The problem of the hero Eugene Onegin (Pushkin A.S.). Theme: the strange hero of Pushkin’s novel, and so the plot I. Organizational moment

EVGENY ONEGIN - THE HERO OF A. S. PUSHKIN'S NOVEL
Eugene Onegin... How many times have I heard these words, even before I read the novel. In everyday life, this name has almost become a common noun.
From the very beginning of the work, I realized that Evgeny Onegin is a very strange and, of course, a special person.

He, of course, was in some ways similar to the people around him, had the same hobbies and concerns as them, but at the same time he was sharply different from them. The society in which Onegin lived, which raised him, did everything for its own pleasure, according to its own desire, but Eugene did everything mechanically, did not see the meaning in anything and forced himself to do it because it was fashionable and prestigious.
Onegin cannot know happiness, his soul is closed to real human feelings, and is subject only to fleeting, endless and useless hobbies. For him, probably, there is only a sense of self-worth, independence and the pride with which he treats all the people around him. He doesn't despise them, no. Onegin is simply indifferent to everything, everything is indifferent to him. The hero of the novel seems to submit to society, does not argue with anyone, does not contradict anyone, but at the same time he conflicts with it: he does not care what they think of him. Evgeniy seemed to be joking with his life, never thinking about tomorrow. And again, this is of no use to him. After all, every day is like the next. He simply exists, quietly floating with the flow. He sets fashion as his highest goal; in it he sees almost the law of life.
This regard for the opinions of others, this dependence on light deprives Onegin of real life, of the struggle for happiness; he cannot become himself; he treats everything superficially. Evgeny Onegin sometimes doesn’t even think about what he’s doing: he moves from one activity to another with amazing ease.
Again, following the same fashion, Evgeniy looked after himself very carefully, he was a terrible dude:
Like windy Venus,
When, wearing a man's outfit,
The goddess goes to a masquerade.
Having read further Pushkin's novel, we learn that Onegin met Tatyana Larina and that this acquaintance later changed his fate.
Onegin, brought up by such a society, of course, considers himself very wise, having already experienced everything, seen everything in such a young age and, having learned that young Tatyana fell in love with him, tried to set her on the right path, advised “just take it and throw it away.” “from the head these weaknesses of the soul are love and tenderness.
It was all so simple for him. Like everything else, he treated high feelings jokingly, just playing at love. It seems to me that his attitude towards love is entirely rational and feigned. It is built in the spirit of secular society, the main goal of which is to charm and seduce, to appear in love, and not to actually be one:
How early could he be a hypocrite?
To harbor hope, to be jealous,
To dissuade, to make believe,
Seem gloomy, languish...
No, he did not mock Tanya’s feelings. He simply chose for himself and played well the role of a mentor, an older friend, teaching her to “learn to control yourself.” But in the conversation, perhaps out of habit, he could not resist and left Tanya with little hope:
I love you with the love of a brother
And maybe even more tender...
These words again tell us about Onegin’s undisguised egoism. He never thought about the feelings of others.
In the village, Onegin met his neighbor Lensky, probably only because he was dying of boredom in this wilderness. They spent time together, visited the Larins and were already considered friends. But their friendship ended tragically due to a misunderstanding that occurred due to the fault of Evgeniy and Olga, Lensky’s beloved. Onegin decided to joke and prove to everyone that love does not exist, not realizing that by doing so he would push his friend into the grave. Onegin and Lensky

They fought in a duel, which was also like a game for Eugene. He simply did not feel the full depth of events. Only later, when Eugene killed a man, did he no longer feel his former superiority. I think it was at this moment that a turning point occurred in his soul. After this incident, Eugene Onegin went on a journey, trying to forget and erase the past from his memory.
A few years later, Onegin returns to the capital again, having now truly seen the world. At one of the balls he meets Tatyana. And the image of Tanya, who all this time lived somewhere in the depths of Onegin’s soul, is resurrected in memory. Tatyana was still the same, but Evgeny was amazed, surprised and could not hide his admiration for her:
Is it really the same Tatyana?
That girl... is this a dream?..
Onegin is in love. Finally, his heart knew a real passionate feeling. But now it’s as if fate is laughing at him. Tanya is already a married woman and will be faithful to her husband for the rest of her life. She truly loves Eugene, but despite this, she taught him a lesson that he will remember all his life.
Evgeniy stands...
As if struck by thunder.
What a storm of sensations
Now he's heartbroken!
Isn’t it true, at the end of the novel we even feel sorry for Evgeniy. But life taught him an unforgettable lesson, thanks to which it will be easier for him to live, not to exist, but to live!

In Pushkin’s novel “Eugene Onegin” there is one invisible character who is undeservedly ignored. In the fifth chapter it appears:
XXII
But she, the sisters, without noticing,
Lies in bed with a book,
Going through leaf after leaf,
And he doesn't say anything.
Although this book was not
Neither the sweet inventions of the poet,
No wise truths, no pictures;
But neither Virgil nor Racine,
Neither Scott, nor Byron, nor Seneca,
Not even Ladies Fashion Magazine
So it didn’t interest anyone:
That was, friends, Martyn Zadeka, 33
The head of the Chaldean sages,
Fortune teller, dream interpreter.

XXIII
This is a profound creation
Brought by a nomadic merchant
One day to them in solitude
And finally for Tatyana
Him with the scattered Malvina
He lost for three and a half,
In addition, I also took for them
A collection of local fables,
Grammar, two Petriads,
Yes Marmontel third volume.
Martin Zadeka later became
Tanya's favorite... He is a joy
In all her sorrows he gives her
And sleeps with her constantly.

XXIV
She is troubled by a dream.
Not knowing how to understand him,
Dreams have terrible meaning
Tatyana wants to find it.
Tatyana in a short table of contents
Finds in alphabetical order
Words: forest, storm, witch, spruce,
Hedgehog, darkness, bridge, bear, blizzard
And so on. Her doubts
Martin Zadeka will not decide;
But an ominous dream promises her
There are many sad adventures.
A few days later she
I kept worrying about that.

Pushkin's note 33: Fortune-telling books are published in our country under the company of Martyn Zadeka, a respectable man who has never written fortune-telling books, as B. M. Fedorov notes.

A certain (one might say, Eugene Onegin = about certain, mysterious certain people here) Zadeka occupies more space in the novel (he is mentioned three times) than the uncle who died in Bose, who “loved to rule the most honest,” i.e. was an authority in the law among a certain kind of public. “What kind of commission, Creator?” What kind of Zadeka is this? Moreover, the girl gives a lot of money to the nomadic merchant for this Zadek, and he becomes her favorite and “sleeps with her constantly.” A little strange girl, don't you agree? Pushkin says about Zadek that he is “the head of the Chaldean sages.” In the note, however, he is afraid that he has highlighted this Chaldean, one might say, the wise man of Zion, and makes an excuse: “this venerable man never wrote fortune-telling books.”

Martin is Martin and Zadeka is Zadeka. Yes, only in Pushkin’s transcription. And so this is Martin Tzadik, translated from Hebrew - righteous. The book was translated from German, and there this surname is spelled Zadek. And this is more than a surname, like: Kogan, Rabinovich. Rather, not even a position or title, but status. Through the Greek language it came as a Sadducee, but a careful translator did not translate this surname in the ancient Greek transcription - Saddok, priest of King David. The head of the Sanhedrin, Caiaphas, who persecuted Christ and the apostles, was also a Sadducee. Zadok - http://www.eleven.co.il/article/14586

Let's see what people of Pushkinoman nationality will comment on Zadeka:

Those. You can’t read this excerpt from the novel without a Jewish encyclopedia.

Contemporaries, by the way, were aware of Martyn Zadek, also known as Martin Tzadik. In 1833, the romantic writer A.F. Veltman (1800-1870) published the novel “MMMCDXLVIII year. Manuscript of Martyn Zadek” (3448. Manuscript of Martyn Zadek). Prof. Egorov B.F. in the book “Russian Utopias: Historical Guide” (St. Petersburg, “Iskusstvo-SPB”, 2007. - 416 pp.) writes: In the preface, the author explains that Martin Zadek is in fact the Jewish scientist predictor Martin Zadek, and his distant ancestor — Tzadek Melech, high priest under the biblical king Saul. Therefore, Roman numerals seem to demonstrate the antiquity of the published manuscript. The ideological core of the novel is a description of the ideal state of the future, Bosphorania, the capital of Bosphoran Rome (Constantinople, or what?) and the ideal ruler John. But the main content of the novel (large, in three parts) is adventurous. John is overthrown by the robber Aeolus, who, in turn, is overthrown, and the throne of John is restored again, followed by kidnappings, seductions, seductions, the acts of robbers and pirates... Of course, in the end virtue triumphs, but still, utopian pictures are lost in the adventure leapfrog . As I understand it, after 1833 Veltman’s novel was no longer published.

The sun of our poetry in the Masonic lodge was very keen on the occult sciences. In the Russian novel, there are virtually non-Russian heroes. “Good job! They missed it - there’s no piano,” as Rina Zelenaya would say. Russian nannies and serfs. What about the main characters? “By the name of Vladimir Lensky, With a soul straight from Göttingen” (i.e. with a non-Russian Masonic soul, foreign in origin), “All their daughters destined for their half-Russian neighbor”; Onegin - in essence: "He is a pharmacist; he drinks one
A glass of red wine." Farmazon is a mutated Freemason. And then the tongue-tied girl Tatyana appears:
I will have to, without a doubt,
Translate Tatiana's letter.
She didn't speak Russian well
I haven’t read our magazines,
And it was difficult to express myself
In your native language 3-26.

And here, in general, Pushkin openly writes that she is non-Russian:
Tatiana (Russian soul,
Without knowing why)
With her cold beauty
Loved the Russian winter, 5-4
Around this tongue-tied non-Russian girl, sleeping with the protocols of the Elders of Zion in the book of the leader of the Chaldean wise men, the author weaves the intrigue of the novel itself.

And here the schoolchildren draw a blasphemous conclusion: the German tsars with the pseudonym Romanovs needed a clique of non-Russian nobility to control the Russian cattle. And here you can’t argue with V.G. Belinsky: “an encyclopedia of Russian life.” Which must be read at times with a Jewish encyclopedia in hand.

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UPD
This is exactly the case when it is appropriate to remind - The position and opinion of the author may partially or completely disagree with the position and opinion of the editors.

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 depict this indifference to life and its pleasures, this premature old age of the soul, which became the hallmarks of the 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 review” of 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 relevant to the concept of his 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 in 1820) by the English novelist and playwright Maturin, "René" (published in 1801) by the French writer Chateaubriand and "Adolphe" (published in 1815) by the French writer and public figure Constant are those works that give a “sadly true” portrait of modern man: with a “cold” and “divided” soul, “selfish” and “sick”, with a “rebellious” and “gloomy” mind, pouring “cold poison all around” (draft twenty-second stanzas).

What makes this set of novels remarkable, among other things, is that they demonstrate two very different ways of depicting modern man. “Rene” and “Adolphe” are short 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, are unable to give happiness to themselves and bring misfortune to others - in a word, these novels provide a psychological portrait of the 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 an artistic solution to the problem 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’s plan, is a complex human image, a victim of devilish forces, their forced tool... Although Melmoth is not the tempter himself or the embodiment of devilish power, but only a victim, doomed to do evil against his will, he clearly manifests himself in him critical principle... This was the original “Mephistophelian” principle implemented by Maturin in the image of Melmoth, which so attracted the attention of the whole Myron of the first third of the 19th century to this literary hero.”

Above we have already talked about “universalism” as the most important feature of 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 the eternal questions of human existence. Therefore, different literary ways of depicting modern man are equally important to him. The significance of “René” and “Adolphe” for Pushkin’s work, 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: it 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 required a special method of depicting the hero. 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 in the development of realism in the 19th century. ...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 is an artistic image, in . 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 both 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 characterization 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” relations between two authors), and, finally, that feature of the plot development of “Eugene Onegin”, thanks to which each chapter it was published separately and, indeed, has great independence in the 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 the entire scope of his creative activity” (V. G. Belinsky).

Updated: 2011-09-10

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Useful material on the 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”

Writers have always strived for a realistic depiction of Russian life; but for the time being these images lacked artistry and 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,” and 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 of an 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 invades the narrative field, discusses various topics, creates a certain mood, and 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 in 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 of 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 make a lyrical digression and 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 his “good friend” Onegin, tries to develop creativity in him, and teach him 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 Evgeniy’s future life turn out? 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.