Oryol love of the great poet. And so I sacrificed years

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Sofya Ivanovna Saburova

The Saburovs were well-connected landowners and, obviously, were among E.A.’s acquaintances. Arsenyeva - grandmother of Mikhail Yuryevich. In addition, they were assigned to the Tula nobility and owned lands in the Belevsky district of the Tula province, where the “Efremov village” was located - the estate of Yuri Petrovich Lermontov, the poet’s father, and the Arsenyevs, the poet’s relatives on his mother’s side. It was in the “Efremov village” (now the village of Kropotovo; from 1937 to 1954 it was part of the Oryol region, now it is part of the Lipetsk region. - Ed.) 12-year-old Lermontov could meet the Saburov family.

Sofya Ivanovna Saburova was born in Penza into a multi-talented family. Her father Ivan Vasilyevich Saburov was an engineer-captain, a Penza landowner, known for his agronomic experiments and articles on issues of agricultural economics. Mikhail Yuryevich speaks about the tender feeling that flared up for Sofya Saburova in the postscript to the poem “To the Genius”: “A reminder of what happened in the Efremov village in 1827 - where I fell in love for the second time at the age of twelve - and still love it to this day.” In the lines of the poem “To Genius” there is power, and reproaches, and awareness of the uniqueness of what is experienced, and a call to repeat what has been experienced.

The intellectual and spiritual maturity of a very young poet is surprising. Readers may feel as if we are looking at at least a forty-year-old author who has experienced unearthly passions.

This poem outlines the theme of loneliness, which runs through the entire work of the great poet. Although, perhaps, he still believed that love was mutual and the relationship would regain its former harmony.

Irakli Andronikov writes that S.I. Saburova was so pretty that she stood out even among the first beauties of Moscow.

How did Sofia Ivanovna’s life turn out after her separation from Lermontov?

In 1832, she married Dmitry Klushin and went with him to Oryol. Dmitry Nikolaevich Klushin was a court councilor, chairman of the Oryol Criminal Chamber, lived in the village of Timiryazevo, Maloarkhangelsk district, Oryol province. He was a close relative of the writer Alexander Ivanovich Klushin (1763-1804), a native of the city of Livny, Oryol province.

Klushin and Saburova had a daughter, Maria (1833-1914). She became the wife of the Kursk civil governor Alexander Nikolaevich Zhedrinsky. Maria owned an album in which previously unknown poems by Lermontov were discovered. Subsequently, Maria’s relatives decided to donate the album they inherited to the State Literary Museum. Mikhail Lermontov had strong feelings for Saburova: there was happiness, and torment, and triumph, and disappointment. But the main thing was the desire to still love, “to warm up with the heat of inspiration for one, last moment,” even if after that “the ardor of the heart cools down forever.

Ekaterina Sushkova (Khvostova)

The history of the relationship between Lermontov and E.A. Sushkova is a fairly significant “plot” in the personal and literary biography of the poet. The summer and early autumn of 1830, spent by Lermontov at the Stolypin estate Serednikov in close communication with his Moscow cousin Sashenka Vereshchagina and her close friend Katya Sushkova, was marked by the intensity of the poet’s creative development: the poetic creations of this time are a noticeable milestone in the formation of his artistic individuality.

The end of 1834 and the beginning of 1835 - the time of a new meeting between Lermontov and Sushkova in St. Petersburg - is also a very significant episode in the poet’s creative biography, associated with the creation of the remaining unfinished story “Princess Ligovskaya”. At Sashenka Vereshchagina’s, Sushkova met Lermontov, who also lived next door: “At Sashenka’s I met her cousin at that time, a clumsy, clubfooted boy of about sixteen or seventeen, with red, but intelligent, expressive eyes, an upturned nose and a sarcastic expression. a mocking smile." Their initial acquaintance apparently took place in the early spring of 1830: Sushkova remembered how Michel “rejoiced” and “triumphant” when he received a prize at the boarding exam. It was March 29, 1830, so the beginning of the fifteen-year-old boy’s passion for the “St. Petersburg fashionista,” as Vereshchagina jokingly certified Sushkova, should be attributed to the early spring of this year. The age difference was thus a little over two years; the difference in social status predetermined by it was much greater. “I’m eighteen years old,” Sushkova says to Lermontov, “I’ve been going out into the world for two winters, and you’re still standing on the threshold of this world and you won’t step over it very soon.”

Following Sushkova’s story, we must assume that her acquaintance with Lermontov in Moscow lasted several months: until late spring or early summer, when she began traveling to estates near Moscow. At this time there is still no talk of any cycle of poems; For Sushkova, Lermontov is Vereshchagina’s little “cousin,” a volunteer page who wears her hat and umbrella and loses her gloves. To her surprise, Sashenka one day tells her: “How Lermontov is in love with you!”
One of the poems sent by Lermontov later to Sushkova, however, dates back to this period. This is "Spring" - the poet's first printed poem, appearing in the Athenaeum in September 1830 under an anagram. It is difficult to say whether Sushkova was meant in it, or whether it was then sent “to the occasion”: the lyrical situation in it is completely traditional. At the same time, it was fully consistent with the real situation; the older girls' ridicule of the admirer's youth could well have caused this kind of poetic "revenge" on his part. The acquaintance, interrupted for a while, was resumed in the summer of 1830 in Serednikov. Actually, from that time on, only one can talk about the relationship between Lermontov and Sushkova, which later became the seed of love intrigues, and now gave rise to a lyrical cycle. It was at this time that Sushkova “predicted” E. A. Arsenyeva “a great man in a club-footed and smart boy.” The first poems of the “Sushkov cycle” are devoid of any connections with Byron. Sushkova said that She received the first poem addressed to her from Lermontov upon leaving Serednikov for Moscow, on August 12, 1830. It was the poem “Black-eyed” (Lermontov jokingly called Sushkova “miss Black eyes”), which contained a half-declaration of love and seemed to mark the initial phase of a developing feeling. The strength of the hero’s love is conveyed through the opposition “heaven - hell.” The entire poem is built on the same rhyme: “eyes-nights.” Sushkova received the poems favorably, and the young poet hastened to respond (“Thank you!...Yesterday was my confession and you accepted my poem without laughing...”). The word “Thank you” is repeated four times and in the last stanza it sounds especially Lermontovian: to the “hopes and dreams” that are still alive in the poet’s soul, he prefers the truth, albeit devoid of any hope.
The following verses (“Call hope as a dream”) contained a direct confession, which, as we know, did not meet with an answer. Then “Beggar” is written, the leading motive of this poem is unrequited love: “So my best feelings are deceived forever by you!” The history of the creation of this poem is interesting. One day, several families spending the summer in Serednikov, including Arsenyev and her grandson, the Stolypins, Vereshchagins and Sushkovs, went to the Trinity-Sergeevsky Lavra. On the porch stood a beggar, in whose hand someone had placed a stone. This is how an extended metaphor arose, which Lermontov uses in the poem as a symbol of human indifference and deafness.
The next group, which includes “Stanzas” (“Look how calm my gaze is”), “I didn’t forget at the feet of others” and “When word spreads to you” is a kind of culmination of emotional tension. These poems were not written immediately after the first group, but some time later, when Lermontov heard from Vereshchagina about the secular successes of the subject of his passion. Vereshchagina's stories aroused feelings of resentment and jealousy in Lermontov. Lermontov spoke about these feelings to Sushkova in “Stanzas” (“Look how calm my gaze is”). Reworking this poem, he draws in the margins of his notebook a beautiful girl with large black eyes, long black hair and a proud posture.
The poem “When rumors come to you about a story,” which Lermontov gives to Sushkova, contained a reproach and, as she said in “Notes,” “formidably foreshadowed” her future. Thus, in the “Sushkov cycle” of poems, two groups can be noted. The earlier ones, written in Serednikov, are traditional love lyrics with confessions of ardent passion and elegiac motives. At the same time, they are also a lyrical diary. The second group of verses differs from the first in their more generalized nature. Unlike the first group, which is not further varied or reworked by Lermontov, this second group contains lyrical motifs and themes that will then turn into Lermontov’s later lyrics. The spiritual experience deposited in them goes far beyond the boundaries of a specific situation. These poems are a certain stage of a person’s self-awareness, and their connection with the Byron cycle dedicated to Mary Chaworth is, among other things, an important confirmation of the veracity of Sushkova’s story that she was their direct addressee.
If the first episode of the relationship between Lermontov and Sushkova is associated with the poet’s early lyrics, then the “denouement” of this “novel” is associated with his prose. As you know, Lermontov described her in detail in “Princess Ligovskaya”. Like the first episode, the last one is marked by literary influences. In general, the literary element colors these relationships so brightly that the question of “real” portraits of Lermontov and Sushkova in the mid-1830s acquires special significance.
Since Sushkova’s departure from Moscow in 1830. Lermontov did not meet her until the end of 1834. At first they maintained contacts through Vereshchagina, but then these connections apparently ceased. Lermontov's passion for N.F. dates back to the early 1830s. Ivanova, and then V.A. Lopukhina. Arriving in St. Petersburg in 1832, Lermontov did not seek a meeting with Sushkova; She was too busy with the world and looking for a profitable match to remember her Moscow acquaintance.
The scenes that Sushkova had to endure at home were depicted by Lermontov in the novel “Princess Ligovskaya” - in episodes with Negurov, his wife and daughter Lizaveta Nikolaevna (her prototype was Sushkova). In “Princess Ligovskaya” the secular successes of Sushkova-Negurova are characterized rather evilly. The story “Princess Ligovskaya” will include not only biographical and specific everyday details, but also the artist’s observations of the situation he himself created and the psychology of the characters.

Natalya Fedorovna Ivanova

Natalya Fedorovna Ivanova (1813 – 1875) went down in the history of Lermontov studies as “the mystery of N. F. I.” For a long time, Lermontov’s biographers did not know the name of the woman hidden behind these initials. Only in 1914 did the publisher Kallash suggest that N. F. I. is Natalya, the daughter of the playwright Fyodor Fedorovich Ivanov. Lermontov experienced a painful and great love for N.F. Ivanova, dedicating about forty of his poems to her, which made up the “Ivanovo cycle” of his love lyrics of 1830 - 1832. From Kashintsev’s watercolor portrait, a girl with blue almond-shaped eyes, “equal in beauty to the heavens,” looks at us calmly and with dignity. The elongated oval of her face is framed by brown hair, her delicate neck is decorated with red beads. In her entire appearance - in her gaze, in her firmly closed lips, in the proud carriage of her head, authority is evident: a coldness emanates from her beautiful face. "She is proud of her beauty alone." Later the poet will compare her to a marble idol. Lermontov and Ivanova met back in 1830, but in the spring and summer of this year the poet was infatuated with Sushkova. Lermontov's attitude towards Ivanova is different than towards Sushkova. He believes her - she is an attorney. After the first meeting, he turned to Ivanova with a strikingly sincere and disturbing message. Lermontov talks about some kind of distance in views that he wants to overcome. The poet sincerely seeks a trial, awaits it - and a fair one. He reads poetry to the confidant of his thoughts. And he is waiting for a verdict on his most important matter - his creativity.
The above poem does not talk about love for this attorney. As time passed, the image of the black-eyed mocker faded from memory. Faded from memory, but still lived. It is not so easy to lose the past, especially for people like Lermontov.
However, the need for a strong feeling no longer wanted to be limited to imagination or memory.
In its faith in love, the heart was given over to persistent search. But he continues to believe in the court of his chosen one, asks to protect her, hopes that he was not mistaken in his choice.

Reciprocity came, came, as if caused by hope for another person. Could he understand in those days what retribution was? Retribution mockingly deserved by his sincerity. The period of love and open reciprocity was short. At the end of May - beginning of June, a catastrophe occurred: events that laid an insurmountable line between Lermontov and Ivanova.
A short letter from that time to a friend has survived:
Lermontov: “You and I were not created for the world - I can’t write to you: I’m sick, upset, my eyes are wet every minute. - It happened to me a lot.”

Returning from Moscow from the Ivanovs, Lermontov begins to write a play about the events that shocked him - a drama. In it, Lermontov introduces himself under the name of Vladimir Pavlovich Arbenin, and Ivanova under the name of Natalya Fedorovna Zagoskina. Zagoskina cheats on Arbenin, preferring his friend, she decides to marry him. She begins to show more and more coldness towards Arbenin, neglecting his passionate feelings. However, Ivanova did not get married, and if there was a thought about marriage, it did not come true.
The poem “I will not humiliate myself before you...” became Lermontov’s farewell message to N. F. I. in this cycle.

Like Lermontov, Arbenin could not move away from his love with impunity; he is losing his mind. At the cost of his life, he acquired the right to fidelity in love. Arbenin emerges from his trials as the “strange man” he was before. This is how the author of the play always wanted to be: “strange,” going beyond the mundane norms of society, a person with the right to his own behavior, his own decisions and actions.
Through forgiveness, Lermontov wants to overcome the torment of his soul.

Varvara Aleksandrovna Lopukhina

Varvara Aleksandrovna Lopukhina is one of the deepest heartfelt affections of M.Yu. Lermontov. Having experienced a violent infatuation with N.F. Ivanova, the poet in 1831 met the younger sister of his friend Alexei, Varenka, in the Lopukhin family close to him.
In the spring of 1832, a group of young people gathered to go to the Simonov Monastery for the all-night vigil - to pray, listen to the singers, and take a walk. The sun was setting towards the Sparrow Hills, and it was a beautiful evening. We sat down on long lines harnessed to six horses and set off up the Arbat in a merry caravan. By chance, during this trip, Lermontov found himself next to Varenka Lopukhina. Last winter, sixteen-year-old Varenka was brought to Moscow for a “bride fair.” She had only been out for one winter and had not yet lost either the freshness of her rustic blush or her rural naturalness and simplicity. This made her different from the Moscow young ladies, for whom everything was calculated: every gesture, pose, smile.
Varenka had an ardent, enthusiastic, poetic nature. Rural solitude and reading novels made her dreamy. But this dreaminess was tempered by natural liveliness, cheerfulness and sociability. She did not show her inclination to daydream, but, on the contrary, she was ashamed of it as a weakness. There was a blonde with black eyes. This gave her a special charm. Every change of mood, fleeting feeling and flashing thought was reflected on her moving face.
In moments of inner uplift it became beautiful, but at times Varenka could seem completely ugly. She had the charming simplicity characteristic of deep and integral natures. She was everyone's favorite.
Lopukhina was the same age as the poet, and this, by the way, was the cause of much suffering for Lermontov, because Varenka, by her years, was a member of society when her peer, Michel, was still considered a child. Her character, gentle and loving, captivated him. Comparing himself with her, he found himself an ugly, ugly, stooped hunchback: this is how he exaggerated his physical shortcomings. In the unfinished youth story, he portrayed himself in Vadim, and her in Olga.
He himself talks about many things in “Princess Ligovskaya”, only changing the names and slightly changing the details.
In Lermontov’s lyric cycles, the image of V.A. Lopukhina begins in the autumn of 1831, a new thought, a new concern enters the verse, a new concern, so that it will never leave again. Finally, the poet has found something that his heart can fully live on, without compromising the sincerity of feelings or its depth. And this new feeling is not only love, but life.
At the same time, in the autumn of 1831, the poet’s imagination was again excited by the appearance of the image of a demon; he was again attracted by the idea of a poem about a wanderer, about good and evil, about love. For the third time, the poet reworks his work and dedicates it to Lopukhina.
Lermontov's move to St. Petersburg in 1832 and enrollment in a cadet school prevented a mutual feeling from developing, and military service and secular hobbies temporarily obscured the image of his beloved girl. However, Lermontov never ceased to be interested in Varenka’s fate. Here is one of Lermontov’s letters to Maria Lopukhina, Varenka’s sister:
“I would really like to ask you a small question, but I don’t dare start. If you guess, it’s good, but if you don’t, it means that if I asked a question, you couldn’t answer it...”
What does M.A. Lopukhina, instantly guessing, replies: “Believe me, I have not lost the ability to understand you... She feels well, looks quite cheerful...” Lermontov dedicated many poems to Lopukhina. Meanwhile, Lermontov’s silence forced Varvara Alexandrovna, probably under the influence of her parents, to marry N.F. Bakhmetev, an elderly man, in 1835. Apparently, this decision was in some way connected with rumors about Lermontov’s affair with Sushkova; on the other hand, the cruel denouement of this novel (the story with the anonymous letter) may have something to do with the news of Varenka’s imminent marriage. Lermontov had a hard time with this, in his opinion, betrayal of his beloved woman, and the bitterness of lost love colored his work for a long time. He did not recognize her married name. The last time they saw each other fleetingly was in 1838, when Varvara Alexandrovna, while traveling abroad, visited St. Petersburg with her husband, and Lermontov was serving in Tsarskoe Selo at that time. In April 1841, when the poet was leaving for the Caucasus, V.Yu. Odoevsky gave him his notebook, saying that the poet would return it himself, all written up.
Lermontov could not return it himself; on June 15, 1841, he was killed in a duel.
The notebook eventually returned to its owner. About 50 pages were completed. Some poems are written in uneven, jumping letters, probably written on the road. First entry: “Dispute.” What is the last one? The hour of farewell to life is a sincere hour. With her, with Varvara Alexandrovna Lopukhina, he says goodbye in the last minutes of his life. In recognition, then in an argument, in a storm, in a jealous feeling that was not easily given, and then again in a confession, verified by an argument, this image appeared to the poet, many years old, until the very last days, the companion of his inspirations. If this image had not lived in the poet’s heart, his work would have been poorer.

Maria Shcherbatova

Another lover of Lermontov was Maria Alekseevna Shcherbatova, née Shterich. She was widowed early and led a secular lifestyle in the capital. But more willingly than at balls, she visited the hospitable house of the Karamzins, where, apparently, she met Lermontov. An educated, intelligent, young woman knew literature well, loved poetry and music, and was very pretty. Lermontov spoke about her to his relative Shah-Girey that she was like “nothing can be described in a fairy tale,” M. I. Glinka recalled that Shcherbatova was “charming, although not a beauty, a prominent, stately and extremely fascinating woman.” . Whether she loved him, Michel did not know. But if he could, he would give her all the land. M. Yu. Lermontov dedicated the poem “Why” to M. A. Shcherbatova. The poet especially appreciated Shcherbatova’s courage and independence of judgment, her inner strength and loyalty to her heart’s affections. The poet's first duel is also associated with the name of this widow. On February 16, 1840, Lermontov attended a ball hosted by Countess Laval, in a mansion on the Promenade des Anglais. There a clash occurred between Lermontov and the young Barant, the culprit of which was considered to be M.A. Shcherbatova, behind whom, according to contemporaries, “the son of the French ambassador, Ernest de Barant, an empty, arrogant man, was trailing.” At the ball, the young widow showed Lermontov “a little too obvious a preference.” This blew up Barant, who saw the poet as a happy rival... The consequence of the quarrel was a duel, in which the poet was slightly wounded in the arm. But the Tsar was angry: in April, Nicholas I ordered Lieutenant Lermontov to join the Tenginsky Infantry Regiment in the active army in the Caucasus. There, from June to November, the poet took part in military battles, showing courage, and was even nominated for an award... There was no award - the emperor decided to celebrate Lermontov’s merits only with a vacation to the capital...

Ekaterina Bykhovets

The last woman in Lermontov’s life was E.G. Bykhovets, a distant relative of the poet. Bronze complexion and black eyes... She had many fans from Mikhail Yuryevich's entourage. But he himself looked for the sweet features of Varenka Lopukhina in Ekaterina Grigorievna. And he found that it pleased him immensely. Lermontov will meet Ekaterina Grigorievna Bykhovets after separation right on the day of his duel, the last duel in his life... She will live with the poet part of his last day...

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“Works of M.Yu. Lermontov” - Hero of our time. In folklore and the works of which Russian writers the theme of memory is heard. Comparison. Determine the nature of the rhyme in the poem. A poem based on reflection on the meaning of human life. The problem of memory is posed. How the laws of “Domostroy” operate in the poem by M. Yu. Lermontov. As in the poem by M.Yu. Lermontov's "Mtsyri" reflects the clash of dreams with reality. Personification.

“The life and creative path of Lermontov” - Memories of the Caucasus. Official news of his death. Cornet in the Life Guards Hussar Regiment. A scene from Caucasian life. There were two people in Lermontov. Life path of M.Yu. Lermontov. Studying time. The house where Lermontov lived in Taman. Jets of Aragva and Kura. At the school of guards ensigns. Lermontov's grandmother. Mtsyri. Poem “No, it’s not you I love so passionately.” Cover of the world's most popular publication of Lermontov.

“Briefly about the life and work of Lermontov” - The grandmother constantly took her grandson to Pyatigorsk. Cliff. A huge literary world. My grandmother took over the upbringing. Tarkhany. Sail. Rebellious poems. Rich barchuk. Caucasus. Life and work of M.Yu Lermontov.

“Lermontov about Napoleon” - Duma. Napoleonic cycle. Last housewarming. Features of creating the image of Napoleon. The evolution of the image of Napoleon. Airship. Napoleon Bonaparte. Epitaph of Napoleon. Napoleon. St. Helena.

“Addressees of Lermontov’s love lyrics” - Varvara Aleksandrovna Lopukhina. Accept my gift, my Madonna. Lady with her daughter. Feelings that lift us from the ground. They laughed at me and teased me. Ekaterina Sushkova. Misunderstanding and coldness. Natalya Fedorovna Ivanova. The last poem. Feeling of wounded pride. We are accidentally brought together by fate. Sofya Ivanovna Saburova. Varvara Lopukhina. Love lyrics by Lermontov. Romance. Beggar. It is impossible to love forever.

“The Life and Work of Lermontov” - Two poetic worlds. Death of poet. Parents of M.Yu. Lermontov. In St. Petersburg, Lermontov immediately entered society. Entered the School of Guards Ensigns. Elizaveta Alekseevna Arsenyeva. Tarkhany. Lermontov studied diligently. Maria Mikhailovna. Lermontov. The poet was buried in the Arsenyev family crypt in Tarkhany. The grandmother surrounded her grandson with care and affection. Moscow university boarding house. Conflict between Lermontov and Martynov.

p.daughter of Ivan Vasilyevich, a writer on agriculture, and Vera Petrovna, niece of the famous poet M.M. Kheraskova. Her brothers - Sergei, Mikhail and Vladimir - studied with L. at the Noble boarding school, and the poet developed a difficult and very strange relationship with Mikhail. L. fell in love with S. in the summer of 1827 in Kropotov, and in Moscow he dedicated a New Year’s madrigal (“to Saburova”), verse, to her. “K***” (“Look more often in the mirrors”), and, according to I. Andronikov, verse. "To a genius." She married in 1832 for retirement. staff captain Dmitry Nikolaevich Klushin and left with him for Orel. Nicholas I, a connoisseur of female beauty, noticed S. at a noble ball in Orel in September. 1834. Asking the lips. A.V. Kochubeya, as her name is, “he remembered that he saw her in Moscow in the Noble Assembly.” Daughter S. Maria Dmitrievna (1833–1914) married A.N. Zhedrinsky (?–1894); they had five sons and one daughter. I saved the album, in which unknown verses were found. L., addressed to the Ivanov sisters.

Lit.: 1) Andronikov I.L. Lermontov. Research and findings. – M.: Artist. Lit., 1968. – P. 198, 210, 212–214. 2) Family chronicle. Notes from A.V. Kochubey. 1790–1873. – St. Petersburg, 1890. – P. 279. 3) NIOR RSL, f. 667, card.1, storage unit 10, l. 195. Pedigree of the Saburov nobles.

YES. Alekseev

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Addressees of M. Yu. Lermontov's love lyrics

Ekaterina Aleksandrovna Sushkova

With E.A. Lermontov met Sushkova (1812-1868) in Moscow at the house of his relative and friend A.M. Vereshchagina in the spring of 1830. Sushkova was part of the company of young people who surrounded Lermontov at that time in Moscow and the Serednikovo estate near Moscow. In the summer of 1830, the fifteen-year-old poet dedicated 11 poems to her, which made up the so-called “Sushkov cycle” of Lermontov’s love lyrics. But Sushkova, accepting the poems of the boy in love with her, only laughed at him. In the autumn of 1831 they separated until the end of 1834, when they met again in St. Petersburg. By this time, great changes had occurred in both of their lives. Lermontov became an officer in the Life Guards Hussar Regiment, and Sushkova’s reputation as a coquette was firmly established. She was going to marry Alexei Lopukhin, a friend of Lermontov. Noticing Alexei's inclination towards Sushkova, Lermontov soon wrote to Moscow to his sister Maria: “Tell me, it probably seemed to me that he had something like tenderness for M-lle Caterin Souchkoff... do you know about this - uncle mamselle really wanted I wish I could marry them!.. God forbid. This woman is a bat whose wings cling to everything they meet! - there was a time when I liked her, now she almost forces me to court her... but, I don’t know what - there is something in her manners, in her voice, something cruel, uneven, broken, that repels<...>". Wanting to prove to his friend how frivolous his choice was, Lermontov started an intrigue against Sushkova and upset the impending matchmaking. Not understanding Lermontov's game, Sushkova really fell in love with him.

In 1838 E.A. Sushkova married diplomat A.V. Khvostova, in 1870, after the death of Sushkova-Khvostova, her “Notes” were published, which aroused great interest in society as a book of memories about Lermontov. In his “Notes” E.A. Sushkova, in particular, told the story of the creation of the poem “Beggar”. In August 1830, a large company of young people went on a walk. From Serednikovo to the Trinity-Sergius Lavra: “On the porch we met a blind beggar. With a decrepit, trembling hand, he brought us his wooden cup, we all gave him small money; hearing the jingle of coins, the poor man crossed himself and began to thank us, saying: “God send you happiness, good gentlemen, but the other day some gentlemen, also young, came here and laughed at me: they laid a cup full of pebbles. God be with them!" Having prayed to the holy saints, we hastily returned home to have lunch and rest. We were all fussing around the table, impatiently waiting for dinner, only Lermontov did not take part in our efforts; he stood on the stones in front of the chair, his pencil quickly running over a piece of gray paper<...>. Having finished writing, he jumped up, shook his head, sat down on the remaining chair opposite me and handed me the newly written poems from under his pencil."

Beggar At the gates of the holy monastery stood a poor man, withered and barely alive, begging for alms from hunger, thirst and suffering. He only asked for a piece of bread, And his gaze revealed living flour, And someone put a stone In his outstretched hand. So I prayed for your love With bitter tears, with longing; So my best feelings are deceived forever by you! 1830

Sofya Ivanovna Saburova

Awareness of his own loneliness became the reason that the younger Lermontov was, the greater his hope of meeting a kindred spirit. 1832 - 14 years old, first love. In 1828 M.Yu. Lermontov enters the Moscow University boarding school. Even then he wrote poetry. Among them are poems addressed to the sister of his fellow student Mikhail Saburov, Sophia. Sofya Ivanovna Saburova (1816-1864) was considered one of the first beauties in Moscow high society. This hobby lasted for almost three years.

To S. Saburova Look more often in the mirrors, Admire the sweet eyes, And the noisy praise of the world With my modest poems will seem clearer to You... When will a self-satisfied sigh Involuntarily escape from your chest, When in your young soul Self-loving worries You will not be able to hide - Mine love, my torment you will justify, maybe!.. 1829

Saburova How? You upset the poet, and were not punished later? For three years exactly, have you joked with His love and intelligence? No, you did not understand the poet, His soul is a sad dream; You were created by heaven for light, But it was not created for you! 1831

Natalya Fedorovna Ivanova

A much deeper mark in the poet’s heart was left by “N.,” which was at first mysterious to researchers of Lermontov’s work. F.I.” In the summer of 1829-32, Lermontov visited Serednyakovo, near Moscow, the estate of the Stolypins, relatives on his grandmother’s side. Many poems of these years have the dedication: “N. F.I. ”, “N. F. I-voy”, “K. I.”, “I-howl.” The famous literary critic, researcher of Lermontov’s work, Irakli Andronikov, conducted a whole research to answer the question: “Who is she, the mysterious N. F. I.?” His book is called: “The Mystery of N.F.I.” Having met a woman, he learned about a treasured chest that contained photographs of relatives who had long since passed away. Andronikov witnessed the contents of this chest. And so he took the frame, turned it, and finally saw the face of the one whom Lermontov loved, because of whom he suffered, to whom he dedicated poems, titling them in mysterious letters... A gentle, pure oval. Elongated languid eyes. Plump lips, in the corners of which a kind smile seems to be hidden. High hairstyle, thin neck, sloping shoulders... And the expression on her face is as it is said in one of Lermontov’s poems dedicated to her: Proud with people, submissive to fate, Not frank, not feigned...

Natalya Fedorovna Ivanova (1813-1875), daughter of the Moscow writer Fyodor Fedorovich Ivanov, author of the famous play “The Starichkov Family” and the tragedy “Marfa Posadnitsa”, famous in those years. At the beginning of the acquaintance, encouraged by the attention from “N. F.I.”, Lermontov wrote: I wanted to express my unclear dreams in poetry, You would reconcile me With people and violent passions. But your calm, pure gaze stared at me in amazement: You shook your head, Saying that my mind is sick, blinded by absurd desires. 1830

But soon Lermontov met with misunderstanding and coldness. The breakup became inevitable. What can a short meeting bring me in consolation? The hour of inevitable parting has come, and I said: “Forgive me!” 1832

Tragic notes appear in the poet’s lyrics, “motives of disbelief in the strength of women’s feelings, jealousy, reproaches of deception,” wrote V. A. Manuilov. A feeling of offended pride, a heightened sense of his creative gift, prompted the poet to follow these lines: I will not humiliate myself before you; Neither your greeting nor your reproach have power over my soul. Know: we are strangers from now on. You have forgotten: I will not give up freedom for delusion; And so I sacrificed years to Your smile and eyes... 1832

Already in 1831, their relationship changed and the following lines appeared: I am not worthy, perhaps, of Your love; I'm not to judge; But you deceived My hopes and dreams, And I will always say that you acted unfairly.

Alexandra Kirillovna Vorontsova-Dashkova

Lermontov met Alexandra Kirillovna Vorontsova-Dashkova, née Naryshkina (1818-1856), in the late 1830s in St. Petersburg. She was the wife of one of the richest people in Russia at that time - Ivan Illarionovich Vorontsov-Dashkov. A.S. was friends with this couple. Pushkin. The royal family attended balls in their house. Lermontov also attended their balls. V.A. Sollogub wrote about Vorontsova-Dashkova: “In my time I have met many women who are much more beautiful, perhaps even more intelligent, although Countess Vorontsova-Dashkova was distinguished by her extraordinary wit, but I have never seen in any of them such a combination of the most subtle taste, elegance, grace with such genuine gaiety, liveliness, almost boyish mischief. Life surged in her with a living spring and enlivened and brightened up her surroundings." Lermontov dedicated the poem “To the Portrait” to Vorontsova-Dashkova, the reason for writing it was the receipt of her portrait, lithographed in Paris.

To the portrait Like a curly-haired boy, playful, Dressed like a butterfly in summer; Meanings of an empty word Her lips are full of greetings. She can’t be liked for long: Like a chain, the habit is unbearable for her, She will slip away like a snake, She will flutter and dash away like a bird. The young brow conceals both joy and sorrow according to its will. In her eyes it’s as bright as the sky, in her soul it’s dark as the sea! Either everything in her breathes truth, or everything in her is feigned and false! It is impossible to understand her, but it is impossible not to love her.

Alexandra Mikhailovna Vereshchagina

A.M. Vereshchagina (1810-1873) is a relative of Lermontov: her maternal aunt Ekaterina Arkadyevna, born Annenkova, was the wife of Lermontov’s brother D.A. Stolypin. By father A.M. Vereshchagina was V.A.’s cousin. Lopukhina. Lermontov met Vereshchagina in 1828 in Moscow. About these relations A.P. Shan-Girey recalled “Miss Alexandrint i.e. A.M. Vereshchagina, his cousin, took a great part in it; she perfectly knew how to use the slightly sarcastic direction of her mind and irony in order to master this restless nature and direct it, joking and laughing, to the beautiful and noble.” Vereshchagina, before many others, recognized the real poet in Lermontov. She wrote to him: “I hope you will not stop writing, and I think you write well.” She took care of his poems written on sheets of paper; he often wrote out his poems in her albums and drew in them. In 1837 A.M. Vereshchagina married the Wüttemberg diplomat Baron Karl von Hügel, lived in Germany, in Stuttgart Castle Nonberg. She continued to correspond with Lermontov. In Nonberg Castle there were many relics associated with the poet: a self-portrait of Lermontov in a burka, a portrait of V.A. painted by Lermontov. Lopukhina, an oil painting by the poet, an autograph of the poem “Angel of Death” dedicated to Vereshchagina, many poems and drawings by Lermontov. Some of these relics were returned to their homeland by I.L. in the early 1960s. Andronikov.

Star There is one star above, It always beckons my gaze, It attracts my dreams And calls me from above. Such was the same tender gaze that I loved as a reproach to Fate; He could never bear torment, Like that star, He was far away; I did not close my tired eyes, And without hope I looked to him. 1830

Varvara Aleksandrovna Lopukhina

In the spring of 1830, Misha Lermontov and his grandmother settled in Moscow, in house No. 2 on Malaya Molchanovka. Here, almost opposite, was the estate of the noble Lopukhins, Misha and Alexey became friends. Alexei had two sisters - Maria and Varvara. Student Lermontov fell passionately in love with Varenka Lopukhina. “She was as beautiful as a dream; The elongated oval of the face, delicate features, large, thoughtful eyes and a high, clear forehead forever remained for Lermontov the prototype of female beauty. There was a small mole above the eyebrow. Her character, soft and loving, submissive and open to good, captivated him. In comparison with her, he considered himself an ugly, ugly, stooped hunchback, exaggerating his shortcomings like a youth.” (P.A. Viskovatov) The demon of Russian poetry rushed about in search of refuge, rushed about among love and tender passion. At first he searched among numerous girl relatives, cousins and second cousins with their friends; he had stronger feelings for Ekaterina Alexandrovna Sushkova and his cousin Anna Stolypina. But then for many years his spiritual space will be occupied by Varenka Lopukhina, the sister of his close friend Alexei Lopukhin and a person close to him, Maria Lopukhina. They shared a common youth, and then for many years Varenka became “the image of a dear woman.” A witness to their relationship said: “As a student, he was passionately in love with the young, sweet, smart and, like daylight, absolutely delightful V.A. Lopukhin; she was an ardent, enthusiastic, poetic and extremely sympathetic nature. How now I remember her tender gaze and bright smile; she was 15-16 years old, we were children and teased her a lot; she had a small black birthmark on her forehead, and we always pestered her, repeating: “Varenka has a birthmark, Varenka is ugly,” but she, the kindest creature, was never angry. Lermontov's feeling for her was unconscious, but true and strong, and he almost retained 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: at the beginning in its own way it aroused reciprocity, subsequently, in St. Petersburg, at the Guards School, it was temporarily drowned out by the new situation and the noisy life of the cadets of the then School, upon entering the world - by new successes in society and literature; but it was instantly and strongly awakened by the unexpected news of the marriage of its beloved woman; at that time there was no longer any mention of Byronism.” He was careful towards her, which did not distinguish him at all in his relationships with other women: he usually joked with them very ironically, if not evilly, and with Varenka he was gentle, dedicated many poems to her, but never mentioned her name. In letters to his friends and confidantes Maria Lopukhina and Sasha Vereshchagina, he also does not mention her. Only in Vereshchagina's album does she draw. And then she will be cruelly offended. But Varenka really was an angel, she forgave everything and moved away, moved away, disappeared into the fog...

She does not seduce living youths with her proud beauty, She does not lead a crowd of dumb admirers. And her body is not the body of a goddess, And her chest does not rise like a wave, And no one in her, falling to the ground, recognizes their shrine. However, all her movements, Smiles, speeches and features are so full of life and inspiration. So full of wonderful simplicity. But the voice penetrates the soul, Like a memory of better days, And the heart loves and suffers, Almost ashamed of its love. 1832

But did I stop loving You when I was surrounded by a crowd of young madmen, Then with your beauty alone You attracted their eyes? - I watched from afar, almost wishing that your shine would disappear for others. For me you were like the happiness of heaven For a demon, an exile from heaven. 1832

Alexandra Osipovna Smirnova

A.O. Smirnova, born Russia (1809-1882), was one of the outstanding women of St. Petersburg society. She graduated from the Catherine Institute and before her marriage was a maid of honor to the empresses. Beautiful and of brilliant mind and independent character, she was on friendly terms with Pushkin, Zhukovsky, Gogol and was closely connected with the entire circle of writers meeting in the Karamzin salon and in her salon. Lermontov was also one of her good friends. Smirnova was praised by many poets. Following them, Lermontov left a poetic message in her album. “Sophie Karamzina once told me,” recalled Alexandra Osipovna, “that Lermontov was offended because I didn’t tell him anything about his poems. The album was always on the small table in my living room. He came one morning, didn’t find me, went upstairs, opened the album and wrote these poems<...>»

A.O. Smirnova Without you I want to tell you a lot, With you I want to listen to you; But silently you look sternly, And I am silent in embarrassment - What should I do?

Addressees of love lyrics by Mikhail Yuryevich Lermontov

Research work of a teacher of Russian language and literature at MKOU “Secondary School No. 9” Grateful

How? You upset the poet,

And maybe, who knows...

And so I sacrificed years

And the heart loves and suffers,

How full their sounds are

Madness of desire! (M. P. Solomirskaya)

Will not fall in love soon

Conclusion

Bibliography

Addressees of Lermontov's love lyrics

Introduction. The poet's personal attitude to the topic.

There is not a single poet who does not write about love, although each of them has his own attitude towards this feeling. If for Pushkin love is a creative feeling, a beautiful moment, a “divine gift” that encourages creativity, then for Lermontov it is confusion of the heart, the pain of loss and, ultimately, a skeptical attitude towards love.

To love... but who? Time is not worth the trouble,

But it’s impossible to love forever..., (“It’s both boring and sad », 1840) - Lermontov’s lyrical hero reflects.

Lermontov’s love lyrics allow us to talk about internal movement, the development of the poetic “I,” but everywhere one feels a focus on the feeling of his own pain that the poet experienced, and immense loneliness. More than other Russian lyricists, his love lyrics are permeated with motifs of suffering - failure, the impossibility of fulfilling the hopes associated with this feeling.

Everyone cried who loved
Did he love sea waves?
Or gave a heart to a woman... (poem “Sailor”, 1832)

Unrequited love, from the early poems

Three times I loved
Loved three times hopelessly... (1830)

And throughout the entire creative work, it acts as a leitmotif, along with the theme of suffering from the betrayal of a loved one or from the deceitfulness of a lifetime (Ivanovsky cycle, Sushkovsky cycle).

Ten-year-old Lermontov keeps his passions deeply secret from those closest to him. A. Marchenko recalls the young man’s first experiences: “Who will believe me that I already knew love when I was 10 years old? We were a big family on the Caucasian waters: grandmother, aunt, cousins. A lady came to my cousins with her daughter, a girl of about nine years old. I saw her there. I don’t remember whether she was pretty or not. But her image is still preserved in my head; he is kind to me, I don’t know why. One time, I remember, I ran into the room; she was here and played with dolls with her cousin: my heart trembled, my legs
glanced sideways. I had no idea about anything then, nevertheless it was a passion, strong, although childish: it was true love: since then I have not loved like that. ABOUT! This moment of the first disturbance of passions will torment my mind until the grave! And so early! They laughed and teased me, because they noticed the excitement in my face. I cried little by little, for no reason, I wanted to see her; and when she came, I didn’t want or was ashamed to enter the room... I don’t know who she was, where she came from, and to this day I feel embarrassed to somehow ask about it: maybe they’ll ask me too, as I remember when they forgot ; or then these people, listening to my story, will think that I am delusional; They wouldn’t believe her existence - that would hurt me! Blonde hair, blue eyes, quick, casual - no; Since then, I have never seen anything like this again, or so it seems to me, because I have never loved as much as this time.”

How? You upset the poet,

And they weren’t punished later? (S.I. Saburova)

Awareness of his own loneliness became the reason that the younger Lermontov was, the greater his hope of meeting a kindred spirit.

1832 - 14 years old, first love. In 1828 M.Yu. Lermontov enters the Moscow University boarding school. Even then he wrote poetry. Among them are poems addressed to the sister of his fellow student Mikhail Saburov, Sophia.

Sofya Ivanovna Saburova (1816-1864) was considered one of the first beauties in Moscow high society. This hobby lasted for almost three years.

Saburova

How? You upset the poet,
And they weren’t punished later?
For three years exactly you have been joking
His love and intelligence?
No, you did not understand the poet,
His soul is in a sad dream;
You were created by heaven for light,
But it was not created for you!

1831

To S. Saburova

Look in the mirror more often,

Admire the sweet eyes

And the light is noisy praise

With my humble poems

It will seem clearer to you...

When will the sigh of self-satisfaction

It will burst out of your chest involuntarily,

When in your young soul

Selfish worries

You will not be able to hide -

My love, my torment

You'll be justified, maybe!..

1829

In 1832, Sophia got married and moved with her husband to Oryol.

I will meet the gaze of her beautiful eyes

And maybe, who knows...

For the last time (E. A. Sushkova)

1832: Ekaterina Sushkova (Khvostova).

M. Yu. Lermontov moved to St. Petersburg, entered the school of guards ensigns, from which he graduated in November 1834. He was enlisted in the Life Guards Hussar Regiment. . It was here, in St. Petersburg, that a new meeting took place with Ekaterina Sushkova, a well-known coquette in the world. In 1830 A.M. Vereshchagina, an old acquaintance of Lermontov, introduced him to 18-year-old Ekaterina Sushkova (1812-1868). They called her “Black-eyed” in the world. A social beauty, she laughed at the poet’s feelings. Five years later, Lermontov, already a famous poet, met Sushkova in St. Petersburg. He decided to take revenge on her, turned her head and upset her upcoming marriage with his friend Alexei Lopukhin.

B thank you! Yesterday my confession
And you accepted my verse without laughing;
Even though you didn’t understand my passions,
But for your feigned attention
Thank you

(“Thank you!”, 1830)

In the spring of 1835, Lermontov wrote from St. Petersburg to A.M. Vereshchagina: “At first it was just entertainment, and then, when we got along with each other, it became a calculation... I realized that Mlle S., wanting to catch me, would easily compromise herself with me. So I compromised her as much as possible without compromising myself”:

And so, goodbye! For the first time this sound
It bothers my chest so cruelly
“Farewell!” - six letters bring so much torment!
They're taking away everything I love now!
I will meet the gaze of her beautiful eyes
And maybe, who knows...
Last time.

The history of their relationship is reflected in the story “Princess Ligovskaya”. Until the end of her life, she never found out that the letter that compromised her and led to a break with her fiancé was written by Lermontov.

And so I sacrificed years

To your smile and eyes (N. F. Ivanova)

A much deeper mark in the poet’s heart was left by “N.,” which was at first mysterious to researchers of Lermontov’s work. F.I.”

In the summer of 1829-32, Lermontov visited Serednyakovo, near Moscow, the estate of the Stolypins - relatives from his grandmother's side. Many poems of these years have the dedication: “N. F.I. ”, “N. F. I-voy”, “K. I.”, “I-howl.”

The famous literary critic, researcher of Lermontov’s work, Irakli Andronikov, conducted a whole research to answer the question: “Who is she, the mysterious N. F. I.?” His book is called: “The Mystery of N.F.I.”

Having met a woman, he learned about a treasured chest that contained photographs of relatives who had long since passed away. Andronikov witnessed the contents of this chest. And so he took the frame, turned it, and finally saw the face of the one whom Lermontov loved, because of whom he suffered, to whom he dedicated poems, titling them in mysterious letters...

Delicate, clean oval. Elongated languid eyes. Plump lips, in the corners of which a kind smile seems to be hidden. High hairstyle, thin neck, sloping shoulders... And her facial expression is as stated in one of Lermontov’s poems dedicated to her:

Proud with people, submissive to fate,
Not frank, not feigned...

IN at the beginning of the acquaintance, encouraged by the attention from “N. F.I.”, Lermontov wrote:

My vague dreams
I wanted to express it in poetry,
You would reconcile me
With people and violent passions.
But your gaze is calm, pure
She stared at me in amazement:
You shook your head
Having said that my mind is sick,
Blinded by absurd desires.

1830

But soon Lermontov met with misunderstanding and coldness. The breakup became inevitable.

What a short date can do
Bring me some consolation,
The inevitable hour of parting
It came and I said: “Sorry!”

1832

Already in 1831, their relationship changed and the following lines appeared:

I maybe not worthy
Your love; I'm not to judge;
But you rewarded me with deceit
My hopes and dreams
And I will always say that you
She acted unfairly.

I will not humble myself before you;
Neither your greeting nor your reproach
They have no power over my soul.
Know: we are strangers from now on.
You forgot: I am freedom
I won’t give it up for delusion;
And so I sacrificed years
Your smile and eyes...

1832

In the preface to the drama “The Strange Man,” Lermontov says: “The faces I depicted are all taken from nature, and I would like them to be recognized - then repentance will surely visit the souls of those people.” But repentance probably did not visit N.F.’s soul. Ivanova, she got married and went to Kursk.

The break with Ivanova caused Lermontov not only mournful moods and even a thirst for death, but also a feeling of offended pride, a heightened sense of his creative gift and high responsibility for it. The rupture dates back to approximately the summer of 1831. Drawing her portrait, he calls her a “marble idol,” “an insensitive deity.”

Lermontov has approximately 40 poems called “Ivanovo Cycle”.

And the heart loves and suffers,

Almost ashamed of my love (V. A. Lopukhina)

D The emon of Russian poetry rushed about in search of shelter, rushed among love and tender passion. At first he searched among numerous girl relatives, cousins and second cousins with their friends; he had stronger feelings for Ekaterina Alexandrovna Sushkova and his cousin Anna Stolypina. But then for many years his spiritual space will be occupied by Varenka Lopukhina, the sister of his close friend Alexei Lopukhin and a person close to him, Maria Lopukhina. They shared a common youth, and then for many years Varenka became “the image of a dear woman.”

A witness to their relationship said: “As a student, he was passionately in love with the young, sweet, smart and, like daylight, absolutely delightful V.A. Lopukhin; she was an ardent, enthusiastic, poetic and extremely sympathetic nature. How now I remember her tender gaze and bright smile; she was 15-16 years old, we were children and teased her a lot; she had a small black birthmark on her forehead, and we always pestered her, repeating: “Varenka has a birthmark, Varenka is ugly,” but she, the kindest creature, was never angry. Lermontov's feeling for her was unconscious, but true and strong, and he almost retained 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: at the beginning in its own way it aroused reciprocity, subsequently, in St. Petersburg, at the Guards School, it was temporarily drowned out by the new situation and the noisy life of the cadets of the then School, upon entering the world - by new successes in society and literature; but it was instantly and strongly awakened by the unexpected news of the marriage of its beloved woman; at that time there was no longer any mention of Byronism.”

ABOUT He was careful towards her, which did not distinguish him at all in his relationships with other women: he usually joked with them very ironically, if not evilly, but with Varenka he was gentle, dedicated many poems to her, but never mentioned her name. In letters to his friends and confidantes Maria Lopukhina and Sasha Vereshchagina, he also does not mention her. Only in Vereshchagina's album does she draw. And then she will be cruelly offended. But Varenka really was an angel, she forgave everything and moved away, moved away, disappeared into the fog...

She is not proud of her beauty
Seduces the living youths,
She doesn't lead
A crowd of silent admirers.
And her camp is not that of a goddess,
And the chest does not rise in waves,
And in it no one has his shrine,
Having crouched to the ground, he does not recognize.
However, all her movements
Smiles, speeches and features
So full of life and inspiration.
So full of wonderful simplicity.
But the voice penetrates the soul,
Like remembering better days,
And the heart loves and suffers,
Almost ashamed of my love.

1832

In his unfinished youth story, he portrayed Varenka as the main character: “She was an angel expelled from heaven for being too sorry for humanity... A candle burning on the table illuminated her open, innocent forehead and one cheek, on which, looking closely, one could discern a golden fluff; the rest of her face was covered with thick shadow, and only when she raised her large eyes did two sparks of light sometimes separate in the darkness. This face was one of those that we rarely see in dreams, and almost never in reality... Sometimes a white hand with elongated fingers came into the light; one such hand could be a whole picture.”

But do I love

I stopped you when in a crowd

The young madmen are surrounded,

Then by its beauty alone

Did you attract their attention alone? -

I looked from afar, almost wishing

So that your shine disappears for others.

For me you were like the happiness of heaven

For a demon, an exile from heaven.

1832

Varenka and Mikhail were the same age. But when a man is just growing up, a woman at the same age has already been a bride for a long time. She is surrounded by fans, and they pay attention to her, Lermontov is jealous, accuses her of infidelity, torments her, then “know, we are strangers from now on,” then “you are incapable of being a hypocrite, you are too angel for that” and “But believe, oh believe my love! Throwing, doubts, torment... And the adventures of the “merry gang”, as Lermontov’s friends were called.

In 1834, his friend brought him greetings from Varenka to St. Petersburg: “Varenka and I often talked about him; He was equally dear to both of us, although not equally. At parting, holding out her hand, with wet eyes, but with a smile, she said to me: “Bow to him from me; tell me that I am calm, content, even happy.” I was very annoyed with Michel that he listened to me as if in cold blood and did not ask about her, I reproached him for this, he smiled and answered: “You are still a child, you don’t understand anything!”

However, something was brewing... Rumors spread about Varenka's upcoming marriage. Irritation grew... “We played chess with Michel, the man handed in a letter; Michel began to read it, but suddenly his face changed and turned pale; I was scared and wanted to ask what it was, but he, handing me the letter, said: “Here is the news - read it,” and left the room. This was the news of V.A.’s upcoming marriage. Lopukhina."

IN In May 1835, Varenka married the rich and “insignificant” Bakhmetev. The husband was just a fool. What can you do - not uncommon at all times. True, later, after the death of his wife, in the 1880s everyone called him a “good man” (they often say this about a person who is nothing of himself), he was a regular at the English Club and, they recalled, was not averse to slandering Lermontov with the Martynov brothers who visited the club, and then with writers who were susceptible to gossip and scandals. Rich, outwardly decent and internally completely insignificant.

In Moscow, several meetings took place in the presence of her husband, bitter for both; Lermontov verbally abused both her husband and Varenka in every possible way. There were many tears and resentments in this love. For Lermontov, everything after this marriage, which he hated, was “sealed” in his works. This whole story is depicted, to varying degrees of authenticity, both in the drama “Two Brothers”, and especially in the unfinished novel “Princess Ligovskaya”, and in the character of Vera and Princess Mary in “A Hero of Our Time”... The husband is everywhere insignificant.

Here is an excerpt from “Princess Ligovskaya”, which accurately depicts what the poet wanted to say about his love, and also what he thought about Varenka’s experiences. Princess Ligovskaya, Vera - Varenka Lopukhina, Pechorin - Lermontov:

“But the minutes of the last parting and the sweet image of Verochka constantly disturbed his imagination. Wonderful thing! He left with the firm intention of forgetting her, but it turned out the opposite (which is almost always what happens in such cases). However, Pechorin had the most unhappy disposition: impressions, at first light, gradually engraved themselves deeper and deeper into his mind, so that later this love acquired a right of limitation over his heart, the most sacred of all rights of mankind.”

“Varenka brought him a bow from her dear Verochka, as she called her - nothing more than a bow. Pechorin was upset by this - he did not understand women then. Secret annoyance was one of the reasons why he began to trail Lizaveta Nikolaevna; rumors about this probably reached Verochka. A year and a half later he found out that she got married; two years later it was no longer Verochka who came to St. Petersburg, but Princess Ligovskaya and Prince Stepan Stepanovich.”

“The plot is very simple,” said Pechorin, without waiting to be asked, “it depicts a woman who left and deceived her lover in order to more conveniently deceive a rich and stupid old man. At this moment she seems to be begging something from him and keeping her lover’s fury with false promises. When she has lured everything she wants with an artificial kiss, she herself will open the door and be a cold-blooded witness to the murder.”

“At dessert, when champagne was served, Pechorin, raising his glass, turned to the princess:

Since I did not have the good fortune to be at your wedding, let me congratulate you now.

She looked at him in surprise and did not answer. Secret suffering was depicted on her face, so changeable, her hand, holding a glass of water, trembled... Pechorin saw all this, and something similar to repentance crept into his chest: why did he torture her? for what purpose? What benefit could this petty revenge bring him?.. he could not give himself a detailed account of this.

……

The princess, under the pretext that she had developed curls, retired to Varenka’s room.

She closed the doors behind her and threw herself into the wide armchairs; an inexplicable feeling constricted her chest, tears ran onto her eyelashes, began to drip more and more often onto her heated cheeks, and she cried, cried bitterly, until it occurred to her that with red eyes it would be awkward to appear in the living room. Then she got up, went to the mirror, dried her eyes, rubbed her temples with cologne and perfume, which stood in colored and faceted bottles on the toilet. From time to time she still sobbed, and her chest rose high, but these were the last waves, forgotten on the smooth sea by the passing hurricane.

What was she crying about? - you ask, and I will ask you, what women do not cry about: tears are their offensive and defensive weapon. Annoyance, joy, powerless hatred, powerless love have one expression among them: Vera Dmitrievna herself could not give an account of which of these feelings was the main reason for her tears. Pechorin's words deeply offended her, but strangely, she did not hate him for it. Perhaps, if his reproach had revealed regret for the past, a desire to please her again, she would have been able to respond to him with caustic ridicule and indifference, but it seemed that only his pride was insulted, and not his heart, the weakest part of a man, like the heel Achilles, and for this reason it remained outside her shots in this battle. It seemed that Pechorin proudly challenged her hatred to make sure that it would be as short-lived as her love - and he achieved his goal. Her feelings were agitated, her thoughts were confused, the first impression was strong, and everything else depends on the first impression: he knew this and also knew that hatred itself is closer to love than indifference.”

IN Arenka, like her husband, had no trouble learning a lot from “Princess Ligovskaya,” and then there was “Hero of Our Time”... It seemed to Bakhmetev that everyone, absolutely everyone, would recognize his wife and his. Even Vera’s mole on her cheek is the same as Varenka’s, only above her eyebrow... Lermontov’s biographer recalls that once, when asked whether he and his wife had been to the Caucasian waters, Bakhmetev fought in indignation and shouted: “I have never I was in the Caucasus with my wife! - it was all invented by stupid boys. I was sick with her at the waters abroad, but I’ve never been to Pyatigorsk or stupid Kislovodsk.”

Well, what can you do? Stupid. Many people considered themselves prototypes, the biographer knew of at least six ladies who claimed that Princess Mary was based on them, they all presented their evidence, it was as if Lermontov was seriously and uniquely in love with all of them. So Varenka was not threatened by the rumors of the world, only by her husband’s stupidity. Lermontov was sarcastic towards him, but his beloved had to endure everything. Her husband forbade her to have any relationship with the poet, forced her to destroy his letters to her and all the gifts and things that Varenka had left from him.

All dedications were destroyed. In tears, she collected these testimonies of the poet’s cruel love for her - how much he tormented her!.. She collected the most precious things and handed them over to her common confidant and friend, Sasha Vereshchagina.

I don't want the world to know

My mysterious story:

How I loved, why I suffered;

The only judge of this is God and conscience.

1837

It was a deep affection that accompanied the poet all his life. The image of this girl, and then a married woman, appears in many of our poet’s works, wrote P.A. Viskovatov. Literary critics said that the features of Varenka Lopukhina were reflected in the images of Princess Mary and Vera from the novel “A Hero of Our Time.”

Varvara Aleksandrovna Lopukhina (1814-1851) married N.F. in 1835. Bakhmetev, official. Who was much older than her.

Addressing Varenka in 1832, Lermontov wrote:

We are accidentally brought together by fate,
We found ourselves in each other,
And soul became friends with soul;
At least they won’t finish the journey together!

(…)

I was born for the whole world to be a spectator
Celebrations or my death,
But with you, my ray is a guide,
What praise or proud laughter of people!

1832

A relative of the poet, Akim Shan-Girey, recalled: “At this time (before 1837) I had the opportunity to make sure that Michel’s first passion had not disappeared. We played chess, the man handed in a letter; Michel began to read it, but suddenly his face changed and turned pale, I was scared and wanted to ask what it was, but he, handing me the letter, said: “Here’s the news - read it!” And he left the room. This was the news of V.A.’s upcoming marriage. Lopukhina.”

In February 1838, Lermontov wrote a letter to Moscow, it was addressed to Varenka’s sister, Maria Lopukhina. It contains a poem entitled “The Pilgrim’s Prayer.” The wanderer is the poet himself, and he prays for an “innocent virgin,” a worthy soul.” Most likely, it is addressed to Varvara Lopukhina.

Surround a worthy soul with happiness,
Give her companions full of attention,
Bright youth, calm old age,
Peace of hope to a kind heart!
Is the time approaching the farewell hour?
Whether on a noisy morning or on a silent night,
You perceive, let's go to the sad bed
The best angel, a beautiful soul.

1837

The name of Varenka Lopukhina was not mentioned for many years either in comments to Lermontov’s works or in works about him. Lermontov, touching on the relationship with Lopukhina, tried in every possible way to divert the reader from the solution to the name of his beloved woman (for example, “Hero of Our Time,” where he encrypted the portrait resemblance when describing Vera - he removed the mention of a mole under the eyebrow and wrote “on the cheek.”)

Lermontov carefully hid the dedication of his poems to her, but, according to today’s researchers, the following of his poems are associated with her name: “K***” (“My friend, in vain efforts...”, 1832), “K*” (“We are accidentally brought together by fate...”, 1832), “K*” (“Leave vain worries...”, 1832), “K*” (“Sadness in my songs, but what a need...” , 1832), “She is not proud of beauty...” (1832), “Prayer” (1837), “K*” (“Forgive! - we will not meet again...”, 1832), “We parted, but your portrait..." (1837), "To a Child" (1840), "Dream" (1841).

“In the spring of 1838, Varvara Alexandrovna came with her husband to St. Petersburg, traveling abroad,” says Shan-Girey. - Lermontov was in Tsarskoye, I sent a messenger to him, and I galloped off to her. My God, how painfully my heart sank at the sight of her! Pale, thin, and there was no shadow of the old Varenka, only her eyes retained their shine and were as affectionate as before. “Well, how do you live here?” - “Why is it you?” - “Because I’m asking about two people.” - “We live as God sent, but we think and feel as in the old days. However, another answer will come from Tsarskoye in two hours.” This was our last meeting: neither he nor I were destined to see her again.”

While visiting, Lermontov met Varenka’s little daughter, played with her for a long time, caressed her, and then cried bitterly and went into another room. Then there was a poem “To a Child”:

Beautiful child, I'm looking at you...

Oh if you only knew how much I love you!..

Isn't it true, they say

Are you like her? - Alas! The years fly by;

Her suffering changed her before her time,

But true dreams preserved that image

In my chest; that gaze filled with fire,

Always with me...

Tell me, does she want you?

Haven’t you taught anyone to pray for anyone yet?

Turning pale, perhaps she was saying

A name now forgotten by you...

Don't remember his... what's his name? - the sound is empty!

God grant that it remains a secret for you.

But if, somehow, someday, by chance

Will you recognize him - childhood days

Remember him too, child, don’t curse him!

1840

In addition to his poems, she also heard rumors about his hobbies, about his arts, about his victories in the living rooms... And he wrote to her sister and his friend Masha Lopukhina in the secret hope that Varenka would read it too: “For a month she was on me fashion, they were vying for me... All the people whom I insulted in my poems shower me with caresses, the prettiest women ask me for poems and solemnly brag about them. Nevertheless, I am bored... Perhaps you will find it strange to seek pleasures and be bored with them, to travel through living rooms without finding anything interesting there. Well, I'll tell you my motives. You know that my main drawback is vanity and pride; there was a time when I, as a newcomer, sought access to this society; the aristocratic doors were locked to me; Now I enter this same society no longer as a seeker, but as a person who has won his rights. I arouse curiosity, they look for me, I am invited everywhere, even when I do not express the slightest desire; ladies, with pretensions to gather wonderful people in their drawing rooms, want me to be with them, because I, too, am a lion: yes, I, your Michel, a good fellow, whose mane you never suspected. Agree that all this can be intoxicating; but fortunately I am beginning to find it all rather intolerable. This new experience is useful in that it gave me a weapon against this society, and if it ever persecutes me with its slander (which will certainly happen), then I will at least have a means of revenge; after all, nowhere does one encounter so many base and ridiculous things as here.”

And then there was the Caucasus... And the tragic duel... It was all over...

The very first evidence of all the circumstances is a detailed letter from Katenka Bykhovets, a distant relative of Lermontov, the only one of her letters that has survived. She was probably the only woman with whom the poet spoke a few hours before his death. Although scientists have different assessments of the authenticity of the letter, it has the youthful spontaneity and sincerity of a young lady: “It was in a private house. Coming out of there, stupid Martynka called Lermontov. But no one knew. The next day Lermontov was with us, nothing, cheerful; he always told me that he was terribly tired of life, fate was driving him so hard, the Emperor didn’t love him, the Grand Duke hated him, they couldn’t see him - and then there’s love: he was passionately in love with V.A. Bakhmetev; she was his cousin; I think he loved me because he found similarities in us, and his favorite conversation was about her. He was cheerful in front of everyone, he joked, and when we were together, he was terribly sad, he told me in such a way that now I can guess, but a duel did not occur to me. I knew the reason for his sadness and thought it was still the same (that is, love for Bakhmeteva); persuaded him, consoled him as best she could..."

I didn’t console you, my kind soul, I didn’t guess... The duel predetermined everything and ended everything. Everyone who knew him and who understood that he was for Russian poetry mourned. Everyone was overcome with numbness. Varenka’s sister and a person close to Lermontov writes in a letter to another woman close to him, Sashenka Vereshchagina: “The latest news about my sister Bakhmeteva is truly sad. She was ill again, her nerves were so upset that she was forced to spend about two weeks in bed, she was so weak. Her husband suggested that she go to Moscow, but she refused and stated that she absolutely did not want to undergo any more treatment. Perhaps I am mistaken, but I attribute this disorder to the death of Michel, since these circumstances converge so closely that it cannot but arouse certain suspicions. What a misfortune this death is... For several weeks I have not been able to free myself from the thought of this death and sincerely mourn it. I really, really loved him.”

Varenka had no opportunity to express her feelings, she could only “not want to be treated anymore.” And for a long time she still had to see Bakhmetev in front of her, who was jealous of her even for the memory of the poet, who was no longer dangerous to him.

With myself

He carried a flying swarm to his grave

Still immature, dark inspirations,

Deceived hopes and

bitter regrets.

(“IN MEMORY OF A.I. ODEVSKY”, 1839)

“She outlived him, languished for a long time and died, they say, peacefully” in 1851 - this is what their mutual friend wrote about her. How well they all understood her feelings, how they could judge her, although she herself could not understand herself, whether she loved or feared her Demon. He was a tempter, he could not be different, he loved, and for him this was the main thing... And she... She pitied him, the only one who sincerely and simply pitied him and herself - with sadness about what had not happened, with gratitude for unearthly existence, God knows why they still love and pity Poets...

3 portrait watercolors have survived.

How full their sounds are

Madness of desire! (M. P. Solomirskaya)

1839 Lermontov is a famous poet in the world. It is accepted in many high society salons in St. Petersburg. He returned to the northern capital from his first Caucasian exile, which followed the appearance in the lists of the poem “The Death of a Poet,” dedicated to the death of A.S. Pushkin. Among the secular beauties, Maria Petrovna Solomirskaya, née Countess Apraksina (1811-1859), shone. In the winter of 1839-40 they often met in society. Solomirskaya was fascinated by Lermontov's poetry. Arrested for a duel with Barant, the poet, while in prison, received a note without a signature. He decided that M.P. wrote it to him. Solomirskaya:

So, sorting out the imprisonment
Hitherto features are alien to me,
I was free for a moment
By the mighty will of a dream.
The key to desired freedom
A ray of hope in a sea of troubles
Then your nameless one became for me,
But an ever memorable greeting.

That same winter, Lermontov came several times from Tsarskoe Selo, where his regiment was stationed, to St. Petersburg. At the same time, a poem appeared, which literary scholars consider an appeal to Solomirskaya:

E
there is speech - meaning
Dark or insignificant
But they don't care
It's impossible to listen.
How full their sounds are
Madness of desire!
They contain tears of separation,
They have the thrill of a date.
Will not meet with an answer
Among the noise of the world
Of flame and light
Born word;
But in the temple, in the middle of the battle
And wherever I will be,
Having heard him I
I recognize it everywhere.
Without finishing the prayer,
I will answer that sound.
And I'll throw myself out of battle
I will meet him.

The poet read these lines to his friend, publisher and journalist A. Kraevsky. He praised the poems and noted one grammatical inaccuracy. Try to find her. (“From flame and light”). Lermontov tried to correct the lines, but, throwing down his pen, said: “No, nothing comes to mind. Print as is"

Will not fall in love soon

But he won’t stop loving you for nothing (M. A. Shcherbatova)

Another secular beauty worried the poet then - Maria Alekseevna Shcherbatova.

Née Shterich (1820-1879), Ukrainian. The poet himself said about her: “The kind that can neither be said in a fairy tale nor written with a pen.” This spring she was about 20 years old, Lermontov was 25. Secular rumor linked Shcherbatova’s name with the poet’s duel with Barant. I.S. Turgenev, who met M. Shcherbatova in Moscow, where Lermontov was at that time, noted in his diary: “Laughs through tears, loves Lermontov.” A poetic portrait of M. Shcherbatova was given by the poet in the poem “M. A. Shcherbatova.”

…For example, the sad motherland,

Hoping in God

She keeps her childish faith;

Like a native tribe,

Doesn’t ask strangers for support

And in proud peace

endures ridicule and evil;

From a daring gaze

Passions in her will not burst into flames.

Will not fall in love soon

But he won’t stop loving you for nothing.

(‹M. A. SHCHERBATOVA›, 1840)

Other beautiful lines dedicated to M. Shcherbatova were set to music by composer A.S. Dorgomyzhsky. The romance “Why” quickly became popular.

From what
I'm sad because I love you
And I know: your blooming youth
The insidious persecution will not spare rumors.
For every bright day or sweet moment
You will pay fate with tears and melancholy.
I'm sad... because you're having fun.

Whether she loved him, he did not know. But if he could, he would give her all the land. All the warmth of love was concentrated in him alone. Lermontov told Shcherbatova: “I’m sad that I love you, and I know that for this easy day we will have to pay dearly.”

I love the past suffering in you

And my lost youth (E. G. Bykhovets)

From a letter from Ekaterina Bykhovets.

What a fun time I had. This day the young people gave us a picnic in the grotto, which was all decorated with shawls; the columns are entwined with flowers, and the chandeliers are all made of flowers: we danced on the platform near the grotto; the benches were covered with lovely carpets; it was wonderfully lit; the evening was enchanting, the sky was so clear; The trees looked unusually beautiful because of the lighting, the alley was also illuminated, and at the end of the alley there was a very nice restroom; two choirs of music. Sweets, fruit, and ice cream were constantly served; danced until we dropped; the youth were so kind, entertaining their guests; had dinner; after dinner they danced again; even Lermontov, who did not like to dance, was so cheerful; From there we walked. All the young people accompanied us with lanterns; one of them started to get a little naughty. Lermontov, like a cousin, now offered me his hand; We went quickly, and he walked me home.

We were so friendly - he is my great-grand-grand-brother - and he always called him cousine, and I loved him cousin and loved him like my own brother. So they knew me here under the name of Lermontov’s charmante cousine. Some of the young people who came here now asked him to introduce them to me.

This was the last picnic; exactly a week later my good friend was killed, and how long ago did he recommend this monster, his killer, to me as a comrade, a friend!

E that Martynov is terribly stupid, everyone laughed at him; he is terribly proud; caricatures (of him) were constantly added to; Lermontov had a bad habit of making jokes. Martynov always wore a Circassian coat and carried a dagger; he called him in front of the ladies Mr le Poignard and Sauvage*. He<Мартынов>Then he told him that he shouldn’t dare say that in front of the ladies, and that was the end of it. Lermontov did not want to offend him at all, but just wanted to laugh, having been so good with him.

It was in a private house. Coming out of there, stupid Martynka called Lermontov. But no one knew. The next day Lermontov was fine with us, cheerful; he always told me that he was terribly tired of life, fate drove him so hard, the sovereign did not love him, the Grand Duke hated him,<они>they couldn’t see him - and then there was love: he was passionately in love with V.A. Bakhmetyeva; she was his cousin; I think he loved me because he found similarities in us, and his favorite conversation was about her1.

Four days later he went to Zhelezny; was<в>We visited this day several times and kept asking me to come to Zhelezny; it's fourteen miles from here. I promised him, and 15<июля>we set off at six o'clock in the morning, I and Obydennaya in a carriage, and Dmitrevsky, and Benckendorff, and Pushkin - the writer's brother - on horseback.

Halfway through the road, at the column, we drank coffee and had breakfast. As soon as we arrived at Zhelezny, Lermontov came running; we went to the grove and everyone walked there. I kept walking with him arm in arm. I was wearing a bandeau. I don’t know what fate caused my braid to unravel and my bandeau fell off, which he took and hid in his pocket. He was cheerful in front of everyone, he joked, and when we were together, he was terribly sad, he told me in such a way that now I can guess, but a duel did not occur to me. I knew the reason for his sadness and thought that it was still the same, I persuaded him, consoled him as best I could, and with eyes full of tears<он меня>he thanked me for coming, begged me to come to his apartment to have something to eat, but I didn’t agree; Let's go back, he also went with us.

We had lunch in the column. As he was leaving, he kissed my hand several times and said:

- Cousine, my darling, there will never be a happier hour in my life than this.

I still laughed at him; so we went. It was at five o'clock, and<в>eight came to say that he had been killed. No one knew that they were having a duel, except two young boys, whom they made swear that they would not tell anyone; they did so.

Lermontov was so tired of life that he had to shoot first, he didn’t want to, and the monster had the spirit to take aim for a long time, and the bullet went straight through! You won’t believe how his death saddened me; even now I can’t remember him.

Goodbye, my dear friend, it’s sad and it’s time to go to the post office. Sister and brother bow to you. I kiss you and the kids countless times. Don't forget your faithful friend and your adoring sister

Katya Bykhovets.

Now I was looking at my watch, it’s still early for the post office, and I’ll talk to you later. Dmitrevsky annoyed me terribly: he took my bandeau, which was in Lermontov’s blood, to give it to me, and lost it; so sad, this would be my memory. They gave me the cord on which he always wore a cross. I was at the funeral; They did not allow him to be buried with music, and the priest was forcibly persuaded to perform the funeral service for him.

ABOUT
and dead was as good as alive. His portrait was taken.

In the spring of 1841, Lermontov was ordered to leave St. Petersburg within 48 hours. In May he comes to Moscow for the last time, in June he is again in the Caucasus. There was very little time left before his death in a duel near Pyatigorsk on July 15. On the day of the duel, in the morning she talked with Lermontov, then went with the poet and his friends for a picnic in Karras (Tarra). Her letter dated August 5, 1841 is an excited story about Lermontov’s relationship with N.S. Martynov, about the duel, death, funeral of the poet. . One of the poet’s last poems, placed in V.F. Odoevsky’s album, is dedicated to his distant relative, Ekaterina Bykhovets (married Ivanovskaya). According to the recollections of Ekaterina Grigorievna herself, she - Katyusha - reminded him of Varenka Lopukhina. This is probably why the last stanza of the poem speaks of V. Lopukhina, who married an unloved man:

No, it’s not you that I love so passionately,
Your beauty is not for me to shine,
I love the past suffering in you
And my lost youth...

1841

The poem was set to music by more than 40 composers, especially the romance - waltz by A.I. Shishkin (1887), which gained wide popularity performed by N.A. Obukhova (1886-1961).

“The music of my heart was completely upset today,” 16-year-old Lermontov wrote in one of his notebooks. The harsh life from an early age upset the music of his heart...

Lermontov's lyrics are sincere, subtly conveying his spiritual mood, sometimes tragic, like the fate of the poet himself. However, his wonderful works and his poems will remain with us forever.

Conclusion

Mikhail Yurievich Lermontov, brilliant Russian poet, prose writer,playwright, artist and officer, despite his short life, left a huge literary legacy. He filled every moment of his life with creativity and love.

L Lermontov's love is tragic, full of suffering and pain. But, despite this, the poet loves with all his heart and is ready to love again and again. There were many women in his life whom he loved and dedicated poems to. In them he praises, reproaches, and shows the true face of his beloved. He dedicates cycles of his poems to some of them, they were described above, but there were also those to whom Lermontov dedicated individual poems, these are:

Evdokia Petrovna Rostopchina

Countess Rostopchina

I believe: under one star

You and I were born;

We walked the same road,

We were deceived by the same dreams.

But well! - from a noble goal

Torn away by a storm of passions,

I forgot in the fruitless struggle

Legends of my youth.

Anticipating eternal separation,

I'm afraid to give my heart free rein;

I'm afraid of the treacherous sound

It is in vain to entrust a dream.....

1841

Evdokia Petrovna Rostopchina, née Sushkova (1811-1858) is a famous poetess. Lermontov knew her from a young age: Rostopchina spent her youth in Moscow. At that time, she shared the mood of progressive youth and admired the feat of the Decembrists (she dedicated her message “To the Sufferers” to them). In 1840-1841, Lermontov met with her in St. Petersburg, especially often in the Karamzin salon. Around mid-April 1841, leaving for the last time for exile in the Caucasus, from where he was never destined to return, the poet gave Rostopchina an album in which he wrote: “I believe: you and I were born under the same star...”

Anna Grigorievna Filosofova

TO THE GENIUS

When in the darkness of the night my gaze, without closing,

Wanders around without a goal, the days gone by are a reproach

When he involuntarily calls me to remember, -

How painfully am I indulged in daydreaming!..

ABOUT how many suddenly crowd into my chest

And shadows and love of witnesses!.. I love!....

1829

***

She sings - and the sounds melt away,

Like kisses on the lips

He looks and the heavens play

In her divine eyes;

Is it going - all her movements,

Or says a word - all the features

So full of feelings, expressions,

So full of wondrous simplicity.

1838

Praskovya Arsenyevna Barteneva

13(25).11.1811 - 24.1(5.2).1872, St. Petersburg - salon singer (soprano). Genus. in an impoverished noble family. Having received a variety of music. education, from 1824 (in some sources 1830) she began performing at social balls and soon became widely known in St. Petersburg and Moscow (from 1835 she was promoted to maid of honor and principal singer). She had a voice of rare beauty and strength with a “metallic” timbre and a wide range. Spanish was distinguished by high vocal skill and music. culture. The repertoire included Russian romances. composers, Russian adv. songs, as well as arias from Italian operas. composers. In 1830 the Spanish romance "Nightingale" by A. Alyabyev in a concert in Moscow. ball in honor of the famous singer G. Sontag. Contemporaries called B. "Russian Sontag."

The beauty and soulfulness of B.'s singing aroused the admiration of listeners, which was reflected in the work of her contemporaries - poets and composers.

In 1830, M. Lermontov dedicated a New Year’s madrigal to the singer:

Tell me where you got it
You are seductive sounds,
And how could I connect