ЧЕТВЕРТАЯ ГЛАВА РОМАНА А. С. ПУШКИНА «ЕВГЕНИЙОНЕГИН»: МОНОЛОГ OНЕГИНА В РИТМИКО-СМЫСЛОВОМ ОСВЕЩЕНИИ
THE FOURTH CHAPTER OF THE NOVEL “EUGENE ONEGIN” BY A. S. PUSHKIN: ONEGIN’S MONOLOGUE IN THE LIGHT OF RHYTHM AND MEANING

Summary/Abstract: The article analyses the questions related to the emotional perception of meaning of Onegin’s monologue in the 4th chapter of the Pushkin’s novel “Eugene Onegin”. Some historical and literary facts, the peculiarities of the structural-rhythmic and dynamic harmony of the Monologue text (Part 1), and also the peculiarities of receptive perception of the text in its common and “separate” reading (part 2) are analyzed from the standpoint of common rhythm and meaning of the poetic text. Two reading versions of the Monologue allow to clarify the reasons for Onegin called his monologue “confession”, and Tatyana Larina – “sermon”. It will be recalled that Onegin says his monologue at the meeting with Tatyana Larina after receiving a letter declaring her love. According to the ethical and moral principles of the beginning of the XIX century, such an action committed by a young lady was treated as unacceptable and extremely inconsiderate. Pushkin at the end of the third The article analyses the questions related to the emotional perception of meaning of Onegin’s monologue in the 4th chapter of the Pushkin’s novel “Eugene Onegin”. Some historical and literary facts, the peculiarities of the structural-rhythmic and dynamic harmony of the Monologue text (Part 1), and also the peculiarities of receptive perception of the text in its common and “separate” reading (part 2) are analyzed from the standpoint of common rhythm and meaning of the poetic text. Two reading versions of the Monologue allow to clarify the reasons for Onegin called his monologue “confession”, and Tatyana Larina – “sermon”. It will be recalled that Onegin says his monologue at the meeting with Tatyana Larina after receiving a letter declaring her love. According to the ethical and moral principles of the beginning of the XIX century, such an action committed by a young lady was treated as unacceptable and extremely inconsiderate. Pushkin at the end of the third fully consistent with the historical and literary (rich in content) aspects of the analysis and, secondly, they clearly show (in graphical form) that the actual location of the Monologue in the novel presents the text to the reader in a relatively soft version of its emotional sensing (“confession”), while Tatyana Larina listening to the Onegin’s speech (“separate” variant of reading) had an indisputable right to call this monologue “preaching”. The expressively harmonious analysis of the text of the Onegin’s Monologue was carried out in the manner of rhythmic and meaningful commentaries on the fourth Chapter of “Eugene Onegin”. KEY WORDS: prosody, harmony, rhythm, mathematics, the “golden section”.

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