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 novel's architectonics, it is extremely unique. The peculiarity of the compositional structure of “Eugene Onegin” is that it is a “free novel”, “a collection of motley chapters”, as defined by 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 characters - 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) are occupied by the 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.
Genre: novel in verse
Plot: The novel begins with the lamentations of the young nobleman Eugene Onegin about the illness of his uncle, which forced Eugene to leave St. Petersburg and go to the sick bed to say goodbye to him. Having thus outlined the plot, the author devotes the first chapter to a story about the origin, family, and life of his hero before receiving news of a relative’s illness. The narration is told on behalf of the nameless author, who introduced himself as a good friend of Onegin.
Onegin received an appropriate upbringing - first, with a governess Madame (not to be confused with a nanny), then with a French tutor, who did not bother his pupil with an abundance of activities. Pushkin emphasizes that Evgeniy’s education and upbringing were typical for a person from his environment (a nobleman who was taught by foreign teachers from childhood).Onegin's life in St. Petersburg was full of love affairs and social entertainment, but this constant series of amusements led the hero to the blues. Evgeny goes to his uncle in the village. Upon arrival, it turns out that his uncle died, and Eugene became his heir. Onegin settles in the village, but even here he is overcome by depression.Onegin’s neighbor turns out to be eighteen-year-old Vladimir Lensky, a romantic poet, who came from Germany. Lensky and Onegin converge. Lensky is in love with Olga Larina, the daughter of a local landowner. Her thoughtful sister Tatyana is not like the always cheerful Olga. Olga younger than sister for one year, she is visually beautiful, but is not interesting to Onegin
Having met Onegin, Tatyana falls in love with him and writes him a letter. However, Onegin rejects her: he is not looking for a calm family life. Lensky and Onegin are invited to the Larins' for Tatiana's name day. Onegin is not happy about this invitation, but Lensky persuades him to go, promising that none of the neighboring guests will be there. In fact, upon arriving at the celebration, Onegin discovers a “huge feast,” which makes him seriously angry.
At dinner with the Larins, Onegin, in order to make Lensky jealous, unexpectedly begins to court Olga. Lensky challenges him to a duel. The duel ends with Lensky's death, and Onegin leaves the village.Three years later, he appears in St. Petersburg and meets Tatyana. Now she is an important socialite, the wife of a general. Onegin falls in love with her and tries to woo her, but this time he is rejected. Tatyana admits that she still loves Evgeniy, but says that she must remain faithful to her husband.
At this point the story is interrupted. The author leaves the discouraged Eugene and in a few remarks says goodbye to the readers and to his many years of work.
composition: the most complex: a novel within a novel, open (circular and linear at the same time) - coming to life. the composition is exclusively poetic (rhymed) Repeats the Onegin stanza in geometry (paired, circular and cross): drawing of the temple. One might say, a temple composition.
The theme of the novel “Eugene Onegin” (1831) is a depiction of Russian life first quarter of the XIX century. V.G. Belinsky called this work “an encyclopedia of Russian life” (V.G. Belinsky “Works of A. Pushkin”, article 9), because Pushkin in his novel “knew how to touch on so much, hint about so much that belongs exclusively to the world of Russian nature, to the world of Russian society” (ibid.). The idea of "Eugene Onegin" is to evaluate the type of modern young man who cannot find a worthy application for his abilities in the life around him, since the life goals usual for the noble circle do not suit him, they seem unworthy and petty. For this reason, such young people find themselves “superfluous” in society.
The plot of the novel is based on the love story of Evgeny Onegin and Tatyana Larina. Consequently, the plot of the plot will be their first meeting in the Larins’ house, where Onegin ends up by chance: he wanted to look at Olga, Lensky’s “object of love.” Moreover, the very scene of the first meeting of the main characters is not described in the novel: Onegin and Lensky talk about it, returning home from guests. From their conversation it is clear the impression that Tatyana made on the title character. Of the two sisters, he singled out Tatyana, noting her unusual appearance and Olga’s mediocrity:
Olga has no life in her features.
Exactly like Vandice's Madonna.
She's round and red-faced... (3, V)
Tatyana fell in love with Onegin at first sight, as she admitted in her letter:
You barely walked in, I instantly recognized
Everything was stupefied, on fire
And in my thoughts I said: here he is! (3, XXXI)
The first meeting of Onegin and Tatyana occurs in the third chapter. This means that the first two chapters of the novel are an exposition of the plot, where the author talks in detail about the two main characters: their parents, relatives, teachers, their favorite activities, characters, habits. The climax of the plot is the explanation between Onegin and Tatyana in the garden, when the hero indifferently refuses the love of an extraordinary girl, and Tatyana loses all hopes of happiness. Later, having gained rich experience in the “vortex” social life, the heroine realized that Eugene treated her nobly, and appreciated this act:
But you
I don't blame; at that terrible hour
You acted nobly
You were right with me. (8, ХLIII)
The second climax is the explanation of the main characters in St. Petersburg several years after the first. Now Tatyana, a brilliant society lady, continuing to love Onegin, refuses to respond to his fiery passion and scandalous proposal, and now Onegin, in turn, loses hope for happiness.
In addition to the main storyline - the love story of Onegin and Tatyana - Pushkin develops a side story storyline- the story of the friendship between Onegin and Lensky. There is a plot here: two young educated noblemen, finding themselves in the wilderness of the village, quickly become acquainted, as Lensky
With Onegin I wished cordially
Let's make the acquaintance shorter.
They got along. (2, XIII)
The plot scheme of the friendship story can be built like this: the climax is Onegin’s behavior at Tatyana’s name day (his flirtation with Olga), the denouement is the duel of friends and the death of Lensky. Latest event is at the same time a climax, as it made Onegin, it seems for the first time in his life, “shudder” (6, XXXV).
The novel contains another side storyline - the love story of Lensky and Olga. In it, the author omits the plot, only mentioning in passing that a tender feeling was born in the hearts of young people a long time ago:
A little boy, captivated by Olga,
Having not yet known heartache,
He was a touched witness
Her infantile fun... (2, XXXI)
The culmination of this love story is the ball at Tatiana's name day, when Olga's character is fully revealed: a vain, proud and empty coquette, she does not understand that she is offending her groom with her behavior. Lensky's death unleashes not only the friendship storyline, but also the story of his short love.
From all that has been said above, it is clear that both the main and secondary storylines are constructed quite simply, but the composition of the novel itself is extremely complex.
Analyzing the main storyline, several features should be noted. The first of them is a rather lengthy exposition: it consists of two chapters out of eight. Why does Pushkin describe in such detail the development of the characters of the main characters - Onegin and Tatyana? It can be assumed that the actions of both heroes were understandable to readers, in order to most fully express the idea of the novel - the image of an intelligent but useless person who is wasting his life.
The second feature is that the main storyline has no resolution. After all, after the final stormy explanation with Onegin, Tatyana leaves her room, and the hero remains in place, shocked by her words. So
Spurs suddenly rang,
And Tatyana’s husband showed up... (8, ХLVIII)
Thus, the action ends mid-sentence: the husband finds Onegin at an inopportune hour in his wife’s room. What might he think? How will the plot turn next? Pushkin does not explain anything, but states:
And here is my hero
In a moment that is evil for him,
Reader, we will now leave,
For a long time... forever. (8, ХLVIII)
Contemporaries often reproached the author for such an ending and considered the lack of a definite outcome a disadvantage. Pushkin responded to this criticism in a humorous passage “In my autumn leisure time...” (1835):
What you say is true
Which is strange, even discourteous
Don't stop interrupting the romance,
Having already sent it to print,
What should your hero
Anyway, get married,
At least kill...
From the above lines it follows that Pushkin’s decision to interrupt the affair was quite conscious. What does such an unusual ending provide for understanding the content of the work?
Onegin's husband, relative and friend, seeing the hero in his wife's room, can challenge him to a duel, and Onegin already had a duel that turned his whole life upside down. In other words, Onegin literally finds himself in a vicious circle of events; not only his love story is built on the principle of “mirror reflection” (G.A. Gukovsky), but also his relationships with friends. The novel has no end, that is, it is built according to a circular composition: the action begins and ends in St. Petersburg, in the spring, the hero never finds love, and once again neglects friendship (courts his friend’s wife). This compositional structure successfully corresponds to the main idea of the novel: to show the hopeless, worthless life of the title character, who himself suffers from his uselessness, but cannot get out of the vicious circle of an empty life and find himself a serious occupation. V.G. Belinsky completely agreed with this end of the novel, asking the question: “What happened to Onegin later?” And he himself answers: “We don’t know, and why should we know this when we know that the powers of this rich nature are left without application, life without meaning, and the novel without end?” (V.G. Belinsky “Works of A. Pushkin”, article 8).
The third feature of the composition is the presence of several plot lines in the novel. The love story of Lensky and Olga gives the author the opportunity to compare the main characters with the secondary ones. Tatyana knows how to love “in earnest” (3, XXV), and Olga quickly consoled herself after Lensky’s death and married a lancer. The disappointed Onegin is depicted next to the dreamy, loving Lensky, who has not yet lost interest in life.
All three storylines are successfully intertwined: the climax-denouement in the story of friendship (duel) becomes at the same time the denouement in the love story of the young poet and Olga. Thus, in three storylines there are only two beginnings (in the main and in the friendship story), three climaxes (two in the main and one (ball) for two side) and one denouement (the same in the side storylines).
The fourth feature of the composition is the presence of inserted episodes that are not directly related to the development of the plot: Tatyana’s dream, Lensky’s poems, the girls’ song and, of course, numerous lyrical digressions. These episodes further complicate the composition, but do not drag out the action of the novel too much. It should be especially noted that lyrical digressions are the most important integral part works, because it is thanks to them that the novel creates the broadest picture of the Russian life of the indicated historical period and the image of the author, the third main character of the novel, is formed.
To summarize, we note that the novel “Eugene Onegin” in the history of Russian literature was innovative both from the point of view of describing life (a realistic depiction of reality) and from the point of view of creating the character of the title character (the image of Pushkin’s contemporary, “ extra person"). Glubokoe ideological content expressed in an original form: Pushkin used a ring composition, “mirror reflection” - repetition of the main plot episodes, and omitted the final denouement. In other words, the result is a “free novel” (8, L), in which several plot lines are skillfully intertwined and there are digressions various types(inserted episodes, more or less closely related to the plot; humorous and serious discussions of the author about everything in the world).
The construction of “Eugene Onegin” cannot be called logically flawless. This applies not only to the lack of a formal resolution in the novel. Strictly speaking, several years must pass between the events described in the seventh and eighth chapters until Tatyana turns from a provincial young lady into a society lady. Initially, Pushkin decided to fill these few years with Onegin’s travels around Russia (chapter “Onegin’s Travels”), but later placed them in an appendix to the novel, as a result of which the logic of the plot was broken. Both friends and critics pointed out this formal shortcoming to the author, but Pushkin ignored these comments:
There are a lot of contradictions
But I don’t want to fix them. (1, LX)
The author very accurately called his work “a collection of motley chapters” (introduction): it reflected real life, organized not according to the strict laws of logic, but rather according to the theory of probability. However, the novel, following real life, has lost neither dynamism, nor artistic integrity, nor completeness.
The theme of the novel “Eugene Onegin” (1831) is a depiction of Russian life in the first quarter of the 19th century. V.G. Belinsky called this work “an encyclopedia of Russian life” (V.G. Belinsky “Works of A. Pushkin”, article 9), because Pushkin in his novel “knew how to touch on so much, hint about so much that belongs exclusively to the world of Russian nature, to the world of Russian society” (ibid.). The idea of “Eugene Onegin” is to evaluate the type of modern young man common in noble society, who cannot find a worthy application for his abilities in the life around him, since the life goals familiar to the noble circle do not suit him, they seem unworthy and petty. For this reason, such young people find themselves “superfluous” in society.
The plot of the novel is based on the love story of Evgeny Onegin and Tatyana Larina. Consequently, the plot of the plot will be their first meeting in the Larins’ house, where Onegin ends up by chance: he wanted to look at Olga, Lensky’s “object of love.” Moreover, the very scene of the first meeting of the main characters is not described in the novel: Onegin and Lensky talk about it, returning home from guests. From their conversation it is clear the impression that Tatyana made on the title character. Of the two sisters, he singled out Tatyana, noting the unusualness of her appearance and the mediocrity of Olga:
Olga has no life in her features.
Exactly like Vandice's Madonna.
She's round and red-faced... (3, V)
Tatyana fell in love with Onegin at first sight, as she admitted in her letter:
You barely walked in, I instantly recognized
Everything was stupefied, on fire
And in my thoughts I said: here he is! (3, XXXI)
The first meeting of Onegin and Tatyana occurs in the third chapter. This means that the first two chapters of the novel are an exposition of the plot, where the author talks in detail about the two main characters: their parents, relatives, teachers, their favorite activities, characters, habits. The climax of the plot is the explanation between Onegin and Tatyana in the garden, when the hero indifferently refuses the love of an extraordinary girl, and Tatyana loses all hopes of happiness. Later, having gained rich experience in the “whirlwind” of social life, the heroine realized that Eugene treated her nobly, and appreciated this act:
But you
I don't blame; at that terrible hour
You acted nobly
You were right with me. (8, ХLIII)
The second climax is the explanation of the main characters in St. Petersburg several years after the first. Now Tatyana, a brilliant society lady, continuing to love Onegin, refuses to respond to his fiery passion and scandalous proposal, and now Onegin, in turn, loses hope for happiness.
In addition to the main storyline - the love story of Onegin and Tatyana - Pushkin develops a side storyline - the story of the friendship of Onegin and Lensky. There is a plot here: two young educated noblemen, finding themselves in the wilderness of the village, quickly become acquainted, as Lensky
With Onegin I wished cordially
Let's make the acquaintance shorter.
They got along. (2, XIII)
The plot scheme of the friendship story can be built like this: the climax is Onegin’s behavior at Tatyana’s name day (his flirtation with Olga), the denouement is the duel of friends and the death of Lensky. The last event is at the same time a culmination, as it made Onegin, it seems for the first time in his life, “shudder” (6, XXXV).
The novel contains another side storyline - the love story of Lensky and Olga. In it, the author omits the plot, only mentioning in passing that a tender feeling was born in the hearts of young people a long time ago:
A little boy, captivated by Olga,
Having not yet known heartache,
He was a touched witness
Her infantile fun... (2, XXXI)
The culmination of this love story is the ball at Tatiana's name day, when Olga's character is fully revealed: a vain, proud and empty coquette, she does not understand that she is offending her groom with her behavior. Lensky's death unleashes not only the friendship storyline, but also the story of his short love.
From all that has been said above, it is clear that both the main and secondary storylines are constructed quite simply, but the composition of the novel itself is extremely complex.
Analyzing the main storyline, several features should be noted. The first of them is a rather lengthy exposition: it consists of two chapters out of eight. Why does Pushkin describe in such detail the development of the characters of the main characters - Onegin and Tatyana? It can be assumed that the actions of both heroes were understandable to readers, in order to most fully express the idea of the novel - the image of an intelligent but useless person who is wasting his life.
The second feature is that the main storyline has no resolution. After all, after the final stormy explanation with Onegin, Tatyana leaves her room, and the hero remains in place, shocked by her words. So
Spurs suddenly rang,
And Tatyana’s husband showed up... (8, ХLVIII)
Thus, the action ends mid-sentence: the husband finds Onegin at an inopportune hour in his wife’s room. What might he think? How will the plot turn next? Pushkin does not explain anything, but states:
And here is my hero
In a moment that is evil for him,
Reader, we will now leave,
For a long time... forever. (8, ХLVIII)
Contemporaries often reproached the author for such an ending and considered the lack of a definite outcome a disadvantage. Pushkin responded to this criticism in a humorous passage “In my autumn leisure time...” (1835):
What you say is true
Which is strange, even discourteous
Don't stop interrupting the romance,
Having already sent it to print,
What should your hero
Anyway, get married,
At least kill...
From the above lines it follows that Pushkin’s decision to interrupt the affair was quite conscious. What does such an unusual ending provide for understanding the content of the work?
Onegin's husband, relative and friend, seeing the hero in his wife's room, can challenge him to a duel, and Onegin already had a duel that turned his whole life upside down. In other words, Onegin literally finds himself in a vicious circle of events; not only his love story is built on the principle of “mirror reflection” (G.A. Gukovsky), but also his relationships with friends. The novel has no end, that is, it is built according to a circular composition: the action begins and ends in St. Petersburg, in the spring, the hero never finds love, and once again neglects friendship (courts his friend’s wife). This compositional structure successfully corresponds to the main idea of the novel: to show the hopeless, worthless life of the title character, who himself suffers from his uselessness, but cannot get out of the vicious circle of an empty life and find himself a serious occupation. V.G. Belinsky completely agreed with this end of the novel, asking the question: “What happened to Onegin later?” And he himself answers: “We don’t know, and why should we know this when we know that the powers of this rich nature are left without application, life without meaning, and the novel without end?” (V.G. Belinsky “Works of A. Pushkin”, article 8).
The third feature of the composition is the presence of several plot lines in the novel. The love story of Lensky and Olga gives the author the opportunity to compare the main characters with the secondary ones. Tatyana knows how to love “in earnest” (3, XXV), and Olga quickly consoled herself after Lensky’s death and married a lancer. The disappointed Onegin is depicted next to the dreamy, loving Lensky, who has not yet lost interest in life.
All three storylines are successfully intertwined: the climax-denouement in the story of friendship (duel) becomes at the same time the denouement in the love story of the young poet and Olga. Thus, in three storylines there are only two beginnings (in the main and in the friendship story), three climaxes (two in the main and one (ball) for two side) and one denouement (the same in the side storylines).
The fourth feature of the composition is the presence of inserted episodes that are not directly related to the development of the plot: Tatyana’s dream, Lensky’s poems, the girls’ song and, of course, numerous lyrical digressions. These episodes further complicate the composition, but do not drag out the action of the novel too much. It should be especially noted that lyrical digressions are the most important component of the work, because it is thanks to them that the novel creates the broadest picture of Russian life of the specified historical period and the image of the author, the third main character of the novel, is formed.
To summarize, we note that the novel “Eugene Onegin” in the history of Russian literature was innovative both from the point of view of describing life (a realistic depiction of reality) and from the point of view of creating the character of the title character (the image of Pushkin’s contemporary, the “superfluous man”). The deep ideological content was expressed in an original form: Pushkin used a ring composition, a “mirror reflection” - repetition of the main plot episodes, and omitted the final denouement. In other words, the result is a “free novel” (8, L), in which several plot lines are skillfully intertwined and there are digressions of various types (inserted episodes more or less closely related to the plot; humorous and serious discussions of the author about everything in the world).
The construction of “Eugene Onegin” cannot be called logically flawless. This applies not only to the lack of a formal resolution in the novel. Strictly speaking, several years must pass between the events described in the seventh and eighth chapters until Tatyana turns from a provincial young lady into a society lady. Initially, Pushkin decided to fill these few years with Onegin’s travels around Russia (chapter “Onegin’s Travels”), but later placed them in an appendix to the novel, as a result of which the logic of the plot was broken. Both friends and critics pointed out this formal shortcoming to the author, but Pushkin ignored these comments:
There are a lot of contradictions
But I don’t want to fix them. (1, LX)
The author very accurately called his work “a collection of motley chapters” (introduction): it reflected real life, organized not according to the strict laws of logic, but rather according to the theory of probability. However, the novel, following real life, has lost neither dynamism, nor artistic integrity, nor completeness.
Pushkin created his novel for many years, periodically publishing individual chapters. At first glance, the narrative appears to be chaotic. Critics of those years considered the work lacking integrity. The author himself does not hide the fact that his work lacks a plan, so contradictions are inevitable. He defines his work as a collection of colorful chapters.
Taking a closer look at the novel, it becomes clear that this is a deeply holistic work, characterized by harmony and completeness.
The novel has a plot that is simple to the point of banality. It traces two lines of relationship between the main character Onegin: with Tatyana and with Lensky. The work does not have the usual ending. The author does not lead the hero either to death or to marriage. He leaves him in a difficult moment. The absence of an ending turns the plot into real story. Understatement is one of Pushkin’s techniques, according to which emptiness has a deep meaning and cannot be expressed in words.
To construct the composition of the novel, Pushkin chose the method of symmetry, according to which the characters must change the positions they occupy in the work. Tatiana meets Evgeny, unrequited love breaks out, accompanied by suffering. The author follows the heroine’s experiences and sympathizes with her. Following a harsh conversation with Onegin, a duel with Lensky occurs, which became the denouement of one direction of the plot and allowed a new one to develop.
The next time Tatyana meets Evgeny, he changes places with her, and everything that happened is repeated. But now the author is going through everything with Onegin. This circular technique makes it possible to look back again, which leaves the reading feeling of coherence.
The ring composition shows the crisis of the hero's soul. He managed to change by looking at the world through Tatyana's eyes. In the last chapter, he emerges from seclusion almost like a poet, reading with “spiritual eyes.”
A return to the past makes it possible to observe Tatyana’s evolution, her maturation and acquisition of unshakable endurance. At the same time, the poverty of her character does not change. The new Tatyana still does not understand Evgeniy. In the past, she associated her beloved with literary images, which he did not comply with. Now Tatyana does not believe the truthfulness and importance of his experiences.
It is obvious that the work is built on a combination of spontaneity of presentation, diversity of images, natural continuation of the theme and extraordinary harmony, which made the novel complete. The author brought his work closer to life, making it just as unique and original.
Option 2
The work is in the form of a free novel, the central figure of which is the narrator, who builds the relationships of the characters, and also talks with readers invited to the role of direct witnesses to the events taking place.
The poet chooses a novel in verse as the genre of the work, which makes it possible to reveal the dynamic development of the characters' characters, which is impossible in romantic poem, where the hero is presented in a static state.
The novel is written in the form of a fully formed, integral, closed, complete work of art, expressed in a compositional structure that combines lyrical and epic literary principles.
The compositional core of the work is the bright poetic look of the novel, as well as the use of the author's image. The use of poetic form in a novel determines the features of the plot line and compositional structure, which combines the constructive principles of prose and poetry. In the novel, the poet uses his new invention in the form of the Onegin stanza, which is a modification of the sonnet structure, representing iambic tetrameter of fourteen lines in a special rhyme scheme: cross, pair and encircling.
A distinctive feature of the compositional structure of the work is its symmetry, manifested in the central event of the novel, the dream of the main character, as well as territorial isolation, expressed by the beginning of the action in St. Petersburg and the end in the same place.
The plot line of the novel is presented in two expressions: love line and lines of friendship, while the love plot is mirrored, since in the finale of the work main character Tatyana changes the role of the one suffering from unrequited love a person with the main character Onegin. The use of mirror-inverted symmetry is reinforced by the author through the demonstration of intentional textual coincidences and proportionality of parts that make up the architectural precision of the novel's drawings and perform clear expressive functions.
In order to more deeply reveal the composition of the novel, the poet uses artistic technique in the shape of landscape sketches, allowing us to demonstrate the character of the characters, the vividness of their experiences, as well as opposite attitude Onegin and Tatiana to various public and natural phenomena. Throughout the narrative, manifestations of all seasons of the year are revealed to readers: sad summer noise, naked autumn forests, frosty winter, blooming spring.
The poetic novel exhibits organic integrity and unity, filling it with reality. life content. In the images of the main characters of the work, generalized, typified characters are presented, allowing the poet to build a plot using the relationships of the main characters Onegin and Tatyana, Olga and Lensky.
The compositional units of the work are eight chapters, each of which describes a new plot event, while the first chapter sets out the exposition telling about Onegin, the second begins the beginning of the relationship between Onegin and Lensky, the third chapter is devoted to Tatyana’s feelings for Onegin, the fourth and fifth chapters describe main events, and from the sixth the climax increases, leading in the subsequent seventh and eighth chapters to the finale of the storylines between Onegin and Lensky and, accordingly, Onegin and Tatyana.
A striking feature of the novel is the author’s use of architectonics in the form of omitted stanzas, which indicate transitional places in the narrative that do not affect the storyline of the work.
Peculiar compositional structure The novel, expressed in poetic freedom and flexibility, gives the work the author's genius in the narrative material, and the diversity of the collection of chapters carries a unique freshness and a sense of touching the sublime and beautiful.
Plot and features of the work
