How the landscape helps to understand the image of Tatyana Larina. The image of Tatyana Larina. Tatyana after unsuccessful love

Composition

A. S. Pushkin created a captivating image of a Russian girl in the novel “Eugene Onegin,” which he called his “true ideal.” He does not hide his love for the heroine, his admiration for her. The author worries and is sad together with Tatyana, accompanies her to Moscow and St. Petersburg.

Drawing in the novel the images of Onegin and Lensky as the best people of the era, he, however, gives all his sympathy and love to this provincial young lady with a discreet appearance and the common name Tatyana.

Perhaps this is the special attractiveness and poetry of her image, associated with the common culture hidden in the depths of the Russian nation. It develops in the novel in parallel with noble culture, focused on Western European literature, philosophy, and science. Therefore, both the external and internal appearance of Onegin and Lensky does not make it possible to see Russian people in them. Vladimir Lensky can most likely be mistaken for a German “with a soul straight from Göttingen,” who “brought the fruits of learning from foggy Germany.” Onegin's clothes, speech and behavior make him look like either an Englishman or a Frenchman. The poet calls Tatyana “Russian soul.” Her childhood and youth were spent not among the cold stone masses of St. Petersburg or Moscow cathedrals, but in the bosom of free meadows and fields, shady oak forests. She early absorbed a love for nature, the image of which seemed to complete her inner portrait, imparting special spirituality and poetry.

Tatiana (Russian soul,
Without knowing why)
With her cold beauty
I loved Russian winter.

For the “tender dreamer,” nature is full of secrets and mysteries. Even before the “deceptions of Richardson and Rousseau” begin to occupy her mind, Tatiana easily and naturally enters the magical world of Russian folklore. She shunned noisy children's amusements, since "terrible stories in the winter in the dark of night captivated her heart more." Tatyana is inseparable from the national element of the common people with its beliefs, rituals, fortune-telling, divination, and prophetic dreams.

Tatyana believed the legends
Of common folk antiquity,
And dreams, and card fortune-telling,
And the predictions of the moon.

Even Tatiana’s dream is entirely woven from images of ancient Russian fairy tales. Thus, Tatiana’s personality was shaped by the environment in which she grew up and was brought up not under the guidance of a French governess, but under the supervision of a serf nanny. The development of Tatyana's soul and her morality occurs under the influence of folk culture, way of life, morals and customs. But the formation of her mental interests is significantly influenced by books - first sentimental love novels, then romantic poems found in the Onegin library. This leaves an imprint on Tatyana’s spiritual appearance. It is the fascination with the fictional life of the works of English and French authors that develops in the heroine a bookish idea of ​​reality. This does Tatiana a disservice. Seeing Onegin for the first time, she falls in love with him, mistaking Eugene for the enthusiastic hero of her favorite books, and declares her love to him. And after her illusions and dreams disappear, she again tries to understand Onegin’s character with the help of the books he read. But Byron’s romantic poems with his gloomy, embittered and disappointed heroes again lead her to the wrong conclusion, forcing her to see in her lover a “Muscovite in Harold’s cloak,” that is, a pathetic imitator of literary models. In the future, Tatyana has to gradually get rid of these airy romantic dreams in herself and overcome her idealistic bookish attitude towards life. And she is helped in this by a healthy basis of life, which she absorbed along with the way of life, customs and culture of the Russian people, with her native nature. At one of the most difficult moments in her life, tormented by her love for Onegin, Tatyana turns for help and advice not to her mother or sister, but to an illiterate peasant woman who was the closest and dearest person to her. While waiting to meet Onegin, she hears the artless folk “Song of Girls,” which seems to express her experiences.

The pictures of her native nature, dear to Tatiana’s heart, remain with her in the high-society, cold Petersburg. Forced to hide her feelings, Tatyana sees with her inner gaze a familiar village landscape, devoid of exoticism, but covered in unique charm.

Tatyana looks and doesn’t see,
He hates the excitement of the world;
She's stuffy here... she's a dream
Strives for life in the field,
To the village, to the poor villagers
To a secluded corner. This means that the mask of an “indifferent princess” hides the face of a “simple maiden” with the same aspirations. The world of moral values ​​has not changed. She calls the splendor of a luxurious living room and success in society “the rags of a masquerade,” because “this shine, and noise, and fumes” cannot hide the emptiness and inner squalor of metropolitan life.

All of Tatyana’s actions, all of her thoughts and feelings are colored by folk morality, which she has absorbed since childhood. In accordance with folk traditions, Pushkin endows his beloved heroine with exceptional spiritual integrity. Therefore, having fallen in love with Onegin, she is the first to declare her love to him, breaking the conventions of noble morality. Under the influence of folk traditions, which instill in children respect and reverence for their parents, Tatyana gets married, obeying the will of her mother, who wants to arrange her life.

Forced to live by the hypocritical laws of secular society, Tatyana is honest and frank with Onegin because she loves him and trusts him. The moral purity of the heroine is especially clearly manifested in her response to Eugene, which is also in the spirit of folk morality:

I love you (why lie?),
But I was given to someone else;
I will be faithful to him forever.

These words reflected all the best features of the heroine: nobility, honesty, a highly developed sense of duty. Tatyana's ability to abandon the only person she loves and will love speaks of her strong will and moral purity. Tatyana is simply not capable of lying to a person who is devoted to her, or dooming him to shame in order to unite with her loved one. If Tatyana responded to Onegin’s love, the integrity of her image would be disrupted. She would cease to be Tatyana Larina, turning into Anna Karenina.

Thus, Tatyana appears in the novel “Eugene Onegin” as the embodiment of the national Russian spirit and Pushkin’s ideal. Her image harmoniously combined the best aspects of noble and common culture.

Along with the image of Onegin, the image of Tatiana is the most significant in the novel. It performs an important plot and compositional function, being a counterweight to the image of Onegin in the ideological and artistic structure of the novel. The relationship between Onegin and Tatyana forms the main plotline of Pushkin's novel in verse. Tatyana is an exception from her environment. “She seemed like a stranger in her own family,” and Tatyana painfully feels this: “Imagine: I’m here alone, no one understands me.” Tatyana fell in love with Onegin because, as the poet says, “the time has come,” but it is no coincidence that she fell in love with Onegin. At the same time, Tatiana’s character developed in a completely different social environment than the character of Onegin. Tatyana, according to the poet, is “Russian in soul, without knowing why.” Tatyana (whose name, first “willfully” introduced by Pushkin into great literature, entails associations of “old times or maidenhood”) grew up, in complete contrast to Onegin, “in the wilderness of a forgotten village.” The childhood, adolescence and youth of Tatiana and Evgeny are directly opposite. Evgeniy has foreign tutors; Tatyana has a simple Russian peasant nanny, the prototype of which was his own nanny Arina Rodionovna. Tatyana dreams of true, great love. These dreams, as well as the formation of Tatiana’s entire spiritual world, were significantly influenced by the novels of Richardson and Rousseau. The poet tells us that his heroine “explained herself with difficulty in her native language”; She writes a letter to Onegin in French. Tatyana is a highly positive, “ideal” image of a Russian girl and woman. At the same time, the poet, with the help of a subtle artistic and psychological technique, reveals Tatiana’s “Russian soul”: the heroine’s dream, thoroughly permeated with folklore, is introduced into the novel. In the image of Tatyana, Pushkin put all those features of a Russian girl, the totality of which represents an undoubted ideal for the author. These are the character traits that make Tatyana a truly Russian, and not a secular young lady. The formation of these traits occurs on the basis of the “tradition of common folk antiquity,” beliefs, and tales. Tatyana Larina for Dostoevsky was the personification of everything Russian, national, an “ideal”, an expression of spiritual and moral strength. National poetry is included in the novel along with the image of Tatyana. In connection with it, stories about customs, “habits of dear old times,” fortune telling, and fairy-tale folklore are introduced. They contain a certain morality associated with folk philosophy. Thus, the fortune telling scene reveals the philosophy of the female soul, the Russian soul. The very idea of ​​a betrothed is associated with the idea of ​​duty; a betrothed is thought of as destined by fate. Folklore motifs also appear in Tatiana’s dreams, 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, no less than in the image of Onegin, one can feel Pushkin’s desire to be completely faithful to the truth of life. Tatiana, unlike Onegin, grew up “in the wilderness of a forgotten village,” in the atmosphere of Russian folk tales, “legends of common folk antiquity,” told by her nanny, a simple Russian peasant woman. The author says that Tatyana was reading foreign novels, had difficulty expressing herself in her native language, but at the same time, with the help of a subtle psychological technique, reveals her “Russian soul” (Under Tanya’s pillow there is a French book, but she sees Russian “common people” dreams). Tatyana is a poetic, deep, passionate person, thirsty for 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. Tatyana is the ideal image of a 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 recreated her,” wrote V.G. Belinsky. One of the key events of the novel is the meeting of Onegin with Tatyana. He immediately appreciated her originality, poetry, her sublimely romantic nature and was quite surprised that the romantic poet Lensky did not notice any of this and preferred his much more earthly and ordinary younger sister. Tatyana is strikingly different from the people around her. “A district young lady,” she, however, like Onegin and Lensky, also feels lonely and misunderstood in a provincial-local environment. “Imagine, I’m alone here, No one understands me,” she admits in a letter to Onegin. Even “in her own family” she “seemed like a stranger” and avoided playing with her peers. The reason for such alienation and loneliness is in the unusual, exclusive nature of Tatiana, gifted “from heaven” with “a rebellious imagination, a living mind and will, and a wayward head, and a fiery and tender heart.” In Tatiana’s romantic soul, two principles were uniquely combined. Akin to Russian nature and folk-patriarchal life, habits and traditions of the “dear old days”, she lives in another - a fictional, dreamy world. Tatyana is a zealous reader of foreign novels, mainly moralizing and sentimental ones, where ideal heroes act and good triumphs in the end. 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 is ready to accept Onegin, so unlike those around her, as a “model of perfection,” as if straight from the pages of Richardson and Rousseau, the hero she had long dreamed of. The “literary” nature of the situation is enhanced by the fact that Tatyana’s letter to Onegin is filled with reminiscences from French novels. However, book borrowings cannot obscure the immediate, sincere and deep feeling with which Tatyana’s letter is imbued. And the very fact of sending a message to a man she barely knows speaks of the heroine’s passion and reckless courage, resorting to fears of being compromised in the eyes of others. This letter, naive, tender, trusting, finally convinced Onegin of Tatiana’s unusualness, of her spiritual purity and inexperience, of her superiority over cold and calculating social coquettes; it revived in him the best, long-forgotten memories and feelings. And yet, to Tatyana’s passionate message, “where everything is outside, everything is free,” Onegin responds with a cold rebuke. Why? First of all, of course, because Onegin and Tatyana are at different stages of spiritual and moral development and are unlikely to understand each other. Tatyana actually fell in love not with Onegin, but with a certain image she composed, which she mistook for Onegin. During his explanation with Tatyana in the garden, he did not lie at all and directly, honestly, revealed everything to her as it was. He admitted that he liked Tatyana, but he was not ready for marriage, did not want and could not limit his life to the “home circle”, that his interests and goals were different, that he was afraid of the prosaic side of marriage and that family life would bore him. “It was not the first time that he showed the Soul direct nobility here.” Tatyana's dream is "the key to understanding her soul, her essence." Replacing a direct and detailed characterization of the heroine, it allows you to penetrate into the most intimate, unconscious depths of her psyche, her mental makeup. However, it also plays another important role - prophecies about the future, for the heroine’s “wonderful dream” is a prophetic dream. In the symbolic ritual and folklore images here, almost all the main events of the subsequent narrative are predicted, foreseen: the heroine’s exit beyond the boundaries of “her” world (crossing a stream is a traditional image of marriage in folk wedding poetry). the upcoming marriage (the bear is the yuletide 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 Tatiana's name day, a quarrel between Onegin and Lensky, which ended in the murder of the young poet The main thing is that the heroine intuitively perceives the 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 outcome of the duel with Lensky. Tatiana's dream thereby signifies a new step in her comprehension of Onegin's character. If earlier she saw in him an ideally virtuous hero, similar to the characters in her favorite novels, now she almost goes to the opposite extreme. Finding herself in Onegin’s house after the owner’s departure, Tatyana begins reading books in his village study. Unlike the novels of Richardson and Rousseau, the heroes here were cold and devastated, disappointed and selfish, heroes who commit crimes, do evil and enjoy evil. The meeting with Tatiana, the princess, makes a strong impression on Onegin. Her new appearance, manners, and style of behavior meet the strictest requirements of good taste, the highest 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 “control herself,” he is amazed at the change that has happened to her, which seems to him absolute, complete: Although he could not have looked more diligently, But Onegin could not find traces of the former Tatyana. Onegin persistently seeks meetings with Tatyana, writes passionate love confessions to her one after another, and having lost hope of reciprocity, he becomes seriously ill and almost dies of love (in the same way, Tatyana at one time turned pale, faded and withered). Belinsky severely condemned Tatyana for the fact that she, while continuing to love Onegin in her soul, chose to remain faithful to patriarchal morals and rejected his feelings. According to the critic, family relationships “not sanctified by love are extremely immoral.” Dostoevsky regarded this act of Tatyana as sacrificial. In the finale, Onegin takes Tatyana by surprise and makes an incredible discovery that amazed him so much. It turns out that Tatyana has changed only externally, internally she has remained in many ways the “old Tanya”! And such women are not capable of adultery. It is this sudden insight of Eugene that gives the final scene acute drama and bitter hopelessness. Just as Onegin until that moment did not suspect that the “old Tanya” lived in the princess, so Tatyana could not know what happened to Onegin after the duel. She believed that she had solved Onegin once and for all. For her, he is still a cold, devastated, selfish person. This explains Tatyana’s harsh rebuke, which mirrors Onegin’s cold rebuke. But Tatiana’s monologue sounds different notes. The offended woman's reproaches imperceptibly turn into a confession, striking in its frankness and fearless sincerity. Tatyana admits that success “in a whirlwind of light” weighs on her, that she would prefer her former inconspicuous existence in the wilderness of the village to her current tinsel life. Not only that: she directly tells Onegin that she acted “carelessly” by deciding to marry without love, that she still loves him and is sadly experiencing the missed opportunity for happiness. Tatyana's nature is not complex, but deep and strong. Tatyana does not have these painful contradictions that plague too complex natures; Tatyana was created as if from one solid 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.

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The image of Tatyana Larina from the novel by A.S. Pushkin's "Eugene Onegin" is one of those that evokes a feeling of admiration and pity at the same time. Her life path once again makes us think that a person’s happiness depends not only on the integrity of his actions and the sincerity of his intentions, but also on the actions of other people.

Larin family

Tatyana Larina is an aristocrat by birth. Her family lives in the rural outback, rarely leaving its borders, so all the girl’s communication is based on communication with her closest relatives, the nanny, who is actually equal to family members and neighbors.

At the time of the story, Tatyana’s family is incomplete - her father died, and his mother took over his responsibilities for managing the estate.

But in the old days everything was different - the Larin family consisted of Dmitry Larin, a foreman in his position, his wife Polina (Praskovya) and two children - girls, the eldest Tatyana and the younger Olga.

Polina, married to Larin (her maiden name is not mentioned by Pushkin), was forcibly married to Dmitry Larin. For a long time, the young girl was burdened by the relationship, but thanks to her husband’s calm disposition and good attitude towards her person, Polina was able to discern a good and decent person in her husband, become attached to him and even, subsequently, fall in love. Pushkin does not go into detail describing their family life, but it is likely that the spouses’ tender relationship with each other continued into old age. Already at a respectable age (the author does not name the exact date), Dmitry Larin dies, and Polina Larina, his wife, takes over the functions of the head of the family.

Appearance of Tatyana Larina

Nothing is known about Tatyana’s childhood and appearance at that time. An adult girl of marriageable age appears before the reader in the novel. Tatyana Larina was not distinguished by traditional beauty - she was not much like the girls who captivate the hearts of young aristocrats at dinner parties or balls: Tatyana has dark hair and pale skin, her face is devoid of blush, it seems somehow absolutely colorless. Her figure is also not distinguished by the sophistication of its forms - she is too thin. The gloomy appearance complements the look full of sadness and melancholy. Compared to her blond and ruddy sister, Tatyana looks extremely unattractive, but still she cannot be called ugly. She has a special beauty, different from the generally accepted canons.

Tatyana's favorite activities

Tatyana Larina’s unusual appearance does not end with her unusual appearance. Larina also had unconventional ways to spend her leisure time. While the majority of girls indulged in needlework in their spare time, Tatyana, on the contrary, tried to avoid needlework and everything that was connected with it - she did not like embroidery, the girl was bored with work. Tatyana loved to spend her free time in the company of books or in the company of her nanny, Filipyevna, which in terms of content were almost equivalent actions. Her nanny, despite the fact that she was a peasant by birth, was considered a member of the family and lived with the Larins even after the girls grew up and her services as a nanny were no longer in demand. The woman knew many different mystical stories and gladly retold them to the curious Tatyana.

In addition, Larina often loved to spend time reading books - mainly the works of such authors as Richardson, Rousseau, Sophie Marie Cotten, Julia Krudener, Madame de Staël and Goethe. In most cases, the girl preferred books of romantic content rather than philosophical works, although they were contained in the literary heritage of the author, as, for example, in the case of Rousseau or Goethe. Tatyana liked to fantasize - in her dreams she was transported to the pages of a novel she had read and acted in her dreams in the guise of one of the heroines (usually the main one). However, none of the romance novels was Tatyana's favorite book.

Dear readers! We invite you to familiarize yourself with what Alexander Sergeevich Pushkin wrote.

The girl was ready to wake up and fall asleep only with Martyn Zadeka’s dream book. Larina was a very superstitious girl, she was interested in everything unusual and mystical, she attached great importance to dreams and believed that dreams do not just happen, but contain a certain message, the meaning of which the dream book helped her to decipher.

In addition, the girl could spend hours looking out the window. It’s hard to say at that moment she was watching what was happening outside the window or was daydreaming.

Tatiana and Olga

Larina's sisters were significantly different from each other, and this concerned not only the external. As we learn from the novel, Olga was a frivolous girl, she liked to be the center of attention, she happily flirted with young people, although she already had a fiancé. Olga is a cheerful laugher with classical beauty, according to the canons of high society. Despite such a significant difference, there is no enmity or envy between the girls. Affection and friendship firmly reigned between the sisters. The girls enjoy spending time together and tell fortunes during Christmas time. Tatyana does not condemn the behavior of her younger sister, but does not encourage it either. It is likely that she acts according to the principle: I act as I see fit, and my sister acts as she wants. This does not mean that some of us are right and some are wrong - we are different and act differently - there is nothing wrong with that.

Personality characteristics

At first glance, it seems that Tatyana Larina is Childe Harold in female form, she is just as dull and sad, but in fact there is a significant difference between her and the hero of Byron’s poem - Childe Harold is dissatisfied with the arrangement of the world and society, he experiences boredom because that he cannot find something to do that would interest him. Tatyana is bored because her reality differs from the reality of her favorite novels. She wants to experience something that literary heroes experienced, but there is no reason for such events.

In society, Tatyana was mostly silent and sad. She was not like most young people who enjoyed communicating with each other and flirted.

Tatyana is a dreamy person, she is ready to spend hours in the world of dreams and daydreams.

Tatyana Larina read a lot of women's novels and adopted from them the main character traits and elements of behavior of the main characters, so she is full of novelistic “perfections.”

The girl has a calm disposition; she tries to restrain her true feelings and emotions, replacing them with indifferent decency; over time, Tatyana learned to do this masterfully.

A girl rarely indulges in self-education - she spends her free time in entertainment or simply whiles away the hours, spending time aimlessly. The girl, like all aristocrats of that time, knows foreign languages ​​well and does not know Russian at all. This state of affairs does not bother her, because in the circles of the aristocracy this was commonplace.

Tatyana lived alone for a long time, her social circle was limited to her family and neighbors, so she is too naive and an overly open girl, it seems to her that the whole world should be like this, so when faced with Onegin, she understands how deeply mistaken she was.

Tatiana and Onegin

Soon Tatyana has the opportunity to fulfill her dream - to transfer one of her women's novels from the plane of the world of dreams to reality - they have a new neighbor - Eugene Onegin. It is not surprising that Onegin, with his natural charm and charm, could not help but attract Tatiana's attention. Soon Larina falls in love with a young neighbor. She is overwhelmed with hitherto unknown feelings of love, different from the one she felt towards her family and friends. Under the pressure of emotions, a young girl decides to do the unthinkable - to confess her feelings to Onegin. In this episode, it seems that the girl's love is contrived and caused by her secluded lifestyle and the influence of romance novels. Onegin was so different from all the people around Tatyana that it seems not surprising that he became the hero of her novel. Tatyana turns to her books for help - she cannot trust the secret of her love to anyone and decides to solve the situation on her own. The influence of romance novels on the development of their relationship is clearly visible in the letter; this is evidenced by the very fact that Tatyana decided to write this letter as a whole.

At that time, such behavior on the part of the girl was indecent and, if her act was made public, it could have been disastrous for her future life. The same cannot be said about the fair sex living in Europe at the same time - for them it was a common occurrence and did not imply anything shameful. Since the novels that Tatyana usually read were written by European masters of words, the thought of the possibility of writing a letter first was acceptable and only intensified under Onegin’s indifference and strong emotions.

On our website you can familiarize yourself with the characteristics of which are briefly summarized in the table.

In her letter, Tatyana defines only two ways for the development of their relationship with Onegin. Both paths are fundamental in their essence and are clearly opposed to each other, because they contain only polar manifestations, avoiding intermediate ones. In her vision, Onegin was supposed to either provide her with a family idyll, or act as a tempter.

There are no other options for Tatyana. However, the pragmatic and, moreover, not in love with Tatiana Onegin brings the girl down from heaven to earth. In Tatyana’s life, this became the first serious lesson that influenced her further formation of personality and character.

Evgeny does not talk about Tatiana’s letter, he understands all its destructive power and does not intend to bring even greater grief into the girl’s life. At that moment, Tatyana was not guided by common sense - she was covered with a wave of emotions that the girl, due to her inexperience and naivety, could not cope with. Despite the disappointment and ugly reality that Onegin revealed to her, Tatyana’s feelings did not dry out.

Yuletide dream and its symbolism

Winter was Tatiana's favorite time of year. Perhaps because just at this time the Holy Week fell, during which the girls told fortunes. Naturally, the superstitious mysticism-loving Tatyana does not miss the opportunity to find out her future. One of the important elements in a girl’s life is the Yuletide dream, which according to legend was prophetic.

In a dream, Tatyana sees what worries her most - Onegin. However, the dream does not promise her happiness. At first, the dream does not foretell anything bad - Tatyana is walking through a snowy clearing. On her way there is a stream that the girl needs to overcome.

An unexpected helper - a bear - helps her overcome this obstacle, but the girl experiences neither joy nor gratitude - she is filled with fear, which intensifies as the beast continues to follow the girl. An attempt to escape also leads to nothing - Tatyana falls into the snow, and the bear overtakes her. Despite Tatyana's premonition, nothing terrible happens - the bear takes her in his arms and carries her further. Soon they find themselves in front of a hut - here a terrible beast leaves Tatyana, telling her that here the girl can warm up - his relative lives in this hut. Larina enters the hallway, but is in no hurry to enter the rooms - the noise of fun and feasting is heard outside the door.

A curious girl tries to spy - the owner of the hut turns out to be Onegin. The amazed girl freezes, and Eugene notices her - he opens the door and all the guests see her.

It is worth noting that the guests of his feast do not look like ordinary people - they are some kind of freaks and monsters. However, this is not what frightens the girl most - laughter, in relation to her person, worries her more. However, Onegin stops him and seats the girl at the table, driving away all the guests. After some time, Lensky and Olga appear in the hut, which displeases Onegin. Evgeniy kills Lensky. This is where Tatyana’s dream ends.

Tatyana's dream is essentially an allusion to several works. First of all, based on the fairy tale by A.S. himself. Pushkin's "Groom", which is an expanded "dream of Tatyana". Also, Tatyana’s dream is a reference to Zhukovsky’s work “Svetlana”. Tatyana Pushkina and Svetlana Zhukovsky contain related traits, but their dreams are significantly different. In the case of Zhukovsky, this is just an illusion; in the case of Pushkin, it is a prediction of the future. Tatyana's dream really turns out to be prophetic; soon she actually finds herself on a shaky bridge and is helped to overcome it by a certain man who looks like a bear, and is also a relative of Onegin. And her lover turns out to be not the ideal person whom Tatyana portrayed in her dreams, but a real demon. In reality, he becomes Lensky’s killer, having shot him in a duel.

Life after Onegin's departure

The duel between Onegin and Lensky essentially happened because of the most insignificant things - at the celebration of Tatyana's birthday, Onegin was too nice to Olga, which caused an attack of jealousy in Lensky, the reason for which was the duel, which did not end well - Lensky died on place. This event left a sad imprint on the lives of all the characters in the novel - Olga lost her groom (their wedding was supposed to take place two weeks after Tatyana’s name day), however, the girl was not too worried about Lensky’s death and soon married another man. Onegin’s blues and depression intensified significantly, he realized the severity and consequences of his action, staying in his estate was already unbearable for him and so he went on a trip. However, Lensky's death had the greatest impact on Tatiana. Despite the fact that she had nothing in common with Lensky other than friendly relations, and her position and views were only partially similar, Tatyana had a hard time with the death of Vladimir, which in essence became the second significant lesson in her life.

Another unattractive side of Onegin’s personality is revealed, but disappointment does not occur; Larina’s feelings towards Onegin are still strong.

After Evgeniy’s departure, the girl’s sadness intensifies significantly; she seeks solitude more than usual. From time to time, Tatyana comes to Onegin’s empty house and, with the permission of the servants, reads books in the library. Onegin's books are not like her favorites - the core of Onegin's library is Byron. After reading these books, the girl begins to better understand the characteristics of Eugene’s character, because he is essentially similar to Byron’s main characters.

Tatyana's marriage

Tatiana's life could not continue to flow in the same direction. The changes in her life were predictable - she was an adult, and it was necessary to marry her off, because otherwise Tatyana had every chance of remaining an old maid.

Since there are no suitable candidates in the vicinity, Tatyana has only one chance left - to go to Moscow for the brides fair. Together with her mother, Tatyana comes to the city.

They stop at Aunt Alina's. A relative has been suffering from consumption for four years now, but the illness did not prevent her from warmly welcoming visiting relatives. Tatyana herself is unlikely to accept such an event in her life with joy, but, looking at the need for marriage, she comes to terms with her fate. Her mother does not see anything wrong with the fact that her daughter will not be married for love, because at one time they did the same to her, and this did not become a tragedy in her life, and after some time it even allowed her to become a happy mother and wife .

The trip did not turn out to be useless for Tatyana: a certain general liked it (his name is not mentioned in the text). Soon the wedding took place. Little is known about the personality of Tatyana’s husband: he took part in military events and is essentially a military general. This state of affairs contributed to the question of his age - on the one hand, obtaining such a rank took considerable time, so the general could already be at a decent age. On the other hand, personal participation in hostilities gave him the opportunity to move up the career ladder much faster.

Tatyana does not love her husband, but does not protest against the marriage. Nothing is known about her family life, and this situation is aggravated by Tatyana’s restraint - the girl learned to restrain her emotions and feelings, she did not become a cutesy aristocrat, but she also confidently moved away from the image of a naive village girl.

Meeting with Evgeny Onegin

In the end, fate played a cruel joke on the girl - she again meets with her first love - Evgeny Onegin. The young man returned from a trip and decided to pay a visit to his relative, a certain General N. In his house he meets Larina, she turns out to be the general’s wife.

Onegin was amazed by the meeting with Tatyana and her changes - she no longer looked like that girl, overflowing with youthful maximalism. Tatyana became wise and balanced. Onegin realizes that all this time he loved Larina. This time he switched roles with Tatyana, but now the situation is complicated by the girl’s marriage. Onegin is faced with a choice: suppress his feelings or make them public. Soon the young man decides to explain himself to the girl in the hope that she has not yet lost her feelings for him. He writes a letter to Tatyana, but, despite all Onegin’s expectations, there is no answer. Eugene was overcome by even greater excitement - the unknown and indifference only provoked and agitated him more. In the end, Evgeniy decides to come to the woman and explain himself. He finds Tatyana alone - she was so similar to the girl he met two years ago in the village. Touched, Tatyana admits that she still loves Evgeniy, but she cannot be with him now - she is tied by marriage, and being a dishonest wife is against her principles.

Thus, Tatyana Larina has the most attractive character traits. She embodied the best features. During her youth, Tatyana, like all young people, was not endowed with wisdom and restraint. Due to her inexperience, she makes some mistakes in behavior, but she does this not because she is poorly educated or depraved, but because she has not yet learned to be guided by her mind and emotions. She is too impulsive, although in general she is a pious and noble girl.

Olga Vladimirovna Kholmanskikh,
teacher of Russian language and literature
Municipal educational institution secondary school No. 8, Kirov,
"Honorary worker of the general
education of the Russian Federation",

In the context of modernization of education in the context of specialized training, design is considered as the main type of cognitive activity of students. Using design as a method of cognition, students come to rethink the role of knowledge in social practice. The reality of working on a project, and most importantly, a reflective assessment of the planned and achieved results, helps them realize that knowledge is not so much an end in itself, but rather a necessary means that ensures a person’s ability to competently build their mental and life strategies, adapt to society, and self-realize as an individual.
The methods of activity developed by students in the design process form key supra-subject competencies: communicative, informational. An indicator of information competence is the creation of new information products (projects, reports, models, presentations, electronic manuals and developments), and an indicator of communicative competence is the ability of students to develop strategies, tactics and techniques for interacting with people, to organize their joint activities to achieve certain socially significant goals .
A project as a way of activity can be included in the lesson. As an example, I will give a literature lesson in 9th grade.

Lesson topic: "Tatiana Larina's Reading Circle"
Lesson type: learning new material
Lesson type: lesson study using ICT

Lesson objectives:

1. Determine the place and role of books read in the formation of a person’s personality.
2. Continue work on developing cultural, communicative, and informational competencies of students.
3. Continue work on developing students’ monologue speech, cultivating attention to speech culture, accuracy of words and expressions.

1. Introduce students to authors whose works were popular at the beginning of the 19th century in Russia.
2. Using the example of these works, show what influence the books she read had on the formation of Tatyana Larina’s personality.

1. Research projects dedicated to the works of J. J. Rousseau and S. Richardson.
2. Messages about the main heroines of the novels: Richardson "Clarissa Garlow"; Rousseau's "New Heloise"; Madame de Stael "Delphine" - and expressive reading of excerpts from these novels.

DURING THE CLASSES.

1. Organizational moment(preparation for the lesson)

2. Teacher's word. A. S. Pushkin called his novel “Eugene Onegin.” But throughout the entire novel, the author did not hide his sympathy for Tatyana Larina, emphasizing her sincerity, depth of feelings and experiences, innocence and devotion to love, calling her a “sweet ideal.” You cannot pass by Tatiana indifferently. No wonder Evgeny Onegin, having visited the Larins’ house for the first time, says to Lensky:
“Are you really in love with the smaller one?”
- And what? - “I would choose another,
If only I were like you, a poet.
Olga has no life in her features.
What kind of person does Tatyana Larina appear to us at the beginning of the novel? ( homework implementation) (The introduction of Tatyana to Larina will reveal her internal contradiction: genuine feelings and sensitivity coexist in her).
3. What influenced the formation of Tatyana’s character?
Indeed, Pushkin himself, characterizing his heroine, emphasizes that novels “replaced everything for her.” Tatyana, dreamy, alienated from her friends, so unlike Olga, perceives everything around her as an unwritten novel, imagines herself as the heroine of her favorite novels. Therefore, today in class we will get acquainted with Tatyana Larina’s reading circle.

4. Announcing the topic of the lesson, setting goals and objectives.

5. Conversation on the topic of the lesson.

• Who are they, Tatyana’s favorite heroines?

• Why does Pushkin call the books that Tatyana reads “dangerous”?

• Let's get acquainted with the authors of the novels that Tatyana Larina reads. (Defense of projects dedicated to the works of J. J. Rousseau and S. Richardson) What do these authors have in common? (these writers are sentimentalists).

• Features of sentimentalism as a literary movement. (The discussion of this issue takes place in groups for 5-7 minutes, then one representative from the group speaks, the rest complement, correct, and evaluate the answers).
• What attracts Tatyana in their novels?

• A completely different world opens up for Tatyana when she visits his estate.

6. Summarizing.

• What attracts Tatyana in books, and what attracts Evgeniy?
• Why are the books they read so different?

8. Reflection.
Complete the sentences.
Today in class

• I found out ……
• I thought about...
• I wanted ….

The metropolitan aristocrat Onegin is contrasted in the novel by Tatyana Larina, the keeper of the precepts of “common antiquity.”
Three aspects of Tatyana’s image attract attention when reading the novel: 1) the originality of her character and behavior in childhood; 2) awakening love for Onegin; 3) her principled position in the scene of the break with Onegin.

How to explain the silence, thoughtfulness and loneliness of Tatyana the child? How to understand the so unexpectedly flared up feeling of love from Tatiana the girl for the almost unknown Onegin? How to evaluate the behavior of Tatiana the Princess in the scene of her last explanation with Onegin, when she again confesses her love for him and, at the same time, asks him to leave her? The correct answer to these questions will help us understand the complex image of Tatyana.
The character of Tatyana the child is depicted in the novel as follows:

Dick, sad, silent,
She is in her own family
Like a forest deer is timid,
The girl seemed like a stranger.

What created such alienation from Tatyana in the family? We have no reason to assume that the reason for this was the girl’s illness or family oppression: Tatyana grew up as a healthy girl who was not afraid to run out into the cold in a light dress, and in her family she enjoyed complete freedom. The answer to Tatyana's behavior in childhood must be sought elsewhere - in the uniqueness of her inner world.

The spiritual life of an impressionable, thoughtful girl was formed under the influence of two external influences: the environment of serf life and the books she read. They basically determined her views and moods. The life of the Larin family was patriarchal:

They kept life peaceful
On Trinity Day, when people
Habits of a dear old man;
Yawning, listens to the prayer service,
At their Shrovetide
Touchingly on the beam of dawn
There were Russian pancakes;
They shed three tears;
Twice a year they fasted;

Such family life, bearing the imprint of ancient Russian customs and folk traditions, was in itself a favorable soil on which Tatiana’s sympathy for the people could grow and mature. The nanny’s stories in the quiet of the night, which introduced Tatyana to the legends of “common antiquity,” friendships with the courtyard girls and Tatyana’s impressionability cemented her sympathies. But she went much further than her family in her closeness to the people, and, while her parents’ patriarchal way of life was expressed mainly in loyalty to folk customs, Tatyana sincerely fell in love with the people themselves - the serf peasantry.

Tatiana's sympathetic attitude towards the serfs is a very important feature of her mental makeup. It is reflected in her attachment to the nanny, and in her closeness to the courtyard girls, and in her worries about the poor, and in her thoughts about the “poor villagers.” The impressionable girl, obviously, already from childhood, was extremely painfully aware of the contrast between the life of her “poor villagers” and the mores of the noble environment of the Pustyakovs, Gvozdins, and Buyanovs. Before her eyes, scenes of reprisals against the serfs took place: the peasants “had their foreheads shaved”, her mother “beat the serfs out of anger.” Tatyana's democratic sympathies, inspired by her closeness to the common people and to nature, are what could have caused her alienation in her own family.

Great influence on the formation of the inner world
Tatiana also provided books. Pushkin vividly described their significance in Tatyana’s life:
She liked novels early on:
She fell in love with deceptions
They replaced everything for her;
Both Richardson and Russo.
What books “replaced everything for her”? In the novel, the names of the characters outline the range of Tatyana’s literary interests and hobbies. Tatiana’s “beloved creators” are Richardson, Rousseau and Madame de Staël, the heroines of their novels are especially close to her:
Imagining a heroine
Tatyana in the silence of the forests
Your beloved creators,
One wanders around with a dangerous book...
Clarissa, Julia, Delphine,

It is necessary to at least briefly dwell on the content of Tatyana’s favorite novels in order to understand in what direction they shaped her mood. The novel “Clarice Garlow” by the English writer Richardson appeared in Russian translation in 1791. The plot of the novel is as follows. Her family wants to marry a young girl, Clarice Garlow, to a man she doesn't like. A young aristocrat, Lovelas, comes to Clarice’s aid, with whom she flees from her parents’ house. Lovelace takes advantage of Clarice's defenselessness and, with the help of opium, takes possession of her. Clarice falls ill, Lovelace, fearing retribution for his action, invites the girl to marry him. Clarice proudly refuses to marry the man who deceived and disgraced her, although marriage with them would have brought her wealth and nobility. Her family rejects her. Clarice's life turns into torture. Finally, she dies, having drunk the cup of suffering to the bottom. The family realized their mistake, but it was too late.

Roman J.-J. Rousseau's "New Heloise" was published in 1760. Its main character is Julia D'Emange, and married to Volmar. Julia's tragedy is that she, a rich aristocrat, fell in love with Saint-Preux, a home teacher, a plebeian by birth. Having learned that Julia has been dishonored, her mother dies of grief. Fearing that she will kill her father with her behavior, Julia agrees to his demand to marry the noble aristocrat Volmar. Outwardly, her life is happy. She respects Volmar and is faithful to him, although she continues to love Sen. -Pre. An accidental cold brings her death, which she greets joyfully, as a deliverer from a painful dual state.

The action in the novel “Delphine” by Madame de Stael (1766-1817) takes place in France during the French Revolution of the 18th century. Del Fina Albemar, the heroine of the novel, loves the aristocrat Leon Mondoville, but, fearing to cause misfortune to his wife through her relationship with Leon, she leaves France and becomes a nun in one of the monasteries. Learning of the death of Leon's wife, she leaves the convent to flee to France, where revolutionary laws allowed nuns to marry. But for Leon, marriage to a nun seems impossible. He joins the ranks of the emigrant army, fights for the king, is captured by the Republicans, and is shot as a traitor. Delphine commits suicide.

The heroines of these three novels could capture Tatiana not only with their tragic fate. Clarice could not help but impress her with her proud independence and steadfastness in the struggle, Julia with her freedom of feeling and democratic sentiments (Julia also found happiness in helping the peasant population), Delphine with her independence of character and disdain for social prejudices. All of Tatiana's favorite heroines thus have common features - the cult of deep, free feelings, independence of behavior and a critical attitude towards the traditional views of society.

Imagine: I'm here alone.
My mind is exhausted
Nobody understands me,
And I must die in silence, -
she complained in a letter to Onegin.
Now it’s easy for us to reveal the secret of Tatyana’s suddenly flared up love for Onegin. Tatyana’s feelings were long ago prepared by reading her favorite novels:
Long-time heartache
Her young breasts were tight;
The soul was waiting... for someone...
The appearance of Onegin was, as it were, a response to Tatiana's expectations. She remembered the heroes of familiar novels - Volmar, Malek-Adele, de Linard, Werther, Grandison, and all of them were now embodied in the person of Onegin.

Onegin struck the provincial Tatyana not only with his beauty, sophistication of manners and the mystery of his behavior. Arriving in the village, Onegin committed an act that immediately turned the local nobility against him.
He is the yoke of the ancient corvée
I replaced it with a light quitrent.

This humane act could, apparently, especially endear Tatiana to Onegin. His nobility and courage fully corresponded to her hidden views and democratic sentiments. Thus, Tatyana’s books and democratic-humane sentiments easily explain the secret of her unexpected love for Onegin. Onegin seemed to her the realization of her ideal of a noble hero.

Onegin did not accept Tatyana’s love and after a duel with Lensky left the province. the girl took care of her feelings. But Onegin did not remind him of himself in any way... Tatyana got married.
In the last chapter of the novel, Tatyana appears before us as a noble St. Petersburg lady, the wife of a general, a princess. From a modest provincial girl, she turned into a “legislator of the hall.” Tatyana's intelligence and character made this transformation natural.
Returning after a three-year trip to the capital, Onegin again meets Tatyana and falls in love with her. The scene of Tatyana's final explanation with Onegin takes place. How to explain Tatyana's behavior in this scene? On the one hand, she confesses her love to Onegin for the second time, on the other, she firmly and decisively breaks with him:
I love you (why lie?),
But I was given to someone else;
I will be faithful to him forever.

There is no contradiction in Tatyana's behavior. She continued to love Onegin, since women like her love deeply and sincerely. And yet Tatyana answers Onegin with a firm refusal. She was guided by high honesty and a sense of duty. This act contains the beauty of Tatyana’s moral character, who embodied both the best folk ideals that have developed over centuries and the noble feelings of her beloved heroines. This is how the main aspects of Tatyana’s character are revealed in the novel.
The image of Tatiana is a charming image of a Russian woman. The source of this charm is the extraordinary harmony of the image. Summarizing Tatyana’s characteristics, Pushkin indicates that she was gifted:

With a rebellious imagination,
And wayward head,
Alive in mind and will,
And with a fiery and tender heart...

The harmonious combination of mind, will and feelings creates the integrity and completeness of Tatyana’s appearance. This alone puts her above other heroes of the novel, in whose character one side predominates: Onegin has the mind, Lensky has feeling.
Tatyana's character with all the richness of her spiritual powers is revealed gradually in the novel. Before our eyes, Tatyana’s gradual spiritual growth is taking place, the flowering of her rich spiritual powers.
We observe the gradual evolution of the image, in particular, in Tatiana’s language: in her letter there is still a sound of uncertainty and reticence caused by excitement, in the last explanation with Onegin - confidence, authority of tone.

Tatyana Larina is a type of beautiful Russian woman who embodies the best features of the national character. Her noble origin and upbringing are only features of the times, that historical shell that is needed to reveal her character. The main thing about her is her “Russian soul”. It was for this Russian soul that Pushkin loved his “sweet Tatyana.”