When the arrested Lermontov was interrogated in the gendarme department about the "seditious lines" that had stirred up Russia - the response to the death of the great Pushkin - he was remembered then in 1836 as "Masquerade." The third section, of course, was obscurantists, but by no means stupid people, Lermontov’s drama Masquerade was read very carefully by them. The sharp Lermontov’s criticism of the secular customs of the 18th century was compared by the “guardians of morality” to the disgraced Griboedov’s “Woe from Wit”.
“Let’s share it - in the jail,” thought the Mordovians, “what this“ scribbler ”M. Lermontov dared to blow himself at! Masquerade in Engelhardt's house! Yes, even people of the royal family visit him! ” The classic was forced to repeatedly edit the drama, and she appeared on the theatrical stage only in 1846, five years after the fatal Pyatigorsk bullet.
Having mentioned the drama, let us recall its brief content. Lermontov's “Masquerade” immediately introduces us to Evgeny Arbenin in the first scene. We characterize this image: a middle-aged man, in the past - a successful card player (he won a fortune). Followed by reason, because “the time has come”, but the former player unexpectedly falls in love with his young wife Nina. His future plans are to “tie up” with cards and begin the measured, virtuous life of the Russian master. The character of Arbenin is closed, quick-tempered, "seething." His wife - Nastasya Pavlovna (family-owned, Nina) - is young, beautiful, she is sincerely in love with her husband. By education - a secular girl. She adores tinsel balls, like all of her peers noble class. Nina, as a child, simply cannot be at home during the holidays, when the whole court Petersburg has fun.
The plot of the drama is developing dynamically. Arbenin, against his will, sat down at the card table, yielding to the entreaties of the "card" comrades. Not chasing greed, he calmly helped recoup his friend, Prince Zvezdich. Relieved to stop the disgusting game, the prince offers his savior to go to the masquerade to Engelhardt.
Amid the general burden of fun, Arbenin remains calmly calm. Suddenly, at a ball, an unfamiliar man approached portends his misfortune. Prince Zvezdich plunges into general fun with his head. This is a typical representative of the "golden" noble youth of the XIX century, living on the principle of "after us at least a flood." Arbenin had just saved him from financial problems, and he is already "eager for battle" - striving to make a random connection. Arriving at the ball at the Engelhardt Palace, Zvezdich tries to attract the attention of ladies of easy virtue, primitively pretending to be a "romantic hero." His words that “love doesn’t touch his heart” are banal and “hackneyed”.
We recommend this scene to the reader in the original, since Lermontov’s lines are brighter, juicier than any short summary. Lermontov's “Masquerade” plunges us into the authentic atmosphere of the ball. One of the ladies, hearing the words of the prince, immediately met with him. However, even she cannot restrain herself from the ironic characterization of Zvezdich as “godless,” “spineless,” “immoral.” Lermontov puts into her mouth a tart characterization: “puppet” passions, the hypocrisy of the entire “century”. He seems to mean: “Nobles, look at yourself from the side. Keep yourself dignified, like decent people! ” Could these lines from The Masquerade recall the gendarmes to Mikhail Yurievich?
Dear readers, we were somewhat distracted by leaving Zvezdich at the ball, looking for adventure in his sirloin places and finding them, but “on the head” of his friend. Judging by the plot, in the same place, at the ball, there is a “quite ordinary” casual connection for the prince. The irony that the summary is unlikely to convey is crucial. Lermontov's "masquerade" consistently develops the derogatory characterization of the prince, whom he had previously laughed at "romanticism". He, continuing to portray the Shakespearean hero, asks the “beautiful stranger” for some “souvenir” gift. She is already glad to get rid of the idiot, by chance her eyes fall on someone's plain-looking lost bracelet. The "mask" picks up the find and gives it to Zvezdich.
The happy prince demonstrates his "trophy" to Eugene Arbenin. He recalls that somewhere he saw the same, but does not delve into memories. Everything here is already fed up with him, and he wants to come home faster, missing Nina.
However, returning at midnight, Eugene a couple of hours waiting for his wife from the ball. Arriving, she, bored, rushed into the arms of Arbenin. Suddenly, the husband notices the absence of the beloved pair of bracelets on the right hand , the one ... "Cheating!" - flashes in his brain. Ambition, selfishness overshadow his love. He, not wanting to hear anything, drives away his wife.
Nina naively believes that, having bought a trinket, like a lost one, she will make peace with Arbenin. She goes to a jewelry store. Then, to his misfortune, on the way home he calls in with his friend Baroness Stral. This young widow is courting Zvezdich. Upon learning of Nina’s lost bracelet, he recalls the Mask and begins to flirt with Nina. That, having doused him with “baptismal cold,” leaves the house. On her departure, Zvezdich, who does not know how to keep quiet, lays out his story with the Baroness Mask, presenting his acquaintance as Nina. The Baroness is shocked, because she herself was a frivolous mask! Further, a worldly idiot reports about his "feat" to half of St. Petersburg, and also sends a "love" letter to Nina in the Arbenins' house.
The letter was read by Eugene Arbenin. He begins to take revenge. Being an experienced player, he starts a game with Prince Zvezdich, where he initiates a delicate situation in which he publicly accuses the nobleman of cheating. He, blinded by resentment, decides to kill Nina by poisoning. Arriving at the ball, he is outwardly meek and calm. Nina is pleased, thinking that reconciliation is close. She asks Eugene to bring ice cream. The poison is faithful and swift. That same night, a young beauty dies.
Zvezdich appears in the Arbenin’s house with a stranger, a harbinger of misfortune. Those who enter crave a duel. From them, Evgeny Arbenin learns that the “mask” was the Baroness, and his wife was innocent. The proof is a letter from the Baroness. He is losing his mind.
We ask ourselves the question: “How can this summary be extremely concisely expressed?” Lermontov's “Masquerade” is a classic drama about jealousy, with truly Shakespearean passions, transferred to the 19th century. Perhaps that is why many critics compare it with Othello?