By definition, digressions- these are some statements of the author's thoughts and feelings related to the depicted in the work. They help you better understand ideological concept creator, take a fresh look at the text. The writer, intruding into the narrative, slows down the development of the action, breaks the unity of the images, however, such insertions enter the texts naturally, since they arise in connection with the depicted, they are imbued with the same feeling as the images.

Lyrical digressions in the novel "Eugene Onegin" play a huge role, as you will see by reading this article. It is devoted to their subjects, functions and meaning.

Features of the novel "Eugene Onegin"

The novel in question, A.S. Pushkin wrote for more than 8 years - from 1823 to 1831. At the very beginning of work on the work, he wrote to Pyotr Andreevich Vyazemsky that he was not creating a novel, but a “novel in verse”, and this is a “devilish difference”.

Indeed, thanks to the poetic form, "Eugene Onegin" is very different from traditional genre novel, because it expresses the feelings and thoughts of the author much more strongly. The work adds originality and constant participation and commentary of the author himself, about which we can say that he is one of the main characters. In the first chapter of the novel, Alexander Sergeevich calls Onegin "a good friend."

Lyrical digressions and biography of the author

Lyrical digressions are a means used by Alexander Sergeevich Pushkin, in particular, to help us get to know the personality of the creator of the work, his biography. From the first chapter we learn that the narrator has left Russia and sighs about her "under the sky of Africa", which means the southern exile of the poet. The narrator writes clearly about his anguish and suffering. In the sixth chapter, he regrets his young years and wonders where the times of youth have gone, what "the day to come" is preparing for him. Lyrical digressions in the novel also help to revive Alexander Sergeevich's bright memories of those days when the muse began to appear to him in the gardens of the Lyceum. Thus, they give the right to judge the work as the history of the development of the personality of Pushkin himself.

Description of nature in digressions

Lyrical digressions are not only biographical data of the author. Many of them are devoted to the description of nature. Her descriptions are found throughout the novel. All seasons are represented: winter, when the boys joyfully cut the ice with their skates, snow falls, and the northern summer, called by Pushkin a caricature of southern winters, and the time of love - spring, and, of course, autumn, beloved by Alexander Sergeyevich. The poet often describes different times days, the most beautiful of which considers the night. However, he does not at all strive to depict unusual, exceptional paintings. On the contrary, everything is ordinary, simple, but at the same time beautiful.

Nature and the inner world of heroes

Nature is closely connected with the heroes of the novel. Thanks to her description, we better understand what is going on in the souls of the characters. The author often notes the spiritual closeness with the nature of the main female image- Tatyana - and reflects on this, thereby characterizing moral qualities his heroine. The landscape often appears before us through the eyes of this particular girl. She loved to meet "dawn sunrise" on the balcony, or suddenly saw a whitened courtyard in the window in the morning.

Encyclopedic work

V.G. Belinsky, the famous critic, called Pushkin's novel "an encyclopedia of Russian life." And one cannot but agree with this. After all, an encyclopedia is a kind of systemic overview, which is revealed sequentially from A to Z. The novel is just that, if you carefully look at all the lyrical digressions present in Onegin. We will note then that the thematic range of the work unfolds precisely encyclopedically, from A to Z.

"Free Romance"

Alexander Sergeevich names his work in the eighth chapter " free novel". This freedom is expressed, first of all, in a casual author's conversation with the reader through lyrical digressions expressing feelings and thoughts on his behalf. This form allowed Pushkin to depict a picture of the life of contemporary society. We learn about education younger generation, about how young people spend their time, about balls and fashion from the time of Alexander Sergeevich Pushkin.

The lyrical digressions of the novel "Eugene Onegin" cover the theater as well. He, speaking about this amazing "magic region", recalls both Knyazhin and Fonvizin, but Istomin, who flies like a fluff, touching the floor with one foot, especially attracts his attention.

Lyrical digressions about literature

Lyrical digressions are also an opportunity to express in relation to contemporary literature and its problems. This is the subject of many arguments of Alexander Sergeevich in the text of the novel "Eugene Onegin". In these lyrical digressions, the narrator argues about the language, the use of various foreign words in it, which are sometimes simply necessary in order to describe certain things (for example, tailcoat, pantaloons, vest). Pushkin argues with a strict critic who calls for throwing off a miserable wreath to the poets of the elegy.

Author and reader

The novel "Eugene Onegin" is at the same time the story of its creation. The narrator communicates with the reader through lyrical digressions.

The text is created as if right before our eyes. It contains plans and drafts, as well as a personal assessment by the author of the novel. Alexander Sergeevich calls on the attentive reader to co-create. When the latter is waiting for the rhyme "rose", Pushkin writes: "Take her soon." The poet himself sometimes acts as a reader and strictly reviews his work. Lyrical digressions introduce authorial freedom into the text, thanks to which the narrative movement unfolds in many directions. The image of Alexander Sergeevich is many-sided - he is both a hero and a narrator at the same time.

If all the other heroes of the novel (Onegin, Tatyana, Lensky and others) are fictional, then the creator of this entire artistic world is real. He evaluates his heroes, their actions, and either agrees with them or disapproves, argues again in lyrical digressions. Built in this way, on an appeal to the reader, the novel tells about the fictitiousness of what is happening, it seems that this is just a dream, similar to life.

Features of lyrical digressions

Often lyrical digressions in "Eugene Onegin" occur before the climax of the story, forcing the reader to be in suspense, waiting for further development plot. So, the author's monologues meet before the explanation of Onegin and Tatyana, before her sleep and the duel, in which Eugene Onegin participates.

The role of lyrical digressions, however, is not limited to this. They are also used so that the reader can better understand the essence of certain characters. That is, they not only introduce art world new layers of "reality", but also create a unique author's image, which is an intermediary between the space in which the characters live, and the real world, of which the reader is a representative.

The lyrical digressions in "Eugene Onegin" are thus very diverse in terms of subject matter and purposes of including them in the narrative text. They give Pushkin's creation a special depth and versatility, scale. This suggests that the role of lyrical digressions in the work is very large.

The novel, based on the author's appeal to the reader, was a new phenomenon in the history of Russian literature of the 19th century. As time has shown, this innovation did not pass without a trace, it was noticed and appreciated both by contemporaries of Alexander Sergeevich Pushkin and by his descendants. "Eugene Onegin" is still one of the most famous works Russian literature not only in our country, but also abroad.

An essay on the topic “Lyrical digressions and their role in the novel by A.S. Pushkin "Eugene Onegin"

The novel "Eugene Onegin" was written by Pushkin for more than eight years - from the spring of 1823 to the autumn of 1831. At the very beginning of his work, Pushkin wrote to the poet P.A. Vyazemsky: “Now I am writing not a novel, but a novel in verse - a diabolical difference!” The poetic form gives "Eugene Onegin" features that sharply distinguish it from a prose novel; it expresses the thoughts and feelings of the author much more strongly.

The originality is given to the novel by the constant participation of the author in it: there is both an author-narrator and an author - actor. In the first chapter, Pushkin writes: "Onegin, my good friend ...". Here the author is introduced - the protagonist, one of Onegin's secular friends.

Thanks to numerous lyrical digressions, we get to know the author better. So readers get acquainted with his biography. The first chapter contains the following lines:

It's time to leave the boring beach

I hate the elements

And among the midday swells,

Under the sky of my Africa,

Sigh about gloomy Russia...

These lines are about the fact that fate separated the author from his homeland, and the words “My Africa” make us understand that we are talking about the southern link. The narrator clearly wrote about his suffering and longing for Russia. In the sixth chapter, the narrator regrets the departed young years, he also wonders what will happen in the future:

Where, where did you go,

My golden days of spring?

What does the coming day have in store for me?

In lyrical digressions, the poet's memories of the days “when in the gardens of the Lyceum” he began to “appear to the muse” come to life. Such lyrical digressions give us the right to judge the novel as the history of the personality of the poet himself.

Many lyrical digressions present in the novel contain a description of nature. Throughout the novel, we encounter pictures of Russian nature. There are all seasons here: both winter, “when the boys are joyful people” “cuts the ice” with skates, and “the first snow curls”, flashes, “falling on the shore”, and “northern summer”, which the author calls “a caricature of southern winters” , and spring is “the time of love”, and, of course, autumn, beloved by the author, does not go unnoticed. A lot of Pushkin refers to the description of the time of day, the most beautiful of which is night. The author, however, does not at all strive to portray some exceptional, extraordinary paintings. On the contrary, everything is simple, ordinary - and at the same time beautiful.

Descriptions of nature are inextricably linked with the characters of the novel, they help us to better understand them. inner world. We repeatedly notice in the novel the narrator's reflections on Tatyana's spiritual closeness to nature, with which he characterizes the moral qualities of the heroine. Often the landscape appears to the reader as Tatyana sees it: “... she loved to warn the sunrise on the balcony” or “... through the window Tatyana saw a whitened yard in the morning.”

Noted Critic VG Bellinsky called the novel "an encyclopedia of Russian life." And indeed it is. An encyclopedia is a systematic overview, usually from “A” to “Z”. Such is the novel “Eugene Onegin”: if you carefully look through all the lyrical digressions, we will see that the thematic range of the novel is expanded from “A” to “Z”.

In the eighth chapter, the author calls his novel "free". This freedom is, first of all, a casual conversation between the author and the reader with the help of lyrical digressions, the expression of thoughts from the author's "I". It was this form of narration that helped Pushkin to recreate a picture of his contemporary society: readers learn about the upbringing of young people, how they spend their time, the author closely watches balls and contemporary fashion. The narrator describes the theater especially vividly. Talking about this “magic region”, the author recalls both Fonvizin and Knyazhin, and Istomin especially attracts his attention, who, “touching the floor with one foot”, “suddenly flies” as light as a feather.

Much discussion has been devoted to the problems contemporary Pushkin literature. In them, the narrator argues about literary language, about the use of foreign words in it, without which it is sometimes impossible to describe some things:

Describe my case:

But pantaloons, tailcoat, vest,

"Eugene Onegin" is a novel about the history of the creation of the novel. The author talks to us in lines of lyrical digressions. The novel is being created as if before our eyes: it contains drafts and plans, a personal assessment of the novel by the author. The narrator encourages the reader to co-create (The reader is waiting for the rhyme rose / Na, take it quickly!). The author himself appears before us in the role of a reader: “he reviewed all this strictly ...”. Numerous lyrical digressions suggest a certain freedom of the author, the movement of the narrative in different directions.

The image of the author in the novel is many-sided: he is both the narrator and the hero. But if all his heroes: Tatiana, Onegin, Lensky and others are fictional, then the creator of all this fictional world real. The author evaluates the actions of his characters, he can either agree with them or oppose them with the help of lyrical digressions. indicating the topic right now to find out about the possibility of obtaining a consultation.

Historical digressions in the novel "Eugene Onegin"

“First of all, we re-read the epigraphs: Dmitriev, Baratynsky and Griboyedov. (11, p. 181) They outline the main theme of the seventh chapter -- Moscow theme, where Pushkin transfers the action of the novel. The epigraphs testify that the poet looks at Moscow not as a second capital, but as a beloved Russian city, embodying the Motherland with the greatest strength and fullness, the focus of one love, and bows before great role in the history of the Russian state.” (7, p. 15)

G. Belinsky wrote: “The first half of the 7th chapter ... is somehow especially distinguished from everything by the depth of feeling and marvelously beautiful verses.

Here Pushkin talks about the future of Russia, about future roads, talks about the present. It seems that it belongs to him the phrase that there are two troubles in Rus': fools and roads.

“... (After five hundred years) roads, right,

We will change immeasurably:

Highway Russia here and here,

Connecting, cross,

Cast iron bridges across the water

Stepping in a wide arc

And lead the baptized world

There is a tavern at every station…” (11, p. 194)

“Now our roads are bad.

Forgotten bridges rot

Bed bugs and fleas at the stations

Sleep minutes do not give;

There are no taverns…”

“But winters are sometimes cold ...

... The winter road is smooth ... " (11, p. 194)

And in front of us is like a map of Moscow:

“Already white-stone Moscow,

Like heat, with golden crosses

The ancient chapters are burning ... " (11, p. 194)

"In my wandering destiny,

Moscow, I thought about you! Moscow ... how much in this sound

Merged for the Russian heart!

How much resonated in it!» (11, p. 194)

Petrovsky Castle was located near the entrance to Moscow. In 1812, during a campaign in Russia, Napoleon escaped in it from a fire that engulfed Moscow and the Kremlin.

"Petrovsky Castle. He is gloomy

Proud of recent glory.

Waiting in vainNapoleon ,

Intoxicated with last happiness,

Moscow kneeling

With the keys of the old Kremlin:

No, I didn't goMoscow is mine

To him with a guilty head.

Not a holiday, not an accepting gift,

She was preparing a fire

An impatient hero.

From here, immersed in thought,

He looked at the terrible flame.” (11, p. 195)

In the novel, Pushkin described and perfectly correlated the landscapes of different cities and villages. I mean Petersburg and Moscow. And the village of Onegin and the Larins.

“Go! Already the pillars of the outpost

Turn white; here on Tverskaya

The wagon rushes through potholes.

Flickering past the booth, women,

Boys, benches, lanterns,

Palaces, gardens, monasteries,

Bukharians, sleighs, vegetable gardens,

Merchants, shacks, peasants…” (11, p. 195)

The “abundance” of lyrical digressions in such important, perhaps central, works of two writers - Pushkin and Gogol - is also explained by many common features, and some differences. Let's try to trace this similarity and differences and understand the place of lyrical digressions in each of the works.
The possibility of lyrical digressions was declared by both Pushkin and Gogol in the genre. “Eugene Onegin” is not just a novel, but a novel in verse (“a devilish difference!”), Pushkin emphasizes the combination of the epic and lyrical genres. His novel in verse is not only a story about the life of heroes, but also lyrical work filled with the author's individuality.
The same thing happens in the prose “poem” (this is how Gogol defines his creation) “ Dead Souls". After all, in fact, this is not only the story of the Chichikov adventure, but a song about Russia, Gogol's deeply personal thoughts and experiences.
With the help of lyrical digressions, Pushkin introduces his era with its way of life into the artistic fabric of the novel (almost the entire I chapter), real people, which the reader could not fail to recognize ("Fonvizin, friend of freedom", "the capricious Knyazhnin", "Ozerov with the young Semenova", "our Katenin", "sharp Shakhovskaya" and many others). In that important role digressions - extension art space, what makes Onegin "an encyclopedia of Russian life." Seizing on some detail, Pushkin complements, enlivens it with his personal perception, a wave of associations that create the impression of complete authenticity. Lyrical digressions of this kind are similar to live communication between the author and his characters; Pushkin's reaction is so instant: as soon as Onegin goes to the ball, the poet already exclaims:
In the days of fun and desires, I was crazy about balls ...
Then he embarks on such a long discussion about ladies' legs (“Ah, legs, legs! where are you now? ..”) that later he has to apologize to the reader:

At the beginning of my romance
(See first notebook)...
I've been reminiscing
About the legs of ladies I know.
It's time for me to get smarter
Get better in deeds and style,
And this fifth notebook
Clear away deviations.

But still, lyrical digressions take most novel, and since their essential role is to introduce the author, Pushkin himself, into the novel, he actually turns out to be the main character, and what the reader learns about him is almost more important for Pushkin than the whole story of Onegin and Tatyana. Increasingly, he turns to his own experiences:

Although I am cordial
I love my hero
Although I will return to him, of course,
But now I'm not up to it.

But more on that later, let us now turn to Gogol. For him, the role of “everyday” Pushkin’s digressions is played by detailed comparisons - “ladders”, in which Gogol, starting from small detail, goes far beyond the plot, however, in Gogol, these are most often random, unmotivated branches of the road of his poem “male, round, wide face, like Moldovan pumpkins, called gourds, from which balalaikas are made in Rus', two-stringed light balalaikas, the beauty and fun of a quick-witted twenty-year-old guy ... ”etc. But main topic poems - Russia, and all lyrical digressions touch at least marginally, develop this theme even in the above passage: household parts generalizations: “The peace was of a certain kind, for the hotel was also of a certain kind, that is, exactly the same as there are gifts in provincial cities...”, etc.) to large-scale, filled philosophical content images of a trio bird As for everyday details that become the subject of the author's irony, this is also found in Pushkin:

When the good is illuminated
Let's move more boundaries
Over time (calculated
philosophical tables,
five hundred years later)
Roads, right
You will change immeasurably...
Now our roads are bad,
Forgotten bridges rot...

and so on. The second most important theme of “Dead Souls”, connected with the theme of Russia, is exactly the way the roads are. The road is an image that organizes the whole plot, and Gogol introduces himself into lyrical digressions as a man of the path. “Before, long ago, in the summers of my youth... I was it's fun to drive up to an unfamiliar place for the first time... Now I indifferently drive up to any unfamiliar village and look indifferently at its vulgar appearance; my chilled gaze is unpleasant, it’s not funny to me ... and my motionless lips keep an indifferent silence. Oh my youth! O my conscience!”
Pushkin at the end of the sixth chapter of the novel also says goodbye to his youth:

Dreams Dreams! where is your sweetness?
Where is the eternal rhyme to it, youth?
Am I about thirty years old?

However, Pushkin's mood is completely different, Gogol's gloomy melancholy is not characteristic of him; he accepts everything that happens to him, that fate sends him, calmly:

But so be it: let's say goodbye together,
O my light youth!
Thanks for the pleasure
For sadness, for miserable torments ...
For everything, all your gifts
Thank you... Enough!
With a clear soul
I'm embarking on a new path
Rest from the life of the past.

Pushkin in lyrical digressions is a living person with his own destiny, thoughts and memories. And he builds relationships with his heroes, as with living people. Surrounded by a multitude of literary “patterns” (Clarissa, Julia, Delfina, Wolmar, Werther, Grandison), they turn out to be none of them (“But our hero, whoever he was, certainly was not Grandison”). Very interesting are Pushkin's discourses on literature, its various directions: classicism, which Pushkin teases about, romanticism, from which he departs, feeling that he is outdated. All this is written not quite seriously, in a joking tone:

Your syllable in an important way of mood,
It used to be a fiery creator
He showed us his hero
Like a perfect example.

This is similar to Gogol’s reasoning about different “types” of writers: “Happy is the writer who, past the characters of boring, nasty ... without touching the ground, plunged into his images far torn away from her and exalted ... There is no equal to him in strength - he God! But such is not the fate of the writer, who dared to bring out everything that is every minute before the eyes and that indifferent eyes do not see ... For the modern court does not recognize that the glasses that look at the suns and convey the movement of unnoticed insects are equally wonderful ... field, and he will bitterly feel his loneliness. Gogol ranks himself precisely with the latter "type". At the end of his poem, he responds to possible accusations “from the side of the so-called patriots”, demanding that everything said about Russia be equally laudable, good, sublime, a parable about Kif Mokievich and Mokiya Kifovich, accusing “those who think not about not doing evil, but that they do not say that they do evil. At the same time, Gogol also speaks of “connoisseurs of literature”, who have their own idea of ​​the goal writer's work(“It’s better to present us the beautiful, the fascinating”). Gogol is disappointed in his readers in advance: “But it’s not that hard that they will not be satisfied with the hero, it’s hard that there is an irresistible confidence in the soul that the same hero ... readers would be satisfied.”
Pushkin addresses the reader quite differently:

Whoever you are, my reader,
Friend, foe, I want to be with you
To part now as a friend.
Sorry. Why would you follow me
Here I did not look for careless stanzas ...
God grant that in this book you ...
Although he could find a grain.
Let's part for this, I'm sorry!

Well, Pushkin's finale:

Many, many days have passed
Ever since young Tatyana
And with her Onegin in a vague dream
Appeared to me for the first time -
And the distance of free romance
I'm through the magic crystal
Not yet clearly distinguished -

reminiscent of Gogol: “And for a long time it was determined for me by wonderful power to go hand in hand with my strange characters to survey the whole vastly rushing life, to survey it through laughter visible to the world and invisible, unknown to it tears!”
So, lyrical digressions are a very important part of both works. In "Eugene Onegin" they introduce the true protagonist of the novel - Pushkin, a man of his era, surrounded by its attributes and signs. Gogol in his poem acts primarily as a thinker and contemplator, trying to unravel the mysterious bird-troika - Rus (“Are you, Rus, that brisk, irresistible trio, rushing? .. Rus! where are you rushing? Give me an answer. Doesn't answer). Lyrical digressions in " Dead souls” are often deeper, philosophically serious than Pushkin’s. But, although with different sides, both writers solve the same problem: both Pushkin and Gogol draw a very broad, three-dimensional picture Russian life of his time, supplementing it with his own judgments and the author's individuality, and leading role lyrical digressions play in this.

The role of lyrical digressions in the novel "Eugene Onegin" is difficult to overestimate. They help the author to express many thoughts and ideas that would be incomprehensible or not so obvious without them.

Meaning of the novel

The role of lyrical digressions in the novel "Eugene Onegin" is enormous. With their help, the author constantly intervenes in the narrative, stubbornly reminding himself. With the help of this technique, which was later actively used by other authors, the poet introduces the reader to his own point of view on a variety of issues and life problems, formulates its own worldview position.

Thanks to lyrical digressions in the novel "Eugene Onegin", Pushkin even manages to portray himself next to the main character (they appear together on the banks of the Neva).

Making a novel

Over his novel, Pushkin insisted on just such a definition of the genre, although outwardly the work looks more like a poem, the poet worked for seven whole years. He finished it only in 1831. Pushkin called his work on it a real feat. According to him, only "Boris Godunov" was given to him just as hard.

The poet began to work on "Onegin" in Chisinau, when he was in southern exile. At that time, the author was experiencing a creative crisis, reconsidering a lot in his worldview. In particular, he abandoned romanticism in favor of realism.

This transition is especially noticeable in the first chapters of Eugene Onegin, in which romanticism is still keeping pace with realism.

The novel was originally planned to have 9 chapters. But then Pushkin reworked the entire structure, leaving only 8. From the final content, he removed the part dedicated to Onegin's journey. Its fragments can only be found in appendices to the text.

The novel details the events between 1819 and 1825. It all starts with the foreign campaign of the Russian army against the French, and ends with the uprising of the Decembrists.

The plot of the novel

The novel begins with the fact that the young St. Petersburg nobleman Eugene Onegin, due to the illness of his uncle, is forced to leave the capital for the countryside. Such is the plot of this work. After Pushkin talks about the upbringing and education of the protagonist. They were typical of a representative of his circle. He was taught exclusively by foreign teachers.

His life in Petersburg was filled with love affairs and intrigue. A series of constant entertainment led him to the blues.

He goes to his uncle to say goodbye to a dying relative, but no longer finds him alive. He becomes the heir to the entire estate. But soon the spleen overtakes him in the village. The young neighbor Lensky, who has just returned from Germany, is trying to entertain him.

It turns out that new friend Onegin is crazy about Olga Larina, the daughter of a local wealthy landowner. She has another sister, Tatyana, who, unlike Olga, is always thoughtful and silent. Onegin is indifferent to the girl, but Tatyana herself falls in love with a St. Petersburg nobleman.

She decides to take an unprecedented step at that time - she writes a letter to her lover. But even then Onegin rejects her, calm family life disgusts him. Soon, again out of spleen and boredom, at a party with the Larins, Onegin makes Lensky jealous of Olga. Young and hot Lensky immediately challenges him to a duel.

Onegin kills his former friend and leaves the village.

The novel ends with the meeting of Onegin and Tatyana in the capital three years later. By that time, the girl had married a general and became a real society lady. This time, Eugene falls in love with her, but she rejects him, because she believes that she must remain faithful to her husband to the end.

A novel about everything

It is no coincidence that many critics call Pushkin's novel "Eugene Onegin" an encyclopedia of Russian life. Perhaps, you will never meet such a work, where the subject matter is so extensive.

The author not only talks about the fate of the characters, but also discusses the most intimate with the reader, tells about creative plans, talks about art, music and literature, tastes and ideals that are close to his contemporaries. This is what lyrical digressions are devoted to in the novel "Eugene Onegin".

It is with the help of such digressions that Pushkin turns an ordinary story of friendship and love into a full-fledged picture of the era, creates a holistic and tangible image of Russia as the first quarter XIX century.

Themes and forms of lyrical digressions in "Eugene Onegin"

Extensive digressions can be found already in the first chapter of the novel. They are dedicated to the achievements of the national theatrical art, an essay on contemporary secular customs, opinions on unusual habits socialites and their husbands.

In the very first chapter of the novel, the theme of love is heard for the first time. Critics believe that in the lyrical elegiac recollection, Pushkin is sad about Volkonskaya. In subsequent chapters, love becomes an occasion for authorial digressions.

The role of lyrical digressions in the novel by A. S. Pushkin is difficult to overestimate. With their help, the author formulates own opinion about what is happening, creates the effect of the reader's participation in what is happening, creating the illusion of a dialogue with him.

For example, this role of lyrical digressions in the novel "Eugene Onegin" can be traced at the moment when the author comments on the refusal of the protagonist from Tatiana's love. Pushkin persistently defends the protagonist from the accusations that may fall on him. He emphasizes that this is not the first time Onegin shows his nobility.

Friendship Theme

What is the role of lyrical digressions in the novel "Eugene Onegin" can be understood by the way he sanctifies the theme of friendship. This happens at the very end of the fourth chapter.

Talking about the friendship between Onegin and Lensky, Pushkin raises the theme of narcissism and disregard for others. Claiming that selfishness is one of typical features generations.

Images of Russian nature

One of the poet's discoveries in this novel was the creation realistic images Russian nature. More than one chapter of "Eugene Onegin" is devoted to them.

The author pays attention to all seasons without exception, accompanies all this landscape sketches. For example, before talking about Tatiana's letter to Onegin, Pushkin describes night garden, and the scene ends with a picture of a rural morning.

Literary questions

It is interesting that in the novel by Alexander Sergeevich Pushkin "Eugene Onegin" there was a place for lyrical digressions, dedicated to the problems modern author literature and mother tongue. Also the topic creative crisis in which writers often find themselves.

For example, in the fourth chapter, Pushkin openly polemicizes with an imaginary critic who demands odic solemnity from writers in his works.

For Pushkin himself, the ode is a relic of the past. At the same time, the poet criticizes many of his contemporaries, who overdid it in tearfulness and imitation. Pushkin even shares with the reader the difficulties he encounters when writing a novel. Complains of difficulty in using foreign words.

In one of the last chapters of Eugene Onegin, Pushkin, in a lyrical digression, even raises patriotic theme. The poet confesses his sincere love for Russia.

Thus, one can be convinced that the role of lyrical digressions in the novel "Eugene Onegin" is great. According to Belinsky, they reflected the whole soul of the poet.