Roman "Evgeny Onegin" - a work of an amazing creative destiny. He was created for more than seven years - from May 1823 to September 1830. But the work on the text did not stop until the first full publication in 1833. The final author of the novel was printed in 1837. Pushkin has no works that would have As long as long creative history. The novel was not written "on a single breath", but developed - from the stanza and chapters created at different times, in different circumstances, in different periods of creativity. Work on the novel covers four periods of Pushkin's creativity - from the southern link to Boldinsky Autumn 1830

The work was interrupted not only by the turns of the fate of Pushkin and new ideas, for which he threw the text "Eugene Onegin". Some poems ("demon", "Freedom deserted seeder ...") arose from the drafts of the novel. In the drafts of the second chapter (wrote in 1824) mounted verse Horace "Exegi Monumentum", which became an epigraph in 12 years to the poem "I won the monument to myself ...". It seemed that the story itself was not very favorable to Pushkin's work: from the novel about the contemporary and modern life, what the poet was conceived by Evgenia Onegin, after 1825 he became a novel about another historical era. "Internal Chronology" of the novel covers about 6 years - from 1819 to spring 1825

All chapters were published from 1825 to 1832 as independent parts of a large work and even before the completion of the novel became the facts of the literary process. Perhaps, if we take into account fragmentation, the intermittentness of the work of Pushkin, it can be argued that the novel was for him something like a huge "notebook" or poetic "album" ("notebooks" sometimes calls the head of Roman himself poet). During the seven years, the recording was replenished with sorrowful "remuneration" of the heart and "observations" of a cold mind.

He was written, painted

Hand of Onegin around

Mean of incomprehensible mars

Melted thoughts, comment,

Portraits, numbers, names,

Yes letters, secret letters,

Excerpts, black letters ...

The first chapter, published in 1825, pointed to Yevgeny Onegin as the main character of the intended work. However, from the very beginning of work on the "big poem", the figure of Onegin took the author not only to express his ideas about the "modern man." There was another goal: Onegin was intended to be the role of a central character, which, like a magnet, "attracted" the heterogeneous life and literary material. The silhouette of Onegin and the silhouettes of other characters, barely planned plot lines as it work on the novel gradually clarified. From under the thick layers of draft records, the contours of the fate and the characters of Onegin, Tatiana Larina, Lensky, was created a unique image - the image of the author.

Roman "Eugene Onegin" is the most difficult work of Pushkin, despite the visible lightness and simplicity. V.G. Belinsky called the "Eugene Onegin" "Encyclopedia of Russian Life," emphasizing the scale of Pushkin's "Labor Labor". This is not a critical praise to the novel, but its capacious metaphor. For the "Multi-Strong" chapter and stanza, the change of narration techniques is hidden by a slender idea of \u200b\u200ba fundamentally innovative literary work - "Roman Life", which has absorbed a huge social and historical, household, literary material.

"Eugene Onegin" - Roman in verses, written in 1823-1831, one of the most significant works of Russian literature.

"Evgeny Onegin" history of creation

Pushkin worked on this novel over seven years, from 1823 to 1831. The novel was, according to the poet, the "fruit" of the "mind, cold observations and the heart of sorrowful notice." The work on him Pushkin called the feat - from all his creative heritage only "Boris Godunova" he described the same word. In the work on a wide background of paintings of Russian life shows the dramatic fate of the best people of the noble intelligentsia.

Pushkin began work on "Onegin" in May 1823 in Chisinau, during his reference. The author refused romanticism as a leading creative method and began writing a realistic novel in verses, although the influence of romanticism is still noticeable in the first chapters. Initially it was assumed that the novel in verses would consist of 9 chapters, but later Pushkin reworked his structure, leaving only 8 chapters. He excluded from the main text of the work chapter "Journey Onegin", including its fragments as an application to the main text. There was a fragment of this chapter, where according to some data was described how Onegin sees military settlements near the Odessa Pier, and then wondered and judgments, in some places in an unnecessary sharp tone. Fearing possible persecution of the authorities, Pushkin destroyed this fragment "Travel Onegin".

The novel covers events from 1819 to 1825: from foreign hiking of the Russian army after the defeat of Napoleon to the Decembrist uprising. These were the years of the development of Russian society, the time of the reign of Alexander I. The plot of the novel is simple and well known, in the center of him - a love story. In general, the events of the first quarter of the XIX century reflected in the novel "Eugene Onegin", that is, the creation time and time of the novel approximately coincide.

Alexander Sergeevich Pushkin created a novel in verses like the poem of Lord Bairon Don Juan. Having determined the novel as "collected Penter Heads", Pushkin allocates one of the features of this work: the novel seek "open" in time (each chapter could become the last, but may also have a continuation), thereby paying attention to readers for independence and integrity of each chapters. The novel became a truly encyclopedia of the Russian life of the 1820s, since the latitude of the topics covered in it, the detailing of the life, the multi-way composition, the depth of the characteristics of the characters and now reliably demonstrate readers the features of the life of that era.

It was this that gave the basis of V. G. Belinsky in his article "Eugene Onegin" conclude:

"Onegin" can be called the encyclopedia of Russian life and highly by the people's work. "

From the novel, as from Encyclopedia, you can learn almost everything about the epoch: about how dressed up, and what was in fashion that people were valued most about what they spoke to what interests they lived. In Evgenia Onegin, all Russian life has reflected. Briefly, but quite clearly, the author showed a fortress village, Barskaya Moscow, Soviet St. Petersburg. Pushkin tried truthfully by the Wednesday in which the main characters of his novel - Tatyana Larina and Evgeny Onegin, reproduced the atmosphere of urban noble salons, which passed the youth of Onegin.

The history of the creation of "Eugene Onegin" - the "fetus of the mind of cold observations and the heart of sorrowful notice" - an outstanding Russian classic Alexander Sergeyevich Pushkin does not resemble Blitzkrieg. The work was created by the poet evolutionary, marking his formation on the path of realism. Roman in verses as an event in art was a unique phenomenon. Prior to that, in the world literature, only one analogue was written in the same genre - the romantic work of George Gordon Bairon Don Juan.

The author is solved on the brainstorming

Pushkin went on the Great Englishman - to the realism. This time, the poet set himself an overflow - show a person able to serve as a catalyst for the further development of Russia. Alexander Sergeevich, sharing the ideas of the Decembrists, understood that a huge country should be shifted as a locomotive, from a deadlock route that led the society to the systemic crisis.

The history of the creation of "Eugene Onegin" is determined by titanic poetic labor from May 1823 to September 1830, the creative rethinking of the Russian reality of the first quarter of the XIX century. Roman in verses was afraid for four stages of the work of Alexander Sergeevich: Southern Links (1820 - 1824), staying "without the right of unauthorized leaving of the estate Mikhailovskoye" (1824-1826), period after reference (1826 - 1830), Boldin Autumn (1830)

A.S. Pushkin, "Eugene Onegin": the history of creation

Young Pushkin, a graduate, according to Emperor Alexander I, "Introducing Russia with outrageous verses," began to write his novel, staying in the link in Chisinau (thanks to the intercession of the feeding friends to Siberia managed to avoid). By this time, he was already a cumier of Russian educated youth.

The poet sought to create the image of the hero of his time. In the work, he painfully looking for an answer to the question of what the carrier of new ideas should be, the Creator of New Russia.

Socio-economic situation in the country

Consider the social environment in which the novel was created. Russia won in the war of 1812. This gave a tangible impulse to public aspirations for exemption from feudal shackles. First of all, the people have eager such his liberation inevitably affected the restriction of the authority of the monarch. Formed immediately after the war of the community of Guards officers in 1816 in St. Petersburg form the Decembrist "Union of Salvation". In 1818, the "Union of Benencies" is organized in Moscow. These Decembrist organizations actively contributed to the formation of a liberal public opinion and waited for a convenient moment for the public coup. There were many Friends of Pushkin among the Decembrists. He shared their views.

Russia by that time has already become a recognized European power with a population of about 40 million people, the sprouts of state capitalism were matured inside it. However, her economic life was still determined by the rudiments of feudalism, noble land tenure and merchants. These social groups gradually lose public weight were still powerful and enjoyed the influence on the life of the state, extending feudal relations in the country. They were commemors of the Company built on outdated Ekaterininsky noble principles inherent in Russia of the XVIII century.

There were characteristic signs of social and all society. There were many educated people who understand that development interests require large changes and reforms. The history of the creation of "Eugene Onegin" began with a personal rejection by the poet of the surrounding, speaking by Alexander Nikolaevich Ostrovsky, "Dark Kingdom"

Rose after a powerful acceleration, given and dynamic during the reign of Empress Catherine II, Russia at the beginning of the XIX century slowed down the pace of development. At the time of writing the Pushkin of the famous novel in the country, there were still no railways, the steamers, thousands and thousands of her hardworking and talented citizens were associated with her hands and feet of serfdom, did not float.

The story of Evgenia Onegin is inextricably linked with the history of Russia of the beginning of the XIX century.

Onegin Stanfa

With special attention Alexander Sergeevich, "Russian Mozart from Poetry", reacted to his work. He developed a new poetic a number specifically for writing a novel in verse.

The words of the poet are poured not a free stream, but structured. Each fourteen rows are connected to a specific Onegin Stroof. At the same time, the rhyming is invariably throughout the novel and has the following form: CCDDEFFEGG (where capital letters denote female endings, and lowercase - men's).

Undoubtedly, the history of the creation of the novel "Eugene Onegin" is the history of the creation of Onegin Strafs. It was with the help of varying the stanf by the author manages to create an analogue of prosaic sections and chapters: to move from one topic to another, change the style of presentation from reflection before the dynamic development of the plot. Thus, the author creates an impression of a relaxed conversation with his reader.

Roman - "Collection of Pestry Chapters"

What makes people write works about your generation and their native land? Why at the same time they are given to this work completely, working as if obsessed?

The history of the novel "Eugene Onegin" was initially subordinate to the author's design: to create a novel in verse, consisting of 9 separate chapters. Specialists in the work of Alexander Sergeevich call him "open in time" due to the fact that every chapter is independent, and can complete the work on its inner logic, although it is a continuation in the next chapter. His contemporary is a professor of Russian literature Nikolai Ivanovich Nadezhdin - gave a classic description of "Eugene Onegin" not as works with a rigid logical structure, but rather as a certain poetic notebook filled with immediate rainbow overflows of bright talent.

About heads of novel

Heads "Eugene Onegin" were published from 1825 to 1832. As they spell and printed in literary almanacs and magazines. They were waiting for them, each of them became a real event in the cultural life of Russia.

However, one of them, dedicated to the journey of the main character in the Odessa Pier, which contained critical judgments, the official author chose to avoid repression against himself, and then destroyed her the only manuscript.

Also, Boris Leonidovich Pasternak, Boris Leonidovich Pasternak, later worked on his "Dr. Zhivago", also wrote about his generation Mikhail Alexandrovich Sholokhov. Pushkin himself called his more than seven-year work on this novel in verses feat.

The main character

Description Evgenia Onegin, according to literature, resembles the identity of Peter Yakovlevich Chaadaeva - the author of "philosophical letters". This is a character with a powerful energy, around which the plot of the novel is unfolded and other characters show themselves. Pushkin wrote about him as a "good friend." Eugene received the classic nobility education, completely deprived of "RUSSIAN". And although it burns sharp, but the cold mind, he is a man of light, next to certain opinions and prejudices. The life of Evgeny Onegin is scuba. On the one hand, he is alien to the lag, he criticizes them sharply; And on the other, it is affected by its influence. The hero can not be called active, rather, this is a smart observer.

Features of the image of Onegin

His image is tragic. First, he could not stand the test of love. Evgeny listened to the mind, but not to his heart. At the same time, he did no longer, respectfully dwelling to Tatiana, giving her to understand that he was not able to love.

Secondly, he could not stand the trial of friendship. Calling for a duel of his friend, the 18-year-old romantic young man Lensky, he blindly follows the concepts of light. It seems to him that it is better not to provoke the evil-taps of the old note of the duelist Zarezka, than to stop a completely stupid quarrel with Vladimir. By the way, Pushkin scientists consider the young Kyhehelbecker with the prototype of Lensky.

Tatyana Larina

Using the name of Tatiana in the novel Yevgeny Onegin was the know-how from Pushkin. Indeed, at the beginning of the XIX century, this name was considered common and irrelevant. Moreover, the dark-haired and non-ruddy, thoughtful, low-cost, she did not fit the ideals of the beauty of the world. Tatiana (like the author of the novel) loved folk tales, which she generously told the nanny. However, her special passion was reading books.

Heroes of Romana

In addition to the aforementioned plot-forming main characters, in front of the reader are secondary. These images of the novel "Eugene Onegin" do not form a plot, but complement it. This is a sister of Tatiana Olga, an empty secular young lady, in which Vladimir Lensky was in love. The image of Nannies Tatiana, a connoisseur of folk fairy tales, has an obvious prototype - the Nanny of Alexander Sergeevich himself, Arina Rodionovna. Another nameless hero of the novel is the Husband - "important general" by Tatiana Larina after heating with Evgeny Onegin.

Songs of the landowners seemed to be imported into the novel Pushkin from other Russian classic works. These are cattleins ("inexpensive" phonvizin), and Buyanov ("Dangerous Neighbor" V. L. Pushkin).

Work of people

The highest praise for Alexander Sergeyevich was the assessment, given by the first chapter of Evgenia Onegin, whom the poet considered his teacher, - Vasily Andreyevich Zhukovsky. The opinion was extremely concise: "You are the first in Russian Parnass ..."

The novel in verses encyclopedically faithfully reflected the Russian reality of the beginning of the XIX century, showed a lifestyle, characteristic features, social role of various sectors of society: St. Petersburg Supreme Light, the nobility of Moscow, landowners-landowners, peasants. Perhaps, therefore, as well as due to the comprehensive and fine mapping of Pushkin in its work of values, morals, views, mods of that time, the literary critic has given him such an exhaustive characteristic: "The work is highly popular" and "Encyclopedia of Russian Life".

Pushkin wanted to change the plot

The history of the creation of "Eugene Onegin" is the evolution of the young poet, who took the global work at 23 years. Moreover, if such sprouts have already been in prose (let's remember the incognito published book by Alexander Radishchev "Travel from St. Petersburg to Moscow"), then realism in poetry at that time was undoubted innovation.

The final idea of \u200b\u200bthe work was formed by the author only in 1830. He was clumsy and worried. To give a traditional solid view to your creation, Alexander Sergeevich decided or send Yevgeny Onegin to fight in the Caucasus, or turn it into the Decembrist. But Eugene Onegin - the Hero of the Roman in verses - created by Pushkin on one inspiration, as the "Collection of Pestry Heads", and in this is his charm.

Output

The work of "Eugene Onegin" is the first realistic novel in the Russian history in verses. It is a sign for the XIX century. Roman was recognized by society as deeply popular. Encyclopedic description of the Russian life is adjacent to it with high art.

However, according to critics, the main character of this novel is still not Onegin, but the author of the work. This character does not have a certain appearance. This is a kind of white spot for the reader.

Alexander Sergeevich in the text of the work hints at his reference, saying that he is "harmful north", etc. Pushkin is invisibly present in all actions, summarizes, mix the reader, revives the plot. His quotes beat not in the eyebrow, but in the eye.

The will of Fate Alexander Sergeevich Pushkin disadvantaged the second full edition of his novel in verses in 1937 (first was in 1833), being already mortally wounded on a black river near the Commandant Dacha. A circulation of 5,000 copies planned to sell throughout the year. However, readers reigned him in a week. In the future, the classics of Russian literature, each for their time, continued to be a creative search for Alexander Sergeevich. They all tried to create a hero of their time. And Mikhail Lermontov in the image of Gregory Alexandrovich Pechorin ("Hero of our time"), and Ivan Goncharov in the image of Ilya Oblomov ...

Roman "Evgeny Onegin" - a work of an amazing creative destiny. He was created for more than seven years - from May 1823 to September 1830. But the work on the text did not stop until the first full publication in 1833. The final author of the novel was printed in 1837. Pushkin has no works that would have As long as long creative history. The novel was not written "on a single breath", but developed - from the stanza and chapters created at different times, in different circumstances, in different periods of creativity. Work on the novel covers four periods of Pushkin's creativity - from the southern link to Boldinsky Autumn 1830

The work was interrupted not only by the turns of the fate of Pushkin and new ideas, for which he threw the text "Eugene Onegin". Some poems ("demon", "Freedom deserted seeder ...") arose from the drafts of the novel. In the drafts of the second chapter (wrote in 1824) mounted verse Horace "Exegi Monumentum", which became an epigraph in 12 years to the poem "I won the monument to myself ...". It seemed that the story itself was not very favorable to Pushkin's work: from the novel about the contemporary and modern life, what the poet was conceived by Evgenia Onegin, after 1825 he became a novel about another historical era. "Internal Chronology" of the novel covers about 6 years - from 1819 to spring 1825

All chapters were published from 1825 to 1832 as independent parts of a large work and even before the completion of the novel became the facts of the literary process. Perhaps, if we take into account fragmentation, the intermittentness of the work of Pushkin, it can be argued that the novel was for him something like a huge "notebook" or poetic "album" ("notebooks" sometimes calls the head of Roman himself poet). During the seven years, the recording was replenished with sorrowful "remuneration" of the heart and "observations" of a cold mind.

The first critics drew attention to this feature of the novel. So, N.I. Nadezhdin, refusing to him in the unity and harness of the presentation, correctly determined the appearance of the work - "a poetic album of lively impressions of the talent playing with its wealth." An interesting "image-abstract" "Evgenia Onegin", complementing Pushkin judgments about the "free" novel, can be seen in the stricken stanza of the seventh chapter, where the album of Onegin:

He was written, painted

Hand of Onegin around

Mean of incomprehensible mars

Melted thoughts, comment,

Portraits, numbers, names,

Yes letters, secret letters,

Excerpts, black letters ...

The first chapter, published in 1825, pointed to Yevgeny Onegin as the main character of the intended work. However, from the very beginning of work on the "big poem", the figure of Onegin took the author not only to express his ideas about the "modern man." There was another goal: Onegin was intended to be the role of a central character, which, like a magnet, "attracted" the heterogeneous life and literary material. The silhouette of Onegin and the silhouettes of other characters, barely planned plot lines as it work on the novel gradually clarified. From under thick layers of draft records, the contours of the fate and the characters of Onegin, Tatiana Larina, Lensky, was created a unique image - the image of the author.

Portrait of the author is hidden. Try to present its appearance - except for a white spot, nothing will arise in front of you. We know a lot about the author - about his fate and the spiritual world, about literary views and even the wines that he loves. But the author in Evgenia Onegin is a person without a face, without appearance, without a name.

The author is the narrator and at the same time the "hero" of the novel. The author reflected the personality of the creator of Evgenia Onegin himself. Pushkin gave him a lot from what he experienced, he smelled and changed his mind himself. However, identify the author with Pushkin - a rough mistake. It must be remembered that the author is an artistic image. The ratio between the author in Evgenia Onegin and Pushkin, the creator of the novel, exactly the same as between any person in the literary work and its prototype in real life. The image of the author is an autobiographical, this image of a person whose "biography" partially coincides with the real biography of Pushkin, and the spiritual world and views on literature are reflection of Pushkin.

The study of the novel requires a special approach: It is necessary first of all to carefully re-read it, having a commentary at hand (for example, the book Yu.M. Titman "Roman A.S. Pushkin" Evgeny Onegin ". Comment"), to find out the history of the creation, to achieve the most complete understanding Text: It contains many realities, allusions and allegory, requiring explanation. It is necessary to study the structure of the novel (dedication, epigraphs, sequence and maintenance of chapters, the nature of the narrative interrupted by the author's retreats, copyright notes). Only after that you can begin to study the main images of the novel, the plot and composition, the system of characters, the author's retreats and the image of the author.

Roman "Eugene Onegin" is the most difficult work of Pushkin, despite the visible lightness and simplicity. V.G. Belinsky called the "Eugene Onegin" "Encyclopedia of Russian Life," emphasizing the scale of Pushkin's "Labor Labor". This is not a critical praise to the novel, but its capacious metaphor. For the "Multi-Strong" chapter and stanza, the change of narration techniques is hidden by a slender idea of \u200b\u200ba fundamentally innovative literary work - "Roman Life", which has absorbed a huge social and historical, household, literary material.

The innovation of "Roman in verses" manifested itself primarily in that Pushkin found a new type of problemary hero - "time hero." Evgeny Onegin became such a hero. His fate, character, relationship with people determine the set of circumstances of modern reality, outstanding personal qualities and the circle of "eternal", the universal problems with which he faces.

Onegin's identity was formed in the St. Petersburg secular environment. In detailed prehistory (head of the first) Pushkin noted the main social factors facilitating its character. This belongs to the highest layer of nobility, the usual circle for this circle, training, the first steps in the world, the experience of "monotonous and motley" life for eight years. The life of the "free" nobleman, not burdened by the service, is a jewel, carefree, saturated with entertainment and love novels, is stacked in one tiring long day. Onegin in the early youth - "Fun and Luxury Child", "good small, / how you yes, like a whole light."

At this stage of his life, Onegin - a person in his own way, the original, witty, "scholar small", but still quite ordinary, persogently following the secular "Chinnoy Crowd". The only thing that Onegin "True was a genius", that "he knew the harder of all sciences," as not without irony, the author notes, was "the science of passion gentle", that is, "art" to love not loving, imitate feelings and passion, remaining cold and calculating. However, Onegin is interested in Pushkin not as a representative of a common socially-domestic type, the whole essence of which is exhausted by a positive characteristic issued by the light-axis of Molva: "N. N. Beautiful man. "

The character and life of Onegin is shown in motion, development. In the first chapter, we see a turning point in his fate: he was able to abandon the stereotypes of secular behavior, from a noisy, but internally empty "rite of life." Pushkin showed how from faceless, but requiring unconditional subordination of the crowd suddenly appeared a bright, outstanding personality. Social flair suggested to the poet that it was not the life of "on an old sample", namely the ability to overthrow the "burden" of its conditions, "lagging behind the fuss" - the main sign of a modern person.

Onegin's chief - his undeclared conflict with light in the first chapter and with the society of village landlords in the second sixth chapters - only at first glance it seems "fad" caused by purely individual reasons: boredom, "Russian Handrea", disappointment in the "science of the Passion gentle" . This is a new stage of the hero's life. Pushkin emphasizes that the Onegin "Inimistent Strangeness" is a kind of protest against the social and spiritual dogmas that inhibit the person in man who deprived him of the right to be themselves. The emptiness of the soul of the hero became the consequence of the emptiness and the idleness of secular life. Onegin is looking for new spiritual values, a new way: in St. Petersburg and in the village, he diligently reads books, trying to write, communicates with few people in spirit (among them - author and Lensky). In the village, he even tried the "order of a new establishment", replacing the barbecue "lungs".

Pushkin does not simplify his hero. The search for new life truths stretched over long years and remained unfinished. Obvious internal drama of this process is obvious: Onegin is painfully freed from the cargo of old ideas about life and people, but the past does not let him go. It seems that Onegin is a full-fledged owner of his own life. But this is only an illusion. In St. Petersburg and in the village it is equally boring - he cannot overcome spiritual laziness, a cold skepticism, a demonism, dependence on the "public obvious".

The hero is not a victim of society and circumstances. Changed lifestyle, he accepted responsibility for his destiny. From his determination, will, faith in people depend on his actions. However, abandoning the secular bustle, Onegin became not a figure, but by the contemporance. Fevering for pleasures was replaced by secluded reflections. Two tests that expected him in the village - test love and friendship test - showed that external freedom automatically does not entail liberation from false prejudices and opinions.

In relations with Tatiana Onegin showed himself as a noble and peaceful delicate man. He managed to see genuine and sincere feelings, alive, and not book passions in the "love". It is impossible to reproach the hero for not answering the love of Tatiana: the heart, as you know, do not order. But the fact is that Onegin listened not to the voice of his heart, but the voices of reason. Back in the first chapter, the author noted the "sharp, chilled mind" in Onegin and inability to strong feelings. Onegin is a cold, rational man. This mental disproportion and caused the drama of failed love. Onegin does not believe in love and is not able to love. The meaning of love is exhausted for him with a "gentle" passion or "homemade circle", limiting human freedom.

Friendship testing Onegin also could not stand. And in this case, the cause of the tragedy was his inability to live the life of feelings. No wonder the author, commenting on the condition of the hero in front of the duel, notes: "He might be detected, / not bristle as a beast." And in the name of Tatiana, and in front of Duel Onegin showed himself to the "Prashoi Ball", deaf and to the voice of his own heart, and to the feelings of Lensky. His behavior in the names is the usual "secular anger", and the duel is a consequence of indifference and fear of the energies of the "old duelist" of the Zaretsky and neighboring landowners. Onegin did not notice how he became the prisoner of his old idol - "public opinion". After the murder of Lensky Onegin seized the "longing of heart remorse." Only the tragedy was able to open him before the inaccessible world of senses.

In the eighth chapter, Pushkin showed a new stage in the spiritual development of Onegin. Having met Tatyana in St. Petersburg, Onegin completely transformed. It left nothing left of the former, cold and rational man - he is an ardent in love, not noticeing anything, except for the subject of his love (and this very much reminds Lensky). Onegin first experienced this feeling, but it turned into a new love drama: now Tatiana could not answer his late love. A peculiar explanation of the psychological state of the in love of Onegin, his inevitable love drama is the author's retreat of "Love all ages are submissive ..." (Struck XXIX). As before, in the foreground in the characteristic of the hero, the ratio between the mind and feeling. Now the mind was defeated - Onegin loves, "the mind did not make strict foam." He "almost crazy / or did not become a poet," the author notices without irony. In the eighth chapter, there are no results of the spiritual development of the hero who believed in love and happiness. Onegin has not reached the desired goal, there are still no harmony between feeling and mind. Pushkin leaves his character open, unfinished, emphasizing the ability of Onegin to a sharp change of value guidance and, note, willingness to action, to the act.

Please note how often the author reflects on love and friendship, about relationships between lovers and friends. Love and Friendship for Pushkin - two squeaks, on which a person is tested, they reveal the wealth of the soul or her devastation. Onegin closed from the fake values \u200b\u200bof "empty light", despite their false shine, but neither in St. Petersburg, nor in the village did not discovered genuine values \u200b\u200b- universal. The author showed how hard the movement of a person to simple and understandable seemingly life truths, through which tests he should pass to understand - and the mind and heart - the greatness and significance of love and friendship. From the estate limitations and prejudice, inspired by the upbringing and idle life, through reasonable demonic nihilism, which deny not only false, but also genuine life values, to the opening of love, the high world of feelings - such a path of spiritual development of the hero honors Pushkin.

Lensky and Tatyana Larina not only plot partners of the capital hero. These are full images of contemporaries, in the fate of which also "reflected the eyelids."

Romantic and Poet Lensky It seems spiritual and social antipode of Onegin, an exceptional hero, completely torn off from life, from Russian life. Lowish inexperience, flaky of love feelings to Olga, River Elegy, written in the spirit of "sad romanticism," all this separates the eighteen-year-old landlord from the former St. Petersburg Hard. The author, informing their acquaintance, first builds the differences between them in the absolute degree ("they agreed. Wave and stone, / poems and prose, ice and a flame / not so different among themselves"), but immediately indicates that it is "mutual Various "they liked each other. There was a paradoxical friendship "from doing nothing."

Not only the extremes connected the heroes - between them a lot of common. Onegin and Lensky are alienated from the landlord environment, each of them expresses one of the trends of Russian spiritual life: Onegin is disappointed and skepticism, Lensky - romantic dreaminess and glowing to the ideal. And the one, and the other trend is part of European spiritual development. The idols of Onegin - Byron and Napoleon. Lensky - Fan of Kant and Schiller. Lensky also searches for the purpose of life: "Our goal of our life for him / was a tempting mystery, / above her he suspected his head / and miracles." And most importantly, the character of Lensky, as well as the character of Onegin, is a disharmonious, incomplete. Sensitive Lensky is just as far from Pushkin's ideal of human harmony, as well as rationalist Onegin.

With Lensky, the novel includes the themes of youth, friendship, heart-minded "ignorance", devotion to feelings, junior courage and nobility. In an effort to protect Olga from the "Depravitel", the hero is mistaken, but it is sincere delusion. Lensky - Poet (Another poet in the novel is the author himself), and although in the author's comments to his poems a lot of irony, good-natured ridicule, teasing, the author notes the authenticity of feelings and wit:

Not madrigals Lensky writes

Olga young album;

His feather love breathing

It does not cry sharply;

That will notice, neither will hear

About Olga, he writes about that:

And, full of truth is alive,

Teach Elegy River.

The unusual character of the hero is explained by the author from social positions. Lensky's soul did not linger from the "Cold Depravity of Light," he was brought up not only in the "German Germany", but also in the Russian village. In the "half-Russian" dreamer Lensky more Russian than in the crowd of surrounding landowners. The author writes about his death, twice (in the sixth and seventh chapters) leads the reader on his grave. The author's sadness is not only the death of Lensky, but also the possible cloister of youth romanticism, the turbulence of the hero in the oblique landfill. With this version of the fate of Lensky ironically, the fate of the fate of the sentimental novels of Praskovye Larina and the "Rustic Starlass" - Uncle Onegin.

Tatyana Larina - the "cute ideal" of the author. He does not hide his sympathy for heroin, emphasizing her sincerity, the depth of feelings and experiences, the simplicity and loyalty of love. Her personality is manifested in the sphere of love and family relationships. Like Onegin, it can be called "Genius of Love". Tatiana - the participant of the main storyline in which its role is comparable to the role of Onegin.

Tatiana's character as well as the character of Onegin is a dynamic, developing. Usually pay attention to the sharp change in its social status and appearance in the last chapter: instead of the village young lady, immediate and open, before Onegin, the magnificent and cold secular lady, princess, "Legisite Hall" appeared before Onegin. Its inner world is closed from the reader: Tatiana until his final monologue does not say a word, the author also keeps the "secret" about her soul, limited to the "visual" characteristics of the heroine ("like Surov! / He doesn't see him, not a word with him; / At! It is now surrounded by the Epiphany cold, she! "). However, in the eighth chapter, the third, the final stage of the spiritual development of the heroine is shown. Its character significantly changes already in the "Rustic" chapters. These changes are associated with its attitude towards love, to Onegin, with the ideas about the debt.

In the second - fifth chapters, Tatiana appears internally contradictory. It gets along with authentic feelings and sensitivity, inspired by sentimental novels. The author, characterizing the heroine, indicates primarily on the circle of its reading. Novels, emphasizes the author, she "replaced everything." Indeed, the dreamy, alienated from the girlfriends, so unlike Olga, Tatiana all surrounding perceives as not yet written novel, imagines heroine of favorite books. Distractions of the dreams of Tatiana shaded the book-household parallel - the biography of her mother, who, too, in his youth, "from Richardson crazy," loved the "Grandon", but, having married "in captivity", "rushed and crying first", and then turned into Conventional landowner. Tatyana, who was waiting for "someone" similar to the heroes of Romanov, saw in Onegin just such a hero. "But our hero, who would be neither he, / I was right that I was not Grandon," the author is ironic. The behavior of Tatiana in love is built according to her novel models. Her letter written in French, - Echo of love messages Heroin Romanov. The author translates the letter of Tatiana, but its role is not limited to this: he is all the time forced to release the genuine feelings of the heroine from the captivity of book templates.

The coup in the fate of Tatiana takes place in the seventh chapter. The external changes in her life is only a consequence of a complex process that went in her soul after the departure of Onegin. She was finally convinced of her "optical" deception. Restoring the appearance of Onegin on the "tracks", remaining in his estate, she realized that her beloved was a man of the mysterious, strange, but not at all that she took him. The main outcome of the "study" of Tatiana became love not to literary chimera, but to a genuine Onegin. She completely freed from book ideas about life. Once in new circumstances, without hoping for a new meeting and the reciprocity of the beloved, Tatyana makes a decisive moral choice: agree to go to Moscow and get married. Note that this is a free choice of heroine, for which there were "all the lot are equal." She loves Onegin, but voluntarily obeys his debt to his family. Thus, the words of Tatiana in the last monologue - "But I am completely given; I will be a good eyelid to him "- news for Onegin, but not for the reader: the heroine only confirmed the choice made earlier.

The question of the impact on the nature of Tatyana's new circumstances of her life should be simplified. In the last episode, the novel becomes an obvious contrast between the secular and "home" Tatiana: "Whoever Tanya, the poor tanya / now in the princess b did not recognize!" However, the monologue of the heroine testifies not only that she retained the former mental qualities, the loyalty of love for Onegin and his marital debt. "Lesson Onegin" is full of unfair comments and ridiculous assumptions. Tatiana does not understand the feelings of the hero, seeing in his love only a secular intrigue, the desire to drop her honor in the eyes of society, accusing him and their pearls. The love of Onegin for her "the littleness", "the feeling of petty", and in it itself it sees only the slave of this feeling. Again, as ever in the village, Tatiana sees and "will not recognize" genuine Onegin. Her false understanding of it is generated by the light, the "implanting San", whose techniques, as the author noted, she "soon took." The monologue of Tatiana reflects her inner drama. The meaning of this drama is not in choosing between love for Onegin and loyalty to her husband, but in the "corrosion" of the feelings that occurred in the heroine under the influence of a secular society. Tatiana lives in one commemoration and is not able to at least believe in the sincerity of a loving person. The disease from which Onegin was so painfully dismissed, struck and Tatiana. "Light empty", as if reminded of a wise author, hostile to anyone at the phenomenon of a living, human feeling.

The main characters of the "Eugene Onegin" are free from the specification, one-bedroom. Pushkin refuses to see in them the incarnation of vices or "perfect samples". In the novel, new principles of the image of the heroes are consistently implemented. The author will make it clear that he does not have ready-made answers to all questions about their destinies, characters, psychology. Rejecting traditional for Roma for the role of the "all-knowing" narrator, he "hesitates", "doubts", sometimes inconsistent in his judgments and estimates. The author as it would invite readers to draw portraits of heroes, imagine their behavior, try to look at them on the other, an unexpected point of view. For this purpose, numerous "pauses" (missed rows and strokes) are introduced into the novel. The reader must "learn" the heroes, relate them to his own life, with his thoughts, feelings, habits, superstitions, read books and magazines.

The appearance of Onegin, Tatyana Larina, Lensky develops, but only from the characteristics, observations and evaluations of the author - the Creator of the novel, but also of the sense, the perekov, rumors. Each hero appears in Oleole public opinion, reflecting the point of view of a variety of people: friends, acquaintances, relatives, neighboring landlords, secular gossip. Society is the source of tinle on heroes. For the author, this is a rich set of everyday "optics", which he turns "optics" artistic. The reader is invited to choose that glance at the hero, which he closer seems to be the most reliable and convincing. The author, recreating the picture of the opinions, reserves the right to arrange the necessary accents, gives the reader social and moral landmarks.

Evgeny Onegin looks like a novel-improvisation. The effect of a relaxed conversation with the reader is created primarily by the expressive capabilities of the four-resistant Yamba - the favorite Pushkin size and the flexibility of the created Pushkin specifically for the novel "Oneginskaya" stanza, which includes 14 poems of a four-stranded jamb with a strict rhythm CCDD EFFE GG. (capital letters marked female endings, line-male). The author called his Lirah called "chatty", emphasizing the "free" character of the narrative, the diversity of intonation and speech styles - from the "high", book to the conversational style of ordinary rustic robes "about Senokos, about wine, about Cherne, about His relatives."

Roman in verses is a consistent denial of known, generally accepted laws of the genre. And it's not just a suprack of the usual prosecical speech for the novel. In Evgenia Onegin, there is no slender story about the heroes and events stacked in a pre-specified plot framework. In such a plot, the action develops smoothly, without breaks and deviations - from the risk of action to its junction. Step by step The author goes to its main goal - creating images of heroes against the background of a logically verified storyline.

In Evgenia Onegin, the author-narrator still "retreats" from the story of the heroes and events, indulging in "free" reflections on biographical, everyday and literary topics. Heroes and author are constantly changing in places: then heroes, the author turns out to be the focus of the reader. Depending on the content of specific chapters of such "intrusions" of the author, there may be more or less, but the principle of "album", externally not motivated, the compounds of the stories with copyright monologues remain in almost all chapters. The exception is the fifth chapter, in which 10 with an excess stanf occupies a dream of Tatyana and a new plot knot is tied - Lensky's quarrel with Onegin.

The plot story is also inhomogeneous: it is accompanied by more or less deployed author's "replicas aside." The author from the very beginning of the novel detects himself, as it would look like from the spin of heroes, reminding about who leads the story, who creates the world of the novel.

The plot of the novel outwardly reminds the chronicle of the life of Heroes - Onegin, Lensky, Tatiana Larina. As in any chronic plot, there is no central conflict. The action is built around conflicts arising in the field of privacy (love and friendly relations). But only a sketch of a connected chronicle narration is created. Already in the first chapter, containing the background of Onegin, described in detail about one day of his life, and the events related to the arrival in the village are simply listed. In the village of Onegin spent several months, but many details of his village life were not interested in the narrative. Only individual episodes are fully reproduced (the trip to Larina, explanation from Tatyana, Name Day and Duel). Almost a three-year journey of Onegin, which should have tied two periods of his life, simply omitted.

Time in the novel does not coincide with real time: it is compressed, compressed, then stretched. The author often as it would be offered to the reader simply "overflow" the pages of the novel, reporting about the actions of the heroes, about their everyday classes. Separate episodes, on the contrary, enlarged, stretched in time - attention is delayed on them. They resemble dramatic "scenes" with dialogues, monologues, with clearly prescribed decorations (see, for example, the scene of Tatiana's conversation with nanny in the third chapter, explanation of Tatiana and Onegin, broken into two "phenomena", in the third and fourth chapters).

The author emphasizes that the lifetime of his heroes, storytime, is an artistic convention. The "calendar" of the novel, contrary to the half-sizing assurance of Pushkin in one of the notes - "In our Roman, the time calculated by the calendar," - special. It consists of days that are equal to months and years, and months, and even years honored by several comments of the author. The illusion of the chronicle narration is maintained by "phenology notes" - indications of the change of seasons, weather and seasonal occupations of people.

On many events, the author or simply silent, or replaces the immediate image of the event with a story about them. This is the most important principle of narration. For example, on the disputes of Onegin with Lensky, it is reported as a constant form of friendly communication, the topics of disputes are listed, but none of them is shown. The same receipt of defaults about events or their simple listing is used in the eighth chapter, where the author talks about the unsuccessful attempts to Onegin to explain with Tatiana. There is more than two years between the events of the seventh and eighth chapters. This gap in the narration is especially noticeable.

The plot of the eighth chapter is isolated from the plot of the first seven chapters. The character system has changed. In the first, "rustic", chapters it was rather branched: Central characters - Onegin, Tatiana, Lensky, secondary - Olga, Praskovya Larina, Nanny, Zaretsky, Princess Alina, episodic characters appear in the fifth and seventh chapters: Guests in the names, outlined One or two strokes, Moscow relatives of Larina. In the eighth chapter, the character system is much easier: Onegin and Tatiana remain the central characters, Tatyana's husband appears twice, there are several nameless episodic characters. The eighth chapter can be perceived as a completely independent storyset, which does not have, however, an equally detailed exposition as the plot of the first seven chapters, and the actions of action: Onegin is left by the author "in a minute he is evil for him," nothing is reported about his fate.

Many plot situations in the novel are planned, but remain unrealized. The author creates the impression that in his hands many options for the development of events, of which he chooses the necessary or completely refuses to choose, giving it to the reader himself. The principle of plot "multivariate" It is asked in the first strangers of the novel: Onegin (and the reader) does not know what is waiting for him in the village - the wonder of the Death death, or, on the contrary, he will arrive already the owner of the "charming corner" (later the author reports about another, unrealized, option Hero's life: "Onegin was ready with me / see alien countries"). In the final of the novel, literally "throwing" Onegin, the author as it would be offered to the reader to choose among the many possible options for the termination of the plot.

Traditional romance schemes - overcoming obstacles arising between in love, love rivalry, happy junction - Pushkin chambers, but decisively throws away. In fact, before Onegin and Tatiana, Lensky and Olga does not arise any external obstacles, nothing prevents, it would seem to be a happy completion of their relationship. Tatiana loves Onegin, he sympathizes Tatiana. All neighbors are friendly with her grooms together, but the author elects the path dictated by not the logic of the "family" novel, but the logic of the characters of heroes. Lensky and Olga is even closer to the "mystery of the marriage bed", but instead of the wedding and paintings of family life - a duel and death of Lensky, the shorter of the sadness of Olga and her departure with Ulan. The accomplished version of the fate of Lensky is complemented by two more, unrealized. Already after the death of the hero, the author reflects on his two "diets" - high, poetic, about life "for the good of the world", and quite ordinary, "prosaic": "broke up with muses, married, / in the village, happy and horns, / Wore a quilted robe. "

All scene action options, at first glance, contradict each other. But they are equally necessary to the narrator. He emphasizes that the novel arises from sketches, drafts, from the already "exhaust" other writers of romance situations. It is in his hands "Staff", which does not give the plot to wander "Esp and around". In addition, unfulfilled plot options become important elements of characteristics of heroes, indicating possible prospects for the development of their destinies. An interesting feature of the novel - "Plot self-consciousness" of heroes: not only Onegin, Lensky, Tatiana, but also the secondary characters - the mother of Tatiana, Princess Alina - aware of the unnecessary options for their lives.

Despite the obvious fragment, intermittent, "controversial" character of the narration, "Eugene Onegin" is perceived as a work that has a well-thought-out structure, "form of plan". In the novel, there is its own internal logic - consistently settled principle of narrative symmetry.

The plot of the eighth chapter, despite its withdrawal, is a mirror reflection of the part of the plot of the first seven chapters. It is like "casting" characters: Onegin is on the site of Tatiana, and in the role of Onegin - cold, inaccessible Tatyana. The meeting of Onegin and Tatiana in a secular round, the letter of Onegin, the explanation of heroes in the eighth chapter - plot parallels to similar situations of the third - the fourth chapters. In addition, the "mirror" of the eighth chapter with respect to the first is emphasized by topographic and biographical parallels. Onegin returns to St. Petersburg, visits the house of an old buddy, Prince N. His love "novel" with Tatiana Outdoor reminds semi-forgotten secular "novels". Failing, "he again renounced. / Yves the silent office / he was time for him, / when a cruel hundra / he was chased in a noisy light ... "The author, as in the first chapter finals, recalls the beginning of work on the novel, about friends who" Strafs the first read " .

Inside the "rustic" chapters there is the same principle of symmetry. The seventh chapter is symmetric first: if only Onegin is shown in the first chapter, then all the attention of the author in the seventh chapter focuses on Tatiana is the only chapter, where the main character is missing. There is a story parallel between Pauma Onegin - Tatyana and Lensky - Olga. After the episode, finalizing the short love collision between Onegin and Tatiana, the story switches sharply: the author wants to "cheer imagination / painting of happy love" Lensky and Olga. The implicit, hidden parallel was held between Tatiana's sleep-phantasmagoria, filled with terrible mounds, which were from the two worlds - folk and literary, and the "fun holiday named." The dream is not only "proper" (a quarrel and duel is predicted in it), but also as if a fantastic "draft" of the village Bala.

Contradictions of improvisational narration and composite symmetry of chapters, episodes, scenes, descriptions - principles close to the technique of literary "installation" - do not exclude, and complement each other. Their interaction makes the romance dynamic, internally united artistic text.

The artistic uniqueness of the novel is largely determined by the special position that the author occupies in it.

The author in the novel Pushkin is not a traditional narrator, leading the narrative of heroes and events, clearly separating itself from them and from readers. The author is the creator of the novel, and at the same time his hero. He persistently reminds the readers about the "literature" of the novel, that the text created by him is a new, life-like reality that "positively" should be perceived by trusting his story. The heroes of the novel - fictional, all that is said about them is not related to real people. The world in which heroes live is, too, the fruit of the author's creative fantasy. Real life is only material for the novel, selected and organized by him, the Creator of the Romantic World.

The author leads a permanent dialogue with the reader - shares the "technical" secrets, writes the author's "criticism" to his novel and refutes the possible opinions of journal critics, attracts attention to the turns of the plot action, to ruptures in time, introduces plans and drafts in words, not It makes you forget that the novel has not yet been completed, not presented to the reader, as a book, "ready-to-use", which you just need to read. The novel is created right in front of the reader, with his participation, with a loaf of his opinion. The author sees the co-author in it, turning to the long-range reader: "Friend", "Nefruhau", "Friend".

The author is the creator of the romance world, the Creator of the story story, but he is his "destructive". The contradiction between the author - the Creator and the author - the "destroyer" of the narration arises when he, interrupting the story, is among the next "frame" of the novel - for a short time (by a replica, comment) or fills it with a whole (copyright). However, the author, breaking away from the plot, does not separate himself from his novel, becomes his "hero." We emphasize that the "hero" is a metaphor, a conditionally denoting author, because he is not an ordinary hero, a participant in the plot. It is unlikely that you can make an independent "plot of the author" in the text of the novel. The plot of the novel is one, the author is outside the story action.

The author has a special place in the novel, definitely two of his roles. The first is the role of a narrator, a storyteller commenting on everything that happens with heroes. The second is the role of the "representative" of life, which is also part of the novel, but does not fit into the framework of the literary plot. The author is not only outside the plot, but also above the plot. His life is part of the total flow of life. He is a hero of "novel of life", which is stated in the last verses "Evgenia Onegin":

Blessed, who is early to celebrate life

Left without adding to the bottom

Full wine glasses

Who did not dape her novel

And suddenly he knew how to part with him,

Like me with Onegin mine.

Separate intersections of the author and heroes (meeting of Onegin and the author in St. Petersburg, which is stated in the first chapter, the letter of Tatiana ("I am holy by the shore"), which fell to him), emphasize that the heroes of "my novel" - only a part of the life, which is the author in the novel.

The image of the author Created by other means than the images of Onegin, Tatiana, Lensky. The author is clearly separated from them, but at the same time, conformities arise between him and the main characters, semantic parallels. Not being an acting person, the author appears in the novel as a subject of statements - replicas and monologues (they are called by the author's retreats). Speaking about life, about literature, about the novel, which creates, the author is approaching heroes, it is distinguished from them. His judgments may coincide with their opinions or, on the contrary, to resist them. Each appearance of the author in the text of the novel is a statement, corrective or evaluating actions and views of the heroes. Sometimes the author directly indicates similarity or differences between themselves and the heroes: "We knew both passions; / Tomila life of both of us; / In both hearts, the heat is UGAS "; "Always I am glad to notice the difference / between Onegin and me"; "I thought exactly for my Eugene"; "Tatiana, cute Tatiana! / With you now I am tears Lew. "

Most often between the author's statements and the life of heroes, composite and semantic parallels arise. The appearance of copyright monologues and replicas, externally not motivated, is associated with plot episodes of deep semantic ties. The general principle can be determined as follows: the act or characteristic of the hero give birth to the response from the author, forcing him to speak about a particular subject. Each statement of the author adds new strokes to his portrait, becomes the term of his image.

The main role in creating the image of the author is played by its monologues - author's retreats. This is quite complete fragments of text, which have a slender composition and a unique style. For convenience, they can be divided into several groups.

Most of the retreats are lyrical and lyrical philosophical. In them, saturated with diverse life impressions, observations, joyful and sorrowful "heart notes", philosophical reflections, the reader opens the author's spiritual world: this is the voice of a wise poet, a lot of people who who who had experienced and experienced in life. He missed everything, of which there is a life of a person: strong, elevated feelings and coldness of doubt and disappointment, sweet flour of love and creativity and a diverse longing of everyday bustle. He is young, mischievous and passionate, then mocking and ironic. The author attracts women and wine, friendly communication, theater, balls, poems and novels, but he also notices: "I was born to life peaceful, / for rustic silence: / In the wilderness, the voice is lying, / more creative dreams." The author acutely feels the change of human ages: the end-to-end topic of his reflection is youth and maturity, "the age of late and barren, / on the turn of our years." The author is a philosopher who learned a lot of sad truth about people, but did not cease to love them.

Some deviations are imbued with the spirit of literary controversy. In an extensive retreat in the third chapter (XI-XIV stanza), the ironic "historical and literary" reference is first given, and then the author introduces the reader with the plan of his "Roman to the old way". In other retreats, the author is included in the controversy of the Russian literary language, emphasizing the faithfulness of the "Karamzinist" ideals of youth (chapter third, stanza XXVII-XXIX), hesitizes with "criticism of strict" (V.K. Kyhehelbecker) (chapter fourth, stanza xxxi-xxxsh ). Critically evaluating the literary opinions of opponents, the author determines his literary position.

In a number of deviations, the author finishes over his alien imaging about life, and sometimes frankly ridicule them. Objects of the author's irony in retreats of the fourth chapter (Strafs of VII-VIII - "The less woman we love ..."; Stragas of XVIII-XXII - "Enemies has anything in the world ..."; Stragas XXVIII-XXX - "Of course, you are not Once I have seen / county ladies album ... "), the eighth chapter (stanza X-xi -" Blessed, who was young as a smallest ... ") - vulgarity and hypocrisy, envy and misfortune, mental laziness and debauchery, disguised by secular well-planness. Such deviations can be called ironic. The author, in contrast to the "honorable readers" from the secular crowd, does not doubt the genuine life values \u200b\u200band spiritual qualities of people. He is faithful to freedom, friendship, love, honor, looking for peace sincerity and simplicity in people.

In many departures, the author appears as the St. Petersburg poet, the contemporary of the heroes of the novel. The reader knows about his fate, these are only biographical "dots" (lyceum - Petersburg - South - Village - Moscow - Petersburg), molts, hints, "dreams", of which there is an external background of author's monologues. Autobiographical character have all the retreats in the first chapter, part of the retreats in the eighth chapter (Strafs I-VII; XLIH-LI stanza), in the third chapter (Strafs of the XXII-XXIII), in the fourth chapter (Starf XXXV), the famous retreat in the finals of the sixth chapter In which the author-poet says goodbye to youth (Strafs of XLIII-CHLVI), a retreat of Moscow in the seventh chapter (Strafs of XXXVI-XXXVII). Biographical details "encrypted" and in literary and polemical retreats. The author takes into account that the reader is familiar with the modern literary life.

The completeness of the spiritual life, the ability to the integral perception of the world in the unity of the bright and dark sides - the main features of the author's personality, distinguishing him from the heroes of the novel. It was in the author Pushkin embodied his ideal of man and a poet.

History of creating a novel "Eugene Onegin"

Pushkin worked on a novel over seven years. During this time, much changed in the life of Pushkin, and in the nature of his work. The most important thing was that from 1925 from the poet Romance turned into a revenue poet. If earlier he, as any romantic, in his verses, poems, set the main task to pour out his soul, reflect in the plots and images to the poems their own feelings, experiences, suffering caused to him -, then becoming an artist-realist, he seeks not so much Talk about yourself how much about life itself, not so much to pour your feelings as carefully to watch, study, artistically generalize the surrounding reality.

The novel was, according to Pushkin, the "fruit of the mind of cold observations and the heart of sorrowful notice." The work on him Pushkin called the feat - from all his creative heritage only "Boris Godunova" he described the same word. On a wide background of paintings of Russian life, the dramatic fate of the best people of the noble intelligentsia is shown.

He began working on Onegin Pushkin in 1823, during his southern link. The author refused romanticism as a leading creative method and began writing a realistic novel in verses, although the influence of romanticism is still noticeable in the first chapters. Initially it was assumed that the novel in verses would consist of 9 chapters, but later Pushkin reworked his structure, leaving only 8 chapters. He excluded from the work chapter "Journey Onegin", which included as an application. After that, the tenth head of the novel was written, which is an encrypted chronicle from the life of future Decembrists.

Announced a novel in verses with individual chapters, and the release of each chapter became a big event in modern literature. In 1831, the novel in verse was over and in 1833 he was published. It covers events from 1819 to 1825: from foreign trips of the Russian army after the defeat of Napoleon to the uprising of the Decembrists. These were the years of the development of Russian society, the time of the reign of Tsar Alexander I. The plot of the novel is simple and well known. In the center of Roman - love intrigue. And the main problem is the eternal problem of feeling and debt. In the novel, Evgeny Onegin, the events of the first quarter of the XIX century reflected, that is, the creation time, and the time of the novel roughly coincide.

Roman is unique, because previously in world literature did not exist in any novel in verses. Alexander Sergeevich Pushkin created a novel in verses like the poem of Byron "Don Juan". Having defined the novel as "collected the mothers of chapters", Pushkin emphasizes one of the features of this work: the novel seek "open" in time, each chapter could become the last, but may also have a continuation. And thus the reader draws attention to the independence of each chapter of the novel. The novel became the encyclopedia of the Russian life of the 20s of the beginning of the century, as the latitude of Roman's coverage shows the readers all reality of Russian life, as well as multi-way and description of different eras.

That is what gave the foundation of V.G. Belinsky in his article "Eugene Onegin" conclude: "Onegin" can be called the encyclopedia of Russian life and highly by the people's work. "

In the novel, as in the encyclopedia, you can find out everything about the epoch: about how dressed up, and what was in fashion that people were valued most about what they were talking about what interests they lived. In Evgenia Onegin, all Russian life has reflected. Briefly, but rather clearly, the author showed a fortress village, Barskaya Moscow, St. Petersburg. Pushkin tried truthfully by the Wednesday in which the main characters of his novel - Tatyana Larina and Evgeny Onegin. The author reproduced the atmosphere of urban noble salons in which youth of Onegin.

At the very beginning of its work on Evgeny Onegin, Pushkin wrote the poet Vyazemsky: "I am writing now not a novel, but a novel in verses is a devilish difference."

In fact, the poetic form attaches "Eugene Onegin" the features, sharply distinguishing it from the usual prose novel. In verses, the poet does not just tell or describes, while it somehow especially concerns us the most form of his speech: rhythm, sounds. The poetic form is much stronger than prose transfers the feelings of the poet, his excitement. Each poetic turnover, each metaphor acquires special brightness in verses, persuasive. Pushkin created a special form for his lyrical novel. Poems do not flow with a continuous flow, as in almost all of its poems, and are divided into small groups of lines - stanzas, by fourteen poems (lines) in each, with the definition of a constantly repeated location of the rhymes - the so-called "Onegin Stroof", which consists of fourteen poems four-stranded yamba. These fourteen versions are divided into four groups: three quatrains and one two-befall (final).

Roman "Evgeny Onegin" is written in verses. It is surprising: in a small book of Roman, the poet managed to reflect the life of the Russian people and the nobility in the 19th century, managed to capture the life of Russia, the life and morals of many segments of the population. Managed to resolve one of the most difficult topics of human life - the topic of love. This is the eternal theme of Russian literature.