Topic 6. Poetry and prose: a novel in verse by A.S. Pushkin "Eugene Onegin"
- Character system and conflict features. The role of love conflict in the novel.
- Plot and ideological functions of the duel motif.
- Is there a connection between the image of Onegin and the Prisoner and Aleko? Justify your conclusion.
- Is Onegin’s new meeting with Tatyana a mirror repetition of the original love situation or a fundamentally different situation?
- What is the reason for Tatyana’s refusal?
- The image of the author in the novel. His attitude towards the characters and ways of revealing the author’s position.
- The ideological conclusion of the work. Why is there no traditional ending in the novel (whatever it could have been)?
- “The Journey of Eugene Onegin” in the structure of the novel. His ideological and artistic role.
- Pushkin's understanding of the relationship between the artist and reality, which found expression in the work.
- The composition of the novel as a means of revealing the characters and the concept of the work as a whole.
Features of the composition of A. S. Pushkin’s novel “Eugene Onegin”
“Eugene Onegin” - the first realistic novel in Russian literature, in which “the century is reflected and modern man is depicted quite correctly.” A. S. Pushkin worked on the novel from 1823 to 1831. “Now I’m not writing a novel, but a novel in verse - a devilish difference,” he wrote in a letter to P. Vyazemsky. “Eugene Onegin” is a lyric-epic work in which both principles appear as equal. The author freely moves from the plot narrative to lyrical digressions that interrupt the flow of “ free romance”.
Two stand out in the novel storylines. The first one is romance novel, the relationship between Onegin and Tatyana Larina, and the second is the relationship between Onegin and Lensky.
The novel consists of eight chapters. The first of them is a detailed exposition in which the author introduces us to the main character - the “young rake” Evgeny Onegin, and shows his life in the capital. In the second chapter, the beginning of the second storyline occurs - Onegin’s acquaintance with Lensky:
First by mutual difference
They were boring to each other;
Then I liked it, then
We came together every day on horseback
And soon they became inseparable.
The beginning of the first storyline occurs in the third chapter. Onegin meets the Larin family, where he saw Tatyana. She, in turn, immediately noted Onegin:
The time has come, she fell in love...
Tatyana was brought up as a typical provincial girl of that time:
She liked novels early on;
They replaced everything for her;
She fell in love with deceptions
Both Richardson and Russo.
In her imagination, she created the image of a lover, unlike the young people around her, surrounded by some kind of secret. She behaves like a true heroine of the novel: she writes him a letter in the spirit of those that she read in books, because she “didn’t know Russian well.” The hero was “touched” by the young girl’s confession, but he didn’t want to limit “life to the family circle,” so he lectured her in the garden, urging her to “learn to control herself.” This is a kind of culmination in the development of the first storyline.
The fifth chapter of the novel is significant in that Tatyana, tormented by “tender passion,” has a dream that has an important compositional role. It allows the reader to predict subsequent events - the death of Lensky. Tatyana's name day is also important. They play an important role in the development of the second storyline. It was on Tatiana’s name day that Onegin “swore to enrage Lensky and take some revenge.” Lensky, a sublime and passionate soul, in the grip of a fiery passion for Olga, could not tolerate the insult and betrayal of his friend and decided:
Two bullets - nothing more -
Suddenly his fate will be resolved.
Accordingly, we can call chapter six the culmination and denouement of the second storyline.
As for the first storyline, its development continues. Tatiana is taken to a bridal fair in Moscow, and then she marries an important general. Two years later she meets Onegin in St. Petersburg. Now she's already socialite, “legislator of the hall”, occupying the same position in society as Onegin. Now he falls in love with Tatyana and writes her a letter. Thus, in the eighth chapter, the first storyline is resolved.
However, it should be noted that an important compositional feature of the novel is the openness of the ending. There is no clear certainty in the outcome of both the first and, partly, the second storylines. Thus, the author suggests two possible paths for Lensky if he had remained alive and not been killed in a duel:
Perhaps he is for the good of the world
Or at least he was born for glory...
Or maybe even that: a poet
The ordinary one was waiting for his fate...
And here my hero,
In a moment that is evil for him,
Reader, we will now leave,
For a long time... forever.
In addition to the unusual ending, one can note the way the novel “Eugene Onegin” is structured. The main principle of its organization is symmetry and parallelism.
Symmetry is expressed in the repetition of one plot situation in the third and eighth chapters: meeting - letter - explanation.
At the same time, Tatyana and Onegin change places. In the first case, the author is on Tatyana’s side, and in the second, on Onegin’s side. “Today it’s my turn,” says Tatyana, as if comparing two “love stories.”
Onegin has changed and says things of a completely different nature than the first time. Tatyana remains true to herself: “I love you (why lie)”...
The composition of the letters is parallel, since we can talk about the similarity of the following points: writing a letter, waiting for a response and explaining. Petersburg plays a framing role here, appearing in the first and eighth chapters. The axis of symmetry of these plot situations is Tatyana’s dream. The next feature of the composition of the novel is that the parts of the novel are opposed to each other, in some way even subordinate to the principle of antithesis: the first chapter is a description of St. Petersburg life, and the second is a show of the life of the local nobility.
The main compositional unit is the chapter, which is a new stage in the development of the plot.
Since the lyrical and epic have equal rights in the novel, lyrical digressions play an important role in the composition of the novel.
Usually lyrical digressions are related to the plot of the novel. Thus, Pushkin contrasts Tatyana with secular beauties:
I knew unattainable beauties,
Cold, clean like winter,
Relentless, incorruptible,
Incomprehensible to the mind...
There are also those that do not have a direct connection with the plot, but are connected directly with the image of the author in the novel:
I remember the sea before the storm:
How I envied the waves
Running in a stormy line
With love to lie at your feet.
Lyrical digressions appear at turning points in the narrative: before Tatiana’s explanation with Onegin, before Tatiana’s sleep, before the duel.
Often lyrical digressions contain appeals to the reader, which allows us to connect the lyrical with the epic:
Let me my reader,
Take care of your older sister.
The compositional role of the landscape in the novel is also significant: firstly, it shows the passage of time (although time in the novel does not always correlate with real life), secondly, it characterizes inner world heroes (often natural sketches accompany the image of Tatyana).
The composition of the novel has one more feature - symmetry, the center of which was Tatyana's dream in Chapter V. In addition to symmetry and isolation, there is another device in the novel’s composition—the “mirror” device. Pushkin used it when describing the meetings of Tatiana and Onegin. When she first met Onegin, Tatyana realized that she loved him, under the influence of this feeling she wrote him a letter, and he answered her with a lecture that he was not created for family life. After which their life paths diverge. They meet again in St. Petersburg, where Onegin falls in love with Tatyana and writes her a fiery letter. Tatyana tells him: “Today is my turn,” meaning a rebuke. So the heroes change places.
One can also note the contrast of the heroes: Onegin - Tatyana, Lensky - Olga, Tatyana - Olga, Onegin - Lensky, as well as the comparison: Tatyana - Lensky. The lyrical side of the novel is connected with the image of the author, which emerges in the numerous lyrical digressions so widely represented in the novel. A large number of lyrical digressions contain a description of nature, which shows the movement of time in the novel. In relation to nature, the heroes are opposed, for example, Tatiana and Onegin. Thus, landscape sketches serve as a means of revealing the characters’ characters and help to understand them. state of mind. Thus, the composition of the novel “Eugene Onegin” is unusual; a similar second novel has not been created in Russian literature. Pushkin was an innovator not only in the genre of the first realistic novel in verse, but also in the field of language, because the author was the founder of the Russian literary language.
The character system also has an orderly structure. Main principle its constructions are an antithesis. For example, Onegin is contrasted with Lensky (as a Byronic hero - a romantic dreamer), and Tatyana (as a capital dandy - a simple Russian girl), and high society(although he is a typical young man, he is already tired of empty entertainment), and to his landowner neighbors (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 fiancée, and Tatyana loves one Onegin all her life, even after getting married and finding herself in high society.
Duel like social phenomenon of an entire era is one of the problems raised in classical literature. In order to give it an objective assessment today, one should perceive this phenomenon from the standpoint of the characteristics of the era, the moral and aesthetic values of the time. Writers of the 19th century perceived a duel as the only and in many ways natural way to defend their honor, their noble and officer dignity. However, very often in the works of this time one can trace the idea of the meaninglessness and cruelty of a duel. In the novel “Eugene Onegin,” a duel becomes a phenomenon that contradicts the hero’s inner world. Only society’s idea of honor forces Evgeniy, “loving the young man with all his heart,” to still accept Lensky’s challenge: And here is public opinion! Spring of honor, our idol! And that's what the world revolves on. Before the duel, Onegin slept peacefully all night, in contrast to Lensky. Evgeniy is late to the place of the fight, which demonstrates his attitude towards this event: this is not indifference, but a reluctance to destroy an innocent person because of an empty formality. By lot, Onegin gets to shoot before Lensky. He kills the young poet. This event was a real shock for the hero, marking the beginning of his rebirth, a rethinking of all life values. Thus, in his novel, Pushkin reflects on human relationships, talks about the value of life, about the meaninglessness of the invented and feigned noble idea of \u200b\u200bhonor.
The duel is the culmination of the second storyline. Onegin kills Lensky. His death is the end of the line of friendship. Having a hard time experiencing the death of his friend, Onegin sets off on a journey described in Chapter IX, which was not included in the novel at the insistence of the censors.
Eugene Onegin carries within himself everything that Pushkin sought to embody in the images of the Caucasian captive and Aleko. Like them, he is not satisfied with life, he is tired of it. But now what appears before us is not a romantic hero, but a purely realistic type. Drawing the image of his hero, Pushkin talks in detail about the environment in which Onegin grew up, about his education and upbringing. Onegin received a typical education for that time. His teacher was a Frenchman who, “so that the child would not be exhausted, taught him everything jokingly, did not bother him with strict morals, scolded him slightly for pranks and took him for a walk in the Summer Garden.” That is, we see that Onegin received a very superficial education, which, however, was enough for “the world to decide that he is smart and very nice.”
Onegin leads a typical lifestyle for young people of that time: he attends balls, theaters, and restaurants. But Onegin was terribly tired of all this, and he “yawned for a long time among the fashionable and ancient halls.” He is bored both at balls and in the theater: “...He turned away and yawned, and said: “It’s time for everyone to change; I put up with ballets for a long time, but I was also tired of Didelot.” That is, Pushkin’s hero is a child of this society, but at the same time he is alien to it. “Tormented by spiritual emptiness,” Onegin becomes disillusioned with life and falls into depression. He tries to engage in some useful activity, in particular writing, but “nothing came from his pen.” This reflects both his lordly perception (“he was sick of persistent work”) and the lack of a calling to work (“yawning, he took up his pen”). Having abandoned this occupation, Onegin is trying to start organizing the life of the peasants on his estate. But, having carried out one reform, he abandons this too. And I completely agree with Belinsky, who said: “The inactivity and vulgarity of life choke him, he doesn’t even know what he needs, what he wants, but he... knows very well that he doesn’t need it, that he doesn’t want it.” “What makes self-loving mediocrity so happy and happy.”
We see that the composition is based on a journey. The first chapter describes the life of the main character in St. Petersburg in 1820, chapters VII-IV depict the village of Eugene Onegin, and depict the life and morals of the landowners. In these same chapters, the author introduces us to Tatyana, Olga and Lensky. After the duel that took place in Chapter VI, Onegin leaves his village, after some time Olga gets married and also leaves her native place, and Tatyana is taken to the “bride fair” in Moscow. Evgeniy travels, visits Bessarabia, Nizhny Novgorod, Odessa and returns to St. Petersburg in 1825, where his new meeting with Tatyana. Thus, the composition of the novel is closed: the action began in spring Petersburg and ended there five years later.
- What is the reason for Tatyana’s refusal?
In Moscow, Onegin is met by a cold socialite, the owner of a famous salon. In her, Evgeny hardly recognizes the former timid Tatyana and falls in love with her. He sees what he wanted to see in that Tatiana: luxury, beauty, coldness.
But Tatyana does not believe in the sincerity of Onegin’s feelings, since she cannot forget her dreams of possible happiness. Tatyana's offended feelings speak, it is her turn to reprimand Onegin for not being able to discern his love in her in time. Tatyana is unhappy in her marriage, fame and wealth do not bring her pleasure:
And to me, Onegin, this pomp,
Hateful life is tinsel, my successes are in a whirlwind of light,
My fashionable house and evenings.
This explanation reveals the main character trait of Tatyana - a sense of duty, which is the most important thing in life for her. The images of the main characters are revealed to the end in the final meeting. Tatyana responds to Onegin’s confession with the words: “But I was given to another and I will be faithful to him forever!” This phrase clearly outlines the soul of the ideal Russian woman. With these words, Tatyana leaves Onegin no hope. In the first meeting of the heroes, the author gives Onegin a chance to change his life, filling it with meaning, the personification of which is Tatyana. And in the second meeting, Pushkin punishes the main character by leaving Tatyana completely inaccessible to him
Having overthrown the burden of the conditions of light,
How does he, having fallen behind the bustle,
I became friends with him at that time.
I liked his features
Involuntary devotion to dreams,
Inimitable strangeness
And a sharp, chilled mind, -
This is how A. S. Pushkin talks about his acquaintance with Evgeny Onegin, the hero of the novel, transformed into a living person by the power of the author’s poetic talent.
In the first chapter of the work, Pushkin looks at Onegin from the outside with sympathy and at the same time with a great deal of irony. The reader of the first chapter has no reason to identify the hero with the author. The differences in their worldview, tastes, and range of interests are obvious. The image of the author emerges most clearly in lyrical digressions and in individual remarks about art, nature and poetic creativity. As V. G. Belinsky said, “the personality of the poet... everywhere is... predominantly artistic.” Onegin is mainly interested in socio-economic issues:
Having no high passion
No mercy for the sounds of life,
He could not iambic from trochee,
No matter how hard we fought, we could tell the difference.
Scolded Homer, Theocritus;
But I read Adam Smith
And there was a deep economy...
The hero and the author represent two sides of the same phenomenon: dissatisfaction with society, isolation from it, so-called oddities. Onegin's direction is practical, his mind is sharp and cold. Pushkin's passionate nature seeks salvation in beauty. The hero and the author are united by the fact that both of them are thinking people who stand out from the “secular rabble.”
In the first chapter of the novel, Pushkin’s attitude towards Onegin is slightly mocking, and the hero is not yet perceived by us as a tragic figure. But already at the beginning of the novel there are many moments where the author shares Onegin’s point of view, speaks simultaneously on his own behalf and on behalf of the hero:
And again, betrayed by idleness,
Languishing with spiritual emptiness,
He sat down - with a laudable purpose
Appropriating someone else's mind for yourself.
He lined the shelf with a group of books,
I read and read, but to no avail:
There is boredom, there is deception or delirium;
There is no conscience in that, there is no meaning in that;
Everyone is wearing different chains;
And the old thing is outdated,
And the old are delirious of novelty... Pushkin is close to Onegin’s thoughtful, critical view of literature and life in general. The high demands made by the hero of the novel on everything and everyone are a sign of a deep, caring mind. This is what brings Onegin closer to Pushkin.
In addition, the hero suffers, “languishing with spiritual emptiness.” How many people surrounded by Pushkin and Onegin either do not realize their spiritual emptiness, or are not tormented by it at all. Thinking individuals incur the hatred of mediocrity.
Anger awaited both
Blind of Fortune and people, -
Pushkin makes remarks about himself and his hero at the beginning of the novel.
So, in “Eugene Onegin” we are presented with two completely different, but close in spirit and position in society people, the author and the hero.
The novel took more than seven years to write. During this time, Pushkin's personality changed significantly: his view of history, society and man became more mature and deep. By the time work on “Eugene Onegin” was completed, a period of historical and philosophical generalizations had begun in Pushkin’s work. A sober assessment of the situation in Russia in the second quarter of the 19th century led to an intensification of tragic motives in the poet’s works. With changes in Pushkin's worldview, his view of Eugene Onegin also changed.
The main thing in the author’s attitude towards the hero remained the same: respect for Onegin’s “inimitable strangeness.” However, with each chapter of the novel, Pushkin increasingly talks about his hero not only seriously, but also with compassion and pain. The “young rake” of the first chapter turns into an “uncorrected eccentric.”
Already in the third chapter of the novel, Pushkin writes with sympathy about Onegin:
He is in his first youth
Was a victim of stormy delusions
And unbridled passions,
Spoiled by the habit of life,
One is temporarily fascinated,
Disappointed with others;
We slowly languish with desire,
We languish with windy success,
Listening in noise and in silence
The eternal murmur of the soul,
Suppressing yawns with laughter,
This is how he killed eight years old
Losing life best color.
The desire to understand the hero, to penetrate into his inner world, reveals the author’s humanism, which V. G. Belinsky spoke about in his articles about “Eugene Onegin.” More than once defending the hero from the censure of the crowd, Pushkin writes that one cannot condemn a person without understanding him. He emphasizes in Onegin the “eternal murmur of the soul,” that is, he considers him to be a contradictory and suffering nature. Such is Pushkin himself. In the lyrical digressions of the novel, one can hear either passion, or disappointment, or tenderness, or cold contempt, or faith in the future, or pessimism.
Pushkin comes out in defense of Onegin precisely when the hero commits actions that cause discontent and even indignation among many readers. Anticipating that Onegin will be condemned for his cold rebuke to Tatyana, Pushkin writes:
You will agree, my reader,
What a very nice thing to do
Our friend is with sad Tanya;
Not for the first time he showed here
The soul is pure nobility...
The author demands that this “strange man” be looked at not with bias, but with lively interest and sympathy. The poet himself also needed understanding. Loneliness sounds in those stanzas of the novel that were written by Pushkin in Mikhailovsky exile:
But I am the fruit of my dreams
And harmonic undertakings
I read only to the old nanny,
Friend of my youth,
And after hearty lunch
A neighbor wandered into my place,
Having caught him unexpectedly on the floor,
Soul tragedy in the corner...
The end of Chapter VII is devoted to Moscow and a description of the life of Moscow society. Chapter VIII of the novel begins with the St. Petersburg ball, at which Tatyana meets Onegin. Realizing that he is in love, he writes letters to her - this is the culmination of the first storyline. Having received no response. after three letters, Evgeniy goes to her and sees only anger on her face. He refuses social life and locks himself in his house. Only in the spring does he visit Tatiana again. An explanation occurs, she admits that she still loves him, but “I was given to someone else and will be faithful to him forever.” This is the denouement of the love story of the novel. But the ending of the novel remains open. The author gives the reader the opportunity to figure out the ending for himself.
We see that the composition is based on a journey. The first chapter describes the life of the main character in St. Petersburg in 1820, chapters VII-IV depict the village of Eugene Onegin, and depict the life and morals of the landowners. In these same chapters, the author introduces us to Tatyana, Olga and Lensky. After the duel that took place in Chapter VI, Onegin leaves his village, after some time Olga gets married and also leaves her native place, and Tatyana is taken to the “bride fair” in Moscow. Evgeny travels, visits Bessarabia, Nizhny Novgorod, Odessa and returns to St. Petersburg in 1825, where his new meeting with Tatyana takes place. Thus, the composition of the novel is closed: the action began in spring Petersburg and ended there five years later.
Onegin and Pushkin again find themselves in a similar position: they are not understood by people, they are alone.
Arguing about the reasons that Onegin accepted Lensky's challenge to a duel, the author again justifies his hero, this time by generalization:
And here is public opinion!
Spring of honor, our idol!..
The poet encourages the reader to look at himself before judging Onegin. The ability to honestly evaluate one's behavior is a characteristic of extraordinary natures. Both Pushkin himself and Onegin possess it. In this they also rise above the “secular rabble.”
After describing the duel, Pushkin states:
I cordially
I love my hero...
This once again confirms that Pushkin justifies Onegin, and that it is impossible to identify the author and the hero even where their destinies, moods, and relationships with the outside world are largely similar.
Don't let the poet's soul cool down,
Become hardened, calloused,
And finally turn to stone
In the deadening ecstasy of light...
Apparently, it is no coincidence that the thought of spiritual death arises in Pushkin precisely after the story about the duel. Of course, Onegin’s soul has not yet petrified, but Lensky’s murder was committed by a man with a bitter and callous heart. Without blaming his hero for this, Pushkin finds the reason in the “deadly rapture of light.”
A deep, fundamental difference appears between the author and the hero: Onegin’s soul became cold, Pushkin’s personality remains “beautiful and humane,” as V. G. Belinsky noted.
But Onegin escapes the terrible fate of spiritual death. “He was overcome by anxiety,” says Pushkin. In the eighth chapter of the novel, Onegin appears again in the world. He is alien to a society in which there is no place for living critical thought, and it is alien and hostile to him. ...There is only one mediocrity
We can handle it and it’s not strange, -
Pushkin writes, This is his own pain of loneliness, dissatisfaction, striving for unattainable ideals.
The image of Evgeny Onegin embodied Pushkin’s view of thinking person 20s of the XIX century. The problem was raised of the lack of a worthy field of activity for extraordinary characters, which found its continuation in Russian literature of the 30-50s. At the same time, in discussions about Onegin, the personality of the author is constantly present, evaluating his hero from a historical and humane perspective. “Here is all his life, all his soul, all his love; here are his feelings, concepts, ideals,” said V. G. Belinsky about the author of “Eugene Onegin.”
Brief description
“Eugene Onegin” is the first realistic novel in Russian literature, which “reflected the century and modern man depicted quite accurately.” A. S. Pushkin worked on the novel from 1823 to 1831. “Now I’m not writing a novel, but a novel in verse - a devilish difference,” he wrote in a letter to P. Vyazemsky. “Eugene Onegin” is a lyric-epic work in which both principles appear as equal. The author freely moves from the plot narrative to lyrical digressions that interrupt the flow of the “free novel.” There are two storylines in the novel. The first is a love story, the relationship between Onegin and Tatyana Larina, and the second is the relationship between Onegin and Lensky.
Content
The composition of the novel as a means of revealing the characters and the concept of the work as a whole.
Character system and conflict features. The role of love conflict in the novel.
Plot and ideological functions of the duel motif.
Is there a connection between the image of Onegin and the Prisoner and Aleko? Justify your conclusion.
Is Onegin’s new meeting with Tatyana a mirror repetition of the original love situation or a fundamentally different situation?
What is the reason for Tatyana’s refusal?
The image of the author in the novel. His attitude towards the characters and ways of revealing the author’s position.
The ideological conclusion of the work. Why is there no traditional ending in the novel (whatever it could have been)?
“The Journey of Eugene Onegin” in the structure of the novel. His ideological and artistic role.
Pushkin's understanding of the relationship between the artist and reality, which found expression in the work.
“Eugene Onegin” is the first realistic novel in Russian literature, in which “the century is reflected and modern man is depicted quite correctly.” A. S. Pushkin worked on the novel from 1823 to 1831. “Now I’m not writing a novel, but a novel in verse - a devilish difference,” he wrote in a letter to P. Vyazemsky. "Eugene Onegin" is rightfully considered the main central work Pushkin. Work on it, which lasted about eight and a half years (May 9, 1823 - October 5, 1831), falls during the period of the highest flowering of the work of Pushkin the poet (he later turned more and more to prose). I started typing without even knowing future fate novel. 1st ed. - 11833, 2nd ed. – 1837.
The main conflict of the novel "Eugene Onegin", as in a number of previous works, is a deep contradiction between the demands of an awakening, self-aware individual and his environment, the so-called society, frozen in inert immobility, living according to deadening canons. But the goals of this novel are completely different. Moving from the romantic perception and embodiment of reality to the critical-realistic one, Pushkin sets himself the task of an objective, sober analysis of his modernity in its inherent contradictions.
and naturalness, which are so characteristic of the speech flow of the novel.
The novel is organically holistic, architecturally structured, elegant, harmoniously proportionate in all its parts, clear, strict, concise, and free from any excesses. Its exposition characterizes the main characters. Tatyana's love for Onegin and Lensky's love for Olga constitute its plot. The spiritual duel between Evgeny and Tatiana, which led to their explanation, becomes the climax and denouement of the novel. The unique originality of the composition of the novel, the feeling of the spontaneity of the life atmosphere in which the main characters of the novel live, gives the image of the author, “ lyrical hero"and the "character", a witness, participant and commentator of the events depicted, on whose behalf the narration is conducted.
"Eugene Onegin" - novel very complex in terms of genre and type. This is a social-everyday novel in its capture of everyday life and morals, and a socio-psychological novel in the depth and diversity of feelings, thoughts and ideas displayed in the characters. He is one of a kind both in verse form and in the natural fusion of low and high, everyday life and ideas, ordinary everyday life and dreams, intimate-personal, heroic and epochal. In this fusion, the sublime took the form of genuine reality, and the ordinary acquired full rights of poetic citizenship.
Novel in verse - poetic form. P. created a special stanza for her - Oneginskaya.(14 lines). Oneg. The stanza is a plot-thematic unity. Each stanza has a theme, its own number. A novel in verse is something special. Unity. Poems are grouped into stanzas - into episodes - chapters. To understand the structure of E.O. What is important is that, along with verse material, the novel also includes prose (connections, commentary, notes). The novel is built on the principle of a fragment. P. sometimes retreats from Oneg. Stanzas. In the speech of the characters, Pushkin recreates the most various styles colloquial language of that time, but at the same time these styles do not form a mechanical mixture, but merge organically into a single verbal and speech system of the novel . Language The novel maintains the unity of Pushkin's style throughout. The dominant principle in the novel speech characteristics defines a clearly expressed tendency towards laconicism, towards rejection of any lexical and phraseological extremes (naturalistic, metaphorical-pathetic and others). The author's language of the novel is amazing - effortlessly ironic, sincerely lyrical, transparently clear, elegant, flexible, musical, rich in shades. Relying on the entire vocabulary wealth of the national language, finely honing the literary speech of the educated society of his day, Pushkin boldly introduces colloquial vocabulary into the novel, when necessary. Let us remember: “Like a drunken zyuzya”; The ease, ease, and flexibility of the speech of the author and the characters in the novel are facilitated by a logically clear, lapidary, strictly balanced, harmonious conversational syntactic structure. While maintaining the conciseness and transparent clarity of his phrases, Pushkin fancifully changes their intonation. An amazingly flexible change of intonation allows one to reveal all the richness of the experiences of the author and his characters, enhancing the liveliness and lyricism of the novel. The vivid imagery and musicality of the novel's language is undoubtedly helped by the abundant use of sound instrumentation, always subordinate to meaning. Pushkin does not miss a single opportunity to refer to onomatopoeic words: “The morning snow crunches under it”; "The babbling of a quiet stream." They very often use condensation of sounds depicting this or that action. The great advantage of the novel's language is its precision and aphorism. He seems to be studded with pearls winged words and expressions: “We all learned a little, Something and somehow.” The liveliness and truthfulness of the characters in the novel is undoubtedly facilitated by the variety of methods used to describe them: story, description, dialogue, remark, monologue, letter, mutual characterization.
A novel in verse is NOT a novel written in verse. The difference between a novel and a novel in verse is the special unique role of the author. The author acts as the creator of the novel and guides us through the novel. The author is a fighter. E.O. - affair with open ending. P. says goodbye to his hero when the novel usually begins; P. breaks up with him in a piquant situation. P. makes an open end, because this is a form of novelty in the novel. The story about the hero brought the reader to the end of the 2nd outcome: wedding or death. The openness of the ending is a property of life itself. And P. simply did not know how the hero’s life could have turned out. A new spiritual feeling brought O. to a new level. This form - not a poem, but a “novel in verse” - was suggested to Pushkin by Byron - his poetic novel “Don Juan”, which Pushkin considered the best creation of the English poet.
But in essence, Pushkin not only does not follow Byron, but also directly contrasts his novel with the work of the English romantic poet.
“Eugene Onegin” is a novel about modernity, about Pushkin’s “today”, a work that borrows all its content - images of characters, pictures of everyday life, nature - from the reality immediately surrounding the poet. . In the novel, which poetizes the ordinary, the everyday, which was news in Russian novelism, as if in a mirror, the remote landowner province, the fortress village, lordly Moscow, the highest St. Petersburg society are reflected, provincial cities(on Onegin's journey). The boundaries of the actions taking place in it: the end of 1819 - the spring of 1825.
"Eugene Onegin" is a novel of characters and morals. Its plot-forming characters, Evgeny Onegin and Tatyana Larina, are embodied not in statics, not in crisis episodes, but in a causal-chronological sequence, in gradual spiritual growth, in the history of their lives, in the main links of their biography. The attitude of the author of the novel towards Eugene throughout almost the entire narrative is ironic, but complacent, with obvious general sympathy for him. Onegin is an aristocrat by origin and upbringing, an individualist and an egoist in his moral and psychological appearance, as he developed towards his coming of age. The objective-realistic display of reality and the characters defined by it, the goal of the novel, also determined the corresponding principles for the embodiment of its developed characters. Recreating the heroes of his novel, Pushkin discovered a remarkable skill in their socio-psychological portrayal.
Alexander Sergeevich Pushkin Lyrics. "Eugene Onegin"
“Now I’m not writing a novel, but a novel in verse - a devilish difference,” said A. S. Pushkin about the start of work on “Eugene Onegin,” emphasizing its unconventionality. Poetic speech presupposes a certain authorial freedom, which is why in the eighth chapter the author calls his novel in verse “free.”
The freedom of Pushkin’s work is, first of all, a relaxed conversation between the author and readers, an expression of the author’s “I.” Such a free form of narration allowed Pushkin to recreate historical picture of his contemporary society, in the words of V. G. Belinsky, write an “encyclopedia of Russian life.”
One of the most important themes of the author's digressions in "Eugene Onegin" is the depiction of nature. Throughout the entire novel, the reader experiences both winter with the children’s cheerful games and ice skating on the “neater than fashionable parquet” ice, and spring – “the time of love.” Pushkin paints a quiet “northern” summer, a “caricature of southern winters,” and, undoubtedly, he does not ignore his beloved autumn.
The landscape exists in the novel along with the characters, which allows the author to characterize their inner world through their relationship to nature. Emphasizing Tatyana’s spiritual closeness with nature, the author highly appreciates moral qualities heroines. Sometimes the landscape appears to the reader as Tatyana sees it: “she loved to warn the sunrise on the balcony,” “through the window Tatyana saw the white courtyard in the morning.”
It is impossible not to note the author’s descriptions of the life and customs of society of that time. The reader learns about how secular youth were brought up and spent their time; albums of county young ladies even open before him. The author's opinion about balls and fashion attracts attention with the sharpness of his observation.
What brilliant lines are dedicated to the theater! Playwrights, actors... It’s as if we ourselves find ourselves in this “magical land”, where “Fonvizin, the friend of freedom and the captivating Prince, shone,” we see Istomina flying, “like fluff from the lips of Aeolus.”
Some lyrical digressions in the novel are directly autobiographical in nature. This gives us the right to say that the novel is the story of the personality of the poet himself, a creative, thinking, extraordinary personality. Pushkin is both the creator of the novel and its hero.
"Eugene Onegin" was written by Alexander Sergeevich over seven years in different times, under different circumstances. In the poetic lines, the poet’s memories of the days “when in the gardens of the Lyceum” the Muse began to “appear” to him, of forced exile (“will the hour of my freedom come?”) come to life. The poet ends his work with sad and bright words about past days and departed friends: “Some are no longer there, but those are far away...” As if with close people, Pushkin shares with us, readers, reflections on life:
He who lived and thought cannot
Don't despise people in your heart...
But it's sad to think that it's in vain
We were given youth...
The poet is concerned about his poetic fate and the fate of his creation:
Perhaps it won't drown in Lethe
A stanza composed by me;
Perhaps (a flattering hope!)
The future ignorant will point out
To my illustrious portrait
And he says: that was the Poet!
Alexander Sergeevich’s literary preferences and his creative position, realized in the novel, were also expressed in lyrical digressions:
I'll just tell you again
Traditions of the Russian family,
Love's captivating dreams
Yes, the morals of our antiquity.
Friendship, nobility, devotion, love are qualities highly valued by Pushkin. However, life confronted the poet not only with the best manifestations of these moral values, that's why the following lines appeared:
Whom to love? Who to believe?
Who won't cheat on us alone? -
The heroes of the novel are like “good friends” of its creator: “I love my dear Tatyana so much,” “Eugene was more tolerable than many,” “...I love my hero from the bottom of my heart.” The author, without hiding his affection for the heroes, emphasizes his difference with Onegin, so that the “mocking reader” does not reproach him for “messing up” his portrait. It is difficult to agree with Pushkin. His image lives on the pages of the novel and not only in its characters. The poet speaks to us in lines of lyrical digressions, and we, his descendants, have a unique opportunity to talk with Pushkin through the centuries.
Alexander Sergeevich put his mind, his observation, life and literary experience, his knowledge of people and Russia into the novel. He put his soul into it. And in the novel, perhaps more than in his other works, the growth of his soul is visible. As A. Blok said, the writer’s creations are “the external results of the underground growth of the soul.” This applies to Pushkin, to his novel in verse “Eugene Onegin” to the fullest extent.
“Now I’m not writing a novel, but a novel in verse - a devilish difference,” said A. S. Pushkin about the start of work on “Eugene Onegin,” emphasizing its unconventionality. Poetic speech presupposes a certain authorial freedom, which is why in the eighth chapter the author calls his novel in verse “free.” The freedom of Pushkin’s work is, first of all, a relaxed conversation between the author and readers, an expression of the author’s “I.” Such a free form of narration allowed Pushkin to recreate the historical picture of his contemporary society, in the words of V. G. Belinsky, to write an “encyclopedia of Russian life.” The author’s voice is heard in numerous lyrical digressions that determine the movement of the narrative in various directions. One of the most important themes of the author’s digressions in "Eugene Onegin" is an image of nature. Throughout the entire novel, the reader experiences both winter with the children’s cheerful games and ice skating on the “neater than fashionable parquet” ice, and spring – “the time of love.” Pushkin paints a quiet “northern” summer, a “caricature of southern winters,” and, undoubtedly, he does not ignore his beloved autumn. The landscape exists in the novel along with the characters, which allows the author to characterize their inner world through their relationship to nature. Emphasizing Tatiana's spiritual closeness with nature, the author highly appreciates the moral qualities of the heroine. Sometimes the landscape appears to the reader as Tatyana sees it: “she loved to warn the sunrise on the balcony,” “through the window Tatyana saw the white courtyard in the morning.” In “Eugene Onegin” there is another series of author’s digressions - an excursion into Russian history. Famous lines about Moscow and Patriotic War 1812, the imprint of which lay on Pushkin era, expand the historical scope of the novel. It is impossible not to note the author’s descriptions of the life and morals of society of that time. The reader learns about how secular youth were brought up and spent their time; albums of county young ladies even open before him. The author's opinion about balls and fashion attracts attention with the sharpness of his observation. What brilliant lines are dedicated to the theater! Playwrights, actors... It’s as if we ourselves find ourselves in this “magical land”, where “Fonvizin, the friend of freedom and the captivating Prince, shone,” we see Istomina flying, “like fluff from the lips of Aeolus.” Some lyrical digressions in the novel are directly autobiographical character. This gives us the right to say that the novel is the story of the personality of the poet himself, a creative, thinking, extraordinary personality. Pushkin is both the creator of the novel and his hero. “Eugene Onegin” was written by Alexander Sergeevich over the course of seven years at different times, under different circumstances. In the poetic lines, the poet’s memories of the days “when in the gardens of the Lyceum” the Muse began to “appear” to him, of forced exile (“will the hour of my freedom come?”) come to life. The poet ends his work with sad and bright words about past days and departed friends: “Some are no longer there, but those are far away...” As if with close people, Pushkin shares with us, readers, reflections on life: He who lived and thought cannot
Don't despise people in your heart...
