Brief analysis of chapter 1 of Eugene Onegin. Brief analysis of chapters

Chapter 1 of Eugene Onegin is conventionally divided into 4 parts. The first part shows the main character who goes to his uncle. During this journey, we get to know the conditions in which the hero lived and grew up. At that time, noble youth did not have a normal education, but Onegin himself wanted to study science.

The second part shows Onegin in St. Petersburg. He leads a busy lifestyle.

First he meets with friends, then he goes to the theater. Everywhere Pushkin scattered verbs that increase the feeling of busyness and active rhythm. But these entertainments are monotonous. He has no purpose in life, so boredom and blues become his frequent companions.

The third part is a description of Onegin’s room. The hero always takes care of his appearance and dresses only in fashionable things. He takes up again and again different activities, but nothing makes him happy.

The last part of the chapter returns the reader to Onegin's trip to his uncle. He arrived at the village, but was late. His uncle has already died. He spent several days communicating with people, and then became bored again.

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In the novel by I.A. Goncharov we are also dealing with the constructive principle of duality, but the duality is not satirical. Aesthetic object artistic perception V in this case It is not divided into high givenness and low givenness in the field of a single value position - it combines mutually exclusive value intentions.

For this reason, the endless debate about whether the hero of the novel is “bad” or “good” - this sleepy sloth with a dove’s soul, no matter in what categories and from what positions it is conducted, cannot be resolved in principle, for the entire novel world, like his hero does not coincide with himself, appears in a double perspective. This is the aesthetic “optics” of this artistic whole.

The fact is that the last phrase of the text (And he told him what was written here) contains some fundamentally important revelation. It turns out that we have become acquainted not with the life, character and personality of Oblomov in their authorial creation and therefore indisputability for us, readers (as is the case with Tolstoy’s cuts, for example), but only with one of the possible intra-novel versions of this life - with Stolz’s version. However, the attentive reader will notice the fact that not everything now known to him could have been known to Stolz. From what source did it come into the text? Presumably, this information was brought in by the writer who wrote down Stolz’s story.

About this unexpected occurrence in final chapter We know very little about the character. We only have at our disposal a portrait of him: plump, with an apathetic face, thoughtful, as if sleepy eyes, interested in human destinies, but says, yawning lazily. But this is a portrait of Oblomov himself, or at least a man of Oblomov’s type, opposite to Stolz. This means that Goncharov’s novel is a version of the life of the main character, belonging to an active person who does not accept “Oblomovism,” but retold and supplemented by another person - contemplative in Oblomov’s way.

This overlap of two versions creates “ optical effect“A kind of aesthetic “myopia”, forcing interpreters to peer closely at the blurry appearance again and again.

In the first chapter of the novel, the reader still knows nothing about the duality of point of view that organizes the process of reading it. However home pages The texts already contain a number of deep oppositions, at the intersection of which Oblomov finds himself, and appear as a kind of overture to a complex and organically contradictory artistic whole. The oppositions that emerge from the very beginning construct an ambiguous, ambivalent system of values in the novel world that occupies us.

First of all, let us note the double chronotope of the house. From the very first phrase of the text we learn that Ilya Ilyich lives in one of big houses, whose population would increase by a whole county town. However, in this strange house of a non-patriarchal structure, he is only a lodger, and the apartment he rents is devoid of living traces of human presence. In Volkov's remarks from the second chapter such newfangled fun houses, where half the city happens (already in the capital), which unpleasantly strikes Oblomov.

The theme of the Lomovs’ own (patriarchal, family) house also appears in the first chapter. This is the object of historical legends about this old house, the only chronicle kept by old servants, nannies, mothers and passed down from generation to generation<...>Treasuring her as if she were a shrine. But Ilya Ilyich no longer lives in his home, having left forever the center of outdated greatness.

According to his typical way of life, Oblomov is a very homely person. Home man without a home - such is the initial paradox of the dual image of the protagonist.

A peculiar opposition of the initial chapter, as well as the subsequent text, is the discrepancy between idea and thought, which suddenly turn out to be occasional antonyms. Ilya Ilyich's face is characterized by the absence of any definite idea. But thought walked like a free bird across this face. However, the idea as a plan for various changes and improvements in the management of one’s estate constitutes an essential motive of the first chapter. Subsequently, the hero himself will become the object of such an idea: after all, the main action of the novel comes down to the unsuccessful implementation of the plan of Stolz and Olga - the plan to remake Oblomov.

At the intersection of the internal struggle between anxiety, which occasionally froze in the form of a specific idea, and free thought - while the mind had not yet come to the rescue - the soul of the hero is revealed, which shone openly and clearly in the eyes, in the smile, in every movement of the head and hand. This is perhaps the only thing that is not double, which forms the basis of Oblomov’s identity. At the end of the novel, the characters are connected by one common sympathy, one memory of the soul of the deceased, pure as crystal.

The most obvious from the first pages of the work is the opposition between peace and everyday vanity.

Peace was initially revealed to us by the hero’s lying down, which was not necessary.<...>nor by chance<...>nor pleasure<...>it was his normal condition. Behind this lying lies the image of a broad and peaceful life in the wilderness of the village. Vanity initially appears as a phantom of a huge fuss in the house (cleaning), the thought of which horrified the master. With the subsequent influx of everyday worries, the image of vanity grows into the image of life itself: Ah, my God! Touches life, reaches everywhere.

Already in the next chapter, the initial disposition for Ilya Ilyich and the key for the novel as a whole is established: to ten places in one day - unhappy! - thought Oblomov. - And this is life!<...>Where is the man here? What does it crush and crumble into?<...>unhappy! - he concluded, turning over on his back and rejoicing that he did not have such empty desires and thoughts, that he did not rush around, but lay here, maintaining his human dignity and your peace.

In the context of this discussion, where the concept human life begins to double, peace turns out to be an alternative way of life to vanity, and not an evasion from it. Even in the first chapter, Zakhar stated: I’m trying, I don’t regret my life! (i.e. does not spare his own peace).

The entire subsequent action of the novel consists in the fact that the hero loses this fundamental peace for him, and then finds it again.

However, throughout the novel life value peace also doubles: it is positive in opposition to vanity, but as the opposite of business it turns out to be an extra-life value and in this sense negative. Against the backdrop of Stolz’s business activity (Oh, if only I could live two hundred or three hundred years! How many times could things be redone!) Oblomov’s peace is synonymous with death: Life touches, there is no peace! I would lie down and fall asleep... forever... One of the most significant oppositions of the novel universe, “value-condensed” (Bakhtin) around the hero, one should, of course, recognize the opposition of the East and Europe.

The famous robe of Ilya Ilyich is a real oriental robe, without the slightest hint of Europe, sewn according to the constant Asian fashion, preserving the brightness of oriental colors and the strength of the fabric, submitting to its owner like an obedient slave. At the same time, Oblomov’s room seemed beautifully decorated in European taste, betraying a desire to somehow maintain the decorum of inevitable decency. And when in the next chapter Volkov offers to bring a pair of new gloves for testing (This is just from Paris), Oblomov agrees without hesitation.

However, the hero is internally so detached from the “decorum” he observed that he seemed to ask with his eyes: “Who brought and instructed all this here?” Subsequently, he will think about people of a different type than himself: They don’t walk around in their own cap, filling their heads with active Europe.

The confrontation between Europe and Asia, gradually established from the very beginning, tells us that the fate and deep characteristics of the main character, apparently, are most directly related to the Eurasian phenomenon of Russia itself.

If the figure of Oblomov can really be interpreted as a kind of personification Russian mentality, then in the system of characters that actualize different sides of this figure, the opposition to the “Russianness” (Easternness) of Zakhar and Pshenitsyna (her praise is typical: they sew so well... that no French woman could do it), on the one hand, and the “Germanness” (Westernness) of Stolz and Olga, on the other .

Stolz has not yet appeared in the first chapter, but his melody in the overture is already heard - in the words of the denouncer of German stinginess, Zakhar: Where will the Germans take their dirty laundry?<...>They don’t have this, like we do, so that in the closets there is a heap of old worn-out clothes lying in the closets over the years, or a whole corner of bread crusts has accumulated over the winter.

Zakhar’s own Russianness is dual, devoid of Eastern or Western certainty. In his half-uniform clothes, he is in no way an oriental obedient slave (he bickers, demonstrates his displeasure to the master), but he is endowed with the voice of a chain dog and is an enemy of European improvements: The boots take off on their own: they invented some kind of machine!<...>Shame, shame, nobility is lost! Unlike the Russian peasant, Zakhar shaves his beard, but his sideburns are such that one would be three beards.

The servant undoubtedly embodies one side of the master's dual image, which is revealed in their silent exchange of supposed remarks. However, he carries within himself not only laziness and Eastern fatalism (about the back of the sofa: it won’t last forever: one must break down someday), but also an unshakable religiosity: ritual cleaning for Holy Week and before Christmas, an unwillingness to change the image given to him by God. The latter clearly opposes the plan for various changes and improvements hatched by Ilya Ilyich. But any reform, unlike Stolz, is completely alien to Oblomov.

Tyupa V.I. - Analysis literary text- M., 2009

So, what is known about Startsev is that he was recently appointed as a zemstvo doctor. In the city of S. he was considered an intelligent and hardworking person.

Pay attention to this artistic detail (reading the last sentence of the 3rd paragraph of the story).

The hero is probably healthy, walking gives him pleasure and causes good mood. He is full of strength and cheerful. But the author, for some purpose, focuses our attention on such artistic details: “he did not have his own horses.” This note is specifically for the reader ( introductory sentence highlighted in brackets), and the author himself knows what will happen next.

It is very important to learn to “feel” the author, to see his point of view on the events described. In order for the reader to feel more deeply the personality of Startsev, Chekhov reveals to us not only his inner world, but also, as it were, the very birth of the hero’s thought: “Vera Iosifovna read about how young, beautiful countess set up schools, hospitals, libraries in her village, and how she fell in love with a wandering artist - she read about things that never happen in life, and yet it was pleasant, comfortable to listen to, and all such good, peaceful thoughts came to mind, “I didn’t want to get up.”

What assessment do the author and hero give to the content of Vera Iosifovna’s novel? Which important detail highlighted?

(The author believes that what is described does not happen in life. Startsev also does not believe what Vera Iosifovna reads. But after a difficult day full of hard work, you can listen to anything; it was warm, cozy and you didn’t want to get up.)

How is Ekaterina Ivanovna’s playing the piano presented in the story? What special did you notice?

(Find a description of this episode in the text and read it aloud.)

(Startsev sees the talents of Ivan Petrovich for the first time. And again we see through the eyes of the author: “He, laughing with only his eyes, told jokes, made jokes, proposed funny problems and solved them himself, and all the time spoke in his extraordinary language, developed by long exercises in wit and, obviously, something that had long become a habit with him: Bolshinsky, not bad, thank you..."

What conclusion can be drawn from this episode?

(Chekhov makes it clear that this wit does not please anyone and has long been just a habit.)

Conclusion:

We see through the main artistic details that in the city of S. there is a boring, monotonous life. In the most “pleasant” family, the people are mediocre, untalented, and no different from the rest of the residents. Vera Iosifovna writes novels about what does not happen in life. Ekaterina Ivanovna does not put a drop of true feeling into her playing; it is difficult to imagine that she has at least some relation to music as an art. Ivan Petrovich uses a long-memorized set of witticisms and anecdotes.

Startsev had almost the same opinion about Vera Iosifovna’s work, but... in the kitchen there was already a clatter of knives and the smell of fried onions could be heard and I didn’t want to get up. Ekaterina Ivanovna's playing is noisy, annoying, mediocre, but... still these are cultural sounds.

Before proceeding with the analysis of the first part of the first chapter, we should dwell on the epigraphs that precede the narrative. The first of the epigraphs is taken from Pushkin’s work “The Captain’s Daughter”: “Fine snow began to fall and suddenly fell in flakes. The wind howled and there was a blizzard. In an instant, the dark sky mixed with the snowy sea. Everything has disappeared.
“Well, master,” the coachman shouted, “there’s trouble: a snowstorm!”
This epigraph has its own meaning. The snowstorm in this case is a symbol of terrible events in society - social revolution, war. These are dangerous changes, they affect all people in one way or another. No one is spared by the disaster; everyone is equal before fate.
The second epigraph: “And the dead were judged from what was written in the books, according to their deeds”... This epigraph has no less important. Apocalypse motive Last Judgment pass these lines. Didn't the revolution become a prototype of the Last Judgment? After all, any social change can rightfully be called “the end of the world.” This means an irrevocable ending. old life.
The beginning of the novel is no less symbolic. “Great was the year and terrible year after the Nativity of Christ 1918, from the beginning of the second revolution,” is a characteristic of the era. Again we are faced with the motif of the Apocalypse. What happens to people is another life, the one that may happen after the “end of the world.” Everything that had value and meaning suddenly changed at once. A new era began in people's lives; its beginning coincided with the second year from the beginning of the revolution.
That life, calm and peaceful, that was before, ended overnight. The Turbin family still lived surrounded by the environment that was familiar and close from the very beginning. early childhood. We will learn about the smallest details the environment that surrounded them. Perhaps these everyday little things might seem insignificant if we were not talking about a premonition of something terrible, irreversible. In this context, household little things: a chisel stove, a samovar and a white tablecloth, a bronze clock playing a gavotte and others striking like a tower, carpets, one of which depicts Tsar Alexei Mikhailovich with a falcon on his hand, “a bronze lamp with a lampshade, the best in the light, cabinets with books, smelling of mysterious chocolate, with Natasha Rostova, the Captain’s Daughter, gilded cups, silver, portraits, curtains...” are not only a symbol of comfort, they are inextricably linked with past life, calm, peaceful and happy.
And we understand perfectly well what Bulgakov wanted to say by showing in such detail the everyday details of the Turbin family. In our perception, all this becomes a symbol of the culture of a passing era, of which soon practically nothing will remain. The house itself is a symbol of calm, harmonious, happy life.
The Turbin family and Talberg understand that “life... was just interrupted for them at dawn. Revenge from the north has long since begun, and it sweeps and sweeps, and does not stop, and the further it goes, the worse.” But still, they hope and expect that “it will stop, the kind of life that is written about in chocolate books will begin, but not only does it not begin, but all around it becomes more and more terrible.”
At the beginning of the novel, the proximity of disaster is clearly felt. The turbines try not to think about it, they go into their own world, limited by the walls of their home, where it is still cozy and beautiful. But their desire to escape reality clearly shows how futile such attempts are. The fear of the future is obvious: “The walls will fall, the falcon will fly away from the white mitten, the fire in the bronze lamp will go out, and the Captain’s Daughter will be burned in the oven.”
Mention of “ The captain's daughter“Pushkin is nothing more than the writer’s own fear for cultural heritage of the previous era. New life with its harsh laws and bloody reality, it will probably not value old traditions and cultural values. The phrase “the walls will fall” makes us think about the last reliable stronghold of many people - the home. In this context, the “fallen walls” represent more than one specific house, destroyed in the light of what happened. This is a more global symbol, personifying the entire dying era.
Main character Alexey Turbin tries to find solace from the priest. And he answers him that everything is God’s will, let the trials be difficult, but despondency cannot be allowed. That is, if every person tries to build own life according to the biblical canons, he will be able to overcome any trials.
The writer sought to use all possible figurative means to show the atmosphere in which the Turbin family lived before the start of turning points in the life of society and each person. The image at the beginning of the novel of the former way of life as if opposed to the further narration. And this is no coincidence. Thus, the author emphasizes the difference between the old life and the coming new life, which frightens with the unknown.

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The beginning of Bulgakov's novel “The White Guard”. (Analysis of chapter 1, part 1)

The work “Eugene Onegin” by Alexander Sergeevich Pushkin was published in 1833, but it still excites people’s hearts. Every high school student knows excerpts from the novel by heart and all its main characters. In order to understand the secret of the success of the work, in this article we will make a brief analysis of Pushkin’s novel “Eugene Onegin”.

General characteristics of the novel

Direction and genre. "Eugene Onegin" is one of the first Russian realistic novels socio-psychological direction. Moreover, this novel is written not in prose, but in verse. The history of its creation covers several periods of the poet’s work.
Ideas and thoughts. The novel is named the same as the name of the main character for a reason. With this, Pushkin emphasized the special significance of the character. In the image of Eugene Onegin, he wanted to show the image of a hero of time. According to Pushkin, distinctive feature The youth of the 19th century were indifferent to life, to its pleasures; the poet called this “premature old age of the soul.”
Another one important idea– is to show national character Russian heroine. Tatyana is not only a “Russian soul” heroine, but also an ideal woman.
In this novel, the author also showed the nobility that shaped the main characters. On the one hand, this is elite Petersburg and Moscow, permeated with the spirit of “empty” and “cold”, on the other - the nobility of the province. The poet’s attitude towards them was different, which he showed in the novel.
Subject. The novel covers a vast vital material. Therefore, the problems and themes of the work are so diverse and versatile. It depicts in all details the social, everyday and cultural way of life of the entire Russian society of the early 19th century.
Issues. The problematics of the work are based on the main problem of society of that time. This is a contrast to the main part of Russian society, which honors national traditions, European enlightened Russian nobility.
Main characters. Everything in the novel time is running opposition: city - village, national - non-national. The heroes of the novel are contrasted in the same way. "Hero of Time" appears before the reader in the image of Eugene Onegin. He acts as a representative of "Russian Byronism". Tatyana Larina is a “sweet ideal”; the poet put into her his ideas about the Russian character. Vladimir Lensky is also a representative of the Russian nobility, but of a different type - he is a young romantic, a dreamer, unlike the Byronic Onegin.

Brief analysis of chapters

Analysis of Chapter 1 of "Eugene Onegin". In the first chapter, in order to explain the appearance of Onegin, such an unusual hero, Pushkin describes in detail what happened to him. As a result of the chapter, it becomes clear that there is a contradiction. With all the opportunities that the brilliant metropolitan life gives the hero, he is not carried away by it. And the reader has a question about why he lost interest in life.
Analysis of chapter 2 of "Eugene Onegin". In the second chapter there is a description main characters, they are given portrait characteristics, some character traits are drawn. And again the question: why does Onegin avoid his neighbors, but get along with Lensky? After all, they are so different, so unlike each other, like ice and fire.
Analysis of chapter 3 of "Eugene Onegin". It is believed that this chapter begins the conflict. But would Pushkin, with his poetic energy, stretch the exposition into two chapters? He began the novel decisively. The plot of the novel lies in the contradictions tormenting the hero, the strangeness of his melancholy despite all the splendor of his living conditions. The second chapter leads to a change of living environment, a change of places. But here, in the estate, Onegin yearns almost as much as in the capital. Chapter 3 is simply the next step in this plot. The hero will have to face not a village, but a feeling reminiscent of the elements - love. The feeling that flared up in Tatyana and her action, the letter of love, are central to this chapter. And again questions. Why did love awaken in Tatyana so unexpectedly? And what prompted her to write a letter to Onegin?
Analysis of chapter 4 of "Eugene Onegin". The chapter shows the reader the protagonist's reaction to love. How do the author of the novel and Tatyana evaluate his explanation in the garden? Is it the same? Why did the author need to demonstrate in this chapter the holiness of Onegin and happy love Lensky and Olga?
Analysis of chapter 5 of "Eugene Onegin". Here a new test awaits the hero, and he is faced with the question: what will win - the desire for one’s own peace, supported by the consciousness of superiority over other people, or sympathy for someone else’s love, condescension in friendship? The chapter answers the questions: how did Tatyana manage to predict the clash between Lensky and Onegin, how is Tatyana’s dream similar to name days?
Analysis of chapter 6 of "Eugene Onegin". It reveals the entire imaginary feeling of superiority characteristic of Onegin. This is the denouement of the duel with society, which was planned in the moping Onegin and ended with the murder of a friend, young poet. Only the physical shell of the main character remains alive; he is morally broken. The condemnation of the environment that he despises turned out to be stronger than his hidden feelings and sincere desires. Questions that would be worth answering: what happened, how did friends suddenly become enemies and clash in a duel, who is to blame for the duel, for its sad ending?
Analysis of chapter 7 of "Eugene Onegin". It is built on 2 events: Tatiana’s visit to the house where the Onegins live, and Tatiana’s arrival in Moscow. The hero is not in Moscow. The reader's hesitation about Onegin's assessment intensifies. There is even greater uncertainty and mystery in his figure. Having suffered a moral fiasco, it would seem that he should be condemned by us. The doubts that overcome Tatiana and plunge her into indifference seem to further contribute to our condemnation of Onegin. But in the eighth chapter, Pushkin leads us out of erroneous misconceptions and does not allow us to judge the hero recklessly. A hero who, at the end of the novel, turns out to be capable of sincere feelings and deep suffering. And here we’ll ask questions: has Tatyana’s attitude towards Onegin changed in connection with all the events that have happened?
Analysis of chapter 8 of "Eugene Onegin". In this chapter, Onegin discovers possibilities that he did not have before. The hero ascended, a direct, selfless and lyrical feeling was revealed in him. But, nevertheless, he finds himself in a tragic dead end. According to Pushkin, going into love, expressing cold contempt for society, is not salvation. This is the denouement inner meaning novel. And we have to answer the question: Onegin loves Tatiana, but why is she rejecting him now?

We have presented you with a short analysis of the novel "Eugene Onegin", we hope that it will help you better understand this work.