Description of life in Eugene Onegin. “Depiction of the life of society in the novel “Eugene Onegin”

Baiterikov Alexander

From the novel, one can indeed judge the era and study the life of Russia in the 10-20s of the 19th century. The poet gave us vivid pictures of the capital and provincial nobility.

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Municipal budgetary educational institution

"Popovskaya secondary school"

Bavlinsky municipal district

Republic of Tatarstan

RESEARCH

“Description of the life of nobles in the novel by A.S. Pushkin

"Eugene Onegin"

Nomination " Life and culture of Pushkin’s time"

Baiterikov Alexander

9th grade student at MBOU "Popovskaya Secondary School"

Supervisor

Tsareva Lyudmila Alexandrovna

Teacher of Russian language and literature

MBOU "Popovskaya Secondary School"

Popovka, 2013

1. Introduction.

“Eugene Onegin” - “encyclopedia of Russian life”

1. Main part

Chapter I. Eugene Onegin is a typical representative of the St. Petersburg nobility.

Chapter II. Moscow nobility in A.S. Pushkin’s novel “Eugene Onegin”

Chapter III. The spiritual world of provincial nobles in A.S. Pushkin’s novel “Eugene Onegin”

1. Conclusion

1. Literature

Introduction

“Eugene Onegin” - “encyclopedia of Russian life”

Great Pushkin!
It's so good that it's yours
wealth:
Your poems, poems and novels,
Your sonnets, odes, epigrams -
Everything that makes your art strong.

T.V. Rumyantseva

The novel “Eugene Onegin,” it seems to me, occupies a central place in Pushkin’s work. This is not only the largest work in size, but also the widest in its coverage of themes, characters, paintings, and places. The writer worked on it for more than eight years. For the breadth of the depiction of Russian life, for the depth of typical images and the richness of thoughts of V.G. Belinsky called it “an encyclopedia of Russian life.” From it, indeed, one can judge the era, study the life of Russia in the 10-20s of the 19th century. The poet gave us vivid pictures of the capital and provincial nobility.

In “Eugene Onegin” the heroes are given in their usual social environment; they live and act in the atmosphere of Russian reality of that time, in the circle of their relatives, in their society. Each of the heroes of this work has its own biography, its own psychology, its own habits, its own understanding of life. The novel gives a broad picture of the life of Russia at that time, the socio-political, economic and cultural situation of that era; we see vivid images and pictures of the life of the “high society” - St. Petersburg and Moscow - and the provincial nobility. The historical life of Russian society appears through the thoughts, feelings and actions of the heroes.

While working on the novel, Pushkin introduced details of his contemporary life into its text, directly following the course of reality itself.

The purpose of the research work is to analyze the depicted world of the novel from the point of view of the manifestation in it of the realities of culture and life of the Russian nobility of the Pushkin era.In accordance with the stated goal, I believe it is necessary to solve the following tasks: - to explore the life of noble society depicted in the novel;- consider the culture and life of the nobility at the beginning of the 19th century;- identify their significance for the concept of the novel and their role in the embodiment of artistic images of the work.

CHAPTER I.

Evgeny Onegin is a typical representative of the St. Petersburg nobility.

The author of the novel pays special attention to the St. Petersburg nobility, a typical representative of which is Eugene Onegin. The poet describes in every detail the day of his hero, and Onegin’s day is a typical day of a capital dandy. Thus, Pushkin recreates a picture of the life of the entire St. Petersburg secular society. The day of such people began long after noon. The right to get up as late as possible was a sign of aristocracy:

Sometimes he was still in bed:

They bring notes to him.

What? Invitations? Indeed,

Three houses are calling for the evening...

The morning toilet and breakfast were followed by a walk. The favorite place for festivities of St. Petersburg dandies is Nevsky Prospekt and the English Embankment of the Neva. And Onegin also walks along the “boulevard” at these hours:

Putting on a wide bolivar,
Onegin goes to the boulevard
And there he walks in the open space,
While the watchful Breget
Dinner won't ring his bell.

Onegin, like other young people of his circle, spends the afternoon in the theater. But he is not keen on art and goes there, rather, because of fashion and perceives the theater as a place where social meetings and love affairs take place:

Everything is clapping. Onegin enters

Walks between the chairs along the legs,

The double lorgnette, slanting, points

To the boxes of unknown ladies

...More cupids, devils, snakes

They jump and make noise on stage...

...And Onegin went out;

He goes home to get dressed. Onegin goes to the ball, where he spends the rest of his time. Onegin's Day ends. He goes home, but tomorrow the same day awaits him:

Sleeps peacefully in the blessed shade

Fun and luxury child.

Until the morning his life is ready,

Monotonous and colorful

And tomorrow is the same as yesterday.

From this passage we can see that the social life of the protagonist, filled with brilliance and luxury, is in fact empty and monotonous.

CHAPTER II.

Moscow nobility in the novel by A.S. Pushkin "Eugene Onegin"

The Moscow nobility, with which the author introduces us on the pages of his novel, seems simpler, more welcoming, more natural. But he speaks of him quite harshly, sharply and satirically, thereby giving very unflattering characteristics:

But no change is visible in them;
Everything about them is the same as the old model:
At Aunt Princess Elena's
Still the same tulle cap;
Everything is whitewashed Lukerya Lvovna,
Lyubov Petrovna lies all the same,
Ivan Petrovich is just as stupid
Semyon Petrovich is also stingy...

Young Moscow nobles primly and unfavorably perceive the provincial young lady: haughtily, carelessly and smugly “they look Tatyana up and down”, “they find her somehow strange, provincial and cutesy.” They interpret the girl’s simplicity, naturalness, spontaneity as a lack of upbringing, inability to behave in society, an inept desire to attract attention. However, society, recognizing Tatyana’s right to provincial oddity, accepts her into its circle.

The poet enthusiastically and sympathetically describes Moscow balls:

There is cramped space, excitement, heat,

Music roars, candles sparkle,

Flashing, whirlwind of fast steams

Light dressing for beauties...

He is fascinated by the abundance of light, loud music, beautiful outfits, and graceful movements of the dancers. The festive bustle, “noise, laughter, running, bowing, gallop, mazurka, waltz” attract Pushkin with its colorfulness and solemnity. Tatyana, who grew up in harmonious unity with nature, suffocates in this limited space; she “hates the excitement of the light”:

She's stuffy here... she's a dream

Strives for life in the field,

To the village, to the poor villagers,

To a secluded corner,

Where a bright stream flows,

I am to my flowers, to my novels.

In the living room everyone is occupied with “incoherent, vulgar nonsense”:

They slander even boringly;
In the barren dryness of speech,
Questions, gossip and news
Thoughts won’t flash for a whole day...

There is endless melancholy all around, and Moscow society is occupied by “talking about nothing.”

This means that lack of spirituality, the absence of any mental interests, and the stagnation of life of the Moscow nobles becomes their main characteristic.

CHAPTER III.

The spiritual world of provincial nobles.

A striking example of the small landed nobility is the family of Tatyana Larina, Onegin’s uncle and the guests at Tatyana’s name day. The Larin family is the environment in which Tatyana grew up, having absorbed all the kindness, simplicity, patriarchy and cordiality of local morals and way of life.

Tatyana’s father, “a kind fellow, but belated in the last century,” led a simple, philistine lifestyle, like that of his parents and grandfathers: “he ate and drank in a dressing gown; his life rolled on calmly; in the evening, sometimes a good family of neighbors, unceremonious friends, would come together to complain, and curse, and laugh about something.” He sincerely loved his wife, was indulgent to her whims, never read books, but did not interfere with his daughter’s passion; in general, “he was a simple and kind gentleman,” unencumbered by intelligence and education, and Lensky, “full of sincere sadness,” remembers with warmth about him.
Tatyana's mother experienced passionate love in her youth, but according to ancient custom, “without asking her advice, the girl was taken to the crown.” She was “eager and... I cried at first,” but “then I took up housekeeping, got used to it and became happy.” Her lifestyle is typical of a village landowner:

She went to work
I dried mushrooms for the winter,
She kept expenses, shaved her foreheads,
I went to the bathhouse on Saturdays,

She beat the maids in anger -
All this without asking my husband.

These were nice, hospitable people, completely satisfied with their position, not trying to comprehend the structure of the universe, but sincerely attached to each other, appreciating decency, simplicity, and kindness. Such villagers, like beautiful pictures of nature, attract the poet with their harmony and freedom. The main characters of the novel also fall under the charm of nature and the simplicity of human relationships, but they do not always have enough poetry and the ability to find beauty in the simple. Both Tatyana and Lensky, who grew up in the wilderness of the village, treated their neighboring landowners rather condescendingly and kindly, trying, however, to avoid communication with the narrow-minded, narrow-minded rural residents with their narrow outlook:

Their conversation is sensible
About haymaking, about wine,
About the kennel, about my relatives,
Of course, he didn’t shine with any feeling,
Not with poetic fire,
Neither sharpness nor intelligence...

In her prophetic dream, Tatyana sees herself at a demonic sabbath, among a noisy and cackling gang making terrible sounds: “barking, laughing, singing, whistling and clapping, people’s rumors and a horse’s tramp!” All this demonic, crazy evil spirits frighten with their unceremoniousness, impudence, rudeness, and terrible appearance, reminiscent of Gogol’s witchcraft images:
…at the table

Monsters sit around:

One with horns and a dog's face,
Another with a rooster's head,
There's a witch with a goat beard,
Here the frame is prim and proud,
There's a dwarf with a ponytail, and here
Half crane and half cat.

It would seem that this abundance of repulsive faces, this motley crowd are just images of a bad dream, but the subsequent description of Tatyana’s name day is strikingly reminiscent of her recent dream:

There is a hustle and bustle in the front hall;

Meeting new faces in the living room,

Barking mosek, smacking girls,
Noise, laughter, crush at the threshold,
Bows, shuffling of guests,
The nurses cry and the children cry.

The images of the Larins’ guests are surprisingly similar to the monsters seen in a dream in their unattractiveness and ugliness, primitiveness, even the consonance of names. The village landowners have become so degraded and impoverished in their intelligence that they differ little from monsters - half-animals, half-humans. The satirical power of Pushkin's denunciation of lack of spirituality and vulgarity reaches its apogee - the imaginary and real companies of heroes overlap and merge. The images of people are no better than the ugly heroes of a strange dream. If you look closely, the primitive but harmless landowner neighbors turn out to be just as repulsive as the imaginary monsters. It's all one company. Some of the Larins’ guests: “Monsieur Triquet, a wit, recently from Tambov, with glasses and a red wig” - a vulgar poet, a provincial entertainer, a noisy wit, accustomed to being the center of attention with a pre-prepared set of wretched jokes; “Gvozdin, an excellent master, owner of poor men” - indifferent to the fate of his subjects; “Fat Pustyakov” - the surname itself, as well as the definition, clearly speak of limited interests and mental poverty.

A.S. Pushkin, faithful to the truth of life, created memorable images of landowners. The portraits of some of them are very expressive, detailed, while the portraits of other landowners are superficial. The poet mercilessly exposes the consumerist attitude of the landowners to life, but with sincere sympathy relates to the simplicity and kindness of relations that exist among the provincial nobility. Yes, they are not heroes, they are ordinary people with weaknesses, shortcomings, they do not strive for high things, but they still show concern and warmth towards their loved ones and expect the same from them.

Conclusion.

In the novel “Eugene Onegin” by A.S. Pushkin paints a picture of the life of the Russian nobility at the beginning of the 19th century, their way of life and morals. In this novel, like an encyclopedia, you can learn everything not only about the life of the nobles, but also about their culture, how they dressed, what was in fashion, the menu of prestigious restaurants, what was on in the theater. Throughout the action of the novel and in lyrical digressions, the poet shows all layers of Russian society of that time: the high society of St. Petersburg, noble Moscow, the local nobility and the peasantry. This allows us to talk about “Eugene Onegin” as a truly folk work. The reader learns about how secular youth were brought up and spent their time; we even see the albums of county young ladies. The author's opinion about balls and fashion attracts attention with the sharpness of his observation.

“Eugene Onegin” is an “encyclopedia of Russian life” of Pushkin’s time. For the first time in Russian literature, an entire historical era, modern reality, was recreated with such breadth and truthfulness. In the novel “Eugene Onegin,” Pushkin turns Russian literature to the most important issues of national life. All layers of Russian society during the serf period find their artistic embodiment in the novel, social and cultural trends and trends of the first half of the 20s of the 19th century are illuminated. Pushkin's novel taught to despise the noble-serf society, to hate an empty and meaningless life, selfishness, narcissism, and callousness of heart. The novel exalted truly human relationships, proclaiming the need for a connection between Russian noble culture and the people, with their lives. That is why Pushkin’s “Eugene Onegin” was a highly popular work, “an act of consciousness for Russian society, almost the first, but what a great step forward for it,” wrote Belinsky. Eugene Onegin was the first Russian realistic novel. Heroes think, feel and act in accordance with their characters.

The realism of the novel is clearly expressed in the style and language of Pushkin’s work. Each word of the author accurately characterizes the national and historical life of the era, the character and culture of the heroes and at the same time emotionally colors them. “Eugene Onegin” captured the spiritual beauty of Pushkin and the living beauty of Russian folk life, which was first revealed to readers by the author of the brilliant novel. Thus, “Eugene Onegin” is a realistic, social and everyday novel that combines history and modernity.

Literature

1. Pushkin A.S. Eugene Onegin. – M., 1986

2. Belinsky V.G. Works by A.S. Pushkin. – M., 1990

3. Great Soviet Encyclopedia

4. Zyryanov P.N. History of Russia in the 19th century. – M., 2001

5. E.G. Babaev The Works of Pushkin -M, 1988

6. Lotman Yu.M. Conversations about Russian culture: Russian life and traditions

Nobility of the 18th – early 19th centuries. Sat-Fri., 2001

7. Lotman Yu.M. Roman A.S. Pushkin “Eugene Onegin” Commentary. – Sat-Fri., 1983

8. Lyashenko M.N. Russian history. – M., 1997

9. Petrov S.M. Essay on the life and work of A.S. Pushkin. – M., 1986

Correcting the morals of an outdated nation is as difficult as making ebony white.
Pythagoras

Speaking about the novel by A.S. Pushkin’s “Eugene Onegin” as an “encyclopedia of Russian life”, it is necessary to mention the era in which Pushkin lived and worked and in which the events of the novel developed.
The Patriotic War of 1812 showed that the Russian people are a great force, the foundation of which was, first of all, patriotism and sincere love for the Motherland. At the end of the war, the victorious people, the heroic people were returned to their original state. The soldiers who won victory at the front, returning home, again turned into forced peasants, all their exploits were forgotten.
In connection with these events in Moscow and St. Petersburg, the nobility was divided into two unequal groups. The majority are predominantly the older generation, conservative in their views, accustomed to their life and not wanting to change anything.
The other is young progressive nobles who have seen the world and know how to compare Europe free from serfdom and slave Russia, subject to prejudices. The famous Decembrists would later emerge from this class; the poet himself belonged to it.
But our task is to describe the nobility as it was, with its shining splendor, balls and evenings, ladies in chic outfits and socialites. Behind the external beauty was hidden a thoroughly rotten society, in which “thoughts will not flare up for the whole day” and “faces encountered everywhere, // Impenetrable fools.” Few people here received a serious education and upbringing.

We all learned a little bit
Something and somehow.

So, education, thank God,

It's no wonder for us to shine.

The novel "Eugene Onegin" was created by Pushkin over a period of 8 years (from 1823 to 1831). If the first chapters of the novel were written by a young poet, almost a youth, then the final chapters were written by a person with considerable life experience. This “growing up” of the poet is reflected in...

One of the main characters of the novel in the verses of A.S. Pushkin is Onegin. It is no coincidence that the work is named after him. The image of Onegin is complex and contradictory, containing positive signs of progressiveness and sharply negative features of clearly expressed individualism....

The uncertainty of all those who wrote about “Eugene Onegin” is striking. Critics and literary scholars seem to recognize in advance the depravity of the plan and the insignificance of the chances of success. Even the brave and independent Belinsky made a reservation from the very first line: “We admit:...

First of all, Lensky lacks his own, hard-won personal experience. Almost everything from his borrowed scholarship to his poetry is literally all drawn from books, from romantic German poetry and philosophy of the first two decades of the 19th century. He is not...

Interior in the depiction of images of the main characters in the novel

"Eugene Onegin"

The location of the action plays a large and very specific role in Pushkin’s novel. Events always develop in a specific space. Moreover, the nature of events turns out to be closely related to the place in which they unfold.

The description of the space surrounding the heroes is both accurate in detail and bears metaphorical signs of their cultural, ideological, and ethical characteristics.

Interior (French intérieur - internal) - architecturally and artistically designed internal space of a building, providing a person with favorable living conditions; the internal space of a building or a separate room, the architectural design of which is determined by its functional purpose.

Interior design is based on a synthesis of pragmatic and artistic ideas and solutions aimed at improving the human condition in a holistic, aesthetically perfect form. The interior consists of three components:

Construction shell - floor, walls, ceiling;

Subject content (equipment, furniture);

Functional processes that shape both space and the sensory-psychological atmosphere.

Interior - in literature: artistic description of the interior appearance of premises. The interior plays an important role in characterizing the hero, in creating the atmosphere necessary to realize the author's plan.

In this regard, Pushkin's novel is not descriptive - the author almost never gives detailed pictures of the scene of action. The novel does not describe the interior decoration of an ordinary landowner's house in the village or the interior of a St. Petersburg aristocratic mansion on the Neva embankment; it gives only meager instructions, focusing the reader's attention on individual details.

The set: hall, living room, bedroom, office - was stable and was consistent both in the layout of a St. Petersburg house and in a rural landowner's house, in which part of the action of the novel is concentrated and takes place. In Chapter 2, the author describes Onegin’s village dwelling. The reader is conveyed a feeling of the strength of the patriarchal tradition, the strength and reliability of existence, an atmosphere of calm and tranquility is created, suggesting a deep and serious attitude towards subsequent events.

The venerable castle was built

How castles should be built:

Extremely durable and calm

In the taste of smart antiquity.

There are lofty chambers everywhere,

There is damask wallpaper in the living room,

Portraits of kings on the walls,

And stoves with colorful tiles...

But here, in a few lines, the attitude of the hero of the novel himself to all this “triumph of antiquity” is presented. At the same time, the author does not reveal Onegin’s opinion, but focuses the reader’s attention on the internal state of the main character, which determines Eugene’s attitude to the environment around him.

...Yes, however, to my friend

There was very little need for that,

Then he yawned

Among fashionable and ancient halls.

And then there is no solemnity, but a prosaic listing of quite ordinary everyday details of the interior, which, in fact, completes the reader’s formation of a holistic idea of ​​Onegin’s village house.

He settled in that peace,

Where is the village old-timer?

For about forty years he was quarreling with the housekeeper,

I looked out the window and squashed flies.

Everything was simple: the floor was oak,

Two wardrobes, a table, a down sofa,

Not a speck of ink anywhere.

Onegin opened the cabinets;

In one I found an expense notebook,

In another there is a whole line of liqueurs,

Jugs of apple water

And the eighth year calendar...

It is impossible not to notice how, with the help of the interior, A. Pushkin masterfully creates an amazingly accurate and piercing atmosphere of a home environment, simple village life, that world that changes a person’s idea of ​​time, carries within it the memory of a former life. Particularly noteworthy is such an interior detail as the “eighth year calendar”, which turns into a symbol of history and tradition, marks a bygone time, and emphasizes the eternity of existence.

But with the help of the interior, the poet not only paints complete, historically accurate pictures. With the help of the interior, the author makes it possible to trace in the dynamics of the development of the process the important changes that occurred with the hero over a certain period of artistic time. As an example, we can imagine a comparison of two fragments depicting the interior of Onegin’s office in St. Petersburg and a few years later in the old former uncle’s estate.

Will I portray the truth in the picture?

Secluded office

Where is the mod pupil exemplary

Dressed, undressed and dressed again?

Everything for a plentiful whim

London trades scrupulously

And on the Baltic waves

He brings us lard and timber,

Everything in Paris tastes hungry,

Having chosen a useful trade,

Invents for fun

For luxury, for fashionable bliss, -

Everything decorated the office

Philosopher at eighteen years old.

Amber on the pipes of Constantinople,

Porcelain and bronze on the table,

And, a joy to pampered feelings,

Perfume in cut crystal;

Combs, steel files,

Straight scissors, curved

And brushes of thirty kinds

For both nails and teeth...

But a certain period of time passes, events occur that change the fate of the heroes of the novel. We look at the world through the eyes of the main character. Tatyana first enters Onegin’s empty house and sees what things surrounded him, what books he read, how his habits and character manifested themselves through the little things in everyday life. All this helps her to truly deeply comprehend Onegin’s nature, understand him as a person, and find that very “word” that would reflect his contradictory inner world.

Tanya enters the empty house,

Where did our hero recently live?

She looks: forgotten in the hall

The billiard cue was resting,

Lying on a crumpled sofa

Manege whip (...)

Tatiana with a touching gaze

He looks at everything around him,

And everything seems priceless to her,

All lives the languid soul

Half-painful joy:

And a table with a dim lamp,

And a pile of books, and under the window

Carpeted bed

And the view through the window through the moonlight,

And this pale half-light,

And Lord Byron's portrait,

And a post with a cast iron doll

Under a hat with a cloudy brow,

With hands clenched in a cross*.

* - Cast iron figurine of Napoleon.

Tatiana spends a long time in the fashionable cell

How fascinated she stands...

The beauty salon disappears, now Onegin lives almost in a “cell”, although some secular hobbies are still not forgotten by him, but he is already more like a hermit than an “exemplary student of fashion” and “a child of fun and luxury.” The lack of luxury, the simplicity of the furnishings, the “piles of books” unimaginable in his office before, portraits of romantic idols - all this speaks of a change in Onegin’s life values, of the evolution of his inner world, and is evidence of his spiritual growth.

Just as the whole can be represented through its part, the plural can be seen in the individual, so Pushkin conveys the depth of the image of the hero of the novel as an artistic unity through the description of the details. This forces us to consider the characteristics of some features of the interior of a noble home of the Onegin era as an important artistic device that helps to reveal the essence of the images of the main characters of the novel. By creating the interior of the novel’s hero’s home, the author penetrates into the depths of a person’s soul, presenting the home as a materialized “model” of his inner self.

Conclusion

Pushkin’s novel “Eugene Onegin” is a highly perfect work, truly immense in the depth of its content and true reflection of reality, which is not only ontologically and historically widely shown in the novel, but every fact of it is turned by the author into a phenomenon of art.

The well-known definition of Belinsky, who called “Eugene Onegin” “an encyclopedia of Russian life,” emphasized the very special role of everyday ideas in the structure of Pushkin’s novel. In the novel, the reader experiences a series of everyday phenomena, moral and descriptive details, things, clothes, colors, dishes, and customs.

But one of the features of “Eugene Onegin” is that everyday material was interpreted by Pushkin differently than his predecessors, in a new, realistic way, that is, as a typical, ideologically substantiating person and his fate. The description of everyday realities gives us the necessary understanding of the essence of the events taking place in the novel, forces us to consider the characteristics of some features of the noble life of the Onegin era as an important artistic device that helps to reveal the essence of the images of the main characters of the novel.

Often it is everyday life and the interior that embody the essence of such an aspect of the poetics of a literary work as an artistic detail, becoming the most important feature of the image of the hero of the novel.

The combination of accurate and organically interconnected descriptions of the “little things” of everyday life and interior details helps us understand not only the internal state of the hero of the novel, but also draw conclusions about the deep movements of the ideas of the era, becoming the starting point of the author’s ideas, embodying the author’s philosophical views on the world and man, allows us to judge the internal culture of society at that time.

List of literature and sources.

Pushkin A.S. Full collection Op.: In 10 volumes. T.5. 3rd ed. M., Nauka, 1964.

Belinsky V.G. Full collection Op.: In 13 volumes. M., 1953-1959.

Brodsky N.L. "Eugene Onegin". Roman by A. S. Pushkin. M., 1964.

Lotman Yu.M. "A. S. Pushkin's novel "Eugene Onegin". Commentary" - Leningrad: Enlightenment, 1980 - p.415

Nabokov V. Comments on “Eugene Onegin” by Alexander Pushkin. Per. from English Institute of Scientific information on social sciences of the Russian Academy of Sciences. M., 1999.

Nepomnyashchiy V.S. Pushkin. Russian picture of the world. Series “Pushkin in the 20th century”, issue VI. M., “Heritage”, 1999.

Onegin Encyclopedia: In 2 volumes/Under the general. ed. N.I. Mikhailova. M., Russian way, 1999.

Slonimsky A. Pushkin’s mastery. Ed. 2nd. M., 1963.

Strakhov N.N. Literary criticism. M., 1976.

Enjoy this easy life, friends!
I remembered at least a single sound...
I closed my eyelids for ghosts;;
So that about me, like a faithful friend,
I understand her insignificance
And our grandchildren in good time

“Eugene Onegin” is rich in everyday sketches. The depiction of everyday life was considered a matter of secondary importance both in the times of classicism and in the era of the dominance of romanticism. Pushkin generously paints pictures of everyday life and morals. At the same time, in Pushkin’s depiction, everyday life is connected with the destinies of people, with the course of life in its most diverse areas, with cultural trends, and political ideas of the era (“Onegin’s Travels”, “The Tenth Chapter”). However, everyday life in Pushkin is not the predominant element of the image, as in Gogol’s “Dead Souls”.

When outlining the types of contemporary society, Pushkin pays especially great attention to such factors of social and individual development as upbringing and enlightenment. He tells in detail how Onegin was brought up, what he read, what were the sources of Lensky’s romanticism, etc. Pushkin in his philosophical views was close to the Enlightenment and attached great importance to the upbringing of a person, enlightenment, ideas, and characterization of morals. At the same time, in “Eugene Onegin” there is no shadow of abstraction or idealization in the depiction of a person, which is inherent in Western European realism of the 15th century. Pushkin is accurate in recreating the historical appearance of the era, in conveying certain historical and even economic details. Marx took advantage of one! of them, noting: “In Pushkin’s poem, the hero’s father cannot understand that the commodity is money. But the Russians have long understood that money is a commodity...”
Others are following them...
I would be sad to leave the world.
Alas! On the reins of life
By the secret will of providence,
By distant hopes
And he presses towards the grave of his great-grandfathers.
They rise, mature and fall;
I live, the niche is not for praise;
Instant generational harvest
For now, revel in it,

Pushkin strives for objectivity in the depiction of reality. The life of the characters in the novel flows according to its inherent and objective pattern in accordance with their characters, environment, and typical circumstances. At the same time, the lyricism that permeates the entire novel reflects the poet’s ardent interest in what is happening in life, what is happening to his heroes. Lyrically, the digressions are the poet’s thoughts about life, his moral reflections. In the famous stanzas of the second song of Eugene Onegin, which Belinsky admired, Pushkin writes:
They will push us out of the world too!

Regarding these verses, one of the researchers rightly notes: “The idea of ​​one’s own death is inextricably linked with the objective idea of ​​the endless process of universal life. A person does not die: “good hour”, “by the secret will of Providence”, his grandchildren simply supplant him, and life continues without interruption [Sh for a minute. Instead of focusing on the moment of his personal destruction, the poet’s consciousness runs ahead and contemplates the eternal life of successive generations; Instead of despair and fear, he lights up to take part in this life after his death, to leave behind such a “monument” that would forever tell people about him and his deeds.”
Growing, worried, seething
And I am little attached to her;
To glorify your sad lot,
Carrying an inconspicuous trace
So our windy tribe
Our time will come, our time will come,
Sometimes the heart is disturbed:
But I think I would like

The novel "Eugene Onegin" is the greatest creation of A.S. Pushkin. It is a poetic account of events, where the poet’s description of contemporary life in Russian society organically merges with the author’s lyrical diary, with his reflections on time and himself. Pushkin depicts Russian life itself, the picture of the morals of the secular and local nobility with an unprecedentedly wide, truly encyclopedic scope, and at the same time does it with his characteristic laconicism, in an extremely concise form. Roman A.S. Pushkin is the first realistic work in Russian literature, and all the typical images presented in it contain a broad artistic generalization. "Eugene Onegin" is deeply historical both in its method of depicting reality and in its content. Belinsky saw in the work “a picture of the morals of Russian society, at one of the most interesting moments of its development.” Despite the fact that "Eugene Onegin" is a historical poem, there is not a single historical figure among its heroes, Pushkin describes the life of the St. Petersburg nobility, the St. Petersburg high society, the life of provincial landowners and introduces numerous historical realities associated with socio-political and cultural events of Russian life of the 20s of the XIX century. Depicting only a few representatives of one circle or another, giving generalized images, A.S. Pushkin was able to fully depict entire layers of society, differing in their moral, cultural appearance, and way of life. Each hero of the novel is a shining example, a typical representative of a certain circle of people, a certain social stratum. At the same time, each hero was formed under the influence of the picture of morals that reigned around him, as well as under the influence of the environment in which he lived. It was they who left their imprint on the views and worldview of all the heroes of Eugene Onegin, making them exactly the way we see them on the pages of the novel. Thus, Eugene Onegin is a typical young secular man, a representative of freedom-loving and at the same time dissatisfied, bored noble youth. A “young rake” appears before us, an egoist and skeptic with a sharp and evil tongue. The environment to which Eugene belonged and the mores of that society shaped his beliefs, morals and interests. The author makes fun of his scholarship, the depth of his economic knowledge; he does not know how to pay attention to the feelings of others, easily offending and not noticing it. Secular society shaped and made Onegin like this. Thus, in his relationship with Lensky, he openly demonstrates his attachment to the foundations and morals of secular society. Despising them, he could not break these laws. A striking example of this is the hero’s behavior at Tatyana’s name day and the duel with Lensky. Each hero of the novel is a product and victim of the society in which he grew up, received his education, upbringing, where his basic principles of life were formed. Describing secular St. Petersburg society, Pushkin characterizes it quite evilly, saying that in this environment one can “harden, harden and finally petrify.” The author’s attitude towards this circle of people is clear from the very first pages of the novel: Here, however, was the color of the capital, And the nobility, and fashion models, Everywhere you meet faces, Necessary fools... ...And you won’t even find funny stupidity In you, light empty! Pushkin ironically describes the example of a “wonderful man” from the point of view of the world: Blessed is he who was young from his youth, Blessed is he who matured in time... Who at twenty was a dandy or smart, And at thirty married advantageously; Who, at fifty, freed himself from private and other debts, Who has been talked about for a whole century: K.K. wonderful person. The local nobility, with its morals and customs, is most fully represented in the novel at the ball in honor of Tatyana’s name day: Fat Pustyakov arrived with his portly wife; Gvozdin, an excellent owner, Owner of poor peasants; The Skotinins, a gray-haired couple... And the retired councilor Flyanov, a heavy gossip, an old plow, a glutton, a bribe-taker and a buffoon. Here the author uses telling surnames, endowing the landowners with mainly negative traits: they are ruthless serf-owners, people of low culture, with base interests (all their conversations are “about haymaking, about wine, about the kennel, about their relatives”). It is not surprising that Tatyana could not find her place in this circle and was indifferent to their interests. Against the background of the others, Pushkin singles out the Larin family: They kept in their peaceful life the Habits of dear old times... On Trinity Day, when the people, Yawning, listen to the prayer service, Touchingly at the dawn, They shed three tears... The Larin family is that environment in in which Tatyana grew up, she embraced all the kindness, simplicity, patriarchy and sickle morals and way of life. The author also gives far from flattering characteristics to Moscow society. He portrays him sharply, sharply satirically: But no change is visible in them, Everything in them is according to the old model... Lyubov Petrovna still lies the same... Ivan Petrovich is just as stupid, Semyon Petrovich is just as stingy. Pushkin emphasizes the typicality of the characteristics of the selected individuals with a variety of examples that fit under one general definition - Griboyedov’s Moscow. Thus, in the novel “Eugene Onegin,” Pushkin painted us Russian society at “one of the most interesting moments of development,” recreating a truly realistic picture of the morals and customs of Russia in the first quarter of the 19th century.

2. The theme of man and nature in Fet’s poem “Dawn bids farewell to the earth...”

The poem “Dawn bids farewell to the earth...” at first glance is quite simple, dim, calm. But this is exactly what you immediately think about: what is its simplicity? Why, despite everyday life, do you return to it again? How does unpretentiousness turn into attractiveness?
The author allows us to see a “piece of the evening” through the eyes of the narrator:
Dawn says goodbye to the earth,
Steam lies at the bottom of the valleys,
I look at the forest covered in darkness,
And to the lights of its peaks.
And we see a bright scarlet reflection of the setting sun in the high clear sky, we turn our gaze down - there the darkness of the earth is hidden by a light soft veil of foggy steam haze. Contrast of light and darkness, color and space, brightness and mutedness: “the dawn says goodbye to the earth.”
Forest... The forest, of course, is deciduous: there are lindens, maples, rowan trees, birches, aspens - all those trees whose foliage becomes bright in the fall. That’s why the “lights of its peaks” are striking: yellow, scarlet, brown-crimson, glowing and glowing in the rays of the sunset.
This means it is an autumn, September evening. It’s still warm, but the coolness is somewhere very close, you want to shudder your shoulders chillily. The forest has already plunged into darkness, no birds can be heard, mysterious rustles and smells make you wary, and...
How imperceptibly they go out
The rays go out in the end!
With what bliss they bathe in them
The trees are their lush crown!
The trees here are living, thinking, feeling creatures; they say goodbye to the light of day, to the warmth of summer, to the softness and heaviness of foliage. It is very pleasant: to be young, slender and strong, to caress each of your leaves with elastic waves of the wind, and “with such bliss,” with pleasure, with pleasure, to bathe “your magnificent crown” in the rays of the evening dawn! But the trees know that soon, soon this will end, and we must have time to enjoy life: the splendor of the crown, the singing of forest birds, sunrises, sunsets, sun and rain...
And more and more mysterious, more immeasurable
Their shadow grows, grows like a dream:
How subtle at the dawn of evening
Their light essay is exalted!
The observer’s gaze slid up and down: “sky-earth”, and now there is also a feeling of depth and space, “the shadow grows”, and the picture becomes three-dimensional, whole, alive. And how beautiful, charming and unique are the gentle, light,
lacy outlines of clumps of trees on the light fawn-blue screen of the sky. The rays went out, the forest darkened, the color picture disappeared and now the photograph has turned into a daguerreotype. And on the ground the pattern is repeated with elongated cartoon lines,
distorted, but recognizable and beautiful in its own way.
The subtlest vibrations and moods of the human soul are captured and conveyed by this simple, familiar picture in the same simple and familiar words.
As if sensing a double life
And she is doubly fanned, -
And they feel their native land,
And they ask for the sky.
Trees are amazing creatures. They are immovably attached by their roots to one place where they drink the juices of mother earth. But they can move branches, leaves, their whole body in the ocean of air where they live. Extraordinarily interesting
watching the movement of tall trees in the forest when you look at them from below for a long time. There is an absolute feeling that they communicate with each other, understand each other; they sway, rustle, listen, answer, nod in agreement
or negatively, indignantly waving the branches like hands. Maybe they see us? can they think? feel? be in love?
They, like us, are born, live, grow, eat, breathe, reproduce, get sick, die, they have enemies and friends.
But how often do we think about this?
A.A. Fet undoubtedly loved nature, knew a lot about flora and fauna, knew how to notice and enjoy the celebration of life, although “nothing human was alien to him.” He dreamed of restoring his noble title, of achieving material
prosperity, so he did not marry his beloved and loving dowry. Contemporaries characterized him as a practical person, which did not prevent him from capturing the “thrill of life” and generously sharing it with his reader.
It is surprising that in the poem “Dawn bids farewell to the earth...” not a word was said about the time of year, nor about sounds, colors, smells, nor about weather or temperature, but you see, hear, feel all this as if you were personally there.
the narrator's place. The author’s language is so simple, understandable and close to everyday speech that it seems: “Yes, I could easily tell it like that myself.” Yes, it’s simple, like everything ingenious.