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This is Pushkin's main work. Its first lines appeared in 1823, and on September 26, 1830, Pushkin finished it in Boldino. At the same time, Pushkin summed up that he worked on the work for 7 years, 4 months and 17 days. In general, the novel - from conception to publication of the novel separate publication– 13 years of life were dedicated. It is clear that during this time Pushkin himself changed, the Russian world and the spiritual atmosphere of Russia changed. The novel developed and grew along with the poet.
An important stage in the creation of the EO was “Ruslan and Lyudmila”, as well as the poem “Prisoner of the Caucasus”.
In the poem "RiL" Pushkin makes a series important discoveries, which will then be developed by him in the novel. Thus, many readers were puzzled by the fact that a simple fairy tale plot was fraught with many incidents. One of the reviews of the poem was made up of questions addressed to the poet. Before reprinting the poem, Pushkin included this article in the preface: the critic very accurately noticed, but did not understand and did not accept the most important feature of the poetics of RiL - the complexity of the plot organization of the poem. Many untold stories were mixed into the main plot, and fragments of new plots arose, about which nothing was said in the poem itself.
P. uses in the poem the principle of contrasting juxtaposition of various genre and stylistic passages. The poet plays RiL different styles, different genres: It has long been noted that each of the parts of the poem reproduces one or another stylistic tradition, has a certain genre nature - there are ballad horrors, and sentimental-elegiac motifs, epic chants, fabulous incidents. At the same time, heroic scenes coexist with light and playful ones.
An important step on the path to SW was romantic poem"Prisoner of the Caucasus". Here Pushkin for the first time creates the image of his contemporary, a hero with an embittered mind, disappointed and tired of life. For the first time, the poet portrays a hero who is in a state of boredom - this is the state of mind that in the EO will be designated as “Russian blues.” The word Hundra often appears in letters thinking people of that time: Pushkin, Ryleev, Batyushkov, Turgenev (book of boredom). However, the state of blues is not a property of the individual, but of time as a whole.
Russian blues is a complex, deep spiritual feeling of formless, pointless melancholy, which a person is aware of and from which he suffers. This fusion of sensations determines the attitude towards the world. In the blues, a person stumbles upon insurmountable obstacles, but at the same time, attempts to take action flare up in his soul. True, they are futile, because action does not destroy boredom, but aggravates it. Life loses its meaning, and therefore questions arise: what to do and who is to blame?
The Prisoner of the Caucasus was Pushkin's first attempt to express a worldview that was well known to the poet himself and his contemporaries. But Pushkin was dissatisfied with this attempt, as he reported in a letter to his lyceum classmate Gorchakov. Soon the poet is planning a novel in which he tries to understand where this satiety with life comes from in the hero, why this state of boredom appears.
The Caucasian Prisoner is the threshold of the EO also because a special form of storytelling arises here, which will be developed in a novel in verse. In the poem, the author's story absorbs other people's voices. Pushkin uses both direct (monologues of the Prisoner, the Circassian woman) and improperly direct speech. : “He silently looks at the maiden and thinks: “This is a false dream, an empty game of tired feelings.”
In the EO, Lensky’s work is characterized in this way: “He sang love, obedient to love, And his song was clear, Like the thoughts of a simple-minded maiden, Like the dream of a baby. like the moon In the deserts of the serene sky, Goddess of secrets and tender sighs. He sang separation and sadness, And something in the distance, And romantic roses...”
But along with this, in the poem, and later in Onegin, there is also a subject of speech - the author himself, his confessional word. The psychological signs of the poet that arise in the CP clarify the world of his soul, but at the same time cast a light on psychological condition hero. Between the author and the hero is established psychological contact. In EO, the relationship between the author and the characters, the author and the readers will take the form of a dialogue, as a result of which the novel becomes multi-voiced, in it the contexts of other people's consciousnesses are indicated.
Composition.
“Eugene Onegin” has a “double” composition – external and internal. Externally, the novel is structured as follows: epigraph, dedication to Pletnev, eight chapters (untitled), notes to the novel, excerpts from Onegin’s journey, chapter 10 (was burned by Pushkin). Internally, the poet himself “distributed” his work differently. He divided the novel into three parts, each containing three chapters with titles. Pushkin called these chapters songs. Thus, the first part contains the chapters “Spleen”, “Poet”, “Young Ladies”. The second part is “Village”, “Name Day”, “Duel”. Third – “Moscow”, “Wanderings”, “ Big light" The word “songs,” it seems to me, emphasizes the lyricism of the novel, and “chapters” emphasizes its epic nature. Therefore, the genre of the work can be defined as a lyric-epic novel. In addition to the chapters, “Eugene Onegin” includes lyrical digressions from the author-narrator and Tatyana’s dream (in the fifth chapter).
At the beginning of the novel, in a dedication to Pletnev, Pushkin points out the features of his work:
...Receive the collection of motley heads,
Half funny, half sad,
Common people, ideal,
The careless fruit of my amusements,
Insomnia, light inspirations,
Immature and withered years,
Crazy cold observations
And hearts of sorrowful notes.
Thanks to them, “Eugene Onegin” became a new word in world art and brought immortal fame to Pushkin.
Typically, an EO composition contains 4 interconnected contexts. 1) the characters themselves reveal their thoughts and feelings. 2) the context of the environment surrounding the heroes, the attitude towards their contemporaries. 3) the author's analysis and assessment of the characters, the behavior of the heroes and their attitude. From manifests itself in lyrical digressions. 4) reader "complicity", which is indicated through a series of questions to which the reader must answer independently, or through an invitation to discuss this with the author.
The ending of the Caucasian prisoner was unexpected. The question arose about what happened next? If the writer closed the plot nodes of the work, then he seemed to stop the flow of life, the work completed what was not completed by life itself. The ending of the Caucasian prisoner was the prototype of the ending of EO, where not only the fate of the protagonist, but also the heroine is not completed. Despite this, the ending of EO still leaves a feeling of harmony. There is an ellipsis at the end of the novel not because the poet intended to continue the novel. The novel is exhausted for him, but it seems to be opening up to life, to reality.
Pushkin invents new type stanzas. It was called “Oneginskaya”. These are 14 lines: three quatrains and a final couplet (coda). (ababssddeffezh) the form of a similar stanza was later found in the poem “Tavrida”, the first stanza of which was included in the EO.
Each stanza is a semantic unity. It contains a certain plot, complete and whole. Researchers distinguish 2 types of stanzas: a stanza in which epic start, and stanzas developing abstract thought.
- 1) the first quatrain is the exposition and beginning of the action, the second is the development of the action, the third is the climax, revealing the most important meaning of the theme, the couplet is the final ending.
- 2) is constructed according to the type of logical proof. Organic connection Thesis and antithesis are determined by romantic irony. The first two quatrains are the thesis of a logical construction, the beginning and development of thought. Then follows the antithesis and the last couplet - synthesis.
The irony here is not destructive. It is balanced by the confessional principle. It is based on the author’s personal life experience.
The plot of the novel is complex and multifaceted.
First of all, the main plot is distinguished - the “novel of heroes”. But there are also noticeable ones: possible plot, lyrical plot, author’s plot, other people’s plots.
Possible plot reflects the complexity, diversity of development life situation. There are many possibilities around the ongoing plot and the characters move through them. So, about the fate of Lensky, the poet says that Lensky either has a high destiny as a poet, or an ordinary provincial life. But life itself intervenes and the poet dies in a duel. Also, when Onegin receives Tatiana’s letter, at first he thinks about family life and plunges into dreams. But then, when the mind cools his feelings, another turn occurs. Onegin refuses to accept her feelings.
Lyrical plot these are thoughts, confessions, memories, emotional outpourings, judgments about the world around us and the characters. All this is usually called lyrical digressions. Despite the fact that Pushkin endows the image of the author with facts from his biography, he is not identical to Pushkin. The image of the author is the embodiment of a certain worldview, attitude to life, it matters ethical standard, spiritual and moral ideal.
Author's story During the course of the narrative, moments related to the creative process repeatedly arise, and the mechanism for the emergence of a novel in verse is indicated. All of them are intended to emphasize the experimentalism of the novel. Pushkin himself calls his work a collection of motley chapters, an incoherent story - and this contains an indication of the ease of the narrative. This plot is due to the dual nature of the author, who, on the one hand, is introduced into the work as a character, and on the other hand, he is the creator. Pushkin includes in the novel his doubts, searches, his vision of the novel about a contemporary man.
Other people's stories in fact, this is the literary background of the novel. Pushkin uses plots, methods of storytelling, plot moves and situations borrowed from the works of other authors. Thus, Onegin correlates with Byron’s Childe Harold.
The character of the heroes, their inner world- the result of a very complex influence of the era, upbringing, environment, culture.
The novel is not distinguished by an abundance of incidents, so those events that are reflected in it turn out to be key and turning points. Pushkin's hero is always free to choose an action; it is no coincidence that the author outlines different paths of behavior, but the hero acts in his own way, not meeting the expectations of the author and the reader.
Pushkin leaves out of the novel very important moments from the point of view of character development. All turning points in the destinies of Onegin and Tatyana remain unclear. What happened to Tatyana after some important general drew attention to her? What happened to Onegin during his journey?
The new meeting of the heroes takes place in fundamentally different circumstances and they behave completely differently, but their inner world remains the same as it was.
Features of the composition are symmetry (the principle of mirroring, and the borderline state is “Tatiana’s dream”), a sudden break in the plot story (it stops at the most dramatic moment), various kinds plot-compositional inversions, and the resulting retardation (slowdown), contrast (emphasized opposition) of characters, storylines (antithesis) ..
The absence of a detailed exposition is a sudden inclusion in the flow of life, the principle of antithesis as the dominant one.
Genre.
"Eugene Onegin" as a novel."Eugene Onegin" - unusual novel. It has no beginning and no end.
The novel begins in the middle - with the hero’s departure to the village. Pushkin, portraying heroes, constantly builds on literary templates and novel cliches. Describing Olga, he sneers at the portrait style of novelists:
any novel
Take it and find it right
Her portrait: he is very cute,
I used to love him myself,
But he bored me immensely. (2, XXIII)
He is not satisfied with the usual images of novel heroes:
Your own syllable in an important mood,
Used to be a fiery creator
He showed us his hero
Like a sample of perfection. (3, XI)
In Pushkin's novel, the hero is not a model of perfection and is far from enthusiastic. Lensky is an enthusiastic character, but his enthusiasm is ridiculous, and his sacrifice is in vain: no one demands selflessness from him.
There is no happy ending in the novel either. He is cut short in a dramatic scene. As you know, the hero at the end of the novel must either die or find complete happiness. Some readers expected from Pushkin a reconciliation of the heroes and a happy ending: the poet, in their opinion, should have wounded Lensky or Onegin, and then everything would have worked out to mutual satisfaction. Others insisted on the death of the hero. Still others convinced Pushkin to continue the novel for the reason that Onegin was alive and, therefore, the novel was not completed.
Pushkin, playing an ironic game with the reader, consciously abandoned both the beginnings and the endings, which were required by written and unwritten rules that have existed since the times of classicism, novel experience, genre etiquette and literary decency. Before the final, eighth, chapter, when the novel was drawing to a close, the poet suddenly declared that everything written earlier was just an introduction:
I salute classicism:
Even though it’s late, there’s an introduction. (7, LV)
And at the same time, throughout the entire text he opened the doors to the “creative laboratory”.
Refusing the usual novel cliches, Pushkin convinced readers of the veracity of the story he told. The novel looks snatched from life itself, and not conceived and created by the author.
In reality, this is, of course, not the case. “Eugene Onegin” is a very skillful creation. Only a master of genius is able to instill in the reader the illusion that the novel was not invented by him, but photographically transferred directly from life onto paper.
. Eugene Onegin was the first Russian novel in which realistic principles were loudly announced. Reality is not divided into two hostile and incompatible spheres - the real and the ideal, but appears in the novel as one, giving rise to the highest and most distant thoughts and containing irreconcilable contradictions. She is admirable and subject to criticism. Pushkin's heroes think, feel and act in accordance with their characters, which are determined by national and European historical life. Their lifestyle and behavior are furnished with many detailed motivations, thanks to which they fit firmly into reality. The general, characteristic of people of one environment, is manifested through the individual, special. Finally, one of the most amazing qualities of realism is the self-development of characters, literary types. The image created by the author is separated from the author and lives independent life. Pushkin, for example, at the beginning of the novel did not imagine that his Tatyana would get married, and Onegin would write her a letter. However, the logic of the development of these characters turned out to be such that Pushkin was “forced” to marry Tatyana and write Onegin’s letter to her. The heroes began to act as prescribed by the logic of their characters. The author, in order to preserve the psychological truth of the type he derived, had to follow emotional movements characters.
The realism of the novel is clearly expressed in style and language. Each word of the author accurately characterizes the national-historical life of the era and at the same time emotionally colors it.
There are two spaces in the novel “Eugene Onegin”. One of them is real. The Author lives in it, who consistently talks about himself, about his muse, about his own creative destiny, about how he grew spiritually and how he changed under the influence of circumstances or resisting them. This is the space of a real novel or “novel of life.” It is thoroughly lyrical, because its main person, the poet, lives in it. Inside this real space (the real novel, or the novel of life), there is a fictional space in which a conventional novel with an epic plot is placed. It is deployed love story heroes, known to the author, who came up with a way to tell about it. Since the author is an intermediary between a real novel and a conventional novel, between the real space where the reader is and the conventional one where the heroes live, he can introduce the heroes into the real space and return them to the conventional one. The author constantly intrudes into the narrative, communicates with readers and creates the illusion of a natural, like life itself, flow of novel events. At the same time, the conventional novel, where the heroes mainly live, is only an episode from a real novel, correlated with the course of life, or more precisely, with the novel that is created by life itself. The conventional novel characterizes life, but does not embrace it as a whole. It continues and goes on to infinity.
Just as great as in lyric poetry and lyrical epic are Pushkin’s achievements in late drama and prose. They completed the last stage of his work
“Eugene Onegin” by Pushkin is the first Russian realistic novel. This work has become a new word not only in Russian, but also in world literature.
A.S. Pushkin made many artistic discoveries in his novel. The genre and composition of the novel are no exception.
In a letter to P.A. Pushkin noted to Vyazemsky that he was writing “a novel in verse.” This has never happened before in Russian literature. For "Eugene Onegin" the poet invents a special stanza, which was called "Onegin". This stanza consists of fourteen poetic lines with a special rhyme. The entire work is written in the “Onegin” stanza, except for the songs of the girls in the garden and the characters’ letters to each other.
Before Pushkin, the novel was written exclusively in prose and belonged to epic kind literature. That is, in the novels of the early 19th century there was a lot of description, but little space was given to feelings. Pushkin introduces a huge number of lyrical digressions in his work. They belong to the image of the author who appears in the novel. This is another Pushkin innovation. Thanks to the image of the author, Pushkin thinks about many things, talks with the reader, shares his memories with him. The poet talks about art, literature and literary trends of his time, expresses his attitude towards the heroes, reflects on various moral topics, and philosophizes. Thus, a lyrical digression in the eighth chapter explains the character of Onegin and at the same time poses the problem of the meaning of life:
Blessed is he who was young from his youth,
Blessed is he who is ripe in time,
Who gradually life is cold
Over the years I was able to endure...
Pushkin's novel has a traditional love plot: the love of Onegin and Tatiana. But he receives a new development from the poet. There are very few events in the novel, because for Pushkin the main thing is to reveal the characters’ characters. Also, a feature of the plot in “Eugene Onegin” is that the plot is, as it were, repeated twice. That is, here the poet uses the technique of “mirror reflection”. First, Tatyana falls in love with Onegin, writes him a letter of recognition, but is refused. Onegin was not yet capable of love. He confesses to the heroine that he is “disabled” in love. In order not to deceive his young and pure heart, Evgeniy openly talks about everything to Tatyana. He, in his own opinion, is not created for family life and real feelings.
Later everything is repeated exactly the opposite. Onegin sees the matured Tatyana in St. Petersburg society. The hero has changed a lot. The novel does not describe in detail the reasons for his changes. From certain passages we guess that Onegin was transformed by his journey. In addition, it is known that Pushkin planned to make his hero a Decembrist. This, it seems to me, indicates a complete transformation of the hero. But the chapter describing the Decembrist meetings was not included in the novel, but was burned.
Onegin falls madly in love with Tatiana. He writes her a letter with a declaration of love, but also receives a refusal. Tatyana, despite her feelings for Onegin, cannot cheat on her husband and break the oath she made before God. The author leaves the ending of the novel open and future fate hero we can only guess.
Alexander Sergeevich Pushkin was extremely attentive to determining the genre of each of his works. The world famous “Eugene Onegi” was no exception. The genre of Pushkin's work is a novel in verse. And this, first of all, is Pushkin’s innovation. After all, in the nineteenth century there were only two ways of writing work of art. The Russian poet invented the third. The history of writing, structure and genre of the novel “Eugene Onegin” is the topic of the article.
Pushkin called the work on creating the novel a feat. Besides “Eugene Onegin,” the author gave such a high assessment of his own creation only to “Boris Godunov.”
History of writing
It took Pushkin eight years to create the novel in verse. Pushkin began work on “Eugene Onegin” in 1923. Then the writer was in Chisinau. Initially, the author abandoned romanticism and decided to tell readers about his new hero in a realistic spirit. It is also worth saying that Pushkin planned to divide the work into nine chapters. But in the process of work, he changed the structure, creating eight.
The story about Onegin's journey, according to the original plan, was supposed to become part of the main text. But later the poet included this fragment of the plot in one of his lyrical digressions. In the first version of the novel, the author raised rather pressing political issues. But since the creation of “Eugene Onegin” took place during years of exile, the poet decided not to aggravate his already difficult situation. Therefore, he removed dangerous pages from the manuscript and burned them.
Composition of the novel
The work was published over several years in separate chapters. Pushkin admitted that he wrote it without any clear plan. Nevertheless, the composition of “Eugene Onegin” is distinguished by its clarity. Each chapter is logically completed.
The main literary device that the poet used when creating his imperishable work is mirror symmetry. As the plot progresses, the characters seem to change places. First, Tatiana falls in love with Evgeniy. Onegin is indifferent to the love of a girl. He responds to her letter coldly. But later, after the protagonist’s duel with Lensky, an event that is interrupted love line, - Onegin and Larina change places. He writes her a letter of confession. She rejects him. The peculiarity of the composition of the work is its ring structure. It is thanks to this technique that “Eugene Onegin” is perceived as a completed novel.
Main characters
Why did the author use the ring composition? With the help of this technique, Pushkin revealed changes in the character of the heroes. At the beginning of the work, Onegin leaves high society. The poet speaks not without irony about his hero, emphasizing that Eugene’s education was superficial, which was enough to be considered smart among the representatives of the capital’s aristocracy.
In the first chapters, Onegin is a secular slacker, unable to fill his leisure time with creativity or even reading. But later he appears in the role of a thinking, deep personality. Another trait lost by Eugene is richness in life. Pushkin's hero is initially indifferent to those around him. He is not even touched by the feelings that Tatyana has for him - an intelligent girl who compares favorably with other representatives of provincial society.
At the end of the novel, Onegin is an ardent lover. Tatyana, on the contrary, is reserved and cold. However, it is worth saying that despite all the external changes, both Onegin and Larina are still the same at heart. He is an arrogant aristocrat. She is a simple-minded and sincere village girl. After the disappointment that befell the heroine, she is forced to hide her feelings. As for Evgeny, his love is most likely explained by the external brilliance of Tatyana, now a society lady.
Epic
There are many heroes in Eugene Onegin. The works cover a significant period of time. “Eugene Onegin” tells both about life in the capital and about the life of the village nobility. A genre that has these features is the novel. It is the most common type today epic literature. What are the specific features of a classic novel? Which of its features are present in the work “Eugene Onegin”?
A long-form genre in which the narrative is focused on the fates of different characters is called a novel in literary studies. Its other features are a significant time period, a smoothly constructed series of events, and a considerable number of characters involved in the plot.
How is Eugene Onegin portrayed by the author? The genre of this work, according to Pushkin’s definition, is a novel. Remembering character traits This type of epic, we can say that Onegin is not a lyrical hero. It cannot be called either positive or negative character. The poet is extremely objective in creating his portrait. Evgeny Onegin is quite contradictory and complex. The peculiarities of the genre of Pushkin’s work lie in the presence of not only an epic beginning.
Lyricism
The work about which we're talking about in this article has no analogues in world literature. The structure and genre of the novel “Eugene Onegin” is unique. It has both realism and historicity. Pushkin also endowed his work with features typical of a social novel. "Eugene Onegin", the genre of which is at the junction of two types of literature, contains both objective characteristics of the heroes and many lyrical digressions. But that's not all.
The genre and composition of “Eugene Onegin” have become the topic of numerous works on literary criticism. WITH light hand Byron, in the nineteenth century, the epic poem, consisting of separate chapters in verse, came into fashion. In Pushkin's work, the description of the lyrical hero and his experiences is harmoniously combined with an objective, realistic depiction of events.
Retreats
The author's voice is heard in numerous lyrical inserts. In each of them, the poet talks about himself and shares with the reader his views on literature and culture. At the same time, Pushkin is not distracted from the main action. In one of the chapters, the poet recalls the days in which his creativity flourished, and his forced exile. The structure and genre of the work “Eugene Onegin” can be determined as follows: a novel in verse, which is a “collection of motley chapters.”
The themes of lyrical digressions in Pushkin’s work are very diverse. First, the reader learns about the morals of secular youth. Then love motives come to the fore. And finally, important in the development of the plot are landscape sketches. The novel depicts all the seasons in verse: sad summer, golden autumn, winter with bitter frosts. The poet called spring “the morning of the year.” The landscape in Eugene Onegin is sometimes depicted through the perception of the characters.
Another topic of lyrical digressions in the novel is historical events. Thus, in the work “Eugene Onegin” Pushkin remembered Patriotic War 1812.
The novel in verse covers many events. There are many heroes in it. Nevertheless, Eugene Onegin is a deeply lyrical work. The reader, after reading it, learns no less about the author than about his heroes. In one work, Pushkin amazingly managed to connect the epic and the lyrical into a single whole.
Reflection of the Pushkin era
From this work the reader has the opportunity to learn almost everything about the time in which the poet lived. How did people dress? What was in fashion? What did Pushkin's contemporaries value most of all? The reader receives answers to all these questions after reading the novel in verse. The poet truthfully depicted the environment in which Onegin and Larina live. He reproduced the atmosphere of both noble salons and modest provincial evenings.
In art
Onegin - shining example the so-called " extra person", a character who appeared in literature in the first third of the eighteenth century. This hero is not capable of the feat that the Decembrists accomplished. But he cannot be classified as a typical representative of high society. Mental dissatisfaction and inability to change anything in one’s life are characteristic features of Onegin. And if we add to this the epic nature, variety of images, and extraordinary poetry of Pushkin’s work, it becomes clear why it was so often reflected in art.
“Eugene Onegin” was filmed several times by domestic and foreign filmmakers. Based on Pushkin's novel, four operas were created, the music for which was written by such outstanding composers as Tchaikovsky, Shchedrin, Prokofiev.
Composition - building a whole from individual parts. In any literary work, an exposition of the work is assumed, that is, a description of the scene of action, introduction to the characters, the plot of the plot, its climax and denouement.
The novel in verse “Eugene Onegin” was also written in accordance with strict literary canons. The novel has 8 chapters. Chapter one outlines the exposition. It begins with the thoughts of the main character, Eugene Onegin, who is on his way to his uncle’s village. The road is long, and the author allows himself lyrical digressions to help the reader understand at what time the events take place of this novel. Thus, the time and place of action are outlined. At the same time, Pushkin introduces us to his hero, talks about his upbringing, interests, and character.
The second chapter continues the exposition; it introduces readers to other heroes of the story described by Pushkin - the Larin family, Vladimir Lensky, who are to become the main actors of this work.
In Chapter 3, the plot begins. Onegin, who managed to make friends with a young landowner and eligible bachelor- , at first he asks, and then he comes to visit the Larins. Here he is noticed eldest daughter Larinykh, Tatyana, who falls in love with him. In the same third chapter, she writes a letter to Onegin. The plot begins to develop.
In the fourth chapter there is an explanation between Onegin and Tatyana, in which Eugene, in fact, rejected the tender feelings of the provincial girl. Tatyana indulges in sadness, Vladimir Lensky, on the contrary, is happy with.
So winter comes, Christmas time is approaching. The climax of the novel is approaching - its most intense moment. Anticipates the climax. He, as it were, prepares the reader for the upcoming events in the novel: the name day holiday, the quarrel between Lensky and Onegin and the duel in which Lensky was killed.
Onegin understood that everything could be corrected, that he was wrong in relation to Lensky. Let Lensky show ardor, he is young, and he can be forgiven. But he, Onegin, is older and wiser. Everything could be fixed, but...
into this matter
The old duelist intervened;
He is angry, he is a gossip, he is loud...
Of course there must be contempt
At the cost of his funny words,
But the whispers, the laughter of fools..."
And here is public opinion!
Spring of honor, our idol!
And this is what the world revolves on!
And this very public opinion did not allow Onegin to take a step towards reconciliation.
Onegin shot first. It seemed like he wasn't even aiming. Or turned out to be a more experienced shooter? Be that as it may, Lensky died before he could fire his shot.
The climax is followed by the resolution of the plot. And it should be noted that the denouement is very tense, especially the last verses, where the meeting of Onegin and Tatyana alone is described. However, we are getting ahead of ourselves.
Chapter seven talks about the Larin sisters, about what happened to them after the death of Lensky. she soon married a lancer and went with him to his place of service. Tatiana was left alone. She visited Onegin’s estate several times, where, with the permission of the housekeeper, she used his library and read books with his notes. And this pastime in Onegin’s estate allowed her to understand the soul of the person she loved.
Meanwhile, relatives and neighbors were concerned that Tatyana had been too busy with girls, and it was time for her to get married. At the family council they decided to take her to Moscow for the brides fair.
The last 8th chapter tells about the meeting of Tatyana, who became the wife of an elderly prince close to the court, general tsarist army, and Onegin. The same chapter tells about Onegin’s love for Tatyana. The novel ends with Tatiana's conversation with Onegin, during which a young society lady taught Onegin a lesson.
I got married. You must,
I ask you to leave me;
I know: in your heart there is
And pride and direct honor.
I love you (why lie?),
But I was given to another;
I will be faithful to him forever.
The novel ends with the ringing of the spurs of the returning prince. In this ringing one can hear the readiness of the owner of the house to defend the honor of his name and his beloved wife at any moment.
The author's compositional intent clearly appears in the combination of images in the novel. The disappointed metropolitan dandy Onegin and the dreamy “district young lady” Tatyana, the skeptic Onegin and the romantic Lensky - such an antithesis of characters inevitably entailed a clash of heroes and a tragic denouement. The clash of characters is complicated in the novel by the deepest conflict between the characters and reality.
Lensky dies, Onegin does not find happiness in life, Tatyana remains with broken hearted. Thus, the depth of the author’s ideological plan was embodied in the combination of images in the novel.
The everyday background, plot and combination of images are the thematic composition of the novel. As for the architectonics of the novel, it is extremely unique. Peculiarity compositional structure“Eugene Onegin” is that it is a “free novel”, “a collection of motley chapters”, according to Pushkin himself. The compositional “freedom” and flexibility of the novel “Eugene Onegin” were expressed in numerous deviations from the epic narrative line.
Narrative material takes up only about a third of the novel. The outline of the narrative is constantly interrupted by various digressions: lyrical statements of the author, descriptions of nature, pictures of everyday life, characteristics of the heroes - either individual or group.
Among these digressions, usually closely intertwined with the narrative outline, especially great place(more than a quarter of the novel’s text) is occupied by so-called lyrical digressions. These include 27, significant in volume, statements by the author and about 50 small comments and insertions, often expressed in one or two phrases (“I once walked there, but the north is harmful to me”; “A habit has been given to us from above - it is a substitute for happiness”; “The reader is already waiting for the rhyme of the rose; here, take it quickly!”, etc.).
The themes of major lyrical digressions in the novel are very diverse. These include:
- Reasoning about creativity, which expresses: the author’s views on various literary trends and genres. Here, for example, is Pushkin’s parody of classicism:
I sing to my young friend
And many of his quirks.
Bless my long work,
O you epic muse!
And, handing me the faithful staff,
Don't let me wander at random and crookedly.
Enough. Down with the burden!
I salute classicism:
Even though it’s late, there’s an introduction.
Here is an ironic characterization of romanticism:
So he wrote darkly and languidly
(What we call romanticism,
Although there is no romanticism here
I don't see; what's in it for us?)
Here is a description of the poet’s muse, depicted in the image of Tatiana:
And here she is in my garden
She appeared as a district young lady,
With a sad thought in my eyes,
With a French book in hand.
- The author's memories of the past, for example, about theatrical meetings and impressions, about the women he loved, etc.
The poet's dreams of the future.
Notes about your moods.
The poet's views on love, moral problems, etc.
The role of lyrical digressions in the novel “Eugene Onegin” is very important. Firstly, they directly include the author in the flow of events depicted. Pushkin appears in the novel not just as a narrator, but as a participant in events, writing his own biography.
We learn from the novel about the poet’s lyceum years (“In those days when in the gardens of Picea”), and about his exile (“But the north is harmful to me”), and about plans to escape abroad (“Will the hour of my freedom come? "), and about his love for village life(“I was born for a peaceful life”), etc. All these autobiographical remarks of the poet captivate with their sincerity and frankness.
Another significance of the author's digressions in the novel is that they provide the author's excellent lyrical commentary on events. In them one can feel the living social thought of the poet, one can hear the beating of his heart. This is the sum of it life experience, the fruit of “a mind of cold observations and a heart of sorrowful observations.” Finally, numerous lyrical digressions in the novel give the narrative the character of a casual conversation between the author and the reader.
The realistic, everyday background of the novel is greatly enlivened by excellent descriptions of nature. We find in the work a landscape of all seasons: winter, autumn, spring, summer. The peculiarity of Pushkin's landscape lies in the expressiveness and precision of its colors. The Russian winter with its deep snows, with its “trees in winter silver” is especially well presented in the novel.
A.S. Pushkin begins writing the novel “Eugene Onegin” in 1823. At that time the poet was in southern exile. Researchers call this period romantic: Pushkin is interested in Byron’s work, which is reflected in his own poetry.
But “Eugene Onegin” is far from a romantic work. Pushkin wanted to show in his novel young man, typical of its time, which was impossible to do by Byronic means. The hero in the works of romanticism is shrouded in mystery, while in real life the origin of many of his features was quite clear to Pushkin. But the originality of the novel is due not only to this: the author himself developed and improved, and he used many of his literary discoveries in the creation of this work.
The novel “Eugene Onegin” turned out to be complex and ambiguous, since not only the image of the main character became new; The author's innovation was evident both in the genre and in the composition of the work.
“I am now writing not a novel, but a novel in verse: a devilish difference,” - this is how Pushkin defined the genre of “Eugene Onegin” in a letter to Vyazemsky. The novel as an epic work presupposes the author’s detachment from the events described and objectivity in their assessment; the poetic form enhances the lyrical principle associated with the personality of the creator.
And indeed: in the novel “Eugene Onegin” there are two artistic layers, two worlds - the world of “epic” heroes (Onegin, Tatyana, Lensky and other characters) and the world of the author, reflected in lyrical digressions. Their topics are very diverse and include the poet’s memoirs, his assessment of the novel’s characters, and polemics with literary opponents. Thus, in one of the digressions, Pushkin writes about women’s legs (“...Diana’s breasts, Flora’s cheeks / Are lovely, dear friends! / However, Terpsichore’s leg / Is somehow more charming for me...”), in another – about romantic literary heroes(“Lord Byron, by a lucky whim / Clothed himself in dull romanticism / And hopeless selfishness ...”), in the third - about secular conventions, which sometimes, with all their absurdity, can become the reason for the murder of a person (“Enemies!.. / They are in each other’s silence / They are preparing death in cold blood... / Shouldn’t they laugh until / Their hand is stained, / Shouldn’t they part amicably?.. / But wildly secular enmity / Afraid of false shame.”). In lyrical digressions, the poet gives a broad picture of modern life, expanding the boundaries of the work of art and giving its plot realism and plausibility.
This also gives the right to call “Eugene Onegin” social novel, since in it Pushkin shows noble Russia 20s of the 19th century, compares secular St. Petersburg people with simple landowners: their morals, interests, habits - and seeks to explain the different social phenomena. For example, the poet determines the difference between the characters of secular nobles and landowners by the latter’s closeness to old Russian culture and to simple nature, and the boredom of St. Petersburg young people (using the example of Onegin) to satiety with the tawdry and empty life of high society, as well as the inability to find their place in society, self-realization in a field that interests them.
“Eugene Onegin” is also a social and everyday novel with a love storyline, usual for works of that time: a “tall” hero, tired of the world, goes to travel, meets a girl who falls in love with him, and the hero either cannot love her for mysterious reasons - everything then ends tragically, or he reciprocates her feelings, but Circumstances prevent them from being together - but everything ends well. It is noteworthy that Pushkin deprives the story of a romantic shade: Onegin goes to the village because he must receive an inheritance, and he not only does not share Tatyana’s love, but also does not see depth and seriousness in the girl’s feelings. Thus, the plot of the novel is given obvious realism.
But such an “everyday” story would be uninteresting if not for Pushkin’s psychological mastery. The poet does not simply describe events from the life of an ordinary nobleman; he gives the hero a bright and at the same time typical secular society character, explains the origin of his apathy and boredom, the reasons for his actions. His hero changes under the influence of life circumstances and becomes capable of real, serious feelings. And let happiness pass him by, this often happens in real life, but he loves, he worries - that’s why the image of Onegin (not a conventionally romantic, but a real, living hero) so struck Pushkin’s contemporaries. Many found his traits in themselves and in their acquaintances, as well as the traits of other characters in the novel - Tatyana, Lensky, Olga - the depiction of typical people of that era was so faithful.
But typicality was manifested not only in the choice of characters: Pushkin places his heroes in ordinary, one might even say, banal circumstances. After all, girls of that time often fell in love with at least somewhat strange young men, hoping to find in them heroes of sentimental novels, and secular people rarely married the daughters of poor landowners. The reason for this was, naturally, the very structure of Russian society: marriages for love were very rare. And, as you know, typical heroes in typical circumstances, suffering from socially determined problems, are the main subject of depiction by realistic writers. Thus, “Eugene Onegin” is a realistic socio-psychological novel.
To create such a work, it was necessary to abandon not only the standard content, but also to change the very composition of the novel. Thus, Pushkin abandons some traditional elements, such as an introduction with an address to the muse (at the end of the seventh chapter there is a parody of it: “Yes, by the way, there are two words about that: / I sing to a young friend / And his many quirks. / Bless me long work, / O you, epic muse! / And, handing me the faithful staff, / Don’t let me wander at random and at odd angles...”), the denouement of the conflict (in this novel there is a realistic “open ending”: the author leaves the hero “in an angry moment.” for him,” after an explanation with Tatyana before the appearance of her husband, and it is unclear how this unambiguous scene will end), a depiction of a number of important events from the point of view of the development of the action (Tatyana’s wedding, Olga’s reaction to Lensky’s death, etc.). Pushkin does this in order to emphasize the verisimilitude of the story told: in real life there are no introductions or epilogues, some events remain unknown to us, but we continue to live on, as Onegin, Tatyana and other heroes of the novel do after its completion.
However, it cannot be denied that everyone literary work has its own structure, its own special construction. Thus, the plot of the novel is constructed according to the principle of artistic symmetry. It has a “mirror” structure: in the center is the scene of Lensky’s murder, and individual episodes and details are parallel in pairs. In the first part of the work, Onegin travels to the village from the city and Tatyana falls in love with him, writes a letter of recognition, and he only reads instructions to the “humble girl”; in the second part - Tatyana comes from the village to the capital, where she meets Onegin as a married lady, and Eugene falls in love with her, in turn, writes her a letter, and she refuses him and also reproaches him: “What about your heart and mind / To be a slave to petty feelings? Some details also echo: the description of Onegin’s village and city offices, the books that he reads in the city and village, the images that appear in Tatyana’s dream (the monster among whom Eugene appears, killing Lensky), correlated with the image of the guests at her name day and subsequent events related to the duel. The novel also has a “ring” structure: it begins and ends with a depiction of the hero’s life in St. Petersburg.
The character system also has an orderly structure. The main principle of its construction is antithesis. For example, Onegin is contrasted with Lensky (as a Byronic hero - a romantic dreamer), and Tatyana (as a metropolitan dandy - a simple Russian girl), and high society (although he is a typical young man, but already tired of empty entertainment), and his neighbors - to landowners (as an aristocrat with metropolitan habits - to rural landowners). Tatyana is contrasted with both Olga (the latter is too empty and frivolous compared to the heroine, who “loves seriously”), and the Moscow young ladies (they tell her about their “heart secrets,” fashion, outfits, while Tatyana is focused on her solitary inner life - “thoughtfulness is her friend”, she loves reading, walking in nature, and she is not at all interested in fashion). It is very important to note that the author contrasts and compares shades and details of the same qualities (which is also typical for real life), these are not classicist or romantic literary clichés: good - evil, vicious - virtuous, banal - original, etc. An example is the Larina sisters: both Olga and Tatyana are natural, sweet girls who fell in love with brilliant young men. But Olga easily exchanges one love for another, although quite recently she was Lensky’s bride, and Tatyana loves one Onegin all her life, even after getting married and finding herself in high society.
The authenticity of what is happening in the novel is also emphasized by inserting text that is foreign to the author’s: letters from Tatyana and Onegin, songs of girls, poems by Lensky. Some of them are distinguished by a different stanza (written not in the “Onegin stanza”), have a separate title, which not only stands out from the general text of the novel, but also gives it a “documentary” quality.
It is also necessary to say how Pushkin uses the division into chapters and stanzas. Firstly, he uses numerous omissions (spaces), either meaningfully hinting at something, or dividing the text by topic, or thereby indicating a time period. For example, in stanza III of the third chapter, dots replace a lengthy description of the usual refreshments for guests in a landowner's house (it was preserved in the manuscript). Pushkin only briefly notes the “heavy services / Of hospitable antiquity,” and already in stanza 1U we see Lensky and Onegin traveling back home.
Pushkin also very skillfully interrupts chapters, leaving the characters unexpectedly and without destroying the plan of the work: each chapter is devoted to a specific topic, such as the fourth chapter - Onegin’s refusal, Tatyana’s misfortune and mutual love her sisters, and the fifth - name day. This allows, on the one hand, to place unique authorial accents, on the other, to interest readers (after all, the novel was first published in separate chapters as they were written), and on the third, to challenge literary conventions: “I’ll finish it later somehow,” says Pushkin , interrupting Chapter III “in fact interesting place": Tatyana's meeting with Onegin after he received a letter with a declaration of love.
As we see, the rejection of old methods and the search for new ways of depicting reality (the romantics also painted reality, only “exotic”, almost impossible in ordinary life) were reflected in almost everything: the composition of the plot, the love story itself, the characters, and their description - everything was different, innovative. Artistic discoveries Pushkin indicated the direction of all subsequent Russian literature, and the novel “Eugene Onegin” became the first realistic work in its history.
