Lesson #1
A.S. Pushkin. "Eugene Onegin". "Strange" hero Pushkin's novel, the originality of his nature. Onegin's quest tragic results life path, their reasons.
Lesson objectives:
educational: to help students reveal the character traits of Eugene Onegin, to understand the essence of the main character’s reasoning about life;
developmental: develop the ability to analyze text, draw conclusions from what is read,figurative and logical thinking and student speech.
educational: instill interest in Pushkin’s work, educate the best human qualities, a conscious approach to the problem of developing a person’s character and destiny.
Lesson type: lesson in applying knowledge and developing skills.
During the classes
II. Setting goals and objectives.
III. Motivation for learning activities.
1. The teacher's word.
Pushkin's novel is greatest work first half of the 19th century This novel is one of the most beloved and at the same time the most complex works Russian literature. Its action takes place in the 20s. 19th century The focus is on the life of the capital's nobility in the era of spiritual quest of the advanced noble intelligentsia.
What does it represent main character novel - Eugene Onegin?
IV. Working on new material
1. Implementation homework (sayings about Onegin)
Supporting questions
(If desired, students can choose one question or tell what they cooked at home.)
♦ How do you imagine Evgeny Onegin? What first of all caught your attention? How does this characterize him?
♦ How do you assess the hero's relationship with other characters in the work?
♦ What do other heroes say about Onegin? Who do you agree with?
♦ What do you think the author thinks about his hero?
♦ How do you see Onegin? What thoughts did he give you about life, about people?
♦ Can you say that you know and understand him?
2. Press method
♦ Which of the following statements do you think
Most suitable for characterizing Eugene Onegin?
- “Youth, health, wealth, connected with the mind, heart:
What, it seems, would be more for life and happiness? (V. Belinsky).
- “...A suffering egoist... he can be called an involuntarily egoist...” (V. Belinsky).
- “...This is a slacker, because he has never done anything, a person who is superfluous in the field in which he is ...” (A. Herzen).
- “A person is determined by what he is like alone with his conscience” (O. Volkov). Clue. The statement is constructed in 4 stages:
1) state your thoughts:"I believe that…";
2) explain the reason for this thought:"Because…";
3) give arguments to support your position:"For example…";
4) conclude:"Thus,…".
3. Problem-based research conversation
"Is it tragic life path Onegin?
Group work(Grouping)
Researchers of the first group, using the text of chapters I, II, VIII, talk about how Onegin was treated in secular society how the local nobility and St. Petersburg society perceived him; they conclude that society condemns Onegin. These are people of average level, and the lot of everyone who rises above them is loneliness.
The second group of researchers, using the text of chapters I, VI, VIII, talk about how Onegin spent his time living in St. Petersburg, and then in the village; about the inner spiritual world Evgenia; about the author’s attitude towards his hero; they conclude that Onegin’s soul has recovered, having gone from admiring his uniqueness to self-improvement, that the author loves and pities his hero and hopes for the best in his fate.
4. Frontal work
Is Onegin's path optimistic or tragic? Offer arguments for and against.
5. Project activities.
Presentation on the topic “Strange” hero of Pushkin’s novel, made by students.
6. The teacher's word.
In literary criticism there is the concept of “superfluous person”. This term belongs to I. S. Turgenev, who wrote the story “The Diary of an Extra Man.” A few years after the publication of the story, Turgenev’s term began to be used quite widely. The heroes, who are called "extra people", have common features: skepticism, social apathy, selfishness, loneliness. Before Onegin They called him a “superfluous man” because he did not become a Decembrist and did not become close to the people. what is the definition of “ extra person"would you give it? (People who, in their development and intelligence, stood above the society around them, were critical of it, but could not find use for their strengths and abilities.)
V. Summing up the lesson. Reflection.
What does the name Evgeniy mean? (Translated from ancient Greek: noble)
What can be said about the hero based on the letters of his last name and taking into account his character and behavior? Let's write down these characteristics next to each letter:
ABOUT - gifted, original...
N - unusual, well-read, new hero…
E - European style, if e = e, then he is an egoist...
G - the main character, proud...
AND - intelligent, sophisticated, interesting...
N - incomprehensible, extraordinary...
Can we blame Onegin for anything? Should we judge him harshly? Why?
VI. Homework.
1. Collage competition “Eugene Onegin”.
2. Individual task three students: presentation “The Image of Tatyana in the Novel.”
Is he familiar to you? - Yes and no.
A. Pushkin. "Eugene Onegin"
The novel in verse is named after the hero; to understand the novel means, first of all, to comprehend the being and fate of the one whose name is Eugene Onegin. This task is not easy; It’s easier to completely deny this strange hero any essence of his own and consider him an “insignificant parody”, an “empty imitation” of foreign models:
What will it appear now? Melmoth,
Cosmopolitan, patriot,
Harold, the Quaker, the bigot,
Or will someone else flaunt a mask?
The conviction that Onegin “fools the world” by constantly changing his masks is only an inside out, unkindly interpreted real problematic character of the hero.
In the novel, he is always under a question mark: and the reason for this is not only that the hero moves in time - that is, he changes from chapter to chapter - but also that his very being is multi-component, it hides in itself the most different possibilities. What features formed for Pushkin the composition of that phenomenon whose name was “hero of the time”?
Pushkin made his first approach to depicting the young hero of the time in the poem “ Prisoner of the Caucasus": "In it I wanted to portray this indifference to life and its pleasures, this premature old age of the soul, which has become distinctive features youth of the 19th century." The poet was dissatisfied with this first experience; the problematic hero was limited by the boundaries of a romantic poem; a different genre was needed, which the author himself soon realized: “The character of the main person... is more appropriate for a novel than a poem.” So, Pushkin faces a most difficult creative task - a novel about modern man. There has never been such an experience in Russian literature; and what has European literature created here? What turned out to be especially important here for the creator of Eugene Onegin?
As we have seen, Pushkin’s novel in verse carries within itself a very active “literary self-consciousness”; in particular, when in the third chapter the question of the hero is first translated into the plane of “problematicity” -
But our hero, whoever he is,
Surely it wasn’t Grandison, -
Pushkin immediately (stanzas eleven and twelve) “arranges a show” for the heroes of the old and new European novel. All this material is directly related to the problem of Pushkin's hero; but in this sense, another place in the novel turns out to be much more important, which, according to the author’s plan, leads closely to the solution to the hero. This is stanza twenty-two of the seventh chapter, where Onegin’s “cherished reading” is revealed to the reader, in the center of which there are “two or three novels” about modern man. They are not named by Pushkin, probably because they constitute that “selected European literature” that was most related to his plan. own novel. Here are these three novels (they are named in the draft of the twenty-second stanza): “Melmoth” - “René” - “Adolphe”.
"Melmoth the Wanderer" (published 1820) by the English novelist and playwright Maturin, "Rene" (published 1801) French writer Chateaubriand and "Adolphe" (published in 1815) by the French writer and public figure Constanta are those works that give a “sadly true” portrait modern man: with a “cold” and “divided” soul, “selfish” and “sick”, with a “rebellious” and “gloomy” mind, pouring “cold poison all around” (draft of the twenty-second stanza).
The set of these novels is remarkable, among other things, in that they demonstrate two completely different ways images of modern man. "Rene" and "Adolf" are small in volume psychological novels: they depict the recesses of a weak and sensitive soul or the gloomy passions of a heart that thirsts not for love, but for victory; they depict strange and irreparably lonely people, who cannot find a place for themselves in life, who are unable to give happiness to themselves and who bring misfortune to others - in a word, these novels give psychological picture a modern "disillusioned hero" possessed by the demon of boredom and skepticism. In contrast, “Melmoth” is a colossal work that synthesizes a variety of literary traditions, a novel whose method could be called philosophical and poetic. For artistic solution problems of modern man Methurin creates the image of Melmoth the Wanderer, combining in it the images of Faust and Mephistopheles from Goethe's tragedy. “Melmoth, according to the author, is a complex human image, a victim of devilish forces, their forced instrument.... Although Melmoth is not the tempter himself or the embodiment of devilish power, but only a victim doomed to do evil against his will, the critical principle clearly manifests itself in him... This was a peculiar and realized Methyurin's "Mephistophelian" beginning in the image of Melmoth, which was so attractive to this literary hero the attention of the whole Mirona in the first third of the 19th century.”
We have already spoken above about “universalism” as most important feature Pushkin's novel; therefore, it is not surprising that the poet is looking for the same all-encompassing synthesis of the most diverse artistic and semantic possibilities in the depiction of the hero - for the problem of modern man is covered by Pushkin on its entire scale, from psychological accuracy and socio-historical specificity to eternal questions human existence. Therefore, different literary ways of depicting modern man are equally important to him. Meaning of "Rene" and "Adolphe" for Pushkin's creativity, and in particular for “Eugene Onegin”, has long been clarified. It was also pointed out that Onegin had a clear connection with the hero of Methurin: “Onegin’s character was created against the backdrop of... numerous demonic heroes (Melmoth).” -The demonic Melmoth and his closest literary “ancestor” - Goethe’s Mephistopheles - turned out to be especially relevant for Pushkin during the period of the so-called southern crisis, the poetic expression of which became the poems “The Demon” and “The Desert Sower of Freedom...”. These two poems show the scale of Pushkin’s crisis: this is not only political skepticism associated with the collapse of freedom-loving hopes, but it is a revolution of the entire worldview - a complete revision of the previous “hot enthusiasm” in the light of the new “cold of doubt.” The Southern Crisis is the most important creative and spiritual crossroads in Pushkin’s entire life; and the fact that the crisis poems “The Desert Sower of Freedom...” and “The Demon” in their final form arose from the drafts of “Eugene Onegin” (they were, as it were, born of the novel itself) is obvious evidence that the main creative result of the southern crisis - and at the same time overcoming, a way out of the crisis - was the comprehensive plan of “Eugene Onegin”!
So, Pushkin’s task was to give a deep image of the “hero of the time”; the time was truly dominated by the “spirit of denial,” when the murmur of eternal dissatisfaction, the individualistic-rebellious pride of the mind and the “numbness” and coolness of feelings were different symptoms of one “disease of skepticism” that struck modern man. Let us repeat once again the fair idea that understanding the image of Onegin “requires, first of all, comparison with the demonic heroes of world literature” (I. Medvedeva). But, giving his hero the scale not of an “everyday type”, but of an “eternal”, philosophical image, Pushkin at the same time wanted to find for his “spirit of denial” (and Pushkin’s “Note on the poem “Demon”) the unique individuality of a modern person experiencing “demonism” "as your own, personal destiny. And this again reflected the universalism of Pushkin’s work: this is not only a philosophical poetic novel - but also “a historical poem in the full sense of the word” (V. Belinsky).
The synthetically complex nature of Onegin's image has been noted more than once by Soviet researchers. “Onegin had to bear the traits of demonism” - however, he “first of all had to be a Russian character, organically connected with Russian reality” (I. Medvedeva); “The image of Onegin is synthetic... Onegin included both the thoughtless “young rake” and the “demon” tempting providence with his “caustic speech” (I. Semenko).. The universalism of Pushkin’s novel demanded special method hero images. Already in Pushkin’s lifetime criticism, it was noted that “onegin’s description could belong to a thousand different characters,” because the author did not give his hero “a specific physiognomy.” In Soviet Pushkin studies, this circumstance received a convincing explanation: Onegin’s “character” cannot be considered as the “characters” of heroes created at a later stage of development realism XIX V. ...Pushkin’s method is a method of generalizations, different from those of “his predecessors and even heirs... he builds the image of a problematic hero as an image in which the breadth of generalization and variety of aspects prevails over psychological detail... Onegin - artistic image, V. in which every feature, and especially something as serious as disappointment, is a condensation, a concentration of an idea.” Let us also remember here the term by Yu. Tynyanov - the sign of a hero”; Using this expression to denote Pushkin’s method of artistic typification and noting that Pushkin seemed to circle a certain complex of contradictory and diverse properties and traits of his hero “with a circle of his name,” the researcher probably had in mind the peculiar emblematic nature of the construction of the image in Pushkin’s novel. Not a “psychological” portrait, but an “emblematic” silhouette - this, in short, is the feature of the imagery of “Eugene Onegin”, which at the same time corresponded to the universality of the novel, and provided the opportunity for the manifestation of a variety of “faces” of the hero as the free novel unfolded in time.
In that most complex spiritual phenomenon, which is called Eugene Onegin, there are two main centers - as it were, two poles of this image. One of them is skeptical coolness, “demonism”; Pushkin speaks about something else in the first chapter after listing the “abilities” of his hero: “What a true genius he was” - and then follows the description of Eugene as a “genius of love.” At first, it can be considered a semi-ironic definition of the hero’s virtuoso Don Juanism, those successes in the “science of tender passion” that the “young rake” demonstrates. However, as the novel approaches the finale, it turns out that Pushkin’s hero is truly a genius of love, that this is “the highest gift of his nature and that in the multi-component image of Eugene this beginning is opposed to another - Onegin’s demonism. These two poles are the “genius of love” and the “spirit denials" - not only "accumulate" the drama of the hero, but also, as it were, store the potency of the entire development of the novel.
Pushkin's novel is a study of the fate of the hero of the time, a study carried out using an innovative "free" form. Pushkin’s very definition of his own novel as “free” is ambiguous: here is the problem of freedom in the novel, and its internal structure(“free” relationship between the two authors), and, finally, that feature of the plot development of “Eugene Onegin”, thanks to which each chapter of it was published separately and, indeed, has great independence in overall composition. This feature is organically connected with Pushkin’s initial focus on movement, the evolution of his hero (and the novel as a whole) parallel to the development of real historical time. The great Pushkin cultural and ideological novel also became a unique artistic and historical study, in which the fate of the Hero, the fate of the Author and the fate of the Creator were decided, and with them the fate of the entire Pushkin generation.
A. Tarkhov
Sources:
- Pushkin A.S. Eugene Onegin. Enter, article and commentary. A. Tarkhova. M., “Art. lit.”, 1978. 302. p. (School library) Annotation: Readers are invited to the first experience of an annotated edition of the novel in verse by A. S. Pushkin “Eugene Onegin” - the poet’s greatest creation: “Here is all his life, all his soul, all his love; here are his feelings, concepts, ideals. To evaluate such a work means to evaluate the poet himself in all the volume of his creative activity"(V. G. Belinsky).
Updated: 2011-09-10
.Useful material on this topic
- Works of A.S. Pushkin. The cultural significance of ethics and morality in the works of A.S. Pushkin, as the main meaning of the novel “Eugene Onegin”. Examples from the novel “Eugene Onegin”
I liked his features.
A. S. Pushkin
With the title of the novel, Pushkin emphasizes the central position of Onegin among other heroes of the work. Onegin is a secular young man, a metropolitan aristocrat, who received a typical upbringing for that time under the guidance of a French tutor. He leads the lifestyle of the “golden youth”: balls, walks along Nevsky Prospect, visiting theaters. Although Onegin studied “something and somehow,” he still has high level culture. Pushkin's hero is a product of the society in which he lives, but at the same time he is alien to it. His nobility of soul and “sharp, cool mind” set him apart from the aristocratic youth and gradually lead to disappointment in the life and interests of secular society, to dissatisfaction with the political and social situation:
No, his feelings cooled down early, He was tired of the noise of the world...
The emptiness of life torments Onegin, he is overcome by melancholy and boredom, and he leaves secular society, trying to engage in socially useful activities. The lordly upbringing and lack of habit of work (“he was sick of persistent work”) played their role, and Onegin does not complete any of his undertakings. He lives “without purpose, without work.” In the village, Onegin behaves humanely towards the peasants, but he does not think about their fate, he is more concerned about his own moods, the feeling of the emptiness of life.
Onegin rejects the love of Tatyana Larina, a gifted, morally pure girl, unable to unravel the depth of her needs and the uniqueness of her nature. Onegin kills his friend Lensky, succumbing to class prejudices, afraid of “the whispers, the laughter of fools.” In a depressed state of mind (“in the anguish of heartfelt remorse”), Onegin leaves the village and begins wandering around Russia. These wanderings give him the opportunity to see life more fully, to understand how fruitlessly he wasted his years.
Onegin returns to the capital and encounters the same picture of the life of secular society. (“He returned and, like Chatsky, got from the ship to the ball”). Love for Tatyana flares up in him - now married woman. Tatiana rejects Onegin's love. In the high-society beauty, who behaves with such cold dignity, he cannot detect even a trace of the former Tanya. With Onegin’s love for Tatyana, Pushkin emphasizes that his hero is capable of moral rebirth, that this is a person who has not lost interest in everything, the forces of life are still boiling in him. Onegin writes a letter to Tatyana. Opening his soul to the woman he loves, he now does not at all look like the metropolitan dandy who once read her a “sermon.” Pushkin leaves his hero at an “evil” moment for Onegin, after farewell words Tatiana: “I ask you to leave me.”
Pushkin burned the last chapter of the novel, and we will not know future fate Onegin. Young noble intellectual early XIX century, Eugene Onegin is a realistic type. This is a person whose life and destiny are determined both by his personal qualities and by a certain social environment of the 18-20s. In the image of Onegin, Pushkin showed the path followed by part of the enlightened intelligentsia. On the one hand, they refused to serve tsarism and were critical of the way of life noble society, on the other hand, they stood aloof from socially useful activities. This doomed them to inactivity. In Onegin, Pushkin showed the traits of a “superfluous man”, which we will later see in Pechorin and other characters of Lermontov, Turgenev, Goncharov.
Writers have always strived for a realistic depiction of Russian life; but for the time being these images lacked artistry, free creativity. Pushkin brought beauty, a powerful aesthetic principle to Russian literature; Artistically depicting Russian reality, he at the same time firmly took the position of deep realism.
A.S. Pushkin’s novel “Eugene Onegin” is a historical, philosophical work, it is a novel-life. The pictures of Russian society depicted in the novel are the most important material for the analysis of the era, characters, morals, and traditions.
"Eugene Onegin" is one of the most original novels in Russian literature. And Pushkin, of course, understood this. Before him, novels were written in prose, because the “prose” genre is more suitable for depicting the details of life, and for showing it in general. In the poetic genre it is different. When an author writes poetry, he involuntarily reveals his inner world, shows his “I”, reflects life through the prism of his own ideas.
In the novel in verse “Eugene Onegin” Pushkin shows a picture of his era and does not separate it from himself. In the novel, fictional characters live, love, and suffer, but they are almost inseparable from the author. The story about their life is a diary of the author's soul.
Pushkin’s innovative decision was the appearance in the novel unusual image, the image of the author. And the search for correlations between this image and the images of the heroes.
The novel is called "Eugene Onegin", it is natural to assume that one of the main characters of the novel is the character of the same name. Reading line by line, we understand that along with him, the author also plays a full role in the novel. The author is invisibly present where his heroes are. He is not a soulless verbal narrator; we can notice this both from the lyrical digressions and from the main storyline. The author constantly intrudes into the field of narration, argues in various topics, creates a certain mood, clarifies details. The author and I feel better; he is the link between the characters and us.
The author has a special relationship with Evgeny Onegin. The author is older than Onegin, he “has not sinned for a long time.” They are somewhat similar. Both are of the nobility. Both are fluent French. Reading circle of Onegin - Byron, Methurin. But Pushkin himself read the same thing!
Byron's work "Childe Harold's Pilgrimage" is Onegin's favorite book. Pushkin and his contemporaries also read to her. Childe-Harold's melancholy, despondency, and disappointment were even “copied” by some representatives high society; the mask of a bored man was popular.
As for Maturin, both Onegin and Pushkin were interested in his novel “Melmoth the Wanderer”.
At this stage we will do lyrical digression and let's say that in the novel we do not identify the author with Alexander Sergeevich Pushkin. Pushkin and the author (the speech narrator in the novel) are not the same person. Although their biographies partly coincide.
The writer A. Tarkhov notes that the existence of two “I” (a certain author and the real poet Pushkin) is one of the main intrigues (contradictions) of the “free novel” “Eugene Onegin”.
Let's return to our heroes. How does the author feel about Eugene Onegin? With irony, but one cannot help but notice that with undisguised sympathy too. Although…
“I’m always glad to notice the difference
Between Onegin and me"
The similarities between the characters are present in their upbringing and education. The author notes with irony:
"We all learned a little bit
Something and somehow
So upbringing, thank God,
It’s no wonder to shine here.”
In what other ways are Onegin and the author similar and in what ways different?
They both know the banks of the Neva. Onegin tried to take up the pen, “but he was sick of persistent work,” the author is not like that. He belongs to the “perky guild” of writers.
For Onegin, theater and ballet are not temples of art where beauty and emotions are born, they are a place for flirting, romance, and sighing.
“The theater is an evil legislator,
Fickle Adorer
Charming actresses
Honorary citizen of the scenes."
“I was embittered, he was sullen;
We both knew the game of passion;
Life tormented both of us;
The heat died down in both hearts;
Anger awaited both
Blind Fortune and People
In the very morning of our days."
The difference between the types can also be traced in the fact that Onegin noticed “that in the village there is the same boredom,” and the author “was born ... for village silence.”
The image of Onegin in the novel is not static, it undergoes changes. It is at a time when Onegin experiences true disappointment that the author becomes close to “ good friend"Onegin, tries to develop in him creativity, teach to write poetry. But this attempt was not crowned with success, because “he could not distinguish iambic from trochee, no matter how hard we fought.”
As the plot develops, we see that the worldview of the author and Onegin changes. Onegin understood a lot, felt a lot. The author also became different. Onegin in the finale of the novel is more loyal and understandable; he is closer to the author.
How will it turn out? future life Evgenia? I would like to hope that it is successful. Evgeniy has positive inclinations. The problem is that there is a gap between Onegin’s potential and the role that he has chosen for himself in society.
Conclusion
In the novel “Eugene Onegin” the same wonderful image of the “responding poet” appears. The author in the novel is not Pushkin, he is an independent hero, a full participant in events. The author and Onegin are similar in many ways. They think about life, are critical of many things, and are characterized by an intense search for a goal in life. They are taller than the crowd that surrounds them. But at the same time, they are different. The author treats Evgeniy ironically, but with obvious sympathy. The difference in the views of these two types was established in the first chapter. That is, the i's are dotted at the very beginning.
The author, whom Pushkin wisely made the hero of the novel, opens up with us and gives the necessary explanations. Thanks to the author, we better understand the image of Onegin, the images of other heroes of the work, and we better understand the plot line of the novel.