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The novel "Eugene Onegin" is the main creation of A. S. Pushkin. It was here that readers saw all aspects of Russian life, recognized the living and burning modernity, recognized themselves and their acquaintances, the entire environment, the capital, the village, neighbors, landowners and serfs ....
"Eugene Onegin" - the pinnacle of A.S. Pushkin. In his eighth article "Eugene Onegin" V.G. Belinsky wrote: "Onegin" is Pushkin's most sincere work, the most beloved child of his imagination, and one can point out ...
The letters of Tatyana and Onegin stand out sharply from the general text of Pushkin's novel in verse "Eugene Onegin". Even the author himself gradually highlights them: an attentive reader will immediately notice that there is no longer a strictly organized “Onegin stanza”, but a noticeable ...
Pushkin worked on the novel "Eugene Onegin" for many years, it was his favorite work. Belinsky in his article "Eugene Onegin" called the work "an encyclopedia of Russian life." The novel was for the poet, according to him ...
First of all, Lensky lacks his own personal experience, which he has suffered through. Almost everything from his borrowed scholarship to poetry is literally all gleaned from books, from romantic German poetry and philosophy of the first two decades of the 19th century. He is not...
In a work of art, the hero's inner world is revealed to a greater extent not through external speech, but through the inner one, which, as a rule, results in the hero's monologue. I would like to consider the work of A.S. Pushkin "Eugene Onegin" -...
It is customary to call lyrical digressions extra-plot inserts in a literary work, moments when the author departs from the main narrative, allowing himself to reflect, recall any events that are not related to the narrative. However, lyrical digressions are separate compositional elements, like landscapes, characterizations, dialogues.
The novel in verse "Eugene Onegin" is replete with lyrical digressions. It is difficult to find another literary creation in which they would be so significant. The main task of these inserts is time. Pushkin goes into lyrical digressions when it was necessary to emphasize the intervals of time that have passed in the course of the narrative. But at the same time, they are harmoniously woven into the plot of the story. Thus, the poet expresses his author's view of certain events, his attitude towards his heroes. Pushkin is invisibly present in the overall outline of the story.
After some reasoning about the morals and characters of people, the poet finally “brings the Muse” to a secular reception, where Onegin and Tatyana Larina met.
But those who are in a friendly meeting
I read the first stanzas...
There are no others, and those are far away,
As Sadie once said.
Without them, Onegin is completed.
And the one with whom he was educated
Tatiana's dear ideal...
Oh, a lot, a lot of fate took away!
“I am not writing a novel, but a novel in verse - a diabolical difference,” A.S. Pushkin reported about the start of work on Eugene Onegin, emphasizing its unconventionality. In the eighth chapter, the author calls his novel "free". This freedom is, first of all, an easy conversation with the reader with the help of digressions, the expression of thoughts of the author's "I".
Lyrical digression- this is any author's deviation from the plot, from the story about the characters. This definition is a general literary term and refers to digressions of a very different nature.
In "Eugene Onegin" we meet large and small digressions
1. Autobiographical.
For example, a big digression at the beginning of chapter eight about the author's creative path, or a very brief remark in the first chapter: "I used to walk there too, But the north is harmful to me." The poet's memories come to life about the days "when in the gardens of the Lyceum" he began to "appear to the muse", about his forced exile ("will the hour of my freedom come?").
2. Digressions are literary and polemical.
In them, the narrator argues about the literary language, about the use of foreign words in it, without which it is sometimes impossible to describe some things:
Describe my case:
But pantaloons, tailcoat, vest,
All these words are not in Russian ...
Such digressions include, for example, the ironic characterization of the sentimental elegy in chapter six; digression on the use of foreign words in chapter one; parodying classicism playful “introduction at the end of the chapter.
These polemical digressions clearly define the author's literary position: the attitude towards classicism, sentimentalism and romanticism as obsolete trends, the consistent defense of realism.
In the novel we meet lyrical digressions.
3. on philosophical and moral and ethical topics
Such, for example, is stanza XXXVIII of Chapter Two, where a deep thought is expressed about the regular change of generations in the course of life.
Such digressions include discussions about friendship, about relatives and family relations in chapter four.
4. A lot of lyrical digressions present, contains description of nature . Throughout the novel, we encounter pictures of Russian nature. There are all seasons here: and winter, “when the boys are joyful people” cuts the ice with their skates; and spring is “the time of love”, and, of course, autumn, beloved by the author, does not go unnoticed.
Descriptions of nature are inextricably linked with the characters of the novel, they help to better understand their inner world. We repeatedly notice in the novel the narrator's reflections on Tatyana's spiritual closeness to nature, with which he characterizes the moral qualities of the heroine. Often the landscape appears the way Tatyana sees it: “... she loved to warn the sunrise on the balcony” or “... through the window Tatyana saw a whitened yard in the morning.”
5. In "Eugene Onegin" there are lyrical digressions and on historical theme . Famous lines about Moscow:
Moscow ... how much in this sound
Merged for the Russian heart!
How much resonated in it!
And about the Patriotic War of 1812, the imprint of which lay on the Pushkin era, expand the historical scope of the novel.
6. It is impossible not to note copyright descriptions of the life and customs of society that time. The reader will learn how secular youth was brought up and spent their time, even the albums of county young ladies open before us. The author's opinion about balls, fashion attract attention with the sharpness of observation.
What brilliant lines are dedicated to the theatre! Playwrights, actors… It’s as if we ourselves find ourselves in “this magical land”, where “Fonvizin shone, a friend of freedom and a receptive Knyazhnin”, we see Istomina flying like “fluff from the lips of Eol”.
Before us is a lyrical-epic work - a novel-diary. Both in the very nature of the narrative and in the lyrical digressions, “the personality of the poet was reflected ... with such fullness, light and clarity, as in no other work of Pushkin” (Belinsky).
I. Lyrical digressions in the novel by A. S. Pushkin "Eugene Onegin".
1. Lyrical digressions as one of the ways to show the reader the position and views
author.
- What is a lyrical digression?
- Themes and examples of lyrical digressions in the novel.
Pushkin worked on the novel "Eugene Onegin" for many years, it was his favorite work. Belinsky called it "an encyclopedia of Russian life." Indeed, this novel gives a picture of all strata of Russian society. The novel was for the poet, in his words, the fruit of "the mind of cold observations and the heart of sad remarks."
Along with Onegin, Tatyana, Olga, Lensky, the image of the author appears before the reader in the novel. The author sometimes directly includes himself among the protagonists of the novel, and sometimes in the very nature and tone of the narration the author reveals himself, his approval or condemnation, his sadness or admiration for what he writes about. Thus, the author appears in the so-called lyrical digressions.
In "Eugene Onegin" we meet large and small digressions, which in turn can be divided into:
- autobiographical,
- literary and polemical,
- philosophical,
- moral and ethical topics.
An example of an autobiographical digression can be considered the author's story about the creative path (the beginning of chapter 8):
In those days when in the gardens of the Lyceum
I blossomed serenely...
The muse began to appear to me.
My student cell
Suddenly lit up...
And the light met her with a smile;
Success inspired us first;
Old man Derzhavin noticed
And, descending into the coffin, he blessed.
or the very brief remarks in the first chapter: "I used to be there too, but the north is harmful to me."
We read literary and polemical digressions in stanza IX of the third chapter, where the poet gives an ironic description of a sentimental novel:
Now with what attention is she
Reading a sweet novel...
Happy power of dreaming
Soulful creatures...
And incomparable Grandison,
Which makes us sleep...
or digressions on the use of foreign words in chapter one; a playful “introduction” parodying classicism at the end of chapter seven, etc. These polemical digressions clearly define the author’s literary position: the attitude towards classicism, sentimentalism and romanticism as obsolete trends and the consistent defense of realism.
To characterize the author's decisive assertion of realism, his appeal to simple unadorned everyday reality as the material of poetic creativity, three stanzas from Pushkin's published "Excerpts from Onegin's Journey" should be used.
At that time I seemed to need
Deserts, pearly waves,
And the noise of the sea, and piles of rocks,
And the proud maiden ideal...
Other pictures I need:
I love the sandy slope
In front of the hut are two mountain ash,
Wicket, broken fence.
In the novel we meet lyrical digressions on philosophical and moral and ethical themes. Such, for example, is the XXXVIII stanza of the second chapter, where a deep thought is expressed about the regular change of generations in the course of life, the stanza ending with the lines:
Come, our time will come,
And our grandchildren in a good hour
We will be driven out of the world!
The same kind of digressions include discussions about friendship, about relatives, about “kindred” relations in chapter four:
What does native mean.
The native people are:
We have to caress them
Love, respect...
Visit them for Christmas...
So that the rest of the year
They didn't care about us...
And so, God grant them long days!
In digressions about Moscow and Petrovsky Castle (Chapter VII, stanzas XXXVI and XXXVII), a historical theme is posed, and they express the deep patriotic feeling of the poet:
Moscow... how much in this sound
Merged for the Russian heart!
How much resonated in it!
Numerous lyrical digressions give a special character to the novel, expanding the boundaries of the genre. In front of the reader, thanks to the special construction of the novel, lyrical digressions are no longer just a novel, but a diary novel. With the help of lyrical digressions, the author talks with the reader at ease, expresses thoughts from the author's "I". It was this form of narration that helped Pushkin to recreate a picture of his contemporary society.
Thus, both in the very nature of the narrative, and in the author's open statements about the heroes, and in lyrical digressions, "the personality of the poet was reflected ... with such completeness, light and clearly, as in no other work of Pushkin" (Belinsky). As a result, the image of the author in the novel appears very fully, with his views, likes and dislikes, his attitude to the most important issues of life.
Eugene Onegin lyrical digressions
Describing the events in the novel and revealing various topics, he supplements it with his own observations, his statements, and opinions, which makes the work look like a reliable one. Lyrical digressions, which are not difficult to find in Eugene Onegin, are a live communication between the writer and the heroes of the work. So, for example, when Onegin goes to the ball, Pushkin immediately talks about how he, too, was crazy about balls in his time. He discusses women's legs and immediately apologizes to the reader for such memories, promising to become a little more mature.
Thanks to the lyrical digressions that we already meet in the first chapter of the novel, where the author expresses his opinion about Onegin, Pushkin thereby makes himself not only a narrator, but also a character, where the writer is a friend of the hero, calling him a good friend.
The role of lyrical digressions is enormous, because they enliven the work, better reveal the theme of the author's work. They acquaint us with the biography of Pushkin, which recalls the southern exile, there are memories of his youth and the period of study at the Lyceum. In digressions, the writer dedicates us to his plans, talks about literature, theater.
A lot of lyrical digressions are devoted to Russian nature and seasons. So Pushkin talks about winter, remembering the boys who cut ice with their skates, writes how the first snow curls. Describing summer, he speaks of spring - the time of love, the author does not pass by the autumn season either. Pushkin devotes a special place to digressions according to the times of the day, where the night is the most attractive time for the writer.
Thanks to lyrical digressions, the writer has the opportunity to have an easy conversation with readers, where he can talk about the youth of his time and their upbringing, about how they spend their time painting pictures of the life of that time.
If you single out the theme of lyrical digressions separately, you can see the theme of creativity in general and the author's reflections on the specifics of the work. Secular life is also revealed here, and the theme of love is also touched upon in the novel. In lyrical digressions, the theme of friendship, the theme of freedom, village life can be traced, there are also biographical motifs.
In the novel "Eugene Onegin" there are many author's digressions. It is thanks to them that the action of the novel goes beyond the private life of the hero and expands to the scale of the all-Russian. V. G. Belinsky called "Eugene Onegin" "an encyclopedia of Russian life", since the author's digressions reveal the contradictions, trends and patterns of the era, at first glance, not directly related to the plot outline of the novel, but clearly demonstrating Pushkin's attitude towards them. However, the image of the author is not limited to lyrical digressions (author's comments and remarks are scattered throughout the text of the novel). In the course of the novel, the author, like his characters, undergoes evolution. Thus, researchers, studying the style of the poet, note the difference between the chapters written before and after 1825. The author does not associate himself with Onegin, emphasizing the differences in their attitude to life, nature, theater, wine, women, etc. Pushkin goes to his development further than Lensky, becoming a poet of reality and emphasizing that a poetic and enthusiastic attitude to life are different things. The poet himself believed that he was closest to Tatyana. In the last chapters, Pushkin is a man of the post-December era, he has taken shape as a poet and personality. Thus, in the novel, Pushkin appears as if in two forms - the author and the narrator, and it is obvious that the image of the first is much broader than the image of the second.
1) Digressions of an autobiographical nature:
In those days when in the gardens of the Lyceum
I blossomed serenely
Apuleius read willingly,
Didn't read Cicero
In those days, in the mysterious valleys,
In the spring, with the cries of swans,
Near the waters shining in silence
The muse began to appear to me.
My student cell
Suddenly lit up: the muse in it
Opened a feast of young inventions,
Sang children's fun,
And the glory of our antiquity,
And heart trembling dreams.
And the light met her with a smile;
Success inspired us first;
Old man Derzhavin noticed us
And, descending into the coffin, he blessed.
(Chapter XVIII, stanzas I-II)
2) Digressions of a philosophical nature (about the course of life, about nature, about the continuity of generations, about one's own immortality):
Alas! On the reins of life
The instant harvest of a generation,
By the secret will of providence,
Rise, mature and fall;
Others follow...
So our windy tribe
Grows, worries, boils
And to the grave of great-grandfathers crowds.
Come, our time will come,
And our grandchildren in a good hour
We will be driven out of the world!
(Ch. II, stanza XXXVIII)
How sad is your appearance to me,
Spring, spring, time for love!
What a languid excitement
In my soul, in my blood!
With what heavy tenderness
I enjoy the breath
In my face blowing spring
In the bosom of rural silence!
Or is pleasure alien to me,
And everything that pleases, lives,
All that rejoices and glitters,
Brings boredom and languor
On a soul that's been dead for a long time
And everything seems dark to her?
Or, not rejoicing in the return
Leaves that died in autumn
We remember the bitter loss
Listening to the new noise of the forests;
Or with nature brisk
Bringing the thought together embarrassed
We are the fading of our years,
Which revival is not?
Perhaps it comes to our mind
In the midst of poetic sleep
Another, old spring
And the heart trembles us
Dream of the far side
About a wonderful night, about the moon ...
(Chapter VII, stanzas II-III)
It should be noted that not all descriptions of nature are philosophical author's digressions.
I know they want to force the ladies
Read in Russian. Right fear!
Can I imagine them
With "Good-meaning" in hand!
I refer to you, my poets;
Isn't it true, lovely things,
Who, for their sins,
You secretly wrote poems
To whom the heart was dedicated
Is it all, in Russian
Possessing weakly and with difficulty,
He was so cutely distorted
And in their mouths a foreign language
Did he turn to his native?
God forbid me to meet at the ball
Ile when driving on the porch
With a seminarian in a yellow chalet
Or with an academician in a cap!
Like rosy lips without a smile
No grammatical error
I do not like Russian speech.
(Ch. III, stanzas XXVII-XXVIII)
Magic edge! there in the old days,
Satyrs are a bold ruler,
Fonvizin shone, friend of freedom,
And enterprising Knyazhnin;
There Ozerov involuntary tribute
People's tears, applause
I shared with the young Semyonova;
There our Katenin resurrected
Corneille is a majestic genius;
There he brought out the sharp Shakhovskoy
Noisy swarm of their comedies,
There Didlo was crowned with glory,
There, there, under the shadow of the wings
My young days flew by.
(Ch. I, stanza XVIII)
Your syllable in an important way of mood,
It used to be a fiery creator
He showed us his hero
Like a perfect example.
He gave a beloved object,
Always unjustly persecuted,
Sensitive soul, mind
And an attractive face.
Feeding the heat of the purest passion,
Always an enthusiastic hero
I was ready to sacrifice myself
And at the end of the last part
Vice was always punished
The wreath was worthy of kindness.
And now all minds are in a fog,
Morality makes us sleepy
Vice is kind in the novel,
And there he triumphs.
British muse of fiction
The maiden's dream is disturbing,
And now her idol has become
Or a brooding Vampire
Or Melmoth, the gloomy vagabond,
Or the Eternal Jew, or the Corsair,
Or the mysterious Sbogar.
Lord Byron by a lucky whim
Doomed to dull romanticism
And hopeless selfishness.
... I will humble myself to humble prose;
Then romance in the old way
Will take my cheerful sunset.
He is the torment of terrible villainy
I will portray menacingly in it,
Ho just tell you
Traditions of the Russian family,
Love captivating dreams
Yes, the customs of our antiquity.
(Ch. III, stanzas XI-XIII)
But there is no friendship even between us.
Destroy all prejudices
We honor all zeros,
And units - themselves.
We all look at Napoleons;
There are millions of bipedal creatures
We have only one tool
We feel wild and funny.
(Ch. II, stanza XIV)
The less we love a woman,
The easier it is for her to like us
And the more we ruin it
In the midst of seductive nets.
Debauchery used to be cold-blooded,
Science was famous for love,
Blowing about himself everywhere
And enjoying without loving.
Ho this important fun
Worthy of old monkeys
Vaunted grandfather's times:
Lovlasov dilapidated fame
With the glory of red heels
And stately wigs.
Who is not bored to be hypocritical,
Repeat one thing differently
Trying to make sure
What everyone is sure for a long time,
All the same to hear objections,
Destroy prejudice,
Which were not and are not
A girl at thirteen!
Who is not tired of threats,
Prayers, oaths, imaginary fear,
Notes on six sheets,
Deceptions, gossip, rings, tears,
supervision of aunts, mothers,
And heavy friendship of husbands!
(Ch. IV, stanzas VII-VIII)
Love for all ages;
Ho young, virgin hearts
Her impulses are beneficial,
Like spring storms to fields:
In the rain of passions they freshen up,
And they are updated and ripen -
And a mighty life gives
And lush color, and sweet fruit,
Ho late in age and barren
At the turn of our years
Sad passion dead trail:
So cold autumn storms
The meadow is turned into a swamp
And expose everything around.
(Ch. VIII, stanza XXIX)
We all learned a little
Something and somehow
So education, thank God,
It's easy for us to shine.
(Ch. I, stanza V)
Blessed is he who was young from his youth,
Blessed is he who has ripened in time,
Who gradually life is cold
With years he knew how to endure;
Who did not indulge in strange dreams,
Who did not shy away from the mob of the secular,
Who at twenty was a dandy or a grip,
And at thirty profitably married,
Who got free at fifty
From private and other debts,
Who is fame, money and ranks
Calmly got in line
Who has been talked about for a century:
N.N. wonderful person.
Ho sad to think that in vain
We were given youth
What cheated on her all the time,
That she deceived us;
That our best wishes
That our fresh dreams
Decayed in rapid succession,
Like leaves in autumn rotten.
It's hard to see in front of you
One dinner is a long row,
Look at life as a ritual
And following the orderly crowd
Go without sharing with her
No common opinions, no passions,
(Ch. VIII, stanza X-XI)
Moscow... how much in this sound
Merged for the Russian heart!
How much resonated in it!
Here, surrounded by its oak forest,
Petrovsky castle. He is gloomy
Proud of recent glory.
Napoleon waited in vain
Intoxicated with last happiness
Moscow kneeling
With the keys of the old Kremlin;
No, my Moscow did not go
To him with a guilty head.
Not a holiday, not an accepting gift,
She was preparing a fire
An impatient hero.
From here, immersed in thought,
He looked at the terrible flame.
I was already thinking about the shape of the plan
And as a hero I will name;
While my romance
I finished the first chapter;
Reviewed it all rigorously;
There are a lot of contradictions
I don't want to fix them;
I will pay my debt to censorship
