Semantic field of J.W. von Goethe's Faust repercussions and allusions in A.S. Pushkin's works

The article examines allusions and references toJ.W. von Goethe's Faust in the art of A.S. Pushkin, 1821-1830. We assume that the first Pushkin's reference to Faust is a preliminaryepigraph to the poem The Prisoner of the Caucasus (Kavkazskiy Plennik) finally assigned to Tavrida, a rough draft that had never beenfinished. Then goes a huge group of works - rough sketches, odd fragments - The Onegin Circle, closely linking the artistic concept ofEugene Onegin (Yevgeny Onegin) with Faust. Later - the unfinished letter , October 1822 (You are right, myfriend - I've regained my sight in vain...); the draft In sweet dazzle I had, June 13 - November 1, 1823; the strophe XVI (b) of thesecond chapter of Eugene Onegin's draft, written before November 3, 1824; elegy Demon, December 1-8, 1923. Conversation of aBookseller with a Poet, September 26, 1824, continues the further elaboration of Faust themes in the works of Alexander Sergeyevich.The other work disclosing the close bond with Faust is Scene from Faust (1825). Justly being the core of Pushkin's works dependent onGoethe for themes and inspiration, the piece reveals clear references of a huge part of author's works, with Eugene Onegin topping thelist, to Goethe's tragic play. Moreover Pushkin was writing a Faust of his own, thus giving life to several sketches and outlines ofunfinished works: Sketches on the Concept of Faust, Demon in Love, Infernal Poem. To some extent Boris Godunov is another piececonfirming the Goethe-dependent character of Pushkin's plays. The specific composition and complex genre texture of Boris Godunovbring the piece close to the structure of Faust. The Little Tragedies (Malenkie Tragedii) and the poem Hero (1830) are other examples ofPushkin's obsession with Faust. The form, the structure of motifs and scenes of The Little Tragedies let us assume it has commongenesis with the composition and semantics of Faust, while the plague motif of the Hero poem plays a vital role in creating a complexdialogue integrity between The Little Tragedies and Eugene Onegin. About Pope Joan and Scenes from Knightly Times crown theGoethe-inspired works of Pushkin. Both texts indicate the author's profound knowledge of the tragic play. Thus, the outline of AboutPope Joan covers all the Faust leading motifs, while the idea of Scenes from Knightly Times reveals Pushkin's deep understanding of theessence of Goethe's Faust, as well as the Faust of medieval legends. All the mentioned references to Faust in Pushkin's worksundoubtedly reveal the huge interconnected system of Goethe's Faust repercussions and allusions, bringing a new understanding of thedialogue between Russian and German cultures, breaking the canon of poetry and motif structure of Pushkin's heritage.

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