The meaning of sleep Tatyana Evgeny Onegin. Dream Tatyana Larina from the novel in verses "Eugene Onegin". VII. Homework
Tatiana Larina's dream and its meaning.
In the novel, "Eugene Onegin" A. S. Pushkin created a reliable picture of the Russian life of the beginning of the XIX century. With the help of many techniques, Pushkin fully reveals the images of the heroes of the novel as possible: with their relationship to each other, to those surrounding, to nature, introducing copyright and lyrical deviations.
In Tatiana, the author's "cute ideal" was embodied, she is the road to Pushkin, so he tries to show us the deepest, intimate depths of her sincere warehouse. That is why it is important to analyze the dream of Tatiana to understand the poet's plan. We know that
Tatyana believed loyal
Promotional antiquity,
And dreams, and card gadanam,
And the predictions of the moon.
Therefore, sleep in the night, when the girl decided to burn, hoping to learn his narrowed and the future, we are especially interested. Before Stroke, Tatiana "became scary suddenly," and this fear, incomprehensible anxiety in front of the unknown inquiry in our heart all the time of her sleep.
Tatiana's dream replaces a detailed analysis of its inner world in Pushkin, this is the key to understanding her soul. Here you can find images of sentimental novels, loved by the girl: from here the mysterious power of Onegin over the twisters, his tenderness, connected to a terrible destructive force. However, the main content of sleep is worn on the basis of people's representations, folklore, fairy tales, legends.
At the very beginning of Sleep Tatiana, walking along the Snow Polyana, the "sad Magnoy is surrounded", meets a symbolic obstacle:
Big, dark and gray,
Flood not bold in winter;
Two strands, glued ice,
Trembling fruit
Put through the stream ...
Through the vintage hero of the Russians helps folk fairy tales - "Big, disheveled bear." He first pursues the girl, and then takes her to the "wretched" slag, where Tatiana meets his beloved, but in which company!
... Sit the monsters around:
One in the horns with a dog muzzle,
Another with a pet's head
Here is a witch with goat beard,
Here are the core and proud
So karl with a tail, but
Polunuvra and half-blooded.
In this terrible society, Tatiana recognizes his cute acting in the role of the owner:
He will give a sign: And everyone is cotton;
He drinks: everyone drinks and scream all;
He shook: everyone laughs;
Frowns of eyebrows: everyone is silent ...
Our anxiety increases when Onegin and "hellish ghosts" discovered our heroine. However, everything was done, the lovers were alone, and at the moment when we are waiting for a lyrical continuation, Lensky appears with Olga, causing anger Eugene. The rear thing was anxiety emerges with a new force, and we turn out to witness the tragedy:
Spore louder, louder; Suddenly, Eugene grabs a long knife, and the IMIG is blocked by Lensky ...
In horror, Tatyana wakes up, trying to realize what he saw, not yet suspecting how the prophetic would be her dream. Waiting for trouble, not disappeared, and strengthened after the awakening of the heroine, does not leave us during the next name of Tatiana. At first, guests are gather - provincial nobles, with their lowest desires, extinct feelings, small hearts. "Strange" behavior of Onegin in Larina, his courtship for Olga leads to a catastrophe - a duel of two friends, Onegin and Lensky. And here, after a terrible dream of Tatiana, the day can be regarded as a comment on Lensky.
Thus, natural intuition and a subtle mental organization helped Tatiana, ahead of time, to predicate the events that still have to happen and bring to her life tragedy, because not only internally divided it with her beloved person, serve the barrier between their further relationships, but also Brought Mount to many other people: Olga - short-term loneliness, Lensky - Death, and Onegin himself is a mental disorder with himself.
It was back in 1954. In that year in the Soviet Union, the Men's and Women's Schools occurred. Previously, we studied separately: girls - in women's schools, boys - in men's schools.
And so I found myself in one of the best schools of the city of Samarkand. We had a very good class. So far, boys and girls are remembered. And there were wonderful teachers, except ... Russian teachers and literature. Some paradox: It seemed to be a wonderful teacher, as shown now in the films, but here we got Ekaterina Stepanovna Mamontov. Like a mammoth itself, the thick, untidy, always sat, spreading his legs, from under the heater, we visible pink ratings with pink, which caused laughter and mockery quiet from our boys.
And here we began to go through the program "Eugene Onegin". I'm not enough then that it could understand from this novel, his deep essence,philosophy, however, not me alone. Love for the novel came later when he has already become a student.But for now for usit was obliged.
We were ordered once to learn by heart any passage from Onegin. For some reason, everyone began to learn only "my uncle of the most honest rules ..." or "Winter! Peasant, triumph ...". But I wanted to learn exactly the "dream of Tatiana". Apparently, some romance was then attracted. I learned, and I should note that I still remember him by heart! That's how strong the memory was! The next day in the class teacher called me and asked to tell me what I learned. I began to read. There was silence in the class and only at the very end with the words "Onegin quietly fascinates Tatyana in the corner and he lays her on a shaky bench ..." The boys shuffle. When I finished reading, our teacher was in mighting full! She turned to me and said: "Lera, asking what you want!" It was funny. What could ask the student of the 8th grade? And then she herself suggested me: "Lera, you want, I will put you with Dima Margolin?" And this boy, I must tell you, was the dream of all the girls in the classroom. Another girl was already sitting with him. And here is our Mammont, using the fact that she was our class manager, and I silently agreed on her proposal, puts me with Dima! Poor Sveta, how she cried when she was planted on another desk! And how was the Dimka Margolin, who then wrote off all the test works and essays all the year! Alas, after a year he left his parents. It was a military family. These memories are connected with this "sleep"! And I wanted to write it today! Until now, I literally fascinates the music of the verse!
And dream of a wonderful dream Tatiana. She dreams as if she was walking along the snow member, the sad Mouth is surrounded; In the snowdrifts of the snowy in front of her noise, flower with a wave, a pile, dark and gray thread, not bold in winter; Two barbells, glued ice, trembling, the perfect mobble, are laid through the stream: and beforewaying the inappropriate, puzzling is full, she stopped. XII. As on the annoying separation, Tatiana robs on the stream; Does not see anyone who will give her hand on the other side; But suddenly a snowdrobe moved, and who came from under him? Big, disheveled bear; Tatyana oh! And he roar, and stretched her paw with sharp claws; She staring with a trembling handle leaned and fearless steps moved through the stream; Went - and what? Bear behind her!XIII.
She, look back without daring, hasty accelerates step; But from the Cosmatic Lacey can not escape in any way; Grying, Bear Bear is unscanorable; Foremost forests; Non-native pines in their frowning gruse; Their branches are aggravated by the snow by the snow; Through the tops of the Osin, Berez and Lipa Nagich shines the beam shining night; No roads; Bushes, dying by the blizzard are all listed, deep in the snow are shipped. XIV Tatiana in the forest; Bear for her; Snow loose knee to her; Then the long bitter she hooked her next neck, then from the ears, malicious earrings will abrupt force; Then in fragile snow from the legs of a cute will get boggle the wet shoe; It will relieve a handkerchief; To raise it once; Afraid, the bear hears himself, and even the trembling hand of clothes the edge is ashamed; She runs, he is all the age: and there is no strength to run. XV Fell into the snow; Bear promptly grabbed it and carries; She is insensitive, no one wives, will not die; He rushes her forest road; Suddenly, among the trees of Slash Roga; Around all the wilderness; He's dead snow listed, and the window shines brightly, and in a hut and cry, and noise; Bear said: "Here is my kum: I make a little bit!" And in Songy, it is right, and it puts it on the threshold.
Written post Valeria Polish. Registration - from the Internet
The image of Tatiana Larina occupies a central place in the Roman A.S. Pushkin Evgeny Onegin. This passionate and solid nature serves as a bright example of virtue and chastity with modern girls and married women.
Tatiana, like a cocoon that turned into a bright butterfly, from a romantically tuned village angular girl turned into a restrained, complete feeling of self-esteem, a secular lady. But before such a transformation happened, she had to survive the inner tragedy that changed her spiritually. The harbingers of these changes and severe spiritual experiences was the prophetic dream of Tatyana Larina, who dreamed of her baptismian night.
According to the old Russian tradition, the on the eve of the baptism of Tatiana was going to guess his future. But in thoughts, of course, Eugene was. She asked her nanny to cook everything for a rite, but at the last moment I was afraid of something and went to my room. The impressions of the evening, reflections, the experiences intertwined in her consciousness in the fancy tangle and turned into this, a little strange, but prophetic dream.
And if her road in the forest and the meadow, the subtle bridges view as the life path of Tatiana, and a bear, like her future husband, should pay attention to the fact that the events are chronologically inverted. The dream begins her meeting with a bear, and ends with the death of Lensky, everything happens in life on the contrary.
In the dream, Tatiana first wanders on a snow-covered glade, which symbolizes her life path. She thrills on the bedding, so fragile and shaky, which is terribly becoming on him. But here a bear appears, which takes her hand and translates through the stream.
In a dream, she gets into a forest hut, where unclean power is having fun. Pushkin holds a parallel between the evil spirits, launched in the forest and guests who came to the Larina's house the next day. This parallel enhances the prophetic meaning of sleep Tatiana in the novel "Eugene Onegin". And at the same time, it emphasizes the connection is not an angelic soul of Onegin with all those present in the forest, unclean power. Moreover, Eugene manages evil spirits. It is known that the demons are afraid of only the devil and obey him. It was worth only Onegin to face very eyes, as all evil spirits immediately disappeared.
Remained in the darkness of frosty
Mladia Virgo with him is a friend;
Onegin is quietly fascinated
Tatiana in the corner and gorges
Her on a shaky bench
And clone your head
To her shoulder;
In times of writing the poem, the very fact of staying a young girl alone with a man, especially in the forest, compromised it. What thoughts could be born at the hero of sleep, you can only imagine yourself. But at this point in Olga and Lensky. The bridegroom of the younger sister came up for the honor of the senior, the conflict broke out, in which the enraged Onegin kills Lensky, who preserved him.
In a letter written by Onegin, after the first meeting with him, Tatiana asks:
Who are you, my guardian angel,
Or a cunning tempter:
My doubts allow.
Perhaps it's all empty
Cheating inexperienced soul!
In Epiphany, the young young lady receives an answer to his question.
Believers Tatiana could not not pay attention to the fact that all the actions of Onegin directly or indirectly are associated with the prince of darkness. Onegin seemed to be moving the fallen angel, or reincarnated himself to him.
It confused most of all Tatiana when she woke up. Confirmation by his guessings she tried to find in the dream interpretation. Tatiana Larina's dream did not give her peace all the next days before her name, who were celebrated in Larina's house with a big sweep. It is difficult not to notice the relationship between county landlords, gathered for the holiday and forest evil spirits from Tatiana's sleep.
Evgeny was not a joke on his young friend, for the fact that he, knowing Nelyubov Onegin to crowded harvest, deceived him, saying that the holiday would take place in a narrow family circle. On the holiday of Onegin achieved his own - he glanced Lensky, put Olga in an unsightly light in the eyes of the groom. As a result, Lensky summoned Onegin on a duel, in which he died himself.
The meeting of Tatiana with Onegin in St. Petersburg is that the very shaky bridge, which was to stand Tatiana. But next to her, her husband, who translates it from aidism to a new life, but does not give her a moral drop. It is not by chance after the explanation of Tatiana with Onegin in the corridor of the house everyone heard the ringing of the general spurs who returned Prince.
Pushkin with a touch of Tatiana not only precedes all subsequent events, but also reveals the inner essence of Onegin. This is the meaning of sleep Tatiana.
And dream of a wonderful dream Tatiana. Pushkin - A subtle psychologist who perfectly understands the soul of man. His novel "Eugene Onegin" is a reliable picture of the Russian life of the beginning of the XIX century. Including in the narration of the dream of a heroine, the author helps the reader understand the image of Tatyana Larina and the situation in which the provincial young ladies like it lived and brought up. Tatiana reads foreign novels, the Russians then have not yet created, but the Russians are shot, even common dreams. Her prophetic dreamPenetrated by folklore images and symbols is probably caused by a glory to the heroine in unrealistic happiness. Tatyana Odersheli thought about Eugene, his coldness is scared by the heroine, hence the disturbing, full of terrible premonitions sleep. Loving, Tatiana and in a dream sees, as if she goes through the snowy glade, a sad darkness is surrounded ... Sleep the heroine is very logical and consistent, occurring difficulties in the form of a non-freezing stream, long Path In the snowdrifts it helps to overcome the "Lackey Cosmata". To get silence from horror when the bear picks it up, but Blessed is in fear:
"Fell in the snow; Bear Promorno
It is enough and carries;
She is insensitive submissive
It won't move, it will not die.
Seeing Onegin, the "leader" of a terrible hay, Tatiana tries to calm down, but the drama of the situation persists:
"Sit the monsters around:
Another with a capeful head
Here the custody is as proud,
There Karl with a tail,
But the half-and-meaway and half-blood.
Well, than neither Nyanyushkin fairy tale, but she usually ended well. Here the reader is waiting for tragic junction, and it immediately comes. Tatiana's dream tells about tragedy. Onegin acts as "villain" who kill the "friendship" of Lensky:
"Spore louder, louder;
Suddenly Evgeny
Grabs a long knife
And the IMG is defeated Lensky ... "
The genuine horror awakens Tatiana, now she tries to realize what he saw, because believes in the foreman. Tatyana believed legends of common antiquity, and dreams, and card fortunes, and the predictions of the moon. The dream of a heroine, reliably and detailed by the author, sets up the reader to the fact that the predicted events will follow, therefore the "strange" behavior of Onegin on the Larina Ball, his courting for Olga is a logical chain, followed by a catastrophe - a duel of recent buddies. But sleep has a second interpretation, his symbols are stolen by Tatiana wedding, the truth is not loved. Bear is her future husband, general. Switching through the streams along the shorter of the promute and the wedding, and the funeral. No wonder Tatiana hears the noise as "at a big funeral". A dream introduced into the novel fabric, much explains to readers waiting for the further development of events. And logical appears the ending of the work when Tatiana appears again, the secular married lady appears, but the same unhappy, as before, happiness was so possible, so close! ..
"You must,
I ask you, leave me ...
I love you (what to smear?),
But I'm given to another;
I will be a good eyelid. "
This is her fate, against which the heroine will not go, keeping the submission that dropped into her share. She will remain true to debt, in this its essence.
In the name and surname "Evgeny Onegin" Pushkin Encryed the tragic state of the male spirit, expressed in a nutshell, actually the key to understanding everything, what happens in the male soul, deprived of love for a woman. Pushkin makes it clear that Evgeny Onegin is parody of a man, no more. With Tatiana, Onegin was a chance to become a man - "Happiness was so possible, so close ..." Question - Why did Tatyana chose a parody of a man? There is a response, it is worth reading the novel carefully. All men who fall into the field of view of a woman, one way or another trying to her inner "ideal" (perhaps he is a children's impression or "legacy" of past life, not the essence). Sadly when this ideal is superimposed on religious, books (in case of Tatiana) or television parody. Then a man from flesh and blood may not be recognized, and the parody in the image of a saint or a lubricant singer departs to him.
Having visited by Onegin (after the murder of the Lensky) estate, having examined his office, seeing his nail marks in the books that I read, Tatiana twisters and sees what is her beloved, worshiped Napoleon in the form of figurines on the table:
"Moskvich in Haroldepar,
Other people's configuration
Words trendy full lexicon? ..
Is it not a parody? "
Not a man who can open in the girl a woman, and so - a dummy ... But if everything was so harmless ... but no.
Sympathize with Pushkin heroine, unwittingly ask for a question: why Pushkin Gave the hero of her novel "Ozernoye" surname? And more: why Lermontov I brought Pushkinsky sent to the limit to the limit, to some extremes - after all, although the river is called, but the "Pecheque" is a cave, the furnace (in the sense of "bake", "Peklo") - that is, Mr. Pechorin Complete women literally dawn. But let's return to his prototype - Onegin. If you group the sounds of the letter of the name in order of their increase, and then both lonely and coincided (by quantity) letters to place the second time, already in alphabetical order (except "and" brief as an intermediate version between vowels and consonant sounds; I cut off from the first second word), then it turns out: howling hyenas. Hynes are treated as if laugh. And you can read it as a laughter of hyen. It became, the main character of the novel is not anyone else, as a laugh of hyena? In the most mysterious place of the novel - "Tatiana's dream" - it is on the haggard of the gang members Pushkin Made of the focus not once. Howling hyenas is and there is a cipher key to sleep Tatiana coded in images, and perhaps the dream of Tatyana Larina is generally the core of the whole novel.
Also draws attention to the epigraph taken to the 5th chapter of the novel Pushkin W. Zhukovsky: "Oh, do not know scary dreams You, my Svetlana! "
To be, Tatyana Larina - with the speaking name and more than the talking surname (the one, on whom the whole genus is being held) - it faces trouble, over the girl is about to make an unknown her ritual, initiated by the Hyien-like man (no wonder the dream and permeated with "bad" images and archetypes with sexual filling including).
"... Tatiana, on the Council of Nanny
Getting up to burn at night
Tikonko ordered in the bath
On the two appliances, cover the table;
But it became scary suddenly Tatiana ...
And I - with the thought of Svetlana
I was scared - so be ...
With Tatiana we do not burn.
Tatyana Rocks silk
Removed, undressed in bed
Lay down. Over her goes Lel,
And under the pillow
The maiden mirror lies.
Duck everything. Tatiana sleeps.
And dream of a wonderful dream Tatiana.
She dreams as if she
Going through the snow member,
The sad darkness is surrounded;
In snow bugs in front of her
Noise, Crubbles Wave Nore
Pocket, dark and gray
Flood not bold in winter;
Two jordells, glued ice,
Trembling, brand
Laid through the stream:
And beforewaying the bumping
Perplexity is full
She stopped.
How on the annoying separation
Tatiana robs on the stream;
Does not see anyone who's hand
From that side would give her;
But suddenly a snowdrobe moved,
And who came from under him?
Big, disheveled bear;
Tatyana Ah! And he roar,
And paw with sharp claws
She handed her; She staring
A trembling handle fell
And fearless steps
Moved through the stream;
Went - and what? Bear behind her!
She, look back not daring,
Hasty accelerates step;
But from the cosmatic lake
Can't run away;
Grying, Bear Bear is unscanorable;
Foremost forests; Many pines
In his frowning glory;
Aggravated their branches all
Snow Clook; Through the tops
Osin, Birosis and Lip Nagich
The beam shines nights;
No roads; Bushes, swift
The blizzard is all listed,
Deep in the snow are shipped.
Tatiana to the forest; Bear for her;
Snow loose knee to her;
Then a long bitter her neck
It suddenly hooked, then from the ears
Choised earrings will cut by force;
Cut the wet shoe;
It will relieve a handkerchief;
To raise it once; fears,
The bear hears the
And even tremble hand
Clothes edge to lift shakes;
She runs, he is all the age:
And there is no strength to run.
Fell into the snow; Bear Promorno
It is enough and carries;
She is insensitive submissive,
Won't move, it will not die;
He rushes her forest road;
Suddenly, among the trees of Slash Roga;
Around all the wilderness; Ovens
Deserted snow is listed,
And the window shines brightly,
And in a chala and cry, and noise;
Bear said: here my kum:
I make a little glad!
And in Seni right, he goes,
And it puts it on the threshold.
He sensed, looking Tatyana:
There is no bear; She is in the Seine;
Behind the door Creek and the ringing of glasses,
As at a big funeral;
Without seeing there is no sense,
She looks quietly in the cloth,
And what sees? .. at the table
Sit monsters around:
One in the horns with a dog muzzle,
Another with a pet's head
Here is a witch with goat beard,
Here are the core and proud
There Karl with the tail, but
Semi crane and floor cat.
Still scary, even more wonderful:
Here is a rack on a spider,
Here is a skull on goose neck
Spinning in the red cap
Here is the mill of wheezing
And the wings are cracking and waving:
Lai, laughter, singing, whistle and clas,
Human sulfur and horse top!
But what thought Tatiana,
When I learned between guests
Who is mile and terrible to her
Hero of our novel!
Onegin sits at the table
And at the door stooping looks.
He will give a sign: And everyone is cotton;
He drinks: everyone drinks and scream all;
He shook: everyone laughs;
Frowns of eyebrows: everyone is silent;
He is the owner there, it's clear:
And Thane is not so terrible,
And curious now
Slightly dissolved the door ...
Suddenly the wind reanged, fading
Fire lamps night;
Embarrassed ham houses;
Onegin, reversal,
Due to the table, the roma gets up;
Everyone got up; He goes to the door.
And scary to her; And hurried
Tatiana is silent to run:
It is impossible; impatient
Running, wants to scream:
Can not; The door pushed Eugene:
And the eyes of hell ghosts
Wait for Virgo; Brown laughter
Dico rang out; The eyes of all
Hooves, trotics curves,
Tails Crested, fangs,
Mustache, bloody languages,
Horn and fingers bone
Everything points to it,
And all shout: My! my!
My! - said Evgeny Grozno,
And the shaky all fell suddenly;
Remained in the darkness of frosty
Mladaya Virgo with him himself;
Onegin is quietly fascinated
Tatiana in the corner and gorges
Her on a shaky bench
And clone your head
To her shoulder; Suddenly Olga enters
For her Lenskaya; The light flashed;
Onegin hand wound up
And wildly he wanders her eyes,
And the uninvited guests is brazy;
Tatyana is a little alive lies.
Spore louder, louder; Suddenly Evgeny
Grabs a long knife, and in
Defeated Lena; Scary shadow
Thickened; Unsecured cry
Once ... the hut was shoved ...
And Tanya woke up in horror ...
Looks, in the room light;
In the window through the murous glass
Dawn the crimping ray plays;
The door opened. Olga to her
Aurora Northern Aleu
And easier swallows, flies;
"Well," says, tell me,
Who have you seen in a dream? "
But that sisters not noticing
In bed with book lies,
Over the sheet leaf passing out
And nothing says.
Although it did not book this
Neither sweet fiction of the poet
Neither wise truths or paintings;
But nor Virginia nor Rasin,
Neither Scott, nor Byron, nor Seine
Not even ladies magazine
So no one occupied:
That was, friends, Martyn Test,
The head of the Chaldean sages
Gadel, interpreter dreams.
Syo deep creatures
Welcome to the nomadge merchant
Once upon a time to them in solitude
And for Tatiana finally
His scattered Malvina
He gave way for three with half
In addition, taking for them
Collected fable square,
Grammar, two petrides,
Yes, the third volume is the third.
Martin Testa later
Belief tanya ... he is a glade
In all the sadness it gives it
And she sleeplessly sleeps.
She is disturbing a dream.
Not knowing how to understand it
Dreaming terrible meaning
Tatiana wants to find.
Finds a terrific order
Words: Bor, Storm, Witch, Spruce,
Yozh, darkness, Mostmok, Bear, Blouth
And so on. Her doubt
Martyn's test will not solve;
But the dream sinister will succe
Sad many adventures.
Days somewhat she then
Everything worried about that ... "
Of all the dreams of Russian literature, including four sleeping faith of Pavlovna, and the dreams of Anna Karenina, and the "sleep of a funny person", and "Son Popov", the dream of Tatyana Larina, perhaps the most famous. Gershenzon Said him wonderful:
"All Evgeny Onegin - as a number of open light rooms for which we freely go and look at everything that they have. But in the middle of the building - a cache; The door is locked, we look into the window - inside all mysterious things; This is "Dream Tatiana" ... Pushkin hid the most valuable here, which is in the house, or at least the most reserved ... Sleep of Tatiana is undoubtedly encrypted in images; To read it, you need to find the key cipher. "
So this prophetic dream means for the novel, for Tatiana, for Pushkin-The autler, as a dream changes the course of the novel, as he transforms Tatiana.
The Son foreshadows the events of the "far" and "near" future in the novel. Parallels between the "sleep" and "Jawi" are numerous, and some are obvious. First of all, a quarrel between Onegin and Lensky and the murder of Lensky is predicted. In reality, Lensky dies on duels two days after sleep. The marriage of Tatiana is predicted. Still famous Russian philologist Pottnya interpreted the crossing through the non-freeze stream in a dream as a marriage presentation, traditional in russian wedding symbolism. Tatiana in a dream "... From the Cosmatic Lacey can not run away in any way ... She is insensitive, no one will move, it will not die." In the final of the novel: "But I am completely given to another; I will be a good eyelid. " With all the difference - the community of motive: the inability to change anything.
Tatiana in a dream hears that "... Bear said:" My cum is " I make a little glamor. " The bear leaves her on the threshold of the Shalash, where the owner is Onegin. In Yavi, in the eighth chapter, the husband of Tatiana, Prince and General, "comes to his wife and will bring her relatives and friend of his", Onegin. Apparently, these correspondences are enough to identify the bear from sleep with the future husband of Tatiana.
Tatiana first invisible monsters, who gathered in a halate, then all the monsters attracted to her ("Virgin appeared ... Everything points to it and shout everything:" My! "My!" "). In the seventh chapter, the Moscow society first does not pay attention to the provincial Tatyana. In the eighth chapter, she is the center of universal attention, interest and admiration.
So, the dream foreshadows Tatyan two "future": first "Far", in which she gets married, then - on the eve of her awakening - "nearby", in which Onegin kills Lensky. Sleep prophecies are obvious, it is impossible to pass by the prophecies, they must be meaningful in the first place. Understand the mysterious sleep - find the key to the coming. So people thought for thousands of years, and now it was not gone anywhere. "Wonderful dreams" - an integral part of Pushkin reality, leaving the roots and in the Russian folklore (fears and miracles), and in European romanticism (dreams and ghosts), and in the well-known personal superstition of the poet (his talismans, his hares, running down the road). "Dreams" and "Vision" Pushkin Maybe: 1) really "things", like a Son Tatiana, Son Ruslan in "Ruslana and Lyudmila", "Damned Sleep" Grigoria Frepeva in Boris Godunov, Son Marya Gavrilovna in "Misley", sleep Persushi Greenyowa in " Captain's daughter"; or 2) "false" as the vision of Hermann in the "peak lady". But always dreams and vision are extremely important for understanding. movement of plotand Images, they always "foreshadow" and need to be decoding. We will make it poply.
- In a dream, Tatiana prophecy - for whom?
At first glance, for no one. We are faced with a paradox: Tatyana does not solve sleep and quickly forgets about him. Moreover, the "wonderful dream" is not mentioned nowhere else nor Tatyana nor Pushkin. It's amazing. As you know, the rite was that by having completed certain magic actions on the night before Christmas, the girl should have seen the face of his narrowed and (or) to know his name. Sleep was remembered for a long time, if not for life; The girl gave him a huge meaning. What is Tatiana? On the awakening, she really is trying to solve sleep, feverishly lying is the most popular "dream interpretation" Martyn (Martin) Zada. But it is useless ...
But here is the next chapter, the next day. Lensky is approved in the decision to shoot with Onegin:
"When he knew what kind of wound
My Tatiana Heart Zhele!
Whence Tatyana's injured
Whether it could know
That tomorrow Lensky and Eugene
Speak about the grave sense;
Ah, maybe her love
Friends connected b again!
But this passion and by chance
No one else opened.
Onegin was silent about everything;
Tatiana bare secretly;
One would know the nanny
Yes, it was not enough. "
Thus, the next day, Tatiana cannot perceive the tragic meaning of sleep. Yes, what to say, even after a duel (not "few days," and only two days after the village!) Tatyana does not remember that the death of Lensky has already dreamed. How so? After all, Tatiana is an exceptional sensitivity person, because Lensky, the groom Olga, takes a special place in their family. While understandable only one. Tatyana extremely quickly forgotten the "wonderful dream" or did not give him any meaning. (Like a nanny, she was inaccessible).
Moreover, under the head of the flow of events, the dream is erased from the reader's memory, as if dropping out of the "reality" of the novel. Although he is "wonderful," it is never remembered about it. Neither Tatyana nor the poet return to him and to his meaning as if there were no prophecies.
- Magic crystal
It is asked for what is generally needed a dream of Tatiana, what does he play a role in the novel, if all about him forgot? On this score there is a modern hypothesis about magic crystal, prompted by himself Pushkin.
"Much a lot, many days
Since the young Tatyana since
And with her Onegin in a vague dream
Came for the first time me -
And distance free novel
I am a magic crystal
It has not yet clearly different. "
This is the penultimate stanza of the novel. "Vague Sleep" ... "Magic Crystal" ...
What is the "magic crystal"? In a broad allegorical sense, this is the imagination of the poet. But Pushkinundoubtedly knew the concrete meaning of this term. Language Dictionary Pushkin Determines it as "Ball from a transparent glass used at fortuneshop." "Magic Crystal", a crystal ball of a special design, was invented by John Di (John Dee, 1527-1608), the English mathematician and astrologer of the Elizavtian period, the prototype of the Shakespearean magician of Prospero. John Di predicted the future by interpreting the images that were seen in this ball. Not everyone could see and understand the images of the magic crystal. John Dee considered his abilities insufficient and worked with the Celly medium, whose gift he appreciated. Mediums saw images and broadcast their visions, but also forgot them exceptionally quickly: otherwise they would have lost their ability to "see."
The modern American Encyclopedia Collier's claims: "Even Today ... The Transparent Sphere of the Fortuneteller IS A Crystal Ball", i.e., "Magic Crystal". So what is the hypothesis?
Sky. Late evening.
"Tatyana Curious Growing
On the wax across it looks.
He is wonderful poured pattern
She is something wonderful ... "
"Tatyana on a wide yard
In the open dress comes out
For a month, the mirror leads ... "
"Tatyana Predas Silk
Removed, undressed in bed
Lay down. Over her goes Lel,
And under the pillow
Malicious mirror lies. "
Wax patterns, reflective surfaces, mirrors, many mirrors. And most importantly of them - sleep-mirror, delivered between the "reality" and "far" of the novel and allows you to see the future: the death of Lensky from the hand of Onegin (chapter sixth) and the marriage of Tatiana (chapters seventh and eighth). "Sleep" reflects the future according to the laws of mirror reflection: in a dream "nearby" the future turns out to be "closer" to the awakening, quite not far from which (2 days) is the tragedy - murder on duels.
So Pushkin Creates its "magic crystal", a mysterious combination of reflections, and with a medium-Tatiana penetrates into Dal Roman.
Is it designed in advance and consciously? Apparently, no. Roman grew like a tree. Chapters were published gradually. Options for junction changed. Working on the last chapters, Pushkin In a letter Vyazemsky I was sincerely wondered by Marriage Tatiana: "Imagine, which thing Tatyana thrown out with me: I got married." But "Husband" - MEDEW, a relative of Onegin, is already present in the fifth chapter.
Tatiana is not just a gadget virgin. She is one of the hatches of the Pushkin Music, who appeared to him, "the young ladies, with a sad born in Ochach, with a French book in his hands." Pushkin He loves Tatiana so much that, identifying her with the muse, trusts her, Snu Muse, the most expensive - freedom of creativity, the freedom of his novel. On hypothesis, it is one of meaning sleep. There are others.
- Tatiana Transfiguration
Tatiana sees in a dream itself. She is in the power of rapidly changing experiences. Sleep is divided into two parts, one of which is connected to the bear, the other - with Onegin in the chaolate.
How does Tatiana dream begins?
"She dreams as if she
Going through the snow member,
The sad darkness is surrounded;
In snow bugs in front of her
Noise, Crubbles Wave Nore
Pocket, dark and gray
Flood not bold in winter ... "
Symbols of space - White-purity, Polyana-emptiness - speak of virginity, neutrality of the condition of the heroine, surrounded by Molten-ignorance or, rather, the Mulley-hopelessness in its sad loneliness. This state in a dream corresponds to the mood of Tatiana in the period after the duel of Onegin with Lensky and before making a decision to go to Moscow. The space in which Tatiana moves is homogeneously and not defined, there is no structure in it, nor the direction. Only the stream gives this space. In a dream, Tatiana robs on the stream "like on the annoying separation". If the transition through the stream is marriage, then the separation for which Tatiana is pushing is parting with native places with which Tatyana begins to say goodbye long before departure to Moscow.
She moves to the other side of the river, leaning on the bear, but then rapidly runs away from him. So run from the deadly danger.
"That long bitter her neck
It suddenly hooked, then from the ears
Choised earrings will cut by force;
Then in fragile snow with legs cute
Cut the wet shoe;
It will relieve a handkerchief;
To raise it once; fears,
The bear hears the
And even tremble hand
Clothes edge to lift shake ... "
Tatiana runs. It scratches and almost lingering the branches of the trees. Earrings are broken from her ears with force. How should I run so that the earrings from the ears come out! She runs barefoot, knee in the snow; A long dress prevents her, but she is ashamed to raise him, as if the bear is a man who can be seduced by the look of a nude female leg. Is it possible to consider this run a hint of Tatiana after the wedding? With stretch - yes. It is possible that Tatiana's losses during running in the forest symbolically correspond to the loss of a girl moved from the freedom of virginity on the lap of nature into the world of light conventions. Note that Tatiana leaves for a secular war in the capital in winter. She is scared
"On the court to the recovery light
Represent clear traits
Provincial simplicity
And belated outfits,
And late warehouse speeches;
Moscow Fart and Circus
Attract mocking glances! ..
Oh, fear! no, better and more
In the wilderness of the forests to remain. "
The fears of Tatiana here are associated primarily with her appearance. In the forest, she loses the earrings, shoe, handkerchief. They do not help, but interfere with life run, her dress does not correspond to its environment. It is too long and uncomfortable.
Finally, Tatyana calms down, "insensitive-submissive," in the paws of the bear. It is all connected anyway. Bear - Assistant. From the bear Tatiana runs, it is afraid of him. Finally, in his arms, she "will not move, will not die." He puts it as a child on the threshold of the chalash, in which the "Cum" is -Egin. Tatiana's series of experiences in this part of sleep seems like:
1) activity \u003d determination (transition through the stream);
2) fear (escape from the bear);
3) Passivity \u003d submissions in the hugs of the bear.
When Tatiana comes into himself in the saint shala, curiosity exceeds fear: "She looks quietly in a click." Curiosity is generally characteristic of Tatiana. Traditionally, with reference to the fact that "dolls even during these years, Tatiana did not take the hands," her childhood is not children's childhood, as if she was all her life at the window and read French books. PushkinOf course, it was sought to note the unlike his heroine on other girls of her age: her independent thinking, imagination, love for reading. But the fact that instead of Tatiana dolls are interested in "terrible stories" does not mean that she was not a child. It is well known to, to what extent all the terrible and mysterious attracts and fascinates children. Curiosity entails Tatiana always on the edge, and she sometimes passes her, finding out in a situation or dangerous or not quite decent for the maiden. She writes Onegin, she enters his house. You can spend a parallel between the peeking into the slashes and visiting the house of Onegin. Her approach to the estate resembles a wandering over a snow-white glade in a dream. Tatiana will raise there by chance and accidentally looks into the soul of the hero, reading his note on the books. In one of the early Roman options, she even reads the Diary of Onegin. The childhood and naivety of Tatiana before arrival in St. Petersburg are underlined by the poet and Onegin. In the eighth chapter, recalling the past, and Tatiana talks about himself as a child.
In the chaolache Tatiana sees monsters and their leader Onegin. It is because of his unrestrained children's curiosity, she attracts their attention. Monsters terrify Tatiana. She calms down in the embrace of Onegin, the host demon who drives out the "Shayka of the House."
So, Tatiana's experiences chain in the second part of the sleep:
1) activity \u003d curiosity at the door;
2) Fear of monsters;
3) Passivity \u003d Sensual humility in the embrace of Onegin.
Obviously, the similarity of this chain that was found in the first part of sleep. Shades changed somewhat: the determination became curiosity, humility - sensuality. But, in essence, the chain is the same: Activity → Fear → Passivity.
- Communication of feelings and times
Sleep is Tatiana's journey in time, first - in the "Far" future with a "Bear Man", then - in the "Middle", where there is a quarrel of Onegin and Lensky. Finally, she returns to the "Yav" - wakes up. After analyzing the dynamics of the experiences of Tatiana in a dream, it can be concluded that the journey in time and the change of feelings are associated with general logic: PRES (Epiphany evening), sleep ("Far Future", "near future"), Jaw (morning).
Regularities are traced here. "Sleep" is a cycle: "Yav" - "distant future" - "close future" - "Jaw". Activity (whether the determination, curiosity of Lee) is a necessary condition for entering the future. To something happened, the future is different from the present, you need to show activity and bring some changes. "Sleep" manifests that Tatiana is decisive that she is the creator of his fate.
Stay in the future is associated with fears (horror before the bear, in front of the monsters). For fear, passivity follows (submission in the arms of the bear or Onegin). As soon as the heroine calms down, it turns out, something sudden happens ("suddenly"), and being around changes. "Suddenly" is an answer to passivity. "Suddenly ... slab is poor," on whose threshold is putting Tatiana. Or "Suddenly Olga enters, for her Lensky ... Lensky is defeated."
And then Tatiana as it were removed from the time in which it remains. It comes out on the ladder of times: from the "long-distance" future - on the threshold "nearby", and then from the "near" future to the present, in the "yawa".
Thus, activity (determination, curiosity) is rewarded: access to the future opens. But the passivity is punishable. Passivity precedes "Exile" from the time in which it stays; The passivity immediately follows the "descent" on the step below, on the "threshold" of a different, more "low" time, and, finally, return to the present - awakening.
Such is the amazing logic of "Sleep Tatyana". This is a journey in the space of "feelings and times", where the feelings are engines. The emotion cycle moves a series of events and a cycle of times.
- Disease of love
Tatiana's misstitution is described Pushkin As a heavy disease with a detailed listed symptoms. Here Tatiana walks in the garden, the "longing of love":
"And suddenly, the eyes of the eye clone,
Raised chest, lounges
Instant flame covered,
The breath froze in the mouths,
And in the hearing noise, and shine in the eyes ...
Here she is above the letter to Onegin:
Tatiana will sigh, then fool;
A letter is trembling in her hand;
Wood pink drier
On the inflamed language. "
Waiting for Onegin, "she trembles and squeezes." But after the date:
"Tatiana Poor is burning;
Her bed and sleep runs;
Health, life color and sweetness,
Smile, virgin peace.
Everything was missing that the sound is empty. "
"Alas, Tatyana fades
Pale, goes out and silent!
Nothing takes her
Her soul does not cross. "
Here Tatiana in his own names, sitting against Onegin:
"And the morning moon pale
And tremendous Gonim Lani,
She is a valet
Does not raise; Pyshet Burgno
There is a terrible heat; she is stuffy, bad;
She greets two friends
Do not hear tears from eyes
Want to drip; Gotov
Poor faint fall ... "
Pallor and heat! Partial hearing loss! But - jokes to the side! - This is a real disease, and not "the fun of the old monkeys" of the eighteenth century.
- "Yad desires"
The appearance and manifestation of sensuality (passion, "worship") is a sign of a special phase of "Love Disease". Tatiana is growing among the Russian nature, Western novels and folk customs. She prepares himself for love. Pushkin Ironically-affectionately describes its book formation, its one-sidedness and artificiality. The novels who read Tatiana brief feelings and moral qualities. Behavior is reflected, perception becomes thin, imagination develops. From the novels, Tatiana draws knowledge of desires.
"You drink the magical poison of desires,
Dreams are pursued by:
You imagine you everywhere
Shelters of happy dates;
Everywhere, everywhere in front of you
Your disappearance of fatal. "
But it is still desires, not a desire, "sullen, dull fire of the desire."
Tatiana's misstitution is described Pushkin In rich sensual terms, but this is the knowledge and perception of the poet, not a heroine. Tatiana is the subject of the wishes of the poet itself. He looks at her with admiring eyes: "To the shoulder, the head bowed. / Sorochie went down / from her adorable shoulder ..." - and watches how her sensuality awakens. But Tatyana Nevdomek, that there is a "desire", not thrown by culture. Only in the dream of Tatiana will find out what it means to be a subject of a voluptuous lust. Only after sleep, she will express her desire.
"Permissal - Tanya says, -
But the death of him is kind,
I'm not a pope: why dig?
He can not give me happiness. "
- "House in the forest" and transformation
When they talk about the "transformation" of Tatiana, they usually mean its transformation in the eighth chapter. The modest rustic girl became an impregnable goddess. But here - about another, not an external, and internal, mental transformation from the romantic sensitivity of "desires" to sensuality and, finally, to the determination to "die", that is, to cherish it to be treated. This transformation occurs in "Dream" and it is caused by an extremely important event. But what is this event? And how did it initiate the transformation? What is happening in the "slaughter of the bundle" - the key and most mysterious moment of sleep, "Cache in a cache". Around Tatiana - monsters. Who are they?
By Lotman, the entire episode in the slash is based on the Russian folk tradition, combining wedding images "with a submission of an invalid, twisted the Devilistic world." There are no wedding guests sitting on benches, but forest evil.
Do not groom, but the owner, the head of the gang. In addition, "Wedding is both funerals at the same time." Indeed, in the chaolate "Creek and the ringing of glasses as at a big funeral." On the other hand, commenting on the monsters drawings that Pushkin (Skull, Mill), Lotman notes that such images have Western European origins, do not belong to the Russian folk tradition, are not supported by "Russian iconography and folk Russian texts."
In "Snakh Pushkin" Gershenzon gives a note "Curious Message" Boathanianovsky that monsters are borrowed Pushkin The part of the XVIII century "demons tempt sv. Anthony "part of the picture Jerome Boscha "The temptation of St. Anthony. "
Who to understand under these monsters? Guests on tomorrow's names, where is Onegin draws "in his soul" of their caricatures? Indeed, among them there is a "county Franti Petushkov", which is associated with a monster "with a pet's head." And maybe this is the Moscow Social Society, which first did not notice Tatyana, and then made it the center of attention and the subject of admiration? Nabokov Indicates a parallel between the rampant, reigning in the chaolache, the names of Tatiana and the ball, on which Onegin arrives in the eighth chapter. However, he relates this pattern not to the content of sleep, but simply to a runaway, rapid Pushkin technique: so the poet depicts the bombardment of the gathering. Maybe this is the famous "Arzamas" with his symbolism? Robbers led by Onegin-Dubrovsky? Or it is "secret society", the Decembristian or about-Decembrist, headed by Onegin-Chaadaev; It was with him who identified Onegin Pushkin Y. Oxman. And maybe these are perfume of books from the Onegin Library, sitting in which after the departure of Onegin, Tatyana is trying to comprehend his soul?
Of all possible interpretations of this scene, the Lotman "wedding-funeral", based on Russian folklore, seems to be the most evidential, but not the only possible. Apparently Lotman.Onegin's commander did not put his task to understand the effect of the episode in the chaolache (and sleep as a whole) on the evolution of the image of Tatiana. Next, we will try to develop our folklore version, in something intersecting with Lotmanovskaya, and in something different from it.
The key symbol of this interpretation is "House in the Forest", borrowed from the classic book V. proppap "Historical roots of a magical fairy tale." "Big House", otherwise "Male House", - a special institution inherent in the generic system. The big house is the center of the Union of Dedicated Men. "Brotherhood has its primitive organization, it chooses the older." Like the monsters in the chaolache, the "Forest Brothers" in the fairy tale have an animal appearance, "dedicated and living in male or forest houses often thought and masked animals."
The "House in the Forest" symbol is divided into two categories: "Big House" and "Little Hut" and is an organic part of the root of a dedication saved by the folk fairy tale. "Big House" performs the following function in the rite of dedication: in certain cases, part of the male population, namely, the young men, since the moment of sexual maturity, before marriage, no longer live in the families of their parents, but are moving to live in large, specially built at home . Dance, ceremony are made here, sometimes masks and other tribe shrine are stored. Sometimes there are two houses on the same platform: one small (it is cut in it) and one large. Married in it usually do not live. Dedication was sometimes produced in the forest slag or in the hut, after which the dedicated or returned to the family, or remained to live immediately, or passed into a large male house.
But what is the initiation, in other words, the "initiation" (from Lat. Initiatio - the commission of the sacraments, dedication)? This is "common system of customs associated with the transfer of young men and girls in the age class of adult men and women." Proppage It claims that although women were not allowed to rite the dedication of men, in the "male house" they have always been: "The male house is forbidden to women in general, but this ban has no inverse strength: a woman is not prohibited in a male house. This means: in male houses there were always women (one or more) who served the brothers in the wives. Women could belong to everyone could belong to some or one by their choice or by choosing one of the brothers. They represented the temporary property of young people. Women stay in homes only temporarily, subsequently they get married.
Proppage Notes that the folk tale did not save the differences between large and small houses. It seems that in the dream of Tatiana, as well as in a fairy tale, the chalash "unites" both of these houses. Tatyana looked in such a "house in the forest." She involuntarily witnessed some kind of mysteries, and, being a "woman in the house", turned into an object of claims for many. She defends her "Master" -Onegin, from now on it will only belong to him.
When the worst and monsters are shouting "My! My! ", stretching to Tatiana burlesky-phallic mustache, tentacles, hands, tricks and other limbs, her lust, Tatiana will find out what it means to be an object of animal ashorste. It scares her deadly, and when Onegin utters "My!" Saving it from monsters, spell from the letter "Who are you: My Guardian Angel / or a Cunning Temperator" finds a response and double embodiment.
Only now Tatiana opens the full meaning of this phrase, apparently borrowed from the book.
In a dream, it opens a turnover, one can say the anti-grantic side of the desire, knowledge of the true nature and manifestation of the desire in the real, necgnar world. This knowledge helps her learn the real power of his own desire and in accordance with this make a specific choice. Woke up by Tatiana is no longer the girl that lay down in bed with a mirror under the pillow. To once after Sleep Tatiana determines itself as a source of desire: "Perfection,<…> But the death of him is kind. " Tatiana was transformed. Speaking simply, Tatiana matured. From the lonely virgin youth, she joins adult life Female experiences, begins to think and act as a woman. The sensitivity was transformed into sensuality. It has not changed one property - determination. It is inherent in Tatiana always - to "sleep" and after.
Of course, it is impossible to talk about the literal "dedication" of the heroine in the "Women." The deep ("chtonic") knowledge encoded in the horrors of sleep suggests Tatiana's behavior outside the traditional wedding rite (walling and marriage). In accordance with the ancient traditions, she can be a temporary wife Onegin.
Tatyana Larina in marriage
- Death and "death"
The poet warned Tatiana and propheted her death even before the letter to Onegin:
"Tatiana, cute Tatiana!
With you now I am tears Lew:
You're in the hands of fashionable tyrant
I gave your fate.
Die, honey; But before
You are in dazzling hope
Bliss Dark Wow,
You know the eagle life ... "
Yes, "death", i.e., a reachable assignment to the impulse, is close. Tatyana herself talks about her twice: in the letter Onegin, to a wonderful dream: "My mind is exhausted and silently can die." And at the end of the name - after sleep: "Perfection, - Tanya says - but the death of him is kind." There is a difference between "my mind, I exhaust and silently die, I have to" and "perish<…> But the death of him is kind. " The first is the total place of romantic sensitivity, the trace of reading your favorite novels. The second - very boldly, fully consciously and nothing is inferior - according to its definiteness - the famous "But I will be given to another / I will be true to him."
Tatiana decided to give in withdrawal, without thinking about any consequences and, most importantly, realizing that happiness is impossible. Known Pushkinskoye
"There is an approval in battle
And the abyss of gloomy on the edge ...
Everything, all that death threatens
For the heart of the mortal tart
Inexplicit of pleasure -
Immortal, maybe pledge. "
The last line is bottomless deep: Rozanov wrote about it. Such an emphasis is also peculiar and Tatiana: "Perfection<…> But the death of him is kind. " More, too, too: "The secret of the charm found and in the horror of it ..."
Tatyanina determines to "die" expressed clearly and firmly. But it passes by the attention of readers for two reasons. First, traditionally Tatiana is perceived, first of all, as embodied "purity", as an image of high morality. Secondly, the "death" of Tatiana did not take place. It was prevented by a confluence of circumstances: the death of Lensky on the duel and departure of Onegin. The decision to "die" would have to demand from Tatiana an active action that would change its future, but the death of Lensky interrupts the course of events. This is what: Lensky, believing that Onegin is Olga's tempter, indignant:
"He is thinking:" Savior willbud her,
Will not fail to debooth
Fire and sigh and praise
Judge heart sang;
So that the worm is despicable, poisonous
Sharpened the lileules of the stalk;
To two-year-old flower
Faded another half-column. "
The indignation it sounds ridiculous and melodrammatically for the reader, because the reader knows - there is no real danger for Olga. But the accusatory tirades of Lensky invas the Pushkin Stroof, belonging to Tatiana: "You're in the hands of fashionable Tirana / I gave our fate" (etc.), in which the word "poison" also appears. Paradoxically, that Lensky saves the honor of Tatiana, which is under threat (what he does not know), trying to save the honor of Olga, which is out of danger. Lensky's real death prevents the "death" of Tatiana. The next time Tatyana will see Onegin only after marriage. ("She will not see him; she should hate his brother's brother's killer"). This happens in "Javi." And in a dream? Same:
"Onegin fonds quietly
Tatiana in the corner and gorges
Her on a shaky bench
And clone your head
To her shoulder ... "
Tatiana does not resist well. But ... enters Lensky, quarrels with Onegin and dies from his hand. This is the final moment of sleep, where Tatiana's willingness merge to the "death" and preventing the death of Lensky. "Death" of Tatiana did not take place, but the hope was killed on the possibility of love, Lensky died
In the dream, Tatiana was transformed, but the catastrophe occurred the heavy dummy on her fate. All further - under the sign of deep, unforgettable shocks. From here - forced and hasty decision to get married ("For the poor Tanya, everyone was equal to"). Hence the motives of secular suspicion in her last conversation with Onegin. "How with your heart and mind to be a feeling of a small slave?" One-minded feeling, "offensive passion", she calls the love of Onegin. To survive, she had to turn into an impregnable cold goddess. Or pretend to be it.
So, the sleep of Tatiana is a novel node of a novel, in which two definitions are mounted: the "distance" of the novel and, transforming, is determined by Tatiana's shower. It is a mirror design required Pushkin ("Magic Crystal").
And a deep myth about the laws of travel and the transformation of the female soul in the "other reality".
But in the whole structure of the novel with a dream of Tatiana connected and the other - bitterness of lost opportunities: "And happiness was so possible," but it is sad to think that it was in vain that wealthy was given to us "... the heroine was given to prophecy, but she did not solve him, forgot him. ... Her soul was transformed, but under pressure from external tragic circumstances deviated from his movement.
Ultimately, sleep - the eve of the main sense Evgenia Onegin, an ancient story about how two souls, comprehending each other, we strive, strive for the connection and never will be connected.
- Symbols in a dream Tatiana
Sensual image system is isomorphic structure of sleep value. The principle of organizing a sensual image system is a space-time continuum. Tatiana's dream - some symbolic reality, created on the basis of a series reference symbols: Snow, Forest, Creek, Bridge, Bear, Hut, Onegin. They are selected in such a way that they form the space and the plot of sleep: Tatiana, going through the bridge and meeting the bear, runs through the snow-covered forest and falls into Onegin's hut. Let us dwell on the interpretation of the reference characters.
One of the most important sleep symbols - winter And the words that can be combined into the thematic group with the total seed 'cold': "Snow", "Sugarb", "Loda", "Misel". According to the scene of the dream, Tatiana goes first on the "Snow Polyana", then in the "barbecue glued ice" goes around in the snowdrifles of the stream, "not mounted in winter", and falls into the snow-covered forest, where "no roads; The bushes are drunk by the blizzard all are listed, deep into the snow is immersed. " The first value of the symbol data is 'death'. If the summer, sunlight, warmth and fire are associated with joy and life, then winter with all its attributes - snow, ice, blizzard - with sadness and death. For example, in a folk riddle of land and snow: "Neither Hilela, neither sick, and Savan put on a house." Or about the snow: "I saw my mother, died again." So, in the description of the death of Lensky, the impending end of the hero is compared with the slide of the snow, which rolls from the top of the mountain: "So slowly on the mountains of the mountains, the sun is in the sun, the lump of snow falls ... the little singer found a missing end." The death of a friend does not leave Onegin and in a dream: "... on mob in snow, as if sleeping overnight, the real-life young people lies." As a model, this semantic attitude is a source of symbolization of plot peripetias and sleep details.
Being a custodized ice is to be a fastened death. In the plot of Sleep Tatiana goes the stream over the bridge: "Two barbells, glued ice, trembling, the perfect movements, laid through the flow ..." The impact of this symbol in the description of Lensky's grave, where two pines are really "fastened with death", that is, buried under them Lensky: "Two pines rooted rustled; Under them, the streams shook the streaming valley's strength "," and hear the key key is heard, "the stone is visible in the shade of two slices of outdated." In this regard, the "death" means "foresteering death."
Snow is not just a detail of sleep, it is principle of organization of spaceTherefore, to be in the snow-covered forest - it means to get into the kingdom of death, i.e. in the other world, the world of shower. This value is supported by another symbol - forest. The forest symbolized blissful paradise gardens, where they should marry after the death of the soul of righteous. Trees are the souls of the departed (remember 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 the darkness, and therefore with sleep, which was reflected, for example, in the expression of "sleeping eternal sleep" or the proverb "Sleep of Death Brother." It is not surprising that, asleep, Tatyana got immediately in the kingdom of the dead.
If the forest is the kingdom of a shower, the owner of the forest is the owner of the kingdom of shower. Since ancient times, the Bed was considered the owner of the forest, which was also called "Forester", and "Forest Chour", and Lesus, and "Forest Archimandrite". Bear is the owner of the forest, and therefore the conductor 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 to get into the afterlife, should first cross the ocean, river or stream. Communication of the stream with the idea of \u200b\u200bdeath is supported by the semantics of a packer predicting the death of Lensky. The death of the poet separated Tatiana and Onegin: "Even" one of us separated ... the unfortunate victim of Lensky fell ... "That's why" how the annoying separation of Tatiana robs on the stream ... "
If the first meaning of the symbols "winter", "snow", "snowdrift", "Blizzard" contributes to the interpretation of a dream of death, then the second value, on the contrary, is the topic of marriage. Snow - a symbol of fertility. It was believed that snow, like rain, gives land and man of fertility strength. Therefore, the white snow cover often in antiquity was compared with a white bride covering: "Mother cover! Circling the earth Snowball, I have a handkerchief with a broth ". Apparently, deep snow, the drifts, in which Tatiana dies, falls and where she overtakes and takes her a bear on his hands, foreshadows the future marriage.
The topic of marriage continues the following two characters - bridge through the stream I. bear. Go to the girl through the stream - it means to get married. About this ancient motive sleep Tatiana wrote A.A. Pottnya In the article "Crossing through the water as ideas about marriage." This article refers to the ancient pondor fortune telling on the groom: "They make bridges from twigs and put it under a pillow during sleep, makes it up:" Who is my narrowed, who is my dazzhah, he will translate me across the bridge. " The Bear, who, submitting a paw, transfers the heroine through the stream, chases her and, caught, brings her to Onegin's hut - the future groom Tatyana, that is, the general. The meaning of the 'bear-bridegroom' is due to the fact that in the consciousness of the people of the bearish skins symbolized wealth and fertility, and Pushkin He emphasizes that the bear was "Cosmata", "big disheveled".
If the bear is a bride-general, then the whole forest "in his frowning beauty" symbolizes a secular society (a tree is a symbol of a person). The meaning of the "forest as a secular society" appeared, apparently, on the basis of metaphorization semen 'cold': cold - it means a soulless, fake. The poetic tradition of the end of the XVIII - early XIX centuries is not rare the epithet "Cold" raised next to the word "light". In the novel, the author wrote about Lensky: "From the considerable debauchery of the world, it was still not having time, his soul was Sogret in greetings of a friend, baby maiden." The bear brings Tatiana to Onegin's hut with the words "here my kum". And indeed, in Moscow, at the reception, the general introduces Onegin, "nurse and friend of his", with Tatiana - his wife. Maybe, Pushkin He beats the portable disapproving meaning of the word "Kumshithicness": "Service patronage to his friends, relatives to the detriment of the cause."
Thus, all three symbols (snow, streams with a pavement, a bear) are meaningful and introduced into the interpretation of Sleep Tatiana at the same time two topics identifying the fate of Tatiana, - the death of Lensky and marriage with the general.
The main symbol of sleep Tatiana - hut Onegin. According to the plot of sleep, tattia, banned with the persecution of Tatiana, brings to "Shalash": "Suddenly, among the trees, Around all the wilderness; Twisuer he is a desert snow listed, and the window glows brightly ... "From context, we learn that" Shalasha "is a completely comfortable hut, with hay, table and shops, and that the owner of the house - Onegin - something celebrates in the company of terrible monsters, which Pushkincalls "Shayka Houses". Hut - "The poor house, hut, shack" Onegin. The word happened from the ancient Russian "Khija" (the house, housing, apparently, poor, or sickly). One of the meanings of the word "hija" - Slash. That is why in ancient Russian language and dialects (for example, Siberian), the words "Chalash" and "Huts" could call the same denotat. The house is the "Spirit of the Keeper and the offender of the house." Indeed, most of the selected Pushkin Animals for the image of demons have a definite attitude to the cult of the Russian house. So, for example, on the site of bookmarking the foundation of the new hut, you drove the head of the rooster (Wed: "Other with a pet's head") to back up the house. Cat and goat ("Witch with goat beard" and "half-blood") - animals that have wool - a symbol of wealth and fertility. That is why they are devoted to the spirit of the house. The goat's fur was fured out the hut if the house "was angry", and no housewarming did without a cat. Such is the meaning of the words "hut" and "house" in the context of the plot of sleep Tatyana. Turn to their symbolic value.
The first value is determined by the macrocontext of the work: the hut is the house of Tatiana himself, and the houses are the guests in its named. The names of some demons "guests" of Onegin have a direct connection with the guests of Tatiana in the names. So, someone with the "cock head" is associated with the "county Frantik Petushkov". Or, for example, in "Carla with a tail" it is easy to know Harlikov ("Karla" encrypted in the name Guest, by rearranging letters). "Skull on a goose neck" in the red cap resembles Monsieur Trick, spent the night in a player and the old cap. Onegin himself Pushkin First calls the "guest" and only then the "owner". Similarly, the description of the Pera demons in Onegin and guests in Tatiana's hut. In a dream, Tatyana: "Lai, laughter, sinier, whistling and clashes, human pussy and horse top!"; In the names: "In the living room, a meeting of new faces, Lay Mosek, Chmokhan Devitz, noise, laughter, crown at the threshold ..." The second meaning of the "House" and "house" symbols is most important for disclosing sleep value: "Hut" - Onegin, "Houses" "- Realities of his inner world. The house as a shell for the focus (fire in the hearth - soul) was associated with the human body as a shell of the soul. So, for example, in a children's riddle about the house: "It is worthwhile, frowned by the eyebrows." In the riddle about the window in the house: "There is a fekla, eyes of wets."
In modern Russian, the relation "House-man 'ratio is reflected, for example, in the expression" not all at home. "
The symbol "House - Man, his soul" was based on the central image of the poem Lermontov "My house": "Before the stars, he does the roof reach, and from one wall to another distant path that measures the tenant not with a look, but soul." In the description of the body of the shot down Lensky: "Now, as in the house, empty, everything is in it and quiet, and dark; Walked forever it. Closed shutters, chalk windows are clad. No mistress. And where is the god of the news. Disappeared and mark. " Here the "house" is a body without a "mistress", that is, the souls. Thus, Tatiana, hitting the kingdom of the shower, finds the most important for her - the soul of Onegin. After all, it was the mystery of the character of this man who made her guess to the shock.
The semantic attitude "House - Man" is a source of symbolization of not only numerous details of the house, but also actions of the heroes, their position in space. Hut Onegin - Encrypted in Symbols System psychological portrait of the chief hero. Here are the details of this unusual portrait.
- Management "House" is the authority of Onegin. If "houses", - the realities of the inner world of Onegin, then the entire episode of the demonami management symbolizes the authority of the complex nature of the hero: "He will give a sign - and everyone is cotton down; He drinks - everyone drinks and scream all; He laughs - all laughs; Frowns of eyebrows - all silent. " The same thought and in the epighera to "Eugene Onegin": "Penetrated by vanity, he possessed more than one more special pride, which excites it with the same indifference in his kind and bad deeds - the consequence of the feeling of superiority, perhaps, imaginary . The appeal of Onegin with demons can be compared with the description of the power king from ODD "Wolnia" A.N. Radishchev: "I can give the authorities; Where I laugh, everything laughs there; I'm frowned, everything will be afraid; We live then, I drove to live. "
- Look at the door from the inside of the house - to avoid yourself. ("Onegin sits at the table and looks at the door to the door." Perhaps we are talking about the Handre of Onegin, who forced him, "Tombing the soulless emptiness," cool to life and hate himself. So, in front of a duel: "In the analysis of strict, at a secret court, having called himself, he accused himself in many ways."
- Look at the door slot of the hut outside - trying to understand the inner world of Onegin. According to the plot, Tatiana first "looks quietly in the cloth", then "the door dissolves slightly" and finally penetrates the house. So symbolically describes the gradual understanding of the Tatiana character of Onegin. It is for this purpose that after the death of Lensky and the departure of Onegin Tatiana will go to Evgenia's estate.
- Pendant to the house - become the subject of thoughts and feelings. The appearance of Tatiana in the hut symbolizes the future love for Eugene. Interestingly, in his dream already loved Onegin (VIII chapter) sees the same plot: "A rural house - and she is sitting at the window ... and that's it!" The appearance in Lensky's hut, Olga and the entire episode of the murder, apparently, symbolizes the grievous experience of Onegin his guilt, the flour of conscience: "He left his village,<…> where the bloody shadow was every day. " The image of the dead Lensky will pursue Onegin in the above-mentioned dream: "It sees it: on the mob of snow, as if sleeping overnight, the realm of the young man lies, and hears the voice:" What? Killed. ""
- The disappearance of "houses" is the disposal of previous vices. "Shaka houses" first "embarrassed", that is, alarmed, and then disappeared at all after Tatyana penetrated the hut. Obviously, love for Tatiana changed the inside world of the hero, having relived him from the "demons."
- Destruction of the house - the illness of Onegin. In the finals of sleep, the hut was joined. " In the VIII chapter, the finished Onegin really will get sick: "Palena Onegin begins ... Onegin dries - and it's hardly a cachot." However, it can be assumed that the staggering hut symbolizes not so much a disease as a physiological phenomenon as a huge sincere tragedy, which Onegin is experiencing in the final of the novel, realizing the hopelessness of his love for Tatiana. Interestingly, on the episode of the destroyed hut, the dream breaks as unexpectedly, as the episode of the explanations of Tatiana and Onegin turns around the whole novel.
Evgeny Onegin and Tatyana Larina
In the symbolism at home can be traced theme of death Lensky. The extinct "lamp" is death: "Suddenly the wind reanges, the fastest fire lamps the night." This is another modification fire as a symbol of the soul. On its basis, the emblem of the redeemed torch was created - the motive, traditional for poetry of the XVIII century.
The mill dancer is a place of death of Lensky. Indeed, Duel Onegin and Lensky took place behind the mill. In addition, the people's ethical tradition compared the work of Herrowov with the battle: in the "Word about the regiment of Igor" "On Nemigi ... Roll to the tapes with boulie, the life is put on the current, the soul is soul."
So, sleep Tatiana can be broken into two parts: 1) Events in the forest before the appearance of Onegin hut, 2) events in the hut. In the first part, the support symbols have two meanings associated with themes of death and marriage; Each of them develops its storyline. symbolic meaning Dreams. The first meaning of the symbols contributes to the interpretation of a dream of death. This is not only the prediction of the death of Lensky and sadness from separation with Onegin, but also the penetration of Tatiana to the kingdom of shower, where her conductor-bear brings to the most important soul - Onegin. The second value makes the topic of marriage: Tatyana will marry the general and will live in a secular society, but the marriage for her will be misfortune. The first part of the dream tells exclusively about the fate of Tatiana. The second part of sleep is the events in the hut - are devoted to Onegin, his inner world, future fate. The semantic ratio "House-Man" is a source of symbolization of numerous details of the house, as well as actions of the heroes - Onegin, Tatiana, Demons, and others. As a result, the reader learns a lot about the nature of the main character: Positolov and Gord, while avoiding himself and hates. In addition, some details of its future are opening: love for Tatiana and deliverance from the "demons", the flour of conscience and illness, physical and moral. The theme of the death of Lensky is characteristic of the second half of the sleep: the reader learns about the place of a duel.
Pushkin Nowhere does not "surveated" against psychological reliability, describing the evolution of the character of Tatiana Larina.
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Sleep Hero, introduced into the narration, is a favorite compositional reception A. S. Pushkin. Significant, "prophetic" dream sees Grinev in the "Captain daughter". A dream, anticipating future events, visits Tatyana Larina in the novel "Eugene Onegin".
Snow loose knee to her;
Then a long bitty her neck
It suddenly hooked, then from the ears
Choised earrings will cut by force;
Then in fragile snow with legs cute
Cut the wet shoe ...
In the impossibility, Tatiana falls into the snow, the bear "grasp it and carries it" into the hut, full of demonic monsters:
One in the horns with a dog muzzle,
Another with a pet's head
Here is a witch with goat beard,
Here the core and proud
There Karl with the tail, but
Polunuvra and half-blooded.
Suddenly Tatyana will find out among them Onegin, who is here "the owner." The heroine is watching all what is happening from Seine, because of the doors, without daring to enter the room. Curious, she takes a little the door a little, and the wind blows the "fire of night lamps". Trying to understand what was the matter, Onegin is relying the door, and Tatiana appears to "the eyes of hellish ghosts." Then she stays with Onegin alone, but privacy is unexpectedly violating Olga and Lensky. Onegin in anger:
And wildly he wanders her eyes,
And the uninvited guests is brazy;
Tatyana is a little alive lies.
Spore louder, louder; Suddenly Evgeny
Grabs a long knife, and in
Lensky is blocked ...
Sleep this is very meaningful. It is worth noting that he causes us various literary associations. His plot himself is a trip to the forest, secret peeping in a small hut, the murder - reminds us by the Pushkin fairy tale "The Groom", in which the heroine gives the events with her. With a fairy tale, separate scenes of Sleep Tatiana are echoing. In the fairy tale "the groom" heroine hears in the forest hut "Creek, laughter, songs, noise and ringing", sees the "enchanted hangover". Tatiana also hears "Lai, laughter, singing, whistle and clasp, human prayer and horse top." However, the similarity here, perhaps, is exhausted.
Tatiana's dream reminds us and another "magic" dream - Sad Sofia in Comedy Griboedov "Woe from Wit":
Here with thunder opened the doors
Some not people and no beasts
We are apart - and tormented by sitting with me.
He seems to me more than all treasures,
I want to him - you drag with you:
We are accustomed to moan, roar, laughter, whistling monsters!
However, Sophia in Griboedov comes up with this dream, he was not in fact.
It is worth noting that the plots of both dreams - the present and fictional - send us to the ballad of Zhukovsky "Svetlana". Like Svetlana, Tatiana goes on the shield. It brings the mirror for a month, asks the name of the counter-passer. Sleeping to sleep, the heroine takes off the charm, "Silk's belt", going to guess "for sleep". It is characteristic that Zhukovsky in his ballad does not discuss the fact that everything is happening with Svetlana, a terrible dream. We will learn about this at the end of the work when a happy awakening comes. Pushkin speaks openly: "And the wonderful dream of Tatyana dreams." In the romantic ballad of Zhukovsky, there are all the "attributes of the genre": "Black coffin", "Black Van", "Dark Dal", dim light of the moon, blizzard and blizzard, dead-groom. Svetlana is confused and upset with a dream, he thinks that he broadcasts her "bitter fate", but in reality everything ends well - her groom, it is intimate and unharmed, appears at her gate. The poet's tone in the final becomes cheerful and life-affirming:
The best friend to us in this life
Vera in Provideny.
The benefits of the law:
There is a misfortune - a false sleep;
Happiness - awakening.
Non-different intonations are heard in Pushkin verses:
But the dream sinister will succe
Sad many adventures.
Tatiana's dream is "prophet." He foreshadows her future marriage (seeing a bear in a dream, according to popular beliefs, foreshadows marriage or marriage). In addition, the Bear in a dream of a heroine is Kum Onegin, and her husband, general, really falls on a distant relative.
In the dream of Tatiana, putting on the "trembling perfect mobble", goes through the raging, "ball, dark and gray", "non-mounted winter" stream is also in symbolic form opens its future. Heroine is waiting for the translation into a new life condition, in new quality. Noisy, the flower wave flow, "not scored in winter" symbolizes in this dream the youth of the heroine, her virgin dreams and fun, love for Onegin. Youth is the best time in human life, it is really free and careless, similar to a strong, rapid flow, over which the limitations, framework and rules of mature, "winter" age are not dominated. This dream seems to show how the heroine passes through one of the periods of his life.
This dream precedes the future named after Larina's house. D. D. Bonosti believed that the "drinking" pictures from the sleep of the heroine echoes the description of the name of Tatiana.
It is characteristic that Onegin appears in this dream as the "host" of demonic monsters singing in the hut. In this bizarre, the "demonism" of the hero erected "demonism", erected into a nth degree.
In addition, Onegin, the reactions of which are completely unpredictable, while still for Tatiana riddle, it is surrounded by a certain romantic halo. And in this sense, he is not only a "monster", he is "miracle." Therefore, therefore, the hero in this dream is surrounded by bizarre creatures.
It is known that the dream is a hidden desire of a person. And in this regard, Tatiana's dream is significant. She sees in Onegin his Savior, delighting from the vulgarity and serness of the surrounding hostile world. In the dream, Tatyana remains with the hero alone:
My! - said Evgeny Grozno,
And the shaky all fell suddenly;
Remained in the darkness of frosty
It is worth noting that the dream of a heroine in the novel - it does not just finish future events. This episode shifts in the novel plot accents: from the relationship of Onegin and Tatiana, the reader's attention switches to the relationship of Onegin and Lensky. Tatiana's dream opens to us her inner world, the essence of her nature.
The Mirosozenny Tatyana Poetics, fulfilled the People's Spirit, it possesses a bright, "rebellious" imagination, its memory keeps the customs and legends of the antiquity. She believes in signs, likes to listen to the stories of Nanny, in the novel, they are accompanied by folklore motifs. Therefore, it is quite natural that in a dream heroine sees images of Russian folk fairy tales: big Medveda, forest, hut, monsters.
N. L. Brodsky notes that the source of sleep Tatiana could serve "Russian fairy tales" Chulkov, who were known to Pushkin. However, in the imagination of Tatiana, along with the Russian folklore, both European literary traditions were firmly included, among which are Gothic novels, the British Muses of Nonbylitsy, with their fantastic paintings:
Here is a skull on goose neck
Spinning in the red cap
Here is the mill of wheezing
And the wings are cracking and waving.
Tatiana's dream in the novel has its own composition. Here we can highlight two parts. The first part is the stay of Tatiana in the Winter Forest, her harassment of the bear. The second part begins where the bear overtakes it, this is a visit to the heroine of the hut. Each of the structure of this passage (and the whole novel) was built according to a single principle: "The topic - development - climax - and a aphoristic ending."
In this episode, Pushkin uses emotional epithets ("Wonderful Sleep", "Sad Mall", "trembling, perfect movement", "on the annoying separation", "fearless steps", "in the frowning gle", "Unbearable Creek"); comparisons ("how on the annoying separation, Tatiana pushes on the stream", "behind the door of a cry and a ringing of a glass, like at a big funeral"), periprase ("from the Breeding Lacey"), inversion ("and beforewaying the inappropriate, perplexed, stopped She "), Ellipsis (" Tatiana to the forest; bear for her "), anaphor and parallelism (" He will give a sign: And everyone is cotton down; he drinks: everyone drinks and shout everything; he laughs: everything is laughing "), direct speech.
The vocabulary of this passage is diverse here there are elements of conversational household style ("Cryahty", "Morda"), "high", book style ("Virgo", "Lighting Night", "Meeting", "Oki"), Slavicia (" mlada ").
We find in this episode of alliteration ("hoofs, tricks curves, tails, crooks," "Here the skull on a goose neck is spinning in the red cap") and associates ("Lai, laughter, sinier, whistle and clasp, human pussy and horse top ").
Thus, Tatiana's dream acts as a means of its characteristic, as a composite insert, as "prophecy", as a reflection of the hidden desires of the heroine and streams of its mental life, as a reflection of her views on the world.
Alexey Maksimovich Gorky wrote: "A.S. Pushkin, I surprised me with the elegant simplicity and music of the verse, that a long time the prose seemed to me unnatural, even reading it was somehow awkward and uninteresting."
And Valentin Semenovich Nepomnychy noted: "For Russian literature, Pushkin Roman in verses" Evgeny Onegin "is about the same as the psalter for worship."
The word is provided with a group under the leadership of Revenko Ksenia. Subject: "Language, verse and its storika in the novel" Eugene Onegin "."
Language "Onegin" Uses all the wealth and diversity of the language, all the elements of Russian speech and therefore is able to embrace various spheres of being, expressing all the variety of reality. Accurately, clearly and simple, without unnecessary poetic decorations - unnecessary "add-ons", "sluggish metaphor", - denoting items of the "real" world, expressing the thoughts and senses of man and at the same time infinitely poetic in this simplicity, the syllable "Onegin" is Wonderful instrument of realistic art words. In the establishment of the norm of the national literary language - one of the most important tasks made by the creative genius of Pushkin - the novel in verses belongs to an extremely important place.
The language of the novel represents the synthesis of the most significant and vital speech funds of the Pushkin era. As M. Bakhtin noted, Russian life speaks here with all its voices, all the languages \u200b\u200band styles of the era. This is the brightest example of the innovation in the field of the Russian literary language, with whom Pushkin performed in the first third of the XIX century. He turned out to be able to reflect the most diverse spheres of reality, captured various layers of Russian speech.
Speaking about the Language innovation of Pushkin, the researchers rightly pay attention to the conversational, folk element in his language. Noting the appeal of the poet to "People's speech sources, to a living famous Spring."
Within the bookst language, Pushkin developed in detail the epistolary style by creating an unforgettable letters of Tatiana and Onegin, elements of the pubocrist style (they manifest themselves in the controversy, in literary disputes with Shishkov, Cathenin, Kyhelbecker, Vyazemsky) and artistic and poetic style. In the latter, the archaisms, warbarisms and especially gallicism are occupied in the latter. Widely using the necessary poets in the text ("Love Mustile Phial", "break the vessel of the slander", the conditional names of the Heroine type Elvina), eufemism ("Do I Pad, pierced" instead of "periphess"), periprase ("His chassis first moan" , "Honorary Citizen Kulis"), the author of the novel seeks, however, destroy the boundaries between verses and prose. This explains the growing trend towards the noble simplicity from the head to the chapter, the introduction into the text of prosecuties, the appeal to the "low" nature, equal to the "sublime". With the "Eugene Onegin" and the new tendency of the use of the surprise begins.
Live spoken speech of people of the educated society sounds in the novel constantly. Examples here are the dialogues of Onegin and Lensky:
"... Say: who is Tatyana?"
- Yes, which is sad and silent ... "
The folk spacious appears in the novel when people from the people come to the scene. Let us remember the nanny Philipsess:
"... I happened
Stored in memory not enough
Ancient Wasy, Nevbyitsy ...
Such is the speech and an ace key
God gave his soul to his salvation,
And its bones
In the grave, in the mother-earth raw!
In the examples of the speech of the acting persons, there is no artificial, fictional. Pushkin avoided the false fictional "simplicity" and "simpleness" of speech, and took her from life, while taking out only those words and expressions that fully corresponded to the spirit and the rank of a nationwide language. We will not meet in the novel nor regional dialectisms, nor vulgarism, littering, spoiling language. The spaciousness in the novel is found not only in the speeches of Nanny and Anice, but it is a noticeable element of the language itself. In episodes from rustic life, in the descriptions of the native nature, labor and life of the peasants, we find the simplest words previously considered unsuitable for poetry. These are the horse, bug, woodcut, hhel, shepherd, etc. The criticism of the reaction camp protested sharply against the democratization of the literary language, so distinguished in Pushkin's novel. The elements of the language of oral folk art are adjacent to the folk spaciousness in the novel.
Especially relief, the spoken language is presented in the statements of Tatyana ("Even as I was afraid!"; But now everything is dark. " I am a boob "), which significantly enrich the author's characteristics of the provincial nobility.
Sometimes the poet resorts to the generous listing of objects and phenomena to convey the diversity of impressions and movement rapidness ("flashed past the booths, women ..."). The casualties of the word does not exclude its poloremia. Some words at the poet are echoing ("O RUS" - the Horace "Village" and "About Russia!" - Pushkin exclamation in honor of the Motherland), others hint at something ("But the north for me"); Third, in the words of V. Vinogradov, "wink" and "kit in the direction of modern life" ("Now Balalaika Mila", "Drunk Topot Trepak"). Book and neutral styles The poet organically connects in the novel with conversational. In the last, we meet the characteristic live speech of the people of the educated society, and the people's conversational language, which fastened in the novel by a noticeable jet ("Little crazy", "you will not show the nose"). Often, the author's speech absorbs such a phraseology ("he walked like a blade", "Tatiana will sigh, then foul"). Especially relief, the spoken folk language is presented in the statements of Nanny Tatyana ("I've been afraid that I was afraid!"; "And now it's all dark"). To spoken speech in the novel, they are adjacent on the verge of literary use of the spaciousness ("Lai Mosek, Chmokhan Devitz", "she came by a thin series! He was bombed ...", "Neighborhood snobs in front of a neighbor", "Sorry heavy
Void ") and even a fetter vocabulary (" knew a fool "," What I am Bollan "), which significantly enrich the author's characteristics of the provincial nobility.
The novel language happily combines the end of the word with its exceptional artistic expressiveness. Pushkin's epithet is capable of replacing a whole description. Such are "dazzy vaults", "royal Neva", "Remierble princess". Epitts are simple ("the bride of overpired years") and complex ("winter each other, cracks ...") Help the characteristics, the condition of the heroes, the situation in which they live and act ("Mourning Taurnythaft"), landscape ("The edges of the pearls "), Household details. Only alone Lorrow in "Onegin" is marked by an exceptional diversity of epithets (he is "disappointed", "inattentive", "unanswered", "jealous", "playful"). Remarkable favorite assessment epithets of the poet: cute, suspended, sweet, light. As much as diverse and metaphors - nominal and verbal, formed from the adjectives ("poet of a fermented conversation") and the leading ("boiling by hostility"), traditional ("salt of anger") and individually copyrighted ("Muza Radish"). Metaphors built on the principle of personification ("North ... pulled, overwhelmed"), excuses ("Pravdsuzzi Ball"), distraction ("Mazurki Thunder"), zoologization ("Himself in the horse transforming"), Personifications ("Those her friend"). The striking variety of Pushkin comparisons, laconic ("clocks hought") and unfolded (liketing the beat of the heart of Tatyana Tatyana Moth), single ("pale as shadow") and transferred to the chain (Lensky's poetry is likened to the thoughts of the Virgin, sleeping baby, moon). Frequently units in the novel metonimical turnover, when the name of the author replaces the name of his writings ("read willingly apoolen") or the country ("under Schiller and Goethe"). In Evgenia Onegin, all means of poetic syntax, enriching the image formation, are widely represented. Then this is the injection of homogeneous members ("about the Senokos, about the fault, about the psarn ..."), then ironically filed separate members and introductory structures (conversation, "of course, did not shine nor poetic fire"), then exclamation with incomplete Proposals ("Suddenly Topot! ... here is closer") or accompanying the characteristic of the hero ("how it is ulceratively gossil!"). Then this is an expressive period (1 chapter, xx stanza), then a juicy meaningful dialogue (the exchange of replicas between Onegin and Lensky in the III chapter), then questioning offers of different types. Among the stylistic figures in the novel, inversions are distinguished ("Moon with Silver Light"), frequent anphors ("Then they had a dream; / then he saw it clearly ..."; "Always modest, always obedient, / always as the morning of cheerful. .. "), expressively transmitting tedious monotony and repeatability of signs; Antithesis ("Wave and Stone, Poems and Prose ..."), defaults ("I drank your coffee ... and dressed ..."), gradations ("Malnice is similar, shiny, windy, alive, / and wayward , and empty "). For the language of the novel, a person is particularly noteworthy, which makes many pins of the poet of camp ("Love all ages are submissive"; "There is inexperienced by the misfortune"; "We are just looking at Napoleon"). Already expressive and sounding language in the novel. It is worth remembering, for example, a description of the Mazurka in the name of Tatiana.
It should be noted that the use of sentimentally romantic speech style - to create a Lensky's image and in polemical purposes (Lensky's elegance, etc.). In the end of the head of the seventh, we meet and parody used by the vocabulary of the speech style of classicism ("I sing a friend of junior ..."). The use of mythological names and terms coming from classicism in sentimentally romantic poetry (Zeus, Eaol, Terraticor, Diana, etc.) is the result of the influence of the poetic tradition; As the novel moves such cases, it becomes less and less, the last chapters are almost free from them.
Modern household foreign words and expressions are introduced in cases where in Russian there is no appropriate word to designate the relevant subject, the concepts (I ch., XXVI is the reasoning about the names of the men's toilet objects: "There are no these words in Russian). In the head of the eighth, the word "Vulgar" was introduced to designate the unpleasant damn item, the absence of which so pleases Pushkin in Tatiana.
All wealth of various vocabulary and phraseology, various syntactic means Pushkin enjoys in the novel with great skill. Depending on the nature of the episode, from the author's relationship to the person, which he writes about, the stylistic coloring of the language changes. Language, like a thin and sharp tool in the hands of a brilliant artist, transmits all the shades of feelings and sentiment, ease and jerseen or, on the contrary, the depth and seriousness of thought. In combination with the character of a verse, changing his rhythmic pattern, the language of the novel represents an extraordinary diversity of intonation: a quiet story, a jokes, irony, sarcasm, lunizing, delight, pity, sadness - the whole range of sentiment is held in the chapters of the novel. Pushkin "infects" the reader with his mood, with his attitude to the heroes of the novel, to his episodes.
So, the merits of Pushkin in the development of the Russian literary language is difficult to overestimate. Its main achievements can be expressed by three points. First, the national language became the basis of the literary Russian language. Secondly, the spoken language and books were not separated from each other and represented one whole. Thirdly, Pushkin Literary language has absorbed all early styles of language
The task, solved by Pushkin, was grand. The literary language, "established" Pushkin, and became the "great, powerful, truthful and free" Russian language, on which we are talking to this day.
This is the place and meaning of Pushkin in the development of the Russian literary language.
OO Review can not be completed without exposure to his poems, stylistics and strokes. For the lexic side of the novel, the stylistic polyphony is characteristic, that is, the harmonizing combination of words with various speech color.
Unique in Pushkin's work verse. A four-color Yamba characteristic of the poet is enriched pyrrheias (passes of strokes and a screaming of two unstressed syllables) and sponders (Additional stresses on weak syllables of the yambic stop). This feature attaches to the verse of Pushkin's partition, which the poet is achieved. The diversity of the sounding of the string introduces the tropoptic chores of the song of girls, as well as non-discontinued phrases on new lines and even stanzas ("... And Tatiana / and there are no case (their sex is)". The poems of the novel are often contrasting on sound even within one stanza: lyrical intonation is replaced by mocking, and with fun, the rows is adjacent to the sad ending. So in the XXVII stanza of the last chapter talking about capturing Onegin a love fatman, but this group ends with a link to Eve and Snake: "Forbidden the fruit of you to give, / without you paradise not paradise." Changes, so straightening behavior, manners, the appearance of Tatiana, are reflected in the new sound of the poems dedicated to her. The timidity of the young girl is felt in the insecurity of her words, in the non-infractions of the poems of her letters: "For a long time ... No, it was not a dream! Cumming! Scary to count ... " Maturity of thought, renewability of belief, the will of a married woman affects verses of completed, words of accurate, decisive and certain: "Your lesson listened to me? / Today is mine. " The clarity of the poeming rhythm is perfectly combined with the flexibility of lines, the abilities of poems: "... he drinks one / glass red wine."
EO style and his verbal severity are completely dependent on verse. In the structure of the novel, an important role is played fragments of prose, and some critics, starting with VG Belinsky, were in EO prosaic content dissolved in verses. However, most likely, the prose in the EO, equally, as "prosaic content", only emphasizes the versassal nature of the novel, which is repelled from the element alien to him. The EO is written by the classic size of the "Golden Age" of Russian poetry, a four-stranded yamb. Its direct consideration here is inappropriate, but the brilliant result of its use in EO is easy to see inside the stanza, specially invented by Pushkin for his novel.
Original and storgery of the work. Poems here are combined into groups of 14 lines (118 syllables) who have received a general name. "Onegin Stanza".
EO is the top of the stubbic creativity of Pushkin. Stanfa EO is one of the most "big" in Russian poetry. At the same time, it is simple and that is why he is genius. Pushkin joined together three quatrains with all the options for steam rhymes: cross, adjacent and encircling. The then rules did not allow the collisions of the rhymes of the same type on the transition from one stanza to the other, and Pushkin added to 12 verses 2 more with an adjacent male rhyme. It turned out the formula Abababvgggygzhzh. Here is one of the stanza:
(1) monotone and mad,
(2) as a vikhore of life young,
(3) Waltz Vihore is spinning;
(4) Chet flashes for a clear.
(5) by a minute of the gate approaching,
(6) Onegin, secretly smiling,
(7) Suitable to Olga. Quickly with Ne.
(8) is spinning near the guests,
(9) Then the chair puts it on the chair,
(10) Talk about this;
(11) minutes later two
(12) He continues with her Wals again;
(13) All in amazement. Lensky Sam
(14) Does not believe in your own eyes.
Magnifying two, st. 13, 14, compositely designed all the storm, giving it intonational-rhythmic and meaningful stability due to roll call from Art. 7, 8. This double support supported by Art. 10, 11, binds the architectonics of the stanza and the drawing of the rhymes in which at Art. 1-6 accounts for 4 female rhymes (2/3), while the remaining eight poems (7-14) contain only 2 female rhymes (1/4 of 8).
The exceptions are not subordinated to this construction entry, letters of Tatiana and Onegin and the song of girls. They consist of free stuff (or have an astrophic organization). The "Onegin Stroof" is significantly different from the Italian Octava, which was written by Don Juan Bairon, being much more her in terms of volume and built on other principles. It rushes consistently replaced rhymes: the abnormal (Abab - the letter is indicated by a qualitatively defined rhyme), adjacent (VVGG), slimming (decorated) and final steam room in two-bed (LJ). Easyness, the style of verses is connected in these stanches with the already marked partition, and the exceptional clarity of the construction is with an amazing containing capacity. Each such group of strings is a rhythmic unit of text, and semantic unity. As notes B.V. Tomashevsky, this stanza often begins the thesis (first quatrain), continues by the development of the topic (the second and third katsins) and is completed with the maximum. The latter often happens to Pushkin like a saying. The poet masterfully uses men's and female rhymes in these verses (they alternate), composite and simple (capitals - facials), traditional (again - love) and extremely original (good - et Catera) consonance. Pushkin builds his rhymes on nouns (tone - bow), adverbs (quieter - above), verbs (sorry - translate), on changing the parts of speech (summed up - general), names of nominal and own (acacia - Horace). All this in the aggregate provides flexibility, mobility, soundness, dynamics and turnover of "Oneginsky" stuff and thoughtful subordination to their artistic plan of the poet.
Turning to different epochs Roman "Eugene Onegin" was understood in different ways: V. G. Belinsky wrote in his article: "Onegin - in high degree Brilliant and national-Russian work ... Pochkina's poems put a strong foundation of new Russian poetry, new Russian literature ... "
He also said: "Onegin" is the most sincere work of Pushkin ... Here is the whole life, the whole soul, all the love of him; Here is his feelings, concepts, ideals.
Pavel Alexandrovich Katrenin wrote: "... In addition to the charmed poems, I found you here yourself, your conversation, your cheerfulness.
But if we ask yourself a question: what is this work, why is it still worried about the heart of the reader and the listener? What is the question of which human problem builds its content, gives the novel by his eternal life? What makes it sometimes shudder and feel: this is true, it's about me, about us all? After all, the novel is more than one and a half century ago, not about us, but about completely other people!
Today, we get up to the problem: was A.S. Pushkin is a genius whose genius cannot destroy time?
And so, the question for the audience: Are A. S. Pushkin and his novel today?
And what problems raised in the novel are relevant today? (Sense of debt, responsibility, mercy, love).
"What is Pushkin for us? Great Writer? No, more: One of the greatest phenomena of the Russian Spirit. And even more: an immutable certificate of Russia, if he is, is she. And no matter how much they assure that it is no longer there, because Russia is erased from the face of the earth, we just have to remember Pushkin to make sure that Russia was, there will be. "
D. Merezhkovsky
The works of Pushkin are discussed so far. And this pattern does not exhaust criticism XIX.century. The heir to infinite research and questions on the novel became XXIcentury.
