The role of lyrical digressions in the novel "Eugene Onegin" is difficult to overestimate. They help the author express many thoughts and ideas that would be incomprehensible or not so obvious without them.

The meaning of the novel

The role of lyrical digressions in the novel "Eugene Onegin" is enormous. With their help, the author constantly intervenes in the narrative, persistently reminding himself of himself. With the help of this technique, which later began to be actively used by other authors, the poet introduces the reader to his own point of view on a variety of issues and life problems, and formulates his own ideological position.

Thanks to lyrical digressions in the novel "Eugene Onegin", Pushkin even manages to portray himself next to the main character (they appear together on the banks of the Neva).

Creation of a novel

On his novel, Pushkin insisted on precisely this definition of the genre, although outwardly the work looks more like a poem, the poet worked for seven whole years. He finished it only in 1831. Pushkin called his work on it a real feat. According to him, only “Boris Godunov” was as difficult for him.

The poet began working on Onegin in Chisinau, when he was in Southern exile. At that time, the author was experiencing a creative crisis and revised many things in his worldview. In particular, he abandoned romanticism in favor of realism.

This transition is especially clearly visible in the first chapters of Eugene Onegin, in which romanticism still keeps pace with realism.

The novel was originally planned to have 9 chapters. But then Pushkin reworked the entire structure, leaving only 8. From the final content, he removed the part dedicated to Onegin’s journey. Its fragments can only be found in appendices to the text.

The novel describes in detail the events between 1819 and 1825. It all begins with the foreign campaign of the Russian army against the French, and ends with the Decembrist uprising.

Plot of the novel

The novel begins with the fact that the young St. Petersburg nobleman Evgeny Onegin, due to the illness of his uncle, is forced to leave the capital for the village. This is the premise of this work. Afterwards, Pushkin talks about the upbringing and education of the main character. They were typical of a representative of his circle. Only foreign teachers taught him.

His life in St. Petersburg was filled with love affairs and intrigues. A series of constant entertainments led him to the blues.

He goes to his uncle to say goodbye to his dying relative, but no longer finds him alive. He becomes the heir to the entire estate. But soon the blues overtake him in the village. His young neighbor Lensky, who has just returned from Germany, is trying to entertain him.

It turns out that Onegin's new friend is crazy about Olga Larina, the daughter of a local rich landowner. She has another sister, Tatyana, who, unlike Olga, is always thoughtful and silent. Onegin is indifferent to the girl, but Tatyana herself falls in love with a St. Petersburg nobleman.

She decides to take an unprecedented step - she writes a letter to her lover. But even then Onegin rejects her, the tranquility of family life disgusts him. Soon, again from melancholy and boredom, at a party at the Larins', Onegin makes Lensky jealous of Olga. The young and hot Lensky immediately challenges him to a duel.

Onegin kills his former friend and leaves the village.

The novel ends with the meeting of Onegin and Tatiana in the capital three years later. By that time, the girl had married a general and became a real society lady. This time Evgeniy falls in love with her, but she rejects him because she believes that she must remain faithful to her husband to the end.

A novel about everything

It is no coincidence that many critics call Pushkin’s novel “Eugene Onegin” an encyclopedia of Russian life. Perhaps you will never come across such a work with such a wide range of topics.

The author not only talks about the fate of the characters, but also discusses the most intimate things with the reader, talks about creative plans, talks about art, music and literature, tastes and ideals that are close to his contemporaries. This is precisely what the lyrical digressions in the novel “Eugene Onegin” are devoted to.

It is with the help of such digressions that Pushkin makes a full-fledged picture of the era from an ordinary story about friendship and love, creates a holistic and tangible image of Russia in the first quarter of the 19th century.

Themes and forms of lyrical digressions in "Eugene Onegin"

Lengthy digressions can be found already in the first chapter of the novel. They are dedicated to the achievements of Russian theatrical art, an outline of the author's contemporary secular mores, and opinions on the unusual habits of socialites and their husbands.

In the first chapter of the novel, the theme of love is heard for the first time. Critics believe that in his lyrical, elegiac memoir, Pushkin is sad about Volkonskaya. In subsequent chapters, love becomes a reason for the author's digressions.

The role of lyrical digressions in the novel by A. S. Pushkin is difficult to overestimate. With their help, the author formulates his own opinion about what is happening, creates the effect of the reader’s participation in what is happening, creating the illusion of a dialogue with him.

For example, this role of lyrical digressions in the novel “Eugene Onegin” can be traced at the moment when the author comments on the protagonist’s refusal of Tatyana’s love. Pushkin persistently defends the protagonist from accusations that may fall upon him. He emphasizes that this is not the first time Onegin shows his nobility.

Friendship theme

The role of lyrical digressions in the novel "Eugene Onegin" can be understood by the way it sanctifies the theme of friendship. This happens at the very end of the fourth chapter.

Discussing the friendship between Onegin and Lensky, Pushkin raises the topic of narcissism and disdain for others. Arguing that selfishness is one of the typical characteristics of a generation.

Images of Russian nature

One of the poet's discoveries in this novel was the creation of realistic images of Russian nature. More than one chapter of Eugene Onegin is dedicated to them.

The author pays attention to all seasons, without exception, and accompanies all this with landscape sketches. For example, before talking about Tatyana’s letter to Onegin, Pushkin describes a night garden, and the scene ends with a picture of a rural morning.

Literary questions

It is interesting that in Alexander Sergeevich Pushkin’s novel “Eugene Onegin” there was also room for lyrical digressions devoted to the problems of contemporary literature and the author’s native language. And also the topic of creative crisis, in which writers often find themselves.

For example, in the fourth chapter, Pushkin openly polemicizes with an imaginary critic who demands odic solemnity from writers in their works.

For Pushkin himself, the ode is a relic of the past. At the same time, the poet criticizes many of his contemporaries, who overdid it in tearfulness and imitation. Pushkin even shares with the reader what difficulties he encounters when writing a novel. Complains about difficulties when using foreign words.

In one of the last chapters of Eugene Onegin, Pushkin even raises a patriotic theme in a lyrical digression. The poet confesses his sincere love for Russia.

Thus, one can be convinced that the role of lyrical digressions in the novel “Eugene Onegin” is great. According to Belinsky, they reflected the whole soul of the poet.

Historical digressions in the novel “Eugene Onegin”

“First of all, let’s re-read the epigraphs of Dmitriev, Baratynsky and Griboyedov. (11, p. 181) They outline the main theme of the seventh chapter -- Moscow theme, where Pushkin transfers the action of the novel. The epigraphs indicate that the poet looks at Moscow not as a second capital, but as a beloved Russian city, which most powerfully and completely personifies the Motherland, the focus of one love, and bows to its great role in the history of the Russian state.” (7, p. . 15)

G. Belinsky wrote: “The first half of the 7th chapter... somehow especially stands out from everything with its depth of feeling and marvelously beautiful verses.

Here Pushkin talks about the future of Russia, about future roads, and talks about the present ones. It feels like it was him who said that there are two troubles in Rus': fools and roads.

“...(Five hundred years later) roads, right,

Ours will change immensely:

The Russian highway is here and here,

Having connected, they will cross,

Cast iron bridges over water

They step in a wide arc,

And he will lead the baptized world

At every station there is a tavern..." (11, p. 194)

“Now our roads are bad.

Forgotten bridges are rotting,

There are bugs and fleas at the stations

Minutes do not allow you to fall asleep;

There are no taverns..."

“But winters are sometimes cold...

...The winter road is smooth..." (11, p. 194)

And in front of us it’s like a map of Moscow:

“Already white-stone Moscow,

Like heat, golden crosses

Ancient chapters are burning..." (11, p. 194)

"In my wandering destiny,

Moscow, I was thinking about you! Moscow...so much in this sound

For the Russian heart it has merged!

How much resonated with him!» (11, p. 194)

Petrovsky Castle was located near the entrance to Moscow. In 1812, during his campaign in Russia, Napoleon escaped in it from the fire that engulfed Moscow and the Kremlin.

“Petrovsky Castle. He's gloomy

He is proud of his recent glory.

I waited in vainNapoleon ,

Intoxicated with the last happiness,

Moscow kneeling

With the keys of the old Kremlin:

No, I didn't goMoscow is mine

To him with a guilty head.

Not a holiday, not a receiving gift,

She was preparing a fire

To the impatient hero.

From now on, immersed in thought,

He looked at the menacing flame." (11, p. 195)

In the novel, Pushkin described and perfectly correlated the landscapes of different cities and villages. I mean St. Petersburg and Moscow. And the village of Onegin and the Larins.

“Let's go! Already the pillars of the outpost

Turn white; here on Tverskaya

The cart rushes through potholes.

The booths and women flash past,

Boys, benches, lanterns,

Palaces, gardens, monasteries,

Bukharians, sleighs, vegetable gardens,

Merchants, shacks, men..." (11, p. 195)

“Eugene Onegin” is the pinnacle of A.S.’s creativity. Pushkin. In his eighth article “Eugene Onegin” V.G. Belinsky wrote: “Onegin” is Pushkin’s most sincere work, the most beloved child of his imagination, and one can point out...

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Pushkin worked on the novel “Eugene Onegin” for many years; it was his favorite work. Belinsky in his article “Eugene Onegin” called the work “an encyclopedia of Russian life.” The novel was for a poet, according to him...

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

1. New!

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In a work of art, the hero’s inner world is revealed to a greater extent not through external speech, but through internal speech, which, as a rule, results in the hero’s monologue. I would like to consider the work of A.S. Pushkin "Eugene Onegin" -...

Laurence Sterne said: “Retreats are undoubtedly like sunlight; They are the life and soul of reading. Take them out, for example, from this book - it will lose all value: a cold, hopeless winter will reign on every page.

Gustave Flaubert said: “The artist must be present in his work like a god in the universe: omnipresent and invisible.”

The floor is given to the group led by Anna Kulumbegova. Subject: “lyrical digressions and the role of the author’s image in the novel “Eugene Onegin.”

Retreats are undoubtedly like sunlight; they are the life and soul of reading. Take them out, for example, from this book - it will lose all value: a cold, hopeless winter will reign on every page.

(L. Stern)

What is a “lyrical digression”?

Lyrical digressions- this is an extra-plot element that allows the author to address readers from the pages of his work directly, and not on behalf of any of the acting characters.

Experts count twenty-seven lyrical digressions and fifty different types of lyrical insertions in Pushkin’s novel “Eugene Onegin”. Some of them occupy only one line. Others are very extensive, and if they are combined, they form two independent chapters in volume.

Lyrical digressions are inextricably linked with the plot basis of the novel and serve:

Expanding the spatial and temporal boundaries of storytelling;

Creating a cultural and historical image of the era.

Classification of lyrical digressions

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). References to biography at the beginning and end of chapter 8. Digressions on the revaluation of romantic values ​​in "Excerpts from Onegin's Journey").

-Critical-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 chatter”). We are talking about love, family, marriage, modern tastes and fashions, 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 a Byronic hero disillusioned with life, or a feuilletonist of everyday life, or 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 retreats are also included among the lyrical ones. 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...”).

-Digressions on civil topics- about the heroic Moscow of 1812. Some digressions are of a “mixed” type (they include autobiographical, critical-journalistic, and everyday-aphoristic elements.

The role of lyrical digressions in the novel

Experts count twenty-seven lyrical digressions and fifty different types of lyrical insertions in Pushkin’s novel “Eugene Onegin”. Some of them occupy 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. 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 the historical picture of his contemporary society, in the words of V.G. Belinsky, write an “encyclopedia of Russian life.” The author's voice is heard in numerous lyrical digressions that determine the movement of the narrative in various directions. One of the most important themes of the author’s digressions 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 their inner world through their relationship to nature. Emphasizing Tatyana's spiritual closeness with nature, the author highly appreciates the moral qualities of the heroine. 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.” In “Eugene Onegin” there is another series of author’s digressions - an excursion into Russian history. The famous lines about Moscow and the Patriotic War of 1812, the imprint of which lay on the Pushkin era, expand the historical framework of the novel. 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 Istomina flying like fluff from the lips of Aeolus.” 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 the course of seven years at different times, under different circumstances. The poetic lines describe the poet’s memories of the days “when in the gardens of the Lyceum” the Muse began to “appear” to him, of 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: “There are no others, but those are far away...” 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.” This is applied to Pushkin, to his novel in verse “Eugene Onegin” to the fullest extent.

Characteristics of the novel.

Famous critic V.G. Belinsky called the novel “an encyclopedia of Russian life.” And indeed it is. Pushkin’s novel says so much, so comprehensively about the life of Russia at the beginning of the 19th century, that even if we knew nothing about the era of that time, reading the novel “Eugene Onegin” we would still learn a lot. But why exactly an encyclopedia? The fact is that an encyclopedia is a systematic review, as a rule, from “A” to “Z”. This is what a novel is. If we carefully look at all the author’s lyrical digressions, we will see that they are “expanded” from “A” to “Z”.

The author himself also characterizes his novel. He calls it "free". This freedom is, first of all, a relaxed conversation between the author and readers with the help of various lyrical digressions, the expression of the thoughts of the author’s “I”.

And now all minds are in the fog,

Morality puts us to sleep,

Vice is kind - and in the novel,

And there he triumphs...

This form of storytelling - with lyrical digressions - helped the author to recreate a picture of the society in which he lives: readers will learn about the upbringing of youth, how they spend their free time, literally, by reading 20 stanzas. After reading chapter 1, we saw the image of Onegin.

As Herzen wrote: “... the image of Onegin is so national that it is found in all novels that receive any recognition in Russia, and not because they wanted to copy him, but because they constantly observed it near themselves or in themselves.”

The novel “Eugene Onegin,” as already mentioned, became a diary novel. This is how N.I. wrote about the novel. Nadezhdin: “With each new line it became more obvious that this work was nothing more than the free fruit of leisure fantasy, a poetic album of living impressions of talent playing with its wealth... Its very appearance, with indefinitely periodic outputs, with incessant omissions and jumps , shows that the poet had neither a goal nor a plan, but acted according to the free suggestion of a playful fantasy.”

CONCLUSION:

A lyrical digression is the author’s speech in an epic or lyric-epic work, directly expressing the author’s attitude towards what is depicted. The lyrical digression thus introduces into the work the image of the author-narrator as the bearer of the highest, ideal point of view of A.S. Pushkin especially emphasizes the combination of epic and lyrical genres. His novel in verse is not only a narrative about the lives of the characters, but also a lyrical work filled with the author’s individuality. Lyrical digressions serve to expand the artistic space and create the integrity of the image: from everyday details of generalization to large-scale images filled with philosophical content.

“Onegin” is the most sincere

Pushkin's work,

The most beloved child of his fantasy.

Here is all life, all soul,

all his love;

here are his feelings, concepts,

ideals."

(V.G. Belinsky)

The artistic uniqueness of the novel is largely determined by the special position that the author occupies in it. The author in the novel “Eugene Onegin” is a man without a face, without appearance, without a name. The author is the narrator and at the same time the “hero” of the novel. The Author reflects the personality of the creator of “Eugene Onegin”. Pushkin gave him much of what he experienced, felt and changed his mind. However, identifying the Author with Pushkin is a grave mistake. It must be remembered that the Author is an artistic image. The relationship between the Author in Eugene Onegin and Pushkin, the creator of the novel, is exactly the same as between the image of any person in a literary work and his prototype in real life. The image of the Author is autobiographical, it is the image of a person whose “biography” partially coincides with the real biography of Pushkin, and the spiritual world and views on literature are a reflection of Pushkin’s. He persistently reminds readers of the “literary quality” of the novel, that the text created by it is a new, life-like reality that must be perceived “positively,” trusting its story. The characters in the novel are fictional; everything that is said about them has no relation to real people. The world in which the heroes live is also a fruit of the Author’s creative imagination. Real life is only material for a novel, selected and organized by him, the creator of the novel world. The author conducts a constant dialogue with the reader - shares “technical” secrets, writes the author’s “criticism” of his novel and refutes possible opinions of magazine critics, draws attention to the turns of the plot action, to breaks in time, introduces plans and drafts into the text - in a word, not makes it possible to forget that the novel has not yet been completed, has not been presented to the reader as a book “ready to use” that just needs to be read. The novel is created right before the reader’s eyes, with his participation, with an eye on his opinion. The author sees him as a co-author, addressing the many-faced reader: “friend”, “foe”, “buddy”. The author is the creator of the novel world, the creator of the plot narrative, but he is also its “destroyer.” The contradiction between the Author – the creator and the Author – the “destroyer” of the narrative arises when he, interrupting the narrative, himself enters the next “frame” of the novel - for a short time (with a remark, a remark) or fills it entirely (with the author’s monologue). However, the Author, breaking away from the plot, does not separate himself from his novel, but becomes its “hero”. Let us emphasize that “hero” is a metaphor that conventionally designates the Author, because he is not an ordinary hero, a participant in the plot. It is hardly possible to isolate an independent “plot of the Author” in the text of the novel. The plot of the novel is one, the Author is outside the plot action. The Author has a special place in the novel, defined by his two roles. The first is the role of the narrator, the storyteller, commenting on everything that happens to the characters. The second is the role of a “representative” of life, which is also part of the novel, but does not fit into the framework of the literary plot. The author finds himself not only outside the plot, but also above the plot. His life is part of the general flow of life. He is the hero of the “novel of life”, about which it is said in the last verses of “Eugene Onegin”: Blessed is the one who left the holiday of life early, without finishing the full glass of wine to the bottom, Who did not finish her novel And suddenly knew how to part with him, Like me with Onegin mine. Individual intersections between the Author and the heroes (meetings of Onegin and the Author in St. Petersburg, which are mentioned in the first chapter, Tatyana’s letter (“I cherish him sacredly”) that came to him) emphasize that the heroes of “my novel” are only part of that life, which is represented in the novel by the Author. The image of the Author is created by means other than the images of Onegin, Tatyana, Lensky. The author is clearly separated from them, but at the same time, correspondences and semantic parallels arise between him and the main characters. Without being a character, the Author appears in the novel as the subject of statements - remarks and monologues (they are usually called author's digressions). Speaking about life, about literature, about the novel that he creates, the Author either approaches the heroes or moves away from them. His judgments may coincide with their opinions or, conversely, oppose them. Each appearance by the Authors in the text of the novel is a statement that corrects or evaluates the actions and views of the characters. Sometimes the Author directly points out the similarities or differences between himself and the characters: “We both knew the passion game; /Life tormented both of us; / The heat has faded in both hearts”; “I am always glad to notice the difference / Between Onegin and me”; “That’s exactly what my Eugene thought”; “Tatiana, dear Tatyana! / Now I’m shedding tears with you”. Most often, compositional and semantic parallels arise between the author’s statements and the lives of the characters. The appearance of the author's monologues and remarks, although not externally motivated, is connected with plot episodes by deep semantic connections. The general principle can be defined as follows: the action or characteristic of the hero gives rise to a response from the Author, forcing him to talk about a particular subject. Each statement of the Author adds new touches to his portrait and becomes a component of his image. The main role in creating the image of the Author is played by his monologues - author's digressions. These are fragments of text that are completely complete in meaning, have a harmonious composition and a unique style. For ease of analysis, they can be divided into several groups. Most of the digressions are lyrical and lyrical-philosophical. In them, saturated with various life impressions, observations, joyful and sorrowful “notes of the heart,” philosophical reflections, the spiritual world of the Author is revealed to the reader: this is the voice of a wise Poet, who has seen and experienced a lot in life. He experienced everything that makes up a person’s life: strong, sublime feelings and the coldness of doubts and disappointments, the sweet pangs of love and creativity and the painful melancholy of everyday vanity. He is either young, mischievous and passionate, or mocking and ironic. The author is attracted to women and wine, friendly communication, theater, balls, poetry and novels, but he also notes: “I was born for a peaceful life, / For village silence: / In the wilderness, the lyrical voice is louder, / Creative dreams are more vivid.” . The author is acutely aware of the changing ages of a person: the cross-cutting theme of his thoughts is youth and maturity, “a late and barren age, / At the turn of our years.” The author is a philosopher who learned a lot of sad truths about people, but did not stop loving them. Some digressions are imbued with the spirit of literary polemics. In an extensive digression in the third chapter (stanzas XI–XIV), an ironic “historical and literary” background is first given, and then the Author introduces the reader to the plan of his “novel in the old way.” In other digressions, the Author gets involved in debates about the Russian literary language, emphasizing loyalty to the “Karamzinist” ideals of youth (chapter three, stanzas XXVII–XXIX), polemicizes with the “strict critic” (V.K. Kuchelbecker) (chapter four, stanzas XXXII–XXXIII ). By critically assessing the literary opinions of opponents, the Author determines his literary position. In a number of digressions, the Author ironizes ideas about life that are alien to him, and sometimes openly ridicules them. Objects of the author’s irony in the digressions of the fourth chapter (stanzas VII–VIII – “The less we love a woman...”; stanzas XVIII–XXII – “Everyone has enemies in the world...”; stanzas XXVIII–XXX – “Of course, you have seen more than once / A district young lady's album..."), the eighth chapter (stanzas X-XI - "Blessed is he who was young from a young age...") - vulgarity and hypocrisy, envy and ill will, mental laziness and depravity, disguised by secular politeness. Such digressions can be called ironic. The author, unlike the “honorable readers” from the secular crowd, does not doubt the true life values ​​and spiritual qualities of people. He is faithful to freedom, friendship, love, honor, and seeks spiritual sincerity and simplicity in people. In many digressions, the Author appears as a St. Petersburg poet, a contemporary of the novel’s heroes. The reader learns little about his fate, these are only biographical “points” (lyceum – St. Petersburg – South – village – Moscow – St. Petersburg), slips of the tongue, hints, “dreams” that make up the external background of the author’s monologues. All digressions in the first chapter, some of the digressions in the eighth chapter (stanzas I–VII; stanzas XLIX–LI), in the third chapter (stanzas XXII–XXIII), in the fourth chapter (stanza XXXV), and the famous digression at the end of the sixth chapter have an autobiographical nature , in which the Author-poet says goodbye to his youth (stanzas XLIII–XLVI), a digression about Moscow in the seventh chapter (stanzas XXXVI–XXXVII). Biographical details are also “encrypted” in literary and polemical digressions. The author takes into account that the reader is familiar with modern literary life. The fullness of spiritual life, the ability to holistically perceive the world in the unity of light and dark sides are the main personality traits of the Author, distinguishing him from the heroes of the novel. It was in the Author that Pushkin embodied his ideal of a man and a poet. The novel “Eugene Onegin” is Pushkin’s most difficult work, despite its apparent lightness and simplicity. V.G. Belinsky called “Eugene Onegin” “an encyclopedia of Russian life,” emphasizing the scale of Pushkin’s “many years of work.” This is not critical praise of the novel, but its succinct metaphor. Behind the “variegation” of chapters and stanzas, the change in narration techniques, hides the harmonious concept of a fundamentally innovative literary work - a “novel of life”, which has absorbed a huge amount of socio-historical, everyday, literary material.

The image of the narrator is close to Onegin in many of its features. It reveals the same culture of intellect, a critical attitude towards reality; but he has something that Onegin does not have - a great love of life:

I love mad youth
And tightness, and shine, and joy...

In terms of upbringing, views, beliefs, tastes, habits of life, everyday life, traditions, he is a product of the same noble culture as Onegin and Tatyana. However, the image of the author-narrator is opposed to all of them: his character is the most complete and rich character. He is above them all, for he knows not only what Onegin, Tatyana, Lensky are like in life, the essence of their views and behavior as certain social types, but he also realizes their social significance, realizes not only the “imperfection of the world” (which is also characteristic of Onega well], but also the inferiority of the Onegins themselves.
Along with an analytical mind, brilliant wit, and subtle irony, he is characterized by passion, strength, energy and optimism.
The attitude towards the environment, like Onegin’s, is negative:
He who lived and thought cannot
Don't despise people in your heart...

In the image of the author one can see a character fulfilling his social role in poetic work and artistic creativity. Pushkin devotes a lot of space to the “muse” and inspiration in his work in general, and in particular in “Eugene Onegin,” connecting his significance for the future with creativity, seeing inspiration as a healing principle.

Perhaps it won't drown in Lethe
The stanza composed by me...
Bless my long work,
O you epic muse!

But this realization of its social significance does not at all remove the main insoluble contradiction of the author’s image. It lies in the fact that with all the severity of criticism of modern noble society, awareness of the negative aspects of social reality and the inferiority of the characters created in them, the author at the same time does not have a specific positive program that he could put forward. Nevertheless, it is in the character of the author that Pushkin affirms the possibility of development, moving forward, searching for some new paths.

Thus, we came to the conclusion, that in “Eugene Onegin” Pushkin conducts his novel not as a dispassionate observer recording events, but as an active close participant in the events and persons described in the novel. The image of the author, his “I” runs through the entire novel and carries a certain semantic function; The author's assessment accompanies all the development of action and characters.

Oscar Wilde said: “The main purpose of nature seems to be to illustrate the lines of poets.”

Gennady Pospelov wrote: “In literature XVIII- XX centuries, landscapes acquired psychological significance. They have become a means of artistic exploration of a person’s inner life.”

We give the floor to the group led by Victoria Rudenko. Subject: " the role of landscape in the compositional unity of the novel."

Scenery- artistic description of an open space (nature, city, etc.), part of the objective world of a literary work; helps to understand the actions of the characters, conveys their state of mind, creates the emotional atmosphere of the work (or episode) or is given for the purpose of contrasting the activities of people.

Essay on the topic “Lyrical digressions and their role in the novel by A.S. Pushkin “Eugene Onegin”

The novel “Eugene Onegin” was written by Pushkin over eight years, from the spring of 1823 to the autumn of 1831. At the very beginning of his work, Pushkin wrote to the poet P.A. Vyazemsky: “I am now writing not a novel, but a novel in verse - a devilish difference!” The poetic form gives “Eugene Onegin” features that sharply distinguish it from a prose novel; it expresses the thoughts and feelings of the author much more strongly.

What gives the novel its originality is the constant participation of the author in it: here there is both an author-narrator and an author-actor. In the first chapter, Pushkin writes: “Onegin, my good friend...”. Here the author is introduced - the character, one of Onegin's secular friends.

Thanks to numerous lyrical digressions, we get to know the author better. This is how readers get acquainted with his biography. In the first chapter there are these lines:

It's time to leave the boring beach

I have a hostile element

And among the midday swells,

Under my African sky,

Sigh about gloomy Russia...

These lines mean that fate separated the author from his homeland, and the words “My Africa” make us understand that we are talking about southern exile. The narrator clearly wrote about his suffering and longing for Russia. In the sixth chapter, the narrator regrets the past young years, he also wonders what will happen in the future:

Where, where have you gone,

Are the golden days of my spring?

What does the coming day have in store for me?

In lyrical digressions, the poet’s memories of the days “when in the gardens of the Lyceum” the muse began to “appear” to him come to life. Such lyrical digressions give us the right to judge the novel as the personal history of the poet himself.

Many of the lyrical digressions present in the novel contain a description of nature. Throughout the novel we encounter pictures of Russian nature. There are all seasons here: winter, “when the joyful people of boys” “cut the ice” with skates, and “the first snow curls,” flashes, “falling on the shore,” and “northern summer,” which the author calls “a caricature of southern winters.” , and spring is “the time of love,” and, of course, the author’s beloved autumn does not go unnoticed. Quite a lot of Pushkin refers to the description of the time of day, the most beautiful of which is night. The author, however, does not at all strive to depict any exceptional, unusual pictures. On the contrary, everything with him is simple, ordinary - and at the same time beautiful.

Descriptions of nature are inextricably linked with the characters of the novel; they help us better understand their inner world. Repeatedly in the novel we notice the narrator’s reflections on Tatyana’s spiritual closeness with nature, with which he characterizes the heroine’s moral qualities. Often the landscape appears before the reader as Tatyana sees it: “...she loved to warn the sunrise on the balcony” or “... through the window Tatyana saw the white courtyard in the morning.”

The famous critic V.G. Bellinsky called the novel “an encyclopedia of Russian life.” And indeed it is. An encyclopedia is a systematic overview, usually from “A” to “Z”. This is the novel “Eugene Onegin”: if we carefully look at all the lyrical digressions, we will see that the thematic range of the novel expands from “A” to “Z”.

In the eighth chapter, the author calls his novel “free.” This freedom is, first of all, a relaxed conversation between the author and the reader with the help of lyrical digressions, the expression of thoughts from the author’s “I”. It was this form of narration that helped Pushkin recreate the picture of his contemporary society: readers learn about the upbringing of young people, how they spend their time, the author closely observes balls and contemporary fashion. The narrator describes the theater especially vividly. Talking about this “magical land,” the author recalls both Fonvizin and Knyazhin, especially attracting his attention is Istomin, who, “with one foot touching the floor,” “suddenly flies” light as a feather.

A lot of discussion is devoted to the problems of Pushkin’s contemporary literature. In them, the narrator argues about the literary language, about the use of foreign words in it, without which it is sometimes impossible to describe some things:

Describe my business:

But trousers, a tailcoat, a vest,

“Eugene Onegin” is a novel about the history of the creation of the novel. The author talks to us through lines of lyrical digressions. The novel is created as if before our eyes: it contains drafts and plans, the author’s personal assessment of the novel. The narrator encourages the reader to co-create (The reader is already waiting for the rhyme rose/Here, take it quickly!). The author himself appears before us in the role of a reader: “he reviewed all this strictly...”. Numerous lyrical digressions suggest a certain authorial freedom, movement of the narrative in different directions.

The image of the author in the novel has many faces: he is both the narrator and the hero. But if all his heroes: Tatiana, Onegin, Lensky and others are fictional, then the creator of this entire fictional world is real. The author evaluates the actions of his heroes; he can either agree with them or oppose them with the help of lyrical digressions.

The novel, built on an appeal to the reader, tells about the fictionality of what is happening, about the fact that this is just a dream. A dream like life