An important place in the novel "Eugene Onegin" takes the image of Tatyana Larina - "sweet ideal" of Pushkin. It was in her face that the poet embodied the best feminine qualities that he noticed earlier in his life. And the most important thing for the poet is that the heroine is “Russian in soul”. What makes her so and what traits of her character are close to Pushkin?

The poet emphasizes the closeness of the heroine to nature in her portrait: Dika, sad, silent, ...

Like a forest doe, timid ...

Tatyana likes to meet the sunrise, wander through the forests, enjoy the silence and harmony of nature. It is no coincidence that the heroine does not want to leave the estate Tatyana Pushkin endows with unconventional for noble heroines, purely Russian name After all, the heroine is the embodiment national character . It is closely connected with folk life by spiritual ties. Tatyana's best personality traits are rooted in popular soil. Brought up by a simple peasant woman, just like Pushkin himself - Arina Radionovna, Tatiana took from Filipyevna all the wisdom of the people, comprehended the concepts of good and evil, duty. Knowledge of folklore, fairy tales, rituals, folk traditions, Russian dreams is proof of this.

Pushkin is always happy to emphasize Tatyana's individuality. The feelings of the heroine are full of sincerity and purity. She knows neither mannered affectation, nor sly coquetry, nor sentimental sensitivity - all that was characteristic of most of her peers. She loves Onegin seriously, for life. Her naively pure, touching and sincere writing breathes deep feeling, it is full of sublime simplicity. The quivering words of her declaration of love for Yevgeny are so similar to the confessions of Pushkin himself!

Pushkin admires natural mind his heroine. Intellectual development of Tatiana helps her in St. Petersburg to understand how to preserve her high moral character. And the world sees in her strong-willed nature, realizes her superiority. But, although Tatyana hides her feelings under the guise of a secular lady, Pushkin still sees her suffering. Tatiana wants to run to the village, but she can't. The heroine is not able to break the bonds of marriage with the man she married. Whoever he was, she would never hurt him. This once again proves her spiritual superiority over others, her loyalty, devotion to her husband.

In the novel "Eugene Onegin" Pushkin created a new literary type, which has no analogues in Russian literature. According to Belinsky, "he was the first to poetically reproduce, in the person of Tatyana, a Russian woman."

In the novel "Eugene Onegin" in the image of Tatyana Larina, all Pushkin's ideas about the ideal were embodied. Tatyana is Pushkin's favorite heroine. He confesses: "I love my dear Tatyana so much." He sincerely sympathizes: "Tatyana, dear Tatyana! Now I shed tears with you ...", he is proud of her nobility when she rejects Onegin's love in the name of duty: I love you (why dissemble?), But I am given to another;

I will be faithful to him forever.

The ability to self-sacrifice is characteristic of Tatyana. She carried her love for Onegin through her whole life, was the first to confess her love to him, endured the humiliation of his refusal, did not lose her dignity, understanding the frivolity of Eugene's attitude towards her, and managed to build her life, "ruling herself." Having given her hand to her husband, mutilated in battles, she will never betray him.

She was an extraordinary person. She didn’t play with dolls, she didn’t imitate the ladies of high society. This is probably why, when she got married and got into the world, she stood out noticeably there too. She was slow in the light

Not cold, not talkative, Without an insolent look for everyone, Without pretensions to success, Without these little antics,

Without imitative undertakings ... Everything is quiet, it was just in her ...

Tatyana from childhood differed from coquettes in that she had a rich inner world, an inquisitive contemplative world, Pushkinskaya Tatyana, despite the fact that she was "wild, sad, silent, like a forest doe timid", yet "gifted from heaven" Mind and a living will, And a wayward head...

Spiritualized, poetic love of Tatyana makes her image inimitable, worthy of respect. The reader experiences with her the bitterness of unrequited love. Having learned a bitter lesson, having listened to Onegin's moralizing, she continues to keep in herself this high feeling, love in her understanding of this word. Onegin's refusal did not humiliate her, but exalted her.

Pushkin once again brought the heroes together in a similar situation a few years later. Now Tatyana, who has married a general, listens to Onegin's declarations of love. There is no gloating in her rebuke. Despite the fact that she now belongs to high society, she is still simple and natural, and Onegin asks a question that betrays a reasonable and sober nature in her: "Why do you have me in mind?" And since Onegin has nothing to answer, she herself answers: Isn't it because my shame would now be noticed by everyone And could bring you seductive honor in society?

it does not celebrate victory, does not seek revenge for past humiliations. She does not want to play cheap secular games, does not accept relationships behind her husband's back, and although she again confesses her love for Onegin, she rejects his courtship. No one had taught Onegin such a lesson before. This is an act of a person of high morality with a deeply conscious sense of his own dignity. Tatyana refused the love of a man whom she had loved for many years, in order not to tarnish the honest name of her husband in society.

It seems to me that such concepts as fidelity, purity, nobility, embodied by Pushkin in the image of Tatyana, have not become outdated so far. Yes, the relationship between a man and a woman has become simpler and more primitive in some ways, but every person, dreaming of true and only love for life, has in mind just such a beautiful and genuine feeling as Tatyana has for Onegin.

Tatyana appears in chapter II of the novel. The choice of the heroine's name and the author's thoughts on this matter, as it were, indicate a distinctive feature compared to other characters:

Her sister's name was Tatyana...
Gentle pages of a novel
For the first time with such a name
We will sanctify.

In these lines, the author introduces Tatyana to the reader for the first time. We are presented with the image of a simple provincial girl with very peculiar features. Tatyana is “wild, sad, silent”, “in her own family she seemed like a stranger girl”, “often she sat silently at the window all day long”. She did not play with her sister Olga's friends, "she was bored with their sonorous laughter and the noise of their windy joys." Larina grows thoughtful and lonely. The environment to which parents, relatives, guests belong, i.e. the society of local nobles is something alien to her, which has almost no effect on Tatyana. Other aspects of her being have a stronger influence on the formation of her personality. She is captivated by "terrible stories in the winter in the darkness of nights", i.e. fairy tales of a serf nanny. She loves nature, reads the novels of Richardson and Rousseau, which educate her sensitivity, develop her imagination.

The appearance of Onegin, who immediately struck Tatyana with his peculiarity, dissimilarity with others whom she saw around, leads to the fact that love flares up in Tatyana.
The girl in love again turns to books: after all, she has no one to trust her secret, no one to talk to.
Sincere and strong love involuntarily takes on the character of those passionate and strong feelings that the loving and suffering heroines of the books read are endowed with.
So, Tatyana was strongly influenced by the sentimental West, but the European novel. But this, of course, was not the main factor in the development of Tatyana.

A lot to understand the image of Tatyana is given by the episode of Tatyana's conversation with the nanny and the letter to Onegin. This whole scene - one of the best in the novel - is something amazing, beautiful, whole.

The nature of Tatyana's frank conversation with the old nanny is such that we see a great intimacy between them. The image of Filipyevna bears the beginnings of folk wisdom, her words reflect the experience of a long and difficult life of a simple Russian woman. The story is short and simple, but it contains imagery, expressiveness, purity and power of thought and a truly folk language. And we vividly imagine Tatyana in her room at night, and

On the bench
With a scarf on his gray head,
Before the young heroine
An old woman in a long jacket.

We begin to understand how much the nanny meant to Tatyana, the closeness to her; we note those purely Russian influences that will occupy the main place in the formation of Tatyana.
Tatyana perfectly understands the common language of the nanny, for her this language is her mother tongue. Her speech is figurative and at the same time clear, there are also elements of folk vernacular in it: “I feel sick”, “what needs me”, “yes tell him” ... etc.
Tatyana's letter to Onegin is a desperate act, but it is completely alien to the environment of a young girl. Larina was guided only by feeling, but not by reason. The love letter does not contain coquetry, antics - Tatyana writes frankly, as her heart tells her.

I am writing to you - what more?
What else can I say?

And following these simple and touching words, in which trembling and restrained excitement are heard, Tatiana, with increasing delight, with excitement already openly pouring out in the lines of the letter, reveals this “trusting soul” of hers to Onegin. The central part of the letter is the image of Onegin, as he appeared to Tatyana in her imagination inspired by love. The end of the letter is as sincere as the beginning. The girl is fully aware of her actions:

I'm cumming! Scary to read...
But your honor is my guarantee,
I freeze with shame and fear ...
And I boldly entrust myself to her ...

The writing scene is over. Tatyana is waiting for an answer. Her condition, immersion in the feeling that had taken possession of her, was noted in scanty details:
The second meeting with Onegin and his cold "rebuke". But Tatyana does not stop loving.

Love insane suffering
Don't stop worrying
Young soul...

Chapter V opens with a landscape of a belated but suddenly come winter. It is noteworthy that a purely Russian landscape of a winter estate and a village is given through Tatiana's perception of it.

Waking up early
Trees in winter silver
Tatyana saw through the window
Forty merry in the yard
Whitewashed yard in the morning,
And softly padded mountains

And in direct connection with the pictures of native nature, the author's statement of the national, Russian appearance of the heroine is expressed:

Tatyana (Russian soul,
With her cold beauty
I don't know why.)
I loved Russian winter...

Poetic pictures of Christmas divination also connect Tatyana with Russian, national, popular beginning.
"... Tatyana, on the advice of the nanny" tells fortunes at night in the bath.
Russian national features are more and more clearly put forward in the development of the image of Tatiana.

In portraying Tatyana, Pushkin completely renounces all irony, and in this sense, Tatyana is the only character in the novel, in relation to whom, from the moment of its appearance to the end, we feel only the love and respect of the author. The poet more than once calls Tatyana "dear", declares: "I love Tatyana my dear so much."
Tatyana's dream is a fantastic combination of motifs from the nanny's fairy tales, pictures that arose in the game of Tatyana's imagination, but at the same time - and real life impressions. artistic value sleep in the story of Tatyana - expression state of mind heroine, her thoughts about Onegin (even in a dream he appears to her strong, but also formidable, dangerous, terrible), and at the same time - a premonition of future misfortunes.

All subsequent tragedies: the death of Lensky, the departure of Yevgeny, the imminent marriage of her sister - deeply touched Tatyana's heart. The impressions gained from reading books are replenished by the harsh lessons of life. Gradually, Tatyana gains life experience and seriously thinks about her fate. The image of Tatyana is enriched in the course of events, but by nature Tatyana is still the same, and her “fiery and tender heart” is still given over to the feeling that has taken possession of her once and for all.
Visiting Onegin's house, Tatyana "with a greedy soul" indulges in reading. Byron's poems and novels are added to the previously read sentimental novels.

Reading Onegin's books is a new step in Tatyana's development. She does not freely compare what she knows about Onegin with what she learns from books. A whole swarm of new thoughts, assumptions. In the last stanzas of Chapter VII, Tatyana is in Moscow society. She "... is not well at a housewarming party", she seems strange to the young ladies of the Moscow noble circle, she is still restrained, silent
At the end of the work, Tatiana appears to us as a lady secular society, but Pushkin clearly distinguishes her from the circle into which her fate has led. Drawing her appearance at a social event, the poet simultaneously emphasizes Tatyana's aristocracy, in Pushkin's high sense of the word, and her simplicity.

She was slow
Without these little antics
Not cold, not talkative
No imitations...
Without an arrogant look for everyone,
Everything is quiet, it was just in her ...

Episodes of meetings with Onegin after for long years separations emphasize Tatyana's complete self-control. Larina turned into a secular lady, into an “indifferent princess”, “an impregnable goddess of the luxurious, regal Neva”. But her worldview has not changed, her principles and foundations have remained the same. It was these principles that prevailed over Tatyana's innermost feeling: over her love for Eugene. The whole essence of Larina's character is revealed in her last monologue:

...You must,
I know that there is in your heart
And pride and direct honor ...
I ask you to leave me;
And pride and direct honor ...

In our imagination, the image of Tatyana will forever remain something high, unshakable, pure and beautiful.
We also understand all the poet's love for his creation, when in the last stanza of the novel, saying goodbye to the heroes, he recalls "Tatiana's dear ideal."

The image of Tatyana Larina is opposed to the image of Onegin. For the first time in Russian literature female character opposed to 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. The author in his novel wanted to show an ordinary Russian girl. He emphasizes the absence of extraordinary, out of the ordinary traits in Tatyana. But at the same time, the heroine is surprisingly poetic and attractive. It is no coincidence that Pushkin gives her the common name Tatyana. By this he emphasizes the simplicity of the girl, her closeness to the people.

In his draft in Mikhailovsky, Pushkin wrote: "Poetry, like a comforting angel, saved me, and I was resurrected in spirit." In this comforting angel, we immediately recognize Tatyana, who, like a guiding star, is always next to the poet throughout the entire novel. The author calls his heroine a simple name: "Her sister's name was Tatyana."

Tatyana - Russian soul

Tatyana is a simple provincial girl, she is not beautiful and does not strike the imagination with an abundance of contrasting features in her character. From the first meeting, the heroine captivates the reader with her integrity, spiritual beauty, the absence of pretense, affectation, that artificial touch that the girls "brought up in the "light" received.

The character of Tatyana Larina is revealed to us both as a unique individuality and as a type of Russian girl living in a provincial noble family. Tatyana is a simple provincial girl, not endowed with special beauty. The author in his work tries to show us as accurately as possible a simple Russian “provincial young lady” with her feelings and thoughts. Tatyana is in many ways similar to other girls. She also "believed in the legends of the common people of antiquity, and dreams, and card divination", she was "disturbed by signs." But since childhood, Tatiana had a lot of things that distinguished her from others, she even "in her own family seemed like a stranger girl." She did not caress her parents, played little with children, did not do needlework .

But dolls even in these years

Tatyana did not take it in her hands;

About the news of the city, about fashion

Didn't talk to her.

From an early age, she was distinguished by dreaminess, lived a special inner life. The author emphasizes that the girl was devoid of coquetry and pretense - qualities that he did not like so much in women.

According to Pushkin's description, one can understand that the appearance of the heroine is devoid of any beautiful features that were endowed with actors writers of classical and sentimental works:

Nor the beauty of his sister,

Nor the freshness of her ruddy

She drew no eyes.

Tatyana is brought up in a manor estate in the Larin family, faithful to the "habits of dear old times." The representatives of the provincial society are the Larin and Lensky families. Pushkin carefully describes their hobbies, how they used to spend their time. They did not read books and lived mostly on the relics of antiquity. Pushkin, revealing the character of Tatyana's father, wrote: “Her father was a kind fellow, Belated in the last century; But he saw no harm in books; He, never reading, He revered them as an empty toy ... ". Pushkin A.S. . Eugene Onegin. Dramatic works. Novels. Tales.

M.: Artist. Literature, 1977. - p.63 Such was the majority of the representatives of the provincial society. But against the backdrop of this deaf landowner province, the author portrays the "sweet" Tatyana, with a pure soul, good heart. Why is this heroine so unlike her relatives, her sister Olga, because they were brought up in the same family? The character of the girl is formed under the influence of the 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. Tried to understand early the world, but the elders did not find answers to their questions. And then she turned to books that she believed undividedly.

Living in the countryside, Tatyana leads a natural lifestyle, getting up early and walking around the estate. The heroine lives in harmony with herself, but not with others: “no one understands her”, therefore the heroine loves solitary walks, during which she dreams of the future, “absorbs” the surrounding beauty without fuss, learns to understand true values life. The surrounding life did little to satisfy her demanding soul. She saw in the books interesting people whom I dreamed of meeting in my life. Communicating with the yard girls and listening to the stories of the nanny, Tatyana gets acquainted with folk poetry, is imbued with love for her. Proximity to the people, to nature develops in Tatyana her moral qualities: spiritual simplicity, sincerity, artlessness. Tatyana is smart, unique. 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 necessary heart. Thoughtfulness and daydreaming distinguish her among the local inhabitants, she feels lonely among people who are not able to understand her spiritual needs.

Dika, sad, silent,

Like a forest doe is timid,

She is in her family

Seemed like a stranger girl.

Tatyana's character is formed under the influence of a nurse, whose prototype 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.

The upbringing of daughters in the Larin family was reduced to preparing them for marriage. But Tatyana differed from her sister in that she was madly in love with reading. A big role in shaping Tatyana's views and her feelings was played by books by which she judged life, novels replaced everything for her, made it possible to find "her secret glow, her dreams, the fruits of fullness of the heart." Passion for books, immersion in a different, fantastic world filled with all the colors of life, was not just entertainment for Tatyana. The girl was looking for something in him that she could not find in the real world.

She liked novels early on;

They replaced everything for her.

She fell in love with deceptions

And Richardson and Rousseau.

Perceiving the environment as alien, contrary to every cell of it poetic soul, Tatyana created her own illusory world, in which goodness, beauty, love, and justice ruled. These romantic book heroes served as an example for Tatyana to create the ideal of her chosen one. "Whole inner world Tatyana was in the thirst for love”, Belinsky V.G. Works by A.S. Pushkin, p. 26 - V. G. Belinsky rightly described the state of a girl who was left to her secret dreams all day long.

She is a “maiden of the forests.” The purity of Tatyana's soul was protected by her proximity to another world, to people's Russia, the personification of which was the nanny. Tatyana loves nature very much: she prefers lonely walks to games with her peers. Her favorite season is winter:

Tatyana (Russian soul,

I don't know why.)

With her cold beauty

I loved Russian winter...

The surrounding life did little to please her demanding soul. In books, Tatyana 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 the best moral qualities in a girl: spiritual openness, sincerity, artlessness. Tatyana is smart, original, original. She is gifted by nature:

rebellious imagination,

Mind and will alive,

And 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 the life of rural society and dreams of a man who would bring high content into her life, who would be like the heroes of her favorite novels. The life of nature is close and familiar to her since childhood. This is the world of her soul, the world is infinitely close. In this world, Tatyana is free from loneliness, from misunderstanding, here feelings resonate, the thirst for happiness becomes a natural legitimate desire. And throughout her life, Tatyana retains this wholeness and naturalness of nature, which are brought up only in communion with nature.

Tatyana Larina grew up in the provinces, in the Russian outback. Pushkin does not say anything about her education, but given that she still knows how to read and write in French, it can be assumed that some mademoiselle was engaged in her education, who addicted the young lady to French novels.

The father was not very interested in what his daughter reads, considering reading to be pampering. And the mother herself was once fascinated by such literature. not particularly strained by the educational process. In such conditions, it grew by itself, in the bosom of nature, like a wild flower, occasionally watered by rain and warmed by the sun's rays.

Tatyana was unsociable. She did not play with dolls, she was not interested in needlework. Along with reading novels, she loved to listen to nurse's tales, scary stories about an otherworldly force she believed existed.

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
proclaimed something.
Premonitions pressed against my chest.

Thus her upbringing was romantic character far from reality. After leaving, when Tatyana visited his house for the first time, she began to come here to read. A different world opened up before the young lady. It was not only the world of the man she loved. Before her, appeared a different worldview, a different view of life, more real than the one that was presented in her novels.

Tatyana devoted herself to reading with a greedy soul;
And another world opened up to her.

That evening, when she came to Onegin's estate for the second time, her mother gathered a family council to resolve the issue of Tatyana's marriage. So she has already married a lancer, and Tatyana continues to refuse potential suitors.

The decision to go to Moscow did not prevent him from continuing to visit the estate. And this reading also contributed to Tatyana's education.

Tatyana's transformation, which happened to her within two years after her marriage, remains behind the scenes for the reader. P.A. draws attention to this omission. Katenin: “This exclusion [of the chapter], which may be beneficial for readers, harms, however, the plan of the whole work; because through this the transition from Tatiana, a district young lady, to Tatiana, a noble lady, becomes too unexpected and inexplicable. Pushkin himself was aware of the validity of this remark, but, nevertheless, he did not add anything to this chapter, did not write a new one that would explain such an unexpected transformation of a wild (let's not say ugly) duckling into a swan princess. It can be assumed that having started reading other books in Onegin's house, Tatyana continued her self-education and self-improvement by getting married. Looking at her cousins, she herself realized that she was a little different. In some ways, Tatiana tried to imitate them, something they told her: hairstyles, styles of outfits.

Having married, she learned a lot from conversations with her own husband, who was an educated and well-read man. Not everyone was educated "something and somehow", like Onegin. The general could not be a semi-educated person. He probably told his wife what books she should read.

She acquired a sense of tact, the ability to hold on, communicating with close relatives and acquaintances of the general, being in the world. The manner of dressing with restraint and taste, she was prompted by her own intuition and her own taste.

Appearing with his wife in the world, the prince was proud of her. And he had the right to do so, because in that Tatyana, whom people saw in front of them, there was also a share of his work.

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. So, the divination scene reveals the philosophy female soul, 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 on the passionate Tatyana's message, "where everything is outside, everything is free," Onegin answers with a cold rebuff. Why? First of all, of course, because Onegin and Tatyana are at different levels spiritually - 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.