Romantic views on Lensky's life. The attitude of A.S. Pushkin to the main characters of the novel "Eugene Onegin". List of used literature

>The friendship between Onegin and Lensky happened, in the words of Pushkin himself, “there is nothing to be done.” Indeed, they were completely opposite in character, with different life experiences, with different aspirations. But they were united by their situation in the rural wilderness. Both of them were burdened by the imposed communication from their neighbors, both were quite smart (in relation to Lensky, it would be more correct to say that he was educated). Regardless of beliefs, every person strives to communicate with others like themselves. Only a mentally abnormal person can fundamentally flee not from any particular social group, but from people in general. A holy hermit may be secluded, but he communicates with the whole world, praying for him. Onegin's solitude was painful for him, and he was glad that there was at least one person with whom he did not mind communicating.

Moreover, such communication was necessary for Vladimir Lensky. Onegin was an ideal listener. He was mostly silent, without interrupting the poet, and if he objected, it was justified, and he was interested in the subject of the conversation. Lensky was in love, and like anyone in love, he needed a person to whom he could pour out his love, especially if poetry was written at the same time, they had to be read to someone.

Thus, it is clear that in other conditions Onegin and Lensky would hardly have communicated so closely, but that’s what makes human relationships special, is that different situations bring people together and separate them, sometimes in a completely paradoxical way.

The difference between Lensky and Onegin was not as fundamental as their difference with the neighboring landowners, who considered Lensky half-Russian, and Onegin a dangerous eccentric and pharmacist. Speaking extremely generally, Onegin and Lensky were opposites within the same system, and their neighbors generally went beyond the system. That is why Vladimir and Evgeniy instinctively found each other and teamed up.

The fact that their friendship was superficial and largely formal is proven by their duel. What kind of friend would shoot with a friend, and without any explanation?! In reality, there was very little that connected them, and it was quite easy to break this little.

Olga and Tatyana Larina: similarities and differences

Speaking about the similarities and differences between the Larin sisters, we can actually only talk about differences. They had one last name, and that was all. Lively, cheerful, superficial, narrow-minded Olga - and deep, dreamy, languid and melancholic Tatyana. One quickly forgets about the death of the groom and jumps out to marry some uhlan, captivated by “loving flattery,” the other loves her chosen one selflessly, despite the refusal, and tries with all her might to understand him. As a result, Tatiana became a secular queen, and Olga... Olga sank into obscurity.

Pushkin treats all his heroes condescendingly. He shrewdly draws attention to their mistakes and impartial actions, but also points out the nobility they showed. He is more indifferent to Olga than to others, and pays less attention to her due to the typical nature of her character. He loves Lensky, although he slightly teases him. Onegin, who occupies the main author's attention, is subjected to close examination in his various manifestations. The same can be said about Tatyana. Probably, the author’s most reverent attitude is towards Tatiana, who appeared as the most holistic and developing person.

Herzen's attitude towards Lensky

Herzen’s opinion that Vladimir Lensky was a gratifying phenomenon, but was killed for his cause, otherwise he could not have remained a noble, wonderful phenomenon, is quite profound. The poet himself, trying to outline the possible future fate of Lensky, indicates a possible option for his development - transformation into a kind patriarchal owner with a kind, hospitable and stupid wife (Olga). Lensky was too detached from life and understood people too poorly to be a real talent; all his seething emotions were poorly consistent with what was happening around him. Therefore, there is great reason in Herzen’s words.

2 years ago

Vladimir Lensky is a romantic hero, with all the traits inherent in this type. He is shown outside of everyday life, he is detached from real life, not rooted in it. Lensky is a romantic poet, his past is vague. All that the reader knows about him is that Vladimir came from Germany - one of the centers of romanticism, highly reveres the poetry of Friedrich Schiller and the philosophy of Immanuel Kant. Pushkin describes the character of the hero this way:

Handsome man, in full bloom,

Kant's admirer and poet.

He brought the fruits of learning from foggy Germany:

Freedom-loving dreams

The spirit is ardent and rather strange,

Always an enthusiastic speech and shoulder-length black curls.

By the time he began work on the image of Lensky, Pushkin had already completely abandoned romanticism and even entered into an open polemic with Byron, but

Lensky was dear to the author even despite professional polemics, since he embodied the ideals of Pushkin’s own youth. Therefore, the image of Lensky is written simultaneously with heartfelt sympathy and with rather biting irony, which most often manifests itself in the description of the hero’s poetic works:

He sang separation and sadness,

And something, and the foggy distance,

And romantic roses;

He sang those distant countries

Where for a long time his living tears poured into the bosom of silence;

He sang the faded color of life at almost eighteen years old.

Lensky's poems, which we encounter in the novel, certainly belong to the pen of Pushkin. In the process of working on them, Pushkin openly polemicized with romanticism and sought to ridicule the typical poetic works of the romantics - empty, useless works filled with established poetic cliches so characteristic of this literary movement: “golden days”, “maiden of beauty”, “mysterious canopy” and etc.

As befits a classic representative of the era of romanticism, Lensky believes in friendship as brotherhood and even spiritual kinship:

He believed that his friends were ready to accept shackles for his honor.

That there are those chosen by fate,

People's sacred friends<…>.

Soon after his arrival in the village, Lensky finds a warm welcome in the Larin family, immediately falls in love with Olga, writes poetry in her honor and plans to marry her. But Lensky understands love only through the prism of his romantic ideals, which are rooted in the idea of ​​the ancient Greek philosopher Plato about the division of souls into two halves - female and male and that a person cannot be complete without his other half:

He believed that his soul was dear

Must connect with him<…>.

The death of Lensky is shown in the novel in the style of his own poetry - in a romantic way. The author compares death to an empty house, which is completely atypical for Pushkin’s poetry:

Now, as if in an empty house,

Everything in it is quiet and dark;

It fell silent forever.

Lensky, personifying at the same time the romanticism previously loved by Pushkin, and the ideals of the author’s youth, and an entire era, did not fit into the new picture of the world at all. He dies at his first encounter with real life, and at the hands of a friend in a duel, which, of course, is not a coincidence, but a deep metaphor. But it is still very difficult for the author to part with Lensky: he describes in detail the grave of the young poet and even gives two guesses about how Vladimir’s fate could have developed if this sad fate had passed him by. The first option is that Lensky becomes the greatest poet of our time, and his name remains for centuries:

Perhaps on the steps of light

A high stage awaited.

And the second option is that Lensky marries Olga, remains to live in the village and gradually turns into an ordinary landowner who doesn’t even remember the last time the muse came to him:

Or maybe even that: a poet

The ordinary one was waiting for his destiny.

I would part with the muses, get married,

In the village, happy and horny,

I would wear a quilted robe;

I would really know life

I would have gout at the age of forty,

I drank, ate, got bored, got fat, grew weaker,

And finally in my bed I would die among the children,

Whining women and doctors.

And in the drafts of the novel a note was found that Lensky could have been hanged like the Decembrist Kondraty Ryleev, which suggests that Vladimir, of course, was a very important hero for the author.

What is Lensky's background, his upbringing, education (2, VI, XX-XXIII)? What are his life ideals (2, VII-X)? Why does Lensky become close to Onegin (2, XI-XIII, XV)? What was the subject of their conversations (2, XVI-XIX)? How is Lensky’s feeling for Olga described in the novel (2, XX-XXP; 4, XXV-XXVII, L-LI)? How did Lensky react to Onegin’s behavior at the Larins’ name day, what hurt him so much (5, XLII, XLIV-XLV)? How does the hero appear on the eve of the fight (6, XII-XXIII)? How does the author describe the death of Lensky, what feelings did it evoke in Onegin (6, XXX-XXXV)? What could Lensky's future be like, what opportunities were cut short with his death (6, XXXVI-XXXIX)? How long did the memory of Lensky last, what thoughts does his grave bring to the author (6, XL-XLII; 7, VI-XI)?

Pushkin's reflections on the ways of development of literature, on contemporary heroes, and finally, on human destiny, its mysterious patterns, reflections on life and death determine the portrayal of another character in the novel, Vladimir Lensky. He immediately enters the novel as the antithesis of Onegin. Lensky appears in the village “at the same time” as Onegin, and with his appearance the composition acquires a peculiar symmetry. The prehistory of Onegin, outlined in Chapter 1, corresponds to a brief sketch of Lensky’s upbringing and education; the young poet’s enthusiastic attitude towards life is contrasted with Onegin’s cold disappointment; The sad story of the failed happiness of Onegin and Tatiana is shaded by pictures of the happy love of Lensky and Olga. The more tragic, the more absurd is the sudden crash, duel and death of Lensky.

How is Lensky presented in the novel? why his fate turns out exactly this way and not otherwise; How does the author feel about his hero?

If in the appearance and attitude to the life of Onegin, Pushkin distinguishes the line of tragic “disappointed” romanticism (Byron, Alfred de Musset, novels “in which the century was reflected” were part of his reading circle, “similar to the English spleen” was his “Russian melancholy”, “a sharp, chilled mind”, gloominess, cold mockery are striking in his character and behavior), then Lensky is correlated by the author with a different literary tradition. He is a child of German poetry and philosophy (“with a soul straight from Göttingen,” “an admirer of Kant and a poet,” who grew up “under the sky of Schiller and Goethe”), living in the world of life values ​​of sentimentalism and pre-romanticism. There is no place for spiritual emptiness; on the contrary, everything seems imbued with faith in the possibility of a pure and clear life, faith in friendship, tender love, and a great future. In Lensky’s soul, civic aspirations were intricately mixed (“freedom-loving dreams, // An ardent and rather strange spirit ...”, “indignation, regret, // Pure love for good // And sweet torment for glory”), a passionate thirst to pour out his soul in words , the poet’s sincerity (“He proudly preserved // always sublime feelings in his songs”), touching openness to friendship, admiration for simple patriarchal life (remember his “funeral madrigal” for old Larin). Lensky seems to be everything at once: foggy dreams and bright hopes, sad reflections on the transience of life and a thirst for love and happiness.

The author's attitude towards his hero is difficult to determine unambiguously. Lensky, of course, attracts with his youthful purity and clarity, openness of soul, deep, not ostentatious morality. And at the same time, the author sometimes sneers at his hero, his melancholic elegies (“He sang the faded color of life // At almost eighteen years old”), his love (“A story rich in feelings, // Not new to us for a long time”). ; and the poet’s beloved Olga herself is sweet, lively, but too ordinary, “unpoetic” (it’s not for nothing that Onegin will say about her: “I would choose another, // If I were like you, a poet”). The irony in relation to Lensky arises thanks to a special Pushkin technique: he seems to include the voice of the hero himself in the author’s text, sometimes denoting his words in italics (“and something, And fog, well, far away, C And romantic roses..."), but more often - simply collecting images "around" Lensky that are familiar to the confessional lyrics of pre-romanticism and romanticism. Transferred from a lyric poem to another world - the world of a realistic novel - they sometimes seem out of place. However, this is not a denial, not a “debunking” of the hero; slight irony allows one to smile only slightly, seeing the young man’s enthusiastic passion, hiding behind this smile the bitter awareness of how fragile the ideals he preaches are in the face of inexorable time.

It is precisely the problem of time and its destructive power that is most closely connected in the novel with the image of Lensky. It is no coincidence that the gentle irony over him often develops into the author’s own thoughts about the inevitably approaching old age, about the gradual glaciation, death of the soul, about the fact that youth, happiness, strength, self-confidence, love are given to a person only for a moment. The image of Lensky is so deeply connected with the philosophical problem of time in the novel because he, in essence, is this personified moment, youth itself, which will inevitably disappear. This thought sounds especially tragic in the finale of chapter 4, imbued with gloomy forebodings; like dark clouds are gathering over the idyllic world of the heroes:

He was loved... at least

That's what he thought, and he was happy.

A hundred times blessed is he who is devoted to faith,

Who, having calmed the cool mind,

Resting in heartfelt bliss,

Like a drunken traveler spending the night,

Or, more tenderly, like a moth,

Into the spring flower stuck;

But pathetic is the one who foresees everything,

Whose head isn't spinning?

Who is all the movements, all the words

In their translation hates,

Whose heart has been cooled by experience?

And he forbade me to forget.

The duel with Onegin and the death of Lensky, tragically absurd from the point of view of everyday logic, not only testify to Onegin’s terrible secret - his fear of the world, of “public opinion”, which he seemingly despised so much. In describing the death of the hero, the author reveals a deep philosophical meaning: the inevitability of what is happening. In the moral plan of the novel, this makes us think about the irreparability of the crime; in general philosophical terms, it gives a terrible opportunity to look into the face of time itself - and death. They merge in the metaphorical image of the death-clock (“...the clock struck // the appointed clock”), which went back to the traditions of Derzhavin’s poetry - in the verses of the 18th century poet, “the verb of times, the sound of metal” recalled the inexorably approaching end of everything, including human life.

The very description of Lensky’s death is striking in its slowness, painful prolixity (“So slowly along the slope of the mountains, // Shining with sparks in the sun, // A block of snow falls”). Nothing can be stopped and nothing can be brought back:

He lay motionless and strange

There was a languid world on his brow.

He was wounded right through the chest;

Smoking, blood flowed from the wound.

One moment ago

Inspiration beat in this heart,

Enmity, hope and love,

Life was playing, blood was boiling, -

Now, as if in an empty house,

Everything in it is empty and dark;

It fell silent forever.

The shutters are closed. Windows chalk

Whitewashed. There is no owner.

And where, God knows. There was no trace.

The author again emphasizes the idea of ​​the inevitability of changes that time makes to a person, reflecting on the possible, but not realized future of the hero (“Perhaps he was for the good of the world, // Or at least he was born for glory” - “Or maybe that: the poet // The ordinary one was waiting for his destiny..."). “Ordinary destiny” as a possible fate for Lensky appears in the author’s mind not only to once again doubt the firmness of romantic convictions. This destiny, like the destiny of the great poet, like those preserved in the antas rejected by Pushkin, brews other directions of Lensky’s development - the fate of a clever newspaperman, a great commander (“like our Kutuzov or Nelson, // Or in exile, like Napoleon ...”), even the fate of a martyr (he could “...be hanged like Ryleev”) - are put on a par as possible, but not realized paths: the formula “what would have happened if...” is not applicable to the fate of a person, as well as to history. , she's too unforgiving for that.

Lensky's abandoned grave becomes another emblem of the passage of time, memory and oblivion:

There is a place: to the left of the village,

Where did the pet of inspiration live?

Two pine trees intertwined their roots,

The streams twisted beneath them

Streams of the neighboring valley<...>

There by the stream in the thick shade

A simple monument was erected...

The hero’s dream of the eternal union of two loving hearts, which was not realized in his life, seemed to have dissolved in nature itself and was embodied in two fused trees (in the language of the emblems of Pushkin’s era, two fused fruits, two trees leaning towards each other, like trees intertwined with roots, - signs of connection, eternal love, a single feeling that will never change). In Pushkin’s image, the meaning of this symbol is enriched by the idea of ​​peace: the trees seem to have frozen (and in this they are similar to eternity), in contrast to a running stream - an allegory of time, which carries away everything, and carries away memory itself.

Lensky being forgotten is a tragically sad inevitability, which the author himself often foresees regarding his own fate, the future of his work. Reflections on the life and death of Lensky exist in Pushkin’s novel in verse as a sign of “soul-nurturing humanity” towards man, a sign of philosophical reflections on the eternal return to nature and the irreversibility of the human path, on time, oblivion and memory.

Noble life and borrowed Western culture determined the romantic mood of Lensky's thoughts and feelings, far from real Russian life. Onegin’s “half-Russian neighbor,” “an admirer of Kant and a poet,” does not have any clear idea of ​​real life. In my poems

He sang separation and sadness,
And something, and the foggy distance,
And romantic roses...

As Pushkin jokingly remarked, “his poems / Are full of love nonsense.” Lensky is young. He is “almost...eighteen years old.” How would his life have developed in the future, at the time of maturity? True to the truth of life, Pushkin does not give a direct answer to this question. Lensky could retain the warmth of his heart, but he could also turn into an ordinary landowner who, like Dmitry Larin, “would wear a quilted robe” and would end his life in a very ordinary way:

I drank, ate, got bored, got fat, grew weaker
And finally in my bed
I would die among children,
Whining women and doctors.

Pushkin's attitude towards Lensky is ambivalent: sympathy is visible through outright irony, and irony appears through sympathy.

Lensky is 18 years old in the novel. He is 8 years younger than Onegin. Lensky is partly a young Onegin, not yet matured, not having had time to experience pleasure and not having experienced deceit, but having already heard about the world:

I hate your fashionable light,
I prefer the home circle.

To this Onegin, sensing Lensky’s borrowed judgments, interrupts impatiently:

Eclogue again!
Yes, that's enough, honey, for God's sake.

Lensky's main artistic role is to highlight the character of Onegin. They mutually explain each other. Lensky is a friend worthy of Onegin. He, like Onegin, was one of the best people of Russia at that time. A poet, an enthusiast, he is full of childlike faith in people, in romantic friendship to the grave and in eternal love. Lensky is noble, educated, his feelings and thoughts are pure, his enthusiasm is sincere. He loves life. Many of these qualities distinguish Lensky from Onegin. Lensky believes in ideals, Onegin is idealless. Lensky's soul is filled with feelings, thoughts, poems, and creative fire. Like Onegin, Lensky encounters the hostility of his landowner neighbors and is subjected to “strict analysis.” And he did not like the feasts of the gentlemen of the neighboring villages:

He ran away from their noisy conversation.

However, Lensky’s trouble was that “He was an ignoramus at heart…”, he knew neither the world nor people. Everything in him: the love of freedom of the German model, and poems, and thoughts, and feelings, and actions - was naive, simple-minded, borrowed:

He believed that his soul was dear
Must connect with him
That, despairingly languishing,
She waits for him every day;
He believed that his friends were ready
It is an honor to accept his shackles...

Lensky's ideas are shifted towards the ideal. He looks at the world through the prism of age and literature. Hence his poems are a set of general elegiac formulas, behind which there is no living, clear content. It’s funny when a young man at eighteen sings “the faded color of life,” while remaining in full health. When Lensky, on the eve of the duel, writes the elegy “Where, where have you gone...”, these elegiac lines produce a parody impression. In fact, where did the “arrow” come from (“Will I fall, pierced by an arrow ...”), if they decided to shoot with pistols? This is conventionally bookish speech, conventionally romantic pose, conventionally romantic gestures. Lensky decided to save Olga (and again thinks in verses in periphrases 2, poetic cliches, where Onegin is a “debaucher” and at the same time a “worm,” and Olga is a “two-morning flower”). Theatrical rhetoric, empty declamation, expressed in beautiful allegory, contains a simple and clear meaning:

All this meant, friends:
I'm shooting with a friend.

At the same time, Lensky does not understand Olga’s emotional movements at all: she does not demand sacrifice from him. Lensky's speeches and actions evoke irony, which, of course, was not intended by the hero. Pushkin describes Olga through the eyes of Lensky:

Always modest, always obedient,
Always cheerful like the morning,
How a poet's life is simple-minded,
How sweet is the kiss of love...

But this is the “ideal portrait” of Olga, the true one is different. Onegin looked at her with different, sober eyes:

Olga has no life in her features.
Exactly like Vandice's Madonna:
She's round and red-faced,
Like this stupid moon
On this stupid sky.

Lensky’s trouble is that he has not yet matured as a person and that between him and the world stands an alien book-poetic prism, distorting objects in the spirit of the ideal and preventing him from seeing them in their natural size. For experienced Onegin and the author, this is funny. But isn't this laughter mixed with sadness? Doesn't the hero's inexperience testify to the purity of his soul? And is a sober view really so impeccable, devoid of youthful enthusiasm, faith in the ideal, in the triumph of universal human values? Pushkin responds to this as follows:

But it's sad to think that it's in vain
We were given youth
That they cheated on her all the time,
That she deceived us;
That our best wishes
What are our fresh dreams
Decayed in quick succession,
Like rotten leaves in autumn.

The reality is sad and unhappy if people, even mature ones, do not retain any share of naivety or innocence, if doubt, unbelief, and lack of ideality prevail in society. Pushkin feels sorry for the poet who died early and appreciates in him “hot excitement”, “noble aspiration”, “violent desire for love”, “thirst for knowledge”, “fear of vice and shame”, “cherished dreams” and “dreams of holy poetry”.

1 Immanuel Kant (1724-1804) - German philosopher, founder of German classical philosophy.
2 Periphrasis, periphrasis - a stylistic device consisting of replacing a word or phrase with a descriptive turn of phrase, which indicates the characteristics of an object not directly named (for example, instead of the expression the morning has come, the writer prefers to use something else - when the first rays of the rising sun turned the edges of the eastern sky golden).

In the development of our literature, the role of A.S. Pushkin, which we define as transformative and creative, is so large-scale that it deserves special attention and respect. Millions of people still enjoy Pushkin's legacy.

A new Russian literature began with Pushkin. For us, Pushkin is the first educator of artistic flair and artistic taste.

In Pushkin’s creative heritage, the novel in verse “Eugene Onegin” has a special place. In the novel, the author vividly and vividly depicted contemporary life. It is shown in all its completeness and diversity: wonderful landscapes, customs and life of serf Rus', the life of landowners and high society.

The novel consists of eight chapters. The main characters of the novel, people with difficult destinies, are Evgeny Onegin, Vladimir Lensky, Tatyana Larina.

We meet one of them, a young man, a student at the University of Göttingen, Vladimir Lensky, in the second chapter of the novel.

The surname “Lensky” is not the original find of A.S. Pushkin. We first encounter this surname in A.S. Griboyedov’s comedy “Feigned Infidelity” (the comedy was written in 1818).

Vladimir Lensky is one of the central figures of the novel “Eugene Onegin” - a handsome man, a rich man, a freedom lover, an exalted soul. He is interested in poetry; his speech is full of delight. Lensky is a romantic. His noble romanticism "borrowed from fashionable European sources": from the treasuries of Schiller, Goethe and Kant.

Lensky's ideals are love and holy friendship.

“He believed that the soul was dear
I must connect with him...
That there are those chosen by fate,
People's sacred friends;
That their immortal family
Irresistible rays
Someday it will dawn on us
And the world will be blessed.”

What makes Lensky’s image memorable? Lack of pessimism. He is attractive with the “freshness of romantic dreaminess” that Pushkin himself experienced in his early years. Yes, the image of Lensky in the novel is associated with the theme of romanticism, an assessment of the role of this literary movement.

During the period of work on Eugene Onegin, Pushkin again and again rethought the significance of this direction. The poet rejected those directions of romanticism that are represented by Lensky’s poems in the novel “Eugene Onegin”. This is an example of pseudo-romanticism.

How did Lensky write?

“So he wrote darkly and languidly
(What we call romanticism,
Although there is no romanticism here
I don't see; What's in it for us?)"

It can be noted that Lensky adhered to romantic views not only in the literary field, but also in life. His romantic-idealistic views are one-sided. Lensky does not see contradictions in life and has a poor understanding of people.

What is the meaning of life for Lensky? The answer to this question, as the author of the novel notes, is “a tempting mystery.” This position of a person is quite strange. Lensky strives to receive a classical Western education.

"He's from foggy Germany
He brought the fruits of learning"

For what? As a rule, education is received so that, having a sufficient amount of knowledge, a person can realize himself in the future. Find something you like and, at the same time, benefit society. But Lensky was not used to thinking ahead. Why is he studying, where can he apply the acquired amount of knowledge? Most likely, this was also a mystery to him.

Lensky is a man far from a true understanding of life, he is cut off from the people, from his native soil. Yes, he is a romantic, with a soul not poisoned by light, he “was an ignoramus at heart,” a noble and sublime person. But without solid life principles, without an ideological core, without prospects, and therefore a person is empty for a developing society.

Lensky's love - Olga Larina. Although “Olga has no life in her features” (according to Onegin), it is she who becomes Vladimir’s chosen one.

"To meet the poor singer
Olenka jumped from the porch,
Like windy hope
Frisky, carefree, cheerful..."

The love of Vladimir and Olga did not develop. Why?... At one of the evenings, Onegin flirts with Olga. Lensky is outraged, he challenges Onegin to a duel.

“...A couple of pistols,
Two bullets - nothing more -
Suddenly his fate will be resolved.”

In a duel that took place soon, Lensky dies.

Lensky could have made a career in the scientific field. Become a philosopher, comprehend the “holy secret” of human existence. He could awaken the lyre:

"His silent lyre
Loud, continuous ringing
In centuries I could lift it.”

It is unknown how Lensky’s life would have turned out. The fact is obvious - the bullet fired by Onegin ended his life.

But, if you look at it, Lensky himself is to blame for his death. He decided to save Olga from Onegin’s treachery.

“He thinks: “I will be her savior...”

Before you “save” someone in life, you need to understand the situation, look at it from different sides. You can't take everything at face value. Lensky was mistaken in his quick conclusions, and all this led him to a tragic ending.

Conclusion

In A.S. Pushkin’s novel “Eugene Onegin” we can see an encyclopedically detailed picture of Russian society at one of the most interesting moments in its development. “I write a novel with ecstasy,” Pushkin admitted.

On the pages of the novel we met Vladimir Lensky. Despite Lensky’s dubious “enthusiastic” qualities, one cannot help but admit that he is a sincere, kind, direct, and open person. He lived by his heart. But he did not know how to look at life from the point of view of expediency, reason, and rationality.

His life ended tragically.