Among all characters Tatyana occupies a special place in A.S. Pushkin’s novel “Eugene Onegin”. The author calls her a sweet ideal, admits that he singles her out: “Forgive me: I love my dear Tatyana so much!” Pushkin explains this by saying that she is superior to many other representatives of noble society in her spiritual qualities, character, and intelligence. Brought up against the backdrop of rural nature, she harmoniously developed her inner world. Tatyana read a lot, thought in solitude, talked with kind people, listened to folk songs and nursery tales, learned to love nature.
The main character is distinguished not only by her kind disposition and excellent upbringing, but also by her gullibility and sincerity, above all. And these are not provincial traits, but qualities of the Russian soul, which are difficult to preserve in a noisy world, where the young ladies have well learned their lessons in French and in general European etiquette. In naturalness and simplicity, in the ability to behave with dignity, but without arrogance, we see the main difference between Tatyana and the metropolitan coquettes, capable of playing, being a hypocrite, intriguing or slandering. “Russian in soul”, she is also in high society will remain faithful to the habits dear to her heart, yearning for the world of provincial life that is dear to her, and, if possible, to communicate with her native nature.
Tatyana, as was customary in those days, reads and writes not in Russian, but in French, but this does not prevent her from remaining Russian in observing traditions, in loving folk songs, to Russian culture, to nature. Probably, Pushkin wanted to emphasize that it is not only life in the village, but also closeness to the people that allows one to preserve originality and loyalty to the national character. After all, Tatyana communicates with the nanny, whose peasant wisdom and talent could have influenced her upbringing best qualities in the character of the heroine. Hence Tatyana’s confidence in the need for an honest conversation with the person to whom she would like to “entrust” her destiny. Yes, she knew life mainly from books, had no experience, did not imagine the difficulties that awaited her in metropolitan society, but she wanted to build a future family life out of love, not out of calculation. In the letter, she reports that this is exactly how she saw her betrothed, similar to Onegin:
You appeared in my dreams,
Invisible, you were already dear to me...
Her heart lived in anticipation of meeting that person who would understand, appreciate, love, and become a friend for life. And, having met Onegin in the wilderness of the village, feeling in him unusual person, Tatyana unconditionally, uncontrollably surrenders to her first and, as it turns out later, only love. Her letter to Onegin amazes with the strength of feeling, the courage of a young provincial girl, capable of confessing her love, becoming an initiator in love relationships, which was considered unacceptable for women in the nineteenth century. The author does not condemn his heroine, but pities and sympathizes with her, explaining her impulse by inexperience, sincerity, and the gullibility of a girl who fell in love with a man who did not appreciate her main advantages: the absence of falsehood and the ability to love selflessly, deeply, strongly and forever.
The image of Tatyana throughout the novel is subject to evolution, becoming more and more attractive and significant. Once in the highest aristocratic society, Tatiana, deep down in her soul, remains the same. She is ready to exchange the “rags of a masquerade” for rural solitude, for the simplicity of human relationships. She is tired of the unbearable nonsense that occupies society ladies. The glitter, tinsel and emptiness of an idle life depress Tatyana; she would like to break out of this circle.
It is human nature to make mistakes, and Tatiana is no exception. She was twice mistaken in her conclusions about Onegin, but in the main thing she remains true to herself: she cannot betray a person, she cannot hurt him. In response to Onegin’s confession, Pushkin’s beloved heroine replies: “I was given to another and I will be faithful to him forever.”
In the image of Tatyana Larina, Pushkin embodied best features their contemporaries: integrity, honesty, sincerity, nobility, kindness, high spirituality - everything that is valued in a person at all times. Distinctive features This image appeared as a result of the artistic discovery of the author. The very name of the heroine speaks of her closeness to the people: noblewomen were not called Tatiana; commoners could have such a name. Pushkin in the novel “Eugene Onegin” more than once showed sympathy for the main character, who retained national roots, who has not forgotten the native language, traditions and customs of her people. The author notes that “Tatiana (Russian in soul) loved the Russian winter” and winter holidays. She, like many girls,
Believed the legends
Of common folk antiquity,
And dreams, and card fortune telling,
And the predictions of the moon.
Closeness to the people contributed to the formation of an original national character, whose features Pushkin painted with such admiration. Creating the image of Tatyana, Pushkin expressed his opinion that the best among the nobles can be those who are faithful to the spiritual values of the Russian people, who have preserved national traits, traditions, culture and language. That is why Tatyana, with her Russian soul, is beloved, ideal heroine A.S. Pushkin.
Reviews
Zoya, good evening.
Thank you very much for the wonderful article.
When I read "Eugene Onegin", I remember that I caught myself thinking that Pushkin really loved his heroine Tatyana. This attitude, this love was felt in the lines. (I caught a similar attitude of the author from Leo Tolstoy in relation to Natasha Rostova in “War and Peace”).
The image of Tatiana was painted by Pushkin with love and very clearly, masterfully.
After reading your article on Tatyana Larina, I saw the details of the explanation for this attitude towards the heroine: what Pushkin singled out, what was dear to him, what he wanted to show.
And this is the real beauty of the Russian soul, the female soul, which knows how to love, believe sincerely in feelings, is faithful to the traditions of its people, and at the same time is educated, kind, understands other cultures (can communicate in French, understands this culture). It is creative, not destructive. And just plain sweet.
You get imbued with this, and it’s wonderful. Here she is - great and sweet, not protruding, but worthy, creative and kind, Russian female soul. What beauty there is in her! And how she is sung!
Thank you very much, Zoya. Just great. At one time I knew a lot of Onegin by heart, much more than was asked at school. This is a song of songs!
Good Saturday to you, good mood and all the best.
Igor, good evening!
You made me very happy with your perception of Tatyana’s image. It’s especially great that we learned a lot by heart! I'm in too school years(and even later) I knew about half of the novel by heart, since I remembered everything easily and wanted to speak in Pushkin’s poems.
Thanks for the kind words.
All the best, Igor!
Illustration: Elena Samokish-Sudkovskaya
A total of 179 people took part in the survey, a significant portion of whom, judging by the heated discussion, were teachers and literature teachers (which is not surprising). The results were distributed as follows:
1. Tatiana is faithful to her oath before the altar (81, 45.25%).
2. Tatyana respects her husband and is grateful to him (77, 43.02%).
4. Tatyana is faithful to her family duty (66, 36.87%).
To give - in addition to the listed options or as an alternative to them - 42 people (23.46%) preferred their answer.
Of course, I did not try to statistically determine the most correct or most popular answer with this poll. I was interested in something else: there is some contradiction between the proposed answers, associated, among other things, with well-known discussions about what the goal is literary education. The 1st, 2nd and 4th answer options reflect the approach to the plot of the work as a kind of everyday case, and to the character of the characters - as character real people, and not to the author’s fiction, albeit built on knowledge of life and observation in relation to the motives of human behavior and personality traits. 3rd and 5th options rely on understanding work of art as an author's creation, in which everything, even the behavior of the characters, is subordinated to the author's plan, his ideas and values, and therefore is explained not so much by the laws of life as by their construction on the part of the author, the laws of creativity and the writer's imagination.
The modern school is often reproached for ignoring the aesthetic nature literary text: In lessons, teachers and their students mainly retell stories and discuss the behavior of characters - as happens on television talk shows.
The gradual replacement of books with film versions of classics also speaks in favor of the fact that the literary, verbal form of works itself is no longer the most important thing when studying them at school. The survey showed that the majority shares this approach to heroes as living people, which, in general, is nothing wrong: yes, this approach is called “naive-realistic” and it is also characteristic of the perception of, say, picturesque, theatrical or cinematic arts. Even those who do not like to read or limit themselves to reading brief retelling readers are not averse to arguing about the motives for Tatyana’s refusal to Onegin. To the most popular - the heroine’s religiosity (curiously, this version is the first in popularity, appearing in school textbooks relatively recently, although Pushkin himself pays almost no attention to it), respect and gratitude to her husband, as well as family duty, they also add (in descending order of popularity):
Reluctance to change anything in an established life, the maturity of the heroine - no longer a young person;
Distrust of the feelings of an unlucky lover, and even:
Revenge on him;
Absence old feelings– which is what the heroine actually mourns in the final scene;
Her simplicity and inability to dissemble, her integrity of nature;
Unwillingness to build one’s happiness on the misfortune of another (the popular version of Dostoevsky - meaning Tatiana’s husband, since Onegin’s misfortune is inevitable, well, it’s his own fault, he should have thought earlier).
Other, more exotic interpretations are also offered, but even a cursory review of them shows that it is impossible to bring them together - each caring reader gets his own Tatyana, in accordance with his life experience, values and preferences. An attempt to choose the most correct one will certainly turn into a fierce debate - and you need to be a school textbook to avoid disputes here: a quick review of textbooks showed us that most of them strive to give the young reader their own, consistent concept of the image of Tatyana, in best case scenario offering to compare, for example, critical assessment its Belinsky and its apologetic - Dostoevsky (as if Pushkin’s non-contemporary Dostoevsky had the right to it - from his position, and we, today, have the right only to choose from what is available).
The second group of these answers suggests seeing the author as a master of composition: this version refutes the popular idea that for Pushkin himself Tatyana’s marriage was a surprise - since Onegin’s refusal in response to Tatyana’s confession had to be balanced with Tatyana’s refusal in response to Onegin’s confession, and thereby give them to exchange roles. This version supports the “madeness” of the novel, emphasizes its aesthetic nature - and requires the reader to be able to enjoy the author’s skill, and not just the vitality of the intrigue embodied in the novel. There is less innocence in it, more analytical skills are required from the reader - and it is very interesting that it has surpassed in popularity the version that suggests seeing in Tatyana the embodiment of the author’s ideal of an intelligent, conscientious wife, sacrificing her heartfelt affection for the good of her husband and family (such as will soon turn out to be the chosen one of the poet’s own heart - although here, as you know, disputes do not subside).
Among other aesthetic rather than psychological explanations proposed by the survey participants, we can mention the reference to her prototype - Princess M. Volkonskaya, who was portrayed by Pushkin (also an aesthetic task in its own way), and the preparation of the future image of the selfless “ captain's daughter» Masha Mironova; the ideological evolution of Pushkin from Onegin to Tatiana - from the West to the East, from cosmopolitanism - to patriotism; even the author’s love for his heroine, which he is ready to give to the general (whose prototype, in fact, Pushkin himself may have been), but not to the “fashionable tyrant” Onegin. It is clear that there are many contradictions in these versions, as well as between the “organic” and “aesthetic” approaches to the image of the heroine, which does not prevent readers from combining both approaches.
Probably, this combination of two approaches - (naive-) realistic and aesthetic - is the goal of literary education: the first of them develops emotional sphere(“I will shed tears over fiction”) and teaches empathy; the second helps to maintain the necessary distance in relation to the author’s fiction and enjoy experiences of a different, aesthetic order. But, perhaps, we should honestly admit that even among adults there is always a majority of those who are completely satisfied with the first approach, let alone ordinary schoolchildren who have the habit of opening a book at least sometimes!
And the state, through the mouth of its officials regularly proclaiming the “educational role of the classics”, this educational role sees rather admiration for the assessment of the selfless act of married Tatyana (“traditional family values") than the plasticity of the "Onegin stanza" - and will gladly sacrifice aesthetics for the sake of ethics. As evidenced, for example, by the history of the three-year planting of the December so-called “final essay,” which reduces any work of art to a moralizing, educational and patriotic case.
"Tatiana is Russian in soul..."
Sample essay text
A. S. Pushkin created a captivating image of a Russian girl in the novel “Eugene Onegin,” which he called his “true ideal.” He does not hide his love for the heroine, his admiration for her. The author worries and is sad together with Tatyana, accompanies her to Moscow and St. Petersburg.
Drawing in the novel the images of Onegin and Lensky as the best people era, he, however, gives all his sympathy and love to this provincial young lady with a discreet appearance and the common name Tatyana.
Perhaps this is the special attractiveness and poetry of her image, associated with the common culture hidden in the depths of the Russian nation. It develops in the novel in parallel with the noble culture, focused on Western European literature, philosophy, science. Therefore, both the external and internal appearance of Onegin and Lensky does not make it possible to see Russian people in them. Vladimir Lensky can most likely be mistaken for a German “with a soul straight from Göttingen,” who “brought the fruits of learning from foggy Germany.” Onegin's clothes, speech and behavior make him look like either an Englishman or a Frenchman. The poet calls Tatyana “Russian soul.” Her childhood and youth were spent not among the cold stone masses of St. Petersburg or Moscow cathedrals, but in the bosom of free meadows and fields, shady oak forests. She early absorbed a love for nature, the image of which seemed to complete her inner portrait, imparting special spirituality and poetry.
Tatiana (Russian soul,
Without knowing why)
With her cold beauty
I loved Russian winter.
For the “tender dreamer,” nature is full of secrets and mysteries. Even before the “deceptions of Richardson and Rousseau” begin to occupy her mind, Tatyana easily and naturally enters into Magic world Russian folklore. She shunned noisy children's amusements, because " scary stories in winter, in the darkness of the nights, they captivated her heart more." Tatyana is inseparable from the national element of the common people with its beliefs, rituals, fortune-telling, divination, prophetic dreams.
Tatyana believed the legends
Of common folk antiquity,
And dreams, and card fortune-telling,
And the predictions of the moon.
Even Tatiana’s dream is entirely woven from images of ancient Russian fairy tales. Thus, Tatiana’s personality was shaped by the environment in which she grew up and was brought up not under the guidance of a French governess, but under the supervision of a serf nanny. The development of Tatyana's soul and her morality occurs under the influence folk culture, life, morals and customs. But books, first sentimental ones, have a significant influence on the formation of her mental interests. romance novels, then romantic poems, found in the Onegin library. This leaves an imprint on Tatyana’s spiritual appearance. It is the fascination with the fictional life of the works of English and French authors that develops in the heroine a bookish idea of reality. This does Tatiana a disservice. Seeing Onegin for the first time, she falls in love with him, mistaking Eugene for the enthusiastic hero of her favorite books, and declares her love to him. And after her illusions and dreams disappear, she again tries to understand Onegin’s character with the help of the books he read. But Byron’s romantic poems with his gloomy, embittered and disappointed heroes again lead her to the wrong conclusion, forcing her to see in her lover a “Muscovite in Harold’s cloak,” that is, a pathetic imitator of literary models. In the future, Tatyana has to gradually get rid of these airy romantic dreams in herself and overcome her idealistic bookish attitude towards life. And she is helped in this by a healthy basis of life, which she absorbed along with the way of life, customs and culture of the Russian people, with her native nature. At one of the most difficult moments in her life, tormented by her love for Onegin, Tatyana turns for help and advice not to her mother or sister, but to an illiterate peasant woman who was the closest and dearest person to her. While waiting to meet Onegin, she hears the artless folk “Song of Girls,” which seems to express her experiences.
Pictures dear to Tatiana's heart native nature they remain with her in the high-society cold Petersburg. Forced to hide her feelings, Tatyana sees an acquaintance with her inner gaze rural landscape, devoid of exoticism, but covered in unique charm.
Tatyana looks and doesn’t see,
He hates the excitement of the world;
She's stuffy here... she's a dream
Strives for life in the field,
To the village, to the poor villagers
To a secluded corner.
This means that the mask of an “indifferent princess” hides the face of a “simple maiden” with the same aspirations. World moral values did not change. She calls the splendor of a luxurious living room and success in society “the rags of a masquerade,” because “this shine, and noise, and fumes” cannot hide the emptiness and inner squalor of metropolitan life.
All of Tatyana’s actions, all of her thoughts and feelings are colored by folk morality, which she has absorbed since childhood. In accordance with folk traditions, Pushkin endows his beloved heroine with exceptional spiritual integrity. Therefore, having fallen in love with Onegin, she is the first to declare her love to him, breaking the conventions of noble morality. Influenced folk traditions, who inspire children with respect and reverence for their parents, Tatyana gets married, obeying the will of her mother, who wants to arrange her life.
Forced to live by hypocritical laws secular society Tatyana is honest and frank with Onegin because she loves him and trusts him. The moral purity of the heroine is especially clearly manifested in her response to Eugene, which is also in the spirit of folk morality:
I love you (why lie?),
But I was given to another;
I will be faithful to him forever.
These words reflected all the best features of the heroine: nobility, honesty, strong developed sense debt. Tatyana's ability to abandon the only person she loves and will love speaks of her strong will and moral purity. Tatyana is simply not capable of lying to a person who is devoted to her, or dooming him to shame in order to unite with her loved one. If Tatyana had responded to Onegin’s love, the integrity of her image would have been violated. She would cease to be Tatyana Larina, turning into Anna Karenina.
Thus, Tatyana appears in the novel “Eugene Onegin” as the embodiment of the national Russian spirit and Pushkin’s ideal. Her image harmoniously combined best sides noble and common culture.
The image of Tatiana is one of the most captivating and profound in the history of Russian literature. Tatyana opens a gallery of portraits beautiful women with a truly Russian character. She is the spiritual predecessor of the poetic, original, selfless “Turgenev women”. A.S. Pushkin put into this image his ideas about female virtue, spirituality, inner beauty, and like the mythical Pygmalion in Galatea, he sincerely fell in love with his heroine:
Forgive me: I love you so much
My dear Tatiana.
Just as sincerely, he empathizes with the mental restlessness, anxieties and disappointments of his beloved creature:
Tatiana, dear Tatyana!
Now I'm shedding tears with you...
What is so attractive about this image? Isn’t the author imposing his subjective, enthusiastic attitude towards the heroine? The poet does not idealize the heroine, does not paint an image of the perfect, classical beauty of popular novels:
Not your sister's beauty,
Nor the freshness of her ruddy
She wouldn't attract anyone's attention.
Tatyana’s appearance is not described further in the novel, but A. S. Pushkin recreates the features of her character and behavior in great detail:
Dick, sad, silent,
Like a forest deer is timid,
She is in her own family
The girl seemed like a stranger.
Since childhood, Tatyana was distinguished by thoughtfulness, contemplation, seriousness, daydreaming, detachment from childish games and amusements; she was captivated by her captivating poetry, naive and mysterious stories nannies (“...terrible stories in winter in the dark of night captivated her heart more”), romantic songs of courtyard girls, wonderful pictures of nature (“She loved to predict the sunrise on the balcony...”), sentimental novels by foreign writers about the love experiences of heroes (“She liked novels early on; they replaced everything for her...”). The girl lives in an organic connection with the natural world and people's world, that is, a natural and harmonious life, drawing spiritual strength from the elements of nature and folk art.
Tatiana (Russian soul,
Without knowing why)
With her cold beauty
I loved Russian winter.
These lines emphasize the organic community of the Russian soul and Central Russian nature, the inextricable connection of the “darkness of Epiphany evenings” with the “traditions of common folk antiquity” - short winter days and the absence of peasant suffering contributed to communication in long dark evenings, fortune telling, storytelling to the sound of a spinning wheel passed down from generation to generation. generation mysterious stories, expressing sacred awe before the formidable and mysterious world.
And now this spiritual, immersed in her inner world, sensitive girl (the type of character that modern psychologists call “introvert”) meets a brilliant young man, so different from the people around her - educated, mysterious, detached from everyday worries, with traces of high experiences and disappointments - and, of course, falls madly in love with all the passion of a self-focused nature:
It's time came, she fell in love.
So the grain fell into the ground
Spring is animated by fire.
Her imagination has long been
Burning with bliss and melancholy,
Hungry for the fatal food...
Now all her thoughts, “...days and nights, and a hot lonely dream, everything is full of them...”
Now with what attention she pays
Reads a sweet novel
With such living charm,
Drinks seductive deception!
...Imagining myself as a heroine
Your beloved creators...
How accurately and subtly the poet conveys the confusion of an inexperienced soul, and the heat of its secret thoughts, and the hope for reciprocity, and embarrassment, and shame, and despair! Only this one of crystal purity and boundless honesty, with conviction in the holiness of traditional folk ideas about maiden honor and rules of decency and at the same time thirsty for those that ennoble life high feelings a girl could write such a sincere, at the same time chaotic and harmonious letter, perfectly expressing both the depth of love and the abyss of contradictory thoughts, feelings, and doubts. The depth of experience is conveyed by the poet in an amazingly touching way; every word seems to be the only true expression of the slightest movement of the soul, coming from the heart of the author to the heart of the reader:
Another!.. No, to no one in the world
I wouldn't give my heart! That in the highest council it is destined...
That is the will of heaven: I am yours;
My whole life was a pledge
The faithful's meeting with you;
I know you were sent to me by God,
Until the grave you are my keeper...
Tatyana's chosen one, highly appreciating the “gullible soul of confession,” her sincerity and purity, did not reciprocate her feelings, and “alas, Tatyana fades, turns pale, fades away and is silent...” Onegin’s murder in a duel over a trifle reason for his sister’s fiancé, a visit to his abandoned owner lover’s home, exploring his library, even “in cruel loneliness stronger passion she’s burning,” forced Tatiana to look more critically, objectively at the chosen one of her heart.
She painfully searches for an answer to the question: what is Eugene Onegin? - and her impartial assumptions testify to the spiritual development, maturity of the girl, harmony of soul and mind. Tatyana is married off to a general, and the heroine passively, weakly repeats life path to his mother, nanny, fulfilling his Christian, filial, feminine duty. Having become a brilliant society lady, Tatyana suddenly arouses a painful feeling of almost hopeless love in Onegin, who is even more disillusioned with life, tired of “arming both speech and gaze with feigned coldness...” Onegin writes her a letter, not inferior in intensity of feelings and screaming sincerity to Tatyana’s letter to him. The young woman is deeply touched, although she reproaches Onegin for the unnaturalness and untimeliness of his feelings. With bitterness and tenderness she remembers her first love as the brightest and most significant thing she had in her life:
And happiness was so possible
So close!..
But my destiny
It’s already decided.”
Tatyana, as sincerely as in her youth, confesses her love to Onegin, but just as insincerely as sincerely, she rejects his love:
I love you (why lie?),
But I was given to another;
I will be faithful to him forever.
What prevents the heroine, who has finally awakened a reciprocal feeling from her lover, from finding happiness and fulfilling cherished dream, to realize what her heart strives for?
Of course, not the fear of the philistine condemnation of the world - after all, Tatiana admits that she is ready to give “all this rags of a masquerade, all this glitter, and noise, and fumes” for a solitary life in the wilderness, where she once met great love. Tatyana lives not only with her heart, but also with her soul, and cannot betray the person who believes her and loves her. Duty, honor, virtue for her are higher than personal happiness, which now can only be built on the misfortune of a loved one.
This outcome is dictated by the heroine’s faith in the sanctity of the foundations of folk morality, hallowed by centuries, which she has respected since childhood. Tatiana’s action also expresses the poet’s view of vocation, the ideal of a real Russian woman: selfless, devoted, faithful.
Tatyana (Russian in soul, Without knowing why) With its cold beauty She loved the Russian winter, In the sun on a frosty day, And the sleigh, and the late dawn The glow of pink snows, And the darkness of Epiphany evenings. In the old days, these evenings were celebrated in their house: Maids from all over the yard wondered about their young ladies And they were promised every year Military husbands and a campaign.
The night is frosty, the whole sky is clear; The heavenly luminaries, a wondrous choir, Flows so quietly, so in harmony... Tatiana comes out into the wide courtyard in an open dress, Points the mirror at the month; But in the dark mirror, the sad moon trembles alone... Chu... the snow crunches... a passerby; The maiden flies towards him on tiptoe, And her voice sounds more tender than a pipe tune: What is your name? He looks and answers: Agathon.
Tatyana looks with a curious gaze at the sunken wax: With a wonderfully poured pattern, it says something wonderful to her; As if at an annoying separation, Tatyana grumbles about the stream; She doesn’t see anyone who would give her a hand from the other side; But suddenly the snowdrift began to move. And who came from under it? A big, disheveled bear; Tatyana ah! and he roared, And extended his paw with sharp claws to Her; She braced herself with a trembling hand and with timid steps crossed the stream; I went and so what? the bear is behind her!
Fell into the snow; the bear quickly grabs her and carries her; She is insensitively submissive, does not move, does not breathe; He rushes her along the forest road; Suddenly, between the trees there is a wretched hut; All around is wilderness; from everywhere it is covered with desert snow, and the window is shining brightly, and in the hut there is a cry and noise; The bear said: “My godfather is here: Warm up with him a little!” And he goes straight into the entryway and places her on the threshold.
...There are monsters sitting around the table: One with horns with a dog's face, Another with a rooster's head, Here is a witch with a goat's beard, Here is a prim and proud frame, There is a dwarf with a ponytail, and here is a Half-crane and a half-cat... Even more terrible, even more wonderful: Here is a crab riding on a spider, Here is a skull on a goose neck, Spinning in a red cap, Here is a mill dancing in a crouch, And cracking and flapping its wings; Barking, laughter, singing, whistling and clapping, People's rumors and horse tramping! But what did Tatyana think when she recognized among the guests the One who is dear and scary to her, the Hero of our novel! Onegin sits at the table and looks at the door furtively.
My! Eugene said menacingly, And the whole gang suddenly disappeared; The young maiden remained with him as a friend in the frosty darkness; Onegin quietly drags Tatiana into a corner and lays her down on a shaky bench and bows his head on her shoulder; suddenly Olga enters, Lensky follows her; the light flashed; Onegin waved his hand, And his eyes wander wildly, And he scolds the uninvited guests; Tatiana lies barely alive. The argument is louder, louder; suddenly Evgeniy grabs a long knife, and Lensky is instantly defeated; terribly the shadows thickened; an unbearable scream was heard... the hut shook... And Tanya woke up in horror...
He lay motionless, and the languid peace of his brow was strange. He was wounded right through the chest; Blood flowed smoking from the wound. One moment ago, inspiration was beating in this heart, Enmity, hope and love, Life was playing, blood was boiling, Now, as in an empty house, Everything in it is quiet and dark; It fell silent forever. The shutters are closed, the windows are whitewashed with chalk. There is no owner. And where, God knows. There was no trace.
In the anguish of heartfelt remorse, with his hand clutching the pistol, Evgeniy looks at Lensky. "Well? killed,” the neighbor decided. Killed!.. Smitten by this terrible exclamation, Onegin walks away with a shudder and calls people. Zaretsky carefully places the frozen corpse on the sleigh; He is carrying a terrible treasure home. Smelling the dead, they snore And the horses fight, White foam Wet the steel bits, And they fly like an arrow.
So, a word-symbol in the context of a dream is a multi-valued semantic structure, the meanings of which are determined, firstly, by the pagan symbolism of Russian folklore, secondly, by the macro-context of the work, and thirdly, by the function of the dream to reveal state of mind and the dreamer's future.
Tatyana's dream is Pushkin's heroine's awareness of her helplessness in the face of circumstances, an intuitive understanding of the destructiveness of her feelings for Onegin, a “terrible dream,” an anticipation of salvation. Getting rid of the influence of dark and incomprehensible forces at the cost of the death of a pure, inexperienced, immaculate soul.
