By A. D. P. Briggs
It is a vigorous and readable advisor to Alexander Pushkin's novel in verse Eugene Onegin, a landmark of ecu Romanticism, and arguably the easiest of all Russian poetry. Professor Briggs addresses the query of the way such awesome poetry may have been composed a few really banal plot, and considers the shape of the paintings and its poetic thoughts intimately. He bargains clean interpretations of the characters and occasions of the poem, and units it opposed to its ecu historical past. He discusses its impression - significantly Tchaikovsky's operatic model - and issues to its life-affirming philosophy and spirit of joyfulness. The booklet features a chronological chart and a consultant to additional studying.
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Additional resources for Alexander Pushkin: Eugene Onegin
She is hurrying, perhaps because it is cold, perhaps just because she is young and young people do hurry. Why does she seem so charming? The answer lies probably in the name which she bears. She is an 'Okhtenka' (stress on the 24 EUGENE ONEGIN first syllable), which simply means that she comes from the district of Okhta in the eastern part of the city. This winsome word sounds like a pretty diminutive, though it is not. It was clearly selected by the poet because it sounds so sweet. Having chosen it, he took good care to follow up the possibilities; in the next line all four of the consonants in this word (kh, t, n, k) recur, and to good effect, in the imitation of morning show crunching underfoot.
It is not at all clear what Pushkin is about. Is this a genuine endorsement of Eugene's conduct? Or is it the opposite, sarcasm intended to undermine the quality of his behaviour? In any case, why can't we be left to absorb the words and events, and then form our own conclusions? And this sort of thing is not uncommon. In the previous chapter Pushkin has asked similar things about Tatyana and her behaviour: 'Why is Tatyana, then, more guilty? Is it because, in her sweet simplicity, she does not know the meaning of deceit and she believes in her chosen dream?
To a limited extent this is a good thing; a serious work of art must be capable of generating much discussion. Nor can all the complexities be resolved suddenly by a burst of new thinking. However, it will be usefu l to take account of some mistakes and contradictions which have arisen in this field. The ground must be cleared (yet again) before any new observations can be added to the discussion. First, the difficulties. These cannot be overstated. More veils and shades, of disguise and concealment, have been cast over Eugene Onegin than any novel you are likely to encounter before the twentieth century.
Alexander Pushkin: Eugene Onegin by A. D. P. Briggs