The strange hero of Pushkin's novel. The theme is the strange hero of Pushkin's novel, so the plot

Writers have always strived for a real depiction of Russian life; but in these images, for the time being, there was a lack of artistry, free creativity. Pushkin brought beauty, a powerful aesthetic principle to Russian literature; artistically depicting Russian reality, at the same time, he firmly stood on the position of deep realism.

A.S. Pushkin's novel "Eugene Onegin" is a historical, philosophical work, it is a novel-life. The pictures of Russian society depicted in the novel are the most important material for the analysis of the era, characters, mores, and traditions.

"Eugene Onegin" is one of the most original novels in Russian literature. And Pushkin, of course, understood this. Before him, novels were written in prose, because it is the genre of “prose” that is more suitable for describing the details of life, and for showing it as a whole. In poetry, it's different. When the author writes poetry, he involuntarily reveals his inner world, shows his "I", displays life through the prism of his own ideas.

In the novel in verse "Eugene Onegin" Pushkin shows a picture of his era and does not separate it from himself. In the novel, invented characters live, love, suffer, but they are almost inseparable from the author. The story of their life is a diary of the author's soul.

Pushkin's innovative decision was the appearance in the novel of an unusual image, the image of the author. And the search for the relationship of this image with the images of heroes.

The novel is called "Eugene Onegin", it is natural to assume that one of the main characters of the novel is the character of the same name. Reading line after line, we understand that along with him, the author also plays a full-fledged role in the novel. The author is invisibly present where his characters are. He is not a soulless verbal narrator; we can notice this both in lyrical digressions and in the main storyline. The author constantly intrudes into the field of narration, discusses various topics, creates a certain mood, clarifies the details. The author and I are better off, he is the link between the characters and us.

The author has a special relationship with Eugene Onegin. The author is older than Onegin, he "has not sinned for a long time." They are somewhat similar. Both are of the nobility. Both are fluent in French. Reading circle of Onegin - Byron, Maturin. But Pushkin himself read the same thing!

Byron's Childe Harold's Pilgrimage is Onegin's favorite book. Pushkin and his contemporaries also read to her. Childe Harold's melancholy, despondency, disappointment were even "copied" by some representatives of high society; the bored man's mask was popular.

As for Maturin, both Onegin and Pushkin were interested in his novel Melmoth the Wanderer.

At this stage, we will make a lyrical digression and say that in the novel we do not identify the author with Alexander Sergeevich Pushkin. Pushkin and the author (the verbal narrator in the novel) are not the same person. Although their biographies partly coincide.

The writer A. Tarkhov notices that the existence of two "I" (a certain author and the real poet Pushkin) is one of the main intrigues (contradictions) of the "free novel" "Eugene Onegin".

Let's get back to our heroes. How does the author feel about Eugene Onegin? With irony, but it is impossible not to notice that with undisguised sympathy too. Although…

"I'm always glad to see the difference
Between Onegin and me"

The similarity of heroes is present in upbringing and education. The author remarks ironically:

"We all learned a little
Something and somehow
So education, thank God,
It's easy for us to shine."

In what else are they similar, and in what are Onegin and the author different?

Both of them are familiar with the banks of the Neva. Onegin tried to take up the pen, “but hard work was sickening to him”, the author is not like that. He belongs to the "fervent workshop" of writers.

For Onegin, theater and ballet are not temples of art, where beauty and emotions are born, they are a place for flirting, romance, sighing.

"The theater is an evil legislator,
Fickle Admirer
charming actresses,
Honorary Citizen Backstage".

“I was embittered, he is sullen;
We both knew the passion game;
The life tormented both of us;
In both hearts the heat died down;
Anger awaited both
Blind Fortune and people
In the very morning of our days."

The difference between the types can also be traced in the fact that Onegin noticed "that boredom is the same in the village", and the author "was born ... for village silence."

The image of Onegin in the novel is not static, it undergoes changes. It is at the time when Onegin is experiencing true disappointment that the author becomes close to his "good friend" Onegin, tries to develop creativity in him, teach him to write poetry. But this attempt was unsuccessful, because "he could not distinguish an iambic from a chorea, no matter how hard we fought, to distinguish."

As the plot develops, we see that the worldview of the author and Onegin is changing. Onegin understood a lot, felt a lot. The author is different too. Onegin at the end of the novel is more loyal and understandable; such it is closer to the author.

How will the future life of Eugene? I would like to hope that it is successful. Yevgeny has positive inclinations. The only problem is the gap between Onegin's potential and the role he has chosen for himself in society.

Conclusion

In the novel "Eugene Onegin" the same wonderful image of the "responding poet" appears. The author in the novel is not Pushkin, he is an independent hero, a full participant in the events. The author and Onegin are in many ways similar. They think about life, are critical of many things, they are characterized by an intense search for a goal in life. They are above the crowd that surrounds them. But at the same time, they are different. The author treats Eugene ironically, but with obvious sympathy. The difference in the views of these two types was established in the first chapter. That is, dots over i are placed at the very beginning.

The author, whom Pushkin wisely made the hero of the novel, is frank with us, gives the necessary explanations. Thanks to the author, we better understand the image of Onegin, the images of other heroes of the work, we better understand the storyline of the novel.

In Pushkin's novel "Eugene Onegin" there is one invisible-absentee character who is undeservedly overlooked. In the fifth chapter it appears:
XXII
But she, not noticing her sister,
Lying in bed with a book
Turning over the sheet after the sheet,
And he doesn't say anything.
Although this book did not show
No sweet inventions of the poet,
No wise truths, no pictures;
But neither Virgil nor Racine
Not Scott, not Byron, not Seneca,
Not even Ladies' Fashion Magazine
So no one was interested:
It was, friends, Martyn Zadeka, 33
Head of the Chaldean wise men,
Fortune teller, interpreter of dreams.

XXIII
This deep creation
Brought by a wandering merchant
Once to them in solitude
And finally for Tatyana
Him with disparate Malvina
He lost for three and a half,
In addition, taking more for them
Collection of fables areal,
Grammar, two Petriades,
Yes Marmontel volume three.
Martin Zadeka became then
Tanya's favorite ... He is a joy
In all sorrows she gives
And he sleeps with her.

XXIV
She is disturbed by dreams.
Not knowing how to understand it
Dreams of terrible meaning
Tatyana wants to find.
Tatyana in a short table of contents
Finds in alphabetical order
Words: forest, storm, witch, spruce,
Hedgehog, darkness, bridge, bear, blizzard
And others. Her doubts
Martyn Zadeka will not decide;
But an ominous dream promises her
Many sad adventures.
A few days later she
Everyone was worried about it.

Pushkin's note 33: Fortune-telling books are published in our country under the firm of Martyn Zadeka, a respectable man who has never written fortune-telling books, as B. M. Fedorov notes.

A certain (one might say, Eugene Onegin = about certain, about certain mysterious ones here) Zadeka occupies more space in the novel (already mentioned three times) than the uncle who died in Bose, who “loved to rule the most honest”, i.e. was an authority in law among a certain kind of public. "What's the commission, Creator?" What kind of Zadeka is such-and-such? Moreover, the girl gives Zadek a lot of money to the nomadic merchant for this, and he becomes her favorite and "sleeps with her without a break." A little strange girl, don't you agree? Pushkin says about Zadek that he is "the head of the Chaldean wise men." In the note, however, he is frightened that he has highlighted this Chaldean, one might say, the Zionist sage, and excuses himself: "this respectable man never wrote divinatory books."

Martin is Martin and Zadeka is Zadeka. Yes, only in Pushkin's transcription. And so this is Martin Tzadik, translated from Hebrew - righteous. The book was translated from German, and there this surname is spelled Zadek. And this is more than a surname, like: Kogan, Rabinovich. Rather, not even a position or title, but status. It came through the Greek language as a Sadducee, but a careful translator translated this surname not in the ancient Greek transcription - Saddok, the priest of King David. The head of the Sanhedrin Caif, who persecuted Christ and the apostles, was also a Sadducee. Zadok - http://www.eleven.co.il/article/14586

Let's see what people of Pushkinoman nationality will comment on for Zadek:

Those. this excerpt from the novel cannot be read without a Jewish encyclopedia.

Contemporaries, by the way, were aware of Martin Zadek, who is also Martin Tzadik. In 1833, the romantic writer A.F. Veltman (1800-1870) published the novel MMMCDXLVIII in three books. Manuscript of Martyn Zadek” (3448. Manuscript of Martyn Zadek). Prof. Egorov B.F. in the book "Russian Utopias: A Historical Guide" (St. Petersburg, Art-St. Petersburg, 2007. - 416 p.) writes: In the preface, the author explains that Martin Zadek is actually a Jewish scientist - Tzadek Melech, high priest under the biblical king Saul. Therefore, Roman numerals seem to demonstrate the antiquity of the published manuscript. The ideological core of the novel is a description of the ideal state of the future, Bosphorus, the capital of Bosphoran Rome (Constantinople, or what?) And the ideal ruler John. But the main content of the novel (large, in three parts) is adventurous, adventure. John is overthrown by the robber Aeolus, who, in turn, is overthrown, and the throne of John is restored again, followed by kidnappings, seductions, seductions, the deeds of robbers and pirates ... Of course, virtue triumphs in the end, but still utopian pictures are lost in the adventure leapfrog . I understand that after 1833 Veltman's novel was no longer published.

Strongly the sun of our poetry in the Masonic lodge was fond of the occult sciences. In the Russian novel, virtually non-Russian heroes go all the way. “Good job! Enough - there is no piano, ”as Rina Zelenaya would say. Russian nannies and serfs. What about the main characters? "By the name of Vladimir Lensky, With a soul directly Goettingen" (ie with a non-Russian Masonic soul, foreign in origin), "All daughters predicted their For a half-Russian neighbor"; Onegin - in fact: "He is a freemason; he drinks one
A glass of red wine." A freemason is a mutated freemason. And then the tongue-tied girl Tatiana appears:
I have to, no doubt
Translate Tatyana's letter.
She didn't know Russian very well.
Didn't read our magazines
And expressed with difficulty
In their native language 3-26.

And here, in general, Pushkin frankly writes that she is non-Russian:
Tatyana (Russian soul,
I don't know why.)
With her cold beauty
Loved the Russian winter, 5-4
Around this tongue-tied non-Russian girl, sleeping with the protocols of the wise men of Zion, the book of the leader of the Chaldean wise men, the author knits the intrigue, in fact, of the novel.

And here the schoolchildren make a blasphemous conclusion: the German tsars with the pseudonym Romanovs needed a clique of non-Russian nobility to control the Russian cattle. And here you can’t argue with VG Belinsky: “an encyclopedia of Russian life”. Which must be read at times with a Jewish encyclopedia in hand.

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UPD
This is just the case when it is appropriate to recall - The position and opinion of the author may partially or completely not coincide with the position and opinion of the editors..

Is he familiar to you? - Yes and no.

A. Pushkin. "Eugene Onegin"

The novel in verse is named after the hero; to understand a novel means, first of all, to comprehend the essence and fate of the one whose name is Eugene Onegin. This task is not easy; it’s easier to deny this strange hero any essence of his own and consider him an “insignificant parody”, an “empty imitation” of foreign models:

What will it be now? Melmoth,

Cosmopolitan, patriot,

Harold, Quaker, prude,

Or a mask flaunts another?

The belief that Onegin "fools the world" by constantly changing his masks is only the real problematic nature of the hero turned inside out, unfriendly interpreted.

He is in the novel all the time, as it were, under a question mark: and the reason for this is not only that the hero moves in time - that is, changes from chapter to chapter - but also that his very being is multi-component, it hides in itself the most different possibilities. What features formed for Pushkin the composition of that phenomenon, the name of which was - "hero of the time"?

Pushkin made the first approach to the image of the young hero of the time in the poem “Prisoner of the Caucasus”: “I wanted to portray in him this indifference to life and its pleasures, this premature old age of the soul, which became the hallmarks of the youth of the 19th century.” The poet was dissatisfied with this first experience; the problematic hero was close to the boundaries of a romantic poem, a different genre was needed, which the author himself soon realized: “The character of the main person ... is more fitting for a novel than a poem.” So, Pushkin faces the most difficult creative task - a novel about modern man. There has never been such an experience in Russian literature; what did European literature create here? What turned out to be especially important for the creator of "Eugene Onegin"?

As we have seen, Pushkin's novel in verse carries within itself the most active "literary self-awareness"; in particular, when in the third chapter the question of the hero is first translated into the plane of "problematicity" -

But our hero, whoever he is,

Surely it was not Grandison, -

Pushkin immediately (stanzas eleven and twelve) "arranges a review" of the heroes of the old and new European novel. All this material is directly related to the problem of Pushkin's hero; but in this sense, another place in the novel turns out to be much more important, which, according to the author's intention, leads close to the unraveling of the hero. This is the twenty-second stanza of the seventh chapter, where the reader opens Onegin's "cherished reading", in the center of which are "two or three novels" about modern man. They are not named by Pushkin, probably because they constitute that “selected European literature” that most of all had to do with the idea of ​​his own novel. These three novels (they are named in the draft of the twenty-second stanza): "Melmoth" - "Rene" - "Adolf".

"Melmoth the Wanderer" (published in 1820) by the English novelist and playwright Maturin, "Rene" (published in 1801) by the French writer Chateaubriand and "Adolf" (published in 1815) by the French writer and public figure Constant are those works that give a “sadly true” portrait of modern man: with a “cold” and “split” soul, “selfish” and “sick”, with a “rebellious” and “gloomy” mind, pouring “cold poison all around” (draft twenty-second stanzas).

What is remarkable about these novels is, among other things, that they show two very different ways of portraying modern man. René and Adolf are small psychological novels: they depict the recesses of a weak and sensitive soul or the gloomy passions of a heart yearning not for love, but for victory; they depict strange and irremediably lonely people, unable to find a place for themselves in life, unable to give happiness to themselves and bringing misfortune to others - in a word, these novels give a psychological portrait of the modern “disappointed hero” possessed by the demon of boredom and skepticism. In contrast, Melmoth is a colossal work that synthesizes a variety of literary traditions, a novel whose method could be called philosophical and poetic. For an artistic solution to the problem of modern man, Metyurin creates the image of Melmoth the Wanderer, combining in it the images of Faust and Mephistopheles from Goethe's tragedy. “Melmoth, according to the author’s intention, is a complex human image, a victim of the devilish forces, their forced tool.... Although Melmoth is not the tempter himself or the embodiment of the devilish force, but just a victim doomed to do evil against his will, he clearly manifests himself in him a critical beginning ... This was the original “Mephistopheles” beginning implemented by Maturin in the image of Melmoth, which so attracted the attention of the whole of Myrona in the first third of the 19th century to this literary hero.

Above we have already spoken about "universalism" as the most important feature of Pushkin's novel; therefore, it is not surprising that the same all-encompassing synthesis of the most diverse artistic and semantic possibilities is also sought by the poet in the depiction of the hero - for the problem of modern man is covered by Pushkin in all its scale, from psychological accuracy and socio-historical concreteness to the eternal questions of human existence. Therefore, different literary ways of depicting modern man are equally important to him. The significance of "Rene" and "Adolf" for Pushkin's work, and in particular for "Eugene Onegin", has long been clarified. It was also pointed out that Onegin was clearly connected with the hero of Maturin: "The character of Onegin was created against the background ... of numerous demonic heroes (Melmoth)." -The demonic Melmoth and his closest literary "ancestor" - Goethe's Mephistopheles - turned out to be especially relevant for Pushkin during the period of the so-called southern crisis, the poetic expression of which was the poems "Demon" and "Freedom sower of the desert ...". These two poems show the scale of Pushkin's crisis: this is by no means only political skepticism associated with the collapse of freedom-loving hopes, but this is a revolution in the whole worldview - a complete revision of the former "hot enthusiasm" in the light of the new "cold of doubt". The southern crisis is the most important creative and spiritual crossroads of Pushkin's entire life; and the fact that the crisis poems "Freedom Sower of the Desert ..." and "Demon" in their final form arose from the drafts of "Eugene Onegin" (they, as it were, were born by the novel itself), is an obvious evidence that the main creative result of the southern crisis - and at the same time overcoming, a way out of the crisis - was the comprehensive plan of "Eugene Onegin"!

So, Pushkin's task was to give a deep image of the "hero of the time"; the time was truly in the power of the “spirit of denial”, when the murmur of eternal dissatisfaction, the individualistic-rebellious pride of the mind and the “numbness”, the coldness of feelings were different symptoms of one “disease of skepticism” that struck modern man. Let us repeat once again the fair idea that understanding the image of Onegin "requires, first of all, a comparison with the demonic heroes of world literature" (I. Medvedev). But, setting the scale of his hero not as a “everyday type”, but as an “eternal”, philosophical image, Pushkin at the same time wanted to find for his “spirit of denial” (si Pushkin’s “Note on the poem “Demon”) the unique individuality of a modern person experiencing “demonism as their own, personal destiny. And this again showed the universalism of Pushkin's work: it is not only a philosophical poetic novel - but also "a historical poem in the full sense of the word" (V. Belinsky).

The synthetically complex nature of the Onegin image has been repeatedly noted by Soviet researchers. “Onegin was supposed to wear the features of demonism” - however, he “first of all had to be a Russian character, organically connected with Russian reality” (I. Medvedev); “The image of Onegin is synthetic... Onegin contained both the thoughtless “young rake” and the “demon” tempting providence with his “stinging speech” (I. Semenko) .. The universalism of the Pushkin novel required a special method of portraying the hero. Already in Pushkin's lifetime criticism, it was noted that "Onegin's description can belong to a thousand different characters," because the author did not give his hero a "certain physiognomy." In Soviet Pushkin studies, this circumstance received a convincing explanation: Onegin's "Character" cannot be regarded as the "characters" of heroes created at a later stage in the development of realism in the 19th century. ... Pushkin's method is a method of generalizations other than those of "his predecessors and even heirs ... he builds the image of a problematic hero as an image in which the breadth of generalization and the variety of aspects prevail over psychological detail ... Onegin is an artistic image, in . in which every feature, and especially such a serious one as disappointment, is a condensation, a concentration of an idea. Let us recall here another term by Yu. Tynyanov - a sign of a hero”; Using this expression to designate Pushkin's method of artistic typification and noting that Pushkin, as it were, circles a certain complex of contradictory-various properties and traits of his hero with a "circle of his name", the researcher probably had in mind the peculiar emblematic character of the construction of the image in Pushkin's novel. Not a "psychological" portrait, but an "emblematic" silhouette - this, in short, is that feature of the imagery of "Eugene Onegin", which at the same time corresponded to the universality of the novel, and provided the opportunity for the manifestation of the most different "faces" of the hero as the free novel unfolds in time.

In that most complex spiritual phenomenon, which is called Eugene Onegin, there are two main centers - as if the two poles of this image. One of them is skeptical coolness, "demonism"; Pushkin speaks of something else in the first chapter after listing the "abilities" of his hero: "Before what he was a true genius" - and then follows the characterization of Yevgeny as a "genius of love." At first, it can be considered a semi-ironic definition of that virtuoso Don Juanism of the hero, those successes in the "science of tender passion" that the "young rake" demonstrates. However, as the novel approaches the finale, it turns out that Pushkin's hero is really a genius of love, that this is "the highest gift of his nature, and that in the multi-component image of Eugene this beginning opposes another - Onegin's demonism. These two poles are the" genius of love "and" spirit negations" - not only "accumulate" the hero's drama in themselves, but also, as it were, store the potency of the entire development of the novel.

Pushkin's novel is a study of the fate of the hero of time, a study carried out with the help of an innovative "free" form. Pushkin's own definition of his own novel as "free" is ambiguous: here is the problem of freedom in the novel, and its internal structure ("free" relations between two authors), and, finally, that feature of the plot development of "Eugene Onegin", thanks to which each chapter it came out separately and has, indeed, great independence in the overall composition. This feature is organically connected with Pushkin's initial orientation towards movement, the evolution of his character (and the novel as a whole) in parallel with the development of real historical time. Pushkin's great cultural and ideological novel also became a unique artistic and historical study in which the fate of the Hero, the fate of the Author and the fate of the Creator were decided, and with them the fate of the entire Pushkin generation.

A. Tarkhov

Sources:

• Pushkin A.S. Eugene Onegin. Enter, article and commentary. A. Tarkhova. M., "Artist. lit.", 1978. 302. p. (School library)
Annotation: The attention of readers is offered the first experience of the commented edition of the novel in verse by A. S. Pushkin "Eugene Onegin" - the greatest creation of the poet: "Here is all life, all soul, all his love; here his feelings, concepts, ideals. To evaluate such a work means to evaluate the poet himself in the entire scope of his creative activity ”(V. G. Belinsky).

Updated: 2011-09-10

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Useful material on the topic

• Creativity of A.S. Pushkin. The cultural significance of ethics and morality in the work of A.S. Pushkin, as the main meaning of the novel "Eugene Onegin". Examples from the novel "Eugene Onegin"

Lesson #1

Topic. A.S. Pushkin. "Eugene Onegin". The "strange" hero of Pushkin's novel, the originality of his nature. Onegin's quest, the tragic results of his life path, their causes.

Lesson Objectives:

educational: to help students reveal the character traits of Eugene Onegin, to understand the essence of the main character's reasoning about life;

developing: to develop the ability to analyze the text, draw conclusions from what has been read, figurative and logical thinking and speech of students.

educational: to instill interest in Pushkin's work, to educate the best human qualities, a conscious approach to the problem of the formation of a person's character and destiny.

Lesson type: a lesson in the application of knowledge and the formation of skills.

During the classes

I. Organizational moment

II. Setting goals and objectives.

III. Motivation of educational activity.

1. The word of the teacher.

Pushkin's novel is the greatest work of the first half of the 19th century. This novel is one of the most beloved and at the same time the most complex works of Russian literature. Its action takes place in the 1920s. 19th century The focus is on the life of the capital's nobility in the era of spiritual quest of the advanced noble intelligentsia.

What is the main character of the novel - Eugene Onegin?

IV. Working on new material

1. Implementation of homework(statements about Onegin)

Supporting questions

(Optional, students can choose one question or tell what they cooked at home.)

♦ How do you imagine Eugene Onegin? What first of all attracted your attention? How does this characterize him?

♦ How do you assess the relationship of the hero with other characters in the work?

♦ What do other heroes say about Onegin? Who do you agree with?

♦ What do you think the author thinks about his character?

♦ How do you see Onegin? What thoughts about life, about a person, did he bring you?

♦ Can you say that you know and understand him?

2. Press method

♦ Which of the following statements do you think

Most suitable for the characterization of Eugene Onegin?

- “Youth, health, wealth, connected with the mind, heart:

What would seem to be more for life and happiness? (V. Belinsky).

- "... A suffering egoist ... he can be called an egoist involuntarily ..." (V. Belinsky).

- “... This is a loafer, because he never did anything, a person who is superfluous in the area in which he is ...” (A. Herzen).

- “A person is determined by what he is alone with his conscience” (O. Volkov). Clue. The statement is built in 4 stages:

1) state your idea: "I think that…";

2) Explain the reason for this thought: "Because…";

3) give arguments in support of your position: "For example…";

4) conclude: "In this way,…".

3. Problem research conversation

"Is Onegin's life path tragic?"

Group work (Teamwork)

The researchers of the first group, using the text of chapters I, II, VIII, talk about how Onegin was treated in secular society, how he was perceived by the local nobility, St. Petersburg society; conclude that society condemns Onegin. These are people of the middle level, and the lot of everyone who rises above them is loneliness.

The second group of researchers, using the text of chapters I, VI, VIII, talk about how Onegin spent his time living in St. Petersburg, and then in the countryside; about the inner, spiritual world of Eugene; about the attitude of the author to his hero; make a conclusion about the recovery of Onegin's soul, who went from admiring his exclusivity to self-improvement, that the author loves and pities his hero and hopes for the best in his fate.

4. Front work

Is Onegin's path optimistic or tragic? Suggest arguments for and against.

5. Project activity.

Presentation on the topic "Strange" hero of the Pushkin novel, made by students.

6. The word of the teacher.

In literary criticism, there is the concept of "extra person". This term belongs to I. S. Turgenev, who wrote the story "The Diary of a Superfluous Man." A few years after the publication of the story, Turgenev's term began to be used quite widely. The heroes, who are called "superfluous people", have common features: skepticism, social apathy, selfishness, loneliness. Previously, Onegin was called "an extra person" because he did not become a Decembrist, did not get close to the people. What definition would you give to a "superfluous person"? (People who, in their development and mind, were superior to the society around them, were critical of him, but could not find application for their strengths and abilities.)

V. Summing up the lesson. Reflection.

What does the name Eugene mean? (Translated from ancient Greek: noble)

And what can be said about the hero, based on the letters of his last name and given his character and behavior? We write these characteristics next to each letter:

O gifted, original...

H- an unusual, well-read, new hero ...

E- European warehouse, if e \u003d e, then an egoist ...

G- the main character, proud ...

And– intelligent, sophisticated, interesting…

H- incomprehensible, uncommon ...

Can we blame Onegin for something? Strictly judge him? Why?

VI. Homework.

1. Collage competition "Eugene Onegin".

2. Individual task for three students: presentation "The image of Tatyana in the novel."