What literary movement does the novel Onegin belong to? “Eugene Onegin” – a depiction of modern reality

"Roman Onegin" - Artistic method in art and literature. A literary movement that established itself in Russian literature at the beginning of the 19th century. In what language was Tatyana's letter to Onegin written? Literary controversy around the novel. What periods of Pushkin’s creative development does work on the novel cover? The controversy is connected with the image of Eugene Onegin.

“Lesson on Eugene Onegin” - Tatiana. Eugene Onegin. Creative work My attitude towards the characters in the novel. Vladimir Lensky. I thought: freedom and peace are a substitute for happiness. Assignment: Evaluate your favorite character from the novel “Eugene Onegin.” Alexander Sergeevich Pushkin. How wrong I was! How punished! -. Working with the reference diagram.

“Eugene Onegin’s game” - Biography of A. Pushkin. Who are we talking about? Knowledge of the text. If the answer is incorrect, then the right to move goes to the other team. Where did he meet A.S. Pushkin and Onegin on the pages of the novel. What genre does “Eugene Onegin” belong to? Tatyana Larina. What did the Russian critic V.G. Belinsky call the novel “Eugene Onegin”?

“About Eugene Onegin” - Pushkin even depicted himself next to Onegin on the banks of the Neva. Her thoughtful sister Tatyana is not like the always cheerful Olga. Lensky - Olga. Tatyana Larina's husband, Anna Kern's husband, is not named in the novel. Pushkin's autograph - a self-portrait with Onegin on the Neva embankment. Onegin - Tatiana. The story of Onegin is reminiscent of the life of Chaadaev.

“About Onegin” - The history of the Russian realistic novel begins with “Eugene Onegin”. Until 1833 (publication) the plan changes. Chapter 10 and Onegin's Journey were not completed. The novel is an epic genre. "Excerpts from Onegin's Journey." The artistic originality of the work. 1837 - the last author's version was printed.

“Eugene Onegin letter” - Stranger to everyone, not bound by anything, I thought: happiness and peace A replacement for happiness. Why did you visit us? 5. Letter from Onegin to Tatiana. N.M. Karamzin. With the hero of my novel Without preamble, this very hour Let me introduce you (chapter 6. Benchmarking letters from Evgeny Onegin and Tatiana. I foresee everything: you will be offended by the explanation of the sad secret. (From Onegin’s letter to Tatyana).

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 Tatyana” was written. The publication of the work was carried out as it was created: first, individual chapters were published, and only in 1833 the first complete edition was published. Up until this 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 a rough plan for it, which looks like this:
Part one. Preface. 1st canto. Handra (Chisinau, Odessa, 1823); 2nd canto. Poet (Odessa, 1824); 3rd canto. Young lady (Odessa, Mikhailovskoe, 1824).
Part two. 4th Canto. Village (Mikhailovskoe, 1825); 5th Canto. Name Day (Mikhailovskoe, 1825, 1826); 6th canto. Duel (Mikhailovskoe, 1826).
Part three. 7th canto. Moscow (Mikhailovskoe, St. Petersburg, 1827, 1828); 8th Canto. Wandering (Moscow, Pavlovsk, Boldino, 1829); 9th Canto. Big light (Boldino, 1830).

IN final version Pushkin had to make certain adjustments to the plan: for censorship reasons, he excluded Chapter 8 - “Wandering”. Now it is published as an appendix to the novel - “Excerpts from Onegin’s Journey”, and the final 9th ​​chapter - “Big Light” - has, accordingly, become the eighth. In this form, the novel was published in a separate edition in 1833.

In addition, there is an assumption about the existence of chapter 10, which was written in the Boldino autumn of 1830, but was burned by the poet on October 19, as it was dedicated to depicting the era of the Napoleonic wars and the birth of Decembrism and contained a number of dangerous political hints. Minor fragments of this chapter (16 stanzas), encrypted by Pushkin, have been preserved. The key to the cipher was found only at the beginning of the 20th century by the Pushkin scholar NO. Morozov, and then other researchers supplemented the decrypted text. But there is still ongoing debate about the legitimacy of the assertion that these fragments really represent parts of the lost 10th chapter of the novel.

Direction and genre. “Eugene Onegin” is the first Russian realistic socio-psychological novel, and, importantly, not prose, but a novel in verse. For Pushkin, the choice of fundamental importance when creating this work was artistic method- not romantic, but realistic.

Starting work on the novel during the period of southern exile, when romanticism dominated the poet’s work, Pushkin soon became convinced that the peculiarities of the romantic method did not make it possible to solve the task. Although in terms of genre the poet is to a certain extent guided by Byron’s romantic poem “Don Juan,” he refuses the one-sidedness of the romantic point of view.

Pushkin wanted to show in his novel young man, typical of its time, against the broad background of the picture of contemporary life, to reveal the origins of the characters being created, to show their internal logic and relationship with the conditions in which they find themselves. All this led to the creation of truly typical characters who 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 era and seeks to explain various social phenomena. The poet does not simply describe events from the life of an ordinary nobleman; he gives the hero a bright and at the same time typical character for secular society, explains the origin of his apathy and boredom, and the reasons for his actions. Moreover, the events unfold against such a detailed and carefully depicted material background that “Eugene Onegin” can be called a social and everyday novel.

It is also important that Pushkin carefully analyzes not only the external circumstances of the heroes’ lives, but also their inner world. On many pages he achieves extraordinary psychological mastery, which allows for a deeper understanding of his characters. That is why “Eugene Onegin” can rightfully be called a psychological novel.

His hero changes under the influence of life circumstances and becomes capable of real, serious feelings. And let happiness pass him by, this 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 found his traits in themselves and in their acquaintances, as well as the traits of other characters in the novel - Tatyana, Lensky, Olga - the depiction of typical people of that era was so faithful.

At the same time, “Eugene Onegin” also has features of a love affair with the traditional for that era love story. The hero, tired of the world, goes traveling and meets a girl who falls in love with him. For some reason, the hero either cannot love her - then everything ends tragically, or he reciprocates her feelings, and although at first circumstances prevent them from being together, everything ends well. It is noteworthy that Pushkin deprives such a story of its romantic overtones and gives a completely different solution. Despite all the changes that have occurred in the lives of the heroes and led to the emergence of mutual feelings, due to circumstances they cannot be together and are forced to part. Thus, the plot of the novel is given obvious realism.

But the innovation of the novel lies not only in its realism. Even at the beginning of work on it, Pushkin wrote in a letter to P.A. Vyazemsky noted: “Now I’m not writing a novel, but a novel in verse - a devilish difference.” The novel as an epic work presupposes the author’s detachment from the events described and objectivity in their assessment; the poetic form enhances the lyrical principle associated with the personality of the creator. That is why “Eugene Onegin” is usually classified as a lyric-epic work, which combines the features inherent in epic and lyric poetry. 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 that consists in the author’s deviation from the plot narrative and the introduction of direct author’s speech. They create the image of the author as a living interlocutor, a storyteller, and open the world of the narrative outward, introducing additional themes 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 narration, create the completeness of the image characteristic of an “encyclopedia” and provide the author’s commentary on events. It is lyrical digressions that introduce the author’s “I” and allow for 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 genre also determined the originality of the novel's composition, 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 create a feeling of spontaneity, as if the novel was not written according to a clear plan, but was told. Pushkin himself spoke about this: “the distance of a free novel,” asserting his copyright to freedom of choice.

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

Yes, by the way, here are two words about that:
I sing to my young friend
And many of his quirks.
Bless my long work,
O you epic muse!
And, handing me the faithful staff,
Don't let me wander at random.

He lowers whole line There are no events in the lives of the characters, for example Tatiana’s wedding, and there is no traditional denouement that should complete the plot. Pushkin does all this in order to emphasize the verisimilitude of the story told: in real life there are no introductions or 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. First storyline: Onegin - Tatiana; its beginning - Onegin's acquaintance with Tatyana - occurs only in Chapter III. Second storyline: Onegin - Lensky; its beginning in Chapter II - Onegin's acquaintance with Lensky - comes immediately after the extensive exposition that Chapter I represents. In Chapter VI, where the duel and death of Lensky take place, the second storyline reaches its climax, which is immediately followed by a denouement. The denouement of the first storyline occurs at the end of the novel - in the last, VIII chapter. The peculiarity of both endings is that they are both 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 “leave” Onegin “at a moment that was evil for him,” which means the open ending of the novel.

The main principle of the novel's organization is symmetry and parallelism. It has a “mirror” structure: in the center is the scene of Lensky’s murder, 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 Eugene falls in love with her, in turn writes her a letter, and she refuses him and also reproaches him: “What about your heart and mind / To be a slave to petty feelings? Some details also echo: the description of Onegin’s village and city offices, the books he reads in the city and village, the images that appear in Tatyana’s dream (the monster among whom Eugene appears, killing Lensky), correlated with the image of the guests at her name day and subsequent events related to the duel. The novel also has a “ring” structure: it begins and ends with a depiction of the hero’s life in St. Petersburg.

The character system also has an orderly structure. The main principle of its construction is antithesis. For example, Onegin is contrasted with 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, he is already tired of empty entertainment), and to neighboring landowners (as an aristocrat with metropolitan habits - to rural landowners). Tatyana is contrasted with both Olga (the latter is too empty and frivolous compared to the heroine, who “loves seriously”), and the Moscow young ladies (they tell her about their “heart secrets,” fashions, outfits, while Tatyana is focused on her solitary inner life) , and secular beauties (“without these little antics, without imitative tricks...”). It is very important to note that the author contrasts and compares shades and details of the same qualities (which is also typical for real life), these are not classicist or romantic literary clichés: good - evil, vicious - virtuous, banal - original, etc. An example is the Larina sisters: both Olga and Tatyana are natural, sweet girls who fell in love with brilliant young men. But Olga easily exchanges one love for another, although quite recently she was Lensky’s bride, and Tatyana loves one Onegin all her life, even after getting married and finding herself in high society.

The authenticity of what is happening in the novel is also emphasized by inserting text that is foreign to the author’s: letters from Tatyana and Onegin, songs of girls, poems by Lensky. Some of them are distinguished by a different stanza (written not in the “Onegin stanza”), have a separate title, 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- a new stage in the development of the plot. But this does not prevent Pushkin from unexpectedly interrupting one of the chapters, leaving the characters 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, Tatiana’s misfortune and mutual love her sisters, and the fifth - name day. This allows, on the one hand, to place unique authorial accents, on the other, to interest readers (after all, the novel was published first in separate chapters as they were written), and on the third, to challenge literary conventions: “I’ll finish it later somehow,” says Pushkin , interrupting Chapter III “at the most interesting place”: Tatiana’s meeting with Onegin after he received a letter declaring his love.

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

Extra-plot compositional elements are lyrical digressions, but they are still, as a rule, connected with the plot (for example, the lyrical digression about past youth in Chapter VI is connected with the scene of the duel and death of Lensky). Often lyrical digressions begin or end a chapter (for example, the famous digression about Pushkin’s Muse at the beginning of Chapter VIII), appear before the climactic moments of the plot (before the explanation in the garden at the end of Chapter III; before Tatyana’s sleep; before the duel). Sometimes lyrical digressions replace plot time (in Chapter VII, a digression about the war with Napoleon is given “instead of” a description of the route of the Larins’ cart around Moscow). Finally, lyrical digressions can contain an appeal to the reader, which allows for a smooth transition from the lyrical to the epic part of the novel.

Topics and problems. “Eugene Onegin” is an innovative work, which has become, according to Belinsky, a genuine “encyclopedia of Russian life.” The novel amazes with its breadth of coverage of life material, the variety of problems posed in it and the depth of their development. “A collection of motley chapters” - this is how Pushkin himself defines the diversity and versatility of the themes and issues of his work. In it, the poet sets the task of depicting the social, everyday and cultural way of Russian society in the first quarter of the 19th century. He strives to show the typical characters of his era in their evolution. Before us are pictures of the lives 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 the picture of life depicted is also striking: from St. Petersburg and Moscow to the villages and provinces. Creating realistic images 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 forms the basis of the plot of the novel.

In addition, through lyrical digressions and extra-plot sketches, the theme of the work expands even further. Total There are 27 lyrical digressions in the novel, and they are dedicated to the most various issues: biographical facts and thoughts of the author about life, his aesthetic views on issues of literature, theater, music and attitude to problems of language; questions of history, philosophy, politics; discussions about manners, customs, morality and individual details of the life of society of that era; thoughts about nature.

The problematics of the novel “Eugene Onegin” consist of the most important social, 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 between the European-enlightened Russian nobility and the majority of Russian society, which has preserved national foundations and traditions. She goes through two central themes novel: “national - non-national”, “city - village”, which, thanks to the indicated problems, 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, and raises the question of national character and patriotism. Socio-historical issues are complemented 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 main character, Eugene Onegin, thereby indicating 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 romantic similar to the heroes of Byron’s works, whose character is determined by proud loneliness, disappointment, boredom, pessimism and a sense of exclusivity, contempt for people and generally accepted norms. Even then, Pushkin set himself a broader task: to create a portrait of a hero of the time. “In it I wanted to portray 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 it 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 Pushkin’s poetic “teacher” and friend Zhukovsky in his ballad “Svetlana”. But the framework of a 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 was able to do this for the first time, showing Tatyana not only as a “Russian soul” heroine, but also as an ideal woman. To do this, it was necessary to present this image in dynamics, development and comparison with others, which was made possible by the widest possible approach created by the poet 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, is the secular society of Moscow and St. Petersburg, where the character of the central hero is formed, and on the other hand, the provincial nobility, with which the image of the heroine of the novel, Tatyana Larina, is associated. The author’s attitude towards these layers of the nobility is unequal 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 still critically reproduces the general spirit (“cold”, “empty”, “deadly”) of Moscow and especially St. Petersburg high society depicted in the novel. For the sake of the concepts of “decency,” the world kills any manifestations of individuality in a person, therefore, a secular society divorced from national life is “brilliant” and “impersonal,” where everyone is occupied only with “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 are also heard, but not so harsh, and therefore there is irony here. The poet condemns serfdom, however overall rating of the provincial nobility is softened by an emphasis on their more active lifestyle (they run the household themselves), greater simplicity, naturalness and tolerance in relationships. Live in landowner's estate 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 characters. The system of images of the novel is based on the opposition City - Village (non-national - national). This is exactly how both the main and secondary and episodic characters(the Larin family, their landowner 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 clarified 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 romantics), Lensky - Author (romantic poet and realist poet), Onegin - Author (two types of representatives of the Russian cultural nobility).

"Hero of Time" is represented in the image Evgenia Onegina , 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 (Chapter I). Before us is a picture of the upbringing, education, pastime and interests of a typical rich secular young man born “on the banks of the Neva”; his ordinary day is described in detail. Outwardly rich, the life of a secular person turns out to be monotonous, revolving in a set circle. For an ordinary person, all this looks normal, but Onegin is an extraordinary person. He is characterized by “involuntary devotion to dreams, / 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”, for which Pushkin finds a clear and succinct definition:

The disease whose cause
It's time to find it long ago,
Similar to the English spleen,
In short: Russian blues
I mastered it little by little...

As Belinsky noted, “Onegin is not fit to be a genius, does not fit into great people, but the inactivity and vulgarity of life choke him; he doesn’t even know what he needs, what he wants; but he knows, and knows very well, that he does not need, that he does not want, what self-loving mediocrity is so happy with, so happy.” Onegin is trying to do something: he reads, writes, but “he was sick of persistent work.” This is no longer so much the influence of the environment as the quality of his nature. Onegin's apathy and laziness also manifest themselves when he moves to the village. Although his usual living conditions had changed, “the blues were still waiting for him on guard.”

It is no coincidence that Onegin’s illness, associated with Western European “Byronism,” strikes him, who was brought up and raised in the most European city in Russia. Onegin’s isolation from the national “soil” is both the cause of his melancholy and what underlies the very important consequences of the “disease of the century.” It turns out to be a truly serious illness that is difficult to get rid of. The very persistence 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 moves on to a thoughtful analysis of all the components of this problem. As the plot develops, it becomes obvious that the consequences of this “disease” of modern man can be extremely difficult both for himself and for the people around him.

In the village there is a meeting between a “Russian European” and a dreamy Russian girl, sincere in her impulses and capable of deep, strong feeling. This meeting could be salvation for Onegin. But one of the consequences of his illness is “premature old age of the soul.” Having appreciated Tatyana, her brave, desperate act, when she was the first to confess her love to him, Onegin cannot find it in himself mental strength to respond to a girl's feelings. In his monologue-“sermon” in the garden there is a sincere confession of the soul, and the caution of a secular person who is afraid of getting into an awkward situation, but most importantly - callousness and selfishness. It becomes like this human soul who suffered from premature old age. She was not created, as Onegin himself says, “for the bliss” of family life. This is also one of the consequences of the illness of the Russian “Byronicist”. 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 Evgeny, it is a danger of losing his priceless freedom. This reveals the difference between 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 respect everyone as zeros,
And in units - yourself.
We all look at Napoleons...

Only as a result of tragic events does change begin in the hero. Lensky's death 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 experience all this, to “travel 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 worldview changed, who finally realized himself not only as an independent person, but also as part of a huge country with rich history. Now for secular society, where he lived for eight years, Onegin has become a stranger, and he is looking for a soul mate in Tatyana, who is so different from everyone else here. Intense experiences and reflections enriched his inner world. From now on, he is able not only to coldly analyze, but also to deeply feel and love.

But the huge difference between Onegin and Tatyana does not disappear so easily; 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 find moral support in life or become an even more devastated person is unknown: the ending of the novel is open. Pushkin does not suggest clear 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 powers of this rich nature are 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 blues”, restless, searching for themselves and their place in life. Absorbing new signs of their time, they retained the main feature. At first they began to be called “strange people,” and only in mid-19th century, after the publication of Turgenev’s story “The Diary of an Extra Man” (1850), the definition of “extra man” was firmly assigned to such heroes. These people, troubled through life in search of their place and a worthy cause, were never able to find their calling and guess their destiny, and were unable to recover from 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 dissatisfaction with life and constant search. Skeptics, critics, pessimists, they are needed in life because they do not allow it to freeze and stop, but encourage us to move forward, although the lot of the “superfluous person” itself is often sad and tragic.

To others central character the novel is its main character - Tatyana Larina - the author’s “sweet ideal”, the poet’s ideas about the Russian national character are connected with her. 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 and traditions, which were “kept in a peaceful life” in the Larin family. Since childhood, she fell in love with Russian nature, which forever remained dear to her; She accepted with all her soul those fairy tales and folk legends that her nanny told her. Tatyana retained a living, blood connection with that “soil”, the folk foundation, which 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 acute feeling loneliness. But if Pushkin treats Onegin with ambivalence, then he treats Tatyana with open sympathy. Pushkin endowed his beloved heroine with a rich inner world and spiritual purity, “a rebellious imagination, a living mind and will, a wayward head, and a fiery and tender heart.”

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

But, like all noble girls of that era, Tatiana at the same time was brought up on sentimental French novels, where there was always a noble hero, capable of deep feeling. Having met Onegin, she, with all the strength of her sincere “Russian soul,” not only fell in love with him, but also believed that he was her hero, that, as in novels, a happy ending awaited them - a family union. She decided to take a very bold step - to be the first to confess her love in a letter. 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 became a wonderful example of a love letter in Russian poetry. But a terrible blow awaited the girl: the hero behaved completely differently than the novels depicted, and she recalled his “sermon” with horror even many years later - in St. Petersburg, being a brilliant society lady.

Tatiana - strong man, she manages to pull herself together and look critically at what happened. Having visited Onegin's house, Tatyana reads his books in order to understand whom she loved so much, and is not afraid to face the truth for the sake of truth, asking the question: “Is he really a parody?”

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

She wasn't in a hurry
Not cold, not talkative,
Without an insolent 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 was quiet, it was just there.”

Tatyana's moral strength is manifested in the ending of the novel. Having gone through trials and turmoil, Tatyana learned to be restrained and to appreciate the real life that did not fall to her lot. That's why, carrying through the years unrequited love to Onegin, she, having met him again in St. Petersburg, refuses happiness, which could lead to trouble for her family and seriously injure her husband. Tatyana shows not only prudence, but also responsibility. Belinsky rightly noted: “Tatiana is one of those integral poetic natures who can love only once.” She rejected Onegin not because she stopped loving him. This, as the critic said, is obedience to “the highest law - the law of one’s nature, and its nature is love and self-sacrifice.” In her refusal there is selflessness for the sake of moral purity, fidelity to duty, sincerity and certainty in relationships, which was so lacking for women in secular society. This is what allowed Pushkin to call Tatyana a “sweet ideal” and with this image open a long series of wonderful heroines of Russian literature.

Plays a major 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: it intertwines irony and sympathy, smile and sadness, ridicule and admiration. Lensky “from foggy Germany” brought not only “shoulder-length black curls” and “always enthusiastic speech,” he is “an admirer of glory and freedom,” ardent and impetuous, a poet in spirit (unlike the fundamentally unpoetic Onegin, but comparable in this quality with the Author). Onegin's disappointment and apathy are sharply contrasted by the impetuosity and enthusiasm of Lensky, who believes in the “perfection of the world.” Lensky is endowed with a romantic worldview, but not of the Byronic type, like Onegin. He is prone to dreams, faith in ideals, leading to a break with reality, which was the basis tragic ending- early death of the poet.

Desire lives in Lenskoye heroic act, but the life around him gives almost no reason for this. But imagination replaces reality for him: Evgeniy’s cruel joke, in Lensky’s eyes, turns his former friend into a “tempter,” an “insidious seducer,” and a villain. And without hesitation, Lensky throws down a challenge, 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 at the duel, but at the fact that the thirst for heroic impulse expresses itself in such an essentially naive and absurd act. But can one still be condemned for this? young hero? 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 options: the opportunity to live “for the good of the world” or, having survived youthful romanticism, to become an ordinary ordinary landowner.

With true realism, “Eugene Onegin” also presents other minor and even episodic characters, such as guests at Tatiana’s name day or regulars at social events, sometimes drawn with just one or two words. Like the novel's main characters, these are "typical heroes in typical circumstances." Among them special group constitute female images that are somehow related to the main character. In the contrast and comparison of Tatiana with her mother, sister, Moscow princess Alina and nanny, two main themes and antitheses of the novel are revealed: “national and European”, “city and countryside”.

Tatyana's story is in many ways similar to her mother's, 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:

Happened to pee blood
She is in the albums of gentle maidens.
Called Polina Praskovya
And she spoke in a sing-song voice,
She wore a very narrow corset,
And Russian N is like N French
She knew how to pronounce it through her nose.

But she was married off against her will, and she was taken to the village. “I was torn and cried at first, / I almost divorced my husband...” - but then I got used to it and, taking up housekeeping and forgetting the old habits of the capital, I became a real Russian landowner, simple, natural, maybe a little rude:

She traveled for work.
Salted mushrooms for the winter,
She kept expenses, shaved her foreheads,
I went to the bathhouse on Saturdays.
She beat the maids in anger...

During life together she became attached to her husband and, when he died, sincerely mourned him. Thus, one can notice clear similarities in the destinies of Tatyana and her mother: both had to adapt to a new, difficult life in an unfamiliar environment, and both of them, after all the difficulties, retained the best in themselves. Tatyana's mother became more natural and gained family happiness, and the 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 Countryside”. In the village, Larina became completely different thanks to caring for her family and doing housework, but her Moscow cousin Alina did not change a bit. When old friends meet, the latter almost immediately begins to talk about a mutual friend long forgotten by Larina, which indicates the invariability of the Moscow cousin’s interests, because, apparently, she never had any new activities, 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 an order of magnitude higher than the inhabitants of the capital, even such brilliant ones as “Cleopatra of the Neva” Nina Voronskaya. What can we say about Moscow girls who are only busy with

...believe in a sing-song voice
Secrets of the heart, secrets of virgins,
Others' and your own victories,
Hopes, pranks, dreams.

But even more important for the characterization of Tatyana is her opposition younger sister- Olga. Although both girls were raised 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, external circumstances alone are not enough; the special qualities of a person’s nature are also important. By comparing the two sisters in the novel, the poet emphasizes the depth of Tatyana’s character, her originality and seriousness. Olga is natural and “playful”, but in general she is too ordinary and superficial:

Always modest, always obedient,
Always cheerful like the morning,
How a poet's life is simple-minded,
How sweet is the kiss of love...

Her ordinaryness and mediocrity are emphasized by the portrait, which is contrasted with the portrait of Tatiana:

Eyes like the sky blue;
Smile, flaxen curls,
Movements, voice, light stance...

This is a standard image of a beautiful girl, which has become a literary template: “... any novel / Take and you will find correctly / Her portrait...”.

Olga favorably accepts Lensky's advances, 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 only a short time;

Another caught her attention
Another managed her suffering
To lull you to sleep with loving flattery,
Ulan knew how to captivate her
Ulan loved her with his soul...

Very important for creating the image of the national heroine Tatiana 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 the prototype of the image of the nanny was Arina Rodionovna Yakovleva, Pushkin’s 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 traits of a Russian girl. That is why for a confidential conversation about the most important and intimate things, 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 her feelings, but the nanny simply does not understand her. On the one hand, this is evidence of Tatyana’s excessive passion for 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:

...These summers
We haven't heard about love;
Otherwise I would have driven you away from the world
My deceased mother-in-law.
...My Vanya
Was younger than me, my light,
And I was thirteen years old.

As the researcher of Pushkin’s creativity Yu.M. showed. Lot-man in the comments to the novel1, Tatyana and the nanny invest fundamentally different meaning in the word “love”: for Tatyana this is a high romantic feeling, but for a simple peasant woman it is sinful love for a man.

In such relationships, juxtapositions, comparisons and antitheses, the image of a national heroine emerges. But there is another hero with whom she also correlates - this is one of the most unusual characters in the novel: its Author. His image is formed in lyrical digressions. The image of the author is a conventional carrier of the author's speech in the work on whose behalf the narration is conducted, as well as a character close to the biographical author, possessing the features of a lyrical hero or hero-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-storyteller, conducting a lively dialogue with the reader, but also as one of the main characters of the work, entering into certain relationships with them, possessing your destiny based on some biographical facts from the life of Pushkin.

Like all the 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 individuality, a man of extraordinary spiritual wealth, sharp mind and philosophical depth. At the same time, the true facts of Pushkin’s biography alternate with fictitious 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, his stay in Odessa, his lyceum years, and about Pushkin’s life in the village. But something else is more important: the reader penetrates into the inner world of this unique hero, tracing changes in the views, moods, hobbies of the Author - from the ardent dreams of youth, with its “fun dreams”, “play of passions” to the calm and balance of mature years, when the ideal of the Author becomes “mistress”, and his main desire is “peace”. It is also important that the Author is a poet. It is from him that we learn about literary life era, changes in literary trends and their features, about the genre of ode and elegy, about the hero of classicism and romanticism. The author enters into debates about language characteristic of the era, defending his own position in the dispute between the Shishkovists and Karamzinists. The Author is also associated with a peculiar idea of ​​the purpose of man, the meaning of being - 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 covers all the heroes of the novel. But in general, another important life type appears before us: a representative of the Russian intelligentsia, a European-educated, original-thinking and deeply feeling truly Russian person, closely connected with folk, national roots. And most importantly, he is a great poetic genius, the creator of the novel “Eugene Onegin.”

Artistic originality. The novel “Eugene Onegin” is a unique artistic phenomenon. You can feel the hand in everything genius master. This is not just an oealistic work, but a broad picture of life, in which there is everything: from small to great. An unusually accurate and capacious portrait of the era and its representatives, created with amazing psychological mastery, the landscape sketches are extraordinary in their beauty and expressiveness, and the richness of the language and mastery of detail evoke well-deserved admiration. As noted by the philologist M.M. Bakhtin, “this is not a silent encyclopedia of things and everyday life. Russian life speaks here with all its voices, all the languages ​​and styles of the era." That is why it is so important, when speaking about the artistic originality of Pushkin's novel, to dwell on issues of language and poetic skill.

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 pattern AbAb CCdd EffE gg (cross rhymes, adjacent rhymes, encircling rhymes and a final couplet). The semantic structure of the stanza - the thesis, its development, culmination, ending - allows you to convey the course of the movement of thought. At the same time, such a stanza, being like an independent miniature, made it possible to avoid monotony of sound and gave great scope to the author’s thoughts. The entire novel is written in Onegin's stanza, with the exception of some inserted elements: letters from Tatiana and Onegin and songs of girls.

Much attention is paid to issues of language 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 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 strives to expand the vocabulary by including colloquial, sometimes even common, vocabulary (clap, rumor, 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 take their place among the masterpieces of Pushkin’s love lyrics. “Helping” his heroes expand the boundaries of the Russian language in order to express the finest nuances feelings, Pushkin showed how the Russian language is capable of conveying any, the deepest thought, any complex feeling with all its shades, and with extraordinary poetic power. All this makes the language of the novel surprisingly capacious, diverse, and flexible, which fully corresponded to the task of creating a realistically accurate picture of the era, a true “encyclopedia of Russian life.”

The meaning of the work. The great significance of the novel “Eugene Onegin” for Russian literature 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 the description of the sundress.” “...A strange opinion has long been rooted in us, as if a Russian in a tailcoat or a Russian in a corset are no longer Russians and that the Russian spirit makes itself felt only where there is a zipun, bast shoes, fusel and sour cabbage, writes the critic. -...No, and a thousand times no!” "Eugene Onegin" is really "in highest degree original and national work“, and now no one doubts it.

Next, Belinsky talks about the significance of the novel for Russian literature and public life in general. The critic sees it as a comprehensive reflection of reality and truthfulness, which allows us to call the novel historical, “although among... the heroes there is not a single historical person.” As a great merit of Pushkin, Belinsky notes that the poet in the novel “is a representative of the first awakened social consciousness.” He compares the novel with another work by Pushkin's contemporary. “Together with Griboedov’s contemporary brilliant creation - “Woe from Wit” - Pushkin’s poetic novel laid a solid foundation for new Russian poetry, new Russian literature,” the critic asserts.

Belinsky examines the images of the main characters in detail and determines their main features. Unlike many of Pushkin’s contemporaries, the critic was able to objectively evaluate the main character 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, ordinary people.” Although Belinsky immediately calls Onegin a “suffering egoist,” a “reluctant egoist,” he does not so much reproach the hero himself for this, but rather “claims that the existence of these negative aspects Onegin's nature is largely to blame for society. Belinsky tries to understand Onegin, and not condemn him. He obviously cannot accept Onegin’s way of life, but the fact that the critic understood the very essence of Pushkin’s hero is beyond doubt. Emphasizing the extraordinary nature of Eugene Onegin, the critic concludes: “The powers of this rich nature were left without application, life without meaning, a novel 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 notes: “He was a creature accessible to everything beautiful, lofty, a pure and noble soul.” But the critic’s main attention is drawn to the image of Tatyana, to whom a separate article is devoted. Belinsky highly appreciates Pushkin’s merit in creating this image: “Almost the entire feat of the poet is that he was the first to poetically reproduce a Russian woman in the person of Tatyana.” Describing the typical girls of that time, to which Olga, Tatiana’s sister, belonged, Belinsky notes: “Tatiana is a rare, beautiful flower that accidentally grew in a crevice of a wild rock.” He carefully analyzes her every step, trying to penetrate this complex and contradictory nature. Each of Tatyana’s actions, as Belinsky notes, reveals new features in her, but everywhere she remains herself: “Tatiana seems to have been created from one whole piece without any alterations or impurities. ... Passionately in love, a simple village girl, then a society lady, Tatyana is the same in all aspects of her life.” 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 poet’s personality, so fully and vividly reflected in this poem, is everywhere so beautiful, so humane.” “Onegin can be called an encyclopedia of Russian life and a highly folk work.”

Subsequent critics assessed the significance of Pushkin’s novel differently, 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 now cannot imagine not only the history of our culture and society, but also the life of any educated person.

"Eugene Onegin" is a realistic novel that presents a broad, historical reliable picture Russian life at the beginning of the 19th century. The poet drew Various types people, characters, determined social environment and time. Before him, writers did not see the dependence of character on the social environment. Pushkin explores the process of formation of heroes, shows them not static, but in development, in a collision with the environment, in spiritual transformation. For the first time in Russian literature, the poet reveals the psychological depths of characters, depicts their inner world with realistic motivation and fidelity. Internal psychological condition Pushkin conveys the behavior of the characters through external movement.

The realism of the novel is colored by a critical attitude towards reality. This is expressed primarily in the type of conflict - a disappointed individual, unsatisfied in his social needs, is in conflict with an environment that lives according to its own inert laws. However, while realistically portraying the hero, Pushkin does not tear Onegin out of his circle. According to Herzen’s correct remark, Onegin “never takes the side of the government,” but he is also “never capable of taking the side of the people.”

Pushkin’s “Eugene Onegin” determined the trend for the further development of Russian literature in line with critical realism.

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

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

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

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

In "Eugene Onegin" real persons are constantly mentioned - poets, friends of Pushkin, ballet dancers, playwrights, fashionable hairdressers and tailors famous at that time.

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

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

With the title of the novel, Pushkin emphasizes the central place of Onegin among other characters. An aristocrat by birth and upbringing, “a child of fun and luxury,” Eugene Onegin, satiated social life, became disillusioned with the surrounding reality. A man of keen critical mind, he becomes hostile to the light. He tries to find answers to emerging questions in books, but finds neither an ideal nor a goal. Onegin's disappointment in life is not a tribute to romantic fashion, not a desire to dress up in Childe Harold's cloak. This is a natural stage of development, conditioned by belonging to the noble intelligentsia. Pushkin in Onegin reflected the dramatic situation of the advanced noble intellectual, who was in opposition to the authorities, but also far from the people, had neither a cause nor a goal in life. Onegin is an individualist, alone experiencing his disappointment with those around him. V.G. Belinsky called him a “suffering egoist.”

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

Characterizing Onegin, Herzen wrote that the hero is “a smart useless person,” he is “an extra person in the environment where he is, not possessing the necessary strength of character to break out of it.”

Complex and controversial image Onegin determined the beginning of a whole galaxy of " extra people"Russian literature.

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

They got along. Wave and stone

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

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

He sang separation and sadness,

And something, and a foggy distance.

At the same time, Lensky is a bright and pure person, whose trouble is that he does not know life and enthusiastically believes in ideals gleaned from books. His freedom-loving dreams do not find real embodiment. “A dear ignoramus at heart,” Lensky, like Onegin, did not fit into his contemporary society. He had two options: either the gift of a poet would develop in him and acquire a civic meaning, or, broken by society, Lensky would live like everyone else. The idealistic-romantic attitude towards reality was unviable. And Lensky’s death is natural. Herzen noted: “The poet saw that such a person had nothing to do in Russia, and he killed him with the hand of Onegin.”

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

Dick, sad, silent...

She seemed like a stranger in her own family.

Tatyana has a rich inner world. She is naturally gifted

With a rebellious imagination,

Alive in mind and will,

And wayward head,

And with a fiery and tender heart.

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

Tatyana is different from the girls of her circle. She does not behave typically for a girl raised in patriarchal traditions - contrary to generally accepted concepts, she is the first to confess her love. Tatyana is sincere, pure, and open in her monologue-letter to Onegin.

After Onegin’s departure, Tatyana wants to understand who he is, her hero? Reading books with his notes, immersing himself in an unknown world, reflecting on what he read prepared Tatyana, according to Belinsky, for “rebirth from a village girl into a society lady.” But even being in the world, Tatyana maintains purity and sincerity, “everything is quiet, it was just in her.” “The rags of a masquerade, all this glitter, and noise, and fumes” are alien to her. To Onegin’s confession, Tatyana sadly replies:

I love you (why lie?),

But I was given to another;

I will be faithful to him forever.

Tatyana rejects Onegin because she cannot violate her moral principles. Brought up on folk ethical rules, Tatyana cannot make her husband, whom she deeply respects, unhappy. Her moral demands on herself are high, and she considers loyalty to her husband a duty. Belinsky is unlikely to be right when he saw Tatyana’s loyalty as a profanation of love. Consistency in upholding one’s moral principles in life speaks volumes about the integrity of the heroine’s nature. The image of Tatiana embodied Pushkin's ideal of a Russian woman.

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

Any novel

Take it and you will find it, right?

Her portrait.

The insightful Onegin notes that “Olga has no life in her features.” This mediocre girl, who does not stand out among others, is incapable of strong, deep feelings. After Lensky’s death, “she did not cry for long,” she got married and will probably repeat the fate of her mother, who

Salted mushrooms for the winter,

She kept expenses, shaved her foreheads,

I went to the bathhouse on Saturdays,

She beat the maids, getting angry...

The skill of Pushkin the realist was especially clearly demonstrated in the creation of images of heroes. Reflecting the socially typical, the poet revealed the individual psychological traits of the characters and showed their inner world.

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

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

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PLAN

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

Romanticism (from the French Romantisme) is an ideological and artistic movement that arises at the end XVIII centuries in European and American culture and continues until the 40s XIX century. Reflecting disappointment in the results of the Great French Revolution, in the ideology of the Enlightenment and bourgeois progress, romanticism contrasted utilitarianism and leveling of the individual with the aspiration for boundless freedom and the “infinite”, the thirst for perfection and renewal, the pathos of the individual and civil independence.

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

Romanticism is observed in literature, fine arts, architecture, behavior, clothing and human psychology.

REASONS FOR THE ARISE OF ROMANTICISM.

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

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

THE BASIC CONFLICT OF ROMANTICISM

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

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

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

THE AGE OF ROMANTICISM

For the writers of the early 19th century, whose work took shape after the French Revolution, life presented different tasks than for their predecessors. They were to discover and artistically shape a new continent for the first time.

The thinking and feeling man of the new century had behind him a long and instructive experience of previous generations, he was endowed with a deep and complex inner world, images of the heroes of the French Revolution, the Napoleonic Wars, national liberation movements, images of the poetry of Goethe and Byron hovered before his eyes. In Russia, the Patriotic War of 1812 played the role of a most important historical milestone in the spiritual and moral development of society, profoundly changing the cultural and historical appearance of Russian society. According to its significance for national culture it can be compared with the period of the 18th century revolution in the West.

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

PUSHKIN – THE PROGRAMMER OF ROMANTICISM

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

In his Lyceum poems, Pushkin could not yet, and did not dare, make the hero of his lyrics a real person of the new generation with all his inherent internal psychological complexity. Pushkin’s poem seemed to represent the resultant of two forces: the poet’s personal experience and the conventional, “ready-made”, traditional poetic formula-scheme, according to the internal laws of which this experience was formed and developed.

However, gradually the poet frees himself from the power of the canons and in his poems we no longer see a young “philosopher”-epicurean, an inhabitant of a conventional “town,” but a man of the new century, with his rich and intense intellectual and emotional inner life.

A similar process occurs in Pushkin’s works in any genre, where conventional images of characters, already sanctified by tradition, give way to figures of living people with their complex, varied actions and psychological motives. At first it is the somewhat distracted Prisoner or Aleko. But soon they are replaced by the very real Onegin, Lensky, young Dubrovsky, German, Charsky. And finally, the most full expression a new type of personality will be the lyrical “I” of Pushkin, the poet himself, whose spiritual world represents the deepest, richest and most complex expression of burning moral and intellectual questions time.

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

The complex and contradictory soul of the “young man” of the early 19th century in “Caucasian Prisoner”, “Gypsies”, “Eugene Onegin” became for Pushkin an object of artistic and psychological observation and study in its special, specific and unique historical quality. Putting your hero every time certain conditions, depicting him in various circumstances, in new relationships with people, exploring his psychology from different sides and using it every time new system artistic “mirrors”, Pushkin in his lyrics, southern poems and “Onegin” strives with various sides to come closer to understanding his soul, and through it, further to understanding the patterns of contemporary social life reflected in this soul. historical life.

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

“EVGENY ONEGIN” – a depiction of modern reality

Having first emerged during the period of southern poems, Pushkin’s historical approach to understanding the “laws” of the soul and heart of man - past and modern - will soon receive consistent expression in “Eugene Onegin” and “Boris Godunov”. Pushkin’s comparison in “Eugene Onegin” of the social, everyday and moral-psychological appearance of two generations - Onegin with his father and uncle, Tatyana with her parents - is evidence of an exceptionally deep, subtle understanding of the dependence of human psychology on the everyday and cultural-historical atmosphere of the time . Unlike the main characters in the works of his predecessors and older contemporaries, including the heroes of Karamzin and Zhukovsky, Onegin and Tatyana are people whose entire psychological and moral appearance is permeated with reflections of intellectual and moral life from time.

As Pushkin perfectly understands, Onegin’s father and Larina’s mother, finding themselves in the position of Evgeny and Tatyana, behaved differently, since their time was characterized by other ideals and other moral ideas, and at the same time, a different system of feeling, a different rhythm of life. A young man who grew up in St. Petersburg, was raised by a French tutor and read Adam Smith, thinks differently than his narrow-minded father, brought up in the morals of the last century, who “nobly” served and wasted money. The generation whose idols were ladies' men and grandsons felt differently than the generation that read Byron, Benjamin Constant and Madame de Staël. Comparing the characters of Onegin and Tatyana with the characters of people of the previous generation, Pushkin shows how in the real process of life new, historically unique properties of the soul of people of the 19th century take shape. These properties determine the special features of all life - external and internal - younger generation, fundamentally and qualitatively different from the life of the “fathers,” fraught with new, complex moral and psychological problems unknown to previous literature.

Tatiana meets Onegin. In the genre of a sentimental story, such a meeting would be described as a meeting of two sublime hearts, in a romantic poem - two chosen, although different in their makeup, high, poetic natures, contrasted by the poet with the surrounding reality and superior to others, ordinary people according to the strength of your feelings and aspirations. We see something else in Pushkin. Both Tatyana and Onegin are presented by Pushkin not as variations of ready-made, repeating types, but as dialectically complex human characters, each of which bears the imprint of the conditions of his life, his own special spiritual experience. The dissimilar circumstances of the development of the novel's heroes also determine the nature of the psychological refraction that the image of each of them receives when reflected in the consciousness of the other.

As Pushkin shows the reader, Tatiana’s love is a psychological reflection (and expression) of her entire previous life (material and spiritual factors): Russian nature, communication with her nanny, perception of national life. And, finally, the whole coloring of Tatyana’s love feeling for Onegin would have been different if she had not passed his image through the prism of her heroes and plots romance novels, did not associate him with them.

Pushkin's portrayal of childhood and mature age Onegin and Tatyana, their attitude to nature, people, and everyday objects around them are interconnected moments of a single process of social, everyday and psychological development heroes. And the characteristics of Onegin’s father, his uncle, teachers, and a description of his lifestyle in St. Petersburg create a bright picture Russian noble life at the beginning of the 19th century. Familiarity with the upbringing and lifestyle of the main character before meeting Tatyana explains to the reader his reaction to meeting the heroine and not her letter. And the description of this reaction is a new further stage in the reader’s more in-depth acquaintance with the hero, gives new material for insight into the character and psychology of the “young man” of the 19th century.

Thus, all the individual episodes in the novel turn out to be not indifferent to each other, but internally connected with each other. Moreover, not only the environment and external factors of life help to explain and understand the inner world of the characters, but this world itself acquires enormous, exceptional significance in depicting the modern reality of that time.

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

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

CONCLUSION

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

Literature

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