June 23 2010

The critic approached "Eugene Onegin" with such attitudes. Pisarev opposed the thoughtless admiration of the layman with the sober approach of the “realist”. Just as a natural scientist dissects living body to study its structure, the critic dissected with a sharp scalpel the logical analysis of art. He translated poetry into prose, trying to determine in retelling what benefit can be derived from the work for development. mental abilities contemporaries. What purpose did he pursue, carefully writing out the details of that noble life: Onegin's beaver collar, on which frost sparkles, objects in the office of a noble undergrowth? This is as useless for a contemporary of Pisarev as acquaintance with lines in which the poet admires the legs of ballerinas. And if so, then the position of the author of the novel in verse, his artistic idea. Wrong choice.

Why portray such an "insignificant vulgar, treacherous traitor and cruel tyrant of ladies' hearts"? How will the generation of acute social cataclysms be enriched if it gets acquainted with this likeness of Mitrofanushka Prostakov of a different formation? The idle person corrupted the hero, because “to live in the language of Onegin means to walk along the boulevard, dine at the Talon, go to theaters and balls. To think is to criticize Didelot's ballets and to scold the moon as a fool for being very round...”. Such a hero cannot be the inspirer of a new generation, and therefore is useless, the critic concludes.

Debunking the protagonist and Pushkin's novel in verse as a whole, Pisarev refutes Belinsky, who highly appreciated Eugene Onegin. Moreover, it does not so much refute as explain the reasons why Belinsky was such a connoisseur) of the "encyclopedia of Russian life." It turns out that it was not Pushkin who "gave rise to his works" wonderful thoughts expressed in eleven "excellent articles" (Pisarev), but they belonged to Belinsky himself. It turns out, according to the words, that "Belinsky loved that Pushkin, whom he created for himself." According to the correct remark of V. V. Prozorov, these words with with good reason can be attributed to Pisarev himself: “He furiously overthrew Pushkin, whom he “created for himself.”

After explaining Belinsky's position and debunking the former idol, the authority for several generations of readers, the critic led to a convincing conclusion that seemed to many: “Pushkin can only have historical meaning, but for those people who have no time and no reason to study the history of literature, it doesn’t even matter at all”3.

Pisarev's nihilistic statements remained essentially unanswered. Published in 1869 in " Domestic notes”Skabichevsky’s article (who showed that it was precisely the rejection of historicism that prevented critics from distinguishing in the heroes of Pushkin, and in particular his novel, the progressive people of his time) could not be compared with the effect that Pisarev’s articles produced. The lack of rebuff and a worthy reaction to the attack of the "prophet younger generation”(N. Shelgunov) testified to the invulnerability of his positions.

All this had a sad effect on the literary and reader generation that followed Pisarev. Interest in Pushkin fell even more than before the beginning of the 60s .. Not without Pisarev's influence, according to a contemporary, the fascination with poetic form also faded: Ya. light hand interest in poetry faded away, no one read poems aloud.

Most strong impression articles were produced for young people. Much later, when she first read Pisarev’s reviews of Pushkin, Marietta Shaginyan recalled: “Pushkin early childhood became my god. And this deity - Pushkin - faded in front of me from page to page ... I was in the greatest, in elemental confusion, I experienced that "vasodilation", which happens physically from taking heart medicine,

and mentally it was expressed in the pleasure of overthrowing authorities.

As time passed, the attention of readers was attracted by one or the other features of Pisarev's reading of Pushkin. The ideas of the critic are not forgotten to this day. The phenomenon of Pisarev's nihilism is being sought for explanations, the motives of his review of the poet, the origins of his views, as well as the consequences of the articles - both immediate and more distant, attract more interest. “Who will agree with Pisarev's interpretation of Pushkin's work? And along with those who reject her historical value? After all, there is no Pisarev without it, it is typical for Pisarev, for his time, for the cultural life of Russia in the 60s,” notes D. S. Likhachev, reflecting on the principles of a historical approach to the perception of art.

Any striking cultural and historical fact of the assessment of a classic is ambiguous. The effect of his influence on the public is sometimes the opposite of the intentions of the author. The outflow of the masses of readers from Pushkin, literally a decade and a half later, was replaced by a new surge of attention to the poet. It is possible and paradoxical that by his extreme nihilistic position the critic to a certain extent prepared the reorientation of sympathies towards Pushkin that followed in the early 1980s. Perhaps this is not a paradox at all, but a kind of "experiment" by Pisarev?

After all, he himself clearly formulated his own creed, stating that “only that which is rotten, that, like an Egyptian mummy, disintegrates into dust from the movement of air, is afraid of the touch of criticism. A living idea, like a fresh flower from the rain, grows stronger and grows, withstanding the test of skepticism. Before the spell of sober analysis, only ghosts disappear; and existing objects, subjected to this test, prove to them the reality of their existence. If you have items that have never been touched by criticism, you would do well to give them a good shake to make sure that you are storing a real treasure, and not decayed rubbish.

The critic "shaken up" Pushkin's legacy and offered his own conclusions. Objectively, the poet withstood this test with an all-destroying skepticism and an ahistorical approach. Pushkin's wisdom, the artistic perfection of his works, as well as the general significance of the heritage for Russian culture, became even more obvious. The experience of interpreting Pushkin was expanded by an attempt at debunking, which at first blinded readers, but soon convinced them of the inconsistency of such operations.

The vitality and all-conquering topicality of Pushkin's heritage were more frankly manifested. Pisarev's position in relation to the poet emphasized this side of his objective meaning, while revealing the weaknesses of his views. Belinsky and other social democrats in interpreting the role of the classic. Pisarev provoked a test of Pushkin's creativity for viability in the new historical conditions. Is it not for this reason that, having infinitely appreciated Pushkin, in a letter to Ogarev it was precisely the articles “Pushkin and Belinsky” and “Bazarov” that Pisarev called “the most wonderful things”?

If we return to the time when the articles appeared, then the boiling of passions around them was not too long. The positions of the critic were refuted in the most effective way - by life. The opening of the monument to Pushkin in Moscow determined the revision of ideas, including those of Pisarev, contributed to new discussions about the role of the poet in the spiritual life of Russia.

Moreover, contemporary criticism lagged behind him. If the first chapters of "Eugene Onegin" were accepted by her rather sympathetically, then the latter met with almost unanimous condemnation.

In any case, it is important that Russian criticism recognized the vitality of the heroes of the novel. Bulgarin declared that he met “Onegins” in St. Petersburg by “dozens”. Polevoy recognized in the hero a "familiar" person, whose inner life he "felt", but, without the help of Pushkin, "he could not explain." Many other critics say the same in different ways. Even the famous Russian historian V. O. Klyuchevsky wrote a curious article "Eugene Onegin and his ancestors", where the hero Pushkin's novel dismantled as a historical type.

The question of the "nationality" of Pushkin's novel in Russian criticism

It is also important that with regard to the novel, the question arose of what “nationality” is in literature. Some critics recognized the significance of the "national" work behind the novel, others saw in it an unsuccessful imitation of Byron. From the dispute it turned out that the first people saw the “nationality” not where it should have been seen, and the second overlooked the originality of Pushkin. None of the critics rated this work as "realistic", but many attacked its form, pointed out the shortcomings of the plan, the frivolity of the content ...

Polevoy's review of "Eugene Onegin"

Of the most serious reviews an article about the novel must be recognized Field. He saw in the novel a "literary capriccio", an example of a "joking poem", in the spirit of Byron's "Beppo", appreciated the simplicity and liveliness of Pushkin's story. Polevoi was the first to call Pushkin's novel "national": "we see our own, we hear our own folk sayings, we look at our quirks, which we all were not alien to at one time. This article sparked a lively controversy. In the image of Tatyana, only one of the then critics saw the complete independence of Pushkin's work. He put Tatyana above the Circassian, Maria and Zarema.

The question of "Byronism" in the novel

Critics who argued that "Eugene Onegin" is an imitation of Byron's heroes, all the time argued that Byron was higher than Pushkin, and that Onegin, "an empty, insignificant and ordinary being," was lower than his prototypes. In essence, in this review of Pushkin's hero, there was more praise than blame. Pushkin painted a "live" image without idealizing it, which cannot be said about Byron.

Nadezhdin's review of "Eugene Onegin"

Nadezhdin did not attach serious importance to the novel; Pushkin's best work, in his opinion, remained the poem Ruslan and Lyudmila. He offered to look at Pushkin's novel as a "brilliant toy" that should neither be exalted too much nor condemned too much.

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"Eugene Onegin" in Russian criticism

Head: Petkun Lyudmila Prokhorovna

Introduction

1. "Eugene Onegin" in the life of A.S. Pushkin

2. "Eugene Onegi in Russian Criticism"

2.1 N.Ya. Nightingale "Eugene Onegin"

2.2 A. Slonimsky "Pushkin's Mastery"

2.3 V.G. Belinsky "Eugene Onegin"

3. Comments on the novel "Eugene Onegin"

3.1 Yu.M. Lotman "Eugene Onegin"

3.2 N.L. Brodsky "Eugene Onegin"

4. A.S. Pushkin about "Eugene Onegin" in letters to friends

Conclusion

List of used literature

Introduction

The novel "Eugene Onegin" occupies a central place in the poet's work. This is his largest, most popular work, which had a strong influence on the fate of Russian literature. While working on the novel, the poet writes to Vyazemsky: "Now I am writing not a novel, but a novel in verse - a diabolical difference." Indeed, writing a novel is a colossal work. Pushkin worked on this novel for 8 years. His characters, plot, writing style evolved and grew with him. Work on the novel fell on the transition from romanticism to realism in creative life A.S. Pushkin. No wonder V.G. Belinsky called the novel "an encyclopedia of Russian life." This work reflected the life and style of life of society at the beginning of the 19th century, in the person of the main characters - typical representatives that time. “In the person of Onegin, Lensky and Tatyana, Pushkin portrayed Russian society in one of the phases of its formation, its development, and with what truth, with what fidelity, how fully and artistically he depicted it, ”said Belinsky.

What is literary criticism anyway? Literary criticism- region literary creativity on the verge of art (fiction) and the science of literature (literary criticism). Engaged in the interpretation and evaluation of works of literature from the point of view of modernity (including the pressing problems of social and spiritual life) and the personal views of the critic; reveals and approves the creative principles of literary trends; has an active influence on the literary process, as well as directly on the formation public consciousness; relies on the theory and history of literature, philosophy, aesthetics. It is often journalistic, politically topical in nature, intertwined with journalism.

Abstract objectives:

1. Get acquainted with the criticism of the novel "Eugene Onegin".

2. Find out the attitude of critics to the novel, their opinions.

3. Analyze critical articles.

4. Make a conclusion.

1 . "Eugene Onegin" in the life of A.S.Pushkin

literary criticism Onegin Pushkin

Pushkin began writing "Eugene Onegin" in May 1823 in Chisinau, and finished on September 25, 1830 in Boldino. In 1831 Pushkin again turned to the novel. According to the plan, the novel was supposed to have nine chapters, but later the author removed the eighth chapter and put the ninth in its place. The tenth chapter was also written, but the poet burned it. In 1833 the novel was published and contained eight chapters.

Since Pushkin wrote the novel for about 8 years, it is difficult to give detailed history writing. However, in the book by Yu.M. Lotman, I found some references:

Period in Mikhailovsky (1824-1826):

“On September 26, 1824, Pushkin wrote the poem “A Conversation between a Bookseller and a Poet,” which he published as a preface to a separate edition of the first chapter of “Eugene Onegin.” It was a declaration of the poet's right to a truly prosaic attitude towards life. "In February 1825, the first chapter of the novel is published ...". During his stay at Mikhailovsky, Pushkin finishes the third chapter of the novel and works on the fourth, fifth and sixth. "Creative thinking goes complicated ways: at the beginning of January 1826, Pushkin finally ends the fourth chapter of "Eugene Onegin" with playful verses about the preference that he has for some time given to Bordeaux wine compared to champagne "Ai". Then, with feverish haste, the fifth, and after it the sixth chapter of the novel, the stanzas dedicated to Odessa, which were later included in Onegin's Journey, are written.

“The duality of attitude to the world was deeply uncharacteristic of Pushkin and filled him with inner anxiety, dissatisfaction with himself. Builds up interesting paradox in the relationship between life and creativity: while in "Poltava" truth is equated with calm historical perspective in the perspective of a century-long distance (“A hundred years have passed ...”), while the rebellious Onegin is condemned and Tatyana’s wise humility is opposed to him ... "

Later, Pushkin realized that the movement started in Mikhailovskoye needed to be stopped. The year 1830 was the year of completions: Eugene Onegin was completed, the little tragedies conceived back in Mikhailovsky were written, the first completed prose works - Belkin's Tales.

2 . "Eugene Onegin" in Russianand criticism

In criticism and literary criticism, the assessment of "Eugene Onegin" has long been strengthened as central work Pushkin. Therefore, the novel was given considerable attention even by those critics who, due to their conservative ideological and aesthetic positions, denied it a serious social and literary significance. "Eugene Onegin" - the first realistic novel in the history of literature - became a work around which there were disputes about the tasks and directions of art, about artistic method about genres and style. The sharpness of the controversy around "Eugene Onegin", the clash of different points of view in the coverage of its concept and images, special attention to it in the history of Russian social thought - all this is due to its exceptional social, artistic, and general cultural significance. Reproducing the Russian life of the era, reflecting the most burning issues of our time, Pushkin, at the same time, put forward in his novel problems that go far beyond the time of its creation and have a broad national, national and universal sound - problems of the meaning of life, the relationship of man and public environment, civic and moral duty, nationality and humanism. As we will see below, it is precisely these problems that arose in one form or another in Russian criticism and literary criticism in the course of elucidating and interpreting the novel.

Literature about "Eugene Onegin" is truly boundless. There are almost no such studies on Pushkin's work that would not, to one degree or another, concern the novel, its content or images. In this chapter, we will touch only on the main directions in understanding the novel and works that reflect the history of its evaluation and study with the greatest certainty, as well as various trends in the development of problems associated with it.

2.1 N.Ya Nightingale "Eugene Onegin"

Nikolai Yakovlevich Solovey - Russian playwright.

In his critical article N.Ya. nightingale paid great attention the birth of the idea of ​​"Eugene Onegin": "The novel in verse was conceived at a time when the poet became disillusioned with romanticism, but did not immediately come to an understanding of the new, realistic tasks of fiction." Speaking about the romantic crisis in the work of A.S. Pushkin, Nikolai Yakovlevich draws a parallel between romantic works, for example, "The Demon", "The Sower", paid great attention to the poem "Gypsies".

“Eugene Onegin is the central character of the novel in verse. Over the comprehension of this image and its artistic expression Pushkin worked for over ten years. The complexity of the implementation of the plan was that for the first time in the history of Russian literature in a central way artwork large genre form became a contemporary” - these are the words of N.Ya. The Nightingale begins the chapter on Onegin. The critic singled out 5 stages of Pushkin's work on this image:

Stage I:

This stage refers to the creation of the first-fourth chapter (1823-1825). “Already in the first chapter, Pushkin describes in detail the actions of a young man who lived eight years of a scattered secular life in St. Petersburg.” In general, this stage is devoted to creating the image of the protagonist, in these chapters the concept of Onegin's character is further developed. Nightingale notes that society played a big role in Onegin's disappointment in life: "The influence of the social environment on the formation of such properties of the hero as disappointment in life, selfishness, individualism is shown in the first four chapters of the novel."

Stage II:

The second stage of work on the image begins in 1826. It should be noted that at this time public life Important events are taking place in Russia: the Decembrist uprising was suppressed (December 14, 1825), an investigation and trial of its participants were carried out, and the leaders of the uprising were executed.

N.Ya. Nightingale says that in this chapter the poet "for the first time depicts the provincial nobility in sufficient detail as part of the social environment where Onegin lives." Onegin almost does not act at the beginning of the fifth chapter, he only "appears in Tatyana's ominous dream as a fatal person in relation to Lensky." However, in the second part, Onegin already appears "in a real, not in a fantastic situation" at Tatyana's name day. In the actions of the hero, the egoistic feature of his character is again felt.

In the sixth chapter, where the duel is described, Pushkin shows “the dependence of the behavior of a contemporary person on public opinion from the mores of the environment.

Stage III:

The third stage is connected with the work on the seventh chapter (1827-1828). In this chapter, Onegin does not appear on the pages of the novel; he is characterized through the perception of Tatyana trying to unravel him. She reads books belonging to Onegin, which:

“Although we know that Yevgeny has long fallen out of love with reading, However, he excluded several creations from disgrace: Singer Giaur and Juan Yes, with him two or three more novels, In which the century was reflected And modern man Depicted quite faithfully With his immoral soul, Selfish and dry, Devoted to a dream immeasurably, With his embittered mind, Seething empty in action.

This chapter traces the similarity of Onegin with the heroes of Byron. So isn't Onegin a parody? “For Pushkin, Onega is not a parody. The poet takes under the protection of his hero with his "inimitable strangeness".

IV and V stages:

These stages refer to the period 1829-1830. These are the final chapters of the novel, the eighth, ninth and tenth.

The eighth chapter was called "The Journey", which was not included in the canonical text. The author took a new step in the development of the hero’s relationship with society: “Already in the first stanzas of the chapter “Wandering”, the theme of Onegin as an “extra” person in noble society". The same theme is repeated in the ninth chapter.

The last, tenth chapter, is the final (eighth chapter) in final version novel. In this chapter, Onegin's inner world is characterized by his letter to Tatyana. “Only changed Onegin could fall in love with Tatyana, and his letter is the most striking evidence of the changes that have taken place in him.

The death of Lensky made life in the countryside painful for him:

“From everything that is dear to the heart, Then I tore my heart; Alien to everyone, not bound by anything, I thought: liberty and peace Replacement for happiness. My God! How wrong I was, how punished!”

Indifference to everything, life only for himself did not give him satisfaction. Onegin sees his happiness and salvation in love:

“No, every minute to see you, Follow you everywhere, Smile of the lips, movement of the eyes.

To catch with loving eyes, To listen to you for a long time, to understand with the Soul all your perfection, To freeze before you in torment, To turn pale and go out ... here is bliss! Thus, having considered the stages of work on the creation of the image of Onegin, N.Ya. Nightingale traced the evolution of the development of the protagonist, and consideration of the concept of the work helped him to better understand Onegin's character.

2 .2 A.Slonimsky "The Mastery of Pushkin"

The work of A. Slonimsky is called "Pushkin's Mastery". This book contains detailed descriptions of many of the poet's works, including Eugene Onegin.

Slonimsky immediately begins with an analysis of the image of the author: “In the first chapter, the author acts as Onegin's “good friend”. At times, he even displaces his hero, attributing his thoughts and moods to him:

“I was embittered, he is sullen; We both knew the game of passions: The life tormented us both; In both hearts the heat died down; Both were expected by the malice of Blind Fortune and people In the very morning of our days.

This is a biography of Pushkin himself, and, in fact, it has nothing to do with Onegin, because, as can be seen from the previous one, he was not pursued in his youth by any "malice of blind Fortune and people." On the contrary, in the light he was greeted cordially from the first steps:

"... Light decided that he was smart and very nice."

The next step in the analysis of "Eugene Onegin" is the image of Tatyana. Slonimsky writes: “Tatyana is a “county young lady”, one of those about whom Pushkin wrote later (in “The Young Lady - a Peasant Woman”)”. “The beauty of Tatyana is not in the “marble”, plastic beauty, but in that inner “life”, the absence of which Onegin notices in her sister: “Olga has no life in her features.”

Slonimsky pays great attention to the love story of Tatyana and Onegin: “The love story of Tatyana and Onegin does without major events. It all takes place in a peaceful life and consists of small psychological moves.

According to A. Slonimsky, “Onegin occupies a passive position in the action of the novel: Tatyana declares her love to him, Lensky challenges him to a duel, but own initiative almost invisible."

As for Lensky, Slonimsky mentions him in passing, does not focus much attention on him. However, he dwelled on his poems in detail, refuting the opinion that they are parodic: “Lensky's poems get parody against the background of Pushkin's speech, they are preceded by the following lines:

“Takes a pen; his poems, Full of love nonsense, Sound and pour. He reads them aloud, in lyrical heat, Like Delvig drunk at a feast.

A. Slonimsky concludes his article with the speech of the characters: “Each character (in addition to his direct speech) introduces his speech structure into the author's story (which, of course, entails a certain system of concepts and ideas): Onegin - ironic, Tatiana - rural, estate , Lensky - romantic, all others (Larins, Zaretsky, etc.) - everyday, characteristic of a particular environment - landlord, army, etc., such as, for example, the "dashing" transition to Zaretsky:

“Forward, forward, my story! A new face is calling us."

Thus, it can be seen that the peculiarity of A. Slonimsky's article is that he did not specifically describe each character, but followed the chronology of the novel. He traced the relationship between the characters, revealed the features of their speech and manner of conversation.

2 .3 V.G. Belinsky "Eugene Onegin"

"Encyclopedia of Russian life and in the highest degree folk art” called V. G. Belinsky Pushkin’s novel, revealing in two articles entitled “Pushkin’s Works” the enormous merits of the novel, making it a great work of Russian literature.

Belinsky calls the novel historical, folk, national: "Eugene Onegin" - historical poem". "Pushkin was national in his soul, he found national elements in a life half accustomed to forms alien to her." "Eugene Onegin" is the first national work of art.

Belinsky compares the works of Pushkin and Byron, and concludes that “the form of “Eugene Onegin” was invented by Byron, but when comparing, we do not find anything in common, except for this form and manner of writing. Byron wrote about Europe - for Europe, Pushkin about Russia - for Russia.

Speaking about the images of the main characters, Belinsky noted that “in the person of Onegin, Lensky and Tatyana, Pushkin portrayed Russian society in one of the phases of its formation, its development ...”

Describing Onegin, Belinsky notes that most of the public completely denied Onegin's soul and heart, saw in him a cold, dry and selfish person by nature. However, in his opinion, this is not entirely true: “Onegin is neither cold, nor dry, nor callous, in his soul poetry ...”, “ Savor did not kill feelings in Onegin, but only cooled them. “The inactivity and vulgarity of life stifle him, he doesn’t even know what he needs, what he wants, but he knows what he doesn’t need, what he doesn’t want,” writes Belinsky. Dissatisfaction with oneself and the environment is characteristic of the hero of Pushkin. This dissatisfaction is evidence of how much higher Onegin secular society. His egoism Belinsky calls suffering egoism, selfishness involuntarily, due to historical circumstances.

In the image of Tatyana Belinsky sees "a nature that is not complex, but deep." A simple village girl, then a secular lady, Tatyana retains her inner essence in any life situations, she is “an exceptional being; deep, loving, passionate nature. The dramatic fate of the noble youth of the Decembrist era is expressed not only in the image of Onegin, but also in the image of Lensky. Onegin and Lensky are opposed in the novel by Tatyana, she is close to her native people, Russian nature, her image helps to reveal the main idea of ​​the novel: only communication with the people can save the intelligentsia, make their life meaningful, work useful. In his article, Belinsky realistically presented his opinion and the opinion of the society of his time. Having analyzed and analyzed the novel from a historical point of view, he came to the conclusion that "Eugene Onegin" is "an encyclopedia of Russian life."

3 . Comments to rOman "Eugene Onegin"

The main task of the commentary is to provide an opportunity to expand

evaluate the value of the text, clarify incomprehensible points or express disagreement with the author. However, in some cases, comments can be more valuable than the text itself. Usually comments are own thoughts, partially expressing the opinion of the author of the comment. Less often - quotes from any sources or images. Comments are often in the nature of an assumption or personal value judgment and are not accurate information.

IN literary commentary most often some lines or passages from the text are explained. This helps the reader to understand what the author wanted to say, to realize the thought contained in this passage.

3 .1 Yu.M. Lotman "Eugene Onegin".A comment

In this article, Lotman explains the lines from the novel "Eugene Onegin". However, there are some elements of criticism at the beginning.

The first thing Lotman's commentary begins with is the internal chronology of Eugene Onegin. In this part, the critic speaks about the time of the events that took place in the novel: “1811-1812 - the end of Onegin’s “learning” and the release of “public”. Counting the time from the winter of 1819 - the spring of 1820 (the time of the action of Chapter I), Pushkin writes:

“This is how he killed eight years,

Losing life's best light."

Yu. Lotman tells in detail about the life of the nobility, about their interests and occupations, about housing, entertainment and balls: “Dances occupy a significant place in the novel; author's digressions are devoted to them, they play a large plot role.

Y. Lotman's article about the title of the work is very interesting: “Eugene Onegin - the choice of the title and the name of the protagonist was not accidental. This choice determined genre nature text and the nature of the reader's expectation. The inclusion in the title of not only the name, but also the name of the hero, moreover, not conditionally - literary, but really - everyday, was possible only in a relatively small circle of genres focused on modern content and creating the illusion of the truth of incidents.

The main part of Yu. Lotman's commentary is occupied by the analysis of each chapter. In these analyses, Yu. Lotman explains lines from the novel.

In general, this article cannot be called a complete criticism, but elements of it are present. Yu. Lotman's comments help us understand the novel, study it to the smallest detail, form our opinion on this matter.

3 .2 N.L. Brodsky "Eugene Onegin"

Unlike Yu.M. Lotman's commentary by Brodsky is more complete. In his commentary, Brodsky explains each fragment of the text, and not some individual words.

The main part of his work is devoted to epigraphs, he begins with the definition: “An epigraph is a single word or saying, in prose or verse, taken from some famous writer, or their own, which the authors place at the beginning of their work and thereby express general idea works or their attitude to the depicted reality. Next comes the analysis of epigraphs: “And in a hurry to live and feel in a hurry” - this epigraph is taken from a poem by P.A. Vyazemsky "The First Snow" (1819). In the edition of the first chapter in 1825, the epigraph was missing. Pushkin borrowed it from a couplet in which Vyazemsky gave a generalized description of youth, its thirst for life:

Young fervor glides through life like this:

And hurry to live and feel in a hurry!

Thus, in the light of these verses, it becomes obvious that the epigraph does not refer to individual portrait Onegin, but characterizes the mood typical of young people of that time.

Thus, the analysis of epigraphs helps us understand main idea a certain chapter, because it is in the epigraph that it is concluded, and the main text is its disclosure.

4 . A.S. Pushkin about "Eugene Onegin" in letters to his friends

A.S. Pushkin mentioned his novel in letters to his friends. From these letters, one can trace the stages of work on the novel, Pushkin's feelings about censorship. I will give a couple of excerpts from the letters.

In letters from 1823, Pushkin speaks of the beginning of work:

Letter to P.A. Vyazemsky November 4, 1823: “As for my studies, I am now writing not a novel, but a novel in verse - a diabolical difference! In the Don Juan family. There is nothing to think about the press: I write carelessly.

Letter to A.A. Delvig November 16, 1823:"I'm writing now new poem, in which I talk utterly ... God knows when we will read it together ... ".

Letter to A.I. Turgenev on December 1, 1823:“I am writing a new poem at my leisure, Eugene Onegin, where I choke on bile. Two songs are already ready.

In his letters, Pushkin does not speak specifically about the characters, or about the actions, does not describe the novel itself, but talks about the stages of work. However, in a letter to P.A. On May 27, 1826, the poet wrote to Vyazemsky: “... My deaf Mikhailovskoye makes me sad and furious. In the 4th song of Onegin, I depicted my life ... ". This makes us understand that there are still elements of autobiography in the image of Onegin.

Also, from a letter to A. Bestuzhev on March 24, 1825, one can still feel Pushkin's attitude to his work: “Your letter is very clever, but still you are wrong; you look at Onegin from the wrong point; still he best work my…".

Conclusion

"Eugene Onegin" is a great work of Russian and world literature. We see that this creation excited many people, not only critics, but also writers and poets, because this is only a small part of the critical articles.

Each critic analyzed this work in his own way: someone analyzed every chapter, every word (this is called a commentary), and someone simply expressed his opinion about the work (this is criticism). Also different manner and structure of the articles: some paid a lot of attention to the characters, and others to the vocabulary and syntax. Different attitudes towards characters and events.

In general, criticism helps us form our opinions, find out the opinions and attitudes of other people, think and compare and come to a final opinion.

As for me, I really liked working with criticism, because I learned a lot about the novel: the stages of writing, formed my opinion about the characters and events, supplemented it with new information, and it was also interesting to read excerpts from Pushkin's letters in which he talks about novel.

List of used literature

1. N. Ya. Nightingale “Roman A.S. Pushkin "Eugene Onegin".

2. A. Slonimsky "Pushkin's Mastery".

3. Yu.M. Lotman “Roman A.S. Pushkin "Eugene Onegin"

4. N.L. Brodsky "Eugene Onegin". Roman A.S. Pushkin.

5. V.G. Belinsky "Eugene Onegin".

6. A.S. Pushkin in the memoirs of his contemporaries (a series of literary memoirs).

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Scientific research novel "Eugene Onegin"

Roman A.S. Pushkin's "Eugene Onegin" is one of the most inexhaustible and deep works Russian literature, which confirms a huge amount of research by modern literary critics on the form, genre of the novel in verse, the essence of the idea and its embodiment, ideological, aesthetic, moral and philosophical issues novel. These studies were initiated by the critical works of the 19th and 20th centuries. “The author of the first philosophical review of our literature” I.V. Kireevsky was one of the first to give a serious critical appraisal Pushkin's activities, despite the fact that, in his opinion, "it is difficult ... to find general expression for the nature of his poetry, which received so much various kinds". However, the critic spoke quite unambiguously about the novel in verse "Eugene Onegin": " Distinctive features its essence: picturesqueness, some kind of carelessness, some kind of special thoughtfulness, and, finally, something inexpressible, understandable only to the Russian heart. The critic also spoke about the poet's desire for originality, which, according to him, is found in the work. In conclusion, speaking of the “strong influence that the poet has on his compatriots”, Kireevsky noted in connection with this “one more important quality in the nature of his poetry - correspondence with his time.

The question of the national and world significance of Pushkin was first raised by V.G. Belinsky. "Pushkin was the perfect expression of his time ... the world of his day, but the Russian world, but Russian humanity." In the article "Literary Dreams", the critic revealed the main issue of literary life - the problem of nationality in literature. A nation that consists in freedom from alien influences and "in the fidelity of the image of the pictures of Russian life", acts, as Belinsky rightly points out, as a criterion of Pushkin's national significance. In the fundamental work of Belinsky - a cycle of 11 articles under the general title "Works of Alexander Pushkin" (1843-1846) - there is a well-known formula about "Eugene Onegin" as "an encyclopedia of Russian life and a highly folk work."

Critic A.V. Druzhinin in his article “A.S. Pushkin and the last edition of his works” (1855) approached Pushkin’s work “from the standpoint of the “absolute” principles of art, its “eternal” principles, and naturally, the supra-historical meaning of Pushkin’s creativity, which is already far beyond of his time". "Onegin," the critic wrote, "on the whole seems to be one of the most entertaining novels ever thought of by the most highly gifted writers." Druzhinin noted such features of the novel as "slimness", "masterful combination of the story with lyricism", "surprise denouement" and "influence on the reader's curiosity". A. Grigoriev, the author of the famous formula “Pushkin is our everything,” believed that “the best that was said about Pushkin” in contemporary criticism “was reflected in Druzhinin’s articles.” He himself rightly spoke of the poet as "the only complete sketch of our people's personality", "a nugget". Pushkin, in his opinion, is “our original type, which has already measured itself with other European types, passed in consciousness those phases of development that they went through, but fraternized with them in consciousness.” The nature of the Russian genius, according to A. Grigoriev, responded to everything "to the best of the Russian soul." This statement anticipated the words of F.M. Dostoevsky about Pushkin's "worldwide responsiveness": "He shares this ... the main ability of our nationality with our people, and that, most importantly, he is a people's poet" .

Criticism of Russian symbolism saw in Pushkin a prophet, a spiritual standard and moral guide artist. “Pushkin ... with a sensitive ear foresaw the future trembling of our modern soul”, - V. Bryusov wrote about the genius-prophet and, on the basis of this, put forward the main requirement for the modern poet: the offering of a “sacred sacrifice” “not only with verses, but with every hour of his life, with every feeling ...” with an absent-minded hand on the lyre, but also in the painful work of translating images into words, ”the critics of the early 20th century F. Sologub and Ivanov-Razumnik rightly wrote about the enormous work done by Pushkin during the creation of the novel in verse “Eugene Onegin”.

The history of commenting on the novel "Eugene Onegin" is interesting. After all, as soon as Pushkin's novel stepped over its time and became the property of a new readership, much in it required additional explanation. In the 20th century, the first post-revolutionary editions of Pushkin's works generally refused to comment on Eugene Onegin. Separate editions of "Eugene Onegin" appeared, equipped with brief comments G.O. Vinokur and B.O. Tomashevsky and designed mainly for a wide range of readers. We note the essential importance of brief footnotes and explanatory articles to the school edition of "Eugene Onegin", carried out by S.M. Bondi. These comments also had an impact on the scientific understanding of "Eugene Onegin". In 1932, a new commentary was created by N.L. Brodsky. On the goals and objectives of his book "Eugene Onegin". Roman A.S. Pushkin" Brodsky wrote in the preface to the third edition, stating that the task arose to describe the time that determined the fate and psychology of the main characters of the novel, to reveal the circle of ideas of the author himself in a constantly changing reality. Book N.L. Brodsky was addressed, in particular, to a language teacher, whose level of knowledge about "Eugene Onegin" depends on the presentation of his students. In this sense, the significance of Brodsky's work is very great. However, recognizing Pushkin's novel as the pinnacle of literature of the 19th century, Brodsky considers it primarily as a work that has forever receded into the past and belongs to him.

In 1978, "Eugene Onegin" came out with comments by A.E. Tarkhov. The goal set by the author is to analyze the creative history of the novel in unity with the evolution of the hero. Despite the fact that the author pays attention mainly to general textual comments, rather than particulars, his work provides readers of Pushkin's novel with detailed and based on the previous scientific tradition material for understanding "Eugene Onegin".
One of the most significant events in the modern interpretation of "Eugene Onegin" was the publication in 1980 of Yu.M. Lotman, addressed, like the work of N. L. Brodsky, to the teacher's audience. In the book "Eugene Onegin". Commentary” includes “Essay on the noble life of the Onegin era” - a valuable tool in the study of not only “Eugene Onegin”, but in general all Russian literature of Pushkin's time. The construction of the book is designed, as the researcher himself notes, for parallel reading with Pushkin's text. Yu.M. Lotman is a deep textological work. The commentary gives two types of explanations: textual, intertextual and conceptual (the author gives historical-literary, stylistic, philosophical interpretations). The task set by the researcher - "to bring the reader closer to the semantic life of the text" - is solved in this book on the very high level.

Commenting on "Eugene Onegin" was repeatedly addressed and foreign authors. Among the most famous can be called an extensive commentary by V.V. Nabokov, characterized by detailed explanations of numerous details of the text of Pushkin's novel. Here, an important place is occupied by lengthy excursions into the history of literature and culture, versification, as well as the translator's notes and comparisons with previous attempts to translate "Eugene Onegin" into English language. The writer explains the realities that are incomprehensible primarily to a foreign-language reader. There are also some costs in his work: excessively detailed arguments, sometimes too sharp polemics with predecessors. Nevertheless, this commentary is a significant achievement of Western Pushkin studies - primarily in terms of the thoroughness and scope of commenting on the text of the novel by A.
In 1999, the Moscow publishing house "Russian Way" published the "Onegin Encyclopedia" in 2 volumes, in the creation of which such researchers as N.I. Mikhailova, V.A. Koshelev, N.M. Fedorova, V.A. Viktorovich and others. The encyclopedia differs from previously created commentaries on Eugene Onegin by a special principle of organization: it combines articles of different genres (small studies, literary essays, brief explanations to the text of the novel). The encyclopedia is equipped with a rich illustrative material. A big plus of the publication is its addressing both to specialists and a wide range readers. We can say that the compilers of the encyclopedia approached a new comprehension of the novel due to the wide coverage of the material.

A productive stage in the study of Pushkin's creativity and in particular the novel "Eugene Onegin" was fundamental research S.G. Bocharova ("Poetics of Pushkin", "Form of Plan"), who pays attention to the stylistic world of the novel, its language, speaks of the author's poetic evolution. N.N. Skatov (the author of the large-scale work "Pushkin. Russian genius", numerous essays on the life and work of the poet) explores the poetics of Pushkin's works, speaks about the enduring significance of the poet's work as the highest, ideal exponent of Russian national identity. I. Surat contributed to Pushkin studies by raising big problem"art and religion" and expressing the idea that Pushkin embodied poetry itself in its ontological essence ("Pushkin as a religious problem"). The opinion about Pushkin as an ontological, ethical and aesthetic phenomenon is also expressed by such modern literary critics as V.S. Nepomniachtchi, Yu.N. Chumakov, S.S. Averintsev, V.K. Kantor and many others. They develop questions about the significance of the novel "Eugene Onegin" as a unique phenomenon in world art, about its influence on Russian literature of the 19th century and subsequent eras. The attention of researchers is focused on the disclosure of the ontological phenomenology of Pushkin's novel in the context of world literature.
At the present time, the problem is becoming more relevant real place genius in national history, its role in the spiritual self-awareness of the people, in the fate of the nation, i.e. its exceptional mission, a special historical task. Following the religious-philosophical criticism turn XIX-XX centuries (D.S. Merezhkovsky, N.A. Berdyaev, S.L. Frank), who asserted the idea that “in the Holy Spirit ... that combination of grace and freedom takes place, which we see in Pushkin’s work”, Pushkin’s phenomenon as a philosophical and methodological category is considered in his works by V.S. Nepomniachtchi. According to the literary critic, "in order for Pushkin's genius to appear before us in all its brightness and vitality, it is necessary to consider it ... in an ontological context as a phenomenon of being."

So, each era "highlighted" in the novel the levels closest to it, which was reflected in the stages of scientific study. Modern researcher Yu.N. Chumakov rightly believes that now is the time to read the novel "against the background of universality." The universal content of "Eugene Onegin" reveals itself in the picture of the world, presented as a system of values, as a constantly evolving, "eternally moving" set of ideas about reality.

Criticism of the novel "Eugene Onegin"

On the presence of "contradictions" and "dark" places in the novel by A.S. Pushkin "Eugene Onegin" written a lot. Some researchers believe that so much time has passed since the creation of the work that its meaning is unlikely to ever be unraveled (in particular, Yu.M. Lotman); others try to give "incompleteness" some philosophical meaning. However, the “unsolved” nature of the novel has a simple explanation: it was simply read inattentively.

Feedback from Pushkin's contemporary Belinsky

Speaking about the novel as a whole, Belinsky notes its historicism in the reproduced picture of Russian society. "Eugene Onegin", the critic believes, is a historical poem, although there is not a single historical person among its heroes.

Further, Belinsky calls the nationality of the novel. In the novel "Eugene Onegin" there are more nationalities than in any other folk Russian composition. If not everyone recognizes it as national, it is because a strange opinion has long been rooted in our country that a Russian in a tailcoat or a Russian in a corset is no longer Russian, and that the Russian spirit makes itself felt only where there is a zipun, bast shoes, sivuha and sour cabbage. “The secret of the nationality of every nation lies not in its clothes and cuisine, but in its, so to speak, manner of understanding things.”

According to Belinsky, the digressions made by the poet from the story, turning it to himself, are full of sincerity, feeling, intelligence, wit; the personality of the poet in them is loving and humane. “Onegin can be called an encyclopedia of Russian life and an eminently folk work,” the critic says. The critic points to the realism of Eugene Onegin.

In the person of Onegin, Lensky and Tatyana, according to the critic, Pushkin portrayed Russian society in one of the phases of its formation, its development.

The critic speaks of the great significance of the novel for the subsequent literary process. Together with Griboyedov's contemporary genius creation Woe from Wit, Pushkin's verse novel laid a solid foundation for new Russian poetry, new Russian literature.

Belinsky gave a description of the images of the novel. Describing Onegin in this way, he notes: “Most of the public completely denied Onegin’s soul and heart, saw in him a cold, dry and selfish person by nature. It is impossible to understand a person more erroneously and crookedly! .. Secular life did not kill Onegin's feelings, but only cooled him to fruitless passions and petty entertainments ... Onegin did not like to blur in dreams, he felt more than he spoke, and did not open himself to everyone. An embittered mind is also a sign of a higher nature, therefore only by people, but also by oneself.

In Lensky, according to Belinsky, Pushkin portrayed a character completely opposite to Onegin's character, a completely abstract character, completely alien to reality. It was, according to the critic, a completely new phenomenon.

Lensky was a romantic both by nature and by the spirit of the times. But at the same time, "he was ignorant at heart," always talking about life, never knowing it. “Reality had no influence on him: his and his sorrows were the creation of his fantasy,” writes Belinsky.

“Pushkin’s great feat was that he was the first in his novel to poetically reproduce the Russian society of that time and, in the person of Onegin and Lensky, showed its main, that is, the male side; but the feat of our poet is almost higher in that he was the first to poetically reproduce, in the person of Tatyana, a Russian woman.

Tatyana, according to Belinsky, is an exceptional being, a deep, loving, passionate nature. Love for her could be either the greatest bliss or the greatest misfortune of life, without any conciliatory middle ground.