Composition of the 1st chapter of Eugene Onegin. The originality of the genre and composition of the novel "Eugene Onegin"

History of creation. "Eugene Onegin", the first Russian realistic novel, is Pushkin's most significant work, which has a long history of creation, covering several periods of the poet's work. According to Pushkin's own calculations, work on the novel lasted for 7 years, 4 months, 17 days - from May 1823 to September 26, 1830, and in 1831 "Onegin's Letter to Tatiana" was also written. The publication of the work was carried out as it was created: at first, separate chapters came out, and only in 1833 did the first complete edition come out. Until that time, Pushkin did not stop making certain adjustments to the text.The novel was, according to the poet, "the fruit of the mind of cold observations and the heart of sorrowful remarks."

Completing work on the last chapter of the novel in 1830, Pushkin sketched out his draft plan, which looks like this:

Part one. Preface. 1st song. Khandra (Kishinev, Odessa, 1823); 2nd song. Poet (Odessa, 1824); 3rd song. Young lady (Odessa, Mikhailovskoye, 1824).

Part two. 4th song. Village (Mikhailovskoe, 1825); 5th song. Name days (Mikhailovskoe, 1825, 1826); 6th song. Duel (Mikhailovskoe, 1826).

Part three. 7th song. Moscow (Mikhailovskoye, Petersburg, 1827, 1828); 8th song. Wandering (Moscow, Pavlovsk, Boldino, 1829); 9th song. Great Light (Boldino, 1830).

In the final version, Pushkin had to make certain adjustments to the plan: for censorship reasons, he excluded Chapter 8 - "The Journey". Now it is published as an appendix to the novel - "Excerpts from Onegin's Journey", and the final chapter 9 - "Big Light" - became, respectively, the eighth. In this form, in 1833, the novel was published as a separate edition.

In addition, there is an assumption about the existence of chapter 10, which was written in the Boldin autumn of 1830, but on October 19 it was burned by the poet , as it was devoted to depicting the era of the Napoleonic wars and the birth of Decembrism and contained a number of dangerous political allusions. Insignificant fragments of this chapter (16 stanzas) encrypted by Pushkin have been preserved. The key to the cipher was found only at the beginning of the 20th century by the Pushkinist NO. Morozov, and then other researchers supplemented the deciphered text. But disputes about the legitimacy of the assertion that these fragments really represent parts of the missing chapter 10 of the novel still do not subside.

Direction and genre. "Eugene Onegin" is the first Russian realistic socio-psychological novel, and, what is important, not prose, but a novel in verse. For Pushkin, it was fundamentally important when creating this work to choose an artistic method - not romantic, but realistic.

Starting work on the novel during the period of southern exile, when romanticism dominates the poet's work, Pushkin soon becomes convinced that the features of the romantic method do not make it possible to solve the problem. Although in terms of genre the poet is to some extent guided by Byron's romantic poem Don Juan, he refuses the one-sidedness of the romantic point of view.

Pushkin wanted to show in his novel a young man, typical of his time, against the broad background of the picture of his contemporary life, to reveal the origins of the characters being created, to show their inner logic and relationship with the conditions in which they find themselves. All this has led to the creation of truly typical characters that manifest themselves in typical circumstances, which is what distinguishes realistic works.

This also gives the right to call "Eugene Onegin" a social novel, since in it Pushkin shows the noble Russia of the 20s of the XIX century, raises the most important problems of the era and seeks to explain various social phenomena. The poet does not simply describe events from the life of an ordinary nobleman; he endows the hero with a bright and at the same time typical character for a secular society, explains the origin of his apathy and boredom, the reasons for his actions. At the same time, events unfold against such a detailed and carefully written material background that “Eugene Onegin” can also be called a social and everyday novel.

It is also important that Pushkin carefully analyzes not only the external circumstances of the characters' lives, but also their inner world. On many pages, he achieves extraordinary psychological mastery, which makes it possible to deeply understand his characters. That is why "Eugene Onegin" can rightfully be called a psychological novel.

His hero changes under the influence of life circumstances and becomes capable of real, serious feelings. And let happiness bypass him, it often happens in real life, but he loves, he worries - that's why the image of Onegin (not a conventionally romantic, but a real, living hero) so struck Pushkin's contemporaries. Many in themselves and in their acquaintances found his features, as well as the features of other characters in the novel - Tatyana, Lensky, Olga - the image of typical people of that era was so true.

At the same time, in "Eugene Onegin" there are features of a love story with a love story traditional for that era. The hero, tired of the world, travels, meets a girl who falls in love with him. For some reason, the hero either cannot love her - then everything ends tragically, or she reciprocates, and although at first circumstances prevent them from being together, everything ends well. It is noteworthy that Pushkin deprives such a story of a romantic connotation and gives a completely different solution. Despite all the changes that have taken place in the lives of the heroes and led to the emergence of a mutual feeling, due to circumstances they cannot be together and are forced to part. Thus, the plot of the novel is given a clear realism.

But the innovation of the novel lies not only in its realism. Even at the beginning of work on it, Pushkin in a letter to P.A. Vyazemsky noted: "Now I am not writing a novel, but a novel in verse - a diabolical difference." The novel, as an epic work, implies the author's detachment from the events described and objectivity in their assessment; the poetic form enhances the lyrical beginning associated with the personality of the creator. That is why "Eugene Onegin" is usually referred to as lyric-epic works, which combine the features inherent in the epic and lyrics. Indeed, in the novel "Eugene Onegin" there are two artistic layers, two worlds - the world of "epic" heroes (Onegin, Tatyana, Lensky and other characters) and the world of the author, reflected in lyrical digressions.

Pushkin's novel written Onegin stanza , based on the sonnet. But the 14-line four-foot iambic Pushkin had a different rhyme scheme -abab vvgg deed lj :

"My uncle of the most honest rules,
When I fell ill in earnest,
He forced himself to respect
And I couldn't think of a better one.
His example to others is science;
But my god, what a bore
With the sick to sit day and night,
Not leaving a single step away!
What low deceit
Amuse the half-dead
Fix his pillows
Sad to give medicine
Sigh and think to yourself:
When will the devil take you?"

composition of the novel. The main technique in the construction of the novel is mirror symmetry (or ring composition). The way of its expression is the change of the positions occupied by the characters in the novel. First, Tatyana and Eugene meet, Tatyana falls in love with him, suffers because of unrequited love, the author sympathizes with her and mentally accompanies her heroine. At the meeting, Onegin reads a “sermon” to her. Then there is a duel between Onegin and Lensky - an event whose compositional role is the denouement of a personal storyline and determining the development of a love affair. When Tatyana and Onegin meet in Petersburg, he is in her place, and all events repeat in the same sequence, only the author is next to Onegin. This so-called ring composition allows us to return to the past and creates the impression of the novel as a harmonious, complete whole.

Also an essential feature of the composition is the presence digressions in the novel. With their help, the image of a lyrical hero is created, which makes the novel lyrical.

Heroes of the novel . The protagonist, after whom the novel is named, is Eugene Onegin. At the beginning of the novel, he is 18 years old. This is a young metropolitan aristocrat who received a typical secular education. Onegin was born into a wealthy but bankrupt noble family. His childhood was spent in isolation from everything Russian, national. He was brought up by a French tutor who,

So that the child is not exhausted,
Taught him everything jokingly
I did not bother with strict morality,
Slightly scolded for pranks
And he took me for walks to the Summer Garden.”

Thus, Onegin's upbringing and education were rather superficial.
But Pushkin's hero nevertheless received that minimum of knowledge that was considered mandatory in the nobility. He “knew Latin enough to understand epigraphs”, remembered “jokes of the past from Romulus to the present day”, had an idea about the political economy of Adam Smith. In the eyes of society, he was a brilliant representative of the youth of his time, and all this thanks to impeccable French, elegant manners, wit and the art of holding a conversation. He led a lifestyle typical of the youth of that time: he attended balls, theaters, restaurants. Wealth, luxury, enjoyment of life, success in society and among women - that's what attracted the protagonist of the novel.
But secular entertainment was terribly tired of Onegin, who had already "yawned among the fashionable and ancient halls for a long time." 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 endured ballets for a long time, but I was tired of Didlo” ”. This is not surprising - the hero of the novel took about eight years to go to social life. But he was smart and stood well above the typical representatives of secular society. Therefore, over time, Onegin felt disgust for an empty, idle life. “A sharp, chilled mind” and satiety with pleasures made Onegin disappointed, “the Russian melancholy took possession of him.”
“Planning in spiritual emptiness,” this young man fell into a depression. He tries to find the meaning of life in any activity. The first such attempt was literary work, but “nothing came out of his pen”, since the education system did not teach him to work (“hard work was sickening to him”). Onegin "read, read, but all to no avail." True, our hero does not stop there. On his estate, he makes another attempt at practical activity: he replaces corvée (obligatory work on the landowner's field) with quitrent (cash tax). As a result, the life of the serfs becomes easier. But, having carried out one reform, and that one out of boredom, “just to pass the time,” Onegin again plunges into the blues. This gives V. G. Belinsky reason to write: “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 is so satisfied, so happy selfish mediocrity.
At the same time, we see that Onegin was not alien to the prejudices of the world. They could only be overcome by contact with real life. Pushkin shows in the novel the contradictions in Onegin's thinking and behavior, the struggle between the "old" and the "new" in his mind, comparing him with other heroes of the novel: Lensky and Tatiana, intertwining their destinies.
The complexity and inconsistency of the character of the Pushkin hero is revealed especially clearly in his relationship with Tatiana, the daughter of the provincial landowner Larin.
In the new neighbor, the girl saw the ideal that had long been formed in her under the influence of books. A bored, disappointed nobleman seems to her a romantic hero, he is not like other landowners. “The whole inner world of Tatyana consisted in a thirst for love,” writes V. G. Belinsky about the condition of a girl who was left to her secret dreams all day long:

For a long time her imagination
Burning with grief and longing,
Alkalo fatal food;
Long hearted languor
It pressed her young breast;
The soul was waiting ... for someone
And waited ... Eyes opened;
She said it's him!

All the best, pure, bright awoke in Onegin's soul:

I love your sincerity
She got excited
Feelings long gone.

But Eugene Onegin does not accept Tatiana's love, explaining that he is "not created for bliss", that is, for family life. Indifference to life, passivity, “desire for peace”, inner emptiness suppressed sincere feelings. Subsequently, he will be punished for his mistake by loneliness.
In Pushkin's hero there is such a quality as "the soul of direct nobility." He sincerely becomes attached to Lensky. Onegin and Lensky stood out from their environment with their high intelligence and disdain for the prosaic life of their neighbors-landlords. However, they were completely opposite people in character. One was a cold, disappointed skeptic, the other an enthusiastic romantic, an idealist.

They get together.
Wave and stone
Poetry and prose, ice and fire...

Onegin does not like people at all, does not believe in their kindness, and destroys his friend himself, killing him in a duel.
In the image of Onegin, Alexander Sergeevich Pushkin truthfully portrayed an intelligent nobleman who stands above secular society, but does not have a goal in life. He does not want to live like other nobles, he cannot live otherwise. Therefore, disappointment and longing become his constant companions.
A. S. Pushkin is critical of his hero. He sees both trouble and Onegin's guilt. The poet blames not only his hero, but also the society that formed such people. Onegin cannot be considered an exception among the youth of the nobility, this is a typical character for the 20s of the XIX century.

Tatyana Larina - Pushkin's favorite heroine - is a vivid type of Russian woman of the Pushkin era. Not without reason, among the prototypes of this heroine, the wives of the Decembrists M. Volkonskaya, N. Fonvizina are mentioned.
The very choice of the name "Tatiana", not illuminated by the literary tradition, is associated with "remembrance of antiquity or girlish". Pushkin emphasizes the originality of his heroine not only by choosing a name, but also by her strange position in her own family: “She seemed like a stranger in her own family.”
Two elements influenced the formation of Tatyana's character: bookish, associated with French romance novels, and folk-national tradition. "Russian soul" Tatyana loves the customs of "dear old times", she has been captivated by scary stories since childhood.
Much brings this heroine closer to Onegin: she is alone in society - he is unsociable; her dreaminess and strangeness are his originality. Both Onegin and Tatyana stand out sharply against the background of their environment.
But not the "young rake", namely Tatyana becomes the embodiment of the author's ideal. The inner life of the heroine is determined not by secular idleness, but by the influence of free nature. Tatyana was brought up not by a governess, but by a simple Russian peasant woman.
The patriarchal way of life of the “simple Russian family” of the Larins is closely connected with traditional folk rites and customs: there are pancakes for Shrovetide, singalong songs, and round swings.
The poetics of folk divination is embodied in Tatyana's famous dream. He, as it were, predetermines the fate of the girl, foreshadowing a quarrel between two friends, and the death of Lensky, and an early marriage.
Endowed with an ardent imagination and a dreamy soul, Tatyana at first glance recognized in Onegin the ideal, the idea of ​​which she had drawn from sentimental novels. Perhaps the girl intuitively felt the similarity between Onegin and herself and realized that they were made for each other.
The fact that Tatyana was the first to write a love letter is explained by her simplicity, gullibility, ignorance of deceit. And Onegin’s rebuke, in my opinion, not only did not cool Tatyana’s feelings, but strengthened them: “No, poor Tatyana burns more with a desolate passion.”
Onegin continues to live in her imagination. Even when he left the village, Tatyana, visiting the master's house, vividly feels the presence of her chosen one. Here everything reminds of him: the cue forgotten on the billiards, "and the table with the faded lamp, and the pile of books", and Lord Byron's portrait, and the cast-iron figurine of Napoleon. Reading Onegin's books helps the girl to understand the inner world of Eugene, to think about his true essence: “Isn't he a parody?”
According to V.G. Belinsky, "Visits to Onegin's house and reading his books prepared Tatyana for rebirth from a village girl into a secular lady." It seems to me that she has ceased to idealize "her hero", her passion for Onegin has subsided a little, she decides to "arrange her life" without Yevgeny.
Soon they decide to send Tatyana to Moscow - "to the fair of brides." And here the author fully reveals to us the Russian soul of his heroine: she touchingly says goodbye to the "merry nature" and "sweet, quiet light." Tatyana is stuffy in Moscow, she strives in her thoughts “to the life of the field”, and the “empty world” causes her sharp rejection:
But everyone in the living room takes
Such incoherent, vulgar nonsense;
Everything in them is so pale, indifferent,
They slander even boringly...
It is no coincidence that, having married and becoming a princess, Tatyana retained the naturalness and simplicity that distinguished her so favorably from secular ladies.
Having met Tatyana at the reception, Onegin was amazed at the change that had happened to her: instead of "a timid girl, in love, poor and simple," there was an "indifferent princess", "a stately, careless legislator of the hall."
But internally, Tatyana remained as internally pure and moral as in her youth. That is why she, despite her feeling in Onegin, refuses him: “I love you (why dissemble?), But I am given to another; I will be faithful to him forever.
Such an ending, according to the logic of Tatyana's character, is natural. Whole by nature, faithful to duty, brought up in the traditions of folk morality, Tatyana cannot build her happiness on the dishonor of her husband.
The author cherishes his heroine, he repeatedly confesses his love for his "sweet ideal". In the duel of duty and feeling, reason and passion, Tatyana wins a moral victory. And no matter how paradoxical the words of Küchelbecker sound: “The poet in the 8th chapter looks like Tatyana himself,” they have a lot of meaning, because the beloved heroine is not only the ideal of a woman, but rather a human ideal, the way Pushkin wanted to see him.

Pushkin created his novel for more than one year, periodically publishing individual chapters. At first glance, the story seems to be chaotic. Critics of those years considered the work devoid of integrity. The author himself does not hide the fact that there is no plan in his work, therefore contradictions are inevitable. He defines his work as a collection of colorful chapters.

Taking a closer look at the novel, it becomes clear that this is a deeply holistic work, characterized by harmony and completeness.

The novel has a simple to banal plot. It traces two lines of relationship between the protagonist Onegin: with Tatyana and with Lensky. The work does not have the usual denouement. The author does not lead the hero to either death or marriage. He leaves him at a difficult moment. The lack of an ending turns the plot into a real story. Understatement is one of Pushkin's devices, according to which emptiness has a deep meaning and cannot be expressed in words.

To build the composition of the novel, Pushkin chose the method of symmetry, according to which the characters must change the positions they occupy in the work. Tatyana meets with Eugene, unrequited love flares up, accompanied by suffering. The author follows the experiences of the heroine, sympathizes with her. Following a harsh conversation with Onegin, a duel with Lensky happens, which became the denouement of one direction of the plot and allowed a new one to develop.

At the next meeting of Tatyana with Yevgeny, he changes places with her, and all the past is repeated. But now the author is experiencing everything with Onegin. This circular device allows you to look back once again, which leaves a sense of coherence from the read.

The ring composition shows the crisis of the hero's soul. He managed to change by looking at the world through the eyes of Tatyana. In the last chapter, he emerges from his seclusion almost as a poet, reading with "spiritual eyes."

A return to the past makes it possible to observe the evolution of Tatyana, her growing up and gaining unshakable endurance. This does not change the poverty of her character. The new Tatyana still does not understand Yevgeny. In the past, she associated her beloved with literary images that he did not match. Now Tatyana does not believe the veracity and importance of his experiences.

It is obvious that the work is built on a combination of immediacy of presentation, variegation of images, the naturalness of the continuation of the theme and the extraordinary harmony that made the novel complete. The author brought his work closer to life, making it just as unique and original.

Option 2

The work is a form in the form of a free novel, the central figure of which is the narrator, who builds relationships between the characters, as well as talking with readers invited to the role of direct witnesses of the events.

The poet chooses a novel in verse as the genre of the work, which allows revealing the dynamism of the development of the characters' characters, which is impossible in a romantic poem, where the hero is presented in a static state.

The novel is written in the form of a fully formed, integral, closed, complete work of art, expressed in a compositional structure that combines lyrical and epic literary beginnings.

The compositional core of the work is the bright poetic look of the novel, as well as the use of the author's image. The use of the poetic form in the novel determines the features of the storyline and the compositional structure that combines the constructive principles of prose and poetry. In the novel, the poet uses his new invention in the form of the Onegin stanza, which is a modification of the sonnet structure, representing the iambic tetrameter of fourteen lines in a special rhyme scheme: cross, paired and encircling.

A distinctive feature of the compositional structure of the work is its symmetry, manifested in the central event of the novel, the main character's dream, as well as territorial isolation, expressed by the beginning of actions in St. Petersburg and ending in the same place.

The plot line of the novel is presented in two expressions: a love line and a line of friendship, while the love plot is mirrored, since in the finale of the work the main character Tatyana changes the role of a person tormented by unrequited love with the main character Onegin. The use of mirror-inverted symmetry is enhanced by the author by demonstrating intentional textual coincidences and proportionality of parts that make up the architectural accuracy of the novel's drawings and perform clear expressive functions.

In order to better reveal the composition of the novel, the poet uses an artistic technique in the form of landscape sketches, which allows to demonstrate the characterization of the characters, the brightness of their experiences, as well as the opposite attitude of Onegin and Tatyana to various social and natural phenomena. Throughout the story, the manifestations of all seasons are revealed to readers: the sad summer noise, the bare autumn forests, the frosty winter, the blossoming spring.

In the poetic novel, organic integrity and unity can be traced, filling it with real life content. In the images of the main characters of the work, generalized, typified characters are presented, allowing the poet to build a plot using the relationship between the main characters Onegin and Tatyana, Olga and Lensky.

The compositional units of the work are eight chapters, each of which describes a new plot event, while the first chapter describes the exposition telling about Onegin, the second begins the relationship between Onegin and Lensky, the third chapter is devoted to Tatiana's feelings for Onegin, the fourth and fifth chapters describe the main events, and from the sixth the climax increases, leading in the subsequent seventh and eighth chapters to the final of the storylines between Onegin and Lensky and, accordingly, Onegin and Tatyana.

A striking feature of the novel is the use of architectonics by the author in the form of missing stanzas, which mean transitional places in the narrative that do not affect the storyline of the work.

The peculiar compositional structure of the novel, expressed in poetic freedom and flexibility, gives the work the author's genius in the narrative material, and the diversity of the collection of chapters brings a unique freshness and a sense of touching the sublime and beautiful.

The plot and features of the work

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"Eugene Onegin" is the first realistic novel in Russian literature, in which "the century was reflected and modern man is depicted quite correctly." A. S. Pushkin worked on the novel from 1823 to 1831. “Now I am not writing a novel, but a novel in verse - a diabolical difference,” he wrote in a letter to P. Vyazemsky. “Eugene Onegin” is a lyrical-epic work in which both principles act as equals. The author freely moves from plot narrative to lyrical digressions that interrupt the course of the “free novel”.

What makes this novel unique is the fact that the breadth of coverage of reality, the multiplot, the description of the distinctive features of the era, its coloring acquired such significance and authenticity that the novel became an encyclopedia of Russian life in the 20s of the last century. Reading the novel, as in an encyclopedia, we can learn everything about that era: about how they dressed and what was in fashion (Onegin’s “wide bolivar” and Tatyana’s crimson beret), the menu of prestigious restaurants, what was going on in the theater (Didelot’s ballets).

Throughout the course of the novel and in lyrical digressions, the poet shows all layers of Russian society of that time: the high society of St. Petersburg, noble Moscow, the local nobility, the peasantry. This allows us to speak of "Eugene Onegin" as a truly folk work. Petersburg of that time collected the best minds of Russia. Fonvizin “shone” there, people of art - Knyazhin, Istomina. The author knew and loved St. Petersburg well, he is accurate in his descriptions, not forgetting either the “salt of worldly anger”, “neither the necessary impudent ones”. Through the eyes of a resident of the capital, Moscow is also shown to us - the “fair of brides”. Describing the Moscow nobility, Pushkin is often sarcastic: in the living rooms he notices "incoherent, vulgar nonsense." But at the same time, the poet loves Moscow, the heart of Russia: “Moscow ... how much this sound has merged for the Russian heart” (it should be doubly pleasant for a Muscovite to read such lines).

The image of Eugene Onegin is another feature of the novel. It opens up a whole gallery of “superfluous people”. Following Pushkin, images of Pechorin, Oblomov, Rudin, Laevsky were created. All these images are an artistic reflection of Russian reality.

“Eugene Onegin” is a realistic novel in verse, as it presents the reader with truly living images of Russian people of the early 19th century. The novel gives a broad artistic generalization of the main trends in Russian social development. One can say about the novel in the words of the poet himself - this is a work in which "the century and modern man are reflected." “The encyclopedia of Russian life” called Pushkin's novel by V. G. Belinsky.

In this novel, as in an encyclopedia, you can learn everything about the era, about the culture of that time: about how they dressed and what was in fashion (”wide bolivar”, tailcoat, Onegin’s vest, Tatyana’s crimson beret), menus of prestigious restaurants (” bloody steak”, cheese, bubbly ai, champagne, Strasbourg pie), what was going on in the theater (Didro’s ballets), who performed (the dancer Istomina). You can even draw up the exact daily routine of a young man. No wonder P. A. Pletnev, a friend of Pushkin, wrote about the first chapter of “Eugene Onegin”: “Your Onegin will be a pocket mirror of Russian youth.”

Throughout the course of the novel and in lyrical digressions, the poet shows all layers of Russian society of that time: the high society of St. Petersburg, noble Moscow, the local nobility, the peasantry - that is, the whole people. This allows us to speak of "Eugene Onegin" as a truly folk work.

Petersburg of that time was the habitat of the best people in Russia - the Decembrists, writers. There “shone Fonvizin, a friend of freedom”, people of art - Knyaznin, Istomina. The author knew and loved St. Petersburg well, he is accurate in his descriptions, not forgetting either “the salt of worldly anger”, “necessary fools”, “starched impudent ones”, and the like.

Through the eyes of a metropolitan resident, Moscow is shown to us - the “fair of brides”. Moscow is provincial, somewhat patriarchal. Describing the Moscow nobility, Pushkin is often sarcastic: in the living rooms he notices "incoherent vulgar nonsense." But at the same time, the poet loves Moscow, the heart of Russia: "Moscow ... How much has merged in this sound for the Russian heart." He is proud of Moscow in the 12th year: “Napoleon, intoxicated with his last happiness, waited in vain for Moscow kneeling with the keys of the old Kremlin.”

Contemporary Russia is rural, and he emphasizes this with a play on words in the epigraph to the second chapter. This is probably why the gallery of characters of the local nobility in the novel is the most representative. Let's try to consider the main types of landowners shown by Pushkin. How a comparison immediately suggests itself with another great study of Russian life in the 19th century - Gogol's poem Dead Souls.

The handsome Lensky, “with a heart straight out of Goettingham,” a German romantic, “an admirer of Kant,” if he hadn’t died in a duel, could, according to the author, have the future of a great poet or, in twenty years, turn into a sort of Manilov and end his life the way old Larin or Uncle Onegin.

The tenth chapter of Onegin is completely devoted to the Decembrists. Pushkin unites himself with the Decembrists Lunin and Yakushkin, foreseeing "in this crowd of nobles the liberators of the peasants." The appearance of Pushkin's novel "Eugene Onegin" had a huge impact on the further development of Russian literature. The penetrating lyricism inherent in the novel has become an integral feature of The Nest of Nobles, War and Peace, and The Cherry Orchard. It is also important that the protagonist of the novel, as it were, opens up a whole gallery of “superfluous people” in Russian literature: Pechorin, Rudin, Oblomov.

It should also be noted an important compositional feature of the novel is the openness of the finale. There is no clear certainty in the denouement of both the first and, in part, the second storylines. Thus, the author suggests two possible paths for Lensky, if he had survived, and had not been killed in a duel:

Maybe it's for the good of the world

Belinsky's well-known position that Pushkin's novel is an "encyclopedia of Russian life" can also be illustrated by his composition.

In a small-sized work, the most diverse pictures of Russian reality in the first third of the 19th century are combined into a single harmonious whole. The Motley Chapters take us from Petersburg to the countryside, from the village to Moscow and back to Petersburg. Various classes and groups of Russian society are covered: the local and metropolitan nobility, peasants, urban working people. Literature, theatre, life, trade, peasant labor are reflected in the novel. In the landscapes of Russian nature in the novel, a poetic calendar of all seasons passes before the reader.
The huge material of life is organized into a single whole around the plot, in which two lines of events develop: one is connected with the history of the relationship between Onegin and Tatiana, the other - with Olga and Lensky, and the main storyline is the first.

To show the harmony of the composition of the novel, let us dwell on the main storyline.
She depicts very ordinary events: a young man (who, in the words of one of his contemporaries, met "dozens" in St. Petersburg) goes to an ordinary Russian village to receive the inheritance of a sick uncle. There he meets a Russian provincial young lady. A very common occurrence in everyday life.

The events of the main storyline are divided into 2 cycles of episodes. In the first and second chapters, a detailed exposition is deployed: the biography and characters of the characters before the development of the action begins. In chapter three - the plot - the first meeting of Tatyana with Onegin. The action develops quickly: Tatyana fell in love with Onegin, her excitement, her desire to explain herself to him lead to the letter scene. The climax of the first cycle comes: an explanation in the garden, Onegin's "rebuke". The following events are also filled with dramatic tension - Onegin's insult to Lensky at a name day and a duel.

The death of Lensky and the departure of Onegin is the denouement of the first cycle of events.
In Chapter VII, an exposition of the second cycle of events is deployed: Tatyana is alone in the village, her unrequited love, loneliness and longing, reflections in Onegin's office and reading books, and finally, marriage and entry into secular society, as it were, prepare her for the role in the second round of episodes. Onegin travels at this time, but Pushkin removed the chapter on wanderings from the final edition of the novel.
In Chapter VIII - very quickly - the second cycle of events passes: Onegin's meeting with Tatyana in St. Petersburg is the beginning. Onegin's flared passion, his stubborn desire to explain himself to Tatyana, lead again to episodes of great tension; Onegin's letter to Tatyana and the last meeting.

The last meeting and monologue of Tatyana is the culmination of the second cycle of events, and immediately after it comes the denouement: Tatyana's departure, break, the hero "is left for a long time ... forever ..."
Draws attention to the conspicuous parallelism in the development of the first and second round of events. The second cycle, as it were, repeats what was in the first, with the difference that the roles of the heroes have decisively changed, they have, as it were, changed places. This is manifested in a number of identical motives that arise in the first and. second cycle. Let's give some examples.

I cycle
Tatyana's unrequited love.

Alas, Tatyana is fading,
It fades, goes out and is silent! ..

II cycle
Onegin's unrequited love.

Onegin begins to turn pale ...
... Onegin dries up - and hardly
No longer suffering from consumption

The letters of Onegin and Tatyana are written according to the same plan, but in Tatyana's letter - the love of a dreamy girl, and in Onegin's letter - an energetic expression of the passion of a mature person. The similarity of both letters has repeatedly attracted the attention of critics and researchers.
Finally, speaking of the symmetrical construction of two cycles of events, let's compare Onegin's last meeting with Tatyana with a meeting in the garden. In your monologue, Tatyana directly evokes that distant episode in the reader's memory:

Onegin, remember that hour
When in the garden, in the alley we
Fate brought, and so humbly
Have I heard your lesson?
Today is my turn.

But in this lesson, Tatyana no longer acts as a timid student, but as a strict teacher, and in the role of a student listening to instruction, we see Onegin.
When considering the development of the main storyline and the symmetrical arrangement of the episodes of the 1st and 2nd cycles, in which the 2nd cycle is, as it were, a reflection of the first, but in a completely new way, we can conclude that the composition is rigorously thought out, thanks to which the novel in eight published chapters appears before us as a whole, complete work.

Pushkin's novel "Eugene Onegin" is a classic example mirror composition.

The composition can be linear, reverse, ring, mirror.

The last type of composition is called so because the individual episodes of the work seem to reflect each other, repeating in all external details, but at the same time highlighting qualitative meaningful differences.

Based on the main plot, we can easily determine the episode, the reflection of which becomes the final scene of the novel. This is a conversation between Tatyana and Onegin in the garden.

Recall that it unfolds the day after Onegin received a love letter from Tatyana.

The timid girl is afraid to raise her eyes to the ruler of her thoughts, he is also agitated, but a rather strict rational sentence flies from his lips:

... There is no return to dreams and years;
I will not renew my soul...
I love you brother love
And maybe even softer.
Listen to me without anger:
The young maiden will change more than once
Dreams light dreams;
So the tree has its leaves
Changes every spring.
So, apparently, the sky is destined.
Love you again: but ...
Learn to take control of yourself
Not everyone will understand you like me;
Inexperience leads to trouble.

Onegin justifies his refusal with an unattractive picture of family life with him:

What could be worse in the world
Families where the poor wife
Sad for an unworthy husband,
And day and evening alone;
Where is the boring husband, knowing her price
(Fate, however, cursing),
Always frowning, silent,
Angry and cold-jealous!
That's me. And that's what they were looking for
You are a pure, fiery soul,
When with such simplicity
With such a mind they wrote to me?
Is this the lot for you
Appointed by a strict fate?

He tries to denigrate himself in the eyes of Tatyana, confesses to the coldness of his soul, the deadness of his soul:

But I'm not made for bliss;
My soul is alien to him;
In vain are your perfections:
I don't deserve them at all.

These typical methods of love etiquette, prescribed in the case when they want to get rid of an unwanted feeling, strike the confused Tatyana like thunder. She feels shame, guilt and pain, but finds the strength to cope with herself.

The final scene of the novel, when Tatyana receives Onegin's letter and then receives it in her living room, exactly the opposite repeats the "arrangement of figures" of the first episode. Now Onegin is asking, and Tatyana is answering.

His kneeling posture is a sign of repentance. Her tears are evidence of unquenched feelings.

But the mirror will not twist against the truth: now it is Tatyana's turn to answer Onegin with a refusal. It is preceded by a conscious decline, a reproach for the dubiousness of Onegin's intentions:

…Then, isn't it? - in desert,
Far from the vain rumors,
You didn't like me... Well now
Are you following me?
Why do you have me in mind?
Is it not because in high society
Now I must appear;
That I am rich and noble
That the husband is mutilated in battles,
What is it that the yard caresses us for?
Is it because my shame
Now everyone would be noticed
And could bring in society
You seductive honor?

Passion, in which Onegin confesses, Tatyana calls insulting:

I cry ... if your Tanya
You haven't forgotten so far
Then know: the causticity of your abuse,
Cold, strict conversation
If only I had power,
I would prefer hurtful passion
And these letters and tears.
To my baby dreams
Then you had at least pity,
Though respect for years ...
And now! - what's at my feet
Has it brought you? what a little!
How is it with your heart and mind
To be the feelings of a petty slave?

Her inner purity is offended. Tatyana, as she can, fights for her, explaining her refusal to Onegin.

She is hurt by the fact that she is a true - a village girl, unknown to anyone - she was not needed by him, and now - placed in conditions of nobility and brilliance - has become desirable.

Perhaps, in the depths of her soul, Tatyana does not believe that Onegin's feeling for her is real. Her sentence is harsh:

I got married. You must,
I ask you to leave me;
I know that there is in your heart
And pride, and direct honor.
I love you (why lie?),
But I am given to another;
I will be faithful to him forever.

Looping the composition of the novel with the return of Onegin to St. Petersburg, Pushkin completes the initial path of the hero, stating his failure.

Compositionally, the novel consists of the following parts:

• Chapter 1 - extended exposure(acquaintance with Onegin)
• Chapter 2 - the plot of the storyline "Onegin - Lensky"(acquaintance of Evgeny and Vladimir)
• Chapter 3 - the plot of the storyline "Onegin - Tatyana"(acquaintance of Evgeny and Tatiana, letter from Tatiana)
• Chapter 4 - development of events(refusal to Tatyana)
• Chapter 5 - development of events(Tatyana's birthday)
• Chapter 6 - the culmination and denouement of the storyline "Onegin - Lensky"(Eugene kills Vladimir in a duel)
• Chapter 7 - development of events(Eugene is leaving on a trip, Tatyana is leaving for Moscow)
• Chapter 8 - the culmination and denouement of the storyline "Onegin - Tatyana"(meeting of heroes, confession of Evgeny and refusal of Tatyana).