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The image of Tatyana Larina from the novel by A.S. Pushkin's "Eugene Onegin" is one of those that evoke a feeling of admiration and pity at the same time. Her life path once again makes you think that a person's happiness depends not only on the honesty of his actions and sincerity of intentions, but also on the actions of other people.

The Larin family

Tatiana Larina is an aristocrat by birth. Her family lives in the rural outback, rarely leaving it, so all the girl's communication is based on communication with the closest relatives, the nanny, who is actually equated with family members and neighbors.

At the time of the narration, Tatyana's family is incomplete - her father died, and his mother took over his responsibilities in managing the estate.

But in the old days everything was different - the Larin family consisted of Dmitry Larin, a foreman in his position, his wife Polina (Praskovya) and two children - girls, the eldest Tatyana and the younger Olga.

Polina, married Larina (her maiden name is not mentioned by Pushkin), was forcibly married to Dmitry Larin. For a long time, the relationship burdened the young girl, but thanks to her husband's calm disposition and good attitude towards her person, Polina was able to discern in her husband a good and decent person, become attached to him and even, subsequently, fall in love. Pushkin does not go into the details of the description of their family life, but it is likely that the spouses' tender attitude towards each other continued until old age. Being already at a considerable age (the author does not name the exact date), Dmitry Larin dies, and the functions of the head of the family are taken over by Polina Larina, his wife.

Tatiana Larina's appearance

At that time nothing is known about Tatiana's childhood and appearance. An adult girl of marriageable age appears before the reader in the novel. Tatyana Larina was not distinguished by traditional beauty - she was not much like girls capturing the hearts of young aristocrats at dinner parties or balls: Tatyana has dark hair and pale skin, her face is devoid of blush, it seems somehow completely colorless. Her figure also does not differ in the sophistication of forms - she is too thin. The gloomy appearance complements the look full of sadness and longing. Against the background of her blonde and ruddy sister, Tatyana looks extremely unattractive, but still she cannot be called ugly. She has a special beauty, different from the generally accepted canons.

Tatyana's favorite activities

Tatiana Larina's unusual appearance does not end with her unusual appearance. Larina also had non-standard ways of spending her leisure time. While the bulk of the girls indulged in needlework at their leisure, Tatyana, on the contrary, tried to avoid needlework and everything that was associated with it - she did not like to embroider, the girl was bored at work. Tatyana loved to spend her free time in the company of books or in the company of her nanny, Filipyevna, which in their content were practically equivalent actions. Her nanny, despite the fact that she was a peasant by birth, was considered a member of the family and lived with the Larins even after the girls grew up and her services as a nanny were no longer in demand. The woman knew many different mystical stories and gladly retold them to curious Tatiana.

In addition, Larina often liked to spend time reading books - mainly the works of authors such as Richardson, Rousseau, Sophie Marie Cotten, Julia Krudener, Madame de Stael and Goethe. In most cases, the girl gave preference to books of romantic content, rather than philosophical works, although they were contained in the literary heritage of the author, as, for example, in the case of Rousseau or Goethe. Tatyana liked to fantasize - in her dreams she was transferred to the pages of the novel she had read and acted in her dreams in the guise of one of the heroines (usually the main one). However, none of the romance novels were Tatyana's favorite books.

Dear Readers! We suggest that you familiarize yourself with which Alexander Sergeevich Pushkin wrote.

The girl was ready to wake up and fall asleep only with Martin Zadeki's dream book. Larina was a very superstitious girl, she was interested in everything unusual and mystical, attached importance to dreams and believed that dreams do not just dream, but contain a certain message, the meaning of which the dream book helped her to decipher.

In addition, the girl could spend hours looking out the window. It is difficult to say at this moment she was watching what was happening outside the window or indulged in daydreams.

Tatiana and Olga

Larina's sisters were significantly different from each other, and this applied not only to the external. As we learn from the novel, Olga was a frivolous girl, she liked to be in the center of attention, she flirts with young people with pleasure, although she already has a fiancé. Olga is a cheerful giggle with classical beauty, according to the canons of high society. Despite such a significant difference, there is no enmity or envy between the girls. Affection and friendship was firmly established between the sisters. The girls enjoy spending time together, guessing on Christmastide. Tatiana does not condemn the behavior of her younger sister, but she does not encourage it either. It is likely that she acts on the principle: I act as I see fit, and my sister as she wants. This does not mean that some of us are right, and someone is wrong - we are different with her and act in different ways - there is nothing wrong with that.

Personality characteristic

At first glance, it seems that Tatiana Larina is Childe Harold in a female form, she is just as dull and sad, but in fact there is a significant difference between her and the hero of Byron's poem - Childe Harold is dissatisfied with the arrangement of the world and society, he is bored because, that he cannot find something to do that would interest him. Tatyana is bored, because her reality is different from the reality of her favorite novels. She wants to experience something that literary heroes have experienced, but there is no reason for such events to be foreseen.

In society, Tatyana was mostly silent and sad. She was not like most young people who enjoyed communicating with each other, flirting.

Tatyana is a dreamy nature, she is ready to spend hours in the world of dreams and dreams.

Tatyana Larina has read a lot of women's novels and has adopted the main character traits and elements of behavior of the main characters, so she is full of novelistic "perfections".

The girl has a calm disposition, she tries to restrain her true feelings and emotions, replacing them with indifferent decency, over time Tatiana learned to do this masterfully.

A girl rarely indulges in self-education - she spends her free time in entertainment or simply while away the hours, wasting time aimlessly. The girl, like all aristocrats of that time, knows foreign languages ​​well and does not know Russian. This state of affairs does not bother her, because in the circles of the aristocracy it was commonplace.

Tatyana lived in solitude for a long time, her social circle was limited by relatives and neighbors, so she is too naive and too open a girl, it seems to her that the whole world should be like that, so when faced with Onegin, she understands how deeply she was mistaken.

Tatiana and Onegin

Soon, Tatyana has the opportunity to fulfill her dream - to transfer one of her women's novels from the plane of the dream world to reality - they have a new neighbor - Eugene Onegin. It is not surprising that Onegin, possessing natural charm and charm, could not fail to attract Tatiana's attention. Soon Larina falls in love with a young neighbor. She is overwhelmed with hitherto unknown feelings of love, different from the one she felt in relation to her family and friends. Under the pressure of emotions, a young girl decides on an unthinkable act - to confess her feelings to Onegin. In this episode, it seems that the girl's love is invented and evoked by the secluded lifestyle and the influence of romance novels. Onegin was so different from all the people around Tatiana that it seems not surprising that he became the hero of her novel. Tatyana turns to her books for help - she cannot entrust the secret of her falling in love to anyone and decides to solve the situation on her own. The influence of romance novels on the development of their relationship is clearly visible in the letter, this is evidenced by the very fact that Tatiana decided to write this letter as a whole.

At that time, such behavior on the part of the girl was indecent and, when her act was made public, it could become disastrous for her future life. What can not be said about the fair sex at the same time living in Europe - for them it was a common occurrence and did not imply something shameful. Since the novels usually read by Tatyana belonged to the pen of European masters of the word, the thought of the possibility of writing a letter first was permissible and only intensified under Onegin's indifference and strong feelings.

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In her letter, Tatiana defines only two ways of developing their relationship with Onegin. Both paths are inherently cardinal and are clearly opposed to each other, because they contain only polar manifestations, avoiding intermediate ones. In her vision, Onegin was to either provide her with a family idyll, or act as a tempter.

There are no other options for Tatiana. However, the pragmatic and, moreover, not in love with Tatyana Onegin lowers the girl from heaven to earth. In Tatyana's life, this was the first serious lesson that influenced her further personality and character formation.

Eugene does not talk about Tatyana's letter, he understands all its destructive power and does not intend to bring even more grief into the girl's life. At that time, Tatyana was not guided by common sense - she was covered with a wave of emotions that the girl could not, due to her inexperience and naivety, cope with. Despite the disappointment and unsightly reality that Onegin revealed to her, Tatyana's feelings did not run out.

The Yule dream and its symbolism

Tatiana's winter was her favorite season. Perhaps because it was at this time that the Christmas week fell, in which the girls were guessing. Naturally, the superstitious, mystic-loving Tatiana does not miss the opportunity to find out her future. One of the important elements in the girl's life is the Yule Dream, which, according to legend, was prophetic.

In a dream, Tatiana sees what worries her the most - Onegin. However, a dream does not bode well for her. At first, the dream does not bode well - Tatiana walks through a snowy meadow. On her way she meets a stream, which the girl needs to overcome.

An unexpected helper - a bear - helps her to cope with this obstacle, but the girl feels neither joy nor gratitude - she is overwhelmed with fear, which intensifies as the beast continues to follow the girl. An attempt to escape does not lead to anything either - Tatiana falls into the snow, and the bear overtakes her. Despite Tatyana's foreboding, nothing terrible happens - the bear picks her up and carries her on. Soon they find themselves in front of the hut - here a terrible beast leaves Tatiana, telling her that the girl can warm up here - his relative lives in this hut. Larina enters the vestibule, but is in no hurry to enter the rooms - the noise of fun and feast is heard outside the door.

A curious girl tries to spy on - Onegin turns out to be the owner of the hut. The startled girl freezes, and Eugene notices her - he opens the door and all the guests see her.

It is worth noting that the guests of his feast are not like ordinary people - they are some kind of freaks and monsters. However, this is not what scares the girl most of all - laughter, in relation to her person, worries her more. However, Onegin interrupts him and seats the girl at the table, driving all the guests away. After some time, Lensky and Olga appear in the hut, which displeases Onegin. Eugene kills Lensky. At this, Tatyana's dream ends.

Tatiana's dream is inherently an allusion to several works. First of all, on the fairy tale of A.S. Pushkin's "The Groom", which is an expanded "dream of Tatiana." Also Tatyana's dream is a reference to the work of Zhukovsky "Svetlana". Tatiana Pushkina and Svetlana Zhukovsky contain related traits, but their dreams are significantly different. In Zhukovsky's case, this is just an illusion; in Pushkin's case, it is a prediction of the future. Tatyana's dream really turns out to be prophetic, soon she really finds herself on a wobbly bridge and a certain person who looks like a bear in his appearance helps her to overcome it, moreover, a relative of Onegin. And her lover turns out to be not the ideal person whom Tatyana portrayed in her dreams, but a real demon. He, in reality, becomes the killer of Lensky, shooting him in a duel.

Life after Onegin's departure

The duel between Onegin and Lensky, in essence, occurred because of the most insignificant things - at the celebration of Tatyana's birthday, Onegin was too kind to Olga, which caused a fit of jealousy in Lensky, the reason for which was the duel, which did not end well - Lensky died on location. This event left a sad imprint on the life of all the characters in the novel - Olga lost her fiancé (their wedding was supposed to take place two weeks after Tatyana's name day), however, the girl was not too worried about Lensky's death and soon married another person. The blues and depression of Onegin increased significantly, he was aware of the severity and consequences of his act, being in his estate was already unbearable for him and therefore he went on a journey. However, the death of Lensky made the greatest impact on Tatiana. Despite the fact that nothing connected her with Lensky except companionship, and her position and views were only partially similar, Tatyana had a hard time going through the death of Vladimir, which in its essence became the second significant lesson in her life.

Another unattractive side of Onegin's personality is revealed, but disappointment does not occur, Larina's feelings towards Onegin are still strong.

After Evgeny's departure, the girl's sadness increases significantly, she is looking for solitude more than usual. From time to time Tatiana comes to Onegin's empty house and reads books in the library with the permission of the servants. Onegin's books are not like her favorites - the basis of Onegin's library is Byron. After reading these books, the girl begins to better understand the character traits of Eugene, because he is inherently similar to the main characters of Byron.

Tatyana's marriage

Tatiana's life could not continue to proceed in the same direction. The changes in her life were predictable - she was an adult, and she had to be married off, because otherwise Tatyana had every chance of remaining in the old maidens.

Since no suitable candidates are expected in the vicinity, Tatyana has only one chance - to go to Moscow for a brides fair. Together with her mother, Tatiana comes to the city.

They stay with Alina's aunt. A relative has been suffering from consumption for the fourth year already, but the illness did not prevent her from welcoming visiting relatives. Tatiana herself is unlikely to accept such an event in her life with joy, but, despite the need for marriage, she puts up with her fate. Her mother does not see anything wrong with the fact that her daughter will not be married for love, because at one time she was treated the same way, and this did not become a tragedy in her life, and after a while even allowed her to become a happy mother and wife ...

The trip was not useless for Tatiana: a certain general liked it (his name is not mentioned in the text). Soon the wedding took place. Little is known about the personality of Tatyana's husband: he took part in military events and is essentially a military general. This state of affairs contributed to the question of his age - on the one hand, obtaining such a rank took a lot of time, so the general could already be at a decent age. On the other hand, personal participation in hostilities made it possible for him to move up the career ladder much faster.

Tatiana does not love her husband, but does not protest against marriage. Nothing is known about her family life, moreover, this situation is aggravated by Tatyana's restraint - the girl learned to restrain her emotions and feelings, she did not become a cutesy aristocrat, but she also confidently moved away from the image of a naive country girl.

Meeting with Eugene Onegin

In the end, fate played a cruel joke on the girl - she again meets her first love - Eugene Onegin. The young man returned from a trip and decided to pay a visit to his relative, a certain general N. In his house he meets Larina, she turns out to be the general's wife.

Onegin was amazed at the meeting with Tatyana and her changes - she no longer looked like that girl, overwhelmed with youthful maximalism. Tatiana became wise and balanced. Onegin realizes that all this time he loved Larina. This time he changed the role with Tatiana, but now the situation is complicated by the girl's marriage. Onegin is faced with a choice: suppress his feelings or make them public. Soon, the young man decides to explain himself to the girl in the hope that she has not yet lost her feelings for him. He writes a letter to Tatiana, but, despite all Onegin's expectations, there is no answer. Eugene was seized by even greater excitement - the unknown and indifference only more provoked and agitated him. In the end, Eugene decides to come to the woman and explain himself. He finds Tatiana alone - she looked so much like the girl he met two years ago in the village. Touched Tatyana confesses that she still loves Eugene, but now she cannot be with him - she is tied by the knot, and to be a dishonest wife against her principles.

Thus, Tatiana Larina has the most attractive character traits. The best features are embodied in it. During her youth, Tatiana, like all young people, was not endowed with wisdom and restraint. In view of her inexperience, she makes some mistakes in behavior, but she does this not because she is poorly brought up or depraved, but because she has not yet learned to be guided by her mind and emotions. She is too impulsive, although generally a pious and noble girl.

In the novel "Eugene Onegin" Pushkin managed to present all the diversity of life in contemporary Russia, to depict Russian society "in one of the most interesting moments of its development", to create typical images of Onegin and Lensky, in whose person the "main, that is, the male side" of this society. “But the feat of our poet is almost higher in that he was the first to reproduce, in the person of Tatyana, a Russian woman,” wrote Belinsky.

Tatyana Larina is the first realistic female image in Russian literature. The outlook of the heroine, her character, mental makeup - this weight is revealed in the novel in great detail, her behavior is psychologically motivated. But at the same time, Tatiana is the poet's "sweet ideal", the "novel" embodiment of his dream of a certain type of woman. And the poet himself often talks about this in the pages of the novel: “Tatiana's letter is before me; I cherish it ... "," Forgive me: I love my dear Tatiana so much! " Moreover, the personality of the heroine, to a certain extent, embodied the attitude of the poet himself.

Readers immediately felt these author's accents. Dostoevsky, for example, considered Tatyana, and not Onegin, to be the protagonist of the novel. And the writer's opinion is quite reasonable. This is a whole nature, outstanding, exceptional, with a truly Russian soul, with a strong character and spirit.

Her character remains unchanged throughout the novel. In various life circumstances, Tatyana's spiritual and intellectual horizons expand, she gains experience, knowledge of human nature, new habits and manners characteristic of another age, but her inner world does not change. “Her portrait in childhood, painted so masterfully by the poet, is only developed, but not changed,” wrote V. G. Belinsky:

Dick, sad, silent,

As a forest doe is fearful,

She is in her family

She seemed like a stranger to a girl ...

Child herself, in a crowd of children

I didn't want to play and jump

And often all day alone

She sat silently by the window.

Tatyana grew up as a thoughtful and impressionable girl, she did not like noisy children's games, funny entertainment, she was not interested in dolls and needlework. She loved to dream alone or listen to the babysitter's stories. Tatyana's only friends were fields and forests, meadows and groves.

It is characteristic that, describing village life, Pushkin does not depict any of the "provincial heroes" against the background of nature. Habit, "prose of life", preoccupation with household chores, low spiritual needs - all this left its mark on their perception: local landowners simply do not notice the surrounding beauty, as Olga or old woman Larina does not notice it,

But Tatyana is not like that, her nature is deep and poetic - she is given to see the beauty of the surrounding world, it is given to understand the "secret language of nature", it is given to love God's light. She loves to meet the "dawn sunrise", with her thoughts to be carried away to the shimmering moon, to walk alone among the fields and hills. But Tatyana especially loves winter:

Tatiana (Russian soul.

Without knowing why)

With her cold beauty

I loved the Russian winter

Frost in the sun on a frosty day,

And the sleigh, and the late dawn

Shining pink snows

And the darkness of Epiphany evenings.

The heroine thus introduces the motive of winter, cold, ice into the narrative. And winter landscapes then often accompany Tatiana. Here she is wondering on a clear frosty night for baptism. In a dream, she walks "through a snowy clearing," sees "motionless pines" covered with clumps of snow, bushes, rapids covered by a blizzard. Before leaving for Moscow, Tatiana is "afraid of the winter path." VM Markovich notes that the "winter" motive here "is directly close to that harsh and mysterious sense of proportion, law, fate, which made Tatyana reject Onegin's love."

The heroine's deep connection with nature persists throughout the entire story. Tatiana lives according to the laws of nature, in complete harmony with her natural rhythms: “It's time to come, she fell in love. Thus, the seed of Spring that has fallen into the earth is revived by fire. " And her communication with the nanny, her faith in the "traditions of the common people of antiquity", dreams, fortune telling, omens and superstitions - all this only strengthens this mysterious connection.

Tatyana's attitude to nature is akin to ancient paganism, in the heroine the memory of her distant ancestors, the memory of the family, seem to come to life. “Tatiana is all dear, all from the Russian land, from Russian nature, mysterious, dark and deep, like a Russian fairy tale ... Her soul is simple, like the soul of the Russian people. Tatiana is from that twilight, ancient world where the Firebird, Ivan Tsarevich, Baba Yaga were born ... ”- wrote D. Merezhkovsky.

And this “call of the past” is expressed, among other things, in the inextricable connection of the heroine with her family, despite the fact that there she “seemed like a stranger to a girl”. Pushkin depicts Tatiana against the background of the life history of her family, which acquires an unusually important meaning in the context of comprehending the fate of the heroine.

In her life story, Tatiana, not wanting to, repeats the fate of her mother, who was taken to the crown, “without asking her advice,” while she “sighed for another, Who with her heart and mind she liked much more ...”. Here Pushkin seems to anticipate Tatyana's fate with a philosophical remark: "A habit from above has been given to us: it is a substitute for happiness." They may object to us that Tatiana is deprived of a spiritual connection with her family (“She seemed like a stranger to her family in her own family”). However, this does not mean that there is no connection of an inner, deep, that very natural connection that is the very essence of the heroine's nature.

In addition, Tatiana was raised by a nanny from childhood, and here we can no longer talk about the absence of a spiritual connection. It is to the nanny that the heroine confides in her heartfelt secret by handing over the letter to Onegin. She recalls the nanny with sadness in St. Petersburg. But what is the fate of Filipievna? The same marriage without love:

"But how did you get married, nanny?" -

So, apparently, God told me to. My Vanya

I was younger, my light,

And I was thirteen years old.

The matchmaker went for two weeks

To my family, and finally

My father blessed me.

I cried bitterly with fear

They unraveled my braid with a cry,

Yes, they took me to church with singing.

Of course, the peasant girl is deprived of freedom of choice here, unlike Tatyana. But the very situation of marriage, its perception are repeated in the fate of Tatiana. Nurse "So, apparently, God ordered" becomes Tatiana "But I was given to another; I will be faithful to him forever. "

The fashionable hobby for sentimental and romantic novels also played an important role in the formation of the heroine's inner world. Her very love for Onegin is manifested "in a bookish way", she arrogates to herself "someone else's delight, someone else's sadness." The men she knew were not interesting to Tatiana: they "imagined so little food for her exalted ... imagination." Onegin, however, was a new man in the "wilderness of the countryside." His mystery, secular manners, aristocracy, indifferent, bored look - all this could not leave Tatyana indifferent. “There are creatures in whom fantasy has a much greater influence on the heart than how they think about it,” wrote Belinsky. Not knowing Onegin, Tatiana imagines him in the images of literary heroes well known to her: Malek-Adel, de Dinard and Werther. In essence, the heroine loves not a living person, but the image created by her “rebellious imagination”.

However, gradually she begins to discover the inner world of Onegin. After his harsh preaching, Tatiana remains at a loss, resentment and bewilderment. Probably, she interprets everything she heard in her own way, realizing only that her love was rejected. And only after visiting the “fashionable cell” of the hero, looking into his books, which keep the “sharp mark of nails,” Tatiana begins to comprehend Onegin's perception of life, people, and fate. However, her discovery does not speak in favor of the chosen one:

What is he? Is it an imitation

An insignificant ghost, or else

Muscovite in Harold's cloak,

Interpretation of other people's quirks,

Full vocabulary of fashionable words? ..

Isn't he a parody?

Here the difference in the outlook of the heroes is especially vividly exposed. If Tatiana thinks and feels in line with the Russian Orthodox tradition, Russian patriarchy, patriotism, then Onegin's inner world was formed under the influence of Western European culture. As V. Nepomniachtchi notes, Eugene's office is a fashionable cell, where instead of icons there is a portrait of Lord Byron, on the table is a small statue of Napoleon, the invader, conqueror of Russia, Onegin's books undermine the basis of the foundations - faith in the Divine principle in man. Of course, Tatiana was amazed, discovering not only the unfamiliar world of someone else's consciousness, but also a world deeply alien to her, basically hostile.

Probably, the ill-fated duel, the outcome of which was the death of Lensky, did not leave her indifferent. A completely different, non-bookish image of Onegin was formed in her mind. Confirmation of this is the second explanation of the heroes in St. Petersburg. Tatiana does not believe in the sincerity of Evgeny's feelings, his persecutions offend her dignity. Onegin's love does not leave her indifferent, but now she cannot answer his feelings. She got married and devoted herself entirely to her husband and family. And an affair with Onegin in this new situation is impossible for her:

I love you (why dissemble?),
But I am given to another;
I will be faithful to him forever ...

A lot was reflected in this choice of the heroine. This is the integrity of her nature, which does not allow lies and deceptions; and the clarity of moral concepts, which excludes the very possibility of causing grief to an innocent person (husband), frivolously dishonoring him; and book-romantic ideals; and faith in Destiny, in the Providence of God, implying Christian humility; and the laws of popular morality, with its unambiguous decisions; and unconscious repetition of the fate of the mother and nanny.

However, in the impossibility of uniting heroes, Pushkin also has a deep, symbolic implication. Onegin is a hero of "culture", of civilization (moreover, of the culture of Western European, which is alien to the Russian people in its very essence). Tatiana is a child of nature who embodies the very essence of the Russian soul. Nature and culture in the novel are incompatible - they are tragically separated.

Dostoevsky believed that Onegin now loves in Tatiana “only his new fantasy. ... Loves fantasy, but he himself is a fantasy. After all, if she follows him, then tomorrow he will be disappointed and will look at his infatuation with mockery. It has no soil, it is a blade of grass carried by the wind. She [Tatiana] is not like that at all: in her despair and in the suffering consciousness that her life has perished, there is still something solid and unshakable on which her soul rests. These are her childhood memories, memories of her homeland, rural wilderness, in which her humble, pure life began ... "

Thus, in the novel "Eugene Onegin" Pushkin presents us with "the apotheosis of the Russian woman." Tatiana amazes us with the depth of nature, originality, "rebellious imagination", "mind and will of the living." This is a whole, strong personality, capable of rising above the stereotyped thinking of any social circle, intuitively feeling the moral truth.

"THE ROLE OF TATIANA LARINA IN PUSHKIN'S ROMAN" EVGENY ONEGIN "

"The novel in verse" Eugene Onegin "will forever remain one of the most remarkable achievements of Russian art." Perhaps this is the only work where, in its entirety, the whole of Russia of the Alexander era with its prejudices and at the same time with that truly Russian beauty that the poet could not but glorify could fit in. But why does the novel touch our souls so deeply? What makes us re-read the novel over and over again, why do we care about the problem, even, perhaps, the tragedy of a whole generation? Vissarion Grigorievich Belinsky said that before Pushkin "poetry, which would be poetry first of all, there was no such poetry yet!" "Pushkin was called to be a living revelation of her secret in Russia."

But who became this revelation of poetry in the novel "Eugene Onegin"? Who was the key to understanding the novel? The author endows only one heroine, who undoubtedly became the most beautiful Muse in all Russian literature, with "the holy fulfilled dream, poetry alive and clear" - Tatiana. Tatiana becomes the Muse of the whole story, she is the Muse of the author himself, Pushkin's bright dream, his ideal. We can safely say that the main character of the novel is Tatiana. That is why, perhaps, Dostoevsky said: "Pushkin would have done even better if he had named his poem after Tatyana, and not Onegin, for she is undoubtedly the main heroine of the poem." Indeed, you open the novel and you begin to understand that Tatiana, like a heavenly body, sheds a joyfully playing ray of poetry on the novel, filled with the wondrous beauty of living play. In his draft in Mikhailovsky, Pushkin wrote: "Poetry, like a comforter angel, saved me, and I was resurrected in soul." In this angel-comforter, we immediately recognize Tatyana, who, like a guiding star, is always next to the poet throughout the entire novel.

Tatiana was destined to become the true mistress of the novel, to capture the hearts of readers. Pushkin intended her to be a symbol of Russia, his people, a Muse and poetry merging with her, for they are indivisible for a poet. The novel is dedicated to Tatiana, it was in her that Pushkin concluded all the kindest, gentlest and purest. Tatiana - "this is lyric poetry, embracing the world of sensations and feelings, with a special force boiling in a young breast." And the reader feels this poetry in the same way as Tatyana herself. For Pushkin, Tatyana is not just a beloved heroine, she is a dream heroine, to whom the poet is infinitely devoted, with whom he is madly in love.

The role of Tatyana in the novel is very great, her image, like an invisible ray of the sun, passes through the entire novel, is present in every chapter. The pure image of Tatiana only brings out the tragedy of Onegin, of the whole society even more vividly, but nevertheless, the main mission of "dear Tanya", namely the mission, is to be the Muse of Pushkin, poetry itself, the personification of life in "Eugene Onegin", a symbol of the Russian people, Russia, native land , after all, Pushkin's Muse must necessarily be tightly connected with her people, homeland, this is its apotheosis. Of course, only such an integral nature could be Pushkin's Muse. Tatiana expresses the feelings and thoughts of the author, reveals his soul to us.

Truly brilliantly, Pushkin opposes his Muse to the vulgarity of the world, forcing readers to realize even more clearly the tragedy of the entire generation, and in particular Onegin. The author turns to antiquity, to nature, as if separating Tatiana from everything earthly, trying to say that this girl is "the most perfect ether", but at the same time, symbolizing poetry, Tatiana is full of life, and her closeness to the people, to antiquity only confirms: Tatiana stands firmly on its own soil. In Tatiana, one can immediately feel "the smile of life, a bright look, playing with overflows of rapidly changing sensations."

Let's pay attention to how Pushkin draws his heroine for us. In the novel, the portrait of Tatyana is almost completely absent, which in turn distinguishes her from all the young ladies of that time, for example, the portrait of Olga is given by the author in great detail. In this sense, it is important that Pushkin introduces into the novel subtle comparisons of his heroine with the ancient gods of nature. Thus, Tatyana's portrait is absent, as if the author is trying to convey to the reader that external beauty is often devoid of life, if a beautiful and pure soul is absent, and therefore devoid of poetry. But it would be unfair to assert that Pushkin did not endow his heroine with external beauty as well as with the beauty of the soul. And here, by turning to the ancient gods, Pushkin gives us the opportunity to imagine the beautiful appearance of Tatiana. And at the same time, antiquity itself, which is an integral feature of the novel, only proves once again that Tatyana's external beauty is inextricably linked with her rich spiritual world. It should be noted here that Tatyana's connection with antiquity in the novel is also a compositional feature, since it allows Pushkin to lead his heroine everywhere and everywhere, embodying her in the images of ancient gods. So, for example, one of the most frequent companions of Tatiana is the image of the eternally young, eternally virgin goddess-hunter Diana. The very choice of this ancient goddess by Pushkin for his Tanya already shows her eternally young soul, her inexperience, naivety, her ignorance of the vulgarity of the world. We meet with Diana already in the first chapter:

... the merry glass of waters does not reflect Diana's face.

This line seems to herald the appearance of the heroine, who will become the Muse of the whole story. And, of course, one cannot but agree that Pushkin, as a real artist, paints not the face, but the face of his Muse, which truly makes Tatyana an unearthly creature. Then we will meet with Diana, the constant companion of thirteen-year-old Tatiana. One has only to say that even the names "Tatiana" and "Diana" are consonant, which makes their connection closer. And here Tatyana contains the main artistic feature of Eugene Onegin - it is a direct connection between the past, antiquity and the present. The Greeks even said that Pushkin stole Aphrodite's belt. The ancient Greeks, according to their religious outlook, full of poetry and life, believed that the goddess of beauty possessed a mysterious belt:

... all the charm was in him;

It contains both love and desires ...

Pushkin was the first of the Russian poets to take possession of the Cypride belt. Tatiana is just confirmation of this. In the composition, as mentioned earlier, this "Cypride belt" also plays an important role. Consider the epigraph to the third chapter of the novel. In general, Pushkin's epigraphs carry a huge semantic load, which we will see more than once. So, the epigraph to the third chapter is taken from the words of the French poet Malfilatre:

Elle était fille, elle était amoureuse. - "She was a girl, she was in love."

The epigraph is taken from the poem "Narcissus, or the Island of Venus". Pushkin quoted a verse from a passage about the nymph Echo. And, if we consider that the chapter talks about Tatyana's flared up feelings for Onegin, then a parallel arises between her and Echo, who is in love with Narcissus (in the novel, it is Onegin). Further in the poem went:

I excuse her - love made her guilty. Oh, if fate would have forgiven her too.

This quote can be compared with the words of Pushkin, which fully reflected the author's feeling for his heroine-dream:

Why is Tatyana more guilty?

For the fact that in sweet simplicity

She knows no deception

And believes the chosen dream?

For the fact that he loves without art,

Obedient to the urge of feeling

That she is so trusting

What is gifted from heaven

Rebellious imagination,

Alive with mind and will,

And a wayward head

And with a fiery and tender heart?

Do not forgive her

Are you frivolous passions?

It is important to note, although the obvious comparison of Tatyana with the ancient gods cannot be denied, she is a truly Russian soul, and, no doubt, you can be convinced of this when reading the novel. From the moment of her first appearance in Eugene Onegin in the second chapter, Tatiana becomes, as it were, a symbol of Russia, the Russian people. The epigraph to the second chapter, where the author “for the first time consecrated the pages of the tender novel with such a name,” are the words of Horace:

“Oh, rus! Hor ... "(" O Rus! O Village! ")

This special epigraph is dedicated to Tatiana. Pushkin, for whom the closeness of his beloved heroine to her native land, to her people, to her culture is so important, makes Tatiana a “national heroine”. In the epigraph, the word "Rus" also contains the connection of the heroine with her people, with Russia, and with antiquity, with traditions, with the culture of Rus. For the author with the very name "Tatiana" "the memory of antiquity is inseparable." The second chapter itself is one of the most important chapters of the novel from the point of view of composition: here the reader first meets Tatyana, starting with this chapter, her image, symbolizing Russia, the Russian people, will now be present in all landscapes of the novel. Note that Tatyana is a strong type, firmly standing on her own soil, which shows us the true tragedy of the Onegins, born of a hypocritical and vulgar world - remoteness from her own people and traditions.

Already in the first descriptions of Tatyana, you notice her closeness to nature, but not just to nature, but to Russian nature, to Russia, well, and later you perceive her as a single whole with nature, with your native land.

In the Epithets “wild, sad, silent” one more image is guessed, which accompanies Tatyana everywhere and everywhere and connects her with nature - the moon:

She loved on the balcony

Warn the dawn to rise

When in a pale sky

The round dance of stars disappears ...

... with a foggy moon ...

Thanks to this moonlight, which Tatyana herself seems to be exuding, and the starry sky, Tatyana's portrait is painted with the “movement of light”. In the novel, Tatiana is illuminated by the "ray of Diana". Now the ancient goddess personifies the moon.

"The movement of the moon is at the same time the movement of the storyline of the novel," writes Kedrov. Under the "inspiring moon" Tanya writes her infinitely sincere message to Onegin and finishes the letter only when "the moonbeam's radiance is extinguished." The endless starry sky and the running of the moon are reflected in Tatyana's mirror in the hour of fortune-telling:

The night is frosty, the whole sky is clear;

Luminaries of heaven, a wondrous choir

It flows so quietly, so according to ...

Tatiana to a wide yard

In an open dress comes out

The mirror directs for a month;

But in a dark mirror alone

The sad moon trembles ...

The elusive thrill of Tatyana's soul, even the beating of her pulse and the tremor of her hand are transmitted to the universe, and "in the dark mirror alone the sad moon trembles." The "wondrous choir of luminaries" stops in a small mirror, and Tatyana's path continues along with the moon, with nature.

We can only add that Tatyana's soul is like a pure moon, exuding its wondrous, sad light. The moon in the novel is absolutely pure, there is not a speck on it. Likewise, Tatyana's soul is pure and immaculate, her thoughts, aspirations are as high and far from everything vulgar and mundane as the moon. Tatiana's “wildness” and “sadness” do not repel us, but, on the contrary, make us feel that, like the lonely moon in the sky, she is unattainable in her spiritual beauty.

I must say that Pushkin's moon is also the ruler of the heavenly bodies, overshadowing everything around with its pure radiance. Now fast forward to the final chapters of the novel. And here we see Tatiana in Moscow:

There are many beauties in Moscow.

But brighter than all the friends of heaven

The moon is blue in the air.

But the one that I dare not

Disturb with my lyre,

Like a dignified moon

Among wives and virgins, one glitters.

With what pride of heaven

She touches the ground!

Again, in the form of the moon, we see our Tatiana. And what? Not only with her majestically beautiful appearance she overshadowed the "quirks of the great world", but with that boundless sincerity and purity of her soul.

And again "dear Tanya" in his native village:

It was evening. The sky grew dim. Water

They flowed quietly. The beetle hummed.

Round dances were already dispersed;

Already across the river, smoking, was blazing

Fishing fire. In a clean field,

I'm immersed in my dreams

Tatyana walked alone for a long time.

Tatyana's portrait becomes inseparable from the general picture of the world and nature in the novel. After all, not just nature, but all of Russia, even the entire universe with a majestic change of day and night, with the flickering of the starry sky, with the continuous alignment of "heavenly bodies" organically enters the narrative. “Through the eyes of Tatiana and the author, the cosmic background of the poem is created. In the continuous ignition of light, in the constant cosmic fire, there is a deep meaning: against this background, the human soul, Tatiana's soul is looking for love, deluded and sees. "

In Eugene Onegin, nature appears as a positive beginning in human life. The image of nature is inseparable from the image of Tatiana, since for Pushkin, nature is the highest harmony of the human soul, and in the novel this harmony of the soul is inherent only in Tatiana:

Tatiana (Russian soul,

Without knowing why)

With her cold beauty

She loved the Russian winter.

It is obvious that, just as in revealing the image of Onegin, Pushkin is close to Byron with his Child Harold, so in revealing the character of Tatyana, her natural origin, her soul, he is close to Shakespeare, who concentrated the positive natural origin in Ophelia. Tatiana and Ophelia help to see even deeper the discord with themselves the main characters, Hamlet and Onegin, representing the ideal of man's harmony with nature. And even more than that, Tatiana with all her nature proves the impossibility of peace and quiet in Onegin's soul without complete unity with nature.

"In Pushkin, nature is not only full of organic forces - it is full of poetry, which most testifies to her life." That is why we find Tatiana with her infinitely sincere soul, with her unshakable faith, with her naively loving heart in the bosom of nature, in her eternal movement, in her swaying forest, in the tremor of a silvery leaf on which a ray of sun lovingly plays, in a murmur brook, in the breeze:

Now she is in a hurry to the fields ...

Now it is a mound, then a stream

Stop involuntarily

Tatiana with her charm.

As if only to nature Tatiana can tell nature her sorrows, torment of the soul, suffering of the heart. At the same time, Tatiana shares with nature and the integrity of her nature, the loftiness of thoughts and aspirations, kindness and love, selflessness. Only in unity with nature does Tatyana find harmony of spirit, only in this she sees the possibility of happiness for a person. And where else to look for understanding, sympathy, consolation, to whom else to turn, if not to nature, because she "seemed like a stranger to her family as a girl." As she herself wrote to Onegin in a letter, "no one understands her." Tatiana finds peace and consolation in nature. So, Pushkin draws parallels between the elements of nature and human feelings. With this understanding of nature, the border between her and man is always mobile. In the novel, nature is revealed through Tatiana, and Tatiana through nature. For example, spring is the birth of Tatyana's love, and love, in turn, is spring:

The time has come, she fell in love.

So fallen grain into the ground

Spring has revived with fire.

Tatyana, who is full of poetry and life, for whom it is so natural to feel nature, falls in love in the spring, when her soul opens up for changes in nature, blooms in her hope for happiness, like the first flowers bloom in spring, when nature awakens from sleep. Tatiana conveys to the spring breeze, rustling leaves, babbling streams the thrill of her heart, the yearning of her soul. The very explanation of Tatyana and Onegin, which takes place in the garden, is symbolic, and when “the melancholy of love drives Tatyana,” then “she goes to the garden to be sad”. Tatiana enters Onegin's "fashionable cell", and suddenly it becomes "dark in the valley" and "the moon hid behind the mountain", as if warning of Tatiana's terrible discovery, which she was destined to make ("Is he really a parody?"). Before leaving for Moscow, Tatiana says goodbye to her native land, to nature, as if anticipating that she will not return back:

Sorry peaceful valleys

And you, the familiar mountain peaks,

And you familiar forests;

Forgive me heavenly beauty

Sorry, cheerful nature;

Changing sweet, quiet light

To the noise of the brilliant vanity ...

Forgive you too, my freedom!

Where, why am I striving?

What does my fate promise me?

In this heartfelt address, Pushkin clearly shows that Tatyana cannot be separated from nature. And after all, Tatyana must leave her home, precisely when her favorite season comes - Russian winter:

The winter path is terrible for Tatyana.

There is no doubt that one of the main goals for which the image of Tatiana is introduced into the novel is to oppose her to Onegin, hypocrisy and imperfection of light. This opposition is most fully reflected in Tatiana's unity with nature, in her proximity to her people. Tatiana is a living example of a person's inextricable connection with his country, with its culture, with its past, with the people.

Through the nature of Russia, Tatiana is connected with her culture and people. We already know that the author connects Tatyana's name with “the memory of antiquity,” but the most symbolic moment in this regard is the girls' song that Tatyana Larina hears before meeting with Onegin. "Song of the Girls" represents the second, after Tatyana's letter, "human document" embedded in the novel. The song also speaks of love (in the first version - tragic, but later, for greater contrast, Pushkin replaced it with a plot of happy love), the song introduces a completely new folklore point of view. Replacing the first version of "The Song of the Girls" with the second, Pushkin gave preference to a sample of wedding lyrics, which is closely related to the meaning of folklore symbolism in subsequent chapters. The symbolic meaning of the motive connects the episode with the feelings of the heroine. Onegin, on the contrary, does not hear this song, so we are still convinced that Tanya is a truly “folk” heroine in the novel. Let's turn to the last chapter of the novel:

... she's a dream

Strives for the life of the field

To the village to the poor villagers,

To a secluded corner ...

A living thread connecting Tatyana with the people runs through the entire novel. Separately in the composition, Tatyana's dream is highlighted, which becomes a sign of closeness to the people's consciousness. Descriptions of Christmastide preceding Tatyana's dream immerse the heroine in an atmosphere of folklore:

Tatiana believed in legends

Common folk antiquity,

And dreams, and card fortune-telling,

And the predictions of the moon.

She was worried about the signs;

Note that Vyazemsky made a note to this place in the text:

Pushkin himself was superstitious.

Onegin Pushkin Roman

Consequently, through Tatyana's connection with Russian antiquity, we feel the kinship of the souls of the heroine and the author, the character of Pushkin is revealed. In Mikhailovsky, Pushkin began an article where he wrote:

There is a way of thinking and feeling, there is a darkness of customs, beliefs and habits that belong exclusively to some people.

Hence the intense interest in omens, rituals, fortune-telling, which for Pushkin, along with folk poetry, characterize the makeup of the people's soul. Pushkin's faith in omens came into contact, on the one hand, with the conviction that random events repeat themselves, and on the other, with a conscious desire to master the features of folk psychology. The expression of this character trait of Pushkin was Tatiana, whose poetic belief in omens differs from the superstition of Hermann from The Queen of Spades, who, “having little true faith<…>, had many prejudices. " The signs, in which Tatyana believed, were perceived as the result of centuries-old observations of the course of random processes. Moreover, the era of romanticism, having raised the question of the specifics of the people's consciousness, seeing in the tradition centuries-old experience and a reflection of the national mindset, saw poetry and the expression of the people's soul in folk "superstitions". From this it follows that Tatiana is an extremely romantic heroine, which is proved by her dream.

So, Tatyana's dream contains one of the main ideas of the novel: Tatyana could not feel so subtly if it were not for her closeness to the people. Pushkin purposefully selected those ceremonies that were most closely associated with the emotional experiences of the heroine in love. During Christmas time, there were “holy evenings” and “terrible evenings”. It is no coincidence that Tatyana's fortune-telling took place precisely on terrible evenings, at the same time when Lensky told Onegin that he had been invited to the name day “that week”.

Tatiana's dream has a double meaning in the text of Pushkin's novel. Being central to the psychological characterization of the "Russian soul" of the heroine of the novel, he also fulfills a compositional role, linking the content of the previous chapters with the dramatic events of the sixth chapter. The dream, first of all, is motivated psychologically: it is explained by Tatiana's tense experiences after Onegin's “strange” behavior that does not fit into any novel stereotypes when explaining in the garden and the specific atmosphere of Christmas time - the time when girls, according to folklore, are fate enter into a risky and dangerous game with evil spirits. However, the dream also characterizes the other side of Tatyana's consciousness - her connection with folk life, folklore. Just as in the third chapter the inner world of the heroine of the novel was determined by the fact that she “imagined” the “heroine of her beloved creators,” now folk poetry is the key to her consciousness. Tatiana's dream is an organic fusion of fairy-tale and song images with performances that came from the Christmas and wedding ceremonies. Such an interweaving of folklore images in the figure of the Christmas "betrothed" turned out to be in Tatyana's mind consonant with the "demonic" image of Onegin the vampire and Melmot, which was created under the influence of the romantic "fables" of the "British muse". Potebnya writes:

Tatiana Pushkina is a "Russian soul", and she has a Russian dream. This dream portends a marriage, although not for a sweetheart.

However, in fairy tales and folk mythology, crossing the river is also a symbol of death. This explains the double nature of Tatyana's sleep: both the ideas gleaned from romantic literature and the folklore basis of the heroine's consciousness makes her bring together the attracting and terrible, love and death.

In Eugene Onegin, in this immortal and unattainable poem, Pushkin was a great popular writer. He at once, in the most "perspicacious", in the most apt way noted the very depths of the society of that time. Noting the type of the Russian wanderer, "the wanderer to the present day and in our days," guessing him with his ingenious instinct, next to him put the type of positive and indisputable beauty of the Russian woman. Pushkin was the first of all Russian writers "to draw before us the image of a woman, the firmness of her soul who draws from the people." The main beauty of this woman is in her truth, an indisputable and tangible truth, and this truth can no longer be denied. The majestic image of Tatyana Larina, "found by Pushkin in the Russian land, brought out by him, has been put before us forever in its indisputable, humble and majestic beauty." Tatiana is a testament to the powerful spirit of the people’s life that can highlight the image of such an undeniable truth. This image is given, is, it cannot be disputed, it can be said that it is an invention or a fantasy, or, perhaps, an idealization of the poet:

You contemplate yourself and agree: yes, this is, therefore, the spirit of the people, therefore, the vital force of this spirit is, and it is great and immense.

In Tatiana, one can hear Pushkin's faith in the Russian character, in his spiritual power, and, therefore, hope for the Russian people. The very existence of Tatyana expresses the author's truth: without complete unity with her people, with their culture, with their native land, a nature so sublime and whole, full of poetry and life, cannot exist. It is the unity with nature, Russia, people, culture that makes Tatyana an unearthly creature, but at the same time so in love with life and all its manifestations that one involuntarily admires a soul so young, naive, but so firm and unshakable.

So, we already know that the novel is based on the opposition of Tatyana and Onegin, Tatyana and the Petersburg and Moscow light. Tatyana is not in vain opposed to light in the first place, since it is this light that gives rise to the Onegins, makes them at odds with themselves, kills their best feelings. It is interesting what V.G.Belinsky said about Pushkin's Muse:

This is an aristocratic girl in whom seductive beauty and gracefulness of spontaneity were combined with grace of tone and noble beauty.

But the author, and not without reason, did not make "sweet Tanya" an aristocratic girl in order to show us even more the tragedy of society in general, Onegin in particular. And, of course, Tatiana cannot seduce anyone, because this would be contrary to her whole nature. Only a person with such strength of soul, with such devotion to his ideals and dreams, can resist the vulgarity and hypocrisy of the whole world.

And here we have Onegin as a typical representative of the youth of that time:

There was a pedant in his clothes

And what we called dandy ...

How early could he be a hypocrite ...

How quick and gentle his gaze was,

Shy and impudent, and sometimes

Shone with an obedient tear! ...

How he knew how to seem new, ...

To amuse with pleasant flattery ...

Tatiana is not like that: the purity of her soul reveals the tragedy of society. Because Tatiana is represented as a “district lady, with a sad thought in her eyes,” she is even dearer to our hearts. Don't you immediately feel in her that sincerity, that light that she seems to exude? Tatiana is a type who stands firmly on its own ground. She is deeper than Onegin and, of course, smarter than him. She already with her noble instinct senses where and what the truth is, which was expressed in the finale of the poem. This is a type of positive beauty, the apotheosis of a Russian woman. Yes, it is a Russian woman, for Tatiana is essentially a “people's” heroine. One could even say that such a beauty type of Russian woman was almost never repeated in Russian literature - except perhaps for Liza in Turgenev's Noble Nest. Already in the first chapters of the novel, one can feel the opposition of Tatyana's truly Russian soul to the "quirks of the great world", which will be fully reflected at the end of the poem, when she is already directly in the light. But already at the very beginning, the author declares the appearance of a heroine, whose sincerity and soul shine through in her every word and gesture:

But full of glorification of the haughty

With her chatty lyre;

They are not worth any passions,

No songs inspired by them:

The words and nonsense of these sorceresses

Deceiving ... like their legs.

In the last chapters of the novel, Tatiana is already directly presented in the light. And what? No, Tatyana is also pure in soul, as before:

She was leisurely

Not cold, not talkative,

Without an insolent gaze for all,

No claim to success

Without these little antics

Without imitative undertakings ...

Everything is quiet, it was just in her.

But the manner of looking down did something that Onegin did not even recognize Tatyana at all when he met her for the first time, in the wilderness, in the modest image of a pure, innocent girl, who was so timid in front of him at first. He failed to distinguish in the poor girl completeness and perfection, which he still has to learn at the end of the novel. VG Belinsky considered that Onegin took Tatiana for a “moral embryo”. And this was after her letter to Onegin, which reflected all her experiences, feelings, childhood dreams, ideals, hopes. With what readiness this girl trusted Onegin's honor:

But your honor is my guarantee,

And boldly I entrust myself to her ...

By the way, Tatyana's age only makes her compare her at thirteen with a “worried soul” with Onegin at his eighteen years old, with “jealous wives” of the world. An interesting fact is that, most likely, in the original version, Tatyana was seventeen years old, which is confirmed by Pushkin (November 29, 1824) in response to Vyazemsky's remark about the contradictions in Tatyana's letter to Onegin:

... a letter from a woman, moreover, seventeen years old, and also in love!

Pushkin points out very accurately that Tatyana is much deeper than Eugene, precisely emphasizing her age. Tatyana's age is another means of opposing her to Onegin and society. Pushkin endows his beloved heroine with a subtle soul, lofty thoughts, a “fiery heart”. Tatiana, at her thirteen years old, is an extremely spiritually developed nature, with a special inner world, she is a firm and unshakable nature in her nobility, sincerity, purity:

Tatiana loves not jokingly

And indulges unconditionally

Love is like a sweet child.

Tatiana here is another tragedy of Onegin: she passed by him in Yevgeny's life, and carried her love through her whole life, although she was not appreciated by him. This is the tragedy not only of their romance, but also the tragedy of the human soul, because the very images of the heroes prove the impossibility of their joint happiness. And here a thirteen-year-old girl, perhaps, helps us to understand, to look into the soul of Eugene:

He in his first youth

Was a victim of violent delusions

And unbridled passions.

Indeed, the very presence of Tatiana in the novel clearly shows Onegin's inner emptiness, generated, perhaps, by a tribute to light, fashion ("fashion tyrant"), and this, of course, is understood by Tatiana. In the immortal stanzas of the novel, the poet portrayed her visiting the house of a person who was still so mysterious to her. And here Tatyana is in his office, examining his books, things, objects, trying to guess his soul from them, to solve her riddle, and, finally, in thought with a strange smile, her lips quietly whisper:

What is he? Is it an imitation

An insignificant ghost, or else

Muscovite in Harold's cloak,

Interpretation of other people's quirks,

Full vocabulary of fashionable words? ...

Isn't he a parody?

In these words of Tatiana, the very tragedy of the world is exposed, about which so much has already been said. And here she herself for the first time recognizes this very light, however, being far from it. In the draft versions, the condemnation of Onegin, and with him, as we understand, the light, was expressed in an even sharper form:

Moskal in Harold's cloak ...

Jester in Child Harold's Cloak ...

He's a shadow, pocket lexicon.

The look at Onegin as an imitative phenomenon that has no roots in Russian soil makes Tatyana's closeness to the people even more valuable. Yes, Tatyana had to unravel the soul, fettered by the burden of light, had to whisper it. And after all, the exposure of this imitation, the disease of society, sounds even more terrible when it is pronounced by a person as pure and naive as Tatiana.

Later in Moscow, Tatyana already knows what to expect from society, she saw the reflection of this vicious light in Onegin. But Tatiana, in spite of everything, true to her feelings, did not betray her love. The secular court life did not touch the soul of "dear Tanya". No, this is the same Tanya, the same old village Tanya! It is not corrupted; on the contrary, it has become even firmer in striving for sincerity, truth, purity. She is dejected by this lush life, she suffers:

She's stuffy here ... she's a dream

Strives for field life ...

Simple maiden

With dreams, with the heart of the old days,

Now she has resurrected in her again.

It has already been said about comparing Tatyana with the moon, and here, in Moscow, Tatyana overshadows everyone around with her inner light:

She sat at the table

With the brilliant Nina Voronskaya,

This one to Cleopatra of the Neva;

And surely you would agree,

That Nina's marble beauty

I could not outshine my neighbor,

Though she was dazzling.

It was not for nothing that the author sat his Tatyana next to the “brilliant Nina Voronskaya”, since Nina is a collective image, which contains external beauty, and even that, after all, is “marble” and internal emptiness. True, there was no need to explain Pushkin's Tatyana, her soul “shines through in her every word, in every movement,” therefore Nina could not outshine Tatyana. At the end of the novel, the kinship of the souls of Tatyana and Pushkin is most clearly expressed: the author trusts her to express his thoughts and feelings. Tatyana connects us with the author with all her being. The answer to this question is Küchelbecker's words:

The poet in his eighth chapter is similar to Tatiana. For his lyceum comrade, who grew up with him and knows him by heart, like me, the feeling with which Pushkin is overwhelmed is noticeable everywhere, although he, like his Tatyana, does not want to know the world about this feeling.

So, Tatyana is no longer only Pushkin's muse, poetry, and, perhaps, life itself, but also the exponent of his ideas, feelings, thoughts says to Onegin:

But I'm given to another,

I will be faithful to him forever.

She said this precisely as a Russian woman, this is her apotheosis. She expresses the truth of the poem. It is in these lines that, perhaps, the whole ideal of the heroine is enclosed. Before us is a Russian woman, brave and spiritually strong. How can such a strong nature as Tatyana base her happiness on the misfortune of another? Happiness for her is, first of all, in the harmony of spirit. Could Tatyana have decided otherwise, with her high soul, with her heart?

But the question of why Pushkin made his "affectionate Muse" suffer so invariably worries the reader. Here, of course, it should be noted that true to the truth, only to the truth, he did not make her happy, he made her cry - about himself, about Onegin. Tatiana, in her misfortune, intensifies Onegin's tragedy; the author threw him at Tatyana's feet, made him curse his lot, be horrified at his own life. He snatched the cruellest confession from Eugene:

I thought: freedom and peace

A replacement for happiness. Oh my God!

How wrong I was, how punished!

In Tatiana, the strength of the spirit of the Russian person, drawn from the people, is once again visible. Tatyana is a woman of such spiritual beauty who humbled even the surrounding vulgarity. And this woman was "calm and free." Pushkin took her away, leaving the word "fidelity" as the last word in her confession. Her beautiful soul was all open to Pushkin, there was not a single dark corner where he "could not look with his mind's eye." "Liberty and peace are a substitute for happiness", she never looked for them, for the sake of them she never fenced herself off from the world with contempt and indifference. She may not have known happiness in love, but she knew the lofty moral law that excludes self-love ("Morality (morality) in the nature of things" Necker), knew her life purpose, already capable of giving life to the end with its even light. She walked towards this goal without looking back or thinking; she walked firmly, because, “Russian in soul,” integral in her very being, and could not live otherwise.

Tatiana cannot go after Onegin, because he is "a blade of grass carried by the wind." She is not at all like that: in her despair, in the suffering consciousness that her life has perished, there is still something solid and unshakable on which her soul rests. These are her childhood memories, the memories of her homeland, the village soul, in which her humble, pure life began - this is "the cross and the shadow of the branches over the grave of her poor nanny." Oh, these memories and former images are now more precious to her, because they only remained for her, but they also save her soul from final despair. And this is not a little, no, there is already a lot, because there is a whole foundation, here is something indestructible. There is contact with the homeland, with the native people, with its shrine. "There are deep and firm souls," says Dostoevsky, "who cannot consciously give up their shrine to shame, even if only out of endless suffering."

But the more terrible is Onegin's tragedy. Indeed, in Tatiana's speech - not a shadow of vengefulness. That is why the fullness of retribution is obtained, that is why Onegin stands "as if struck by thunder." "All the cards were in her hands, but she was not playing."

Which of the peoples has such a love heroine: brave and dignified, in love - and adamant, clairvoyant - and loving.

The image of Tatyana Larina in Pushkin's novel "Eugene Onegin"

Belinsky called Pushkin's novel "Eugene Onegin" "the most sincere work" of Alexander Sergeevich. And the author himself considered this novel his best creation. Pushkin worked on it with great enthusiasm, giving all his soul to creativity, all of myself. And, undoubtedly, the images of the main characters of the novel are very close to the author. In each of them, he reflected some of his own inherent features. They became almost dear to Pushkin. The closest to the author is the image of Tatiana, who, in essence, is the ideal of a Russian woman for Pushkin. This is exactly how he imagined a true Russian woman: sincere, fiery, trusting and, at the same time, possessing spiritual nobility, a sense of duty and a strong character.
In the portrait of Tatyana, Pushkin gives not an external appearance, but rather an internal portrait of her: "... Dika, sad, silent ...". This is an atypical image that attracts not with its beauty, but with its inner world. Pushkin emphasizes the difference between Tatyana and Olga:

Not her sister's beauty,
Nor the freshness of her ruddy

She would not have attracted the eyes - he says about Tanya and then repeats more than once that Tatiana is ugly. But the image of this meek, pensive girl attracts the reader and the author himself with her charm and unusualness.
In the second chapter of the novel, we meet a girl whose favorite circle of life is nature, books, a village world with stories the nanny's tales, with her warmth and cordiality.

Thoughtfulness, her friend
From the most lullaby days
Rural leisure flow
Decorated her with dreams.

Reading the novel, you can see that in those stanzas where Tatyana is talking, there is always a description of nature. It is not for nothing that Pushkin conveys Tanya's state of mind many times through the images of nature, he thereby emphasizes the deep connection that exists between the village girl and nature. For example, after Onegin's harsh preaching, "sweet Tanya's youth fades away: this is how the storm dresses the shadow of a barely born day." Tanya's farewell to her native places, native fields, meadows is accompanied by a tragic description of autumn:

Nature is tremulous, pale,
How the victim is magnificently removed ...

Tanya's entire inner world is in tune with nature, with all its changes. Such closeness is one of the signs of a deep connection with the people, which Pushkin greatly appreciated and respected. The song of the Girls, consoling Tanya, affection for "Fillipyevna the gray-haired", fortune-telling - all this again tells us about Tanya's living connection with the folk element.

Tatyana (with a Russian soul,
Without knowing why)
With her cold beauty
She loved the Russian winter.

Loneliness, alienation from others, gullibility and naivety allow the "gentle dreamer" to confuse Onegin with the hero of the novel, to appropriate for herself "someone else's delight", "someone else's sadness."
But, seeing soon that the hero of her dreams is not at all what she imagined him to be, she tries to understand Onegin. The girl writes to Onegin an ardent, passionate letter and receives a harsh sermon in return. But this coldness of Eugene does not kill Tanya's love, the "strict conversation" in the garden only revealed to Tanya Onegin's hard-heartedness, his ability to ruthlessly respond to sincere feelings. Probably, the birth of “that indifferent princess”, which Onegin was amazed and wounded by in the eighth chapter, begins already here.
But, meanwhile, even Lensky's death did not destroy the deep feeling that Tatyana felt for Onegin:

And alone cruel
Stronger her passion burns,
And about Onegin distant
Her heart speaks louder.

Onegin left, and, it seems, irrevocably. But Tatiana, before visiting his house, continues to refuse everyone who woo her. Only after visiting the "young cell", seeing how and what Yevgeny lived, she agrees to go to the "bride market" in Moscow, because she begins to suspect something terrible for herself and for her love:

What is he? Is it an imitation?
An insignificant ghost, or else -
Muscovite in Harold's Cloak?
Interpretation of other people's quirks,
Words of fashionable lexicon?
Isn't he a parody?

Although the inner world of Eugene is not limited to the books that he read > Tanya does not understand this and, making erroneous conclusions, is disappointed in love and in her hero. Now she has a boring road to Moscow and a noisy bustle of the capital.
In the "district young lady" Tatiana "everything is outside, everything is at liberty." In the eighth chapter, we meet an indifferent princess, "the legislator of the hall." The former Tanya, in which “everything was quiet, everything is simple”, has now become a model of “impeccable taste”, a “faithful ingot” of nobility and sophistication.
But it cannot be said that now she is really an "indifferent princess", incapable of experiencing sincere feelings, and that not a trace remains of the former naive and timid Tanya. There are feelings, but now they are well and firmly hidden. And that "careless beauty" of Tatiana is a mask that she wears with art and naturalness. The light made its own adjustments, but only external ones, Tatyana's soul remained the same. That trusting "girl" who loves the "Russian winter", hills, forests, the village still lives in it, ready to give "all this shine, and noise, and fumes for the shelf of books, for the wild garden ...". Now the impetuosity and recklessness of feelings has been replaced in her by self-control, which helps Tanya to withstand the moment when the embarrassed, "awkward" Evgeny is left alone with her.
But all the same, Tatyana's main merit is the spiritual nobility of her truly Russian character. Tatiana has a high sense of duty and dignity, namelyso she found the strength to suppress her feelings and say to Onegin:

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Tatyana Larina's fervent monologue about feelings for a young rake is part of the compulsory school curriculum. Memorizing the lines about the first love and impulses of the soul, it is easy to catch the courage and openness, which is so uncharacteristic for young ladies of the century before last. This is what distinguishes Tatiana from most literary images - naturalness and loyalty to ideals.

History of creation

The poetic novel, which he considered a feat, was first published in 1833. But readers have been following the life and love affairs of a young reveler since 1825. Initially, "Eugene Onegin" was published in literary almanacs, one chapter at a time - a kind of 19th century serial.

In addition to the main character, Tatyana Larina, a rejected lover, attracted attention to herself. The writer did not hide that the female character of the novel was written from a real woman, but the name of the prototype is not mentioned anywhere.

Researchers put forward several theories about the alleged muse of Alexander Sergeevich. First of all, they mention Anna Petrovna Kern. But the writer had a carnal interest in a woman, which differs from the author's attitude to the dear Tatyana Larina. Pushkin considered the girl from the novel to be a beautiful and gentle creature, but not an object of passionate desires.

The heroine of the novel has similarities with Elizaveta Vorontsova. Historians believe that the portrait of Onegin was painted from an admirer of Countess Raevsky. Therefore, the role of the literary lover went to Elizabeth. Another weighty argument - Vorontsova's mother, like Larina's mother, married an unloved one and suffered from such injustice for a long time.

Twice the wife of the Decembrist, Natalya Fonvizina, claimed that she was the prototype of Tatiana. Pushkin was friends with Natalia's husband and often communicated with a woman, but there is no other evidence to support this theory. The poet's school friend believed that the writer put into Tatiana a particle of his own hidden traits and feelings.

The negative reviews and criticism of the novel did not affect the image of the main character. On the contrary, most literary scholars and researchers note the integrity of the character. calls Larina "the apotheosis of the Russian woman", speaks of Tatiana as "a genius, unaware of her genius."

Of course, Eugene Onegin shows the female ideal of Pushkin. Before us is an image that does not leave indifferent, delights with inner beauty and illuminates with bright feelings of a young innocent young lady.

Biography

Tatyana Dmitrievna was born into a military family, a nobleman, who after service moved to the countryside. The girl's father died several years before the events described. Tatiana remained in the care of her mother and the old nanny.

The girl's exact height and weight are not mentioned in the novel, but the author hints that Tatiana was not attractive:

“So she was called Tatiana.
Not her sister's beauty,
Nor the freshness of her ruddy
She would not have attracted eyes. "

Pushkin does not mention the age of the heroine, but, according to the calculations of literary critics, Tanya recently turned 17 years old. This is confirmed by the poet's letter to a close friend, in which Alexander Sergeyevich shares his thoughts about the girl's emotional impulse:

“… If, however, the meaning is not entirely accurate, then all the more the truth in the letter; a letter from a woman, who is also 17 years old, and who is also in love! "

Tatiana spends her free time talking with the nanny and reading books. Due to her age, the girl takes to heart everything that the authors of romance novels write about. The heroine lives expecting a pure and strong feeling.

Tatiana is far from the girlish games of her younger sister, she does not like the chatter and noise of frivolous girlfriends. The general characteristic of the main character is a balanced, dreamy, extraordinary girl. Relatives and acquaintances have the impression that Tanya is a cold and overly judicious young lady:

“She is in her family
She seemed like a stranger to a girl.
She did not know how to caress
To his father, not to his mother. "

Everything changes when Eugene Onegin comes to the neighboring estate. The new inhabitant of the village is not at all like Tatyana's former few acquaintances. The girl loses her head and after the first meeting she writes a letter to Onegin, where she confesses her feelings.

But instead of a stormy showdown, for which the girl's favorite novels are so famous, Larina listens to a sermon from Onegin. Say, this behavior will lead the young lady in the wrong direction. In addition, Eugene is not at all created for family life. Tatiana is confused and confused.

The next meeting between the heroine in love and the selfish rich man takes place in winter. Although Tatiana knows that Onegin does not respond to her feelings, the girl cannot cope with the excitement of the meeting. Tanya's own name day turns into torture. Eugene, noticing Tatyana's languor, devotes time exclusively to the younger Larina.

This behavior has consequences. The younger sister's groom was shot in a duel, she quickly married another, Onegin left the village, and Tatiana was again left alone with her dreams. The girl's mother is worried - it's time for her daughter to be married, but dear Tanya refuses all applicants for a hand and heart.

Two and a half years have passed since the last meeting between Tatyana and Eugene. Larina's life has changed markedly. The girl is no longer sure if she really loved the young rake so much. Perhaps it was an illusion?

At the insistence of her mother, Tatyana married General N, left the village where she had lived all her life, and settled with her husband in St. Petersburg. An unscheduled date at the ball awakens forgotten feelings in old acquaintances.

And if Onegin is seized with love for a once unnecessary girl, then Tatiana remains cold. The charming general does not show favor to Eugene and ignores the man's attempts to get closer.

Only for a short moment, the heroine, who withstands the onslaught of Onegin in love, removes the mask of indifference. Tatyana still loves Eugene, but she will never betray her husband and defame her own honor:

“I love you (why dissemble?),
But I am given to another;
I will be faithful to him forever. "

Screen adaptations

The love drama from the novel "Eugene Onegin" is a popular subject for musical compositions and film adaptations. The premiere of the first film of the same name took place on March 1, 1911. The black and white silent motion picture touches on the main moments of the story. The role of Tatiana was performed by the actress Lyubov Varyagina.

In 1958, the film-opera told the Soviet audience about the feelings of Onegin and Larina. She embodied the image of the girl, and performed the vocal part off-screen.

The British-American version of the novel appeared in 1999. The film was directed by Martha Fiennes, played the main role. The actress was awarded the Golden Aries for the image of Tatiana.

• Pushkin chose a distinctive name for the heroine, which at that time was considered simple and tasteless. In drafts, Larina is referred to as Natasha. By the way, the meaning of the name Tatiana is the organizer, the founder.
• According to scientists, the year of birth of Larina is 1803 according to the old style.
• The girl speaks and writes poorly in Russian. Tatiana prefers to express her thoughts in French.

Quotes

And happiness was so possible, so close! ..
But my fate has already been decided.

I am writing to you - what more?
What else can I say?

I can't sleep, nanny: it's so stuffy here!
Open the window and sit with me.

He is not here. They don't know me ...
I'll take a look at the house, at this garden.