A.S. Pushkin's novel "Eugene Onegin" became central work in the work of the great poet. According to the author himself, the novel is reflected modern age and people born to them. The main character of both the novel and contemporary Pushkin century was the young nobleman Eugene Onegin. Onegin is no longer a romantic hero, we have before us a socio-historical type: a young man whose life and fate are conditioned both by his personal qualities, and a certain public environment. In the image of his hero, Pushkin summarized all the strong and weak sides secular nobility, dissatisfied with reality, bored, inactive, leading an idle empty life. However, the protagonist undergoes a spiritual evolution that is visible throughout the novel. Pushkin describes in detail the causes and consequences of Onegin's blues, and his path to a new life.
Eugene Onegin received classical upbringing nobleman. From the first lines, Pushkin introduces us to the life of his hero, his feelings, worldview. The conditions for the formation of the character of the hero were typical of the early nineteenth century. Like any other young man from an aristocratic family, as a child he was entrusted with the care of a French governess, "then Monsieur replaced her" and "taught him everything in jest." So at the time of his youth, Onegin “could absolutely speak and write in French, easily danced the mazurka.” But his main science, Pushkin admits, “was the science of tender passion”: the young hero spent all the time in restaurants, theaters, balls, courting women. Thousands of young nobles lived the same life, a similar way of life was familiar to the nobility. Pushkin describes in detail the pastime of his hero:
He used to be in bed:
They carry notes to him.
What? Invitations? Indeed,
Three houses are calling for the evening.
The reader sees that Onegin lives in an unspiritual environment, tired of secular amusements, disappointed, fed up with secular amusements.
And yet, despite the fact that Onegin learned "something and somehow," he still stands on high level culture of his time, differing in this respect from most noble society. Pushkin hero- a product of this society, but at the same time it is alien to it. The emptiness of life torments Onegin, he is disappointed in everything, falls into a blues. In his moods, the author notes the crisis of the old ideals of life, dating back to the eighteenth century. Numerous entertainments do not make Onegin's life happy, he is bored. He even tried to get carried away with literature, being a restless and sharp mind, and soon became completely disillusioned with secular life, "he was bored with the noise of the light."
Onegin lives without a goal, Pushkin emphasizes that "stubborn work was sickening to him." Fleeing from the blues, Onegin goes to the village, trying to escape from dreary thoughts. At first, the main character really finds peace, enjoying the silence of the village and the beauty of rural nature. In the countryside, he behaves like a humane person towards the peasants, but by and large does not think about their fate. Despite the fact that “the slave blessed fate”, thanks to Onegin, he was not long occupied with thoughts about the well-being of his estate. And here, far from the light, all Onegin's actions are accompanied by the same boredom. Until the hero met the young romantic Vladimir Lensky, who brought Onegin to the Larin family. However, this acquaintance ends in tragedy for all the heroes.
Knowing how strongly Lensky is attached to Olga Larina, Onegin still allows himself courting Tatyana's sister simply out of unaccountable boredom. These actions led to a duel with Lensky, as a result of which Onegin's young friend dies. This duel became the next stage of Onegin's spiritual evolution. Main character felt an impulse to stop the duel, realizing its absurdity, nevertheless, cold reason and pride prevailed, prevented Onegin from showing true, and not imaginary heroism. So, sincerely attached to Lensky, Onegin nevertheless destroys a friend. The feelings and thoughts that swept over Onegin after the death of Lensky made him reconsider his attitude to life and indifference to others. The hero becomes more and more isolated, feeling hopeless loneliness. In a depressed state, Onegin decides to leave the village and go on a journey. But this does not save him either: longing, melancholy and dissatisfaction with himself only intensify:
What should I expect? Longing, longing...
Tatyana's love also did not make Onegin happier. He rejected Tatyana's love, realizing the inability of his cold, selfish heart to respond to ardent love, and made a very rude rebuff that offended the feelings of a gullible heroine. However, having met Tatyana again, already in the guise of a brilliant married lady, Onegin felt love revived in his heart for his soul mate, the girl whom he was once afraid to love with all his heart, the only woman able to bring him back to life. But now it was Onegin's turn to be disappointed. In response to Yevgeny's ardent words, Tatyana confesses:
I love you (why lie?),
But I am given to another:
I will be faithful to him forever.
Nevertheless, in Onegin's love for Tatyana, Pushkin emphasizes his hero's ability to moral rebirth, shows that he is not yet completely extinct, a person who has cooled off to everything, he is still boiling vitality. According to the poet, all this should have awakened in Onegin a desire for social activity.
Thus, the image of the protagonist has undergone a spiritual evolution from an indifferent and disappointed young nobleman, the owner of a cold mind, an “egoist involuntarily” to a person who has realized the meaning of life, an experienced person who has great potential for public action. Eugene Onegin was that type of enlightened nobleman who, being gifted by nature, cannot apply his abilities in his contemporary society, seized by lack of ideas and secular boredom. So, anticipating the theme of the “superfluous person”, A.S. Pushkin draws true hero of his time, who went his way to spiritual enrichment through the trials of his own conscience.
Tasks and tests on the topic "What are the causes and consequences of Onegin's "spleen"? (Based on the novel by A.S. Pushkin" Eugene Onegin ".)"
- NGN with subordinate adverbial clauses (subordinate causes, conditions, concessions, goals, consequences) - Complex sentence Grade 9
Lessons: 5 Assignments: 8 Quizzes: 1
In the novel "Eugene Onegin" Pushkin embodied one of his most significant ideas - to create the image of a "hero of time". Even before work on the novel had begun, romantic poem « Prisoner of the Caucasus» In 1821, the poet tried to paint a portrait of a contemporary. But the means of romantic poetics came into conflict with a task that could only be solved by realistic means. Pushkin wanted not only to show a person who was possessed by a special “disease”, called “Russian blues” in Onegin, but also to explain the reason for this new phenomenon, which led to the emergence of a special type of personality with “premature old age of the soul”. "Who will take the image young man who lost the sensitivity of the heart in misfortunes unknown to the reader" - this is how the author himself commented on his "failure". And then he proceeds to create the first realistic socio-psychological novel in Russian literature.
"Eugene Onegin" presents "a typical hero in typical circumstances"; there is not the slightest hint of the exceptional, exotic setting inherent in romantic works. But something else is even more important: world sorrow"Romance, which appears as a result of the discovery by the hero, an exceptional personality, of the general imperfection of the world and disappointment in everything, in Onegin is motivated by quite realistic reasons. Moreover, instead of this traditional romantic trait Russian Childe Harold Onegin is also endowed with a "Russian melancholy". At the same time, the word “spleen” itself is filled with a slightly different content: there remains a hint of disappointment, general skepticism, but at the same time something that is associated with boredom, satiety, even some laziness and phlegm appears. But the most important thing is that all these qualities of Onegin, which have quite obvious consequences in the future plot development, from the very beginning receive an exhaustive explanation. So, what are the reasons for Onegin's "spleen"?
In the first chapter of the novel, Pushkin tells in detail about Onegin's life before the plot action begins. Before us is a picture of the upbringing, education, pastime and interests of a typical young man who was born "on the banks of the Neva" and, by the will of fate, turned out to be "the heir to all his relatives." He gets quite wide, but not deep home education, like many noble children of that era; brought up by French tutors, fluent in French, dances well, dresses in fashion, can easily keep up a conversation, has impeccable manners - and now all the doors leading to high society are open for him:
What do you want more? The light has decided
That he is smart and very nice.
How little, it turns out, was required of a person himself for society to give him the highest rating! Everything else is what gives it an origin and a certain social and financial situation. One can imagine what kind of people must have surrounded Onegin from the very first steps in the world. Of course, for an ordinary person, this would hardly be an important factor the appearance of boredom and satiety with such a life, but Onegin, as Belinsky noted, "was not one of the ordinary, dozen people." The author himself speaks of his closeness and a certain sympathy for this extraordinary person:
I liked his features
Dreams involuntary devotion
Inimitable strangeness
And a sharp, chilled mind.
Why does the dreaminess of Onegin's nature turn into disappointment, and why does his deep analytical mind become sharp and chilled? It is not difficult to guess this: Pushkin in the most detailed way describes a typical day of Onegin, his activities and hobbies. The author's conclusion is obvious:
Wakes up at noon, and again
Until the morning his life is ready,
Monotonous and variegated.
And tomorrow is the same as yesterday.
This is what brings the hero to the blues: the monotony of life, only outwardly colorful, but in fact revolving in an established circle: "lunches, dinners and dances," as Griboedov's Chatsky said about this. They are interspersed with obligatory visits to the theater, where the same circle of people gathers, equally obligatory novels, which are essentially only secular flirting. This, in fact, is all that the world can offer a young man. Belinsky rightly said about Onegin that “the inactivity and vulgarity of life stifle him; he doesn't even know what he wants; but he knows, and knows very well, that he doesn’t need, that he doesn’t want what makes selfish mediocrity so content, so happy.” And here is the result:
Illness whose cause
It's high time to find
Like an English spin
In short: Russian melancholy
She took possession of him little by little;
He shoot himself, thank God,
Didn't want to try
But life has completely cooled off.
But another logical question arises: why, then, a person generously endowed with various abilities cannot find another occupation for himself, except for those with which “so pleased ... proud mediocrity”? In fairness, it must be said that Onegin had such attempts: he, having left the flirting with secular beauties that had bothered him, “yawning, took up the pen.” The author's irony is obvious here: this is not how a true writer starts his creative work. But the point is not only in Onegin's lack of a writer's gift, the author's conclusion is more general: "hard work was sickening to him." Here it is - Onegin's laziness. Even later, after settling in the countryside and at first carrying out some transformations there (“he replaced the old corvee with a yoke with a light quitrent”), Onegin immediately calms down: fortunately now you don’t even have to go to work, as neighboring landowners do. He secludes himself, fleeing from all the visitors who have bothered him so much, and lives as an anchorite.
But maybe Onegin did not use all the means that could cure his illness? And actually, what other “recipes” are offered against it? Of course, travel typical feature romantic hero. Onegin and was about to go to the South with the Author, about which he informs us in digression. But then the inheritance “turned up” and he limited himself to a “journey” to the village. True, then he will be destined to “ride around Russia”, but it will not be quite the same Onegin, bored and moping, whom we met in this part of the novel.
And what else is the hero trying to do to disperse the blues? In fact, nothing more. Maybe this is the reason why in the village, where the usual conditions of Onegin's life have really changed,
... boredom is the same
The blues was waiting for him on guard
And she ran after him
Like a shadow or faithful wife.
So maybe the causes of Onegin's illness are still deeper, maybe it's not for nothing that Pushkin talks about his "inimitable strangeness"? After all, there are such restless natures in the world who are not satisfied with anything, who are looking for something, even they do not quite understand, and never find it, they try to find a worthy job in life, but only again and again are disappointed - and yet they do not leave their searches. Yes, such people were captured by both Russian and European literature. In Europe, they were called romantics, and in Russia, having absorbed special national Russian features, they became " superfluous people". This is the most important consequence of Onegin's "spleen", which, in fact, turns out to be a really serious illness, which is difficult to get rid of. The very stubbornness of Onegin's attempts to overcome this state speaks of the depth and seriousness of the problem. It is not for nothing that Pushkin, having begun the novel in a somewhat ironic tone, gradually proceeds to a thoughtful analysis of all the components of this problem. And it turns out that the consequences of this "disease" modern man can be extremely difficult both for himself and for those around him.
Onegin's ailment, associated with Western European "Byronism", does not by chance strike him, brought up and raised "on the banks of the Neva", in the most European city of Russia. The work is based on one a common problem, which will be central to Russia throughout the nineteenth century, is the problem of dividing society into two different and very little interconnected parts. On the one hand, this nobility, primarily urban, absorbed European culture, education and largely lost national foundations. On the other hand, much most of- one that retained national roots: supported national traditions, rituals, customs, based her life on the centuries-old moral principles. Even the language of these two disintegrated parts of the once (before Peter's reforms) unified Russian society turned out to be different: it is enough to recall the words of the hero of the comedy "Woe from Wit" Chatsky - a contemporary of Onegin - that the people considered the nobility, often used even in everyday life French, "for the Germans", that is, foreigners.
Onegin's isolation from the national "soil" is at the same time the cause of his blues, and what underlies the very important consequences of Onegin's illness. First about the reasons. We all know that Pushkin's talent, imprisoned in Mikhailovsky by the will of fate, reached an unprecedented flowering. Pushkin had something to do in the countryside, although he, especially at first, had to mope and yearn, like Onegin. But there is a big difference between them:
I was born for a peaceful life
For rural silence:
livelier creative dreams -
this is how Pushkin speaks of himself, opposing his attitude to the countryside and Russian nature to Onegin's. After all, only for two days the typical Russian landscape interested Onegin, and -
On the third grove, hill and field
He was no longer interested;
Then they put me to sleep….
But there is a heroine in the novel who is very similar to the author, not only in her attitude to Russian nature, but also to everything Russian. This, of course, is Tatyana, "Russian in spirit." Brought up in the countryside, she absorbed Russian customs, traditions that were “kept in peaceful life” in the Larin family. From childhood she fell in love with Russian nature, which forever remained dear to her; she accepted with all her heart those fairy tales, folk legends, which the nanny told her. In other words, Tatyana retained a living, blood connection with that “soil”, the folk basis that Onegin completely lost.
And now their meeting takes place: a Russian European suffering from an illness “like an English spleen”, and a dreamy Russian girl, sincere in her impulses and capable of deep, strong feeling. This meeting could be a salvation for Onegin. But one of the consequences of his illness is the very “premature old age of the soul” about which Pushkin spoke. Appreciating Tatyana, her bold, desperate act, when she first confessed her love to him, Onegin does not find the spiritual strength in himself to respond to the girl's feelings. He was only "vividly touched" when he received her message. And then his “sermon” followed in the garden, in which he “taught” a girl inexperienced in matters of the heart, how carefully one should behave. This is the whole of Onegin: in his monologue there is both a sincere confession of the soul, and the caution of a secular person who is afraid to fall into awkward situation, and even some surviving features of the "insidious seducer", but most importantly - callousness and selfishness. This becomes human soul suffered by premature old age. She was not created, as Onegin himself says, "for bliss" family life. But why?
It turns out that this is also one of the consequences of the illness of the Russian “Byronist”. For such a person, freedom is above all, it cannot be limited by anything, including family ties:
Whenever life is around the house
I wanted to restrict...
Precisely "to limit", but not to find at all soul mate in a loved one, as Tatyana thinks. Here it is, the difference between the two life systems formed in different cultural and ethical traditions. Apparently, it will be difficult for Tatyana to understand this position. modern hero”, about which Pushkin so accurately said:
Destroy all prejudices
We honor all zeros,
And units - themselves.
We all look at Napoleons ...
But this is exactly Onegin. Should have happened terrible events to begin, at least in part, the deliverance of the hero from dire consequences his illness, so that something in him begins to change. The death of Lensky is the price of Onegin's transformation, the price, perhaps, is too high. The “bloody shadow” of a friend awakens frozen feelings in him, his conscience drives him out of these places. It was necessary to go through all this, to "ride through Russia" in order to realize that freedom can become "hateful" in order to be reborn for love. Only then will Tatyana with her “Russian soul”, with her impeccable moral sense, become a little clearer to him. And yet even then there will remain between them huge difference: Onegin, intoxicated with his newfound ability to love and suffer, it is not clear that love and selfishness are incompatible, that you can not sacrifice the feelings of other people. As then, in the garden, in last scene The novel has again taught a lesson - only now Tatyana Onegin is giving it, and this is a lesson in love and fidelity, compassion and sacrifice. Will Onegin be able to assimilate it, as Tatyana once humbly accepted his “lessons”? The author does not tell us anything about this - the ending of the novel is open.
"Eugene Onegin" presents "a typical hero in typical circumstances - there is not the slightest hint of the exceptional, exotic setting characteristic of romantic works. But even more important is another "world sorrow" romance, which appears as a result of the discovery by the hero, an exceptional personality, of the general imperfection of the world and disappointment in everything, in Onegin is motivated by quite realistic reasons. Moreover, instead of this traditional romantic feature, the Russian Childe Harold Onegin is also endowed with a “Russian blues”. At the same time, the word “spleen” itself is filled with a slightly different content; here there remains a shade of disappointment, general skepticism, but at the same time something that is associated with boredom, satiety, even some laziness and phlegm appears. But the most important thing is that all these qualities of Onegin, which have quite obvious consequences in the further development of the plot, from the very beginning, receive an exhaustive explanation. So, what are the reasons for Onegin's "spleen"?
At the beginning of the novel, we are presented with a picture of upbringing, education, pastime and interests of a typical young man who was born "on the banks of the Neva" and, by the will of fate, turned out to be "the heir to all his relatives."
Why does the dreaminess of Onegin's nature turn into disappointment, and why does his deep analytical mind become sharp and chilled? It is not difficult to guess this: Pushkin describes in detail the typical day of Onegin, his activities and hobbies. The author's conclusion is obvious:
Wakes up at noon, and again
Until the morning his life is ready,
Monotonous and variegated.
And tomorrow is the same as yesterday;
This is what brings the hero to the blues: the monotony of life, only outwardly colorful, but in fact revolving in an established circle: "lunches, dinners and dances," as Griboedov's Chatsky said about this. Belinsky rightly said about Onegin that “the inactivity and vulgarity of life stifle him, he does not even know what he wants; but he knows, and knows very well, that he doesn’t need, that he doesn’t want what makes selfish mediocrity so content, so happy.” And here is the result:
Illness whose cause
It's high time to find
Like an English spin
In short, Russian melancholy
She took possession of him little by little;
He shoot himself, thank God.
Didn't want to try
But to life completely cooled
A generously endowed with various abilities, a person cannot find other occupation for himself, except for those with which "so pleased ... conceited mediocrity." Onegin had such attempts: he, having left the flirtation with secular beauties that had bothered him, "yawning, took up the pen." But the point is not only in Onegin's lack of a writer's gift, the author's conclusion is more general: "hard work was sickening to him." Here it is - Onegin's laziness.
But maybe Onegin did not use all the means that could cure his illness? And actually, what other “recipes against it are offered? Of course, travel, such a typical feature of the romantic hero, Onegin was going to go to the South with the Author, which he informs us about in a lyrical digression. But then the inheritance “turned up” and he limited himself to a “journey” and the village. True, later he will be destined to “travel around Russia”, but it will not be quite the same Onegin, bored and moping, whom we met in this part of the novel.
And what else is the hero trying to do to disperse the "spleen". In fact, nothing else. Maybe this is the reason that in the village, where the usual living conditions of Onegin really changed:
boredom is the same
The blues was waiting for him on guard
And she ran after him
Like a shadow or a faithful wife
It is no coincidence that Onegin's ailment, associated with Western European "Byronism", affects him, who was brought up and raised "on the banks of the Neva".
Onegin's isolation from the national "soil" is at the same time the cause of his blues, and what underlies the very important consequences of Onegin's illness.
"Eugene Onegin" presents "a typical hero in typical circumstances - there is not the slightest hint of the exceptional, exotic setting characteristic of romantic works. But even more important is another "world sorrow" romance, which appears as a result of the discovery by the hero, an exceptional personality, of the general imperfection of the world and disappointment in everything, in Onegin is motivated by quite realistic reasons. Moreover, instead of this traditional romantic feature, the Russian Childe Harold Onegin is also endowed with a “Russian blues”. At the same time, the word “spleen” itself is filled with a slightly different content; here there remains a shade of disappointment, general skepticism, but at the same time something that is associated with boredom, satiety, even some laziness and phlegm appears. But the most important thing is that all these qualities of Onegin, which have quite obvious consequences in the further development of the plot, from the very beginning, receive an exhaustive explanation. So, what are the reasons for Onegin's "spleen"?
At the beginning of the novel, we are presented with a picture of upbringing, education, pastime and interests of a typical young man who was born "on the banks of the Neva" and, by the will of fate, turned out to be "the heir to all his relatives."
Why does the dreaminess of Onegin's nature turn into disappointment, and why does his deep analytical mind become sharp and chilled? It is not difficult to guess this: Pushkin describes in detail the typical day of Onegin, his activities and hobbies. The author's conclusion is obvious:
Wakes up at noon, and again
Until the morning his life is ready,
Monotonous and variegated.
And tomorrow is the same as yesterday;
This is what brings the hero to the blues: the monotony of life, only outwardly colorful, but in fact revolving in an established circle: "lunches, dinners and dances," as Griboedov's Chatsky said about this. Belinsky rightly said about Onegin that “the inactivity and vulgarity of life stifle him, he does not even know what he wants; but he knows, and knows very well, that he doesn’t need, that he doesn’t want what makes selfish mediocrity so content, so happy.” And here is the result:
Illness whose cause
It's high time to find
Like an English spin
In short, Russian melancholy
She took possession of him little by little;
He shoot himself, thank God.
Didn't want to try
But to life completely cooled
A generously endowed with various abilities, a person cannot find other occupation for himself, except for those with which "so pleased ... conceited mediocrity." Onegin had such attempts: he, having left the flirtation with secular beauties that had bothered him, "yawning, took up the pen." But the point is not only in Onegin's lack of a writer's gift, the author's conclusion is more general: "hard work was sickening to him." Here it is - Onegin's laziness.
But maybe Onegin did not use all the means that could cure his illness? And actually, what other “recipes against it are offered? Of course, travel, such a typical feature of the romantic hero, Onegin was going to go to the South with the Author, which he informs us about in a lyrical digression. But then the inheritance “turned up” and he limited himself to a “journey” and the village. True, later he will be destined to “travel around Russia”, but it will not be quite the same Onegin, bored and moping, whom we met in this part of the novel.
And what else is the hero trying to do to disperse the "spleen". In fact, nothing else. Maybe this is the reason that in the village, where the usual living conditions of Onegin really changed:
Boredom is the same
The blues was waiting for him on guard
And she ran after him
Like a shadow or a faithful wife
It is no coincidence that Onegin's ailment, associated with Western European "Byronism", affects him, who was brought up and raised "on the banks of the Neva".
Onegin's isolation from the national "soil" is at the same time the cause of his blues, and what underlies the very important consequences of Onegin's illness.
