In the sea, the prince is bathing his horse;
He hears: “Tsarevich! look at me! "
The horse snorts and spins with his ears,
Splashes and splashes and floats far.
The prince hears: “I am the royal daughter!
Do you want to spend the night with the princess? "
Here a hand appeared from the water,
He catches a silk bridle by the hand.
Then a young head came out,
The braid is entwined with sea grass.
Blue eyes burn with love;
Splashes on the neck, like pearls, tremble.
The prince thinks: “Good! wait! "
He deftly grabbed the braid with his hand.
Holds, the fighting hand is strong:
She cries and prays and beats.
The knight bravely swims to the shore;
Swam out; comrades loudly calling:
"Hey you! come together, dashing friends!
Look how my prey beats ...
Why are you standing in an embarrassed crowd?
Ali have not seen such a beauty? "
The prince looked back:
Gasped! the triumphant look faded.
Sees, lies on the sand of gold
Miracle of the sea with a green tail.
The tail is covered with snake scales,
All freezing, curling, trembling.
Foam escapes in streams from the brow,
A deadly haze clothed her eyes.
Pale hands grab the sand;
The lips whisper an incomprehensible reproach ...
The prince goes thoughtfully away.
He will remember about the tsar's daughter!
Analysis of the poem "The Sea Princess" by Lermontov
Mikhail Lermontov's early love lyrics were mostly dedicated to his beloved Ekaterina Sushkova. The ten-year unrequited romance ended in a secular scandal, the echoes of which can be seen in the work "The Sea Princess", written in 1841, shortly before the tragic death of the poet.
In the image of a fairy-tale sea princess, the windy Sushkova is easily guessed - from a beautiful sea princess she turns into a monster. The author sneers at the victim, exposing her at the same time in a very unattractive light. The shame of Sushkova is guessed, which surfaced thanks to Lermontov and the compromising evidence exposed by him.
If we discard folk motives and know the background of the poem, the reader will clearly see the disappointment of a man in his beloved woman after so many years of courtship and refusal. She turned out to be unworthy of his high feelings, turning from a beauty into an unsightly creature. Her true essence is a cruel, insidious, seductive person, ready to turn the head of the first person she comes across just to show the power of her spell. The poet condemns this behavior.
The author does not want to admit that he himself has fallen into the beautifully placed nets of the beauty. He identifies with lyrical hero- a prince that did not succumb to the charms of the charming woman and pulled her out of the water, her usual element of seduction, onto land. But the hero unravels the mystery, and enters into a struggle with the princess. This reflects the reality of Mikhail Yuryevich himself: his relationship was more like a battle than mutual love.
The part where the prince brings the sea maiden to land and boasts of his booty is deeply metaphorical: Lermontov himself also pulled out the hard-hitting truth about Sushkova to his friends. And as soon as he did this, as the beautiful princess turns into a monster, his beloved turned out to be covered with a kind of foam of shame.
The ending of the ballad contains some ambiguity: the prince abandoned his prey, but he will remember about it. Likewise, the author's beloved, although left to him, will live in his heart. Is that it is difficult to say what feelings he is now experiencing - the old love and regret, or something close to disgust.
The work is written in tricycle dactyl, trisyllabic foot with stress on the first syllable. The rhyme is contiguous, the rhyme is predominantly masculine. The poet uses such literary devices as epithets ("sea princess", "royal daughter", "blue eyes"), metaphors ("deadly haze", "dashing friends").
Mikhail Yurjevich Lermontov
In the sea, the prince is bathing his horse;
He hears: “Tsarevich! look at me! "
The horse snorts and spins with his ears,
Splashes and splashes and floats far.
The prince hears: “I am the royal daughter!
Do you want to spend the night with the princess? "
Here a hand appeared from the water,
He catches the silk bridle by the brushes.
Then a young head came out,
The braid is entwined with sea grass.
Blue eyes burn with love;
Splashes on the neck, like pearls, tremble.
The prince thinks: “Good! wait! "
He deftly grabbed the braid with his hand.
Holds, the fighting hand is strong:
She cries and prays and beats.
The knight bravely swims to the shore;
Swam out; he calls his comrades loudly:
"Hey you! come together, dashing friends!
Look how my prey beats ...
Why are you standing in an embarrassed crowd?
Ali have not seen such a beauty? "
The prince looked back:
Gasped! the triumphant look faded.
He sees lying on the sand in gold.
Miracle of the sea with a green tail;
The tail is covered with snake scales,
All freezing, curling, trembling;
Foam escapes in streams from the brow,
A deadly haze clothed her eyes.
Pale hands grab the sand;
The lips whisper an incomprehensible reproach ...
The prince goes thoughtfully away.
He will remember about the tsar's daughter!
Lermontov's early love lyrics had specific addressees. More precisely, in the overwhelming majority of cases it was dedicated to the same person - the windy Ekaterina Sushkova. The poet's straightforward and rather open verses left no doubt about his feelings, which remained unanswered.
Ekaterina Sushkova
This strange romance lasted almost 10 years and ended in a loud scandal: Lermontov, disappointed in his chosen one, brutally revenged her, compromising Ekaterina Sushkova in front of secular society, and then publicly humiliating her. Echoes of this revenge can be found in the poet's lyric ballad entitled "The Sea Princess", written in 1841, shortly before the tragic death of the author.
At first glance, it seems that at the final stage of his work, Lermontov decided to abandon thoughtful works, preferring folklore motives. However, in the image of a fairy-tale character, the same Ekaterina Sushkova is easily guessed, who turns from a beautiful sea princess into a terrible monster. “The tail is covered with snake scales, all freezing, curling, trembling,” the author notes, mocking his victim and, at the same time, presenting it in an unsightly light. The content of this ballad, if we discard the fabulous flair, boils down to the fact that Lermontov long years loved a beautiful woman who was completely unworthy of such high feelings. Her true appearance is an insidious and cruel person who is ready to turn the head of the first man she meets just to demonstrate the power of her spell.
Lermontov does not want to admit that he himself succumbed to temptation, falling into the skillfully placed networks of the temptress. In the poem, he identifies himself with the prince, who easily saw through the cunning plan of the sea princess, pulling her to the shore, where she turned into a monster. This part of the work is deeply metaphorical, since in real life the poet also publicly exposed his chosen one in front of witnesses at the very moment when Ekaterina Sushkova least expected it. The ballad's summary is rather laconic, but at the same time contains some ambiguity. “The prince is going thoughtfully away. He will remember about the tsar's daughter! ”- the author notes, emphasizing that the image of Ekaterina Sushkova still lives in his heart. However, it is not clear whether he loves the one who caused him so much pain, or whether he experiences from the object of his sighs a feeling bordering on disgust.
Mikhail Yurievich Lermontov is a poet as wonderful as he is mysterious. His lyrics amaze and fascinate with their melody, beauty and depth of content. In his poetry you will not find a sparkling and joyful verse, but sorrow is the sea. But the author does not evoke sadness with his poetry, in spite of everything, he believes that they will come better times... In the present, he is trying to withstand, calling for the help of the Almighty, for he does not rely on too infantile and inert contemporaries.
Sea Princess - Lermontov M.Yu.
1841
In the sea, the prince is bathing his horse;
He hears: "Prince! Look at me!"
The horse snorts and spins with his ears,
Splashes and splashes and floats far.
The prince hears: "I am the royal daughter!
Do you want to spend the night with the princess? "
Here a hand appeared from the water,
He catches the silk bridle by the brushes.
Then a young head came out,
The braid is entwined with sea grass.
Blue eyes burn with love;
Splashes on the neck, like pearls, tremble.
The prince thinks: "Good, wait!"
He deftly grabbed the braid with his hand.
Holds, the fighting hand is strong:
She cries and prays and beats.
The knight bravely swims to the shore;
Swam out; he calls out loudly to his comrades:
"Hey you! Come together, dashing friends!
Look how my prey beats ...
Why are you standing in an embarrassed crowd?
Ali have not seen such a beauty? "
The prince looked back:
Gasped! the triumphant look faded.
He sees lying on the sand in gold.
Miracle of the sea with a green tail;
The tail is covered with snake scales,
All freezing, curling, trembling;
Foam escapes in streams from the brow,
A deadly haze clothed her eyes.
Pale hands grab the sand;
The lips whisper an incomprehensible reproach ...
The prince goes thoughtfully away.
He will remember about the tsar's daughter!
"SEA TSAREVNA", the ballad of L., one of the last of his poems. (1841). On the topic and plot, he is included in the circle of ballads about mermaids, both original and translated, which have become widespread in Russian. poetry of the 1830s
Unlike tradition. ballads, in "The Sea Princess" not only the motives of love and death, but also the plot as a whole are translated into symbolic. outline communicating verse. ambiguity of meanings and possible interpretations.
The image of the crow in Russian legends and mythology. 4
Analysis of the poem "The Sea Princess". 5
CONCLUSION 10
APPENDIX 1 12
APPENDIX 2 13
APPENDIX 3 15
REFERENCES 17
INTRODUCTION
A poem is an image that focuses on a small text space. Often, to create an image of a work, the author turns to sources such as mythology, folk tales, traditions and customs. To reveal this image and understand the meaning of the work, you need to turn to the above sources and draw a parallel between them, make a comparison.Target research work consists in identifying the image of this poem, analyzing it, relying on Slavic mythology and legends, and understanding the secret meaning of what the author wanted to convey to us.
Our tasks are to study the Slavic mythology and legends about the watercreepers and their comparison with M. Yu. Lermontov's poem "The Sea Princess" for its further analysis.
Vodyanitsa is a very ancient mythological image. Vodyana-vodyanitsa is an inhabitant of river waters. There are also seafarers - they live in the sea.
Every little watergirl was once a girl, but either she herself drowned, by accident, or was ruined by someone's evil will. Some of them - those who were baptized - can return to people in two or three years, especially if they did not drown, but were cursed by their parents and carried away to the river bottom. evil spirits... These are called "damned" or "jokes". They will return home if the baptized person puts a cross around their neck. The pranksters also marry mortals they love, who will be able to scold them from the spell.
But most of the waterworms have no way back to earth. Only at night do they go ashore, ride a mill wheel (like the water wheel itself, they passionately love this fun, and mills and millers in general), sit on the bank, combing their beautiful long hair with a comb made of a pike ridge. Such a comb possesses magical powers: combing her hair, a waterworm can let in a whole river of water and even flood a village, whose inhabitants somehow angered her.
In appearance, all the unearthly beauties are all unearthly beauties, even if they were not so during life. Only they are unusually pale and seem transparent - undead after all!
The dwellings of water maidens (nests of straw and feathers) are built in pools and deep basins, as well as under river rapids. But other beauties, who made friends with the water kings, live in luxurious palaces made of crystal and amber.
Of course, the favorite pastime of bobcats is to harm people. Some even call people to talk and drown them for ridiculing the speed of the current or the width of the river in which they live. But more often they simply confuse the nets of fishermen, clinging to grass or driftwood, help the waterman break down dams and destroy bridges. Sailors (and they are usually giantesses), rising from the waves in a storm, rock the ships so that they turn over. Sometimes on bridges or in mills, waterworms attack people, trying to drag them under the water. You can weaken such an evil maiden by ripping out as much of her hair as possible.
Vodyanitsy-sailors are related to antique sirens. They lurk by the coastal cliffs, so their long hair can be mistaken for sea foam, and as soon as a ship gets closer to dangerous reefs, seafarers protrude from the waves. The frightened helmsman loses his head, the ship goes off course, becomes a toy of stormy waves, and the shipmen find themselves in the water, where the sailors are waiting for them. Few manage to get away from this destructive embrace. They attract the youngest and most beautiful sailors to the seabed in order to indulge in love with them there, and the rest are simply drowned indiscriminately. They say that their lovers also become inhabitants of the underwater kingdom and sometimes even rise to the surface of the water to knock a new ship astray and destroy other sailors.
^
The image of the crow in Russian legends and mythology.
DANA AND PRINCE
Once upon a time there was a beautiful woman Dana. Her hair is golden, her body whiter than a water lily. The evil stepmother envied Dana's beauty and set out to destroy her stepdaughter. Once, on a hot day, she invited me to swim near a water mill and drowned me.
And Dana had a groom, a young prince. He missed his bride very much and often came to the place where his beloved had died. Somehow he lingered until late at night on the shore and suddenly saw: the mill wheels spun by themselves, and beautiful girls began to rise from the water on them. They laugh, sing songs, comb their long green hair with white combs.
And the prince did not believe his eyes when he saw Dana among them.
He rushed to the mill wheel, wanting to grab her, but the girl had already jumped into the water.
The prince follows her. But he got entangled in her long green hair and couldn't swim out. I went to the bottom ...
Here he stands on the golden sand, and in front of him is a semi-precious palace.
If you want to return - come back right now, or it will be too late, - says Dana. - Another minute - and no power can bring you back to life.
No, - says the prince, - I will not return. Life is not nice to me without you. I'll stay with you.
Dana kissed him hard - and after that the prince became the water king of that river. During the day, he, along with Dana and other mermaids, ride in the depths on fish harnessed to a golden chariot. And on moonlit nights he goes ashore to frighten and amaze kind people.
^
Analysis of the poem "The Sea Princess".
In 1841, a few months before his death, 27-year-old Lermontov wrote the ballad "The Sea Princess". Already written "Sail", "I go out alone on the road", "Duma" and many other poems, confirming that we have a fully formed nature with its own subjective perception of the world. After such masterpieces, the rustic plot of "The Princess" looks at least frivolous. If we look at it outside the poetic form, it looks almost banal: the prince, bathing the horse, heard a voice, swam towards him, grabbed the mermaid who called him, pulled her ashore, she turned into a monster; the prince abandoned her and went home. What's so special about that?
This was my first thought when I decided to take a closer look at the poem.
Well, let's try to analyze the poem and understand what the author really wanted to convey to us.
At first glance, the theme of the poem may be the theme of love.
"I am the royal daughter!
Blue eyes are burning with love ...
But the rest of the text refutes the original assumption. In the words of the prince, "Good, wait!" it sounds more like a threat than tenderness. The tsarevich's hand is called "fighting", he himself calls the mermaid pulled ashore "prey". Thus, the theme of struggle, confrontation, duel, but not love, unfolds before us.
Let's take a closer look at how the events in the poem are presented.
In the sea, the prince is bathing his horse;
He hears: "Prince! Look at me!"
Where does the prince bathe his horse? Obviously, at the beginning of the poem, the hero is in shallow water, where he can hear a voice from the water. The second stanza reads:
The horse snorts and spins with his ears,
One gets the impression that something is missing in the text. The prince had just heard the voice and immediately threw himself into the water, swam to the sound. The voice from the water was a kind of "signal" for him, according to which the prince throws himself into the water. Let's call it hypothetically "challenge to a duel".
The prince hears: "I am the royal daughter!
Do you want to spend the night with the princess? "
It becomes clear that we are facing a mermaid who lures the prince in order to seduce him and then kill him. This "invitation to execution" is clothed in the form of a love call, which must deceive the prince. But as we will see from the text, the hero does not succumb to such a deception, he knows what such a call threatens him with.
It is also interesting to us that only in the third stanza the prince realizes who was actually the source of the voice: the sea princess, the mermaid. Only in the third stanza does she open up to the hero, realizing that this will not change anything for him, for he is in her element, and therefore in her power. The question arises: in the 2nd stanza, the prince jumped into the water, not knowing exactly who his opponent was? Paradoxical as it may sound, but according to the text of the poem, we must answer "yes".
Let's consider the fourth, fifth and sixth stanzas together, for they are thematically articulated:
Here a hand appeared from the water,
Then a young head came out;
Blue eyes burn with love;
The cited three stanzas reflect the gradual approach of the prince to the source of the sounding voice - first the hand is shown, then the head of the sea princess, then we can already distinguish blue eyes. Let's pay attention to the vocabulary accompanying the description of the princess. She is really beautiful: the head is called "young", it is crowned with a braid with woven grass, "blue eyes" (an archaic, sublime description) "burn" with love, the spray on the neck is compared to precious "pearls". The mermaid is in her element, which is why she is beautiful.
But at the same time we notice the verb, which designates the action of the princess: "catches." It is in disharmony with the majestically beautiful appearance of the princess, betrays her real desire - she grabs the horse's reins to carry him and the rider to the bottom. And the prince notices this:
The prince thinks: "Good, wait!"
It is significant that the prince does not express his emotions out loud, he only "thinks" so as not to frighten off future prey. It is in this place that the theme of confrontation finally pushes aside the previously assumed love line, becomes dominant. In these words of the tsarevich shines through hidden threat, waiting for a fight, he turns out to be prepared for a fight, which unfolds in the following stanza:
Holds, the fighting hand is strong:
She cries and prays and beats.
Before us is not even a struggle, but a short-term conquest of the sea princess. The hero must conquer the mermaid, break her will, so that in the next stanza he can freely swim with her to the shore.
Swam out; he calls his comrades loudly.
Only the victor, triumphant from the consciousness of his victory, can “bravely” swim to the shore. And he needs the recognition of those around him - that is why he calls his comrades.
"Hey you! Come together, dashing friends!
Ali have not seen such a beauty? "
It is important for the hero to show the "miracle of the sea" pulled ashore, he is proud of his victory.
It is easy to explain the embarrassment of friends - wanting to share the joy of the hero's victory, they do not understand the reasons for the celebration. Before them is a sea monster, which the prince himself sees, turning around:
The prince looked back:
Sees: lies on the sand in gold
All freezing, curling trembling;
The foam escapes from the brow in streams.
The eyes were clothed by a deadly haze.
Pale hands grab the sand;
Lermontov describes the metamorphosis with the sea princess truly amazing. The triumph of the prince turns into horror at the sight of the picture presented to him. His victory turns out to be premature. The transition from one state to another occurs through a turn back: "The prince looked back." It is interesting to pay attention again to the vocabulary describing the princess, but now in a different capacity. "The miracle of the sea with a green tail" contrasts unfavorably with the background on which it is presented ("golden sand") - which further emphasizes its ugliness. The very word "miracle" means something incomprehensible, indefinite, unknown and, as a consequence, alien, hostile. The tail is an indispensable attribute of a mermaid, which, remarkably, is not emphasized in the first description, suggesting that the miracle belongs to evil spirits.
The monster dies and the eyes, which were blue and burned with love, are clothed in "mortal darkness", "pale hands" emphasize the deadness of the creature. What incomprehensible reproach is whispered by the mouth of the monster? The answer is obvious: this is a reproach to the prince, who dragged the mermaid to the shore and doomed her to death. In the modern sense, the word "incomprehensible" here means rather "inaudible". This stanza is notable for the fact that it ends with an ellipsis, which emphasizes, on the one hand, reticence (the monster, dying, did not have time to say everything), on the other, a cliff (in this case, the life of the monster).
The last stanza shows the prince riding away and thinking:
The prince goes thoughtfully away.
He will remember the king's daughter.
A strange ending. Incomprehensible. At first glance, the ending is clearly defined: the prince has won, the monster has died, the hero is leaving. But on the other hand, a number of unresolved issues remain. What did the dying mermaid fail to talk about? Why does the prince travel "thoughtfully", what is he thinking about? How "will he remember the royal daughter": as a result of the victory, as the horror seen, or will he begin to reflect on the reasons for the transformation of the beautiful virgin into the miracle of the sea? The questions seem to remain unanswered, the ending of the poem seems to be open.
CONCLUSION
After analyzing MV Lermontov's poem "The Sea Princess", I came to the following conclusion:The image of a water woman is water, the most feminine and beautiful element, it acts as a symbol of the feminine principle. The sea is the home for the waterworm.
The image of the prince is sand, his home is dry land. Land and sea are far from each other and cannot become one, they are closest only where there is shallow water.
The main idea and meaning lies in the confrontation and duel between the sea princess and the prince. It is not by chance that the author turns to Slavic mythology to create images of the heroes of his work, since it was through the use of two opposite elements in this poem that he showed us this opposition, a duel in all its senses and manifestations.
After reading the letters of Lermontov, the memoirs of his friends, his biography, it can be assumed that this poem describes the love story of Lermontov and Varvara Lopukhina.
Lermontov, at the time of his youth, got acquainted with Varvara Lopukhina, one of the youngest daughters of a family close to him. He is introduced to her by his friend Alexei Lopukhin. Lermontov falls in love with her at first sight and loves her with the most sincere and pure love throughout his life. And many of his works are dedicated to her, for example, such as: "Demon", "However, all her movements, smile, speech and features ...", "Since you appeared to me, my love is my defense from proud thoughts and vanity ... "," We are accidentally brought together by fate, we found ourselves one in the other ... "and others.
But they are not destined to be together, no matter how they strive for each other, like sea and land. Lermontov moved to St. Petersburg in 1832 and entered the school of cadets. But he continues to be interested in the fate of Varya and corresponds with her sister Maria Lopukhina. And in 1835, Varvara married a real state councilor, a wealthy landowner Nikolai Fedorovich Bakhmetev, who was 17 years older than her. The wedding was planned by her parents without her consent. Parents always imposed their will on her, as evidenced by the line: "Sea grass is woven into the braid." Upon learning of this, Lermontov begins to accuse her of treason, his dreams and illusions collapse just as in a poem the transformation of a beautiful princess into a monster takes place.
“Sees: lies on the sand of gold
Miracle of the sea with a green tail;
The tail is covered with snake scales,
All freezing, curling, trembling ... "
These stanzas show Lermontov's attitude to the fact that his beloved is marrying another. These stanzas say that he warmed a snake on his chest (with gold sand), since the description of the princess's tail is similar to that of a snake.
The death of a waterbird indicates how love dies, tormented and suffering, after this news. But Varya loves Lermontov, this marriage is not of her will. When he comes to their engagement, he does not notice either the sparkle in her eyes, or the joy of the upcoming celebration.
“Pale hands grab the sand;
The lips whisper an incomprehensible reproach ... "
Lopukhina with all her essence is drawn to Lermontov, but nothing can be changed. Her fate is crippled, and their love is doomed. The reproach was addressed to Mikhail for the fact that he could not preserve and preserve their relationship. But for him this is an "incomprehensible reproach", because he does not understand why Varvara accuses him of this.
“The prince is going thoughtfully away.
He will remember about the tsar's daughter! "
The last stanza most likely implies his return to duty. And the last line says that he will never forget about his love and will always love Lopukhina Varvara.
Here is such a sad love story turned out.
I really liked this poem. Intrigue, struggle and beauty are so skillfully intertwined in it that it is not always clear how to correctly understand this or that stanza and makes you think, reflect on the meaning, thereby sinks into the soul and remains in the memory for a long time. And this, in turn, adds respect to such a writer as M. Yu. Lermontov.
ANNEX 1
M. Yu. Lermontov."The Sea Princess".
In the sea, the prince is bathing his horse;
He hears: “Tsarevich! look at me! "
The horse snorts and spins with his ears,
Splashes and splashes and floats far.
The prince hears: “I am the royal daughter!
Do you want to spend the night with the princess? "
Here a hand appeared from the water,
He catches the silk bridle by the brushes.
Then a young head came out,
The braid is entwined with sea grass.
Blue eyes burn with love;
Splashes on the neck, like pearls, tremble.
The prince thinks: “Good! wait! "
He deftly grabbed the braid with his hand.
Holds, the fighting hand is strong:
She cries and prays and beats.
The knight bravely swims to the shore;
Swam out; he calls his comrades loudly;
"Hey you! come together, dashing friends!
Look how my prey beats ...
Why are you standing in an embarrassed crowd?
Ali have not seen such a beauty? "
The prince looked back:
Gasped! the triumphant look faded.
Sees: lies on the sand in gold
Miracle of the sea with a green tail;
The tail is covered with snake scales,
All freezing, curling, trembling;
Foam escapes in streams from the brow,
The eyes were clothed by a deadly haze.
Pale hands grab the sand;
The lips whisper an incomprehensible reproach ...
The prince goes thoughtfully away.
He will remember about the tsar's daughter!
APPENDIX 2
Excerpts from the memoirs of M. Yu. Lermontov's friends.From the memoirs of A.P. SHAN-GIREA.
“In our neighborhood lived the Lopukhins' family, an old father, three girls-daughters and a son; they were with us like family and very friendly with Michel, who rarely was there ”.
“As a student, he was passionately in love with the young, sweet, smart as day, and in the full sense delightful VA Lopukhina, she was an ardent, enthusiastic, poetic and highly likable nature. I now remember her affectionate look and bright smile; she was fifteen or sixteen years old; we were children and teased her a lot; she had a small birthmark on her forehead, and we always pestered her, repeating: "Varenka has a mole, Varenka is ugly," but she, the kindest creature, was never angry. Lermontov's feeling for her was unaccountable, but true and strong, and he almost kept it until his death, despite some subsequent hobbies, but it could not (and did not cast) a dark shadow over his existence, on the contrary: in the beginning in its own way, it aroused reciprocity, later, in Petersburg, in the guards school, it was temporarily drowned out by the new atmosphere and the noisy life of the cadets of the then school, after it entered the world with new successes in society and literature; but it instantly and strongly awakened at the unexpected news of the marriage of the woman he loved.
“I brought him a bow from Varenka. In his absence, she and I often talked about him; he was dear to both of us, although not in the same way, but equally dear. At parting, stretching out her hand, with wet eyes, but with a smile, she said to me:
Bow to him for me; tell me I'm calm, happy, even happy.
I was very annoyed with him that he listened to me as if coolly and did not ask about her; I reproached him for this, he smiled and replied:
You are still a child, you do not understand anything!
And although you understand a lot, you are not worth her little finger! - I objected, getting angry in earnest. "
“At the same time, I had the opportunity to make sure that Michel's first passion did not disappear. We played chess, a man handed in a letter; Michel began to read it, but suddenly his face changed and turned pale; I got scared and wanted to ask what it was, but he, handing me the letter, said: “Here's the news - read it,” and left the room. This was the news about the forthcoming marriage of VA Lopukhina. "
“In the spring of 1838, Varvara Aleksandrovna came to St. Petersburg with her husband on a trip abroad. Lermontov was in Tsarskoe, I sent a messenger to him, and I galloped to her. My God, how painfully my heart sank at the sight of her! Pale, thin, and there was no shadow of the former Varenka, only her eyes retained their brilliance and were as affectionate as before. "Well, how do you live here?" - "Why is it you?" - "Because I'm asking about two." - “We live as God sent, but we think and feel as in the old days. However, another answer will be from Tsarskoe in two hours. " This was our last meeting; neither he nor I was destined to see her again. She survived him, languished for a long time and died, they say, peacefully, ten years ago. "
APPENDIX 3
Excerpts from the letters of M. Yu. Lermontov's friends.“He was passionately in love with VA Bakhmetyeva (before VA Lopukhin's marriage); she was his cousin; I think he loved me because he found similarities in us, and his favorite conversation was about her. "
“I would love to ask you one small question, but the pen refuses to write it. If you guess right, I'll be glad; if not, then if I asked this question, you still would not be able to answer it.
This is the kind of question that, perhaps, does not even occur to you! "
“Trust me that I have not lost the ability to guess your thoughts, but what do you want me to tell you? She is healthy, apparently, rather cheerful, in general her life is so monotonous that there is even nothing to say about her, today as yesterday. I think that you will not be very upset to learn that she leads such a way of life, because it protects her from all trials; but for my part, I would like a little variety for her, because what kind of life is this for a young lady wandering from one room to another, where does such a life lead her to? - will become an insignificant creature, that's all. Well what then? Have I guessed you? "
^ M. A. LOPUKHINA
“The latest news about my sister Bakhmeteva is truly sad. She is ill again, her nerves are so upset that she had to spend about two weeks in bed, so weak. Her husband offered her to go to Moscow - she refused, abroad - she refused and said that she decidedly did not want to be treated anymore. Perhaps I am mistaken, but I attribute this disorder to the death of Michel, because these circumstances converge so closely that this cannot but arouse certain suspicions. "
^
BIBLIOGRAPHIC LIST
http://lermontov.niv.ru/ - site dedicated to M. Yu. Lermontov.
http://legendy.claw.ru/ - site of myths and legends of peoples, Vodyanitsa.