What became the reason for the moral revival of Onegin. Revival of Onegin's soul

1. How did you understand the moral of the fable?

Aesop's fable convinces us of the power of flattery and how dangerous it is.

2. How was Raven’s unreasonableness expressed?

Raven's unreasonableness was expressed in the fact that he succumbed to flattery sly fox and therefore lost his prey.

3. How did the Fox affect him?

The Fox began to praise the Raven, using flattery. She understood that the Raven would want to show off and at the same time would open its beak and drop its prey.

4. How do you understand the word flattery? Prove that it is relevant in assessing what the Fox said.

Flattery is feigned approval, praise for selfish purposes. The Fox, of course, praised the virtues of the Raven for selfish purposes. Let us remember: she said that he was great and handsome, and could become the king of the birds if he had a voice. Our distant ancestors were also able to determine that these speeches were flattering. After all, Aesop created his fables back in VI-V centuries BC. It doesn’t take much thought to decide that talking about the greatness and beauty of the Raven can only be done with the aim of flattering him: the Fox named those qualities that the Raven did not have.

Glossary:

• moral of aesop's fable the raven and the fox
• Moral of the fable The Raven and the Fox Aesop
• Aesop the crow and the fox morality
• moral fable the crow and the fox aesop
• Aesop the raven and the fox morality

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For the first time in Pushkin's work he finds comprehensive solution problem of character development. In his novel "Eugene Onegin" the character of not only the main character, but also a number of other characters really develops. Pushkin was convinced that a person does not remain unchanged even when he finds himself frozen environment. In the novel there is a constant cycle of the same situations, scene after scene is eternally repeated. This state is a sign of general immobility, immutability, and rigidity. social environment.

Opens a significant chapter in poetry and in all Russian culture main character novel "Eugene Onegin". He was followed by a whole galaxy of heroes of literary works, who were later recognized as “superfluous people”: Lermontov’s Pechorin, Turgenev’s Rudin and many other, less significant characters, embodying a whole layer, an era in the socio-spiritual development of Russian society. Pushkin traced the origins of this phenomenon: in superficial education, in a disorderly and imitatively perceived European culture, in the absence of spiritual and social interests, in the way of life of the nobility filled with conventions and prejudices, in the habit of idleness and inability to systematic work. These are extraordinary individuals, rising above the average level of personality, critically perceiving reality, painfully searching for meaning life and their purpose in it, disappointed and spiritually devastated, people who do not find use for their remarkable abilities, inevitably experiencing personal drama.

Of course, any gains come at the cost of losses. You cannot acquire freedom, even such limited freedom as Onegin achieved, without paying for it in full. The hero had to sacrifice a lot: youthful spontaneity, youthful enthusiasm, former energy, fullness of strength, the enthusiasm with which he grabbed new roles. “The feelings in him cooled down early,” Pushkin noted.

But illusory freedom was not the hero’s only acquisition. Onegin began to have maturity of thought, insight, and sobriety in assessing his own behavior. He learned to follow moral dictates. To a certain extent, Onegin liberated himself from the oppression of secular customs and opinions, isolated himself from the polished and immoral crowd of nobles. He gained confidence in his own rightness, at least about the world. From all this we can conclude that he rose above the noble society - both metropolitan and provincial. And he rose, first of all, to spiritually, because he realized his ideological, cultural and moral wretchedness.

Thus, the character of Onegin in the novel appeared in development. And the main way of depicting this process of development turned out to be not the author’s story, but the showing of the roles played by Onegin.

Most of them are in the past, in the background, before the plot action begins. But without such a backstory, it was hardly possible to show the most important thing in character development - its direction. When this direction of Onegin's development had already become clear, then the hero of the novel received that visible independence from the author that surprised Pushkin. Onegin never went to the Decembrists, but Tatyana did and got married; moreover, she has become fundamentally faithful wife in this wrong light, she refused the man she loved and continues to love.

According to Pushkin, the heroes of modern European novels about a disappointed young man- "immoral soul." This assessment is not completely applicable to Onegin. It cannot be said about him that he is a person with an immoral soul. In the history of the relationship between Onegin and Tatyana, Pushkin showed the “direct nobility” of the hero to the soul. Onegin’s murder of Lensky in a duel also cannot be unconditionally called immoral, because according to the concepts of that time, a duel was legalized in noble society way to protect honor. For him, accepting a duel or refusing was not a trifle, but the main question, because the question was whether he would remain in noble society, whether he would still “belong” in this environment or would be subject to excommunication. It cannot be said about Onegin that he is a hopeless egoist. Deep down, he is no stranger to goodwill and responsiveness to people.

The main character of the novel is a complex and deeply contradictory personality. This is especially noticeable when the reader turns to those stanzas in which it is said that Tatyana, trying to better understand Onegin, studies his notes in the margins of her favorite books. Tatyana ponders what Onegin is. She felt his strangeness, caught the complex interweaving of contradictory properties in the character of the hero (Onegin - “the creation of hell or heaven?”) She is trying to decide what is more in him: good or evil?

Onegin, who began to overcome his egoistic approach to people under the influence of life experiences (duel, travel), is excited by the meeting with Tatyana. In his belated feeling, the lonely and suffering hero hopes for a rebirth to life. He's really transformed.

Despite the irony of the author’s assessment of the hero’s shallow level of education, as well as the world’s ideas about this level: “What do you need more? The world decided that he is smart and very nice,” Pushkin pays tribute to his fairly high intellectual level, the range of his interests. Onegin's lifestyle is typical of the young metropolitan aristocracy: balls, restaurants, theaters, walks along Nevsky, love adventures- a complete set of pleasures that make up the philistine idea of ​​a happy, carefree life.

Evgeniy was sufficiently self-critical and demanding of himself not to recognize the artificiality and pretense of his behavior.

How early could he be a hypocrite?

harbor hope, be jealous,

to dissuade, to make one believe,

seem gloomy, languish...

Onegin could not put up with a stultifying way of life.

Wake up at noon, and again

until the morning his life is ready,

monotonous and colorful.

No; early his feelings cooled down;

He was tired of the noise of the world;

The beauties didn't last long

The subject of his usual thoughts;

The betrayals have become tiresome;

I'm tired of friends and friendship...

Such a life and indifference to everything did not give him satisfaction. Onegin seeks his happiness and salvation in love:

No, I see you every minute

Follow you everywhere

A smile of the mouth, a movement of the eyes

To catch with loving eyes,

Listen to you for a long time, understand

Your soul is all your perfection,

To freeze in agony before you,

To turn pale and fade away... that's bliss!

Onegin's condescension and generosity, directness and honesty coexist at the same time with indecisiveness and even cruelty. “The science of tender passion, which Nazon sang... in which he was a true genius,” he nobly accepts, but from true love requiring enormous effort mental strength, fearfully renounces.

Lensky's death in a duel, provoked by Onegin's selfish desire to annoy his friend, threw the veil off another of Eugene's weaknesses - the tenacity of secular conventions and false ideas about noble honor. Conventions that he so deeply despised and from which he fled from St. Petersburg. Onegin by at will abandoned the feeling that could brighten his life - love, and now he has lost his only, sincere and trusting friend. The two people closest and dearest to him were rejected by him because of their invincible spiritual coldness and inability to step over the insignificant and secondary in the name of the lofty.

Tatyana's confession during last meeting: “I love you (why lie?).” “In a moment that is evil for him,” the author leaves Onegin. And this ending is not accidental. The author expresses confidence that from specific social historical conditions Not only the further evolution of the Onegins will depend, but also the nature of this evolution.

The story of Onegin is the story of death and rebirth of the soul. Pushkin stops the novel at the point when the hero began to recover from his illness - from disappointment, from rationality, from skepticism, when he began to live with feeling, when his soul awakened and tragedy opened before him own life. It could be fully felt and understood only by the awakened Onegin, who only from a height could realize new spiritual quests, could realize the bitterness of losses and the depth of his misfortune. The end of the story, of course, on the one hand, is tragic, because it draws a line under an entire period of one’s life, ending in collapse; but on the other hand, the ending of the novel is not hopeless for the hero - spiritual rebirth opens up for him a new life perspective, which cannot turn out to be joyless and hopeless. (I don’t know if it’s necessary or not, but I’ll write it) ????. In an “angry moment”; for him lies a significant portion of his life, but not his entire destiny.

Glossary:

• the fall and rebirth of Onegin
• An essay on the topic of the story of Onegin is the story of the revival of a hero
• The story of Onegin is the story of the hero's rebirth essay
• The story of Onegin is the story of the revival of a hero
• the fall and revival of Onegin essay

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“Extra” people in literature: Aleko, Chatsky. What makes them similar or at least unites them? Inability to love people! Not a given, specific woman, but namely people as representatives of the human race. Both of them are reasoners and accusers, both live contrary to the gospel wisdom: “Judge not, lest ye be judged.” Both travel around the world, hoping to find a “corner” for an “offended heart,” and both cannot find such a corner, because everywhere they feel bad, because, as Chatsky is firmly convinced, it is better where “where we are not.” Lack of love is what tears them away from the world, pushes them out of it, makes them “superfluous people.”

II. The Fall and Rebirth of Onegin.

1. Onegin’s escheat day in the first chapter of the novel:
A) “It used to be that he was still in bed: / They carried notes to him. / What? Invitations? In fact, / Three houses are calling for the evening...” But “still in bed” in the social whirlwind is not morning, and “for the evening” does not mean evening. “Morning turns at midnight... He will wake up at noon...” - this is the cyclical nature of secular time.
In such a cyclicity, the lunch hour familiar to a person coincides with the “dinner”, which will ring the hero’s “waking breget.” Moreover, “lunch” is not just food designed to satisfy the natural feeling of hunger. Defined by Breguet, it is a ritual that ends with the beginning of a new ritual, regardless of whether the person is satisfied. “One more glass of thirst breaks / Pour the hot fat over the cutlets, / But the ringing of the Breguet informs them, / That a new ballet has begun.” The omnipotent Breget, in the cyclicity he established, rules over the hero;

B) sharp contrast between Onegin’s day and the rest of the world:
“The merchant gets up, the peddler goes, / A cabman pulls to the stock exchange...”, etc. (stanza XXXV, where there is also the following line: “A pleasant noise woke up in the morning”), and Onegin, who at this very time is “half asleep / In on his way home from the ball...";
C) by contrast, the second chapter shows Tatyana’s awakening. “She loved on the balcony / To warn the dawn of the sunrise...”, i.e., she wakes up with living nature and only by this alone is she opposed to the mechanical routine social life, her arrogant superhumanity, which, like corrosion, eats away at the human soul.

2. Onegin’s disappointment:
A) in women - in “weirdos of the big world”;
B) “We managed to get tired of the betrayals; / I’m tired of friends and friendship”;
C) “...he finally stopped loving / And the abuse, and the saber, and the lead”;
D) “...the feelings in him cooled down early; / He was bored with the noise of the world...” - “... the Russian blues” / Little by little it took possession of him; / He didn’t want to shoot himself, thank God, / But he completely lost interest in life.”

3. “Does he know the human soul?” (Dostoevsky about Onegin). What does Onegin know about people? He knows that they:
A) vulgarities;

B) petty;
B) envious;
D) selfish;
D) changeable in love;
E) fickle in friendship;
G) “Whoever lived and thought cannot / In his soul not despise people” - this is the result of such knowledge.

H) He does not despise everyone: “He distinguished others very much / And respected others’ feelings.” But it is precisely this “other” and this “alien” that testify to his characteristic selectivity, which only allows that there are people no worse than him, equal to him.
I) Having become disillusioned with the bustle of society, he, so to speak, rose above it with his mind, and with his mind he comprehended its inequality to him. But, having refined his mind, she also devastated his soul, which collectively led to a “sense of superiority,” the true content of which is revealed, following its epigraph, by Pushkin’s novel.

4. “...Who within himself is much simpler, better and kinder than his ideals, who is endowed with the critical ability of a healthy Russian sense, that is, an innate, and not an acquired critical ability, who is a critic because he is gifted, and not because he is embittered, although he himself and wants to look for the reasons for his critical mood in embitterment, and to whom the same critical ability can, just look at it, show the way...” (Apollo Grigoriev about Onegin):
A) Onegin’s forced duel (forced because he did not have the spirit and courage to refuse it: “But a whisper, the laughter of fools”);
B) Onegin’s unintentional murder of Lensky: “The unfortunate Lensky fell victim...” - Onegin recalls this in a letter to Tatyana;
C) Onegin’s hasty departure from the village after the murder of Lensky;

D) Onegin’s wanderings, which we learn about only at the very end of the novel, in “Excerpts from Onegin’s Journey”, we learn that they were more like a disorderly flight (remember Aleko and Chatsky, who are running away from themselves, but cannot escape) : yes, if in Nizhny Novgorod Onegin managed to feel the “mercantile spirit” of the Makaryevskaya fair, if in the Caucasus, at the sight of the sick, he complains: “I am young, the life in me is strong; / What should I expect? melancholy, melancholy!..”, then he skips over Astrakhan as if somnambulistically: reporting that the hero is going to it, the author does not deign this city with a single line. “And he was tired of traveling, / Like everything else in the world,” the author says about this in the eighth chapter of the novel, where Onegin meets the married Tatyana and where his spiritual revival begins...

D) Onegin’s spiritual revival is directly related to his meeting with Tatyana, and this is not surprising: Tatyana’s marriage, which led to the heroine’s high position in the world, forced, of course, the world to respectfully bow before her. But her true triumph over him is that “the color of the capital” seems to have his tail between his legs, hanging out in front of Tatyana, wherever she appears to him - in her house or on her trips.
“The ladies moved closer to her; / The old women smiled at her; / The men bowed lower, / Catching the gaze of her eyes; / The girls walked more quietly / In front of her through the hall...” - this is how Tatyana spiritually influences people, forcing them to become better than they are! Of course, the same spiritual influence Onegin was also subjected to this.
5. “Pushkin would have done even better if he had named his poem after Tatyana, and not Onegin, because undoubtedly she main character poems" (Dostoevsky). But by calling the novel after Onegin, Pushkin did not diminish the figure of Tatyana. The hero and heroine - Onegin and Tatyana - mean a lot in each other's lives. And yet, if Onegin is destined to awaken her soul to love, how to test the soul of Tatya, who is in love with him
If we strive for moral stability, to give her soul the opportunity to show its heroic power, then Tatyana has something incomparably greater to do in relation to him: it fell to her to prove to Onegin that his soul was not killed by the blues, but, as it were, lulled to sleep by it. In other words: it is not so much Onegin who exists in the novel for the sake of Tatyana, but Tatyana for the sake of Onegin. Therefore, he, and not she, is the hero in whose name the story is started.

“Hey, look: the blues are worse than cholera, one kills only the body, the other kills the soul,” Pushkin wrote this in 1831 to Pletnev, after finishing the novel, where he pointed out the only remedy that can save a person from the most dangerous mental illness , - for love!
III. Starting the topic of the so-called “superfluous” person, Pushkin, unlike Griboyedov and many who followed him (for example, Lermontov, Herzen), did not limit himself to one statement of skepticism and human powerlessness. Because he foresaw the possibility of spiritual rebirth of the human soul wandering in the darkness.

• Metamorphoseon), или В«Р-Р.
• Find the lines in the first part that talk about his hectic bachelor life - balls, receptions, parties, cards, etc. He left everyone for the village. He lives alone, reads books, walks, thinks about his life.

MY SITE APHORISMS. RU - LITERARY SITE OF GENNADY VOLOVOVY. It contains best authors modern Russian literature, aphorisms, anecdotes. PUSHKIN - THE MYSTERY OF THE NOVEL (CRITICISM) - GENNADY VOLOVOY “The new truth inevitably looks crazy, and the degree of this madness is proportional to its greatness.

It would be idiocy to constantly recall the biographies of Copernicus, Galileo and Pasteur and at the same time forget that the next innovative scientist will look as hopelessly wrong and crazy as they looked in their time" (Hans Selye - Nobel Prize laureate) My website on the Internet: www. Gennady Volovoy ( Best Prose in RuNet, aphorisms of a bitch, a sucker, aphorisms of love) In Russia, the most popular poet is still Pushkin.

The Fall and Revival of Onegin Essay According to Plan

There is an opinion that Onegin’s movement is not a gradual impoverishment of the hero’s soul, not a decline in personality. In his belated feeling, the lonely and suffering hero hopes for a rebirth to life. The Fall and Rebirth of Onegin. The story of Onegin is the story of death and rebirth of the soul. Pushkin stops the novel at the point when the hero began to recover from. What makes them similar or at least unites them? Inability to love people! Not a given, specific woman, but namely people as representatives of the human race. Searched on this page.

His significance is so great that all his creations are declared to be the most outstanding works in Russian literature. Each new generation of writers and critics considers it their duty to declare Pushkin a bearer of the highest morality and an example of unattainable literary form. The poet, as a guiding star, accompanies them along the thorny paths of creativity; young men making their first “steps” and old men, gray-haired and tired of honorary titles, live through his prayers. For the rest of the people, Pushkin is imprinted in three things that are studied at school - “The Tale of the Fisherman and the Fish”, “I erected a monument to myself not made by hands” and “Eugene Onegin”. About the fact that the first thing is a talented interpretation folk tale they prefer not to remember, completely giving the authorship to the poet. The second is that the idea of ​​a miraculous monument belongs not to Pushkin but to Horace, who literally said: “I erected a monument more durable than bronze.”

Pushkin modestly developed this idea in relation to one’s own personality and the importance of oneself in present and future Russia. No, we are not disputing Pushkin’s authorship here. We only note that it was very difficult for Pushkin to create his own work without a guiding idea. We had to change both the plot and composition. The novel “Eugene Onegin” stands at the pinnacle of the poet’s work. And, of course, it is an innovative work, unsurpassed in courage creative idea. No one has yet succeeded in creating a novel in the form of poetry.

No one managed to repeat Pushkin's ease of writing and breadth of material covered. However, despite the fact that Pushkin acted as a brilliant poet, in this work the compositional and dramatic development There is weak sides. And this is the unfortunate mistake that Pushkin made.

What, in our opinion, is the secret of the novel “Eugene Onegin”? Is there a secret plan of the poet, similar to the one we considered in Lermontov and Turgenev? No, the poet did not set such a task, and there is no plot hidden in the subtext, just as there are no secret actions of the heroes that have eluded the reader.

What is the purpose of this study? Before answering this question, let us remember how many chapters the novel consists of. Of course, it consists of nine chapters and a tenth unfinished. Final chapter one god at a time known reasons Burned by Pushkin.

There are assumptions about the political reasons that forced the poet to do this. We will return to this later and try to answer this question, the main thing is that the end of the novel was intended by Pushkin in the next tenth chapter, and not the ninth. The tenth chapter is considered as a kind of annex to the main action of the novel, which ends with Tatyana’s rebuke in the ninth chapter: “But I was given to another and I will be faithful to him forever,” the hymn of abandoned women reproaching their ex-lovers. The mystery of the novel “Eugene Onegin,” in our opinion, lies precisely in this unfinished ending. Why did Pushkin complete his work in this way? Why did the plot end at the most dramatic action? Is it possible to end this way? works of art? It is traditionally believed that such an ending to the novel is the height of perfection of Pushkin’s genius.

It is assumed that Onegin had to crash against the marble-ice block of Tatyana’s duty and honor, which gave the final answer about the impossibility of their relationship. With all this, the novel is exhausted, the action is completed, the dramatic denouement has arrived.

However, we are not afraid to say that Pushkin cleverly deceived the audience with such an ending, in other words, he fooled. He hid the true ending of the novel, because its continuation was not profitable for him and could spoil his reputation. He did not complete the novel, although the ending may have been written in the burned tenth chapter; in any case, the poet did not want to present it to the public. Before today no one ever understood what trick Pushkin took and why he did it. We will try to unravel the mystery of the novel “Eugene Onegin”. What arguments can we give in favor of the ending of the novel hidden by Pushkin? Firstly, Pushkin stopped the action at the most exciting moment.

He understands very well that the question may arise, why? If the villain’s hand is raised above the victim, it should come down and the last cry of the unfortunate person should reach the viewer, listener or reader. If only Homer had ended the travels of his Odysseus at the moment when he arrived in Ithaca and learned that a crowd of suitors were besieging his wife. What would readers ask next?

And he would have answered like Pushkin - blessed is the husband, having learned that numerous applicants are wooing his wife, and therefore the time has come to stop the story and leave Odysseus. Life is compared to a novel that you haven't finished reading. This is a direct projection onto the unfinished novel itself, Pushkin justifies himself, tries to find an argument for such a denouement.

He interrupts the reader’s perplexed question in advance and imposes his view. Secondly, the existence of the tenth chapter. Pushkin wrote that he managed to part with Onegin. What made him change plans and return to his hero again?

This is nonsense for literary work, when the author says that this is the end and soon returns to his work. Probably Pushkin understood that his novel had no ending, no conclusion. As a brilliant poet, he realized his mistake and decided to correct it, but ultimately refused. We will outline our assumptions as to why this happened a little later. Thirdly, did Pushkin want to present Tatyana in a different light, to tear her away from the existing stereotype?

If we were to show the final outcome, then this would have to be done. Tatyana, no matter how she led, would have remained faithful to duty and honor, or would she have accepted Onegin’s love, would have lost her former attractiveness in the eyes of society. In the first case, Onegin would appear as an annoying loser lover, and Tatyana as a ruthless guardian of secular principles. And in the second case she acted as a traitor to the family hearth, a traitor to her husband and stupid woman, who abandoned her rich husband and position in society for the sake of her lover. Now let us briefly trace the events preceding the last conversation of the heroes in order to understand the logic of the further behavior of the heroes after the author left them. With Tatiana's letter to Onegin, the active relationship between the characters begins.

The letter crosses the line accepted in society and testifies to the girl’s desire to meet her beloved. She endows Onegin with the traits of an ideal man. “My whole life was a guarantee. The faithful's meeting with you; I know you were sent to me by God, Until the grave you are my keeper...” A sincere impulse of feeling, frank confession made Tatyana a completely new heroine, like never before. She is devoid of natural feminine cunning; she speaks directly about her feelings and wants to find understanding in this. Pushkin here confronts Onegin with difficult circumstances.

He must understand this young girl, he must appreciate her impulse, and if he has grown to a true understanding of love, then he will accept it. However, this does not happen. Onegin rejects the girl's love. You can justify the hero, who, by the way, is only being condemned for this.

In fact, he was not in love with Tatyana, for him she was one of the many young ladies from the district, and he, spoiled by secular beauties, did not expect to meet his chosen one in the wilderness. And Tatyana’s reproach for this later is also unfair. He is not in love and therefore he is right. You can’t blame the hero for not responding even to the sparked feeling, you have to respond in kind, but he doesn’t have that. The point is different. He didn't have the maturity that came much later. He didn't give of great importance feelings and union of two people in love.

For him it was an empty phrase. Only later, after experiencing the tragedy with Lensky, after his wanderings, does he realize that he needs precisely this girl, precisely this recognition, which now acquires special value for him. Onegin's mistake lies in his immaturity. If he had a new acquired experience, then, of course, he would not automatically fall in love with Tatyana, but he would not have rejected her either, he would have allowed his feeling to develop, he would have waited for that cherished hour when his feelings would flare up. When he realized it was already too late. She could not be available as before. Pushkin brilliantly developed the situation here.

He showed how the hero gains painful experience true love. Now Onegin is really in love. He is madly in love. And the point is not at all in how the hero is reproached, in Tatiana’s inaccessibility, but in the fact that he understood the value of love in a person’s life. After spending stormy youth, disappointed in everything and everyone. He found life in love. This is the highest comprehension of character made by Pushkin.

And what a pity that Pushkin’s genius was not able to withstand and bring this character to the end. “Lonely and superfluous in his environment, he now felt the need for another person more and more acutely. The loneliness cultivated by romanticism and the enjoyment of his suffering weighed heavily on him after the trip. Thus he was reborn to love” (1). Of course, it is very important to analyze what caused Onegin’s love.

Blagoy and some researchers believe that Onegin’s love is connected with the fact that Tatiana is unavailable: “In order to fall in love with Tatiana, Onegin needed to meet her “not as this timid, in love, poor and simple girl, but as an indifferent princess, but as an unapproachable goddess, luxurious, gift-giving.” Not you".

The spiritual evolution of Onegin (based on the novel by A.S. His Onegin, like a number of other heroes of the novel "Eugene Onegin", is really developing. Pushkin proceeded from the conviction that a person cannot remain unchanged, even if the environment is frozen. Light in his novel is motionless: there is a constant cycle of the same situations in it.

This state is a sign of general immobility, immutability, and rigidity of the social environment. Then he spontaneously becomes indignant, separates himself from the world, and opposes himself to everyone.

And, finally, it turns out to be superfluous, falls out of the system of relationships in secular society. He is only vaguely aware that he is gradually leaving the power of the world, that to some extent it is becoming more free for him to live, although it is more boring. There is an opinion that Onegin’s movement is not a gradual impoverishment of the hero’s soul, not a decline in personality. He experiences a feeling of emptiness caused by a secular idle life. Repulsion from it should hardly be assessed as regression, as a fall. On the contrary, all this complex, contradictory movement of Onegin towards freedom from the power of light should be considered not just as a complication, but also as an enrichment of the personality, as an expression spiritual growth person. Becoming extra person, he rises above the level of a certain part of noble society.

You cannot acquire freedom, even such limited freedom as Onegin achieved, without paying for it in full. The hero had to sacrifice a lot: youthful spontaneity, youthful enthusiasm, former energy, fullness of strength, the enthusiasm with which he grabbed new roles. Onegin began to have maturity of thought, insight, and sobriety in assessing his own behavior. He learned to follow moral dictates. To a certain extent, Onegin liberated himself from the oppression of secular customs and opinions, isolated himself from the polished and immoral crowd of nobles. He gained confidence in his own rightness, at least about the world.

From all this we can conclude that the hero rose above the noble society, both metropolitan and provincial. And he rose, first of all, spiritually, because he realized his ideological, cultural and moral wretchedness. And the main way of depicting this process of development turned out to be not the author’s story, but the showing of the roles played by Onegin. But without such a backstory, it was hardly possible to show the most important thing in character development - its direction.

When this direction of Onegin's development had already become clear, then the hero of the novel received that visible independence from the author that surprised Pushkin. Onegin never went to the Decembrists, but Tatyana did and got married; Moreover, she became a fundamentally faithful wife in this wrong light and refused the man she loved and continues to love. This assessment is not completely applicable to Onegin. It cannot be said about him that he is a person with an immoral soul. In the history of the relationship between Onegin and Tatyana, Pushkin showed the “direct nobility” of the hero to the soul. Onegin’s murder of Lensky in a duel also cannot be unconditionally called immoral, because according to the concepts of that time, a duel was a legalized way of defending honor in noble society. For the hero, accepting a duel or refusing was not a trifle, but the main question, because the question was whether he would remain in noble society, whether he would be the same.

Deep down, he is no stranger to goodwill and responsiveness to people. This is especially noticeable when the reader turns to those stanzas that tell how Tatyana, trying to better understand Onegin, studies his notes in the margins of her favorite books. Tatyana ponders what Onegin is like. She felt his strangeness, caught the complex interweaving of contradictory properties in the character of the hero (Onegin -? In his belated feeling, the lonely and suffering hero hopes for a rebirth to life. He is truly transformed.

Only the changed Onegin could fall in love with a girl, and his letter is the most vivid evidence of the changes that have taken place in him. From everything that is dear to my heart, Then I tore my heart away; Strange to everyone, not bound by anything, I thought: freedom and peace are a substitute for happiness. Onegin sees his happiness and salvation in love: No, to see you every minute, to follow you everywhere, to catch the smile of your lips, the movement of your eyes with loving eyes, to listen to you for a long time, to understand with your soul all your perfection, to freeze before you in agony, to turn pale and fade away... Condemning himself, Onegin does not try to justify himself: . I didn’t want to lose my hateful freedom... Onegin was left by the author.

This ending of the novel is not accidental. It expresses the author’s confidence that the further evolution of the Onegins and the nature of this evolution will depend on specific socio-historical conditions. Register or log in and find out how many people from your school have already copied this essay.