Blessed is he who was young from his youth

The hero of this story was lucky with his origin - his maternal ancestry goes back to the famous names of Count Razumovsky and Baron Sivers - the first sold his peasant ancestors to the second.

I was lucky to be born Russian. That's what he thinks. Great power, great culture. Comrade Stalin praised the Russian people.

Lucky to be Soviet. That's what he thought. Enjoyed all the benefits of socialism. Free: kindergarten, education, housing, good job.

The hardships of the 1930s passed him by. He didn't know about them. There were no repressed people among his relatives and acquaintances. There were many who were imprisoned, but for the cause - for theft, for speculation, etc. As a child, he survived the Leningrad blockade. My father died at the front.

Realizing the horror of inevitable death, he began to hurry to live. He could not believe in the afterlife: his soul and mind, by their constitution, did not accept a miracle.

A good boy in a boys' school. I really wanted to get straight A's so I could be no worse than others. It couldn't have worked out better; my classmates were outstanding.

Literature teacher Fatya is a very colorful figure. Her aphorisms: Sit down and talk nonsense!.. No nothing... Sit down, that is, shut up!.. I came, you came, get out! (to a latecomer)

The guys stole the essays to correct. There was a stormy scene: “Accidentally?!” I’ll punch you in the face and tell you that it was an accident!”

“She should not teach literary criticism,” said Zunka, “she should teach to love literature.”

“Can this be taught? Doesn’t it just come by itself?”

Mathematician Ninushka, easily offended, “always right.” She gets carried away: into some non-intersecting lines in a cube and other absurdities. The chemical engineer speaks firmly and simply, cutting from the shoulder. The physicist has the terrifying look of the Queen of Spades. For the last year they were taught by a physicist with greetings. He complained about persecution by the NKVD. My classmates were proud: they studied with a crazy physicist for a whole year.

He joined the Komsomol together with his friend Rem. They looked at each other: “Of course, there is no great delight, but still nice.”

A Komsomol member of the Red class is an excellent person in all respects: smart, talented, well-read, modest. Called for discipline in the classroom. Ravdel asked: “What if I didn’t care about all your decisions, then what can you do?” Red explained that a group of Komsomol members, the majority in the class, would be able to cope with some seven non-Komsomol members.

Classmates are free people, they said what they thought. They didn't think badly. They didn’t fight, they didn’t misbehave, they didn’t act out. They were tolerant: 14 Russians and 8 Jews.

Respect for culture was persistently instilled in him by school, newspapers, books, and radio; he must, they say, master it. And he took over. Books in libraries. Music on the radio. Cinema for 50 kopecks. Theaters for 50 kopecks in the gallery. He really liked it. Pleasure and self-respect: that's how intelligent and cultured I am.

Pushkin: “Blessed is he who was young from his youth... But it’s sad to think that youth was given to us in vain...” Of course I remembered it by heart.

I immediately perceived Tchaikovsky’s piano concerto: everything is in man, everything is for man. Man – that sounds proud!

The movie was good. “Jolly Guys”, “Volga-Volga”, “Tractor Drivers”, “Chapaev”... Nobility, courage, strong friendship, beautiful love were sung... Unfortunately, such noble book and film people have never been met in life.

The party explained: a person is born good, but deteriorates from the birthmarks of capitalism or from individual shortcomings of socialism.

Classmates loved freethinking. Volodya once said that we were clearly going too far in praising Stalin. Any milkmaid screaming heart-rendingly on the radio about her beloved leader is appropriate, but no longer appropriate. Kolesov agreed.

Belinsky taught him many ideas: about religion, Don Juan, Hamlet... About the meaning of life - in the testament of the Soviet holy ascetic: “life is given to a person once, and he must live it in such a way that later, when he dies...”... Tolstoy became his life teacher .

Kolesov loved to read and dreamed of becoming a writer. I changed my mind: there’s nothing to write about. I loved to sing, I decided to sing. After school I was confused about where to go. Due to poverty, I went to the military academy. At the age of 18 he became an officer - a rich one. The horror of death (the stimulus of life) pushed me to the Palace of Culture to study singing. Taught by Mariinsky Theater artist Pyotr Petrovich Gusev. I learned the mysteries of singing techniques: diaphragm, air column, cantilena. Four years later I realized that he didn’t have the top two notes. Lost in spirit. Looks like it can be expanded. And if not? I didn't take any risks.

Words: Alexander Sergeevich Pushkin
Music: Igor Veniaminovich Moshkin

Blessed is he who was young from his youth, chapter 10-13, chapter 8

Blessed is he who was young from his youth,
Blessed is he who is ripe in time,
Who gradually life is cold
He knew how to endure over the years;

Who hasn't indulged in strange dreams,
Who has not shunned the secular mob,
Who at twenty was a dandy or a smart guy,
And at thirty he is profitably married;

Who was freed at fifty
From private and other debts,
Who is fame, money and ranks
I got in line calmly,
About whom they have been repeating for a century:
N.N. is a wonderful person.

But it's sad to think that it's in vain
We were given youth
That they cheated on her all the time,
That she deceived us;
What are our best wishes?
What are our fresh dreams
Decayed in quick succession,
Like rotten leaves in autumn.

synthesizer solo

It's unbearable to see in front of you
There's a long row of dinners alone,
Look at life as a ritual
And after the decorous crowd
Go without sharing with her
No common opinions, no passions.
XII
Becoming the subject of noisy judgments,
Unbearable, you must agree
Among prudent people
To be known as a pretend eccentric,
Or a sad madman,
Or a satanic freak,
Or even my demon.
Onegin, I’ll take care of him again,

Having killed a friend in a duel,
Having lived without a goal, without work
Until twenty-six years old,
Languishing in idle leisure
Without work, without wife, without business,
I didn't know how to do anything.

synthesizer solo

He was overcome with anxiety
Wanderlust
A very painful property
Few voluntary cross.
He left his village
Forests and fields solitude,
Where is the bloody shadow
Appeared to him every day

And began wandering without a goal,
Available to the senses alone;
And travel for him,
Like everyone else in the world, we’re tired;

He returned and hit
Like Chatsky, from the ship to the ball.

April 19, 2015
Rock opera Evgeny Onegin 2015 chapter 8 Words: Alexander Pushkin
Music: Igor Veniaminovich Moshkin

Blessed who in his youth was a young chap. 8 h 10-13

Blessed is he who in his youth was young,
Blessed is he who in time is ripe,
Who lives gradually cold
With years could suffer;

Someone strange dreams indulged,
Those who did not shun secular populace,
Who in the twenty years he was a dandy il grip,
And in the thirty-profitable married;

Who's fifty freed
From private and other debts,
Who fame, money and ranks
Quietly in turn has made,
Who are repeated for a century:
N. N. wonderful person.

But sad to think that in vain
It was given to us youth,
What changed her hourly,
What she has deceived us;
What is our best desires,
With our fresh dreams
Decayed quick succession,
As autumn leaves rotten.

synthesizer solo

Horrible to see before him
Some were a long series of lunches,
To look at life as a ritual,
And after the crowd chinnoyu
To go without sharing it
No general views or passions.
XII
The subject became noisy opinions,
Horrible, agree that
Between sensible people
Interlayer mock eccentric,
Or sad madcap,
Ile satanic monster,
Or even my demon.
Onegin again loan them

Killing in a duel each other,
Having lived without purpose, without papers
Up to twenty-six years,
Languishing in idleness leisure
Without life, without his wife, without works,
Nothing to do could not.

synthesizer solo

He was overcome by uneasiness
Wonderlust
It is very painful property
Few voluntary cross.
He left his village,
Forests and cornfields solitude,
Where the bloody shadow
It was every day

And he began to wander aimlessly,
Affordable one sense;
And he travels,
Like everything else, tired;

He came back and hit,
As Chatsky from the ship to the ball.

April 19, 2015
Rock opera Eugene Onegin 2015 Chapter 8

Blessed is he who is ripe in time,

Who gradually life is cold

I managed to endure it over the years.

The author is attracted to balls, theater, friendship, love - everything that is connected with life in all its manifestations. Everything has its time, the poet believes. Time is easy to soar through life, spinning in the whirlwind of the ball, falling in love, doing stupid things. Later, the time comes to comprehend your life experience, look for the meaning of your existence, comprehend yourself and the world around you.

In lyrical digressions, the author talks a lot about his life, youth (“In those days when I blossomed serenely in the gardens of the Lyceum...”), and about love for his homeland. Sometimes the author ridicules ideas about life that are alien to him: vulgarity, hypocrisy, depravity, envy.

Belkin's stories.

Prose A.S. Pushkin is characterized by a breadth of phenomena and a variety of characters. As a prose artist, Pushkin published at the end of October 1831 “Tales of the late Ivan Petrovich Belkin.” A precious acquisition of the Boldino autumn, Belkin's Tales represent the first completed work of Pushkin's prose.

The originality and originality of "Belkin's Tales" lies in the fact that Pushkin revealed in them a simple and artless, at first glance, attitude to life. The realistic method of Pushkin the prose writer developed under conditions that required an emphatic contrast of his stories with the sentimental and romantic tradition that occupied a dominant position in the prose of this period.

This was also reflected in Pushkin’s desire to portray life as he found it in reality, to objectively reflect its typical aspects, to recreate the images of ordinary people of his time. An appeal to the life of the middle-class landed nobility ("Blizzard", "The Young Lady-Peasant"), the army environment ("Shot"), attention to the fate of the "martyr of the fourteenth class" ("Station Warden"), and finally, to the life of small Moscow artisans ( "The Undertaker") clearly demonstrates this aspiration of "Belkin's Tales". Recreating the life of his unremarkable heroes, Pushkin does not embellish it and does not hide those aspects of it that seemed subject to overcoming. The poet chooses irony as a tool for criticizing reality.

These Pushkin stories for the first time recreated the appearance of Russia in its complex social diversity, from various angles, shown not in the light of the usual moral and aesthetic criteria of noble culture, but in revealing the processes that took place behind the façade of this culture, undermined the inviolability of the entire social order of the feudal state. As N. Berkovsky notes, “Belkin’s Tales”, “although not directly and from afar, they are introduced into the world of provincial, invisible mass Russia and the mass man in it, concerned about his basic human rights - he is not given them, and he strives for them.” The main thing that was new in the stories was the depiction of characters. Behind the fates of individual heroes of Pushkin's stories stands the Russia of that time, with its stagnant way of life and acute contradictions and contrasts between different layers.

"Belkin's Tales" is not a random collection of "anecdotes", but a book of stories interconnected by internal unity. This unity lies not only in the fact that they are all united by the image of their collector - the provincial landowner Belkin, but also in the fact that they collectively paint a picture of Russia, the birth of a new way of life that violates the established foundations, the inert immobility of life.

In "Belkin's Tales" Pushkin abandoned the "exceptional", intellectual hero and the narrative techniques associated with him, and instead discovered and completely exhausted the possibilities of a simple and infinitely complex form of story about "average" people and the events of their private lives.

A big innovation was the introduction in “Belkin’s Tales” of the image of a simple, unlucky storyteller, who, although not alien to the vain desire to be known as a writer, is, however, limited to writing down on paper certain “everyday stories.” He did not compose them himself, but heard them from other people. The result is a rather complex interweaving of stylistic manners. Each of the narrators is very different from the others, and in their own way merges with the heroes of the stories they tell. Above them all rises the image of the simple-minded Ivan Petrovich Belkin.

In "Belkin's Stories" Belkin's compositional function is manifested in his "self-elimination" from the stories (the image of the author is included only in the preface).

The life material that formed the basis of the stories is stories, incidents, incidents of provincial life. The events that took place in the provinces attracted Pushkin before. But usually they were narrated by the author himself. The independent “voices” of small landowners, officers, and ordinary people were not heard. Now Pushkin gives the floor to Belkin, a native of the local depths of Russia. In "Belkin's Tales" there are no people as a collective image, but characters from different social strata are present everywhere. The degree of comprehension of reality for each character is limited by his horizons: Samson Vyrin perceives life differently than Silvio, and Muromsky or Berestov - in a different way than Minsky.

IN AND. Korovin writes: “Pushkin sought to assure that everything told in “Belkin’s Tales” are true stories, not fictional at all, but taken from real life. He was faced with the task of motivating the fiction. At this stage of Russian prose, motivating the narrative was almost obligatory If Pushkin began to explain how he learned about all the stories told in the stories, then the deliberateness of such a technique would be obvious, but how natural it looks that all the stories were told by Belkin, who lived in the provinces for a long time, made acquaintances with his neighbors. landowners, was in close contact with ordinary people, occasionally went to the city on some business, led a quiet, measured existence. It was the provincial landowner who, in his spare time or trying to write out of boredom, could hear about incidents and write them down. Indeed, in the conditions of the province, such cases are especially valued. , are retold from mouth to mouth and become legends. Belkin’s type was, as it were, put forward by local life itself.”

There is another important feature of these stories. They all belong to people of the same worldview. They have different professions, but they belong to the same provincial environment - rural or urban. The differences in their views are minor and may not be taken into account. But the commonality of their interests and spiritual development is significant. It precisely allows Pushkin to unite the stories with one narrator - Ivan Petrovich Belkin, who is spiritually close to them.

Pushkin imposes a certain leveling on the diversity of Belkin’s narratives, assigning himself the modest role of “publisher”. He is far from the narrators and from Belkin himself, maintaining a somewhat ironic attitude towards him, as can be seen from the epigraph taken from D.I. Fonvizin at the title of the cycle: “Mitrofan for me.” At the same time, the “publisher’s” sympathetic concern for the release of “stories of the deceased” and the desire to briefly tell about Belkin’s personality are emphasized. This is evidenced by a letter enclosed by the “publisher” from the Nenaradov landowner, Belkin’s neighbor on the estate, who willingly shared information about Belkin, but stated that he himself resolutely refuses to assume the title of writer, “indecent at my age.”

In these stories, the reader has to deal with all the faces of the narrators at once. He cannot get any of them out of his mind.

Pushkin strove for maximum objectivity and realistic depth of image, which explains the complex stylistic system of Belkin's Tales.

In “The Shot” and “The Station Agent,” the author depicts events from the point of view of different narrators, who bear strong features of everyday realism. Fluctuations in the reproduction and reflection of everyday life, observed in the style of other stories, for example, in "The Blizzard" and "The Undertaker", also lead to the assumption of social differences in the images of their narrators. At the same time, the presence in the entire cycle of stories of a common stylistic and ideological-characteristic core, which cannot always be considered as a direct and immediate expression of the worldview of Pushkin himself, is also undeniable. Along with differences in language and style, a tendency towards leveling of style is outlined, realistically motivated by the image of Belkin as a “mediator” between the “publisher” and individual storytellers. The history of the text of the stories and observations of the evolution of their style give this hypothesis complete credibility. After all, the epigraphs for the stories were drawn up later. In the surviving manuscript they are not placed in front of the text of each story, but are collected together - behind all the stories. Of course, in the process of reworking the stories, the image of the dummy author evolved. Before this image was consolidated with a name, he was only anticipated as a “literary personality” and was perceived more as a unique point of view, as a “half mask” of Pushkin himself.

Russian life had to appear in the image of the storytellers themselves, that is, from the inside. It was very important for Pushkin that the understanding of history should come not from the author, already familiar to readers, not from the position of high critical consciousness, evaluating life much deeper than the character of the stories, but from the point of view of an ordinary person. Therefore, for Belkin, all stories, on the one hand, go beyond the boundaries of his interests, feel extraordinary, and on the other, highlight the spiritual immobility of his existence. The events that Belkin narrates look “romantic” in his eyes; they have everything: love, passion, death, duels, etc. Belkin looks for and finds something poetic in his surroundings, something that stands out sharply from the everyday life in which he is immersed. He wants to join a bright, varied life. He feels a craving for strong feelings. In the stories he recounts, he sees only out-of-the-ordinary cases that exceed the power of his understanding. He just tells stories in good faith. The Nenaradovsky landowner informs Pushkin the publisher: “The above-mentioned stories were, it seems, his first experience. They, as Ivan Petrovich said, are for the most part fair and he heard from different people. However, the names in them were almost all invented by him, and the names of villages and villages were borrowed from our area, which is why my village is mentioned somewhere. This did not happen out of any evil intention, but solely from a lack of imagination.”

Entrusting the role of the main narrator to Belkin, Pushkin, however, is not removed from the narrative. What seems extraordinary to Belkin, Pushkin reduces to the most ordinary prose of life. Thus, the narrow boundaries of Belkin’s view are expanded immeasurably. For example, the poverty of Belkin’s imagination acquires a special semantic content. The fictional narrator cannot invent or invent anything, except perhaps change people's surnames. He even leaves the names of villages and villages intact. Although Ivan Petrovich’s fantasy does not break out beyond the villages - Goryukhino, Nenaradovo. For Pushkin, this seemingly shortcoming contains the idea: everywhere the same cases described by Belkin are happening or can happen: exceptional cases become typical thanks to intervention in Pushkin’s narrative. The transition from Belkin's point of view to Pushkin's takes place imperceptibly, but precisely in the comparison of different literary styles - from extremely stingy, naive, to crafty, funny, sometimes lyrical. This is the artistic originality of Belkin's Tales.

Belkin puts on a generalized mask of a writer of everyday life, a narrator, in order to highlight his manner of speech and distinguish it from other narrators who are introduced into the work. This is difficult to do, since Belkin’s style merges with the general opinion to which he often refers (“They say…”, “In general, they loved him…”). Belkin's personality seems to be dissolved in other narrators, in the style, in the words that belong to them. For example, from Pushkin’s narrative it is unclear who the words about the stationmasters belong to: either the titular adviser A.G.N., who told the story about the station superintendent, or Belkin himself, who retold it. Pushkin writes: “You can easily guess that I have friends from the venerable class of caretakers.” The person on whose behalf the narrator writes can easily be mistaken for Belkin. And at the same time: “For 20 years in a row I have traveled across Russia in all directions.” This does not apply to Belkin, since he served for 8 years. At the same time, the phrase: “I hope to publish a curious stock of my travel observations in a short time” seems to hint at Belkin.

The stories are built on the combination of two different artistic views. One belongs to a person of low artistic spiritual development, the other to a national poet who has risen to the heights of public consciousness and the heights of world culture. Belkin, for example, talks about Ivan Petrovich Berestov. The narrator’s personal emotions are excluded from the description: “On weekdays he wore a corduroy jacket, on holidays he wore a frock coat made of homemade cloth.” But the story concerns a quarrel between landowners, and here Pushkin clearly intervenes in the story: “The Angloman endured criticism as impatiently as our journalists. He was furious and called his Zoil a bear and a provincial.” Belkin, of course, had nothing to do with journalists; he probably did not use words such as “Anglomaniac” or “zoil” in his speech.

Pushkin, formally and openly accepting the role of publisher and refusing authorship, simultaneously performs a hidden function in the narrative. He, firstly, creates a biography of the author - Belkin, draws his human appearance, that is, clearly separates him from himself, and, secondly, makes it clear that Belkin the man is not equal, not identical to Belkin the author. For this purpose, he reproduces in the very style of presentation the author's appearance of Belkin - the writer, his outlook, perception and understanding of life. “Pushkin invents Belkin and, therefore, also a storyteller, but a special storyteller: Pushkin needs Belkin as a storyteller - a type, as a character endowed with a stable outlook, but not at all as a storyteller with a unique individualized speech.” Therefore, Belkin’s actual voice is not heard.

At the same time, despite all the similarities between Belkin and his provincial acquaintances, he still differs from both the landowners and the storytellers. His main difference is that he is a writer. Belkin's narrative style is close to oral speech and storytelling. His speech contains many references to rumors, legends, and rumors. This creates the illusion that Pushkin himself was not involved in all events. It deprives him of the opportunity to express his literary bias and at the same time does not allow Belkin himself to interfere in the narrative, since his voice has already been given to the narrator. Pushkin “removes” what is specifically Belkin and gives the style a general, typical character. Belkin's point of view coincides with the point of view of others.

In "Belkin's Tales" the narrator is named by last name, first name, patronymic, his biography is told, character traits are indicated, etc. But “Belkin’s Tales,” offered to the public by the publisher, were not invented by Ivan Petrovich Belkin, but “heard by him from various persons.” Each of the stories is narrated by a special character (in “The Shot” and “The Station Agent” this appears naked: the story is told in the first person); reasoning and insertions can characterize the narrator or, at worst, the transmitter and recorder of the story, Belkin. Thus, “The Caretaker” was told to him by the titular adviser A.G.N., “The Shot” by Lieutenant Colonel I.L.P., “The Undertaker” by clerk B.V., “Blizzard” and “The Peasant Young Lady” by the girl K. I.T. A hierarchy of images is built: A.G.N., I.L.P., B.V., K.I.T. - Belkin - publisher - author. Each narrator and characters in stories are characterized by certain language features. This determines the complexity of the linguistic composition of Belkin's Tales. Its unifying principle is the image of the author. He does not allow stories to “scatter” into pieces that are heterogeneous in language. The peculiarities of the language of the narrators and characters are indicated, but do not dominate the narrative. The main space of the text belongs to the “author’s” language. Against the background of general accuracy and clarity, the noble simplicity of the author's narrative, stylization of the language of the narrator or character can be achieved by few and not very prominent means. This allows Pushkin, in addition to language styles that correspond to the images of the author, to reflect in his artistic prose also language styles that correspond to the images of the characters.

The heroes of any of the five “Tales of the late Ivan Petrovich Belkin” find themselves in situations that were very loved by romantic authors: children falling in love and parents’ quarrel, changing clothes (“The Young Lady-Peasant”), marriage with an unknown person (“Blizzard”), escaping from the parental at home (“Station Master”). But after the conflict reaches its climax, when there seems to be no way out of the deadlock and the heroes are in despair, suddenly everything is resolved simply and happily, leaving no room for mysteries and tragedies. Even the ghosts that appeared to the undertaker Adrian turned out to be an ordinary dream. The mysterious incident turns into a comic one, losing all its romantic aura.

Laughing at the “romantic inclinations” of his heroes, Pushkin contrasts real life with them. The seemingly mysterious heroes turn out to be simple and sweet people. All conflict situations end in good peace.

“Belkin's Tales” by A.S. Pushkin’s works mark the emergence of realism in Russian literature, which replaced sentimentalism and romanticism.

Encyclopedic dictionary of popular words and expressions Vadim Vasilievich Serov

Blessed is he who was young from his youth, / Blessed is he who matured in time

Blessed is he who was young from his youth, / Blessed is he who matured in time

From the novel in verse “Eugene Onegin” (1823-1831) A. S. Pushkina(1799-1837) (chapter 8, stanza 10).

Allegorically: everything is good on time, everything must be done on time.

Tip No. 62 Plan your travel taking into account traffic jams: leave 30-40 minutes earlier to make it on time Yes, there are places where there are constant traffic jams. But we have already said about them - try to avoid them. But you may get stuck in a traffic jam that has formed suddenly,