The meaning and significance of compositional omissions in A.S. Pushkin's novel "Eugene Onegin"

the article contains an in-depth analysis of the semantic omissions observed in the composition of A.S. Pushkin’s famous novel "Eugene Onegin". The research reveals that these omissions, being missing fragments of the text, are perceived by readers as something more. They are not merely empty spaces, but actual gaps that require special attention and effort from the reader to fill in the missing parts. Moreover, the omissions examined in the work form an extensive semantic field that significantly enriches the artistic text and the overall meaning of the novel. The texts are imbued with new semantic accents based on the higher demands imposed on the reader for active interpretation and aesthetic engagement. The introduction justifies the relevance of analyzing omissions as an artistic device that shapes the semantic field and involves the reader in active interpretation. The aim of the study is to reveal the role of omissions in the architectonics of the novel and their impact on the text’s multifaceted meaning. The research methods include a comparative analysis of the novel’s editions, a structural-semantic dissection of the omitted fragments, as well as incorporating the historical-literary context (including criticism from the 19th–20th centuries, works by Yu.M. Lotman, Yu.N. Chumakov, M.N. Virolyainen). Special attention is given to the "contraction of meanings"—a technique that links disparate stanzas into a unified semantic whole. The results demonstrate that the omissions in the text are not random: they function as "semantic vacuums" that activate the reader’s imagination. Using the example of the third chapter, it is shown how the absence of fragments creates a dynamic narrative, emphasizes the internal conflicts of the characters (for instance, the contradictions in Onegin’s and Tatyana’s relationship), and enhances the reflective nature of the novel. It is established that the evolution of the omissions in the editions from 1828–1837 reflects the author’s intention to transform the text into an "open work" in which the reader acts as a co-author. In the discussion, it is emphasized that the omissions in "Eugene Onegin" are a deliberate device inherited from the Romantic tradition, but reinterpreted by Pushkin. They form a dialogue between the text and the reader, revealing the creative process and rendering the novel "poetry in the making". The analysis confirms that the fragmentary structure does not undermine the integrity of the work; on the contrary, it enriches its philosophical and aesthetic content.

A.S. Pushkin, novel "Eugene Onegin", composition, content, problems, ideas, genre, style, philosophy, poetry, plot, characters, images