The direction of the novel is Eugene Onegin. The main character as a typical representative of his generation

PLAN

1. What is romanticism?
2. Causes of Romanticism.
3. The main conflict of romanticism.
4. The era of romanticism.
5. Pushkin is a pioneer of new paths for Russian literature.
6. “Eugene Onegin” is an image of modern reality.
7. Conclusion

Romanticism (from French Romantisme) - ideological and artistic direction, which occurs at the end XVIII century in European and American culture and continues until the 40s XIX century. Reflecting disappointment in the results of the Great french revolution, in the ideology of the Enlightenment and bourgeois progress, romanticism opposed utilitarianism and the leveling of the individual with the aspiration for unlimited freedom and “infinite”, the thirst for perfection and renewal, the pathos of the individual and civil independence.

The painful disintegration of the ideal and social reality- the basis of the romantic worldview and art. Affirmation of the intrinsic value of the spiritual and creative life of the individual, image strong passions, spiritualized and healing nature, adjacent to the motifs of "world sorrow", "world evil", "night" side of the soul. Interest in the national past (often its idealization), the traditions of folklore and culture of one’s own and other peoples, the desire to publish a universal picture of the world (primarily history and literature) found expression in the ideology and practice of Romanticism.

Romanticism is seen in literature, fine arts, architecture, behavior, clothing and psychology of people.

REASONS FOR THE ORIGIN OF ROMANTICISM.

The immediate cause that caused the emergence of romanticism was the Great French bourgeois revolution. How did this become possible?

Before the revolution, the world was ordered, there was a clear hierarchy in it, each person took his place. The revolution overturned the “pyramid” of society, a new one has not yet been created, so individual person there was a feeling of loneliness. Life is a flow, life is a game in which some are lucky and some are not. In literature, images of players appear - people who play with fate. We can recall such works by European writers as Hoffmann's "The Gambler", Stendhal's "Red and Black" (and red and black are the colors of roulette!), and in Russian literature these are Pushkin's "Queen of Spades", Gogol's "Gamblers", "Masquerade" Lermontov.

THE MAIN CONFLICT OF ROMANTISM

The main one is the conflict of man with the world. The psychology of the rebellious personality arises, which Lord Byron most deeply reflected in Childe Harold's Journey. The popularity of this work was so great that a whole phenomenon arose - “Byronism”, and whole generations of young people tried to imitate him (such, for example, Pechorin in Lermontov’s “A Hero of Our Time”).

Romantic heroes are united by a sense of their own exclusivity. "I" - is realized as supreme value, hence the egocentrism of the romantic hero. But focusing on oneself, a person comes into conflict with reality.

REALITY - the world is strange, fantastic, extraordinary, as in Hoffmann's fairy tale "The Nutcracker", or ugly, as in his fairy tale "Little Tsakhes". Strange events take place in these tales, objects come to life and enter into lengthy conversations, the main theme of which is a deep gap between ideals and reality. And this gap becomes the main THEME of the lyrics of romanticism.

THE ERA OF ROMANTISM

Before writers early XIX centuries, whose work took shape after the French Revolution, life set different tasks than before their predecessors. They were to discover and artistically form a new continent for the first time.

The thinking and feeling man of the new century had a long and instructive experience of previous generations behind him, he was endowed with a deep and complex inner world, before his eyes hovered the images of the heroes of the French Revolution, the Napoleonic wars, the national liberation movements, the images of the poetry of Goethe and Byron. In Russia Patriotic War 1812 played in the spiritual and moral development society the role of the most important historical milestone, profoundly changing the cultural and historical image of 's society. In terms of its significance for national culture it can be compared with the period of the eighteenth-century revolution in the West.

And in this era of revolutionary storms, military upheavals and national liberation movements, the question arises whether, on the basis of a new historical reality, new literature, not inferior in its artistic perfection to the greatest phenomena of literature ancient world and the Renaissance? And can it be based on further development be " modern man”, a man of the people? But a man of the people who participated in the French Revolution or on whose shoulders the burden of the struggle against Napoleon fell could not be described in literature by means of novelists and poets. previous century, - he demanded other methods for his poetic embodiment.

PUSHKIN - ROMANTIC PROGRAM

Only Pushkin, the first in Russian literature of the 19th century, was able to find in both poetry and prose adequate means to embody the versatile spiritual world, the historical appearance and behavior of that new, deeply thinking and feeling hero of Russian life, who occupied a central place in it after 1812 and in features after the Decembrist uprising.

In the lyceum poems, Pushkin still could not, and did not dare to make the hero of his lyrics real person new generation with all its inherent psychological complexity. Pushkin's poem represented, as it were, the resultant of two forces: the poet's personal experience and the conditional, "ready-made", traditional poetic formula-scheme, according to internal laws which this experience was shaped and developed.

However, gradually the poet is freed from the power of the canons and in his poems we are no longer presented with a young “philosopher”-Epicurean, an inhabitant of a conditional “town”, but a man of the new century, with his rich and intense intellectual and emotional inner life.

A similar process takes place in Pushkin's work in any genre, where the conventional images of characters, already consecrated by tradition, give way to the figures of living people with their complex, diverse actions and psychological motives. At first, this is a somewhat more abstract Prisoner or Aleko. But soon they are replaced by the very real Onegin, Lensky, the young Dubrovsky, German, Charsky. And, finally, the most complete expression of a new type of personality will be the lyrical "I" of Pushkin, the poet himself, spiritual world which is the most profound, richest and most complex expression of burning moral and intellectual questions time.

One of the conditions for the historical revolution that Pushkin made in the development of Russian poetry, dramaturgy and narrative prose was the fundamental break he made with the educational-rationalistic, ahistorical idea of ​​the “nature” of man, the laws of human thinking and feeling.

Complex and conflicted soul “young man” of the beginning of the 19th century in “Prisoner of the Caucasus”, “Gypsies”, “Eugene Onegin” became for Pushkin an object of artistic and psychological observation and study in its special, specific and unique historical quality. Putting his hero every time in certain conditions, depicting him in various circumstances, in new relationships with people, exploring his psychology with different sides and using it every time new system artistic "mirrors", Pushkin in his lyrics, southern poems and "Onegin" seeks from various sides to approach the understanding of his soul, and through it - further to the understanding of the laws of contemporary social life reflected in this soul. historical life.

Historical understanding of man and human psychology began to emerge from Pushkin at the end of 1810 - the beginning of the 1820s. We find the first distinct expression of it in the historical elegies of this time (“The daylight went out ...” (1820), “To Ovid” (1821), etc.) and in the poem “ Prisoner of the Caucasus”, the main character of which was conceived by Pushkin, according to own confession poet, as a bearer of feelings and moods characteristic of the youth of the 19th century with its “indifference to life” and “premature old age of the soul” (from a letter to V.P. Gorchakov, October-November 1822)

"EUGENE ONEGIN" - the image of modern reality

Appearing for the first time in the period of the southern poems, Pushkin's historical approach to understanding the "laws" of the soul and heart of man - past and present - will soon receive consistent expression in "Eugene Onegin" and "Boris Godunov". Pushkin's comparison of the social and moral-psychological appearance of two generations in "Eugene Onegin" - Onegin with his father and uncle, Tatiana with her parents - is evidence of an exceptional in its depth, the subtlest understanding of the dependence of human psychology on the everyday and cultural-historical atmosphere of the time . Unlike the main characters in the works of his predecessors and older contemporaries, including the heroes of Karamzin and Zhukovsky, Onegin and Tatyana are people, all psychological and moral character which are permeated with reflections of the intellectual and moral life from time.

As Pushkin perfectly understands, Onegin's father and Larina-mother, finding themselves in the position of Yevgeny and Tatiana, behaved differently, since their time was characterized by other ideals and other moral ideas, and at the same time - a different structure of feelings, a different rhythm of life. A young man who grew up in St. Petersburg, was brought up by a French tutor and read Adam Smith, thinks differently than his narrow-minded, brought up in the manners of the last century, "nobly" served and wasted father. The generation whose idols were ladies' men and grandisons felt differently than the generation recited by Byron, Benjamin Constant and Madame de Stael. Comparing the characters of Onegin and Tatyana with the characters of people of the past generation, Pushkin shows how new, historically unique properties of the soul are formed in the real process of life. people XIX century. These properties determine the special features of all life - external and internal - younger generation, fundamentally, qualitatively different from the life of the "fathers", fraught with new complex moral and psychological problems not known to the previous literature.

Tatyana meets Onegin. In the genre of a sentimental story, such a meeting would be described as a meeting of two exalted hearts, in a romantic poem - two chosen, although different in their warehouse, high, poetic natures, opposed by the poet surrounding reality and superior to other, ordinary people in the strength of their feelings and aspirations. We see another in Pushkin. Both Tatyana and Onegin are presented by Pushkin not as variations of ready-made, repetitive types, but as dialectically complex human characters, each of which bears the imprint of the conditions of his life, his special spiritual experience. The dissimilar circumstances of the development of the heroes of the novel also determine the nature of the psychological refraction that the image of each of them receives, reflected in the minds of the other.

As Pushkin shows the reader, Tatyana's love is a psychological reflection (and expression) of her entire previous life (material and spiritual factors): Russian nature, communication with the nanny, perception folk life. And finally, all the coloring love feeling Tatyana's attitude towards Onegin would have been different if she had not let his image through the prism of the characters and plots of her romance novels, if she had not associated him with them.

Pushkin's depiction of childhood and middle age Onegin and Tatyana, their attitude to nature, people, household items around them - there are interconnected, passing into each other moments of a single process of social and everyday life and psychological development heroes. And the characteristics of Father Onegin, his uncle, teachers, a description of his lifestyle in St. Petersburg create bright picture Russian noble life beginning of the 19th century. Acquaintance with the upbringing and lifestyle of the protagonist before meeting with Tatyana explains to the reader his reaction to the meeting with the heroine and not her letter. And the description of this reaction is a new further stage in the reader's more in-depth acquaintance with the hero, gives new material to penetrate into the character and psychology of the “young man” of the 19th century.

Thus, all the individual episodes in the novel are not indifferent to each other, but are internally interconnected. And not only environment and external factors of life help to explain and understand inner world characters, but this world itself acquires a huge, exceptional significance in depicting the modern reality of that time.

Historical understanding is not only external environment and the environment in which people live and act, but also the very structure of their feelings and moral life, is no less clearly expressed in Pushkin's prose– from “Arap Peter the Great” to “Queen of Spades”, “ captain's daughter” and “Egyptian Nights”.

In Pushkin’s works, along with the change in the “spirit of the times”, not only social mores, characters and fashions change, but also the relationships that develop between people: the love of a medieval paladin or “poor knight” is fundamentally, qualitatively different from the love of young people of the 19th century. Therefore, in literature XVIII centuries, the “knight of the poor” was supplanted by the cavalier Foblas, and already half a century later, “Foblas was dilapidated by fame”, and their place was taken by Onegin and Childe Harold.

CONCLUSION

The peculiarity of any work of art and literature is that it does not die along with its creator and its era, but continues to live later, and in the process of this later life historically naturally enters into a new relationship with history. And these relations can illuminate the work for contemporaries with a new light, can enrich it with new, previously unnoticed semantic facets, extract from its depth to the surface such important, but not yet recognized by previous generations, moments of psychological and moral content, the significance of which for the first time could be understood. - really appreciated only in the conditions of the next, more mature era. So it happened with the work of Pushkin. The experience of the historical life of the 19th and 20th centuries and the work of the heirs of the great poet revealed in his works new important philosophical and artistic meanings, often still inaccessible either to Pushkin's contemporaries or to his first immediate, immediate successors, including Belinsky. But just as the work of Pushkin's students and heirs helps today to better understand the works of the great poet and appreciate all the seeds hidden in them that were developed in the future, so the analysis of Pushkin's artistic discoveries allows literary science to penetrate deeper into the subsequent discoveries of Russian literature XIX and XX centuries. This emphasizes the deep, organic connection between the new paths blazed in art by Pushkin and the entire later development of Russian literature up to the present day.

Literature

1. “Literature in the Movement of Time”, Fridlender G.M.
2. “Life and work of A.S. Pushkin”, Kuleshov V.I.
3. “Pushkin's Prose: Paths of Evolution”, Tomashevsky B.V.

"Eugene Onegin" - realistic novel, which presents a broad, historically accurate picture of Russian life in the early 19th century. The poet painted various types of people, characters, conditioned by the social environment and time. Before him, writers did not see the dependence of character on the social environment. Pushkin explores the process of the formation of heroes, shows them not static, but in development, in a collision with the environment, in spiritual transformation. For the first time in Russian literature, the poet reveals the psychological depths of the characters, draws their inner world with realistic motivation and fidelity. internal psychological condition Pushkin conveys through the external movement, the behavior of the characters.

The realism of the novel is colored by a critical attitude towards reality. This is expressed primarily in the type of conflict - a disappointed, dissatisfied person in his social needs is in conflict with the environment, which lives according to its inert laws. However, in portraying the hero realistically, Pushkin does not tear Onegin out of his circle. According to the correct remark of Herzen, Onegin "never takes the side of the government", but also "is never able to take the side of the people."

Pushkin "Eugene Onegin" determined the trend of the further development of Russian literature in line with critical realism.

The novel "Eugene Onegin" was named by V.G. Belinsky "encyclopedia of Russian life". Indeed, as from an encyclopedia, from a novel, you can learn everything about Pushkin era. The novel shows all layers of Russian society: elite Petersburg and patriarchal Moscow, landed nobility and the peasantry.

The novel gives an idea of ​​the education system of the nobility at that time, of the reading circle of provincial young ladies and young people of St. Petersburg. The description of Onegin's one day recreates a pastime typical of noble youth: sleeping until noon, invitation notes that a servant brings to bed, a walk along the boulevard, dinner in a trendy restaurant, a theater, dressing up for a ball, the ball itself until morning.

How on Dutch still life, shimmer with rich colors of the dishes served for lunch. Pushkin poeticizes everyday details, describing Onegin's St. Petersburg office with elegant trinkets and French perfumes. We will learn how young aristocrats dressed, what was fashionable in those days. A special place in the picture of the life of St. Petersburg, created by Pushkin, is occupied by the theater - "a magical land".

Pushkin is surprisingly accurate not only in describing the details and signs of everyday life, but also of time. It is possible to determine with certainty when this or that event of the novel occurs, what is the age of its characters.

Eugene Onegin constantly mentions real faces- poets, friends of Pushkin, ballet dancers, playwrights, fashionable hairdressers and tailors known in those days.

The pages of the novel reflect the literary struggle, the confrontation between romanticism and realism, new theatrical trends.

There is not a single aspect of life and life in Russia at the beginning of the 19th century that would not be reflected, as in a mirror, in a novel. Moral and everyday, socio-political, literary and theatrical representations, realistically reproduced in "Eugene Onegin", make it an encyclopedia in which "the century and modern man are reflected."

With the title of the novel, Pushkin emphasizes the central place of Onegin among other characters. An aristocrat by origin and upbringing, "having fun and luxury a child", Eugene Onegin, having had enough social life disillusioned with reality. Sharp man critical mind, he becomes hostile to the light. He tries to find answers to emerging questions in books, but he does not find either an ideal or a goal. Onegin's disappointment in life is not a tribute to romantic fashion, not a desire to dress up in the cloak of Childe Harold. This is a natural stage of development, due to belonging to the noble intelligentsia. Pushkin in Onegin reflected the drama of the position of an advanced noble intellectual, who was in opposition to the authorities, but also far from the people, had neither business nor purpose in life. Onegin is an individualist, alone experiencing his disappointment with others. V.G. Belinsky called him a "suffering egoist."

The duel with Lensky became a stage in spiritual development Onegin. Denying secular morality, Eugene Onegin could not resist the opinion of the world and refuse to duel. The senseless murder of a friend makes him leave the village, becomes the impetus for a deeper and more serious perception of life.

Describing Onegin, Herzen wrote that the hero is "smart uselessness", it is "an extra person in the environment where he is, not possessing the necessary strength of character to escape from it."

The complex and controversial image of Onegin determined the beginning of a whole galaxy of " extra people» Russian Literature.

Pushkin immediately gives the image of Lensky as an antithesis to Onegin:

They agreed. Wave and stone

Poetry and prose, ice and fire Not so different from each other.

At the same time, Lensky is close to Onegin in terms of the level of development, in terms of the height of spiritual requests. This is also far from a simple image, which is sometimes seen as a debunking of romanticism. Pushkin ironically says:

He sang separation and sadness,

And something, and foggy distance.

At the same time, Lensky is bright and pure man, whose trouble is that he does not know life, enthusiastically believes in the ideals gleaned from books. His freedom-loving dreams do not find a real embodiment. “Dear ignoramus at heart,” Lensky, like Onegin, did not fit into contemporary society. He had two ways: either the gift of the poet would have developed in him and acquired a civil sound, or, broken by society, Lensky would have healed like everyone else. The idealistic-romantic attitude to reality was not viable. And the death of Lensky is natural. Herzen noted: "The poet saw that such a man had nothing to do in Russia, and he killed him with Onegin's hand."

The female characters of the novel, Tatyana and Olga, are also built on opposition. Tatyana is the embodiment of Pushkin's ideal, and not in some abstract romantic image, but in an ordinary Russian girl. Everything is normal in Tatyana, her appearance is not striking at first sight. Tatyana grew up in the countryside, among Russian nature, listening to the stories of the old nanny and the songs of the village girls. In her character, Russian, folk combined with what French sentimental novels carried with them, developing daydreaming, imagination, sensitivity:

Dika, sad, silent ...

She is in her native family Seemed like a stranger girl.

Tatyana has a rich inner world. She is naturally gifted

rebellious imagination,

Mind and will alive,

And wayward head

And with a fiery and tender heart.

Like any original nature, Tatyana finds herself alone. She longs to find a kindred spirit, which in her imagination she saw in Onegin.

Tatyana is different from the girls of her circle. She does not behave in a typical way for a girl brought up in patriarchal traditions - contrary to generally accepted concepts, the first confesses her love. Tatyana is sincere, pure, open in her monologue-letter to Onegin.

After Onegin's departure, Tatyana wants to understand who he is, her hero? Reading books with his notes, immersion in an unknown world, reflection on what she had read prepared Tatyana, according to Belinsky, for "rebirth from a village girl into a secular lady." But even being in the world, Tatyana retains purity and sincerity, "everything is quiet, it was just in her." She is alien to "the rags of a masquerade, all this brilliance, and noise, and fumes." To Onegin's confession, Tatyana sadly replies:

I love you (why lie?),

But I am given to another;

I will be faithful to him forever.

Tatyana rejects Onegin, because she cannot break her moral principles. Brought up on folk ethical rules, Tatyana cannot make her husband, whom she deeply respects, unhappy. Her moral requirements for herself are high, and she considers loyalty to her husband a duty. Belinsky is hardly right, who saw in Tatyana's fidelity a profanation of love. Consistency in upholding one's moral principles in life just speaks of the integrity of the heroine's nature. The image of Tatyana embodied Pushkin's ideal Russian woman.

The complete opposite of Tatyana is her sister Olga. She is always "frisky, carefree, cheerful." Her portrait reflects a common type of beauty - the ideal of the novels of that time:

Any romance

Take it and you will find it

Her portrait.

The insightful Onegin remarks that "Olga has no life in her features." This mediocre, unremarkable girl is not capable of a strong deep feeling. After Lensky's death, "she did not cry for long," she got married and, probably, will repeat the fate of her mother, who

Salted mushrooms for the winter,

Conducted expenses, shaved foreheads,

I went to the bathhouse on Saturdays

She beat the maids, getting angry ...

The skill of Pushkin as a realist was especially clearly manifested in the creation of images of heroes. Reflecting the socio-typical, the poet revealed the individual psychological traits of the characters, showed their inner world.

Creativity A.S. Pushkin had a huge impact on the subsequent development of Russian literature. Gogol remarkably accurately defined the role of the poet: "Pushkin is an extraordinary phenomenon and, perhaps, the only manifestation of the Russian spirit: this is the Russian man in his development, in which he may appear in two hundred years."

"Eugene Onegin" - the first realistic novel in Russian literature

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2. Describe sentimentalism as a literary movement.
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5. Biographical information about A. S. Pushkin. The main themes of creativity.
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17. Life and work of I.S. Turgenev. The history of the creation of the novel "Fathers and Sons".
18. Bazarov - the main character of Turgenev's novel "Fathers and Sons". Nihilism as a social phenomenon of the 19th century.
19. Test of love in Turgenev's novel "Fathers and Sons".
20. Bazarov and parents. Characteristics of Bazarov's parents.
21. Two generations in Turgenev's novel "Fathers and Sons". controversy in the novel.
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23. Life and work of I. A. Goncharov. Describe the image of Oblomov.
24. Two antipodes in Goncharov's novel Oblomov. Oblomov and Stolz.

25. Life and work of F. I. Tyutchev. The main themes of the poet's work.

26. Life and work of A.K. Tolstoy. The main themes of creativity.

27. Life and work of A. A. Fet. The main themes of the poet's work.

d) futurism

2. what literary direction did not exist in the literature of the 20th century:

a) classicism

b) modernism

V) socialist realism

d) realism of the 20th century

3. what concept is implemented in the "Don stories" by M. Sholokhov:

a) "Man is the crown of creation"

b) "Man - it sounds proud"

c) "In human world survival of the fittest"

d) "Neither those nor these are not in good conscience"

4. the term "village prose" is associated with:

a) with " Khrushchev thaw"

c) with the rule of Stalin

d) revolution

5. "village prose" includes:

a) M.A. Sholokhov

b) V. Shukshin

c) Y. Bondarev

d) M. Bulgakov

6. Shukshin's favorite hero:

a) fool

c) quiet

d) upstart

7. the technique used by Bulgakov in the story " dog's heart":

a) satire

b) Aesopian language

c) the combination of fantasy with everyday grotesque

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

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

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

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

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

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

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

Direction and genre. "Eugene Onegin" is the first Russian realistic socio-psychological novel, and, what is important, not prose, but a novel in verse. For Pushkin, the choice of artistic method- not romantic, but realistic.

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

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

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

It is also important that Pushkin carefully analyzes not only the external circumstances of the characters' lives, but also their inner world. On many pages he achieves extraordinary psychological skill which gives you a deeper understanding of his characters. That is why "Eugene Onegin" can rightfully be called a psychological novel.

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

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

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

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

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

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

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

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

So that the child is not exhausted,
Taught him everything jokingly
I did not bother with strict morality,
Slightly scolded for pranks
And in Summer garden drove for a walk."

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

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

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

I love your sincerity
She got excited
Feelings long gone.

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

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

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

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