But my God, what a bore it is to amuse the half-dead. Alexander Pushkin - My uncle of the most honest rules: Verse

Chapter first

Chapter One consists of fifty-four stanzas: I–VIII, X–XII, XV–XXXVIII and XLII–LX (gaps indicate missing stanzas, of which the existence of XXXIX–XLI was never known). The main characters are the author's “I” (a more or less stylized Pushkin) and Eugene Onegin. The center of the chapter, its bright and rapidly unwinding core, is contained in twelve stanzas (XV–XVII, XXI–XXV, XXVII–XXVIII, XXXV–XXXVI), describing sixteen hours of the city life of Onegin, a twenty-four-year-old dandy. Historical time- winter 1819, place - St. Petersburg, the capital of Russia. This is the eighth year of Onegin's social life, he still loves to dress smartly and dine luxuriously, but he is already tired of the theater, and he has left the stormy pleasures of love. The day of the St. Petersburg dandy, interrupted three times (XVIII–XX, XXVI, XXIX–XXXIV) by Pushkin’s memories and reflections, is introduced between the story of Onegin’s education and the description of his spleen. The story about education is preceded by a short sketch in which Onegin is depicted going by mail to his uncle’s estate (in May 1820), and the description of the spleen is followed by a story about Pushkin’s friendship with Onegin and the latter’s arrival in the village where his uncle had already died. The chapter ends with several stanzas (LV–LX), in which the author talks about himself.

Development of the themes of the first chapter

I: Inner monologue Onegin on the way from St. Petersburg to his uncle’s estate.

II: Traditional transition: “So thought the young rake.” Pushkin introduces his hero (this “unofficial” introduction will later be supplemented by an “official”, parodic, belated “introduction” in the last stanza of the seventh chapter). Stanza II also contains some references to “professional” topics, namely: the mention of “Ruslan and Lyudmila” (1820) and the expression “the hero of my novel” (this expression will be repeated with some changes in Chapter 5, XVII, 12, where Tatyana in excitement he sees in a dream “the hero of our novel” hosting a feast of ghosts). The autobiographical motif is presented in II, 13–14 with a humorous reminder of the author’s own expulsion from the capital.

III–VII: The description of Eugene's childhood and youth, permeated with the theme of superficial education, is given in a more or less continuous presentation. A philosophical note can be heard in various witty judgments about Onegin’s upbringing (V, 1–4: “we are all”; IV, 13: “What more do you need?”; VI, 2: “So, if I tell you the truth”), and “ The professional remark is introduced in the quatrain of stanza VII, where “we” could not teach Onegin the secrets of prosody. The theme of Onegin's indifference to poetry will be raised again in the six final verses of the stanza of Chapter XVI. 2 (when Lensky reads Ossian’s Onegin), and in ch. 8, XXXVIII, 5–8 Onegin will finally almost master the “mechanism of Russian poetry.” In his youth, Onegin appears as a Frenchized Russian in the dress of an English dandy, who began social life at the age of sixteen or seventeen. Before us is a salon doll. The fire of his epigrams is noted, but not a single one is quoted in the chapter, and later examples of his wit are also not worthy of description.

VIII, X–XII: The rhetorical transition from intellectual to sensual education is introduced by the conjunction “but” of the third verse of the VIII stanza. “The science of tender passion” in verse 9 leads to Ovid, and a clear autobiographical reminiscence arises in the form of an introductory digression about the Roman poet’s exile in Moldavia, which ends stanza VIII. Pushkin reduced Onegin's red tape to three stanzas (X–XII).

XV–XXXVI: Here is the central part of the chapter, a story (interrupted by digressions) about one day in Onegin’s life in the capital. The absence of any formally expressed transition between the story of Onegin’s attitude towards women and the beginning of his day in XV is surprisingly compensated by the artificial pause that arises due to the absence of two stanzas between XII and XV. This circumstance leads to a proper change of topics in the narrative, when the story about the hero’s day is introduced with the word “happened.”

XV–XVII: Without interruption, the narrative flows on various topics (XV, 9-14 - morning walk; XVI - lunch; XVII - departure to the theater).

XVIII–XX: An element of Pushkin's participation. A nostalgic digression about the theater opens stanza XVIII, which ends with a lyrical memory of the author’s time spent behind the scenes in the now forbidden city for him (“there, there ... my younger days rushed” - echoing the final couplet in II in a more melancholic vein). This is followed by the autobiographical stanza XIX with a nostalgic resurrection of the images of theatrical goddesses and a premonition of change and disappointment. In the XX stanza these theatrical memories seem to crystallize. Pushkin is ahead of Onegin and is the first to enter the theater, where he watches Istomina’s performance, which ends by the time Onegin appears in the next stanza. The “overtaking” technique is used here (it will be repeated in XXVII). The natural transition from Pushkin to Onegin receives an amazing temporal and intonation expression.

XXI–XXII: The enumeration of Onegin's actions continues. He was tired of the theater. French cupids and Franco-Chinese dragons are still jumping around the stage with all their might, and Onegin leaves and goes home to change clothes.

XXIII–XXVI: Pushkin, still in the form of an ethereal character, explores Onegin's office. This topic is formally introduced by the time-tested rhetorical question “Shall I depict...?” In the introductory part of the playful philosophizing in XXIV, 9-14, Rousseau is mentioned, then in the quatrain of the next stanza the same theme arises (“The custom of a despot among people,” a banality that breaks through in various formulations here and there as the novel progresses). Stanza XXVI contains a “professional” digression, which talks about the highly condemned use of foreign words in the Russian language. The poet’s conscious predilection for Gallicisms will be mentioned again in the remarks preceding “Tatiana’s Letter to Onegin”, in Chapter. 3 and in ch. 8, XIV, 13–14.

XXVII: The “overtaking” technique is repeated. Pushkin lingered too long in our dandy’s office, describing him to the reader, and Onegin goes before him to the mansion, where the ball is already in in full swing. A rhetorical transition sounds: “We’d better hurry to the ball,” and Pushkin rushes there silently, like a bat, and, having overtaken his hero (XXVII, 5-14), he is the first to find himself in the illuminated house, just as he was recently the first to find himself in theater

XXVIII: Then Onegin appears. His presence at the ball is mentioned only here, and also - retrospectively - in stanza XXXVI.

XXIX–XXXIV: These six stanzas, full of stylized autobiography, contain the most striking digression of the first song. Let's call it a “digression on legs.” A natural transition leads to it from XXVIII, 10–14, where two themes are outlined. (1) fiery eyes following pretty legs, and (2) the whispers of fashionable wives. Pushkin in XXIX first addresses the second theme and develops it in a rather traditional sketch of a love affair in a ballroom. After nostalgic memories of St. Petersburg balls, the topic of legs itself is raised in XXX, 8 and can be traced to XXXIV, with references to oriental carpets (XXXI), Terpsichore’s legs (XXXII, 2–8), women’s legs in various settings (XXXII, 9–14) , with famous description sea ​​(XXXIII), happy stirrup (XXXIV, 1–8) and an angry ironic conclusion (XXXIV, 9–14).

XXXV: The digression on legs is closed. “What about my Onegin?” - an example of a typical rhetorical transition. Pushkin hurries after his hero returning home from the ball, but cannot help but stop to describe the beautiful frosty morning.

XXXVI: Meanwhile, Onegin got to bed and fell fast asleep. In 9-14 there follows a rhetorical and didactic question: “But was my Eugene happy?” The negative answer is given in the first line of the next stanza.

XXXVII–XLIV: A string of five stanzas (XXXIX–XLI are missing) describes Onegin’s spleen. The gap left by the missing stanzas XXXIX–XLI gives the impression of a long, melancholy yawn. Onegin lost interest in secular beauties (XLII) and courtesans (XLIII, 1–5). He has locked himself at home today and is trying to write (XLIII, 6-14) and read (XLIV) to no avail. Onegin, unable to write poetry, is not inclined towards prose, and therefore did not fall into the perky guild of people to which Pushkin belongs. The reading range of Onegin, outlined by several names in Chapter. 1, V and VI (Juvenal, two verses from the Aeneid, Adam Smith), characterized in ch. I, XLIV in general, without names and titles, attention will be drawn to it again in Chapter. 7, XXII and 8, XXXV.

XLV–XLVIII: More details of Onegin’s “blues” are given here, but the main compositional meaning of these stanzas is the rapprochement of the two main characters of the first song. This is where (XLV) their friendship begins. Before this stanza, Pushkin only flashed through the novel as an ethereal shadow, but did not act as a character. Pushkin's voice was heard, his presence was felt as he flew from one stanza to another in a ghostly atmosphere of memories and nostalgia, but Onegin had no idea that his friend the rake was present both at the ballet and in the ballroom. From now on, Pushkin will be a full-fledged hero of the novel, and together with Onegin they, in fact, will appear as two characters in the space of four stanzas (XLV–XLVIII). Their common features are emphasized in XLV (the differences will be noted later - although we already know that Onegin is not a poet); Onegin's attractive sarcasm is described in XLVI, and in XLVII–XLVIII both heroes enjoy the transparent northern night on the Neva embankment. Nostalgic memories of former loves and the sounds of a horn from the Neva lead from here to a digression of two stanzas of rare beauty.

XLIX-L: This is the third extensive lyrical digression (see my comment on the Venetian allusions). In the verses that rush in like waves, it enhances the notes of nostalgia and exile in stanzas II, VIII and XIX. In addition, it re-emphasizes the difference between the two heroes - between the dry, prosaic hypochondria of the 18th century, inherent in the free Onegin, and the rich, romantic, inspired melancholy of the exiled Pushkin (his spiritual thirst, different from the dyspepsia of the hypochondriac rake). Particularly noteworthy is Pushkin’s impulse to rush off to an exotic free country, a fabulous land, fabulous Africa with the sole purpose of painfully regretting gloomy Russia there (the very country he left), thus combining new experience and preserved memories in a synthesis of artistic revaluation. In Odessa 1823, Pushkin (see his own note to L, 3) still dreams of visiting Venice (XLIX) and Africa (L), as he apparently dreamed before, during walks with Onegin in the first week of May 1820 g., judging by the very natural transition that opens LI: “Onegin was ready with me / To see foreign countries; But…"

LI–LIV: Now it's time to return to topic I-II. Pushkin and Onegin part, and we, enriched with information about Onegin’s childhood, youth and absent-minded life in St. Petersburg, again join him on the way from the capital to his uncle’s estate. “And with that I began my novel,” notes Pushkin in a “professional” remark “to the side” (LII, 11). Onegin arrives at the estate, where he learns about the death of the old man (LII, 12–14). Settles in the village (LIII, 9). At first rural life he is occupied, then boredom begins to overcome him again. Rural delights listed in LIV as the reason Onegin blues, provide a natural transition to an autobiographical and “professional” digression in the six stanzas that conclude the chapter (LV–LX).

LV–LVI: Pushkin contrasts his friend’s spleen with his own creative love for the village, which he extols as the best abode for his Muse. In LVI, the difference between the stylized Pushkin, blissfully dreaming in the idyllic oak forests, and Onegin, indulging in the melancholy in the village, is used to emphasize that our author does not share Byron's whim to identify himself with the hero. The reference to the “mocking reader” and the publisher of the “intricate slander” is another touch to the development of the “professional” theme in this stanza.

LVII–LIX, 1-12: A semi-lyrical, semi-literary digression, during which Pushkin explains how his inspiration creates. Stanza LVII (which will find a magnificent response and will be strengthened in Chapter 8, IV and in Onegin’s Travels, XIX) includes two more bibliographic references in the narrative - to “ Caucasian prisoner" and "The Fountain of Bakhchisarai", composed by Pushkin in the years between the creation of the poem "Ruslan and Lyudmila" (completed in 1820) and "Eugene Onegin" (begun in 1823).

LIX, 13–14 and LX, 1–2: A somewhat unexpected “professional” remark “to the side.” Pushkin promises to write a great poem not related to EO(a similar promise - this time to write a novel in prose - will be given in Chapter 3, XIII–XIV).

LX, 3-14: Meanwhile, the poet finished the first chapter of this novel and, to the pseudo-classical accompaniment of parting words and forebodings, sends it north, to the “Neva banks,” the remoteness of which was already mentioned in II. Thus the song ends elegantly.

From the book About Chekhov author Chukovsky Korney Ivanovich

From the book by L. Tolstoy and Dostoevsky author Merezhkovsky Dmitry Sergeevich

From the book Commentary on the novel "Eugene Onegin" author Nabokov Vladimir

From the book Castalian Key author Drabkina Elizaveta Yakovlevna

First chapter Both of them, especially L. Tolstoy, have works so connected with life, with the personality of the writer, that it is impossible to talk about one without the other: before studying Dostoevsky and L. Tolstoy as artists, thinkers, preachers, you need to know what they are for the people.In

From the book “Essay on Painting” by Diderot author Goethe Johann Wolfgang

First chapter Princess Bolkonskaya, the wife of Prince Andrei, as we learn on the first pages of War and Peace, “had a pretty, slightly blackened mustache, an upper lip that was short in teeth, but the more sweetly it opened and the more sweetly it sometimes stretched out and dropped to the bottom."

From the book Collected Works in ten volumes. Volume ten. About art and literature author Goethe Johann Wolfgang

Chapter One “Ancient Rome was the first to give birth to the idea of ​​the world unity of people and the first to think (and firmly believe) to practically implement it in the form of a world monarchy. But this formula fell before Christianity - a formula, not an idea. For this idea is the idea of ​​European humanity, from

From book Critical stories author

Chapter One Chapter One consists of fifty-four stanzas: I–VIII, X–XII, XV–XXXVIII, and XLII–LX (gaps indicate missing stanzas, of which the existence of XXXIX–XLI was never known). The main characters are the author's “I” (a more or less stylized Pushkin) and Eugene Onegin.

From the book Around " Silver Age» author Bogomolov Nikolay Alekseevich

From the book Literature 6th grade. A textbook-reader for schools with in-depth study of literature. Part 2 author Team of authors

From the book Literature 7th grade. A textbook-reader for schools with in-depth study of literature. Part 2 author Team of authors

From the book by M. Yu. Lermontov how psychological type author Egorov Oleg Georgievich

CHAPTER ONE My Bizarre Thoughts on the Drawing “There is nothing wrong with nature. Every form, beautiful or ugly, has a reason, and everything that exists is exactly as it should be.” There is nothing inconsistent in nature. Every form, be it beautiful

From the author's book

Chapter One He was as hospitable as a tycoon. His hospitality reached the point of passion. As soon as he settled in the village, he immediately invited a bunch of guests to his place. This might seem crazy to many: a person has just emerged from many years of poverty, he has to

From the author's book

From the author's book

Chapter One Houses, like people, have their own reputations. There are houses where, by general opinion, it is unclean, that is, where they notice certain manifestations of some unclean or, at least, incomprehensible force. Spiritualists tried to do a lot to explain this kind of phenomena, but

From the author's book

Chapter One When Emperor Alexander Pavlovich graduated from the Vienna Council, he wanted to travel around Europe and see wonders in different states. He traveled all over the world and everywhere, through his kindness, he always had the most internecine conversations with all sorts of people, and everything

From the author's book

Chapter One The influence of heredity on the formation of Lermontov’s mental make-up. Ancestors and their mental constitution. Two hereditary lines. Father, mother, grandmother. Family drama and its influence on the emergence of a basal conflict Analysis of the personality of M. Yu. Lermontov, his

A. E. IZMAILOV

<«Евгений Онегин», глава I>

We hasten, although we are a little late, to inform lovers of Russian poetry that new poem A. S. Pushkin, or, as stated in the title of the book, novel in verse, or the first chapter of the novel “Eugene Onegin” was printed and sold in the bookstore of I.V. Slenin, near the Kazansky Bridge, for 5 rubles, and with postage for 6 rubles.

It is impossible to judge the whole novel, especially its plan and the character of the persons depicted in it, from one chapter. So, let's just talk about the syllable. The story is excellent: ease, gaiety, feeling and pictorial poetry are visible everywhere * 1. The versification is excellent: young Pushkin has long occupied an honorable place among our best versifiers, the number of which, unfortunately and surprisingly, is still not so great.

Taking advantage with moderation right of a journalist-bibliographer 3, let us present here a small (however, not the best) sample of a syllable, or story, from “Eugene Onegin”.

Having served excellently, nobly,

His father lived in debt

Gave three balls annually

And finally squandered it.

Eugene's fate kept:

At first Madame followed him,

Then Monsieur replaced her,

The child was harsh, but sweet.

Monsieur l'Abbé, poor Frenchman,

So that the child does not get tired,

I taught him everything jokingly,

I didn’t bother you with strict morals,

Lightly scolded for pranks

And he took me for a walk to the Summer Garden.

When will the rebellious youth

The time has come for Evgeniy

It's time for hope and tender sadness,

Monsieur was driven out of the yard.

Here is my Onegin free;

Haircut in the latest fashion;

How a dandy Londoner is dressed;

And finally saw the light.

He's completely French

He could express himself and wrote;

I danced the mazurka easily

And he bowed casually;

What do you want more? The light has decided

That he is smart and very nice.

We all learned a little bit

Something and somehow

So upbringing, thank God,

It's no wonder for us to shine.

Onegin was, according to many

(decisive and strict judges),

A small scientist, but a pedant.

He had a lucky talent

No coercion in conversation

Touch everything lightly

With the learned air of a connoisseur

Remain silent in an important dispute

And make the ladies smile

Fire of unexpected epigrams.

What is the portrait of a fashionable Russian nobleman? In almost every verse it is striking, characteristic. As mentioned here by the way Madame, Monsieur!.. A wretched- it could not have been more successful to tidy up the epithet for the important French mentor, who jokingly taught everything to the frisky darling little one, even in Summer Garden. - But alas! it's time And driven out of Monsieur l'Abbé's courtyard. O ingratitude! Wasn’t it he who taught Evgeniy? everything, i.e. absolutely speak French and... write! - But Evgeny had another mentor, and it's true that he's French, who taught him to bow at ease and dance the mazurka easily, as easily and deftly as they dance it in Poland... What do you need more?? - Strict, decisive judges Evgeniy was recognized not only as a scientist, but even... pedant. Here's what it means:

No coercion in conversation

Touch everything slightly,

With the learned air of a connoisseur

Remain silent in an important dispute.

Enough in this book picture descriptions; but the most complete and most brilliant of them is, without a doubt, a description of the theater. It is also wonderful to praise beautiful women's legs. We do not agree, however, with the kind writer, as if it is hardly possible to find in Russia there are three pairs of slender female legs.

Well, how could he say that?

How slender the legs are, how small

At Euphrosyne, Miloliki,

At Lydia's, at Angelika's!

So I counted four pairs.

Or maybe all over Russia there is

At least five or six pairs! 4

In the “Pre-Notice” to “Eugene Onegin” the following words are remarkable: “May we be allowed to draw the attention of readers to virtues rare in a satirical writer: the absence of an offensive personality and the observation of strict decency in a comic description of morals.” - Indeed, these two virtues have always been rare in satirical writers, are especially rare nowadays. “Pre-Notice” is followed by “Conversation between a Bookseller and a Poet.” It is desirable that not only booksellers, but also poets, even in their advanced years, always speak as intelligently as here.

Footnotes

* “It’s my job to describe” 2, says the writer in 21 countries. And it’s true: he is a master, and a great master, of this matter. His paintings are distinguished not only by the delicacy of the brush and the freshness of the colors, but often by strong, bold, sharp and characteristic, so to speak, features, which shows an extraordinary talent, that is, a happy imagination and an observant spirit.

Notes

    A. E. IZMAILOV
    <« Евгений Онегин». Глава I>

    Good. 1825. Part 29 No. 9 (published on March 5). pp. 323-328. From the “Book News” section. Signature: I.

    1 Chapter I of “Eugene Onegin” was published on February 16, 1825. Izmailov wrote to P. L. Yakovlev on February 19: “These days a new poem by Pushkin, or a novel, or only the first chapter of the novel “Eugene Onegin” was published. There is no plan at all, but the story is delightful” (LN. T. 58. pp. 47-48).

    2 Ch. I, stanza XXVI.

    3 Section “News about new books”, in which it is published this article, is of a critical and bibliographical nature.

    4 Wed. also the poem “Angelike” signed Lardem, published in “Blagonamerenny” with the following note: “The author was inspired to write these poems by the wonderful appeal to the legs in Eugene Onegin” (1825. Part 29. No. 12. P. 479).

"My uncle is the most fair rules» A.S. Pushkin.
analysis of stanza 1 of “Eugene Onegin”

Again, “Without thinking of amusing the proud light/Loving the attention of friendship”

And on the poet's birthday
a gift to those who love him
and knows.

One of the most famous stanzas in the world is the beginning of Eugene Onegin.
The first stanza of Onegin worried many literary scholars. They say that S. Bondi could talk about her for several hours. Sparks of wit, greatness of mind, grandeur of erudition - it is impossible for us to compete with all this.
But I'm a director by profession.
And to talk about this mysterious stanza, about which so many critical copies have been broken, I will take our director’s theatrical method - the method of effective analysis.
Is it permissible to judge literature using theater methods? But let's see.

First, let’s find out what is clear to us in stanza 1, and what, as they said in the times of the TSA, is shrouded in mystery.

My uncle has the most honest rules;
When I seriously fell ill,
He forced himself to respect
And I couldn't think of anything better.
His example is a lesson to others;
But, my God, what a bore
To sit with the patient day and night,
Without leaving a single step!...

So, main character galloping somewhere, simultaneously washing the bones of his uncle, who forced him to hastily take off and rush to his estate.
It’s interesting to know whether EO condemns his uncle or praises him?
“The most honest rules” - i.e. acts as is customary, as expected ( stable expression in Pushkin's times). Grinev is also a hero of “fair rules”, i.e. guarding his honor. Many authors quote I. Krylov’s famous phrase “The donkey had the most honest rules.” But she is unlikely to have anything to do with the character: Onegin’s uncle is not an ass at all, but a direct object to be imitated (Eugene’s own opinion).
“His example is a lesson to others”; “I couldn’t think of anything better” - i.e. everyone should act like their uncle. (Let's take it as truth for now.)
What did your uncle do that was so unusual? What does the younger generation value so highly about him?
He “forced himself to be respected.” This phrase is so blurred that we stubbornly see in it only the beautiful verb “respect”, without seeing the semantic connection with another verb - “forced”. Forced! Here it is!
How can a freedom-loving, independent EO have a positive attitude towards the idea of ​​“forcing” someone?! Has he ever been forced to do anything in his life? Can the very fact of coercion exist in the system of his moral values?
Let's figure out what the uncle made his nephew do?
Just come to his village to say goodbye.
Is there a spiritual connection between them?
Does EO want to rush to his uncle?
Why is he doing this?
The answer for the 19th century is obvious: because in case of disobedience he could be disinherited. The owners of the inheritance also know how to perform the wrong tricks. I would refer to the famous chapters from “War and Peace” telling about the death of the old Count Bezukhov, but in our time we know better stories.
EO, who had recently lost his father - and his inheritance along with him - is forced to accept his uncle's conditions. He has no other sources of life. Don't serve, really! This polished dandy, socialite EO does not know how to do this at all. Not brought up that way.
But EO also condemns the pressure that his uncle puts on him. And, not having any kindred feelings for him, EO thinks with longing about the boredom that awaits him there, calling the forced sucking up to a dying rich relative “low deceit.”
Whatever the EO may be, but low cunning is not characteristic of him in the slightest. Pushkin spares the hero. Arriving in the village, EO finds his uncle “on the table/ As a ready-made tribute to the land.” The sucking up is gone. You don’t have to bend down and be mean, but boldly enter into inheritance of the estate...

TO BE CONTINUED.

My uncle has the most honest rules,
When I seriously fell ill,
He forced himself to respect
And I couldn't think of anything better.
His example to others is science;
But, my God, what a bore
To sit with the patient day and night,
Without leaving a single step!
What low deceit
To amuse the half-dead,
Adjust his pillows
It's sad to bring medicine,
Sigh and think to yourself:
When will the devil take you!

Analysis of “My uncle has the most honest rules” - the first stanza of Eugene Onegin

In the first lines of the novel, Pushkin describes Uncle Onegin. The phrase “the most honest rules” was taken by him from. Comparing his uncle with a character from a fable, the poet hints that his “honesty” was only a cover for cunning and resourcefulness. Uncle knew how to skillfully adapt to public opinion and, without arousing any suspicion, carry out their dark deeds. Thus he earned a good name and respect.

My uncle's serious illness became another reason to attract attention. The line “I couldn’t have come up with a better idea” reveals the idea that even from an illness that can cause death, Onegin’s uncle tries (and succeeds) to derive practical benefit. Those around him are sure that he fell ill due to a neglectful attitude towards his health for the benefit of his neighbors. This apparent selfless service to people becomes a reason for even greater respect. But he is unable to deceive his nephew, who knows all the ins and outs. Therefore, there is irony in Eugene Onegin’s words about illness.

In the line “science is his example to others,” Pushkin again uses irony. Representatives of high society in Russia have always made a sensation out of their illness. This was mainly due to issues of inheritance. A crowd of heirs gathered around the dying relatives. They tried in every possible way to gain the favor of the patient in the hope of reward. The dying man's merits and his supposed virtue were loudly proclaimed. This is the situation that the author uses as an example.

Onegin is the heir of his uncle. By right of close kinship, he is obliged to spend “day and night” at the patient’s bedside and provide him with any assistance. The young man understands that he must do this if he does not want to lose his inheritance. Do not forget that Onegin is just a “young rake.” In his sincere reflections, he expresses real feelings, which are aptly designated by the phrase “low deceit.” And he, and his uncle, and everyone around him understands why his nephew does not leave the dying man’s bed. But the real meaning is covered with a false veneer of virtue. Onegin is incredibly bored and disgusted. There is only one phrase constantly on his tongue: “When will the devil take you!”

The mention of the devil, and not God, further emphasizes the unnaturalness of Onegin’s experiences. In reality, my uncle’s “honest rules” do not deserve a heavenly life. Everyone around him, led by Onegin, is eagerly awaiting his death. Only by doing this will he render a real invaluable service to society.

The novel “Eugene Onegin” was written by Alexander Sergeevich Pushkin in 1823 – 1831. The work is one of the most significant creations of Russian literature - according to Belinsky, it is an “encyclopedia of Russian life” of the early 19th century.

The novel in verse by Pushkin “Eugene Onegin” belongs to literary direction realism, although in the first chapters the influence of the traditions of romanticism on the author is still noticeable. The work has two storylines: the central one is the tragic love story of Evgeny Onegin and Tatyana Larina, as well as the secondary one - the friendship of Onegin and Lensky.

Main characters

Eugene Onegin- a prominent young man of eighteen years old, a native of a noble family, who received a French home education, a secular dandy who knows a lot about fashion, is very eloquent and knows how to present himself in society, a “philosopher.”

Tatyana Larina- the eldest daughter of the Larins, a quiet, calm, serious girl of seventeen years old, who loved to read books and spend a lot of time alone.

Vladimir Lensky- a young landowner who was “nearly eighteen years old,” a poet, a dreamy person. At the beginning of the novel, Vladimir returns to native village from Germany, where he studied.

Olga Larina- the youngest daughter of the Larins, lover and bride of Vladimir Lensky, always cheerful and sweet, she was the complete opposite of her older sister.

Other characters

Princess Polina (Praskovya) Larina- mother of Olga and Tatyana Larin.

Filipevna- Tatiana's nanny.

Princess Alina- Tatiana and Olga's aunt, Praskovya's sister.

Zaretsky- a neighbor of Onegin and Larin, Vladimir’s second in the duel with Evgeniy, a former gambler who became a “peaceful” landowner.

Prince N.- Tatyana’s husband, “important general”, friend of Onegin’s youth.

The novel in verse “Eugene Onegin” begins with a brief author’s address to the reader, in which Pushkin characterizes his work:

“Receive the collection of motley heads,
Half funny, half sad,
Common people, ideal,
The careless fruit of my amusements."

Chapter first

In the first chapter, the author introduces the reader to the hero of the novel - Evgeny Onegin, the heir of a wealthy family, who rushes to his dying uncle. The young man was “born on the banks of the Neva,” his father lived in debt, often held balls, which is why he eventually completely lost his fortune.

When Onegin matured enough to go out into the world, high society accepted the young man well, since he had an excellent command of French, danced the mazurka easily and could talk freely on any topic. However, it was not science or brilliance in society that interested Eugene most of all - he was a “true genius” in the “science of tender passion” - Onegin could turn the head of any lady, while remaining on friendly terms with her husband and admirers.

Evgeny lived an idle life, walking along the boulevard during the day, and in the evening visiting luxurious salons where he was invited famous people Petersburg. The author emphasizes that Onegin, “afraid of jealous condemnation,” was very careful about his appearance, so he could spend three hours in front of the mirror, bringing his image to perfection. Evgeniy returned from the balls in the morning, when the rest of the residents of St. Petersburg were rushing to work. By noon the young man woke up and again

“Until the morning his life is ready,
Monotonous and motley."

However, is Onegin happy?

“No: his feelings cooled down early;
He was tired of the noise of the world."

Gradually, the hero was overcome by the “Russian blues” and he, as if Chade-Harold, appeared gloomy and languid in the world - “nothing touched him, he did not notice anything.”

Evgeniy withdraws from society, locks himself at home and tries to write on his own, but the young man does not succeed, since “he was sick of persistent work.” After this, the hero begins to read a lot, but realizes that literature will not save him: “like women, he left books.” Evgeny, from a sociable, secular person, becomes a withdrawn young man, prone to “caustic argument” and “joke with bile in half.”

Onegin and the narrator (according to the author, it was at this time that they met the main character) were planning to leave St. Petersburg abroad, but their plans were changed by the death of Eugene’s father. The young man had to give up his entire inheritance to pay his father’s debts, so the hero remained in St. Petersburg. Soon Onegin received news that his uncle was dying and wanted to say goodbye to his nephew. When the hero arrived, his uncle had already died. As it turned out, the deceased bequeathed a huge estate to Evgeniy: lands, forests, factories.

Chapter two

Evgeniy lived in a picturesque village, his house was located by the river, surrounded by a garden. Wanting to somehow entertain himself, Onegin decided to introduce new orders in his domains: he replaced corvee with “light rent”. Because of this, the neighbors began to treat the hero with caution, believing “that he is the most dangerous eccentric.” At the same time, Evgeny himself avoided his neighbors, avoiding getting to know them in every possible way.

At the same time, the young landowner Vladimir Lensky returned from Germany to one of the nearest villages. Vladimir was a romantic person,

“With a soul straight from Göttingen,
Handsome man, in full bloom,
Kant's admirer and poet."

Lensky wrote his poems about love, was a dreamer and hoped to reveal the mystery of the purpose of life. In the village, Lensky, “according to custom,” was mistaken for a profitable groom.

However, among the villagers, Lensky’s special attention was attracted by the figure of Onegin, and Vladimir and Evgeniy gradually became friends:

“They got along. Wave and stone
Poems and prose, ice and fire."

Vladimir read his works to Evgeniy and talked about philosophical things. Onegin listened to Lensky’s passionate speeches with a smile, but refrained from trying to reason with his friend, realizing that life itself would do this for him. Gradually, Evgeny notices that Vladimir is in love. Lensky’s beloved turned out to be Olga Larina, whom the young man knew as a child, and his parents predicted a wedding for them in the future.

“Always modest, always obedient,
Always cheerful like the morning,
How a poet's life is simple-minded,
How sweet is the kiss of love."

The complete opposite of Olga was her older sister, Tatyana:

“Wild, sad, silent,
Like a forest deer is timid."

The girl did not find the usual girlish pastimes fun, she loved to read novels by Richardson and Rousseau,

“And often all day alone
I sat silently by the window."

Tatiana and Olga's mother, Princess Polina, was in love with someone else in her youth - a guard sergeant, a dandy and a gambler, but without asking, her parents married her to Larin. The woman was sad at first, and then took up housekeeping, “got used to it and became happy,” and gradually peace reigned in their family. Having lived quiet life, Larin grew old and died.

Chapter Three

Lensky begins to spend all his evenings with the Larins. Evgeniy is surprised that he has found a friend in the company of a “simple, Russian family,” where all conversations boil down to discussing the household. Lensky explains that he enjoys home society more than a social circle. Onegin asks if he can see Lensky's beloved and his friend invites him to go to the Larins.

Returning from the Larins, Onegin tells Vladimir that he was pleased to meet them, but his attention was more attracted not by Olga, who “has no life in her features,” but by her sister Tatyana, “who is sad and silent, like Svetlana.” Onegin's appearance at the Larins' house caused gossip that perhaps Tatiana and Evgeniy were already engaged. Tatyana realizes that she has fallen in love with Onegin. The girl begins to see Evgeniy in the heroes of the novels, to dream about the young man, walking in the “silence of the forests” with books about love.

One sleepless night, Tatyana, sitting in the garden, asks the nanny to tell her about her youth, about whether the woman was in love. The nanny says that she was married by agreement at the age of 13 to a guy younger than her, so the old woman does not know what love is. Peering into the moon, Tatiana decides to write a letter to Onegin declaring her love in French, since at that time it was customary to write letters exclusively in French.

In the message, the girl writes that she would be silent about her feelings if she were sure that she would be able to see Evgeniy at least sometimes. Tatyana reasons that if Onegin had not settled in their village, perhaps her fate would have turned out differently. But he immediately denies this possibility:

“This is the will of heaven: I am yours;
My whole life was a pledge
The faithful date with you."

Tatyana writes that it was Onegin who appeared to her in her dreams and it was him she dreamed about. At the end of the letter, the girl “hands over” her destiny to Onegin:

"I'm waiting for you: with one glance
Revive the hopes of your heart,
Or break the heavy dream,
Alas, a well-deserved reproach!

In the morning, Tatyana asks Filipyevna to give Evgeniy a letter. There was no answer from Onegin for two days. Lensky assures that Evgeny promised to visit the Larins. Finally Onegin arrives. Tatiana, frightened, runs into the garden. Having calmed down a little, he goes out into the alley and sees Evgeniy standing “like a menacing shadow” right in front of him.

Chapter Four

Evgeny, who even in his youth was disappointed with relationships with women, was touched by Tatyana’s letter, and that is why he did not want to deceive the gullible, innocent girl.

Having met Tatyana in the garden, Evgeniy spoke first. The young man said that he was very touched by her sincerity, so he wants to “repay” the girl with his “confession.” Onegin tells Tatyana that if a “pleasant lot had commanded” him to become a father and husband, he would not have looked for another bride, choosing Tatyana as his “friend of sad days.” However, Eugene “was not created for bliss.” Onegin says that he loves Tatyana like a brother and at the end of his “confession” turns into a sermon to the girl:

“Learn to control yourself;
Not everyone will understand you like I do;
Inexperience leads to disaster."

Discussing Onegin's action, the narrator writes that Eugene acted very nobly with the girl.

After the date in the garden, Tatyana became even sadder, worrying about her unhappy love. There is talk among the neighbors that it is time for the girl to get married. At this time, the relationship between Lensky and Olga is developing, young people spend more and more time together.

Onegin lived as a hermit, walking and reading. In one of winter evenings Lensky comes to see him. Evgeniy asks his friend about Tatyana and Olga. Vladimir says that his wedding with Olga is scheduled in two weeks, which Lensky is very happy about. In addition, Vladimir recalls that the Larins invited Onegin to visit Tatiana’s name day.

Chapter Five

Tatyana loved the Russian winter very much, including Epiphany evenings, when the girls told fortunes. She believed in dreams, omens and fortune telling. On one of the Epiphany evenings, Tatyana went to bed, putting a girl’s mirror under her pillow.

The girl dreamed that she was walking through the snow in the darkness, and in front of her there was a roaring river, across which was thrown a “trembling, disastrous bridge.” Tatyana doesn't know how to cross it, but here with reverse side A bear appears along the stream and helps her cross. The girl tries to run away from the bear, but the “shaggy footman” followed her. Tatiana, unable to run any longer, falls into the snow. The bear picks her up and carries her into a “wretched” hut that appears between the trees, telling the girl that his godfather is here. Having come to her senses, Tatyana saw that she was in the hallway, and behind the door she could hear “a scream and the clink of a glass, as at a big funeral.” The girl looked through the crack: there were monsters sitting at the table, among whom she saw Onegin, the host of the feast. Out of curiosity, the girl opens the door, all the monsters begin to reach out to her, but Evgeny drives them away. The monsters disappear, Onegin and Tatyana sit on the bench, the young man puts his head on the girl’s shoulder. Then Olga and Lensky appear, Evgeny begins to scold uninvited guests, suddenly pulls out a long knife and kills Vladimir. In horror, Tatiana wakes up and tries to interpret the dream from the book of Martyn Zadeka (fortune teller, interpreter of dreams).

It’s Tatiana’s birthday, the house is full of guests, everyone is laughing, crowding around, saying hello. Lensky and Onegin arrive. Evgeniy is seated opposite Tatiana. The girl is embarrassed, afraid to look up at Onegin, she is ready to cry. Evgeny, noticing Tatiana's excitement, became angry and decided to take revenge on Lensky, who brought him to the feast. When the dancing began, Onegin invites Olga exclusively, without leaving the girl even during breaks between dances. Lensky, seeing this, “flashes up in jealous indignation.” Even when Vladimir wants to invite his bride to dance, it turns out that she has already promised Onegin.

“Lenskaya is unable to bear the blow” - Vladimir leaves the holiday, thinking that only a duel can solve the current situation.

Chapter Six

Noticing that Vladimir had left, Onegin lost all interest in Olga and returned home at the end of the evening. In the morning, Zaretsky comes to Onegin and gives him a note from Lensky challenging him to a duel. Evgeny agrees to a duel, but, left alone, he blames himself for wasting his friend’s love in vain. According to the terms of the duel, the heroes were supposed to meet at the mill before dawn.

Before the duel, Lensky stopped by Olga, thinking to embarrass her, but the girl greeted him joyfully, which dispelled her beloved’s jealousy and annoyance. Lensky was absent-minded all evening. Arriving home from Olga, Vladimir examined the pistols and, thinking about Olga, writes poetry in which he asks the girl to come to his grave in the event of his death.

In the morning, Evgeniy overslept, so he was late for the duel. Vladimir's second was Zaretsky, Onegin's second was Monsieur Guillot. At Zaretsky’s command, the young men came together and the duel began. Evgeny is the first to raise his pistol - when Lensky just started to aim, Onegin already shoots and kills Vladimir. Lensky dies instantly. Evgeniy looks at his friend’s body in horror.

Chapter Seven

Olga did not cry for Lensky for long; she soon fell in love with a lancer and married him. After the wedding, the girl and her husband left for the regiment.

Tatyana still could not forget Onegin. One day, while walking through a field at night, a girl accidentally came to Evgeniy’s house. The girl is warmly greeted by the courtyard family and Tatyana is allowed into Onegin’s house. The girl, looking around the rooms, “stands for a long time in the fashionable cell, enchanted.” Tatyana begins to constantly visit Evgeniy’s house. The girl reads her lover’s books, trying to understand from the notes in the margins what kind of person Onegin is.

At this time, the Larins begin talking about how it’s high time for Tatyana to get married. Princess Polina is worried that her daughter refuses everyone. Larina is advised to take the girl to the “bride fair” in Moscow.

In winter, the Larins, having collected everything they need, leave for Moscow. They stayed with an old aunt, Princess Alina. The Larins begin to travel around to visit numerous friends and relatives, but the girl is bored and uninterested everywhere. Finally, Tatyana is brought to the “Meeting,” where many brides, dandies, and hussars have gathered. While everyone is having fun and dancing, the girl, “unnoticed by anyone,” stands at the column, remembering life in the village. Then one of the aunts drew Tanya’s attention to the “fat general.”

Chapter Eight

The narrator again meets the now 26-year-old Onegin at one of the social events. Eugene

"languishing in idle leisure
Without work, without wife, without business,
I didn’t know how to do anything.”

Before this Onegin for a long time traveled, but he was tired of this too, and so, “he returned and ended up, like Chatsky, from the ship to the ball.”

At the evening, a lady appears with a general, who attracts everyone's attention from the public. This woman looked "quiet" and "simple". Evgeny recognizes Tatyana as a socialite. Asking a friend of the prince who this woman is, Onegin learns that she is the wife of this prince and indeed Tatyana Larina. When the prince brings Onegin to the woman, Tatiana does not show her excitement at all, while Eugene is speechless. Onegin cannot believe that this is the same girl who once wrote him a letter.

In the morning, Evgeniy receives an invitation from Prince N., Tatiana’s wife. Onegin, alarmed by memories, eagerly goes to visit, but the “stately”, “careless Lawgiver of the hall” does not seem to notice him. Unable to bear it, Eugene writes a letter to the woman in which he declares his love for her, ending the message with the lines:

“Everything is decided: I am in your will,
And I surrender to my fate."

However, no answer comes. The man sends a second, third letter. Onegin was again “caught” by a “cruel blues”, he again locked himself in his office and began to read a lot, constantly thinking and dreaming about “secret legends, heartfelt, dark antiquities.”

In one of spring days Onegin goes to Tatiana without an invitation. Eugene finds a woman crying bitterly over his letter. The man falls at her feet. Tatyana asks him to stand up and reminds Evgenia how in the garden, in the alley she humbly listened to his lesson, now it’s her turn. She tells Onegin that she was in love with him then, but found only severity in his heart, although she does not blame him, considering the man’s act noble. The woman understands that now she is in many ways interesting to Eugene precisely because she has become a prominent socialite. In parting, Tatyana says:

“I love you (why lie?),
But I was given to someone else;
I will be faithful to him forever"

And he leaves. Evgeny is “as if struck by thunder” by Tatiana’s words.

“But a sudden ringing sound rang out,
And Tatyana’s husband showed up,
And here is my hero,
In a moment that is evil for him,
Reader, we will now leave,
For a long time... forever..."

conclusions

The novel in verse “Eugene Onegin” amazes with its depth of thought, the volume of events, phenomena and characters described. Depicting in the work the morals and life of cold, “European” St. Petersburg, patriarchal Moscow and the village center folk culture, the author shows the reader Russian life in general. Brief retelling“Eugene Onegin” allows you to get acquainted only with the central episodes of the novel in verse, so for a better understanding of the work we recommend that you read full version masterpiece of Russian literature.

Novel test

After studying summary be sure to try the test:

Retelling rating

Average rating: 4.7. Total ratings received: 16503.

Did you like the article? Share with your friends!