Pushkin alchemical laboratory: bifurcation of Pushkin: Lensky and Tatyana. Why did Onegin fall in love with Tatyana Larina? What is common between Onegin and Tatyana

Pushkinists have repeatedly noted Pushkin's love for opposites and the arrangement of heroes in pairs: Onegin - Lensky, Onegin - the author, Tatiana - Onegin, the author - Tatiana, Lensky - Olga, Tatiana - Lensky.

The famous Pushkin: “They got together. Wave and stone, poetry and prose, ice and fire // Not so different from each other…”, as always, draws opposites. At the same time, in Pushkin's artistic world, the images of Onegin and Lensky unexpectedly and paradoxically converge, just as opposites converge. Lensky, a romantic and a poet, an enthusiastic and sublime nature, even outwardly resembles the young man Pushkin: “And black curls to the shoulders ...” Onegin is Pushkin in maturity, Pushkin the prose writer, who went through disappointments and doubts, who acquired a sad life experience when young hopes replaced by skepticism and pessimism. The disputes between Onegin and Lensky, the skeptic and the romantic are stages in the life path of Pushkin himself and a change in the creative attitudes of Pushkin, the poet and the person. These disputes are also a struggle of opposite principles in the soul of the poet himself.

However, the later researches of Pushkinists discovered Pushkin's paradoxical identity not so much with Lensky and Onegin, but with Tatyana: personal, intimate biographical experiences, the poet conveys his own way of thinking to Tatyana. How to prove it? Tatyana, like Pushkin, is an unloved child in the family (“She is in her own family \\ She seemed like a stranger girl”), his parents loved the youngest son Leo more; VC. Kuchelbecker, who read chapter VIII of Eugene Onegin in hard labor, wrote in his diary: “The poet in his 8th chapter looks like Tatiana himself. For his lyceum comrade, for the person who grew up with him and knows him by heart, like me, the feeling with which Pushkin is overwhelmed is noticeable everywhere, although he, like his Tatyana, does not want the world to know about this feeling. And again, strangeness: the inner world of Tatyana and the inner world of Lensky at the beginning of the novel almost coincide.

With the image of Tatyana, the world of the Russian village and the natural landscape enter the novel. At the same time, in Tatyana, as in Lensky, there is a lot of bookstores. Their noble romanticism is drawn from fashionable European sources: from Lensky - from the Germans Schiller, Goethe and Kant, from Tatyana - from reading French and English novels, primarily the novel by the English sentimentalist writer of the 18th century Richardson "Clarissa Harlow", French novels by Rousseau and Madame de Stael. Tatyana alternately imagines herself as the sensitive Clarissa Harlow, who is sought by the noble Grandison and the shameless Lovelace, then as Julia, the heroine of Rousseau's "New Eloise", then Delphine, the heroine of Madame de Stael's novel.

Misty dreams of love and happiness, sweet and mysterious, but very vague ideals of kindness, fidelity, generosity, harmony and beauty - all this traditional set of romantic clichés, untouched by the bitter reflections of life experience, did not in the least prevent the heroes from deeply feeling nature and loving life.

Pushkin persistently brings Tatyana and Lensky closer together through one and

of the same image - the image of the moon, because the moon, in addition to the natural luminary, is also a favorite image of romantic poets. Appeals to the moon have become a common place in sad, elegiac poetry, which is now laughed at by Pushkin the realist, who at one time also paid tribute to the mournful and dreary muse of romanticism. Lensky's view of nature is poetically exalted. Nature for him is equal to poetry, and poetry is unthinkable without the sweet pangs of love for the neighbor Olga Larina, who reciprocates Lensky:

He loved thick groves,

solitude, silence,

And the night, and the stars, and the moon,

Moon, sky lamp,

to which we dedicated

Walking in the darkness of the evening

And tears, secret torments of joy ...

But now we see only in it

Replacement of dim lanterns (II, XXII).

Alas, the touch of bookishness will in many ways be the cause of Lensky's death. Bookishness occupies the lion's share of his soul. The two main layers of the novel: bookishness and life collide in Lensky's personality. And bookishness wins. Ideal romantic ideas about true friendship, pure love, the indispensable triumph of good over evil and other common book clichés in the mind of Lensky become the subject of malicious irony for the author. Life mercilessly pushes these beautiful-hearted chimeras out of reality.

The internal conflict that Lensky involuntarily experiences on Tatiana's name day, faced with the betrayal of a friend and the betrayal of his beloved, must be resolved either in favor of revising life values, or if the hero insists on his own according to the principle of "all or nothing" ("He thinks: "I will her savior. // I will not tolerate a corrupter // With fire and sighs and praises // Tempting a young heart ...”), therefore, refuses to change his beliefs, life must destroy him, leaving death to act.

In other words, Lensky himself, voluntarily climbs into the mouth to death, and Onegin is a suitable intermediary in order to send Lensky back to his fathers, perpetuating his blooming youth, poetic moods and cordial naivety. However, life and love send Lensky the last hello before his death, for a moment defeating his notorious bookishness of the “eternal student” of the University of Göttingen, the abode of German romanticism. This happens when Lensky comes to Olga before the duel and she meets him with an ingenuous question: “Why did you disappear so early in the evening?” – completely disarming his jealous hostility. No matter how crowded his “heart full of longing” was, Lensky did not say a single word about the duel. Knightly courage and noble, by no means bookish, restraint were expressed in a laconic: "So" - in response to Olga's question: "What is the matter with you?"

Lensky and Tatyana are like brother and sister in naivety, bookishness, but at the same time, inner nobility. It is not for nothing that Tatyana, thinking about Onegin, the murderer of Lensky, mentally calls the latter "her brother":

She must hate in him

The murderer of his brother ... (VII,VIV)

Tatyana, who fell in love with Onegin with book love, runs, like Lensky, into the solitude of the forests in order to hide her primordial feeling from people and entrust the secret of her first love to nature alone. In her hands Tatyana holds a “dangerous book”, from the pages of which she drinks the sweet poison of love dreams. The book and nature go hand in hand again. Pushkin, perhaps the first in Russian literature, creates a special space for the book, which to the highest degree influences the inner self-awareness of the hero, moreover, determines his actions. (Later, this discovery of Pushkin would be developed by Dostoevsky, endowing Raskolnikov with a book consciousness, leading him to crime.)

Imagining a heroine

Your beloved creators

Clarice, Julia, Delphine,

Tatiana in the silence of the forests

One with a dangerous book wanders,

She seeks and finds in her

Your secret heat, your dreams

The fruits of heart fullness,

Sighs and, appropriating

Someone else's delight, someone else's sadness,

In oblivion whispers by heart

A letter for a cute hero...

But our hero, whoever he is,

It was certainly not Grandison (III, X).

The moon again accompanies the image of Tatyana. In winter, she gets up early by candlelight,

when the night shadow

Possesses half the world,

And share in idle silence,

With a foggy moon ... (II, XXVIII)

And meanwhile the moon shone

And lit up with a languid light

Tatiana's pale beauty... (II, XX)

And my heart rushed far

Tatyana looking at the moon... (II, XXI)

Of course, under the moonlight, she writes a letter to Onegin - an act that could only be carried out at night, in the ghostly light of a deceptive and unfaithful night star, which gives rise to confusion and love fever in the souls.

The shirt is easy to go down

From her lovely shoulder...

But now the moonbeam

The radiance goes out ... (II, XXXII)

It is amazing that in the world of Russian nature Tatyana is looking for the same thing as in the book: “the secret of charm”:

Well? The beauty found the secret

And in the very horror she ... (V, VII)

Pushkin's expression - "secret charm" - must be understood broadly: both as charm, that is, the fullness of life, which contains a secret, terrible and beautiful, but at the same time as a temptation, temptation (the old Slavonic word "charm" is still in church language means attraction to sin and being under its power). In this last sense, the moon symbolizes the night nature of Tatyana's soul, because in the heroine, of course, there is also the day side of the soul - a joyful, sunny nature open to the world and people. Pushkin compares it with a sunny winter day:

Frost in the sun on a frosty day,

And the sleigh, and the late dawn

Shine of pink snows… (V, IV)

In Tatyana, the sunny side of her soul must win and in the end wins - true charm, charm as the fullness of life in its natural cycle, when days in the village rolled after days, only the seasons and church holidays that accompanied the natural cycle and were sacredly observed by the Larin family changed :

They have oily Shrovetide

There were Russian pancakes (…)

Podbludny songs, round dance;

On Trinity Day, when people

Yawning listens to a prayer service ... (II, XXXV)

In this unhurried succession of days there is the beauty of real life. Tatyana's soul has some kind of inner affinity with the beauty of natural landscapes.

It is curious that, once in the village, Onegin, this city dweller and child of civilization, is imbued with a sense of belonging to the natural course of life. He lives in a measured unhurried rhythm, which sets the natural cycle of the change of seasons. His pastime is calm contemplation and, on the other hand, not too painful loneliness ("Sometimes black-eyed whites // Young and fresh kiss ..."). All because from the closed world of elegant knick-knacks and fashionable chimeras, the hero finds himself in a big, real world that cannot be appropriated (“Flowers, love, village, idleness, // Fields! I am devoted to you with my soul” (I, LVI)).

The bookish dandyism of Onegin, the pose of Melmoth or Childe Harold against the background of slopes, fields, pines, birches and rivers are so unnatural that he forgets about them. Onegin does not need to swallow this vast expanse of the great world of Rus' (cf. the clash of two Pushkin epigraphs before Chapter II: "O rus" Hor. (O village! Horace) and "O Rus!"). Onegin even fits into it. That is why "Onegin was vividly touched" by the sincerity of Tatyana's love letter, albeit bookish through and through. He did not want to destroy the "gullibility of an innocent soul", did not, so to speak, "swallow" Tatyana, like Petersburg "coquette notes" or oysters sprinkled with lemon. On the contrary, he “revealed // soul direct nobility”, keeping this act of Tatyana, unthinkable from the point of view of secular morality, in secret - all because the space of his personality expanded and moved apart to the expanses of the natural world that surrounded him in the village.

However, the values ​​of real life defeated the escheat book dandyism in Onegin's soul for a short time. The breadth of Rus', which for a moment opened up to him in the process of life, failed to cure Onegin of the habit of selfishly destroying everything. He, dissatisfied with Tatyana's hysterical appearance on her name day, takes revenge on her cruelly: re-armed with all the achievements of the "science of tender passion", he inspires hope in Tatyana and immediately courts Olga, becoming Lensky's mortal enemy.

Books and death - this is another theme of Pushkin's novel, uniting the main characters of the novel. This theme, like a piece of music, changes its tone all the time: it takes on a tragic, parodic, or humorous flavor. And in this, too, the "alchemy" of Pushkin's word in Russian is realized.

In St. Petersburg, Onegin, in order to get rid of boredom, in search of yet another food for a disappointed soul, decided to absorb book wisdom (“Assign someone else’s mind to himself”) and

He set up a shelf with a detachment of books,

Read, read. And all to no avail (…)

Like women, he left books

And the shelf, with their dusty family,

Draped with mourning taffeta (I, XLIV).

It is curious that books and women in the world of Onegin are identified. Both of them are like a corpse in a coffin - behind the "funeral taffeta".

In the finale, Onegin, rejected by Tatyana, again returns to books and reads them all winter. However, in his St. Petersburg office, by the blazing fireplace, Onegin, who went through the pangs of conscience after the death of Lensky and love suffering, through the book, in a certain sense, deadening space, sees another, genuine, living space - the village, Tatyana's letter, Lensky's death "on melted snow ". His imagination “his motley pharaoh throws”, again and again calling Onegin to the moral judgment of his own conscience, dotting all i:

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,

Or a long fairy tale, living nonsense,

Ile letters of a young maiden (VIII, XXXVI).

That rural house - and at the window

She sits ... and that's it! (VIII, XXXVII)

Tatyana goes the same way as Onegin. The spiritual path of the heroes of Pushkin's "Eugene Onegin" to life and the true values ​​of life runs through the book space. Through letters, lines, strange and alien thoughts, the hero must find himself, his true personality. The soul seems to have to hatch out of the husk of a book egg and come out into the other light of God, strong and no longer subject to the power of "foreign whims of interpretation", calm and indifferent to the temptations of two or three novels,

In which the age 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 (VII, XXII).

The soul of Onegin, expressed on the pages, lines and margins of Byron's poems "Giaura" and "Don Giovanni", in Maturin's "Melmothe the Wanderer", Benjamin Constant's "Adolf", etc. is quite material, guesses Tatyana; insight turns into a conviction: “Isn’t he a parody?”

Stored many pages

Sharp nail mark;

Eyes of an attentive girl

Aimed at them alive.

Tatyana sees with trembling,

What thought, remark

Onegin was amazed

To which he silently agreed.

In their fields she meets

The outline of his pencil.

Everywhere Onegin's soul

expresses himself involuntarily

Now with a short word, now with a cross,

Then with an interrogative hook (VII, XXIII).

The experience of reading Onegin's books served Tatyana as a bitter medicine for healing from her own bookishness. She begins to intuitively comprehend her personality.

Onegin's last defeat is his futile attempt to "absorb" the married Tatyana in St. Petersburg. Yes, he truly loves her. But he still thinks and feels. The key word in Onegin's everyday dictionary is "bliss". In the first explanation with Tatyana, a village girl, he says: "But I am not created for bliss." As if the family he could form with Tatyana was a form of bliss!

In a letter to Tatyana, he again about his own: “Before you, in agony, freeze, / Turn pale and go out ... here is bliss!” What does Onegin offer her? Become his mistress! Such a trifle in comparison with the acquired spiritual universe, of course, gives rise to a rebuke from Tatyana, who remembered the village, which she calls "desert". But even here, in St. Petersburg, she is like in a desert. In words, she wants to hide from the Petersburg “rags of a masquerade”, to return to the village, to the past, to the shelf of her books, of course, already outdated by her and left behind. There is no way back.

The novel "Eugene Onegin" was written by Alexander Sergeevich Pushkin in 1823-1831. The work is one of the most significant creations of Russian literature - according to Belinsky, it is an "encyclopedia of Russian life" of the early 19th century.

The novel in Pushkin's verse "Eugene Onegin" belongs to the literary direction of realism, although in the first chapters the influence of the traditions of romanticism on the author is still noticeable. There are two storylines in the work: the central one is the tragic love story of Eugene Onegin and Tatiana Larina, and the secondary one is the friendship of Onegin and Lensky.

Main characters

Eugene Onegin- a prominent young man of eighteen years old, a native of a noble family, who received a French "home education, a secular dandy who knows a lot about fashion, is very eloquent and knows how to present himself in society, a" philosopher ".

Tatyana Larina- the eldest daughter of the Larins, a quiet, calm, serious girl of seventeen who loved to read books and spend a lot of time alone.

Vladimir Lensky- a young landowner who was "nearly eighteen years old", a poet, a dreamy person. At the beginning of the novel, Vladimir returns to his native village from Germany, where he studied.

Olga Larina- the youngest daughter of the Larins, the beloved and bride of Vladimir Lensky, always cheerful and sweet, she was the complete opposite of her older sister.

Other characters

Princess Polina (Praskovya) Larina- mother of Olga and Tatyana Larin.

Filipievna- Tatiana's nanny.

Princess Alina- Tatyana and Olga's aunt, Praskovya's sister.

Zaretsky- a neighbor of Onegin and Larin, Vladimir's second in a duel with Eugene, a former gambler who became a "peaceful" landowner.

Prince N.- Tatyana's husband, "an important general", a friend of Onegin's youth.

The novel in verse "Eugene Onegin" begins with a brief author's address to the reader, in which Pushkin characterizes his work:

“Accept a collection of colorful heads,
Half funny, half sad
vulgar, ideal,
The careless fruit of my amusements.

Chapter first

In the first chapter, the author introduces the reader to the hero of the novel - Eugene Onegin, the heir to a wealthy family, who hurries to his dying uncle. The young man was “born on the banks of the Neva”, his father lived in debt, often arranged balls, which is why he completely lost his fortune.

When Onegin was old enough to go out into the world, the young man was well received by high society, as he was fluent in French, easily danced the mazurka and was able to talk at ease on any topic. However, it was not science or brilliance in society that interested Evgeny the most - he was a “true genius” in “science of tender passion” - Onegin could turn the head of any lady, while remaining on friendly terms with her husband and admirers.

Eugene lived an idle life, walking along the boulevard during the day, and in the evening visiting luxurious salons, where famous people of St. Petersburg invited him. The author emphasizes that Onegin, "afraid of jealous condemnations", was very careful about his appearance, so he could be in front of the mirror for three hours, bringing his image to perfection. Yevgeny returned from the balls in the morning, when the rest of the inhabitants of St. Petersburg rush to work. By noon, the young man woke up and again

"Until the morning his life is ready,
Monotonous and motley ".

However, is Onegin happy?

“No: early the feelings in him cooled down;
He was tired of the noise of the world.

Gradually, the “Russian melancholy” took possession of the hero, and he, like Chaid-Harold, appeared gloomy and languid in the world - “nothing touched him, he did not notice anything.”

Eugene closes himself off from society, locks himself at home and tries to write on his own, but the young man does not succeed, because "he was sick of hard work." After that, the hero begins to read a lot, but understands that literature will not save him either: "like women, he left books." Eugene from a sociable, secular person becomes a closed young man, prone to a "caustic dispute" and "a joke with bile in half."

Onegin and the narrator (according to the author, it was at this time that they met the main character) were going to leave St. Petersburg abroad, but their plans were changed by the death of their father Eugene. The young man had to give up all his inheritance to pay his father's debts, so the hero remained in St. Petersburg. Soon Onegin received news that his uncle was dying and wanted to say goodbye to his nephew. When the hero arrived, the uncle had already died. As it turned out, the deceased bequeathed to Eugene a huge estate: land, forests, factories.

Chapter Two

Eugene lived in a picturesque village, his house was by the river, surrounded by a garden. Wanting to somehow entertain himself, Onegin decided to introduce new orders in his possessions: he replaced the corvée with "easy dues". Because of this, the neighbors began to be wary of the hero, believing that "he is the most dangerous eccentric." At the same time, Eugene himself shunned his neighbors, avoiding getting to know them in every possible way.

At the same time, a young landowner Vladimir Lensky returned to one of the nearest villages from Germany. Vladimir was a romantic nature,

"With a soul straight from Goettingen,
Handsome, in full bloom of years,
Kant's admirer and poet".

Lensky wrote his poems about love, was a dreamer and hoped to unravel the mystery of the purpose of life. In the village, Lensky, "according to custom", was mistaken for a profitable groom.

However, among the villagers, the figure of Onegin attracted Lensky's special attention, and Vladimir and Eugene gradually became friends:

“They got along. Wave and stone
Poems and prose, ice and fire".

Vladimir read his works to Yevgeny, talked about philosophical things. Onegin listened with a smile to Lensky's ardent speeches, but refrained from trying to reason with his friend, realizing that life itself would do this for him. Gradually, Eugene notices that Vladimir is in love. Lensky's lover turned out to be Olga Larina, with whom the young man had known since childhood, and his parents predicted their wedding in the future.

"Always modest, always obedient,
Always as cheerful as the morning
How simple is the life of a poet,
How sweet is the kiss of love."

The complete opposite of Olga was her older sister, Tatyana:

"Dika, sad, silent,
Like a doe forest is timid.

The girl did not find the usual girlish amusements cheerful, she loved to read the novels of Richardson and Rousseau,

And often all day alone
Sitting silently by the window.

The mother of Tatyana and Olga, Princess Polina, in her youth was in love with another - with a sergeant of the guard, a dandy and a player, but without asking her parents married her to Larin. The woman was sad at first, and then she took up housekeeping, “she got used to it and became satisfied,” and gradually peace reigned in their family. Having lived a quiet life, Larin grew old and died.

Chapter Three

Lensky begins to spend all his evenings with the Larins. Eugene is surprised that he found a friend in the society of a "simple, Russian family", where all conversations come down to a discussion of the economy. Lensky explains that he is more pleased with home society than a secular circle. Onegin asks if he can see Lensky's beloved and a friend calls him to go to the Larins.

Returning from the Larins, Onegin tells Vladimir that he was pleased to meet them, but his attention was more attracted not by Olga, who "has no life in features", but by her sister Tatyana "who is sad and silent, like Svetlana". The appearance of Onegin at the Larins caused gossip that, perhaps, Tatyana and Evgeny were already engaged. Tatyana realizes that she has fallen in love with Onegin. The girl begins to see Eugene in the heroes of novels, dreaming about a young man, walking in the "silence of the forests" with books about love.

One sleepless night, Tatyana, sitting in the garden, asks the nanny to tell her about her youth, about whether the woman was in love. The nanny reveals that she was given an arranged marriage at the age of 13 to a guy younger than her, so the old lady doesn't know what love is. Gazing at the moon, Tatyana decides to write a letter to Onegin with a declaration of love in French, since at that time it was customary to write letters exclusively in French.

In the message, the girl writes that she would be silent about her feelings if she was sure that she could at least sometimes see Eugene. Tatyana argues that if Onegin had not settled in their village, perhaps her fate would have been different. But he immediately denies this possibility:

“That is the will of heaven: I am yours;
My whole life has been a pledge
Faithful goodbye to you.

Tatyana writes that it was Onegin who appeared to her in her dreams and that she dreamed about him. At the end of the letter, the girl “gives” Onegin her fate:

"I'm waiting for you: with a single look
Revive the hopes of your heart
Or break a heavy dream,
Alas, a well-deserved reproach!”

In the morning, Tatyana asks Filipyevna to give Evgeny a letter. For two days there was no answer from Onegin. Lensky assures that Yevgeny promised to visit the Larins. Finally Onegin arrives. Tatyana, frightened, runs into the garden. Having calmed down a little, he goes out into the alley and sees Evgeny standing “like a formidable shadow” right in front of him.

Chapter Four

Eugene, who was disappointed with relationships with women even in his youth, was touched by Tatyana's letter, and that is why he did not want to deceive the gullible, innocent girl.

Meeting Tatyana in the garden, Evgeny spoke first. The young man said that he was very touched by her sincerity, so he wants to "repay" the girl with his "confession". Onegin tells Tatyana that if a “pleasant lot ordered” him to become a father and husband, then he would not look for another bride, choosing Tatyana as a “friend of sad days”. However, Eugene "is not created for bliss." Onegin says that he loves Tatyana like a brother, and at the end of his "confession" turns into a sermon to the girl:

“Learn to rule yourself;
Not everyone will understand you like me;
Inexperience leads to trouble."

Speaking about Onegin's act, the narrator writes that Eugene acted very nobly with the girl.

After the date in the garden, Tatyana became even sadder, worrying about unhappy love. There is talk among the neighbors that it is time for the girl to get married. At this time, the relationship between Lensky and Olga is developing, young people are spending more and more time together.

Onegin lived as a hermit, walking and reading. One winter evening, Lensky comes to see him. Eugene asks a friend about Tatyana and Olga. Vladimir says that their wedding with Olga is scheduled in two weeks, which Lensky is very happy about. In addition, Vladimir recalls that the Larins invited Onegin to visit Tatiana's name day.

Chapter Five

Tatyana was very fond of the Russian winter, including Epiphany evenings, when the girls were guessing. She believed in dreams, omens and divination. One of the Epiphany evenings, Tatyana went to bed, putting a girl's mirror under her pillow.

The girl dreamed that she was walking through the snow in the darkness, and in front of her the river rustled, through which a “trembling, fatal bridge” was thrown. Tatyana does not know how to cross it, but then a bear appears from the other side of the stream and helps her to cross. The girl tries to run away from the bear, but the "shaggy footman" followed her. Tatyana, unable to run any longer, falls into the snow. The bear picks her up and brings her into a "wretched" hut that has appeared between the trees, telling the girl that his godfather is here. Coming to her senses, Tatyana saw that she was in the hallway, and behind the door one could hear “a scream and the clinking of a glass, like at a big funeral.” The girl looked through the crack: monsters were sitting at the table, among which she saw Onegin, the owner of the feast. Out of curiosity, the girl opens the door, all the monsters begin to reach out to her, but Eugene drives them away. The monsters disappear, Onegin and Tatyana sit down on a bench, the young man puts his head on the girl's shoulder. Then Olga and Lensky appear, Evgeny begins to scold the uninvited guests, suddenly pulls out a long knife and kills Vladimir. Terrified, Tatyana wakes up and tries to interpret the dream according to the book of Martyn Zadeki (fortune teller, interpreter of dreams).

Tatyana's birthday, the house is full of guests, everyone is laughing, crowding, greeting. Lensky and Onegin arrive. Yevgeny is seated opposite Tatyana. The girl is embarrassed, afraid to raise her eyes to Onegin, she is ready to burst into tears. Eugene, noticing Tatyana's excitement, got angry and decided to take revenge on Lensky, who brought him to the feast. When the dancing began, Onegin invites only Olga, without leaving the girl even in between dances. Lensky, seeing this, "flares up in jealous indignation." Even when Vladimir wants to invite the bride to dance, it turns out that she has already promised Onegin.

“Lenskaya is unable to bear the blow” - Vladimir leaves the holiday, thinking that only a duel can solve the current situation.

Chapter Six

Noticing that Vladimir had left, Onegin lost all interest in Olga and returned home at the end of the evening. In the morning, Zaretsky comes to Onegin and gives him a note from Lensky with a challenge to a duel. Eugene agrees to a duel, but, left alone, blames himself for joking about his friend's love in vain. According to the terms of the duel, the heroes had to meet at the mill before dawn.

Before the duel, Lensky stopped by Olga, thinking to embarrass her, but the girl joyfully met him, which dispelled the jealousy and annoyance of her beloved. All evening Lensky was distracted. Arriving home from Olga, Vladimir examined the pistols and, thinking about Olga, writes poems in which he asks the girl to come to his grave in case of his death.

In the morning, Eugene overslept, so he was late for the duel. Zaretsky was Vladimir's second, Monsieur Guillot was Onegin's second. At the command of Zaretsky, the young men met, and the duel began. Evgeny is the first to raise his pistol - when Lensky just started aiming, Onegin is already shooting and killing Vladimir. Lensky dies instantly. Eugene looks at the body of a friend in horror.

Chapter Seven

Olga did not cry for Lensky for a long time, soon fell in love with a lancer and married him. After the wedding, the girl left for the regiment with her husband.

Tatyana still could not forget Onegin. One day, walking around the field at night, the girl accidentally came to the house of Eugene. The yard family greets the girl in a friendly way and Tatyana is let into Onegin's house. The girl, examining the rooms, “for a long time in a fashionable cell stands as enchanted.” Tatyana begins to constantly visit Yevgeny's house. The girl reads the books of her lover, trying to understand from the notes in the margins what kind of person Onegin is.

At this time, the Larins begin to talk about the fact that it is high time for Tatyana to marry. Princess Polina is worried that her daughter is refusing everyone. Larina is advised to take the girl to the “bride fair” in Moscow.

In winter, Larins, having collected everything they need, leave for Moscow. They stopped at an old aunt, Princess Alina. Larins begin to travel around to numerous acquaintances and relatives, but the girl is bored and uninteresting everywhere. Finally, Tatyana is brought to the “Meeting”, where many brides, dandies, and hussars have gathered. While everyone is having fun and dancing, the girl, "unnoticed by anyone" stands at the column, recalling life in the village. Here one of the aunts drew Tanya's attention to the "fat general".

Chapter Eight

The narrator meets again with the already 26-year-old Onegin at one of the social events. Eugene

"languishing in the idleness of leisure
No service, no wife, no business,
Couldn't do anything."

Before that, Onegin traveled for a long time, but he got tired of it, and now, "he returned and, like Chatsky, got from the ship to the ball."

At the party, a lady appears with the general, who attracts the general attention of the public. This woman looked "quiet" and "simple". Evgeny recognizes Tatyana in a secular lady. Asking a familiar prince who this woman is, Onegin learns that she is the wife of this prince and is really Tatyana Larina. When the prince brings Onegin to the woman, Tatyana does not betray her excitement at all, while Eugene is speechless. Onegin cannot believe that this is the same girl who once wrote him a letter.

In the morning, Evgeny was brought an invitation from Prince N., Tatyana's wife. Onegin, alarmed by memories, eagerly goes to visit, but the “stately”, “careless legislator of the hall” does not seem to notice him. Unable to stand it, Eugene writes a letter to the woman, in which he confesses his love for her, ending the message with the lines:

“Everything is decided: I am in your will,
And surrender to my fate."

However, no answer comes. The man sends the second, third letter. Onegin was again “caught” by the “cruel blues”, he again locked himself in his office and began to read a lot, constantly thinking and dreaming about “secret legends, heartfelt, dark antiquity”.

One spring day, Onegin goes to Tatiana without an invitation. Eugene finds a woman weeping bitterly over his letter. The man falls at her feet. Tatyana asks him to get up and reminds Evgeny how in the garden, in the alley, she humbly listened to his lesson, now it's her turn. She tells Onegin that she was in love with him then, but found only severity in his heart, although she does not blame him, considering the man's act noble. The woman understands that now she is in many ways interesting to Eugene precisely because she has become a prominent secular lady. In parting, Tatyana says:

“I love you (why lie?),
But I am given to another;
I will be faithful to him forever"

And leaves. Eugene is "as if struck by a thunder" by Tatyana's words.

"But the spurs suddenly rang out,
And Tatyana's husband showed up,
And here is my hero
In a minute, evil for him,
Reader, we will now leave,
For a long time ... forever ... ".

conclusions

The novel in verse "Eugene Onegin" is striking in its depth of thought, the volume of the described events, phenomena and characters. Depicting in the work the customs and life of cold, "European" St. Petersburg, patriarchal Moscow and the village - the center of folk culture, the author shows the reader Russian life in general. A brief retelling of "Eugene Onegin" allows you to get acquainted only with the central episodes of the novel in verse, therefore, for a better understanding of the work, we recommend that you familiarize yourself with the full version of the masterpiece of Russian literature.

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Do you know how old the heroes of the novel "Eugene Onegin" by Pushkin are? This article presents materials on the age of Eugene Onegin, Tatyana Larina, Vladimir Lensky and Olga Larina. The information in the article is based on the scientific works of the famous writer Yuri Lotman (see the article by Yu. M. Lotman "Internal Chronology of "Eugene Onegin""). PLUS FLIGHT DISCUSSION OF CARING READERS...
AND ONEGIN WAS RIGHT IN REFUSING THE YOUNGER...

See: All materials on "Eugene Onegin" How old are Eugene Onegin, Tatyana Larina, Lensky and Olga in the novel "Eugene Onegin"? (age of heroes)
1. Eugene Onegin At the time of the duel with Lensky, Eugene Onegin was 26 years old. At the beginning of the novel, Pushkin also describes a period in Onegin's life when he was 18 years old: "... Having killed a friend in a duel, / Having lived without a goal, without labor / Until the age of twenty-six ..."
2. Vladimir Lensky Vladimir Lensky is only 18 years old when he dies in a duel with Onegin: "... let the poet / Fool around; at eighteen years old ..."
3. Tatyana Larina Tatyana Larina is 17 years old when she writes a letter to Eugene Onegin. The fact is that nothing specific is said about Tatyana's age in the novel. But Pushkin indicates Tatyana's age in a letter to P. A. Vyazemsky: "... I wonder how Tanya's letter ended up with you [...] if, however, the meaning is not entirely accurate, then all the more truth in the letter; a letter from a woman, besides 17 years old, besides in love!..." (Pushkin to Vyazemsky, November 29, 1824)
4. Olga Larina Olga Larina was about 16 years old at the time of the duel between Onegin and Lensky. According to the researcher Yu. M. Lotman, Olga was at least 15 years old when she became Lensky's bride: according to the rules of that time, Olga could not be less than 15 years old. Therefore, Olga was about 16 years old because she is younger than her sister Tatyana, who is 17 years old.

But in the next chapter, after Tatyana's letter, it is clearly written: "Destroy prejudices, Which did not and do not exist in a girl at thirteen!" That is, at the time of writing the letter, Tatyana was 13 or even 12 years old ... But not 17 at all ...

Pushkin did not expect readers to read letters either to Vyazemsky or to anyone else. Throughout the novel, Tatiana's age is given; 13 years old when he writes a letter, and soon the name day - 14 years old. The number 13 is mentioned 2 times (Pushkin has nothing random). Question to opponents: are these lines written about the 17th girl? Or is there something wrong with Pushkin? "But even in those years Tatyana did not take dolls in her hands; About the news of the city, about fashion, she did not have conversations with her. And childish pranks were alien to her"

In the text, there is a mention of a letter from a 13-year-old girl who can only be Tatyana. Not so little, if we recall the classic story of 12-year-old Juliet and the fact that in those days they got married early. Could Tatyana be 13 years old? Could. Further, there is a mention of the "dream of a maiden", again, a maiden, according to Dahl, is an age from 12 to 15 years, that is, Tatiana could have been a maximum of 15. Why is this important? Because her younger sister was also supposed to marry Lensky, and how old was she then if Tatyana would have been 13?
The author himself accurately names the age of the two girls. One of them, Tatyana, is 13 years old, and Olga is 11. Olga, despite her age at 11, ran away from home with a hussar. And Tatyana, by those standards, stayed up in the girls. She was given in marriage at the age of 16, after being taken to St. Petersburg. There she liked the old general. Read to a 30 year old. And all this time she remembered her first love. After two years of marriage, at the age of 18, she was a princess, and she knew the rules of etiquette. As a married lady, she ignored Onegin, which intrigued the poor fellow.

And that's it, Tanya! DURING THESE SUMMER
We haven't heard of love;
And then I would drive from the world
My dead mother-in-law.

IN THESE (that is, Tannins) SUMMER, the nanny has already gone down the aisle. And she was, remember, 13 years old.
Onegin, returning from the ball, where he saw for the first time a general's wife, a secular lady, asks himself:

Is it the same Tatyana?
That GIRL... Is this a dream?
The GIRL he
neglected in a humble share?
You weren't news
Humble GIRL love?

Tatyana herself rebukes the hero.

Let's continue reading the fourth chapter, where a 13-year-old girl appeared.

...having received Tanya's message,
Onegin was deeply touched...
Perhaps the feelings of the ardor of the old
He took possession of him for a moment;
But he didn't want to cheat.
The trust of an innocent soul.

It turns out that Eugene did not want, like an old depraved monkey, to destroy an innocent girl. And so he refused. Tactfully taking all the blame on himself, so as not to injure Tatyana. And at the end of the meeting he gave the girl good advice:

Learn to control yourself;
Not everyone will understand you like me;
Inexperience leads to trouble.

I read carefully Alexander Sergeevich and suddenly realized what kind of stupidity we had to do at school, tormented by essays about the relationship between Evgeny and Tatiana! Pushkin himself explained everything and himself assessed the act of his hero.

You will agree, my reader,
What a very nice act
With sad Tanya our friend.

***
And how old was Olga then, whom the 17-year-old Lensky was going to marry? Maximum 12. Where is it written?
In this case, Pushkin only indicated that Olya was the younger sister of 13-year-old Tatyana. A little boy (about 8 years old according to Dahl) Lensky was a tender witness to her INFANT amusements. (Infant - up to 3 years. From 3 to 7 - a child).

We believe: if he was 8 years old, then she was 2 - 3 years old. By the time of the duel, he was almost 18, she was 12. Do you remember how indignant Lensky was when Olya danced with Onegin?

A little from diapers
Coquette, windy child!
She knows the trick
Already learned to change!

Of course you are shocked. At that age - and get married?! Don't forget what time it was. Here is what Belinsky wrote in an article about Onegin:

“A Russian girl is not a woman in the European sense of the word, not a person: she is something else, like a bride ... As soon as she turns twelve years old, and her mother, reproaching her for laziness, for her inability to hold on ..., tells her: “It’s not a shame whether you, madam: after all, you are already a bride!

And at 18, according to Belinsky,“She is no longer the daughter of her parents, not the beloved child of their hearts, but a burdensome burden, goods ready to stale, extra furniture, which, just look, will drop from the price and will not get away with it.”

Such an attitude towards girls, early marriages are explained not by the wildness of customs, but by common sense, says the sexologist Kotrovsky. - Families then were, as a rule, large - the church forbade abortions, and there were no reliable contraceptives.

Parents tried to quickly marry the girl (“extra mouth”) into a strange family, while she looks young. And the dowry for her was required less than for a withered maiden. (The age-old girl is like an autumn fly!)

In the case of the Larins, the situation was even more acute. The girls' father died, the brides had to be urgently attached! Yuri Lotman, the famous literary critic, wrote in the comments to the novel:

“In the beginning of the 19th century, young noblewomen entered into marriage early. True, the frequent marriages of 14-15-year-old girls in the 18th century began to go out of common practice, and 17-19 years old became the normal age for marriage.
Early marriages, which were the norm in peasant life, were not uncommon at the end of the 18th century for provincial noble life unaffected by Europeanization. A. Labzina, an acquaintance of the poet Kheraskov, was married off as soon as she was 13 years old.

Gogol's mother was married at 14. However, the time of the first hobbies of the young reader of novels began much earlier. And the surrounding men looked at the young noblewoman as a woman already at an age at which subsequent generations would see in her only a child.

The 23-year-old poet Zhukovsky fell in love with Masha Protasova when she was 12. The hero of Woe from Wit Chatsky fell in love with Sophia when she was 12-14 years old.

**

In Russian literature, there is only one heroine who, out of the love of readers, approaches Tatyana Larina. Natasha from "War and Peace" by Leo Tolstoy.

Also a noblewoman. We first meet the girl on her name day. In love with officer Drubetskoy, she caught Boris in a secluded place and kissed him on the lips. Embarrassed, Boris also confessed his love to the girl, but asked not to kiss again for 4 years. "Then I will ask for your hand."

Natasha began to count on thin fingers: "Thirteen, fourteen, fifteen, sixteen." She was 13.
The situation is exactly the same as in "Eugene Onegin". But she is not controversial. Meanwhile, her father, Count Rostov, recalls in small talk that their mothers got married at 12-13 years old. "

In the novel "Eugene Onegin", along with the central character - Onegin - two more characters are brightly highlighted - Lensky and Tatyana. The author speaks of them with obvious sympathy, lovingly talks about their destinies, devotes many lyrical digressions to them. Relations with these heroes are the most important events in Onegin's life (at least from those included in the plot of the novel); in addition, these characters are extremely significant for understanding the image of the author: he connects one of the periods of his life with Lensky, Tatyana appears as an ideal that invariably accompanies the author.

Both heroes - Lensky and Tatyana - are introduced into the plot of the novel in the second chapter, which describes the beginning of Onegin's life in the village. This emphasizes their belonging to the world of local nobles and indicates their opposition to Onegin, a metropolitan resident. Onegin - a representative of the St. Petersburg "golden youth", accustomed to secular life; Tatyana and Lensky are landowners brought up "in the wilderness", in a narrow circle of neighbors (even for Lensky, who studied at a university in Germany, life is obviously limited to the village). Onegin is bored "among the fashionable and ancient halls", suffers from spleen; Lensky and Tatyana did not lose their ardor of feelings and did not experience disappointment in the world. But Onegin is able to look at life soberly, coldly and mockingly, he knows the true value of the people and circumstances around him, and Lensky and Tatyana have a poor idea of ​​​​reality, they live more in an imaginary life, transferring book situations to reality.

Lensky and Tatyana evoke a similar attitude in Onegin: he looks down on them, smiling at the immaturity of his young acquaintances ("Let's forgive the fever of youth // Both youthful fever and youthful delirium," he thinks of Lensky. "Inexperience leads to trouble," he warns Tatiana). However, despite a slightly mocking and condescending attitude towards them, Onegin can understand and truly appreciate them.

The attitude of the author to Lensky and to Tatyana is also similar. Both characters are definitely loved. However, the intonation with which the author writes about them changes throughout the novel, and changes in a similar way. At first, it combines sympathy and irony. The author mockingly imitates Lensky's speech, designating his tastes with a list of poetic clichés:

He sang separation and sadness,
And something, and foggy distance,
And romantic roses;
He sang those distant countries
Where long in the bosom of silence
His living tears flowed;
He sang the faded color of life
Nearly eighteen years old, -

And with a smile, she copies the language of the novels that Tatyana reads: "You are in the hands of a fashionable tyrant // You have already given up your fate", "You are in dazzling hope // Calling dark bliss, // You recognize the bliss of life, // You drink the magical poison of desires "," Everywhere, everywhere in front of you // Your fatal tempter"; even the date of Tatyana and Onegin is described by the author in this language: "Glittering with his eyes, Evgeny / Stands like a formidable shadow."

However, in the second half of the novel, the intonation becomes more serious, losing its lightness and mockery. Killed in a duel, Lensky is lamented by the author without a shadow of irony; Literary clichés that used to cause only a smile are filled with a new, tragically poignant meaning: "The young singer // Found an untimely end! // The storm has died, the color is beautiful // Withered at the dawn, // The fire on the altar went out." The author speaks of Tatyana more and more seriously and admiringly: at the end of the novel, she is called "a sweet ideal."

I must say that both characters are surprisingly significant in the novel: their role is not limited to participation in its plot. Threads are stretched from them for the eventual fabric of the novel: the image of the poet Lensky inevitably draws out the image of another poet - the author (on the one hand, opposed to Lensky, and on the other hand, close and somewhat native to him). And behind the image of Tatyana, "she whom the author does not dare to disturb with a lyre" is vaguely distinguished.

Thus, the role of Tatyana and the role of Lensky in the figurative system of the novel are similar. It seems that the relationship between the author and the central character is being built towards them. However, this is where their similarities end. Deep differences between them are already manifested in their interaction with the environment. Both of them are born of the local nobility, but they treat it differently: for Lensky this connection is not obvious, the neighbors-landlords seem to him an idyllic "home circle", a haven for the wanderer, which he imagines himself to be. Tatyana, on the other hand, realizes that she is a child of this environment (in a letter to Onegin, she combines herself, her relatives and neighbors with the pronoun "we"). She inherited from her cordiality and simplicity (“And we ... we don’t shine with anything, / Although you are ingenuously welcome,” she writes to Onegin), however, she feels her loneliness and dissimilarity with this environment and bitterly complains: “I here alone // no one understands me"; she suffers and hates her circle (in her dreams, the landlord neighbors even appear to her as monsters).

A very important characteristic of the hero for Pushkin is his attitude to nature. Lensky sees nature only as a list of abstract concepts ("he fell in love with dense groves, // Solitude, silence, // And the night, and the stars, and the moon"). For Tatyana, nature is a beloved friend, a necessary interlocutor: before leaving the village, she, "as with old friends, / With her groves, meadows / Still in a hurry to talk." Tatiana also has a constant companion in nature - the moon, under which all important events for Tatiana take place. It is the moon that she sees in the mirror, going out to guess, she notices it, talking with the nanny about her love; "Looking at the moon", Tatyana conceives a letter to Onegin, in the "lunar twilight" she visits his estate. Finally, it is compared with the moon in Chapter VII of the novel.

For Lensky, the moon is only "a heavenly lamp, / To which we dedicated / / Walks in the evening darkness, / And tears, secret torments of joy ..."

Another important feature of the heroes, which turns out to be fateful for them, is their attitude to reality. Lensky refuses to see her, believing that somewhere else there is a better life. He dies at the first meeting with real life: feeling the collapse of his ideas about it (it turned out to be untrue that "friends are ready // For his honor to accept fetters // And that their hand will not tremble // Break the vessel of the slanderer"), Lensky sees the only possible the way out of this situation - the way out, gleaned from books - is a duel, where he must either die for his honor, or kill the "corruptor".

For Tatyana, there are no such unambiguous and indisputable decisions, she is constantly tormented by doubts and searches. And she is able to correctly understand her love for Onegin and not expect a book development of events. She can rethink, reconsider her attitude towards him: if at first he can appear for her only in two faces ("guardian angel" or "insidious tempter"), then later she rejects this possibility of an unambiguous assessment, tries to understand Onegin better, is tormented by the question : "Isn't he a parody?" - and finally changes roles with him at the end of the novel.

It is only in connection with Tatyana that the problem of morality, fidelity and duty is introduced into the novel. The heroine is able to overcome her feelings, no matter how strong it may be, so as not to break the oath of allegiance. Such torments of a strong nature are unfamiliar to Lensky. It is noteworthy that the author calls Lensky's main quality his "directly Göttingen soul", while Tatyana is called the "Russian soul". Obviously, Pushkin connects moral quest, the constant evolution of man precisely with Russian nature. And Lensky, because of his unwillingness to know life, who died in the first collision with it, forever remaining unchanged, a static character, is perceived as something alien to the Russian character.

So, Tatyana turns out to be much more complicated and deeper than Lensky: she is constantly trying to understand real life, not replacing it with her own ideas about her, as Lensky does; she is able to make much more difficult decisions than he; finally, it is in constant change, moral evolution, while Lensky, who never knew life, forever stops in his development, "freezes." It is with Tatyana that the most important themes and problems of the novel are associated, it is she who appears as the bearer of Russian in this novel - "an encyclopedia of Russian life." However, it is noteworthy that at the end of the novel, the image of Lensky resurfaces (it is no coincidence that these lines are written in his language):

Blessed is he who celebrates life early
Left without drinking to the bottom
Glasses of full wine
Who hasn't read her novel...

The author looks at his hero in a new way, once again evaluates him (like Tatyana - Onegin), arguing that there is a certain rightness in Lensky's position and that it is impossible to give an unambiguous assessment of such a nature as Lensky, and recognize any one point as true view, one look at life.

Note: the work was written in class for four hours.