By A. D. P. Briggs
This can be a full of life and readable advisor to Alexander Pushkin's novel in verse Eugene Onegin, a landmark of eu Romanticism, and arguably the easiest of all Russian poetry. Professor Briggs addresses the query of ways such notable poetry may have been composed a couple of fairly banal plot, and considers the shape of the paintings and its poetic innovations intimately. He deals clean interpretations of the characters and occasions of the poem, and units it opposed to its ecu history. He discusses its impact - particularly Tchaikovsky's operatic model - and issues to its life-affirming philosophy and spirit of joyfulness. The booklet contains a chronological chart and a consultant to extra examining.
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Additional info for Alexander Pushkin: Eugene Onegin
The other . . ') stand strongly at the beginning 20 E U GE N E O N E G I N o f lines 9 and 10, drawing attention to the delicately balanced contrast which we are observing. Then the slowness of the initial pirouette is set against the later rapidity of lstomina's entrechat. Here Pushkin rides his customary luck. The Russian word for 'slow' is a slow one and the Russian word for 'fast' is fast. So by using the normal words, medlenno and bystro, he automatically retards and hastens the action just as the moment demands; medlenno with its lingering double con sonant is especially effective.
Line 1 1 ); 'Now . . now . . ' - each followed by the same verb with a different prefix (line 1 3). Hardly less noticeable is the repetition of letit ('she flies') at the end of line 1 1 and the beginning of line 12, or the back-to-back use of the same noun in two different cases (nozhkoy nozhku) which brings the stanza almost to its end. Inevitably, of course, these parallels are awash with delicate sound effects as vowels and consonants form up in their repetitive patterns. Other vowels and con sonants, not involved in the mechanical contrasts, also j oin in; odnoy nogoy .
Before she does so, still further reassurance comes from above: . . And now here she is alone. All is still. The moon gives her light. (three, XXI) The last expression, 'The moon gives her light', is borrowed from Vladimir Nabokov's translation, which puts it well. The Russian version, lacking the verb 'give', is slightly odd, literally meaning 'The moon shines to her'. The unexpected dative case, 'to her', suggests a new kind of intimate relationship between her and the giver of the light. In any case, what matters here is the ultimate confirmation for the heroine that she is doing the right thing and need not worry.