“First of all, let’s re-read the epigraphs of Dmitriev, Baratynsky and Griboyedov. (11, p. 181) They outline the main theme of the seventh chapter -- Moscow theme, where Pushkin transfers the action of the novel. The epigraphs indicate that the poet looks at Moscow not as a second capital, but as a beloved Russian city, which most powerfully and completely personifies the Motherland, the focus of one love, and bows to its great role in the history of the Russian state.” (7, p. . 15)
G. Belinsky wrote: “The first half of the 7th chapter... somehow especially stands out from everything with its depth of feeling and marvelously beautiful verses.
Here Pushkin talks about the future of Russia, about future roads, and talks about the present ones. It feels like it was him who said that there are two troubles in Rus': fools and roads.
“...(Five hundred years later) roads, right,
Ours will change immensely:
The Russian highway is here and here,
Having connected, they will cross,
Cast iron bridges over water
They step in a wide arc,
And he will lead the baptized world
At every station there is a tavern..." (11, p. 194)
“Now our roads are bad.
Forgotten bridges are rotting,
There are bugs and fleas at the stations
Minutes do not allow you to fall asleep;
There are no taverns..."
“But winters are sometimes cold...
...The winter road is smooth..." (11, p. 194)
And in front of us it’s like a map of Moscow:
“Already white-stone Moscow,
Like heat, golden crosses
Ancient chapters are burning..." (11, p. 194)
"In my wandering destiny,
Moscow, I was thinking about you! Moscow...so much in this sound
For the Russian heart it has merged!
How much resonated with him!» (11, p. 194)
Petrovsky Castle was located near the entrance to Moscow. In 1812, during his campaign in Russia, Napoleon escaped in it from the fire that engulfed Moscow and the Kremlin.
“Petrovsky Castle. He's gloomy
He is proud of his recent glory.
I waited in vainNapoleon ,
Intoxicated with the last happiness,
Moscow kneeling
With the keys of the old Kremlin:
No, I didn't goMoscow is mine
To him with a guilty head.
Not a holiday, not a receiving gift,
She was preparing a fire
To the impatient hero.
From now on, immersed in thought,
He looked at the menacing flame." (11, p. 195)
In the novel, Pushkin described and perfectly correlated the landscapes of different cities and villages. I mean St. Petersburg and Moscow. And the village of Onegin and the Larins.
“Let's go! Already the pillars of the outpost
Turn white; here on Tverskaya
The cart rushes through potholes.
The booths and women flash past,
Boys, benches, lanterns,
Palaces, gardens, monasteries,
Bukharians, sleighs, vegetable gardens,
Merchants, shacks, men..." (11, p. 195)
Susaninskaya secondary school
“The role of lyrical digressions in the novel by A.S. Pushkin "Eugene Onegin"
Completed by a student of grade 9 “b”
Golyanova Anastasia
Head: Denisenko I.V.
Susanino 2011-2012 academic year
I. Introduction.
II. The history of the creation of the novel in verse by A.S. Pushkin “Eugene Onegin”.
III. Features of the genre of A. S. Pushkin’s novel “Eugene Onegin”.
IV. Subjects of lyrical digressions
1. Nature theme
2. Landscape as a means of characterizing heroes. (“Favorite heroine” Tatyana “feels” nature
3. Lyrical digressions about creativity, about love in the poet’s life
4. Lyrical digressions about training and education
5. Love for the Motherland
6. Lyrical digressions about theater, ballet, drama and creativity. The novel “Eugene Onegin” - the author’s lyrical diary
V. The novel “Eugene Onegin” - the author’s lyrical diary
Bibliography
I. Introduction. My Pushkin
The longer life
That's why Pushkin is dearer to me,
Mileier, more expensive, closer and clearer.
What could it be
And sweeter and more pleasant?
For every Russian person, Pushkin is the greatest Russian poet. But each of us has our own Pushkin: for some, Pushkin is a storyteller, for others, he is a lyricist, prose writer, and for others, he is the creator of the immortal “Eugene Onegin.”
Every person's life is closely connected with books. As a child, when I still couldn’t read, my mother read me fairy tales by Alexander Sergeevich Pushkin. The melodic poems and vivid images immediately appealed to me. Now I really like to read books. When I read Eugene Onegin, it became the best literary work for me. An interesting plot and unusual characters, the love story of the main characters - all this interested and made you think, but probably no less fascinating was the knowledge of the life of secular society in the distant 19th century. I think that many discoveries still await me on the way to getting acquainted with the work of A.S. Pushkin. Pushkin's life and his works will remain in my memory forever.
What do we call a lyrical digression? Maybe, from the point of view of plot development, this is generally unnecessary in the work? Firstly, it distracts from the main line. Secondly, the lyrics, and give us events and conflicts, a story about the actions of the main characters or, at worst, a description of nature. But such an opinion is superficial. If you think about it, the goal of any work is not the development of the plot, but the implementation of the author’s ideas associated with it, his response to historical events or the author’s contemporary views on life.
A lyrical digression is a special form of author’s speech, the word of the author-narrator, falling out of the general plot description of events for their “subjective” commentary and evaluation “on an occasion”, most often not directly related to the action of the work (literary dictionary). Pushkin Alexander Sergeevich (1799-1837), Russian poet, founder of new Russian literature, creator of the 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 the Byronism of the hero 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. “Lyrical digressions in A.S. Pushkin’s novel “Eugene Onegin”, the topic of this essay is interesting because the author’s statements, although they are an extra-plot element, are very important for understanding the idea of the work. All lyrical digressions allow us to address readers directly from the pages of the work, and not from any of the characters. With the help of author's digressions, writers and poets express their feelings and thoughts, making us think about life values, such as patriotism, love for people, respect, kindness, sensitivity and courage. A lyrical digression makes the reader take a fresh look at the novel and delve deeper into the author’s ideological plan.
On the pages of the novel, the poet not only narrates the fate of his heroes, but also shares with the reader his creative plans, talks about literature, theater and music, about the ideals and tastes of his contemporaries. He enters into an imaginary polemic with his critics, talks about nature, and ironizes about the morals and customs of the local and secular nobility. Thanks to lyrical digressions, the plot about love and friendship grows into a detailed picture of the era, creating a holistic image of Russia in the first third of the 19th century. Through the eyes of the author, the novel shows a picture of Russian culture contemporary to Pushkin.
General plan of the novel "Eugene Onegin"
Part I: Preface.
Song - Poet. Odessa. 1824.
Song - Young Lady Odessa. Mikhailovskoe. 1824.
Song - Mikhailovskoye Village. 1825
Song - Name Day. Mikhailovskoe. 1825-1826.
Song - Duel. Mikhailovskoe. 1826.
Song - Moscow. Mikhailovskoe. 1827 - 1828.
Song - Wandering. Moscow, Pavlovsk, Boldino. 1829.
II. The history of the creation of the novel in verse by A.S. Pushkin “Eugene Onegin”
“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 unafraid of contradictions story not only about modern heroes, but also about 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 completion 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 the 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, the Bessarabian “mixture of clothes and faces, tribes, dialects, states,” contacts with members of secret societies contributed to the growth of political radicalism (statements recorded by contemporaries; before the expulsion, Pushkin promised Karamzin not to write “against the government” 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 (Nizhny Novgorod province) due to cholera quarantines. “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. Onegin is a typical figure for noble youth of the 20s of the 19th century. Even in “The Prisoner of the Caucasus,” A.S. Pushkin set himself the task of showing in the hero “that premature old age of the soul, which has become the main feature of the younger generation.” The problems of purpose and meaning in life are key and central in the novel, because at turning points in history, such as the era of the December uprising for Russia, a reassessment of values occurs in people's minds. And at such a time, the poet’s highest moral duty is to point society to eternal values and give firm 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 artistically perfect 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.
III. Features of the genre of A. S. Pushkin’s novel “Eugene Onegin”
“Now I’m not writing a novel, but a novel in verse - a devilish difference”
A.S. Pushkin.
A. S. Pushkin’s novel “Eugene Onegin” is the greatest work that has no analogues in genre in Russian literature. The novel “Eugene Onegin” by A. S. Pushkin is “an encyclopedia of Russian life, which reflected the historical era, presented through the history of the hero and the plot, through an objective narrative. Pushkin himself wrote that by novel he meant “a historical era developed on a fictional narrative.” This is not just a novel, but a novel in verse, as Pushkin wrote, “a devilish difference.” The novel “Eugene Onegin” is a realistic, historical, social and everyday novel, where Pushkin depicted Russian life on an unprecedentedly wide, truly historical scale. In his novel two principles merged - 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.
Lyrical digressions are widespread in modern literature. They matter no less than the main text of the work.
The role of lyrical digressions in the novel
Pushkin himself stepped onto the pages of the novel “Eugene Onegin”, stood next to the characters, talking about personal meetings and conversations with them. It is from the words of the author that we largely learn the character of Onegin; it is his memories and assessments that become signs of the times for the reader. The lyrical digressions in the novel are not just sweet memories from the life of the author, not only flashes of his bright personality, but the most truthful and vivid illustrations of Russian life in the first quarter of the 19th century, written by the greatest artist, sprouts from which, wonderfully intertwined, pictures of life took shape and grew.
For example, a lyrical digression about women's legs seems to be comic, funny, like sketches in the margins of a draft, which are insensitively drawn by a hand, while the mind gives birth to a thought, while the line is being put together. But its ending is about youthful love: I remember the sea before the storm:
How I envied the waves
Running in a stormy sequence
Lay down with love at her feet!
How I wanted then with the waves
Touch your lovely feet! -
not a random flash-vision of young Maria Raevskaya, but an important detail of the narrative, because it is to the tragic fate of this proud and brave woman that Pushkin will return more than once. Isn’t it her dedication and respect for her husband that will be heard in the last answer of Pushkin’s beloved heroine, Tatyana! It is her loyalty and self-sacrifice, the ability to live in duty to loved ones that symbolizes the soul of a Russian woman for the poet. Or a lyrical digression about Moscow, about the Napoleonic invasion of 1812, permeated with a sense of pride that
...my Moscow didn’t go
To him with a guilty head.
Not a holiday, not a receiving gift,
She was preparing a fire
To the impatient hero.
Pride in one’s capital, one’s homeland, a sense of involvement in its history, a feeling of being an integral part of it are characteristic of the Russian character of Pushkin’s contemporary and like-minded person. It was from this that the desire to change the foundations of the state grew, from here the Decembrists paved the way to Senate Square and to the mines of Siberia. In lyrical digressions we see the interweaving of the personal and the public, the voices of the heart and soul, the calls of the mind. Here is another lyrical digression - at the beginning of Chapter VIII. The result of a separate period of life and creativity, when the muse
Sang<…>
And the glory of our antiquity,
And hearts trembling dreams,
when the poet proudly says:
Old man Derzhavin noticed us
And, going into the grave, he blessed.
You immediately remember that Derzhavin and Pushkin have many common themes in poetry and one of them is “I erected a monument to myself not made by hands...”. No, lyrical digressions are not superfluous. There is nothing “superfluous” in the brilliant novel of the brilliant Russian poet, because the “encyclopedia of Russian life”, written by the great poet and outstanding personality, is composed of events comprehended by his mind and feelings that excited his soul.
IV. Subjects of lyrical digressions
1. Nature theme
The themes of lyrical digressions in Eugene Onegin are very diverse. We learn about how secular youth were brought up and spent their time, the author’s opinion about balls, fashion, food, and the life of the “golden” noble youth. This is the theme of love: “The less we love a woman, the easier it is for her to like us,” and the theme of the theater where Didelot’s ballets were performed and Istomina danced, and a description of the life of the local nobility, going back to oral folk art - Tatyana’s dream, reminiscent of a Russian fairy tale , fortune telling.
The author's voice is heard in many lyrical digressions that determine the movement of the narrative. One of the most important themes of lyrical digressions is the image of nature. Throughout the entire novel, winter flies before the reader with the cheerful games of children, and spring - “the time of love.” The author of the novel paints a quiet summer, and, of course, he does not ignore his beloved autumn.
Pushkin himself wrote in the notes to “Eugene Onegin”: “We dare to assure that in our novel time is divided according to the calendar.” Can
It’s easy to remember the passage of time. In the summer, Onegin goes to the village: “For two days, secluded fields seemed new to him, the coolness of a gloomy oak grove, the murmur of a quiet stream...” Bored and languishing, Onegin spends the autumn in the village. In winter, guests gather for Tatiana's name day. Winter is a cheerful time of year, solemn and elegant: “the river shines neater than fashionable parquet, dressed in ice,” “cheerful flashes, the first snow curls, falling like stars on the shore.” In the spring, when “driven by the spring rays, the snow has already run down from the surrounding mountains in muddy streams onto the flooded meadows,” the Larins go to the “bride fair.” This or that landscape painting serves as a “screensaver” for a new stage in the life of the hero of the novel. The life of man and nature are inextricably linked. Spring is defined as!
“It’s time for love,” and the loss of the ability to love is compared to the “cold storm of autumn.” Just as the seasons change each other, everything living is born and dies, then everything living is born again, so too does human life flow: generations change, the “flourishing” and “fading” of the human soul comes: “or with a revived nature we bring together with a confused thought the withering of our years that have no rebirth? The author inextricably connects the spirituality and high moral qualities of his heroine with her closeness to nature: “she loved to warn the sunrise on the balcony.”
2. Landscape as a means of characterizing heroes and heroines
“The sky was already breathing in autumn, the sun was shining less often, the days were getting shorter...” - every schoolchild knows these lines of “Eugene Onegin,” but what role do they play in the novel? How do they help the reader unravel the intention of Pushkin, the author of this novel? Sometimes the landscape is romantic, sometimes banal and ordinary. What did Pushkin want to show with this diversity? It seems to me that with his writing style he sets the reader in the right mood and mood. For example, at the beginning of the seventh chapter we read a description (repeat!) of spring, “the season of love.” The peaceful spring is salvation for our heroes, a break from the hard winter. “Morning of the Year” takes the reader out of the mood of sadness in which he finds himself after chapter 6, where Lensky dies. At the same time, a feeling of falling in love, an expectation of joy and happiness is created. The many trails add special beauty and vividness to the description of the landscape. These are epithets (“transparent forests”, “spring rays”) and metaphors (“morning of the year”, “field tribute”), personification (the author animates nature: “with a clear smile nature greets the morning of the year through a dream”) and comparison (“still transparent the forests seem to be turning green." The picture is full of color and positive(?), comfort.
In addition, with the help of a landscape, the author conveys his attitude towards what is being described. Let us pay attention to the description of the village of Onegin. We know Onegin’s opinion about the village (“boredom in the village is the same”), and, for sure, he could not have said these lines: “The village where Eugene was bored was a charming corner;
…In the distance, in front of him [the house], golden meadows and fields were colorful and blooming...”
This description is full of love, affection for the village (???). This means that Pushkin writes about his craving for rural life and nature. An entire stanza from Chapter 1 is dedicated to this:
"I was born for a peaceful life,
For village silence...”
This is an important role of the landscape, because Pushkin wrote a “free novel”, a kind of autobiography or personal diary. And we can learn more about the author not only from lyrical digressions, but also from landscape sketches.
And the third task of the landscape in a novel is to reveal the character of the heroes of the work. the heroine, whose image was mainly created with the help of nature, is Tatiana.
“Tatiana (Russian soul,
Without knowing why)
With her cold beauty
I loved the Russian winter..."
This is how Pushkin secretly declares the similarity between Larina and the Russian season itself, winter. This season is a symbol of Russia, the Russian people. But the similarity is external (“...with her cold beauty...”), because Tatyana has a warm heart, capable of great and sincere feelings.
Throughout the entire work, Tatyana is accompanied by the moon. In addition to direct comparisons with the moon (“the morning moon is paler”), she is next to our heroine during all her experiences, travels and troubles:
“...In a clean field,
moon in silver light
immersed in my dreams,
Tatyana walked alone for a long time.”
“Sad moon” - this can describe Larina, lonely, outwardly cold (like winter), in love. In addition, the moon creates a romantic-depressive mood, which helps us feel Tatyana’s condition. But the moon is completely different for the unpoetic Onegin, who is bored everywhere and everyone is uninteresting. This is what he says about Olga:
“..Round and red-faced,
Like this stupid moon
On this stupid sky."
In addition to all this, the landscape can convince the reader of the authenticity of what is happening. For example, at the beginning of chapter 5 we read:
"That year the autumn weather
stood in the yard for a long time...
Snow only fell in January
On the third night..."
But this particular year, winter did not come, as is typical in Russia, at the end of autumn, but only at the beginning of January. The description of nature does not occupy a significant part of “Eugene Onegin,” but despite this, the landscape plays a huge role, namely, it creates the mood of the episodes, participates in creating the image of the author, and emphasizes the characters of the characters.
3. Lyrical digressions about creativity, about love in the poet’s life
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 once. And, like everyone else, he sought this love. Poetry and Pushkin's life are intertwined. He wrote poems to his 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
Poetry is sacred nonsense...
His novel, as we understood after reading it, becomes a novel-diary, where he pours out his most secret things (naturally in verse). 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.” For the author and Tatyana, love is a huge, intense spiritual work. For Lensky it is a necessary romantic attribute. For Onegin, love is not a passion, but a flirtation 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...” 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 the romance plot of the novel begins to unfold. Tatiana sends a love letter to Evgeniy. Onegin, as a well-educated man of noble society and as a romantic (to some extent), 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 connected with modernity, with the real circumstances of Russian life and with the people of the 1820s. However, this is not enough for Pushkin: he wants his hero to be as much a “conventional” literary character as he gives the impression of a hero “written off” from reality. This is why Pushkin gave the hero such a literary name and such a literary fictional 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. 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, also quite literary, comes from the image: Lar. Being a provincial provincial young lady, she read many novels. It was from there that she drew the image of the “young tyrant” Onegin, his mysteriously romantic features. 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 same one 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 along with Tatyana before the reader’s eyes - 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.
4. Lyrical digressions about training and education
They are accompanied by a philosophical digression.
"We all learned a little
Something and somehow."
Pushkin studied at the Lyceum. In “Eugene Onegin” he also mentions those years of study and remembers his old friends. At the very beginning of Chapter 1, as the author admits, it is “replete with alien words.”
“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. Moreover, in such a way that it was very difficult to understand where his native language was.
This statement: “We all learned a little, something and somehow” also applies to Onegin. Could a person who studied this way talk with a friend about historical topics, ask philosophical questions and read literary, foreign books? Of course not. This means that the author makes it clear to us that Onegin is well educated, like himself.
stanza of chapter 1, very critically assesses Onegin’s level of education, but then in stanza 8 of the same chapter it is concluded 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.
5. Love for the Motherland
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 were written: “Winter Evening”, “K***” (“I remember a 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 Olenevs:
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...
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 not only of life in the village.
6. Lyrical digressions about theater, ballet, drama and creativity
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...
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.” Now Onegin is not interested in either theater or ballets, which cannot be said about the author. For Pushkin, the St. Petersburg Theater is a “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;...
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:
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.
The historical framework of the novel is expanded by lines about Moscow and the Patriotic War of 1812:
Moscow... so much in this sound
For the Russian heart it has merged!
How much resonated with him!
…………………………………
Napoleon waited in vain
Intoxicated with the last happiness,
Moscow kneeling
With the keys of the old Kremlin;
No, my Moscow did not go
To him with a guilty head.
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 retained direct instructions in his drafts: “16 is no 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, looking at his “youthful heat and youthful delirium” like an adult. 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?
V. The novel “Eugene Onegin” - the author’s lyrical diary
Thus in the novel. His works will never be old-fashioned. They are interesting as layers of Russian history and culture.
A special place in the work of A.S. Pushkin is occupied by the novel Eugene Onegin.
From the very beginning of the work, the author conducts a dialogue with the reader, travels through the world of feelings, images, events, shows his attitude towards the main characters, their experiences, thoughts, activities, interests. Sometimes something is impossible to understand, and the author complements it.
Reading about Onegin, you might think that this is Pushkin himself.
I'm always happy to notice the difference
Between Onegin and me...
As if it's impossible for us
Write poems about others
As soon as about yourself.
Some stanzas of this novel can be called independent works, for example:
Love has passed, the muse has appeared,
And the dark mind became clear.
Free, looking for union again
Magic sounds, feelings and thoughts...
Friendship between Onegin and Lensky, in which they agreed wave and stone, poetry and prose, ice and fire , - gives the author the opportunity to reveal his attitude to this concept in a lyrical digression: So people (I’m the first to repent) There’s nothing to do, friends.
Pushkin has many lyrical digressions, where he reflects on love, youth, and the passing generation.
The poet gives preference to some heroes and evaluates them: Onegin, my good friend And Tatiana, dear Tatiana!
How much he talks about these people: about their appearance, inner world, past life. The poet worries about Tatiana's love. She says she's nothing like unavailable beauties , she, obedient to desire feelings . How carefully Pushkin preserves Tatyana’s letter:
Tatiana's letter is in front of me:
I cherish it sacredly.
Tatiana's ardent feeling leaves Onegin indifferent; accustomed to a monotonous life, he didn't know my fate in the image of a poor woman
and a simple provincial girl . And here is the tragic test of the hero - a duel with Lensky. The poet condemns the hero, and Eugene himself is dissatisfied with himself, having accepted the poet’s challenge. Evgeniy, loving the young man with all his heart, had to prove himself not a ball of prejudice, not an ardent boy, a fighter, but a husband with a heart and mind . He is unable to follow the voice of his heart and mind. How sad the author’s view of the hero is:
Having killed a friend in a duel,
having lived without a goal, without work
up to twenty-six years old,
languishing in idle leisure,
without work, without wife, without business,
I didn’t know how to do anything.
Unlike Onegin, Tatyana found a place in life and chose it herself. This gave her a feeling of inner freedom.
Pushkin excluded any completeness of the novel, and therefore, after Onegin’s meeting with Tatyana, we do not know Onegin’s further life. Literary scholars suggest, based on unfinished drafts, that Onegin could have become a Decembrist, or was involved in the Decembrist uprising on 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. . - The spiritual world, the world of thoughts, experiences.
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.
Roman A.S. Pushkin Eugene Onegin is interesting to me not only for its plot, but also for its lyrical digressions, which help to better understand historical, cultural and universal values.
A. S. Pushkin’s novel “Eugene Onegin” was called by V. G. Belinsky “the most sincere” work of the poet. After all, Pushkin conducts a lively, sincere conversation with his reader, allowing him to find out his own opinion on a variety of issues and topics.
Bibliography
1) Critical articles of Belinsky
2) Herzen “On the development of evolutionary ideas in Russia”
3) Critical articles by Yu.M. Lotmona
4) Yu.N. Tynyatov “On the composition of “Eugene Onegin”
5) L.I. Wolpert “Sternistic tradition about the novel “Eugene Onegin”
6) V.V. Bleklov “The Secrets of Pushkin in Eugene Onegin”
7) Alfred Barkov “Walking with Eugene Onegin”
8) D.D. Blagoy "Eugene Onegin"
9) Lydia Ioffe “Eugene Onegin and I”
Tags: The role of lyrical digressions in the novel by A.S. Pushkin "Eugene Onegin" Abstract Literature
RESPONSE PLAN
1. Features of the genre of A. S. Pushkin’s novel “Eugene Onegin”.
2. The role of lyrical digressions in the novel.
3. The topic of lyrical digressions in the novel: the poet’s views on culture, literature, language; reconstruction of the poet's biography; the poet's memories of his youth and friends; appeal to the Muse and the reader; landscape sketches; education and pastime of youth; everyday life, fashion; Russian history.
4. The novel “Eugene Onegin” is the author’s lyrical diary.
1. A. S. Pushkin’s novel “Eugene Onegin” is the greatest work that has no analogues in genre in Russian literature. This is not just a novel, but a novel in verse, as Pushkin wrote, “a devilish difference.” The novel “Eugene Onegin” is a realistic, historical, social and everyday novel, where Pushkin depicted Russian life on an unprecedentedly wide, truly historical scale. In his novel two principles merged - 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.
The heroes of the novel are like “good friends” of its creator: “I love my dear Tatyana so much,” “I became friends with him at that time...”, “My poor Lensky...” Lyrical digressions expand the time frame of the plot action in the novel, connecting the past to it.
3. The author’s voice is heard in numerous lyrical digressions, in which he, 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 come to life, about forced exile - “will the hour of my freedom come?”
The author as a character in the novel is associated with the mention of his friends and acquaintances: Kaverin, Delvig, Chaadaev, Derzhavin, sad and bright words about past days and departed friends: “Some are no longer there, but those are far away...” In reflections on life, its transience , the poet is visited by philosophical thoughts about time, which he shares with his readers on the pages of the novel:
Am I about to be thirty years old...
……………………………………
But it's sad to think that it's in vain
We were given youth.
……………………………………
Perhaps it won't drown in Lethe
A stanza composed by me;
Perhaps (a flattering hope!)
The future ignorant will point out
To my illustrious portrait
And he says: that was the Poet!
The poet is concerned about the fate of his creation, and he, constantly turning to the reader and presenting him with a “collection of motley chapters,” tells from the pages of his novel how he is working on it:
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.
……………………………
It's time for me to become smarter
Get better in business and style,
And this fifth notebook
Clear away from deviations.
The themes of lyrical digressions in Eugene Onegin are very diverse. We learn about how secular youth were brought up and spent their time, the author’s opinion about balls, fashion, food, and the life of the “golden” noble youth. This is the theme of love: “The less we love a woman, the easier it is for her to like us,” and the theme of the theater where Didelot’s ballets were performed and Istomina danced, and a description of the life of the local nobility, going back to oral folk art - Tatyana’s dream, reminiscent of a Russian fairy tale , fortune telling.
Dwelling on the description of the life of the local nobility, in particular the Larin family living in the village, the author says:
They kept life peaceful
Habits of a dear old man.
…………………………………
She went to work
Pickled mushrooms for the winter,
She managed expenses, shaved her foreheads...
Numerous landscape sketches are important for the development of the action. All seasons of the year pass before the reader: summer with a sad noise, with its meadows and golden fields, autumn, when the forests were exposed, winter, when the frosts “crack,” spring:
Nature's clear smile
Through a dream he greets the morning of the year;
And the nightingale
Already singing in the silence of the night.
For the first time in Russian literature, a rural landscape of the Central Russian strip appears before us. Nature helps reveal the character of the characters; sometimes the landscape is described through their perception:
Tatiana saw through the window
In the morning the yard turned white.
Another theme of lyrical digressions is important in the novel - this is an excursion into Russian history. The historical framework of the novel is expanded by lines about Moscow and the Patriotic War of 1812:
Moscow... so much in this sound
For the Russian heart it has merged!
How much resonated with him!
…………………………………
Napoleon waited in vain
Intoxicated with the last happiness,
Moscow kneeling
With the keys of the old Kremlin;
No, my Moscow did not go
To him with a guilty head.
4. The novel “Eugene Onegin” is a deeply lyrical work. This is a diary novel, from which we learn no less about Pushkin than about his heroes, and the author’s voice does not interfere, but contributes to the disclosure of images with realistic breadth and truth. Having recreated an entire historical era and linked the epic and lyrical into a single whole, the novel was (as the author intended) “the fruit of the mind of cold observations and the heart of sorrowful notes.”
Describing the events in the novel and revealing various topics, she supplements it with her observations, her statements, and opinions, which makes the work seem authentic. Lyrical digressions, which are not difficult to find in Eugene Onegin, are the writer’s live communication with the heroes of the work. So, for example, when Onegin goes to a ball, Pushkin immediately talks about how he, too, was crazy about balls in his time. He discusses women's legs and immediately apologizes to the reader for such memories, promising to become a little more mature.
Thanks to the lyrical digressions that we encounter already in the first chapter of the novel, where the author expresses his opinion about Onegin, Pushkin thereby makes himself not only a narrator, but also an actor, where the writer is a friend of the hero, calling him a good friend.
The role of lyrical digressions is enormous, because they enliven the work and better reveal the themes of the author’s work. They introduce us to the biography of Pushkin, where he recalls his southern exile, there are memories of his youth and the period of study at the lyceum. In digressions, the writer lets us in on his plans, talks about literature and theater.
A lot of lyrical digressions are devoted to Russian nature and the seasons. This is how Pushkin talks about winter, remembering the boys who cut the ice with skates, and writes how the first snow curls. Describing summer, he talks about spring - the time of love, and the author does not pass by the autumn season. Pushkin pays special attention to digressions on the times of day, where night is the most attractive time for the writer.
Thanks to lyrical digressions, the writer has the opportunity to have a light conversation with readers, where he can talk about the youth of his time and their upbringing, about how they spend their time, drawing pictures of the life of that time.
If you single out the topic of lyrical digressions separately, you can see the theme of creativity as a whole and the author’s thoughts about the specifics of the work. Social life is also revealed here, and the theme of love is also touched upon in the novel. In the lyrical digressions, the theme of friendship, the theme of freedom, village life can be traced, and there are also biographical motives.
Essay on the topic “Lyrical digressions and their role in the novel by A.S. Pushkin “Eugene Onegin”
The novel “Eugene Onegin” was written by Pushkin over eight years, from the spring of 1823 to the autumn of 1831. At the very beginning of his work, Pushkin wrote to the poet P.A. Vyazemsky: “I am now writing not a novel, but a novel in verse - a devilish difference!” The poetic form gives “Eugene Onegin” features that sharply distinguish it from a prose novel; it expresses the thoughts and feelings of the author much more strongly.
What gives the novel its originality is the constant participation of the author in it: here there is both an author-narrator and an author-actor. In the first chapter, Pushkin writes: “Onegin, my good friend...”. Here the author is introduced - the character, one of Onegin's secular friends.
Thanks to numerous lyrical digressions, we get to know the author better. This is how readers get acquainted with his biography. In the first chapter there are these lines:
It's time to leave the boring beach
I have a hostile element
And among the midday swells,
Under my African sky,
Sigh about gloomy Russia...
These lines mean that fate separated the author from his homeland, and the words “My Africa” make us understand that we are talking about southern exile. The narrator clearly wrote about his suffering and longing for Russia. In the sixth chapter, the narrator regrets the past young years, he also wonders what will happen in the future:
Where, where have you gone,
Are the golden days of my spring?
What does the coming day have in store for me?
In lyrical digressions, the poet’s memories of the days “when in the gardens of the Lyceum” the muse began to “appear” to him come to life. Such lyrical digressions give us the right to judge the novel as the personal history of the poet himself.
Many of the lyrical digressions present in the novel contain a description of nature. Throughout the novel we encounter pictures of Russian nature. There are all seasons here: winter, “when the joyful people of boys” “cut the ice” with skates, and “the first snow curls,” flashes, “falling on the shore,” and “northern summer,” which the author calls “a caricature of southern winters.” , and spring is “the time of love,” and, of course, the author’s beloved autumn does not go unnoticed. Quite a lot of Pushkin refers to the description of the time of day, the most beautiful of which is night. The author, however, does not at all strive to depict any exceptional, unusual pictures. On the contrary, everything with him is simple, ordinary - and at the same time beautiful.
Descriptions of nature are inextricably linked with the characters of the novel; they help us better understand their inner world. Repeatedly in the novel we notice the narrator’s reflections on Tatyana’s spiritual closeness with nature, with which he characterizes the heroine’s moral qualities. Often the landscape appears before the reader as Tatyana sees it: “...she loved to warn the sunrise on the balcony” or “... through the window Tatyana saw the white courtyard in the morning.”
The famous critic V.G. Bellinsky called the novel “an encyclopedia of Russian life.” And indeed it is. An encyclopedia is a systematic overview, usually from “A” to “Z”. This is the novel “Eugene Onegin”: if we carefully look at all the lyrical digressions, we will see that the thematic range of the novel expands from “A” to “Z”.
In the eighth chapter, the author calls his novel “free.” This freedom is, first of all, a relaxed conversation between the author and the reader with the help of lyrical digressions, the expression of thoughts from the author’s “I”. It was this form of narration that helped Pushkin recreate the picture of his contemporary society: readers learn about the upbringing of young people, how they spend their time, the author closely observes balls and contemporary fashion. The narrator describes the theater especially vividly. Talking about this “magical land,” the author recalls both Fonvizin and Knyazhin, especially attracting his attention is Istomin, who, “with one foot touching the floor,” “suddenly flies” light as a feather.
A lot of discussion is devoted to the problems of Pushkin’s contemporary literature. In them, the narrator argues about the literary language, about the use of foreign words in it, without which it is sometimes impossible to describe some things:
Describe my business:
But trousers, a tailcoat, a vest,
“Eugene Onegin” is a novel about the history of the creation of the novel. The author talks to us through lines of lyrical digressions. The novel is created as if before our eyes: it contains drafts and plans, the author’s personal assessment of the novel. The narrator encourages the reader to co-create (The reader is already waiting for the rhyme rose/Here, take it quickly!). The author himself appears before us in the role of a reader: “he reviewed all this strictly...”. Numerous lyrical digressions suggest a certain authorial freedom, movement of the narrative in different directions.
The image of the author in the novel has many faces: he is both the narrator and the hero. But if all his heroes: Tatiana, Onegin, Lensky and others are fictional, then the creator of this entire fictional world is real. The author evaluates the actions of his heroes; he can either agree with them or oppose them with the help of lyrical digressions.
The novel, built on an appeal to the reader, tells about the fictionality of what is happening, about the fact that this is just a dream. A dream like life
