How is Onegin treated in a secular society. The image of a secular society in the novel "Eugene Onegin" and the comedy "Woe from Wit". Abstract. B) A. Griboyedov "Woe from Wit"

Human consciousness, the system of life values, as you know, is largely shaped by the moral laws adopted in society. Pushkin writes in the novel about both the metropolitan and the Moscow and provincial nobility.
The author of the novel pays special attention to the St. Petersburg nobility, a typical representative of which is Eugene Onegin. The poet describes in every detail the day of his hero, and Onegin's day is a typical day of a capital nobleman. Thus, Pushkin recreates a picture of the life of the entire St. Petersburg secular society. Fashionable

Daytime walking along a certain route (“Wearing a wide bolivar, Onegin goes to the boulevard ...”), lunch at a restaurant, a visit to the theater. Moreover, for Onegin, the theater is not an artistic show or even a kind of club, but rather a place of love intrigues, behind-the-scenes hobbies. Pushkin gives his hero the following characteristics:
The theater is an evil legislator
Fickle adorer
Charming actresses
Honorary Citizen of the wings ...
Pushkin describes Onegin's office in great detail, his outfit. The author, as it were, wishes to once again emphasize the isolation of young people of that time from the national soil, because from early childhood they were in the atmosphere of a foreign language, people (governesses and governors are foreigners) and things. (“But pantaloons, a tailcoat, a vest, All these words are not in Russian ...“). The day of the young dandy ends the ball, a favorite pastime of the capital's nobles.
Pushkin speaks of St. Petersburg high society with a fair amount of irony and without much sympathy, for life in the capital is "monotonous and variegated", and "the noise of the world gets bored very quickly."
The local, provincial nobility is represented very widely in the novel. This is Onegin's uncle, the Larin family, guests at Tatyana's birthday, Zaretsky.
Onegin's uncle was a “village old-timer”, engaged in cursing with the housekeeper, looking out the window, crushing flies and reading “the eighth year calendar”.
Outstanding representatives of the provincial nobility gather at Tatyana's name days: Gvozdin, “an excellent master, owner of poor men”; Petushkov, “county frantik”; Flyanov, "a heavy gossip, an old rogue." If Pushkin introduces real historical figures, such as Kaverin, into the story of the capital's nobility, then in this case the author uses the names of famous literary characters: Skotinins are the heroes of Fonvizin's "The Minor", Buyanov is the hero of VL Pushkin's Dangerous Neighbor. The author also uses speaking surnames. For example, Trike means “beaten with a stick” - a hint that he cannot be accepted in high society, but in the provinces he is a welcome guest.
Not far from Lenskoye lives Zaretsky, “once a brawler”, “head of the rake”, now “the father of the family is single”, “peaceful landowner”. But he can in no way be called a decent person, because he loves “friends to embroil the young / And put them on the barrier”. This is the case with Lensky and Onegin. In general, Zaretsky is responsible for the death of Lensky; although he, as a second, could prevent the duel, he did everything possible to make it happen.
And Vladimir Lensky can be attributed to the local nobles. He is “romantic and nothing else,” according to Belinsky's definition. As a romantic, he does not know life at all, he sees people either in pink or in black light (“He was an ignoramus with his dear heart ...“). He is alienated from the national culture, perhaps more than Onegin (the neighbors call Lensky a semi-Russian). Talking about the future of Vladimir Lensky, Pushkin sees two possible paths. Following the first of them, he could become Kutuzov, Nelson or Napoleon, or even end his life like this, like Ryleev, because Lensky is a passionate person, capable of a reckless, but heroic act (in this he is close to Pushkin). But his trouble is that the environment in which he finds himself is hostile to him, in it he is considered an eccentric. Lensky would rather take the second path:
Or maybe that: a poet
The ordinary one was waiting for his fate.
He would become an ordinary landowner, like Onegin's uncle or Dmitry Larin.
Larin, about whom Belinsky says that he is “something like a polyp belonging at the same time to two kingdoms of nature - plant and animal”, was a “good fellow”, but generally an ordinary person (evidence of this is the Ochakov medal , which was not an individual award, unlike the order). His wife was fond of books in her youth, but this hobby was rather age-related. She got married against her will, was taken to the village, where “she was torn and cried at first,” but then she took up the household, “got used to it and became happy”.
The world of the local nobility is far from perfect, because spiritual interests and needs are not decisive in it, as well as intellectual interests (“Their prudent conversation About haymaking, about wine; About a kennel, about their relatives”). However, Pushkin writes about him with greater sympathy than about St. Petersburg. In the provincial nobility, naturalness and spontaneity are preserved as properties of human nature (“Neighbors are a good family, / Unceremonious friends”). The local nobles, in terms of their attitude and way of life, were quite close to the people. This is manifested in relation to nature and religion, in the observance of traditions (“They kept in their peaceful life the Habits of the dear old days ...“).
Pushkin pays less attention to the Moscow nobility than to the Petersburg one. Several years have passed since the time when Pushkin wrote the 1st chapter of his novel, and A.S. Griboyedov finished the comedy "Woe from Wit", but Pushkin introduces Griboyedov's lines into the epigraph of the seventh chapter, thereby emphasizing that since then in Moscow little has changed. The ancient capital has always been distinguished by its patriarchy. For example, a gray-haired Kalmyk meets Tatyana at her aunt's, and the fashion for Kalmyks was at the end of the 18th century. The Moscow nobility is a collective image, in contrast to the St. Petersburg one, where Eugene Onegin is the main character. Pushkin, speaking of Moscow, as if inhabits it with the heroes of the Griboyedov comedy, whom time has not changed (“But there is no change in them, Everything in them is on the old model…”). A real historical person also appears in Moscow society: “Vyazemsky somehow got hooked on her (Tatyana)…“. But in Moscow, too, the same bustle, “noise, laughter, running around, bows” that leave both Tatyana and the author indifferent.
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 limit, which he is preparing to step over: "Can I really be thirty soon?" And he calls on the "young inspiration" to save the "poet's soul" from death, not to give
… get stoned
In the deadening rapture of light,
In this pool, where I am with you
Swimming, dear friends!
So, a whirlpool that deadens the soul.
But here's the 8th chapter:
... and now I am a muse for the first time
I bring you to a social event.
And what?
She likes the orderly order of Oligarchic conversations, And the coldness of calm Pride, And this mixture of ranks and years.
Yu. Lotman explains this contradiction very correctly: “The image of light received double illumination: on the one hand, the world is soulless and mechanistic, it remained an object of condemnation, on the other, as a sphere in which Russian culture develops, life is spiritualized by the play of intellectual and spiritual forces, Poetry, pride, like the world of Karamzin and the Decembrists, Zhukovsky and the author of Eugene Onegin himself, it retains its unconditional value.
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. "

In the novel "Eugene Onegin" Pushkin outlined with light strokes the nobility - the people in whose society Eugene Onegin moved, and with whom, in addition to the main characters, he had to maintain relations and communicate. The metropolitan nobility was strikingly different from the provincial landowners who lived in the outback. This gap was all the more noticeable the less often the landowners went to the capital. Interests, level of culture, education of those and others often found themselves at different stages.

The images of the landowners and the nobility of high society were only partly fictitious. Pushkin himself moved in their midst, and most of the paintings depicted in the work were spied on at social events, balls, dinners. The poet communicated with the provincial society during his forced exile in Mikhailovskoye and during his stay in Boldino. Therefore, the life of the nobility, in the countryside, in Moscow and St. Petersburg, is portrayed to the poets with knowledge of the matter.

Provincial landed nobility

Along with the Larin family, other landowners lived in the province. The reader meets most of them at the name day. But some strokes-sketches for the portraits of the landlord neighbors can be seen in the second chapter, when Onegin settled in the village. Simple in their spiritual disposition, even somewhat primitive people tried to make friends with a new neighbor, but as soon as he saw an approaching droshky, he mounted a horse and left the back porch so as not to be noticed. The maneuver of the newly-minted landowner was noticed, and the neighbors, offended in their best intentions, stopped their attempts to make friends with Onegin. Pushkin interestingly describes the reaction to the replacement of corvee by quitrent:

But he sulked in his corner,
Seeing this terrible harm,
His calculating neighbor;
Another smiled slyly
And in a voice they all decided so,
That he is the most dangerous eccentric.

The attitude of the nobles towards Onegin became hostile. Sharp-tongued gossips began to talk about him:

“Our neighbor is ignorant; crazy;
He is a freemason; he drinks one
A glass of red wine;
He does not fit ladies to the handle;
Everything Yes Yes No; won't tell yes, with
Ile no with". That was the general voice.

Invented stories can show the level of intelligence and education of people. And since he left much to be desired, Lensky was also not happy with his neighbors, although out of politeness he paid them visits. Though

Gentlemen of neighboring villages
He didn't like feasts;

Some landowners, whose daughters were growing up, dreamed of getting a "rich neighbor" as their son-in-law. And since Lensky did not seek to get into someone's skillfully placed nets, he also began to visit his neighbors less and less:

He ran their noisy conversations.
Their conversation is prudent
About haymaking, about wine,
About the kennel, about his relatives.

In addition, Lensky was in love with Olga Larina and spent almost all of his evenings with their family.

Almost all the neighbors came to Tatiana's name day:

With his burly wife
Fat Pidyakov has arrived;
Gvozdin, excellent master,
Owner of beggar men;

Here Pushkin is clearly being ironic. But, unfortunately, there were quite a few of the landowners like Gvozdins who ripped off their peasants like sticky.

Skotinins, a gray-haired couple,
With children of all ages, counting
Thirty to two years old;
County frantik Petushkov,
My cousin brother, Buyanov,
In fluff, in a cap with a visor
(As you, of course, know him),
And a retired adviser Flyanov,
Heavy gossip, old rogue
Glutton, bribe-taker and jester.

XXVII

With the family of Panfil Kharlikov
Monsieur Triquet also arrived,
Wit, recently from Tambov,
With glasses and a red wig.

Pushkin does not need to waste long stanzas describing the landlord guests. The names spoke for themselves.

The celebration was attended not only by landowners representing several generations. The older generation was represented by the Skotinins, a couple of gray-haired ones, they were clearly over 50, a retired adviser to the Flyanovs, he was also well over 40. Each family had children who made up the younger generation who were happy with the regimental orchestra and dances.

The provincial nobility tries to imitate the capital by organizing balls and parties, but here everything is much more modest. Whereas in St. Petersburg, dishes prepared by French chefs from overseas products are offered, in the provinces, their own supplies are put on the table. The salted, fatty pie was prepared by the courtyard chefs, and the liqueurs and liqueurs were made from berries and fruits harvested in their own garden.

In the next chapter, which describes the preparation for a duel, the reader will meet another landowner

Zaretsky, once a brawler,
Ataman of the card gang,
The head of the rake, the tavern tribune,
Now kind and simple
The father of the family is single,
Reliable friend, peaceful landowner
And even an honest man.

This is him, Onegin is afraid, and did not dare to offer Lensky reconciliation. He knew that Zaretsky could

Friends quarrel young
And put them on the barrier,
Or make them reconcile,
In order to have breakfast for three,
And after secretly dishonor
A funny joke, a lie.

Moscow noble society

Tatiana did not come to Moscow by accident. She came with her mother to the bride fair. Close relatives of the Larins lived in Moscow, and Tatyana and her mother stayed with them. In Moscow, Tatiana came close to the noble society, which was more archaic and frozen than in St. Petersburg or the provinces.

In Moscow, Tanya was greeted by her relatives warmly and sincerely. The old women scattered in their memories, the "young graces of Moscow", having looked closely at their new relative and friend, found a common language with her, shared the secrets of beauty and fashion, talked about their heartfelt victories and tried to extort her secrets from Tatyana. But

the secret of my heart,
A treasured treasure of tears and happiness,
Keeps silent in the meantime
And it is not shared with anyone.

Guests came to the mansion of Alina's aunt. To avoid looking overly absent-minded or arrogant,

Tatiana wants to listen
In conversations, in general conversation;
But everyone in the living room is occupied
Such incoherent, vulgar nonsense;
Everything about them is so pale, indifferent;
They slander even boringly.

All this was not interesting to the romantically inclined girl, who, deep in her soul, might have expected some kind of miracle. She often stood somewhere on the sidelines, and only

Archival youths in a crowd
They look primly at Tanya
And about her among themselves
They speak unfavorably.

Of course, such "archival youths" could not interest the young lady. Here Pushkin used the Old Slavonic form of the adjective to emphasize the belonging of the "youths" to the "past century." At the end of the 18th and the first half of the 19th century, late marriages were not uncommon. Men were forced to serve in order to make a certain fortune, and only then they got married. But they chose young girls as brides. So, age-unequal marriages were not uncommon at that time. They looked down on the provincial young lady.

Together with her mother or cousins, Tatyana attended theaters, she was taken to Moscow balls.

There is tightness, excitement, heat,
Music roar, candles shine,
A flicker, a whirlwind of fast steam,
Beauties light hats,
Choirs dazzling with people,
Brides are a vast semicircle,
All the senses are suddenly struck.
Here the dandies seem to be
Your insolence, your vest
And an inattentive lorgnette.
Hussars are here for vacation
In a hurry to appear, thunder,
Shine, captivate and fly away.

At one of the balls, her future husband drew attention to Tatyana.

Nobles of Petersburg

In the first part of the poetic novel, the secular society of St. Petersburg was described with light sketches, a look from the side. Pushkin writes about Onegin's father that

Serving perfectly nobly,
His father lived in debt,
Gave three balls annually
And he skipped at last.

Not only Onegin Sr. lived in this way. For many nobles, this was the norm. Another touch of the secular society of St. Petersburg:

Here is my Onegin at large;
Cut in the latest fashion
How dandy London dressed -
Finally I saw the light.
He is in French perfectly
I could express myself and write;
Easily danced the mazurka
And bowed at ease;
What is more to you? The light decided
That he is smart and very nice.

By description, Pushkin shows what interests and worldviews the aristocratic youth have.

No one is embarrassed that the young man does not serve anywhere. If a noble family has estates and serfs, then why serve? In the eyes of some mothers, perhaps Onegin was a good match for their daughters to marry. This is one of the reasons why the world welcomes and invites young people to balls and dinners.

Sometimes he was still in bed:
They carry notes to him.
What? Invitations? Indeed,
Three houses for the evening are called:
There will be a ball, there will be a children's party.

But Onegin, as you know, did not seek to tie the knot. Although he was a connoisseur of the "science of tender passion."

Pushkin describes the ball to which Onegin arrived. This description also serves as an outline for the characterization of St. Petersburg mores. At such balls, young people met, fell in love

I was crazy about balls:
Rather, there is no room for confessions
And for the delivery of the letter.
O you, honorable spouses!
I will offer you my services;
Please note my speech:
I want to warn you.
You too, mamas, are stricter
Follow your daughters:
Keep your lorgnette straight!

At the end of the novel, the St. Petersburg secular society is no longer as impersonal as at the beginning.

Through the close row of aristocrats
Military dandies, diplomats
And of proud ladies she slips;
She sat down quietly and looked,
Admiring the noisy cramped area,
Flashing dresses and speeches
The phenomenon of slow guests
Before the young mistress ...

The author introduces the reader to Nina Voronskaya, a dazzling beauty. Pushkin gives a detailed portrait of the secular society of the capital in the description of the dinner at Tatiana's house. Here gathered, as they said then, all the cream of society. Describing the people attending the dinner, Pushkin shows how high Tatyana rose up the hierarchical ladder, having married a prince, a military officer and veteran of the Patriotic War of 1812.

the color of the capital,
And know, and fashion samples,
Faces we meet everywhere
Necessary fools;
There were elderly ladies
In caps and roses, seemingly evil;
There were several girls here
Not smiling faces;
There was a messenger who spoke
On public affairs;
There was fragrant gray hair
The old man who joked in the old way:
Superbly subtle and clever
Which is somewhat ridiculous these days.

Here I was greedy for epigrams,
An angry gentleman at everything:

But, along with representatives of the high society, several random persons who came here for various reasons were present at the dinner.

There was Prolasov, who deserved
Famous for the baseness of the soul,
Blunt in all albums,
St.-Priest, your pencils;
At the door another dictator ballroom
Was a magazine picture,
Blush, like a cherub,
Tightened, dumb and immovable,
And a stray traveler
Over-starched impudent.

The noble status made very high demands on its representatives. And in Russia there were many truly worthy nobles. But in the novel "Eugene Onegin" Pushkin shows along with splendor and luxury, vices, emptiness and vulgarity. The propensity to spend, life beyond our means, and the desire to imitate, unwillingness to serve and benefit society, the impracticality and carelessness of a secular society are fully shown in the novel. These lines were intended to make readers think, most of whom represented this very nobility, to reconsider their way of life. It is not surprising that Eugene Onegin was received ambiguously by the reading public, and not always favorably.

Onegin's character was not invented by Pushkin. In this image, he summarized the features typical of many young people of that time. These are people provided with the labor of serfs, who received the most disorderly education. But unlike the vast majority of representatives of the ruling class of landowners, who calmly and serenely treated both their idle life and the position of the oppressed people, these young people, smarter, more sensitive, more conscientious and noble, experienced dissatisfaction with their environment, with everything social order and at the same time dissatisfaction with oneself. Unaccustomed either by their upbringing or their social status to work, to work, to active actions, they did not even think to fight against the unjust social system, against representatives of the noble class corrupted by this system. They contemptuously closed in on themselves, felt disappointed in life, embittered at everything and everyone.

They stood out sharply among the secular crowd, seemed like some strange people in society, but they themselves continued to lead the same empty, empty secular (in the city) or landlord (in the countryside) life, well understanding all its emptyness and not experiencing it nothing but boredom and heartache. Pushkin perfectly characterizes the feelings of boredom and hopelessness inherent in these people in the following verses of the XI stanza of the eighth chapter:

* It is unbearable to see in front of you
* Some dinners have a long row,
* Look at life as a rite of passage,
* And following the decorous crowd
* Go without sharing with her
* No shared opinions, no passions.

Pushkin portrays Onegin, of course, as an egoist, but he is not a smug, selfish in love with himself, but, as the great critic Belinsky correctly called Onegin, “a suffering egoist”. Onegin, apparently, understands that one of the main sources of his melancholy, "blues" is the lack of work, any kind of social activity. But he is so smart that he cannot follow the well-trodden paths available at that time to a young nobleman who wants to find himself a "useful" occupation. He will not serve either as an officer or as an official, because he understands (or feels) that this would mean actively supporting the system, the injustices of which are the ultimate cause of his melancholy and disappointment.

He could not make the goal of his life certain minor improvements in the work or life of his peasants, feeling that these would be separate patches, insignificant, private measures that would not solve the main and main problem of abolishing peasant slavery and serfdom ...

The only thing to which a young enlightened nobleman like Onegin could adequately devote all his energies, his whole life, would be a direct struggle against the main evil of Russian life at that time - serfdom and tsarist autocracy. But we have already seen that this is precisely what he was not capable of due to his upbringing and living conditions, which killed all social activity in him. "Longing laziness" - this is a characteristic feature of Onegin, "hard work he was sick of ...".

Among this milieu there were advanced, enlightened nobles and those who managed to overcome their class egoism, who had the dismal impressions of the plight of the peasants, of the cruel torment of the soldiers, of the rudeness and reactionary nature of the autocracy, prevailed over the harmful consequences of their upbringing and social position. They resolutely embarked on the path of a revolutionary struggle against the tsarist government, the struggle for the overthrow of the autocracy and the abolition of serfdom. Such were the Decembrists, who, just in the years when Pushkin's novel (1819-1825) is taking place, secretly prepared a revolutionary uprising; such was Pushkin himself, who, with his revolutionary poems, instilled in readers a hatred for the oppressors, a passionate love for freedom and for the homeland, a thirst for revolutionary deeds.

People like Onegin did not belong to this category of noble revolutionaries. But the fact that they felt uncomfortable in the social environment of that time, were sad, depressed, suggests that they nevertheless stood much higher than the general level of the noble youth. And if the circumstances of Onegin's life helped him to recover from selfishness, from proud inattention to those around him, then it would be quite natural and natural for him to come closer to people who share his main views, his sharply negative attitude towards the existing system - with the Decembrist revolutionaries.

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The 19th century can be called the "golden age" of Russian literature. Illuminated by the genius of Pushkin, Lermontov, Gogol, the brilliance of the talent of Zhukovsky, Krylov, Griboyedov, Russian literature in the first half of the 19th century made a truly giant step forward. And, of course, among the many brilliant works that were written in the 19th century, there were also those dedicated to the life of a secular society. The most striking and fully reflecting this issue - the image of a secular society - works are considered the novel by Alexander Pushkin "Eugene Onegin" and the comedy by Alexander S. Griboyedov "Woe from Wit".

"Woe from Wit" by A. Griboyedov and "Eugene Onegin" by A. Pushkin are works dedicated to one period of the life of Russia. This era was significant for the country. After the war of 1812, the opinion of the intelligentsia about the Russian people, who liberated Russia from the tyranny of Napoleon, deeply changed. At the same time, secular society is attracted by foreign trends, fashion, culture, books. All these contradictions were described in their works by the authors. In order to better understand what kind of image of secular society is in these works, I analyzed them in detail and invite you to familiarize yourself with the results obtained.

In the course of work, I set myself the following goals:

To fully disclose the theme "The image of secular society in the works of A. Pushkin and A. S, Griboyedov."
Analyze the works of A. Pushkin "Eugene Onegin" and A. Griboyedov "Woe from Wit".
Immerse yourself in the atmosphere of the 19th century and understand how the secular society of that time lived.
Get acquainted with the scientific literature relevant to this topic.
Assess the relevance of these works to date

Main part.

A) A. Pushkin "Eugene Onegin".

The novel "Eugene Onegin" is one of the most significant works of Russian literature. Its author, A.S. Pushkin, himself belonged to the noble milieu, so he had a fairly complete idea of it.

On the father's side, A.S. Pushkin belonged to an ancient noble family, mentioned in the chronicles since the time of Ivan the Terrible, and Pushkin's mother was the granddaughter of Ibrahim Hannibal, famous by the poet "the arap of Peter the Great". Having received an excellent education, young Pushkin found himself in high society. The connections of his father and the service in the Ministry of Foreign Affairs opened Pushkin's access to the best houses of the big world - the Counts Butulin and Vorontsovs, the Princes Trubetskoy, the Counts Sushkovs. Here Pushkin, at first, with ardent passion was carried away by balls and all the high-society entertainments. But the big light soon bored him, but this fleeting touch of the upper world was enough to understand all its ins and outs, to realize that he was guiding people in this environment, and later to tell about it in his novel “Eugene Onegin”.

The history of the creation of the novel.

On September 13, 1830, in Boldino, Pushkin wrote the eighth, and 25th - the ninth, last, chapter of his novel "Eugene Onegin". The long work was over. With the novel, a whole era of life went into the past. But my heart was restless and sad, the author did not want to say goodbye to his heroes. He expressed this feeling in verse:

The longed-for moment has come: my work for many years is over,

Why is this incomprehensible sadness secretly disturbing me?

With these poems, the author wanted to express his unwillingness to part with his heroes, who during the time of writing the novel became his family, with the society that he described so carefully and thoughtfully. After all, human consciousness, the system of life values, as you know, is largely shaped by the moral laws adopted in society.

Petersburg A.S. Pushkin.

Pushkin writes in the novel about both the metropolitan and the Moscow and provincial nobility. The author of the novel pays special attention to the St. Petersburg nobility.

A.S. Pushkin knew Petersburg. Moreover, he loved this city. Petersburg was for Pushkin a symbol of the greatness and power of Russia. In many of his works, he wrote with love about St. Petersburg. For example, in his work "The Bronze Horseman" he noted:

I love you, Peter's creation,

I love your strict, slender look,

The sovereign current of the Neva,

Coastal granite

The pattern of your fences is cast-iron,

Of your brooding nights

Transparent dusk, moonless shine,

When I'm in my room

I write, I read without an icon lamp,

And the sleeping masses are clear

Deserted streets, and light

Admiralty needle.

And, not letting in the darkness of the night,

To the golden skies

One dawn to change another

Hurries, giving the night half an hour.

But at the same time, as he wrote to his wife, it was "Svinsky Petersburg", where the crowned despots lived, where even the bastions of the Peter and Paul Fortress reminded him of the Decembrists' friends who were in captivity. Pushkin understood that there is no freedom in this city, that the St. Petersburg secular society values, first of all, not thoughts, feelings and soul, but position in society, titles and money.

The image of a secular young man - Eugene Onegin.

It would seem that Eugene Onegin is a typical representative of the Petersburg nobility, but is this so? A.S. Pushkin presents Eugene Onegin in a homely way, in a free, slightly ironic manner - "So the young rake thought", "my good friend." Pushkin, in a quick and short digression, draws a biography of Onegin. The environment to which Onegin belonged shaped his beliefs, his morals, interests and tastes. Living in debt, Onegin's father did not come up with a special system of upbringing for his son - he acted like everyone else: first he hired a Frenchwoman for his son, then a tutor, a “poor Frenchman”. Superficial secular upbringing was a custom, a norm, everyone lived in this environment. Pushkin himself belonged to it and could rightfully say: "We all learned a little, something and somehow." Wednesday determined Onegin's "Occupation", when the time came for "rebellious youth" - "High life".

Eugene Onegin was an educated and well-mannered man, he studied at home:

He is in French perfectly

I could express myself and wrote,

Easily danced the mazurka

And bowed at ease.

In a secular society, honor and public opinion, which created a special type of behavior, were valued above all:

And here is the public opinion!

Spring of honor, our idol!

And that's what the world turns on!

Also Onegin, as a secular young man, is characterized by one day in his life, described by Pushkin.

The morning begins with reading notes with invitations to the ball, then classes in the office of the "pupil of fashion", a walk along the boulevard, lunch at a restaurateur. In the evening - the theater, after the theater, returning home - "to get dressed" - and a trip to the ball:

The theater is an evil legislator
Fickle adorer
Charming actresses
Honorary Citizen of the wings ...

Onegin gets home from the ball only at dawn.

What is my Onegin? Half asleep

He goes to bed from the ball.

Pushkin describes Onegin's office in great detail, his outfit. The author, as it were, wishes to once again emphasize the isolation of young people of that time from the national soil, because from early childhood they were in the atmosphere of a foreign language, people (governesses and governors are foreigners) and things. (“But pantaloons, a tailcoat, a vest, / All these words are not in Russian ...”).

Eugene Onegin is the main character of the work and A.S. Pushkin devoted most of his efforts to revealing his character for the reader. Shortly before the end of the novel, pointing to the lonely Onegin (and he, having returned from the trip, immediately appeared at the reception, in the usual bustle of eternal festivities), Pushkin dropped a truly prophetic remark: "How something superfluous is worth."

True, this remark remained in the chapter's versions. In the canonical text, the corresponding passage looks somewhat different, but also noteworthy:

But who is this in the crowd of the chosen

Is it silent and hazy?

He seems to be a stranger to everyone.

With the outward difference of these characteristics, they are essentially related: in both cases, Onegin is taken in relation to the surrounding society. It is for those who make up the light that Onegin is either superfluous or a stranger. But how could this have happened? After all, we remember that by nature Onegin is a dandy, an adherent of points and social gatherings. But if you leave for a while (as happened with Onegin, who went on a trip), you immediately become an unnecessary, superfluous person. And this is also significant. Within the crowd, a raging of selfish passions is raging. In the exchange of remarks at the card table and in the break between dances, opinions are deduced, the actions of individuals are evaluated, the behavior of entire groups is coordinated.

Such is the secular crowd. Pushkin developed a stable negative attitude towards her.

Secular society as one of the reasons for the duel between Vladimir Lensky and Eugene Onegin.

Another representative of the secular society is Vladimir Lensky.

To my village at the same time

The new landowner galloped

And an equally strict analysis

In the neighborhood, the excuse was given:

Named Vladimir Lenskoy,

With a soul straight from Göttingen,

Handsome, in full bloom of years,

Kant's admirer and poet.

He's from foggy Germany

Brought fruits of scholarship:

Freedom dreams

The spirit is fiery and rather strange

Always a rave speech

And black curls up to the shoulders.

This is what A. Pushkin says about Vladimir Lensky.

Vladimir Lensky is far from real Russian life. It cannot be assigned to a specific category of society. We cannot call him a secular person, because he is far from the world and in his poems he sings "Parting and sadness, and Something, and the fog is distant ...". Lensky is young and sees everything through the prism of age and literature. Lensky idealizes everything. This also proves his choice. Olga is a typical beauty with no personality. She is mediocre, her image has been sung so many times that she lost all her charm. But only Onegin understands this. And what about Onegin?

Eugene Onegin and Vladimir Lensky…. Who are they to each other?

They got along. Wave and stone

Poems and prose, ice and fire

Not so different among themselves.

First by mutual difference

They were boring to each other;

Then I liked it; after

Traveled every day on horseback

And they soon became inseparable.

So people (I first repent)

Friends have nothing to do.

How absurd and insignificant is the quarrel between Onegin and Lensky, and we want to believe: everything will be okay, friends will make up, Lensky will marry his Olga ... However, the duel will take place, one of the friends will die. But who? It is clear even to the most inexperienced reader: Lensky will die. Pushkin imperceptibly, gradually prepared us for this idea.
An accidental quarrel is only a pretext for a duel, and the reason for it, the reason for Lensky's death is much deeper. Indeed, a force enters the quarrel between Onegin and Lensky, which cannot be reversed — the force of "public opinion." And again a secular society! Onegin understands everything perfectly…. He tells himself that he:

Had to lend myself
Not a ball of prejudice
Not an ardent boy, a fighter,
But a husband with honor and intelligence.

Pushkin selects verbs that depict Onegin's state very fully: “blamed himself,” “should have,” “he could,” “he should have disarmed the young heart ...” But why are all these verbs in the past tense? After all, you can still go to Lensky, explain, forget the enmity - it's not too late ... "Alone with his soul" Onegin understood everything. But the trouble is that the ability to stay alone with your conscience and do what your conscience tells you is a rare skill. It takes courage, which the protagonist does not have. And because of this, an innocent person dies - the poet Vladimir Lensky.

Secular society in the countryside.

Belinsky called A. Pushkin's novel “The Encyclopedia of Russian Life. This is its value. In his novel, the author told his readers about all segments of the population. For example, about the serf nobility.

The serf village is central to the composition of the novel. She is shown immediately after Petersburg, as a sharp contrast to it. It helps us understand the difference between a metropolitan secular society and a rural secular society. And are there actually differences?

In the northern capital, time is running fast, in the village it slowly flows. The northern capital has ample opportunities to follow Western fashion, to use the achievements of European civilization, and in the countryside "the mores of our antiquity" reign, the connection between man and nature is strong. Pushkin shows the environment that influenced the formation of the life values of the protagonists. Onegin's childhood and youth passed among the capital's nobility, and Tatyana grew up in the village. The poet paints the local nobility both satirically, ironically, and sympathetically, with notes of nostalgia and a kind smile.

The author sees different origins in the Larins' family. The surname of the landowners comes from the word "lara" - the gods of the hearth. There is a lot of kindness, patriarchal and touching in their country house. The life of the Larins is "peaceful", without envy, anger, cruelty. They are quiet, simple people, hospitable and welcoming. They went through life hand in hand, without great passions, but also without wild quarrels and scenes. Even indifferent and bored Onegin appreciated the warmth of the hearth in the Larin family:

And by the way: Larina is simple,
But a very nice old lady.

The poet is rooted in the habits of "dear old days" followed by Tatyana's parents:

They kept a peaceful life
The habits of cute old times;
They have fatty carnival
There were Russian pancakes;
They fasted twice a year;
Loved the round swing
Songs, round dance ...

She went to work
Salted mushrooms for the winter,
I spent expenses, shaved my foreheads,
I went to the bathhouse on Saturdays.
She beat the maids, angry -
All this without asking her husband.

But, on the other hand, the poet is sad that the life of peaceful village people is completely devoid of spiritual interests, searches, development. They are not interested in:

Tribes of bygone treaties,
The fruits of science, good and evil,
And age-old prejudices
And the fatal secrets of the grave ...

Dmitry Larin is a mediocre, primitive person:

Her father was a kind fellow,
In the past century, belated;
But I saw no harm in books;
He, never reading,
I revered them as empty toys ...

But Tatyana's father was not always a simple master: in his youth he participated in the Russian-Turkish war, earned the rank of foreman and a medal for the capture of Ochakov.

Tatyana's mother sublimely, romantically loved the sergeant of the guard, then experienced a spiritual drama when she was married to an unloved person. A measured, calm life "out of habit" led to internal impoverishment, the extinction of the emotional impulses of Tatyana's mother and her husband. It hurts the poet to realize how easily people turn into ordinary people, slowly living out their days. And yet the Larins' family is the best among the local nobles. In their house, not only the ordinary, unremarkable Olga, the most common type of noble girl of the early 19th century, grew up, but also a spiritually rich nature - Tatiana.

In the portrait of another man in the street, Pushkin has incriminating motives. The poet tells about Onegin's village uncle, who:

For forty years he scolded with the housekeeper,
I looked out the window and crushed the flies.

Two lines show a person's whole life, filled with inexpressible boredom: he spent forty years in a remote village idle, without a family, in petty squabbles.

At Tatyana's birthday we get to know many of the Larins' neighbors and friends. When describing a secular society, a traditional technique is used - “speaking” surnames: Pidyakov, Skotinins. The heroes resemble characters from the comedies of D.I.Fonvizin and A.S. Griboyedov. Gvozdin has a “speaking” surname. It is derived from the verb "to nail". This hero is "an excellent master, the owner of poor men." Pushkin characterizes this landowner in accordance with the everyday logic of serf-owners. After all, he is good who robs the peasants. With murderous irony, the poet describes both a local foreigner, and noble young ladies, and the district franc Petushkov.
In this primitive and immoral world of ordinary people, it is impossible not to "suffocate" the best heroes - Onegin and Tatiana.

The people around them are unbearable. Therefore, Onegin avoided communicating with them, and Tatyana suffered in silence. In a letter to Eugene, she admitted:

Imagine: I'm here alone
Nobody understands me,
My mind is exhausted,
And I must die in silence.

The girl was saved from the influence of a vulgar environment by her kind family, books, closeness to nature and folk culture.
Creating a parody image of the small landed nobility, Pushkin accurately and deeply showed how the way of life in the estate formed, in the main, people narrow-minded, mediocre, unable to think or feel.

In Onegin, Pushkin presents primarily the spiritual and moral character of the noble intelligentsia of the Decembrist era. He personifies the product of that society, that era, but at the same time, in a strange way, he contradicts it. At least, it can be absolutely precisely stated that he stands at a high level of culture of his time, differing in this respect from the majority of the noble society. And this unites him with Chatsky - the main character of the comedy "Woe from Wit" by Alexander Sergeevich Griboyedov.

B) A. Griboyedov "Woe from Wit".

Creation history and major conflicts in comedy.

A.S. Pushkin has a wonderful saying: “Griboyedov did everything. He wrote Woe from Wit. Woe from Wit is an original, highly artistic, socially significant comedy. A.S. Griboyedov worked on his main work for several years. The final revision was completed in the fall of 1824. Each image in the comedy reflects the essence of the real social types of their era. They are not fictional, not abstract, but deeply vital.
In the work, there is an interaction of two conflicts: a love conflict, the main participants of which are Chatsky and Sophia, and a socio-ideological conflict, in which Chatsky collides with the conservatives gathered in the Famusov house. From the point of view of problems, in the foreground is the conflict between the Chatsky and Famusovsky societies, the contradiction between the civic active personality and the socially passive, reactionary majority.

A.S. Griboyedov in his comedy, just like Pushkin, showed the confrontation between the two camps of the Russian nobility in the early 20s of the 19th century. These were the years when the advanced nobles clearly understood the need for changes in the country. A battle began, the apogee of which was the uprising of the Decembrists. The best part of the nobility opposed the customary order, which Griboyedov skillfully described in his work using the example of the Moscow nobility.

Moscow nobility in the comedy by A. Griboyedov "Woe from Wit".

The images of the Moscow nobles in Griboyedov's comedy have many features in common. They are conservatives, opponents of everything new and advanced. These people do not hide their attitude to the changes taking place in the country, on the contrary, they openly speak about their commitment to the past century:

Not that they introduced novelties - never,

God save us! No…

This speaks of their intelligence, their morality. These people are not interested in the individuality, the soul of each person. Here, everyone is assessed according to their financial position or origin and position in society.

We can observe this during the ball scene. Chatsky's conflict with Moscow society was most clearly manifested at the ball at Famusov. The ball scene is the culmination of Griboyedov's comedy. At the ball, Chatsky manages to quarrel with the guests, pass the name of a madman and be condemned by all the society gathered at the ball.

The ball scene is typical of the Moscow Griboyedov era. And Famusov's guests are the most ordinary people of Moscow society at the beginning of the 19th century. Some go to balls out of boredom, others to make acquaintance with the right people, and still others to arrange the fate of their children. People of the same circle gather here, there are no strangers here. And the established rules of conduct are the law.

The first people that Chatsky meets at the ball are the Gorichi spouses. Platon Gorich, a longtime acquaintance of Chatsky, a former military man, after his marriage completely fell under the thumb of his wife. One senses that Chatsky treats Platon Mikhailovich well and is sincerely upset by the change that happened to his old friend. Although he makes fun of Gorich, but with obvious sympathy. And here are the princes Tugoukhovsky with their family, with their many daughters. The first thing that interests the princess is whether Chatsky is married. And how quickly her interest disappears when she finds out that the candidate for groom is not rich! And here is Countess Khryumina: the grandmother and her granddaughter are an old maid. Chatsky responds no less sharply to her caustic remarks. He compares her to the French milliners.
And, of course, Chatsky is outraged by the fact that Moscow society, condemning such rogues as Zagoretsky, does not close the doors for him, but continues to receive him at balls. Khlestova speaks about this most frankly of all because of her stupidity: “I was from him and the doors were locked; yes master to serve ”Empty worthless people who do not want not only any changes, but also do not even want to hear about them. Therefore, Chatsky, who thinks and speaks differently, with his truthfulness causes rejection in this society. That is why the rumor about Chatsky's madness, invented by Sophia, was so easily mistaken for the truth by Famusov's guests. So, the Moscow society pronounces Chatsky a verdict: insane. But Chatsky also pronounces his verdict on Moscow society:

He will come out of the fire unharmed,
Who will have time to stay with you for the day,
Breathe air alone
And in him the reason will survive.

The image of Pavel Famusov as a representative of the Moscow secular society.

If we are talking about the Moscow secular society, we cannot but mention Pavel Afanasyevich Famusov.

Famusov is one of the central figures in the comedy. This is a bright representative of the "past century", he preaches the philosophy of the "fathers", that is, those who have conservative views. The “fathers” in the play are high-ranking officials and at the same time wealthy landowners. This is the Famus Society. They oppose freedom of speech and education. It is in the hands of the Famus society that power is concentrated. Famusov's official position is high enough: he is "a manager in a state place." It is on him that the material condition and success of many people depend: the distribution of ranks and awards, "patronage" to young officials and pensions to old people
Famusov is a staunch defender of everything stagnant. In his opinion, to live correctly means to act in everything “as the fathers did”, to study, “looking at the elders”. The hero praises the Moscow customs, unchanged from century to century:

All their laws have:
For example, we have been doing it from time immemorial,
What honor is there for father and son:
Be bad, but if you have enough
There are two thousand generic souls, -
He and the groom.

The image of Alexander Chatsky.

Alexander Andreevich Chatsky is opposed to the Famus society in comedy, which firmly preserved the traditions of the "past century". He is an advanced man of the "present century", more precisely, of the time when, after the Patriotic War of 1812, which sharpened the consciousness of all strata of Russian society at that time, secret revolutionary circles and political societies began to emerge and develop. Chatsky in the literature of the 20s of the XIX century is a typical image of a “new” person, a positive hero, a Decembrist in terms of views, social behavior, moral convictions, in all minds and souls. His views against the existing foundations of society are becoming more and more harsh.
If Famusov is the defender of the old century, the heyday of serfdom, then Chatsky, with the indignation of a revolutionary Decembrist, speaks of serfdom and serfdom. In the monologue "Who are the judges?" he angrily opposes those people who are the pillars of the noble society. He sharply speaks out against the beloved order of Famusov's golden age of Catherine, "the century of obedience and fear - the century of flattery and arrogance."

Chatsky's ideal is not Maksim Petrovich, an arrogant nobleman and a "hunter to cheat," but an independent, free person, alien to slavish humiliation.

If Famusov, Molchalin, Skalozub consider the service as
a source of personal benefits, service to individuals, not to business, then Chatsky breaks ties with the ministers, leaves the service precisely because he would like to serve the cause, and not flunk before the authorities. “I would be glad to serve, it’s sickening to serve,” he says. He defends the right to serve education, science, literature, but this is difficult in such a society.

If the Famusian society scornfully treats everything that is popular, national, slavishly imitates the external culture of the West, especially France, even neglecting its native language, then Chatsky stands for the development of a national culture that assimilates the best, advanced achievements of European civilization. The clash of Chatsky - a man with a strong-willed character, whole in his feelings, a fighter for an idea - with Famus society is inevitable. This clash is gradually becoming more and more fierce, it is complicated by Chatsky's personal drama - the collapse of his hopes for personal happiness.

Reasons for choosing Sofya Molchalin.

Sophia is a mixture of good instincts with lies, a lively mind with the absence of any hint of ideas and beliefs, confusion of concepts, mental and moral blindness - all this does not have the character of personal vices in her, this can be called common features of her circle.

Let's remember that Sophia was brought up in the Famus society, she received a classical education of that time - poetry, dances, piano and her favorite French novels…. All this left a certain imprint on her character. On the one hand, she has a lively mind, passion and feminine softness, on the other, a lack of understanding of the world around her, which brought her to Molchalin.

“I didn't try! God brought us together! " - she says about her relationship with Molchalin. But is it? And what do we know about Molchalin himself?

He is finally compliant, modest, quiet. And in my heart no misconduct. Aliens and at random does not cut .... That's why I love him! " - this is how Sophia describes Molchalin to Chatskiy, not noticing that "the portrait goes out of the way." Sophia sees in him a modest, poor, not daring to raise her eyes, a young man in love ... And .... patronizes him. She seeks to make him a "boy - husband", and if we remember Famusov's society, then we will understand where Sophia gets these ideas from. After all, it is in this society that such husbands are not uncommon.

In some critical articles (for example, in Goncharov's article “A Million of Torments), Sophia is compared with Pushkinskaya Tatiana, and we can talk about the relevance of this comparison. "The soul was waiting for someone" - says Pushkin about Tatiana in the work "Eugene Onegin", but if we look closely at Sophia Griboyedov, we will understand that Sophia's choice fell on Molchalin by accident. Like Tatyana, she chooses a lover without knowing him, not understanding him, his spiritual qualities. Her soul was waiting for someone

A lively mind, ideas, thought, feelings are ruined in Sophia, so she does not notice in Molchalin what is obvious to others: stupidity, greed, meanness and sycophancy.

The last date of the lovers shows Molchalin in all its glory.

"And now I am taking the form of a lover to please the daughter of such a person ...." And Sophia? “Don't go on. I blame myself all around. But who could have thought that he was so cunning! "

So, we understand that Sophia's choice was mainly due to the limited choice. After all, Sophia, with all her spiritual inclinations, still belongs entirely to the Famus world.

C) Comparison of Onegin and Chatsky.

How are these two heroes alike, the secular Onegin and the enlightener Chatsky, the heroes of different works, but of the same era?

Of course, they come from the same society, they are the same age, both are smart, perceptive, both see the inconsistency of secular life, expose its essence from the veils of external tinsel and glitter. Both are trying to find themselves, find themselves, traveling or changing surroundings. Both have an unfortunate relationship with the weaker sex, but, however, the reasons for this are somewhat different. If Chatsky, still in love with Sophia, gradually becomes disillusioned with her, finding in her character the features of the society he hates, then Onegin, meeting with Tatyana, is already in deep disappointment from life, therefore he reacts nobly to Tatyana's love. But he understands that he is not capable of becoming a decent husband and father of a family, so he fears Tatyana's pure and tender love.

Chatsky personifies a lively mind, advanced aspirations, fire, movement, and a stormy educational activity. Onegin turns out to be more passive against such a background, a person with a fire that is almost extinguished, but which can still be kindled, only someone else has to do it, fan the fire and turn it into a flame.

Conclusion.

“Together with Griboyedov’s contemporary genius creation, Woe from Wit, Pushkin’s poetic novel laid a solid foundation for new Russian poetry, new Russian literature. Prior to these two works, Russian poets still did not know how to be poets, singing objects alien to Russian reality, and almost did not know how to be poets, starting to portray the world of Russian life, "said V. G. Belinsky.

Indeed, these two works played a huge role in the development of Russian literature. After reading them, you can most fully compose your idea of the secular society of that time. Having studied this topic, I realized that the lifestyle of the adherents of a secular society of that time is not very different from the lifestyle of the elite, the so-called high society, of today. Unfortunately, now the soul, sincere feelings and the best character traits are sometimes valued less than money, position, connections. And so I can say that the topic of my essay is relevant to this day. The answers to modern questions and problems can always be found in the classics. Let's read the classics!

Bibliography:

I. E. Kaplan "Analysis of the works of Russian classics".

A. M. Gurevich "The plot of" Eugene Onegin ""

S. Sandomirsky "Onegin's Secret"

I. Medvedev "Woe from Wit"

V. I. Korovin “A. S. Griboyedov. Life and creation"

N. S. Ashukin "Pushkin Moscow"

Arnold Gessen "Pushkin in Moscow"

Magazine "Literature at school" for 2004, 1997

NK Piksanov "Woe from Mind".

I. A. Goncharov "A Million of Torments"

V. Orlov “A. S. Griboyedov and his comedy "

S. E. Shatalov "Heroes of the novel by A. Pushkin" Eugene Onegin "

Internet resources.

Discussion is closed.

Pushkin's understanding of man influenced not only the creation of the image of Onegin, but almost everyone else. This was Pushkin's main principle of creating characters. As a realist artist, he understood that these natural and seemingly eternal human properties appear in different ways in people of different ages, eras or nationalities. Indeed, in different eras, a person is formed under the influence of dissimilar socio-historical circumstances! But does this mean that a person remains unchanged - even under the same conditions of being? It was here that Pushkin came close to the artistic discovery, which was later fully developed by L. Tolstoy and which glorified not only his name, but all Russian literature. Chernyshevsky, a quarter of a century after Pushkin, will call it "the dialectic of the soul." In his understanding, this meant self-movement, the development of the human soul as a result of the struggle and overcoming internal contradictions. This is how it looked in Pushkin's novel.

The secular crowd around Onegin has not changed. The way of life has remained unchanged. The same impressions enter his consciousness. He is forced to make the same speeches. The environment acts on him in the same direction. Does this mean that he too should forever remain a young rake? From Pushkin's point of view, this is impossible. Why? Because youth is over. Onegin is approaching maturity. The need to comprehend the surrounding world and oneself became a vital necessity. Thoughtless pleasure no longer pleases, because compulsion is felt in it. He should be like everyone else! But he does not want and already 'cannot remain faceless or play the roles that are boring to him.

For twenty-two stanzas, Pushkin depicted how Onegin's spiritual devastation begins. He cheerfully goes to the boulevard, but then everything that is laid down for the day is done with a feeling of increasing fatigue. And already in the morning he returns home half asleep and exhausted. The eternal holiday of life takes away no less strength than active work. This is how Onegin matured for the new role of the passive romantic. But why a romantic, and a passive one, and not another type? The type of romantic, draped in the cloak of Byron's Childe Harold, had already taken shape by the early 1820s. Passion for him was widespread in the West and in Russia. To be or seem to be a disappointed romantic was so new and fashionable for those years that it immediately distinguished from the crowd of ordinary rakes. There were creatively gifted romantics. There were active romantics who sought to transform the world and were looking for effective means to fulfill their aspirations. And many of the passive romantics achieved a vivid self-expression: in dreams, in poetry, in fantastic visions, they transformed the world. So, according to the new role, Onegin was supposed to create at least something. And initially Pushkin intended to include his verse observations and considerations in the novel. But later, "Onegin's album", allegedly discovered by Tatyana in the manor house, he removed from the text of the novel and left a short note about this episode:

* Renegade of stormy pleasures,
* Onegin locked himself at home,
* Yawning, took up the pen,
* I wanted to write - but hard work
* He was sick; nothing
* Did not come out of his pen,
* And he did not get into the perky workshop
* People, about whom I am not judging,
* Then, that I belong to them.

Was it only aversion to persistent creative work that prevented Onegin from becoming a poet? Maybe he had no talent - a strong, bright, original talent? In any case, the album option would leave the reader in doubt. By removing him, Pushkin thereby rejected this path of his hero's activity.

So, poetic talent was not discovered, and therefore it is natural to try yourself in science.

Maybe Onegin will have a strong mind, logic and the ability to broad fruitful generalizations:

* And again, betrayed by idleness,
* In that conscience, in that there is no sense,
* Languishing in spiritual emptiness,
* On all different chains;
* He sat down - with a laudable goal "
* And the old days are outdated,
* As women, he left books
* And a shelf with their dusty family
* He pulled up the mourning taffeta.

It means that this hope is buried too. Reading is one thing, but inquisitiveness of the mind, a research approach in perceiving the world, the ability to get to the root of phenomena, an indefatigable thirst to know everything is quite another. The mind manifests itself in generalization, in the ability to find the essence of things and phenomena, to establish a connection between objects and events. The mind discovers new things, erudition repeats the old and combines the already known. Probably, Onegin still understood the difference between them - that is why he tried to appropriate someone else's mind.

Onegin is enough (smart to understand the need to be fully armed with European scholarship. He decided to replenish knowledge - this is true, but not all: he actually tried to correct the shortcomings of his home education. And he soon realized that the "appropriated" fruits of someone else's mind still do not allow to create something new himself. To what extent did Onegin realize this deeply and sharply? We can guess about this. Pushkin showed only the external manifestations of the process of internal experiences, but they allow one to guess what is happening in Onegin's soul. as one by one hope leaves Onegin. The hopes are to become significant, outstanding or even outstanding among mature people, and not frivolous secular rakes. Here is the sequence in which it happens. In the forty-second stanza it is said:

* Freaks of the big world!
* He left all of you before you.

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In the very first lines of the novel, the protagonist, Eugene Onegin, is characterized as a selfish person, caring only about his comfort and well-being, because he is a burden to take care of his dying uncle, pretend to be attentive and caring: But, ...