Piotr Ilyich Tchaikovsky (1840 - 1893) Eugene Onegin Lyric Scenes in Three Acts 1879 Libretto by the composer with the assistance of K. Shilovsky after Alexander Pushkin’s novel in verse under the same name Cast of Characters: Madame Larina, an old landowner ~ mezzo soprano Tatiana, her daughter — soprano Olga, her daughter ~ contralto Filipevna, the nurse ~ mezzo soprano Eugene Onegin — baritone Lensky tenor Prince Gremin ~ bass Captain - bass Zaretsky ~ bass Triquet, a Frenchman — tenor Guillo, Eugene’s servant - silent Peasants, guests at the ball scenes in Acts II and III ‘The action takes place in Russia in the1 820s.218 Eugene Onegin Creation of the Opera In May 1877, contralto E. A. Lavrovskaya suggested that Tehaikovsky should compose an opera based con Pushkin's novel in verse, Eugene Onegin. At first the composer was uterly appalled by the idea. It is easy to explain Tehaikovsky’s initial strong reaction: in Russian culture, Eugene Onegin occupies a special place. Famous critic and writer V. G. Belinsky (181 ~ 1848) called this work “an encyclopedia of Russian life.” Indeed, Eugene Onegin is considered to be one of the greatest treasures of the Russian literary heritage. Composing an opera based on a work of such importance required tremendous courage. ‘Nevertheless, the composer soon became consumed by the idea. He outlined the structure of the libretto in just one night and soon completed it with the assistance of K. S. Shilovsky (1849 — 1893), ‘Tehaikovsky took from the novel only those pars that involved the personal lives of the main characters. He was particularly enamored by the image of Tatiana. In fact, his original intention was to call the ‘opera by her name, but the government censorship did not allow it. Aware that much of the novel in ‘verse was not included in the opera, Tchaikovsky modestly subtitled his work “lyric scenes.” Eugene Onegin was completed in January 1878 ‘Tehaikovsky felt insecure about the success of his new opera, which was devoid of traditional theatrical effects, requiring maximum artistic simplicity and honesty from the performers. ‘That is why he decided to entrust its premiere to young performers—the students of the Moscow Conservatory (now Tehaikovsky Conservatory). The first performance took place on the stage of the Maly Theater (the “Small Theatre,” as opposed to the Bolshoi, or “Grand Theater”) on of March 17, 1879. The opers has become one of the most often staged works in Russian repetoie Synopsis Act ‘Scene One Its quiet, late summer evening atthe country estate of Madame Larina, ‘Th fer tw ie Larina. The voices of her two young daughters, Tatiana and Olga, remind her and the Old Nurse oftheir days long past. Larina recalls how she used to sing romantic songs when she was young and in love. Though she was married against her will to a man not of her choice, she now has grown to feel quite cont ten , “routine isa gif from above; itis a subsite oftappineats So” ° ae Peasant song is heard approachin, Tadies ofthe house, Tatiana and Olea mete. Ther song atracts the attention ofthe young wi ee pei! wer ee _ always a bi elncholy and dreamy, while Olga is brisk i sss the peasants, the Nu in, announcing that Vladimir Lal Ot fiancé has jus arrived, and that he has Brought eee ienaee ee eae friend Begone Poppet leer e Poet. He has been in love with Olga since childhood. His and out of place in the simpler life of the — ‘who has recently left the capital and feels rather bored Meeting Eugene leaves a deep impression on Tatiana. It's late evening. In her bedroom, Tatiana about her youth and asks, she hare is ae Was ‘Nurse. She asks her Nurse to tell her never even heard of such a thing as Boog hey ilove. The Nurse replies that in her time the peasants in love, Sic ere See gg a mange arin a motions, writs eter to Eugene exprening her fees ees ot Taina, overwhelmed by het eyEugene Onegin 219 Scene Three In the garden the peasant girls are singing while gathering berries. Tatiana rushes in. She is greatly disturbed. Onegin has just arrived and he will soon be here. Trembling, she awaits his answer to her confession. In his reply, Eugene is polite and reserved, telling Tatiana that he is touched by her sincerity, ‘but he cannot return her feelings. Tatiana listens to his moralizing with great pain and embarrassment. Act IL Scene One ‘A noisy ball is in progress in Larina’s house. It is Tatiana’s name’s day, and many of her country neighbors have come to celebrate. Lensky and Onegin are also there, Overheating gossip and whispers while dancing with Tatiana, Onegin becomes infuriated. He decides to release his anger on Lensky. In order to annoy Lensky, he starts audaciously flirting with Olga. Meanwhile, the Frenchman Triguet, surrounded by chattering girs, sings alittle song in Tatiana’s honor. The song isa great suceess withthe guests but it leaves Tatiana thoroughly embarrassed. By now, Lensky is outraged by Eugene's behavior toward Olga and her flirtatious response to him. During one of the dances, Lensky and Onegin start a noisy quarrel, and Lensky challenges Eugene to a duel. ‘The guests are unable to pacify the infuriated young men. Scene Two (On an early winter moming Lensky and his second, an old duclist named Zaretsky, are waiting for Onegin. ‘The day is about to break, and Lensky’s thoughts tum to Olga. Will he ever see the sunshine ‘again? Onegin finally arrives. In 8 complete disregard forthe customs of dueling, Eugene brings along his servant as his second. It is time to stat, but the adversaries delay, recalling their former friendship. {At last they take their places, and then begin to advance. Eugene takes his shot; and Lensky falls dead. Act II Scene One “The highest ranking members of the Saint Petersburg aristocracy are gathered at a splendid ball in the house of a rich statesman. Eugene is one of the guests. He has just returned from a long journey Neither his travels nor the entertainments of posh society are able to dispel his despondency. The dancehall grows quiet when Prince Gremin enters, accompanied by his stunningly beautiful young wife. To his utter surprise, Onegin recognizes Madame Gremin as Tatiana, the girl from the country estate Prince Gremin tells Eugene about his happy marriage and his complete devotion to Tatiana. He introduces Onegin to his wife. Eugene is stunned by her perfect manners and stately dignity. Suddenly ‘consumed by love for her, he decides to arrange a meeting with her ‘Scene Two ‘Alone in her living room, Tatiana is reading Eugene's letter. Though many years have passed, she still loves him. Eugene suddenly enters het room. Falling on his knees he begs for her forgiveness. Tatiana recalls their fist meeting, when their mutual happiness was so easily possible, and when her sincere confession of love was met by a cold rejection. She admits that she still loves him as much as before, but tells him the past cannot be recaptured. She is married now, and she will be forever devoted to her husband. Appealing to Eugene’s sense of honor, she asks him to leave her at once. Al his pleas are in vain, ‘She bids him farewell and leaves the room. Left all alone, Eugene is overcome by despair.220 Eugene Onegin, Act I Act Scene One Number 1, Duet and Quartet. The garden of the Larin's couniry estate. On the left isa house with a terrace; on the right, is a shady tree with a fiowerbed nearby. in the background is « dilapidated wooden fence beyond which a village land church are visible through the thick foliage. It's early evening. Madame Larina sits under the tree making jam on a portable stove; Filipievna (the Nurse) i standing near her helping. The doors leading ‘from the house onto the terrace are open, and singing can be heard from within TATIANA, OLGA suka] vi za_ Iie] 'gtes——naynaj Caza ayo oa pomei rae nowmoll Didhear (=) you beyond —thegrove the voiee nocturnal pefitsa = jublyipeftsa petal Henua —awo6nm, enna ewan! ofthe singer of love’ the singer of sadness! (Did you hear beyond the grove, the voice in the night ofthe singer of love and sadness?) kagida pala f_fas.—Sutyennij man'Yaji Koraa mons ac—yrpennuit worwann When thefields inthehour ofdawn lay silent syiteli 'avuk unin i_prastyj Compexm snyx yuan mpoeroit? ofpipe _thesound doleful-— and simple? (When the fields lay stil in the hour of dawn, did you hear the sound of a shepherd's pipe, both doleful and simple?) LARINA ani pajjut i ja bitvata~v_dav'ing pralfetyfije -ga'da Onn = mow, = ts, Gumano.» anno npomeann They re singing and) tsedto in longeyopused: yeaa ti 'pommif_ iii petvata Ts nomuums am, mf nemana, you recall — (~) and 1 _usodtosing. (They are singing, and I too used to sing in years long passed. Do you recall, | too used to sing.) Kak ja furhita —iortlona =e patalma yobs f Ties soem Pree’ “or ene ea How T loved Richardson! not because’ that () ead mf startin qag'na ‘i “ sd 7 mas'iofskaja —kulzina but in theoldtimes Princes mak apres Cae 2 sco cousin tyeridita 'Yasta mye a_ ‘nom Trepamaa acto we gt, talked often. = tome —_about him.shady illage aree ding ful Eugene Onegin, Act 1 21 (Oh, how I adored Richardson! Not because I’ve read his works, but because long ago my Moscow ‘cousin Princess Alina used to talk so much about him.) TATIANA, OLGA vadox'nuji_| vi yqi'maja ‘txaj gas Bosoxyam 21) mh, numa Tamu rage Did sigh (=) you, listening tothe soft voice peftea — Jubyi pelea peal sana) sweeper? Zieanpretioes: Semen alana (Did you ever sigh, listening to the soft voice of the singer of love and sadness?) kagda = y_ esx ve Yjunaju vyildapi Korma 8 snecax, mat vonomy was, When inthe woods. you ayoungman saw fstzelfaja ‘vir fev pattuxfiy_ ——gtas Berpevas mop ero moryrmex ras? meeting thelook —ofhis dimmed eyes? (When you saw a young man in forest and looked into his melancholy eyes dd you sigh?) NURSE vi "bili 'motedi tagida = da 'pogu ‘pomnu Bu Gum = maxon «Tora! =a, momma, ‘nomm! You were young then! Yes. (I)remember, _ (I) remember! LARINA ay_ granditon —ax__fifart’son ‘Ax, Tpanucon! Ax, Putvapacon! Oh, Grandison! ‘On, Richardson!" NURSE {he b, ‘yyema bit jelfio—ge'nix,—suplruk — vaf B 1 penn Gun cme CYMpyT nal, In those times, was sill betrothed the husband yours, nm vi pane'vole taglda —meyttali o_dru'gm Ho mt nonenaie yorta == Mewraim =O AYTOM, but you unwillingly then were dreaming of another, kltorij yersem_ i ulmom vam ‘nrayitsa golrazda ‘bole Koropuit cepanew Mom «BAM _—mpanniiea ropasxo Goue! tebe 2 ocbeeat oie amd lad -) yon Sitka ee madets Petinted a {Un those days, your husband was only your betrothed, but unbidden your dreams were of another, whose hheart and mind you liked far more!) povels of Sir Samuel Richardson (1689-1761) and i particular his History of Sir Charis Grandison (1754) esi mmm tet a Ie fl popular among Ross ran works in Frech tration. Hence he ses on the fia sylsbe ay_ grandson! 'ox_ riferttsont]222 Eugene Onegin, Act I LARINA yet ton bit ‘stavnij front = igisk_f—‘gvardii_ger'gant Bex om Guim caasuuti par, HIpOK = M_—BADANH cepwranT! Youknow, he was aglorious dandy,” gambler and guard sergeant! (You know, he was « glorious dandy, a gambier and a sergeant ofthe guard!) kak ja fyegda bia aleta Kax x nceran Guan oneal How 1 always was dressed! felda pa Imei k_fitsn Beeraa 10 more mk amy Always according to fashion and _ very becoming to me! (How I dressed then! Always according to the latest fashion and very becoming to me!) NURSE daving —projetfie ga'da—sfg'da = pa__ ‘mae Sik iltsu Janno mpomenmme roma!’ = Beeraa— no mone oo mk anny! long passed years! Always according to fashion and in good taste! LARINA no drug bez_—majelva—_salyeta Ho sapyr Ges Moero —_conera. But suddenly without — my consent. (But suddenly without asking me.) NURSE sye7'l yne'zapna vas k_yen'tsu Coen anesanno mac x penny; They brought abruptly you under the crown; (They brought you abruptly under the crown;)! LARINA ‘ax kak fa 'prakata snalYata s__ suphrugam fut Ax, Kak a nuaxaaa enanana, € en cympyrom syme ne paanesacs, O% how Ii. ied att tion Ee Mey) irene (Oh, how I cried at first! From my husband I nearly separated) pattem —xalzajstvam zana'.as Tlorom —_xeasiicrnom sanuaes, later with household matters occupied myself, pyiivikta i datvsjna ‘stata Tipweura = onomunacrama, used to things and contented became, (later, occupied myself household matters, got used to things, and became contented.) PT Re ok sly plato be ns oft tet pon a a sian Fate roa {is the expression “to go under the crown” meaning to be wed, re best man and woman.ny! aste! 2 are not n. Hence Eugene Onegin, Act 1 223 NURSE Pa'tom = —'ftobi ras'sejaq_'goye guida peitiear —"bayin —fskope Horom, robs paces, rope, cwxa_—=smpwexax Gapam cope, Later, imorderto dissipate sadness, here came master soon, vi tut xalzajstvam zano'lig Bu tyr xossiiernom sanaaues, you here with household matters occupied yourself, prilvikli i da'voint ‘stat =i 'stava —‘bogu Tpusuicam = opoubust cram, =H caapa Bory! used to things and contented became. And glorybe to God! (Later, in order to dissipate your sadness, the master came here. Soon, you occupied yourself with household matters, got used to things, and became contented. And so, God be praised!) LARINA, NURSE, privitke ‘svife. nam da'na —_za'mena 'feastiju ana TIpmmsnca cute = aM lama, samen cxacrino oma. Routine from above tous isgiven asubstitute for happiness itis. da ‘takta tak Aa raxro rag: Upwnsraxa cme... etc Yes, thatis 50 (Routine isa gift from above, itis a substitute for happiness. Yes indeed.) LARINA Kor'set)—al'bom = xjag'nu—paljinu —gtibof——_fustyifelnix tetra Kopcer, as6om, xuxny Tloaimmy, cTKon—4yRCTamrembunIX —_Terpame - Corset, album, Princess Pauline, of poems _ sentimental notebook ja go caine eb sefuuae. 1 all forgot. (The corset, the album, Prineess Pauline, the notebook of sentimental poetry forgot it all) NURSE : ‘staji—Yavat_——akutkoj 'pregnuju seljinu Cram ana. Axyaxoll mpexmowo Cearmmy You started calling Akulka—_ the former Celina i abna'yiji noka'yets na__ vale 'fuafok_ i felpets Mi o6ttonmam waxonen ma mare miter seven, and renewed finally on cotton quilted robe and cap. (You started calling the former Celina just plain Akulka, and finally, you accepted your cotton-quilted robe and cap.)' when she renames all her see girls with fancy romantic names Pushkin writes aout Larina going hough a tgs when sts renames Te SO dined of he ane like Celina, Laura, ot Lucia. But today, she has accepted ‘dresses she now wears warm cotton-quited robes and caps224 Eugene Onegin, Act I LARINA n> ‘muy mena furbin.—_gey'defna Ho myx ens abn cepaedHo... But myhusband me loved —_‘fullheatedly. NURSE To tain vas futhin —gepifefna Ho Gapmn mac av0Gua —_cepesno.- But themaster you loved fall eartely LARINA va_ ‘fom ——mye_lyeravat bes'petfna Bo” cfm me nepona Genesio. os = ee (Gut my husband loved me fll heartedly, in everything he tuted me wholly) NURSE i : vou fom vam ‘yeravat. bey'peina Bo veix nam neposaa Gecnen0. Tin everyting you trated. wholly (The master loved you full heartedly, in everyting he trusted you wholly.) LARINA, NURSE Tipunurica emiime nam nana... etc Number 2. Chorus and Dance of the Peasants, As the peasants approach, they are heard singing. CHORUS LEADER, ba'jat mali ‘hori nogenki sa_pahodufki Bonwr Mom ckops oxen co noxoxymnx. Ht my swift legs from walking, PEASANTS ‘skort Imogen sa__pabodufki Cxopis —momemxn co noxoaymca, Swift legs from walking. CHORUS LEADER ba'fat mal "hers ruenki sa robotuf hi Boar om Gems pywennixn co paGorymncn Hor my white Runde fom Renee PEASANTS "peti 'rutfenki sa__ra'botuski + Bet pyweubn co paGorymny, white hands from working (My swif legs hurt from much walking, my white hands hurt fom much working.)fre'mit —malp lear 08 Throbs my ye_ zngju He ana Don’t know yeltivoje permnoe fiery kag_'bit ax Gury, hhow wo be Eugene Onegin, Act 225 ‘gertse sa cepame 0 heart zalbotufki aaGorymnex. from worrying kak Ju'beznava kak oGesnoro how my beloved za'bit aa6urs. to forget. (My fiery heart throbs from worrying. I don’t know what to do, how to forget my sweet one.) Some peasants come in carrying a sheaf, decorated with flowers. ‘edrastvuj 'matufka_'barina —zdrastvuj = 'nafa_——_—karhmilitsa Supascrayl, — arymmea-Gapums, aapanerayit, mamma. Kopwnaumia. Greetings to you, dear Mother-Lady'” greetings toyou, our provider. vot mi ppilfi kk tvalej—pitasti Bor su upmman x TBocl —MuaoerH, Here we come to your =— grace, ‘snap —_pyinesji__razu'krajennij 3 'yatvaj — polkonfili mi cuon ——upumecam pasyxpamenmii, © C_—xarsoli noxonsmmm =o. sheath we brought decorate. With harvest done we are (Greetings to you, our dear Lady! Greetings 10 you, our provider! Here we come to your grace, we bring you a decorated sheath, We are done with the harvest.) LARINA o_J_i——pyethrasna——_yeselites ro © m ——upexpucno, ——_neceamrech. Well then, ‘excellent, make merry! ja ‘ada vam pra'poite 'Yto_nibut a param. Mponoitre ro - n6yn Tam happy to (see) you. Sing something PEASANTS fu izWvolte ‘matufka poltefim "bariqu Honoxere Maryn. orem Gapsino. As you wish dear mother. Let’s entertain the lady. ‘nu ‘defi = f_"kruk —sxaldites nu 'f>_ 3 vi stanalyites : i cxommrecs! Hy Tenis, crauonurech Hey oe a a come together! Hurryup (~) you, take your places! (As you wish, dear mother! Let's entertain the lady. Hey girls, come together ina circle! Hurry up, take your places!) "The word sarrymnea is a diminutive of mars [mat) samen and others are similar to lian ta, eta a in ‘original name or noun. Such forms of peasants addres Lana 88 dimicutve of faer, Garmanes(ootfkal. ‘example, the Oe common in te pessh ofthe ver clases Here or ne waa gonnre of eneaent ad respect Ineienly, the — mother. The diminutive endings such as yma, emia, yuma, Figaretta, Susannetta, Masett, etc. They add softness to the served for priests and men of high authority such a the Tsar,226 Eugene Onegin, Act 1 The peasants sing. The girls make a circle and dance. While they sing. Tatiana and Olga come out onto the balcony uf kak 'p>_ mastu — mas'bku ——pa__ka'linavimn da'sotfkam Ya ax mo Mocry, — Mocrouky, mo. aLTHOBLIM AocomKam, (©) how over abridge, alittle bridge over the white hazeltree planks Wvajnu ‘vai vajnu aja. Bainy, aitny, —naiiny, ‘Tralee, tra-le-la, pa_ kallinavim dasotfkam You pra'fou eine To xaamnopum noconKaM, més-upomét aerana over the white hazel-tree planks, was walking and passing a young lad ‘stovna aged —ma'fina—_"vajnu vajmu—'vajnu Caonno —sroxa-—aatmna, —naliny, paiiny, —aliny, Tike berry- raspberry traca-la, ‘rola, tra-lo-la, (Over a bridge, a litte bridge, over the white hazel‘rec' planks walked and passed a young lad. He is as handsome asa berry-raspherry.) na_ ple'fe — epd__du'binku pat_pattsj —yelot_ = vatinku Ha naeve —uecér —ay6unxy, mon nono —mecér-—— woman, ‘Over hisshoulder he carries aclub, ' beneatha lappet hecarries a bagpipe, pat_pa'to} yest. —valtinku pad_drulgs) nelgod_—_gu’datiek Nox moxok —wecér —noauamky, OX apyroli mecér _—_ryqouex, ‘beneath a lappet he carries abagpipe, beneath the other he carries a penny whistle, (Over his shoulder he caries a club, beneath one lappet of his coat he caries a bagpipe, beneath the other, ‘ penny whistl,) doga'dapa —mit_dru'pfck © ontse «fara ge ‘pif Aoraxaicn mx apyxouex, comme ceno.=s re enum an! Take a guess dear darling friend, thesun has set you aren't sleeping perhaps! (Take a guess, dear darling friend, the sun went down, pechaps you are not sleeping!) Niba ‘vii Yba if iba safu Nba tmaju JIméo muslim, am60 mau. JImGO Cay, Either coment, or vendout Eiter — Sea’ op Maes! ‘Yo Ndufenku patraju Jiu6o—xymiemsxy = Tlapamy, or the sweetheart’ Parasha, (Either come out or send out — send ether Sasha or Masha or the sweetheart Parasha,) ' Tris doubeful that planks can be sawn from the White Hazel-Tree Vibwrwm is i sn "Te tens Ri ty of Ba eet ini ind te Dahle bnces fans ae eto ra swe he. Tse es, fcc Plot ependclcreend tires opa Eugene Onegin, Act I 227 po'rafenka —vixa'dita $s 'mitim efi gavalrita Tapamensxa — sutxoquaa, == MUTI pea = rowoputa: Parashenka went out with sweetone words spoke: (Parashenka went out and told her sweet one:) ne__bes'sutka moj dru'gotfek He Geecyanxa oli spyxoxex, don't take itamiss my dear friend, {fom xalfita f_bm_i ‘ijia » aim xoamia, 8 TOM MH Bumaa. in what Thad on, in that 1 went out ‘ugenkoj ruba'fonke va__kalrotkaj ponitgnke = 'vajmu xynensxoi PyGamouke, Bo Koporkolt nommxomke. —Baiiny In filled with holes little shin, ina short camisole, Tro-lola (Don’t take it amiss my dear frond, that lam wearing whetever I had on, a shie filled with holes and a short camisole.) Number 3. Scene and Olga’s Aria. TATIANA (holding a book in her hand) kak ja Tube pad_tzvakt—tpeyen ex Kax a = «me6n = Oa KH mecen ore How much | love 0 sounds of songs these metftami una'sitsa ina'gda ku'da_ta_daje'ko Mevrawa yMocnTbes HHOra = -kya-TO.Aastexo! ingreams, fy sometimes somewhere fit (How much Love, to the sounds of these songs, to fly away in dreams somewhere far!) OLGA ox ‘ana tana fe'gda—_ metas i Ax, Tana, Taw ‘Beeraa = Mewracms = Tu. Ob, Tania, Tani ‘Always dreaming you are. a fa tak pe. mye ‘yexta = Ka'gda ja tpenje tifa A a tax me But Tam so not likeyou. Tam happy when I (Oh, Tania, Tania! You are always dreaming. But Iam so much unlike you. Lam happy when I hear the singing.) Dancing a few steps. ‘uf kak 'po_ mastu pa_ ka'linavim datsoftam Ya ax 0 mocry, —_ MOCTOUKY, mo KAAHHOBEIN aeconxam! (how over bridge, little bridge ‘over the white hazeltree planks!228 Eugene Onegin, Act I ja ne_spalsobna g_Igrugti"omnaj me cnocobna x rpycrm —_Tomnoit, Tam not capable of sadness ‘languid, ja ne_ fubya —meftay f§__ tit x me a6 = wewrars om THM, T don’t like todream in _ silence, i] na__bar'kone ‘nofju—pmnaj_— veda iz__ghubilni duft Has wa Ganxone nownio —réwuoll | sauuxars 2 rarySmme Ay. or on abalcony atnight dark’ tosigh_—_from the depth of my soul (Lam not capable of languid sadness; I do not lke to dream in silence or, at night on a balcony, sigh from the depth of my soul!) zaljem —_vedi'xat kagida — fcos'jiya mali dni Mjunije —'kut Basem — mamuixarh, —KOTAA—«“CAETANBO MoM ANH fouMe —_TeKYT? Why sigh when happily my days young flow? (Why should I sigh, when happily flow the days of my youth?) ja bezzalbotna «=i fatayliva mena yelhonkam fe za'vut A GessaGorma =m maontuna, enn ——peGénkow ee sonyr. Tam carefree and mischievous’ me child everyone calls. (Lam carefree and mischievous; everyone calls mea child.) mne —"buded_ ‘zn fyegtda— mua Mme = Gyer_ usher wna, Tome — willbe ‘life always sweet, i ja a'stanus kaki 'pregde ms ocranyen kax a upeate, and 1 shalltemain like (=) always, pa'dsbna naldesfe pez'va —_es'petina yese'ta Morons manete, pes, — Gecneama, neces! simi dream, frisky. carefree cheerful! {ome fe willatways be sec, nd hl min as nyse ih Sram, shy cares and A me cnocoBna x rpycrm ToMMOH.. ec ‘Number 4. Scene. LARINA nu iti mala vastfufka —_yelpiaja fee na "e2va) tay Hy mu, mos noerpymea, —necSiatompenman us — Well, you, my fishy litle thing, merry andi cola ' This is a good example of the importance of distinction between the sound of the words 78aolt (dark ‘between hard and soft consonants. ‘The only difference sd Fommol (languid) isthe sound ofthe initial letter.Eugene Onegin, det | 229 ja ‘dumaju ple'sa} ue gatava ne 'pravde_ fi SH pyuawo—nascars ye rorona, He pana an? 1 ‘suppose todance surely youareready. isn'tit true (~) (Well, you, my frisky litle thing, you are like a merry and playful bird. 1 suppose you are surely ready to dance? Isn't it $02) NURSE talqufa 2 taqufa fo s_ta'bo) uf ne_ ballna_fi Tamoma, 2 Tamoma! ro ¢ ro6oK? Yr ne Goxnun am Ti? Taniusha (dim), hey Taniusha! What's with you? Pethaps ill (-)._-youare? (Caniushal Taniushal What's wrong with you? Pethaps you ar ill?) from TATIANA net ‘nana ja_zdatova Her, mau, a20pona. No,” Nanny, Tam all ight, LARINA (10 the peasants) nu 'mitije — spasibe vam za_tpesyi —stulpaje k_figelu Hy, smasie, cuacuGo pam 3a een, —crynaifre x pumreavo. Well, dear ones, thank you for songs go tothe wing ofthe house. (10 the Nurse) filipewna a & yell im ‘day yina ‘@urmneni arm oem ugar nama, Filipievna,' and you, order them togive some wine. ‘And you Filipievna, order that they be given some wine.) (io the peasants) pra'feajge ‘drugi Tipomaitre apyra! Goodbye friends! PEASANTS. pra'fajte 'matufka e, and Tpomaitre Maryunxa! Goodbye ear Mother! The peasants follow the Nurse offstage. OLGA ma'mafa pasmattyije_ka na ‘tay Manama, ocnorpure-sa ma Tam! Mother, look Pelagia ing the dauchier of Philip. The polite way of addres in is way of address i rather peculiar. In paps were addressed in that way. In the nineteenth century, however, ‘the sixteenth century, only the great =A ifference addressing someone by a patroaymic only, without the first name, Classes, Tn this ense, when madam Larina addresses the Nurse a Filipievns, it is very informal, familiar.230 Eugene Onegin, Act 1 oe i 4pramy moj ‘duk — Yled'na— ti ‘bien, A wre? ampawn, molt xpyr, = Gemma tut one. ‘Ah what? Indeed, my friend, pale youare very (Oh my! Indeed my friend, you are very pale.) ‘A fo yeeda | tha vi ome ey Sl oncerma=raxas. «= BM ne ‘rpenoxrecs, Tam always so. You shouldn’t worry ‘¥en ingelyesna tb fo giltaja Ove uurepecno TO, "To HTaI0. Very interesting is that, what Tam reading. (What I am reading is very interesting.) LARINA tak_atta'vs bjedna Tax orroro — Gxeaua Tui? So thatis why pale ‘you are? (So, that is why you are so pale?) TTATIANA da 'kag_e ‘mama —'poyess_— 'muk ——_gep'deynix Ha xax xe mama! — Hloneers yx ceprewmnix Yes, why else Mamal — Thestoryoftonments ofthe heart ylub'pnniy_—dvux mega van mujer BawoGatmmx mnyx ema poayer, of lovers wo ome moves, me = mg_'gq) iy hednix ‘ox kak a'ni stra'dajut Mue rx amor Sexmux! Ax, ax on erpaxawor! Jam so sorry forthem poor ones! Oh, how they suffer! (Yes indeed Mama! The story of two lovers, tormented by troubles of ‘the heart moves me; | am so sory for them, poor ones! Oh, how they suffer!) LARINA ‘pone ttaga——_bifvata a kok Tloano, Tans, Gunaso a Kak Come now, Tani itusedtobe,that | justtixe Jag ‘efi vatna'vates > lta 9TH noamonanach. Be8 sto these was exited. ‘vimige. pra'ji —ga'da sunuuces. Hpoman reaa- Allofthem are fables. Passed are the years, fo v_ ‘Bint 'god_getoiet — spattojna ja wre pun net repoes. Cuoxelima 2, that in life (there is) no heroes, Calm {roubled by these books. All of them are fables. The years reno heroes. | am calm now.)Eugene Onegin, Act] 231 OLGA na'prasna tak _potkojni Hanpacno = tax noxolimut! Invain youare so calm! smattrite Martuk vaf vi 'gyag_ za’ Cuorpure, — apryx sam mui cure saan! Look, the apron yours you totakeoff forgot! ‘nu kak priljedet 'Jenskaj —ft>_tagida Hy, Kak mpwexer JHenexwi, 10 rorsa! Suppose, comenow Lensky ’ what_ then would be! ‘Yu padje'sgagt —'kt>_ta ‘eta ‘on My! Moxsesaaer — xro-ro, 30 on! Hark! Is coming closer someone, itis he! {in vain you are so contented! Look, you have forgotten to takeoff your apron! Suppose Lensky comes hhere now, what then’? Hark, someone is approaching, it is he!) LARINA i f_ ‘samam dele eamom exe! And in very deed! (And indeed! idiom) ‘TATIANA Baimee. cin xm alone. A "to_b_ ‘eta Kre 6 aro Gua? Who (-) it NURSE (rushes in) ; ie tudarige peut Yonskoj ‘bayin—¢_"jim_—_gespadin a'negin Cysapums, ——upmexan STeackail Gapun, mwa rocnoxmm Onernat Madame, "has just arrived Lensky Sir. withhimis Mister Onegin (Madame, Sir Lensky has just arrived, with him is Mister Onegin!) TATIANA ‘ox ska'yeje —_ubelgu Ax, cxopee —_y6ery! Oh, quickly T must run away! | LARINA | kulda ti tana feta—asuat Kyaa mm Tans! = Te6 ‘cya! ; Where are you Tania! You _will be misjudged! (Where are you going, Tania, you will be misunderstood!)232 Eugene Onegin, Act 1 "batufki a_ Yepiik — moj_na_ba'ku Bariomn, =a seman ott ma Goxy! Good gracious, and the cap _mine isto one side! (Good gracious, my cap is all crooked!) OLGA yeliw_ 3 —_pra'sit Beawre xe mpocurs! Order (=) task them int LARINA : : pra'si ska'yej —_pralgi Tipocn, cxopell —mpoca! quickly, ask them! Number S. Scene and Quartet. Enter Lensky and Onegin. LENSKY (Kisses Madame Larina’s hand and bows tothe girls courteously.) me'dam jana getha gat Igmetast privet prifjatela Mesdames! ma co6a_=— maa ewenvcrs, —upmnesrsmpasreas! Mesdames! 1 upon myself took the boldness, to bringing an acquaintance! qekamen'duju = vam. a'negin = mj salset Pewomentye naw: Onerum, nod cocer! Trecommendhim toyou: Onegin,” my neignor! (Mesdames! I took upon myself the boldness of bringing along my acquaintance! I recommend him to you: Onegi, my neighbor) ONEGIN : ja en Gash ovens exacram, Tam very hed. LARINA po'micuje mi radi vam peta vod “dofert ‘ait Tishcunyliv, ssc pent em weer ne jasvomn on! Have mercy, wearchappy —_10(5ee) you, sit down: here are the daughters mine! (For goodness ske, we are delighted o see you, pleas sit down; these are my daughters) ONEGIN ja 'oifen, ‘fen, ‘rat A ovems, = ovens pan. Tam very, very happy. LARINA vajdomte f_ 'komnati Bolizewre xommari.. Let's go into the rooms,Eugene Onegin, Act 1 233 ee mare xa'fite “vozduge as'tatsa i, MOmeT OLITS, — xorurTe nouyn Or,” perhaps,” you would like meee Srna praju vas hes tseye'manij Tpomy pac, 6es Tepemonnit Theg you without ceremonies mi salyedi tak nam filgitsa 'neveva nut cocent, Tak mam © smmuruca ever! Weare neighbors, so tous tobeformal _there isno reason! (beg of you, feel yourselves at home; we are neighbors, there is no reason tobe formal!) LENSKY prellesna wes uu «ja etat_'sat Mpeneermo —aaeck! = ToGo mor can Lovely itis here! = Love. = this_ garden ‘ulkromnij i felnistij y_ 1pm tak uljutna yepowmt =m renmernii! «= Bont Tak = yrorl Secluded and hit, itisso cozy! (itis so lovely here! 1 love this garden, both secluded and shady! It is so cozy here!) LARINA Pye'krasna pajidu — paxtepa'tat «= ja v_ ‘dome = pa_xalzajstvu Tipexpacno! —Toliay —soxaonorare «3 © Boome mo xoamiierny, Wonderful! Going to take care Tam in the house of household matters, a vi gasej_—zajimite ja gefas A put rocreit —salimnre, SI celtuac! and you the guests entertain, [ shall be back soon! (Wonderful! 11am going inside to take care of household matters. And you (girls) entertain the guests. 1 shall be back soon!) Before Larina leaves, she motions Tatana not to Be shy. Lenthy and Onegin walk over to the right, Tatiana and Olga stand on the opposie side. ONEGIN ska'gi——a'toraja_taf{jana mye ‘oYen, Juba'pitna "znat xoropaa Tarsama? Mue one savoomurrno aman. who one is Tatiana? am very —_ interested to know. Kaltoraja grusna =i matfaljiva kak pee xoropas 2m Morvanmpa, kak Crevitama! whichis Sed and silt tke Svetlana (1783 ~ 1852). A parallel between Svetlana and inclined toward romanticism and superstition. ‘ukovsky's heroine, sees. a ! Svetlana is the heroine of an 1812 poem by V.A. Zhukovsky Tatiana indeed can be drawn, Both area bit melancholy, both ar i The most obvious similarity, however, is that Pushkn's Tatiana just lke the subconscious dream, which she takes as prophetic.24 Eugene Onegin, Act | ‘ONEGIN : netufta i yiubypn yy peter Heyaro ™ auoGain » wemnmye? Can itbe true that you are im love with the younger one LENSKY aif A sre? ‘And. what? ‘ONEGIN arg ‘ jo vibra bi dru'guju kagida_b ja ‘bi. kak th A mbpax 6a pyr, xora 6 a Gun Ka TH 1 would have chosen the otherone if’ (=) was._like you ge or eS) ‘signi Inet Booveprex y Omrm xusum ner, Inthe features of Olga iife there is no, ¥__ van'dikavaj—_ma'danne 2 Bananxonoi = Mazouue. exactly as in Van Dyke's. Madonna. (Chere is no fife in Olgn’s features, just like inte painting of Madonna by Van Dyke.) Krugita kras'na_—fittom = alna——kak eta_'gtupajaLu'na Kpyraa, xpacua — ammoM oma, xa ota rayman aya Round and preity inface she is, ike this stupid mwon na__stom_'gtupam neba'skione ja Wibran_bi——drulguju Ha stom raynom weGocxaoue! 51 auiGpa 6x poet moot! a poet apyryi! upon this stupid shy! 1 would have chosen the other one! (er face is round and pretty, like this stupid moon upon this stupid sky! Twould have chosen the other one!) LENSKY ax ‘mij = dmuk = vaving i ‘hamen Ax, Maat apy, ponma ‘Oh, dear fiend, wave and. rocke sti'st i 'proza'pt_i'pramen crea mposs, atk naavems, thepoetry and prose, ice and fire ne__ sto} ragtivni mef_—salboj kak imnaj 7 Le Be ‘mi vzalimnaj raznalta} not asmoch differ from eachother, ‘ae ts BaD < (Oh, dear friend, wave and rock, poetry and prose, Dy 8 we bymutual contrast! » Ice and fire differ less from each other than you andEugene Onegin, det 1 235 TATIANA ja dagda'tas at! krilig ‘oa ja 'znaju—eta_ Ho roxaasace, —orepustme> on! sua, 970 ow 1 stopped waiting, opened are myeyes! 1 know this is he! (My wait is over, my eyes are opened! I know, he is the one!) ulvi terer i ‘Gui i moh tanks) aditnakaj ‘son You reneps am M HoWM mM xapxnii —oxnoxmil com, Alas, now both days and nights and thehot lonely sleep > Mfg nalpomnit. bras iuij Be&, ncé manoamer opr: until, all” all will fill the image dear, (Alas, now both days and nights, and even the hot lonely sleep (the state of dreams), all will be filled with his dear image,) bez_—fumatku van'febnaj ‘gia Bes ymoaxy, nomme6uoi —cx.z0H, without stopping, by magic power, co "budet — mye tyer'if’ —a__ ‘gpm Bee Gyxer me rnepamrs 0 néM everything will tome speak about him i tdufu ‘et Jublyi —ag'yom H oaymy ews sno6am owe! and thesoul bum ——_with love's flame! (Ceaselessly, with magic power, everything wll speak to me about him and burn my soul with the flame of love!) oLea : ay tata ‘znata=ja ft pajayenje ——alnegjina Ax, swan, suai 4,70 omnaene ——Owermna ‘Oh, knew knew 1 that the appearance of Onegin Proizye'dot —na__'feey___ballje—fpetffenje Upowmnenér nex Ma mo 3 den sexi} © mal Ho net x rem ness, © yest But still (-) day whole ‘dotgaj ‘den, pra'for raz'tuke eta__ 'yejnast Aoxrait —xens upoméa Patayxt, 970 newnocra! ‘tong day has passed in separation, iis eternity! (© yes, but still a whole day hs gone by apart from you its like eternity!) OLGA ‘yeFnay} Kalloje ‘stv strafnaje.yatnast Yen aldin Besmocra! Kaxoe cnono—_erpammoe, netmocrs, xem onmn! Eternity! What aword dreadful, etemity, deg (Eternity! What a dreadful word, it was just one day!) LENSKY ja ‘stova —strafnaje n> ye_ dja mat Be cme cena oe nen Yes itisaword dreadful, "but not for’ my (Yes, it isa dreadful word, but not for my love!) (Olga and Lensky go into the garden, och, ska'gite ad 9 'dumaju diva Conant, iwelisc al agen ee ee wa oe aie ee mee pyetskufna ‘dey V_ptulfi ' . mh wae _n ae Prellesnaj no da'pkaj eat boda tite is ouaeuee Perhaps TRCRCETHOH — no nasil.Eugene Onegin, Act I 237 ne_'dumaju — fob_'mnoga_razyfe'fenij. dann. = vam _—bina He aywaw, sro muoro—pamacuenmii. nano na. Gua Idon’tthink that much entertainment given. © toyou wast (Tell me, I think that you must be very bored here, in this isolated countryside. It is surly lovely but so remote. Idon’t believe that you have much entertainment here!) TATIANA ja filtaju—Imnoga aura aenoro. 1 read alot ONEGIN 'pravda daipt nam —‘fenje "tema —'pif:i_—dla_u'ma i 'gertsa Mipanna. Jagr mam wremme—Geammy = HIN aN yMa_cepana, Tre. Gives tous reading abyss (id) offood for. thought and heart n> ne_ fye'gda ile} nam ‘magna knignj Ho ne ncerma cwners am om, —WRTO, but not always wosit—_forus_ispossible with a book. (tis true that reading gives us an endless amount of food for thought and heart, but it is not always possible to sit with a book.) TATIANA mefitaju ina'gda —_bra'da pa_ ‘sadu Mevraio moras, 6pons mo caay. [dream sometimes while walking inthe garden ONEGIN Gas. Yo RHYL mjettajete 0 wim emt mewraete? About what (-) doyou dream? (And what do you dream about?) TATIANA : za'dumfivast maja —paldruga at_ 'samix — kati'belmiy_—_ ‘de Baayorumnocrs- mom Mompyra or camux — otaGezamaix nell. Therevericis my companion from my very cradle days (The reverie is my companion from my earliest days.) ane " ka'gda-ta "bit ; i ef ta wlan i ja takim ee ee een ‘And 1 likeyou longago was! 1 seethat you are dreamy terribly. like (see that you are terribly dreamy. And I was just like you long time ago!) They walk off while Olga and Lensky return eee a tyjgakak ad'na —fe'zumnoja dua peta A some nae, Digs sere ae soulof poet love you formal), Ole,238 Eugene Onegin, Act I jeio —fulbif —asuggerna feta yeyde © ad'n>—_met'tanje Em —so6wrsocyaeena. Berta, pesze— ono Me"Tambe, stil tolove is fated Always’ everywhere isone dream, ad'no —pri'vifnaje ——_setuanje ad'na —privvifnaja——pe'fal Onno mpunurinoe —xeaame, oma mesa! one familiar longing, one sadness! (Love you Olga, as only a poet's mad soul is destined to love. Always, everywhere I am possessed only by one dream, one familiar longing, one familiar sadness!) ja btrog_ bi, ta'boj ——_plenom A onpox = Gus, TOU ©=——aenEmmasi, 1 asaboy was byyou captivated, sestdetinix muk jo ye 'znaf Ceprewmix My emé me aman, the heart’s pangs yet ‘not knowing, jo bit syildete]umtynnij vax mtaldentfeskiy_zalbaf Huan consereas ywntumsth Tony wazanewsecknx sa6ant Twas awimess enamored of your_—_childish games! (As aboy, even before I knew the hearts pangs, Iwas captivated by yous Iwas an enamored witness of Your childish games!) f{_ tent -xra'nite|naj = dublevi ja razfeJan. tva'i zalbavi Boresn xpaumreapnol = ay6panmt = = pasaeaaa = TBOH 3aGami. In theshadow ofasheltering grove. —'1_—shared-—=—your_games, (I shared your games in the shadow of a sheltering grove.) tax ja Juba eb A's tee, Oh, 1 love you, informal)’ kak ad'na — duja— poeta kahit Kak onm ayma = nosra—roabo snob. as only thesoul of apoetcananly loves. (Ob, [love you, as only the soul of a poet can love.) ti adina —v__matix —mefftanjax ti ad’ map ehtanje ‘Ta onma =n Momx = wesramssx, Tat amo OB ena, You aloneare in my dreams, you alone aremy desire, "In Russian there is a clear distinction between the formal to French mu and vous, oF Italian tw and le (archaieEngene Onegin, Act 1 239 "i mye ‘radag} i stra'danje Ta ne Pamocrs Mm —erpanamse. youare tome joy ‘and pain, (you alone are my joy and my pain.) ja ube eat ikalgdaifto A —mo6m0 eG, mcorza, mero: 1 love you and never,” nothing ni axtas'dajuf:aja ‘dal ni_ "Yas raz'tuki ni___ye'gelja Yfum Hu oxaxtaomax sath, mH sac pasnyxn, MM necestu mys neither the cooling distance, __northe hour of parting, nor of merrymaking_ noise ne atyeg'yat dui salgretaj. defstyennim —ag'nam = Jublyi He orpemar nyu, —eorperoll nenernennum ornéw 006 will not sober the soul, warmed bythe virginal fire of love! (Llove you! And never, nothing ~ neither the cooling distance, nor the hour of parting, nor the noise of merrymaking — will ever cool the soul, warmed by the fire of virginal love!) OLGA, Pat_ —‘krovam = ‘yelskaj—fifnt ruse = s__tabojuymexte ‘mi Tro xponom cexbcxo# THUIHMIS, poctm € —ToGom —ecre MB Beneath the shelter of country peace, grewup with you together we i 'pomnif profi yen'ist_ uf v__ ‘annem — 'detstye H nommum, npowau emus yx B pannem —nercrne ‘and remember,” predicted the crowns already in theearly childhood mam s_talloj ‘nat altst Hom = ¢ roo = mam = oTmu. tous with you our fathers. (in the shelter of the quiet countryside we grew up together, and do you recall, our parents predicted the ‘crowns! for us, already from carly childhood.) ‘Number 7. The final number of Scene One. Lariana and Nurse came out on the terrace. It begins to grow dark. By the time the scene ends, night has come. LARINA 2 wit ido oe Hes A nor wom! = Kyza me meaaeh ‘Ah, here youare! Where has (—) disappeared to (Ab, here you are! Where has Tania disappeared 10?) NURSE darging__ bit u_ prulda —guilojed_ 2 ‘geste Homeno Gare mya yamet grec (She) must be ext tothe pond_promenading with he guest "See footnote | on page 222eee rr 240 Eugene Onegin, Act 1 | pajdu je" pa'kjikay Hoiiay ec —_noxamxars. } shall go her to call ! (She must be promenading by the pond with the guest; I shall go and eal her.) LARINA da ska'si-ka fej patra- de Ykomnati gayi —_-galtodnix Aa cxaxn-xa et, mopanne xonmars, rocreli — ronoqmusx ‘And tell her, it'stimeto go into. the rooms, the guests hungry pa'potifevat fem "box. pa'stat Tonorsesars — 4e Bor mocaaa! to treat with what God has sent us! (And tell her that itis time to go inside and treat the guests with what God has sent us!) Nurse goes out, Larina addresses Lensky. prafju vas pa'gatujfe Mipomy ac, oxazyitre! Tbeg you, come in, please! LENSKY mi 'fsled_— za__'vami Mui metex 3a nant We will follow after you! (After you!) Larina, Olga and Lensky enter the house. The stage is empty for a moment, then Tatiana and Onegin ONEGIN m9} ‘dada ‘samix —Wesnix —'prayit, ka'gda ne_f_'futku —zane!mok Moi = amam_—=caMaX—eermuix mpanmt, Kora mem myrky sameMor, My uncle of the most honest rules, "whem he not as joke fell ill, on uva'zat. seha——zastayi. i fuutye —vidumat_ne_tmok Ou ynaxars ce6m = sacrapma, = m= aysme —auiaywaTs ne Mor, he torespect himself forced everybody, and better to invent could not, evo pyiter dru'gim na'uka 19 tboge mj kalkaja—‘skuka Ero mpuep mpyrmm maya. Ho, Boxe moll xaxast ca his case toothers is _anexample, But, ©God mine how boring iis z_ balinim gig i den i may e_atealda \ \ aa TS Jose ‘prog Cc, Commun cuners 6 Aeub Moms, we orxon = mm mary pont! with asickman tosit both day and night, not leaving even astep away! (My uncle, of most honorable habits, when he fell seriously ill, could think of nothing beter than to force everyone to respect him. His case should bean example for everyone, But, my God! How boring it sto sit with sick man both day and night, not leaving him even fora seuond!)" : "This stanza opens the Pushkin’s novel,Eugene Onegin, Act 1 241 NURSE (coming behind them, eavesdropping) ma'ja—ga'tupka skta'niv galiofku i 'graski —_apus'if Mos —rosyGxa, ckaommm romopky om —raaskn —_onyerna, My turtledove, with bent head and eyes lowered, iiqot smis'nenka ——stidiiva__"bojna wate eruazmna Goxsno! walks ly shy very! (My darling dove! How humbly she’s walking, with her head bent and eyes lowered. She isso shy!) a i_ ‘> ne_ —pfiglatnutsa_ fi jj ‘barin —etat__'novij A wm! He upmraamysca ame Sapam = oro omit? Well, maybe! Perhaps istrative (=) toher gentleman this new? (Well, perhaps, she has taken a fancy in this new gentleman?) Scene Two Number 8. Introduction and the Scene with Nurse. Tatiana’s room, plainly furnished. By the bed a bookshelf and a writing lable. Tatiana, ina white nightgown, is siting in front of the mirror. Nurse is with her. NURSE : nu zabat'tarag ja para uf tage Hy, sa6oxramacs a! Top, ym Tams, Well, too much chattered I!_—“Itis late already, Tani franate'ba SS ja_—razbulu k_ alhedne —zas'ni ——ska'ye} Pano rent pastymy x oGene: scum cxopell. early you T shall wake for theliturgy, goto sleep quickly (Well, I've been chattering too long! It is late already, Tania; I shall wake you early, in time for the liturgy; go to sleep quickly.) TATIANA ‘ ye_ ‘spitsa ‘nana = afegtag._'dujna He cumres, mams, sec TAK” xymimol Not sleepyTam nanny, here itis so stuffy! atkrsj aking =i gat ka__mme. Orxpoli oxno = mca KO Me. Open the window and sit next tome (ean't steep, Nanny, it i so stuffy here! Open the window and sit next to me.) NURSE ; ‘ft. "tana ‘ft s__ tabboj “ro, Tams, = 470. «© re60it? What Tania, what's wrong with you? | TATIANA a | me ‘skujna pageva'yim a a Ms Mune exyame, — Horosopm 9 Sora Jam bored. Let's talk242 Eugene Onegin, Act I NURSE : a 'Yom_ge tana ja biWvata«xra'qita f_'pamati = ye'mava o vem xe, Tans? = Gunao,xpammna op namurH = weMa0 ‘About what then, Tania? 1 usedto.— keep inmymemory many sta'yinniy__—'bilej.-—= ibis. pra_'miy_ duof__ i —_pra_de'yits Crapummix — Guuxell meta upo sauix = ayxos. = po_ ena, ancient true stories and fables about theevil spirits. and about maids, a ‘nine fg fem'noomme Stara «ft emia «tf abita «= ‘da ‘A mame me remo me cramo, To. sata, To sa6uaa, Jal but now all dark tome became, what Iknew, that I forgot. Yes! prifia —xuldaja—feyetda—zafibua Tipamaa xynaa —epena! —Samu6.zo... Came evil times! Ithit me hard. (idiomatic) (What do you want fo talk about, Tania? 1 used to keep in my memory many ancient stories, both true and fables, about evil spirits and maidens.’ But now all is dark in my head — what I knew, I forgot. Yes! Hard times are these for me! I forget many things.) TATIANA raska'si mne ‘nana = pru_'vafi_-— ‘storie ga'da Pacexaxu mule, mama, po mami —crapwe roa: Tell me Nanny, about your long passed years: bia tt ylublena talgda Bua Tu nawGtena tora? have been you imlove then? (Tell me Nanny about the old days, were you ever in love then?) NURSE ; ea sas v_inafi "ta mi ne suikali —pra__fur'bof noxno, B manu aera wu me canazn po a106on», © comeon, Tania! In our time. we never even heard. sleut lore 2b pakyjnitsa —— gyetkrof mena_bi ——sagnalta ‘ _t sgnalia sa__ ‘syeta A To noxkoiimans cpekponn mens Gur cormana co pied eet, mY parted mutheriotew — mewoektve chased fom dir ercldl (O come on, Tania! In our time, we never even hee ‘would have chased me from the face of the earth!) TATIANA da 'kog_se ti yen'Yatog. ‘gana a ax xe Tu newaanacs, naux? But how (-) you were wed, "nanny? "The image ofthe Old Nurse, or more correctly the Old Nam, ts 3 Rodionov ates seated by Pushkin from the memories of his own Soil he nay aS agen te oe ei bP very Rusia child knows them in Pushkin’ incomparable poeuy, *°T*TE many of them in verse, and nowEugene Onegin, Act | 243 NURS! tak 'yidna ‘box yell. moj 'vana_—maltage moj 'gyet ‘Tax, saxno, Bor sexes! Mol Bang wasome Molt ner, So, itseems, God willed! My Vania younger my — dear, a_ 'bita mye tytnattsit "et ne'deli 'svaxa A Guao Mme pynaauars set! = Hexen nara, and was 1 thirteen years old! Weeks ‘matchmaker, k_ male) rag'ge-—i_—naka'nets buagasta'yi K moet = poame —,—maxomen, Gaurocaonnt to my Parents and, finally, "blessed me Fath (Such, it seems, was the will of God! My Vania (Ivan dim ) was younger than I, and I was just thirteen! For about two weeks, the matchmaker visited my parents, and finally, my father gave me his blessing!) ja 'gyka —'ptaketa sa__'straxa mye s_'prayem = ‘kos. ragpelfi SL ropsko —naaxaaa co cTpaxa, ule € muayeM © Kocy = pacuiteuin, T bitterly cried from fear, "my with weeping braid they loosened, i §__'penjem = f__Itserkaf —_pa'yeli Hc nemsem = mepkoss noses, and with singing to church lead, De syobesyye f_ gelmjn— fulguju 4 por nner =m cen SYA. and so brought me into a family ia.. (Leried bitterly from fear, while I wept they unbraided my hair' and, singing, lead me to the church; and, 0, [entered a new family...) da_ ti ne_ ‘stufakf mega da mu ne exymncm wena! But youare not listening tome! TATIANA a ax ‘nana = ‘nana jastraldaju i tas‘kuju AX, mans, mama, t—=«CTANAN, = TOCKYIO. Oh, Nanny, Nanny, 1 — suffer, and anguish. 'puaka| ja idag_—gattova 'ofna ‘mitaja male ja ee ee cee om i nase: le min: 1 woory, 1 to woop Oh, aa aan Tas {fall of sorrow! I feel nauseated, my dear! 1 am ready to cry, ready to weep!) NURSE i ' jatova —gastpt—palmituj i spats ae pty a ey Tocnam —uownayt oa 1 Child mine you arenotwell; Lord, have mercy rts wear aids, Mared women were expected aways to over thei arin mportant pre-neding ritual244 Eugene Onegin, Act | daj——akrapiu eye syetbj wold ti fa gatrif Jal, oxpomawo reGa enstolH nox00, TH est ropam. Letme sprinkle you withholy water, you're all__on fire. (My child, you are not well; Lord have mercy on us and save us! Let me sprinkle you with holy water, you are all on fire.) ‘TATIANA F ja ne_ bal'na = ja Uznalef- gana ja yfuble'na me Gonna, 2 smaenm, namz = navoGnena. Tam not ill, Tam you know, Nanny Tam in ove. a'stof —me'na—a'staf, mela. ja’ yjubjena Ocrans Mens, ora. = mens, = —savoGnena! Leave me, leave me, Tam_in love! (Lam not ill, you know, Nanny, Tam in love. Leave me, leave me, I am in love!) NURSE da 'kag_3e Aa kak xe. But how come. ‘TATIANA, padi a'staf mega adn Mdaj ‘qaqa me pers © bu'magu Houm —ocrams mena oany. mans, we mepo, —Gymary, Go leave me alone, Give nanny, me _—apen, —_and paper, da_ ‘sto. ja ‘sora "Jogu ras! Ma cron * cxopoamryn. Mpocra. ‘and the table move closer, 1 so0n—_—will goto bed... Forgive me. (Ge, leave me alone. Give me, Nam pena paper an moe the table clone, shall gto bed soon... Forgive me. Nurse does as she is told, shuts the window and pulls the blind, then kisses Tatiana goodnight NURSE pa'kojnaj ‘noi tana Toxoinok now, T Peaceful night Ta (Goodnight Tania!) Nurse goes out,Eugene Onegin, Act 1 AS Number 9. The Letter Scene, Tatiana remains lost in thought, then rises, greatly agitated, witha determined look on her fac. TATIANA pustkaj —pa'gibnu ja n> 'pregde §—ja_v_aglelgitelnaj ——naldexde Hiycxait wornGuy 2, mo mpexe xm ocdenmressnow manexxe May die 1 but first Lith dazzling hhope bua'genstva —fpmnaje zalvn ja 'yegu sigma Baaxencreo — réumoe 201 © omery mann yan! the bliss dark ——_callupon, 1 thejoy of life. am discovering! (May 1 die, but first, with dazzling hope, {call upon a dark bliss, am discovering the joy of life!) ja tp varlfebnij ad 3e4tanij mega —pre'sfadujut meri A uso —wosmeGmuth mm xenaRM, ens pecaexywor ennui! T drink themagic poison of desires, Tam assailed by dreams! yer'fe yee on pred ‘mnaj_ ma isku'gie] rakav3) Beme, meaxe —onmpexo— moll, Moll =—exyewrean, © poxonoll! Everywhere, everywhere heis before me, my tempter fatal! verde yer'de on preda__—mnoju Bea, nese on mpexo ove! Everywhere, everywhere eis infront of me! (drink the enchanted poison of desir, am haunted by dreams! Everywhere I look, he isin front of me, ‘my fatal tempter! His image is all around!) ‘She sits at the table and tres to write ‘net fp net naffnn—sna’Yara Her, ne& me rot Hany —cuasaza!- No,” it'sall wrong I willstart_ from the beginning ‘She tears up the leter. & > sa_ ‘mmj ja fea gaa = me_'mnaju kak na'fay ‘Ax, aro co” mmol! = new rope. He = sua kak nayaTot Oh, what's wrong with me! Tam all onfire... don't know ‘She writes, then she stops to read what she has written. i \ ear iis aksing vam pil fvs_xe ‘boje io ja malgu jelfio St nae ey Seuss Gene? Se =o ory emt ema? “T toyou am writing what's (-) more? What can cle say? ‘maja v_'vafej_ "vole me'na —pye'zgenjem = naka'zat re Se see et epee nem Now 1 know itis. im your power me ‘power to punish me by your (Tam writing to you, what else can I say? know, that now it sin your contempt!)246 Eugene Onegin, Act 1 n> vi k_matje}ne'fzasn} Able of "kaplu—'gatasti Ho nu, K mock mecuacrnol — xoze_xoTh = kamioxanocTH” But you, to my unhappy lot atleast adrop of pity vi ne_ a'stayite me'ja —sna'Yata ja mata xa'lea Bu we ocranwre wens. Cnavana — Mowtarh —xoreua; you won't abandon me, Atfit [ tobesilent wanted pa'yere majevo stida = vi ne__u'znoli_b_—_nika'gda Tlonepsre, moerocruma_=swMo we | ysmaam 6 == uxoraa!” ve me. my shame you would not have known ever! xra'ja xpans, keeping, (But if you have at least a drop of pity towards my unheppy lt, you will not abandon me. At first, 1 wanted to keep silent; believe me, you would never have known my shame!”) ‘She puts the letter aside. > da Klaas ja sextant v_ due Oma, xamaacs ox coxpanams = mye © yes, swore Ito keep in my soul pri'znanje f_ ‘stragti—'pitkaj =i betzumnaj Tipwsname = crpactm usLaKoli mm Genymnoii! the confession of passion fiery and mad! (O yes, I swore to keep in my soul the declaration of my mad and fiery passion!) uli ne_ f_'sitax ja vra'det svaljej — dulfaj ‘Yeu, ne 8 cCHIaX 8 BAAIeTL enoelt aymroii! Alas, it isnot in my powers tocontrol_ my soul! puzd_ "budget 'b ft "bit datg'ny — sa__ 'mnoj Tycrs Gyner ‘To, sTo Gunn ‘ROKR it ae ce ee oe (Alas, it is not in my power to control my soul! Let it be, that which is destined to be!) jeimu Byiiznajus ja smeej_ on fo ulznajet mpwsnawcs at Cente On ne yauaer! shall confess I! Courage! He everything shall know! (shall confess to him! Courage! He shall know everything!) She writes zalfem —zalfem vi “Savem, sagem aur “Why,” owhy you v_ gui zabitava B raymu —sa6urrore Inthe desolation of forgotten Poge'ti ‘nas Roceruin uae? have visited us? sellenja —ja_b_ nika'gda cenemnaf'2 6h Amcaeme countryside Td (-) never