Critics about Eugene Onegin. Scientific research of the novel Eugene Onegin

Description of the presentation of the novel “Eugene Onegin” in Russian criticism based on slides

The novel “Eugene Onegin” in Russian criticism of the 11th century Criticism is the determination of the attitude towards the subject (sympathetic or negative), the constant correlation of the work with life, the expansion and deepening of our understanding of the work by the power of the critic’s talent

First reviews of the novel The editor of the Moscow Telegraph magazine N. Polevoy welcomed the genre of Pushkin’s work and noted with delight that it was written not according to the rules of “ancient literature, but according to the free demands of the creative imagination.” The fact that the poet describes modern mores was also positively assessed: “We see our own, hear our native sayings, look at our quirks. »

First reviews of the novel “You have not talent, but genius... I read Onegin... incomparably!” V. A. Zhukovsky

Decembrists about the novel “I don’t know what “Onegin” will be next, but now it is lower than “The Bakhchisarai Fountain” and “ Caucasian prisoner..." K. F. Ryleev

Decembrists about the novel Why do you spend the delights of the sacred hours for songs of love and fun? Throw off the shameful burden of sensual bliss! Let others fight in the magic nets of Jealous beauties - let them seek other Rewards with poison in their cunning eyes! Save direct delight for the heroes! A. A. Bestuzhev - Marlinsky

Conflicting judgments about the novel As new chapters are published, the motive for rejection of the novel, an ironic and even sarcastic attitude towards it, begins to sound more and more clearly in the evaluations. "Onegin" turns out to be the target of parodies and epigrams. F. Bulgarin: Pushkin “captivated and delighted his contemporaries, taught them to write smooth, pure poetry... but did not carry his age along with him, did not establish the laws of taste, did not form his own school. “In the parody “Ivan Alekseevich, or New Onegin,” both the composition and the content of the novel are ridiculed: Everything is there: about legends, And about cherished antiquity, And about others, and about me! Don’t call it a vinaigrette, Read on, - and I’m Warning you, friends, That I follow fashionable poets.

Conflicting judgments about the novel “I really love the extensive plan of your Onegin, but larger number doesn't understand him. they are looking for a romantic connection, looking for the unusual and, of course, they don’t find it. The lofty poetic simplicity of your creation seems to them the poverty of fiction; they do not notice that the old and new Russia“life in all its changes passes before their eyes” E. A. Baratynsky

V. G. Belinsky about the novel “Eugene Onegin” “Onegin” is Pushkin’s most sincere work, the most beloved child of his imagination, and one can point to too few works in which the poet’s personality would be reflected with such completeness, lightly and clearly, as Pushkin’s personality was reflected in Onegin. Here is all his life, all his soul, all his love, here are his feelings, concepts, ideals.” According to the critic, * the novel was an “act of consciousness” for Russian society, a “great step forward” * the poet’s great merit lies in the fact that he “brought out of fashion the monsters of vice and the heroes of virtue, drawing instead of them just people” and reflected the “true reality picture of Russian society in known era"(encyclopedia of Russian life") ("Works of Alexander Pushkin" 1845) V. G. Belinsky

D. Pisarev in the novel “Eugene Onegin” Pisarev, analyzing the novel from the point of view of immediate practical benefit, argues that Pushkin is a “frivolous singer of beauty” and his place is “not on the desk of a modern worker, but in the dusty office of an antique dealer” “Elevating in the eyes of the reading masses those types and those character traits that in themselves are low, vulgar and insignificant, Pushkin with all the forces of his talent lulls to sleep that social self-awareness that a true poet must awaken and educate with his works" Article "Pushkin and Belinsky" (1865) D I. Pisarev

F. M. Dostoevsky about the novel “Eugene Onegin” F. M. Dostoevsky calls the novel “Eugene Onegin” an “immortal, unattainable poem” in which Pushkin “appeared to be a great national writer, like no one ever before him. He immediately, in the most accurate, most insightful way, noted the very depths of our essence...” The critic is convinced that in “Eugene Onegin” “real Russian life is embodied with such creative power and such completeness as never happened before Pushkin.” Speech at the opening of the monument to Pushkin (1880) F. M. D Dostoevsky

Critics about Onegin V. G. Belinsky: “Onegin is a kind fellow, but at the same time a remarkable person. He is not fit to be a genius, he does not want to be a great person, but the inactivity and vulgarity of life are strangling him”; “suffering egoist”, “reluctant egoist”; "The power of this rich nature were left without application, life without meaning..." D.I. Pisarev: "Onegin is nothing more than Mitrofanushka Prostakov, dressed and combed in the metropolitan fashion of the twenties"; “an extremely empty and completely insignificant person,” “pathetic colorlessness.” F. M. Dostoevsky: Onegin is an “abstract man”, “a restless dreamer throughout his life”; "unhappy wanderer in native land", "sincerely suffering", "not reconciled, not believing in the native soil and its native forces, ultimately denying Russia and himself"

Critics about Tatyana V. G. Belinsky: “Tatiana is an exceptional being, a deep, loving, passionate nature”; “Eternal fidelity to such relationships that constitute a profanation of the feelings and purity of femininity, because some relationships that are not sanctified by love are extremely immoral” D.I. Pisarev: “The head of the unfortunate girl... is clogged with all sorts of rubbish”; “she loves nothing, respects nothing, despises nothing, thinks about nothing, but simply lives from day to day, obeying the routine”; “She put herself under a glass bell and obliged herself to stand under this bell throughout her life” F. M. Dostoevsky: “Tatyana is the type of a completely Russian woman who has protected herself from false lies”; her happiness “in the highest harmony of spirit”

Conclusions Interest in Pushkin’s work was not always the same. There were moments when it seemed to many that the poet had exhausted his relevance. More than once they tried to assign him a “modest place... in the history of our mental life” or even suggested “throwing him off the ship of modernity.” The novel “Eugene Onegin”, initially enthusiastically received by his contemporaries, was sharply criticized in the 30s of the 11th century . Yu. L. Otman: “Pushkin went so far ahead of his time that his contemporaries began to feel that he was behind them.” In the era of revolutionary upheavals (for example, the 60s of the 11th century), when the socio-political struggle reached highest point tension, the humane Pushkin suddenly turned out to be uninteresting and unnecessary. And then interest in him flared up with new strength. F. A Brahmov: “It was necessary to go through trials, through rivers and seas of blood, it was necessary to understand how fragile life is in order to understand the most amazing, spiritual, harmonious, versatile person that Pushkin was. When a person faces the problem of moral improvement, questions of honor, conscience, justice, turning to Pushkin is natural and inevitable

Criticism of the novel "Eugene Onegin"

About the presence of “contradictions” and “dark” places in the novel by A.S. Pushkin's "Eugene Onegin" has been written a lot. Some researchers believe that so much time has passed since the creation of the work that its meaning is unlikely to ever be unraveled (in particular, Yu.M. Lotman); others try to give the “incompleteness” a certain philosophical meaning. However, the “unsolvedness” of the novel has a simple explanation: it was simply read inattentively.

Feedback from Pushkin's contemporary Belinsky

Speaking about the novel as a whole, Belinsky notes its historicism in the reproduced picture of Russian society. “Eugene Onegin,” the critic believes, is a historical poem, although there is not a single historical figure among its heroes.

Next, Belinsky names the novel’s nationality. There are more nationalities in the novel “Eugene Onegin” than in any other Russian folk work. If not everyone recognizes it as national, it is because the strange opinion has long been rooted in us that a Russian in a tailcoat or a Russian in a corset are no longer Russians and that the Russian spirit makes itself felt only where there is a zipun, bast shoes, fusel and sour cabbage. “The secret of the nationality of every people lies not in its clothing and cuisine, but in its, so to speak, manner of understanding things.”

According to Belinsky, the deviations made by the poet from the story, his appeal to himself, are filled with sincerity, feeling, intelligence, and acuity; the personality of the poet in them is loving and humane. “Onegin can be called an encyclopedia of Russian life and to the highest degree folk work“- states the critic. The critic points out the realism of Eugene Onegin.

In the person of Onegin, Lensky and Tatyana, according to the critic, Pushkin portrayed Russian society in one of the phases of its formation, its development.

The critic speaks of the enormous significance of the novel for the subsequent literary process. Together with his contemporary a brilliant creation Griboyedov - “Woe from Wit”, Pushkin’s poetic novel laid a solid foundation for new Russian poetry, new Russian literature.

Belinsky characterized the images of the novel. Characterizing Onegin in this way, he notes: “Most of the public completely denied the soul and heart in Onegin, saw in him a cold, dry and selfish person by nature. It is impossible to understand a person more erroneously and crookedly!.. Savor did not kill Onegin’s feelings, but only cooled him to fruitless passions and petty entertainments... Onegin did not like to get lost in dreams, he felt more than he spoke, and did not open up to everyone. An embittered mind is also a sign of a higher nature, therefore only by people, but also by itself.”

In Lensky, according to Belinsky, Pushkin portrayed a character completely opposite to the character of Onegin, a completely abstract character, completely alien to reality. This was, according to the critic, a completely new phenomenon.

Lensky was a romantic both by nature and by the spirit of the times. But at the same time, “he was an ignoramus at heart,” always talking about life, but never knew it. “Reality had no influence on him: his sorrows were the creation of his imagination,” writes Belinsky.

“Great was Pushkin’s feat that he was the first in his novel to poetically reproduce Russian society of that time and, in the person of Onegin and Lensky, showed its main, that is, male, side; but perhaps the greater feat of our poet is that he was the first to poetically reproduce, in the person of Tatyana, a Russian woman.”

Tatyana, according to Belinsky, is an exceptional being, a deep, loving, passionate nature. Love for her could be either the greatest bliss or the greatest disaster of life, without any conciliatory middle.

“Eugene Onegin” reflected the entire life of Russian society early XIX century. However, two centuries later, this work is interesting not only in historical and literary terms, but also in terms of the relevance of the questions that Pushkin posed to the reading public. Everyone, opening the novel, found something of their own in it, empathized with the characters, noted the lightness and mastery of the style. And quotes from this work have long become aphorisms, they are pronounced even by those who have not read the book itself.

A.S. Pushkin created this work for about 8 years (1823-1831). The history of the creation of “Eugene Onegin” began in Chisinau in 1823. It reflected the experience of “Ruslan and Lyudmila”, but the subject of the image was not historical and folklore characters, but modern heroes and the author himself. The poet also begins to work in line with realism, gradually abandoning romanticism. During the period of Mikhailovsky exile, he continued to work on the book, and completed it during his forced imprisonment in the village of Boldino (Pushkin was detained by cholera). Thus, the creative history of the work has absorbed the most “fertile” years of the creator, when his skill evolved at breakneck speed. So his novel reflected everything that he learned during this time, everything that he knew and felt. Perhaps the work owes its depth to this circumstance.

The author himself calls his novel “a collection of motley chapters,” each of the 8 chapters has relative independence, because the writing of “Eugene Onegin” took a long time, and each episode opened a certain stage in Pushkin’s life. The book was published in parts, each release becoming an event in the world of literature. The complete edition was published only in 1837.

Genre and composition

A.S. Pushkin defined his work as a novel in verse, emphasizing that it is lyrical-epic: the plot line, expressed by the love story of the heroes (epic beginning), is adjacent to digressions and author’s reflections (lyrical beginning). This is why the genre of Eugene Onegin is called a “novel.”

"Eugene Onegin" consists of 8 chapters. In the first chapters, readers get acquainted with the central character Evgeny, move with him to the village and meet their future friend - Vladimir Lensky. Further, the drama of the story increases due to the appearance of the Larin family, especially Tatyana. The sixth chapter is the culmination of the relationship between Lensky and Onegin and the escape of the main character. And in the finale of the work there is a denouement of the storyline of Evgeniy and Tatiana.

Lyrical digressions connected with the narrative, but it is also a dialogue with the reader, they emphasize the “free” form, closeness to intimate conversation. The same factor can explain the incompleteness and openness of the ending of each chapter and the novel as a whole.

About what?

A young nobleman, already disillusioned with life, inherits an estate in the village and goes there, hoping to dispel his blues. It begins with the fact that he was forced to sit with his sick uncle, who left his family nest to his nephew. However, the hero soon becomes bored with rural life; his existence would become unbearable if not for his acquaintance with the poet Vladimir Lensky. Friends are “ice and fire”, but the differences did not interfere friendly relations. will help you figure this out.

Lensky introduces his friend to the Larin family: the old mother, sisters Olga and Tatyana. The poet has long been in love with Olga, a flighty coquette. The character of Tatyana, who herself falls in love with Evgeny, is much more serious and integral. Her imagination had been picturing a hero for a long time; all that remained was for someone to appear. The girl suffers, is tormented, writes a romantic letter. Onegin is flattered, but understands that he cannot respond to such a passionate feeling, so he gives a harsh rebuke to the heroine. This circumstance plunges her into depression, she anticipates trouble. And trouble really came. Onegin decides to take revenge on Lensky because of an accidental disagreement, but chooses a terrible means: he flirts with Olga. The poet is offended and challenges yesterday's friend to a duel. But the culprit kills the “slave of honor” and leaves forever. The essence of the novel “Eugene Onegin” is not even to show all this. The main thing worth paying attention to is the description of Russian life and the psychologism of the characters, which develops under the influence of the depicted atmosphere.

However, the relationship between Tatiana and Evgeniy is not over. They meet at a social evening, where the hero sees not a naive girl, but a mature woman in full splendor. And he falls in love. He is also tormented and writes a message. And he meets with the same rebuke. Yes, the beauty did not forget anything, but it’s too late, she was “given to someone else”: . The failed lover is left with nothing.

The main characters and their characteristics

The images of the heroes of “Eugene Onegin” are not a random selection of characters. This is a miniature Russian society of that time, where all the known types of noble people are scrupulously listed: the poor landowner Larin, his secular but degenerate wife in the village, the exalted and insolvent poet Lensky, his flighty and frivolous passion, etc. All of them represent Imperial Russia during its heyday. No less interesting and original. Below is a description of the main characters:

1. Eugene Onegin - main character novel. It carries within itself dissatisfaction with life, fatigue from it. Pushkin talks in detail about the environment in which the young man grew up, about how the environment shaped his character. Onegin's upbringing is typical of the nobles of those years: a superficial education aimed at being successful in decent society. He was not prepared for the present case, but exclusively for social entertainment. Therefore, from a young age I was tired of the empty glitter of balls. He has “direct nobility of soul” (he feels a friendly attachment to Lensky, does not seduce Tatyana, taking advantage of her love). The hero is capable of deep feelings, but is afraid of losing freedom. But, despite his nobility, he is an egoist, and narcissism underlies all his feelings. The essay contains the most detailed characteristics character.
2. Very different from Tatyana Larina, this image appears ideal: an integral, wise, devoted nature, ready to do anything for love. She grew up in a healthy environment, in nature, and not in the light, so real feelings are strong in her: kindness, faith, dignity. The girl loves to read, and in books she drew a special, romantic image, shrouded in mystery. It was this image that was embodied in Evgenia. And Tatyana gave herself up to this feeling with all passion, truthfulness and purity. She did not seduce, did not flirt, but took upon herself the courage to confess. This brave and honest act did not find a response in Onegin’s heart. He fell in love with her seven years later, when she shone in the world. Fame and wealth did not bring happiness to the woman; she married someone she didn’t love, but Eugene’s courtship is impossible, family vows are sacred to her. More about this in the essay.
3. Tatyana's sister Olga is not of great interest, there is not a single sharp corner in her, everything is round, it is not for nothing that Onegin compares her to the moon. The girl accepts Lensky's advances. And any other person, because why not accept, she is flirtatious and empty. There is immediately a huge difference between the Larin sisters. The youngest daughter took after her mother, a flighty socialite who was forcibly imprisoned in the village.
4. However, it was the flirtatious Olga that the poet Vladimir Lensky fell in love with. Probably because it’s easy to fill the emptiness with your own content in dreams. The hero still burned with a hidden fire, felt subtly and analyzed little. He has high moral concepts, so he is alien to the light and is not poisoned by it. If Onegin talked and danced with Olga only out of boredom, then Lensky saw this as a betrayal, his former friend became an insidious tempter of a sinless girl. In Vladimir’s maximalist perception, this is immediately a break in relations and a duel. The poet lost in it. The author raises the question of what could await the character when favorable outcome? The conclusion is disappointing: Lensky would have married Olga, become an ordinary landowner and become vulgar in routine vegetation. You may also need .

Themes

• The main theme of the novel “Eugene Onegin” is extensive - this is Russian life. The book shows life and upbringing in the world, in the capital, village life, customs and activities, typical and at the same time unique portraits of characters are drawn. Almost two centuries later, the heroes contain features inherent in modern people; these images are deeply national.
• The theme of friendship is also reflected in Eugene Onegin. The main character and Vladimir Lensky were in close friendship. But can it be considered real? They got together by chance, out of boredom. Evgeniy sincerely became attached to Vladimir, who warmed the hero’s cold heart with his spiritual fire. However, just as quickly he is ready to insult a friend by flirting with his beloved, who is happy about it. Evgeny thinks only about himself, the feelings of other people are absolutely unimportant to him, so he could not save his comrade.
• Love too important topic works. Almost all writers talk about it. Pushkin was no exception. In the image of Tatiana it is expressed true love. It can develop against all odds and remain for life. Nobody loved and will love Onegin as much as main character. If you miss this, you remain unhappy for the rest of your life. Unlike the sacrificial, all-forgiving feelings of the girl, Onegin’s emotions are self-love. He was afraid of a timid girl who had fallen in love for the first time, for whose sake he would have to give up the disgusting but familiar light. But Evgeny was captivated by the cold, secular beauty, with whom visiting was already an honor, let alone loving her.
• Subject extra person. The trend of realism appears in Pushkin’s works. It was the environment that raised Onegin to be so disappointed. It was precisely this that preferred to see superficiality in the nobles, the focus of all their efforts on creating secular splendor. And nothing else is needed. On the contrary, education in folk traditions, society ordinary people made the soul healthy and the nature whole, like Tatyana’s.
• Theme of devotion. Faithful to your first and most strong love Tatyana, and Olga is frivolous, changeable and ordinary. Larina's sisters are completely opposite. Olga reflects a typical secular girl, for whom the main thing is herself, her attitude towards her, and therefore she can change if there is a better option. As soon as Onegin said a couple of pleasant words, she forgot about Lensky, whose affection was much stronger. Tatyana’s heart is faithful to Evgeniy all her life. Even when he trampled on her feelings, she waited a long time and could not find another (again, unlike Olga, who was quickly consoled after Lensky's death). The heroine had to get married, but in her soul she continued to be faithful to Onegin, although love had ceased to be possible.

Problems

The problematics in the novel “Eugene Onegin” are very indicative. It reveals not only psychological and social, but also political shortcomings and even entire tragedies of the system. For example, the outdated, but no less creepy, drama of Tatyana’s mother is shocking. The woman was forced into marriage, and she broke under the pressure of circumstances, becoming an evil and despotic mistress of a hated estate. Here's what actual problems raised

• The main problem that is raised throughout realism in general, and by Pushkin in Eugene Onegin in particular, is the destructive influence secular society per person per capita. A hypocritical and greedy environment poisons the personality. It presents external requirements decency: a young man should know a little French, read a little fashionable literature, be decently and expensively dressed, that is, make an impression, seem, and not be. And all the feelings here are also false, they only seem. That is why secular society takes away the best from people, it cools the brightest flame with its cold deception.
• Handra Evgenia – another one problematic issue. Why does the main character become depressed? Not just because he was spoiled by society. main reason– he does not find the answer to the question: why all this? Why does he live? To go to theaters, balls and receptions? The absence of a vector, direction of movement, awareness of the meaninglessness of existence - these are the feelings that overcome Onegin. Here we are faced with the eternal problem of the meaning of life, which is so difficult to find.
• The problem of selfishness is reflected in the image of the main character. Realizing that no one would love him in a cold and indifferent world, Eugene began to love himself more than anyone else in the world. Therefore, he doesn’t care about Lensky (he only relieves boredom), about Tatyana (she can take away his freedom), he thinks only about himself, but for this he is punished: he remains completely alone and is rejected by Tatyana.

Idea

The main idea of ​​the novel “Eugene Onegin” is to criticize the existing order of life, which dooms more or less extraordinary natures to loneliness and death. After all, there is so much potential in Evgenia, but there is no business, only social intrigue. There is so much spiritual fire in Vladimir, and besides death, only vulgarization in a feudal, suffocating environment can await him. How many spiritual beauty and intelligence in Tatyana, and she can only be the hostess of social evenings, dress up and carry on empty conversations.

People who do not think, do not reflect, do not suffer - these are the ones for whom it is suitable existing reality. This is a consumer society that lives at the expense of others, which shines while those “others” vegetate in poverty and filth. The thoughts that Pushkin thought about deserve attention to this day and remain important and pressing.

Another meaning of “Eugene Onegin”, which Pushkin laid down in his work, is to show how important it is to preserve individuality and virtue when temptations and fashions are rampant around, subjugating more than one generation of people. While Evgeny was chasing new trends and playing the cold and disappointed hero Byron, Tatyana listened to the voice of her heart and remained true to herself. Therefore, she finds happiness in love, albeit unrequited, and he finds only boredom in everything and everyone.

Features of the novel

The novel “Eugene Onegin” is a fundamentally new phenomenon in the literature of the early 19th century. He has a special composition - it is a “novel in verse”, a lyric-epic work of large volume. In lyrical digressions, the image of the author, his thoughts, feelings and ideas that he wants to convey to readers emerges.

Pushkin amazes with the ease and melodiousness of his language. His literary style is devoid of heaviness and didacticism; the author knows how to talk about complex and important things simply and clearly. Of course, a lot needs to be read between the lines, since harsh censorship was merciless even towards geniuses, but the poet is also not a natural person, so he was able to tell in the elegance of verse about the socio-political problems of his state, which were successfully hushed up in the press. It is important to understand that before Alexander Sergeevich, Russian poetry was different; he made a kind of “revolution of the game.”

The peculiarity also lies in the image system. Evgeny Onegin is the first in the gallery of “superfluous people”, who contain enormous potential that cannot be realized. Tatyana Larina “raised” female images from the place “the main character needs to love someone” to an independent and complete portrait of a Russian woman. Tatyana is one of the first heroines who looks stronger and more significant than the main character, and does not hide in his shadow. This is how the direction of the novel “Eugene Onegin” is revealed - realism, which will more than once open the theme of the superfluous person and touch upon the difficult woman's destiny. By the way, we also described this feature in the essay “”.

Realism in the novel "Eugene Onegin"

"Eugene Onegin" marks Pushkin's transition to realism. In this novel, the author first raises the topic of man and society. A personality is not perceived separately, it is part of a society that educates, leaves a certain imprint or completely shapes people.

The main characters are typical, but at the same time unique. Eugene is an authentic secular nobleman: disappointed, superficially educated, but at the same time not like those around him - noble, intelligent, observant. Tatyana is an ordinary provincial young lady: she was brought up on French novels, is filled with the sweet dreams of these works, but at the same time she is a “Russian soul”, wise, virtuous, loving, harmonious nature.

It is precisely in the fact that readers for two centuries see themselves and their acquaintances in the heroes, and it is precisely in the inescapable relevance of the novel that its realistic orientation is expressed.

Criticism

The novel “Eugene Onegin” evoked a great response from readers and critics. According to E.A. Baratynsky: “Everyone interprets them in their own way: some praise them, others scold them, and everyone reads them.” Contemporaries criticized Pushkin for the “labyrinth of digressions”, for the insufficiently defined character of the main character, and careless language. The reviewer Thaddeus Bulgarin, who supported the government and conservative literature, especially distinguished himself.

However, V.G. understood the novel best. Belinsky, who called it “an encyclopedia of Russian life,” is a historical work, despite the absence of historical characters. Indeed, a modern amateur belles lettres can study “Eugene Onegin” from this point of view in order to learn more about the noble society of the early 19th century.

And a century later, the comprehension of the novel in verse continued. Yu.M. Lotman saw complexity and paradox in the work. This is not just a collection of quotes familiar from childhood, it is an “organic world.” All this proves the relevance of the work and its significance for Russian national culture.

What does it teach?

Pushkin showed the life of young people and how their fate could turn out. Of course, fate depends not only on the environment, but also on the heroes themselves, but the influence of society is undeniable. The poet showed the main enemy that affects young nobles: idleness, aimlessness of existence. Alexander Sergeevich’s conclusion is simple: the creator calls not to limit oneself to secular conventions, stupid rules, but to live life to the fullest, guided by moral and spiritual components.

These ideas remain relevant today, before modern people Often a choice arises: to live in harmony with oneself or to break oneself for the sake of some benefits or public recognition. By choosing the second path, chasing illusory dreams, you can lose yourself and discover with horror that your life is over and nothing has been done. This is what you need to fear most.

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"Eugene Onegin" in Russian criticism

Head: Petkun Lyudmila Prokhorovna

Introduction

1. “Eugene Onegin” in the life of A.S. Pushkin

2. “Eugene Onega in Russian criticism”

2.1 N.Ya. Nightingale "Eugene Onegin"

2.2 A. Slonimsky “Pushkin’s Mastery”

2.3 V.G. Belinsky "Eugene Onegin"

3. Comments on the novel “Eugene Onegin”

3.1 Yu.M. Lotman "Eugene Onegin"

3.2 N.L. Brodsky "Eugene Onegin"

4. A.S. Pushkin about “Eugene Onegin” in letters to friends

Conclusion

List of used literature

Introduction

The novel “Eugene Onegin” occupies a central place in the poet’s work. This is his largest, most popular work, which had a strong influence on the fate of Russian literature. While working on a novel, the poet writes to Vyazemsky: “Now I’m not writing a novel, but a novel in verse - a devilish difference.” Indeed, working on a novel is a colossal effort. Pushkin worked on this novel for 8 years. His characters, plot, and writing style developed and grew with him. Work on the novel took place during the transition from romanticism to realism in creative life A.S. Pushkin. No wonder V.G. Belinsky called the novel “an encyclopedia of Russian life.” This work reflected the life and style of life of society at the beginning of the 19th century, in the person of the main characters - typical representatives of that time. “In the person of Onegin, Lensky and Tatyana, Pushkin depicted Russian society in one of the phases of its formation, its development, and with what truth, with what fidelity, how fully and artistically he depicted it,” said Belinsky.

In general, what is literary criticism? Literary criticism- region literary creativity on the verge of art ( fiction) and the science of literature (literary criticism). Engaged in the interpretation and evaluation of works of literature from the point of view of modernity (including pressing problems of social and spiritual life) and the personal views of the critic; identifies and affirms creative principles literary trends; provides active influence on literary process, as well as directly on the formation public consciousness; relies on the theory and history of literature, philosophy, aesthetics. It is often journalistic, political and topical in nature, intertwined with journalism.

Abstract objectives:

1. Get acquainted with criticism of the novel “Eugene Onegin”.

2. Find out the attitude of critics towards the novel, their opinions.

3. Analyze critical articles.

4. Draw a conclusion.

1 . “Eugene Onegin” in the life of A.S.Pushkin

literary criticism Onegin Pushkin

Pushkin began writing “Eugene Onegin” in May 1823 in Chisinau, and finished it on September 25, 1830 in Boldino. In 1831, Pushkin again turned to the novel. According to the plan, the novel was supposed to have nine chapters, but subsequently the author removed the eighth chapter and put the ninth in its place. The tenth chapter was also written, but the poet burned it. In 1833, the novel was published and contained eight chapters.

Since Pushkin wrote the novel for about 8 years, it is difficult to give detailed history writing. However, in the book by Yu.M. I found some references to Lotman:

Period in Mikhailovsky (1824-1826):

“On September 26, 1824, Pushkin wrote the poem “Conversation of a Bookseller with a Poet,” which he published as a preface to a separate edition of the first chapter of “Eugene Onegin.” It was a declaration of the poet’s right to a truthfully prosaic attitude towards life.” “In February 1825, the first chapter of the novel was published...” During his stay at Mikhailovsky, Pushkin finishes the third chapter of the novel and works on the fourth, fifth and sixth. " Creative thinking follows complex paths: at the beginning of January 1826, Pushkin finally ends the fourth chapter of “Eugene Onegin” with humorous verses about the preference that he has been giving for some time to Bordeaux wine compared to Ai champagne. Then, with feverish haste, the fifth and then the sixth chapter of the novel are written, stanzas dedicated to Odessa, which were later included in Onegin’s Travels.

“The duality of his attitude towards the world was deeply unusual for Pushkin and filled him with inner restlessness and dissatisfaction with himself. An interesting paradox emerges in the relationship between life and creativity: while in “Poltava” truth is equated with calm historical view in the perspective of a century-long distance (“A hundred years have passed...”), while the rebellious Onegin is condemned and Tatiana’s wise humility is opposed to him...”

Later, Pushkin realized that the movement begun in Mikhailovsky needed to be stopped. 1830 was a year of completion: “Eugene Onegin” was completed, the small tragedies conceived in Mikhailovsky were written, the first completed prose works- “Belkin's Tales”.

2 . "Eugene Onegin" in Russianth criticism

In criticism and literary criticism, the assessment of “Eugene Onegin” has long been strengthened as central work Pushkin. Therefore, the novel received considerable attention even from those critics who, due to their conservative ideological and aesthetic positions, denied it serious social and literary significance. "Eugene Onegin" - the first realistic novel in the history of literature - became a work around which there were debates about the tasks and directions of art, about artistic method, about genres, style. The severity of the controversy surrounding “Eugene Onegin”, the clash of different points of view in illuminating its concept and images, the special attention to it in the history of Russian social thought - all this is explained by its exceptional social, artistic, and general cultural significance. Reproducing the Russian life of the era, reflecting the most pressing issues of our time, Pushkin at the same time put forward in his novel problems that go far beyond the time of its creation and have a broad nationwide, national and universal resonance - problems of the meaning of life, the relationship between man and the social environment , civic and moral duty, nationality and humanism. As we will see later, it was precisely these problems that arose in one form or another in Russian criticism and literary criticism when covering and interpreting the novel.

The literature about “Eugene Onegin” is truly immense. There are almost no studies about Pushkin’s work that would not, to one degree or another, concern the novel, its content or images. In this chapter we will touch only on the main directions in understanding the novel and works that most clearly reflect the history of its assessment and study, as well as express various trends in the development of problems related to it.

2.1 N.Ya Solovey “Eugene Onegin”

Nikolai Yakovlevich Solovey is a Russian playwright.

In his critical article N.Ya. Nightingale paid great attention the birth of the idea for “Eugene Onegin”: “The novel in verse was conceived at a time when the poet became disillusioned with romanticism, but did not immediately come to understand the new, realistic tasks of fiction.” Speaking about the romantic crisis in the work of A.S. Pushkin, Nikolai Yakovlevich draws a parallel between romantic works, for example, “Demon”, “Sower”, paid much attention to the poem “Gypsies”.

“Eugene Onegin is the central character of the novel in verse. Pushkin worked on understanding this image and its artistic embodiment for over ten years. The difficulty of implementing the plan was that for the first time in the history of Russian literature centrally work of art a contemporary became a big genre form” - in these words N.Ya. The Nightingale begins the chapter about Onegin. The critic identified 5 stages of Pushkin’s work on this image:

Stage I:

This stage refers to the creation of the first to fourth chapters (1823-1825). “Already in the first chapter, Pushkin describes in detail the actions young man, who lived eight years of distracted social life in St. Petersburg.” In general, this stage is devoted to creating the image of the main character, in these chapters he gets his further development concept of Onegin's character. Nightingale notes that society has played big role in Onegin’s disappointment in life: “The influence of the social environment on the formation of such properties of the hero as disappointment in life, selfishness, individualism is shown in the first four chapters of the novel.”

Stage II:

The second stage of work on the image began in 1826. It is worth noting that at this time in public life Russia are happening important events: the Decembrist uprising was suppressed (December 14, 1825), the investigation and trial of its participants took place, the leaders of the uprising were executed.

N.Ya. Solovey says that in this chapter the poet “for the first time depicts the provincial nobility in sufficient detail as part of the social environment where Onegin’s life takes place.” Onegin has almost no effect at the beginning of the fifth chapter, he only “appears in Tatyana’s ominous dream as a fatal figure in relation to Lensky.” However, in the second part, Onegin already appears “in a real-life, not a fantasy situation” at Tatiana’s name day. In the actions of the hero, the egoistic peculiarity of his character is again felt.

In the sixth chapter, where the duel is described, Pushkin shows “the dependence of the behavior of a contemporary person on public opinion, from the morals of the environment."

Stage III:

The third stage is associated with the work on the seventh chapter (1827-1828). In this chapter, Onegin does not appear on the pages of the novel; he is characterized through the perception of Tatyana, who is trying to unravel him. She reads books belonging to Onegin, who:

“Although we know that Eugene has long ceased to love reading, However, He excluded several creations from disgrace: The Singer Gyaur and Juan Yes, with him two or three more novels, In which the century is reflected modern man Depicted quite correctly With his immoral soul, Selfish and dry, Dreams devoted immensely, With his embittered mind, Seething in empty action.”

This chapter traces the similarities between Onegin and Byron's heroes. So isn't Onegin a parody? “For Pushkin, Onega is not a parody. The poet takes under the protection of his hero with his “inimitable strangeness.”

Stages IV and V:

These stages relate to the period 1829-1830. These are the final chapters of the novel, eighth, ninth and tenth.

The eighth chapter was entitled "The Journey", which was not included in the canonical text. The author took a new step in the development of the hero’s relationship with society: “Already in the first stanzas of the chapter “Wandering,” the theme of Onegin as an “extra” person in noble society was outlined and developed.” The same theme is repeated in chapter nine.

The last, tenth chapter is the final (eighth chapter) in the final version of the novel. In this chapter inner world Onegin is characterized by his letter to Tatyana. “Only the changed Onegin could fall in love with Tatyana, and his letter is the most vivid evidence of the changes that have taken place in him.

Lensky's death made life in the village painful for him:

“From everything that is dear to the heart, Then I tore my heart away; Strange to everyone, not bound by anything, I thought: freedom and peace are a substitute for happiness. My God! How wrong I was, how I was punished!”

Indifference to everything, living only for himself did not give him satisfaction. Onegin sees his happiness and salvation in love:

“No, to see you every minute, to follow you everywhere, a smile of the mouth, a movement of the eyes.

To catch you with loving eyes, to listen to you for a long time, to understand with your soul all your perfection, to freeze before you in agony, to turn pale and fade away... that’s bliss!” Thus, having examined the stages of work on creating the image of Onegin, N.Ya. Nightingale traced the evolution of the development of the main character, and consideration of the concept of the work helped him to better understand the character of Onegin.

2 .2 A.Slonimsky “The Mastery of Pushkin”

The work of A. Slonimsky is called “The Mastery of Pushkin.” This book presents detailed descriptions many of the poet's works, including "Eugene Onegin".

Slonimsky immediately begins by analyzing the image of the author: “The author in the first chapter acts as a “good friend” of Onegin. At times he even displaces his hero, attributing to him his own thoughts and moods:

“I was embittered, he was sullen; We both knew the game of passion: Life tormented both of us; The heat died down in both hearts; Both were awaited by the malice of Blind Fortune and people in the very morning of our days.”

This is a biography of Pushkin himself, and, strictly speaking, has nothing to do with Onegin, because, as can be seen from the foregoing, he was not haunted in his youth by any “malice of blind Fortune and people.” On the contrary, in the world he was greeted warmly from the first steps:

“...The world decided that he was smart and very nice.”

The next stage in the analysis of “Eugene Onegin” is the image of Tatiana. Slonimsky writes: “Tatyana is a “county young lady”, one of those about whom Pushkin wrote later (in “The Young Lady - Peasant”).” “Tatiana’s beauty is not in her “marble”, plastic beauty, but in that inner “life”, the absence of which Onegin notices in her sister: “Olga has no life in her features.”

Slonimsky pays great attention to the love story of Tatiana and Onegin: “ Love story Tatiana and Onegin do without major events. It all takes place in a peaceful environment and is made up of small psychological moves.”

According to A. Slonimsky, “Onegin occupies a passive position in the action of the novel: Tatyana declares his love to him, Lensky challenges him to a duel, but there is almost no sign of his own initiative.”

As for Lensky, Slonimsky mentions him in passing and does not focus much attention on him. However, he dwelled on his poems in detail, refuting the opinion that they are parodies: “Lensky’s poems receive parody against the background Pushkin's speech, they are preceded by the following lines:

“Takes a pen; his poems, Full of love nonsense, resound and flow. He reads them aloud, in lyrical fervor, like Delvig drunk at a feast.”

A. Slonimsky concludes his article with the speech of the characters: “Each character (in addition to his direct speech) brings into the author’s story his own speech structure (which, of course, entails a certain structure of concepts and ideas): Onegin - ironic, Tatyana - village, estate , Lensky - romantic, all the others (Larins, Zaretsky, etc.) - everyday, characteristic of one or another environment - landowner, army, etc., such as, for example, the “dashing” transition to Zaretsky:

“Forward, forward, my story! A new face is calling us.”

Thus, it can be noted that the peculiarity of A. Slonimsky’s article is that he did not specifically describe each character, but followed the chronology of the novel. He traced the relationship between the characters, revealed the peculiarities of their speech and manner of conversation.

2 .3 V.G. Belinsky "Eugene Onegin"

V. G. Belinsky called Pushkin’s novel “an encyclopedia of Russian life and a highly popular work,” revealing in two articles entitled “Pushkin’s Works” the enormous merits of the novel, making it a great work of Russian literature.

Belinsky calls the novel historical, folk, national: “Eugene Onegin” - historical poem" “Pushkin was national at heart; he found national elements in a life half accustomed to forms alien to it.” "Eugene Onegin" is the first national work of art."

Belinsky compares the works of Pushkin and Byron, and concludes that “the form of Eugene Onegin was invented by Byron, but when comparing we do not find anything in common except this form and manner of writing. Byron wrote about Europe - for Europe, Pushkin about Russia - for Russia.”

Speaking about the images of the main characters, Belinsky noted that “in the person of Onegin, Lensky and Tatyana, Pushkin depicted Russian society in one of the phases of its education, its development...”

Characterizing Onegin, Belinsky notes that most of the public completely denied the soul and heart in Onegin, saw in him a cold, dry and selfish person by nature. However, in his opinion, this is not entirely true: “Onegin is neither cold, nor dry, nor callous, there is poetry in his soul...”, “Secular life did not kill Onegin’s feelings, but only cooled them.” “The inactivity and vulgarity of life choke him, he doesn’t even know what he needs, what he wants, but he knows that he doesn’t need, what he doesn’t want,” writes Belinsky. Dissatisfaction with oneself and the environment is characteristic of Pushkin's hero. This dissatisfaction is evidence of how superior Onegin is to secular society. Belinsky calls his egoism suffering from egoism, egoism involuntarily, due to historical circumstances.

In the image of Tatyana, Belinsky sees “a somewhat complex, but deep nature.” A simple village girl, then - socialite, Tatyana retains her inner essence in any life situations, she is “an exceptional being; deep, loving, passionate nature.” Dramatic fate noble youth of the Decembrist era is expressed not only in the image of Onegin, but also in the image of Lensky. Tatyana is opposed to Onegin and Lensky in the novel; she is close to native people, Russian nature, her image helps to reveal the main idea of ​​the novel: only communication with the people can save the intelligentsia, make their life meaningful, their work useful. In his article, Belinsky realistically presented his opinion and the opinion of the society of his time. Having analyzed and analyzed the novel from a historical point of view, he came to the conclusion that “Eugene Onegin” is “an encyclopedia of Russian life.”

3 . Comments to poman "Eugene Onegin"

The main task of the commentary is to provide an opportunity to expand

evaluate the value of the text, clarify unclear points or express disagreement with the author. However, in some cases, comments can be more valuable than the text itself. Typically, comments are your own thoughts, partially expressing the opinion of the commentator. Less often - quotes from any sources or images. Comments are often speculative or personal judgments and are not necessarily accurate.

Literary commentaries most often explain some lines or passages from the text. This helps the reader understand what the author wanted to say and understand the idea contained in this passage.

3 .1 Y.M. Lotman “Eugene Onegin”.A comment

In this article, Lotman explains lines from the novel “Eugene Onegin”. However, there are some elements of criticism at the beginning.

The first place Lotman's commentary begins is with the internal chronology of Eugene Onegin. In this part, the critic talks about the time of the events that occurred in the novel: “1811-1812 - the end of Onegin’s “study” and his release into the world.” Counting the time from the winter of 1819 - spring of 1820 (the time of action of Chapter I), Pushkin writes:

“This is how he killed eight years old,

Having lost the best light of life.”

Y. Lotman talks in detail about the life of the nobility, about their interests and activities, about housing, entertainment and balls: “Dancing takes up a significant place in the novel; The author’s digressions are devoted to them; they play a large role in the plot.”

A very interesting article by Y. Lotman about the title of the work: “Eugene Onegin - the choice of the title and name of the main character was not accidental. This choice determined the genre nature of the text and the nature of the reader's expectations. The inclusion in the title of not only the first name, but also the surname of the hero, moreover, not conventionally literary, but actually everyday, was possible only in a relatively small circle of genres focused on modern content and creating the illusion of the truth of incidents.”

The main part of Y. Lotman's commentary is occupied by the analysis of each chapter. In these analyses, Y. Lotman explains lines from the novel.

In general, this article cannot be called completely criticism, but its elements are present. Y. Lotman's comments help us understand the novel, study it to the smallest detail, and form our opinion on this matter.

3 .2 N.L. Brodsky "Eugene Onegin"

Unlike Yu.M. Lotman's commentary by Brodsky is more complete. In his commentary, Brodsky explains each fragment of the text, and not some individual words.

The bulk of his work is devoted to epigraphs, he begins with a definition: “An epigraph is a single word or saying, in prose or verse, taken from any famous writer, or their own, which the authors place at the beginning of their work and thereby express the general idea of ​​the work or their attitude to the depicted reality.” Next comes the analysis of the epigraphs: “And he is in a hurry to live and in a hurry to feel” - this epigraph is taken from a poem by P.A. Vyazemsky “First Snow” (1819). In the 1825 edition of the first chapter, the epigraph was missing. Pushkin borrowed it from a couplet in which Vyazemsky gave a generalized description of youth and its thirst for life:

This is how young ardor glides through life:

And he’s in a hurry to live and he’s in a hurry to feel!

So, in the light of these verses, it becomes obvious that the epigraph does not refer to an individual portrait of Onegin, but characterizes the mood typical of young people of that time.”

Thus, analysis of epigraphs helps us understand main idea a certain chapter, because it is precisely in the epigraph that it is contained, and the main text is its disclosure.

4 . A.S. Pushkin about “Eugene Heegin" in letters to his friends

A.S. Pushkin mentioned his novel in letters to his friends. From these letters one can trace the stages of work on the novel and Pushkin’s feelings about censorship. I will give a couple of excerpts from the letters.

In letters of 1823, Pushkin speaks about the beginning of work:

Letter to P.A. Vyazemsky November 4, 1823: “As for my studies, I am now writing not a novel, but a novel in verse - a devilish difference! Like Don Juan. There’s nothing to think about printing: I write carelessly.”

Letter to A.A. Delvig November 16, 1823:“I am writing now new poem, in which I’m rambling on and on... God knows when we’ll read it together...”

Letter to A.I. Turgenev December 1, 1823:“In my spare time I’m writing a new poem, Eugene Onegin, in which I’m choking on bile. Two songs are already ready.”

In his letters, Pushkin does not speak specifically about the characters or actions, does not describe the novel itself, but talks about the stages of work. However, in a letter to P.A. On May 27, 1826, the poet wrote to Vyazemsky: “...My deaf Mikhailovskoye makes me sad and furious. In the 4th song of Onegin I depicted my life...” This makes us understand that there are still elements of autobiography in the image of Onegin.

Also, from a letter to A. Bestuzhev on March 24, 1825, you can still feel Pushkin’s attitude towards his work: “Your letter is very smart, but still you are wrong; you are looking at Onegin from the wrong point; after all, he best work my…".

Conclusion

“Eugene Onegin” is a great work of Russian and world literature. We see that this creation worried many people, not only critics, but also writers and poets, because it is only small part critical articles.

Each critic analyzed this work in his own way: someone analyzed every chapter, every word (this is called a commentary), and someone simply expressed their opinion about the work (this is criticism). Also, the manner and structure of the articles were different: some paid much attention to the characters, while others focused on vocabulary and syntax. Different attitude to heroes and events.

In general, criticism helps us form our opinion, find out the opinions and attitudes of other people, think and compare and come to a final opinion.

As for me, I really enjoyed working with criticism, because I learned a lot about the novel: the stages of writing, formed my opinion about the characters and events, supplemented it with new information, and it was also interesting to read excerpts from Pushkin’s letters in which he talks about novel.

List of used literature

1. N.Ya. Nightingale “Roman A.S. Pushkin "Eugene Onegin".

2. A. Slonimsky “The Mastery of Pushkin.”

3. Yu.M. Lotman “Roman A.S. Pushkin "Eugene Onegin"

4. N.L. Brodsky "Eugene Onegin". Roman A.S. Pushkin."

5. V.G. Belinsky "Eugene Onegin".

6. A.S. Pushkin in the memoirs of his contemporaries (a series of literary memoirs).

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Scientific research novel "Eugene Onegin"

Roman A.S. Pushkin’s “Eugene Onegin” is one of the most inexhaustible and profound works of Russian literature, which is confirmed by great amount research by modern literary scholars devoted to the form, genre of the novel in verse, the essence of the plan and its implementation, ideological, aesthetic, moral and philosophical issues novel. These studies began with the critical works of the 19th and 20th centuries. “The author of the first philosophical review of our literature” I.V. Kireevsky was one of the first to give a serious critical assessment of Pushkin’s activities, despite the fact that, in his opinion, “it is difficult ... to find a general expression for the nature of his poetry, which has received so much various types" However, the critic spoke quite unequivocally about the novel in verse “Eugene Onegin”: “ Distinctive features its essence: picturesqueness, some kind of carelessness, some special thoughtfulness and, finally, something inexpressible, understandable only to the Russian heart.” The critic also spoke about the poet’s desire for originality, which, according to him, is revealed in the work. In conclusion, speaking of " strong influence, which the poet has for his compatriots,” Kireevsky noted in this regard “another important quality in the character of his poetry - correspondence with his time.”

The question of the national and global significance of Pushkin was first raised by V.G. Belinsky. “Pushkin was the perfect expression of his time... the contemporary world, but the Russian world, but Russian humanity.” In the article “Literary Dreams” the critic identified the main issue of literary life - the problem of nationality in literature. A peoplehood that is free from alien influences and “in the fidelity of the depiction of pictures of Russian life,” acts, as Belinsky rightly points out, as a criterion national importance Pushkin. In Belinsky's fundamental work - a cycle of 11 articles under the general title "Works of Alexander Pushkin" (1843-1846) - a well-known formula appears about "Eugene Onegin" as "an encyclopedia of Russian life and a highly popular work."

Critic A.V. Druzhinin in his article “A.S. Pushkin and the last edition of his works” (1855) approached Pushkin’s work “from the position of the “absolute” principles of art, its “eternal” principles, and it is natural that for him in many ways the super-historical meaning of Pushkin’s work is revealed, which goes far beyond of its time." “Onegin,” the critic wrote, “on the whole seems to be one of the most entertaining novels that has ever occurred to the most highly gifted writers.” Druzhinin noted such features of the novel as “harmoniousness”, “masterful combination of story with lyricism”, “unexpected denouement” and “influence on the reader’s curiosity”. A. Grigoriev, the author of the famous formula “Pushkin is our everything,” believed that “the best that was said about Pushkin” in contemporary criticism “was reflected in Druzhinin’s articles.” He himself rightly spoke of the poet as “the only complete sketch of our national personality,” a “nugget.” Pushkin, in his opinion, is “our original type, already measured against other European types, passing through in consciousness the phases of development that they went through, but fraternizing with them in consciousness.” The nature of the Russian genius, according to A. Grigoriev, responded to everything “to the best of the Russian soul.” This statement anticipated the words of F.M. Dostoevsky about Pushkin’s “worldwide responsiveness”: “he shares this... most important ability of our nationality with our people, and most importantly, he and folk poet» .

Criticism of Russian symbolism saw in Pushkin a prophet, a spiritual standard and moral guideline artist. “Pushkin... with a sensitive ear foresaw the future tremors of our modern soul"- wrote V. Bryusov about the genius-prophet and on the basis of this he put forward the main requirement for to the modern poet: offering a “sacred sacrifice” “not only with poetry, but with every hour of one’s life, with every feeling...” “Creativity consists not only in the jangling of an absent-minded hand on the lyre, but also in the painful labor of translating images into words,” critics of the beginning rightly wrote XX century F. Sologub and Ivanov-Razumnik about the enormous work done by Pushkin during the creation of the novel in verse “Eugene Onegin”.

The history of commenting on the novel “Eugene Onegin” is interesting. After all, as soon as Pushkin’s novel transcended its time and became the property of a new reading environment, much in it required additional explanation. In the 20th century, the first post-revolutionary editions of Pushkin’s works generally refused to comment on “Eugene Onegin.” Appeared individual publications“Eugene Onegin”, supplied with brief comments by G.O. Vinokura and B.O. Tomashevsky and intended mainly for a wide range of readers. Let us note the significant importance of brief footnotes and explanatory articles to the school edition of “Eugene Onegin”, carried out by S.M. Bondi. These comments also influenced the scientific understanding of Eugene Onegin. In 1932, a new commentary was created by N.L. Brodsky. About the goals and objectives of his book “Eugene Onegin”. Roman A.S. Pushkin" Brodsky wrote in the preface to the third edition, stating that the task arose to outline the time that determined the fate and psychology of the main characters of the novel, to reveal the range of ideas of the author himself in a constantly changing reality. Book by N.L. Brodsky was addressed, in particular, to a literature teacher, on whose level of knowledge about “Eugene Onegin” the presentation of it to students depends. In this sense, the significance of Brodsky's work is very great. However, recognizing Pushkin’s novel as the pinnacle monument of literature of the 19th century, Brodsky views it primarily as a work that has forever become a thing of the past and belongs to him.

In 1978, “Eugene Onegin” was published with comments by A.E. Tarkhova. The goal that the author has set for himself is to analyze creative history novel in unity with the evolution of the hero. Despite the fact that the author pays attention primarily to general textual comments rather than to particulars, his work gives readers Pushkin's novel detailed and based on previous scientific tradition material for understanding “Eugene Onegin”.
One of the most significant events in the modern interpretation of “Eugene Onegin” was the publication in 1980 of a commentary by Yu.M. Lotman, addressed, like the work of N. L. Brodsky, to the teaching audience. In the book "Eugene Onegin". Commentary" includes "Essay on the life of the nobility of Onegin's time" - a valuable guide for studying not only "Eugene Onegin", but in general all Russian literature of Pushkin's time. The structure of the book is designed, as the researcher himself notes, for parallel reading with Pushkin’s text. The basis of the scientific commentary by Yu.M. Lotman has deep textual work. The commentary provides two types of explanations: textual, intertextual and conceptual (the author gives historical, literary, stylistic, and philosophical interpretations). The task set by the researcher - “to bring the reader closer to the semantic life of the text” - is solved in this book in a very high level.

Foreign authors have also turned to commentary on “Eugene Onegin” more than once. Among the most famous are the extensive commentary by V.V. Nabokov, characterized by detailed explanations of numerous details of the text of Pushkin’s novel. Here, an important place is occupied by lengthy excursions into the history of literature and culture, versification, as well as translator’s notes and comparisons with previous experiences of translating “Eugene Onegin” into English language. The writer explains realities that are incomprehensible primarily to a foreign language reader. His work also has its costs: excessively detailed reasoning, sometimes too harsh polemics with his predecessors. However, this comment is significant achievement Western Pushkin studies - primarily in terms of the thoroughness and scale of commentary on the text of the novel by A.
In 1999, the Moscow publishing house “Russian Way” published the “Onegin Encyclopedia” in 2 volumes, in the creation of which researchers such as N.I. took part. Mikhailova, V.A. Koshelev, N.M. Fedorova, V.A. Viktorovich and others. The encyclopedia differs from the previously created commentaries on Eugene Onegin in its special organizational principle: it combines articles of different genres (small studies, literary essays, brief explanations of the text of the novel). The encyclopedia is supplied with rich illustrative material. A big advantage of the publication is that it is addressed to both specialists and to a wide circle readers. We can say that the compilers of the encyclopedia have come closer to a new understanding of the novel thanks to the wide coverage of the material.

A productive stage in the study of Pushkin’s creativity and in particular the novel “Eugene Onegin” was basic research S.G. Bocharov (“Pushkin’s Poetics”, “Plan Form”), who pays attention to the stylistic world of the novel, its language, talks about the poetic evolution of the author. N.N. Skatov (author of the large-scale work “Pushkin. Russian Genius”, numerous essays on the life and work of the poet) explores the poetics of Pushkin’s works, speaks out about the enduring significance of the poet’s work as the highest, ideal exponent of Russian national identity. I. Surat made her contribution to Pushkin studies by raising the large-scale problem of “art and religion” and expressing the idea that Pushkin embodied poetry itself in its ontological essence (“Pushkin as a religious problem”). Judgments about Pushkin as an ontological, ethical and aesthetic phenomenon are also expressed by such modern literary scholars as V.S. Nepomnyashchiy, Yu.N. Chumakov, S.S. Averintsev, V.K. Kantor and many others. They develop questions about the significance of the novel “Eugene Onegin” as a unique phenomenon of world art, about its influence on Russian literature of the 19th century century and subsequent eras. The attention of researchers is focused on revealing the ontological phenomenology of Pushkin’s novel in the context of world literature.
Currently, the problem of the real place of genius in national history, its role in the spiritual self-awareness of the people, in the destinies of the nation, i.e. its exclusive mission, a special historical task. Following religious and philosophical criticism turn of XIX-XX centuries (D.S. Merezhkovsky, N.A. Berdyaev, S.L. Frank), who affirmed the idea that “in the Holy Spirit... that combination of grace and freedom occurs that we see in Pushkin’s work,” Pushkin’s phenomenon as a philosophical and methodological The category is considered in his works by V.S. Nepomnyashchy. According to the literary critic, “in order for Pushkin’s genius to appear before us in all its brightness and fullness of life, it is necessary to consider it... in an ontological context as a phenomenon of being.”

So, each era “highlighted” the levels closest to it in the novel, which was reflected in the stages of scientific study. Modern Explorer Yu.N. Chumakov rightly believes that now is the time to read the novel “against the backdrop of universality.” The universal content of “Eugene Onegin” reveals itself in the picture of the world, presented as a system of values, as a constantly developing, “ever moving” set of ideas about reality.