Eugene Onegin and the capital's noble society. Description of the life of nobles in the novel by A.S. Pushkin “Eugene Onegin. Provincial landed nobility

The capital and local nobility in A. S. Pushkin’s novel “Eugene Onegin”

Sample essay text

In the novel "Eugene Onegin" Pushkin unfolded with remarkable completeness the pictures of Russian life in the first quarter of the 19th century. Before the reader’s eyes, an arrogant, luxurious St. Petersburg, ancient Moscow, dear to the heart of every Russian person, cozy country estates, and nature, beautiful in its variability, pass in a living, moving panorama. Against this background, Pushkin’s heroes love, suffer, are disappointed, and die. Both the environment that gave birth to them and the atmosphere in which their lives take place are deeply and completely reflected in the novel.

In the first chapter of the novel, introducing the reader to his hero, Pushkin describes in detail his ordinary day, filled to the limit with visits to restaurants, theaters and balls. The life of other young St. Petersburg aristocrats was also “monotonous and motley”, all of whose worries consisted of searching for new, not yet boring entertainment. The desire for change forces Evgeny to leave for the village, then, after the murder of Lensky, he goes on a journey, from which he returns to the familiar environment of St. Petersburg salons. Here he meets Tatiana, who has become an “indifferent princess,” the mistress of an elegant drawing room where the highest nobility of St. Petersburg gathers.

Here you can meet pro-Lassians, “who have earned fame for the baseness of their souls,” and “over-starched impudents,” and “ballroom dictators,” and elderly ladies “in caps and roses, seemingly evil,” and “maidens with unsmiling faces.” These are typical regulars of St. Petersburg salons, where arrogance, stiffness, coldness and boredom reign. These people live by strict rules of decent hypocrisy, playing some role. Their faces, like their living feelings, are hidden by an impassive mask. This gives rise to emptiness of thoughts, coldness of hearts, envy, gossip, and anger. That’s why such bitterness can be heard in Tatyana’s words addressed to Evgeniy:

And to me, Onegin, this pomp,

Life's hateful tinsel,

My successes are in a whirlwind of light,

My fashionable house and evenings,

What's in them? Now I'm glad to give it away

All this rags of a masquerade,

All this shine, and noise, and fumes

For a shelf of books, for a wild garden,

For our poor home...

The same idleness, emptiness and monotony fill the Moscow salons where the Larins visit. Pushkin paints a collective portrait of the Moscow nobility with bright satirical colors:

But there is no change 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...

In this description, attention is drawn to the persistent repetition of small everyday details and their immutability. And this creates a feeling of stagnation of life, which has stopped in its development. Naturally, there are empty, meaningless conversations here, which Tatyana cannot understand with her sensitive soul.

Tatyana wants to listen

In conversations, in general conversation;

But everyone in the living room is occupied

Such incoherent, vulgar nonsense,

Everything about them is so pale and indifferent;

They slander even boringly...

In the noisy Moscow world, the tone is set by “smart dandies”, “holiday hussars”, “archival youths”, and self-satisfied cousins. In a whirlwind of music and dance, a vain life rushes by, devoid of any internal content.

They kept life peaceful

Habits of a dear old man;

At their Shrovetide

There were Russian pancakes;

Twice a year they fasted,

Loved Russian swings

Podblyudny songs, round dance...

The author's sympathy is evoked by the simplicity and naturalness of their behavior, closeness to folk customs, cordiality and hospitality. But Pushkin does not at all idealize the patriarchal world of village landowners. On the contrary, it is precisely for this circle that the defining feature becomes the terrifying primitiveness of interests, which manifests itself in ordinary topics of conversation, in activities, and in an absolutely empty and aimlessly lived life. How, for example, is Tatyana’s late father remembered? Only because he was a simple and kind fellow,” “he ate and drank in his dressing gown,” and “died an hour before dinner.” The life of Uncle Onegin passes similarly in the wilderness of the village, who “for forty years scolded the housekeeper, looked out the window and crushed flies ". Pushkin contrasts these good-natured lazy people with Tatyana's energetic and economical mother. A few stanzas contain her entire spiritual biography, which consists of a rather rapid degeneration of a cutesy, sentimental young lady into a real sovereign landowner, whose portrait we see in the novel.

She went to work

Salted 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.

With his portly wife

Fat Pustyakov arrived;

Gvozdin, an excellent owner,

Owner of poor men...

These heroes are so primitive that they do not require a detailed description, which may even consist of one surname. The interests of these people are limited to eating food and talking “about wine, about the kennel, about their relatives.” Why does Tatyana strive from luxurious St. Petersburg to this meager, wretched little world? Probably because he is familiar to her, here she can not hide her feelings, not play the role of a magnificent secular princess. Here you can immerse yourself in the familiar world of books and wonderful rural nature. But Tatyana remains in the light, perfectly seeing its emptiness. Onegin is also unable to break with society without accepting it. The unhappy fates of the novel's heroes are the result of their conflict with both the capital and provincial society, which, however, generates in their souls submission to the opinion of the world, thanks to which friends fight duels, and people who love each other part.

This means that a broad and complete depiction of all groups of nobility in the novel plays an important role in motivating the actions of the heroes, their destinies, and introduces the reader to the range of current social and moral problems of the 20s of the 19th century.

In the novel, at the center of the narrative is the most progressive class of Russia in the 1st half of the 19th century - the nobility: local, Moscow and St. Petersburg. Today we will examine in detail each type of nobility and find out which of them the author sympathizes with.

Local nobility in Eugene Onegin

Representatives of the local nobility: Onegin's uncle, the Larin family, their neighbors and guests (at Tatiana's name day). In his depiction of the local nobility, Pushkin continues the tradition of Fonvizin - speaking surnames.

For example, Petushkov, Skotinin, Buyan. The villagers are one big family, they like to gossip (chat), but not gossip (you need to pay attention that Griboyedov’s satire is gossip, while Pushkin’s is irony). Rejection of changes, regardless of their nature, narrow interest, everyday character, economic activity, plentiful and satisfying food, patriarchal way of life - these are signs of the local nobility.

Moscow nobility in Eugene Onegin

One of the signs is that representatives are connected by family ties. The main motive is boredom and simplicity. The Moscow nobility is so hypocritical and false that the manifestation of simplicity and naturalness is perceived as bad manners. Conservatism in fashion, in clothes, nothing changes on them. The painting that Griboedov describes in “Woe from Wit” is similar to Pushkin’s painting in the novel “Eugene Onegin.”

Petersburg nobility in Eugene Onegin

One of the signs is Europeanization, that is, imitation of Europe in everything - in fashion, in manners, in behavior, in literary preferences, etc. (areas of cultural life). The main motive is vanity, an abundance of events with their monotony (remember Onegin’s daily routine - monotonous, like a mechanism (breguet)). The second motive is the motive of masquerade: the mask as a symbol of artificiality, hypocrisy, falsehood. Glitter, noise and fun are ostentatious, only emphasizing the inner emptiness. For St. Petersburg society, the main thing is honor and public opinion (this creates a special type of behavior).

Pushkin sympathizes with the local nobility. The conservatism of Moscow and the falsehood and hypocrisy of St. Petersburg cause rejection (the local nobility is described with irony, and the Moscow and St. Petersburg nobility are described satirically). One of the antitheses - the antithesis of the European artificial and natural folk way of life is revealed through the contrast between Tatiana (a representative of the local nobility) and Onegin (a representative of the St. Petersburg nobility).

The novel “Eugene Onegin” occupies a central place in Pushkin’s work. Work on the novel lasted eight years, from 1823 to 1831, but the events occurring in the work are framed within a different historical framework - from 1819 to the Decembrist uprising. And it’s not for nothing that Belinsky called “Eugene Onegin” “an encyclopedia of Russian life.” Indeed, in his novel in verse, Pushkin was able to depict almost all aspects of Russian life in the 19th century, all layers of society.
One of the main places in the work is occupied by the description of the nobility. The first chapter is devoted to a description of Onegin's life in St. Petersburg. Here Pushkin shows his hero among the St. Petersburg nobility from which he came. Having absorbed all the norms of his environment, Onegin leads an idle life: he goes on carousing at night, goes to balls, takes walks along Nevsky Prospect, and visits theaters. But soon “feelings cooled down” in Onegin, “he was bored with the light and noise”, he was attacked by the blues - a disease of rich young people of that time and his circle, aimlessly wasting their lives. And Onegin decided to leave for the village.
Pushkin depicts the life of the nobility succinctly and completely with just a few strokes and characteristic details. Here, dandyism, the pursuit of inheritance, and carousing are quite acceptable. Thus, the life of the nobility is shown as idle, full of entertainment, far from folk simplicity and therefore empty. Onegin, on the one hand, is shown as a full-fledged representative of noble society, and on the other, as a man tired of his own environment. He realizes true values ​​only when he acquires simple but true human love, the roots of which are not secular, but natural, natural.
Representatives of the local nobility in the novel are Onegin's uncle and the Larin family. Onegin’s uncle led a life in the village typical of all local nobles: “for about forty years he scolded the housekeeper, looked out the window and crushed flies,” “kept a notebook of expenses, drank apple liqueurs and, except for the calendar, did not look at other books.” For Onegin, brought up on new teachings, on the books of Adam Smith, this way of life was unacceptable: he decided to establish a “new order” in his household - he “replaced corvée with quitrent,” which aroused the discontent of his neighbors, who decided that he was “a most dangerous eccentric.” " Here Pushkin draws a parallel between Griboyedov’s Chatsky and Onegin. Just as Moscow society declared Chatsky crazy, the opinion of the local nobility about Onegin was the same: “our neighbor is ignorant, crazy.”
Pushkin especially colorfully describes the life and character of the local nobility using the example of the Larin family and their guests at Tatyana’s name day. The life of the Larins is attractive to the author for its simplicity:
They kept life peaceful
Habits of a dear old man.
In relation to other noble families, there is obvious irony and even some disdain:
Barking mosek, smacking girls,
Noise, laughter, crush at the threshold.
The names of the guests are not without irony: Pustyakov, Petushkov, Buyanov, Flyanov, Karlikova. Pushkin portrays the local nobility as unnatural, pretending to be secular, with pretentious manners.
Among the guests is Monsieur Triquet, a “true Frenchman” from Tambov, whose image echoes Griboyedov’s “Frenchman from Bordeaux.” The author is ironic about how, after Triquet’s “false singing,” “screams, splashes, and greetings” rained down on him. Thus, Pushkin once again emphasizes the moral emptiness, stupidity and hypocrisy of the guest landowners. Thus, depicting the habits and morals of the local nobility, Pushkin to some extent compares it with the St. Petersburg nobility.
The Moscow nobility is shown from a slightly different point of view. The poet emphasizes the conservatism of the lifestyle of the Moscow nobility: “But no change is visible in them...” - in many ways comparing it with Griboyedov’s Moscow. However, Pushkin’s Moscow is kinder, although just as soulless and pragmatic.
The action of the novel in verse "Eugene Onegin" ends in St. Petersburg. At the end of his work, Pushkin again depicts the St. Petersburg nobility, comparing it with the image of St. Petersburg given at the beginning of the novel. But it was not Petersburg itself that changed so much as Onegin’s attitude towards it. Now the main character of the novel looks at secular entertainment from the outside, now he already feels not so much fatigue as alienation to this society. Love for Tatyana helped him understand the emptiness of relationships between people in society, the falseness of the brilliance and splendor of balls. To focus the reader's attention on this, Pushkin describes the St. Petersburg nobility not with slight irony, as at the beginning of the novel, but harshly satirically.
Thus, in his novel in verse, Pushkin was able to show all aspects of noble life, the immoderation of its morals and the vulgarity of its foundations, be it the local nobility or the city. The work implicitly conveys the idea that it was the environment, the vicious surroundings that ruined Onegin and he saw his sight too late, for which he was punished, deprived of his personal happiness.

(376 words) Pushkin in his novel “Eugene Onegin” depicts the capital and local nobility, identifying similar and different features. In this analysis we really see the encyclopedia of Russian life that V. Belinsky wrote about.

Let's start with the capital's nobility. The author notes that life in St. Petersburg is “monotonous and colorful.” This is a late awakening, “notes” with invitations to a ball, party or children's party. The hero reluctantly chooses some kind of entertainment, then takes care of his appearance and goes to visit. This is exactly how almost the entire noble society of St. Petersburg spends its time. Here people are accustomed to external splendor, they care about being considered cultured and educated, so they devote a lot of time to talking about philosophy and literature, but in reality their culture is only superficial. For example, visiting the theater in St. Petersburg has been turned into a ritual. Onegin comes to the ballet, although he is not at all interested in what is happening on stage. As for spiritual life, Tatyana in the finale calls social life a masquerade. The nobility in the capital lives only with feigned feelings.

In Moscow, according to the author, there are fewer claims to high European culture. In chapter 7 he makes no mention of theater, literature, or philosophy. But here you can hear a lot of gossip. Everyone is discussing each other, but at the same time all conversations are conducted within the framework of accepted rules, so in a secular living room you will not hear a single living word. The author also notes that representatives of Moscow society do not change over time: “Lukerya Lvovna is whitewashing everything, Lyubov Petrovna is also lying.” Lack of change means that these people do not truly live, but only exist.

The local nobility is depicted in connection with the village life of Onegin and the life of the Larin family. Landowners, in the author's perception, are simple and kind people. They live in unity with nature. They are close to folk traditions and customs. For example, it is said about the Larin family: “They kept in life the peaceful habits of the dear old days.” The author writes about them with a warmer feeling than about the metropolitan nobles, since life in the village is more natural. They are easy to communicate and capable of making friends. However, Pushkin does not idealize them. First of all, the landowners are far from high culture. They practically don't read books. For example, Onegin’s uncle only read the calendar, Tatyana’s father did not like to read at all, however, he “saw no harm in books,” so he allowed his daughter to get carried away with them.

Thus, the landowners in Pushkin’s portrayal are good-natured, natural people, but not too developed, and the courtiers appear as false, hypocritical, idle, but slightly more educated nobles.

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 the 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