As Pushkin shows the attitude of high society to. Characteristics of Eugene Onegin Why is the world wary of Onegin

Chapter No. 1.

1. How A.S. Pushkin depicts the upbringing and education of E. Onegin in the 1st chapter. How does he appear to you?

2. Tell us about the moral principles of E. Onegin, his relationships with people of secular society.

3. Describe Onegin’s day. How does A.S. Pushkin show the typical pastime? How does depicting the hero’s life help to understand the conditions of his upbringing and character formation?

4. Tell us how Onegin tried to get out of the vicious circle? What did the attempt give him?

5. Read the end of the first chapter and answer the question: what awaited Onegin in the village? How does the author feel about life in “village silence”?

7. Explain the abundance of foreign words in Chapter 1. How do you understand the poet’s words: “...my poor syllable could be much less replete with foreign words...”?

8. How does A.S. Pushkin depict E. Onegin’s disappointment?

9. What, in your opinion, is the difference between Onegin and the lyrical hero of the 1st chapter? Find evidence in the text for your thought.

10. What is Pushkin’s attitude towards his hero. Find confirmation of your thoughts in the text.

Chapter No. 2.

11. Read about how Uncle Onegin lived in the village. Tell us about the life, pastime and customs of the provincial nobility.

12. How did Onegin’s relationship with his landowner neighbors develop? Compare the neighbors' accusations against Onegin with the accusations against Chatsky.

13. Analyze the stanzas dedicated to Vladimir Lensky. Highlight the words and expressions that characterize the author’s attitude towards him. How does the author feel about Lensky’s poetic work?

14. Find in the text how A.S. Pushkin describes the novel by Vladimir Lensky and Olga Larina. How do these relationships characterize the characters? How does the author feel about Lensky’s love?

15. How did Onegin’s relationship with Lensky develop? Do you believe in the possibility of friendship “with nothing to do”? What united Onegin and Lensky? What were Onegin and Lensky thinking and arguing about?

16. What kind of life reigned in the Larin family? Tell us about the life, pastime and customs of the provincial nobility.

18. Show in what conditions Tatyana Larina was brought up, what factors influenced the formation of her character.

19. The life story of Tatyana Larina’s mother. Which of her daughters will follow her path, do you think? Prove your point.

Chapter No. 3.

20. Compare the portrait of Olga given by the author in the second chapter with the portrait given to her by Onegin in the third chapter. Did Onegin spare the feelings of his friend?

21. Why did Tatyana decide that Onegin was the one she was waiting for? What prepared her attitude towards him. How does Pushkin explain this?

22. The life story of nanny Tatyana Larina. Why does Tatyana talk about love with the old nanny? Compare two loves, two destinies. Why doesn't she understand the suffering of her pupil? Compare the story of nanny T. Larina about her marriage with the love story of Tatyana’s mother and her sister and draw a conclusion about the traditions of Russia.

23. Which stanzas and how do they explain to the reader Tatyana’s courageous act - the decision to write to Onegin, to open her soul? Read Tatiana's letter aloud in class. How does it reflect her feeling?

24. Find the stanzas that show Tatyana’s agonizing wait for an answer to her confession. How does the novel show the heroine’s confusion, her fear of the long-awaited meeting?

25. Read the last stanza (XLI) of the third chapter. Why does the author end the chapter at the most intense and interesting event?

Chapter No. 4.

26. Where does the fourth chapter begin? Why do you think? Whose thoughts are these? The author? Onegin? Read stanzas VIII-XI, what do they add to the character of E. Onegin?

27. Read Onegin’s confessions. Literary scholars call this monologue differently: confession, sermon, rebuke. What do you think? Give reasons for your answer. What do these stanzas emphasize in the character of the hero?

29. What does Onegin do after his explanation with Tatyana? Re-read the pictures of nature in chapter 4. What role do they play in the text?

Chapter No. 5.

30. What new aspects of Tatyana’s character are revealed to us in the fifth chapter? What makes her similar to serfs? How does Pushkin justify the epithet “Russian soul”?

31. Re-read Tatyana’s dream. Why do you think Pushkin conveys this dream in such detail? How does Pushkin depict Tatyana’s condition on her name day? What images and dream plots will come true on Tatyana’s name day?

32. Tell us about how the “Tatiana’s Name Day” holiday takes place in the Larins’ house (according to chapters 5-6 of the novel), how the guests behave. Re-read stanzas XXV-XXIX, reproduce the “caricatures of all the guests,” as Onegin mentally did. In these stanzas, find words and expressions that characterize the author’s attitude towards guests.

33. How could Onegin feel when he got to this “huge feast”? What caused his irritation and dissatisfaction? To whom is his anger directed? What did he do?

34. What did Lensky feel when he saw Onegin play with Olga? Why is Olga behaving this way? Whose experiences concern the author and why?

Chapter No. 6.

35. How does the fifth chapter end? What does it portend? How does Onegin’s revenge on Lensky continue in the sixth chapter? Why did Onegin accept the challenge?

36. Is the young poet right in accusing Olga? Why did he change his attitude towards her? What conclusion did you come to?

37. Lensky's last night. Onegin's petty rebellion against the inevitable duel. Friends or enemies? Two options for the fate of Vladimir Lensky.

Chapter No. 7.

38. As Pushkin conveys in stanzas I-XIII of the 7th chapter, a sad - thoughtful mood, what caused it?

39. Tatiana in Onegin’s house. What does this episode do to reveal the images of Onegin and Tatiana? What impression did reading the books make on her?

40. Using the text of chapter 7, reproduce Tatyana’s farewell to the village? Why does Pushkin hold our attention on this episode?

41. Find in the 7th chapter the lines depicting the Larins’ entry into Moscow. What mood takes over the poet when he remembers the paintings of Moscow? How do Moscow nobles appear to us in the image of A.S. Pushkin? Compare them with Griboyedov's characters.

Chapter No. 8.

43. How does Pushkin show the attitude of high society towards Onegin, who returned from his trip? Why is the light wary of him? What advice do the representatives of the world give to Onegin? Why does the poet take him under protection?

44. Where did Onegin come from and what happened to him during his absence? What did he see on his journey?

45. Re-read the new meeting of heroes. What impression did Tatyana make on Onegin? How does Pushkin prepare this impression? How does she stand out from secular society? How does Onegin feel when he sees Tatiana?

46. ​​How does Pushkin convey Onegin’s excitement at the first meeting, alone with Tatyana, while waiting for a new date, after an invitation to the evening? What has changed in Tatyana? Are the old features still present in her? Prove it with the text of Chapter 8.

47. Compare how Pushkin depicts the feelings of Tatyana, in love with Onegin, and the experiences of Onegin, now loving Tatyana (chapters 3 and 8). Is it possible to compare these feelings in depth and sincerity? Why is Onegin, who did not fall in love with Tatiana in the village, now overwhelmed by such an all-consuming passion?

48. Re-read Onegin’s letter. How does the hero appear before us in this message? Re-read the scene of Tatyana’s explanation with Onegin (Chapter 8). What feelings do the characters have? Was it possible that there was a happy reunion between Onegin and Tatiana?

49. How do you understand stanzas XLYIII-LI (the author’s farewell to the hero and the novel)?

A.S. Pushkin managed to overtake his era - he created an absolutely unique work, a novel in verse. The great Russian poet managed to present the image of Eugene Onegin in a very special way. The hero appears to the reader as complex and ambiguous. And its changes are manifested throughout the work in dynamics.

Onegin - representative of high society

The description of Onegin’s character in the novel “Eugene Onegin” can begin with the characteristics that A. S. Pushkin gives to his hero. These are the following “facts”: firstly, Onegin is an aristocrat from St. Petersburg. As for his attitude towards the people around him and his philosophy of life, the poet describes him as “an egoist and a rake.” Such education was cultivated among the nobility of that time. Children of high-ranking persons were placed in the care of foreign educators. And by the beginning of their youth, their tutors taught them basic skills, the presence of which can be traced in the main character of Pushkin’s work. Onegin spoke a foreign language (“and in French perfectly…”), knew how to dance (“he danced the mazurka easily”), and also had well-developed etiquette skills (“and bowed at ease”).

Surface formation

At the beginning of the work, Onegin is described through the author's narration. Pushkin writes about the mental illness that befell his hero. Describing the character of Onegin in the novel “Eugene Onegin,” we can emphasize: the root cause of this “blueness” may well be the conflict that characterized Onegin’s relationship with society. After all, on the one hand, the main character obeyed the rules established in the noble society; on the other hand, he internally rebelled against them. It should be noted that although Onegin was well-mannered, this education was not particularly deep. “So that the child would not be exhausted, a tutor from France taught him everything in jest.” In addition, Onegin can also be called a seducer. After all, he knew how to “appear new, jokingly amaze innocence.”

Main features at the beginning of the work

Onegin is a very controversial person. On the one hand, his unsightly character traits are selfishness and cruelty. But on the other hand, Onegin is endowed with a subtle mental organization, he is very vulnerable, and has a spirit striving for true freedom. It is these qualities that are most attractive in Onegin. They make him another “hero of our time.” The introduction to the main character occurs in the first chapter, during his irritated and bilious monologue. The reader sees a “young rake” who sees no value or meaning in anything and is indifferent to everything in the world. Onegin is ironic about his uncle’s illness - after all, it tore him away from social life, but for the sake of money he is able to endure “sighs, boredom and deception” for some time.

Life of Onegin

Such education was typical of the representatives of his circle. The character of Onegin in the novel "Eugene Onegin" at first glance may seem frivolous. Onegin could easily quote several poems or Latin phrases in a conversation, and his daily life took place in a completely monotonous environment - balls, dinners, visits to theaters. The poet presents the life of the main character of the work through a description of the office of Onegin, whom he calls “a philosopher at eighteen years old.” On the table near the main character, next to Byron, there is a column with a doll, as well as a large number of various toiletries. All this is a tribute to fashion, hobbies, aristocratic habits.

But most of all, the soul of the protagonist is occupied by the “science of tender passion,” which can also be mentioned in the description of Onegin’s character in the novel “Eugene Onegin.” However, after meeting his main character, Pushkin warns readers that they should not succumb to the temptation to perceive Onegin as a “dummy” - he is not like that at all. All the secular surroundings and the usual way of life do not arouse any enthusiasm in the main character. Onegin got bored with this world.

Blues

The life of the main character was completely calm and cloudless. His empty existence was filled with entertainment and worries about his own appearance. The main character is overcome by the “English spleen,” or Russian blues. Onegin's heart was empty, and his mind found no use. It wasn’t just his literary work that made him sick of it. The main character takes up the book, but reading does not give him any pleasure. After all, Onegin has become disillusioned with life, and he is unable to believe the book. The main character calls the apathy that has taken hold of him “disappointment,” willingly covering himself with the image of Childe Harold.

However, the main character does not want and does not know how to really work. At first, he tries himself as a writer - however, he does this work “yawning”, and soon puts it aside. And such boredom pushes Onegin to travel.

Onegin in the village

In the village, the main character again managed to “perk up his spirit.” He is happy to observe the beauties of nature, and even makes attempts to make life easier for the serfs by replacing the heavy corvee with a “light tax.” However, Onegin is again overtaken by his tormentor - boredom. And he discovers that in the village he experiences the same feelings as in the aristocratic capital. Onegin wakes up early, swims in the river, but still he gets bored with this life.

Turning acquaintance

However, the scenery changes after the main character meets Lensky, and then the Larin sisters, who live next door. Close interests and good upbringing allow Onegin to become close to Lensky. The main character pays attention to his older sister, Tatyana. And in her sister, Olga (who was Lensky’s beloved), Onegin sees only “the lifelessness of features and soul.” Tatyana's character traits in the novel "Eugene Onegin" contrast her with the main character. She is close to people's life, despite the fact that she speaks Russian poorly.

Her best traits were brought up by her nanny, who conveyed to Tatyana the concept of moral duty, as well as the basics of the people's worldview. The integrity of Tatyana's character in the novel "Eugene Onegin" is manifested in the courage with which she makes a confession to her lover, as well as in the nobility of her intentions and fidelity to her marital vow. Onegin's rebuke makes her more mature. The heroine changes in appearance, but retains the best qualities of her character.

As for the character of Olga in the novel “Eugene Onegin,” the poet assigns a secondary role to this heroine. She is pretty, but Onegin immediately sees her spiritual emptiness. And this character very quickly causes rejection among the impressionable reader. In the image of Olga, the great Russian poet expresses his attitude towards the flighty girls of his era. He says about their portrait: “I used to love him myself, but he tired me immensely.”

The character of Lensky in the novel "Eugene Onegin"

Lensky appears before the reader in the image of a freedom-loving thinker who was educated at one of the European universities. His poetry is covered in the spirit of romanticism. However, Pushkin hastens to warn the reader that in reality Lensky remains an ignoramus, an ordinary Russian landowner. Although he is cute, he is not very sophisticated.

Hero's integrity

Onegin rejects Tatiana's feelings. He responds to all her love confessions with a rude rebuke. At this moment in time, Onegin does not need the sincerity and purity of the feelings of the village girl. However, Pushkin justifies his hero. Onegin was distinguished by decency and honesty. He did not allow himself to mock the feelings of another person, his naivety and purity. In addition, the reason for Larina’s refusal was the coldness of Onegin himself.

Duel with Lensky

The next turning point in revealing Onegin's character is his duel with Lensky. But in this case, Onegin does not demonstrate nobility, preferring not to refuse the fight, the outcome of which was predetermined. The opinion of society, as well as the perversity of the values ​​that existed in that environment, hung over Onegin’s decision like a sword of Damocles. And the main character does not open his heart to the feeling of true friendship. Lensky dies, and Onegin regards this as his own crime. And the senseless death of a friend awakens the “sleep of the soul” of the main character. The character of Eugene Onegin in the novel “Eugene Onegin” changes: he understands how lonely he is, and his attitude towards the world takes on different shades.

Repeated meeting with Tatyana

Returning to the capital, at one of the balls the main character again meets “that same Tatyana.” And his charm knows no bounds. She is a married woman - but only now Onegin is able to see the kinship of their souls. In his love for Tatyana, he sees the possibility of his spiritual resurrection. In addition, Onegin learns that her love for him is also still alive. However, for the main character, the thought of possible betrayal of her lawful husband turns out to be completely unacceptable.

A duel takes place in her soul between feelings and duty, and it is resolved not in favor of love passions. Tatiana leaves Onegin alone on her knees. And the poet himself also leaves his hero during this scene. How his life will end remains unknown. Research by literary scholars and historians shows that the poet planned to “send” Onegin to the Caucasus, or turn him into a Decembrist. However, this remained a secret, which was burned along with the final chapter of the work.

The author of the novel and its main character

The versatility of the characters in the novel “Eugene Onegin” is revealed in the process of the plot development of the poem. Describing the events that took place in the work after Onegin’s duel with Lensky, Pushkin includes in the text a small mention of a young townswoman. She asks what happened to Olga, where is her sister now, and what about Onegin - where is “this gloomy eccentric”? And the author of the work promises to talk about it, but not now. Pushkin specifically creates the illusion of authorial freedom.

This technique can be seen as the intention of a talented storyteller who conducts a casual conversation with his readers. On the other hand, Pushkin can be characterized as a real master who perfectly masters the chosen manner of presenting the work. The author of the work acts as one of the characters in the novel only in relation to Onegin himself. And this indication of personal contacts will distinguish the main character from other characters. Pushkin mentions a “meeting” with Onegin in the capital, describes the first embarrassment that gripped him during this meeting. This was the main character’s manner of communication - caustic jokes, bile, “the anger of gloomy epigrams.” Pushkin also informs the reader about his general plans to see “foreign countries” with his main character.

Conclusion: As we see, like Chatsky, Onegin was accused of drunkenness, freethinking, belonging to the Freemasons, wastefulness, and ignorance.

Let us draw attention to the fact that the appearance of Onegin, and later other heroes, is formed not only from the characteristics and observations of the author, but also from gossip, gossip, and rumors. In this case, the neighboring landowners are the sources of rumors about the hero. (Let us again recall Lisa’s words from “Woe from Wit”: “Sin is not a problem, rumor is not good.”)

As we see, Onegin turned out to be the same lonely recluse in the village as he had recently been in St. Petersburg. But then a new neighbor appeared.

5. How did Onegin’s relationship with Lensky develop?

Stanzas VI-XII introduce a new face - Lensky. According to the original plan, he was supposed to become the central character of the chapter (in terms of publishing the novel that Pushkin outlined in 1830, the second chapter was entitled “The Poet”), the main antipode of Onegin. The contrast was thought of as the antithesis of an intelligent skeptic and a naively enthusiastic enthusiast. Accordingly, the features of love of freedom, preserved in the final version of Lensky’s image, were initially much more sharply emphasized. The comparison of these images emphasizes both the inferiority of each individually and the spiritual value of each of them. A complex system of stylistic transitions allowed Pushkin to separate the author’s narrative from both the position of Lensky and Onegin and at the same time avoid a harsh and unambiguous assessment of them.

Let us turn to the comments of Yu.M. Lotman to stanza VI.

“With a soul straight from Göttingen...” - “The Göttingen soul” was a completely concrete idea for Pushkin and far from political neutrality. The University of Göttingen was one of the most liberal universities not only in Germany, but also in Europe. Graduates of the University of Göttingen, acquaintances of Pushkin, belonged to the ranks of Russian liberals and freedom lovers.

6. How do you understand these words:
First by mutual difference

They were boring to each other;

Then you liked it...?
7. Do you believe in the possibility of friendship “with nothing to do”? What united Onegin and Lensky?

8. How did the neighbors react to Vladimir Lensky?

9. What do we know about friendship, friends in the life of A.S. Pushkin? Let's remember some lines about friendship.
My friends, our union is wonderful!

He, like the soul, is inseparable and eternal

Unshakable, free and carefree...
or
Wherever fate throws us

And happiness wherever it leads,

We are still the same: the whole world is foreign to us -

Our Fatherland is Tsarskoe Selo.

Having destroyed all prejudices,

We respect everyone as zeros,

And in units - yourself.

We all look at Napoleons,

There are millions of two-legged creatures

For us there is one weapon;

We feel wild and funny.

10. What were Onegin and Lensky thinking and arguing about? (Reading XVI, XVII stanzas.)

13. Why so many times, when describing Tatyana, the author uses the particle “not”, showing what she was NOT like. What is unique about Tatyana?

14. What kind of life reigned in the Larin family? How did life in the village change Tatyana and Olga’s mother?

15. Read the words of the epigraph to this lesson. Why do you think they are relevant when studying the second chapter of Eugene Onegin?
III. Homework.

2. Explain the meaning of the epigraph to the third chapter.

4. Do you agree with the opinion of the writer I.A. Goncharova: “...the positive character of Pushkin’s Olga - and the ideal one of his Tatyana. One is an unconditional, passive expression of the era, a type that is cast, like wax, into a ready-made dominant form. The other - with the instinct of self-awareness, originality, initiative. That is why the first is clear, open, and immediately understandable... the other, on the contrary, is original, seeks its own expression and form, and therefore seems capricious, mysterious, elusive.” (This question can be given to the student on a card.)

5. Why did Tatyana decide that Onegin was the one she was waiting for?

6. How does Tatiana’s letter reflect her feelings?

7. Memorize Tatyana’s letter to Onegin.

8. Individual task - prepare a message on the topic “Interests and activities of a noble woman” (on card 27).

Card 27

Interests and activities of a noble woman 1

Against the general background of the life of the Russian nobility at the beginning of the 19th century. “the world of a woman” acted as a certain isolated sphere that had features of a certain originality. The education of a young noblewoman was, as a rule, more superficial and domestic. It was usually limited to the skill of everyday conversation in one or two foreign languages, the ability to dance and behave in society, the basic skills of drawing, singing and playing a musical instrument and the most basic knowledge of history, geography and literature.

A significant part of the mental outlook of a noble girl at the beginning of the 19th century. determined by books.

The education of a young noblewoman had the main goal of making the girl an attractive bride.

Naturally, with marriage, education stopped. Young noblewomen married at the beginning of the 19th century. entered early. The normal age for marriage was considered to be 17-19 years old. However, the time of the young novel reader’s first hobbies began much earlier. And the surrounding men looked at the young noblewoman as a woman already at that age at which subsequent generations would have seen in her only a child.

After getting married, the young dreamer often turned into a homely landowner-serf, like Praskovya Larina, into a metropolitan socialite or a provincial gossip.

And yet, in the spiritual appearance of the woman there were features that distinguished her favorably from the surrounding noble world. The nobility was a service class, and the relations of service, veneration, and official responsibilities left a deep imprint on the psychology of any man from this social group. Noble woman of the early 19th century. she was significantly less drawn into the system of service-state hierarchy, and this gave her greater freedom of opinion and greater personal independence. Protected, moreover, of course only to a certain extent, by the cult of respect for the lady, which formed an essential part of the concept of noble honor, she could, to a much greater extent than the mtzhchina, neglect the difference in ranks, turning to dignitaries or even to the emperor.

The consequences of Peter's reform did not equally extend to the world of male and female life, ideas and ideas - women's life even among the nobility retained more traditional features, since it was more connected with family and caring for children than with the state and service. This entailed that the life of a noblewoman had more points of contact with the people's environment than the existence of her father, husband or son.

LESSON 44

COMMENTED READING OF THE THIRD CHAPTER.

TATYANA'S LETTER AS AN EXPRESSION OF HER FEELINGS,

MOVEMENTS OF HER SOUL.

DEPTH, SIGNIFICANCE OF THE HEROINE'S PERSONALITY
...Tatiana is an exceptional creature,

deep, loving, passionate nature.

V.G. Belinsky
DURING THE CLASSES
I. Oral or written survey on 2-6 points of homework.
II. Analysis of the third chapter of the novel. Conversation on questions:

1. Where does the third chapter begin?

2. Remember what kind of attitude Onegin aroused among the neighboring landowners. How could these rumors affect Tatiana's feelings? (They could arouse interest in him and emphasize his exclusivity.)

3. What role could the books she read play in the heroine’s growing sense of love? V.G. Belinsky, in his article about Tatyana, wrote: “Here it was not the book that gave birth to passion, but passion still could not help but manifest itself a little like a book. Why imagine Onegin as Volmar, Malek-Adel, de-Linar and Werther?..

Because for Tatyana the real Onegin did not exist, whom she could neither understand nor know...” 1

4. Checking the individual assignment. Message on the topic “Interests and activities of a noble woman” (on card 27).

5. Read stanzas XVII-XIX. Why does Tatyana talk about love with the old nanny? Compare two loves, two destinies.

6. How do stanzas XXII-XXV explain to the reader Tatyana’s courageous act - the decision to write to Onegin, to open her soul?

7. Checking homework - expressively reading by heart Tatyana’s letter.

8. Find the stanzas that show Tatyana’s agonizing wait for an answer to her confession.

9. How is the heroine’s confusion and her fear of the long-awaited meeting shown in stanzas XXXVIII and XXXIX?

Let us draw students' attention to the fact that at the most intense moment in the development of the plot action, a song suddenly begins to sound. (If possible, you should give a recording of “Song of Girls” from P.I. Tchaikovsky’s opera “Eugene Onegin.”) How does this song prepare the reader for the upcoming explanation?

10. Read the last stanza (XLI) of the third chapter. Why does the author end the chapter at the most intense and interesting event?

a) How did Onegin react to Tatyana’s letter?

b) What prevents the heroes from being happy?

c) Why is a happy couple of lovers shown at the end of the fourth chapter: Lensky and Olga?

LESSON 45

PLOT AND COMPOSITION OF THE FOURTH CHAPTER.

CONFESSION OF ONEGIN.

CONTRAST BETWEEN PICTURES

HAPPY LOVE AND PARTICIPATION TATIANA
Having opened Tatiana's letter, we - failed -

Let's eat. We fall into a person, like into a river,

which carries us freely, turning us over

flow, washing the contours of the soul, completely

overwhelmed by the flow of speech...

Abram Tertz (A.D. Sinyavsky)
DURING THE CLASSES
I. Conversation on the fourth chapter of the novel:

1. The fourth chapter of the novel is the most polyphonic. Here we hear a polyphony of voices, opinions, motives: this is Onegin’s monologue, and his dialogue with Lensky, and the story of heroes and events, and the author’s thoughts about life, about the possibility of happiness, love, friendship.

What events happen in the lives of the characters in the fourth chapter? (Two events: a meeting between Onegin and Tatyana (it began in the third chapter) and a winter dinner in Onegin’s house, at which Lensky gives him an ill-fated invitation to Tatyana’s name day. The episodes are widely developed, and around them are the author’s lyrical digressions.)

2. Where does the fourth chapter begin? (With six missing stanzas. This pause makes us, like Pushkin’s heroine, wait with bated breath for the development of events.) And then the text begins:

The easier it is for her to like us...

Stanzas UIII-X show how devastated Onegin’s soul is, and what will happen between Onegin and Tatyana after reading them seems predetermined.

3. How did Onegin react to Tatiana’s letter? (The answer involves an analysis of XI and the preceding stanzas.)

4. Expressive reading of Onegin’s confession. (Stanzas XII-XVI.)

5. Literary scholars call this monologue differently: confession, sermon, rebuke. What do you think? Give reasons for your answer.

Onegin's sermon is contrasted with Tatiana's letter by the complete absence of literary clichés and reminiscences in it.

The meaning of Onegin’s speech is precisely that he, unexpectedly for Tatyana, behaved not like a literary hero (“savior” or “seducer”), but simply like a well-educated secular and, moreover, quite decent person who “acted very nicely // With sad Tanya." Onegin behaved not according to the laws of literature, but according to the norms and rules that guided a worthy person of Pushkin’s circle in life. By this, he discouraged the romantic heroine, who was ready for both “happy dates” and “death,” but not for switching her feelings into the plane of decent social behavior, and Pushkin demonstrated the falsity of all cliched plot schemes, hints of which were so generously scattered in the previous text. It is no coincidence that in all subsequent stanzas of the chapter the dominant theme is literary polemics, exposing literary cliches and contrasting reality, truth and prose with them. However, for all the naivety of the heroine, who has read many novels, she has spontaneity and the ability to feel, which are absent in the soul of the sober hero.

6. What prevents the heroes from being happy? (There cannot be a definite answer here: apparently, this meeting, as Onegin thinks, happened too late for the hero, or, perhaps, on the contrary, too early, and Onegin is not yet ready to fall in love. Particular attention should be paid to how unusual this novel is The traditional scheme was this: on the path to happiness there are serious obstacles, evil enemies, but here there are no obstacles, but there is no mutual love.)

7. What important life advice does Onegin give to Tatyana?
(Learn to control yourself;

Not everyone will understand you like I do;

Inexperience leads to disaster.)
But the whole point is that Tatyana opens her heart not to “everyone,” but to Onegin, and it is not Tatyana’s inexperience or sincerity that leads to trouble, but Eugene’s too rich life experience.
8. The teacher's word.

But God save us from our friends!

In the attic born a liar...– the meaning of the poems is revealed by comparison with P.A.’s letter. Vyazemsky on September 1, 1822: “...my intention was (not) to start a witty literary war, but to repay with a sharp insult the secret insults of a man with whom I parted as friends and whom I ardently defended every time the opportunity presented itself. It seemed funny to him to make an enemy out of me and to make Prince Shakhovsky’s attic laugh at my expense with letters. I found out about everything when I was already exiled, and, considering vengeance one of the first Christian virtues, in the impotence of my rage I threw magazine dirt at Tolstoy from afar.”

Tolstoy Fyodor Ivanovich (1782-1846)- retired guards officer, buster, gambler, one of the most prominent personalities of the 19th century. Griboyedov had this in mind when he wrote about the “night robber, duelist” (“Woe from Wit,” d. 4, iv. IV).

Pushkin learned of Tolstoy’s participation in spreading rumors that disgraced him and responded with an epigram (“In a dark and despicable life...”) and harsh verses in a message to “Chaadaev.” Pushkin had been planning to fight a duel with Tolstoy for a long time.

Attic- literary and theatrical salon A.A. Shakhovsky. The “Attic” was located in Shakhovsky’s house in St. Petersburg on Malaya Morskaya, on the corner of St. Isaac’s Square. Its regular visitors were representatives of theatrical bohemia and writers close to the “archaists”: Katenin, Griboedov, Krylov, Zhikharev and others.

Pushkin learned about the gossip spread by Tolstoy in the “attic” from Katenin.

10. Why is a happy couple of lovers shown at the end of the fourth chapter: Lensky and Olga?

11. By what principle is the description of the “pictures of a happy life” of Lensky and Olga constructed in relation to the previous stanzas? (The principle of antithesis, contrast.)

Please note: the author emphasizes the state of mind of Vladimir Lensky, his expectation of happiness: “He was cheerful,” “He was loved,” and “he was happy,” but there is a verse transfer that alarms the attentive reader: “...At least!! That's what he thought." The author's irony sounded again. Should you believe in love if they seem to reciprocate you? How is everything really going and do you need to find out about it? Maybe it’s better not to reason, but to believe recklessly? And Tatyana wanted to both believe and know. Verily, knowledge increases sorrow 1 .

12. Time flies very quickly in the fourth chapter. As we remember, the explanation between Onegin and Tatyana took place at the time of picking berries, and now the author paints pictures of autumn: “And now the frosts are crackling // And turning silver among the fields...”. Has Onegin changed during this time? How did his days pass in the silence of the village? (He is calm, his life does not in any way resemble the bustle of St. Petersburg; he has forgotten “the city, and his friends, and the boredom of festive activities.”)

But in winter, in the wilderness, what to do at this time? (The joy of communicating with his friend, Lensky, remains. Evgeny is waiting for him, does not sit down to dinner without him. Stanzas ХLVII-ХLIХ depict a winter lunch of friends.)

1. How did Lensky convey the invitation to Tatiana’s name day? Why does he insist so much on Onegin's arrival?

3. Individual task - prepare a message on the topic “Folk signs found in the fifth chapter” (based on card 28).

Card 28

Folk signs found in the fifth chapter

The heroine of the novel in the fifth chapter is immersed in the atmosphere of folk life, and this decisively changed the characteristics of her spiritual appearance. Pushkin contrasted the statement in the third chapter, “she didn’t know Russian well,” with the opposite meaning, “Tatyana (Russian in soul)...” By this, he drew the attention of readers to the inconsistency of the image of the heroine.

She was worried about signs...- P. A. Vyazemsky made a note to this part of the text: “Pushkin himself was superstitious” (Russian archive. 1887. 12. P. 577). In the era of romanticism, belief in omens becomes a sign of closeness to the popular consciousness.

Christmas time has arrived. What a joy!- Winter Christmastide is a holiday during which a number of rituals of a magical nature are performed, with the goal of influencing the future harvest and fertility. Christmas time is a time for fortune telling for the betrothed and the first steps towards future marriages. “Russian life is never in such freedom as at Christmas time: on these days all Russians are having fun. Looking closely at Christmastide customs, we see everywhere that our Christmastides were created for Russian virgins. In gatherings, fortune-telling, games, songs, everything is aimed at one goal - to bring the betrothed closer together. Only on holy days do young men and maidens sit hand in hand; the betrotheds clearly tell fortunes in front of their betrotheds, the old people cheerfully talk about the old days and with the young people they themselves become younger; old women sadly remember their lives as girls and happily tell the girls songs and riddles. Our old Rus' is resurrected only at Christmas time” 1.

“In the old days they celebrated / 7 These evenings are in their house,” that is, Christmas rituals were performed in the Larins’ house in their entirety. The Yuletide cycle, in particular, included a visit to the house by mummers, fortune-telling by girls “on a platter,” and secret fortune-telling associated with summoning the betrothed and making a dream.

The visit to the house by the mummers is omitted in Pushkin's novel, but it should be noted that the traditional central figure of the Yuletide masquerade is a bear, which may have had an impact on the nature of Tatiana's dream.

During Christmas time, a distinction was made between “holy evenings” (December 25-31) and “terrible evenings” (January 1-6). Tatiana's fortune-telling took place precisely on the “terrible evenings.”

What is your name? He looks...- The ironic tone of the narrative is created due to the collision of the heroine’s romantic experiences and a common people’s name, which is decisively incompatible with her expectations.

The maiden mirror lies.- During Christmastime fortune-telling, various magical objects are placed under the pillow “to go to sleep.” Among them, the mirror takes first place. However, items associated with the power of the cross are removed.

Stanzas XI - XII - crossing the river - a stable symbol of marriage in wedding poetry. However, in fairy tales and folk mythology, crossing a river is also a symbol of death. This explains the dual nature of Tatyana’s dream images: both ideas drawn from romantic literature and the folklore basis of the heroine’s consciousness force her to bring together the attractive and the terrible, love and death.

A big, disheveled bear...- Researchers note the dual nature of the bear in folklore: in wedding rituals, the good, “own”, humanoid nature of the character is mainly revealed, in fairy tales - he is presented as the owner of the forest, a force hostile to people, associated with water (in full accordance with this side of ideas, the bear in Tatyana's dream is the "godfather" of the owner of the "forest house", half-demon, half-robber Onegin, he also helps the heroine get over the water barrier separating the world of people and the forest. In this second function, the bear turns out to be a double of the goblin, the "forest devil", and his role as a guide to the “wretched hut” is fully justified by the entire complex of folk beliefs).

XVI - XVII stanzas- the content of the stanzas is determined by the combination of wedding images with the idea of ​​​​the seamy, inverted devilish world in which Tatyana is in a dream. Firstly, this wedding is also a funeral: “Behind the door there is a scream and the clink of a glass, // Like at a big funeral.” Secondly, this is a devilish wedding, and therefore the whole ceremony is performed “topsy-turvy.” In an ordinary wedding, the groom arrives and enters the upper room after the bride.

In Tatyana’s dream, everything happens in the opposite way: the bride arrives at the house (this house is not an ordinary one, but a “forest house”, that is, an “antidome”, the opposite of a house), entering, she also finds people sitting along the walls on benches, but these are forest evil spirits. The Master who leads them turns out to be the heroine’s love. The description of evil spirits (“gang of brownies”) is subordinated to the image of evil spirits as a combination of incompatible parts and objects, widespread in the culture and iconography of the Middle Ages and in romantic literature.

All the examples given indicate that Pushkin was well versed in ritual, fairy-tale and song folk poetry, therefore the plot of the chapter is based on an accurate knowledge of all the details of Christmas and wedding rituals.

LESSON 46

COMMENTED READING OF THE FIFTH CHAPTER.

THE ORIGIN OF A TRAGIC CONFLICT
...A couple of pistols,

Two bullets - nothing more

Suddenly his fate will be resolved.

DURING THE CLASSES
I. Answering homework questions.
II. Conversation on questions:

1. What is the calendar time of the novel? Look at the beginning of the fifth chapter for an indication of the exact dates.

2. Checking individual homework - a message on the topic “Folk signs found in the fifth chapter” (based on card 28).

3. What new aspects of Tatyana’s character are revealed to us in the fifth chapter? (Her extraordinary sensitivity, knowledge of folk customs, rituals and signs, dreaminess and fear of otherworldly forces.)

4. How is the epigraph to the fifth chapter related to its further events? (The main place in the fifth chapter is occupied by Tatyana’s dream. This is a prophetic dream that will certainly come true.)

5. What images and dream plots will come true on Tatyana’s name day? To answer this question, draw and fill out a table on the board and in notebooks:

6. Which “monsters” from the dream will appear at Tatiana’s name day? Which of them have “speaking” surnames? Whose names are we already familiar with?

7. How could Onegin feel when he got to this “huge feast”? What caused his irritation and dissatisfaction? To whom is his anger directed?

8. Why did the petty, thoughtless, selfish actions of Onegin and Olga lead to tragedy?

9. What did Lensky feel when he saw Onegin playing with Olga?

10. Is the young poet right in accusing Olga:

Coquette, flighty child!

He knows the trick,

I've learned to change!

2. How is Onegin’s character revealed during the duel?

3. Individual task - prepare a message on the topic “Duel” (on card 29).

Card 29

Duel 1

A duel is a duel that takes place according to certain rules, a paired fight, with the goal of restoring honor and removing the shame caused by the insult from the offended person.

The view of a duel as a means of defending one’s human dignity was not alien to Pushkin, as his biography shows.

Despite the generally negative assessment of the duel as “secular enmity” and a manifestation of “false shame,” its depiction in the novel is not satirical, but tragic, which also implies a certain degree of sympathy for the fate of the heroes.

The duel implied a strict and carefully executed ritual. But the need for strict adherence to the rules conflicted with the absence in Russia of a strictly codified dueling system. No dueling codes could appear in the Russian press, under the conditions of the official ban, and there was no legal body that could assume the authority to streamline the rules of the duel. Strictness in observing the rules was achieved by appealing to the authority of experts, living bearers of tradition and arbiters in matters of honor. Zaretsky plays this role in Eugene Onegin.

The duel began with a challenge. As a rule, it was preceded by a clash, as a result of which either side considered itself offended and, as such, demanded satisfaction. From this moment on, the opponents no longer had to enter into communication - this was undertaken by their representatives - the seconds. Having chosen a second, the offended person discussed with him the severity of the insult inflicted on him, on which the nature of the future duel depended - from a formal exchange of shots to the death of one or both participants. After this, the second sent a written challenge to the enemy (cartel).

The role of the seconds boiled down to the following: as mediators between opponents, they were first of all obliged to make maximum efforts towards reconciliation. Even on the battlefield, the seconds were obliged to make a last attempt at reconciliation. If reconciliation proved impossible, they drew up written conditions and carefully monitored the strict execution of the procedure.

In Pushkin’s novel, Zaretsky was the only commander of the duel and conducted the matter with great omissions, or rather, deliberately ignoring everything that could eliminate the bloody outcome. Even on his first visit to Onegin, during the transfer of the cartel, he was obliged to discuss the possibilities of reconciliation. Before the start of the fight, an attempt to end the matter peacefully was also part of his direct responsibilities, especially since there was no blood offense and it was clear to everyone except 18-year-old Lensky that the matter was a misunderstanding. Instead, he "got up without explanation... having a lot to do at home." Zaretsky could have stopped the duel at another moment: the appearance of Onegin with a servant instead of a second was a direct insult to him (seconds, like opponents, were supposed to be socially equal; Guillot is a Frenchman and a freely hired lackey). His appearance in this role, as well as the motivation that he was at least an “honest little guy,” was an unambiguous offense for Zaretsky, and at the same time a gross violation of the rules, since the seconds were supposed to meet the day before without opponents and draw up the rules of the fight.

Finally, Zaretsky had every reason to prevent a bloody outcome by declaring Onegin to have failed to appear. “Forcing someone to wait at the place of the fight is extremely impolite. Those who arrive on time must wait for their opponent for a quarter of an hour. After this period, the one who came first has the right to leave the place of the duel and his seconds must draw up a protocol indicating the non-arrival of the enemy” (Dueling Code). Onegin was more than an hour late.

Thus, Zaretsky behaved not only not as a supporter of the strict rules of the art of dueling, but as a person interested in the most scandalous and noisy - which in relation to a duel meant a bloody - outcome.

Onegin and Zaretsky both violate the rules of the duel. The first, to demonstrate his contempt for the story, in which he fell into against his own will and in the seriousness of which he still does not believe, and Zaretsky because he sees in the duel a funny story, a subject of gossip and practical jokes.

Onegin's behavior in the duel irrefutably indicates that the author wanted to make him a murderer against his will. Both for Pushkin and for the readers of the novel, who were familiar with the duel firsthand, it was obvious that the one who wants the unconditional death of the enemy does not shoot on the move, from a long distance and under the distracting muzzle of someone else’s pistol, but, taking risks, gives to shoot at himself, demands the enemy to the barrier and from a short distance shoots him like a stationary target.

If an experienced shooter fired first, then this, as a rule, indicated excitement, which led to accidental pressing of the trigger. However, the question arises: why did Onegin shoot at Lensky, and not just past him? Firstly, a demonstrative shot to the side was a new insult and could not contribute to reconciliation. Secondly, in the event of an unsuccessful exchange of shots, the duel began all over again and the enemy’s life could only be saved at the cost of his own death or wound, and the Breter legends that shaped public opinion poeticized the killer, not the killed.

The hero of the novel, against his own desire, recognizes the dictates of the norms of behavior imposed on him by Zaretsky and “public opinion”, and immediately, losing his will, becomes a doll in the hands of a faceless duel ritual.

The main mechanism by which society, despised by Onegin, nevertheless powerfully controls his actions, is the fear of being funny or becoming the subject of gossip.

Onegin's behavior was determined by fluctuations between the natural human feelings that he experienced towards Lensky and the fear of appearing funny or cowardly by violating the conventional norms of behavior at the barrier.

LESSON 47

COMMENTED READING OF THE SIXTH CHAPTER.

TRAGIC DEATH OF LENSKY. CELEBRATION

POSSESSIONS. ONEGIN'S FAREWELL TO YOUTH
Don't let the poet's soul cool down,

Become hardened, calloused,

And finally turn to stone

In the deadening ecstasy of light.

A.S. Pushkin. "Eugene Onegin"
DURING THE CLASSES
I. Conversation on the following issues:

What is the meaning of the epigraph to chapter six?

The epigraph is taken from Petrarch’s book “On the Life of Madonna Laura.”

When quoting, Pushkin omitted the middle verse, which is why the meaning of the quote changed, from Petrarch: “Where the days are foggy and short - a born enemy of the world - a people will be born for whom it is not painful to die.” The reason for the lack of fear of death is the innate ferocity of this tribe. With the omission of the middle verse, it became possible to interpret the reason for the lack of fear of death differently, as a consequence of disappointment and “premature old age of the soul.”

2. How does Onegin’s revenge on Lensky continue in the sixth chapter?

3. In stanzas IV-VIII a new face appears - a certain Zaretsky. He is destined to play one of the main roles in the tragedy that will soon unfold. Perhaps Pushkin does not have a more merciless characterization than Zaretsky’s.

Find the lines that tell about what kind of courage Zaretsky showed in battles, in relationships with friends, what “heroism” he showed during the War of 1812.

4. What role did Zaretsky play in the quarrel between Onegin and Lensky?

5. Can Onegin fix anything? After all, he understands that he was wrong.

6. Why did Onegin not act as his conscience dictated, but followed the lead of his former idol - “public opinion”? Find the answer to this question in stanza XI of the sixth chapter.

7. Answer to question 2 of homework.

So, Onegin could not stand the test of friendship. Both at Tatiana’s name day and before the duel, he showed his inability to “detect feelings, and not bristle like an animal,” he turned out to be deaf both to the voice of his own heart and to Lensky’s feelings.

Throughout the entire sixth chapter in Onegin there is a struggle between his true nature and artificially accepted secular canons.
II. Checking the individual task - a message on the topic “Duel” (on card 29).
III. Independent written work according to options:

1. Lensky's last night. Analyze stanzas XV-XXIII.

2. Onegin’s petty rebellion against the inevitable duel. Analysis of stanzas XXVI - XXVII.

3. Friends or enemies? Analysis of stanzas ХХVIII -ХХХIV.

4. Two options for the fate of Vladimir Lensky. Analysis of stanzas XXXVI - XL

5. Farewell to youth. Analysis of stanzas ХLIII - ХLVI.

1. Finish the written work.

a) What does the episode of the heroine’s visit to Onegin’s house provide for revealing the images of Onegin and Tatyana?

b) How is Moscow depicted in the seventh chapter of the novel “Eugene Onegin”? Compare it with Griboyedov’s Moscow, depicted in Woe from Wit.”

LESSON 48

COMMENTED READING OF THE SEVENTH CHAPTER.

"WITHOUT ONEGIN"
And everything that pleases lives,

All that rejoices and shines,

Causes boredom and languor

For a soul that has been dead for a long time,

And everything seems dark to her...

A.S. Pushkin. "Eugene Onegin"
DURING THE CLASSES
I. Conversation on the following issues:

1. To which of the novel’s characters can the words of the epigraph for the lesson be attributed? (These words convey Onegin’s state after the duel. But if you read the second stanza of the seventh chapter from the very beginning, it becomes clear that the author also experiences such feelings in the spring. Such a perception of spring - the time of love - firstly, reflects the unusual, not generally accepted attitude of the author by this time of year, and, secondly, it is in tune with the mood of the heroes.)

2. Why is it customary in literary criticism to call the seventh chapter the chapter “Without Onegin”? (After the duel, Onegin will not be able to stay in these places, “where the bloody shadow appeared to him every day.” His wanderings will begin, but he will not be able to escape anywhere from remorse.)

3. What is the meaning of the triple epigraph to chapter seven? (The meaning of the triple epigraph is in the inconsistency of its components: odic style, light irony and sharp satire; a depiction of the historical and symbolic role of Moscow for Russia, an everyday sketch of Moscow as the center of private, non-official Russian culture of the 19th century and an outline of Moscow life as the focus of all negative aspects Russian reality. The range from a sample of official poetry to a censorship-banned comedy is also significant.)

4. What motives are heard in the first six stanzas of the seventh chapter of the novel? (The author’s lyrical thoughts sound. In the sixth stanza we see the coffin stone of the young poet, and from subsequent stanzas we learn that this monument has been forgotten: “The usual trail to it // Has died down. There is no wreath on the branch.”)

5. Why do these words sound so unexpectedly sharp in the elegiac description? (Apparently, the romantic Lensky loved not a real, but an imaginary girl, who very quickly consoled herself, got married, and left with her officer husband. The contrast of the calm description of nature with the lines about oblivion is intended to emphasize the contradiction between the real world and the dreams of the deceased poet.)

6. Pushkin showed in his novel the life paths of two sisters. For one, everything is simple and clear, while for the other, a life full of deep suffering and uncertainty. But whose life is fuller, more significant? (Undoubtedly, Tatiana's life.)

7. What does the episode of the heroine’s visit to Onegin’s house provide for revealing the images of Onegin and Tatyana? (Tatyana has a new meeting with the world of Onegin, she gets acquainted with the details of his life from the story of the housekeeper Anisya (stanzas XVII-XVIII). The most important for revealing the secret of Onegin’s soul is the XIX stanza, which describes the “fashionable cell” - Onegin’s room.

Onegin's album and the composition of the library were supposed to reveal to Tatyana an unexpected, especially after the murder of Lensky, image of the hero as a kind person who himself does not realize that he is kind. At the same time, the gap between Onegin and the society around him had to open up before her.)

8. What new does she learn when she sees Byron’s portrait and “a column with a cast-iron doll // Under a hat with a cloudy brow, // With hands clenched in a cross”? Who is this? (This is Napoleon. Byron and Napoleon are the favorite heroes of romantic youth of the first third of the 19th century. Thus, Pushkin in the poem “To the Sea” calls them “the rulers of our thoughts,” and Tatyana for the first time encounters a new side of life for herself - the philosophy and practice of individualism. )

A day later, early in the morning, in a silent office, Tatyana began reading books.

Through the books, through the sharp pencil marks in the margins of the books, Tatiana’s loving heart seeks and finds the answer to the painful question posed in the letter:
Who are you, my guardian angel,

Or the insidious tempter:

Resolve my doubts...
And little by little the secret of Onegin begins to be revealed to Tatyana, she finds in the books an image of a “modern man”
With his immoral soul,

Selfish and dry...

The word “parody” contains both a particle of truth - Tatyana grasped the danger emanating from individualism and heartless egoism - and a particle of the greatest misconception - after all, Onegin’s personality is hidden under a fashionable mask. To get rid of it, you need to go through suffering.

But then the fate of our heroine changes dramatically: by the decision of her mother and the advice of her neighbors, it was decided to take Tatyana to Moscow “to the brides fair.” For the heroine, this is the end of youth, freedom, and the collapse of hopes.

9. How is Moscow depicted in chapter seven? Compare it with Griboedov’s Moscow, depicted in “Woe from Wit.” (Analysis of stanza XIV and comparison of it with the images of “Woe from Wit.”)

So, the main thing in the seventh chapter is the stanzas about Moscow. It is no coincidence that the triple epigraph refers specifically to Moscow.

In the novel, Moscow is shown in two planes: a folk, heroic city, dearly loved by the author, and a lordly, Famusov Moscow, depicted satirically.

10. What does Tatyana find in this city? How does she feel here? (Analysis of stanzas LIII, LIV.)

a) Where did Onegin come from and what happened to him during his absence?

b) Has Tatyana changed during this time?

c) Was it possible for a happy reunion of Onegin and Tatyana?

LESSON 49

TATYANA AND ONEGIN IN THE EIGHTH CHAPTER.

PROBLEMS OF HAPPINESS IN THE NOVEL
And happiness was so possible

so close...

A.S. Pushkin. "Eugene Onegin"
DURING THE CLASSES
I. Conversation on the following issues:

Pushkin needed five stanzas to remember his whole life. There was youth - it was gone, there were friends - they were destroyed. But the memory of them remained, loyalty to the ideas for which they gave their lives and went to the Nerchinsk mines. The muse remains, it is unchanged, it will always remain pure and bright, it will help you live.)

2. Was Onegin in the first chapter a stranger to secular society? (No, “the world decided // That he is smart and very nice.”)

3. With the reappearance of Onegin, a whole series of questions arise. Where has he been for three years? (Excerpts from Onegin’s journey will answer the question of what cargo he arrived with in the fall of 1824. Route: Moscow - Nizhny Novgorod - Astrakhan - Caucasus - Crimea - Odessa... Onegin gets to know his homeland.)

4. Rumors about him begin (“he pretends to be an eccentric”). Why is the light wary of him? (In high society, it is not people who are familiar, but “decorously pulled masks.” Those who are not like them are strange, incomprehensible.)

5. What advice do the representatives of the world give to Onegin? (They advise Onegin to be a “kind fellow” like everyone else.)

6. Why did Onegin, like Chatsky, get from the ship to the ball? (A deep inner life appeared in him, which was not there before, and an irreconcilable hostility towards society arose.)

7. And now a new meeting of heroes takes place. Tatyana appears, and Onegin recognizes her and does not recognize her. As Pushkin describes, what Tatyana was not, what did she do without? How does she stand out from secular society? (Simplicity and naturalness.)

8. Why is chapter eight the most controversial and interpretable? (Pushkin does not provide a psychological justification for events, actions, facts.)

9. Why is Onegin, who did not fall in love with Tatiana in the village, now overwhelmed by such an all-consuming passion? (the heroes have changed, the updated Onegin can now appreciate the full depth of Tatyana’s soul.)

10. What has changed in Tatyana? (She learned to “control herself,” as Eugene once advised her.)

11. How does Onegin feel when he sees Tatyana?

12. Was it possible for a happy reunion of Onegin and Tatiana?

The compositional scheme of the novel is simple. The main characters switch roles towards the end of the book.

HE doesn't notice HER SHE doesn't notice HIM

SHE writes HIM a letter HE writes HER letters

listens to HIS confession listens to HER sermon

At the end of the novel, both main characters deserve the sympathy of the readers. If one of them could be called “negative,” then the novel would not have a truly tragic sound. Love for an unworthy being can give rise to very sad situations, but it does not become such a source of tragedy as the mutual love of two people worthy of happiness when this happiness is completely impossible.

Onegin at the end of the novel is not a romantic “demon” with a prematurely aged soul. He is full of thirst for happiness, love and the desire to fight for this happiness. His impulse is deeply justified and evokes reader sympathy. But Tatyana is a person of a different type: she tends to give up happiness in the name of higher moral values. Her spirituality is full of true spiritual beauty, which both the author and readers admire. It is precisely the fact that both heroes, each in their own way, are worthy of happiness that makes the impossibility of happiness for them deeply tragic.
II. Homework.

Memorize an excerpt from a novel.

LESSON 50

FINAL LESSON ON THE NOVEL “EUGENE ONEGIN”.

PREPARATION FOR AN ESSAY
The longed-for moment has come: my long-term work is over.

Why is this incomprehensible sadness secretly disturbing me?

Or, having accomplished my feat, I stand like an unnecessary day laborer,

The one who accepted his own pay and is alien to the work of another?

A.S. Pushkin
DURING THE CLASSES
I. Conversation on the following issues:

1. The poem included in the epigraph, A.S. Pushkin wrote after finishing the greatest work of his life - the novel “Eugene Onegin”. What feelings overcome the poet who has completed his work? (Another secret of creativity is hidden here: the artist dreams of finishing his work, of its completion, and, having completed it, experiences a feeling of loss.)

2. Is it possible, after reading the novel “Eugene Onegin,” to learn about the fate of the author and read this novel as a novel about Pushkin?

3. Reading memorized passages from the novel.

4. What is the Onegin stanza?
II. Teacher's word 1 .

Pushkin used a mysterious expression in the novel - “magic crystal”. It is possible that this refers to a transparent gemstone or glass ball that was used for fortune telling. But this expression can also be applied to a stanza of a novel. It is not for nothing that the poet Nikolai Gumilyov, while a student at the Tsarskoye Selo gymnasium, during the final exam was asked the question “What is remarkable about Pushkin’s poetry?” - answered: “Crystalline.” Onegin's stanza, its structure, indeed resembles a crystal, created according to strict laws.

There are fourteen verses in a complete stanza, constructed in iambic rhythm; the first four have a cross rhyme, the next four have a paired rhyme, another four have an encircling rhyme, the last two have a paired rhyme again. This variety and at the same time clarity enhances the impression of relaxed speech. An illusion arises that poems created according to the laws of high art are completely natural, even simple, and could express the thoughts and moods of everyone.
III. Test on the novel "Eugene Onegin" 2 . Students can choose not one, but two or three answer options.

1. “Eugene Onegin” - work

a) realistic,

b) romantic,

c) combines the features of both methods.

2. Evgeny Onegin is a hero

a) positive

b) negative,

c) it is impossible to say unambiguously.

3. How does Pushkin himself determine the genre uniqueness of the work?

a) “the distance of a free novel”,

b) “a collection of motley chapters”,

c) both so and so.

4. Whose portrait hung in Onegin’s village office?

a) Alexander I,

b) Napoleon,

c) Byron.

5. What is the significance of the image of Onegin appearing to Tatyana in a dream?

a) embodies her idea of ​​Onegin as a demonic hero,

b) predicts the death of Lensky at the hands of Onegin,

6. Why does Tatyana refuse Onegin at the end of the novel, although she continues to love him?

a) to punish him for his cruel coldness,

b) because from the point of view of her morality the bonds of sacred marriage are inviolable,

c) because she cannot and does not want to build her happiness on the misfortune of another person

7. Do you think Onegin’s feeling of love for Tatyana and his rebirth are sincere?

a) yes, because he is seriously suffering,

b) no, because he was not attracted to the “humble girl”, but only to the brilliant lady,

c) Onegin’s feelings are half sincerity and love, and half vanity.

8. Which problem was more important for Pushkin in the novel?

a) the problem of social freedom,

b) the problem of educating noble youth, political issues.

9. Why does Pushkin introduce a mirror composition into the novel (two loves, two letters, two rebuke, etc.)?

a) to humiliate Onegin and elevate Tatyana,

b) to show that all people are subject to the same psychological laws,

c) to show the moral and spiritual revival of Onegin.

10. How did Onegin’s reading circle and Tatiana’s reading circle differ?

b) Tatyana read sentimentalist writers, and Onegin read romantic writers,

c) Tatyana read love literature, Onegin read philosophical literature.

11. Why does Pushkin’s novel continue to remain relevant?

a) because it reflects the characteristic features of its era,

b) because it allows for different interpretations of its meaning,

c) because it poses universal human problems that are relevant in all centuries.

Prepare for a test essay on the novel “Eugene Onegin.”

LESSONS 51-52

TEST ESSAY ON A NOVEL

A.S. PUSHKIN “EVGENY ONEGIN”
1. Society in the life of Onegin, Tatiana and the author.

4. The theme of the meaning of life and the purpose of man in the novel “Eugene Onegin”.

5. The criterion of personal value in the understanding of the author of the novel “Eugene Onegin”.

7. The idea of ​​the test and its embodiment in the novel “Eugene Onegin”.

8. Onegin as “a type of Russian wanderer”, “a restless dreamer for life” (F.M. Dostoevsky).

9. What is the meaning of the “mirror” composition of the novel “Eugene Onegin”?
Homework.

1. Individual task - prepare a message on the topic: “The life and fate of M.Yu. Lermontov" (on card 30).

2. Prepare M.Yu.’s favorite poems for expressive reading. Lermontov.

Card 30

Life and fate of M.Yu. Lermontov 1

M.Yu. Lermontov was born on October 3, 1814 in Moscow. He spent his childhood on the Tarkhany estate, located in the Penza province and owned by the poet’s maternal grandmother Elizaveta Alekseevna Arsenyeva. She was smart, educated, power-hungry, she loved her grandson madly, and Lermontov responded to her with great sincere love.

Father - Yuri Petrovich Lermontov - held the rank of captain. He came from an old Scottish family.

Mother - Marya Mikhailovna - came from an old and rich family of Stolypins.

Elizaveta Alekseevna was dissatisfied with her daughter’s choice, and quarrels began to arise between Lermontov’s parents. In 1817, Lermontov’s mother died, Yuri Petrovich went to his Tula estate, and Mikhail Yuryevich remained with his grandmother. Elizaveta Alekseevna did everything to separate father and son. She gave Yuri Petrovich money and made him promise not to demand her son. If the conditions were violated, the grandmother threatened to deprive her grandson of his inheritance.

Lermontov grew up as a sickly child, and Elizaveta Alekseevna took him to the Caucasian waters, which completely healed the boy.

The grandmother managed to give her grandson an excellent education at home; he became fluent in French and German and prepared to enter the Moscow University Noble Boarding School, where he was enrolled in the fourth grade on September 1, 1828.

Lermontov studied diligently. Leaving the boarding school in 1830, he immediately entered Moscow University.

In 1832, due to participation in the “Malov story” (a revolt of students against the mediocre teacher Malov) and friction with professors, Lermontov was forced to leave the university and move to St. Petersburg, where he entered the School of Guards Ensigns and Cavalry Junkers. After graduating from the School in 1834, M.Yu. Lermontov was promoted to cornet of the Life Guards Hussar Regiment. In the winter of 1837, responding to the death of A.S. Pushkina, M.Yu. Lermontov wrote the poem “The Death of a Poet,” which instantly spread throughout St. Petersburg.

The 16 lines soon added to it (starting with the words “And you, arrogant descendants ...”) caused the displeasure of the royal court, the arrest and exile of the poet to the Caucasus, under the bullets of the highlanders.

In the spring of 1838, thanks to the efforts of his grandmother, Lermontov was returned to the guard, to the same Life Guards Hussar Regiment from which he had gone into exile.

In St. Petersburg, Lermontov was immediately accepted into secular society, met V.A. Zhukovsky, P.A. Vyazemsky, P.A. Pletnev, V.F. Odoevsky - writers of Pushkin's circle.

Social life, full of balls, holidays and receptions, continued until 1840. At a ball at Countess Laval, the son of the French ambassador, Ernest de Barant, became jealous of M.Yu. Lermontov to the beautiful Princess M.A. Shcherbatova. Both Lermontov and E. de Barant were fond of her, and the beauty, according to contemporaries, gave “too obvious preference” to Lermontov.

A duel took place, ending in complete reconciliation, but the matter received publicity. E. de Barant left for his homeland. The poet was again sent to the Caucasus, to join the active army.

While fighting in Chechnya, Lermontov proved himself to be a courageous officer, for which he was awarded a golden saber with the inscription “For bravery.”

In the winter of 1840, having heeded the incessant requests and petitions of Lermontov’s grandmother, the emperor allowed him to take a vacation for two months and go to St. Petersburg. In April 1841, after unsuccessful attempts to resign, M.Yu. Lermontov was forced to return to the Caucasus.

On July 13, 1841 in Pyatigorsk in the Verzilins’ house at a regular ball Lermontov and his friend L.S. Pushkin was in a cheerful mood; they made funny, but not evil, jokes. Then they saw N.S. Martynov, Lermontov’s classmate at the School of Guards Ensigns, in highland attire: in a burka and with a large dagger. Lermontov joked loudly about this. Martynov approached him and said restrainedly: “How many times have I asked you to leave your jokes in front of the ladies.” An argument ensued, ending with a challenge to a duel. Lermontov accepted the challenge.

Proof that Lermontov considered the quarrel insignificant, and reconciliation necessary and possible, is the fact that he, who shot first, fired a shot into the air. Martynov decided to kill Lermontov.

The duel took place on July 15, 1841. The poet was killed. His grandmother turned to Nicholas I with a request to transport the body of her grandson from Pyatigorsk to Tarkhany. The poet's ashes were buried in the Arsenyev family crypt in Tarkhany, where he still rests.

LESSON 53

M.Yu. LERMONTOV. FATE AND PERSONALITY OF THE POET.

LERMONTOV'S TIME
...I will not leave my brother in peace,

And embraced by darkness in the cold

My soul is tired;

Like an early fruit, deprived of juice,

She withered in the storms of doom

Under the sultry sun of existence.

M.Yu. Lermontov
DURING THE CLASSES
I. The teacher's word.

Life, fate of M.Yu. Lermontov are like a bright comet that momentarily illuminated the horizon of Russian spiritual life in the thirties. Everywhere where this amazing man appeared, exclamations of admiration and curses were heard. The jewelery perfection of his poems amazed both the grandeur of the plan and the invincible skepticism and power of denial.

Destiny M.Yu. Lermontov and his work are closely interconnected, which left its mark on the image of his lyrical hero.

The lyrical hero is a kind of artistic double of the author-poet, acting as a person endowed with personal destiny, psychological clarity of the inner world, and sometimes with features of plastic certainty (appearance, habits, posture).

For the reader's consciousness, the lyrical hero is the legendary truth about the poet, a legend about himself, bequeathed by the poet to the world.

1. Remember the previously studied works of M.Yu. Lermontov: “Sail”, “Angel”, “Prayer”, “Blue Mountains of the Caucasus”, “Stone Knight”, “Mtsyri”, “Borodino”. (Those who wish can read one of the poems or an excerpt from the poem by heart.) How do you see the lyrical hero M.Yu. Lermontov?

Creativity M.Yu. Lermontov is conventionally divided into two periods:

1. before 1837 - early period;

2. 1837-1841 - mature period.

The lyrical hero of early Lermontov is a poet, the son of fate with the burden of tragic memories, with the “stamp of passions” on his forehead, an eternal wanderer, “a friend of freedom,” “a son of nature,” but also a disappointed demon, characterized by solitary self-knowledge.

The lyrical hero of early Lermontov is a romantic. In him lives the “desire for bliss,” the image of a heavenly-earthly, perfect world inhabited by “the purest, best creatures,” and the desire to immerse himself in this world.

The lyrical hero of the later Lermontov retained for himself - in the form of meaningful hints and allegories - a personal backstory, that burden of the past that gives the right to judge the diseases of the century from the inside, from his own catastrophic experience. His “powerful and proud spirit” (Belinsky) sounds beyond what he has experienced, beyond the vicissitudes of his own fate.
2. What are the motives of Lermontov’s lyrics?

Teacher's word 2

A motif is a stable semantic element of a literary text, repeated within a number of literary and artistic works. Lyrical themes characteristic of a poet are also called motives.

Isolation and analysis of poetic motifs are important as a way of understanding the artistic thinking and consciousness of the poet.

In the lyrics of M.Yu. Lermontov, the following motives are clearly visible:

1) freedom and will are the central motive that determines the rebellious pathos of M.Yu.’s poetry. Lermontov;

2) action and feat are supporting motives, action is the basis of human existence. A feat is the mark that he must leave in life;

3) loneliness is the motive and main theme of creativity;

4) wandering. This motive is due to the hero’s homelessness in the world of established, but already discredited values. Lermontov's wanderer knows no hope of return, his road is endless. And even death is only a continuation of the earthly path. The spiritual world of a wanderer is a world of farewells and memories;

5) exile. The exile is cursed, doomed to wander. But at the same time, this curse is a sign of being chosen in relation to the “crowd”, to “others”;

6) Homeland;

7) memory and oblivion;

9) revenge;

11) earth and sky;

12) sleep;

14) time and eternity;

15) love;

16) death.

3. Which of the following motives dominate? To answer this question, first write down the following information from the Lermontov Encyclopedia on the board:

The word “god” appears on the pages of the works of M.Yu. Lermontov 589 times, “memory” - 72, “magic” - 64, “thunderstorm” - 65, “formidable” - 85, “evil” - 136, “villain” - 92, “play” - 183, “seem” - 336, “stone” - 142, “cross” - 92, “moon” - 135, “dream” - 194, “minute” - 333, “moment” - 121, “hope” - 263, “grave” - 144, “in vain” - 134, “heavenly” - 95, “sky” - 415, “earth” - 385, “no” - 1006, “night” - 328, “night” - 122, “deceive” - 129, “one " - 1472, "paradise" - 127, "rock" - 164, "sleep" - 277, "love" - ​​605, "suffering" - 149, "suffer" - 81, "lie" - 60, "death" - 273.

Page 17 page 18

Lesson 34

Target: determine the role of the author in the novel, the role of lyrical digressions, the author’s attitude towards the characters

Tasks from the perspective of UUD :

1. Subject.Know: plot and content of the novel; Theorhetico-literary conceptsauthor, li ric hero, lyrical digressions. Understand: meaning of lyrical indentationlaziness in revealing the idea of ​​the novel; the role of images of nature, fine artpositive means in lyrical digressionsnikah; the author's attitude towards the characters; meaningepigraphs to the novel and to individual chapters.Be able to: trace the development of the author’s image in the novel; read the lyrics expressivelylogical digressions by heart

2. Meta-subject: Understand the learning task. Solve a learning task independently, under the guidance of a teacher. Perceive the educational task, control your actions in the process of its implementation.

3. Personal: Show interest in acquiring and expanding knowledge and ways of acting. Accept the student’s internal position at the level of a positive attitude towards the lesson.

During the classes.

Checking d/z.

Tatiana's letter to Onegin

Updating students' basic knowledge

1) Test on the novel “Eugene Onegin” .

1. “Eugene Onegin” - work

a) realistic,

b) romantic,

c) combines the features of both methods.

2. Evgeny Onegin is a hero

a) positive

b) negative,

c) it is impossible to say unambiguously.

3. How does Pushkin himself determine the genre uniqueness of the work?

a) “the distance of a free novel”,

b) “a collection of motley chapters”,

c) both so and so.

4. Whose portrait hung in Onegin’s village office?

a) Alexander I,

b) Napoleon,

c) Byron.

5. What is the significance of the image of Onegin appearing to Tatyana in a dream?

a) embodies her idea of ​​Onegin as a demonic hero,

b) predicts the death of Lensky at the hands of Onegin,

6. Why does Tatyana refuse Onegin at the end of the novel, although she continues to love him?

a) to punish him for his cruel coldness,

b) because from the point of view of her morality the bonds of sacred marriage are inviolable,

c) because she cannot and does not want to build her happiness on the misfortune of another person

7. Do you think Onegin’s feeling of love for Tatyana and his rebirth are sincere?

a) yes, because he is seriously suffering,

b) no, because he was not attracted to the “humble girl”, but only to the brilliant lady,

c) Onegin’s feelings are half sincerity and love, and half vanity.

8. Which problem was more important for Pushkin in the novel?

a) the problem of social freedom,

b) the problem of educating noble youth, political issues.

9. Why does Pushkin introduce a mirror composition into the novel (two loves, two letters, two rebuke, etc.)?

a) to humiliate Onegin and elevate Tatyana,

b) to show that all people are subject to the same psychological laws,

c) to show the moral and spiritual revival of Onegin.

10. How did Onegin’s reading circle and Tatiana’s reading circle differ?

b) Tatyana read sentimentalist writers, and Onegin read romantic writers,

c) Tatyana read love literature, Onegin read philosophical literature.

11. Why does Pushkin’s novel continue to remain relevant?

a) because it reflects the characteristic features of its era,

b) because it allows for different interpretations of its meaning,

c) because it poses universal human problems that are relevant in all centuries.

Answers: 1 a. 2 c. 3 c. 4 c.5 a, b. 6 b, c. 7 a, c. 8 b. 9 b, c. 10 b, c. 11 c, b.

2 Conversation on issues:

1. What facts of the author’s biography are discussed at the beginning of the eighth chapter? (It tells about the lyceum, exile, the Caucasus, Crimea, Moldova are remembered, but most importantly, the inner world, the movement of creative thought, the development of the author’s soul are revealed.

Pushkin needed five stanzas to remember his whole life. There was youth - it was gone, there were friends - they were destroyed. But the memory of them remained, loyalty to the ideas for which they gave their lives and went to the Nerchinsk mines. The muse remains, it is unchanged, it will always remain pure and bright, it will help you live.)

2. Was Onegin in the first chapter a stranger to secular society? (No, “the world decided // That he is smart and very nice.”)

3. With the reappearance of Onegin, a whole series of questions arise. Where has he been for three years? (Excerpts from Onegin’s journey will answer the question of what cargo he arrived with in the fall of 1824. Route: Moscow - Nizhny Novgorod - Astrakhan - Caucasus - Crimea - Odessa... Onegin gets to know his homeland.)

4. Rumors about him begin (“he pretends to be an eccentric”). Why is the light wary of him? (In high society, it is not people who are familiar, but “decorously pulled masks.” Those who are not like them are strange, incomprehensible.)

5. What advice do the representatives of the world give to Onegin? (They advise Onegin to be a “kind fellow” like everyone else.)

6. Why did Onegin, like Chatsky, get from the ship to the ball? (A deep inner life appeared in him, which was not there before, and an irreconcilable hostility towards society arose.)

7. And now a new meeting of heroes takes place. Tatyana appears, and Onegin recognizes her and does not recognize her. As Pushkin describes, what Tatyana was not, what did she do without? How does she stand out from secular society? (Simplicity and naturalness.)

8. Why is chapter eight the most controversial and interpretable? (Pushkin does not provide a psychological justification for events, actions, facts.)

9. Why is Onegin, who did not fall in love with Tatiana in the village, now overwhelmed by such an all-consuming passion? (the heroes have changed, the updated Onegin can now appreciate the full depth of Tatyana’s soul.)

10. What has changed in Tatyana? (She learned to “control herself,” as Eugene once advised her.)

11. How does Onegin feel when he sees Tatyana?

12. Was it possible for a happy reunion of Onegin and Tatiana?

Work on the topic of the lesson.

1. Teacher's word .

Try to imagine his appearance. Nothing will appear in front of you except a white spot. We know a lot about the Author - about his fate and spiritual world, about literary views, even about the wines that he loves. But the Author in “Eugene Onegin” is a man without a face, without appearance, without a name.

The author is the narrator and at the same time the “hero” of the novel. The Author reflects the personality of the creator of “Eugene Onegin”. Pushkin gave him much of what he experienced, felt and changed his mind. However, identifying the Author with Pushkin is a grave mistake. It must be remembered that the Author is an artistic image. The relationship between the Author and Pushkin, the creator of the novel, is exactly the same as between the image of any person whose “biography” partially coincides with Pushkin’s real biography, and whose spiritual world and view of literature are a reflection of Pushkin’s.

Why does the Author always think about love and friendship, and takes Onegin through the crucible of both feelings? (Love and friendship for Pushkin are two things on which a person is tested; they reveal the richness of the soul or its emptiness).

Is it only from the characteristics of the Author that we can characterize the heroes?

2.Working with the reference diagram.

The main character is the narrator =

Onegin's satellite

The antipode of Lensky the poet, defender of “Tatyana dear”

Lyrical digressions are an integral part of the plot.

The image of the narrator pushes the boundaries of the conflict - the novel includes Russian life of that time in all its manifestations.

Despite the clarity of the composition, it seems that the author treats it lightly and carelessly - the poet skips events in the hero’s life, lines, stanzas, omits an entire chapter (“Onegin’s Journey”), and leaves the denouement open. All this corresponds to the principles of late lyricism. Pushkin asserts copyright on the arbitrary construction of a “free” novel.

v. Author in the system of artistic images of A. S. Pushkin’s novel “Eugene Onegin”

Author in the system of artistic images of A. S. Pushkin's novel "Eugene Onegin"In Russian literature, the originality of the genre often determined the originality of the meaning. "Eugene Onegin" is like a prose novel: it has a plot, a hero, a heroine and a love conflict. At the same time this in verse, "free novel". The epic beginning in "Eugene Onegin" is represented by the characters and their relationships, and the lyrical beginning is represented by the image of the author.

This allows Pushkin to connect distant phenomena of life, events, concepts and depict life more broadly than in a prose novel. What place does the image of the author occupy among other images of the novel? First of all, let’s take a closer look at the main characters of “Eugene Onegin”: what ideas about life, about the world they carry within themselves, and how their worldview differs from the author’s worldview. The main character of the novel is . The entire first chapter is devoted to his characterization.

The author talks about the childhood of the “young rake”, about his youth. Onegin is revealed to us as a “typical representative” of the big world, differing from his peers only in that “his feelings cooled down early.”

Already in the first and second chapters the narrator’s attitude towards Onegin is clearly and comprehensively shown. On the one hand, the author “liked his features, involuntary devotion to dreams, inimitable strangeness and sharp, chilled mind.” However, here the line that separates Onegin and the author is already outlined: firstly, the hero does not have that subtle sensitivity to the poetic aspects of life that is characteristic of the narrator. Their views on many areas of Russian life at that time were different: theater, balls, the village. Here is Onegin’s attitude towards rural nature: For two days the new, secluded fields seemed to him...

On the third grove, hill and field He was no longer interested... And here is what the author says about the village: I was born for a peaceful life, For village silence; In the wilderness, a peaceful voice is louder, Creative dreams are more vivid. The attitude of Pushkin and Onegin to love and friendship is also different. Gradually, the discrepancy between the hero and the author will only deepen and will most fully manifest itself in their different perceptions of the poetic nature of Tatyana, the second main character of the novel.

The plot of the novel will develop in such a way that Onegin will kill his friend in a duel and live until he is twenty-six “without a goal, without work.” The hero, trying to get rid of the suffering caused by the death of Lensky, will go wandering around Russia and finally return to St. Petersburg even more devastated and alone. This is how he appears before us in the eighth chapter. The author’s favorite heroine is Tatyana.

She is not like her provincial surroundings, this is obvious, and this is why the heroine is close to the author. She has a lot in common with the narrator: her attitude to love, to friendship, to life. Pushkin endowed her with a desire for sustainability.

She chooses the only value as support in life - , and if she fails to build a life on a sentimentalist idea of ​​the world, then tragedy awaits the heroine. There is another hero in the novel - Lensky. In his worldview, he is close to Tatyana. Both have a romantic soul, they both believe in love and friendship.

If we compare Onegin and Lensky, it becomes obvious that they oppose each other in their perception of life, in relation to it: one is a romantic, idealizing life, the other is a cold skeptic, doubting the value of life. The author likes the young poet, but his sincerity, genuine feelings and naivety still make him smile. Even when calling him a poet, the author does not mean a person who writes poetry, he puts another meaning into this word: a person with a poetic soul, prone to romantic dreams. Lensky “personified a special state of mind” characteristic of youth. He passes away as naturally as this wonderful time passes away from a person’s life.

The author “takes” the young poet out of life because he is interesting and dear to him, first of all, for his state of mind and youthful sublimity. But this state does not last forever. In the system of images of the novel there is only one “harmonious” person - the author.

He is able to overcome the romantic isolation with which Lensky surrounded himself, and the sentimentalist ideas about the world that Tatyana lives with, and the doubts that lead Onegin through his life. V. G. Belinsky called the novel “one of the most tragic works of Russian literature.” Why don't we perceive him this way? It seems that thanks to the image of the author, who, following the heroes, is able to resolve all contradictions and find a way out of any situation.

Why? Because he is a poet. The author does not run away from reality, but finds beauty and joy in life itself. Life flows, continues, and it is beautiful - this is what Pushkin leads us to.

iV . Bottom line. Reflection Conclusion:

What new things have you learned about the characters in the novel?

What features of Pushkin’s biography are reflected in the lyrical digressions?

- What is their compositional role?

The author appears in the novel in several “roles”: both as the hero of the novel, and as a narrator, and as a lyrical hero expressing his feelings and experiences. In lyrical digressions, Pushkin defines the criteria for the value of the human personality and tries to attract the reader to the discussion of eternal, universal human problems. This is a philosophical attitude towards life, death and immortality, towards the eternal movement of time and the transience of human life, it is thoughts about a person’s connections with the people around him, about creativity, talent, abilities, about the attitude towards the Motherland. The image of the author in the novel unites pictures of Russian life, and he is the connecting link in the “encyclopedia of Russian life.”

Takes part in the fate of the heroes.

Shares your thoughts and feelings with the reader.

Talks about the morals of society.

V . D/z. The role of lyrical digressions in the novel

Practical work on the analysis of lyrical digressions is organized in groups.

General question:

Group 1. On poetry and the concept of the novel (chapter I, pp. LVII-LX).

Group 2. On death and immortality (chapter II, pp. XXXVIII-XL).

Group 3. About the Russian language and women's education

(Chapter III, pp. XXVII-XXX).

Group 4. About a person’s relationships with friends and relatives

and women (chap. IV, pp. XVIII-XXII).

Group 5. About the eternal movement of time and the transience of human life (chapter VI, pp. XLIII-XLVI).

Group 6. About the Motherland and Moscow (chapter VII, pp. XXXIII-XXXVIII).

Group 7. About the muse and the fate of the poet (chapter VIII, pp. I-VI).

Group 8. About the meaning of life (chapter VIII, pp. IX-XII).

Group 9. About readers and the ending of the novel (chap. VIII, pp. XLIX-LI).

Plan for analyzing lyrical digressions

1. Cultural and historical commentary.

2. General theme and central problem.

3. Place in the composition of the chapter and the novel as a whole.

6. Language and style features.

Group reports on the results of mini-studies.

Lesson for 9th grade . Analysis of Chapter 6. Duel.

Goals:

1) continuation of work on the novel, analysis of chapter 6;

2) expanding general cultural horizons, improving skills of independent work with information, developing monologue speech; 3) nurturing a love of classical literature, interest in project activities, and the formation of the moral foundations of a high school student’s personality.

Problematic question:“Is Onegin a cold-blooded killer of Lensky or a victim of circumstances?”

During the classes.

1. Test work (7 minutes)
2. Conversation on chapter 5.

What is the calendar time of the novel? Look at the beginning of chapter five for an indication of the exact dates. For what purpose does the author do this, do you think?

What new aspects of Tatyana’s character are revealed to us in the fifth chapter? What makes her similar to serfs? How does Pushkin justify the epithet “Russian soul”?

Why do you think Pushkin conveys Tvtyana’s dream in such detail? (Chapter 5 is central, turning point, the dream predicts the tragic fate of the heroes)

How does Pushkin depict Tatyana’s condition at the holiday? What images and dream plots will come true on Tatyana’s name day?

How could Onegin feel when he got to this “huge feast”? What caused his irritation and dissatisfaction? To whom is his anger directed? What did he do?

What did Lensky feel when he saw Onegin play with Olga? Why is Olga behaving this way? Whose experiences concern the author and why?

III. The teacher's word.

The epigraph of the sixth chapter prepares the death of Lensky. The epigraph-epitaph that opens the sixth chapter of the novel is “Where the days are cloudy and short, a tribe will be born that does not hurt to die,”

In Russian classical literature, a duel often becomes a means of characterizing a hero. Let us remember the stories “The Shot” and “The Captain’s Daughter”. This is no coincidence. The duel was a very characteristic phenomenon in the life of the Russian nobility.

In 1837, a shot was fired on the Black River. A.S. Pushkin died in a duel from Dantes’ bullet. A warm response to this tragedy was the poem by M.Yu. Lermontov "Death of a Poet". Denouncing the poet’s killers, Lermontov recalls the death of Pushkin’s hero, Vladimir Lensky, who, like Pushkin, was struck down by a “merciless hand”:

And he is killed - and taken by the grave,

Like that singer, unknown but sweet,

The prey of deaf jealousy,

Sung by him with such wondrous power,

Struck down, like him, by a merciless hand.

We see that even Pushkin’s contemporaries were not unanimous in their assessment of the main character of the novel, Eugene Onegin.

Was the hero really a ruthless, selfish, cold-blooded killer of an “unknown but sweet singer”? We will answer this question today in the lesson, the topic of which is “Onegin - a cold-blooded killer of Lensky or a victim of circumstances?”

A duel is a duel, a doubles fight, taking place according to certain rules. The purpose of the duel is to restore honor, to remove from the offended person the shame caused by the insult. The word duel itself is translated from Latin as war.

The ideal of the Russian nobility 18 - early. 19th centuries there was a complete banishment of fear and the establishment of honor as the basis of nobleman behavior. Of course, courage could be shown in war, but war did not happen every day, and in everyday life, courage was shown in a duel. The danger of coming face to face with death removed the insult from the offended person.

The duel took place according to certain rules, tell us about them.

The rules were unwritten, because... By law, a duel was prohibited. They were kept by living bearers of traditions, experts in dueling.

"Progress of the duel":

1. Collision.

2. Discussion of the upcoming duel with a second.

3.Challenge (cartel).

4. Negotiations between seconds.

What was the role of the seconds?

The seconds had to make every effort to reconcile the opponents.

What did the offended person usually discuss with his second?

How significant an insult was caused. In the event of a minor insult, it was necessary to demonstrate fearlessness and readiness to fight. A more serious insult should be washed away with blood; the duel ended after the first wound, whose, it did not matter. Finally, the offended person could evaluate the insult as mortal; in this case, the duel could only end in the death of one of its participants.

How was the degree of insult determined?

Everything was determined by unwritten laws and public opinion. A person who easily agrees to reconciliation could be considered a coward, and someone who is too bloodthirsty could be considered a brute.

A duel is a duel, a way of defending personal honor - an armed struggle between two opponents upon the challenge of one of them, in the presence of seconds.

Cartel - a letter challenging a duel.

A second is an intermediary accompanying each of the participants in the duel, its witness.

Barrier - the minimum distance between opponents to which they converge.

- What are the reasons for the duel between Lensky and Onegin? (Chapter 5)

At Tatiana’s name day, Onegin, seeing her confusion, only became embittered: after all, the tears of a girl in love could disturb his calm! The hero is concerned only with his feelings. Before us is a cold, selfish person.

He is looking for the culprit:

He pouted and, indignantly,

swore to enrage Lensky

And take some revenge.

After all, it was Lensky who invited him to the Larins. It was not difficult to enrage Lensky. Olga is a coquette, a flighty child, willingly accepting signs of attention.

Offended Lensky leaves the Larins' house, now only a duel:

A couple of pistols

two bullets - nothing more -

suddenly his fate will be resolved.

By the way, Pushkin’s contemporaries believed that there was no reason to challenge

Lensky was not there.

In the morning, seeing Olga, Vladimir realized that he was still loved! "He's happy, he's almost healthy."

Olga did not feel the state of mind of her lover, did not see the melancholy and anxiety in his eyes. Now, if Tatyana knew about the upcoming duel...

The young man understands that he got excited, but there is no turning back. The romantic poet tries to convince himself that he must protect Olga from the insidious tempter - Onegin.

Expressive reading XVII (chapter 6)

Noticing that Vladimir has disappeared, Evgeniy is quite satisfied with his revenge and is bored again. The next morning Zaretsky with a note from the poet. It was a challenge, a cartel. Onegin’s answer is laconic: “Always ready!”

But what happens in the hero’s soul! There is confusion in Onegin's soul. Perhaps for the first time in his life he thinks about responsibility for his actions, about the feelings of others.

Expressive Reading X (Ch. 6)

Could Onegin take a step towards reconciliation or abandon the duel?

No, it's too late now! Time has flown by. The use of perfective verbs emphasizes that the events have become fatal.The mechanism was launched. The duel, as we have already heard, represented a complete theatrical action and was played out according to a certain scenario. Like any harsh ritual, it deprived the participants of individual will.

What is Zaretsky's role in the novel?Expressive reading XI (chapter 6)

Not the least role in the duel was played by Zaretsky, “a classic and a pedant in duels.” He conducted the case with great omissions.

Did NOT make any attempt at reconciliation during the transfer of the cartel.

Did NOT meet with the second second on the eve of the fight.

He did NOT declare Onegin a no-show, although he was 2 hours late.

He did not react to the fact that the second second was Onegin’s servant.

He did NOT attempt to reconcile the opponents before the duel began.

Thus, we see that Zaretsky is interested in the most scandalous outcome of the duel.

No, for Zaretsky a duel is an opportunity to dispel boredom, to find himself in the center of gossip and gossip.

So, Zaretsky measured 32 steps with excellent accuracy. We see that the opponents are outwardly cold-blooded (this was required by the ritual). Everyone takes four and then five steps. Thus, the distance between them is approximatelyfourteen steps.Onegin, as he walks, before reaching the barrier, raises his pistol. Lensky does the same. It was at this moment that Onegin fired. Moreover, Pushkin does not use the word “aim.”

IV. Version one: Onegin is a cold-blooded killer, an egoist who longs for Lensky’s death.

Yesterday's friends avoid looking into each other's eyes. Their eyes would betray their own feelings. After all, quite recently “everything between them gave rise to disputes and led to reflection.”

Expressive reading XXVIII (chapter 6)

Version two: Lensky's death was a tragic accident.The first argument is being late. Onegin “left his bed when the sun was rolling high” and arrived at the place of the duel two hours late. What is this? The carelessness of a dandy? No, rather, he did not attach serious importance to the duel and was completely devoid of bloodthirsty intentions.

Evgeniy waited in vain for conciliatory steps from Zaretsky.It is significant that with the words: “What should we start?” he turns, contrary to all the rules, directly to Lensky, pointedly ignoring the experienced duelist. The author shows how Onegin, not respecting Zaretsky, in contradiction with himself, acts according to the scenario imposed on him by Zaretsky.

Onegin's behavior was determined by fluctuations between natural human feelings for Lensky and the fear of appearing funny or cowardly by violating the norms of behavior at the barrier.

Expressive reading XXX, XXXI (ch.6)

And I think that Onegin could have fired out of excitement and accidentally pulled the trigger. There were such cases too. After all, under the gunpoint of an enemy, in the face of death, a person’s behavior becomes unpredictable.

- With what means of artistic expression and with what feelings does Pushkin write about Lensky’s death?

Pushkin writes with undisguised regret about the death of Lensky. For a poet - a humanist, there is nothing more terrible - a person has died.

Expressive reading XXXIII (chapter 6)

Onegin's reaction to Lensky's death is also very revealing. Seeing a defeated friend, the hero does not control himself. His equanimity and composure turn into a deadly cold of horror in front of what happened, in front of himself.

V.Which of the two versions seems most likely to you?

VI. D\Z: Chapter 7.

Tatiana in Onegin's house. What does this episode (XY-XXY) provide for revealing the images of Onegin and Tatiana?

Chapter No. 7.

1. How does Pushkin convey in stanzas I-XIII of the 7th chapter a sad and pensive mood, what caused it?
2. Re-read stanzas XY-XXY (Tatyana in Onegin’s house. What does this episode do to reveal the images of Onegin and Tatiana? What impression did reading the books make on her?
3. Reproduce, using the text of chapter 7, Tatyana’s farewell to the village? Why does Pushkin hold our attention on this episode?
4. Find in the 7th chapter the lines depicting the Entry of the Larins into Moscow. What mood takes over the poet when he remembers the paintings of Moscow? Why do the words in the elegiac description sound so unexpectedly sharp?
5. How do Moscow nobles appear to us in the image of A.S. Pushkin? Compare them with Griboyedov’s characters. (stanzas XLV-LV)
6. How does Pushkin convey in Chapter 7 the bustling and rapid pace of life in Moscow? What does Tatyana find in this city? How does she feel here? (Analysis of stanzas XLVII-LIV.)

Chapter No. 8.

1. Analyze the lyrical digressions at the beginning of chapter 8. What facts of the author’s biography are discussed at the beginning of the eighth chapter? How does the poet's Muse appear before us?
2. How does Pushkin show the attitude of high society towards Onegin, who returned from his trip? Why is the light wary of him? What advice do the representatives of the world give to Onegin? Why does the poet take him under protection?
3. Where did Onegin come from and what happened to him during his absence? What did he see on his journey?
4. Re-read the new meeting of heroes (Stanza XIY-XXYIII) What impression did Tatyana make on Onegin? How does Pushkin prepare this impression? How does she stand out from secular society?
5. How does Onegin feel when he sees Tatiana?

How does Pushkin convey Onegin’s excitement at the first meeting, alone with Tatyana, while waiting for a new date, after an invitation to the evening?

1. What has changed in Tatyana? Are the old features still present in her? Prove it with the text of Chapter 8.
2. Compare how Pushkin depicts the feelings of Tatyana, who is in love with Onegin, and the experiences of Onegin, who is now loving Tatyana (chapters 3 and 8). Is it possible to compare these feelings in depth and sincerity? Why is Onegin, who did not fall in love with Tatiana in the village, now overwhelmed by such an all-consuming passion?
3. Re-read Onegin's letter. How does the hero appear before us in this message?
4. Re-read the scene of Tatyana’s explanation with Onegin (Chapter 8). What feelings do the characters have? Was it possible that there was a happy reunion between Onegin and Tatiana?
5. How do you understand stanzas XLYIII-LI (the author’s farewell to the hero and the novel)?

The role of the epigraph to the fifth chapter is explained by Yu. M. Lotman in terms of setting the parallelism of the images of Svetlana Zhukovsky and Tatyana in order to identify the differences in their interpretation: “one focused on romantic fiction, games, the other on everyday and psychological reality.” In the poetic structure of Eugene Onegin, Tatiana’s dream sets a special metaphorical meaning for assessing the heroine’s inner world and the narrative itself. The author expands the space of the story to a mythopoetic allegory. Quoting Zhukovsky at the beginning of the fifth chapter - “Oh, you don’t know these terrible dreams, my Svetlana!” – clearly reveals the association with the work of his predecessor, prepares a dramatic plot. The poetic interpretation of the “wonderful dream” - a symbolic landscape, folklore emblems, open sentimentality - anticipates the tragic inevitability of the destruction of the world familiar to the heroine. The warning epigraph, carrying out a symbolic allegory, also depicts the rich spiritual content of the image. In the composition of the novel, based on the techniques of contrast and parallelism with mirror projections (Tatiana’s letter - Onegin’s letter; Tatiana’s explanation - Onegin’s explanation, etc.), there is no opposition to the heroine’s dream. The “awake” Onegin is set in the plane of real social existence, his nature is freed from the associative and poetic context. And on the contrary, the nature of Tatiana’s soul is infinitely diverse and poetic.

The epigraph of the sixth chapter prepares the death of Lensky. The epigraph-epitaph that opens the sixth chapter of the novel - “Where the days are cloudy and short, a tribe will be born that does not hurt to die” - brings the pathos of Petrarch’s “On the Life of Madonna Laura” into the plot of the romantic Vladimir Lensky, alien to Russian life, who created a different world in the soul, whose difference from those around him prepares the character’s tragedy. The motives of Petrarch’s poetry are necessary for the author to introduce the character to the philosophical tradition of accepting death developed by Western culture, which interrupts the short-term life mission of the “singer of love.” But Yu. M. Lotman also showed another meaning of this epigraph. Pushkin did not completely take the quote from Petrarch, but released a verse saying that the reason for the lack of fear of death is the innate belligerence of the tribe. With such an omission, the epigraph can also be applied to Onegin, who took equal risks in the duel. For the devastated Onegin, perhaps, it also “does not hurt to die.”