Why is Tatyana a Russian soul? Presentation on the topic: “And Tatyana has a wonderful dream...

"Tatiana is Russian in soul..."

Sample essay text

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

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

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

Tatiana (Russian soul,

Without knowing why)

With her cold beauty

I loved Russian winter.

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

Tatyana believed the legends

Of common folk antiquity,

And dreams, and card fortune-telling,

And the predictions of the moon.

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

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

Tatyana looks and doesn’t see,

He hates the excitement of the world;

She's stuffy here... she's a dream

Strives for life in the field,

To the village, to the poor villagers

To a secluded corner.

This means that the mask of an “indifferent princess” hides the face of a “simple maiden” with the same aspirations. The world of moral values ​​has not changed. She calls the splendor of a luxurious living room and success in society “the rags of a masquerade,” because “this shine, and noise, and fumes” cannot hide the emptiness and inner squalor of metropolitan life.

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

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

I love you (why lie?),

But I was given to someone else;

I will be faithful to him forever.

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

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

Among all the characters in A.S. Pushkin’s novel “Eugene Onegin,” Tatyana occupies a special place. The author calls her a sweet ideal, admits that he singles her out: “Forgive me: I love my dear Tatyana so much!” Pushkin explains this by saying that she is superior to many other representatives of noble society in her spiritual qualities, character, and intelligence. Brought up against the backdrop of rural nature, she harmoniously developed her inner world. Tatyana read a lot, thought in solitude, communicated with kind people, listened to folk songs and her nanny's fairy tales, and learned to love nature.

The main character is distinguished not only by her kind disposition and excellent upbringing, but also by her gullibility and sincerity, above all. And these are not provincial traits, but qualities of the Russian soul, which are difficult to preserve in a noisy world, where young ladies have well learned the lessons of French and European etiquette in general. In naturalness and simplicity, in the ability to behave with dignity, but without arrogance, we see the main difference between Tatyana and the metropolitan coquettes, capable of playing, being a hypocrite, intriguing or slandering. “Russian in soul,” even in high society she will remain faithful to the habits dear to her heart, yearning for the world of provincial life that is dear to her, and whenever possible to communicate with her native nature.

Tatyana, as was customary in those days, reads and writes not in Russian, but in French, but this does not prevent her from remaining Russian in observing traditions, in her love for folk songs, for Russian culture, for nature. Probably, Pushkin wanted to emphasize that it is not only life in the village, but also closeness to the people that allows one to preserve originality and loyalty to the national character. After all, Tatyana communicates with a nanny, whose peasant wisdom and talent could have influenced the development of the best qualities in the character of the heroine. Hence Tatyana’s confidence in the need for an honest conversation with the person to whom she would like to “entrust” her destiny. Yes, she knew life mainly from books, had no experience, did not imagine the difficulties that awaited her in metropolitan society, but she wanted to build her future family life out of love, and not out of calculation. In the letter, she reports that this is exactly how she saw her betrothed, similar to Onegin:

You appeared in my dreams,
Invisible, you were already dear to me...

Her heart lived in anticipation of meeting that person who would understand, appreciate, love, and become a friend for life. And, having met Onegin in the wilderness of the village, sensing an unusual person in him, Tatyana unconditionally, uncontrollably surrenders to her first and, as it turns out later, only love. Her letter to Onegin amazes with the strength of feeling, the courage of a young provincial woman, capable of declaring her love and becoming the initiator in a love relationship, which was considered unacceptable for women in the nineteenth century. The author does not condemn his heroine, but pities and sympathizes with her, explaining her impulse by inexperience, sincerity, and the gullibility of a girl who fell in love with a man who did not appreciate her main advantages: the absence of falsehood and the ability to love selflessly, deeply, strongly and forever.

The image of Tatyana throughout the novel is subject to evolution, becoming more and more attractive and significant. Once in the highest aristocratic society, Tatiana, deep down in her soul, remains the same. She is ready to exchange the “rags of a masquerade” for rural solitude, for the simplicity of human relationships. She is tired of the unbearable nonsense that occupies society ladies. The glitter, tinsel and emptiness of an idle life depress Tatyana; she would like to break out of this circle.

It is human nature to make mistakes, and Tatiana is no exception. She was twice mistaken in her conclusions about Onegin, but in the main thing she remains true to herself: she cannot betray a person, she cannot hurt him. In response to Onegin’s confession, Pushkin’s beloved heroine replies: “I was given to another and I will be faithful to him forever.”
In the image of Tatyana Larina, Pushkin embodied the best features of his contemporaries: integrity, honesty, sincerity, nobility, kindness, high spirituality - everything that is valued in a person at all times. The distinctive features of this image appeared as a result of the artistic discovery of the author. The very name of the heroine speaks of her closeness to the people: noblewomen were not called Tatiana; commoners could have such a name. In his novel “Eugene Onegin,” Pushkin more than once showed sympathy for the main character, who preserved her national roots and did not forget her native language, traditions and customs of her people. The author notes that “Tatiana (Russian in soul) loved the Russian winter” and winter holidays. She, like many girls,

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

Closeness to the people contributed to the formation of a distinctive national character, the features of which Pushkin painted with such admiration. Creating the image of Tatyana, Pushkin expressed his opinion that the best among the nobles can be those who are faithful to the spiritual values ​​of the Russian people, who have preserved national traits, traditions, culture and language. That is why Tatyana, with her Russian soul, is the beloved, ideal heroine of A.S. Pushkin.

Reviews

Zoya, good evening.

Thank you very much for the wonderful article.

When I read "Eugene Onegin", I remember that I caught myself thinking that Pushkin really loved his heroine Tatyana. This attitude, this love was felt in the lines. (I caught a similar attitude of the author from Leo Tolstoy in relation to Natasha Rostova in “War and Peace”).

The image of Tatyana was painted by Pushkin with love and very clearly, masterfully.

After reading your article on Tatyana Larina, I saw the details of the explanation for this attitude towards the heroine: what Pushkin singled out, what was dear to him, what he wanted to show.

And this is the real beauty of the Russian soul, the female soul, which knows how to love, believe sincerely in feelings, is faithful to the traditions of its people, and at the same time educated, kind, understands other cultures (can communicate in French, understands this culture). It is creative, not destructive. And just plain sweet.

You get imbued with this, and it’s wonderful. Here she is - a great and sweet, not protruding, but worthy, creative and kind, Russian female soul. What beauty there is in her! And how she is sung!

Thank you very much, Zoya. Just great. At one time I knew a lot of Onegin by heart, much more than was asked at school. This is a song of songs!

Good Saturday to you, good mood and all the best.

Igor, good evening!
You made me very happy with your perception of Tatyana’s image. It’s especially great that we learned a lot by heart! During my school years (and even later), I knew about half of the novel by heart, because I remembered everything easily and wanted to speak in Pushkin’s poems.
Thanks for the kind words.
All the best, Igor!

Tatyana is Pushkin’s favorite heroine: he often dwells in detail on her characterization, and this characterization is imbued with a feeling of lively sympathy. “I love my dear Tatiana so much!” he exclaims.

Tatyana was brought up in the patriarchal atmosphere of an old landowner's house. Her father, a retired brigadier, was, in Pushkin’s words, “a kind fellow, belated in the last century”; He left all the housework to his wife, “while he ate and drank in his dressing gown.”

When neighboring landowners came to the Larins’ hospitable house, their conversations invariably revolved around everyday interests: “about haymaking, about wine, about the kennel, about their relatives”; They did not know other, higher interests. It is clear that life in such an environment could not completely satisfy Tatyana, an extraordinary nature, naturally gifted with subtle impressionability and a vague desire for a different, more reasonable and meaningful life. Therefore, from childhood she grew up alone, kept aloof from her peers and “seemed like a stranger in her own family.”

Alien to reality, she lived all the time in the world of her fantasy. The life and people around her did not attract her; she lived in a special, ideal world, which she created in her imagination based on her favorite novels. In these novels her natural dreaminess and sensitivity found abundant food. Reading was her favorite pastime. Pushkin says:

She liked novels early on;
She fell in love with deceptions
They replaced everything for her;
And Richardson and Russo...

Reading novels opened Tatiana's soul mainly to foreign influence. But there were also conditions in the environment that contributed to the development of national character traits and thanks to which Tatyana, despite her foreign upbringing, still remained, in Pushkin’s words, “Russian in soul,” and did not become “an interpretation of other people’s whims,” as There was Onegin. This national, native influence came mainly from her old nanny, in whose person Pushkin portrayed his own nanny, the famous Arina Rodionovna. From her, Tatyana heard a lot of Russian folk tales, songs, and beliefs. She was not a stranger even to some superstitions, “she believed in the legends of the common people of old times - dreams, card fortune-telling, and moon predictions.” While reading Rousseau and Sterne, she, at the same time, often looked into the book of dream interpretation. Tatyana’s “dream” itself reflects her close acquaintance with folk tales; certain features of her dreams were inspired by various fairy-tale images that obviously filled her imagination.

Thus, the sentimental novels that Tatyana was fond of aroused her sensitivity even more, without introducing her at all to real life or to people whom she did not know and whom she judged only from novels. Meanwhile, the reality around her and her landowner neighbors were too little like her ideal ideas about life and people that she had made up for herself.

Therefore, she felt lonely, unsatisfied and worried about vague expectations. This mood most contributed to her rapid infatuation with Onegin. Unfavorable rumors from neighbors about him and Lensky's enthusiastic reviews of his new friend aroused her interest in Onegin, as a person unlike everyone around him. Already at the first meeting, Onegin made a strong impression on her. His disappointment, feigned coldness, originality of manners and harshness of judgment - all this was new to Tatyana and inspired her with a high opinion of Onegin. She saw in him the hero of the romantic world in which her fantasy lived. Inexperienced in life and unfamiliar with people, she, of course, could not correctly unravel Onegin, and became carried away by him; It seemed to her that “this is him,” a “kindred soul,” whom she did not find among those around her and who would understand her own feelings and aspirations.

As a straightforward nature, not tolerating lies and pretense, Tatyana herself decides to open up in her feelings to Onegin and writes him her famous letter. Much in this letter is inspired by literary examples, individual thoughts and expressions are borrowed, for example, from Rousseau, but it is all imbued with such sincerity, such a deep feeling that even the indifferent Onegin “was touched by Tanya’s message.” But this did not stop him, during an explanation with her in the garden, from flaunting his fashionable disappointment in front of the poor girl (“There is no return to dreams and years, - I will not renew my soul”) and his generosity (“Learn to control yourself, - not everyone , like me, will understand...").

However, this explanation with Onegin did not open Tatyana’s eyes to his true character. Only later, after Lensky’s death and Onegin’s departure, visiting the abandoned house and reading the books he left behind in his office, Tatyana became more closely and fully acquainted with his personality, with his views and sympathies. The very choice of books testified to Onegin’s prevailing interests and tastes. Among his favorite writers and works she found:

Singer Gyaur and Juan
With his immoral soul,
Yes, there are two or three more novels with him,
Selfish and dry,
In which the century is reflected
Immensely devoted to a dream,
And modern man
With his embittered mind
Portrayed quite accurately
Seething in empty action.

At first, this selection of books seemed “strange” to her, because it did not correspond to her idea of ​​​​Onega’s inclinations and sympathies. But then, from the marks on the pages, Tatyana could form a more accurate idea of ​​his views and characteristic features. She saw how much coldness, selfishness, arrogance, contempt for people and selfishness he had.

Thus, this reading opened Tatyana’s eyes to the real Onegin, and she saw that he was not at all like the ideal image that was created in her imagination under the influence of novels. This was a heavy blow for Tatiana, a painful disappointment, but, despite the fact that Onegin lost his former halo in her eyes, turning out to be a “Muscovite in Harold’s cloak,” he still remained dear to her, she was unable to forget and stop loving him, as she herself admits in her last explanation with him.

But the serious, thoughtful reading that Tatyana indulged in in Onegin’s office had another, no less important meaning for her: it expanded her horizons, contributed to the development of her views on life and people, and from that time “another world opened up to her,” as Pushkin put it, she began to relate more consciously to her surroundings and her character was finally established. This was the change in her that so struck Onegin when they met again in the St. Petersburg “society.” But this change concerned more Tatiana’s appearance, her manners and techniques. Having married at her mother’s request (because “for poor Tanya, all the lots were equal”) and becoming a noble lady, she, of necessity, submitted to the conditions and customs of social life. But in the depths of her being, she did not change at all and remained “the old Tanya,” with a truthful, dreamy and tender soul. The pomp, splendor and honor that surround her do not please her at all, but, on the contrary, often become a burden to her. She openly admits to Onegin:

Now I'm glad to give it away
For those places where for the first time,
All this rags of a masquerade,
Onegin, I saw you,
All this shine, and noise, and fumes
Yes for the humble cemetery,
For a shelf of books, for a wild garden,
Where is the cross and the shadow of the branches today?
For our poor home.
Over my poor nanny...

Thus, despite her wealth and high social position, Tatyana is not satisfied with her life and suffers internally. “And happiness was so possible, so close!” - she says to Onegin. But although she still loves him and feels unhappy, she does not want to violate her duty, she does not want to buy herself happiness at the cost of someone else’s suffering.

In the scene of the last explanation with Onegin, the full depth and nobility of her character clearly appears and her moral superiority over Onegin is revealed. This depth and nobility of nature, internal integrity, directness and independence are characteristic features of Tatyana, which are the reason for Pushkin’s special sympathy for this creation of his creative genius. In the person of Tatyana, Pushkin first painted the ideal image of a Russian woman, as he understood it; Moreover, this image was taken by him from the elements of reality, and was not invented or composed: that is why this image is distinguished by its complete vitality and concreteness.

Tatyana (Russian in soul, Without knowing why) With its cold beauty She loved the Russian winter, In the sun on a frosty day, And the sleigh, and the late dawn The glow of pink snows, And the darkness of Epiphany evenings. In the old days, these evenings were celebrated in their house: Maids from all over the yard wondered about their young ladies And they were promised every year Military husbands and a campaign.

The night is frosty, the whole sky is clear; The heavenly luminaries, a wondrous choir, Flows so quietly, so in harmony... Tatiana comes out into the wide courtyard in an open dress, Points the mirror at the month; But in the dark mirror, the sad moon trembles alone... Chu... the snow crunches... a passerby; The maiden flies towards him on tiptoe, And her voice sounds more tender than a pipe tune: What is your name? He looks and answers: Agathon.

Tatyana looks with a curious gaze at the sunken wax: With a wonderfully poured pattern, it says something wonderful to her; As if at an annoying separation, Tatyana grumbles about the stream; She doesn’t see anyone who would give her a hand from the other side; But suddenly the snowdrift began to move. And who came from under it? A big, disheveled bear; Tatyana ah! and he roared, And extended his paw with sharp claws to Her; She braced herself with a trembling hand and with timid steps crossed the stream; I went and so what? the bear is behind her!

Fell into the snow; the bear quickly grabs her and carries her; She is insensitively submissive, does not move, does not breathe; He rushes her along the forest road; Suddenly, between the trees there is a wretched hut; All around is wilderness; from everywhere it is covered with desert snow, and the window is shining brightly, and in the hut there is a cry and noise; The bear said: “My godfather is here: Warm up with him a little!” And he goes straight into the entryway and places her on the threshold.

...There are monsters sitting around the table: One in horns with a dog's face, Another with a rooster's head, Here is a witch with a goat's beard, Here is a prim and proud skeleton, There is a dwarf with a ponytail, and here is a Half-crane and a half-cat... Even more terrible, even more wonderful: Here is a crab riding on a spider, Here is a skull on a goose neck, Spinning in a red cap, Here is a mill dancing in a crouch, And cracking and flapping its wings; Barking, laughter, singing, whistling and clapping, People's rumors and horse tramping! But what did Tatyana think when she recognized among the guests the One who is dear and scary to her, the Hero of our novel! Onegin sits at the table and looks at the door furtively.

My! Eugene said menacingly, And the whole gang suddenly disappeared; The young maiden remained with him as a friend in the frosty darkness; Onegin quietly drags Tatiana into a corner and lays her down on a shaky bench and bows his head on her shoulder; suddenly Olga enters, Lensky follows her; the light flashed; Onegin waved his hand, And his eyes wander wildly, And he scolds the uninvited guests; Tatiana lies barely alive. The argument is louder, louder; suddenly Evgeniy grabs a long knife, and Lensky is instantly defeated; terribly the shadows thickened; an unbearable scream was heard... the hut shook... And Tanya woke up in horror...

He lay motionless, and the languid peace of his brow was strange. He was wounded right through the chest; Blood flowed smoking from the wound. One moment ago, inspiration was beating in this heart, Enmity, hope and love, Life was playing, blood was boiling, Now, as in an empty house, Everything in it is quiet and dark; It fell silent forever. The shutters are closed, the windows are whitewashed with chalk. There is no owner. And where, God knows. There was no trace.

In the anguish of heartfelt remorse, with his hand clutching the pistol, Evgeniy looks at Lensky. "Well? killed,” the neighbor decided. Killed!.. Smitten by this terrible exclamation, Onegin walks away with a shudder and calls people. Zaretsky carefully places the frozen corpse on the sleigh; He is carrying a terrible treasure home. Smelling the dead, they snore And the horses fight, White foam Wet the steel bits, And they fly like an arrow.

So, a word-symbol in the context of a dream is a multi-valued semantic structure, the meanings of which are determined, firstly, by the pagan symbolism of Russian folklore, secondly, by the macro-context of the work, and thirdly, by the function of a dream to reveal the mental state and future of the dreamer.

Tatyana’s dream is Pushkin’s heroine’s awareness of her helplessness in the face of circumstances, an intuitive understanding of the destructiveness of her feelings for Onegin, a “terrible dream,” an anticipation of salvation. Getting rid of the influence of dark and incomprehensible forces at the cost of the death of a pure, inexperienced, immaculate soul.

A total of 179 people took part in the survey, a significant part of whom, judging by the heated discussion, were teachers and literature teachers (which is not surprising). The results were distributed as follows:

1. Tatiana is faithful to her oath before the altar (81, 45.25%).

2. Tatyana respects her husband and is grateful to him (77, 43.02%).

4. Tatyana is faithful to her family duty (66, 36.87%).

To give - in addition to the listed options or as an alternative to them - 42 people (23.46%) preferred their answer.

Of course, I did not attempt to statistically determine the most correct or most popular answer with this poll. I was interested in something else: there is some contradiction between the proposed answers, which is associated, among other things, with well-known discussions about what the purpose of literary education is. The 1st, 2nd and 4th answer options reflect the approach to the plot of the work as a kind of everyday case, and to the character of the heroes - as the character of real people, and not to the author’s fiction, albeit built on knowledge of life and observation relation to the motives of human behavior and personality traits. The 3rd and 5th options are based on the understanding of a work of art as an author's creation, in which everything, even the behavior of the characters, is subordinated to the author's intention, his ideas and values, and therefore is explained not so much by the laws of life, but by their construction on the part of the author, the laws creativity and literary imagination.

Modern schools are often reproached for ignoring the aesthetic nature of a literary text: in lessons, teachers and their students mainly retell plots and discuss the behavior of characters - as happens on television talk shows.

The gradual replacement of books with film versions of classics also speaks in favor of the fact that the literary, verbal form of works itself is no longer the most important thing when studying them at school. The survey showed that the majority shares this approach to heroes as living people, which, in general, is nothing wrong: yes, this approach is called “naive-realistic” and it is also characteristic of the perception of, say, picturesque, theatrical or cinematic arts. Even readers who do not like to read or limit themselves to reading a brief retelling are not averse to arguing about the motives for Tatyana’s refusal to Onegin. Among the most popular are the heroine’s religiosity (curiously, the first place in popularity of this version, which appeared in school textbooks relatively recently, although Pushkin himself pays almost no attention to it), respect and gratitude to her husband, as well as family duty, they also add (in descending order of popularity):

Reluctance to change anything in an established life, the maturity of the heroine - no longer a young person;

Distrust of the feelings of an unlucky lover, and even:

Revenge on him;

The absence of past feelings is what the heroine actually mourns in the final scene;

Her simplicity and inability to dissemble, her integrity of nature;

Unwillingness to build one’s happiness on the misfortune of another (the popular version of Dostoevsky - meaning Tatiana’s husband, since Onegin’s misfortune is inevitable, well, it’s his own fault, he should have thought earlier).

Other, more exotic interpretations are also offered, but even a cursory review of them shows that it is impossible to bring them together - each caring reader gets his own Tatyana, in accordance with his life experience, values ​​and preferences. An attempt to choose the most correct one will certainly turn into a fierce debate - and you need to be a school textbook to avoid disputes here: a quick review of textbooks showed us that most of them strive to give the young reader their own, consistent concept of the image of Tatyana, at best offering to compare, to for example, a critical assessment of it by Belinsky and an apologetic assessment by Dostoevsky (as if Dostoevsky, a non-contemporary of Pushkin, had the right to it - from his position, and we, today, have the right only to choose from what is available).

The second group of these answers suggests seeing the author as a master of composition: this version refutes the popular idea that for Pushkin himself Tatyana’s marriage was a surprise - since Onegin’s refusal in response to Tatyana’s confession had to be balanced with Tatyana’s refusal in response to Onegin’s confession, and thereby give them to exchange roles. This version supports the “madeness” of the novel, emphasizes its aesthetic nature - and requires the reader to be able to enjoy the author’s skill, and not just the vitality of the intrigue embodied in the novel. There is less innocence in it, it requires more analytical skills from the reader - and it is very interesting that it has surpassed in popularity the version that suggests seeing in Tatyana the embodiment of the author’s ideal of an intelligent, conscientious wife, sacrificing her heartfelt affection for the good of her husband and family (such as will soon turn out to be the chosen one of the poet’s own heart - although here, as you know, disputes do not subside).

Among other aesthetic, rather than psychological, explanations proposed by the survey participants, we can mention the reference to her prototype - Princess M. Volkonskaya, who was portrayed by Pushkin (also an aesthetic task in its own way), and the preparation of the future image of the selfless “captain’s daughter” Masha Mironova; the ideological evolution of Pushkin from Onegin to Tatiana - from the West to the East, from cosmopolitanism - to patriotism; even the author’s love for his heroine, which he is ready to give to the general (whose prototype, in fact, Pushkin himself may have been), but not to the “fashionable tyrant” Onegin. It is clear that there are many contradictions in these versions, as well as between the “organic” and “aesthetic” approaches to the image of the heroine, which does not prevent readers from combining both approaches.

Probably, this combination of two approaches - (naive-) realistic and aesthetic - is the goal of literary education: the first of them develops the emotional sphere (“I will shed tears over fiction”) and teaches empathy; the second helps to maintain the necessary distance in relation to the author’s fiction and enjoy experiences of a different, aesthetic order. But, perhaps, we should honestly admit that even among adults there is always a majority of those who are completely satisfied with the first approach, let alone ordinary schoolchildren who have the habit of opening a book at least sometimes!

And the state, regularly proclaiming through the mouth of its officials about the “educational role of the classics,” sees this educational role more in admiration for the assessment of the selfless act of married Tatyana (“traditional family values”) than in the plasticity of the “Onegin stanza” ¬¬– and will gladly sacrifice aesthetics for the sake of ethics. This is evidenced, for example, by the history of the three-year planting of the December so-called “final essay,” which reduces any work of art to a moralizing, educational and patriotic case.