The Passion of the Writers

Pushkin tries to create a mutually unrequited love which burns with "passion's madness" in double-dyed(a) contrast to the stiff and soulless(prenominal) participation almost it, the society which, says Onegin, "I hate; this modish whirl, this social story, . . . All this shoddy parading, and all this flashy masquerading,/ the glare, the fumes in which I live. . . . " It took him a long while to come to much(prenominal) a conclusion, however, and, until that m seems to have had a good enough time parading and masquerading himself. We can non transfer Pushkin's criticism of aristocratic society seriously. He is not a pessimist, despite his critical insights into that society. His criticism does not seem impassioned. He cannot really be called an optimist either, however, at least not on the basis of this novel. His silly and presumptuous farewell to the reviewer is less optimistic than giddy. He seems to be most optimistic that the reader longs for every word that might find its way from his draw up to the paper.

If Eugene seems to fit cover in with the artificial society around him, Tatyana's story seems to more effectively present a pass judgment of society which could be called pessimistic: ~With tears and incantation/ set out implored me; my sad station/ made all fates look the like . . . and so/ I married." Tatyana is meant to be the symbol of a slimy gir

Pushkin's nature and religious poetry is much more vital and fiery than the turgid novel. "The illusionist" is certainly self-aggrandizing, as the poet portrays himself as a prophet label by God, like Isaiah, with the task of awakening others to Him. Nevertheless, it is at least impassioned enough to attract the reader's emotions, which cannot be said for Eugene Onegin. We must(prenominal) conclude, in light of the fiery religious and nature poetry, that Pushkin is an optimist approximately Russian prospects---as long as Russia remains close to the contri savee and God, it allow for prosper, but if it follows its artificial and pompous aristocratic impulses, it will perish.

If Pushkin's philosophy is conditionally optimistic, Mikhail Lermontov's philosophy is unconditionally pessimistic.

In such poems as "A Foreboding," "The Poet's Death," "Meditation," and "Farewell to Russia," Lermontov rails against society and its tainted people.

Gogol, Nikolai. The Overcoat and Other Short Stories. New York: Dover, 1992.

l who grew up to be a woman of integrity, but there is not much more emotional resonance in her guinea pig than there is in Eugene. If the closing speech of his beleaguered protagonist is any indication, Pushkin can be said to be pessimistic well-nigh aristocratic society, but, again, his heart does not really seem to be in that pessimism. The only truly free spirit is Lensky, but he is shown to be little more than an enthusiastic fool, as Onegin thinks: "Let him live, and think/ the universe is all perfection;/ youthfulness is a fever; we must spare/ its natural right to rave and flare."

Pushkin, Alexander. Eugene Onegin. New York: Penguin, 1979.

rains justice down upon those who brought such ache to the poet.

Gogol might be viewed by the superficial reader as a pessimist in the two stories, "The Overcoat" and "The Nose," but he is fact an optimist in ways that Pushkin and Lermontov would never understand. Whereas Pushkin is an aristocrat who well-tried to appear critical of the a
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