The image of the author from Onegin, chapter one. – The spiritual world, the world of thoughts, experiences
In the poem "Eugene Onegin" Pushkin acts as a narrator of events, expresses his own attitude towards the characters and events. But at the same time, he is one of the heroes of the novel.
I finished the first chapter;
I reviewed all of this strictly:
There are a lot of contradictions
But I don’t want to fix them.
The poem has 27 lyrical digressions. In them the poet speaks on his own behalf, sometimes about himself. Lyrical digressions help express the passage of time and partially reveal to us the image of the author of the novel.
In the poem, Pushkin says several times that he wants to move from poetry to prose.
Even though I'm heartfelt
I love my hero
At least I'll come back to him, of course,
But now I have no time for him.
Summer is inclined towards harsh prose,
Summer is chasing the naughty rhyme,
And I - with a sigh I admit -
I drag after her more lazily.
In Pushkin he mentions that he is already 30 years old, realizes that the time of youth has passed, and he, the author, is setting out on a new path in life. Readers, of course, know that Pushkin had grandiose plans to create epic works.
IN last chapter the poet tells a little about himself, remembers where he began to write his creations and where
Old man Derzhavin noticed us,
And going into the grave, he blessed.
Here he recalls his southern exile, his trip to the Caucasus and Moldova. Talking about his heroes, Pushkin shows himself to be either friendly, ironic, sad, or passionate. He speaks lovingly about his heroes, teaches them to love motherland, nature, people.
By Muse, the poet means his creative inspiration, and says that he is bringing her to a social event for the first time. He praises nature amazingly. In “Eugene Onegin” alone, all 4 seasons of the year are glorified; he writes with warmth about the village, about Russian fields, remembers theatrical productions and actresses who shone on stage, Pushkin brings the reader to a social event for the first time.
"Onegin, my good friend." The author repeatedly throughout the novel speaks of personal acquaintance with. For example, in the poem there is a phrase that Pushkin and his friends tried to introduce Onegin to the laws of poetry, but to no avail. He often communicated with his hero.
First Onegin's language
I was embarrassed; but I'm used to it
To his caustic argument,
And as a joke, with bile in half,
And the anger of gloomy epigrams.
Onegin has a lot in common with the author. Pushkin, like Onegin, loved secular entertainment; they had a similar noble upbringing. True, Pushkin received his education at the Lyceum, and Onegin’s upbringing was limited to home education. But still this different people. Onegin was mentally lazy, skeptical and indifferent. Pushkin had a passionate nature, wanted to be useful to society, and worked a lot in the literary field.
In one of the digressions, Pushkin reports that he also lived in St. Petersburg:
I once walked there too:
But the north is bad for me.
In the lyrical digression “My Goddesses, what are you, where are you,” Pushkin talks about his attitude to the ballet and theater of his time. He admits that he loved St. Petersburg balls. Pleasant memories of the cute legs that the poet once loved are found not only in Eugene Onegin. But here the poet does not name the one who once captured his imagination.
The author is also close to Tatyana. He admits that he loves his heroine. He sympathizes with the girl, respects her feelings, justifies her actions, translates her letter into Russian for the reader, and admits that he sacredly cherishes her letter. How did it come into his hands? After all, it was written to Onegin. Pushkin does not report this. But he says that he sacredly protects it.
Pushkin seems to evaluate the actions of his hero from the outside.
You will agree, my reader,
What a very nice thing to do
Our friend is with sad Tanya;
Not for the first time he showed here
The soul is pure nobility.
Thus, the reader feels the presence of the author throughout the entire novel “Eugene Onegin”.
Municipal general education high school №7.
Monchegorsk
Abstract page 3
Introduction page 4
1. History of creation page 5
Onegin - my good friend page 7
2.1. Lyrical digressions about creativity, about love in life
poet page 7
2.2. Lyrical digressions about training and education p. 8
2.3. Love for homeland, nature p. 9
2.4. Lyrical digressions about theatre, ballet, drama and creativity p.10
2.5. Lyrical digressions inspired by spring;
farewell to youth p.11
2.6. Final lyrical digressions: farewell to readers,
with the characters of the novel p.12
3. Spiritual world, world of thoughts, experiences p.14
3.1. Characteristics of the novel p.14
3.2. Characteristics of Byron and the Western European novel p.15
Conclusion p.15
References p.16
ANNOTATION.
Tasks:
1. study literature on this topic;
2. collect material that reveals the author’s views on the era, culture, language, etc. being described.
Motivation:
the appeal to the topic “The image of the author in Pushkin’s novel “Eugene Onegin” is due to the fact that Pushkin is always modern; his works provide answers to many questions. Pushkin is National treasure. Not knowing Pushkin means not knowing your language, your culture, your homeland.
INTRODUCTION.
Pushkin Alexander Sergeevich (1799-1837), Russian poet, founder of new Russian literature, creator of modern Russian literary language. In youthful poems - a poet of the lyceum brotherhood, “a fan of friendly freedom, fun, grace and intelligence” in early poems - a singer of bright and free passions: “Ruslan and Lyudmila” (1820), romantic “southern” poems “Prisoner of the Caucasus” (1820- 1821), " Bakhchisarai fountain"(1823) and others. The freedom-loving and anti-tyrannical motives of early lyrics, the independence of personal behavior were the reason for the exiles: southern (1820-1824, Ekaterinoslav, Caucasus, Crimea, Chisinau, Odessa) and in the village of Mikhailovskoye (1824-1826). The lightness, grace and accuracy of verse, the relief and strength of characters, “enlightened humanism”, the universality of poetic thinking and the very personality of Pushkin predetermined his paramount importance in Russian literature: Pushkin raised it to the world level. The novel in verse “Eugene Onegin” (1823-1831) recreates the lifestyle and spiritual composition of the “typical” hero, overcoming Byronism and the evolution of the author close to him, the way of life of the capital and provincial nobility; In the novel and in many other works, Pushkin addresses the problems of individualism and the boundaries of freedom, posed in “The Gypsies” (1824). He was the first to identify many of the leading problems of Russian literature of the 19th century.
Each of us has our own Pushkin. For some, Pushkin is a storyteller, for others, Pushkin is a lyricist, a prose writer, but for me he is the creator of the immortal “Eugene Onegin.”
HISTORY OF CREATION.
“Onegin is Pushkin’s most significant creation, which absorbed half of his life,” said Herzen about the novel in his article “On the Development of revolutionary ideas in Russia". And he is certainly right.
The beginning of writing the novel occurs in southern exile in Chisinau and dates back to May 9, 1823, but in reality the work on the novel covers earlier dates. A novel in verse, designed for many years of writing, a free and not afraid of contradictions story not only about modern heroes, but also the spiritual and intellectual evolution of the author. The sketches of the unfinished elegy of Tauris date back to 1822, some verses of which were included in the novel. And even earlier, in 1820, the poem “Ruslan and Lyudmila” was written, which was Pushkin’s first great experience in writing epic works. Here Pushkin reached almost all the heights and possibilities of free poetic form. The end of work on “Ruslan and Lyudmila” coincided with the emperor’s sharp dissatisfaction with Pushkin’s behavior and outrageous poems: they were talking about Siberia or repentance in Solovetsky Monastery, but at the request of friends and patrons, Pushkin was sent into southern exile.
Having met the new boss in Yekaterinoslavl and, with his permission, traveling through the Caucasus and Crimea, Pushkin arrived in Chisinau (September 1820). News of European revolutions and the Greek uprising, Bessarabian “mixture of clothes and faces, tribes, dialects, states,” contacts with members secret societies, contributed to the growth of political radicalism (statements recorded by contemporaries; before his expulsion, Pushkin promised Karamzin not to write “against the government” for two years and kept his word). Having filled the vacancy of the “first romantic poet,” Pushkin in the Kishinev-Odessa period (from July 1823 he served under the Novorossiysk Governor-General Count M. S. Vorontsov) was far from subordinating to Byron’s aesthetics. He works in different genre and stylistic traditions. Personal difficulties, conflicts with Vorontsov, gloomy European political prospects (the defeat of revolutions) and reaction in Russia led Pushkin to the crisis of 1823-24. At the end of July 1824, the displeasure of Vorontsov and the government, which learned from a letter about Pushkin’s interest in atheism, led to his exclusion from service and exile to his parental estate Mikhailovskoye in the Pskov province.
In the autumn of 1824 there was a serious quarrel with his father, who was entrusted with supervising the poet. Pushkin receives spiritual support from the owner of the neighboring estate Trigorskoye P.A. Osipova, her family and her nanny Arina Rodionovna Yakovleva. In Mikhailovsky, Pushkin works intensively: farewell to romanticism occurs in the poems “To the Sea” and “Conversation of a Bookseller with a Poet”, the poem “Gypsies” (all 1824); The 3rd chapter was completed, the 4th was composed and the 5th chapter of “Eugene Onegin” was begun. Skepticism in assessing modernity, refusal to politicize poetry and self-will in politics (correspondence with K. F. Ryleev and A. A. Bestuzhev) allowed Pushkin to endure exile and helped him survive the December catastrophe.
In 1830 Pushkin, who has long dreamed of marriage and “his own home,” seeks the hand of N.N. Goncharova, a young Moscow beauty without a dowry. Having set out to take possession of the estate donated by his father for his wedding, he found himself imprisoned for three months in the village of Boldino due to cholera quarantines ( Nizhny Novgorod province). “Boldino Autumn” opened with the poems “Demons” and “Elegy” - the horror of being lost and hope for a future that is difficult, but giving the joys of creativity and love. Three months were devoted to summing up the results of youth (Pushkin considered it to be his thirtieth birthday) and searching for new paths. Here “Eugene Onegin” was completed. The genre of “Eugene Onegin” is lyric-epic. Consequently, it is built on the inextricable interaction of two plots: epic (the main characters Onegin and Tatyana) and lyrical (where main character- narrator). Onegin is a typical figure for noble youth of the 20s of the 19th century. Also in " Caucasian prisoner"A.S. Pushkin set as his task to show in the hero "that premature old age of the soul, which became the main feature younger generation" The problems of purpose and meaning in life are key, central in the novel, because in turning points history, such as the era of the December uprising became for Russia, a reassessment of values is taking place in people’s minds. And at such a time, the poet’s highest moral duty is to point out to society Eternal values, give strong moral guidelines. The novel in verse absorbed Pushkin’s rich poetic experience, his poetic discoveries and achievements - and naturally, it became one of the most perfect in artistically works not only of Pushkin, but of all Russian literature. During the seven years during which it was created, a lot changed both in Russia and in Pushkin himself, and all these changes could not be reflected in the novel. The novel was created in the course of life and became a chronicle of Russian life and its unique poetic history.
Onegin is my good friend.
2.1. Lyrical digressions about creativity, about love in the life of a poet.1
Creativity, like love, plays a very important role in the life of a poet. He himself admits that: By the way, I note that all poets are “Friends of Dreamy Love.” A poet cannot live without love. Tracing the life of Pushkin, you can see that he loved, and loved more than once2. And, like everyone else, he sought this love. Poetry and Pushkin's life are intertwined. They wrote poems to their favorite girls. In his novel, Pushkin connects, as already said, love and poetry:
Love's crazy anxiety
I experienced it bleakly.
Blessed is he who combined with her
Fever of rhymes; he doubled it
PAGE_BREAK--
Poetry is sacred nonsense...
His novel, as we understood after reading it, becomes novel-diary, where he pours out his most intimate things (in poetry, of course). Here the author himself allows us to note that he and the main character of his novel, Eugene Onegin, are similar. Onegin did not like to get lost in dreams, he felt more and did not open up to everyone.” This is what Anna Kern said about Pushkin: “He himself almost never expressed feelings; he seemed to be ashamed of them and in this he was the son of his age, about which he himself said that “the feeling was wild and funny.”3 Love for the author and Tatyana is a huge, intense spiritual work. For Lensky it is a necessary romantic attribute. For Onegin, love is not a passion, but a flirtation4 and for the author, as he himself allows himself to note. He learns true feeling only towards the end of the novel: when the experience of suffering comes.
I love crazy youth...
Let's move on to the heroes. Onegin’s friend Lensky: “...the most strange and funny creature in the eyes of the world...”5 He brings Onegin to the Larins’ house and introduces him to his future wife - Olga. And here Onegin makes his first mistake:
Tell me, which one is Tatyana?
Why does he ask about Tatyana if he came to meet Olga? This is where things start to get complicated love story novel. Tatiana sends a love letter to Evgeniy. Onegin is like a well-mannered person noble society and like a romantic (to some extent), he pauses and does not come to Tatyana’s house. But still. He is touched by the letter, but does not support the “romantic game,” understanding the “melancholy of an inexperienced soul.” He is ready to love Tatyana, but only with the “love of a brother” and nothing more. Many see Onegin as a cold egoist, and many believe that Pushkin himself wanted to show us Onegin this way.
The plot of chapters 3-5 is repeated in chapter 8. Only now the letter is written not by Tatyana, but by Evgeny. The climax here replaces the denouement; the ending remains open; the reader and the author part with Onegin at a sharp turning point in his fate.
Onegin, unlike romantic heroes, is directly related to modernity, to real circumstances Russian life and with people of the 1820s. However, this is not enough for Pushkin: he wants his hero to be equally “conventional”, literary character, with which he gave the impression of a hero “written off” from reality. This is why Pushkin gave the hero this literary name and such a literary fictitious surname.
The author treats his main character with a little irony, which cannot be said about Lensky. Pushkin does not try to deepen the image of Lensky, unlike Onegin. But that’s the point: the author excludes any finality of the novel. Lensky was wounded in the chest in a duel, his life was cut short. But somewhere in the subtext the author’s thought is visible: if Vladimir had become a “hero”, he would have retained his landowner spirit, simple and healthy; If he had become a district landowner, he still would not have lost the “poetic ardor of his soul.” Only death can stop this.
Introducing the reader to Tatyana, the author notes that “for the first time with such a name” the pages of a Russian novel are illuminated. This means that the heroine is closely connected with the world of provincial (village) life, as the author himself shows us.6 Firstly, this name, as the author himself emphasizes, has a recognizable literary “rhyme” - Svetlana is the heroine of Zhukovsky’s novel of the same name “Svetlana” . Secondly, the surname Larin, which at first glance seems simple, provincial, is also quite literary, comes from the image: Lar. Being a provincial young lady, she read many novels. It was from there that she drew the image of the “young tyrant” Onegin, his mysterious romantic traits. And it was the literary Onegin that she fell in love with, it was the “literary” Onegin that she sent a letter, expecting from him a literary reaction, the kind that she had read about in novels.
After Onegin leaves for St. Petersburg, Tatyana ends up in his office. Tatyana also tried to read those books that Onegin read, but, looking at them with Onegin’s gaze, she tried to understand him through the books, carefully following the marks in the margins. And here the author’s position completely approaches Tatyana’s position: he is “not a creature of hell or heaven,” but, perhaps, only a parody “of his habitat.” And here something happens that, in my opinion, should have happened: Tatyana becomes the complete opposite of Onegin.
Throughout the novel, Tatyana changes: she learned to restrain her feelings, got married, and turned from a provincial girl into a county young lady. But, in the novel there is another character who changes together with Tatyana before the eyes of the teacher - the author. This finally brings him closer to Tatyana. And this explains the especially warm intonation of the story about her, personally interested in the fate of the heroine.
2.2. Lyrical digressions about training and education.
They are accompanied by a philosophical digression.7
"We all learned a little
Something and somehow."
Pushkin studied at the Lyceum. In “Eugene Onegin” he also mentions those years of study, remembers his old friends.8 At the very beginning of chapter 1, as the author admits, “it is replete with alien words.”9
“And I see, I apologize to you,
Well, my poor syllable is already
I could have been much less colorful
In alien words"
He's used to them. Is this really so?
When we begin to read the subsequent chapters, we see that Pushkin does not need alien words at all. He gets along just fine without them. The author can speak Russian brilliantly, witty and richly. The same cannot be said about its main character. Onegin very often uses French and English languages. Moreover, in such a way that it was very difficult to understand where he was native language.
This statement: “We all learned a little, something and somehow” also applies to Onegin. How could a person who studied like this speak to a friend in historical topics, wonder philosophical questions and reading literary foreign books? Of course not. This means that the author makes it clear to us that Onegin is well educated, like himself.
The 5th stanza of the 1st chapter very critically assesses Onegin’s level of education, but then in the 8th stanza of the same chapter the conclusion is drawn that Onegin knows quite a bit. Reading chapter 1, we compare Onegin with outstanding personalities of that time: with Pushkin himself, Chaadaev and Kaverin. The knowledge that was available to them is not available to them, their talents and skills are not available to them. Onegin was “lower” than them, much “lower”, but much “higher” than the average person of his circle - this is what his circle does not forgive him for.
From this he runs away, hiding in the village, which he inherited from his uncle.
2.3. Love for homeland, nature.10
When Onegin arrived in the village, everything seemed interesting to him:
Two days seemed new to him
Lonely fields
The coolness of the gloomy oak forest
The murmuring of a quiet stream...
But after a few days his attitude towards village life changed:
On the third grove, hill and field
He was no longer occupied;
Then they induced sleep;
Then he saw clearly
That in the village there is the same boredom...
What kind of boredom is the author talking about? How can it be boring where you just moved, without even having time to figure out your new life and get used to it? Onegin saw in that society, in the provincial society that was new to him, the same thing that he saw in noble Petersburg. After Onegin’s not so long stay in the village, he could not occupy himself with anything: Onegin tried to read Byron and, in his likeness, lived as an anchorite (hermit). There were many books in Onegin's library, but he read only a few of them:
Although we know that Evgeniy
I haven't liked reading for a long time,
However, several creations
He excluded from disgrace:
Singer Gyaur and Juan,
Yes, there are two or three more novels with him...
But if the author talks about Onegin and Byron, as if connecting them, it means that he has read Byron and is familiar with his work. Here, as the author himself notes, he and Onegin are similar. But they have one important difference: the author, as he himself says:
I was born for a peaceful life,
For village silence...
This means that the village was closer to him than any other place. This can be traced even from Pushkin’s biography: he visited the village of Mikhailovskoye several times. It was there that his most famous works and many poems: “ Winter evening", "K***" ("I remember wonderful moment..."), which was dedicated to Anna Kern. The novel also contains several lines that Pushkin dedicated to Anna; This is what she writes in her notes: “Here are the passages in chapter 8 of Onegin that relate to his memories of our meeting at the Reindeer:
Continuation
--PAGE_BREAK--
But the crowd hesitated
A whisper ran through the hall,
The lady was approaching the hostess...
Behind her is an important general.
She wasn't in a hurry
Not cold, not proud,
Without an insolent look for everyone,
Without pretense of success...11
But not Onegin. He was bored in the village, out of boredom he replaced corvée with a light quitrent:
“He is a yoke of the ancient corvée
Replaced it with easy quitrent”...
All of Evgeniy’s neighbors looked at him askance, and after a while they stopped communicating with him altogether. Here the author does not give any assessment to his hero, and does not support him in any way, as was usual. But Onegin was tired only of life in the village.
Lyrical digressions about theater, ballet, drama and creativity.12
Living in the city, he, like an ordinary young man of that time, went to various balls, theaters, and banquets. At first, like everyone else, he liked this life, but then this sympathy for such a monotonous life faded:
...Onegin enters,
Walks between the chairs along the legs,
The double lorgnette, looking sideways, points
To the boxes of unknown ladies;...
Then he bowed to the stage
In great absentmindedness he looked -
Turned away and yawned
And he said: “It’s time for everyone to change;
I endured ballets for a long time,
But I’m tired of Didelo too...13
But the life of a young socialite did not kill Onegin’s feelings, as it seems at first glance, but “only cooled him to fruitless passions.”14 Now Onegin is not interested in either theater or ballets, which cannot be said about the author. For Pushkin, the St. Petersburg Theater is “ magical land", which he mentions in the link:
Will I hear your choirs again?
Will I see the Russian Terpsichore
Brilliant, half-airy,
I obey the magic bow,
Surrounded by a crowd of nymphs,
Worth Istomin;...
Flies like feathers from the lips of Aeolus...15
The author acquires the meaning of life in fulfilling his destiny. The entire novel is filled with deep reflections on art, the image of the author here is unambiguous - he is, first of all, a poet, his life is unthinkable without creativity, without hard, intense spiritual work. It is in this that Onegin is the opposite of him. He simply has no need for work. And the author perceives all his attempts to immerse himself in reading and writing with irony: “He was sick of persistent work...” This cannot be said about the author. He writes and reads where the conditions for this are created.
Pushkin often recalls Moscow as a wonderful cultural corner and simply as a wonderful city:16
How often in sorrowful separation,
In my wandering destiny,
Moscow, I was thinking about you!
But this is what the author says, Onegin has a completely different opinion. He told a lot about his life, and, as already said, he was no longer interested in either St. Petersburg or Moscow; everywhere he was, Onegin saw one society from which he wanted to hide in the village.
Lyrical digressions inspired by spring17; farewell to youth.18
As already mentioned, the novel was begun in Chisinau on May 9, 1823. Then Pushkin was only 24 years old; Then he was young and full of strength. But a person grows up and changes. This could not but affect Eugene Onegin. The novel was written with a very true description of the author himself:
The careless fruit of my amusements,
Light inspiration for insomniacs,
Immature and faded years,
Crazy cold observations
And hearts of sorrowful notes...
The novel was completely finished on September 25, 1830 in Boldino, when Pushkin was already 31 years old. Then he realized that his youth had already passed and could not be returned:
Dreams Dreams! Where is your sweetness?
Where is the eternal rhyme to her - youth?
The author has experienced a lot; life has brought him many insults and disappointments. But not the mind alone. Onegin and the author are very similar here. But, if Onegin has already become disillusioned with life, then how old is he then? The novel has the exact answer to this question. But let's go in order: Pushkin was exiled to the south in the spring of 1820. Onegin left for St. Petersburg at the same time. Before that, “he killed 8 years in the world” - which means he appeared in society around 1812. How old could Onegin be at that time? On this score, Pushkin preserved direct instructions in his drafts: “16 not more years" This means that Onegin was born in 1796. He is 3 years older than Pushkin! The meeting with Tatyana and acquaintance with Lensky take place in the spring and summer of 1820 - Onegin is already 24 years old. He is no longer a boy, but an adult, mature man, compared to 18-year-old Lensky. Therefore, it is not surprising that Onegin treats Lensky a little patronizingly, like an adult looks at his “youthful heat and youthful delirium.” This is another difference between the author and the main character.
In the spring, when Pushkin writes chapter 7 of “Eugene Onegin,” he fully affirms that youth has already passed and cannot be returned:
Or with nature alive
We bring together the confused thought
We are the fading of our years,
Which cannot be reborn?
Final lyrical digressions: farewell to the readers, to the heroes of the novel.19
The novel was ended as abruptly as it had begun. As mentioned earlier, Pushkin excluded any completeness of the novel, and therefore after Onegin’s meeting with Tatyana we do not know later life Onegin. Literary scholars suggest, based on unfinished drafts, that Onegin could have become a Decembrist, or was involved in the Decembrist uprising in Senate Square. The novel ends with a farewell to the readers; Pushkin assigns a greater role to us at the very end of the novel than to his main character. He leaves him at a sharp turning point in his fate:
...And here is my hero,
In a moment that is evil for him,
Reader, we will leave him,
For a long time... Forever...
Whoever you are, oh my reader,
Friend, foe, I want to be with you
Parting today like a friend.
3. – The spiritual world, the world of thoughts and experiences.
“Onegin” is the most sincere
The most beloved child of his fantasy.
Here is all life, all soul,
all his love;
here are his feelings, concepts,
ideals."
(V.G. Belinsky)
3.1. Characteristics of the novel.
Famous critic V.G. Belinsky called the novel “an encyclopedia of Russian life.” And indeed it is. Pushkin’s novel says so much, so comprehensively about the life of Russia at the beginning of the 19th century, that even if we knew nothing about the era of that time, reading the novel “Eugene Onegin” we would still learn a lot. But why exactly an encyclopedia? The fact is that an encyclopedia is a systematic review, as a rule, from “A” to “Z”. This is what a novel is. If we carefully look at all the author’s lyrical digressions, we will see that they are “expanded” from “A” to “Z”.
Continuation
--PAGE_BREAK--
The author himself also characterizes his novel. He calls it "free". This freedom is, first of all, a relaxed conversation between the author and readers with the help of various lyrical digressions, the expression of the thoughts of the author’s “I”.
And now all minds are in the fog,
Morality puts us to sleep,
Vice is kind - and in the novel,
And there he triumphs...
This form of storytelling - with lyrical digressions - helped the author to recreate a picture of the society in which he lives: readers will learn about the upbringing of youth, how they spend their lives free time, literally, after reading 20 stanzas. After reading chapter 1, we saw the image of Onegin.
As Herzen wrote: “... the image of Onegin is so national that it is found in all novels that receive any recognition in Russia, and not because they wanted to copy him, but because they constantly observed it near themselves or in themselves.”
The novel “Eugene Onegin,” as already mentioned, became a diary novel. This is how N.I. wrote about the novel. Nadezhdin: “With each new line it became more obvious that this work was nothing more than the free fruit of leisure fantasy, a poetic album of living impressions of talent playing with its wealth... Its very appearance, with indefinitely periodic outputs, with incessant omissions and jumps , shows that the poet had neither a goal nor a plan, but acted according to the free suggestion of a playful fantasy.”
3.2. Characteristics of Byron and the Western European novel.20
Eugene Onegin, after a not so long stay in the village, could not occupy himself with anything: he tried to read Byron and, in his likeness, lived as an anchorite (hermit). Pushkin also read Byron. And, as many critics have noted, the novel “Eugene Onegin” is similar to most of Byron’s novels. Both of them in the novel address the reader, to themselves, and are not afraid to depict reality as it really is. But Pushkin does not try to imitate Byron directly; he did not specifically try to imitate Byron at all. They have absolutely different languages communication. The famous critic Belinsky said about the novel this way: “And for that Onegin in highest degree an original and national-brown work.” Pushkin’s novel is not like other Western European novels: “Pushkin’s paintings are complete, lively, and fascinating. "Onegin" is not copied from French or English; we see our own, hear our own sayings, look at our quirks...” This is what the critic Polevoy said about Pushkin’s novel.
CONCLUSION:
From all of the above we can draw conclusions:
Pushkin showed in his novel not only the life and everyday life of the capital and provincial nobility, but also painted a broad historical and cultural background;
He managed to expand the geographical background of his novel: Moscow, St. Petersburg, Village (central Russia), Odessa, Moldova, Crimea, Caucasus.
Pushkin is a full-fledged hero of the novel, as are Tatyana, Onegin, and Lensky.
BIBLIOGRAPHY:
Belinsky V.G. Selected articles. L., Lenizdat, 1979, 216 p.
Kern (Markova-Vinogradskaya) A.P. Memories. Diaries. Correspondence (Compiled, introductory article and note by A.M. Gordin.) M.: Pravda, 1989. - 480 pp., 8 sheets. ill.
Kern (Markova-Vinogradova) A.P. Memories of Pushkin Comp., intro. Art. and note. A.M. Gordina.- M.: Sov. Russia, 1988. – 416 p., 8 ill.
Maratsman V.G. Roman A.S. Pushkin in school study. A manual for teachers, - M.: Education, 1983. – 159 p.
Pushkin A.S., Collected works in 10 volumes, vols. 4 and 5 Goslitizdat, M. 1960.
A large reference book for schoolchildren and those entering universities E.L. Beznosov, E.L. Erokhin, N.L. Karnaukh et al. Comp. V.F. Devil.- M.: Bustard 2004.- 432 p. – (Big reference book for schoolchildren and those entering universities).
Children's encyclopedia. For middle and older age. In 12 volumes. Ed. 3. Volume 11 Language and Literature 480 pp. with illust. and cards.
Russian writers. XIX century: Biographies. Big educational reference for schoolchildren and those entering universities. A.N. Arkhangelsky, E.L. Beznosov, V.A. Voropaev et al. – M.: Bustard 2000. – 464 p.
Russian literature. XIX century. A large educational reference book for schoolchildren and those entering universities E.L. Beznosov, I.Yu. Burdina, N. Yu. Burovtseva and others - 2nd ed., stereotype. - M.: Bustard 2001- 720 p.
Reader on literary criticism for schoolchildren and applicants. - Compilation, comments by L.A. Sugai.- M.: “Ripol Classic”, 1988.- 768 p.
Pushkin worked on the novel “Eugene Onegin” for many years; it was his favorite work. Belinsky called it "an encyclopedia of Russian life." Indeed, this novel gives a picture of all layers of Russian society: high society, the small nobility, and the people. During the years of writing the novel, Pushkin had to go through a lot, lose his friends, experience the bitterness of death the best people Russia. For the poet, the novel was, in his words, the fruit of “a mind of cold observations and a heart of sorrowful observations.”
The image of the author in the novel is created by lyrical digressions; there are twenty-seven significant ones in the novel and about fifty small ones. Who is the main character of the novel "Eugene Onegin"? Many believe that the main character of the novel is, after all, Pushkin himself. If you read the novel more carefully, you can see that there is not one main character, but two: Onegin and Pushkin. We learn almost as much about the author as we do about Eugene Onegin. They are similar in many ways; it is not for nothing that Pushkin immediately said about Evgeniy that he is “my good friend.” Pushkin writes about himself and Onegin: We both knew the game of passion, Tomila, the life of both of us, The heat died out in both hearts...
Pushkin likes Onegin’s “sharp, chilled” mind, his dissatisfaction with himself and the anger of his gloomy epigrams. When Pushkin writes that Onegin was born on the banks of the Neva, talks about Onegin’s upbringing, about what he knew and could do, Pushkin himself involuntarily introduces himself all the time. The author and his hero are people of the same generation and approximately the same type of upbringing: both had French tutors, both spent their youth in St. Petersburg society, they have common acquaintances and friends. Even their parents have similarities: Pushkin’s father, like Onegin’s father, “lived in debt...” Summarizing, Pushkin writes: “We all learned little by little, something and somehow, but with our upbringing, thank God, it’s no wonder we shine ". The poet inevitably notes his difference from Onegin. 06 He writes to Onegin that “no matter how hard we fought, he could not distinguish iambic from trochee.” Pushkin, unlike Onegin, studies. poetry seriously, calling it “high passion.” Onegin does not understand nature, but the author dreams of a quiet, calm life in paradise where he could enjoy nature. Pushkin writes: “The village where Onegin was bored was a charming corner.” Pushkin and Onegin, for example, perceive theater differently. For Pushkin St. Petersburg theater the magical land he dreams of in exile. Onegin “enters, walks between the chairs along the legs, the double lorgnette, slanting, points at the boxes of unfamiliar ladies,” and then, barely glancing at the stage, with an absent-minded look, “turned away and yawned.” Pushkin knows how to rejoice in what Onegin is so bored and disgusted with.
For Onegin, love is the “science of skin passion”, Pushkin has a different attitude towards women, it is accessible to him real passion and love. The world of Onegin and Pushkin is a world of social dinners, luxurious entertainment, drawing rooms, balls, this is a world of high-ranking persons, this is a world of high society, which is far from easy to get into. Reading the novel, we gradually understand Pushkin’s attitude towards secular society and the noble class, to which he himself belongs by birth. He sharply criticizes the St. Petersburg high society for its falsehood, unnaturalness, and lack of serious interests. The author treats the local and Moscow nobility with ridicule.
He writes: It’s unbearable to see in front of you just a long row of dinners, to look at life as a ritual, and to follow the decorous crowd, without sharing with them neither common opinions nor passions...
It is not easy for Pushkin to live, much more difficult than for Onegin. Onegin is disappointed in life, he has no friends, no creativity, no love, no joy, Pushkin has all this, but there is no freedom, I send him out of St. Petersburg, he does not belong to himself. Onegin is free, but why does he need freedom? He languishes both with her and without her, he is unhappy because he does not know how to live the life that Pushkin lives. Onegin doesn’t need anything, and that’s his tragedy. If Pushkin enjoys nature, then Onegin doesn’t care, because he clearly sees that “boredom is the same in the village.” Pushkin sympathizes with Tatyana, who lives among the “wild nobility” in the village, and then in high society Petersburg, about which she says that it is “the rags of a masquerade.” The author not only sympathizes with Tatyana, he writes: “I love my dear Tatyana so much.” Because of her, he gets into an argument with public opinion. In one of the lyrical digressions, the author reveals to us his ideal of a woman who “is gifted from heaven with a rebellious imagination, a living mind and will, and a wayward head, and a fiery and tender heart.”
Pushkin admits that he sacredly cherishes Tatiana’s letter and cannot read enough of it. Many lines of the novel reveal to us the biography of the author, the beginning of his creative path, names of his idols, events literary struggle, reflection of moods community groups and literary groups. Many of the poet’s lyrical digressions are dedicated to cultural life Russia at the beginning of the nineteenth century. From these lines we learn that the poet was an ardent theatergoer. He writes about the theater: “There, under the shade of the wings, my younger days rushed.”
Reflecting on the meaning of human existence, on the meaning of youth in the life of every person, Pushkin says with bitterness: But it’s sad to think that youth was given to us in vain, that they cheated on it all the time, that it deceived us.
Finishing the novel, Pushkin again turns his gaze to those whom he loved in his youth, to whom he remained faithful in heart.
No matter how different Pushkin and Onegin may be, they are from the same camp; they are united by dissatisfaction with the way Russian reality is structured. The smart, mocking poet was a real citizen, a man who was not indifferent to the fate of his country. Many of Pushkin's friends believed that he conveyed his features and portrayed himself in the image of Lensky. But in lyrical digressions, Pushkin shows an ironic attitude towards Lensky. He writes about him: “He would have changed in many ways, would have parted with the muses, gotten married in the village, happy and rich, would have worn a quilted robe.” Pushkin dreamed of making Onegin a Decembrist, and this reflected all his respect for his hero.
The image of Tatyana Larina in the novel “Eugene Onegin” by A. S. Pushkin V. G. Belinsky called “Eugene Onegin” “an encyclopedia of Russian life,” since it reflected the entire life of the Russian nobility of that era as if in a mirror. The poet’s focus is on life, everyday life, morals, and actions. young man Evgenia Onegin. Evgenia Onegin is the first literary hero, opening a gallery of so-called “extra people”. He is educated, smart, noble, honest, but social life in St. Petersburg killed all his feelings, aspirations, and desires. He “matured before his time” and became a young old man. He is not interested in living. In this image, Pushkin showed the disease of the century, “the blues.” Onegin is truly seriously ill with the social disease of his time. Even sincere feeling, love are not able to resurrect his soul.
The image of Tatyana Larina is a counterbalance to the image of Onegin. For the first time in Russian literature female character is opposed to the male, moreover, the female character turns out to be stronger and more sublime than the male. Pushkin paints the image of Tatyana with great warmth, embodying in her the best features of a Russian woman. In his novel, Pushkin wanted to show an ordinary Russian girl. The author emphasizes the absence of extraordinary, out-of-the-ordinary features in Tatyana. But the heroine is at the same time surprisingly poetic and attractive. It is no coincidence that Pushkin gives his heroine the common name Tatyana. By this he emphasizes the simplicity of the girl, her closeness to the people.
Tatiana is brought up on an estate in the Larin family, faithful to the “habits of dear old times.” Tatiana’s character is formed under the influence of a nanny, whose prototype for the poet was the wonderful Arina Rodionovna. Tatyana grew up as a lonely, unkind girl. She did not like to play with her friends, she was immersed in her feelings and experiences. She tried early to understand the world, but I couldn’t find answers to my questions from the elders.
And then she turned to books, which she believed completely: She liked novels early on, They replaced everything for her: She fell in love with the deceptions of both Rtardson and Rousseau.
Surrounding life did little to satisfy her demanding soul. She saw in books interesting people people I dreamed of meeting in my life. Communicating with the courtyard girls and listening to the stories of the nanny, Tatyana becomes acquainted with folk poetry and becomes imbued with love for it. Closeness to the people, to nature develops in Tatyana moral qualities: spiritual simplicity, sincerity, artlessness. Tatyana is smart and unique. original. By nature she is gifted: A rebellious imagination, A living mind and will, And a wayward head, And a fiery and necessary heart.
With her intelligence and unique nature, she stands out among the landowners and secular society. She understands the vulgarity, idleness, and emptiness of life in village society. She dreams of a person who would bring high content into her life, who would be like the heroes of her favorite novels. This is how Onegin seemed to her: a secular young man who came from St. Petersburg, intelligent and noble. Tatyana, with all sincerity and simplicity, falls in love with Onegin: “...Everything is full of him; all the sweet maiden never stops magical power talks about him." She decides to write to Onegin love confession. Evgeniy’s sharp refusal comes as a complete surprise to the girl. Tatyana ceases to understand Onegin and his actions. Tatyana is in a hopeless situation: she cannot stop loving Onegin and at the same time she is convinced that he is not worthy of her love.
Onegin did not understand the full strength of her feelings, did not unravel her nature, since he valued “freedom and peace” above all else, and was an egoist and selfish man.
Love brings Tatyana nothing but suffering, her moral rules are firm and constant. In St. Petersburg she becomes a princess; gains universal respect and admiration in the “high society”. During this time she changes a lot. “An indifferent princess, an unapproachable goddess of the luxurious, royal Neva,” Pushkin paints her in the last chapter.
But she's still lovely. Obviously, this charm was not in her external beauty, but in her spiritual nobility, simplicity, intelligence, richness of spiritual content. But even in “high society” she is lonely.
And here she does not find what her exalted soul was striving for.
Your attitude towards social life she expresses it in words addressed to Onegin, who returned to the capital after wandering around Russia: ... Now I’m glad to give away, All this rags of the masquerade. All this shine and noise and fumes For the shelf of books, for the wild garden, For our poor home...
In the scene last date Tatiana and Onegin reveal her spiritual qualities even more deeply: moral impeccability, loyalty to duty, determination, truthfulness. She rejects Onegin's love, remembering that the basis of his feelings for her is selfishness, egoism.
The main character traits of Tatyana are strongly developed sense duty, which takes precedence over other feelings, and spiritual nobility.
This is what makes her spiritual appearance so attractive.
Tatyana Larina opens a gallery beautiful images a Russian woman, morally impeccable, seeking deep meaning in life.
The poet himself considered the image of Tatiana “ideal” in a positive way Russian woman.
The image of the author in the novel “Eugene Onegin” is unusual: he not only tells the story and looks at events from the outside, but he himself is a friend of Eugene, perhaps knows Tatyana, which is why his feelings for the characters are so strong.
In lyrical digressions, the author, without hesitation to share his memories, expresses his thoughts to us. For example, in the third chapter he says that he can, “by the will of heaven,” stop writing poetry and get carried away with prose. In the novel, he expresses his idea of the traditions that have developed in society. Descriptions of the theater, ball, village, family life(story of Tatyana’s mother). Secular society seems artificial, and the village seems sincere and simple. The narrator loves solitude and nature. This is manifested not only in the wonderful descriptions of the seasons, but also in the following words: “ Flowers, love, village, idleness, Fields! I am devoted to you with my soul».
The author's observations on fashionable social phenomena, for example, ladies' albums or the blues floating among young people. She “introduces” him to Eugene. The narrator declares the contiguity of their views and destinies: “ We both knew the game of passion;Life was tormenting both of us...”
Throughout the entire novel, the author’s words reveal the antithesis of fashion and antiquity, and fashion is initially assessed as something external, small (things in Onegin’s house), and then clearly negatively: “ Like a verse without a thought in a fashionable song, the winter road is smooth" With the word “fashion” the poet uses epithets: dilapidated, autocratic. The old woman, on the contrary, is smart, sweet, hospitable, and simple-minded. However, antiquity is sometimes described with sarcasm, let us remember, for example, Zaretsky, who allows a person to be stretched (in a duel) not somehow, but “according to all the dowries of antiquity.”
It should be mentioned that the narrator, of course, is a very well-read person; the text contains constant references to the works of other writers, quotes are used, sometimes for the purpose of parody. For example, in the fifth chapter there is a parody of Lomonosov's poem.
The image of the author is different at the beginning and at the end of the work. In the first chapters he often talks about his youth. For example, he moves away from the description of the ball and remembers his love for “lovely legs.” Speaking about himself, he gets so carried away that he “forgets” about the main character of the work, and then is forced to return to the story about him, asking: “What about my Onegin?” In the final chapters his attention is focused on the characters. The narrator expresses his opinion in small comments (sometimes aphoristic) at the end of the stanzas.
Throughout the novel, the author is distinguished by a sense of humor. The text contains both rather friendly irony and satire, both at the level of ideas (judgments about society), plot (attitudes towards characters), and the form of the work. For example, “submitting” to classicism, he writes the necessary introduction, but places it only at the end of the seventh chapter.
Thus, based on memories and judgments, attitude towards characters and events, the image of the author is created - ironic, observant and thoughtful. An image through which the attitude in the world of A.S. Pushkin’s contemporaries and the writer himself is conveyed.
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In Pushkin's novel, the author acts as a hero along with the others. As a rule, in some works we can also see the author’s view and lyrical digressions, however, in such versions, the author’s view is most often offered as some kind of higher intelligence, which objectively assesses situations and can even control the reader’s interpretation of events and indicate the essence of the characters’ behavior.
In Eugene Onegin the situation is a little different, once the author even meets the hero, Pushkin points out some similarities in their spiritual situation, although he also points out the differences. Thus, the author becomes equal to the heroes; he is part of the work with his own characteristics. In the end, it is a little difficult to understand whether we are talking about Pushkin himself or whether Pushkin also separates the author from himself and makes him simply separate actor.
If you pay attention to some details, the author looks like the owner of wise views and life experience. It is quite possible that in it we see the opinions of Pushkin himself.
Another interesting detail is a dialogue with the reader and, as it were, writing a novel in front of the reader. The author in the novel describes his actions of doubt, for example, choosing the name of the hero. Thanks to this, the reader is involved in communication with the author and the novel itself, too; the reader also becomes, to some extent, a character in the work, since he enters into a dialogue with the characters, and this dialogue begins with the author, who himself addresses the reader and even in some way degree invites to co-creation.
In addition, the author plays the role of a kind of guide who accompanies each reader through the pages of his novel, gives the necessary explanations, and points out the most significant details. This function makes the author our friend and reliable comrade, in whose company creativity is born. More precisely, the author helps us to create our own perception of the text, to move forward in comprehending this work.
He achieves not just dialogue with the reader, but also fascinating interactivity, which is somewhat reminiscent of social interaction with a friend telling the story of Onegin. On the other hand, the author’s character helps Pushkin comfortably express his own position and model the structure of the narrative in an original way. In this work, of course, there are two main characters - Onegin and the author himself.
Author in the novel Evgeny Onegin
Pushkin in his novel skillfully weaves the image of the author to achieve certain artistic techniques, many of which look innovative and create a unique atmosphere for the novel. If, typically for this genre of literature, the reader remains, as it were, outside the framework of the work, and the writer appears as nothing more than a faceless narrator, then in Eugene Onegin the author is a kind of hero novel, a connecting link for the reader and the heroes of the work and also a guide for the reader.
The essence is a dialogue between the reader and the author and an invitation to the reader to co-create. The author talks about how a novel is written, seems to think out loud about how to write further, and includes other considerations that create a relaxed atmosphere. It would seem that Pushkin thereby achieves only the reader’s favor and the special atmosphere of his novel, but in reality he complements the genre in which he works and creates a unique structure that has not previously been used in this way, for example, reasoning about how a novel is written is quite innovative.
In addition, the author is a full-fledged hero of the work, and this fact is confirmed by some biographical details that Pushkin offers the reader, but, of course, Pushkin is not talking about himself, but about the author, who is similar to him. Thus, we personalize the author and understand him as some special hypostasis, which takes place in the novel and at the same time is a demiurge who seems to have descended to earth.
The author makes the novel more readable and more dynamic. We look at Onegin through the eyes of Pushkin, or rather through the eyes of the author, and the author is similar to Onegin himself. They are people with similar upbringing and manners, social status.
As the author himself writes about the main character, “my good friend,” that is, they really are people of similar views. Thanks to this, an atmosphere is achieved in which it is as if someone is telling us about their friend. This skillful introduction of the reader to the topic is much more beneficial compared to the typical impersonal narration in other popular novels of the time.
Option 3
Alexander Sergeevich, having completed work on his work, clapping his hands, praised himself. The poet was well aware that he had created a masterpiece. The novel "Eugene Onegin" was light and elegant in content. Work on this work lasted more than one year. The author experienced the death and loss of close friends, the bitterness of disappointment, and exile. Maybe that’s why the novel was so dear to the poet.
Sometimes it seems to us that the main character here is not Onegin, but Pushkin himself. He is present everywhere: both at the ball and at the performance in the theater. He mockingly watches Eugene in the village setting, and in the poor living rooms of the nobles, and in the garden, where Tatyana remained sitting on the bench after her conversation with Eugene.
The characters in the work are surrounded by the author’s friends: either Chaadaev will rush by, or Vyazemsky will look menacingly. And in the unpublished 10th chapter, the shadow of Yakushkin flashes. And Alexander Sergeevich’s smile could be seen everywhere from behind.
Numerous lyrical digressions show us the image of the author. Having studied the novel carefully, you can notice that there are two main characters here - Onegin and the author himself, who, like his character, is tired of the bustle and despises people of secular society in his soul. He indulges in memories of his carefree and cheerful youth. Speaking about Onegin's education, Pushkin, first of all, spoke about himself. Main character and the author were similar in almost everything. Both of them were educated by a tutor of French nationality. They were surrounded by mutual friends.
However, the author makes some differences from Onegin. So, for example, if Onegin found it difficult to write poetry, Pushkin studied poetry seriously. Nature is alien to Eugene, but the author, on the contrary, is full of dreams of a quiet corner in a place surrounded by natural beauty.
They also go to the theater different attitude. If Onegin was bored there and did not even look at the stage, then Alexander Sergeevich, while in exile, only dreamed of watching a new play. The world where Evgeny and the author live is social balls and parties, a society of people with whom it is difficult to make acquaintance. The poet harshly criticizes the high society of St. Petersburg for its unnaturalness and lack of serious interests.
Life is harder for the author than for Onegin. If he was disappointed in all manifestations of life, then Pushkin, being in exile, was tormented by the lack of freedom. He had friends and interests, but he could not fully realize them because he was subject to surveillance by the authorities. At the end of the work, the author makes an appeal to those to whom he had warm feelings as a young man, and to whom he remained heartily faithful. And no matter how different they are, Pushkin and his hero are united by a common thought and experience of what is happening in Russia.
