Lensky's favorite pastime. The image of Lensky in "Eugene Onegin" by Pushkin

The novel in verse by A. S. Pushkin "Eugene Onegin" is not just a beautiful work about love. The poet raises important questions that worried society in his era. And the novel is written in an elegant and beautiful style. In the Pushkin era, the main problem of the progressive young generation was disappointment in the surrounding reality. The central character should also be included in the group of these people. But the image of Lensky in the novel "Eugene Onegin" is the exact opposite of the central character. And the more surprising their friendship seemed to those around them. The personality of the romantic poet will be discussed below. Further, for a more complete disclosure of the image, several quotes about Lensky from "Eugene Onegin" will be used.

Connection with the personality of the poet

The image of Lensky in the novel "Eugene Onegin" is a self-portrait of Pushkin the romantic, although Pushkinists note that others and personalities from the poet's entourage were the prototypes for this character. This is an idealist for whom honor and high ideals, pure feelings were above all. These qualities were inherent in Alexander Sergeevich himself.

Outwardly, the poet was skeptical about manifestations of romanticism. He, like Onegin, strove to be one step ahead of the whole society. But Pushkin was never able to completely abandon the romantic side of his nature.

Brief biography of the hero

To fully reveal the image of Lensky in the novel "Eugene Onegin", you need to give a brief description of his biography. He was a young landowner, rich, and therefore considered an enviable groom. He was 18 years old, and he had recently returned to his estate, which was located in Redridge Mountains. Lensky lost his parents early, and he was familiar with the Larin family from childhood.

The poet was alien to secular entertainment. Therefore, he was not corrupted by secular society like the main character. He knew how to appreciate the inner beauty and see the beautiful. He was not interested in the neighbors, who saw in him only a profitable party for their daughters.

He spent a lot of time abroad and graduated from the University of Göttingen, known at that time for being the center of liberalism in Europe. Therefore, the young man returned from there as a freethinker, an idealist and a fan of romanticism. Lensky always talked about the lofty, so his speech was emotional. Thus, he was the complete opposite of the main character.

Lensky's appearance in the novel "Eugene Onegin"

The work gives a brief description of the young poet. He was a handsome young man:

"Handsome man in full bloom of years."

"And shoulder-length black curls."

Such a length of hair (at that time young people rarely let their curls reach their shoulders) is a sign of a freethinker, a liberal. This fashion came from mysterious Germany, where Vladimir Lensky studied.

Friendship with a social dandy

In describing the image of Lensky in the novel "Eugene Onegin" it is necessary to tell about his relationship with Onegin himself. Against the background of the cynical indifferent Eugene, the sensitive and sublime nature of the romantic poet, idealizing those around him, stands out more strongly.

Despite the fact that in their conversations there was always a place for disputes (because their judgments were excellent in everything), the young people were pleased with their communication. Lensky attached great importance to this friendship. Brought up in the best traditions of romanticism, an idealist who puts love and friendship above all else, the poet was sincerely attached to Onegin.

Lensky needed a true friend with whom he could share his dreams and discuss philosophical topics. The ardent poet lived in his own special world and sincerely believed that other people would answer him in the same way.

For Onegin, everything in Lenskoye was new. Disappointed in life, tired of entertainment, he was interested in listening to the inspired speeches of the poet. He listened with indulgence to his revelations. For Vladimir, Onegin favorably differed from all his neighbors in his judgments and manners, he was unlike the others. Therefore, the romantic Lensky idealized his friend.

Love for Olga

Of great importance in the characterization of Lensky in the novel "Eugene Onegin" is the description of his relationship with Tatyana's younger sister, Olga. Living in his own special world, idealizing those around him, he created a romantic image of his beloved. Vladimir was not tempted in matters of the heart, so there is nothing surprising in the fact that his heart was captivated by a lovely rural girl with an angelic appearance.

"Oh, he loved, as in our summers

They no longer love; as one

The mad soul of a poet

Still condemned to love."

With all the ardor and passion of nature, he gave himself up to this first bright feeling. Olga was the whole world for him, his ideal. Only such exalted and dreamy people are able to experience such a feeling. And Vladimir did not notice the shortcomings of his chosen one at all. Because he believed that his beloved had all the qualities of a romantic and sublime heroine.

Drama of a young poet

The characterization of Lensky in the novel "Eugene Onegin" is a description of an idealist, impressionable and sublime romantic nature. Therefore, Vladimir could not react differently to his friend's cruel joke. Living in his own world, considering all his loved ones to be ideal people, he did not notice their shortcomings.

The poet did not attach importance to the fact that Onegin was an indifferent cynical person who treated him with indulgence and patronage. Olga, like most young girls, was a coquette who was frivolous about the sighs of her admirer.

Therefore, Lensky regarded Onegin's joke and Olga's act as a betrayal. All his ideas about high ideals, friendship and love were destroyed. And Vladimir challenged Yevgeny to a duel, where he, frightened by the opinion of society, shot the young poet. But, perhaps, it was not the duel itself that was terrible for Lensky, but the fact that all his illusions and dreams were destroyed in an instant at the ball.

The role of Lensky in the plot

So who is Lensky in the novel "Eugene Onegin"? What role did he play in the work? The death of the young poet is symbolic: it shows that a romantic, living only in his own illusions, dies when confronted with reality. A. S. Pushkin, using the example of Vladimir, showed that in secular society there is no place for the lofty ideals of Lensky.

With the help of this character, Pushkin showed that sincere feelings were not in fashion, feigned manners and indifference were valued in society. Alexander Sergeevich created a vivid image of an intelligent nobleman, lyric poet, romantic, who highly valued love, friendship and honor.

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In the novel "Eugene Onegin" by Pushkin, the image of Vladimir Lensky stands out sharply against the general background. His personality seems to be taken out of the context of modernity, as Lensky has distinctive differences compared to other characters in the novel. He seems too perfect in every way.

Childhood and elements of Lensky's biography

Alexander Sergeevich pays little attention to Lensky's past, so we have to talk about some facts of his biography using some of the author's hints. In detail, we get to know Lensky during his 18th birthday. This is an attractive young man, of noble origin. His estate is located in Krasnogorye. He is a very educated and educated person. Lensky spent a long time abroad - this state of affairs was associated primarily with his education. Vladimir studied at the University of Göttingen in Germany: "He brought fruits of scholarship from foggy Germany."

We offer you to get acquainted with an interesting hero - in the story of Alexander Sergeevich Pushkin "The Young Lady-Peasant Woman"

Based on the fact of a long stay abroad, Onegin calls Lensky half-Russian.
Little is also known about Lensky's appearance - Pushkin characterizes him as a handsome, attractive young man with long curly hair.

Vladimir Lensky and Eugene Onegin

The friendship of Vladimir Lensky and Eugene Onegin looked like a very strange phenomenon in view of the too significant differences between these heroes. Yes, it is impossible not to admit that there are similar features between them. So, for example, both of them were aristocrats by origin, both were educated and intelligent people, their knowledge actually allowed them to be philosophers of their time.

Both Lensky and Onegin were left orphans early. Neither the image of Lensky nor the image of Onegin is devoid of nobility, which, however, in the case of Onegin is lost among his negative qualities. Both characters are strange within the framework of their contemporary society, and although their strangeness manifests itself in different guises, to exclude such a related element as a juxtaposing element in comparison - society and its generally accepted paradigms.

The distinctive character traits of Vladimir and Yevgeny are much more significant: this is both an attitude to secular life, and faith in friendship and love, a distinctive feature of these heroes is the romantic composition of the personality of Lensky and the pragmatic onegin. Such significant differences, it would seem, should have repelled the characters and provoked antipathy towards each other, but everything turned out the other way around: such significant differences allowed the characters to discuss various philosophical topics, moreover, the absence of other candidates for communication significantly brought these seemingly antonymous characters.

Characteristics of the personality of Vladimir Lensky

Vladimir Lensky has a significant set of positive qualities that allow him to stand out among the general mass of aristocrats.

First of all, Lensky is a romantic from head to toe, this is especially evident in his attitude towards his beloved Olga Larina: "A poet, a thoughtful dreamer."

In addition, Vladimir has an elevated attitude towards women in general - he considers them a priori unusual and unique creatures. In communicating with the fair sex, Lensky feels some shyness - he feels awkward in the company of women, not at ease, often he does not know how he should act towards them, and how to conduct a conversation correctly.

Dear readers! We suggest that you familiarize yourself with the image of which is described in the poem by A.S. Pushkin "Eugene Onegin".

Lensky is a homebody, he does not like being in a secular society, he does not understand his hobbies for dinner parties and balls.

Lensky is a pure and open person, he is full of positivity, optimism and faith in the best: "He sang the faded color of life."

In his soul, he is still quite a child, full of youthful maximalism and idealism. "He believed that his friends were ready to accept chains for his honor."

Such a positive set of qualities is also not without a fly in the ointment - Lensky is an ardent, quick-tempered and impulsive person, such qualities, at first glance, should not have recreated the glory of a bad person for him, but in the case of Lensky they became a significant drawback, since they do not allow the young man to be healthy think in exciting situations.

Vladimir Lensky and Olga Larina

Vladimir Lensky from a very young age was familiar with the Larins, in particular with their daughters, Tatyana and Olga. Vladimir had tender feelings for his youngest daughter for a long time, so soon, after returning from Germany, he became the girl's official fiance.

Olga Larina was a very beautiful girl, by the standards of modern aristocratic society - her skin was fair, and her cheeks were ruddy. Her round face was framed by lovely golden curls. This fabulous image was complemented by expressive blue eyes. By her liking, the girl was cheerful and optimistic, which favorably distinguished her from the background of the dull Tatyana. However, her image is not without a fly in the ointment - Olga was a frivolous and windy coquette.

Onegin was surprised for a long time that a man like Lensky chose not Tatiana as his wife, but her sister. However, Vladimir's heart, no matter what, was captivated by Olga.

It is to Olga that Lensky dedicates his poems, all his thoughts were occupied exclusively by Olga. Relations with Olga became, apparently, the greatest joy in the life of Vladimir, but at the same time they also became the cause of the greatest tragedy in his life.

"Unspoken relationship" Lensky and Tatyana

The relationship between Lensky and Tatyana is often called “village history” in the circle of philologists and literary critics. This story is rather compositionally unusual, although this is not immediately noticed by the reader. The relationship of young people is full of "unspoken places" of ambiguities, omissions, changes in intonation, breaks, unexpected transitions from one subject to another, etc. Of course, the question may arise: but what kind of relationship between Vladimir and Tatyana are we talking about when Lensky is in love with Olga? But so, there were still relationships, and they are sometimes called “off-screen story”. Literary scholars have come to a common opinion that the Tatyana-Lensky line expresses the polyphony of Pushkin's novel. Let's deal with this issue in more detail.

Potentiality of the "love triangle"

"Love triangle", as you know, is a fairly common literary plot. However, Pushkin's novel is notable for the fact that such a plot is potential here. The "Triangle" is brewing, but the appearance of Onegin interferes with the design of this geometric figure. Lensky, of course, is in love with Olga. However, the young man is well aware of Tatyana's virtues, as well as the fact that this girl can become a better wife than Olga. So, in particular, thinks Yuri Lotman, a specialist in semiotics, philosopher and culturologist, who also analyzed Pushkin's work. According to the researcher, Vladimir and Tatyana have much more in common than Vladimir and Olga: this is a range of interests, a mental warehouse, and a special “poetry”. And, it’s true, Lensky is similar to the elder Larina: a philosophical nature (for example, Pushkin writes about a young man: “The purpose of our life for him was a tempting mystery, he racked his brains over it and suspected miracles”), purity, not depravity social events , naivety, gullibility, innocence, modesty and timidity. Lensky is, of course, a romantic. The hero believes in high, eternal feelings, in love, friendship.

In the village, Lensky did not have many friends, and especially people who understood the worldview and worldview of the young man. A rare person who understands Lensky was Tatyana. Lotman emphasizes that Larina's company must have been highly valued by Lensky. The girl subtly felt poetry, noticed the beauty of landscapes and nature in general - just like Vladimir. However, Pushkin is silent about the fact that some kind of spark slipped between the young people, or that Tatyana was interested in Lensky's work, as well as vice versa. But in the "village story" Pushkin seven times refers to the communication between Tatyana and Vladimir. Let's see what these cases are.

Pushkin on the possible line Tatyana-Lensky

The first time the author mentioned this line was in Onegin's conversation with Lensky, when the former remarked that he would have chosen Tatyana. To this, Vladimir - surprisingly - did not say anything. Although Onegin at the same time managed to christen Olga - the chosen one of Lensky - "a stupid moon in this stupid firmament." Even Nabokov - Pushkin's colleague from another century - was surprised by Lensky's dry reaction to such faux pas on the part of Onegin. The other two references are less expressive than the first. Although, perhaps, Yevgeny's confidence that Lensky will come to Tatiana's name day deserves attention. Although, it would seem, why should this holiday - intended for a narrow family circle - concern Lensky?

... Tatyana's name day
On Saturday. Deer and mother
They ordered to call, and there is no reason
You are not invited to come...

However, it seems to us that in this case the fantasy of literary critics rather played out than Pushkin really wanted to make a hint. But the next episode is already quite curious. Tatyana dreams that Eugene is quarreling with Vladimir. Two friends, two comrades - why should Lensky and Onegin quarrel? At the same time, the author mentions Tatyana's reproaches. Probably Tatyana's unconscious (if we turn to the concept of the Austrian psychiatrist Sigmund Freud) made itself known: the girl perceived Lensky and Onegin as rivals.

The fifth mention is the dance. At Larina's name day, Vladimir danced the first dance with the hero of the occasion. This moment is special for one reason: this dance was the last for Lensky - after that the hero was killed in a duel. Of course, one can argue here why Vladimir invites Tatyana. We can say that Olga has already been invited (before). However, this version still seems unconvincing. The sixth case of mentioning possible hidden feelings between Tatyana and Lensky is completely curious:

If only he knew what a wound
My Tatyana's heart burned!
Whenever Tatyana knew,
Whenever she could know
What tomorrow Lensky and Evgeny
Argue about the grave canopy;
Oh maybe her love
Friends would connect again!
But this passion and by chance
Nobody has opened yet.
Onegin was silent about everything;
Tatyana languished secretly;
One nanny could know
Yes, I was clueless...

What exactly seems suspicious to literary critics in this fragment? Firstly, the presence of the heroine in this episode, because when Lensky saw Olga, Tatyana was not there. At the same time, despite the fact that Olga served as a reason for the duel, the author does not say anything about the girl herself. Yes, and the nanny guessed that Tatyana was in love with Onegin (the writer directly mentions this in the text). In addition, Eugene refuses the girl, which means that he becomes an “enemy element” for the circle of the Larin family. Then why would Tatyana's love - bitter, non-reciprocal - unite friends? Very strange. Finally. The seventh mention completely mystifies the text, because experts assume literalness in the phrase "his brother." This phrase refers to Tatyana and to the fact that a girl should hate Yevgeny - "the murderer of her brother." The reader knows that the mother of the Larin sisters married an unloved man, and therefore often pushed her husband around. There are even versions that Lensky, indeed, could be Tatyana's brother - by mother - given that she probably sometimes cheated on her husband. However, these are just versions.

Duel with Onegin

The impulsiveness and emotionality of Lensky played a cruel joke with this character: at the celebration of the name day of Tatyana Larina, Onegin pays too much attention to Olga, Lensky's bride. In retaliation for the fact that Vladimir dragged him to the Larins against his will, Onegin dances and flirts with Olga. The frivolous and windy girl willingly accepts Eugene's courtship, which perplexes her fiancé. Insulted by Onegin's behavior, Lensky leaves the party prematurely and then challenges Onegin to a duel. Evgeny understands the absurdity of the duel, but does not take drastic measures to avoid it - Evgeny commits some unacceptable violations in the rules of the duel, but this does not stop Lensky. The duel ended tragically for Lensky - despite the fact that Onegin did not set Lensky's death as his goal, by chance it happened just like that. Vladimir died on the spot. Eugene was amazed by what happened, because he did not expect such an outcome of events, but it was impossible to turn back time - what happened happened.

The image of Vladimir Lensky as a whole is positive in nature - he is endowed with a mass of positive qualities and is good in every sense of the word. However, adherence to principles and inability to clarify what happened leads him to death.

Onegin, as we see, is in a sense the antipode of the positive Lensky. At the celebration on the occasion of Tatiana's name day, Onegin is bored, the hero does not like the guests either, and Lensky is annoying. Why is Eugene so overly attentive to Olga? Just out of boredom, because he wants to annoy, tease his friend - Vladimir. It is said that the duel that followed the heated quarrel of the heroes could have been prevented. And the key to a peaceful resolution of the conflict is Eugene's apology. However, the obstinate young man, of course, did not ask for forgiveness. Onegin is strikingly worried about his reputation, fearing that these events will ruin his reputation. The young man, apparently, is too dependent on the opinion of the "high society". Thus, wanting to save his alleged honor, to stay afloat in the whirlwind of intrigues of this very "high society", Onegin risks the life of a comrade, because "wildly secular enmity is afraid of false shame." A certain Zaretsky, a young man of "doubtful honor", was chosen as a second. The doubtfulness of this hero played a role: Zaretsky did not even begin to talk about reconciliation, although this is part of the direct duties of the seconds.

Work:

Eugene Onegin

Vladimir Lensky is the antipode of Onegin, designed to set off the qualities of this hero.

L. comes to his estate "from foggy Germany", where he became an admirer of the philosopher Kant and a romantic poet.

L. converges quite closely with Onegin, introduces him to the Larins' house, introduces him to Tatiana and his bride Olga. Irritated, Onegin begins to pretend to court Olga two weeks before their wedding with L. Because of this, the hero challenges Onegin to a duel, in which he dies.

In the novel, L. is 18 years old, he is rich and good-looking. All the behavior of L., his speech, appearance (“black curls to the shoulders”) point to free-thinking, to the newfangled romanticism of the hero. L.'s poetry is also distinguished by great romanticism: he sings "something far from the fog", writes "darkly and sluggishly."

L. falls in love with Olga, sees in her a romantic heroine from books, which consists only of poetic features. But the hero is cruelly mistaken in his beloved and pays for it with his life.

Despite all the fashion trends that L. brought from Germany, in his heart he remains a sweet, simple, not too refined and not too deep Russian landowner.

Such a split personality of the hero led to a tragic ending: L. dies in a duel, because. it is impossible to reconcile the opposites of his character. If L. had become a poet or a hero, he still would not have lost the worst features of a landowner; if he had become a district landowner, he would still have been writing poems. But anyway, I wouldn't be happy.

Lensky is the hero of the novel in poetry by A.S. Pushkin "Eugene Onegin" (1823-1831), a neighbor of Eugene Onegin on the estate. A handsome and rich 18-year-old youth, he is presented, like Onegin, as a stranger among the surrounding landowners - feudal lords and ignoramuses. Brilliantly educated, a connoisseur of German philosophy and literature, an enthusiastic dreamer and romantic poet, far from practical life and everyday prose, he also tries to avoid the company of "gentlemen of the neighboring villages", who prefer "prudent conversation about haymaking, about wine, about the kennel, about relatives, ”and get together with Onegin more briefly. With all the "mutual differences" ("wave and stone, poetry and prose, ice and fire are not so different from each other") they soon become inseparable friends.

Not only common interests bring together Onegin and L, but also "freedom-loving dreams." No wonder L. studied at the University of Göttingen - one of the most liberal in Europe - and worshiped Kant, whose philosophy in the official circles of Russia was considered dangerous and harmful, hostile to Christianity. L. pointedly described as "an admirer of glory and freedom", he is distinguished by "an ardent and rather strange spirit", "always enthusiastic speech", a noble "excitement of stormy thoughts", he is characterized by "indignation, regret, passionate love for the good." All this is an allegorical designation of civil sentiments, which were spoken about more frankly in the draft version: "Screamer, rebel and poet."

In long, almost daily disputes, Onegin and L. touch upon a wide variety of topics: the fate of civilization and the development of society, the role of culture and science in the improvement of mankind, good and evil, art, religion and morality, the significance of passions in the life of the individual. Placed in the ideological and philosophical context of the epoch (even from the author’s cursory references, one can conclude that we are talking about the views of the philosophers of the Enlightenment, the ideas of Rousseau, Schiller and Goethe, the views of European romantics), these seemingly abstract problems acquired a sharp and burning social meaning. Moreover, the novel focuses not on the theoretical disagreements of the characters, but on the moral and ideological essence and vital and practical differences in their positions: the contrast of youth and maturity, naivety and sobriety, enthusiasm and skepticism.

Opponent of the "demon" Onegin, L. firmly believes in the mystery of life, the possibility of improving the world and the final triumph of good. In the name of the triumph of these higher ideals and values, he is ready to sacrifice himself without hesitation: by challenging Onegin to a duel, he proved this in practice. However, L.'s beautiful-hearted dreams do not withstand a collision with reality. The ideal friend, as he considered Onegin, does not find the courage to refuse the duel and personally kills the young poet.

The positions of the antipodean heroes turn out to be flawed in themselves, but at the same time complementary and, in this sense, spiritually valuable. Hence - the duality of the author's assessment of L., ironic and sympathetic at the same time. Hence the duality of the author's forecast about the possible future of L.: the danger of an "ordinary destiny" - turning into an ordinary landowner, or the likelihood of becoming a famous poet and even an outstanding public figure, born "for the good of the world."

Through the image, L. Pushkin spent several important topics for himself in order to end them with an unexpectedly tragic ending. With the death of L. in a duel, everything connected with Pushkin's youthful dreams and first poems ends. And before that - secular Petersburg and its fun with Onegin; Germany and love for Olga - in L.; it all glitters, sparkles and seems like a great start. Nothing portends a tragic denouement caused by a combination of fatal circumstances. L. is the hero and symbol of such circumstances. A young landowner and poet, "he was sweet-hearted and ignorant." His day in the village developed approximately according to the same pattern as Onegin's, but this did not cause him any boredom. He accepted everything as it is, as it is arranged, and in the village silence he immediately found the one that occupied all his feelings. About Olga Onegin will say: “She is round, red in the face, / Like this stupid moon / In this stupid sky”, and L. sees in Olga everything that a lover sees in a woman. As a young man, he was “a touching witness to her infantile amusements, and upon returning to Russia, the image of a sweet neighbor girl was most naturally combined with the fact that “... He fell in love with dense groves, // Solitude, silence, // And the night, and the stars, and The moon ... "The harmony of nature, the harmony of love, the harmony of friendship - but suddenly a fatal shot from a friend - and it's all over, L. is dead. Pushkin builds up his short life from simple circumstances, extremely familiar to him and his entourage, chuckling at some of them. Separating Onegin and L. in different directions, Pushkin leaves everything mysterious and contradictory to Onegin, preparing the shot that cost his friend his life. By the time of the duel, we know absolutely everything about L. that was the content of his nature. In L. Pushkin, as it were, says goodbye to what he knows in himself as the unclouded clarity of spiritual movements. A bookish young man, a poet, “not yet knowing the anguish of the heart,” L. fell in love and died. The story about him is accompanied by the author's sympathy, irony, regret. This is how his own youth leaves the author. Pushkin says goodbye to her with a complex feeling, looking at L. (and himself in him) either seriously or ironically.

L. diligently decorates Olga's album with gentle verses, rural views. Pushkin knows what a "county young lady's album" is - he himself wrote more than once in such albums. Smiling at his own memory, he immediately ridicules the magnificent albums of brilliant ladies and again returns to his hero to protect him: “In Olga's album, young; // His pen breathes love. And then, in passing, he commemorates one of his contemporaries, expanding the meaning of the phenomenon: “So you, Inspired Languages ​​...” Having briefly noticed that L. would write odes, “yes, Olga did not read them,” Pushkin the poet returns to his own solitude: “But I am the fruit of my dreams // And of harmonic undertakings // I read only to the old nanny…” All this fusion of confessions, quick notes, “careless chatter” changes intonation when the author moves on to a duel. Pushkin takes on the role of a chronicler. In chased, strict lines, he concludes a picture where a young romantic acts as a “slave of honor”: “Now the pistols have already flashed, // A hammer rattles on a ramrod ...” Not being enemies, not having time to experience, survive the only thing that justifies a duel (and that experienced seven years later Pushkin), two people pointed pistols at each other. A few seconds later, one of them fell dead. After that, the "novel in verse" movement will change its course. About how the second laid the icy corpse of L. in the sleigh, how, “feeling the dead, the horses snore and beat”, and, finally, about how a simple monument was erected on the edge of the village, and Olga, after crying, consoled herself with a lancer - about this written in such a way that it is understandable: the course of life in the "dead ecstasy of light" revealed to Pushkin its terrible ins and outs.

In P.I. Tchaikovsky’s opera “Eugene Onegin” (1879), the image of L. is rethought primarily musically - with the preservation of the poetic text, which, due to the sincerity of intonations in the context of the opera, is not perceived as Pushkin’s parody of “love nonsense”. The special penetration of the part of L. is generated by the sympathy of the composer, who completely identified himself with the hero: L. is the perfect bearer of the romantic cult of love, which has become his worldview. The author's personal drama exacerbates elegiac moods and introduces twilight harmonies into L's musical image. The composer rules out a different outcome for the poet who romanticized reality: a soul condemned to love will not accept an "ordinary lot". In the image of L. on the Russian opera stage, L.V. Sobinov emphasized the poetry of suffering, and S.Ya. Lemeshev created an inescapable anthem of love, sang the purity and sublimity of trusting feelings.

Vladimir Lensky is eighteen years old, he is still a very young man, a young man who managed to go abroad and fall under the spell of German poetry and philosophy, especially Goethe and Schiller. He was an enthusiastic romantic

The spirit is ardent and rather strange, Always enthusiastic speech And black curls to the shoulders.

A. S. Pushkin compares his poetry with the “sleep of a baby”, it was so pure and innocent. In Onegin, he found a man to whom he could confess without fear of ridicule - Onegin spared his pride, giving time to disappoint the young man in his vague dreams on his own. They became friends "from nothing to do" - the most accurate observation of A. S. Pushkin, showing that the soul has certain needs, and these needs are directed to a person who is not necessarily worthy of attention, but only the most suitable among others.

In fact, Lensky and Onegin were two dialectical opposites of the same character, and this left an additional imprint on their relationship. They were two people who loved naturalness, and on the basis of this, they were bound to meet in the midst of people-masks and fools. The author rightly writes:

In the rural wilderness, Lensky "was accepted everywhere as a groom," while empty, uneducated neighbors agreed that he - semi-Russian. Probably because he wrote incomprehensible verses and spoke about what was completely incomprehensible to them. The fact that he came from Germany was only an external factor. But he romantically loved his bride-to-be, Olga Larina (“And crowns were predicted for the children // Friends-neighbors, their fathers”). He was seized with a completely youthful fervor, and the remark of his older friend, who unflatteringly compared Olga with "a stupid moon in a stupid firmament," offended him.

He continued to go to the Larins, wrote poems to her in an album, played chess with her in such a way that he “took his rook on foot”. The drama of Onegin and Tatyana remained out of his attention, so he could not understand the motives for Evgeny's behavior at the name day, when he unexpectedly began to court Olga. For Lensky, it was a revelation that Olga favorably reacted to a sudden suitor, and filled with romantic ideas of honor and dignity, he did not find anything better than to challenge a friend to a duel. The falsity of his decision became clear to him already when he met Olga on the eve of the duel, when it turned out that his bride did not even think of rejecting him. “When deciding to hate a co-cat…” one cannot “decide” to hate so artificially. Lensky was split between the real world and the world of his dreams and vague ideas. He did not have enough strength to choose the real world, in which Olga was sincerely perplexed about his imminent departure the day before, because about Onegin he continued to be in an absurd delusion and it did not even occur to him to try to find out in words what he wanted to achieve .

The romance of near death seized him, he gave free rein to bizarre fantasies about the danger of the molester Onegin and completely lost his sense of reality. material from the site

He thinks: “I will be her savior. I will not tolerate that the corrupter with Fire and sighs and praises tempt the young heart ... "

His death, sadly, did not shock anyone. It always happens with useless victims. He was ready to kill a friend because of a trifle and this turned out to be unsuitable for life. If he had killed Onegin, Olga would certainly have recoiled from him, struck by his cruelty, and Lensky would have experienced great disappointment, which would have ended either in suicide or in turning into a copy of Onegin himself. But for the novel, Onegin alone was enough, so the young Vladimir Lensky died.

Reading the novel "Eugene Onegin", you admire not only the perfection of the form of the work, the beauty and lightness of the language, but also the variety of problems raised by the poet that worried Russian society in the 20s of the XIX century. The main tragedy of the progressive youth of that time was disappointment in the reality around them, in the empty secular life. Onegin is among such disappointed people.

And here is another hero of the novel: Vladimir Lensky. Pushkin paints an unusually bright and lively image, striking in its sincerity, decency and insecurity from any blows of fate. Let's get to know this hero better. It was

Handsome, in full bloom of years,
Kant's admirer and poet.
He is from foggy Germany
Bring the fruits of learning:
freedom dreams,
The spirit is ardent and rather strange,
Always an enthusiastic speech
And shoulder-length black curls.

From these lines we learn that Lensky's childhood passed away from Russia. He lived and studied in Germany, "under the sky of Schiller and Goethe," where "their poetic fire ignited his soul." Lensky is a romantic poet, “before he had time to fade from the cold debauchery of the world”, “he sang the faded color of life at almost eighteen years old.” We see a dreamy person who seeks to express his moods and dreams in poetry. It is alien to secular society and stands out sharply against the background of trifling, brawling, cockerels and harliks:

He didn't like feasts
He ran their noisy conversation.

Lensky cannot find people close to him in spirit in the society around him. And, perhaps, this is what brings the hero to Onegin's house. A friendship is born, so unusual and strange:

They agreed. Wave and stone
Poetry and prose, ice and fire
Not so different from each other.

Despite the fact that “everything between them gave rise to disputes and led to reflection,” these people feel mutual sympathy. For Lensky, this friendship was of particular importance, since at that moment he needed a faithful friend, to whom he could trust all his feelings, experiences, and talk on philosophical topics:

Tribes of past treaties,
The fruits of science, good evil,
And age-old prejudices
And fatal secrets of the coffin.
Fate and life in turn
Everything was judged by them.

Pushkin shows Lensky's idea of ​​friendship, honor, nobility in this way, confirming that the hero highly valued friendly relations with Onegin:

He believed that friends were ready
For his honor to accept shackles,
And that their hand will not tremble
Break the slanderer's vessel.

The author draws attention to the fact that Lensky lives in his own romantic world. “Dear ignoramus with a heart,” the hero does not understand the whole depth of the essence of things, and therefore falls in love with Olga, noticing only “eyes like blue skies, a smile, linen curls, movements, voice, light body ...” According to Belinsky, Vladimir “ adorned her with virtues and perfections, attributed to her feelings and thoughts that were not in her. That is how it is. But he loved

Ah, he loved, as in our summers
They no longer love; as one
The mad soul of a poet
Still condemned to love ...

But we see that Olga is by no means perfect. She is the same as her peers, a frivolous girl, an ordinary person.

From the pages of the novel you read, you understand that the essence and purpose of Lensky's life was faith in love, friendship and freedom. And, perhaps, that is why the hero perceives Onegin's unsuccessful joke as a betrayal and betrayal of his best friend. "Unable to bear the deceit," Lensky challenges Onegin to a duel, "deciding to hate the coquette."
And so:

Onegin fired... They struck
Fixed hours: poet
Silently drops the pistol.

The death of the hero is symbolic, it involuntarily leads to the idea that a romantic, a dreamer who does not know reality, must die in a collision with life. For the poet himself, death is a deliverance from life among the townsfolk, a way out of the moral void that reigns in secular society.
A. S. Pushkin created an amazing image of a representative of the advanced noble intelligentsia, the image of a lyric poet who romantically perceives life and people, who believes in high friendship, in eternal, ideal love.

Unlike Onegin, Lensky is not spoiled by life in the capital. His childhood years were spent in a provincial backwoods, close to nature, surrounded by patriarchal landowners with their innocence, hospitality, and sincere benevolence. Even in his teenage years, he experienced the first glimpses of a love feeling, devoid of secular theatricality, metropolitan affectation:

A little boy
Captured by Olga
I don't know the pain of the heart yet,
He was a touching witness
Her infantile amusements;
In the shadow of the protective oak forest
He shared her fun
And crowns were read to the children
Friends, neighbors, their fathers.

Objectifying, separating Lensky's character from himself, Pushkin rarely resorts to describing the external circumstances of the hero's life, as was the case with Onegin. He often depicts the spiritual world of Lensky, creating a realistic image of his romantic worldview. The author permeates Lensky's poems from the inside with good humor or light irony: “Will I fall pierced by an arrow”;

And I, maybe I'm the tomb
I will descend into the mysterious canopy"
Will you come, maiden of beauty,
Shed a tear over an early urn,” etc.

A living image of a romantic poet arises, independent of the author. With the skillful hand of a realist, Pushkin typifies the romantic style with its pretentious paraphrases, with its predilection for archaic details: a romantic arrow instead of a prosaic bullet, “beauty maiden”, “early urn”, complicated syntactic inversion. G. A. Gukovsky, a researcher of Pushkin’s realistic style, says that “Lensky combines the features of both currents of Russian romanticism of Pushkin’s time - both the psychological, “ideal” romanticism of Zhukovsky and his school, and the civil romanticism of the Decembrist type. This is explained, of course, by the fact that the essence of the image of Lensky is generally "romanticism", as a single principle of culture.

To this we can also add that Lensky's romanticism is romanticism in general, as a universal and eternal sign of a youthful worldview. In Lenskoye, Pushkin creates the image of a young, poetically gifted young man who has not yet found himself, but who has rich potentialities. Like the petals of a flower in an unopened bud, they have not yet opened in it, but if they are realized, they can turn Lensky's character in a variety of directions. From this point of view, Pushkin's entire novel resembles a bud that has not yet blossomed, has not burst, containing the future flower and fruit of Russian life, all the leaves and petals of which, with their inherent vital energy, have not yet unfolded, but are already ready for self-disclosure.

It is there, in a tempting, promising, but also mysterious future, that Pushkin strives for "the distance of a free novel." At the core of this kidney, the love of Onegin and Tatyana, which has not yet taken place, but is already ripening, symbolizes the fundamental forces and elements of Russian life that have diverged far in the post-Petrine period, but now rushing towards unity: the intellectual pinnacle of Russian society “boiling in empty action” and remaining true to legends and traditions. shrines of thousand-year-old Russia, its provincial depth.