The history of the creation of the novel "Eugene Onegin" is brief. The history of the creation of "Eugene Onegin" The history of the writing of the novel Eugene Onegin in brief
The novel "Eugene Onegin"
Slubskikh Kira Olegovna
A.S. Pushkin (1799-1837)
onegin roman pushkin
Alexander Sergeevich Pushkin was born in Moscow. From an early age, Pushkin was brought up in a literary environment. His father was a connoisseur of literature, had a large library, and his uncle was a poet. The Pushkin House was visited by N.M. Karamzin, V.A.Zhukovsky, I.I.Dmitriev.
Grandmother, Arina Rodionovna, uncle Nikita Kozlov, the Tsarskoye Selo Lyceum, where he began to study in 1811, played an important role in the life of Pushkin. His friends at the Lyceum were: Ivan Pushchin, Wilhelm Kuchelbecker, Anton Delvig. There he began to write poetry, in 1814 the first poem "To a friend to the poet" was published.
After graduating from the Lyceum, A.S. Pushkin moved to St. Petersburg in 1817 and was enrolled in the Collegium of Foreign Affairs. In St. Petersburg, he communicated in a secular society. In 1820 he completed the poem Ruslan and Lyudmila, the first major work.
For his works in 1820, Pushkin was sent into exile. There he wrote poems "Prisoner of the Caucasus", "Bakhchisarai Fountain", "Brothers robbers", and in 1823 he began work on a novel in verse "Eugene Onegin".
In 1824 Pushkin was again sent into exile. There he continued to work on "Eugene Onegin", wrote "Boris Godunov", poems. In the same place, in Mikhailovsky, his friends visited. Pushchin brought Pushkin "Woe from Wit", and from him he learned about the uprising of the Decembrists, in which many of his friends participated, as well as about their execution.
On September 4, 1826, Nicholas I unexpectedly summoned Pushkin to Moscow. But already in 1328, a decree was issued on supervision over A.S. Pushkin. In the same year he left for the Caucasus.
In 1830, Pushkin wooed N. Goncharova. Before his marriage, he went to the estate in Boldino. This period in Pushkin's work is called the Boldinskaya autumn, because he wrote a large number of works.
On May 15, 1831, Pushkin married and moved to St. Petersburg. During these years he wrote works: "Dubrovsky", "The Captain's Daughter", "The History of Pugachev". Communicated with V.G.Belinsky, N.V. Gogol, with artists.
On February 9, 1837, Pushkin shot himself in a duel with Dantes, was mortally wounded and died on February 10 at his home on the Moika.
Foreword
The first commentator on the novel "Eugene Onegin" was its genius author himself: Pushkin provided his novel with notes, where he revealed allusions to various phenomena of literary modernity, personal life, explained verse quotes, defended common words and expressions introduced into the text of the novel from reactionary criticism, translated foreign speech.
A modern reader in Pushkin's novel encounters characteristic details of a way of life alien to him, GA Gukovsky writes about the novel: “... the very number of everyday topics and materials fundamentally distinguishes Pushkin's novel from previous literature. In "Eugene Onegin" a series of everyday phenomena, moral-descriptive details, things, clothes, flowers, dishes, customs "passes before the reader." The reader can ignore many of the things that were burning for Pushkin, which worried his contemporaries in terms of the severity of the questions posed, aimed at all the details, ideological currents, even faces, familiar at that time, and that currently requires concrete historical disclosure. The novel is not only full of "the mind of cold observations and the heart of sorrowful remarks" of the author, it is full of Pushkin's worldview - philosophical, political, aesthetic. "Friend, comrade" of the noble revolutionaries, he sharply castigates the customs of the noble nobility and the backward groups of the ruling class, sympathizes with the progressive representatives of the noble culture. This is how the task arises to describe the socio-political moods that gave birth to the main characters of the novel, which determined their social fate, psychology, forms of behavior during the years of writing the novel, and to reveal the circle of ideas of the author himself in the reality that changed during his life, when hopes for social transformations were dashed after defeat Decembrists.
Eugene Onegin is a novel in verse, written in 1823-1831.
It is unique, because before in world literature there was not a single novel in verse. Alexander Sergeevich Pushkin created it like Lord Byron's poem "Don Juan". Defining the novel as a "collection of colorful chapters", Pushkin emphasizes one of the features of this work: the novel is, as it were, "opened" in time, each chapter could be the last, but it can also have a continuation. And thus the reader draws attention to the independence of each chapter of the novel. Pushkin called the work on it a heroic deed - out of all his creative heritage only "Boris Godunov" he characterized with the same word.
VG Belinsky in his article "Eugene Onegin" concluded: "Onegin can be called an encyclopedia of Russian life and an extremely popular work."
History of creation
The first mention of Pushkin's work on the novel is found in his Odessa letter to P.A. Vyazemsky November 4, 1823: "As for my studies, I am now writing not a novel, but a novel in verse - a devilish difference ..."
Pushkin did not count on the possibility of the novel appearing in print, fearing censorship. "There is nothing to think about the press" ... "If one day it is" my poem "and will be published, then, surely, not in Moscow and not in St. Petersburg" ... "I do not know if this poor Onegin will be allowed in. into the heavenly kingdom of printing; just in case I will try, "he wrote in 1823-1824. Vyazemsky, Bestuzhev and A.I. Turgenev.
Although at the beginning of his work the poet “did not yet clearly distinguish” the “distance of his novel,” its form had already been thought out: the novel was supposed to become, in a free genre form, a reflection of public life with abundant deviations from the main thread of the narrative about the hero and his fate; it was supposed to become a social novel and a novel-confession, a lyric and satirical novel, a "romantic poem" and a pamphlet novel (a satirical and caustic brochure that offends any person), saturated with themes of living modernity and the responses of a direct participant who "chokes on bile ". The style of the novel a little later (in 1828) was determined by the poet himself in the dedication to P.A. Pletnev, published in the first edition of chapters IV and V of "Eugene Onegin":
“Without thinking to amuse the proud light,
Attention loving friendship,
I would like to introduce you
The pledge is worthy of you
More worthy of a beautiful soul
Holy dream fulfilled
Poetry alive and clear,
High thoughts and simplicity;
But so be it - with a biased hand
Accept the collection of variegated heads,
Half-funny, half-sad,
Common people, ideal,
The careless fruit of my amusements
Insomnia, light inspirations,
Immature and withered years
Of the mind of cold observation
And notice the sorrowful hearts. "
The author was pleased with his creation: "This is my best work," he wrote in January 1824. L.S. Pushkin; “Still, he,“ Onegin, ”is my best work,” he repeated in a letter to AA. Bestuzhev on March 24, 1825.
“I’m talking about it’s impossible,” he confessed to A. Delvig in November 1823, shortly before that having finished the first chapter of the novel. "Chatter", a relaxed tone of light conversation running from one topic to another, a careless manner of speech, constant appeals to the reader of one's own, secular circle, a "comic description of manners" with the author's seeming indifference, what impression is made on the reader by serious topics and funny jokes, - such is the tone of the first chapter. Beginning with the second chapter, this tone of the "chattering" poet changes; the novel includes themes of great content; the image of the hero began to become clear to the reader in the hopelessness of his position against the background of the ossified noble life, in the conditions of the political dead end of the 1920s. Elements of satire in the new chapters are manifested in the author's attitude to the "wild lordship", in sharp criticism of the "big world" and his "prejudices", in criticism of social mores and the political system, which broke and maimed people with a large supply of mental strength. The "careless" tone completely disappears in the last chapters written after December 14, 1825 in the conditions of the gloomy Nikolaev reaction. The brilliant artist posed serious problems for himself about the attitude of the individual to society, about social and individual conflicts that are insoluble in a class society.
Pushkin, ending the novel, said goodbye to him and the reader with touching and moving words:
“Whoever you are, oh my reader,
Friend, foe, I want with you
To part today as a friend.
Forgive me too, my strange companion,
And you, my faithful ideal,
And you, alive and constant,
Even a little work ... "
Chronology of the novel "Eugene Onegin"
In the draft papers of Pushkin, P. Annenkov found a sheet on which the poet in 1830 sketched a plan for the complete publication of Eugene Onegin.
Part one. Foreword.
I canto. Blues. Chisinau, Odessa.
II "Poet. Odessa. 1824.
III "Young Lady. Odessa. Mikhailovskoe. 1824.
Part two.
Canto IV. Village. Mikhailovskoe. 1825.
V "Name day. Mikhailovskoe. 1825, 1826.
VI "Duel. Mikhailovskoe. 1826
Part three
Canto VII. Moscow. Mikhailovskoe. P.b. Raspberries. 1827, 1828.
VIII "Wandering. Moscow. 1829. Pavlovskoe. Boldino.
IX "Big Light. Boldino.
Note.
This sketch can be supplemented with more precise instructions from Pushkin's draft notebooks.
The novel was conceived in Kishinev on May 9, 1823, the first stanzas of the first chapter were begun on the night of May 28, 1823, work continued in Odessa and was completed on October 22, 1823.
The second chapter was started the next day, by November 1, 16 stanzas were ready, under the XVII – XVIII stanzas, the mark on November 3; on the night of December 8, 1823, stanza XXXIX was completed.
The third chapter began on the night of February 8, 1824; completed on October 2, 1824 (in the village of Mikhailovskoye).
The fourth chapter bears marks: at XXIII stanza - December 31, 1824 and January 1, 1825; under XLIII stanza - January 2, 1826: under LI stanza - January 6, 1826
The seventh chapter was written in 1827-1828; started in Moscow on March 18, 1827; in the spring (in Moscow and St. Petersburg) Pushkin wrote stanzas dedicated to the description of Moscow; after a long break, Pushkin resumed work at the beginning of 1828: between the XII and XIII stanzas of the litter on February 19, 1828; the seventh chapter is over November 4, 1828 December 19, 1827 Pushkin wrote a dedication to Pletnev. The seventh chapter includes "Onegin's Album" - a litter on August 5, 1828.
The eighth chapter - later excluded and published under the title "Excerpts from Onegin's Travel" - began on December 24, 1829, but even earlier (no later than 1827) Pushkin wrote stanzas dedicated to Odessa. By October 30, the beginning of the chapter before the stanza "He sees the wayward Terek" was ready; the last stanza ("And the bank of Soroti is sloping") is dated September 18, 1830.
The ninth chapter, then taking the place of the eighth, was conceived in 1829, finished on September 25, 1830 (in Boldino); in the summer (July - early August) of 1831, the poet inserted several stanzas from Onegin's travels into the eighth (printed) chapter, wrote new stanzas (for example, XIII), replaced the old ones (for example, the first 4), reworked the picture of St. Petersburg light (XXIV -XXVI stanzas) and on October 5, 1831 he inserted "Onegin's Letter to Tatiana". On November 21, 1830, the preface to Eugene Onegin was written, which Pushkin wanted to preface to the intended edition of the eighth and ninth chapters together.
Chapter ten. The record of Pushkin has survived: "October 19, 1830 burned. X Canto". In P. Vyazemsky's diary dated December 19, 1830: "Pushkin wrote a lot in the countryside; he put in order the 8th and 9th chapters of Onegin, and ends with it; from the X, supposedly, he read me stanzas about 1812 and the following - a glorious chronicle! "
Return to "Eugene Onegin". The sketches in which Pushkin spoke of his desire to continue his novel belong to the fall of 1833. September 15, 1835 he wrote two introductory stanzas to the novel's intended sequel.
Pushkin's letters
A.S. Pushkin about "Eugene Onegin"
“As far as my studies are concerned, now I am not writing a novel, but a novel in verse — a devilish difference! In the genus of Don Juan. There is nothing to think about printing: I am writing carelessly ... "
"I am now writing a new poem, in which I chatter to the utmost ... God knows when we will read it together ..."
“At my leisure, I am writing a new poem, Eugene Onegin, where I choke on bile. Two songs are already ready. "
In January 1824. in a letter to L. S. Pushkin:
“Maybe I'll send him [Delvig] some excerpts from Onegin; this is my best work. Do not trust N. Raevsky, who scolds him, - he expected Romanticism from me, found Satire and Cynicism and did not swell up decently. "
“There is nothing to think about my poem. - It is written in stanzas almost more freely than Don Juan's stanzas. If one day it is published, then surely not in St. Petersburg and not in Moscow. "
In early April 1824, in a letter to P.A.Vyazemsky:
“Slenin offers me as much as I want for Onegin ... The censorship is behind it, and I’m not joking, because it’s a matter of my future fate, of independence, which is necessary for me. To print Onegin, I'm ... ready at least in a loop. "
In April - the first half of May 1824, in a letter to P.A.Vyazemsky:
2Do you want to know what I am doing - I am writing colorful stanzas of a romantic poem - and I am taking lessons of pure Afeism ... "
“With my wife I will send you the 1st song of Onegin. “Perhaps it will be published with the change of the ministry.”
“I will try to push against the gates of censorship with the first chapter or song of Onegin. Maybe we'll get through. You demand from me details about "Onegin" - boring, my soul. Another time, someday ... "
“My Onegin is growing. The devil will print it. I thought that your censorship grew wiser under Shishkov, but I see that under the old way. "
“Knowing your old attachment to the pranks of the accursed muse, I wanted to send you a few stanzas of my“ Onegin ”, but laziness. I don't know if this poor Onegin will be allowed into the heavenly kingdom of the press; just in case, I'll try. "
In September - October 1824, in a letter to P.A.Pletnev:
“I rely on you carelessly and joyfully for my Onegin. Summon my Areopagus: that is, Zhukovsky, Gnedich and Delvig. I expect a trial from you, and I will humbly accept its decision. I regret that there is no Baratynsky! "
In the first half of October 1824, in a letter to V.F. Vyazemskaya:
“As for my neighbors, at first I gave myself the trouble only not to accept them; they don't bother me; I enjoy the reputation of Onegin among them - so, I am a prophet in my fatherland ... I am in the best position you can imagine to finish my poetic novel, but boredom is a cold muse, and my poem does not move at all; here, however, is the stanza which I owe you; show it to Prince [Pyotr Vyazemsky], tell him not to judge everything by this model. "
In early November 1824, in letters to L.S.Pushkin:
"What" Onegin "? .. Brother, here's a picture for" Onegin "- find a skillful and quick pencil. If there is another, so that everything is in the same location. The same scene, can you hear? I absolutely need it. "
In the middle of November 1824, in a letter to L. S. Pushkin:
"Print, print" Onegin "and with" Conversation "... Will" Onegin "have a picture?"
“... Your love letter to Tanya: I am writing to you - what more? - charm and skill. I find only the truth in the following verses:
But they say you are unsociable
In the wilderness, in the village, everything is boring for you,
And we do not shine with anything here!
An unsociable person should not be bored that they are in the wilderness and do not shine with anything. There is counter-thought! - Be so kind, come sooner your Gypsies and let me print them especially! Let me print everything ... In general, printing in Moscow is better, or rather, cheaper. Petersburg literature has been so shy about it, it has been so deceived that it is a shame to have anything to do with it. Journalists inform each other, bother only about pennies ... And it’s not bad for you to bother about pennies, or money for a rainy day; but this is another matter! Collect all your elegies and send them to me; you can print them separately. Then three poems. There are excerpts from Onegin; and at the end the complete collection. So much for a glorious quitrent village! Dress me up as your Burmister. You now have a lot of time: there is leisure to collect, rewrite. Yes, and I am idle and without the desire to do. And your occupation will be for me: do not do business, and do not run away from business. Do mercy for me and for yourself, take up my proposal. "
“My brother took Onegin to PB. and will print it there. Don't be angry, dear; I feel that I am losing my most faithful guardian in you; but in the present circumstances every other publisher of mine will involuntarily attract attention and displeasure. - I wonder how Tanya's Letter came to you. Interpret this to me. I answer your criticism. An unsociable person is not a misanthrope, that is, one who hates people, but one who runs away from people. Onegin is unsociable for village neighbors; Tanya believes that the reason is that in the wilderness, in the village, he is bored, and that the brilliance alone can attract him. If, however, the meaning is not entirely accurate, then all the more the truth in the letter. A letter from a woman, who is also 17 years old, and who is also in love! "
In early December 1824. in a letter to D. M. Knyazhevich:
“... It’s already four months that I have been in a remote village - it’s boring, but there’s nothing to do. There is no sea here, no blue sky of noon, no Italian opera, no you, my friends. My solitude is perfect, my idleness is solemn. There are few neighbors around me, I am familiar with only one family, and even then I see him quite rarely (perfect Onegin); all day on horseback, in the evening I listen to the tales of my nanny, the original of nanny Tatiana: you seem to have seen her; she is my only friend, and with her only I am not bored ... "
V. A. Zhukovsky to Pushkin in the middle of November 1824:
“... I read Onegin and the conversation that serves as a preface to him: incomparable! On the authority given to me, I offer you the first place in the Russian Parnassus. And what place, if you combine the highness of the goal with the highness of Genius. "
“What is Kozlov blind? did you read Onegin to him? "
In December 1824, in a letter to L. S. Pushkin:
“By God, I ask you to get Onegin out of censorship as soon as possible ... We need money. Do not bargain for poetry for a long time - cut, tear, cut at least all 54 stanzas, but money, for God's sake, money! "
PA Pletnev took on the trouble of publishing the first chapter of Eugene Onegin. So, he wrote:
"What to do, dear Pushkin! Your letter arrived late. The first sheet of Onegin has already been printed, 2,400 copies in number. Consequently, no amendments can be made. Can't you leave them until the second edition? This will soon be needed ... Everyone is thirsty. Your "Onegin" will be a pocket mirror of the Petersburg youth. What a charm! Latin is cute to the hilarity. Legs are delicious. The night on the Neva is crazy for me. what will come out after ... If you want money, then dispose of it quickly. When Onegin comes out, I hope to save up a significant amount for future editions, without taking away what you need from your whims. "
“You know from my previous letter that amendments to Onegin and Conversation cannot be made (unless you want to throw away 2,400 sheets of vellum paper in vain and delay the publication of the book for another month due to the damned slowness of our printing houses). Now you still demand corrections when everything has already been printed. Be so kind as to leave until the second edition.
I foresee your objection:
But here I see no shame ...
And in fact: your delicacy is almost out of place. What you know, but who else, we will not understand. Everyone will think that it is impossible to write poems as soon as about yourself. "
“This letter will be a report, my soul, about“ Onegin ”... 2400 copies were printed. I made a condition with Olenin that he would sell himself and give from himself to whomever he wants on a commission, and I, besides him, will not have accounts with anyone. For this he takes 10 percent, that is, he pays us 4 rubles for a book. 50 k., Selling himself for 5 rubles. For all the copies that he does not have in the shop, he pays money in full by every 1st of the month to be sent to you, or whatever you tell me. On March 1, that is, two weeks after Onegin went to press, I no longer found 700 copies in his shop, therefore, he sold, minus his percent, for 3150 rubles. From this amount I gave: 1) 397 rubles for paper (white and wrapped), 2) 220 rubles for typing and printing, 3) 123 rubles for binding, for sending copies to you, Delvig, father and uncle (yours) 5 p. Total 745 rubles. "
“Bestuzhev writes to me a lot about Onegin. Tell him he's wrong. Does he really want to banish everything light and cheerful from the field of poetry? Where will satires and comedies go? Consequently, it will have to destroy "Orlando furioso", and "Gudibraza", and "Pucelle" and "Werner" and "Reinecke-Foucault" and the best part of "Darling", and La Fontaine's fairy tales, and Krylov's fables, and so on. and so on. It's a little strict. The picture of secular life is also included in the field of poetry. But enough about Onegin. "
“... I share your opinion that pictures of secular life are included in the field of poetry. Yes, even if you hadn't entered, you with your damn talent would have pushed them there by force. When Bestuzhev wrote his last letter to you, I had not yet read the very first song of Onegin. Now I have heard everything: she is beautiful; you grabbed everything that only such an object represents ... "
“” Onegin ”is being printed, brother and Pletnev are watching the publication; I didn’t expect him to get through the censorship. Honor and glory to Shishkov! .. "
“Onegin is printed; I think it has already appeared ... "
“It seems that Onegin owes you Shishkov's patronage and happy deliverance from Birukov. I see that our friendship has not changed, and this comforts me. "
At the end of February 1825, in a letter to L. S. Pushkin:
“I read the ad about Onegin in The Bee; waiting for the noise. If the publication is sold out, then proceed immediately to another publication, or make an agreement with some bookseller. - Write down the impression he made. For the time being, I have sent two excerpts from Onegin to the venerable Faddey Benediktovich Bulgarin, which neither Delvig nor Bestuzhev has: there was not and will not be ... and who is to blame? All friends, all damned friends. "
"... I have your" Onegin ", I read it and reread it and am eager to read its continuation, which, judging by the first chapter, is more curious and curious ..."
“Your letter is very clever, but still you are wrong; after all, you are looking at Onegin from the wrong point; after all, he is my best work. You are comparing the first chapter to Don Juan. Nobody respects Don Juan more than me (the first 5 songs, I haven't read the others), but it has nothing in common with Onegin. You talk about the satire of the Englishman Byron and compare it with mine, and demand the same from me! No, my soul, you want a lot. Where is my satire? There is no mention of her in "Eugene Onegin". My embankment would crackle if I touched satire. - The very word satirical should not be in the preface. Wait for other songs. Oh! If I could lure you to Mikhailovskoe! .. You will see that if you really compare Onegin with Don Juan, then only in one respect: who is nicer and more charming (gracieuse) - Tatiana or Yulia? Canto 1 is just a quick introduction, and I am pleased with it (which very rarely happens to me). By this I conclude our polemic ... "
“What Delvig? According to rumors, he should be with you ... I'm looking forward to him to hear his opinion on the rest of the songs of your "Onegin". "
Mid-April 1825, in a letter to P.A.Vyazemsky:
“I'm rewriting Onegin for you. I wish he helped you smile. For the first time a reader's smile is me sourit; excuse this plane: in the blood! .. And in the meantime, be grateful to me: from my days I did not rewrite anything for anyone, not even for Golitsyna. "
“Tolstoy will appear in all his splendor in the fourth song of Onegin, if his libel is worth it, and therefore ask for his epigram, etc., from Vyazemsky (by all means). You, my dear, do not find any sense in my moon - what to do? but type it already. "
At the end of April 1825, in a letter to P.A.Vyazemsky:
“I have Delvig. Through him I send you chapter 2 of "Onegin" (you are the only one and only for you rewritten). For a conversation with a nanny, without a letter, the brother received 600 rubles. You see that this is money, and therefore it must be kept under the key. "
At the end of May 1825, in a letter to A.A. Bestuzhev:
“Everything that you say about our upbringing, about foreign and internecine (charm!) Imitations is perfectly expressed and with heartfelt eloquence; in general, thoughts in you boil. You did not express everything that you had in your heart about Onegin: I feel why, and thank you; but why not clearly reveal your opinion? As long as we will be guided by our personal relationships, we will not have criticism, and you deserve to create it. "
“... at the last post, Prince Nikolai Sergeevich Golitsyn sent me from Moscow as a gift your" Onegin ". Quite by accident I found my name in it, and this proof that you remember me and that you are well disposed towards me made me almost ashamed that I hadn’t bother to visit you up to this time ... With excellent pleasure I swallowed Mr. Eugene (as by patronymic?) Onegin. In addition to lovely poetry, I found yourself here, your conversation, your cheerfulness, and I remembered our barracks in Millionnaya. I would like to demand that you really fulfill your humorous promise: write a poem, songs in twenty-five; but I don’t know what your disposition is now; our favorite activities sometimes become disgusting. However, it seems that in literature you have no displeasure, and your way to Parnassus is covered with flowers ... "
In early June 1825, in a letter to A.A. Delvig:
“... What is my Onegin? Is it for sale? By the way, tell Pletnev to give Lev out of my money for nuts, and not on my commission ... What is Zhukovsky doing? Give me his opinion on the 2nd chapter of "Onegin" ... "
“... I heard from Delvig about the following songs of" Onegin ", but I can't judge from oral stories ... If you knew how much I love, how I appreciate your talent. Goodbye, miracle worker ... "
"... J" ai lu le 2-m chant de "Eugene Onegin"; c "est un charme! .."
(I read the 2nd song of Eugene Onegin; lovely!)
“... I got the second part of Onegin and some other knickknacks. I am very pleased with Onegin, that is, with many things in him; but this chapter has less brilliance than the first, and therefore would not want to see it printed separately, but perhaps with two, three, or at least one more chapter. In general, or in connection with the next, it will retain its dignity intact, but I am afraid that it will not withstand comparison with the first, in the eyes of the world, which requires not only equal, but better ... "
In June 1825, in a letter to P.A.Vyazemsky:
“I think that you have already received my answer to the Telegraph's proposals27. If he needs my poems, then send him whatever you come across (except for Onegin ...) ”.
"Again," Onegin "sold (except for those that I have already notified you, that is, by March 1, 700 copies, and by March 28, 245 copies) 161 copies, that is, for 724 rubles 50 k. ... I repeat: 2,400 copies were printed; for money, of which I was sold: 1106 copies, and without money, 44 copies were issued for different persons. Consequently, there are still 1250 copies left to sell. And it’s me I decided to give the booksellers 20 percent for a speedy sale, that is, so that you could get 4 rubles from them for a copy, and not 4 rubles 50 kopecks, as it was before. Are you satisfied with my orders? "... In a letter on August 29: “I was talking to the booksellers about Onegin so that they could take the rest of the copies with a concession of 1,000 rubles for the entire edition. when you print another song or two. We will laugh at the fools then. I confess, I am glad of that. It is enough for them to amuse us with their money. Darling, take my advice! "...
“I have 4 songs of Onegin ready and many more excerpts; but I have no time for them. I am glad that you like the 1st song - I love it myself ...
Pletnev again asks Pushkin to publish the next chapters of "Eugene Onegin" - in a letter on January 21, 1826: "I beg you, print one or two chapters of" Onegin. " I’m afraid even that: they scare me that there are lists of the 2nd chapter in the city ”. In a letter on February 6: "Do mercy, release Onegin. Can't I question you?"
“... Let them let me leave the damned Mikhailovskoye ... And you're good! you write to me: rewrite, but hire scribes, and publish Onegin. I have no time for Onegin. Damn Onegin! I want to publish or publish myself. Fathers, help! "
“... Finally I got it out and read the second canto of Onegin, and in general I am very pleased with it; the village life in it is as well bred as the urban life in the first one. Lensky is well drawn, and Tatiana promises a lot. I will note to you, however (for you initiated me into criticism), that up to this time the action has not yet begun; the variety of pictures and the charm of the poem, at the first reading, conceal this defect, but reflection reveals it; however, it is already impossible to correct it now, but you have another matter: to reward it completely in the following songs. If you don't print a second one before the almanac comes out, give it to me; but if you will publish it first, we ask you to continue: it is a lovely thing ... "
“... What is my friend Onegin doing? I would have sent him a bow with respect, but he wanted to spit on all this: it is a pity, but by the way, the little one is not a fool ... "
“... My deaf Mikhailovskoe makes me sad and furious. In the 4th song of "Onegin" I depicted my life ... "
“In the countryside I wrote despicable prose, but inspiration doesn’t come. In Pskov, instead of writing the 7th chapter of Onegin, I am losing the fourth one in the shtos: it’s not funny. ”
"Of the 2356 copies of the 1st chapter received for sale," E. Onegin "only 750 copies remain in Olenin's shop, that is, for 3000 rubles, and the other 1606 copies have already been sold and for them money has been received in full 6977 rubles."
At the end of January 1827, in a letter to V.I. Tumansky:
"... Send my excerpt to Odessa"
"Nothing gives money so easily as" Onegin ", which came out in parts, but regularly after 2 or 3 months. This has already been proven, but posteriori. He, by the grace of God, is all written. then you have a blues. You answer the public in a fit of caprice: here's the "Gypsies"; buy them! And the public, in spite of you, does not want to buy them and is waiting for "Onegin" and "Onegin." Now let's see which of you will argue over whom The public has money: it seems more decent that you submit to it, at least until you fill your pockets. they say, there is still a whole regiment of old ones. They only need the 2nd chapter of "Onegin", which settled in Moscow, and here everyone asked her. So, upon receiving this letter, immediately write to Moscow so that all the rest will be sent copies of "Onegin" of the 2nd chapter to St. Petersburg addressed to Slenin ... For the last time I belittle you to rewrite the 4th chapter of "Onegin ", but if you will be hunted, and the 5th, so as not to go to the censor with a thin notebook ... It is evident that for different creations of your homeless and orphaned one is destined by fate to be the breadwinner:" Eugene Onegin. " Feel: your imagination has never created, and it seems, will not create a creation that would move such a huge mass of money by such simple means as this invaluable treasure "Onegin" gold mine. He ... should not lead the public out of patience with his frivolity. "
In June 1827, in a letter to S. A. Sobolevsky:
“Write me a good word, where is“ Onegin ”II part? Here it is required. Even the sale of other chapters has stopped. Who's to blame? You..."
In November 1827, in a letter to S. A. Sobolevsky:
“If you simply wrote to me, having arrived in Moscow, that you cannot send me the 2nd chapter, I would have reprinted it without any hassle; but you promised everything, promised - and thanks to you, in all bookstores the sale of the 1st and 3rd chapters stopped. "
At the end of 1827, in a letter to M.P. Pogodin:
"An excerpt from" Onegin "and" Stanza "missed - one of these days I will send to Moscow ...."
Pushkin to E.M. Khitrovo:
In early February 1828 St. Petersburg:
“I take the liberty of sending you the just published chapters 4 and 5 of Onegin. With all my heart I would like them to make you smile. "
Pushkin to E.M. Khitrovo.
End of January 1832 St. Petersburg:
"I am very glad that you liked Onegin: I value your opinion."
E. Baratynsky to Pushkin. Late February - early March 1828:
“... We've released two more Onegin songs. Each one interprets them in his own way: some praise, others scold and read everything. I really love the vast plan of your "Onegin"; but more do not understand it. They are looking for a romantic connection, they are looking for the extraordinary and, of course, they do not find it. The high poetic simplicity of your creation seems to them the poverty of fiction, they do not notice that old and new Russia, life in all its changes passes before their eyes, mais que le diable les emporte et que Dieu les benisse! I think that here in Russia a poet can only hope for great success in his first immature experiments. For him all the young people who find in him almost their feelings, almost their thoughts, clothed in brilliant colors. The poet develops, writes with great deliberation, with great thoughtfulness: he is boring to the officers, and the brigade leaders do not put up with him, because his poems are still not prose ... "
"... I recently read the third part of" Onegin "and" Count Nulin ": both are lovely, although, without a doubt," Onegin "is superior in dignity."
At the end of March 1828, in a letter to S. A. Sobolevsky:
"Who is this Athenic Sage, who has analyzed the IV and V chapters so well - Zubarev or Ivan Savelich?"
In April 1828 (received on the 5th) in a letter to I.E. Velikopolsky:
“Dear Ivan Ermolaevich, Bulgarin showed me your very dear stanzas to me in response to my joke. He told me that the censorship does not allow them, as a person, without my consent. Unfortunately, I could not agree:
Chapter Onegin the second
I rode modestly on an ace -
and your note is, of course, personality and indecency. And the whole stanza is unworthy of your pen. The others are very nice. It seems to me that you are a little unhappy. Is it true? At least your last poem sounds bitter. Do you really want to quarrel with me in earnest and force me, your peace-loving friend, to include hostile verses in the 8th chapter. "Onegin"? NB. I did not lose the 2nd chapter, but I paid my debt with copies of it ... "
"In our neighborhood there is Beketov ... (he) has a sister - he knows all the chapters of Onegin by heart ... I found in Pavlusha's (son's) notebook: criticism of Eugene Onegin."
“People here think that I came to type stanzas in Onegin ... and I go by ferry.”
In early May 1830, in a letter to P.A.Pletnev:
"Tell me: did the Northern Bee recall have an impact on Onegin's consumption?"
"Here's what I brought here: the last two chapters of Onegin, the eighth and ninth, completely ready for printing ..."
The novel begins with a grumpy speech by a young nobleman Eugene Onegin, dedicated to his uncle's illness, which forced him to leave Petersburg and go to the patient's bed to say goodbye to him. Having thus designated the plot, the author devotes the first chapter to a story about the origin, family, life of his hero before receiving the news about the illness of a relative. The story is narrated on behalf of an unnamed author, who introduced himself as a good friend of Onegin. The very image of the author - the narrator and at the same time the “hero” of the novel - is a unique image.
Eugene was born "on the banks of the Neva", that is, in St. Petersburg, in the family of a typical nobleman of his time -
“Serving excellently nobly,
His father lived in debt.
Gave three balls annually
And he skipped at last. "
Onegin received a typical upbringing for many nobles - first the governess Madame, then the French governor, who did not bother his pupil with an abundance of sciences. Pushkin emphasizes that Yevgeny's upbringing is typical for a person of his environment (a nobleman who was taught by foreign teachers from childhood).
Onegin's life in St. Petersburg was full of love intrigues and secular entertainments, but in this constant series of fun there was no place for sincere feelings, which led the hero to a state of internal discord, emptiness, and boredom. Evgeny is leaving for his uncle, and now he will be bored in the village. Upon arrival, it turns out that his uncle has died, and Eugene became his heir. Onegin settles in the village, but even here he is overcome by the blues.
Onegin's neighbor turns out to be eighteen-year-old Vladimir Lensky, a romantic poet who came from Germany. Lensky and Onegin agree. Lensky is in love with Olga Larina, the daughter of a landowner. Forever cheerful Olga does not look like her brooding sister Tatyana.
"Not her sister's beauty,
Not the freshness of her ruddy ... "
Olga, externally beautiful, lacks internal content, which Onegin notes:
“Are you in love with the lesser one?
I would choose another
When I was like you, a poet.
Olga has no life in her features. "
Having met Onegin, Tatiana falls in love with him and writes him a letter, confessing her feelings. Her letter is "woven" of reminiscences from sentimental novels that made up the heroine's reading circle, but Tatyana's feeling is sincere and deep. However, Onegin rejects her: he is not looking for a quiet family life. Tatiana, through long disappointments and experiences, gradually comes to an epiphany about the deep essence of her chosen one. (In a prophetic dream, she sees Eugene among the fanged horned monsters.)
Lensky and Onegin are invited to the Larins. Onegin is not happy with this invitation, but Lensky persuades him to go.
“[...] He pouted and, indignant,
vowed to enrage Lensky,
And take revenge in order. "
At the Larins' dinner, Onegin, in order to make Lensky jealous, unexpectedly begins to court Olga. Lensky challenges him to a duel. The fight ends with the death of Lensky, and Onegin leaves the village. It is here that Tatyana's final insight takes place. In Onegin's house, when she visits his hereditary "castle" after the departure of her lover, she reads his books. "A sad and dangerous eccentric, / Creation of hell or heaven ..." - this is how her chosen one now appears in the mind of the heroine. The author denotes the main discovery of Tatyana in Onegin with the words "imitation", "parody". Onegin is “a Muscovite in a Harold's cloak, everything in him is not his own, borrowed. His behavior is to follow Byronic patterns.
Three years later, after traveling, he appears in Moscow and meets Tatyana and does not recognize:
“She was unhurried ...
Not cold, not talkative,
Without an insolent gaze for all,
No claim to success
Without these little antics
Without imitative undertakings ...
Everything is quiet, it was just in her. "
With her simplicity, naturalness and at the same time greatness, she conquered secular Petersburg:
“The ladies moved closer to her;
The old ladies smiled at her;
The men bowed below
They caught the gaze of her eyes;
The girls passed quieter
In front of her in the hall ... "
Onegin was inflamed with love for her. He writes a letter to her. But Tatyana does not respond to either the letter or the persecution of Onegin, despite the fact that Tatyana also loves him, but wants to remain faithful to her husband.
“I love you, (why dissemble?),
But I am given to another;
I will be faithful to him forever. "
FM Dostoevsky, evaluating her act, exclaims: “She said it exactly as a Russian woman, this is her apotheosis ... can a person base his happiness on the misfortune of another? Happiness is not only in the pleasures of love, but in the highest harmony of the spirit ... Tell me, could Tatyana have decided otherwise, with her high soul, with her heart, who suffered so much? Not; a pure Russian soul decides like this: “Let, let me alone lose my happiness ... but I don’t want to be happy, ruining the other!” ”
Conventionally, the plot can be divided into two parts:
* chapters one through seven - the story of Tatyana's love for Onegin. The line of Lensky and Olga is developing in parallel;
* Chapter Eight - Onegin who returned from the trip and his love for Tatiana.
The culmination of each of these plots is a letter, and the denouement is the answer - the rebuke.
The work depicts events contributing to the evolution of Onegin. The first chapter shows his monotonous monotonous existence in St. Petersburg, causing him to a state, which the author described as "Russian blues." Then, under the influence of a different rhythm of village life, Tatyana's love, friendship with Lensky, and the murder of the latter in a duel, Onegin leaves the places "where a bloody shadow appeared to him every day." In the 8th chapter, another Onegin appears in St. Petersburg, able to wait for a date, to love ...
When Tatiana rejects his love, he stands "as if struck by thunder." The ending of the novel is fundamentally open. The reader will have to ponder what “will become of Onegin later”?
Story lines
1. Onegin and Tatiana. Episodes:
o Acquaintance with Tatiana,
o Talking to the nanny,
o Tatiana's letter to Onegin,
o Explanation in the garden,
o Tatiana's dream. Name day,
o Visit to Lensky's house,
o Departure to Moscow,
o Meeting at the ball in St. Petersburg in 2 years,
o Letter to Tatiana (explanation),
o Evening at Tatiana's,
2. Onegin and Lensky. Episodes:
o Acquaintance in the village,
o Conversation after the evening at the Larins,
o Lensky's visit to Onegin,
o Tatyana's birthday,
o Duel (Lensky dies).
Characters
Eugene Onegin - prototype Pyotr Chaadaev, a friend of Pushkin, is named by Pushkin himself in the first chapter.
Tatiana Larina - one of the prototypes can be considered Avdotya (Dunya) Norova, Chaadaev's girlfriend. In this image, you can also find features of Maria Volkonskaya, the wife of the Decembrist S.G. Volkonsky, a friend of Pushkin, as well as Anna Kern, Pushkin's beloved.
Olga Larina, her sister, is a generalized image of a typical heroine of popular novels; beautiful outwardly, but devoid of deep content.
Vladimir Lensky - "energetic rapprochement between Lensky and Kuchelbecker, produced by Yu. N. Tynyanov"
Tatiana's nanny - a probable prototype - Arina Rodionovna, Pushkin's nanny
Zaretsky is a duelist; Fedor Tolstoy-American was named among the prototypes
Tatiana Larina's husband, not named in the novel, "an important general", General Kern, husband of Anna Kern.
Interesting Facts
Poetic features
The novel is written in a special "Onegin stanza". Each such stanza consists of 14 lines of iambic tetrameter.
The first four lines rhyme crosswise, lines five to eighth - in pairs, lines nine to twelve are linked by a ring rhyme. The remaining 2 lines of the stanza rhyme with each other.
Translations
"Eugene Onegin" has been translated into many languages of the world:
in English - by Walter Arndt, Vladimir Nabokov and others;
into French - by I. S. Turgenev and L. Viardot, Jean-Louis Bakes and Roger Legras, Jacques Chirac and others;
into German by Rolf-Dietrich Keil and others;
in Belarusian - by Arkady Kuleshov,
in Ukrainian - M. F. Rylsky,
in Hebrew - by Abraham Shlonsky.
into the Ossetian language - Nafi Dzhusoyty.
In miniature
One of the Russian printing houses in 1837 published the novel "Eugene Onegin" in miniature - the last lifetime edition of Alexander Pushkin. The plans of the printing house were such that in one year the entire circulation (5,000 copies) could be sold at 5 rubles per book. But due to the sensation - the sad outcome of the life of the author of the work - the entire circulation was sold out within a week. And in 1988 the publishing house "Kniga" published a facsimile edition of the book with a circulation of 15,000 copies.
One of the smallest complete editions of "Eugene Onegin" is a micro-edition in 4 volumes of 8x9 mm 2002 Omsk, A. I. Konenko
Chapter ten
On November 26, 1949, D. N. Alshits, the chief bibliographer of the Leningrad State Public Library named after ME Saltykov-Shchedrin, discovered a manuscript of the second half of the 19th century, presumably with the text of Chapter X of Onegin. As David Samoilov argued, "not a single serious literary critic believed in the authenticity of the text" - the style is too different from Pushkin's and the artistic level is low.
Influence on other works
In literature:
The type of "superfluous person" introduced by Pushkin in the image of Onegin influenced all subsequent Russian literature. Of the closest illustrative examples - the surname "Pechorin" in Lermontov's "Hero of Our Time", as well as the surname Onegin is formed from the name of the Russian river. Many psychological characteristics are also close.
The modern Russian novel Onegin's Code, written by Dmitry Bykov under the pseudonym Brain Down, deals with the search for the missing chapter of Pushkin's manuscript.
The genre of the full-fledged "novel in verse" inspired A. Dolsky to create the novel "Anna", which was completed in 2005.
In music:
P. Tchaikovsky - Opera "Eugene Onegin", (1878)
R.K.Schedrin - Stanzas "Eugene Onegin"
Contemporary critics
K. F. Ryleev, N. A. Polevoy, D. V. Venevitinov, N. I. Nadezhdin, F. V. Bulgarin, N. G. Chernyshevsky, N. A. Dobrolyubov, D. I. Pisarev, F. M. Dostoevsky, A. Grigoriev, A. V. Druzhinin
The history of the creation of "Eugene Onegin" - "the fruit of the mind of cold observations and the heart of sorrowful notes" - by the outstanding Russian classic Alexander Sergeevich Pushkin does not resemble a blitzkrieg. The work was created by the poet in an evolutionary way, marking his formation on the path of realism. A novel in verse as an event in art was a unique phenomenon. Prior to that, in world literature, only one analogue was written in the same genre - the romantic work of George Gordon Byron "Don Juan".
The author decides to brainstorm
Pushkin went beyond the great Englishman - to realism. This time the poet set himself the ultimate task - to show a person who can serve as a catalyst for the further development of Russia. Alexander Sergeevich, sharing the ideas of the Decembrists, understood that a huge country should be moved, like a locomotive, from the dead-end path that led the entire society to a systemic crisis.
The history of the creation of "Eugene Onegin" is determined by a titanic poetic work in the period from May 1823 to September 1830, a creative rethinking of Russian reality in the first quarter of the 19th century. The novel in verse was created during four stages of Alexander Sergeevich's work: southern exile (1820 - 1824), stay "without the right to unauthorized abandonment of the Mikhailovskoye estate" (1824 - 1826), the period after exile (1826 - 1830), Boldin autumn (1830)
A.S. Pushkin, "Eugene Onegin": the history of creation
Young Pushkin, a graduate in the words of Emperor Alexander I, who "flooded Russia with outrageous verses", began to write his novel while in exile in Chisinau (thanks to the intercession of friends, the transfer to Siberia was avoided). By this time, he was already the idol of the Russian educated youth.
The poet strove to create the image of a hero of his time. In the work, he painfully searched for the answer to the question of what should be the bearer of new ideas, the creator of the new Russia.
Socio-economic situation in the country
Consider the social environment in which the novel was created. Russia won the war of 1812. This gave a tangible impetus to public striving for liberation from feudal shackles. First of all, the people longed for Such his release inevitably entailed a limitation of the powers of the monarch. The communities of guard officers formed immediately after the war in 1816 in St. Petersburg form the Decembrist Union of Salvation. In 1818, the Union of Welfare was organized in Moscow. These Decembrist organizations actively contributed to the formation of liberal public opinion and waited for an opportune moment for a coup d'etat. There were many friends of Pushkin among the Decembrists. He shared their views.
Russia by that time had already become a recognized European power with a population of about 40 million people, within it the germs of state capitalism were ripening. However, its economic life was still determined by the rudiments of feudalism, noble landownership and merchants. These social groups, gradually losing social weight, were still powerful and influenced the life of the state, prolonging feudal relations in the country. They were the champions of a society built according to the outdated Catherine's noble principles inherent in Russia in the 18th century.
There were the characteristic features of the social and the whole society. There were many educated people in the country who understood that the interests of development require great changes and reforms. The history of the creation of "Eugene Onegin" began with the poet's personal rejection of the surrounding, in the words of Alexander Nikolaevich Ostrovsky, "the dark kingdom"
Having risen after a powerful acceleration, given and dynamism during the reign of Empress Catherine II, Russia at the beginning of the 19th century slowed down the pace of development. At the time of Pushkin's writing of the famous novel, there were no railways in the country, steamers had not yet sailed on its rivers, thousands and thousands of its hardworking and talented citizens were tied hand and foot by the bonds of serfdom.
The history of Eugene Onegin is inextricably linked with the history of Russia at the beginning of the 19th century.
Onegin stanza
Alexander Sergeevich, "Russian Mozart from poetry", treated his work with special attention. He developed a new line of poetry specifically for writing a novel in verse.
The poet's words do not flow in a free stream, but in a structured manner. Every fourteen lines are combined into a specific Onegin stanza. At the same time, rhyming is unchanged throughout the entire novel and has the following form: CCddEffEgg (where uppercase letters denote female endings, and lowercase letters denote male endings).
Undoubtedly, the history of the creation of the novel "Eugene Onegin" is the history of the creation of the Onegin stanza. It is by varying the stanzas that the author succeeds in creating an analogue of prose sections and chapters in his work: to move from one topic to another, to change the style of presentation from reflection to the dynamic development of the plot. Thus, the author creates the impression of a relaxed conversation with his reader.
Novel - "a collection of colorful chapters"
What makes people write works about their generation and about their native land? Why, at the same time, do they give themselves up to this work completely, working as if possessed?
The history of the creation of the novel "Eugene Onegin" was initially subordinated to the author's intention: to create a novel in verse, consisting of 9 separate chapters. Specialists in the work of Alexander Sergeevich call him “open in time” because each chapter is independent and can, according to its internal logic, complete the work, although it finds its continuation in the next chapter. His contemporary, professor of Russian literature Nikolai Ivanovich Nadezhdin, gave a classic description of Eugene Onegin not as a work with a rigid logical structure, but rather as a kind of poetic notebook filled with direct rainbow tints of bright talent.
About the chapters of the novel
The chapters of Eugene Onegin were published from 1825 to 1832. as they were written and published in literary almanacs and magazines. They were expected, each of them became a real event in the cultural life of Russia.
However, one of them, devoted to the journey of the protagonist to the area of the Odessa pier, containing critical judgments, the disgraced author chose to withdraw in order to avoid reprisals against himself, and then destroyed her only manuscript.
Also, completely surrendering to work, later worked on his "Doctor Zhivago" Boris Leonidovich Pasternak, Mikhail Alexandrovich Sholokhov also wrote about his generation. Pushkin himself called his more than seven years of work on this novel in verse a feat.
Main character
The description of Eugene Onegin, according to literary scholars, resembles the personality of Pyotr Yakovlevich Chaadaev, the author of Philosophical Letters. This is a character with powerful energy, around which the plot of the novel unfolds and other characters manifest themselves. Pushkin wrote about him as a "good friend". Eugene received a classical noble upbringing, completely devoid of "Russianness". And although a sharp, but cold mind burns in him, he is a man of light, following certain opinions and prejudices. Eugene Onegin's life is meager. On the one hand, the mores of the world are alien to him, he sharply criticizes them; and on the other, he is subject to his influence. The hero cannot be called active; rather, he is an intelligent observer.
Features of Onegin's image
His image is tragic. First, he could not stand the test of love. Eugene listened to reason, but not to his heart. At the same time, he acted nobly, respectfully treating Tatyana, letting her know that he was not capable of falling in love.
Secondly, he did not pass the test of friendship. Having challenged his friend, 18-year-old romantic young man Lensky, to a duel, he blindly follows the concepts of light. It seems to him more decent not to provoke the malice of the old noteworthy duelist Zaretsky than to end a completely stupid quarrel with Vladimir. By the way, Pushkin scholars consider the young Kuchelbecker to be the prototype of Lensky.
Tatiana Larina
The use of the name Tatiana in the novel by Eugene Onegin was a know-how from Pushkin. Indeed, at the beginning of the 19th century, this name was considered common and irrelevant. Moreover, dark-haired and not ruddy, brooding, uncommunicative, she did not correspond to the ideals of the beauty of light. Tatiana (like the author of the novel) loved folk tales, which her nanny generously told her. However, her particular passion was reading books.
Heroes of the novel
In addition to the aforementioned plot-forming main characters, minor ones pass before the reader. These images of the novel "Eugene Onegin" do not form the plot, but complement it. This is Tatyana's sister Olga, an empty socialite, with whom Vladimir Lensky was in love. The image of the nanny Tatiana, a connoisseur of folk tales, has an obvious prototype - the nanny of Alexander Sergeevich himself, Arina Rodionovna. Another unnamed hero of the novel is the husband found by Tatyana Larina after a falling out with Yevgeny Onegin - “an important general”.
The host of landowners seems to have been imported into Pushkin's novel from other Russian classics. These are the Skotinins ("The Minor" by Fonvizin) and Buyanov ("Dangerous Neighbor" by V.L. Pushkin).
Folk work
The highest praise for Alexander Sergeevich was the assessment given to the first chapter of Eugene Onegin by the person whom the poet considered his teacher - Vasily Andreevich Zhukovsky. The opinion was extremely laconic: "You are the first in Russian Parnassus ..."
The novel in verse encyclopedically correctly reflected the Russian reality of the beginning of the 19th century, showed the way of life, characteristic features, the social role of various strata of society: the St. Petersburg high society, the Moscow nobility, landowners, landowners, peasants. Perhaps this is why, and also because of Pushkin's all-encompassing and subtle display of the values, morals, views, fashion of that time in his work, the literary critic gave him such an exhaustive description: "a work of the highest degree of nationality" and "an encyclopedia of Russian life."
Pushkin wanted to change the plot
The final concept of the work was formed by the author only in 1830. He was clumsy and tortured. To give a traditional solid look to his creation, Alexander Sergeevich decided to either send Eugene Onegin to fight in the Caucasus, or turn him into a Decembrist. But Eugene Onegin - the hero of the novel in verse - was created by Pushkin on one inspiration, as a "collection of variegated chapters", and this is his charm.
Conclusion
The work "Eugene Onegin" is the first realistic novel in verse in Russian history. It is significant for the 19th century. The novel was recognized by society as deeply popular. An encyclopedic description of Russian life is adjacent to it with high artistry.
However, according to critics, the main character of this novel is not Onegin at all, but the author of the work. This character does not have a specific look. This is a kind of blank spot for the reader.
According to the text of the work, Alexander Sergeyevich hints at his link, saying that the North is harmful to him, and so on. Pushkin is invisibly present in all actions, summarizes, makes the reader laugh, enlivens the plot. His quotes are striking not in the eyebrow, but in the eye.
As fate willed, Alexander Sergeevich Pushkin reviewed the second full edition of his novel in verse in 1937 (the first was in 1833), being mortally wounded on the Black River near the Commandant's dacha. It was planned to sell a circulation of 5,000 copies throughout the year. However, readers bought it out in a week. Subsequently, the classics of Russian literature, each for his own time, continued the creative search for Alexander Sergeevich. They all tried to create a hero of their time. And Mikhail Lermontov as Grigory Alexandrovich Pechorin ("A Hero of Our Time"), and Ivan Goncharov as Ilya Oblomov ...
Book year: 1825
Pushkin's novel "Eugene Onegin" is one of the most significant works in the work of the Russian poet. It took Pushkin more than seven years to write it, and the publication of this novel in verse took place one chapter at a time. The first chapter of the novel "Eugene Onegin" was published in 1825, and the complete work was published only in 1933. Since then, the work has been reprinted more than once in more than 20 languages of the world, and the novel "Eugene Onegin" itself has become one of the most significant works in world literature. Therefore, it is not at all surprising that the author of the novel occupies the highest place in our rating, and his works are presented in great numbers in the ratings of our site.
Subsequently, the protagonist of the novel "Eugene Onegin" leaves for Europe, and Olga soon gets married. Only the image of Tatiana in the novel remains unchanged. She refuses all suitors and, in search of a party for her daughter, her parents take her to St. Petersburg. Here she becomes an unapproachable socialite. At the same time, Eugene Onegin returned to St. Petersburg. He is still full of blues, but at one of the balls he is again introduced to Tatyana. Now he falls in love with her and asks for her attention. But she is cold. And only once having called Tatyana to be frank, Onegin learns that she still loves him, but she is given to another and will be faithful to him. This is where the novel ends.
The novel "Eugene Onegin" on the site Top books
Despite the years, the novel "Eugene Onegin" is still popular to read. In many ways, I also contribute to the popularization of the work by schoolchildren, for whom Eugene Onegin should be read according to the school curriculum. In addition, they write essays on the novel "Eugene Onegin". All these factors, combined with the genius of the work, allowed the novel to take first place in our rating. In addition, it is quite legitimate for the novel "Eugene Onegin" to occupy the highest place in our rating. At the same time, the positions of the novel are quite stable, which is typical for truly iconic works.
You can read the novel "Eugene Onegin" online at the Top Books website.
The action in the work takes place from 1819 to 1825. The novel opens with a dedication to Pletnev. Then the first chapter follows, beginning with Onegin's complaints that he had to go to the village to see a seriously ill uncle in order to take care of him, show concern, and think for himself: "when the devil will take you."
Onegin at the beginning of the novel is a young rake, handsome, "dandy". He received a typical noble upbringing and education, learned a little of everything, spoke excellent French, "knew how to dance a mazurka and bowed at ease." The hero is especially skilled in the "science of tender passion", skillfully flirted, attended balls, theaters, restaurants. The day was scheduled by the hour, but all the time was occupied by social events, which soon bored the young man. Let's continue with a brief summary of "Eugene Onegin" by Pushkin.
Eugene Onegin in the village
He comes to the village, never finds his uncle alive and decides that nature and a new way of life will help to dispel boredom. But after three days he gets bored with the village. Onegin is moping, reads books, does not maintain relations with neighbors, as he is tired of their "prudent talk about haymaking, about wine, about a kennel, about his relatives."
At the same time, Vladimir Lensky, an eighteen-year-old poet, romantic dreamer, who graduated from the University of Göttingen, comes to his estate. He believes in love, in friendship, in the happiness of life, although he writes typically romantic poems about melancholy and fading.
Onegin and Lensky became friends, while they were completely different. They often come together, argue, talk, share thoughts. Lensky tells a friend about his beloved Olga, daughter of a neighbor, Larina.
One day friends go to visit the Larins. On the way back, Onegin tells Lensky that the older sister Tatiana is more interesting than the younger one, because Olga is beautiful, but ordinary, like an ordinary heroine of a novel. Lensky is offended. A summary of Pushkin's "Eugene Onegin" is presented by the literary portal site
The love affair gets complicated
Young people do not suspect that Tatiana is in love with Onegin. She suffers, does not sleep at night, confesses everything to the old nanny. She tells her about her fate, recalls her husband, mother-in-law and a difficult life. Tatiana decides to write to Onegin and confess her feelings. Her letter is reminiscent of romantic confessions from the sentimental novels of the XVIII, which the girl loved. The beloved appears as a kind of ideal, which Tatyana was waiting for and immediately felt in her heart that it was he who was destined for her by fate. Having sent a letter, she waits for an answer for a long time, she is tormented, but Onegin does not write to her.
Pushkin talks about the unusualness of Tatiana, her love of solitude, reading books, Russian nature. She especially liked winter, fortune-telling, rituals, fairy tales and scary stories of the nanny on long winter evenings. Tatyana with her Russian soul is the author's “sweet ideal”.
Finally Onegin arrives and an explanation takes place in the garden. The hero was tempted in female love, but did not want to deceive Tatiana, seeing in her letter the sincerity of her first love. Therefore, he honestly admits that he is not ready to share her feelings, family life is not for him at all and gives advice to continue to be more careful, not to speak so frankly about his feelings.
Soon Tatyana has a terrible dream, where she sees herself in the forest, a bear pursues her, and then catches up and carries her to the hut, in which the monsters sit, and Onegin presides among them. He takes Tatiana, at this moment Lensky and Olga enter, Onegin does not like the appearance of intruders, he kills the young poet. The dream turns out to be prophetic.
Then the name day of the main character is depicted. Before that, Lensky invites Onegin to the Larins' holiday, promising that there will be no other guests there. However, many landlord neighbors come to the house. Eugene is angry and wants to take revenge on Lensky. To do this, he invites Olga to dance several times, arousing the jealousy of her lover. Vladimir decides that his friend wants to seduce Olga. In the end, in the evening, Onegin receives a challenge to a duel and accepts it.
Duel and finale - summary of "Eugene Onegin"
Before the duel, the hero thinks that it would be more correct to tell Lensky about his insult and make peace with him, but does not do this, fearing to be considered a coward. Lensky, before the fatal event, reflects on the uncertainty of "the day to come" and on Olga's love.
The next morning Onegin comes to the duel much later than the appointed time, but the duel took place, and Lensky was killed. Shocked, Onegin leaves these places.
Six months pass, Olga marries a lancer and leaves. Tatiana wanders through the surrounding fields and accidentally comes to Onegin's house. There, in his office, she reads books, sees what notes their owner left in the margins and concludes that Onegin is just an imitation of the fashionable type of Byronic hero. After a while, her mother persuades her to go to Moscow to the “fair of brides”. There she is noticed by an important general, she gets married.
A few years later, Onegin returns from a trip to St. Petersburg. At the ball, he meets Tatyana and does not immediately recognize: she has changed, she has become a majestic, calm secular lady, arousing universal respect and awe. The author notes that Tatiana's unusual charm conquers Onegin, he falls in love and confesses his feelings to her in a letter. Having received no answer, he sends two more messages, but in vain. Then Onegin comes to Tatiana and finds the crying heroine reading a letter. Tatiana says that she loves Onegin, but "given to another" and will be "faithful to him forever."
You have read the summary of the novel "Eugene Onegin" by Pushkin. We invite you to visit the Abstracts section for other expositions of popular writers.
The formation of the civil, or social, movement of Russian romanticism is directly related to the creation of the Union of Salvation (1816–1817), the Union of Welfare (1818–1821), and the Northern and Southern secret societies (1823–1825). The documents of these societies contained political guidelines concerning, in particular, the fine arts. Thus, the Union of Prosperity formulated its tasks in the field of art and literature in the following way: "To find means for the fine arts to give the proper direction, which consists not in pampering the senses, but in strengthening and raising our moral essence." In general, the Decembrists assigned literature a service role and viewed it as a means of agitation and propaganda of their views. This, however, did not mean that they were oblivious to the quality of literary production, or that they all had the same literary tastes and passions. Some accepted romanticism, others denied it. The Decembrists understood romanticism itself in different ways: some took the lessons of the "school of harmonic precision", others rejected them. Among them, based on the definition given by Yu.N. Tynyanov, there were "archaists" - supporters of the traditions of high civic poetry of the 18th century, views on the literary language of Shishkov, and "innovators" who mastered the stylistic principles of the poetic language of Zhukovsky and Batyushkov. Among the "archaists" are P.A. Katenin, V.K. Kuchelbecker, to the “innovators” - A.A. Bestuzhev (Marlinsky), K.F. Ryleev, A.I. Odoevsky and others. The diversity of literary tastes and talents, interest in various topics, genres and styles does not prevent us from highlighting the general tendencies of Decembrist romanticism, which gave face to the civil, or social, trend in Russian romanticism during the heyday of the Decembrist movement, that is, until 1825 The tasks of the Decembrist literature were to educate the civic feelings and views of the readers. This reflects its connection with the traditions of the 18th century, with the era of the Enlightenment. From the position of the Decembrists, a person's feelings are brought up not in a narrow friendly, family circle (as, for example, in V. Zhukovsky, K. Batyushkov), but in the public arena, on civil, historical examples. This forced the Decembrists, following the writers of the first years of the 19th century. (for example, V. Popugaev, who wrote articles "On the need for historical knowledge for public education", "On history as a subject of political education", etc.) to turn to national history. The historical past of different peoples (Russia, Ukraine, Livonia, Greece, both modern and ancient, ancient Rome, ancient Judea, etc.) ) most often becomes the object of the image in the work of the Decembrists. Some periods of Russian history, from the standpoint of the Decembrists, are key - they clearly expressed the common features of Russian national identity. One of such periods is the formation, and then the tragic death of the veche republics of Novgorod and Pskov (the historical ballads of A. Odoevsky "Ambassadors of Pskov", "Zosima", "The Old Lady", the story of A. Bestuzhev "Roman and Olga", etc. ). The Veche republics were seen by the Decembrists as an example of a civil system, an original form of life in Russian society. The history of the republics of Novgorod and Pskov was contrasted by the Decembrists with the history of Moscow, which personified the despotic tsarist rule (for example, the story "Roman and Olga" is based on this opposition). In the history of the Time of Troubles (XVIII century), the Decembrists found confirmation of their idea that without clear moral and civic guidelines in a difficult, transitional time, a human personality cannot take place (A. Bestuzhev's story "Traitor", V. Kuchelbecker's drama "Prokofiy Lyapunov " and etc.). The personality of Peter and the era of Peter's transformations were assessed ambiguously in the Decembrist (as well as in subsequent) literature. The most significant works on this topic, expressing opposite positions, are the thoughts and poems of K. Ryleev "Peter the Great in Ostrogozhsk", "Voinarovsky", on the one hand, the novels and articles by A. Kornilovich "Pray for God, and the service for the king does not disappear ", "The morning is wiser than the evening"; "The customs of Russians under Peter I" ("On the private life of Emperor Peter I", "On the amusement of the Russian court under Peter I", "On the first balls in Russia", "On the private life of Russians under Peter I") - on the other. The Decembrists' particular interest was directed to such historical figures of Ukraine as Bohdan Khmelnitsky, Mazepa, Voinarovsky and others (the story "Zinovy Bohdan Khmelnitsky" by F. Glinka, the Duma "Khmelnitsky" and the poem "Voinarovsky" by K. Ryleev, etc.). The history of the Livonian states became the subject of depiction in the historical stories of the Decembrists: in the cycle of “castle stories” by A. Bestuzhev (“Castle of Eisen”, “Castle of Wenden” (1821), “Castle of Neuhausen”, “Revel Tournament” (1824), in the story of N Bestuzhev "Hugo von Bracht" (1823) and others). The artistic historicism of the Decembrist literature is peculiar. The task of the citizen artist is to “comprehend the spirit of the times and the purpose of the century” (K. Ryleev). From the position of the Decembrists, "the spirit of the times and the purpose of the century" are similar among many peoples in different historical periods. The dramatic struggle of the tyrannical fighters against tyranny, the demand for the organization of life on the basis of solid and reasonable laws constitute the content of various historical eras. Historical themes provided an opportunity for the manifestation of the active character of the hero of Decembrist literature, therefore, historical works embodied in various genres (lyroepic, epic, dramatic) are most common in their work. The genre-specific range of the Decembrists' works is extremely wide. In the creative heritage of the Decembrist writers, lyric genres (from elegy, friendly message to ode), lyroepic (from ballad, thought to lyric poem), epic (from fable, parable to story), dramatic (from comedy to historical drama) were embodied. The Decembrists sharply raised the question of the national originality of literature, the development of nationally distinctive forms. A. Bestuzhev in his article “A Look at Russian Literature During 1824 and the Beginning of 1825” wrote: “We have sucked in the milk non-people and surprise only to the stranger. Measuring our works with the gigantic yardstick of other people's geniuses, we look down on our littleness even less, and this feeling, not warmed by popular pride, instead of arousing the zeal to create what we do not have, tries to humiliate even what we have. " The desire to find fresh, original and, most importantly, nationally unique forms for Russian literature, corresponding to the growing national identity, is characteristic of the genre searches of the Decembrists. So, for example, the appearance in the 1810s of V.A. Zhukovsky was an important event in Russian literature. However, the Decembrists perceived Zhukovsky's ballads "as genre stylization, transferring ready-made things", as translations from English, German and other languages. This could not satisfy the writers striving for a nationally distinctive literature. The Decembrist ballad (P. Katenin, A. Odoevsky, V. Küchelbecker) was deliberately focused on themes of Russian, often historical life, on a national hero, on the use of imagery and stylistics of folklore, works of Old Russian literature. In the 1820s, K. Ryleev began to master the genre of thought, which was close to the ballad, but was an independent art form dating back to Ukrainian and Polish literature. An important aspect of the stylistic manner of the Decembrists was the use of signal words in their works. A signal word is a certain poetic sign, with the help of which mutual understanding is established between the writer and the reader: the writer gives the reader a signal about the indirect meaning of this or that word, that the word is used by him in a special civil or political sense. This is how the Decembrists create their own stable poetic vocabulary, their stable imagery, which have quite definite and immediately recognizable associations. For example, the words high ("Slaves dragging in chains, they do not sing High songs!"), Holy ("Holy love for the motherland"), sacred ("Sacred duty to you ...") imply not only a strong and solemnly expressed feeling, but before of all, the feeling characteristic of a citizen-patriot, and are synonymous with the word civil. The word Slav evokes associations about civic valor and freedom-loving ancestors. The Decembrists often call themselves them, opposing those contemporaries ("reborn Slavs") who have forgotten about their civic duty. The words slave, chains, dagger, tyrant, law, etc. were filled with civic content. The names of Cassius, Brutus (Roman politicians who led the republican conspiracy against Caesar), Cato (a Roman republican who committed suicide after the establishment of Caesar's dictatorship) became symbolic for the Decembrists, Riega (the leader of the Spanish revolution of the 19th century), N.I. Panin (a Russian statesman who tried to limit the power of Catherine the Great), N.S. Mordvinov (a member of the State Council, who believed that the power of the tsar should be limited by the constitution), etc. his best civil-patriotic qualities and freedom-loving feelings, a positive hero, a socially active and courageous personality. In this regard, the Decembrists made an attempt to create an updated system of genres, in which the “average” (elegies, messages, ballads, thoughts, poems) and even “low” (“subversive” and other songs) genres would be filled with high, significant content, and “ high "genres would be animated by a lively personal, intimate feeling (hence such rapprochements are understandable -" merry blood "," love burns for freedom "," merry hour of freedom "," And magnificent and glorious glory of freedom "). Thus, the Decembrists violated genre thinking and contributed to the transition to thinking in styles. Even if they subjectively denied romanticism (Katenin), they nevertheless objectively acted as the most real romantics, proclaiming the ideas of nationality, historicism (however, without rising to genuine historicism), and individual freedom.
Poetry of K.F. Ryleeva
One of the brightest Decembrist poets of the younger generation was Kondraty Fedorovich Ryleev. His creative life did not last long - from the first student experiments in 1817-1819. until the last poem (early 1826), written in the Peter and Paul Fortress. Ryleev became widely known after the publication of the satire ode To the Temporary Worker (1820), which was written in a completely traditional spirit, but differed in bold content. Initially, in Ryleev's poetry, poems of different genres and styles coexist in parallel - odes and elegy. Over Ryleev gravitated to the "rules" of the then piitik. Civil and personal themes are not yet mixed, although the ode, for example, is acquiring a new system. Its theme is not the glorification of the monarch, not military valor, as it was in the lyrics of the 18th century, but ordinary civil service. The peculiarity of Ryleev's lyrics is that he not only inherits the traditions of civil poetry of the last century, but also assimilates the achievements of the new, romantic poetry of Zhukovsky and Batyushkov, in particular Zhukovsky's poetic style, using the same stable verse formulas. Gradually, however, the civic and intimate streams in the poet's lyrics begin to intersect: elegies and messages include civic motives, and ode and satire are imbued with personal sentiments. Genres and styles are starting to mix. In other words, in the civil, or social, flow of Russian romanticism, the same processes occur as in the psychological flow. The hero of elegies, messages (genres traditionally devoted to the description of intimate experiences) is enriched with the traits of a social person ("VN Stolypina", "On the Death of Beyron"). Civil passions, on the other hand, receive the dignity of living personal emotions. This is how genre barriers collapse, and genre thinking suffers significant damage. This tendency is characteristic of the entire civil branch of Russian romanticism. Typical, for example, is Ryleev's poem "I will be in a fateful time ...". On the one hand, the features of ode and satire are obvious in it - high vocabulary ("fateful time", "citizen of the San"), symbolic references to the names of heroes of antiquity and modernity (Brutus, Riego), contemptuous and accusatory expressions ("pampered tribe") , oratorical, declamatory intonation, designed for oral pronunciation, for public speech addressed to the audience; on the other hand, an elegiac reflection, imbued with sadness, that the younger generation does not enter the civilian field. Duma ... Since 1821, a new genre for Russian literature begins to take shape in Ryleev's work - the duma, a lyrical epic work similar to a ballad, based on real historical events, legends, however, devoid of fantasy. Ryleev especially drew the attention of his readers to the fact that the duma was an invention of Slavic poetry, that it had existed for a long time as a folklore genre in Ukraine and Poland. In the preface to his collection Duma, he wrote: “The Duma is an ancient heritage from our southern brothers, our Russian, native invention. The Poles took it from us. Until now, Ukrainians sing thoughts about their heroes: Doroshenka, Nechay, Sagaidachny, Paley, and Mazepa himself is credited with writing one of them. " At the beginning of the XIX century. this genre of folk poetry became widespread in literature. It was introduced into literature by the Polish poet Nemtsevich, to whom Ryleev referred in the same preface. However, it was not only folklore that became the only tradition that influenced the literary genre of the Duma. In the Duma, signs of a meditative and historical (epic) elegy, ode, anthem, etc. can be distinguished. The poet published the First Duma - Kurbsky (1821) with the subtitle "elegy" ... Many of his contemporaries saw the resemblance to elegy in the works of Ryleev. So, Belinsky wrote that “the thought is a funeral to a historical event or just a song of historical content. The Duma is almost the same as the epic elegy. " The critic P.A. Pletnev defined the new genre as "a lyrical story of some event." Historical events are interpreted in Ryleev's thoughts in a lyrical manner: the poet is focused on expressing the inner state of a historical person, as a rule, at some climax in his life. Compositionally, the thought is divided into two parts - a life story into a moral lesson that follows from this life story. The Duma combines two principles - epic and lyrical, hagiographic and agitational. Of these, the main thing is lyrical, agitational, and biography (hagiography) plays a subordinate role. Almost all thoughts, as Pushkin noted, are built according to one plan: first, a landscape, local or historical, is given, which prepares the appearance of the hero; then, with the help of the portrait, the hero is brought out and immediately makes a speech; from it becomes known the prehistory of the hero and his current state of mind; a generalization lesson follows. Since the composition of almost all thoughts is the same, Pushkin called Ryleev a "planner", meaning the rationality and weakness of artistic invention. According to Pushkin, all thoughts come from the German word dumm (stupid). Ryleev's task was to give a wide panorama of historical life and create monumental images of historical heroes, but the poet solved it in a subjective, psychological, lyrical sense. Its purpose is to arouse the patriotism and freedom of contemporaries with a lofty heroic example. At the same time, a reliable depiction of the history and life of the heroes faded into the background. In order to tell about the life of the hero, Ryleev turned to the sublime language of civil poetry of the 18th - early 19th centuries, and to convey the hero's feelings - to the poetic style of Zhukovsky (see, for example, in the thought “Natalya Dolgorukaya”: “Fate gave me joy In my dismal exile ... "," And into my soul, compressed by longing, Involuntarily spilled sweetness "). The psychological state of the heroes, especially in the portrait, is almost always the same: the hero is depicted only with a thought on his forehead, he has the same poses and gestures. Ryleev's heroes often sit, and even when they are brought to execution, they immediately sit down. The environment in which the hero is located is a dungeon or dungeon. Since the poet portrayed historical figures in his thoughts, he was faced with the problem of embodying a national-historical character - one of the central ones both in romanticism and in the literature of that time in general. Subjectively, Ryleev was not at all going to encroach on the accuracy of historical facts and "correct" the spirit of history. Moreover, he strove to observe the historical truth and relied on Karamzin's “History of the Russian State”. For historical persuasiveness, he attracted the historian P.M. Stroev, who wrote most of the prefaces and comments to the Dumas. And yet this did not save Ryleev from a too free view of history, from a peculiar, albeit unintentional, romantic Decembrist antihistoricism. The genre of thought and the concept of the romantic historicism of the Decembrists ... As a romantic, Ryleev placed the personality of a freedom-loving patriot at the center of national history. History, from his point of view, is the struggle of freedom-lovers with tyrants. The conflict between adherents of freedom and despots (tyrants) is the engine of history. The forces that participate in the conflict never disappear or change. Ryleev and the Decembrists disagree with Karamzin, who argued that the past century, having gone from history, never returns in the same forms. If this were so, the Decembrists and Ryleev including decided, then the connection of times would have disintegrated, and patriotism and love of freedom would never have arisen again, for they would have lost their parental soil. As a result, love of freedom and patriotism as feelings are not only characteristic, for example, of the 12th and 19th centuries, but are also the same. The historical person of any past century is equated with the Decembrist in his thoughts and feelings (Princess Olga thinks like a Decembrist, arguing about the "injustice of power", the soldiers of Dimitry Donskoy are eager to fight "for freedom, truth and law", Volynsky is the embodiment of civic courage). Hence it is clear that, wishing to be true to history and historically accurate, Ryleev, regardless of personal intentions, violated historical truth. His historical heroes thought in Decembrist concepts and categories: the patriotism and love of freedom of the heroes and the author did not differ in any way. This means that he tried to make his heroes at the same time what they were in history and his contemporaries, thereby setting himself contradictory and, therefore, impossible tasks. Ryleev's antihistoricism aroused a resolute objection from Pushkin. Regarding the anachronism committed by the Decembrist poet (in the Duma "Oleg the Prophet" the hero of Ryleev hung his shield with the emblem of Russia on the gates of Constantinople), Pushkin, pointing out a historical mistake, wrote: "... during Oleg's time there was no Russian emblem - but the two-headed eagle is the emblem Byzantine means the division of the empire into Western and Eastern ... ". Pushkin understood Ryleev well, who wanted to set off Oleg's patriotism, but did not forgive the violation of historical accuracy. Thus, the national-historical character was not artistically recreated in the Duma. However, the development of Ryleev as a poet went in this direction: in the thoughts "Ivan Susanin" and "Peter the Great in Ostrogozhsk" the epic moment was noticeably strengthened. The poet improved the transmission of the national flavor, achieving greater accuracy in describing the situation ("the window is squinting" and other details), and his narrative style also became stronger. And Pushkin immediately responded to these shifts in Ryleev's poetry, noting the thoughts "Ivan Susanin", "Peter the Great in Ostrogozhsk" and the poem "Voinarovsky", in which he, not accepting the general concept and character of historical figures, especially Mazepa, appreciated the efforts Ryleeva in the field of poetic narration.
Poem "Voinarovsky". The poem is one of the most popular genres of romanticism, including civic or social.
Ryleev's poem Voinarovsky (1825) was written in the spirit of the romantic poems of Byron and Pushkin. The romantic poem is based on the parallelism of pictures of nature, stormy or peaceful, and the experiences of the exiled hero, whose exclusivity is emphasized by his loneliness. The poem developed through a chain of episodes and monologue speeches of the hero. The role of female characters in comparison with the hero is always weakened. Contemporaries noted that the characteristics of the heroes and some episodes are similar to the characteristics of the characters and scenes from Byron's poems "Gyaur", "Mazepa", "Corsair" and "Parisina". There is also no doubt that Ryleev took into account Pushkin's poems "The Prisoner of the Caucasus" and "The Fountain of Bakhchisarai", written much earlier. Ryleev's poem became one of the brightest pages in the development of the genre. There are several reasons for this. First, the love story, so important for a romantic poem, is relegated to the background and noticeably muted. There is no love conflict in the poem: there are no conflicts between the hero and his beloved. Voinarovsky's wife voluntarily follows her husband into exile. Secondly, the poem was distinguished by an accurate and detailed reproduction of pictures of the Siberian landscape and Siberian life, revealing to the Russian reader a natural and everyday life largely unknown to him. Ryleev consulted with the Decembrist V.I. Steingel on the objectivity of the painted pictures. At the same time, the harsh Siberian nature and life are not alien to the exile: they corresponded to his rebellious spirit (“I was delighted with the noise of the forests, The bad weather was gratifying to me, And the storm, and the splash of the ramparts”). The hero was directly correlated with the natural element related to his moods and entered into a difficult relationship with it. Thirdly, and this is the most important thing: the originality of Ryleev's poem lies in the unusual motivation for exile. In a romantic poem, the motivation for the alienation of the hero, as a rule, remains ambiguous, not entirely clear or mysterious. Voinarovsky did not find himself in Siberia of his own free will, not as a result of disappointment and not in the role of an adventurer. He is a political exile, and his stay in Siberia is forced, determined by the circumstances of his tragic life. Ryleev's innovation is in the precise indication of the reasons for the expulsion. This simultaneously concretized and narrowed the motivation for romantic alienation. Finally, fourthly, the plot of the poem is associated with historical events. The poet intended to emphasize the scale and drama of the personal destinies of the heroes - Mazepa, Voinarovsky and his wife, their love of freedom and patriotism. As a romantic hero, Voinarovsky is ambivalent: he is depicted as a tyrant fighter, thirsting for national independence, and a prisoner of fate (“I was promised a cruel fate”). The poem revealed in the process of evolution a tendency towards epicity, towards the genre of the story in verse, as evidenced by the strengthening of the narrative style in the poem "Voinarovsky". He was noticed and approved by Pushkin, especially praising Ryleev for his "sweeping style." Pushkin saw in this Ryleev's departure from the subjectively lyrical manner of writing. In a romantic poem, as a rule, a single lyrical tone prevailed, events were colored by the author's lyrics and were not of independent interest to the author. Ryleev violated this tradition and thus contributed to the creation of poetic and stylistic forms for an objective depiction. His poetic quest responded to Pushkin's thoughts and the needs of the development of Russian literature.
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