What is a lyrical digression in the novel Eugene Onegin. Philosophical reflections in the lyrical digressions of the novel by A.S.
At one time, the critic V.G. Belinsky called the novel "Eugene Onegin" "an encyclopedia of Russian life." Pushkin touched upon a lot in it: the problems of duty and honor, Russian culture, happiness, love, fidelity... The personality of the poet is manifested in every line of the novel: in monologues, replicas. In the image of the author, we find a true friend, a playful interlocutor, a wise person.
Among the author's lyrical digressions about nature, love, life, literature and art, philosophical reflections stand out. Pushkin wrote his novel for eight years. During this time, he has accumulated a lot of impressions, added experience. He expressed his innermost thoughts in the lyrical digressions of Eugene Onegin. Grains of wisdom are scattered throughout the work. I think they are very relevant today.
The author's remarks are very capacious and precise:
You can be a good person
And think about the beauty of nails:
Why fruitlessly argue with the century?
Custom despot among people. (Chapter 1, XXV)
In the second chapter of the novel, the author discusses the widespread vice of the 19th century - selfishness. Onegin's egoism leads to the death of the enthusiastic Lensky, rejects Tatyana's sincere feeling. And today there are many examples of how boundless egoism destroys a person:
But there is no friendship even between us.
Destroy all prejudices
We honor all zeros,
And units of themselves. (Chapter 2, XIV)
The idol of that time was Napoleon Bonaparte, who laid the foundation for this worldwide disease. Thirst for fame at any cost, cold calculation helped him succeed, but, ultimately, led to the abyss.
The author talks wisely about human passions. He blesses both those who have tasted their heat, and those to whom the passions were unfamiliar. Pushkin claims that a person loves to observe other people's passions more than to experience them himself.
The author acts in the novel as a connoisseur of the human soul, a connoisseur of the patterns of life. With mockery, the author condemns the vices of the world:
Debauchery used to be cold-blooded
Science was famous for love,
Blowing about himself everywhere
And enjoying without loving.
But this important fun
Worthy of old monkeys
Vaunted grandfather's times. (Chapter 4, VII)
Talking about the life of Tatyana's mother, Pushkin talks about the power of habit. For many people, habit has, in fact, replaced feeling:
The habit from above is given to us:
She is a substitute for happiness. (Chapter 4, XXXI)
Pushkin thinks about the transience of human life. He admits that he did not notice how he turned thirty years old. In the novel, you can find a lot of philosophical reasoning on the topic of youth and old age. The author rightly notes that in life there is a constant change of generations. The new will inevitably take the place of the old, says the poet. Life is built on this eternal cycle.
The key to the novel is the philosophical digression in stanzas 9 and 11 of chapter 8. Here the author discusses two life lines of a person. The first way is the traditional way, the way of the majority, the way of mediocrity. The author describes him with irony: at the age of twenty a young man is usually a brilliant dandy, at thirty he is profitably married, at 50 he has a large family. And that's why everyone talks about him - "a wonderful person." The author also shows another path - the path of a few, bright, courageous personalities. For them, life is not just a rite, painted over decades. They did not forget the dreams of youth, did not accept the coldness of life:
It's hard to see in front of you
One dinner is a long row,
Look at life as a ritual
And following the orderly crowd
Go without sharing in it
No common opinions, no passions (Chapter 8, XI)
I think the author is right. Living without thinking, following the majority is not the best way.
Aptly the author speaks about public opinion. I think that it affects a person in many ways, often negatively. We do some things by looking at others. An example of this in the novel is the duel between Onegin and Lensky. The hero could have prevented the death of a friend, but he was afraid of what the world would think of him. The opinion of the empty crowd cut short the life of a man:
And here is the public opinion!
Spring of honor, our idol!
And that's where the world revolves.
Thus, in his philosophical reflections, the author raises the eternal questions of honor and duty, the meaning of life, the place of man in this world. Wise remarks of the poet have not lost their relevance to this day.
1. The role of lyrical digressions in the novel by A.S. Pushkin "Eugene Onegin".
Experts count twenty-seven lyrical digressions and fifty different types of lyrical inserts in Pushkin's novel "Eugene Onegin". Some of them take only one line. His enemies, his friends (this may be one and the same). It was cleaned this way and that. Others are very extensive, and if they are combined, they form two independent chapters in their volume.
“Now I am not writing a novel, but a novel in verse - a diabolical difference,” A.S. Pushkin about the beginning of work on "Eugene Onegin", emphasizing his unconventionality. Poetic speech presupposes a certain freedom of the author, which is why in the eighth chapter the author calls his novel in verse "free".
The freedom of Pushkin's work is, first of all, the author's easy conversation with readers, the expression of the author's "I". Such a free form of narration allowed Pushkin to recreate the historical picture of his contemporary society, in the words of V.G. Belinsky, to write an "encyclopedia of Russian life."
One of the most important themes of the author's digressions in "Eugene Onegin" is the depiction of nature. Throughout the novel, the reader passes both winter with merry games of children and skating on “neater than fashionable parquet” ice, and spring - “time for love”. Pushkin draws a quiet "northern" summer, "a caricature of the southern winters", and, undoubtedly, he does not disregard his beloved autumn.
The landscape exists in the novel along with the characters, which makes it possible for the author to characterize their inner world through their relationship to nature. Emphasizing the spiritual closeness of Tatyana with nature, the author highly appreciates the moral qualities of the heroine. Sometimes the landscape appears to the reader as Tatyana sees it: “... she loved to warn the sunrise on the balcony”, “... through the window Tatyana saw a whitened yard in the morning.”
It is impossible not to note the author's descriptions of the life and customs of the society of that time. The reader will learn about how secular youth was brought up and spent time, even albums of county young ladies open before him. The author's opinion about balls, fashion, attracts attention with the sharpness of observation.
What brilliant lines are dedicated to the theatre. Playwrights, actors ... We seem to find ourselves in this “magic land”, where Fonvizin, a friend of freedom, shone, and the changeable Princess, “we see Istomina flying like fluff from the lips of Eol.”
Some lyrical digressions in the novel are directly autobiographical in nature. This gives us the right to say that the novel is the story of the personality of the poet himself, a creative, thinking, extraordinary personality. Pushkin is both the creator of the novel and its hero.
"Eugene Onegin" was written by Alexander Sergeevich for seven years at different times, under different circumstances. The poetic lines describe the poet's memories of the days “when in the gardens of the Lyceum” the Muse began to “appear” to him, about his forced exile (“will the hour of my freedom come?”). The poet ends his work with sad and bright words about the days lived and the departed friends: “There are no others, and those are far away ...”
As if with close people, Pushkin shares with us, readers, reflections on life:
Who lived and thought, he cannot
Don't despise people in your heart...
But it's sad to think that in vain
We were given youth...
The poet is worried about his own poetic fate and the fate of his creation:
Perhaps it will not sink in Lethe
A stanza composed by me;
Perhaps (flattering hope!),
The future ignorant will indicate
To my illustrious portrait
And he says: that was the Poet!
Expressed in lyrical digressions and literary preferences of Alexander Sergeevich, his creative position, realized in the novel:
... just tell you
Traditions of the Russian family,
Love captivating dreams
Yes, the morals of our side.
Friendship, nobility, devotion, love are qualities highly valued by Pushkin. However, life confronted the poet not only with the best manifestations of these moral values, and therefore the following lines arose:
Whom to love? Whom to believe?
Who won't change to one? -
The heroes of the novel are like “good friends” of its creator: “I love my dear Tatyana so much”, “Eugene was more tolerable than many”, “... I love my hero from the bottom of my heart”. The author does not hide his attachment to the characters, he emphasizes his difference with Onegin, so that the “mocking reader” does not reproach him for “staining” his portrait. It is difficult to agree with Pushkin. His image lives on the pages of the novel, not only in his characters.
The poet speaks to us in lines of lyrical digressions, and we, his descendants, have a unique opportunity to talk with Pushkin through the centuries.
Alexander Sergeevich put his mind, his powers of observation, his life and literary experience, his knowledge of people and Russia into the novel. He put his soul into it. And in the novel, perhaps more than in his other works, the growth of his soul is visible. As A. Blok said, the writer's creations are "external results of the underground growth of the soul." To Pushkin, to his novel in verse "Eugene Onegin" this is applied to the fullest extent.
Autumn road. And in the general mood of the author's monologue, and in the rapidly changing scenes, there is a clear hint at the image of a troika bird, from which this lyrical digression is separated by a large chapter devoted to the adventures of Chichikov. The story about the protagonist of the poem is completed by the author's statements, which present sharp objections to those who may be shocked by both the protagonist and the poem as a whole, ...
Nests", "War and Peace", "The Cherry Orchard". It is also important that the protagonist of the novel, as it were, opens a whole gallery of "superfluous people" in Russian literature: Pechorin, Rudin, Oblomov. Analyzing the novel "Eugene Onegin", Belinsky pointed out that at the beginning of the 19th century the educated nobility was the class "in which the progress of Russian society was almost exclusively expressed", and that in "Onegin" Pushkin "decided ...
It's true, Your roads will change immeasurably... Now our roads are bad, Forgotten bridges are rotting... and so on. It is precisely for these reasons that the roads are the second most important theme of "Dead Souls", connected with the theme of Russia. The road is an image that organizes the whole plot, and Gogol introduces himself into lyrical digressions as a man of the path. “Before, long ago, in the summers of my youth... it was fun for me to drive up to an unfamiliar place for the first time... Now...
Bellinsky called the novel "an encyclopedia of Russian life." And indeed it is. An encyclopedia is a systematic overview, usually from “A” to “Z”. Such is the novel “Eugene Onegin”: if you carefully look through all the lyrical digressions, we will see that the thematic range of the novel is expanded from “A” to “Z”. In the eighth chapter, the author calls his novel "free". This freedom is...
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2.2. Lyrical digressions about nature in the novel by A.C. Pushkin "Eugene Onegin"There is not a single sensitive person whose heart would tremble when reading Pushkin's lines dedicated to the greatness and beauty of nature.
The landscape occupies a significant place in Pushkin's work. In different periods of his work, Pushkin depicted nature in different ways. And throughout his career, the function of the landscape in his works became more complicated. The images of nature appear in him in different versions: either as an accompaniment to his own experiences and feelings of the characters, or as an integral part of everything around him. In many works, images of nature are included in the lyrical narrative about their own fate and the fate of their generation. A.S. Pushkin's novel "Eugene Onegin" is full of lyrical digressions.
According to the genre, "Eugene Onegin" is a novel in verse, i.e. lyric-epic work, where lyrical and epic are equal, where the author freely
He moves from narrative to lyrical digressions, thanks to which the action of the novel goes beyond the private life of the hero and expands to an all-Russian scale. The novel clearly expresses a realistic approach to depicting life, the principles and techniques of which turned out to be so capacious and promising that they were reflected and further developed in the work of many Russian novelists of the 19th century. Eugene Onegin combines epic and lyrical elements. Belinsky called "Eugene Onegin" "an encyclopedia of Russian life", since the author's digressions reveal the contradictions, trends and patterns of the era, which at first glance are not directly related to the plot of the novel, but clearly demonstrate Pushkin's attitude towards them. In an article about "Eugene Onegin" Belinsky wrote about Pushkin's lyrical digressions: “The departures made by the poet from the story, his appeal to himself are filled with extraordinary grace, sincerity, a sense of intelligence, sharpness; the personality of the poet in them is so loving, so humane " .
Features of the novel as a kind of epic are as follows: the narrative manner of presentation on behalf of the author; the presence of several storylines and a number of characters; significant duration of action in time; volume increased in comparison with the poem, etc. The epic beginning is decisive in the structure of "Eugene Onegin".
From the poetic form comes a pronounced lyrical beginning. Many pages of "Eugene Onegin" are colored by the mood of the author, who owned him at the time of the creation of certain stanzas. Of interest are the features of the construction of the novel in verse, which is written in the Onegin stanza. The stanzas are grouped into chapters.
The next feature of the "novel in verse" genre is the "collection of motley chapters". It implies ample opportunities to introduce more and more new themes and motives; an inexhaustible variety of intonations, shades of the author's point of view on what is depicted in the novel.
Finally, another property of Pushkin's "novel in verse" is the depth and capacity of the image of life. All lyrical digressions of the novel are a single artistic whole. In compositional terms, they are connected both with the characters of the novel and with the author himself, his mood, thoughts and feelings.
In the novel "Eugene Onegin" one of the most important types of author's digressions are numerous poetic sketches of nature.“Pictures of nature in the novel are its embodied musical element, this is what creates a supra-historical atmosphere for everything depicted in the novel” .
Pushkin does not so much see and hear nature as he experiences it. The lyrical mood is so strong in him that he does not talk about nature otherwise than projecting it through the prism of personal moods.
On the pages of "Eugene Onegin" the author draws pictures of Russian nature. A special place is occupied by descriptions of rural nature. Pushkin in lyrical digressions about nature depicts all the seasons: both winter, “when the boys are joyful people” “cut ice” with skates, and “the first snow curls”, flashes, “falling on the shore”, and “northern summer”, which the poet calls “a caricature of the southern winters”, and spring - “the time of love”, and, of course, autumn, beloved by the author, does not go unnoticed. At the same time, the author does not at all seek to choose some exceptional paintings. On the contrary, everything is real, simple, ordinary with him:
That year the autumn weather
Stood in the yard for a long time
Winter was waiting, nature was waiting.
Snow fell only in January
On the third night, waking up early
Tatyana saw through the window
Whitewashed yard in the morning,
Curtains, roofs and fences,
Light patterns on the glass
Trees in winter silver
Forty merry in the yard
And softly padded mountains
Winters are a brilliant carpet.
Everything is bright, everything is white around.
Depicting a winter landscape, Pushkin in each stanza draws a small picture arising from immediate observations and the desire to convey the sensations and experiences caused by it. This is facilitated by the use of various epithets: light patterns, light silver, funny magpies, a brilliant carpet. It is necessary to know and feel Russian nature very well, to observe very subtly and deeply, tenderly love it, in order to give such a truthful picture, permeated with beauty and Pushkin's joy of being.
The poet expands the scope of the landscape. Descriptions of nature in the work are filled with pictures of folk life, giving them liveliness, emotionality, and national flavor. Pushkin contrasts his "low" description of fields and forests with how other poets describe nature in a "luxurious style" in a romantic style. But it is precisely these pictures of "lower nature" that sink surprisingly deep into the soul:
Winter!.. The peasant, triumphant,
On firewood, updates the path;
His horse, smelling the snow,
Trotting somehow;
Reins fluffy exploding,
A remote wagon flies;
The coachman sits on the irradiation
In a sheepskin coat, in a red sash.
Here is a yard boy running,
Planting a bug in a sled ....
But not only pictures of the Russian winter are depicted by Pushkin in his novel. One of the most striking landscape stanzas, which opens the seventh chapter, clearly depicts the awakening of nature after hibernation:
Chased by spring rays,
There is already snow from the surrounding mountains
Escaped by muddy streams
To flooded meadows...
How sad is your appearance to me,
Spring, spring! it's time for love!
What a languid excitement
In my soul, in my blood!
With what heavy tenderness
I enjoy the breath
In my face blowing spring
In the bosom of rural silence!
Epithetpersecutedconjures up a vivid, figurative picture of snows driven from the surrounding mountains by the spring rays of the sun.
The transition from one season to another - especially the beginning of winter, sharply outlined by the first snow - is always expected and always unexpected in Pushkin. In winter, the life of nature freezes, but even this time has its own beauty, originality and poetry. But if in these digressions Pushkin draws a lyrical landscape, then in a digression about spring, the landscape also acquires a philosophical meaning, a variety of storylines, a variety of themes of the novel are drawn to it.
The image of spring is characterized personified awakening nature:
smile clear nature
Through dream meets morning of the year;
blue shine heaven.
More transparent, forests
How as if rest in peace turn green .
The spring awakening of nature cannot evoke positive emotions, and although the poet explains the reasons for his spring longing, he nevertheless cheerfully encourages the reader to go out of town in spring, to nature:
Spring V village you calling,
It's time heat, colors, works,
It's time festivities inspired
AND seductive nights.
IN fields, Friends, hurry up hurry up
IN carriages hard loaded,
On long or on postal
Reach out from outposts urban .
Spring symbolizes awakening of nature and man. Pushkin draws a clear sky, and the first fluff on the trees, and the first flight of bees for honey, and the appearance of flowers in the meadows, and the first pasture of cows to pasture, and, finally, completing and making even more poetic this image of awakened life in nature, nightingale songs at night. Pushkin was able to see the beauty in the most simple and ordinary, he was able to find the most faithful, most poetic words to express this spring beauty.
Pushkin paints autumn, the most favorite season of the year, with unusual colors. The poet does not spare colors to convey all the charm of this season:
Already the sky was breathing in autumn,
The sun shone less often, the day became shorter,
Forests mysterious canopy
With a sad noise she was naked,
Fog fell on the fields
Noisy geese caravan
Stretched to the south: approaching
Pretty boring time;
November was already at the yard.
The pages of the novel, depicting autumn, are distinguished by the breadth of coverage of nature.
A significant role in Pushkin's poem is assigned to such a lexical tool as personification. The poet's landscape is not a dead deserted picture. Pushkin brings nature closer to us, spiritualizes it. Nature, like a girl, is "quivering and pale"; “the sorceress winter is coming”, “came”, “lay down”; the north "breathed and howled."
Nature in the novel has an expansive, all-encompassing meaning. It contains more than just a landscape. So, the very feeling of Tatyana - sincere, direct, opposing secular flirting - appears in the novel as a manifestation of life itself, the law of nature:
The time has come, she fell in love.
So the fallen grain into the ground
Springs are animated by fire [ 14 , With. 103].
A lot of Pushkin refers to the description of the time of day, the most beautiful of which is night. The author does not seek to portray extraordinary pictures, but shows everything simply - and at the same time beautifully:
She loved on the balcony
Warn dawn dawn
When in the pale sky
Stars disappear dance,
And quietly the edge of the earth brightens,
And, the messenger of the morning, the wind blows,
AND rises gradually day .
In the seventh chapter of the novel, Russian nature becomes a truly protagonist:
But summer is flying fast.
The golden autumn has arrived.
Nature is quivering, pale,
Like a sacrifice, magnificently removed ...
Here is the north, catching up the clouds,
He breathed, howled - and here she is
The magical winter is coming.
Came, crumbled; shreds
Hung on the branches of oaks;
She lay down with wavy carpets
Among fields, around hills .
Among the landscapes of Journey, the mountain views of the Caucasus and Taurida, which open before the traveling Onegin, are distinguished by special artistic power and beauty. In "Excerpts from Onegin's Journey" a detailed poetic and at the same time realistically correct depiction of the landscape is given:
... He sees
Terek wayward
Steep digs shores;
A sovereign eagle soars before him,
A deer stands with bowed antlers;
The camel lies in the shadow of the cliff,
A Circassian horse grazes in the meadows,
And around the wandering tents
Kalmyk sheep are grazing.
Away - Caucasian masses:
The path is open to them. Scolding made its way
beyond their natural limits,
Through their dangerous barriers;
Coasts of Aragva and Kura
We saw the Russian Tatras.
The distant expanses and airiness of the landscape are created by the lines: “a sovereign eagle soars before it, a deer stands with its horns bowed ...”, “in the distance - the Caucasian masses: The path to them is open”. The poet draws the wild, spontaneous beauty of the Caucasus, its landslides and the movement of streams in the complete absence of people.
In the center of the landscape of the Volga, where Onegin is heading, Pushkin for the first time in Russian literature draws the image of a barge hauler:
Yearning. Eugene is waiting for the weather
Already Volga rivers lakes beauty
He is called to the lush waters
Under canvas sails -
It's easy to lure a hunter
By hiring a merchant ship,
He swam quickly down the river The Volga puffed out - barge haulers
About that robber shelter
About those remote sidings,
Like Stenka Razin in the old days
Blooded the Volga wave.
The details of the landscape depicted by Pushkin are deeply realistic. Among the series of paintings depicted in Onegin's Journey, Pushkin is most excited about the Russian northern landscape, with images of ordinary people. All the images included in the last landscapes of the Journey speak clearly of Pushkin's interests and reflections. The author sings of his native northern nature:
And the shore of Soroti is sloping,
And striped hills
And hidden roads in the grove
And the house where we feasted -
Shelter dressed with the radiance of muses.
In the novel by A.S. Pushkin "Eugene Onegin" rural, suburban landscapes dominate, but urban landscapes, especially Moscow landscapes, also have great artistic significance and ideological meaning:
But that's close. In front of them.
Already white-stone Moscow.
Like heat, ancient chapters burn with golden crosses.
Ah, brothers! How pleased I was when churches and bell towers
Gardens, halls semicircle
opened before me all of a sudden!
How often V woeful separation
IN my wandering fate
Moscow, I thought O you!
Moscow...how a lot of V this sound
For hearts Russian merged!
How a lot of V him responded! .
Lyrical reflections on Moscow are in strict compositional connection with the sound and thoughts of the entire chapter as a whole. Pushkin chooses epithetwhite stone Moscow, thereby asserting the nationality of the image. He emphasizes a passionate, ardent feeling for his beloved city. A realistic sketch of Moscow streets, a typical urban landscape of Pushkin's time, is also displayed in the seventh chapter of the novel:
Farewell, witness of fallen glory,
Petrovsky castle. Well! don't stop, let's go!
Already the pillars of the outpost
They turn white: that's really on Tverskaya
The wagon rushes through the potholes.
Flickering past the booth of a woman,
Boys, benches, lanterns,
Palaces, gardens, monasteries,
Bukharians, sleighs, vegetable gardens,
Merchants, shacks, men,
Boulevards, towers, Cossacks,
Pharmacies, fashion stores,
Balconies, lions on the gates
And flocks of jackdaws on crosses.
In these lines, the poet describes the landscape of Moscow, its outskirts and Tverskaya Street, typical of the beginning of the 19th century, a landscape in motion. These are parts of the Moscow landscape, flashing before the eyes of the Larins. Here and people, and houses, and gardens. The nature of the movement of a carriage rushing through the bumps is created by the correspondingthe rhythm of the verse.
The drawing of the urban landscape is subject to the main creative task of the author in "Eugene Onegin" - to show the truth of life, comprehend Russian reality and talk with the reader about the Motherland, its past, present and future.
Pushkin's landscape sketches in Eugene Onegin are connected with the poet's reflections on the future of his homeland. A small part of the seventh chapter is devoted to this topic:
When good enlightenment
Let's move more boundaries
Over time (according to the calculation of the Philosophical tables,
Five hundred years later) roads, right,
We will change immeasurably:
Highway Russia Here And here,
By connecting cross.
Bridges cast iron through water
step wide arc,
Let's move apart mountains, under water
we'll break through cheeky vaults,
AND will lead baptized world
On each stations inn .
This landscape is also full of movement and action, thus showing an active intervention in life, a change in life, its dynamism. Pushkin emphasizes the effectiveness of creative human labor, the victory of man over nature.
Both rural and urban landscapes of the poet in the novel are closely connected with the beauties of Russian nature. The pictures of nature depicted in the novel help the author and the reader to better understand Russian life. Nature is not soulless in itself, it is a living, quivering world, among which the poet's heroes live.
Thus, the landscape of "Eugene Onegin" is a kind of lyrical digression, along with other figurative reflections of the poet on various topics related to the knowledge of Russian reality, their exceptional beauty, aesthetic value and life-affirming power are inextricably linked with the feelings and emotions of the great Russian poet.
Lyrical digressions about nature in "Eugene Onegin" artistically fulfill the main creative task of the entire novel as a whole - to show Russian life in a multifaceted way, to understand and depict it in truthful artistic forms. A.S. Pushkin was the first to introduce a deeply realistic landscape drawing into Russian literature.
Thus, through lyrical digressions, the following features of the landscape of the novel can be noted:
Pushkin's landscape is realistically accurate;
the landscape in the novel is lyrical, it is imbued with a certain mood;
Pushkin draws nature together with man, his labor activity;
in Pushkin, a bright, joyful perception of nature prevails;
pictures of nature are imbued with a feeling of love for the motherland, the beauty of its endless expanses;
the landscapes of the novel are the landscapes of central Russia, the poet's homeland, and the indigenous Russian lands.
Russian nature in the novel is a kind of foundation, without which and outside of which historical life would look abstract. Descriptions of nature are inextricably linked with the heroes of the novel, they help to better understand their inner world, their spiritual values.
Pushkin wrote the novel "Eugene Onegin" for more than seven years. This is a huge period in the life of a great poet. From a young man, he turned into a fully formed mature person and a powerful artist. In a talented and sincere novel, Pushkin's contemporaries saw living reality, recognized themselves and their acquaintances, the entire environment, the capital, the village, neighbors-landlords and serf slaves. They heard lively, colloquial Russian speech, they felt even more how magnificent Russian nature is. Pushkin begins to describe nature broadly only from the fourth chapter. In the center of her human characters, the individual "I" of the characters and the author himself, constantly weaving his lyrical outpourings into the fabric of the novel.
The events of six of the eight chapters of the novel unfold in the countryside, and the scene - the estate of a local nobleman - turns out to be naturally “fitted” into the landscape. All the main events of the novel unfold against the backdrop of rural nature. “The village in the novel is the native Mikhailovskoye; where Pushkin lived and the neighboring Trigorskoye estate. The village is Russia, its fields and forests, rivers and lakes. This is the memory of the past, this is life with the people, the people's sources of faith, kindness and wisdom. The village is a majestic flow of time: summer, autumn, winter, spring. Finally, the village is a creative silence, - as N.M. Mikhailova notes "[12, p.55].
The landscape in Pushkin's novel plays a certain compositional role. Pushkin several times describes different seasons in the novel - this helps the reader to perceive the chronological framework of the novel, gives the perspective of time, the fluidity of life.
Some characters in A.S. Pushkin's novel "Eugene Onegin" live, as it were, outside nature, alien to it - they are deprived of integrity, and to some extent, of the necessary positive values. The inner proximity of the hero to the natural world indicates his organic nature, morality, spiritual beauty.
Especially close to nature, sincerely grown together with it Tatiana- Pushkin's favorite heroine. Her image is inextricably linked with the rural landscape. Examples: Tatyana meets the sunrise in the morning (chapter 2, stanza 28), goes to be sad in the garden, where the scene of a meeting with Onegin takes place (chapter 3, stanza 16; stanzas 38-39), a night landscape in the light of the moon while talking with the nanny (chapter 3, stanzas 16, 20, 21), a winter morning at the beginning of the fifth chapter (stanza 1-2), a cold winter night when Tatyana is guessing (chapter 5, stanza 9), a winter landscape of her terrible dream (chapter 5, stanza 13), the night before the name day (chapter 6, stanza 2), the spring landscape of the seventh chapter, and the summer evening, when lonely Tatyana comes to Onegin's house (chapter 7, stanza 15), her farewell to her native places before leaving for Moscow (chapter 7 , stanza 28 et seq.). The closeness of the people and nature forever determined in Tatyana Larina naturalness, simplicity and organic rejection of pretense, hypocrisy, and falsehood. Tatyana absorbed folk morality, which colored her thoughts and feelings and manifested itself in her behavior.
Very often the author sees nature through the eyes of the main character of the novel, and then landscape painting fully expresses her state of mind. Almost the largest number of landscape sketches are associated with the image of Tatyana in the novel. The narrator's reflections on Tatyana's spiritual closeness to nature are repeatedly encountered, with which he characterizes the moral qualities of the heroine. Pictures of nature echo Tatyana's feelings and moods.
Talking about the upcoming departure of Tatyana to Moscow, the poet briefly and vividly described the change of summer in autumn, autumn: winter.
It has come autumn golden.
Nature quivering pale
How victim magnificently removed....
Let's compare this picture with the description of autumn in the fourth chapter (stanzas 40-41) - here there are completely different colors, different moods. We feel that this autumn is especially close to Tatyana's mood now, it is somehow connected with her fate, with her future:
Here is the north, catching up the clouds,
He breathed, howled - and here she is
The magical winter is coming.
The winter landscape is also associated with the image of Tatyana. Pushkin did not accidentally choose winter, by this he sought to emphasize the national character, the ideal features of a real Russian girl:
Tatiana (Russian soul,
Herself Not knowing Why)
WITH her cold beauty
loved Russian winter...
After all, the first thing that foreigners who lived in Russia have always noted is a long winter (there is nothing like it in Europe), Russian cold, snow. This is a characteristic time of the year for our country. But over our summer, north of Moscow, the novelist chuckles:
But our northern summer
southern winters cartoon,
Flicker and no...
The awakening of nature brings new feelings into the lives of the heroes. The emergence of Tatyana's feelings for Onegin is as natural as the course of natural processes:
The time has come, she fell in love
So the fallen grain into the ground
Springs are animated by fire,
For a long time her imagination
Burning with grief and longing,
Alkalo fatal food;
Long hearted languor
It pressed her young breasts.
Tatyana also seeks consolation in love experiences in nature:
Yearning love Tatyana drives,
AND V garden goes she be sad...
will come night; moon bypasses
Dozor further vault heaven,
AND nightingale in mist tree
tunes sonorous turns on .
In merging with nature, those thoughts and feelings are formed in Tatyana Larina that are peculiar only to a Russian woman. In accordance with popular ideas about a beautiful person, Pushkin endows Tatyana with moral purity, nobility, spontaneity and exceptional spiritual value.
The emotionally painted landscape subtly supports and emphasizes Tatyana's psychological state, great emotional tension, changing emotions and the strength of sincere feelings. The growing power of love merges with the sunrise and the song of the shepherd peasant. In the same key, Pushkin painted many other landscapes associated with the image of Tatyana.
The winter Russian landscape in Tatyana's dream, also inextricably linked with her experiences and thoughts, is depicted by Pushkin in realistic tones close to folk art. The realism of the depicted is achieved due to the special clarity of the drawing and the selection of what Tatiana meets on her way. Let us give an example of the mysterious and mysterious nature in the scenes of Tatiana's dream:
...To her dreaming, as if would she
coming By snow clearing...
Prev them forest; motionless pines
IN his frowning beauty;
weighted down their branches All
Klokami snow; through peaks
Osin, birches And linden naked
shining Ray luminaries night;
Roads No; bushes, rapids
Blizzard All listed,
Deep V forest loaded .
Nature in Tatyana's dream is alive, earthly, not at all fabulous: a sad winter night, a running stream, a fragile bridge made of icy perches ... Everyone who wandered through the night winter forest knows how truthfully this forest is described. Tatyana's dream is a prophetic dream that will soon come true. And Tatyana knows about it. Against almost the same background of late winter and the beginning of an early, still winter-like cold spring, the last meeting of Onegin and Tatyana takes place.
Everything that Tatyana Larina does, everything that happens to her, is accompanied by landscape sketches. In Larina, a special perception of love, life and nature merges. In the story about Tatyana, the accompanying landscape sounds especially like music: it touches the most lyrical feelings, causing deep empathy and sympathy for the deeds and thoughts of the main character of the novel. Wandering through her native fields, Tatiana is against the backdrop of broad Russian nature. Everywhere there is breadth, air and space, movement and life, as in the soul of Tatyana herself:
It was evening. The sky was dark. The waters flowed quietly. The beetle was buzzing. Round dances were already dispersed;
Already across the river, smoking, blazing
Fishing fire. In a clean field, the moon in silvery light,
Immersed in my dreams
Tatyana walked alone for a long time.
Landscapes that are not directly related to the psychology and worldview of the main character are drawings that fully show perceptionnatureby ourselvesa poet sharply contrasting with the experiences of Onegin and expressing only the emotions of the author himself.
The very same author of the novel, Alexander Pushkin, introduced into the novel as not only the creator of his new creation, but also one of its heroes, turns out to be both a real and at the same time fictional person. This is both the real poet Pushkin, and in front of the eyes of readers composing his new creation - a poetic novel - and at the same time a fictional person living together with the heroes of a conditional "novel" life: he is their "good friend", confidant of their heart secrets, "empathy", adviser and critic. The landscapes of the "novel in verse" help the reader to feel deeper and more vividly perceive Pushkin's sincere thoughts about Russian life, about the Russian people, to feel the lyrical beauty of Russian nature. Descriptions of nature, expressing Pushkin's own feelings, moods and thoughts, are deeply lyrical in nature, voluminous in content, cover large spaces and several planes, include folk images and genre scenes that are organically connected with the whole pictorial picture as a whole:
The village where Eugene missed Was a lovely corner;
There's a friend of innocent pleasures
I could bless the sky.
The Lord's house is secluded,
Protected from the winds by a mountain,
Stood over the river. away
Prev him full of And bloomed
meadows And fields gold,
Flashed villages; Here And there
herds wandered By meadows,
AND canopy expanded thick
Huge, launched garden,
Shelter thoughtful dryad .
In these lines, the author reflects his vision of the surrounding nature. The rural landscape pleases the eye of the poet. The author finds his beauty in it, calling the village "a charming corner." Everything seduces Pushkin: the secluded manor house, the golden meadows and fields, and the neglected garden. As you can see, this village is very similar to Mikhailovskoye. After all, the master's house really stood above the river Sorotya, meadows and fields stretched in the distance, herds roamed the meadows, and near the house there was a huge old park with linden and spruce alleys. Mikhailov's life of Pushkin was reflected in the fourth chapter of "Eugene Onegin" not only in the description of the village life of the protagonist. This is the life of the Author of the poetic novel alone with nature and creativity.
And now the frosts are cracking
And silver in the fields...
Neater than fashionable parquet
The river shines, dressed in ice.
Boys joyful people
Skates cut the ice loudly;
On red paws a goose is heavy,
Having thought to swim in the bosom of the waters,
Steps carefully on the ice
Slides and falls; funny
Flashes, curls the first snow,
Stars falling on the shore.
The golden autumn has arrived.
Nature is quivering, pale,
Like a sacrifice, magnificently removed, ...
Realism of the picture helps the truthlight scale, the rhythm of the verse, epithetics and comparisons.
Landscapes in the novel Pushkin draws through the perception of the characters. For example, the village landscape in the second - sixth chapters of the novel is described sparingly, only with strokes, since this landscape is perceivedOnegin , who does not like nature. Unlike the author of the novel, Eugene Onegin is not touched by the charms of Russian nature, she is far from him. Onegin often withdraws into himself and yearns. Here is how the author describes Evgeny's stay in the village:
Two days seemed new to him
solitary fields,
The coolness of the gloomy oak,
The murmur of a quiet stream;
On the third grove, hill and field
His Not occupied more;
Then they would induce sleep;
Then he saw clearly
As in the village boredom is the same
Although there are no streets, no palaces,
Neither kart, neither points, neither poems .
Onegin is a skeptic, he is disappointed in everything that surrounds him. In the author, on the contrary, deep and strong feelings live; he passionately and inspiredly loves nature, people and life. Onegin is not touched by the beauty of Russian nature, but the author cannot hide his admiration.
Pushkin, with his landscapes, once again emphasizes the difference between Onegin and himself:
Flowers, love, village, idleness,
Fields! I am devoted to you in soul.
I'm always glad to see the difference
Between Onegin and me... [ 14 , With. 78].
Eugene's heart is not open to his native fields and forests, he is cold to the people, he is closed, the beauties of his native nature are inaccessible to him. And if one fine day Onegin woke up as a patriot, then Pushkin also shows the true price of such a “rebirth”:
Once he woke up a Patriot ...
Russia is peaceful instantly
He liked it very well
And it's decided that he's in love
He only raves about Russia
Already He Europe hates....
In contrast to Onegin, nature for Lensky is “not stupid places”, but “a concentration of miracles and mysteries full of poetry”:
He groves fell in love thick,
solitude, silence,
And the night, and the stars, and the moon,
Moon, sky lamp,
Which dedicated We
Walking in the darkness of the evening
And tears, secret torments of joy ...
But now we see only in her
replacement dim lanterns .
And the place where Lensky is buried, “a pensive poet, a dreamer, killed by a friendly hand” is again described in such a way as to emphasize how this romantic young man saw the world, what he was by nature:
There is a place: to the left of the village,
Where did the pet of inspiration live,
Two pines have grown together with their roots;
Beneath them the trickles meandered
Creek of the neighboring valley.
There the plowman likes to rest,
And plunge the reapers into the waves
Ringing jugs come;
There by the stream in the thick shade
A simple monument was erected.
At the tragic moment of the novel, the moon stops over Lensky's grave together with Tatyana and Olga: "And over the grave in the moonlight, / Embracing, they cried." The death of Lensky merges with the rebirth of nature. It is compared with the diamond tints of a falling snow avalanche:
... Fog gaze
Depicts death, Not flour.
So slowly By stingray mountains,
On Sun sparks shining,
subsides lump snowy .
The same snow avalanche is then thrown down by a whole stream of life: "Driven by spring rays, // From the surrounding mountains there is already snow // They fled by muddy streams ..."
Thus, pictures of nature occupy a special place in the novel by A.C. Pushkin. The landscape, closely associated with the main characters, helps the author to reveal the essential aspects of the character and worldview of the characters, their spiritual moods, turns in their life destiny. Nature is the backdrop against which the actors act. The landscapes in the novel are basically objective, precise, real. The life of all the heroes of Pushkin's novel is inscribed in the life of nature. The change of seasons and, accordingly, the change of landscape paintings determines the chronology of the plot, at the same time being a metaphor for the eternal movement of human life. Thanks to the landscape, the novel creates a picture of a rapidly changing world, in whose life the fates of the heroes of "Eugene Onegin" are woven. Nature is inextricably linked with the life of the people. In Pushkin's novel, she is portrayed through the eyes of a person who is one with nature. By closely linking nature with the experiences and thoughts of the characters, Pushkin gave them a pronounced psychological function.
Conclusion
The value of creativity and the scale of Pushkin's genius allow us to call him an exceptional phenomenon in world literature and culture, "the beginning of all beginnings." His achievements determined and largely determined the further development of Russian literature.
The works of A.S. Pushkin are an example of the writer's service to his people by means of the artistic word. The landscape occupies a central place in Pushkin's work. The source of Pushkin's work was the connection with his native land, Motherland and people. Pushkin, being a man of subtle nature, enthusiastically conveyed in his work a feeling of admiration that aroused in him natural perfection.
As a result of scientific research, we came to the following conclusions:
Lyrical digressions in a literary work play a huge role. Thanks to them, the action of the work goes beyond the private life of the characters and expands to a larger scale. Lyric
digressions reveal the contradictions, trends, patterns of the era, which at first glance are not directly related to the plot outline of the work, but clearly demonstrate the author's attitude towards them. In general, lyrical digressions help a deeper perception of the work, the personality of the author and the historical era in which the work was written.
The author in "Eugene Onegin" appears before us as a universal image in his complex relationship with the fictional and real world: after all, he is in constant dialogue with the characters and the reader.
With the help of the image of the author, many lyrical digressions are introduced into the novel, which give the work an encyclopedic, breadth, and inclusiveness of Russian life in the 1920s. XIX century. Lyrical digressions serve to expand the artistic space of the novel, to create the integrity of the literary image: from everyday details of generalization to large-scale images filled with philosophical content.
The landscape occupies one of the main places in a work of art, performing various functions. The role of the landscape in understanding the positions of the author is great. The meaning of the images of nature and its artistic function is of particular importance in the poetic works of fiction, since it is the description of the pictures of nature that helps the writer to find his own, unique style of presentation.
LITERATURE
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Kvyatkovsky A.P. Lyrical digressions: a poetic dictionary / A.P. Kwiatkovsky. - Moscow: Soviet Encyclopedia, 1966. - S. 145
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Odinokov, V.G. And the distance of a free novel ... / V.G. Odinokov, K.A. Timofeev. - Novosibirsk: Science, 1983 - 159 p.
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Smolyaninov I.F. Nature in the system of aesthetic education: a book for teachers. - M.: Enlightenment, 1984. - 205 p.
Sokolov, A.N. History of Russian literature of the XIX century (1st half): textbook / A.N. Sokolov. - 4th ed., Rev. - Minsk: Higher School, 1976. - 456 p.
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Encyclopedic dictionary of a young literary critic / V.I. Novikov. - Moscow: Pedagogy, 1988 - 416 p., ill.
An essay on the topic “Lyrical digressions and their role in the novel by A.S. Pushkin "Eugene Onegin"
The novel "Eugene Onegin" was written by Pushkin for more than eight years - from the spring of 1823 to the autumn of 1831. At the very beginning of his work, Pushkin wrote to the poet P.A. Vyazemsky: “Now I am writing not a novel, but a novel in verse - a diabolical difference!” The poetic form gives "Eugene Onegin" features that sharply distinguish it from a prose novel; it expresses the thoughts and feelings of the author much more strongly.
The originality is given to the novel by the constant participation of the author in it: there is both an author-narrator and an author-actor. In the first chapter, Pushkin writes: "Onegin, my good friend ...". Here the author is introduced - the protagonist, one of Onegin's secular friends.
Thanks to numerous lyrical digressions, we get to know the author better. So readers get acquainted with his biography. The first chapter contains the following lines:
It's time to leave the boring beach
I hate the elements
And among the midday swells,
Under the sky of my Africa,
Sigh about gloomy Russia...
These lines are about the fact that fate separated the author from his homeland, and the words “My Africa” make us understand that we are talking about a southern exile. The narrator clearly wrote about his suffering and longing for Russia. In the sixth chapter, the narrator regrets the departed young years, he also wonders what will happen in the future:
Where, where did you go,
My golden days of spring?
What does the coming day have in store for me?
In lyrical digressions, the poet's memories of the days “when in the gardens of the Lyceum” he began to “appear to the muse” come to life. Such lyrical digressions give us the right to judge the novel as the history of the personality of the poet himself.
Many lyrical digressions present in the novel contain a description of nature. Throughout the novel, we encounter pictures of Russian nature. There are all seasons here: both winter, “when the boys are joyful people” “cuts the ice” with skates, and “the first snow curls”, flashes, “falling on the shore”, and “northern summer”, which the author calls “a caricature of southern winters” , and spring is “the time of love”, and, of course, autumn, beloved by the author, does not go unnoticed. A lot of Pushkin refers to the description of the time of day, the most beautiful of which is night. The author, however, does not at all strive to depict some exceptional, extraordinary pictures. On the contrary, everything is simple, ordinary - and at the same time beautiful.
Descriptions of nature are inextricably linked with the characters of the novel, they help us better understand their inner world. We repeatedly notice in the novel the narrator's reflections on Tatyana's spiritual closeness to nature, with which he characterizes the moral qualities of the heroine. Often the landscape appears to the reader as Tatyana sees it: “... she loved to warn the sunrise on the balcony” or “... through the window Tatyana saw a whitened yard in the morning.”
The well-known critic VG Bellinsky called the novel "an encyclopedia of Russian life." And indeed it is. An encyclopedia is a systematic overview, usually from “A” to “Z”. Such is the novel “Eugene Onegin”: if you carefully look through all the lyrical digressions, we will see that the thematic range of the novel is expanded from “A” to “Z”.
In the eighth chapter, the author calls his novel "free". This freedom is, first of all, a casual conversation between the author and the reader with the help of lyrical digressions, the expression of thoughts from the author's "I". It was this form of narration that helped Pushkin to recreate a picture of his contemporary society: readers learn about the upbringing of young people, how they spend their time, the author closely watches balls and contemporary fashion. The narrator describes the theater especially vividly. Talking about this “magic region”, the author recalls both Fonvizin and Knyazhin, and Istomin especially attracts his attention, who, “touching the floor with one foot”, “suddenly flies” as light as a feather.
A lot of reasoning is devoted to the problems of Pushkin's contemporary literature. In them, the narrator argues about the literary language, about the use of foreign words in it, without which it is sometimes impossible to describe some things:
Describe my case:
But pantaloons, tailcoat, vest,
"Eugene Onegin" is a novel about the history of the creation of the novel. The author talks to us in lines of lyrical digressions. The novel is being created as if before our eyes: it contains drafts and plans, a personal assessment of the novel by the author. The narrator encourages the reader to co-create (The reader is waiting for the rhyme rose / Na, take it quickly!). The author himself appears before us in the role of a reader: “he reviewed all this strictly ...”. Numerous lyrical digressions suggest a certain freedom of the author, the movement of the narrative in different directions.
The image of the author in the novel is many-sided: he is both the narrator and the hero. But if all his characters: Tatyana, Onegin, Lensky and others are fictional, then the creator of this entire fictional world is real. The author evaluates the actions of his characters, he can either agree with them or oppose them with the help of lyrical digressions.
The novel, built on an appeal to the reader, tells about the fictitiousness of what is happening, that it is just a dream. Dream like life
An essay on the topic “Lyrical digressions and their role in the novel by A.S. Pushkin "Eugene Onegin" The novel "Eugene Onegin" was written by Pushkin for more than eight years - from the spring of 1823 to the autumn of 1831. At the very beginning of his work, Pushkin wrote to the poet P.A.
V.G. Belinsky called A.S. Pushkin's novel "Eugene Onegin" "an encyclopedia of Russian life." Indeed, the novel provides a comprehensive, detailed and at the same time extremely concise and concise depiction of Russian life in the 20s of the 19th century; in an unusually capacious poetic form, Pushkin managed to create a truly universal work that illuminates the most important Russian problems and reflects the essence of the Russian national character. In many ways, the author succeeded in this thanks to lyrical digressions, since these extra-plot elements make it possible to create a structurally holistic work, unified in composition, and at the same time make it possible to call Pushkin's great creation a “free novel”, where the narrative flows freely and naturally, reflecting the natural course of life.
Lyrical digressions are included in the novel with the image of the author, as emotional reflections and assessments, expressing his direct relation to the depicted or connection with him. The author reflects on creativity, determines the form of the novel, anticipates that the very first "chapter" will bring him "tribute of glory - crooked talk, noise and abuse."
The themes and forms of lyrical digressions in "Eugene Onegin" are extremely diverse. Lyrical autobiographical memories run through the whole novel, reflections on the fate of the characters, about time, environment and generations, about love and friendship. These can be notes about nature and beauty, and discussions about the economy and politics of Russia, the theme of art, in particular, theater and poetry, as well as polemical statements related to it, repeatedly arise.
In lyrical digressions containing the author's reflections on his own life and fate, an unusually bright realistic image of the narrator is created in Russian literature, which can be considered a kind of part of a collective portrait of a young and at the same time experienced person - one of the best representatives of the noble environment. The main psychological features of this hero - sincerity, openness to the reader - determine the lyricism and sincerity of digressions in his narration; and self-criticism encourages you to analyze and evaluate your own actions, to recognize your weaknesses:
I love crazy youth.
And tightness, and brilliance, and joy ...
- and declare errors:
Alas, for different fun
I lost a lot of life!
This kind of lyrical digressions are also interesting because they allow you to restore the life path of Pushkin himself. The poet talks about himself, his life: about the exile to Siberia that threatens him, his passion for secular life after the lyceum, the desire to get away from the watchful eye of the gendarmes, for example, Chapter VIII opens with the poet’s lyceum memoirs, Chapter X mentions the secret meetings of future Decembrists he attended.
However, it would be erroneous to assume that the image of the author is entirely biographical, equivalent to Pushkin himself. It is necessary to distinguish between the author and his character. Creating it, Pushkin, no doubt, sought to generalize, typify the thoughts, feelings, experiences of the best people of his time. Consequently, the image of the author can and should be considered in a number of other images of the novel, as the most important and integral part of its figurative system.
A significant part of the lyrical digressions in the novel is devoted to the author's reflections on art, its purpose and specificity, as well as an assessment of its trends. Fonvizin, a friend of freedom, and the permissive Knyazhnin.
He approaches the assessment of the literature of his own and previous eras in more detail, considering and analyzing the main trends that had developed by that time: classicism, sentimentalism, romanticism. For example, arguing with the laws of classic aesthetics, which required a rigid structure from a work of art, which did not allow free, arbitrary presentation, the author ironically remarks almost in the middle of his narrative:
I saluted classicism:
Though late, but there is an introduction.
Speaking about the literary work of Lensky, he uses the opportunity to express his attitude towards romantic creativity:
So he wrote dark and sluggish
What we call romanticism
Although there is no romanticism here
I don't see; so what's in it for us?
In parodic form, romantic clichés and phrases are also listed:
... Deserts, waves, pearly edges
And the noise of the sea, and piles of rocks,
And the proud maiden ideal,
And nameless pain...
“I need other paintings,” the author admits in one of the lyrical digressions, contrasting these images with “a sandy slope, // Two rowan trees in front of the hut, // A gate, a broken fence.” As you can see, all these are elements of unadorned reality, the realities of everyday life, which makes it possible to attribute the author to adherents of realistic art. It is no coincidence that the "tightness, and brilliance, and joy" of noisy balls and secular receptions is gradually replaced for him by the ideal of a simple folk life and "loyalty to the old days":
My ideal now is the hostess,
My desire is peace.
Yes, a soup pot, but a big one itself.
Speaking about the sources of poetic inspiration, the author names love and nature among them. So, in one of the digressions, he remarks that "all poets are dreamy friends of love." Thus, the high love feeling, sung by poets of all times, is at the same time a life-giving source of poetic creativity.
Lyrical digressions about nature also occupy a special place in the structure of the novel. On the one hand, for the heroes, the perception of nature is inseparable from the feeling of love, closely merged with it. "Spring, spring! It's time for love!" - exclaims Pushkin's hero. On the other hand, the author's emotional reasoning about nature often brings the narrative to a symbolic plane, defining and intensifying the characters' experiences. Let us recall at least Tatyana's dream or Onegin's description of his impressions of life in the countryside.
The author's reflections on his time are not limited to an assessment of his cultural and spiritual life - social and ethical considerations also play an equally significant role in the novel. Thus, in "Eugene Onegin" an objective assessment of the morals and value system of the era of the "mercantile spirit" is given:
We all look at Napoleons;
There are millions of bipedal creatures
For us, one tool ...
The author also reflects on the social environment close to him, where "everyone fusses, lies for two"; about a generation of frivolous young people who "everyone learned a little // Something and somehow ..."
Reflections of a public nature, reflecting the characteristic features and exposing the main vices of the era, are replaced by arguments on more personal moral topics close to the author:
Who lived and thought, he cannot
In the soul do not despise people;
Who felt, that worries
The ghost of the irretrievable days...
Particularly famous among the lyrical digressions in the novel were the author's reflections on love and friendship, distinguished by their special lyricism and confessional tone, many of which became "winged". It is enough to remember at least such: “The less we love a woman, the easier she likes us” or “All ages are submissive to love.” Such remarks not only develop and strengthen the love "line" of the novel, but also accurately characterize the Russian mores of Pushkin's time.
Separately, it should be noted the lyrical digressions associated with the characterization of the heroes of the novel, expressing the author's assessment of the actions of the heroes, determining the author's attitude towards them. For example, the author constantly emphasizes his inner, spiritual closeness to Onegin, calling him his "good friend", "the second Chaadaev."
Dreams involuntary devotion.
Not an imitative oddity
And a sharp chilled mind
- these are the features that the author likes in Onegin.
However, the author immediately hurries to notice: “I am always glad to notice the difference between Onegin and me ...” Thus, the author emphasizes that he and the hero portrayed by him are not twins, that the image of Onegin is not entirely “his portrait”, just as it is not the image of the author in the novel and the author of the novel himself are identical, in contrast to his passive, apathetic hero, the author takes an active, active life position. To live for him means to feel the fullness of life, to experience everything: “enmity, love, sadness and joy”, so that the happiest days of “peaceful life” are replaced by “fever of rhymes”. To live means to dream of freedom, to strive for it and to fight for it.
So, lyrical digressions in "Eugene Onegin" contribute to the disclosure of the ideological content of the work, serve to organize the narrative; express the attitude of the author to the pressing problems of his time. The image of the author is revealed in all its fullness and versatility: sad and ironic; mocking and witty, sincere interlocutor and deep thinker - a man and a citizen. The thematic variety of lyrical digressions makes the novel encyclopedic and universal, inclusive and complete.
