482:, an idea which had gained popular currency in the Romantic Age which held that those people who live further from "civilization" live "in harmony with nature and a more simple, childlike and blessed life" than the alienated and unhappy people in European cities. Aleko's failure to integrate with the gypsies and his continued insistence on the moral standards of the city in the gypsy encampment challenge the notion that happiness can be found by reverting to nature. The poem closes with a clear attack on the idea of the noble savage: "But even among you, poor sons of nature, there is no happiness! Tormenting dreams live under your bedraggled tents". (ll.562–565)
492:: they use exotic and orientalized settings, rapid transitions, and chart sexual and military conquest. Stephanie Sandler sees it as an expression of "a kind of liberal individualism in which respect for the person is valued above all else, in which the dignity of the individual is fundamental." However, critics agree that
348:
Zemfira asks Aleko if he misses the splendor of his homeland, but he responds that his only desire is to spend his life with her in voluntary exile. (ll.174–176). The Old Man warns that although Aleko loves the Gypsy life, this feeling may not last forever, and tells a story of a man that he knew who
364:
The Old Man warns Aleko that he has heard this song before from his wife
Mariula who later left him. Aleko is upset by the song and falls asleep, and Zemfira is angry when she hears him pronounce another woman's name in his sleep (l.327). The Old Man warns Aleko not to expect Zemfira to be faithful
496:, while inheriting much from the Byronic tradition, also strives to move away from it. Michael Wachtel argues that "the grim, fatalistic acceptance of life as a tragedy and of individual experience as endless repetition brings the work closer to Antiquity than to Byron". Antony Wood suggests that
368:
Zemfira meets her lover at night and, just as they are parting, Aleko catches them together. In a scene of extremely fast-moving dialogue, he kills them both. The Old Man tells him to leave the
Gypsies because his understanding of law, freedom and order is different from his (ll.510–520):
360:
Two years pass (l.225) and Aleko remains with
Zemfira in the Gypsy camp. However, Zemfira begins to sing a love song about an adulterous affair which shocks and scares Aleko (ll.259–266). At this point the poem switches from iambic tetrameter and is less consistent with fewer feet.
232:
Once the scene is set, the characters are introduced: an old man is waiting for his daughter
Zemfira to return home while his dinner grows cold. When she arrives, she announces that she has brought home with her a man, Aleko, who has fled the city because the law is pursuing him.
365:(ll.287–299), and tells him in detail about how Mariula left him after only a year (ll.370–409). Aleko, however, insists on his "rights" (l.419), or at least the possibility of getting the pleasure of revenge (l.420).
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is also considered to be the most mature of these
Southern poems, and has been praised for originality and its engagement with psychological and moral issues. The poem has inspired at least eighteen
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spent his entire life with the
Gypsies but who eventually pined for his homeland and asked to be buried there. (ll.181–216). This is thought to be a reference to the Roman poet
224:× / × / × / × / Горит огонь; семья кругом Gorít ogón'; sem'yá krugóm × / × / × / × / × Готовит ужин в чистом поле (ll.9–10) Gotóvit úzhin v chístom póle
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is the last of
Pushkin's "Southern Poems", and is usually considered to be the most mature and sophisticated of these works. The "Southern Poems" are indebted to
504:'s Noble Savage idea and Byron's verse tales, pointing out that "Aleko, pursuing the ideal of the Noble Savage, himself comes to present the spectacle of an
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for its "imaginative narration of a high order" and its attempt to grapple with "real issues of human psychology and morality". Briggs, A.D.P. (1982)
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686:"terse, objective and rational" and "the most mature of Pushkin's southern poems". See Pushkin, Aleksandr, Antony Wood and Simon Brett. (2006)
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changes: the omniscient narrator steps aside and the majority of the rest of the poem takes the form of a dialogue, following the tradition of
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narrated in the first person, who warns that the gypsy encampments offer no freedom from the "fateful passions" and problems of life.
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877:
750:. Leningrad, Nauka. For an up-to-date English-language summary of Byron's influence, see Bethea, David. "Pushkin and Byron" in
244:. The Old Man and Zemfira welcome Aleko, but he retains lingering doubts about the possibility of happiness at the Gypsy camp:
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294:: the narrator describes him as a tormented victim of passion and sounds an ominous note that his passions will return.
512:"shows the problem of a poet as naturally classical as Pushkin in an epoch fashionably and self-consciously romantic."
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was based in 1875. Mérimée had read the poem in
Russian by 1840 and translated it into French in 1852.
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Bayley, John. (1971) Pushkin: A Comparative
Commentary. Cambridge: Cambridge University Press. p. 90
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Hammond A. Music Note in programme for Carmen. Royal Opera House Covent Garden, 1984.
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The
Emergence of Russian Liberalism: Alexander Kunitsyn in Context, 1783-1тертфет840
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and a colorful, lively description of the activities of a gypsy camp there:
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Wachtel, Michael. (2006) "Pushkin's long poems and the epic impulse". In
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has inspired some eighteen operas and half a dozen ballets, including
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The classic study of Pushkin and Byron is Zhirmunskii, V. M. (1924).
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The edition used here is Pushkin, A.S. and Bondi S.M. (ed.) (1960)
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How long ago they calmed down, how long would they be at peace?
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See entries on the "Noble Savage" and "Aleksandr Pushkin" in
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Line numbers are as the Wikisource version of this poem:
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Pushkin, Aleksandr, Antony Wood and Simon Brett. (2006)
221:, and this regular metre is established from the outset:
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Partially complete English translation of "The Gypsies"
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The poem addresses and interrogates the concept of the
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The Tale of the Dead Princess and the Seven Knights
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Sobranie sochinenii A.S. Pushkina v desiasti tomakh
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In the deserts you won't be saved from misfortunes,
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754:, ed. Neil Cornwell (London: Routledge) pp. 76–79.
699:See Gasparov, Boris. (2006) "Pushkin in music" in
1008:The Tale of the Priest and of His Workman Balda
606:Gasparov, Boris. (2006) "Pushkin in music" in
827:Briggs A D. "Did Carmen come from Russia?" in
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690:. Boston, MA: David R. Godine. pp. xxi–xxii.
624:in Собрание сочинений в десяти томах Moscow.
408:But we don't want to live with a murderer...
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1086:The Tales of the Late Ivan Petrovich Belkin
458:And there is no defence against the fates.
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620:Pushkin, A.S. and Bondi S.M. (ed.) (1960)
217:The poem is written almost exclusively in
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703:, ed. Andrew Kahn. Cambridge: CUP. p. 159
613:Hammond A. "Music Note" in programme for
456:And fateful passions are found everywhere
782:, ed. Andrew Kahn. Cambridge: CUP, p. 82
508:noble citizen." John Bayley argues that
327:With what excitement did they boiled up
688:The Gypsies & Other Narrative Poems
641:
629:The Gypsies & Other Narrative Poems
617:. Royal Opera House Covent Garden, 1984
196:burns a flame, and the family around it
1024:The Tale of the Fisherman and the Fish
724:See Bondi's notes to the 1960 version.
652:in Собрание сочинений в десяти томах (
269:The youth looked around him in despair
1217:Georges-Charles de Heeckeren d'Anthès
275:he did not dare to seek to discover.
273:and the secret reason for his sadness
131:in 1824 and first fully published in
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412:You want freedom only for yourself.
410:You are not born for the savage life
139:in the south of the Russian Empire,
671:Alexander Pushkin: A Critical Study
590:Alexander Pushkin: A Critical Study
406:We have no need of blood or moans –
192:Between the wheels of the carriages
1322:Demolition of monuments in Ukraine
780:The Cambridge Companion to Pushkin
701:The Cambridge Companion to Pushkin
610:, ed. Andrew Kahn. Cambridge: CUP
608:The Cambridge Companion to Pushkin
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198:cooks supper; in the clear field
1040:The Tale of the Golden Cockerel
631:. Boston, MA: David R. Godine.
312:Давно ль, на долго ль усмирели?
194:half-covered by hanging carpets
520:Boris Gasparov estimates that
441:В пустынях не спаслись от бед,
404:We do not torture or execute –
323:But God! How did passions play
16:1827 poem by Alexander Pushkin
1:
1280:Mikhaylovskoye Museum Reserve
673:Duckworth: London. pp. 102–3.
391:Ты для себя лишь хочешь воли.
387:Но жить с убийцей не хотим...
385:Не нужно крови нам и стонов –
183:Ручной медведь лежит на воле.
933:The Fountain of Bakhchisaray
917:The Prisoner of the Caucasus
402:We are wild; we have no laws
389:Ты не рожден для дикой доли,
333:They will awake: just wait!
304:Но боже! как играли страсти
1452:Poetry by Aleksandr Pushkin
1078:The Moor of Peter the Great
990:To the Slanderers of Russia
682:The poet Antony Wood calls
595:Briggs, A.D.P. (2004) "Did
381:Мы дики; нет у нас законов,
379:Оставь нас, гордый человек!
179:Готовит ужин; в чистом поле
115:
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569:written in 1845, on which
383:Мы не терзаем, не казним –
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202:a tame bear lies uncaged.
1291:Pushkin Is Our Everything
1167:A Feast in Time of Plague
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260:Истолковать себе не смел.
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1211:Abram Petrovich Gannibal
768:. Springer. p. 103.
559:was the inspiration for
443:И всюду страсти роковые,
427:The poem closes with an
308:С каким волнением кипели
127:, originally written in
1016:The Tale of Tsar Saltan
714:Цыганы (поэма — Пушкин)
258:И грусти тайную причину
181:Пасутся кони; за шатром
175:Полузавешанных коврами,
1134:The Captain's Daughter
829:English National Opera
665:A.D.P. Briggs praises
601:English National Opera
599:come from Russia?" in
588:Briggs, A.D.P. (1982)
555:It is speculated that
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445:И от судеб защиты нет.
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325:With his obedient soul
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314:Они проснутся: погоди!
310:В его измученной груди
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173:Между колесами телег,
1274:Literaturnaya Gazeta
1160:The Little Tragedies
500:is a parody of both
400:Leave us, proud man!
271:at the emptied plain
256:На опустелую равнину
1312:Pushkinskaya Square
1213:(great-grandfather)
1126:A Journey to Arzrum
1118:The Queen of Spades
957:The Bronze Horseman
764:Berest, J. (2011).
536:Ruggero Leoncavallo
526:Sergei Rachmaninoff
306:Его послушною душой
254:Уныло юноша глядел,
35:Original title
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1174:Mozart and Salieri
909:Ruslan and Ludmila
592:Duckworth: London.
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292:Romantic hero
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1403:Inspirations
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1206:Anton Delvig
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1101:The Blizzard
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852:The text of
850:(in Russian)
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544:(1912), and
539:
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485:
484:
480:noble savage
477:
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419:—ll.510–516
399:
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242:closet drama
235:
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158:
147:and several
140:
95:
94:
93:
20:The Gypsies
1368:The Gypsies
1317:Sovremennik
1129:(1835–1836)
1081:(1827–1828)
1051:Verse novel
983:I Loved You
968:Short poems
941:The Gypsies
920:(1820–1822)
856:at Russian
684:The Gypsies
667:The Gypsies
563:'s novella
557:The Gypsies
522:The Gypsies
516:Adaptations
510:The Gypsies
498:The Gypsies
494:The Gypsies
486:The Gypsies
340:—l.140–145
141:The Gypsies
96:The Gypsies
67:Romanticism
1442:1827 poems
1436:Categories
858:Wikisource
656:). Moscow.
636:References
603:Programme.
282:—ll.94–98
161:Bessarabia
1414:(novella)
1110:Dubrovsky
573:'s opera
209:—ll.7–12
110:romanized
1094:The Shot
992:" (1831)
985:" (1830)
978:" (1817)
552:(1941).
534:(1893),
502:Rousseau
474:Analysis
429:epilogue
49:Language
1422:(opera)
1392:Zingari
1255:Amadeus
1247:Related
1234:(uncle)
1162:(1830)
1089:(1830)
949:Poltava
583:Sources
550:Gypsies
541:Zingari
155:Outline
149:ballets
129:Russian
119:) is a
116:Tsygany
112::
105:Цыга́ны
101:Russian
53:Russian
1419:Carmen
1411:Carmen
1395:(1912)
1387:(1892)
1202:(wife)
1193:People
1156:(1825)
1137:(1836)
1121:(1834)
1113:(1833)
1062:(1833)
1043:(1834)
1035:(1833)
1027:(1833)
1019:(1831)
1011:(1830)
960:(1833)
952:(1829)
944:(1827)
936:(1823)
928:(1821)
912:(1820)
854:Цыганы
650:ЦЫГАНЫ
622:ЦЫГАНЫ
615:Carmen
597:Carmen
576:Carmen
566:Carmen
145:operas
87:Russia
41:Цыганы
25:Author
1384:Aleko
1145:Plays
1070:Prose
531:Aleko
490:Byron
355:Tomis
137:exile
59:Genre
1366:'s "
1261:film
351:Ovid
133:1827
78:1827
548:'s
538:'s
528:'s
1438::
506:ig
151:.
107:,
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988:"
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886:e
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872:v
99:(
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