Comparative analysis of the hero of our time and Eugene Onegin. "Hero of Time" of the first third of the 19th century (Onegin and Pechorin)

They had affairs with beauties, attended balls, theaters. But both stood above the typical representatives of that time and soon realized that the external brilliance is just tinsel, behind which envy and anger, intrigues and gossip are hidden. Society of that time smart and educated people were not needed, knowledge was enough French and good manners. In this society, they became bored.

He spent his childhood in a rich but bankrupt noble family. Although his education was somewhat superficial, it was still considered sufficient for the people of that time. Pechorin, like Onegin, comes from an aristocratic family who received a good upbringing and education. He had a sharp mind, a good memory, understood literature, history, philosophy, his knowledge was deeper and more solid than Onegin's knowledge. Both heroes led similar image life, the so-called secular.

Onegin rejects Tatyana's love, explaining that he is not "created for bliss" family life. He saw too many examples of so-called “family happiness” in his life:

There is something fascinating and attractive in a person who is able to oppose himself to society. Both characters received a good upbringing. Eugene Onegin first studied with a French governess, then was brought up by a tutor, that is, he received a typical secular and fashionable upbringing for people of that time.

And yet these characters are very similar. Lermontov, creating the image of Pechorin, was already familiar with Eugene Onegin, without "Eugene Onegin" the "Hero of Our Time" would hardly have taken place. Both Onegin and Pechorin are both strangers in their society, in their environment. Writers and poets at all times were interested in the topic of "extra man".

(Fate, however, cursing),

Onegin fell ill with the "Russian melancholy", and Pechorin is tormented by bouts of melancholy. Both tried to literary work. But the education system of that time did not teach Onegin to work, "hard work was sickening to him", and Pechorin realized that science modern society is not needed, it will not bring happiness or glory, But if Onegin, having tried all the entertainment, is tired of life, fed up with it, then Pechorin is not tired of life, he wants to live, therefore he is looking for a way out of this situation. In the hope that "boredom does not live under Chechen bullets," he goes to the Caucasus. In love and Onegin and Pechorin see only salvation from boredom.

Sad for an unworthy husband,

They don't know how to love. Indifference to life, passivity, inner emptiness suppressed any sincere feeling in Onegin. society with its cruel morals brought up Pechorin as an egoist and selfish, where real spiritual impulses are hidden behind a mask of cold politeness. They no longer believe in love.

What could be worse in the world

Pechorin also feels satiety: “Yes, I have already passed that period of my spiritual life when they are looking for only happiness, when the heart feels the need to love someone strongly and passionately.” For the current Pechorin, love is the enjoyment of a plucked flower, after breathing in, you should throw it on the road: maybe someone will pick it up. Deeply suffering pure and loving Tatiana. The fate of Pechorin's women is tragic: Bela dies, Mary, rejected by grief, Vera leaves. The destiny of Onegin and Pechorin is loneliness. Onegin sincerely loved Lensky, but their friendship ended tragically: “loving the young man with all my heart,” Onegin could not rise above public prejudices and, due to a stupid quarrel, killed Lensky in a duel. Pechorin does not believe in friendship at all: "... of two friends, one is always the slave of the other." “Whoever lived and thought cannot but despise people in his soul” - these words of Pushkin can equally be attributed to Onegin and Pechorin. The trouble is not that they think, but that they live in a time when thinking person inevitably doomed to loneliness. Both Onegin and Pechorin are not interested in living the way mediocre people live, but they cannot find application for their strength either. As a result - total loneliness heroes. They are lonely not only because they are disappointed in life, but also because they have lost the opportunity to see the meaning in friendship, love, intimacy. human soul, Noting similarities between the two heroes, Belinsky wrote: "Pechorin is the Onegin of our time ... Their dissimilarity among themselves is much less than the distance between Onega and Pechora."

Pushkin and Lermontov- people different destinies and different era. Pushkin is only fifteen years older than Lermontov, a seemingly short period, but so much can happen in these fifteen years. Pushkin lived in the era of the Decembrists. His work developed on the basis of hope and trust in life, faith in the limitlessness of human capabilities. The tension of the popular forces in Patriotic War 1812 and the rise of national consciousness nourished this hope and faith. In place of light and a direct, open view of the world, the ecstasy of life is replaced by an era of disappointment, analysis, skepticism and "longing for life." The era of Pushkin is being replaced by the era of Lermontov.

Angry and cold-jealous!

Where is the boring husband, knowing her price

Families where the poor wife

Always frowning, silent,

And day and evening alone;

These two eras were separated by 1825, the year of the defeat of the Decembrist uprising. Like the two great poets - Pushkin and Lermontov, their heroes were also born in their own time.

Pushkin is a great Russian poet, founder of Russian realism, creator of Russian literary language. One of his greatest works is the novel "Eugene Onegin".

Onegin is a secular St. Petersburg young man, a capital aristocrat.

Describing his hero, Pushkin speaks in detail about his upbringing and education. Onegin received a home education typical of the aristocratic youth of that time and the upbringing of a French tutor:

Monsieur I "Abbe, poor Frenchman

So that the child is not exhausted

Taught him everything jokingly

I did not bother with strict morality,

Slightly scolded for pranks

And in Summer garden drove for a walk.

Having become a young man, Onegin leads a life typical of the youth of that time: balls, restaurants, theater visits. But Eugene Onegin, by his nature, stands out from the general mass of young people. 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 the life and interests of secular society.

When Eugene takes over the blues, he tries to do some useful activity. Nothing came of his attempt to write!

Onegin locked himself at home.

Yawning, he took up the pen.

I wanted to write - but hard work

He was sick; nothing

It did not come out of his pen.

Later, having left for the estate, which he received from his uncle, Onegin tries to set up the peasants:

Yarem he is an old corvée

I replaced it with a light quitrent ...

But all his activities as a landowner were limited to this reform.

Even such strong feelings as love and friendship could not save Eugene Onegin from spiritual emptiness. He rejected Tatyana's love, since he valued "liberty and peace" above all.

Onegin killed his friend Lensky, as secular prejudices got the better of the hesitation that he experienced after receiving a challenge to a duel.

It seems to me that Pushkin condemns his hero: he behaved selfishly towards the people around him, although Onegin later realized this. He can be called a hero of his time, because Eugene, like the hero of Lermontov's work Pechorin, was above the society in which he was. Very few people could understand him. I think that's why Eugene Onegin was the way he is.

Onegin and Pechorin - "heroes of their time"

In the nineteenth century, an autocratic-feudal system dominated in Russia. Under the conditions of this system, the condition of the people was unbearable; tragic was the fate of the advanced thinking people. Richly gifted by nature people perished in its stuffy atmosphere or were doomed to inactivity. These people with progressive views appeared too early in the arena public life, for their appearance there were not yet favorable conditions, they were "superfluous" in life, and therefore perished. This was reflected in the works of leading writers of the nineteenth century.

"Hero of Our Time" - the first Russian realistic psychological novel in prose. The hero of the novel is a former guards officer who was transferred to the Caucasus. Before us is revealed the complex nature of Pechorin, very similar to Onegin. “This is the Onegin of our time ... Their dissimilarity among themselves is much less than the distance between Onega and Pechora,” Belinsky said about Pechorin. Herzen called Pechorin " younger brother Onegin. Indeed, there are many similarities between Pechorin and Onegin. Both of them are representatives of secular society. There is much in common in the history of their youth: at first, the same pursuit of secular pleasures, then the same disappointment in them, the same attempt to engage in science, and so on. Both of them are typical representatives of thinking people of their time, critical of life and people.

Onegin and Pechorin are closest in terms of social background received education, by character, by views. Onegin received a typical aristocratic upbringing for that time. They taught him “everything jokingly”, “something and somehow”. But still, Eugene received the minimum knowledge that was considered mandatory in the nobility. O early years We know very little about Pechorin. But it can be assumed that he received the same upbringing as Onegin. Therefore, he is not adapted to life, not accustomed to labor activity. True, Pechorin received a slightly better education than Evgeny. This can be seen from his diary. He is not alien to the interest in philosophy and history. He is prone to a materialistic view of things, although he writes about it, as always, with irony: “I came out of the bath fresh and cheerful ... After that, say that the soul does not depend on the body!” Having completed their education, Onegin and Pechorin enter the world. Impeccable knowledge of the French language, wit, elegance of manners, the ability to maintain a conversation in society - all this ensured their success in society. Both are thrown into the whirlpool of noisy social life. Balls, theaters, passion for women - that's all their entertainment. This way of life could satisfy ordinary people. Onegin is bright outstanding personality. This is a person who clearly stands out from the surrounding society with the giftedness of nature and spiritual demands. Eugene could not satisfy the society around him, secular entertainment. Onegin felt like a stranger in society. “He is so much higher than the surrounding society that he has reached the consciousness of its emptiness,” Dobrolyubov says about Onegin. Against the backdrop of a deceitful hypocritical society, Pechorin's mind, his education, wealth stand out. spiritual world. He is perfectly familiar with world literature, well-read. This nature is richly gifted. He does not overestimate himself when he says: "I feel immense strength in my soul." Mind, education, the ability to be critical of the environment make Pechorin extraordinary person, sharply standing out from the bulk of the noble society.

In spite of great resemblance, there is a considerable difference between Onegin and Pechorin. This is explained by the fact that they lived in different time. The twenties of the nineteenth century, when Onegin lived, were years of socio-political revival, when the Decembrist uprising was brewing. Under the influence of progressive people, Onegin develops progressive views. “... With a yoke, he replaced the corvée with an old dues with a light one ...” This measure suggests that Eugene adjoins liberal trends in the nobility of the twenties. Onegin is shown by Pushkin as a man with a very complex character. The poet does not hide his shortcomings and does not try to justify them. “A proud mediocrity took away from him the passion of the heart, the warmth of the soul, the availability of everything good and beautiful.” A real egoist came out of Onegin, a man who thinks only about himself, about his desires and pleasures, who can easily offend, insult, cause grief to a person. Pushkin emphasizes sharp, evil tongue Onegin, his manner of speaking sharply and evilly about everything around him. Pechorin is different than Onegin in his spiritual make-up, he lives in other socio-political conditions. Pechorin is the hero of the thirties, the time of the height of the reaction, when the Decembrists were defeated, and the revolutionary democrats had not yet appeared. And by his fate, by his sufferings and doubts, and by the whole warehouse of his inner world, he really belongs to that time. Pechorin could not find like-minded people, he was alone. Therefore, the image of Pechorin is more tragic than the image of Onegin. Time, reaction killed all the best in Pechorin. Pechorin could not go to the Decembrists, as Onegin could do. That is why Belinsky said that "Onegin is bored, Pechorin suffers deeply." Pechorin's position is all the more tragic because he is by nature more gifted and deeper than Onegin. Nature gave him a deep, sharp mind, and a sympathetic heart, and a strong will. He is capable of noble deeds. He correctly judged people, about life, was critical of himself. Pechorin's heart is able to feel deeply and strongly, although outwardly he keeps calm, for "the fullness and depth of feelings and thoughts does not allow frantic impulses." But for all his talent, he is a “moral cripple.” There are many oddities in it, which Lermontov insistently emphasizes: Pechorin's eyes “did not laugh when he laughed! This is a sign - or an evil disposition, or deep, constant sadness. His gaze - short, but penetrating and heavy - left an unpleasant impression of an indiscreet question and could have seemed impudent if it had not been so indifferently calm. Pechorin's gait "was careless and lazy, but he does not swing his arms - a sure sign of a certain secrecy of character," etc. This inconsistency of Pechorin is “a disease of the generation of that time.” In what way does it manifest itself? In his attitude to life, the struggle of the mind and heart, etc. Pechorin speaks of himself: “For a long time I have been living not with my heart, but with my head ... I weigh, analyze my own passions and actions with strict curiosity, but without participation.” Pechorin says more than once that in the society in which he lives, there is neither disinterested love, nor true friendship, nor fair relations between people. Frustrated, he reaches out to nature, which soothes him, gives him pleasure. Pechorin has a warm heart, capable of understanding and loving nature. From contact with her - “no matter how sorrow lies on the heart,” he says, “no matter how anxious the thought is, everything will dissipate in a minute, it will become easy on the soul.”

Pechorin is naturally endowed with a warm heart, capable of experiencing a lot. In the depths of his soul there is a struggle between sincere feelings and his usual indifference and callousness. Answering Maxim Maksimych's question about Bel, Pechorin turned away and "forced a yawn", but behind this ostentatious indifference he hurries to hide the genuine excitement that made him turn pale. In the last meeting with Mary, Pechorin, with a “forced smile”, hurries to suppress the feeling of pity for the girl whom he made to suffer deeply. Pechorin's feelings are much deeper than Onegin's. “... I was not created for bliss ...”, Onegin says to Tatyana. Thus, he is aware of his inability to have a strong, deep feeling of love. At the core of his feelings lies selfishness.

But Pechorin is not a heartless egoist. He is capable of deep love. He passionately loves Vera, cherishes her love, wants to catch up with her, to see her in last time, shake her hand, afraid to lose her forever. She became for him "the most precious thing in the world, dearer than life, honor, happiness. Left without a horse in the steppe, he "fell on the wet grass and cried like a child." With a bitter feeling, he regards himself as " moral cripple”, whose better half of the soul “dried up, evaporated, died”. Before dying, he involuntarily asks himself: why did I live? for what purpose was I born? .. He was deprived high performance, could not benefit anyone, wherever he appeared, he brings only misfortunes to everyone. Despite the ability for a strong sincere feeling, Pechorin's love is selfish. He kidnaps Bela, achieves Mary's love, and then refuses her, disturbs the peace of "peaceful" smugglers, kills Grushnitsky.

Pechorin is distinguished by the duality of nature. “There are two people in it: the first acts, the second looks at the actions of the first and discusses them, or, better, condemns them, because they are really worthy of condemnation. The reasons for the bifurcation of nature are the contradiction between the flexibility of nature and the pitiful actions of one and the same person.

Who is to blame for the fact that Pechorin has turned into a "smart uselessness", into an "extra person"? “In me, the soul is corrupted by light,” says Pechorin himself, i.e. secular society in which he lived and from which he could not escape. “My colorless youth passed in the struggle with myself and the world, my best feelings, fearing ridicule, I buried in the depths of my heart; they died there."

The theme of "superfluous people" is one of the main themes of the literature of the nineteenth century. The gallery of "superfluous people" includes Pushkin's Onegin, Lermontov's Pechorin, Bazarov, Rudin, Turgenev's Insarov.

Onegin is a typical representative of the "superfluous people" of the twenties. There were many like him. Pushkin says that he was "just a kind fellow, like you and me, like the whole world." Onegin is the first in a series of "superfluous people." It is followed by a whole gallery of images. Pechorin is also typical of his time, about whom Lermontov said that in him he gave a portrait of "not one person: this is a portrait made up of the prophets of our entire generation." Pechorin continues the gallery of images that Onegin begins.

Pushkin and Lermontov are people of different destinies and different eras. Pushkin is only fifteen years older than Lermontov, a seemingly short period, but so much can happen in these fifteen years.

Pushkin lived in the era of the Decembrists. His work developed on the basis of hope and trust in life, faith in the limitlessness of human capabilities. The tension of the people's forces in the Patriotic War of 1812 and the rise of national self-consciousness nourished this hope and faith.

In place of a bright and direct, open view of the world, in place of the rapture of life comes the era of disappointment, analysis, skepticism and "longing for life." The era of Pushkin is being replaced by the era of Lermontov. These two eras were separated by 1825, the year of the defeat of the Decembrist uprising.

Like the two great poets - Pushkin and Lermontov, their heroes were also born in their own time. And yet these characters are very similar. Lermontov, creating the image of Pechorin, was already familiar with Eugene Onegin, without "Eugene Onegin" the "Hero of Our Time" would hardly have taken place. Both Onegin and Pechorin are both strangers in their society, in their environment. Writers and poets at all times were interested in the theme of the "superfluous person". There is something fascinating and attractive in a person who is able to oppose himself to society.

Both characters received a good upbringing. Eugene Onegin first studied with a French governess, then was brought up by a tutor, that is, he received a typical secular and fashionable upbringing for people of that time. He spent his childhood in a rich but bankrupt noble family. Although his education was somewhat superficial, it was still considered sufficient for the people of that time. Pechorin, like Onegin, comes from an aristocratic family, who received a good upbringing and education. He had a sharp mind, a good memory, understood literature, history, philosophy, his knowledge was deeper and more solid than Onegin's knowledge.

Both heroes led a similar lifestyle, the so-called secular. They had affairs with beauties, attended balls, theaters. But both stood above the typical representatives of that time and soon realized that the external brilliance is just tinsel, behind which envy and anger, intrigue and gossip are hidden. The society of that time did not need smart and educated people, it was enough to know the French language and good manners. In this society, they became bored. Onegin fell ill with the "Russian melancholy", and Pechorin is tormented by bouts of melancholy. Both tried to do literary work. But the education system of that time did not teach Onegin to work, "hard work was sickening to him", and Pechorin realized that modern society does not need science, it will not bring happiness or glory, But if Onegin, having tried all the entertainment, is tired of life, fed up with her, then Pechorin is not tired of life, he wants to live, so he is looking for a way out of this situation. In the hope that "boredom does not live under Chechen bullets," he goes to the Caucasus.

In love, both Onegin and Pechorin see only salvation from boredom. They don't know how to love. Indifference to life, passivity, inner emptiness suppressed any sincere feeling in Onegin. Society, with its cruel morals, brought up Pechorin as an egoist and selfish person, where real spiritual impulses are hidden behind a mask of cold politeness. They no longer believe in love. Onegin rejects Tatyana's love, explaining that he was not "created for the bliss" of family life. He saw too many examples of so-called "family happiness" in his life:

What could be worse in the world

Families where the poor wife

Sad for an unworthy husband,

And day and evening alone;

Where is the boring husband, knowing her price

(Fate, however, cursing),

Always frowning, silent,

Angry and cold-jealous!

Feels satiety and Pechorin: "Yes, I have already passed that period of my spiritual life, when they are looking for only happiness, when the heart feels the need to love someone strongly and passionately." For the current Pechorin, love is the enjoyment of a plucked flower, after breathing in, you should throw it on the road: maybe someone will pick it up.

Pure and loving Tatyana suffers deeply. The fate of Pechorin's women is tragic: Bela dies, Mary, rejected by grief, Vera leaves. The destiny of Onegin and Pechorin is loneliness.

Onegin sincerely loved Lensky, but their friendship ended tragically: “loving the young man with all his heart,” Onegin could not rise above public prejudices and, due to a stupid quarrel, killed Lensky in a duel.

Pechorin does not believe in friendship at all: "... Of two friends, one is always the slave of the other."

"Whoever lived and thought cannot but despise people in his soul" - these words of Pushkin can equally be attributed to Onegin and Pechorin. The trouble is not that they think, but that they live in a time when a thinking person is inevitably doomed to loneliness. Both Onegin and Pechorin are not interested in living the way mediocre people live, but they cannot find application for their strength either. As a result - the complete loneliness of the characters. They are lonely not only because they were disappointed in life, but also because they have lost the opportunity to see the meaning in friendship, love, the closeness of the human soul,

Noting the similarity between the two heroes, Belinsky wrote: "Pechorin is the Onegin of our time ... Their dissimilarity is much less than the distance between Onega and Pechora."

Eugene Onegin as a "hero of our time"
The problem of the hero of time has always excited, worried and will excite people. It was staged by classical writers, it is relevant, and until now this problem has interested and worried me ever since I first discovered the works of Pushkin and Lermontov. In the novel "Eugene Onegin" this goal was achieved. The poet created a deeply typical image. Onegin is a contemporary of Pushkin and the Decembrists. The Onegins are not satisfied with secular life, the career of an official and a landowner. Belinsky points out that Onegin could not engage in useful activities “due to some inevitable circumstances beyond our will,” that is, due to socio-political conditions. Onegin, the “suffering egoist”, is nevertheless an outstanding personality. The poet notes such traits as “involuntary devotion to dreams, inimitable strangeness and a sharp, chilled mind.” According to Belinsky, Onegin "was not one of the ordinary people". Pushkin emphasizes that Onegin's boredom comes from the fact that he did not have a socially useful business.

The Russian nobility of that time was an estate of landowners. It was the possession of estates and serfs that was the measure of wealth, prestige and height social status. Onegin's father "gave three balls every year and finally squandered", and the hero of the novel, after receiving an inheritance from "all his relatives", became a rich landowner, he is now

Factories, waters, forests, lands

The owner is full...

But the theme of wealth turns out to be connected with ruin, the words “debts”, “pledge”, “lenders” are already found in the first lines of the novel. Debts, remortgaging already mortgaged estates were the work of not only poor landowners, but also many " powers of the world this” left huge debts to posterity. One of the reasons for the general debt was the idea that developed during the reign of Catherine II that “truly noble” behavior consists not only in big expenses, but in spending beyond one’s means. It was at that time, thanks to the penetration from abroad of various educational literature, people began to understand the perniciousness of serf farming. Among these people was Eugene, he "read Adam Smith and was a deep economy." But, unfortunately, there were few such people, and most of them belonged to the youth. And so, when Eugene “yoke ... corvee with an old quitrent replaced with a light one,”

... In his corner pouted,

Seeing in this terrible harm,

His prudent neighbor.

The reason for the formation of debts was not only the desire to “live like a noble”, but also the need to have free money at your disposal. This money was obtained by mortgaging estates. To live on the funds received when mortgaging the estate was called living in debt. It was assumed that the nobleman would improve his position with the money received, but in most cases the nobles lived on this money, spending it on buying or building houses in the capital, on balls (“gave three balls annually”). It was on this, habitual, but leading to ruin, that Father Evgeny went. Not surprisingly, when Onegin's father died, it turned out that the inheritance was burdened with large debts.

Gathered before Onegin

Lenders greedy regiment.

In this case, the heir could accept the inheritance and, together with it, take on the father's debts or refuse it, leaving the creditors to settle accounts among themselves. The first decision was dictated by a sense of honor, the desire not to sully the good name of the father or to preserve the family estate. The frivolous Onegin went the second way. Receipt of the inheritance was not the last means to correct the frustrated affairs. Youth, the time of hopes for an inheritance, was, as it were, a legalized period of debts, from which in the second half of life one had to be freed by becoming the heir to “all one’s relatives” or by marrying favorably.

Who at twenty was a dandy or a grip,

And at thirty profitably married;

Who got free at fifty

From private and other debts.

For the nobles of that time, the military field seemed so natural that the absence of this feature in the biography had to have a special explanation. The fact that Onegin, as is clear from the novel, never served anywhere at all, made the young man a black sheep among his contemporaries. It reflected new tradition. If earlier refusal to serve was denounced as selfishness, now it has acquired the contours of a struggle for personal independence, upholding the right to live independently of state requirements. Onegin leads the life young man, free from official duties. At that time, only rare young people, whose service was purely fictitious, could afford such a life. Let's take this detail. The order established by Paul I, in which all officials, including the emperor himself, had to go to bed early and get up early, was also preserved under Alexander I. But the right to get up as late as possible was a kind of sign of aristocracy that separated the non-serving nobleman not only from the common people, but also from a village landowner. The fashion to get up as late as possible dates back to the French aristocracy of the “old pre-revolutionary regime” and was brought to Russia by emigrants.

Morning toilet and a cup of coffee or tea were replaced by two or three in the afternoon with a walk. The favorite places for the festivities of St. Petersburg dandies were Nevsky Prospekt and the Angliyskaya Embankment of the Neva, it was there that Onegin walked: “Having put on a wide bolivar, Onegin goes to the boulevard.” About four o'clock in the afternoon it was time for dinner. The young man, leading a single life, rarely kept a cook and preferred to dine in a restaurant.

In the afternoon, the young dandy sought to "kill" by filling the gap between the restaurant and the ball. The theater provided such an opportunity, it was not only a place for artistic spectacles and a kind of club where secular meetings took place, but also a place of love affairs:

The theater is already full; lodges shine;

Parterre and chairs - everything is in full swing;

In heaven they splash impatiently,

And, having risen, the curtain rustles.

Everything is clapping. Onegin enters,

Walks between the chairs on the legs,

Double lorgnette slanting induces

To the lodges of unknown ladies.

The ball had a dual property. On the one hand, it was an area of ​​easy communication, secular recreation, a place where socio-economic differences were weakened. On the other hand, the ball was a place of representation of various social strata.

Tired of city life, Onegin settles in the countryside. important event in his life became a friendship with Lensky. Although Pushkin notes that they agreed "from doing nothing." This eventually led to a duel.

At that time, people looked at the duel in different ways. Some believed that a duel, in spite of everything, is a murder, which means barbarism, in which there is nothing chivalrous. Others - that the duel is a means of protection human dignity, because in the face of a duel, both the poor nobleman and the favorite of the court were equal.

This view was not alien to Pushkin, as his biography shows. The duel implied the strict observance of the rules, which was achieved by appealing to the authority of experts. Zaretsky plays such a role in the novel. He, “a classic and a pedant in duels”, conducted business with great omissions, or rather, deliberately ignoring everything that could eliminate the bloody outcome. Even at the first visit, he was obliged to discuss the possibility of reconciliation. This was part of his duties as a second, especially since no blood offense was inflicted and it was clear to everyone except 18-year-old Lensky that the matter was a misunderstanding.

Onegin and Zaretsky break the duel rules. The first is to demonstrate his irritated contempt for the story, into which he fell against his will, the seriousness of which he still does not believe, and Zaretsky because he sees in a duel an amusing story, an object of gossip and practical jokes. Onegin's behavior in the duel irrefutably testifies that the author wanted to make him an unwilling killer. Onegin shoots from a long distance, taking only four steps, and the first, obviously not wanting to hit Lensky. However, the question arises: why, after all, did Onegin shoot at Lensky, and not past? The main mechanism by which the society, despised by Onegin, still powerfully controls his actions, is the fear of being ridiculous or becoming the subject of gossip. In the Onegen era, ineffective duels evoked an ironic attitude. A person who went to the barrier had to show an extraordinary spiritual will in order to maintain his behavior, and not accept the norms imposed on him. Onegin's behavior was determined by the fluctuations between the feelings that he had for Lensky and the fear of appearing ridiculous or cowardly, violating the rules of conduct in a duel. What won us, we know:

Poet, pensive dreamer

Killed by a friendly hand!

The novel "Eugene Onegin" is an inexhaustible source that tells about the customs and life of that time. Onegin himself is a true hero of his time, and in order to understand him and his actions, we study the time in which he lived.

Young noble intellectual early XIX century, Eugene Onegin is smart, noble, able to deeply and strongly feel. He was able to immediately appreciate Tatyana with her discreet external beauty and rich inner world. Onegin is tactful in relations with Lensky:

He is a cool word

I tried to keep in my mouth

And I thought: it's stupid to disturb me

His momentary bliss.

Deep and sincere repentance of Onegin, who killed a friend in a duel: "He could have discovered feelings, and not bristle like a beast; he had to disarm a young heart ..."

Onegin's mind also manifested itself in the fact that he early realized the worthlessness of secular society and felt like a stranger and an extra person in high society living rooms. It was hard for him and

It's hard to see in front of you

One dinner is a long row,

Look at life as a rite

And follow the orderly crowd Go,

not sharing with her

No shared opinions, no passions.

But the wonderful inclinations of Onegin are suppressed by social conditions, by the environment in which he grew up and lived. It is no coincidence that Pushkin in the first chapter of the novel places short description the life of the protagonist. From this description, we learn who brought up Eugene and how, what he was taught, how he spent his time when the time came for "rebellious youth."

Onegin's upbringing, as Pushkin showed, the range of his reading, the sphere of his interests - all this is devoid of national foundations. Not without reason in the biography of the hero prevails foreign vocabulary, conveying the peculiarity of high society culture, far from the national Russian origins.

Onegin's predominant state is boredom. Nothing could dispel his yearning laziness. The thirst for monotonous pleasures in the absence of a real, living thing has taken root in Onegin's psychology, and he is unable to overcome it. "Hard work was sickening to him," Pushkin notes. And since, according to the author, only in labor could creative forces personality, then the result of Onegin's life is bleak:

Having lived without a goal, without labor

Until the age of twenty-six

Languishing in the idleness of leisure,

No service, no wife, no business,

Couldn't do anything.

Love also passed by, for the hero's feelings were impoverished - he suppressed in himself the involuntary excitement experienced at the sight of Tatyana and upon receipt of her letter. Only later, shocked by the murder of Lensky and meeting Tatyana again, Onegin gained the ability to do great and strong feeling. In the very first chapters, Onegin is deprived of the very ability to love. His attitude towards love is entirely rational and feigned. It is sustained in the spirit of learned secular "truths", the main objective whom - to enchant and seduce, seem to be in love, and not actually be it:

How early could he be hypocritical,

Hold hope, be jealous

disbelieve, make believe

To seem gloomy, to languish...

This "science of tender passion" is a necessary accessory for secular salons and living rooms.

And finally, Onegin's friendship with Lensky ended tragically. In motivating Onegin's behavior, Pushkin constantly confronts the impulses of his soul with the habitual rules of behavior inspired by the secular environment ... No matter how Onegin's noble mind protested against the duel, the social conventions formed by the world nevertheless prevailed. Observing the unspoken law of honor established by secular society, Eugene kills Lensky in a duel.

Pushkin in the novel traces the socio-psychological content of the image of Onegin. Onegin's character was formed in certain social conditions, in a certain historical era. Consequently, Onegin is deduced in the novel as a national-historical type of Russian life, ultimately generated by the autocratic-serf way of life. His skepticism, disappointment is a reflection of the general "illness newest Russians", which at the beginning of the century covered a significant part of the noble intelligentsia. Pushkin condemns not so much the hero as the secular environment that shaped him as a person. The Onegins are doomed to inaction. They are no longer capable of either selfless love, not for friendship. This is where the idea of ​​a public trial arises and the accusation falls rather not on the hero, but on the socio-historical way of Russian life.

Pushkin is a great Russian poet, the founder of Russian realism, the creator of the Russian literary language. One of his greatest works is the novel "Eugene Onegin".

Onegin is a secular St. Petersburg young man, a capital aristocrat.

Describing his hero, Pushkin speaks in detail about his upbringing and education. Onegin received a home education typical of the aristocratic youth of that time and the upbringing of a French tutor:

Monsieur I "Abbe, poor Frenchman

So that the child is not exhausted

Taught him everything jokingly

I did not bother with strict morality,

Slightly scolded for pranks

And he took me for a walk in the Summer Garden.

Having become a young man, Onegin leads a life typical of the youth of that time: balls, restaurants, theater visits. But Eugene Onegin, by his nature, stands out from the general mass of young people. 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 the life and interests of secular society.
When Eugene takes over the blues, he tries to do some useful activity. Nothing came of his attempt to write!

Onegin locked himself at home.

Yawning, he took up the pen.

I wanted to write - but hard work

He was sick; nothing

It did not come out of his pen.

Later, having left for the estate, which he received from his uncle, Onegin tries to set up the peasants:

Yarem he is an old corvée

I replaced it with a light quitrent ...

But all his activities as a landowner were limited to this reform.

Even such strong feelings as love and friendship could not save Eugene Onegin from spiritual emptiness. He rejected Tatyana's love, since he valued "liberty and peace" above all.

Onegin killed his friend Lensky, as secular prejudices got the better of the hesitation that he experienced after receiving a challenge to a duel.

It seems to me that Pushkin condemns his hero: he behaved selfishly towards the people around him, although Onegin later realized this. He can be called a hero of his time, because Eugene, like the hero of Lermontov's work Pechorin, was above the society in which he was. Very few people could understand him. I think that's why Eugene Onegin was the way he is.

"Eugene Onegin" - the first Russian realistic novel and the only novel in verse in Russian literature.

The complexity of the image of E. Onegin can be traced throughout the novel. This lies at least in the fact that we see how much Onegin is different at the beginning and at the end of the novel. At the beginning of the novel, this is a young womanizer who goes from ball to ball. But even during this period, we observe his complexity: he went to the theater not to watch magnificent productions, not to see the brilliant Istomina on stage. Onegin - "an honorary citizen backstage" - is more interested in meetings and intrigues with "charming actresses" than the stage, art, he likes to point "a double lorgnette at the boxes of unfamiliar ladies." Difficult, controversial character Onegin does not fit into the usual schemes: the hero is not a model, not a villain, he constantly deceives the reader's expectations. Without responding to Tatyana's feelings, he did not, however, become a "fatal seducer", did not start a complete love game, did not deceive her trust. His rebuke was cruel, but it was neither low nor dishonorable. “In that terrible hour, you acted nobly,” Tatyana will tell him. But the same Onegin thoughtlessly insulted Lensky, did not dare to refuse a duel, killed a friend ...

Now I want to express my opinion about the end of the novel. I think the novel could have continued. The fact is that Pushkin treated people similar to Onegin with some degree of contempt. It even seems to me that Pushkin probably loved some girl who looked like Tatiana, and this girl was probably conquered by some person who looked like Yevgeny. And based on all this, I believe that the end of the novel could not be happy. After all, when the first readers of the novel reproached Pushkin for ending the novel like that, he answered them: “You advise others for Onegin ...”

The complexity of Onegin's image lies in the fact that he did not fall in love with Tatiana immediately, but later, when she had already married the prince. And why this happened, we read in the novel. Yes, I remember most of all those lines when Pushkin gives an explanation of why Eugene fell in love with Tatyana:

But an indifferent princess, But an impregnable goddess.

And especially the following lines:

What is given to you does not attract, The serpent certainly calls you To itself, to the mysterious tree: Give you the forbidden fruit. And without it, you won't have paradise.

I think that it is Eugene Onegin, and no one else, who is the hero of his time. He is in the novel a man who was killed by upbringing and social life, whom no one could understand.

This is my opinion about Eugene Onegin, the hero of his time.