In A. S. Pushkin’s work “The Bronze Horseman,” Evgeny is one of the central characters. This hero is a kind of generalization, a product of the “St. Petersburg” era in Russian history. He can be called a “little man” - after all, Eugene’s life meanings lie in simple human happiness. He wants to find a cozy home, family, and prosperity.
Generalized image
When preparing the characterization of Eugene from “The Bronze Horseman,” it can be emphasized that A. S. Pushkin in his work “The Bronze Horseman” specifically refuses to assign any surname to Eugene. By this, the poet seeks to show that absolutely anyone can take his place. The lives of many St. Petersburg residents of that time were reflected in the image of this character.
The meaning of this generalization is that Eugene in the poem is the personification of the masses, the embodiment of those who found themselves unhappy and disadvantaged due to the fault of the government. At the moment of the outbreak of rebellion, Eugene, even if only for a second, is equalized with the emperor. His elevation occurs at the moment when he, being among the raging waves, sits “astride a marble beast.” In this position, Eugene is equal in scale to a giant.
State attitude
The reader is introduced to the image of Peter the Great in the introduction. Here he is described as the Creator who conquered the elements and founded a city on the Neva.
His innovations were disastrous for ordinary people, because they were aimed only at the nobility. And the latter had a hard time: you can remember how the courtiers had their beards cut. But the main victim was the ordinary people: it was they who paved the road to St. Petersburg with thousands of lives.
“City on Bones” is the personification of the state system. Only Peter and his entourage lived comfortably in the reforms, since they saw only one side of the innovations - progressive and useful, and the fact that the harmful effects of these reforms fell on the shoulders of the “little people” did not interest them. All the nobility looked at St. Petersburg dying in the water from a bird's eye view and did not feel all the sorrows of the city's water structure. The Tsar reflects the categorical government system: there will be innovations, but people will “get by somehow.”
If at first the reader sees the Creator, then closer to the middle of the work the writer propagates the idea that Peter I is not God, and he cannot completely pacify the elements. At the end of the poem, you can only see the stone likeness of the former ruler.
The image of the sovereign still causes controversy among contemporaries today. It is impossible not to recognize his merits, but it is also impossible to turn a blind eye to the suffering of ordinary people, on whose shoulders all the transformations fell. How to treat him, everyone determines independently, and the writer in his work showed the multifaceted personality of the king.
Contrasting Peter
Continuing to characterize Eugene from The Bronze Horseman, it is worth noting the opposition of the hero to the emperor. In the flood scene, the reader sees Eugene sitting behind the Bronze Horseman. He folds his hands crosswise (here the poet draws a parallel with Napoleon), but he does not have a hat. Eugene and the rider are looking in the same direction. But their thoughts are occupied with completely different things. Peter peers into history - he is not interested in the lives of individual people. And Eugene’s gaze is fixed on the house of his beloved.
In the characterization of Eugene from The Bronze Horseman, it can be pointed out that in the persons of Peter and Eugene, the great Russian poet personified two principles - limitless human weakness and exactly the same boundless power. In this dispute, Pushkin himself takes Evgeniy’s side. After all, the rebellion of the “little man” against interference in his life is quite legitimate. And it is in this rebellion that the reader sees the spiritual awakening of the protagonist. The rebellion is what makes Eugene see the light. The guilt of the “idol” before such people is tragic and cannot be redeemed. After all, he encroached on the most valuable thing - freedom.
Eugene
EUGENE is the hero of A.S. Pushkin’s poem “The Bronze Horseman” (1833), a petty St. Petersburg official. The poem does not indicate his last name, age, rank, or place of service; nothing is said about his past, appearance, or character traits. Against this background, the allusion to E.’s aristocratic origins is especially significant, as is his name itself, reminiscent of the St. Petersburg aristocrat Eugene Onegin. There is no doubt that there is a deep artistic meaning to such omissions. Having deprived E. of individual signs, the author turns him into a man of the crowd - ordinary and mass-like, “the kind we meet darkness everywhere” (poem “Yezersky”), But the same impersonality opens up the possibility of symbolically enlarging the image of a petty official, growing into a kind of supertype - an analogue symbolic figure of the “Bronze Horseman”. The plot of the poem is based on this contradiction. E.'s social and moral insignificance is clearly revealed at the very beginning of the first part of the poem. This is a nobleman who, it seems, has completely forgotten about the past, turning into a tradesman not only in his income, but also in his lifestyle, in his ideals. The prospect of “philistine happiness” emerging in his dreams should seem to consolidate the hero’s connection with the raznosti environment. But in an extreme, critical situation - in the face of the unfolding elements and the misfortunes it brought - E. seems to awaken from sleep and throw off the mask of “nonentity”. And if at the beginning of the poem the incommensurability of the personality of Peter, absorbed in the thought of the fate of Russia, and E. with his miserable plans for personal well-being is emphasized, then already at the end of the first part the distance between them is sharply reduced. Forgetting about his own safety, overwhelmed by anxiety for the fate of his loved ones, E. grows morally in the eyes of the reader, arousing his keen sympathy. He becomes the personification of the masses, the embodiment of unfortunate and disadvantaged people - victims of the flood. And this elevation of his is enshrined in the symbolic drawing of the poem. Sitting among the raging waves “on a marble beast astride”, in a classic Napoleonic pose (“with his hands clasped in a cross”) behind the bronze monument, at that moment he becomes, as it were, a likeness of the giant Peter, partly equal in scale to him. Then, already in the second part, E. commits a truly heroic act, setting off in a boat “across the terrible waves” to a dilapidated house “near the bay” - the home of his bride. His shock at the sight of the catastrophe is such that he goes crazy. Finally, at the climax of the poem, at the moment when “his thoughts became terribly clear,” the hero, “trembling angrily,” addresses the “ruler of half the world” with a direct threat. And this rebellious outbreak again confronts and equalizes - albeit for a moment - E. and Peter. And although this is just the trick of a madman, the very determination to challenge the “formidable king” is covered in the poem with an aura of greatness. Of course, E.’s momentary rebellion in itself is not scary for the “proud idol.” But in Pushkin’s eyes he is a formidable symptom - a harbinger of new rebellions, impending social cataclysms, especially since an “insignificant” descendant of a once glorious noble family rises up against the tsar, in whose soul the rebellious willfulness and proud independence of aristocratic ancestors awakens. For the socially and politically humiliated ancient Russian nobility seemed to Pushkin “a terrible element of rebellion” (the closest historical example for him was the Decembrist uprising). A hidden, internal readiness for protest connects E. with Dubrovsky and Grinev, with the characters of a number of Pushkin’s unfinished works of the late 1820-1830s, embodying the poet’s intense thoughts about the fate of the ancient Russian aristocracy and its relationship with the supreme power.
Lit.: Belinsky V.G. Works of Alexander Pushkin. Article eleven // Belinsky V.G. Poly, coll. Op. M., 1955. T. VII. pp. 542-547; Bryusov V.Ya. “The Bronze Horseman” // Bryusov V. Collection. Op. M., 1975. T. VII; Kharlap M.G. About Pushkin’s “The Bronze Horseman” // Questions of Literature, 1961, No. 7; Makogonenko G.P. The work of A.S. Pushkin in the 1830s. Chapter five. L., 1974; Izmailov N.V. “The Bronze Horseman” by A.S. Pushkin. History of conception and creation, publication and study // Pushkin A.S. Bronze Horseman (series "
Lit. monuments"). L., 1978. S. 258-265; Panfilowitsch Igor. Aleksandr Puskins “Mednyi vsadnik”. Deutungsgeschichte und Gehalt. Miinchen, 1995.
All characteristics in alphabetical order:
According to the tradition that has developed since ancient times, a poem is a work of a narrative or lyrical nature. If at first it was more of a historical work, then from a certain moment the poems began to acquire a romantic overtones (which was associated with the tradition of the medieval chivalric romance), and even later - personal, moral and philosophical issues came to the fore, and lyrical and dramatic moments intensified. Along with this, the poem begins to depict the central characters (or one character, which was typical for the works of romantic writers) as independent individuals, and not just vague figures snatched from the historical flow.
The hero of the poem “The Bronze Horseman”, Eugene, is a product of the “St. Petersburg” period of Russian history. This is a “little” person, whose meaning of life lies in finding bourgeois happiness: a good place, family, home, prosperity.
...I'm young and healthy,
Ready to work day and night;
I’ll arrange something for myself
Shelter humble and simple
And in it I will calm Parasha.
And it is precisely the limitation of Evgeny’s existence to a close circle of family concerns, his lack of involvement in his own past (after all, he
Lives in Kolomna and doesn’t bother
Not about deceased relatives,
Not about forgotten antiquities)
They are traits that are unacceptable for Pushkin in Eugene, and it is they who make him a “little” person. Pushkin deliberately refuses to give a detailed description of Evgeniy; he even deprives him of his last name, emphasizing the possibility of putting anyone in its place, since the image of Evgeniy reflected the fate of many people of the “St. Petersburg” period.
In the flood scene, Eugene sits behind the Bronze Horseman, with his hands clasped in a cross (a parallel with Napoleon), but without a hat. She and the Bronze Horseman are looking in the same direction. However, Peter's gaze is directed back into the depths of centuries (he solves historical problems without caring about the fate of people), and Evgeniy looks at the house of his beloved. And in this comparison of Eugene with the bronze Peter, the main difference is revealed: Eugene has a soul and a heart, he is able to feel and worry about the fate of the person he loves. He is the antipode of the “idol on a bronze horse”, he has what the bronze Peter lacks: a heart and soul, he is capable of sadness, dreaming, torment. Thus, despite the fact that Peter is busy thinking about the fate of the country, that is, essentially in an abstract sense, improving the lives of people (including Evgeniy himself as a future resident of St. Petersburg), and Evgeniy is passionate about his own, purely personal, everyday interests, in the eyes of the reader It is this little person who becomes more attractive and evokes active participation.
The flood, which turned into a tragedy for Eugene, makes him (a nondescript person) a Hero. He goes crazy (which undoubtedly brings his image closer to the image of the hero of romantic works, because madness is a frequent attribute of a romantic hero), wanders through the streets of a city hostile to him, but “the rebellious noise of the Neva and the winds resounded in his ears.” It is the noise of the natural elements, combined with the “noise” in Eugene’s soul, that awakens in the madman what for Pushkin was the main sign of a person - memory; and it is the memory of the flood he experienced that brings him to Senate Square, where for the second time he meets the “idol on a bronze horse.” Through Pushkin's magnificent description we see that this was a tragically beautiful moment in the life of a poor, humble official.
Evgeny shuddered. cleared up
The thoughts in it are scary.
He understood the reason for his misfortunes, the misfortunes of the city, he recognized the culprit, “the one by whose fatal will the city was founded under the sea.” A feeling of hatred for the “ruler of half the world” and a thirst for retribution were born in him. Evgeny starts a riot. Approaching the idol, he threatens him: “Too bad for you!..”.
Eugene’s spiritual evolution gives rise to the naturalness and inevitability of protest. Eugene's transformation is artistically convincingly shown. The protest raises him to a new, lofty, tragic life, fraught with imminent and inevitable death. Evgeniy dares to threaten Peter with future retribution. And this threat is terrible for the autocrat, because he understands what a formidable force is hidden in a protesting person who has started a rebellion.
At the moment when Eugene “sees clearly,” he becomes a Man in his generic essence (it should be noted that the hero in this passage is never called Eugene, which makes him to some extent faceless, like everyone, one of everyone). We see the confrontation between the “formidable king,” the personification of autocratic power, and a Man with a heart and endowed with memory. In the whisper of a man who has regained his sight, one can hear a threat and a promise of retribution, for which the revived statue, “instantly burning with anger,” punishes the “poor madman.” At the same time, it is clear that this is an isolated protest, and, moreover, uttered in a “whisper.” The definition of Eugene as a madman is also symbolic. Madness, according to Pushkin, is an unequal dispute. The action of a loner against the powerful power of the autocracy is insane, from the point of view of common sense. But this is “holy” madness, since silent humility is disastrous. Only protest will save an individual from moral death in conditions of violence.
Pushkin, it seems to us, emphasizes that, despite the conventionality and tragicomic nature of the situation (Eugene, a little man who has nothing, and at the same time has gone crazy, dares to “challenge”, threaten the sovereign - and not the real one, but the bronze one his monument), action, resistance, an attempt to raise a voice, to be indignant has always been and will be a better way out than submission to cruel fate.
In A. S. Pushkin’s work “The Bronze Horseman,” Evgeny is one of the central characters. This hero is a kind of generalization, a product of the “St. Petersburg” era in Russian history. He can be called a “little man” - after all, Eugene’s life meanings lie in simple human happiness. He wants to find a cozy home, family, and prosperity.
Who is closer to the reader?
In this contrast between the two heroes, the reader sees their main difference, which will also complement the characterization of Eugene from The Bronze Horseman. The hero is endowed with a living heart, he knows how to worry about another person. He can be sad and rejoice, embarrassed and trembling. Despite the fact that the Bronze Horseman appears to us busy thinking about the lives of people, about their improvement (here the poet also means Eugene himself as a future inhabitant of the city), this “little man” and not the “idol” still evokes great reader sympathy "
Evgeniy's dreams
His poverty is not a vice. It can be overcome if you work hard; then it will become a temporary phenomenon. The health and youth of the main character is the poet’s hint that for now Eugene has nothing else to offer to society. He is employed in a government office. He doesn’t really like this life, but he hopes for the best and is ready to work long and hard to achieve prosperity. The situation is exactly the same with the apartment that Evgeniy rents in one of the remote areas. The main character hopes that she too will be replaced with a better option.
In the characterization of Eugene in the poem “The Bronze Horseman” one can also mention his beloved. Evgeniy’s girlfriend named Parasha is a match for him. She is not rich and lives with her mother on the outskirts of the city. Evgeny loves a girl, thinks of his future only with Parasha, connecting all his best dreams with her. But the events that occurred later destroyed the plans of the “little man.” The river covered the house of Parasha and her mother with a flood, taking their lives. Because of this, Evgeniy lost his mind. His suffering was immeasurable. He wandered around the city alone, eating only the handouts that the poor gave him for two weeks.
Characteristics
“The Bronze Horseman,” by and large, is Pushkin’s reflections on the role of Peter the Great in the history of his reign and the consequences of his reforms. The poem contains secondary and main characters:
- Bronze Horseman. He is the personification of Peter the Great, his power and mistakes. This hero of the writer is dual. This is an all-seeing, fair and wise ruler, the founder of reforms. But at the same time, a simple, rude and improvident man, his tyranny brought many misfortunes. The statue haunts the unfortunate Eugene; it is a rather meaningful and symbolic image. In the king, some saw not a wise ruler, but an imperious tyrant.
- Eugene. Pushkin describes his characterization in “The Bronze Horseman” as the image of a “little man”; the writer does not even give him a last name. This is a poor employee, living in dreams, worries about the future. He wants to quickly meet his beloved, who lives on the other side of the river. Because of the hurricane, the Neva flooded the city, this darkens the hero, he misses his beloved. Once at the scene of the tragedy, he saw ruins and dead bodies, his mind became cloudy. He wanders for a long time, spends the night in landfills, and lives on alms. One day, Evgeniy is near the sculpture of Peter, recalls sad events, and threatens him. In his oblivion, it seemed to the hero that the king was angry and was pursuing him.
- Parasha. Evgenia's beloved girl lives on the other side in a small house. That's all there is to know about heroin. She died in the flood. Parasha is the meaning of life for Evgeny, having lost it, he does not see the future. After a while, the hero was found dead - he drowned in the river, and his body was thrown onto the island.
Among the heroes of the poem there is also a carrier. During a disaster, for a dime he transported the main character by boat to his beloved’s house.
Death of Evgeniy
The character’s tired consciousness paints delusional pictures for him - this is how the poem “The Bronze Horseman” continues. The characterization of Peter and Eugene may contain a description of the moment of anger of the “little man” directed at the emperor. Eugene begins to accuse the Bronze Horseman of founding a city in such a place. After all, if Peter had chosen a different area for the city, then Parasha’s life could have turned out differently. And the accusations of the “little man” are so full of abuse that his imagination cannot stand it and revives the monument to Peter. He chases Evgeniy all night. He falls asleep in the morning, exhausted from this chase. Soon the main character dies from grief.
History of writing
The poem is the final narrative of those works that were written during the Boldino autumn. At the beginning of 1834, Pushkin completed work on The Bronze Horseman.
In those days when Alexander Sergeevich lived, there were several types of people: the first adored Peter the Great, the second attributed to the sovereign a relationship with the devil. Against this background, myths appeared: some began to call the tsar “father of the fatherland” , talked about his extraordinary mind, about the founding of the city-paradise (St. Petersburg), others prophesied the death of the Northern capital, called Peter the Great the Antichrist, and accused him of having close ties with otherworldly forces .
The writer collected different visions of the personality of the reformer king in order to give the most complete assessment of the time of Peter’s reign.
"Little Man" or Hero?
The flood, which turned into a personal tragedy for Evgeny, turns him from a simple person into the Hero of the poem “The Bronze Horseman”. The characterization of Eugene, briefly outlined, may contain his description at the beginning of the poem and transformation as events develop.
At first quiet and inconspicuous, he becomes a truly romantic character. He has enough courage to, risking his own life, go in a boat through the “terrible waves” to a small house located right next to the Gulf of Finland, where his beloved lived. In the poem he loses his mind, and madness, as we know, often accompanies romantic heroes.
Characteristics of Eugene in the poem “The Bronze Horseman”: the character’s ambivalence
This Pushkin character has ambivalence - on the one hand, he is small and faceless; on the other hand, Eugene is the only hero of the poet’s works who has a number of human virtues. He evokes compassion in the reader, and at some point even admiration. Despite the fact that Evgeniy is a simple man in the street, he is distinguished by high moral qualities. This poor official knows how to love, be faithful and humane.
The characterization of the hero Eugene in the poem “The Bronze Horseman” was interesting to many researchers of Pushkin’s literary heritage. Some of them, for example Yu. Borev, see in Eugene no less a mystery than in the image of the emperor. Yes, he is a “little” person, a private person. However, the character claims to have self-worth. There are many high moments in his dreams. His madness can be called “high,” because in it the hero goes far beyond the boundaries of ordinary consciousness.
Using many techniques, the great Russian poet achieves the compatibility of two opposing images - the emperor and the petty official. After all, for Pushkin the worlds of these heroes are equivalent.
