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66-546: Almost the entire work is made up of 389 fourteen-line stanzas (5,446 lines in all) of iambic tetrameter with the unusual rhyme scheme AbAbCCddEffEgg, where the uppercase letters represent feminine rhymes while the lowercase letters represent masculine rhymes . The story is told by a narrator (a lightly fictionalized version of Pushkin's public image), whose tone is educated, worldly, and intimate. The narrator digresses at times, usually to expand on aspects of this social and intellectual world. This narrative style allows for

132-636: A ballet score titled Tatiana , with a libretto written by John Neumeier for his choreographic interpretation and staging of Alexander Pushkin 's Eugene Onegin , for a co-production by the Hamburg State Opera and the Stanislavski and Nemirovich-Danchenko Moscow Academic Music Theatre in Moscow. Stanza In poetry , a stanza ( / ˈ s t æ n z ə / ; from Italian stanza , Italian: [ˈstantsa] ; lit.   ' room ' )

198-453: A clear shot. Translators of Eugene Onegin have all had to adopt a trade-off between precision and preservation of poetic imperatives. This particular challenge and the importance of Eugene Onegin in Russian literature have resulted in a large number of competing translations. Walter W. Arndt 's 1963 translation ( ISBN   0-87501-106-3 ) was written keeping to the strict rhyme scheme of

264-643: A complete translation, again preserving the Onegin stanzas in English. ( ISBN   978-0-140-44810-8 ) In 2022, Robert E. Tanner published a translation that preserved the Onegin stanzas and incorporated background and historical information in the interstices provided by the translation from Russian to English. (ISBN 978-0-9990737-5-9) There are a number of lesser known English translations , at least 45 through 2016. There are at least eight published French translations of Eugene Onegin . The most recent appeared in 2005:

330-427: A development of the characters and emphasizes the drama of the plot despite its relative simplicity. The book is admired for the artfulness of its verse narrative as well as for its exploration of life, death, love, ennui, convention, and passion. In the 1820s, Eugene Onegin is a bored St. Petersburg dandy , whose life consists of balls, concerts, parties, and nothing more. Upon the death of a wealthy uncle, he inherits

396-421: A gypsy camp there: Между колесами телег, Полузавешанных коврами, Горит огонь; семья кругом Готовит ужин; в чистом поле Пасутся кони; за шатром Ручной медведь лежит на воле. Between the wheels of the carriages half-covered by hanging carpets burns a flame, and the family around it cooks supper; in the clear field the horses are at pasture; beyond the tent a tame bear lies uncaged. The poem

462-425: A letter professing her love. Contrary to her expectations, Onegin does not write back. When they meet in person, he rejects her advances politely but dismissively and condescendingly. This famous speech is often referred to as Onegin's Sermon : he admits that the letter was touching, but says that he would quickly grow bored with marriage and can only offer Tatyana friendship; he coldly advises more emotional control in

528-461: A murderer... You are not born for the savage life You want freedom only for yourself. The poem closes with an epilogue narrated in the first person, who warns that the gypsy encampments offer no freedom from the "fateful passions" and problems of life. В пустынях не спаслись от бед, И всюду страсти роковые, И от судеб защиты нет. In the deserts you won't be saved from misfortunes, And fateful passions are found everywhere And there

594-622: A scene of extremely fast-moving dialogue, he kills them both. The Old Man tells him to leave the Gypsies because his understanding of law, freedom and order is different from his (ll.510–520): Оставь нас, гордый человек! Мы дики; нет у нас законов, Мы не терзаем, не казним – Не нужно крови нам и стонов – Но жить с убийцей не хотим... Ты не рожден для дикой доли, Ты для себя лишь хочешь воли. Leave us, proud man! We are wild; we have no laws We do not torture or execute – We have no need of blood or moans – But we don't want to live with

660-420: A second one in 1990, in lines of unequal length) and by Pia Pera (1996). There are 6 or more Japanese translations of Eugene Onegin . The first two versions were published in 1921, but the most popular version was a prose translation by Kentaro Ikeda in 1964. The latest translation was one by Masao Ozawa, published in 1996, in which Ozawa attempted to translate Onegin into the form of Japanese poetry. Since

726-493: A substantial fortune and a landed estate. When he moves to the country, he strikes up a friendship with his neighbor, a starry-eyed young poet named Vladimir Lensky. Lensky takes Onegin to dine with the family of his fiancée, the sociable but rather thoughtless Olga Larina. At this meeting, he also catches a glimpse of Olga's sister Tatyana. A quiet, precocious romantic, and the exact opposite of Olga, Tatyana becomes intensely drawn to Onegin. Soon after, she bares her soul to Onegin in

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792-456: A translation, which was never published. There are at least a dozen published translations of Onegin in German . There are several Italian translations of Onegin . One of the earliest was published by G. Cassone in 1906. Ettore Lo Gatto translated the novel twice, in 1922 in prose and in 1950 in hendecasyllables. More recent translations are those by Giovanni Giudici (a first version in 1975,

858-480: Is a group of lines within a poem, usually set off from others by a blank line or indentation . Stanzas can have regular rhyme and metrical schemes , but they are not required to have either. There are many different forms of stanzas . Some stanzaic forms are simple, such as four-line quatrains . Other forms are more complex, such as the Spenserian stanza . Fixed verse poems , such as sestinas , can be defined by

924-511: Is a parody of both Rousseau 's Noble Savage idea and Byron's verse tales, pointing out that "Aleko, pursuing the ideal of the Noble Savage, himself comes to present the spectacle of an ig noble citizen." John Bayley argues that The Gypsies "shows the problem of a poet as naturally classical as Pushkin in an epoch fashionably and self-consciously romantic." Boris Gasparov estimates that The Gypsies has inspired some eighteen operas and half

990-497: Is analogous with the paragraph in prose : related thoughts are grouped into units. This short poem by Emily Dickinson has two stanzas of four lines each: I had no time to hate, because The grave would hinder me, And life was not so ample I Could finish enmity. Nor had I time to love; but since Some industry must be, The little toil of love, I thought, was large enough for me. This poem by Andrew John Young has three stanzas of six lines each: Frost called to

1056-491: Is considered to be the most faithful to Pushkin's spirit according to Russian critics and translators. Douglas Hofstadter published a translation in 1999, again preserving the Onegin stanzas, after having summarised the controversy (and severely criticised Nabokov's attitude towards verse translation) in his book Le Ton beau de Marot . Hofstadter's translation employs a unique lexicon of both high and low register words, as well as unexpected and almost reaching rhymes that give

1122-501: Is described as "classical and pedantic in duels" (chapter 6, stanza XXVI), and this seems very out of character for a nobleman. In effect, he is enthusiastic at the prospect of a duel and callous about its deadly possibilities. Zaretsky's first chance to end the duel is when he delivers Lensky's written challenge to Onegin (chapter 6, stanza IX). Instead of asking Onegin if he would like to apologise, he apologises for having much to do at home and leaves as soon as Onegin (obligatorily) accepts

1188-508: Is no defence against the fates. The poem addresses and interrogates the concept of the noble savage , an idea which had gained popular currency in the Romantic Age which held that those people who live further from "civilization" live "in harmony with nature and a more simple, childlike and blessed life" than the alienated and unhappy people in European cities. Aleko's failure to integrate with

1254-399: Is surprised by the apparent absence of Onegin's second. Onegin, against all rules, appoints his servant Guillot as his second (chapter 6, stanza XXVII), a blatant insult for the nobleman Zaretsky. Zaretsky angrily accepts Guillot as Onegin's second. By his actions, Zaretsky does not act as a nobleman should; in the end Onegin wins the duel. Onegin himself, however, tried as he could to prevent

1320-419: Is the last of Pushkin's "Southern Poems", and is usually considered to be the most mature and sophisticated of these works. The "Southern Poems" are indebted to Byron : they use exotic and orientalized settings, rapid transitions, and chart sexual and military conquest. Stephanie Sandler sees it as an expression of "a kind of liberal individualism in which respect for the person is valued above all else, in which

1386-587: Is thought to be a reference to the Roman poet Ovid , who was banished to Tomis in 8 AD. Two years pass (l.225) and Aleko remains with Zemfira in the Gypsy camp. However, Zemfira begins to sing a love song about an adulterous affair which shocks and scares Aleko (ll.259–266). At this point the poem switches from iambic tetrameter and is less consistent with fewer feet. The Old Man warns Aleko that he has heard this song before from his wife Mariula who later left him. Aleko

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1452-508: Is upset by the song and falls asleep, and Zemfira is angry when she hears him pronounce another woman's name in his sleep (l.327). The Old Man warns Aleko not to expect Zemfira to be faithful (ll.287–299), and tells him in detail about how Mariula left him after only a year (ll.370–409). Aleko, however, insists on his "rights" (l.419), or at least the possibility of getting the pleasure of revenge (l.420). Zemfira meets her lover at night and, just as they are parting, Aleko catches them together. In

1518-407: Is written almost exclusively in iambic tetrameter , and this regular metre is established from the outset: Once the scene is set, the characters are introduced: an old man is waiting for his daughter Zemfira to return home while his dinner grows cold. When she arrives, she announces that she has brought home with her a man, Aleko, who has fled the city because the law is pursuing him. At this point

1584-557: Is written in two Onegin stanzas. Nabokov reproduces the poem both so that the reader of his translation would have some experience of this unique form, and also to act as a further defence of his decision to write his translation in prose. Nabokov's previously close friend Edmund Wilson reviewed Nabokov's translation in the New York Review of Books , which sparked an exchange of letters and an enduring falling-out between them. John Bayley has described Nabokov's commentary as '"by far

1650-455: The narrative style changes: the omniscient narrator steps aside and the majority of the rest of the poem takes the form of a dialogue, following the tradition of closet drama . The Old Man and Zemfira welcome Aleko, but he retains lingering doubts about the possibility of happiness at the Gypsy camp: Уныло юноша глядел, На опустелую равнину И грусти тайную причину Истолковать себе не смел. The youth looked around him in despair at

1716-547: The Arabic translation is in verse and took over 4 years to be completed. The 1879 opera Eugene Onegin , by Tchaikovsky , based on the story, is perhaps the version that most people are familiar with. There are many recordings of the score, and it is one of the most commonly performed operas in the world. John Cranko choreographed a three-act ballet using Tchaikovsky 's music in an arrangement by Kurt-Heinz Stolze . However, Stolze did not use any music from Tchaikovsky's opera of

1782-572: The Onegin stanza and won the Bollingen Prize for translation . It is still considered one of the best translations. Vladimir Nabokov severely criticised Arndt's translation, as he had criticised many previous (and later) translations. Nabokov's main criticism of Arndt's and other translations is that they sacrificed literalness and exactness for the sake of preserving the melody and rhyme. Accordingly, in 1964 he published his own translation, consisting of four volumes, which conformed scrupulously to

1848-493: The Onegin stanza, which is generally considered to surpass Arndt's. Johnston's translation is influenced by Nabokov. Vikram Seth 's novel The Golden Gate was in turn inspired by this translation. James E. Falen (professor of Russian at the University of Tennessee ) published a translation in 1995 which was also influenced by Nabokov's translation, but preserved the Onegin stanzas ( ISBN   0809316307 ). This translation

1914-453: The beginning of December 19, 1826, when Pushkin returned to Moscow after exile on his family estate. Many stanzas appeared to have been written between November 22 and 25, 1826. On March 23, 1828, the first separate edition of chapter 6 was published. Pushkin started writing chapter 7 in March 1827, but aborted his original plan for the plot of the chapter and started on a different tack, completing

1980-497: The book was published in 1833. Slight corrections were made by Pushkin for the 1837 edition. The standard accepted text is based on the 1837 edition with a few changes due to the Tsar's censorship restored. In Pushkin's time, the early 19th century, duels were very strictly regulated. A second's primary duty was to prevent the duel from actually happening, and only when both combatants were unwilling to stand down were they to make sure that

2046-508: The challenge. On the day of the duel, Zaretsky gets several more chances to prevent the duel from happening. Because dueling was forbidden in the Russian Empire , duels were always held at dawn. Zaretsky urges Lensky to get ready shortly after 6 o'clock in the morning (chapter 6, stanza XXIII), while the sun only rises at 20 past 8, because he expects Onegin to be on time. However, Onegin oversleeps (chapter 6, stanza XXIV), and arrives on

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2112-411: The chapter in the week November 15 to 22, 1826. The first separate edition of chapter 5 appeared with chapter 4 in a publication produced between January 31 and February 2, 1828. When Nabokov carried out his study on the writing of Onegin , the manuscript of chapter 6 was lost, but it is known that Pushkin started chapter 6 before finishing chapter 5. Most of chapter 6 appears to have been written before

2178-428: The chapter on November 4, 1828. The first separate edition of chapter 7 was first printed on March 18, 1836. Pushkin intended to write a chapter called "Onegin's Journey", which occurred between the events of chapters 7 and 8, and in fact was supposed to be the eighth chapter. Fragments of this incomplete chapter were published, in the same way that parts of each chapter had been published in magazines before each chapter

2244-450: The dignity of the individual is fundamental." However, critics agree that The Gypsies , while inheriting much from the Byronic tradition, also strives to move away from it. Michael Wachtel argues that "the grim, fatalistic acceptance of life as a tragedy and of individual experience as endless repetition brings the work closer to Antiquity than to Byron". Antony Wood suggests that The Gypsies

2310-427: The duel proceeded according to formalised rules. A challenger's second should therefore always ask the challenged party if he wants to apologise for the actions that have led to the challenge. In Eugene Onegin , Lensky's second, Zaretsky, does not ask Onegin even once if he would like to apologise, and because Onegin is not allowed to apologise on his own initiative, the duel takes place, with fatal consequences. Zaretsky

2376-684: The emptied plain and the secret reason for his sadness he did not dare to seek to discover. Aleko is established as a Romantic hero : the narrator describes him as a tormented victim of passion and sounds an ominous note that his passions will return. Но боже! как играли страсти Его послушною душой С каким волнением кипели В его измученной груди Давно ль, на долго ль усмирели? Они проснутся: погоди! But God! How did passions play With his obedient soul With what excitement did they boiled up In his tormented chest How long ago they calmed down, how long would they be at peace? They will awake: just wait! Zemfira asks Aleko if he misses

2442-401: The fatal outcome, and killed Lensky unwillingly and almost by accident. As the first shooter, he couldn't deliberately miss the opponent: this was considered a serious insult and could create a formal reason to arrange another duel. Instead, he tried to minimize his chances of hitting Lensky by shooting without precise aim, from the maximum possible distance, not even trying to come closer and get

2508-598: The fierce frost Interns poor fish, ranks trees in an armed host, Hangs daggers from house-eaves And on the windows ferny am bush weaves; In the long war grown warmer The sun will strike him dead and strip his armour. The Gypsies (poem) The Gypsies ( Russian : Цыга́ны , romanized :  Tsygany ) is a narrative poem in 569 lines by Alexander Pushkin , originally written in Russian in 1824 and first fully published in 1827 . The last of Pushkin's four 'Southern Poems' written during his exile in

2574-412: The first Chinese version translated by Su Fu in 1942 and the first translation from original Russian version in 1944 by Lu Yin, there have been more than 10 versions translated into Chinese. In the 21st century there are still new Chinese versions being published. "Eugene Onegin" was translated from Russian into Arabic by the historian and researcher Abdel Hadi Al-Dheisat (عبد الهادي الدهيسات) in 2003, and

2640-399: The first week of 1826. The first separate edition of chapter 4 appeared with chapter 5 in a publication produced between January 31 and February 2, 1828. The writing of chapter 5 began on January 4, 1826, and 24 stanzas were complete before the start of his trip to petition the Tsar for his freedom. He left for this trip on September 4 and returned on November 2, 1826. He completed the rest of

2706-404: The future, lest another man take advantage of her innocence. Later, Lensky mischievously invites Onegin to Tatyana's name day celebration, promising a small gathering with just Tatyana, Olga, and their parents. When Onegin arrives, he finds instead a boisterous country ball, a rural parody of and contrast to the society balls of St. Petersburg of which he has grown tired. Onegin is irritated with

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2772-615: The guests who gossip about him and Tatyana, and with Lensky for persuading him to come. He decides to avenge himself by dancing and flirting with Olga. Olga is insensitive to her fiancé and apparently attracted to Onegin. Earnest and inexperienced, Lensky is wounded to the core and challenges Onegin to fight a duel; Onegin reluctantly accepts, feeling compelled by social convention. During the duel, Onegin unwillingly kills Lensky. Afterwards, he quits his country estate, traveling abroad to deaden his feelings of remorse. Tatyana visits Onegin's mansion, where she looks through his books and his notes in

2838-496: The gypsies and his continued insistence on the moral standards of the city in the gypsy encampment challenge the notion that happiness can be found by reverting to nature. The poem closes with a clear attack on the idea of the noble savage: "But even among you, poor sons of nature, there is no happiness! Tormenting dreams live under your bedraggled tents". [Но счастья нет и между вами, / Природы бедные сыны!... / И под издранными шатрами / Живут мучительные сны.] (ll.562–565) The Gypsies

2904-504: The leaders of old Russian society. He sees the most beautiful woman, who captures the attention of all and is central to society's whirl, and he realizes that it is the same Tatyana whose love he had once spurned. Now she is married to an aged prince (a general). Upon seeing Tatyana again, he becomes obsessed with winning her affection, despite her being married. His attempts are rebuffed. He writes her several letters, but receives no reply. Eventually, Onegin manages to see Tatyana and offers her

2970-417: The margins, and begins to question whether Onegin's character is merely a collage of different literary heroes, and if there is, in fact, no "real Onegin". Tatyana, still brokenhearted by the loss of Onegin, is persuaded by her parents to live with her aunt in Moscow to find a suitor. Several years pass, and the scene shifts to St. Petersburg. Onegin has come to attend the most prominent balls and interact with

3036-408: The most erudite as well as the most fascinating commentary in English on Pushkin's poem", and "as scrupulously accurate, in terms of grammar, sense and phrasing, as it is idiosyncratic and Nabokovian in its vocabulary". It is generally agreed that Nabokov's translation is extremely accurate. Henry Spalding published a translation in 1881. Ivan Turgenev called his translation astonishingly faithful, and

3102-539: The novel. Chapter 2 was started on October 22, 1823 (the date when most of chapter 1 had been finished), and finished by December 8, except for stanzas XL and XXXV, which were added sometime over the next three months. The first separate edition of chapter 2 appeared on October 20, 1826. Many events occurred which interrupted the writing of chapter 3. In January 1824, Pushkin stopped work on Onegin to work on The Gypsies . Except for XXV, stanzas I–XXXI were added on September 25, 1824. Nabokov guesses that Tatyana's Letter

3168-539: The number and form of their stanzas. The stanza has also been known by terms such as batch , fit , and stave . The term stanza has a similar meaning to strophe , though strophe sometimes refers to an irregular set of lines, as opposed to regular, rhymed stanzas. Even though the term "stanza" is taken from Italian, in the Italian language the word "strofa" is more commonly used. In music, groups of lines are typically referred to as verses . The stanza in poetry

3234-461: The opportunity to finally elope after they have become reacquainted. She recalls the days when they might have been happy, but concludes that that time has passed. Onegin repeats his love for her. Faltering for a moment, she admits that she still loves him, but she will not allow him to ruin her and declares her determination to remain faithful to her husband. She leaves him regretting his bitter destiny. As with many other 19th-century novels , Onegin

3300-546: The same name . Instead, he orchestrated some little-known piano works by Tchaikovsky such as The Seasons , along with themes from the opera Cherevichki and the latter part of the symphonic fantasia Francesca da Rimini . Choreographer Boris Eifman staged a modern rendition of Eugene Onegin as a ballet taking place in modern Moscow. The ballet was performed by Eifman Ballet of St. Petersburg, with music by Alexander Sitkovetsky and with excerpts from Tchaikovsky's opera Eugene Onegin . Most recently Lera Auerbach created

3366-432: The scene more than an hour late. According to the dueling codex, if a duelist arrives more than 15 minutes late, he automatically forfeits the duel. Lensky and Zaretsky have been waiting all that time (chapter 6, stanza XXVI), even though it was Zaretsky's duty to proclaim Lensky winner and take him home. When Onegin finally arrives, Zaretsky is supposed to ask him a final time if he would like to apologise. Instead, Zaretsky

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3432-404: The sense while completely eschewing melody and rhyme. The first volume contains an introduction by Nabokov and the text of the translation. The Introduction discusses the structure of the novel, the Onegin stanza in which it is written, and Pushkin's opinion of Onegin (using Pushkin's letters to his friends); it likewise gives a detailed account of both the time over which Pushkin wrote Onegin and of

3498-515: The south of the Russian Empire, The Gypsies is also considered to be the most mature of these Southern poems, and has been praised for originality and its engagement with psychological and moral issues. The poem has inspired at least eighteen operas and several ballets . The poem opens with an establishment of the setting in Bessarabia and a colorful, lively description of the activities of

3564-399: The splendor of his homeland, but he responds that his only desire is to spend his life with her in voluntary exile. (ll.174–176). The Old Man warns that although Aleko loves the Gypsy life, this feeling may not last forever, and tells a story of a man that he knew who spent his entire life with the Gypsies but who eventually pined for his homeland and asked to be buried there. (ll.181–216). This

3630-446: The subject. The first stanza of chapter 1 was started on May 9, 1823, and except for three stanzas (XXXIII, XVIII, and XIX), the chapter was finished on October 22. The remaining stanzas were completed and added to his notebook by the first week of October 1824. Chapter 1 was first published as a whole in a booklet on February 16, 1825, with a foreword which suggests that Pushkin had no clear plan on how (or even whether) he would continue

3696-616: The text remained the only complete translation for fifty years. Even later, the Russian critic Ernest Simmons praised Spalding for his translation and scholarly notes on Pushkin's novel in verse. Babette Deutsch published a translation in 1935 that preserved the Onegin stanzas. The Pushkin Press published a translation in 1937 (reprinted 1943) by the Oxford scholar Oliver Elton , with illustrations by M. V. Dobujinsky . In 1977, Sir Charles Johnston published another translation trying to preserve

3762-488: The translator, André Markovicz, respects Pushkin's original stanzas. Other translations include those of Paul Béesau (1868), Gaston Pérot (1902, in verse), Nata Minor (who received the Prix Nelly Sachs, given to the best translation into French of poetry), Roger Legras, Maurice Colin, Michel Bayat, and Jean-Louis Backès (who does not preserve the stanzas). As a 20-year-old, former French President Jacques Chirac also wrote

3828-563: The various forms in which the various parts of it appeared in publication before Pushkin's death (after which there is a huge proliferation of the number of different editions). The second and third volumes consist of very detailed and rigorous notes to the text. The fourth volume contains a facsimile of the 1837 edition. The discussion of the Onegin stanza in the first volume contains the poem On Translating "Eugene Onegin" , which first appeared in print in The New Yorker on January 8, 1955, and

3894-472: The water Halt And crusted the moist snow with sparkling salt; Brooks, their one bridges, stop, And icicles in long stalactites drop. And tench in water-holes Lurk under gluey glass-like fish in bowls. In the hard-rutted lane At every footstep breaks a brittle pane, And tinkling trees ice-bound, Changed into weeping willows, sweep the ground; Dead boughs take root in ponds And ferns on windows shoot their ghostly fronds. But vainly

3960-474: The work a comedic flair. Tom Beck published a translation in 2004 that also preserved the Onegin stanzas. ( ISBN   1-903517-28-1 ) Wordsworths Classics in 2005 published an English prose translation by Roger Clarke, which sought to retain the lyricism of Pushkin's Russian. In September 2008, Stanley Mitchell , emeritus professor of aesthetics at the University of Derby , published, through Penguin Books ,

4026-558: Was completed on October 5, 1831. The first separate edition of chapter 8 appeared on January 10, 1832. Pushkin wrote at least 18 stanzas of a never-completed tenth chapter. It contained many satires and even direct criticism on contemporary Russian rulers, including the Emperor himself . Afraid of being prosecuted for dissidence, Pushkin burnt most of the tenth chapter. Very little of it survived in Pushkin's notebooks. The first complete edition of

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4092-408: Was first published in a separate edition. When Pushkin completed chapter 8, he published it as the final chapter and included within its denouement the line nine cantos I have written , still intending to complete this missing chapter. When Pushkin finally decided to abandon this chapter, he removed parts of the ending to fit with the change. Chapter 8 was begun before December 24, 1829, while Pushkin

4158-468: Was in St. Petersburg. In August 1830, he went to Boldino (the Pushkin family estate) where, due to an epidemic of cholera , he was forced to stay for three months. During this time, he produced what Nabokov describes as an "incredible number of masterpieces" and finished copying out chapter 8 on September 25, 1830. During the summer of 1831, Pushkin revised and completed chapter 8 apart from "Onegin's Letter", which

4224-452: Was on October 10, 1827. Chapter 4 was started in October 1824. By the end of the year, Pushkin had written 23 stanzas and had reached XXVII by January 5, 1825, at which point he started writing stanzas for Onegin's Journey and worked on other pieces of writing. He thought that it was finished on September 12, 1825, but later continued the process of rearranging, adding, and omitting stanzas until

4290-420: Was written and published serially , with parts of each chapter often appearing in magazines before the first printing of each chapter. Many changes, some small and some large, were made from the first appearance to the final edition during Pushkin's lifetime. The following dates mostly come from Nabokov's study of the photographs of Pushkin's drafts that were available at the time, as well as other people's work on

4356-601: Was written in Odessa between February 8 and May 31, 1824. Pushkin incurred the displeasure of the Tsarist regime in Odessa and was restricted to his family estate Mikhaylovskoye in Pskov for two years. He left Odessa on July 21, 1824, and arrived on August 9. Writing resumed on September 5, and chapter 3 was finished (apart from stanza XXXVI) on October 2. The first separate publication of chapter 3

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