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The system of artistic images Eugene Onegin. The system of images of the novel "Eugene Onegin"

Lesson development on the topic:

The system of images in the novel "Eugene Onegin". "Onegin" stanza

Lesson developed by:,

teacher and literature

work experience 20 years

Topic: The system of images in the novel "Eugene Onegin". "Onegin" stanza.

Lesson type:

The study of new material (the assimilation of new knowledge: acquaintance with the characters, them; systematization of the material received - the construction of the scheme "The system of images in the novel").

The purpose of the lesson: (Slide 2)

Introduce students to the characters of the novel; show the theme of the protagonist's personal tragedy through the system of character relationships. Introduce the term "Onegin stanza".

Lesson objectives:

Educational: to continue the formation of skills to analyze a literary text; reasoned to prove their own judgment;

check the degree of formation of deep reading skills of a work of art;

Developing: to develop the creative speech activity of students through the expression of their ideas about the heroes of the work; improve the ability to analyze, prove, compare, formulate generalized conclusions; develop the culture of oral monologue speech.

Educational: to promote the formation of a spiritually developed personality, independence of thinking, creative abilities of students.

Teaching methods:

verbal, visual, search, research

Forms of student work:

frontal, group, individual

The place of this lesson in the topic, its connection with the previous lesson:

There are 5 lessons for the novel "Eugene Onegin". At the first lesson, they talked about the history of the creation of the novel, got acquainted with the main character, touched upon the topic of the personal tragedy of the main character. In this lesson, through a system of images, using the technology of active productive reading and elements of the technology of critical thinking, a clear idea of the characters and their place in the novel emerges.

Equipment: the textbook "Literature", the text of the novel "Eugene Onegin", illustrations for the work, a notebook, a multimedia presentation "Images in the novel "Eugene Onegin", a computer and a video projector with a demonstration screen.

Dictionary work: Dandy, dandy, pedant, "Onegin stanza".

Structure and course of the lesson:

I. Organizational part of the lesson. introduction teachers.

Today we will continue to study the work of the great Russian poet, we will continue our acquaintance with his outstanding novel "Eugene Onegin", with the characters, their relationships.

Before we start learning new material, let's review what we've learned so far.

II. Actualization of basic knowledge. (orally)

Purpose: to test the assimilation of knowledge about the history of the creation of the novel.

Reception "True - False".

Is it true that the great poet of the nineteenth century? Is it true that "Eugene Onegin" is a novel in verse? It is true that Eugene Onegin, main character novel, lived in Moscow? Is it true that he does not sympathize with his hero at all? Is it true that Eugene Onegin in the novel is constantly looking for the meaning of life? Is it true that Eugene Onegin is the type of young man of the early nineteenth century?

Is the last question difficult? To answer it, let's turn to the topic of our lesson (recording the topic of the lesson in a notebook). It is during the lesson that we will answer this question.

III. The word of the teacher about the novel.

Indeed, the novel "Eugene Onegin" is a unique work that reflects all the features of that era, that time. The heroes are shown in real life circumstances, in the conditions of the so-called life truth. Let's get acquainted with the heroes of this text, as representatives of that era, let's see what worried them, what they thought, what they aspired to.

3.1. The system of images in the novel. Work with text.

Purpose: to check the degree of formation of skills in deep reading of a work of art.

A) Eugene Onegin (Slide 3)

(Eugene Onegin is the main character of the novel. He is present in all storylines. The text tells about him, his life).

Through whose eyes is the hero shown to us?

(Chapter 1. A friend of the Author. Ready to endure an unloved uncle for the sake of an inheritance. Evgeny's father squandered his fortune. Onegin - “a young rake”, “smart, sweet” - epithets. A secular young man. A typical representative of the “high society”. fashion." "How a London dandy is dressed." A dandy, a pedant.

Vocabulary (Slide 4)

Who is dandy, dandy, pedant? (Individual homework for the student was to look up the meaning of these words in the explanatory dictionary).

(Dandy in this context (in the notes to the novel) is a dandy.

A dandy is a person who likes to dress up, a dandy.

A pedant is one who is unnecessarily strict in fulfilling all formal requirements. That is, it is important for him to take into account all the formalities).

How does he feel about the duties of a person from the “high society”: visiting the theater, ball, ballet?

(He has been bored with all the balls, theaters, ballets for a long time. Everywhere he yawns, he wants to go home quickly. And he is also bored at home, he is tired of everything, he is tormented by the “Russian melancholy”, “he has completely cooled off to life”).

We briefly write down in notebooks the characteristics of Eugene Onegin. (Attachment 1)

Briefly write down the characteristics of the Author in notebooks.

C) Describe the character. The class is divided into 3 groups.

Purpose: to develop the creative speech activity of students through the expression of their ideas about the heroes of the work

Within 3 minutes, each of the groups talks about their hero, using the OK “Hero Characteristics Plan” (Appendix 1).

Members of other groups listen carefully, writing down the main thing about the hero in a notebook.

Group 1 - Vladimir Lensky (Slide 6)

Group 2 - Tatyana Larina (Slide 7)

Group 3 - Olga Larina (Slide 8)

3.2. Problematic question for all groups.

Purpose: to improve the ability to analyze, prove, compare, formulate generalized conclusions.

All the characters in the novel are miserable in their own way. What is the problem with each of them? Using the fishbone technique, find the problem and find out the cause and effect relationships.

The top fins are arguments or reasons.

The lower fins are facts from the work that support the arguments.

A representative of each team gives a detailed answer.

IV. Systematization of new material.

Purpose: to promote independence of thinking, the ability to formulate conclusions.

Let's draw up a diagram, which we will call: "The system of images in the novel" Eugene Onegin ". (Slide 9)

(In the center of the scheme - Eugene Onegin, down 2 arrows - Tatyana Larina, Vladimir Lensky - an arrow from him - Olga Larina, and below all these arrows - the image of the Author, which tells and evaluates all the characters).

It can be seen from the diagram that the main character of the novel is Eugene Onegin. He is a typical representative of the secular youth of that time. Youth is such a wonderful time! But is he happy?

(No, he is tired of everything, he has no goal, no family, no friends, he is indifferent to everything).

Conclusion: Eugene Onegin is a bright representative of the young nobility, the "high society". Aimless, indifferent, bearer of personal tragedy. But this is a tragedy for the entire society in which he lives. The task of the realist writer is to show all the problems of this society without embellishing them - which he brilliantly coped with in the novel "Eugene Onegin".

V. Poetic minute. (Slide 10,11)

Purpose: to develop the poetry of speech, to promote the formation of a spiritually developed personality.

Expressive recitation by heart of an excerpt from the novel "Eugene Onegin". "Tatyana's Letter" (read by a student), "Onegin's Refusal" (read by a student). (against the music of F. Liszt "Dreams of Love", Albinoni "Adagio").

VI. Analysis of the concept of "Onegin stanza". (Slide 12.13)

"Eugene Onegin"Looks like a novel - improvisation. The effect of a relaxed conversation with the reader is created primarily by the expressive possibilities of iambic tetrameter, Pushkin's favorite meter, and the flexibility of the "Onegin" stanza, created by Pushkin specifically for the novel, which includes 14 verses of iambic tetrameter with strict rhyming AbAb CCdd EffE gg (capital letters denote female endings, lowercase male endings) .

The work of the student at the blackboard is the recording of the first stanza of the novel. The rest write in notebooks.

"Onegin stanza" consists of 14 lines, which are divided into 3 quatrains and the final couplet in different ways of rhyming:

Lines 1-4: a-b-a-b - cross rhymes

5-8: v-v-d-d - adjacent rhymes

9-12: d-e-e-d - girdle rhymes

13-14: f-f - adjacent rhymes.

But it's not just the rhyme. The number of syllables in each stanza is the same.

Lines 1-4: 9-8-9-8

Conclusion: rhyming lines have the same number of syllables.

Each stanza usually begins with the coverage of a new topic, and the author's remarks, lyrical inserts conclude it. The whole novel is written in this way, with the exception of Tatiana's letter to Onegin, Onegin's letter to Tatiana, and the song of the girls.

VII. Reflection.

Reception "Sinquain" individual independent task (Appendix 2) (read 2-3 sinkwine).

Write a cinquain dedicated to your favorite image from the novel "Eugene Onegin".

VIII. Summing up the lesson. Grades. (Slide 14)

IX. Homework. (Slide 15)

Answer the question in writing:

What does Tatyana write about in a letter to Onegin?

Individual task (to answer the question in writing):

References:

1., Egorova lesson developments in literature. . M.: VAKO, 2007. - 416 p.

Lotman "Eugene Onegin". A comment. L., 1980.

Attachment 1

Basic abstract (OK)

Characteristics plan of a literary hero.

1. Determining the place of the hero among other characters.
2. The degree of participation and its role in the conflict.
3. Name analysis.
4. Portrait. Appearance, as it is given by the author and in the perception of other characters.
5. Speech characteristic.
6. Description of household items, housing, clothing, living conditions as a means of self-expression of the hero.
7. Family, upbringing, life history. Occupation.
8. Character traits. The evolution of personality in the process of plot development.
9. Actions and motives of behavior in which the hero manifests himself most clearly.
10. Direct author's characteristic. Attitude towards the hero of other characters of the work.
11. Comparison with other characters or literary hero of another author.
12. Evaluation of a literary character by his contemporaries.
13. A hero as a product of his era and an exponent of a certain worldview. Definition of typical and individual in a literary hero.
14. Your personal attitude towards the character and this type of people in life.

Appendix 2

Cinquain is a five-line poem.

It is used as a method of material synthesis. The conciseness of the form develops the ability to summarize information, to express an idea in a few meaningful words, capacious and concise expressions.

"Sinquain" (from the English. "Way of thought") has a certain scheme.

Noun. There are two adjectives (participles are allowed). Three verbs (explanations are allowed). A four word sentence. Noun (conclusion, generalization).

Plot. "Onegin" stanza

The purpose of the lesson: familiarity with the system of images, features of the plot of the novel, training in working with the reference scheme.

Vocabulary work: plot, composition, digression, conflict.

During the classes

I. Conversation and implementation of homework

Try to determine the role of secondary and extra-plot characters?

(Onegin was destined for the role of the central character, who, like a magnet, would “attract” heterogeneous life and literary material. The silhouette of Onegin and the silhouettes of other characters, barely outlined plot lines, gradually cleared up as the work on the novel progressed. From under the thick layers of rough notes appeared ( the contours of the fates and characters of Onegin, Tatyana Larina, Lensky were “finished”), a unique image was created - the image of the author.

The portrait of the author is hidden. Try to imagine his appearance - except white spot, nothing will appear in front of you. We know a lot about the author - about his fate and the spiritual world, about literary views and even about the wines that he loves. But the author in "Eugene Onegin" is a man without a face, without appearance, without a name.

The author is the narrator and at the same time the "hero" of the novel. The author reflected the personality of the creator of "Eugene Onegin". Pushkin gave him much of what he experienced, felt and changed his mind himself. However, identifying the author with Pushkin is a gross mistake. It must be remembered that the author is an artistic image. The relationship between the author and Pushkin, the creator of the novel, is exactly the same as between the image of any person in a literary work and his prototype in real life. The image of the author is autobiographical, this is the image of a person whose "biography" partially coincides with the real biography of Pushkin, and the spiritual world and view of literature are a reflection of Pushkin's.)

II. Working with a reference diagram

Dramatic destinies reflect the destinies of the best people of Pushkin's time.

Invisibly present always and everywhere;

Takes part in the fate of the heroes;

Shares with the reader his thoughts and feelings;

Discusses the manners and morals of society.

III. Listening to a pre-prepared task. The role of secondary characters

IV. Working with a reference diagram

1st feature:

serves for the development of the main does not develop, helps

Tatyana's novel's conflict to understand Onegin

2nd feature:

The main character - narrator .

3rd feature. The image of the narrator pushes the boundaries of the conflict: the novel includes the Russian life of that time in all its manifestations.

V. Working with text

Onegin and Tatyana as heroes of the main storyline. Two meetings - two letters.

Describe Eugene Onegin. Pushkin found a new type of problematic hero - the "hero of time".

(Eugene Onegin became such a hero. His fate, character, relationships with people are determined by the totality of the circumstances of modern reality, outstanding personal qualities and the range of “eternal”, universal problems that he faces. Onegin’s personality was formed in the St. Petersburg secular environment. In a detailed background ( chapter 1) Pushkin noted the main social factors that determined its character. This is belonging to the highest stratum of the nobility, the usual upbringing, training, the first steps in the world, the experience of a "monotonous and motley" life for eight years. The life of a “free” nobleman, not burdened by service, is vain, carefree, full of entertainment and love affairs, fits into one tiring day. Onegin in his early youth - "having fun and luxury a child", "a kind fellow, / Like you and me, like the whole world." At this stage of his life, Onegin is an original, witty person in his own way, a "small scientist", but still quite ordinary, dutifully following the secular "decency crowd".)

What is the difference between Onegin and others like him?

(The character and life of Onegin are shown in movement, development. Already in the first chapter we see a turning point in his fate: he was able to abandon the stereotypes of secular behavior, from the noisy, but internally empty "ritual of life." Pushkin showed how from a faceless, but demanding the unconditional obedience of the crowd, a bright, outstanding personality suddenly appeared. Social instinct suggested to the poet that it was not life "on the old model", but precisely the ability to overthrow the "burden" of its conditions, "leave behind the hustle and bustle" - the main sign of modern man.)

Remember Onegin's seclusion - his undeclared conflict with the world in the 1st chapter and with the society of the village landowners in the 2-6th chapters - is it just a "fad" caused by purely individual reasons: boredom, "Russian blues", disappointment in "science tender passions?

(This is a new stage in the hero’s life. Pushkin emphasizes that Onegin’s “inimitable strangeness” is a kind of protest against social and spiritual dogmas that suppress the personality in a person, depriving him of the right to be himself. The emptiness of the hero’s soul was the result of the emptiness and meaninglessness of secular life. new spiritual values, a new path: in St. Petersburg and in the countryside, he diligently reads books, tries to write, communicates with a few congenial people (among them the author and Lensky). ".)

How did Onegin prove himself in his relationship with Tatyana?

(In relations with Tatyana, Onegin showed himself to be a noble and mentally subtle person. He managed to see in the “maiden in love” genuine and sincere feelings, lively, and not bookish passions. You can’t blame the hero for not responding to Tatyana’s love, - "You can't command your heart, as you know. But the fact is that Onegin listened not to the voice of his heart, but to the voice of reason. Even in the first chapter, the author noted in Onegin a "sharp, chilled mind" and an inability to have strong feelings. Onegin is cold, rational man. This spiritual disproportion caused the drama of failed love. Onegin does not believe in love and is not capable of falling in love. The meaning of love is exhausted for him by the "science of tender passion or the" domestic circle ", limiting the freedom of man.)

And what can be said about the friendship between Onegin and Lensky? How did it end?

(Onegin also could not stand the test of friendship. And in this case, the cause of the tragedy was his inability to live a life of feelings. No wonder the author, commenting on the state of the hero before the duel, remarks: “He could have discovered feelings, / And not bristle like a beast.” And on Tatyana's name day, and before the duel, Onegin showed himself to be a "ball of prejudice", deaf to the voice of his own heart, and to the feelings of Lensky. His behavior at the name day is the usual "social anger", and the duel is a consequence of indifference and fear of the evil-speaking of the "old duelist" Zaretsky and neighbors-landowners. Onegin did not notice how he became a prisoner of his old idol - "public opinion". After the murder of Lensky, Onegin was seized by "anguish of heart remorse". Only tragedy could open to him a previously inaccessible world of feelings.)

What is the significance of the meeting of Tatyana and Onegin in St. Petersburg?

(This is a new stage in Onegin's spiritual development. Having met Tatyana in St. Petersburg, Onegin was completely transformed. Nothing remained of the former, cold and rational person in him - he is an ardent lover, not noticing anything except the object of his love (and this is very reminiscent of Lensky Onegin experienced a real feeling for the first time, but it turned into a new love drama: now Tatyana could not answer his belated love.)

Please note that, as before, in the foreground in the characterization of the hero is the relationship between reason and feeling. Now the mind has been defeated: Onegin loves, godfather not listening to strict penalties. He “almost lost his mind / Or became a poet,” the Author remarks, not without irony. In the eighth chapter there are no results of the spiritual development of the hero who believed in love and happiness. Onegin did not achieve the desired goal; there is still no harmony between feeling and reason in him. Pushkin leaves his character open, incomplete, emphasizing Onegin's very ability to drastically change value orientations and, let us note, readiness for action, for action.

(Love and friendship for Pushkin are two touchstones on which a person is tested, they reveal the richness of the soul or its emptiness. Onegin closed himself off from the false values of the “empty light”, despising their false brilliance, but neither in St. Petersburg nor in the village did he discover The author showed how difficult it is for a person to move towards simple and understandable, it would seem, life truths, what trials he must go through in order to understand - both with his mind and heart - the greatness and significance of love and friendship. inspired by upbringing and idle life, through rational demonic nihilism, which denies not only false, but also true life values, to the discovery of love, the high world of feelings - this is the path of the hero's spiritual development that Pushkin draws.)

Pay attention to how “public opinion” is reflected in the characteristics of Onegin (chapters 1, 3, 8). (Lensky (chapters 2, 4, 6), Tatyana Larina (chapters 2, 3, 5, 7 and 8).)

(The appearance of Onegin, Tatyana Larina, Lensky is made up not only of the characteristics, observations and assessments of the author - the creator of the novel, but also of rumors, gossip, rumors. Each character appears in a halo of public opinion, reflecting the points of view of various people: friends, acquaintances, relatives, neighbors-landlords, secular gossips. Society is a source of rumors about heroes. For the author, it is a rich set of everyday "optics", which he turns into artistic "optics". The reader is invited to choose the view of the hero that is closer to him, seems to be the most The author, recreating the picture of opinions, reserves the right to place the necessary accents, gives the reader social and moral guidelines.)

VI. Analysis of the concept of "Onegin stanza"

"Eugene Onegin" Looks like an improvisational novel. The effect of a casual conversation with the reader is created primarily by the expressive possibilities of iambic tetrameter, Pushkin's favorite meter, and the flexibility of the "Onegin" stanza, created by Pushkin specifically for the novel, which includes 14 verses of iambic tetrameter with strict rhyming AbAb CCdd EffE gg(capital letters denote feminine endings, lowercase letters denote masculine endings). The author called his lyre "talkative", emphasizing the "free" nature of the narration, the variety of intonations and styles of speech - from the "high", bookish, to the colloquial style of ordinary village gossip about haymaking, about wine, about the kennel, about one's relatives.

14 lines: 4+4+4+2. This is not a sonnet: quatrains I and II do not have a through rhyme, each quatrain has its own rhyming system (cross, ring, pair), the stanza ends with a couplet (couplet):

Stored many pages a

Sharp nail mark; b - cross

The eyes of an attentive girl

Aimed at them alive b

Tatyana sees with trembling. c

What thought, remark c - steam room

Onegin was amazed, d

What did he silently agree to d

In their fields she meets e

The features of his pencil f - donut

Everywhere Onegin's soul f

expresses itself involuntarily e

Now with a short word, then with a cross, g is a verse

That with a question hook ... g

The Onegin stanza, written in iambic 4-foot, is a flexible form. It allows you to convey a variety of intonations:

Epic, narrative:

More cupids, devils, snakes

They jump and make noise on the stage;

More tired lackeys

They sleep on fur coats at the entrance;

Haven't stopped stomping yet

Blow your nose, cough, hiss, clap...

And Onegin went out;

He goes home to get dressed.

Conversational.

The whole novel is written in the Onegin stanza, with the exception of some inserted elements: the letters of Tatyana and Onegin and the songs of the girls.

The origin of the Onegin stanza.

"Eugene Onegin" is an experimental novel. Belinsky said that this was "a novel in verse, when there was no decent novel in prose." The genre of "free novel" in conjunction with the Onegin stanza allows a smooth transition from epic narration to lyrical digressions.

One of the hypotheses: a competition was announced for the best design of the Cathedral of Christ the Savior. The young architect Witberg proposed his project. It is assumed that Witberg's plan is encoded in the Onegin stanza.

The compositional role of the stanza. A stanza is a unit of composition.

Each stanza is a small work complete in meaning and form. But there are stanzas that seem to be unfinished, their ending is transferred to the next stanza. Thus, the author draws the reader's attention to this or that action, this or that thought.

For example, Tatyana's "escape" in the third chapter (XXXVIII-XXXIX).

Each Onegin stanza is a certain element in the movement of the plot.

Homework

1. According to the collection of selected lyrics by M. Yu. Lermontov, find poems written in various periods of creativity (in accordance with the table of the textbook-reader).

2. Memorize excerpts-letters from Onegin and Tatyana (at the choice of students).

3. Prepare for the final test on the work of A. S. Pushkin.

Information for the teacher

Lensky and Tatyana Larina are not only plot partners of the title character. These are full-blooded images of contemporaries, in whose fate the century was also “reflected”.

The romantic and poet Lensky seems to be the spirits and social antipode of Onegin, an exceptional hero, completely cut off from everyday life, from Russian life. Worldly inexperience, the ardor of loving feelings for Olga, the "rivers" of elegies written in the spirit of "dull romanticism" - all this separates the eighteen-year-old landowner from the former St. Petersburg rake. The author, reporting on their acquaintance, first raises the differences between them to an absolute degree (“They came together. Wave and stone, / Poetry and prose, ice and fire, / Not so different from each other”), but immediately indicates what exactly “ mutual differences" they liked each other. There was a paradoxical friendship "from nothing to do."

Not only extremes connected the heroes - there is a lot in common between them. Onegin and Lensky are alienated from the landlord environment, each of them expresses one of the tendencies of Russian spiritual life: Onegin - disappointment and skepticism, Lensky - romantic daydreaming and an impulse towards the ideal. Both tendencies are part of European spiritual development. Onegin's idols are Byron and Napoleon. Lensky is an admirer of Kant and Schiller. Lensky is also looking for the purpose of life: “The purpose of our life for him / Was a tempting riddle, / He puzzled over it! And I suspected miracles. And most importantly, the character of Lensky, like the character of Onegin, is disharmonious, incomplete. The sensitive Lensky is as far from Pushkin's ideal of human harmony as the rationalist Onegin.

With Lensky, the novel includes the themes of youth, friendship, cordial "ignorance", devotion to feelings, youthful courage and nobility. In an effort to protect Olga from the "corruptor", the hero is mistaken, but this is a sincere delusion. Lensky is a poet (another poet in the novel is the author himself), and although there is a lot of irony, good-natured ridicule, banter in the author's commentary on his poems, the author notes in them the authenticity of feelings and wit:

Not madrigals Lensky writes

In Olga's album young,

His pen breathes love

Not coldly shines with sharpness;

What neither sees nor hears

About Olga, he writes about that

and full of living truth,

The elegies flow like a river.

The unusual nature of the hero is explained by the author from a social standpoint. Lensky's soul did not fade from the "cold debauchery of the world", he was brought up not only in "Germany foggy", but also in the Russian village. There is more Russian in the "half-Russian" dreamer Lensky than in the crowd of surrounding landowners. The author sadly writes about his death, twice (in the 6th and 7th chapters) leads the reader to his grave. The author is saddened not only by the death of Lensky, but also by the possible impoverishment of youthful romanticism, the hero's growing into the inert landlord environment. With this version of Lensky's fate, the fates of the lover of sentimental novels Praskovya Larina and the "village old-timer" Uncle Onegin ironically "rhyme".

Tatyana Larina is the "cute ideal" of the author. He does not hide his sympathy for the heroine, emphasizing her sincerity, depth of feelings and experiences, innocence and devotion to love. Her personality manifests itself in the sphere of love and family relationships. Like Onegin, she can be called a "genius of love." Tatyana is a participant in the main plot action of the novel, in which her role is comparable to the role of Onegin.

The character of Tatiana, like the character of Onegin, is dynamic, developing. Usually, attention is paid to a sharp change in her social status and appearance in the last chapter: instead of a village young lady, direct and open, Onegin faced a majestic and cold secular lady, a princess, “the legislator of the hall.” Her inner world is closed to the reader: Tatyana does not utter a word until her final monologue. The author also keeps a “secret” about her soul, limiting herself to the “visual” characteristics of the heroine (“How severe! / She doesn’t see him, not a word with him; / Oh! how she is now surrounded / by Epiphany cold!”) However, in chapter 8 and the third final stage of the spiritual development of the heroine. Its character changes significantly already in the "village" chapters. These changes are connected with her attitude to love, to Onegin, with ideas about duty.

In chapters 2-5, Tatyana appears as an internally contradictory person. Genuine feelings and sensitivity, inspired by sentimental novels, coexist in it. The author, characterizing the heroine, points first of all to the circle of her reading. Novels, the author emphasizes, "replaced everything" for her. Indeed, dreamy, alienated from her friends, so unlike Olga, Tatyana perceives everything around her as a novel that has not yet been written, she imagines herself as the heroine of her favorite books. The abstractness of Tatyana's dreams is shaded by a literary and everyday parallel - the biography of her mother, who also in her youth was "mad about Richardson", loved "Grandison", but, having married "involuntarily", "was torn and cried at first", and then turned into an ordinary landowner. Tatyana, who was expecting "someone" similar to the heroes of novels, saw in Onegin just such a hero. “But our hero, whoever he was, / Surely it was not Grandison,” the author ironically. The behavior of Tatyana in love is based on the novel models known to her. Her letter, written in French, is an echo of the love letters of the heroines of the novels. The author translates Tatyana's letter, but his role as a "translator" is not limited to this: he is constantly forced, as it were, to release the true feelings of the heroine from the captivity of book templates.

A revolution in Tatyana's fate takes place in the 7th chapter. External changes in her life are only a consequence of the complex process that went on in her soul after Onegin's departure. She was finally convinced of her "optical" deception. Restoring the appearance of Onegin according to the “traces” left in his estate, she realized that her lover was an utterly mysterious, strange person, but not at all the one she took him for. The main result of Tatyana's "research" was love not for a literary chimera, but for a genuine Onegin. She completely freed herself from bookish ideas about life. Finding herself in new circumstances, not hoping for a new meeting and reciprocity of her lover, Tatyana makes a decisive moral choice: she agrees to go to Moscow and get married. Note that this is a free choice of the heroine, for whom "all lots are equal." She loves Onegin, but voluntarily submits to her duty to her family. Thus, the words of Tatyana in the last monologue: “But I am given to another; / I will be faithful to him for a century ”- news for Onegin, but not for the reader: the heroine only confirmed the choice made earlier.

One should not oversimplify the question of the influence on Tatyana's character of the new circumstances of her life. In the last episode of the novel, the contrast between secular and "domestic" Tatyana becomes obvious: "Who would have known the former Tanya, poor Tanya / Now I would not recognize the princess!" However, the heroine's monologue testifies not only to the fact that she has her former spiritual qualities, fidelity to love for Onegin and her conjugal duty. Onegin's Lesson is full of unfair remarks and absurd assumptions. Tatyana does not understand the feelings of the hero, seeing in his love only secular intrigue, a desire to drop her honor in the eyes of society, accusing him of self-interest. Onegin's love is "littleness" for her, "a petty feeling," and in him she sees only the slave of this feeling. Again, as once in the village, Tatyana sees and "does not recognize" the real Onegin. Her false idea of him was generated by the world, by that “oppressive dignity”, the methods of which, as the author noted, she “soon adopted”. Tatyana's monologue reflects her inner drama. The meaning of this drama is not in the choice between love for Onegin and fidelity to her husband, but in the “corrosion” of feelings that occurred in the heroine under the influence of secular society. Tatyana lives with memories and is not able to at least believe in the sincerity of a person who loves her. The disease, from which Onegin was so painfully freed, also struck Tatyana. “Empty Light”, as if reminded by the wise author, is hostile to any manifestation of a living, human feeling.

The main characters of "Eugene Onegin" are free from predeterminedness, one-linearity. Pushkin refuses to see in them the embodiment of vices or "exemplary perfection". The novel consistently implements new principles for depicting characters. The author makes it clear that he does not have ready-made answers to all questions about their destinies, characters, psychology. Rejecting the role of the “omniscient” narrator, traditional for the novel, he hesitates, “doubts”, sometimes inconsistent in his judgments and assessments. The author, as it were, invites the reader to complete the portraits of the characters, imagine their behavior, try to look at them from a different, unexpected point of view. For this purpose, numerous "pauses" (missing lines and stanzas) are also introduced into the novel. The reader must "recognize" the characters, correlate them with their own lives, with their thoughts, feelings, habits, superstitions, read books and magazines.

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Slides captions:

Plot. composition of the novel. "Onegin stanza".

System of artistic images. Onegin Tatyana Lensky They represent a certain category of society "high society" Patriarchal nobility nobility They are examples of a certain moral, spiritual, literary type. "extra person" ideal of the "Russian soul" "romantic consciousness" __________________________________________________________ United by the author = character

Plot. 1 feature: Onegin - Tatyana Lensky - Olga Serves for the development of the main one does not develop, helps the conflict of the novel Tatyana understand Onegin 2 feature: the main character is the narrator = Onegin's companion, the antipode of Lensky - the poet's defender of "Dear Tatyana" = lyrical digression - the main part of the plot

"Onegin stanza". 14 verses in iambic tetrameter (4+4+4+2) Strict rhyme (cross, pair, ring, couplet) Flexible form that allows you to convey a variety of intonations (epic, narrative, colloquial) The entire novel is written in Onegin stanza, with the exception of some inserted elements: letters Tatyana and Onegin and songs of girls.

There are two storylines in the novel: Onegin - Tatyana: Acquaintance - evening at the Larins. Conversation with the nanny, a letter to Onegin. Two days later, an explanation in the garden. Dream of Tatyana. Name day. Tatyana comes to Onegin's house. Departure to Moscow. Meeting at a ball in St. Petersburg two years later. Evening at Tatiana's. Letter to Tatyana. Explanation. 2) Onegin - Lensky. Acquaintance in the village. Conversation after the evening at the Larins. Tatyana's birthday. Duel.

Composition of the plot: Chapter one - a detailed exposition. Chapter two is the beginning of the second storyline. Chapter three is the beginning of the first storyline. Chapter six - the culmination and denouement of the II line (duel). Chapter eight is the denouement of the I storyline.

1) The basic principle of the organization of the novel is symmetry (mirroring) and parallelism. symmetry - repetition of one plot situation in chapters III and YIII6 meeting - letter - explanation. parallelism - two letters: waiting for an answer - the reaction of the addressee - two explanations. 2) The axis of symmetry is Tatyana's dream. 3) The main compositional unit of the novel is the chapter.

On the topic: methodological developments, presentations and notes

Lesson - acquaintance with the main character of the novel by A.S. Pushkin "ONEGIN, MY GOOD FRIEND"

Lesson-acquaintance with the main character of the novel by A.S. Pushkin The presentation presents illustrations for the novel by A.S.

Purpose: to acquaint students with the history of the creation of the novel, its genre specifics, plot and compositional originality, the principle ...

The system of images of the novel "Eugene Onegin" Who can be considered the main character of the novel? The role of secondary characters. The role of the author in the novel

With the same t Onegin-Tatyana 1st feature Serves for the development of the main conflict of the novel Lensky-Onegin 1st feature Does not develop, helps Tatyana to understand Onegin.

2nd feature - the main character - the narrator.

3rd feature The image of the narrator pushes the boundaries of the conflict: the novel includes Russian life of that time in all its manifestations.

Work with text. Onegin and Tatyana as heroes of the main storyline Two meetings - two letters Pushkin found a new type of problematic hero - the "hero of time" In chapter 1, Pushkin noted the main social factors that determined his character.

Onegin "having fun and luxury a child", a kind fellow, like you and me, like the whole world. Belonging to the highest stratum of the nobility; upbringing; Education; First steps in the light; The experience of a "monotonous and colorful" life for eight years. Ordinary, obediently following the light by the "decency crowd"

What is the difference between Onegin and others like him The character and life of Onegin are shown in movement, development; From the faceless, but demanding obedience crowd, a bright personality appeared. To be left behind the hustle and bustle is the main sign of modern man.

Onegin is looking for new spiritual values, a new path. In St. Petersburg and in the countryside, he diligently reads books; Tries to write Communicates with a few people close to him (among them the author and Lensky) In the village, he even tried to “establish a new order”, corvee “to replace easy dues”

How does Onegin manifest himself in his relationship with Tatyana? As a noble and mentally subtle person; He managed to notice in the “maiden in love” genuine feelings, live, and not bookish passions; Onegin listened not to the voice of his heart, but to the voice of reason; Mental disproportion caused the drama of failed love. The meaning of love is exhausted for him by the "science of tender passion" or the "home circle" that limits the freedom of man.

What can be said about the friendship between Onegin and Lensky? How did it end? His behavior on the name day is the usual "social anger" The duel is a consequence of indifference and fear of the evil-speaking of the "old duelist" Zaretsky and neighbors - nuisances. Onegin did not notice how he became a prisoner of his old idol - "public opinion"

What is the significance of the meeting of Tatyana and Onegin in St. Petersburg? This is a new stage in the development of Onegin; He has completely changed; He is an ardent lover, not noticing anything except the object of his love (and this is very reminiscent of Lensky). For the first time he experienced a real feeling, but it turned into a new love drama: now Tatyana could not answer his belated love. Onegin did not achieve the desired goal, there is no harmony between feeling and reason in him.

Why does the author think about love and friendship all the time, leading Onegin through the crucible of both feelings? Love and friendship are two touchstones on which a person is tested; They reveal the richness of the soul or emptiness. The author showed how difficult it is for a person to move towards simple and understandable truths of life, what trials he must go through in order to understand both with his mind and heart - THE GREATNESS AND SIGNIFICANCE OF LOVE AND FRIENDSHIP.

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

PROBLEM:

The problems of the purpose and meaning of life are key, central in the novel, because at the turning points in history, which was the era for Russia after the December uprising, a cardinal reassessment of values takes place in the minds of people. And at such a time, the highest moral duty of the artist is to point society to eternal values, to give firm moral guidelines. The best people of the Pushkin, that is, the Decembrist, generation seem to be "leaving the game": they are either disappointed in the old ideals, or they do not have the opportunity in the new conditions to fight for them, to put them into practice. The next generation, the one that Lermontov would call "a gloomy and soon forgotten crowd," was initially "brought to its knees." Due to the peculiarities of the genre, the novel reflects the very process of reassessment of all moral values. Time in the novel flows in such a way that we see the characters in dynamics, we trace their spiritual path. All the main characters are going through a period of formation before our eyes, painfully searching for the truth, determining their place in the world, the purpose of their existence.

The search for the meaning of life takes place in different planes of existence. The plot of the novel is based on the love of the main characters. Therefore, the manifestation of the essence of a person in the choice of a lover, in the nature of feelings is the most important feature of the image, which determines his entire attitude to life. Lyrical digressions reflect the changes in the author's feelings, his ability to both light flirtation (characteristic of "windy youth") and true deep admiration for his beloved.

What in youth seemed to be a sign of limitation, spiritual and mental poverty, in mature years turns out to be the only correct, moral path. And in no case should the author be suspected of hypocrisy: we are talking about growing up, about the spiritual maturation of a person, about a normal change in value criteria:

Blessed is he who was young from his youth,

Blessed is he who has matured in time.

After all, the tragedy of the main characters stems from Onegin's inability to "ripen in time", because of the premature old age of the soul.

Love for the author and for his heroine Tatyana Larina is a huge, intense spiritual work. For Lensky, this is a necessary romantic attribute, which is why he chooses Olga, devoid of individuality, in whom all the typical features of the heroine of sentimental novels have merged. For Onegin, love is "the science of tender passion." He will know the true feeling by the end of the novel, when the experience of suffering comes.

Human consciousness, the system of life values, as you know, largely form the moral laws adopted in society. The author himself evaluates the influence of high society ambiguously. The 1st chapter gives a sharply satirical depiction of light. The tragic 6th chapter ends with a lyrical digression: the author's reflections on the age limit that he is preparing to cross. And he calls on "young inspiration" to save the poet's soul from death.

Society is heterogeneous. It depends on the person himself whether he will accept the moral laws of the cowardly majority or the best representatives of the world.

The image of "dear friends" surrounding a person in a "dead" "pool of light" does not appear in the novel by chance. Just as “the science of tender passion” has become a caricature of true love, so secular friendship has become a caricature of true friendship. “There is nothing to do friends” - this is the sentence of the author. Friendship without a deep spiritual community is just a temporary empty union. A full-fledged life is impossible without disinterested self-giving in friendship - that is why these “secular” friendships are so terrible for the author. For the author, the inability to make friends is a terrible sign of the moral degradation of modern society.

The author himself finds the meaning of life in the fulfillment of his destiny. The whole novel is filled with deep reflections on art. The image of the author in this sense is unambiguous: he is first of all a poet, his life is unthinkable outside of creativity, outside of intense spiritual work. In this he is directly opposed to Eugene. And not at all because he does not plow and sow before our eyes. He has no need for work. And the education of Onegin, and his attempts to immerse himself in reading, and his effort to write (“yawning, took up the pen”) the author perceives ironically: “Hard work was sickening to him.”

Particularly important in "Eugene Onegin" is the problem of duty and happiness. In fact, Tatyana Larina is not a love heroine, she is a heroine of conscience. Appearing on the pages of the novel as a 17-year-old provincial girl dreaming of happiness with her lover, she grows before our eyes into a surprisingly integral heroine, for whom the concepts of honor and duty are above all. Olga, Lensky's fiancee, soon forgot the dead young man: "the young lancer captured her." For Tatyana, the death of Lensky is a tragedy. She curses herself for continuing to love Onegin: "She must hate her brother's murderer in him." A heightened sense of duty dominates in the image of Tatyana. Happiness with Onegin is impossible for her: there is no happiness built on dishonor, on the misfortune of another person. Tatyana's choice is the highest moral choice, the meaning of life for her is in accordance with the highest moral criteria.

The climax of the plot is the 6th chapter, the duel between Onegin and Lensky. The value of life is tested by death. Onegin makes a tragic mistake. At this moment, the opposition of his understanding of honor and duty to the meaning that Tatyana puts into these words is especially vivid. For Onegin, the concept of "secular honor" turns out to be more significant than a moral duty - and he pays a terrible price for the allowed shift in moral criteria: the blood of a comrade he killed is on him forever.

The author compares two possible paths of Lensky: the sublime and the mundane. And for him it is more important not what fate is more real - it is important that there will be none, because Lensky was killed. For a light that does not know the true meaning of life, human life itself is nothing.

NOBILITY IN THE NOVEL:

1) Petersburg "light" - an aristocratic society - is displayed in the first and eighth chapters of the novel. Showing the emptiness of the life of a secular society. Pushkin sharply satirically draws images of his typical representatives. Here are “necessary fools”, and “angry to the gentlemen” and “ballroom dictators” and “seemingly evil” ladies, and not “smiling girls.

2) In the seventh chapter we have before us the capital Moscow nobility. It is distinguished by the inertness and conservatism of life and habits, limited interests, vulgarity and vacuity of life. Deaf province emanates from this noble Moscow.

3) The third group of nobility represented in the novel is the provincial landed nobility. Guests who have come to Tatyana Larina's name day pass in front of the readers in a long line. Here are “fat Pustyakov, Gvozdin,“ an excellent owner, owner of poor peasants, ”and the Skotinins familiar to us from the Undergrowth from the 18th century, who safely migrated to the 19th century, and“ the retired adviser Flyanov, a heavy gossip, an old rogue, a glutton, a bribe-taker and a jester ", and others. Drawing this society in Tatyana's dream in the images of various monsters, Pushkin characterizes the wild world of the provincial nobility as the embodiment of inertia, ignorance, mental dullness, blind adherence to antiquity. The poet is merciless in his satirical description of the "wild nobility".

Pushkin also speaks with irony about the "life of the peaceful" Larin family, faithful to the "habits of dear old times." Larin himself "was a kind fellow, belated in the past century"; he didn’t read books,” he entrusted the household to his wife, “and he ate and drank in his dressing gown,” and “died an hour before dinner.”

But even on the Larins' estate, for all their peaceful life and a certain closeness to the people, feudal customs reign. Just as habitually as she “salted mushrooms for the winter” and “went to the bathhouse on Saturdays”, Larina “shaved her foreheads”, i.e. gave the guilty peasants to the soldiers, and “beat the maids, getting angry”.

SKIN SYSTEM:

Onegin is a "secular St. Petersburg young man", a metropolitan aristocrat.
Drawing the image of his hero, Pushkin speaks in detail about his upbringing and education, about life in the St. Petersburg "light". “Having fun and luxury as a child,” Onegin received a home education and upbringing, typical of the aristocratic youth of that time, under the guidance of a French tutor. He was brought up in the spirit of an aristocratic culture, divorced from national and popular soil.
The corrupting influence of the "light" further removed Onegin from the people. Onegin leads a life typical of the “golden youth” of that time: balls, restaurants, walks along Nevsky Prospekt, visits to theaters. It took him eight years.
But Onegin, by his nature, stands out from the general mass of aristocratic youth. Pushkin notes his “involuntary devotion to dreams, inimitable strangeness and a sharp, chilled mind”, a sense of honor, nobility of soul. This could not but lead Onegin to disappointment in the life and interests of secular society, to dissatisfaction with the political and social situation that developed in Russia after Patriotic War 1812, during the years of increased reaction, during the years of domination of the Arakcheevshchina. Spleen and boredom took possession of Onegin. After leaving secular society, he tries to engage in some useful activity. Nothing came of the attempt to write: he did not have a vocation (“yawning, took up the pen”) and the habit of work, his lordly upbringing had an effect (“hard work was sickening to him”). An attempt to combat the "spiritual emptiness" through reading was also unsuccessful. The books that he read either did not satisfy, or turned out to be consonant with his thoughts and feelings and only strengthened them.
Onegin is trying to organize the life of the peasants on the estate, which he inherited from his uncle.

Yarem he is an old corvée
Replaced with a light quitrent ...
But all his activities as a landowner-owner were limited to this reform. Former moods, although somewhat softened by life in the bosom of nature, continue to own him.
Onegin's extraordinary mind, his freedom-loving moods and critical attitude to reality put him high above the crowd of the nobility, especially among the local nobility, and doomed him, in the absence of social activities, to complete solitude.
Having broken with secular society, in which he did not find either high morals or real feelings, but only a parody of them, and being cut off from the life of the people, Onegin loses contact with people.
Onegin could not be saved from "spiritual emptiness" and the strongest feelings that unite man with man: love and friendship. He rejected Tatiana's love, because he valued "liberty and peace" above all else, failed to unravel the full depth of her nature and her feelings for him. He killed his friend Lensky, because he could not rise above the public opinion of that local nobility, which he internally despised. Class prejudices prevailed in the hesitation that he experienced after receiving a challenge to a duel. He was frightened of the "whispers, laughter of fools," the gossip of the Zaretskys.
In a depressed state of mind, Onegin left the village. He "began wandering", but this did not dispel him.
Returning to St. Petersburg, he met Tatiana as a married woman, the wife of his relative and friend. Love for her flared up in him, but Tatyana unraveled the selfishness that underlay his feelings for her: again he did not understand the depth of her requests. The novel ends with the scene of Onegin's meeting with Tatyana. Nothing is said about the further fate of Onegin. However, Pushkin thought to continue the novel. In the autumn of 1830, he wrote the tenth chapter, in which he was going to tell about the emergence of the first secret societies of the Decembrists. But due to censorship conditions, he could not print it; moreover, it was dangerous to keep it at home. And Pushkin burned what was written that same autumn. In the poet's papers, only a few, scattered pieces of the initial stanzas of the chapter have been preserved.
How did Pushkin think to unfold the action in Chapter X? Would he have brought Onegin into the society of the Decembrists? There is evidence from one of Pushkin's acquaintances that, according to the poet, "Onegin should have either died in the Caucasus, or become one of the Decembrists." But how accurate this evidence is is unknown. In the person of Onegin, Pushkin was the first writer to portray the type of enlightened nobleman that developed in Russia in the 1920s and was widely known in the years following the defeat of the Decembrists. Onegin is a typical representative of this enlightened part of the noble intelligentsia, which was critical of the way of life of the noble society and government policy. It was the noble intelligentsia that avoided serving tsarism, not wanting to join the ranks of the silent ones, but it also stood aloof from social and political activities. And such a path, although it was a kind of protest against the socio-political system, inevitably doomed to inaction, to retreat from the people, to the closure
into a narrow circle of selfish interests. This naturally led such people to "spiritual emptiness", depriving them of their lives of a lofty goal, a positive program. Belinsky said beautifully about Onegin and thus about people of this type: “The inactivity and vulgarity of life choke him, he does not even know what he needs, what he wants, but he ... knows very well that he does not need, that he I don’t want what the conceited mediocrity is so satisfied with, so happy.”
The absence of a positive program dooms Onegin to inaction. Herzen rightly said about him:
“... The young man does not meet any lively interest in this world of servility and petty ambition. And yet in this society he is condemned to live, since the people are even more distant from him ... but there is nothing in common between him and the people ... "
The image of Onegin has a great generalizing power. “The fact is that we are all more or less Onegins, since we do not prefer to be officials or landowners,” said Herzen. The typicalness of Onegin was so strong that from that time on, according to Herzen, “every novel, every poem had its own Onegin, that is, a man condemned to idleness, useless, led astray, a stranger in his family, a stranger in his country, unwilling to do evil and powerless to do good, doing nothing in the end, although he undertakes everything, except, however, two things: firstly, he never takes the side of the government, and. secondly, he never knows how to take the side of the people.
On the image of Onegin, Pushkin showed the path that a part of the noble intelligentsia of his time followed - searching in isolation from society and from the people. Pushkin condemned this path of the individualist hero, which makes him socially useless, a "superfluous" person.

Another path followed by the noble intelligentsia of the 20s of the 19th century is revealed in the image of Lensky. This is the path of being carried away by philosophical teachings that were fashionable at that time and dreamy romantic poetry out of touch with life:
There are many excellent inclinations in Lenskoye. Pushkin points to Lensky's "noble aspiration and feelings and thoughts of the young, tall, tender, daring", "thirst for knowledge and work and fear of vice and shame."
But Lensky lacks knowledge and understanding of reality. "Dear ignoramus at heart", he perceives people and life as a romantic dreamer. Like Onegin, the society of the provincial nobility is alien to him with this narrow interests, but he idealizes Olga, an ordinary girl. Misunderstanding of people, enthusiastic daydreaming and lead Lensky to a tragic end at the first collision with reality.
Lensky is an educated, cultured person. In his conversations with Onegin, philosophical, social, and scientific questions are touched upon. Pushkin notes his "freedom-loving dreams." Lensky is a poet, a sentimental romantic. In stanza X of the second chapter, Pushkin lists the main motifs of Lensky's poetry, and in stanzas XXI and XXII of the sixth chapter, he cites his elegy as an example of romantic poetry.
Those motives that Pushkin notes in Lensky's poetry are close to Zhukovsky and other poets - sentimental romantics of that time. The motifs of "love, sadness, separation", the mysterious "something", the glorification of the "faded color of life", "foggy distance" and "romantic roses" are typical of Zhukovsky's poetry.
Such romantics as Lensky cannot withstand the blows of life: they either come to terms with the prevailing way of life, or perish at the first collision with reality. Lensky died. But if he had remained alive, then most likely he would have turned into an ordinary landowner-man in the street. He would hardly have become a major poet: this was not promised by Lensky's "languid and sluggish" poetry.

Tatyana for Pushkin is a sweet ideal. First of all, Tatyana is a whole person. The nature of the heroine is not polysyllabic, but deep and strong. It does not contain those painful contradictions that suffer too difficult natures; Tatyana was created as if all from one single piece, without any additions and impurities. Her whole life is imbued with that value, that unity, which in the world of art constitutes the highest dignity of a work of art. Tatyana's character has features that make her related to Onegin, Tatyana's nature is striking in its originality and originality. Tatyana “in her own family seemed like a stranger girl”, she feels lonely both in the village and in the highest set. The dissatisfaction of the environment makes Tatyana feel sad. Just like Onegin, Tatyana saw and understood all the vulgarity and emptiness of not only the estate, but also Moscow and St. Petersburg noble society. She wants to arrange her life not according to the customs accepted in the landowner's environment. She wants to decide her own fate, determine her life path. She wants to choose her own life partner. The heroine dreams of such a person who would bring high content into her life, who would be like the heroes of her beloved Romanos. Such a person, it seemed to her, she found in Onegin. Eugene rejected Tatyana's love. That love brought her nothing but suffering. Tatyana's tragedy was that she met a man who was an "egoist", although "suffering", a "sad eccentric", who could not bring into her life what she dreamed of.
Tatyana is a simple provincial girl, she is not beautiful and strikes the imagination with an abundance of contrasting traits in her character. Thoughtfulness and daydreaming distinguish her among the local inhabitants, she feels lonely among people who are not able to understand her spiritual needs. Tatyana's character did not change, although life brought her nothing but suffering and she did not find what she was striving for with her exalted soul. Since childhood, there was something in her character that distinguished the heroine from other girls of her circle. She did not caress her parents, played little with children, did not do needlework, was not interested in fashion. Since childhood, Tatyana lived among nature and loved it. Tatyana is trying to break out of the circle familiar to a rural young lady. She is the first! writes a letter to Onegin. Tatiana's actions are guided by her "rebellious imagination", moderated and directed by "a living mind and will". Tatyana has magnificent features: daydreaming, love of nature, romantic belief in forebodings and destiny. Attract her moral qualities: spiritual simplicity, sincerity, artlessness. The heroine also has a huge advantage: Tatyana is close to the national and popular soil. Already by the very name of the heroine, which was common at that time mainly among the common people, Pushkin wants to emphasize Tatiana's closeness to the masses. "Russian soul", according to the poet, Tatyana loved her native nature and folk customs. Through the yard girls and, especially through the nanny, she got acquainted with folk poetry and fell in love with it. Tatyana "thinks about the villagers", helps the poor. Tatyana Larina begins a gallery of beautiful images of a Russian woman, morally impeccable, faithful to duty, looking for a deeply meaningful life.
In the scene of Tatyana's last meeting with Onegin, her high spiritual qualities are even more fully revealed: moral impeccability, truthfulness, fidelity to duty, determination. Time passed, Tatyana was married, although her first love still lives in her heart. But she remains true to her duty. Onegin, so smart and subtle, could not appreciate the priceless gift of love sent to him by God in time. Proximity to the peasants, the strong influence of the nanny, brought up simplicity, sincerity, solid foundations of morality, fidelity to duty and democratic moods in Tatiana. Tatyana is a completely natural nature, she lives with feelings, and not with her mind. Having met Onegin, who so completely got used to the image of a literary hero that he stopped noticing reality, Tatyana fell in love with him. But it is also clear that their union was impossible. Life remains life, and literature remains literature, the line between them exists, and it cannot be destroyed.
We must pay tribute to the genius of Russian literature A.S. Pushkin, who managed to create such a wonderful image, faithful to duty, looking for a nature that amazes with its integrity.

The complete opposite of Tatyana is her younger sister Olga. If childhood Tatyana was “wild, sad, silent, like a doe in flight, timid”, then Olga “is always cheerful like the morning, like the life of a poet is simple-minded.” In Olga there is a lot of cheerfulness, playfulness, vitality is in full swing in her. She is always "with a clear smile on her lips", in the Larins' house her "ringing voice" is heard everywhere.
But Olga's external attractiveness and charming cheerfulness cannot hide the poverty of her spiritual world. Her nature is devoid of the originality and depth that characterize Tatiana. Olga lives thoughtlessly, guided in her life by the views and habits established in the local life of the nobility. “Always modest, always obedient,” she, without thinking deeply, follows the rules of life accepted in the nobility. She cannot understand Tatyana, Lensky's behavior and mood on the evening before the duel does not make her think. Her feelings do not differ in that depth and stability, like Tatiana's. She “did not cry for long” about Lensky and soon got married, “repeating her mother, with minor changes that the time required” (Belinsky).
Pushkin himself points out the prevalence of this type of woman both in life and in the literature of that time:
...any romance
Take it and find it, right
Her portrait...
But under Pushkin's pen, this image, although sketchy, acquired such artistic expressiveness that it influenced the creation of a number of female images in the works of later writers (for example, Marfinka in Goncharov's novel The Cliff).