The image of Eugene Onegin in the novel "Eugene Onegin" by Pushkin: a description of the hero in quotations. A collection of ideal essays on social studies How Onegin treated people

With the poem "Eugene Onegin" Pushkin began the theme of "superfluous" people in Russian literature. Following him, this problem was developed by Griboyedov with the play "Woe from Wit", M. Lermontov in the story "A Hero of Our Time", Turgenev in "Fathers and Sons" and in "Notes of an Extra Man", Goncharov in "Oblomov" and other writers of that time ...

Russian literature of the second half of the 19th century brought to the fore the education of a new person, active, proactive and useful to society. Then this expression appeared for the first time - superfluous people. As a rule, these are wealthy, educated people. They are able to purposefully serve their homeland and society. They are capable, but they do not want to. Service often meant the struggle for democratic freedoms.

But Pushkin and his contemporaries were influenced by Byronic romanticism. They created images of all disgruntled, bored skeptics. A superfluous person in early romantic literature was Aleko from, who fled from a civilized society to a gypsy camp, but even in it did not find his place and purpose in life. Aleko served as a predecessor as a literary hero.

Why do we consider Eugene Onegin to be a superfluous person? It would seem that we are facing a young man with everything ahead. But Eugene lives. While he was living in St. Petersburg, all that interested him was entertainment: balls, theaters, drinking with friends, women, intrigues. Everyday repetition of the same entertainment, the same conversations, faces led our hero to a skeptical attitude towards people.

Onegin does not seek to create a family, does not serve anywhere. He lives on income from the peasants, but even here he does not strike a finger in order to somehow increase productivity, improve the lives of those who belong to him. No. We must give him his due in the fact that he replaced the corvee with a quitrent, for which the peasants were grateful to him, and the landlord neighbors were on their guard. This was the end of his household work. If we recall the well-known proverb, we can say that Onegin did not build a house, did not plant a tree, and did not give birth to a child.

Onegin was capable of intrigue in order to disperse the blood, to have fun. When he started flirting with the name day, he didn't really think about the consequences. After all, a young and pretty creature with a doll face could take his flirting at face value and fall in love. He did not care how he would perceive his flirtation with Olga, what she felt. It was important for him to please his own ego and infuriate.

He does not talk about where Onegin went after the duel, where he was before meeting with Tatyana. But having met Onegin in St. Petersburg, we again see an idle man who now indulges himself with love for another man's wife, and sees the meaning of his being in the fact that he drags her along at all social events where she happens.

Literary critics believe that "extra people" appeared due to some kind of social instability, and if Russia had a different social system and a different political situation, they would not have existed. But this is not the case. There are many examples of people who lived and worked in the same years and in the same social and social order, and at the same time gained fame, created a fortune for their descendants (that is, they grew a tree and built a house). Examples? We won't go far for them. These are the authors of literary works who wrote the books mentioned. By the way, Onegin tried to take up his pen and write something, but it didn't work out. Laziness, incapacity for socially significant work turned out to be stronger than him.

But not even laziness gave birth to unnecessary people. She herself was born from the absence of any purpose.

One of the literary critics flashed the thought that Onegin would take the path of struggle against the autocracy, would find himself in the ranks of the Decembrists. If this happens, it will not be out of conviction that you are right, and the desire to free the country from tyranny. And only from the desire to occupy your idle mind with something, to drive adrenaline in your blood.

About nine years, almost half of his creative life, Pushkin devoted to the creation of the novel, putting into it the fruits of "the mind of cold observations and the heart of sorrowful notes."

With all the breadth of the subject matter of the novel, "Eugene Onegin" is primarily a novel about the intellectual life and quests of the Russian noble intelligentsia of the 20s of the 19th century. Pushkin turned to the creation of the image of his contemporary in his early romantic works, for example, in The Prisoner of the Caucasus. However, the hero of this work did not satisfy the author, since he turned out to be romantic. The circumstances in which he acted were hothouse, his past remained vague, the reasons for his disappointment were unclear. Therefore, Pushkin returned to the idea of ​​creating a typical image of a contemporary in his main work - the novel "Eugene Onegin".

Now we also have a disappointed hero, and in this one can see a connection with romantic poems, but he is depicted in a completely different way: his upbringing, education, the environment in which he was born and lives are described in detail. The poet not only indicates clear signs of his disappointment, but aims to explain the reasons that gave rise to it.

The concept of "extra person" appeared in 1850, when Ivan Turgenev's "Diary of an Extra Person" was published. However, in Pushkin's drafts there is a remark that Onegin is "like something superfluous" at a social event, and it is Pushkin who for the first time in Russian literature creates the image of a "superfluous person."

Onegin - "a secular St. Petersburg young man", a metropolitan aristocrat; "Having fun and luxury child", he received a typical for aristocratic youth of that time home education and upbringing under the guidance of a French governor, who, "so as not to torment the child, taught him everything in jest, did not bother with strict morality ..."

Onegin leads a life typical for the "golden youth" of that time: balls, restaurants, walks along Nevsky Prospekt, visits to theaters. It took him eight years. But Onegin stands out from the general mass of aristocratic youth. Pushkin notes his "involuntary devotion to dreams, inimitable strangeness and a sharp, chilled mind", a sense of honor, nobility of soul. This could not but lead Onegin to disappointment in life, in a secular society.

The blues and boredom took possession of Onegin. Moving away from the "empty light", he tries to engage in some useful activity. Nothing came of an attempt to write. Evgeny did not have a vocation: "yawning, he took up the pen," and he did not have a habit of work: "hard work was nauseous to him." An attempt to combat the "spiritual emptiness" by means of reading was also unsuccessful. The books that he read either did not satisfy, or turned out to be in tune with his thoughts and feelings and only strengthened them.

And so Onegin is trying to get involved in the arrangement of the life of the peasants on the estate, which he inherited from his uncle:

Yarem he is an old corvee
Replaced by light rent ...

However, all his activities as a landowner-owner were limited to this reform. The former moods, although somewhat softened by life in the bosom of nature, continue to dominate him. Everywhere he feels like a stranger and superfluous: both in high society and in provincial drawing rooms. It was hard and unbearable for him to see before him

There is a long row of dinners alone,
See life as a rite of passage
And following the decorous crowd
Go without sharing with her
No shared opinions, no passions.

Onegin's extraordinary mind, his freedom-loving moods and critical attitude to reality put him high above the "secular rabble", especially among the local nobility, thereby condemning him to complete loneliness. Having broken with secular society, in which he found neither high interests nor real feelings, but only a parody of them, Onegin loses touch with people.

Such strong feelings as love and friendship could not save Onegin from "spiritual emptiness". He rejected Tatyana's love, as he valued "freedom and peace" above all else, failed to discern the full depth of her soul and her feelings. Fed up with the love of society ladies, Onegin was disappointed in this feeling. His attitude to love is rational and feigned. It is sustained in the spirit of the learned secular "truths", the main purpose of which is to enchant and seduce, to appear in love.

How early could he be a hypocrite
Conceal hope, be jealous
Dissuade, make believe,
To seem gloomy, to languish.

And finally, Onegin's friendship with Lensky ended tragically. No matter how the noble mind of Onegin protested against the duel, the social conventions formed by the light took the upper hand. Onegin killed his friend Lensky, because he could not rise above the public opinion of the local nobility, which he internally despised. He was frightened by the "whispers, the laugh of fools", the gossip of the Zaretskys, Petushkovs, Skotinins.

And here is the public opinion
Spring of honor, our idol.
And this is where the world revolves! -

exclaims Pushkin. The summary of Onegin's life is bleak:

Having lived without a goal, without work
Until twenty six
Languishing in idle leisure
No service, no wife, no deeds,
I didn't know how to do anything ...

VG Belinsky called Onegin a "reluctant egoist", a "suffering egoist", because such "strong, remarkable nature" was made by society. "Evil is hidden not in a person, but in society," the critic wrote. Onegin's skepticism and disillusionment are a reflection of the general "illness of the newest Russians," which at the beginning of the century gripped a significant part of the noble intelligentsia. Pushkin condemns not so much the hero as the secular environment that shaped him as a person.

It is obvious that the Onegins are doomed to inaction. Onegin's transformation into a "superfluous person" was certainly inevitable at that time. He belonged to that enlightened part of the noble intelligentsia, which avoided serving the tsarism, did not want to be in the ranks of the silent, but stood aloof from social activities. The undoubted merit of Pushkin is that in his novel he showed the tragedy of "superfluous people" and the reasons for their appearance among the noble intelligentsia of the 20s of the XIX century.

The origins of the character and spiritual evolution of Onegin in the novel by Alexander Pushkin "Eugene Onegin".

In the image of Eugene Onegin, Pushkin reflected the history of the formation of the personality of a young man from a noble environment, showing his path from childhood to the age of a mature man.

Like many children of nobles, Eugene was educated with the help of a French governor, who "taught him everything in jest." “When it's time for Eugene to rebel youth ...”, he becomes a secular “dandy”, a young rake, leading an idle lifestyle: lunches, dinners, receptions in the homes of rich and noble gentlemen, balls, theaters, playing cards. But the main occupation, in which he especially succeeded, is the "science of tender passion":

How early could he be a hypocrite
Conceal hope, be jealous
Reassure, make believe ...

But, as it turned out, an empty, monotonous life began to cause boredom, then irritation, disappointment, and brought a blues. Apparently, Eugene was different from other young people who were quite satisfied with social life and idleness. If he decided to get down to business, it means that his spiritual development continues, and the results are yet to come. However, it soon became clear that "hard work was nauseous to him," so he would not be able to make a writer or poet, and he was not taught anything else either. Onegin treated reading thoughtfully, but too critical ("there is boredom, there is deceit or delirium, there is no conscience in that, there is no sense in that"), and this prevented him from really engaging in self-education: "as women, he left books."

Thus, the upbringing of the hero turned out to be superficial and did not bring the necessary results. This is explained by the fact that the noble society at the beginning of the nineteenth century was cut off from its Russian roots and deprived the younger generation of national foundations in education. Young people, often richly gifted by nature, did not find the use of their forces, although they could benefit society. Onegin is different from many who live aimlessly: he is trying to change his life. VG Belinsky wrote: "He does not want what he is so pleased with, so happy is the proud mediocrity."

The uncommon nature of the hero was noted by the author, who played the role of Eugene's friend, and Tatiana, Pushkin's favorite heroine in the novel Eugene Onegin.
So, as a result of disappointments in the secular lifestyle, the hero experiences a state of spiritual search. It would seem that positive changes should have been brought about by moving to the village, when Eugene becomes the heir to a rich estate. He was even able to finally apply his knowledge in economics:

Yarem he is an old corvee
Replaced the rent with an easy one;
And the slave blessed fate.

But "boredom is the same in the village," concludes Onegin, who fled from the capital's idleness and blues. He is not even attracted by the beauty of rural landscapes, and Yevgeny simply avoided meeting his landlord neighbors. And yet there is something new in his life that positively affects his soul. This is friendship with the young poet Lensky, the owner of a neighboring estate, who recently returned from Germany, where he was educated. For the first time, Onegin feels like an older comrade, ready to spare the feelings of a young friend, and they talk for a long time on various topics.

A new turn in the fate of Onegin and his spiritual development is brought by a meeting with Tatyana Larina. Eugene rejects the love of this girl, as he is sure that he was not created for a family, does not want to lose freedom, and he is unlikely to ever love her. He understands that Tatiana is beautiful at heart, that she is in many ways different from other young ladies, but at that time Onegin was not going to change anything in his life.

At the moment, Tatiana, apparently, has a much greater spiritual maturity than Eugene. He behaves inconsistently and selfishly: annoyed by the girl's sensitivity, wants to take revenge on his friend. Having caused Lensky's jealousy by tactlessly behaving with his bride, Eugene agrees to a duel with a friend and kills him. All these actions speak of Onegin's spiritual organization, which is far from perfect. But it was these events that led to the processes that, through the torments of conscience, through suffering and repentance, led to the purification of the soul and its improvement, since Eugene was very upset by the murder of Lensky.

A.S. Pushkin did not show in the novel what happened to the hero during the journey. We can only guess why we see Onegin at the end of the work completely different. This is no longer an irresponsible egoist and a person who is not bored of idleness. He is capable of a strong and deep feeling. Having met Tatyana at one of the social receptions, he suddenly realizes how dear she is to him:

So that my life lasts
I must be sure in the morning
That I will see you in the afternoon.

These words Eugene writes to Tatyana, whom he fell in love unexpectedly for himself when she was already married. New feelings and suffering from unrequited love open up qualities previously unknown to Onegin in the character. In a letter to Tatiana, motives are heard that are not characteristic of a selfish or indifferent person:

To listen to you for a long time, to understand
Your soul is all your perfection
To die in agony before you,
To fade and fade ... here is bliss!

Apparently, now that Eugene is reaching a new level of morality, he is becoming spiritually closer to Tatyana, although she did not understand this. And it's too late for her to evaluate Onegin's spiritual perfection.
The future of the protagonist remains unknown. Onegin has come a hard way. It can be assumed that after the collapse of hopes for happiness in love, he is probably ready to get closer to the future Decembrists in order to finally find a purpose in life.

In the image of Onegin, Pushkin discovers other properties of character that are opposite to Lensky.
As positive properties of Onegin's character, the height of culture, intelligence and a sober, critical attitude to reality should be noted. Lensky's youthfully naive enthusiasm is completely alien to him.

Onegin's life experience, a cold skeptical mind lead him to a denial of reality. Onegin by no means "does not believe in the world of perfection." On the contrary, one of its typical features is disappointment in life, dissatisfaction with others, skepticism.

Onegin is above the environment. His superiority over Lensky is also noticeable. Nevertheless, Pushkin is by no means inclined to assert Onegin as an ideal, on the contrary, many features that characterize Onegin are given by Pushkin negatively, in an ironic sense. And the main ones - disillusionment in life, contempt and indifference to others - are revealed by Pushkin rather as a posture and are devoid of the tragedy that these traits wore in Pushkin's romantic heroes - the Prisoner of the Caucasus, Aleko, and others.

Undoubtedly, Tatyana also comes to this in her reflections on Onegin:
What is he? Is it an imitation
Interpretation of someone else's quirks,
An insignificant ghost, or else
Full vocabulary of fashionable words? ..
Muscovite in Harold's cloak,
Isn't he a parody?

Obviously, the emergence and prevalence of such an attitude towards life among the noble intelligentsia in the 20s of the XIX century and its reflection in literature in the image of a demonic hero can by no means be explained by the influence of Byron - this influence arose in life itself.
However, establishing the closeness of Onegin's character to the character of the Prisoner and Aleko, it should be noted that the meaning of the images of the Prisoner and Onegin and their functions in the work are completely different.
In The Prisoner of the Caucasus, Pushkin idealizes this proud spirit of denial of society and life. Aleko has not yet been removed from the hero's pedestal either. The essence of the Prisoner and Aleko lies in their deeply revolutionary beginning, while in Eugene Onegin there is absolutely no such pathos. Giving in Onegin character traits close to his romantic, rebellious, rebellious hero along the line of the same denial of reality, contempt for life and for people, etc., Pushkin exposes in him their sterility, their futility. Onegin, taken in the social and everyday life, in his most diverse experiences, is revealed both from a positive and a negative side.

This explains the author's ambivalence towards Onegin. It is impossible not to appreciate his culture, breadth of outlook, his superiority over others, the attractiveness of his cold skeptical mind; we sympathize with his loneliness, sincerity and fullness of his feelings (about the death of Lensky, love for Tatiana), etc., but at the same time we see his inferiority.

Onegin, possessing a number of positive qualities, standing head and shoulders above those around him, turns out to be a completely useless person in life. Its capabilities cannot be realized in life, cannot be applied in practice. The noble culture, having created a certain character, no longer creates an opportunity for him to act, is no longer able to use it. Reality does not develop, but destroys the best sides of this character and, on the contrary, contributes to the development of negative traits. Hence Onegin's inferiority, which is revealed in two main points: 1) in the absence of a real life goal, practice; 2) in the absence of will, energy.

The contradictory nature of Onegin lies in the fact that, having understood the meaninglessness and emptiness of the surrounding life, despising it, Onegin at the same time could not oppose anything to this life. Pushkin emphasizes in him an early matured mind and the ability to critically rush to the environment and at the same time complete inactivity, not the ability to create something. Pushkin speaks clearly ironically about Onegin's aspirations to do something. The irony of Pushkin is aimed at the pointlessness, futility of Onegin's studies.

Onegin's only business in the village - the replacement of corvee by rent - is motivated by Pushkin as follows: "just to spend time ..."
The whole life of Onegin is revealed by Pushkin as an aimless, empty existence, devoid of a creative principle:
Killing a friend in a duel,
Languishing in the inaction of leisure,
Having lived without a goal, without work
No service, no wife, no deeds,
Until twenty six
I didn't know how to do anything.

In Onegin's behavior, Pushkin reveals lethargy, apathy and lack of will. Lensky falls victim to this lack of will, because Onegin, despising the light, the environment, at the same time obeys the conventions of this light, does not have the will to throw them off himself, does not find the strength to follow his inner convictions, his inner drives if they go against with established morality, with established traditions.

Onegin's behavior in the episode with the duel is entirely determined by his fear of "false shame", which he could not rise above. He completely submitted to the conditions of the very life that he denied and despised. Onegin's image is clearly evolving throughout the novel. Onegin “leaves” the novel in a completely different way from what Pushkin portrays him in the first chapters.
At the beginning of the novel, Onegin is presented as a strong, proud, not ordinary person and who knows his own worth. When meeting with Lensky, in his explanation with Tatyana, he has a patronizing, condescending tone. There is still a lot of self-confidence in his judgments and views.

In "Excerpts from Onegin's Journey", which were not included by Pushkin in the novel, although according to the concept, "Onegin's Journey" was supposed to go through the eighth chapter, before Onegin's appearance in the "big world", in the image of Onegin, the longing of mental loneliness is brought to the limit, Onegin is aware of his fate tragically:
Why am I not wounded by a bullet in the chest? Why am I not a frail old man ...

Meeting with Tatiana, love for her was the last outburst of Onegin's vital energy. He himself speaks of himself as a doomed person: "I know: my century has already been measured ..."
Thus, over the course of some three and a half years (this is approximately the duration of the novel), Onegin turns into a person deprived of any prospects in life, deprived of strength, energy, despite his youth, position, culture. and intelligence.
In this premature extinction of Onegin, Pushkin reveals the doom and hopelessness of this character in life.

The further fate of Onegin is not given in the novel, but the logic of this character is so clear that his fate has already been determined. It is known that, according to Pushkin's plan, in the future he wanted to connect Onegin with the Decembrist movement, but this was not carried out, and it does not change the essence of the matter, since it is quite obvious that Pushkin, with all the positive qualities of Onegin, has a negative attitude towards the type of social behavior characteristic of him. ... It is important to understand not only that in this environment, in the given social conditions, Onegin could not realize his capabilities, but also that Pushkin shows the Onegins' incapacity, condemns their life "without a goal", "without work"; Onegin's proud posture with his contempt for people and gloomy disappointment is a social stage already passed; Onegin needs to overcome the inactive individualism that underlies his character and find his place in life.

Giving everything positive that noble culture could give at the heights of its development, Pushkin, in the image of Onegin, at the same time reveals the principles leading to its death - inaction, lack of will, purposelessness of existence

Before considering the images of the main characters, you need to understand that for Pushkin's novel, the main method of creating them is typification. The literary type is not just an image of a hero, marked by a unique individuality, in it in a special way - through character traits, through the same individuality - features are embodied inherent not only to the person himself, but also to a certain social group, of which he is a "product" (in socio-psychological terms) is. This is how the images of the heroes of the novel were created, and this is especially noticeable in the image of the main character - Eugene Onegin.

As a person, Onegin is very unusual, his individuality is undeniable, but ... he is also very typical, it is no coincidence that one of the “discerning readers” about him - A. A. Bestuzhev - responded as follows: “I see a person whom thousands of I meet in reality ". Traditional upbringing for their circle, traditional pastime, traditional interests," yearning laziness ", crying, demonstrative disregard for the interests of others - these are the main features that characterize not only Onegin, but also a significant part of the" young people "of that time, who later, after the appearance of the novel, will be called “superfluous people.” However, can only Onegin be blamed for the fact that he is? Therefore, the social circle to which the hero belongs and the "laws of life" of which he brilliantly mastered and according to which for the time being time lives quietly.

However, "Onegin's soul" is far from being as simple and unambiguous as it could be judged by his behavior. The image of Eugene Onegin in the novel "Eugene Onegin" is very contradictory, the internal conflict in him is obvious, and this is most fully manifested in his relationship with Tatiana. The Eugene who "gives lessons" to Tatiana is not at all like Eugene, the author of a letter to his truly beloved woman, who is now inaccessible to him - although he continues to love him ... Let's try to understand the reasons for the "transformation" of the protagonist, the story the rebirth of his soul is precisely "rebirth", because love revives the human even in the soul of the seemingly inveterate egoist himself.

Once in the village, Onegin hoped that "changing places" would help him get rid of boredom, and, in fact, "for two days" it seemed to him that this was so, but "on the third" day he was convinced that "boredom is also in the village. same". This is natural, because the reasons for "boredom" are in himself, here external factors mean little. The provincial nobility, primitive in terms of spiritual life, could not arouse interest in him, and his attempts to "establish a new order" led to the fact that "And in a voice everyone decided that he is a dangerous eccentric." Only Lensky turned out to be not that close to Eugene, but "they got along", and Pushkin caustically notes that it was friendship "from nothing to do." Lensky's enthusiasm and Onegin's skepticism are indeed "ice and fire", but there are simply no other people "worthy" of his attention around Eugene Onegin ... Perhaps the main thing that distinguishes the characters is the ability to feel love and everything that connected with this feeling.

For Lensky, love is a feeling that he plays according to the laws of romanticism, he creates for himself an invented, ideal image of Olga, so far from reality that it becomes incomprehensible: is it really possible to be so ... not understanding the most obvious things? However, the romantic poet also plays romance in life, he builds it as if he were writing an "ode", but he only has to "read" this "ode-life" himself ... Onegin, however, very accurately and deeply understands people, he manages to penetrate into the soul of everyone with whom fate brings him, but his behavior, his attitude towards people can only cause condemnation. Realizing everything, he starts a game with Olga, thereby inflicting mental trauma on Lensky in love; realizing the stupidity of the duel, he, thinking that he could be ridiculed, accepts Lensky's challenge, indulging these same morals that he so openly despises: "But the whispering, laughing of fools ..." - and this after quite severely "scolds" himself for his behavior: "but Eugene Alone with his soul Was dissatisfied with himself" ... And even when it was still possible to fix something, realizing that it would be best to "disperse amicably", Onegin did not makes the first step towards Lensky, because "wildly secular enmity is afraid of false shame." Therefore, when he writes in a letter to Tatiana "Lensky fell as an unhappy victim," he, in all conscience, must clarify that Lensky became a victim of his, Eugene Onegin's, false pride, his inability to rise above circumstances, in the most important terms, his selfish attitude to others.

The same feeling prevents him from really understanding Tatyana, having received a letter from which, "Onegin was vividly touched." Having met her, he behaves as the hero of a "fashionable novel" should behave, inwardly enjoying the role of a "teacher", but at the same time admiring himself and not wanting to understand how Tatyana, already discouraged by her "offense," feels. The continuation of the "game" with a girl in love with him follows on the name day, where "somehow the gaze of his eyes Was wonderfully gentle", and "this gaze expressed tenderness: He revived Tanya's heart." However, the death of Lensky separates the heroes, whose next meeting took place when Tatyana was already a married lady, and it was this Tatyana that caused a violent feeling in Eugene Onegin's soul, which he considers love. He persecutes Tatiana, writes letters to her, reproaches her that she does not respond to his feelings, forgetting at the same time that in her current position she, in fact, cannot answer them otherwise than by violating her marital duty, that for Tatiana, "the Russian soul", is unacceptable from the beginning. Of course, Onegin sincerely suffers, but does he have the moral right to write to her: "If only you knew how awful it is to languish with a thirst for love ..."? Who else, if not her, should know this? ..

The finale of that period in the life of Eugene Onegin, which Pushkin shows us in the novel, is a real ruin. Realizing what exactly he has lost in the person of Tatiana, he is faced with the need to erase her from his heart forever, and this is now, when she has taken such a large place in him ... How and for what to live on? What could be this "hateful freedom", for fear of losing which he was once so blind and deaf? The hero cannot but arouse sympathy, and somehow it is not very reassuring that he, in general, deserved what fate presented to him, deserved his indifference to himself and people, which in the end took revenge on him so cruelly.

There was a lot of debate about whether Eugene Onegin could be considered a person close to the Decembrists, but, I think, Pushkin himself did not set such a goal for himself, he did not seek to create the image of a Decembrist, he wrote a novel in which "the century was reflected And modern man is depicted quite right, "and you can't argue with that: as a socio-psychological type, Onegin, of course, does not raise any doubts, he is more than convincing as a representative of his time and his social group.