Dream Tatyana Larina I bring to your attention an article " Significance of fiction. The possibilities of psychological interpretation of sleep Tatiana from Evgeny Onegin"T.V. Barlas, K. Psychol.n., - - published in " Magazinee. Practical psychology and psychoanalysis", N.December 4, 2001 All my addinthe comments are allocated in italics. Attempts to "extract material from art creativity for own research" (Leongard, 1997, p.253) are not new for psychologists; Their attractiveness and productivity are determined by the fact that many writers are excellent psychologists. In particular, Eugene Onegin was already analyzing a psychologist (heat, 1971), which showed that Pushkin did not "surveated" against psychological reliability, describing the evolution of the character of Tatiana Larina. Therefore, it is quite justified an attempt to analyze Tatiana's dream - one of the most detailed and most striking descriptions of dreams in the artistic literature (146 poetry lines) - approaching it not as a product of artistic creativity, but as the content of a "real" dream. If you consider Tatiana's dream as a material for analysis, then the most productive way is to consider most of its images as symbols and interpretation, based mainly on interpretation of characters. At the same time, we faced a question about the choice of certain "dictionary" characters from their huge variety in psychological and accidental literature. The use of two sources of symbols turned out to be quite fruitful. At the same time, it should be immediately noted that, adhering to certain interpretations, it is impossible to forget about the principal multivocities both specific characters and dreams in general (frome, 1992; Rothenberg, 2001); The possibility of multivalued interpretation of characters corresponds to both the spirit and the letter of both used sources. Multivality, the ability to extract all new and new meanings, by the way, suggests and even makes it necessary to interpret the same sleep based on other theoretical positions. Those who wish can try. (What I tried to do, relying on offeringaboute Yongian school understanding of archetypical images. ) The first of the sources used - the "Dictionary of Image" Antonio Menegetti (1991) was chosen as an option of symbols, although developed within the framework of a strictly outlined theoretical approach (ontopsychology), but a fairly generalized, suitable for use outside the theoretical context and places closed with interpretation of characters " At the level of common sense, "(for example," burning is the loss of vitality, energy consumption of a frightened "- p.41). The second source is the symbols of folklore, mostly Russian, generalized in relation to the symbolism of Sleep Tatyana Yu.M.Lotman in his comments to Evgeny Onegin (1983). (It remains only to guess to what the author was familiar with psychological works on the interpretation of dreams, but in the book published under socialism, he could not refer to them, naturally, could not). Before proceeding with the analysis of the very dream, it should be noted that the time when the dream dreamed (night from 5 to 6 January old style on the dating lotman dating) is winter shints: "Time to clarify the narrowed and first steps to conclude future marriages ... When girls, according to folklore ideas, in attempts to find out their fate come into a risky and dangerous game with unclean power "(Lotman, p.262-265). This double sleep value is the search for the groom and at the same time interacting with the "unclean force" (with its unconscious instincts, the psychologist will say) is the key to the analysis of the whole dream. So, Tatiana dreams, "... as if she
It goes on snow clearing,
The sad darkness is surrounded;
In snow bugs in front of her
Noise, Crubbles Wave Nore
Pocket, dark and gray
The flow that does not bold in the winter "" flow - an image that symbolizing the life instinct, forming life ... The character of the flow, completeness, purity, etc. denote the behavior of instincts "(Meneghetti, p.85-87). What epithets are characterized by Tatiana's instincts?" Big, dark and gray "(" gray "can be understood in the meaning of" ancient ", i would suggest - "foam", i.e. white from covering itfoam In the context of Tatiana's life, it could be understood as life-energy consuming in vain on the "foam" - dreams and dreams). Comments seem to be superfluous ... And this stream - it seems the only thing that remains unimpercene among snow and cold ... "The typical nature of the surrounding landscape / around the river / characterizes the general situation of the subject, personal and social effects ... Snow - a symbol of integrity , coldness, rigidity, sexual impotence, frigidity ... The image of a person walking on the untouched snow is a reflection of his fee of sexual contact "(ibid., p.87-91)." it statementi think very contrary to "Kipuchi" Flood. Rather" snow area landscape " It should be attributed not to the strength of the Tatiana itself, but to their ability to implementand be recognized In that situation in ksober she is, remember at least, How she rushed into the heat in bed, and the nanny "devalued" (as they would say now) the power of its throwing. Let's skip several characters on the plot of sleep to consider to the end of the "snow image". By how it describes Pushkin, it seems like snow (blizzard, snowdrift, etc.) is some kind of alive animated character (What is confirmedd.aet my hypothesis about the "snow" as a "dedicated, coldm. And the emotionally distant "surrounded by Tatiana:" In the family, the family seemed to be a native one's "): With such force, he seeks to keep the heroine, become an obstacle to the "pouring and dark" instincts:
"... no roads; bushes, dying
The blizzard is all listed,
Deep in the snow are immersed ...
Snow loose knee to her ...
Then in fragile snow with legs cute
Cut the wet shoe ...
And even tremble hand
Clothes edge to lift shakes; We notice in the way: "Clothing - behavioral, culture samples of others" (ibid., P.77) - a symbol that corresponds to the entire context of the interpretation of sleep (fear of disrupting common behavioral stereotypes). Such a struggle of two began most likely is a symbolic reflection of what Tatiana survived in the past (as for the time when she sees a dream): Her feeling to Onegin, a letter that violates all social prohibitions and traditions, behavior before a date with Onegin. And here, in a dream, it would seem, the end of the way:
"... fell into the snow." "Fall indicates a loss of life under someone's influence / under the influence of forces that symbolizes the snow - by b. / ... if a person sees that it falls - this is a reflection of the crash of his romantic aspirations or erotic passions" (ibid. pp. 78-79) - both, and the other Tatyana has already survived revealing (hearing the publication of Onegin). And in a dream other forces intervene. To understand them, return a little back in the course of sleep. So, "trembling, perfect mobble". "The bridge image can symbolize the need to resolve the problem ... The ability to solve the created situation can be represented as promotion over the bridge and reaching the opposite shore" (ibid., P.69). The transition through the bridge can then be compared with the letter of Tatiana in the plot of the novel. The name "Problems", which Tatiana wants to solve (although it is already obvious without it) we find at the lotman: "Crossing through the river - a steady marriage symbol" (Lotman, p.269). In this case, the dream is a desire to fulfill - almost classical, Freud. At the same time, Lotman indicates, the world of "unclean strength" (unconscious instincts), with which most of the symbols of sleep and the entire atmosphere of the sinic fortunes are stably associated - "the world, in relation to everyday / conscious -? -T.B. /, inverted. .. And the forest wedding ... could be interpreted as death, the abduction of the unclean force "(ibid., p.267). In accordance with this, "the transition across the river is also a symbol of death, / which is well consistent with Pushkin epithet" Perfect Mosts "- T.B. / ibid, p.270). Familiar psychologists ideas connect opposites and meaningful sleep symbols in the entire fullness are represented by Pushkin. To this I would like to add that the "bridge" can be understood as the connection of opposites, then, What the poem says "Mostok", may indicate the brittleness of this compound, which for the consciousness of the heroine can really be "disastrous", that isgreatdanger upon contact with unconscious forces to be smithinoh their affective force. Another meaningful symbol is a bear who "grabs and carries" Tatiana fallen in the snow: "Bear to see in a dream foreshadows or marriage ... In the wedding rites, good," its own ", human nature of the character, in fabulous, is mainly revealed. representing his owner of the forest, by force, hostile people associated with water (in full accordance with this side of the ideas, the bear in the dream of Tatiana - "Kum" the owner of the "Forest House", Halfoodemon, the semi-free of Onegin, he also helps the heroine move through a water barrier, Separating the world of people and forest) "(ibid., p.270-271). Bear often seen as "wild" animus (animus., Spirit) - the male side of the woman's soul. In this sense, we see that when the female, committed to traditional views and romantic Greens, the side of the soul Tatyana ("Freighty hand crashes the edge"," falls "),then the initiative goes to Silnoh, Bun.oh go tooh" partye. her Naturswhich in the first episode is represented by the power of the boilingflood . The Bear is like the above and constructed "water figure" of this shapeless flow. Interestingly, libido (desire - attraction) is often called "drive", "stream", saying, for example, about" redirect" flood or about his "skill". FROMthe assumption that the Bear and Stream are the deep forces of Tatiana itself,fromthe fact thatshe isit turns out that "Men's"For that time Acts: Write a letter and first to explain in your feelings. However, at the same time, her female part of nature turns out to be praised by this "bear stream" and is not able to somehow declare themselves (at that time of life Tatiana, and it will be quite different in her life after marriage), the danger of which was represented by the disastriness of the "fragile" connection of its conscious, female side of the soul, and the male, unconscious, but affectively incomparable to more powerful. The description of what is happening in the forest house "is determined by the combination of wedding rites with a presentation of the involvement, twisted the devilish world / world of images of the unconscious, where the opposites are conserved and unbounded - ... / ... This is a devilish wedding, and therefore the whole ritual is made by (ibid, p.271). Of all the above, it is clear that Onegin - the hero of Sleep Tatiana is not just the groom, but also the embodiment of the forces living "in the forest", "behind the river". Description of "unclean power", "owner "Which is Onegin, not only" subordinates the middle ages common in the culture and iconography and in the romantic literature an image of a unclean force, as a combination of unsecast details and objects "(ibid., p. 272), but also an example of Freudic thickening as a dream work: A similar image of the bride-robber in K.G. Yungu is one of the options for archetypical images of animus: to the same range Archetype belongs the groom-skulls and groom skeletons (as in a dream Svetlana from the poem of Zhukovsky), the groom-vampires, fatal lovers in black rascoats - night kidnappers of female calm. In addition to this spectrum, the K.G. Jung examines three more: the hero activist (images of socially succeeding demagogues), hero-Tarzan (images marginalov, declared personalities, semi-suicide semi-dual, where such famous characters like kincong, Mowgli, Tarzan," the Sandpit Generals" etc.) and the hero-guru (images of various-caliber "spiritual leaders" promising spiritual revival, etc.). From this list it is clear that the animus of Tatiana is somewhere between the lowest "level" (Animus animal: Bear, a big monkey, d.like a man) and the "shadow" manner of the lover-killer Dangerous forwelfarewomen. Therefore, when Tatyana is thinking about, "Does Eugene parody", "we could rephrase -" Is it not a projection? " Her own dangerous, strong, depth attraction, which in reality not only almost it was not declared, but also not briefly. Evgenya who has fallen into the whirlpoolof this"Flood", only it remained that he would carry foot quickly, because he although he appreciated specificityin conversation with LenskyTatyana, but no way wanted to becomehisthe killer, what he, however, had to become. And then we are faced with the drama Eugene, who has fallen into the fatal networks of the Larina family - such a mental and harmless at first glance. However, Evgeny, sitting on them for dinner, hell "caricatures" in the "soul of his" not only because of the metropolitan corollary and cynicism,and also I. because, What these lovely people under certain conditions (as if by the magical word "Mutabor") really could turn into terrible creatures, and the dream of Tatiana only manifests their "shadow" faces: "One in the horns with a dog muzzle,
Another with a pet's head
Here is a witch with goat beard ... "etc. So, that's the" wedding "with Onegin, the" master "" unclean power "- the final victory of the" kipuchi and dark "instincts of the heroine, the wedding, which is at the same time death . Further action, according to the lotman, well corresponds to folklore plots, where either the eldest robber kills the girl to the girl (here she, death!), Or his bride's bride (Lensky, the future husband of Sisters Tatiana acts as such a brother). However, the last A part of the sleep is more interesting to interpret, leaning to a lesser extent on folklore and symbols, and more - on the realities set forth in the novel. Sleep finale - the death of Lensky - is the anticipation of the future, that is, the dream turns out to be "proper". Is such antigension at the very Is it just just a plot stroke of Pushkin? In our opinion, the foresight of Tatiana does not go beyond the situation when the dreaming intuitively compares information, often perceived outside the knowledge of the wakeful consciousness, which and It is then transformed into the correct assessment of the upcoming events (Crippner, Dillard, 1997). Consequently, this part of sleep does not contain anything impossible from the point of view of modern ideas about dream mechanisms. A sharp change in the plot of sleep - the transition from the scene of the "wedding-seduction" to the stage of the quarrel and the death of Lensky, refers to the fact that modern survivors of sleep and dreams are called "metaphors in motion" - rows of changing images, the main thing in the interpretation of which is precisely their ratio ( Crippner, Dillard, 1997). However, Freud (1999) noted that dream images do not have means for image parts of speech showing logical relationships, therefore, different interpretation options are possible here. Add from myself: All of them can be true in the meaningful reality of sleep, where there are no clear temporal sequence and unambiguous causal relationships (see Barlas, 2001). So, can we say that Tatiana could not be together with Onegin, because He killed Lensky? Or, on the contrary, the duel took place, because Did Tatiana with Onegin occurred? The chronological sequence of the novel ("Reply" Onegin in response to the letter of Tatiana - Sleep - Name Day and Quarrel - Duele) more corresponds to the second option. However, based on the "logic of images" sleep, the first option is no less, and may be more meaningful. Can we consider it a certain possible version of the development of the reality events of the Roman, that is, it would take that Tatiana and Onegin compound could take place if N. Duel and death of Lensky? Or leave a similar turn of events only to sleep reality? On this question, as in many of the dreams associated with dreams, there is no definite answer. And yet ... in the events future In relation to the time of time, the name of Tatiana, Onegin plant on the honorable place against her, in which, according to Lotman, everyone had to see the confirmation of the possibility of his walling. In the same evening
"... his eyes / Onegin / Ochra
was wonderful gentle "
And the next night
"Permit, - Tanya says -
But death from him is kind. "- The same duality of love-death, as in a dream. So and the scene of sleep, where
"Onegin fonds quietly
Tatiana in the corner and gorges
Her on a shaky bench
And clone your head
She is on the shoulder "- this scene has some analogues in the further development of the plot. Could it be theoretically lead to the wedding of heroes? Let us leave this question without an answer. Nevertheless, at least a hypothetical version I would like to offer. It seems to me that the libidosis "current" remains in the image of the "bear stream", i.e. Wild, uncompressed (not domesticated family), not bred into the light of God due to double standards and the record of the Larina family, where the boring marriage life of the parents of two girls is complemented by the secret "books under the pillow" and the violent fantasy erotic life of their mother. Their mother could be called a "sexually unsatisfied" woman, and her daughters she passed inability to correctly and painlessly enter into real life.buterotic gusts, the inability to "talk" with their animus. Whereinmore reflecting and introvertedTatiana suffered from mental disorders and dreams, and more "unconscious" and extraved Olga played itt discard In practice, becoming a reason to manifest this deadly flows in real life, when they "picked up" in their twist of Lensky and led to K. his Delola with Onegin. Eros (represented by Tatiana) and Tanatos (in the face of Olga) crossed on two young men, who were young enough (18 years old Lensky and 26 - Onegin; Thank you for clarifying the ages of S.Safronova, - N.O.). Another "UNGIAN" comment is important: two girls and two young men are four. This number for UNGians is a symbol of a holistic soul, and we see how mortal and the disorder of this "family" soul. Focused with such "poisonous milk", the girls could not start a happy marital life. And one more foresight. Sleep finale: "scary shadows thickened." Re-referring to Meneghetti, read: "Shadow - an image that symbolizing disappointment in man" (p.101) - that is, the very thing that will happen with the attitude of Tatiana to Onegin later. Is it no coincidence? And here, for me, the words of Tatiana are already sounding for me that it is "something else is given and there will be a century to him", they sound like a "blocker" for the deadly flow, which was gone by Lensky and made the murderer of Onegin, as if she deliberately tells himself Stop ", as if her female, committed to the conventions of Natura puts the limit of" cycling flow. " This was seen and the power of Tatiana and weakness, her morality and her betrayal "great love". It seems to me that her behavior is the behavior of a person who sitting on a barrel with gunpowder with bare fingers clamps the marked wick. Of course, it is very cool to get a big "boom", but sometimes quiet and "inglorious" victim can be still worthy of fatal passions? Thus, we made sure that the dream of Tatiana, corresponds to a whole series of patterns of a dream language, formulated much later than they were used by Pushkin: the use of characters, and it is precisely in those values \u200b\u200bthat allow you to establish a correspondence between the sleep and the plot of the novel, the multivalousness of the symbols and the content of the novel Sleep general, concentration mechanisms and "metaphor in motion", characteristic of the "reality of sleep" the confusion of causal relationships and temporal relations, impossible in reality. Sleep images are weave the images from the past and future heroine; Their interpretation in accordance with the psychological principles of dream analysis helps to find new meanings in the multi-valued reality of the Pushkin novel. But there may be another "branch" of this plot about the cute "Russian soul" of the robber and the sowing. In this version, the Bear is the image of the future husband of Tatiana (Bear-General, the Bear is a girlfriend and a pioneer), who introduces his wife with his friend - Onegin, thereby "bringing her" to him (Hypothesis A.I. Kobzev) . But for Tatiana Onegin - no longer "original", and "parody", parody of this "Corsican Robber" - Napoleon, the image of which also quite corresponds to the image of the animus described above. Onegin did not leave the scale, he, as a splitter, was too moral and was tormented for a long time, killing his friend, as the Raskolnikov suffered by the murder of the old woman, not wanting himself to admit this. Large robbers do not regret anyone. In this version, the "Russian soul" Tatyana captives the robber with a capital letter, which in French decoration was revealed by the figure of Napoleon, and more abstractly - a demonic person (Demon of Lermontov, Voland Bulgakov), so that her phrase "another is given" can be understood and so - That she gave himself to her fiance from her sleep, a real robber (although there is a direct feedback that "Other" is Christ). (For more information about the robber and Russian soul, see the "terrible Russian fairy tale Yuri Bykov").

Composite role of sleep Tatiana in Roman A.S. Pushkin "Evgeny Onegin"

School in school

Olga Pavlova, School № 57, Moscow
Teacher - Nadezhda Aronovna Shapiro

Composite role of sleep Tatiana in Roman A.S. Pushkin "Evgeny Onegin"

Tatiana's dream in the fifth chapter of the Pushkin novel "Eugene Onegin" is the most mysterious place in the whole work. Epigraph for this chapter ("Oh, do not know this terrible dreams you, my Svetlana!") Take away from the famous ballads of Zhukovsky "Svetlana", the main character of which falls asleep and sees various horrors. There is also a tradition of comparing Sleep Tatiana with a dream of Natasha from the ballads "Bridegroom", which was written by Pushkin at around at the same time as the fifth chapter (though, in Natasha's ballad only describes reality, issuing her for a terrible sleep). However, both ballads (and Zhukovsky, and Pushkin) end well (Natasha exposes the villain in the final, and Svetlana wakes up and learns about the return of his groom; nightmarish dreams do not have continuing and no effect on the subsequent life of the Heroin), while Tatiana's dream is a sinister sign Her destinies (Tatiana is perplexed and in a dream, and after waking up, looking for a sleep interpretation in the dream book). The dream of Tatiana is a thing (in the work of Pushkin more than once there were such dreams: for example, I saw the Bugacheva in the prophetic dream of Grinyov).

Tatyana believed in the signs ("... the premonitions of the sorrowful full, I was waiting for the misfortune of it"), the soda fortune telling (who promised her losses in that winter). Although Tatyana found the secret charm "in the horror", it did not dare to burn, putting the mirror under the pillow (there is a clear parallel with Svetlana, which wondered with a mirror, what and mentions Pushkin in this stanza). It dreams of a "wonderful dream": she "goes on the snow member" (in general, the fifth chapter itself begins with the description of the winter landscapes; "Tatiana ... With her cold Krasia loved the Russian winter ..."). The subject of winter will accompany heroine all the time. In Moscow, "On the Bride's Junction," she will go through the winter path (but at that moment Tatyana is no longer happy "Pumps of the Mother of Winter", she is scary). Tatiana and Eugene meetings in St. Petersburg takes place at the same time of the year, and she herself at the meeting with Onegin "surrounded by Epiphany cold", and the cold of Tatiana's armor. So, from love for winter, she moves to fear in front of her, and then winter (indifference and fatigue) settled inside her. Call in real life and another motive of sleep: Tatyana sees "trembling, perfect bedding"; Then she will notice on the way to Moscow as "bridges forgotten rot."

In the hut, where Tatyana is then falls, - fun (bright light, "Creek and a glacking"). But Pushkin immediately says: "like a big funeral", which does not foreshadow heroine anything good, and at the same time hints at the otherworldly power. Indeed, the scary mounds are singing there: "One in the horns with a dog face", "another with a pet-head", "Witch with goat beard", "Charles with a tail", etc. But the main thing, besides them, Tatiana sees the one who "Mil and is terrible to her", Eugene, and and in the role of the "master" (everyone obeys him), Ataman Shayi is not fatty, which then kills Lensky. At this point, Tatyana wakes up and immediately sees Olga, which is a complete contrast ("... Aurora of Northern Alee and easier swallows ...") Gloomy sleep with the murder of her, Olga, narrowed; This situation is reflected later: after the actual murder of Lensky Olga, it is very quickly recovered and married to Ulan ("Alas! The bride is the young of his sadness is incorrect. Another intense of her attention ..."), in contrast to Tatiana ("But I'm given to another; I will be a cent Verne ").

Sleep This intrigues Tatiana, she is looking for a response from Martyn's proska, it is incomprehensible, the Onegin himself is mysterious, she cannot comprehend his essence. The answer (or is it again an incorrect answer?) It will find much later when, looking at Onegin's books in his house, will say: "Is he parody?" But at that moment (in the fifth chapter) Tatiana finds the solution directly opposite. In the entire chapter, Onegin is described by the glitterous paints: he and dashing well done, the leader of the shag of the houses, the hero of those books, which are described in the third chapter:

The British Music Escapes Anniversary Dream Sleeps, and now her idol or thoughtful vampire, or Melm, Strameaga Gloomy, Ile Eternal Jam, or Corsair, or a mysterious slaughterhouse.

Onegin repeats some gestures of these heroes in a dream of Tatiana (although she herself is unfamiliar with these works). In the third chapter, Onegin appears in front of Tatiana "Terrible Shadow", "Blogging Greeting" (in her dream he "shifts", "wildly ... wanders"). When Onegin carries her angle and "cloning his head on her shoulder", he allegedly plays the role of a vampire, doomed to eat the blood of young and beautiful women, whom he loves. In the novel "Jean Skagar" also has a similar situation: the heroine tells his groom a terrible dream, in which she also was among all the badness, but she commanded her groom. Indeed, in the dream of Onegin, truly "satanic freak" and "demon" (these words appear in the eighth chapter, indicating, most likely to sleep Tatyana).

Another part of the fifth chapter is devoted to the names of Tatiana, who, according to the description, are closely connected with her sleep. Guests who gathered for a holiday are surprisingly reminding hellish creatures from sleep (for example, the "county francity Petushkov" - "Other with a pet-head", and the rest - "Buyanov, in the Puhow, in the Cartome with a visor", "flanges ... Grooming, bribemer and Jester "," Monsieur Trick, Prash, recently from Tambov, with glasses and in red wigs "- are so ridiculous and ridiculous that they are similar to the descriptions of those" houses "). In the hut - "Lai, laughter, sinier, whistling and clap, human sulfur and horse top", Tatiana - "Koltnya", "Anxiety", "Lai Mosek", "Chmokhan Devitz", "noise", "laughter", "DANGE", "POVERS", "GOLKING"; In a dream of a heroine - "Creek and a ringing of glasses", in the names - "Ryumok ringing", "no one listens, shout." But on this Peir, Onegin shows his demonic essence: angry for the whole world, he decides to "relent" Lensky (it is not clear why, because he himself agreed to come), and the result of his bad mood is a duel, stupid and not necessary for anyone. When describing the state of the heroine and in a dream, and on the festival (it is equal to someone else's and there) similar epitets are used, and one phrase ("Tatiana a little alive") is repeated literally. By the way, on her question in a letter to Onegin: "Who are you, my angel whether a keeper or a cunning tempter ..." - Dan is a fairly clear and unambiguous answer. Pushkin and previously called Onegin's "tempter of fatal" (and this is partly true: in the last chapter, Tatyana will truly undergo great temptation), and Lensky considers him a "debauchet". The only bright place for Tatiana in the entire fifth chapter is the stanza thirty fourth, where "gaze ... Others" Onegin "was wonderful gentle."

So, on the day of the name of the most light heroin, the Wachanalia of the most black forces of evil is made (and the epigraph once again emphasizes this: a light heroine (Svetlana) - "terrible dreams").

Sleep the topic will accompany Onegin throughout the novel. He contrasts his "Sweet, sinless dream" after receiving the letter of Tatiana and the "terrible, incomprehensible dream, in which he feels on the duel (he bitterly will regret this" minute of the Msta "on the ball, and Olenka that Cotillon Tomil," as a heavy dream "). No wonder he slept a duel ("... a dream flies over him"). Then this motive appears in the eighth chapter, after the meeting of Onegin and Tatiana. He recalls: "... that girl ... Ile is a dream? .." he asks himself: "What about him? In which it is a strange dream! "

As previously, Tatiana, Onegin is full of bewilderment: that he used to seemed so simple, so trusting and understandable, now it turned out to be at an unfavorable altitude. Tatiana is an impregnable goddess, "Glittering" "Legislator Hall". But the heroine itself sees everything differently. Her impressions of the first balls in Moscow ("Tesnet, an excitement, heat, flashes", "noise, laughter, running, worship, gallop" - In general, the "wave of light") is very reminded by "hellish bastards jumping" from sleep (a secular crowd - "A number of renormal ghosts"). Again, Pushkin lists the guests (as in a dream and in the name days): "... Prolasov, who deserved fame with the lowestness of the soul ...", "... Another dictator was a magazine's picture, Rumba, like Verbal Cherub ...", "... Traveler BAL, ECOUNTED SALE …" etc. Most likely, for Tatiana, these people are no better characters from her sleep. But ironically, now she is the mistress of Bala, although it does not value this "Masquerade", "shine", "noise" and "chad". And Onegin, seeing her among all this, can not understand how she could change it. He is in the balls in St. Petersburg in the role of Tatiana on Shabash. Like Tatiana, he is trying to find this explanation, but not in the dream book, but in the literature, reading "Gibbon, Rousseau, Manzoni" "without parsing". But "other lines read the printed lines with spiritual eyes": "That was the secret loyal of the heart, dark old older" (Tatiana "believed the loyals of a common antiquity", wondered), "There are no related dreams" (again the topic of sleep!), " Threats, sense, prediction "(Martyn Tatyana's backs)," Long fairy tale is a living "(and the dream of the heroine and there is a fairy tale, with obvious magic motives)," Letters of the Virgin Young "(analogue of Tatiana's letter). Before meeting with Tatiana, he himself is like "dead man".

Tatiana's dream predetermined their future. Yes, in the end, they change places (classical novels the situation of incompatience), but this is far from being so important that the whole life of Tatiana and Eugene failed (they are both strangers on this holiday of life), it looks like a bad dream. Neither Him nobody in the surrounding world understands. Even for each other they are not very real. Tatyana "The dream seeks ... in the dusk of lime alley, where he was her." And Onegin returns in thoughts to the village life: "... then a rural house - she is sitting at the window ... And she's all! .."

So, the prophetic dream of Tatiana is one of the most important and interesting plot strokes of Pushkin, and it is noticeable in the fifth chapter - exactly in the middle of the novel. This dream determines the further development of events in the life of heroes, predicting not only the near future (duel), but also much more distant. In the penultimate stanza Roman Pushkin, the last time mentions the keyword "Son":

There was a lot of, many days since the young Tatyana and her Onegin in a vague dream was first me for the first time, -

the closure of this "sleepy" circle.

Tatiana Larina's dream and its meaning.
In the novel, "Eugene Onegin" A. S. Pushkin created a reliable picture of the Russian life of the beginning of the XIX century. With the help of many techniques, Pushkin fully reveals the images of the heroes of the novel as possible: with their relationship to each other, to those surrounding, to nature, introducing copyright and lyrical deviations.

In Tatiana, the author's "cute ideal" was embodied, she is the road to Pushkin, so he tries to show us the deepest, intimate depths of her sincere warehouse. That is why it is important to analyze the dream of Tatiana to understand the poet's plan. We know that
Tatyana believed loyal
Promotional antiquity,
And dreams, and card gadanam,
And the predictions of the moon.
Therefore, sleep in the night, when the girl decided to burn, hoping to learn his narrowed and the future, we are especially interested. Before Stroke, Tatiana "became scary suddenly," and this fear, incomprehensible anxiety in front of the unknown inquiry in our heart all the time of her sleep.
Tatiana's dream replaces a detailed analysis of its inner world in Pushkin, this is the key to understanding her soul. Here you can find images of sentimental novels, loved by the girl: from here the mysterious power of Onegin over the twisters, his tenderness, connected to a terrible destructive force. However, the main content of sleep is worn on the basis of people's representations, folklore, fairy tales, legends.
At the very beginning of Sleep Tatiana, walking along the Snow Polyana, the "sad Magnoy is surrounded", meets a symbolic obstacle:
Big, dark and gray,
Flood not bold in winter;
Two strands, glued ice,
Trembling fruit
Put through the stream ...
A vintage hero of Russian folk fairy tales is helped to move through the stream, "big, disheveled bear." He first pursues the girl, and then takes her to the "wretched" slag, where Tatiana meets his beloved, but in which company!
... Sit the monsters around:
One in the horns with a dog muzzle,
Another with a pet's head
Here is a witch with goat beard,
Here are the core and proud
So karl with a tail, but
Polunuvra and half-blooded.
In this terrible society, Tatiana recognizes his cute acting in the role of the owner:
He will give a sign: And everyone is cotton;
He drinks: everyone drinks and scream all;
He shook: everyone laughs;
Frowns of eyebrows: everyone is silent ...
Our anxiety increases when Onegin and "hellish ghosts" discovered our heroine. However, everything was done, the lovers were alone, and at the moment when we are waiting for a lyrical continuation, Lensky appears with Olga, causing anger Eugene. The rear thing was anxiety emerges with a new force, and we turn out to witness the tragedy:
Spore louder, louder; Suddenly, Eugene grabs a long knife, and the IMIG is blocked by Lensky ...
In horror, Tatyana wakes up, trying to realize what he saw, not yet suspecting how the prophetic would be her dream. Waiting for trouble, not disappeared, and strengthened after the awakening of the heroine, does not leave us during the next name of Tatiana. At first, guests are gather - provincial nobles, with their lowest desires, extinct feelings, small hearts. "Strange" behavior of Onegin in Larina, his courtship for Olga leads to a catastrophe - a duel of two friends, Onegin and Lensky. And here, after a terrible dream of Tatiana, the day can be regarded as a comment on Lensky.
Thus, natural intuition and a subtle mental organization helped Tatiana, ahead of time, to predicate the events that still have to happen and bring to her life tragedy, because not only internally divided it with her beloved person, serve the barrier between their further relationships, but also Brought Mount to many other people: Olga - short-term loneliness, Lensky - Death, and Onegin himself is a mental disorder with himself.

In the novel "Eugene Onegin" A. S. Pushkin created a captivating image of the Russian girl, which he called his "faithful ideal", Tatiana, according to the poet, "Russian soul". The most common name of her - Tatiana, introduced by the poet in Russian literature, is associated with the "old", with a folk life. She grew up among forests and fields, in the atmosphere of Russian folk fairy tales and legends. It is known that she was aside from the noisy children's fun, and "terrible stories // Winter in the dark nights // captured more heart to her." The provincial young lady, she easily and naturally felt herself in the world of Russian folklore.

Yes, the author says more than once that his heroine read foreign novels and believed in "Deceptions and Richardson, and Rousseau." Moreover, he notes that Tatyana "in Russian well knew ... and squeezed out with difficulty in his own native language." And even the letter of Onegin she writes in French. But at the same time, the poet with the help of a subtle artistic and psychological stroke reveals the "Russianness" of the soul of the heroine: her dream was introduced into the novel. Including it in the story, the author helps the reader to understand the image of Tatyana Larina and the situation in which the provincial ladies lived and brought up. Tatiana reads foreign novels (they have not yet created the Russians then), but Russian dreams are shot.

Her prophetic dream, the whole woven from folkphic images and symbols is probably caused by a gloomy of heroine in unrealistic happiness. That is why Lel, the Slavic God of love, is Vyal, the Slavic God of Love to predict her fate. Tatyana Obesheska's thought about Onegin, she is concerned about him indifference to her, from here and anxious, full of terrible premonitions sleep.

Hait for fortune telling in the Satina Night (as you know, it was believed that the shints were the best time to learn their destiny), Tatiana sees it as if she "goes on snow clearing, // Sorrow Malloy Surrounded ...". According to dreams, go through the snowy plain at night - it means to meet with difficult problems, with trouble. And the painting itself is a cold, snow-covered area is symbolic: it clearly indicates an intuitive understanding of Tatiana that her beloved will not answer her that he is cold and indifferent. On the way, Tatiana there are a variety of obstacles: non-freezing stream, "kicking, dark and gray ...", with a flip bridge through it, "Snow, swallowed by her knee", trees whose branches are clinging for earrings. All these difficulties helps to overcome her beloved, but acting as a narrowed bear - "Lackey Cosmata". It is he who serves her hand, translates through the stream and carries it to the house, and here the dream also does not retreat from Russian folk traditions. The bear is a characteristic image of folk fairy tales. Tatiana gets silent from horror when her who fell into the snow picks up the bear, but she can't resist his fate: "She is insensitive, // it does not move, it will not die."

Of course, sleep in a soda night is not thought without a beloved. And Tatiana sees him sitting at the table. At first, noticing among the fabulous monsters of Onegin, who acts as the "leader" and the owner of the company, Tatiana is trying to calm down, but the drama of the situation is preserved.

A terrible creatures are sitting at the table: "One in the horns with a dog muzzle, // another with a cock head, // Here is a witch with goat beard ...", "There's Charles with a tail, but // Semi-and-half and half-one." In the description of the monsters, fabulous, folklore images are guessed. Before the eyes of the heroine, horns were mixed, bone fingers, hooves, tricks, "bloody languages". Probably, these images of Tatyana met in the tales of nanny. However, despite the fact that the fairy tale should end well, everything prepares heroine here, and after her reader, to tragic junction. That is why the creatures at the table are sitting, "both at a big funeral", and wildly laugh. And the junction immediately comes. Already in a dream the same tragedy happens, which is destined to be and revealed. It is only Tatiana to stay alone with Onegin, as Olga and Lensky appear. Onegin braws the uninvited guests, argues with them, and then "there is enough a long knife" and kills Lensky. Olga also appears no coincidence. Tatiana intuitively feels that her sister will unwittingly play a tragic role in the upcoming events.

Unfortunate horror covers Tatiana, and she wakes up. But if Svetlana (the heroine of the Zhukovsky's ballads of the same name), awakening, sees the sunny frosty morning in the window and rising the porch of the porch of the groom, then Tatiana is alarmed after awakening no less than during sleep. She tries to comprehend what he saw, because she believed in an omen: "Tatyana believed a dedication // Promotional antiquity, // and dreams, and card gadanam, // and the predictions of the Moon." At the level of intuition, the heroine is guessing that one whom she considered her southeth will never be with her. Her fate is different.

The sleep of the heroine sets up the reader to the fact that predicted events are accomplished, therefore "strange" behavior of Onegin visiting Larina, his courtship for Olga - a logical chain, followed by a disaster - a duel of recent buddies. The dream introduced into the novel fabric, much explains to readers waiting for the further development of events. And logical appears the ending of the work when Tatyana appears again, a secular married lady, but the unfortunate, as before. "... You must, // I ask you, leave me ... I love you (what to smear?), // But I am completely given to another; // I will be a century to him, "she says Onegin. This is her fate against which the heroine will not go. She will remain true to debt, in this its essence. In such an understanding of the Russian woman, her fate in the novel of Pushkin and associations with the poems V. A. Zhukovsky "Lyudmila" and "Svetlana" are guessed. Especially since the image of Svetlana is considered the first reliable manner of the Russian girl in the domestic literature.

So, Tatiana's dream occupies an important place in the novel and has several values \u200b\u200bat once. It predicts the further course of events, on the one hand, it helps to learn the Pushkin Heroine, on the other, the scene of fortune telling and the Sleep of Tatiana, conjugate with the Russian folklore and the literary tradition in the development of a Russian national female, reveals the deep psychology of the Russian woman. The idea of \u200b\u200bthe narrowed is associated with the idea of \u200b\u200bthe debt; Future spouse thinks as destined for fate. Tatiana is inseparable from the National People's Element with her beliefs, rites, fortune tells, extinguishing and things, Tatiana's sleep proves how close the heroine is popular, folk perception of Mia. She thinks and feels like a Russian man.

Sleep Hero, introduced into the narration, is a favorite compositional reception A. S. Pushkin. Significant, "prophetic" dream sees Grinev in the "Captain daughter". A dream, anticipating future events, visits Tatyana Larina in the novel "Eugene Onegin".

Snow loose knee to her;

Then a long bitty her neck

It suddenly hooked, then from the ears

Choised earrings will cut by force;

Then in fragile snow with legs cute

Cut the wet shoe ...

In the impossibility, Tatiana falls into the snow, the bear "grasp it and carries it" into the hut, full of demonic monsters:

One in the horns with a dog muzzle,

Another with a pet's head

Here is a witch with goat beard,

Here the core and proud

There Karl with the tail, but

Polunuvra and half-blooded.

Suddenly Tatyana will find out among them Onegin, who is here "the owner." The heroine is watching all what is happening from Seine, because of the doors, without daring to enter the room. Curious, she takes a little the door a little, and the wind blows the "fire of night lamps". Trying to understand what was the matter, Onegin is relying the door, and Tatiana appears to "the eyes of hellish ghosts." Then she stays with Onegin alone, but privacy is unexpectedly violating Olga and Lensky. Onegin in anger:

And wildly he wanders her eyes,

And the uninvited guests is brazy;

Tatyana is a little alive lies.

Spore louder, louder; Suddenly Evgeny

Grabs a long knife, and in

Lensky is blocked ...

Sleep this is very meaningful. It is worth noting that he causes us various literary associations. His plot himself is a trip to the forest, secret peeping in a small hut, the murder - reminds us by the Pushkin fairy tale "The Groom", in which the heroine gives the events with her. With a fairy tale, separate scenes of Sleep Tatiana are echoing. In the fairy tale "the groom" heroine hears in the forest hut "Creek, laughter, songs, noise and ringing", sees the "enchanted hangover". Tatiana also hears "Lai, laughter, singing, whistle and clasp, human prayer and horse top." However, the similarity here, perhaps, is exhausted.

Tatiana's dream reminds us and another "magic" dream - Sad Sofia in Comedy Griboedov "Woe from Wit":

Here with thunder opened the doors
Some not people and no beasts
We are apart - and tormented by sitting with me.
He seems to me more than all treasures,
I want to him - you drag with you:
We are accustomed to moan, roar, laughter, whistling monsters!

However, Sophia in Griboedov comes up with this dream, he was not in fact.

It is worth noting that the plots of both dreams - the present and fictional - send us to the ballad of Zhukovsky "Svetlana". Like Svetlana, Tatiana goes on the shield. It brings the mirror for a month, asks the name of the counter-passer. Sleeping to sleep, the heroine takes off the charm, "Silk's belt", going to guess "for sleep". It is characteristic that Zhukovsky in his ballad does not discuss the fact that everything is happening with Svetlana, a terrible dream. We will learn about this at the end of the work when a happy awakening comes. Pushkin speaks openly: "And the wonderful dream of Tatyana dreams." In the romantic ballad of Zhukovsky, there are all the "attributes of the genre": "Black coffin", "Black Van", "Dark Dal", dim light of the moon, blizzard and blizzard, dead-groom. Svetlana is confused and upset with a dream, he thinks that he broadcasts her "bitter fate", but in reality everything ends well - her groom, it is intimate and unharmed, appears at her gate. The poet's tone in the final becomes cheerful and life-affirming:

The best friend to us in this life

Vera in Provideny.

The benefits of the law:

There is a misfortune - a false sleep;

Happiness - awakening.

Non-different intonations are heard in Pushkin verses:

But the dream sinister will succe

Sad many adventures.

Tatiana's dream is "prophet." He foreshadows her future marriage (seeing a bear in a dream, according to popular beliefs, foreshadows marriage or marriage). In addition, the Bear in a dream of a heroine is Kum Onegin, and her husband, general, really falls on a distant relative.

In the dream of Tatiana, putting on the "trembling perfect mobble", goes through the raging, "ball, dark and gray", "non-mounted winter" stream is also in symbolic form opens its future. Heroine is waiting for the translation into a new life condition, in new quality. Noisy, the flower wave flow, "not scored in winter" symbolizes in this dream the youth of the heroine, her virgin dreams and fun, love for Onegin. Youth is the best time in human life, it is really free and careless, similar to a strong, rapid flow, over which the limitations, framework and rules of mature, "winter" age are not dominated. This dream seems to show how the heroine passes through one of the periods of his life.

This dream precedes the future named after Larina's house. D. D. Bonosti believed that the "drinking" pictures from the sleep of the heroine echoes the description of the name of Tatiana.

It is characteristic that Onegin appears in this dream as the "host" of demonic monsters singing in the hut. In this bizarre, the "demonism" of the hero erected "demonism", erected into a nth degree.

In addition, Onegin, the reactions of which are completely unpredictable, while still for Tatiana riddle, it is surrounded by a certain romantic halo. And in this sense, he is not only a "monster", he is "miracle." Therefore, therefore, the hero in this dream is surrounded by bizarre creatures.

It is known that the dream is a hidden desire of a person. And in this regard, Tatiana's dream is significant. She sees in Onegin his Savior, delighting from the vulgarity and serness of the surrounding hostile world. In the dream, Tatyana remains with the hero alone:

My! - said Evgeny Grozno,

And the shaky all fell suddenly;

Remained in the darkness of frosty

It is worth noting that the dream of a heroine in the novel - it does not just finish future events. This episode shifts in the novel plot accents: from the relationship of Onegin and Tatiana, the reader's attention switches to the relationship of Onegin and Lensky. Tatiana's dream opens to us her inner world, the essence of her nature.

The Mirosozenny Tatyana Poetics, fulfilled the People's Spirit, it possesses a bright, "rebellious" imagination, its memory keeps the customs and legends of the antiquity. She believes in signs, likes to listen to the stories of Nanny, in the novel, they are accompanied by folklore motifs. Therefore, it is quite natural that in a dream heroine sees images of Russian folk fairy tales: big bear, forest, hut, monsters.

N. L. Brodsky notes that the source of sleep Tatiana could serve "Russian fairy tales" Chulkov, who were known to Pushkin. However, in the imagination of Tatiana, along with the Russian folklore, both European literary traditions were firmly included, among which are Gothic novels, the British Muses of Nonbylitsy, with their fantastic paintings:

Here is a skull on goose neck

Spinning in the red cap

Here is the mill of wheezing

And the wings are cracking and waving.

Tatiana's dream in the novel has its own composition. Here we can highlight two parts. The first part is the stay of Tatiana in the Winter Forest, her harassment of the bear. The second part begins where the bear overtakes it, this is a visit to the heroine of the hut. Each of the structure of this passage (and the whole novel) was built according to a single principle: "The topic - development - climax - and a aphoristic ending."

In this episode, Pushkin uses emotional epithets ("Wonderful Sleep", "Sad Mall", "trembling, perfect movement", "on the annoying separation", "fearless steps", "in the frowning gle", "Unbearable Creek"); comparisons ("how on the annoying separation, Tatiana pushes on the stream", "behind the door of a cry and a ringing of a glass, like at a big funeral"), periprase ("from the Breeding Lacey"), inversion ("and beforewaying the inappropriate, perplexed, stopped She "), Ellipsis (" Tatiana to the forest; bear for her "), anaphor and parallelism (" He will give a sign: And everyone is cotton down; he drinks: everyone drinks and shout everything; he laughs: everything is laughing "), direct speech.

The vocabulary of this passage is diverse here there are elements of conversational household style ("Cryahty", "Morda"), "high", book style ("Virgo", "Lighting Night", "Meeting", "Oki"), Slavicia (" mlada ").

We find in this episode of alliteration ("hoofs, tricks curves, tails, crooks," "Here the skull on a goose neck is spinning in the red cap") and associates ("Lai, laughter, sinier, whistle and clasp, human pussy and horse top ").

Thus, Tatiana's dream acts as a means of its characteristic, as a composite insert, as "prophecy", as a reflection of the hidden desires of the heroine and streams of its mental life, as a reflection of her views on the world.

Alexey Maksimovich Gorky wrote: "A.S. Pushkin, I surprised me with the elegant simplicity and music of the verse, that a long time the prose seemed to me unnatural, even reading it was somehow awkward and uninteresting."

And Valentin Semenovich Nepomnychy noted: "For Russian literature, Pushkin Roman in verses" Evgeny Onegin "is about the same as the psalter for worship."

The word is provided with a group under the leadership of Revenko Ksenia. Subject: "Language, verse and its storika in the novel" Eugene Onegin "."

Language "Onegin" Uses all the wealth and diversity of the language, all the elements of Russian speech and therefore is able to embrace various spheres of being, expressing all the variety of reality. Accurately, clearly and simple, without unnecessary poetic decorations - unnecessary "add-ons", "sluggish metaphor", - denoting items of the "real" world, expressing the thoughts and senses of man and at the same time infinitely poetic in this simplicity, the syllable "Onegin" is Wonderful instrument of realistic art words. In the establishment of the norm of the national literary language - one of the most important tasks made by the creative genius of Pushkin - the novel in verses belongs to an extremely important place.

The language of the novel represents the synthesis of the most significant and vital speech funds of the Pushkin era. As M. Bakhtin noted, Russian life speaks here with all its voices, all the languages \u200b\u200band styles of the era. This is the brightest example of the innovation in the field of the Russian literary language, with whom Pushkin performed in the first third of the XIX century. He turned out to be able to reflect the most diverse spheres of reality, captured various layers of Russian speech.

Speaking about the Language innovation of Pushkin, the researchers rightly pay attention to the conversational, folk element in his language. Noting the appeal of the poet to "People's speech sources, to a living famous Spring."

Within the bookst language, Pushkin developed in detail the epistolary style by creating an unforgettable letters of Tatiana and Onegin, elements of the pubocrist style (they manifest themselves in the controversy, in literary disputes with Shishkov, Cathenin, Kyhelbecker, Vyazemsky) and artistic and poetic style. In the latter, the archaisms, warbarisms and especially gallicism are occupied in the latter. Widely using the necessary poets in the text ("Love Mustile Phial", "break the vessel of the slander", the conditional names of the Heroine type Elvina), eufemism ("Do I Pad, pierced" instead of "periphess"), periprase ("His chassis first moan" , "Honorary Citizen Kulis"), the author of the novel seeks, however, destroy the boundaries between verses and prose. This explains the growing trend towards the noble simplicity from the head to the chapter, the introduction into the text of prosecuties, the appeal to the "low" nature, equal to the "sublime". With the "Eugene Onegin" and the new tendency of the use of the surprise begins.

Live spoken speech of people of the educated society sounds in the novel constantly. Examples here are the dialogues of Onegin and Lensky:

"... Say: who is Tatyana?"
- Yes, which is sad and silent ... "

The folk spacious appears in the novel when people from the people come to the scene. Let us remember the nanny Philipsess:

"... I happened
Stored in memory not enough
Ancient Wasy, Nevbyitsy ...

Such is the speech and an ace key

God gave his soul to his salvation,
And its bones
In the grave, in the mother-earth raw!

In the examples of the speech of the acting persons, there is no artificial, fictional. Pushkin avoided the false fictional "simplicity" and "simpleness" of speech, and took her from life, while taking out only those words and expressions that fully corresponded to the spirit and the rank of a nationwide language. We will not meet in the novel nor regional dialectisms, nor vulgarism, littering, spoiling language. The spaciousness in the novel is found not only in the speeches of Nanny and Anice, but it is a noticeable element of the language itself. In episodes from rustic life, in the descriptions of the native nature, labor and life of the peasants, we find the simplest words previously considered unsuitable for poetry. These are the horse, bug, woodcut, hhel, shepherd, etc. The criticism of the reaction camp protested sharply against the democratization of the literary language, so distinguished in Pushkin's novel. The elements of the language of oral folk art are adjacent to the folk spaciousness in the novel.

Especially relief, the spoken language is presented in the statements of Tatyana ("Even as I was afraid!"; But now everything is dark. " I am a boob "), which significantly enrich the author's characteristics of the provincial nobility.

Sometimes the poet resorts to the generous listing of objects and phenomena to convey the diversity of impressions and movement rapidness ("flashed past the booths, women ..."). The casualties of the word does not exclude its poloremia. Some words at the poet are echoing ("O RUS" - the Horace "Village" and "About Russia!" - Pushkin exclamation in honor of the Motherland), others hint at something ("But the north for me"); Third, in the words of V. Vinogradov, "wink" and "kit in the direction of modern life" ("Now Balalaika Mila", "Drunk Topot Trepak"). Book and neutral styles The poet organically connects in the novel with conversational. In the last, we meet the characteristic live speech of the people of the educated society, and the people's conversational language, which fastened in the novel by a noticeable jet ("Little crazy", "you will not show the nose"). Often, the author's speech absorbs such a phraseology ("he walked like a blade", "Tatiana will sigh, then foul"). Especially relief, the spoken folk language is presented in the statements of Nanny Tatyana ("I've been afraid that I was afraid!"; "And now it's all dark"). To spoken speech in the novel, they are adjacent on the verge of literary use of the spaciousness ("Lai Mosek, Chmokhan Devitz", "she came by a thin series! He was bombed ...", "Neighborhood snobs in front of a neighbor", "Sorry heavy

Void ") and even a fetter vocabulary (" knew a fool "," What I am Bollan "), which significantly enrich the author's characteristics of the provincial nobility.

The novel language happily combines the end of the word with its exceptional artistic expressiveness. Pushkin's epithet is capable of replacing a whole description. Such are "dazzy vaults", "royal Neva", "Remierble princess". Epitts are simple ("the bride of overpired years") and complex ("winter each other, cracks ...") Help the characteristics, the condition of the heroes, the situation in which they live and act ("Mourning Taurnythaft"), landscape ("The edges of the pearls "), Household details. Only alone Lorrow in "Onegin" is marked by an exceptional diversity of epithets (he is "disappointed", "inattentive", "unanswered", "jealous", "playful"). Remarkable favorite assessment epithets of the poet: cute, suspended, sweet, light. As much as diverse and metaphors - nominal and verbal, formed from the adjectives ("poet of a fermented conversation") and the leading ("boiling by hostility"), traditional ("salt of anger") and individually copyrighted ("Muza Radish"). Metaphors built on the principle of personification ("North ... pulled, overwhelmed"), excuses ("Pravdsuzzi Ball"), distraction ("Mazurki Thunder"), zoologization ("Himself in the horse transforming"), Personifications ("Those her friend"). The striking variety of Pushkin comparisons, laconic ("clocks hought") and unfolded (liketing the beat of the heart of Tatyana Tatyana Moth), single ("pale as shadow") and transferred to the chain (Lensky's poetry is likened to the thoughts of the Virgin, sleeping baby, moon). Frequently units in the novel metonimical turnover, when the name of the author replaces the name of his writings ("read willingly apoolen") or the country ("under Schiller and Goethe"). In Evgenia Onegin, all means of poetic syntax, enriching the image formation, are widely represented. Then this is the injection of homogeneous members ("about the Senokos, about the fault, about the psarn ..."), then ironically filed separate members and introductory structures (conversation, "of course, did not shine nor poetic fire"), then exclamation with incomplete Proposals ("Suddenly Topot! ... here is closer") or accompanying the characteristic of the hero ("how it is ulceratively gossil!"). Then this is an expressive period (1 chapter, xx stanza), then a juicy meaningful dialogue (the exchange of replicas between Onegin and Lensky in the III chapter), then questioning offers of different types. Among the stylistic figures in the novel, inversions are distinguished ("Moon with Silver Light"), frequent anphors ("Then they had a dream; / then he saw it clearly ..."; "Always modest, always obedient, / always as the morning of cheerful. .. "), expressively transmitting tedious monotony and repeatability of signs; Antithesis ("Wave and Stone, Poems and Prose ..."), defaults ("I drank your coffee ... and dressed ..."), gradations ("Malnice is similar, shiny, windy, alive, / and wayward , and empty "). For the language of the novel, a person is particularly noteworthy, which makes many pins of the poet of camp ("Love all ages are submissive"; "There is inexperienced by the misfortune"; "We are just looking at Napoleon"). Already expressive and sounding language in the novel. It is worth remembering, for example, a description of the Mazurka in the name of Tatiana.

It should be noted that the use of sentimentally romantic speech style - to create a Lensky's image and in polemical purposes (Lensky's elegance, etc.). In the end of the head of the seventh, we meet and parody used by the vocabulary of the speech style of classicism ("I sing a friend of junior ..."). The use of mythological names and terms coming from classicism in sentimentally romantic poetry (Zeus, Eaol, Terraticor, Diana, etc.) is the result of the influence of the poetic tradition; As the novel moves such cases, it becomes less and less, the last chapters are almost free from them.

Modern household foreign words and expressions are introduced in cases where in Russian there is no appropriate word to designate the relevant subject, the concepts (I ch., XXVI is the reasoning about the names of the men's toilet objects: "There are no these words in Russian). In the head of the eighth, the word "Vulgar" was introduced to designate the unpleasant damn item, the absence of which so pleases Pushkin in Tatiana.

All wealth of various vocabulary and phraseology, various syntactic means Pushkin enjoys in the novel with great skill. Depending on the nature of the episode, from the author's relationship to the person, which he writes about, the stylistic coloring of the language changes. Language, like a thin and sharp tool in the hands of a brilliant artist, transmits all the shades of feelings and sentiment, ease and jerseen or, on the contrary, the depth and seriousness of thought. In combination with the character of a verse, changing his rhythmic pattern, the language of the novel represents an extraordinary diversity of intonation: a quiet story, a jokes, irony, sarcasm, lunizing, delight, pity, sadness - the whole range of sentiment is held in the chapters of the novel. Pushkin "infects" the reader with his mood, with his attitude to the heroes of the novel, to his episodes.

So, the merits of Pushkin in the development of the Russian literary language is difficult to overestimate. Its main achievements can be expressed by three points. First, the national language became the basis of the literary Russian language. Secondly, the spoken language and books were not separated from each other and represented one whole. Thirdly, Pushkin Literary language has absorbed all early styles of language
The task, solved by Pushkin, was grand. The literary language, "established" Pushkin, and became the "great, powerful, truthful and free" Russian language, on which we are talking to this day.
This is the place and meaning of Pushkin in the development of the Russian literary language.

OO Review can not be completed without exposure to his poems, stylistics and strokes. For the lexic side of the novel, the stylistic polyphony is characteristic, that is, the harmonizing combination of words with various speech color.

Unique in Pushkin's work verse. A four-color Yamba characteristic of the poet is enriched pyrrheias (passes of strokes and a screaming of two unstressed syllables) and sponders (Additional stresses on weak syllables of the yambic stop). This feature attaches to the verse of Pushkin's partition, which the poet is achieved. The diversity of the sounding of the string introduces the tropoptic chores of the song of girls, as well as non-discontinued phrases on new lines and even stanzas ("... And Tatiana / and there are no case (their sex is)". The poems of the novel are often contrasting on sound even within one stanza: lyrical intonation is replaced by mocking, and with fun, the rows is adjacent to the sad ending. So in the XXVII stanza of the last chapter talking about capturing Onegin a love fatman, but this group ends with a link to Eve and Snake: "Forbidden the fruit of you to give, / without you paradise not paradise." Changes, so straightening behavior, manners, the appearance of Tatiana, are reflected in the new sound of the poems dedicated to her. The timidity of the young girl is felt in the insecurity of her words, in the non-infractions of the poems of her letters: "For a long time ... No, it was not a dream! Cumming! Scary to count ... " Maturity of thought, renewability of belief, the will of a married woman affects verses of completed, words of accurate, decisive and certain: "Your lesson listened to me? / Today is mine. " The clarity of the poeming rhythm is perfectly combined with the flexibility of lines, the abilities of poems: "... he drinks one / glass red wine."

EO style and his verbal severity are completely dependent on verse. In the structure of the novel, an important role is played fragments of prose, and some critics, starting with VG Belinsky, were in EO prosaic content dissolved in verses. However, most likely, the prose in the EO, equally, as "prosaic content", only emphasizes the versassal nature of the novel, which is repelled from the element alien to him. The EO is written by the classic size of the "Golden Age" of Russian poetry, a four-stranded yamb. Its direct consideration here is inappropriate, but the brilliant result of its use in EO is easy to see inside the stanza, specially invented by Pushkin for his novel.

Original and storgery of the work. Poems here are combined into groups of 14 lines (118 syllables) who have received a general name. "Onegin Stanza".

EO is the top of the stubbic creativity of Pushkin. Stanfa EO is one of the most "big" in Russian poetry. At the same time, it is simple and that is why he is genius. Pushkin joined together three quatrains with all the options for steam rhymes: cross, adjacent and encircling. The then rules did not allow the collisions of the rhymes of the same type on the transition from one stanza to the other, and Pushkin added to 12 verses 2 more with an adjacent male rhyme. It turned out the formula Abababvgggygzhzh. Here is one of the stanza:

(1) monotone and mad,
(2) as a vikhore of life young,
(3) Waltz Vihore is spinning;
(4) Chet flashes for a clear.
(5) by a minute of the gate approaching,
(6) Onegin, secretly smiling,
(7) Suitable to Olga. Quickly with Ne.
(8) is spinning near the guests,
(9) Then the chair puts it on the chair,
(10) Talk about this;
(11) minutes later two
(12) He continues with her Wals again;
(13) All in amazement. Lensky Sam
(14) Does not believe in your own eyes.

Magnifying two, st. 13, 14, compositely designed all the storm, giving it intonational-rhythmic and meaningful stability due to roll call from Art. 7, 8. This double support supported by Art. 10, 11, binds the architectonics of the stanza and the drawing of the rhymes in which at Art. 1-6 accounts for 4 female rhymes (2/3), while the remaining eight poems (7-14) contain only 2 female rhymes (1/4 of 8).

The exceptions are not subordinated to this construction entry, letters of Tatiana and Onegin and the song of girls. They consist of free stuff (or have an astrophic organization). The "Onegin Stroof" is significantly different from the Italian Octava, which was written by Don Juan Bairon, being much more her in terms of volume and built on other principles. It rushes consistently replaced rhymes: the abnormal (Abab - the letter is indicated by a qualitatively defined rhyme), adjacent (VVGG), slimming (decorated) and final steam room in two-bed (LJ). Easyness, the style of verses is connected in these stanches with the already marked partition, and the exceptional clarity of the construction is with an amazing containing capacity. Each such group of strings is a rhythmic unit of text, and semantic unity. As notes B.V. Tomashevsky, this stanza often begins the thesis (first quatrain), continues by the development of the topic (the second and third katsins) and is completed with the maximum. The latter often happens to Pushkin like a saying. The poet masterfully uses men's and female rhymes in these verses (they alternate), composite and simple (capitals - facials), traditional (again - love) and extremely original (good - et Catera) consonance. Pushkin builds his rhymes on nouns (tone - bow), adverbs (quieter - above), verbs (sorry - translate), on changing the parts of speech (summed up - general), names of nominal and own (acacia - Horace). All this in the aggregate provides flexibility, mobility, soundness, dynamics and turnover of "Oneginsky" stuff and thoughtful subordination to their artistic plan of the poet.

Turning to different epochs Roman "Eugene Onegin" understood in different ways: V. G. Belinsky wrote in his article: "Onegin - to the highest degree ingenious and national-Russian work ... The poetic novel Pushkin laid a solid foundation of the new Russian poetry, new Russian literature ... "

He also said: "Onegin" is the most sincere work of Pushkin ... Here is the whole life, the whole soul, all the love of him; Here is his feelings, concepts, ideals.

Pavel Alexandrovich Katrenin wrote: "... In addition to the charmed poems, I found you here yourself, your conversation, your cheerfulness.

But if we ask yourself a question: what is this work, why is it still worried about the heart of the reader and the listener? What is the question of which human problem builds its content, gives the novel by his eternal life? What makes it sometimes shudder and feel: this is true, it's about me, about us all? After all, the novel is more than one and a half century ago, not about us, but about completely other people!

Today, we get up to the problem: was A.S. Pushkin is a genius whose genius cannot destroy time?

And so, the question for the audience: Are A. S. Pushkin and his novel today?

And what problems raised in the novel are relevant today? (Sense of debt, responsibility, mercy, love).

"What is Pushkin for us? Great Writer? No, more: One of the greatest phenomena of the Russian Spirit. And even more: an immutable certificate of Russia, if he is, is she. And no matter how much they assure that it is no longer there, because Russia is erased from the face of the earth, we just have to remember Pushkin to make sure that Russia was, there will be. "

D. Merezhkovsky

The works of Pushkin are discussed so far. And this pattern does not exhaust criticism XIX.century. The heir to infinite research and questions on the novel became XXIcentury.