The artistic structure of the novel Eugene Onegin. Essay on artistic features of the novel “Eugene Onegin”

A. S. Pushkin’s novel “Eugene Onegin” is a lyric-epic work, a novel in verse. The lyrical and epic are equal here; the image of the author is no less important than the images of the heroes. Epic in this work is the plot, and the lyrical is author's attitude to the plot, characters, reader.

The author is present at all scenes of the novel, comments on what is happening, gives his explanations, judgments, and assessments. The author is the lyrical center of the narrative in the novel. He gives a unique originality to the composition and appears before the reader as an author-character, an author-narrator and an author - a lyrical hero, talking about himself, his experiences, views, life.

The novel was begun by the poet in his youth, and ended when Pushkin already understood that his youth was leaving, and life had brought many losses and disappointments (Boldino Autumn). The novel-diary, which can be considered “Eugene Onegin,” reflects the experience, it contains “cold observations of the mind,” and “sorrowful notes of the heart,” and thoughts about time and about oneself. In the first chapters of the novel, begun in conditions of socio-political upsurge, the author's voice sounds playfully ironic, permeated with light intonations. In subsequent chapters (starting with the fifth), written after December 14, 1825, during the years of the most severe reaction, the author’s tone becomes increasingly restrained and serious, and in the final chapters it becomes deeply elegiac and dramatic. Already in the first chapter, the poet introduces a number of autobiographical deviations from the plot into the text. Each of the subsequent chapters reflects the spiritual and everyday facts of Pushkin’s biography, including his whereabouts at the time this chapter was written, and the novel in verse becomes a novel-diary, from which we learn no less about the author than about his heroes. It is no coincidence that Herzen called the novel a “poetic biography” of Pushkin.

If we count the stanzas and verses in which the plot related to the heroes is stated (epic), and the stanzas and verses in which there is no presentation of the plot (lyric), it turns out that the number, relatively speaking, of “epic” and “lyrical” stanzas and poems are the same. Pushkin strictly observed the balance and equal size of epic and lyric poetry. The impression of the dominance of lyricism formed by V.S. Nepomnyashchiy, arises, apparently, due to the fact that in “Eugene Onegin,” as found by researchers and primarily Yu.M. Lotman and S.G. Bocharov, two novels - one “novel of life”, created by her and connected to a greater extent with the author than with the heroes, where the author is main character, and the other is a “novel of heroes”, which is created by life and the author. “A Romance of Heroes” is inserted into a broader – life-author’s – frame. The “novel of life” is presented more in a lyrical vein, while the “novel of heroes” is presented in an epic, narrative, plot manner. At the same time, both novels are born historical reality and universal, universal existence in general.

Thus, “Eugene Onegin” is a “novel of heroes” that exists within the “novel of the author.” Lyrical digressions present the author as a hero own novel, recreate his biography: lyceum, St. Petersburg, southern exile, Mikhailovskoye. The author does not forget for a minute that he is writing his novel. Numerous discussions about classicism, romanticism, composition and plot of the novel fill the pages of Eugene Onegin.

The novel merges two principles - lyrical and epic. The plot of the work is epic, and the lyrical is the author’s attitude towards the plot, characters, and the reader, which is expressed in numerous lyrical digressions. In them, the author, distracted from the action, talks about himself, shares his views on culture, literature, and language. Lyrical digressions present the author as the hero of his own novel and recreate his biography. In the poetic lines, the poet’s memories of the days when in the gardens of the Lyceum “he serenely blossomed” and the Muse began to appear to him, about forced exile - “will the hour of my freedom come?” Numerous factors are important for the development of action. landscape sketches. All seasons of the year pass before the reader: summer with its sad noise, with its meadows and golden fields, autumn, when the forests were exposed, winter, when the frosts “crack,” spring. For the first time in Russian literature, we see rural landscape Central Russian strip. Nature helps reveal the character of the characters; sometimes the landscape is described through their perception.

An epic start to the novel. Pushkin observed life for seven seconds extra years- from 1823 to 1830. The time described in the novel is from 1819 to 1825. His attention to the present resulted in a powerful epic part in the novel, dedicated to the most various problems modernity. It is very difficult to define the problems of Eugene Onegin. The poet created, in the words of V. G. Belinsky, “an encyclopedia of Russian life.” The title after the name of the main character does not narrow his thematic plan, does not reduce the entire action to a depiction of the fate of Eugene Onegin. The core of the plot, of course, is love theme, which is traditional for of this genre, but it is solved by Pushkin in an innovative way: He does not just show the failed happiness between Onegin and Tatyana, but delves into the reasons for this. In the novel, the poet asserts a new realistic method, depicting the influence of the environment on the formation of personality and its perception of the world.

Since “Eugene Onegin” reflected the historical era, presented through the history of the hero and the plot, this work is a novel. Pushkin himself thought so, writing that by novel he meant “ historical era, developed on a fictional narrative." However, Pushkin wrote not just a novel, but a “novel in verse.” In a letter to P.A. He clearly pointed out this feature of Eugene Onegin to Vyazemsky: “I’m not writing a novel, but a novel in verse - a devilish difference.”

The poetic form of the novel required Pushkin to work hard on the verse. The poet unusually diversified iambic tetrameter, giving it exceptional flexibility and capacity. The need for unity of the narrative and lyrical principles led Pushkin to the creation of a new strophic form. Pushkin conducts a casual conversation with the reader, and therefore the completeness of each stanza becomes important: the narrative is easily disrupted by lyrical digressions, and then returns to its previous course. Since each stanza contains short story, then you can discuss each topic separately, deviating from the plot and expressing your point of view. The thread of the narrative is not lost, but the plot is noticeably enlivened and diversified, warmed by the lyrical emotion of the author.

Onegin stanza. The “Onegin stanza”, invented by Pushkin for the novel, consists of 14 verses of iambic tetrameter. Its general scheme appears unusually clear and simple: I (abab), II (vvgg), III (deed), IV (zhzh), i.e. cross, paired, ring rhymes and the final couplet.

"Eugene Onegin" as a novel in verse. Features of genre and composition

“As for my studies, I Pushkin sought to create a satiated, dissatisfied and bored hero, indifferent to life and its joys - a real hero of the time, infected with the “disease of the century” - boredom. But at the same time, the author did not just strive to show character traits boredom, he wanted to know its source, that is, where it comes from. Realizing that the genre romantic poem assumes a static character of the hero, Pushkin deliberately abandons it in favor of the novel - a genre within which the dynamics of the development of the hero’s character can be shown.

Pushkin builds a composition “ free romance", in the center of which is the figure of the author, who organizes relationships not only with the characters, but also with the readers. The novel is written in the form of a conversation between the author and the reader, hence the impression that it is being written in front of the reader’s eyes, making the latter a direct participant in all events.

The genre of "Eugene Onegin" - a novel in verse - suggests the presence of two artistic principles- lyrical and epic. The first is connected with the author’s world and his personal experiences and manifests itself in lyrical digressions; the second assumes the objectivity of the narrative and the author’s detachment from the events described in the novel and represents the world of epic heroes.

IN prose novel the main thing is the hero and what happens to him. And in a poetic work, the compositional core is the poetic form itself and the image of the author. In Eugene Onegin, as in a novel in verse, there is a combination of the constructive principles of prose (deformation of sound through the role of meaning) and poetry (deformation of meaning through the role of sound).

The poetic form determined both the composition and the features of the plot in Eugene Onegin. Special view stanzas - the Onegin stanza - was invented by Pushkin specifically for this work. It is a slightly modified sonnet structure: fourteen lines of iambic tetrameter with a specific rhyme scheme. In the first quatrain (quatrain) the rhyme is cross, in the second it is paired, and in the third it is encircling. Schematically, it looks like this: AbAb CCdd EffE gg (capital letters indicate feminine rhyme, that is, the stress falls on the penultimate syllable of rhyming words, and lowercase letters indicate masculine rhyme, in which the stress falls on the last syllable of rhyming words).

Speaking about the composition of the work, it is important to note two points. Firstly, it is symmetrical (its center is Tatiana’s dream in the fifth chapter), and secondly, it is closed (the action began in the spring of 1820 in St. Petersburg and ended there five years later). The novel has two storylines - a friendship line and a love line, and the second is mirrored: in the third chapter, Tatyana writes a letter to Onegin and understands that her feelings are not mutual, and in the eighth they change roles.

Also important for understanding the composition of the work are landscape sketches, with the help of which the author helps the reader to delve deeper into the essence of the experiences of his characters and emphasizes the features of their characters. For example, the contrast between Onegin and Tatyana is more clearly visible in the example of the heroes’ attitude to rural nature.

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

Pushkin called the work on creating the novel a feat. Besides “Eugene Onegin,” the author gave such a high assessment of his own creation only to “Boris Godunov.”

History of writing

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

The story about Onegin's journey, according to the original plan, was supposed to become part of the main text. But later the poet included this fragment of the plot in one of lyrical digressions. In the first version of the novel, the author raised rather pressing political issues. But since the creation of “Eugene Onegin” took place during years of exile, the poet decided not to aggravate his already difficult situation. Therefore, he removed dangerous pages from the manuscript and burned them.

Composition of the novel

The work was published over several years in separate chapters. Pushkin admitted that he wrote it without any clear plan. Nevertheless, the composition of “Eugene Onegin” is distinguished by its clarity. Each chapter is logically completed.

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

Main characters

What did the author use it for? ring composition? With the help of this technique, Pushkin revealed changes in the character of the heroes. At the beginning of the work, Onegin leaves high society. The poet speaks not without irony about his hero, emphasizing that Eugene’s education was superficial, which was enough to be considered smart among the representatives of the capital’s aristocracy.

In the first chapters, Onegin is a secular slacker, unable to fill his leisure time with creativity or even reading. But later he appears in the role of a thinking, deep personality. Another trait lost by Eugene is richness in life. Pushkin's hero is initially indifferent to those around him. He is not even touched by the feelings that Tatyana has for him - an intelligent girl who compares favorably with other representatives of provincial society.

At the end of the novel, Onegin is an ardent lover. Tatyana, on the contrary, is reserved and cold. However, it is worth saying that for all external changes Both Onegin and Larina are still the same in their souls. He is an arrogant aristocrat. She is a simple-minded and sincere village girl. After the disappointment that befell the heroine, she is forced to hide her feelings. As for Evgeny, his love is most likely explained by the external brilliance of Tatyana, now a society lady.

Epic

There are many heroes in Eugene Onegin. The works cover a significant period of time. “Eugene Onegin” tells both about life in the capital and about the life of the village nobility. A genre that has these features is the novel. It is the most common type today epic literature. What are the specifics classic novel? Which of its features are present in the work “Eugene Onegin”?

Genre large shape, in which the narrative focuses on the destinies different heroes, in literary criticism is called a novel. Its other features are a significant time period, a smoothly constructed series of events, and a considerable number of characters involved in the plot.

How is Eugene Onegin depicted by the author? The genre of this work, according to Pushkin’s definition, is a novel. Remembering the characteristic features of this type of epic, we can say that Onegin is not a lyrical hero. It cannot be called either positive or negative character. The poet is extremely objective in creating his portrait. Evgeny Onegin is quite contradictory and complex. The peculiarities of the genre of Pushkin’s work lie in the presence of not only an epic beginning.

Lyricism

The work about which we're talking about in this article has no analogues in world literature. The structure and genre of the novel “Eugene Onegin” is unique. It has both realism and historicity. Pushkin also endowed his work with features typical of a social novel. "Eugene Onegin", the genre of which is at the junction of two types of literature, contains both objective characteristics of the heroes and many lyrical digressions. But that's not all.

The genre and composition of “Eugene Onegin” have become the topic of numerous works on literary criticism. WITH light hand Byron came into fashion in the nineteenth century epic poem, which is individual chapters in verse. In Pushkin's work the description lyrical hero and his experiences are harmoniously combined with the objective, realistic image events.

Retreats

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

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

Another theme of lyrical digressions in the novel is historical events. Thus, in the work “Eugene Onegin” Pushkin remembered Patriotic War 1812.

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

Reflection of the Pushkin era

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

In art

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

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

By genre“Eugene Onegin” is a novel in verse, that is, a lyrical-epic work where the lyrical and epic are equal, where the author freely moves from narration to lyrical digressions. Thus, the genre of “free novel” largely determined the composition of “Eugene Onegin”

In the novel two storylines:

First story line - Onegin - Tatiana:

Acquaintance - evening at the Larins':

The time has come, she fell in love...

Conversation with the nanny, letter to Onegin.

Two days later there is an explanation in the garden.

Tatiana's dream. Name day.

Tatyana comes to Onegin's house.

Departure for Moscow.

Meeting at a ball in St. Petersburg two years later.

Evening at Tatiana's.

There is no doubt, alas! Eugene

I'm in love with Tatiana like a child...

Letter to Tatiana. Explanation.

Second story line - Onegin-Lensky:

Dating in the village:

First mutual miscellaneous

They were boring to each other;

Then I liked it; Then

We came together every day on horseback

And soon they became inseparable.

Conversation after the evening at the Larins’:

Are you really in love with the smaller one?

- And what?

- I would choose another

If only I were like you, a poet.

Tatiana's name day:

Onegin

Swore to enrage Lensky

And take some revenge.

Lensky:

Two bullets - nothing more -

What if they allow it? destiny his.

Plot composition:

Chapter One - extensive exposition

Chapter two - plot II storyline(Onegin meets Lensky).

Chapter three is the beginning of the first storyline (Onegin’s acquaintance with Tatyana).

Chapter six - duel (culmination and denouement of line II).

Chapter Eight - Interchange of Line I.

The openness of the novel- important compositional feature. The unusual outcome - the lack of certainty - Lensky's two paths:

Perhaps he is for the good of the world

Or at least he was born for glory...

Or maybe even that: a poet

Ordinary was waiting destiny...

I line interchange:

And here is my hero,

In a moment that is evil for him,

Reader, we will now leave,

For a long time... forever.

The basic principle of organizing a novel- This symmetry (mirrority) and parallelism :

1. Symmetry is expressed in the repetition of one plot situation in the third and eighth chapters: meeting - letter - explanation.

At the same time, Onegin and Tatyana seem to change roles, not only in the external scheme, but also in Pushkin’s transmission of it: in the first case, the author is with Tatyana, in the second, with Onegin. “Today it’s my turn,” says Tatyana, comparing two love stories. Tatiana's integrity is contrasted with Onegin's nature.

Onegin says exactly the opposite things during his first explanation with Tatyana and in his letter:

- But I'm not made for bliss

My soul is alien to him.

Your perfections are in vain:

I'm not worthy of them at all...

- Freeze in agony before you

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

But Tatyana remains true to herself:

I love you (why lie?)...

Two letters, the composition of which is in turn parallel - waiting for a response - the recipient's reaction - two explanations.

Petersburg plays a framing role (appears in the first and eighth chapters).

Axis of symmetry - Tatyana's dream (Chapter five).

We can talk about the antithesis of parts of the novel related primarily to the disclosure of one or another image:

Chapter one - Petersburg - the life of Onegin. Chapter two - the village - Tatyana's life

The main compositional unit of the novel is the chapter.

Each new chapter - new stage in the development of the plot.

A stanza is a smaller, but also complete unit, always marking a new stage in the development of thought.

The compositional role of lyrical digressions.

1. Usually lyrical digressions are related to the plot of the novel (a digression about time - Lensky's visit to the cemetery, about his past youth - Lensky's murder). Tatiana Pushkin contrasts with secular beauties:

I knew unattainable beauties.

Cold, clean like winter,

Relentless, incorruptible,

Incomprehensible to the mind...

- Eat digressions that have no direct connection with the plot.

2. Different size lyrical digressions:

From one line (“Like Delvig drunk at a feast”)

Up to several stanzas

3. Often lyrical digressions end or begin a chapter. Beginning of Chapter Eight:

In those days when in the gardens of the Lyceum

I'm sereneblossomed...

End of Chapter One:

Go to the banks of the Neva,

Newborn creation

And earn me a tribute of glory:

Crooked talk, noise and swearing!

4. Lyrical digressions are used to transition from one narrative plan to another.

Now we have something wrong in the subject:

We better hurry to the ball,

Where to headlong in a Yamsk carriage

AlreadymyOnegin galloped off.

There are especially many lyrical digressions in the first chapter.

5. Lyrical digressions appear before climaxes actions:

Before the explanation with Onegin.

Before Tatyana goes to bed.

Before the duel.

All This means, friends:

WITH I'm shooting with a friend.

Firstly, it shows the passage of time in the novel, and secondly, it characterizes spiritual world heroes: often accompanies the image of Tatiana.

Role insert elements.

1. The letters are not written in Onegin’s stanza, which emphasizes their independent role in the novel and correlates with each other.

2. Tatiana's dream is the axis of symmetry of the novel, a parody of the guests. It foreshadows future events and, in a sense, is an expression of the author's position.

3. Folklore elements accompany the image of Tatiana. Given before turning points in her destiny:

The girls' song - before the explanation with Onegin;

The dream is before the name day and the duel between Onegin and Lensky.

The compositional role of artistic time, the internal time of the novel.

Novel time does not always correspond to the real passage of time, although certain milestones (for example, the change of seasons) also indicate real time in "Eugene Onegin".

flew up the marble steps like an arrow.

In the village, time stands almost still: six months pass between the explanation of Tatiana and Onegin and the duel.

The compositional role of household items:

new things mark a new stage in the hero’s life and, accordingly, in the organization of the novel. The path of Tatyana's mother.

Despite the clarity of the composition, it seems that the author treats it lightly and carelessly - the poet skips events in the lives of the heroes, lines, stanzas, omits an entire chapter (“Onegin’s Journey”), and leaves the denouement open. All this corresponds to the principles of late lyricism. Pushkin asserts copyright on the arbitrary construction of a “free” novel.

Dramatic destinies - reflection of destinies the best people Pushkin's time.

Invisibly present always and everywhere

Takes part in the fate of heroes

Shares your thoughts and feelings with the reader

Talks about the morals of society.

The novel "Eugene Onegin" is a genre that has no analogues in world literature - a novel in verse. Genre definition Pushkin gave his work to Vyazemsky in 1823: “As for my studies, I am now writing not a novel, but a novel in verse - a devilish difference! Like Don Juan." A novel in verse is rare literary form, which combines a novel plot, which is a feature epic kind literature, and its presentation in poetic speech. Such a genre-style organization literary work close to the great poem, it is no coincidence that Pushkin compares his manuscript with Byron’s poem “Don Juan” (1818-1823). The concept of “Eugene Onegin” was also influenced by another poem by Byron, “Childe Harold’s Pilgrimage” (1812-1818). In Byron Pushkin's poems, he was attracted by the types of heroes, as well as the problems and large form. However, unlike the works of Byron and other European poems, Eugene Onegin is a novel.

A poem is a work with a narrative plot set out against the background of lyrical experiences, which are presented in the text in the form of lengthy lyrical digressions, songs and other inserted elements. A poem, as a rule, has a poetic form. The genre of the poem has changed throughout the development of literature: epic ancient poems, medieval poems, and Renaissance poems are distinguished. The genre of the poem flourished in early XIX century in the era of romanticism. The poems of that period were dominated by socio-philosophical and moral-philosophical issues. “Eugene Onegin” contains obvious features of a poem, which is why the poet’s contemporaries often called the work a poem. Firstly, the work is replete with author’s digressions, which in some cases are lyrical in nature. Secondly, the novel includes fragments of other genres, such as epistolary, elegiac and folklore. The text of the novel contains two letters; in chapter three, Tatyana Larina writes a letter to Onegin, revealing her feelings to him. In chapter eight plot situation repeats itself, but now Onegin, tormented by love, confesses it to Tatyana, a stately society lady, a princess, but for Onegin - a former district young lady who once fell in love with him. Before the duel between Onegin and Lensky, Pushkin places in the text of the novel Lensky’s elegy, which conveys the feelings of the young poet on the last night of his life and which is intended to express highest degree dreamy romanticism, which by that time was already leaving the literary scene. And finally, in chapter three, the description of the confused feelings of young Tatiana, running away from a meeting with Onegin, is interrupted by the perky song of peasant girls picking berries in the garden.

However, these genre digressions are closely related to the plot; they, like other elements of the plot, constitute its integral part and cannot be considered as inserted works, as is the case in the poem. As for the author's digressions, they are also not divorced from the plot; there is not a single text episode in which the author writes about something completely abstract, unrelated to the main narrative, be it the characteristics of the hero, time, literature, history, or even the state of the roads. The plot and digressions form a single narrative space in which the picture of Russia of that time is depicted.

The question inevitably arises: why did Pushkin prefer the poetic form of the novel? The explanation that Pushkin was first and foremost a poet is not enough. Pushkin collected small and medium forms of Russian poetry and combined them for a broad depiction of Russian reality. But literary language prose was still in the formative stage, and his further development in the 1830s, Pushkin, Gogol and Lermontov contributed.

The originality of the plot and composition of the novel "Eugene Onegin"

The plot basis of the work is the image Russian life and nature. Picture of life Russian society focused on the life of the nobility, morals and culture of St. Petersburg, Moscow and the provinces. A description of St. Petersburg life occupies chapters one and eight; Moscow is shown in the second part of chapter seven; The main part of the novel is devoted to the Russian village. It is in chapters two through seven that the reader is immersed in the local, landowner’s life, observing episodes peasant labor and everyday life, feels surrounded by the beauty of Russian nature - in the novel, every event is accompanied by its descriptions. In the notes to his work, Pushkin wrote that in the novel “time is calculated according to the calendar,” indicating with this remark the fusion of literary time in it (that is, time within the work) and real, historical time. This is the leading principle of constructing the plot of a novel: everything that happens in it is not just connected with each other, but also happens as in reality itself.

The novel has two main plot lines: the Onegin-Lensky relationship line (the theme of friendship) and the Onegin-Tatyana relationship line (the theme of love). Complementary to the love line is the relationship between Lensky and Olga, but they should not be considered an independent plot line, since they serve to deeper depict the theme of love in the novel. Both main plot lines are distributed unevenly in the novel. The beginning of the line “Onegin - Lensky” occurs in chapter two, and it is immediately shown as conflicting:

They got along. Wave and stone

Poetry and prose, ice and fire

Not so different from each other.

A conflict emerges after friends visit the Larins. The climax of the conflict occurs at the end of chapter five, when the heroes quarrel. The duel between Onegin and Lensky and the death of the latter mark the end of the conflict.

The beginning of the main conflict between Onegin and Tatyana is described in the scene where the heroes meet at the beginning of chapter three. The meeting itself is not shown in the text, but the impressions of the characters after it are depicted: Onegin’s immediate reaction is given during Onegin and Lensky’s trip home, and in the following stanzas Tatyana’s experiences and the blossoming of her feelings are shown. There are two identical love situations in the novel, both consisting of four components: meeting, falling in love, a letter and a verbal response; the characters in them change places: in chapters three and four, Tatyana's love is depicted, in chapter eight - Onegin. It is obvious that Pushkin completed Onegin’s letter to Tatiana in 1831 in order to make these situations identical and create a “mirroring” effect between them: they are reflected in each other, as in a mirror, immersing the reader in endless contemplation of the mystery of love. Composition love line Onegin and Tatiana was called mirror. Two features of this line can be noted: on the one hand, it develops from the meeting to the parting of the heroes, like a mirror standing between them; these events are also shared by chapter five, which describes Tatyana’s dream and the scene of her name day. On the other hand, Tatiana’s love, described at the beginning, at the end seems to be “reflected” in Onegin’s love.

The first two chapters of the novel are expositional for the love storyline; they are written on the principle of stylistic antithesis: chapter one shows the birth of Onegin, his upbringing and education, the time spent in secular society, - the formation of the character of the hero. Chapter two is devoted to a description of the rural province; Pushkin pays a lot of attention to the characterization of Lensky, who came from Germany after studying at the University of Göttingen, but central place The chapter is dedicated to introducing readers to Tatyana.

In addition to the composition of the plot, the following compositional elements of the novel are noted: the chapter, which is the main compositional unit of the work, the stanza, the minimum narrative unit (it is necessary to take into account unfinished and missing stanzas, which are nevertheless marked with numbers); dedication; epigraphs to the novel and to each chapter, alternating plot narration and author’s digressions. Each of the named elements is not random feature compositions, any of them plays an ideological and semantic role. For example, the epigraph to the entire novel is an excerpt from a private letter written in French. The source of this epigraph has not been established; the author seems to be mystifying the reader: why is this epigraph needed? Taking a closer look at its content, we understand that it is about oddities modern hero. This is how the novel's problems are outlined:

“Imbued with vanity, he also possessed that special pride that prompts him to admit with equal indifference both his good and bad deeds - a consequence of a sense of superiority, perhaps imaginary. From a private letter (French)."

Onegin's stanza, in addition to other advantages, helps, for example, to achieve expressiveness of the narrative or to smoothly transition from the plot part to digressions and back.

Source (abbreviated): Moskvin G.V. Literature: 9th grade: in 2 hours. Part 2 / G.V. Moskvin, N.N. Puryaeva, E.L. Erokhin. - M.: Ventana-Graf, 2016