Onegin Stanza


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Onegin Stanza

 

a 14-line stanza rhymed AbAbCC-ddEffEgg, the capital letters indicating feminine rhymes, and the small letters masculine rhymes.

In rhythm and intonation the Onegin stanza can be divided into three quatrains, with alternate, paired, and enclosing rhymes, and a concluding couplet. Most of the stanzas have a definite structure: the first quatrain introduces the stanza’s theme, the second develops it, the third is the culmination, and the couplet presents an aphoristic conclusion. This complex structure makes the Onegin stanza a kind of poem within a poem, and consequently it is used almost exclusively in long poetical works containing many lyrical digressions.

The Onegin stanza was created by A. S. Pushkin for his verse novel Eugene Onegin. It was later used in many Russian poetical works, as in M. Iu. Lermontov’s “The Treasurer’s Wife.” However, it is usually associated with Pushkin.

REFERENCES

Grossman, L. “Oneginskaia strofa.” In Sobr. soch., vol. 1. Moscow, 1928.
Vinokur, G. “Slovo i stikh v ‘Evgenii Onegine.’ ” In Pushkin. Moscow, 1941.

M. L. GASPAROV

References in periodicals archive ?
In this article, we address one such problem--the interaction between rhythm (stress patterns internal to the poetic line) and rhyme (repetition of line endings)--on the basis of an in-depth statistical study of the Onegin stanza, a poetic form that developed within Russian syllabo-accentual system of versification in the nineteenth and early twentieth centuries.
The fine-grained analysis of the inner dynamic of the Onegin stanza promises more than an insight into the interaction between basic constituent formal features of European postclassical verse.
Both the Shakespearean sonnet and Pushkin's Onegin stanza include a concluding rhyming couplet.
The structure of the Onegin stanza (capital letters mark feminine ending):
Indeed, as we show below, in Pushkin's crafting of the Onegin stanza, rich rhymes served as an essential structural element.
Lermontov's and Ivanov's attitude toward Pushkin's legacy, which reflect their different positions in the history of literature, are in turn reflected in the subtle variation of the Onegin stanza.
In the sections "The Onegin Stanza: The Quality of Rhyme" and "The Onegin Stanza: Deviations from the Metrical Template," we discuss the general properties of rhyme and meter in the Onegin stanza.
One part of this research program would explore a family of longer, relatively complex stanza forms featuring interlaced end-rhymes, including ottava rima, rhyme royal, the Spenserian stanza, and the Onegin stanza, and their variants.
But analysis of the affordances of the Onegin stanza and the complexities of Pushkin's practice will have to wait for another occasion.
The novel is written almost entirely as a series of sonnets with the rhyme scheme aBaBccDDeFFeGG (known as the Onegin stanza or Pushkin sonnet).
15) On the Onegin stanza see Nabokov's commentary I.
Such examples suggest that it takes more than a few thousand well-made five-stress lines (in Turner's case) or some wittily rhymed Onegin stanzas (in Seth's) to hold the stultifying conventionality of mass culture at bay.