Socialite Day. Presentation on the topic "Eugene Onegin Day" Message day of a socialite

The large-scale exhibition presents more than 50 authentic outfits from the first third of the 19th century. Photo by Vera Vetrova

The Alexander Pushkin Museum on Prechistenka seems to have solved the problem of many people who do not yet know where to go on weekends and the upcoming March holidays. The exhibition “Fashion of the Pushkin Era”, created by the joint forces of the fashion historian Alexander Vasiliev Foundation, the Pushkin Museum and the Historical Museum, became a real gift on March 8 for women of all ages.

The large-scale exhibition, which occupies three halls, presents more than 50 authentic suits and dresses, 500 women's and men's accessories, wardrobe details, picturesque portraits, fashion pictures, interior and household items - what made up the wardrobe and surrounded the fashionista of the first third of the 19th century.

The exhibition is structured as a story about one day in the life of a socialite according to a time principle, and each time of day is given a special place in the spacious exhibition halls. Fortunately, much evidence of that vibrant era has survived to this day, although many specimens come from France, Germany, England, the USA and Spain.

The concept of “fashion” was extremely relevant for Pushkin’s time, because the tastes of society changed quite quickly. The laws of fashion (mostly it came to Russia from Europe) were followed in public life, in social etiquette, in art - in architecture and the interior of buildings, in painting and literature, in gastronomy, and, of course, in clothes and hairstyles.

In the 19th century, among the aristocracy there were strict rules providing for a certain type of clothing for different etiquette situations. These rules and fashion trends can be traced by the variety of dresses worn in Russian capitals 200 years ago by Pushkin’s contemporaries and contemporaries, as well as literary heroes of that time.

At the beginning of the exhibition there is a story about the first half of the day, which included “morning toilet”, “walk”, “morning visit”, “lunch” and “afternoon communication in the owner’s office”.

The morning toilet for a woman consisted of dresses of a simple cut, and the aristocrat put on a robe or dressing gown (another name is a dressing gown - a loose garment without buttons, belted with a twisted cord - both men and women could wear it), they went out to breakfast in it, saw their household and close friends. By the way, the robe among home clothes holds the palm in terms of frequency of mentions among Russian writers. The hero of Sollogub’s story “The Pharmacist” sewed himself a robe in the form of a frock coat with velvet lapels, and such a suit “testified to the dapper habits of the owner.” Peter Vyazemsky in his works interpreted the robe as an invariable attribute of idleness and laziness, but at the same time it began to be considered a sign of... a creative personality. It was in the robe that Tropinin portrayed Pushkin, and Ivanov - Gogol.

Looking at the small elegant outfits, you can’t help but wonder: will any of our adult contemporaries, and not children, be able to put on such costumes? Alexander Vasiliev said that the maximum size of a woman’s dress was 48, and the average height of a woman at that time was 155 cm, men were a little taller, but not too much - 165 cm. The fashion historian noted that the food we now eat contains hormones, and therefore no wonder people get so big.

The morning toilet and a cup of coffee were followed by morning receptions and visits (between breakfast and lunch). A special concern here was the business suit, which had to be elegant, elegant, but not ceremonial. During the morning visit, men were supposed to wear frock coats and vests, and ladies were supposed to wear fashionable toilets specially designed for morning visits.

By two or three o'clock in the afternoon, most of the secular public went out for a walk - on foot, on horseback or in a carriage. Favorite places for festivities in the 1810–1820s in St. Petersburg were Nevsky Prospekt, English Embankment, Admiralteysky Boulevard, and in Moscow - Kuznetsky Most. As befits a real dandy, the dandy wears a satin top hat with a wide brim a la Bolivar, named after the popular South American politician. The tailcoat for walking could be green or dark blue. Women dressed up in colorful, motley dresses and put on hats of various styles.

Around four o'clock in the afternoon it was lunchtime. The young man, leading a single life, rarely had a cook, preferring to dine in a good restaurant.

After dinner, evening visits began - one of the indispensable social duties. If the doorman suddenly refused to admit a visitor without explaining the reason, then this meant that the person was completely refused home.

Ladies received guests in living rooms and music salons, and the owner of the house preferred his office to communicate with friends. Usually furnished to the taste of the owner, the office was conducive to leisurely and confidential male conversation, for example, over a good pipe and a glass of excellent tincture.

By the way, business cards appeared in Europe at the end of the 18th century; in Russia they became widespread at the beginning of the 19th century. At first, customers asked for embossing, inserted coats of arms, drawings and garlands, but in the 1820s and 1830s they almost universally switched to simple varnished cards without any decorations.

A separate hall of the exhibition is dedicated to the theater - a very fashionable pastime in Pushkin’s time.

The performance began at six o'clock in the evening and ended at nine, so the young dandy, dressed in a tailcoat or uniform, could then be in time for a ball or a club.

At the exhibition, in niches stylized as theater boxes, the mannequins are dressed in luxurious evening silk dresses, on their heads - berets, currents and turbans made of velvet and with ostrich feathers (the headdresses were not removed either in the theater or at the ball).

Along the entire wall of the exhibition hall there is a showcase - ballroom fans made of tulle, a tortoiseshell fan, a fan depicting gallant scenes, lorgnettes and theater binoculars, a bottle of smelling salts, beaded bags with floral patterns, bracelets with chalcedony and agates, fashion pictures, portrait miniatures ladies in empire dresses.

People came to the theater not only to watch a performance, it was a place of social meetings, love dates and behind-the-scenes intrigues.

Probably the most exhibit-filled room is dedicated to "evening time" and includes themes such as "The English Club" and "The Ball".

The first English clubs appeared in Russia under Catherine II, banned under Paul I, they experienced a rebirth during the reign of Alexander I. Meetings in the English club were the privilege of exclusively the male half of society, which is why there are accessories in the windows: miniature portraits of fashionistas, satin stitch embroidered suspenders, snuff boxes (in the form of a gilded figure of a pug or with a portrait of Field Marshal Gerhard von Blücher), a beaded wallet and a portresor. The latter has long since moved into the category of curiosities and cute trinkets that even the almighty Yandex and Google do not provide an explanation of what the item was intended for. In fact, a portresor is a long coin purse knitted with steel beads on brown threads, the number of which inside the portresor was limited by a special ring.

The organizers of the exhibition did not ignore books that were very popular, were a mandatory part of libraries and were actively read in clubs: the works of Lord Byron, Alphonse de Lamartine “Poetic Meditations”, Evariste Guys “Selected Works”, Germaine de Stael “Corinna, or Italy” » – everything is in French. Among the domestic works are “Ruslan and Lyudmila” by Alexander Pushkin and “The Ice House” by Ivan Lazhechnikov.

Evening dresses, in which the secular public dressed up for parties, receptions and balls, were very diverse and differed in very interesting details. For example, the ball gowns of debutantes who came to their first ball were sure to differ from the outfits of society ladies. The color, style, and even the type of flowers with which the dress was decorated mattered.

Where and from whom fashionistas of the Pushkin era bought dresses can also be found out at the exhibition. It is interesting that one of the guidebooks of that time reported: “From early morning until late evening you see many carriages, and rare of them will go without shopping. And at what price? Everything is exorbitantly expensive, but for our fashionistas this is nothing: as if “Bought on Kuznetsky Most” gives each item a special charm.” So the complaints of modern dandies about the inflated prices of Moscow stores have at least a two-hundred-year history.

At the opening of the exhibition, Alexander Vasiliev noted that the noble stratum in Russia was relatively small, and much fewer high society toilets remained than in Europe. In addition, the costumes of Pushkin's time are very fragile, because all the dresses were made entirely by hand. This was an era when artificial dyes had not yet been invented and all dresses were dyed exclusively with natural dyes based on flowers, leaves, mineral salts, trees, berries and even beetles.

Nowadays it’s not enough to find a dress and restore it; the most difficult thing is to combine it with other toiletries to complete the look. At the exhibition, designer Kirill Gasilin brilliantly coped with this task, dressing and styling all the mannequins.

Two years ago, another project by Vasiliev, “Fashion in the Mirror of History,” was shown at the Museum of Moscow. XIX–XX centuries.” and even then they noted that an organization that regularly held exhibitions related to fashion (as, for example, the Victoria and Albert Museum in London, the Museum of Fashion and Textiles in Paris, or the Anna Wintour Metropolitan Costume Center, which reopened after a long break) museum in New York), unfortunately, there is no museum in Russia.

And although the Fashion Museum was founded in 2006, an organization under the ideological leadership of Valentin Yudashkin, it does not have its own premises, and as a result, events are periodically held under its auspices at other venues. This was the case in 2014, when, in honor of the 25th anniversary of Yudashkin’s Fashion House, the designer’s works “supplemented” the exhibition of the Pushkin Museum. A.S. Pushkin at the exhibition “Fashion in the Space of Art”.

Creating an exhibition like “Fashion of the Pushkin Era” requires enormous effort and labor, and it is almost impossible to repeat, so it will last quite a long time by Moscow standards - until May 10.

The day of the capital's nobleman had some typical features. However, those signs that mark the day of an officer or departmental official are not noted in the novel, and it makes no sense to dwell on them in this essay.
Onegin leads the life of a young man, free from official obligations. It should be noted that quantitatively only a small group of noble youth of St. Petersburg at the beginning of the 19th century. led a similar life. Apart from non-employee people, such a life could only be afforded by rare young people from among the rich and noble-born mama's boys, whose service, most often in the Ministry of Foreign Affairs, was purely fictitious. We find the type of such a young man, albeit at a slightly later time, in the memoirs of M.D. Buturlin, who remembers “Prince Pyotr Alekseevich Golitsyn and his inseparable friend Sergei (forgot his middle name) Romanov.” “Both of them were civil servants, and both, it seems, were then serving in the Ministry of Foreign Affairs. I remember that Petrusha (as he was called in society) Golitsyn used to say, que servant au ministere des affaires etrangeres il etait tres etranger aux affaires (untranslatable play on words: the French “etrangere” means both “foreign” and “stranger” - “serving in the Ministry of Foreign Affairs, I am alien to all sorts of affairs.” - Yu.L.)" (Buturlin. P. 354).
Guards officer in 1819-1820. - at the very height of Arakcheevism, - if he was in the junior ranks (and due to Onegin’s age at that time, of course, he could not count on a high rank, which would provide certain relief in the course of everyday military drill - looking at a number of biographies shows fluctuations in ranks between the guards lieutenant and army lieutenant colonel), had to be in his company, squadron or team from early morning. The soldier order established by Paul I, in which the emperor was in bed at ten o'clock in the evening and on his feet at five in the morning, was preserved under Alexander I, who loved to repeat, flirtatiously, that he was a “simple soldier.” P called him “the crowned soldier” in a famous epigram.
Meanwhile, the right to get up as late as possible was a kind of sign of aristocracy, separating the non-employee nobleman not only from the common people or fellow laborers, but also from the village landowner-owner. The fashion of getting up as late as possible dates back to the French aristocracy of the “old regime” and was brought to Russia by royalist emigrants. Parisian society ladies of the pre-revolutionary era were proud of the fact that they never saw the sun: waking up at sunset, they went to bed before sunrise. The day began in the evening and ended in the morning twilight.
J. Soren in the comedy “Morals of Our Time” depicted a dialogue between a bourgeois and an aristocrat. The first one praises the delights of a sunny day and hears the answer: “Fie, monsieur, this is an ignoble pleasure: the sun is only for the rabble!” (cf.: Ivanov I. The political role of the French theater in connection with the philosophy of the 18th century. // Academic Zap. Moscow University. Department of History and Philology. 1895. Issue XXII. P. 430). Waking up later than other people of the world had the same meaning as showing up to a ball later than others. Hence the plot of a typical anecdote about how a military servant catches her sybarite subordinate in the morning disabilities (quite natural for a secular person, but shameful for a military man) and in this form leads him around the camp or St. Petersburg for the amusement of the audience. Anecdotes of this kind were attached to Suvorov, and to Rumyantsev, and to Paul I, and to Grand Duke Konstantin. Their victims in these stories were aristocratic officers.
In light of the above, the strange quirk of Princess Avdotya Golitsyna, nicknamed “Princesse Nocturne” (nocturne in French means “night” and, as a noun, “night butterfly”), probably becomes clearer. The “Night Princess” who lived in a mansion on Millionnaya, a beauty “as charming as freedom” (Vyazemsky), the object of P and Vyazemsky’s hobbies, never appeared in daylight and never saw the sun. Gathering a sophisticated and liberal society in her mansion, she received only at night. This even caused the alarm of the Third Department under Nicholas I: “Princess Golitsyna, who lives in her own house in Bolshaya Millionnaya, who, as is already known, tends to sleep during the day and is engaged in company at night - and such use of time is highly suspect , because at this time there are special activities with some secret affairs...” (Modzalevsky B.L. Pushkin under secret supervision. L., 1925. P. 79). A secret agent was assigned to Golitsyna's house. These fears, despite the clumsiness of police exaggerations, were not completely without foundation: in the climate of Arakcheevism, under the rule of the “crowned soldier,” aristocratic particularism acquired a shade of independence, noticeable, although tolerable under Alexander I and turning almost into sedition under his successor.
The morning toilet and a cup of coffee or tea were replaced by a walk at two or three in the afternoon. The walk, on horseback or in a carriage, took an hour or two. Favorite places for festivities of St. Petersburg dandies in the 1810-1820s. there were Nevsky Prospekt and the English Embankment of the Neva. We also walked along Admiralteysky Boulevard, which was laid out into three alleys at the beginning of the 19th century. on the site of the glacis of the Admiralty, which was renewed under Paul (glacis - an embankment in front of a ditch).
The daily walk of Alexander I influenced the fact that the fashionable daytime festivities took place along a specific route. “At one o’clock in the afternoon he left the Winter Palace, followed the Palace Embankment, and at Pracheshny Bridge he turned along the Fontanka to the Anichkovsky Bridge<...>Then the sovereign returned to his place along Nevsky Prospekt. The walk was repeated every day and was called le tour imperial [imperial circle]. Whatever the weather, the sovereign walked in only a frock coat...” (Sollogub V.A. Stories. Memoirs. L., 1988. P. 362). The emperor, as a rule, walked without accompanying persons, looking at the ladies through his lorgnette (he was nearsighted) and responding to the bows of passers-by. The crowd at these hours consisted of officials whose service was fictitious or semi-fictitious. Naturally, they could fill the Nevsky during office hours, along with walking ladies, visitors from the provinces and non-working dandies. It was at these hours that Onegin walked along the “boulevard”.
Around four o'clock in the afternoon it was time for lunch. Such hours were clearly felt as late and “European”: for many people they still remembered the time when lunch began at twelve.
The young man, leading a single life, rarely had a cook - a serf or a hired foreigner - and preferred to dine in a restaurant. With the exception of a few first-class restaurants located on Nevsky, dinners in St. Petersburg taverns were of worse quality than in Moscow. O.A. Przhetslavsky recalled:

“The culinary part in public institutions was in some kind of primitive state, at a very low level. It was almost impossible for a single person who did not have his own kitchen to dine in Russian taverns. At the same time, these establishments closed quite early in the evening. When leaving the theater it was possible to dine in only one restaurant, somewhere on Nevsky Prospect, underground; he was kept by Domenic"
(Landlord Russia... P. 68).

The “single” atmosphere of a restaurant dinner is vividly depicted by P in letters from the spring of 1834 to Natalya Nikolaevna, who left through Moscow for the Linen Factory:

“...I appeared to Dumas, where my appearance created general joy: single, single Pushkin! They began to tempt me with champagne and punch and ask if I would go to Sofya Astafievna? All this confused me, so I no longer intend to come to Dumas and am having lunch at home today, ordering Stepan botvina and beef-steaks.”
(XV, 128).

And later: “I have lunch at Dumais’s at 2 o’clock, so as not to meet with the bachelor gang” (XV, 143).
A fairly complete overview of St. Petersburg restaurants in the 1820s. (albeit dating back to a time somewhat later than the action of the first chapter of the novel) we find in one of the diaries of contemporaries:

“June 1, 1829. Had lunch at the Heide Hotel, on Vasilievsky Island, in the Kadetskaya Line - almost no Russians are visible here, all are foreigners. The lunch is cheap, two rubles in banknotes, but they don’t serve any cake at any cost. Strange custom: put little oil and a lot of vinegar into the salad.
June 2nd. I had lunch at the German restaurant Kleya, on Nevsky Prospekt. Old and smoky establishment. Most of all, the Germans drink little wine, but a lot of beer. Lunch is cheap; I was given a lafite worth 1 ruble; I had a stomach ache for two days after that.
June 3rd Lunch at Dumais's. In terms of quality, this lunch is the cheapest and the best of all lunches in St. Petersburg restaurants. Dumais has the exclusive privilege of filling the stomachs of St. Petersburg lions and dandies.
June 4th. Lunch in Italian taste at Alexander or Signor Ales, along the Moika near the Police Bridge. There are no Germans here, but more Italians and French. However, in general there are few visitors. He only accepts people he knows well, preparing holiday meals at home. The pasta and stofato are excellent! He was served by a Russian girl, Marya, renamed Marianna; Self-taught, she learned to speak French and Italian perfectly.
5th. Lunch at Legrand's, formerly Feuillet, in Bolshaya Morskaya. Lunch is good; last year you couldn't dine here twice in a row because everything was the same. This year, lunch here for three rubles in banknotes is excellent and varied. The sets and all the accessories are lovely. They are served exclusively by Tatars, in tailcoats.
June 6th. Excellent lunch at Saint-Georges, along the Moika (now Donon), almost opposite Ales. The house in the courtyard is wooden, simply but tastefully decorated. Each visitor occupies a special room; there is a garden at the house; It’s a delight to dine on the balcony; the service is excellent, the wine is excellent. Lunch for three and five rubles in banknotes.
On June 7th I didn’t have lunch anywhere because I had breakfast carelessly and spoiled my appetite. On the way to Ales, also on the Moika, there is a small Diamant shop, which serves Strasbourg pies, ham, etc. You can't dine here, but you can take it home. At my request, the owner allowed me to have breakfast. His food is excellent, Mr. Diamond is a golden master. His shop reminds me of the Parisian guinguettes (small taverns).
June 8th. I had lunch at Simon-Grand-Jean, on Bolshaya Konyushennaya. Lunch is good, but the smell from the kitchen is unbearable.
June 9th. Dined at Coulomb's. Dumais is better and cheaper. However, there are more lunches here for those living in the hotel itself; the wine is wonderful.
June 10th. Lunch at Otto's; tasty, filling and cheap; you can hardly find a better cheap lunch in St. Petersburg"
(quoted from: Pylyaev M.I. Old Life: Essays and Stories. St. Petersburg, 1892. P. 8-9).

This passage characterizes the situation at the end of the 1820s. and by the beginning of the decade can be applied only with some reservations. Thus, the gathering place for St. Petersburg dandies at that time was not the Dumais restaurant, but the Talon restaurant on Nevsky. However, the overall picture was the same: there were few good restaurants, each visited by a certain, stable circle of people. To appear in one restaurant or another (especially in one like Talona or later Dumais) meant appearing at a gathering point for single youth - “lions” and “dandies”. And this required a certain style of behavior for the entire time remaining until the evening. It is no coincidence that in 1834 P had to dine earlier than usual in order to avoid meeting with the “single gang.”
The young dandy sought to “kill” the afternoon by filling the gap between the restaurant and the ball. One possibility was the theater. For the St. Petersburg dandy of that time, it was not only an artistic spectacle and a kind of club where social meetings took place, but also a place of love affairs and accessible behind-the-scenes hobbies. “The theater school was located across the house from us, on the Catherine Canal. Every day, lovers of pupils walked countless times along the canal embankment past the windows of the school. The pupils were housed on the third floor...” (Panaeva A.Ya. Memoirs. M., 1972. P. 36).
During the second half of the 18th and first third of the 19th century. The daily routine shifted steadily. In the 18th century the business day started early:

“The military reported for services at six o’clock, the civil ranks at eight and opened their Presence without delay, and at one o’clock in the afternoon, following the regulations, they stopped their judgments. Thus, they very rarely returned to their home later than two o’clock, while the military were in their apartments already at twelve o’clock<...>Private evenings generally began at seven o'clock. Whoever arrived at them at nine or ten o’clock, the owner immediately asked: “Why is it so late?” The answer would be: “The theater or the concert was delayed, I couldn’t wait for the carriage!”
(Makarov. About the time of lunches, dinners and congresses in Moscow from 1792 to 1844 // Shchukinsky collection [Issue] 2. P. 2).

V.V. Klyucharev wrote in the 1790s. To I. A. Molchanov: “I can be with you until seven o’clock, and at seven o’clock the ball in the club will begin, then everyone knows.”
In 1799, the dinner party of the commander-in-chief in Moscow, Count I.P. Saltykov, began at three o’clock, and the evening at seven and “ended with a light dinner at one after midnight, and sometimes earlier” (Ibid. P. 4).
In 1807, people began to come to the Moscow commander-in-chief T.I. Tutolmin for his evenings and balls from nine to ten o’clock.

“...Recorded dandies, nowadays lions, appeared there at eleven, but this was sometimes noticed by him, the owner, with displeasure...”
(Ibid. P. 5).

In the 1810s. the daily routine shifted even more: in 1812, “Madame Stahl, being in Moscow, usually had breakfast at the Gallery on Tverskoy Boulevard, this happened at two o’clock” (Ibid. p. 8).
By the beginning of the 1820s. dinner moved to four o'clock, the time of evening meetings to ten, but the dandies did not arrive at the balls until midnight. Where dinner took place after the ball, it took place at two or three in the morning.

Short description

Onegin leads the life of a young man, free from official obligations. It should be noted that quantitatively only a small group of noble youth in St. Petersburg at the beginning of the 19th century led such a life. Apart from non-employee people, such a life could only be afforded by rare young people from among the rich and noble-born mama's boys, whose service, most often in the Ministry of Foreign Affairs, was purely fictitious. At a later time, we find the type of such a young man in the memoirs of M.D. Buturlin, who recalls “Prince Pyotr Alekseevich Golitsyn and his inseparable friend Sergei (forgot his middle name) Romanov.

Attached files: 1 file

A.S. Pushkin
"Eugene Onegin"

"Day of the Socialite"

Human consciousness and the system of life values, as is known, are largely shaped by moral laws adopted in society. Pushkin writes in his novel about both the capital and the Moscow and provincial nobility.

The author of the novel pays special attention to the St. Petersburg nobility, a typical representative of which is Eugene Onegin. The poet describes in every detail the day of his hero, and Onegin’s day is a typical day of a metropolitan nobleman. Thus, Pushkin recreates a picture of the life of the entire St. Petersburg social society - a fashionable daytime stroll along a certain route (“Wearing a wide bolivar, Onegin goes to the boulevard...”), lunch at a restaurant, a visit to the theater. Moreover, for Onegin the theater is not an artistic spectacle or even a kind of club, but rather a place of love affairs and behind-the-scenes hobbies. Pushkin gives his hero the following characteristics:

The theater is an evil legislator,

Fickle Adorer

Charming actresses

Honorary citizen of the backstage...

Onegin leads the life of a young man, free from official obligations. It should be noted that quantitatively only a small group of noble youth in St. Petersburg at the beginning of the 19th century led such a life. Apart from non-employee people, such a life could only be afforded by rare young people from among the rich and noble-born mama's boys, whose service, most often in the Ministry of Foreign Affairs, was purely fictitious. At a later time, we find the type of such a young man in the memoirs of M.D. Buturlin, who recalls “Prince Pyotr Alekseevich Golitsyn and his inseparable friend Sergei (forgot his middle name) Romanov.

Dancing takes up

"Eugene Onegin"

retreat, they play

big plot role.

Dancing was an important structure

tour element of the nobility

skogo life. Their role is

was completely different from

functions of folk dances

life of that time, and from

modern. The ball turned out to be

area of ​​casual

communication, social recreation,

the place where the boundaries of services

The new hierarchy was weakened.

With all the variety of topics touched upon in the novel, "Eugene Onegin" is, first of all, a novel about the quest of the advanced noble intelligentsia, about its dramatic fate. Pushkin embodied this problem in the images of the main characters:

Pushkin talks about Peter-

burgh high society

with a fair amount of irony and

without any special sympathy, because

life in the capital is “mono-

different and motley”, and “light noise

gets boring very quickly.”

Local, provincial

nobility represented

very widely in the novel.

From chapter to chapter of “Onegin” the poet himself moved forward with giant steps, grew creatively, and matured. At the same time, he managed to impart such artistic integrity and unity to his work that you perceive it with one creative impulse. Moreover, Pushkin’s original plan was sharply distorted for reasons beyond the poet’s control (the forced removal of an entire chapter from it). But even the fact that the novel was forced to be “without end”, the poet managed to give the deepest ideological and artistic meaning. Moreover, by saturating his novel, dedicated to depicting the life of “the best representatives of the noble class,” with advanced ideas, establishing in it a realistic reproduction of reality, and developing norms for a national literary language, Pushkin gave a powerful impetus to the process of democratization of fiction.

Socialite Day in the 19th century.
I woke up around ten in the morning. My head was empty, just as there was not a cloud in the sky. I thoughtfully examined the ceiling, trying to find even the slightest crack in the white fabric of my “roof.” There was a thick silence in the room, and it felt as if you could touch it with your palm and make circles, like ripples from a thrown stone on water. But then I heard a stomp on the stairs - it was my servant and, perhaps, my closest friend - Anatoly, or as he was also called, Tolka, although I had never gotten used to this abbreviation - rushing at full speed in order to wake up my person. The door creaked slightly and he entered.
- Get up, sir. Already early in the morning they brought a letter - the Dyagterevs are calling your honor for lunch...
- Anatole, don't fuss. Why such a rush? Let's get up now... Bring the coffee and documents to the dining room. Today I'll go for a light walk.
- This minute, sir. Let's make arrangements.
Anatoly ran again to set up the kitchen to prepare coffee. I stretched and stood up with a jerk. I dress myself, out of habit, which has been pleasing to me since childhood, and no governesses take part in this. The outfit is typical for our time.
I went downstairs five minutes later. The coffee was already steaming in a silver-plated cup; next to it stood my favorite apple jam, stored up since the summer. But the leather folder with documents dominated the table. I studied them a little bit at a time. These were some ancient papers brought from somewhere in Egypt by my grandfather. It's quite interesting to read the chronicles in the morning. But you don’t have to fool your head with all sorts of “Messengers”... However, I was no stranger to reading Pushkin, I really liked his works! Or Byron... Depending on my mood.
It's probably worth telling a little about yourself. My name was Vladimir Sergeevich ***. I inherited the estate from my long-deceased father, and a hundred and fifty souls in addition. At the time of the story, I was twenty-four years old, I was well educated, spoke English well, read French fluently, knew a little the designation of Egyptian hieroglyphs, wrote poetry and prose, could imitate Mozart on the piano and, in general, was happy with his modest life. Every day had a spontaneous routine, but most often I returned home by four in the morning, listened to Anatole about business and went to bed. Actually, this is the theme of my story to you, my dear reader. How do I spend my day?
Tolka pulled me away from my thoughts over yet another manuscript. In his hand was a white envelope of a new invitation.
- Today the Shapovalovs are giving a ball...
- I’m going, Anatole, they have a lovely daughter, and you know how much I love communicating with young ladies...
- That's right, your honor. What about the Dyagterevs?
- Take it too, then I’ll go to the theater, they say there will be something interesting today. Well, then to the Shapovalovs...
- In a minute.
I put the documents back in the folder, finished my now fairly cold coffee and headed to my office, where my piano was located. It was still a long time before lunch, and I was eager to kill time.

***
I went outside. The white snow sparkled brightly in the light of the midday sun, blinding the eyes. The crew stood ready right next to the entrance, the horses twitching their tails in impatience, steam escaping from their nostrils. I shivered. It’s cool even in a fur coat, you know... He sat down and shouted to the coachman: “Touch it!” The carriage set off with a creak, the horse's hooves stepping softly through the snow. It was far from the Dyagterevs and I began to watch how the steam, coming out of my mouth, condensed on my palm, flowing down in small droplets. That's why I fell asleep. The coachman woke me up by announcing the final stop.
It was light in the hallway. Standing right on the threshold was the maid Efrosinya, who helped me take off my outer clothing.
- Hello, Vladimir Sergeevich! - in the dining room, where Efrosinya led me, I was met by Alexander Petrovich Dyagterev, the owner of the house.
- Hello to you, Alexander Petrovich! How is your wife today?.. As far as I remember from the last letter...
- Yes, I’m sick, to my regret. Sick. The doctor who was here the day before said that she still had to lie in bed. But I still thank you for inquiring about her health. And now, the guests are already waiting for the table.
The dinner was a great success, but I didn’t sit there long enough. Citing poor health, I said goodbye to the guests and Dyagtyarev, who was already quite boring me with his empty chatter, and drove off to watch the performance. I’ll tell you straight, it was frankly boring, and besides, I never found a single mademoiselle that was worthwhile. That’s why he quietly left the hall and headed to another theater. The contingent here was much better. I saw the Shapovalovs’ daughter, Mashenka, a lovely girl. I liked everything about her, except her too strict character. As a result, I have been hitting my head for the second year now, how can I get her hand? But that’s not what we’re talking about for now. The performance turned out to be extremely interesting, I sat through until the end, and then applauded, it seems, louder than anyone else. Well, there was still a little time left before the ball, and the coachman, at my behest, took me home, where I dined and, contrary to custom, sat down to write manuscripts.
Well, I won’t describe all the details of the ball. I’ll just say: I never discovered another way to melt Mashenka’s heart, and the one I came up with in the manuscripts once again failed miserably. We played whist, I won one hundred and fifty rubles from the head of the house, Mikhail Shapovalov, now he owes me.
He returned home later than usual, listened to Anatole, and, having drunk hot tea for the night, collapsed unconscious into bed, from which he did not rise until midday.

Dandies were distinguished by a pleasant style of speech and impeccable language. Many of them were highly gifted and excelled in everything they did; less talented ones, if they failed at something, knew how to stop in time, without any special illusions or enthusiasm. They demonstrated gentlemanly training - generosity and magnanimity. Ephemeral as youth and spirits, they still had one constant feature - loyalty in friendship, despite later rivalry.

Dandies paid great attention to their appearance. Dandies professed the principle of minimalism and the associated principle of “conspicuous invisibility,” which formed the basis of the modern aesthetics of men's suits. Instead of pompous, pretentious luxury, the dandy allows himself one elegant, expressive detail in his suit. The next important principle is thoughtful (deliberate) negligence. You can spend a lot of time on the toilet, but then you need to act as if everything in the costume came together by itself, as a random improvisation. “Pedantic thoroughness” is vulgar because it does not hide the preliminary tension and, therefore, betrays a beginner who, sweating, comprehends the science of dressing decently. That is why the ability to tie an elegantly casual knot on a neckerchief became highly valued in this era.

« Ideally, a real dandy should have a slender build" 5 . " Dandies were rare cleanliness even by modern standards. A true dandy was recognized by his clean gloves - he changed them several times a day; the boots were polished to a shine» 6. The dandy's costume is characterized by another remarkable detail. Dandies wore monocles, glasses, lorgnettes, binoculars - these were fashionable camouflage items.

Dandies, possessors of impeccable taste and role models in men's fashion, acted as merciless critics, making short, witty, caustic remarks about errors in costume or the vulgar manners of their contemporaries.

« The principle of minimalism was also evident in the manner of speech. Aphorisms are typical for dandies. The dandy’s speech cannot be monotonous and tiring: he aptly omits his “bonmots” (words), which are immediately picked up and quoted everywhere. In addition, a true dandy will never repeat the same thing twice» 7.

Three famous dandy rules:

• Don't be surprised at anything.
• While maintaining dispassion, surprise with surprise.
• Leave as soon as the impression is achieved.

Newcomers to secular society tried to strictly follow the rules of etiquette and went out of their way to look like a secular person. Hence - tension and uncertainty, as well as pretentiousness of manners (exaggerated facial expressions and gestures, forced expression of surprise, horror or delight). The paradox of the dandy, and indeed of a truly secular person, is that in full compliance with secular conventions, he seems as natural as possible. What is the secret of this effect? Thanks to the fidelity of taste - not in the field of beauty, but in the field of behavior - a secular person in the most unforeseen circumstances instantly grasps, like a musician who is asked to play a piece unfamiliar to him, what feelings need to be expressed now, with the help of what movements, and unerringly selects and applies technical techniques.

« In the culture of dandyism, a special concept has developed - flanning (from the French fleneur), or a slow walk around the city - mainly with the purpose of showing off. Smoothness plays a special role in the subtle art of dandy flanking, since slow movement, as was believed at that time, is essentially majestic" 8 .

Chapter 4. The novel “Eugene Onegin” - an encyclopedia of “secular” life

Onegin was born into the family of a wealthy nobleman. His father “gave three balls every year and finally squandered it.” Like all aristocratic youth of that time, Onegin received home upbringing and education under the guidance of a French tutor.

He leads an idle life typical of “golden youth”: every day there are balls, walks along Nevsky Prospekt. But Onegin, by his nature, stands out from the general mass of young people. Pushkin notes in it “ involuntary devotion to dreams, inimitable strangeness and a sharp, chilled mind", a sense of honor, nobility of soul. And Onegin could not help but become disillusioned with social life.

A different path followed by some of the noble youth of the 20s is revealed through the example of Lensky’s life.

He was educated and brought up in " Germany foggy" From there he brought " freedom-loving dreams...and shoulder-length black curls" Pushkin points out Lensky's inherent " the noble aspiration of both the feelings and thoughts of the young, tall, gentle, daring" Lensky perceives people and life as a romantic dreamer. Lack of understanding of people and enthusiastic daydreaming lead Lensky to a tragic end at his first encounter with reality. He sees the purpose of life in love for Olga, considers her perfection, although she is an ordinary girl. " Always modest, always obedient", she does not think deeply about anything, but follows the accepted rules of life. Her feelings are not deep and stable. She " I cried for a while" about Lensky and soon got married.

Olga’s sister Tatyana was distinguished by her stability and depth of feelings. Tatyana Larina was brought up on French novels, so she was just like Lensky, romantic. But Tatyana is close to the people. Tatyana dreams of a person who would be like the heroes of her favorite novels. It seems to her that she found such a person in Onegin. But he rejects Tatiana's love. Her fate is tragic, but her character has not changed.

An analysis of the characters of the main characters showed that only using the example of Onegin, his lifestyle described at the beginning of the novel, can one consider the life of a typical nobleman, his entertainment and activities, and also imagine what the day of a socialite could be like.

4.1 Entertainment

“The day of the capital’s nobleman had some typical features. However, those signs that mark the day of an officer or departmental official are not noted in the novel, and there is no point in dwelling on them,” 9 - this is how Y. Lotman begins his commentary on Pushkin’s novel “Eugene Onegin.”

Onegin leads the life of a young man, free from official obligations. Apart from non-employees, such a life could only be afforded by rare young people from among the rich and with noble relatives, “mama’s boys, whose service, most often in the Ministry of Foreign Affairs, was purely fictitious” 10.

A secular person, not burdened with work, got up very late. This was considered a sign of aristocracy: after all, only those who had to earn their daily bread with their labor - artisans, traders, and office workers - had to wake up early. Russian aristocrats adopted this habit from the French. Parisian ladies of high society were proud of the fact that they never saw the sun, going to bed before dawn and waking up at sunset.

Having gotten out of bed and done the morning toilet, it was supposed to drink a cup of tea or coffee. At two or three o'clock in the afternoon it was time for a walk - on foot, on horseback or in a carriage, during which it was possible to pay visits to relatives and friends, of which everyone had many.

The walk, on horseback or in a carriage, took an hour or two. Favorite places for festivities of St. Petersburg dandies in the 1810-1820s. there were Nevsky Prospekt and the English Embankment of the Neva.

The daily walk of Alexander I influenced the fact that the fashionable daytime festivities took place along a specific route. At one o'clock in the afternoon he left the Winter Palace, followed the Palace Embankment, and at Pracheshny Bridge he turned along the Fontanka to the Anichkovsky Bridge. Then the sovereign returned to his place along Nevsky Prospekt. It was at these hours that Onegin walked along the “boulevard”:

While in morning dress,

Putting on a wide bolivar,

Onegin goes to the boulevard

And there he walks in the open space,

While the watchful Breget

Dinner won't ring his bell.(1, XV, 9-14)

Around four o'clock in the afternoon it was time for lunch. Such hours were clearly felt as late and “European”: for many they still remembered the time when lunch began at twelve.

The young man, leading a single life, rarely had a cook - a serf or a hired foreigner - and preferred to dine in a restaurant. With the exception of a few first-class restaurants located on Nevsky, dinners in St. Petersburg taverns were of worse quality than in Moscow.

The gathering place for St. Petersburg dandies at that time was the Talona restaurant on Nevsky:

He rushed to Talon: he is sure

What is Kaverin waiting for him there?

<…>

Before him roast-beef is bloody,

And truffles, the luxury of youth,

French cuisine has the best color.(1, XVI, 5-14)

To appear in one restaurant or another meant to appear at a gathering point for single youth - “lions” and “dandies”. And this required a certain style of behavior for the entire time remaining until the evening.

« However, Pushkin himself, in the absence of his wife in St. Petersburg, often dined at a restaurant. In 1834, in his letters to Natalya Nikolaevna, who was in Moscow at that time, the phrase is often found: “I’m having lunch at Dumais’s” - meaning a famous metropolitan restaurant" eleven .

The young dandy sought to “kill” the afternoon by filling the gap between the restaurant and the ball. One possibility was the theater. For the St. Petersburg dandy of that time, it was not only an artistic spectacle and a kind of club where social meetings took place, but also a place of love affairs and accessible behind-the-scenes hobbies.

Many in secular society were known as theater regulars. After all, the theater at the beginning of the 19th century. was not just a temple of art, but something like a permanent meeting place. Here you could chat with friends, find out the latest, far from theatrical, news, and start a love affair. Gentlemen patronized actresses, were friends with actors, and participated in theatrical intrigues, like Onegin:

The theater is an evil legislator,

Fickle Adorer

Charming actresses

Honorary Citizen of the Backstage,

Onegin flew to the theater,

Where everyone, breathing freedom,

Ready to clap enterchat,

To flog Phaedra, Cleopatra,

Call Moina (in order to

Just so they can hear him).(1, XVII, 5-9)

4.2 Ball

Dancing occupies a significant place in the novel “Eugene Onegin”: the author’s digressions are devoted to them, they play a large role in the plot.

Dancing was an important structural element of noble life.

In the era of Pushkin, the ball opened with a polonaise, which replaced the mannered minuet of the 18th century. Usually it was started by the mistress of the house together with one of the eminent guests. If the august family was present at the ball, then the emperor himself walked in the first pair with the hostess, in the second - the owner of the house with the empress. The second dance at a ball at the beginning of the 19th century. became a waltz:

Monotonous and crazy

Like a young whirlwind of life,

A noisy whirlwind swirls around the waltz;

Couple flashes after couple.(5,XLI, 1-4)

It is interesting how the word “waltz” is interpreted in the Onegin Encyclopedia: “The waltz in Eugene Onegin is mentioned three times: twice in the scene of Tatiana’s name day and once in the seventh chapter (the ball in the Assembly of the Nobility).

In the 1820s, when the fashion for the waltz spread in Russia, it was considered too free. “This dance, in which, as is known, persons of both sexes turn and come together, requires proper caution<...>so that they do not dance too close to each other, which would offend decency” (Rules for Noble Public Dances, issued by<...>Louis Petrovsky. Kharkov, 1825, p. 72.). Pushkin calls the waltz “crazy”, “frisky” and associates it with love play and frivolity.

The epithet “mad” is associated with the characteristics of the dance that we gave above” 12.