The couple Onegin and Tatyana are a classic couple, and relationships like their relationship have long become classic, and their names have long been household names. Saying them, we no longer remember either the feelings experienced by the heroes, or the tragedy of each of them individually, or their common tragedy incomprehension and worthlessness. But if we suddenly undertake to re-read Pushkin's poem, then suddenly, unexpectedly for ourselves, we will discover that we, it turns out, with the same excitement follow the experiences of the lives of the heroes, we also hope together with them for happy end and long and happy love, and also together with them we reflect on the causes of the tragedy, the tragedy of love.

Onegin is an extra person, we understand this from the first lines of his description by Pushkin, he makes fun of him, and informs the reader about all his shortcomings:

Illness whose cause

It's high time to find

Like an English spin

In short: Russian melancholy

She took possession of him little by little;

He shoot himself, thank God,

Didn't want to try

But life has completely cooled off.

This is how Eugene Onegin appears before us. No, we do not feel hostility towards him, neither from the beginning nor after he throws a daring and moralizing refusal to Tatyana, however, a certain feeling of coldness and misunderstanding still arises in our hearts. But Onegin is trying, he is in a hurry to get rid of this feeling, runs to the village, and it seems that he must try with all his might to distract himself from himself and the world. But no, the Russian hadra is not so easily curable, especially since it’s a sin to conceal that Onegin himself is in no hurry to get rid of it. The village is beautiful, they live in it beautiful people, such as Lensky, Tatyana Larina, it seemed that this is salvation! Tatyana, "of the purest charm, the purest sample", probably, was sent down to Onegin by fate, she, like an angel, could ignite his life, fill it with meaning, but she herself is like a riddle that you can solve all your life:

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.

But for some reason she couldn't do it. Onegin, apparently remembering his usual victories in the world, decided to replenish his collection broken hearts, or maybe he was just afraid of the huge responsibility that such a a pure soul like Tatiana? Onegin was simply frightened. Yes, for such short term he would not have been able to recognize Tatyana. Yes, she belongs to the village, but if he called her to the ends of the world, she would follow him without hesitation. Isn't this the kind of love that each of us dreams of? However, seeing Tatyana in her element, in the bosom of nature, Onegin decided that being carried away by Tatyana, he would forever tie himself to the village. Or, perhaps, it is his deep-seated spleen who is afraid that if he breaks away from the monotonous light, he will die in Onegin's soul? Hearing Onegin's rebuke to Tatyana, don't we catch the echoes of this melancholy?

Whenever life is around the house

I wanted to limit;

When would I be a father, a spouse

A pleasant lot commanded;

When would a family picture

I was captivated even for a single moment, -

That, right b, except for you alone

The bride was not looking for another.

But Tatyana does not know about this melancholy, she is simple and artless, and in love with Onegin. But this is the first, youthful love, and, as a rule, it is unhappy. Probably, this is not even love, but a rehearsal of love. Tatyana, not knowing Onegin, created his image for herself, endowed him with all positive traits that can only be in a person and fell in love with this particular image. So we think, and the author himself does not dissuade us from this. However, we also remember the words of Pushkin, who said that his heroes stopped obeying their creator and began to live independently. Therefore, the author himself and we, together with him, are so surprised by the words of Tatyana at the end of the novel, surprised by this peculiar rebuff in response:

I got married.

You must,

I ask you to leave me;

I know that there is in your heart

And pride and direct honor.

I love you (why lie?),

But I am given to another;

I will be faithful to him forever.

So first fear, and then duty prevented this love. But if you think about it, then, probably, she, this love, is so beautiful only because it did not happen. After all, Onegin could accept Tatyana's love, stay in the village or take her to St. Petersburg. What would change? In order to become a secular lady, albeit despising all this world, Tatyana had to grow up and forget her novels "both Richardson and Rousseau", and it was Onegin, or rather his monologue in the garden, that became the starting point of this growing up of Tatyana . Being disappointed for the first time, she realized that life is not as simple as it seems, and for every moment of happiness in this life you need to fight. Tatiana - strong personality, she was able to endure, and suffering hardened her. Who knows, if she had stayed in the village, and if Onegin had met her there, she would not have thrown herself on his neck, with confessions of still unfailing love. But Onegin, he lost. His hadrah still got the better of him, and in the end we see him as a mere victim of life and circumstance, a worthless man leading a worthless existence. But Tatyana does not triumph. Remaining true to her pure principles and ideals, she does not laugh at the kneeling Onegin and does not try to take revenge. No, she just sees the debunked image of her hero in front of her, but she still loves him. Truly love works wonders!

And happiness was so possible

So close!..

But my destiny

Already decided.

Carelessly

Maybe I did...

And yet, in the end, Tatyana repented ...

Bibliography

For the preparation of this work, materials from the site http://www.easyschool.ru/ were used.

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All of us at school were forced to read the novel by A. S. Pushkin "Eugene Onegin." But at this age, most children are unlikely to think about the deep meaning of this work, looking at the relationship between Onegin and Tatyana through the prism of their sensory experience. However, many critics cannot understand the author's ideas, preferring to limit themselves to a superficial analysis of only the actions of the characters, without focusing on the spiritual component.

Antithesis

At first glance, it may seem that two central character"Eugene Onegin" are opposed to each other. Tatyana Larina is a highly moral, spiritual person, she is pure in spirit and body. And Onegin is a Petersburg dandy, tempted in already familiar with passion and its consequences. They are attracted to each other, like charges of the same name, a certain mutual understanding arises between them, because both have outgrown their environment and are looking for truth in something else, incomprehensible and even frightening.

Features of education

A comparison of Onegin and Tatyana can begin by considering the conditions in which they grew up. Pushkin's favorite was born in a rich house, albeit located in the wilderness. In infancy and childhood, she was cared for by a nanny chosen by her parents from among the peasants who lived nearby. She sang lullabies, told fairy tales and, of course, read prayers over the girl. This tied Tatyana to the people more strongly than one could imagine. Thoughtful and silent by nature, the girl spent little time with her peers, avoided noisy games and fun. She was more interested in books, contemplation of nature and reflection. Youngest daughter Larin lived according to folk customs, got up early to meet the dawn, believed in omens and fulfilled traditional rites despite being religious.

Onegin grew up in European society. The nanny was replaced by a tutor who raised the boy according to his idea of ​​a secular person. Growing up early, Eugene plunged headlong into a brilliant and noisy life, acquiring the status of a young rake. Education and love for popular authors gave him charm and promised the favor of the ladies. He quickly understood all the subtleties of sensual love and learned to manipulate them. He began to be skeptical about the manifestation of humanity, kindness, compassion. He criticized and questioned everything that happened to him and around him, as advised by European authors.

world through the window

The characterization of Tatiana in "Eugene Onegin" cannot do without a mention of nature. Describing panoramic views, Pushkin does this as if looking out of the window of the room belonging to the main character. Any landscape in the novel reflects state of mind girls. As the plot develops, not only the season and the weather on the street change, but also the part of the day that Tatyana spends thinking about her chosen one.

Byronic and sentimental literature

You can also trace the differences between Eugene and Tatiana from the books they read. For Onegin, Byron was an example to follow, ironically and skeptically looking at the world. This is what the young man looked like. perfect man. Selfish, charming, slightly sarcastic and caustic. European literature of that time cultivated a similar way of thinking.

Tatyana Larina, on the contrary, draws attention to sentimental novels that show the value of sincerity, kindness and responsiveness. Of course, they are somewhat naive for a girl who will spin in high society, but nobility and honor, brought up thanks to them, long years helped her to keep herself unchanged under the influence of circumstances.

It is about the hero from the sentimental novel that the girl dreams of. And when Onegin, despised and persecuted from everywhere, appears in their area, she takes him for the ideal that she has been waiting for so long.

Letter

Tatyana's letter to Onegin reflects the sublime love that the girl had for her chosen one. It is in him that one can clearly trace the features of the girl’s character: sincerity, gullibility, impressionability. She has no reason to doubt her choice. For a young beauty, an alliance with a person like Eugene is not only the fulfillment of a cherished desire and a long-awaited reunion with her beloved, but also an opportunity spiritual growth, self-improvement.

Onegin, on the contrary, sees in Tatyana in love only a naive, enthusiastic simpleton who was inspired by his stories and appearance. He does not take her feelings seriously, although he suspects that it will not go away so easily. Secular "games of love" prematurely made his heart immune to such signs of attention. Perhaps, if it were not for the rich life experience in this field, the couple could have turned out differently.

Tatyana's letter to Onegin is permeated with feelings that the girl can no longer keep in herself. She admits that the gap in upbringing, education and experience between them is huge, but she hopes to someday bridge it in order to be closer to her beloved.

Refusal

As you know, Eugene refused Larina, arguing that he is not worthy of her, since he does not experience such lofty feelings and does not want to offend her with the immutability of his motives. According to most critics, it is Onegin's refusal that causes rejection in the reader. It was perhaps the most Noble act for his entire life, but the luminaries of literature look at this situation somewhat differently. They believe that fear prompted the young rake to refuse, reason prevailed over the feelings that Tatyana, "Russian in soul", aroused in him.

Meetings

Onegin and Tatyana meet three times in the novel. For the first time - when Eugene comes to the Larin estate. The second - when he is forced to explain to Tatyana regarding her letter, and the last - on her name day, a year after the tragic events. And each such meeting changes something in Onegin's soul, does not allow him to stay away, to brush aside feelings and emotions. Fearing what is happening to him, the rake prefers to leave and throw the image of the girl out of his head than to be near her and change.

Duel

It is the relationship between Onegin and Tatyana that makes the character of the work somewhat gloomy. The main character is angry: with himself, with Larina, with best friend Lensky, to the fate that brought him to this estate, to his uncle, who died so untimely. This pushes him to reckless acts, such as flirting with Olga. Of course, the duel was necessary, but it was not necessary to kill each other. However, the events were put together in such a way that, due to the ever-growing hated feeling, Vladimir had to move to another world.

last ball

Comparison of Onegin and Tatyana continues throughout last scene novel. The ball in honor of the name day at the Larins' estate seems to copy the girl's terrible dream about her wedding to Evgeny. Sick, dissatisfied, oppressed by remorse, a man is surrounded by grotesque characters who contrast so much with his inner world that it seems as if they are mocking him.

Unable to endure these torments, Onegin leaves, citing the fact that he was possessed by a desire to change places.

Petersburg

Quite a bit of time has passed, and the main characters meet again, now at a social event in St. Petersburg. The relationship between Onegin and Tatyana has not changed much. They have become more complex, but the inner heat still continues to pulsate in both. Larina got married, became a princess and now holds her head high. Now there is no trace of that rural girl who ardently confessed her feelings to the young rake.

The situation turns against Eugene, as he realizes that he is in love and suffers from this. He writes letters to the object of his adoration, trying to return everything back, but the girl is adamant. This is how Pushkin sees the situation. Onegin has feelings for Tatyana, but now she is trying to avoid a relationship. In the end, the girl refuses the man a secret relationship, citing the fact that she took an oath to be faithful to another man, despite the fact that she still loves Eugene. This puts an end to the novel but, according to some critics, the ending still remains open.

The relationship between Onegin and Tatyana was difficult, they were stained with the blood of a friend, refusals and confessions ... But in the end, their love continued to live even when they signed her death sentence together.

Each writer in his works asks the age-old question: what is the meaning of life, and tries to answer it. A. S. Pushkin in his novel "Eugene Onegin" also looked for an answer to this question. In expressing the thoughts and feelings of the poet, a huge role belongs to the characters of the novel. The Gvozdins, the Pustyakovs, the Skotinins, the "necessary fools" of high-society society, pass before the reader in a motley crowd. Maybe in a happy hustle metropolitan nobility and captured the ideal of life? No, in the depiction of these characters, irony, and even mockery, is clearly felt. And Olga and Lensky? They are isolated from the general mass of nobles, but their way of life cannot be set as an example either.
by the most close-up Onegin and Tatyana are shown in the novel. The poet says about the hero: "I liked his features." And he calls the heroine his "true ideal." So, in Onegin, not everything is approved, but in Tatiana - everything. Obviously, when considering these images, it is possible to answer the question posed before.
Onegin and Tatyana have qualities that bring them closer. In a society where "upbringing is no wonder to shine," our heroes stand out for their knowledge. Eugene knew perfectly French, was familiar with fiction, with history, "read Adam Smith", was well versed in theatrical art.
Tatiana from childhood, books "replaced everything." She spent more than one night reading novels. And later, he eagerly reads books in the library of his chosen one.
Both Onegin and Tatyana have a penetrating mind. Onegin knew people. He listened to Lensky with a smile, understanding the immaturity of his judgments. Olga for Onegin is an ordinary young lady, he allows himself to whisper to her "some kind of vulgar madrigal", with Tatiana, Eugene is always serious. And Tatyana managed to comprehend even such a complex and controversial nature like Onegin.
The heroes are united by the independence of their judgments and actions. Onegin, in a conversation with Lensky, absolutely freely subjects everything to court, evades communication with importunate landlord neighbors. He doesn't always care what people think of him. Endowed with a "wayward head", Tatyana speaks sharply about pomp, tinsel, and the vanity of high society. Onegin and Tatyana are also brought together by honesty and truthfulness in relationships.
Evgeniy replies to Tatyana's trusting letter with "a confession also without art."
Is it any wonder that smart, insightful people like Onegin and Tatyana felt completely alone in the environment to which they belonged by birth?
The poet notes that Onegin in the chosen society "seemed to be a stranger." Tatiana even in native family"seemed like a stranger girl." But, having some similar qualities, the characters are different from each other.
Evgenia is opposed to selfishness generosity
Tatyana.
These qualities are manifested primarily in love. If Eugene's egoism was the soil on which an easy attitude to love grew, then Tatyana's spiritual generosity explains her self-denial and fidelity in cordial affection.
WITH young years"the science of tender passion" replaced Onegin with true feelings. Like a light-winged moth, he fluttered, often changing attachments. In a moment of revelation, he confesses to Tatyana that the "family picture" does not captivate him, that he is not capable of loving anyone for a long time.
Later, seeking the love of Tatyana, a noble lady of high society, a princess, Onegin thinks only of himself and his
suffering.
Tatyana belongs to those sublime and rich natures who do not know the calculation in love. They give all the strength of the heart to this feeling, and therefore it is beautiful and unique.
In all his actions, Onegin is guided only by his own whims. He strikes up a friendship with Lensky out of boredom, just to kill time. In order to dissipate boredom only for a while, he arouses Lensky's jealousy at the Larins' name day, courting Olga, and then, taking care of his reputation, kills the young poet in a duel.
In the generous heart of Tatyana there will always be a place for compassion, sympathy for a person, a sense of duty to him. She often goes to the lonely grave of Lensky. Guided by a sense of conjugal duty, Tatyana rejects Onegin's love, although she continues to love him as before.
However, the main difference between the characters is Eugene's complete indifference and Tatyana's deep attachment to the "low" nature and people. How could he, brought up by French governesses in the noisy bustle of the capital, far from folk life Eugene to feel the charm of "low" nature, to feel the need for connection with the people? To all this he remains indifferent. Just on a short time he could be captivated by an unassuming rural nature. And then he saw, "that in the countryside boredom is the same."
A completely different Tatyana. Growing up among free fields, green shady oak forests, communicating daily with the people, she retains for life a deep, tender love for her native land and its nature, a touching attachment to the "poor villagers". Ever since childhood, "she loved to warn the sunrise on the balcony," to watch the stars. Trees, flowers, streams are her friends who can be trusted with her secrets.
Tatyana sympathized with the people (“she helped the poor”), but the nanny, whom she calls “dear”, evokes special tenderness in her soul. Nothing can destroy these sympathies in Tatyana's soul: neither a long forced separation, nor high position in the light. Her soul yearns and yearns for her native places, her usual way of life.
Different attitudes towards people native nature is the decisive factor that helps to give a final assessment of the heroes.
Onegin - type " extra person". Tatyana is a positive heroine.
In the image of Onegin, A. S. Pushkin showed that part of the intelligentsia of the 20s. XIX century, which had a negative attitude to the socio-political orders of that time. But also with nothing connected such people with the people. They turned into "egoists involuntarily", into people useless for society. Such a life had no meaning.
Tatyana has absorbed all the best that the people are rich in, she is the bearer of such wonderful character traits as love for the motherland, truthfulness, honesty, fidelity to duty.
Tatyana's life had a certain positive content, although it still cannot be called high, because the position of a woman at that time was such that in public life she played no part.
And life takes on a high meaning only when a person is needed by the people, serves them, fights for their happiness.

Russian history literature XIX century. Part 1. 1800-1830s Yury Vladimirovich Lebedev

Onegin and Tatyana.

Onegin and Tatyana.

The relationship between Onegin and Tatiana is based on the principle of antithesis, opposition. But at the heart of this confrontation lies a potential commonality. Like two oppositely charged poles of a magnet, Onegin and Tatyana are drawn to each other. Tatyana's character contains positive life values, which Onegin needs so much and from which he is so far away.

At the same time, there is something in common between all the young heroes of the novel. And Onegin, and Lensky, and Tatyana spiritually outgrew the environment that surrounds them. After all, Tatyana also feels like a stranger in her patriarchal-noble environment. “Imagine: I am here alone, / No one understands me, / My mind is exhausted, / And I must die in silence,” she laments in love letter to Onegin.

But unlike Onegin, Tatyana grows up in a different environment, in different conditions. Her main advantage over the "non-Russian" Onegin and the "half-Russian" Lensky is that, according to Pushkin's definition, Tatyana is "Russian in spirit". And the author explains why she is like that. In contrast to Onegin, Tatyana grew up in the "backwoods of a forgotten village", close to the people, in the atmosphere. fairy tales, songs, divination, beliefs and "traditions of the common folk antiquity". The pictures of Tatyana's childhood, adolescence and youth echo Onegin's life according to the principle of antithesis: they are opposite in everything.

Yevgeny has foreign tutors, Tatyana has a kind nanny, a simple Russian peasant woman, for whom it is easy to guess the nanny of Pushkin himself - Arina Rodionovna. Onegin has “the science of tender passion”, Tatyana has poverty, helping the poor and humble prayer, which “delights the anguish of an agitated soul”. Onegin has a vain youth, reminiscent of a repeating ritual from day to day - "a long row of dinners alone." Tatyana has solitude, the concentration of a silently ripening soul.

Talking about Tatyana's childhood, Pushkin introduces motifs into the novel for a reason. hagiographic literature. The childhood of all Orthodox righteous women was accompanied by alienation from fun, from children's games and pranks. Tatyana “didn’t play with burners”, “she was bored with both ringing laughter and the noise of their windy joys”:

Thought, her friend

From the most lullaby days

Rural Leisure Current

Decorated her with dreams.

Avoiding childish pranks, she loved long winter evenings listen to the stories of the nanny, in which the legends of ancient times came to life. If Onegin led an unnatural way of life in his youth, “turning the morning at midnight,” then Tatiana’s youth is obedient to the rhythms of nature and the rhythms of folk life that agree with it:

She loved on the balcony

Warn dawn dawn

When in the pale sky

Stars disappears round dance.

Like a bird of God, she always wakes up at dawn, like all peasant and courtyard girls, on the morning of the first snow she “goes to meet the winter, / Breathe frosty dust / And the first snow from the roof of the bathhouse / Wash her face, shoulders and chest.

The world of nature in the novel invariably correlates with the image of this girl, whom Pushkin, at the risk of incurring the discontent of readers and readers, gave such a common name (in Pushkin's era it sounded like Akulina, Matryona or Lukerya). The very definition of Tatyana's Russianness is connected with her inherent poetic sense of nature:

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 late dawn

Shine of pink snows,

And the darkness of Epiphany evenings.

Nature in Pushkin's novel most often opens through the window through which Tatyana looks. We can say that Tatyana at the window is a leitmotif, a plot situation that repeats in the novel:

... Waking up early,

Tatyana saw through the window

Whitewashed yard in the morning,

Curtains, roofs and fences.

“And often the whole day alone / I sat silently at the window”; “And silent, like Svetlana, / She came in and sat down by the window”; “Tatyana stood before the window, / Breathing on the cold glass”; “Looks, it’s already light in the room; / In the window through the frozen glass / The crimson ray of dawn plays ”; “Tanya sits down at the window, / The dusk is thinning; but she / does not distinguish between her fields”;

Alone, sad under the window

Illuminated by the ray of Diana,

Poor Tatyana does not sleep

And looks into the dark field.

As you read the novel, Russian nature, with its succession of seasons and seasons, merges so much with the image of Pushkin’s beloved heroine that sometimes you catch yourself thinking: any landscape in the novel is a “window” into the world of her poetic soul.

Significantly different from Onegin and that circle of reading, that European cultural tradition, which had a noticeable influence on the formation of Tatyana's character. Onegin, even disappointed in life and people, took with him to the village a number of books that retained unconditional interest and authority for him. Among them, Byron occupies the first place, and with him two or three more novels,

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.

Tatyana is a "county lady", she is read by the old-fashioned literature of Western European sentimentalists, represented by the names of Richardson and Rousseau. Their works preserve faith in man, and high Christian ideals they are connected with the deep needs of the human heart. Such literature does not contradict popular views on the true and imaginary values life. Sentimentalism is organically part of Tatiana's "Russian soul". And although inspired sentimental novels the structure of thoughts and feelings of the heroine is naive, however, as E. N. Kupreyanova noted, he is “highly spiritual and morally active.” In the novels of sentimentalists, cordiality was cultivated and it was not an egoist and a skeptic, as in Byron, who rose to a high pedestal, but a noble and sensitive hero, capable of a feat of self-sacrifice. The sentimentalist writer "showed us his hero as a model of perfection":

He gave a beloved object,

Always unjustly persecuted,

Sensitive soul, mind

And an attractive face.

Feeding the heat of the purest passion,

Always an enthusiastic hero

I was ready to sacrifice myself...

The poetic Tatyana dreams of such a chosen one of her heart when she meets Onegin, who is unlike anyone else, despised and persecuted by all the neighbors. And she took him for her ideal, which she had nurtured for so long in her imagination, about which she shed tears in the "silence of the forests":

You appeared to me in dreams

Invisible, you were already sweet to me,

Your wonderful look tormented me,

In a letter to Onegin, the precious features of Tatyana's character appear - her sincerity and gullibility, as well as her ingenuous faith in her chosen dream. Tatyana is dear to Pushkin because she

... loves without art,

Obedient to the command of feeling,

How trusting she is

What is gifted from heaven

rebellious imagination,

Mind and will alive,

And wayward head

And with a fiery and tender heart.

In contrast to the "science of tender passion", from the love of secular "beauties of notes", Tatyana's feeling for Onegin is sublime and spiritual. In it there is not a facet of that love game to which Onegin paid tribute and which poisoned and withered his heart for the time being. In Tatyana's eyes, love is a sacred thing, God's gift, which must be handled with care and tenderness. In a letter to Onegin she says:

Isn't it true? I heard you

You spoke to me in silence

When I helped the poor

Or comforted by prayer

The anguish of an agitated soul?

In love, the main thing for her is not sensual passion, but a deep spiritual connection with her loved one. Love is a way out of loneliness, from low mercantile desires and interests in which people around Tatiana are mired. In alliance with Onegin, tempting prospects for spiritual growth and moral self-improvement open up for her:

My whole life has been a pledge

Faithful goodbye to you;

I know you were sent to me by God

Until the grave you are my keeper.

This view of love is affirmed Orthodox Church in the “following of the betrothal”, where God Himself unites the bride and groom into an indestructible union and instructs them in every good deed in peace, unanimity, truth and love.

In trembling moments, when Tatyana is waiting for Onegin, Pushkin accompanies her experiences with a round dance of girls picking berries in the manor's garden:

Girls, beauties,

Darlings, friends...

So the poet once again emphasizes the deep rootedness of Tatyana's heartfelt feelings in Russian national life and culture, the genuine nationality of her soul.

Satiated with superficial love pleasures, Onegin nevertheless felt something deep and serious in Tatyana's letter. "The gullibility of an innocent soul" touched him and brought "long-silenced feelings" to excitement. Humanly appreciating Tatyana's heart impulse, Onegin sincerely admitted to her that he could not respond with the same feeling to her love:

But I'm not made for bliss;

My soul is alien to him;

In vain are your perfections;

I don't deserve them...

But after all, to refuse to accept "perfection" means not only to show generosity, but also to offend "perfection" by arrogant rejection of it. “And happiness was so possible, so close!” - Tatyana Onegin will reproach in the scene of the last meeting at the end of the novel. What does this accusation mean? The fact that Onegin is far from such a complete antipode of Tatyana.

E. N. Kupreyanova writes: “Onegin is as much superior to Tatyana with her Europeanized intellect as Tatyana, “Russian in soul”, rises above Onegin with her moral feeling common with the people. And this feeling has not faded away in Onegin, but is smoldering somewhere in the depths of his soul, incinerated by an outstanding, but chilled, embittered, Europeanized mind. And Onegin's trouble is that he does not recognize this healthy feeling in himself and becomes a slave to his skeptical mind.

In the rural wilderness, Onegin meets Tatyana three times: at the first appearance at the Larins, on the day of the explanation with Tatyana about her letter, and about a year later at her name day. And none of these meetings leaves him indifferent, which, however, he does not want to admit to himself and for which he is even angry with himself and others.

He is angry with himself for the fact that the feeling for Tatyana, awakened in the depths of his dormant heart, undermines his self-confident and cold egoism, in the captivity of which he found himself. But at the same time, Onegin is also angry with others, for example, with Lensky, who believes "in pure love and world perfection. After all, the desire to kill this faith in an enthusiastic poet tempts Onegin for a long time: "He has a cooling word / He tried to keep it in his mouth." The contemptuous irritation that had long smoldered in Onegin's soul breaks through now, when Onegin himself is irritated by his indifference to Tatyana:

... But the languid maiden

Noticing the trembling impulse,

Lowering your eyes in annoyance,

He pouted and, indignantly,

He swore to infuriate Lensky

And to take revenge.

Paradoxical as it may seem at first glance, the sympathy for Tatyana that penetrates into Onegin’s heart, incompatible with his “embittered mind,” is a source of irritation that led to the severing of ties with Lensky, to a duel with him and to the murder of the young hero.

Heart intuition does not fail Tatyana here either. Let's remember her prophetic dream, in which she sees herself as the bride of Onegin, acting as a tempter-robber, the leader of a gang of unclean, demonic creatures. Seeing Tatyana, this evil wants to take possession of her as an impersonal commodity and shouts - “Mine! my!":

Mine - said Eugene menacingly,

And the whole gang suddenly disappeared ...

measure folk tale, who entered the flesh and blood of Tatyana, the destructive (robber) nature of Onegin's egoism is measured in this dream. And then Lensky appears as an obstacle to the implementation of Onegin’s selfish goals (“mine!”), A dispute arises:

Argument louder, louder; suddenly Eugene

Grabs a long knife, and instantly

Defeated Lensky; scary shadows

Thickened; unbearable cry

There was a sound ... the hut staggered ...

And Tanya woke up in horror...

It is noteworthy that the picture of the wedding feast in Tatyana's dream echoes the description of her name day. The guests who come to the ball in their caricature resemble the evil spirits that surrounded Onegin in Tatyana's dream. Moreover, Pushkin shows “the barking of moseks, the smacking of girls, the noise, laughter, the crush at the threshold” (compare: “hooves, crooked trunks, crested tails, mustaches”) through the eyes of a disgruntled Onegin, who “began to draw in his soul / caricatures of all the guests.”

The deadly cold, the threatening symptoms of which penetrated Onegin's soul already in the first chapter, now begins its destructive work in relation to people close to the hero. Yu. M. Lotman, in a commentary on “Eugene Onegin,” convincingly showed that the bloody outcome of Onegin’s duel with Lensky was provoked by the second Zaretsky, who, in violation of the rules of the dueling code, cut off all paths to reconciliation: when transferring the cartel, he ignored the second’s duty to persuade opponents to reconciliation; did not cancel the duel, although Onegin was almost two hours late; allowed his servant as Onegin's second; did not meet with this second the day before to discuss the rules of the duel. The researcher of the novel proved that Onegin did not intend to kill Lensky, that he turned out to be a murderer involuntarily. However, we note that it was Onegin who provoked the duel and that Zaretsky is the culprit of the murder with the tacit connivance of the same Onegin, who, fearing an unfavorable public opinion, gave free rein to this rogue.

"In the anguish of heartfelt remorse" Onegin leaves the estate. "He was seized with anxiety, / Wanderlust." By changing external impressions, he wants to drown out the remorse of conscience rising from the depths of his soul. The murder of a friend dealt a crushing blow to Onegin's selfishness. At one time, G. A. Gukovsky expressed the idea that during the journey, and then under the influence of awakened love for Tatyana, the hero’s moral rebirth takes place, that Tatyana did not guess these changes in Onegin and her refusal is a cruel mistake of the heroine.

In fact, everything is much more complicated. If Pushkin wanted to show the rebirth of Onegin, he would not have excluded the chapter about his journey from the text of the novel. Starting from the seventh chapter, Pushkin's attention completely shifted from Onegin to Tatiana, since it was with her that Pushkin's dream about the ideal of a Russian person was connected. More than once in this regard, Pushkin confessed his love for Tatiana, and opened the seventh chapter with the theme of spring renewal. In this chapter, Tatyana is destined to endure and overcome the temptation of which Onegin was a victim. She visits the wanderer's office and reads those books that had a decisive influence on inner world hero:

What is he? Is it an imitation

An insignificant ghost, or else

Muscovite in Harold's cloak,

Alien whims interpretation,

Full lexicon of fashionable words?…

Isn't he a parody?

Discovering for yourself intellectual world Onegin, "Russian soul" Tatyana not only understands him, but also rises above him, giving precise definition one of the fundamental weaknesses of Onegin's mind. The ease with which she overcomes this temptation testifies to a healthy moral basis her soul, about the maturity of the intellect gaining strength.

Tatyana's departure from the wilderness to Moscow, and then her appearance in the high society of St. Petersburg on the philosophical level of the novel, is accompanied by the resolution of that conflict between the "European" intellect and the "Russian soul", which Onegin never managed to overcome. When meeting with Tatyana in St. Petersburg, he cannot in any way combine in one person the ingenuous rural girl and the "goddess of the luxurious, regal Neva." The mystery of this unity remains beyond the threshold of his consciousness.

In a commentary on "Eugene Onegin", Yu. M. Lotman noted that in the eighth chapter of the novel, Pushkin's view of secular society. “The image of light receives double coverage: on the one hand, the world is soulless and mechanistic, it remains an object of condemnation, on the other hand, as a sphere in which Russian culture develops ... as the world of Karamzin and the Decembrists, Zhukovsky and the author of Eugene Onegin himself, it preserves absolute value." In this regard, Pushkin's very understanding of nationality expands and becomes more complex. “In the fifth chapter, it captures one layer alien to “Europeanism” folk culture. Now it is conceived as a culturally comprehensive concept, embracing the highest spiritual achievements, including the spiritual values ​​of the peaks. noble culture. Therefore, Tatyana, having become a secular lady and intellectually rising to the level of the author, could remain for him a folk type of consciousness”:

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 it ...

A feeling for Tatyana that suddenly flared up in Onegin is accompanied by a bewildered exclamation: “How! from the wilderness of the steppe villages! ... "This exclamation suggests that Onegin's feeling glides over the surface of Tatyana's soul and does not capture her spiritual core: "Although he could not look more diligently, / But even the traces of the former Tatyana / Onegin could not find." And the hero is carried away “not by this timid, in love, poor and simple girl”, but by the “indifferent princess” and “impregnable goddess”. His feeling is sincere, but in the first place in it is still not spiritual intimacy, but sensual passion:

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 forbidden fruit

Otherwise, you won't be in heaven.

Devastated and aged in soul, Onegin plays with fire, for his infatuation with Tatyana, reminiscent of youthful love (“in love with Tatyana like a child”), threatens him with complete incineration:

Love for all ages;

But to young, virgin hearts

Her impulses are beneficial,

Like spring storms to fields:

In the rain of passions they freshen up,

And they are updated and ripen -

And a mighty life gives

And lush color and sweet fruit.

But at a late and barren age,

At the turn of our years

Sad passion dead trail:

So cold autumn storms

The meadow is turned into a swamp

And expose the forest around.

The wise Tatyana feels the fatality of this “dead passion” for Onegin and, out of love-compassion for him, tries to extinguish it: “She does not notice him, / No matter how he fights, even die.” Tatyana is scared for Onegin, for the crazy lines of his letter, in which he sees “all the perfection” of his beloved in the “smile of the lips”, “in the movement of the eyes” and says:

Freeze before you in agony,

To turn pale and go out ... that's bliss!

Tatyana is afraid of that sensual fire that can burn Onegin. That is why she does not answer his letters, and at meetings she pours over him with "Epiphany cold." And all this is out of pity, out of compassion for him. Against this background, Onegin's complete misunderstanding of Tatyana's noble intentions is especially deadly:

Yes, maybe fear of a secret,

So that the husband or the world does not guess

Leprosy, random weaknesses ...

All that my Onegin knew...

This is how the hero explains the reason for Tatiana's impregnability in such a small way. Trying to get rid of passion, he tries to go into random reading of books, the set of which is striking in a strange variegation. And then some glimpses, some sparks of his possible awakening appear in the wilds of Onegin's soul:

He is between the printed lines

Read with spiritual eyes

Other lines. In them he

It was completely deep.

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.

Onegin's "spiritual eyes" finally turn from external impressions, from books that help him little, in which alien wisdom, far from Russian soil, is imprinted, into the depths of his own heart. And there, in the dark labyrinths, saving, alluring lights begin to wander. Conscience wakes up, “the snake of heartfelt remorse”, Onegin sees a motionless young man on the melted snow - the ghost of Lensky killed by him; “a swarm of young traitors” flashes through his heartfelt imagination, and suddenly, like a blow and a reproach - “this is a rural house - and she is sitting at the window ... and that’s it!”.

These Russian depths of Onegin's soul, which he begins to discover in himself, lead him back to the "Russian soul" Tatyana, whom he did not understand and did not appreciate then and which he is trying in vain to understand now. But everything in this soul is still so ghostly, so vague and indefinite, that the author cannot stand it and breaks into a rude joke:

He's so used to getting lost in it

That almost drove me crazy

Or not become a poet.

To admit: I would have borrowed something!

Onegin's trouble lies in the fact that his intellect, his mind is not based on high culture human feelings. Onegin's feelings, for all their sincerity and strength, remain dark, damaged by the "science of tender passion." Onegin does not know the spiritual culture of love, rising above elementary human sensuality, which jokes bad jokes with the hero, turns him into a slave of spontaneous, uncontrollable passion. And Tatyana is right when, in the scene of the last meeting, she reproaches Onegin with “offensive passion”:

And now! - what's at 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?

Onegin's love, devoid of national moral support, is therefore doomed, and therefore offensive to Tatyana, because with all its strength and recklessness, it does not go beyond the secular "standard". It is based on moral lightness, indefatigable sensuality. And therefore, turning to Onegin with annoyance and reproach, Tatyana says:

And to me, Onegin, this splendor,

Hateful life tinsel,

My progress in a whirlwind of light

My fashion house and evenings

What's in them? Now I'm happy to give

All this rags of masquerade

All this brilliance, and noise, and fumes

For a shelf of books, for a wild garden,

For our poor home

For those places where for the first time,

Onegin, I saw you

Yes, for a humble cemetery,

Where is the cross now in the shade of the branches

Over my poor nanny ...

Only Tatyana, whose high mind and intellect fed on her "Russian soul", could understand the full force of Onegin's love-passion and all its destructive futility. In the name of love for Onegin, not carnal, not sensual, but lofty and spiritual, Tatiana found the strength to utter the most courageous and wise words in the novel:

I ask you to leave me;

I know that there is in your heart

And pride and direct honor,

I love you (why lie?),

But I am given to another;

I will be faithful to him forever.

V. S. Nepomniachtchi is right, arguing that Tatyana’s feeling, love is “not at all a manifestation of the ‘needs’ and ‘passions’ of an egoistic ‘nature’”: “For understanding the novel, especially Tatyana, this is of paramount importance. All disputes, all bewildered or condemning views towards Tatyana in connection with her behavior in the last chapter of the novel are explained by the fact that Tatyana's actions are considered in the usual plane of the struggle between "feelings" and "duty". But this is not Tatyana's collision - her worldview is fundamentally different from that described above. Tatyana's feeling for Onegin does not at all "fight" with duty, quite the opposite: Tatyana parted with Onegin in the name of love, for his sake - and in this clash of the hero with completely different, unfamiliar foundations of moral life lies the whole meaning of the finale of the novel.

It was Tatyana who understood the deepest, tragic discrepancy between the appointment of Onegin and his existence, separating the “Onegin” from Onegin and making sure that this “Onegin” is a “ghost”, “parody”, “imitation”. It was she who felt that Onegin has a different, higher destiny, which “Oneginism” crushes in him, preventing him from opening up and turning around, turning Onegin into a victim of “violent delusions and unbridled passions.”

“The novel moves into the depths of the soul of the motionless hero,” notes V. S. Nepomniachtchi, “to where the light of hope for the rebirth of this soul can dawn, and stops at the moment when “Eugene is standing, / As if struck by thunder.” The refusal of Tatiana, who loves him, “showed that there are - not in dreams, but in reality - other values, a different life and a different love than those to which he was accustomed - and therefore, not everything in life is lost and one can believe "peace perfection." By her act, Tatyana showed him that a person is not a game of "natural" elements and "natural" desires, that he has a higher destiny in this world.

V. G. Belinsky, who did not understand the full depth and significance of Tatyana's act, described the meaning as follows open final novel: “What happened to Onegin later? Did his passion resurrect him for a new, more consistent human dignity suffering? Or did she kill all the strength of his soul, and his bleak longing turned into dead, cold apathy? “We don’t know, and why should we know this when we know that the forces of this rich nature were left without application, life without meaning, and the romance without end? It is enough to know this, so as not to want to know anything more ... "

Such a bleak view of the outcome of the novel follows directly from a misunderstanding of the meaning of its final scene. The very question of Belinsky, whether “passion” “resurrected” Onegin, testifies to a misunderstanding of the pernicious and destructive basis of this passion. Such a passion is not capable of resurrecting anyone. Belinsky's level of comprehension of Tatyana's act turns out to be even lower than Onegin's. If Yevgeny “stands ... as if struck by thunder”, then Belinsky, not without irony, resonates: “But I am given to another - it is given, and not surrendered! Eternal fidelity - to whom and in what? Loyalty to such relationships, which constitute a profanation of the feeling of purity and femininity, because some relationships, not sanctified by love, in the highest degree immoral…”

In a hidden polemic with Belinsky, F. M. Dostoevsky assessed Tatyana's act in a speech about Pushkin differently. He claimed that Tatyana firmly expressed her refusal to Onegin, “as a Russian woman, this is her apotheosis. She tells the truth of the poem. Oh, I will not say a word about her religious beliefs, about her view of the sacrament of marriage - no, I will not touch on this. But what: is it because she refused to follow him ... because she, "like a Russian woman" ... is not capable of taking a bold step, unable to sacrifice the charm of honors, wealth, her secular significance, the conditions of virtue? No, the Russian woman is brave. A Russian woman will boldly follow what she believes in, and she proved it. But she is "given to another and will be faithful to him for a century." To whom, what is she faithful to? ... Yes, she is faithful to this general, her husband, honest man, her loving and proud of her. Let her “begged her mother,” but she, and no one else, agreed, she, after all, she herself swore to him to be his honest wife. Let her marry him out of desperation, but now he is her husband, and her betrayal will cover him with shame, shame and kill him. And how can a person base his happiness on the misfortune of another? Happiness is not only in the pleasures of love, but in the highest harmony of the spirit ... They will say: but Onegin is also unhappy; She saved one and ruined the other! ... This is how I think: if Tatyana had become free, if her old husband had died and she had become a widow, then even then she would not have followed Onegin. It is necessary to understand the essence of this character! After all, she sees who he is ... After all, if she follows him, then tomorrow he will be disappointed and look at his passion mockingly. It has no soil, it is a blade of grass carried by the wind. She is not like that at all: she, both in despair and in the suffering consciousness that her life has perished, still has something solid and unshakable on which her soul rests. These are her childhood memories, memories of her homeland, the rural wilderness in which her humble, pure life began - this is the “cross and the shadow of the branches” over the grave of her poor nanny ... Here is contact with the homeland, with her native people, with their shrine. And what does he have and who is he?... No, there are deep and firm souls who cannot consciously give up their shrine to shame, even if only out of infinite compassion. No, Tatyana could not follow Onegin.

This is Dostoevsky's answer, seemingly deeper and more correct, with the exception of one thing: from the writer's reasoning it remains unclear why Tatiana loves Onegin? In the interpretation that Dostoevsky gives to Onegin, everything in him is killed and replaced by "Onegin", "secular", superficial and frivolous. Tatyana perfectly understands this facet in Onegin's character and, of course, she does not want and cannot love Onegin for his “Oneginism”. The thing is that behind the secular depravity, groundlessness and emptiness of “Oneginism”, Tatyana sees in Onegin a spiritual core that he himself is not fully aware of, relying on which he can turn his life in another, directly opposite direction. Tatyana loves in Onegin what he has not yet understood and revealed in himself.

Who are you, my guardian angel

Or an insidious tempter:

Resolve my doubts,

Tatyana addresses the question in a girlish letter to Onegin. She retains the same lofty spiritual request towards him even now, saying that she loves something else in him. Tatyana's "given to another" means not only fidelity to her old husband, but also devotion to that greatest shrine that was revealed to her and which she sees in the disappointed, restless Onegin. But this shrine cannot be imposed on anyone. Onegin himself must discover it in himself through the suffering experience of life.

Thunderstruck last date with Tatyana, Onegin remains on the threshold of a new life and a new search. Pushkin resolves at the end of the novel its main, key conflict, pointing out to Onegin through the mouth of Tatyana "the path, truth and life." At the same time, in the character of Onegin, he gives an artistic formula for the future hero of Russian novels by Turgenev, Tolstoy, Dostoevsky. All these writers will "open the brackets" of Pushkin's formula and lead their heroes along paths whose vectors, as well as boundaries and horizons, are outlined by Pushkin. The same can be said about Tatyana. The gallery of female images of Turgenev, Goncharov, Tolstoy, Nekrasov, Ostrovsky and Dostoevsky goes back to it. "The Distance of the Free Romance" opens in Pushkin into the future of Russian life and Russian literature.