The theme of love is traditional in Russian literature. Each writer and poet puts his personal, subjective experience into this topic. Therefore, in Russian literature one can find love that brings great happiness, unrequited love, love suffering, love disappointment, even love death. About true love, its cleansing and uplifting power in question in the novel in verse by A. S. Pushkin "Eugene Onegin". The hero of the work, “having lived without a goal, without labor until the age of twenty-six”, before meeting with Tatyana Larina, led an idle, wandering and not always worthy life. He did not think about happiness, about the meaning of his existence, he plays with people's destinies, sometimes crippling them. Onegin does not take responsibility for his actions, which affect the thoughts and destinies of the people around him. This is how Lensky dies, Tatyana is disappointed in her dreams, and nothing gives us the right to assert that these key characters of the novel were the only "cigarette butts" under the heel of the "fashionable rake". However, let's see what happens next. Sincere love of Tatyana touches Onegin, attracts attention. Tatyana, in principle, is interested in the main character, but he knows to himself that he does not know how to love, is not capable of feeling. Onegin knows only "the science of tender passion", and in the case of Tatiana, this knowledge is not applicable. The heroine writes a letter to her lover, because this is exactly what the girls from her favorite novels did and were always heard by young people. Tatyana builds a model of life from books, and she created the image of Onegin in her imagination. In fact, the girl does not know who Eugene Onegin is, she wants him to be the hero of her novel. It doesn’t even occur to her that maybe it’s not good to confess her love herself. young man because the books say nothing about it. Onegin, appreciating Tatyana, her naivety and purity, even after receiving the letter, thinks primarily about himself, and not about Tatyana. He revels in his nobility, the fact that he did not take advantage of the inexperience of the young heroine. Eugene teaches the girl a lesson, not realizing how cruel his words sound. We can conclude that Eugene Onegin is not capable of love. In general, the hero does not know how to reckon with the feelings of other people. This quality is manifested in love and friendship. True love Tatyana could not elevate the hero, and he committed terrible act killed a friend in a duel. In principle, from the point of view of psychoanalysis, Lensky's death is natural. Both Lensky and Onegin live in any of us. That is, Lensky personifies dreaminess and naivety - the traits of a child, and Onegin - prudence, maybe even cynicism, rationality - traits of an adult. And on a certain life stage our Onegin kills our own Lensky, so that, retreating from the charm of childhood, he finally takes responsibility and begins to realize himself as a person. The death of a friend becomes inevitable for Onegin. He does not even try to make peace with Lensky, he internally rejects attempts at reconciliation and accepts the challenge to the barrier. According to the law of the duel of that time, the meaning of the duel was to test courage and stamina - in order to stand with honor at gunpoint. Onegin, on the other hand, violates this code, he shoots, kills, and then in a letter to Tatyana declares: “Lensky fell an unfortunate victim.” Victim of what? The vanity of a city rake, offended authority, pride? .. Pushkin is quite loyal to his main character, but does not embellish his actions. However, oddly enough, the death of Lensky is the first step towards spiritual changes in Onegin. Further, tired of the village boredom, depressed by the consciousness of the murder committed, Onegin sets off on a journey. Pushkin compares him with Byron's Childe Harold - a sort of romantic hero, secretive, gloomy, sinisterly charming and deadly bored. However, these epithets immediately receive their refutation. When Tatyana comes to Onegin's abandoned house and starts sorting through his books, she sees notes in the margins, drawings, her attitude towards the hero changes radically. She asks: “Isn’t he a parody?” No, he is a man of flesh and blood, a man capable of killing, causing suffering. She understands that the image she loves does not correspond to reality at all and that, perhaps, reality is not entirely worthy of her love. The love is destroyed, and this causes the heroine great suffering. She cannot calm down, she does not want to go to Moscow to the “bride fair”, in fact, she becomes indifferent to her own fate. Her scattered laziness does not awaken to open rebellion, and she accepts her duty with dignity. “For poor Tanya, all the lots were equal, I got married ...” - she will later say to Onegin. In marriage, she finds everything she so dreamed of: from the wilderness of forest villages she finds herself in elite Petersburg, becomes a legislator of the hall, visits fashion salons, arranges evenings at home. Nowhere in the text does it say that Tatyana does not love her husband. In general, the fate of the beloved heroine of A. S. Pushkin is developing successfully. But what about Onegin? Having wandered around the world, never finding a goal, not busy with work, unable to get carried away by anything, he finds himself, by the will of fate, in St. Petersburg and meets Tatyana there. But Tatyana is completely transformed, the princess, the impregnable goddess of the “luxurious regal Neva”. And what happens? Seeing a familiar person, or rather, his transformation, Onegin begins courtship attempts, then, not meeting encouragement, falls into a severe blues and locks himself at home, having previously revealed his intentions and feelings in a letter to Tatyana. Pushkin sneers at the hero's romantic mask: "I almost lost my mind." But time flies, but there is no answer. “The days raced by, winter was already resolved in the heated air. And he didn’t become a poet, he didn’t die, he didn’t go crazy,” that is, Pushkin, as a realist, makes the hero take responsibility for his words and deeds. Tatyana refuses Onegin, rejects his love. The early drafts of the novel make it clear that the hero's feelings are dubious, despite the most penetrating, passionate message to Tatyana, which has become the undisputed pinnacle of Russian lyrics - this is Pushkin, this is not Onegin. So who is really changing? Tatiana. Because it was she who loved and loves Onegin; even having made sure of his weak essence, discovering his shortcomings, she loves him the same way years later. And it changes. And we see these dramatic changes. Everything is simple, like everything ingenious. This is the main meaning and irony of the content of the novel by the great Russian genius A. S. Pushkin.
The theme of love is traditional in Russian literature. Each writer and poet puts his personal, subjective experience into this topic. Therefore, in Russian literature one can find love that brings great happiness, unrequited love, love suffering, love disappointment, even love death.
True love, its purifying and uplifting power is discussed in the novel in verse by A. S. Pushkin “Eugene Onegin”. The hero of the work, "having lived without a goal, without labor to the age of twenty-six", before meeting with Tatyana Larina, led an idle, wandering and not always worthy life. He did not think about happiness, about the meaning of his existence, he plays with people's destinies, sometimes crippling them. Onegin does not take responsibility for his actions, which affect the thoughts and destinies of the people around him. This is how Lensky dies, Tatyana is disappointed in her dreams, and nothing gives us the right to assert that these key characters of the novel were the only “cigarette butts” under the heel of the “fashionable rake”. However, let's see what happens next.
Sincere love of Tatyana touches Onegin, attracts attention. Tatyana, in principle, is interested in the main character, but he knows to himself that he does not know how to love, is not capable of feeling. Onegin knows only “the science of tender passion”, and in the case of Tatiana, this knowledge is not applicable.
The heroine writes a letter to her lover, because this is exactly what the girls from her favorite novels did and were always heard by young people. Tatyana builds a model of life from books, and she created the image of Onegin in her imagination. In fact, the girl does not know who Eugene Onegin is, she wants him to be the hero of her novel. It doesn’t even occur to her that maybe it’s not good to confess her love to a young man herself, because nothing is said about this in the books.
Onegin, appreciating Tatyana, her naivety and purity, even after receiving the letter, thinks primarily about himself, and not about Tatyana. He revels in his nobility, the fact that he did not take advantage of the inexperience of the young heroine. Eugene teaches the girl a lesson, not realizing how cruel his words sound. We can conclude that Eugene Onegin is not capable of love.
In general, the hero does not know how to reckon with the feelings of other people. This quality is manifested in love and friendship. True love of Tatyana could not elevate the hero, and he committed a terrible act - he killed a friend in a duel.
In principle, from the point of view of psychoanalysis, Lensky's death is natural. Both Lensky and Onegin live in any of us. That is, Lensky personifies dreaminess and naivety - the traits of a child, and Onegin - prudence, maybe even cynicism, rationality - traits of an adult. And at a certain stage of life, our Onegin kills our own Lensky, so that, retreating from the charm of childhood, he finally takes responsibility and begins to realize himself as a person.
The death of a friend becomes inevitable for Onegin. He does not even try to make peace with Lensky, he internally rejects attempts at reconciliation and accepts the challenge to the barrier. According to the law of the duel of that time, the meaning of the duel was to test courage and stamina - in order to stand with honor at gunpoint. Onegin, on the other hand, violates this code, he shoots, kills, and then in a letter to Tatyana declares: “Lensky fell an unfortunate victim.” Victim of what? The vanity of a city rake, offended authority, pride? .. Pushkin is quite loyal to his main character, but does not embellish his actions. However, oddly enough, the death of Lensky is the first step towards spiritual changes in Onegin.
Further, tired of the village boredom, depressed by the consciousness of the murder committed, Onegin sets off on a journey. Pushkin compares him to Byron's Childe Harold - a kind of romantic hero, secretive, gloomy, sinisterly charming and bored to death. However, these epithets immediately receive their refutation.
When Tatyana comes to Onegin's abandoned house and starts sorting through his books, she sees notes in the margins, drawings, her attitude towards the hero changes radically. She asks: “Isn’t he a parody?” No, he is a man of flesh and blood, a man capable of killing, causing suffering. She understands that the image she loves does not correspond to reality at all and that, perhaps, reality is not entirely worthy of her love. The love is destroyed, and this causes the heroine great suffering. She cannot calm down, she does not want to go to Moscow for the “bride fair”, in fact, she becomes indifferent to her own fate.
Her scattered laziness does not awaken to open rebellion, and she accepts her duty with dignity. “For poor Tanya, all the lots were equal, I got married ...” - then she will say to Onegin. In marriage, she finds everything she so dreamed of: from the wilderness of forest villages she gets into the high society of St. Petersburg, becomes a legislator of the hall, visits fashion salons, arranges evenings at her place. Nowhere in the text does it say that Tatyana does not love her husband. In general, the fate of the beloved heroine of A. S. Pushkin is developing successfully.
But what about Onegin? Having wandered around the world, never finding a goal, not busy with work, unable to get carried away by anything, he finds himself, by the will of fate, in St. Petersburg and meets Tatyana there. But Tatyana is completely transformed, the princess, the impregnable goddess of the “luxurious royal Neva”. And what happens? Seeing a familiar person, or rather, his transformation, Onegin begins courtship attempts, then, not meeting encouragement, falls into a severe blues and locks himself at home, having previously revealed his intentions and feelings in a letter to Tatiana.
Pushkin sneers at the hero's romantic mask: "I almost lost my mind." But time flies, but there is no answer. “The days raced by, winter was already resolved in the heated air. And he didn’t become a poet, he didn’t die, he didn’t go crazy,” that is, Pushkin, as a realist, makes the hero take responsibility for his words and deeds.
Tatyana refuses Onegin, rejects his love. The early drafts of the novel make it clear that the hero's feelings are dubious, despite the most penetrating, passionate message to Tatyana, which has become the undisputed pinnacle of Russian lyrics - this is Pushkin, this is not Onegin.
So who is really changing? Tatiana. Because it was she who loved and loves Onegin; even having made sure of his weak essence, discovering his shortcomings, she loves him the same way years later. And it changes. And we see these dramatic changes. Everything is simple, like everything ingenious. This is the main meaning and irony of the content of the novel by the great Russian genius A. S. Pushkin.
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New: in Brateevo
To turn pale and go out ... that's bliss!
Tatyana Larina’s nanny says that in her time they didn’t even “hear about love” ... When Tatyana’s mother was young, they not only “heard” about love, but also read French novels that determined the consciousness of girls. The eldest Larina loved, but was married to another. At first she was very sad and cried, but over time she reconciled and got used to it. Habit became her happiness. Pushkin puts it this way:
Indeed, Onegin comes to a different understanding of happiness in love at the end of the novel:
Tatyana herself loves Onegin selflessly, "... without art, / Obedient to the attraction of feelings." This sincere love will remain in her soul throughout the entire action of the novel. Even being married, preferring the fulfillment of her duty to her husband to possible happiness, Tatiana still loves Onegin and, without hypocrisy, tells him about her feelings.
Freeze before you in agony,
How wrong I was, how punished!
The novel "Eugene Onegin" is a novel about love. On the path of life, each of the heroes meets this wonderful feeling. But none of the characters manage to connect with their loved one.
replacement for happiness. My God!
She is a substitute for happiness.
Sincere, natural, pure and sublime, the feeling that does not fade with time is sung by the author in the novel, such is his concept of love.
Vladimir Lensky's love for Olga Larina is similar in strength and sincerity to Tatyana's feelings: “He sang love, obedient to love ...” Pushkin admires Lensky's feeling: “Oh, he loved, as in our years / They don’t love anymore ...” Onegin is another matter. At first he was disappointed in women (“... Beauties were not long / The subject of his habitual thoughts” and “... I was not created for bliss; / My soul is alien to him; / Your perfections are in vain ...”), but then he understands the collapse of his former worldview. Eugene writes to Tatyana:
…understand
The habit from above is given to us:
Soul all your perfection,
I thought: liberty and peace
The theme of love in the novel by A. S. Pushkin “Eugene Onegin”
The novel "Eugene Onegin" is a novel about love. On the path of life, each of the heroes meets this wonderful feeling. But none of the characters manage to connect with their loved one.
Tatyana Larina's nanny says that in her time they "didn't even hear about love ..." When Tatyana's mother was young, they not only "heard" about love, but also read French novels that determined the worldview of girls. The eldest Larina loved, but was married to another. At first she was very sad and cried, but over time she reconciled and got used to it. Habit became her happiness. Pushkin puts it this way:
The habit from above is given to us:
She is a substitute for happiness.
Tatyana herself loves Onegin selflessly,
Without art
Obedient to the attraction of feelings.
This sincere love will remain in her soul throughout the novel. Even being married, preferring the fulfillment of family duty to possible happiness, Tatyana still loves Onegin and, without hypocrisy, tells him about her feelings.
Vladimir Lensky's love for Olga Larina is close in strength and sincerity to Tatyana's experiences: "He sang love, obedient to love ..."
Another thing is Onegin. At first he was disappointed in women:
The beauties didn't last long
The subject of his habitual thoughts...
...I'm not made for bliss;
My soul is alien to him;
In vain are your perfections...
But later, Eugene understands the collapse of his former attitude. He writes to Tatyana:
I thought: liberty and peace
replacement for happiness. My God!
How wrong I was, how punished!
Indeed, Onegin comes to a different understanding of happiness in love at the end of the novel:
Understand
Soul all your perfection,
Freeze before you in agony,
Sincere, natural, pure and sublime, the feeling that does not fade with time is sung by the author in the novel, such is his concept of love.
Why is Evgeny Onegin unhappy?
In order to answer this question, it is worth tracing the changes in the personality of the protagonist novel of the same name A. Pushkin. At the beginning of the novel, the poet shows tired of metropolitan life secular lion Onegin. What is the expression of this dissatisfaction? The need to obey what he is not interested in. So, why does the hero go to the dying uncle, soberly assessing his upcoming role, as " low deceit"Yes, because Onegin does not see the point in anything at all and is indifferent to almost everything, except for feeling dignity and independence, which are shaken by a trip to a dying relative. The nature of irritation is determined by the fact that the hero is tired of the usual pretense.
At the beginning of the novel, Onegin seems to be trying on various life possibilities, without giving priority to any of them. The enchanting masquerade of the hero is reflected in the definitions, paradoxical in their neighborhood, that Pushkin addresses to his hero: "young rake" and "my good friend", "dandy of London" and "scientist", "prankster" and "philosopher at eighteen", " ardent rake" and "apostate of violent pleasures."
Onegin's life at the beginning of the novel is truly theatrical. This is determined by the hero's excessive enthusiasm for his own role in the theater of life. He plays everywhere, wherever he is, whatever he does. Interestingly, all such theatricality disappears by the end of the novel.
The plot of the novel is a contradiction in the character of the protagonist, the strangeness of his depressive state with the outward well-being of life. The change of Onegin's habitat does not change anything in his interior. It is natural that Pushkin decided to change psychological condition Onegin, testing him with love. The revival of the heart in Onegin, the need for feelings - so far only an echo of Lensky's ardor. Before own feeling Onegin cannot get up yet, even after receiving a letter from Tatyana in love. Onegin's attitude towards Tatyana is only an echo of sincere feelings. At the same time, it is important that the hero, "losing his life best color", indifferent to everything and everyone, suddenly feels the possibility of love:
But, having received Tanya's message,
Onegin was vividly touched:
The language of girlish dreams
A swarm of thoughts disturbed him ...
Why did Pushkin still reject this possibility, let him fall in love, and not Onegin's love?
There is an honesty of self-esteem in the protagonist. He stops himself, refusing to take the momentary impulse for true feelings. In this, Onegin's ability to realize the depth of Tatyana's love is obvious. The sincerity of her confession took Onegin away from the usual "game" and the theatrical props corresponding to it. Onegin is not yet able to love, but he responds to the excitement of others, he would like animation and sincerity and regrets that they have been lost. In this regard, Pushkin's call not to condemn Onegin is relevant:
You will agree, my reader,
What a very nice act
With sad Tanya my friend;
Not the first time he showed up here
The denouement of the duel between Onegin and society, which at first was vaguely outlined in the hero's blues, was resolved by the murder of Lensky. The duel is the climax crucial moment in the fate of heroes. Tatyana saw in reality that the ideal hero of his dreams is capable of crime. Onegin is struck by the death of Lensky. It turned out that he had nothing to be proud of, that the feeling of superiority over society was false at the very root. Contempt for society led to a certain degree of degradation of the hero's personality.
Hero, fiasco, should be vehemently condemned by readers. But Pushkin, true to artistic objectivity, refutes the readers' hasty conclusions. The poet's humanism does not allow making hasty accusations against the hero, who is nevertheless capable of sincere feelings. There is a hidden potential in Onegin, which was expressed in the revealed poetic, selfless feeling for Tatyana:
Freeze before you in agony,
To turn pale and go out ... that's bliss!
The anguish of the heart is so significant that Onegin is ready to pay for the love itself. high price- life, like Tatyana, who was once also ready to die in the name of feeling. But in this experience of love, the characters are categorically different. Tatyana voluntarily gave herself to love, according to her inner dictates, without executing herself. Onegin "curses his madness - and is deeply immersed in it ...".
At the same time, Onegin's dedication is beyond doubt. He really forgot about himself: the devotion of love is stronger than the fear of death:
I know: my age is already measured;
But for my life to last
I have to be sure in the morning
That I will see you in the afternoon ...
At the beginning of the novel, the poet and his hero remain in many ways opposite. At the end of the work, Pushkin robs the secular crowd of the right to judge Onegin. Every person is defined by his ability to love. Everyone has their own way to experience the most magnificent and unique feeling in life. Onegin's path was long and thorny, but the fact that all obstacles were overcome only disposes the main character to the reader.
Love conflict in the novel
"Eugene Onegin"
These are conflicts traditional for works of this genre - love. the main problem- this is a love relationship between Eugene Onegin and Tatyana Larina; a secondary problem is Vladimir Lensky's love for Olga Larina. Both conflicts are built not only on the traditional opposition of man and woman, but also on the second opposition - between romantic and realistic nature.
The novel in verse "Eugene Onegin" was created by A. S. Pushkin over a number of years - from 1823 to 1831. During this time, both the idea of the novel and its plot have undergone significant changes: after all, the author himself has changed, his view of the world, of those around him, of himself. But the only thing that remained unchanged in this work was Conflict, more precisely - conflicts, because in the novel there are not one, but two conflicts.
Thus, a realist by nature, Eugene Onegin, opposes the romantic Tatyana Larina, and the romantic poet Lensky opposes Olga, who is realistic in her views on life.
It originates in the third chapter, when Lensky introduces his new friend to the Larin family. Before that, we already know that Vladimir is in love with Olga, with whom he has been friends since childhood and who gave him “the first dream of young delights”:
Ah, he loved, as in our summers
They no longer love; as one
The mad soul of a poet
Still condemned to love...
This love is naive and pure, but this is what attracts Pushkin, Lensky does not yet know real life, he is not spoiled by the "cold debauchery of the world", he sincerely believes in the eternity of love and in the devotion of friendship. The author, as it were, contrasts Onegin, with his cold, dead soul, and enthusiastic Lensky. Pushkin compares his heroes:
They agreed.
Wave and stone
Poetry and prose, ice and fire
Not so different from each other.
In this comparison, of course, Lensky wins. But his naivety and vehemence are ruining him: Lensky, jealous of Olga for the "insidious" Onegin, calls his ex-boyfriend to a duel. But this duel ended tragically for the young poet: he was killed in it.
Pushkin mourns the early death of Lensky, he is sincerely sorry for his hero. Olga, although she wept bitterly for her fiancé, soon consoled herself, married a lancer and left parental home. We cannot say for sure whether Olga Lensky truly loved, as passionately as he loved her. Most likely, she simply liked Lensky, because he was "rich, good-looking", he was, apparently, a "profitable" groom for her. In addition, their neighbors-fathers were friendly and had long ago agreed on their wedding: "crowns were predicted for the children." I think that Olga simply allowed Lensky to love herself, to admire herself, to dedicate poems to herself in which Vladimir “sang love, obedient to love,” that is, she could not understand the full depth of Lensky’s feelings. Olga, most likely, will repeat the fate of her mother in the future, that is, she will become the same provincial lady-landowner as she is. Thus, the second Love conflict in the novel "Eugene Onegin" ends in the sixth chapter with the death of Lensky.
But the main Love conflict in the novel "Eugene Onegin", developed not so traditionally and simply. After meeting Onegin was able to immediately appreciate Tatyana with her discreet external beauty and a rich spiritual world. Having received Tatyana's love confession, Eugene was surprised: he did not expect such courage and such passion from her in expressing his feelings, although for us, as readers, this was not so unexpected, because we knew that Tatyana was an unusual nature. Tatyana from childhood was different from her peers: she did not like their noisy games, but she loved “to warn on the balcony. dawn sunrise ", loved to listen" scary stories nannies." The heroine of Pushkin began to read romance novels early:
They replaced everything for her;
She fell in love with lies. . .
Both Richardson and Rousseau.
Tatyana imagined herself the heroine of the same novel and waited for her hero; and therefore, only when she saw Onegin, she fell in love with him, or rather, with that romantic image that she invented for herself. Tatyana, as the heroine of the novel, writes a love letter to her hero, which perplexes Onegin, because he barely knew her.
Nevertheless, Onegin treated Tatyana's feelings with care and, during an explanation with her, showed "straight nobility of the soul." He honestly admitted that he was not created for family life that marriage will be only torment for him. It seems to me that Eugene simply did not want to part with his freedom, he was afraid of the responsibility that family obligations impose, because main feature Onegin is selfish, he is used to living only for himself, not caring about others. Onegin, in addition, is a slave to secular conventions, and this was most clearly manifested during his duel with Lensky.
Onegin understood that he was wrong in joking so cruelly over the sincere love of the young poet that he should refuse the duel and make peace with him. But Onegin is afraid that he will be considered a coward, and accepts the challenge.
Spring of honor, our idol!
And this is where the world revolves!
Onegin deeply and sincerely repented that he accidentally killed Lensky in a duel. Soon he left his estate, "where the bloody shadow appeared to him every day," and went on a trip to Russia.
Tatyana was sure that she would never see Onegin again, and therefore agreed to her mother's persuasion to marry the general: "for poor Tanya, all the lots were equal." Her position has changed: she has become a secular lady, she has her own "fashion house and evenings", but in her heart she remains the same, the former Tatyana, who continued to love Onegin, although now she no longer idealized him.
We meet Yevgeny again after how many years and we see that Onegin has changed in many ways internally, although outwardly his life has remained the same: Onegin, “languishing in the inactivity of leisure, without service, without a wife, without work, did not know how to do anything.”
The meeting with Tatyana shocked Evgeny. Together with the former, timid provincial young lady, he saw a self-confident secular beauty, the legislator of the ball. Love flares up in his soul, and this sincere feeling. He writes Tatyana one message, the second, the third, but does not receive an answer. He is looking for meetings with her, and during their last explanation receives a refusal from Tatiana: she admits that she still loves him, but cannot answer his feelings, since for her marital duty and fidelity mean more than a feeling of love:
I love you
(why lie?)
But I am given to another;
I will be faithful to him forever.
Onegin, amazed, listened to this confession of Tatyana, and this ends the action of the novel. Love conflict in the novel "Eugene Onegin" not resolved traditionally for love story of that time - the wedding of heroes or the death of one of them, but simply interrupted. 3 this is its unusualness: Pushkin left the reader the opportunity to continue the action of the novel himself and “complete” further development love conflict In the novel "Eugene Onegin". Maybe Onegin and Tatyana will find happiness together in the future, but most likely not. I think that their relationship will remain the same, without any changes and additions.
