Interpretation of Tatyana's dream (Based on the novel by Alexander Pushkin "Eugene Onegin"). Tatiana's dream and its meaning in the novel "Eugene Onegin" by Pushkin A.S. What is Tatiana's dream about?
And Tatyana has a wonderful dream.
A. S. Pushkin
Alexander Sergeevich Pushkin is a subtle psychologist who perfectly understands the human soul. His novel Eugene Onegin is a faithful picture of Russian life in the early 19th century. By including the heroine's dream in the narrative, the author helps the reader to understand the image of Tatyana Larina and the environment in which provincial young ladies like her lived and were brought up. Tatyana reads foreign novels, Russians had not yet been created, but she dreams of Russians, even common folk dreams. Her prophetic dream, permeated with folklore images and symbols, is probably caused by the heroine's longing for unattainable happiness. Tatiana is obsessed with the thought of Eugene, his coldness terrifies the heroine, hence the disturbing dream full of terrible forebodings. Loving winter, Tatiana sees in her dreams ...
... as if she
Walks through a snowy glade
Surrounded by a sad haze ...
The heroine's dream is very logical and consistent, difficulties encountered in the form of an ice-free stream, long way in the snowdrifts, the "shaggy lackey" helps her overcome. Tatiana freezes in horror when the bear picks her up, but in the very fear she also feels bliss.
Fell in the snow; bear nimble
It grabs and carries;
She is emotionlessly submissive
Does not move, does not die.
Seeing Onegin as the "leader" of a terrible gang, Tatiana tries to calm down, but the drama of the situation remains.
They plant monsters around:
One in the horns with a dog's face
Another with a cock's head
Here is a witch with a goat beard,
Here the skeleton is prim and proud,
There is Karla with a ponytail, but
Half-bull and half-cat.
Well, whatever the nanny's fairy tale, but that usually ended happily. Here, the reader is waiting for a tragic denouement, and it immediately comes. Tatiana's dream tells of a tragedy. Onegin acts as a "villain" killing Lensky's "friend".
The argument is louder, louder; suddenly Eugene
Grabs a long knife, and in a moment
Lensky is defeated ...
Genuine horror awakens Tatyana, now she is trying to realize what she has seen, since she believes in the omen.
Tatiana believed in legends
Common folk antiquity,
And dreams, and card fortune-telling,
And the predictions of the moon.
The heroine's dream, reliably and in detail told by the author, sets the reader up 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 on the footbridge promises both a wedding and a funeral. No wonder Tatiana hears a noise like "at a big funeral." The dream, introduced into the fabric of the novel, explains a lot to readers who are 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.
“And happiness was so possible,
So close! .. But my fate
Already decided ...
...
I got married. You should,
I ask you to leave me ...
...
I love you (why dissemble?),
But I am given to another;
I will be faithful to him forever. "
This is her fate, against which the heroine will not go, keeping the proud humility that has fallen to her lot. She will remain true to duty, that is her essence.
The hero's dream, introduced into the narrative, is a favorite compositional technique of A.S. Pushkin. Grinev sees a significant, “prophetic” dream in “ Captain's daughter". The dream, anticipating future events, also visits Tatyana Larina in the novel "Eugene Onegin".
Loose snow up to her knees;
That long bough by her neck
Will suddenly catch, then from the ears
Gold earrings will vomit by force;
Then in the fragile snow from a dear leg
The wet shoe gets stuck ...
In powerlessness, Tatiana falls into the snow, the bear "nimbly grabs Her and carries her" to a hut full of demonic monsters:
One in the horns with a dog's face
Another with a cock's head
Here is a witch with a goat beard,
Here the skeleton is prim and proud,
There is Karla with a ponytail, but
Half-bull and half-cat.
Suddenly Tatiana recognizes Onegin among them, who is the "master" here. The heroine watches everything that happens from the hallway, 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 night lamps." Trying to understand what the matter is, Onegin opens the door, and Tatiana appears "to the gaze of hellish ghosts." Then she is left alone with Onegin, but this solitude is unexpectedly broken by Olga and Lensky. Onegin in anger:
And wildly he wanders with his eyes,
And he scolds uninvited guests;
Tatiana lies a little alive.
The argument is louder, louder; suddenly Eugene
Grabs a long knife, and in a moment
Lensky is defeated ...
This dream is very significant. It is worth noting that he evokes various literary associations in us. The plot itself - a trip to the forest, secret peeping in a small hut, murder - reminds us of Pushkin's fairy tale "The Bridegroom", in which the heroine passes off the events that happened to her as her dream. Separate scenes of Tatyana's sleep also resonate with the fairy tale. In the fairy tale "The Bridegroom" the heroine hears in a forest hut "screaming, laughter, songs, noise and ringing", sees "reckless hangover." Tatyana also hears “barking, laughter, singing, whistling and clapping, Human rumor and horse top”. However, the similarity here, perhaps, is limited to this.
Tatyana's dream also reminds us of another "magic" dream - Sophia's dream in Griboyedov's comedy "Woe from Wit":
Then the doors were thrown open
Some are not people and not animals
We were apart - and they tortured the one who was sitting with me.
He seems to me dearer than all the treasures,
I want to see him - you drag with you:
We were seen off by the groan, the roar, the laughter, the whistle of monsters!
However, Griboyedov's Sophia invents this dream, it did not exist in reality.
It is worth noting that the plots of both dreams - real and fictional - refer us to Zhukovsky's ballad "Svetlana". Like Svetlana, Tatiana divines at Christmas time. She directs the mirror for a month, asks the name of a passer-by. Going to bed, the heroine takes off the charm, the "silk belt", going to guess "for a dream." 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 comes. Pushkin says openly: "And Tatyana has a wonderful dream." Zhukovsky's romantic ballad contains all the "attributes of the genre": "black coffin", "black lie", "dark distance", dim light of the moon, blizzard and blizzard, dead groom. Svetlana is embarrassed and upset by the dream, she thinks that he is telling her "a bitter fate", but in reality everything ends well - her fiance, safe and sound, appears at her gate. The poet's tone in the finale becomes vigorous and life-affirming:
Our best friend in this life
Faith in Providence.
The law of the builder is good:
Here misery is a false dream;
Happiness is awakening.
Completely different intonations are heard in Pushkin's poems:
But an ominous dream promises her
Many sad adventures.
Tatiana's dream is “prophetic”. He foreshadows her future marriage (to see a bear in a dream, according to popular beliefs, foreshadows marriage or marriage). In addition, the bear in the heroine's dream is Onegin's godfather, and her husband, the general, is indeed Onegin's distant relative.
In a dream, Tatiana, standing on the “trembling, perilous bridge”, crosses a seething, “ebullient, dark and gray”, “unbound in winter” stream - this also reveals her future in a symbolic form. The heroine will be transferred to a new life state, to a new quality. A noisy stream, swirling in a wave, "not constrained in winter", symbolizes in this dream the heroine's youth, her girlish dreams and amusements, love for Onegin. Youth is the best time in human life, it is really free and carefree, like a strong, stormy stream, over which the restrictions, frameworks and rules of a mature, "winter" age do not have power. This dream seems to show how the heroine passes through one of the periods of her life.
This dream also precedes future name days in the Larins' house. DD Blagoy believed that the "drinking" pictures from the heroine's dream echoed the description of Tatyana's name day.
It is characteristic that Onegin appears in this dream as a "host" of demonic monsters feasting in a hut. In this bizarre hypostasis, the hero's "demonism" is designated, raised to the Nth degree.
In addition, Onegin, whose reactions are completely unpredictable, is still a mystery to Tatiana, he is surrounded by a kind of romantic halo. 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 is a hidden desire of a person. And in this respect, Tatyana's dream is significant. She sees in Onegin her savior, a deliverer from the vulgarity and dullness of the surrounding hostile world. In a dream, Tatiana is alone with the hero:
My! - said Eugene menacingly,
And the whole gang hid suddenly;
Remained in the frosty darkness
It is worth noting that the heroine's dream in the novel is not just a precursor to future events. This episode shifts the plot points in the novel: from the relationship between Onegin and Tatiana, the reader's attention is switched to the relationship between Onegin and Lensky. Tatiana's dream reveals to us her inner world, the essence of her nature.
Tatiana's worldview is poetic, full of the spirit of the people, she has a vivid, "rebellious" imagination, her memory keeps the customs and traditions of antiquity. She believes in omens, loves to listen to the nanny's stories, in the novel she is accompanied by folklore motives. 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.
NL Brodsky notes that the source of Tatyana's sleep could have been Chulkov's Russian Fairy Tales, which were known to Pushkin. However, along with Russian folklore, European literary traditions also firmly entered Tatyana's imagination, among which are Gothic novels, "the British muse of fable", with their fantastic paintings:
Here is a skull on a goose neck
Spinning in a red cap
Here is the mill squatting down
And flaps and flaps its wings.
Tatiana's dream in the novel has its own composition. We can distinguish two parts here. The first part is Tatiana's stay in the winter forest, her pursuit by a bear. The second part begins where the bear overtakes her, this is a visit to the hut by the heroine. Each of the stanzas of this passage (and the entire novel) is built on a single principle: "theme - development - culmination - and an aphoristic ending."
In this episode, Pushkin uses emotional epithets ("wonderful dream", "sad gloom", "trembling, disastrous bridge", "to annoying separation", "fearful steps", "in frowned glory", "intolerable scream"); comparisons (“As for an annoying parting, Tatyana murmurs at the stream”, “Outside the door, a scream and the clink of a glass, As at a great funeral”), periphrases (“from a shaggy lackey”), inversions (“And before the noisy abyss, Full of confusion, Stopped she "), ellipsis (" Tatiana into the forest; the bear is behind her "), anaphora and parallelism (" He will give 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 and everyday style ("groaning", "muzzle"), "high", book style ("maiden", "night lights", "between trees", "eyes"), Slavicisms (" young ").
We find in this episode alliteration ("Hooves, crooked trunks, Tufted tails, fangs", "Here is a skull on a goose neck Spins in a red cap") and assonances ("Barking, laughter, singing, whistling and clapping, Human rumor and horse top ").
Thus, Tatyana's dream acts as a means of characterizing her, as a compositional insert, as a "prophecy", as a reflection of the heroine's secret desires and the streams of her mental life, as a reflection of her views on the world.
Alexei Maksimovich Gorky wrote: "A.S. Pushkin surprised me so much with the graceful 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 Nepomniachtchi remarked: "For Russian literature, Pushkin's novel in verse" Eugene Onegin "is about the same as the Psalter for Divine services."
The floor is given to the group led by Xenia Revenko. Topic: "Language, verse and its stanza in the novel" Eugene Onegin "."
Onegin's language uses all the richness and diversity of the language, all the elements of Russian speech and therefore is able to cover various spheres of life, to express all the diversity of reality. Accurately, 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 of the realistic art of the word. In establishing the norm of the national literary language - one of the most important tasks carried out 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 the Pushkin era. As M. Bakhtin noted, Russian life speaks here with all its voices, all languages and styles of the era. This is the clearest example of that innovation in the field of the Russian literary language, with which Pushkin appeared in the first third of the 19th century. He was able to reflect the most diverse spheres of reality, captured various layers of Russian speech.
Speaking about Pushkin's linguistic innovation, researchers rightly draw 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 in detail the epistolary style, creating unforgettable letters by Tatyana and Onegin, elements of the journalistic style (they appear in polemics, in literary disputes with Shishkov, Katenin, Kuchelbecker, Vyazemsky) and artistic and poetic style. In the latter, a certain place is occupied by archaisms, barbarisms, and especially gallicisms. Widely using the poetry necessary in the text (“a tempting phial of love”, “breaking the vessel of a slanderer”, conventional names of heroines like Elvin), euphemisms (“Am I going to fall, pierced by an arrow” instead of “I will perish”), paraphrases (“the first groan of his tartar” , "Honorary citizen of the backstage"), the author of the novel seeks, however, to destroy the boundaries between poetry and prose. This explains the growing tendency from chapter to chapter towards noble simplicity, the introduction of proseisms into the text, an appeal to the "low" nature, equal to the "sublime". With "Eugene Onegin" that new tendency in the use of vernacular begins.
Lively colloquial speech of people of an educated society sounds constantly in the novel. Examples here are dialogues between Onegin and Lensky:
"... Tell me: who is Tatiana?"
- Yes, the one who is sad And silent ... "
Popular vernacular appears in the novel when people from the people enter the stage. Let us recall the speech of the nanny Filipyevna:
“... I used to
I kept in my memory a lot
Old stories, fables ...
The same is the speech of Anisya the housekeeper
May God grant his soul salvation,
And to his bones
In the grave, in mother earth, damp!
In the above examples of the speech of the characters from the people, there is nothing artificial, invented. Pushkin avoided the false, invented "simplicity" and "commonness" of speech, but took it from life, taking away only those words and expressions that fully corresponded to the spirit and structure of the national language. We will not find in the novel either regional dialectisms or vulgarisms that litter 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 the native nature, work and life of the peasants, we find the simplest words that were previously considered unsuitable for poetry. Such are the horse, the bug, the log, the barn, the shepherd, and so on. Critics of the reactionary camp strongly protested against the democratization of the literary language, so clearly carried out in Pushkin's novel. Elements of the language of oral folk art are adjacent to folk vernacular in the novel.
Especially vividly, the spoken folk language is presented in Tatyana's statements (“I was so afraid of the evening!”; And now everything is dark. ”) Common language that is on the verge of literary use adjoins colloquial speech in the novel (“ Lay mosek, smacking girls ”,“ what a I'm an idiot "), 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 a variety of impressions and impetuosity of movement ("booths, women flicker past ..."). The nakedness of the word does not exclude its polysemy. Some of the poet's words echo (“o rus” - for Horace “village” and “O Rus!” - Pushkin's exclamation in honor of his homeland), others hint at something (“But the north is harmful for me”); still others, in the words of V. Vinogradov, “wink” and “squint in the direction of modern life” (“now I love the balalaika,” “the drunken stomp of the trepak”). The poet organically combines the bookish and neutral styles in the novel with the colloquial. In the latter, we meet both the characteristic lively speech of people in an educated society, and the vernacular spoken language that has merged into the novel with a noticeable stream (“I almost turned my head off,” “you can't even show your nose to them”). Quite often, the author's speech also assimilates such phraseology ("He hibernated like a marmot", "Tatiana will sigh, then gasp"). Especially vividly the spoken folk language is presented in the statements of the nanny Tatiana (“Evening, how afraid I was!”; “And now everything is dark for me”). Colloquial speech in the novel is adjoined by vernaculars that are on the verge of literary use ("Lay mosek, smacking of girls", "A thin line has come!
Trifles ") and even abusive vocabulary (" I 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 a whole description. Such are the "impudent vaults", "the royal Neva", "the perceptive Prince". The epithets are simple (“the bride of overripe years”) and complex (“Winter friend of the nights, a splinter is bursting ...”) help to describe the characters, the state of the heroes, the environment in which they live and act (“funeral tafta”), the landscape (“the edges are pearl "), Everyday details. Only one lorgnette in Onegin is marked by an exceptional variety of epithets (he is "disappointed", "inattentive", "obsessive", "jealous", "investigative"). The poet's favorite evaluative epithets are noteworthy: sweet, delightful, sweet, light. Equally diverse are the metaphors - nominal and verbal, formed from adjectives (“the poet's passionate conversation”) and gerunds (“seething with enmity”), traditional (“salt of anger”) and individual authors (“the muse has gone wild”). There are metaphors built on the principle of personification (“the north ... breathed, howled”), reification (“ball of prejudice”), distraction (“mazurka thunder”), zoologization (“transforming oneself into a horse”), personification (“pensiveness, her friend"). The diversity of Pushkin's comparisons is striking, laconic ("hung in tufts") and unfolded (likening Tatyana's heartbeat to the trembling of a moth), single ("pale as a shadow") and conveyed in a chain (Lensky's poetry is likened to the thoughts of a virgin, a baby's sleep, the moon). There are frequent metonymic phrases in the novel when the author's name replaces the title of his work ("I read Apuleius willingly") or the country ("Under the sky of Schiller and Goethe"). In "Eugene Onegin" all means of poetic syntax, enriching the figurativeness of the text, are widely represented. Either this is the pumping of homogeneous members ("About hay, about wine, about a kennel ..."), then ironically given isolated members and introductory constructions (the conversation, "of course, did not shine with either feeling or poetic fire"), then exclamations with incomplete sentences ("Suddenly a stomp! ... Here is closer") or accompanying the characterization of the hero ("How he spitefully slandered!"). Either this is an expressive period (Chapter 1, XX stanza), then a juicy meaningful dialogue (exchange of remarks between Onegin and Lensky in Chapter III), then interrogative sentences different types... Among the stylistic figures in the novel stand out inversions ("moons in a silvery light"), frequent anaphores ("Then they made a dream; / Then he saw clearly ..."; "Always modest, always obedient, / Always cheerful like morning ... »), Expressively conveying the tedious monotony and repetition of signs; antitheses ("Wave and stone, / Poems and prose ..."), silence ("Then he drank his coffee ... And dressed ..."), gradations ("like a mistress, shiny, windy, alive, / And wayward , and empty "). For the language of the novel, the aphorism is especially noteworthy, making many of the poet's lines winged ("Love of all ages is submissive"; "Inexperience leads to trouble"; "We all look at Napoleons"). The soundtrack of the language in the novel is also expressive. It is worth remembering, for example, the description of the mazurka on Tatyana's birthday.
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 come across the parodically used vocabulary of the speech style of classicism ("I sing 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 less and less, 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 denote the corresponding object, concept (Ch. I, XXVI - reasoning about the names of men's dress items: “all these words are not in Russian”). In chapter eight, the word "vulgar" is introduced to denote that feature unpleasant for the author, the absence of which so pleases Pushkin in Tatiana.
All the wealth of varied vocabulary and phraseology, various syntactic means, Pushkin uses 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, as a subtle 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. In combination with the nature of the verse, which changes its rhythmic pattern, the language of the novel presents an extraordinary variety of intonations: a calm narration, a humorous story, irony, sarcasm, emotion, delight, pity, sadness - the whole gamut of moods passes through the chapters of the novel. Pushkin "infects" the reader with his mood, his attitude to the heroes of the novel, to its episodes.
So, Pushkin's merits in the development of the Russian literary language can hardly be overestimated. Its main achievements can be summed up in three points. First, the vernacular became the basis of the literary Russian language. Secondly, the spoken language and the book language were not separated from each other and constituted one whole. Thirdly, Pushkin's literary language absorbed all the early styles of the language
The task solved by Pushkin was daunting. The literary language "established" by Pushkin became that "great, mighty, truthful and free" Russian language, which we speak to this day.
Such is the place and significance of Pushkin in the development of the Russian literary language.
An EO survey cannot be completed without exhibiting it. poetry, stylistics and stanzas. The lexical side of the novel is characterized by stylistic polyphony, that is, a harmonizing combination of words with different speech coloring.
The verse is unique in Pushkin's work. The iambic tetrameter, characteristic of the poet, is enriched pyrrhic(omissions of stress and contraction of two unstressed syllables) and with her(additional stress on the weak syllables of the iambic feet). This feature gives Pushkin's verse the colloquiality that the poet seeks. The variety of the sounding of the lines is also brought by the three-foot troche of the songs of the girls, as well as the frequent transfer of phrases to new lines and even stanzas. ("... and Tatiana / And it doesn't matter (their gender is that)"... The poems of the novel are often contrasting in sound, even within the same stanza: the lyrical intonation is replaced by a mocking one, and a sad ending is adjacent to the cheerfulness of the lines. So in the XXVII stanza of the last chapter, it is said about the love yearning that seized Onegin, but this group of lines ends with a reference to Eve and the serpent: "Give you the forbidden fruit, / And without that, paradise is not paradise for you." The changes that have so strikingly occurred in the behavior, manners, appearance of Tatyana are reflected in the new sounding of the poems dedicated to her. The shyness of the young girl is felt in the uncertainty of her words, in the lack of clarity in the verses of her letter: “For a long time ... no, it was not a dream! I'm finishing! It's scary to read it ... " The maturity of thought, the endurance of convictions, the will of a married woman are reflected in complete verses, in precise, decisive and definite words: “Have I heard your lesson? / Today is my turn. " The clarity of the verse rhythm is perfectly combined with the flexibility of the lines, the liveliness of the verses: "... He drinks one / Glass of red wine."
The EO style and its verbal expression are completely dependent on the verse. In the structure of the novel, an important role is played by fragments of prose, and some critics, starting with V.G.Belinsky, found prosaic content in EO, dissolved in verse. However, most likely, the prose in EO, as well as the "prose content", only emphasizes the poetic nature of the novel, which is repelled by an alien element. 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 inside a stanza specially invented by Pushkin for his novel.
The stanza of the work is also original. The poems here are combined into groups of 14 lines (118 syllables), which received a common name "Onegin stanza".
EO is the pinnacle of Pushkin's stanzaic creativity. EO's stanza 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 together with all variants of paired rhymes: cross, adjacent and encircling. The rules of that time did not allow a collision of rhymes of the same type on the transition from one stanza to another, and Pushkin added 2 more verses with adjacent masculine rhymes to 12 verses. The result is the formula AbAbVByrDeeJzh. Here is one of the stanzas:
(1) Monotonous and insane,
(2) Like the whirlwind of young life,
(3) A noisy whirlwind waltz;
(4) The couple flickers after the couple.
(5) Approaching the minute of revenge,
(6) Onegin, secretly grinning,
(7) Approaches Olga. Quickly with her
(8) Spins around the guests,
(9) Then he sits her on a chair,
(10) Speaks about this, about this;
(11) Two minutes later then
(12) Again with her he continues the waltz;
(13) Everyone is amazed. Lensky himself
(14) Doesn't believe his own eyes.
The closing couplet, Art. 13, 14, compositionally shaped the entire stanza, giving it intonation-rhythmic and content stability due to the roll call from Art. 7, 8. This double support, supported by Art. 10, 11, completes the architectonics of the stanza and the drawing of rhymes, in which on Art. 1–6 account for 4 feminine rhymes (2/3), while the remaining eight verses (7-14) contain only 2 feminine rhymes (1/4 of 8).
Exceptions are the introduction, the letters of Tatiana and Onegin, and the song of the girls, which are not subordinate to this structure. They consist of free stanzas (or have an astrophic organization). The "Onegin stanza" differs significantly from the Italian octave, which was written by Byron's "Don Giovanni", being much larger in volume and built on different principles. In it, the successively replaced rhyme is striking: cross (abab - the letter denotes a qualitatively defined rhyme), adjacent (vvrg), encircling (deed) and the final pair in the couplet (LJ). The lightness, flightiness of the verse is combined in these stanzas with the already noted colloquiality, and the exceptional clarity of the construction - with the amazing capacity of the content. Each such group of lines is both a rhythmic unit of the text and semantic unity. As noted by B.V. Tomashevsky, this stanza often begins with a thesis (first quatrain), continues with the development of the theme (second and third quatrains) and ends with a maxim. The latter is often similar to a dictum in Pushkin. The poet masterfully uses in these poems male and female rhymes (they alternate), compound and simple (capitals - faces), traditional (again - love) and extremely original (goodness - et catera) accords. Pushkin builds his rhymes on nouns (tone - bow), adverbs (quieter - higher), verbs (sorry - translate), changing parts of speech (raised - general), common and proper names (acacias - Horace). All this together provides flexibility, mobility, sonority, dynamics and fluidity of the "Onegin" stanzas and a thoughtful subordination of their artistic conception of the poet.
Referring to different eras, the novel "Eugene Onegin" was understood in different ways: V.G. Belinsky wrote in his article: "Onegin is the highest degree an ingenious and national-Russian work ... Pushkin's poetic novel laid a solid foundation for new Russian poetry, new Russian literature ... "
He also said: "Onegin" is the most intimate work of Pushkin ... Here is his whole life, all his soul, all his love; here are his feelings, concepts, ideals.
Pavel Aleksandrovich Katenin wrote: “... apart from lovely poetry, I found here yourself, your conversation, your cheerfulness.
But how often 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 it true, is it about me, about all of us? After all, a novel was written more than a century and a half ago, it was 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 destroy time?
And so, a question for the audience: is A.S. Pushkin and his novel relevant today?
And what problems raised in the novel are relevant today? (A sense of duty, responsibility, mercy, love).
“What is Pushkin for us? Great writer? No, more: one of the greatest manifestations of the Russian spirit. And even more: an immutable evidence of the existence of Russia, if it exists, it also exists. And no matter how much they assure us that it is no longer there, because the very name Russia has been erased from the face of the earth, we only need to remember Pushkin to make sure that Russia was, is and will be. "
D. Merezhkovsky
Pushkin's works are still being discussed. Moreover, this pattern is not limited to criticism XIX century. The heir to endless research and questions about the novel became and XXI century.
And Tatyana has a wonderful dream. Pushkin- a subtle psychologist who perfectly understands the human soul. His novel Eugene Onegin is a faithful picture of Russian life in the early 19th century. By including the heroine's dream in the narrative, the author helps the reader to understand the image of Tatyana Larina and the environment in which provincial young ladies like her lived and were brought up. Tatyana reads foreign novels, Russians had not yet been created, but she dreams of Russians, even common folk dreams. Her prophetic dream, imbued with folklore images and symbols, probably caused by the heroine's longing for pipe happiness. Tatiana is obsessed with the thought of Eugene, his coldness terrifies the heroine, hence the disturbing dream full of terrible forebodings. Loving, Tatyana sees in her dreams as if she is walking in a snowy meadow, surrounded by sad darkness ... The heroine's dream is very logical and consistent, the difficulties encountered in the form of an ice-free stream, a long path in snowdrifts helps her to overcome the "shaggy footman." The thief freezes in horror when the bear picks her up, but bliss is felt in fear:
“I fell into the snow; bear nimble
It grabs and carries;
She is emotionlessly submissive
Does not move, does not die.
Seeing Onegin as the "leader" of a terrible gang, Tatiana tries to calm down, but the drama of the situation persists:
"Monsters sit around:
Another with a cock's head,
Here the skeleton is stiff and proud,
There is Karla with a ponytail,
And here is a half-crane and a half-cat.
Well, whatever the nanny's fairy tale, but that usually ended happily. Here, the reader is waiting for a tragic denouement, and it immediately comes. Tatiana's dream tells of a tragedy. Onegin acts as a "villain" killing Lensky's "friendship":
“The argument is louder, louder;
Suddenly Eugene
Grabs a long knife
And Lensky was instantly defeated ... "
Genuine horror awakens Tatyana, now she is trying to realize what she has seen, since she believes in the omen. Tatyana believed in the legends of the common people of antiquity, and dreams, and card fortune-telling, and the predictions of the moon. The heroine's dream, reliably and in detail told by the author, sets the reader up 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, general. Crossing the stream on the footbridge promises both a wedding and a funeral. No wonder Tatiana hears a noise like "at a big funeral." The dream, introduced into the fabric of the novel, explains a lot to readers who are waiting for further developments. And the ending of the work seems logical, when Tatyana reappears, already a secular married lady, but as unhappy as before, happiness was so possible, so close! ..
"You should,
I ask you to leave me ...
I love you (why dissemble?),
But I am given to another;
I will be faithful to him forever. "
This is her fate, against which the heroine will not go, maintaining the humility that has fallen to her lot. She will remain true to duty, that is her essence.
In the name and surname "Eugene Onegin" Pushkin he 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, devoid of love for a woman. Pushkin makes it clear that Eugene Onegin is a parody of a man, no more. With Tatyana, Onegin had a chance to become a man - “happiness was so possible, so close ...” The question is - why did Tatyana choose a parody of a man? The answer is, you just have to read the novel carefully. All men who come into the field of view of a woman, in one way or another, try on her inner “ideal” (perhaps it is a childhood impression or a “legacy” of a past life, that’s not the point). It is sad when this ideal is superimposed on religious, book (in Tatyana's case) or television parody. Then a man of flesh and blood may not be recognized, and the road to him will be obscured by a parody in the image of a saint or a cute singer.
Having visited the estate abandoned by Onegin (after he killed Lensky), having examined his office, seeing the marks scribbled by his fingernail in the books he read, Tatyana regains his sight and sees what her lover is, who worships Napoleon in the form of a figurine on the table:
"Muscovite in Harold's cloak,
Interpretation of other people's quirks,
Full vocabulary of fashionable words? ..
Isn't he a parody? "
Not a man who can open a Woman in a girl, but just a dummy ... But if everything were so harmless ... But no.
Sympathizing with Pushkin's heroine, you involuntarily ask yourself: why Pushkin gave the hero of her novel a "lake" surname? And one more thing: why Lermontov with his Pechorin he brought Pushkin's message to the limit, to a certain extreme - after all, although the river is called that, but “pechera” is a cave, a stove (in the sense of “bakes”, “hell”) - that is, Mr. Pechorin literally worries women to death. But back to its prototype - Onegin. If we group the sounds of the letters of the surname in ascending order, and then arrange both single and coincident (in number) letters a second time, already in alphabetical order (with the exception of the short "I" as an intermediate version 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: HOWY HYEN. The hyenas howl as if they are laughing. And you can read it as the LUNISH OF THE HYENA. That is, main character the novel is none other than a laughing hyena? In the most mysterious place of the novel - "Tatiana's Dream" - it was on the laughter of the gang members Pushkin emphasis is made more than once. THE WAY OF HYEN - this is the cipher key to Tatyana's dream, encoded in images, and, perhaps, TATIANA'S LARINA'S DREAM in general is the core of the whole novel.
Attention is also drawn to the epigraph taken to the 5th chapter of the novel Pushkin at Zhukovsky: "Oh, do not know these bad dreams You, my Svetlana! "
Therefore, Tatyana Larina - with a speaking name and a more than speaking surname (THE ONE ON WHOM THE WHOLE KIND IS RUNNING ON) - is in trouble, something unknown to her is about to happen over the girl rite 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 as well).
"... Tatiana, on the advice of the nanny
Gathering at night to enchant,
Quietly ordered in the bath
Lay the table for two devices;
But Tatiana suddenly became afraid ...
And I - at the thought of Svetlana
I felt scared - so be it ...
With Tatiana, we can’t bewitch.
Tatiana silk belt
She took off, undressed and in bed
She went to bed. Lel hovers over her,
And under the downy pillow
The maiden's mirror lies.
Everything has calmed down. Tatiana is sleeping.
And Tatyana has a wonderful dream.
She dreams that she
Walks through a snowy glade
Surrounded by a sad gloom;
In the snowdrifts in front of her
Noises, swirls with its wave
Ebullient, dark and gray
A stream that is not constrained in winter;
Two little lilies, glued together by an ice floe,
A trembling, perilous footbridge
Laid across the stream:
And before the noisy abyss,
Full of bewilderment
She stopped.
As an annoying parting,
Tatiana murmurs at the stream;
Doesn't see anyone who's hand
From the other side would give it to her;
But suddenly the snowdrift began to stir,
And who came from under it?
Big, disheveled bear;
Tatyana ah! and he roars,
And a paw with sharp claws
He held out to her; she holding herself together
I rested with a trembling handle
And with fearful steps
I got across the stream;
She went - and what then? bear after her!
She, not daring to look back,
The hasty one quickens the step;
But from the shaggy footman
Can't run away in any way;
Groaning, the unbearable bear knocks down;
Before them is the forest; the pines are motionless
In its frowned beauty;
Weighed down their branches all
Clumps of snow; through the peaks
Aspens, birches and naked lindens
A ray of night lights shines;
There is no road; bushes, rapids
All are brought in by a blizzard,
Deep in the snow immersed.
Tatiana into the forest; the bear is behind her;
Loose snow up to her knees;
That long branch by her neck
Will suddenly catch, then from the ears
Gold earrings will vomit by force;
A wet shoe gets stuck;
Then she drops the handkerchief;
She has no time to raise; fears,
The bear hears behind him
And even with a tremulous hand
He is ashamed of the edge of the garment;
She runs, he follows:
And she no longer has the strength to run.
Fell in the snow; bear nimble
It grabs and carries;
She is emotionlessly submissive
Does not move, does not die;
He rushes her along the forest road;
Suddenly, between the trees there is a wretched hut;
All around is wilderness; everywhere he
Brought in by desert snow,
And the window shines brightly
And in the hut there is a cry and a noise;
The bear said: here is my godfather:
Warm up a little with him!
And in the canopy he walks straight,
And puts it on the threshold.
She came to her senses, Tatyana looks:
There is no bear; she is in the entryway;
Outside the door, a scream and a clink of a glass,
Like a big funeral;
Not seeing a single bit of sense here,
She looks quietly into the crack,
And what does he see? .. at the table
Monsters sit around:
One in the horns with a dog's face
Another with a cock's head
Here is a witch with a goat beard,
Here the skeleton is prim and proud,
There is Karla with a ponytail, but
Half a crane and half a cat.
Even scarier, even weirder:
Here's a cancer riding a spider
Here is a skull on a goose neck
Spinning in a red cap
Here is the mill squatting down
And flaps and flaps its wings:
Bark, laugh, sing, whistle and clap,
Human rumor and horse top!
But what did Tatyana think,
When I found out among the guests
The one who is sweet and terrible to her,
The hero of our novel!
Onegin sits at the table
And furtively looking at the door.
He will give a sign: and everyone is busy;
He drinks: everyone drinks and everyone shouts;
He will laugh: everyone laughs;
Frowning eyebrows: everyone is silent;
He is the owner there, it is clear:
And Tanya is not so awful,
And curious now
Has opened the door a little ...
Suddenly the wind blew, extinguishing
Night lamps fire;
A gang of brownies was embarrassed;
Onegin, sparkling with eyes,
A thundering rises from the table;
They all stood up; he goes to the door.
And she is scared; and hastily
Tatiana struggles to run:
It is impossible in any way; impatiently
Rushing about, he wants to scream:
Can not; Eugene pushed the door:
And the gaze of hellish ghosts
The maiden appeared; fervent laugh
It rang out wildly; eyes of all,
Hooves, crooked trunks,
Crested tails, fangs,
Mustache, bloody tongues
Bone horns and fingers,
Everything points to her
And everyone shouts: mine! my!
My! - said Eugene menacingly,
And the whole gang hid suddenly;
Remained in the frosty darkness
The young maiden is with him a friend;
Onegin quietly captivates
Tatiana into a corner and folds
Her on a wobbly bench
And bows his head
On her shoulder; suddenly Olga enters,
Behind her Lenskaya; the light flashed;
Onegin waved his hand,
And wildly he wanders with his eyes,
And he scolds uninvited guests;
Tatiana lies a little alive.
The argument is louder, louder; suddenly Eugene
Grabs a long knife, and in a moment
Defeated by Lenskoy; scary shadow
Thickened; intolerable scream
It rang out ... the hut staggered ...
And Tanya woke up in horror ...
Looks, it's already light in the room;
In the window through the frozen glass
Dawn the crimson ray plays;
The door opened. Olga to her,
Aurora North Alley
And it flies in, lighter than a swallow;
“Well,” he says, “tell me,
Whom did you see in your dream? "
But she, not noticing her sister,
In bed with a book lies
Behind the sheet, sorting through the sheet,
And he doesn't say anything.
Although this book did not appear
No sweet inventions of the poet,
No wise truths, no pictures;
But neither Virgil nor Racine,
Not Scott, not Byron, not Seneca
Not even Ladies Fashion Magazine
So nobody was interested:
It was, friends, Martyn Zadeka,
Head of the Chaldean sages,
A fortuneteller, interpreter of dreams.
This deep creation
Brought by a nomadic merchant
One day to them in solitude
And for Tatiana finally
Him with a scattered Malvina
He lost for three and a half,
In addition, taking more for them
Collection of areal fables,
Grammar, two Petriads,
Yes Marmontel the third volume.
Martin Zadeka became then
Tanya's favorite ... He is delightful
In all her sorrows he gives her
And he sleeps with her.
She is disturbed by a dream.
Not knowing how to understand him,
Dreams of terrible meaning
Tatiana wants to find it.
Finds in the alphabetical order
Words: boron, storm, witch, spruce,
Hedgehog, darkness, bridge, bear, blizzard
And so on. Her doubts
Martin Zadeka won't decide;
But an ominous dream promises her
Many sad adventures.
Several days later she
I was all 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 ridiculous man," and "Popov's dream," Tatyana Larina's dream is perhaps the most famous. Gershenzon said about him wonderfully:
“The whole Eugene Onegin is like a series of open, light rooms, through which we freely walk and examine everything that is in them. But in the very middle of the building there is a cache; 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 reserved ... Tatiana's dream is undoubtedly encrypted in images; to read it, you need to find the cipher key. "
So this prophetic dream means for the novel, for Tatiana, for Pushkin-the author, how a dream changes the course of a novel, how it transforms Tatiana.
The dream foreshadows the events of the "far" and "near" future in the novel. The parallels between "sleep" 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 sleep. Tatyana's marriage is predicted. Another famous Russian philologist Potebnya interpreted the crossing of an ice-free stream in a dream as a representation of marriage, traditional in Russian wedding symbols... Tatiana in a dream "... she cannot escape from the shaggy footman in any way ... She is emotionlessly submissive, does not move, does not die." In the novel's finale: “But I am given to another; I will be faithful to him forever. " With all the difference, there is a common motive: the inability to change anything.
Tatiana in a dream hears that “... the bear said: ʺHere is my godfather. Warm up with him a littleʺ. The bear leaves her on the threshold of the hut, where the owner is Onegin. In "Revelation", in the eighth chapter, Tatyana's husband, a prince and general, "comes up to his wife and brings her relatives and his friend to her," Onegin. Apparently, these correspondences are enough to identify the bear from the dream with Tatyana's future husband.
Tatiana is at first invisible to the monsters gathered in the hut, then all the monsters claim her ("A maiden appeared ... Everything points to her and everyone shouts:" Mine! Mine! "). In the seventh chapter, Moscow society at first pays no attention to provincial Tatyana. In the eighth chapter, she is the center of everyone's attention, interest and admiration.
So, the dream foreshadows Tatiana two "future": first, the "distant", in which she gets married, then - on the eve of her awakening - the "near", in which Onegin kills Lensky. The prophecies of sleep are obvious, you cannot ignore the prophecies, they must be understood first of all. To understand a mysterious dream is to find the key to the future. This is how people thought for millennia, and even now it has not gone anywhere. "Wonderful Dreams" is an integral part of Pushkin's reality, rooted in Russian folklore (fears and miracles), and in European romanticism (dreams and ghosts), and in the poet's well-known personal superstition (his talismans, his hares crossing the road). "Dreams" and "visions" in Pushkin can be: 1) really "prophetic", like Tatyana's dream, Ruslan's dream in Ruslan and Lyudmila, Grigory Otrepiev's "damned dream" in Boris Godunov, Maria Gavrilovna's dream in Blizzard, Petrusha Grinev's dream in The Captain's Daughter "; or 2) “false”, like Hermann's vision in The Queen of Spades. But always dreams and visions are extremely important to understanding plot movement and images, they always "portend" and need to be deciphered. Let's make it point by point.
- In Tatyana's dream prophecy - for whom?
At first glance, for no one. We are faced with a paradox: Tatiana does not solve the dream and quickly forgets about it. Moreover, the "wonderful dream" is not mentioned anywhere further, neither by Tatiana, nor Pushkin... It's amazing. As you know, the ceremony consisted in the fact that, having performed certain magical actions on the night before Christmas, the girl had 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 the whole life; the girl attached great importance to it. And what about Tatiana? Upon awakening, she really tries to unravel the dream, frantically leafing through the most popular in Russia "Dream Interpretation" by Martyn (Martin) Zadeki. But it's useless ...
But here's the next chapter, the next day. Lensky confirms his decision to shoot Onegin:
“If only he knew what a wound
My Tatiana's heart burned!
Whenever Tatyana knew,
Whenever she could know
What tomorrow is Lensky and Evgeny
They will argue about the grave canopy;
Ah, maybe her love
Friends would be connected again!
But this passion and accident
Nobody has opened it yet.
Onegin was silent about everything;
Tatiana languished secretly;
One nanny would know
Yes, she was slow-witted. "
Thus, the very next day Tatiana cannot perceive the tragic meaning of the dream. But 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, Tatiana 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. Tatiana extremely quickly forgot the "wonderful dream" or did not attach any importance to it. (Like the nanny, she turned out to be slow-witted.)
Moreover, under the pressure of the stream 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 him and to his meaning, as if there were no prophecies.
- Magic crystal
The question is, what is Tatyana's dream for at all, what role does it play in the novel, if everyone has forgotten about it? In this regard, there is a modern hypothesis about magic crystal suggested by ourselves Pushkin.
“Many, many days have passed
Ever since young Tatiana
And with her Onegin in a vague dream
Appeared to me for the first time -
And the distance of a free romance
I'm through the magic crystal
I did not distinguish 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 ball of transparent glass used for divination." 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 Shakespeare's 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 inadequate and worked with the psychic Kelly, whose gift he greatly appreciated. Mediums saw the 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”, that is, “magic crystal”. So what is the hypothesis?
Christmastide. Late evening.
"Tatiana with a curious look
The sunken man looks at the wax.
It has a wonderfully poured pattern
Something wonderful says to her ... "
"Tatiana to a wide yard
In an open dress comes out
The mirror directs for a month ... "
"Tatiana silk belt
She took off, undressed and in bed
She went to bed. Lel hovers over her,
And under the downy pillow
The maiden's mirror lies. "
Wax patterns, reflective surfaces, mirrors, many mirrors. And the main one is dream mirror, placed between the "Reality" and "Dale" of the novel and allows you to see the future: the death of Lensky by the hand of Onegin (chapter six) and Tatyana's marriage (chapters seven and eight). "Dream" reflects the future according to the laws of mirroring: in a dream, the "near" future turns out to be "closer" to awakening, not far from 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 Tatiana penetrates into the "distance of the novel."
Was it designed in advance and deliberately? Apparently not. The novel grew like a tree. The chapters were published gradually. Interchange options have changed. Working on the final chapters Pushkin in a letter Vyazemsky I was sincerely surprised at Tatyana's marriage: "Imagine what a trick Tatyana threw out with me: she got married." But the "husband" - a bear, a relative of Onegin, is already present in the fifth chapter.
Tatiana 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 dream of the Muse, the most precious thing - the freedom of creativity, the freedom of his novel. According to the hypothesis, this is one of meanings sleep. There are others.
- Transfiguration of Tatiana
Tatiana 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 associated with a bear, the other with Onegin in a hut.
How does Tatyana's dream begin?
“She dreams that she
Walks through a snowy glade
Surrounded by a sad gloom;
In the snowdrifts in front of her
Noises, swirls with its wave
Ebullient, dark and gray
A stream that is not constrained in winter ... "
Symbols of space- whiteness-purity, glade-emptiness - speak of virginity, 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 deciding to go to Moscow. The space in which Tatyana moves is homogeneous and undefined, there is no structure or direction in it. Only a stream gives meaning to this space. In a dream, Tatiana murmurs at the stream "as if it were an annoying parting." If crossing a stream is a marriage, then the parting about which Tatyana grumbles is parting with her native places, with which Tatyana begins to say goodbye long before leaving for Moscow.
She moves to the other side of the river, leaning on the bear, but then quickly runs away from him. So they flee from mortal danger.
“That long branch by her neck
Will suddenly catch, then from the ears
Gold earrings will vomit by force;
Then in the fragile snow from a dear leg
A wet shoe gets stuck;
Then she drops the handkerchief;
She has no time to raise; fears,
The bear hears behind him
And even with a tremulous hand
She's ashamed to lift the edge of my clothes ... "
Tatiana is running. She is scratched and nearly choked by tree branches. Earrings rip from her ears. How you must run so that the earrings come out of your ears! She runs barefoot, knee-deep in snow; a long dress interferes with her, but she is ashamed to lift it, like a bear is a man who can be seduced by the sight of a naked female leg. Can this run be considered a hint of Tatyana's life after the wedding? At a stretch, yes. It is possible that Tatyana's losses while running in the forest symbolically correspond to the losses of a girl who was resettled from the freedom of girlhood in the lap of nature into the world of conventions of light. Note that Tatiana goes to a social event in the capital in winter. She is scared
"To the judgment of the discerning light
Present clear features
Provincial simplicity
And belated outfits
And the belated warehouse of speeches;
Moscow dandies and circus
Attract mocking glances! ..
Oh fear! no, better and truer
She should stay in the wilderness of the woods. "
Tatyana's fears here are primarily associated with her appearance. In the forest, she loses her earrings, slipper, and scarf. They do not help, but interfere with the running of life, her dress does not correspond to her environment. It is too long and uncomfortable.
Finally, Tatiana calms down, "emotionlessly submissive", in the paws of the bear. Everything is connected with him in one way or another. The bear is a helper. Tatyana runs away from the bear, fearing him. Finally, in his arms she "does not move, does not die." He puts her like a child on the threshold of the hut in which the "godfather" -Onegin is located. Tatiana's series of experiences in this part of the dream is presented as:
1) activity = determination (crossing the stream);
2) fear (flight from a bear);
3) passivity = submissiveness in the arms of a bear.
When Tatiana wakes up in the hallway of the hut, curiosity overcomes fear: "she is looking quietly through the crack." Curiosity is generally characteristic of Tatiana. Traditionally, referring to the fact that “even in those years Tatiana did not take dolls in her hands,” her childhood seems not childish, as if she had been sitting at the window all her life and reading French books. Pushkin, of course, sought to note the dissimilarity of his heroine to other girls of her age: her independent thinking, imagination, love of reading. But the fact that instead of dolls Tatyana is interested in "scary stories" does not mean that she was not a child. It is well known to what extent everything terrible and mysterious attracts and bewitches children. Curiosity always attracts Tatiana to the brink, and she sometimes crosses her, finding herself in a situation that is either dangerous or not quite decent for a girl. She writes to Onegin, she enters his house. You can draw a parallel between peeking into a hut and visiting Onegin's house. Her approach to the estate is reminiscent of wandering in a snow-white meadow in a dream. Tatiana wanders in there by chance and accidentally looks into the soul of the hero, reading his notes on 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, Tatiana also speaks of herself as a child.
In the hut, Tatiana sees monsters and their leader Onegin. It is 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, driving away the "bunch of brownies".
So, the chain of Tatiana's 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 showed up in the first part of the dream. The shades have changed somewhat: determination has become curiosity, humility - sensuality. But, in essence, the chain is the same: activity → fear → passivity.
- The connection between feelings and times
Sleep is Tatyana's journey through time, first in the “distant” future with her “bear-husband”, then in the “near” one, where the quarrel between Onegin and Lensky takes place. Finally, she returns to reality - wakes up. After analyzing the dynamics of Tatyana's experiences in a dream, one can come to the conclusion that time travel and the change of feelings are connected by a common logic: reality (Epiphany evening), sleep (“Far future”, “Near future”), reality (morning).
Regularities can be traced here. "Dream" is a cycle: "Reality" - "Distant future" - "Near future" - "Reality". Activity (whether determination or curiosity) is a prerequisite for entering the future. For something to happen, for the future to be different from the present, you need to be active and make some changes. "Sleep" shows that Tatiana is decisive, that she is the creator of her own destiny.
Being in the future is fraught with fears (fear of a bear, of monsters). Fear is followed by passivity (resignation in the arms of a bear or Onegin). As soon as the heroine calms down, conquers, something sudden happens ("suddenly"), and being around changes. "Suddenly" is the answer to passivity. "Suddenly ... a wretched hut," on the threshold of which the bear puts Tatiana. Or "suddenly Olga enters, followed by Lensky ... Lensky is defeated."
And then Tatiana seems to be kicked out of the time in which she is. It descends the ladder of times: from the “distant” future to the threshold of the “near”, and then from the “near” future into the present, into “reality”.
Thus, activity (determination, curiosity) is rewarded: access to the future is opened. But passivity is punishable. Passivity precedes "expulsion" from the time in which it is; passivity is immediately followed by a "descent" one 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 through the space of “feelings and times”, where feelings are the engines. The cycle of emotions drives the sequence of events and the cycle of times.
- Disease of love
Tatiana's crush is described Pushkin as a serious illness with a detailed listing of symptoms. Here Tatiana walks in the garden, driven by the "longing of love":
“And suddenly his eyes tend to be motionless,
Raised chest, Lanita
Covered in an instant flame,
The breath stopped in my mouth
And there is noise in the ear, and shine 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 dries
On a sore tongue. "
Waiting for Onegin, "she shivers and glows with heat." But after the date:
“Poor Tatyana is on fire;
Her bed and sleep flees;
Health, life, color and sweetness,
Smile, virgin peace.
Everything is gone, that the sound is empty. "
“Alas, Tatiana is fading,
Turns pale, goes out and is silent!
Nothing interests her
Her soul does not move. "
Here is Tatiana on her birthday, sitting opposite Onegin:
"And, the morning moon is paler
And the quivering hunted doe,
She is languishing eyes
Does not raise; blazes violently
There is a terrible heat in her; she is stuffy, ill;
She greets two friends
Doesn't hear, tears from the eyes
They really want to drip; already ready
Poor thing to faint ... "
Pallor and fever! Partial hearing loss! But - jokes aside! - this is a real disease, not the "fun of the old monkeys" of the eighteenth century.
- "Poison of desires"
The appearance and manifestation of sensuality (passion, "desire") is a sign of a special phase of "love illness". Tatiana grows up among Russian nature, Western novels and folk customs. She prepares herself for love. Pushkin ironically and affectionately describes her book education, its one-sidedness and artificiality. The novels that Tatyana reads educate feelings and moral qualities. Behavior is refined, perception becomes subtle, imagination develops. From novels, Tatiana draws knowledge about desires.
"You drink the magic poison of desires,
Dreams haunt you:
Everywhere you imagine
Happy Date Shelters;
Everywhere, everywhere in front of you
Your fatal tempter. "
But these are still desires, not desire-passion, "the gloomy, dim fire of desire."
Tatiana's crush is described Pushkin in rich sensual terms, but this is the knowledge and perception of the poet, not the heroine. Tatiana is the subject of desire of the poet himself. He looks at her with admiring eyes: "She bent her head to her shoulder. / A light shirt has come down / From her lovely shoulder ..." - and watches her sensuality awaken. But Tatiana is unaware that there is a “desire” that has not been trained by culture. Only in a dream does Tatiana learn what it means to be the subject of voluptuous lust. Only after sleep will she express her desire explicitly.
“I will die, - Tanya says, -
But death from him is kind,
I do not grumble: why grumble?
He cannot give me happiness. "
- "House in the forest" and transformation
When they talk about Tatiana's "transformation", they usually mean her transformation in the eighth chapter. A modest country girl has become an unapproachable goddess. But here - 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, recklessly succumbing to attraction. This transformation takes place in the "Dream" and is caused by an extremely important event. But what is this event? And how did it initiate the transformation? What happens in the "wretched hut" is the key and most mysterious moment of sleep, "a hiding place in a hiding place." There are monsters around Tatiana. Who are they?
By Lotman, the whole episode in the hut is based on the Russian folklore tradition, combining wedding images "with the idea of the seamy, inverted devil's world." Here, not the wedding guests are sitting on the benches, but the forest vermin.
Not the groom, but the Boss, the leader of the gang. Besides, "a wedding is a funeral at the same time." Indeed, in the hut there is "the screaming and clinking of glasses like at a great funeral." On the other hand, commenting on the drawings of monsters that he made himself 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 forms of monsters are borrowed Pushkin part from the Russian popular prints of the late 18th century “Demons tempted St. Anthony ", part of the picture Hieronymus Bosch“The temptation of St. Anthony ".
Who is meant by these monsters? Guests at tomorrow's name days, where Onegin draws their caricatures "in his heart"? Indeed, among them there is a "district frank Petushkov", who is associated with a monster "with a cock's head." Or maybe this is the Moscow secular society, which at first did not notice Tatyana, and then made her the center of attention and admiration? Nabokov points to a parallel between the revelry that reigns in the hut, Tatyana's birthday 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 the fluent, impetuous Pushkin technique: this is how the poet portrays the bustle of the 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 Y. Oxman... Or maybe these are the spirits of books from the Onegin library, in which, after Onegin's departure, Tatiana is trying to comprehend his soul?
Of all the possible interpretations of this scene, Lotman's "wedding and funeral", based on Russian folklore, seems to be the most convincing, but not the only one possible. Apparently Lotman- commentator Onegin did not set himself the task of understanding the influence of the episode in the hut (and sleep in general) on the evolution of Tatyana's image. Next, we will try to develop our folklore version, in some way overlapping with Lotman's, and in some way different from it.
The key symbol of this interpretation is "a house in the forest", borrowed from the classic book V. Proppa"The historical roots of the fairy tale". “Big House”, otherwise “men's house”, is a special institution inherent in the tribal system. The great house is the center of the gathering of the union of consecrated men. "The brotherhood has its own primitive organization, it chooses the elder." Like the monsters in the hut, the "forest brothers" in the fairy tale have an animal appearance, "initiates and living in men's or forest houses were often thought and disguised as animals."
The “house in the forest” symbol is divided into two categories: “big house” and “small hut” and is an organic part of the initiation rite preserved in a folk tale. The "big house" performs the following function in the rite of passage: in certain cases, a part of the male population, namely young men, from the moment of puberty to marriage, no longer live in their parents' families, but move to live in large, purpose-built houses ... Dances, ceremonies are performed here, sometimes masks and other shrines of the tribe are kept. Sometimes there are two houses on the same site: one small (circumcision is performed in it) and one large. Married people usually do not live in it. Initiation was sometimes carried out in a forest hut or in a hut, after which the initiate either returned to the family, or remained to live right there, or moved to a large men's house.
But what is dedication, in other words, "initiation" (from the Latin initiatio - the performance of the sacraments, dedication)? This is "a system of customs widespread in the tribal society associated with the transfer of boys and girls to the age class of adult men and women." Propp states that although women were not allowed to the rite of initiation of men, they have always been in the “men's house”: “the men's house is forbidden to women in general, but this prohibition has no retroactive effect: a woman is not prohibited in a men's house. This means: in men's houses there have always been women (one or several) who served as wives to the brothers. Women could belong to everyone, could belong to some or one of their choice or the choice of one of the brothers. They represented the temporary property of young people. Women stay in houses only temporarily, later they get married.
Propp notes that folk tale has not retained the distinction between large and small houses. It seems that in Tatyana's dream, as well as in a 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", turned into an object of claims for many. She is protected by the "owner" - Onegin, from now on she will belong only to him.
When the worst happens and the monsters shout “mine! mine! ”, holding out her burlesque-phallic mustache, tentacles, arms, trunks and other limbs to Tatyana, lusting for her, Tatyana learns what it means to be an object of animal sensuality. It scares 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 the answer and double incarnation.
Only now does Tatiana discover the full meaning of this phrase, apparently borrowed from the book.
In a dream, the reverse, one might say, the anti-romantic side of desire, the knowledge of the true nature and manifestation of desire in the real, non-book world, is revealed to her. This knowledge helps her to know the real strength of her own desire and, in accordance with this, make a certain choice. The awakened Tatyana is no longer the girl that went to bed with a mirror under the pillow. Only after sleep does Tatyana define herself as a source of desire: “I will die,<…>but death from him is dear. " Tatiana has changed. Simply put, Tatiana has matured. From a lonely virgin youth she enters adult life female experiences, begins to think and act like a woman. Sensitivity has been transformed into sensuality. One of its properties has not changed - decisiveness. It is always inherent in Tatiana - before "Dream" and after.
Of course, one cannot speak of a literal “initiation” of the heroine into a “woman”. Deep ("chthonic") knowledge, encoded in the horrors of sleep, tells Tatiana to behave outside the framework of the traditional wedding ceremony (matchmaking and marriage). In accordance with ancient traditions, she can become Onegin's temporary wife.
Tatyana Larina in marriage
- Doom and "doom"
The poet warned Tatyana and prophesied her death even before the letter to Onegin:
“Tatyana, dear Tatyana!
Now I cry with you:
You are in the hands of a fashionable tyrant
Already gave up her fate.
You will die, dear; but before
You are in blinding hope
You call dark bliss
You will learn the bliss of life ... "
Yes, "doom", that is, a reckless concession to attraction, is close. Tatiana 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 die in silence" and "I will die<…>but death from him is dear. " The first is a common place of romantic sensibility, a trace of reading favorite novels. The second - very boldly, fully consciously and does not yield to anything - in its certainty - to the famous "But I am given to another / I will be faithful to him for a century."
Tatiana made the decision to give in to attraction, not thinking about any consequences and, most importantly, realizing that happiness is impossible. Known Pushkin
"There is rapture in battle
And the dark abyss on the edge ...
Everything, everything that threatens with death
For the heart of a mortal conceals
Inexplicable pleasures -
Immortality, perhaps a pledge. "
The last line is bottomlessly deep: Rozanov wrote about it. Such rapture is also characteristic of Tatiana: “I will die<…>but death from him is dear. " Earlier, too: "The secret found charm and in the very horror she ..."
Tatyana's resolve to “perish” is clearly and firmly expressed. But this is overlooked by readers for two reasons. First, Tatiana is traditionally perceived, first of all, as an embodied "purity", as an image of high morality. Secondly, Tatiana's “death” did not take place. It was prevented by a combination of circumstances: the death of Lensky in a duel and the departure of Onegin. The decision to “perish” should have required active action from Tatiana, which would change her future, but Lensky's death interrupts the course of events. Here's what happens: Lensky, believing that Onegin is Olga's tempter, is indignant:
“He thinks: ʺI will be her savior,
I will not tolerate a corrupter
Fire and sighs and praises
He tempted a young heart;
So that the worm is despicable, poisonous
I sharpened the lily stalk;
To a two morning flower
The half-opened one has withered ”.
This indignation sounds ridiculous and melodramatic for the reader, because the reader knows that there is no real danger for Olga. But Lensky's accusatory tirades echo Pushkin's stanza referring to Tatyana: “You are in the hands of a fashionable tyrant / You have already given your fate” (and so on), in which the word “poison” also appears. Paradoxically, Lensky is saving the honor of Tatiana, who is under threat (which he does not know about), trying to save the honor of Olga, who is out of danger. The real death of Lensky prevents the possible "death" of Tatiana. The next time Tatiana will see Onegin only after marriage. ("She will not see him; she must hate her brother's killer in him"). This happens in "reality". And in a dream? The same:
“Onegin is quietly captivating
Tatiana into a corner and folds
Her on a wobbly bench
And bows his head
On her shoulder ... "
Tatiana does not resist at all. But ... Lensky enters, quarrels with Onegin and dies at his hand. This is the final moment of the dream, where Tatyana's readiness for "death" and Lensky, who prevents her death, are merged. Tatyana's "death" did not take place, but the hope for the possibility of love died, Lensky died
In a dream, Tatiana was transformed, but the catastrophe that occurred threw a heavy reflection on her fate. All further - under the sign of a deep, unforgettable shock. Hence - the forced and hasty decision to marry ("for poor Tanya, all the lots were equal"). Hence - the motives of secular suspicion in her last conversation with Onegin. "How with your heart and mind to be the feelings of a petty slave?" She calls Onegin's love a shallow 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 and the mirror construction required 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 construction of the novel, Tatyana's dream is also associated with another - the bitterness of missed opportunities: “And 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 figure it out, she completely forgot ... Her soul was transformed, but under the pressure of external tragic circumstances it deviated from its movement.
Ultimately, a dream the threshold of the main meaning"Eugene Onegin", an ancient story about how two souls, comprehending each other, wander, strive to unite and never unite.
- Symbolism in Tatyana's dream
The system of sensory images is isomorphic to the structure of the meaning of sleep. The principle of organizing the system of sensory images is the space-time continuum. Tatiana'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 the plot of the dream: Tatiana, crossing the bridge and meeting a bear, runs through the snow-covered forest and ends up in Onegin's hut. Let's dwell on the interpretation of the pivot symbols.
One of the most important symbols of sleep - winter and words that can be combined into a thematic group with the common seme ‘cold’: “snow”, “snowdrift”, “ice”, “blizzard”. According to the plot of the dream, Tatiana first walks along the "snowy clearing", then along the "perches glued together by an ice floe" passes a stream flowing in the snowdrifts, "not bound in winter", and ends up in a snow-covered forest, where "there is no road; the bushes of the rapids are all brought in by the blizzard, Deep in the snow immersed. " The first meaning of these characters is 'death'. If in folk 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: "I was not sick or sick, but I put on a shroud." Or about the snow: "I saw my mother, died again." So, in the description of the death of Lensky, the impending death of the hero is compared with a block of snow that rolls from the top of the mountain: "So slowly along the slope of the mountains, In the sun sparkling with sparks, A block of snow falls ... The young singer has found an untimely end." The death of a friend does not leave Onegin even in a dream: "... on the melted snow, As if sleeping on a bed, the immovable young man lies." As a model, this semantic relationship is the source of symbolization of plot twists and turns and details of the dream.
To be frozen is to be held together by death. According to the plot of the dream, Tatyana crosses the stream along the bridge: "Two perches glued together by an ice floe, A trembling, disastrous bridge, Laid across the stream ..." Lensky: “Two pines have grown together by their roots; Beneath them, streams meandering Brooks of the neighboring valley "," and a key speech is heard, - There is visible a coffin stone In the shade of two old pines. " In this regard, "disastrous" means "foreshadowing doom."
Snow is not just a detail of a dream, it is the principle of organizing space, therefore, to be in a snow-covered forest means to get into the kingdom of death, that is, to the other world, the world of souls. This meaning is supported by another symbol - Forest... The forest symbolized the blessed paradise gardens, where the souls of the righteous should settle after the death. Trees are the souls of the departed (recall the traditional comparison of a person with a tree in Russian folk songs, riddles, fairy tales). In addition, death was associated not only with cold, but also with darkness, and therefore with sleep, which was reflected, for example, in the expression "sleep with eternal sleep" or the proverb "brother's dream of death." It is not surprising that, falling asleep, Tatiana immediately fell into the realm 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, who was called both the "forester", and the "forest devil", and the "devil", and the "forest archimandrite". The bear is the master of the forest, and therefore the 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 into the afterlife, had to first cross the ocean, river or stream. The link between the brook and the idea of death is reinforced by the semantics of the bridge predicting Lensky's death. The death of the poet separated Tatyana and Onegin: “still” one thing separated us ... Lensky fell as an unfortunate victim ... "That is why" Tatyana murmurs like an annoying parting on 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, is 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, the white snow cover was often compared in ancient times to the white veil of the bride: “Mother-Cover! Cover the ground with snow, I am young with a handkerchief (groom). " Apparently, deep snow, snowdrifts in which Tatyana gets stuck, falls and where a bear overtakes her and takes her in his arms, portends future marriage.
The following two symbols continue the theme of marriage - bridge across the stream and bear... For a girl to cross a stream means to get married. Tatiana wrote about this ancient motive of sleep A.A. Potebnya in the article "Crossing the water as a concept of marriage." This article mentions the ancient Christmas divination for the groom: "They make bridges from twigs and put it under the pillow while sleeping, thinking:" 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 her and, having caught her, brings her to Onegin's hut - Tatyana's future fiancé, that is, the general. The meaning of 'groom-bear' since ancient times is associated with the fact that in the minds of the people, the 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 whole forest "in its frowning beauty" symbolizes secular society (a tree is a symbol of a person). The meaning of 'forest as a secular society' arose, apparently, on the basis of the metaphorization of the sema 'cold': cold means soulless, fake. The poetic tradition of the late 18th - early 19th centuries often used the epithet “cold” next to the word “light”. In the novel, the author wrote about Lensky: "before he could fade from the cold debauchery of the world, His soul was warmed by the Greetings of a friend, the caress of virgins." The bear brings Tatiana to Onegin's hut with the words "Here is my godfather." Indeed, in Moscow, at a reception, the general introduces Onegin, “his relatives and friend,” to Tatiana, his wife. Maybe, Pushkin plays up with the figurative disapproving meaning of the word "nepotism": "official patronage to one's friends, relatives to the detriment of business."
Thus, all three symbols (snow, a stream with a bridge, a bear) are ambiguous and introduce into the interpretation of Tatyana's dream at the same time two themes that determined Tatyana's fate - Lensky's death and marriage to a general.
The main symbol of Tatyana's sleep is hut Onegin. According to the plot of the dream, the bear brings Tatiana, exhausted by the persecution, to the "hut": "Suddenly, between the trees there is a wretched hut; All around is wilderness; everywhere it is covered with desert snow, And the window glows brightly ... " Pushkin calls it "a gang of brownies." The hut is Onegin's “poor house, hut, shack”. The word comes from the Old Russian "hiўzha" (house, housing, apparently poor, or frail). One of the meanings of the word "hizha" is a hut. That is why in the Old Russian language and dialects (for example, Siberian) the words "hut" and "hut" could call the same denotation. Brownie - “guardian spirit and offender at home”. Indeed, the majority of those chosen Pushkin animals for the depiction of demons have a certain relation to the cult of the Russian brownie. So, for example, at the place where the foundations of the new hut were laid, the head of a rooster was buried (cf .: “another with a rooster's head”) in order to appease the brownie. A cat and a goat ("witch with a goat's 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 home. They fumigated the hut with the wool of a goat, if the brownie was "angry", and not a single housewarming could do without a cat. This is the meaning of the words "hut" and "brownie" in the context of the plot of Tatyana's dream. Let's turn to their symbolic meaning.
The first meaning is determined by the macro context of the work: the hut is the house of Tatiana herself, and the brownies are guests at her birthday. The names of some of Onegin's "guests" demons have a direct connection with Tatyana's guests at the name day. So, someone with a "rooster's head" is associated with "the district franchise Petushkov." Or, for example, in "Karla with a tail" it is easy to recognize Kharlikova ("Karl" is encrypted in the guest's surname by rearranging the letters). "Skull on a gooseneck" in a red cap reminds Monsieur Triquet, who spent the night in a sweatshirt and an old cap. Onegin himself Pushkin first he calls him “guest” and only then “host”. The very description of the feast of demons in Onegin's hut and the guests at Tatyana's birthday is similar. In Tatyana's dream: "Bark, laugh, sing, whistle and clap, Human rumor and horse top!"; on name days: "In the living room, a meeting of new faces, Lai mosek, smacking girls, Noise, laughter, crush at the door ..." The second meaning of the symbols "house" and "brownies" is most important for revealing the meaning of sleep: "hut" - Onegin "- the realities of his inner world. The house as a shell for the hearth (fire in the hearth - 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: "Vakhromey stands, frowned." In the riddle about the windows in the house: "Fyokla is standing, her eyes are wet."
In modern Russian, the ‘house-person’ relationship is reflected, for example, in the expression “not all houses”.
The symbol "house is a man, his soul" formed the basis of the central image of the poem Lermontov"My house": "It reaches the very stars with a roof, And from one wall to another A long way, which the Resident measures not with his eyes, but with his soul." In the description of the body of the shot Lensky: “Now, as in an empty house, Everything in it is both quiet and dark; It fell silent forever. The shutters are closed, the windows are whitewashed with chalk. There is no mistress. And where - God knows. And the trace is gone. " Here "home" is a body without a "mistress", that is, a soul. Thus, Tatiana, once in the kingdom of souls, finds the most important thing for her - Onegin's soul. After all, it was the secret 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 the numerous details of the house, but also of the actions of the characters, their position in space. Hut Onegin - complex encrypted in the system of symbols psychological portrait of the protagonist... Here are the details of this unusual portrait.
- Management of "brownies" - Onegin's imperiousness. If “brownies” are the realities of Onegin’s inner world, then the whole episode of demon control symbolizes the imperiousness of the hero’s complex nature: “He will give a sign - and everyone is busy; He drinks - everyone drinks and everyone screams; He laughs - everyone laughs; Frowning eyebrows - everyone is silent. " The same thought in the epigraph to Eugene Onegin: "Permeated with vanity, he possessed, moreover, a special pride, which excites him to admit with equal indifference in his both good and bad deeds, a consequence of a feeling of superiority, perhaps imaginary." ... Onegin's treatment of demons can be compared to the description of the imperious king from the ode "Liberty" A.N. Radishcheva: “I can give power; Where I laugh, everything laughs; I will frown menacingly, everything will be confused; You live then, I will tell you to live. "
- Looking at the door from the inside of the house is to avoid yourself. ("Onegin sits at the table And furtively looks at the door"). Perhaps we are talking about Onegin's blues, which made him, “languishing in spiritual emptiness,” cool to life and hate himself. So, before the duel: "In a strict analysis, Summoning himself to a secret trial, He accused himself in many ways."
- Looking through the doorway of the hut from the outside is trying to understand Onegin's inner world. According to the plot, Tatiana first “looks quietly through the crack”, then “slightly dissolves the door” and, finally, enters the house. This is how Tatiana's gradual understanding of Onegin's character is symbolically described. It is for this purpose that after the death of Lensky and the departure of Onegin, Tatiana will go to Eugene's estate.
- To penetrate the house is to become an object of thoughts and feelings. The appearance of Tatiana in the hut symbolizes future love to her Eugene. It is interesting that in his dream Onegin, already in love (VIII chapter), sees the same plot: "a country house - and she is sitting by the window ... and that's all she is!" The appearance of Olga in Lensky's hut and the entire episode of the murder, apparently, symbolizes Onegin's grievous 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: “That he sees: on the melted snow, As if sleeping at an overnight stay, Immobile young man lies, And hears a voice:“ Well? Killed. "
- The disappearance of "brownies" - getting rid of the previous vices. The “gang of brownies” was at first “embarrassed,” that is, alarmed, and then completely disappeared after Tatyana entered the hut. Obviously, love for Tatiana changed the inner world of the hero, ridding him of the "demons".
- Destruction of the house is Onegin's disease. At the end of the dream, "the hut staggered." In Chapter VIII, Onegin in love will really get sick: "Onegin begins to turn pale ... Onegin dries up - and hardly suffers from consumption." However, it can be assumed that the staggering hut symbolizes not so much illness as a physiological phenomenon, but a huge mental tragedy that Onegin experiences in the finale of the novel, realizing the hopelessness of his love for Tatiana. Interestingly, in the episode of the crumbling hut, the dream ends just as unexpectedly as the whole romance ends in the episode of Tatyana and Onegin's explanation.
Eugene Onegin and Tatiana Larina
In the symbolism of the house, one can again trace death theme Lensky. Extinguished "lamp" - death: "Suddenly the wind blew, extinguishing the fire of night lamps." This is another modification fire as a symbol of the soul... On its basis, the emblem of the extinguished torch was created - a motive traditional for poetry of the 18th century.
The squatting mill is the place of Lensky's death. Indeed, the duel between Onegin and Lensky took place behind the mill. In addition, the folk-poetry tradition compared the work of millstones with a battle: in the "Lay of Igor's Campaign" "On Nemiga ... they thresh with damask flails, put life on the current, breathe 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 pivot symbols have two meanings related to the themes of death and marriage; each of them develops its own storyline symbolic meaning dreams. 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 to the most important soul - Onegin. The second meaning is brought in by the theme of marriage: Tatiana will marry a general and will live in a secular society, but marriage will be a misfortune for her. The first part of the dream tells exclusively about the fate of Tatiana. The second part of the dream - the events in the hut - are dedicated to Onegin, his inner world, his future destiny. The semantic relationship "house-man" is a 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 protagonist: power-hungry and proud, while avoiding himself and hating. In addition, some details of his future are revealed: love for Tatiana 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 "sinned" against psychological certainty, describing the evolution of the character of Tatyana Larina.
Think about it at the right time
An alternative to the 2-year Higher Literary Courses and the Gorky Literary Institute in Moscow, where they study for 5 years full-time or 6 years in absentia, is the Likhachev School of Writing. In our school, the basics of writing are purposefully and practically taught in only 6-9 months, and even less if the student wishes. Come on in: Spend just a little money and get up-to-date writing skills and get sensible discounts on editing your manuscripts.
The instructors at the Likhachev Private School of Writing Skills will help you avoid self-harm. The school works around the clock, seven days a week.
Christmas week has always been a time when girls who do not have supernatural powers could learn about their fate and future. Despite the fact that officially Christianity condemned fortune-telling, she failed to eradicate the Yule divination. Many girls enjoyed fortune-telling and did not see anything bad in this tradition, rooted in pagan times.
Tatyana Larina was no exception. The girl tried all possible fortune-telling that could only 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 obscurity was a dream. This time Tatiana managed to get more information. The revealed possible reality was frightening for the girl, the future did not promise her happy days:
And Tatyana has a wonderful dream.
She dreams that she
Walks through a snowy glade
Surrounded by a sad gloom;
In the snowdrifts in front of her
Noises, swirls with its wave
Ebullient, dark and gray
A stream that is not constrained in winter;
Two perches glued together with an ice floe,
A trembling, perilous footbridge
Laid across the stream;
And before the noisy abyss,
Full of bewilderment
She stopped.
As an annoying parting,
Tatiana murmurs at the stream;
Doesn't see anyone who's hand
From the other side would give it to her;
But suddenly the snowdrift began to stir.
And who came from under it?
Big, disheveled bear;
Tatyana ah! and he roars,
And a paw with sharp claws
He held out to her; she holding herself together
I rested with a trembling handle
And with fearful steps
I got across the stream;
She went - and what then? bear after her!
She, not daring to look back,
The hasty one quickens the step;
But from the shaggy footman
Can't run away in any way;
Groaning, the unbearable bear knocks down;
Before them is the forest; the pines are motionless
In its frowned beauty;
Weighed down their branches all
Clumps of snow; through the peaks
Aspens, birches and naked lindens
A ray of night lights shines;
There is no road; bushes, rapids
All are brought in by a blizzard,
Deep in the snow immersed.
Tatiana into the forest; the bear is behind her;
Loose snow up to her knees;
That long bough by her neck
Will suddenly catch, then from the ears
Gold earrings will vomit by force;
Then in the fragile snow from a dear leg
A wet shoe gets stuck;
Then she drops the handkerchief;
She has no time to raise; fears,
The bear hears behind him
And even with a tremulous hand
He is ashamed of the edge of the garment;
She runs, he follows,
And she no longer has the strength to run.
Fell in the snow; bear nimble
It grabs and carries;
She is emotionlessly submissive
Does not move, does not die;
He rushes her along the forest road;
Suddenly, between the trees there is a wretched hut;
All around is wilderness; everywhere he
Brought in by desert snow,
And the window shines brightly
And in the hut there is a cry and a noise;
The bear said: “Here is my godfather:
Warm up a little with him! "
And right in the canopy he walks
And he puts it on the threshold.
She came to her senses, Tatyana looks:
There is no bear; she is in the entryway;
Outside the door, a scream and a clink of a glass,
Like a big funeral;
Not seeing a single bit of sense here,
She looks quietly into the crack,
And what does he see? .. at the table
Monsters sit around:
One in the horns with a dog's face
Another with a cock's head
Here is a witch with a goat beard,
Here the skeleton is prim and proud,
There is Karla with a ponytail, but
Half-bull and half-cat.
Even worse, even weirder:
Here's a cancer riding a spider
Here is a skull on a goose neck
Spinning in a red cap
Here is the mill squatting down
And flaps and flaps its wings;
Bark, laugh, sing, whistle and clap,
Human rumor and horse top!
But what did Tatyana think,
When I found out among the guests
The one who is sweet and terrible to her,
The hero of our novel!
Onegin sits at the table
And furtively looking at the door.
He will give a sign - and everyone is busy;
He drinks - everyone drinks and everyone screams;
He laughs - everyone laughs;
Frowning eyebrows - everyone is silent;
He is the owner there, it is clear:
And Tanya is not so awful,
And curious now
Has opened the door a little ...
Suddenly the wind blew, extinguishing
Night lamps fire;
A gang of brownies was embarrassed;
Onegin, sparkling with eyes,
From the table, thundering, gets up;
They all stood up; he goes to the door.
And she is scared; and hastily
Tatiana struggles to run:
It is impossible in any way; impatiently
Rushing about, he wants to scream:
Can not; Eugene pushed the door:
And the gaze of hellish ghosts
The maiden appeared; fervent laugh
It rang out wildly; eyes of all,
Hooves, crooked trunks,
Crested tails, fangs,
Mustache, bloody tongues
Bone horns and fingers,
Everything points to her
And everyone shouts: mine! my!
My! - said Eugene menacingly,
And the whole gang hid suddenly;
Remained in the frosty darkness
The young maiden is with him a friend;
Onegin quietly captivates
Tatiana into a corner and folds
Her on a wobbly bench
And bows his head
On her shoulder; suddenly Olga enters,
Lensky followed her; the light flashed;
Onegin waved his hand,
And wildly he wanders with his eyes,
And he scolds uninvited guests;
Tatiana lies a little alive.
The argument is louder, louder; suddenly Eugene
Grabs a long knife, and in a moment
Lensky is defeated; scary shadow
Thickened; intolerable scream
It rang out ... the hut staggered ...
And Tanya woke up in horror ...
Looks, it's already light in the room;
In the window through the frozen glass
Dawn the crimson ray plays;
The door opened. Olga to her,
Aurora North Alley
And it flies in, lighter than a swallow;
“Well, he says, tell me,
Whom did you see in your dream? "
Summarize: Tatiana'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 industry occurs after subsequent events that ended with the death of Lensky, which was actually symbolized in the dream.
On the other hand, Tatyana's dream is an allusion to Sophia Griboyedov's dream and partly to the image of Svetlana Zhukovsky. This state of affairs helps to better understand the image of Tatyana, to identify some of her features, which 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 promises her nothing but worries and grief - her lover turned out to be a monster, and not the ideal of her dreams.
Tatiana'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 Christmas 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 sees incredibly worries and worries her. Such anxiety of Tatyana lasts until what she saw in a dream is embodied in life.
An important place in my research is occupied by Tatyana's dream in the fifth chapter of Pushkin's novel "Eugene Onegin". This is the most mysterious place in the entire work. Tatyana's dream is an ominous sign of her fate (Tatyana is perplexed both in her sleep and after awakening, she is looking for an interpretation in a dream book). Tatiana's dream is prophetic. She dreams of a "wonderful dream": she walks through a snowy meadow (in general, the fifth chapter begins with a description of winter landscapes; "Tatiana<…>with her cold beauty I loved the Russian winter "). The theme of winter will accompany the heroine all the time. To Moscow, to the" fair of brides "she will go along the winter path. with Onegin, "surrounded by the Epiphany cold," and this cold is Tatyana's armor.
So, from love for winter, she turns to fear of her, and then winter (indifference and fatigue) will settle inside her.
Another motive from the dream will echo in life: the heroine crosses the river, which in folk mythological ideas was associated with marriage, but not only with it.
The river is a kind of delimiter, symbolizing the division of the world into two parts.
In fairytale mythology, crossing the river also meant death, that is, "another being." Life in marriage for a girl is a different being, a different life, as unknown as death.
Thus, in Tatyana's dream, love and marriage are combined with something terrible, threatening death.
Associated with this is the mirror-inverted wedding ceremony in Tatyana's dream. She herself comes to the groom (and not vice versa, as was expected at a wedding). In the hut, where the heroine falls, there is fun, laughter, "shouting and clinking a glass." But Pushkin immediately says: "like at a great funeral," which does not bode well for the heroine and at the same time hints at the otherworldly power. The groom's house is in the forest, and the forest in the mythological representation of the Slavs is an alien, destructive space. Terrible monsters feast at the table: "one with horns with a dog's face", "another with a cock's head", "a witch with a goat's beard", "carla with a tail." But, most importantly, apart from them, Tatyana sees the one who is "sweet and terrible to her," Eugene, and in the role of the owner (everyone obeys him), the chieftain of the gang of evil spirits, who then kills Lensky (at this moment Tatyana wakes up and immediately sees Olga, who is a complete contrast ("Aurora is a northern alley and is lighter than a swallow ...") to a gloomy dream with the murder of her (Olga) betrothed; this situation is reflected later: after the actual murder of Lensky, Olga very quickly recovers and marries an ulan ("Alas, the bride is young to her sadness is wrong. The other attracted her attention "), in contrast to Tatyana (" But I am given to another and will be faithful to him for ages ").
This dream intrigues Tatiana, she is looking for an answer from Martin Zadeki, the dream is incomprehensible and mysterious to her, she cannot comprehend its essence. The answer (or is it again the wrong answer?) She will find much later, when, looking at Onegin's books in his house, she says: "Is he no longer a parody." But at this moment (in the fifth chapter) Tatiana finds a solution that is exactly the opposite. Throughout the chapter, Onegin is depicted in the darkest colors: he is a dashing fellow, the leader of a gang of brownies, the hero of those books that are described in the third chapter.
British muse fables
Troubled by the dream of a young woman,
And now her idol has become
Or a brooding Vampire
Or Melmoth, the gloomy vagabond
Or the eternal Jew, or the Corsair
Or the mysterious Sbogar.
Another part of the fifth chapter is devoted to Tatyana's birthday, which, according to the description, are closely related to her dream. The guests who have gathered for the holiday are surprisingly reminiscent of those infernal creatures ("the district dandy Petushkov, -" another with a cock's head ", and the rest -" Buyanov, in fluff, in a cap with a visor "," Flyanov, a glutton, a bribe-taker and a buffoon ", "Monsieur Triquet, a wit, recently from Tambov, in glasses and a red wig" - so ridiculous and ridiculous that they look like those brownies). In the hut - "barking, laughter, singing, whistling and clapping, word of mouth and horse top", for Tatiana - "crush", "anxiety", barking mosek "," smacking girls "," noise "," laughter "," crush "," bows "," shuffling of guests "; in the heroine's dream - "the cry and the clink of the glass", on the name day - "the glass clink". But even at this feast, Onegin reveals his demonic essence: angry at the whole world, he decides to take revenge on Lensky, and the result of his bad mood is a duel.
So, on the day of the birthday of the brightest heroine, an orgy of the blackest forces of evil takes place (and the epigraph emphasizes this: the bright heroine (Svetlana) - "terrible dreams").
The theme of sleep will accompany Onegin throughout the entire novel. His "sweet, boundless dream" after receiving Tatiana's letter and "terrible, incomprehensible dream" in which he feels himself in a duel are in sharp contrast. No wonder he slept through the duel ("a dream still flies over him"). Then this motive appears in the eighth chapter, after the meeting between Onegin and Tatiana. He recalls: "That girl ... or is it a dream? ...", he asks himself: "What's wrong with him? What kind of bad dream is he in!"
Like Tatyana before, Onegin is full of bewilderment: the one that seemed so simple, so trusting and understandable, now found herself at an unattainable height. Tatiana is an unapproachable goddess, "stately," "the legislator of the hall."
But the heroine herself sees everything differently. Her impression of the first balls in Moscow ("cramped", "excitement", "heat", "flickering", "noise", "laughter", "running around", "bows" - in general, "excitement of the light") are very reminiscent "hellish bastards galloping" from Tatyana's dream.
Again Pushkin lists the guests: "Prolasov, who has earned fame for the meanness of his soul," "another ballroom dictator stood in a magazine picture, blush like a verbum cherub", "a stray traveler, overstarchy impudent." These people are no better than the characters in her dream. But, ironically, she is now the hostess of the ball, although she does not value this "masquerade rags", "brilliance", "noise", "child".
And Onegin, seeing her in the midst of all this, cannot understand how she could have changed so much. He is at balls in St. Petersburg in the role of Tatyana at the Sabbath. Like Tatiana, he tries to find an explanation for this, but not in the dream book, but in literature, reading "Gibbon, Rousseau, Manzoni", "indiscriminately."
Tatiana's dream predetermined their future. Yes, they change places (a classic situation of mismatch for novels), but this is far from as important as the fact that the whole life of Tatyana and Eugene has failed, it looks like a bad dream. No one understands either him or her in the world around him. Even to each other, they are not very real. Tatyana "strives with a dream ... into the twilight of linden alleys, to where he appeared to her." And Onegin in his thoughts returns to village life: "then a country house - and she sits by the window ... and all of her ...".
So, Tatiana's prophetic dream is one of the most important and interesting plot moves of the novel, and it is not without reason that it is located in the fifth chapter - exactly in the middle of the novel. This dream determines the further development of events in the lives of the heroes, predicting not only the future (duel), but also much more distant ones. In the penultimate stanza of the novel, Pushkin mentions the key word "sleep" for the last time.
Many, many days have passed
Ever since young Tatiana
And with her Onegin in a vague dream
They appeared to me for the first time ...
Closing this "sleepy circle".
Tatiana's dream has a double meaning in the text of Pushkin's novel. Being central to the psychological characterization of the "Russian soul" of the heroine of the novel, he also performs a compositional role, linking the content of the previous chapters with the dramatic events of the sixth chapter. The dream, first of all, is motivated psychologically: it is explained by Tatyana's tense experiences after Onegin's "strange" behavior during the explanation in the garden and the specific atmosphere of Christmas time - the time when girls, according to folklore ideas, in an attempt to find out their fate, enter into a dangerous game with evil spirits ... In this regard, it should be emphasized that Tatyana's dream has a deeply realistic motivation.
Tatyana's dream also characterizes the other side of Tatyana's consciousness - her connection with folk life, with folklore. Tatiana's dream is an organic fusion of "fairy-tale and song" images with performances that came from the Christmas and wedding ceremonies. Let us consider separately the objects and actions of the heroine during sleep.
XI-XII stanzas. The river crossing is an enduring symbol of marriage in wedding poetry.
In the research of A. Potebnya, during fortune-telling "on the groom", girls make a bridge from twigs and put it under the pillow while sleeping, thinking: "Who is my betrothed, who is my mummer, he will take me across the bridge." A. Potebnya concludes: "Pushkin's Tatyana is a" Russian soul ", and she has a Russian dream<…>... This dream foreshadows: to get married, though not for a sweetheart. "
However, in fairy tales and folk mythology, crossing the river is also a symbol of death.
This explains the double nature of Tatyana's dream images: both the ideas gleaned from romantic literature and the folklore basis of the heroine's consciousness make her bring together the attracting and terrible, love and death.
XII stanza. Tatyana dreams of a big disheveled bear. The connection between the image of a bear and the symbolism of matchmaking and marriage in ritual poetry was noted by researchers.
The bear puffs
Floats down the river
Who puffs into the yard,
To whom is a son-in-law in the tower,
It was very common in the old days to plant the young at the time of the wedding on bear or other thick fur.
However, researchers note the double nature of the bear in folklore: in wedding ceremonies, the good "own", humanoid nature of the character is mainly revealed, in fabulous ones - representing him as the master of the forest, a force hostile to people associated with water. In this second function, the bear turns out to be a double of the devil, the "forest devil," and his role as a guide to the "poor hut" is fully justified by the entire complex of popular beliefs.
XVI-XVII stanzas. The content of the stanzas is determined by a combination of wedding images with the idea of the seamy, inverted devil's world, in which Tatyana is in a dream.
First, a wedding is a funeral at the same time: "Outside the door, screaming and clinking glasses, like at a big funeral."
Secondly, this is a devilish wedding, and therefore the whole rite is performed "inside out". In an ordinary wedding, the groom comes, he enters the room after the "friend".
In Tatyana's dream, everything happens in the opposite way: the bride arrives at the house (this house is not ordinary, but "forest", that is, "antidom"). Entering, she finds not guests sitting at the table, but forest evil spirits. The owner who leads them is the subject of love of the heroine. The description of evil spirits is subordinated to the image of evil spirits, widespread in the culture and iconography of the Middle Ages, as a combination of incompatible parts and objects.
