The novel has its own internal literary time, and it clearly correlates with real historical time. If you trace, focusing on the time of the novel, its events, connecting them with the history of Russia, you can make interesting observations about Pushkin’s plan and its implementation. It is also interesting to compare some dates in the life of Pushkin and his hero in order to verify the writer’s intention to create a historically accurate portrait of his contemporary. At the same time, the author does not liken the hero to himself, preserving his individuality and personality, noting in chapter one:

I'm always happy to notice the difference

Between Onegin and me.

Pushkin's goal is to describe the type of young Russian nobleman of the first quarter of the 19th century. Therefore, some events coincide or are comparable in time. Onegin was born, according to researchers, in 1795, therefore, like Pushkin, he can be considered the same age as the 19th century. Onegin's childhood years are spent in St. Petersburg near the embankment of the Moika River and the Summer Garden, where the boy's French teacher takes him for walks. After graduating from the Lyceum, Pushkin lived for some time in a house on the Moika, from the windows of which the Mikhailovsky Castle and the Summer Garden were visible. The cultural and everyday atmosphere of Onegin's growing up and his education are shown very accurately, for example, new trends in the education of young nobles and changes in education. Let us remember that the French tutor “slightly scolded” his ward for pranks or “taught him everything jokingly,” which speaks of punishments that had become unpopular and of the introduced manner of teaching children through play.

The next stage of Onegin’s life coincided with the victory in the war and the expulsion of Napoleon from Russia - Onegin entered high society. The young hero plunges headlong into the “motley” and “monotonous” carousel of secular amusements; the description of the days of his life is a historically accurate sketch of the pastime of young St. Petersburg nobles in 1819. Pushkin uses an expressive artistic technique, depicting the years of Onegin’s social life (1812-1819) as one day, within which, as in a kaleidoscope, the same brilliant and boring events replace each other.

Onegin’s departure to the village occurred in 1819 - in the public life of Russia, this year was characterized by the intensification of the activities of secret political societies and the growth of tension in the state: the 1820s were coming - the time of the Decembrist movement, uprising and subsequent political reaction. The years of Onegin's stay in the village were for his generation a time of choice of political orientation and civic position. Therefore, Pushkin introduces the twenty-five-year-old skeptic Onegin and the eighteen-year-old romantic poet Lensky to the village, as if checking which of these heroes will be more in demand in modern Russia.

In 1820, according to the internal chronology of the novel, Onegin and Tatyana met, the theme of love arises in the work, and thus historical theme modern man turns out to be inextricably linked with the ability of his soul to fall in love. In January 1821, in the Epiphany frosts, a duel between Onegin and Lensky took place, the plot connections fell apart, and Onegin left the village. Onegin's wanderings around Russia, which were not included in the final version of the novel, were supposed to show the situation in the country before the tragic event - the Decembrist uprising.

Onegin returns to St. Petersburg in the fall of 1824. In April of the following year, the final explanation of Tatiana and Onegin takes place, after which the heroes part forever. It is significant that Pushkin brings the narrative to 1825, leaving artistic rethinking historical events for the future. This explains why Pushkin, after writing the novel, makes an attempt to supplement it with the brightest facts of modernity and begins to write the so-called chapter ten, in which, judging by the remaining fragments, he plans to create a poetic history of Russia in the first quarter of the 19th century, but for a number of reasons, including and censorship, destroys what is written.

Problems of the novel "Eugene Onegin"

The main themes of the novel are the image of modern man, the theme of love and the theme of Russia. Various formulations have been used to characterize Onegin’s personality, but they far from exhaust the complexity of his personality. For example, Onegin is called a “suffering egoist,” they note his “premature old age of soul,” and the author’s words about a modern hero are applied to him:

With his immoral soul,

Selfish and dry,

Immensely devoted to a dream,

With his embittered mind

Seething in empty action.

This is, of course, a very true and subtle characterization of Onegin, but one must also discern in the hero the desire for a full life and the opportunity to be reborn to it.

The relationship between Tatiana and Onegin determines the entire development of the plot, and the theme of love is certainly the main one in the novel. Perhaps Onegin's wanderings did not become a separate chapter, because the absence of the image of Tatyana in it would have violated the integrity of the novel. Pushkin seems to want to say with this that love knows no break, and therefore the plot of love cannot be stopped for a while. The love between Tatiana and Onegin should not be in doubt. Even many years later, refusing Onegin, Tatyana says:

I love you (why lie?),

But I was given to another;

And I will be faithful to him forever.

The theme of Russia unites St. Petersburg, Moscow and the countryside; metropolitan and landed nobility; Russian nature. The main thing in the novel were the types of heroes, their characters - Pushkin depicts the images of two young nobles, Onegin and Lensky, trying to find perspective in them further development Russian society. The image of the local young lady, and later Princess Tatyana Larina, is the key to a healthy, moral feminine principle in the nation. The theme of the “Russian blues” became the main theme in the novel.

The theme of “Russian blues” in the novel “Eugene Onegin”

The theme of “Russian blues” appears in the novel in chapter one, runs through the entire novel and has its own composition.

Let us remember chapter one: Onegin lives, like the entire young generation of his time, in idleness and entertainment. It would seem that a young man should like such a fate, because he is rich, well accepted in society, and easily achieves success with women. However, the epigraph to chapter one, taken by Pushkin from Vyazemsky’s poem “First Snow,” indicates the main problem to which the chapter is devoted:

And he’s in a hurry to live, and he’s in a hurry to feel.

With the help of an epigraph, Pushkin raises an important vital and moral question: does Onegin lead a healthy lifestyle, does his soul manage to grow stronger amid the eternal haste and pursuit of pleasure? And as an answer to this question, a turn is planned in the plot of the novel: in the midst of pleasure and bliss, the hero experiences a terrible emptiness in his soul, apathy and disappointment.

Pushkin distinguishes between “English spleen” and “Russian blues”, wanting to say that Onegin’s illness is caused exclusively by national character. In other words, the “Russian blues” is an individual, social and national phenomenon, to which at that time a significant part of younger generation. Pushkin sees in her main problem Russian society: “Russian blues” is the lack of meaning and purpose of existence, the will to live. Of course, the appearance of the blues in Onegin was influenced by satiety with life, but this is not main reason. One can believe in the sincerity of Onegin’s condition, because he, it would seem, has no reason to be disappointed: he will always be rich, since he is “the heir of all his relatives,” he is favorably accepted in society, being, in the opinion of the world, “smart and very nice,” he is a “true genius” at love affairs.

The blues struck Onegin so strongly that any attempt to overcome it ended in failure: he could not pour it out by writing, could not learn anything about it by reading books, and he was content only with melancholy walks and conversations with the author. Onegin did not free himself from the blues even after moving to the village. Pushkin introduces two situations of testing the hero: the test of friendship and the test of love. In an episode on Tatiana's name day, Onegin thoughtlessly offended his friend, cowardly accepted the challenge to a duel and shot Lensky. An illustration of the theme of “Russian blues” in the novel was the epigraph to chapter six, taken from the work of the Italian poet Petrarch: “Where the days are cloudy and short, a tribe will be born that does not hurt to die.”

Meanwhile, this tragic outcome became the culmination of the theme of “Russian blues” in the novel, since the hero could not remain indifferent to the crime committed. The former indifference and apathy were replaced by anxiety and the inability to stay in one place for a long time and, as a result, leaving the village. The hero becomes a wanderer, thereby embodying the motif of wandering, so important in Russian literature. The denouement of the theme of “Russian blues” came in chapter eight, when Onegin’s soul opened up to love, and he began to transform as a person, coming to life again.

Of course, Onegin’s love was late, and Tatiana’s refusal is fair and moral. Pushkin leaves Onegin alone, because now only the hero himself can choose his path.

The novel “Eugene Onegin” occupies a special place in the work of Alexander Sergeevich Pushkin. Pushkin wrote it for eight years: from 1823 to 1831. This time was very difficult in the history of Russia. The events of December 14, 1825 sharply turned the history of the country and sent it in a different direction. A change of eras occurred: work on the novel began under Alexander I, and was continued and completed during the reign of Nicholas I, when all moral guidelines in society changed dramatically.

Before you begin to analyze the novel, it is necessary to clearly understand the features of the genre of this work. The genre of “Eugene Onegin” is lyric-epic. Consequently, the novel is built on the inextricable interaction of two plots: epic (whose main characters are Onegin and Tatyana) and lyrical (where main character- narrator). The lyrical plot dominates in the novel, since all events real life and the novel’s existence of the heroes are presented to the reader through the prism of the author’s perception and assessment.

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 after the December uprising for Russia, a radical revaluation of values ​​occurs in people’s minds. And at such a time, the highest moral duty of an artist is to point society to eternal values ​​and give firm moral guidelines. The best people of the Pushkin, that is, Decembrist, generation seem to be “leaving the game”: they are either disappointed in previous ideals, or do not have the opportunity to fight for them in new conditions, to bring them to life. The next generation, which Lermontov would call “a gloomy and soon forgotten crowd,” was initially “brought to its knees.” Due to the peculiarities of the genre, the novel reflects the very process of revaluation of all moral values. Time flows in the novel in such a way that we see the characters dynamically and trace their spiritual path. Before our eyes, all the main characters are going through a period of formation, painfully searching for the truth, determining their place in the world, the purpose of their existence.

The search for the meaning of life takes place in different planes of existence. The plot of the novel is based on the love of the main characters. Therefore, the manifestation of a person’s essence in the choice of a lover, in the nature of feelings is the most important feature of the image, determining his entire attitude to life. Lyrical digressions reflect changes in the author’s feelings, his ability to both light flirtation (characteristic of “flighty youth”) and true deep admiration for his beloved.

In home life we ​​see alone

A series of tedious pictures...

The spouse is perceived as an object of ridicule:

...the majestic cuckold,

Always happy with yourself

With his lunch and his wife.

But it is necessary to pay attention to the opposition between these verses and the lines of “Excerpts from Onegin’s Journey”:

My ideal now is a mistress,

My desires are peace...

What in youth seemed a sign of limitation, spiritual and mental poverty, in mature years turns out to be the only correct, moral path. And in no case should the author be suspected of hypocrisy: we're talking about about maturation, about the spiritual maturation of a person, about the normal change of value criteria:

Blessed is he who was young from his youth,

Blessed is he who matures in time.

After all, the tragedy of the main characters stems from Onegin’s inability to “ripe in time,” due to the premature old age of his soul:

I thought: freedom and peace

Substitute for happiness. My God!

How wrong I was, how I was punished.

Love for the author and for his heroine Tatyana Larina is a huge, intense spiritual work. For Lensky, this is a necessary romantic attribute, which is why he chooses Olga, devoid of individuality, in whom all the typical traits of the heroine of sentimental novels merge. For Onegin, love is “the science of tender passion.” He learns true feeling towards the end of the novel, when the experience of suffering comes.

Human consciousness and the system of life values, as is known, are largely shaped by moral laws adopted in society. The author himself assesses the influence of high society ambiguously. Chapter 1 gives sharply satirical image Sveta. The tragic 6th chapter ends with a lyrical digression: the author’s reflections on the age limit that he is preparing to cross. And he calls on “young inspiration” to save the poet’s soul from death, to prevent

...get stoned

In the deadening ecstasy of light,

In this pool where I am with you

I'm swimming, dear friends!

Society is heterogeneous. It depends on the person himself whether he will accept the moral laws of the cowardly majority or the best representatives of the world.

The image of “dear friends” surrounding a person in a “dead” “pool of light” does not appear in the novel by chance. Like a caricature of a swarm true love became “the science of tender passion”, so a caricature of true friendship - secular friendship. “There’s nothing to do, friends,” is the author’s verdict. Friendship without deep spiritual community is only a temporary empty union. A full-fledged life is impossible without selfless dedication in friendship - that’s why these “secular” friendships are so scary for the author. For the author, the inability to make friends is a terrible sign of the moral degradation of modern society.

The author himself finds the meaning of life in fulfilling his destiny. The entire novel is filled with deep reflections on art. The image of the author in this sense is unambiguous: he is, first of all, a poet, his life is unthinkable outside of creativity, outside of intense spiritual work. In this, Evgeniy is directly opposite to him. And not at all because he does not plow and sow before our eyes. He has no need to work. The author perceives Onegin’s education, his attempts to immerse himself in reading, and his effort to write (“yawning, he took up the pen”) ironically: “He was sick of hard work.”

The problem of duty and happiness is especially important in Eugene Onegin. In fact, Tatyana Larina is not a love heroine, she is a heroine of conscience. Appearing on the pages of the novel as a 17-year-old provincial girl dreaming of happiness with her lover, before our eyes she grows into an amazingly holistic heroine, for whom the concepts of honor and duty are above all. Olga, Lensky’s fiancée, soon forgot the deceased young man: “the young uhlan captivated her.” For Tatyana, Lensky's death is a tragedy. She curses herself for continuing to love Onegin: “She must hate in him the murderer of her brother.” A heightened sense of duty dominates the image of Tatyana. Happiness with Onegin is impossible for her: there is no happiness built on dishonor, on the misfortune of another person. Tatyana's choice is the highest moral choice, the meaning of life for her is in accordance with the highest moral criteria.

The climax of the plot is Chapter 6, the duel between Onegin and Lensky. The value of life is tested by death. Onegin makes a tragic mistake. At this moment, the contrast between his understanding of honor and duty and the meaning that Tatyana puts into these words is especially vivid. For Onegin, the concept of “secular honor” turns out to be more significant than moral duty - and he pays a terrible price for allowing a shift in moral criteria: the blood of the comrade he killed is on him forever.

The author compares two possible paths of Lensky: sublime and down-to-earth. And for him, what’s more important is not which fate is more real, what’s important is that there won’t be any, because Lensky was killed. For the world, which does not know the true meaning of life, human life itself is nothing.

In the twenties of the 19th century, the romantic novels of Walter Scott and his many imitators were very popular among the Russian public. Byron was especially loved in Russia, whose sublime disappointment contrasted effectively with the stillness of Russian everyday life. Romantic works attracted people with their unusualness: the titanic characters of the heroes, passionate feelings, exotic pictures of nature excited the imagination. And it seemed that it was impossible to create a work based on the material of Russian everyday life that could interest the reader.

The appearance of the first chapters of Eugene Onegin caused a wide cultural resonance. Enthusiastic reviews alternated with caustic satirical articles; the ambiguity of assessments was caused by the unprecedented artistic experience undertaken by the poet. The very form of the work was unusual. The novel in the literary “table of ranks” was considered a work of a low genre in comparison with the poem; it was based on an everyday plot; as a rule, among its heroes there were no historical figures. Pushkin, realizing the complexity of the creative task, decided to combine various genre aesthetics, achieving the creation of an original art world. By synthesizing novel epicness with poetic rhythm, the author achieves harmonious integrity; numerous life collisions are subject to them psychological analysis, and various problems are resolved by moral and ethical assessments.

Pushkin's encyclopedism cannot be reduced only to the panoramic breadth of the image of reality. The principles of artistic typification and moral and philosophical conceptualization have opened up the opportunity not only to record the realities of everyday life or social life, but also to reveal the genesis of phenomena, ironically linking them with concepts and categories that collectively recreate the practical and mental contours of the national universe.

Space and time, social and individual consciousness are revealed by the artist in living, unfinished facts of reality, illuminated by a lyrical and sometimes ironic look. Pushkin is not characterized by moralizing. The reproduction of social life is free from didactics; secular customs, theater, balls, inhabitants of estates, details of everyday life - narrative material that does not pretend to be a poetic generalization - unexpectedly appears as a most interesting subject of research. The system of oppositions (St. Petersburg society - local nobility; patriarchal Moscow - Russian dandy; Onegin - Lensky; Tatyana - Olga, etc.) organizes the diversity of life reality, which initially denies any attempts at cataloging. Edification as a means of identifying and declaring the author's position is abhorrent to the scale of Pushkin's genius. Hidden and obvious irony shines through in the description of the landowner's existence. Admiring the “dear old days”, the village that showed national peace a female ideal, inseparable from the mocking characteristics of the Larins’ neighbors. The world of everyday worries develops with pictures of fantastic dreams read from books, and the miracles of Christmas fortune-telling.

The scale and at the same time intimate nature of the plot, the unity of epic and lyrical characteristics allowed the author to give an original interpretation of life, its most dramatic conflicts, which were maximally embodied in the image of Eugene Onegin. Contemporary criticism of Pushkin more than once wondered about the literary and social roots of the image of the protagonist. The name of Byron's Childe Harold was often heard, but references to the domestic origins of the existential phenomenon were no less common.

Onegin’s Byronism and the character’s disappointment are confirmed by his literary preferences, character, and views: “What is he? Is it really an imitation, an insignificant ghost, or a Muscovite in Harold’s cloak...” – Tatyana discusses “the hero of her novel.” The determination of Pushkin's character by historical reality was noted by Russian thinkers. Herzen wrote that “Pushkin was seen as a successor to Byron,” but “by the end of his life path Pushkin and Byron are completely moving away from each other,” which is expressed in the specificity of the characters they created: “Onegin is Russian, he is possible only in Russia: there he is necessary, and there you meet him at every step... The image of Onegin is so national that it can be found in all novels and poems that receive any recognition in Russia, and not because they wanted to copy him, but because you constantly find him near you or in yourself.”

Reproduction with encyclopedic completeness of the essence of problems and characters relevant to the social reality of the 20s of the 19th century is achieved not only by the most detailed depiction of life conflicts, inclinations, sympathies, moral orientations, and the spiritual world of contemporaries, but also by special aesthetic means and compositional solutions, to the most the most significant of which are epigraphs. Quotes from familiar and authoritative artistic sources open up the opportunity for the author to create a multifaceted image designed for the organic perception of contextual meanings, serving as preliminary clarifications and a kind of exposition of Pushkin’s narrative. The poet entrusts the quotation from the precedent text with the role of a communicative intermediary, expanding cultural space interpretations of "Eugene Onegin".

A fragment of Vyazemsky’s poem “The First Snow”, chosen as the ideological and thematic prologue of the first chapter, is aimed at creating an indirect characterization of the hero and also refers to a general picture of the worldview and moods inherent in “young ardor”: “And he is in a hurry to live and in a hurry to feel.” The hero’s pursuit of life and the transience of sincere feelings were allegorically read from the title of Vyazemsky’s sad meditation “The First Snow” (“One fleeting day, like a deceptive dream, like a ghost’s shadow, Flashing, you carry away an inhuman deception!” The ending of the poem is “And having exhausted your feelings, leaves a trace of a faded dream on our lonely hearts...” - correlates with the spiritual state of Onegin, who “no longer has any charms.”

In the ironic prelude of the second chapter “Oh rus!.. Oh Rus'!” bucolic motifs are developed European culture in the context of domestic patriarchal plots. Correlating the classically exemplary Horace with the unchanging world landowners' estates brings to the theme of the story about the Larins a feeling of eternal peace and stillness, which contrasts with the vital activity of the character, likened in the first chapter to the “first snow”, rapidly enveloping the earth and fading into memory.

The quote from Malfilatre, “She was a girl, she was in love,” becomes the theme of the third chapter, revealing inner world Tatiana. Pushkin proposes a formula emotional state a heroine who will determine the basis of the love affairs of subsequent literature. The author depicts various manifestations of Tatiana's soul, explores the circumstances of the formation of the image, which later became a classical moral norm of culture, oppositional excessive passion, mental depravity and sleep of the soul. Pushkin's heroine opens a gallery female characters Russian literature, combining sincerity of feelings with special purity of thoughts, ideal ideas with the desire to embody oneself in the real world.

The fourth chapter opens with Necker’s maxim “Morality is in the nature of things.” Various interpretations of this well-known early XIX centuries of sayings. On the one hand, the moral maxim is an admonition for Tatyana’s decisive action, but it should also be taken into account that the heroine in the plot of a declaration of love repeats the pattern of behavior outlined in romantic works. On the other hand, Necker’s ethical recommendation appears as an axiom of Onegin’s rebuke, who bears little resemblance to Grandison and Lovelace, but exhibits a no less original type of self-manifestation: he uses the plot of the date for teaching, being so carried away by edifying rhetoric that the possibility of fulfilling the girl’s love expectations is excluded. The symbolism of the situation of a love explanation lies in the fact that a special procedure for the behavior of the participants in the plot of the meeting is born, when the cultural competence of the reader turns out to be unnecessary and the events cease to correspond to the familiar literary ritual: sensuality, romantic vows, happy tears, silent consent expressed with the eyes, etc. deliberately rejected by the author due to the pretentious sentimentality and literary nature of the conflict. A lecture on moral and ethical topics seems more convincing to a person who has an understanding of the basics of the “nature of things.”

In the poetic structure of Eugene Onegin, Tatiana’s dream sets a special metaphorical scale for understanding and assessing the heroine’s inner world and the narrative itself. The author expands the space of the story to a mythopoetic allegory. Quoting Zhukovsky at the beginning of the fifth chapter - “Oh, you don’t know these terrible dreams, my Svetlana!” – clearly reveals the association with the work of his predecessor, prepares a dramatic plot. The poetic interpretation of the “wonderful dream” - a symbolic landscape, folklore emblems, baroque-sentimentalist allusions - unites the particular with the universal, the desired harmony with the feeling of life's chaos. The dramatic essence of existence, presented in the metaphors of prophetic vision, precedes the tragic immutability of the destruction of the world familiar to the heroine. The epigraph-warning, carrying out a symbolic allegory, outlines the limits of the rich spiritual content of the image. In the composition of the novel, based on the techniques of contrast and parallelism and ordered by mirror projections (Tatiana’s letter - Onegin’s letter; Tatiana’s explanation - Onegin’s explanation, etc.), there is no antinomic pair of the heroine’s dream. The “awake” Onegin is set in the plane of real social existence, his nature is freed from the associative and poetic context. And on the contrary, the nature of Tatyana’s soul is extended to the endless variety of everyday realities and mythological spheres of existence.

The epigraph-epitaph that opens the sixth chapter of the novel - “Where the days are cloudy and short, a tribe will be born that does not hurt to die” - integrates the pathos of Petrarch’s “On the Life of Madonna Laura” into the plot of the romantic Vladimir Lensky, alien to the objective objectivity of the little things in Russian life, who created a different world in the soul, the difference of which from those around him prepares the tragedy of the character. “The painlessness of death” is proposed as the idea of ​​​​accepting what was destined, regardless of when it comes true. The motives of Petrarch's poetry are necessary for the author to introduce the character to the developed Western culture philosophical tradition of stoic dying, interrupting the short-term life mission of the “singer of love.”

The triple epigraph to the seventh chapter creates preambles to the narrative that are varied in meaning and intonation (panegyric, ironic, satirical). Dmitriev, Baratynsky, Griboyedov, united by statements about Moscow, represent the diversity of the spectrum of assessments of the national myth. The poetic characteristics of the ancient capital will be developed in the plot of the novel, outline the specifics of resolving conflicts, and determine the special nuances of the characters’ behavior. The couplet from Byron’s series of “Poems on Divorce,” chosen as the epigraph of the eighth chapter, is permeated with elegiac moods, metaphorically conveying the author’s sadness of farewell to the novel and heroes, Onegin’s parting with Tatiana.

The aesthetics of epigraphs along with others artistic solutions Pushkin forms the discussion-dialogical potential of the work, coloring precedent artistic phenomena with special semantic intonations, preparing a new scale of generalization of classical images. The interpenetration of texts, the intersection of event episodes and emotional opinions form the basis of the dialogical dynamics of culture, that proportionality that balances the contradictory nature of the subjective aspirations of writers and poets in understanding the nature of artistic truth.

Issues:

A. S. Pushkin is one of the greatest poets of Russian and world literature. The personality of Pushkin, a poet and a citizen, was formed in the tenth years of the 19th century, when Russian officers returning from the War of 1812 were committed to decisive political changes and considered it necessary to abolish serfdom. This was the time of the rise of social thought, the active participation of progressive youth in the fate of their country, the Russian people. Under the influence of this era of free thought and progress, moral and moral ideals poet, his views on modern society.

Many of the most important issues and problems of that time were reflected in Pushkin’s works. The poet's legacy is extremely large and varied. These are poems, stories, and poems. All these works address issues national culture, education, reflects the searches of progressively minded people, the life of various strata of society.

Great importance His lyrical works are used to reveal the poet’s ideals. This is love poetry, allowing one to understand the poet’s inner world, etc. freedom-loving lyrics showing the author’s attitude to issues of autocracy, oppression, and serfdom.

Meeting with members of the Northern Society of Decembrists, Pushkin shared the thoughts and sentiments of the noble revolutionaries. Under the impression of these meetings, disputes and thoughts about the fate of Russia, Pushkin wrote the most fiery poems: “Liberty”, “Village”, “To Chaadaev” and others. An image was created in them lyrical hero, striving for justice, freedom, brotherhood, the image of the poet is the herald of truth:

I want to sing Freedom to the world,

Smite vice on thrones.

For Pushkin, the ideal of a revolutionary fighter was always the Decembrists, who were capable of sacrificing their lives for the sake of a cause, for the sake of an idea. After the defeat of the December uprising, the poet remains true to his ideals. Unable to accept the current situation, he writes a message to his friends languishing in exile. It contains an attempt to support the spirit of the Decembrists, the conviction that their cause will not be forgotten:

Your sorrowful work will not be wasted

And I think about high aspiration.

But it will not be a mistake to say that the most sincere, most significant work of the poet is the novel in verse “Eugene Onegin”. It was in this work that Pushkin’s views on modern society were most fully and clearly reflected, and the author’s moral ideals were revealed. According to V. G. Belinsky, the novel was “an encyclopedia of Russian life and an eminently folk work.” The work was written over several years; during this period, much has changed in the life of Russia, in the life of the poet himself. All this is reflected in the images of the main characters of the work - Evgeny Onegin and Tatyana Larina. On the pages of the novel, in the characters of the characters, in their attitude to life, a new worldview of the poet himself is formed. The author very often compares himself with Onegin, reflecting in the image of the main character both the vices of society and positive features younger generation. The greatest convergence of the poet's personality with the image of Eugene occurs at the end of the novel, when the hero returns from his trip. The reader sees how much Onegin’s spiritual world and his moral qualities have changed.

At the beginning of the work, Pushkin calls Evgeny “a good friend,” thereby expressing sympathy for the young man. But the poet shows that Onegin is still far from perfect: he loves comfort too much, is too selfish, and is not accustomed to systematic work. The author sneers at his superficial education and bitterly declares that very little is needed for recognition in secular society:

He's completely French

He could express himself and wrote,

I danced the mazurka easily

And he bowed casually...

This is enough: “...The world decided that he was smart and very nice.” And here the poet, one of the most educated people of his time, declares with a sly grin:

We all learned a little Something and somehow...

Yes, Onegin was corrupted by the world, yes, luxury, wealth, and idleness had too pernicious an influence. But why did the same environment give birth to Pushkin and Onegin, “ the best people” and the Decembrists? There are also some internal factors that allow a person to resist vulgarity and stupidity. Onegin has a rare mind, the ability to think. And the novel shows how this person trying to find the meaning of life, the use of his strengths and energy. Such a search, according to Pushkin, is one of the main features of a morally perfect person. The author compares himself and the hero in relation to art and love. If at the beginning of the novel love for Onegin seems to be just empty entertainment, an easy affair, then for the author this feeling is sacred, poetic, and necessary. And the hero himself is ultimately endowed with the ability to love sincerely and passionately, which is also an important feature of a real person. Having led his hero through a series of trials, the poet endows him with will, strength of soul, and the ability to compassion. It was in this Onegin that the poet’s moral ideals were reflected.

And, of course, Pushkin’s views on the ideal of a Russian woman were reflected in the image of Tatyana Larina. Tatyana is Pushkin's favorite heroine.

The girl, like Onegin, has noble origin, like him, received a superficial home education. But Tatyana is distinguished by sincerity and purity. Living “in the wilderness of a forgotten village,” she is far from falsehood and hypocrisy secular society. Russian nature, rural life with its rituals and traditions had a great influence on the formation of her personality. Reading had a certain meaning for Tatyana:

She liked novels early on;

They replaced everything for her;

She fell in love with deceptions

Both Richardson and Russo.

The integrity and spiritual beauty of this image, the ability for selfless love and moral purity are striking.

Like any young girl, Tatiana was waiting for a handsome and noble prince, therefore, when Eugene appeared in their village, Tatiana decided that this was the very hero whose image she had drawn for herself. With all sincerity and naturalness, the girl admits her feelings, without fear of gossip and condemnation. The poet admires such qualities of Tatyana’s soul.

Later, having found herself in high society, where hypocrisy and depravity reign, she does not change her principles and remains faithful to the ideals of her youth:

Now I'm glad to give it away

All this rags of a masquerade,

All this shine, and noise, and fumes

For a shelf of books, for a wild garden...

Tatyana still loves Evgeniy, but she is not one of those who build her happiness on the misfortune of her neighbor. The girl sacrifices herself, her feelings, obeying a sense of duty and responsibility. Pushkin considers loyalty and the ability to self-sacrifice a necessary trait of a real woman.

It was precisely such women, possessing a truly Russian character, who, after the defeat of the Decembrist uprising, followed their husbands to Siberia, leaving behind luxury and comfort, without fear of hardships and hardships. If Pushkin had dedicated the novel to the Decembrists, his Volkonskaya or Trubetskaya would certainly have had the features of Tatyana Larina.

So, in the novel “Eugene Onegin” and in the lyrical works, the issues that worried the progressive people XIX century, Pushkin's moral ideals emerged.

And happiness was so possible, so
close... Chapter VIII, stanza XLVIII

Was happiness possible?

Lesson objectives:

Educational: formation of conscious skills and abilities to work with text

Developmental: speech development - enrichment and complexity of vocabulary.

Educating: purposeful formation of such moral qualities, as responsibility and honesty in relation to the chosen position.

Lesson plan:

1. Organizational moment.

2. The stage of preparing students for the active acquisition of knowledge.

3. The stage of generalization and systematization of what has been studied.

4. Stage of informing students about homework.

Methods and forms of work:

1. Greeting.

2. Heuristic conversation.

3. Reproductive task. :

Preparation for the lesson:

Students:

They must know the content of A. S. Pushkin’s work “Eugene Onegin” (Chapter 8).

During the classes

Org moment.

Start of the lesson.

Work with text.

— What facts of the author’s biography are discussed at the beginning of Chapter 8? (Tale about the lyceum, exile, memoriesknowledge about the Caucasus, Crimea, Moldova, but most importantly— inner world, movement of creative thought, developmenttie state of mind author.)

— Pushkin needed five stanzas to remember his whole life. There was youth - it left, there were friends, but they were destroyed. But the memory of them remained, loyalty to the ideas for which they gave their lives and went to the Nerchinsk mines. The muse remains, it is unchanged, it will always remain pure and

bright, it will help you live:

And now for the first time I am a muse...

I bring you to a social event... In the first chapter we saw a glimpse of the St. Petersburg ball, essentially from the street, through the window:

Shadows move across the solid windows...

In Chapter 8 we are at a social event. There is much that is attractive in the world:

You can admire the noisy crowd, the flickering of dresses and speeches, the slow appearance of guests before the young hostess, and the dark frame of men around you, as if around paintings.

The appearance of Onegin: he seems alien to everyone.

— Was Onegin a stranger to secular society? (No.)

- The world decided that he was smart and very nice. A whole series of questions appears. Who can ask them? Author? Regular at social events?

Where has he been for three years? With this bewilderment we can compare the words of Molchalin: “How surprised we were! If only you could serve with us in Moscow!”

- Rumors about him. (“Makes a weirdo.”) Who will he appear? (IN high society non-humans are familiar, but “decorously pulled masks”, and those who are not like them— countries-we are unclear.)

- What advice do they give to Onegin? ( They advise him“be a kind fellow like everyone else.”)

- Is Onegin familiar to the world? (Yes, he spent eight yearsHere. But there was something about him that wasn't quite right before.everyone, and now? “That conversations are too frequent //We are happy to accept business // That stupidity is flightyand evil, // That the eyes of important people are important // And thatmediocrity alone // We can handle even non-countrieson the?" “Silent people are blissful in the world”; idealmediocrity: “Blessed is he who was young from his youth,// Blessed is he who matures in time, // Who graduallythe cold of life // I was able to endure the years; //Whodid not indulge in strange dreams, // Who are the secular rabbledid not shy away, // About whom they have been repeating for a whole century: // NN pre-red man"; Pushkin's conviction: one cannot betraylose youth! “It’s unbearable to see before you // One-there is a long row of them, // Looking at life asritual"; excerpts from Onegin's journey will be answeredto the question of what cargo he arrived with in the fall of 1824. Route: Moscow - Nizhny Novgorod— Astra-Han - Caucasus— Crimea - Odessa. Onegin introduceswith my homeland.)

Conclusion: Onegin comes to St. Petersburg renewed.

- Why did Onegin, like Chatsky, get from the ship to the ball? (Irreconcilable hostility towards society, in Onegina deep inner life that was not there before.)

On the board is the topic of the lesson:

“TATYANA AND EUGENE IN CHAPTER VIIINOVEL. MORAL PROBLEMS OF THE NOVEL “EUGENE ONEGIN”

- And now a new meeting of heroes takes place. Tatyana appears, and Onegin does not recognize her and recognizes her. As Pushkin describes, what was Tatyana like, what did she do without? (She was leisurely, // Not cold,not talkative, //Without an insolent look for everyone, //Without pre-aspirations for success, // Without these little antics, //No imitative ideas...)

-Why is Onegin, who did not fall in love with Tatiana in the village, now overwhelmed by such an all-consuming passion? (The heroes have changed, Onegin is now updatedcan appreciate the depth of Tatyana’s soul.)

— What has changed in Tatyana? (She learned to "power"“behave yourself”, as Evgeniy once advised herThat.) Why is Onegin so attracted to her?

- What about Evgeniy? ( What about him? What country is he in?nom dream? // What stirred in the depths // Souls want-hungry and lazy?//Annoyance? Vanity?Or again// The concern of youth is love?)
What's happening to him? How has he changed?

Expressive recitation of Onegin's letter. What hero do we see in the letter? What feelings are they experiencing?

Listening to an excerpt from Tchaikovsky's opera "Eugene Onegin".
Your impression. How does music and stage acting help to understand the characters and convey feelings?
Teacher's word.

— The compositional scheme of the novel is simple. The main characters switch roles towards the end of the book:

1. SHE loves HIM - HE doesn’t notice HER. SHE writes HIM a letter - listens to HIS sermon.

2. HE loves HER - SHE does not notice HIM. HE writes HER letters - listens to HER confession (sermon, rebuke).

But this simple construction only emphasizes the complexity of human experiences, which outwardly fit into such a simple scheme. How much more beautiful is Onegin’s feeling!

- He turned to books again, as in his youth. The range of reading very definitely tells the reader, a contemporary of A.S. Pushkin: Gibbon, Rousseau, Gorder, Madame de Stael, Belle, Fontenelle—philosophers, educators, scientists. These are not two or three novels,

which reflected the “century and modern man beloved by Onegin before. This is the reading circle of de-Cabrists, people striving for action.”

-But this is not enough. Now everything that was inaccessible to him three years ago is revealed to Onegin.

The poet, a friend of his heroes, wishes them happiness with all his heart. But happiness is impossible. There is controversy about the ending of the novel. Different points of view appear, each of which is based in its own way on the text of the novel. In addition, each generation reads Pushkin in its own way.

Eight years after Pushkin’s death, in 1845, V.G. Belinsky wrote his famous articles about “Eugene Onegin”. 80s. Due to

With the opening of the monument in Moscow in 1880, F. M. Dostoevsky delivered a speech at a meeting of the Society of Lovers of Russian Literature, in which he expressed his interpretation of the ending of the novel.

Assignment: Read the thoughts about the ending of the novel and the images of Tatiana and Onegin
famous Russian writers: Vissarion Grigorievich Belinsky and Fedor
Mikhailovich Dostoevsky. Work in groups. Write out abstracts from the articles. which express the thoughts and attitudes of critics towards the ending of the novel and the images of the characters.

The tragedy of Chapter VIII is that Tatyana did not understand Onegin and his love. A democrat, a man of the 40s, Belinsky put freedom above all else human personality, he condemns Tatyana for sacrificing her love for the sake of loyalty to her husband, whom she does not love, but only respects.

F. M. Dostoevsky:“Tatiana is the ideal of a woman, the ideal of a person. Her behavior in Chapter 8 is the embodiment of moral perfection, because What“...can a person base his own happiness on the misfortune of another? Happiness does not lie in the pleasures of love alone. And also in the highest harmony of spirit. How can you calm the spirit if behind you stands an unhappy, merciless, inhuman act? Should she run away just because my happiness is here? But what kind of happiness can there be if it is based on someone else’s misfortune?... No: the pure Russian soul decides this way: “Let, let me alone be deprived of my happiness, let, finally, no one ever... know my sacrifice and will not appreciate it. But I don’t want to be happy by ruining someone else!”
Conclusion. Belinsky and Dostoevsky judge the actions of the heroes differently. Which of them is more convincing, more accurately understands the motives of Tatyana’s action in relation to Onegin and her own feelings? Why does Tatyana reject Onegin?
1 Research.

To answer these questions, let's look again at verbs.
Watch Tatiana's monologue, find the verbs, determine the tense. Why Tatyana,
when explaining himself to Onegin in the present, when he talks about himself, he uses
exclusively past tense verbs?
— Light did not spoil, did not ruin Tatyana, her soul remained the same, although during these three years she did not remain the same as she was.

- If Onegin has changed internally, then Tatyana has changed more externally. She matured, became more restrained, calmer, learned to protect her soul from the gaze of others. And this external restraint, with the same inner wealth, the same spiritual beauty that she possessed in her youth, attracts Onegin to her even more.

- Previously, happiness was not possible because Onegin did not know how to love. Happiness is only possible now with the renewed Onegin, but (too late!) Tatyana does not consider herself entitled to sacrifice her husband’s happiness for the sake of her own happiness.

In March 1825, having lost hope of personal happiness, Onegin was left alone in St. Petersburg. In the main text of the novel, Onegin remains at a crossroads - and the reader, along with him, once again thinks: what is life? How should we live? Where to go? Whom to love? With whom and for what to fight?

Summing up the lesson.

Why does Chapter VIII cause the most controversy and interpretation? (Pushkin does not provide psychologicalthe basis of events, actions, facts.)

At the end of the novel, both main actors worthy of the sympathy of readers. If one of them could be called “negative,” then the novel would not have a truly tragic sound. Love for an unworthy being can give rise to very sad situations, but it does not become such a source of tragedy as the mutual love of two people worthy of happiness when this happiness is completely impossible.

Onegin at the end of the novel is not a romantic “demon” with a prematurely aged soul. He is full of thirst for happiness, love and the desire to fight for this happiness. His impulse is deeply justified and evokes the reader's sympathy. But Tatiana -... a person of a different type: she tends to give up happiness in the name of higher moral values. Her spirituality is full of true spiritual beauty, which both the author and readers admire. It is precisely the fact that both heroes, each in their own way, are worthy of happiness that makes the impossibility of happiness for them deeply tragic.

But who will finally explain to us the novel by A. S. Pushkin? Who will interpret Onegin in such a way that there is nothing to add? We must hope that no one. May this book live forever, and may each new generation find something of its own in it. Very important for him.

*A task for those who think.

1. Was it possible for a happy reunion between Onegin and Tatyana? An essay is a reflection. Excerpt by heart (Onegin's letter).

2. Research work: “What role can grammatical categories play in a literary text? (A.S. Pushkin
"Eugene Onegin")".

Good luck in the lesson!