Eugene onegin system of images. The system of images of the novel "Eugene Onegin". Plot. "Onegin" stanza. Dictionary work Plot lyrical digression conflict. I am a feature - the main character

The novel "Eugene Onegin" cannot be characterized by one concept, one word. Everyone who read it for two centuries, found something new, gave another explanation, definition of this amazing work. This is the "encyclopedia of Russian life", as V. Belinsky called the novel, and the first Russian realistic novel, and the free novel, the discovery of Alexander Pushkin, which served as the beginning of the development of all subsequent literature of both the 19th and 20th centuries. “I am not writing a novel, but a novel in verse — a diabolical difference,” the author himself said about his work in a letter to P. A. Vyazemsky. The fact that this novel is free has made it possible for different points of view to exist in it. A.S. Pushkin provides a choice, freedom in the perception of the hero, does not impose his point of view.

A.S. Pushkin in his novel for the first time separated the author from the hero. The author in the novel is present along with other heroes. And the author's line, his point of view exists by itself, separately from the point of view of the main character, Onegin, sometimes intersecting with her. The third hero of the novel, Lensky, is completely unlike either the author or Onegin, another point of view is associated with him, a different position, which is opposed primarily to Onegin's position, since the author throughout the entire novel does not encounter Lensky anywhere, he only shows his attitude towards him.

A.S. Pushkin tells with mild irony about Lensky, this enthusiastic romance who

I sang parting and sorrow
And something, and that manna is far away.

He also speaks with some mockery of how Lensky wrote:

So he wrote, dark and sluggish
(What we call romanticism
Although there is not a bit of romanticism here
I don't see ...).

Romanticism has already passed away, as does Lensky. His death is quite logical, it symbolizes a complete rejection of romantic ideas. Lensky does not develop in time, he is static. Differing from those people among whom he is forced to live (and in this he is similar to Onegin), Lensky was only able to quickly flare up - and fade away. And even if Onegin had not killed him, most likely, in the future Lensky was waiting for an ordinary life, which would cool his ardor and turn him into a simple man in the street, who

Drank, ate, missed, got fat, sickly
And finally in your bed
B died in the midst of children,
Crying women and doctors.

Such a path, a point of view, is not viable, which Pushkin proves to the reader.
Onegin's point of view is completely different. It is somewhat similar to the author's point of view, and therefore at some point they become friends:

I liked his features
Dreams are involuntary devotion ...

They both agree in their relationship to the light, both flee from it. Both skeptics and intellectuals at the same time. But Onegin, like the author, develops, changes, and his relationship with the author also changes. The author is gradually moving away from Onegin. When Onegin goes to a duel, frightened of public opinion, and kills Lensky in it, when it turns out that his point of view is not based on solid moral principles, the author completely moves away from his hero. But even before that, it is clear that their points of view differ on many issues: this is their attitude to art, to theater, to love, to nature. The fact that one of them is a poet, and the other cannot distinguish iamba from chorea, of course, greatly alienates them from each other. And most likely, A.S. Pushkin showed that Onegin's point of view, for example, his attitude to the theater:

To the stage
In great distraction he looked,
Turned away - and yawned -

How early could he be a hypocrite
Conceal hope, be jealous ... -

simply has no right to exist. Onegin, being the "genius" of the science of love, missed the opportunity to be happy for himself, turned out to be incapable of true feeling (at first). When he was able to love, he still did not achieve happiness, it was already too late. This is Onegin's true tragedy. And his path turns out to be wrong, not real. The position of the author is different, he was more than once worried about passions, love was the constant companion of life:

I will note by the way: all poets -
Love dreamy friends.

And of course, it is the attitude towards Tatiana that largely determines their points of view, moving them away from each other. The closer Pushkin is to Tatiana, the more he moves away from Onegin, who is morally much lower than her. And only when Onegin is capable of a high feeling, when he falls in love with Tatiana, critical assessments of A.S. Pushkin will disappear.
One of the main differences between them is their relationship to nature. Onegin is far from her, as well as from everything else, while the author is "betrayed by his soul," "born for a peaceful life, for the silence of the countryside."

Pushkin showed that such a position, Onegin's point of view, can no longer exist. True, he leaves him a choice. It is not too late for Onegin to change, which is why the ending of the novel is open. From the position of the author, only his own point of view is possible for a thinking person, it is the most acceptable for life.

The uniqueness of this novel, the dissimilarity of this novel to any other lies in the fact that the author looks at Onegin no longer as a hero of his novel, but as a completely definite person with his own worldview, with his own views on life. Onegin is completely independent of the author, and this is precisely what makes the novel truly realistic, moreover, a genius creation of A.S. Pushkin.

Lensky perishes because he cannot accept the conditions of life and soberly see the world, cannot, as Belinsky writes, "develop and move forward." Onegin and Tatiana have changed drastically in many ways. But why is their conflict with the outside world deepening more and more? Why is this world represented by different circles of society (village, Moscow, Petersburg)? What is characteristic of each of these circles and why in none of them can the heroes feel satisfied?

Pushkin's novel in verse is imbued with a sense of the boundlessness of life. The artistic space of the novel is so great that Belinsky rightfully called it "an encyclopedia of Russian life." The village, Moscow, Petersburg turn out to be the main circles of life through which the author leads the heroes, comparing their attitude to these circles. The dissimilarity of these strata of Russian life is fundamentally important for Pushkin. A clash of heroes with one of them would not have given the right to speak of a tragedy. But Onegin, Tatiana, Lensky cannot accept either provincial immobility or the bustle of the capital.

Each circle of life is characterized in the novel according to the rules of linear perspective. In the foreground, two or three portraits are painted (for the village circle: Larins, Onegin's uncle, Zaretsky), then episodic characters are outlined with a few strokes (for example, guests at Tatyana's birthday). In each case, Pushkin certainly gives a stanza that unites impressions of this circle of society and highlights its most characteristic distinctive side. For the local circle, primitiveness turns out to be such a defining feature. Onegin's uncle, who “looked out the window and crushed the flies,” the simple-minded Larins, who “consumed kvass like air,” Zaretsky, the “tavern tribune” and “the father of the family was single,” are the most characteristic figures in this circle. Zaretsky is drawn in the spirit of the images of Griboyedov, to whom Pushkin almost refers ("And here is the public opinion!").

Pushkin uses the classic way of characterizing heroes using surnames. This technique is familiar to us from Fonvizin's comedy "The Minor". Why is this possible? Provincial landowners are so primitive, monosyllabic that the essence of each of them can be indicated: "Gvozdin, excellent master, Owner of poor peasants", whom he "nailed", brought to ruin; "County frantik Petushkov" and so on. Lack of mental movements and spiritual interests, ignorance are shown as traces of the primitiveness of provincial landowners, a general portrait of which is given in the XI stanza of the second chapter ("Their prudent conversation About haymaking, about wine, about a kennel, about their relatives ..."). The main characters of the novel are naturally alien to this circle. Lensky "escaped ... from a noisy conversation"; Onegin is known as "the most dangerous eccentric"; Tatiana even “seemed like a stranger to her own family,” the upcoming meeting with the guests at the birthday party scares her (Tatyana sees in her dream “Hooves, crooked trunks, Tufted tails, fangs.

Page 1 ]

A.S. Pushkin tells with mild irony about Lensky, this enthusiastic romance who

... sang parting and sorrow,
And something, and that manna is far away.

He also speaks with some mockery of how Lensky wrote:

So he wrote, dark and sluggish
(What we call romanticism
Although there is not a bit of romanticism here
I don't see ...).

Drank, ate, missed, got fat, sickly
And finally in your bed
B died in the midst of children,
Crying women and doctors.

I liked his features
Dreams are involuntary devotion ...

your hero. But even before that, it is clear that their points of view differ on many issues: this is their relationship to art, to theater, to love, to nature. The fact that one of them is a poet, and the other cannot distinguish iamba from chorea, of course, greatly alienates them from each other. And most likely, A.S. Pushkin showed that Onegin's point of view, for example, his attitude to the theater:

... on stage
In great distraction he looked,
Turned away - and yawned -

How early could he be a hypocrite
Conceal hope, be jealous ... -

It just has no right to exist. Onegin, being the "genius" of the science of love, missed the opportunity to be happy for himself, turned out to be incapable of true feeling (at first). When he was able to love, he still did not achieve happiness, it was already too late. This is Onegin's true tragedy. And his path turns out to be wrong, not real. The position of the author is different, he was more than once worried about passions, love was the constant companion of life:

I will note by the way: all poets -
Love dreamy friends.

Pushkin's novel in verse is imbued with a sense of the boundlessness of life. The artistic space of the novel is so great that Belinsky rightfully called it "an encyclopedia of Russian life."

encyclopedia of Russian life ”. The village, Moscow, Petersburg turn out to be the main circles of life through which the author leads the heroes, comparing their attitude to these circles. The dissimilarity of these strata of Russian life is fundamentally important for Pushkin. A clash of heroes with one of them would not have given the right to speak of a tragedy. But Onegin, Tatiana, Lensky cannot accept either provincial immobility or the bustle of the capital.

Pushkin uses the classic way of characterizing heroes using surnames. This technique is familiar to us from Fonvizin's comedy "The Minor". Why is this possible? Provincial landowners are so primitive, monosyllabic that the essence of each of them can be indicated: "Gvozdin, excellent master, Owner of poor peasants", whom he "nailed", brought to ruin; "County frantik Petushkov" and so on. Lack of mental movements and spiritual interests, ignorance are shown as traces of the primitiveness of provincial landowners, a general portrait of which is given in the XI stanza of the second chapter ("Their prudent conversation About haymaking, about wine, about a kennel, about their relatives ..."). The main characters of the novel are naturally alien to this circle. Lensky "escaped ... from a noisy conversation"; Onegin is known as "the most dangerous eccentric"; Tatiana even “seemed like a stranger in her family,” the upcoming meeting with the guests at the birthday party scares her (Tatiana sees in her dream “Hooves, crooked trunks, Tufted tails, fangs ...”). The repulsion of the heroes from the primitive environment elevates them in the eyes of the author and readers of the novel.

However, Pushkin does not want to perceive this circle of life unambiguously. In village life, the poet sees not only primitivism, but also naturalness, not only meaningless emptiness, but also “rural freedom”. The village is dear to the poet because concentration is possible here, here a person hears his inner voice:

I was born for a peaceful life
For village silence:
In the wilderness, the lyre voice is louder,
More vivid creative dreams.

And the heroes of the novel partly share these feelings. Tatiana in this sense is the closest to the author ("Rising with the first rays, Now she hurries to the fields ..." - XVIII and XXIX stanzas of the seventh chapter). The poetry of “peaceful life” is also familiar to Lensky (“I hate your fashionable light.

y ... "). For some time, Onegin (the fourth chapter) is immersed in the "careless bliss" of village life. But the heroes are not able to find its poetic sides in any manifestation of life. This gift of love saves Pushkin from despair, devastation, allows him to find a way out of the tragedy to which the heroes are led.
The characterization of Moscow on the pages of the novel is in many ways reminiscent of Griboyedov's caustic phrases. The main quality in Pushkin's characterization of the Moscow circle is immobility. This stubborn old man, who does not want to change, depressed Chatsky ("What new will Moscow show me?"). Pushkin retains this motive ("But there is no change in them ...").

Pushkin's attitude to Moscow is still ambiguous. In the epigraphs to the seventh chapter, different, but invariably positive, assessments are given. The conservatism of the lordly Moscow repulses the poet, the complacency of Moscow cousins and "archival youths" in relation to Tatyana seems ridiculous. But the constancy, loyalty of Moscow to itself, to the ancient foundations of Russian life, gives rise to warmth, tenderness, even pride in the poet. This city of the poet's childhood and the historical memory of the people becomes for Pushkin a support in his "wandering destiny".

But Tatiana's Moscow impressions are bitter:
Tatiana looks and does not see
The excitement of the light hates;
She's stuffy here ... she's a dream
Strives for field life ...

The local circle Tatiana endures, the lordly Moscow one - hates, calling him "the rags of a masquerade."

Petersburg in the eighth chapter is really drawn by Pushkin as a kingdom of strict rules of decent hypocrisy. Starting from “elderly ladies in caps and roses, looking evil,” to “dictator of the sick,” ruddy “like a cherub,” all play some role.

The image of the Petersburg-masquerade was reinforced by the further history of Russian literature.
The author of "Eugene Onegin" and "The Bronze Horseman" are familiar with the coldness, cruelty, illusion of the splendor of St. Petersburg. But Pushkin sees something else here. His muse admires the "noisy cramped quarters, The flickering of dresses and speeches, The phenomenon of slow guests." Dignity, refinement of forms, reminiscent of the highest examples of art ("And with a dark frame of men Around the ladies, like near pictures"), the restraint of aristocracy, the absence of vulgarity, harmony of order and intelligence, the blue ice of the Neva, on which the sun plays, - the poet also sees in St. Petersburg what allows him to love.

The image of "rotten autumn" from the seventh chapter passes into the eighth and reveals the doom of the heroes. But what does the poet blame them for? The rejection of Petersburg, Moscow, the village by these heroes is so justified! However, Onegin not only in St. Petersburg "seems a stranger to everyone." This coolness of the hero, lack of delivery to anything, is unacceptable for the author. The inevitability of Onegin's conflict with society is obvious, but, according to Pushkin, this conflict, like all the hero's feelings, could be sharper, more merciless, more vividly manifested:
The days were racing; in heated air
Winter was already on;
And he did not become a poet,
Not dead, not crazy.

What is the meaning of this Pushkin's reproach? Probably, first of all, this is a reproach for the passivity of feelings, actions, desires, in the absence of that breadth and love for the world that makes people poets.

Desires, in the absence of that breadth and love for the world, which makes people poets. The tragedy of the heroes is due to the ever-growing conflict with society and the lack of expression of this conflict in action. It exists only in their feelings. Tatiana, preferring the "shelf of books and the wild garden" to the splendor, noise and fumes of St. Petersburg, remains in the world. Onegin is unable to break with a society that he cannot accept.

The tragedy of the conflict between the heroes and society is aggravated by their misunderstanding of each other. Friends shoot in a duel; people who love each other break up. Human feelings give way to social prejudice. The heroes are isolated, separated, despite their inner closeness. This is one of the reasons for their tragic attitude.

Pushkin notes the tragic disunity not only in Onegin and Lensky, but also in Onegin and Tatiana, Lensky and Tatiana:
If only he knew what a wound
My Tatiana's heart burned!
Whenever Tatyana knew,
Whenever she could know
What's tomorrow Lensky and Eugene
They will argue about the grave canopy:
Ah, maybe her love
Friends would be connected again!

The separation between Onegin and Tatiana is artistically fixed in the forms of their communication. First she writes a letter - he answers with a cold explanation. Then he writes a letter - she gives a rebuke. The feelings of the heroes remain incomprehensible, unshared. This is an exchange of monologues, not communication.

Against the background of the author's favorite dialogical speech, his constant conversation with the reader, heroes, fellow artists, his addresses to Moscow, fields, actors, the monologues of the heroes stand out, becoming symbols of their loneliness. The separation of the heroes is explained not by their indifference to others, but by their inability to perceive the structure of the feelings of another person, having renounced their usual gaze. Even in the minute of the last explanation with Onegin, when Tatiana “understands everything”, she cannot free herself from looking back at the light, and this leads her to the cruelty of suspicion (“Why do you have me in mind?”).

The basis of the image of each hero Pushkin makes a certain world outlook: skeptical, soberly realistic - Onegin; romantic - Lensky; sentimental - Tatiana. We are not talking about literary trends, but about the attitude towards life, characteristic of a particular historical era and which found expression in a particular movement of art. Indeed, the cult of feelings, family, duty, nature, closeness to the people turn out to be in Tatiana a “type of consciousness” (GA Gukovsky), close to sentimentalism. Pushkin, as it were, experiences each of these attitudes to life, compares them, colliding them in the action of the novel, highlighting the strengths and weaknesses of not only individual characters, but also typical world outlook.

The system of images of the novel "Eugene Onegin". Plot. "Onegin" stanza.

Vocabulary work Plot lyrical digression conflict

Who can be considered the main character of the novel? Why? - Try to define the role of minor and off-plot characters? - What allows the author to unite all these characters in one novel?

Invisibly present always and everywhere; Takes part in the fate of the heroes;

At the center of the system of artistic images Onegin Tatiana Lensky Represent a certain category of society "High society" Patriarchal nobility nobility Are examples of a certain moral, spiritual, literary type "Superfluous person" Ideal "Romantic" Russian soul "creation" ______________________________________________________________ United by the author - the actor

Shares his thoughts and feelings with readers; Discusses the morals and morals of society.

Plot Onegin - Tatiana Lensky - Olga 1st feature: Serves for development does not develop, helps Tatyana to understand Onegin's main conflict 2nd feature : The main character is the narrator. The narrator's lyrical digressions are an integral part of the plot. Onegin's companion Defender of Tatyana-sweet Antipode of Lensky - poet 3rd feature : The image of the narrator pushes the boundaries of the conflict: the novel includes the Russian life of that time in all its manifestations.

Describe Eugene Onegin. Pushkin found a new type of problematic hero - the "hero of the time." - What is the difference between Onegin and others like him? - Remember Onegin's seclusion - his undeclared conflict with the world in the 1st chapter and with the society of village landowners in chapters 2-6 - is it just a "whim" caused by purely individual reasons: boredom, "Russian blues", disappointment in "science tender passion "? - How did Onegin show himself in relations with Tatiana? - What can you say about the friendship between Onegin and Lensky? - What is the significance of the meeting between Tatyana and Onegin in St. Petersburg? - Why does the author think about love and friendship all the time, takes Onegin through the crucibles of both feelings? - Is it only on the basis of the author's characteristics that we can form an idea of the heroes?

Stored many pages of a sharp nail mark; b - cross Eyes of an attentive girl a Are fixed on them more vividly. B Tatiana sees with trepidation, c What thought, remark c - steam room Onegin used to be amazed, d In which he silently agreed. d On their margins, she meets e The lines of his pencil, f - circular Everywhere Onegin's soul f Unwittingly expresses himself e Either with a short word, now with a cross, g - a verse That with a question hook ... g

“Eugene Onegin” is the first realistic novel in Russian literature, in which “the century was reflected and modern man is portrayed quite correctly”. A.S. Pushkin worked on the novel from 1823 to 1831. The main conflict of the novel "Eugene Onegin", as in a number of previous works, is a deep contradiction between the needs of the awakening, self-aware personality and its environment, the so-called society, frozen in inert immobility, living according to deadening canons.

"Eugene Onegin" is a novel of characters and mores. His plot-forming characters Eugene Onegin and Tatiana Larina are embodied not in statics, not in crisis episodes, but in a causal-chronological sequence, in gradual spiritual growth, in the history of their lives, in the main links of their biography. The attitude of the author of the novel to Eugene almost throughout the entire narrative is ironic, but complacent, with an obvious general sympathy for him. Onegin is an aristocrat by origin and upbringing, an individualist and egoist in his moral and psychological appearance, as he developed to his adulthood. This is a "fun and luxury child", a trendsetter, a frequent visitor of theatrical scenes, a skilled expert in the "science of tender passion." But, being a man of a restless, acutely critical, seeking mind, he soon became disillusioned with everything that was close and sweet to him from childhood, got fed up with secular life, began to read, in addition to fiction, Russian and foreign, socio-political and even economic literature (Adam Smith). This led the "young rake" to dissatisfaction with the surrounding reality, determined his opposition to the then prevailing social order and the life of high society. Evgeny's completely obvious progressive humanistic appearance clearly does not reconcile with the assessment of his transformative activities in the estate, which the author of the novel gives him: "just to spend time." It seems that this estimate is a camouflage one for censorship.

The duel with Lensky became a new stage in Onegin's spiritual evolution. The duel, which happened contrary to his wishes, but even in the absence of opposition to it, caused by the fear of being accused of cowardice, the duel was perceived by Onegin as a crime, as a murder. After a senseless duel with Lensky, the hero of the novel set off on a journey. Knowledge of the native land, the life of the people strengthened Onegin's inner concentration, and he turned out to be even more, than before, "alien to all" the people around him of the brilliant light. But, having met Tatyana here, Eugene found in her a spiritually kindred personality capable of reviving him to life, but his love did not find the desired response. Onegin's character took shape in the conditions of the highest Petersburg society, associated with cosmopolitan influences. His teachers are foreign tutors. He owes the best features of his spiritual appearance to the progressive trends of the era, determined by the liberation movement. Tatiana grew up in a rural wilderness, among fields and forests, in the family of a kind landowner of average income, close to common people. This is an original nature, poetic, strong-willed, deep and passionate, loving everything Russian: manners, customs, nature. The purity of Tatyana's motives and desires is clearly expressed in her chaste message to Onegin: "There would be a faithful wife and a virtuous mother!"

Tatiana, yielding to the pleas of her mother and relatives, agreed to marriage as a fulfillment of her vital duty. She dedicated herself to her husband, creating for him well-deserved happiness and peace, honorably maintaining his connections and position in society. Remaining faithful to her husband, remaining morally irreproachable, Tatiana also defended her independence, purity and pride in front of her hated and alien aristocratic society. Only ethical integrity was the bulwark and protection of its independence and originality. It was the spiritual greatness that lifted her above the empty, tinsel light around her and made its inhabitants bow before her, pay tribute to surprise and respect for a rare phenomenon among them.

The fate of both Eugene and Tatiana is tragic. But in the duel of duty and feeling, reason and passion, it is not Eugene who wins, but Tatiana.

Pushkin, shading the leading characters of his novel, contrasts them with Vladimir Lensky and Olga Larina.

The image of Lensky is most often interpreted too directly linearly, as a debunking of romanticism, and his poems "Where, where have you gone" are perceived even as a parody (A. Slonimsky). Meanwhile, Lensky, like Onegin, is complex and contradictory. This is one of the brightest images of Russian literature. Pushkin admires his "pure love for the good", "trusting conscience", chastity of feelings, lofty aspirations that did not have time to fade "from the cold debauchery of the world."

Pushkin also saw Lensky's shortcomings. Like Onegin, he is cut off from the depths of his native national soil, besides, he is exalted, hovers in the clouds, lives with illusions, impulses of feelings. This is a romantic poet, idealizing life, seeing it only in rosy colors. Lensky, like Onegin, is a victim of Russian reality. In the face of the defeat of the Decembrist movement, it was no longer possible to embody the great inclinations of a freedom-loving, rebelliously ardent, unusually poetically gifted youth like Lensky. And therefore, he, outlined in comparison with the main characters themselves, dies in a duel, struck by Onegin's bullet.

The complete opposite of a serious, reflective, withdrawn Tatiana is her sister Olga. She is charming with naive innocence, spontaneous sociability, bright love of life, not burdened with meditations: she is always "Frisky, careless, cheerful", but is simply frivolous. Having lost Lensky, "she did not cry for long." An ordinary, mediocre, primitive, unremarkable Olga is the most common type of noble girl of the early 19th century.

While Tatyana's emotional image is formed mainly under the influence of folk principles, Olga, forming, repeated the essence of her simple, unassuming, to some extent patriarchal-kind parents.

Emphasizing the social and typical beginning of the characters in the novel, Pushkin reveals them in an unprecedented harmonic proportion and balance of his manifestations: ideological, psychological, moral, everyday. The characters in the novel, in addition, delight in the laconic expression of their immediate feelings. The author's direct characteristics of their experiences are also very restrained. For all that, the heroes of the novel are distinctly clear, embossed in their inner essence, which is achieved by a system of external signs complementing each other and by sketching their social and everyday environment.

Development of a lesson on the topic:

The system of images in the novel "Eugene Onegin". "Onegin" stanza

Lesson developed by:,

teacher and literature

work experience 20 years

Topic: The system of images in the novel "Eugene Onegin". "Onegin" stanza.

Lesson type:

Study of new material (assimilation of new knowledge: acquaintance with the characters, their; systematization of the obtained material - construction of the scheme "System of images in the novel").

Lesson goal: (Slide 2)

To acquaint students with the heroes of the novel; to show the theme of the main character's personal tragedy through the system of character relationships. Introduce the term "Onegin stanza".

Lesson Objectives:

Educational: continue the formation of skills to analyze a literary text; reasoned to prove their own judgment;

check the degree of formation of the skills of deep reading of a work of art;

Developing: to develop the creative speech activity of students through the expression of their ideas about the heroes of the work; improve the ability to analyze, prove, compare, formulate generalized conclusions; develop a culture of oral monologue.

Educational: to contribute to the formation of a spiritually developed personality, independent thinking, creative abilities of students.

Teaching methods:

verbal, visual, search, research

Forms of student work:

frontal, group, individual

The place of this lesson in the topic, its connection with the previous lesson:

There are 5 lessons allocated for the novel "Eugene Onegin". In the first lesson, they talked about the history of the creation of the novel, got acquainted with the main character, and touched upon the topic of the personal tragedy of the main character. In this lesson, through the system of images, with the help of the technology of active-productive reading and elements of the technology of critical thinking, a clear idea of the heroes and their place in the novel emerges.

Equipment: textbook "Literature", text of the novel "Eugene Onegin", illustrations for the work, notebook, multimedia presentation "Images in the novel" Eugene Onegin ", computer and video projector with a demonstration screen.

Vocabulary: Dandy, dandy, pedant, "Onegin stanza".

Lesson structure and course:

I. Organizational part of the lesson. Introductory speech of the teacher.

Today we will continue to study the work of the great Russian poet, we will continue our acquaintance with his outstanding novel "Eugene Onegin", with the heroes, their relationships.

Before proceeding with the study of new material, we will repeat what we have gone through.

II. Updating basic knowledge. (Orally)

Purpose: to test the assimilation of knowledge about the history of the creation of the novel.

Reception "True - False."

Is it true that - the great poet of the nineteenth century? Is it true that Eugene Onegin is a novel in verse? Is it true that Eugene Onegin, the protagonist of the novel, lived in Moscow? Is it true that he does not sympathize with his hero at all? Is it true that Eugene Onegin in the novel is constantly looking for the meaning of life? Is it true that Eugene Onegin is the type of young man of the early nineteenth century?

The last question is difficult? To answer it, let's turn to the topic of our lesson (writing the topic of the lesson in a notebook). It is during the lesson that we will answer this question.

III. The teacher's word about the novel.

Indeed, the novel "Eugene Onegin" is a unique work, which reflects all the features of that era, that time. The heroes are shown in real life circumstances, in the conditions of the so-called truth of life. Let's get acquainted with the heroes of this text, as representatives of that era, let's see what worried them, what they thought, what they were striving for.

3.1. The system of images in the novel. Work with text.

Purpose: to check the degree of formation of the skills of deep reading of a work of art.

A) Eugene Onegin (Slide 3)

(Eugene Onegin is the main character of the novel. He is present in all plot lines. About him, his life is told in the text).

Through the eyes of whom is the hero shown to us?

(Chapter 1. A friend of the Author. I am ready to endure an unloved uncle for the sake of an inheritance. Eugene's father squandered his fortune. Onegin is a "young rake", "smart, sweet" - epithets. A secular young man. A typical representative of the "high society." fashion. ”“ How dandy London is dressed. ”Dandy, pedant.

Vocabulary work (Slide 4)

Who is dandy, dandy, pedant? (An individual homework assignment for the student was to look in the explanatory dictionary for the meaning of these words).

(Dandy in this context (in the notes to the novel) is a dandy.

A dandy is a person who loves to dress up, a dandy.

A pedant is one who is too strict in fulfilling all formal requirements. That is, it is important for him to take into account all the formalities).

How does he relate to the duties of a person from "high society": to attending a theater, ball, ballet?

(He was bored with all the balls, theaters, ballets for a long time. Everywhere he yawns, wants to go home as soon as possible. And at home he is also bored, he is tired of everything, he is tormented by the "Russian blues", "he has completely cooled off to life").

We write down briefly in notebooks the characteristic of Eugene Onegin. (Attachment 1)

Let us briefly write down the characteristics of the Author in notebooks.

C) "Describe the hero." The class is divided into 3 groups.

Purpose: to develop the creative speech activity of students through the expression of their ideas about the heroes of the work

For 3 minutes, each group talks about its hero using the OK "Plan-characterization of the hero" (Appendix 1).

Members of other groups listen carefully, writing down the main thing about the hero in a notebook.

Group 1 - Vladimir Lensky (Slide 6)

Group 2 - Tatiana Larina (Slide 7)

Group 3 - Olga Larina (Slide 8)

3.2. A problematic question for all groups.

Purpose: to improve the ability to analyze, prove, compare, formulate generalized conclusions.

All the heroes of the novel are unhappy in their own way. What is the problem with each of them? Using the fishbone technique, find the problem and figure out the causal relationship.

The upper fins are arguments or reasons.

The lower fins are facts from the work that support the arguments.

The representative of each team gives a detailed answer.

IV. Systematization of new material.

Purpose: to promote independence of thought, the ability to formulate conclusions.

Let's make a diagram, which we will call it: "The system of images in the novel" Eugene Onegin ". (Slide 9)

(In the center of the diagram - Eugene Onegin, down 2 arrows - Tatyana Larina, Vladimir Lensky - from him the arrow is Olga Larina, and below all these arrows unite - the image of the Author, who tells and gives an assessment to all the characters).

The diagram shows that the protagonist of the novel is Eugene Onegin. He is a typical representative of the secular youth of the time. Youth is such a great time! But is he happy?

(No, he is tired of everything, he has no goal, family, friends, he is indifferent to everything).

Conclusion: Eugene Onegin is a bright representative of the young nobility, "high society". Aimless, indifferent, bearer of personal tragedy. But this is a tragedy for the whole society in which he lives. The task of the realist writer is to show all the problems of this society without embellishing them - which he brilliantly coped with in the novel "Eugene Onegin".

V. Poetic moment. (Slide 10.11)

Purpose: to develop the poetry of speech, to contribute to the formation of a spiritually developed personality.

Expressive recitation of an excerpt from the novel "Eugene Onegin". "Tatiana's Letter" (read by a student), "Onegin's refusal" (read by a student). (against the background of F. Liszt's music "Dreams of Love", Albinoni "Adagio").

Vi. Analysis of the concept of "Onegin stanza". (Slide 12.13)

"Eugene Onegin" looks like a novel - an improvisation. The effect of a relaxed conversation with the reader is created, first of all, by the expressive possibilities of the iambic tetrameter - Pushkin's favorite size and flexibility of the "Onegin" stanza created by Pushkin especially for the novel, which includes 14 verses of the iambic tetrameter with a strict rhyme AbAb CCdd EffE gg (capital letters denote female endings, lowercase male endings) ...

The student's work at the blackboard is the writing of the first stanza of the novel. The rest take notes in their notebooks.

"Onegin stanza" consists of 14 lines, which are divided into 3 quatrains and the final couplet in different ways of rhyming:

Lines 1-4: a-b-a-b - cross rhymes

5-8: c-c-d-d - adjacent rhymes

9-12: d-e-e-d - girdle rhymes

13-14: f-f - adjacent rhymes.

But it's not just rhyme. The number of syllables in each stanza is the same.

Lines 1-4: 9-8-9-8

Conclusion: rhyming lines have the same number of syllables.

Each stanza usually begins with the coverage of a new topic, and the author's remarks, lyrical insertions conclude it. Thus, the entire novel was written, with the exception of Tatyana's letter to Onegin, Onegin's letter to Tatyana and the girls' songs.

Vii. Reflection.

Reception "Sinkwine" individual independent task (Appendix 2) (read 2-3 syncwines).

Write a syncwine dedicated to your favorite image from the novel "Eugene Onegin".

VIII. Summing up the lesson. Grades. (Slide 14)

IX. Homework. (Slide 15)

Answer the question in writing:

What does Tatyana write about in a letter to Onegin?

Individual assignment (to answer the question in writing):

References:

1., Egorova lesson development on literature. ... M .: VAKO, 2007 .-- 416 p.

Lotman "Eugene Onegin". Comment. L., 1980.

Attachment 1

Supporting synopsis (OK)

Characterization plan of a literary hero.

1. Determination of the hero's place among other characters.
2. The degree of participation and its role in the conflict.
3. Analysis of the name.
4. Portrait. Appearance, as given by the author and in the perception of other characters.
5. Speech characteristics.
6. Description of household items, dwelling, clothing, living conditions as a means of self-expression of the hero.
7. Family, education received, life history. Occupation.
8. Character traits. The evolution of the personality in the process of plot development.
9. Actions and motives of behavior in which the hero manifests himself most vividly.
10. Direct author's description. The attitude of other characters in the work to the hero.
11. Comparison with other characters or a literary hero of another author.
12. Evaluation of a literary character by his contemporaries.
13. A hero as a product of his era and an exponent of a certain worldview. Definition of the typical and individual in a literary hero.
14. Your personal attitude towards the character and this type of people in life.

Appendix 2

Sinkwine is a five-line poem.

Used as a way to synthesize material. Laconic form develops the ability to summarize information, to express thoughts in a few meaningful words, succinct and concise expressions.

"Sinkwine" (from the English. "Way of thought") has a certain scheme.

Noun. Two adjectives (participles are allowed). There are three verbs (explanations are allowed). A four-word sentence. Noun (conclusion, generalization).