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Pushkin "Eugene Onegin"). Tatyana Larina is a beautiful image of a Russian woman (based on the novel by A.S.

In the images of Olga and Tatyana, A. S. Pushkin embodied the two most common types of female national characters. The poet artistically expressively emphasizes the dissimilarity, difference of the Larin sisters, by no means, however, opposing them to each other: they are not antipodes at all, just completely different psychological types. Faithful to the truth of life, A. S. Pushkin, describing Tatyana’s perception of her sister’s departure with her husband, testifies that his beloved heroine, despite seemingly complete absorption in the thought of her love troubles, mental chaos, very painfully endures parting with Olga (“ ... her sad face was covered with deathly pallor”, “... and her heart is torn in half”):

And here is one, one Tatyana!

Alas! friend for so many years

Her little dove

Her confidante is dear,

Carried away by fate

Separated from her forever.

The commonality of childhood impressions, fun, growing up, girlish dreams connect them more strongly than spiritual dissimilarity, difference and spiritual receptivity separates them.

Eyes like blue skies

Smile, linen curls,

Just as impeccable, conflict-free, cozy and her inner world- the world is harmonious within the limits perceived by the senses and not striving beyond these limits:

Always humble, always obedient,

Always as cheerful as the morning

How simple is the life of a poet,

Like a kiss of love sweet...

This perfect image, as if descended from a calendar or a colorful poster, a living illustration of parental ideas about an ideal, well-behaved, obedient child (“It is full of innocent charm, in the eyes of parents, it bloomed like a hidden lily of the valley ...”) seems too saturated with virtues and virtues, cloyingly sweet to believe in the sincerity of the author's admiration. The abundance of common and colorful epithets and comparisons is alarming with hidden irony and a catch. And the poet confirms the attentive reader's assumption:

But any novel

Take and find, right

Her portrait: he is very sweet,

I used to love him myself

But he bored me to no end.

A. S. Pushkin pays tribute to the classical correctness of the features and the infantile serenity of the heroine’s soul, but he has already spiritually outgrown the youthful passion for such images, often found in the poet’s love lyrics. Therefore, although the author is rather lenient towards Olga, however, mercilessly critical eye Onegin to a certain extent expresses the objective attitude of the poet:

Olga has no life in features.

Exactly the same in the Vandykova Madona:

She is round, red-faced,

Like that stupid moon

In this stupid sky.

Onegin immediately singled out Tatyana from the two sisters, appreciating the originality, spirituality of her appearance, complexity and tension mental life heroines. Pushkin initially emphasizes the dissimilarity of the sisters both externally and internally:

So, she was called Tatyana.

nor beauty his sister,

Nor the freshness of her ruddy

She did not attract 6 eyes.

Dika, sad, silent,

Like a forest doe is timid,

She is in her family

Seemed like a stranger girl.

The author conveys the appearance of his beloved heroine indirectly, in comparison with the appearance of Olga, thus expressing the secondary nature of the physical in relation to the spiritual, emphasizing that only the illumination of the face with spiritual fire makes it beautiful. Tatyana loves and feels great nature, she lives simply and naturally, in complete harmony with sunrises and sunsets, with the cold beauty of winter and the magnificent decoration of autumn. Nature feeds her spiritual world, contributes to solitary dreaminess, focus on the movements of one's soul, simplicity and naturalness of behavior. She prefers the fun and entertainment of her peers “ scary stories in winter in the darkness of nights”, colorful, full of deep, mysterious meaning folk songs and rites.

Tatyana read with enthusiasm sentimental novels, sincerely empathizing with their heroes, admiring the high intensity of their feelings. And when the time came to fall in love, the fire of her love flared up with a bright, unquenchable flame: it was nourished by the romantic feelings of her beloved characters, and the unquenchable heat of a lonely soul striving for high communication, and the integrity and depth of this original, organic nature, cherished by the mysterious romantic images of oral folk art. How sincerely, directly Tatyana expresses the confusion of her soul, the depth of feelings, how naturally she conveys embarrassment and shame, hope and despair in a letter to Onegin:

Why did you visit us?

In the wilderness of a forgotten village

I would never know you

I would not have known the bitter torment ...

Another! .. No, no one in the world

I wouldn't give my heart!

It is in the highest predestined council ...

That is the will of heaven: I am yours ...

I'm waiting for you: with a single look

Revive the hopes of the heart

Or break a heavy dream,

Alas, a well-deserved reproach!

And Tatyana turned out to be true to her first and only love (“And in the cruel loneliness stronger passion her heart burns, and her heart speaks louder about Onegin far away ...”), in contrast to Olga, who very soon consoled herself in marriage (“My poor Lensky! languishing, she did not cry for a long time, Alas! The young bride is not faithful to her sadness”) . True, fate decreed that Tatyana became the wife of another, but this is not her fault. A young woman rejects Onegin's love because of loyalty to the foundations of folk morality absorbed from childhood, unwillingness to destroy the life of a person who loves her. This is her life drama.

Resolutely, with dignity, Tatyana rejects Onegin’s belated recognition, arguing that virtue, honor, a sense of duty, moral duties are more precious than love:

I got married. You must,

I ask you to leave me;

I know that there is in your heart

And pride and direct honor.

I love you (why lie?),

But I am given to another;

I will be faithful to him forever.

A. S. Pushkin in “Eugene Onegin” drew us two dissimilar, but undoubtedly familiar to us in life female characters. Of course, the character of Olga is more common, but with the image of Tatyana, perhaps not so bright in certain manifestations, we will definitely come across life path.

Very figuratively and clearly defined the similarities and differences between the two female characters in the novel by I. A. Goncharov: “... a positive character - Pushkin's Olga - and an ideal one - his own Tatyana. One is undoubtedly the passive expression of an era, a type cast like wax into a finished, dominant form.

The other - with the instincts of self-consciousness, originality, self-activity. That is why the first is clear, open, understandable at once...

The other, on the contrary, is original, looking for its own expression and form, and therefore it seems capricious, mysterious, and elusive.

In the novel "Eugene Onegin" by A. S. Pushkin, two female images are most fully represented - Tatyana and Olga Larin, which correspond to two female types.

Tatiana - eldest daughter provincial nobleman - from childhood she was distinguished by dreaminess, seriousness, isolation and a penchant for reflection. She was never interested in children's pranks and fun, dolls, playing with burners, talking about fashion, and "terrible stories in winter in the darkness of nights captivated her heart more." Growing up in the bosom of nature and in harmony with it, the girl “loved to warn the sunrise on the balcony”, loved to listen to singing

village girls, believed in divination at Christmas.

Tatyana cannot be called a beauty:

Nor the beauty of his sister,

Nor the freshness of her ruddy

She would not attract eyes.

Dika, sad, silent,

Like a forest doe is timid,

She is in her family

Seemed like a stranger girl. But there was something in her that could not be overlooked, and even more so not appreciated: intelligence and spiritual wealth, which illuminated the appearance of the girl; she felt a person, painfully and tirelessly looking for her place in life.

Tatyana's father, who considered books an "empty toy", whom the author ironically calls "a kind fellow belated in the past century," was never interested in reading his daughter and "did not care about what kind of daughter's secret volume dozed under her pillow until morning." And, left to herself, Tatyana early became interested in novels, the characters of which captivated the girl's heart, made him beat harder. The young people whom Tatyana often saw in her house did not look like romantic heroes: most of all they were interested in everyday life, and in a woman they appreciated external beauty. And therefore Onegin, who first visited his neighbors on the estate, found that Tatiana was "sad and silent, like Svetlana." But already on the evening of meeting Onegin, thanks to the insight of her nature, she understood and never again doubted that he was handsome, smart, so different from others, detached from the hustle and bustle - he is her hero. The heart, frozen from expectations, melted - Tatyana fell in love.

Love reveals new traits of Tatyana to us: nobility, fidelity, constancy, openness, tenderness... Not accustomed to flirting and flirting, choking with love and burning with shame, Tatyana opens up in a letter to Onegin. The depth of the girl's feelings is amazingly touchingly conveyed by the poet, her confidence in the strength of her feelings is impressive:

Another!.. No, I would not give my heart to anyone in the world!

That in the highest council is destined ... That is the will of heaven: I am yours; My whole life has been a guarantee of a faithful date with you; I know you were sent to me by God, Until the grave you are my keeper... After the explanation, when main character refused Tatyana, according to him, for her own good, the girl found the strength not to lose her dignity, she did not cry, she did not beg to return love, she did not let the desperate cry of her heart escape. But the words spoken in the letter: “No, I would not give my heart to anyone in the world!” Tatyana remained faithful. We are convinced of this when the heroine says to Onegin on the last date: "I love you (why be cunning?)".

Tatyana's whole nature could not be changed either by her high position in society or by the wealth of the prince. social life, to which many aspired so much, she calls "the hateful life of tinsel" and admits that she is ready to give

All this rags of a masquerade, All this brilliance, and noise, and fumes For a shelf of books, for a wild garden, For our poor dwelling... Tatiana, who has absorbed the foundations of folk morality since childhood, is not able to betray a person who believes in her and loves her. Duty, honor, virtue for her are higher than personal happiness. “But I am given to another; I will be faithful to him for a century, ”was her answer to Onegin.

The complete opposite of Tatyana is her younger sister. Olga is a written beauty, with all the traditional attributes:

Eyes like the sky, blue, Smile, linen curls, Movement, voice, light body... Olga's inner world is cozy and conflict-free: she is "always modest, always obedient, always as cheerful as the morning, Like the life of a poet is simple-minded...". It seems that she is perfection, it is impossible not to fall in love with her. Speaking about the portrait of Olga, Pushkin admits that "before he loved him", but immediately adds: "But he bored me immensely."

who, having barely recognized Olga, immediately noted her main drawback:

Olga has no life in features. Exactly the same in the Vandykova Madona; She is round, red in the face, Like this stupid moon In this stupid sky. Olga is spiritually poor. There is no harmony between the exterior and the inner world. Her attractiveness is not illuminated by the light of the soul. Olga has no principles; due to her spiritual limitations, she is not capable of strong feelings like her sister, who once fell in love, remained true to her love. After the death of Lensky, Olga did not cry for a long time, she was sad, she soon became interested in another young man, a lancer:

And now with him before the altar She shyly under the crown Stands with bowed head, With fire in her downcast eyes, With a light smile on her lips, IF Tatyana Larina embodied Pushkin's ideal female beauty: smart, meek, noble, spiritually rich nature, then in the image of Olga he showed a different type of women, which is quite common: beautiful, carefree, flirtatious, but spiritually limited and not capable of strong, deep feelings.

Women's images in the novel "Eugene Onegin"

Alexander Sergeevich Pushkin is the greatest Russian realist poet. His the best work, in which “... all life, all soul, all his love; his feelings, concepts, ideals”, is “Eugene Onegin”.

Pushkin sets the task of giving a real image of life young man secular society. The novel reflects last years the reign of Alexander 1 and the first years of the reign of Nicholas 1, that is, the time of the rise of the social movement after Patriotic War 1812, At this time, a significant part of the educated youth was characterized by the inability and inability to find their own way in life.

The novel is based on the love story of Eugene Onegin and Tatyana Larina. The image of Tatyana main character novel is the most perfect among the rest of the female characters. At the same time, Tatyana is Pushkin's favorite heroine, his "dear ideal" ("... I love my dear Tatyana so much").

In the image of Tatyana Pushkin put all those features of a Russian girl, the totality of which represents a perfect ideal for the author. These are the special character traits that make Tatiana truly Russian. The formation of these traits in Tatyana takes place on the basis of "traditions of the common folk antiquity", beliefs, legends. A noticeable influence on her character has a passion for romance novels.

The predominance of such moods in Tatyana is evidenced by her reaction to the appearance of Onegin in their house, whom she immediately makes the subject of her romantic dreams. Tatyana sees in him a combination of all those qualities of a hero that she read about in novels. Tatyana surrenders to her feeling completely and completely. The depth of Tatyana's feelings is evidenced by her letter to Onegin. In it, Tatyana, acting against all the rules of decency, opens her soul and completely gives herself “into the hands” of Onegin, relying on his honor and nobility (“But your honor is my guarantee ...”). Tatyana's deep feelings are manifested at the moment Onegin arrives at the Larin estate after receiving a letter. A whole storm of conflicting feelings, hopes and desires rises in her soul, which she is unable to suppress. Tatyana accepts Onegin's rebuff without objection, but her feelings not only do not go away, but flare up even more.

Thanks to constant communication with her nanny Filippovna, she knows a large number of ancient folk beliefs, accepts, in which she unconditionally believed:

Tatyana believed the legends

common folk antiquity,

And dreams, and card fortune-telling,

And the predictions of the moon.

She was troubled by omens;

Mysteriously to her all objects

They proclaimed something.

Therefore, in order to know your further fate, Tatyana resorts to divination. As a result, she has a dream that partially determines further development events.

After Lensky's death and Onegin's departure, Tatyana begins to visit Onegin's house frequently. There she, studying the environment in which Onegin lived, his circle of interests, comes to the conclusion that Onegin is only a "poetic ghost", a parody.

Then Tatyana goes to Moscow, where her aunts take her to balls and evenings in search of a good groom. The atmosphere of Moscow living rooms, the order and secular society that reigns in them - all this inspires Tatyana only disgust and boredom. Brought up in the village, her soul strives for nature:

To the village, to the poor villagers, To a secluded corner, Where a bright stream flows...

Tatyana gets a military, wealthy general as her husband and becomes a secular lady. In this position, Onegin finds her, returning a few years later from travels. Now that Tatyana has reached the same level of social status as him, love and passion awaken in him. Further, the story of Onegin's love for Tatyana acquires mirror reflection Tatiana's love stories for him.

Having become a secular lady, Tatyana gradually changes in accordance with the society in which she has to constantly be. She becomes an "indifferent princess", an "impregnable goddess". In response to Onegin's confessions, Tatyana, although she loves him, gives a direct and unconditional answer:

But I am given to another, I will be faithful to him for a century.

These words contain all the strength of Tatyana's character, her essence. Despite strong love to Onegin, she cannot break the vow she made to her husband before God, she cannot compromise her moral principles.

The complete opposite of Tatyana is her sister Olga. Her cheerful disposition, simplicity, calm, carefree character were, according to the author himself, an integral part of the image of the heroine of any novel of that time.

Onegin, as a true connoisseur female soul, gives Olga an unflattering description:

Olga has no life in features,

Just like the Van Dyck Madonna:

She is round, red-faced;

Like that stupid moon

In this stupid sky.

Olga's carefree disposition is also evidenced by her attitude towards love. She does not seem to notice the fullness and depth of feelings of Lensky, who is ready to do anything for her. It is because of her that he fights a duel with Onegin and dies. The duel is due to Olga's frivolous and dismissive attitude towards Lensky at the ball. She has fun and dances with Onegin, not noticing how much pain she causes Lensky with her behavior. At their last meeting, Lensky is embarrassed and confused in front of the “gentle simplicity” and naivety with which Olga appears before him: Like a windy hope, Rezva, carefree, cheerful, Well, exactly the same as she was. Olga. In his heart, he dreams of Olga's loyalty and devotion to him, but he is greatly mistaken in Olga's feelings: "... she did not cry for a long time," and very quickly the image of a person who loved her boundlessly and selflessly was erased from her memory, and a visitor took his place a young lancer, with whom Olga connected her future life. The life story of the mother of Olga and Tatyana Larin is a sad story about the fate of a young girl from a secular society. She, without any consent on her part, is given in marriage to the local nobleman Dmitry Larin and sent to the village. At first, it was quite difficult for her to get used to the atmosphere of village life. But over time, she got used to it and became an exemplary lady from the circle local nobility. Her former hobbies and habits were replaced by everyday chores and household chores: She went to work, Salted mushrooms for the winter, Conducted expenses, shaved her foreheads, Went to the bathhouse on Saturdays Beat the maids, getting angry, The image of the nanny Filippyevna is the personification of the Russian serf. From her dialogue with Tatyana, we learn about the plight of the Russian people, who are under the yoke of serfdom. By her example, Filippyevna shows the complete lack of rights of the peasants, difficult relationships in families, but at the same time she is the keeper of common folk legends - "old stories, fables", and therefore Filipyevna played a big role in shaping Tatyana's character traits. So, A. S. Pushkin in the novel "Eugene Onegin" he created a whole gallery of female images, each of which is typical and individual, embodying some kind of character trait. But the most perfect among all the female images in "Eugene Onegin" is the image of Tatyana, in which Pushkin displayed all the features of the Istrian-Russian woman.

In the novel "Eugene Onegin" by A. S. Pushkin, two female images are most fully represented - Tatyana and Olga Larin, which correspond to two female types.

Tatyana - the eldest daughter of a provincial nobleman - from childhood was distinguished by dreaminess, seriousness, isolation and a penchant for reflection. She was never interested in children's pranks and fun, dolls, playing with burners, talking about fashion, and "terrible stories in winter in the darkness of nights captivated her heart more." Growing up in the bosom of nature and in harmony with it, the girl “loved to warn the sunrise on the balcony”, loved to listen to singing

village girls, believed in divination at Christmas.

Tatyana cannot be called a beauty:

Nor the beauty of his sister,

Nor the freshness of her ruddy

She would not attract eyes.

Dika, sad, silent,

Like a forest doe is timid,

She is in her family

Tatyana's father, who considered books an "empty toy", whom the author ironically calls "a kind fellow belated in the past century," was never interested in reading his daughter and "did not care about what kind of daughter's secret volume dozed under her pillow until morning." And, left to herself, Tatyana early became interested in novels, the characters of which captivated the girl's heart, made him beat harder. The young people whom Tatyana often saw in her house did not look like romantic heroes: they were most interested in everyday life, and in a woman they appreciated external beauty. And therefore Onegin, who first visited his neighbors on the estate, found that Tatiana was "sad and silent, like Svetlana." But already on the evening of meeting Onegin, thanks to the insight of her nature, she understood and never again doubted that he was handsome, smart, so different from others, detached from the hustle and bustle - he is her hero. The heart, frozen from expectations, melted - Tatyana fell in love.

Another!.. No, I would not give my heart to anyone in the world!

That in the highest council is destined ... That is the will of heaven: I am yours; My whole life has been a guarantee of a faithful date with you; I know you were sent to me by God, Until the grave you are my keeper... respond to love, did not let the desperate cry of the heart escape. But the words spoken in the letter: “No, I would not give my heart to anyone in the world!” Tatyana remained faithful. We are convinced of this when the heroine says to Onegin on the last date: "I love you (why be cunning?)".

Tatyana's whole nature could not be changed either by her high position in society or by the wealth of the prince. She calls the secular life, to which many aspired so much, “the hateful life of tinsel” and admits that she is ready to give

The complete opposite of Tatyana is her younger sister. Olga is a written beauty, with all the traditional attributes:

who, having barely recognized Olga, immediately noted her main drawback:

Olga has no life in features. Exactly the same in the Vandykova Madona; She is round, red in the face, Like this stupid moon In this stupid sky. Olga is spiritually poor. There is no harmony between the exterior and the inner world. Her attractiveness is not illuminated by the light of the soul. Olga has no principles; due to her spiritual limitations, she is not capable of strong feelings, like her sister, who, having once fallen in love, remained true to her love. After the death of Lensky, Olga did not cry for a long time, she was sad, she soon became interested in another young man, a lancer:

And now with him in front of the altar She shyly stands under the crown with her head bowed, With fire in her downcast eyes, With a light smile on her lips, IF Tatiana Larina embodied Pushkin's ideal of female beauty: smart, meek, noble, spiritually rich nature, - then in the image of Olga, he showed a different type of women, which is quite common: beautiful, carefree, coquettish, but spiritually limited and incapable of strong, deep feelings.

Female images in the novel by A. S. Pushkin "Eugene Onegin"

And here is one, one Tatyana!

Alas! friend for so many years

Her little dove

Her confidante is dear,

Carried away by fate

Separated from her forever.

The commonality of childhood impressions, fun, growing up, girlish dreams connect them more strongly than spiritual dissimilarity, difference and spiritual receptivity separates them.

Eyes like blue skies

Smile, linen curls,

Equally flawless, conflict-free, cozy and her inner world is a harmonious world within the limits perceived by the senses and not striving beyond these limits:

Always humble, always obedient,

Always as cheerful as the morning

How simple is the life of a poet,

Like a kiss of love sweet...

But any novel

Take and find, right

Her portrait: he is very sweet,

I used to love him myself

But he bored me to no end.

A. S. Pushkin pays tribute to the classical correctness of the features and the infantile serenity of the heroine’s soul, but he has already spiritually outgrown the youthful passion for such images, often found in the poet’s love lyrics. Therefore, although the author is rather condescending towards Olga, Onegin’s mercilessly critical look to a certain extent also expresses the poet’s objective attitude:

Olga has no life in features.

Exactly the same in the Vandykova Madona:

She is round, red-faced,

Like that stupid moon

In this stupid sky.

Onegin immediately singled out Tatyana from the two sisters, appreciating the originality, spirituality of her appearance, the complexity and intensity of the heroine's spiritual life. Pushkin initially emphasizes the dissimilarity of the sisters both externally and internally:

So, she was called Tatyana.

Nor the beauty of his sister,

Nor the freshness of her ruddy

She did not attract 6 eyes.

Dika, sad, silent,

Like a forest doe is timid,

She is in her family

Seemed like a stranger girl.

The author conveys the appearance of his beloved heroine indirectly, in comparison with the appearance of Olga, thus expressing the secondary nature of the physical in relation to the spiritual, emphasizing that only the illumination of the face with spiritual fire makes it beautiful. Tatyana loves and has a great feeling for nature, she lives simply and naturally, in complete harmony with sunrises and sunsets, with the cold beauty of winter and the magnificent decoration of autumn. Nature nourishes her spiritual world, promotes solitary dreaminess, focus on the movements of her soul, simplicity and naturalness of behavior. She prefers “terrible stories in winter in the darkness of nights”, colorful folk songs and rituals full of deep, mysterious meaning to fun and entertainment of her peers.

Tatyana enthusiastically read sentimental novels, sincerely empathizing with their heroes, admiring the high intensity of their feelings. And when the time came to fall in love, the fire of her love flared up with a bright, unquenchable flame: it was fed by the romantic feelings of her beloved characters, and the unquenchable heat of a lonely soul striving for high communication, and the integrity and depth of this original, organic nature, cherished by the mysterious romantic images of oral folk creativity. How sincerely, directly Tatyana expresses the confusion of her soul, the depth of feelings, how naturally she conveys embarrassment and shame, hope and despair in a letter to Onegin:

Why did you visit us?

In the wilderness of a forgotten village

I would never know you

I would not have known the bitter torment ...

Another! .. No, no one in the world

I wouldn't give my heart!

It is in the highest predestined council ...

That is the will of heaven: I am yours ...

I'm waiting for you: with a single look

Revive the hopes of the heart

Or break a heavy dream,

Alas, a well-deserved reproach!

And Tatyana turned out to be true to her first and only love (“And in cruel loneliness her passion burns more strongly, and her heart speaks louder about Onegin far away ...”), in contrast to Olga, who very soon consoled herself in marriage (“My poor Lensky! languishing, she did not cry for a long time, Alas! The young bride is not faithful to her sadness. True, fate decreed that Tatyana became the wife of another, but this is not her fault. A young woman rejects Onegin's love because of loyalty to the foundations of folk morality absorbed from childhood, unwillingness to destroy the life of a person who loves her. This is her life drama.

Resolutely, with dignity, Tatyana rejects Onegin’s belated recognition, arguing that virtue, honor, a sense of duty, moral duties are more precious than love:

I got married. You must,

I ask you to leave me;

I know that there is in your heart

And pride and direct honor.

I love you (why lie?),

But I am given to another;

I will be faithful to him forever.

Very figuratively and clearly defined the similarities and differences between the two female characters in the novel, I. A. Goncharov: “... the positive character is Pushkin's Olga - and the ideal character is his own Tatyana. One is undoubtedly the passive expression of an era, a type cast like wax into a finished, dominant form.

The other - with the instincts of self-consciousness, originality, self-activity. That is why the first is clear, open, understandable at once...

The other, on the contrary, is original, looking for its own expression and form, and therefore it seems capricious, mysterious, and elusive.

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