Why is "Eugene Onegin" called Pushkin "free novel"? Why "Eugene Onegin" is named A.S. Pushkin's "free novel"

Pushkin's novel "Eugene Onegin" is the first Russian realistic novel written in verse. It became an innovative work both in form and content. Pushkin set the task not only to show in him the “hero of the time”, Onegin, a man with “premature old age of the soul”, to create the image of a Russian woman, Tatyana Larina, but also to draw an “encyclopedia of Russian life” of that era. All this required not only to overcome the narrow framework of classicism, but also to abandon the romantic approach. Pushkin strives to bring his work as close as possible to life, which does not tolerate schematicity and predetermined constructions, and therefore the form of the novel becomes “free”.

And the point is not only that the author puts an “introduction” only at the end of chapter 7, ironically remarking: “... Although it’s late, there is an introduction.” And not even that the novel opens internal monologue Onegin, reflecting on his trip to the village to his uncle for an inheritance, which is interrupted by a story about the hero’s childhood and youth, about the years spent in a whirlwind secular life. And not even that the author often interrupts the plot, placing this or that lyrical digression, in which he can talk about anything: about literature, the theater, his life, about the feelings and thoughts that excite him, about the roads or about women's legs - or he can just talk to readers: “Hm! um! Noble reader, / Are all your relatives healthy? No wonder Pushkin said: "The novel requires chatter."

He really does not seem to create piece of art, but simply tells the story that happened to his good friends. That is why in the novel, next to its heroes Onegin, Tatyana, Lensky, Olga, there appear people who lived during Pushkin's time - Vyazemsky, Kaverin, Nina Voronskaya and others. Moreover, the Author himself becomes the hero of his own novel, being " good friend» Onegin. The author keeps the letters of Onegin and Tatyana, Lensky's poems - and they also organically enter the novel, without violating its integrity in the least, although they are not written in the "Onegin stanza".

It seems that anything can enter into such a work - a "free novel", but with all the "freedom" its composition is harmonious and thoughtful. The main reason why this feeling of freedom is created is that Pushkin's novel exists like life itself: unpredictably and at the same time consistent with some kind of internal law. Sometimes even Pushkin himself was surprised at what his heroes “got up to”, for example, when his beloved heroine Tatyana “got married”. It is understandable why many of Pushkin's contemporaries tried to see the features of their friends and acquaintances in the heroes of the novel - and found them! In that amazing work life pulsates and bursts out, creating even now the effect of the reader's "presence" at the moment of the development of the action. And life is always free in its many twists and turns. Such is Pushkin's truly realistic novel, which paved the way for new Russian literature.

The novel in Pushkin's verse "Eugene Onegin" is, first of all, the most famous and important for understanding it. creative personality and the literary path of the work. The poet began work in the spring of 1823 in Chisinau, completed the novel in Boldin in the autumn of 1830, surprisingly fruitful and happy for Pushkin. On a significant "lyceum" day on October 19, he burned the manuscript of the dangerous tenth chapter, but continued his plan.

The work "Eugene Onegin" is called a "free novel": "free" from the rules by which the works of art of that time were created. Before Pushkin, in the classical novel, both the plot and the characters always obeyed a strictly defined pattern. Here is inspirational straight Talk he is surprisingly free with the reader, nothing fetters the poet. The author becomes the protagonist of his novel in verse, its director and conductor. He easily moves from the fate of the characters to his own reasoning and memories, sometimes calmly interrupting the story.

The narrator goes beyond personal conflict, and the novel includes Russian life in all its manifestations. This is the most important compositional and plot feature of the novel.

Poetic speech is an unusual form and to a certain extent conditional, in everyday life do not speak in rhyme. But poetry allows you to deviate from the usual, traditional. Without a doubt, the poet appreciates in the genre form he has chosen historical narrative precisely freedom, and freedom gives it poetic word. For Pushkin, "Eugene Onegin" is, first of all, free in terms of the nature of the narrative, in terms of composition, and this free form determined " Russian face novel of the new generation.

It's no secret that literary works belong to certain genres and genres of literature. And if they are limited to three categories: epic, lyrics, drama, then there are a lot more genres.

"Eugene Onegin": genre

The famous work of art "Eugene Onegin", written by the great Russian poet Alexander Sergeevich Pushkin, has long been under the scrutiny of philologists and literary critics. Not only is this work filled with deep semantic content, its genre characteristics are also very ambiguous. So, why is the definition of the genre of "Eugene Onegin" so unusual?

Genera and genres of literature

To begin with, it should be noted that the work is written in poetic form, which means that to which it belongs is lyrical. However, despite the fact that the story is described in verse, it is absolutely impossible to call it a simple poem. The detailed plot, the dynamics of the development of events, psychologism and the works within the work rightfully allow us to attribute "Eugene Onegin" to the genre of the novel. According to the definition from explanatory dictionary Sergei Ivanovich Ozhegov, the novel is a prose epic literary work with multiple characters and complex plot structure. Based on it, we can say that in terms of meaning and content, "Eugene Onegin" refers, rather, to the epic genre and the novel genre of literature.

Brief description of the plot

According to the plot, a spoiled and selfish young man from the capital, Eugene Onegin, tired of endless balls and social events, decides to retire to live in the village in order to somehow add variety to his identical everyday life. However, life in the village turns out to be more boring than in St. Petersburg, Eugene is again attacked by the blues. He meets young villagers: the eighteen-year-old talented poet Vladimir Lensky, the Larin sisters - the beautiful and cheerful Olga, thoughtful and dreamy Tatyana.

They become the main actors in the plot. Lensky is engaged to Olga, while Tatyana has fallen in love with Yevgeny. However, he does not reciprocate the feelings of the girl, and having received a letter with an ardent and tender declaration of love, he tries to set her on the right path, advising her not to express her feelings to unfamiliar people in the future. Tatyana is embarrassed and offended. And Lensky, meanwhile, challenges Onegin to a duel for repeatedly inviting his fiancee Olga to dance. Just before the duel, Tatyana has a dream in which Yevgeny kills Vladimir, but the girl does not know about the intention of the young people to shoot themselves, otherwise she would have prevented the duel. Onegin kills Lensky, afraid to cancel the duel and be known as secular society a coward. Olga does not mourn her lover for long and soon marries another. After some time, Tatyana also gets married, for some time she still continues to love Yevgeny, but then the veil falls from her eyes.

Once, at a secular ball, these two met: the still bored and moping Onegin and the inaccessible noble wife of the general Tatyana. And in this meeting, the heroes switched roles, Eugene realized that he had fallen in love with a beautiful princess, Tatyana answered him with a phrase that later became famous: “But I am given to another and I will be faithful to him for a century.”

Analysis of the genre specifics of the text

So, how, in fact, to determine the genre in the work "Eugene Onegin"? We can say about the plot that it is really rich in events, and the dialogues and monologues of the characters are full of sensuality and psychologism. These features make it possible to classify the work as a genre of the novel. However, the poetic form of Pushkin's famous creation leaves the question open. Experts tend to argue that the genre of "Eugene Onegin" is a novel in verse. However, according to some literary critics, including Vissarion Grigoryevich Belinsky, this is not so. They argue that the genre of "Eugene Onegin" is a poem, since the work fully and almost with historical accuracy reproduces the life of the Russian public in the capital and beyond. V. G. Belinsky, without stinting, called "Eugene Onegin" "an encyclopedia of Russian life." But for a poem, the work still has too much volume, the amount of text is closer to the novel. This is the first contradiction.

The second contradiction is related to the content of the novel. Again, critics call "Eugene Onegin" not only a "novel about a novel", but also a "novel within a novel." And if the first definition is directly influenced by the genre of "Eugene Onegin" by Pushkin A.S., as well as the love line - central theme plot, the second characteristic is directly related to the inside of the work.

"A novel about a novel"

So, as it was already clarified earlier, in terms of its genre, the work belongs more to the novel, despite the presentation in verse. And this is the first component of the definition of "a novel about a novel." The second, of course, reflects the presence of love events in the plot. As the action develops, the reader can observe how the relationship between two couples develops: Olga Larina and Vladimir Lensky and her sister Tatiana and Eugene Onegin. However, the relations of the latter come to the fore. It is around this couple that the plot revolves. Thus, the expression "a novel about a novel" indicates not only the presence love line in the text, but also once again emphasizes that in the work "Eugene Onegin" the genre is characterized as a novel.

"Romance within a novel"

This description also contains a reference to the genre of Pushkin's creation. However, now that the question “Eugene Onegin” no longer arises - what genre? ”, deciphering the second part of the phrase is not required. Of course, we are talking about the attitude to the genre. But the first part of the definition recalls the presence in the text of another novel - Tatyana Larina’s letter ", almost a work of art. Confessing her love to Onegin, Tatyana told about her feelings in writing. And Alexander Sergeevich Pushkin fully reflected her impulse. It is about this novel as a genre characteristic within another novel - the work itself - that we are talking about. Tatyana Larina, pouring out her love for Eugene, gave birth to her own novel in verse, displaying it in a letter.

So, even after analyzing the work "Eugene Onegin", its genre is still problematic to establish. In form it is a poem, in content it is a novel. Perhaps only such a talented and great poet as Alexander Sergeevich Pushkin is allowed to invent his own genre - a novel in verse - and demonstrate it with the best example.

Roman A.S. Pushkin "Eugene Onegin" - the first Russian realistic novel, and written in verse. It became an innovative work both in form and content. Pushkin set the task not only to show in him the “hero of the time”, Onegin, a man with “premature old age of the soul”, to create the image of a Russian woman, Tatyana Larina, but also to draw an “encyclopedia of Russian life” of that era. All this required not only to overcome the narrow framework of classicism, but also to abandon the romantic approach. Pushkin sought to bring his work as close as possible to life, which does not tolerate schematicity and predetermined constructions, and therefore the form of the novel becomes “free”.

And the point is not only that the author only puts an “introduction” at the end of the 7th chapter, ironically remarking: “... Although it’s late, there is an introduction.” And not even that the novel opens Onegin's internal monologue, reflecting on his trip to the village to his uncle for an inheritance, which is interrupted by a story about the hero's childhood and youth, about the years spent in a whirlwind of social life. And not even in the fact that the author often interrupts the plot part, placing this or that lyrical digression, in which he can talk about anything: about literature, theater, his life, about feelings and thoughts that excite him, about roads or about women's legs, - or maybe just talk with readers: “Hm! um! Noble reader, / Are all your relatives healthy?

No wonder Pushkin said: "The novel requires chatter." He really does not seem to create a work of art, but simply tells a story that happened to his good friends. That is why in the novel, next to its heroes Onegin, Tatyana, Lensky, Olga, there appear people who lived during Pushkin's time - Vyazemsky, Kaverin, Nina Voronskaya and others. Moreover, the Author himself becomes the hero of his own novel, turning out to be Onegin's "good friend". The author keeps the letters of Onegin and Tatyana, Lensky's poems - and they also organically enter the novel, without violating its integrity in the least, although they are not written in the "Onegin stanza".

It seems that anything can enter into such a work - a "free novel", but with all the "freedom" its composition is harmonious and thoughtful. The main reason why this feeling of freedom is created is that Pushkin's novel exists like life itself: unpredictably and at the same time consistent with some kind of internal law. Sometimes even Pushkin himself was surprised at what his heroes “got up to”, for example, when his beloved heroine Tatyana “got married”. It is understandable why many of Pushkin's contemporaries tried to see the features of their friends and acquaintances in the heroes of the novel - and found them!

In this amazing work, life pulsates and bursts out, creating even now the effect of the reader's "presence" at the moment of the development of the action. And life is always free in its many twists and turns. Such is Pushkin's truly realistic novel, which paved the way for new Russian literature.

Why does Lermontov call his love for his homeland "strange"? (based on the lyrics by M.Yu. Lermontov)

Love for the motherland is a special feeling, it is inherent in every person, but at the same time it is very individual. Is it possible to consider it "weird"? It seems to me that here it is rather about how the poet, who spoke about the “unusualness” of his love for his homeland, perceives “ordinary” patriotism, that is, the desire to see the virtues, positive features inherent in his country and people.

AT to some extent Lermontov's romantic worldview also predetermined his "strange love" for his homeland. After all, a romantic always opposes the world around him, not finding in reality positive ideal. Lermontov’s words about the motherland in the poem “Farewell, unwashed Russia...". This is “a country of slaves, a country of masters”, a country of “blue uniforms” and a people devoted to them. The generalized portrait of his generation, drawn in the poem "Duma", is also merciless. The fate of the country is in the hands of those who "squandered" what was the glory of Russia, and the future they have nothing to offer. Perhaps now this assessment seems too harsh to us - after all, Lermontov himself, as well as many other prominent Russian people, belonged to this generation. But it becomes clearer why the person who expressed it called his love for the motherland "strange."

This also explains why Lermontov, not finding an ideal in modernity, in search of what really makes him proud of his country and its people, turns to the past. That is why the poem "Borodino", which tells about the feat of Russian soldiers, is built as a dialogue between the "past" and the "present": "Yes, there were people in our time, / Not like the current tribe: / Bogatyrs - not you!". national character is revealed here through the monologue of a simple Russian soldier, whose love for the motherland is absolute and disinterested. It is significant that this poem does not belong to the romantic, it is extremely realistic.

Lermontov's most fully mature view of the nature of patriotic feeling is reflected in one of his last poems, meaningfully titled "Motherland". The poet still denies the traditional understanding of why a person can love his homeland: "Neither glory bought with blood, / Nor peace full of proud trust, / Nor cherished legends of dark antiquity ...". Instead of all this, he will repeat three times another, the most important idea for him - his love for his homeland is "strange". This word becomes key:

I love my homeland, but strange love!

My mind won't win her...

But I love - for what, I don’t know myself ...

Patriotism cannot be explained rationally, but can be expressed through those pictures home country which are especially close to the poet's heart. The boundless expanses of Russia, with its country roads and "sad" villages, flash before his mind's eye. These paintings are devoid of pathos, but they are beautiful in their simplicity, like ordinary signs. village life, with which the poet feels his inextricable inner connection: "With joy, unfamiliar to many, / I see a full barn, / A hut covered with straw, / With carved shutters a window ...".

Only such a complete immersion in folk life makes it possible to understand the true attitude of the author to the homeland. Of course, for a romantic poet, an aristocrat, it is strange that this is how he feels love for his homeland. But, perhaps, the matter is not only in him, but also in this mysterious country itself, about which another great poet, a contemporary of Lermontov, then he will say: “You cannot understand Russia with the mind ...”? In my opinion, it is difficult to argue with this, as well as with the fact that true patriotism does not require any special evidence and often cannot be explained at all.

Is Pechorin a fatalist? (based on the novel by M.Yu. Lermontov "A Hero of Our Time")

Lermontov's novel "A Hero of Our Time" is rightly called not only socio-psychological, but also moral and philosophical. The question of free will and predestination, the role of fate in human life is considered in one way or another in all parts of the novel. But a detailed answer to it is given only in the final part - the philosophical story "The Fatalist", which plays the role of a kind of epilogue.

A fatalist is a person who believes in the predestination of all events in life, in the inevitability of fate, fate, fate. In the spirit of his time, which is revising the fundamental questions of human existence, Pechorin is trying to decide whether the purpose of a person is predetermined by a higher will or whether he himself determines the laws of life and follows them.

As the action of the story develops, Pechorin receives threefold confirmation of the existence of predestination, fate. Officer
Vulich, with whom the hero makes a risky bet, could not shoot himself, although the gun was loaded. Then Vulich nevertheless dies at the hands of a drunken Cossack, and Pechorin does not see anything surprising in this, since even during the dispute he noticed the “seal of death” on his face. And finally, Pechorin himself is trying his luck, deciding to disarm the drunken Cossack, the murderer of Vulich. “... A strange thought flashed through my head: like Vulich, I decided to try my luck,” says Pechorin.

What is the answer of the "hero of time", and with it the writer himself, to this the hardest question? Pechorin's conclusion sounds like this: “I like to doubt everything: this disposition of the mind does not interfere with the decisiveness of character; on the contrary, as far as I am concerned, I always go forward more boldly when I do not know what awaits me. As you can see, the failed fatalist turned into his opposite. If he is ready to admit that predestination exists, then it is by no means to the detriment of the activity of human behavior: to be just a toy in the hands of fate, according to Pechorin, is humiliating.

Pushkin's novel "Eugene Onegin", having barely appeared, received the well-deserved approval and even admiration of the public and critics. But it should be noted that for the Russian literature of that time it was a real breakthrough - nothing like this had ever been created by Russian writers. And so far, no writer has dared to repeat the experience of the great master of the word and write a realistic novel in verse. It is realistic, because if this work were written in a romantic vein, following the traditions of Zhukovsky, it could only be called a poem, and by no means a novel.

"Eugene Onegin" can be called the pathos of sobering. It is presented openly and without any embellishment - stylistic and otherwise. Any grandiloquence would be inappropriate here, it would sound like a parody. And Pushkin, indeed, at the end of the seventh chapter, parodies the pseudo-classical epic.

Just as naturally, even at the beginning, he parodies the romantic elegy vulgarized by mediocre hacks. Contemporaries could not read Lensky's dying poems without a smile - so much all these "golden days of my spring" reminded them of the products of the current magazine periodicals.

Pushkin wages an unceasing struggle in the novel on at least two fronts: against the outgoing classicism and against the romance still dear to his heart. The fight is tough. She was deeply experienced by Pushkin. So experienced that it goes beyond the limits of intra-literary strife.

This is a struggle for the language of Russian society, for the liberation of the language from superficial influences and trends, from belated Slavicisms, from the newest foreigners, from school and seminary constraint. All this vital material is given full scope in the stanzas of the novel. And this is one of the reasons why one can call "Eugene Onegin" a "free novel".

Ultimately, the fight is even wider. This is a struggle for nationality, for the general democratization of Russian culture, which is quite ripe for Pushkin. Indeed, by the end of the work on the novel, Boris Godunov and fairy tales had already been written. The poet is in the midst of the creative development of the people, in the prime of his life. In the novel, he disposed of this property with unheard of boldness. He entrusted the elements of the people to his heroine.

If not for Tatyana, the reader would not have heard the sensible, earnest and unhurried speech of her nanny, would not have heard another serf, Onegin's housekeeper Aksinya. I would not have heard that “Song of the Girls”, which, with all its crafty, cheerful, mischievous content, boldly contrasts with the embarrassment and confusion of Tatiana herself. Here is another reason to call "the novel free."

In addition, Pushkin behaved very freely in relation to the form of his work. At that time, there were no examples in Russian literature realistic novel, and the writer had to invent stylistic devices and plot twists himself. In this regard, Pushkin was also very free in his creative impulses.

The magical, magical art of Pushkin is celebrating one of its most amazing victories. A two-syllable, two-bar iambic sounds at the tempo of a waltz when Tatyana's dream is described:

Monotonous and insane

Like a whirlwind of young life,

The waltz whirlwinds noisy;

The couple flickers after the couple ...

Sometimes the lines are filled with sounds: crackling, thunder, rattling... But they are also picturesque. The reader sees with his own eyes "jumps, heels, mustaches":

The mazurka rang out. used to

When the mazurka thundered,

Everything in the great hall was trembling,

The parquet trembled under the heel,

Shaking, rattling frames ...

What freedom the lines of Pushkin's novel breathe, what masterful handling of the native Russian language! Yes, it's a free novel!

And the image of the author! Could any writer before Pushkin, and even after him, have allowed himself to so freely bring his image into a work, to speak so frankly about his hidden thoughts, dictated not by artistic necessity, but by personal aspiration and desire. How could another writer, directly addressing the reader, ironically over him:

The reader is already waiting for the rhyme of the rose;

Here, take it quickly!

Yes, "Eugene Onegin" is indeed a "free novel", in which all accepted and established traditions are overthrown: from choosing a name for the characters to stylistic devices in choosing the form of the novel.