Pushkin's novel "Eugene Onegin" is a truly innovative work. This is not only the first Russian realistic novel, it is not only a unique genre form - a novel in verse, but also a very unique work in its structure. Its plot is based on the principle of mirror symmetry. It consists of a number of paired episodes, scenes, and plot structures. In its first part we see Onegin in St. Petersburg, then the hero moves to the village, where he meets Tatyana, who falls in love with him, writes a letter, after which the scene of Onegin’s explanation with Tatyana in the garden takes place, which will be considered in the essay. This is followed by the scene of Tatiana’s name day and Onegin’s duel with Lensky, whose death radically changes the fates of all the main characters. This is the plot center of the novel, after which the supporting episodes of the first part are repeated as if in mirror image: now Tatyana makes the move, but from the village to the city, in St. Petersburg she meets Onegin again, being already a married lady, and then Onegin falls in love with her, writes a letter, followed by an explanation scene, in which, in turn, a rebuke to the hero Tatyana already gives. “But I was given to another; / I will be faithful to him forever” - this is how this story ends last meeting heroes, and with it the whole novel.
Thus, it is obvious that the analyzed scene of Onegin and Tatyana’s explanation in the garden, being one of its central episodes, should be considered in the context general structure works. In the works of Yu.M. Lotman, it was established that the ideological and compositional structure of the novel is built on the basis of the principle of oppositions. It was this construction that allowed Pushkin, who used a fairly simple plot - the story of the unfulfilled love of Tatiana and Onegin, - to fit enormous content into the novel, to pose global moral, psychological and socio-political problems, which gave Belinsky every right to call the novel “an encyclopedia of Russian life.”
The work is based on one common problem, which will be central to Russia throughout the nineteenth century, is the problem of dividing society into two different and very little connected parts. On the one hand, this is the nobility, primarily urban, who absorbed European culture, enlightenment and in many ways lost its national foundations. On the other hand, a much larger part is the one that preserved national roots: supported national traditions, rituals, customs, based her life on centuries-old moral principles. Even the language of these two disintegrated parts of what was once (before Peter’s reforms) a single Russian society turned out to be different: it is enough to recall the words of the hero of the comedy “Woe from Wit” Chatsky - a contemporary of Onegin - that the people considered the nobility, often used even in everyday life French, “for the Germans,” that is, foreigners.
But one may ask: what does all this have to do with Tatiana and Onegin, with the scene of their explanation in the garden? Both of them belong to noble society, both read foreign literature, and Tatyana’s letter to Onegin, which preceded their explanation in the garden, as Pushkin himself points out, was written in French:
So, I wrote in French...
What to do! I repeat again:
Until now, ladies' love
Didn't speak Russian...
And yet, Pushkin calls his heroine a “Russian soul,” and this is fundamentally important. It’s one thing to express the subtlest nuances of feeling in Russian: at that time, the formation of the language that would allow a Russian girl to write such a letter was just under way. And it is not at all surprising that Tatyana used the much more developed French lexicon, which allowed her to find all the necessary words in it. Only a poet like Pushkin could find their equivalents in Russian - so he gives his “translation”, which has become a wonderful example of a love letter in Russian poetry.
But the main thing is different: Tatyana, raised in the village, absorbed Russian customs and traditions that were “kept in a peaceful life” in the Larin family; From childhood she fell in love with Russian nature, which forever remained dear to her; she accepted with all her soul those fairy tales, folk legends which the nanny told her. In other words, Tatyana retained a living, blood connection with that “soil” folk basis, which Onegin completely lost.
And it is no coincidence that Pushkin connects this loss with the conditions of the city - St. Petersburg - life of the hero. It was there that he, raised by foreign tutors, caught in the whirlwind of an empty social life, “fell ill” with a new “disease” that came to Russia from Europe:
Like Child-Harold, gloomy, languid
He appeared in living rooms;
. . . . . . . . . . . . . . . . . . . . . . . . . .
Nothing touched him
He didn't notice anything.
This “disease,” “similar to the English spleen,” for which Pushkin finds Russian name- “the blues,” which struck Onegin and led to cooling and disappointment in everything, is certainly associated by Pushkin with what in the West was defined as “Byronism,” or the mood of “world sorrow.” Of course, Onegin’s “illness” also contains purely Russian features, and there is also a manifestation of his individual characteristics. But in general, this is the same hero “with a premature old age of soul”, which becomes a characteristic phenomenon specifically for the Europeanized part of Russian society.
So, a short excursion into the events of the novel preceding the scene of Onegin’s explanation with Tatiana in the garden allows us to draw certain conclusions that will help to correctly understand this episode. On the one hand, we have before us a story connected with the personal lives of these heroes, determined by their individual characteristics. But behind this lies a broader problem: can these so many people understand each other? different people, is their union possible, or do they really say “on different languages“and therefore mutual understanding is impossible?
From the very beginning, the explanations of Tatiana and Onegin are completely different. Tatyana was brought up on sentimental French novels, where a noble hero always acted, capable of deep feeling and finding his love and happiness with a devoted, pure, beautiful girl after many troubles and suffering. She, with all the strength of her sincere “Russian soul,” not only fell in love with Onegin, but also believed that he was her hero, that he was waiting for them, as in these novels. happy ending- family union. She decided to take a very bold step - to be the first to confess her love in a letter. And then he appeared. How wildly the girl’s heart beat, she wants to believe in the possibility of happiness and is afraid to hear a different “sentence.” “Tatyana instantly ran around” the entire garden “and, gasping for breath, fell onto a bench.”
Here Onegin finds her. But how did he feel about this whole story? We know that “having received Tanya’s message, / Onegin was deeply touched.” But even earlier we learn that “he killed eight years old” secular novels, at first stormy and passionate, and then became just a boring duty, a way to occupy “longing laziness,” so that now not only “he no longer fell in love with beauties,” but he completely “lost his life best color", lost the "sensitivity of the heart."
And yet... Tatiana’s sincere impulse did not go unanswered, and the girl herself had long attracted his attention with her originality and depth of nature. And so “he plunged into a sweet, sinless sleep / With his soul. / Perhaps the old ardor of feelings / took possession of him for a minute.” Yes, “ardor,” but only “for a minute,” and “maybe.” How different all this is from Tatyana’s state before the decisive explanation! Then Onegin appears in his usual role: he, the wise life experience, fully versed in the “science of tender passion,” decided that it was not becoming for him to deceive “the gullibility of an innocent soul.” This is ignoble, and the consequences may not be too pleasant for him - this is, after all, a village where slightly different standards of behavior are accepted than in the capital. So he approaches the conversation that lies ahead quite rationally. It is not for nothing that Tatyana, now also wise from the experience of social life, remembers with horror this explanation in the garden:
And now - God! The blood runs cold
As soon as I remember the cold look
And this sermon...
Tatiana found here very correct definition Onegin’s monologue in the garden is a cold “sermon”, a lesson that the capital’s dandy decided to teach to a poor provincial girl, and at the same time show off a little. Why else would he talk about how sweet Tatyana’s sincerity was to him, how she “brought into excitement / long-silenced feelings”? Then he adds that he sees in her his “former ideal” and only she could choose her as his wife - however, this sounds only in the subjunctive mood. And at the end of his moral teaching, he also reassured unfortunate Tatyana a little:
I love you with the love of a brother
And maybe even more tender.
Yes, the habits of a “cunning seducer”, a conqueror of women’s hearts, do not go away so quickly. But there is something completely different in this monologue: it is not for nothing that the hero himself calls it “confession.” Indeed, despite some posing, Onegin speaks about his true inner state, about his views on life, and even expresses a rather critical self-assessment:
But I am not made for bliss;
My soul is alien to him;
Your perfections are in vain:
I am not worthy of them at all.
Why is he “not created for bliss”? family life? Now is the time to remember that this hero, as already mentioned, is directly connected with romanticism, or more precisely, with its special manifestation - “Byronism”. For such a person, freedom is above all; it cannot be limited by anything, including family ties:
Whenever life is around home
I wanted to limit...
It is precisely to “limit”, and not to find at all kindred spirit in a loved one, as Tatyana thinks. Here it is, the difference between two life systems formed in different cultural and ethical traditions. Apparently, it will be difficult for Tatyana to understand this position of the “modern hero”, about whom Pushkin so accurately said:
Having destroyed all prejudices,
We respect everyone as zeros,
And in units - yourself.
We all look at Napoleons...
But this is exactly what Onegin is, not paying any attention to the feelings of the poor girl who, “seeing nothing through tears, / barely breathing,” silently listens to the merciless lesson of her unexpected teacher. It seems to him that this “science” will help Tatyana in later life:
You will love again: but...
Learn to control yourself;
Not everyone will understand you like I do,
Inexperience leads to trouble.
In fact, Onegin is right: after all, Tatyana could have met a completely unscrupulous person. And Pushkin comments on this scene like this:
You will agree, my reader,
What a very nice thing to do
Our friend is with sad Tanya;
Not for the first time he showed here
The soul is pure nobility...
Well? We can only agree with the author? But he himself will further give the reader the opportunity to see the manifestation of Onegin’s cruelty and selfishness in all their ugliness - I mean the name day scene and the story of the duel with Lensky. Isn’t there this cruelty and even heartlessness in the explanation with Tatyana in the garden? With what ecstasy he describes to the naive girl the “horrors” of family life! Where is his sensitivity and delicacy, which he can easily show - when he wants. After all, speaking with the ardent romantic dreamer Lensky, “he tried to keep the cooling word / In his mouth,” even though he laughed at him in his heart. But no, he is stern with Tatyana, he “got into the role”, and he likes her, but Onegin somehow forgot about how Tatyana might feel at the same time.
Terrible events had to happen for something to shake in the hero’s ideas. Lensky's death is the price of his transformation, the price may be too high. The “bloody shadow” of a friend awakens frozen feelings in him, his conscience drives him out of these places. It was necessary to experience all this, to “travel through Russia” in order to realize that freedom can become “hateful” in order to be reborn for love. Only then will Tatyana with her “Russian soul”, with her impeccable moral sense, become a little clearer to him. And yet, even then there will remain a huge difference between them: Onegin, intoxicated by his newfound ability to love and suffer, does not understand that love and selfishness are incompatible, that one cannot sacrifice the feelings of other people. As then, in the garden, in last scene In the novel, a lesson is taught again - only now Tatyana gives it to Onegin, and this is a lesson of love and fidelity, compassion and sacrifice. Will Onegin be able to learn it, just as Tatyana once humbly accepted his “lessons”? The author does not tell us anything about this - the ending of the novel is open.
And the question is addressed to all readers - and to us too. What “lessons” have we learned? Probably the most important of them is the ability to be sensitive to another person, even one completely different from you, the ability to love faithfully and sincerely, to strive to understand another, to sympathize with him - and to love himself a little less. And this scene in the garden teaches us to love and understand beauty, because, no matter how we interpret it, it was created by the hand of an amazing master who forever captured this dark garden in the evening silence, a bench in the dense thickets of old trees and a girl sitting on it and humbly listening to the words of her beloved.
Pushkin's novel "Eugene Onegin" is a truly innovative work. This is not only the first Russian realistic novel, it is not only a unique genre form - a novel in verse, but also a very unique work in its structure. Its plot is based on the principle of mirror symmetry. It consists of a number of paired episodes, scenes, and plot structures. In its first part we see Onegin in St. Petersburg, then the hero moves to the village, where he meets Tatyana, who falls in love with him, writes a letter, after which the scene of Onegin’s explanation with Tatyana in the garden takes place, which will be considered in the essay. This is followed by the scene of Tatiana’s name day and Onegin’s duel with Lensky, whose death radically changes the fates of all the main characters. This is the plot center of the novel, after which the supporting episodes of the first part are repeated as if in a mirror image: now Tatyana makes the move, but from the village to the city, in St. Petersburg she meets Onegin again, being already a married lady, and then Onegin falls in love with her, writes letter, followed by an explanation scene, in which, in turn, Tatyana gives a rebuke to the hero. “But I was given to another; / I will be faithful to him forever” - this is how this last meeting of the heroes ends, and with it the entire novel.
Thus, it is obvious that the analyzed scene of Onegin and Tatiana’s explanation in the garden, being one of its central episodes, should be considered in the context of the general structure of the work. In the works of Yu.M. Lotman, it was established that the ideological and compositional structure of the novel is built on the basis of the principle of oppositions. It was this construction that allowed Pushkin, who used a fairly simple plot - the story of the failed love of Tatiana and Onegin, - to fit enormous content into the novel, to pose global moral, psychological and socio-political problems, which gave Belinsky every right to call the novel “an encyclopedia of Russian life.”
The work is based on one general problem that will be central to Russia throughout the 19th century - the problem of dividing society into two different and very little connected parts. On the one hand, this is the nobility, primarily urban, which has absorbed European culture and enlightenment and has largely lost its national foundations. On the other hand, a much larger part was that which preserved national roots: supported national traditions, rituals, customs, and based their lives on moral principles that had developed over centuries. Even the language of these two disintegrated parts of the once (before Peter’s reforms) united Russian society turned out to be different: it is enough to recall the words of the hero of the comedy “Woe from Wit” Chatsky - a contemporary of Onegin - that the people considered the nobility, who often even used the French language in everyday life , “for the Germans,” that is, foreigners.
But one may ask: what does all this have to do with Tatiana and Onegin, with the scene of their explanation in the garden? Both of them belong to noble society, both read foreign literature, and Tatyana’s letter to Onegin, which preceded their explanation in the garden, as Pushkin himself points out, was written in French:
So, I wrote in French...
What to do! I repeat again:
Until now, ladies' love
Didn't speak Russian...
And yet, Pushkin calls his heroine a “Russian soul,” and this is fundamentally important. It’s one thing to express the subtlest nuances of feeling in Russian: at that time, the formation of the language that would allow a Russian girl to write such a letter was just under way. And it is not at all surprising that Tatyana used the much more developed French lexicon, which allowed her to find all the necessary words in it. Only a poet like Pushkin could find their equivalents in Russian - so he gives his “translation”, which has become a wonderful example of a love letter in Russian poetry.
But the main thing is different: Tatyana, raised in the village, absorbed Russian customs and traditions that were “kept in a peaceful life” in the Larin family; From childhood she fell in love with Russian nature, which forever remained dear to her; She accepted with all her soul those fairy tales and folk legends that her nanny told her. In other words, Tatiana retained a living, blood connection with that “soil”, the folk foundation, which Onegin completely lost.
And it is no coincidence that Pushkin connects this loss with the conditions of the city - St. Petersburg - life of the hero. It was there that he, raised by foreign tutors, caught in the whirlwind of an empty social life, “fell ill” with a new “disease” that came to Russia from Europe:
Like Child-Harold, gloomy, languid
He appeared in living rooms;
...
Nothing touched him
He didn't notice anything.
This “disease”, “similar to the English spleen”, for which Pushkin finds a Russian name - “spleen”, which struck Onegin and led to cooling and disappointment in everything, is certainly associated by Pushkin with what in the West was defined as “Byronism”, or the mood of “world sorrow.” Of course, Onegin’s “illness” also contains purely Russian features, and there is also a manifestation of his individual characteristics. But in general, this is the same hero “with a premature old age of soul”, which becomes a characteristic phenomenon specifically for the Europeanized part of Russian society.
So, a short excursion into the events of the novel preceding the scene of Onegin’s explanation with Tatiana in the garden allows us to draw certain conclusions that will help to correctly understand this episode. On the one hand, we have before us a story connected with the personal lives of these heroes, determined by their individual characteristics. But behind this lies a broader problem: can these so different people understand each other, is their union possible, or do they really speak “different languages”, and therefore mutual understanding is impossible?
From the very beginning, the explanations of Tatiana and Onegin are completely different. Tatyana was brought up on sentimental French novels, where there was always a noble hero, capable of deep feelings and finding his love and happiness with a devoted, pure, beautiful girl after many troubles and suffering. She, with all the strength of her sincere “Russian soul,” not only fell in love with Onegin, but also believed that he was her hero, that, as in these novels, a happy ending awaited them - a family union. She decided to take a very bold step - to be the first to confess her love in a letter. And then he appeared. How wildly the girl’s heart beat, she wants to believe in the possibility of happiness and is afraid to hear a different “sentence.” “Tatyana instantly ran around” the entire garden “and, gasping for breath, fell onto a bench.”
This is where Oneg finds her. But how did he feel about this whole story? We know that “having received Tanya’s message, / Onegin was deeply touched.” But even earlier we learn that “he spent eight years” on social affairs, which were at first stormy and passionate, and then became just a boring duty, a way to occupy “longing laziness,” so that now not only “he no longer fell in love with beauties,” but he also completely “lost the best color of life”, lost “the sensitivity of the heart.”
And yet... Tatiana’s sincere impulse did not go unanswered, and the girl herself had long ago attracted his attention with her originality and depth of nature. And so “he plunged into a sweet, sinless sleep / With his soul. / Perhaps the old ardor of feelings / took possession of him for a minute.” Yes, “ardor,” but only “for a minute,” and “maybe.” How different all this is from Tatyana’s state before the decisive explanation! Then Onegin appears in his usual role: he, wise from life experience, fully versed in the “science of tender passion,” decided that it was not becoming for him to deceive “the gullibility of an innocent soul.” This is ignoble, and the consequences may not be too pleasant for him - this is, after all, a village where slightly different standards of behavior are accepted than in the capital. So he approaches the conversation that lies ahead quite rationally. It is not for nothing that Tatyana, now also wise from the experience of social life, remembers with horror this explanation in the garden:
And now - God! The blood runs cold
As soon as I remember the cold look
And this sermon...
Tatyana found here a very correct definition of Onegin’s monologue in the garden - it is a cold “sermon”, a lesson that the capital’s dandy decided to teach to a poor provincial girl, and at the same time show off a little. Why else would he talk about how sweet Tatyana’s sincerity was to him, how she “brought into excitement / long-silenced feelings”? Then he adds that he sees in her his “former ideal” and only she could choose her as his wife - however, this sounds only in the subjunctive mood. And at the end of his moral teaching, he also reassured unfortunate Tatyana a little:
I love you with the love of a brother
And maybe even more tenderly.
Yes, the habits of a “cunning seducer”, a conqueror of women’s hearts, do not go away so quickly. But there is something completely different in this monologue: it is not for nothing that the hero himself calls it “confession.” Indeed, despite some posing, Onegin speaks about his true inner state, about his views on life, and even expresses a rather critical self-assessment:
But I am not made for bliss;
My soul is alien to him:
Your perfections are in vain:
I am not worthy of them at all.
Why, after all, is he “not created for the bliss” of family life? Now is the time to remember that this hero, as already mentioned, is directly connected with romanticism, or more precisely, with its special manifestation - “Byronism”. For such a person, freedom is above all; it cannot be limited by anything, including family ties:
Whenever life is around home
I wanted to limit...
It is precisely to “limit”, and not at all to find a soul mate in a loved one, as Tatyana thinks. Here it is, the difference between two life systems formed in different cultural and ethical traditions. Apparently, it will be difficult for Tatyana to understand this position of the “modern hero”, about whom Pushkin so accurately said:
Having destroyed all prejudices.
We honor everyone as zeros.
L units - yourself.
We all look at Napoleons...
But this is exactly what Onegin is, not paying any attention to the feelings of the poor girl who, “seeing nothing through tears, / barely breathing,” silently listens to the merciless lesson of her unexpected teacher. It seems to him that this “science” will help Tatyana in later life:
You will love again: but...
Learn to control yourself;
Not everyone will understand you like I do,
Inexperience leads to trouble.
In fact, Onegin is right: after all, Tatyana could have met a completely unscrupulous person. And Pushkin comments on this scene like this:
You will agree, my reader,
What a very nice thing to do
Our friend is with sad Tanya;
Not for the first time he showed here
The soul is pure nobility...
Well? We can only agree with the author? But he himself will further give the reader the opportunity to see the manifestation of Onegin’s cruelty and selfishness in all their ugliness - I mean the name day scene and the story of the duel with Lensky. Isn’t there this cruelty and even heartlessness in the explanation with Tatyana in the garden? With what ecstasy he describes to the naive girl the “horrors” of family life! Where is his sensitivity and delicacy, which he can easily show - when he wants. After all, speaking with the ardent romantic dreamer Lensky, “he tried to keep the cooling word / In his mouth,” even though he laughed at him in his heart. But no, he is stern with Tatyana, he “got into the role”, and he likes her, but Onegin somehow forgot about how Tatyana might feel at the same time.
Terrible events had to happen for something to shake in the hero’s ideas. Lensky's death is the price of his transformation, the price may be too high. The “bloody shadow” of a friend awakens frozen feelings in him, his conscience drives him out of these places. It was necessary to experience all this, to “travel through Russia” in order to realize that freedom can become “hateful” in order to be reborn for love. Only then will Tatyana with her “Russian soul”, with her impeccable sense of morality, become a little clearer to him. And yet, even then there will remain a huge difference between them: Onegin, intoxicated by his newfound ability to love and suffer, does not understand that love and selfishness are incompatible, that one cannot sacrifice the feelings of other people. As then, in the garden, in the last scene of the novel a lesson is taught again - only now Tatyana gives it to Onegin, and this is a lesson of love and fidelity, compassion and sacrifice. Will Onegin be able to learn it, just as Tatyana once humbly accepted his “lessons”? The author does not tell us anything about this - the ending of the novel is open.
And the question is addressed to all readers - and to us too. What “lessons” have we learned? Probably the most important of them is the ability to be sensitive to another person, even one completely different from you, the ability to love faithfully and sincerely, to strive to understand another, to sympathize with him - and to love himself a little less. And this scene in the garden teaches us to love and understand beauty, because, no matter how we interpret it, it was created by the hand of an amazing master who forever captured this dark garden in the evening silence, a bench in the dense thickets of old trees and a girl sitting on it and humbly listening to the words of her beloved.
Romantic poets most often use love storylines in their works. After all, love is not only in books, it lives among us, people. Love interests and emotions are familiar to each of us. Therefore, it is interesting to read about love, it is interesting to read into the love experiences of the main characters, to feel for yourself all the emotions that arise between two dear hearts.
In the novel "" Pushkin builds several love lines. This is the relationship between Lensky and Olga. This is the relationship between Onegin and Tatiana.
Falls madly in love with a young man. She dreams about him, experiences an insane attraction and confesses her feelings. But Onegin does not reciprocate her feelings, although, years later, he greatly regrets it.
For the first time, young people meet and get to know each other in the village, where Onegin escapes from social life and the bustle of the city. There he meets the modest and quiet Tatyana. She was a rather lonely person, didn’t hang out with her girlfriends much and looked for the ideal man in the books and novels she read. And so, on her life path such an unusual young man appears. She writes a letter to Onegin and tells about all her emotions. Evgeniy replies in a few days. And he doesn’t please the girl with his mutual feelings.
Why is this happening? I think it’s all to blame for the society from which the young guy fled. He was spoiled by social evenings, he tried to maintain the mores of that society, he could not go against his environment. Therefore, hardened by his former life, Onegin did not see the pure and naive Tatyana, who was so in love with him.
It really touched Eugene, but he was never able to find within himself a feeling of love for the main character.
In his response letter, he finds hundreds of excuses, protects the girl from his picky nature, which may get tired of all this after a while love story. Onegin thinks only about himself, he does not understand how different this girl is from those who consoled him in city society.
With his stupid arguments, he breaks Tatyana's heart. Tatyana doesn’t answer Evgeniy. Her first and most pure love rejected, the soul is split into pieces. The frankness and naivety of the village girl dealt an irreparable blow to her loving heart.
The history of the relationship between Tatiana and Evgeniy is quite tragic. Social influence made a revolution in their minds, therefore, the main characters were unable to build real, personal happiness.
In Boldin, the long-term work of A. S. Pushkin was practically completed - the novel in verse "Eugene Onegin", work on which, long and persistent, falls on the most flourishing period of his work. The poet called his work on the novel his literary “feat.” “Eugene Onegin” is in all respects, both in time of writing, and in meaning, and in scale, the central Pushkin creation. It is in “Eugene Onegin” that Pushkin as a “poet of reality” grows to his full height.The relationship between Onegin and Tatyana Larina constitutes the main storyline of the novel, however, in this personal love conflict, a far-reaching content is visible upon a more careful reading - it is in it that the most complete answer to the question posed by the poet about the sad loneliness of the main actor the novel in the reality surrounding it, about the main reason for a special phenomenon - the so-called Russian melancholy of people like Onegin.
Evgeny Onegin and Tatyana Larina differ from each other in absolutely everything, from upbringing to way of thinking and life perception. Onegin was raised by a French tutor, and Tatyana grew up in the society of ordinary Russian people, under the supervision of a nanny - a woman whose prototype was Pushkin’s own nanny. Onegin leads a social life, usual for young people of his circle. He dresses fashionably, constantly moves in the world, has lunch and dinner in restaurants with friends, and spends his evenings at the theater. The hero early learns the “science of tender passion.” IN secular society Often love from a sincere feeling coming from the heart turns into a sophisticated game, a confrontation between a man and a woman. This is exactly what happens to Evgeny Onegin. Being still quite young, he perceives relationships with the fair sex with skepticism, if not cynicism.
Tatyana leads a completely opposite lifestyle. She grew up in the village, surrounded by nature, in ordinary family landowner, where foreign innovations did not take root:
At Shrovetide they had Russian pancakes; Twice a year they fasted. They loved round swings, observance songs, round dances...
Hence her spontaneity, captivating sincerity in expressing feelings. Pushkin with great warmth and love draws the image of Tatyana, embodying in her best features Russian woman. The author emphasizes the absence of unusual, out-of-the-ordinary features in Tatyana, but at the same time she is surprisingly poetic and attractive. The simplicity of the character of the heroine is emphasized by the author and the name chosen for her - Tatyana.
Tatyana Larina is distinguished by thoughtfulness, silence, a desire for reflection and loneliness; she reads the novels of Richardson and Rousseau and believes them completely, since she does not find answers to her questions from those around her. In novels, Tatyana saw heroes whom she dreamed of meeting in life. There was no one next to her who could explain to this inexperienced girl that bookish feelings and experiences are most often very far from reality. Tatyana takes all these romantic descriptions at face value and dreams of feeling the same feelings, meeting the same characters described in sentimental works.
The appearance of Onegin falls on prepared ground, Tatyana is ready for a strong feeling and imagines Onegin as none other than noble hero your favorite novels and secret dreams:
And a thought sank into my heart; The time has come, she fell in love. So the grain of Spring that fell into the ground was revived by fire. For a long time her imagination, Burning with bliss and melancholy, Hungered for the fatal food; For a long time, heartache had been pressing on her young chest. Her soul was waiting for someone, And she waited - Her eyes opened; She said: it's him!
Tatyana's soul has long thirsted for love, she is experiencing a new feeling for herself. In a night conversation with the nanny, Tatyana admits that she is in love, she decides to write to Onegin love letter, but there is no answer from Evgeniy. Having received the news that Onegin has come to them, and seeing his stroller, Tatyana runs in confusion into the garden, where Onegin finds her. One can imagine the feelings of Tatyana, who decided to write a love confession to a man, neglecting the rules of decency, at the moment when her fate was about to be decided:
In her, a heart full of torment, Keeps the hopes of a dark dream; She trembles and glows with heat
Having received Tatiana's letter, Onegin is touched sincere feelings girls, but nothing more. By this time he had already developed a manner of communicating with women.
He no longer fell in love with beauties, but was dragged around somehow; If they refused, I was instantly consoled; They would change - he was glad to rest, He looked for them without rapture, And left them without regret.
In Tatyana’s letter and in the upcoming meeting with her, he did not see anything unusual or exciting for himself, and did not realize the storm of feelings that tormented the girl. Onegin does not try to prevaricate or pretend, but immediately reads such a rebuke to Tatyana, after which she will not be able to come to her senses for a long time. She listens to Onegin “barely alive”, all hopes for happiness have been taken away from her.
Onegin does not want to notice the impression that his words have on the girl. His speech is not similar to the speech of a young rake, but rather resembles the moral teachings of an old man experienced in life:
Believe me - conscience is a guarantee, Marriage will be torment for us. No matter how much I love you, Having gotten used to it, I will stop loving you immediately; You start crying, your tears will not touch my heart, but will only enrage it.
This is indeed the honest truth. Onegin does not want to ruin Tatiana’s life, but, without wanting it, he breaks her heart. He justifies himself by saying that he cannot regain the enthusiasm and joy of sensations and is not able to respond to a strong feeling. However, it is difficult to imagine a more terrible phrase “learn to control yourself” in this situation.
Tatyana is rejected, her pride is defeated, because she was the first to confess her love to a man and was refused. At this moment, she still does not understand that Onegin is not worthy of her love. She herself attributed to him traits that he does not possess. She will understand all this later and, unwillingly, will take revenge on Onegin by rejecting him. But for this time will have to pass, but for now “Tatyana fades, turns pale, fades away and is silent! / Nothing occupies her, nothing stirs her soul.” From that moment on, Tatyana is indifferent to everything. She will not contradict when her parents arrange a profitable match for her with Prince Gremin. Tatyana Larina carries in her soul love for a person unworthy of her, like her own cross. When Onegin meets her already married woman and an ardent feeling awakens in him, Tatyana can no longer reciprocate: “After all, I was given to someone else and I will be faithful to him forever,” but she has a vivid memory of that meeting in the garden that turned her whole soul upside down.
Onegin's explanation with Tatiana in the garden. (Analysis of the episode of the fourth chapter of the novel by A. S. Pushkin.)
A. S. Pushkin Every writer in his works asks the eternal question: what is the meaning of life, and tries to answer it. A.S. Pushkin, in his novel “Eugene Onegin,” also sought an answer to this question. The characters in the novel play a huge role in expressing the poet’s thoughts and feelings. The Gvozdins, Pustyakovs, Skotinins, the “necessary fools” of high society society, pass before the reader in a motley crowd. Maybe in a happy bustle metropolitan nobility and the ideal of life is captured? No, there is clearly a sense of irony, and even mockery, in the depiction of these characters. What about Olga and Lensky? They are singled out from the general mass of nobles, but their way of life also cannot be used as an example. The most close up The novel shows Onegin and Tatyana. The poet says about the hero: “I liked his features.” And he calls the heroine his “true ideal.” This means that not everything is approved in Onegin, but everything is approved in Tatyana. Obviously, when considering these images, the question posed earlier can be answered. Onegin and Tatyana have qualities that bring them together. In a society where “it’s easy to show off your education,” our heroes stand out for their knowledge. Evgeniy knew French perfectly and was familiar with fiction, with history, “read Adam Smith”, well versed in theater arts. Since childhood, books have “replaced everything” for Tatyana. She spent more than one night reading novels. And later he greedily reads books in the library of his chosen one. Both Onegin and Tatyana have a penetrating mind. Onegin knew people. He listened to Lensky with a smile, understanding the immaturity of his judgment. For Onegin, Olga is an ordinary young lady; he allows himself to whisper to her “some vulgar madrigal,” but with Tatyana Evgeny is always serious. And Tatyana managed to comprehend even such a complex and contradictory nature as Onegin. What unites the heroes is the independence of their judgments and actions. Onegin, in a conversation with Lensky, completely freely puts everything on trial and avoids communicating with his annoying landowner neighbors. He doesn't always care about what people think about him. Endowed with a “wayward head,” Tatyana speaks sharply about pomp, tinsel, and vanity high society. Onegin and Tatyana are also brought together by honesty and truthfulness in their relationships. Evgeniy responds to Tatyana’s trusting letter with “a confession also without art.” Is it surprising that smart, insightful people like Onegin and Tatyana felt completely alone in the environment to which they belonged by birth? The poet notes that Onegin “seemed like a stranger” in his chosen society. Tatiana even in family of origin“The girl seemed like a stranger.” But, although they have some similar qualities, the heroes are different from each other. Eugene's self-love is contrasted with Tatiana's spiritual generosity. These qualities are manifested primarily in love. If Evgeniy’s selfishness was the soil on which a light attitude towards love grew, then Tatyana’s spiritual generosity explains her self-denial and fidelity in heartfelt affection. WITH youth“The science of tender passion” replaced Onegin’s true feelings. He fluttered like a light-winged moth, often changing his allegiances. In a moment of revelation, he admits to Tatyana that “ family picture“He is not captivated by the fact that he is not able to love anyone for a long time. Later, seeking the love of Tatiana, a noble lady of high society, a princess, Onegin thinks only about himself and his suffering. Tatyana belongs to those sublime and rich natures who do not know calculations in love. They give all the strength of their heart to this feeling, and therefore it is beautiful and unique. In all his actions, Onegin is guided only by his own whims. He makes friends with Lensky out of boredom, just to kill time. Just to temporarily dispel boredom, he arouses Lensky’s jealousy at the Larins’ name day by courting Olga, and then, caring about his reputation, kills the young poet in a duel. In Tatiana's generous heart there will always be a place for compassion, sympathy for a person, and a sense of duty to him. She often goes to Lensky's lonely grave. Guided by a sense of marital duty, Tatyana rejects Onegin’s love, although she continues to love him as before. However, the main difference between the heroes is Eugene’s complete indifference and Tatiana’s deep affection for “low” nature and people. How could someone brought up by French governesses in the noisy bustle of the capital, far from folk life Evgeny feel the charm of “low” nature, feel the need to connect with the people? He remains indifferent to all this. Only for a short time could he be captivated by the unassuming rural nature. And then he saw “that in the village the boredom is the same.” A completely different Tatiana. Having grown up among free fields, green shady oak forests, communicating with people every day, she retains throughout her life a deep, tender love for native land and her nature, touching affection for the “poor villagers.” Since childhood, “she loved to warn the sunrise on the balcony,” and watch the stars. Trees, flowers, streams are her friends to whom she can trust her secrets. Tatyana sympathized with the people (“she helped the poor”), but the nanny, whom she calls “sweetheart,” evokes special tenderness in her soul. Nothing can destroy these sympathies in Tatiana’s soul: neither a long forced separation, nor high position in the light. Her soul yearns and longs for her native place, her usual way of life. Different attitude towards people, towards native nature is the decisive factor that helps give a final assessment of the heroes. Onegin – type “ extra person" Tatyana is a positive heroine. In the image of Onegin, A.S. Pushkin showed that part of the intelligentsia of the 20s. XIX century, which had a negative attitude towards the socio-political order of that time. But nothing connected such people with the people. They turned into “reluctant egoists”, into people useless to society. Such a life had no meaning. Tatyana has absorbed all the best that the people are rich in; she is the bearer of such wonderful character traits as love for the homeland, truthfulness, honesty, and loyalty to duty. Tatiana's life had a certain positive content, although it could not yet be called high, because the position of women at that time was such that public life she didn't play any role. And life acquires a high meaning only when a person is needed by the people, serves them, fights for their happiness.
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