Eugene Onegin is the hero of the novel of the same name in verse, created by. The character has become one of the most striking, colorful types of Russian classical literature. The character of the hero merges dramatic experiences, cynicism, ironic perception of the world. The line of relationships with revealed the inner world of the hero, revealing the strengths and weaknesses of the nobleman.
Character Creation History
The Russian classic began to work on the essay in 1823, while in exile in Kishinev. By that time, there was a departure from romantic traditions in Pushkin's work - the author turned to a realistic manner of writing. The novel describes events from 1819 to 1825, the late period of the emperor's reign. The critic called Pushkin's work "an encyclopedia of Russian life." The protagonists of the poetic work authentically depict the social strata - the nobility, the landlords, the peasantry - characteristic of the beginning of the 19th century, and the atmosphere of this time is conveyed with incredible accuracy.
While working on the creation of the novel, the author planned to present to the public the image of a hero typical of a secular noble society, contemporary to himself. At the same time, in the story of Yevgeny, one can find features that bring Onegin closer to romantic characters, “superfluous people” who have lost interest in life, who are bored, prone to bouts of the blues. Alexander Pushkin wanted to make the hero a supporter of the Decembrist movement in the future, but due to strict censorship he abandoned this idea.
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The characterization of the main character is carefully thought out by the writer. Pushkinists find in the description of Onegin's character features of Alexander Chaadaev, Alexander Griboedov and the author himself. The hero has become a set of distinctive features of several prototypes and a collective image of the era. Researchers are still arguing over whether the hero was an “alien” and “superfluous” person in the era or was an idle thinker who lived his life happily.
For the genre of the novel in verse, the Russian classic chose a special stanza, called "Onegin". Alexander Sergeevich also introduced lyrical digressions on various topics into the composition. It cannot be said that the poet defines one main idea in the text - there are many of them, since the novel touches on many problems.
The fate and image of Eugene Onegin
Alexander Sergeyevich tells in detail about the childhood and youthful years of the hero's biography. Onegin is a nobleman who was born in St. Petersburg. From childhood, the boy receives an upbringing characteristic of noble children. The child is brought up by invited French tutors madamé, monsieur l "Abbé. Their lessons are not particularly strict - the knowledge gained by Eugene is enough to shine in the world with wit over the years, demonstrating "readiness", manners, the ability to maintain secular conversation.
The character is a real dandy who knows a lot about fashion. Onegin dresses like an English dandy, and in his office there are “Combs, steel files, / Straight scissors, curved / And brushes of thirty kinds / Both for nails and teeth. Ironically over the narcissism of the hero, the narrator compares the St. Petersburg dandy with the windy Venus.
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Eugene Onegin and Tatyana Larina
Eugene leads an idle life, is a regular guest at St. Petersburg balls, attends ballets and performances. The young man is surrounded by the attention of the ladies, but over time, endless novels, the love of "note coquettes" begin to burden the hero, like the whole St. Petersburg world. Onegin's father, living in debt, squanders his fortune. Therefore, a letter from a rich uncle, who is dying and calling his nephew to the village, which came to the character in the midst of the blues, becomes an opportunity for Onegin to try something new in life.
Soon the hero becomes the heir to his uncle's village estate. For some time everything here seemed new to the young man, inspired by its beauty, but on the third day the familiar views already bored Evgenia. Neighbors-landlords at first came to visit the new owner, but after finding him cold and strange, they left the visits. At the same time, a young nobleman Vladimir Lensky arrives in the village. Having studied abroad, filled with freedom-loving speeches and having an ardent soul, the young man becomes interesting to Onegin.
Different, like poetry and prose, young people become friends “from nothing to do”. Soon, the St. Petersburg dandy is already bored in the company of a young romantic, whose speeches and ideas seem ridiculous. Among other things, Vladimir shares his feelings for the neighbor's daughter with a friend, and invites a friend to go to visit the Larins to introduce his beloved. Having no hope of seeing something interesting in the house of the village landowner, Eugene, nevertheless, agrees.
Olga and her older sister Tatyana evoke conflicting feelings in the character. On the way home, he shares his thoughts with Lensky, surprised that of the two girls he chose Olga, who was not interesting in anything but beauty. Tatyana Larina seemed to Eugene an interesting nature, not like those ladies that the young man had previously seen in the world. The appearance of the capital's guest in their house made a strong impression on Tatyana herself. Brought up on French novels, an inexperienced girl immediately saw her betrothed in Eugene.
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Eugene Onegin and Vladimir Lensky
Captured by strong feelings, Tatyana writes a letter to the hero. Onegin, having experience in love affairs, decides not to play with the girl, not to deceive her feelings, but to teach the young landowner a lesson. Arriving again to the Larins, the young man frankly tells his sister Olga that he was not created for family life. The nobleman also advises the heroine to learn to control herself, because a dishonest person could be in his place: “Not everyone will understand you, like me; / Inexperience leads to trouble.
Time passes, Onegin no longer visits the Larins' house. Tatyana's name day is approaching. On the eve of the celebration, the girl sees a strange dream. She dreams that a bear is chasing her in the forest. The predator picks up the heroine, insensibly submissive, brings her to the house and leaves her on the threshold. In the meantime, there is a feast of evil spirits in the house, and Eugene himself sits at the head of the table. The presence of the girl becomes obvious to the feasting guests - everyone wants to take possession of Tatyana. But suddenly all the evil spirits disappear - Onegin himself leads Larina to the bench.
At this moment, Lensky and Olga enter the room - their arrival angers the hero. Suddenly, the character takes out a long knife and kills Vladimir. Tatyana's dream becomes prophetic - her name day is colored by tragic events. Local landowners arrive at the Larins' house, Lensky and Onegin are also invited here. Soon the poet's wedding with the beautiful Olga is to take place, and the young hero is looking forward to this event. Eugene, seeing Tatiana's quivering eyes, gets annoyed and decides to entertain himself by flirting with his younger sister.
The novel "Eugene Onegin" is a work of amazing creative destiny. It was created for more than seven years - from May 1823 to September 1830. But work on the text did not stop until the first complete edition appeared in 1833. The last author's version of the novel was published in 1837. Pushkin has no works that would have an equally long creative history. The novel was not written “in one breath”, but was composed of stanzas and chapters created at different times, in different circumstances, in different periods of creativity. The work on the novel covers four periods of Pushkin's work - from the southern exile to the Boldin autumn of 1830.
The work was interrupted not only by the twists of Pushkin's fate and new ideas, for the sake of which he threw the text of "Eugene Onegin". Some poems ("The Demon", "The Desert Sower of Freedom...") arose from drafts of the novel. In the drafts of the second chapter (written in 1824), Horace's verse "Exegi monumentum" flashed through, which 12 years later became the epigraph to the poem "I erected a monument to myself not made by hands ...". It seemed that history itself was not very favorable to Pushkin's work: from a novel about a contemporary and modern life, as the poet intended "Eugene Onegin", after 1825 he became a novel about another historical era. The "internal chronology" of the novel covers about 6 years - from 1819 to the spring of 1825.
All chapters were published from 1825 to 1832 as independent parts of a large work, and even before the completion of the novel they became facts of the literary process. Perhaps, if we take into account the fragmentation, discontinuity of Pushkin's work, it can be argued that the novel was for him something like a huge “notebook” or a poetic “album” (“notebooks” sometimes the poet himself calls the chapters of the novel). For more than seven years, the records were replenished with sorrowful "notes" of the heart and "observations" of a cold mind.
He was painted, painted
Onegin's hand all around,
Between the incomprehensible maranya
Flashed thoughts, remarks,
Portraits, numbers, names,
Yes, letters, the secrets of writing,
Fragments, draft letters...
The first chapter, published in 1825, pointed to Eugene Onegin as the protagonist of the planned work. However, from the very beginning of work on the “big poem”, the author needed the figure of Onegin not only to express his ideas about “modern man”. There was another goal: Onegin was destined for the role of the central character, who, like a magnet, would "attract" heterogeneous life and literary material. The silhouette of Onegin and the silhouettes of other characters, barely outlined plot lines, gradually cleared up as the work on the novel progressed. The contours of the fates and characters of Onegin, Tatyana Larina, Lensky emerged from under the thick layers of rough notes ("finished"), a unique image was created - the image of the Author.
The novel "Eugene Onegin" is the most difficult work of Pushkin, despite the apparent lightness and simplicity. V. G. Belinsky called "Eugene Onegin" "an encyclopedia of Russian life", emphasizing the scale of Pushkin's "many years of work." This is not a critical praise of the novel, but its capacious metaphor. Behind the "variegation" of chapters and stanzas, the change in narrative techniques, there is a harmonious concept of a fundamentally innovative literary work - a "novel of life", which has absorbed a huge socio-historical, everyday, literary material.
The first Russian novel in verse. A new model of literature as an easy conversation about everything. Gallery of eternal Russian characters. Revolutionary for its era, a love story that has become the archetype of romantic relationships for many generations to come. Encyclopedia of Russian life. Our everything.
comments: Igor Pilshchikov
What is this book about?
The capital's rake Eugene Onegin, having received an inheritance, leaves for the village, where he meets the poet Lensky, his bride Olga and her sister Tatiana. Tatyana falls in love with Onegin, but he does not reciprocate her feelings. Lensky, jealous of the bride for a friend, challenges Onegin to a duel and dies. Tatyana marries and becomes a high society lady. Now Eugene falls in love with her, but Tatyana remains faithful to her husband. At this point, the author interrupts the narrative - "the novel ends nothing» 1 Belinsky VG Complete Works. In 13 volumes. M., L.: Publishing House of the Academy of Sciences of the USSR, 1953-1959. IV. C. 425. .
Although the plot of "Eugene Onegin" is not rich in events, the novel had a huge impact on Russian literature. Pushkin brought socio-psychological characters to the forefront of literature, which will occupy readers and writers of several subsequent generations. This is an “extra person”, an (anti)hero of his time, hiding his true face behind the mask of a cold egoist (Onegin); a naive provincial girl, honest and open, ready for self-sacrifice (Tatiana at the beginning of the novel); a poet-dreamer who perishes at the first encounter with reality (Lensky); Russian woman, the embodiment of grace, intelligence and aristocratic dignity (Tatiana at the end of the novel). This, finally, is a whole gallery of characterological portraits representing Russian noble society in all its diversity (the cynic Zaretsky, Larina's "old men", provincial landowners, Moscow bars, metropolitan dandies and many, many others).
Alexander Pushkin. Around 1830
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When was it written?
The first two chapters and the beginning of the third were written in the "southern exile" (in Chisinau and Odessa) from May 1823 to July 1824. Pushkin is skeptical and critical of the existing order of things. The first chapter is a satire on the modern nobility; at the same time, Pushkin himself, like Onegin, behaves provocatively and dresses like a dandy. Odessa and (to a lesser extent) Moldovan impressions are reflected in the first chapter of the novel and in Onegin's Journey.
The central chapters of the novel (from the third to the sixth) were completed in the "northern exile" (in the Pskov family estate - the village of Mikhailovsky) in the period from August 1824 to November 1826. Pushkin experienced (and described in chapter four) the boredom of life in the countryside, where in winter there is no entertainment other than books, drinking and sleigh rides. The main pleasure is communication with neighbors (for Pushkin, this is the Osipov-Wulf family, who lived in the Trigorskoye estate not far from Mikhailovsky). The heroes of the novel spend their time in the same way.
The new Emperor Nicholas I returned the poet from exile. Now Pushkin constantly visits Moscow and St. Petersburg. He is a "superstar", the most fashionable poet in Russia. The seventh (Moscow) chapter, begun in August-September 1827, was completed and rewritten on November 4, 1828.
But the age of fashion is short-lived, and by 1830 Pushkin's popularity is coming to naught. Having lost the attention of his contemporaries, in the three months of the Boldin autumn (September - November 1830) he wrote dozens of works that made him famous among his descendants. Among other things, in the Nizhny Novgorod family estate of the Pushkins, Boldin, Onegin's Journey and the eighth chapter of the novel were completed, and the so-called tenth chapter of Eugene Onegin was partially written and burned.
Almost a year later, on October 5, 1831, Onegin's letter was written in Tsarskoye Selo. The book is ready. In the future, Pushkin only rearranges the text and edits individual stanzas.
Pushkin's office in the museum-estate "Mikhailovskoe"
How is it written?
"Eugene Onegin" concentrates the main thematic and stylistic finds of the previous creative decade: the type of a disappointed hero is reminiscent of romantic elegies and the poem "Prisoner of the Caucasus", a fragmentary plot - about it and other "southern" ("Byronic") Pushkin's poems, stylistic contrasts and the author's irony - about the poem "Ruslan and Lyudmila", colloquial intonation - about friendly poetic messages Arzamas poets "Arzamas" - a literary circle that existed in St. Petersburg in 1815-1818. Its members were both poets and writers (Pushkin, Zhukovsky, Batyushkov, Vyazemsky, Kavelin) and politicians. The people of Arzamas opposed conservative politics and archaic literary traditions. Relations within the circle were friendly, and meetings were like fun gatherings. For Arzamas poets, the favorite genre was a friendly message, an ironic poem full of allusions understandable only to the recipients. .
For all that, the novel is absolutely anti-traditional. The text has neither a beginning (the ironic "introduction" is at the end of the seventh chapter), nor an end: the open ending is followed by excerpts from Onegin's Journey, returning the reader first to the middle of the plot, and then, in the last line, to the moment the work began. the author over the text (“So I lived then in Odessa...”). The novel lacks the traditional features of a novel plot and familiar characters: “All types and forms of literature are naked, openly revealed to the reader and ironically compared with each other, the conventionality of any mode of expression is mockingly demonstrated. author" 2 Lotman Yu. M. Pushkin: Biography of the writer. Articles and notes (1960-1990). "Eugene Onegin": Commentary. St. Petersburg: Art-SPb, 1995. C. 195. . The question "how to write?" excites Pushkin no less than the question "what to write about?". The answer to both questions is "Eugene Onegin". This is not only a novel, but also a metanovel (a novel about how a novel is written).
Now I'm not writing a novel, but a novel in verse - a diabolical difference
Alexander Pushkin
The poetic form helps Pushkin to do without an exciting plot ("... now I am not writing a novel, but a novel in verse - a diabolical difference" 3 Pushkin A.S. Complete Works. In 16 volumes. M., L.: Publishing House of the Academy of Sciences of the USSR, 1937-1949. T.13. C. 73. ). A special role in the construction of the text is acquired by the narrator, who, with his constant presence, motivates countless deviations from the main intrigue. It is customary to call such digressions lyrical, but in reality they turn out to be very different - lyrical, satirical, literary-polemical, whatever. The author talks about everything he sees fit (“The novel requires chatter" 4 Pushkin A.S. Complete Works. In 16 volumes. M., L.: Publishing House of the Academy of Sciences of the USSR, 1937-1949. T. 13. C. 180. ) - and the narrative moves with an almost motionless plot.
Pushkin's text is characterized by a plurality of points of view expressed by the narrator and characters, and a stereoscopic combination of contradictions that arise when different views on the same subject collide. Is Eugene original or imitative? What future awaited Lensky - great or mediocre? All these questions in the novel are given different, and mutually exclusive answers. “Behind such a construction of the text lay the idea of the fundamental incompatibility of life in literature,” and the open ending symbolized “the inexhaustibility of possibilities and endless variability reality" 5 Lotman Yu. M. Pushkin: Biography of the writer. Articles and notes (1960-1990). "Eugene Onegin": Commentary. St. Petersburg: Art-SPb, 1995. C. 196. . This was an innovation: in the romantic era, the points of view of the author and the narrator usually merged into a single lyrical "I", while other points of view were corrected by the author's.
Onegin is a radically innovative work not only in terms of composition but also in style. In his poetics, Pushkin synthesized the fundamental features of two antagonistic literary movements of the early 19th century - Young Karamzinism and Young Archaism. The first direction focused on the average style and colloquial speech of an educated society, was open to new European borrowings. The second united the high and low styles, relied, on the one hand, on book-church literature and the odic tradition of the 18th century, and on the other hand, on folk literature. Giving preference to one or another linguistic means, the mature Pushkin was not guided by external aesthetic standards, but made his choice based on how these means work within the framework of a specific plan. The novelty and unusualness of Pushkin's style struck contemporaries - and we have become accustomed to it since childhood and often do not feel stylistic contrasts, and even more so stylistic nuances. Rejecting the a priori division of stylistic registers into "low" and "high", Pushkin not only created a fundamentally new aesthetics, but also solved the most important cultural task - the synthesis of linguistic styles and the creation of a new national literary language.
Joshua Reynolds. Lawrence Stern. 1760. National Portrait Gallery, London. Pushkin borrowed the tradition of long lyrical digressions from Stern and Byron.
Calderdale Metropolitan Borough Council
Richard Westall. George Gordon Byron. 1813 National Portrait Gallery, London
Wikimedia Commons
What influenced her?
"Eugene Onegin" relied on the broadest European cultural tradition from French psychological prose of the 17th-18th centuries to the modern romantic poem by Pushkin, including experiments in parody literature, "deleting" Detachment is a literary technique that turns familiar things and events into strange ones, as if seen for the first time. Detachment allows you to perceive what is described not automatically, but more consciously. The term was introduced by literary critic Viktor Shklovsky. literary style (from French and Russian iroikocomic Heroic poetry is a parody of epic poetry: everyday life with drinking parties and fights is described in a high calm. Among the characteristic examples of Russian heroic poems are Elisha, or the Irritated Bacchus by Vasily Maikov, Dangerous Neighbor by Vasily Pushkin. And burlesque In burlesque poetry, the comic effect is based on the fact that epic heroes and gods speak in rough and vulgar language. If initially heroic poetry, where the low was spoken of in a high style, was opposed to burlesque, then by the 18th century both types of poetry were perceived as one humorous genre. poetry to Byron's "Don Juan") and storytelling (from Stern to Hoffmann and the same Byron). Eugene Onegin inherited a playful clash of styles and a parody of elements of the heroic epic from iroikomics (for example, the "introduction" imitating the beginning of a classical epic). From Stern and Sternians Laurence Sterne (1713-1768), English novelist, author of A Sentimental Journey Through France and Italy and The Life and Opinions of Tristram Shandy, Gentleman. Sternianism refers to the literary tradition that his novels laid down: in Stern's texts, lyricism is combined with ironic skepticism, the chronology of the narrative and its coherence are violated. In Russian literature, the most famous Sternian work is Karamzin's Letters from a Russian Traveler. rearranged chapters and omitted stanzas, incessant distraction from the main plot thread, a game with a traditional plot structure are inherited: there is no outset and denouement, and the Sternian-style ironic “introduction” is transferred to chapter seven. From Stern and from Byron - lyrical digressions, occupying almost half of the novel's text.
Initially, the novel was published serially, one by one - from 1825 to 1832. In addition to entire chapters that were published as separate books, teasers, as we would say now, appeared in almanacs, magazines and newspapers - small fragments of the novel (from several stanzas to a dozen pages).
The first consolidated edition of Eugene Onegin was published in 1833. The last lifetime edition (“Eugene Onegin, a novel in verse. Composition by Alexander Pushkin. Third edition”) was published in January 1837, a week and a half before the death of the poet.
"Eugene Onegin", second edition of the 1st chapter. St. Petersburg, printing house of the Department of Public Education, 1829
"Onegin" ("Onegin"). Directed by Martha Fiennes. USA, UK, 1999
How was it received?
In different ways, including in the immediate environment of the poet. In 1828, Baratynsky wrote to Pushkin: “We have published two more Onegin songs. Everyone talks about them in his own way: some praise, others scold, and everyone reads. I am very fond of the extensive plan of your Onegin; but most do not understand it. The best critics wrote about the "emptiness of the content" of the novel ( Ivan Kireevsky Ivan Vasilyevich Kireevsky (1806-1856) was a religious philosopher and literary critic. In 1832, he published the journal European, which was banned by the authorities because of an article by Kireevsky himself. He gradually moves away from Westernist views towards Slavophilism, however, the conflict with the authorities is repeated - in 1852, because of his article, the Slavophile edition of the Moscow Collection was closed. Kireevsky's philosophy is based on the doctrine of "integral thinking", which surpasses the incompleteness of rational logic: it is achieved primarily by faith and asceticism. ), declared that this “brilliant toy” could not have “claims either to the unity of content, or to the integrity of the composition, or to the harmony of presentation” (Nikolai Nadezhdin), found in the novel “lack of connection and plan” ( Boris Fedorov Boris Mikhailovich Fedorov (1794-1875) - poet, playwright, children's writer. He worked as a theater censor, wrote literary reviews. His own poems and dramas were not successful. He often became the hero of epigrams, a mention of him can be found in Pushkin: “Perhaps, Fedorov, don’t come to me, / Don’t put me to sleep - or don’t wake me up later.” It's funny that one of Fedorov's quatrains was mistakenly attributed to Pushkin until the 1960s. ), “a lot of continuous deviations from the main subject” was considered “tedious” (aka) in it, and, finally, they came to the conclusion that the poet “repeats himself” (Nikolay Polevoy) Nikolai Alekseevich Polevoy (1796-1846) - literary critic, publisher, writer. It is considered the ideologist of the "third estate". Introduced the term "journalism". From 1825 to 1834 he published the Moscow Telegraph magazine, after the closing of the magazine by the authorities, Polevoy's political views became more conservative. Since 1841 he has been publishing the journal Russkiy Vestnik. , and the last chapters mark the "perfect fall" of Pushkin's talent (Faddeus Bulgarin) Faddey Venediktovich Bulgarin (1789-1859) - critic, writer and publisher, the most odious figure in the literary process of the first half of the 19th century. In his youth, Bulgarin fought in the Napoleonic detachment and even participated in the campaign against Russia, but by the mid-1820s he became an ultra-conservative and, in addition, an agent of the Third Section. He published the journal "Northern Archive", the first private newspaper with a political department "Northern Bee" and the first theatrical almanac "Russian Thalia". Bulgarin's novel "Ivan Vyzhigin" - one of the first Russian picaresque novels - was a resounding success at the time of publication. .
In general, “Onegin” was received in such a way that Pushkin abandoned the idea of continuing the novel: he “rolled up the rest of it to one chapter, and responded to the claims of the Zoils with “The House in Kolomna”, the whole pathos of which lies in the assertion of the absolute freedom of the creative will" 6 Shapir M. I. Articles about Pushkin. M.: Languages of Slavic cultures, 2009. S. 192. .
One of the first "tremendous historical and social significance" of "Eugene Onegin" realized Belinsky 7 Belinsky VG Complete Works. In 13 volumes. M., L.: Publishing House of the Academy of Sciences of the USSR, 1953-1959. T. 7. C. 431. . In the 8th and 9th articles (1844-1845) of the so-called Pushkin cycle (formally it was a very detailed review of the first posthumous edition of Pushkin's works), he puts forward and substantiates the thesis that "Onegin" is a poetically true picture Russian society into a well-known era" 8 Belinsky VG Complete Works. In 13 volumes. M., L.: Publishing House of the Academy of Sciences of the USSR, 1953-1959. T. 7. C. 445. , and therefore "Onegin" can be called an encyclopedia of Russian life and highly popular work" 9 Belinsky VG Complete Works. In 13 volumes. M., L.: Publishing House of the Academy of Sciences of the USSR, 1953-1959. C. 503. .
Twenty years later, the ultra-left radical Dmitry Pisarev, in his article “Pushkin and Belinsky” (1865), called for a radical revision of this concept: according to Pisarev, Lensky is a meaningless “idealist and romantic”, Onegin “remains the most insignificant vulgarity” from the beginning to the end of the novel, Tatyana - just a fool (in her head, “the amount of brain was very small” and “this small amount was in the most deplorable condition" 10 Pisarev D. I. Complete collection of works and letters in 12 volumes. M.: Nauka, 2003. T. 7. C. 225, 230, 252. ). Conclusion: instead of working, the heroes of the novel are engaged in nonsense. Pisarevskoe reading of "Onegin" ridiculed Dmitry Minaev Dmitry Dmitrievich Minaev (1835-1889) - satirist poet, translator of Byron, Heine, Hugo, Molière. Minaev gained fame thanks to his parodies and feuilletons, was the leading author of the popular satirical magazines Iskra and Alarm Clock. In 1866, due to cooperation with the magazines Sovremennik and Russkoye Slovo, he spent four months in the Peter and Paul Fortress. in the brilliant parody "Eugene Onegin of Our Time" (1865), where the protagonist is presented as a bearded nihilist - something like Turgenev's Bazarov.
A decade and a half later, Dostoevsky, in his "Pushkin's speech" Dostoevsky delivers a speech about Pushkin in 1880 at a meeting of the Society of Lovers of Russian Literature, her main thesis was the idea of the poet’s nationality: “And never before, not a single Russian writer, either before or after him, has united so sincerely and kindly with his people, like Pushkin. With a preface and additions, the speech was published in the Writer's Diary. (1880) put forward a third (conditionally "soil") interpretation of the novel. Dostoevsky agrees with Belinsky that in "Eugene Onegin" "real Russian life is embodied with such creative power and with such completeness, which has not happened before Pushkin" 11 Dostoevsky F. M. Writer's Diary. 1880, August. Chapter two. Pushkin (essay). Pronounced on June 8 at a meeting of the Society of Lovers of Russian Literature // Dostoevsky F. M. Collected Works in 15 volumes. St. Petersburg: Nauka, 1995, vol. 14, p. 429. . Just as for Belinsky, who believed that Tatyana embodies "the type of Russian women" 12 Belinsky VG Complete Works. In 13 volumes. M., L.: Publishing House of the Academy of Sciences of the USSR, 1953-1959. T. 4. C. 503. , Tatyana for Dostoevsky - “this is a positive type, not a negative one, this is a type of positive beauty, this is the apotheosis of a Russian woman”, “this is a solid type, standing firmly on its own soil. She is deeper than Onegin and, of course, smarter. his" 13 . Unlike Belinsky, Dostoevsky believed that Onegin was not suitable for heroes at all: “Maybe Pushkin would have done even better if he called his poem after Tatyana, and not Onegin, because she is undoubtedly the main character poems" 14 Dostoevsky F. M. Writer's Diary. 1880, August. Chapter two. Pushkin (essay). Pronounced on June 8 at a meeting of the Society of Lovers of Russian Literature // Dostoevsky F. M. Collected Works in 15 volumes. St. Petersburg: Nauka, 1995, vol. 14, p. 430. .
Excerpts from "Onegin" began to be included in educational anthologies as early as 1843 of the year 15 Vdovin A. V., Leibov R. G. Pushkin at school: curriculum and literary canon in the 19th century // Lotman collection 4. M .: OGI, 2014. P. 251. . By the end of the 19th century, a gymnasium canon was formed that singled out the “main” works of art of the 1820s and 1840s: Woe from Wit, Eugene Onegin, A Hero of Our Time and Dead Souls occupy an obligatory place in this series. Soviet school curricula in this regard continue the pre-revolutionary tradition - only the interpretation varies, but it is ultimately based one way or another on Belinsky's concept. And the landscape-calendar fragments of "Onegin" are memorized from the elementary grades as actually independent, ideologically neutral and aesthetically exemplary works ("Winter! The peasant, triumphant ...", "Chased by spring rays ...", "Already the sky breathed autumn. .." and etc.).
How did Onegin influence Russian literature?
"Eugene Onegin" is quickly becoming one of the key texts of Russian literature. The problematics, plot moves and narrative devices of many Russian novels and short stories directly go back to Pushkin's novel: the protagonist as an "extra person" who does not have the opportunity to find application in life for his remarkable talents; a heroine morally superior to the protagonist; contrasting "pairing" of characters; even the duel in which the hero gets involved. This is all the more striking because "Eugene Onegin" is a "novel in verse", and in Russia since the mid-1840s a half-century era of prose has begun.
Belinsky also noted that “Eugene Onegin” had “a huge influence both on modern ... and on subsequent Russian literature" 16 Belinsky VG Complete Works. In 13 volumes. M., L.: Publishing House of the Academy of Sciences of the USSR, 1953-1959. T. 4. S. 501. . Onegin, like Lermontov's Pechorin, is "a hero of our time", and vice versa, Pechorin is "this is the Onegin of our time" 17 Belinsky VG Complete Works. In 13 volumes. M., L.: Publishing House of the Academy of Sciences of the USSR, 1953-1959. T. 4. C. 265. . Lermontov openly points to this continuity with the help of anthroponymy: the name Pechorin is formed from the name of the northern river Pechora, just like the names of the antipodes Onegin and Lensky - from the names of the northern rivers Onega and Lena located very far from one another.
Behind this construction of the text lay the idea of the fundamental incompatibility of life in literature.
Yuri Lotman
Moreover, the plot of "Eugene Onegin" clearly influenced Lermontov's "Princess Mary". According to Viktor Vinogradov, “Pushkin's heroes were replaced by the heroes of modern times.<...>A descendant of Onegin - Pechorin is corroded by reflection. He is no longer able to surrender even to a belated feeling of love for a woman with that immediate passion, like Onegin. Pushkin's Tanya was replaced by Vera, who nevertheless cheated on her husband, indulging in Pechorin" 18 Vinogradov VV Style of Lermontov's prose // Literary heritage. M.: Publishing House of the Academy of Sciences of the USSR, 1941. T. 43/44. S. 598. . Two pairs of heroes and heroines (Onegin and Lensky; Tatyana and Olga) correspond to two similar pairs (Pechorin and Grushnitsky; Vera and Princess Mary); there is a duel between the characters. Turgenev reproduces a somewhat similar set of characters in Fathers and Sons (antagonists Pavel Kirsanov and Yevgeny Bazarov; sisters Katerina Lokteva and Anna Odintsova), but the duel acquires an openly travesty character. Raised in "Eugene Onegin" the theme of "superfluous man" runs through all the most important works of Turgenev, who, in fact, owns this term ("Diary of an Extra Man", 1850).
"Eugene Onegin" is the first Russian metanovel that created a special tradition. In the novel "What to do?" Chernyshevsky discusses how to find a plot for a novel and build its composition, and Chernyshevsky's parodic "insightful reader" vividly resembles Pushkin's "noble reader", to whom the author-narrator ironically addresses. Nabokov's "Gift" is a novel about the poet Godunov-Cherdyntsev, who composes poetry, wanting to write like Pushkin, whom he idolizes, and at the same time is forced to work on a biography of Chernyshevsky, whom he hates. In Nabokov, just as later in Pasternak's novel Doctor Zhivago, poetry is written by a hero who is not equal to the author - a prose writer and a poet. Similarly, in Eugene Onegin, Pushkin writes a poem by Lensky: it is a parody poem written in the poetics of Lensky (the character) and not Pushkin (the author).
What is the "Onegin stanza"?
All Pushkin's poems written before 1830 were written astronomical iambic Not divided into stanzas. . The exception is Onegin, the first major work in which the poet tried a strict strophic form.
Each stanza "remembers" its previous uses: the octave inevitably refers to the Italian poetic tradition, Spenserian stanza A nine-line stanza: eight verses in it are written in iambic pentameter, and the ninth - in six-meter. It is named after the English poet Edmund Spenser, who introduced this stanza into poetic practice. - to English. Apparently, therefore, Pushkin did not want to use the ready-made strophic structure: unusual content requires an unusual form.
For his main work, Pushkin invented a unique stanza that had no direct precedents in world poetry. Here is the formula written down by the author himself: “4 croisés, 4 de suite, 1.2.1. et deux". That is: quatrain cross rhyming, The most commonly used type of rhyme in quatrains, lines rhyme through one (abab). quatrain adjacent rhyme, Here adjacent lines rhyme: the first with the second, the third with the fourth (aabb). This type of rhyming is most common in Russian folk poetry. quatrain encircling rhyme In this case, the first line rhymes with the fourth, and the second with the third (abba). The first and fourth lines, as it were, encircle the quatrain. and the final couplet. Possible strophic patterns: one of the varieties odic A stanza of ten lines, the lines are divided into three parts: in the first - four lines, in the second and third - three each. The way of rhyming is abab ccd eed. As the name implies, in Russian poetry it was used primarily for writing odes. stanzas 19 Sperantov VV Miscellanea poetologica: 1. Was there a book. Shalikov the inventor of the "Onegin stanza"? // Philologica. 1996. Vol. 3. No. 5/7. pp. 125-131. C. 126-128. And sonnet 20 Grossman L.P. Onegin stanza // Pushkin / Ed. N. K. Piksanova. Moscow: Gosizdat, 1924. Sat. 1. S. 125-131. .
The novel requires chatter
Alexander Pushkin
The first rhyme of the stanza female Rhyme with stress on the penultimate syllable. , final - male Rhyme with stress on the last syllable. . Female rhyming pairs do not follow female ones, male rhyming pairs do not follow male ones (alternance rule). Size - iambic tetrameter, the most common metric form in the poetic culture of Pushkin's time.
Formal rigor only sets off the expressiveness and flexibility of poetic speech: “Often the first quatrain sets the theme of the stanza, the second develops it, the third forms a thematic turn, and the couplet gives a clearly formulated resolution. Topics" 21 . The final couplets often contain witticisms and thus resemble brief epigrams. At the same time, you can follow the development of the plot by reading only the first quatrains 22 Tomashevsky B.V. The tenth chapter of "Eugene Onegin": The history of the solution // Literary heritage. M.: Zhur.-gaz. Association, 1934. T. 16/18. pp. 379-420. C. 386. .
Against the backdrop of such strict regulation, retreats stand out effectively. Firstly, these are interspersed with other metrical forms: the characters' letters to each other, written in iambic tetrameter astrophic, and the girls' song, written in trochaic trimeter with dactylic endings Rhyme with stress on the third syllable from the end. . Secondly, these are the rarest (and therefore very expressive) pairs of stanzas, where a phrase that begins in one stanza ends in the next. For example, in chapter three:
Tatyana jumped into another hallway,
From the porch to the yard, and straight to the garden,
Flying, flying; look back
Don't dare; immediately ran around
Curtains, bridges, meadow,
Alley to the lake, forest,
I broke the bushes of sirens,
Flying through the flower beds to the stream
And panting, on the benchXXXIX.
Fell...
Interstrophic transfer metaphorically depicts the fall of the heroine on the bench after a long running 23 Shapir M. I. Articles about Pushkin. M.: Languages of Slavic cultures, 2009. C. 82-83. . The same technique is used in the description of the death of Lensky, who falls, killed by Onegin's shot.
In addition to numerous parodies of Onegin, later examples of the Onegin stanza include original works. However, this stanza turned out to be impossible to use without direct references to Pushkin's text. Lermontov in the very first stanza of The Tambov Treasurer (1838) declares: “I am writing Onegin in size.” Vyacheslav Ivanov in the poetic introduction to the poem "Infancy" (1913-1918) stipulates: "The size of the cherished stanzas is pleasant", and the first line of the first stanza begins with the words "My father was from the unsociable ..." (as in "Onegin": "My uncle of the most honest rules..."). Igor Severyanin composes a "novel in stanzas" (!) under the title "Leander's Piano" (1925) and explains in the poetic introduction: "I am writing in a Onegin stanza."
There were attempts to vary Pushkin's discovery: “In the order of rivalry, other stanzas were invented, similar to Onegin's. Almost immediately after Pushkin, Baratynsky wrote his poem "Ball" also in fourteen lines, but of a different structure ... And in 1927, V. Nabokov wrote the "University Poem", turning the rhyming order of the Onegin stanza from the end to beginning" 24 Gasparov M. L. Onegin stanza // Gasparov M. L. Russian verse at the beginning of the 20th century in the comments. M.: Fortuna Limited, 2001. S. 178. . Nabokov did not stop there: the last paragraph of Nabokov's "The Gift" only looks prosaic, but in fact it is a Onegin stanza written in a line.
"Onegin" (Onegin). Directed by Martha Fiennes. USA, UK, 1999
Mstislav Dobuzhinsky. Illustration for "Eugene Onegin". 1931–1936
Russian State Library
What are the secondary characters in the novel about?
The scenes of the novel change from chapter to chapter: St. Petersburg (new European capital) - village - Moscow (national-traditional patriarchal center) - South of Russia and the Caucasus. The characters surprisingly vary according to toponymy.
Philologist Maxim Shapir, having analyzed the naming system of characters in Pushkin's novel, showed that they are divided into several categories. The "steppe" landlords - satirical characters - are endowed with speaking names (Pustyakov, Petushkov, Buyanov, etc.). The author calls Moscow bars without surnames, only by their first and patronymic names (Lukerya Lvovna, Lyubov Petrovna, Ivan Petrovich, Semyon Petrovich, etc.). Representatives of the St. Petersburg high society - real faces from Pushkin's entourage - are described in semi-hints, but readers easily recognized real people in these anonymous portraits: "The old man, joking in the old way: / Excellently subtle and clever, / Which is somewhat funny today" - His Excellency Ivan Ivanovich Dmitriev, and “Avid for epigrams, / An angry gentleman at everything” - His Excellency Count Gabriel Frantsevich Moden 25 Shapir M. I. Articles about Pushkin. M.: Languages of Slavic cultures, 2009. C. 285-287; Vatsuro V. E. Comments: I. I. Dmitriev // Letters of Russian writers of the 18th century. L.: Nauka, 1980. S. 445; Proskurin O. A. / o-proskurin.livejournal.com/59236.html . .
Other contemporaries of the poet are called by their full names when it comes to the public side of their activities. For example, “The Singer of Feasts and languid sadness” is Baratynsky, as Pushkin himself explains in the 22nd note to “Eugene Onegin” (one of the most famous works of early Baratynsky is the poem “Feasts”). “Another poet” who “with a luxurious style / Depicted the first snow for us” is Prince Vyazemsky, the author of the elegy “The First Snow”, Pushkin explains in the 27th note. But if the same contemporary "appears on the pages of the novel as a private person, the poet resorts to asterisks and cuts" 26 Shapir M. I. Articles about Pushkin. M.: Languages of Slavic cultures, 2009. C. 282. . Therefore, when Tatyana meets Prince Vyazemsky, Pushkin reports: “V. somehow got hooked on her” (and not “Vyazemsky somehow got hooked on her,” as modern publications print). The famous passage: "Du comme il faut (Shishkov, I'm sorry: / I don't know how to translate)" - did not appear in this form during Pushkin's lifetime. At first, the poet intended to use the initial "Sh.", but then replaced it with three asterisks Typographic sign in the form of an asterisk. . A friend of Pushkin and Baratynsky, Wilhelm Kuchelbecker, believed that these lines were addressed to him, and read them: “Forgive me, Wilhelm: / I don’t know how translate" 27 Lotman Yu. M. Pushkin: Biography of the writer. Articles and notes (1960-1990). "Eugene Onegin": Commentary. St. Petersburg: Art-SPb, 1995. C. 715. . Shapir concludes that by adding names for the author that are only a hint in the text, modern editors, Shapir concludes, simultaneously violate the norms of Pushkin's ethics and poetics.
Francois Chevalier. Evgeny Baratynsky. 1830s. State Museum of Fine Arts. A. S. Pushkin. Baratynsky is mentioned in the novel as "The Singer of Feasts and languid sadness"
Carl Reichel. Pyotr Vyazemsky. 1817 years. All-Russian Museum of A. S. Pushkin, St. Petersburg. In the lines “Another poet with a luxurious style / Depicted the first snow for us,” Pushkin meant Vyazemsky, the author of the elegy “The First Snow”
Ivan Matyushin (engraving from an unknown original). Wilhelm Küchelbecker. 1820s. All-Russian Museum of A. S. Pushkin, St. Petersburg. During the life of Pushkin, in the passage “Du comme il faut (Shishkov, sorry: / I don’t know how to translate), asterisks were printed instead of a surname. Küchelbecker believed that they were hiding the name "Wilhelm" under them.
When do the events described in the novel take place and how old are the characters?
The internal chronology of "Eugene Onegin" has long intrigued readers and researchers. What year does the action take place? How old are the characters at the beginning of the novel and at the end? Pushkin himself wrote without hesitation (and not just anywhere, but in the notes included in the text of Onegin): “We dare to assure you that in our novel time is calculated according to the calendar” (note 17). But does Roman time coincide with historical time? Let's see what we know from the text.
During the duel, Onegin is 26 years old ("... Having lived without a goal, without labor / Until the age of twenty-six ..."). Onegin broke up with the Author a year before. If the biography of the Author repeats Pushkin's, then this parting took place in 1820 (in May Pushkin was exiled to the south), and the duel took place in 1821. Here the first problem arises. The duel took place two days after Tatiana's name day, and the name day - Tatiana's day - is January 12 (according to the old style). According to the text, name days were celebrated on Saturday (in drafts - on Thursday). However, in 1821 January 12 fell on a Wednesday. However, perhaps the celebration of the name day was postponed to one of the next days (Saturday).
If the main events (from Onegin's arrival in the village to the duel) still take place between the summer of 1820 and January 1821, then Onegin was born in 1795 or 1796 (he is three or four years younger than Vyazemsky and three or four years older than Pushkin), and began to shine in St. Petersburg when he was "almost eighteen years old" - in 1813. However, in the preface to the first edition of the first chapter, it is directly stated that “it contains a description of the secular life of a St. Petersburg young man at the end of 1819 of the year" 28 Pushkin A.S. Complete Works. In 16 volumes. M., L.: Publishing House of the Academy of Sciences of the USSR, 1937-1949. T. 6. C. 638. . Of course, we can ignore this circumstance: this date was not included in the final text (editions of 1833 and 1837). Nevertheless, the description of life in the capital in the first chapter clearly refers to the end of the 1810s, and not to 1813, when the Patriotic War had just ended and the foreign campaign against Napoleon was in full swing. The ballerina Istomina, whose performance Onegin watches in the theater, had not yet danced in 1813; hussar Kaverin, with whom Onegin is hanging out at the Talon restaurant, has not yet returned to St. borders 29 Baevsky V.S. Time in "Eugene Onegin" // Pushkin: Research and Materials. L.: Nauka, 1983. T. XI. pp. 115-130. C. 117. .
"Onegin" is a poetically true picture of Russian society in a certain era
Vissarion Belinsky
In spite of everything, we continue to count from 1821. When Lensky died in January 1821, he was "eighteen years old", so he was born in 1803. When Tatyana was born, the text of the novel does not say, but Pushkin informed Vyazemsky that Tatyana's letter to Onegin, written in the summer of 1820, is "a letter from a woman, moreover, 17 years old, and also in love." Then Tatyana was also born in 1803, and Olga was a year younger than her, a maximum of two (since she was already a bride, she could not be less than fifteen). By the way, when Tatyana was born, her mother was hardly more than 25 years old, so the “old woman” Larina was about forty at the time she met Onegin. However, there is no indication of Tatyana's age in the final text of the novel, so it is possible that all Larins were a couple of years older.
Tatiana arrives in Moscow at the end of January or February 1822 and (in the autumn?) gets married. Meanwhile, Eugene wanders. According to the printed "Excerpts from Onegin's Journey", he arrives in Bakhchisaray three years after the Author. Pushkin was there in 1820, Onegin, therefore, in 1823. In stanzas not included in the printed text of the Journey, the Author and Onegin meet in Odessa in 1823 or 1824 and part ways: Pushkin goes to Mikhailovskoye (this happened in the last days of July 1824), Onegin goes to St. Petersburg. At a reception in the autumn of 1824, he meets Tatyana, who has been married "for about two years." It seems that everything fits together, but in 1824 Tatyana could not speak with the Spanish ambassador at this event, since Russia did not yet have diplomatic relations with Spain 30 Eugene Onegin: A Novel in Verse by Aleksandr Pushkin / Translated from the Russian, with a Commentary, by Vladimir Nabokov. In 4 vols. N.Y.: Bollingen, 1964. Vol. 3. P. 83; Lotman Yu. M. Pushkin: Biography of the writer. Articles and notes (1960-1990). "Eugene Onegin": Commentary. St. Petersburg: Art-SPb, 1995. C. 718. . Onegin's letter to Tatyana, followed by their explanation, is dated spring (March?) 1825. But is this noble lady really only 22 years old at the time of the final meeting?
There are many such minor inconsistencies in the text of the novel. At one time, literary critic Iosif Toybin came to the conclusion that in the 17th note, the poet had in mind not historical, but seasonal chronology (the timely change of seasons within the novel time) 31 Toybin I. M. "Eugene Onegin": poetry and history // Pushkin: Research and materials. L.: Nauka, 1979. T. IX. S. 93. . Apparently, he was right.
"Eugene Onegin". Directed by Roman Tikhomirov. USSR, 1958
Mstislav Dobuzhinsky. Illustration for "Eugene Onegin". 1931–1936
Russian State Library
How does the text of Onegin that we know today compare with the one read by Pushkin's contemporaries?
Contemporaries managed to read several versions of Onegin. In the editions of individual chapters, the poems were accompanied by all sorts of additional texts, of which not all of them were included in the consolidated edition. So, the preface to a separate edition of the first chapter (1825) was the note "Here is the beginning of a great poem, which will probably not be finished ..." and a dramatic scene in verse "A conversation between a bookseller and a poet."
Initially, Pushkin conceived a longer work, perhaps even in twelve chapters (at the end of a separate edition of chapter six, we read: "The end of the first part"). However, after 1830, the attitude of the author to the forms of narration changed (Pushkin is now more interested in prose), readers to the author (Pushkin is losing popularity, the public believes that he has "signed out"), the author to the public (he becomes disappointed in her - I want to say " mental abilities" - aesthetic readiness to accept "Onegin"). Therefore, Pushkin broke off the novel in mid-sentence, published the former ninth chapter as the eighth, published the former eighth ("Onegin's Journey") in excerpts, placing it at the end of the text after the notes. The novel acquired an open ending, slightly camouflaged with a closed mirror composition (it is formed by the exchange of letters between the characters and a return to the Odessa impressions of the first chapter at the end of the Journey).
From the text of the first consolidated edition (1833) are excluded: an introductory note to the first chapter, "A conversation between a bookseller and a poet" and some stanzas that were printed in editions of individual chapters. Notes to all chapters are placed in a special section. The dedication to Pletnev, originally prefaced with a double edition of chapters four and five (1828), is placed in note 23. Only in the last lifetime edition (1837) do we find the usual architectonics: The general form of the structure of the text and the relationship of its parts. The concept of a larger order than composition - understood as the arrangement and relationships of details within large parts of the text. the dedication to Pletnev becomes the dedication of the entire novel.
In 1922 Modest Hoffman Modest Ludvigovich Hoffman (1887-1959) - philologist, poet and Pushkinist. He became famous for The Book of Russian Poets of the Last Decade, an anthology of articles on Russian symbolism. Since 1920, Hoffmann worked in the Pushkin House, published a book about Pushkin. In 1922, Hoffmann went on a business trip to France and did not return. In exile he continued to study Pushkin. published the monograph "Missed stanzas of "Eugene Onegin". The study of draft editions of the novel began. In 1937, on the centenary of the poet's death, all known printed and handwritten versions of Onegin were published in the sixth volume of Pushkin's Academic Complete Works (volume editor Boris Tomashevsky). This edition implements the principle of "layered" reading and submission of draft and white manuscripts (from final readings to early versions).
The main text of the novel in the same collection is printed “according to the edition of 1833 with the location of the text according to the edition of 1837; censorship and typographical distortions of the 1833 edition have been corrected according to autographs and previous editions (individual chapters and excerpts)" 32 Pushkin A.S. Complete Works. In 16 volumes. M., L.: Publishing House of the Academy of Sciences of the USSR, 1937-1949. T. 6. C. 660. . In the future, in scientific and mass publications, with the rarest exceptions and with some spelling variations, this particular text was reprinted. In other words, the critical text of "Eugene Onegin", to which we are accustomed, does not coincide with any of the publications that came out during Pushkin's lifetime.
Joseph Charlemagne. Set design for Pyotr Tchaikovsky's opera "Eugene Onegin". 1940
Fine Art Images/Heritage Images/Getty Images
No: they are a dynamic "equivalent" text 33 Tynyanov Yu. N. On the composition of "Eugene Onegin" // Tynyanov Yu. N. Poetics. History of literature. Movie. M.: Nauka, 1977. S. 60. , the reader is free to substitute anything in their place (compare with the role of improvisation in some musical genres). Moreover, it is impossible to fill in successive stops: some stanzas or parts of stanzas have been abridged, while others have never been written.
Further, some stanzas are present in the manuscripts but not in the printed text. There are stanzas that were in the editions of individual chapters, but excluded from the consolidated edition (for example, a detailed comparison of "Eugene Onegin" with Homer's "Iliad" at the end of chapter four). There are stanzas printed separately as excerpts from "Eugene Onegin", but not included either in a separate edition of the corresponding chapter, or in a consolidated edition. Such, for example, is the passage “Women” published in 1827 in the Moscow Bulletin - the initial stanzas of chapter four, which in a separate edition of chapters four and five are replaced by a series of numbers without text.
This "inconsistency" is not an accidental oversight, but a principle. The novel is filled with paradoxes that turn the story of the creation of the text into an artistic technique. The author plays with the text, not only excluding fragments, but, on the contrary, including them “under special conditions”. So, in the author's notes, the beginning of a stanza that was not included in the novel (“It's time: the pen asks for rest ...”) is given, and the two final stanzas of chapter six in the main text and in the notes are given by the author in different editions.
Manuscript "Eugene Onegin". 1828
Wikimedia Commons
"Eugene Onegin". Directed by Roman Tikhomirov. USSR, 1958
Was there a so-called tenth chapter in "Eugene Onegin"?
Pushkin wrote his novel, not yet knowing how he would finish it. The tenth chapter is a continuation option rejected by the author. Because of its content (a political chronicle of the turn of the 1810s-20s, including a description of the Decembrist conspirators), the tenth chapter of Onegin, even if it had been completed, could hardly have been printed during Pushkin's lifetime, although there is evidence that he gave it to Nicholas to read I 34 Lotman Yu. M. Pushkin: Biography of the writer. Articles and notes (1960-1990). "Eugene Onegin": Commentary. St. Petersburg: Art-SPb, 1995. C. 745. .
The chapter was written in Boldin and was burned by the author on October 18 or 19, 1830 (there is a Pushkin note about this in one of the Boldin workbooks). However, the writing was not completely destroyed. Part of the text has been preserved in the form of the author's cipher, which in 1910 was deciphered by Pushkinist Pyotr Morozov. The cryptography hides only the first quatrains of 16 stanzas, but does not fix the remaining 10 lines of each stanza in any way. In addition, several stanzas survived in a separate draft and in the messages of the poet's friends.
As a result, a passage of 17 stanzas has come down to us from the entire chapter, none of which is known to us in its completed form. Of these, only two have a complete composition (14 verses), and only one is reliably rhymed according to the scheme of the Onegin stanza. The order of the surviving stanzas is also not entirely clear. In many places the text is parsed hypothetically. Even the first, perhaps the most famous line of the tenth chapter (“The ruler is weak and crafty”, about Alexander I) is read only presumably: Pushkin writes “Vl.” in the cipher, which Nabokov, for example, deciphered as "Lord" 35 Eugene Onegin: A Novel in Verse by Aleksandr Pushkin / Translated from the Russian, with a Commentary, by Vladimir Nabokov. In 4 vols. N.Y.: Bollingen, 1964. Vol. 1.Pp. 318-319. . . On the other hand, the short English haircut is opposed to the romantic German à la Schiller. This is the hairstyle of Lensky, a recent Göttingen student: The University of Göttingen was one of the most advanced educational institutions of that time. Among Pushkin's acquaintances there were several Göttingen graduates, and all of them were free-thinking: the Decembrist Nikolai Turgenev and his brother Alexander, Pushkin's lyceum teacher Alexander Kunitsyn. "curls black to shoulders" 38 Muryanov M.F. Portrait of Lensky // Questions of Literature. 1997. No. 6. S. 102-122. . Thus, Onegin and Lensky, in everything opposite to each other, differ even in hairstyles.
At a social event, Tatyana "in a raspberry beret / Speaks with the Spanish ambassador." What does this famous detail indicate? Is it really about the fact that the heroine forgot to take off her headdress? Of course not. Thanks to this detail, Onegin understands that in front of him is a noble lady and that she is married. A modern historian of European costume explains that the beret “appeared in Russia only at the beginning of the 19th century, simultaneously with other Western European headdresses that tightly covered the head: wigs and powdered hairstyles in the 18th century excluded their use. In the first half of the 19th century, the beret was only a women's headdress, and, moreover, only for married ladies. Being part of the front toilet, he was not filmed either at balls, or in the theater, or at evenings" 39 Kirsanova R. M. Costume in Russian artistic culture of the 18th - first half of the 20th centuries. (Experience encyclopedia). M.: BSE, 1995. C. 37. . Berets were made from satin, velvet or other fabrics. They could be decorated with plumes or flowers. They were worn obliquely, so that one edge could even touch the shoulder.
In the Talon restaurant, Onegin and Kaverin drink “comet wine”. What's the wine? This is le vin de la Comète, an 1811 vintage champagne whose superlative quality was attributed to the influence of a comet now called C/1811 F1, which was clearly visible in the Northern Hemisphere from August to December 1811. of the year 40 Kuznetsov N. N. Wine of the comet // Pushkin and his contemporaries: Materials and research. L.: Publishing House of the Academy of Sciences of the USSR, 1930. Issue. XXXVIII/XXXIX. pp. 71-75. .
Maybe Pushkin would have done even better if he called his poem after Tatyana, and not Onegin, for she is undoubtedly the main character of the poem.
Fedor Dostoevsky
In addition, in the novel, which seems to be written in the same language as we speak, in reality there are many outdated words and expressions. Why do they become obsolete? First, because the language is changing; secondly, because the world that he describes is changing.
Here, during the duel, Onegin's servant Guillo "stands for the near stump." How to interpret such behavior? All illustrators depict Guillot nestled not far away near a small stump. All translators use words that mean "the lower part of a felled, sawn or broken tree." The Dictionary of the Language of Pushkin interprets this place in the same way. However, if Guillot is afraid of dying from a random bullet and hopes to hide from it, then why does he need a stump? No one thought about this until the linguist Alexander Penkovsky showed in a variety of texts from the Pushkin era that at that time the word "stump" had another meaning, in addition to the one it has today - this is the meaning of "tree trunk" (not necessarily " felled, sawn or broken") 41 Penkovsky A. B. Studies of the poetic language of the Pushkin era. M.: Znak, 2012. C. 533-546. .
Another large group of words is obsolete vocabulary denoting obsolete realities. In particular, in our days horse-drawn transport has become exotic - its economic role has been leveled, the terminology associated with it has left the common language and is mostly unclear today. Let's remember how the Larins are going to Moscow. “On a skinny and shaggy nag / A bearded postilion sits.” The postilion (from German Vorreiter - the one who rides in front, on the front horse) was usually a teenager or even a small boy, so that it would be easier for the horse to carry him. The postilion should be a boy, but the Larins have it “bearded”: they didn’t leave for so long and sat in the village in the village that they already have a postilion grown old 42 Dobrodomov I. G., Pilshchikov I. A. Vocabulary and phraseology of "Eugene Onegin": Hermeneutic essays. M.: Languages of Slavic cultures, 2008. C. 160-169.
What comments on "Eugene Onegin" are the most famous?
The first experience of scientific commenting on "Eugene Onegin" was undertaken as early as the century before last: in 1877, the writer Anna Lachinova (1832-1914) published under the pseudonym A. Volsky two issues of "Explanations and Notes to the novel by A. S. Pushkin" Eugene Onegin ". Of the monographic commentaries on Onegin published in the 20th century, three are of the greatest importance: Brodsky, Nabokov, and Lotman.
The most famous of these is the commentary by Yuri Lotman (1922-1993), first published as a separate book in 1980. The book consists of two parts. The first - "Essay on the noble life of the Onegin era" - is a coherent presentation of the norms and rules that regulated the worldview and everyday behavior of the nobleman of Pushkin's time. The second part is the actual commentary, following the text from stanza to stanza and from chapter to chapter. In addition to explaining incomprehensible words and realities, Lotman pays attention to the literary background of the novel (the metaliterary polemics spilling onto its pages and the various quotations with which it is permeated), and also interprets the behavior of the characters, revealing in their words and actions a dramatic clash of points of view and behavioral norms. .
So, Lotman shows that Tatyana's conversation with the nanny is a comic qui pro quo, "Who instead of whom." Latin expression for confusion, misunderstanding, when one is taken for another. In the theater, this technique is used to create a comic situation. in which the interlocutors belonging to two different socio-cultural groups use the words “love” and “passion” in completely different senses (for the nanny, “love” is adultery, for Tatyana it is a romantic feeling). The commentator convincingly demonstrates that, according to the author's intention, Onegin killed Lensky unintentionally, and readers familiar with dueling practice understand this from the details of the story. If Onegin wanted to shoot his friend, he would have chosen a completely different dueling strategy (Lotman tells which one).
How did Onegin end? - The fact that Pushkin got married. The married Pushkin could still write a letter to Onegin, but he could not continue the affair.
Anna Akhmatova
Lotman's immediate predecessor in the field under discussion was Nikolai Brodsky (1881-1951). The first, trial edition of his commentary was published in 1932, the last lifetime edition in 1950, then the book was published posthumously several times, remaining the main guide for the study of Onegin in universities and pedagogical institutes until the release of Lotman's commentary.
Brodsky's text bears deep traces vulgar sociologism Within the framework of Marxist methodology, a simplified, dogmatic interpretation of the text, which is understood as a literal illustration of political and economic ideas. . What is the only explanation for the word “bolívar” worth: “A hat (with large fields, a top-hat expanding) in honor of the leader of the national liberation movement in South America, Simon Bolivar (1783-1830), was fashionable in the environment that followed political events, which sympathized with the struggle for the independence of a small people" 43 Brodsky N. L. "Eugene Onegin": A novel by A. S. Pushkin. A guide for the teacher. M.: Education, 1964. C. 68-69. . Sometimes Brodsky's commentary suffers from an overly straightforward interpretation of certain passages. For example, about the line “Jealous whisper of fashionable wives”, he seriously writes: “With a cursory image of a “fashionable wife”, Pushkin emphasized the decay of family foundations in ... secular circle" 44 Brodsky N. L. "Eugene Onegin": A novel by A. S. Pushkin. A guide for the teacher. M.: Education, 1964. C. 90. .
Nevertheless, Nabokov, who made fun of Brodsky's forced interpretations and depressingly clumsy style, was, of course, not quite right in calling him an "ignorant compiler" - "uninformed compiler" 44 Eugene Onegin: A Novel in Verse by Aleksandr Pushkin / Translated from the Russian, with a Commentary, by Vladimir Nabokov. In 4 vols. N.Y.: Bollingen, 1964. Vol. 2. P. 246. . If we exclude the predictable "Sovietisms", which can be considered inevitable signs of the times, in Brodsky's book one can find a fairly solid real and historical-cultural commentary on the text of the novel.
"Onegin" ("Onegin"). Directed by Martha Fiennes. USA, UK, 1999
The four-volume work of Vladimir Nabokov (1899-1977) was first published in 1964, the second (corrected) in 1975. The first volume is occupied with an interlinear translation of Onegin into English, the second and third with an English commentary, the fourth with indexes and a reprint of the Russian text. Nabokov's commentary was translated into Russian late; Russian translations of the commentary published in 1998-1999 (two of them) can hardly be considered successful.
Not only is Nabokov's commentary superior in volume to the work of other commentators, the Nabokov translation itself also performs commentary functions, interpreting certain words and expressions in the text of Eugene Onegin. For example, all commentators, except for Nabokov, explain the meaning of the adjective in the line "In his discharge carriage." "Discharge" means "discharged from abroad." This word has been supplanted in modern language by a new word with the same meaning, now the borrowed "import" is used instead. Nabokov does not explain anything, but simply translates: "imported".
The volume of literary quotations identified by Nabokov and the literary and memoiral parallels he cited to the text of the novel is not surpassed by any of the previous and subsequent commentators, and this is not surprising: Nabokov, like no one else, felt at home From English - "like at home." not only in Russian literature, but also in European (especially French and English).
The discrepancy between personality and her way of life - this is the basis of the novel.
Valentin Nepomniachtchi
Finally, Nabokov was the only commentator on Onegin in the 20th century who knew the life of the Russian noble estate firsthand, but from his own experience and easily understood much of what Soviet philologists did not catch. Unfortunately, the impressive volume of Nabokov's commentary is created not only due to useful and necessary information, but also thanks to a lot of information that is most remotely related to the commentary work 45 Chukovsky K. I. Onegin in a foreign land // Chukovsky K. I. High art. M.: Soviet writer, 1988. S. 337-341. . But it's still very interesting to read!
In addition to comments, the modern reader can find explanations for incomprehensible words and expressions in Pushkin's Dictionary of Language (first edition - the turn of the 1950s and 60s; additions - 1982; consolidated edition - 2000). Prominent linguists and Pushkin scholars who had previously prepared the “large academic” edition of Pushkin participated in the creation of the dictionary: Viktor Vinogradov, Grigory Vinokur, Boris Tomashevsky, Sergei Bondi. In addition to the listed reference books, there are many special historical-literary and historical-linguistic works, the bibliography alone of which occupies a weighty volume.
Why don't they always help? Because the differences between our language and the language of the beginning of the 19th century are not pointy, but cross-cutting, and with each decade they only grow, like “cultural layers” on city streets. No commentary can exhaust the text, but even the minimally necessary for understanding commentary on the texts of the Pushkin era should already be line-by-line (and perhaps even word-by-word) and multilateral (real commentary, historical-linguistic, historical-literary, poetic, textual). Such a comment was not created even for "Eugene Onegin".
That is, the time of creation and the time of action of the novel approximately coincide.
Alexander Sergeevich Pushkin created a novel in verse like a poem Lord Byron « Don Juan". Having defined the novel as a “collection of motley chapters”, Pushkin highlights one of the features of this work: the novel is, as it were, “opened” in time (each chapter could be the last, but it can also have a continuation), thereby drawing readers’ attention to the independence and integrity of each chapters. The novel has become truly an encyclopedia of Russian life. 1820s, since the breadth of the topics covered in it, the detailing of everyday life, the multi-plot composition, the depth of the description of the characters' characters even now reliably demonstrate to readers the features of the life of that era.
This is what gave rise to V. G. Belinsky in his article "Eugene Onegin" to conclude:
From the novel, as well as from the encyclopedia, you can learn almost everything about the era: about how they dressed, and what was in fashion, what people valued most, what they talked about, what interests they lived. "Eugene Onegin" reflected the whole of Russian life. Briefly, but quite clearly, the author showed a fortress village, a manor Moscow, secular Saint Petersburg. Pushkin truthfully depicted the environment in which the main characters of his novel live - Tatyana Larina and Eugene Onegin, reproduced the atmosphere of the city noble salons in which Onegin spent his youth.“Onegin can be called an encyclopedia of Russian life and an eminently folk work.”
Editions of the novel
"Eugene Onegin" came out in separate issues, each containing one chapter (the so-called "main edition"); excerpts from the novel were also published in magazines and almanacs. The release of each chapter became a big event in the Russian literature of that time. The first chapter of the work was published in 1825. In 1833, the first complete edition of the entire novel appeared in one volume.
Printing house I. Glazunov in January 1837, shortly before the death of the poet, released the novel "Eugene Onegin" in miniature format - the last lifetime edition of A. S. Pushkin. This edition was reviewed by Pushkin himself and contains the author's latest edition of the novel, although, like all others, it is not free from typographical errors.
The plans of the printing house were such that the entire circulation (5000 copies) was planned to be sold in one year at 5 rubles per book. After the death of Pushkin, the entire circulation was sold out within a week. IN 1988 publishing house "Book" released facsimile edition of the book with a circulation of 15,000 copies.
In the posthumous editions of "Eugene Onegin", including in academic meetings (Jubilee 1937-1949 and subsequent ones), textual critics (academic publications were led by a major scientist B. V. Tomashevsky) a number of adjustments were made in order to restore auto-censorship exceptions, abbreviated proper names, and unify spelling. These deviations from the last author's text were subjected to by some literary critics ( M. I. Shapir) sharp criticism.
Plot
The novel begins with the lamentations of a young nobleman Eugene Onegin about the illness of his uncle, who forced Eugene to leave St. Petersburg and go to the patient's bed to say goodbye to him. Having marked the plot in this way, the author devotes the first chapter to the story of the origin, family, life of his hero before receiving news of the illness of a relative. The narration is conducted on behalf of an unnamed author, who introduced himself as a good friend of Onegin. Eugene was born "on the banks Not you", that is, in Petersburg, in a not the most successful noble family:
Onegin received the appropriate upbringing - first, having a governess Madame (not to be confused with a nanny), then - tutor- a Frenchman who did not bother his pupil with an abundance of classes. Pushkin emphasizes that Yevgeny's education and upbringing were typical for a person of his environment (a nobleman, who was taught by foreign teachers from childhood).
Onegin's life in St. Petersburg was full of love affairs and social entertainment, but this constant series of amusements led the hero to blues. Eugene leaves for his uncle in the village. Upon arrival, it turns out that the uncle has died, and Eugene has become his heir. Onegin settles in the village, but even here he is overwhelmed by the blues.
Onegin's neighbor turns out to be someone who came from Germany eighteen-year-old Vladimir Lensky, a romantic poet. Lensky and Onegin converge. Lensky is in love with Olga Larina, the daughter of a local landowner. Her thoughtful sister Tatyana does not look like the always cheerful Olga. Olga is one year younger than her sister, she is outwardly beautiful, but Onegin is not interested:
Having met Onegin, Tatyana falls in love with him and writes him a letter. However, Onegin rejects her: he is not looking for a quiet family life. Lensky and Onegin are invited to the Larins for Tatyana's name day. Onegin is not happy about this invitation, but Lensky persuades him to go, promising that there will be no guests-neighbors. In fact, having arrived at the celebration, Onegin discovers a "huge feast", which angers him in earnest.
At a dinner at the Larins', Onegin, in order to make Lensky jealous, suddenly begins courting Olga. Lensky calls him to duel. The duel ends with the death of Lensky, and Onegin leaves the village.
Three years later, he appears in St. Petersburg and meets Tatyana. Now she is an important society lady, the wife of a general. Onegin falls in love with her and tries to woo her, but this time they reject him. Tatyana admits that she still loves Yevgeny, but says that she must remain faithful to her husband.
Storylines
- Onegin and Tatyana. Episodes:
- Acquaintance with Tatyana;
- Tatyana's conversation with the nanny;
- Tatyana's letter to Onegin;
- Explanation in the garden;
- Tatyana's dream and name day;
- Visit to Onegin's house;
- Departure to Moscow;
- Meeting at a ball in St. Petersburg after 3 years;
- Onegin's letter to Tatyana (explanation);
- Evening at Tatiana'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 and death of Lensky.
Characters
“Precisely because the main characters of EO did not have direct prototypes in life, they exceptionally easily became psychological standards for contemporaries: comparing themselves or their loved ones with the heroes of the novel became a means of explaining oneself and their characters.” (Yu. M. Lotman. Comments on "Eugene Onegin").
The novel also mentions the father (Dmitry Larin) and mother (Praskovya) of Tatyana and Olga; "Princess Alina" - the Moscow cousin of the mother of the Larin sisters; uncle Onegin; a number of comical images of provincial landowners (Gvozdin, Flyanov, "Skotinins, a gray-haired couple", "fat Pustyakov", etc.); Petersburg and Moscow light.
The images of provincial landlords are mainly of literary origin. So, the image of the Skotinins refers to comedy Fonvizina "Undergrowth", Buyanov - the hero of the poem " dangerous neighbor» (1810-1811) V. L. Pushkin. “Among the guests, there were also “Kirin important”, “Lazorkina - a widow-vostrushka” (“forty-year-old spinner”); “fat Pustyakov” was replaced by “fat Tumakov”, Pustyakov was called “skinny”, Petushkov was a “retired clerk” ”(Brodsky N. L. “Eugene Onegin” novel by A. S. Pushkin: Commentary. M .: Izd-vo “ Multiratura")
strophic
In his poem, he was able to touch on so many things, to hint about so many things, that he belongs exclusively to the world of Russian nature, to the world of Russian society. "Onegin" can be called an encyclopedia of Russian life and an eminently folk work.
Middle - second half of the XIX century.
Research Yu. M. Lotman
"Eugene Onegin" is a difficult work. The very lightness of the verse, the familiarity of the content, familiar to the reader from childhood and emphatically simple, paradoxically create additional difficulties in understanding Pushkin's novel in verse. The illusory idea of the "comprehensibility" of the work hides from the consciousness of the modern reader a huge number of incomprehensible words, expressions, phraseological units, allusions, quotations. Thinking about a verse that you know from childhood seems to be unjustified pedantry. However, it is worth overcoming this naive optimism of an inexperienced reader in order to make it obvious how far we are even from a simple textual understanding of the novel. The specific structure of the Pushkin novel in verse, in which any positive statement of the author can be imperceptibly turned into an ironic one, and the verbal fabric seems to slip, passing from one speaker to another, makes the method of forcible extraction of quotations especially dangerous. To avoid this threat, the novel should be viewed not as a mechanical sum of the author's statements on various issues, a kind of anthology of quotations, but as an organic artistic world, parts of which live and gain meaning only in relation to the whole. A simple list of problems that Pushkin “poses” in his work will not introduce us into the world of Onegin. The artistic idea implies a special type of life transformation in art. It is known that for Pushkin there was a "devilish difference" between poetic and prosaic modeling of the same reality, even while maintaining the same themes and issues.
Comments on the novel
One of the first comments on the novel was a small book by A. Volsky, published in 1877. Comments become classic Vladimir Nabokov , Nicholas Brodsky , Yuri Lotman, S. M. Bondi.
Translations
"Eugene Onegin" has been translated into many languages of the world:
- on English - Walter Arndt , Vladimir Nabokov(in prose), Charles Hepburn-Johnston(with the preservation of the "Onegin stanza") and others
- on French - I. S. Turgenev And L. Viardot, Jean-Louis Baques and Roger Legras, Jacques Chirac and others
- on German- Rolf-Dietrich Keil and others
- on Chinese- Su Fu (1942), Lu Ying (1944), Mu Dan (Ja Liangzhen) (1954, 1983), Wang Shixie (1981), Wang Jiliang (1985, 2004), Feng Chun (1982, 1991), Ding Lu ( 1996), Liu Zongji (2002), Gu Yunpu (2003), Tian Guobing (2003)
- on Armenian- Gurgen Sevak (1904-1981)
- on Balkar - Salikh Gurtuev, (born in 1938), Nalchik, publishing house "Kotlyarovs and K.", 2013
- on Belorussian - Arkady Kuleshov
- on Ukrainian - M. F. Rylsky
- on Hebrew - Abraham Shlonsky And Zeev Geisel
- on Turkish - Kanshaubiy Miziev And Ahmet Necdet, first translation into Turkish: Istanbul, Everest Publishing House 2003
- on Ossetian - Nafi Jusoyty
- on Polish - Adam Vazhik , Andrzej Sych , Yakub Yurkevich , Leo Belmont
- on Czech- Milan Dvorak
- on Azerbaijani - Samed Vurgun (1936)
- on Estonian - Betty Alver (1964)
- on Kazakh - Kuandyk Shangitbaev (1949, 1985)
- in Uzbek Aibek (Musa Tashmukhamedov)
- on Esperanto- first Nikolai Nekrasov(1931), most complete translation - Valentin Melnikov (2005)
Influence on other works
In literature
Type " extra person”, Deduced by Pushkin in the image of Onegin, influenced all subsequent Russian literature. Of the closest illustrative examples - Lermontov "Pechorin" from " Hero of our time”, whose surname, as it were, deliberately the same as the surname of Onegin, is formed from the name of the northern Russian river with a hint of the continuity of the characters. And both characters are really close in many psychological characteristics.
In the modern Russian novel " Onegin code”, written by Dmitry Bykov under the pseudonym Brain Down, we are talking about the search for the missing chapter of Pushkin's manuscript. In addition, the novel contains bold assumptions about the true genealogy of Pushkin.
The genre of a full-fledged "novel in verse" inspired A. Dolsky to create a novel Anna", which was completed in 2005.
In music
In cinema
- « Eugene Onegin"(1911). B/W, mute. In the role of Onegin - Pyotr Chardynin
- « Eugene Onegin A.M. Davydov
- « Eugene Onegin"(1915). B/W, sound (gramophone). In the role of Onegin - M.I. Ivantsev
- « Onegin» (1999). In the role of Eugene Onegin - Ralph Fiennes, Tatyana Larina - Liv Tyler, Vladimir Lensky - Toby Stephens
- « Eugene Onegin. Between past and future» - documentary (), 52 min., director Nikita Tikhonov
- « Eugene Onegin» (1958). Screen version of the opera. In the role of Onegin - Vadim Medvedev, performs the vocal part Evgeny Kibkalo. In the role of Tatyana - Ariadna Shengelaya, voiced Galina Vishnevskaya. In the role of Olga - Svetlana Nemolyaeva
- « Eugene Onegin» (1994). In the role of Eugene Onegin - Wojciech Drabovich
- « Eugene Onegin» (2002). In the role of Eugene Onegin - Peter Mattei
- « Eugene Onegin» (2007). In the role of Eugene Onegin - Peter Mattei
In education
In Russian, Uzbek, Kazakh, Kyrgyz, Ukrainian, Moldovan (with the study of the Russian language) and Belarusian schools, "Eugene Onegin" is included in the compulsory school curriculum in literature.
In addition, a number of passages describing nature (“Already the sky was breathing in autumn ...”, “Here is the north, catching up clouds ...”, “Winter! Peasant, triumphant ...”, “Driven by spring rays ...”) are used in the lower grades to memorize outside connection with the work as a whole.
Literature
- Grinbaum, O. N. A. S. Pushkin's novel "Eugene Onegin": Rhythmic and semantic commentary. Chapters one, two, three, four. - 2nd ed., Rev., add. - St. Petersburg: St. Petersburg State University, 2012. - 328 p. - (Linguistics). - 300 copies. (mistaken.)
Notes
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Literature
- // Lotman Yu. M. Pushkin: Biography of the writer; Articles and notes, 1960-1990; "Eugene Onegin": Commentary. - St. Petersburg: Art-SPB, 1995. - S. 393-462. ( FEB)
- // Lotman Yu. M. Pushkin: Biography of the writer; Articles and notes, 1960-1990; "Eugene Onegin": Commentary. - St. Petersburg: Art-SPB, 1995. - S. 472-762. ( FEB)
- / under total ed. N. I. Mikhailova; comp. N. I. Mikhailova, V. A. Koshelev, M. V. Stroganov. - M .: Russian way, 1999–2004. - 576 + 804 p. - ISBN 5-85887-156-9.
- Zakharov N.V. // Knowledge. Understanding. Skill. - 2005. - No. 4. - pp. 180-188.
- Bely A.A.
- Sazanovich E.I. // Youth. - 2012. - № 12 .
Links
- The series on the Culture channel is read and commented by V. Nepomniachtchi.
- // Pushkin A.S. Complete works: In 10 volumes - L .: Science. Leningrad. department, 1977-1979. ( FEB)
- on the site "Secrets of the craft"
- and articles-reviews of Belinsky about "Onegin" on the site Lib.ru
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