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The hero's dream, introduced into the narrative, is A. S. Pushkin's favorite compositional device. Grinev sees a significant, “prophetic” dream in “The Captain’s Daughter”. A dream that foreshadows future events also visits Tatyana Larina in the novel Eugene Onegin.

The snow is loose up to her knees;

Then a long branch around her neck

Suddenly it gets hooked, then from the ears

The golden earrings will be torn out by force;

Then in the fragile snow from my sweet little leg

A wet shoe will get stuck...

Powerless, Tatyana falls into the snow, the bear “quickly grabs her and carries her” into a hut full of demonic monsters:

One with horns and a dog's face,

Another with a rooster's head,

There's a witch with a goat beard,

Here the skeleton is prim and proud,

There's a dwarf with a ponytail, and here

Half crane and half cat.

Suddenly Tatyana recognizes Onegin among them, who is the “master” here. The heroine watches everything that happens from the entryway, from behind the doors, not daring to enter the room. Curious, she opens the door a little, and the wind blows out the “fire of the night lamps.” Trying to understand what’s going on, Onegin opens the door, and Tatyana appears “to the gaze of hellish ghosts.” Then she is left alone with Onegin, but this solitude is unexpectedly violated by Olga and Lensky. Onegin is angry:

And his eyes wander wildly,

And he scolds uninvited guests;

Tatyana lies barely alive.

The argument is louder, louder; suddenly Evgeniy

He grabs a long knife and instantly

Lensky is defeated...

This dream is very significant. It is worth noting that it evokes various literary associations in us. Its plot itself - a journey into the forest, a secret spying in a small hut, a murder - reminds us of Pushkin's fairy tale "The Groom", in which the heroine passes off the events that happened to her as her dream. Some scenes from Tatyana’s dream also echo the fairy tale. In the fairy tale “The Groom,” the heroine hears “screams, laughter, songs, noise and ringing” in a forest hut and sees a “rampant hangover.” Tatyana also hears “barking, laughter, singing, whistling and clapping, people’s rumors and the horse’s tramp.” However, the similarities here probably end there.

Tatyana’s dream also reminds us of another “magical” dream - Sophia’s dream in Griboyedov’s comedy “Woe from Wit”:

Then the doors opened with thunder
Some are not people or animals
We were separated - and they tortured the one sitting with me.
It’s like he’s dearer to me than all the treasures,
I want to go to him - you bring with you:
We are accompanied by moans, roars, laughter, and whistling monsters!

However, Griboyedov’s Sophia invents this dream; it did not happen in reality.

It is worth noting that the plots of both dreams - real and fictional - refer us to Zhukovsky’s ballad “Svetlana”. Like Svetlana, Tatyana tells fortunes at Christmas time. She points the mirror at the month and asks the name of a passer-by. Going to bed, the heroine takes off the amulet, the “silk belt,” intending to tell fortunes “for sleep.” It is characteristic that Zhukovsky in his ballad does not discuss the fact that everything that happens to Svetlana is a terrible dream. We learn about this at the end of the work, when a happy awakening occurs. Pushkin says openly: “And Tatyana has a wonderful dream.” Zhukovsky’s romantic ballad contains all the “attributes of the genre”: “black coffin”, “black corvid”, “dark distance”, dim moonlight, blizzard and blizzard, dead groom. Svetlana is confused and upset by the dream she saw, she thinks that he is telling her a “bitter fate,” but in reality everything ends well - her fiancé, safe and sound, appears at her gate. The poet's tone in the finale becomes cheerful and life-affirming:

Our best friend in this life

Faith in Providence.

The good of the creator is the law:

Here misfortune is a false dream;

Happiness is awakening.

Completely different intonations are heard in Pushkin’s poems:

But an ominous dream promises her

There are many sad adventures.

Tatiana's dream is “prophetic”. He foreshadows her future marriage (seeing a bear in a dream, according to popular beliefs, foreshadows marriage). In addition, the bear in the heroine’s dream is Onegin’s godfather, and her husband, the general, is indeed a distant relative of Onegin.

In a dream, Tatyana, standing on the “trembling, disastrous bridge,” crosses a seething, “ebullient, dark and gray,” “unfettered by winter” stream - this also symbolically reveals her future. The heroine is waiting for a transfer to a new state of life, to a new quality. The noisy, swirling stream, “unfettered by winter,” symbolizes in this dream the heroine’s youth, her girlish dreams and amusements, and her love for Onegin. Youth is the best time in human life, it is truly free and carefree, like a strong, stormy stream, over which the restrictions, boundaries and rules of mature, “winter” age have no power. This dream seems to show how the heroine goes through one of the periods of her life.

This dream also precedes future name days in the Larins’ house. D. D. Blagoy believed that the “table” pictures from the heroine’s dream echoed the description of Tatyana’s name day.

It is characteristic that Onegin appears in this dream as the “master” of demonic monsters feasting in the hut. In this bizarre incarnation, the hero’s “demonism” is indicated, raised to the Nth power.

In addition, Onegin, whose reactions are completely unpredictable, is still a mystery to Tatyana; he is surrounded by a certain romantic aura. And in this sense, he is not only a “monster”, he is a “miracle”. This is also why the hero in this dream is surrounded by bizarre creatures.

It is known that sleep represents a person’s hidden desire. And in this regard, Tatyana’s dream is significant. She sees in Onegin her savior, a deliverer from the vulgarity and dullness of the surrounding hostile world. In the dream, Tatyana is left alone with the hero:

My! - Evgeny said menacingly,

And the whole gang disappeared suddenly;

Left in the frosty darkness

It is worth noting that the heroine’s dream in the novel does not just precede future events. This episode shifts the plot emphasis in the novel: from the relationship between Onegin and Tatyana, the reader’s attention switches to the relationship between Onegin and Lensky. Tatyana's dream reveals to us her inner world, the essence of her nature.

Tatyana's worldview is poetic, full of folk spirit, she has a bright, “rebellious” imagination, her memory preserves the customs and legends of antiquity. She believes in omens, loves to listen to her nanny's stories, and in the novel she is accompanied by folklore motifs. Therefore, it is quite natural that in a dream the heroine sees images of Russian folk tales: a big bear, a forest, a hut, monsters.

N. L. Brodsky notes that the source of Tatyana’s dream could be Chulkov’s “Russian Fairy Tales,” which were known to Pushkin. However, along with Russian folklore, European literary traditions have also firmly entered Tatiana’s imagination, including Gothic novels, the “British fable muse,” with their fantastic paintings:

Here's a skull on a gooseneck

Spinning in a red cap,

Here the mill is dancing squatting

And it flutters and flaps its wings.

Tatyana's dream in the novel has its own composition. Here we can distinguish two parts. The first part is Tatyana's stay in the winter forest, being chased by a bear. The second part begins where the bear overtakes her, this is the heroine’s visit to the hut. Each of the stanzas of this passage (and the entire novel) is built according to a single principle: “theme - development - climax - and an aphoristic ending.”

In this episode, Pushkin uses emotional epithets (“wonderful dream”, “sad darkness”, “trembling, disastrous bridge”, “at an annoying separation”, “fearful steps”, “in frowning beauty”, “unbearable cry”); comparisons (“Like an annoying separation, Tatyana grumbles at the stream,” “Beyond the door there is a cry and the clink of a glass, Like at a big funeral”), periphrasis (“from a shaggy footman”), inversion (“And before the rustling abyss, Full of bewilderment, Stopped she"), ellipsis (“Tatyana into the forest; the bear follows her”), anaphora and parallelism (“He gives a sign: and everyone is busy; He drinks: everyone drinks and everyone screams; He laughs: everyone laughs”), direct speech.

The vocabulary of this passage is varied. There are elements of colloquial style (“groaning”, “muzzle”), “high”, book style (“maiden”, “luminaries of the night”, “between the trees”, “eyes”), Slavicisms (“ young").

We find in this episode alliteration (“Hooves, crooked trunks, Tufted tails, fangs,” “Here is a skull on a goose neck Spinning in a red cap”) and assonance (“Barking, laughing, singing, whistling and clapping, People’s rumors and a horse’s tramp ").

Thus, Tatiana’s dream acts as a means of characterizing her, as a compositional insertion, as a “prophecy”, as a reflection of the heroine’s hidden desires and the flow of her mental life, as a reflection of her views on the world.

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

And Valentin Semenovich Nepomnyashchiy noted: “For Russian literature, Pushkin’s novel in verse “Eugene Onegin” is approximately the same as the Psalter for Divine services.”

The floor is given to the group led by Ksenia Revenko. Subject: “Language, verse and its stanza in the novel “Eugene Onegin.”

The language of Onegin uses all the richness and diversity of language, all the elements of Russian speech and therefore is able to cover various spheres of existence, express all the diversity of reality. Precisely, clearly and simply, without unnecessary poetic embellishments - unnecessary “additions”, “languid metaphors” - denoting objects of the “material” world, expressing the thoughts and feelings of a person and at the same time infinitely poetic in this simplicity, the syllable of “Onegin” is a wonderful tool for the realistic art of words. In establishing the norms of the national literary language - one of the most important tasks accomplished by the creative genius of Pushkin - the novel in verse has an extremely important place.

The language of the novel is a synthesis of the most significant and vital speech means of Pushkin's era. As M. Bakhtin noted, Russian life speaks here with all its voices, all the languages ​​and styles of the era. This is the clearest example of the innovation in the field of the Russian literary language that Pushkin introduced in the first third of the 19th century. He turned out to be capable of reflecting the most diverse spheres of reality, capturing various layers of Russian speech.

Speaking about Pushkin's linguistic innovation, researchers rightly pay attention to the colloquial, folk element in his language. Noting the poet’s appeal to “folk speech sources, to the spring of living vernacular.”

Within the book language, Pushkin developed the epistolary style in detail, creating the unforgettable letters of Tatyana and Onegin, elements of the journalistic style (they manifest themselves in polemics, in literary disputes with Shishkov, Katenin, Kuchelbecker, Vyazemsky) and an artistic and poetic style. In the latter, archaisms, barbarisms, and especially Gallicisms occupy a certain place. Widely using the poeticisms necessary in the text (“love’s tempting vial”, “break the slanderer’s vessel”, conventional names of heroines like Elvin), euphemisms (“Should I fall, pierced by an arrow” instead of “perish”), periphrases (“his first groan” , “honorary citizen of the scenes”), the author of the novel strives, however, to destroy the boundaries between poetry and prose. This explains the growing tendency from chapter to chapter towards noble simplicity, the introduction of prosaisms into the text, and an appeal to the “low” nature, equal in rights with the “sublime”. With “Eugene Onegin” that new trend in the use of vernacular begins.

The lively colloquial speech of people of an educated society sounds constantly in the novel. Examples here are the dialogues of Onegin and Lensky:

“...Tell me: which one is Tatyana?”
- Yes, the one who is sad and silent...”

Folk vernacular appears in the novel when people from the people appear on the stage. Let us remember Nanny Filipevna’s speech:

“...I used to
I kept quite a bit in my memory
Ancient tales, fables...

The same is the speech of Anisya the housekeeper.

God bless his soul,
And his bones
In the grave, in mother earth, raw!

In the given examples of speech of popular characters there is nothing artificial or fictitious. Pushkin avoided the false fictitious “simplicity” and “common people” of speech, but took it from life, selecting only those words and expressions that were fully consistent with the spirit and structure of the national language. We will not find in the novel either regional dialectisms or vulgarisms that clog and spoil the language. The vernacular in the novel is found not only in the speeches of the nanny and Anisya, but it is a noticeable element of the author’s own language. In episodes from village life, in descriptions of native nature, work and life of peasants, we find the simplest words that were previously considered unsuitable for poetry. Such are the horse, the bug, the firewood, the stable, the shepherd, etc. Criticism of the reactionary camp sharply protested against the democratization of the literary language, so clearly carried out in Pushkin’s novel. Elements of the language of oral folk art adjoin the folk vernacular in the novel.

The colloquial folk language is presented especially vividly in Tatyana’s statements (“I was so afraid in the evening!”; but now everything is dark.”) Colloquial speech in the novel is complemented by colloquialisms that are on the verge of literary use (“Barking mosek, smacking girls,” “what a I’m a blockhead”), which significantly enrich the author’s characterization of the provincial nobility.

Sometimes the poet resorts to a generous enumeration of objects and phenomena in order to convey the variety of impressions and the speed of movement (“women flash past the booth ...”). The bareness of the word does not exclude its polysemy. Some of the poet’s words echo (“about rus” - Horace’s “village” and “O Rus'!” - Pushkin’s exclamation in honor of the homeland), others hint at something (“But the north is harmful to me”); still others, in the words of V. Vinogradov, “wink” and “squint towards modern life” (“now the balalaika is dear to me,” “the drunken tramp of a trepak”). The poet organically combines bookish and neutral styles with colloquial ones in the novel. In the latter, we encounter both the characteristic lively speech of people of an educated society, and the folk colloquial language, which has flowed into the novel in a noticeable stream (“I almost went crazy,” “you can’t even show your nose to them”). Often the author’s speech adopts similar phraseology (“He spent the winter like a groundhog,” “Tatyana would sigh and groan”). The spoken folk language is presented especially vividly in the statements of nanny Tatyana (“I was so afraid this evening!”; “But now everything is dark to me”). Colloquial speech in the novel is supplemented by colloquialisms that are on the verge of literary use (“Barking mosek, smacking girls”, “A bad turn has come! It’s crazy ...”, “The neighbor sniffles in front of the neighbor”, “Heavy snoring

Pustyakov") and even abusive language ("knew how to fool a fool", "what a fool I am"), which significantly enrich the author's characterization of the provincial nobility.

The language of the novel happily combines the objectivity of the word with its exceptional artistic expressiveness. Pushkin's epithet can replace an entire description. Such are the “daring vaults”, the “royal Neva”, the “overbearing Prince”. Epithets simple (“bride of overripe years”) and complex (“Winter friend of the nights, a splinter cracks...”) help to describe the characters, the state of the heroes, the environment in which they live and act (“mourning taffeta”), the landscape (“pearl edges "), household details. The lorgnette alone in Onegin is marked by an exceptional variety of epithets (it is “disappointed”, “inattentive”, “obsessive”, “jealous”, “searching”). The poet’s favorite evaluative epithets are noteworthy: sweet, delightful, sweet, bright. The metaphors are just as diverse – nominal and verbal, formed from adjectives (“the poet’s passionate conversation”) and gerunds (“boiling with enmity”), traditional (“the salt of anger”) and individually authored (“the muse has gone wild”). There are metaphors built on the principle of personification (“the north... breathed, howled”), reification (“a ball of prejudices”), abstraction (“mazurka thunder”), zoologization (“transforming oneself into a horse”), personification (“thoughtfulness, her friend"). The variety of Pushkin’s comparisons is amazing, laconic (“hanging in clumps”) and expanded (likening Tatyana’s heartbeat to the fluttering of a moth), individual (“pale as a shadow”) and conveyed in a chain (Lensky’s poetry is likened to the thoughts of a maiden, a baby’s sleep, the moon). There are frequent metonymic turns in the novel, when the name of the author replaces the name of his work (“I read Apuleius willingly”) or country (“Under the sky of Schiller and Goethe”). In “Eugene Onegin” all means of poetic syntax are widely represented, enriching the imagery of the text. Now this is the pumping up of homogeneous members (“About haymaking, about wine, about the kennel ...”), now ironically presented isolated members and introductory constructions (the conversation, “of course, did not shine with either feeling or poetic fire”), now exclamations at incomplete sentences (“Suddenly there is a stomp! ... Here it is closer”) or accompanying the characterization of the hero (“How he sarcastically slandered!”). Either this is an expressive period (Chapter 1, XX stanza), or a rich, meaningful dialogue (exchange of remarks between Onegin and Lensky in Chapter III), or interrogative sentences of various types. Among the stylistic figures in the novel, inversions (“the moon in the silvery light”) and frequent anaphora (“Then they induced sleep; / Then he saw clearly...”; “Always modest, always obedient, / Always as cheerful as the morning) stand out. .."), expressively conveying the tedious monotony and repetition of signs; antitheses (“Wave and stone, / Poems and prose...”), omissions (“Then he drank his coffee... And got dressed...”), gradation (“like a lover, brilliant, windy, lively, / And wayward , and empty"). Particularly noteworthy for the language of the novel is its aphorism, which makes many of the poet’s lines proverbial (“All ages are submissive to love”; “Inexperience leads to disaster”; “We all look like Napoleons”). The sound design of the language in the novel is also expressive. It is worth remembering, for example, the description of the mazurka at Tatyana’s name day.

Of particular note is the use of a sentimental-romantic speech style - to create the image of Lensky and for polemical purposes (Lensky's elegy, etc.). At the end of chapter seven, we also encounter the parodically used vocabulary of the speech style of classicism (“I sing to a young friend...”). The use of mythological names and terms coming from classicism in sentimental-romantic poetry (Zeus, Aeolus, Terpsichore, Diana, etc.) is the result of the influence of the poetic tradition; As the novel progresses, such cases become fewer and fewer; the last chapters are almost free of them.

Modern everyday foreign words and expressions are introduced in cases where the Russian language does not have a suitable word to designate the corresponding object or concept (Chapter I, XXVI - discussion about the names of men's toilet items: “all these words are not in Russian”). In chapter eight, the word “vulgar” is introduced to denote that trait that is unpleasant for the author, the absence of which Pushkin is so pleased with in Tatyana.

Pushkin uses all the wealth of diverse vocabulary and phraseology, various syntactic means in the novel with great skill. Depending on the nature of the episode, on the attitude of the author to the person about whom he writes, the stylistic coloring of the language changes. Language, like a thin and sharp instrument in the hands of a brilliant artist, conveys all shades of feelings and moods, lightness and playfulness or, on the contrary, the depth and seriousness of thought. Combined with the nature of the verse, which changes its rhythmic pattern, the language of the novel presents an extraordinary variety of intonations: calm narration, humorous story, irony, sarcasm, tenderness, delight, pity, sadness - the whole gamut of moods runs through the chapters of the novel. Pushkin “infects” the reader with his mood, his attitude towards the heroes of the novel, towards its episodes.

So, Pushkin’s merits in the development of the Russian literary language can hardly be overestimated. His main achievements can be expressed in three points. Firstly, the folk language became the basis of the literary Russian language. Secondly, the spoken language and the book language were not separated from each other and represented one whole. Thirdly, Pushkin’s literary language absorbed all the early styles of the language
The problem solved by Pushkin was enormous. The literary language “established” by Pushkin became the “great, powerful, truthful and free” Russian language that we speak to this day.
This is the place and significance of Pushkin in the development of the Russian literary language.

A review of the EO cannot be completed without exhibiting it poems, stylistics and stanzas. The lexical side of the novel is characterized by stylistic polyphony, that is, a harmonizing combination of words with different speech colors.

The verse is unique in Pushkin's work. The iambic tetrameter characteristic of the poet is enriched pyrrhichiami(by skipping stress and contracting two unstressed syllables) and spondEami(with additional stress on weak syllables of iambic feet). This feature gives Pushkin’s verse the colloquialism that the poet strives for. The trochaic trimeter of the girls’ songs also adds variety to the sound of the lines, as well as frequent transfers of phrases to new lines and even stanzas (“...and Tatyana / Doesn’t care (that’s their gender)”. The novel's poems are often contrasting in sound even within the same stanza: the lyrical intonation gives way to mocking, and the cheerfulness of the lines is accompanied by a sad ending. So in the XXVII stanza of the last chapter it speaks of the love languor that has captured Onegin, but this group of lines ends with a reference to Eve and the serpent: “Give you the forbidden fruit, / Without it, heaven is not heaven for you.” The changes that have occurred so dramatically in Tatyana’s behavior, manners, and appearance are reflected in the new sound of the poems dedicated to her. The timidity of the young girl is felt in the uncertainty of her words, in the understatement of the verses of her letter: “A long time ago... no, it was not a dream! I'm cumming! It’s scary to re-read...” The maturity of thought, maturity of convictions, the will of a married woman are reflected in completed poems, precise, decisive and definite words: “Did I listen to your lesson? / Today it’s my turn.” The clarity of the verse rhythm is perfectly combined with the flexibility of the lines and the liveliness of the verses: “...He drinks one / A glass of red wine.”

The style of EO and its verbal expression completely depend on the verse. Play an important role in the structure of the novel fragments of prose, and some critics, starting with V.G. Belinsky, found prosaic content in the EO, dissolved in poetry. However, most likely, the prose in EO, as well as the “prosaic content,” only emphasizes the verse nature of the novel, which is based on an element alien to it. EO is written in the classic meter of the “golden age” of Russian poetry, iambic tetrameter. Its direct consideration is inappropriate here, but the brilliant result of its application in EO is easy to see within the stanza specially invented by Pushkin for his novel.

The stanza of the work is also original. The verses here are combined into groups of 14 lines (118 syllables), which received the general name "Onegin stanza"

EO is the pinnacle of Pushkin’s strophic creativity. The stanza EO is one of the “biggest” in Russian poetry. At the same time, it is simple and that is why it is brilliant. Pushkin combined three quatrains with all variants of paired rhymes: cross, adjacent and encircling. The rules of that time did not allow rhymes of the same type to collide at the transition from one stanza to another, and Pushkin added 2 more verses with an adjacent masculine rhyme to the 12 verses. The resulting formula is AbAbVVggDeeJJ. Here is one of the stanzas:

(1) Monotonous and crazy,
(2) Like a young whirlwind of life,
(3) The waltz is a noisy whirlwind;
(4) Couple flashes after couple.
(5) Approaching the moment of vengeance,
(6) Onegin, secretly smiling,
(7) Approaches Olga. Quick with her
(8) Hovering around the guests,
(9) Then he sits her on a chair,
(10) Starts talking about this and that;
(11) About two minutes later
(12) Again he continues the waltz with her;
(13) Everyone is amazed. Lensky himself
(14) Doesn't believe his own eyes.

Closing couplet, art. 13, 14, compositionally designed the entire stanza, giving it intonation-rhythmic and meaningful stability due to its echo with Art. 7, 8. This double support, supported by Art. 10, 11, completes the architectonics of the stanza and the pattern of rhymes, in which on Art. 1–6 have 4 feminine rhymes (2/3), while the remaining eight verses (7–14) contain only 2 feminine rhymes (1/4 of 8).

The exceptions are the introduction, the letters of Tatiana and Onegin, and the song of the girls, which are not subject to this construction. They consist of free stanzas (or have an astrophic organization). The “Onegin stanza” differs significantly from the Italian octave in which Byron’s “Don Juan” was written, being much larger in volume and built on different principles. What is striking in it is the successively changing rhyme pattern: cross (abab - the letter denotes a qualitatively defined rhyme), adjacent (vvgg), encircling (deed) and the final pair in the couplet (zhzh). The lightness and flightiness of the verse is combined in these stanzas with the already noted colloquialism, and the exceptional clarity of construction is combined with an amazing capacity of content. Each such group of lines is both a rhythmic unit of the text and a semantic unity. As B.V. notes Tomashevsky, this stanza often begins with a thesis (the first quatrain), continues with the development of the theme (the second and third quatrains) and ends with a maxim. The latter often resembles a saying in Pushkin. The poet skillfully uses in these poems male and female rhymes (they alternate), compound and simple (capitals - faces), traditional (again - love) and extremely original (good - et catera) consonances. Pushkin builds his rhymes on nouns (tone - bow), adverbs (quieter - higher), verbs (forgive - translate), changing parts of speech (raised - general), common and proper nouns (acacia - Horace). All this together ensures flexibility, mobility, sonority, dynamics and fluidity of the “Onegin” stanzas and their thoughtful subordination to the poet’s artistic intent.

Addressing different eras, the novel “Eugene Onegin” was understood differently: V.G. Belinsky wrote in his article: “Onegin is a highly brilliant and national Russian work... Pushkin’s poetic novel laid a solid foundation for new Russian poetry, new Russian literature ..."

He also said: “Onegin” is Pushkin’s most sincere work...Here is all his life, all his soul, all his love; here are his feelings, concepts, ideals.

Pavel Aleksandrovich Katenin wrote: “... in addition to lovely poems, I found you here, your conversation, your gaiety.

But how often do we ask ourselves the question: what is this work about, why does it still excite the heart of the reader and listener? What question, what human problem builds its content, gives the novel its eternal life? What is it about him that sometimes makes you shudder and feel: is this true, is this about me, about all of us? After all, the novel was written more than a century and a half ago, written not about us, but about completely different people!

Today we are faced with a problem: was A.S. Is Pushkin a genius whose genius cannot be destroyed by time?

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

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

“What is Pushkin for us? Great writer? No, more: one of the greatest phenomena of the Russian spirit. And even more: immutable evidence of the existence of Russia. If he exists, she exists too. And no matter how much they insist that it no longer exists, because the very name of Russia has been erased from the face of the earth, we only have to remember Pushkin to be convinced that Russia was, is and will be.”

D. Merezhkovsky

Pushkin's works are still discussed today. Moreover, this pattern is not limited to criticism XIX century. The heir to endless research and questions about the novel was XXI century

In the novel “Eugene Onegin” A.S. Pushkin created a reliable picture of Russian life at the beginning of the 19th century. Using many techniques, Pushkin reveals to us the images of the novel’s heroes as fully as possible: with the help of their relationship to each other, to others, to nature, introducing the author’s assessments and lyrical digressions.

Tatyana embodied the author’s “sweet ideal”; she is dear to Pushkin, so he tries to show us the deepest, most intimate depths of her spiritual makeup. That is why, to understand the poet’s intention, it is important to analyze Tatyana’s dream. We know that

Tatyana believed in the legends of the common folk, And in dreams, and in card fortune-telling, And in the predictions of the moon.

Therefore, the dream on the night when the girl decided to cast a spell, in the hope of finding out her betrothed and her future, is especially interesting to us. Before the divination, Tatyana “suddenly became afraid,” and this fear, an incomprehensible anxiety before the unknown, settles in our hearts for the entire time of her sleep.

Tatyana's dream replaces Pushkin's detailed analysis of her inner world; this is the key to understanding her soul. Here you can find images of sentimental novels beloved by girls: hence Onegin’s mysterious power over werewolves, his tenderness combined with a terrible destructive force. However, the main content of the dream is woven on the basis of folk ideas, folklore, fairy tales, and legends.

At the very beginning of the dream, Tatyana, walking along a snowy field, “surrounded by a sad darkness,” encounters a symbolic obstacle:

Effervescent, dark and gray, A stream unfettered by winter; Two perches, glued together by an ice floe, a trembling disastrous bridge, laid across the stream...

The old hero of Russian folk tales, the “big, disheveled honey,” helps her cross the stream. He first pursues the girl, and then takes her to the “wretched” hut, where Tatyana meets her lover, but in what company!

There are monsters sitting around: One in horns with a dog's face, Another with a rooster's head, Here is a witch with a goat's beard, Here is a prim and proud frame, So is a dwarf with a tail, and here is a Half-crane and a Half-cat.

In this terrible society, Tatyana recognizes her sweetheart, who acts as the owner:

He will give a sign: and everyone is busy; He drinks: everyone drinks and everyone shouts; He will laugh: everyone laughs; He frowns: everyone is silent...

Our anxiety increases when Onegin and the “hell apparitions” discovered our heroine. However, everything worked out, the lovers were left alone, and at the moment when we are waiting for the lyrical continuation, Lensky and Olga appear, provoking the wrath of Evgeniy. The dormant anxiety emerges with renewed vigor, and we find ourselves witnessing a tragedy: Material from the site

The argument is louder, louder; suddenly Evgeniy grabs a long knife, and Lensky is instantly defeated...

Tatyana wakes up in horror, trying to comprehend what she has seen, not yet suspecting how prophetic her dream will turn out to be. The expectation of trouble, which did not disappear, but strengthened after the heroine’s awakening, does not leave us during Tatyana’s subsequent name day. First, the guests gather - provincial nobles, with their base desires, extinguished feelings, small hearts. Onegin’s “strange” behavior at the Larins’, his courtship of Olga leads to disaster - a duel between two friends, Onegin and Lensky. And here, after Tatyana’s terrible dream, the feast can be regarded as a wake for Lensky.

Thus, natural intuition and subtle mental organization helped Tatyana, ahead of her time, to anticipate events that were yet to happen and bring tragedy into her life, since not only would they internally separate her forever from her loved one, they would also serve a barrier between their further relationships, but will also bring grief to many other people: Olga - short-lived loneliness, Lensky - death, and Onegin himself - mental discord with himself.

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• symbolism of Tatyana's dream in the novel Eugene Onegin
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• Tatiana's dream Eugene Onegin

Tatyana's dream has an important meaning in the text of Pushkin's novel. It plays a compositional role, connecting the content of the previous chapters with the dramatic events of the sixth chapter.
Oh, know these terrible dreams
You, my Svetlana!
These lines from Zhukovsky’s ballad “Svetlana” were taken by Pushkin as an epigraph to the fifth chapter. The main place in it is occupied by Tatyana’s dream - a prophetic dream that will come true.
And Tatyana has a wonderful dream.
She dreams that she
Walking through a snowy meadow
Surrounded by sad darkness...
Dream and reality - everything is intertwined in the girl’s mind. The nature in Tatiana’s dream is alive, earthly: a running stream, a bridge made of perches...
And how realistic is the picture of the forest:
... motionless pine trees
In its frowning beauty;
All their branches are weighed down
Shreds of snow; through the peaks
Aspen, birch and linden trees
The ray of the night luminaries shines...
Tatyana is scared:
The snow is loose up to her knees;
Then a long branch around her neck
Suddenly it gets hooked, then from the ears
The golden earrings will be torn out by force...
And in this real forest, amazing adventures happen to Tatyana. She meets a bear. Why him? Remember, one of the main characters of Russian folk tales is the bear. Yes, Tatyana is scared, but for some reason she suddenly leans on her “paw with sharp claws.” In general, Tatiana’s dream should be read with the Dream Book. After all, behind every image there is a symbol. Here is our heroine crossing the stream. The stream in the dream interpreter is speech, someone’s conversations. Seeing a bear means a wedding, marriage. A furry paw is a hint of a rich life. Yes, later in Tatiana’s life all this will come true.
But the dream continues for now. The bear leads her to a mysterious hut, “where the window glows brightly.” This is where miracles begin:
… at the table
Monsters sit around:

Another with a rooster's head...
... Here the mill is dancing in a squat
And it flutters and flaps its wings.
According to the Dream Book, seeing monsters means trouble. And if you dream of a wedding (“behind the door there is a scream and the clink of a glass, like at a big funeral”) - there will be a funeral.
And suddenly Onegin appears, “he’s the boss there, that’s clear.” The dream reflects Tatyana's dreams, her hopes, her love. Evgeny is affectionate and gentle with her. Dreams of love came true in a dream.
At the end of the dream, Tatyana sees Olga and Lensky, and a quarrel arises.
The argument is louder, louder; suddenly Evgeniy
He grabs a long knife and instantly
Lensky is defeated...
A subtle, albeit superstitious mind tells Tatyana, without explaining the reason, that there will be a quarrel between Onegin and Lensky. And there is a reason for this: Onegin is too cold and selfish, Lensky is too naive. A loving heart helped her understand and predict the approaching misfortune.
Tatyana's dream is once again proof of how close Pushkin's poetry is to folk life and folklore. We see a fusion of fairy-tale and song images with ideas that came from Christmas and wedding rituals. This is also proven by the selection of vocabulary. Here is the exciting secret of Christmas fortune-telling: “sad darkness”, “the window is shining brightly”, “... the wind blew, extinguishing the fire of the night lamps.” The description of evil spirits (“gang of brownies”) is subordinated to the image of any ugly evil spirits widespread in the culture and iconography of the Middle Ages and in romantic literature:
One with horns and a dog's face,
Another with a rooster's head,
There's a witch with a goat beard...
The selection of other means of expression is so precise and thoughtful that the reader gets the impression that he is in an enchanting darkness and is seeing this fabulous dream. Pushkin’s dream is “wonderful”, the darkness is “sad”, the stream is “gray-haired”, the linden trees are “naked”, the bushes are “deeply immersed in the snow”. The alternation of epithets and personifications allows us to recreate the wondrous, fantastic world of a fairy-tale dream. This is facilitated by taking the antithesis. Thus, the image of nature contrasts with ugly monsters:
... bushes, rapids
Everyone is covered in a blizzard,
Immersed deep in the snow
***
... Hooves, crooked trunks,
Tufted tails, fangs,
Mustaches, bloody tongues...
We will also find unusual comparisons in the “dream”: the bear is a “shaggy lackey”.
The passage, like the entire work (with the exception of a few stanzas), is written in iambic tetrameter. Rhyme – adjacent and cross. The syntactic layer of a passage is mainly determined by complex configurations. Take, for example, the fourteenth stanza of the fifth chapter:
Tatiana in the forest; the bear is behind her...
It is fourteen lines long and is just one sentence.
With all the artistic value of the “dream,” it, without a doubt, allows us to penetrate deeper into Tatiana’s inner world, once again confirming her connection with folk life and folklore. Folk poetry becomes the key to her consciousness.

And Tatyana has a wonderful dream. Alexander Sergeevich Pushkin is a subtle psychologist who perfectly understands the human soul. His novel Eugene Onegin is an authentic picture of Russian life at the beginning of the 19th century. By including the heroine’s dream in the narrative, the author helps the reader understand the image of Tatyana Larina and the environment in which provincial young ladies like her lived and were raised. Tatyana reads foreign novels; Russian ones had not yet been written, but she dreams of Russian ones, even of common folk dreams. Her prophetic dream, permeated with folklore images and symbols, is probably caused by the heroine’s longing for unrealistic happiness. Tatyana is obsessed with the thought of Evgeny, his coldness frightens the heroine, hence the disturbing dream, full of terrible forebodings. Loving, Tatyana even sees in her dreams... - as if she were walking through a snowy meadow, surrounded by sad darkness... The heroine's dream is very logical and consistent; the difficulties she encounters in the form of an unfrozen stream and a long path in the snowdrifts help her overcome the “shaggy footman.” The thief freezes in horror when the bear picks her up, but in fear she feels bliss.
Fell into the snow;
Bear quickly grabs her and carries her;
She's callously submissive
Doesn't move, doesn't die.
Seeing Onegin as the “leader” of a terrible gang, Tatyana tries to calm down, but the drama of the situation remains.
Monsters sit around:
One with horns and a dog's face,
Another with a rooster's head,
There's a witch with a goat beard,
Here the skeleton is prim and proud,
There's a dwarf with a ponytail,
And here is a half-crane and half-cat.
Well, whatever the nanny's fairy tale, it usually ended happily. Here the reader waits for a tragic ending, and it comes immediately. Tatiana's dream tells of a tragedy. Onegin acts as a “villain” who kills Lensky’s “friendship”.
The argument is louder, louder;
Suddenly Evgeniy grabs a long knife,
And Lensky was instantly defeated...
&nbsGenuine horror awakens Tatyana, now she tries to comprehend what she saw, as she believes in the omen. Tatyana believed in the legends of the common people of old times, and dreams, and card fortune-telling, and predictions of the moon. The heroine’s dream, reliably and in detail told by the author, prepares the reader for the predicted events to follow, therefore Onegin’s “strange” behavior at the Larins’ ball, his courtship of Olga is a logical chain, followed by a catastrophe - a duel of recent friends. But the dream also has a second interpretation; its symbols promise Tatyana a wedding, though not with her beloved. The bear is her future husband, the general. Crossing the stream along the bridge promises both a wedding and a funeral. No wonder Tatyana hears noise like “at a big funeral.” The dream, introduced into the fabric of the novel, explains a lot to readers waiting for further developments. And the ending of the work appears logical, when Tatyana reappears, already a secular married lady, but just as unhappy as before, happiness was so possible, so close! .
You must, I ask you, leave me...
I love you (why lie?),
But I was given to another;
I will be faithful to him forever.
This is her fate, which the heroine will not go against, maintaining the humility that has fallen to her lot. She will remain faithful to duty, that is her essence.

1000 and 1 facts about sleep: Some studies show that women need an extra hour of sleep compared to men, which is caused by their tendency to depression and psychosis.

Dreams in literature used to show the inner world of the characters, their torment and experiences. Sometimes descriptions of dreams are needed to give the reader a hint about what is happening in the hero’s surrounding world, what awaits him.

The great Russian poet Alexander Sergeevich Pushkin also used this technique when describing a dream Tatiana Larina in the novel "Eugene Onegin". He resorted to it in the middle of the novel, after the fatal letter that Tatyana Larina wrote to Eugene Onegin. Onegin's refusal was heard through tears; the girl suffers, “turns pale, goes dark and is silent!” The neighbors whisper, Lensky still looks after Olga, and Onegin continues to lead his life in “careless bliss”: riding a horse, drinking good wine, enjoying delicious food and fine summer days.

So time passed, and Tatyana could not forget Evgeniy. Autumn has already flashed by, winter has come and Christmas has arrived. On Christmas and Christmastide in the Larins' house, the maids told fortunes about the young ladies, predicting their husbands. Like any girl of that time, Tatyana was also fond of Christmas fortune-telling. Seized with confusion, a little afraid to look into her future, Tatyana guesses with them, trying first one fortune-telling, then another. The nanny advised her to predict a dream about the groom, and Tatiana puts her mirror under her pillow before going to bed.

Tatyana silk belt
She took off, undressed and went to bed
Lay down. Lel hovers above her,
And under the pillow is down
The maiden mirror lies.
Everything calmed down. Tatyana is sleeping.

And she “has a wonderful dream,” as if she were walking at night through a clearing covered with snow, entering the forest and coming across a stream among the snowdrifts. It is not frozen, two frail perches are thrown over it, the stream is raging, and Tatyana needs to get over it. Suddenly, a bear crawled out of a snowdrift, scattering snow. He extended his paw to help her cross the “disastrous” bridge, and the girl had no choice but to accept his help. But the bear continues to follow her, and in fear, Tatyana tries to run away from him through the winter forest.

The snow has wet her shoes, the branches cling to her neck and ears, pulling out her earrings, and it is no longer possible to run in knee-deep snow. Tatyana is exhausted and falls into the snow. The bear picks her up and carries her to the hut where his godfather lives. Having woken up, Tatyana hears the clinking of glasses and sees a table around which terrible monsters are sitting:

One with horns, with a dog's face,
Another with a rooster's head,
There's a witch with a goat beard,
Here the frame is prim and proud,
There's a dwarf with a ponytail, and here
Half crane and half cat.

Even more terrible, even more wonderful:

Here's a cancer riding a spider,

Here's a skull on a gooseneck

Spinning in a red cap,

Here the mill is dancing squatting

And it flutters and flaps its wings;

Barking, laughing, singing, whistling and clapping,

Human rumor and horse top!

And suddenly Tatyana sees that not just anyone is sitting at the head of the table, but her lover, Eugene Onegin. Apparently, he is the owner of this hut and the godfather of the bear. Suddenly, all these monsters, together with Onegin, go to the hallway where Tatyana lies. Seeing her, they surround her shouting “Mine!” Onegin tells them menacingly: “Mine!”

The monsters leave, but as soon as Evgeniy and Tatyana are left alone, the door opens and Lensky and Olga enter. Onegin gets angry at the uninvited guests and, in a fit of anger, kills Lensky with a knife.

Then “Tanya woke up in horror,” Olga runs into the room and bothers her sister:

“Well,” he says, “tell me,

Who did you see in your dream?

But Tatyana is silent. She is disturbed by an ominous dream, she wants to understand its meaning and flips through the dream book. However, she cannot find the key to the mysterious vision in him.

Knowing how the novel ends, it’s clear that it’s a dream Tatiana Larina- prophetic. He reflected the fate of Lensky and Tatyana’s deep experiences. But let's pay attention to the details of the dream. For example, those two poles along which Tatyana tried to cross the stream in a dream seem to symbolize two pine trees above the stream where Lensky’s grave is located:

And the key voice is heard, -
There is a grave stone visible
In the shade of two obsolete pine trees.
To the newcomer the inscription says:
“Vladimir Lenskoy lies here,
Died early by the death of the brave,
In such and such a year, such and such years.
Rest in peace, young poet!

And when Tatyana was lying in the hallway, the first thing she heard was “a scream and the clink of a glass, like at a big funeral...”

According to Christmas fortune-telling, girls place twigs on a mirror (perches and a stream) before going to bed and say: “Who is my betrothed, who is my mummer, will take me across the bridge.” "Cross the stream" means "get married." The bear that led Tatiana across the stream is a symbol of her future groom. The general, whom Tatyana later married, is described by Pushkin as “important” and “fat.”

In a dream, Tatyana, reluctantly, accepted the bear's help; in life, she also marries a general without much love. She admits to Eugene that she still loves him, but “she was given to someone else” and will be “faithful to him forever.”

In the dream, Tatyana lies in the hallway and looks through the ajar door into the room where Onegin is sitting at the table. She seems to look into the inner world of her lover. And what does she see there? Demons, monsters - apparently, they symbolize the vices inherent in Eugene. This means that deep down she sees Onegin’s shortcomings, but she loves him. "My!" - Evgeniy exclaims. Subsequently, after marriage, Onegin meets Tatiana at the ball and he again wants to shout “Mine!” Tatyana confirms that the old feelings have not gone away, but now it is her turn to refuse Evgeniy.

Here's a little episode describing a dream Tatiana Larina, carries a much deeper meaning than it seems at first glance.