The image of Eugene Onegin. Analysis of "Eugene Onegin" briefly

"(from articles 8, 9)

“First of all, in Onegin we see a poetically reproduced picture of Russian society, taken at one of the most interesting moments of its development. From this point of view, "Eugene Onegin" is a historical poem in the full sense of the word, although there is not a single historical person among its heroes. The historical merit of this poem is all the higher because it was in Rus' and the first and brilliant experience in this de. In it, Pushkin is not only a poet, but also a representative of the first awakened public self-consciousness - an immeasurable merit!

... The form of novels like "Onegin" was created by Byron ... Byron wrote about Europe for Europe ... this person ... sought ... to judge his past and present history ... Pushkin wrote about Russia for Russia ... he was far from being tempted to create something in the Byronian style, writing a Russian novel ... And on the other hand, his Onegin - in the highest degree original and national Russian work. Together with Griboedov's contemporary work of genius, Woe from Wit, Pushkin's verse novel laid a solid foundation for new Russian poetry, new Russian literature. Before these two works, as we have already noted above, Russian poets still knew how to be poets, singing objects alien to Russian reality, and almost did not know how to be poets, taking up the image of the world of Russian life ...

... Together with Pushkin's Onegin, his (Griboedov's) Woe from Wit was the first example of a poetic depiction of Russian reality in the broad sense of the word. In this respect, both of these works laid the foundation for subsequent literature, were the school from which both Lermontov and Gogol came out. Without Onegin, The Hero of Our Time would have been impossible, just as without Onegin and Woe from Wit, Gogol would not have felt ready for the depiction of Russian reality, full of such depth and truth.

... The secret of the nationality of each nation lies not in its clothes and cuisine, but in its, so to speak, manner of understanding things. In order to correctly depict any society, one must first comprehend its essence, its peculiarity, and this cannot be done otherwise than by actually knowing and evaluating philosophically the sum of the rules by which society is held. Every nation has two philosophies: one is scientific, bookish, solemn and festive, the other is daily, domestic, everyday. Often both of these philosophies are more or less in close relationship to each other, and whoever wants to depict society needs to get acquainted with both, but the latter is especially necessary to study ... And it was a deep knowledge of this everyday philosophy that made Onegin and Woe from the mind” with original and purely Russian works.

Among the great merits of Pushkin is the fact that he brought both the monsters of vice and the heroes of virtue out of fashion, drawing simple people instead of them.

In the twenties of the current century, Russian literature rushed from imitation to originality: Pushkin appeared. He loved the estate, in which the progress of Russian society was almost exclusively expressed and to which he himself belonged, and in Onegin he decided to present to us the inner life of this estate, and with it the society in the form in which it was in the era he had chosen. , that is, in the twenties of the current century.

Characteristics of Onegin

“The poet did very well, choosing a hero from the highest circle of society. Onegin is by no means a nobleman, Onegin is a man of the world...

... Most of the public completely denied Onegin's soul and heart, saw in him a cold, dry and selfish person by nature. It is impossible to understand a person more erroneously and crookedly! This is not enough, many good-naturedly believed and believe that the poet himself wanted to portray Onegin as a cold egoist. This already means - having eyes, see nothing. Secular life did not kill feelings in Onegin, but only cooled him to fruitless passions and petty entertainments ... Onegin was neither cold, nor dry, nor callous ... poetry lived in his soul ... in general, he was not one of ordinary, ordinary people. Involuntary devotion to dreams, sensitivity and carelessness when contemplating the beauties of nature and remembering the romances and loves of former years - all this speaks more of feeling and poetry than of coldness and dryness. The only thing is that Onegin did not like to blur in his dreams, he felt more than he spoke, and did not open himself to everyone. An embittered mind is also a sign of a higher nature, because a person with an embittered mind is dissatisfied not only with people, but also with himself. Dozen people are always pleased with themselves, and if they are lucky, then with everyone else. Life does not deceive fools; on the contrary, she gives them everything, since they ask little from her - food, drink, warmth ...

Onegin is a kind fellow, but at the same time a remarkable person. He is not fit to be a genius, he does not climb into great people, but the inactivity and vulgarity of life stifle him; he does not even know what he needs, what he wants; but he knows, and knows very well, that he doesn’t need it, that he doesn’t want what makes prideful mediocrity so content, so happy… A spark of hope still smoldered in his soul — to be resurrected and refreshed in the quiet of solitude, in the bosom of nature, but he I soon saw that a change of place does not change the essence of some irresistible circumstances that do not depend on our will ... Onegin is a suffering egoist ... He can be called an egoist involuntarily ...

What happened to Onegin later? Did his passion resurrect him for a new, more human-worthy suffering? Or did she kill all the strength of his soul, and his bleak longing turned into dead, cold apathy? We don’t know, and why should we know this when we know that the forces of this rich nature were left without application, life without meaning, and the romance without end? It is enough to know this, so as not to want to know anything more ... "

Characteristics of Lensky and Olga

“In Lensky, Pushkin portrayed a character completely opposite to Onegin’s character, a completely abstract character, completely alien to reality. Then it was a completely new phenomenon, and people of this kind then really began to appear in Russian society.

Lensky was a romantic both by nature and by the spirit of the time. There is no need to say that it was a being, accessible to everything beautiful, lofty, pure soul and noble. But at the same time, "he was ignorant at heart," always talking about life, never knowing it. Reality had no influence on him: his joys and sorrows were the creation of his imagination. He fell in love with Olga, and what a need it was for him, that she did not understand him, that, having married, she would become the second, corrected edition of her mother, that she still had to marry - and for a poet, a friend of her childhood games, and for a lancer satisfied with himself and his horse? Lensky adorned her with virtues and perfections, attributed to her feelings and thoughts that she did not have and about which she did not care ... Lensky saw in her a fairy, a sylph, a romantic dream, not at all suspecting a future mistress. In Onegin's simple desire to play a trick on him, he saw treason, seduction, and bloody resentment. The result of all this was his death, which he had previously sung in vaguely romantic verses...

People like Lensky, with all their undeniable virtues, are not good because they either degenerate into perfect philistines, or ... become these outdated mystics and dreamers who are just as unpleasant as the ideal old maids, and who are more enemies of all progress than people are simply, without pretensions, vulgar. ... Becoming the center of the world, they calmly look at everything that is happening in the world, and repeat that happiness is within us, that the soul should strive towards the superstellar side of dreams and not think about the vanities of this earth, where there is both hunger and need ... The Lenskys have not died out even now; they just got reborn. There is nothing left in them that was so charmingly beautiful in Lenskoye ... in them there are only pretensions to greatness and passion to scribble paper. All of them are poets, and the poetic ballast in the magazines is delivered by them alone. In a word, these are now the most insufferable, the most empty and vulgar people.

... Olga is a simple, spontaneous being, who never discussed anything, never asked about anything, to whom everything was clear and understandable out of habit, and who everything depended on habit. She cried a lot about Lensky's death, but soon consoled herself, married a lancer and from a graceful and sweet girl became a dozen mistress, repeating her mother herself, with minor changes that time required.

Characteristics of Tatyana

“Pushkin’s feat is great, that he was the first in his novel to poetically reproduce the Russian society of that time and, in the person of Onegin and Lensky, showed its main, that is, male, side; but the feat of our poet is almost higher in that he was the first to poetically reproduce, in the person of Tatyana, a Russian woman ...

Tatyana's nature is not polysyllabic, but deep and strong. Tatyana does not have those painful contradictions that too complex natures suffer from; Tatyana was created as if all from one single piece, without any additions and impurities. Her whole life is imbued with that integrity, that unity, which in the world of art constitutes the highest dignity of a work of art. Passionately in love, a simple village girl, then a society lady, Tatyana is always the same in all situations of her life; the portrait of her as a child, so skillfully painted by the poet, is later only developed, but not changed.

... Tatyana is an exceptional being, a deep, loving, passionate nature. Love for her could be either the greatest bliss or the greatest misfortune of life, without any conciliatory middle ground. With the happiness of reciprocity, the love of such a woman is an even, bright flame; otherwise, a stubborn flame, which the power of will, perhaps, will not allow to break out, but which is all the more destructive and burning, the more it is squeezed inside. A happy wife, Tatyana, calmly, but nevertheless passionately and deeply, would love her husband, would completely sacrifice herself to her children ... but not out of reason, but again out of passion, and in this sacrifice, in the strict fulfillment of her duties, she would find her greatest pleasure, your supreme bliss. And all this without phrases, without reasoning, with this calmness, with this outward dispassion, with this outward coldness, which constitute the dignity and grandeur of deep and strong natures.

This marvelous combination of coarse, vulgar prejudices with a passion for French books and respect for the profound work of Martyn Zadeka is possible only in a Russian woman. Whole inner world Tatiana was in the thirst for love; nothing else spoke to her soul; her mind was asleep, and only if the heavy grief of life could then wake him up, and even then in order to restrain passion and subordinate it to the calculation of prudent morality ... A wild plant, completely left to itself, Tatyana created her own life, in the emptiness of which the one who devoured her burned more rebelliously inner fire that her mind was not occupied with anything.

Without the book, she would have been a completely mute being, and her burning and drying tongue would not have acquired a single living, passionate word with which she could relieve herself of the oppressive fullness of feeling. And although the immediate source of her passion for Onegin was her passionate nature, her overflowing thirst for sympathy, it nevertheless began somewhat ideally. Tatyana could not love Lensky, and even less could love any of the men she knew: she knew them so well, and they provided so little food for her exalted, ascetic imagination ... And suddenly Onegin appears. He is completely surrounded by mystery, his aristocracy, his secularism, his undeniable superiority over all this calm and vulgar world, among which he was such a meteor, his indifference to everything, the strangeness of life - all this produced mysterious rumors / which could not but affect Tatyana's fantasy , could not fail to dispose, not to prepare her for the decisive effect of the first meeting with Onegin. And she saw him, and he appeared before her, young, handsome, dexterous, brilliant, indifferent, bored, mysterious, incomprehensible, all an unsolvable mystery for her undeveloped mind, all seduction for her wild fantasy ... There are women whose attention a man can excite to oneself only by indifference, coldness and skepticism, as signs of enormous demands on life or as the result of a rebelliously and fully experienced life; poor Tatyana was one of those women...

... Onegin's explanation to Tatyana in response to her letter. How this explanation affected her is understandable: all the hopes of the poor girl collapsed, and she closed herself even more deeply into herself for the outside world.

So, in Tatyana, finally, an act of consciousness took place (after visiting Onegin's house): her mind woke up. She finally understood that there are interests for a person, there are sufferings and sorrows, besides the interest of suffering and the sorrow of love. But did she understand what exactly these other interests and sufferings consisted of, and if she understood, did this serve her to alleviate her own suffering? Of course, I understood, but only with the mind, with the head, because there are ideas that must be experienced with both soul and body in order to fully understand them, and which cannot be studied in a book. And therefore, a book acquaintance with this new world of sorrows, if it was a revelation for Tatiana, this revelation made a heavy, bleak and fruitless impression on her: it frightened her, horrified her and made her look at passions as the death of life, convinced her of the need to submit to reality. , as it is, and if you live the life of the heart, then to yourself, in the depths of your soul, in the silence of solitude, in the darkness of the night dedicated to longing and sobbing. Visiting Onegin's house and reading his books prepared Tatyana for the rebirth from a village girl into a secular lady, which surprised and amazed Onegin so much.

Now let's go straight to Tatyana's explanation with Onegin. In this explanation, Tatyana's whole being was fully expressed. This explanation expressed everything that constitutes the essence of a Russian woman with a deep nature, a developed society, everything: a fiery passion, and the sincerity of a simple, sincere feeling, and the purity and holiness of the naive movements of a noble nature, and reasoning, and offended pride, and vanity with virtue under which slave fear is disguised public opinion, and cunning syllogisms of the mind, secular morality paralyzed the generous movements of the heart ...

Tatyana does not like the world, and for happiness she would consider leaving it forever for the village; but as long as she is in the light, his opinion will always be her idol, and the fear of his judgment will always be her virtue ...

... Tatyana is a type of Russian woman ... Enthusiastic idealists who have studied life and women from the stories of Marlinsky demand contempt for public opinion from an extraordinary woman. This is a lie: a woman cannot despise public opinion, but she can sacrifice it modestly, without phrases, without boasting, realizing the whole greatness of her sacrifice, the whole burden of the curse that she takes upon herself, obeying another, higher law - the law of her nature, and her nature is love and selflessness…”

“So, in the person of Onegin, Lensky and Tatyana, Pushkin depicted Russian society in one of the phases of its formation, its development, and with what truth, with what fidelity, how fully and artistically he depicted it! We are not talking about the many inset portraits and silhouettes that are included in his poem and complete the picture of Russian society, upper and middle; we are not talking about the pictures of rural balls and metropolitan routs - all this is so well known to our public and appreciated by it so long ago ... Let us note one thing: the personality of the poet, so fully and vividly reflected in this poem, is everywhere so beautiful, so humane, but in at the same time predominantly artistic. Everywhere you see in him a person who, in body and soul, belongs to the basic principle that constitutes the essence of the class he depicts; in short, you see a Russian landowner everywhere... In this class he attacks everything that "contradicts humanity, but the principle of class for him is eternal truth... And that is why there is so much love in his satire itself, his very denial is so often similar to approval and admiration ... Recall the description of the Larin family in the second chapter, and especially the portrait of Larin himself ... This was the reason that much in Onegin is now outdated. But without this, perhaps, Onegin would not have come out so complete and detailed poem Russian life, such a definite factor for the negation of thought, which in this very society is developing so rapidly ...

Onegin was written over the course of several years, and therefore the poet himself grew up with him, and each new chapter of the poem was more interesting and more mature. But the last two chapters are sharply separated from the first six: they clearly already belong to the highest, mature era of the poet's artistic development. One cannot talk enough about the beauty of individual places, moreover, there are so many of them! Among the best are the night scene between Tatyana and the nurse, Onegin's duel with Lensky, and the entire end of the sixth chapter. In the last two chapters, we do not know what to praise especially, because everything is excellent in them; but the first half of the seventh chapter (the description of spring, the recollection of Lensky, Tatyana’s visit to Onegin’s house) somehow stands out from everything with the depth of sad feeling and wonderfully beautiful verses ... The digressions made by the poet from the story, his appeal to himself are full of extraordinary grace, sincerity, feelings, mind, sharpness; the personality of the poet in them is so loving, so humane. In his poem, he was able to touch on so many things, to hint about so many things, that he belongs exclusively to the world of Russian nature, to the world of Russian society! "Onegin" can be called an encyclopedia of Russian life and an eminently folk work. Is it any wonder that this poem was received with such enthusiasm by the public and had such a huge influence both on contemporary and subsequent Russian literature? And its influence on the mores of society? It was an act of consciousness for Russian society, almost the first, but what a great step forward for it! time goes by and brings with it new needs, new ideas, let Russian society grow and overtake Onegin - no matter how far it may go, it will always love this poem, it will always stop its eyes full of love and gratitude ... "

History of creation. "Eugene Onegin", the first Russian realistic novel, - the most significant work of Pushkin, which has a long history of creation, covering several periods of the poet's work. According to Pushkin's own calculations, work on the novel lasted for 7 years, 4 months, 17 days - from May 1823 to September 26, 1830, and in 1831 "Onegin's Letter to Tatiana" was also written. The publication of the work was carried out as it was created: at first, separate chapters came out, and only in 1833 did the first complete edition come out. Until that time, Pushkin did not stop making certain adjustments to the text.

Completing work on the last chapter of the novel in 1830, Pushkin sketched out his draft plan, which looks like this:
Part one. Preface. 1st song. Khandra (Kishinev, Odessa, 1823); 2nd song. Poet (Odessa, 1824); 3rd song. Young lady (Odessa, Mikhailovskoye, 1824).
Part two. 4th song. Village (Mikhailovskoe, 1825); 5th song. Name days (Mikhailovskoe, 1825, 1826); 6th song. Duel (Mikhailovskoe, 1826).
Part three. 7th song. Moscow (Mikhailovskoye, Petersburg, 1827, 1828); 8th song. Wandering (Moscow, Pavlovsk, Boldino, 1829); 9th song. Great Light (Boldino, 1830).

In the final version, Pushkin had to make certain adjustments to the plan: for censorship reasons, he excluded Chapter 8 - "The Journey". Now it is published as an appendix to the novel - "Excerpts from Onegin's Journey", and the final chapter 9 - "Big Light" - became, respectively, the eighth. In this form, in 1833, the novel was published as a separate edition.

In addition, there is an assumption about the existence of Chapter 10, which was written in the Boldin autumn of 1830, but burned by the poet on October 19, as it was devoted to depicting the era of the Napoleonic wars and the birth of Decembrism and contained a number of dangerous political allusions. Insignificant fragments of this chapter (16 stanzas) encrypted by Pushkin have been preserved. The key to the cipher was found only at the beginning of the 20th century by the Pushkinist NO. Morozov, and then other researchers supplemented the deciphered text. But the debate about the legitimacy of the assertion that these fragments really represent parts of the missing chapter 10 of the novel has not subsided so far.

Direction and genre. "Eugene Onegin" is the first Russian realistic socio-psychological novel, and, what is important, not prose, but a novel in verse. For Pushkin, the choice of artistic method- not romantic, but realistic.

Starting work on the novel during the period of southern exile, when romanticism dominates the poet's work, Pushkin soon becomes convinced that the features of the romantic method do not make it possible to solve the problem. Although in terms of genre the poet is to some extent guided by Byron's romantic poem Don Juan, he refuses the one-sidedness of the romantic point of view.

Pushkin wanted to show in his novel a young man, typical of his time, against the broad background of the picture of his contemporary life, to reveal the origins of the characters being created, to show their inner logic and relationship with the conditions in which they find themselves. All this has led to the creation of truly typical characters that manifest themselves in typical circumstances, which is what distinguishes realistic works.

This also gives the right to call "Eugene Onegin" a social novel, since in it Pushkin shows the noble Russia of the 20s of the XIX century, raises the most important problems of the era and seeks to explain various social phenomena. The poet does not simply describe events from the life of an ordinary nobleman; he endows the hero with a bright and at the same time typical character for a secular society, explains the origin of his apathy and boredom, the reasons for his actions. At the same time, events unfold against such a detailed and carefully written material background that “Eugene Onegin” can also be called a social and everyday novel.

It is also important that Pushkin carefully analyzes not only the external circumstances of the characters' lives, but also their inner world. On many pages, he achieves extraordinary psychological mastery, which makes it possible to deeply understand his characters. That is why "Eugene Onegin" can rightfully be called a psychological novel.

His hero changes under the influence of life circumstances and becomes capable of real, serious feelings. And let happiness bypass him, it often happens in real life, but he loves, he worries - that's why the image of Onegin (not a conventionally romantic, but a real, living hero) so struck Pushkin's contemporaries. Many in themselves and in their acquaintances found his features, as well as the features of other characters in the novel - Tatyana, Lensky, Olga - the image of typical people of that era was so true.

At the same time, in "Eugene Onegin" there are features of a love story with the traditional for that era love story. The hero, tired of the world, travels, meets a girl who falls in love with him. For some reason, the hero either cannot love her - then everything ends tragically, or she reciprocates, and although at first circumstances prevent them from being together, everything ends well. It is noteworthy that Pushkin deprives such a story of a romantic connotation and gives a completely different solution. Despite all the changes that have taken place in the lives of the heroes and led to the emergence of a mutual feeling, due to circumstances they cannot be together and are forced to part. Thus, the plot of the novel is given a clear realism.

But the innovation of the novel lies not only in its realism. Even at the beginning of work on it, Pushkin in a letter to P.A. Vyazemsky noted: "Now I am not writing a novel, but a novel in verse - a diabolical difference." novel like epic work, suggests the author's detachment from the events described and objectivity in their assessment; the poetic form enhances the lyrical beginning associated with the personality of the creator. That is why "Eugene Onegin" is usually referred to as lyric-epic works, which combine the features inherent in the epic and lyrics. Indeed, in the novel "Eugene Onegin" there are two artistic layers, two worlds - the world of "epic" heroes (Onegin, Tatyana, Lensky and other characters) and the world of the author, reflected in lyrical digressions.

Lyrical digressions - this is a compositional and stylistic device, which consists in the author's deviation from the plot narrative and the introduction of direct authorial speech. They create the image of the author as a living interlocutor, narrator and open up the world of narration to the outside, introducing additional topics that are not related to the plot. In "Eugene Onegin" digressions make up a significant part - almost a third of its volume. Lyrical digressions perform numerous functions in the novel: they mark the boundaries of the novel's time and replace the plot narrative, create the completeness of the image, characteristic of the "encyclopedia" and give the author's commentary on the events. It is lyrical digressions that introduce the author's "I", allow you to conduct a kind of dialogue with readers. By creating a distance between the author and the hero, they allow Pushkin to take the position of an objective researcher in relation to the events and characters depicted, which is necessary in a realistic work.

plot and composition. Pushkin's innovation in the field of the genre also determined the originality of the composition of the novel, which is built on the interweaving of plot and extra-plot elements. The author easily moves from narration to lyrical digressions, which creates the impression of a relaxed story, a confidential conversation with the reader. Some researchers note that this construction technique helps to create a sense of spontaneity, as if the novel is not written according to a clear plan, but is told. Pushkin himself spoke of this: “the distance of a free novel,” asserting his copyright to freedom of choice.

Pushkin consciously abandons some traditional elements, such as an introduction with an appeal to the muse - at the end of the seventh chapter there is a parody of him:

Yes, by the way, there are two words about that:
I sing a young friend
And many of his quirks.
Bless my long labor
Oh you epic muse!
And, handing me a faithful staff,
Do not let me wander at random and at random.

He omits a number of events in the life of the characters, such as Tatyana's wedding, and the traditional denouement, which should complete the plot, is missing. Pushkin does all this in order to emphasize the plausibility of the story told: in real life there are no introductions and epilogues, some events remain unknown to us, but we continue to live on, as Onegin, Tatyana and other heroes of the novel do after its completion.

Nevertheless, the composition of the novel is clear and carefully thought out. It is built on the basis of two storylines, one of which breaks off in the middle of the work. The first storyline: Onegin - Tatyana; its plot - Onegin's acquaintance with Tatyana - occurs only in chapter III. The second storyline: Onegin - Lensky; its plot in chapter II - Onegin's acquaintance with Lensky - comes immediately after the extended exposition, which is chapter I. In chapter VI, where the duel and death of Lensky take place, the second storyline reaches a climax, which is immediately followed by a denouement. The denouement of the first storyline occurs at the end of the novel - in the last, VIII chapter. The peculiarity of both denouements is that both of them are devoid of certainty: after the story of Lensky's death in a duel, the author describes two possible ways this hero. And after the explanation with Tatyana in the last chapter, Pushkin “leaves” Onegin “in a moment that is bad for him,” which means the open ending of the novel.

The main principle of the organization of the novel is symmetry and parallelism. It has a "mirror" structure: in the center is the scene of the murder of Lensky, and individual episodes and details are parallel in pairs. In the first part of the work, Onegin travels to the village from the city and Tatyana falls in love with him, writes a letter of recognition, and he only reads instructions to "poor Tanya"; in the second part, Tatyana comes from the village to the capital, where she meets Onegin, being a married lady, and already Eugene falls in love with her, in turn writes a letter to her, and she refuses him and also reproaches him: “As with your heart and mind / To be the feelings of a petty slave? Some details also have something in common: the description of Onegin’s village and city studies, the books he reads in the city and the countryside, the images that arise in Tatyana’s dream (monsters, among which Evgeny appears killing Lensky), correlated with the image of guests at her name day and subsequent dueling events. The novel also has a "ring" construction: it begins and ends with the depiction of the hero's life in St. Petersburg.

The character system also has an orderly structure. Main principle its constructions are the antithesis. For example, Onegin is opposed to both Lensky (as a Byronic hero - a romantic dreamer), and Tatyana (as a metropolitan dandy - a simple Russian girl), and high society (although he is a typical young man, but already tired of empty entertainment), and neighbors - landlords (as an aristocrat with metropolitan habits - rural landlords). Tatyana is opposed to both Olga (the latter is too empty and frivolous compared to the heroine, who "loves without joking"), and Moscow young ladies (they tell her about their "heart secrets", fashion, outfits, while Tatyana is focused on a solitary inner life) , and secular beauties (“without these little antics, without imitative undertakings ...”). It is very important to note that the author contrasts and compares shades, details of the same qualities (which is also typical of real life), these are not classic or romantic literary clichés: kind - evil, vicious - virtuous, banal - original, etc. Larina's sisters are an example: both Olga and Tatyana are natural, sweet girls who fall in love with brilliant young people. But Olga easily changes one love for another, although quite recently she was Lensky's bride, and Tatyana loves one Onegin all her life, even when she gets married and finds herself in high society.

The reliability of what is happening in the novel is also emphasized with the help of text inserts that are foreign to the author's: letters from Tatiana and Onegin, songs of girls, poems by Lensky. Some of them are distinguished by a different stanza (not written in the “Onegin stanza”), have a separate name, which not only stands out from the general text of the novel, but also gives it a “documentary” quality.

The main compositional unit of the novel is the chapter. Each new chapter is a new stage in the development of the plot. But this does not prevent Pushkin from suddenly interrupting one of the chapters, leaving the heroes for a while, but without destroying the plan of the work: each chapter is devoted to a specific topic, such as the fourth chapter - Onegin's refusal, Tatyana's misfortune and mutual love her sisters, and the fifth - for the name day. This allows, on the one hand, to place original authorial accents, on the other hand, to interest readers (after all, the novel was first published in separate chapters as they were written), and on the third, to challenge literary conventions: “I’ll finish it somehow,” says Pushkin. , interrupting Chapter III "in fact interesting place”: Tatyana’s meeting with Onegin after he received a letter with a declaration of love.

A smaller compositional unit is the stanza: it also usually contains a complete thought, and the violation of this creates an additional emphasis. But in any case, each stanza represents a certain element of the movement of the plot.

The non-plot compositional elements are digressions, but they are still, as a rule, connected with the plot (for example, the lyrical digression about the past youth in Chapter VI is connected with the scene of the duel and the death of Lensky). Often digressions begin or end a chapter (for example, famous retreat about Pushkin's Muse at the beginning of V Chapter III), appear before the climax of the plot (before the explanation in the garden at the end of Chapter III; before Tatyana's sleep; before the duel). Sometimes lyrical digressions replace story time(in Chapter VII, a digression about the war with Napoleon is given "instead of" a description of the way the Larins were transported around Moscow). Finally, lyrical digressions may contain an appeal to the reader, which makes it possible to make a smooth transition from the lyrical to the epic part of the novel.

Theme and problems. "Eugene Onegin" is an innovative work, which, according to Belinsky, has become a genuine "encyclopedia of Russian life." The novel strikes with the breadth of coverage of vital material, the variety of problems posed in it and the depth of their development. "Collection of motley chapters" - this is how Pushkin himself defines the diversity and versatility of the themes and problems of his work. In it, the poet sets the task of depicting the social, everyday and cultural structure of Russian society in the first quarter of the 19th century. He seeks to show the typical characters of his era in their evolution. Before us are pictures of the life of representatives of different strata of society - from the capital's high society to the provincial nobility, ordinary urban people and sketches from the life of peasants. The spatial breadth of coverage of the painted picture of life is also striking: from St. Petersburg and Moscow to the countryside and the provinces. Creating realistic images of typical representatives of the nobility, Pushkin touches on the topic of education and upbringing, cultural traditions, family relations and, of course, love and friendship, which is the basis of the plot of the novel.

In addition, through lyrical digressions and extra-plot sketches, the theme of the work expands even more. The total number of lyrical digressions in the novel is 27, and they are devoted to a variety of issues: biographical facts and the author's reflections on life, his aesthetic views on literature, theater, music and attitude to the problems of language; questions of history, philosophy, politics; reasoning about the mores, customs, morality and individual details of the life of the society of that era; thoughts about nature.

The problems of the novel "Eugene Onegin" are the most important social and moral and philosophical problems. It is based on the main socio-historical problem of Russian society, not only Pushkin era, but of the entire 19th century: the opposition of the European-enlightened Russian nobility and the greater part of Russian society, which preserved its national foundations and traditions. It goes through two central themes of the novel: "national - non-national", "city - village", which, thanks to the specified problematics, turn out to be closely interconnected. It is within the framework of the central problem that the poet creates images of the main characters of the novel - Eugene Onegin and Tatyana Larina, raises the question of national character and patriotism. The socio-historical problems are supplemented and deepened by the formulation of moral and philosophical problems: the purpose and meaning of life, the true and false values, the destructiveness of individualism and selfishness, fidelity to love and duty, the transience of life and the value of the moment, which are of universal human significance.

Idea and pathos. Pushkin named the novel after the name of the protagonist - Eugene Onegin, thereby denoting the special significance of this character in the work. Indeed, even in the first "southern" poem "The Prisoner of the Caucasus", the poet wanted not only to show a romantic similar to the heroes of Byron's works, whose character is determined by proud loneliness, disappointment, boredom, pessimism and a sense of his exclusivity, contempt for people and generally accepted norms. Even then, Pushkin set himself a broader task: to create a portrait of the hero of the time. “I wanted to portray in it this indifference to life and its pleasures, this premature old age of the soul, which became the hallmarks of the youth of the 19th century,” the poet wrote. But this task could not be solved only by means of romanticism, but required a realistic approach. That is why she became central only in the realistic novel "Eugene Onegin",

No less important in the novel is the idea associated with the creation of the first national character of the Russian heroine. An approach to it has already been outlined in the work of the poetic "teacher" and friend of Pushkin Zhukovsky in his ballad "Svetlana". But the framework of the romantic ballad did not allow the author to give a detailed explanation of the deep foundations of this nature. It was Pushkin in "Eugene Onegin" who first managed to do this, showing Tatiana not only as a "Russian soul" heroine, but also as an ideal woman. To do this, it was necessary to present this image in dynamics, development and comparison with others, which made it possible to do created by the poet the broadest picture life of the Russian nobility of that era.

The nobility in the novel "Eugene Onegin" is presented heterogeneously. On the one hand, this is the secular society of Moscow and St. Petersburg, where the character is formed central hero, and on the other hand, the provincial nobility, with which the image of the heroine of the novel, Tatyana Larina, is associated. The attitude of the author to these layers of the nobility is not the same and ambiguous, and, accordingly, his assessment is also different.

Highly appreciating the circle of educated metropolitan nobles, understanding the significance of noble culture for Russia, the author nevertheless critically reproduces the general spirit (“cold”, “empty”, “dead”) of Moscow and especially St. Petersburg high society, depicted in the novel. For the sake of the concepts of “decency”, light kills any manifestations of individuality in a person, therefore, divorced from national life secular society - "brilliant" and "impersonal", where everyone is only interested in "incoherent, vulgar nonsense." His image is dominated by satirical pathos,

In the description of the patriarchal life and morality of the provincial nobility, critical notes also sound, but not so sharp, and therefore there is irony here. Serf relations are condemned by the poet, however overall score of the provincial nobility is softened due to the emphasis on their more active lifestyle (they run the household themselves), greater simplicity, naturalness and tolerance in relations. Live in landowner's estate close to nature, to the traditions and customs of the Russian people, and therefore it is here that the character of the national Russian heroine, Tatyana, is formed.

Main heroes. The system of images of the novel is based on the opposition City - Village (non-national - national). This is exactly how the main, as well as secondary and episodic characters are located (the Larin family, their landlord neighbors; St. Petersburg and Moscow light).

The main characters are contrasted: Onegin, a representative of "Russian Byronism", and Tatyana, the embodiment of the national ideal of a Russian woman. This opposition is specified by the line Lensky - Olga (a romantic dreamer - an ordinary Russian girl). At the same time, several more parallels arise: Onegin - Lensky (two types of romance), Lensky - Author (romantic poet and realist poet), Onegin - Author (two types of representatives of the Russian cultural nobility).

"Hero of Time" is presented in the image Eugene Onegin In an effort not only to show, but also to explain the reasons for the appearance of such an unusual hero in Russian life, Pushkin talks in detail about what happened to Onegin before the start of the plot action (I chapter). We are presented with a picture of the upbringing, education, pastime and interests of a typical rich secular young man, born "on the banks of the Neva", in the most detailed way describes his typical day. Outwardly saturated, the life of a secular person turns out to be monotonous, revolving in an established circle. For an ordinary person, all this looks normal, but Onegin is an extraordinary person. He is characterized by "dreams involuntary devotion, / Inimitable strangeness / And a sharp, chilled mind." A life in which “tomorrow is the same as yesterday” leads to the appearance in Onegin of a kind of “disease of the century”, which Pushkin finds a clear and capacious definition:

Illness whose cause
It's high time to find
Like an English spin
In short: Russian melancholy
They got a little bit...

As Belinsky noted, “Onegin is not fit to be a genius, he does not climb into great people, but the inactivity and vulgarity of life stifle him; he does not even know what he needs, what he wants; but he knows, and knows very well, that he doesn’t need, that he doesn’t want what makes selfish mediocrity so content, so happy.” Onegin is trying to do something: he reads, writes, but "stubborn work was sickening to him." This is not so much the influence of the environment as the quality of his nature. Onegin's apathy and laziness are also manifested when he moves to the village. Although his usual living conditions have changed, but still "the blues was waiting for him on guard."

Onegin's ailment, associated with Western European "Byronism", does not by chance strike him, who was brought up and raised in the most European city of Russia. Onegin's isolation from the national "soil" is at the same time the cause of his blues, and what underlies the very important consequences of the "disease of the century." It turns out to be a really serious illness, from which it is difficult to get rid of. The very stubbornness of Onegin's attempts to overcome this state speaks of the depth and seriousness of the problem. It is not for nothing that Pushkin, having begun the novel in a somewhat ironic tone, gradually proceeds to a thoughtful analysis of all the components of this problem. As the plot develops, it becomes obvious that the consequences of this "illness" of a modern person can be extremely difficult both for himself and for the people around him.

In the village there is a meeting between a "Russian European" and a dreamy Russian girl, sincere in her impulses and capable of a deep, strong feeling. This meeting could be a salvation for Onegin. But one of the consequences of his illness is "premature old age of the soul." Appreciating Tatyana at its true worth, her bold, desperate act, when she first confessed her love to him, Onegin does not find in himself mental strength to respond to the girl's feelings. In his monologue - "sermon" in the garden, there is both a sincere confession of the soul, and the caution of a secular person who is afraid to get into an awkward situation, but most importantly - callousness and selfishness. Such becomes the human soul, which suffered premature old age. She was not created, as Onegin himself says, "for the bliss" of family life. This is also one of the consequences of the illness of the Russian "Byronist". For such a person, freedom is above all, it cannot be limited by anything, including family ties. For Tatyana, this is an opportunity to find a kindred spirit in a loved one, and for Eugene, it is a danger of losing his priceless freedom. This shows the difference between the two life systems formed in different cultural and ethical traditions. Onegin belongs to the type of "modern hero" about which Pushkin so accurately said:

We honor all zeros,
And units - themselves.
We all look at Napoleons...

It is only as a result of tragic events that changes begin in the hero. The death of Lensky is the price of Onegin's transformation. The “bloody shadow” of a friend awakens frozen feelings in him, his conscience drives him out of these places. It was necessary to go through all this, to "ride through Russia" in order to realize that freedom can become "hateful" in order to be reborn for love. Only then will Tatyana with her “Russian soul”, with her impeccable moral sense, become a little clearer to him.

In the last chapter of the novel, the scale of Onegin's attitude changed, who finally realized himself not only as an independent person, but also as part of a vast country with a rich history. Now, for the secular society, where he lived for eight years, Onegin has become a stranger, and he is looking for his own soul in Tatyana, who is not like everyone else here. Intense experiences, reflections enriched his inner world. From now on, he is able not only to analyze coldly, but also to deeply feel and love.

But the huge difference between Onegin and Tatyana does not disappear so easily, the problem is much deeper and more complex. Unlike Tatiana, Onegin, intoxicated by his newfound ability to love and suffer, cannot understand that love and selfishness are incompatible, that one cannot sacrifice the feelings of other people. Whether Onegin will gain moral support in life or become an even more devastated person is unknown: the ending of the novel is open. Pushkin does not suggest unambiguous solutions; only life itself can answer such questions. “What happened to Onegin later? ... We don’t know, and why should we know this when we know that the forces of this rich nature were left without application, life without meaning, and the romance without end? Belinsky wrote.

After Onegin, a whole galaxy of young people will appear in Russian literature, also suffering from the "Russian melancholy", restless, looking for themselves and their place in life. Absorbing the new signs of their time, they retained the main feature. At first they began to be called "strange people", and only in mid-nineteenth century, after the publication of Turgenev's story "Diary extra person"(1850), the definition of "extra person" was firmly entrenched in such heroes. These people, restless through life in search of their place and worthy cause, could not find their calling and guess their destination, could not be cured of their terrible illness. The attitude of society towards such people was also different: they were admired, they aroused surprise, envy, hatred, then they began to be despised for their inability to find a solution to the problem. But the essence of this type of people is the dissatisfaction with life and the constant search. Skeptics, critics, pessimists, they are needed in life, because they do not allow it to freeze and stop, but encourage it to move forward, although the fate of the “extra person” itself is often sad and tragic.

Another central character of the novel is its main character - Tatyana Larina - the "sweet ideal" of the author, the poet's ideas about the Russian national character are associated with it. Belinsky said that Pushkin "... was the first to poetically reproduce, in the person of Tatyana, a Russian woman." Raised in the village, Tatyana, "Russian in soul", absorbed Russian customs, traditions, which were "kept in peaceful life" in the Larin family. From childhood she fell in love with Russian nature, which forever remained dear to her; she accepted with all her heart those fairy tales, folk legends, which the nanny told her. Tatyana retained a living, blood connection with that “soil”, the folk basis that Onegin completely lost.

At the same time, the personalities of Onegin and Tatyana have much in common: mental and moral originality, a feeling of alienation to their environment, sometimes sharp feeling loneliness. But if Pushkin is ambivalent towards Onegin, then towards Tatiana - with open sympathy. Pushkin endowed his beloved heroine with a rich inner world and spiritual purity, "a rebellious imagination, a living mind and will, and a wayward head, and a fiery and tender heart."

Tatyana from childhood was different from her peers: the circle of friends did not attract her, their noisy games were alien to her. She loved folk tales and "believed in the legends of the common folk antiquity." Tatyana's dreams are filled with traditional folklore images and symbols (an angry bear, monsters with horns and scary muzzles).

But, like all noble girls of that era, Tatyana at the same time was brought up on sentimental French novels, where she always acted noble hero capable of deep feeling. Having met Onegin, with all the strength of her sincere “Russian soul”, she not only fell in love with him, but also believed that he was her hero, that they were waiting for them, as in novels. happy ending- family union. She decided on a very bold step - the first in a letter to confess her love. Her letter was written in French, because the Russian language of that time did not yet know the words to express the subtlest nuances of feeling, and Pushkin gives his "translation", which has become a wonderful example of a love letter in Russian poetry. But a terrible blow awaited the girl: the hero behaved in a completely different way than the novels depicted, and she recalled his “sermon” with horror even many years later - in St. Petersburg, being a brilliant secular lady.

Tatyana is a strong person, she manages to pull herself together and take a critical look at what happened. Having visited Onegin's house, Tatyana reads his books in order to understand whom she fell in love with so much, and is not afraid to face the truth for the sake of truth, wondering: “Is he a parody?”

But Tatyana's strength is not only in this: she is able, adapting to life circumstances, to change without losing herself. Having married at the request of her mother, Tatyana finds herself in a high secular society, but the capital does not deform her sincere, deep nature. This is also emphasized by the way the description of the married Tatyana is given - it is built on the denial of the typical features of a secular person:

She was in no hurry
Not cold, not talkative
Without a brazen look for everyone.

The simplicity and naturalness inherent in her initially do not disappear, but are only emphasized in a new environment for her: "Everything is quiet, it was just in her."

Tatyana's moral strength is manifested in the finale of the novel. Having gone through trials and shocks, Tatyana learned to be restrained, to appreciate the real life that did not fall to her lot. That is why, having carried through the years an unrequited love for Onegin, she, having met him again in St. Petersburg, refuses happiness that can lead to disaster for her family, seriously injure her husband. Tatyana shows not only prudence, but also responsibility. Belinsky rightly remarked: "Tatyana is one of those whole poetic natures who can love only once." She rejected Onegin not because she stopped loving him. This, as the critic said, is obedience to "a higher law - the law of one's nature, and her nature is love and selflessness." In her refusal - selflessness for the sake of moral purity, fidelity to duty, sincerity and certainty in relationships, which was so lacking for a woman in a secular society. It was this that allowed Pushkin to call Tatyana a "sweet ideal" and in this way open a long line of wonderful heroines of Russian literature.

plays an important role in the novel Vladimir Lensky. Like Onegin, he is a representative of the young Russian nobility, but this is a different socio-psychological type - a young romantic dreamer. The author's assessment of this hero is very ambiguous: irony and sympathy, smile and sadness, mockery and admiration are intertwined in it. Lensky "from foggy Germany" brought not only "black curls to the shoulders" and "always enthusiastic speech", he is "an admirer of glory and freedom", ardent and impulsive, a poet in spirit (unlike the fundamentally unpoetic Onegin, but comparable in this quality with the Author). Onegin's disappointment and apathy are sharply opposed by the impetuosity and enthusiasm of Lensky, who believes in "the world's perfection." Lensky is endowed with a romantic attitude, but not of the Byronic type, like Onegin. He is inclined to a dream, a belief in ideals, leading to a break with reality, which was the basis of the tragic ending - the early death of the poet.

Desire lives in Lensky heroic deed, but the life surrounding him gives almost no reason for this. But imagination replaces reality for him: Yevgeny's cruel joke in the eyes of Lensky turns his former friend into a "tempter", "insidious seducer", a villain. And without hesitation, Lensky challenges, although there is no real reason for a duel, in order to defend the concepts that are sacred to him: love, honor, nobility.

Pushkin is ironic not over the duel, but over the fact that the thirst for a heroic impulse expresses itself in such an essentially naive and absurd act. But is it possible to condemn a very young hero for this? Belinsky, who fiercely fought against idealism and romanticism in literature and in life, gives this hero a rather harsh assessment: “There was a lot of good in him, but the best thing is that he was young and died in time for his reputation.” Pushkin is not so categorical, he leaves his hero two ways: the opportunity to live "for the good of the world" or, having survived youthful romanticism, become an ordinary ordinary landowner.

With genuine realism in "Eugene Onegin" other secondary and even episodic characters are presented, such as guests at Tatiana's birthday party or regulars at social events, sometimes drawn with just one or two words. Like the protagonists of the novel, they are "typical heroes in typical circumstances". Among them, a special group is made up of female images, which in one way or another are correlated with main character. In contrasting and comparing Tatyana with her mother, sister, Moscow Princess Alina and the nanny, two main themes and antitheses of the novel are revealed: “national and European”, “city and village”.

Tatyana's story is in many ways similar to that of her mother, and this is no coincidence: children often inherit the traits of their parents. The fact that Pushkin showed this is undoubtedly evidence of the realism of the novel. In her youth, Tatyana's mother was an ordinary Moscow young lady:

Used to pee with blood
She is in the albums of tender maidens.
Called Polina Praskovya
And spoke in a singsong voice
The corset was very tight
And Russian N like N French
I was able to pronounce it through my nose.

But she was given in marriage against her will, and she was taken to the village. “I was torn and crying at first, / I almost divorced my husband ...” - but then I got used to it and, having taken care of the household and forgetting the old metropolitan habits, I became a real Russian landowner, simple, natural, maybe a little rude:

She traveled to work.
Salted mushrooms for the winter,
Conducted expenses, shaved foreheads,
I went to the bathhouse on Saturdays.
The servants were angry...

During life together she became attached to her husband and, when he died, she sincerely mourned him. Thus, one can notice obvious similarities in the fates of Tatyana and her mother: both had to adapt to a new, difficult life in an environment unusual for them, and both of them, after all the difficulties, retained the best in themselves. Tatyana's mother became more natural and found family happiness, and her daughter found her place in the world, remaining pure and strong in nature.

The image of Tatyana's mother also helps in revealing the theme "City and Village". In the village, Larina became completely different thanks to her family care, housekeeping, and her Moscow cousin Alina did not change a bit. When old friends meet, the latter almost immediately begins to talk about a common acquaintance long forgotten by Larina, which indicates the invariability of the interests of the Moscow cousin, because, apparently, she did not have any new occupations, which also clearly speaks not in favor of the city residents.

The same idea is confirmed when comparing Tatiana and Moscow young ladies, Tatiana and St. Petersburg beauties. Tatyana, with her reading of books, love of nature and seriousness of character, seems to be an order of magnitude higher than the inhabitants of the capital, even as brilliant as Nina Voronskaya's Cleopatra of the Neva. What to say about Moscow girls who are only busy with what

... they believe in a singsong voice
Secrets of the heart, secrets of virgins,
Aliens and their own victories,
Hopes, pranks, dreams.

But even more important for the characterization of Tatyana is her opposition to her younger sister, Olga. Although both girls were brought up in the same family and in similar conditions, they turned out to be very different. Thus, Pushkin emphasizes that for the formation of such an exceptional character as Tatyana, only external circumstances are not enough, the special qualities of human nature are also important. By comparing the two sisters in the novel, the poet emphasizes the depth of Tatyana's character, her eccentricity and seriousness. Olga is natural and "frisky", but in general she is too ordinary and superficial:

Always humble, always obedient,
Always as cheerful as the morning
How simple is the life of a poet,
Like a kiss of love sweet...

Her commonness and mediocrity is emphasized by the portrait, which is opposed to the portrait of Tatyana:

Eyes as blue as the sky;
Smile, linen curls,
Movement, voice, light step ...

This is a standard image of a beautiful girl, which has become a literary template: "... any novel / Take it and find it right / Her portrait ...".

Olga favorably accepts Lensky's courtship, and all her love is expressed in a smile. “Encouraged by Olga's smile” is the only thing that allows Lensky to feel Olga's reciprocal love. It is not surprising that she, without hesitation, flirts with Onegin, which subsequently leads to the death of her fiancé, whom she mourns for a very short time;

Another caught her attention
Another managed her suffering
To lull with love flattery,
Ulan knew how to capture her
Ulan loved her with his soul...

Very important for creating the image of the national heroine Tatyana is her comparison with the nanny Filipyevna and the analysis of their relationship. Pushkin shows their spiritual kinship, the amazing inner closeness of a noblewoman and a peasant woman, but at the same time points out their differences. It is known that Arina Rodionovna Yakovleva, Pushkin's nanny, became the prototype of the image of the nanny. She, like Tatyana's nanny, was a master of telling folk tales, the world of which had a huge influence on the formation of the character of both the Russian national poet Pushkin and his heroine Tatyana, who embodies the features of a Russian girl. That is why for a confidential conversation about the most important and intimate Tatyana chooses not a friend, sister or even mother, but her nanny. The girl talks to her as to the person closest to her about her love, about feelings, but the nanny simply does not understand her. On the one hand, this is evidence of Tatyana's excessive passion for romantic dreams. But on the other hand, their dialogue demonstrates the difference between the nobility and the peasantry in general. After all, the fate of a peasant woman is completely different from what awaits a young lady from a noble family in life. From the story of Nanny Fshshpyevna, we learn how life was built in a peasant family:

...In these summers
We haven't heard of love;
And then I would drive from the world
My dead mother-in-law.
...My Vanya
Younger than me, my light,
And I was thirteen years old.

As the researcher of Pushkin's creativity Yu.M. Lot-man in the comments to the novel1, Tatyana and the nanny invest in principle different meaning into the word "love": for Tatyana this is a high romantic feeling, and for a simple peasant woman - a sinful love for a man.

In such ratios, comparisons, comparisons and antitheses, the image of the national heroine emerges. But there is another hero with whom she also correlates - this is one of the most unusual characters in the novel: its Author. His image is formed in lyrical digressions. The image of the author is a conditional carrier of the author's speech in the work, on behalf of which the narration is being conducted, as well as a character close to the biographical author, who has the features lyrical hero or the storyteller. The specificity of the author's image in the novel "Eugene Onegin" lies in the fact that he acts not only as an author-narrator and author-narrator, leading a lively dialogue with the reader, but also as one of the main characters of the work, entering into certain relationships with them, having his fate, based on some biographical facts from the life of Pushkin.

Like all other heroes of the novel, the author-character is a certain human type, characteristic of the life of Russia of that era, and at the same time a unique bright personality, a man of extraordinary spiritual wealth, a sharp mind and philosophical depth. At the same time, the true facts of Pushkin's biography are interspersed with fictional ones. The author knows Onegin, loves Tatyana and keeps her letter, as well as Lensky's poems. At the same time, we read about the southern exile, stay in Odessa, the Lyceum years, about Pushkin's life in the countryside. But something else is more important: the reader penetrates into the inner world of this peculiar hero, tracing the changes in the views, moods, hobbies of the Author - from the ardent dreams of youth, with its "funny dreams", "passions of the game" to calmness and balance mature years when the “hostess” becomes the Author’s ideal, and “peace” becomes his main desire. It is also important that the Author is a poet. It is from him that we learn about literary life era, change literary trends and their features, about the genre of ode and elegy, about the hero of classicism and romanticism. The author enters into disputes about language characteristic of the era, defending his own position in the dispute between the Shishkovites and Karamzinists. A peculiar idea of ​​the purpose of a person, the meaning of being is also associated with the Author - this, along with the opinions of the heroes, is another important point of view in the search for the purpose and meaning of life, which embraces all the heroes of the novel. But in general, we are faced with another important life type: a representative of the Russian intelligentsia, a European-educated, original thinking and deeply feeling truly Russian person, vitally connected with folk, national roots. And most importantly - the great poetic genius, the creator of the novel "Eugene Onegin."

Artistic originality. The novel "Eugene Onegin" is a unique artistic phenomenon. The hand of a brilliant master is felt in everything in it. This is not just an oalistic work, but the broadest picture of life, in which there is everything: from small to great. The portrait of the era and its representatives, created with amazing psychological skill, is unusually accurate and capacious, the landscape sketches are extraordinary in beauty and expressiveness, and the richness of the language and the mastery of detail cause deserved admiration. As the philologist M.M. Bakhtin, “this is not a mute real-household encyclopedia. Russian life speaks here with all its voices, all the languages ​​and styles of the epoch.” That is why it is so important, when speaking about the artistic originality of Pushkin’s novel, to dwell on questions of language and poetic mastery.

It is known that for this work the poet had to specially create a special stanza, which was called the Onegin stanza. It consists of 14 lines of iambic tetrameter, arranged according to the scheme AbAb CCdd EffE gg (crossed, adjacent, encircling and final couplet rhymes). The semantic structure of the stanza - the thesis, its development, climax, ending - allows you to convey the course of thought. At the same time, such a stanza, being, as it were, an independent miniature, made it possible to avoid the monotony of sound and gave great scope to the author's thought. The whole novel is written in the Onegin stanza, with the exception of some inserted elements: the letters of Tatyana and Onegin and the songs of the girls.

Much attention is paid to language issues in the novel, but the very verbal fabric of this work was one of the most important factors in the formation of realistic aesthetics, the formation of the modern Russian literary language. Following Karamzin, Pushkin widely introduces foreign words and phrases into the text of the novel, sometimes even using Latin letters (tailcoat, waistcoat, mechanically, spleen, dandy, Vulgar, Du comme il faut), but at the same time, unlike Karamzin, Pushkin strives expand the vocabulary by including colloquial, sometimes even common folk vocabulary (clap, talk, top, silently he hung his nose).

At the same time, in the novel, Pushkin uses all those innovative techniques that distinguish his lyrics. Landscape descriptions paint accurate, realistic and at the same time unusually poetic pictures of Russian autumn and winter, the sea and even distant Italy. The language spoken by the characters corresponds to their character and mood, and their letters rightfully occupy a place among the masterpieces of Pushkin's love lyrics. “Helping” his heroes to expand the boundaries of the Russian language in order to express the subtlest nuances of feeling, Pushkin showed how the Russian language is able to convey any, the deepest thought, any complex feeling with all its shades, moreover, with extraordinary poetic power. All this makes the language of the novel surprisingly capacious, diverse, flexible, which fully met the task of creating a realistically authentic picture of the era, a genuine "encyclopedia of Russian life."

The value of the work. The great importance for Russian literature of the novel "Eugene Onegin" was already determined by the poet's contemporaries, but for the first time a complete and detailed analysis of this work was given by the critic V.G. Belinsky in the 8th and 9th articles of the cycle "Works of Alexander Pushkin" (1843-1846). His assessment of Pushkin's masterpiece remains relevant today.

First of all, Belinsky rightly pays tribute to the deep nationality of the novel, which he understands in the spirit of Gogol's definition the fact that "nationality does not consist in the description of a sundress." “... We have long had a strange opinion that a Russian in a tailcoat or a Russian in a corset is no longer Russian and that the Russian spirit makes itself felt only where there are zipun, bast shoes, sivukha and sour cabbage,” writes the critic. “…No, and a thousand times no!” "Eugene Onegin" is indeed "a highly original and national work", and now no one doubts this.

Further, Belinsky speaks of the significance of the novel for Russian literature and public life generally. The critic sees it in a comprehensive reflection of reality, truthfulness, which allows us to call the novel historical, "although among ... the heroes there is not a single historical person." As a great merit of Pushkin, Belinsky notes that the poet in the novel "is a representative of the first awakened public consciousness." He compares the novel with another work by a contemporary of Pushkin. “Together with Griboyedov’s contemporary genius creation, Woe from Wit, Pushkin’s poetic novel laid a solid foundation for new Russian poetry, new Russian literature,” the critic says.

Belinsky considers the images of the main characters in detail and in detail and determines their main features. Unlike many of Pushkin's contemporaries, the critics managed to objectively assess the protagonist of the novel, whom Belinsky largely justifies: "... Onegin was neither cold, nor dry, nor callous"; "... poetry lived in his soul ... he was not one of the ordinary, dozen people." Although Belinsky immediately calls Onegin a “suffering egoist”, “an unwilling egoist”, but in this he does not so much reproach the hero himself as “claims that society is largely to blame for the existence of these negative aspects of Onegin’s nature. Belinsky tries to understand Onegin, and not to condemn him. He obviously cannot accept the Onegin way of life, but the fact that the critic understood the very essence of Pushkin's hero is beyond doubt. Emphasizing the eccentricity of Eugene Onegin's nature, the critic concludes: "The forces of this rich nature were left without application, life without meaning, a romance without end.

A very unflattering assessment is given by the critic to another hero of the novel - Lensky. Belinsky clearly does not sympathize with this romantic dreamer, although he rightly remarks: “He was a creature accessible to everything beautiful, lofty, a pure and noble soul.” But the main attention of critics is attracted by the image of Tatyana, to whom a separate article is devoted. Belinsky highly appreciates the merit of Pushkin in creating this image: “Almost the entire feat of the poet is that he was the first to poetically reproduce the Russian woman in the face of Tatiana.” Describing the typical girls of that time, to whom Olga, Tatyana's sister, belonged, Belinsky notes: "Tatyana is a rare, beautiful flower that accidentally grew in a crevice of a wild rock." He carefully analyzes her every step, trying to penetrate this complex and contradictory nature. Each act of Tatyana, as Belinsky notes, reveals new features in her, but everywhere she remains herself: “Tatyana was created as if from one whole piece without any alterations or impurities. ... Passionately in love, a simple village girl, then a secular lady, Tatyana in all situations of her life is one and the same. Analyzing last conversation Tatyana with Onegin, the critic writes that this monologue of the heroine reflected the "type of Russian woman", as delightful for him as for Pushkin.

Summing up the analysis of the novel, Belinsky says: “In the person of Onegin, Lensky and Tatyana, Pushkin portrayed Russian society in one of the phases of its formation, its development. The personality of the poet, so fully and vividly reflected in this poem, is everywhere so beautiful, so humane. "Onegin" can be called an encyclopedia of Russian life and an eminently folk work.

value was assessed differently Pushkin's novel critics of later times, for example, Pisarev in the article “Pushkin and Belinsky” and Dobrolyubov in the article “What is Oblomovism?”. But the fact remains indisputable that this is a true masterpiece of Russian literature, which influenced its entire development, without which we cannot now imagine not only the history of our culture and society, but also the life of any educated person.

The novel "Eugene Onegin" is a key work in the context of literature and culture. The combination of several directions, an unusual form of presentation and the presence of the author as a character in the work make the novel unusual and attractive.

Genre of the work

Alexander Sergeevich Pushkin himself defined the genre of his work. In his opinion, this is a novel in verse, tied to the lyric epic. While there were no questions about the definition of Onegin as a novel - several storylines, duration of action, a certain number of characters, the question of lyrical-epic affiliation raised doubts. Pushkin himself dispelled them. He explained his position on this score as follows: in the novel, the lyrical beginning is occupied by the author’s reflections and various lyrical digressions, and the epic is represented by the development of events related to love line heroes.

The need to choose the form of a work, according to researchers, is also natural and predictable. Pushkin himself repeatedly mentioned that in his time Russian prose was actually undeveloped, since the Russian language was not in demand among aristocrats, as well as among writers, in most cases, so the question of the development of the language and its acquisition of specific forms and turns, allowing a broad coverage of thought, was absurd. In contrast, the poetic form was popular and acquired a certain linguistic base.

The structure of "Eugene Onegin"

Pushkin's novel consists of 10 chapters. However, it is impossible to find all 10 chapters in the novel itself. There are quite objective reasons for this. The first seven chapters do not cause any special difficulties and misunderstandings - presumably they all correspond to the original intention of the author (this postulate cannot be absolute certainty, since some parts, such as the 6th chapter, have not come down to us in the form of a manuscript). The eighth chapter of "Eugene Onegin" was supposed to tell about the journey of the protagonist after the duel with Lensky, and describe Odessa and the surrounding settlements. Some fragments of this chapter were published in the Moscow Bulletin, but later Pushkin refused to place it in the novel. The place of the 8th chapter was taken by the 9th, which, according to Pushkin's plan, was to be the last chapter. This chapter deals with the meeting of Onegin and Tatyana after Yevgeny's trip.

Some time later, after the publication of the novel, Pushkin decided to write a sequel. Fragments of the 10th chapter have come down to us. The incompleteness of the chapter and the ciphering of its text greatly hampered the concern of researchers of Pushkin's work. According to literary critics, in Chapter 10 Pushkin planned to tell about Onegin's trip after meeting Tatyana in Moscow and his death. This chapter was supposed to put an end to his novel, but Pushkin did not have time to carry out his plan.

Heroes of the novel

Like any other novel, Pushkin's work has a wide system of images that can be divided into two categories - main and secondary.

The main characters of the novel

The main characters of Pushkin's novel "Eugene Onegin" are only two characters - Eugene Onegin and Tatyana Larina.

Eugene Onegin

Eugene Onegin is a young aristocrat by birth (at the time of the story, he is about 26 years old). He is not in any service. Onegin devotes all his time to secular life. Recently, this way of life disgusts him, but out of habit, Onegin still follows the usual rhythm of life.

Tatyana Larina

Tatyana Larina is an aristocrat by birth, she is a girl who noticeably stands out in society both in her appearance (her beauty is different from the canons of an aristocratic society) and in her favorite activities (Larina does not do needlework, she does not know how to play smart). Tatyana dreams of becoming the heroine of a love story, but her dreams are rudely broken by non-reciprocity and social order.

Minor characters in the novel

The secondary characters of the novel include Olga Larina, Vladimir Lensky, Polina Larina, Filpievna, Zaretsky, Princess Alina, Prince N.

Olga Larina

Olga Larina is the main character of the novel sister. However, she is not at all like her older sister - Olga is a classic example of an aristocrat of that time. The girl has external data that is a standard and an example to follow, she loves social life, and in general she is a windy person, a cutesy coquette.

Vladimir Lensky

Vladimir Lensky is a neighbor of Onegin and the Larins. The young man is in love with Olga and is going to marry the girl. He is hot-tempered and very jealous. Vladimir does not know how to restrain his emotions, as well as to think sensibly in moments of emotional stress.

Polina Larina

Polina Larina is the mother of Tatyana and Olga. The woman was forcibly married to Dmitry Larin. Over time, she was able to love her husband and live happily with him in marriage.

Filipievna

Filipievna is the nanny of Tatyana Larina. This is a sweet and kind old woman who knows many unusual and mysterious stories.
Zaretsky

Zaretsky is Vladimir Lensky's friend and neighbor. He is present at the duel between Vladimir and Yevgeny, and then takes the body of the deceased Lensky to the family estate.

Princess Alina

Princess Alina is the sister of Polina Larina. The woman could not get married in due time and remained an old maid. She sheltered Tatyana and Polina Larin during the bride fair.

Prince N

Husband of Tatyana Larina. Military general. By all appearances, he is a very virtuous person.

Plot

Eugene Onegin is an orphan, his father left only a bunch of debts to his son, so creditors willingly demanded the return of money from his son. Onegin's problem is solved by illness and the possibility of uncle's untimely death - as the only heir, Onegin inherits his uncle's estate. This made it possible to pay off creditors and stay with the estate. Onegin is not in the service - his whole life is devoted to secular life. It is true that Eugene does not enjoy this - balls, theaters, women - all this disgusts him, so Onegin has high hopes for moving to the village - he thinks that he can take a break from all this and find peace here.

Dear readers! We suggest that you familiarize yourself with the poem by A. S. Pushkin “Eugene Onegin”.

In the village, Eugene meets his neighbors - Vladimir Lensky and the Larin sisters. Despite the fact that Vladimir and Evgeny are completely different both in terms of temperament and in terms of outlook on life, people still find a way to interest each other during communication.

Friendship develops between young people. Vladimir Lensky has long been in love with the younger Larina - Olga. The young man has long been captivated by the girl and even proposed to her. Onegin is extremely surprised by such an act of Lensky - it seems unthinkable to him that such an interesting and intelligent person chose Olga as his wife, while her sister Tatyana is much more interesting as a person. However, Onegin does not try to dissuade Lensky from such a dubious position regarding the choice of his wife. Eugene perceives what is happening as a fact, without interfering in the process. At this time, Tatyana Larina falls in love with Eugene. The girl writes a letter to Onegin, in which she talks about her feelings - Eugene keeps the fact of writing this letter a secret, but does not reciprocate the girl.

At Tatyana's name day, where Onegin ended up at Lensky's whim, Yevgeny decides to punish Vladimir for dragging him to the Larins - he flirts with Olga, which angers Vladimir. Lensky challenges Onegin to a duel. In a duel, Vladimir dies, and Onegin, after this event, leaves on a journey. Returning to Moscow, Onegin pays a visit to his relative and learns that Tatyana has become his wife. Eugene realizes that he is in love with Tatiana, but now their relationship is impossible - although the woman does not love her husband, she will not cheat on him. The novel ends with a scene explaining the feelings of Onegin and Larina - Eugene realized too late that he loves Tatyana and this provoked a tragedy in their lives.

Composition

Analysis of the composition of Pushkin's novel "Eugene Onegin" is complicated by the presence of two storylines. In this regard, some compositional elements are shifted.
The first chapter of the novel is an exposition for both the first line and the second. Here we get acquainted with the main character and his habits.

We offer you to get acquainted with Alexander Sergeevich Pushkin.

The second chapter is the beginning of the first storyline - "Onegin-Lensky". In this chapter, Eugene sees Lensky for the first time, friendly relations develop between young people.
The third chapter is the beginning of the second storyline - "Onegin-Larina". Evgeny first comes to the Larins' house and meets Tatyana and her family.

The fourth and fifth chapters are naturally presented as a development of the action - a series of events outlines the general situation around the personality of the protagonist, exposes his essence.

The sixth chapter is the culmination and at the same time the denouement for the storyline "Onegin-Lensky": in this chapter, there is a quarrel between Vladimir and Eugene, a duel and, as a result, the death of Vladimir.
The seventh chapter in the storyline "Onegin-Larin" is a continuation of the development of the action - after Onegin's departure, Tatyana discovers new qualities of Onegin, hitherto unknown to her.
The eighth chapter is the climax and denouement within the Onegin-Larin storyline.

Themes

The theme of the superfluous

Within the framework of literature, Eugene Onegin is a classic example of a superfluous person - a personality in art who is "ahead" of his time. That is why and life position Onegin and his despondency and disappointment are not clear to everyone around. High society recreated the erroneous position about the meaning of life in the essence of aristocrats - in fact, one can say that this is precisely what provoked Onegin's apathy.

Love Theme

The theme of love, in fact, is the second most important in the novel. Love in people's lives is one of the most powerful feelings, so it is not surprising that Pushkin also pays a lot of attention to this topic. In "Eugene Onegin" this theme is embodied in two forms - Onegin and Tatyana and Vladimir and Olga.

Both in the first and in the second pair there is an element of true, selfless love. In the case of Onegin and Tatyana, she is represented by Tatyana, who loves Yevgeny despite all his negative qualities. In the case of Lensky-Olga, Vladimir is such a person.

The theme of friendship and devotion

This theme, like the theme of love, is covered in two ways: Vladimir Lensky sincerely believes in friendship and devotion. Eugene Onegin, on the contrary, believes that true friendship, like true love- sheer fiction. Eugene is selfishly occupied with his feelings and thoughts, he does not care about the feelings of other people. He does not appreciate people and does not feel attachment to them - Onegin easily "says goodbye" to people. Olga Larina in this position is a character similar to Eugene - a girl who was anxiously waiting for her wedding with Lensky, easily forgets her lover and marries another person.

Theme of education and way of life

Pushkin on the pages of the novel denounces the traditional principles of education and their results. The main provisions in the life of aristocrats, the typical behavior of people in this category. The author reflects on the necessity of some positions accepted in society and their absurdity.

Problems

The influence of society on the individual

Pushkin claims that certain stereotypes and rules operate in a person's life.

Very often, people in their actions are guided precisely by them, as they are afraid of condemnation, or they thoughtlessly live according to the principle “it is customary”. Very often, at the same time, a person feels uncomfortable, he understands that this system does not allow him to find happiness, but he does not dare to deviate from stereotypes.

The Problem of Happiness

Every person strives for happiness. Revealing this problem in the novel, Pushkin leads the reader to the idea that the problem of happiness includes many components - ethical, political, religious nature And so on. Only if a person experiences harmony in all forms, he will be able to find true happiness.

essence of life

This question is philosophical, both in general social terms and in Pushkin's novel. On the example of Onegin's life path, Pushkin tries to figure out what makes our life useless. Are there such activities and activities in the world that would not only entertain us, but would be useful and expedient.

Byronic gloom

This problem is very closely related to the previous one. Very often in life we ​​experience dissatisfaction, as it seems out of the blue (Onegin is rich, noble, handsome - he has everything to be happy, but as a result he is deeply unhappy). What are the reasons for such dissatisfaction and whether it is possible to get rid of it - that's what Pushkin is interested in.

Personality and selfishness

While society strives to educate individualistic people, it immediately educates egoists who are indifferent to life and to the feelings of other people. They are ready to sacrifice everything, because of a mere trifle or boredom, while these sacrifices are not justified - they could easily have been avoided.

novel idea

The idea of ​​"Eugene Onegin" is a description of Pushkin's modern way of life of the aristocracy in the context of pre-revolutionary times. Based on this position, the novel acquires an important historical and social significance.

Standing out from the crowd, Tatyana Larina was forced to come to terms with the rules and hide her true essence. Alexander Sergeevich in the novel shows that society is trying to put everyone who somehow stands out from the crowd on a Procrustean bed. As a result, society loses unusual personalities that could actively develop environment and relationship system.

Direction in literature

Roman A.S. Pushkin's "Eugene Onegin" is unusual not only for its form and problems, but also for its orientation in literature. It is this work that personifies the transition from romanticism to realism. It is logical that such a transition was carried out smoothly, which means that in Pushkin's work it is possible to find both features of romanticism and features of realism.

The first chapters of the novel are clearly marked by romanticism - this is reflected in the description of the image of Tatyana, her manner of presenting information and the images used in the letter to Eugene.

Yes, and the very image of Eugene in the first half of the novel is purely romantic and akin to the Byronic images of Childe Harold and Don Juan. Then Pushkin begins to use a realistic manner of writing. It is unlikely that the author specifically planned such a transition, it is likely that this happened historically - the novel was written for almost 7 and a half years, so the transition from romanticism to realism was due to real historical events and new positions in society. In the last chapters, Pushkin adds pragmatics, which would be quite natural for realism, but against the backdrop of a romantic beginning, it looks tragic and brutal.

Influence on the further development of literature

Pushkin's novel, as well as all his works, had a significant impact on the development of literature. In fact, this novel, despite being written in verse, became the catalyst for the development of prose. However, the paradoxes did not end there - the more prose novels began to appear, the less importance contemporaries attached to Pushkin's work.

Pushkin showed innovation in creating images of the main characters. Eugene Onegin became the first image of the "superfluous person" - a character who had a significant difference from the classical Byronic character, but was also endowed with a sense of dissatisfaction with the world.

The image of Tatyana Larina is also innovative in its essence - for the first time in literature, the reader was provided with a female image, endowed with "male" character traits along with traditionally female ones.

Thus, Alexander Sergeevich Pushkin managed to create an inimitable and unique novel. The events described in it made us think about the truth of human life and provoked the emergence of a new kind of people who are ready to change the environment in the direction of loyalty and humanity. In the field of literary criticism and art, this work also had a significant impact - it became the impetus for the development of atypical images.

Novel A. S. Pushkin "Eugene Onegin" Onegin Day 1 chapter

Where does the novel begin? (1-2 stanzas)

Without any introduction, Pushkin introduces the reader into the life of his hero, and only then introduces him, in a friendly, confidential manner.

Biography of Onegin

• Education (3-4 stanzas)
• Education (5 stanza)
• Reading circle (6-8 stanzas)
• Interests (10-12 stanzas)

How does Onegin feel about everything national, folk?

Onegin is a stranger to everything folk:

• An abundance of barbarisms (in the description of education, circle of reading, everyday details of life)
• Foreign works, names of authors and their heroes (French), French dishes
• Rousseau, Adam Smith, Homer, Theocritus, Juvenal, Aeneid, Nazon.

One day of Onegin is a typical day of a young St. Petersburg dandy

• Why does Pushkin draw in this chapter only one day in the hero's life?
• What is this day made up of?
• Why does the author accompany the hero everywhere and at the same time is not prone to blues?

“He rushed to Talon ...” (stanzas 15-16)

“It’s already dark: he sits in the sled.

"Drop, drop!" - there was a cry ...

• Bolivar - a wide-brimmed hat with a low crown, widened upwards
• Breguet - watch

Onegin lives at the behest of Breguet, that is, by the clock, like a wound up puppet.

Kaverin is a friend of Pushkin, he is a friend of Onegin

In stanza 16, Pushkin introduces us to a typical menu of those years.

• What did the nobles eat in the restaurant in those years?

Onegin in the theater (17, 21-22 stanzas)

• How does Pushkin feel about the theater, but what about Onegin? (18-20 stanzas)
• How does Onegin behave in the theater? Find the details that characterize it.

Do you remember what Onegin's office looks like?

How does the interior of his home characterize him?

_______________________

Onegin's office (23-26 stanzas)

The enumeration of things decorating Onegin's office (amber, bronze, porcelain, perfumes in cut crystal, combs, nail files, etc.) recreates the typical life situation of a young man of St. Petersburg society. In stanza XXVI, Pushkin, when listing Onegin's garments, uses foreign names. In an ironic form, he gives motivation for the need to include foreign words in Russian literary language: But pantaloons, tailcoat, vest, All these words are not in Russian.

Onegin at the ball (27-28, 33-34.35 stanzas)

• Why did Onegin come to the ball? Does the author describe it at the ball?
• What is the author describing?
• Why doesn't the author talk about Onegin?
• How do the author and his hero relate to love and women? Is it the same?

Onegin returns home in the morning, And Petersburg is restless Already awakened by the drum ... - those. guards began to be raised in the military capital. People who represent a completely different part of the population are shown on the streets: a merchant, a peddler, a cab driver, an Okhtenka milkmaid. The labor day of the big city begins.

Is Onegin happy? (36-38 stanzas)

• Eugene is not satisfied with life, he is bored, he is seized by "spleen". This state of Onegin distinguishes him among the youth, who were satisfied with the described existence. He is taller, more meaningful than ordinary young people of St. Petersburg society. Some great demands live in him, and an empty secular life does not bring him happiness. Dreams involuntary devotion Inimitable strangeness And a sharp, chilled mind...

• How does Onegin try to occupy himself? (43-44 stanzas)
• Who is to blame for the fact that Onegin has become like this: he knows nothing, is not busy with anything?

Upbringing and environment made him so. Pushkin says that Onegin is not to blame. The author blames not the hero, but society, its foundations.

Causes of Onegin's blues

• An idle life quickly tires, but not everyone, but only remarkable natures.
• What are his features?

Its main feature is disappointment, which stems from spiritual emptiness.

• Why did he stop chasing the ladies of high society?

High society - a society through and through false

How did he want to get rid of boredom?

Sat down at books, wanting to appropriate someone else's mind, tried to become a writer, went to the village

Why didn't reading books help?

He did not see the truth of life in books

Why didn't he become a writer?

Hard work made him sick

Did he get rid of boredom in the village?

He is unable to see the beauties of nature

Why does Pushkin describe only one day of the hero?

• The answer is given in the text:

“Wakes up at noon, and again

Until the morning his life is ready,

Monotonous and variegated

And tomorrow is the same as yesterday.

Let's follow Onegin's "route"

boulevard

house

restaurant

ball

theater

During the lesson, we will fill in the table:

Comparison questions

1 . Relation to the opinion of the world

3. Attitude towards art, towards the theater

5. Attitude towards nature

Check your work in class

Comparison questions

1. Attitude towards the opinion of the world

"Fearing Jealous Judgment"

2. Attitude towards women and love

"Not thinking proud light to amuse"

"The science of tender passion", "dragged somehow"

3. Attitude towards art, theater

4. Attitude towards work, creativity

Continues to admire female beauty

"Turned away and yawned..."

"Magic Land!"

"Hard work made him sick"

5. Attitude towards nature

Pushkin is the creator

“On the third grove, hill and field did not please him anymore”

“I was born for a peaceful life, for village silence…”

Homework:

• Reread chapter 2
• Highlight in the text the characteristics of Lensky, Olga, Tatiana
• Prepare the story "The Education of Tatyana"
• Prepare an answer to the question "Onegin's Day"

Analysis of the novel "Eugene Onegin" by Pushkin - theme, idea, genre, problems, main characters, plot and composition.

"Eugene Onegin" Pushkin analysis

A. Pushkin's novel "Eugene Onegin" is the first realistic novel not only in Russian, but also in world literature.

Year of writing: 1823-1831

Genre- a socio-psychological novel in verse.

Subject- depiction of Russian life in the first quarter of the 19th century

Main characters: Eugene Onegin, Vladimir Lensky, Tatyana Larina, Olga Larina

Composition: built "mirror": Tatyana's letter - Onegin's answer - Onegin's letter - Tatyana's answer.

The main conflict of the novel: conflict of two life philosophies, the conflict of man and society, the conflict of man and the environment.

Problems of "Eugene Onegin"

Man against the background of the era, time, the meaning of its existence on earth.

— The problem of education and upbringing; — Literary creativity;

- fidelity in married life; - Human relationships;

- Love; - Family relations.

"Eugene Onegin" plot

The novel begins with lamentations young nobleman Eugene Onegin about the illness of his uncle, which forced Eugene to leave St. Petersburg and go to the patient's bed to say goodbye to him. Having marked the plot in this way, the author devotes the first chapter to the story of the origin, family, life of his hero before receiving news of the illness of a relative. The narration is conducted on behalf of an unnamed author, who introduced himself as a good friend of Onegin. Eugene was born "on the banks of the Neva", that is, in St. Petersburg, in a not the most successful noble family:

Onegin received an appropriate upbringing - first, having a governess Madame (not to be confused with a nanny), then a French tutor who did not bother his pupil with an abundance of classes. Pushkin emphasizes that Yevgeny's education and upbringing were typical for a person of his environment (a nobleman, who was taught by foreign teachers from childhood).

Onegin's life in St. Petersburg was full of love affairs and secular entertainment, but this constant series of amusements led the hero to the blues. Eugene leaves for his uncle in the village. Upon arrival, it turns out that the uncle has died, and Eugene has become his heir. Onegin settles in the village, but even here he is overcome by depression.

Onegin's neighbor turns out to be eighteen-year-old Vladimir Lensky, a romantic poet, who came from Germany. Lensky and Onegin converge. Lensky is in love with Olga Larina, the daughter of a local landowner. Her thoughtful sister Tatyana does not look like the always cheerful Olga. Olga is one year younger than her sister, she is outwardly beautiful, but Onegin is not interested:

Having met Onegin, Tatyana falls in love with him and writes him a letter. However, Onegin rejects her: he is not looking for a quiet family life. Lensky and Onegin are invited to the Larins for Tatyana's name day. Onegin is not happy about this invitation, but Lensky persuades him to go, promising that there will be no guests-neighbors. In fact, having arrived at the celebration, Onegin discovers a "huge feast", which angers him in earnest.

At a dinner at the Larins', Onegin, in order to make Lensky jealous, suddenly begins courting Olga. Lensky challenges him to a duel. The duel ends with the death of Lensky, and Onegin leaves the village.