A.S. Pushkin plays a dominant role in Russian literature. Any work by Pushkin is serious, compressed in essence and form; it is the fruit of deep reflection. In the literary field, Pushkin was distinguished by the fact that he was always in search of the unusual, accurate, and beautiful. Literary conventions were not an obstacle to him.

A.S. Pushkin’s novel “Eugene Onegin” is a novel about personalities and feelings, about life and morals. With this novel, Pushkin laid the foundation for works in which an objective analysis of modern reality is given “with a heap” of complexities and contradictions.

Literary scholars have more than once noted the author’s predilection for arranging the characters of the novel “Eugene Onegin” in pairs: Onegin - Lensky, Onegin - the author, Tatyana - Onegin.

Today the object of our attention is the couple Lensky - Olga.

Vladimir Lensky is a young, rich man. He recently returned to his native village from Germany, where he learned the basics of science. The author convinces us that Lensky has many positive qualities: he is pure in soul, freedom-loving, chaste, easy to communicate, affectionate. He is interested in poetry. Values ​​love and friendship. According to the poet,

“He was a dear ignoramus at heart,
He was cherished by hope,
And the world has new shine and noise
They also captivated the young mind.”

Pushkin calls Lensky an ignoramus. Who is this ignoramus? A person who is ignorant of any subject. Lensky, whose “mind is still unsteady in judgment,” thought a lot, “racked his brains.” But, in fact, thinking about life, he did not know real life itself. He was nice, but ignorant.

Lensky did not notice Tatyana, a kind young lady, an integral nature, to whom, we note, the love of the author of the novel was given. Lensky is infatuated with Olga.

Olga Larina is a sweet girl. She is obedient, modest, cheerful. Olga is not inclined to think hard about the meaning of life. She flutters through life, frisky, carefree. The same as her mother was in girls, even simpler, because her mother was raised in Moscow, and Olga lived in the village from birth.

Olga Larina is the usual type of a simple noble girl of the early 19th century.

Olga lives among simple, rude people who know little and think little. She falls in love with a man (Lensky), whose character is as easy as her own.

Young people are happy. Everything is approaching a successful outcome. True, Pushkin notes:

“But Lensky, without having, of course,
There is no desire to tie the knot..."

That is, love is love, but the prospects are vague. But for now both are absorbed in high feelings:

“They are in the garden, hand in hand,
They walk in the morning...
He only dares sometimes
Encouraged by Olga's smile,
Play with a developed curl
Or kiss the hem of your clothes.”

Lensky decorates the pages of her album and gives her tender poems.

“And, full of living truth,
Elegies flow like a river...

This eternal love would have continued like this, but circumstances intervened. Eugene Onegin, one of the central figures of the novel, following his selfish habit of destroying everything, decided to take revenge on Tatyana Larina, Olga’s sister, for her inappropriately nervous behavior at the holiday. Having refreshed his memory of the “science of tender passion,” Onegin publicly flirts with Olga. Olga, a frivolous and naively simple-minded girl, succumbed to the slight flirtation, blushed, and became cheerful. Noticing Onegin's courtship of Olga, Lensky writes down Evgeniy as his enemy.

“Lensky is unable to bear the blow;
Cursing women's pranks..."

“Two bullets - nothing more -
Suddenly his fate will be resolved.”

The enraged Lensky, taking the rules of honor as a basis, decided to challenge Onegin to a duel. The result of the duel is the death of Lensky. At first glance, Lensky laid down his head for Olga’s “good.” He decided to bring to life the idea, not devoid of selfish, ambitious thoughts, of becoming “her savior.”

Without understanding the situation, paying attention only to external manifestations, he decided to become a fighter for the “good of the world.” But all decisions in life must be made carefully. Lensky destroyed himself. “Jealous delusions” and unwillingness to curb and humble one’s pride led to a tragic ending. Lensky didn’t even consider it necessary to talk to his loved one, Olga. Which, in fact, was supposed to support him both in sorrow and in joy.

Based on this fact, we can say that the relationship between Lensky and Olga was not completely real, their love did not stand the test.

However, Lensky also has correct concepts about honor. On the last date, Lensky did not say anything to Olga about the upcoming duel. Forgetting about romanticism, which he “picked up in abundance” while studying at the University of Göttingen (the abode of German romanticism), he acted like a man, with restraint and nobility. To Olga’s question: “What’s wrong with you?”, he answered briefly: “So.”

What about Olga? How long had she suffered, having lost a dear person, a beloved friend? The young bride cried for a short time. Soon she married a lancer. Unable to bear any time of mourning, she rushed into a new relationship. And the one who acted as a defender of her honor was hopelessly, hastily forgotten.

Conclusion

Among Pushkin’s contemporaries there were people who did not understand the novel “Eugene Onegin,” but there were none indifferent. Everyone followed the storyline, tried to understand the motives for the characters’ behavior, and understand the principles on which the novel was built.

In the novel we can observe life in all its manifestations. Lensky is an image whose appearance is determined by life itself. Fate treated Lensky cruelly. We feel sorry for the young romantic, sorry to part with him. Maybe something would have changed in his life, and Lensky would have rethought a lot. Who knows? And Olga, his gentle companion, did not cry for long; she very quickly found herself in the arms of another person.

The theme of the novel “Eugene Onegin” (1831) is a depiction of Russian life in the first quarter of the 19th century. V.G. Belinsky called this work “an encyclopedia of Russian life” (V.G. Belinsky “Works of A. Pushkin”, article 9), because Pushkin in his novel “knew how to touch on so much, hint about so much that belongs exclusively to the world of Russian nature, to the world of Russian society” (ibid.). The idea of ​​“Eugene Onegin” is to evaluate the type of modern young man common in noble society, who cannot find a worthy application for his abilities in the life around him, since the life goals familiar to the noble circle do not suit him, they seem unworthy and petty. For this reason, such young people find themselves “superfluous” in society.

The plot of the novel is based on the love story of Evgeny Onegin and Tatyana Larina. Consequently, the plot of the plot will be their first meeting in the Larins’ house, where Onegin ends up by chance: he wanted to look at Olga, Lensky’s “object of love”. Moreover, the very scene of the first meeting of the main characters is not described in the novel: Onegin and Lensky talk about it, returning home from guests. From their conversation it is clear the impression that Tatyana made on the title character. Of the two sisters, he singled out Tatyana, noting the unusualness of her appearance and the mediocrity of Olga:

Olga has no life in her features.
Exactly like Vandice's Madonna.
She's round and red-faced... (3, V)

Tatyana fell in love with Onegin at first sight, as she admitted in her letter:

You barely walked in, I instantly recognized
Everything was stupefied, on fire
And in my thoughts I said: here he is! (3, XXXI)

The first meeting of Onegin and Tatyana occurs in the third chapter. This means that the first two chapters of the novel are an exposition of the plot, where the author talks in detail about the two main characters: their parents, relatives, teachers, their favorite activities, characters, habits. The climax of the plot is the explanation between Onegin and Tatiana in the garden, when the hero indifferently refuses the love of an extraordinary girl, and Tatiana loses all hopes of happiness. Later, having gained rich experience in the “whirlwind” of social life, the heroine realized that Eugene treated her nobly, and appreciated this act:

But you
I don't blame; at that terrible hour
You acted nobly
You were right with me. (8, ХLIII)

The second climax is the explanation of the main characters in St. Petersburg several years after the first. Now Tatyana, a brilliant society lady, continuing to love Onegin, refuses to respond to his fiery passion and scandalous proposal, and now Onegin, in turn, loses hope for happiness.

In addition to the main storyline - the love story of Onegin and Tatyana - Pushkin develops a side storyline - the story of the friendship of Onegin and Lensky. There is a plot here: two young educated noblemen, finding themselves in the wilderness of the village, quickly become acquainted, as Lensky

With Onegin I wished cordially
Let's make the acquaintance shorter.
They got along. (2, XIII)

The plot scheme of the friendship story can be built like this: the climax is Onegin’s behavior at Tatyana’s name day (his flirtation with Olga), the denouement is the duel of friends and the death of Lensky. The last event is at the same time a culmination, as it made Onegin, it seems for the first time in his life, “shudder” (6, XXXV).

The novel contains another side storyline - the love story of Lensky and Olga. In it, the author omits the plot, only mentioning in passing that a tender feeling was born in the hearts of young people a long time ago:

A little boy, captivated by Olga,
Having not yet known heartache,
He was a touched witness
Her infantile fun... (2, XXXI)

The culmination of this love story is the ball at Tatiana's name day, when Olga's character is fully revealed: a vain, proud and empty coquette, she does not understand that she is offending her groom with her behavior. Lensky's death unleashes not only the friendship storyline, but also the story of his short love.

From all that has been said above, it is clear that both the main and secondary storylines are constructed quite simply, but the composition of the novel itself is extremely complex.

Analyzing the main storyline, several features should be noted. The first of them is a rather lengthy exposition: it consists of two chapters out of eight. Why does Pushkin describe in such detail the development of the characters of the main characters - Onegin and Tatyana? It can be assumed that the actions of both heroes were understandable to readers, in order to most fully express the idea of ​​the novel - the image of an intelligent but useless person who is wasting his life.

The second feature is that the main storyline has no resolution. After all, after the final stormy explanation with Onegin, Tatyana leaves her room, and the hero remains in place, shocked by her words. And then

Spurs suddenly rang,
And Tatyana’s husband showed up... (8, ХLVIII)

Thus, the action ends mid-sentence: the husband finds Onegin at an inopportune hour in his wife’s room. What might he think? How will the plot turn next? Pushkin does not explain anything, but states:

And here is my hero
In a moment that is evil for him,
Reader, we will now leave,
For a long time... forever. (8, ХLVIII)

Contemporaries often reproached the author for such an ending and considered the lack of a definite outcome a disadvantage. Pushkin responded to this criticism in a humorous passage “In my autumn leisure time...” (1835):

What you say is true
Which is strange, even discourteous
Don't stop interrupting the romance,
Having already sent it to print,
What should your hero
Anyway, get married,
At least kill...

From the above lines it follows that Pushkin’s decision to interrupt the affair was quite conscious. What does such an unusual ending provide for understanding the content of the work?

Onegin's husband, relative and friend, seeing the hero in his wife's room, can challenge him to a duel, and Onegin already had a duel that turned his whole life upside down. In other words, Onegin literally finds himself in a vicious circle of events; not only his love story is built on the principle of “mirror reflection” (G.A. Gukovsky), but also his relationships with friends. The novel has no end, that is, it is built according to a circular composition: the action begins and ends in St. Petersburg, in the spring, the hero never finds love, and once again neglects friendship (courts his friend’s wife). This compositional structure successfully corresponds to the main idea of ​​the novel: to show the hopeless, worthless life of the title character, who himself suffers from his uselessness, but cannot get out of the vicious circle of an empty life and find himself a serious occupation. V.G. Belinsky completely agreed with this end of the novel, asking the question: “What happened to Onegin later?” And he himself answers: “We don’t know, and why should we know this when we know that the powers of this rich nature are left without application, life without meaning, and the novel without end?” (V.G. Belinsky “Works of A. Pushkin”, article 8).

The third feature of the composition is the presence of several plot lines in the novel. The love story of Lensky and Olga gives the author the opportunity to compare the main characters with the secondary ones. Tatyana knows how to love “in earnest” (3, XXV), and Olga quickly consoled herself after Lensky’s death and married a lancer. The disappointed Onegin is depicted next to the dreamy, in love Lensky, who has not yet lost interest in life.

All three storylines are successfully intertwined: the climax-denouement in the story of friendship (duel) becomes at the same time the denouement in the love story of the young poet and Olga. Thus, in three storylines there are only two beginnings (in the main and in the friendship story), three climaxes (two in the main and one (ball) for two side) and one denouement (the same in the side storylines).

The fourth feature of the composition is the presence of inserted episodes that are not directly related to the development of the plot: Tatyana’s dream, Lensky’s poems, the girls’ song and, of course, numerous lyrical digressions. These episodes further complicate the composition, but do not drag out the action of the novel too much. It should be especially noted that lyrical digressions are the most important component of the work, because it is thanks to them that the novel creates the broadest picture of Russian life of the specified historical period and the image of the author, the third main character of the novel, is formed.

To summarize, we note that the novel “Eugene Onegin” in the history of Russian literature was innovative both from the point of view of describing life (a realistic depiction of reality) and from the point of view of creating the character of the title character (the image of Pushkin’s contemporary, the “superfluous man”). The deep ideological content was expressed in an original form: Pushkin used a ring composition, “mirror reflection” - repetition of the main plot episodes, and omitted the final denouement. In other words, the result is a “free novel” (8, L), in which several plot lines are skillfully intertwined and there are digressions of various types (inserted episodes more or less closely related to the plot; humorous and serious discussions of the author about everything in the world).

The construction of “Eugene Onegin” cannot be called logically flawless. This applies not only to the lack of a formal resolution in the novel. Strictly speaking, several years must pass between the events described in the seventh and eighth chapters until Tatyana turns from a provincial young lady into a society lady. Initially, Pushkin decided to fill these few years with Onegin’s travels around Russia (chapter “Onegin’s Travels”), but later placed them in an appendix to the novel, as a result of which the logic of the plot was broken. Both friends and critics pointed out this formal shortcoming to the author, but Pushkin ignored these comments:

There are a lot of contradictions
But I don’t want to fix them. (1, LX)

The author very accurately called his work “a collection of motley chapters” (introduction): it reflected real life, organized not according to the strict laws of logic, but rather according to the theory of probability. However, the novel, following real life, has lost neither dynamism, nor artistic integrity, nor completeness.

SECTION 5 PHILOLOGICAL SCIENCES JOURNALISM

O.V. Barsky Omsk Humanitarian Academy

The article discusses some compositional features of the novel in verse “Eugene Onegin”. The editing techniques used here by Pushkin perform a special function: they are a means of semantic organization of the work, conveying additional thematic content to it. The author’s storyline, his difficult personal relationship with the hero of the novel, comes to the fore.

Key words: composition, motive, storyline, image of the author, semantic organization.

Yu.N. Chumakov notes in “Eugene Onegin” “the combination in the holistic author’s image of the creator of the novel, the narrator and the character, as well as the imperceptibility of the transition of these images from one to another.” Such a division is appropriate, but, at least in the first chapter, the author of the novel makes the transitions from the narrator to the character quite noticeable, and this is seen as a compositional device that actualizes the special thematic line of the novel.

But, even before catching his uncle alive, Onegin becomes the owner of a huge inheritance. This means that it did not depend on the speed of Eugene’s arrival and manifestations of mercy. We can well assume that the nephew loves his uncle and sincerely wants to find him alive, and cynical statements are a tribute to fashionable skepticism.

The author's position changes noticeably in the scene of Onegin's visit to the theater. The author here does not yet appear openly as a character, but he is no longer the former detached narrator, his world is revealed to us, the sphere in which he is knowledgeable, which is the source of his aesthetic pleasure, awakens pleasant memories in him and leads to sad reflections. As the description progresses, this sphere acquires more and more tangible features, and at the end of the lyrical digression, the author is a witness to a specific ballet performance with the participation of Istomina. There is an intersection between the world of the author and the world of Onegin. We do not know what kind of intersection this is: we mean different performances, either one that the author imagines in his imagination together with Onegin, or they are both present at the same performance. The situation is structured to allow for all three possibilities. But if the first two are related only to the creative process, then the third opens up a plot perspective - a meeting between the author and the hero. The semantics of this situation certainly includes such an assumption. The parallelism of the motive complexes of the author and the hero speaks in his favor: both are theater regulars and theatrical scholars, both adore actresses, both expect changes on the stage, for both these changes are associated with a cooling of interest in the theater. However, if for the author the latter is an undesirable possibility, then for Onegin it is a fait accompli:

“... It’s time for everyone to change. I put up with ballets for a long time, but I was tired of Didelot too.”

The author makes a note to these words: “A trait of chilled feeling worthy of Chald Harold. Mr. Didelot's ballets are filled with vivid imagination and extraordinary charm. One of our romantic writers found much more poetry in them than in all French literature." On the one hand, here one can see the author’s desire to contrast himself with the hero, on the other hand, a statement of two opposing positions, one of which may over time flow into the other. Both positions are consistent with the content of the “ballet” episode. In it, the author and the hero seem to be trying on each other, there is a meeting of their somewhat similar, somewhat different views on ballet, as if foreshadowing future acquaintance, discussions, disputes, and perhaps conflict. In other words, the compositional connections within the “ballet” episode give reason to see in it the beginning of a plot relationship between the author and Onegin.

In the next episode (description of Onegin's study), the author returns to the previous objective narrative style and maintains it until the story of friendship with the hero. Here his tone changes to passionate, dreamy, enthusiastic. The author and Onegin have a common point of view on some subjects, somewhat similar life experiences, but also some differences, which may have determined the internal dynamics of their relationship (“I was embittered, he was gloomy”, “At first Onegin’s language / Confused me”) . Nothing is said about disagreements between friends, but the text is structured in such a way that we can assume an aggravation of relations, and even a quarrel.

After the description of intoxicating night walks (“We reveled in the breath of the benevolent night / Silently”), there follows a stanza, at the beginning of which Onegin is depicted experiencing almost the opposite state:

With a soul full of regrets,

And leaning on granite,

Evgeniy stood thoughtfully. .

Did something happen during this walk? The episode ends with the separation of friends, the reason for which we have to speculate:

Onegin was ready with me to see foreign countries; But soon we were destined to be divorced for a long time. His father then died. The greedy regiment of Lenders gathered in front of Onegin. Each has his own mind and sense: Eugene, hating litigation, Satisfied with his lot, provided them with the inheritance, not seeing a great loss in it, or foreknowing from afar the death of his old uncle.

It is easy to clarify the reason for the separation if we remember the author’s hint about his southern exile and the indication in the notes that the first chapter was written in Odessa and Bessarabia. Eugene's inheritance affairs apparently began at the same time or a little later. However, for some reason the author neglected the easily achievable clarity of this motivation and structured the narrative so that the separation of friends seemed due to the death of his father, and then uncle Onegin. Evgeniy was allegedly at first busy with the funeral and arranging affairs, and then left for the village. This logic is dictated by the adverb “then,” which connects the theme of parting with the theme of Onegin’s inheritance. But the text casts doubt on it. Firstly, Onegin did not deal with his father’s inheritance. Secondly, we do not know how much time separated the deaths of my father and uncle; the text does not say that this period was short; Moreover, “foreknowing from afar” may mean that a lot of time has passed. We can conclude from this that the deaths of Onegin’s relatives were not the cause of separation, but accompanied its various stages. Why then was it necessary to direct the reader’s logic in this dubious direction? Perhaps to generate the idea of ​​a conflict between friends, because of which the author, who had not yet left St. Petersburg, ended his relationship with Onegin. One way or another, the reason for the separation of the author and the hero is deliberately obscured. A plot mystery arises, the solution to which is expected to be found in the subsequent action. This ambiguity makes it clear that the line of relationship between the author and the hero will be continued. Moreover, two directions are indicated in which it can develop: on the one hand, waiting for a meeting postponed for a “long time”, on the other, tracing Onegin’s further path after parting. The second is set by the adverb “then,” which transfers the theme of separation to the situation of the death of Onegin’s father, then to the death of his uncle and moving to the village. We do not find an answer to the question about the reason for the separation either in this or in subsequent episodes, but the topic, as if by chance, turns out to be woven into Onegin’s “village” adventures and every now and then reminds itself of itself with some motifs related to it.

The description of Onegin's arrival in the village is again presented in a dispassionate ironic manner. It is replaced by another contrast between the author and the hero: the latter’s rejection of rural life gives the former a reason to fundamentally separate himself from the latter - “I am always glad to notice the difference / Between Onegin and me” - and literally sing a hymn to rural beauties. This emphasis on difference after the separation is reported again gives rise to the suspicion that it was caused by conflict. Moving on to the topic of poetic creativity, the author speaks about his silence associated with love experiences (“But I, loving, was stupid and dumb”), about the subsiding “trace of the storm” and increasing concentration on

writing work. It can be assumed from this that the conflict, if it took place, was associated with a woman, which is why, perhaps, its circumstances were not specified.

So, the secular-ironic, detached, dispassionate, objective manner of presentation of the author-narrator is interrupted several times by fragments in which we hear the voice of an expressive author-character, full of dreams, plans, joyful and sad memories. The second clearly stands out against the background of the first, contrasts with it, forcing us to look for the reason for this difference. It is obviously determined by the time that has passed from the period of the events described to the start of work on the novel. It is not without reason that the change in the author’s attitude towards certain aspects of life (primarily women) is repeatedly emphasized in the first chapter. The question arises, what could influence this change? What happened during this time? The author-character turns out to be charged with some plot intention, suggesting a transition to the state in which the author-narrator finds himself. Of course, everything can be reduced to such “natural” reasons as gaining life experience, loss of illusions, fatigue, etc. However, the text also provides grounds for a more specific motivation for the changes that have occurred with the author-character.

In the first chapter of the novel, plot intentionality is realized, as we have seen, within the framework of the relationship with the main character. The story about these relationships actualizes, on the one hand, the motive of disagreement between the characters, and on the other, the motive of their agreement. The tension created by these two motives is indicated in the “ballet” episode, and it also constitutes the internal conflict of their friendship. However, nothing is said about the resolution of the conflict in the first chapter, so the line between Onegin and the author remains incomplete, and its main intrigue becomes the result of this collision. This intrigue is thrown into the future - towards the end of the “long period” of separation of friends, and is projected into the main plot action of the novel.

Let's focus on the moment when the meeting between the author and the hero should take place - the final chapter of "Excerpts from Onegin's Journey." The first chapter is connected to it by a number of structural correspondences that compositionally balance the beginning and end of the novel. In particular, attention has been drawn more than once to the roll call of Onegin’s day, a description of which is given in the first chapter, and the author’s day, depicted in an additional chapter. Moreover, the “ballet” episode, where the prerequisite for the meeting of the author and the hero arises, corresponds to an opera performance with ballet dancing, which the author attends at the end of his day in Odessa. The semantics of this and other parallels help to clarify the features of the composition of “Excerpts”.

It is the compositional task that comes to the fore in this chapter. It, like the entire novel, is characterized by “compositional montage and constant switching from plan to plan at all levels,” however, here, unlike other chapters, no plot-significant events occur. It is significant that the theme of the composition is the main one in the prose introduction to “Passages”. It discusses the question of why this fragment of the novel is not located before the last chapter (which would correspond to the chronology of events), but was published separately. The author emphasizes the subjectivity of his choice, made, according to his statement, “for reasons that are important to him, and not to the public.” However, the author is a character in the novel, therefore, all his actions are determined by the plot function. In this case, we are essentially talking about the fact that the author’s compositional decisions are dictated by personal motives, which he places above the clear plot-event logic and interests of readers. Thus, the compositional dominant in itself in the artistic organization of “Excerpts” indicates the central role of the author’s image in them and actualizes his storyline.

Compositionally, “Excerpts” are divided into two almost equal parts: “Onegin” and “author’s”. The first depicts Onegin's movement from Nizhny Novgorod to the Caucasus. This part contains a lyrical digression by the author, in which he recalls his past poetic delights, some secret passions, “nameless suffering,” but immediately declares new “prosaic” ideals (“I need different pictures.”).

In the “author’s” part, as Yu.N. writes. Chumakov, “a picture emerges of freedom-loving and ebullient youth, alien to reflective skepticism.” That is, we hear the author’s voice before the change he mentioned in the “Onegin” part. Moreover, the optimistic, life-affirming style of the “Odessa” fragment does not contain signs of a future crisis; on the contrary, it opens up a broad ideological and creative perspective. V.M. Markovich noticed that the style of the “Odessa” stanzas stands out sharply against the background of the entire novel. The “law of harmonious unification of traditionally opposed stylistic systems” operates here. Moreover, “harmonizing relationships between material and style turn out to be possible, and these relationships indicate the possibility of real harmony between the creative person and the world.” In the world created in the “Odessa” stanzas, “the West is combined with the East without contradiction, noisy city life does not interfere with direct contact with nature (here the “southern sun”, here the “sea”), business activity coexists with careless idleness, and the colorful local everyday life coexists with international artistic culture<...>The further you go, the more clearly the features of the ideal topos are drawn, and even deeper - the features of the harmonic model of the world.” This spiritual breakthrough “from the narrowness and contradictions of a false civilization into the boundlessness of world space, to the highest harmony” is, according to V.M. Markovich, the logical conclusion of the theme of escape, stated in the author’s storyline back in the first chapter.

However, you can look at the relationship between the “Odessa” stanzas and the novel differently. The “Odessa” fragment, as researchers have repeatedly pointed out, creates a ring composition of the novel - the author is depicted here at the period of his life when he began work on “Eugene Onegin”. As evidenced by the note to the first chapter: “Written in Odessa.” Note that it refers to the part of the chapter that talks about the author’s friendship with the hero. The final words of the novel also refer to this note: “So, I lived then in Odessa.” . They are addressed, on the one hand, to the first verse of the “Odessa” fragment “I lived then in dusty Odessa...” and, as it were, sum up the “author’s” part of the “Excerpts”, and on the other hand, to the future work, they become its beginning. The last verse, as Yu.N. writes. Chumakov, “gives food to the reader’s imagination beyond the boundaries of the text and at the same time, as it were, begins again a just finished novel, the first chapters of which were written precisely in Odessa.”

If we take into account that the “Odessa” stanzas striving for “higher harmony” precede the moment of starting work on the first chapter, where “reflective skepticism” manifests itself at every step and where instead of harmony we see “separation and polarity of two styles”, expressing “separation and polarity” two spheres of life itself,” then the assumption arises that “the introduction of the author’s “I” to world harmony” is a state that was not gained, but lost by the author writing these lines. Between the final scene of "Passages" and the story about the life of the main character, an event occurred as a result of which the harmony was destroyed.

Probably this event was the meeting of the author with Onegin, foreshadowed in the first chapter of the novel. We can judge that it did take place by some of the compositional features of “Excerpts.” The very transition from the forward movement through various regions of the Caucasus, observed in the “Onegin” part, to the description of one place in the “author’s” part gives rise to the feeling that this place is the final destination of the hero’s journey. The difference between the author’s previous and current worldview, announced in a lyrical digression, also suggests some event that occurred after the “Odessa” part and became the reason for the change. It is natural to assume that its culprit is the hero of the previous part, a contrast to the cheerful author - Onegin.

This assumption is also supported by the situational “rhyme” of the endings of the “Onegin” and “author’s” parts. In the scene of Onegin’s visit to the Bakhchisarai fountain, which ends the first, the last mention of the main character in the text of the novel is heard:

I imagined Zarema Among the lush, empty halls. Three years later, following me, Wandering in the same direction, Onegin remembered me.

In these lines, as in the last “Odessa” stanzas, we are talking about empty spacious halls: in the first case, it is the Bakhchisarai Palace, devastated by history, in the second, a theater in which the performance has just ended. In both cases, the last verse turns out to be explicitly directed to the past and implicitly to the future. “Remembered me” can mean not only “remembered our friendship” or “remembered my poem,” but also “wanted to meet me,” or even “decided to pay me back.” In both cases, one of the semantic vectors of the last verse is associated with the author’s literary work: “So I lived in Odessa then.” refers to the beginning of work on “Eugene Onegin”; “Onegin remembered me” in one of the meanings - to the poem “The Fountain of Bakhchisarai”, the compositional semantics of which, we note, is determined by the conflict between the narrator and the hero.

The similarity of the situations in which the characters are depicted is their meeting at the structural level, as if foreshadowing a meeting in the novel's reality. We saw a similar foreshadowing in the “ballet” episode of the first chapter. The latter is connected with “Excerpts” by a number of points. Both fragments are divided into “author’s” and “Onegin’s” parts, but their sequence is different. At the beginning of both fragments, Katenin is mentioned: in the “ballet” episode he appears as the “reviver of the majestic genius” of the classicist Corneille; in the prose introduction of "Fragments" Katenin is depicted as an adherent of clear classical composition. In both fragments, the author indulges in pleasant memories: in the “ballet” episode - about his former theatrical delights, in “Excerpts” - about his former romantic ideals. The plot basis of both fragments is the motive of change: in the “ballet” episode, changes concern, first of all, the theater; in "Passages" the change that happened to the author is meant. In both fragments, compositional means indicate the motive of the meeting between the author and the hero.

Now we understand more clearly the narrative turning point that occurs in the “ballet” episode of the first chapter. Having reached it, the author probably recalls meeting with Onegin after that very theatrical performance that is described in the last stanzas of “Excerpts”. This allows him to more vividly imagine the St. Petersburg events of almost four years ago, to feel like he was at the same performance with Onegin (or to remember his simultaneous presence in the theater), to give the person depicted a premonition of a close meeting. The difference between the author-narrator and the author-character, as well as the dynamics of the relationship between the author and Onegin in the first chapter, apparently, are also determined by this meeting, or more precisely, by what happened at it or after it. We still don’t know what exactly happened, but echoes of some kind of drama “permeate” in the description of the author’s friendship with the hero, and then in the village story.

So, the episodes we analyzed with the participation of the author are covered by a system of compositional relations, the semantization of which actualizes the plot line developing from the beginning to the end of the novel. The characters in this line are the author and Onegin, and the author appears in two forms: the author-narrator and the author-character. The difference between these two authorial states is motivated by some event in which the author and the hero participated and which occurred in Odessa during or after their meeting. The result of this event

begins work on the novel. The author’s storyline goes through traditional stages - the beginning (a harbinger of the acquaintance of the author and Onegin in the “ballet” episode), development (the period of friendship in St. Petersburg), the climax (the Odessa meeting) and the denouement (the beginning of work on the novel). The climactic event remains unclear (perhaps a woman participated in it), however, the entire subsequent narrative, including the story about village events, in the context of this storyline appears as a consequence of the Odessa meeting, follows from it, carries its echoes, features, moreover - aims to comprehend it.

Bibliography

1. Chumakov, Yu.N. Pushkin. Tyutchev: Experience of immanent considerations / Yu.N. Chumakov. - M.: Languages ​​of Slavic culture, 2008. - 416 p.

2. Pushkin, A.S. Complete works: in 17 volumes / A.S. Pushkin. - M.: Resurrection, 1994. - T. 6. -

3. Markovich, V.M. On the meaning of the “Odessa” stanzas in “Eugene Onegin” / V.M. Markovich // Pushkin and others. - Novgorod: NovGU, 1997. - P. 80-92.

4. Barsky, O.V. Semantics of composition in the poem by A.S. Pushkin “Bakhchisarai Fountain” / O.V. Barsky // Human Science: Humanitarian Research. - 2012. - No. 1(9) - P. 90-96.

Reviewer - E.S. Savelyeva, Candidate of Philological Sciences, Associate Professor, Omsk Humanitarian Academy.

Features of the novel by A.S. Pushkin Evgeniy Onegin"
Composition "Eugene Onegin".

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

In the novel two storylines:

First story line - Onegin - Tatiana:

Acquaintance - evening at the Larins':

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

Conversation with the nanny, letter to Onegin.

Two days later there is an explanation in the garden.

Tatiana's dream. Name day.

Tatyana comes to Onegin's house.

Departure for Moscow.

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

Evening at Tatiana's.

There is no doubt, alas! Evgeniy

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

Letter to Tatiana. Explanation.

Second story line - Onegin-Lensky:

Dating in the village:

First mutual miscellaneous

They were boring to each other;

Then I liked it; Then

We came together every day on horseback

And soon they became inseparable.

Conversation after the evening at the Larins’:

Are you really in love with the smaller one?

- And what?

- I would choose another

If only I were like you, a poet.

Tatiana's name day:

Onegin

Swore to enrage Lensky

And take some revenge.

Lensky:

Two bullets - nothing more -

What if they allow it? fate his.

Plot composition:

Chapter One - extensive exposition

Chapter two is the beginning of the second storyline (Onegin’s acquaintance with Lensky).

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

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

Chapter Eight - Interchange of Line I.

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

Perhaps he is for the good of the world

Or at least he was born for glory...

Or maybe even that: a poet

Ordinary was waiting destiny...

I line interchange:

And here is my hero,

In a moment that is evil for him,

Reader, we will now leave,

For a long time... forever.

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

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

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

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

- But I'm not made for bliss

My soul is alien to him.

Your perfections are in vain:

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

- Freeze in agony before you

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

But Tatyana remains true to herself:

I love you (why lie?)...

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

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

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

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

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

The main compositional unit of the novel is the chapter.

Each new chapter is a new stage in the development of the plot.

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

The compositional role of lyrical digressions.

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

I knew unattainable beauties.

Cold, clean like winter,

Relentless, incorruptible,

Incomprehensible to the mind...

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

2. Different size lyrical digressions:

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

Up to several stanzas

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

In those days when in the gardens of the Lyceum

I'm sereneblossomed...

End of Chapter One:

Go to the banks of the Neva,

Newborn creation

And earn me a tribute of glory:

Crooked talk, noise and swearing!

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

Now we have something wrong in the subject:

We better hurry to the ball,

Where to headlong in a Yamsk carriage

AlreadymyOnegin galloped off.

There are especially many lyrical digressions in the first chapter.

5. Lyrical digressions appear before the climax of the action:

Before the explanation with Onegin.

Before Tatyana goes to bed.

Before the duel.

All This means, friends:

WITH I'm shooting with a friend.

The compositional role of the landscape.

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

The role of plug-in elements.

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

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

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

The girls' song - before the explanation with Onegin;

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

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

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

flew up the marble steps like an arrow.

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

The compositional role of household items:

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

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

System of artistic images

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

Invisibly present always and everywhere

Takes part in the fate of heroes

Shares your thoughts and feelings with the reader

Talks about the mores and morality of society.

Onegin and Tatiana. Episodes: Meeting Tatyana, Conversation with the nanny, Tatyana's letter to Onegin, Explanation in the garden, Tatyana's Dream. Name day, Visit to Lensky's house, Departure for Moscow, Meeting at a ball in St. Petersburg after 2 years, Letter to Tatyana (explanation), Evening at Tatyana's,

Onegin and Lensky. Episodes: Acquaintance in the village, Conversation after the evening at the Larins', Lensky's visit to Onegin, Tatyana's name day, Duel (Lensky dies).

Characters

• ?Eugene Onegin is the prototype of Pyotr Chaadaev, a friend of Pushkin, named by Pushkin himself in the first chapter.
• ?Tatyana Larina - Avdotya (Dunya) Norova, Chaadaev’s friend, can be considered one of the prototypes. In this image one can also find features of Maria Volkonskaya, the wife of the Decembrist S. G. Volkonsky, a friend of Pushkin, as well as Anna Kern, Pushkin’s beloved.
• ?Olga Larina, her sister - a generalized image of a typical heroine of popular novels; beautiful in appearance, but lacking deep content.
• ?Vladimir Lensky - “an energetic rapprochement between Lensky and Kuchelbecker, produced by Yu. N. Tynyanov”
• ?Tatyana's nanny - probable prototype - Arina Rodionovna, Pushkin's nanny
• ?Zaretsky - a duelist, Fyodor Tolstoy the American was called among the prototypes
• ?The husband of Tatyana Larina, not named in the novel, is an “important general”, General Kern, husband of Anna Kern.

Interesting facts

Poetic features

• ?The novel is written in a special “Onegin stanza”. Each stanza consists of 14 lines of iambic tetrameter.
• ?The first four lines rhyme crosswise, lines five through eight rhyme in pairs, lines nine through twelfth are connected in a ring rhyme. The remaining 2 lines of the stanza rhyme with each other.

Translations

"Eugene Onegin" has been translated into many languages ​​of the world:

into English - by Walter Arndt, Vladimir Nabokov and others;

into French - by I. S. Turgenev and L. Viardot, Jean-Louis Backes and Roger Legras, Jacques Chirac and others;

into German by Rolf-Dietrich Keil and others;

into Belarusian - Arkady Kuleshov,

into Ukrainian - M. F. Rylsky,

in Hebrew - Abraham Shlensky.

into Ossetian language - Nafi Dzhusoity.

In miniature

One of the Russian printing houses in 1837 published the novel “Eugene Onegin” in miniature - the last lifetime edition of A. S. Pushkin. The printing house's plans were such that in one year the entire circulation (5,000 copies) could be sold for 5 rubles per book. But due to the sensation - the sad outcome of the life of the author of the work - the entire edition was sold out within a week. And in 1988, the Kniga publishing house released a facsimile edition of the book with a circulation of 15,000 copies.

One of the smallest complete editions of "Eugene Onegin" is a micro-edition in 4 volumes measuring 8x9 mm, 2002 Omsk, A. I. Konenko

Chapter ten

On November 1949, the chief bibliographer of the Leningrad State Public Library named after M. E. Saltykov-Shchedrin, D. N. Alshits, discovered a manuscript from the second half of the 19th century, presumably with the text of Chapter X of Onegin. As David Samoilov argued, “not a single serious literary critic believed in the authenticity of the text” - the style is too unlike Pushkin and the artistic level is low.