Analyze the attitude of the author to Tatyana. The best student essays

Giving a description of the novel, V. G. Belinsky noted that “the soul of the poet was embodied in „“. The image is all the more significant in the novel because it expresses the lofty ideals of Pushkin himself. Starting from chapter III, Tatyana, along with Onegin, becomes the main character in the events.

The author tells about her childhood, about the nature surrounding her, about her upbringing. Her life in the countryside, in Moscow and St. Petersburg, a letter to Onegin, a "wonderful dream", dreams and deeds - all attract the attention of the author. Tatyana grew up and was brought up in the village. The atmosphere of Russian customs and folk traditions was a fertile ground on which the love of a noble girl for the people grew and strengthened.

She is very close to her nanny, who reminds us a lot of Pushkin's nanny, Arina Rodionovna. “Russian soul”, according to the poet, Tatyana loves “the darkness of Epiphany evenings”, believes in “traditions of the common folk antiquity, and dreams, and card fortune-telling, and predictions of the moon.” Tatyana thinks about the "settlers", helps the poor. All this attracts the author himself in Tatyana. The dreamy and impressionable girl is fascinated by the novels of Richardson and Rousseau. Reading books awakens Tatyana's thoughts, books open up an unfamiliar and rich world for her, develop her imagination. She differed from the local young ladies in the depth of her thoughts and feelings, and therefore was alien to them. “I am alone here, no one understands me,” she writes to Onegin. But, despite her passion for foreign literature, Tatyana, unlike Onegin and Lensky, was always connected with everything Russian, native. There is no affectation, sly coquetry, sentimental sensuality of the heroines of books in it. She is full of sincerity and purity in her feelings. She is attracted by the eccentricity of Eugene. All the heroes of the novels they read “clothed themselves in a single image, Merged into one Eugene.” She shows courage, breaking the traditional rules for girls, and is the first to declare her love in a letter to Onegin:

My whole life has been a pledge
Faithful goodbye to you.

Onegin rejected the love of a "village girl". But Tatyana continues to love him. She visits Onegin's house, reads books, notes in them, trying to understand him.

Three years later they met. She rotates in high society, the wife of an honored man. But Tatyana remains the same girl, dear to the author's heart. Contempt for the vulgarity of the world, for the luxury of the surrounding life, for the pettiness of interests are heard in her words:

Now I'm happy to give
All this rags of masquerade
All this brilliance, and noise, and fumes
For a shelf of books, for a wild garden,
For our poor home.

It is her judgments about mental squalor, the limited interests of the noble society that completely coincide with the author's assessments. Pushkin looks at noble Moscow through the eyes of Tatyana, shares her opinion about the "emptiness" of the world, "where no change is visible" and "everything is on the old model."

In the scene of the last meeting with Onegin, her high spiritual qualities are revealed: moral impeccability, truthfulness, fidelity to duty, determination. Yes, she still loves Onegin, but her whole nature, brought up on the traditions of folk morality, does not allow her to build her happiness on the grief of another person. In her struggle of feelings and duty, duty wins:

But I'm given to someone else
I will be faithful to him forever.

The fate of Tatyana is no less tragic than the fate of Onegin. But her tragedy is different. Life has broken, distorted Onegin's character, turned him into "smart uselessness", according to Herzen's definition. Tatyana's character has not changed, although life has brought her nothing but suffering.

In lyrical digressions, Pushkin admits that Tatyana is his ideal of a Russian woman, that in her he expressed his attitude to secular and rural life. In it, according to the poet, the best qualities of the Russian character are harmoniously combined.

Where the whole novel is simply permeated with the theme of love. This topic is close to everyone, so the work is read with ease and pleasure. Pushkin's work introduces such heroes as Eugene Onegin and Tatyana Larina. It is their love story that is shown to readers and we are happy to follow these complex relationships. But today let's not talk about the love of heroes, but give a brief description of this wonderful girl, the main character, whom the author called Tatyana.

Tatyana Larina is a sweet, kind girl from the provinces, who, although she grew up in a rather spacious estate, did not become arrogant and did not have a feeling of complacency. Tatyana is very attached to the nanny, the very woman who told different stories and fairy tales.

To give a complete description of Tatyana, let's turn to those quotes that are used in the novel. They will reveal to us the image of a girl who was in love with Onegin.

Tatyana Larina characterization of the hero with quotes

So, Tanya is a little wild, more often sad and silent than cheerful. She tries to be away from the society of people, is closed and prefers to remain alone. Tatyana likes to be in nature in the forest, where she likes to talk with trees, as with friends. If we continue to talk about Larina and characterize her image, then it is worth saying that Tatyana is a girl with a truly Russian nature. She has a Russian soul, she loves the Russian winter, although at the same time, like many members of the nobility, Tatyana does not know Russian well, but speaks French well. She believes in divination and legends, she is disturbed by signs.

As a child, the girl does not play, like other children, with dolls and games, but she is well-read, educated and smart. At the same time, she really likes to read romance novels, where the characters comprehend fiery love. That's just such a hero from her novel Tatyana saw in Onegin. The girl falls in love with Eugene and even decides to write a letter. But here we do not see frivolity in the act, on the contrary, we see the simplicity of her soul and the courage of the girl.

As we have said, this is a nice girl. The author does not give her the image of a beauty in which her sister Olga is shown to us. Nevertheless, Tatyana, with her sincerity, kindness of soul, her qualities, is much more interesting than her sister. But Eugene immediately failed to appreciate Tatyana, injuring her with his refusal.

Time passes. Now we see Tatyana not as a timid girl, but as a married woman who no longer believes in fairy tales, knows how to behave in society, she holds herself majestically and inaccessibly. Here

called "Eugene Onegin" "an encyclopedia of Russian life", since it reflected the whole life of the Russian nobility of that era as in a mirror. The poet focuses on the life, way of life, morals, and deeds of the young man Eugene Onegin. Eugene Onegin is the first literary hero who opens a gallery of so-called "superfluous people". He is educated, intelligent, noble, honest, but secular life in St. Petersburg killed all his feelings, aspirations, desires. He "matured before the time", became a young old man. He is not interested in life. In this image, Pushkin showed the disease of the century - "spleen". Onegin is really seriously ill with the social disease of his time. Even a sincere feeling, love is not able to resurrect his soul.

Counterweight to the image of Onegin. For the first time in Russian literature, the female character is opposed to the male, moreover, the female character is stronger and more sublime than the male. Pushkin draws the image of Tatyana with great warmth, embodying in her the best features of a Russian woman. Pushkin in his novel wanted to show an ordinary Russian girl. The author emphasizes the absence of extraordinary, out of the ordinary traits in Tatyana. But the heroine is surprisingly poetic and attractive at the same time. It is no coincidence that Pushkin gives his heroine the common name Tatyana. By this he emphasizes the simplicity of the girl, her closeness to the people. Tatyana is brought up in a manor estate in the Larin family, faithful to the "habits of sweet old times", Tatyana's character is formed under the influence of a nanny, the prototype of which was the wonderful Arina Rodionovna. Tatyana grew up as a lonely, unkind girl. She did not like to play with her friends, she was immersed in her feelings and experiences. She tried early to understand the world around her, but she did not find answers to her questions from her elders. And then she turned to books that she believed undividedly: She liked novels early, They replaced everything for her: She fell in love with the deceptions of Both Rtardson and Rousseau. The surrounding life did little to satisfy her demanding soul. In books, she saw interesting people whom she dreamed of meeting in her life. Communicating with the yard girls and listening to the stories of the nanny, Tatyana gets acquainted with folk poetry, imbued with love for her. Proximity to the people, to nature develops in Tatyana her moral qualities: spiritual simplicity, sincerity, artlessness. Tatyana is smart, original, original. By nature, she is gifted: With a rebellious imagination, With a living mind and will, And with a wayward head, And with a fiery and tender heart. With her mind, the originality of nature, she stands out among the landlord environment and secular society. She understands the vulgarity, idleness, emptiness of life in rural society. She dreams of a man who would bring high content into her life, who would be like the heroes of her favorite novels. Onegin seemed to her like that - a secular young man who came from St. Petersburg, smart and noble. Tatyana, with all sincerity and simplicity, falls in love with Onegin: "... Everything is full of him; all the sweet virgin incessantly talks about him with magical power." She decides to write a love confession to Onegin. Yevgeny's sharp refusal is a complete surprise for a girl. Tatyana ceases to understand Onegin and his actions. Tatyana is in a hopeless situation: she cannot stop loving Onegin and at the same time is convinced that he is not worthy of her love. Onegin did not understand the full strength of her feelings, did not guess her nature, since he valued "freedom and peace" above all, was an egoist and selfish. Love brings Tatyana only suffering, her moral rules are firm and constant. In Petersburg, she becomes a princess; gains universal respect and admiration in the "high society". During this time, she changes a lot. "An indifferent princess, an impregnable goddess of the luxurious, regal Neva," Pushkin draws her in the last chapter. But still, she's adorable. Obviously, this charm was not in her external beauty, but in her spiritual nobility, simplicity, intelligence, richness of spiritual content. But in the "high society" she is lonely. And here she does not find what her lofty soul longed for. She expresses her attitude to secular life in the words addressed to Onegin, who returned to the capital after wandering around Russia: ... Now I am glad 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... In the scene of Tatyana's last meeting with Onegin, her spiritual qualities are even more deeply revealed: moral impeccability, fidelity to duty, determination, truthfulness. She rejects Onegin's love, remembering that at the heart of his feelings for her lies selfishness, selfishness. The main traits of Tatyana's character are a highly developed sense of duty, which takes precedence over other feelings, and spiritual nobility. This is what makes her soulful appearance so attractive.

Tatyana Larina opens a gallery of beautiful images of a Russian woman, morally impeccable, looking for deep content in life. The poet himself considered the image of Tatyana an "ideal" positive image of a Russian woman.

Pushkin worked on the novel "Eugene Onegin" for many years, it was his favorite work. Belinsky in his article "Eugene Onegin" called the work "an encyclopedia of Russian life." The novel was for the poet, in his words, "the fruit of the mind of cold observations and the heart of sad remarks." Among the many characters in the novel, Tatyana Larina, whom the author calls his "sweet ideal", is shown in the closest shot. In Russian literature, women are sung especially impressively. The beauty of a woman brightens the world, filling it with special spirituality. Pushkin distinguishes Tatyana from many representatives of the noble society only because she is higher than the environment in her development. The beauty of the surrounding nature, constant solitude, the habit of thinking independently, the natural mind formed Tatyana's inner world, to which, with all his mind, Onegin did not grow up. She was alone in her family. Pushkin writes: "Wild, sad, silent, like a doe in the forest, timid, she seemed like a stranger to her family." Having met Onegin, in whom she felt an unusual person, Tatyana fell in love with him. Larina's letter strikes with the power of feeling, the subtlety of the mind, it is full of modesty and beauty. Onegin did not see the main thing in Tatyana: Tatyana is one of those whole natures who can love only once. Onegin was touched by the letter, but nothing more. He says to Tatyana: "And no matter how much I love you, once I get used to it, I will stop loving you right away." The image of Tatiana throughout the novel increases in its significance. Once in the highest aristocratic society, Tatyana, deep down, remained the same Russian woman, ready to exchange the "rags of a masquerade" for rural solitude. She is tired of the unbearable nonsense that occupies a woman of her circle, she hates excitement. Tatyana's behavior and actions are contrasted with the fashionable arrogance of proudly indifferent ladies of high society and the cautious foresight of empty, provincial coquettes. Truthfulness and honesty are the main character traits of Tatyana. They appear in everything, and in the letter, and in the final scene of the explanation with Onegin, and in reflections alone with oneself. Tatyana belongs to those sublime natures who do not know the calculation in love. They give all the strength of their hearts, and therefore they are so beautiful and unique. In a society "where it is not surprising to shine with upbringing," Tatyana stands out for her knowledge and originality. Endowed with a "wayward head", Tatyana shows dissatisfaction with life in a noble environment. Both the county young lady and the princess, "the majestic legislator of the hall," she is weighed down by the pettiness and paucity of the interests of those around her. Pushkin writes, admiring her qualities: "Involuntarily, my dears, I am embarrassed by regret. Forgive me, I love Tatyana my dear so much." Tatyana is beautiful both externally and internally, she has a penetrating mind, because, having become a secular lady, she quickly assessed the aristocratic society in which she fell.

Her exalted soul demands an outlet. Pushkin writes: "She is stuffy here, she is dreaming of life in the field." She had the opportunity to drink the bitter cup of a young lady taken to the "fair of brides", having survived the collapse of her ideals. She had the opportunity in Moscow and St. Petersburg salons, at balls, to carefully observe people like Onegin, to better understand their originality and selfishness. Tatyana is that resolute Russian woman who could follow the Decembrists to Siberia. The thing is that Onegin is not a Decembrist. In the image of Tatyana Larina, Pushkin showed the manifestation of an independent female character, only in the field of personal, family, secular relations. Subsequently, many Russian writers - Turgenev, Chernyshevsky, Nekrasov in their works already raised the question of the rights of a Russian woman, the need for her to enter the wide arena of socio-political activity. Every writer has books where he shows his ideal of a woman. Tolstoy - this is Natasha Rostova, for Lermontov - Vera from "A Hero of Our Time", Pushkin - Tatyana Larina. In our modern reality, the image of "sweet femininity" has acquired a slightly different canvas, a woman is more businesslike, energetic, she has to solve many problems, but the essence of the soul of a Russian woman remains the same: pride, honor, tenderness - everything that Pushkin so valued in Tatyana.

Composition "Tatyana Larina" (composition on the topic "Tatyana Larina").

At the beginning of the 19th century, the great Russian writer A. S. Pushkin created one of his most striking works - the novel in verse "Eugene Onegin". One of his key images is Tatyana Larina. For the novel, this character is no less important than the image of Eugene Onegin himself.

In the image of Tatyana Larina, the author tried to embody the type of an ordinary, provincial Russian girl who does not shine with dazzling beauty, but is very attractive, gentle and romantic: "No one could call her beautiful." However, even sitting hand in hand with noble ladies, the famous beauties of St. Petersburg, Tatyana was not inferior to them at all. Apparently, all her charm is not in external gloss, but in spiritual qualities: nobility, intelligence, spiritual wealth, simplicity. It is these qualities that make Tatiana attractive in the eyes of others, and these qualities also won her my respect. As you can see, A. S. Pushkin chose such a common common name for his heroine for a reason.

Tatyana grows up in a full-fledged family, but despite this, she is a loner. She spends most of her time immersed in herself, her experiences, avoiding the company of her friends. At the same time, Tatyana is very inquisitive, she tries to find answers to many questions that interest her. She wants to understand those around her, and above all herself, but her inner circle does not give her answers to any questions. The elders - mother, father, nanny - are all busy with their own affairs, so Tatyana is trying to learn life through books. From childhood, she was accustomed to unconditionally trust these only friends of hers. She drew all her thoughts about life, love from books, projected all her experiences onto the plots of novels.

Life among rural landowners did not make Tatyana happy, because in books she saw a richer, richer life and completely different people. In the depths of her soul, Tatyana believed that someday she would meet such people and begin to live differently. Therefore, it is not at all surprising that when she saw Onegin, Tatyana immediately fell in love. She saw in him the hero of her novel, because he was so unlike all her friends! Tatyana receives a sharp refusal to her naive declaration of love, so reality with all its vicissitudes appears before her. Her only friends - novels - no longer help her understand her lover.

When Tatyana enters Evgeny's office, a completely different world opens up to her. In Onegin's books there is not even a hint of sentimentality, there she sees completely different heroes - cold, gloomy, disappointed in life. Here Tatyana makes hasty conclusions about her beloved, considering him unworthy of her love, and resolutely refuses him. Even believing in Onegin's love, she still marries another, unloved man, promising to be his faithful wife.

The integrity of Tatyana's character, her heightened sense of duty, her simplicity and inability to deceive make her very attractive in my eyes. Perhaps she does not always see her moral duty correctly. Maybe she made a mistake, deciding her fate and the fate of Onegin so ambiguously, but her choice cannot be called unworthy, he deserves respect.

Along with the image of Onegin, the image of Tatyana is the most significant in the novel. He performs an important plot and compositional function, being in the ideological and artistic structure of the novel a counterbalance to the image of Onegin. The relationship between Onegin and Tatyana constitutes the main storyline 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 am alone here, 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, Tatyana's character developed in a completely different social environment than Onegin's character. Tatyana, according to the poet, is "Russian in soul, without knowing why." Tatyana (whose name, for the first time "arbitrarily" introduced by Pushkin into great literature, entails associations of "old times or girlish") grew up, in complete contrast to Onegin, "in the wilderness of a forgotten village." Childhood, adolescence and youth of Tatiana and Eugene are directly opposite. Yevgeny has foreign tutors; Tatyana has a simple Russian peasant nanny, the prototype of which was his own nanny Arina Rodionovna. Tatyana dreams of real, great love. These dreams, as well as the formation of Tatyana's entire spiritual world, were significantly influenced by the novels of Richardson and Russo. The poet tells us that his heroine "explained with difficulty in her native language"; the letter to Onegin is written by her 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 device, 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 the common folk antiquity", beliefs, legends. Tatyana Larina for Dostoevsky was the personification of everything Russian, national, "ideal", an expression of spiritual and moral strength. The poetry of the national is included in the novel along with the image of Tatyana. In connection with it, stories about customs, "habits of dear antiquity", fortune-telling, fairy-tale folklore are introduced. They contain a certain morality associated with folk philosophy. Thus, the divination scene reveals the philosophy of the female soul, the Russian soul. The very idea of ​​the betrothed is connected with the idea of ​​duty, the betrothed is thought of as destined by fate. Folklore motifs also appear in Tatyana's dream, 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, with no less degree than in the image of Onegin, one can feel Pushkin's desire to be completely true to the truth of life. Tatyana, unlike Onegin, grew up "in the wilderness of a forgotten village", in the atmosphere of Russian folk tales, "traditions of the common folk antiquity", told by a nanny, a simple Russian peasant woman. The author says that Tatyana read foreign novels, spoke with difficulty in her native language, but at the same time, with the help of a subtle psychological device, reveals her "Russian soul" (Tanya has a French book under her pillow, but she sees Russian "common people" dreams). Tatyana is a poetic nature, deep, passionate, longing for true, 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 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 re-created her," wrote V.G. Belinsky. One of the key events of the novel is Onegin's meeting with Tatyana. He immediately appreciated her originality, poetry, her sublimely romantic nature and was quite surprised that the romantic poet Lensky did not notice anything of this and preferred a much more earthly and ordinary younger sister. Tatyana is strikingly different from the people around her. "A county lady", she, nevertheless, like Onegin and Lensky, also feels lonely and misunderstood in a provincial - local environment. "Imagine, I'm alone here, Nobody understands me," she admits in a letter to Onegin. Even "in her own family" she "seemed like a stranger girl", avoided playing with her friends - peers. The reason for such alienation and loneliness is in the unusualness, exclusivity of Tatyana's nature, gifted "from heaven" with "Rebellious imagination, Mind and will alive, And a wayward head, And a fiery and tender heart." In the romantic soul of Tatyana, two principles were peculiarly combined. Affinated with Russian nature and folk-patriarchal way of life, habits and traditions of "dear old times", she lives in another - a fictional, dreamy world. Tatyana is a diligent reader of foreign novels, mostly moralizing and sentimental, where ideal characters act, and goodness triumphs in the finale. 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 and Onegin, who is so different from those around her, are ready to take for "perfection a model", as if descended from the pages of Richardson and Rousseau - the hero that she had long dreamed of. The "literariness" of the situation is enhanced by the fact that Tatyana Onegin's letter is saturated with reminiscences from French novels. However, book borrowings cannot obscure the direct, sincere and deep feeling that permeates Tatyana's letter. And the very fact of the message to a barely familiar man speaks of the passion and reckless courage of the heroine, who resorts to fears of being compromised in the eyes of others. This letter, naive, tender, trusting, finally convinced Onegin of Tatyana's unusualness, of her spiritual purity and inexperience, of her superiority over cold and prudent secular 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 answers with a cold rebuff. Why? First of all, of course, because Onegin and Tatiana are at different stages of spiritual and moral development and can hardly understand each other. Tatyana did not really fall in love with Onegin, but with a certain image composed by her, which she mistook for Onegin. During the explanation with Tatyana in the garden, he did not dissemble at all and directly, honestly, revealed everything to her as it is. 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 he would get bored with family life. "It's not the first time he's shown the soul direct nobility." Tatiana's dream is "the key to understanding her soul, her essence." Replacing the direct and detailed characterization of the heroine, he allows you to penetrate into the most intimate, unconscious depths of her psyche, her mental make-up. However, he also performs another important role - prophecies about the future, because the "wonderful dream" of the heroine is a prophetic dream. Almost all the main events of the subsequent narrative are predicted here in symbolic ritual folklore images: the heroine’s exit beyond the boundaries of “her” world (crossing the stream is a traditional image of marriage in folk wedding poetry). forthcoming marriage (the bear is the Christmas image of the groom), the appearance in the forest hut - the house of the betrothed or lover and the recognition of his true, hitherto hidden essence, the gathering of "hellish ghosts", so reminiscent of the guests at Tatiana's name day, the quarrel between Onegin and Lensky, culminating in the murder of the young poet , The main thing is that the heroine intuitively sees 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 denouement of the duel with Lensky. Tatyana's dream thus means a new step in her comprehension of Onegin's character. If earlier she saw in him an ideally virtuous hero, similar to the characters of her favorite novels, now she almost falls into the opposite extreme. Finding herself after the departure of the owner in Onegin's house, Tatyana starts reading books in his village office. Unlike the novels of Richardson and Rousseau, the heroes here were cold and empty, disillusioned and selfish, heroes who commit crimes, do evil and enjoy evil. The meeting with Tatyana, the princess, makes a strong impression on Onegin. Her new look, manners, style of behavior meet the most stringent requirements of good taste, high 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 "rule herself", he is amazed at the change that has happened to her, which seems to him absolute, complete: Although he could not look 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 for reciprocity, he falls seriously ill and almost dies of love (in the same way, Tatyana used to turn pale, fade and fade). Belinsky severely condemned Tatyana because, while continuing to love Onegin in her soul, she preferred to remain faithful to patriarchal mores and rejected his feelings. According to the critic, family relationships "not sanctified by love are immoral in the highest degree." Dostoevsky regarded this act of Tatyana as sacrificial. In the finale, Onegin takes Tatyana by surprise and makes an incredible discovery that shocked him so much. It turns out that Tatyana has changed only externally, internally she has largely remained the "former Tanya"! And such women are not capable of adultery. It is this sudden insight of Yevgeny that gives the final scene sharp drama and bitter hopelessness. Just as Onegin did not suspect until now that the “old Tanya” lives in the princess, so Tatyana could not know what happened to Onegin after the duel. She believed that she had figured out Onegin once and for all. For her, he is still a cold, empty, selfish person. This explains Tatyana's stern rebuke, which mirrors Onegin's cold rebuke. But in Tatyana's monologue, other notes sound. The reproaches of the offended woman imperceptibly turn into a confession, striking in its frankness and fearless sincerity. Tatyana admits that successes "in a whirlwind of light" burden her, that she would prefer her former inconspicuous existence in the wilderness to the current tinsel of life. Not only that: she directly tells Onegin that she acted “carelessly”, deciding on a marriage without love, that she still loves him and sadly experiences a missed opportunity for happiness. Tatyana's nature is not polysyllabic, but deep and strong. Tatyana does not have those painful contradictions that too complex natures suffer from; Tatyana was created as if from one whole piece, without any additions and 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.