One of the most legendary houses, inseparable from literary characters, is the house of the Queen of Spades, or the house of Princess Golitsyna on Malaya Morskaya, 10. Saying “ Queen of Spades”, we immediately recall the secret of three cards: a three, a seven and an ace; Herman's desperation after losing, room 17 of the Obukhov hospital, where Herman, who went mad, ended his life.

The scenery with a humpbacked bridge over the Winter Canal comes to mind… but these are already impressions from Tchaikovsky's opera of the same name The Queen of Spades. By the way, the house where P.I. Tchaikovsky, is located opposite the house of Princess Golitsyna. Such strange rapprochements happen in history ...

The maid of honor and lady of state at the court of five Russian emperors, cavalry princess Natalya Petrovna Golitsyna personified the continuity and inviolability of royal power. Both the cadet and the important general appeared to her, as to important authorities. Before the girl was brought out into the world, she was shown to Natalya Petrovna Golitsyna. In the princess's house on Malaya Morskaya, members of the royal family. The son of Natalya Petrovna - the Moscow Governor-General Prince Dmitry Golitsyn - stretched out before the formidable mother, as before the sovereign.

Golitsyna inherited her stern disposition from her grandfather Ushakov, head of the secret detective office under Anna Ioannovna, a well-known executioner. The father of the princess was a prominent diplomat, Count Pyotr Grigoryevich Chernyshev.

Natalya Petrovna Golitsyna was not particularly beautiful even in her youth. In her old age, she became very unattractive. Behind her eyes, she was called the "mustachioed princess." In the literature, we do not find evidence of A. Pushkin's personal acquaintance with Golitsyna, but who in St. Petersburg did not know the princess and her house on Malaya Morskaya?

Of course, the appearance of a literary hero most often reflects the character traits and biographies of not one, but several real people. The character of the book, as a rule, is a collective image. A close friend of Pushkin, Pavel Voinovich Nashchokin, noted that in the image of the old countess from the story "The Queen of Spades" they embodied the traits of another high society lady, the maid of honor and a distant relative of Pushkin's wife Natalya Kirillovna Zagryazhskaya. By the time the story was written, she was already 87 years old, like the old countess. Pushkin liked to talk for a long time with Natalya Kirillovna, learning many curious details from the era of Catherine I and Paul I.

But back to Malaya Morskaya, 10. Under Golitsyn, the house was less elegant than it is now. There was no balcony above the entrance; the pattern of windows in the center of the facade was different. But basically, both the external and internal appearance of the house has been preserved quite well. On the pediment of the house you can see the remains of the coat of arms molding. Upon entering the house, we immediately find ourselves in a spacious lobby. The main staircase leads, as before, to the fireplace on the platform, above which there is a high semicircular mirror and in it a small round clock. Faded Roman numerals on the dial. Below the inscription: "Leroy Paris". It is curious that Hermann, when he walked through the house of the Queen of Spades, came across a table clock made by the “glorious Leroy”.

Liza's note served Herman as a guide: “Go straight to the stairs ... From the front, go to the left, go all the way to the countess's bedroom. In the bedroom, behind the screens, you will see two small doors: on the right into the study, where the countess never enters, on the left into the corridor, and right there a narrow winding staircase: it leads to my room.

Following the indicated route, even today, upon entering the house of Princess Golitsyna, we will see the main marble staircase, with a fireplace and vintage clock firm "Leroy" on the site. On the second floor, just above the lobby, there is a reception hall, where today one of the city's polyclinics is located. Previously, this hall was connected with other enfilade that went along Malaya Morskaya. From the reception hall it was possible to follow Herman to the preserved corner room. Today due to redevelopment inner chambers Golitsyna's house is impossible to get through like that. Today, you can enter the former bedchamber of the princess through a narrow corridor, bypassing spiral staircase. Two windows of the bedchamber overlook Gorokhovaya, three - on Malaya Morskaya Street. Preserved white marble fireplace outer wall. Alcove, deep and wide, on inner wall room, suggests the location of the bed of the princess. On either side of the alcove are two small doors. The one to the right leads to a small room that previously served as the Countess's office.

The door to the left of the alcove connects the princess's bedroom with narrow corridor, through which today you can get into the bedroom of the Countess.

The amazing similarity of the interiors, down to the smallest details, with the one described by A.S. Pushkin! Undoubtedly, A.S. Pushkin visited Golitsyna's house. How the poet could be familiar with the peculiarities of the location and furnishing of the Countess's bedroom, where only servants or close relatives could be admitted, one can only guess ...

Six months before the creation of the "Queen of Spades" A.S. Pushkin, a block away from the house of the old countess, rented an apartment in the house of Zhadimirovsky, on the corner of Bolshaya Morskaya and Gorokhovaya streets. Bolshaya and Malaya sea streets were located in the center of aristocratic Petersburg. Of course, the poet often passed by the princess's house and that police box that stood at the corner of Malaya Morskaya and Gorokhovaya. Here is how the house of Princess A.S. Pushkin:

“... he found himself in one of the main streets of St. Petersburg, in front of the house ancient architecture. The street was crowded with carriages, the carriage one after another was heated to the illuminated entrance. From the carriages, the slender leg of a young beauty constantly stretched out, then a rattling jackboot, then a striped stocking and a diplomatic shoe. Fur coats and raincoats flashed past the stately porter. Hermann stopped.

- Whose is this house? he asked the corner guard.
“Countess ***,” answered the watchman.

The story with three cards is taken from life. Golitsyn's grandson Sergei Grigoryevich Golitsyn, who had the nickname Firs in high society, was a friend of Pushkin. Firs was no stranger to poetry, music, tried his hand at writing in these areas. But Firs' greatest passion was cards. Once, after a big loss, he came to ask his rich grandmother for money. The stingy Natalya Petrovna, instead of money, gave her grandson advice to bet on three cards and thus win back. Which cards were named by Golitsyna is unknown. But one thing is certain: Firs, having bet on the named cards, not only recouped, but also increased his jackpot!

This story, an anecdote, as they were called in the 19th century, became known to A. Pushkin and was used by him in his story The Queen of Spades.

For Pushkin scholars, the fact that N.P. Golitsyna with the famous adventurer Saint-Germain, from whom she could learn the secret of three cards ...

Why exactly these cards? Troika. Seven. Ace?

The three is associated in our view with the three commandments of Herman. All his life he put on three true cards: calculation, moderation, diligence.

If you follow Herman's bets during the game, it is easy to find the three and seven hidden in them. They are laid down by the rules of the game of the bank (shtos, pharaoh).

A.S. Pushkin in the epigraph of the story we read:

"And on rainy days
They were going
Often;
Bent - God forgive them! -
From fifty
One hundred…”

The rules of the game in the bank were beneficial to the banker and pushed his punter opponent, if he lost, to double the bet (“from fifty to one hundred.”) Sometimes it came to a sixteenfold increase in the initial bet. It was called the "password game".

Herman's initial rate was 47,000 rubles. The first win brings him another 47 thousand. On the second day of the game, Herman bets already 94 thousand. Winning on a seven gives him another 94,000. Ahead is the last, third bet. She promises Herman a doubling of the 188,000 rubles delivered; 376 thousand!

In all these calculations, a three and a seven are found. As a result of the second win, Herman receives a triple initial capital, and after the third he had to increase it seven times relative to the original bet. On the margins of the story "The Queen of Spades" the author did all these calculations. They were of fundamental importance for Pushkin.

On the third evening of the game, when Herman instead of Ace discovers the Queen of Spades, he is struck by the extraordinary resemblance of the latter to the old countess. “At that moment it seemed to him that the Queen of Spades narrowed her eyes and grinned,” we read from A.S. Pushkin.

Hermann realizes that his lady has been killed. He traded Lisa for cards. He was not going to fulfill the condition set by the old woman: to marry her poor pupil. Herman put everything on the line. And did not become an Ace.

Three and seven are favorite numbers in Russians folk tales. And in the works of Pushkin, based on Russian folklore, we remember the three girls under the window, the seven bogatyrs in The Tale of the Dead Princess, and the 33 immortal bogatyrs in The Tale of Tsar Saltan.

In the story of A.S. Pushkin's "The Queen of Spades" fancifully intertwined the poet's fantasy and reality. The poet knew the world of Moscow and St. Petersburg gamblers very well, which helped him to reflect it so realistically and vividly in his story.

Natalya Petrovna Golitsyna lived a surprisingly long life by today's standards. She died at the age of 98 and was buried in the family tomb of the Golitsyn princes in the Donskoy Monastery. The house of the Queen of Spades on Malaya Morskaya was donated by Nicholas I to the Minister of War Chernyshev as a gift for perpetual and hereditary possession. At the same time, in the middle of the 19th century, it was partially rebuilt, the coat of arms of the princes Chernyshevs and a balcony with an openwork lattice on the facade overlooking Malaya Morskaya Street appeared on the pediment. During the reconstruction, the bedchamber of the old countess and the rooms adjacent to it remained in their original form.

This makes it possible, of course, to create a museum corner in this part of the house, if the current tenants, the city polyclinic, would so desire. Currently, in the interior of the bedchamber there is an ordinator's room.

Another memorable address of the story "The Queen of Spades" is the Obukhov hospital. It is here that Hermann appears in the 17th issue.

The old Obukhov hospital near the Obukhov bridge on the embankment of the Fontanka River was publicly accessible. She was sometimes called common people. The hospital, which opened in 1780, was originally housed in several wooden buildings and was designed for 60 beds. A little later, an extensive building designed by D. Quarenghi was built on the same site.

The building of the Obukhov hospital, decorated with a powerful white-columned portico, is still used as medical institution and serves as a decoration of the embankment of the Fontanka River.

By the way, in the same hospital he finished his life path and another literary character - Lefty, the hero of N.S. Leskov.

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Presentation on the topic: Peak Lady. Characteristics of Herman

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He first appears on the pages of the story in an episode with the horse guard Narumov, but, sitting up to 5 in the morning in the company of players, he never plays - "I am not able to sacrifice what is necessary, in the hope of acquiring what is superfluous." Ambition, strong passions, fiery imagination are suppressed in him by firmness of will. After listening to Tomsky's story about three cards, the secret of which was revealed 60 years ago to his grandmother, Countess Anna Fedotovna, by the legendary visionary Saint Germain, he exclaims: not "Chance", but "Fairy Tale!" - because it excludes the possibility of irrational success.

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Further, the reader sees Herman standing in front of the windows of the poor pupil of the old countess, Liza; his appearance is romantic: a beaver collar covers his face, his black eyes sparkle, a quick blush flares up on his pale cheeks. However, G. is not a gallant character in an old French novel that the countess reads, not a fatal hero of a Gothic novel (which the countess condemns), not actor boring and peaceful Russian novel (brought to her by Tomsky), not even the “literary relative” of Erast from Karamzin’s story “ Poor Lisa". (The connection with this story is indicated not only by the name of the poor pupil, but also by the “foreign” vowel of the name of her “seducer”.) G. is rather the hero of a German petty-bourgeois novel, from which he borrows word and word his first letter to Lisa; this is the hero of the novel by calculation. He needs Lisa only as an obedient tool for the implementation of a well-thought-out plan - to master the secret of the three cards.

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There is no contradiction here with Narumov's scene; a man of the bourgeois era, G. did not change, did not recognize the omnipotence of fate and the triumph of chance (on which any game of chance is built - especially the pharaoh, which the countess played 60 years ago). Simply, after listening to the continuation of the story (about the deceased Chaplitsky, to whom Anna Fedotovna revealed the secret), G. was convinced of the effectiveness of the secret. This is logical; a one-time success can be random; the repetition of chance indicates the possibility of its transformation into a regularity; and regularity can be "calculated", rationalized, used. Until now, his three trump cards were - calculation, moderation and accuracy; from now on, mystery and adventurism paradoxically combined with the same calculation, with the same bourgeois thirst for money.

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And then G. in a terrible way calculated. As soon as he set out to master the law of chance, to subordinate the mystery to his own goals, the mystery itself immediately took possession of him. This dependence, the "bondage" of the actions and thoughts of the hero (which he himself almost does not notice) begins to manifest itself immediately - and in everything. Upon returning from Narumov, he has a dream about a game in which gold and banknotes are, as it were, demonized; then, already in reality, an unknown force brings him to the house of the old countess. The life and consciousness of G. instantly and completely obey the mysterious game of numbers, the meaning of which the reader does not understand for the time being. Pondering how to take possession of the secret, G. is ready to become the lover of the eighty-year-old countess - for she will die in a week (i.e., after 7 days) or in 2 days (i.e., on the 3rd); the gain may triple, sevenfold his capital; after 2 days (i.e., again on the 3rd) he appears for the first time under Lisa's windows; after 7 days, she smiles at him for the first time - and so on. Even the surname G. now sounds like a strange, German echo of the French name Saint-Germain, from which the countess received the secret of the three cards.

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But, barely hinting at the mysterious circumstances that his hero becomes a slave to, the author again focuses the reader's attention on the reasonableness, prudence, and planning of G.; he thinks through everything - right down to Lizaveta Ivanovna's reaction to his Love letters. Having obtained from her consent to a date (and therefore - having received detailed plan home and advice on how to get into it), G. sneaks into the countess's office, waits for her to return from the ball - and, frightening half to death, tries to find out the coveted secret. The arguments that he brings in his favor are extremely diverse; from the proposal "to make up the happiness of my life" to reasoning about the benefits of thrift; from the readiness to take the Countess's sin upon one's soul, even if it is connected "with the ruin of eternal bliss, with the devil's pact" to the promise to honor Anna Fedotovna "as a shrine" from generation to generation. (This is a paraphrase of the liturgical prayer “The Lord shall reign forever, your God, Zion, generation and generation.”) G. agrees to everything, because he does not believe in anything: neither in the “destruction of eternal bliss”, nor in the shrine; these are only incantatory formulas, "sacred-legal" conditions of a possible contract. Even "something resembling remorse" that echoed in his heart when he heard the steps of Liza, deceived by him, is no longer able to awaken in him; he became petrified, like a dead statue.

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Realizing that the countess is dead, G. sneaks into Lizaveta Ivanovna's room - not in order to repent before her, but in order to dot the "and"; to untie the knot of a love plot, which is no longer needed, “... all this was not love! Money - that's what his soul yearned for! A harsh soul, - Pushkin clarifies. Why, then, twice in the course of one chapter (IV) does the author lead the reader to compare the cold G. with Napoleon, who for people is the first half of XIX in. embodied the idea of ​​romantic fearlessness in a game with fate? First, Lisa recalls a conversation with Tomsky (G. has a “truly romantic face” - “the profile of Napoleon, and the soul of Mephistopheles”), then follows a description of G., sitting on the window with folded arms and surprisingly resembling a portrait of Napoleon ...

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First of all, Pushkin (as later on Gogol) depicts a new, bourgeois world that has been reduced to pieces. Although all the passions, the symbols of which are the cards in the story, remained the same, but evil lost its “heroic” appearance, changed its scale. Napoleon longed for glory - and boldly went to fight with the whole universe; the modern "Napoleon", G. craves money - and wants to book his fate. The "former" Mephistopheles threw the whole world at the feet of Faust; The "current" Mefisto is only capable of frightening the old countess to death with an unloaded pistol (and the modern Faust from Pushkin's ♦ Scenes from Faust, 1826, with which the Queen of Spades is associated, is mortally bored). From here it is a stone's throw to the "Napoleonism" of Rodion Raskolnikov, united with the image of G. by ties of literary kinship ("Crime and Punishment" by F. M. Dostoevsky); For the sake of an idea, Raskolnikov will sacrifice an old pawnbroker (the same personification of fate as an old countess) and her innocent sister Lizaveta Ivanovna (the name of a poor pupil). However, the opposite is also true: the evil was reduced, but remained the same evil; The “Napoleonic” posture of G., the posture of the master of fate, who suffered a defeat, but did not reconcile with him - crossed arms - indicates a proud contempt for the world, which is emphasized by the “parallel” with Liza, sitting opposite and humbly folding her arms in a cross.

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However, the voice of conscience will speak again in G. - three days after the fateful night, during the funeral service for the old woman he unwittingly killed. He decides to ask her for forgiveness - but even here he will act for reasons of moral gain, and not for moral reasons proper. The deceased may have bad influence on his life - and it is better to mentally repent before her in order to get rid of this influence. And then the author, who consistently changes the literary registration of his hero (in the first chapter he is a potential character in an adventure novel; in the second - the hero of a fantastic story in the spirit of E. - T.-A. Hoffmann, in the third - the protagonist of the story is social and everyday, the plot of which gradually returns to its adventurous origins), again sharply "switches" the tone of the narration. The rhetorical cliches from the memorial sermon of the young bishop (“the angel of death found her awake in good thoughts and in anticipation of the midnight bridegroom”) are superimposed on the events of the terrible night. In G., this “angel of death” and “midnight groom”, parodic features suddenly appear; his image continues to shrink, to decline; it seems to melt before the eyes of the reader. And even the “revenge” of the dead old woman, which makes the hero faint, can make the reader smile: she “mockingly looked at him, narrowing her eyes with one eye.” and ambiguity, so that neither the hero nor the reader is able to make out: is the dead old woman, shuffling in her slippers, all in white, really coming to G. that night? Or is it a consequence of a nervous paroxysm and drunk wine? What are the three cards she called - “three, seven, ace” - the otherworldly secret of numbers to which G. is subject from the moment he decided to take possession of the secret of the cards, or a simple progression that G. long ago brought out for himself ( “I will triple, I will triple the capital ..,”; that is, I will become an ace)? And what explains the promise of the dead countess to forgive her unwitting murderer if he marries a poor pupil, whom she did not care about during her lifetime? Is it because the old woman was forced to “be kinder” by an unknown force that sent her to G., or because in his ailing consciousness all the same echoes of conscience sound that once woke up in him at the sound of Liza’s steps? There are no and cannot be answers to these questions; Without noticing it himself, G. found himself in an “intermediate” space, where the laws of reason no longer operate, and the power of the irrational principle is not yet omnipotent; he is on his way to insanity.

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The idea of ​​three cards finally takes possession of him; he compares a slender girl with a red troika; when asked about time, he answers “5 minutes to seven”. A pot-bellied man seems to him an ace, and an ace is a spider in a dream - this image of dubious eternity in the form of a spider weaving its web will also be picked up by Dostoevsky in Crime and Punishment (Svidrigailov). G., who so valued precisely independence, even material, for the sake of it and entered into a game with fate, completely loses independence. He is ready to completely repeat the "Parisian" episode of the life of the old countess and go to play in Paris. But here the famous player Chekalinsky appears from the "irrational" Moscow and starts a real "irregular" game in the "regular" capital. The very case, which G. intended to exclude from his regular, planned life, saves him from "troubles" and decides his fate.

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In the scenes of the “duel” with Chekalinsky (whose last name rhymes in assonance with the last name of Chaplitsky), the reader is presented with the former G. - cold and all the more prudent, the less predictable the game of pharaoh is. (The player puts a card, the punter who holds the bank, throws the deck to the right and left; the card may coincide with the one chosen by the player at the beginning of the game, and not match; it is obviously impossible to predict winning or losing; any maneuvers of the player that do not depend on his mind and will are excluded.) G. does not seem to notice that in the image of Chekalinsky, on whose full fresh face an eternal icy smile plays, he is opposed by fate itself; G. is calm, because he is sure that he has mastered the law of chance. And he, oddly enough, is right: the old woman did not deceive; all three cards win night after night. It's just that G. himself accidentally turned around, that is, instead of an ace, he put the queen of spades. The regularity of the mystery is fully confirmed, but the omnipotence of chance is confirmed in the same way. G.'s tripled, seven-fold capital (94,000) goes to the "ace" - Chekalinsky; G. gets the Queen of Spades, who, of course, immediately repeats the "gesture" of the dead old woman - she "squinted her eyes and grinned."

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"The Queen of Spades" was created, obviously, the second Boldin autumn, in parallel with the "Tale of the Fisherman and the Fish" and the "Petersburg Tale" Bronze Horseman". Naturally, the image of G. comes into contact with their central characters. Like the old countess, he wants to put fate at his service - and, in the end, he also suffers a crushing defeat. Like poor Eugene, he rebels against the "natural" order of social life - and also goes crazy. (That is, he loses Reason - that “tool” with which he was going to master the Law of Fate.) From the Conclusion to the story, the reader learns that the failed conqueror of the other world, the bourgeois Napoleon, who reduced Mephistopheles, is sitting in the 17th number (ace + seven) Obukhov hospital and very quickly mutters: “Three, seven, ace! Three, seven, lady!

Images of Herman and the Countess in the story "The Queen of Spades"

How does Herman expect to achieve happiness? To introduce himself to the countess, to win her favor, perhaps to become her lover. The calculation rules are frankly immoral - what is this willingness to become, out of selfish goals, the lover of an eighty-seven-year-old old woman worth. In these reflections, not only sincerity itself is terrible, but the calm, businesslike tone in which these plans and these intentions are expressed ...

Case - I saw a "fresh face" in the window of the Countess's house unknown girl- "decided his fate", he embarked on the path of adventure. An immoral plan instantly matured: to penetrate the countess's house with the help of a “fresh face”, make a person unknown to him an accomplice of villainy and force the countess to reveal to him the secret of the three cards at any cost, begging her or threatening to kill her.

After the story with Lizaveta Ivanovna, the meeting with the countess is the culmination of Herman's game-scam. Appearing before the old woman in her bedroom after midnight, Herman carries out his previously planned plan - "to introduce himself to her, to win her favor." Seeing unknown man, the countess was not afraid - her "eyes perked up." The young officer "introduces himself": "I have no intention of harming you; I have come to beg you for a favor." Let's pay attention to the reaction of the countess. Pushkin emphasizes one motive - the silence of the old woman. After the first phrase of Herman, Pushkin reports: “The old woman silently looked at him and seemed not to hear him. Herman imagined that she was deaf, and, bending over her very ear, repeated the same thing to her. The old woman remained silent as before.

Continuing to "tune into her mercy", Herman begins to beg to give him the secret of the three cards. To this speech, for the first and last time, Countess Tomskaya reacts vividly and rejects the tale of three true cards: “It was a joke,” she said at last, “I swear to you! it was a joke!"

This is the only testimony of a living witness of ancient events, who in Tomsky's story appeared as a character in the legend. The Countess' confession destroys the legend. One can hardly doubt the veracity of her words. Plus, “the old man swears the three-card version was a joke. It is impossible to believe that the countess is cunning, deceiving, dodging, not wanting to betray the secret. She had nothing to give out - there was no secret. The secret existed for Herman, for Tomsky and his friends. The mind of the countess was formed in the skeptical XVIII century, in the 1770s Voltairianism was widespread in Russia, and the young countess who appeared in Paris, of course, was in tune with the spirit of the times. The losing countess paid the card debt, and since the name of Saint-Germain was shrouded in mystery, then, apparently, this legendary version of the three cards appeared at the same time as a joke: a famous adventurer and mystic revealed the secret of the three cards to Moscow Venus!

For Pushkin, it is fundamentally important that the reader understands that there was no secret! The Countess herself swore that the whole talk of three cards was a joke. This mystery is a mirage, a "fairy tale", an old "joke". It is also significant that the prudent German believed in this secret. Faith in otherworldly forces is alien to him, but the passion of the player and the adventurism of nature prevailed - he succumbed to the temptation to instantly get rich. And this is the historically and socially conditioned traits of Herman's character and beliefs. The pursuit of a ghostly secret, which should also open the way to happiness - capital - expresses the essential side of the image of Herman.

Herman once again changes tactics: it seems to him that he needs to beg the countess again and again, appeal to her past, remind her of the past, of the years of hobbies and happiness: “your heart knew the feeling of love”, “I beg you with the feelings of a wife, mistress, mother, - to everything that is sacred in life - do not refuse me my request! Tell me your secret." "The old woman did not answer a word."

In a monologue, Pushkin conveyed the duel of representatives of two eras, two consciousnesses, two wills. The form of the monologue construction of the scene of the fight between Herman and the Countess is deeply meaningful. Its meaning is a demonstration of the deadly selfishness, the excitement of an adventurer. The nature of the monologue changes all the time - it becomes aggravated, hardened and finally turns into a rude threat, into a readiness to kill a person who resists his will. Herman shouts "Old witch! .. So I'll make you answer ... With this, he took out a pistol from his pocket."

The countess remained silent - she died from overexertion, from fright. Behind her silence is guessed mental strength, arrogance, and contempt of the aristocrat for the vile actions of the plebeian. At the very first attack of a nocturnal stranger who burst into her bedroom, she answered with a confession - she told the truth, she dispelled the children of the legend with an oath. They did not believe her, and she fell silent.

Herman came to the countess in order to find out the secret - hence, the dialogic form of the meeting was supposed. Dialogue binds two people, even adversaries. The Countess, having told the truth, fell silent. The dialogue turned into a monologue. The mopologism of this scene clearly reveals Herman's selfish isolation. With all the laconicism of the narrative, Pushkin finds economical, but means of expression psychological disclosure spiritual world Herman. Already in the scenes examined, we discover the moral deafness of the engineering officer, his murderous concentration on himself, which does not allow the possibility of listening to the opinion of another person.

Description of the hero. The protagonist works by A.S. Pushkin "The Queen of Spades" - Herman. This is a young, intelligent, educated person. He is a military engineer by profession. Despite having a good profession, Herman is a citizen with an average income. He cannot afford extra expenses and is content with little.

Herman's father is a Russified German who did not leave his son a rich inheritance. His friends, accustomed to big expenses, live exclusively for their own pleasure and often laugh at Herman's rational spending. The hero wants to improve his financial situation, and find an opportunity to get rich.

The nature Herman is a gambler and adventurer, however, before Tomsky's revelation, he had never sat at a gambling table before. The desire to get rich quick and passionate nature an adventurer with a hero to move to a stupid act.

Herman is a person who is constantly interested in something and is fond of it. In an attempt to improve his financial situation, Herman tries to learn the secret of three cards that will bring him closer to his dream. He can no longer think about anything, he is driven by excitement and greed. These pernicious character traits ultimately ruin Herman. Deciding, by all means, to find out the secret of the three cards, the hero goes all out: he seduces a young girl, to whom he does not feel the slightest attraction and even threatens an elderly woman. The latter, by the way, dies of fear, but this does not really bother the hero. Herman becomes obsessed: his fixation obsession does not allow the hero to take a sober look at the environment and the world and think adequately.

hero's fate tragic, as he eventually goes mad. The young engineer just wanted to be a happy and rich man. He dreamed of spending money at will, not infringing on himself in anything, to live carefree, like his friends. However, his methods of achieving happiness turned out to be unproductive, because cynicism, ruthlessness, excessive excitement and greed do not lead to anything good.

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  I really liked the novel "Master and Margarita", exciting and mystical. There's a lot of humor there. As for good and evil... For sure, everything there is not so simple - not like in fairy tales.

When summer starts, I really want to leave the city. How fun it is to run around the meadow expanses, lie in the grass, weave a wreath of cornflowers and daisies...

Hermann is the hero of A.S. Pushkin's story "The Queen of Spades" (1833). G. is a military engineer, the son of a Russified German, who did not receive a lot of capital from his parent, and therefore was forced to live on one salary, not allowing himself the slightest whim. A gambler at heart, he never sits down at the card table. However, G.'s "strong passions and fiery imagination" are ignited by the story of his friend Tomsky about the three cards that once allowed his grandmother, Countess Anna Fedotovna, to pay off a large gambling debt. The Countess's house now attracts G. like a magnet. He wants to enter into the mercy of the Countess, to become her lover, he is ready for anything, just to master the secret of the three cards, which will bring him wealth. "Calculation, moderation and diligence", on which he built his former life, lose their former attractiveness for G..

The meeting with Lizaveta Ivanovna - the poor pupil of the old countess - decides his fate. Using the girl's love as a key to the countess's house, G. enters her bedroom and conjures the old woman with "feelings of a wife, mistress, mother" to reveal to him the secret of the three cards. The frightened countess dies without saying anything. True, three days later, on the day of the funeral, the ghost of the countess appears to G. in a dream and calls the cards: three, seven, ace. From now on, three cards completely occupy the imagination of G. For three days in a row he comes to the house of the hussar Chekalinsky and puts one card at a time, as ordered by the countess. The first two days bring him a win, on the third day, instead of an ace, the queen of spades falls on the table, in G.'s imagination endowed with a fatal resemblance to a countess. Lost G. goes crazy and ends his days in the Obukhov hospital.
Such is the character of G., a man who, being “unable to sacrifice the necessary in the hope of acquiring the superfluous,” succumbed to destructive passion and, in the pursuit of wealth, lost his mind.
E. G. Khaichenko Pushkinsky G. served as a prototype for the hero of P. I. Tchaikovsky's opera The Queen of Spades (1890); libretto by P.I. Tchaikovsky, written in 1887-1889. originally for the composer N.S.Kpenovsky.
The hero of the opera is called Herman - this is a first name, not a last name, like Pushkin's. The librettist changed the time of the action, which was attributed to XVIII century Catherine's era. His Herman, who had "strong passions and a fiery imagination", was rewarded with the gift of love. The intrigue around the three cards has lost its paramount importance. The soberly prudent ambitious man with the profile of Napoleon was replaced by a lonely and restless hero, overwhelmed by the elements of love passion and gambling. The hero of the opera is endowed with melancholy and nervous imagination, subject to ecstatic impulses. The opera retained the name of Pushkin's story. This is due to the peculiarities of the fatalist composer's worldview: the theme of rock, embodied in musical image Countess, sets off the idea of ​​life-play in the hands of an all-powerful fate (the famous aria "What is our life? A game!"). This level of conflict dictates a different, in comparison with the original source, denouement - the death of Herman. But the theme of love, which ends the opera, sounds like the triumph of true passion over false.

In the theatrical history of Tchaikovsky's The Queen of Spades, examples of "returns" to Pushkin's original are known. Thus, V.E. Meyerhold in the production of 1933 tried to “pushkinize” the opera. To this end, V. Stenich wrote a new libretto, in which Pushkin's plot was restored.