Agree with Pisarev's opinion about Tatyana. Belinsky about Tatyana Larina

Are you here: Holiday scenarios

"Roman Eugene Onegin" - Narrator - Pushkin himself. The duel ends with the death of Lensky, and Onegin leaves the village. Onegin and Tatyana. Lensky and Olga. Onegin's story is reminiscent of Chaadaev's life. Tatyana's nanny - a likely prototype - Arina Rodionovna Yakovleva, Pushkin's nanny. Plot. Think about what historical events Pushkin wrote about in Chapter 10 and Onegin's Journey?

"Roman Onegin" - Artistic method in art and literature. What economist did Onegin read? Where did Lensky come from in the village? Onegin - "Mitrofanushka Prostakov of a new formation." Onegin is a "suffering egoist" who is strangled by "the inactivity and vulgarity of life." Pisarev. Blitz - poll. Where did Monsieur take young Onegin for a walk?

"Eugene Onegin game" - Name the main characters of the novel "Eugene Onegin": Biography of A. Pushkin. Olga Larina. Here Pushkin worked very fruitfully. Author's digressions in "Eugene Onegin" are needed. The counting commission announces the results of the game and the winners. From a letter to L.S. Pushkin (January 1824, Odessa). To summarize: Understanding the meaning.

"Eugene Onegin the image of the author" - The plot is the sequence of events depicted in a work of art. Onegin's life story. Themes and role of lyrical digressions in the novel. Eugene Onegin and Vladimir Lensky. Onegin, Lensky, the Larin family, secondary characters of the novel. Author image. Themes of essays. Lyrical digressions give the novel depth, inclusiveness, breadth.

"A lesson on Eugene Onegin" - Alexander Sergeevich Pushkin. Tatiana. Working with a baseline. Eugene Onegin. Vladimir Lensky. Everything is bright, everything is white around. My God! I thought: liberty and peace Replacement for happiness. How wrong I was! how punished! -. Creative work My attitude to the characters of the novel. Lesson topic: "The system of images of the novel "Eugene Onegin".

"Tatyana Larina" - This is how Pushkin's heroines appear to us, which we talked about in our study! Already at the age of 10, Natasha, judging by the “poetic notebook”, could not only distinguish iambic from trochaic, but also freely navigate Russian poetry ... A whole notebook is devoted to the rules of versification with examples from Knyazhnin, Kheraskov, folk fables.

There are 14 presentations in total in the topic

The artistic construction of the novel "Eugene Onegin" is based on the principle that later allowed it to be called an "encyclopedia of Russian life" (Belinsky), and Pushkin himself "a poet of reality" (Kireevsky). This principle presupposed the exit of "novel" reality beyond the limits of the literary text and immersion in extra-literary reality. This explains the maximum proximity of the novel to life, which is achieved by the destruction of any literary clichés, the rejection of traditional plot moves, as well as the unexpected role of the author, who sometimes contradicts himself, "talking utterly."

The novel is immersed in life, in the era. The historical layer of the life of society is represented at all levels: social, cultural, personal. The social background of life is quite clear.

broadly: the everyday life of Moscow and St. Petersburg society, the life of Russian landowners, the situation of the common people is outlined with hints (Tatyana's mother "shaved her foreheads", "she beat the maids when she was angry"). The novel gives a kind of overview, the atmosphere of life in Russia. Real historical figures are introduced into the text of the novel in a limited and unconstrained way: Kaverin, Vyazemsky, Chaadaev, Pushkin himself. Their acquaintance with the characters once again emphasizes the non-fiction of what is happening, the reality of events.

The image of the author in the novel performs another function: he acts as a typical representative of his generation. His biography, being the biography of a generation, becomes part of the historical reality that he "explores" in the novel.

In addition, Pushkin's contemporary literary processes, primarily the transition from romanticism to realism, receive historical coverage. The author is aware that these processes go beyond literary trends; with romanticism, a certain romantic worldview also leaves; in the novel, it is associated primarily with the image of Lensky. But all this is connected with one cultural sphere of the life of society - with the Europeanized secular culture. Pushkin is also interested in another sphere, the national one, which for a Russian person turns out to be fundamental, determining his moral potential.

The poetry of the national is included in the novel along with the image of Tatyana. In connection with it, stories about customs, "habits of dear antiquity", fortune-telling, fairy-tale folklore are introduced. They contain a certain morality associated with folk philosophy. Thus, the divination scene reveals the philosophy of the female soul, the Russian soul. The very idea of the betrothed is connected with the idea of duty, the betrothed is thought of as destined by fate. Folk philosophy is based on predestination, the main thing in life is the fulfillment of duty, the fulfillment of what is destined (this is confirmed not only by the fate of Tatyana, but also by the fate of her mother, nanny). Folklore motifs also appear in Tatyana's dream, folk art and philosophy are presented as organically connected with her personality. Two cultures - national Russian and Western European - are harmoniously combined in her image.

In the depiction of the image of Tatyana, which is so dear to the poet, with no less degree than in the image of Onegin, one can feel Pushkin's desire to be completely true to the truth of life. Like Onegin and Lensky, Tatyana feels like a stranger among those around her and just as painfully feels this. Meanwhile, her character was formed in a completely different environment. Tatyana, unlike Onegin, grew up "in the wilderness of a forgotten village", in the atmosphere of Russian folk tales, "traditions of the common folk antiquity", told by a nanny, a simple Russian peasant woman. The author says that Tatyana read foreign novels, spoke with difficulty in her native language, but at the same time with the help of a subtle psychological reception reveals her "Russian soul" (Tanya has a French book under her pillow, but she sees Russian "common" dreams).

Tatyana is a poetic nature, deep, passionate, longing for the real, Great love.

Having become a trendsetter in the world, she not only did not lose the best features of her spiritual appearance - purity, spiritual nobility, sincerity and depth of feelings, poetic perception of nature - but also acquired new valuable qualities that made her

irresistible in the eyes of Onegin.

Tatiana - perfect image Russian girl and woman, but an image not invented by Pushkin, but taken by him from real life. Tatyana can never be happy with an unloved person, she, like Onegin, became a victim of the world. "Nature created Tatyana for love, society re-created her," wrote V.G. Belinsky.

One of the key events of the novel is Onegin's meeting with Tatyana. He immediately appreciated her originality, poetry, her sublimely romantic nature, and was quite surprised that the romantic poet Lensky did not notice anything of this and preferred a much more earthly and ordinary younger sister. “This indifferent, chilled person,” wrote Belinsky, “cost one or two inattentive glances to understand the difference between the two sisters, while the fiery, enthusiastic Lensky did not enter into his head that his beloved was not at all an ideal and poetic creature, but just a pretty and unpretentious girl who was not at all worth the risk of killing a friend for her or being killed herself "(Belinsky V.G.).

Tatyana, indeed, is strikingly different from the people around her. "County lady", she, however, like Onegin and Lensky, also feels lonely and misunderstood in a provincial-local environment. "Imagine, I'm here alone, / No one understands me," she admits in a letter to Onegin. Even "in her own family" she "seemed like a stranger girl", avoided playing with her friends - peers. The reason for such alienation and loneliness is in the unusualness, exclusivity of Tatyana's nature, gifted "from heaven" with "Rebellious imagination, / With a living mind and will, / And a wayward head, / And a fiery and tender heart" (3, XX1U)

In the romantic soul of Tatyana, two principles were peculiarly combined. Affinated with Russian nature and folk - patriarchal way of life, habits and traditions of "dear old times", she lives in another - a fictional, dreamy world. Tatyana is a diligent reader of foreign novels, mostly moralizing and sentimental, where ideal characters act, and good always triumphs in the finale.

She prefers to wander through the fields "with a sad thought in her eyes, with a French book in her hands." Accustomed to identifying herself with the virtuous heroines of her favorite authors, she and Onegin, who is so different from those around her, is ready to take for "perfection a model", as if descended from the pages of Richardson and Rousseau - the hero that she had long dreamed of. The "literariness" of the situation is enhanced by the fact that Tatyana Onegin's letter is saturated with reminiscences from French novels. However, book borrowings cannot obscure the direct, sincere and deep feeling that permeates Tatyana's letter. And the very fact of the message to a barely familiar man speaks of the passion and reckless courage of the heroine, who resorts to fears of being compromised in the eyes of others.

This letter, naive, tender, trusting, finally convinced Onegin of Tatyana's unusualness, of her spiritual purity and inexperience, of her superiority over cold and prudent secular coquettes, it revived in him the best, long-forgotten memories and feelings:

The language of girlish dreams

In it thoughts a swarm revolted;

And he remembered Tatyana dear

And pale color and dull look;

And in a sweet, sinless dream

He was immersed in soul.

And yet, to Tatyana's passionate message, "where everything is outside, everything is free," Onegin answers with a cold rebuff. Why? First of all, of course, because Onegin and Tatiana are at different stages of spiritual and moral development and can hardly understand each other. Let's not forget that Tatyana did not really fall in love with Onegin, but a kind of phantom, a certain image composed by her, which she mistook for Onegin. (Vygodsky L.S.). Meanwhile, he, a skeptic and an individualist, who valued his personal independence, his freedom above all else, could not and did not want to sacrifice it to anyone and nothing. "How! he, burned out in passions, having known life and people, still seething with some obscure, obscure aspirations to himself, - he, who could occupy and fill only with something - be it something that could withstand his own irony, - he was carried away by the infant love of a girl - dreaminess, who looked at life as he could no longer look ... And what did this love promise him in the future? "-

explained the behavior of Onegin Belinsky.

Indeed, to answer Tatyana's love meant for Onegin to decide on marriage ("But he did not want to deceive / The gullibility of an innocent soul" - 4 X1), i.e. lose freedom in relationships only with women, but also with society as a whole. In addition, this put an end to the vague aspirations that were seething in him, about which Belinsky wrote, clearly referring to civil, social aspirations. Let's give Onegin his due. During the explanation with Tatyana in the garden, he did not dissemble at all and directly, honestly, revealed everything to her as it is. He admitted that he likes Tatyana, but he is not ready for marriage, does not want and cannot limit his life to the “home circle”, that he has different interests and goals, that he is afraid of the prosaic side of marriage and that family life will bore him. In a word, from the point of view of everyday life, Onegin behaved impeccably ("Not for the first time he showed / Soul direct nobility."

Onegin unwittingly makes an irreparable mistake here, which he will later bitterly regret. For all his insight, he could not appreciate the true scale of Tatyana's personality, did not see that he had a rare, "brilliant nature" (Belinsky), endowed with exceptional abilities for spiritual and moral development and self-improvement. He didn’t feel, secondly, how deep, strong and tragic Tatyana’s feeling was, he didn’t feel that unrequited passion would put the heroine on the brink of death (“Alas, Tatyana is fading, / Turns pale, goes out and is silent!” - XX1U). The main thing is that he did not guess that Tatyana's love is a gift of fate, a rare happiness, for the sake of which it was worth changing your lifestyle, habits, plans for the future.

Confident that he fully understood Tatyana, he saw only one facet of her nature. It seemed to him that Tatyana was a well-known type of simple-minded and dreamy provincial, a sweet county young lady. But he remained unaware of another, hidden layer of Tatyana's spiritual world - her rootedness in the folk soil, a deep, organic connection with national tradition, folklore - poetic elements, with the world of Russian antiquity and Russian nature, moreover, most of all - with Russian winter:

Tatyana (Russian soul,

I don't know why.)

With her cold beauty

I loved Russian winter

Frost in the sun on a frosty day,

And the sleigh, and the late dawn

Shine of pink snows,

And the darkness of Epiphany evenings.

Moreover, their affinity acquires a symbolic meaning here, associatively associated with the idea of darkness and cold as the essential properties of life in general (Markovich V.M.). As a result, it seems that the willingness to suffer, to endure, to meekly bear one's cross, rooted in the depths of folk ethics (remember her conversation with the nanny), is as natural for Tatyana as the habit of living in a harsh climate.

Now it is clear why Tatyana's dream is "the key to understanding her soul, her essence." Replacing the line and detailed description heroine, it allows you to penetrate into the most intimate, unconscious depths of her psyche, her mental warehouse (Gukovsky G.A.).

However, he also performs another important role - prophecy about the future, because the "wonderful dream" of the heroine is a prophetic dream. In the symbolic ritual folklore images, almost all the main events of the subsequent narrative are predicted here: the heroine’s exit beyond the boundaries of “her” world (crossing the stream is a traditional image of marriage in folk wedding poetry). forthcoming marriage (bear - the Christmas image of the groom), the appearance in the forest hut - the house of the betrothed or lover and the recognition of his true, hitherto hidden essence, a gathering of "hellish ghosts", so reminiscent of guests at Tatyana's name day, a quarrel between Onegin and Lensky, culminating in the murder of a young poet The main thing is that the heroine intuitively sees the satanic, demonic beginning in the soul of her chosen one (Onegin as the head of a host of hellish monsters), which is soon confirmed by his "strange behavior with Olga" on the name day and the bloody denouement of the duel with Lensky.

Tatyana's dream thus means a new step in her comprehension of Onegin's character. If earlier she saw in him an ideally virtuous hero, similar to the characters of her favorite novels, now she almost falls into the opposite extreme. Finding herself after the departure of the owner in Onegin's house, Tatiana starts reading books in his village office. "But the choice of them seemed strange to her," the poet notes.

This should not be surprising. A provincial young lady, Tatyana was a reader with belated literary tastes. The circle of her reading was mainly novels of the second half of the 111th century. In these novels, as already mentioned, noble, virtuous heroes acted, faithful to the laws of duty and honor, capable of performing the feat of self-sacrifice. In Tatyana's ardent imagination, they all "clothed themselves in a single image, / Merged in one Onegin" (3, 1X).

Now, in Onegin's library, Tatyana finds completely different books that she did not know about. These are new European literature, mainly the works of romantic writers: Byron, Chateaubriand, Benjamin Constant and others - works,

In which the century is reflected

And modern man

Depicted quite right

With his immoral soul

Selfish and dry

A dream betrayed immeasurably,

With his embittered mind,

Boiling in action empty.

In contrast to the novels of Richardson and Rousseau, heroes here were cold and devastated, disillusioned and selfish, heroes who commit crimes, do evil and enjoy evil. It is not surprising that Tatyana "opened up another world" - tragically - the contradictory mental structure of modern man. Partially, the character of Onegin himself was revealed to her. After all, she reads with special attention the pages where there are in the margins of his remarks, "the features of his pencil" and where "Onegin's soul / Involuntarily expresses itself / That short word, then with a cross, / Then with an interrogative hook "(7, XX111). Tatyana begins to understand: if Onegin can be compared with literary heroes, then not with the noble and enthusiastic characters of the literature of the past century, but with the cold and bored heroes of modern literature.

The newest romantic literature in Onegin's library and the whole atmosphere of his village office reveals his hidden spiritual world as fully as Tatyana's dream reveals her own soul. But unlike Onegin, Tatyana had the opportunity to penetrate the "reserved territory", to gain access to the secrets of the soul of her chosen one.

"Tatyana's entrance to Onegin's house was perceived as an entrance to his inner world, to his soul!" - noted A.L. Slonimsky.

Now, it seems to Tatyana, she fully understood Onegin, unraveled his secret: "Have you really solved the riddle? / Has the word been found?" (meaning the word encrypted in the charade).

From now on, in her eyes, he is a "Muscovite in Harold's cloak", almost a parody of the hero of the time. As you can see, Tatyana again connects Onegin with a certain literary type. And again he is mistaken. For Onegin's disappointment, his spleen, his mental anguish are unfeigned and sincere (as are the feelings of Tatyana herself, drawn as if from French novels, are quite sincere).

Returning after a long break to St. Petersburg, Onegin feels in the "big world" even more lonely, alien to those around him than before. Around him, as if there is a zone of emptiness:

But who is in the chosen crowd

Stands silent and misty?

For everyone, it seems like a stranger.

Faces flash before him

Like a series of boring ghosts.

What, spleen or suffering arrogance

In his face? Why is he here?

Who is he? Is it Eugene?

Is he? ....

Separation and spleen of Onegin are quite understandable. What else could he hope for after everything he had experienced, rethought, re-felt? Humble proud dreams, live like

everything: "do not be a stranger" to the "secular mob", go "following the noisy crowd", which he so despised? No, the author firmly says, Onegin is not like that, he is not able to move along a well-trodden track. No matter how mercilessly the poet sometimes judges his hero, Eugene's personal independence and spiritual nobility are undeniable for him.

So, neither the civil field, nor the usual career of a person of his circle can become the lot of Onegin. Only the sphere of private life remains, previously rejected by him as something lower.

Isn't that why the unexpected meeting with Tatyana, the princess, makes such a strong, truly amazing impression on him?

Her new look, manners, style of behavior meet the most stringent requirements of good taste, high tone and do not at all resemble the habits of the former provincial young lady. Onegin sees: she has learned noble restraint, knows how to "rule herself", he is amazed at the change that has happened to her, which seems to him absolute, complete:

Although he could not look more diligently,

But also the traces of the old Tatyana

Could not find Onegin.

Onegin persistently seeks meetings with Tatyana, writes passionate love confessions to her one after another, and having lost hope for reciprocity, becomes seriously ill and almost dies of love

(In the same way, Tatyana turned pale, faded and withered in her time). It becomes clear to him that his attempt to live in complete solitude, in a state of absolute peace, without passions and spiritual storms, turned out to be untenable and turned into tragic consequences:

Alien to everyone, not bound by anything,

I thought: liberty and peace

replacement for happiness. My God!

How wrong I was, how punished!

And here a natural question arises, which has become a stumbling block for Russian critics: what, in fact, did Onegin achieve? After all, Tatyana is married, and her husband is a prominent general, a hero of battles, known at court, not bypassed by appointments, awards, honors (he and his wife are "caressed by the court"). It is known that Belinsky severely condemned Tatyana precisely because, while continuing to love Onegin in her soul, she nevertheless preferred to remain faithful to patriarchal mores and unconditionally rejected his feelings. According to the critic, family relationships "not sanctified by love are immoral in the highest degree ..."

On the contrary, Dostoevsky regarded this act of Tatyana not only as highly moral,

sacrificial. A truly Russian woman, he said in his famous speech about Pushkin, Tatyana could not leave her husband and run away with Onegin, for she well understood the impossibility of building her well-being on the misfortune of another person. (Dostoevsky F.M.)

What does he expect anyway? Yes, precisely because, as it seemed to him, Tatyana had completely changed, that she had become completely different, that from a romantic, naive and inexperienced provincial she had turned into a true aristocrat, an experienced secular lady, an experienced secular lady.

Who would dare to look for a tender girl

In this majestic, in this careless

Legislator Hall?

(8 , XXY111)

And a true aristocrat, without fail taking the form of a devoted to her husband

"faithful wife", she could afford a secret relationship, which, of course, in no case could be advertised. "Light ... does not punish delusions, but requires secrets from them" - exactly

Pushkin himself formulated this unspoken law of secular life (in the poem "When your young years ...", 1829).

Another thing is that Onegin's calculations did not materialize. In the finale, he takes Tatiana by surprise and makes an incredible discovery, which shocked him so much. It turns out that Tatyana has changed only outwardly, internally she has largely remained the "former Tanya", "a simple maiden"! And such women are not capable of adultery. It is this sudden insight of Yevgeny that gives the final scene sharp drama and bitter hopelessness.

Convinced that his passionate confessions do not reach the goal, that Tatyana is surrounded by "Epiphany cold" and only a "trace of anger" can be seen on her face, Onegin again (as at the beginning of the novel - at the time of the first crisis) retires to his "silent office" and renouncing the light, he again takes up reading.

And what? His eyes read

But thoughts were far away;

..............................................

He is between the printed lines

Read with spiritual eyes

Other lines. In them he

It was completely deep.

Such reading with "spiritual eyes" allows Onegin, a man of European culture, to plunge into the patriarchal-estate, folk-poetic world, hitherto alien to him, the world of antiquity and giving, so akin to Tatyana, to feel her rootedness in it:

Those were secret legends

Hearty, dark antiquity,

Dreams unrelated to anything

Threats, rumors, predictions,

ile long tale nonsense alive,

Ile letters of a young maiden.

It can be said that Onegin has now managed to get closer to unraveling the mystery of Tatyana, her nature,

her soul, that he begins to comprehend what he was not able to understand in the days of his village seclusion. Everything pales before the incessant thought of Tatiana, the meeting with which - the hero now understands more clearly and more clearly - became the main event in his fate, an event whose full significance he could not appreciate then. Love for Tatyana is the last thing Onegin has left, and therefore his last visit to her is an act of despair.

Violating all decorum, he comes to someone else's house at an inopportune time and takes Tatyana by surprise

In tears, while reading the letter, dressed at home - and, shocked by her unexpectedly familiar appearance, silently falls at her feet "in the anguish of insane regrets."

Of course, looking at Onegin, Tatyana perfectly understands his suffering ("everything is clear to her"):

because she herself experienced something similar. But just as Onegin did not suspect until this moment that a “simple maiden”, “the former Tanya”, lives in the princess, so Tatyana could not know what happened to Onegin after the duel, what he realized during his wanderings around Russia, that survived during the hours of voluntary confinement in his office. She believed that she had figured out Onegin once and for all. For her, he is still a cold, empty, selfish person.

This explains Tatyana's stern rebuke, which mirrors Onegin's cold rebuke.

It is the "mirrored" composition of these scenes that allows us to draw an internal analogy between them, which means a better understanding and evaluation of the behavior of the Pushkin heroine (G.A. Gukovsky). It is in the disinterestedness and nobility of Onegin's passion that Tatiana cannot believe. Convinced that he has become "feelings of a petty slave," she does not seem to allow even the thought that during their separation (and after all, four whole years have passed!) Onegin is able to change. Now Tatyana is making a mistake.

But in Tatyana's monologue, other notes sound. The reproaches of the offended woman imperceptibly turn into a confession, striking in its frankness and fearless sincerity.

Tatyana admits that successes "in a whirlwind of light" burden her, that she would prefer her former inconspicuous existence in the wilderness to the current tinsel of life. Not only that: she directly tells Onegin that she acted “carelessly”, deciding on a marriage without love, that she still loves him and sadly experiences a missed opportunity for happiness. What more? After all, such recognition implies the highest degree of mutual trust and inner closeness!

“This meeting,” writes a modern researcher, “anticipating separation forever, is marked by a kind of equality of Onegin and Tatyana in their common grief for the unfulfilled and unique; here one can guess repentance,

forgiveness, gratitude ". (Khalizev V.E.)

V. G. Belinsky about the novel by A.S. Pushkin

" Eugene Onegin"

(from articles 8,9)

"Pushkin's feat is great, that he was the first in his novel to poetically reproduce the Russian society of that time and, in the person of Onegin and Lensky, showed its main, that is, male, side; but the feat of our poet is almost higher in that he was the first to poetically reproduce, in the face of Tatiana, a Russian woman...

Tatyana's nature is not polysyllabic, but deep and strong. Tatyana does not have those painful contradictions that too complex natures suffer from; Tatyana was created as if from

one whole piece, without any attachments and impurities. Her whole life is imbued with that integrity, that unity, which in the world of art constitutes the highest dignity of a work of art. Passionately in love, a simple village girl, then a lady of the world, Tatyana is always the same in all situations of her life; the portrait of her as a child, so skillfully painted by the poet, is later only developed, but not changed.

Tatyana is an exceptional being, her nature is deep, loving, passionate. Love for her could be either the greatest bliss, or the greatest disaster of life, without any conciliatory middle. With the happiness of reciprocity, the love of such a woman is an even, bright flame; otherwise, a stubborn flame, which the power of will, perhaps, will not allow to break out, but which is the more destructive and burning, the more it is squeezed inside.

A happy wife, Tatyana, calmly, but nevertheless passionately and deeply, would love her husband, would completely sacrifice herself to her children ... but not out of reason, but again out of passion, and in this sacrifice, in the strict fulfillment of her duties, she would find her greatest pleasure, your supreme bliss. And all this without phrases, without reasoning, with this calmness, with this outward dispassion, with this outward coldness, which are the dignity of deep and strong natures.

This marvelous combination of coarse, vulgar prejudices with a passion for French books and with respect for the profound work of Martyn Zadeka is possible only in a Russian woman. Tatyana's whole inner world consisted in a thirst for love; nothing else spoke to her soul; her mind was asleep, and only could the heavy grief of life wake him up later, and even then in order to restrain passion and subordinate and subordinate it to the calculation of prudent morality ... A wild plant, completely left to itself, Tatyana created her own life, in the emptiness of which the inner fire that devoured her burned all the more rebelliously, that her mind was not occupied with anything.

Without the book, she would have been a completely mute being, and her burning and drying tongue would not have found a single living, passionate word with which she could relieve herself of the oppressive fullness of feeling. And although the immediate source of her passion for Onegin was her passionate nature, her overflowing thirst for sympathy, it nevertheless began somewhat ideally.

Tatyana could not love Lensky, and even less could love any of the men she knew: she knew them so well, and they provided so little food for her exalted, ascetic imagination ... And suddenly Onegin appears. He is completely surrounded by mystery, his aristocracy, his secularism, his undeniable superiority over all this calm and vulgar world, among which he was such a meteor, his indifference to everything, the strangeness of life - all this produced mysterious rumors that could not but affect Tatyana's fantasy. , could not fail to dispose, not to prepare her for the decisive effect of the first meeting with Onegin. And she saw him, and he appeared before her, young, handsome, dexterous, brilliant, indifferent, bored, enigmatic, incomprehensible, all an unsolvable mystery for her undeveloped mind, all seduction for her wild fantasy... There are women whose attention is a man can excite oneself only by indifference, coldness and skepticism, as signs of enormous demands on life or as the result of a rebellious and fully experienced life; poor Tatyana was one of those women....

Explanation of Onegin by Tatyana in response to her letter. How this explanation affected her is understandable: all the hopes of the poor girl collapsed and she closed herself even deeper in herself for the outside world.

And so, in Tatiana, finally, an act of consciousness took place (after visiting Onegin's house): her mind woke up. She finally understood that there are interests for a person, there are sufferings and sorrows, besides the interest, sufferings and sorrows of love. But did she understand what exactly these other interests and sufferings consisted of, if she understood whether this served her to alleviate her own sufferings? Of course, I understood, but only with my mind, with my head, because there are ideas that must be experienced with both soul and body in order to fully understand them, and which cannot be studied in a book. And therefore a book acquaintance with this new world of sorrows, if it was a revelation for Tatyana, this revelation made a heavy, bleak and fruitless impression on her: it frightened her,

horrified and made her look at passions as the death of life, convinced her of the need to submit to reality as it is, and if you live the life of the heart, then to yourself, in the depths of your soul, in the silence of solitude, in the darkness of the night dedicated to melancholy and sobbing . Visiting Onegin's house and reading his books prepared Tatyana for the rebirth from a village girl into a secular lady, which surprised and amazed Onegin so much.

Now let's go straight to Tatyana's explanation with Onegin. In this explanation, Tatyana's whole being was fully expressed. This explanation expressed everything that constitutes the essence of a Russian woman with a deep nature, a developed society, everything: and a fiery passion

and the sincerity of a simple, sincere feeling, and the purity and holiness of the naive movements of a noble nature, and reasoning, and offended pride, and vanity with virtue, under which the slavish fear of public opinion is disguised, and the cunning syllogisms of the mind, which secular morality has time to paralyze the magnanimous movements of the heart ...

Tatyana is a type of Russian woman .... Enthusiastic idealists who have studied life and women from the stories of Marlinsky demand contempt for public opinion from this extraordinary woman. This is a lie: a woman cannot despise public opinion, but she can sacrifice it modestly, without phrases, without self-praise, realizing the greatness of her sacrifice, the whole burden of the curse that she takes upon herself, obeying another, higher law - the law of her nature, and her nature - love and selflessness .... "

G. A. Gukovsky

"Pushkin and problems of realistic style"

(Tatiana as a type of Russian woman)

The ideological construction of "Eugene Onegin" is based on a comparison, and in the first chapters and opposition of Onegin and Tatyana, that is, two types of culture of a moral and psychological warehouse, justified in turn by two types of environment, upbringing, cultural and domestic influences and - even deeper - two types of attitude to the national - folk principle in life and culture. Onegin ... becomes quite understandable precisely in contrast with Tatiana, who demonstrates a national-folk type of consciousness, mental disposition and therefore expresses the norm, the ideal of Pushkin's worldview of 1823-1830 ("Tatiana's dear ideal", - said Pushkin himself in the final stanza of the novel) . For Pushkin at the time of writing Onegin, the fact that Tatyana is a noble, landowner's daughter is still not important, although he carefully writes out the social background of his heroine: her family, and neighbors - landowners, and Moscow relatives. This background is given with negative social and moral assessments, starting with indications of the lack of culture and baseness of the interests of the landowners surrounding Tatyana or their elementary depravity and ending with indications of serf-owning practices:

Gvozdin, an excellent host,

Owner of poor men...

For all that, Tatyana, according to Pushkin, is connected not only with this environment, but also with the folk element that surrounds her in the village. Pushkin separates Tatyana from her own family:

She is in her family

Seemed like a stranger girl....

He surrounds Tatyana with more sublime influences - both bookish and human. However, as Tatyana's unsightly kindred environment, Pushkin emphasizes his truly Russian, national character. The Russian village, even in its landowner version, is Russia, such as it is, far from the ideal of freedom-lovers, but genuine, real. For Pushkin, the fact that Tatyana is a landowner's daughter does not yet play a decisive role. But what is important for him is that she is a “county lady”, living surrounded by primordially national culture and in close proximity to the people.

Tatyana is the ideal of a Russian woman, the embodiment of the highly poetic Russian folk spirit.

Tatyana as a type, that is, a natural character, and as a phenomenon of culture, is defined in Pushkin by two principles par excellence. The deep basis of her image is nationality, the second element of her image is her reading, the book influence of pre-romanticism (sentimentalism). ...

The image of Tatyana is determined by the organic warehouse of folk life and folklore. Here it is necessary to distinguish between two circles of figurative and verbal symbols expressing in the text of the novel the idea of nationality - the basis of Tatyana's spiritual life: on the one hand, this is folklore, on the other, it is predominantly Russian life, the influence of a national, albeit patriarchal environment.

Folklore and folk life accompany the image of Tatyana as a leitmotif. The first appearance of Tatyana in the novel is accompanied by an emphasis on the democratic nature of her name. Pushkin points out about the name "Tatiana":

It's nice, it's loud

But with him, I know, inseparable

Remembrance of old

Or girlish! ...

So, from the first words about Tatyana, her image is surrounded by ideas about antiquity, about girlishness, about the tastes of common people, and does not oppose these ideas, but, as it were, merges with them. As for the name, until the end of the novel, it gave the image of the heroine its certain sound of common people, right up to the place where it is said quite simply about the princess:

Who is the former Tanya, poor Tanya,

Now I wouldn't recognize the princess!

The development of the image of Tatyana is accompanied by folklore and images of peasant life.

The third chapter gives the beginning of Tatyana's novel, the first turning point in her fate: she fell in love; and it is here, next to her, shading her, that the image of a nurse, a simple Russian peasant woman, a woman from the people, arises. It is the nanny who turns out to be Tatyana's friend at the decisive moment. Pushkin does not even mention Tatyana's relatives, her mother, Olga in the appropriate place. In their place is a nanny who symbolizes Tatyana's true mental and cultural environment.

A new event in Tatyana's life is the upcoming meeting with Onegin. Tatyana's agonizing excitement is again depicted against the backdrop of a folklore motif...

Meanwhile, the very fact that Pushkin decided to take the risk of delaying the course of the novel shows how important Tatyana's dream was for his idea. In fact, a dream is a means of revealing the deepest, innermost, unconscious depths, the foundations of the hero's mental makeup.

Tatyana's dream replaces Pushkin detailed analysis her psychological world,

embodying it in images. Tatyana's dream is the key to understanding her soul, her essence. It consists of two elements. At first, he is lightly colored with images and motifs of fashionable novels - such is the image of Onegin in a dream, with his sparkling eyes, mysterious power, gentlemanliness, combined with terrible destructive power. But the motives of the novels - the imprint of Tatyana's readings - only lay an additional shade on the main content of the dream. It is woven from images and motifs of folk art, folk performances, folklore. Thus, the dream gives, as it were, a formula for Tatyana's spiritual culture: its basis is nationality, its secondary influence is novels. ...

Thus, one might think that Pushkin in Tatyana's dream combined a variety of folklore material with the compositional formula of the bride's ritual dream. Tatyana, deep down in her soul thinking of herself as the red maiden of folklore, and Onegin as her betrothed, before meeting him, with her betrothed, and under the influence of Christmas fortune-telling, sees a dream, which is basically the dream of the bride of Russian folklore. So the image of Tatyana is deeply and intimately connected with the images of folk art and life.

Tatyana is in Moscow, in an environment alien to her and far from the people. And at the end of the chapter, we are talking about Tatyana's state of mind, and again nationality and sentimental novels are given:

She's stuffy here... she's a dream
Strive for the life of the field,

To the village, poor villagers,

To a secluded corner

Where the light brook flows,

To their flowers, to their novels.

Poor villagers, the village is not just Russoism, but a deeper connection with folk life. “A bright stream flows”, novels are the influence of books.

In the eighth chapter, Tatyana is in a new, different, and, of course, in an environment alien to her. But it was precisely the deep organic nationality and the moral structure of her personality that determined her victory over secular society. She did not at all become a secular lady, such as other secular ladies. She remained the same, the same pure and sublime Tanya, devoted to the village, her shelf of books, the memory of her nanny. This is what distinguishes her from the circle of ladies and makes her the queen of the hall, although she is not even a beauty. Therefore, thoughts about whether Tatyana could become a magnificent lady in two years are idle. There is no theme of Tatyana's internal change in the novel. It indicates only Tatyana's external assimilation of secular manners, nothing more. But in her essence, Tatyana remained the same - a sweet ideal, poor Tanya. Such, according to Pushkin, was the highest apotheosis of the simple and modest greatness of the moral folk soul: appearing in a lush and artificial environment alien to it, it made her, even her, this false environment, bow down with a sense of involuntary respect.

Poor Tanya won the upper world, and in this victory is the guarantee of the victory of the spirit of the people over everything that opposes it.

As already mentioned above, the appearance of Tatyana is outlined not only by the features of the nationality, but also by the features of the truly national Russian environment surrounding her, the Russian way of life, extending both to the life of the peasants and to the life of the Larin family. This national "local flavor" is expressed both in the style of the depiction of Tatyana's environment and in the selection of subject details that characterize this environment. Here, too, there is a contrast in relation to Onegin's environment. Without a doubt, it is no coincidence that where Tatyana is concerned, barbarisms are extremely rare in the text of the novel, except for the conversation about her readings. On the contrary, there are "Russisms" here, that is, words and expressions of an emphatically Russian, national-idiomatic nature, as well as terms denoting objects and phenomena of typical Russian life. Immediately after the first appearance of Tatyana, a hoop appears in the novel, and a pattern on the canvas, and a sign, and then an indication that Tatyana, even as a girl, did not speak with the doll “about the news of the city, about fashion” .....

The Russian warehouse surrounding Tatyana and in everyday life of the Larins is opposed to the style and warehouse of Onegin. ,

However, the real contrast to Tatyana is the circle of her Moscow cousins in the seventh chapter and these cousins themselves, depicted in satirical tones. The vulgarity and depravity of the Moscow noble environment measure the dignity of the ideal embodied in Tatyana.

As for the author - poet, no matter how much he is connected with the Onegin world, he carries in his soul the ideal of Tatiana. Therefore, he dreams of writing a novel in the spirit of her mental structure. Therefore, he renounces the "scholars" secular ladies in favor of the grandfather traditions of Tatyana's world:

But I... What do I care?

I'll be true to the old days...

DI. Pisarev

About Tatiana Larina

“Introducing us into the Larin family, Pushkin immediately tries to predispose us in favor of Tatyana; this, they say, the eldest, Tatyana, let it be an interesting personality, a higher nature and a heroine.

However, I will try to get rid of these preconceived feelings of love and respect. I will look at Tatyana as a girl completely unknown to me, whose mind and character should be revealed to me not in the author's words of recommendation, but in her own actions and conversations.

Tatyana's first act is her letter to Onegin. The act is very large and expressive to such an extent that the whole character of the girl is immediately revealed in it. We must do full justice to Pushkin: the character is excellently sustained until the end of the novel; but here, as elsewhere, Pushkin completely misunderstands those phenomena that he depicts quite correctly.

In his Tatyana, he paints with delight and sympathy such a phenomenon of Russian life, which can and should be painted only with deep compassion or with sharp irony.

Onegin visited the Larins three times throughout the continuation of the novel. For the first time, when Lensky introduced him and when they were treated to jam and lingonberry water. The second time was when he received Tatyana's letter.

And for the third time on Tatyana's name day.

So, there were only two visits before the name day. This means that Tatyana fell in love with Onegin at once and decided to write a letter to him, imbued with the most terrible tenderness, having seen him only once. ... Acquaintance was, obviously, the most superficial, when Onegin does not even know "which Tatiana". It can easily be that Onegin did not say a single word to Tatyana; this circumstance is all the more plausible because Lensky calls Tatyana silent; in all likelihood, the old woman Larina constantly dominated the conversation; ... And in a conversation with a simple old woman, he obviously could not say anything remarkable that would justify or explain the emergence of a sudden and passionate feeling in the soul of an intelligent and reasonable girl. Be that as it may, the result of Tvtiana's first, completely superficial acquaintance with Onegin was that famous letter that Pushkin sacredly cherishes and reads with secret anguish. Tatyana begins her letter rather moderately; she expresses a desire to see Onegin at least once a week, just to hear his speeches. to say a word to him and then to think about him day and night until we meet again. All this would be very good if we knew what kind of speeches Tatyana liked so much and what word she wants to say to Onegin. But unfortunately, we are certain that Onegin could not say any wonderful speeches to the old woman Larina and that Tatyana did not utter a single word. If she wants to say words like those with which she fills her letter, then she really does not need to invite Onegin once a week, because these words make no sense and there can be no relief from them either to the one who pronounces them. nor to the one who listens to them.

Tatyana, apparently, has a presentiment that Onegin will not go to them once a week to speak to her and listen to the words; as a result, tender reproaches begin in the letter; so if, they say, you, insidious tyrant, will not come to us once a week, then there was no need to show yourself to us; without you, perhaps I would have become a faithful wife and a virtuous mother; and now I, by your grace, a cruel man must disappear.

All this, of course, is stated in the most noble tone and squeezed into the most impeccable iambic tetrameters. - I don’t want to marry anyone, Tatyana continues, but I even really want to marry you, because “it’s destined in the highest council ... that’s the will of heaven: I’m yours,” and because you were sent to me by God and you are the keeper of coffin of my life. - Here Tatyana seemed to catch herself and, probably, thought to herself: what am I, however, writing for stupidity and why on earth did I get so hyped up? After all, I only saw him once. So no, she continues: not once; I'm not really the same, a crazy fool, to be hung around the neck of the first person I meet; I fell in love with him because he is my ideal; and I have been dreaming of an ideal for a long time, which means that I have seen him many times; hair, mustache, eyes, nose - everything is as it is, as the ideal should be; and besides, in the high council it is so destined; it means there is nothing to talk about: I am madly in love with him, I will be faithful to him in this life and in the future, I will dream about him day and night and write to him such a fiery letter, from which the most insensitive heart will tremble. Then Tatyana throws aside the last remnants of her common sense and begins to cock the unfortunate Onegin with the most improbable slanders.

"You appeared to me in dreams" .... With each further line of the letter, Tatyana lies worse and worse, according to the Russian proverb: the farther into the forest, the more firewood .....

It would be very good and very useful for Tatyana if Onegin answered her verbally or in writing in that sharply mocking tone in which I wrote several phrases on his behalf.

Such an answer, of course, would have made Tatyana shed a myriad of tears; but if we only allow the assumption that Tatyana was not stupid by nature, that her innate mind had not yet been completely destroyed by stupid novels, and that her nervous system was not completely disturbed by night dreams and sweet dreams, then we are led to the conviction that bitter the tears shed by her over the prosaic answer of a cruel ideal should have produced in her entire intellectual life the necessary extremely beneficial revolution. The deep wound inflicted on her self-esteem would have instantly destroyed her fantastic love for her charming neighbor. "Well," she would have thought, "it must really not have been him flickering through the transparent darkness. And if not him, then who? Yes, no one must have flickered. And why did I write so many stupid things to him?

Tatyana would have clearly seen that her love for Onegin, bursting like a soap bubble, was only a counterfeit of love, a fruitless and painful game of idle imagination; she would have realized at the same time that this mistake, which had cost her many tears and made her blush with shame and vexation, was a natural and necessary deduction from the whole system of her concepts, which she drew with passionate greed from her disorderly reading; ... It is necessary either to find another, healthy reading, or at least to lean in real life on some good and reasonable business that could constantly maintain mental sobriety in her and distract her from the vague realm of narcotic dreams. Such a good and reasonable business is not difficult to find; there is a hint of it even in Tatyana's ridiculous letter; she says that she helps the poor - well, help; but just take this matter seriously and look at it as a constant and beloved work .... In a word, despite the emptiness and colorlessness of the life to which Tatyana was condemned from childhood, our heroine still had the opportunity to act in this life for the benefit of herself and others, and she would certainly take up some modest, useful activity if there were an intelligent person who would throw her out of the poisonous atmosphere of fantastic visions and stupid novels with an energetic word and a sharp mockery.

In Onegin's times, the level of moral requirements was so low that Tatyana, having married, at the end of the novel considers it her duty to thank Onegin for having treated her nobly. And all this nobility, which Tatyana cannot forget, consisted in the fact that Onegin did not turn out to be a thief in relation to her. ......

He is not able to ridicule Tatyana's letter, because he himself, like Pushkin, found this letter not funny, but touching. ... Onegin decided to give Tatyana a gilded pill, which could not have a beneficial effect on her precisely because it was gilded.

From the very beginning, Onegin makes a gross and irreparable mistake; he takes Tatyana's love for a really existing fact; and he, on the contrary, had to tell and prove to her that she did not love him at all and could not love him, because people fall in love at first sight only in stupid romances.

The head of the unfortunate girl is so clogged with all sorts of rubbish and so inflamed by Onegin's stupid compliments that the ridiculous words: "death from him is kind" are pronounced with deep conviction and very conscientiously put into practice. To forget Onegin, to drive away the thought of him with some practical pursuits, to think about some new feeling, and in general to turn by some means from an unfortunate sufferer into an ordinary, healthy and cheerful girl - all this sublime Tatyana considers for herself the greatest dishonor; this, in her opinion, would mean falling from heaven to earth, mixing with the vulgar crowd, plunging into the dirty pool of worldly prose. She says that "death from him is kind," and therefore finds it much more majestic to suffer and languish in a world of imaginary love than to live and have fun in a sphere of despicable activity. And in fact, she manages to bring herself to complete exhaustion with tears, sleepless nights and sad reflections under the ray of Diana.

After Onegin's departure from the village, Tatyana, trying to maintain in herself the inextinguishable fire of her eternal love, repeatedly visits the office of the departed ideal and reads his books with great attention. With particular curiosity, she peers and ponders those pages on which some mark has been made by Onegin's hand. "And another world opened up to her," Pushkin announces to us. The words: “other world”, apparently, should denote a new look at human life in general and at the personality of Onegin in particular.

Before the discovery of the new world, she imagined that she was in love to the grave of her life; after her discovery she remains with the same conviction. Before the discovery of the new world, she implicitly obeyed her mother; and after the discovery, she continues to obey just as unquestioningly. This is very commendable of her, but in order to obey her mother in the most important cases of life, there was not the slightest need to discover a new world, because our old world is based entirely on humility and obedience.

While Tatyana is discovering new worlds in Onegin's office, one of the inhabitants of the old world advises her mother to take her daughter "to Moscow, to the bride's fair." Larina agrees with this idea, and when Tatyana finds out about this decision, then she, for her part, does not present any objections. It must be assumed that the "fair of brides" occupies a very honorable place in the new world that Tatyana discovered.

Wherever she aspired to dream - it's decidedly all the same. Her body, wrapped in a corset, in any case, is where it is told to be, and makes exactly the movements that it is ordered to do. .... Until the end of the novel, Tatyana remains the same knight of a sad image, as we saw her in her letter to Onegin. Her morbidly developed imagination constantly creates fake feelings for her, fake needs, fake duties, a whole artificial program of life, and she fulfills this artificial program with that amazing persistence that usually distinguishes people who are obsessed with some kind of monomania. She imagined that she was in love with Onegin, and really fell in love with him. Then she imagined that her life was broken. Then, seeing that she could not succeed in dying, she imagined that now she was indifferent to everything; then she put herself at the disposal of her relatives, who sold her to the fat general. Finding herself in the hands of her new master, she imagined that she had been turned into an ornament of the general's house. She put herself under a glass cap and obliged herself to stand under this cap throughout her life. And she herself looks at herself from the outside and admires the inviolability and firmness of her character.

Onegin meets her in Petersburg at a time when she, draped in her integrity, is already decorating with her virtuous special dwelling the fat general.

Onegin is imbued with a reprehensible desire to pull this ornament out from under the glass cap. But the ornament does not budge and, remaining under the cap, reads from there to the enterprising dandy such a sermon that gives him very little pleasure.

This sermon, as you know, ends the whole novel. The famous monologue contains the following meaning: why did you not fall in love with me before? Now you are courting me because I have become a brilliant decoration of a rich house, I still love you, I ask you to go to hell; I dislike the light, but I intend to unconditionally fulfill all its requirements.

This monologue proves clearly that Tatyana and Onegin are worth each other; both of them have distorted themselves to such an extent that they have completely lost the ability to think, feel and act in a human way. In itself, Tatyana's feeling is petty and flabby; but in relation to its object, this feeling is exactly what it should be.

Belinsky devoted a whole separate article to the characterization of Tatyana. In this article, he, as usual, expressed many excellent thoughts, which even now, after twenty years, can still amaze and horrify incorrigible philistines.

Belinsky puts Tatyana on a pedestal and ascribes to her such lofty virtues, to which she has no right, and which Pushkin himself, with his superficial and childish outlook on life in general and on women in particular, did not want and could not endow the beloved creation of his imagination. ..."

We have studied the image of Tatiana Larina's favorite heroine of Pushkin's poem "Eugene Onegin" from the point of view of various critics. The poet himself considered the image of Tatyana an "ideal" positive image of a Russian woman.

Pushkin was the first Russian creator of a realistic poetic novel. While working on the work, he wrote to Vyazemsky: "I am writing a novel, and not just a novel, but a novel in verse. And this is a diabolical difference."

"Eugene Onegin" is a novel about the contemporary reality of the poet, about the people of the Pushkin generation, their destinies, a novel that is sharp and relevant. In my opinion, this is what gave Belinsky the right to call Pushkin's novel in verse not only "a highly popular work", but also an "act" of creation for Russian society, almost the first, but what a great step forward for him ". Indeed, in stanzas of Pushkin's novel, Russian society saw for the first time, and more importantly, for the first time understood itself and the causes of its ailments "

Bibliography:

V. G. Belinsky Selected "Moscow worker" 1954

G.A. Gukovsky Pushkin and problems of realistic style

(Tatiana as a type of Russian woman)

Russian literature of the 19th century Moscow "Enlightenment" 1984

D.I.Pisarev Moscow "Fiction" 1986

Khalizev V.E. The eighth chapter of "Eugene Onegin" (Experience of interpretations)

Literature at school 1988

A.M. Gurevich Plot of "Eugene Onegin" Moscow University Press 2001

Belinsky and Pisarev about Tatyana Larina and other heroes of A.S. Pushkin's novel "Eugene Onegin"
Digest /1-8/

There are a lot of contradictions.

A.S. Pushkin

Annotation.
The paper shows the erroneousness of a number of provisions of the critical articles by V. G. Belinsky and D. I. Pisarev, devoted to the analysis of the novel "Eugene Onegin", a new interpretation of the images of the main characters of the novel is proposed, the modernity and relevance of this unfading Pushkin's creation are emphasized.

1
The golden fund of world literature is unthinkable without the novel "Eugene
Onegin. For almost two centuries, hundreds of millions of readers, scientists, students and schoolchildren from different countries have been studying this work ... ..
"Eugene Onegin" is a mystery novel. Pushkin generously scatters "tempting riddles" throughout his text so that the reader "breaks his head." Great writers, famous critics, prominent Pushkin scientists often express opposite, often contradictory assessments of events or characters' characters.
The mystery of the novel was confirmed by Pushkin himself, giving the "fruits of labor" to his "journalists to eat":

I finished the first chapter;
Revisited it all rigorously:
There are a lot of contradictions
But I don't want to fix them.
(chapter 1, stanza LX)

Famous literary critics V. G. Belinsky and D. I. Pisarev, not
were able, in our opinion, to give a fully competent, worthy of their high qualification critical analysis of "Eugene Onegin" and to avoid the inconsistency of their own conclusions and judgments on a number of issues.
So, a prominent critic should not pass off Tatyana Larina as the standard of a Russian woman and at the same time call her a “moral embryo” with a “sleeping mind”, an “immoral” creature, a vulgar “ideal maiden” ....

2
When creating the novel "Eugene Onegin", Pushkin widely uses 4 principles: "contradiction", the figure of default, realism and "gaiety".

Pushkin recognizes the principle of inconsistency, which really exists in nature:

This is how nature made us
prone to contradiction.
(5, VII)

We can say that Pushkin widely uses the principle of literary and artistic contradiction, speaking in the novel in three persons at once: as a narrator, as the author of the novel, who constantly shares his thoughts, assessments and memories with the reader, often interrupting the narrator, and as a kind of lyrical hero of the novel .
Pushkin, as an author, composed Tatyana's "rash letter" to Onegin, then, as a storyteller, he admires and "can't get enough of it," and then, like a lyrical hero, asks: "Tatiana! who is it for?"
Like a lyrical hero, Pushkin communicates with his "good friend" Onegin:

First Onegin's language
Confused me; but I'm used to
To his caustic argument.

Onegin was ready with me
See foreign countries.
(1,LI)

Of course, the complexity of the images of the heroes, their dynamism can lead to a change in their views and behavior over time or in new circumstances, which cannot be considered as their inconsistency.
The principle of the figure of default (interruption of the narration) is widely used by Pushkin to activate the thinking and imagination of the reader, for co-creation. So, the birth of a feeling of sympathy, love, the first meeting of the young, the development of their relationship always excites the reader. But Pushkin gives very scarce information about Tatyana's first meeting with Onegin, and about Tatyana's acquaintance with General N. ...

The "incompleteness of the novel" has become one of the main targets for many critics, who claim that Pushkin left the novel unfinished without giving a denouement. love triangle. Even Belinsky came to the conclusion that "Eugene Onegin" is "a novel without end."

Based on the analysis of the text of this work, the characters of the characters in development, it will be reasonably shown below that Pushkin did not leave the novel without a worthy artistic conclusion.
The realism of the novel is generally recognized. Therefore, in the presence of alternative assessments of the characters and actions of the heroes, the reader should choose the most reasonable ones, the closest to real life.

We note a very important detail: according to Pushkin, “in our novel, time is calculated according to the calendar,” although the events described in the novel cover a long time period from the end of 1819 to the spring of 1828.
On the fourth principle - "gaiety" - Pushkin draws the reader's attention already in the introduction:

Accept the collection of colorful heads,
Half funny, half sad...

The reader can easily find a lot of sad events and news in the novel:
the ruin of Onegin's father and his death, the illness and death of his uncle, the death of Tatyana's father, the early death of Lensky's parents, the murder of Lensky in a duel, the death of Tatyana's nanny; Eugene, “in the prime of his best years”, was seized by the “Russian melancholy”, Praskovya Larina, once in the village, “teared and cried”, “almost divorced her husband”, Olga lost her fiancé on the eve of the wedding, Princess Alina has been sick with consumption for the fourth year, Tatyana after the name day, death from Onegin seems "amiable", Onegin in the eighth chapter - "looks like a dead man."
Nevertheless, according to Pushkin, "the chapters of the novel bear the imprint of gaiety." Indeed, the correctness of these Pushkin's words will be repeatedly shown below.

3
Belinsky complained to his friends that an objective analysis of Tatyana's image is extremely difficult because of "painful contradictions", and at the same time argued that Tatyana was "created ... from one whole piece", that she "has no painful contradictions", that she is "in in all situations of her life is always the same”, but ... “society has recreated it”.
At the same time, of course, the critic sees a huge “difference between a dumb village girl with childhood dreams and a secular woman who is able to express her feelings and thoughts with words” ....

Why is it that Belinsky, in the words of Plekhanov, "the most thoughtful of our critics", who possessed "the instinct of a sociologist of genius", cannot avoid the inconsistency of his own judgments?
A contradiction, in the generally accepted sense, is two statements, one of which is a negation of the other, one is incompatible with the other, one refutes the other, violating logic or truth.

To find an explanation for the inconsistency of Belinsky’s statements, one of the main mysteries of the novel should be considered in detail: what “woe, irresistible by anything” fell on Tatyana’s mother Praskovya Larina in her husband’s village, and for what purpose was Tatyana the child taken to Moscow?

As you know, Tatyana Praskovya's mother was "taken to the crown" with Dmitry Larin, "without asking her advice",

She sighed for a friend
Who in heart and mind
She liked it much more.
(2,XXXI)

In order to “dispel her grief” from parting with “the glorious dandy Grandison”, “player and guard sergeant”,

The sensible husband left soon
To her village where she is
God knows who surrounded
I broke down and cried at first
I almost divorced my husband.
(2,XXXI)

In the estate of her husband, Praskovya experienced a difficult stressful situation: instead of her usual Moscow life, instead of relatives and friends, beloved girlfriends, “Moscow dandies and circuses”, she found herself “in the wilderness of lost villages”. But "her husband loved her immensely", gave her complete freedom of action. Praskovya Larina

……… took up the household,
I'm used to it and I'm satisfied.
(2, XXXI)

The habit, Pushkin notes, is “given to us from above” and can often quite replace happiness. But the happy life of Praskovya Larina did not last long: Pushkin, without going into details, reports that Praskovya Larina was attacked

Grief, not repelled by anything.
(2, XXXII)

We believe that this “irresistible grief” consisted in the fact that in the first months after the birth of their daughter (“from the very lullaby days”), her parents discovered signs of an unknown illness in her, and for this reason Praskovya and her daughter Tanya rushed for help to doctors in distant Moscow.
The fact that the little girl Tanya visited Moscow is confirmed by Tatiana's relatives after her arrival in Moscow for the “bride fair”:

Relatives, who arrived from afar,
Sweet meeting everywhere
And exclamations, and bread and salt.
“How Tanya has grown! How long ago
I think I baptized you?
And I took it in my hands!
And I fought so hard!
And I fed it with gingerbread!”
(7, XLIV)

Parents, of course, early began to notice violations in the psyche of their daughter, the oddity of her behavior and developmental delay. They were very worried about the sight of an indifferent, unsmiling baby who "does not know how to caress", "looks and does not see."

The description of the behavior of Tatyana the girl and Tatyana the teenager gives grounds to assert that Pushkin's powers of observation allowed him to get ahead of psychiatrists all over the world: only 150 years after the publication of the novel, Tatyana Larina's mental disorder, described by the poet, received the name "autism" in medicine, and mild a form of this mental illness is now known to physicians as Asperger's syndrome.

Modern medicine believes that autism is a state of the psyche (mental illness, mental isolation, lifestyle), which occurs between the ages of 6 months and 3 years and is manifested by a combination of such main symptoms as the lack of desire for communication, the predominance of a closed inner life, avoidance reality into the world of personal experiences, daydreaming, excessive fantasizing, self-isolation, detachment from the outside world.

4
All of the above signs of Asperger's syndrome are fully inherent in the image of Tatyana Larina, described in the novel. This is how Pushkin characterizes his sweet, sickly heroine....

Dika, sad, silent,
Like a forest doe is timid,
She is in her family
Seemed like a stranger girl.
She couldn't caress
To my father, not to my mother;
A child by herself, in a crowd of children
Didn't want to play and jump
And often all day alone
She sat silently by the window.
(2,XXV)

The last two lines in the draft of the novel sounded different:

And often all day alone
Sitting by the window with a book.

This Pushkinian correction: the replacement of the word "with a book" with the word "silently" characterizes the heroine very eloquently.
Children suffering from autism are not able to establish emotional contact with their parents and behave in a typical way for babies: smile at loved ones, accept their caress. Stereotyping of speech and behavior, habit of repetitive actions, inability to play with other children, inability to play with toys or do something with one's own hands, emotional coldness often lead to developmental delay, mental retardation, withdrawal of the child into himself, egocentrism.

Quotes from the novel describing Tatiana can be included in medical textbooks on psychiatry for a poetic description of Asperger's syndrome.

Thought, her friend
From the most lullaby days
Rural Leisure Current
Decorated her with dreams.
Her pampered fingers
Didn't know needles; leaning on the hoop,
She is a silk pattern
Did not revive the canvas. (2, XXVI)

……..dolls even in these years
Tatyana did not take it in her hands;
About the news of the city, about fashion
Didn't have a conversation with her.
And there were childish pranks
Alien to her……………….

When did the nanny collect
For Olga on a wide meadow
All her little friends
She didn't play with burners
She was bored and sonorous laughter,
And the noise of their windy joys.
(2, XXVII)

Tanya does not play or communicate with her mobile, cheerful younger sister Olga, she also does not have friends among other children or yard girls. Emotionally, little Tanya does not react to the presence of all living things in the house, in the yard and around, does not notice anyone, does not stroke or feed anyone. Not a single dog accompanies her on walks in the forest.

Nothing occupies her
Her soul does not move. (4, XXIV)

Immersion in her dreams, withdrawal into herself, Tanya's selfishness seem limitless. Even the fate of her own sister and her fiancé (“her brother”) does not bother her. After a night of Christmas divination, Tanya saw in an "ominous dream" the death of Lensky at the hands of Onegin.

Argument louder, louder; suddenly Eugene
Grabs a long knife, and instantly
Defeated Lensky; scary shadows
thickened; unbearable cry
There was a sound... the hut shook...
And Tanya woke up in horror...

The door opened. Olga to her
Aurora Northern Alley
And lighter than a swallow, flies in;
"Well, he says, tell me,
Who did you see in your dream?
But she, not noticing her sister,
Lying in bed with a book
Turning over the sheet after the sheet,
And he doesn't say anything.
(5, XXI - XXII)

The wedding of Olga and Lensky was scheduled for the next two weeks. If Tanya had told Olga the contents of the dream, Lensky's duel with Onegin would certainly not have taken place: Olga would not have left Lensky a single step, and there would have been no reason for Lensky's jealousy at the name day and the quarrel between two friends. But Tanya is deeply immersed in her thoughts and in solving the dream with the help of Martyn Zadeki's dream book.

…………. Her doubts
Martyn Zadeka will not decide;
But an ominous dream promises her
Many sad adventures.
A few days later she
Everyone was worried about that.
(5, XXIV)

The lack of verbal communication with others leads Tatyana to problems with speech, limited and scarce vocabulary.

She didn't know Russian very well.
Didn't read our magazines
And expressed with difficulty
In your native language.
(3, XXVI)

The constant imprint of pallor on her face (“the morning moon is paler”) distinguishes Tatyana from her sister.

Nor the beauty of his sister,
Nor the freshness of her ruddy
She would not attract eyes.
(2,XXV)

Silent sitting at the window all day long has become the main repetitive action, the stereotypical, habitual norm of Tanya's behavior. Silence is the main state of the heroine. “Pale as a shadow”, “immersed in despondency”, “sad and silent, like Svetlana” - this is her portrait.

Tanya's pastime is monotonous and poor in impressions. Tatyana is used to getting up early. AT summer time after sleeping in a stuffy room, she goes out onto the balcony "to warn the dawn of the sunrise", and then "she is sad all the time, but she wanders through the forests alone." And in winter it becomes very dreary: on frosty days “through the frozen glass” Tanya can hardly see anything.

Awakened at the usual hour
She got up by candlelight.
(2, XXVIII)
……………………………….
In the wilderness, what to do at this time?
Walk? The village at that time
Involuntarily bothers the eye
Monotonous nakedness.
(4, XLIII)

And in Onegin's office, Tatyana is very interested in "the view through the window through the lunar twilight." And in Moscow, she does not change her usual behavior:

….. early ringing of bells,
Forerunner of morning labors,
He lifts her out of bed.
Tanya sits by the window.
The dusk is thinning; but she
Does not distinguish between its fields:
In front of her is an unfamiliar courtyard,
stable, kitchen and fence.
(7, XLIII)

So that her reputation would not suffer, Tatyana was forced to go out to the guests, i.e. move from your bedroom window to your living room window. She either stood at the window:

It was getting dark; on the table, shining,
The evening samovar hissed,
Chinese kettle heating;
Tatyana stood before the window,
Breathing on cold glass
Thinking my soul
Written with a lovely finger
On foggy glass
Cherished monogram Oh yes E,
(3, XXXXVII)

Or she sat at the window with her back to the guests, dreaming about something of her own, without delving into the conversation at the table. This conclusion follows from the following description. Immersed in love suffering according to Grandison-Onegin, Tanya is tormented by the need to go out to the guests. All the feelings and thoughts of the ingenuous, open, sincere Tanya, undoubtedly, were manifested in the facial expressions of her face.

Immersed in sadness
She doesn't listen to guests.
And curses their leisure,
Their unexpected arrival
And a long stretch.
(3, VIII)

But since the guests could not see the displeasure and curses on Tanya's face, they did not disperse for a long time.
Diversity in meager life experiences is brought about by dreams that can be solved from a dream book - a favorite book, a “deep creation” of the interpreter of dreams Martyn Zadeki.

Martin Zadeka became then
Tanya's favorite... He is a consolation
In all sorrows she gives
And he sleeps with her.
(5, XXIII)

In a rural environment, girls are taught to meet guests and potential suitors at home, to get to know them (“and Dunya pours tea”). But Tatyana could not be present at the table, participate in conversations with guests, “poured tea” for them. This responsibility was taken over by the younger sister Olga.

Spilled by Olga's hand,
In cups with a dark stream
Already fragrant tea ran.
(3, XXXVII)

Pushkin calls his heroine "a tender dreamer." What did Tatyana dream about? The authors of the libretto of the famous opera by P.I. Tchaikovsky "Eugene Onegin" could not find the answer to this riddle in the text of the novel and were forced to compose the following dialogue between the main characters.
Onegin: "What are you dreaming about?"
Tatyana: “Pensiveness is my friend from the very lullaby days.”
Onegin: “I see you are terribly dreamy. And I used to be like that."

Pushkin's words that his "dear Tatyana"

…….. gifted from heaven
rebellious imagination,
Mind and will alive,
And wayward head
and heart, fiery and tender
(3, XXIV)

They do not contradict the above version of the psychological portrait of the main character of the novel. Tatyana, fortunately, fell into a small number of autistic children who have a high intellectual potential and are able, under certain conditions, to become full-fledged members of society, and sometimes even demonstrate special talent in some area. (The philosopher Kant, the storyteller Andersen, the artist Niko Pirosmanishvili are believed to have suffered from autism)….

Tanya's parents, worried about their daughter's negative reputation in the eyes of "public opinion", apparently made vigorous efforts to overcome the illness. After a trip with little Tatiana to distant Moscow, Praskovya Larina began to intensively raise her daughter: to teach her to communicate and build relationships with other people, teach her to read and write, French, read sentimental novels, memorize poems and dance. Here, her “favorite notebook of poems” was very useful to the mother. But she was unable to break Tanya's usual circle of loneliness.

In a rural circle it is difficult to hide anything from others. Rumors about the “wayward head” of “poor Tanya” were not a secret for any of the neighbors, none of the potential suitors wanted to risk their reputation and appear in her house. Walking around the area, Tatyana is sure: “They don’t know me!” She believes that she lives "in the wilderness of a forgotten village", "in the desert", although the nanny assures her of the opposite:

There are many neighbors around;
Where can I read them.
(3, XXXIV)

17-year-old Tatyana got used to waiting for the decision of fate and dreamed: her “soul was waiting for someone” who could lead her out of the “dungeon” to people.
The unexpected appearance of Onegin in the Larins' house went essentially unnoticed by Tanya: she, as usual, "came in and sat by the window" with her back to the guest, not listening to his conversation with her mother and Olga. Therefore, the visiting guest, naturally, did not make any impression on Tanya and did not arouse any interest: after his departure, she did not ask questions about Onegin either to her mother, or Olga, or Onegin's friend Lensky.
And Onegin, when Tatyana appeared, only managed to notice her “and her pale color and dull look,” and after a visit to the Larins, he was most afraid that “lingonberry water” would “do no harm” to him.

Belinsky, however, decided that Onegin could intrigue Tatiana and encourage her to write him a love letter: “and she saw him, and he appeared before her young, handsome, dexterous, brilliant, indifferent, bored, mysterious, incomprehensible, an entire unsolvable mystery for her undeveloped mind, all the seduction for her wild fancy."
It is hard to imagine that a simple village girl with a “sleeping mind” could so deeply and quickly appreciate a capital visiting guest, see “his aristocracy, his secularism, undeniable superiority over all this calm and vulgar world.” “Poor Tanya” didn’t have such concepts and didn’t know such words that Belinsky uses, and, as can be seen from the text of the novel, she had no one to compare Onegin with, except for the porridge in her head from the heroes of the sentimental books she read.

5
And what prompted Tatiana a few months after Onegin's visit to write him a love letter? To do this, we must remember another important hero of the novel - the local nobility. We emphasize that Onegin's visit to the Larins would have essentially gone unnoticed by Tanya if a new force had not come into play: the neighbors offended by Onegin's arrogance, whom Eugene defiantly did not receive at home.

At first everyone went to him;
But since from the back porch
usually served
Him don stallion,
Only along the main road
They will hear them at home, -
With such an insulting act,
All friendship ended with him.
(2,V)

The hostility of the neighbors increased sharply after Onegin introduced a new economic "order" for managing serfs on his estate.

Yarem he is an old corvee
I replaced the quitrent with a light one;
And the slave blessed fate.
But in his corner pouted,
Seeing in this terrible harm,
His prudent neighbor;
The other smiled slyly,
And in a voice everyone decided so,
That he is the most dangerous eccentric.
(2, IV)

The “general voice” of the neighbors severely condemned Onegin:

Our neighbor is ignorant; crazy;
He is a pharmacist; he drinks one
A glass of red wine....
(2,V)

They hid, waiting for an opportunity for revenge and reprisals. A visit to the Larins turned out to be a good occasion for neighborly conversations, malicious ridicule and gossip about the fact that the metropolitan ladies' man was tempted even by our "poor Tanya." The neighbors understood that it was “a sin to joke like that” with the girl, but they could not miss such a convenient opportunity to mock the proud man, to take revenge on him for their humiliation ....

…….. Onegin's appearance
The Larins produced
Everyone is very impressed
And all the neighbors were entertained.
Guess after guess.
Everyone began to interpret furtively,
Joking, judging is not without sin,
Tatyana to read the groom;
Others even claimed
That the wedding is completely harmonious,
But then stopped
That they didn’t get fashionable rings.
(3, VI)

Evil, slanderous gossip about Onegin's matchmaking and his upcoming wedding with Tanya slowly spread around the district, and finally reached the Larin family, putting them in an awkward position. Pushkin clearly points out the negative reaction of the Larins and Tanya herself to slander:

Tatyana listened with annoyance
Such gossip.
(3, VII)

But the psychological pressure of rumors repeated over several months could not but affect the child's psyche. Pushkin subtly felt that an autistic child, beginning to understand his condition, suffers deeply from the fact that he is not like everyone else. He passionately wants to break the shackles of silence, instinctively looking for a "savior".
The people surrounding Tanya were powerless to help her break out of the circle of "cruel loneliness." And she finally believed the rumors that Onegin is her possible “guardian angel”, who only needs to be called for help.
While walking in the garden, the lines “a letter for a dear hero” pop up in my head, memorized from sentimental books and a notebook of my mother’s poems. Tatiana

One with a dangerous book wanders,
She seeks and finds in her
Your secret heat, your dreams,
The fruits of heart fullness,
Sighs and, appropriating
Someone else's delight, someone else's sadness,
In oblivion whispers by heart
Letter for a cute hero.
(3, X)

She decides to tell the nanny about her love, without telling who it is, but the experienced nanny does not take seriously the words of love of her seventeen-year-old "child" for some man. Three times Tanya repeats her confession and three times the nanny is forced to remind her that she is unwell.

"Ah, nanny, nanny, I yearn,
I'm sick, my dear
I'm crying, I'm ready to cry! .. "
“My child, you are not well;
Lord have mercy and save!
What do you want, ask...
Let me sprinkle with holy water
You're on fire... - "I'm not sick:
I ... you know, nanny ... in love.
- My child, the Lord is with you! -
And babysit the girl with a plea
Baptized with a decrepit hand.
(3, XIX)

"I'm in love," she whispered again
She is sad to the old woman.
“My dear friend, you are not well.
"Leave me, I'm in love."
(3, XX)

And at night she decided to write a "rash letter" to the mysterious Moscow guest.

And my heart rushed far
Tatyana looking at the moon...
Suddenly an idea popped into her mind...

…………..and here she is alone.
Everything is quiet. The moon shines on her.
Leaning on, Tatyana writes,
And all Eugene is on my mind,
And in a thoughtless letter
The love of an innocent maiden breathes.
The letter is ready, folded...
Tatiana! for whom is it?
(3, XXI)

The main thing in Tatyana's letter is the search for a savior, a protector, a request to break the blockade ring of social isolation.

But so be it! my fate
From now on, I give you
I shed tears in front of you
I beg your protection...
Imagine I'm here alone
Nobody understands me,
My mind is failing
And I must die silently.

Tanya is sure that her suffering can melt Onegin's heart:

But you, to my unfortunate share
Though a drop of pity keeping,
You won't leave me.

Pushkin suffers along with his heroine, sympathizes with her.

Tatyana loves not jokingly
And surrender unconditionally
Love like a sweet child.
(3, XXV)
……………………………
Tatiana, dear Tatiana!
With you now I shed tears;
You are in the hands of a fashion tyrant
I have given up my fate.
You will die, honey.
(3, XV)

This is how Tatyana's famous letter to Onegin appeared, in fact, a cry from the heart with a plea for help to the "guardian angel", and in form - a naive love letter with "infant dreams", an extract from other people's passions from read novels and my mother's album of poems, which , of course, Eugene could not help but know - the "true genius" of the "science of tender passion."
Of course, he was well aware of the vivid phrase from many of the love letters he had previously received from sentimental young ladies: “It is the will of heaven, I am yours!”, Also written out by Tatiana or Praskovya from Rousseau’s novel The New Eloise or from the elegies of the French poetess Debord-Valmord.
In addition, the “dull look” of sincere Tatiana at the first meeting with Onegin does not fit in any way with obviously strange words from her letter:

You just entered, I instantly found out
All numb, blazed
And in her thoughts she said: here he is!

"Tatyana's letter is wonderful ... although it resonates ... with some kind of childishness," Belinsky noted.

6
Let's take a closer look at Onegin's reaction to the received letter. So, a few months after the visit to the Larins, an unknown boy handed Onegin an anonymous note without specifying the addressee and sender, an extract-compilation of poems known to all young ladies, written, undoubtedly, in children's handwriting.
In the evening of the next day Larins received Lensky.

“Say, where is your friend? -
He had a question from the hostess. -
He completely forgot us."
Tatyana flared up and trembled.
- Today he promised to be, -
Lensky answered the old woman.
(3, XXXVI)

And, indeed, after a while Tatyana saw Onegin through the window and fled from him in fear into the garden. What happened during these two days? Pushkin is silent about this, leaving the reader room for reflection.
We present our version. On the day of receipt of the note, as usual, Lensky appeared at Yevgeny's house and read the anonymous letter. Friends discussed this event. Onegin assessed the letter as a mockery, as a provocation of the neighbors, as a desire to make him a laughing stock for the whole district, although he did not give such a reason to anyone. The author of the message, about which he has no idea, did not indicate her name or return address so that she could reply with a note.
It is still unpleasant for him to recall the experience of parting with the capital girls in love with him, their similar whining claims and tragic, sentimental letters “on six sheets” and “threats” from relatives. After all, he

…….. in his first youth
And unbridled passions.
(4, IX)
……………………………………
Who is not tired of threats,
Prayers, oaths, imaginary fear,
Notes on six sheets,
Deceptions, gossip, rings, tears,
Supervision of aunts, mothers ....
4, VIII)

In response, Lensky was forced to report that the author of the letter was Tatyana Larina, whom he considers his sister, revealed the secret of the Larin family, known in the district, and asked Evgeny, for the sake of their friendship, to keep the fact of receiving the letter a secret, to personally talk with the “sad” Tanya in private, emphasize her dignity in order to soften the blow of refusal for the girl as much as possible. Only the request of a friend could make the arrogant Onegin go to Tatiana:

Who is not bored to be hypocritical,
Repeat one thing differently.
(4, VII)

Eugene's situation was complicated by the fact that the letter was not addressed to him, and this made it difficult to start a conversation.

Now we will fly into the garden,
Where Tatyana met him.
They were silent for two minutes.
But Onegin approached her
And he said: “You wrote to me,
Don't back off."
(4, XII)

Onegin kept his word: “he did not deceive the gullibility of an innocent soul”, held an educational conversation, recognized in Tatyana “his former ideal” of the bride, assured her that he was not worthy of her, and, like a well-mannered secular person, took Tanya home after the conversation.

He gave her a hand. Sadly
(As they say, automatically)
Tatyana, silently, leaned on,
Bowing his head languidly;
Let's go home around the garden;
Appeared together and no one
Didn't think to blame them for that.
(4, XVII)

One stanza is enough for Pushkin to describe the life of a person, his fate. But in this case, he singled out six stanzas of the novel to Onegin so that he could explain to Tatiana as simply and delicately as possible the impossibility of marrying her:

But I'm not made for bliss;
My soul is alien to him;
In vain are your perfections:
I don't deserve them at all.
Believe me (conscience is a guarantee),
Marriage will be torture for us.
(4, XIV)

Tatyana immediately understood from the intonation of Yevgeny's speech that she was being refused, that her hopes for salvation were not justified, that her life was over.

Health, life color and sweetness,
Smile, virgin peace,
All that is empty sound is gone,
And dear Tanya's youth fades.
(4, XXIII)

But not only this "was the result of a date." Unbelievable rumors with venomous comments about the walks of the capital ladies' man with our "poor Tanya" in the garden at night were passed from mouth to mouth around the district. Neighbors hid, waiting for a tragic denouement.
Pushkin asks readers and critics to forgive Tatyana for a chaotic letter, not to accuse her of violating the accepted rules of decency:

Why is Tatyana more guilty?
For the fact that in sweet simplicity
She knows no lies
And believes the chosen dream?
For what loves without art,
How trusting she is.
…………………………
Don't forgive her
Are you frivolous passions?
(3, XXIV)

7
In his critiques, written about 15 years after the novel's publication, Belinsky generally praises the image of Tatyana as a poetic portrait of a Russian woman, noting, however, that this is not easy to do because of "painful contradictions."
Belinsky could not but admit that Tatyana was “an undeveloped creature, tightly locked up in the dark emptiness of her intellectual existence”, that “her mind was not occupied with anything”, and “the effort to develop independently, outside the influence of society, gives her something ugly ".
He came to the conclusion that from childhood "Tatyana's brain was asleep" and only after reading books in Onegin's office "an act of consciousness took place, and her mind woke up." It is hardly possible to agree with this fantastic version in the novel, which the critic himself considers realistic.
Belinsky is mistaken in asserting that "Tatyana's whole inner world consisted in a thirst for love." We believe that (in terms of medicine) Tatyana's inner world, first of all, consisted in a thirst for social adaptation. After the duel and Onegin's departure from her estate, Tatyana wilted, realizing that she would never "see" him again, and that other savior angels were not found in the wilderness. Contenders for her hand appeared, because after Olga's marriage and departure with the lancer "to the regiment", Tatiana could become the mistress of the estate. But, nevertheless, she resolutely refused all suitors.

"Isn't she in love?" - In whom?
Buyanov got married: refusal.
Ivan Petushkov - too.
Hussar Pykhtin visited us;
How he was seduced by Tanya,
How he crumbled like a petty demon!
I thought: maybe it will go;
Where! and again the case apart.
(7, XXVI)

Critic Pisarev, 35 years after the publication of the novel, saw in Tatyana "a creature whose mind is corrupted by reading romantic books, with a sickly imagination, without any merit." "The tiny amount of brain in her head was in the most deplorable state, which explains the sudden outburst of tenderness that manifested itself in the composition of the extravagant letter."
Pisarev analyzes the content of Tatyana's letter to Onegin in great detail, caustically comments on it and comes to an absurd and contradictory conclusion: "here, as elsewhere, Pushkin completely misunderstands those phenomena that he draws absolutely correctly," because the image of Tatyana "should only be drawn with deep compassion or with sharp irony.
When writing a letter to Onegin, according to Pisarev, Tatyana loses "the last remnants of her common sense" and "negotiates to the point of hallucinations." And further, in order to finally "throw Pushkin's poetry off its pedestal", he adds critical fire: "Onegin stands on the same level of mental development with Pushkin himself and with Tatyana."
Unfortunately, some readers still largely agree with Pisarev's libelous judgments, although it is enough to carefully read the eighth chapter of the novel with Tatyana's own review of her childhood letter to understand the bias, the groundlessness of Pisarev's conclusions.
So, in St. Petersburg, Princess Tatyana self-critically evaluates her letter to Onegin as “infant dreams”, for which an adult should have “pity”. And that's it. Pisarev deliberately ignored both these words and Pushkin’s assessment of this “rash letter” of a “tender dreamer”, in which “the love of an innocent maiden breathes” and a sincere childish

……….. touching nonsense,
Mad heart conversation.
(3, XXXI)

In our opinion, Tatyana's letter to Onegin is a poetically correct, surprisingly accurate both artistically and semantic reflection of the thoughts and feelings of a growing girl suffering from Asperger's syndrome, striving for freedom.
Tatyana's letter is remarkable not only for its artistic perfection, but also for Pushkin's ingenious, let's not be afraid of the word, penetration into the soul of an autistic teenager. Only recently, in 2008, the UN General Assembly declared April 2 as World Autism Day in order to spread awareness about this problem. Pushkin, in poetic form, did this two centuries earlier.

8
Tatyana received new information about Onegin while reading books in his office. Of course, due to the extreme limitations of her vocabulary, outlook, lack of experience in social communication, Tanya could only superficially understand the meaning of the books selected by Evgeny,

In which the century is reflected
And modern man
Depicted quite right.
(7, XXIII)

Reading did not bring significant changes to Tanya's behavior, thoughts and habits, except for the fact that she "begins to understand little by little" that life is difficult and unsafe. A great achievement for Tanya was that she was able to take a more sober look at herself from the side, see and understand

..…………..clear features
provincial simplicity,
And belated outfits
And belated speech.
(7, XXVII)

A thought that flashed through Tanya turned out to be very valuable, did she mistook the “arrogant demon” for a savior angel?

A sad and dangerous eccentric,
Creation of hell or heaven
This angel, this arrogant demon,
What is he?
(7, XXIV)

When she was announced about a trip to Moscow in the winter for a brides fair, Tanya was already seriously frightened not only to “attract mocking looks” of Moscow dandies, but also to meet a new dangerous demon in the white robes of an angel:

O fear! no, better and better
In the wilderness of the forests to stay for her.
(7, XXVII)

With sadness, Tatyana says goodbye to the local landscape, to her "old friends" - a hillock, a stream, groves, meadows, with her "freedom" to sit silently at the window, wander aimlessly through an empty garden or through forests:

"Sorry, peaceful valleys,
And you, familiar mountain peaks,
And you, familiar forests...
Change sweet, quiet light
To the noise of brilliant vanities...
Forgive me, my freedom!
(7, XXVIII)

In winter, mother and Tatyana, having borrowed money from a neighbor, got into the “venerable wagon”, into which they harnessed “eighteen nags”, “skinny and shaggy”, and set off on a long journey with naive hopes of conquering Moscow.

The convoy is ordinary, three wagons
Carrying household items
Pots, chairs, chests,
Jam in jars, mattresses,
Feather beds, cages with roosters,
Pots, basins et cetera,
Well, lots of good stuff.
(7, XXXI)

Tatyana, when parting with the village where she grew up, weeps bitterly:

“Sorry, peaceful places!
Sorry, secluded shelter!
Will I see you? .. "And the stream of tears
Tanya is pouring from her eyes.
(7, XXXII)

Tanya experiences great difficulties in Moscow when communicating with relatives and with Muscovites.

And here: at related dinners
They deliver Tanya every day
Present to grandparents
Her absent-minded laziness.
(7, XLIV)

Their daughters hug Tanya.
Young graces of Moscow
First silently look around
Tatyana from head to toe;
She finds something strange
Provincial and cutesy
And something pale and thin….
(7, XLVI)

But Tanya, just like in a dream,
Their speeches are heard without participation,
Doesn't understand anything.
(7, XLVII)

At public events, no one is interested in Tatyana.

Archival young men in a crowd
They stare at Tanya
And about her among themselves
They speak unfavorably.
(7, XLIX)

in theaters
Didn't contact her
I will not give you jealous lorgnettes,
Not a pipe of fashion connoisseurs
From boxes and chair rows.
(7,L)

Finally, she is brought to a ball at the Noble Assembly, a bride fair.

She is also brought to the Assembly.
There is tightness, excitement, heat,
The roar of music, the sparkle of candles,
Flashing, whirlwind of fast couples,
Beauties light dresses,
People full of choirs,
Brides a vast semicircle,
All the senses strike suddenly.
(7,LI)

Tatyana, like a white crow, feels like a stranger, an outsider, superfluous at this cheerful celebration of youth and beauty.

Between two aunts at the column,
Not noticed by anyone
Tatyana looks and does not see
The excitement of the world hates;
She's stuffy here... she's a dream
Strives for field life ...
(7, LIII)

So her thought wanders far:
Forgotten and light and noisy ball,
And meanwhile, he does not take his eyes off her
Some important general.
(7, LIV)

And at this moment, Pushkin congratulates Tatyana "on the victory", leaving several "tempting riddles" for the reader unanswered, which will be discussed below.

9
Many new "painful contradictions" can be found in Belinsky's assessment of Tatyana's monologue during her last meeting with Onegin. The critic brought down such an explosive mixture of praises and biased, subjective accusations against the "representative of a Russian woman" Tatyana that even Pisarev's insulting criticism of Tatyana in places looks softer and more delicate.
According to Belinsky, Tatyana in this meeting showed her “deep nature” and the essence of a Russian woman, namely: “the desire for revenge for insulted pride, reasoning, vanity with virtue, slavish fear of public opinion, cunning syllogisms of the mind, magnanimous movements of the heart paralyzed by secular morality and at the same time the sincerity of a simple, sincere feeling, the purity and holiness of the naive movements of a noble nature, frankness and cordiality. “And what is sadder of all, both are true in Tatyana.” “Tatiana is always the same in all situations of her life,” but ... “society has recreated her.” It is unlikely that Pushkin would agree with such a characterization of his "dear Tatyana."
When evaluating Tatyana's monologue in the scene of the last meeting with Onegin in her house, one should not lose sight of her new socio-psychological portrait by this time. Before us is a 22-year-old princess, whose maturation has taken place in a jerk over the past four years. She is essentially a grown-up child. Hence the inevitable contradictions in her behavior and statements, the judgments of an adult, mixed with childhood dreams and hopes of the "former Tanya." Like the diverse Pushkin, Tatyana appears here in two faces.
In early spring, after six months of voluntary imprisonment in his cell

Rushed to her to his Tatyana
My uncorrected weirdo.
He walks like a dead man.
There is not a single soul in the hallway.
He is in the hall; next: no one.
He opened the door. What is it
Striking with such force?
The princess is in front of him, alone,
Sitting, not cleaned, pale,
Reading a letter
And quietly tears flow like a river,
Rest your cheek on your hand.
(8,XL)

Oh, who would mute her suffering
In this quick moment I did not read!
Who is the former Tanya, poor Tanya
Now I wouldn't recognize the princess!
In the anguish of insane regrets
Eugene fell at her feet.
(8, XLI)

With the intuition of an experienced ladies' man-hunter, Onegin immediately realized his mistake: his sudden appearance did not cause "tragi-nervous phenomena, girlish fainting spells, tears" that could be expected from the "former Tanya" *.
/* Hereinafter, until the end of section 9, my italics are auth./
On the contrary, her tears have dried up, she again sits "calm and free."

She doesn't pick it up.
And without taking his eyes off him,
From greedy lips does not take away
His insensitive hand...
What is her dream now?
There is a long silence,
And finally she is quiet:
"Enough; get up. I must
You explain frankly.
Onegin, do you remember that hour
When in the garden, in the alley we
Fate brought, and so humbly
Have I heard your lesson?
Today is my turn."
(8, XLII)

But suddenly the conversation is intercepted by the “former Tanya” with her unfading childhood dreams of a happy meeting with an imaginary Grandison:

"Onegin, I was younger then,
I seem to be better
And I loved you; and what?
What have I found in your heart?
What answer? one harshness.
(8, XLIII)

Princess Tatyana, correcting the situation, inserts her remark:

“Isn't it true? You weren't news
Humble girl's love?
(8, XLIII)

The sentimental "old Tanya" again recalls her feelings about the first meeting with Onegin:

“And now – God! - the blood freezes
As soon as I remember the cold look
And this sermon...
(8, XLIII)

Princess Tatyana again softens the unfair reproach:

“……………………. But you
I do not blame: in that terrible hour
You have acted nobly
You were right before me:
I am grateful with all my heart…”
(8, XLIII)

"Former Tanya" speaks with a new reproach:

“Then, isn’t it? - in desert,
Far from the vain rumors,
You didn't like me... Well now
Are you following me?
Why do you have me in mind?
(8, XLIV)

Tatyana the princess herself answers the question:

“Is it not because in the highest society
Now I must appear;
That I am rich and noble
That the husband is mutilated in battles,
What is it that the yard caresses us for?
Is it because my shame
Now everyone would notice
And could bring in society
A seductive honor for you?"
(8, XLIV)

"Former Tanya":

“I cry ... if your Tanya
You haven't forgotten yet."
(8, XLV)

The stern Princess Tatyana continues the thought:

“Then know: the causticity of your abuse,
Cold, strict conversation
If only I had power,
I would prefer hurtful passion
And these letters and tears.
To my baby dreams
Then you had at least pity,
At least respect for years ...
And now! - what's on my feet
Has it brought you? what a little!
How is it with your heart and mind
To be the feelings of a petty slave?
(8, XLV)

Onegin is broken, crushed, destroyed.
"Former Tanya", recalling the cherished words of Eugene during the sermon: "I love you ...", exclaims:

And happiness was so possible
So close!.. "
(8, XLVII)

Tatyana the princess knows that these words of Onegin with the addition "... with the love of a brother, and maybe even more tender" were not a declaration of love, and in a categorical tone puts an end to the conversation:

“…………... But my fate
Already resolved…………………..
I got married. You must,
I ask you to leave me."
(8, XLVII)

But here, at the sight of the first defeated genius of the “science of tender passion”, the confident conqueror of women’s hearts, and now “looking like a dead man” Onegin, she, like Onegin’s explanation in the garden, softens the wording of her sentence:

"I know that in your heart there is
And pride and direct honor.
I love you (why lie?),
But I am given to another;
I will be faithful to him forever.
(8, XLVII)

Tatyana's words about her marriage:

“……………. Carelessly
Perhaps I did:
Me with tears of a spell
Mother prayed; for poor Tanya
All the lots were equal ... "
(8, XLVII)

It should be understood as a recognition that Onegin's refusal to connect his fate with her earlier killed in her, a village girl, the hope for a better future and faith in love. She made a mistake, mistaking the “arrogant demon” for a “savior angel” and, plunging into indifference and apathy, no longer trusted anyone, and later refused three applicants for her heart. And her mother in Moscow hardly persuaded her to believe in the good feelings and serious intentions of Prince N ....
Obviously, the choice of 19-year-old Tatiana was very meager: either return forever to the village, to her hateful loneliness, reconcile and bury all her dreams, or take the risk of abruptly turning her fate and breaking into a new, unknown, alluring world with the help of "thick general." The life experience of the mother testified that a sharp turn to a new life is possible, but it is given by a great effort of will, character, all spiritual and mental forces.
This contradictory monologue of the “two Tatyanas” led Belinsky to the erroneous conclusion that the high society “recreated” Tatyana, turning her into a two-faced creature. In fact, as she was before, she remained "sincere, frank and cordial." Moreover, Tatyana in this meeting, contrary to Belinsky's opinion, showed such "generous movements of the heart" as pity and compassion for the defeated Grandison-Onegin.
The 22-year-old Tatiana-Princess has still retained her spontaneity, purity, openness, and, as before, for her close people, “everything is outside, everything is free.” It is impossible to buy her love, she is not capable of playing the role of the wife of an unloved person.
Tatyana rejects possible accusations of her commercialism, sincerely and confidentially tells Onegin that for her childhood memories: “a poor dwelling”, “a shelf of books”, a village “humble cemetery” are no less valuable than her “fashionable house and evenings”, “ this splendor" and "success in the whirlwind of light." Not everything here is to her liking, but she is forced to play according to the rules established in high society, "enter into her role", "accept receptions
oppressive rank” and often endure “the tinsel of a hateful life”, receiving guests unpleasant for her at home.

10
We expand our version of the answer to the main "tempting riddle" of the eighth chapter: does Tatyana Onegin love? "Of course she loves!" - a competent high school girl will immediately answer and refer to Tatiana's monologue at the last meeting with Onegin.
For many readers and critics, Tatyana's "confessional" words: "I love you (why dissemble?), But I am given to another and I will be faithful to him for a century," it turned out to be enough to consider her unhappy in family life, and at the same time approve of her loyalty to her husband, sense of duty, for self-sacrifice.
The erroneous interpretation of these words of Tatyana, torn from the text, is a vivid example of the inadmissibility of a superficial approach to reading the novel and hasty conclusions based on individual statements of the characters.
The novel "Eugene Onegin" is a voluminous, polyphonic, symphonic work and, relying on individual torn quotes, it is easy to make erroneous conclusions.
Unfortunately, even the critic Belinsky did not critically approach these words of Tatyana and accused the "representative of a Russian woman" of many grave sins, including "immorality, profanation of feelings and purity of femininity."
But what kind of passionate love of the main characters can we seriously talk about if they have never spoken in five years of their acquaintance, if Tatyana heard Onegin’s voice only once in the “evil minute” of his “sermon”, and Onegin heard her calm, firm voice only in last meeting, "in a moment of evil for him." Of course, according to Pushkin, "Satan jokes with love", but not in this realistic novel.
For a sincere, open Tanya child with weak social ties and limited communication experience, non-verbal communication language, body language is much more important than words: facial expressions, gestures, posture, voice, intonation, posture, emotionality of speech. Children are very good at it on an intuitive level. Tatyana the princess to a large extent retained this ability in herself.
Let us recall the meeting of Tatyana with Onegin in the garden. Seeing Onegin in the yard, Tanya fled in fear from the house to the garden,

I broke the bushes of sirens,
Flying through the flower beds to the stream,
And, out of breath, on the bench

Fell...
(3, XXXVIII - XXXIX)

She sat on the bench, caught her breath, listened to the singing of the yard girls.

But at last she sighed
And she got up from her bench;
Went but only turned back
In the alley, right in front of her
Shining eyes, Eugene
It stands like a formidable shadow,
And, as burned by fire,
She stopped.
(3, XLI)

All! Words for explanations are no longer needed! Tatyana is "burned like fire" by Yevgeny's shining eyes and frightened by his hostile "terrible shadow". She immediately realized that she had been refused, that there was "no hope," that a "terrible hour" had come for her. All the soft, warm, soothing words of Onegin:

That's true b, except for you alone,
The bride was not looking for another.
………….…………………
Found my old ideal
I would definitely choose you
In the friends of my sad days,
All the best in pledge ....
(4, XIII)

They are useless, hypocritical, false and passed by Tatiana's soul as "pity". Tatyana listened to Onegin's sermon

Seeing nothing through tears
Barely breathing, no objection.
(4, XVII)

During the second meeting at the name day, stormy feelings overwhelm Tanya. Latecomers Onegin and Lensky "are planted directly opposite Tanya."

And paler than the morning moon
And more tremulous than the persecuted doe,
She has dark eyes
Does not raise: bursts violently
There is a passionate heat in her; she is stuffy, bad;
She greets two friends
Can't hear tears from eyes
They want to drip; already ready
The poor thing is going to faint.
(5, XXX)

Obviously, in the two years of marriage, with the help of her husband and the specialists he attracted, Tatiana went the way of mental and social development, equal to a decade, remaining the same open, sincere personality, deservedly recognized by the high society "comme il faut" for its noble simplicity and naturalness:

She seemed like a sure shot
Du comme il faut…
(8, XIV)

And here in the capital, after a three-year journey, Onegin meets a new person, Tatiana the Princess. At a secular reception, your gaze

He draws every minute
On the one whose appearance vaguely reminded
He has forgotten features.
(8, XVII)

The new Tatyana, at this meeting, immediately clearly showed Onegin that in front of him was no longer “the same Tatyana”, the “humble girl” in love,

Which he alone ………
In the good fervor of moralizing,
I used to read instructions
The girl he
Neglected in humble share,
(8, XX)

And she does not need words for this:

…………. The prince approaches
To his wife and her brings
Family and friend.
The princess looks at him...
And whatever troubled her soul,
No matter how hard she
Surprised, amazed
But nothing changed her.
She kept the same tone.
Her bow was just as quiet.
(8, ХVIII)

Hey! not that she shuddered
Ile suddenly turned pale, red...
Her eyebrow did not move;
She didn't even purse her lips.

……………….She asked,
How long has he been here, where is he from?
And not from their sides?
Then she turned to her husband
Tired look; slipped out...
(8, XIX)

Onegin was fluent in the non-verbal language of communication, previously conquering women's hearts from young girls and "young beauties" to "whimsical high society" and married secular ladies. Therefore, he carefully peered into Tatiana's face:

Although he could not look more diligently,
But also the traces of the old Tatyana
Could not find Onegin.
(8, XIX)

At a meeting the next evening, Tatyana confirms her spiritual detachment from Yevgeny, her indifference to him.

…………………Head
It is full of stubborn thought.
He looks stubbornly: she
Sitting calm and free.
(8, XXII)

Onegin, realizing that before him is a new, unusual woman, loses in front of Tatyana the main trump card of the seducer - the gift of speech ....

He wanted to talk to her
And - and couldn't. ………….
(8, XIX)

They are sitting. Words are missing
From the mouth of Onegin. Sullen,
Clumsy, he barely
She answers. …………..
(8, XXIII)

Caring for Tatyana, Onegin, having lost pride and pride, is ready to fulfill the duties of a lackey in her retinue.

He is happy if she throws
Boa fluffy on the shoulder,
Or touch hot
Her hands, or part
Before her is a motley regiment of liveries,
Or raise a handkerchief to her.
(8, XXX)

The “indifferent princess” Tatyana frankly rejects his courtship, with all her appearance and behavior emphasizes that she is not interested in him, that he is a stranger, that he is irrevocably deleted from her life.

She doesn't notice him
No matter how he fights, even die.
Accepts freely at home
Away with him says three words,
Sometimes he will meet with one bow,
Sometimes they don't notice at all.
(8, XXXI)

But the conceited Onegin does not give up, writes a passionate message to the princess. He understands that Tatyana will not accept a letter from his hands and sends it by mail, without even thinking that this letter will first of all go to her husband with all the ensuing consequences.

No answer. He sends again:
Second, third letter
No answer. In one meeting
He is driving; just entered ... him
She is towards. How harsh!
He does not see him, not a word with him;
Wu! as now surrounded
Epiphany cold she!
How to keep resentment
Stubborn lips want!
Onegin fixed a sharp look:
Where, where is confusion, compassion?
Where are the stains of tears?.. They are not, they are not!
On this face there is only a trace of anger ...
(8, XXXIII)

Even at this meeting, Tatyana does not need words to express her feelings and thoughts. In non-verbal language, she told him everything she thought about his love messages ...
Onegin finally understands the inevitability of what happened and admits his defeat.

There is no hope! He is leaving,
He curses his folly.
(8, XXXIV)

11
After spending the winter in his office, one morning Onegin, "without heeding his mind to strict penalties," again, without an invitation, "rushed to her," "to his Tatyana." Catching the weeping Tatyana by surprise, Onegin made an unforgivable mistake for an experienced womanizer: he decided that Tatyana was shedding tears over his love letter, that he "in this quick moment" read her "dumb suffering" and recognized in the princess "the former poor Tanya."
But this is obviously not the case. Although his name was easily included in this Pushkin line: “Yevgeny is reading a letter” or “He is reading Onegin’s letter”, Tatyana reads a letter “of some kind”, obviously not related to Onegin, and this significantly affects the meaning of what is happening.
What else could Onegin expect if, during the six months of his absence from the world, Tatyana never once asked about his fate, although he almost “died”, almost “lost his mind” in his lonely cell.
The second Onegin's mistake: he did not notice that Tatyana from his greedy lips does not take away "her insensible hand." No feelings, emotions in her soul woke up from the appearance of Eugene. She coolly pauses and in a quiet voice, in a cold tone, gives a clear, impassive command: “Enough, get up!” "I must explain myself frankly to you."
All clear! “Tatyana doesn’t care” for his “letters and tears”, for his love experiences, which she calls “petty feeling”, “offensive passion”.
The explanation, in essence, has already been completed, without beginning, with the complete defeat of Onegin. Tatyana calls her letter to him, which he keeps, "infant dreams", demands to stop the "persecution" and finishes him off, calling him a slave of her "petty feelings". Wise Tatyana already knows for sure that with true love, they love with “heart and mind”.
When, once again, we emphasize the above, Tatyana the princess saw the unfortunate, humiliated Yevgeny at her feet, she saw

His sick, fading gaze,
A pleading look, a silent reproach,
(8, XLI)

Then compassion for him woke up in her soul, and she decided in a motherly way to console his pride, strengthen his spirit, raise self-esteem with the above words about love, confident that he, an adult and experienced in love, would not believe this formal confession out of pity.
Out of the same compassion, Tatyana assures Onegin that he has “pride and direct honor” in his heart, although she remembers his ability to cold-bloodedly kill “his friend” Lensky in a duel and sees his readiness now to kill his “relatives and friend of his” prince with his betrayal N, who invited him to his house.
Of course, Tatyana's words about her preserved love for Eugene cannot be understood straightforwardly, literally, but only in the context of the foregoing.

Those readers who believe that Tatyana really loves Onegin deep down, you can ask: “Why can she love this “fashion tyrant” with a “cold and lazy soul”? Because he refused to be her protector and savior? Because he killed her "brother"? For destroying her sister's happiness on the eve of the wedding? For killing her mother's dream of getting out of poverty and spending the rest of her days with Olga and her family on the rich Lensky estate? Or for his honest confession that he would "curse fate" by creating a family with her, where she, the "poor wife", would be "alone day and night"? For the guarantee of a new loneliness?
This “former Tanya” thoughtlessly forgave Onegin for the murder of “her brother”, and the current Tatyana fully shares the negative feelings of her mother
and Olga to Onegin, the destroyer of their hopes for Olga's family happiness.
Tatyana did not forget the truthful, frank words of the "gloomy demon" spoken in the garden:

Marriage will be torture for us.
As much as I love you,
Having got used, I will stop loving immediately;
Start crying: your tears
Don't touch my heart
And they will only piss him off.
(4, XIV)

Or, finally, to fall in love with him for publicly executing her on her name day, "on Saturday" January 12, 1824, the day she came of age? This event, of course, can be considered as the climax not only of their relationship, but of the entire novel, since it significantly influenced further destinies heroes.
We have in mind the moment of the ball in the middle of the evening, when Tatyana and Olga were brought to Onegin at the same time to choose a partner for the mazurka:

Buyanov, my fervent brother,
Led to our hero
Tatyana with Olga ... ..
(5, XLIV)

Before that, Onegin had already danced the waltz with Olga. Tatyana was a birthday girl, whom Onegin had already "revived his heart", congratulating her with a silent bow and "a gentle look of his eyes."
And so Tanya is brought to Onegin. It is quite clear that she dreamed of dancing with Eugene, as the happiness of her whole life, as the greatest bliss. To touch him, to walk with him around the hall to the music in full view of the whole audience - this would be the brightest, largest, unforgettable experience in her dull life.
Onegin, in accordance with the rules of decency, politeness, like a well-mannered dandy from the capital, like a gentleman, should have invited Tanya to this dance. He faced a dilemma: either to give Tatiana this dance and a happy memory of it for life, or to complete the far-fetched revenge on a friend, to commit either good or evil.
Onegin chose evil, as befits a "haughty demon", leaving the heartbroken Tatiana in the middle of the ball, "brilliant in all its glory", and leading her to the brink of death:

………….. promptly
Onegin went with Olga.
(5, XLIV)

The ball is over. The guests are sleeping. Onegin left. Insulted, humiliated, Tatyana is having a hard time with what happened.

Alone, sad under the window
Illuminated by the ray of Diana,
Poor Tatyana does not sleep
And looks into the dark field;
(6, II)

……………… disturbing
Her jealous longing
Like a cold hand
Her heart is squeezing, as if the abyss
Beneath it blackens and rustles...
"I'll die," Tanya says, "
But death from him is kind.
I do not grumble: why grumble?
He cannot give me happiness.
(6, III)

The image of Knight Grandison, the savior angel, began to dissipate.
Thus, there is no reason to talk about Tatiana's hidden affection for Onegin, about the presence of a love triangle and about the incompleteness of the novel. At the very least, it is clear that General N condescendingly looks at Onegin's obscene courtship of his wife and sends all Onegin's love "messages" with frank, immoral proposals for a love affair to the addressee.

12
Consider an important question that is controversial for readers and critics: how did Tatiana's relationship with her husband develop? To answer, let's turn to the expressive, bright non-verbal language of the heroine. Let's evaluate Tatyana's passage "through the hall" at a secular reception.

But the crowd hesitated
A whisper ran through the hall...
The lady approached the hostess,
Behind her is an important general.
(8, XIV)

The ladies moved closer to her;
The old women smiled at her;
The men bowed down
They caught the gaze of her eyes;
The girls passed quietly
Before her in the hall, and above all
And raised his nose and shoulders
The general who entered with her.
(8, XV)

It is natural to assume that initially the highest society of the capital met the village girl Tatyana with hostility and unfriendly. Many families who planned to intermarry with an important general adopted at court were offended that the general had chosen this poor village upstart.
The world, of course, used all means, including slander and gossip, to discredit Tatyana, to squeeze her out of her midst. An unfriendly, hostile environment lurked. Therefore, the general had to selflessly fight for his love. He was always next to Tatiana, was always ready to help her. (That is why all the letters addressed to Tatyana were looked through by him in order to protect her fragile inner world from "evil-looking ladies").
Therefore, at a secular reception, he walked behind Tatyana, as if covering her rear and closely observing the behavior of the guests, who were forced to bow to Tatyana when greeting the general.
The whole appearance of Tatyana when passing through the hall filled with important secular people testified that she was constantly aware of the presence behind her back of her faithful, devoted and beloved friend, husband and protector, and she felt completely safe: she was not alone in this hostile world , in this "whirlpool".

She was slow
Not cold, not talkative
Without an arrogant look for everyone,
No claim to success
Without these little antics
No imitations...
Everything is quiet, it was just in her,`
She seemed like a sure shot
Du comme il faut...
(8, XIV)

Undoubtedly, Tatyana highly appreciates her husband for the fact that he really turned out to be her guardian angel, for breaking the hoop of social isolation, making her life meaningful, helping to overcome the fear of dumbness, for gently, gradually overcoming her disbelief in love and restored trust in words, destroyed by Onegin, for removing the constraint from her mind, developing her speech, helping to show willpower and character, determination, perseverance and even courage in overcoming difficult personal psychological obstacles, to run a path of development equal to a decade in two years .
To Onegin now Tatyana seems to be "a stately, careless legislator of the hall" and

impregnable goddess
Luxurious, regal Neva,
(8, XXVII)

Although she is little interested in the "empty light", "tinsel", "masquerade rags" and her "success in the whirlwind of light." Tatyana in her thoughts and soul no longer separates herself from her husband, a military general, repeatedly wounded "in battles", proudly declaring to Onegin that she is not only "rich and noble", but also that "us", i.e. Our family is “caressed by the courtyard” that family “honor” is not an empty word for her, and Onegin’s frank proposals for a petty love affair are insulting to her.
"What a little!" - exclaims Tatyana about Onegin's "offensive passion." In a language accessible to Onegin, she explains to him that

………………. my shame
now everyone would be noticed
and could bring in society
you a seductive honour.
(8, XLIV)

In Moscow, at a ball in the Noble Assembly, Tatyana attracted the attention of Prince N with her “brilliant absence”, then she surprised me with her unwillingness to get acquainted with “this fat general”, then she struck me with her sincerity, purity, defenselessness, hidden suffering, “a living mind and will”, “heart fiery and gentle ”and ... .. with its inaccessibility.
Apparently, the general was tired in St. Petersburg of being persecuted by a crowd of vulgar, mercantile, vulgar and importunate brides. Therefore, he appeared at the brides fair in Moscow.
The lone general longed for true love and opted for an "innocent maiden", a "wild, sad, silent" country girl. He had to make serious efforts to get Tatyana's consent to marriage.

Why did Tatyana agree to marry the "fat general"? It is unlikely that a rural autistic girl would respond to her mother's request and tears, or she could be attracted by some material or prestigious interests. Previously, she resolutely refused three suitors, ignoring her mother's requests:

All exactly the same:
Neidu.
(7, XXV)

The decisive role, in our opinion, could be played by the deep faith of a naive rural girl, brought up by a nanny, in signs.

Tatyana believed the legends
common folk antiquity,
And dreams, and card fortune-telling,
And the predictions of the moon.
The omens worried her.
(5,V)

During the festive "Epiphany evenings" in the Larin's house

Servants from all over the court
They wondered about their young ladies
And they were promised every year
Husbands of the military and campaign.
(5, IV)

In addition, the third Christmas divination predicted Tanya's name of the future groom.

Frosty night, the whole sky is clear;
Luminaries of heaven ancient choir
It flows so quietly, so according to ...
Tatyana on the wide yard
In an open dress comes out ....
Chu... the snow crunches... a passer-by; Virgo
Flying on tiptoe towards him
And her voice sounds
More tender than flute melody:
What's your name? He looks
And he answers: Agathon.
(5, IX)

The superstition of the innocent Tatyana could be one of the most important reasons for her decision to marry, if we assume that the general's name was Agathon.
Note that Onegin's servants, the housekeeper and even his coachman had their own names, and for some reason Pushkin hid the name of the general and his last name.
The most ancient and revered name of Agathon was borne by the Pope, as well as the teacher of Euripides, a famous tragedian in ancient Greece. Like the name of the main character of the novel, this harmonious Greek name was used mainly in the common people.
It can also be assumed that, in accordance with Pushkin's principle of "gaiety" in the novel of "half-funny chapters", the general, as Onegin's paternal relatives, could bear the surname Onegin. Then all the Christmas predictions and Tatyana's secret dream came true at once: she became Tatyana Onegina, and not Princess N.
This cheerful version is supported by the prince's surprisingly calm attitude towards Onegin's defiant, obscene courtship of his wife in front of the eyes of the high society, hostile and envious:

But my Onegin evening is whole
Tatyana was busy alone ....
(8, XXVII)

Mind not listening to strict penalties,
To her porch, glass porch
He drives up every day;
He follows her like a shadow.
(8, XXX)

It is clear that Prince Agafon Onegin could not slam the door of his house and the doors of other capital houses in front of a close relative, so as not to give rise to gossip. And he was quite sure of the devotion and fidelity of his wife.

13
It remains to consider the important question why, after a three-year journey, Onegin came to the capital, instead of heading to the village to save his ruined estate. It is natural to assume that in the three years of the absence of the owner, the estate fell into complete decline. There could be no other outcome.
The Decembrist Bestuzhev informed the tsar: “The majority of the best nobility, serving in military service or capitals, entrusts the economy to mercenaries who rob the peasants, deceive the masters, and thus 90% of the estates in Russia are upset and mortgaged.”
Of course, after Onegin’s departure, the manager of the estate, together with neighboring landowners, offended by Onegin’s arrogance and not wanting to forgive him for the murder of young Lensky, seeing the economic helplessness of the “deep economy”, accustomed to “living in debts”, without denying himself anything, sent the lion’s share of his income estates into their pockets, informing Onegin about drought, crop failures, loss of livestock, low prices for products and the need to go into debt to meet his needs for money.
Pushkin previously noted the frivolity of Onegin, "having fun and luxury of a child", and his father, which led to the loss of "inheritance":

His father lived in debt
Gave three balls annually
And finally screwed up.
(1, III)

Gathered before Onegin
Lenders greedy regiment.
…………………………
Eugene, hating litigation,
Satisfied with his lot,
gave them an inheritance,
I don't see a big loss...
(1,LI)

Having inherited the rich estate of his uncle,

... our Onegin, a villager,
Factories, waters, forests, lands
The owner is complete, but hitherto
The order of the enemy and the squanderer,
(1, LIII)

"for the sake of boredom" sharply reduced the income of his estate, after

In his wilderness, the desert sage,
Yarem he is an old corvee
I replaced it with a light quitrent.
(2, IV)

After his departure, the manager, of course, restored the old order on the estate for his own benefit. Naturally, after three years of absence, Onegin, who got into debt,

By the will of Zeus
Heir of all his relatives
(1, II)

Appeared in the capital, hoping to find out the prospect of receiving a new inheritance from an unmarried

"kindred and friend"
(8, ХVIII)

Prince N, or at least borrow money from him to save the mortgaged estate.
Here lies the answer to another question: why, at the reception, among the “flickering faces” similar to “ghosts”, did Onegin even pay attention to some modest lady walking through the hall when he, “silent and foggy”, stood quietly "in the crowd of the chosen":

For everyone, he seems a stranger,
Flashing faces before him
Like a series of boring ghosts.
(8, VII)

He, of course, was waiting for the arrival of Prince N. And now the prince, raising "both his nose and shoulders", carefully looking around, appeared, but for some reason he walked behind the modest lady, whom Onegin began to carefully examine, since her "look vaguely reminded his forgotten traits.
That is why he began his conversation with the general with a question about this mysterious lady. And then two unexpected, smashing blows hit Onegin:

"Tell me, prince, don't you know,
Who is there in a raspberry beret
Are you talking to the Spanish ambassador?
The prince looks at Onegin.
– Aha! You haven't been in the world for a long time.
Wait, I'll introduce you. -
"But who is she?" - My wife. -
"So you're married! I didn't know before!
How long ago? - About two years. -
"On whom?" - On Larina. - "Tatyana!"
(8, ХVII - ХVIII)

The shocked Onegin "did not know the wound" that his hopes for a new inheritance were illusory, untenable, ephemeral. They instantly melted, and this circumstance, of course, shocked him. It was all the more insulting that the familiar “poor Tanya” from the “backwoods of a forgotten village” blocked his access to the inheritance.
And the very next day after the meeting, Onegin, “an invalid in love” and “extinguished ashes”, without memory “fell in love” with the princess, who was clearly indifferent to him:

There is no doubt: alas! Evgeniy
In love with Tatiana like a child.
(8, XXX)

Pushkin offered several explanations for Onegin's sudden love for Tatyana the Princess: her inaccessibility, annoyance, vanity or "youthful care" - love.

O people! everyone looks like you
On the progenitor Eva:
What is given to you does not attract,
The serpent is constantly calling you
To yourself, to the mysterious tree;
Give you the forbidden fruit:
And without that, paradise is not paradise for you ....
(8, XXVII)

What about him? what a strange dream he is in!
What moved in the depths
Souls cold and lazy?
Annoyance? vanity? or again
Care of youth - love?
(8, XXI)

Other versions are also possible. In particular, Onegin's black envy of other people's successes, joys, as the flip side of his sense of superiority over others, and the desire to destroy someone else's well-being, someone else's happiness, as he did earlier with Lensky and Olga. After all, Onegin himself,

Killing a friend in a duel
Having lived without a goal, without labor
Until the age of twenty-six
Languishing in idle leisure
No service, no wife, no business,
Couldn't do anything.
(8, XII)

Onegin's feeling of his own inferiority, inferiority aroused in him feelings of envy, hatred and revenge. Tatyana explains her persecution by Onegin precisely by the desire to receive in society a “seductive honor” from the conquest of an “impregnable goddess”.
A professional, unprincipled ladies' man, who in his early youth learned

…………… to be hypocritical,
Hold hope, be jealous
disbelieve, make believe
To seem gloomy, to languish,
(1, X)

He skillfully plays out love feelings in front of Tanya, remembering that just recently he "worried her heart."
What else can be expected from the "creator of hell", the "gloomy demon", which,
having killed his young friend, perhaps the failed new Byron, with a “ruthless hand”, he informs Tatiana of this “misfortune” in a letter with hypocritical regret:

Another thing tore us apart...
The unfortunate victim of the Lensky fall ...
From everything that is dear to the heart,
Then I broke my heart.
(8)

It is also possible that, in order to solve his material problems, the newly impoverished Onegin, always ready

…………… for the sake of money,
To sighs, boredom and deceit,
(1, LII)

Could make an attempt to play the love card of the now rich "humble girl" who previously dreamed of

…………..… with him someday
Complete the path of humble life!
(8, XXVIII)

And so the plan of a trip to his estate in order to save him from bankruptcy was postponed. Instead, he, having lost the remnants of his mind, begins to "chase" Tatyana.
Tatyana's last monologue put an end to their relationship. She left, and the humiliated Onegin, burned by the fire of pity of the generous Tatyana, heard the steps of her husband approaching.

We believe that Pushkin's "jolly" novel with "half-funny chapters" should have a happy ending. The general could inform Onegin that they recently learned from Praskovya’s letter that she had acquired the Onegin estate put up for sale for debts, became its sovereign mistress, and, happy, moved Olga and her family there, selling her village, and Tatiana is now “sheeping tears” because of childhood nostalgic experiences.

Note. The chronology of the novel "Eugene Onegin", associated with the clarification of some dates, and the reconstruction of the original Pushkin's plan for the end of this novel is set out in articles / 7-8 /.

14
Consider the erroneous assessments by critics Belinsky and Pisarev of the images of Praskovya, Olga and Lensky.
In the gallery of female images of the novel, a wonderful image stands out brightly. real woman- a hard worker, a caring mother, the keeper of the hearth Praskovya Larina.
Abandoned by fate from Moscow to the village, Princess Praskovya found in herself the strength, perseverance, courage, diligence, the talent to enter a completely new life, create conditions and ensure the life of the family and the whole village.
She quickly revealed the “secret” of how to “rule autocratically” with her husband: she shouldered all the responsibility and all the responsibilities for organizing and carrying out work on the estate on her fragile shoulders:

She is between business and leisure
Revealed the secret as a spouse
Autocratically manage,
And then everything went to become.
She traveled to work
Salted mushrooms for the winter,
Conducted expenses, shaved foreheads,
I went to the bathhouse on Saturdays
The maids beat angry -
All this without asking the husband.
(2, XXXII)

Rural “works” require dedicated efforts all year round. In winter, it is necessary to prepare labor tools, draft power, seed stock, preserve livestock, in spring - export fertilizers to the fields, ensure agrotechnical requirements for sowing, in summer - care for crops, control weeds and plant diseases, harvesting hay and fodder, in autumn - harvesting, ensuring its safety, conducting trade operations with dealers and merchants, knocking down prices, preparing firewood, preparing the village for the winter, as well as ensuring the socio-cultural activities of the inhabitants of the estate, medical care, holding holidays, since

They kept in a peaceful life
Sweet old habits.
(2, XXXV)

With all the above-mentioned huge loads, Praskovya Larina managed to take care of the children, received guests, and was a “faithful wife”.

.... Her husband loved her heartily,
Did not enter into her inventions,
In everything she believed carelessly,
he ate and drank himself in a bathrobe;
His life rolled on calmly.
(2, XXXIV)

In order to "attach" the 18-year-old Tatyana, the old woman Larina got into debt, undertook a tedious seven-day trip to Moscow "to the bride's fair" with almost no chance of success. Such is the nature of a real Russian woman-mother, who understands that life is based on constant hard work and family responsibilities, which very quickly turn them into old women.
Heavy, endless, exhausting, risky rural work, as a rule, is not appreciated by city dwellers, for whom the village in summer is only a place of rest and entertainment.
According to Belinsky, the educated "Onegin was wild in the company of the Larins." A strange statement, given that Dmitry Larin is a former general (brigadier), and Praskovya Larina is a Moscow princess.
“We, too,” continues the critic with a sense of “imaginary superiority” over the rural “calm and vulgar world,” “are decisively unable to support a prudent conversation about the kennel, about wine, about haymaking, about relatives.”
The vain, arrogant "deep economist" Onegin was "bored" by the rural "eternal conversation about rain, about flax, about the barnyard", because he, like the critic Belinsky, does not realize the connection of timely rain in the zone of risky farming with the prayers and hopes of the tillers , with crops, fodder, livestock productivity, estate income, and often with the very physical survival of the village and estate during a drought.
Onegin sincerely believed that his uncle, who left him "factories, waters, forests, lands, a garden", "golden meadows and fields", herds in the meadows, was only busy with the fact that

For forty years I quarreled with the housekeeper,
He looked out the window and crushed flies.
(2, III)

Pushkin described the transformation of the Moscow princess Praskovya into a hardworking and responsible rural worker and mistress of the house. In Moscow, a young princess

……………..was dressed
Always in fashion and to the face;
(2, XXXI)

Used to pee in blood
She is in the albums of tender maidens,
Called Polina Praskovya
And spoke in a singsong voice
The corset was very tight
And Russian N like N French
I was able to pronounce it through my nose.
(2, XXXIII)

When the new circumstances of life demanded a different behavior, she was transformed. In the village

………. soon everything was translated:
Corset, album, Princess Alina,
Rhymes sensitive notebook
She forgot.
(2, XXXIII)

Pushkin's words about the change of generations:

Alas! on the reins of life
The instant harvest of a generation,
By the secret will of Providence,
Rise, mature and fall;
Others follow...
(2, XXXVIII)

They talk about the need to transfer knowledge, skills, abilities to their heirs, as a necessary condition for ensuring the continuity of life and the continuation of traditions.
The youngest daughter Olga was the main hope of her mother to become the guardian of the family hearth and manager of the estate. In addition, charming, cheerful, cheerful Olga is destined to become a "faithful wife and virtuous mother." That is why the murder of Olga's fiancé on the eve of the wedding was a huge tragedy for the Larin family, including the poor widow Praskovya.
Unfortunately, with light hand Belinsky, there was a dismissive, biased, biased attitude of the reader towards these heroines. Olga, according to the critic, will eventually become "a dozen mistress, repeating her mother herself."
Further, Belinsky subjectively expands the list of claims against Olga: “Olga is a simple being”, and “not an ideal and poetic creature”; “Lensky adorned her with virtues and perfections, attributed to her feelings and thoughts that were not in her”; Olga "doesn't care whom to marry: a poet, a friend of her childhood games, or a lancer pleased with herself and her horse." No evidence is given, as there is none in the text of the novel.
Groundlessness, far-fetchedness, groundlessness of these claims is obvious to the thoughtful reader.
Lensky, “a little boy, captivated by Olga,” a poet and romantic, sees a goddess in front of him and for many years dreams of “connecting” with “ kindred spirit».

Always, everywhere one dream,
One habitual wish
One familiar sadness.
Nor the cooling distance
Not long years of separation
Nor to the muses this watch,
Nor foreign beauty,
No noise of fun, no science
Souls have not changed in him,
Warmed by virgin fire.
(2, XX)

Olga, of course, is psychologically older than Vladimir and is ready to be his reliable support in life and a true friend, just like the Moscow princess Praskovya in relation to the helpless rural landowner Dmitry Larin.

15
We meet young Olga during the period of her preparation for the transition to adulthood. Before us is a charming creature that grew up in nature, the personification of love of life, simplicity, sincerity, hope and joy of parents.

Always humble, always obedient,
Always as cheerful as the morning
How simple is the life of a poet,
Like a kiss of love is sweet;
Eyes like the sky, blue
Smile, linen curls,
Movement, voice, light camp,
Everything in Olga ... but any novel
Take it and find it right
Her portrait: he is very sweet,
I used to love him myself.
(2, XXIII)

True, Pushkin admits that this “cute portrait” was so often met by many authors that he managed to get bored of him “immeasurably”, although this remark has nothing to do with the characterization of Olga herself.
A significant achievement of the poet is the poetic depiction of a dynamic, colorful "picture happy love"Olga and Vladimir, touching love, childishly naive, pure and trusting, revealing itself before the eyes of the reader.

And crowns were read to the children
Friends, neighbors, their fathers.
(2, XXI)

They are happy to meet, communicate, walk together, read novels and elegies, play music, play chess. The young poet is sure that he is in love with an extraordinary love that is not available to mere mortals.

Ah, he loved, as in our summers
They no longer love; as one
The mad soul of a poet
Still condemned to love.
(2, XX)

So what? intoxicated with love,
In the confusion of tender shame,
He only dares sometimes
Encouraged by Olga's smile,
Play with a developed curl
Or kiss the edge of clothes.
(2, XXV)

Onegin, regretting that Lensky prefers to spend his evenings with the Larins, wished to see his bride, Olga. When Eugene, "a disabled person in love", met Olga, he immediately appreciated this wonderful girl, who

In the wilderness, under the shadow of the humble,
Full of innocent beauty
Bloomed like a hidden lily of the valley,
Unknown in the grass deaf
No moths, no bees.
(2, XXI)

He, amazed at the “freshness of her ruddy”, from her femininity, spontaneity, beauty, cheerfulness, sincere gaiety, from her dissimilarity to the “note coquettes” previously available to him, froze

Before this clarity of sight,
Before this gentle simplicity,
Before this frisky soul!
(6, XIV)

He was suddenly seized with a hidden, black envy for real feelings and for the pure, genuine love of a young friend and his bride. After all, he

He is in his early youth
Was a victim of violent delusions
And unbridled passions.
(4, IX)

He can only shuffle the deck from the "swarm of young traitors", remembering their "cold-blooded debauchery", tedious threats, deceptions, false oaths and tears. The feeling of superiority over Lensky in matters of "science of tender passion" faded, withered, withered. Onegin cannot hide his negative emotions. Bored, gloomy, dissatisfied with everything, he tries to leave the Larin family faster, urging the horses on.

They are the dearest of the shortest
They fly home at full speed.

“However, it is already dark in the field;
Hurry! go, go, Andryushka!
What stupid places!
(3, IV)

He is annoyed by nature, the moon, the sky, and he splashes out his bad mood on a friend. After spending the whole evening at the table with Olga, Praskovya and Lensky, he pretended that he did not understand “who Olga is”, with whom he had specially come to get acquainted. Onegin speaks disapprovingly of the cheerful, energetic, beautiful Olga, wanting to deeply offend and offend Vladimir.

“Olga has no life in features.
Exactly the same as Vandy's Madonna.
She is round, red-faced,
Like that stupid moon
In this stupid sky."
Vladimir dryly answered
And then he was silent the whole way.
(3,V)

This feeling of hidden envy for a friend will aggressively spill out at Tatyana's name day.

16
A lot of poisonous, critical arrows were fired by Belinsky and Pisarev at Vladimir Lensky, a young romantic poet of "eighteen years" in love, who

…. from foggy germany
Bring the fruits of learning:
freedom dreams,
The spirit is ardent and rather strange,
Always an enthusiastic speech.
(2, VI)

Lensky's soul ignited with poetic fire "under the sky of Schiller and Goethe."

The purpose of our life for him
Was a tempting mystery
He broke his head over her
And I suspected miracles.
(2, VII)

Lensky is open to the world and people, sincere, trusting, honest, reliable. Ahead of the young poet-dreamer is his whole life: accomplishments, fame, love, family, true friends. Yes, he is a typical romantic, he has no life experience yet, he does not know real life, he lives in an idealized world. But he is still too young and he is in love.

He sang love, obedient to love,
And his song was clear
Like the thoughts of an innocent maiden,
Like a baby's dream...
He proudly preserved in songs
Always high feelings.
The impulses of a virgin dream.
(2, X)

Resentment, regret
Good for pure love
And glory sweet torment
It was early on that blood was agitated in him.
(2, IX)

His thoughts and feelings were not touched by the "noisy conversations" of the "gentlemen of the neighboring villages", who considered him a "half-Russian neighbor." He was looking for conversations that would "shine with feeling, poetic fire, sharpness, intelligence, art of community."

In the desert, where one Eugene
Could appreciate his gifts,
(2, XI)
……………………………
They agreed. …………
And soon they became inseparable.
(2, XIII)

The poet's passionate conversation,
And the mind, still in unsteady judgments,
And eternally inspired look, -
Everything was new to Onegin.
(2, XV)

Disputes with Onegin on various issues testify to the rather high intellect of Lensky, his extensive knowledge and the presence of his own position.

Between them everything gave rise to disputes
And it got me thinking:
Tribes of past treaties,
The fruits of science, good and evil,
And age-old prejudices
And fatal secrets of the coffin,
Fate and life in turn
Everything was judged by them.
(2, XVI)

Lensky is already capable of independent, sharp criticisms of Onegin: "I hate your fashionable world." Onegin, who has significant life experience, patronizes his young friend.

He listened to Lensky with a smile.
And I thought: it's stupid to disturb me
His momentary bliss;
And without me the time will come;
Let him live for now
May the world believe in perfection;
Forgive the fever of youth
And youthful fever and youthful delirium.
(2, XV)

And now, on the eve of the wedding, the young poet suddenly dies in a duel from the “friendly hand” of Onegin.
“My friends, do you feel sorry for the poet?” Pushkin could have asked famous critics. “It’s not a pity at all!” Pisarev and Belinsky would answer him in unison.
According to Pisarev, the society of the "stupid", "stunned from idleness and boredom" Lensky "is completely unbearable for any more or less serious and thinking person."
Belinsky is sure that people like Lensky, "for all their indisputable merits" usually become "the most obnoxious, the most empty and vulgar people" with "pretensions to greatness and a passion to scribble paper." Pisarev shares this opinion with the amendment that he sees in Lensky "no indisputable merits."
In Lensky, according to Belinsky, “there was a lot of good, but the best thing is that he was young and died in time for his reputation. It was not one of those natures for which to live means to develop and move forward.
These unsubstantiated, preconceived, far-fetched accusations by the critics crumble if you delve into the text of the novel.
We can confidently say that the portrait of Lensky, the romantic poet, is an exact image of Pushkin himself: Pushkin was such a romantic at the Lyceum "at eighteen" when he began writing the romantic poem "Ruslan and Lyudmila", with the appearance of which his all-Russian glory.
Their spiritual kinship is evidenced by the fact that Lensky in his elegies uses the same images, rhymes, epithets that were used by Pushkin the lyceum student and his peers. “Friends of Lyudmila and Ruslan” will no doubt agree with this.
And if, according to Belinsky, Tatyana, “a mute village girl with childhood dreams, was able to turn into a secular woman capable of expressing her feelings and thoughts in words,” then why should one categorically deny development to a promising young man, still almost a boy, “an admirer of Kant” , with a university education, fluent in the German poetic language of "Schiller and Goethe", the romantic poet Lensky in love, who with his young wife could move to St. Petersburg, enter the literary "workshop of fervent people", to which Pushkin himself "belongs", and later become a remarkable poet-realist.

Maybe it's for the good of the world
Or at least for glory was born;
His silent lyre
Rattling, continuous ringing
I could lift it for centuries. poet,
Perhaps on the steps of light
Waiting for a high level.
His pained shadow
Perhaps she took with her
Holy secret, and for us
The life-giving voice died.
(6, XXXVII)

Pushkin leaves such a high destiny to the reader as the main option for the development of Lensky's fate, and it is unreasonable to neglect the author's opinion. Moreover, Pushkin does not ask, but speaks in the affirmative and explains his thought:

My friends, you feel sorry for the poet:
In the color of joyful hopes,
They have not yet been accomplished for the light,
A little from baby clothes,
Withered!
(6, XXXVI)

He no longer exists. Young singer
Found an untimely end!
The storm has died, the color is beautiful
Withered at the dawn,
Extinguished the fire on the altar!..
(6, XXXI)

17
“In order to complete the personality of Lensky,” Pisarev declares, “it is necessary to analyze his duel with Onegin. Here the reader absolutely does not know to whom to give the palm in terms of stupidity - Onegin or Lensky.
Pisarev points out the deception of Onegin by Lensky, who promised that only “his family” will be on the name day, Onegin’s desire to take revenge for the fact that he got to the evening with numerous guests, and the fact that Lensky “climbs the walls” and sends a challenge to his friend to a duel for allegedly insulting him,
Yes, Olga refused to dance with Lensky, because she had previously recklessly “gave her word” to Onegin. Pisarev argues that Lensky "had no reason to be angry with either Onegin or Olga." Belinsky also believes that Lensky "out of an empty reason challenged Onegin to a duel."
Let us show that these accusations of the critics are groundless. Let's trace the development of events that led to the tragic denouement. Autumn has come - the most boring time in the village.

That year the autumn weather
Stood in the yard for a long time
Winter was waiting, nature was waiting.
Snow fell only in January.
(5, I)

Once Lensky, talking with Onegin, suddenly recalls Onegin's invitation to Tatyana's name day.

………………... Someday
Let's go to them; you oblige them;
And then, my friend, judge for yourself:
Looked twice and there
You won't even show your nose to them.
Yes, that's ... what a blockhead I am!
You are called to them this week.
(4, XLVIII)

"I?" - Yes, Tatyana's name day
On Saturday. Deer and mother
They ordered to call, and there is no reason
You are not invited to come. -
But there will be a lot of people
And all that rabble…”
(4, xlix)

Lensky is surprised at Onegin's words and asks himself the question of who could be there, if until now, due to Tanya's well-known dislike for guests, no one has ever appeared at her name day.

And no one, I'm sure!
Who will be there? own family.
Let's go, do me a favor!
Well? - "I agree". - How nice you are!
(4, xlix)

When the friends drove into the Larins' yard belatedly, they realized that

In the morning, the Larins' house was guests
All full; whole families
Neighbors gathered in wagons,
In wagons, in carts and in sledges.
(5, XXV)

Without doubting the veracity of Lensky, Onegin understood that the current sudden influx of guests at Tatyana's name day is connected with their unfading interest in gossip and rumors about his summer walks with Tanya in the garden at night (Chapter 4, stanza XVII).
Eugene could turn around and go home, but he showed character and decided to congratulate Tatiana himself. Therefore, now he had no reason to take revenge on Lensky for deceit.
Neighbors carried out extensive preparatory work for Tatyana's name day. With them

The company commander arrived;
Entered ... Ah, the news, but what!
Music will be regimental!
The Colonel sent it himself.
What joy: there will be a ball!
(5, XXVIII)

The gallant Lensky invites the birthday girl Tatyana to the first dance.

Monotonous and insane
Like a whirlwind of young life,
The waltz whirl is spinning noisy.
(5, XLI)

Hidden envy for someone else's fun, for someone else's joy, caused in Onegin destructive feelings of revenge, anger and betrayal. He pretended that Tatyana's violent emotions, awakened at his sudden appearance, became an unpleasant surprise for him and laid the blame for this on ... his friend Lensky.

An eccentric, having got to a huge feast,
Was already angry. But the languid maiden
Noticing the tremulous impulse,
Lowering your eyes in annoyance,
He pouted and, indignantly,
He swore to infuriate Lensky
And to take revenge.
(5, XXXI)

By the time the dance began, Tatyana had already overcome her excitement caused by the sudden appearance of Onegin, accepted his congratulations, looking into his eyes:

……..virgins languid appearance,
Her embarrassment, fatigue
Pity was born in his soul:
He silently bowed to her,
But somehow the look of his eyes
He was wonderfully gentle...
... this look of tenderness expressed:
He revived Tanya's heart.
(5, XXXIV)

Therefore, Onegin had no reason, except for envy and anger, for revenge on Lensky. Nonetheless,

Now, triumphant in advance,
He began to draw in his soul
Caricatures of all guests.
(5, XXXI)

And Onegin takes revenge on everyone in a row: Lensky, Praskovye, guests, Tatiana, refusing to dance with her the mazurka, which she dreamed of.

Approaching the moment of revenge,
Onegin, secretly smiling,
Suitable for Olga.
(5, XLI)

Onegin invites Olga to the waltz, talks animatedly with her and after a break

Again with her he continues the waltz;
Everyone is in amazement. Lensky himself
Doesn't believe his own eyes.
(5, XLI)

Onegin again invites Olga to the mazurka, naturally angering Lensky.

In jealous indignation
The poet is waiting for the end of the mazurka
And calls her to the cotillion.
(5, XLIV)

But she can't. It is forbidden? But what?
Yes, Olga has already given her word
Onegin. Oh god, god!
What does he hear? She could...
Lensky is unable to bear the blow;
Cursing women's pranks,
It turns out, requires a horse.
And he jumps. pair of pistols
Two bullets - nothing more -
Suddenly, his fate will be resolved.
(5, XLV)

Disillusioned during the last dance

…………. Deer yawned,
I searched with Lensky's eyes,
And an endless cotillion
She was tormented, like a heavy dream,
(6, I)

And Onegin, noticing that Vladimir disappeared in anger,

…………. we drive boredom again,
Near Olga plunged into thought,
Satisfied with his vengeance.
(6, I)

According to Pisarev, "the whole blow was that Olga did not go to dance the cotillion with him." In fact, the impressionable, trusting, open, sincere Lensky was suddenly hit by three blows at once: the betrayal of a friend whom

Your trusting conscience
He casually exposed
(2, XIX)

And in whose devotion to the ideals of friendship I was sure:

He believed that friends were ready
For his honor, accept fetters
And that their hand will not tremble
Break the slanderer's vessel;
(2, VIII)

Imaginary betrayal of the bride on the eve of the wedding:

She knows the trick
Already learned to change
(5, XLV)

And the gloating whisper of "amazed" guests.
It is clear that, by feuding with Onegin, the offended neighbors have long tried to destroy the friendship of two inseparable friends and thus isolate Onegin.
It is obvious that from all sides for many months Lensky was pestered by rumors that Onegin was a well-known metropolitan “corruptor”, that the gullible poet warmed a dangerous snake on his chest, and that soon after the wedding he would recognize Onegin “in fact”, when he was “happy and horns." And with his offensive, defiant behavior at the ball, Onegin began to confirm their predictions ahead of schedule.
In the morning Onegin received a challenge to a duel. Having visited the Larins in the afternoon, Lensky unexpectedly saw that "he is still loved" by Olga.

Already he, we torment with repentance,
Ready to ask her forgiveness
Trembles, finds no words,
He is happy, he is almost healthy.
(6, XIV)

But he cannot forgive his friend Onegin for black betrayal.

And again pensive, dull
Before my dear Olga,
Vladimir has no power
Remind her of yesterday.
(6, XVII)

He thinks: “I will be her savior.
I will not tolerate a corrupter
Fire and sighs and praises
Tempted a young heart."
(6, XVII)

18
The "neighborhood", which Onegin contemptuously called "rabble", decided to take advantage of the opportunity to deal with Onegin, even risking the life of the young poet. Their representative, the unprincipled, ruthless Zaretsky, became Lensky's second.

In duels, a classic and a pedant,
He loved the method out of feeling,
And stretch the man
He did not allow somehow
But in the strict rules of art,
According to all the legends of antiquity.
(6, XXVI)

However, in this case, in violation of many provisions of the dueling code, he did everything so that the reconciliation of friends did not take place and the duel ended fatal, since Onegin, in essence, did not have a second. Any result of the duel suited the neighbors as revenge on Onegin.
On the morning of the day after the ball, Zaretsky appeared at Onegin's house and

…. after the first hello
Breaking off the conversation
Onegin, grinning his eyes,
He handed me a note from the poet.
(6, VIII)

It was pleasant, noble,
Short call, il cartel:
Courteously, with cold clarity
He called his friend Lensky to a duel.
Onegin from the first movement,
To the ambassador of such a commission
Turning around, without further ado
Said he was always ready.
(6, IX)

Having received Onegin's reckless consent to the duel, Zaretsky immediately left his house, fearing that Onegin would come to his senses:

Zaretsky got up without explanation;
Didn't want to stay
Having a lot to do at home
And immediately went out
(6, IX)

Without agreeing to meet with Onegin's second in order to stipulate the terms of the duel and make an attempt at reconciliation in accordance with the rules.
Learning about the upcoming duel, Lensky rejoices like a child with a new toy.

Now it's a holiday for the jealous!
He was afraid that the prankster
Didn't make a joke somehow
Inventing a trick and chest
Turned away from the gun.
(6, XII)

A duel, as a procedure for restoring honor, is associated with an assessment of the degree of insult. The insult to Lensky was so insignificant that it was enough for Onegin to demonstrate fearlessness and show readiness for battle to remove it. Accepting the challenge, Onegin shows that he considers Lensky his equal, and thus rehabilitates his honor.
The next day, Zaretsky showed up early at the house of Lensky, who had not slept all night, writing romantic poems and lamenting his fate.

And finally before dawn
Bowing your weary head
On the buzzword ideal
Quietly Lensky dozed off;
But only sleepy charm
He forgot, already a neighbor
The office enters the silent
And wakes up Lensky with an appeal:
“It’s time to get up: it’s already seven o’clock.
Onegin is truly waiting for us.”
(6, XXIII)

Onegin overslept and was several hours late for the duel. In this case, Lensky's second could have credited Onegin with a shameful defeat due to failure to appear, but Zaretsky, the village mechanic, preferred all this time to “condemn the millstones” of the mill so that Lensky would not leave the place of the duel.
Seeing with amazement a servant of Onegin, a Frenchman, “an honest fellow”, represented by a second, Zaretsky “bit his lip” from an unheard-of insult: after all, he was humiliated, equated to a lackey, which was a sufficient reason to stop the fight (according to the rules, the seconds should be equal in status and independent of the duelists).
But Zaretsky chose not to notice the humiliation and entered into an “important contract” with the “honest fellow”, then put the “embarrassed Guillot” “for the near stump” and took over all the functions of the duel leader.
Onegin, once again violating the rules of the duel, turned directly to Lensky with an indirect offer of a truce and, judging by the intonation of the answer, received ... .. consent.

Onegin Lensky asked:
"Well, start?" - Let's start, perhaps -
Vladimir said.
(6, XXVII)

At this point, Zaretsky was obliged to offer the opponents a truce, but he once again ignored the rules. The experienced duelist Onegin had every right to say to Lensky: “Our seconds grossly violate the dueling code! Vladimir, I see that you do not insist on a duel, and even more so I. I express regret over my misbehavior at the ball and offer you my apologies.” Since the insult to Lensky was very minor, these words of apology, in accordance with the rules, were enough to end the duel.
Such an outcome of the case would mitigate Onegin's guilt before his young friend. After all

…………….. Evgeniy
Alone with your soul
He was dissatisfied with himself.
(6, IX)

He blamed himself for many things:
First of all, he was wrong
What is above love, timid, tender
So the evening joked casually.
And secondly: let the poet
Fooling around; at eighteen
It is forgiving. Evgeniy,
Loving the young man with all my heart,
Was supposed to render myself
Not a ball of prejudice,
Not an ardent boy, a fighter,
But a husband with honor and intelligence.
(6, X)

He could find feelings
And not to bristle like a beast;
He had to disarm
Young heart.
(6, XI)

But Zaretsky again pretended not to have heard anything and continued to prepare for the duel.

Zaretsky thirty-two steps
Measured with excellent accuracy,
Friends spread on the last trace,
And each took his gun.
(6, XXIX)

And here in Onegin, an adult and an experienced fighter, who had long ceased to love "both scolding and saber and lead", pride, selfishness, cowardice, indifference, betrayal and willingness to submit to the pressure of "public opinion" of the rural "rabble" took over.

Besides - he thinks - in this matter
The old duelist intervened;
He is angry, he is a gossip, he is a talker...
Of course, there must be contempt
At the cost of his funny words,
But the whisper, the laughter of fools...
And here is the public opinion!
Spring of honor, our idol!
And this is where the world revolves!
(6, XI)

Instead of demanding that the head of the duel Zaretsky draw up the duel protocols, the well-slept, unlike Lensky, imperturbable Onegin preferred to shoot his young friend in cold blood, while Lensky would probably shoot “in the thigh” to this “prankster”, as he called Onegin.
It is no coincidence that Onegin, at a reception in the capital, “seems to be a stranger to everyone,” because his activities leave behind, in addition to “frozen corpses”, only

Forgotten enemies,
Slanderers, and evil cowards,
And a swarm of young traitors,
And a circle of contemptible comrades.
(8, XXXVII)

After the cold-blooded murder of the young poet, Onegin, “drenched in instant cold,” hypocritically depicts grief, like Zaretsky, who begins to “carefully” treat the murdered Lensky. In fact, Onegin does not mourn the life of Lensky, but regrets his “uniform” spattered with blood.

Onegin hurries to the young man,
Looks, calls him ... in vain
(6, XXXI)

In the anguish of heart remorse,
hand holding a gun,
Yevgeny looks at Lensky.
"Well? killed,” the neighbor decided.
Killed!.. With a terrible exclamation
Struck, Onegin with a shudder
He leaves and calls people.
Zaretsky carefully puts
On the sleigh the corpse is icy;
He brings home a terrible treasure.
(6, XXXV)

Further, the killers of the "young singer" jointly develop measures to avoid punishment: they declare Lensky a suicide and bury him "by the stream in the thick shade" away from his parents' graves, outside the cemetery, thus punishing him once again posthumously.
In our opinion, Lensky had no less important reasons for challenging Onegin to a duel than Pushkin for challenging Dantes. Lermontov's famous lines dedicated to Pushkin can be attributed to the tragic fate of the "unknown but sweet singer" Lensky:

The poet is dead! - slave of honor -
Pal, slandered by rumor,
With lead in my chest and a thirst for revenge,
Hanging your proud head!

And he is killed - and taken by the grave,
Like that singer, unknown, but sweet,
The prey of jealousy is deaf,
Sung by him with such wondrous power,
Struck, like him, by a ruthless hand.
(M.Yu. Lermontov. "On the death of a poet")

Thus, it is shown that the assessment of the images of Praskovya, Olga and Lensky by critics Belinsky and Pisarev cannot be considered objective and fair. They did not notice the sinister role of the local nobility in the murder of Lensky at all.

19
Let us consider in detail other very controversial statements by Belinsky and Pisarev about the novel "Eugene Onegin". In 1844, 13 years after its publication, Belinsky was sure that in the novel "Eugene Onegin" "much is outdated now" and that "a genius never forestalls its time." And Pisarev, after another 20 years, generally considers the novel "Eugene Onegin" "alien to reality" ....

Epigraphs play an important role in the composition of the novel, they serve as a kind of key to revealing the author's point of view on the events described and the images of the characters.
Therefore, in order to assess the image of Onegin and the content of the entire novel as a whole, it is important to understand the meaning of the French epigraph, which was originally referred by the author only to the first chapter describing Onegin's personality, and later became an epigraph to the entire novel, i.e. the author significantly expanded the prevalence of the main character traits of this image, showed its volume, typicality, emphasized the presence of many people of this type in society, which gives reason to introduce the concept of "oneginism".
Let's think about this epigraph to the novel. "Imbued with vanity, he possessed, moreover, a special pride, which prompts him to admit with equal indifference to his good and bad deeds - a consequence of a sense of superiority, perhaps imaginary."
Onegin’s “special pride” is pride, the main mortal sin, and combined with arrogance, vanity, indifference, selfishness, contempt for people and a sense of superiority over them, it gives rise to a ruthless destroyer, an “arrogant demon”, “looking at Napoleons” and dreaming use "millions of two-legged creatures" as a "tool" to satisfy their passions - power-hungry, material, loving, conceited...
Pride suffered the solar angel Lucifer, who challenged God himself and was expelled from paradise for this.
Onegin is not a “suffering egoist”, as Belinsky thinks, but an egoist who brings suffering to other people, more precisely, a person suffering from the “Eugene Onegin syndrome” - an organic rejection of someone else's happiness, someone else's success.
“Betrayed by idleness”, “languishing with spiritual emptiness”, he is looking for those responsible for his life failures. To such a person

……. alien pleasure
And everything that pleases, lives,
All that rejoices and glitters
Brings boredom and languor
On a soul that's been dead for a long time
Everything seems dark to her.
(7, II)

The feeling of dissatisfaction, the melancholy that haunts him everywhere, deprives him of the joy of being and encourages him to revenge, to destructive actions, which, in turn, bring him satisfaction.
His uncontrollable energy inspires fear among "prudent people", among whom he can

Become a fake weirdo
Or a sad madman
Or a satanic freak,
Or even a demon…….
(8, XII)

Pisarev's profoundly erroneous, internally contradictory conclusion that “we are absolutely not connected with the Onegin type deserves separate consideration; we owe him nothing; this type is sterile, incapable of either development or rebirth; Onegin's boredom can produce nothing but absurdities and vileness."
However, one should agree with that part of this judgment, where it is stated that the Onegin type can "produce" a lot of "absurdities and nasty things."
Indeed, as history has shown, the Onegin type

With his immoral soul
Selfish and dry
A dream betrayed immeasurably,
With his embittered mind,
Boiling in action empty
(7, XXIII)

Able to develop, capable of generating "Oneginism" and further - "demonic".
“Oneginism” is the destructive actions of individuals who realize their pride, their sense of superiority, “perhaps imaginary”, over the inferior, in their opinion, human herd of “two-legged creatures”, whom they “despise in their souls”:

Who lived and thought, he cannot
Don't hate people in your heart.
(1, XLVI)

“Oneginism” is the inability and unwillingness to create, to work constructively, it is the conscious or unconscious desire of the “arrogant demon” to overthrow, to deny the existing, to solve problematic issues by immoral means down to the most extreme.
In order to create, build, invent, teach, educate, create, “hard work”, knowledge, talent, skill, abilities and understanding that “morality is in the nature of things” are required.
And if you “learned a little something and somehow”, if “stubborn work” is “sickening” for you, if you are “fieryly eloquent” and your “sharp, chilled mind” is capable of “destroying your rivals” with “caustic slander”, if you are ready to “bristle like a beast” at any moment, then you begin to “involuntarily indulge in dreams” and make plans to realize your unclaimed potential.
It will not be difficult to find like-minded people who will appreciate you, support you and offer a theoretical justification for destructive ideas on a global scale under the guise of fabulous promises to the people of a bright future in the realm of freedom, equality, and fraternity.
So "Oneginism" is gradually transformed into "demonic".

Demons rush swarm after swarm ....
Endless, ugly….
The demons swirled around….
How many of them!
(A.S. Pushkin. "Demons")

Humanity would be much happier (or much less unhappy) if it could direct the energy of extraordinary personalities into the mainstream of creation and humanism, if Marx lectured at the university all his life, Lenin practiced as a lawyer, Stalin taught at the seminary and wrote lyric poems, and Hitler painted pictures.
Even during Pushkin's lifetime, young people received university education in Europe, who later created the demonic theory of "dictatorship and class struggle", the implementation of which in practice in Russia led their students to discover a new "class" - the class of "enemies of the people", subject to ruthless destruction during many decades, because all the people, except for the leader, were considered a potential "enemy of the people."
"Demonism" is destructive aspirations or actions organized groups, unions, parties, alliances or other structures united by the common goal of overthrowing power, ideology or religion, program, charter, "Manifesto" or "Revolutionary Catechism", and, of course, an indisputable leader.
All this later found an artistic embodiment in Dostoevsky's novel "Demons", the epigraph to which the author chose Pushkin's words from the work of the same name.
"Demonism" is a temporary triumph of the system of violence and terror, enslavement and obscurantism after the seizure of power by "demons" and the rejection of universal morality, conscience, morality and the universal commandment "Thou shalt not kill."
Confirmation of the fact that when drawing up the plan for the continuation of the novel "Eugene Onegin" Pushkin's realistic thought moved in the direction from the image of Onegin to "Oneginism" and "devilism" can be seen in the last stanza of the seventeenth chapter of this novel that has come down to us.
Onegins of all stripes, "enemies of order", "there is nothing to do" gathered, "just to spend time" and dispel their "yearning laziness":

They had their gatherings
They are over a cup of wine
They are over a glass of Russian vodka
(10, XIII)

They had conversations.

First these conspiracies
Between Lafitte and Clicquot
There were only friendly disputes,
And didn't go deep
In the heart of rebellious science,
It was all just boredom
idleness of young minds,
Fun adult naughty.
……………………………..
And gradually with a secret network
Russia ………………
(10, ХVII)

Was covered.

Our king was dozing………..
(10, ХVII)

From the messenger of God, the six-winged seraph, Pushkin received
prophetic gift:
Arise, prophet, and see, and listen,
Fulfill my will
And, bypassing the seas and lands,
Burn people's hearts with the verb.
(A.S. Pushkin. "The Prophet")

With the look of the prophet, Pushkin saw what Dostoevsky later wrote about: “They will start a revolt in Russia under the guise of a European revolution, they will start a revolt with atheism and the robbery of all wealth, they will begin to overthrow religion, destroy temples, flood the world with blood.”
When Pushkin felt that the planned continuation of the "half-funny", "half-sad" realistic novel"Eugene Onegin" turns into a tragic, opposite in spirit work, saturated with violence and tears, then (October 19, 1830) he made a note that the tenth chapter of the novel was destroyed, both in manuscript form and in the form of an unrealized plan. This is our version.
The future confirmed the poet's pessimistic foresight: his poetry, praising the "unoppressed people" and "fallen slavery" in the "fatherland of enlightened freedom", was rejected, his call: "God forbid to see the Russian rebellion, senseless and merciless" was drowned out by Nekrasov's phrase: " the case is strong when blood flows under it”, and instead of “thoughts of high aspiration”, “good feelings” and “mercy for the fallen”, Lenin’s demand was heard to “strengthen the mass character of terror”, instead of his songs (originally Pushkin called the chapters of the novel “Eugene Onegin” songs) sounded the Bolshevik “song of hatred and revenge” (the newspaper “Pravda” of August 31, 1918) and the anthem: “we will destroy the whole world by violence”, and the slogan of the day was the phrase: “with an iron hand we will drive humanity into happiness”.
History has confirmed the idea of F.M. Dostoevsky that "Pushkin is a prophetic phenomenon." In a speech in 1880, Dostoevsky undoubtedly pointed to the connection of his novel The Possessed, written in 1872, with Pushkin's "prophecy and indication."
The brilliant poet and thinker absorbed the historical bloody experience of Europe, in particular the Great French Revolution of 1789, and the Pugachev uprising, and therefore his passionate call to the peoples of Russia is still very relevant not to resort to violent methods of solving problematic issues, to revolutions and riots. . Therefore, Belinsky's opinion that "genius never anticipates its time" is deeply mistaken.
The past two centuries after the appearance of the novel "Eugene Onegin" clearly showed that the judgments of Belinsky, Pisarev, modern Pushkin scholars about the obsolescence of the novel, about turning it into only a literary or cultural monument of Russia at the beginning of the 19th century, are untenable and unfounded, and "Oneginism" and "devilry" reached an extraordinary scale of development.
And in our time, "Onegin" riots and "revolutions" often arise in one country or another. The use of institutions of democracy, human rights, freedom of speech, the latest types of communications and the Internet allow the modern "Oneginism" and "devilism" to achieve amazing results in their destructive activities.
Pushkin foresaw this too:

With the sonorous names of equality and freedom,
As if intoxicated, the peoples rage.

Therefore, the relevance of the ever-living novel "Eugene Onegin" is beyond doubt.
In this paper, critical remarks are made on some of the conclusions of Belinsky's articles on the novel "Eugene Onegin", but, paying tribute to the famous critic for the high appreciation of Pushkin's works and for his sincere love for the poet, we will end this article with his statement: "Let time pass and bring with new needs, new ideas; Russian society ..... will always love this poem, will always stop on it with a look full of love and gratitude ... ". Time has fully confirmed the validity of this thought.

LITERATURE
1. Rozhinsky Yu.I. Riddles of the novel
A.S. Pushkin "Eugene Onegin".
Kharkiv. Publishing house "Finart", 2014
- 124 p. ISBN 978-966-8766-80-0
2. Pushkin A.S. Eugene Onegin. novel in
verse // Full. collected works in 10 t. L.,
1978. Vol. 5.
3 Belinsky V.G. Alexander's writings
Pushkin. Articles eight and
ninth. "Eugene Onegin" // Full.
coll. op. M., 1955. T. 7.
4 Pisarev D. I. Pushkin and Belinsky (1
ch.). "Eugene Onegin" //Coll. op.
in 4 vols. M., 1956. T. 3.
5. Rozhinsky Yu.I. Autism Tatiana
Larina - artistic discovery
A.S. Pushkin, neizvestniy-
geniy.ru›cat/literature/stati/…
6. Rozhinsky Yu.I. What is Oneginism.
readalnya.ru›work/1040054/
7. Rozhinsky Yu.I. Chronology of the novel
A.S. Pushkin "Eugene Onegin",
litprichal.ru›work/202598/
8. Rozhinsky Yu.I. Unrealized ending
novel by A.S. Pushkin "Eugene
Onegin, neizvestniy-
geniy.ru›cat/literature/stati…

, "the type is still the only one in our poetry, before which Pushkin's soul bowed with such love as before a native Russian creation" .... All this is Pushkin's Tatyana. Why does Tatyana stand out from the countless female images that Russian literature is full of? Why do we represent her when we talk about the embodiment of the ideal Russian woman? Almost two centuries have passed since the writing and publication of Eugene Onegin, during which literary critics have tried to find their own answers to these questions. Belinsky, Dostoevsky, Lotman, Pisarev…. And this is only the beginning of a huge list listing those who bowed to Tatyana skillfully portrayed by Pushkin or tried to understand why her image is so attractive to a Russian person. Critics put forward many assumptions, but agreed on only one thing - one of the main feats of the poetic activity of A. S. Pushkin is that in "Eugene Onegin" he was the first to poetically reproduce, in the person of Tatyana, a Russian woman. Based on my essay, I propose to get acquainted with the opinions of famous critics and form my own idea of the personality of Tatyana Larina.

The main character of "Eugene Onegin" - Onegin?

In order to immediately understand what place Tatyana occupies in the novel, let us recall the final stanzas of the last chapter of the novel: “Many, many days have flown by Since young Tatyana And with her Onegin in a vague dream Appeared to me for the first time - And far free novel Through the magic crystal I still could not clearly distinguish.

Let's pay attention to the order in which Pushkin names the main characters. If these verses are to be believed, Tatyana was the first to appear in Pushkin's plans, and Onegin was "with her". It is not for nothing that the author of the first mentions not Onegin, whose figure, it would seem, is at the heart of the whole work, but Tanya, so beloved by him! And this is not surprising. After all, if in the person of Onegin and Lensky Pushkin poetically reproduces the Russian society of his time and demonstrates its main, male side, then in the guise of Tatyana we see a female image that is out of time. F. M. Dostoevsky, in his speech delivered at a meeting of the Society of Lovers of Russian Literature, notes that it might be better if Pushkin called his poem after Tatiana, and not Onegin, since she is the main character of the poem.

Why do well-known critics put the image of Tatyana above the image of Onegin? The thing is that Tatyana is a reflection of the best qualities, a kind of spiritual ideal that attracts and fascinates at any time. Speaking about Tatyana, Belinsky notes that Tatyana is not polysyllabic, but at the same time deep and strong. Tatyana does not have those painful contradictions that too complex natures suffer from; Tatyana was created as if all from one single piece, without any additions or impurities. Her whole life is imbued with that integrity, that unity, which in the world of art constitutes the highest dignity of a work of art.

The prototypes of Tatyana.

We have already proved that Tatyana is not only the main character of the novel, but also the image presented by Pushkin as the image of an ideal Russian woman. But where did the poet get this image from? Naturally, after the release of the novel, contemporaries tried to find a prototype of Tatyana. And since Pushkin himself wrote that Tatyana really had a prototype, the researchers, of course, had various options. There are many assumptions. Some researchers looked for the prototype of Tatyana in the Raevsky family. The Raevsky sisters were outstanding women and had a strong will and a sense of duty, which made them related to Tatyana. Also, Anna Nikolaevna Wulf is sometimes called the prototype of Tatiana. But many researchers argue that it is difficult to find a woman who is characterologically less similar to Tatyana Larina. Many critics believe that the "reference model" of his most beloved heroine should have been a real woman, in a very special way loved and respected by him. Meanwhile, A.P. Kern, who was observant and knew Pushkin well, says about him: “I think he truly did not love anyone, except for his nanny and then his sister.” Since Arina Rodionovna is not suitable for the “models” of the heroine of Onegin, it makes sense to take a closer look at O. S. Pushkina.

But whoever was the prototype of the main character of the novel, it cannot be denied that Tatyana's character traits are unusually attractive to a Russian person. She is meek, but at the same time resolute, unfeigned and sincere, honest and thoughtful. Therefore, probably, it has not been possible to find a prototype of Tatyana so far: this is a collective, idealized image that has gathered all the best qualities of a Russian woman.

But I am given to another; I will forever be faithful to him!

As we have already found out, for all critics who decide to write about the poem, and, perhaps, for all readers, Tatyana is a full-fledged main character of the work. But what makes her think so? Recall that it is Tatiana who becomes the character who expressed the main idea of the poem in the scene of the last meeting of the main characters. Tatyana bluntly declares that she is “given to another” and will be faithful to him for a century. We see that Tatyana does not want to build her happiness on the misfortune of other people, she does not consider it possible to betray her husband, despite the fact that her “mother prayed with tears of spells” for her marriage, and for Tanya herself “all the lots were equal”. But is it only the oath of allegiance to her husband that stops Tanya? And could the characters under other circumstances be together? Critics disagree. F. M. Dostoevsky believes that even if Tatyana had been free, if her old husband had died and she had become a widow, then even then she would not have followed Onegin. After all, he drew attention to this girl, whom he almost despised before, only because the world now worships her. And light for Onegin, despite all his world aspirations, remained a huge authority! Tanya realizes that, in essence, Eugene loves only his new fantasy, and not her, the old Tatiana! She knows that he takes her for something else, and not for what she is, that he is not at all capable of loving, despite the fact that he suffers so painfully! Belinsky argues that even if the heroes could be together, Onegin would have found in Tatyana “or a whimsical child who would cry because he cannot, like her, look at life like a child and play love like a child - and this , agree, very boring; or a being who, carried away by his superiority, would submit to him without understanding him to such an extent that he would have neither his own feeling, nor his sense, nor his will, nor his character. Pisarev stands apart among the critics, who tries to look critically at the novel by A. S. Pushkin, enters into polemics with Belinsky and claims that the characters of the novel exaggerate themselves inconsistently and unnaturally. According to Pisarev, Tatyana, in love with Onegin, cannot make another person happy at all. “If she had married not a fat general, but a mere mortal who wanted to find in her not an ornament at home, but a kind and intelligent friend,” Pisarev asserts, “her family life would have settled down according to the following program, very ingeniously drawn up by Belinsky for some ideal virgins: “More terrible than all others,” says Belinsky, “those of the ideal virgins who not only do not shy away from marriage, but in marriage with the object of their love see the highest earthly bliss: with a limited mind, in the absence of any moral development, with depravity fantasies, they create their own ideal of marriage, and when they see the impossibility of realizing their absurd ideal, they take out the bitterness of their disappointment on their husbands. But to agree with Pisarev means to completely distort the image of Tatyana so delicately created by A. S. Pushkin. A critical article by Dmitry Ivanovich Pisarev (or rather a sarcastic feuilleton), if it notes some interesting and unnoticed moments by other enthusiastic critics, however, this does not at all apply to Tatyana's characterization. Perhaps Pisarev’s sarcasm is really appropriate when he talks about Onegin and the first chapters of the novel, because we remember that A. S. Pushkin himself in 1823 informs A. I. Turgenev: “... I am writing a new poem “Eugene Onegin”, where I choke on bile." Yes, the poet's first intention was to create a satirical work. But over time, Pushkin's main goal changed, and thanks to this, we can find in "Eugene Onegin" not only a satirical depiction of the provincial and higher noble society, but also a broad picture of Russian life, invariably Russian characters. And if we see the nobility through the eyes of Onegin, then Tatyana shows us true Russian life, images and the inner world. Therefore, Pisarev's words that readers misjudge Tatyana and see in her a reflection of all the best qualities of a Russian person only because Pushkin himself singled her out among others look ridiculous. Let us turn to the words of the critic: “Introducing us into the Larin family, Pushkin immediately tries to predispose us in favor of Tatyana; this, they say, the eldest, Tatyana, let it be an interesting personality, a higher nature and a heroine, and that, the youngest, Olga, let it be an uninteresting personality, a simple nature and a gingerbread figure. Trusting readers, of course, are immediately predisposed and begin to look at every act and every word of Tatyana in a completely different way than they would look at the same actions and the same words done and uttered by Olga. It's impossible, in fact. Mr. Pushkin deigns to be a famous writer. Therefore, if Mr. Pushkin deigns to love and favor Tatyana, then we, small reading people, are obliged to have tender and respectful feelings for the same Tatyana. It is difficult to agree with Pisarev. Readers have a special attitude towards Tatyana not after Pushkin singled her out, no! - we are imbued with tenderness for the heroine after her sincere letter, after her steadfastness in a conversation with Onegin .... Tatyana is distinguished by her actions, which I propose to talk about further.

The evolution of the image of Tatiana.

On the pages of the novel, we see Tatyana from completely different angles: this is a simple village girl, who so strangely stands out from the general circle of the Larin family, this is an excited and in love Russian young lady, writing a letter and eagerly waiting for an answer, this is a smart and sensitive girl who visited Onegin's office, and, finally, a secular lady, whose image captivates Onegin, resurrecting feelings in him. But all this is Tanya, a girl who has always remained herself inwardly. Even the world taught her only the art of controlling herself and taking life more seriously. Why, then, are her thoughts and actions so different? It's simple: Tatyana is multifaceted, but no less holistic.

“Tatyana’s letter drove all Russian readers crazy when the third chapter of Onegin appeared,” writes Belinsky. Everything in this letter is true and simple together. The combination of simplicity with truth, which constitutes the highest beauty and feelings, and deeds, and expressions. It is difficult to argue with a critic, because in this letter all Tatyana, her feelings, soul are revealed to us. And the explanation with Onegin, namely the rebuff of Eugene, did not extinguish the flame that was devouring her in her, he began to burn only more stubbornly and more intensely. Tatyana began to understand what Onegin is, but this knowledge does not repel her, but intrigues, which also characterizes the heroine a lot.

One of the most important episodes of the novel is not in vain the moment when Tatiana enters Yevgeny's office. “Here she is in his study,” writes F. M. Dostoevsky in his critical article, “she looks at his books, things, objects, tries to guess his soul from them, solve her riddle, and the “moral embryo” finally stops in reflection, with a strange smile, with a presentiment of the solution of the riddle, and her lips quietly whisper: “Isn't he a parody? ". Yes, she should have whispered it, she figured it out. In Petersburg, then, after a long time, when they meet again, she already knows him completely. It is the understanding of Onegin that makes the scene so important. Tatyana now sees who is in front of her, and this knowledge changes the entire course of the novel. Vissarion Grigorievich in his critical article also pays great attention this scene. He is sure that visiting Onegin's office and reading his books leads Tatyana to rebirth from a village girl into a secular lady. Tatyana's mind wakes up, she begins to think and feel differently.

And, of course, the final explanation. Causing so many questions, already partially understood above, but still ambiguous. This explanation expressed the whole being of Tatyana, according to critics. What is it all? Belinsky notes both fiery passion, and the sincerity of a simple, sincere feeling, and the purity and holiness of the naive movements of the nobility of nature, and reasoning, and offended pride, and vanity with virtue, and the cunning syllogisms of the mind, secular morality that paralyzed the magnanimous movements of the heart. But more importantly, the critic notes that all this is the essence of a Russian woman with a deep nature, a developed society.

The grown-up Tatyana seems to Onegin no longer a dreamy girl who trusted the moon and stars with her sincere thoughts and solving dreams according to the book of Martyn Zadeka, but a woman who knows the price of everything that is given to her, who will demand a lot, but will give a lot. And it is not surprising that such Tatyana interests Onegin much more than the naive Tanya in love. After all, in his eyes, love without a fight had no charm, and Tatyana definitely did not promise him an easy victory. Tanya understands all this, and therefore reproaches Yevgeny that he is only interested in the thirst for scandalous glory. In her decision, Tatyana remains faithful not to her husband, but to herself, her virtue. This is her strength and the extraordinary grandeur of her image.

The artistic construction of the novel Eugene Onegin was based on the principle that later allowed him to be called the encyclopedia of Russian life Belinsky, and Pushkin himself the poet of reality Kireevsky. This principle assumed that the novel reality went beyond the limits of the literary text and immersed in non-literary reality. This explains the maximum proximity of the novel to life, which is achieved by the destruction of any literary clichés, the rejection of traditional plot moves, as well as the unexpected role of the author, who sometimes contradicts himself, chattering utterly.

The novel is immersed in life, in the era. The historical layer of the life of society is presented at all levels of social, cultural, personal. angry. The novel gives a kind of overview, the atmosphere of life in Russia. Real historical figures Kaverin, Vyazemsky, Chaadaev, Pushkin himself are introduced into the text of the novel in a limited and unconstrained way. Their acquaintance with the characters once again emphasizes the non-fiction of what is happening, the reality of events. The image of the author in the novel performs another function: he acts as a typical representative of his generation. His biography, being the biography of a generation, becomes part of the historical reality that he explores in the novel.

A complete description of the era requires not only an answer to the question of how society lives, but also how society lives. It is precisely the survey of the cultural sphere of life that presupposes penetration into the mentality of people. The novel is filled with hidden and explicit quotations, echoes with other works, parodic passages. However, they are not introduced deliberately and do not create a sense of literary text. On the contrary, the author implies that the names he mentions are on everyone's lips. Therefore, numerous reminiscences, quotations are served in the flow of the author's casual chatter. Their use becomes an indicator of the way of thinking, the intellectual mood of society, the current state of minds, passion for Rousseau, Voltaire, Richardson. Sometimes the names of famous people show the historical past of Russia digressions about the theater, Fonvizin, Ozerov. In addition, Pushkin's contemporary literary processes, primarily the transition from romanticism to realism, receive historical coverage. The author realizes that these processes go beyond the literary trends with romanticism, and a certain romantic worldview, in the novel it is connected, first of all, with the image of Lensky. But all this is connected with one cultural sphere of the life of society - with the Europeanized secular culture. Pushkin is also interested in another sphere, the national one, which for a Russian person turns out to be fundamental, determining his moral potential. The poetry of the national is included in the novel along with the image of Tatyana. In connection with it, stories are introduced about the customs, habits of dear antiquity, fortune-telling, fairy-tale folklore. They contain a certain morality associated with folk philosophy. Thus, the divination scene reveals the philosophy of the female soul, the Russian soul. The very idea of the betrothed is connected with the idea of duty, the betrothed is thought of as destined by fate. Folk philosophy is based on predestination, the main thing in life is the fulfillment of duty, the fulfillment of what is destined is confirmed not only by the fate of Tatyana, but also by the fate of her mother, the nanny. Folklore motifs also appear in Tatyana's dream, folk art and philosophy are presented as organically connected with her personality. Two cultures - national Russian and Western European - are harmoniously combined in her image. In the depiction of the image of Tatyana, which is so dear to the poet, with no less degree than in the image of Onegin, one can feel Pushkin's desire to be completely true to the truth of life. Like Onegin and Lensky, Tatyana feels like a stranger among those around her and just as painfully feels this. Meanwhile, her character was formed in a completely different environment. Tatyana, unlike Onegin, grew up in the wilderness of a forgotten village, in the atmosphere of Russian folk tales, folk tales told by a nanny, a simple Russian peasant woman. The author says that Tatyana read foreign novels, spoke with difficulty in her native language, but at the same time, with the help of a subtle psychological device, reveals her Russian soul. Tanya has a French book under her pillow, but she sees Russian folk dreams. Tatyana is a poetic nature, deep, passionate, longing for true, great love. Becoming a trendsetter in the world, she not only did not lose best features its spiritual appearance - purity, spiritual nobility, sincerity and depth of feelings, poetic perception of nature, but also acquired new valuable qualities that made it irresistible in the eyes of Onegin. Tatyana is the ideal image of a Russian girl and woman, but an image not invented by Pushkin, but taken from real life. Tatyana can never be happy with an unloved person, she, like Onegin, became a victim of the world. Nature created Tatyana for love, society re-created her wrote V. G. Belinsky. One of the key events of the novel is Onegin's meeting with Tatyana. He immediately appreciated her originality, poetry, her sublimely romantic nature, and was quite surprised that the romantic poet Lensky did not notice anything of this and preferred a much more earthly and ordinary younger sister. Belinsky wrote to this indifferent, chilled person - it took one or two inattentive glances to understand the difference between both sisters, while it did not enter the fiery, enthusiastic Lensky’s head that his beloved was not at all an ideal and poetic creature, but just a pretty and unpretentious girl , which was not at all worth the risk of killing a friend for her or being killed herself Belinsky V.G. Tatyana, indeed, is strikingly different from the people around her. A county young lady, she, nevertheless, like Onegin and Lensky, also feels lonely and misunderstood in a provincial - local environment. Imagine, I'm here alone, Nobody understands me, she admits in a letter to Onegin. Even in her own family, she seemed like a stranger girl, she avoided playing with her friends - her peers. The reason for such alienation and loneliness is in the unusual, exceptional nature of Tatyana, gifted from heaven with a rebellious imagination, a living mind and will, and a wayward head, and a fiery and tender heart. Affinated with Russian nature and folk - patriarchal way of life, habits and traditions of sweet antiquity, she lives in another - a fictional, dreamy world. Tatyana is a diligent reader of foreign novels, mostly moralizing and sentimental, where ideal characters act, and good always triumphs in the finale. She prefers to wander through the fields with a sad thought in her eyes, with a French book in her hands. Accustomed to identifying herself with the virtuous heroines of her favorite authors, she and Onegin, who is so different from those around her, are ready to take for perfection a model, as if descended from the pages of Richardson and Rousseau of that hero that she had long dreamed of. The literary nature of the situation is enhanced by the fact that Tatyana Onegin's letter is saturated with reminiscences from French novels. However, book borrowings cannot obscure the direct, sincere and deep feeling that permeates Tatyana's letter. And the very fact of the message to a barely familiar man speaks of the passion and reckless courage of the heroine, who resorts to fears of being compromised in the eyes of others. This letter, naive, tender, trusting, finally convinced Onegin of Tatyana's unusualness, of her spiritual purity and inexperience, of her superiority over cold and prudent secular coquettes, it revived in him the best, long-forgotten memories and feelings. The language of girlish dreams. swarm angered And he remembered dear Tatiana And pale color and dull look And in a sweet, sinless dream He plunged into soul. 4, X1 And yet, to Tatyana's passionate message, where everything is outside, everything is free, Onegin answers with a cold rebuff. Why First of all, of course, because Onegin and Tatiana are at different levels of spiritual and moral development and can hardly understand each other. Let's not forget that Tatyana did not really fall in love with Onegin, but a kind of phantom, a certain image composed by her, which she mistook for Onegin. Vygodsky L.S. Meanwhile, he, a skeptic and an individualist, who valued his personal independence, his freedom above all else, could not and did not want to sacrifice it to anyone and nothing. Like him, burnt out in passions, having known life and people, still seething with some obscure, obscure aspirations, he, who could be occupied and filled with just something - be it something that could withstand his own irony, he was carried away by the girl’s infant love - reverie, which looked at life as he could no longer look. And what did this love promise him in the future - Belinsky explained the behavior of Onegin. Indeed, to answer Tatyana's love meant for Onegin to decide on marriage. But he did not want to deceive. lose freedom in relationships only with women, but also with society as a whole. In addition, this put an end to the vague aspirations that were seething in him, about which Belinsky wrote, clearly referring to civil, social aspirations. Let's give Onegin his due. During the explanation with Tatyana in the garden, he did not dissemble at all and directly, honestly, revealed everything to her as it is. He admitted that he liked Tatyana, but he was not ready for marriage, did not want and could not limit his life to the domestic circle, that his interests and goals were different, that he was afraid of the prosaic side of marriage and that he would get bored with family life. In a word, from the point of view of everyday life, Onegin behaved impeccably. Not for the first time, he showed his soul direct nobility here. Onegin unwittingly makes an irreparable mistake here, which he will later bitterly regret. For all his perspicacity, he could not appreciate the true scale of Tatyana's personality, did not see that before him was Belinsky's rare, brilliant nature, endowed with exceptional abilities for spiritual and moral development and self-improvement. He did not feel, secondly, how deep, strong and tragic Tatyana's feeling was, did not feel that unrequited passion would put the heroine on the brink of death. The main thing is that he did not guess that Tatyana's love is a gift of fate, a rare happiness, for the sake of which it was worth changing your lifestyle, habits, plans for the future. Confident that he fully understood Tatyana, he saw only one facet of her nature. It seemed to him that Tatyana was a well-known type of simple-minded and dreamy provincial, a sweet county young lady. But he remained unaware of another, hidden layer of Tatyana's spiritual world - her rootedness in folk soil, a deep, organic connection with the national tradition, folklore and poetic elements, with the world of Russian antiquity and Russian nature, moreover, most of all - with Russian winter Tatyana is a Russian soul, Without knowing why, With her cold beauty, She loved the Russian winter, Frost in the sun on a frosty day, And the sleigh, and the late dawn, The radiance of pink snows, And the darkness of Epiphany evenings. 5 , 1U Moreover, their affinity acquires a symbolic meaning here, associatively associated with the idea of darkness and cold as the essential properties of life in general V.M. Markovich the depths of folk ethics, let us recall her conversation with the nanny, for Tatyana it is as natural as the habit of living in a harsh climate. Now it is clear why Tatyana's dream is the key to understanding her soul, her essence. Replacing the direct and detailed characterization of the heroine, it allows you to penetrate into the most intimate, unconscious depths of her psyche, her mental warehouse Gukovsky G.A. However, he also performs another important role - prophecies about the future, because the heroine's wonderful dream is a prophetic dream. In the symbolic ritual-folklore images, almost all the main events of the subsequent narrative are predicted here, the heroine's exit beyond the boundaries of her world, crossing the stream - a traditional image of marriage in folk wedding poetry. the upcoming marriage of a bear is a Christmas image of the groom, the appearance in a forest hut - the house of a betrothed or lover and recognition of his true, hitherto hidden essence, a gathering of hellish ghosts, so reminiscent of guests at Tatyana's name day, a quarrel between Onegin and Lensky, which ended in the murder of a young poet, The main thing is - the heroine intuitively sees the satanic, demonic beginning in the soul of her chosen one Onegin as the head of a host of hellish monsters, which is soon confirmed by his strange behavior with Olga on the name day and the bloody denouement of the duel with Lensky. Tatyana's dream thus means a new step in her comprehension of Onegin's character. If earlier she saw in him an ideally virtuous hero, similar to the characters of her favorite novels, now she almost falls into the opposite extreme. Finding herself after the departure of the owner in Onegin's house, Tatiana starts reading books in his village office. But the choice of them seemed strange to her, the poet notes. This should not be surprising. A provincial young lady, Tatyana was a reader with belated literary tastes. The circle of her reading was mainly novels of the second half of the 111th century. In these novels, as already mentioned, noble, virtuous heroes acted, faithful to the laws of duty and honor, capable of performing the feat of self-sacrifice. In Tatyana's ardent imagination, they all clothed themselves in a single image, In one Onegin merged 3, 1X. Now, in Onegin's library, Tatyana finds completely different books that she did not know about. These are the novelties of European literature, mainly the creations of romantic writers Byron, Chateaubriand, Benjamin Constant and others - works that reflect the age And modern man Is depicted quite correctly With his immoral soul, Selfish and dry, Immeasurably betrayed by a dream, With his embittered mind Boiling in action empty. 7, XX11 In contrast to the novels of Richardson and Rousseau, heroes here were cold and devastated, disappointed and selfish, heroes who commit crimes, do evil and enjoy evil. It is not surprising that Tatyana discovered a different world - tragically - contradictory mental structure of modern man. Partly, the character of Onegin himself was revealed to her. After all, she reads with special attention the pages where his remarks, the features of his pencil are found in the margins, and where Onegin's soul involuntarily expresses itself First with a short word, now with a cross, Now with an interrogative hook 7, XX111. Tatyana begins to understand that if Onegin can be compared with literary heroes, then not with the noble and enthusiastic characters of the literature of the past century, but with the cold and bored heroes of modern literature. The newest romantic literature in Onegin's library and the whole atmosphere of his village office reveals his hidden spiritual world as fully as Tatyana's dream reveals her own soul. But unlike Onegin, Tatyana had the opportunity to penetrate the protected area, gain access to the secrets of the soul of her chosen one. Tatyana's entrance to Onegin's house was perceived as an entrance to his inner world, to his soul, A.L. Slonimsky. Now, it seems to Tatyana, she fully understood Onegin, unraveled his secret. Did she solve the riddle? Did the word found mean the word encrypted in the charade. From now on, in her eyes, he is a Muscovite in Harold's cloak, almost a parody of the hero of the time. As you can see, Tatyana again connects Onegin with a certain literary type. And again he is mistaken. For Onegin's disappointment, his spleen, his mental anguish are unfeigned and sincere, just as Tatyana's own feelings, drawn as if from French novels, are quite sincere. Returning to St. Petersburg after a long break, Onegin feels in the big world even more lonely, alien to those around him than before. Around him, as if there is a zone of emptiness But it is who in the crowd of the chosen stands silent and foggy For everyone, he seems a stranger. Faces flicker before him, Like a row of tiresome ghosts. What, spleen or suffering arrogance In his face Why is he here Who is he really Evgeny Is he really 8, U11 Onegin's isolation and spleen are quite understandable. What else could he hope for after everything he had experienced, rethought, re-felt To humble proud dreams, to live like everyone else, not to shy away from secular mob, to follow the noisy crowd, which he so despised No, the author firmly says, Onegin is not like that, he moves along the well-trodden track unable. No matter how mercilessly the poet sometimes judges his hero, Eugene's personal independence and spiritual nobility are undeniable for him. So, neither the civil field, nor the usual career of a person of his circle can become the lot of Onegin. Only the sphere of private life remains, previously rejected by him as something lower.

Is it because an unexpected meeting with Tatyana, the princess, makes such a strong, truly amazing impression on him? Her new look, manners, style of behavior meet the most stringent requirements of good taste, high tone and do not much resemble the habits of the former provincial young lady. Onegin sees that she has learned noble restraint, knows how to control herself, he is amazed at the change that has taken place with her, which seems to him absolute, complete. 8, XIX Onegin persistently seeks meetings with Tatyana, writes passionate love confessions to her one after another, and having lost hope for reciprocity, he falls seriously ill and almost dies of love in the same way that Tatyana used to turn pale, faded and withered. It becomes clear to him that his attempt to live in complete solitude, in a state of absolute peace, without passions and mental storms, turned out to be untenable and turned into tragic consequences. Alien for everyone, not bound by anything, I thought liberty and peace Replacement for happiness. My God, how wrong I was, how punished And then a natural question arises, which became a stumbling block for Russian critics, what, in fact, did Onegin seek? After all, Tatyana is married, and her husband is a prominent general, a hero of battles, known at court, not bypassed by appointments, awards , honors him and his wife caresses the court. It is known that Belinsky severely condemned Tatyana precisely because, while continuing to love Onegin in her soul, she nevertheless preferred to remain faithful to patriarchal mores and unconditionally rejected his feelings. According to the critic, family relationships that are not sanctified by love are highly immoral. On the contrary, Dostoevsky regarded this act of Tatyana not just as highly moral, sacrificial. A truly Russian woman, he said in his famous speech about Pushkin, Tatyana could not leave her husband and run away with Onegin, for she well understood the impossibility of building her well-being on the misfortune of another person. Dostoevsky F.M. What, after all, does he count on? Yes, precisely on the fact that, as it seemed to him, Tatyana has changed completely, that she has become completely different, that from a romantic, naive and inexperienced provincial she has turned into a true aristocrat, an experienced secular lady, an experienced secular lady . Who would have dared to look for a tender girl In this majestic, in this careless Legislator hall 8, XXY111 And a true aristocrat, without fail taking the guise of a faithful wife devoted to her husband, could allow herself a secret relationship, which, of course, in no case could not be advertised. Light does not punish delusions, but secrets require them to accurately formulate this unspoken law of secular life Pushkin himself in the poem When your young years, 1829. Another thing is that Onegin's calculations did not materialize. In the finale, he takes Tatiana by surprise and makes an incredible discovery, which shocked him so much. It turns out that Tatyana has changed only externally, internally she has largely remained the same Tanya, a simple virgin. And such women are not capable of adultery. It is this sudden insight of Yevgeny that gives the final scene sharp drama and bitter hopelessness. Convinced that his passionate confessions do not reach the goal, that Tatiana is surrounded by the coldness of the Epiphany and only a trace of anger can be seen on her face, Onegin again, as at the beginning of the novel - at the moment of the first crisis, retires to his silent office and, having renounced the world, again takes up reading. And what did his eyes read, But his thoughts were far away He read other lines between printed lines with spiritual eyes. In them, he was completely deepened. Such reading with spiritual eyes allows Onegin, a man of European culture, to plunge into the hitherto alien patriarchal-estate, folk-poetic world, the world of antiquity and giving, so akin to Tatyana, to feel her rootedness in him. than unrelated dreams, Threats, rumors, predictions, Or a long fairy tale, living nonsense, Or letters from a young maiden. It can be said that Onegin has now managed to get closer to unraveling the mystery of Tatyana, her nature, her soul, that he is beginning to comprehend what he was not able to understand in the days of his village retreat. Everything pales before the incessant thought of Tatiana, the meeting with which - the hero now understands more clearly and more clearly - became the main event in his fate, an event whose full significance he could not appreciate then. Love for Tatyana is the last thing Onegin has left, and therefore his last visit to her is an act of despair. Violating all decorum, he comes to a strange house at an inopportune time and takes Tatiana by surprise - in tears, reading a letter, dressed at home - and, shocked by her unexpectedly familiar appearance, silently falls at her feet in anguish of insane regrets. Of course, looking at Onegin, Tatyana perfectly understands his suffering; she clearly understands everything, because she herself experienced something similar. But just as Onegin did not suspect until now that a simple maiden lives in the princess, the former Tanya, so Tatyana could not know what happened to Onegin after the duel, what he understood during his wanderings around Russia, what he experienced during the hours of voluntary confinement in his office. She believed that she had figured out Onegin once and for all. For her, he is still a cold, empty, selfish person.

This explains Tatyana's stern rebuke, which mirrors Onegin's cold rebuke. It is the mirrored composition of these scenes that makes it possible to draw an internal analogy between them, which means that it is better to understand and evaluate the behavior of Pushkin's heroine Gukovsky G.A. It is precisely in the unselfishness and nobility of Onegin's passion that Tatyana cannot believe. Convinced that he has become the feelings of a petty slave, she does not seem to even allow the thought that during their separation, and after all, four whole years have passed, Onegin is able to change. Now Tatyana is making a mistake. But in Tatyana's monologue, other notes sound. The reproaches of the offended woman imperceptibly turn into a confession, striking in its frankness and fearless sincerity. Tatyana admits that her successes in the whirlwind of light weigh on her, that she would prefer her former inconspicuous existence in the wilderness to the current tinsel of life. Moreover, she directly tells Onegin that she acted carelessly, deciding on a marriage without love, that she still loves him and sadly experiences a missed opportunity for happiness. What more? After all, such recognition presupposes the highest degree of mutual trust and inner closeness. This meeting writes a modern researcher anticipating separation forever, marked by a kind of equality of Onegin and Tatyana in their common sorrow for the unfulfilled and unique here repentance, forgiveness, gratitude are guessed. Khalizev V.E. V. G. Belinsky about the novel by A.S. Pushkin Evgeny Onegin from Articles 8,9 Pushkin's great feat is that he was the first in his novel to poetically reproduce the Russian society of that time and in the person of Onegin and Lensky showed its main, that is, masculine side, but almost higher than the feat of our poet is that he was the first to poetically reproduce, in the face of Tatyana, a Russian woman Tatyana's nature is not polysyllabic, but deep and strong. Tatyana does not have these painful contradictions that plague too complex natures. Tatyana was created as if from one whole piece, without any additions or impurities. Her whole life is imbued with that integrity, that unity, which in the world of art constitutes the highest dignity of a work of art. Passionately in love, a simple village girl, then a secular lady, Tatyana in all situations of her life is always the same portrait of her in childhood, so masterfully written by the poet, later is only developed, but not changed. Tatyana is an exceptional being, her nature is deep, loving, passionate. Love for her could be either the greatest bliss, or the greatest disaster of life, without any conciliatory middle. With the happiness of reciprocity, the love of such a woman is an even, bright flame; otherwise, it is a stubborn flame, which willpower may not allow to break out, but which is the more destructive and burning, the more it is squeezed inside. A happy wife, Tatyana, calmly, but nevertheless passionately and deeply, would love her husband, would completely sacrifice herself to her children, but not out of reason, but again out of passion, and in this sacrifice, in the strict fulfillment of her duties, she would find her greatest pleasure, her supreme bliss. And all this without phrases, without reasoning, with this calmness, with this outward dispassion, with this outward coldness, which are the dignity of deep and strong natures. This marvelous combination of coarse, vulgar prejudices with a passion for French books and with respect for the profound work of Martyn Zadeka is possible only in a Russian woman. Tatyana's whole inner world consisted in a thirst for love; nothing else spoke to her soul; her mind was asleep, and only could the heavy grief of life wake him up later, and even then in order to restrain passion and subordinate and subordinate it to the calculation of prudent morality. A wild plant, completely Left to herself, Tatyana created her own life, in the emptiness of which the inner fire that devoured her burned all the more rebelliously because her mind was not occupied with anything. Without the book, she would have been a completely mute being, and her burning and drying tongue would not have found a single living, passionate word with which she could relieve herself of the oppressive fullness of feeling. And although the immediate source of her passion for Onegin was her passionate nature , her overflowing thirst for sympathy yet she started somewhat ideally. Tatyana could not love Lensky, and even less could love any of the men she knew; she knew them so well, and they provided so little food for her exalted, ascetic imagination. And suddenly Onegin appears. He is completely surrounded by mystery, his aristocracy, his secularism, his undeniable superiority over all this calm and vulgar world, among which he was such a meteor, his indifference to everything, the strangeness of life - all this produced mysterious rumors that could not but affect Tatyana's fantasy. , could not fail to dispose, not to prepare her for the decisive effect of the first meeting with Onegin. And she saw him, and he appeared before her, young, handsome, dexterous, brilliant, indifferent, bored, enigmatic, incomprehensible, all an unsolvable mystery for her undeveloped mind, all a seduction for her wild fantasy. only indifference, coldness and skepticism, as signs of enormous demands on life or as the result of a rebellious and fully experienced life, poor Tatyana was one of such women. Onegin's explanation by Tatyana in response to her letter. How this explanation affected her is clear, all the hopes of the poor girl collapsed and she closed herself even deeper in herself for the outside world. And so, in Tatyana, finally, an act of consciousness took place after visiting Onegin's house, her mind woke up. She finally understood that there are interests for a person, there are sufferings and sorrows, besides the interest, sufferings and sorrows of love. But did she understand what exactly these other interests and sufferings consisted of, if she understood whether it served her to alleviate her own suffering? understand them completely, and which cannot be studied in a book. And therefore, a book acquaintance with this new world of sorrows, if it was a revelation for Tatyana, this revelation made a heavy, desolate and fruitless impression on her; it frightened her, horrified her and made her look at passions as the death of life, convinced her of the need to submit to reality, as it is, and if you live the life of the heart, then to yourself, in the depths of your soul, in the silence of solitude, in the darkness of the night dedicated to longing and sobbing. Visiting Onegin's house and reading his books prepared Tatyana for the rebirth from a village girl into a secular lady, which surprised and amazed Onegin so much. Now let's go straight to Tatyana's explanation with Onegin. In this explanation, Tatyana's whole being was fully expressed. This explanation expressed everything that constitutes the essence of a Russian woman with a deep nature, a developed society, everything, both the fiery passion and sincerity of a simple, sincere feeling, and the purity and holiness of the naive movements of a noble nature, and reasoning, and offended pride, and vanity by virtue, under with which the slavish fear of public opinion is disguised, and the cunning syllogisms of the mind, which secular morality has time to infect the magnanimous movements of the heart Tatyana does not like the world and for happiness would consider leaving it forever for the village, but as long as she is in the light, his opinion will always be her idol, and the fear of his judgment Tatyana, a type of Russian woman, will always be her virtue. Enthusiastic idealists, who have studied life and woman from the stories of Marlinsky, demand contempt for public opinion from this extraordinary woman. This is a lie, a woman cannot despise public opinion, but she can sacrifice it modestly, without phrases, without boasting, realizing the whole greatness of her sacrifice, the whole burden of the curse that she takes upon herself, obeying another, higher law - the law of her nature, and her nature - love and selflessness G. A. Gukovsky Pushkin and the problems of realistic style Tatiana as a type of Russian woman The ideological construction of Eugene Onegin is based on a comparison, and in the first chapters and opposition of Onegin and Tatiana, that is, two types of culture of a moral and psychological warehouse, substantiated in their own turn by two types of environment, upbringing, cultural and domestic influences, and - even deeper - two types of attitudes towards the national - folk principle in life and culture. Onegin becomes quite understandable precisely in contrast with Tatyana, who demonstrates the national-folk type of consciousness, mental disposition and therefore expresses the norm, the ideal of Pushkin's worldview of 1823-1830 Tatyana, the sweet ideal, said Pushkin himself in the final stanza of the novel. For Pushkin at the time of writing Onegin, the fact that Tatyana is a noble, landowner's daughter is still not important, although he carefully writes out the social background of his heroine, her family, and neighbors - landowners, and Moscow relatives. This background is given with negative social and moral assessments, starting with indications of the lack of culture and baseness of the interests of the landowners surrounding Tatyana or their elementary depravity, and ending with indications of the serf practice of Gvozdin, an excellent owner, the owner of poor peasants. only with this environment, but also with the folk element that surrounds it in the countryside. Pushkin separates Tatyana from her own family. She, in her family, seemed like a stranger. He surrounds Tatyana with more sublime influences - both bookish and human. However, as Tatyana's unsightly kindred environment, Pushkin emphasizes his truly Russian, national character. The Russian village, even in its landowner version, is Russia, such as it is, far from the ideal of freedom-lovers, but genuine, real. For Pushkin, the fact that Tatyana is a landowner's daughter does not yet play a decisive role. But for him it is important that she is a county young lady, living surrounded by primordially national culture and in close proximity to the people. Tatyana is the ideal of a Russian woman, the embodiment of the highly poetic Russian folk spirit. Tatyana as a type, that is, a natural character, and as a phenomenon of culture, is defined in Pushkin by two principles par excellence. The deep basis of her image is nationality, the second element of her image is her reading, the book influence of pre-romanticism of sentimentalism. The image of Tatyana is determined by the organic warehouse of folk life and folklore. Here it is necessary to distinguish between two circles of figurative and verbal symbols expressing in the text of the novel the idea of nationality - the basis of Tatyana's spiritual life, on the one hand, this is folklore, on the other, it is predominantly Russian life, the influence of a national, albeit patriarchal environment. Folklore and folk life accompany the image of Tatyana as a leitmotif. The first appearance of Tatyana in the novel is accompanied by an emphasis on the democratic nature of her name. Pushkin points out about the name Tatyana It is pleasant, sonorous, But with him, I know, inseparable Memories of antiquity Or girlish So, from the first words about Tatyana, her image is surrounded by ideas about antiquity, about girlishness, about the tastes of common people, and does not oppose these ideas, and how it merges with them. As for the name, until the end of the novel, it gave the image of the heroine its certain sound of common people, right up to the place where it is said quite simply about the princess. Who would not recognize the former Tanya, poor Tanya, now in the princess images of peasant life. In the third chapter, the plot of Tatyana's novel is given, she fell in love with the first turning point in her fate, and it is here, next to her, shading her, that the image of a nanny, a simple Russian peasant woman, a woman from the people, arises. It is the nanny who turns out to be Tatyana's friend at the decisive moment. Pushkin does not even mention Tatyana's relatives, her mother, Olga in the appropriate place. In their place is a nanny who symbolizes Tatyana's true mental and cultural environment. A new event in Tatyana's life is the upcoming meeting with Onegin.

Tatyana's tormenting excitement is again depicted against the background folk motif Meanwhile, the very fact that Pushkin decided to take the risk of delaying the course of the novel shows how important Tatyana's dream was for his idea. In fact, a dream is a means of revealing the deepest, innermost, unconscious depths, the foundations of the hero's mental makeup. Tatyana's dream replaces Pushkin's detailed analysis of her psychological world, embodying it in images. Tatyana's dream is the key to understanding her soul, her essence. It consists of two elements. At first, he is lightly colored with images and motifs of fashionable novels - such is the image of Onegin in a dream, with his sparkling eyes, mysterious power, gentlemanliness, combined with terrible destructive power. But the motives of the novels - the imprint of Tatyana's readings - only lay an additional shade on the main content of the dream. It is woven from images and motifs of folk art, folk performances, folklore. Thus, the dream gives, as it were, a formula for Tatyana's spiritual culture; its basis is nationality, the secondary influence is novels. Thus, one might think that Pushkin in Tatyana's dream combined a variety of folklore material with the compositional formula of the bride's ritual dream. Tatyana, deep down in her soul thinking of herself as the red maiden of folklore, and Onegin as her betrothed, before meeting him, with her betrothed, and under the influence of Christmas fortune-telling, sees a dream, which is basically the dream of the bride of Russian folklore. So the image of Tatyana is deeply and intimately connected with the images of folk art and life. Tatyana is in Moscow, in an environment alien to her and far from the people. And at the end of the chapter we are talking about Tatiana's state of mind, and again nationality and sentimental novels are given. novels. Poor villagers, the village is not just Russoism, but a deeper connection with folk life. A stream of light flows, novels are the influence of books. In the eighth chapter, Tatyana is in a new, different, and, of course, in an environment alien to her. But it was precisely the deep organic nationality and the moral structure of her personality that determined her victory over secular society. She did not at all become a secular lady, such as other secular ladies. She remained the same, the same pure and sublime Tanya, devoted to the village, her shelf of books, the memory of her nanny. This is what distinguishes her from the circle of ladies and makes her the queen of the hall, although she is not even a beauty. Therefore, thoughts about whether Tatyana could become a magnificent lady in two years are idle. There is no theme of Tatyana's internal change in the novel. It indicates only Tatyana's external assimilation of secular manners, nothing more. But in her essence, Tatyana remained the same - a sweet ideal, poor Tanya. Such was, according to Pushkin, the highest apotheosis of the simple and modest greatness of the moral folk soul, having appeared in a magnificent and artificial environment alien to it, it made her, even her, this false environment, bow with a sense of involuntary respect. Poor Tanya won the upper world, and in this victory is the guarantee of the victory of the spirit of the people over everything that opposes it. As mentioned above, the appearance of Tatyana is depicted not only by the features of the nationality, but also by the features of the truly national Russian environment surrounding her, the Russian way of life, extending both to the life of peasants and to the life of the Larin family. This national local flavor is expressed both in the style of the depiction of Tatyana's environment, and in the selection of subject details that characterize this environment. Here, too, there is a contrast in relation to Onegin's environment. Without a doubt, it is no coincidence that where Tatyana is concerned, barbarisms are extremely rare in the text of the novel, except for the conversation about her readings. On the contrary, there are Russisms here, that is, words and expressions of an emphatically Russian, national-idiomatic nature, as well as terms denoting objects and phenomena of typical Russian life. Immediately after the first appearance of Tatyana, a hoop appears in the novel, and a pattern on the canvas, and a sign, and then an indication that Tatyana, even as a girl, did not speak with a doll to guide cities, about fashion. The Russian warehouse surrounding Tatyana and in the everyday life of the Larins is opposed to style and warehouse of Onegin. However, the real contrast to Tatyana is the circle of her Moscow cousins in the seventh chapter and these cousins themselves, depicted in satirical tones. The vulgarity and depravity of the Moscow noble environment measure the dignity of the ideal embodied in Tatyana. As for the author - poet, no matter how much he is connected with the Onegin world, he carries in his soul the ideal of Tatiana. Therefore, he dreams of writing a novel in the spirit of her mental structure. Therefore, he renounces the learned secular ladies in favor of the grandfather traditions of Tatiana's world. Pisarev About Tatyana Larina Introducing us into the Larin family, Pushkin immediately tries to predispose us in favor of Tatyana, this, they say, the eldest, Tatyana, let there be an interesting personality, a higher nature and a heroine. However, I will try to get rid of these preconceived feelings of love and respect. I will look at Tatyana as a girl completely unknown to me, whose mind and character should be revealed to me not in the author's words of recommendation, but in her own actions and conversations. Tatyana's first act is her letter to Onegin. The act is very large and expressive to such an extent that the whole character of the girl is immediately revealed in it. We must do full justice to Pushkin, the character is excellently sustained until the end of the novel, but here, as elsewhere, Pushkin completely misunderstands those phenomena that he draws absolutely correctly. In his Tatyana, he paints with delight and sympathy such a phenomenon of Russian life, which can and should be painted only with deep compassion or with sharp irony. Onegin visited the Larins three times throughout the continuation of the novel. For the first time, when Lensky introduced him and when they were treated to jam and lingonberry water. The second time was when he received Tatyana's letter. And for the third time on Tatyana's name day. So, there were only two visits before the name day. This means that Tatyana fell in love with Onegin at once and decided to write a letter to him, imbued with the most terrible tenderness, having seen him only once. The acquaintance was obviously the most superficial, when Onegin does not even know who Tatyana is. It can easily be that Onegin did not say a single word with Tatyana, this circumstance is all the more plausible because Lensky calls Tatyana silent, in all likelihood, the old woman Larina constantly owned the conversation. And in a conversation with a simple old woman, he, obviously, could not say anything remarkable that would justify or explain the emergence of a sudden and passionate feeling in the soul of an intelligent and judicious girl. Be that as it may, the result of Tvtiana's first, completely superficial acquaintance with Onegin was that famous letter that Pushkin sacredly cherishes and reads with secret anguish. Tatyana begins her letter rather moderately; she expresses her desire to see Onegin at least once a week, just to hear his speeches. to say a word to him and then to think about him day and night until new meeting . All this would be very good if we knew what kind of speeches Tatyana liked so much and what word she wants to say to Onegin. But unfortunately, we are certain that Onegin could not say any wonderful speeches to the old woman Larina and that Tatyana did not utter a single word. If she wants to say words like those with which she fills her letter, then she really does not need to invite Onegin once a week, because these words make no sense and there can be no relief from them either to the one who pronounces them. nor to the one who listens to them. Tatyana, apparently, has a presentiment that Onegin will not go to them once a week to speak to her and listen to the words; as a result, tender reproaches begin in the letter if, they say, you, insidious tyrant, will not come to us once a week, so there was no need to show up with us without you, I would, perhaps, become a faithful wife and a virtuous mother, and now, by your grace, a cruel man must disappear. All this, of course, is stated in the most noble tone and squeezed into the most impeccable iambic tetrameters. I don’t want to marry anyone, Tatyana continues, but I even really want to marry you, because sometimes in the highest council it’s destined to be the will of heaven, I’m yours, and therefore that you were sent to me by God and you are the keeper of the coffin of my life. Then Tatyana seemed to catch herself and, probably, thought to herself what am I, however, I write for stupidity and why on earth I was so unwinding After all, I’m just one of him once seen. So no, it continues more than once, I’m not the same, in fact, a crazy fool, to hang around the neck of the first person I meet, I fell in love with him because he is my ideal, and I have been dreaming of an ideal for a long time, which means I saw him many times hair, mustache, eyes, nose - everything is as it is, as it should be for an ideal, and, moreover, in the highest council it is destined to be so, there is nothing to talk about, I am in love with him to the point of madness, I will be faithful to him in this life and in future, I will dream of him day and night, and I will write to him such a fiery letter, from which the most insensible heart will tremble. Then Tatyana throws aside the last remnants of her common sense and begins to cock the unfortunate Onegin with the most improbable slanders. You appeared to me in dreams With each further line of the letter, Tatyana lies worse and worse, according to the Russian proverb, the farther into the forest, the more firewood It would be very good and very useful for Tatyana if Onegin answered her verbally or in writing in that sharply - mocking the tone in which I wrote several phrases on his behalf. Such an answer, of course, would make Tatyana shed a myriad of tears, but if we only allow the assumption that Tatyana was not stupid by nature, that her innate mind was not yet completely destroyed by stupid novels, and that her nervous system was not completely disturbed by night dreams and sweet dreams, then we are led to the conviction that the bitter tears shed by her over the prosaic answer of a cruel ideal should have produced the necessary extremely beneficial revolution in her entire mental life. The deep wound inflicted on her pride would have instantly destroyed her fantastic love for a charming neighbor Well she would think it must be, it really wasn't him flickering in the transparent darkness. And if not him, then who? Yes, no one must have flickered.

And why did I write him so many stupid things Tatyana would have seen clearly that her love for Onegin, bursting like a soap bubble, was only a fake love, a fruitless and painful game of idle imagination, she would have understood at the same time that this mistake, which cost her many tears, and causing her to blush with shame and vexation, was a natural and necessary derivation from the whole system of her concepts, which she drew with passionate greed from her disorderly reading. some good and sensible business that could constantly keep her mentally sober and distract her from the vague realm of narcotic dreams. It’s not difficult to find such a good and reasonable thing, a hint of it exists even in Tatiana’s ridiculous letter, she says that help the poor, well, help, but just take this matter seriously and look at it as a constant and beloved work with the Word, despite the emptiness and colorlessness of that life , to which Tatyana was condemned from childhood, our heroine still had the opportunity to act in this life for the benefit of herself and others, and she would certainly take up some modest, useful activity if there were an intelligent person who with an energetic word and a sharp mockery he would have thrown her out of the poisonous atmosphere of fantastic visions and stupid novels. In Onegin's times, the level of moral requirements was so low that Tatyana, having married, at the end of the novel considers it her duty to thank Onegin for having treated her nobly. And all this nobility, which Tatyana cannot forget, consisted in the fact that Onegin did not turn out to be a thief in relation to her. He is not able to ridicule Tatyana's letter, because he himself, like Pushkin, found this letter not funny, but touching. Onegin decided to offer Tatyana a gilded pill, which could not have a beneficial effect on her precisely because it was gilded. From the very beginning, Onegin makes a gross and irreparable mistake; he takes Tatyana's love for a really existing fact, and, on the contrary, he had to tell and prove to her that she does not love him at all and cannot love him, because at first sight people fall in love only with stupid novels. The head of the unfortunate girl is so clogged with all sorts of rubbish and so inflamed by Onegin's stupid compliments that the absurd words of death from him are kind, pronounced with deep conviction and very conscientiously put into practice. To forget Onegin, to drive away the thought of him with some practical pursuits, to think about some new feeling, and in general to turn by some means from an unfortunate sufferer into an ordinary, healthy and cheerful girl - all this sublime Tatyana considers for herself the greatest dishonor, according to in her opinion, it would mean falling from heaven to earth, mixing with the vulgar crowd, plunging into the dirty pool of worldly prose. She says that death from him is kind, and therefore finds it much more magnificent to suffer and languish in a world of imaginary love than to live and have fun in a sphere of despicable activity. And in fact, she manages to bring herself to complete exhaustion with tears, sleepless nights and sad reflections under the ray of Diana. After Onegin's departure from the village, Tatyana, trying to maintain in herself the inextinguishable fire of her eternal love, repeatedly visits the office of the departed ideal and reads his books with great attention. With particular curiosity, she peers and ponders those pages on which some mark has been made by Onegin's hand. And another world opened up to her, Pushkin announces to us. The words "other world" must apparently denote a new view of human life in general and of Onegin's personality in particular. Before the discovery of the new world, she imagined that she was in love for the grave of life; after her discovery, she remains with the same conviction. Before the discovery of the new world, she implicitly obeyed her mother, and after the discovery, she continues to obey just as implicitly. This is very commendable of her, but in order to obey her mother in the most important cases of life, there was not the slightest need to discover a new world, because our old world is based entirely on humility and obedience. While Tatyana is discovering new worlds in Onegin's office, one of the inhabitants of the old world advises her mother to take her daughter to Moscow, to the brides' fair. Larina agrees with this idea, and when Tatyana finds out about this decision, then she, for her part, does not present any objections. It must be assumed that the bride fair occupies a very honorable place in the new world that Tatyana discovered. In Moscow, Tatyana behaves exactly as a well-bred young lady, brought by a caring parent to a bride fair, is obliged to behave. Wherever she aspired to dream - it's decidedly all the same. Her body, wrapped in a corset, in any case, is where it is told to be, and makes exactly the movements that it is ordered to do. Tatyana, until the end of the novel, remains the same knight of a sad image, as we saw her in her letter to Onegin. Her morbidly developed imagination constantly creates fake feelings for her, fake needs, fake duties, a whole artificial program of life, and she fulfills this artificial program with that amazing persistence that usually distinguishes people who are obsessed with some kind of monomania. She imagined that she was in love with Onegin, and really fell in love with him. Then she imagined that her life was broken. Then, seeing that she was unable to die, she imagined that now she was indifferent to everything; then she placed herself at the disposal of her relatives, who sold her to the fat general. Finding herself in the hands of her new master, she imagined that she had been turned into an ornament of the general's house. She put herself under a glass cap and obliged herself to stand under this cap throughout her life. And she herself looks at herself from the outside and admires the inviolability and firmness of her character. Onegin meets her in Petersburg at a time when she, draped in her integrity, is already decorating with her virtuous special dwelling the fat general. Onegin is imbued with a reprehensible desire to pull this ornament out from under the glass cap. But the ornament does not budge and, remaining under the cap, reads from there to the enterprising dandy such a sermon that gives him very little pleasure. This sermon, as you know, ends the whole novel. The famous monologue contains the following meaning: why didn’t you fall in love with me before Now you are courting me because I have become a brilliant decoration of a rich house fulfill all his requirements. This monologue clearly proves that Tatyana and Onegin are worth each other, both of them have distorted themselves to such an extent that they have completely lost the ability to think, feel and act like a human being. In itself, Tatyana's feeling is petty and flabby, but in relation to its object, this feeling is exactly the way it should be. Belinsky devoted a whole separate article to the characterization of Tatyana. In this article, he, as usual, expressed many excellent thoughts, which even now, after twenty years, can still amaze and horrify incorrigible philistines. Belinsky puts Tatyana on a pedestal and ascribes to her such lofty virtues, to which she has no right, and which Pushkin himself, with his superficial and childish outlook on life in general and on women in particular, did not want and could not endow the beloved creation of his imagination. We have studied the image of the beloved heroine of the poem by A.S. Pushkin, Eugene Onegin, Tatyana Larina, from the point of view of various critics. The poet himself considered the image of Tatyana the ideal positive image of a Russian woman. Pushkin was the first in Russia to create a realistic poetic novel. While working on the work, he wrote a novel to Vyazemsky, and not just a novel, but a novel in verse. And that's a hell of a difference. Eugene Onegin is a novel about contemporary reality for the poet, about the people of the Pushkin generation, their destinies, a novel that is sharp and relevant. In my opinion, this is precisely what gave Belinsky the right to call Pushkin's novel in verse not only an extremely popular work, but also an act of creation for Russian society, almost the first, but what a great step forward for him. Indeed, in the stanzas of Pushkin's novel, Russian society saw for the first time, and more importantly, for the first time understood itself and the causes of its ailments. Gukovsky Pushkin and problems of realistic style Tatyana as a type of Russian woman Russian literature of the 19th century Moscow Enlightenment 1984 DI Pisarev Moscow Fiction 1986 Khalizev V.E. The eighth chapter of Eugene Onegin The experience of interpretations Literature at school 1988 A.M. Gurevich Story of Eugene Onegin Moscow University Press 2001

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