PROBLEM:

The problems of the goal and meaning of life are key, central in the novel, because at the turning points of history, which became for Russia the era after the December uprising, a radical reassessment of values ​​takes place in the minds of people. And at such a time, the artist's highest moral duty is to point society to eternal values, to give firm moral guidelines. The best people of the Pushkin, that is, the Decembrist, generation seem to be “out of the game”: they are either disappointed in the old ideals, or they do not have the opportunity in the new conditions to fight for them, to put them into practice. The next generation, the one that Lermontov calls "the gloomy crowd and soon forgotten," was initially "brought to its knees." Due to the peculiarities of the genre, the novel reflects the very process of reassessment of all moral values. Time in the novel flows in such a way that we see the characters in dynamics, we trace them spiritual path... Before our very eyes, all the main characters are going through a period of formation, painfully searching for the truth, determining their place in the world, the purpose of their existence.

The search for the meaning of life takes place in different planes of existence. The plot of the novel is based on the love of the main characters. Therefore, the manifestation of a person's essence in the choice of a beloved, in the nature of feelings is the most important feature of the image, which determines his entire attitude to life. Lyrical digressions reflect the changes in the author's feelings, his ability both to light flirting (characteristic of "windy youth") and to true deep admiration for his beloved.

What in his youth seemed a sign of limitation, spiritual and mental scarcity, in his mature years turns out to be the only correct one, moral way... And in no case should the author be suspected of hypocrisy: we are talking about maturity, about spiritual maturation a person, about the normal change in value criteria:

Blessed is he who was young from a young age,

Blessed is he who matured in time.

After all, the tragedy of the main characters stems from Onegin's inability to "ripen in time", due to the premature old age of the soul.

Love for the author and for his heroine Tatyana Larina is a huge, intense spiritual work. For Lensky, this is a necessary romantic attribute, which is why he chooses Olga, devoid of individuality, in which everyone has merged typical features heroines of sentimental novels. For Onegin, love is "the science of tender passion." He learns the true feeling by the end of the novel, when the experience of suffering comes.

Human consciousness, the system of life values, as you know, is largely shaped by the moral laws adopted in society. The author himself assesses the influence of high society ambiguously. 1st chapter gives sharply satirical image light. The tragic 6th chapter ends with a lyrical digression: the author's reflections on the age boundary that he is preparing to step over. And he calls on the "young inspiration" to save the poet's soul from death.

Society is not homogeneous. It depends on the person himself whether he accepts the moral laws of the faint-hearted majority or the best representatives of the world.

The image of “dear friends” surrounding a person in a “deadening” “pool of light” does not appear in the novel by accident. As the "science of tender passion" became a caricature of true love, so a caricature of true friendship- secular friendship. “Friends have nothing to do” - this is the verdict of the author. Friendship without a deep spiritual community is just a temporary empty union. A full-fledged life is impossible without disinterested dedication in friendship - that is why these "secular" friendships are so terrible for the author. For the author, the inability to make friends is a terrible sign of the moral degradation of modern society.

The author himself acquires the meaning of life in the fulfillment of his destiny. The entire novel is full of deep reflections on art. The image of the author in this sense is unambiguous: he is, first of all, a poet, his life is inconceivable outside of creativity, outside of intense spiritual work. In this, Eugene is directly opposite to him. And not at all because he does not plow and sow before our eyes. He has no need for work. And the education of Onegin, and his attempts to immerse himself in reading, and his effort to write ("yawning, took up the pen") the author perceives ironically: "He was sick of hard work."

Especially important in Eugene Onegin is the problem of duty and happiness. In fact, Tatyana Larina is not a love heroine, she is a heroine of conscience. Appearing on the pages of the novel as a 17-year-old provincial girl dreaming of happiness with her lover, she grows before our eyes into a surprisingly holistic heroine, for whom the concepts of honor and duty are above all. Olga, the bride of Lensky, soon forgot the deceased young man: "the young ulan captured her." For Tatiana, Lensky's death is a tragedy. She curses herself for continuing to love Onegin: "She must hate her brother's killer in him." A heightened sense of duty dominates the image of Tatiana. Happiness with Onegin is impossible for her: there is no happiness built on dishonor, on the misfortune of another person. Tatiana's choice is the highest moral choice, the meaning of life for her is in accordance with the highest moral criteria.

The climax of the plot is the 6th chapter, the duel of Onegin and Lensky. The value of life is tested by death. Onegin commits a tragic mistake. At this moment, the opposition of his understanding of honor and duty to the meaning that Tatyana puts into these words is especially vivid. For Onegin, the concept of "secular honor" turns out to be more significant than a moral duty - and he pays a terrible price for the admitted shift of moral criteria: he has the blood of his murdered comrade forever on him.

The author compares two possible paths for Lensky: the sublime and the down-to-earth. And for him, what is more important is not what fate is more real - it is important that there will be none, because Lensky was killed. For a light that does not know the true meaning of life, human life itself is nothing.

NOBILITY IN ROMANE:

1) St. Petersburg "light" - an aristocratic society - is shown in the first and eighth chapters of the novel. Showing all the emptiness of the life of a secular society. Pushkin sharply satirically draws images of his typical representative. Here are “necessary fools”, and “ballroom dictators and masters angry at everything,” and “seemingly evil” ladies, and not “smiling girls.

2) In the seventh chapter we have before us the Moscow nobility of the capital. It is distinguished by the inertness and conservatism of life and habits, limited interests, vulgarity and meaninglessness of life. Deaf province emanates from this noble Moscow.

3) The third group of nobility represented in the novel is the provincial landed nobility. Guests who have gathered for Tatyana Larina's name day pass in a long line in front of the readers. Here and "fat Pidyakov, Gvozdin," an excellent owner, the owner of poor peasants ", and the Skotinins familiar to us from the" Minor "from the 18th century, safely migrated to the 19th century, and" a retired adviser Flyanov, a heavy gossip, an old rogue, a glutton, a bribe-taker and a jester ", other. Painting this society in Tatyana's dream in the images of various monsters, Pushkin characterizes the wild world of the provincial nobility as the embodiment of inertia, ignorance, mental dullness, blind adherence to antiquity. The poet is merciless in his satirical description of the "wild nobility".

Pushkin also speaks with irony about the "life of the peaceful" family of the Larins, faithful to the "habits of dear old days." Larin himself “was a good fellow, belated in the last century”; he did not read books "entrusted the farm to his wife," and he himself ate and drank in his dressing gown "and" died at one o'clock before dinner. "

But even in the estate of the Larins, for all their peaceful life and a certain proximity to the people, serfdom reigns. As usual, as she "salted mushrooms for the winter" and "went to the bathhouse on Saturdays," Larina "shaved her foreheads", that is, she gave the guilty peasants to the soldiers, and "beat the maids, being angry."

SYSTEM OF IMAGES:

Onegin is a "secular St. Petersburg young man", a metropolitan aristocrat.
Drawing the image of his hero, Pushkin speaks in detail about his upbringing and education, about life in the Petersburg "world". "Having fun and luxury child", Onegin received a typical for aristocratic youth of that time home education and upbringing under the guidance of a French governor. He was brought up in the spirit of an aristocratic culture, cut off from the national and folk soil.
The corrupting influence of the "light" further removed Onegin from the people. Onegin leads a life typical for the "golden youth" of that time: balls, restaurants, walks along Nevsky Prospect, visits to theaters. It took him eight years.
But Onegin by nature 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 the soul. This could not but lead Onegin to disillusionment with the life and interests of a secular society, to dissatisfaction with the political and social situation that developed in Russia after Patriotic War 1812, during the years of intensification of reaction, during the years of the domination of the Arakcheevshchina. The blues and boredom took possession of Onegin. After leaving secular society, he tries to engage in some useful activity. Nothing came of an attempt to write: he did not have a vocation (“yawning, he took up the pen”) and a habit of work, his aristocratic upbringing affected him (“stubborn work was nauseous to him”). An attempt to combat the "spiritual emptiness" by means of reading was also unsuccessful. Books that “he read either did not satisfy, or turned out to be in tune with his thoughts and feelings and only strengthened them.
Onegin is trying to deal with the arrangement of the life of the peasants on the estate, which he inherited from his uncle.

Yarem he is an old corvee
Replaced the rent with an easy one ...
But all his activities as a landlord-owner were limited to this reform. The former moods, although somewhat softened by life in the bosom of nature, continue to dominate him.
Onegin's extraordinary mind, his freedom-loving moods and critical attitude to reality put him high above the noble crowd, especially among the local nobility, and doomed, in the absence social activities, for complete loneliness.
Having broken with secular society, in which he found neither high morals, nor real feelings, but only a parody of them, and being cut off from the life of the people, Onegin loses his connection with people.
Onegin was also unable to save Onegin from the "spiritual emptiness" of the strongest feelings that unite man with man: love and friendship. He rejected Tatyana's love, as he valued "freedom and peace" above all else, failed to unravel the full depth of her nature and her feelings for him. He killed his friend Lensky, as he could not rise above public opinion of the local nobility, which he inwardly despised. Estates prejudice prevailed in the hesitation that he experienced after receiving a challenge to a duel. He was frightened by "the whispers, the laugh of fools", the Zaretskys' gossip.
In a depressed state of mind, Onegin left the village. He "began his wanderings," but this did not dissipate him either.
Returning to St. Petersburg, he met Tatiana as a married woman, the wife of his relative and friend. Love for her flared up in him, but Tatyana unraveled the selfishness that underlies his feelings for her: he again did not understand the depth of her requests. The romance ends with the scene of Onegin's date with Tatiana. Nothing is said about the further fate of Onegin. However, Pushkin thought to continue the novel. In the fall of 1830, he wrote the tenth chapter, in which he was going to talk about the emergence of the first secret societies of the Decembrists. But under censorship conditions, he could not have printed it; moreover, it was dangerous to keep it at home. And Pushkin burned what was written in the same autumn. In the poet's papers, only a few, scattered pieces of the initial stanzas of the chapter have survived.
How did Pushkin think to unfold the action in Chapter X? Would he have brought Onegin to the Decembrist society? There is testimony from one of Pushkin's acquaintances that, according to the poet, "Onegin should have either died in the Caucasus, or become one of the Decembrists." But how accurate this evidence is is unknown. In the person of Onegin, Pushkin was the first writer to depict the type of enlightened nobleman that developed in Russia in the 20s of the 19th century and was widely known in the years following the defeat of the Decembrists. Onegin is a typical representative of this enlightened part of the noble intelligentsia, which was critical of the way of life. noble society and to government policy. It was the noble intelligentsia who avoided serving the tsarism, not wanting to join the ranks of the silent, but they also stood aloof from social and political activity. And such a path, although it was a kind of protest against the socio-political system, inevitably doomed to inaction, to retreat from the people, to closure
into a narrow circle of selfish interests. This naturally led such people to "spiritual emptiness", depriving their lives of a high goal, a positive program. Belinsky said beautifully about Onegin and thus about people of this type: “The inactivity and vulgarity of life suffocate him, he does not even know what he needs, what he wants, but he ... knows very well that he does not need I don’t want what I am so happy with, so proud mediocrity is so happy ”.
The absence of a positive program dooms Onegin to inaction. Herzen rightly said about him:
“... The youth does not meet any lively interest in this world of servility and petty ambition. And yet in this society he is condemned to live, since the people are even more distant from him ... but there is nothing in common between him and the people ... "
The image of Onegin has tremendous generalizing power. “The fact is that we are all more or less Onegin, since we just do not prefer to be officials or landowners,” Herzen said. The typicality of Onegin was so strong that from that time, according to Herzen, “every novel, every poem had its own Onegin, that is, a person condemned to idleness, useless, led astray, a stranger in his family, a stranger in his country, who does not want to do evil and is powerless to do good, does nothing in the end, although he takes on everything, except, however, two things: firstly, he never takes the side of the government, and. secondly, he never knows how to take the side of the people. "
In the image of Onegin, Pushkin showed the path taken by a part of the noble intelligentsia of his time - seeking in isolation from society and from the people. Pushkin condemned this path of the individualistic hero, making him socially useless, "superfluous" person.

Another path followed by the noble intelligentsia of the 20s of the XIX century is revealed in the image of Lensky. This is the path of passion for philosophical teachings fashionable at that time and dreamy romantic poetry divorced from life:
There are many excellent inclinations in Lenskoye. Pushkin points to the inherent Lensky "noble aspiration and feelings and thoughts of young, tall, gentle, daring", "thirst for knowledge and work and fear of vice and shame."
But Lensky lacks knowledge and understanding of reality. "A dear ignoramus with his heart", he perceives people and life as a romantic dreamer. Like Onegin, the society of the provincial nobility is alien to him with narrow interests, but he idealizes Olga, an ordinary girl. Misunderstanding of people, enthusiastic dreaminess lead Lensky to a tragic end at the very first encounter with reality.
Lensky is an educated, cultured person. In his conversations with Onegin, philosophical, social and scientific issues are raised. Pushkin notes his "freedom-loving dreams." Lensky is a poet, a sentimental romantic. In stanza X of the second chapter, Pushkin lists the main motives of Lensky's poetry, and in stanzas XXI and XXII of the sixth chapter he gives his elegy as an example of romantic poetry.
The motives that Pushkin notes in Lensky's poetry are close to Zhukovsky and other poets - sentimental romantics of that time. The motives of "love, sadness, separation", the mysterious "something", the glorification of the "faded color of life", "foggy distance" and "romantic roses" are typical of Zhukovsky's poetry.
Romantics like Lensky cannot resist the blows of life: they either reconcile themselves to the prevailing way of life, or perish at the first encounter with reality. Lensky died. But if he had remained alive, then most likely he would have turned into an ordinary landowner-philistine. He would hardly have become a major poet: this was not promised by the "languid and languid" poetry of Lensky.

Tatiana is a sweet ideal for Pushkin. First of all, Tatiana is a whole person. The nature of the heroine is not complex, but deep and strong. It does not contain those painful contradictions that too difficult natures suffer from; Tatiana was created as if all from one single piece, without any attachments and impurities. Her whole life is imbued with that value, that unity, which in the world of art is the highest dignity. artwork... In the character of Tatiana there are features that make her akin to Onegin, the nature of Tatiana is striking in its originality and originality. Tatyana “seemed like a stranger to her family,” she feels lonely both in the village and in the highest class. Dissatisfaction with the environment makes Tatyana feel melancholy. Just like Onegin, Tatiana saw and understood all the vulgarity and emptiness not only of the estate, but also of the Moscow and St. Petersburg noble society. She wants to arrange her life not according to the customs accepted in the landlord's environment. She wants to decide her own destiny, to determine her life path. She wants to choose a life partner herself. The heroine dreams of such a person who would bring high content into her life, would be similar to the heroes of her beloved Romano. It seemed to her that she found such a person in Onegin. Eugene rejected Tatyana's love. That love brought her only suffering. Tatiana's tragedy was that she met a man who was an "egoist", albeit a "suffering", a "sad eccentric" who could not bring into her life what she dreamed of.
Tatiana is a simple provincial girl, she is not a beauty and strikes the imagination with an abundance of contrasting features in her character. Thoughtfulness and daydreaming distinguish her among the local inhabitants, she feels lonely among people who are not able to understand her spiritual needs. Tatiana's character did not change, although life brought her only suffering and she did not find what she was striving for with her exalted soul. From childhood there was something in her character that distinguished the heroine from other girls in her circle. She did not caress her parents, played little with children, did not do needlework, was not interested in fashion. Since childhood, Tatiana lived in the midst of nature and loved her. Tatiana is trying to break out of the circle familiar to a rural young lady. She is the first! - writes a letter to Onegin. Tatyana's actions are guided by a "rebellious imagination" is tempered and directed by "the mind and will of the living." Tatiana has great traits: daydreaming, love of nature, romantic belief in premonitions and destiny. She is attracted by her moral qualities: spiritual simplicity, sincerity, artlessness. The heroine also has a huge advantage: Tatiana is close to national and folk soil. Already by the very name of the heroine, which was widespread at that time mainly among the common people, Pushkin wants to emphasize Tatyana's closeness to the masses. "Russian soul", according to the poet's description, Tatiana loved her native nature and folk customs... Through the courtyard girls and especially through the nanny, she became acquainted with folk poetry and fell in love with it. Tatiana “thinks about the villagers” and helps the poor. Tatyana Larina begins a gallery of beautiful images of a Russian woman, morally impeccable, faithful to duty, seeking a deeply inclusive life.
In the scene last date Tatyana and Onegin reveal her high spiritual qualities even more fully: moral impeccability, truthfulness, loyalty to duty, decisiveness. Time passed, Tatiana was married, although her first love still lives in her heart. But she remains true to her duty. Onegin, so smart and subtle, was unable to appreciate the priceless gift of love sent to him by God in time. The closeness to the peasants, the strong influence of the nanny, brought up simplicity, sincerity, solid foundations of morality, loyalty to duty and democratism in Tatiana. Tatyana is a completely natural person, she lives with feelings, not mind. Having met Onegin, who so completely got used to the image literary hero that he stopped noticing reality, Tatiana fell in love with him. But it is also obvious that their union was impossible. Life remains life, and literature remains literature, the line between them exists, and it cannot be destroyed.
We must pay tribute to the genius of Russian literature A.S. Pushkin, who managed to create such a wonderful image, faithful to duty, looking for a nature that amazes with its integrity.

The complete opposite of Tatiana is her younger sister Olga. If during her childhood Tatyana was "wild, sad, silent, like a flying doe, fearful", then Olga "is always cheerful as morning, as the life of a poet is simple-minded." Olga has a lot of cheerfulness, agility, vitality they beat her with a key. She is always “with a clear smile on her lips,” in the Larins' house her “sonorous voice” is heard everywhere.
But Olga's external attractiveness and enchanting cheerfulness cannot hide the poverty of her spiritual world. Her nature is devoid of that originality and depth that characterize Tatiana. Olga lives thoughtlessly, guided in her life by the views and habits established in the noble local life. “Always modest, always obedient,” she, without thinking deeply, follows the rules of life accepted in the noble environment. She cannot understand Tatiana, she is not forced to think about Lensky's behavior and mood on the evening before the duel. Her feelings do not differ in the same depth and stability as those of Tatiana. She “did not cry for long” about Lensky and soon got married, “repeating her mother, with minor changes that were required by the time” (Belinsky).
Pushkin himself points out the prevalence of this type of woman in life and in the literature of that time:
... any romance
Take it and find it right
Her portrait ...
But under the pen of Pushkin, this image, although sketched, acquired such artistic expression, which influenced the creation of a number of female images in the works of later writers (for example, Marthe's in Goncharov's novel "The Break").

Among the main problems of the novel in verse "Eugene Onegin" by A.S. Pushkin are the following:
- search for the meaning of life;
- the purpose of a person's life in society;
- heroes of that time;
- an assessment of the entire system of moral values ​​of that period.
A.S. Pushkin's novel is largely autobiographical for the author, because he, like main character novel Eugene Onegin became disillusioned with the old ideals and moral principles of that era. But to look for ways to change, to do something himself for changes in his life, the hero is not able to, he is overcome by the eternal Russian blues, which in the novel is characterized by fashionable English word"spleen".
In his lines, A.S. Pushkin very confidentially tells the reader about his feelings and vision of the world. For him, family, ties of kinship. the sacred hearth is of undeniable value, and this thought is conveyed in words the main character Tatiana Larina:
“But I am given to another,
And I will be faithful to him forever! "
We can trace the entire path of maturation and formation of the personality of Eugene and Tatiana, changes in their worldview.
The novel also touches on issues of value. human life for society, a description of the characters of the time, and the influence cutting edge ideas on the ideology of society.

When I was in school, we all studied the novel by Alexander Pushkin "Eugene Onegin". The ending of this novel is very sad, and it does not meet all the "expectations" of the readers.
Throughout the novel, we all expect that Tatiana, a genius of pure beauty, and a female ideal, will reciprocate to Eugene, and they will live happily ever after for many, many, years. But it turns out that everything is not at all like this:
- I love you, why dissemble?
But, I am given to another, I will be faithful to him forever.
Tatyana, rejects all the advances of Eugene, and this becomes a complete surprise, and the main problem of the whole novel.
Perhaps Pushkin did not tell us everything, and in the life of the main characters everything could have turned out differently, but, in a similar situation, many people find themselves in our time.
In Tatyana's life, an opportunity arose to change one man for another, and in front of her, there was a difficult choice, between the present and the future. Onegin did not have an "impeccable reputation."
According to the novel, he was selfish, proud, unreliable, and he “regularly changed women,” and Tatyana perfectly understood the essence of things, she had no shortage of male attention, and many men from her “circle” would like to marry her ...
Tatiana, according to the novel, is a very reasonable woman, she respected her husband, who truly loved her, and wanted her to be happy only with him. Could Eugene Onegin make her happy? And why, only three years later, did he realize how much he loved her?
Rejecting Evgeny's courtship, Tatyana acted like a reasonable woman, and did not change her existing family life, for a "light affair".
In this case, the mind has triumphed over the senses.
We cannot condemn Tatiana, because how many people, so many opinions, and the problem of this novel is in choosing the right life path!

It seems to me that in his novel, Pushkin contrasts, compares and looks for similarities and differences among two different "worlds" - the world of beautiful magnificent balls, the capital's nobility and the world of ordinary people of noble blood, living more secluded and modest. The representative of the first world is the protagonist of the novel himself, Eugene Onegin, and the brightest representative of the second is Tatiana. Eugene is presented as a brilliant young man, educated, but mired in high life. But he was already bored with this life, and the author himself, as we see from the novel, is not delighted with it. It is full of senseless and merciless intrigue, flattery, betrayal, debauchery. Only from the outside does he seem attractive, beautiful and unusual. Those who find themselves inside it quickly lose their human dignity and strive for false values. And so Eugene, tired of this high society, goes to the village and meets there a completely different world, people of a different type. Tatiana is pure, she is educated and smart, she is close to the ideals of her ancestors - family in the first place, striving for harmony and perfection. But Yevgeny did not immediately feel a warm feeling for such ideals, and then, when he had already realized his mistake, it was too late. So that the main problem lies behind the relationship of these two main characters, as the main representatives of the two strata of society.

Eugene Onegin is one of my favorite novels. Studying it at school, I re-read it 5 times, I guess. Then romance was just for me interesting book, no more. Probably, at that age, no one thought deeply about the problems raised by Pushkin.
Now, I think, I already look at the heroes of the novel from a slightly different angle. The plot is based on the love of the main characters. Together with them, we live the stages of their spiritual development, the search for truth, they determine their place in this life. For each of the heroes, love is something personal. For Larina it is a huge spiritual work, for Lensky it is just a light romantic attribute, for Olga it is the absence of sentimentality and individuality, for Onegin it is the science of tender passion. Next to the problem of love is the problem of friendship. Right now I understand that friendship without deep emotional attachment is impossible and temporary.
Especially important in the novel is the problem of duty and happiness, since Tatiana Larina is a girl of conscience and honor and conscience for her as important as love. In the course of the novel, she is transformed into an integral personality, which has its own moral principles and foundations, life values.
Also, a huge problem described in the novel is the interconnection of various segments of the population.

And happiness was so possible, so
close ... Chapter VIII, stanza XLVIII

Was happiness possible?

Lesson objectives:

Educational: the formation of conscious skills and knowledge of working with text

Developing: speech development - enrichment and complication of vocabulary.

Educational: purposeful formation of such moral qualities as responsibility and honesty in relation to the chosen position.

Lesson plan:

1. Organizational moment.

2. The stage of preparing students for the active assimilation of knowledge.

3. The stage of generalization and systematization of the studied.

4. Stage of information of students about homework.

Methods and forms of work:

1. Greetings.

2. Heuristic conversation.

3. The task of a reproductive nature. :

Preparation for the lesson:

Students:

Should know the content of the work of A. Pushkin "Eugene Onegin" (Chapter 8).

During the classes

Organizational moment.

The beginning of the lesson.

Work with text.

- What facts of the author's biography are described in the beginning of the 8th chapter? (A story about a lyceum, a link,knowledge about the Caucasus, Crimea, Moldova, but most importantly— inner world, movement of creative thought, developmentthe state of mind of the author.)

- Pushkin needed five stanzas to remember his whole life. There was youth - she left, there were friends, but they were destroyed. But the memory of them remained, loyalty to the ideas for which they gave their lives, went to the Nerchinsk mines. The muse remained, she is unchanged, she will always remain pure and

bright, she will help to live:

And now I am a muse for the first time ...

I bring you to a social event ... In the first chapter we saw a glimpse of the St. Petersburg ball, essentially from the street, through the window:

Shadows walk along solid windows ...

In the 8th chapter we are at a social event. There are many attractive things in the world:

You can admire the Noisy cramped area, The flickering of dresses and speeches, The appearance of slow guests Before the young mistress, And the dark frame of men Around the ladies, like near pictures.

The appearance of Onegin: for everyone he seems to be a stranger.

- Was Onegin a stranger to secular society? (Not.)

- Light decided that he was smart and very nice. A whole series of questions appears. Who can ask them? Author? A regular at social events?

Where was he for three years? This bewilderment can be compared with the words of Molchalin: “How surprised we were! You ought to serve in Moscow with us! "

- Gossip about him. ("He makes an eccentric.") Who will he appear? (Vthe high society is accustomed to non-humans, and "the decency of tied masks", and those who do not look like them,— countries-are not clear.)

- What advice do they give Onegin? ( Advise him"To be a kind little like everyone else.")

- Is Onegin familiar to the light? (Yes, he spent eight yearshere. But something in him was not the same as ineveryone, and now? "That conversations are too frequent //We are happy to accept that we are doing, // That stupidity is windyand evil, // What important people looks are important // And whatmediocrity is one // We can handle it and not countrieson the?" "The taciturns are blissful in the world"; idealmediocrity: "Blessed is he who was young from his youth,// Blessed is he who ripened in time, // Who graduallylife cold // With the years I knew how to endure; //Whodid not indulge in strange dreams, // Who is the secular rabbledid not shy away, // About whom they kept repeating for a century: // NN pre-red man "; Pushkin's conviction: one cannot betrayyouth! "It is unbearable to see before oneself // Od-there is a long row of dinners, // Look at life asrite "; excerpts from Onegin's journey will be answeredto the question with what load he came to the fall of 1824 Route: Moscow - Nizhny Novgorod - Astra-Han - Caucasus— Crimea - Odessa. Onegin introduces-Xia with homeland.)

Conclusion: Onegin arrives in St. Petersburg renewed.

- Why did Onegin get, like Chatsky, from the ship to the ball? (Irreconcilable hostility to society, in Onegina deep inner life that didn't exist before.)

On the blackboard - the topic of the lesson:

"TATIANA AND EUGENE IN CHAPTER VIIIROMANA. MORAL PROBLEMS OF THE ROMAN "EVGENY ONEGIN"

- And now a new meeting of heroes takes place. Tatyana appears, and Onegin does not recognize her and does. As Pushkin describes, what was Tatyana like, what did she do without? (She was leisurely, // Not cold,not talkative, // Without an arrogant gaze for everyone, // Withoutdesire for success, // Without these little antics, //Without imitative undertakings ...)

- Why Onegin, who did not love Tatiana in the tree, is now seized with such an all-consuming passion? (Changed heroes, updated Onegin nowcan appreciate the depth of Tatiana's soul.)

- What has changed in Tatiana? (She learned to "masterto be yourself ”, as Evgeny advised her whenthen.) Why is Onegin so attracted to her?

- And what about Eugene? ( What about him? What country is he inin a dream? // What stirred in the depths // Soulscool and lazy? // Annoyance? Vanity?Or again// Care of youth is love?)
What's going on with him? How has he changed?

Expressive recitation of Onegin's letters... What character do we see in the letter? What feelings do they have?

Listening to an excerpt from Tchaikovsky's opera "Eugene Onegin".
Your impression. How does the music, the stage play of the actors help to understand the characters, to convey feelings?
Teacher's word.

- The compositional scheme of the novel is simple. The main characters change roles towards the end of the book:

1. SHE loves HIM - HE does not notice HER. SHE writes a letter to HIM - she listens to HIS sermon.

2. HE loves HER - SHE does not notice HIM. HE writes letters to HER - he listens to HER confession (sermon, after all, rebuke).

But this simple construction only emphasizes the complexity of human experiences, which outwardly fit into such a simple scheme. How much more beautiful is Onegin's feeling!

- He again turned to books, as in his youth. The circle of reading very definitely tells the reader - contemporary A.S. Pushkin: Gibbon, Rousseau, Gore der, Madame de Stael, Belle, Fontenelle - philosophers, educators, scientists. These are not two or three novels

which reflected the "century and modern man loved by Onegin before. This is a circle of reading de-cabrists, people striving for action. ",

“But this is not enough. For Onegin, now everything that was inaccessible to him three years ago is revealed.

The poet, a friend of his heroes, wishes them happiness with all his heart. But happiness is impossible. There are controversies about the ending of the novel. Different points of view appear, each of which in its own way relies on the text of the novel. In addition, each generation reads Pushkin in its own way.

Eight years after the death of Pushkin, in 1845, V.G. Belinsky wrote his famous articles about Eugene Onegin. 80s. In connection with

By opening the monument in Moscow in 1880, FM Dostoevsky made a speech at a meeting of the Society of Lovers of Russian Literature, in which he expressed his interpretation of the novel's finale.

Assignment: Get to know the reflections on the ending of the novel and on the images of Tatiana and Onegin
famous Russian writers: Vissarion Grigorievich Belinsky and Fedor
Mikhailovich Dostoevsky... Group work: Write abstracts from articles. which express the thoughts and attitudes of critics towards the ending of the novel and the images of the heroes.

The tragedy of Chapter VIII is that Tatiana did not understand One-gin and his love. A democrat, a man of the 40s, Belinsky put above all the freedom of the human person, he condemns Tatyana for sacrificing her love for the sake of loyalty to her husband, whom she does not love, but only respects.

F. M. Dostoevsky:“Tatiana is the ideal of woman, the ideal of man. Her behavior in chapter 8 is the embodiment of moral perfection, because what“... can a person base his happiness on the misfortune of another? Happiness is not only in the pleasures of love. And also in the highest harmony of the spirit. How can you calm the spirit if there is an unhappy, ruthless, inhuman post-pok behind? Should she flee just because it's my happiness? But what kind of happiness can there be if it is based on someone else's misfortune? ... No: a pure Russian soul decides as follows: “Let, let me alone lose my happiness, let, finally, no one and never ... my sacrifice and will not appreciate it. But I don't want to be happy by ruining another! "
Conclusion. Belinsky and Dostoevsky judge the actions of the heroes differently. Which of them is more convincing, or rather understands the motives of Tatyana's act in relation to Onegin and her own feelings? Why does Tatiana reject Onegin?
1 Research.

To answer these questions, let's look at verbs again.
Watch Tatyana's monologue, find verbs, determine the tense. Why Tatiana,
talking to Onegin in the present, when talking about himself, uses
exclusively past tense verbs?
— Light did not spoil, did not ruin Tatiana, her soul remained the same, although during these three years she did not remain the same as it was.

- If Onegin has changed internally, then Tatyana rather externally. She has matured, became more restrained, calmer, learned to protect her soul from someone else's gaze. And this external restraint, with the same internal wealth, the same spiritual beauty that she possessed in her youth, attracts Onegin to her even more.

- Previously, happiness was not possible, because Onegin did not know how to love. Happiness is possible only now with the renewed Onegin, but (too late!) Tatyana does not consider herself entitled to sacrifice her husband's happiness for her own happiness.

In March 1825, having lost hope for personal happiness, Onegin remains alone in St. Petersburg. In the main text of the novel, Onegin remains at a crossroads - and the reader, together with him, once again thinks: what is life? How should you live? Where to go? Whom to love? With whom and for what to fight?

Summing up the lesson.

Why chapter VIII causes the most controversy and interpretation? (Pushkin does not provide a psychological explanationthe basis of events, deeds, facts.)

At the end of the novel, both main actors worthy of sympathy from the readers. If one of them could be called “negative,” then the novel would not have a truly tragic sound. Love for an unworthy creature can give rise to very sad situations, but it does not become such a source of tragedy as the mutual love of two people worthy of happiness with the complete impossibility of this happiness.

At the end of the novel, Onegin is not a romantic "demon" with a prematurely aged soul. He is full of thirst for happiness, love and desire to fight for this happiness. His impulse is deeply justified and arouses readers' sympathy. But Tatiana -. a person of a different kind: it is natural for her to give up happiness in the name of higher moral values. Her spirituality is full of true spiritual beauty, which both the author and readers admire. The fact that both heroes, each in their own way, are worthy of happiness, makes the impossibility of happiness for them deeply tragic.

But who will finally explain to us the novel by A.S. Pushkin? Who will interpret Onegin in such a way that there will be nothing to add? Hopefully no one. May this book live forever, and may each new generation find something of their own in it. Very important to him.

*A task for those who are thinking.

1. Was the happy reunion of Onegin and Tatiana possible? Composing is meditation. By heart a passage (letter from Onegin).

2. Research work: “What role can grammatical categories play in a literary text? (A.S. Pushkin
"Eugene Onegin")".

Good luck with your lesson!

History of creation

The history of the creation of the novel The writing of the novel took Pushkin more than seven years (1823 - 1830). It was published in separate chapters: the first chapter of the novel appeared as a separate book in 1825, the second - in 1826, the third - in 1827, at the beginning of 1828 the fourth and fifth chapters appeared, and in March 1828 - the sixth and seventh were published in March 1830 and the last - the eighth - was published in 1832. The outline of the general plan of the novel contained nine chapters, but in the process of writing the plan changed slightly, so that in the first complete edition of Eugene Onegin (1833) Pushkin included eight chapters and "Excerpts from Onegin's Journey"

In addition, at the same time in Boldino, the tenth chapter of "Eugene Onegin" was written, which Pushkin burned, and only separate excerpts from the drafts have come down to us (the poet encrypted the draft text, and literary scholars managed to decipher incomplete 16 stanzas), containing dangerous pro-Decembrist stanzas for Pushkin the statements, as can be judged from the recovered parts, are very caustic and sarcastic. The tenth chapter is not included in the canonical text of the novel. Completed work on Eugene Onegin on September 26, 1830.

Genre. Topic. Problem. Idea.

"Eugene Onegin" Pushkin analysis A. Pushkin's novel "Eugene Onegin" is the first realistic novel not only in Russian, but also in world literature.

The genre is a socio-psychological novel in verse.

Theme - an image of Russian life in the first quarter of the 19th century

Main characters: Eugene Onegin, Vladimir Lensky, Tatiana Larina, Olga Larina.

Composition: built "in a mirror": Tatiana's letter - Onegin's answer - Onegin's letter - Tatiana's answer.

The main conflict of the novel: the conflict between two philosophies of life, the conflict between man and society, the conflict between man and the environment.

Problems:

A person against the background of an era, time, the meaning of his existence on earth.

The problem of education and upbringing;

Literary creativity;

Fidelity in married life;

Human relationships;

True and imaginary values ​​in life;

Internal freedom of a thinking person and the dictate of a secular society;

The ideal of female beauty;

Family relationships.

"Eugene Onegin" is a work of love. Love in Pushkin is a high, free feeling. A person is free in his choice and happy with this, but not in this novel. AT LEAST Tatiana loved Onegin, but she was not happy with him, she did not even receive love in return. You can trace the theme of love through two meetings between Tatiana and Eugene.

Lyrical digressions - This is a compositional and stylistic device, which consists in the deviation of the author from the plot narration and the introduction of a direct author's speech. They create the image of the author as a living interlocutor, a storyteller and open the world of narration outside, introducing additional topics that are not related to the plot, In "Eugene Onegin" lyrical digressions make up a significant part - almost a third of its volume. Lyrical digressions perform numerous functions in the novel: they mark the boundaries of the novel's time and replace the plot narration, create the completeness of the image characteristic of an "encyclopedia" and provide the author's commentary on events. It is the lyrical digressions that introduce the author's "I", allow for a kind of dialogue with readers. By creating a distance between the author and the hero, they allow Pushkin to take the position of an objective researcher in relation to the depicted events and heroes, which is necessary in a realistic work.

Plot and composition.

Heroes:

Eugene Onegin:

Main character romana - a young landowner Eugene Onegin, this is a person with a complex, contradictory character. The upbringing that Onegin received was disastrous. He grew up without a mother. The father, a frivolous Petersburg master, did not pay attention to his son, entrusting him to the "poor" tutors. Therefore Onegin grew up an egoist, a person who cares only about himself, about his desires and who does not know how to pay attention to the feelings, interests, suffering of other people. He is able to offend, offend a person without even noticing it. Everything beautiful that was in the soul of a young man remained undeveloped. Onegin's life- boredom and laziness, monotonous satisfaction in the absence of real, lively work.

Onegin's image not fictional. In it, the poet summarized the features, typical images for young people of that time. These are people provided for at the expense of work and serfs who received a disorderly upbringing. But unlike most members of the ruling class, these young men are smarter, more sensitive, more conscientious, and nobler. They are dissatisfied with themselves, their surroundings, social structure.

Onegin in terms of views and requirements for life, it stands above not only its rural neighbors, landowners, but also representatives of the St. Petersburg high society. Having met with Lensky, who graduated from the best university in Germany, Onegin could argue with him on any topic as an equal. friendship with Lensky reveals in Onegin's soul, hidden behind a mask of cold egoism and indifference, the possibilities of true, friendly relations between people.

Seeing Tatyana for the first time, not even talking to her, not hearing her voice, he immediately felt the poetry of the soul of this girl. In relation to Tatyana, as well as to Lensky, such a trait of his as benevolence was revealed. Under the influence of the events depicted in the novel, evolution takes place in Eugene's soul, and in the last chapter of the novel, Onegin is not at all the same as we saw him before. He fell in love with Tatiana. But his love does not bring happiness, neither to him, nor to her.

In the novel "Eugene Onegin" Pushkin depicted a frivolous young man who, even in love, cannot give himself advice. Escaping from the world, Onegin was unable to escape from himself. When he realized this, it was already too late. Tatiana doesn't believe him now. And this opens Onegin's eyes to himself, but nothing changes.

"Young rake" - these words can briefly describe Eugene at this time. He does not serve anywhere, leads a secular life, goes to balls and dinners, pays a lot of attention to his appearance. He knows how to seem smart and subtle, but in fact his knowledge is superficial, and he uses them only to impress.

He loves women, but his hobbies are superficial. Using his charm, he conquers women, and then quickly cools down.

Evgeniy Onegin in the village

In the end, Eugene grows cold towards this way of life. Fed up with balls and female attention, he is going to travel, but then his uncle dies, and Eugene remains the heir to the estate.

Here we get to know Onegin on the other side. Not being afraid to provoke the displeasure of the local landowners, he replaces the serfs for corvee with an easy quitrent. Having escaped from the capital's entertainment, he does not visit neighbors in the village, but he closely converges with a naive, but sincere Lensky.

Killing a friend and rejected love

This friendship ends tragically. An ardent young man sends a challenge to Eugene. Onegin realizes that it is better to apologize to a friend, but narcissism makes him put on the usual mask of indifference and accept the challenge. Lensky is killed by Onegin.

Having received Tatyana's letter, Eugene was moved. He sympathizes with Tatiana, but does not love her yet. Having never experienced true love for a woman, using her as a bargaining chip, he is generally not able to take this feeling seriously. Therefore, Eugene, as usual, enters the role of an experienced, cold-hearted person, while showing nobility. Eugene did not take advantage of Tatyana's feelings, but did not escape the temptation to read the notation to the girl in love.

Enlightenment Onegin

Several years passed and he had a chance to severely regret his coldness. In adulthood, he is no longer interested in spectacular poses, he is less focused on himself. Having met Tatiana, a married lady who has perfectly studied the art of "self-rule", Eugene selflessly falls in love with her. Time does not heal him, months pass, and he still thinks only of her, driving himself almost to insanity.

An explanation takes place; he learns that Tatiana still loves him, but is not going to break her loyalty to her husband.

Pushkin hero capable of real feelings, but early adherence to the light spoils it, forcing to sacrifice love and friendship in favor of posturing. When Onegin finally begins to “be” and not “seem”, many mistakes cannot be corrected.

Similar information.

In the work of Alexander Sergeevich Pushkin, the novel "Eugene Onegin" occupies a special place. Pushkin wrote it for eight years: from 1823 to 1831. This time was very difficult in the history of Russia. The events of December 14, 1825 abruptly turned the history of the country, directed it into a different direction. A change of eras took place: work on the novel was begun even during the reign of Alexander I, and continued and completed during the reign of Nicholas I, when all the moral guidelines in society changed dramatically.

Before starting to analyze the novel, it is necessary to clearly understand the peculiarities of the genre of this work. The genre "Eugene Onegin" is lyric-epic. Consequently, the novel is based on the inextricable interaction of two plots: the epic (whose main characters are Onegin and Tatiana) and the lyrical (where the main character is the storyteller). The lyrical plot in the novel dominates, since all events real life and the novel life of the heroes are presented to the reader through the prism of the author's perception, the author's assessment.

The problems of the goal and meaning of life are key, central in the novel, because at the turning points in history, which became for Russia the era after the December uprising, a cardinal reassessment of values ​​takes place in the minds of people. And at such a time, the artist's highest moral duty is to point society to eternal values, to give firm moral guidelines. The best people of the Pushkin, that is, the Decembrist, generation seem to be “out of the game”: they are either disappointed in the old ideals, or they do not have the opportunity to fight for them in new conditions, to put them into practice. The next generation, which Lermontov would call "a gloomy crowd and soon forgotten," was initially "brought to its knees." Due to the peculiarities of the genre, the novel reflects the very process of reassessment of all moral values. Time in romance flows in such a way that we see the heroes in dynamics, we trace their spiritual path. Before our eyes, all the main characters are going through a period of formation, painfully searching for the truth, determining their place in the world, the purpose of their existence.

The search for the meaning of life takes place in different planes of existence. The plot of the novel is based on the love of the main characters. Therefore, the manifestation of the essence of a person in the choice of a loved one, in the nature of feelings is the most important feature of the image, which determines his entire attitude to life. Lyrical digressions reflect changes in the author's feelings, his ability to both light flirtation (characteristic of "windy youth"), and to truly deep admiration for his beloved.

In home life we ​​see one

A series of tiresome pictures ...

The spouse is perceived as an object of ridicule:

... a stately cuckold,

Always happy with myself

With my lunch and my wife.

But it is necessary to pay attention to the opposition of these verses and the lines of "Breakthroughs from Onegin's journey":

My ideal now is the mistress

My desires are peace ...

What in his youth seemed a sign of limitation, spiritual and mental scarcity, in his mature years turns out to be the only correct, moral way. And in no case should the author be suspected of khanate: we are talking about maturity, about the spiritual maturation of a person, about a normal change in value criteria:

Blessed is he who was young from a young age,

Blessed is he who matured in time.

After all, the tragedy of the main characters stems from Onegin's inability to “ripen in time”, because of the premature old age of the soul:

I thought: freedom and peace

A replacement for happiness. Oh my God!

How wrong I was, how I was punished.

Love for the author and for his heroine Tatiana Larina is a huge, intense spiritual work. For Lensky, this is a necessary romantic attribute, which is why he chooses Olga, devoid of individuality, in which all the typical features of the heroine of sentimental novels have merged. For Onegin, love is "the science of tender passion." He learns the true feeling by the end of the novel, when the experience of suffering comes.

Human consciousness, the system of life values, as you know, is largely shaped by the moral laws adopted in society. The author himself assesses the influence of high society ambiguously. Chapter 1 gives a harshly satirical depiction of light. The tragic 6th chapter ends with a lyrical digression: the author's reflections on the age boundary that he is about to step over. And he calls on the "young inspiration" to save the poet's soul from death, not to give

...petrify

In the deadening rapture of light,

In this pool, where I am with you

Swimming, dear friends!

Society is not homogeneous. It depends on the person himself whether he will accept the moral laws of the faint-hearted majority or the best representatives of the world.

The image of "dear friends" surrounding a person in a "deadening" "pool of light" does not appear in the novel by accident. Just as a caricature of true love has become "the science of tender passion," so is a caricature of true friendship - secular friendship. "Friends have nothing to do" - this is the verdict of the author. Friendship without a deep spiritual community is just a temporary empty union. A full-fledged life is not possible without selfless dedication in friendship - that is why these "secular" friendships are so terrible for the author. For the author, the inability to make friends is a terrible sign of the moral degradation of modern society.

The author himself finds the meaning of life in the fulfillment of his destiny. The entire novel is full of deep reflections on art. The image of the author in this sense is unambiguous: he is, first of all, a poet, his life is inconceivable outside of creativity, outside of intense spiritual work. In this, Eugene is directly opposite to him. And not at all because it does not plow and does not sow before our very eyes. He has no need for work. Both Onegin's education, and his attempts to immerse himself in reading, and his effort to write ("yawning, took up the pen") the author perceives ironically: "He was sick of hard work."

Especially important in Eugene Onegin is the problem of duty and happiness. In fact, Tatiana Larina is not a love heroine, they are heroes of conscience. Appearing on the pages of romance as a 17-year-old provincial girl dreaming of happiness with her lover, she grows before our eyes into a surprisingly holistic heroine, for whom the concepts of honor and duty are above all. Olga, the ignoramus of Lensky, soon forgot the deceased young man: "the young ulan captured her." For Tat-Yana, Lensky's death is a tragedy. She blames herself for continuing to love Onegin: "She must hate her brother's killer in him." A heightened sense of duty dominates the image of Tatiana. Happiness with Onegin is impossible for her: there is no happiness built on dishonor, on the misfortune of another person. Ta-tyana's choice is the highest moral choice, the meaning of life for her is in accordance with the highest moral criteria.

The climax of the plot is the 6th chapter, the duel of Onegin and Lensky. The value of life is tested by death. Onegin commits a tragic mistake. At this moment, the opposition of his understanding of honor and duty to the meaning that Tatyana puts into these words is especially vivid. For Onegin, the concept of "secular honor" turns out to be more significant than moral duty - and he pays a terrible price for the admitted displacement of moral criteria: he has the blood of his murdered comrade forever on him.

The author compares two possible paths for Lensky: the sublime and the down-to-earth. And for him what is more important is not what fate is more real - it is important that there will be none, because Lensky is killed. For a light that does not know the true meaning of life, human life itself is nothing.