Lyrical digressions and their role in the work. Lyrical digressions in Pushkin’s novel “Eugene Onegin”

Lyrical digressions - extra-plot, genre-forming and structural significant elements text found in literary work“large form” (novel, poem) and introducing a sign of the author’s presence into the narrative. Typically, lyrical digressions take the form of “fragments,” “insertions,” “side branches” (S. D. Krzhizhanovsky) that interrupt the main story. Classic lyrical digressions can be observed in the novel in verse by A. S. Pushkin “Eugene Onegin”, the prose poem by N. V. Gogol “Dead Souls”, the poem by M. Yu. Lermontov “Tambov Treasurer”, the poems of J. G. Byron (in in particular, “Don Juan”) and others.

In the architectonics of the work, they are as important as the plot fragments (chapters, stanzas, etc.). In cases where we are talking about a work with a mixed generic and genre nature, they represent the basis of its structure. As a rule, in texts of this kind the epic principle is clearly expressed. In the works of the Romantic era and later, it is expressed not so much through the central place of a grandiose historical “event” in the plot, which has significance for an entire people or nation, but rather through the breadth of the panorama of what is depicted, the scale of what is described, which is given universal significance. In this case, in lyrical digressions, the lyrical principle itself comes to the fore, which makes the work lyrical.

However, in a number of cases, it is through the prism of individual perception that one can see and evaluate large-scale phenomena, due to which a “return” (“reversion”) to the epic occurs. It is not for nothing that lyrical digressions occupy a significant place in the text of the work (in “Eugene Onegin” there are twenty-seven of them, not counting fifty different types of lyrical insertions). In “Eugene Onegin” they concern not only “women’s legs” or paintings of Russian nature, but also those characteristic of the era of the 1820s. features of Russian life (lyrical digression about Moscow at the time of the Napoleonic invasion and others; life and customs noble Russia, signs of literary life in Chapter 1 of the novel, a conversation about literature as an art form, and others). It is lyrical digressions that help “Eugene Onegin” from the love story of Tatyana Larina and Eugene Onegin turn into an “encyclopedia of Russian life” (V. G. Belinsky), and Gogol’s story about Chichikov’s scam at the end of the story is finally transformed into a discussion about historical destinies Russia: starting the last fragment of Chichikov’s journey on three horses, the writer gradually moves away from describing realities to conveying his own experiences, and this lyrical component contributes to the transformation of the chaise into a fabulous “bird-three”.

Lyrical digressions can also be considered as a compositional and stylistic device. By interrupting the thread of the narrative, the author gets the opportunity to speak directly on topics that are close to him, but are not necessary for revealing plot conflicts. In a number of cases, they seem to “slow down” the development of events, stimulating reader interest; at the same time, it transforms the author from a storyteller or narrator into one of the main characters of the work. Often, lyrical digressions, expanding the artistic space, support plot time.

To understand their nature, one should analyze the role and place of historiosophical and philosophical digressions in L. N. Tolstoy’s novel “War and Peace.” They arise, firstly, in a close thematic connection with the events described in the course of the development of the plot and, secondly, they carry an epic, not a lyric-epic, and certainly not a purely lyrical charge. In particularly complex cases of combination of genres and exchange of essences of poetry and prose - as with “Eugene Onegin”, which is a “novel in verse”, or with “Dead Souls”, defined by the author as a poem and written in prose, with an obvious novelistic basis - namely lyrical digressions act as a genre-forming beginning.

To the few modern works, in which they meet, one should include the novel in verse by V. Gandelsman “There is a house on the Neva...” (see about this: Pann L. “How suddenly stirred up ash...” // New world, 1996, No. 10). The author does not go beyond the theme of lyrical digressions set by Pushkin and Gogol; in particular, the object of lyrical experience in his case is poetic word, reflected through natural phenomena.

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I. Introduction. Lyrical digression as an extra-plot element.

II. Types of lyrical digressions.

1. The role of lyrical digressions in the novel by A.S. Pushkin "Evgeniy"

2. The role of lyrical digressions in the composition of N.V.’s poem. Gogol

« Dead Souls».

I. Lyrical digression as an extra-plot element.

My essay is called “Lyrical digression in Russian literature”; I chose this topic because the author’s statements, although they are an extra-plot element, are very important for understanding the idea of ​​​​the work.
Lyrical digressions allow you to address readers directly from the pages of a story or novel, and not on behalf of any of the acting characters. With the help of author's digressions, writers and poets seem to lift the veil over their thoughts and feelings, forcing us to think about such enduring values ​​as love for the homeland, for people, respect, kindness, courage and self-sacrifice.

A lyrical digression is the author’s expression of feelings and thoughts in connection with the image in the work. For example, at the end of the first volume
“Dead Souls” by N.V. Gogol, having mentioned that Chichikov loved driving fast, interrupts the narration, pauses the development of the plot and begins to express his thoughts about Russia, which he represents in the form of a fast-moving troika. This digression forces the reader to take a fresh look at the novel, to delve deeper into ideological plan author. By invading the work, the writer violates the unity of the figurative picture, slows down the development of the action, but a lyrical digression naturally enters the work, since it arises in relation to what is depicted in it, imbued with the same feeling as artistic images. Their content is determined by the same views of the author as the artistic depiction.

Lyrical digressions are widespread in literature, including modern literature. They matter no less than the main text of the work.

Lyrical digressions can take a very long time great place in the work. These are the digressions in “Eugene Onegin” by A.S. Pushkin (only in Chapter I - digressions on the theater, youth, creativity, the plan of the novel, and others). These digressions, diverse in topics and rich in content, contribute to the breadth of coverage of reality, making Pushkin’s novel in verse, according to Belinsky, a true “encyclopedia of Russian life.”

Lyrical digressions begin to play a leading role, and the reader’s main attention is directed to the feelings and thoughts of the great poet. In contrast to the life of the “lyrical man,” the digressions gradually reveal the fullness of the life of a person—a creator. In the same way in the poem “Don
Juan” by J. Byron, it is in the lyrical digressions that the most important theme for the work unfolds, the need to fight for freedom against tyranny and oppression.

The lyrical digressions in the poems of A.T. are filled with deep philosophical and journalistic content. Tvardovsky, O.F. Berggalts, E.A. Yevtushenko and other poets of the 20th century. In some cases, the literary digressions themselves constitute an entire poem (“Poem without a Hero” by A.A Akhmatova, 40 lyrical digressions from the poem “Triangular Pear” by A.A Voznesensky).

Lyrical digressions give the author the opportunity to directly address the reader. Their excitement and thoughtfulness have a special power of persuasion. At the same time, the lyricism of the digressions does not mean that writers are isolated in the world of their own “I”; they convey thoughts, feelings, and moods that are important for everyone. Generally significant content is expressed in them usually on behalf of the narrator or lyrical hero, who embodies the typical position of a contemporary, his views and feelings. It is enough to recall the digressions in “Eugene Onegin” to be convinced that their themes are much broader than intimate, personal, love experiences. Lyrical digressions are often journalistic and express active civil position the author, the connection of his work with modern socio-political life.

II. Types of lyrical digressions, examined using the example of the novel by A.S.

Pushkin "Eugene Onegin".

Lyrical digressions can be divided into several groups:

Author's digressions. (Memories of youthful love in the first chapter, adjacent to a playful and ironic discussion about “legs”. Memories of the Moscow “beauty” in chapter 7 ( collective image). Biographical references at the beginning and end of Chapter 8. Digressions on the revaluation of romantic values ​​in “Excerpts from Onegin’s Journey”).

Critical and journalistic digressions (conversation with the reader about literary examples, styles, genres). The poet comments on his novel as he writes it and, as it were, shares with the reader his thoughts on how best to write it. The general semantic dominant of these digressions is the idea of ​​​​searching for a new style, a new manner of writing, offering greater objectivity and concreteness in the depiction of life (later this became known as realism).

Conversations on everyday topics (“a novel requires chatting”). It's about love, family, marriage, oh modern tastes and fashion, about friendship, education, etc. Here the poet can appear in a variety of guises (literary masks): we see either a convinced epicurean (mocking the boredom of life), or Byronic hero, disillusioned with life, now a writer of everyday life, a feuilletonist, now a peaceful landowner, accustomed to living in the countryside.

The image of the lyrical (as always in Pushkin), on the one hand, is kaleidoscopic and changeable, on the other, it remains holistic and harmoniously complete. Landscape digressions are also included in the lyrical digressions. Usually nature is depicted through the prism of the poet’s lyrical perception, his inner world, and mood. At the same time, some landscapes are shown through the eyes of the characters (“Tatyana saw through the window...”).

Retreats to civil issue– about the heroic Moscow of 1812.

Some digressions are of a “mixed” type (they include autobiographical, critical-journalistic, and everyday-aphoristic elements.

1. The role of lyrical digressions in the novel by A.S. Pushkin "Eugene Onegin".

Experts count twenty-seven lyrical digressions and fifty different types of lyrical insertions in Pushkin’s novel “Eugene Onegin”.
Some of them take up only one line. His enemies, his friends
(this may be the same thing). It was cleaned this way and that. Others are very extensive, and if they are combined, they form two independent chapters in volume.

“Now I’m not writing a novel, but a novel in verse - a devilish difference,” A.S. reported. Pushkin about the beginning of work on “Eugene Onegin”, emphasizing its unconventionality. Poetic speech presupposes a certain authorial freedom, which is why in the eighth chapter the author calls his novel in verse
"free".

The freedom of Pushkin’s work is, first of all, a relaxed conversation between the author and readers, an expression of the author’s “I.” Such a free form of narration allowed Pushkin to recreate historical picture contemporary society, in the words of V.G. Belinsky, write
"Encyclopedia of Russian life".

One of the most important topics The author's digression in “Eugene Onegin” is the depiction of nature. Throughout the entire novel, the reader experiences both winter with cheerful games of children and ice skating on the “neater than fashionable parquet” ice, and spring – “the time of love.” Pushkin paints a quiet “northern” summer,
“a caricature of southern winters,” and undoubtedly, he does not ignore his beloved autumn.

The landscape exists in the novel along with the characters, which allows the author to characterize them inner world through relationships with nature.
Emphasizing Tatyana’s spiritual closeness with nature, the author highly appreciates moral qualities heroines. Sometimes the landscape appears to the reader as Tatyana sees it: “... she loved to warn the sunrise on the balcony,” “... through the window Tatyana saw the white courtyard in the morning.”

It is impossible not to note the author’s descriptions of the life and customs of society of that time. The reader learns about how secular youth were brought up and spent their time; albums of county young ladies even open before him.
The author's opinion about balls and fashion attracts attention with the sharpness of his observation.

What brilliant lines are dedicated to the theater. Playwrights, actors... It’s as if we ourselves find ourselves in this “magical land”, where Fonvizin, a friend of freedom, and the fickle Princess shone, “we see flying like fluff from the lips of Aeolus,”
Istomin.

Some lyrical digressions in the novel are directly autobiographical in nature. This gives us the right to say that the novel is the story of the personality of the poet himself, a creative, thinking, extraordinary personality.
Pushkin is both the creator of the novel and its hero.

“Eugene Onegin” was written by Alexander Sergeevich over seven years in different times, under different circumstances. The poetic lines describe the poet’s memories of the days “when in the gardens of the Lyceum” people began to approach him.
“the Muse appears”, about forced exile (“will the hour of my freedom come?”).
The poet ends his work with sad and bright words about past days and departed friends: “Some are no longer there, and those are far away...”

As if with close people, Pushkin shares with us, readers, reflections on life:

He who lived and thought cannot

Do not despise people in your heart... or:

But it's sad to think that it's in vain

We were given youth...
The poet is concerned about his poetic fate and the fate of his creation:

Perhaps it won't drown in Lethe

A stanza composed by me;

Perhaps (a flattering hope!)

The future ignorant will point out

To my illustrious portrait

And he says: that was the Poet!
Alexander’s literary preferences were also expressed in lyrical digressions
Sergeevich, his creative position, realized in the novel:

…I’ll just tell you about it

Traditions of the Russian family,

Love's captivating dreams

Yes, the morals of our side.
Friendship, nobility, devotion, love are qualities highly valued
Pushkin. However, life confronted the poet not only with at its best these moral values, which is why the following lines arose:

Whom to love? Who to believe?

The heroes of the novel are like “good friends” of its creator: “I love you so much.”
My dear Tatiana”, “Eugene was more bearable than many”, “...I sincerely love my hero.” The author does not hide his affection for the characters and emphasizes his difference with Onegin, so that the “mocking reader” does not reproach him for “messing up” his portrait. It is difficult to agree with Pushkin. His image lives on the pages of the novel not only in its characters.

The poet speaks to us in lines of lyrical digressions, and we, his descendants, have a unique opportunity to talk with Pushkin through the centuries.

Alexander Sergeevich put his mind, his observation, life and literary experience, his knowledge of people and Russia into the novel. He put his soul into it. And in the novel, perhaps more than in his other works, the growth of his soul is visible. As A. Blok said, the writer’s creations are “the external results of the underground growth of the soul.” To Pushkin, to his novel in verse
“Eugene Onegin” applies this to the fullest extent.

2. The role of lyrical digressions in the composition of N.V.’s poem. Gogol "Dead Souls".

With each word of the poem the reader can say:

“The Russian spirit is here, it smells like Russia!”

This Russian spirit is felt in humor, and in irony, and in the expression of the author, and in the sweeping power of feelings, and in the lyricism of digressions...

V.G. Belinsky.

I know: if I now open “Dead Souls” at random, the volume will usually open on page 231...

"Rus! What do you want from me? What incomprehensible connection lies between us? Why are you looking like that, and why did everything in you turn its eyes full of expectation to me?... And still, full of bewilderment, I stand motionless, and a menacing cloud, heavy with the coming rains, has already overshadowed my head, and my thoughts are numb in front of your space. What does this vast expanse prophesy? Isn’t it here, in you, that a boundless thought will be born, when you yourself are endless? Shouldn't a hero be here when there is a place for him to turn around and walk? And a mighty space envelops me menacingly, reflecting with terrible power in my depths, my eyes illuminated with unnatural power: Ooh! What a sparkling, wonderful, unfamiliar land! Rus!"

This is a favorite. Read and re-read a hundred times. Therefore, the volume always opens itself on page 231...

Why this? Why not this: “Eh, three!...” Or: “God, how good you are sometimes, long, long way!” Or... No, it’s still this. Here he is,
Gogol, embraced by the “mighty space” of Rus', which was reflected in its depth with “terrible power”... And what depth did he give? immortal writer words that reflected all of his “sparkling, wonderful, unknown distance to the earth”... This is that “incomprehensible connection” between talent and the land that nurtured this talent.

"IN " Dead souls“His subjectivity is felt and tangibly everywhere... which in the artist reveals a person with a warm heart... which does not allow him with apathetic indifference to be alien to the world, or to the depicted, but forces him to conduct living phenomena through his soul outside world, and through that I breathe life into them... the predominance of subjectivity, penetrating and animating Gogol’s entire poem, reaches high lyrical pathos and covers the reader’s soul with refreshing waves”... (V.G. Belinsky).

Reading the lyrical digressions (and not only them, but the entire poem) for the first time, without knowing the name of the author, you can confidently say: “Wrote by a Russian.” What precise expressions, the very construction of phrases, deep and extensive knowledge of the earth, what a writer! Truly Russian (smooth, slightly sad, rich in the most subtle shades of mood) poetry. You have to be a poet like Gogol was to write such a poem in prose! In “Dead Souls” Gogol became “a Russian national poet in the entire space of this word” (V.G. Belinsky)

Poet? Poem? Yes. Poet. And a poem. It was not for nothing that Gogol called his brainchild a poem. Neither in a story, nor in a novel, nor in a novel can the author so freely intrude his “I” into the course of the narrative.

Digressions in "Dead Souls" represent great value. They are valuable for their highly artistic quality, the extreme self-expression of the author, and their relevance in a particular context.

Gogol ironically talks about “fat” and “thin” representatives of the nobility, about “gentlemen of the big hand” and “gentlemen mediocre", talks about the Russian word and Russian song. All this is subtly and skillfully woven into the plot of the work.

Let us remember the beginning of the sixth chapter: “Before, long ago, in the years of my youth...”
Let us remember: “...Oh my youth! Oh my freshness! And a few pages later, “Near one of the buildings, Chichikov soon noticed some kind of figure... The dress she was wearing was modern, indefinable, very similar to a woman’s hood, on her head was a cap, like that worn by village courtyard women, only one voice seemed to him somewhat hoarse for a woman.” . This is Plyushkin! Well, this one looks bad
“a hole in humanity” against the backdrop of such a lyrical break!

And between two beautiful digressions (“Rus! Rus'! I see you...” and
“How strange, and alluring, and carrying, and wonderful is the word: road!”), which at the beginning of the eleventh chapter sounds with a nightmarish dissonance: “Hold, hold, you fool!” - Chichikov shouted to Selifan. “Here I am with your broadsword! - shouted a courier galloping towards him with a mustache as long as an arshin - “Don’t you see, damn your soul: it’s a government carriage!”

The vulgarity, emptiness, baseness of life emerge even more clearly against the background of sublime lyrical lines. This technique of contrast was used by Gogol with great skill. Thanks to such a sharp contrast, we better understood the vile traits of the heroes of Dead Souls.

This is the role of lyrical digressions in the composition of the poem.

But the most important thing is that many of the author’s views on art and relationships between people are expressed in lyrical digressions. So much can be learned from these short passages. warmth, so much love for the native people and everything created by them, so much smart and necessary things that you can’t get out of some multi-volume novels.

Gogol brought to the pages of our books “all the terrible, amazing mud of little things, all the depth everyday characters..." Gogol, strong with the power of an uncontrollable mind, exposed the boring, vulgar little things of life in a prominent and bright way for the whole people to see and ridiculed them properly.

And here is the road. The way Gogol paints it: “Clear day, autumn leaves, cold air... tighter in your travel overcoat, a hat on your ears, snuggle closer and more comfortably to your mind... God! How good you are sometimes, long, distant road! How many times, like someone dying and drowning, have I grabbed onto you, and each time you generously carried me out and saved me! And how many wonderful ideas, poetic dreams were born in you, how many wondrous impressions were felt...” Honestly, I just want to get ready and hit the road.
But now they travel a little differently: by train, plane, car.
Steppes, forests, cities, stops, and clouds sparkling under the sun would only flash before our eyes. Our country is wide, there is something to see!

“Isn’t that right for you, Rus', that you’re rushing along like a brisk, unstoppable troika?...”
Rus' is rushing, forever moving towards the better. She is already beautiful, Rus', but is there a limit to the best, is there a limit to the human dream? And is this “distance unknown to the earth” familiar to us now? Familiar in many ways. But she still has a lot ahead of her, which we will never see.

It is impossible to analyze each lyrical digression separately, it is impossible to evaluate each passage: in “Dead Souls” there are many large and terse author’s digressions, assessments, comments, each of which requires and deserves special attention. They cover many topics. But the common thing is that from each digression we see one of the features of a writer dear to our memory, as a result of which we get the opportunity to draw the image of a true humanist, a patriotic writer.

3. Historiosophy L.N. Tolstoy in the novel "War and Peace".

In the novel “War and Peace” L.N. Tolstoy appears before the reader not only as an original brilliant writer, stylist and artist. His original historical views and ideas occupy an important place in the plot.

In philosophical digressions and chapters of L.N. Tolstoy will repeat the idea more than once that historical events take place only because they should happen, and that the more we try to rationally explain historical phenomena, the more incomprehensible they become to us. To explain the phenomena of history, it is necessary to penetrate into the essence of the connection between a person and an event, and for this it is necessary to know “the history of all, without one exception, all people taking part in the event,” because all people spontaneously participate in the socio-historical process and, therefore, unconsciously making history.
And since it is not possible to do this, we inevitably have to admit fatalism in history.

So, there are “two sides of life in every person: personal life, the more abstract its interests, and spontaneous, swarm life, where a person inevitably fulfills the laws prescribed to him.” In other words: “Man consciously lives for himself, but serves as an unconscious instrument for achieving historical, social goals.” So L.N. Tolstoy defines the boundaries of human freedom and independence, the area of ​​his conscious activity and the area of ​​necessity, in which the will of providence reigns. This leads to a solution to the question of the role of personality in history. The general formula, often repeated in different ways by the author of War and Peace, sounds like this: “... one only has to delve into the essence of each historical event, that is, into the activities of the entire mass of people who participated in the event, in order to be convinced that the will historical hero not only does she not direct the actions of the masses, but she herself constantly led..." Role outstanding personality insignificant in history. No matter how brilliant a person is, he cannot at will direct the movement of history, dictate his will to it, predetermine the movement of history and control the actions of a huge mass of people living a spontaneous, swarm life.

History is made by people, the masses, the people, and not by a person who has risen above the people and taken upon himself the right to arbitrarily predict the direction of events. Tolstoy writes: “Fanaticism for a person is the same nonsense as arbitrariness in historical events.”

It follows from this that Tolstoy completely denied any role of man in history and that he reduced it to zero. He recognizes the right and even the obligation of every person to act within the limits of the possible, to consciously intervene in ongoing historical events. One of the people who, taking advantage of “every moment of freedom,” not only directly participates in events, but is also gifted with the ability, instinct and intelligence to penetrate the course of events and grasp and comprehend their general meaning; whoever is united with the people deserves the name of a truly great man, a genius personality. There are only a few of them. Kutuzov belongs to them, and his antipode is Napoleon.

We can rightfully call M. Sholokhov a chronicler Soviet era, its researcher, singer. He created a whole gallery of images that, in terms of their expressiveness and artistic value, stood on a par with the most remarkable images of advanced literature.

« Quiet Don"- a novel about the fate of the people at a turning point. This is the author’s fundamental point of view on the revolution and civil war.

Showing the destinies, characters, quests and aspirations of his heroes, the writer constantly addresses the Don as a living being: “Oh, you, our father, the quiet Don!” - this is how the Cossacks address the great river in their songs. Novel
“Quiet Don” is dedicated to the fate of the Russian Cossacks.

Giving deep artistic analysis way of life, customs and morals Don Cossacks, the writer could not help but draw attention to the close connection between their lives as farmers and the life of nature. The life of the cultivators is measured, somewhat reminiscent of the flow of a river: water flows - time passes, simple events of Cossack life replace one another - plowing, sowing, mowing, harvesting. And here, on the field, Gregory, after hard work, reflects: “Don! Don is ours! Quiet Don!
The steppe is mother, Don is father, breadwinner.” Wherever the Don Cossack wanders, upon his return he will be greeted by the Father Don, still full of water and quiet...”

But the calm, measured life of the Cossack ended and a war began, which claimed many lives. The economical Panteley Prokofievich works both at home and in the field alone. He is accompanying his sons to the war, it is very difficult for him. The war deprived him of his zeal for work, ruined him, took away his eldest son, and passed over his life like a storm over a plot of wheat. And again he looks sadly at the wheat field: “After the storm, the wheat rises and flaunts over the sun, its ears burn with fire, the land is rich and full.”

Tracing the difficult fate of the main character of the novel, Grigory Melekhov, the writer repeatedly compares him with the strong and mighty Don, his soul with the wide Don steppe, and sometimes showing him alone, like “the moon in the night sky.”

In the novel "Quiet Don" Sholokhov combines an epic depiction of the great historical events with amazing lyricism of the narrative, conveying the subtlest personal experiences of people, revealing their innermost feelings and thoughts. The author of “Quiet Don” showed us great people, workers who know how to stand up for the honor of their Motherland.

Sholokhov argues that history is made by their hands. Unlike N.V. Gogol, glorifying Rus' (the whole country) in the poem “Dead Souls”,
M.A. Sholokhov in his author’s digressions refers mainly to small homeland, but both writers are unanimous on one thing - you need to love her for who she is.

III. Conclusion. The meaning of lyrical digressions in literature.

The “abundance” of lyrical digressions in such important, perhaps central works writers - Pushkin, Gogol, Tolstoy and Sholokhov is explained by many general features, and some differences.

Thus, the possibility of lyrical digressions was stated by both Pushkin and Gogol in the genre. A.S. Pushkin especially emphasizes the combination of epic and lyrical genres. His novel in verse is not only a story about the lives of the heroes, but also lyrical work, filled with the author's individuality.

The same thing happens in the prose “poem” (this is how Gogol defines his creation) “Dead Souls”. After all, in fact, this is not only the story of Chichikov’s adventure, but a song about Russia, Gogol’s deeply personal thoughts and experiences.

Lyrical digressions serve to expand artistic space, creating the integrity of the image: from everyday details of generalization to large-scale images filled with philosophical content.

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4. Newspaper “Literature” No. 35, 1999.
5. Hertz A. (A. Sinyavsky) “Walking with Pushkin”, St. Petersburg, 1993.
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9. Russian literary criticism 1860s, Moscow, “Enlightenment” 1984.
10. Tolstoy A.N. “War and Peace”, St. Petersburg, 1993.
11. Sholokhov M.A. “Quiet Don”, Moscow, 1987.
12. Electronic encyclopedia “Around the World”.
13. encyclopedic Dictionary young literary critic, Moscow, “Enlightenment”

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The author's voice directly sounds in lyrical digressions, the role of which in the novel is diverse. Firstly, lyrical digressions reveal the author's world: the author's assessments, comments, reflections reveal the versatility and richness of the poet's inner world, his life values, perception of the world and man. Secondly, in lyrical digressions a large-scale and multifaceted picture of life in Russia in the first quarter of the 19th century is created; the encyclopedicism of the novel is associated primarily with the thoughts of the author. Thirdly, lyrical digressions help Pushkin directly express his attitude towards the characters, as well as establish a dialogue with the reader.

The theme of love in lyrical digressions. One of the cross-cutting themes of the lyrical digressions is the theme of love. The element of love, according to Pushkin, is free, diverse, unpredictable - this, in particular, is palpable in the famous lyrical digression about “ladies' legs”, at first playful and light, but gradually turning into a different key - to high passion and excited lyricism, when Pushkin remembers my feelings for Maria Raevskaya. The atmosphere of light playfulness disappears, and in its place is a romantically grandiose picture of the sea, associated with the theme of violent passion:

I remember the sea before the storm,

How I envied the waves

Running in a stormy line

Lay down with love at her feet...

No, never a rush of passion

Never tormented my soul like that!

The framework of love and the framework of life, according to Pushkin, are identical, and therefore “all ages are submissive to love”: love, like life itself, changes, it is so multifaceted that it is new every time.

The theme of freedom. The theme of freedom becomes, just like the theme of love, running through the lyrical digressions of the novel; moreover, one can feel the evolution of this theme associated with the spiritual evolution of the poet himself: if at the beginning of the novel, in 1823, freedom was recognized by Pushkin as an external element, as “free running” along the waves of life, not constrained by police surveillance and the position of an exile, then in the thirties freedom was a psychological concept, loyalty to one’s ideals, one’s life choices, that “independence” that the poet called the “guarantee of greatness” of a person.

Theme of creativity. Pushkin in the novel is not only a hero, but also his creator, and therefore the theme of creativity could not help but become one of the key ones. It is in this work that Pushkin’s famous definition of poetry appears as “the union of magical sounds, feelings and thoughts.” This union creates the “distance of the free novel” - a completely special, new genre for that time, and Pushkin was clearly aware of this novelty. “Free novel” is freedom of content, composition and verbal organization: a harmonious combination of different storylines, an open ending, the inclusion of lyrical digressions, a lively, free and natural language. For Pushkin, creativity is, first of all, freedom of expression, therefore the poet overcomes any restrictions, outdated language norms and genre boundaries. Pushkin argues with literary opponents easily, with sparkling humor, affirming new literary forms as something organic, in tune with the coming time.

The special atmosphere of the novel is created by the extraordinary ease of communication between the author and the reader. For Pushkin, a reader is a friend, an understanding one, smart, capable of appreciating a joke. It is with such a reader that one can consult about the choice of the heroine’s name, interrupt the story about Onegin with a memory of the theater, the village, love, remember with irony literary opponents, and only at the end of the seventh chapter “remember” the introduction, noting with a smile: “Even though it’s late, the introduction There is". Pushkin's smile, soft, bright, intelligent, permeates many lines of the novel. With the same smile, the poet speaks about the lyrical digressions themselves:

It's time for me to become smarter

Get better in business and style

And this fifth notebook

Clear from deviations.

Reflections on life and its purpose in lyrical digressions. The eternal mystery of life, its content and meaning is another topic of lyrical digressions. Life is unstoppable: in youth, which “is in a hurry to live and in a hurry to feel,” this movement is felt with joy, but on the threshold of his thirtieth birthday, Pushkin for the first time felt the drama of this unstoppability:

Is it really really possible?

Without elegiac undertakings

The spring of my days has flown by

(What have I been jokingly repeating until now?)

And is there really no return for her?

Am I really going to be thirty soon?

But Pushkin would not have been Pushkin if farewell to youth had not simultaneously become a meeting with a new, still unknown stage of life, if the poet had not welcomed this new path with a “clear soul”:

But so be it: let’s say goodbye together,

Oh my easy youth!

Thank you for the pleasures

For sadness, for sweet torment,

For the noise, for the storms, for the feasts,

For everything, for all your gifts...

Enough! With a clear soul

I'm now setting out on a new path

Take a break from your past life.

Pushkin had an amazing ability to perceive life as a movement, including joy and sadness, light and darkness. For example, the end of the sixth chapter is the scene of the duel between Onegin and Lensky: winter numbness in nature, winter in the relationship of two friends, Onegin, struck by the death of the young poet, is doused with “instant cold.” It seemed that it was no longer possible to awaken from this winter cold, but the seventh chapter begins with swiftly light lines describing spring:

Driven by spring rays,

There is already snow from the surrounding mountains

Escaped through muddy streams

To the flooded meadows...

Spring - the time of awakening and life - reigns not only in nature, and it brings changes and transformations to the fates of the heroes of the novel, because life cannot stand still: Onegin goes on a journey, Olga marries a lancer, Tatyana after visiting Onegin’s office and penetration into his mysterious world for her, she agrees to go to Moscow for the “bride fair”. Thus, through the fates of his heroes, Pushkin reflects the perception of life, which knows how to wisely overcome moments of melancholy and grief, and heals spiritual wounds. Probably, it was precisely this attitude to life that became the source of the poet’s radiant, “Mozartian” worldview.

Without pathos or loudness, with a slight smile and soft sadness, Pushkin speaks about the most important thing - about the meaning of human life, which cannot and should not turn into oblivion:

Without an inconspicuous trace

I would be sad to leave the world,

I live and write not for praise;

But I think I would like

Glorify your sad lot,

So that about me, like a faithful friend,

I remembered at least a single sound.

Nature in lyrical digressions. In the author's thoughts and memories, he enters the novel huge world Russia - with its nature, culture, history, lifestyle. Nature in the novel is given in the perception of Tatiana and the author himself. There is no beauty or “luxury” in Pushkin’s style; it is as simple as Russian nature, but it is precisely this style that conveys the uniqueness and living charm of the Russian first snow, the charm of autumn silence, spring transformation. Each season brings its own poetry, the movement of nature is the movement of life itself, the movement of time.

Spiritual life of Russian society. Theatre, literature, science (for example, Onegin’s passion for Adam Smith) - all this is reflected in one way or another in the novel. Not only Russian, but also Western European culture, without which the spiritual life of enlightened Russian society of the 19th century is unthinkable, is presented in the novel. Byron, Schiller, Goethe, Kant, Richardson, Corneille 0 are far from full list“rulers of thoughts” of the Russian nobility.

The theater, which Pushkin calls “a magical land,” becomes an indispensable part of Onegin’s day and the content of lyrical digressions. The state of the theater and interest in it have always become indicators of the fullness of the spiritual life of society: boiling theatrical life consonant with the boiling of Russia itself at the beginning of the 19th century. In a few lines, Pushkin outlines the history of the Russian theater, remembering Fonvizin, Knyazhnin, and speaks with rapture about the brilliant acting of Semyonova and the aerial dance of Istomina.

With the image of the author, the elements of the literary struggle of that time enter the novel. Pushkin argues with the outdated dogmas of classicism easily, with sparkling humor, for example, only at the end of the seventh chapter, recalling the indisputable introduction in a work of classicism, saying with a smile: “I saluted classicism: even though it’s late, there is an introduction.” And the “introduction” itself is a brilliant parody of the pompous introductions of classicism:

I sing to my young friend

And many of his quirks.

Bless my long work,

O you epic muse!

And, handing me the faithful staff,

Don't let me wander at random and crookedly.

Pushkin asserts the writer’s right to freedom of choice of a character, construction of a work, freedom of choice literary forms and language. Life is not divided into high and low, it is diverse and complex, and Pushkin reflected precisely this diversity in the novel, asserting his right to see life this way.

The novel "Eugene Onegin" is full of digressions of different nature, these are autobiographical, philosophical digressions, as well as comments about love, friendship, theater and literature. Also, from the author’s comments, you can understand how he personally feels about the characters, what likes and dislikes he has.

As for Onegin himself, Pushkin says about him: “I became friends with him at that time. I liked his features." But Pushkin does not endow Onegin with such deep love to the Russian nature that he himself possesses:

Flowers, love, village, idleness,
Fields! I am devoted to you with my soul
I'm always happy to notice the difference
Between Onegin and me.

Closest to the image of the author of the novel is Tatyana, who with all her soul was devoted to her native land, loved nature with all my heart. In his comments, Pushkin more than once calls this heroine “sweet,” speaks of her with tenderness and affection, and takes pity on her.

Pushkin in his comments indulges in various thoughts, including mentioning his own person. Such digressions are classified as autobiographical. For example, the following lines:

The spring of my days has flown by
(What was he jokingly repeating until now)?
And she really has no age?
Am I really going to be thirty soon?

You can also learn about Pushkin’s lifestyle from autobiographical digressions:

I knew you
Everything that is enviable for a poet:
Oblivion of life in the storms of light,
Sweet conversation with friends.

Also in the novel there are Pushkin's statements about literature, for example, when he ironically describes love story, which Tatyana reads:

Now with what attention she pays
Reading a sweet novel...
...With the happy power of dreaming
Animated creatures...
...And the incomparable Grandison,
Which makes us dream...

Pushkin touches on in the novel and eternal questions: about the frailty of existence, about the inevitability of death, giving comments philosophical nature. For example, the second chapter of the novel, the moment when we're talking about about the Larin family. Pushkin raises the question of procreation, the natural outcome of life, the same for everyone:

Our time will come, our time will come,
And our grandchildren in good time
They will push us out of the world too!

What exactly does relatives mean?
These are the native people:
We must caress them
Love, respect...

Pushkin discusses the relationship between Onegin and Lensky, making a brief but very accurate digression that their friendship arose “There is nothing to do, friends.”

Pushkin’s statements about culture and theater can be found on the pages of the novel, thanks to them he expresses own opinion about creativity. For example, in this digression:

Brilliant, half-airy,
I obey the magic bow,
Surrounded by a crowd of nymphs,
Worth Istomin.

Pushkin does not hide his admiration for the famous Istomina; in his lines one can feel admiration for the talent of this woman.

A lot of discussions about love are found in the work: “What smaller woman we love, the easier it is for her to like us”..., “All ages are submissive to love...” and the most important and relevant remark:

O people! you all look alike
To the ancestress Eve:
What is given to you does not entail
The serpent is constantly calling you
To yourself, to the mysterious tree;
Give me the forbidden fruit:
And without that, heaven is not heaven for you...

This digression contains the great truth about the “forbidden fruit.” Tatyana became such a “fruit” for Onegin when he saw her as the general’s wife, so inaccessible and majestic. This is what attracted Onegin.

With the help of lyrical digressions, Pushkin conveys to readers own view on culture, on society, on prejudices and rules that existed at that time. Pushkin reflects on the meaning of existence, expresses his opinion about the heroes of the novel and their actions. All the author’s digressions help readers better understand the position of the author himself and his personal attitude to many life values.