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Christmas week has always been a time when girls who do not have supernatural powers can learn about their fate and future. Despite the fact that Christianity officially condemned fortune telling, it failed to eradicate Yuletide fortune telling. Many girls enjoyed fortune telling and did not see anything bad in this tradition, rooted since pagan times.

Tatyana Larina was no exception. The girl tried all possible fortune-telling that could be used during Christmas fortune-telling, but none of them gave her an answer to such an exciting question about her future and relationship with Eugene Onegin. The only way to lift the veil of uncertainty was sleep. This time Tatyana managed to get more information. The revealed possible reality was frightening for the girl; the future did not promise her joyful days:

And Tatyana has a wonderful dream.
She dreams that she
Walking through a snowy meadow
Surrounded by sad darkness;
In the snowdrifts in front of her
It makes noise, swirls with its wave
Ebullient, dark and gray
Stream unshackled by winter;
Two perches, glued together with ice,
Trembling, disastrous bridge,
Laid through the stream;
And before the noisy abyss,
Full of bewilderment
She stopped.

Like an unfortunate separation,
Tatiana grumbles about the stream;
Doesn't see anyone who hands
I would give it to her from the other side;
But suddenly the snowdrift began to move.
And who came from under it?
A big, disheveled bear;
Tatyana ah! and he roars
And a paw with sharp claws
He handed it to her; she's holding herself together
She leaned on her trembling hand
And with timid steps
Crossed the stream;
I went - so what? the bear is behind her!

She, not daring to look back,
The hasty quickens his pace;
But from the shaggy footman
Can't escape in any way;
Groaning, the obnoxious bear falls;
There is a forest in front of them; motionless pines
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;
There is no road; bushes, rapids
Everyone is covered in a blizzard,
Immersed deep in the snow.

Tatiana in the forest; the bear is behind her;
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;
Then she drops the handkerchief;
She has no time to rise; fears,
He hears the bear behind him,
And even with a trembling hand
He is ashamed to raise the edge of his clothes;
She runs, he follows,
And she no longer has the strength to run.

Fell into the snow; bear quickly
She is grabbed and carried;
She is insensitively submissive,
Doesn't move, doesn't die;
He rushes her along the forest road;
Suddenly, between the trees there is a wretched hut;
All around is wilderness; he's from everywhere
Covered in desert snow,
And the window glows brightly,
And in the hut there was screaming and noise;
The bear said: “Here is my godfather:
Warm yourself up with him a little!”
And straight into the canopy he goes
And he puts it on the threshold.

I came to my senses, Tatyana looked:
There is no bear; she is in the hallway;
Behind the door there is a scream and the clink of a glass,
Like at a big funeral;
Not seeing a bit of sense here,
She looks quietly through the crack,
And what does he see?.. at the table
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 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!
But what did Tatyana think?
When I found out between the guests
The one who is sweet and scary to her,
The hero of our novel!
Onegin sits at the table
And he looks at the door furtively.

He gives a sign - and everyone is busy;
He drinks - everyone drinks and everyone screams;
He laughs - everyone laughs;
Frowns his eyebrows - everyone is silent;
He's the boss there, that's clear:
And Tanya is not so terrible,
And, curious, now
Opened the door a little...
Suddenly the wind blew, extinguishing
The fire of night lamps;
The gang of brownies became confused;
Onegin, his eyes sparkling,
He gets up from the table, rattling;
Everyone stood up; he goes to the door.

And she’s scared; and hastily
Tatyana tries to run:
There is no way; impatiently
Tossing about, he wants to scream:
Can not; Evgeny pushed the door:
And to the gaze of hellish ghosts
A maiden appeared; furious laughter
It sounded wild; everyone's eyes
Hooves, trunks are crooked,
Tufted tails, fangs,
Mustaches, bloody tongues,
Horns and fingers are bone,
Everything points to her
And everyone shouts: mine! my!

My! - Evgeny said menacingly,
And the whole gang disappeared suddenly;
Left in the frosty darkness
The young maiden is his friend;
Onegin quietly captivates
Tatyana is in the corner and lays down
Her on a shaky bench
And bows his head
On her shoulder; suddenly Olga comes in,
Behind her is Lensky; the light flashed;
Onegin waved his hand,
And his eyes wander wildly,
And he scolds uninvited guests;
Tatiana lies barely alive.

The argument is louder, louder; suddenly Evgeniy
He grabs a long knife and instantly
Lensky is defeated; scary shadows
Condensed; unbearable scream
There was a sound... the hut shook...
And Tanya woke up in horror...
He looks, it’s already light in the room;
In the window through frozen glass
The crimson ray of dawn plays;
The door opened. Olga to her,
Aurora of the northern alley
And lighter than a swallow, it flies;
“Well,” he says, “tell me,
Who did you see in your dream?

Summarize: Tatyana's dream has a significant place in the text. On the one hand, this dream is a Yuletide miracle, a terrible prediction of the future; a particularly strong influence in this area occurs after subsequent events that ended with the death of Lensky, which was actually depicted in symbolic form in the dream.
On the other hand, Tatyana's dream is an allusion to Sofia Griboyedov's dream and partly the image of Svetlana Zhukovsky. This state of affairs helps to better understand the image of Tatyana, to identify some of her features that were not clearly described by Pushkin.

Tatyana, who attached great importance to dreams, was horrified - of course, the girl wanted the whole situation with Onegin to end happily and in that case she could be happy, but the dream does not promise her anything other than worries and grief - her lover turned out to be a monster, and not the ideal of her dreams.

Tatyana's dream is a symbiosis of various motives and emotions. It expresses both the girl’s hopes for a successful resolution of her relationship with Onegin, and the fear that the current situation will not develop in the best way.

Since Tatyana’s Yuletide dream reveals her deepest feelings, the girl does not want to share with anyone the story about the essence of this dream, although what she saw incredibly worries and disturbs her. Tatyana’s anxiety lasts until what she saw in her dream comes true.

Tatyana Larina's dream and its meaning.
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 the legends
Of common folk antiquity,
And dreams, and card fortune-telling,
And 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 scared,” 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 terrible destructive power. 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 through a snowy clearing, “surrounded by a sad darkness,” encounters a symbolic obstacle:
Ebullient, dark and gray,
Stream unshackled by winter;
Two perches, glued together with ice,
The trembling disastrous bridge,
Placed through the stream...
An old hero from Russian folk tales, “a big, disheveled bear,” 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!
...Monsters are sitting 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 frame is prim and proud,
So Karla with a ponytail, but
Half crane and half cat.
In this terrible society, Tatyana recognizes her sweetheart, acting 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's ghosts” 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:
The argument is louder, louder; suddenly Evgeny 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 they would not only internally separate her forever from her loved one and serve as a barrier between their future relationships, but also will bring grief to many other people: Olga - short-lived loneliness, Lensky - death, and Onegin himself - mental discord with himself.

In the novel “Eugene Onegin,” A. S. Pushkin created a captivating image of a Russian girl, whom he called his “true ideal.” Tatyana, according to the poet, is “Russian in soul.” Her very popular name, Tatyana, introduced by the poet into Russian literature, is associated with “old times,” with folk life. She grew up among forests and fields, in the atmosphere of Russian folk tales and legends. It is known that she was aloof from noisy children's amusements, and “the terrible stories // In the dark of nights in winter // Captivated her heart more.” A provincial young lady, she easily and naturally felt herself in the world of Russian folklore.

Yes, the author more than once says that his heroine read foreign novels and believed in “the deceptions of both Richardson and Rousseau.” Moreover, he notes that Tatyana “didn’t know Russian well... and had difficulty communicating in her native language.” And she even writes a letter to Onegin in French. But at the same time, the poet, with the help of a subtle artistic and psychological touch, reveals the “Russianness” of the heroine’s soul: her dream is introduced into the novel. By including it in the narrative, the author helps the reader understand the image of Tatyana Larina and the environment in which provincial young ladies lived and were brought up. Tatyana reads foreign novels (Russian ones had not yet been written), but she dreams of Russian dreams.

Her prophetic dream, entirely woven from folklore images and symbols, was probably caused by the heroine’s longing for unrealistic happiness. That is why Lel, the Slavic god of love, hovers over her to predict the girl’s fate. Tatyana is obsessed with the thought of Onegin, she is worried about his indifference to her, hence the disturbing dream, full of terrible forebodings.

Having fallen asleep while reading fortune-telling on Christmas Eve (as is known, in Rus' it was believed that Christmas time was the best time to find out one’s fate), Tatyana sees that she is “walking through a snowy clearing, // Surrounded by a sad darkness...”. According to dream books, walking along a snowy plain at night means encountering intractable problems, disaster. And the picture of the cold, snowy area itself is symbolic: it clearly indicates Tatyana’s intuitive understanding that her lover will not reciprocate her feelings, that he is cold and indifferent to her. On her way, Tatyana encounters various obstacles: an unfrozen stream, “boiling, dark and gray...”, with a flimsy bridge across it, “snow loose up to her knees,” trees whose branches cling to her earrings. It is not her lover who helps her overcome all these difficulties, but the bear acting as her betrothed - the “shaggy footman.” It is he who gives her his hand, leads her across the stream and carries her into the house. And here the dream also does not deviate from Russian folklore traditions. The bear is a characteristic image of folk tales. Tatyana freezes in horror when she, fallen in the snow, is picked up by a bear, but she cannot resist her fate: “She is insensitively submissive, // Doesn’t move, doesn’t die.”

Of course, sleep on Christmas Eve is unthinkable without a lover. And Tatyana sees him sitting at the table. First, noticing Onegin among the fairy-tale monsters, who acts as the “leader” and owner of the company, Tatyana tries to calm down, but the drama of the situation remains.

Terrible creatures are sitting at the table: “One with horns with a dog’s face, // Another with a rooster’s head, // Here is a witch with a goat’s beard...”, “There is a dwarf with a ponytail, and here is // A half-crane and a half-cat.” In the description of the monsters, fairy-tale and folklore images can be discerned. Before the heroine’s eyes, horns, bone fingers, hooves, trunks, and “bloody tongues” were mixed together. Tatyana probably encountered these images in her nanny’s fairy tales. However, despite the fact that the fairy tale should end happily, everything here prepares the heroine, and after her the reader, for a tragic ending. That is why the creatures sit at the table, “as if at a big funeral,” and laugh wildly. And the denouement comes immediately. Already in a dream, the same tragedy that is destined to happen in reality happens. As soon as Tatiana is left alone with Onegin, Olga and Lensky appear. Onegin scolds the uninvited guests, argues with them, and then “grabs a long knife” and kills Lensky. Olga also appears not by chance. Tatyana intuitively feels that her sister will unwittingly play a tragic role in the upcoming events.

Genuine horror seizes Tatyana, and she wakes up. But if Svetlana (the heroine of Zhukovsky’s ballad of the same name), waking up, sees a sunny frosty morning in the window and the groom climbing the steps of the porch, then Tatyana is alarmed after waking up no less than during sleep. She tries to comprehend what she saw, because she believes in omens: “Tatiana believed the legends // Of common folk antiquity, // And dreams, and card fortune-telling, // And the predictions of the moon.” At the level of intuition, the heroine realizes that the one whom she considered her betrothed will never be with her. Her fate is different.

The heroine’s dream sets up the reader for the fact that the predicted events will come true, therefore Onegin’s “strange” behavior while visiting the Larins, his courtship of Olga is a logical chain, followed by a catastrophe - a duel of recent friends. 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 the same unhappy as before. “...You must, // I ask you, leave me... I love you (why lie?), // But I was given to someone else; // I will be faithful to him forever,” she says to Onegin. This is her fate, which the heroine will not go against. She will remain faithful to duty, that is her essence. In this understanding of the Russian woman’s fate in Pushkin’s novel, associations with the poems of V. A. Zhukovsky “Lyudmila” and “Svetlana” are discerned. Moreover, the image of Svetlana is considered the first reliable image of a Russian girl in Russian literature.

So, Tatyana’s dream occupies an important place in the novel and has several meanings at once. It predicts the further course of events, on the one hand, and helps to get to know Pushkin’s heroine better, on the other. The fortune telling scene and Tatyana’s dream itself, coupled with Russian folklore and literary tradition in the development of the Russian national female character, reveals the deep psychology of the Russian woman. The idea of ​​a betrothed is associated with ideas about duty; the future spouse is thought of as destined by fate. Tatiana is inseparable from the national folk element with its beliefs, rituals, fortune-telling, divination and prophetic dreams. Tatiana's Dream once again proves how close the heroine is to the folklore perception of Mia. She thinks and feels like a Russian person.

And Tatyana has a wonderful dream. Pushkin- 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 sees in her dreams that she is walking through a snowy meadow, surrounded by sad darkness... The heroine’s dream is very logical and consistent, the difficulties encountered in the form of an unfrozen stream, a long path in the snowdrifts are helped by a “shaggy footman” to overcome. The thief freezes in horror when the bear picks her up, but in fear there is a feeling of bliss:

“Fell in the snow; bear quickly

She is grabbed and carried;

She's emotionlessly submissive

He doesn’t move, he doesn’t die.

Seeing Onegin as the “leader” of a terrible gang, Tatyana tries to calm down, but the drama of the situation remains:

“The monsters are sitting around:

Another with a rooster's head,

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..."

Genuine 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 to 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.

In the first and last name "Eugene Onegin" Pushkin encrypted the tragic state of the male spirit, expressed in two words, in fact, the key to understanding everything that happens in the male soul, deprived of love for a woman. Pushkin makes it clear that Evgeny Onegin is parody of a man, no more. With Tatyana, Onegin had a chance to become a man - “happiness was so possible, so close...” Question - why did Tatyana choose a parody of a man? There is an answer, you just have to read the novel carefully. All men who come into a woman’s field of vision are, in one way or another, measured up to her inner “ideal” (perhaps it is a childhood impression or a “legacy” of a past life, that’s not the point). It’s sad when this ideal is superimposed on a religious, book (in the case of Tatyana) or television parody. Then a man of flesh and blood may not be recognized, and the path to him will be blocked by a parody in the form of a saint or a pretty singer.

Having visited the estate abandoned by Onegin (after his murder of Lensky), examining his office, seeing the marks he had made with his fingernail in the books he was reading, Tatyana begins to see clearly and sees what her lover represents, worshiping Napoleon in the form of a figurine on the table:

"Muscovite in Harold's cloak,

interpretation of other people's whims,

A complete vocabulary of fashion words?..

Isn’t he a parody?”

Not a man who can discover the Woman in a girl, but just a dummy... But if everything were so harmless... But no.

Sympathizing with Pushkin’s heroine, you can’t help but wonder: why Pushkin gave the hero of her novel a “lake” surname? And one more thing: why Lermontov with his Pechorin, he took Pushkin’s message to the limit, to a certain extreme - after all, although that is the name of the river, “pechera” is a cave, an oven (in the sense of “bakes”, “hell”) - i.e., Mr. Pechorin literally pesters women to death. But let's return to his prototype - Onegin. If we group the sounds of the letters of the surname in ascending order, and then arrange both single and matching (by number) letters a second time, already in alphabetical order (with the exception of the short “I” as an intermediate option between the vowel and consonant sounds; in this case, the sound Y, as it were, cuts off the second word from the first), then the result is: HYENA HOWL. The hyenas howl as if they are laughing. And you can read it as LAUGHING HYENAS. So, the main character of the novel is none other than a laughing hyena? In the most mysterious place of the novel - “Tatyana’s Dream” - it is on the laughter of the gang members Pushkin the emphasis is made more than once. HYENA'S HOWL is the cipher key to Tatiana's dream, encoded in images, and perhaps TATIANA LARINA'S DREAM is actually the core of the entire novel.

The epigraph taken from Chapter 5 of the novel is also noteworthy. Pushkin at Zhukovsky: “Oh, don’t know these terrible dreams, you, my Svetlana!”

Therefore, Tatyana Larina - with a telling name and a more than telling surname (THE ONE ON WHOM THE WHOLE FAMILY RESISTS) - is in danger of trouble, something unknown to her is about to happen to the girl ritual, initiated by a hyena-like man (it’s not for nothing that the dream is permeated with “bad” images and archetypes with a sexual filling, among other things).

“...Tatiana, on the advice of the nanny

Going to cast a spell at night,

She quietly ordered in the bathhouse

Set the table for two cutlery;

But Tatyana suddenly became scared...

And I - at the thought of Svetlana

I felt scared - so be it...

We can't do magic with Tatyana.

Tatyana silk belt

She took off, undressed and went to bed

Lay down. Lel hovers above her,

And under the pillow is a downy

The maiden mirror lies.

Everything calmed down. Tatyana is sleeping.

And Tatyana has a wonderful dream.

She dreams that she

Walking through a snowy meadow

Surrounded by sad darkness;

In the snowdrifts in front of her

It makes noise, swirls with its wave

Ebullient, dark and gray

Stream unshackled by winter;

Two little glasses, glued together by an ice floe,

Trembling, disastrous bridge,

Put through the thread:

And before the noisy abyss,

Full of bewilderment

She stopped.

Like an unfortunate separation,

Tatiana grumbles about the stream;

Doesn't see anyone who hands

I would give it to her from the other side;

But suddenly the snowdrift began to move,

And who came from under it?

A big, disheveled bear;

Tatyana ah! and he roars

And a paw with sharp claws

He handed it to her; she's holding herself together

She leaned on her trembling hand

And with timid steps

Crossed the stream;

I went - so what? the bear is behind her!

She, not daring to look back,

The hasty quickens his pace;

But from the shaggy footman

Can't escape in any way;

Groaning, the obnoxious bear falls;

There is a forest in front of them; motionless pines

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;

There is no road; bushes, rapids

Everyone is covered in a blizzard,

Immersed deep in the snow.

Tatiana in the forest; the bear is behind her;

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;

A wet shoe will get stuck;

Then she drops the handkerchief;

She has no time to rise; fears,

He hears the bear behind him,

And even with a trembling hand

He is ashamed to raise the edge of his clothes;

She runs, he keeps following:

And she no longer has the strength to run.

Fell into the snow; bear quickly

She is grabbed and carried;

She's emotionlessly submissive

Doesn't move, doesn't die;

He rushes her along the forest road;

Suddenly, between the trees there is a wretched hut;

All around is wilderness; he's from everywhere

Covered in desert snow,

And the window glows brightly,

And in the hut there was screaming and noise;

The bear said: my godfather is here:

Warm yourself up with him a little!

And he walks straight into the canopy,

And he puts it on the threshold.

I came to my senses, Tatyana looked:

There is no bear; she is in the hallway;

Behind the door there is a scream and the clink of a glass,

Like at a big funeral;

Not seeing a bit of sense here,

She looks quietly through the crack,

And what does he see?.. at the table

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 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!

But what did Tatyana think?

When I found out between the guests

The one who is sweet and scary to her,

The hero of our novel!

Onegin sits at the table

And he looks at the door furtively.

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;

He's the boss there, that's clear:

And Tanya is not so terrible,

And curious now

Opened the door a little...

Suddenly the wind blew, extinguishing

The fire of night lamps;

The gang of brownies became confused;

Onegin, his eyes sparkling,

He gets up from the table thundering;

Everyone stood up; he goes to the door.

And she’s scared; and hastily

Tatyana tries to run:

There is no way; impatiently

Tossing about, he wants to scream:

Can not; Evgeny pushed the door:

And to the gaze of hellish ghosts

A maiden appeared; furious laughter

It sounded wild; everyone's eyes

Hooves, trunks are crooked,

Tufted tails, fangs,

Mustaches, bloody tongues,

Horns and fingers are bone,

Everything points to her

And everyone shouts: mine! my!

My! - said Evgeny menacingly,

And the whole gang disappeared suddenly;

Left in the frosty darkness

The young maiden is his friend;

Onegin quietly captivates

Tatyana is in the corner and lays down

Her on a shaky bench

And bows his head

On her shoulder; suddenly Olga comes in,

Behind her is Lenskaya; the light flashed;

Onegin waved his hand,

And his eyes wander wildly,

And he scolds uninvited guests;

Tatiana lies barely alive.

The argument is louder, louder; suddenly Evgeniy

He grabs a long knife and instantly

Defeated by Lenskaya; scary shadows

Condensed; unbearable scream

There was a sound... the hut shook...

And Tanya woke up in horror...

He looks, it’s already light in the room;

In the window through frozen glass

The crimson ray of dawn plays;

The door opened. Olga to her,

Aurora of the northern alley

And lighter than a swallow, it flies;

“Well,” he says, “tell me,

Who did you see in your dream?

But she, the sisters, without noticing,

Lies in bed with a book,

Going through leaf after leaf,

And he doesn't say anything.

Although this book was not

Neither the sweet inventions of the poet,

No wise truths, no pictures;

But neither Virgil nor Racine,

Neither Scott, nor Byron, nor Seneca,

Not even Ladies Fashion Magazine

So it didn’t interest anyone:

That was, friends, Martin Zadeka,

The head of the Chaldean sages,

Fortune teller, dream interpreter.

This is a profound creation

Brought by a nomadic merchant

One day to them in solitude

And finally for Tatyana

Him with the scattered Malvina

He lost for three and a half,

In addition, I took more for them

A collection of local fables,

Grammar, two Petriads,

Yes Marmontel third volume.

Martin Zadeka later became

Tanya's favorite... He is a joy

In all her sorrows he gives her

And sleeps with her constantly.

She is worried about her dream.

Not knowing how to understand him,

Dreams have terrible meaning

Tatyana wants to find it.

Finds in alphabetical order

Words: forest, storm, witch, spruce,

Hedgehog, darkness, bridge, bear, blizzard

And so on. Her doubts

Martin Zadeka will not decide;

But an ominous dream promises her

There are many sad adventures.

A few days later she

I was always worried about..."

Of all the dreams of Russian literature, including the four dreams of Vera Pavlovna, and the dreams of Anna Karenina, and the “dream of a funny man,” and “Popov’s dream,” Tatyana Larina’s dream is perhaps the most famous. Gershenzon said wonderful things about him:

“The whole of Eugene Onegin is like a series of open, bright rooms through which we freely walk and look at everything that is in them. But in the very middle of the building there is a hiding place; the door is locked, we look out the window - all the mysterious things are inside; this is “Tatiana’s dream”... Pushkin hid here the most valuable thing in the house, or at least the most sacred... Tatyana’s dream is undoubtedly encrypted in images; to read it, you need to find the encryption key.”

So what does this prophetic dream mean for the novel, for Tatiana, for Pushkin- the author, how a dream changes the course of the novel, how it transforms Tatyana.

The dream foreshadows events in the “distant” and “near” future in the novel. The parallels between “dream” and “reality” are numerous, and some are obvious. First of all, a quarrel between Onegin and Lensky and the murder of Lensky are predicted. In reality, Lensky dies in a duel two days after his dream. Tatyana's marriage is predicted. Another famous Russian philologist Potebnya interpreted crossing an unfrozen stream in a dream as a representation of marriage, traditional in Russian wedding symbols. Tatyana in a dream “... there is no way she can escape from the shaggy footman... She is insensitively submissive, does not move, does not die.” At the end of the novel: “But I was given to someone else; I will be faithful to him forever.” Despite all the differences, there is a common motive: the inability to change anything.

In a dream, Tatyana hears that “... the bear said: “My godfather is here.” Warm yourself up with him a little." The bear leaves her on the threshold of the hut, where the owner is Onegin. In “revelation,” in the eighth chapter, Tatiana’s husband, the prince and general, “approaches his wife and lets her down his relatives and his friend,” Onegin. Apparently, these correspondences are enough to identify the bear from the dream with Tatyana’s future husband.

Tatyana is at first invisible to the monsters gathered in the hut, but then all the monsters lay claim to her (“A maiden appeared... Everything points to her and everyone shouts: “mine! mine!””). In the seventh chapter, Moscow society at first does not pay attention to the provincial Tatyana. In the eighth chapter, she is the center of everyone’s attention, interest and admiration.

So, the dream foretells Tatyana two “futures”: first the “distant” one, in which she gets married, then - on the eve of her awakening - the “near one”, in which Onegin kills Lensky. The prophecies of a dream are obvious; prophecies cannot be ignored; they must be comprehended first of all. To understand a mysterious dream is to find the key to the future. People have thought this way for thousands of years, and even now it has not gone away. “Wonderful dreams” are an integral part of Pushkin’s reality, rooted in Russian folklore (fears and miracles), and in European romanticism (dreams and ghosts), and in the well-known personal superstition of the poet (his talismans, his hares crossing the road). "Dreams" and "visions" Pushkin can be: 1) truly “prophetic”, like Tatyana’s dream, Ruslan’s dream in “Ruslan and Lyudmila”, Grigory Otrepiev’s “cursed dream” in “Boris Godunov”, Maria Gavrilovna’s dream in “The Snowstorm”, Petrusha Grinev’s dream in “The Captain’s Daughter” "; or 2) “false,” like Hermann’s vision in “The Queen of Spades.” But dreams and visions are always extremely important to understand plot movements And images, they always “foreshadow” and need to be deciphered. Let's do it point by point.

1. In Tatiana's dream, the prophecy is for whom?

At first glance, for no one. We are faced with a paradox: Tatyana does not solve the dream and quickly forgets about it. Moreover, the “wonderful dream” is not mentioned anywhere else, neither by Tatyana nor Pushkin. It is amazing. As you know, the ritual consisted in the fact that, having performed certain magical actions on the night before Christmas, the girl was supposed to see the face of her betrothed in a dream and (or) find out his name. The dream was remembered for a long time, if not for life; the girl attached great importance to him. What about Tatyana? Upon awakening, she really tries to unravel the dream, feverishly leafing through the most popular “Dream Book” in Russia by Martyn (Martin) Zadeka. But it's useless...

But here's the next chapter, the next day. Lensky confirms his decision to shoot with Onegin:

“If only he knew what a wound

My Tatiana’s heart was burning!

If only Tatyana knew,

When would she have known

What tomorrow Lensky and Evgeniy

They will argue about the grave canopy;

Ah, maybe her love

I would unite my friends again!

But this passion and by chance

No one has opened it yet.

Onegin was silent about everything;

Tatyana was pining away in secret;

Only the nanny could know

Yes, I was slow-witted.”

Thus, the very next day Tatyana cannot perceive the tragic meaning of the dream. What can I say, even after the duel (not “several days”, but only two days after sleep!) Tatyana does not remember that she had already dreamed of Lensky’s death. How so? After all, Tatyana is a person of exceptional sensitivity, because Lensky, Olga’s fiancé, occupies a special place in their family. So far only one thing is clear. Tatyana extremely quickly forgot the “wonderful dream” or did not attach any significance to it. (Like the nanny, she turned out to be slow-witted).

Moreover, under the pressure of the flow of events, the dream is erased from the reader’s memory, as if falling out of the “reality” of the novel. Although he is “wonderful,” he is never remembered again. Neither Tatiana nor the poet return to it and its meaning, as if there were no prophecies.

1. Magic crystal

The question is, why is Tatyana’s dream needed at all, what role does it play in the novel if everyone has forgotten about it? There is a modern hypothesis about this: magic crystal, suggested by yourself Pushkin.

“Many, many days have passed

Since young Tatiana

And Onegin is with her in a vague dream

Appeared to me for the first time -

And the distance of a free romance

Me through a magic crystal

I haven’t seen it clearly yet.”

This is the penultimate stanza of the novel. “Vague Dream”… “Magic Crystal”…

What is a "magic crystal"? In a broad allegorical sense, this is the poet’s imagination. But Pushkin, undoubtedly knew the specific meaning of this term. Language dictionary Pushkin defines it as “A transparent glass ball used in fortune telling.” The “Magic crystal,” a specially designed crystal ball, was invented by John Dee (1527–1608), an English mathematician and astrologer of the Elizabethan period, the prototype of the Shakespearean magician Prospero. John Dee predicted the future by interpreting the images he saw in this ball. Not everyone could see and understand the images of the magic crystal. John Dee considered his abilities insufficient and worked with the medium Kelly, whose gift he highly valued. The mediums saw images and broadcast their visions, but they also forgot them extremely quickly: otherwise they would have lost their ability to “see.”

The modern American encyclopedia Collier’s states: “Even today... the transparent sphere of the fortuneteller is a crystal ball,” i.e., “magic crystal.” So what is the hypothesis?

Christmas time. Late evening.

"Tatyana with a curious gaze

He looks at the sunken wax.

He has a wonderfully poured pattern

Something wonderful says to her..."

"Tatiana in the wide yard

Comes out in an open dress

The mirror points for a month..."

“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."

Wax patterns, reflective surfaces, mirrors, lots of mirrors. And the most important of them is dream mirror, placed between “Reality” and “Dalya” of the novel and allowing one to see the future: Lensky’s death at the hands of Onegin (chapter six) and Tatyana’s marriage (chapters seven and eight). “Dream” reflects the future according to the laws of mirror reflection: in a dream, the “near” future turns out to be “closer” to awakening, very close to which (2 days) there is a tragedy - murder in a duel.

So Pushkin creates his own “magic crystal,” a mysterious combination of reflections, and with the medium Tatyana penetrates into the “distance of the novel.”

Was this designed in advance and consciously? Apparently not. The novel grew like a tree. The chapters were published gradually. Interchange options changed. Working on the last chapters, Pushkin in a letter Vyazemsky I was sincerely surprised at Tatyana’s marriage: “Imagine what kind of thing Tatyana did to me: she got married.” But the “husband”-bear, a relative of Onegin, is already present in the fifth chapter.

Tatyana is not just a fortune-telling virgin. She is one of the incarnations of Pushkin’s Muse, who appeared to him as “a district young lady, with a sad thought in her eyes, with a French book in her hands.” Pushkin loves Tatyana so much that, identifying her with the Muse, he trusts her, the Muse’s dream, with the most precious thing - the freedom of creativity, the freedom of his novel. According to the hypothesis, this is one of the meanings sleep. There are others too.

1. Tatiana's transformation

Tatyana sees herself in a dream. She is at the mercy of rapidly changing experiences. The dream is divided into two parts, one of which is connected with the bear, the other with Onegin in the hut.

How does Tatyana's dream begin?

"She dreams that she

Walking through a snowy meadow

Surrounded by sad darkness;

In the snowdrifts in front of her

It makes noise, swirls with its wave

Ebullient, dark and gray

A stream unshackled by winter..."

Symbolism of space- whiteness-purity, clearing-emptiness - speak of virginity, the neutrality of the heroine’s state, surrounded by darkness-ignorance or, rather, darkness-hopelessness in her sad loneliness. This state in a dream corresponds to Tatyana’s mood in the period after Onegin’s duel with Lensky and before making the decision to go to Moscow. The space in which Tatyana moves is homogeneous and undefined; there is no structure or direction in it. Only the stream gives meaning to this space. In a dream, Tatyana grumbles about the stream “as if it were an annoying separation.” If crossing the stream means marriage, then the separation that Tatyana grumbles about is parting with her native places, to which Tatyana begins to say goodbye long before leaving for Moscow.

She gets to the other side of the river, leaning on the bear, but then quickly runs away from him. This is how they run away from mortal danger.

“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;

Then she drops the handkerchief;

She has no time to rise; fears,

He hears the bear behind him,

And even with a trembling hand

I’m ashamed to lift my clothes..."

Tatyana is running. She is scratched and almost strangled by tree branches. The earrings are violently torn out of her ears. How you have to run so that the earrings are torn out of your ears! She runs barefoot, knee-deep in snow; the long dress is in her way, but she is ashamed to lift it, as if the bear were a man who might be seduced by the sight of a woman’s naked leg. Can this run be considered a hint at Tatiana’s life after the wedding? With a stretch - yes. It is possible that Tatiana’s losses while running in the forest symbolically correspond to the losses of a girl transferred from the freedom of girlhood in the bosom of nature to the world of the conventions of light. Note that Tatyana goes to a social event in the capital in winter. She is scared

"To the judgment of the discerning world

Present clear features

Provincial simplicity,

And belated outfits,

And a belated warehouse of speeches;

Moscow dandies and circus

Attract mocking glances!..

Oh, fear! no, better and truer

She should stay in the depths of the forests.”

Tatyana's fears here are associated primarily with her appearance. In the forest she loses her earrings, shoe, and scarf. They do not help, but hinder her in the course of life; her dress does not match her environment. It's too long and uncomfortable.

Finally, Tatyana calms down, “unemotionally submissive,” in the bear’s paws. Everything is connected to him in one way or another. Bear is a helper. Tatyana runs away from the bear, afraid of him. Finally, in his arms she “doesn’t move, doesn’t die.” He places her like a child on the threshold of the hut in which “godfather” Onegin is located. Tatyana’s series of experiences in this part of the dream appears as:

1) activity = determination (crossing the stream);

2) fear (escaping from a bear);

3) passivity = submission in the bear's embrace.

When Tatyana comes to her senses in the entrance of the hut, curiosity overcomes fear: “she looks quietly through the crack.” Curiosity is generally characteristic of Tatyana. Traditionally, with reference to the fact that “even in these years Tatyana did not pick up dolls,” her childhood does not seem like a child’s, as if all her life she sat by the window and read French books. Pushkin, of course, sought to note the dissimilarity of his heroine from other girls of her age: her independent thinking, imagination, love of reading. But the fact that Tatyana is interested in “scary stories” instead of dolls does not mean that she was not a child. It is well known to what extent everything terrible and mysterious attracts and fascinates children. Curiosity always draws Tatyana to the brink, and she sometimes crosses it, finding herself in a situation that is either dangerous or not quite decent for a girl. She writes to Onegin, she enters his house. A parallel can be drawn between looking into a hut and visiting Onegin’s house. Her approach to the estate is reminiscent of wandering through a snow-white meadow in a dream. Tatyana wanders there by chance and accidentally looks into the hero’s soul, reading his notes on the books. In one of the early versions of the novel, she even reads Onegin's diary. Tatiana's childishness and naivety before arriving in St. Petersburg are emphasized by both the poet and Onegin. In the eighth chapter, remembering the past, Tatyana talks about herself as a child.

In the hut, Tatyana sees monsters and their leader Onegin. It is precisely because of her unrestrained childish curiosity that she attracts their attention. The monsters terrify Tatiana. She calms down in the arms of Onegin, the master demon who drives away the “gang of brownies.”

So, Tatyana’s chain of experiences in the second part of the dream:

1) activity = curiosity at the door;

2) fear of monsters;

3) passivity = sensual submission in the arms of Onegin.

It is obvious that this chain is similar to the one that appeared in the first part of the dream. The shades have changed somewhat: determination has become curiosity, humility has become sensuality. But, in essence, the chain is the same: activity → fear → passivity.

1. Connection of feelings and times

The dream is Tatyana’s journey through time, first - in the “distant” future with her “bear husband”, then - in the “near”, where the quarrel between Onegin and Lensky takes place. Finally, she returns to “reality” - she wakes up. Having analyzed the dynamics of Tatyana’s experiences in a dream, we can come to the conclusion that time travel and changes in feelings are connected by a common logic: reality (Epiphany evening), dream (“Far Future”, “Near Future”), reality (morning).

There are patterns to be seen here. “Dream” is a cycle: “Reality” - “Distant Future” - “Near Future” - “Reality”. Activity (either determination or curiosity) is a necessary condition for entering the future. In order for something to happen, for the future to be different from the present, you need to be active and bring some changes. “The Dream” shows that Tatyana is determined, that she is the creator of her destiny.

Staying in the future is associated with fears (terror of a bear, of monsters). Fear is followed by passivity (submission in the arms of a bear or Onegin). As soon as the heroine calms down and submits, something sudden (“suddenly”) happens, and life around her changes. “Suddenly” is a response to passivity. “Suddenly... a wretched hut,” on the threshold of which the bear places Tatyana. Or “suddenly Olga comes in, followed by Lensky... Lensky is defeated.”

And then Tatyana seems to be escorted out of the time in which she resides. She descends the ladder of time: from the “distant” future to the threshold of the “near”, and then from the “near” future to the present, to “reality”.

Thus, activity (determination, curiosity) is rewarded: access to the future opens. But passivity is punishable. Passivity precedes "expulsion" from the time in which it resides; Passivity is immediately followed by a “descent” to a step lower, to the “threshold” of another, “lower” time, and, finally, a return to the present - awakening.

This is the amazing logic of “Tatiana’s Dream.” This is a journey in the space of “feelings and times”, where feelings are the engines. The cycle of emotions drives a series of events and a cycle of times.

1. Love disease

Tatyana's love is described Pushkin as a serious illness with a detailed list of symptoms. Here Tatyana is walking in the garden, driven by the “longing of love”:

“And suddenly the eyes become motionless,

The chest and cheeks rose

Covered in instant flames,

The breath froze in my mouth,

And there is noise in the ears, and a sparkle in the eyes...

Here it is above the letter to Onegin:

Tatyana will sigh, then gasp;

The letter trembles in her hand;

The pink wafer is drying

On a sore tongue."

Waiting for Onegin, “she trembles and glows with heat.” And here after the date:

“Poor Tatyana is burning;

Her bed and sleep flee;

Health, color and sweetness of life,

Smile, virgin peace.

Everything is gone, the sound is empty.”

“Alas, Tatyana is fading,

It turns pale, goes dark and is silent!

Nothing occupies her

Her soul doesn’t move.”

Here is Tatyana at her name day, sitting opposite Onegin:

"And, paler than the morning moon

And more trembling than a persecuted doe,

She has languid eyes

Doesn't lift; flares violently

There is a terrible heat in her; she feels stuffy and ill;

She greets two friends

Can't hear, tears from my eyes

They really want to drip; already ready

The poor thing is going to faint..."

Pale and hot! Partial hearing loss! But jokes aside! ― this is a real disease, and not the “fun of the old monkeys” of the eighteenth century.

1. "Poison of Desires"

The appearance and manifestation of sensuality (passion, “desire”) is a sign of a special phase of “love sickness.” Tatiana grows up among Russian nature, Western novels and folk customs. She prepares herself for love. Pushkin ironically and affectionately describes her bookish education, its one-sidedness and artificiality. The novels that Tatyana reads cultivate feelings and moral qualities. Behavior improves, perception becomes subtle, imagination develops. Tatyana draws knowledge about desires from novels.

“You drink the magic poison of desires,

Dreams haunt you:

Everywhere you imagine

Happy Date Shelters;

Everywhere, everywhere in front of you

Your tempter is fatal."

But these are still desires, and not desire-passion, “the gloomy, dim fire of desire.”

Tatyana's love is described Pushkin in rich sensory terms, but this is the knowledge and perception of the poet, not the heroine. Tatiana is the object of desire of the poet himself. He looks at her with admiring eyes: “She leaned her head towards her shoulder. / The light shirt fell / From her lovely shoulder...” - and watches how her sensuality awakens. But Tatyana is unaware that there is a “desire” that is not trained by culture. Only in a dream does Tatyana learn what it means to be the object of voluptuous desire. Only after sleep will she express her desire clearly.

“I’ll die,” Tanya says, “

But death from him is kind,

I don't complain: why complain?

He can’t give me happiness.”

1. "House in the Forest" and transformation

When they talk about Tatyana’s “transformation,” they usually mean her transformation in the eighth chapter. A modest village girl became an unapproachable goddess. But here we are talking about another, not external, but internal, spiritual transformation from the romantic sensitivity of “desires” to sensuality and, finally, to the determination to “perish,” that is, to recklessly yield to desire. This transformation takes place in "The Dream" and is caused by an extremely important event. But what kind of event is this? And how did it initiate the transformation? What happens in the “wretched hut” is the key and most mysterious moment of the dream, “a hiding place within a hiding place.” There are monsters around Tatiana. Who are they?

By Lotman, the entire episode in the hut is based on Russian folklore tradition, combining wedding imagery “with the idea of ​​​​an underbelly, inverted devilish world.” Here it is not wedding guests sitting on benches, but forest evil spirits.

Not the groom, but the Master, the leader of the gang. Besides, “a wedding is also a funeral.” Indeed, in the hut there is “screaming and clinking of glasses like at a big funeral.” On the other hand, commenting on the drawings of monsters that I made myself Pushkin(skull, mill), Lotman notes that such images are of Western European origin, do not belong to the Russian folklore tradition, and are not supported by “Russian iconography and Russian folklore texts.”

In "Pushkin's Dreams" Gershenzon gives a note "curious message" Botsyanovsky that the appearances of monsters are borrowed Pushkin part from a Russian popular print from the late 18th century, “Demons Tempt St. Anthony", partly from the painting Hieronymus Bosch"Temptation of St. Anthony."

Who do we mean by these monsters? Guests at tomorrow’s name day, where Onegin draws their caricatures “in his soul”? Indeed, among them there is the “county dandy Petushkov,” who is associated with the monster “with a rooster’s head.” Or maybe it was Moscow secular society, which at first did not notice Tatiana, and then made her the center of attention and the subject of admiration? Nabokov indicates a parallel between the revelry reigning in the hut, Tatiana's name day and the ball to which Onegin arrives in the eighth chapter. However, he attributes this pattern not to the content of the dream, but simply to Pushkin’s fluent, rapid technique: this is how the poet depicts the turmoil of a gathering. Maybe this is the famous “Arzamas” with its symbols? Robbers led by Onegin-Dubrovsky? Or is it a “secret society”, Decembrist or near-Decembrist, headed by Onegin-Chaadaev; it was with him that the Pushkin scholar identified Onegin Yu. Oksman. Or maybe these are the spirits of books from Onegin’s library, sitting in which after Onegin’s departure, Tatyana tries to comprehend his soul?

Of all the possible interpretations of this scene, Lotman’s “wedding-funeral”, based on Russian folklore, seems to be the most conclusive, but not the only possible one. Apparently Lotman-Onegin’s commentator did not set out to understand the influence of the episode in the hut (and the dream in general) on the evolution of Tatiana’s image. Next, we will try to develop our own folklore version, which in some ways overlaps with Lotman’s, and in some ways differs from it.

The key symbol of this interpretation is the “house in the forest”, borrowed from the classic book V. Proppa"Historical roots of fairy tales." The “big house,” otherwise known as the “men’s house,” is a special institution inherent in the clan system. The large house is the center of gatherings for the union of initiated men. “The Brotherhood has its own primitive organization; it elects its elder.” Like the monsters in the hut, the “forest brothers” in the tale have an animal appearance, “those initiated and living in men's or forest houses were often thought of and disguised as animals.”

The symbol “house in the forest” is divided into two categories: “big house” and “little hut” and is an organic part of the rite of passage preserved in the folk tale. The “big house” performs the following function in the rite of passage: in certain cases, part of the male population, namely young men, from the moment of puberty until marriage, no longer live in the families of their parents, but go to live in large, specially built houses . Dances and ceremonies are performed here, and sometimes masks and other shrines of the tribe are kept. Sometimes there are two houses on one site: one small (where circumcision is performed) and one large. Married people usually do not live there. The initiation was sometimes carried out in a forest hut or hut, after which the initiate either returned to the family, or remained to live there, or moved to a large men's house.

But what is dedication, in other words, “initiation” (from the Latin initiatio - performing the sacraments, dedication)? This is “a system of customs widespread in clan society associated with the promotion of boys and girls to the age class of adult men and women.” Propp states that although women were not allowed to participate in the initiation rites for men, they were always present in the “men’s house”: “the men’s house is prohibited to women in general, but this prohibition does not have retroactive effect: a woman is not prohibited in the men’s house. This means: in men's houses there were always women (one or more) who served as wives for the brothers. Women could belong to all, could belong to some, or to one by their choice or by the choice of one of the brothers. They represented the temporary property of young people. Women stay in the houses only temporarily; later they get married.

Propp notes that the folk tale did not preserve the distinction between large and small houses. It seems that in Tatyana’s dream, as well as in the fairy tale, the hut “unites” both of these houses. Tatyana looked into just such a “house in the forest.” Unwittingly, she became a witness to some kind of mystery, and, finding herself “a woman in the house,” she turned into an object of desire for many. She is protected by the “master” Onegin, from now on she will belong only to him.

When the worst happens and the monsters scream “mine!” mine!”, holding out burlesque-phallic mustaches, tentacles, arms, trunks and other limbs to Tatiana, lusting after her, Tatiana learns what it means to be an object of animal voluptuousness. This frightens her to death, and when Onegin says “mine!” saving her from monsters, the spell from the letter “Who are you: my guardian angel / Or an insidious tempter” finds an answer and a double embodiment.

Only now does Tatyana discover the full meaning of this phrase, apparently borrowed from a book.

In a dream, she discovers the reverse, one might say, anti-romantic side of desire, knowledge about the true nature and manifestation of desire in the real, non-book world. This knowledge helps her to recognize the real strength of her own desire and, in accordance with this, make a certain choice. When Tatyana wakes up, she is no longer the same girl who went to bed with a mirror under her pillow. Only after sleep does Tatyana define herself as the source of desire: “I’ll die,<…>but death from him is kind.” Tatiana has transformed. Simply put, Tatyana has matured. From her lonely virginal youth she enters an adult life of feminine experiences and begins to think and act like a woman. Sensitivity has transformed into sensuality. One of her qualities has not changed: determination. It is always inherent in Tatyana - before “Dream” and after.

Of course, we cannot talk about the literal “initiation” of the heroine into a “woman.” Deep (“chthonic”) knowledge, encoded in the horrors of sleep, prompts Tatyana to behave outside the framework of the traditional wedding ceremony (matchmaking and marriage). In accordance with ancient traditions, she can become the temporary wife of Onegin.

Tatyana Larina in marriage

1. Death and "doom"

The poet warned Tatyana and prophesied her death even before his letter to Onegin:

“Tatiana, dear Tatyana!

With you now I shed tears:

You're in the hands of a fashionable tyrant

I've already given up my fate.

You will die, dear; but first

You are in blinding hope

You call for dark bliss,

You will recognize the bliss of life..."

Yes, “death,” that is, reckless surrender to desire, is close. Tatyana herself speaks about her twice: in a letter to Onegin, before a wonderful dream: “My mind is exhausted and I must die in silence.” And at the end of the name day - after sleep: “I will die,” Tanya says, “but death from him is kind.” There is a difference between “My mind is exhausted and I must perish in silence” and “I will perish.”<…>but death from him is kind.” The first is a common place of romantic sensitivity, a trace of reading favorite novels. The second is very bold, completely conscious and in no way inferior - in its definiteness - to the famous “But I was given to another / I will be faithful to him forever.”

Tatyana decided to give in to attraction, without thinking about any consequences and, most importantly, realizing that happiness is impossible. Pushkin's famous

"There is ecstasy in battle

And the dark abyss on the edge...

Everything, everything that threatens death

Hides for the mortal heart

Inexplicable pleasures -

Immortality, perhaps, is a guarantee.”

The last line is bottomlessly deep: Rozanov wrote about this. Such rapture is also characteristic of Tatyana: “I’ll perish<…>but death from him is kind.” Earlier, too: “The charm found the secret and in the very horror it…”

Tatyana’s determination to “perish” is expressed clearly and firmly. But this goes unnoticed by readers for two reasons. Firstly, traditionally Tatyana is perceived, first of all, as the embodiment of “purity”, as an image of high morality. Secondly, Tatyana’s “death” did not take place. It was prevented by a combination of circumstances: Lensky’s death in a duel and Onegin’s departure. The decision to “die” should have required active action from Tatyana that would change her future, but Lensky’s death interrupts the course of events. This is what happens: Lensky, believing that Onegin is Olga’s tempter, is indignant:

“He thinks: 'I will be her savior,

I will not tolerate the corrupter

Fire and sighs and praises

He tempted the young heart;

So that the despicable, poisonous worm

Sharpened a lily stalk;

To the two-morning flower

Withered still half-open.”

This indignation sounds absurd and melodramatic to the reader, because the reader knows that there is no real danger for Olga. But Lensky’s accusatory tirades echo Pushkin’s stanza regarding Tatyana: “You are in the hands of a fashionable tyrant / You have already given up your fate” (etc.), in which the word “poison” also appears. It is paradoxical that Lensky saves Tatyana’s honor, which is under threat (which he does not know), while trying to save Olga’s honor, which is not in danger. The real death of Lensky prevents the possible “death” of Tatyana. The next time Tatyana will see Onegin only after marriage. (“She will not see him; she must hate in him the murderer of her brother”). This happens in reality. What about in a dream? The same:

“Onegin quietly captivates

Tatyana is in the corner and lays down

Her on a shaky bench

And bows his head

On her shoulder..."

Tatyana doesn’t resist at all. But... Lensky enters, quarrels with Onegin and dies by his hand. This is the final moment of the dream, where Tatyana’s readiness for “death” and Lensky preventing her death are merged. Tatyana’s “death” did not take place, but the hope for the possibility of love died, Lensky died

In her dream, Tatyana was transformed, but the disaster that occurred cast a heavy shadow on her fate. Everything that follows is marked by a deep, unforgettable shock. Hence the forced and hasty decision to get married (“for poor Tanya, all the lots were equal”). Hence the motives for secular suspicion in her last conversation with Onegin. “How can your heart and mind be a petty slave?” She calls Onegin’s love a petty feeling, “offensive passion.” To survive, she had to turn into an unapproachable, cold goddess. Or pretend to be her.

So, Tatyana’s dream is the nerve knot of the novel, in which two certainties are intertwined: the “distance” of the novel is determined and, transforming, Tatyana’s soul is determined. This is a mirror design necessary Pushkin(“magic crystal”).

And a deep myth about the laws of travel and transformation of the female soul in the “Other Reality”.

But in the entire structure of the novel, another thing is connected with Tatiana’s dream - the bitterness of missed opportunities: “But happiness was so possible,” “But it’s sad to think that youth was given to us in vain” ... The heroine was given a prophecy, but she did not unravel it, she completely forgot ... Her soul was transformed, but under the pressure of external tragic circumstances it deviated from its movement.

Ultimately, a dream is the threshold of the main meaning"Eugene Onegin", an ancient story about how two souls, comprehending each other, wander, strive for union and will never unite.

1. Symbolism in Tatiana's dream

The system of sensory images is isomorphic to the structure of the meaning of a dream. The principle of organization of the system of sensory images is the space-time continuum. Tatyana's dream is a kind of symbolic reality created on the basis of a series reference symbols: snow, forest, stream, bridge, bear, hut, Onegin. They are selected in such a way that they form the space and plot of the dream: Tatyana, having crossed the bridge and meeting a bear, runs through the snowy forest and ends up in Onegin’s hut. Let us dwell on the interpretation of reference symbols.

One of the most important symbols of sleep is winter and words that can be combined into a thematic group with the general theme ‘cold’: “snow”, “snowdrift”, “ice”, “blizzard”. According to the plot of the dream, Tatyana first walks along a “snow clearing”, then along “perches glued together by ice” she crosses a stream flowing in the snowdrifts, “not constrained by winter”, and ends up in a snow-covered forest where “there is no road; The rapids bushes are all covered by the snowstorm, immersed deep in the snow.” The first meaning of these symbols is ‘death’. If in popular ideas summer, sunlight, warmth and fire were associated with joy and life, then winter with all its attributes - snow, ice, blizzard - with sadness and death. For example, in the folk riddle about earth and snow: “She was neither sick nor sick, but she put on a shroud.” Or about snow: “I saw my mother, I died again.” Thus, in the description of Lensky’s death, the hero’s impending death is compared to a block of snow that rolls from the top of a mountain: “So slowly along the slope of the mountains, Shining in the sun with sparks, A block of snow falls... The young singer found an untimely end.” The death of a friend does not leave Onegin even in his dreams: “... on the melted snow, As if sleeping for the night, the young man lies motionless.” As a model, this semantic relation is the source of symbolization of plot twists and turns and details of the dream.

To be bound by ice is to be sealed by death. According to the plot of the dream, Tatyana crosses a stream on a bridge: “Two perches, glued together by an ice floe, A trembling, disastrous bridge, Placed across the stream...” The solution to this symbol is in the description of Lensky’s grave, where two pine trees are really “fastened by death,” that is, he is buried under them Lensky: “Two pine trees have grown together with their roots; Beneath them, the streams of the neighboring valley meandered, “and a key voice was heard, “There is a grave stone visible in the shadow of two obsolete pines.” In this regard, “disastrous” means “foreshadowing doom.”

Snow is not just a detail of a dream, it is principle of organizing space, therefore, to find yourself in a snowy forest means to find yourself in the kingdom of death, that is, in the other world, the world of souls. This meaning is supported by another symbol - forest. The forest symbolized the blissful gardens of paradise, where the souls of the righteous should settle after death. Trees are the souls of the departed (let us remember the traditional comparison of a person with a tree in Russian folk songs, riddles, and fairy tales). In addition, death was associated not only with cold, but also with darkness, and therefore with sleep, which is reflected, for example, in the expression “sleep eternal sleep” or the proverb “the sleep of death brother.” It is not surprising that, having fallen asleep, Tatyana immediately fell into the kingdom of the dead.

If the forest is the kingdom of souls, then the owner of the forest is the owner of the kingdom of souls. Since ancient times, the bear was considered the owner of the forest, which was called the “forester”, and the “forest devil”, and the “goblin”, and the “forest archimandrite”. The bear is the owner of the forest, and therefore a guide in the kingdom of the dead. The stream through which Tatiana passes into the forest symbolizes the boundaries of the kingdom of the dead. It was believed that the souls of the dead, in order to get to the afterlife, had to first cross an ocean, river or stream. The connection of the stream with the idea of ​​death is reinforced by the semantics of the bridge, which predicts the death of Lensky. The death of the poet separated Tatiana and Onegin: “yet” one thing separated us... Lensky fell an unfortunate victim...” That is why “as if at an annoying separation, Tatiana grumbles about the stream...”

If the first meaning of the symbols “winter”, “snow”, “snowdrift”, “blizzard” introduces the theme of death into the interpretation of the dream, then the second meaning, on the contrary, brings the theme of marriage. Snow is a symbol of fertility. It was believed that snow, like rain, gives the earth and man the power of fertility. Therefore, in ancient times the white snow cover was often compared to the white veil of the bride: “Mother Veil! Cover the ground with snow, make me young with a scarf (groom).” Apparently, deep snow, snowdrifts, in which Tatyana gets stuck, falls, and where a bear overtakes her and takes her in his arms, foreshadow a future marriage.

The theme of marriage is continued by the next two symbols - bridge across the stream and bear. For a girl to cross the stream means to get married. I wrote about this ancient motif of Tatiana’s dream A.A. Potebnya in the article “Crossing the Water as Concepts of Marriage.” This article mentions an ancient Christmas fortune-telling for the groom: “They make bridges out of twigs and put it under the pillow while sleeping, wishing: “Who is my betrothed, who is my mummer, he will take me across the bridge.” The bear, who, giving his paw, takes the heroine across the stream, chases after her and, having caught her, brings her to Onegin’s hut - Tatiana’s future groom, that is, the general. Since ancient times, the meaning of ‘bear-groom’ is associated with the fact that in the minds of the people, a bear’s skin symbolized wealth and fertility, and Pushkin emphasizes that the bear was “shaggy”, “big disheveled”.

If the bear is the groom-general, then the entire forest “in its frowning beauty” symbolizes secular society (the tree is a symbol of man). The meaning of “forest as a secular society” arose, apparently, on the basis of the metaphorization of the seme “cold”: cold means soulless, false. The poetic tradition of the late 18th and early 19th centuries often placed the epithet “cold” next to the word “light.” In the novel, the author wrote about Lensky: “Having not yet had time to fade from the cold debauchery of the world, His soul was warmed by the greetings of a friend, the caress of maidens.” The bear brings Tatyana to Onegin’s hut with the words “My godfather is here.” And indeed, in Moscow, at a reception, the general introduces Onegin, “his relatives and friend,” to Tatyana, his wife. Maybe, Pushkin plays on the figurative disapproving meaning of the word “nepotism”: “official patronage of one’s friends and relatives to the detriment of the business.”

Thus, all three symbols (snow, a stream with a bridge, a bear) are multi-valued and simultaneously introduce into the interpretation of Tatiana’s dream two themes that determined Tatiana’s fate - the death of Lensky and marriage to the general.

The main symbol of Tatyana’s dream is hut Onegin. According to the plot of the dream, the bear brings Tatyana, exhausted by the persecution, to the “hut”: “Suddenly, between the trees, there is a wretched hut; All around is wilderness; from everywhere it is covered with Desert snow, And the window glows brightly...” From the context we learn that the “hut” is a completely comfortable hut, with a canopy, a table and benches, and that the owner of the house - Onegin - is celebrating something in the company of terrible monsters, whom Pushkin calls him “a gang of brownies.” Hut - “a wretched little house, a hut, a shack” by Onegin. The word comes from the Old Russian “hiўzha” (house, housing, apparently poor or frail). One of the meanings of the word “hut” is a hut. That is why in the Old Russian language and dialects (for example, Siberian), the words “hut” and “hut” could name the same denotation. Brownie is “the guardian spirit and offender of the house.” Indeed, most of those chosen Pushkin animals for depicting demons have a certain relationship to the cult of the Russian brownie. So, for example, at the site of laying the foundation of a new hut, they buried the head of a rooster (cf.: “another with a rooster’s head”) in order to appease the brownie. Cat and goat (“witch with a goat beard” and “half-cat”) are animals that have wool - a symbol of prosperity and fertility. That is why they are dedicated to the spirit of the house. They fumigated the hut with the fur of a goat if the brownie was “angry,” and not a single housewarming party was complete without a cat. This is the meaning of the words “hut” and “brownie” in the context of the plot of Tatyana’s dream. Let us turn to their symbolic meaning.

The first meaning is determined by the macro-context of the work: the hut is Tatyana’s own home, and the brownies are guests at her name day. The names of some of Onegin’s demon “guests” have a direct connection with Tatiana’s guests at the name day. Thus, someone with a “rooster’s head” is associated with the “county dandy Petushkov.” Or, for example, in “Karla with a ponytail” it is easy to recognize Kharlikova (“Karla” is encrypted in the guest’s surname by rearranging the letters). The “skull on a gooseneck” in a red cap resembles Monsieur Triquet, who spent the night in a sweatshirt and an old cap. Onegin himself Pushkin first calls him “guest” and only then “host”. The very description of the feast of demons in Onegin’s hut and the guests at Tatiana’s name day are similar. In Tatyana’s dream: “Barking, laughter, singing, whistling and clapping, People’s rumors and a horse’s tramp!”; on name days: “In the living room there is a meeting of new faces, Barking mosek, smacking of the girls, Noise, laughter, crush at the threshold...” The second meaning of the symbols “house” and “brownies” is most important for revealing the meaning of the dream: “hut” - Onegin, “brownies” ― the realities of his inner world. The house as a shell for the hearth (the fire in the hearth is the soul) was associated with the human body as the shell of the soul. So, for example, in a children's riddle about a house: “Vahromey is standing, his eyebrows furrowed.” In the riddle about the windows in the house: “Thekla is standing, her eyes are wet.”

In modern Russian, the relationship between “house and person” is reflected, for example, in the expression “not everyone is at home.”

The symbol “house is a person, his soul” formed the basis of the central image of the poem Lermontov“My House”: “It reaches the very stars with its roof, And from one wall to another there is a long path that the Tenant measures not with his eyes, but with his soul.” In the description of the body of the shot Lensky: “Now, as if in an empty house, Everything in it is quiet and dark; It fell silent forever. The shutters are closed, the windows are whited with chalk. There is no owner. And where - God knows. The trace is gone." Here the “house” is a body without a “mistress,” that is, a soul. Thus, Tatyana, having entered the kingdom of souls, finds the most important thing for her - the soul of Onegin. After all, it was the mystery of this man’s character that made her guess at Christmas time.

The semantic relationship “house - person” is a source of symbolization not only of numerous details of the house, but also of the actions of the characters, their position in space. Hut Onegin - complex encrypted in a symbol system psychological portrait of the main character. Here are the details of this unusual portrait.

1. Controlling the “brownies” is Onegin’s authority. If the “brownies” are the realities of Onegin’s inner world, then the entire episode of controlling demons symbolizes the power of the hero’s complex nature: “He gives a sign - and everyone is busy; He drinks - everyone drinks and everyone screams; He laughs - everyone laughs; He frowns and everyone is silent.” The same thought is in the epigraph to “Eugene Onegin”: “Imbued with vanity, he possessed, in addition, a special pride, which excites one to admit with equal indifference his good and bad deeds, a consequence of a sense of superiority, perhaps imaginary.” . Onegin's treatment of demons can be compared with the description of the imperious king from the ode "Liberty" A.N. Radishcheva: “I can give with power; Where I laugh, everything laughs; I frown menacingly, everything is confused; If you live then, I command you to live.”
2. Looking at the door from inside the house means avoiding yourself. (“Onegin sits at the table and looks at the door furtively”). Perhaps we are talking about Onegin’s blues, which forced him, “languishing with spiritual emptiness,” to grow cold towards life and hate himself. So, before the duel: “In a strict analysis, calling himself to a secret trial, He accused himself of many things.”
3. Looking through the doorway of the hut from the outside is trying to understand Onegin’s inner world. According to the plot, Tatyana first “looks quietly through the crack,” then “opens the door a little” and finally enters the house. This symbolically describes Tatyana’s gradual understanding of Onegin’s character. It is for this purpose that after Lensky’s death and Onegin’s departure, Tatyana will go to Eugene’s estate.
4. To enter the house is to become the subject of thoughts and feelings. Tatyana's appearance in the hut symbolizes Eugene's future love for her. It’s interesting that in his dream, Onegin, already in love (Chapter VIII), sees the same plot: “a country house - and she’s sitting by the window... and that’s all of her!” The appearance of Lensky and Olga in the hut and the entire episode of the murder, apparently, symbolizes Onegin’s painful experience of his guilt, torment of conscience: “He left his village,<…>where a bloody shadow appeared to Him every day.” The image of the murdered Lensky will haunt Onegin in the above-mentioned dream: “What he sees: on the melted snow, As if sleeping for the night, a young man lies motionless, And he hears a voice: “Well? Killed."
5. The disappearance of the “brownies” means getting rid of previous vices. The “gang of brownies” first became “embarrassed,” that is, they became alarmed, and then completely disappeared after Tatyana entered the hut. Obviously, love for Tatyana changed the hero’s inner world, freeing him from “demons.”
6. The destruction of the house is Onegin's disease. At the end of the dream, “the hut shook.” In Chapter VIII, Onegin, in love, really gets sick: “Onegin begins to turn pale... Onegin dries up - and almost suffers from consumption.” However, it can be assumed that the shaky hut symbolizes not so much an illness as a physiological phenomenon, but rather the enormous spiritual tragedy that Onegin experiences at the end of the novel, realizing the hopelessness of his love for Tatyana. It is interesting that in the episode of the collapsing hut, the dream ends as unexpectedly as the entire novel ends in the episode of Tatiana and Onegin’s explanation.

Evgeny Onegin and Tatyana Larina

In the symbolism of the house one can again see death theme Lensky. An extinguished “lamp” means death: “Suddenly the wind blew, extinguishing the fire of the night lamps.” This is another modification fire as a symbol of the soul. On its basis, the emblem of an extinguished torch was created - a motif traditional for poetry of the 18th century.

The mill dancing in a squat is the place of Lensky’s death. Indeed, the duel between Onegin and Lensky took place behind the mill. In addition, the folk poetic tradition compared the work of millstones with battle: in “The Tale of Igor’s Campaign” “On Nemiga ... they thresh with damask flails, they lay life on the threshing floor, they winnow the soul from the body.”

So, Tatyana’s dream can be divided into two parts: 1) events in the forest before the appearance of Onegin’s hut, 2) events in the hut. In the first part, the supporting symbols have two meanings related to the themes of death and marriage; each of them develops its own storyline of the symbolic meaning of the dream. The first meaning of the symbols introduces the theme of death into the interpretation of the dream. This is not only a prediction of Lensky’s death and sadness from separation from Onegin, but also Tatyana’s penetration into the kingdom of souls, where her bear guide leads her to the most important soul - Onegin. The second meaning is introduced by the theme of marriage: Tatyana will marry a general and live in a secular society, but marriage will be a misfortune for her. The first part of the dream tells exclusively about Tatyana’s fate. The second part of the dream - the events in the hut - are dedicated to Onegin, his inner world, and future fate. The semantic relationship “house-person” is the source of symbolization of numerous details of the house, as well as the actions of the heroes - Onegin, Tatiana, demons, etc. As a result, the reader learns a lot about the character of the main character: power-hungry and proud, while avoiding himself and hating. In addition, some details of his future are revealed: love for Tatyana and deliverance from “demons”, pangs of conscience and illness, physical and moral. The theme of Lensky’s death is also characteristic of the second half of the dream: the reader learns about the place of the duel.

Pushkin nowhere did he “sin” against psychological authenticity when describing the evolution of Tatyana Larina’s character.

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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;

Tatiana 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 perhaps 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 then 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