In Alexander Pushkin's novel "Eugene Onegin", of course, the main in a feminine way is Tatyana Larina. The love story of this girl was later sung by both playwrights and composers. In our article, the characterization of Tatyana Larina is constructed from the point of view of her assessment by the author and in comparison with her sister Olga. Both of these characters in the work are shown as completely opposite natures. Of course, we must not forget about love line novel. In relation to Onegin, the heroine also shows us certain sides of her character. We will analyze all these aspects further so that the characterization of Tatyana Larina is as complete as possible. First, let's get to know her sister and herself.
We can talk about the main character of the novel for a very long time and a lot. But Pushkin showed the image of her sister, Olga Larina, quite succinctly. The poet considers her virtues to be modesty, obedience, simplicity and cheerfulness. The author saw the same character traits in almost every village young lady, so he makes it clear to the reader that he is bored describing her. Olga has the banal feel of a village girl. But the author presents the image of Tatyana Larina as more mysterious and complex. If we talk about Olga, then main value for her is a cheerful, carefree life. Of course, Lensky’s love is present in her, but she does not understand his feelings. Here Pushkin is trying to show her pride, which is absent if we consider the character of Tatyana Larina. Olga, this simple-minded girl, is unfamiliar with complex spiritual work, so she took the death of her groom lightly, quickly replacing him with the “love flattery” of another man.
Comparative analysis of the image of Tatyana Larina
Against the background of her sister’s rustic simplicity, Tatyana seems to us and the author to be a perfect woman. Pushkin states this quite directly, calling the heroine of his work a “sweet ideal.” A brief description of Tatyana Larina is inappropriate here. This is a multifaceted character, the girl understands the reasons for her feelings and actions, and even analyzes them. This once again proves that Tatyana and Olga Larina are absolute opposites, although they are sisters and were brought up in the same cultural environment.
Author's assessment of Tatyana's character
What kind of main character does Pushkin present to us? Tatyana is characterized by simplicity, leisurely, and thoughtfulness. Special attention the poet pays attention to such a quality of her character as belief in mysticism. Signs, legends, changes in the phase of the moon - she notices and analyzes all this. The girl loves to tell fortunes, and also gives great value dream Pushkin did not ignore Tatyana’s love of reading. Brought up on typical women's fashion novels, the heroine sees her love as if through a book prism, idealizing it. She loves winter with all its disadvantages: darkness, twilight, cold and snow. Pushkin also emphasizes that the heroine of the novel has a “Russian soul” - this important point in order for Tatyana Larina’s characterization to be as complete and understandable as possible for the reader.
The influence of village customs on the character of the heroine
Pay attention to the time in which the subject of our conversation lives. This is the first half of the 19th century, which means that the characteristics of Tatyana Larina are, in fact, the characteristics of Pushkin’s contemporaries. The character of the heroine is reserved and modest, and reading her description given to us by the poet, we can note that we learn practically nothing about the girl’s appearance. Thus, Pushkin makes it clear that it is not important external beauty, but internal character traits. Tatyana is young, but looks like an adult and an established person. She did not like children's games and playing with dolls; she was attracted to mysterious stories and love suffering. After all, the heroines of your favorite novels always go through a number of difficulties and experience suffering. Tatyana Larina's image is harmonious, dim, but surprisingly sensual. Such people are often found in real life.
Tatyana Larina in a love relationship with Evgeny Onegin
How do we see the main character when it comes to love? She meets Evgeniy Onegin, already being internally ready for a relationship. She is “waiting for... someone,” Alexander Pushkin carefully points this out to us. But don’t forget where Tatyana Larina lives. Characteristics of her love relationship depends on strange village customs. This is manifested in the fact that Eugene Onegin visits the girl’s family only once, but people around are already talking about engagement and marriage. In response to these rumors, Tatyana begins to consider the main character as the object of her admiration. From this we can conclude that Tatyana’s experiences are far-fetched and artificial. She carries all her thoughts within herself, melancholy and sadness live in her loving soul.
Tatyana's famous message, its motives and consequences
And the feelings turn out to be so strong that there is a need to express them by continuing the relationship with Evgeniy, but he no longer comes. According to the etiquette requirements of those times, it was impossible for a girl to take the first step; it was considered a frivolous and ugly act. But Tatyana finds a way out - she writes a love letter to Onegin. Reading it, we see that Tatyana is a very noble, pure person, high thoughts reign in her soul, she is strict with herself. Eugene’s refusal to accept her love girl is, of course, discouraging, but the feeling in his heart does not go away. She tries to understand his actions, and she succeeds.
Tatyana after unsuccessful love
Realizing that Onegin prefers quick hobbies, Tatyana goes to Moscow. Here we already see a completely different person in her. She overcame the blind, unrequited feeling within herself.
But Tatyana feels like a stranger, she is far from his bustle, glitter, gossip and attends dinners most often in the company of her mother. Unsuccessful made her indifferent to all subsequent hobbies of the opposite sex. The integral character that we observed at the beginning of the novel “Eugene Onegin” is shown by Pushkin as broken and destroyed by the end of the work. As a result, Tatyana Larina remained the “black sheep” in high society, but her inner purity and pride were able to help others see a true lady in her. Her aloof behavior and at the same time unmistakable knowledge of the rules of etiquette, politeness and hospitality attracted attention, but at the same time forced her to remain at a distance, so Tatyana was above gossip.
The final choice of the heroine
At the end of the novel “Eugene Onegin,” Pushkin, completing the plot, gives his “sweet ideal” a happy family life. Tatyana Larina has grown spiritually, but even in the last lines of the novel she confesses her love to Eugene Onegin. At the same time, this feeling no longer has power over her; she makes a conscious choice in favor of loyalty to her lawful husband and virtue.
Onegin also pays attention to Tatyana, “new” to him. He doesn’t even suspect that she hasn’t changed, she just “outgrew” him and “got over” her former painful love. Therefore, she rejected his advances. This is how the main character of “Eugene Onegin” appears before us. Her main character traits are strong will, self-confidence, and kind character. Unfortunately, Pushkin showed in his work how unhappy such people can be, because they see that the world is not at all what they would like. Tatyana has a difficult fate, but her desire for personal happiness helps her overcome all adversity.
We present to your attention brief description Tatiana Larina from the novel "Eugene Onegin", on which Alexander Pushkin worked for about eight years from 1823-1831.
The image of Tatyana Larina is very interesting, and it is clear that Pushkin worked a lot on her, as well as on the rest of the main characters of the novel "Eugene Onegin".
Pushkin paints the image of Tatyana Larina very clearly to the reader - Tatyana Larina is a simple provincial girl, she is “wild, sad and silent.” Tatyana is thoughtful and lonely, and it is interesting that the environment does not have a strong influence on her, because she is not proud of her connections, her parents’ belonging to the nobility, or the guests who visit their house.
The characteristics of Tatyana Larina are formed by completely different circumstances and events of her life. For example, Tatyana loves nature, she is romantic and is inspired by the novels of Rousseau and Richardson.
Characteristics of Tatyana Larina during the appearance of Evgeny Onegin
Drawing the image of Tatyana Larina, Pushkin does not resort to irony, and in this regard, the character of Tatyana is the only and exceptional one, since from her appearance on the pages of the novel to the very denouement, the reader sees only the love and respect of the poet.
You can remember these lines from Pushkin: “I love my dear Tatyana so much.”
Where the whole novel is simply permeated with the theme of love. This topic is close to everyone, which is why the work is read with ease and pleasure. Pushkin’s work introduces such heroes as Evgeny Onegin and Tatyana Larina. It is their love story that is shown to readers and we enjoy following this complex relationship. But today let's talk not about the love of heroes, but give a brief description of this wonderful girl, main character, whom the author called Tatyana.
Tatyana Larina is a sweet, kind girl from the provinces, who, although she grew up on a fairly spacious estate, did not become arrogant and did not have a sense of complacency. Tatyana is very attached to the nanny, the same woman who told different stories and fairy tales.
To give full description Tatyana, let's turn to the quotes used in the novel. They will reveal to us the image of the girl who was in love with Onegin.
Tatyana Larina characterization of the hero with quotes
So, Tanya is a little wild, more often sad and silent than cheerful. She tries to be away from the company of people, is withdrawn and prefers to be alone. Tatyana likes to be outdoors in the forest, where she likes to talk with trees, like with friends. If we continue to talk about Larina and characterize her image, then it is worth saying that Tatyana is a girl with a truly Russian nature. She has a Russian soul, she loves the Russian winter, although at the same time, like many representatives of the noble class, Tatyana does not know Russian well, but speaks it well French. She believes in fortune telling and legends, she is worried about omens.
As a child, the girl does not play with dolls and games like other children, but she is well-read, educated and smart. At the same time, she really likes to read romance novels, where the heroes comprehend fiery love. This is just such a hero from her novel that Tatyana saw in Onegin. The girl falls in love with Evgeniy and even decides to write a letter. But here we do not see frivolity in the act; on the contrary, we see the simplicity of her soul and the courage of the girl.
Like we said, she's a sweet girl. The author does not give her the image of a beauty, in which her sister Olga is shown to us. Nevertheless, Tatyana, with her sincerity, kindness of soul, and her qualities, is much more interesting than her sister. But Evgeny was immediately unable to appreciate Tatyana, wounding her with his refusal.
Time passes. Now we see Tatyana not as a timid girl, but as a married woman who no longer believes in fairy tales, knows how to behave in society, she behaves majestically and inaccessibly. Right here
Along with the image of Onegin, the image of Tatiana is the most significant in the novel. It performs an important plot and compositional function, being a counterweight to the image of Onegin in the ideological and artistic structure of the novel. The relationship between Onegin and Tatyana forms the main plotline of Pushkin's novel in verse. Tatyana is an exception from her environment. “She seemed like a stranger in her own family,” and Tatyana painfully feels this: “Imagine: I’m here alone, no one understands me.” Tatyana fell in love with Onegin because, as the poet says, “the time has come,” but it is no coincidence that she fell in love with Onegin. At the same time, Tatiana’s character developed in a completely different social environment than Onegin’s character. Tatyana, according to the poet, is “Russian in soul, without knowing why.” Tatyana (whose name, first “willfully” introduced by Pushkin into great literature, entails associations of “old times or maidenhood”) grew up, in complete contrast to Onegin, “in the wilderness of a forgotten village.” The childhood, adolescence and youth of Tatiana and Evgeny are directly opposite. Evgeniy has foreign tutors; Tatyana has a simple Russian peasant nanny, the prototype of which was his own nanny Arina Rodionovna. Tatyana dreams of a real one, great love. These dreams, as well as the formation of Tatiana’s entire spiritual world, were significantly influenced by the novels of Richardson and Rousseau. The poet tells us that his heroine “explained herself with difficulty in her native language”; She writes a letter to Onegin in French. Tatyana is a highly positive, “ideal” image of a Russian girl and woman. At the same time, the poet, with the help of a subtle artistic and psychological technique, reveals Tatiana’s “Russian soul”: the heroine’s dream, thoroughly permeated with folklore, is introduced into the novel. In the image of Tatyana, Pushkin put all those features of a Russian girl, the totality of which represents an undoubted ideal for the author. These are the character traits that make Tatyana a truly Russian, and not a secular young lady. The formation of these traits occurs on the basis of the “tradition of common folk antiquity,” beliefs, and tales. Tatyana Larina for Dostoevsky was the personification of everything Russian, national, an “ideal”, an expression of spiritual and moral strength. National poetry is included in the novel along with the image of Tatyana. In connection with it, stories about customs, “habits of dear old times,” fortune telling, and fairy-tale folklore are introduced. They contain a certain morality associated with folk philosophy. Thus, the fortune telling scene reveals philosophy female soul, Russian soul. The very idea of a betrothed is associated with the idea of duty; a betrothed is thought of as destined by fate. Folklore motives appear in Tatyana’s dreams, folk art and philosophy are presented as organically connected with her personality. Two cultures - national Russian and Western European - are harmoniously combined in her image. In the depiction of the image of Tatyana, which is so dear to the poet, no less than in the image of Onegin, one can feel Pushkin’s desire to be completely faithful to the truth of life. Tatiana, unlike Onegin, grew up “in the wilderness of a forgotten village,” in the atmosphere of Russian folk tales, “legends of common folk antiquity,” told by her nanny, a simple Russian peasant woman. The author says that Tatyana was reading foreign novels, had difficulty expressing herself in her native language, but at the same time, with the help of a subtle psychological technique, reveals her “Russian soul” (Under Tanya’s pillow there is a French book, but she sees Russian “common people” dreams). Tatyana is a poetic, deep, passionate person, thirsty for real, great love. Having become a trendsetter in the world, she not only did not lose the best features of her spiritual appearance - purity, spiritual nobility, sincerity and depth of feelings, poetic perception of nature - but also acquired new valuable qualities that made her irresistible in the eyes of Onegin. Tatyana is the ideal image of a Russian girl and woman, but an image not invented by Pushkin, but taken by him from real life. Tatyana can never be happy with an unloved person; she, like Onegin, became a victim of the world. “Nature created Tatyana for love, society recreated her,” wrote V.G. Belinsky. One of the key events of the novel is the meeting of Onegin with Tatyana. He immediately appreciated her originality, poetry, her sublimely romantic nature and was quite surprised that the romantic poet Lensky did not notice any of this and preferred his much more earthly and ordinary younger sister. Tatyana is strikingly different from the people around her. “A district young lady,” she, however, like Onegin and Lensky, also feels lonely and misunderstood in a provincial-local environment. “Imagine, I’m here alone, Nobody understands me,” she admits in a letter to Onegin. Even “in her own family” she “seemed like a stranger” and avoided playing with her peers. The reason for such alienation and loneliness is in the unusual, exclusive nature of Tatiana, gifted “from heaven” with “a rebellious imagination, a living mind and will, and a wayward head, and a fiery and tender heart.” In Tatiana’s romantic soul, two principles were uniquely combined. Akin to Russian nature and folk-patriarchal life, habits and traditions of the “dear old days”, she lives in another - a fictional, dreamy world. Tatyana is a zealous reader of foreign novels, mainly moralizing and sentimental ones, where ideal heroes act and good triumphs in the end. She prefers to wander through the fields “with a sad thought in her eyes, with a French book in her hands.” Accustomed to identifying herself with the virtuous heroines of her favorite authors, she is ready to accept Onegin, so unlike those around her, as a “model of perfection,” as if straight from the pages of Richardson and Rousseau, the hero she had long dreamed of. The “literary” nature of the situation is enhanced by the fact that Tatyana’s letter to Onegin is filled with reminiscences from French novels. However, book borrowings cannot obscure the immediate, sincere and deep feeling with which Tatyana’s letter is imbued. And the very fact of sending a message to a man she barely knows speaks of the heroine’s passion and reckless courage, resorting to fears of being compromised in the eyes of others. This letter, naive, tender, trusting, finally convinced Onegin of Tatiana’s unusualness, of her spiritual purity and inexperience, of her superiority over cold and calculating social coquettes; it revived in him the best, long-forgotten memories and feelings. And yet, to Tatyana’s passionate message, “where everything is outside, everything is free,” Onegin responds with a cold rebuke. Why? First of all, of course, because Onegin and Tatyana stand at different levels spiritually - moral development and can hardly understand each other. Tatyana actually fell in love not with Onegin, but with a certain image she composed, which she mistook for Onegin. During his explanation with Tatyana in the garden, he did not lie at all and directly, honestly, revealed everything to her as it was. He admitted that he liked Tatyana, but he was not ready for marriage, did not want and could not limit his life to the “home circle”, that his interests and goals were different, that he was afraid of the prosaic side of marriage and that family life he'll get bored. “This is not the first time he has shown the Soul direct nobility.” Tatyana's dream is "the key to understanding her soul, her essence." Replacing a direct and detailed characterization of the heroine, it allows you to penetrate into the most intimate, unconscious depths of her psyche, her mental makeup. However, it also plays another important role - prophecies about the future, for the heroine’s “wonderful dream” is a prophetic dream. In the symbolic ritual and folklore images here, almost all the main events of the subsequent narrative are predicted, foreseen: the heroine’s exit beyond the boundaries of “her” world (crossing a stream is a traditional image of marriage in folk wedding poetry). the upcoming marriage (the bear is the yuletide image of the groom), the appearance in a forest hut - the house of a betrothed or lover and recognition of his true, hitherto hidden essence, a gathering of "hellish ghosts" so reminiscent of guests at Tatiana's name day, a quarrel between Onegin and Lensky, which ended in the murder of the young poet The main thing is that the heroine intuitively perceives the demonic beginning in the soul of her chosen one (Onegin as the head of a host of hellish monsters), which is soon confirmed by his “strange behavior with Olga” on the name day and the bloody outcome of the duel with Lensky. Tatiana's dream thereby signifies a new step in her comprehension of Onegin's character. If earlier she saw in him an ideally virtuous hero, similar to the characters in her favorite novels, now she almost goes to the opposite extreme. Finding herself in Onegin’s house after the owner’s departure, Tatyana begins reading books in his village office. Unlike the novels of Richardson and Rousseau, the heroes here were cold and devastated, disappointed and selfish, heroes who commit crimes, do evil and enjoy evil. The meeting with Tatiana, the princess, makes a strong impression on Onegin. Her new appearance, manners, and style of behavior meet the strictest requirements of good taste, the highest tone and do not at all resemble the habits of the former provincial young lady. Onegin sees: she has learned noble restraint, knows how to “control herself,” he is amazed at the change that has happened to her, which seems to him absolute, complete: Although he could not have looked more diligently, But Onegin could not find traces of the former Tatyana. Onegin persistently seeks meetings with Tatyana, writes passionate love confessions to her one after another, and having lost hope of reciprocity, he becomes seriously ill and almost dies of love (in the same way, Tatyana at one time turned pale, faded and withered). Belinsky severely condemned Tatyana for the fact that she, while continuing to love Onegin in her soul, chose to remain faithful to patriarchal morals and rejected his feelings. According to the critic, family relationships“those who are not sanctified by love are extremely immoral.” Dostoevsky regarded this act of Tatyana as sacrificial. In the finale, Onegin takes Tatyana by surprise and makes an incredible discovery that amazed him so much. It turns out that Tatyana has changed only externally, internally she has remained in many ways the “old Tanya”! And such women are not capable of adultery. It is this sudden insight of Eugene that gives the final scene acute drama and bitter hopelessness. Just as Onegin until that moment did not suspect that the “old Tanya” lived in the princess, so Tatyana could not know what happened to Onegin after the duel. She believed that she had solved Onegin once and for all. For her, he is still a cold, devastated, selfish person. This explains Tatyana’s harsh rebuke, which mirrors Onegin’s cold rebuke. But Tatiana’s monologue sounds different notes. The offended woman's reproaches imperceptibly turn into a confession, striking in its frankness and fearless sincerity. Tatyana admits that success “in a whirlwind of light” weighs on her, that she would prefer her former inconspicuous existence in the wilderness of the village to her current tinsel life. Moreover, she directly tells Onegin that she acted “carelessly” by deciding to marry without love, that she still loves him and is sadly experiencing the missed opportunity for happiness. Tatyana's nature is not complex, but deep and strong. Tatyana does not have these painful contradictions that plague too complex natures; Tatyana was created as if from one solid piece, without any additions or impurities. Her whole life is imbued with that integrity, that unity, which in the world of art constitutes the highest dignity of a work of art.
Description of the presentation by individual slides:
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Plan 3. The author's attitude towards the main characters of the novel 2. Introduction 3.1 The author's attitude towards Onegin 3.2 The author's attitude towards Tatyana 3.3 The author's attitude towards Lensky 3.4 The author's attitude towards Olga 4. Lyrical digressions in the novel 5. Dialogue with the reader 6. Conclusion 1. Purpose of the presentation
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Purpose of the presentation: To prove that both in the nature of the narrative, and in the author’s statements about the characters, and in lyrical digressions reflected Pushkin's personality.
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The novel in verse “Eugene Onegin” can rightfully be considered “ business card"Russian poetry of the 19th century. Pushkin himself was convinced that Onegin was his best work. The author was jealous of his work, unusually actively defending his creation from hostile reviews and attacks. Contemporary readers recognized in the huge and pure mirror of the novel a living and burning modernity, themselves and their acquaintances, the whole environment, capital, village, neighboring landowners and serf servants. Introduction
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Pushkin's attitude towards the main characters of his novel Pushkin treats all his heroes condescendingly. He shrewdly draws attention to their mistakes and impartial actions, but also points out the nobility they showed.
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Pushkin's attitude towards Onegin The author characterizes in detail the superficial education of the hero, his commitment to secular pleasures, balls and easy victories over women - qualities that in the eyes of Pushkin's stern friends in Chisinau - the Decembrists, who called on Russian youth to struggle and heroism, could only be assessed negatively. Pushkin understands such a harsh view of his hero, but does not fully share it: his attitude towards him in the first part of the first chapter rather resembles the slight mockery with which they talk about shortcomings loved one. Onegin is drawn as smart man, disappointed with life, persecuted by fools. Onegin, an intelligent man who “lived and thought,” understood people and their society and was bitterly disappointed in them. Friend of Pushkin. The poet was at first frightened by Onegin’s harsh language, but soon appreciated the bile of his “gloomy epigrams.” Pushkin is close to Onegin’s thoughtful, critical view of literature and life in general. High demands The demands made by the hero of the novel towards everything and everyone are a sign of a deep, caring mind. This is what brings Onegin closer to Pushkin.
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Pushkin’s attitude towards Tatyana Tatyana, Pushkin’s favorite heroine, it is no coincidence that he writes: “... I love my dear Tatyana so much.” Tatiana - perfect image a Russian girl and woman, but the image is not fictitious, but taken from real life. Larina’s mysterious image can be explained by the depth of her nature, the existence of a moral core in her image. The author pays great attention to the process of developing the personality of her heroine. It is thanks to this that her image can be fully characterized. Tatyana to some extent reflects the traits of provincial young ladies of that time: she loves fortune-telling, believes in dreams and omens, but in many ways differs from the girls of her circle. Compared to other girls, including her younger sister, she seems withdrawn and values her loneliness: Alexander Sergeevich calls her friend the “thoughtfulness” that adorned the heroine’s “rural leisure time.” Alexander Sergeevich points to Larina’s “Russian soul,” it is this trait gives her the strength to maintain her moral ideal, no matter what.
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Pushkin's attitude towards Lensky Vladimir Lensky, young, romantically enthusiastic, with a large reserve of unspent mental strength, an enthusiastic altruist. Characterizing his hero, Pushkin revealed the attitude of Vladimir Lensky. It's very attractive moral purity, romantic dreaminess, freshness of feelings, freedom-loving moods. We see a dreamy person who strives to express his moods and dreams in poetry. He's alien secular society and stands out sharply against its background. The author, like no one else, understands the subtle impulses of the young poet’s soul. But Pushkin’s attitude towards Vladimir Lensky is not so clear. Recognizing it all positive traits, traits of a young romantic idealist, the poet does not see a future for such a character. Lensky dies at the hands of Onegin, thereby marking the beginning of radical changes in the fate of the protagonist.
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Pushkin's attitude towards Olga One of the main characters of the novel is Olga Larina. In Pushkin’s work, she is the embodiment of the so-called book type of “northern maiden.” Her portrait is a typical portrait of the heroine of sentimental novels, so popular at that time: Eyes, like the sky, blue, Smile, flaxen curls, Movements, voice, light figure... Olga is sweet and charming, but the author himself notes that her portrait can be found in any novel. This is the image of a painted beauty with all the traditional attributes, drawn without the slightest flaw. Her inner world as impeccable and conflict-free as appearance. However, Olga is not capable of deep and strong feelings.
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Lyrical digressions of the author in the novel “Eugene Onegin” In “Eugene Onegin” we find large and small digressions 1. Autobiographical in nature. For example, the big digression at the beginning of chapter eight about creative path the author or a very brief remark in the first chapter: “I once walked there, but the north is harmful to me.” The poet’s memories come to life about the days “when the muse began to appear to him in the gardens of the Lyceum,” about his forced exile (“will the hour of my freedom come?”). 2. Literary and polemical digressions. In them, the narrator argues about the literary language, about the use of foreign words in it, without which it is sometimes impossible to describe some things: To describe my business: But trousers, a tailcoat, a vest, All these words are not in Russian... Such digressions include, for example, the ironic characterization of the sentimental elegy in chapter six; a digression on the use of foreign words in chapter one; parodying classicism, a humorous “introduction at the end of the chapter. These polemical digressions clearly define literary position author: attitude towards classicism, sentimentalism and romanticism as obsolete trends; consistent defense of realism.
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In the novel we encounter lyrical digressions. 3.on philosophical and moral-ethical topics. Such, for example, is the XXXVIII stanza of chapter two, where a deep thought is expressed about the natural change of generations in the course of life. These kinds of digressions include discussions about friendship, relatives and family relationships in chapter four. 4. A lot of lyrical digressions present contain a description of nature. Throughout the novel we encounter pictures of Russian nature. There are all seasons here: winter, “when the joyful people of boys” cut the ice with skates; and spring is “the time of love,” and, of course, the author’s favorite autumn does not go unnoticed. Descriptions of nature are inextricably linked with the characters of the novel; they help to better understand their inner world. Repeatedly in the novel we notice the narrator’s reflections on Tatyana’s spiritual closeness with nature, with which he characterizes moral qualities heroines. Often the landscape appears as Tatyana sees it: “... she loved to warn the sunrise on the balcony” or “... through the window Tatyana saw the white courtyard in the morning.”
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5. In “Eugene Onegin” there are lyrical digressions and historical topic. Famous lines about Moscow: Moscow... how much in this sound has merged for the Russian heart! How much resonated with him! And about Patriotic War 1812, the imprint of which lay on Pushkin era, expand the historical framework of the novel. 6. It is impossible not to note the author’s descriptions of the life and morals of society of that time. The reader learns how secular youth were brought up and spent their time; albums of county young ladies even open before us. The author's opinion about balls and fashion attracts attention with the sharpness of his observation. What brilliant lines are dedicated to the theater! Playwrights, actors... It’s as if we ourselves find ourselves in “this magical land”, where “Fonvizin, the friend of freedom and the captivating Prince, shone,” we see Istomina flying like “the fluff from the lips of Aeolus.”
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Dialogues with the reader in the novel “Eugene Onegin” Thus, dialogue with the reader in the novel deepens the artistic vision of the event and the psychological essence of the characters. Dialogical contact with reality appears here as a dialogic relationship between the author and the reader. This compositionally designed dialogue permeates the entire plot fabric of the novel with many dialogic gestures, sometimes laconic, sometimes expanded into spacious replicas. An address to the interlocutor frames the novel: “Eugene Onegin” opens with a dedication and ends with the author’s farewell to the reader. The word of Pushkin's novel is wide open into the area of living dialogical contacts with the interlocutor and is unthinkable outside of these contacts. We said that, rushing to the interlocutor, artistic thought Pushkin and his word rush outward.
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Conclusion: Thus, the composition of the novel “Eugene Onegin” is unusual; a similar second novel has not been created in Russian literature. Pushkin was an innovator not only in the genre of the first realistic novel in poetry, but also in the field of language, because the author was the founder of Russian literary language. From all that has been said, it follows that in the very nature of the narrative, and in the author’s open statements about the heroes, and in lyrical digressions, “the poet’s personality was reflected... with such completeness, light and clarity, as in no other work of Pushkin” (Belinsky) . As a result, the image of the author in the novel appears very fully, with his views, likes and dislikes, his attitude to the most important issues of life.
