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The strange hero of Pushkin's novel, Eugene Onegin. Strange character "Eugene Onegin

So, the plot of the novel is structured in such a way that the characters seem to go beyond its scope. They obviously live in two spheres - the author's imagination and in a real environment where they become acquaintances of the author. Next to the "novel of heroes" there is also a "novel of life" in which characters meet with the author, Pushkin. And if the "roman of heroes" ends tragically, then the "novel of life" is not yet completed. There is an artistic illusion that the events in the novel are not invented by Pushkin, but only peeped into reality itself. And this proves the deep vitality of the plot of Eugene Onegin. The novel has a peculiar beginning: new for the literature of that time artistic technique:

Onegin was born into a wealthy but bankrupt noble family. His childhood was spent in complete isolation from the people, from everything Russian, national, he was brought up by the French. And the upbringing and education of Onegin was superficial and did not prepare him for work, real life. Such upbringing was characteristic of the vast majority of the capital's nobles.

In the first chapter, Onegin's way of life approaches the dominant ideal, the norm of society of that time. The main task of the first chapter is to show the social conditions that formed Onegin, to show the environment that gave birth to him. Young Onegin strives to fully meet the ideal of a secular person: wealth, luxury, enjoyment of life, brilliant success in society, success among women -

“Having fun and luxury a child,” Onegin received a typical life for that time: balls, restaurants, walks along Nevsky Prospekt, visits to theaters. But the theater for him is only a tribute to a certain ritual. secular life. Onegin is more interested in meetings and intrigues with charming actresses than the stage, art. He is deeply indifferent to the inimitable "brilliant" Istomina, and to the magnificent productions of Didelot. With men from all sides He bowed, then looked at the stage In a great distraction, Turned away and yawned. And he said: “It’s time for everyone to change; I endured ballets for a long time, But I got tired of Didlo too.

The author notes his “involuntary devotion to dreams, inimitable strangeness and sharp chilled mind”, a sense of honor and nobility of soul. This could not lead Onegin to disappointment and the interests of secular society, to dissatisfaction with the political and social situation that prevailed in Russia after Patriotic War 1812. What words does the poet say about his friendship with Onegin? What did Pushkin like about him? How does the poet write about the similarities and differences in their moods and views? Let us reread the last three lines of stanza 45: The malice of Blind Fortune and people awaited both In the very morning of our days. Pushkin emphasizes Onegin's negative attitude towards environment: "jokes with bile in half"; speaks of "the anger of gloomy epigrams," of a "caustic" dispute. All this shows that Onegin belongs to those who "lived and thought". Thus, the image of Onegin gradually clears up and the features of a talented, intelligent person, full of noble aspirations, appear. The former irony when talking about Onegin - a slave to secular habits and views - is replaced by a sympathetic and serious tone, the author emphasizes his closeness to Onegin, the commonality of some of their views and moods.

Having broken with the world (“the conditions of the world, having overthrown the burden”), Onegin took up self-education: “I set up a shelf with a detachment of books, I read, I read - but it was all to no avail ...” Speaking of reading Onegin, one must also remember those books that he brought to the village , - Tatyana looks through them when she comes to his empty house. Pushkin names here (chapter seven, stanza 22) first of all Byron ("The Singer Giaur and Juan"). Byron was in the eyes of his contemporaries the personification of freedom-loving humanity. Pushkin repeatedly points out that Byron is Onegin's favorite poet: there is a portrait of Lord Byron in his office. This is how Pushkin reveals the intellectual superiority of Onegin over his environment.

A number of hints not disclosed by the author show other sides inner life Onegin. And although he was an ardent rake, But he finally fell out of love with abuse, and a saber, and lead. (Chapter 1, stanza 37) He was in his first youth Was a victim of violent delusions And unbridled passions. (Chapter 4, stanza 9) Then he sees the forgotten enemies, Slanderers, and evil cowards, And a swarm of young traitors,

Here Pushkin brings Onegin's feelings closer to his moods: let us recall Pushkin's confessions such as: "I am a victim of slander and vengeful ignoramuses" (Dedication to the "Kakkaz Prisoner") or lines from the elegy "The daylight. I fled you, pets of pleasures, Momentary youth, momentary friends; And you, confidantes of vicious delusions, To which I sacrificed myself without love, Peace, glory, freedom and soul, And you are forgotten by me, young traitors, Secret friends of my golden spring, And you are forgotten by me ... (1820) I do not feel sorry for you, unfaithful friends, Wreaths of feasts and circular bowls, I do not feel sorry for you, young traitors ... (1820)

This is how the poet gradually draws the positive features of Onegin: he is an outstanding person, he has a sharp critical mind, he is dissatisfied surrounding life, he is stuffy in a secular environment, he has advanced literary sympathies, favorite books and heroes, he has a noble soul, he is honest and proud. These features of Onegin's life and character make his image complex and rich, internally significant.

The third period of Onegin's life Onegin's stay in the village, which lasted about a year, in many respects adjoins the period of secular life. - What unites them? Has Onegin's mood changed? (“In the village, boredom is the same”) - What did Onegin do to improve the life of his peasants? How did the peasants appreciate it? - How did you react to it?

Onegin acts as a representative of the new in his noble deed. The influence of light and the views accepted in the noble circle, the norms of morality and behavior are overcome by Onegin. But this process is complicated and could not be fast. The prejudices of the world, fixed by the whole course and conditions of education and youthful life Onegin, were strong in his soul, they could only be overcome by life's trials, mental suffering for oneself and for people, only by close contact with real life people, and Pushkin shows in the novel the contradictions in Onegin's thinking and behavior, the struggle between the "old" and the "new" in his mind, comparing him with other heroes of the novel - Lensky and Tatiana, intertwining their destinies.

What are Onegin's first impressions when he received Tatyana's letter? Let's re-read stanza 11 of the fourth chapter: But, having received Tanya's message, Onegin was vividly touched: The language of girlish dreams Disturbed his thoughts in a swarm; And he remembered Tatiana dear And pale color, and dull look; And he plunged into a sweet, sinless sleep. It may be that an ancient ardor of feelings took possession of them for a moment; But he did not want to deceive the credulity of an innocent soul. Everything good, pure, bright in his soul, everything not clouded, not polluted by light and secular morality woke up in Onegin: “Your sincerity is dear to me; She brought into excitement the long-silenced feelings.

The depth and significance of Tatyana's spiritual world, the sincerity and strength of her feelings are understood and appreciated by Onegin, they gave birth in his soul to the same pure and deep reciprocal feeling: “ I love you with the love of a brother And maybe even more tenderly". A little earlier, he said to Tatyana: “Having found my former ideal, I would probably have chosen you alone As a friend of my sad days, All the beautiful as a pledge ...” In the eighth chapter, the hero explains his refusal to answer her feelings a few years later: “Accidentally Once I met you, Noticing a spark of tenderness in you, I didn’t dare to believe her: I didn’t give a go to the sweet habit; I didn’t want to lose my hateful freedom ... I thought: liberty and peace Replacement for happiness.

Indifference to life, passivity, the desire for "peace", indifference and inner emptiness then entered into conflict in Onegin's soul with a young, warm and sincere feeling - and won, suppressed it. Even more tragic is the collision of the "old" and the "new" in Onegin's mind in his relationship with Lensky. -

Chapter 6, stanzas 9-11 Onegin and his motives Onegin told Zaretsky, having received Lensky's challenge, "... that he is always ready." At this first and very important moment in the history of the duel, Onegin does not think, does not analyze his behavior, but answers with a ready-made, obligatory formula inspired by the secular environment. This is how the secular automation of thoughts and actions, the norms of secular morality came into play. Why did Eugene blame himself "alone with his soul"? In what way was he wrong before Lensky? Could and should he have prevented the duel? Would he be able to "disarm the young heart"? Why didn't he do it, what kept him? Again secular norms of morality dominate Onegin's behavior: But wildly secular enmity Is afraid of false shame. So the duel became murder. It is this word that Pushkin uses to denote tragic death Lensky. Well? killed, the neighbor decided. (chapter 6, stanza 35) Having killed a friend in a duel ... (chapter 8, stanza 12) The murderer of a young poet ... (chapter 6,

The murder of Lensky in a duel in the name of the norms of secular morality was recognized as a crime, first of all by Onegin himself. A painful tragedy of his conscience began. He fled the village, tormented by late and useless remorse and longing. He left his village, Forests and fields of solitude, Where a bloodied shadow appeared to Him every day (ch. 8, stanza 13) And in front of him is the imagination His motley mosque pharaoh. Then he sees: on the melted snow, As if sleeping at the lodging for the night, The young man lies motionless, And he hears a voice: what then? killed! (ch. 8, stanza 37)

4. The fourth stage in Onegin's life begins with his three-year journey through Russia: "He was seized by anxiety, Wanderlust." Onegin's journey through Russia gave him the opportunity for the first time in his life to get to know the Motherland, to see its real situation, to learn the truth about the suffering of the people, about general oppression. Onegin wanted to find a new way of life for himself, some useful work. In the draft we read: Onegin (I'll deal with him again), Having killed a friend in a duel, Having lived without purpose and work Until the age of twenty-six, Languishing in the arms of leisure, Without service, without a wife, without work, I have long wanted to be something. The journey was supposed to outline the path of Onegin's rebirth, to help him find his place in life ("to be something") Belinsky said: "At 26 years old, to go through so much, having tasted life, so denial without going over any convictions: this is death!” Impressions from the paintings folk life filled Onegin's soul with a new longing: it became pain for the Motherland, for its shameful present, for an aimless and useless life.

Final stage life of Onegin, described in the completed chapters of the novel, depicts him returning to the secular Petersburg society. The picture of this society in the eighth chapter differs sharply from the picture of secular life drawn in the first chapter. If good-natured irony and jokes prevailed there, now Pushkin depicts a secular environment with feelings of indignation and anger. This new mood of the author is consonant with the mood of his hero. Onegin is now a completely different person. The attitude of secular society towards him also changed dramatically. If the light caressed the young man, now they hate him. Reread verses 7-12 of the eighth chapter. In the midst of the environment hated by Onegin, Tatyana shone for him with a new light. Onegin fell in love with her. There is no doubt about the depth of his feelings. Onegin's letter was written by Pushkin with extraordinary enthusiasm and force. Excitement, shock, passion replaced the cold indifference, fashionable disappointment in the life of young Onegin.

Onegin never stopped thinking about Tatyana. Let's open the fourth chapter: Lensky has arrived. Question of Onegin: “Well, what about the neighbors? What is Tatiana? What is your frisky Olga? ”(stanza 48) - the question is first asked about Tatyana, and not about Lensky's bride. So Pushkin prepared us for the perception of Onegin's sincere and deep outburst of love, which found expression in his letter to Tatyana. “And now! What brought you to my feet? what a little! How is it with your heart and mind To be the feelings of a petty slave? But Onegin's love is far from a "petty feeling". Reader

Belinsky finishes his analysis of Onegin's image: “What happened to Onegin later? Did his passion resurrect him for a new, more consistent human dignity 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’s enough to know this, so that you don’t want to know anything else ... ”Onegin entered Russian literature as an image extra person who did not find his life path who did not have the proper strength of character to break out of

I liked his features.

A. S. Pushkin

With the title of the novel, Pushkin emphasizes the central position of Onegin among other heroes of the work. Onegin is a secular young man, a metropolitan aristocrat who received a typical upbringing for that time under the guidance of a French tutor. He leads the lifestyle of "golden youth": balls, walks along Nevsky Prospekt, visits to theaters. Although Onegin studied "something and somehow," he still has high level culture. Pushkin's hero is a product of the society in which he lives, but at the same time he is alien to him. The nobility of the soul, "a sharp chilled mind" distinguishes him from the environment of aristocratic youth, gradually leads to disappointment in the life and interests of secular society, to dissatisfaction with the political and social situation:

No, sooner his feelings cooled down in him, He got bored with the noise of light ...

The emptiness of life torments Onegin, he is overcome by spleen, boredom, and he leaves secular society, trying to engage in socially useful activities. The lordly upbringing, the lack of the habit of work (“hard work was sickening to him”) played a role, and Onegin does not complete any of his undertakings. He lives "without purpose, without labor." In the village, Onegin behaves humanely towards the peasants, but he does not think about their fate, he is more concerned about his own moods, a sense of the emptiness of life.

Onegin rejects the love of Tatyana Larina, a gifted, morally pure girl, unable to unravel the depths of her requests, the originality of nature. Onegin kills his friend Lensky, succumbing to class prejudices, frightened by the "whisper, laughter of fools." In a depressed state of mind ("in anguish of heartfelt remorse"), Onegin leaves the village and begins wandering around Russia. These wanderings give him the opportunity to see life more fully, to understand how fruitlessly he wasted his years.

Onegin returns to the capital and meets the same picture of the life of secular society. ("He returned and got, like Chatsky, from the ship to the ball"). Love for Tatyana, now a married woman, flares up in him. Tatyana rejects Onegin's love. In the high-society beauty, holding herself with such cold dignity, he cannot detect even traces of that former Tanya. With Onegin's love for Tatyana, Pushkin emphasizes that his hero is capable of moral rebirth, that he is not a person who has cooled off to everything, the forces of life are still seething in him. Onegin writes a letter to Tatyana. Opening his soul to his beloved woman, he now does not at all look like that metropolitan dandy who once read a "sermon" to her. Pushkin leaves his hero at a "evil" minute for Onegin, after Tatyana's parting words: "I ask you to leave me."

Pushkin burned the last chapter of the novel, and we will not know further fate Onegin. Young noble intellectual early XIX century, Eugene Onegin - a realistic type. This is a person whose life and fate are determined both by his personal qualities and by a certain social environment of the 18-20s. On the image of Onegin, Pushkin showed the path taken by part of the enlightened intelligentsia. On the one hand, they refused to serve tsarism, they were critical of the way of life noble society On the other hand, they stood aside from socially useful activities. This doomed them to inactivity. In Onegin, Pushkin showed the features of the "superfluous person", which we will later see in Pechorin and other characters of Lermontov, Turgenev, Goncharov.

Eugene Onegin ... How many times have I heard these words, even before I read the novel. IN Everyday life this name has become almost a household name. From the very beginning of the work, I realized that Eugene Onegin is a very strange and, of course, a special person. He, of course, in some ways resembled the people around him, had the same hobbies and concerns as they, but at the same time sharply from them. was different. The society in which Onegin lived, which brought him up, did everything for their own pleasure, according to own will, and Eugene all

I did it mechanically, saw no point in anything and forced myself to do it because it was fashionable, prestigious.

Onegin cannot know happiness, his soul is closed to real human feelings, and is subject only to fleeting, endless and useless hobbies. For him, probably, there is only a sense of dignity, independence and the pride with which he treats all the people around him. He doesn't despise them, no. It's just that Onegin is indifferent to everything, everything is indifferent to him. The hero of the novel, as it were, obeys society, does not argue with anyone, does not contradict anyone, but at the same time, he is in conflict with it:

He doesn't care what they think of him. Eugene seemed to be joking with his life, never thought about tomorrow. And again, it doesn't matter to him. After all, each day is like the next. He simply exists, quietly drifting with the flow. He sets fashion as the highest goal, in it he sees almost the law of life. This regard for the opinions of others, this dependence on light deprives Onegin of real life, struggle for happiness; he cannot become himself, he treats everything superficially. Eugene Onegin sometimes does not even think about what he is doing: he moves from one activity to another with amazing ease.

Again, following the same fashion, Eugene looked after himself very carefully, he was a terrible dude:

Like windy Venus

When, wearing a man's outfit,

The goddess is going to the masquerade.

After reading Pushkin's novel further, we learn that Onegin met Tatyana Larina and that this acquaintance later changed his fate. Onegin, brought up by such a society, of course, considers himself very wise, having already experienced everything, having seen everything at such a young age, and, having learned that young Tatyana fell in love with him, he tried to set her on the right path, advised her to “just take it and throw it away” from head these weaknesses of the soul - love and tenderness.

For him, it was all so easy. Like everything else, he treated high feelings jokingly, just playing at love. It seems to me that his attitude to love is entirely rational and feigned. It is built in the spirit of a secular society, the main goal of which is to enchant and seduce, to appear in love, and not actually be one:

How early could he be hypocritical,

Hold hope, be jealous

disbelieve, make believe

Seem gloomy, languish ...

No, he did not mock Tanya's feelings. He simply chose for himself and played well the role of a mentor, an older friend, teaching her to "learn to rule yourself." But in the conversation, perhaps out of habit, he could not resist and left Tanya a little hope:

I love you brother love

And maybe even softer...

These words again tell us about Onegin's undisguised egoism. He never thought about the feelings of others. In the village, Onegin met his neighbor Lensky, probably only because he was dying of boredom in this wilderness. They spent time together, visited the Larins and were already considered friends. But their friendship ended tragically due to a misunderstanding that occurred through the fault of Evgeny and Olga, Lensky's beloved. Onegin decided to joke and prove to everyone that love does not exist, not realizing that by this he would push his friend to the grave. Onegin and Lensky fought a duel, which was also like a game for Eugene. He simply did not feel the full depth of events. Only later, when Eugene killed a man, did he no longer feel his former superiority. I think it was at this moment that a turning point occurred in his soul. After this incident, Eugene Onegin went on a journey, trying to forget and erase the past from memory.

A few years later, Onegin returns to the capital again, having already really seen the world. At one of the balls he meets Tatyana. And the image of Tanya, who lived all this time somewhere in the depths of Onegin's soul, is resurrected in memory. Tatyana was still the same, but Yevgeny was amazed, surprised and could not hide his admiration for her:

Is it the same Tatyana?

That girl... is it a dream?

Onegin is in love. Finally, his heart knew a real passionate feeling. But now it's like fate is laughing at him. Tanya already married woman and will be faithful to her husband for the rest of her life. She truly loves Eugene, but despite this, she taught him a lesson that he will remember all his life.

Worth Eugene ...

As if struck by thunder.

In what a storm of sensations

Now he is immersed in his heart!

Isn't it true, at the end of the novel we even feel sorry for Eugene. But life taught him an unforgettable lesson, thanks to which it will be easier for him to continue to live, not to exist, but to live!

Is he familiar to you? - Yes and no.

A. Pushkin. "Eugene Onegin"

The novel in verse is named after the hero; to understand a novel means, first of all, to comprehend the essence and fate of the one whose name is Eugene Onegin. This task is not easy; it’s easier to deny this strange hero any essence of his own and consider him an “insignificant parody”, “ empty imitation»foreign samples:

What will it be now? Melmoth,

Cosmopolitan, patriot,

Harold, Quaker, prude,

Or a mask flaunts another?

The belief that Onegin "fools the world" by constantly changing his masks is only the real problematic nature of the hero turned inside out, unfriendly interpreted.

He is in the novel all the time, as it were, under a question mark: and the reason for this is not only that the hero moves in time - that is, changes from chapter to chapter - but also that his very being is multi-component, it hides in itself the most different possibilities. What features formed for Pushkin the composition of that phenomenon, the name of which was - "hero of the time"?

First approach to the image young hero time Pushkin did in the poem " Prisoner of the Caucasus":" I wanted to portray in it this indifference to life and to its pleasures, this premature old age of the soul, which have become hallmarks youth of the 19th century. The poet was dissatisfied with this first experience; the problematic hero was close to the boundaries of a romantic poem, a different genre was needed, which the author himself soon realized: “The character of the main person ... is more fitting for a novel than a poem.” So, Pushkin faces the most difficult creative task - a novel about modern man. There has never been such an experience in Russian literature; and what did European literature create here? What turned out to be especially important for the creator of "Eugene Onegin"?

As we have seen, Pushkin's novel in verse carries within itself the most active "literary self-awareness"; in particular, when in the third chapter the question of the hero is first translated into the plane of "problematicity" -

But our hero, whoever he is,

Surely it was not Grandison, -

Pushkin immediately (stanzas eleven and twelve) "arranges a review" of the heroes of the old and new European novel. All this material is directly related to the problem of Pushkin's hero; but in this sense, another place in the novel turns out to be much more important, which, according to the author's intention, leads close to the unraveling of the hero. This is the twenty-second stanza of the seventh chapter, where the reader opens Onegin's "cherished reading", in the center of which are "two or three novels" about modern man. They are not named by Pushkin, probably because they constitute that "chosen European literature", which most of all had to do with the design of his own novel. These three novels (they are named in the draft of the twenty-second stanza): "Melmoth" - "Rene" - "Adolf".

Melmoth the Wanderer (published 1820) by the English novelist and playwright Maturin, René (published 1801) French writer Chateaubriand and "Adolf" (published in 1815) by a French writer and public figure Constant - these are the works that give a "sadly true" portrait modern man: with a “cold” and “split” soul, “selfish” and “sick”, with a “rebellious” and “gloomy” mind, pouring “cold poison all around” (draft of the twenty-second stanza).

The set of these novels is remarkable, among other things, in that they demonstrate two completely different ways images of modern man. "Rene" and "Adolf" are small in volume psychological novels: they depict the recesses of a weak and sensitive soul or the gloomy passions of a heart that yearns not for love, but for victory; they paint strange and irremediably lonely people, unable to find a place for themselves in life, incapable of giving happiness to themselves and bringing misfortune to others—in a word, these novels give psychological picture the modern "disillusioned hero" possessed by the demon of boredom and skepticism. In contrast to them, Melmoth is a work of colossal proportions, synthesizing a variety of literary traditions, a novel whose method could be called philosophical and poetic. For an artistic solution to the problem of modern man, Metyurin creates the image of Melmoth the Wanderer, combining in it the images of Faust and Mephistopheles from Goethe's tragedy. “Melmoth, according to the author’s intention, is a complex human image, the victim of the devilish forces, their forced tool .... Although Melmoth is not the tempter himself or the embodiment of the devilish force, but just a victim doomed to do evil against his will, the critical principle clearly manifests itself in him ... This was a peculiar and realized Maturin's "Mephistopheles" beginning in the image of Melmoth, which attracted so much to this literary hero attention of the whole Myrona in the first third of the 19th century.

Above we have already spoken of "universalism" as the most important feature Pushkin's novel; Therefore, it is not surprising that the same all-encompassing synthesis of the most diverse artistic and semantic possibilities is also sought by the poet in the depiction of the hero - for the problem of modern man is covered by Pushkin in all its scale, from psychological accuracy and socio-historical concreteness to eternal questions human existence. Therefore, he is equally important to different literary ways images of modern man. The significance of "Rene" and "Adolf" for Pushkin's work, and in particular for "Eugene Onegin", has long been clarified. It was also pointed out that Onegin was clearly connected with the hero of Maturin: "The character of Onegin was created against the background ... of numerous demonic heroes (Melmoth)." -The demonic Melmoth and his closest literary "ancestor" - Goethe's Mephistopheles - turned out to be especially relevant for Pushkin during the period of the so-called southern crisis, the poetic expression of which was the poems "Demon" and "Freedom sower of the desert ...". These two poems show the scale of Pushkin's crisis: this is by no means only political skepticism associated with the collapse of freedom-loving hopes, but this is a revolution of the whole worldview - a complete revision of the former "hot enthusiasm" in the light of the new "cold of doubt". The southern crisis is the most important creative and spiritual crossroads of Pushkin's entire life; and the fact that the crisis poems "Freedom Sower of the Desert ..." and "Demon" in their final form arose from the drafts of "Eugene Onegin" (they, as it were, were born by the novel itself), is an obvious evidence that the main creative result of the southern crisis - and at the same time overcoming, a way out of the crisis - was the comprehensive plan of "Eugene Onegin"!

So, Pushkin's task was to give a deep image of the "hero of the time"; the time was truly in the power of the “spirit of denial”, when the murmur of eternal dissatisfaction, the individualistic-rebellious pride of the mind and the “numbness”, the coldness of feelings were different symptoms of one “disease of skepticism” that struck modern man. Let us repeat once again the fair idea that understanding the image of Onegin "requires, first of all, a comparison with the demonic heroes of world literature" (I. Medvedev). But, giving his hero the scale not of a “everyday type”, but of an “eternal”, philosophical image, Pushkin at the same time wanted to find for his “spirit of denial” (si Pushkin’s “Note on the poem “Demon”) the unique individuality of a modern person experiencing “demonism as their own, personal destiny. And this again showed the universalism of Pushkin's work: it is not only a philosophical poetic novel, but also "a historical poem in the full sense of the word" (V. Belinsky).

The synthetically complex nature of the Onegin image has been repeatedly noted by Soviet researchers. “Onegin had to wear the features of demonism” - however, he “first of all had to be a Russian character, organically connected with Russian reality” (I. Medvedev); “The image of Onegin is synthetic... Onegin contained both the thoughtless “young rake” and the “demon” tempting Providence with his “stinging speech” (I. Semenko) .. The universalism of the Pushkin novel required a special method of depicting the hero. Already in Pushkin's lifetime criticism, it was noted that "a thousand various characters the description of Onegin may belong, "for the author did not give his hero a" definite physiognomy. In Soviet Pushkin studies, this circumstance received a convincing explanation: Onegin's "Character" cannot be considered as the "characters" of heroes created at a later stage of development. realism XIX V. ... Pushkin's method is a method of generalizations other than those of "his predecessors and even heirs ... he builds the image of a problematic hero as an image in which the breadth of generalization and the variety of aspects prevail over psychological detail ... Onegin - artistic image, V. in which every feature, and especially such a serious one as disappointment, is a condensation, a concentration of an idea. Let us recall here another term by Yu. Tynyanov - a sign of a hero”; Using this expression to designate Pushkin's method of artistic typification and noting that Pushkin, as it were, circles a certain complex of contradictory and diverse properties and traits of his hero with a “circle of his name”, the researcher probably had in mind the peculiar emblematic character of the construction of the image in Pushkin's novel. Not a "psychological" portrait, but an "emblematic" silhouette - that, in short, is that feature of the imagery of "Eugene Onegin", which at the same time corresponded to the universality of the novel, and provided the opportunity for the manifestation of the most different "faces" of the hero as the free novel unfolds in time.

In that most complex spiritual phenomenon, which is called Eugene Onegin, there are two main centers - as if the two poles of this image. One of them is skeptical coolness, "demonism"; Pushkin speaks of something else in the first chapter after listing the "abilities" of his hero: "Before what he was a true genius" - and then follows the characterization of Yevgeny as a "genius of love." At first, it can be considered a semi-ironic definition of that virtuoso Don Juanism of the hero, those successes in the "science of tender passion" that the "young rake" demonstrates. However, as the novel approaches the finale, it turns out that Pushkin's hero is really a genius of love, that this is "the highest gift of his nature, and that in the multi-component image of Eugene this beginning opposes another - Onegin's demonism. These two poles are the" genius of love "and" spirit negations" - not only "accumulate" the hero's drama in themselves, but also, as it were, store the potency of the entire development of the novel.

Pushkin's novel is a study of the fate of the hero of time, a study carried out with the help of an innovative "free" form. Pushkin's very definition of his own novel as "free" is ambiguous: here is both the problem of freedom in the novel and its internal structure(“free” relationship between two authors), and, finally, that feature plot development"Eugene Onegin", thanks to which each chapter of it came out separately and has, indeed, great independence in the overall composition. This feature is organically connected with Pushkin's initial orientation towards movement, the evolution of his character (and the novel as a whole) in parallel with the development of real historical time. Pushkin's great cultural and ideological novel also became a unique artistic and historical study in which the fate of the Hero, the fate of the Author and the fate of the Creator were decided, and with them the fate of the entire Pushkin generation.

A. Tarkhov

Sources:

Pushkin A.S. Eugene Onegin. Enter, article and commentary. A. Tarkhova. M., "Artist. lit.", 1978. 302. p. (School library)

Annotation:

creative activity

Updated: 2011-09-10

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Creativity of A.S. Pushkin. The cultural significance of ethics and morality in the work of A.S. Pushkin, as the main meaning of the novel "Eugene Onegin". Examples from the novel "Eugene Onegin"

Lesson 3. Topic: A. S. Pushkin. "Eugene Onegin". "Strange" hero of Pushkin's novel

Goals: reveal the originality of Onegin's nature, the spiritual evolution of his character, the meaning of his spiritual quest, the results of his life path;

develop the ability and skills of analysis of the protagonist;

educate the ability to love and fight for your love, educate the resilience of students.

Equipment: portrait of Pushkin, text of the novel "Eugene Onegin".

Lesson type: study and consolidation of new knowledge.

During the classes.

I. Motivation of educational activity.

The teacher reads the passage “The sky was already breathing in autumn.”

Guys, what is this excerpt from?

Student responses.

Question :

What work of A.S. Pushkin will we get acquainted with today?

Student responses.

Formulation of the topic and objectives of the lesson. The teacher corrects and writes the topic of the lesson on the board.

II. Work on the theory of literature.

Let's get into the topic. Word "novel"- what it is? Let us recall the main features of the novel: the prose genre of the epic of a large form; plays a key organizing role plot(development of characters and events); has several storylines; portrayed history human destinies for a long time; embraces the reality.

Genre " not a novela novel in verse – devilish difference! Why?

The novel is written in verse form – belonging to the lyrics.)

The novel in verse is written in the "Onegin stanza". This stanza was specially created by Pushkin for his novel. It consists of 14 lines (like a sonnet). It uses three main methods of rhyming: cross (abab), adjacent (aabb) and girdle (abba) rhymes.

Why did Pushkin create a special stanza? Why such a varied rhyme? (With this technique, the author made the narrative alive, not monotonous, it is very easy to read.)

III. Work on the topic of the lesson.

Message or project creative team about the history of the creation of the novel in verse "Eugene Onegin" (as homework).

Analysis of the image of Eugene Onegin.

- What is the title of the novel about?(Onegin - main character.)

Work on the faces of the cube.
Teacher:

- The image of Eugene Onegin, like any other person, is multifaceted. Using the faces of the cube, we will try to give the same number of ratings to Pushkin's hero, we will answer problematic issue Lesson: "Is the path of Onegin tragic?". Each facet characterizes some of its features. How do you imagine Eugene Onegin - the main character of the work? Now you will draw on the leaves of Eugene Onegin in your view.

Attach the sheets to the board.

And now we will analyze the hero along the edges. I have a cube in my hands.

First face.

- Name Eugene (ancient Greek) means "noble". And what can we say about the hero, based on the letters of his last name and given his character and behavior?

(ABOUT – gifted, original;

H – new hero, well-read, unusual;

E – European warehouse, uh - egoist;

G – main hero, hedonism (pleasure, direction V ethics, approving pleasure How higher target human behavior);

AND – intellectual, intellectual, interesting interlocutor;

H - outstanding, incomprehensible.)

Second edge.

- What does Onegin have in common with Chatsky?

(Theseheroessmart, seeking and not finding satisfaction in ordinary life noble society, advanced people of their time, do not want to vegetate, but feel the need for meaningful, useful activity, they are dissatisfied with themselves, with secular society.)

- What are the differences between Oneginand Chatsky?

(Chatsky knows exactly what he wants, and Onegin is in search.)

Third edge.

- Is there anything in common between Onegin and Mol Chalin?

(Only that they are young nobles.)

- What are the differences between Onegin and Molchalin?

(U Molchalin base goals - successful career and have fun. Onegin is not satisfied with this.)

Fourth edge.

- What do Lensky and Onegin have in common?

(They oncethink and argue on philosophical, scientific topicswe, about good and evil, about fate and the meaning of life.)

- What is the difference between Lensky and Onegin?

(Lensky is a romantic, Onegin is a realist.)

Fifth edge.

- What was his life path and what is the outcome?

Group work.

The researchers of the first group, based on the text of chapters 1,2,8, tell how Onegin was treated in secular society, how he was perceived landed nobility, the Petersburg society, conclude that the society condemns Onegin. These are middle-level people, and loneliness is the lot of everyone who rises above them.

The second group of researchers, based on the text of chapters 1, 6, 8, talks about how Onegin spent his time living in St. Petersburg, and then in the countryside; about the internal spiritual world Evgenia; about the attitude of the author to his hero, they conclude that Onegin's soul has recovered, having gone from admiring his exclusivity to self-improvement, that the author loves and pities Onegin and hopes for the best in his fate.

Sixth edge.

- Is Onegin's path so tragic? (providingIt turns out that a person with a "sharp, chilled mind" has a heart! Way of Onegin– this is a painful path of searching for a person who has become a victim of “stormy delusions of unbridled passions”, the path from an egoistic worldview “we regard everyone as zeros, and ourselves as units” to self-knowledge and self-improvement, to the recovery of the soul,–the path is clear and close to the author himself.)

Conclusion:

- And now we will make a characterization of Eugene Onegin.

Signs that characterize Eugene Onegin: irony, self-irony, doubt, denial, pretense, mask, causticity, disappointment, independence, prudence, sober calculation, introspection, "inimitable strangeness and a sharp, chilled mind", unusual and complex nature, cold prose.

IV. Summing up the lesson:

Can we blame Onegin for something? Strictly judge him? Justify your opinion. Express your point of view using the "Press" method. I remind you of the 4 steps of the method:

1) state your thought: "I believe that ...";

2) explain the reason for the appearance of this thought: "Because ...";

3) give arguments in support of your position: "For example ...";

4) conclude: "Thus ..."

V. Homework.

1. Create a reader's diary page (What did you like, what did you remember?):

What chapters of the novel were read with the greatest interest?

Which chapters would you like to draw illustrations for? Describe one of them.

Which of the characters aroused sympathy, hostility and why?

Why does Tatyana, loving Onegin, reject him at the end of the novel?

What questions arise when reading the novel?

What would you like to discuss?