In what year was Eugene Onegin written? Analysis of “Eugene Onegin” Pushkin

The development of German romanticism is distinguished by an interest in fairy tales and mythological motives. A bright representative English romanticism is Byron, who, according to Pushkin, “clothed himself in dull romanticism and hopeless egoism.” His work is imbued with the pathos of struggle and protest against modern world, praising freedom and individualism.

Pushkin's views on romanticism were quite consistent with the spirit of his romantic creativity. Most of Pushkin's comments and statements about romanticism date back to 1824-1825, when the southern poems were completed or were being completed

(in 1824 they wrote “ Prisoner of the Caucasus” and “Bakhchisarai Fountain”. “Gypsies” was completed in October of the same year). Pushkin often emphasized his disagreement with the most common definitions of romanticism. He wrote to friends: “No matter how much I read about romanticism, everything is wrong.” Pushkin's views on romanticism were primarily anti-classical. Pushkin ridiculed and condemned those who write “according to all the rules of Parnassian Orthodoxy.” He claimed. What romantic school“there is an absence of all rules, but not of all art.” Pushkin viewed romanticism as a genuine revolution in the field of form. Pushkin the romantic depicts exceptional, most often contrasting psychological states. unlike the vulgar poise of the average person. Pushkin’s romantic lyrics depict either a “mighty passion” that subjugates all a person’s experiences and actions, or spiritual coldness. We find the same thing in Pushkin’s southern poems. In “Prisoner of the Caucasus,” Cherkeshenka is a “passionate maiden,” full of “delights of the heart.” She is contrasted with the Captive, who destroyed his heart with “passions” and became a “victim of passions.” His soul had almost completely cooled. IN " Bakhchisarai fountain“Zarema is possessed by “gusts of fiery desires.” she was “born for passion” and speaks “in the language of tormenting passions.” But then the image of a disappointed hero is drawn - the Tatar Khan Giray. Even at the beginning of the poem, he is “bored by the glory of abuse,” and after Mary’s death

comes to complete despondency. In "Gypsies". the pinnacle of Pushkin’s romanticism, “fatal passions are everywhere.” The poet emphasizes that Aleko’s “obedient soul” was “played by passions.” They also play Zemfira. and her lover, a young gypsy, and her mother Mariula. But in the poem there is also a cold hero - an old gypsy, who, after a love catastrophe, “was disgusted. all the virgins of the world.”

Pushkin’s first romantic poem, “Prisoner of the Caucasus,” was completed in February 1821. brought him success. greatest in his literary activity. Its success was due to the fact that readers found in it an image of modern romantic hero, absent from pre-Pushkin literature. It is easy to see that the basic psychological traits title character the poems were in highest degree modern. In the Captive lives the bright and bold

love of freedom. This is why he ends up in the Caucasus. that is looking for freedom. which does not exist in the “light” that dissatisfies him - in a civilized society:

Renegade of light, friend of nature,

He left his native land

And flew to a distant land

With the cheerful ghost of freedom.

Freedom! he's the only one for you

I also searched in the desert world.

The plot of the poem itself is organized by the theme of freedom: the hero, deprived of spiritual freedom and striving to gain it by being captured, is deprived of physical freedom. Thus, one again finds oneself powerless to find happiness. The poem says about the Prisoner chained:

Nature was eclipsed before him.

Forgive me, sacred freedom!

Another important feature of the Prisoner is mental coolness. The prisoner cannot respond to the feelings of the Circassian woman who has fallen in love with him. that he had lost the ability to feel. This is evidenced by his words addressed to Cherkeshenka:

Don’t waste precious days with me;

Call another young man.

His love will replace you

My soul is sad and cold.

By depicting the spiritual coldness of the Prisoner, Pushkin sought to capture the characteristic side of not only Russian psychology. but also Western European youth. But at the same time, Pushkin painted this “premature old age of the soul” on the basis of the life and literary material. About the fact that the prisoner was led to spiritual coolness of passion. described in detail at that point in the poem. where the chained Prisoner remembers his homeland:

Where did he first know joy?

Where I loved a lot of sweet things,

Where he ruined his stormy life

Hope, joy and desire

AND better days memory

He concluded in a withered heart.

This is a purely romantic backstory for the Prisoner. The image of “mental decay” is especially important here. The features of the psychology of the “faded” Prisoner were revealed by Pushkin according to the laws romantic poem, where I often met

reception of contrast. which allows us to highlight the psychological traits of the heroes. Pushkin, the romantic, contrasted spiritual coldness and fading with an ardent, blossoming passion. Pushkinskaya plot situation“Prisoner-Circassian” brings together people who have nothing in common in their psychological make-up. The Circassian woman is, first of all, a passionate maiden. The second part of the poem begins with a description of the “fiery” emotional experiences heroines:

Cheer up your sad look,

Bow your head on my chest,

Freedom, forget your homeland.

I'm glad to hide in the desert

With you, king of my soul!

But “fire” in the poem was contrasted with “cold” and sometimes “fossil”. The prisoner, in response to the Cherkeshenka’s confessions, complained of his complete disappointment and regret. that he can no longer share the ardent feeling:

I died for happiness

The ghost of hope has flown away;

Your friend has lost the habit of voluptuousness,

For tender feelings petrified.

Here in connection with emotional drama The prisoner was another theme in the poem. The hero talked about some of his past loves, which did not bring him happiness. We learn that it was unrequited love, that the hero “did not know mutual love. loved one. suffered alone.” This topic entailed another topic - the heroine’s jealousy. The Circassian woman wanted to know who her rival was:

Your beautiful friend?

Do you love it, Russian? Are you loved?

But the Circassian woman overcomes jealousy - this is what makes her spiritual heroism. Freeing the Prisoner, the Circassian woman accomplishes a feat of great nobility. No wonder, when she goes to free the Prisoner, Pushkin says:

It seemed as if a maiden was walking

For a secret battle, for a feat of arms.

In this scene of the poem, the Circassian woman is truly heroic: having sawed through the Prisoner’s shackles, she wishes him happiness and even union with the “other,” although her own love broken. This place in the poem is marked by subtle psychologism. Although

The Circassian woman overcame jealousy; echoes of this feeling are still heard in her words. She does not want to run away with the Captive precisely because of his love for the “other”, blessing him at the same time for new life full of love:

Sorry, love blessings

I'll be with you every hour.

Forgive me - forget my torment,

Give me your hand. V last time.

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Russian romanticism, having mastered small poetic genres, was faced with the task of creating epic forms, in particular poems. It was solved by Pushkin, who completed his first poem “Ruslan and Lyudmila” in 1820. It remained the only work in Russian literature that corresponded to the theoretical ideas in the “Dictionary of Ancient and New Poetry” (1821) by Nikolai Ostolopov: “A romantic poem is a poetic narrative about some knightly incident, constituting a mixture of love, courage, piety and on miraculous actions."

The extraordinary success and similar controversy surrounding the poem are explained by its innovation at the level of both content and form, which Belinsky defined as a premonition of a new world of creativity. With his poem, at the level of the time of its creation, Pushkin solved the problem of nationality. The poem is written in the spirit folk tales, fabulous details (living and dead water), historical information is taken from the history of Karamzin (Pechenegs attack Kyiv; Finn’s origin is connected with the remark: Finnish sorcery is described in detail in northern fairy tales); attention to ethnographic and household paintings But the plot was created by Pushkin, and all the heroes are imaginary, the adventures are invented; the colloquialisms found in the poem were not a bold novelty, but a relapse of comic-magical fairy tales. The innovation of the poem: the heroes are endowed with vital traits that were not found before Pushkin; image of the author-storyteller; ironic tone of the story. The poem was addressed not to the past, but to the future, which was very quickly echoed in the first chapter of “Eugene Onegin” (friends of Lyudmila and Ruslan,” i.e., a new generation of readers).

Southern poems are the next step in the development of Pushkin's romanticism. Pushkin considers himself one of those romantics who are characterized by poetic innovation and violation of outdated forms and traditions. It is in this spirit that “Prisoner of the Caucasus”, “Bakhchisarai Fountain”, “Gypsies” were written.

The hero's problem: Pushkin's goal is not to portray himself inner world in the form of a confession, but the creation of a character with traits inherent in the youth of the twenties, namely: “indifference to life and its pleasures, premature old age of the soul” (in a letter to Gorchakov in 1822):

This new task required a different form, different from the generally known idea of Byron's models. Therefore, Pushkin will define the genre as a story.

The main theme is the search for freedom. This is the reason for the Prisoner’s escape from his usual (European) life. The similarity between the spiritual aspirations of the hero and the free highlanders is emphasized in the poem. The description of nature and morals complements the characterization of the hero. For Pushkin, “Circassians, their customs and morals occupy a large and the best part stories."

The central episode is the explanation of the Prisoner with the Circassian woman. The tragic outcome is inherent in the characters' characters: The prisoner has not yet recovered from his former love, the Circassian woman's love is naive. The contradictions are sharply outlined - the words of the Cherkeshenka “Freedom, forget your homeland” cannot be accepted by the Prisoner. Calming the soul, lulling the senses is not for him. This is where Onegin's future character originates.

Paying tribute to the problem of nationality at the level of its then understanding, Pushkin introduces into all southern poems folk song. Its evolution can serve as another proof of the development of Pushkin’s creativity from romanticism to realism.

Another feature of Pushkin’s romanticism (as a romantic movement that requires an unusual, exotic place of events) is the image of the East, present in different ways in southern poems. The oriental flavor was subject to the following requirements for him: “The oriental style was for me a model, as much as possible for us, prudent, cold Europeans. A European, even in the rapture of oriental luxury, must preserve the taste and gaze of a European” (in a letter to Vyazemsky in 1825). So in “The Bakhchisarai Fountain” there are historical inaccuracies and conventions “ oriental flavor", the image of Crimea in general is based on fantasy and personal impressions, and not on historical and archaeological research.

In the autumn of 1824, already in Mikhailovsky, Pushkin finished the poem “Gypsies”. The hero continues the Captive from the first southern poem. The invasion of him, a European, into the life of a tribe alien to civilization leads to the death of the heroine. Aleko, like the Prisoner, had some self-portrait features (choice of name). The hero's past is also unknown, but the conflict in the past is clearly outlined: he is being persecuted by the law. Author's attitude to the hero is exclusively innovative - condemnation of individualism and selfishness. Contemporary to Pushkin Romantics, like Zhukovsky and Ryleev, did not accept Aleko as the hero of a romantic poem, although for different reasons (for Zhukovsky Aleko is cruel, for Ryleev he is “low” - he walks, i.e. performs with a bear). In his romanticism, Pushkin surpassed modern ideas.

Zemfira's characterization does not match the characterization. A completely new character is the old gypsy. He preaches the humanistic ideals that inspired Pushkin's contemporaries - the best representatives of the era. His speeches of a wise man reflect not only individual, but also collective experience.

The peculiarity of the poem was its new form. If “Ruslan and Lyudmila” is a poem in six songs with a dedication and an epilogue, “Caucasian Prisoner” is a story in two parts with a dedication and an epilogue, then this poem represents a dramatic dialogue. Thus, the dramatic nature of the poem appears in the form itself.

A sense of modernity guided Pushkin when creating the poem. She talked about modern man and for modern man. Refusal from civilization could not make the hero happy. The cause of evil is in the relationship of man to man, in his eternal passions.

“Gypsies” is not only the last of the southern poems, but also the final, most mature. “Pushkin has exhausted the romantic theme” (Tomashevsky).

Roman A.S. Pushkin’s “Eugene Onegin” is a very powerful poetic work that tells about love, character, selfishness and, in general, about Russia and the life of its people. It was created for almost 7.5 years (from May 9, 1823 to September 25, 1830), becoming a real feat for the poet literary creativity. Before him, only Byron dared to write a novel in verse.

First chapter

The work began during Pushkin's stay in Chisinau. For her, the poet even came up with his own special style, later called the “Onegin stanza”: the first 4 lines rhyme crosswise, the next 3 - in pairs, from 9 to 12 - through a ring rhyme, the last 2 are consonant with each other. The first chapter was completed in Odessa, 5 months after it began.

After writing, the original text was revised several times by the poet. Pushkin added new and removed old stanzas from an already completed chapter. It was published in February 1825.

Chapter two

The initial 17 stanzas of the second chapter were created by November 3, 1923, and the last ones by December 8, 1923. At this time, Pushkin was still serving under Count Vorontsov. In 1824, already in exile in Mikhailovsky, he carefully revised and completed it. IN printed form the work was published in October 1826, and was published in May 1830. Interestingly, the same month was marked by another event for the poet - the long-awaited engagement to Natalya Goncharova.

Chapters three and four

Pushkin wrote the next two chapters from February 8, 1824 to January 6, 1825. The work, especially towards completion, was carried out intermittently. The reason is simple - the poet was writing “Boris Godunov” at that time, as well as several rather famous poems. The third chapter was published in printed form in 1827, and the fourth, dedicated to the poet P. Pletnev (a friend of Pushkin), was published in 1828, already in a revised form.

Chapters five, six and seven

The subsequent chapters were written in about 2 years - from January 4, 1826 to November 4, 1828. They appeared in printed form: part 5 - January 31, 1828, March 6 - 22, 1828, March 7 - 18, 1830 (in the form of a separate book).

Interesting facts are connected with the fifth chapter of the novel: Pushkin first lost it at cards, then won it back, and then completely lost the manuscript. Only a phenomenal memory saved the situation younger brother: Lev had already read the chapter and was able to reconstruct it from memory.

Chapter Eight

Pushkin began working on this part at the end of 1829 (December 24), during his trip along the Georgian Military Road. The poet finished it on September 25, 1830, already in Boldin. About a year later, in Tsarskoe Selo, he writes love letter Evgenia Onegin to Tatiana, who got married. On January 20, 1832, the chapter was published in printed form. On title page it means that it is the last, the work is completed.

Chapter about Evgeny Onegin's trip to the Caucasus

This part has come down to us in the form of small excerpts published in “Moskovsky Vestnik” (in 1827) and “ Literary newspaper"(in 1830). According to the opinions of Pushkin’s contemporaries, the poet wanted to tell in it about Eugene Onegin’s trip to the Caucasus and his death there during a duel. But, for unknown reasons, he never completed this chapter.

The novel "Eugene Onegin" in its in full force was published in one book in 1833. The reprint was carried out in 1837. Although the novel received edits, they were very minor. Today the novel by A.S. Pushkin is studied at school and at philological faculties. It is positioned as one of the first works in which the author managed to reveal all the pressing problems of his time.

"Eugene Onegin"(1823-1831) - a novel in verse by Alexander Sergeevich Pushkin, one of the most significant works Russian literature.

History of creation

Pushkin worked on the novel for over seven years. The novel was, according to Pushkin, “the fruit of a mind of cold observations and a heart of sorrowful observations.” Pushkin called working on it a feat - of all his creative heritage only “Boris Godunov” he characterized with the same word. Against a broad background of pictures of Russian life, it is shown dramatic fate the best people noble intelligentsia.

Pushkin began work on Onegin in 1823, during his southern exile. The author abandoned romanticism as a leading creative method and started writing realistic novel in verse, although in the first chapters the influence of romanticism is still noticeable. Initially, it was assumed that the novel in verse would consist of 9 chapters, but Pushkin subsequently reworked its structure, leaving only 8 chapters. He excluded the chapter “Onegin’s Travels” from the work, which he included as an appendix. After this, the tenth chapter of the novel was written, which is an encrypted chronicle of the life of the future Decembrists.

A novel in verse was published separate chapters, and the output of each chapter became big event V modern literature. In 1831, the novel in verse was completed and published in 1833. It covers events from 1819 to 1825: from the foreign campaigns of the Russian army after the defeat of Napoleon to the Decembrist uprising. These were the years of development of Russian society, the reign of Tsar Alexander I. The plot of the novel is simple and well known. At the center of the novel - love affair. A main problem is eternal problem feelings and duty. The novel “Eugene Onegin” reflected the events of the first quarter of the 19th century, that is, the time of creation and the time of action of the novel approximately coincide. Alexander Sergeevich Pushkin created a novel in verse similar to Byron’s poem “Don Juan”. Having defined the novel as “a collection of motley chapters,” Pushkin emphasizes one of the features of this work: the novel is, as it were, “open” in time, each chapter could be the last, but it could also have a continuation. And thus the reader draws attention to the independence of each chapter of the novel. The novel has become an encyclopedia of Russian life of the 20s of the century before last, since the breadth of coverage of the novel shows readers the whole reality of Russian life, as well as the multi-plot and description different eras. This is what gave V. G. Belinsky the basis to conclude in his article “Eugene Onegin”:
“Onegin can be called an encyclopedia of Russian life and a highly folk work.”
In the novel, as in the encyclopedia, you can find out everything about the era: how they dressed, what was in fashion, what people valued most, what they talked about, what interests they lived. “Eugene Onegin” reflects the whole of Russian life. Briefly, but quite clearly, the author showed the fortress village, lordly Moscow, secular Petersburg. Pushkin truthfully depicted the environment in which the main characters of his novel, Tatyana Larina and Evgeny Onegin, live. The author reproduced the atmosphere of the city noble salons in which Onegin spent his youth.

Plot

The novel begins with a grumpy speech young nobleman Eugene Onegin, dedicated to the illness of his uncle, which forced him to leave St. Petersburg and go to the sick bed in the hope of becoming the heir of the dying man. The narrative itself is told on behalf of the nameless author, who introduced himself as a good friend of Onegin. Having thus outlined the plot, the author devotes the first chapter to a story about the origin, family, and life of his hero before receiving news of a relative’s illness.

Evgeny was born “on the banks of the Neva,” that is, in St. Petersburg, in the family of a typical nobleman of his time -

“Having served excellently and nobly, his father lived in debt. He gave three balls every year and finally squandered it.” The son of such a father received a typical upbringing - first by the governess Madame, then by a French tutor who did not bother his pupil with an abundance of science. Here Pushkin emphasizes that Evgeniy’s upbringing from childhood was carried out by people who were strangers to him, and foreigners at that.
Onegin's life in St. Petersburg was full of love affairs and social amusements, but now he faces boredom in the village. Upon arrival, it turns out that his uncle died, and Eugene became his heir. Onegin settles in the village, and soon the blues really take hold of him.

Onegin’s neighbor turns out to be eighteen-year-old Vladimir Lensky, a romantic poet, who came from Germany. Lensky and Onegin converge. Lensky is in love with Olga Larina, the daughter of a landowner. Her thoughtful sister Tatyana is not like the always cheerful Olga. Having met Onegin, Tatyana falls in love with him and writes him a letter. However, Onegin rejects her: he is not looking for a calm family life. Lensky and Onegin are invited to the Larins. Onegin is not happy about this invitation, but Lensky persuades him to go.

“[...] He pouted and, indignant, vowed to enrage Lensky, and to take revenge in order.” At dinner with the Larins, Onegin, in order to make Lensky jealous, unexpectedly begins to court Olga. Lensky challenges him to a duel. The duel ends with Lensky's death, and Onegin leaves the village.
Two years later, he appears in St. Petersburg and meets Tatyana. She is an important lady, the wife of a prince. Onegin was inflamed with love for her, but this time he was rejected, despite the fact that Tatyana also loves him, but wants to remain faithful to her husband.

Storylines

Onegin and Tatiana:
- Meet Tatyana
- Conversation with the nanny
- Tatiana's letter to Onegin
- Explanation in the garden
- Tatiana's dream. Name day
- Visit to Onegin's house
- Departure to Moscow
- Meeting at a ball in St. Petersburg after 2 years
- Letter to Tatyana (explanation)
- Evening at Tatiana's
Onegin and Lensky:
- Dating in the village
- Conversation after the evening at the Larins'
- Lensky's visit to Onegin
- Tatiana's name day
- Duel (Death of Lensky)

Characters

Eugene Onegin- the prototype Pyotr Chaadaev, a friend of Pushkin, was named by Pushkin himself in the first chapter. The story of Onegin is reminiscent of the life of Chaadaev. An important influence on the image of Onegin was exerted by Lord Byron and his “Byronian Heroes”, Don Juan and Childe Harold, who are also mentioned more than once by Pushkin himself.
Tatyana Larina- prototype Avdotya (Dunya) Norova, Chaadaev’s friend. Dunya herself is mentioned in the second chapter, and at the end last chapter Pushkin expresses his grief over her untimely death. Due to the death of Dunya at the end of the novel, the prototype of the princess, matured and transformed Tatiana, is Anna Kern, Pushkin’s beloved. She, Anna Kern, was the prototype of Anna Kerenina. Although Leo Tolstoy copied Anna Karenina's appearance from eldest daughter Pushkin, Maria Hartung, but the name and history are very close to Anna Kern. Thus, through the story of Anna Kern, Tolstoy's novel Anna Karenina is a continuation of the novel Eugene Onegin.
Olga Larina, her sister is a generalized image of a typical heroine of a popular novel; beautiful in appearance, but lacking deep content.
Vladimir Lensky- Pushkin himself, or rather his idealized image.
Tatiana's nanny- probable prototype - Arina Rodionovna Yakovleva, Pushkin’s nanny
Zaretsky, duelist - Fyodor Tolstoy the American was named among the prototypes
Tatyana Larina's husband, not named in the novel, is an “important general,” General Kern, Anna Kern’s husband.
Author of the work- Pushkin himself. He constantly interferes in the course of the narrative, reminds of himself, makes friends with Onegin, in his lyrical digressions shares with the reader his thoughts about a variety of life issues, expresses his worldview position.

The novel also mentions the father - Dmitry Larin - and the mother of Tatyana and Olga; “Princess Alina” - Moscow cousin of Tatyana Larina’s mother; Onegin's uncle; a number of comical images of provincial landowners (Gvozdin, Flyanov, “Skotinins, the gray-haired couple”, “fat Pustyakov”, etc.); St. Petersburg and Moscow light.
The images of provincial landowners mainly have literary origin. Thus, the image of the Skotinins refers to Fonvizin’s comedy “The Minor,” Buyanov is the hero of the poem “Dangerous Neighbor” (1810-1811) by V. L. Pushkin. “Among the guests there were also “important Kirin”, “Lazorkina - a widow-widow”, “fat Pustyakov” was replaced by “fat Tumakov”, Pustyakov was called “skinny”, Petushkov was a “retired clerical worker”.

Poetic features

The novel is written in a special “Onegin stanza”. Each stanza consists of 14 lines of iambic tetrameter.
The first four lines rhyme crosswise, lines five through eight rhyme in pairs, lines nine through twelfth are connected in a ring rhyme. The remaining 2 lines of the stanza rhyme with each other.

History of creation

Pushkin began work on Onegin in 1823, during his southern exile. The author abandoned romanticism as the leading creative method and began to write a realistic novel in verse, although the influence of romanticism is still noticeable in the first chapters. Initially, it was assumed that the novel in verse would consist of 9 chapters, but Pushkin subsequently reworked its structure, leaving only 8 chapters. He excluded the chapter “Onegin’s Travels” from the work, which he included as an appendix. After this, the tenth chapter of the novel was written, which is an encrypted chronicle of the life of the future Decembrists.

The novel was published in verse in separate chapters, and the release of each chapter became a major event in modern literature. In 1831, the novel in verse was completed and published in 1833. It covers events from 1819 to 1825: from the foreign campaigns of the Russian army after the defeat of Napoleon to the Decembrist uprising. These were the years of development of Russian society, during the reign of Tsar Alexander I. The plot of the novel is simple and well known. At the center of the novel is a love affair. And the main problem is the eternal problem of feelings and duty. The novel “Eugene Onegin” reflected the events of the first quarter of the 19th century, that is, the time of creation and the time of action of the novel approximately coincide. Reading the book, we (the readers) understand that the novel is unique, because previously there was not a single novel in verse in world literature. Alexander Sergeevich Pushkin created a novel in verse similar to Byron’s poem “Don Juan”. Having defined the novel as “a collection of motley chapters,” Pushkin emphasizes one of the features of this work: the novel is, as it were, “open” in time, each chapter could be the last, but it could also have a continuation. And thus the reader draws attention to the independence of each chapter of the novel. The novel has become an encyclopedia of Russian life of the 20s of the century before last, since the breadth of coverage of the novel shows readers the whole reality of Russian life, as well as the multiplicity of plots and descriptions of different eras. This is what gave V. G. Belinsky the basis to conclude in his article “Eugene Onegin”:

“Onegin can be called an encyclopedia of Russian life and a highly folk work.”

In the novel, as in the encyclopedia, you can find out everything about the era: how they dressed, what was in fashion, what people valued most, what they talked about, what interests they lived. “Eugene Onegin” reflects the whole of Russian life. Briefly, but quite clearly, the author showed a fortress village, lordly Moscow, secular Petersburg. Pushkin truthfully depicted the environment in which the main characters of his novel, Tatyana Larina and Evgeny Onegin, live. The author reproduced the atmosphere of the city noble salons in which Onegin spent his youth.

Plot

The novel begins with a grumpy speech by the young nobleman Eugene Onegin, dedicated to the illness of his uncle, which forced him to leave St. Petersburg and go to the sick bed in the hope of becoming the heir of the dying man. The narrative itself is told on behalf of the nameless author, who introduced himself as a good friend of Onegin. Having thus outlined the plot, the author devotes the first chapter to a story about the origin, family, and life of his hero before receiving news of a relative’s illness.

Lotman

"Eugene Onegin" is a difficult work. The very lightness of the verse, the familiarity of the content, familiar to the reader from childhood and emphatically simple, paradoxically create additional difficulties in understanding Pushkin’s novel in verse. The illusory idea of the “understandability” of a work hides from consciousness modern reader great amount words, expressions, phraseological units, hints, quotes that he does not understand. Thinking about a poem that you have known since childhood seems like unjustified pedantry. However, once we overcome this naive optimism of the inexperienced reader, it becomes obvious how far we are from even a simple textual understanding of the novel. Specific structure Pushkin's novel in verse, in which any positive statement the author can immediately be imperceptibly turned into ironic, and the verbal fabric seems to slide, being transmitted from one speaker to another, making the method of forcibly extracting quotes especially dangerous. To avoid this threat, the novel should be considered not as a mechanical sum of the author’s statements on various issues, a kind of anthology of quotes, but as an organic art world, the parts of which live and receive meaning only in relation to the whole. A simple list of the problems that Pushkin “poses” in his work will not introduce us to the world of “Onegin”. Artistic idea implies special type transformation of life in art. It is known that for Pushkin there was a “devilish difference” between poetic and prosaic modeling of the same reality, even while maintaining the same themes and problematics.

Comments on the novel

One of the first comments on the novel was a small book by A. Volsky, published in 1877. Commentaries by Vladimir Nabokov, Nikolai Brodsky, Yuri Lotman, S. M. Bondi became classic.

Psychologists about the work

Influence on other works

Type " extra person", introduced by Pushkin in the image of Onegin, influenced all subsequent Russian literature. From the nearest illustrative examples- surname "Pechorin" in Lermontov’s “Hero of Our Time,” just as Onegin’s surname is derived from the name of a Russian river. Many psychological characteristics are also similar.
In the modern Russian novel "Onegin Code", written under a pseudonym Brain Down, we are talking about the search for the missing chapter of Pushkin’s manuscript.
In Yesenin's poem "Anna Snegina".

In what year was Eugene Onegin written? Analysis of “Eugene Onegin” Pushkin

First chapter

Chapter two

Chapters three and four

Chapters five, six and seven

Chapter Eight

Chapter about Evgeny Onegin's trip to the Caucasus

History of creation

Plot

Storylines

Characters

Poetic features

History of creation

Plot

Lotman

Comments on the novel

Psychologists about the work

Influence on other works

Notes

Links