of the short answer assignments and will be able to grade the uploaded answers to the long answer assignments. The points given by the teacher will be displayed in your statistics. The volume of the essay is at least 150 words.

Version for printing and copying in MS Word

Indicate the numbers of sentences in which the MAIN information contained in the text is correctly conveyed. 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: form and content are the same in it, image and sound have merged in it.

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

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

4) A real poet always follows only the harmony of his poetry.

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

Answer:

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

Despite 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 all the lexical richness of the language, including colloquial speech (colloquial speech of the urban population: parts of the clergy, small and medium officials, raznochintsy intelligentsia, philistinism) and the language of folk songs, epics, 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, because a real artist will never allow beautiful sounds to obscure or impoverish thought, content.

Answer:

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

IMAGE, -A; m.

1) View, appearance. Create sth. in their own image and likeness (i.e., similar to themselves; bookish). Lose about. human(same as losing the human form). In the form of someone(in the form of someone).

2) A living, visual representation of someone-something. Light about. 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. Plushkin O. miser. The artist entered the(gets used to the role).

5) Order, direction of something, method. 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, because a real artist will never allow beautiful sounds to obscure or impoverish thought, content.

Answer:

In one of the words below, a mistake was made in setting the stress: the letter denoting the stressed vowel is highlighted INCORRECTLY. Write out this word.

spoiled

let's get through

look back

Answer:

In one of the sentences below, the underlined word is WRONGLY used. Correct the lexical error by choosing a paronym for the highlighted word. Write down the chosen word.

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

A real teacher should strive to ENGAGE 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 course of its development.

I remembered exactly a PICK from this piece of music, but I could not reproduce it in full, no matter how hard I tried.

Answer:

In one of the words highlighted below, a mistake 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 of the first column, select the corresponding position from the second column.

A) Oleg tried to unhook the sled, but they seemed to have grown, and the rider turned and shook his head, and Alena only looked after her friend.	1) incorrect construction of a complex sentence
B) Traveling with a backpack on tourist trails requires a lot of endurance.	2) violation of the connection between the subject and the predicate
C) Many critical remarks and valuable suggestions were made during the discussion of the issue.	3) violation in the construction of a proposal with an inconsistent application
D) The house is full of people.	4) an 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 a sentence with a participial turnover
	6) violation in the construction of a sentence with participial turnover
	7) violation of management standards

A	B	IN	G	D

Answer:

Determine the word in which the unstressed checked vowel of the root is missing. Write out this word by inserting the missing letter.

navigation

caller shareholder

zag..army

composition

Answer:

Find a row in which the same letter is missing in both words. Write these words out with the missing letter.

on .. heavy, on .. bitten;

pr..lift, pr..vision;

dis..integration, pre..history;

be .. careless, and .. sharpen;

sky..sky, from..yate.

Answer:

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

kumach..vy,

heat

take over

delicious..nky

Answer:

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

disturbing..

chirping..

Answer:

Identify the sentence in which NOT with the word is spelled CONTINUOUSLY. Open the brackets and write out this word.

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

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

Three versts left, (not) more.

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

Already since Christmas (not) there was their own bread, and they bought flour.

Answer:

Determine the sentence in which both underlined words are spelled ONE. Open the brackets and write out these two words.

(WHAT) WOULD arrive on time (AT) THE MEETING, we left early.

(FOR) THE REASON for a protracted (NOT) NASTIA campaign was canceled.

The Meshchersky region is SO (SAME) modest, like the paintings of Levitan, and there is THE SAME (SAME) grandeur and tranquility in it, as in the paintings of the artist.

We looked (AT) THE RIGHT, but the road and (NOT) SAW.

(B) CONSEQUENCE of bad weather, we (THAT) SAME remained in the hut until the evening.

Answer:

Indicate all the numbers in the place of which HN is written.

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

Answer:

Set up 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 right direction even with a headwind.

2) Leaves of all colors are strewn in the forest and between them you expect to see mushrooms.

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, fought against distortion and clogging of their native language.

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

Answer:

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

Answer:

Fill in all the missing punctuation marks: indicate the number(s) that should be replaced by a comma(s) in the sentence.

In late autumn or winter, flocks of melodiously chirping or sharply screaming birds appear on the streets of cities. Here (1) apparently (2) for this cry, the birds got their name - waxwings, because the verb "to whistle" (3), as linguists believe (4), once meant "to whistle sharply, scream."

Answer:

Place all punctuation marks: indicate the number(s) that should be replaced by 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) that should be replaced by a comma(s) in the sentence.

His hand was trembling (1) and (2) when Nikolai handed the horse to the groom (3) he felt (4) blood rushing to his heart with a thud.

Answer:

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

1) The retreat of our troops takes place without fighting, without bloodshed.

3) To become a real man, it is not always necessary to prove physical strength, sometimes it is more important to test the strength of the spirit.

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

(According to L. Leonov*)

Answer:

Which of the following statements are true? Specify the answer numbers.

Enter the numbers in ascending order.

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

2) In sentences 3–5, reasoning is presented.

3) Sentences 8-9 include a description.

4) Sentences 24-26 contain the narrative.

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 worse than even the captivity of Rodion or his mortal wound.

(2) “No, it’s completely different here,” Polya shuddered and, turning to the wall, took out a crumpled, read out triangle from under the pillow.

(3) Subsequently, Varya was ashamed of her initial assumptions. (4) Although rare transit trains did not stop in Moscow, the stations were nearby, and Rodion knew Pauline's address. (5) Of course, the command might not have allowed the soldier to leave the echelon for the Annunciation dead end, then why didn’t he at least drop postcards of his own, beloved, on his way to the active army? ..

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

(10) Varya immediately stumbled upon the main place.

(11) “Perhaps the only reason, my dear, why he was silent all this time was that there was nowhere to settle down,” Rodion wrote briefly, with unexpected fullness and straightforwardly, as in a confession. (12) - We are still retreating for now, retreating day and night, occupying more advantageous defensive lines, as they say in the reports. (13) I was very sick, besides, and now I have not yet fully recovered: my illness is worse than any concussion. (14) The most bitter thing is that I myself am quite healthy, all whole, so far there is not a single scratch on me. (15) Burn this letter, I can only tell you about it in the whole world, - Varya turned the page.

(16) The incident happened in one Russian village, which our unit passed in retreat. (17) I was the last in the company ... and maybe the last in the whole army. (18) A local girl of nine years old stood in front of us on the road, just a child, apparently, at school, accustomed to love the Red Army ... (19) Of course, she did not really understand the strategic situation. (20) She ran up to us with wild flowers, 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 a 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, and accepted it from her, who was left at the mercy of the enemy ... (23) Since then, I have kept that dried-up broom constantly with me, on my body, like I carry a fire in my bosom, I order him to put it on my grave, if anything happens. (24) I thought I would bleed seven times before I become a man, but this is how it happens, dry ... and this is a font of maturity! - (25) Then two lines came across completely illegible. - (26) And I don’t know, Polenka, will my whole life be enough to pay for that gift ... "

(27) - Yes, he has grown very much, your Rodion, you are right ... - folding the letter, Varya said, because with such a line of thought, this soldier would hardly have been capable of any reprehensible act.

(28) Embracing, the girlfriends listened to the rustle of rain and the rare, fading horns of cars. (29) The topic of conversation was the events of the past day: an exhibition of captured aircraft that opened on the central square, an unfilled crater on Veselykh Street, as they are already accustomed to calling it among themselves, Gastello, whose selfless feat thundered in those days all over the country.

(According to L. Leonov*)

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

Answer:

Find among the given options one where the word is used in a figurative sense. Write out this word.

unfolded (sentence 8)

burn it (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 worse than even the captivity of Rodion or his mortal wound.

(2) “No, it’s completely different here,” Polya shuddered and, turning to the wall, took out a crumpled, read out triangle from under the pillow.

(10) Varya immediately stumbled upon the main place.

(According to L. Leonov*)

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

Answer:

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

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

(2) “No, it’s completely different here,” Polya shuddered and, turning to the wall, took out a crumpled, read out triangle from under the pillow.

(10) Varya immediately stumbled upon the main place.

(According to L. Leonov*)

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

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

Answer:

Read the review snippet. It examines the linguistic features of the text. Some terms used in the review are missing. Fill in the gaps with the numbers corresponding to the number of the term from the list.

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

List of terms:

1) anaphora

2) metaphor

3) hyperbole

4) professional vocabulary

5) parceling

6) lexical repetition

7) opposition

8) epithets

9) contextual synonyms

Write down the numbers in response, 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 worse than even the captivity of Rodion or his mortal wound.

(2) “No, it’s completely different here,” Polya shuddered and, turning to the wall, took out a crumpled, read out triangle from under the pillow.

(10) Varya immediately stumbled upon the main place.

(16) The incident happened in one Russian village, which our unit passed in retreat. (17) I was the last in the company ... and maybe the last in the whole army. (18) A local girl of about nine stood in front of us on the road, just a child, apparently trained 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 wild flowers, 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 a bunch, 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, and accepted it from her, who was left at the mercy of the enemy ... (23) Since then, I have kept that dried-up broom constantly with me, on my body, like I carry a fire in my bosom, I order him to put it on my grave, if anything happens. (24) I thought I would bleed seven times before I become a man, but this is how it happens, dry ... and this is a font of maturity! - (25) Then two lines came across completely illegible. - (26) And I don’t know, Polenka, will my whole life be enough to pay for that gift ... "

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

(2) “No, it’s completely different here,” Polya shuddered and, turning to the wall, took out a crumpled, read out triangle from under the pillow.

(10) Varya immediately stumbled upon 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 the comment two illustration examples from the read text that you think are important for understanding the problem in the source text (avoid over-quoting). Explain the meaning of each example and indicate the semantic relationship between them.

The volume of the essay is at least 150 words.

A work written without relying on the text read (not on this text) is not evaluated. If the essay is a paraphrase or a complete rewrite of the source text without any comments, then such work is evaluated with 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 worse than even the captivity of Rodion or his mortal wound.

(2) “No, it’s completely different here,” Polya shuddered and, turning to the wall, took out a crumpled, read out triangle from under the pillow.

(10) Varya immediately stumbled upon the main place.

(According to L. Leonov*)

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

Solutions to tasks with a detailed answer are not checked automatically.
On the next page, you will be asked to check them yourself.

Finish testing, check answers, see solutions.

Briefly about the article: Do you know what the Star Wars universe could have become? That Han Solo could have been a green-skinned alien and Jabba the Hutt could have been a human? Who are Starkiller and Kos Dashit? Fantasy World looked into George Lucas' drafts and found out the sources of his inspiration.

Evolution of a New Hope

GEORGE LUCAS DRAFTS: HOW THE LOOK OF STAR WARS IS CREATED

Thrift is an important source of wealth.

Mark Tullius Cicero

As soon as it became known that the updated Star Wars in 3D would appear on movie screens around the world, disputes immediately broke out among fans: what other changes will George Lucas make to the picture? It's no secret that the famous director can't stop adding and improving individual scenes and shots of his main creation over the past thirty years. The number of changes made by Lucas to all parts of the Saga can only be compared with the number of edits that the plot of the very first film underwent at the stage of writing the script. However, many ideas that did not hit the screen back in 1977, one way or another, still found their way to the viewer.

The first version of the script was published four years before the film's release. During this time, George Lucas managed to radically remake the plot several times, striving to achieve perfection, get rid of too obvious borrowings, compress an overly long story into the framework of one full-length film and limit the unbridled flight of his imagination to the budget and technology of that era. Nevertheless, Lucas never completely abandoned his own developments, and many of his ideas were embodied in one form or another in later works.

FROM SAMURAI TO JEDI

Star Wars began with a little sketch titled "Will's Journal. Part 1: The story of Mace Windu, the venerable Bendu Jedi of Opucha, as told by CJ Thorpe, apprentice Padawan of the illustrious master. On two pages, a story was briefly outlined, which, with the exception of a couple of names and titles, had no further influence on the development of the Saga. The fact is that at the dawn of his career, Lucas experienced great difficulties with writing scripts. It was much easier for him to adapt other people's ideas than to develop a full-fledged story based on a couple of invented scenes.

Then George decided to turn to the classics for help. Lucas said that the 1930s series about Flash Gordon and Buck Rogers and Akira Kurosawa's The Hidden Fortress played a big role in the development of his tastes. It was not so much about influence as about explicit borrowing.

Released in May 1974, the Star Wars Brief Synopsis is a slightly reworked retelling of the Hidden Fortress plot. The plot of the story and the main characters remained almost the same as Kurosawa's: a general (whose name was Luke Skywalker), a young princess, and a couple of imperial officials who had escaped from a space fortress that had been attacked. However, Lucas added his own details to the narrative, including two scenes that survived all revisions of the script: a bar fight and a space battle involving rebel fighters.

George didn't intend to completely copy Kurosawa's film. Rather, he needed a foundation from which to build on in the future. The following versions of the script bear little resemblance to a Japanese film. Instead, they are linked to the work of the American mythologist Joseph Campbell.

MONOMYTH THEORY

Campbell is known as the creator of the monomyth theory - a sequence of wanderings and trials of a hero that is common to any mythology. The researcher identified three stages in the formation of a hero: exodus, initiation and return.

In the first stage, the hero prepares for his travels. On the way, he is given supernatural protection, the hero overcomes the first threshold and renounces his past life. The second stage is the hero's initiation. He overcomes trials, meets a woman and is tempted by love. The key moment is a collision with a powerful being with power over life and death. It is noteworthy that in many cultures and myths this figure is associated with the image of the father. And the last step is the culmination of the conflict, the apotheosis, often ending in the death of the character.

The plot of Star Wars largely corresponds to the first two stages. Exodus: Luke receives a call for help from Princess Leia. Supernatural Favor: Kenobi saves Skywalker from trouble. They arrive in Mos Eisley, where Luke is selling his last link to Tatooine. At the second stage, Luke meets a woman - Princess Leia, and then runs into Darth Vader - that's the "mythological father".

After the premiere of Star Wars, the director said that in search of inspiration he read many classic myths and intuitively began to lean towards what Campbell called the monomyth theory. And when, in the summer of 1975, Lucas rediscovered the “Hero with a Thousand Faces” he had read at the university, he was finally convinced that he was right and brought the story more precisely into line with Campbell's concept.

Over the years, Lucas' fascination with Campbell's work has only grown. In recent years, Lucas has increasingly emphasized the influence that The Hero with a Thousand Faces and Campbell's other work had on the plot of Star Wars. The director personally met with the researcher, recorded a series of interviews with him and made a documentary.

STARKILLER

The main milestones of the hero's biography were outlined, but he still had to go through several serious changes. In particular, the name. In a rough draft of the script written by Lucas in May 1974, the young Jedi Annikin Starkiller, his father, the elderly General Luke Skywalker, the green-skinned humanoid Han Solo, the Wookiee Chewbacca, and the droids R2D2 and C3PO rescued Princess Leia from the forces of the sinister Empire. In the following versions, the protagonist's name is Justin Valor, then Luke Starkiller, also known as Skywalker, and only then - Luke Skywalker.

In January 1975, a second version of the script appeared, called The Adventures of Starkiller. Star Wars: Episode I". Here Lucas introduces a supernatural Power, which originally had a material embodiment: a kind of galactic Holy Grail, the Kaiburr crystal, was kept in Luke's house, which makes its owner unusually powerful. Thus, the Jedi, previously considered simply skilled warriors, acquire supernatural abilities. Also, this version mentions that "Skywalker" is not a name, but a specific title in the Jedi hierarchy.

Subsequent versions of the script more and more resemble the final version, although some changes were made by Lucas during the filming, and after its completion, and even after the premiere.

PLUS TO MINUS

When Lucas looked at the resulting material after the first cut, he was horrified. The movie seemed to the young director terribly boring and undynamic, so he decided to immediately redo everything.

Initially, George wanted to show Luke's life on Tatooine before the young man went to save the galaxy. But at the preview, one of the director's friends joked that George seemed to have shot another "American Graffiti" (Lucas' previous picture), only in space. Lucas decided to remove all the scenes in which Luke appeared prior to his encounter with the two escaped droids. Since the story follows R2D2 and C3PO inseparably, then the audience should get to know the young Skywalker at the same time when the droids do it.

Thus, Luke's brief encounter with his childhood friend Biggs Darklighter did not make it onto the screen. So when later Skywalker rejoices to see him at the Rebel base, viewers involuntarily ask the question: “Who else is this?”

In some cases, scenes were rejected due to the poor quality of the footage. So it was with the dockside scene near the Millennium Falcon, where Declan Mulholland's Jabba the Hutt was supposed to make his first appearance. Lucas decided that the famous bandit should look more impressive than a fat man dressed in incomprehensible rags, and cut the scene from the film. As a result, Jabba's appearance to the people was delayed until Return of the Jedi. And in a special re-release of the original trilogy, Jabba, having already taken on the proper form, returned to A New Hope.

One of the most scandalous changes Lucas made in the scene of the skirmish between Han Solo and the mercenary Greedo. In the original version, Khan fired first, and this is logical: any delay could cost Harrison Ford's hero his life. However, the creator of the Saga felt that under no circumstances should the good guys commit cold-blooded murders. Therefore, the scene was redone in such a way that Greedo fired first and missed. Many fans accepted the change with hostility, and the Rodian, who managed to miss at such a short distance, was put on a par with the "accurate" Imperial stormtroopers.

PROFITABLE HOST

While working on different versions of the script, Lucas repeatedly came up with and crossed out a wide variety of ideas. As the story grew and took shape, it became clear that there was too much written material for one film. And since no one believed in the success of the project then, less successful plot twists were put under the knife. In addition, Lucas was severely limited by the budget and possibilities of the cinema of those times. Some of the technology needed to realize his bold ideas did not appear until fifteen years later. But George never forgot about this or that idea just because at some point it did not fit into the overall concept.

Just how good George Lucas' memory is can be seen from the title of the very first, unsuccessful draft of the script: "The Story of Mace Windu, Venerable Bendu Jedi of Opucha, Told by C.J. Thorpe, Apprentice Padawan of the Illustrious Master." Mace Windu does not reappear in any of the scripts until that name is given to Samuel Jackson's character in The Phantom Menace. The same fate befell the title of "Padawan": it is never mentioned in the original trilogy, but that is what all Jedi apprentices in the new one are called.

From the May synopsis, the hide-and-seek scene in the asteroid field moved to the fifth episode, which turned out to be impossible to shoot in 1977. Another idea left for better times was Cloud Cities from The Adventures of Starkiller. They were originally supposed to be located on Alderaan, which, in turn, was considered the imperial capital.

In the draft script, the names Annikin, Starkiller, and Valorum appear. The first name is self-explanatory, while the third was given to the Supreme Chancellor in The Phantom Menace. But the name "Starkiller" did not sound from the big screen, but in the Expanded Universe it lit up several times. The video game Knight of the Old Republic features the character Bendak Starkiller, also the name of the hero of the Force Unleashed series of games.

Some episodes of the drafts are just a storehouse of ideas. Judge for yourself. Ennikin Starkiller, along with his father Kane and brother Dick, lives on the fourth moon of Utapau. A starfighter lands near their home. The trio travel to the ship's landing site, where they are attacked by a Sith warrior. He kills Dick with one blow, but dies in a fight with his father. Kane understands that Utapau must be left, and after the funeral of his youngest son, he and Ennikin fly away to Aquilaia, where the wise King Kaios rules.

After Tatooine became the residence of the Starkillers in later versions of the script, Utapau disappeared from galactic maps until the premiere of Revenge of the Sith. It was on this planet that Obi-Wan Kenobi defeated General Grievous. Kane Starkiller's duel with the Sith became the basis for a similar scene in The Phantom Menace, only Qui-Gon Jinn and Darth Maul fought with swords.

Early drafts of the script contain a variety of political intrigues that Lucas ended up leaving behind until the new trilogy. The drafts mention an attempt to legitimize the annexation of the planet Aquilae by placing Princess Leia on the throne, who was to be controlled as a puppet behind a screen by Imperial officials. And in The Phantom Menace, the Trade Federation is already hunting for Queen Amidala in order to get her signature on a document recognizing the occupation of Naboo.

The drafts retained several names of the ruler of the Empire at once, who is simply called "Emperor" in all films of the original trilogy. The Kos Dashith variant was the favorite of the fans, which led to some confusion after this character began to respond to "Darth Sidious" and "Palpatine" in the new films. A number of sources even indicated that his full name is Kos Palpatine. The final point was put by James Luceno in his novel Darth Plagueis. The decision is striking in its simplicity and elegance: the young son of the aristocrat Cosinga Palpatine abandoned the name given to him at birth and began to be called simply Palpatine.

Another Lucas obsession was a race of furry savages who beat technically equipped professional soldiers in hand-to-hand combat. Initially, they wanted to make the Wookiees such a race, but after Chewbacca showed the skills of an experienced space pilot, these plans had to be abandoned. Episode 5's rough drafts featured intelligent and armed wampas, but ultimately the honor of making a mockery of the pride of the imperial army fell to the diminutive inhabitants of Endor, the Ewoks.

Luke Skywalker and Princess Leia set off in search of the Kaiburr crystal, which was supposed to become a material embodiment of the Force, in Alan Dean Foster's novel "Shard of the Crystal of Power". The fact that these two are brother and sister was not known then not only by the heroes, but also by the author himself, so Foster almost brought the couple to incest.

In The Adventures of Luke Starkiller, Luke dreams of Leia and wakes up in a cold sweat. Lucas has all the nightmares in store for Anakin Skywalker in Attack of the Clones and Revenge of the Sith. Another test that fell to Luke's lot in this version of the script was Obi-Wan Kenobi's in the second episode. It's about the scene on Geonosis where Obi-Wan is caught, handcuffed and hung up in some kind of force field. Tusken robbers were supposed to do something similar to Luke while he was looking for Ben, but in the end the young man got off with a slight fright, but young Kenobi did not.

Kenobi is generally lucky in terms of troubles that were originally intended for other characters. In the draft, it was Ennikin's father, Kane, who had to sacrifice himself to save everyone else. In Star Wars. From the adventures of Luke Starkiller "when the heroes come to the rescue of Princess Leia, the girl is unconscious, and Chewbacca is forced to carry her. Instead, Anakin had to carry the stunned body of Obi-Wan on his shoulders in a scene from Revenge of the Sith where they rescued the Chancellor from aboard the Invisible Hand. However, who is more fortunate here is a moot point. Kenobi got a little respite while Skywalker worked for two.

George Lucas is a thrifty host. Many of his ideas, not used in the work on early films, eventually find application in the following parts of the Saga. It is obvious that the pantry of the director will not be empty soon, and there is no doubt that surprises await us in the future.

In What to play?

Empire of Dreams (2004)

How the prophetic Oleg is now going
Take revenge on the unreasonable Khazars 1,
Their villages and fields for a violent raid
He doomed swords and fires;
With his squad, in Constantinople armor 2,
The prince rides across the field on a faithful horse.

From the dark forest towards him
There is an inspired magician,
Submissive to Perun, the old man alone,
The promises of the future messenger,
In prayers and divination spent the whole century.
And Oleg drove up to the wise old man.

"Tell me, sorcerer, favorite of the gods,
What will happen in my life?
And soon, to the delight of neighbors-enemies,
Will I cover myself with grave earth?
Tell me the whole truth, don't be afraid of me:
You will take a horse as a reward for anyone.

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

"Magi are not afraid of mighty lords,
And they do not need a princely gift;
Truthful and free is their prophetic language
And friendly with the will of heaven.
The coming years lurk in the mist;
But I see your lot on a bright forehead.

Remember her now, you are my word:
Glory to the Warrior is a joy;
Your name is glorified by victory;
Your shield is on the gates of Tsaregrad;
And the waves and the land are submissive to you;
The enemy is jealous of such a wondrous fate.

And the blue sea is a deceptive shaft
In the hours of fatal bad weather,
And a sling, and an arrow, and a crafty dagger
Spare the winner years ...
Under formidable armor you know no wounds;
An invisible guardian is given to the mighty.

Your horse is not afraid of dangerous labors;
He, sensing the master's will,
That meek stands under the arrows of enemies,
That rushes along the swearing 3 field.
And the cold and cutting 4 is nothing to him ...
But you will accept death from your horse.

Oleg chuckled - but the forehead
And the eyes were clouded with thought.
In silence, hand leaning on the saddle,
He dismounts from his horse, sullen;
And a true friend with a farewell hand
And strokes and pats on the neck steep.

"Farewell, my comrade, my faithful servant,
The time has come for us to part;
Now rest! no more footsteps
In your gilded stirrup.
Farewell, be comforted - but remember me.
You boys 5 -friends, take a horse,

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

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

“Where is my friend?” Oleg said, -
Tell me, where is my zealous horse?
Are you healthy? Is his run still easy?
Is he still the same stormy, playful?
And listens to the answer: on a steep hill
He had long since passed into a sleepless sleep.

Mighty Oleg bowed his head
And he thinks: “What is her fortune-telling?
Magician, you deceitful, mad old man!
I would despise your prediction!
My horse would carry me to this day."
And he wants to see the bones of the horse.

Here comes the mighty Oleg from the yard,
Igor and old guests are with him,
And they see - on a hill, near the banks of the Dnieper,
Noble bones lie;
The rains wash them, their dust falls asleep,
And the wind excites the feather grass above them.

The prince quietly stepped on the horse's skull
And he said: “Sleep, lonely friend!
Your old master has outlived you:
At feast 6, already close,
Not you, under the ax 7, will stain the feather grass
And drink my ashes with hot blood!

So that's where my death lurked!
The bone threatened me with death!”
From the dead head the coffin serpent
Meanwhile, hersing crawled out;
Like a black ribbon wrapped around the legs,
And suddenly the stung prince cried out.

Ladles are circular, being lazy, hissing
At the feast of the deplorable Oleg;
Prince Igor and Olga are sitting on a hill;
The squad is feasting at the shore;
Fighters commemorate past days
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 chronicle. What do you see as the difference and what do they have in common?
How is the relationship between the “mighty lord” and the “wise old man” revealed in their dialogue? What can you say about each of them and who seems more attractive to you? Whose side is the author on?
Literary critics believe that Pushkin proclaimed the independence of poetry and the spiritual freedom of the poet from the worldly power of kings with the words of the sorcerer ... Do you agree with this judgment?
The reader is always interested in the attitude of the author to his works. So, in a letter to A. Bestuzhev, A. S. Pushkin writes: “You don’t seem to like Oleg; in vain. The comradely love of the old prince for his horse and concern for his fate is a feature of touching innocence, and the incident itself, in its simplicity, has a lot of poetry.
How would you rate Pushkin in your own review of "The Song of the Prophetic Oleg"?
In many cases, Pushkin dramatizes farewell to the horse (as in a play, in a film), pointing to gestures, posture, behavior, state, mood. Give examples. How is this reflected in the illustrations by V. Vasnetsov?
What other literary devices make the ballad a lively and emotional story, solemn and heartfelt?

Develop the gift of the word

Think about the purpose for which obsolete words are used in the ballad (trizna, forehead, ax, etc.) and how it is possible to explain the appearance of the words “deceptive rampart”, “wonderful fate”, “invisible guardian”, etc.
Explain the word "prophetic". To whom, in your opinion, does it relate to a greater extent (to the prince or to the magician)?
It is known that in the draft version there were the words "an aged magician", in the final one - "an inspired magician". What changes in the idea of the character of the hero with the replacement of one word?
A large place in the ballad is given to the prince's farewell to the horse, memories of him. And here we notice the poet's search for the right word. In the original text we read: “He rides across the field on a gentle horse,” in the final version: “The prince rides across the field on a faithful horse.” What is achieved by replacing the 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 stage or read by roles? What works of fine art are preferable for each of the texts (illustrations, monuments, portraits of heroes)?
Prepare a ballad for expressive reading in class, convey your own attitude to events and characters when reading.
Consider the illustration. Is that how you envisioned the characters? If you were offered to prepare a monument to a literary hero, who would you put it on - a prince or a magician? What would it look like (what is it made of, where is it placed)? Prepare a script for a filmstrip based on the text of "The Song of the Prophetic Oleg" with the help of illustrations for it.

1 Khazars (or Khazars) - 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 the sword, spear.
3 Vrannoe field (or battlefield) - the battlefield.
4 Slash - battle.
5 Youths - here: young servants of the prince.
6 Trizna - a funeral rite among the ancient Slavs.
7 Ax - battle hatchet with a long handle.

Chapter Two

Oh Rus!- The first part of the epigraph is borrowed from Horace (Satires, book 2, satire 6) and in Russian translation it sounds like this:

Oh, when will I see the fields! And when will I be able That over the writings of the ancients, then in sweet slumber and laziness Again enjoy the blissful oblivion of an anxious life!

(Quint Horace Flaccus. Odes, epods, satires, messages. Per. M. Dmitriev. M., 1970. S. 306)

The double epigraph creates a punning contradiction between the tradition of the conditionally literary image of the village and the idea of a real Russian village. Wed censored version of the white manuscript:

In the wilderness, what to do at this time Walk? - But all the places are naked Like the bald crown of Saturn Or serf poverty (VI, 599).

At the same time, an attitude towards the literary tradition typical of all subsequent chapters is set: by quotation, reminiscence, or in another way, a certain expectation is revived in the mind of the reader, which is not realized in the future, defiantly colliding with extra-literary laws of reality.

Wed a punning use of the same quote from Horace (regardless of Pushkin's text) in Stendhal's Henri Brulard - about the events of late 1799: “... Russians were expected in Grenoble. Aristocrats and, it seems, my relatives said: O Rus, quando ago te aspiciam!” (Ch. XXIV). Horace Flaccus (65-8 BC) - Roman poet.

I- The stanza reflected the features of a friend P landscape of Mikhailovsky, however, Onegin's village is not a copy of any real, well-known P terrain, but in an artistic way.

14 - Orphanage of the Pensive Dryads. - Dryads (ancient Greek) - forest spirits, a female appearance (nymphs of trees) was attributed to them.

II, 1 - The venerable castle was built... - The name of the landowner's house "castle", apparently, is associated with a tangible parallel for both the author and readers between the arrival of Melmoth, the hero of Maturin's novel, to the uncle's castle and the arrival in the village of Onegin, as well as reminiscences from Byron ("British muses of fiction" - III, XII, 5). Such a parallel, on the one hand, had an ironic character, and on the other hand, it suggested a false expectation of a tensely adventurous development of the plot, which traditionally had to follow after the hero's arrival in the "castle". The effect of "deceived expectation", which he counted on P, brilliantly succeeded: most of the contemporaries, readers of the second chapter, complained about the lack of action. Katenin wrote P March 14, 1826: “Rural life in it is as well displayed as urban life in the first; Lensky is well drawn, but Tatyana promises a lot. I will note to you, however (for you have initiated me into criticism), that up to this time the action has not yet begun; the variety of pictures and the charm of the poem, at first reading, hide this shortcoming, but reflection reveals it ”(XIII, 269). Similar accusations were made repeatedly.

6 - Wallpaper in the living room... - Shtof - woven silk fabric used for wall upholstery. The poems reproduce the image of a typical interior of a Russian noble house in the middle of the 18th century. (apparently, from the time when Onegin's uncle, who "fought with a club for forty years" (II, III, 3), settled in the village). Damask wallpaper and colorful tiles are typical of the 18th century. The end of the fashion for damask wallpaper coincided with the revolutionary events in France. "In the field of fashion and taste<...>there is also home decoration or furniture. And on this part of the laws prescribed us Paris. The damask wallpaper in gilded frames was torn, exterminated by the angry mob, and even its peaceful philistines were disgusted, because they reminded them of the hotels of the aristocracy they hated ”(Vigel. T. 1. S. 178-179). At the beginning of the XIX century. it became fashionable to paint the walls of rooms, and in rich houses - to cover them with paintings in the antique spirit. Wed in "A novel in letters": "You cannot imagine how strange it is to read a novel written in 1829<в>775th. It seems as if suddenly from our living room we enter an old hall, upholstered with damask ... ”(VIII, 49-50). Compare: “At my grandmother and in the house everything was in the old way, as it was in her youth, fifty years ago (the account comes from 1824 - Yu. L.): where the tapestries are damask, and where it’s just on canvas painted walls, stoves<...>from colorful tiles ”(Stories of Grandmother. From the Memoirs of Five Generations, recorded and collected by her grandson D. Blagovo. St. Petersburg, 1885. P. 380).

7 - Kings portraits on the walls... - In the white manuscript of the litter: "Dl<я>qualification<уры>: Portraits of grandfathers on the walls” (VI, 557). In this form, the verse was printed in lifetime editions.

III, 6 - Two wardrobes, a table, a sofa... - the usual set of furniture in the living room of a provincial landowner (see p. 514). This furniture, as a rule, was made by home craftsmen.

A sofa stuffed with down is a certain degree of comfort, as well as damask wallpaper, indicating that at one time (1770s) Uncle Onegin's house was furnished in accordance with the requirements of fashion.

12 - And the calendar of the eighth year... - Address-calendar - an annual reference publication containing a general list of officials of the Russian Empire. The "Calendar of the Eighth Year" was called "Monthly Book with the List of Officials, or the General State of the Russian Empire for 1808" and consisted of two parts: “Authorities and places of central government and departments” and “Authorities and places of government of the provincial and so on.” The calendar was an indispensable guide when filing petitions and appealing to state authorities, and also made it possible to follow the career progress of acquaintances and relatives.

13 - Old man having a lot to do... (ironic) - See below

IV-V- In comparison with the village neighbors, Onegin looks not only like an enlightened metropolitan resident, but also like a liberal. Voluntary life in the countryside in 1820 was associated with a widespread desire in the circles of the Union of Welfare to improve the life of the peasants. Wed:

Chatsky: Who travels, who lives in the village...

Famusov: Yes, he does not recognize the authorities! (d. II, yavl. 2)

“In 1919, having gone from Moscow to see my people, I stopped by my Smolensk estate. The peasants, having gathered, began to ask me that since I do not serve and do nothing, I should come and live with them, and they assured me that I would be useful to them already because they would be less oppressed with me. I was convinced that there was a lot of truth in their words, and I moved to live in the village. Neighbors immediately sent to congratulate me on my arrival, promising everyone to visit me soon; but I, through their messengers, asked forgiveness before them, that now I can not receive any of them. They left me alone, but of course they looked at me like I was an oddball. My first order was to reduce the master's plowland by half. The estate was on corvee, and the peasants were far from being in a satisfactory position; many requisitions that were burdensome for them and brought little benefit to the landowner were canceled ”(Yakushkin I.D. Zapiski, articles, letters. M., 1951. P. 25). The desire to alleviate the fate of the peasants, the unwillingness to get acquainted with the neighbors, and even the nickname of the eccentric create the "Onegin complex" in Yakushkin's memoirs.

Because the P was personally acquainted with Yakushkin, perhaps the direct influence of his story.

IV, 5 - In his wilderness, the desert sage... - In the original manuscripts it was: "Freedom [desert sower]" (VI, 265), which again connected Onegin with the poetic cycle of elegies of 1823 (II, 299-302).

6-7 - With a yoke, he replaced the old quitrent with a light quitrent... - In the circles of the Union of Welfare quitrent was considered not only an easier form of serfdom, but also a way to the liberation of the peasants. Such an interpretation P could hear from N. I. Turgenev, with whom he energetically communicated in St. Petersburg. In a special note “Something about corvée,” Turgenev wrote: “Let's consider the condition of a quitrent peasant. Here, first of all, I must note, to the credit of those landlords whose peasants are on dues, that I very rarely happened to find peasants paying excessive and exhausting dues.<...>Landowners almost never live in quitrent villages. The quitrent peasants govern themselves, through their elected, sotsky, burmisters ”(Decembrists. Poetry, dramaturgy ... M.-L., 1951. S. 447-448). This opinion, expressed by Turgenev in 1818, was confirmed by him in 1819 in the note "Something about the serfdom in Russia." Moderate (“light”) dues in 1819 ranged from 18 rubles. 50 kop. up to 25 rubles banknotes (see: Indova E.I. Serfdom at the beginning of the 19th century based on the materials of the patrimonial archive of the Vorontsovs. M., 1955. P. 154). The Decembrist Lunin received in 1819 dues of 24 rubles. banknotes from the soul (Grekov B. D. Tambov estate of M. S. Lunin. Proceedings of the Academy of Sciences of the USSR. Series VII. 1932. No. 6. P. 509). Apparently, Onegin introduced such a quitrent in his villages. It should be noted that Turgenev highly idealized the position of the quitrent peasant. From wealthier peasants (for example, cabbies) the landowners took 40 or even 60 rubles. per annum (see: Tarasov E. I. Decembrist N. I. Turgenev in the Alexander era. Samara, 1923. P. 294).

In the memoirs of the serf N. Shipov we read: “... it got to the point that over 110 rubles fell on each revisionist soul along with worldly expenses. ass<игнаций>dues” (Karpov V.N. Memoirs; Shipov N. History of my life. M.-L., 1933. P. 390). The amount of quitrent money at the beginning of the 19th century. grew rapidly: in the Vorontsov estates, it increased from 1801 by 3-5 times. Thus, Turgenev's optimism was unfounded: quitrent was not a path to liberation. However, the situation of quitrent peasants was still easier, and the transfer to quitrent was accepted in the early 1820s. as a liberal measure, and if the quitrent was "easy" - even free-thinking. That is how “his prudent neighbor” looked at Onegin’s “reform”. P it was, of course, known that in 1818, when the peasants were transferred to dues, Turgenev had to endure a struggle with his serf mother.

The transfer of peasants to rent automatically meant the destruction of "factories" (serf manufactories serviced by corvée labor) - one of the most difficult forms of serf service for the peasant and profitable for the landowner. Onegin, who was the “owner” of the “factories” (I, LIII, 10-11), by transferring the peasants to quitrent, thus not only facilitated their work, but also significantly reduced their income. Did the same as you know P, N. I. Turgenev in 1818

V, 10-11 - He is a pharmacist; he drinks one glass of red wine... - Freemason - the distorted name of a member of the Masonic lodge (Frank-Mason) soon became a curse with the meaning "freethinker". See in "Woe from Wit":

Grandmother Countess: What? to the farmazons in the club? Did he go to the Pusurmans? (d. III, yavl. 19).

Wed accusation to Chatsky:

Khlestova: I drank champagne in glasses.

Natalya Dmitrievna: Bottles, sir, and very large ones.

Zagoretsky (with heat): No, sir, barrels of forties (d. III, yavl. 21).

However, the neighbors accuse Onegin not of drunkenness, but of wasting: he drinks whole glasses of expensive imported wine (“widow Clicquot or Moet Blessed wine” - IV, XLV, 1-2), while the neighbors drink home-made drinks. “Pouring a whole system, Pitchers of apple water” (II, III, 10-11), as well as lingonberry water served in the Larins’ house (III, III, 7-8), are berry alcoholic drinks of weak strength. The author of famous in the XVIII century. books on home economics, S. V. Drukovtsev gives several recipes for making lingonberry and other berry waters, which are recommended to be fermented with yeast, hops, and after fermentation, diluted with vodka “to taste” (see: Drukovtsev S. V. Economic instruction to the nobles, peasants, cooks and cooks ... St. Petersburg, 1781). Onegin's fear that lingonberry water would "do no harm" to him (III, IV, 14) is explained by the taste of yeast during incomplete fermentation.

13 - All yes, yes no, won't say yes, sir... - Sharpness of address, a demonstrative rejection of the conventions of secular etiquette were characteristic of people from the circle of the Union of Welfare (see: Lotman-1). Contrasting Onegin with neighbors, P, however, introduced a note of skepticism into the significance of his public position (“To only spend time” - II, IV, 2).

VI-XII- The stanzas introduce a new face - Lensky. According to the original plan, he was to become the central character of the chapter (in terms of publishing the novel, which P sketched in 1830, the second chapter is entitled "The Poet" - VI, 532), the main antipode of Onegin. The opposition was conceived as the antithesis of a clever skeptic and a naively enthusiastic enthusiast. Accordingly, the features of love of freedom, preserved in the final version of the image of Lensky, were initially much more sharply emphasized. Both images (both Onegin and Lensky) are associated with the lyrical world of the author, but the second one is related to that emotional and ideological world of the poet before the turning point of 1823, which is now recognized as preserving the charm of purity, but naive, and the first - as marked by the seal of a mature mind but affected by corrosive skepticism. Comparison of these images emphasizes both the inferiority of each individually and the spiritual value of each of them. A complex system of stylistic transitions allowed P to separate the author's narrative from both Lensky's position and Onegin's position, and at the same time evade a harsh and unambiguous assessment of them.

VI- In the draft version of the stanza, Lensky's enthusiasm had a distinctly political and freedom-loving character:

By the name of Vladimir Lenskoy The soul of a schoolboy of Göttingen A handsome man in full bloom of years A screamer, a rebel and a poet He from free Germany [Brought] the fruits of freedom-loving dreams An ardent, downright noble Spirit Always enthusiastic speech And black curls to the shoulders (VI, 267).

6 - With a soul straight from Göttingen... - "Göttingen Soul" was for P quite specific and far from political neutrality. Goettingen University was one of the most liberal universities not only in Germany, but also in Europe (located on the lands of the Hanoverian dynasty, it was subject to English laws). Graduates of the University of Göttingen, acquaintances P, belonged to the number of Russian liberals and freedom-lovers: one of the leaders of the Decembrist movement N. I. Turgenev and his brother, moderate liberal A. I. Turgenev, studied in Göttingen, and their favorite lyceum teacher was also educated there P the well-known liberal A.P. Kunitsyn (1783-1840) and a member of the Welfare Union of Hussars Kaverin (see above). P, probably heard about a friend of Zhukovsky and A.I. Turgenev, professor of Dorpat University A.S. Kaisarov, who died in a partisan detachment in 1813.

8 - Kantian and poet. - Immanuel Kant (1724-1804) - German philosopher, author of the Critique of Pure Reason and Critique of Practical Reason. P knew Kant not only from references in the Letters of a Russian Traveler and, probably, from the stories of Karamzin, but also from the lectures of the Kantian and Schellingian A. I. Galich (1783-1848). P it was known that during the “case of professors” in 1821, Runich said to Galich: “You clearly prefer paganism to Christianity, dissolute philosophy to the virgin bride of the Christian church, godless Kant to Christ himself, and Schelling and the Holy Spirit” (Sukhomlinov M.I. Research and Articles on Russian Literature and Education, St. Petersburg, 1889, vol. 1, p. 328). About awareness P testifies to the verse in the draft of the "Second Epistle to the Censor" (1824): "And Runich - Galich the baptist and prophet" (II, 915); the characterization of Lensky as a "fan of Kant" could not be accidental or neutral-sounding.

9 - He is from foggy Germany... - In this edition, the verse connected the image of Germany with romanticism. This connection has been established since the publication of de Stael's book On Germany (1810). The original formula “from free Germany” (VI, 267) singled out other associations: A. S. Sturdza’s pamphlet on Germany for members of the Aachen Congress, in which the author accused the German (in particular Göttingen) universities of spreading the revolutionary spirit in Europe (cf. the epigram P“I walk around Sturdza” - II, 94), and the tyrannical act of the German student K. Sand, who killed A. Kotzebue. Wed words P about Sande: “In your Germany you have become an eternal shadow” (II, 174).

14 -And shoulder-length black curls. - The short haircut of a dandy was opposed to the long curls of a freethinker. On the draft illustration for the first chapter, which P sketched on the back of a letter to his brother Leo, depicting himself from the back, the poet's shoulder-length hair is clearly visible.

VIII, 5-6 - He believed that his friends were ready to accept fetters for his honor.... - This refers to Schiller's ballad "Bail", in which one of the characters presents his life as a guarantee for the word of a friend. Yu. N. Tynyanov connected the worship of Lensky to Schiller (cf.: “By a candle, Schiller discovered” - VI, XX, 4) with the features of Kuchelbecker, which, in his opinion, P introduced into the image of Lensky (Tynyanov, pp. 233-294).

8 -Break the slanderer's vessel... - Vessel (church) here: weapon (cf.: Psalter, psalm 7, verse 14: “The vessels of death are prepared”), that is, Lensky believed that friends were ready to break the weapon of slander. The ratio of friendship and slander worried P. The youthful faith of Lensky is opposed by the tragic identification of friend and slanderer in the poem P"Insidiousness" (1824) and ironic poems in EO(4, XIX, 4-9).

9-14 - What are the chosen ones... - In the first printed edition in 1826 replaced by dots. In this case, the omission clearly had not a compositional, but a censorial character. Moreover, P apparently felt it necessary to let the reader know about it. It is significant that in the first and second complete editions of the novel P, taking advantage of the blunted vigilance of the censorship, which believed that it was a simple reprint of an already censored text, gave not six, but five lines of dots, restoring the 9th verse: "What are the chosen ones by destinies ...". Such a fragmentary text had no other meaning than the only one - to point out to the reader the significance for the author of the omitted verses. The meaning of the verses sounds deliberately encrypted, and the comparison proposed for its decoding with Kuchelbecker's poem "Poets" (see: Tynyanov, pp. 276-277; adopted: Brodsky, pp. 135) explains little. B. V. Tomashevsky is right, who, having brought these verses closer to the sketch:

It used to be in sweet blindness, I believed the elect<анным>souls, I imagined - their Thai<ное>birth Pleasing to [powerful] heaven (II, 294),

organically connected with the message to VF Raevsky (1823), saw in them a hint of a secret society, or at least a certain circle of conspirators (Tomashevsky, Book 1, p. 551). This makes understandable both Lensky's belief that the effort of the "chosen by fate" will someday "bestow bliss on the world" and the auto-censorship of these lines.

IX-X- The stanzas are dedicated to the characterization of Lensky's poetry. P originally thought to give them in a much more expanded form, but settled on a compressed version. In stanza IX, stable phraseological units of romantic poetry are pumped up: “pure love”, “sweet torment”, “wandered the world with a lyre”, “poetic fire”, “lofty muses”, “lofty feelings”, etc. given stylistic antitheses, they are perceived as a property of the author's point of view (on the concept of "point of view" see: Uspensky B. A. Poetics of composition. Structure of an artistic text and typology of compositional form. M., 1970). In stanza X, romantic clichés are contrasted in the last verse with the author's speech ironically illuminating them, and some are highlighted in italics, which in Pushkin's novel usually denotes someone else's speech (replacing, in accordance with the traditions of graphics of that time, modern quotation marks). As a result, the flow of romantic expressions in the X stanza becomes not the author's point of view, but the object of the author's observation and image. Such a “sliding” of the narrator’s position will allow P create "bulky" text.

The original version of the characterization determined the political orientation of Lensky's poetry much more sharply, bringing it closer to those attitudes that persistently sought to instill P his Decembrist friends in Petersburg and Chisinau.

The theme of Lensky's poetry also developed in stanzas IXa, IXb, IXc and XVIIg (VI, 270-272, 282-283), which complemented the political characterization of his lyrics. Lensky is a poet of sublime love, and his poems are contrasted with the erotic poetry of the "singers of blind ecstasy":

He did not sing vicious fun He did not sing contemptuous circuses He abhorred the manners of the CharmingWith his lyre, the Admirer of true happiness Did not glorify the network of voluptuousness (VI, 270).

These poems are written from the position of complete rejection of "impure" erotic poetry. However, for a deeper understanding of them, it should be borne in mind that they are written by the author of the Gavriiliada, the attitude towards which, as well as Pushkin's erotic lyrics, was condemned by his Decembrist friends. It is enough to compare the denunciation of the "elegies of the living" of the "singers of love" in stanza IXb:

In vain the windy youth [On a bed of bliss], at feasts Keeps both in the heart and in the lips of Poems pampered sweetness And in the ear of bashful virgins - They are whispered by timidity having overcome (VI, 271)

with Pushkin's autocharacteristic in a polemical message to V.F. Raevsky:

Sometimes My insidious melodies humbled in the thoughts of a young maiden The excitement of fear<и>shame (II, 260),

to make sure that P creates a revealing monologue, polemically written from the standpoint of his Decembrist friends and offending one of the sides of his own poetry. In stanza IXc, on the one hand, the sharpness of the condemnation of erotic poetry increases, acquiring a parodic character, on the other hand, P hints that the asceticism of the Decembrist poetry is akin to the stiffness of their literary and political antipodes - the elder Karamzinists:

It was not for you (“singers of love.” - Yu. L.) the couple was strict Lenskoy His [works], of course, his mother ordered her daughter to read (VI, 272).

The last verses allude to the hurt P insulting epigram of I. I. Dmitriev about "Ruslan and Lyudmila":

The daughter's mother tells her to spit on this fairy tale.

Epigram, like the last two verses P, is a free adaptation of Piron's famous epigram.

Position P was complex: in a number of poems, taking the Decembrist position of an unconditional rejection of erotic lyrics in the name of “strict” poetry (ode “Liberty”, etc.), he simultaneously actively developed another poetic concept. Passionate love poetry from this second point of view was not opposed to love of freedom, but was included in it (cf. the poem “An inexperienced lover of foreign lands ...” (1817), where they are placed side by side, as two equivalent ideals, “a citizen with a noble soul” and "woman" "with fiery, captivating, lively" beauty - II, 43). Author's position P, thus, included stylistic polyphony and that polyphony of points of view, which contemporaries already called "proteism", cf .:

Pushkin, Proteus With your flexible tongue and the magic of your chants!

(From a letter from N. I. Gnedich dated April 23, 1832 - XV, 19; the image of the Proteus poet goes back to Karamzin's poem "Proteus, or the Poet's Disagreements")

In cases where the position of the author EO consisted in combining different points of view, each of them, taken in isolation, could act in the coverage of the author's irony. Such irony did not equal denial. From this position, the rigorism of the "strict Lensky", especially in the context of his youthful love, was tinged with irony. However, having reduced Lensky's position almost to parody, P immediately gave a parallel version in which the same theme received a diametrically opposite emotional and stylistic solution: P said the most significant words that could be said against him from the position of V.F. Raevsky in defense of "strict poetry":

But a good young man is ready to perform a lofty feat He will not repeat unclean verses in harsh pride But an exhausted righteous man To chains by untruth awarded [In his] (nrzb) in t<юрь>me With a lamp slumbering in the darkness He will not bow in the silence of the desert On a scroll of your eyes And on the wall your free verse Will not draw with an innocent hand A mute and sorrowful greeting For a prisoner of [future] years (VI, 282-283).

The image of a young man ready to accomplish the "high feat" of a tyrannoslayer was for P to a certain extent it is autobiographical, and behind the figure of the prisoner, of course, was VF Raevsky. The condemnation from these positions of "free" (here: depraved) poetry was, of course, the final verdict. The dialogical comparison of two literary positions, each of which has its own deep truth, but at the same time needs an antithesis, introduces us to the very essence of the ideological and stylistic structure. EO. P in the final text of the second chapter, he removed this complex literary controversy, since by the time the chapter ended it had lost its relevance, but retained the "strict" nature of Lensky's poetry.

IX, 1 - Resentment, regret... - The first word of the characteristic of Lensky's poetry addressed the informed reader to P. A. Vyazemsky's poem "Indignation" (1820):

My Apollo is indignation! Under its flame, from my free lips A dishonorable silence will fall And a bold verse will light up. Indignation! life-giving fire!

(Vyazemsky-1, p. 136)

2 - Good for pure love... - The verses are a paraphrase of an excerpt from "Despondency" by Vyazemsky (1819):

(Vyazemsky-1, p. 134)

However, vocabulary of this kind was characteristic of the Decembrist poetry as a whole. Wed, for example:

My friend! It is not for nothing that love for the public good burns in a young man!

(Ryleev K. F. Complete collection of poems. L., 1971. P. 102)

6 - Under the skies of Schiller and Goethe... - The interpretation of Schiller and Goethe as the apostles of romanticism is largely connected with the book by J. Stahl "On Germany" (cf. about Onegin in the drafts of Chapter I: "He knew German literature From the book of Madame de Stael" - VI, 219) . However, there was also a counter Russian tradition, for example, the famous P the cult of Schiller in the Turgenev family, dating back to his older brother Andrei. However, first of all P, probably recalled his lyceum friend V. Küchelbecker, an admirer of Schiller, who, making a trip around Europe “with a lyre”, visited Goethe in 1820. See: Zhirmunsky V. Goethe in Russian literature. L., 1937. S. 151-158; Harder H.-B. Schiller in Russia. Materialien zu einer Werkungsgeschichte (1789-1814). Berlin; Zürich, 1969. The romantic cult of "the sky of Schiller and Goethe" was caustically ridiculed in 1824 by Pushkin's friend V. S. Filimonov in the poem "The Fool's Cap":

Oh, how sweet Germany! She, in her tobacco smoke, In a menacing, but not terrible dream, She created an airy world for us, Pointed from the earth to the sky; She is the homeland of the Ideal, Animated beauty, And aesthetic justice, And Schiller and Goethe fame, She is the sanctuary of a dream.

(Poets of the 1820-1830s, p. 151)

"Stupid cap" caused a sympathetic response P(III, 99).

X- The stanza gives a set of commonplaces of romantic poetry. Not only the phraseological units “innocent virgin”, “baby dream”, “deserts of the sky”, “goddess of secrets and tender sighs” were repeatedly repeated clichés of romantic poetry, but also the rhymes of this stanza: “obedient - ingenuous”, “clear is the moon”, "serene - gentle" are emphatically trivial. Rhyme dictionaries P, Batyushkov and Baratynsky are undeniably convinced of this (see: Shaw J. T. Baratynski. A Dictionary of the Rhymes. The University of Wisconsin Press, 1975; Shaw J. T. Batiushkov. A Dictionary of the Rhymes. The University of Wisconsin Press, 1975; Shaw J. T. Pushkin's Rhymes. A Dictionary. The University of Wisconsin Press, 1974).

The theme of Lensky's poetry also emphatically repeats the common places of romantic elegies.

7 - He sang separation and sadness... - Wed:

When we parted, lovely friend, with you, Will I say? From my eyes the current of tears did not roll, But the cold of the grave froze my chest, Anguish constrained my spirit and the light in my eyes was darkened.

(Olin V. N. Stanzas to Eliza, 1822-1823. Poets of the 1820-1830s. P. 129)

My complaints seemed to be answered by the wild stones and the streams of swift waters; And the forest, full of sadness, bowed down, At my complaints...

(Krylov A. A. Separation<1821>. There. S. 241)

Don't ask me why I'm so sad! You should know the guilt of my sadness.

(Krylov A. A. Distrust<1821>. There. S. 248)

I hear again the vows of separation, The languid sound of the farewell speech...

(Tumansky V.I. Elegy, 1823. Ibid. S. 271)

8 - And something, and foggy distance...- quotes are highlighted from the article by V. K. Kuchelbeker "On the direction of our poetry ...": "We are all a dream and a ghost, everything is imagined and seems and seems to be, everything is just as if, as it were, something something<...>In particular, the fog” (Küchelbecker-1, pp. 456-457).

Küchelbecker highlights in italics the "foreign speech" of romantic clichés, and P- a double quote from romantic poetry and an article by Küchelbecker. See below .

9 - And romantic roses... - the mystical medieval symbol of the rose (see: Veselovsky A.N. From the poetics of the rose. Selected articles. L., 1939. S. 132-139; Bayard J.-P. La symbolique de la Rose-Croix. Paris, 1975) received an exceptionally wide response in romantic literature. Numerous examples see: Alekseev. pp. 320-377.

10 - He sang those distant lands... - The meaning of the chain of romantic paraphrases is that one of the themes of Lensky's poetry was Germany ("distant countries"), where he, among peaceful university studies ("the bosom of silence"), mourned separation from Olga ("his living tears flowed") . Germany often figured in Russian romantic poetry (Zhukovsky, Küchelbecker, and others).

13-14 - He sang the faded color of life, Nearly eighteen years old. - The theme of premature death or early spiritual withering after Gilbert's dying elegy and Milvois' Falling Leaves became a common place in elegiac poetry. In combination with the Byronic cult of disappointment, it was reflected both in the lyrics and in the southern poems of P. But at the time of the writing of the stanza, this theme had already sounded for P ironically; cf. in a letter to Delvig on March 2, 1827: “The lion was here - a nimble little one, but it’s a pity that he drinks. He owed 400 rubles from your Andrieux and [himself] lured the wife of a garrison major. He imagines that his estate is in disorder, and that he has exhausted the whole cup of life. Goes to Georgia to renew a withered soul. Hilarious” (XIII, 320). Andrieux is a hairdresser.

XII, 5 - For a half-Russian neighbor...- Semi-Russian is highlighted as someone else's speech - the words of neighbors.

14 - Come to my golden chamber!..- Wed. note P: "From the first part of the Dnieper mermaid" (VI, 192). This refers to the aria of the mermaid Lesta from the opera "The Dnieper Mermaid" - adaptations of the opera "Das Donauweibchen" ("Fairy of the Danube"), text by Gensler, music by F. Cauer, Russian text by N. Krasnopolsky, musical additions by S. Davydov. The premiere took place in St. Petersburg on October 26, 1803. The opera went on with continued success. The aria entered songbooks and was popular, especially in the provinces.

XIII-XVII- Apparently, according to the original plan, the disputes between the enthusiast Lensky and the skeptic Onegin were to form the main content of the chapter. Related sketches:

From important subjects, the conversation often touched And sometimes Russian poets With a sigh and downcast eyes, Vladimir listened to how Eugene [of our crowned works] [Parnassus] [worthy] [praise] [mercilessly] amazed (VI, 279).

By conveying to Onegin his own critical assessments of the Russian romantic Parnassus, the author brought the hero as close as possible to his position as a narrator. This was emphasized by the fact that, developing the theme in a draft version, P, perhaps he was going to use the verses that later entered the "Demon" and marked Onegin's "victory" over the poet and the final merging of their views (see VI, 279-280).

If we add that the draft text allows us to talk about Onegin's rapprochement with the image of Aleko, over which P worked at the same time (“What passions did not boil In his exhausted chest ...” - VI, 180), it will become obvious that at this moment of work on the second chapter, the central character of the novel got so close to the narrator that there was a threat of their merger and, as it were, the revival of the principles of the romantic poem. To prevent this from happening P tried to resort to a conditional reduction in the image of the narrator. When Onegin became the embodiment of the highest possibilities of the author's personality, the conditional "I" of the speaker had to describe his lower counterpart. If passions were seething in Onegin's "tortured chest", then the bearer of the author's speech, who suddenly became an object of irony and, therefore, alienated from the author's point of view, did not remain alien to them:

As for me, I got a piece of fiery passion. XVIIb Passion for the bank! nor the love of freedom, nor Phoebus, nor friendship, nor feasts Would not distract me in past years from the card game - Thoughtful, all night, until light, I was ready in these summers To interrogate the fate of the covenant, If the jack falls to the left Already the ringing of dinners was heard Among the scattered decks A tired banker dozed off And I [frown] cheerful and pale Full of hope, closing my eyes I bent the corner of the third ace (VI, 280-281).

In connection with the general change in the plan of the second chapter, the description of the disputes between the two friends was sharply reduced, the stanzas that brought Onegin closer to the "Demon" fell out, and there was no need for irony in the address of the narrator. Bank is a gambling card game played by a punter against a banker. Punter puts a card, the banker throws cards from another deck to the right and left. If the punter's bet card falls to the left of the banker, the punter wins. After each waist (marking the deck for all partners), the old decks are thrown away and new ones are printed. Therefore, after a long game, players are surrounded by scattered decks. "Bending the corner" on the set card means doubling the bet.

XIV, 2 - Destroy all prejudices... - The extermination of prejudice is one of the main slogans of the Enlightenment of the 18th century, since the darkening of the mind of the people was considered a condition for the emergence of despotism. See below . In such an ideological context, the line appeared in a positive emotional halo. However, in the whole intonation movement of the stanza, it acquires an ironic sound, since as a result of the victory of Reason over Prejudice, it is not Freedom that triumphs, but Egoism.

5 - We all look at Napoleons... - relation P to Napoleon while working on the second chapter was difficult. On the one hand, under the conditions of the restoration and triumph of the reactionary monarchies, the figure of the deposed emperor of the French was surrounded not only by political, but also by personal charm. Vyazemsky wrote in 1820: “Napoleon accustomed people to gigantic phenomena, to decisive and all-permissive consequences. "All or nothing" is the motto of the present. Moderation is not a berry of our field ”(Ostafevsky archive. St. Petersburg, 1899. Vol. 2. P. 50).

However, on the other hand, in the light of criticism of romanticism, relevant for P Beginning in 1823, another guise of Napoleon appeared: he became a symbol and the highest manifestation of all-European egoism, political immorality and a willingness to sacrifice everything to personal ambition were emphasized in his activities. And these properties were P ethical correspondences of what appeared in politics as despotism. Napoleon in this interpretation became the creator of a new tyranny:

The Man of Fates appeared, the slaves fell silent again, Swords and chains sounded (II, 314).

Napoleon associated himself with the type of disappointed egoist, to whom “feeling is wild and ridiculous,” with those “madmen” who “proclaimed”: “There is no freedom” (Ibid.).

"We", in whose name the stanza is written, brings in the voice of this generation of romantic egoists. It excludes the author, who is separated from those who regard "all zeros" in an ironic tone, and Onegin, who "respected the feelings of others" and was "more tolerable than many." This distinguishes the stanza from the seemingly textually close stanza XLVI of the first chapter. There's a thought:

Who lived and thought, he cannot in his soul not despise people -

XVI, 3 - Tribes of past treaties... - This is a treatise by J.-J. Rousseau "On the Social Contract" (1762). Knowledge of the "Social Contract" was extremely widespread in Russian society at the beginning of the 19th century. The Muravyov brothers met him as a child, V. F. Raevsky “confirmed this book as an alphabet” (Lit. inheritance. M., 1956. T. 60. Book 1. P. 116). However, her attitude was not unanimous. Along with enthusiastic assessments, there were also such: “The theory of the contract is real buffoonery” (see: Turgenev, p. 319). This determined the direction of the controversy.

4 - The fruits of science, good and evil... - The fruits of the sciences - refers to Rousseau's treatise "Did the revival of sciences and arts contribute to the purification of morals" (1750), which marked the beginning of Rousseau's fame as a philosopher and publicist. Rousseau's conviction of the falsity of the directions of all human civilization continued to excite Russian readers of the 1820s. Kuchelbeker, for example, recalled the words of Griboedov that “in Moscow and St. Petersburg he often yearned for nomad camps in the mountains of the Caucasus and the plains of Iran, where, among people closer to nature, alien to European affectation, he felt happy” (Kyuchelbeker- 1. S. 118). P during the period of work on the Gypsies, apparently, he re-read the treatises of Rousseau. M.P. Alekseev explained these words differently, pointing out that Onegin and Lensky "could argue on the topic of science in a more general sense - its social significance and the results of its application to practical life" (Alekseev, p. 7). There is no contradiction between these statements: discussion of the prospects of science in the 1820s. inevitably associated with questions about the role and paths of civilization and historical progress.

5 - And age-old prejudices... - The doctrine of prejudice occupied a large place in the sociological concept of the Enlightenment philosophers of the XVIII century. Considering a person to be kind and reasonable by nature, the Enlighteners explained evil as a product of despotism and superstition (“Unrighteous Power is everywhere In the thickened haze of prejudices Sassel...” - II, 45-46). On the contrary, romanticism, with its respect for tradition, is polemical in relation to the thought of the eighteenth century. sought in prejudices the positive content of ancient wisdom. See below .

11 - Fragments of northern poems... - The North is a common metonymic name in poetry for Russia. Lensky read Russian romantic poems to Onegin. The opinion that the "poems of the north" are the "Ossian Songs" stylized by MacPherson is unconvincing. Translations of Ossian into Russian by A. Dmitriev, E. I. Kostrov. S. Filatov in the era EO hopelessly outdated. There is no reason to believe that Lensky read them or any other Russian translations to Onegin (see: Maslov V. I. Ossian in Russia (bibliography). L., 1928). This is clearly not about French translations, reading the original, apparently, can be excluded. Confirmation of the interpretation of the "northern" as "Russian" can be seen in the draft version of the verse: "Excerpts from their ballads" (VI, 279).

XVIII, 11 - So exactly an old invalid... - A disabled person in the language of the early 19th century. was equal in content to the modern "veteran".

XX-XXII- The stanzas are written in the vein of romantic elegiac poetry and represent a retelling of the everyday situation (Lensky's childhood, his departure, the friendship of neighbor fathers, etc.) in the cliché language of Russian romantic-idyllic poetry of the 1810s - 1820s. In the middle of stanza XXII, images like “golden games”, “dense groves”, “solitude”, “silence”, which, due to constant repetitions, have turned into cliché-signals of an elegiac-idyllic style, are replaced by personifications (graphically expressed in capital letters): “Night ”, “Stars”, “Moon”. A commentary on these stanzas can be an excerpt from the above article by Kuchelbecker (Kyuchelbecker-1, p. 457). Compare: “And something, and a foggy distance” (II, X, 8).

XXII, 4 - His first groan. - Paraphrase meaning: "his first poems." The string is a flute, a pipe, a symbol of idyllic poetry.

9-14 - Moon, sky lamp... - The contrasting clash of the "poetic" and demonstrative-prose image of the moon reveals the literary conventionality of the style of the preceding stanzas.

XXIII, 8 - Everything in Olga ... but any novel... - The name Olga was found in literary works with "Old Russian flavor" (cf., for example, "Roman and Olga", a story by A. A. Bestuzhev, published in "Polar Star" for 1823). Olga's appearance repeats the common stereotype of "blonde hair" (Russo J.-J. Julia, or New Eloise. Selected works. M., 1961. T. 2. S. 15). “Lizina's light hair” (“Poor Lisa” - Karamzin-2. T. 1. S. 613). “The full moon, rising in the sky between countless stars, is not so pleasant, as our dear Princess is pleasant, walking through green meadows with her friends; the rays of the bright moon do not shine so beautifully, silvering the wavy edges of the gray clouds of the night, as the golden hair on her shoulders shines; she walks like a proud swan, like a beloved daughter of Heaven; ethereal azure, on which the star of love shines, the evening star, is the image of her incomparable eyes ”(Karamzin N.M. The Beautiful Princess and the Happy Carla. Soch. St. Petersburg, 1848. T. 3. S. 27); cf. about Olga: “She is round, red in the face, Like this stupid moon ...” (III, V, 10-11); "... readers - in addition to blue eyes, a gentle smile, a slender figure and long chestnut hair - can imagine a complete collection of everything that captivates us in women ..." ("Knight of Our Time", - Karamzin-2. T. 1. S. 777). In the draft version of the third chapter there was a portrait of Olga:

As in Raf<аэлевой>M<адонне> <Румянец да>innocent<взор>(VI, 307).

XXIV, 1 - Her sister's name was Tatyana... - To this verse P made a note: “The most sweet-sounding Greek names, such as, for example: Agathon, Filat, Fyodor, Thekla, etc., are used among us only among commoners” (VI, 192). The calculations of V. A. Nikonov (unfortunately, carried out on partial material) show a sharp division of female names of the 18th - early 19th centuries. into "noble" and "peasant". Agafya, Akulina, Irina, Xenia, Marina and others were mostly peasant names, and Alexandra, Elizabeth, Olga, Yulia were noble ones. The name "Tatiana" is found among peasant women from 18 to 30 (in various counties) times per thousand, and among noblewomen - only 10 (Nikonov V.A. Name and Society. M., 1974. P. 54). A more subtle difference could be established (although the lack of exhaustive data prompts us to treat the conclusions with caution): in the era of interest to us, there is undoubtedly a difference in the names of the St. Petersburg (especially the court) circle and the provincial nobility. The former gravitate toward names that have French parallels - cf. emphasizing the comic unnaturalness of such a replacement for the name Tatyana in verse:

And boldly instead of belle Nina I put belle Tatiana (V, XXVII, 13-14)

The latter are close to the "peasant" ones (that is, with the bulk of the names available in the Orthodox Saints). When the young aide-de-camp V. D. Novosiltsev, who occupied a brilliant position in the world of St. Petersburg, proposed to the provincial young lady Chernova, his mother dissuaded him and “said laughing:“ Remember that you, and your wife will be Pakhomovna. For her father was in St. Petersburg. chief of police Pakh Kondratievich Chernov "(from the notebook of A. Sulakadzev, quoted from: Lotman Yu. Who was the author of the poem" On the death of K. P. Chernov ". Russian literature. 1961. No. 3. P. 154). A relative of the Chernovs Ryleev was Kondraty Fedorovich.

However, it should be taken into account that, in addition to everyday patterns in the distribution of names, there were also specifically literary ones, since in the literature of the early 19th century. names were subject to stylistic patterns. Elegies were appropriate for conventional names formed according to ancient models (such as "Chloe", "Daphne"), in romance or erotic poetry, "French" Elvin, Lisette, Lilet were allowed. The novel allowed "Russian", but "noble" names for goodies: Vladimir, Leonid; "comic" for "characteristic" characters: Pahom, Filat. Among the names given to negative characters was Eugene. The name Tatyana had no literary tradition.

XXVII, 1-4 - But dolls even in these years... Serious behavior in childhood, refusal to play - the characteristic features of a romantic hero. Wed in Zavalishin’s memoirs: “They say that I was always serious, never played on my own and didn’t even have toys<...>I often went out on the balcony at night in the summer and looked at the sky, as if trying to guess something ”(Zavalishin D. I. Notes of the Decembrist. St. Petersburg, 1906. P. 10). Wed in stanza XXVIII (1-4):

She loved on the balcony To warn the dawn of the sunrise.

6-7 - ...scary stories in the winter in the dark nights... - The custom of telling scary stories is rooted in a literary environment associated with romantic tendencies. An interesting example of recordings of "terrible stories" that were exchanged among visitors to one of the St.<Селиванов И. В.>. Memories of the past. M., 1868. Issue. 1, 2, containing stories about the afterlife D<ельвига>, about dancing furniture - a variant of the rumor recorded in the diary P, - about Nadezhdin's love for Sukhovo-Kobylina, etc. "Scary stories" were associated with fairy-tale tradition, and romantic interest in them was interpreted as a sign of closeness to the people. The tradition of "terrible stories" was of a general romantic nature - Byron's oral story belonged to it (see below), and the oral short story should also be attributed to it. P"Secluded house on Vasilyevsky" (see below).

XXIX, 3-4 - She fell in love with the lies of both Richardson and Russo. - Richardson Samuel (1689-1761) - English novelist, author of the novels "Pamela, or Virtue Rewarded" (1740), "Clarissa Harlow" (1748) and "Grandison" (1754). Popular in the 18th century, these novels were read in the Russian provinces even at the beginning of the 19th century. There were Russian translations: "English Letters, or the History of Grandisson's Chevalier, the Creation of Mr. Richardson, the Writer Pamela and Clarissa" (translated from French A. Kondratovich. St. Petersburg, 1793-1794); “The memorable life of the maiden Clarissa Garlov, a true story, the English creation of Mr. Richardson” ([translated from French by N. P. Osipov and P. Kildyushevsky]. St. Petersburg, 1791-1792); "Pamela, or the Rewarded Virtue. Aglinskaya Moral Tale, Op. Richardson” (translated from French [by P. P. Chertkov]. St. Petersburg, 1787; another translation was published in Smolensk in 1796). However, Tatyana apparently read from a French translation. P read "Clarissa" in 1824 in French, translated by Prevost from a copy kept in Trigorsky's library. Deceptions ... Rousseau - the novel "Julia, or the New Eloise", see below.

XXX, 3-4 - Not because she preferred Grandison to Lovlace.... - Note P: "Grandison and Lovlas, heroes of two glorious novels" (VI, 192). The first is the hero of impeccable virtue, the second is the hero of insidious but charming evil. Their names have become household names.

5 - But in the old days Princess Alina... - The name Alina is not in the Orthodox Saints, therefore, it could not be given at baptism. The princess's name was probably Alexandra. Alina is the heroine of Zhukovsky's ballad "Alina and Alsim" (1814).

6 - Her Moscow cousin... - The Moscow cousin is a stable satirical mask, a combination of provincial panache and mannerisms. P wrote to his brother dated January 24, 1822: “...shame on you, my dear, to write a half-Russian, half-French letter, you are not a Moscow cousin” (XIII, 35); in a letter to A. A. Bestuzhev about “Woe from Wit”: “Sophia is not inscribed clearly: not that<----->, not that Moscow cousin ”(XIII, 138).

14 - Player and guard sergeant. - Wed. “About the sergeants of the guard, this special caste of people who have long been gone, one could say a lot; but they are depicted so faithfully in their seven waistcoats in the Lebedyanskaya Fair that I don’t even want to talk about it ”(Brusilov N.P. Memoirs. Landowner Russia ... S. 18). In A. D. Kopiev’s comedy “The Converted Misanthrope, or Lebedyanskaya Yarmonka” (1794), two guard sergeants are among the characters: Zateikin and Prostophilin, who speak a mixture of French and Russian.

"Zateikin:<...>She is, so to speak, and beautiful, yes, in our, in St. Petersburg imable! that's emable!<...>Ma prences, hustle wu de apelcins?" (Russian comedy and comic opera of the XVIII century. M.-L., 1950. S. 516); “Emable” (distorted French) - “sweetheart”; “ma prences ...”, etc. (distorted French) - “Princess, do you want?”, punning combined with Russian homonyms. Introducing on the periphery of the narrative the steady satirical masks of the Moscow cousin and the sergeant's guard, P plans for EO the principle is the inclusion in the background of the novel of stable traditional images or well-known characters from other literary works. "Guards sergeant" as a characteristic type of Russian life in the 18th century. introduced P in "The Captain's Daughter": "Mother was still my belly, as I was already enrolled in the Semenovsky regiment as a sergeant, by the grace of the Major of the Guard, Prince B., our close relative" (VIII, 279). Collision: Praskovya Larina - "Grandison" - Dmitry Larin - had a number of literary parallels. The closest was the situation “Knights of Our Time” by Karamzin: “Father Leonov was a Russian native nobleman, a wounded retired Captain, a man of about fifty, neither rich nor poor, and - most importantly - the kindest person<...>After the Turkish and Swedish campaigns, returning to his homeland, he took it into his head to marry - that is, not quite on time - and married a twenty-year-old beauty, the daughter of the closest neighbor<...>must, in an explanation of her spiritual courtesy, reveal for a secret that she knew a cruel one; the cruel one put her seal on her - and the mother of our hero would never have been the wife of his father, had the cruel one picked the first violet on the banks of the Sviyaga in April! .. ”(Karamzin-2. Vol. 1. S. 756). The ratio of these episodes has a double meaning: on the one hand, Pushkin's text looks like the real-life content of Karamzin's conditionally literary descriptions: P as if translating literature into the language of reality. On the other hand, the generation of mother Tatyana, Princess Alina and Grandison behaves in life, guided by models of pre-romantic novels. Archaic literature for P- a part of archaic reality and in this sense it itself has reality. To understand Pushkin's heroes, one must feel their relationship with Karamzin's characters. The comparison is also interesting in another respect: P preserved both the age ratio between the heroes, and the time of their marriage - the beginning of the 1790s. It is also important that, speaking of Leon's father, Karamzin emphasized that he was not "the famous uncle of Tristram Shandi", but was a Russian master, "kind in his own way, and become Russian" (Karamzin-2. Vol. 1. S. 757). The juxtaposition of Leon's father with Dmitri Larin casts a certain reflection on the Sternian-Hamletian characterization of the latter by Lensky.

XXXI, 10 - I almost divorced my husband- contemporaries caught in this verse the romantic hyperbole of the student of Princess Alina. Of course, there was no question of a real divorce of the spouses in this situation. For a divorce in those years (the marriage of Tatiana's parents dates back to the 1790s), the decision of the consistory (clerical office) was required, approved by the diocesan bishop (since 1806, all cases of this kind were decided only by the Synod). Marriage could be dissolved only under strictly stipulated conditions (adultery proved by witnesses or self-confession, bigamy or bigamy, illness that makes marriage physically impossible, unknown absence, exile and deprivation of property rights, attempt on the life of a spouse, monasticism). There are cases when the personal intervention of the king or queen decided the divorce case in violation of existing laws. However, it is obvious that all these ways were closed for Praskovya Larina, as well as numerous, but expensive ways to circumvent the laws at the cost of bribes or the intervention of noble intercessors. The only thing that Tatyana's mother could really do to dissolve the marriage was to leave her husband for her parents. Such actual dissolution of marital relations was not uncommon. A long separate life could be an argument in favor of divorce for the consistory. See: Zagorovsky A. On divorce under Russian law. Kharkov, 1884. S. 282-393.

13-14 - Habit from above is given to us: It is a replacement for happiness. - The final maxim is a retelling of the statement from Chateaubriand's novel "René" (1802): "If I had the temerity to still believe in happiness, I would look for it in habit", which the author himself gave in his original French as a note to these verses ( VI, 192). Judging by the rough drafts (VI, 346), P at one time I thought of putting the maxim of Chateaubriand into the mouth of Onegin during his explanation in the garden with Tatyana. Comparing similar in content, but sharply opposite in style, statements of his own and Chateaubriand (the contrast was achieved by, in particular, the fact that the romantic prose of the French writer was compared with everyday and ordinary in intonation poems of the author EO), P achieved the effect of a stylistic dialogue between text and notes.

XXXII, 11 - Conducted expenses, shaved foreheads... - To shave foreheads - to hand over peasants in recruits. When accepting a recruit, his hair was shaved off in front. By decrees of 1766 and 1779. nobles could at any time of the year turn in any number of their peasants into soldiers, receiving receipts for extra recruits that could be presented in future sets. This turned the “shaving of the foreheads”, on the one hand, into a measure of punishment: the landowner could at any time tear the peasant he did not like from his family and hand him over - almost forever - to the soldiers. On the other hand, the surrender of recruits became a profitable, albeit officially prohibited industry: receipts from the landowner were willingly bought by other landowners who did not want to part with their workforce, or even wealthy peasants (and sometimes "peace" in clubbing) in order to save their boyfriend from recruitment. By placing "shaving foreheads" in the category of economic activities, P ironic about the ways of managing an ordinary landowner. In the draft version, the serf practice of Praskovya Larina was emphasized more sharply:

Sekala<- - - - ->, shaved foreheads; She whipped the servants, shaved their foreheads (VI, 295).

XXXIII, 3 - Called Polina Praskovya... - Wed. in “The temple of my heart, or the Dictionary of those persons with whom I was in different relations during my life” by I. M. Dolgorukov about P. M. Bezobrazova: “Praskovya Mikhailovna, nee Prokudina ... I loved her very much and called Polina” (TsGIAL. F. No. 1337. Op. 1. Item 69. Sheet 10v.).

6 - And Russian H like N French... - It reads: "And the Russian "our" as en French" - "our" - the Church Slavonic name of the letter "n". See: Lerner. S. 65; Alekseev. pp. 401-402; Reiser S.A. To the reading of the 6th verse of the 33rd stanza of the 2nd chapter of "Eugene Onegin". Scientific report higher schools. Philol. Sciences. 1974. No. 3. S. 73-74.

XXXV- The stanza was written at the end of the chapter (after the date that P put in draft, considering that the chapter is finished: December 8, 1823 nuit - VI, 299). Its introduction significantly changed the images of the older Larins and the atmosphere of Tatiana's childhood. The initial satirical tone, close to the description of Onegin's neighbors, and the picture of the transformation of a sentimental young lady into a landowner-serf were softened by the image of a patriarchal life with traditional features of everyday life. The signs of nationality in the way of life of the older Larins turned out to be sharply emphasized.

5 - Twice a year they fasted... - Reading - fasting and attending church services, preparing for confession and communion on time. Wed description of Natasha Rostova's fasting in "War and Peace" (vol. 3, part I, ch. 17-18). See also the description of the Easter fast in the manor's house: “Passion week has come, in which our family always fast. We went to church only for masses; yet other services, matins and vespers, were celebrated at home. By the way, I note that we have always served at home for all the big and twelfth holidays all year round.<...>On Great Saturday from 8 o'clock in the morning they were engaged in dyeing eggs<...>At dusk, Easter was brought from the cellar and laid out on a dish, which was usually done in a girl's room. Here is the master's cake, here is the cake for the people; they are also laid out on dishes and surrounded by red testicles. All this will be taken to the church for consecration<...>Here is midnight - everything comes to life both in the house and in the yard. In the house everyone is already on their feet: everyone is fussing, busy getting dressed.<...>So the carriages are ready and filed to the porch. Several mounted peasants and servants, with lanterns in their hands, surround them, ready to light the way. With noisy conversations, now with abuse, now with laughter, girls and courtyard women, old men and old women, sit down in carts, and the whole train quietly moves out of the yard<...>Upon returning home, they began breaking the fast at the family table. They broke the fast with Easter cake and eggs with Thursday salt, went to drink tea<...>It was called Thursday because its preparation took place on Maundy Thursday” (Selivanov, pp. 175-181).

6 - Loved the round swing... - "... a swing in the form of a rotating shaft with bars threaded through it, on which boxes with seats are suspended" (Dictionary of the language P. T. 2. S. 309). As a favorite folk entertainment of Russians, they are described by Olearius. See: Olearius A. Description of a journey to Muscovy ... St. Petersburg, 1906. S. 218-219, who also cited their drawing. Compare: Zelenin D.K. East Slavic ethnography. M., 1991. S. 379.

10-11 -Touchingly on a beam of dawn they shed three tears... - Dawn or dawn - a type of herb, which in folk medicine is attributed to a healing effect. “During the Trinity prayer service, the girls standing to the left of the altar should drop a few tears on a bunch of small birch branches. This bundle is carefully preserved afterward and is considered a guarantee that there will be no drought this summer ”(Zernova A.B. Materials on agricultural magic in the Dmitrov region. Soviet ethnography. 1932. No. 3. P. 30). In other geographic areas, birch trees are replaced by other types of vegetation. See: Tolstoy N. I. “Crying for flowers” (Ethnolinguistic note). Russian speech. 1976. No. 4. S. 27-30; the author, in particular, compares verses from EO and details of the Trinity rite with a line by S. A. Yesenin: “I will go to mass to cry at the flowers” (“Trinity morning, morning canon ...”). “Crying for flowers” may be associated not only with the desire to avert drought, but also with the rite of atonement for sins. The number of branches in the bundle should correspond to the number of sins to be forgiven, for each one a tear should be dropped. Wed: “He would have to tie a bundle from a bath broom,” Flenushka intervened with a laugh. - Let him put a teardrop on each leaf.

Stop it,” Manefa said sternly. “Vasily Borisych has not so many sins that he had to mourn a whole broom.” The author’s note follows: “The Old Believers, as well as among the Volga common people, hold the belief that during the Trinity Vespers, one should cry so much about one’s sins so that at least one tear sank for every leaf, for every petal of flowers that they hold in their hands. . These tears are called "dew of grace" in the sketes. They spoke about this “dew of grace”, and in the Trinity psalm it is sung ”(Melnikov P.I. In the forests. Part II. Ch. 13). P it was important to surround the older Larins with an atmosphere of rites and the old way of life.

12 - They needed kvass like air... - Kvass - belonging to Russian pre-Petrine cuisine - was considered a national and common drink. Casanova, recalling Russia, wrote: “They have a delicious drink, the name of which I forgot. But it is far superior to Constantinople sherbet. The servants, despite their large numbers, are by no means allowed to drink water, but this is a light, pleasant-tasting and nutritious drink, which is also very cheap. Because for one ruble they give you a big barrel.” (Memoires de J. Cassanova de Seingalt. Paris, 1931, p. 118). Karamzin, in a letter to Dmitriev, having drawn a “common people” picture, mentioned kvass as its obligatory detail: “... a stout peasant appears to my thoughts, who scratches himself in an indecent way or wipes his wet mustache with his sleeve, saying: “Hey guy! what kind of kvass! "" (Letters of Karamzin ... S. 39). Vyazemsky conveyed the words of “a respectable old man” that “a decent person cannot live in Paris, because there is neither kvass nor rolls in it” (Vyazemsky-2, p. 133). 18th century cookbooks give recipes for several dozen kvass.

14 - They carried dishes according to their ranks. - The custom according to which the servants carry around the guests, offering them food in accordance with the hierarchy of their ranks. With this order, the guests of little rank saw almost empty dishes in front of them, and sometimes they were surrounded with expensive wines. In the sources of that time there is an anecdote, according to which an innocent guest, when asked by the host if he was satisfied with the dinner, answered: “Thank you, Your Excellency, I saw everything, sir.” "According to ranks" the guests were carried around at a dinner at the Rostovs: "The German tutor<...>he was very offended by the fact that the butler, with a bottle wrapped in a napkin, surrounded him ”(“ War and Peace ”, Vol. 1, part I, ch. 15). At the beginning of the XIX century. in Petersburg life, this custom was perceived as archaic.

XXXVI, 13 - Lord's servant and foreman... - Brigadier - a military rank of the 5th class, intermediate between an army colonel and a major general, was abolished at the end of the 18th century. After Fonvizin's comedy, "The Brigadier" was perceived as a comic mask - a type of military campaigner.

XXXVII, 1 -Returned to his penates... - The stanza brings us back to the style of elegiac poetry. Penates (ancient Roman) - the gods of the native hearth, figuratively - the home. The name of the native home penates was widely accepted in the poetry of the Karamzinists (including the young P) after Batyushkov's message "My penates" (1811-1812).

6 - Poor Yorick! he said sadly... - To this verse P made a note: ""Poor Yorick!" - Hamlet's exclamation over the jester's skull (see Shakespeare and Stern) "- VI, 192. P gives a double reference: quoting the words of Hamlet holding the skull of the jester Yorick in his hands, Lensky, which is typical for a romantic, comprehends the real situation - his visit to the cemetery in his native places - through the prism of a literary collision: "Hamlet in the cemetery." At the same time, he identifies himself with Hamlet, and the deceased neighbor, a retired foreman, with Shakespeare's jester. Simultaneously P refers readers to Stern's "Sentimental Journey", which is also essential for Lensky's self-awareness. Compare: Shklovsky V. "Eugene Onegin" (Pushkin and Stern). Essays on Pushkin's Poetics. Berlin, 1923. S. 197-221. Sterne Lawrence (1713-1768) - English writer, his novels A Sentimental Journey (1768) and The Life and Opinions of Tristram Shandy (1759-1767), as well as other writings, had a strong influence on the Karamzin school.

XXVII, 9 - His Ochakov medal!- Ochakov medal - a medal for the capture of the Turkish fortress Ochakov, had the shape of a cross with strongly rounded ends (made of gold) with the inscriptions "For service and courage" and "Ochakov was taken in December 1788". The medal was not an individual award, it was awarded to all officers who participated in the assault. Brigadier - general rank, and P could well give a hero of this rank an order. However, the order - an individual award - would have introduced features into the appearance of the elder Larin that set him apart from the masses. The medal also emphasized the non-individualization of the hero - "like everyone else" brave during the storming of the fortress, "like everyone else" a homely retired.

14 - To him a funeral madrigal. - Madrigal - “a short poem containing the praise of someone”, here: “a poem in the form of a tomb inscription - an epitaph” (Dictionary of the Language P. T. 2. S. 531).

XXXVIII- The stanza, apparently, contains responses to Bossuet's speech "On Death". Indisputable evidence that this speech came P as a memento while working on the second chapter EO, serves as a direct quote from it in the outline of stanza XIVa (cf.: “What are we! .. my God!” - VI, 276). Bossuet Jacques-Benin (1627-1704) - French preacher and religious publicist, his speeches were considered examples of oratory.

XL, 3 - Perhaps it will not sink in Lethe... - Summer (ancient Greek myth.) - the river of oblivion, separating the kingdoms of the living and the dead. The stanza contains an allusion to Batyushkov's poem: "Vision on the banks of Lethe", in which the poems of mediocre poets are drowned in Lethe.

14 - Shake the old man's laurels!- expression of a lyceum teacher P A. I. Galich, denoting reading the works of a classical poet. Wed: “I will take up Homer again; it’s time, as Galich used to say, to beat the old man” (Küchelbeker-1, p. 94).