In what literary direction was Eugene Onegin written? To which literary direction should the novel Eugene Onegin be attributed?

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.

Completing work on the last chapter of the novel in 1830, Pushkin sketched out his draft plan, which looks like this:
Part one. Preface. 1st song. Khandra (Kishinev, Odessa, 1823); 2nd song. Poet (Odessa, 1824); 3rd song. Young lady (Odessa, Mikhailovskoye, 1824).
Part two. 4th song. Village (Mikhailovskoe, 1825); 5th song. Name days (Mikhailovskoe, 1825, 1826); 6th song. Duel (Mikhailovskoe, 1826).
Part three. 7th song. Moscow (Mikhailovskoye, Petersburg, 1827, 1828); 8th song. Wandering (Moscow, Pavlovsk, Boldino, 1829); 9th song. Great Light (Boldino, 1830).

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

In addition, there is an assumption about the existence of Chapter 10, which was written in the Boldin autumn of 1830, but burned by the poet on October 19, 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) have been preserved, encrypted by Pushkin. 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 the debate about the legitimacy of the assertion that these fragments really represent parts of the missing chapter 10 of the novel has not subsided so far.

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

Starting work on the novel during the period of southern exile, when romanticism dominates the poet's work, Pushkin soon becomes convinced that the features of the romantic method do not make it possible to solve the problem. Although, in terms of genre, the poet is to some extent guided by 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 their inner logic and relationship with the conditions in which they find themselves. All this has led to the creation of truly typical characters that manifest themselves in typical circumstances, which is what distinguishes realistic works.

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

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

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

At the same time, in "Eugene Onegin" there are features 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.

Lyrical digressions - this is a compositional and stylistic device, which consists in the author's deviation from the plot narrative and the introduction of direct authorial speech. They create the image of the author as a living interlocutor, narrator and open up the world of narration to the outside, introducing additional topics that are not related to the plot. In Eugene Onegin, lyrical digressions make up a significant part - almost a third of its volume. Lyrical digressions perform numerous functions in the novel: they mark the boundaries of the novel's time and replace the plot narrative, create the completeness of the image, characteristic of the "encyclopedia" and give the author's commentary on the events. It is lyrical digressions that introduce the author's "I", allow you to conduct a kind of dialogue with readers. By creating a distance between the author and the hero, they allow Pushkin to take the position of an objective researcher in relation to the events and characters depicted, which is necessary in a realistic work.

plot and composition. Pushkin's innovation in the field of the genre also determined the originality of the composition of the novel, which is built on the interweaving of plot and extra-plot elements. The author easily moves from narration to lyrical digressions, which creates the impression of a relaxed story, a confidential conversation with the reader. Some researchers note that this construction technique helps to create a sense of spontaneity, as if the novel is not written according to a clear plan, but is told. Pushkin himself spoke of this: “the distance of a free novel,” asserting his copyright to freedom of choice.

Pushkin consciously abandons some traditional elements, such as an introduction with an appeal to the muse - at the end of the seventh chapter there is a parody of him:

Yes, by the way, there are two words about that:
I sing a young friend
And many of his quirks.
Bless my long labor
Oh you epic muse!
And, handing me a faithful staff,
Do not let me wander at random and at random.

He omits a number of events in the lives of the characters, such as Tatyana's wedding, and traditional interchange, which should complete the plot, is missing. Pushkin does all this in order to emphasize the plausibility of the story told: in real life there are no introductions and epilogues, some events remain unknown to us, but we continue to live on, as Onegin, Tatyana and other heroes of the novel do after its completion.

Nevertheless, the composition of the novel is clear and carefully thought out. It is built on the basis of two storylines, one of which breaks off in the middle of the work. The first storyline: Onegin - Tatyana; its plot - Onegin's acquaintance with Tatyana - occurs only in chapter III. The second storyline: Onegin - Lensky; its plot in chapter II - Onegin's acquaintance with Lensky - comes immediately after the extended exposition, which is chapter I. In chapter VI, where the duel and death of Lensky take place, the second storyline reaches a climax, which is immediately followed by a denouement. Interchange of the first storyline takes place at the end of the novel - in the last, VIII chapter. The peculiarity of both denouements is that both of them are devoid of certainty: after the story of Lensky's death in a duel, the author describes two possible paths for this hero. And after the explanation with Tatyana in the last chapter, Pushkin “leaves” Onegin “in a moment that is bad for him,” which means the open ending of the novel.

The main principle of the organization of the novel is symmetry and parallelism. It has a "mirror" structure: in the center is the scene of the murder of Lensky, and individual episodes and details are parallel in pairs. In the first part of the work, Onegin travels to the village from the city and Tatyana falls in love with him, writes a letter of recognition, and he only reads instructions to "poor Tanya"; in the second part, Tatyana comes from the village to the capital, where she meets Onegin, being a married lady, and already Eugene falls in love with her, in turn writes a letter to her, and she refuses him and also reproaches him: “As with your heart and mind / To be the feelings of a petty slave? Some details also have something in common: the description of Onegin’s village and city studies, the books he reads in the city and the countryside, the images that arise in Tatyana’s dream (monsters, among which Evgeny appears killing Lensky), correlated with the image of guests at her name day and subsequent dueling events. The novel also has a "ring" construction: it begins and ends with the depiction of the hero's life in St. Petersburg.

The character system also has an orderly structure. Main principle its constructions are the antithesis. For example, Onegin is opposed to both Lensky (as a Byronic hero - a romantic dreamer), and Tatyana (as a metropolitan dandy - a simple Russian girl), and high society (although he is a typical young man, but already tired of empty entertainment), and neighbors - landlords (like an aristocrat with metropolitan habits - rural landlords). Tatyana is opposed to both Olga (the latter is too empty and frivolous compared to the heroine, who "loves in earnest"), and Moscow young ladies (they tell her about their "heart secrets", fashion, outfits, while Tatyana is focused on a solitary inner life) , and secular beauties (“without these little antics, without imitative undertakings ...”). It is very important to note that the author contrasts and compares shades, details of the same qualities (which is also typical of real life), these are not classic or romantic literary clichés: kind - evil, vicious - virtuous, banal - original, etc. Larina's sisters are an example: both Olga and Tatyana are natural, sweet girls who fall in love with brilliant young people. But Olga easily changes one love for another, although quite recently she was Lensky's bride, and Tatyana loves one Onegin all her life, even when she gets married and finds herself in high society.

The reliability of what is happening in the novel is also emphasized with the help of text inserts that are foreign to the author's: letters from Tatiana and Onegin, songs of girls, poems by Lensky. Some of them are distinguished by a different stanza (not written in the “Onegin stanza”), have a separate name, which not only stands out from the general text of the novel, but also gives it a “documentary” quality.

The main compositional unit of the novel is the chapter. Each new chapter new stage in the development of the plot. But this does not prevent Pushkin from suddenly interrupting one of the chapters, leaving the heroes for a while, but without destroying the plan of the work: each chapter is devoted to a specific topic, such as the fourth chapter - Onegin's refusal, Tatyana's misfortune and mutual love her sisters, and the fifth - for the name day. This allows, on the one hand, to place original authorial accents, on the other hand, to interest readers (after all, the novel was first published in separate chapters as they were written), and on the third, to challenge literary conventions: “I’ll finish it somehow,” says Pushkin. , interrupting Chapter III "in fact interesting place”: Tatyana’s meeting with Onegin after he received a letter with a declaration of love.

A smaller compositional unit is the stanza: it also usually contains a complete thought, and the violation of this creates an additional emphasis. But in any case, each stanza represents a certain element of the movement of the plot.

The non-plot compositional elements are digressions, but they are still, as a rule, connected with the plot (for example, the lyrical digression about the past youth in Chapter VI is connected with the scene of the duel and the death of Lensky). Often lyrical digressions begin or end a chapter (for example, the famous digression about Pushkin's Muse at the beginning of V Chapter III), appear before the climax of the plot (before the explanation in the garden at the end of Chapter III; before Tatiana's sleep; before the duel). Sometimes lyrical digressions replace story time(in Chapter VII, a digression about the war with Napoleon is given "instead of" a description of the way the Larins were transported around Moscow). Finally, lyrical digressions may contain an appeal to the reader, which makes it possible to make a smooth transition from the lyrical to the epic part of the novel.

Theme and problems. "Eugene Onegin" is an innovative work, which, according to Belinsky, has become a genuine "encyclopedia of Russian life." The novel strikes with the breadth of coverage of vital material, the variety of problems posed in it and the depth of their development. "Collection of motley chapters" - this is how Pushkin himself defines the diversity and versatility of the themes and problems of his work. In it, the poet sets the task of depicting the social, everyday and cultural structure of Russian society in the first quarter XIX century. He seeks to show the typical characters of his era in their evolution. Before us are pictures of the life of representatives of different strata of society - from the capital's high society to the provincial nobility, ordinary urban people and sketches from the life of peasants. The spatial breadth of coverage of the painted picture of life is also striking: from St. Petersburg and Moscow to the countryside and the provinces. Creating realistic images of typical representatives of the nobility, Pushkin touches on the topic of education and upbringing, cultural traditions, family relations and, of course, love and friendship, which is the basis of the plot of the novel.

In addition, through lyrical digressions and extra-plot sketches, the theme of the work expands even more. Total digressions in the novel - 27, and they are devoted to a variety of issues: biographical facts and the author's thoughts about life, his aesthetic views on literature, theater, music and attitude to the problems of language; questions of history, philosophy, politics; reasoning about the mores, customs, morality and individual details of the life of the society of that era; thoughts about nature.

The problems of the novel "Eugene Onegin" are the most important social and moral and philosophical problems. It is based on the main socio-historical problem of Russian society, not only of the Pushkin era, but of the entire 19th century: the opposition of the European-enlightened Russian nobility and the majority of Russian society, which retained national foundations and traditions. It goes through two central themes of the novel: "national - non-national", "city - village", which, thanks to the specified problematics, turn out to be closely interconnected. It is within the framework of the central problem that the poet creates images of the main characters of the novel - Eugene Onegin and Tatyana Larina, raises the question of national character and patriotism. The socio-historical problematic is supplemented and deepened by the formulation of moral and philosophical problems: the purpose and meaning of life, true and false values, the destructiveness of individualism and selfishness, fidelity to love and duty, the transience of life and the value of the moment, which have universal significance.

Idea and pathos. Pushkin named the novel after the name of the protagonist - Eugene Onegin, thereby denoting the special significance of this character in the work. Indeed, even in the first "southern" poem " Prisoner of the Caucasus"The poet wanted not only to show a romance similar to the heroes of Byron's works, whose character is determined by proud loneliness, disappointment, boredom, pessimism and a sense of his exclusivity, contempt for people and generally accepted norms. Even then, Pushkin set himself a broader task: to create a portrait of the hero of the time. “I wanted to portray in it this indifference to life and its pleasures, this premature old age of the soul, which became the hallmarks of the youth of the 19th century,” the poet wrote. But this task could not be solved only by means of romanticism, but required a realistic approach. That is why she became central only in the realistic novel "Eugene Onegin",

No less important in the novel is the idea associated with the creation of the first national character of the Russian heroine. An approach to it has already been outlined in the work of the poetic "teacher" and friend of Pushkin Zhukovsky in his ballad "Svetlana". But the framework of the romantic ballad did not allow the author to give a detailed explanation of the deep foundations of this nature. It was Pushkin in "Eugene Onegin" who first managed to do this, showing Tatiana not only as a "Russian soul" heroine, but also as an ideal woman. For this, it was necessary to present this image in dynamics, development and comparison with others, which made it possible to do the broadest a picture of the life of the Russian nobility of that era.

The nobility in the novel "Eugene Onegin" is presented heterogeneously. This, on the one hand, secular society Moscow and St. Petersburg, where the character is formed central hero, and on the other hand, the provincial nobility, with which the image of the heroine of the novel, Tatyana Larina, is associated. The attitude of the author to these layers of the nobility is not the same and ambiguous, and, accordingly, his assessment is also different.

Highly appreciating the circle of educated metropolitan nobles, understanding the importance noble culture for Russia, the author nevertheless critically reproduces the general spirit (“cold”, “empty”, “dead”) of Moscow and especially St. Petersburg high society, depicted in the novel. For the sake of the concepts of "decency", light kills any manifestations of individuality in a person, therefore, a secular society cut off from national life is "brilliant" and "impersonal", where everyone is only interested in "incoherent, vulgar nonsense." His image is dominated by satirical pathos,

In the description of the patriarchal life and morality of the provincial nobility, critical notes also sound, but not so sharp, and therefore there is irony here. Serf relations are condemned by the poet, however, the general assessment of the provincial nobility is softened due to the emphasis on their more active lifestyle (they run the household themselves), greater simplicity, naturalness and tolerance in relations. Life in the landlord's estate is close to nature, to the traditions and customs of the Russian people, and therefore it is here that the character of the national Russian heroine - Tatyana is formed.

Main heroes. The system of images of the novel is based on the opposition City - Village (non-national - national). This is how the main and secondary and episodic characters(the Larin family, their landlord neighbors; St. Petersburg and Moscow society).

The main characters are contrasted: Onegin, a representative of "Russian Byronism", and Tatyana, the embodiment of the national ideal of a Russian woman. This opposition is specified by the line Lensky - Olga (a romantic dreamer - an ordinary Russian girl). At the same time, several more parallels arise: Onegin - Lensky (two types of romance), Lensky - Author (romantic poet and realist poet), Onegin - Author (two types of representatives of the Russian cultural nobility).

"Hero of Time" is presented in the image Eugene Onegin , In an effort not only to show, but also to explain the reasons for the appearance in Russian life of such unusual hero, Pushkin talks in detail about what happened to Onegin before the start of the plot action (I chapter). We are presented with a picture of the upbringing, education, pastime and interests of a typical rich secular young man, born "on the banks of the Neva", in the most detailed way describes his typical day. Outwardly saturated, the life of a secular person turns out to be monotonous, revolving in an established circle. For an ordinary person, all this looks normal, but Onegin is an extraordinary person. He is characterized by "dreams involuntary devotion, / Inimitable strangeness / And a sharp, chilled mind." A life in which “tomorrow is the same as yesterday” leads to the appearance in Onegin of a kind of “disease of the century”, which Pushkin finds a clear and capacious definition:

Illness whose cause
It's high time to find
Like an English spin
In short: Russian melancholy
They got a little bit...

As Belinsky noted, “Onegin is not fit to be a genius, he does not climb into great people, but the inactivity and vulgarity of life stifle him; he does not even know what he needs, what he wants; but he knows, and knows very well, that he doesn’t need, that he doesn’t want what makes selfish mediocrity so content, so happy.” Onegin is trying to do something: he reads, writes, but "stubborn work was sickening to him." This is not so much the influence of the environment as the quality of his nature. Onegin's apathy and laziness are also manifested when he moves to the village. Although his usual living conditions have changed, but still "the blues was waiting for him on guard."

Onegin's ailment, associated with Western European "Byronism", does not by chance strike him, who was brought up and raised in the most European city of Russia. Onegin's isolation from the national "soil" is at the same time the cause of his blues, and what underlies the very important consequences of the "disease of the century." It turns out to be a really serious illness, from which it is difficult to get rid of. The very stubbornness of Onegin's attempts to overcome this state speaks of the depth and seriousness of the problem. It is not for nothing that Pushkin, having begun the novel in a somewhat ironic tone, gradually proceeds to a thoughtful analysis of all the components of this problem. As the plot develops, it becomes obvious that the consequences of this "illness" modern man can be extremely difficult both for himself and for those around him.

In the village there is a meeting between the "Russian European" and the dreamy Russian girl, sincere in her impulses and capable of deep, strong feeling. This meeting could be a salvation for Onegin. But one of the consequences of his illness is "premature old age of the soul." Appreciating Tatyana, her bold, desperate act, when she first confessed her love to him, Onegin does not find the spiritual strength in himself to respond to the girl's feelings. In his monologue - "sermon" in the garden, there is both a sincere confession of the soul, and the caution of a secular person who is afraid to get into an awkward situation, but most importantly - callousness and selfishness. Such becomes the human soul, which suffered premature old age. She was not created, as Onegin himself says, "for bliss" family life. This is also one of the consequences of the illness of the Russian "Byronist". For such a person, freedom is above all, it cannot be limited by anything, including family ties. For Tatyana, this is an opportunity to find a kindred spirit in a loved one, and for Eugene, it is a danger of losing his priceless freedom. This shows the difference between the two life systems formed in different cultural and ethical traditions. Onegin belongs to the type of "modern hero" about which Pushkin so accurately said:

We honor all zeros,
And units - themselves.
We all look at Napoleons...

It is only as a result of tragic events that changes begin in the hero. The death of Lensky is the price of Onegin's transformation. The “bloody shadow” of a friend awakens frozen feelings in him, his conscience drives him out of these places. It was necessary to go through all this, to "ride through Russia" in order to realize that freedom can become "hateful" in order to be reborn for love. Only then will Tatyana with her “Russian soul”, with her impeccable moral sense, become a little clearer to him.

In the last chapter of the novel, the scale of Onegin's attitude changed, who finally realized himself not only as an independent person, but also as part of a vast country with a rich history. Now, for the secular society, where he lived for eight years, Onegin has become a stranger, and he is looking for his own soul in Tatyana, who is not like everyone else here. Intense experiences, reflections enriched his inner world. From now on, he is able not only to analyze coldly, but also to deeply feel and love.

But huge difference between Onegin and Tatyana does not disappear so simply, the problem is much deeper and more complex. Unlike Tatiana, Onegin, intoxicated by his newfound ability to love and suffer, cannot understand that love and selfishness are incompatible, that one cannot sacrifice the feelings of other people. Whether Onegin will gain moral support in life or become an even more devastated person is unknown: the ending of the novel is open. Pushkin does not suggest unambiguous solutions; only life itself can answer such questions. “What happened to Onegin later? ... We don’t know, and why should we know this when we know that the forces of this rich nature were left without application, life without meaning, and the romance without end? Belinsky wrote.

After Onegin, a whole galaxy of young people will appear in Russian literature, also suffering from the "Russian melancholy", restless, looking for themselves and their place in life. Absorbing the new signs of their time, they kept main feature. At first they began to be called "strange people", and only in mid-nineteenth century, after the publication of Turgenev's story "The Diary of an Extra Man" (1850), the definition of "an extra person" was firmly entrenched in such heroes. These people, restless through life in search of their place and worthy cause, could not find their calling and guess their destination, could not be cured of their terrible illness. The attitude of society towards such people was also different: they were admired, they aroused surprise, envy, hatred, then they began to be despised for their inability to find a solution to the problem. But the essence of this type of people is the dissatisfaction with life and the constant search. Skeptics, critics, pessimists, they are needed in life, because they do not allow it to freeze and stop, but encourage it to move forward, although the fate of the “extra person” itself is often sad and tragic.

Another central character in the novel is his main character - Tatyana Larina - the "sweet ideal" of the author, the poet's ideas about the Russian national character are associated with it. Belinsky said that Pushkin "... was the first to poetically reproduce, in the person of Tatyana, a Russian woman." Raised in the village, Tatyana, "Russian in soul", absorbed Russian customs, traditions, which were "kept in peaceful life" in the Larin family. From childhood she fell in love with Russian nature, which forever remained dear to her; she accepted with all her heart those fairy tales, folk legends, which the nanny told her. Tatyana retained a living, blood connection with that “soil”, the folk basis that Onegin completely lost.

At the same time, the personalities of Onegin and Tatyana have much in common: mental and moral originality, a feeling of alienation to their environment, sometimes sharp feeling loneliness. But if Pushkin is ambivalent towards Onegin, then towards Tatiana - with open sympathy. Pushkin endowed his beloved heroine with a rich inner world and spiritual purity, "a rebellious imagination, a living mind and will, and a wayward head, and a fiery and tender heart."

Tatyana from childhood was different from her peers: the circle of friends did not attract her, their noisy games were alien to her. She loved folk tales and "believed in the legends of the common folk antiquity." Tatyana's dreams are filled with traditional folklore images and symbols (an angry bear, monsters with horns and scary muzzles).

But, like all noble girls of that era, Tatyana at the same time was brought up on sentimental French novels, where a noble hero, capable of deep feelings, has always acted. Having met Onegin, with all the strength of her sincere “Russian soul”, she not only fell in love with him, but also believed that he was her hero, that they were waiting for them, as in novels. happy ending- family union. She decided on a very bold move- the first in a letter to confess his love. Her letter was written in French, because the Russian language of that time did not yet know the words to express the subtlest nuances of feeling, and Pushkin gives his "translation", which has become a wonderful example of a love letter in Russian poetry. But a terrible blow awaited the girl: the hero behaved in a completely different way than the novels depicted, and she recalled his “sermon” with horror even many years later - in St. Petersburg, being a brilliant secular lady.

Tatyana is a strong person, she manages to pull herself together and take a critical look at what happened. Having visited Onegin's house, Tatyana reads his books in order to understand whom she fell in love with so much, and is not afraid to face the truth for the sake of truth, wondering: “Is he a parody?”

But Tatyana's strength is not only in this: she is able, adapting to life circumstances, to change without losing herself. Having married at the request of her mother, Tatyana finds herself in a high secular society, but the capital does not deform her sincere, deep nature. This is also emphasized by the way the description of the married Tatyana is given - it is built on the denial of the typical features of a secular person:

She was in no hurry
Not cold, not talkative
Without a brazen look for everyone.

The simplicity and naturalness inherent in her initially do not disappear, but are only emphasized in a new environment for her: "Everything is quiet, it was just in her."

Tatyana's moral strength is manifested in the finale of the novel. Having gone through trials and shocks, Tatyana learned to be restrained, to appreciate the real life that did not fall to her lot. That is why, having carried through the years an unrequited love for Onegin, she, having met him again in St. Petersburg, refuses happiness that can lead to disaster for her family, seriously injure her husband. Tatyana shows not only prudence, but also responsibility. Belinsky rightly remarked: "Tatyana is one of those whole poetic natures who can love only once." She rejected Onegin not because she stopped loving him. This, as the critic said, is obedience to "a higher law - the law of one's nature, and her nature is love and selflessness." In her refusal - selflessness for the sake of moral purity, fidelity to duty, sincerity and certainty in relationships, which was so lacking for a woman in a secular society. It was this that allowed Pushkin to call Tatyana a "sweet ideal" and in this way open a long line of wonderful heroines of Russian literature.

plays an important role in the novel Vladimir Lensky. Like Onegin, he is a representative of the young Russian nobility, but this is a different socio-psychological type - a young romantic dreamer. The author's assessment of this hero is very ambiguous: irony and sympathy, smile and sadness, mockery and admiration are intertwined in it. Lensky "from foggy Germany" brought not only "black curls to the shoulders" and "always enthusiastic speech", he is "an admirer of glory and freedom", ardent and impulsive, a poet in spirit (unlike the fundamentally unpoetic Onegin, but comparable in this quality with the author). Onegin's disappointment and apathy are sharply opposed by the impetuosity and enthusiasm of Lensky, who believes in "the world's perfection." Lensky is endowed with a romantic attitude, but not Byronic type like Onegin. He is inclined to a dream, a belief in ideals, leading to a break with reality, which was the basis of the tragic ending - the early death of the poet.

The desire for a heroic deed lives in Lensky, but the life surrounding him gives almost no reason for this. But imagination replaces reality for him: Yevgeny's cruel joke in the eyes of Lensky turns his former friend into a "tempter", "insidious seducer", a villain. And without hesitation, Lensky challenges, although there is no real reason for a duel, in order to defend the concepts that are sacred to him: love, honor, nobility.

Pushkin is ironic not over the duel, but over the fact that the thirst for a heroic impulse expresses itself in such an essentially naive and absurd act. But is it possible to condemn a very young hero for this? Belinsky, who fiercely fought against idealism and romanticism in literature and in life, gives this hero a rather harsh assessment: “There was a lot of good in him, but the best thing is that he was young and died in time for his reputation.” Pushkin is not so categorical, he leaves his hero two ways: the opportunity to live "for the good of the world" or, having survived youthful romanticism, become an ordinary ordinary landowner.

With genuine realism in "Eugene Onegin" other secondary and even episodic characters are presented, such as guests at Tatiana's birthday party or regulars at social events, sometimes drawn with just one or two words. Like the protagonists of the novel, they are "typical heroes in typical circumstances". Among them, a special group is made up of female images, which are somehow correlated with the main character. In contrasting and comparing Tatyana with her mother, sister, Moscow Princess Alina and the nanny, two main themes and antitheses of the novel are revealed: “national and European”, “city and village”.

Tatyana's story is in many ways similar to that of her mother, and this is no coincidence: children often inherit the traits of their parents. The fact that Pushkin showed this is undoubtedly evidence of the realism of the novel. In her youth, Tatyana's mother was an ordinary Moscow young lady:

Used to pee with blood
She is in the albums of tender maidens.
Called Polina Praskovya
And spoke in a singsong voice
The corset was very tight
And Russian N like N French
I was able to pronounce it through my nose.

But she was given in marriage against her will, and she was taken to the village. “I was torn and crying at first, / I almost divorced my husband ...” - but then I got used to it and, having taken care of the household and forgetting the old metropolitan habits, I became a real Russian landowner, simple, natural, maybe a little rude:

She traveled to work.
Salted mushrooms for the winter,
Conducted expenses, shaved foreheads,
I went to the bathhouse on Saturdays.
The servants were angry...

During their life together, she became attached to her husband and, when he died, she sincerely mourned him. Thus, one can notice obvious similarities in the fates of Tatyana and her mother: both had to adapt to a new, difficult life in an environment unusual for them, and both of them, after all the difficulties, retained the best in themselves. Tatyana's mother became more natural and found family happiness, and her daughter found her place in the world, remaining pure and strong in nature.

The image of Tatyana's mother also helps in revealing the theme "City and Village". In the village, Larina became completely different thanks to her family care, housekeeping, and her Moscow cousin Alina did not change a bit. When old friends meet, the latter almost immediately begins to talk about a common acquaintance long forgotten by Larina, which indicates the invariance of the interests of the Moscow cousin, because, apparently, she did not have any new occupations, which also clearly speaks not in favor of the city residents.

The same idea is confirmed when comparing Tatiana and Moscow young ladies, Tatiana and St. Petersburg beauties. Tatyana, with her reading of books, love of nature and seriousness of character, seems to be an order of magnitude higher than the inhabitants of the capital, even as brilliant as Nina Voronskaya's Cleopatra of the Neva. What to say about Moscow girls who are only busy with what

... they believe in a singsong voice
Secrets of the heart, secrets of virgins,
Aliens and their own victories,
Hopes, pranks, dreams.

But even more important for the characterization of Tatyana is her opposition younger sister- Olga. Although both girls were brought up in the same family and in similar conditions, they turned out to be very different. Thus, Pushkin emphasizes that for the formation of such an exceptional character as Tatyana, only external circumstances are not enough, the special qualities of human nature are also important. By comparing the two sisters in the novel, the poet emphasizes the depth of Tatyana's character, her eccentricity and seriousness. Olga is natural and "frisky", but in general she is too ordinary and superficial:

Always humble, always obedient,
Always as cheerful as the morning
How simple is the life of a poet,
Like a kiss of love sweet...

Her commonness and mediocrity is emphasized by the portrait, which is opposed to the portrait of Tatyana:

Eyes as blue as the sky;
Smile, linen curls,
Movement, voice, light step ...

This is a standard image of a beautiful girl, which has become a literary template: "... any novel / Take it and find it right / Her portrait ...".

Olga favorably accepts Lensky's courtship, and all her love is expressed in a smile. “Encouraged by Olga's smile” is the only thing that allows Lensky to feel Olga's reciprocal love. It is not surprising that she, without hesitation, flirts with Onegin, which subsequently leads to the death of her fiancé, whom she mourns for a very short time;

Another caught her attention
Another managed her suffering
To lull with love flattery,
Ulan knew how to capture her
Ulan loved her with his soul...

Very important for creating the image of the national heroine Tatyana is her comparison with the nanny Filipyevna and the analysis of their relationship. Pushkin shows their spiritual kinship, the amazing inner closeness of a noblewoman and a peasant woman, but at the same time points out their differences. It is known that Arina Rodionovna Yakovleva, Pushkin's nanny, became the prototype of the image of the nanny. She, like Tatyana's nanny, was a master of telling folk tales, the world of which had a huge influence on the formation of the character of both the Russian national poet Pushkin and his heroine Tatyana, who embodies the features of a Russian girl. That is why for a confidential conversation about the most important and intimate Tatyana chooses not a friend, sister or even mother, but her nanny. The girl talks to her as to the person closest to her about her love, about feelings, but the nanny simply does not understand her. On the one hand, this is evidence of Tatyana's excessive passion romantic dreams. But on the other hand, their dialogue demonstrates the difference between the nobility and the peasantry in general. After all, the fate of a peasant woman is completely different from what awaits a young lady from a noble family in life. From the story of Nanny Fshshpyevna, we learn how life was built in a peasant family:

...In these summers
We haven't heard of love;
And then I would drive from the world
My dead mother-in-law.
...My Vanya
Younger than me, my light,
And I was thirteen years old.

As the researcher of Pushkin's creativity Yu.M. Lot-man in the comments to the novel1, Tatyana and the nanny invest in principle different meaning into the word "love": for Tatyana this is a high romantic feeling, and for a simple peasant woman - a sinful love for a man.

In such ratios, comparisons, comparisons and antitheses, the image of the national heroine emerges. But there is another hero with whom she also correlates - this is one of the most unusual characters novel: its author. His image is formed in lyrical digressions. The image of the author is a conditional carrier of the author's speech in the work, on behalf of which the narration is being conducted, as well as a character close to the biographical author, who has the features lyrical hero or the storyteller. The specificity of the image of the author in the novel "Eugene Onegin" lies in the fact that he acts not only as an author-narrator and author-narrator, leading a lively dialogue with the reader, but also as one of the main characters of the work, entering into certain relationships with them, having his fate, based on some biographical facts from the life of Pushkin.

Like all other heroes of the novel, the author-character is a certain human type, characteristic of the life of Russia of that era, and at the same time a unique bright personality, a man of extraordinary spiritual wealth, a sharp mind and philosophical depth. At the same time, the true facts of Pushkin's biography are interspersed with fictional ones. The author knows Onegin, loves Tatyana and keeps her letter, as well as Lensky's poems. At the same time, we read about the southern exile, stay in Odessa, the Lyceum years, about Pushkin's life in the countryside. But something else is more important: the reader penetrates into the inner world of this peculiar hero, tracing the changes in the views, moods, hobbies of the Author - from the ardent dreams of youth, with its "fun dreams", "passions of the game" to calmness and balance mature years when the “hostess” becomes the Author’s ideal, and “peace” becomes his main desire. It is also important that the Author is a poet. It is from him that we learn about literary life era, the change of literary trends and their features, about the genre of ode and elegy, about the hero of classicism and romanticism. The author enters into disputes about language characteristic of the era, defending own position in the dispute between the Shishkovites and the Karamzinists. A peculiar idea of ​​the purpose of a person, the meaning of being is also associated with the Author - this, along with the opinions of the heroes, is another important point of view in the search for the purpose and meaning of life, which embraces all the heroes of the novel. But in general, we are faced with another important life type: a representative of the Russian intelligentsia, a European-educated, original thinking and deeply feeling truly Russian person, vitally connected with folk, national roots. And most importantly - the great poetic genius, the creator of the novel "Eugene Onegin."

Artistic originality. The novel "Eugene Onegin" is a unique artistic phenomenon. The hand of a brilliant master is felt in everything in it. This is not just an oalistic work, but the broadest picture of life, in which there is everything: from small to great. The portrait of the era and its representatives, created with amazing psychological skill, is unusually accurate and capacious, the landscape sketches are extraordinary in beauty and expressiveness, and the richness of the language and the mastery of detail cause deserved admiration. As the philologist M.M. Bakhtin, “this is not a mute real-household encyclopedia. Russian life speaks here with all its voices, all the languages ​​and styles of the epoch.” That is why it is so important, when speaking about the artistic originality of Pushkin’s novel, to dwell on questions of language and poetic mastery.

It is known that for this work the poet had to specially create a special stanza, which was called the Onegin stanza. It consists of 14 lines of iambic tetrameter, arranged according to the scheme AbAb CCdd EffE gg (crossed, adjacent, encircling and final couplet rhymes). The semantic structure of the stanza - the thesis, its development, climax, ending - allows you to convey the course of thought. At the same time, such a stanza, being, as it were, an independent miniature, made it possible to avoid the monotony of sound and gave great scope to the author's thought. The whole novel is written in the Onegin stanza, with the exception of some inserted elements: the letters of Tatyana and Onegin and the songs of the girls.

Much attention is paid to language issues in the novel, but the very verbal fabric of this work was one of the most important factors in the formation of realistic aesthetics, the formation of the modern Russian literary language. Following Karamzin, Pushkin widely introduces foreign words and phrases into the text of the novel, sometimes even using letters(tailcoat, vest, mechanically, spleen, dandy, Vulgar, Du comme il faut), but at the same time, unlike Karamzin, Pushkin seeks to expand the vocabulary by including colloquial, sometimes even common folk vocabulary (clap, talk, top, silently he hung his nose).

At the same time, in the novel, Pushkin uses all those innovative techniques that distinguish his lyrics. Landscape descriptions paint accurate, realistic and at the same time unusually poetic pictures of Russian autumn and winter, the sea and even distant Italy. The language spoken by the characters corresponds to their character and mood, and their letters rightfully occupy a place among the masterpieces of Pushkin love lyrics. “Helping” his characters to expand the boundaries of the Russian language in order to express the subtlest nuances of feeling, Pushkin showed how the Russian language is able to convey any, the deepest thought, any complicated feeling with all its shades, moreover, with extraordinary poetic power. All this makes the language of the novel surprisingly capacious, diverse, flexible, which fully met the task of creating a realistically authentic picture of the era, a genuine "encyclopedia of Russian life."

The value of the work. The great importance for Russian literature of the novel "Eugene Onegin" was already determined by the poet's contemporaries, but for the first time a complete and detailed analysis of this work was given by the critic V.G. Belinsky in the 8th and 9th articles of the cycle "Works of Alexander Pushkin" (1843-1846). His assessment of Pushkin's masterpiece remains relevant today.

First of all, Belinsky rightly pays tribute to the deep nationality of the novel, which he understands in the spirit of Gogol's definition that "nationality does not consist in describing a sundress." “... We have long had a strange opinion 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 are zipun, bast shoes, sivukha and sour cabbage,” writes the critic. “…No, and a thousand times no!” "Eugene Onegin" really "in the highest degree original and national work”, and now no one doubts it.

Further, Belinsky speaks of the significance of the novel for Russian literature and public life in general. The critic sees it in a comprehensive reflection of reality, truthfulness, which allows us to call the novel historical, “although among ... the heroes there is not a single historical person". How great merit Pushkin Belinsky notes that the poet in the novel "is a representative of the first awakened public consciousness." He compares the novel with another work by a contemporary of Pushkin. “Together with Griboyedov’s contemporary genius creation, Woe from Wit, Pushkin’s poetic novel laid a solid foundation for new Russian poetry, new Russian literature,” the critic says.

Belinsky considers the images of the main characters in detail and in detail and determines their main features. Unlike many of Pushkin's contemporaries, the critics managed to objectively evaluate the protagonist of the novel, whom Belinsky largely justifies: "... Onegin was neither cold, nor dry, nor callous"; "... poetry lived in his soul ... he was not one of the ordinary, dozen people." Although Belinsky immediately calls Onegin a “suffering egoist”, “an unwilling egoist”, but in this he does not so much reproach the hero himself as “claims that society is largely to blame for the existence of these negative aspects of Onegin’s nature. Belinsky tries to understand Onegin, and not to condemn him. He obviously cannot accept the Onegin way of life, but the fact that the critic understood the very essence of Pushkin's hero is beyond doubt. Emphasizing the eccentricity of Eugene Onegin's nature, the critic concludes: "The forces of this rich nature were left without application, life without meaning, a romance without end.

A very unflattering assessment is given by the critic to another hero of the novel - Lensky. Belinsky clearly does not sympathize with this romantic dreamer, although he rightly remarks: “He was a creature accessible to everything beautiful, lofty, a pure and noble soul.” But the main attention of critics is attracted by the image of Tatyana, to whom a separate article is devoted. Belinsky highly appreciates the merit of Pushkin in creating this image: “Almost the entire feat of the poet is that he was the first to poetically reproduce the Russian woman in the face of Tatiana.” Describing the typical girls of that time, to which Olga, Tatyana's sister, belonged, Belinsky notes: “Tatyana is a rare, beautiful flower, accidentally grown in a cleft of a wild rock. He carefully analyzes her every step, trying to penetrate this complex and contradictory nature. Each act of Tatyana, as Belinsky notes, opens up new features in her, but everywhere she remains herself: “Tatyana was created as if from one whole piece without any modifications or additions. ... Passionately in love, a simple village girl, then a secular lady, Tatyana in all situations of her life is one and the same. Analyzing Tatyana's last conversation with Onegin, the critic writes that this monologue of the heroine reflected the "type of Russian woman", as delightful for him as for Pushkin.

Summing up the analysis of the novel, Belinsky says: “In the person of Onegin, Lensky and Tatyana, Pushkin portrayed Russian society in one of the phases of its formation, its development. The personality of the poet, so fully and vividly reflected in this poem, is everywhere so beautiful, so humane. "Onegin" can be called an encyclopedia of Russian life and an eminently folk work.

The importance of Pushkin's novel was assessed differently by critics of the subsequent time, for example, Pisarev in the article "Pushkin and Belinsky" and Dobrolyubov in the article "What is Oblomovism?". But the fact remains indisputable that this is a true masterpiece of Russian literature, which influenced its entire development, without which we cannot now imagine not only the history of our culture and society, but also the life of any educated person.

The novel "Eugene Onegin", the literary direction of which is the subject of this review, is one of the most famous works not only in domestic, but also in world literature. Special interest he represents in connection with the fact that he opened a new page not only in the work of A. S. Pushkin, but also in the history of Russian fiction at all.

Briefly about the late work of the writer

The mature period in Pushkin's life was marked by the transition from romanticism to realism, a vivid example of which is his famous novel "Eugene Onegin", the literary direction of which opened a new stage in the development of artistic prose in our country. In the 1830s the poet became interested in the history of Russia, he began to think about modern socio-political problems, which worried him more and more as the socio-economic situation in the Russian Empire worsened.

In this regard, he departs from the traditional romantic orientation and turns to a realistic depiction of the phenomena of the surrounding reality. The novel "Eugene Onegin", the literary direction of which has become fundamentally milestone in this direction, became a landmark not only in his work, but also in the cultural life of Russia in general, an indicator of which was the creation opera of the same name P. I. Tchaikovsky, which has firmly entered the world musical repertoire and still does not leave the stage of the leading theaters.

Features of the work

Pushkin's novel in verse was distinguished by its fundamental novelty, since before him there was no experience in writing such works. "Eugene Onegin", whose literary direction opened the era of realism in Russian fiction, became a landmark event. It was written with a special stanza, which made the work so beautiful in sound. Only the song of the peasants stands out, created in imitation of folk chants, as well as Tatiana's letter to the hero, which is written in a simpler language, as if in order to emphasize the sincerity of the heroine's feelings.

Another feature of the work was a realistic image Russian life in the second quarter of the 19th century. The literary direction of the novel "Eugene Onegin" allowed the author to delve into a detailed and detailed coverage of both the stormy metropolitan lifestyle and the simple rural was the provincial hinterland.

Reflection of the life of the nobility in the novel

No work has reflected the history of Russian life so truthfully and authentically as the novel "Eugene Onegin". The literary direction of realism, to which he belongs, proclaimed the principle of an objective depiction of the surrounding reality. This is exactly what Pushkin showed in his work.

The description of life in the capital is colorful and detailed, since the author belonged to the nobility and therefore knew very well how the representatives of his circle spend their time. The writer very convincingly portrayed the entertainment of the St. Petersburg nobility, their trips to the theater, banquets and feasts. At the same time, he mentioned the names of very famous people in his time, which should have given even more credibility to the work. The author's remarks amaze with their wit and subtle humor. The reader immediately gets the feeling that he becomes, as it were, a participant and spectator of these pictures, events and scenes.

Description of provincial life

It is indicative that the names Pushkin, Eugene Onegin (the literary direction of the novel is called realism) are quite often identified: many readers have the feeling that the writer and his hero are one character: the thoughts, feelings and experiences of the main character are so plausibly and reliably indicated . However, already in the transition to the characterization of nature and rural life, the difference between these people immediately becomes clear, which makes the work even more realistic.

The writer immediately declares his love for the countryside and nature, while the hero has a clear dislike for rural landscapes. Last topic deserves a separate discussion. The poet in great detail and truthfully showed the peaceful and calm life of middle-class landowners in the Russian outback. He described their homes, daily routine, topics of conversation, temperament and customs. These sketches, scenes and paintings are striking in their authenticity, which is another undoubted advantage of the work.

The main character as a typical representative of his generation

The novel "Eugene Onegin", the literary direction of which determined the development of a whole stage of artistic prose for the entire second half of the 19th century, became a role model for many. Subsequently, many writers began to portray, following Pushkin, the heroes as typical representatives of the nobles of their time. But the undoubted merit in this belongs to Alexander Sergeevich, who very convincingly and reliably showed and embodied in his hero all the qualities inherent in a young man from the nobility in the first half of the 19th century.

Traits of his character

The question is to which literary direction relates "Eugene Onegin", perhaps one of the most interesting in the study of Russian literature, precisely because it allows you to understand a lot in the personality of the main character. The image of the hero is a kind of cast from the young nobles of that time. He is lazy, unleashed, somewhat educated, somewhat well-read, and possesses some tried-and-true methods for conducting pleasant conversation in meetings of the nobility. However, his problem lies in the fact that with all his positive qualities and remarkable mind, he still cannot find his place, that is, he is in no way able to occupy a certain social niche in society.

The character's relationship with others

One of the most famous works of Pushkin is the novel "Eugene Onegin". What literary movement is this novel- this is one of critical issues to understand the essence and inner meaning this work. This question can be understood when considering the theme of the relationship of the hero with the people around him. The author deliberately contrasts his character with all the other people with whom fate confronts him, and shows that he is not able to at least somehow establish friendly relations with any of them.

He almost immediately got tired of the landowners-neighbors, his friends from high society. Even with the narrator himself (by whom Pushkin means himself) he had serious differences of opinion, despite the fact that they found much in common with each other. The latter fact is very indicative: after all, in this way the writer brought out a new type of so-called superfluous person, who was often used to reflect the nobility of the second quarter of the 19th century.

Reflection of the literary situation in the novel

The work under consideration is of great importance for understanding the development of various artistic movements in prose not only in Russia, but also abroad. The author's assessment of literary trends in the novel "Eugene Onegin" is very important for understanding the transition of writers of that time from romanticism to realism. Pushkin himself began precisely as a romantic: his first poems and poems were distinguished by the pathos of love of freedom, which he paid tribute to the era and his time. However, being a great artist, he soon began to look for new ways to depict life and people. Turning to realism, the author very subtly, witty and kindly joked about romanticism, which at that time was becoming a thing of the past. Pushkin chose the famous Byron, who set the tone for poetry in the era under consideration, as the object for his sparkling, but good-natured laughter.

Author's opinion on modern literature

In his novel, Pushkin cited many references to contemporary poets and writers, which further increased the authenticity of his novel. He referred to many 18th-century authors, whom he treated with obvious respect. In addition, his work contains quotations from many famous poets of that time. For example, the epigraph to the novel was a statement from P. Vyazemsky's poem "The First Snow". It is these references that Eugene Onegin is famous for. The author's assessment of literary trends allows us to better understand not only the personality of Pushkin himself, but also the real historical situation in the development of Russian culture in the second quarter of the 19th century.

The meaning of the novel in literature

The role of the work "Eugene Onegin" can hardly be overestimated: after all, it was it that laid the foundation for realism in prose and poetry. Under the sign of this direction, the development of domestic literature took place in the second half of the 19th century - a time that entered the history of culture under the name "Golden Age". It is indicative that it was the novel in verse that became the basis of a new literary trend. After all major works Pushkin's successors were written in prose, and their authors: Tolstoy, Dostoevsky, Turgenev and many others - knowingly called the writer and poet their teacher. He laid the foundation for the realistic image human psychology and descriptions of the surrounding reality.

No wonder the novel in verse is known and popular in the West, where by that time realism had also begun to win a strong position in culture and prose. Written in an easy, beautiful and elegant language, the work immediately gained popularity among educated circles and the general reading public, rightfully earning the name "encyclopedia of Russian life." Indeed, all the most important moments, facts, phenomena and development trends are reflected in a light and unconstrained, but at the same time deep and serious poetic form.

"Eugene Onegin" as the first experience of realism

The significance of the novel also lies in the fact that it was the first step towards the establishment of that major prose for which Pushkin’s type of “superfluous person” is so famous, subsequently repeated in various variations in the works of various authors, one way or another copying, adding, changing or deepening it psychological traits. The first attempt to create a complete realistic work was crowned with great success, which was duly appreciated by the poet's contemporaries.

2. Describe sentimentalism as a literary movement.
3. Describe realism as a literary phenomenon.
4. Describe romanticism as a literary phenomenon.
5. Biographical information about A. S. Pushkin. The main themes of creativity.
6. The plot line of Pushkin's poem "The Bronze Horseman".
7. The story of Eugene from Pushkin's poem "The Bronze Horseman"
8. The image of the city of St. Petersburg in Pushkin's poem "The Bronze Horseman".
9. The image of Peter the Great in Pushkin's poem "The Bronze Horseman".
10. Life and work of M.Yu. Lermontov. The main themes of creativity.

11. Life and work of N. V. Gogol. The main themes of the writer's work.

12. Life and work of A.N. Ostrovsky. The main themes of creativity. The history of the creation of Ostrovsky's play "Thunderstorm".
13. Customs of the city of Kalinov. Images of Wild and Kabanova.
14. The image of Katerina Kabanova in Ostrovsky's play "Thunderstorm". My attitude to the act of Catherine.
15. The meaning of the title of Ostrovsky's poem "Thunderstorm".
16. The story of Larisa in Ostrovsky's play "Dowry".
17. Life and work of I.S. Turgenev. The history of the creation of the novel "Fathers and Sons".
18. Bazarov - main character 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.
22. The meaning of the title of Turgenev's novel "Fathers and Sons".
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 trend did not exist in the literature of the 20th century:

a) classicism

b) modernism

c) 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 the "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. technique used by Bulgakov in the story "Heart of a Dog":

a) satire

b) Aesopian language

c) the combination of fantasy with everyday grotesque

Eugene Onegin reflected the whole life of Russian society at the beginning of the 19th century. However, two centuries later, this work is interesting not only in historical and literary terms, but also in terms of the relevance of the questions that Pushkin posed to the reading public. Everyone, opening the novel, found something of their own in it, empathized with the characters, noted the lightness and mastery of style. And quotes from this work have long become aphorisms, they are pronounced even by those who have not read the book itself.

A.S. Pushkin created this work for about 8 years (1823-1831). The history of the creation of "Eugene Onegin" began in Chisinau in 1823. It reflected the experience of "Ruslan and Lyudmila", but the subject of the image was not historical and folklore characters, but modern heroes and the author himself. The poet also begins to work in line with realism, gradually abandoning romanticism. During the period of Mikhailovsky exile, he continued to work on the book, and completed it already during the forced imprisonment in the village of Boldino (Pushkin was detained by cholera). Thus, creative history works absorbed the most "fertile" years of the creator, when his skill evolved at a frantic pace. So his novel reflected everything that he had learned during this time, everything that he knew and felt. Perhaps this circumstance owes its depth to the work.

The author himself calls his novel “a collection of motley chapters”, each of the 8 chapters has relative independence, because the writing of “Eugene Onegin” lasted a long time, and each episode opened a certain stage in Pushkin’s life. In parts, the book came out, the release of each became an event in the world of literature. The complete edition was published only in 1837.

Genre and composition

A.S. Pushkin defined his work as a novel in verse, emphasizing that it is lyrical-epic: the storyline, expressed by the love story of the characters (epic beginning), is adjacent to digressions and author's reflections (lyrical beginning). That is why the genre of "Eugene Onegin" is called "novel".

"Eugene Onegin" consists of 8 chapters. In the first chapters, readers get acquainted with the central character Eugene, move with him to the village and meet a future friend - Vladimir Lensky. Further, the drama of the narration increases due to the appearance of the Larin family, especially Tatyana. The sixth chapter is the culmination of the relationship between Lensky and Onegin and the flight of the protagonist. And at the end of the work, the storyline of Eugene and Tatiana is unraveled.

Lyrical digressions are connected with the narration, but it is also a dialogue with the reader, they emphasize the “free” form, proximity to a heart-to-heart conversation. The same factor can explain the incompleteness, openness of the finale of each chapter and the novel as a whole.

About what?

A young, but already disillusioned in life, nobleman inherits an estate in the village, goes there, hoping to dispel his blues. begins with the fact that he was forced to sit with a sick uncle, who left his family nest to his nephew. However, the village life soon bores the hero, his existence would become unbearable if it were not for his acquaintance with the poet Vladimir Lensky. Friends are "ice and fire", but the differences did not interfere with friendly relations. will help figure this out.

Lensky introduces a friend to the Larin family: an old mother, sisters Olga and Tatyana. The poet has long been in love with Olga, a windy coquette. The character of Tatyana, who herself falls in love with Eugene, is much more serious and whole. Her imagination has been drawing a hero for a long time, it remains only for someone to appear. The girl is suffering, tormented, writing a romantic letter. Onegin is flattered, but understands that he cannot respond to such a passionate feeling, therefore he gives a harsh rebuke to the heroine. This circumstance plunges her into depression, she anticipates trouble. And the trouble really came. Onegin decides to take revenge on Lensky because of an accidental quarrel, but chooses a terrible means: he flirts with Olga. The poet is offended, challenges his yesterday's friend to a duel. But the culprit kills the "slave of honor" and leaves forever. The essence of the novel "Eugene Onegin" is not even to show all this. The main thing worth paying attention to is the description of Russian life and the psychologism of the characters, which develops under the influence of the depicted atmosphere.

However, the relationship between Tatiana and Eugene is not over. They meet at a secular evening, where the hero sees not a naive girl, but a mature woman in full splendor. And he falls in love. Also tormented and writes a message. And meets the same rebuff. Yes, the beauty has not forgotten anything, but it’s too late, she is “given to another”:. A failed lover is left with nothing.

Main characters and their characteristics

The images of the heroes of "Eugene Onegin" are not a random selection of characters. This is a miniature Russian society of that time, where all the famous types of noble people are scrupulously listed: the poor landowner Larin, his secular but degraded wife in the countryside, the exalted and bankrupt poet Lensky, his windy and frivolous passion, etc. They all represent Imperial Russia times of its heyday. No less interesting and original. Below is a description of the main characters:

1. Eugene Onegin is the main character of the novel. It carries dissatisfaction with life, fatigue from it. Pushkin tells in detail about the environment in which the young man grew up, about how the environment shaped his character. Onegin's upbringing is typical for the nobles of those years: a superficial education aimed at being successful in a decent society. He was prepared not for a real business, but exclusively for secular entertainment. Therefore, from a young age I was tired of the empty brilliance of balls. He has a "soul direct nobility" (feels friendly affection for Lensky, does not seduce Tatyana, taking advantage of her love). The hero is capable of a deep feeling, but is afraid of losing his freedom. But, despite the nobility, he is an egoist, and narcissism underlies all his feelings. The essay contains the most detailed characterization of the character.
2. Very different from Tatyana Larina, this image appears ideal: a whole, wise, devoted nature, ready for anything for the sake of love. She grew up in a healthy environment, in nature, and not in the world, so real feelings are strong in her: kindness, faith, dignity. The girl loves to read, and in the books she drew an image of a special, romantic, shrouded in mystery. It was this image that was embodied in Eugene. And Tatyana, with all her passion, truthfulness and purity, gave herself up to this feeling. She did not seduce, did not flirt, but took the liberty of confessing. This brave and honest act did not find a response in Onegin's heart. He fell in love with her seven years later, when she shone in the light. Fame and wealth did not bring happiness to the woman, she married the unloved, but Eugene's courtship is impossible, family oaths are sacred to her. More about this in the essay.
3. Tatyana's sister Olga is not of great interest, she does not have a single acute angle, everything is round, not for nothing that Onegin compares it with the moon. The girl accepts Lensky's courtship. And any other person, because, why not accept, she is flirtatious and empty. Between the Larin sisters, there is immediately an enormous difference. Youngest daughter went to her mother, a windy socialite who was forcibly imprisoned in the village.
4. However, the poet Vladimir Lensky fell in love with the coquettish Olga. Probably because it is easy to fill the void with your own content in dreams. The hero was still burning with hidden fire, he felt subtly and analyzed little. It has high moral concepts, therefore it is alien to the light and not poisoned by it. If Onegin talked and danced with Olga only out of boredom, then Lensky saw this as a betrayal, former friend became an insidious tempter of a sinless girl. In the maximalist perception of Vladimir, this is immediately a break in relations and a duel. In it, the poet lost. The author raises the question, what could await the character with a favorable outcome? The conclusion is disappointing: Lensky would have married Olga, become an ordinary landowner and become vulgar in a routine vegetative existence. You may also need .

Themes

• The main theme of the novel "Eugene Onegin" is extensive - it is Russian life. The book shows life and upbringing in the world, in the capital, village life, customs and occupations, typical and at the same time unique portraits of characters are drawn. Almost two centuries later, the characters contain features that are inherent in modern people, these images are deeply national.
• The theme of friendship is also reflected in "Eugene Onegin". The main character and Vladimir Lensky were in close friendship. But can it be considered real? They met on occasion, out of boredom. Eugene sincerely became attached to Vladimir, who warmed the cold heart of the hero with his spiritual fire. However, just as quickly, he is ready to offend a friend, flirting with his beloved, who is happy about this. Eugene thinks only about himself, he is absolutely unimportant to the feelings of other people, so he could not save his comrade.
• Love is also an important theme of the work. Almost all writers talk about it. Pushkin was no exception. True love is expressed in the image of Tatyana. It can develop in spite of everything and stay for life. Nobody loved Onegin and will not love it like the main character. Missing this, you remain unhappy for life. Unlike the sacrificial, all-forgiving feelings of a girl, Onegin's emotions are pride. He was frightened by a timid girl who fell in love for the first time, for whose sake it would be necessary to abandon the disgusting, but familiar light. But Eugene was subdued by a cold secular beauty, with whom to visit is already an honor, not like loving her.
• The theme of the superfluous. The trend of realism appears in the work of Pushkin. It was the environment that brought Onegin up so disappointed. It was it that preferred to see superficiality in the nobles, the focus of all their efforts on creating secular brilliance. And nothing else is needed. On the contrary, education in folk traditions, the society of ordinary people made the soul healthy, and the nature whole, like Tatiana's.
• The theme of devotion. True to her first and strongest love Tatyana, and frivolous, changeable and ordinary Olga. Larina's sisters are completely opposite. Olga reflects a typical secular girl, for whom the main thing is herself, her attitude towards her, and therefore it is possible to change if there is a better option. As soon as Onegin said a couple of pleasant words, she forgot about Lensky, whose affection is much stronger. Tatyana's heart is true to Eugene all his life. Even when he trampled on her feelings, she waited a long time and could not find another (again, unlike Olga, who quickly consoled herself after Lensky's death). The heroine had to get married, but in her heart she continued to be faithful to Onegin, although love was no longer possible.

Problems

The problems in the novel "Eugene Onegin" are very indicative. It reveals not only psychological and social, but also political shortcomings and even entire tragedies of the system. For example, the outdated, but no less terrible, drama of Tatyana's mother is shocking. The woman was forced to marry, and she broke down under the onslaught of circumstances, becoming an evil and despotic mistress of a hated estate. And here are the actual problems raised

• The main problem that is raised in all realism in general, and Pushkin in "Eugene Onegin" in particular, is the destructive influence of secular society on the human soul. A hypocritical and greedy environment poisons the personality. It makes outward demands of decency: the young man must know a little French, read a little fashion literature, to be decently and expensively dressed, that is, to impress, to seem, and not to be. And all the feelings here are also false, they only seem. That is why secular society takes away the best from people, it cools the brightest flame with its cold deceit.
• Khandra Evgenia is another problematic issue. Why does the main character get depressed? Not only because society has corrupted him. The main reason is that he does not find the answer to the question: why all this? Why does he live? To go to theaters, to balls and receptions? The absence of a vector, direction of movement, awareness of the meaninglessness of existence - these are the feelings that embrace Onegin. Here we face the eternal problem of the meaning of life, which is so difficult to find.
• The problem of selfishness is reflected in the image of the protagonist. Realizing that no one would love him in a cold and indifferent world, Eugene began to love himself more than anyone in the world. Therefore, he does not care about Lensky (he only blows boredom), Tatyana (she can take away her freedom), he thinks only of himself, but he is punished for this: he remains completely alone and is rejected by Tatyana.

Idea

The main idea of ​​the novel "Eugene Onegin" is to criticize the existing order of life, which dooms more or less outstanding natures to loneliness and death. After all, there is so much potential in Eugene, but there is no business, only secular intrigues. How much spiritual fire is in Vladimir, and besides death, only vulgarization in a feudal, suffocating environment can await him. How much spiritual beauty and intelligence in Tatyana, and she can only be the hostess of secular evenings, dress up and carry on empty conversations.

People who do not think, do not reflect, do not suffer - these are the ones for whom the existing reality suits. This is a consumer society that lives at the expense of others, which shines while those "others" vegetate in poverty and filth. The thoughts that Pushkin thought about deserve attention to this day, remain important and urgent.

Another meaning of "Eugene Onegin", which Pushkin laid down in his work, is to show how important it is to preserve individuality and virtue when temptations and fashions rage around, which subjugate more than one generation of people. While Eugene was chasing new trends, playing the cold and disappointed hero of Byron, Tatyana listened to the voice of her heart and remained true to herself. Therefore, she finds happiness in love, albeit unrequited, and he finds only boredom in everything and everyone.

Features of the novel

The novel "Eugene Onegin" is a fundamentally new phenomenon in the literature of the early 19th century. He has a special composition - this is a "novel in verse", a lyrical-epic work of great volume. In lyrical digressions, the image of the author, his thoughts, feelings and ideas, which he wants to convey to readers, emerges.

Pushkin strikes with the lightness and melodiousness of his language. His literary style is devoid of heaviness, didacticity, the author is able to talk about complex and important things simply and clearly. Of course, much needs to be read between the lines, since severe censorship was ruthless to geniuses, but the poet is also not sewn with a bastard, so he managed to tell about the socio-political problems of his state in the elegance of the verse, which were successfully hushed up in the press. It is important to understand that before Alexander Sergeevich, Russian poetry was different, he made a kind of “revolution of the game”.

The feature is also contained in the system of images. Eugene Onegin is the first in the gallery of "superfluous people", who contain a huge potential that cannot be realized. Tatyana Larina "raised" female images from the place "the main character needs someone to love" to an independent and integral portrait of a Russian woman. Tatyana is one of the first heroines who looks stronger and more significant than the main character, and does not hide in his shadow. This is how the direction of the novel "Eugene Onegin" is manifested - realism, which more than once will open the theme of an extra person and affect the difficult female fate. By the way, we also described this feature in the essay "".

Realism in the novel "Eugene Onegin"

"Eugene Onegin" marks Pushkin's transition to realism. In this novel, the author for the first time raises the theme of man and society. Personality is not perceived separately, it is part of the society that educates, leaves a certain imprint or completely forms people.

The main characters are typical yet unique. Eugene is an authentic secular nobleman: disappointed, superficially educated, but at the same time not like those around him - noble, intelligent, observant. Tatyana is an ordinary provincial young lady: she was brought up on French novels, filled with the sweet dreams of these works, but at the same time she is a “Russian soul”, a wise, virtuous, loving, harmonious nature.

It is in the fact that readers for two centuries see themselves, their acquaintances in the characters, it is in the inescapable relevance of the novel that its realistic orientation is expressed.

Criticism

The novel "Eugene Onegin" evoked a great response from readers and critics. According to E.A. Baratynsky: "Everyone talks about them in his own way: some praise, others scold and everyone reads." Contemporaries scolded Pushkin for the "labyrinth of digressions", for the insufficiently written character of the protagonist, for the negligence of the language. The reviewer Thaddeus Bulgarin, who supported the government and conservative literature, especially distinguished himself.

However, the novel was best understood by V.G. Belinsky, who called it "an encyclopedia of Russian life", a historical work, despite the absence of historical characters. Indeed, a modern belles-lettres lover can study Eugene Onegin from this point of view as well, in order to learn more about the society of the nobility at the beginning of the 19th century.

And a century later, the comprehension of the novel in verse continued. Yu.M.Lotman saw complexity, paradoxicality in the work. This is not just a collection of quotes familiar from childhood, it is an “organic world”. All this proves the relevance of the work and its significance for Russian national culture.

What does it teach?

Pushkin showed the life of young people, how their fate can be. Of course, fate depends not only on the environment, but also on the characters themselves, but the influence of society is undeniable. The poet showed the main enemy that strikes the young nobles: idleness, the aimlessness of existence. The conclusion of Alexander Sergeevich is simple: the creator calls not to limit himself to secular conventions, stupid rules, but to live full life guided by moral and spiritual components.

These ideas remain relevant to this day. modern people often there is a choice: live in harmony with yourself or break yourself for the sake of some benefits or public recognition. Choosing the second path, chasing illusory dreams, you can lose yourself and find with horror that life is over, and nothing has been done. This is what you need to fear the most.

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Alexander Sergeevich Pushkin was extremely attentive to the definition of the genre of each of his works. The world-famous "Eugene Onegi" was no exception. The genre of Pushkin's work is a novel in verse. And this, above all, is Pushkin's innovation. After all, in the nineteenth century there were only two ways of writing a work of art. The Russian poet invented a third. The history of writing, structure and genre of the novel "Eugene Onegin" is the topic of the article.

Pushkin called the work on the creation of the novel a feat. Such a high appreciation of his own creation, in addition to "Eugene Onegin", the author gave only "Boris Godunov".

History of writing

It took Pushkin eight years to create a novel in verse. Pushkin began work on Eugene Onegin in 1923. Then the writer was in Chisinau. Initially, the author abandoned romanticism and decided to tell readers about his new hero in a realistic spirit. It is also worth saying that Pushkin planned to break the work into nine chapters. But in the process of work, he changed the structure, creating eight.

The story of Onegin's journey original intention, should have been part of the body text. But later the poet included this fragment of the plot in one of the lyrical digressions. In the first version of the novel, the author raised rather sharp political issues. But since the creation of "Eugene Onegin" took place during the years of exile, the poet decided not to aggravate his already difficult situation. Therefore, he removed dangerous pages from the manuscript and burned them.

Composition of the novel

The work was published for several years in separate chapters. Pushkin admitted that he wrote it without any clear plan. Nevertheless, the composition of "Eugene Onegin" is clear. Each of the chapters is logically completed.

The main literary technique that the poet used when creating his imperishable work is mirror symmetry. As the story progresses, the characters seem to switch places. First, Tatiana falls in love with Eugene. Onegin is indifferent to the love of a girl. He responds coldly to her letter. But later, after the duel of the protagonist with Lensky - an event that interrupts the love line - Onegin and Larina change places. He writes her a letter of confession. She also rejects him. A feature of the composition of the work is a ring construction. It is thanks to this technique that "Eugene Onegin" is perceived as a complete novel.

Main characters

Why did the author use ring composition? With the help of this technique, Pushkin revealed the changes in the character of the characters. At the beginning of the work, Onegin leaves the high society. Not without irony, the poet speaks about his hero, emphasizing that Yevgeny's education was superficial, which was enough to be considered smart among representatives of the metropolitan aristocracy.

In the first chapters, Onegin is a secular loafer, unable to fill his leisure time with either creativity or even reading. But later he appears as a thinking, deep personality. Another feature lost by Eugene is saturation with life. Pushkin's hero is initially indifferent to others. He is not even touched by the feelings that Tatyana has for him - a smart girl, who compares favorably with other representatives of provincial society.

At the end of the novel, Onegin is an ardent lover. Tatyana, on the other hand, is reserved and cold. However, it is worth saying that with all the external changes, both Onegin and Larina are still the same in their souls. He is an arrogant aristocrat. She is a simple and sincere village girl. After the disappointment that befell the heroine, she is forced to hide her feelings. As for Eugene, his love is more likely due to the outward brilliance of Tatyana, now a secular lady.

epic

In "Eugene Onegin" there are many heroes. The work covers a significant period of time. Eugene Onegin narrates both about life in the capital and about the life of the rural nobility. The genre that possesses such features is the novel. It is today the most common type of epic literature. What is the specificity of the classic novel? Which of its features are present in the work "Eugene Onegin"?

Genre of grand form in which the narrative is centered on destinies different heroes, in literary criticism is called a novel. Its other features are a significant time period, a smoothly built series of events, a considerable number of characters involved in the plot.

How is Eugene Onegin portrayed by the author? The genre of this work, according to Pushkin, is a novel. Remembering the characteristic features of this type of epic, we can say that Onegin is not a lyrical hero. It is neither positive nor negative character. In creating his portrait, the poet is extremely objective. Evgeny Onegin is rather contradictory and complex. The peculiarities of the genre of Pushkin's work lie, nevertheless, in the presence of not only an epic beginning.

Lyricism

The work discussed in this article has no analogues in world literature. The structure and genre of the novel "Eugene Onegin" is unique. It has both realism and history. Also, Pushkin endowed his work with features typical of a social-everyday novel. "Eugene Onegin", the genre of which is at the junction of two types of literature, contains both the objective characteristics of the characters, and many lyrical digressions. But that's not all.

The genre and composition of "Eugene Onegin" became the subject of numerous works on literary criticism. With the light hand of Byron in the nineteenth century, the epic poem came into fashion, which is a separate chapter in verse. In Pushkin's work, the description of the lyrical hero and his experiences are harmoniously combined with the objective, realistic image events.

Retreats

The author's voice sounds in numerous lyrical inserts. In each of them, the poet talks about himself and shares his views on literature and culture with the reader. At the same time, Pushkin is not distracted from the main action. In one of the chapters, the poet recalls the days when his work flourished, about his forced exile. The structure and genre of the work "Eugene Onegin" can be defined as follows: a novel in verse, which is a "collection of motley chapters."

The themes of lyrical digressions in Pushkin's work are very diverse. First, the reader learns about the mores of secular youth. Then love motives come to the fore. And finally, landscape sketches are important in the development of the plot. In the novel, all the seasons are displayed in verse: sad summer, golden autumn, winter with bitter frosts. The poet called spring "the morning of the year." The landscape in "Eugene Onegin" is sometimes depicted through the perception of the characters.

Another theme of lyrical digressions in the novel is historical events. So, in the work "Eugene Onegin" Pushkin remembered Patriotic war 1812.

The novel in verse covers many events. It has many heroes. Nevertheless, "Eugene Onegin" is a deeply lyrical work. The reader, after reading it, learns about the author no less than about his characters. In one work, Pushkin surprisingly managed to connect the epic and the lyrical into a single whole.

Reflection of the Pushkin era

From this work, the reader has the opportunity to learn almost everything about the time in which the poet lived. How did people dress? What was in fashion? What did Pushkin's contemporaries value above all else? The reader receives answers to all these questions after reading the novel in verse. The poet truthfully depicted the environment in which Onegin and Larina live. He reproduced the atmosphere of both noble salons and modest provincial evenings.

In art

Onegin - a prime example the so-called "superfluous man", a character that appeared in literature in the first third of the eighteenth century. This hero is not capable of the feat that the Decembrists accomplished. But it cannot be attributed to typical representatives high world. Spiritual dissatisfaction and the inability to change anything in one's life are Onegin's characteristic features. And if we add to this the epic, the variety of images, the extraordinary poetry of Pushkin's work, it becomes clear why it was so often reflected in art.

"Eugene Onegin" was filmed several times by domestic and foreign filmmakers. Based on Pushkin's novel, four operas were created, the music for which was written by such outstanding composers as Tchaikovsky, Shchedrin, Prokofiev.