Pushkin "Eugene Onegin"). Tatyana Larina is a wonderful image of a Russian woman (based on the novel by A.S.

V. G. Belinsky called “Eugene Onegin” “an encyclopedia of Russian life,” since this work reflected the whole of Russia of that era.
The poet's focus is on the life, everyday life, morals, and actions of a young man, Eugene Onegin. He is the first literary hero to open a gallery of so-called “extra people.” He is educated, smart, noble, honest, but social life in St. Petersburg killed all his feelings, aspirations, and desires. He “matured before his time” and became a young old man. He is not interested in living. In this image, Pushkin showed the disease of the century - “the blues”. Onegin is truly seriously ill with the social disease of his time. Even a sincere feeling, love, is not capable of resurrecting his soul.
The image of Tatyana Larina is contrasted with the image of Onegin. For the first time in Russian literature, a female character is contrasted with a male one; Moreover, the female character turns out to be stronger and more sublime than the male one. Pushkin paints the image of Tatyana with great warmth, embodying in her the best features of a Russian woman. The author in his novel wanted to show an ordinary Russian
girl. He emphasizes the absence of extraordinary, out-of-the-ordinary features in Tatyana. But at the same time, the heroine is surprisingly poetic and attractive. It is no coincidence that Pushkin gives her the common name Tatyana. By this he emphasizes the simplicity of the girl, her closeness to the people.
Tatyana is brought up on an estate in the Larin family, faithful to the “habits of dear old times.” The girl's character is formed under the influence of her nanny, whose prototype was the wonderful Arina Rodionovna. Tatyana grew up as a lonely, unkind girl. She did not like to play with her friends, she was immersed in her feelings and experiences. Early on I tried to understand the world around me, but I couldn’t find answers to my questions from my elders. And then she turned to the books that she believed completely:
She liked novels early on;
They replaced everything for her;
She fell in love with deceptions
And Richardson and Russo.
The life around her brought little joy to her demanding soul. In books, Tatyana saw interesting people whom she dreamed of meeting in her life. Communicating with the courtyard girls and listening to the stories of the nanny, Tatyana becomes acquainted with folk poetry and becomes imbued with love for it. Closeness to the people, to nature develops the best moral qualities in a girl: spiritual openness, sincerity, artlessness. Tatyana is smart, original, original. She is naturally gifted:
With a rebellious imagination,
Alive in mind and will,
And wayward head,
And with a fiery and tender heart.
With her intelligence and unique nature, she stands out among the landowners and secular society. She understands the vulgarity, idleness, and emptiness of life in village society and dreams of a person who would bring high content into her life and would be like the heroes of her favorite novels. This is how Onegin seemed to her - a secular young man who came from St. Petersburg, intelligent and noble. Tatyana, with all sincerity and simplicity, falls in love with him: “...Everything is full of him; everything to the sweet maiden repeats about him incessantly with magical power.” She decides to write a letter of recognition to her chosen one. Evgeniy’s sharp refusal comes as a complete surprise to the girl. Tatyana ceases to understand Onegin and his actions. She is in a hopeless situation: she cannot stop loving Onegin and at the same time she is convinced that he is not worthy of her love. Onegin did not understand the full strength of her feelings, did not unravel her nature, since he valued “freedom and peace” above all else, and was an egoist and selfish man.
Love brings Tatyana nothing but suffering, but her moral rules are firm and constant. In St. Petersburg she gains universal respect in high society. During this time she changes a lot. “An indifferent princess, an unapproachable goddess of the luxurious, royal Neva,” Pushkin paints her in the last chapter. But she's still lovely. Obviously, this charm was not in her external beauty, but in her spiritual nobility, simplicity, intelligence, and richness of spiritual content. But she's still lonely. And here Tatyana does not find what her exalted soul was striving for. She expresses her attitude towards social life in words addressed to Onegin, who returned to the capital after wandering around Russia:
...Now I'm glad to give,
All this rags of a masquerade,
All this shine, and noise, and fumes
For a shelf of books, for a wild garden,
For our poor home...
In the scene of Tatyana's last meeting with Onegin, her spiritual qualities are revealed even more deeply: moral impeccability, determination, truthfulness. She rejects Onegin's love, remembering that the basis of his feelings for her is selfishness, egoism.
Tatiana's main character traits are a highly developed sense of duty, which takes precedence over other feelings, and spiritual nobility. This is what makes her spiritual appearance so attractive. Tatyana Larina opens a gallery of images of Russian women, morally impeccable, seeking and beautiful.

Novel in verse by A.S. Pushkin's "Eugene Onegin" is considered the first realistic novel in Russian literature. The work objectively recreated an entire historical era. The author addresses current issues of Russian life, illuminates the life, customs, morals, traditions and spiritual interests of Russia - that is why Belinsky called “Eugene Onegin” “an encyclopedia of Russian life.”

At the same time, the work describes not only the realities of the first quarter of the 19th century, but also created vivid portraits of representatives of this time.

Female characters in the novel are presented through the images of Tatyana and Olga Larina, their mother Praskovya, and nanny Tatyana Filippovna. And if the characters of Olga and Praskovya Larin, Filippovna are quite typical, then the main character of the work differs from her peers and is for Pushkin the ideal of a Russian woman (“Tatyana’s sweet ideal”). It is also important to note that the author creates a portrait of not only noblewomen (Larina), but also a simple peasant woman (Nanny Tatyana). Thus, with the help of female images in the novel, the poet depicts not only typical representatives of the first quarter of the 19th century, but also shows the original character of the Russian woman.

The image of the main character of the novel, Tatyana Larina, is in many ways the embodiment of the folk element. In this sense, the heroine differs sharply from the “half-Russian” Lensky and Onegin, raised by French tutors. It is no coincidence that Pushkin says about Tatyana that she is “Russian in soul.” Tatyana believes in folk omens, tells fortunes together with the courtyard girls, has a keen sense of her native nature, believes in “the legends of the common folk of antiquity, and dreams, and card fortune-telling, and the predictions of the moon.” It is all this that she yearns for when she finds herself in St. Petersburg.

Being raised in a noble environment, the eldest of the Larin sisters “seemed like a stranger in her own family.” The heroine is characterized by daydreaming, isolation, a desire for loneliness, and love for Russian nature, for folk traditions and customs. Her moral character and spiritual interests are fundamentally different from the inner world of the typical majority of provincial young ladies (for example, Olga). In the manifestation of her feelings, Tatyana is extremely sincere:

The coquette judges in cold blood,

Tatiana loves seriously

And he surrenders unconditionally

Love like a sweet child.

The heroine is alien to slyness, mannerisms, coquetry, superficiality, sentimental sensitivity, in other words, everything that distinguished most of her peers. Tatyana is an integral person, gifted with the ability to feel deeply and strongly. The heroine of Pushkin's novel really loves Onegin, and Tatyana will carry this love throughout her life. Despite the fact that in the eighth chapter of the novel the heroine appears to the reader no longer as a “timid girl”, but as an “unapproachable goddess”, internally Tatyana has not changed and continues to love Evgeniy (“And he excited her heart!”)

The heroine's letter to Eugene is imbued with sincere feeling and sublime simplicity. It is no coincidence that S.G. Bocharov noted: “Pushkin’s letter to Tatiana is a “mythical translation” from the “wonderful original” - Tatiana’s heart.” Indeed, despite the fact that the heroine’s letter is filled with reminiscences from various sentimental novels that the girl was fond of, it is impossible to doubt the sincerity of her feelings (“You just walked in, I instantly recognized it, I was all stunned, on fire...”). But still, Tatyana builds her love according to literary models of her favorite characters. Onegin appears to the girl as an image from a novel: a guardian angel (Grandison) or a “cunning tempter” (Lovelace). The decision to confess his love to Eugene is also dictated by the desire to be like a romantic heroine. At the same time, Tatyana understands that she is acting contrary to all the norms of decency accepted in noble society at the beginning of the 19th century (“I freeze with shame and fear...”).

Tatyana is distinguished primarily by her sensitive heart, but her mind, the consciousness of a thinking person, the ability to correctly evaluate and internally reject the “hateful tinsel” of high society, its emptiness and falsehood, and preserve her moral character and spiritual values ​​are increasingly awakening in her. Tatyana's consciousness and mind awaken with the first bitter experience of unhappy love, with reading books that “replaced everything for her.”

As already mentioned, many of Tatyana’s personality traits go deep into the people’s soil. The heroine (like Pushkin himself) owes this to her nanny, a simple Russian peasant woman. It is no coincidence that the only person with whom Tatyana talks about her love is the nanny. With the help of the image of Filippovna in the novel, the poet illuminates peasant family life, and also raises the problem of personality and environment. Thus, the nanny’s story about her unhappy personal life (“And, come on, Tanya! We haven’t heard about love these summers...”) reflects a typical situation for the peasant class: a girl is forcibly married off and “handed over” to someone else’s family, rather as a worker; at the same time, the husband often turned out to be younger than his wife:

So, apparently, God ordered. My Vanya

Was younger than me, my light,

And I was thirteen years old.

In Pushkin’s notes we come across an important remark that generally illustrates the fate of a simple Russian woman: “Unhappiness in family life is a distinctive feature of the Russian people...”.

But, oddly enough, the same fate befalls Tatyana, who does not marry for love and is unhappy in her family life. Thus, from this point of view, the fate of the heroine bears the stamp of nationality. The heroine's answer to Onegin at the end of the novel reflects the same principle of folk morality: you cannot build your happiness on someone else's misfortune. This understanding of one’s moral duty explains Tatiana’s refusal to Onegin: “But I was given to another; I will be faithful to him forever.”

Thus, Tatyana’s main quality is high spiritual nobility and a developed sense of duty, which takes precedence over her strongest feelings. The heroine believes that if she herself, of her own free will, freely made a promise to an unloved person to be a faithful wife to him, then she is obliged to keep this word given by her inviolably. Let her now understand that it was a mistake on her part, that she acted carelessly - she herself must suffer for this carelessness, for this mistake.

The opposite of Tatyana is her sister Olga. If the main quality of the older Larina is considered to be a developed sense of duty, then the younger Larina, on the contrary, is extremely frivolous and flighty. Thus, Olga does not long mourn Lensky, who died in a duel (who was considered the heroine’s fiancé), and soon marries a lancer:

My poor Lensky! languishing

She didn't cry for long.

Alas! young bride

Unfaithful to her sadness.

At first glance, Olga seems perfect: a real beauty (“Eyes like the sky, blue, smile, flaxen curls…”) with an easy-going and easy-going character (“Always modest, always obedient, always cheerful as the morning…”). But Pushkin immediately notes that such a character can be found in “any novel,” so the author was “immensely” tired of it. Onegin points out to Lensky the triviality and spiritual emptiness of Olga:

Olga has no life in her features.

Exactly in Vandik's Madona:

She's round and red-faced,

Like this stupid moon

On this stupid horizon."

Olga does not stand out in any way among other provincial noblewomen, about whom Pushkin notes: “But the conversation of their lovely wives was much less intelligent.”

So, the image of the frivolous, flighty and “empty” Olga, characteristic of a sentimental novel, reflects the typical features of a district young lady.

In addition, using the example of the image of Tatyana and Olga’s mother, Praskovya Larina, Pushkin describes the character of the village landowner. It is important to note that the heroine’s personality is shown in dynamics; with the help of the character’s fate story, the author raises the problem of personality and environment. The poet talks about Praskovya’s life before her marriage, when the heroine was fond of novels and was in love with a “glorious dandy” who resembled one of the heroes of her favorite books. Then the poet ironically describes the transformation of a sensitive young lady, who “... spoke in a sing-song voice, wore a very narrow corset...” into an economical and rather domineering lady.

A. S. Pushkin, the greatest poet of the 19th century, the founder of Russian realism and literary language, devoted seven years of his life to working on the novel in verse “Eugene Onegin”. These “motley chapters,” “half funny, half sad, common people, ideal,” reflected the entire contemporary author’s way of Russian life: brilliant secular St. Petersburg, patriarchal Moscow, local nobles.
One of the main places in the novel is given to the Larin family. This is a typical family, no different from the families of provincial landowners of that time, who, unlike the world, lived in the old fashioned way, preserving the traditions and “habits of the dear old days,” and celebrated Orthodox holidays with the peasants:
They kept life peaceful
Habits of a dear old man;
At their Shrovetide
There were Russian pancakes.
It is through the example of this family that the female images of Tatyana and Olga Larin, their mother, are revealed. “A simple... kind gentleman”, “humble sinner” Dmitry Larin died by the time the novel began. Tatyana’s mother was in charge of all matters in the family. She once lived in the city, but “without asking, they married her off” to Dmitry Larin, while she was sighing about something else. She cried a little, but soon got used to the boredom of village life and soon “discovered the secret of how to autocratically rule a spouse,” and then everything “went right.” She turned into a typical county landowner:
She went to work
Salted mushrooms for the winter,
She kept expenses, shaved her foreheads,
I went to the bathhouse on Saturdays,
She beat the maids in anger...
Her life passed quietly during these daily activities. Such a life did not require great intelligence, and she did not have any. Her entire spiritual development consisted of reading Richardson’s novels in her youth (she read them only because “in the old days, Princess Alina, her Moscow cousin, often told her about them”). Larina the mother loved her daughters in her own way: she wanted to see them happy, she dreamed of marrying them off successfully. Onegin gave an accurate and apt description of Larina:
By the way, Larina is simple,
But a very sweet old lady.
Olga Larina is a copy of her mother, and, as Belinsky will later say, she “from a graceful and sweet girl will become a remarkable lady, repeating her mother, with minor changes that time required.” We see Olga through the eyes of the lover Lensky, who idolized her:
Always modest, always obedient,
Always cheerful like the morning,
How a poet's life is simple-minded,
How sweet is the kiss of love.
Lensky, a romantic, far from reality, living in the world of his fantasies and dreams, could not see the real Olga. All her simplicity and gaiety were just a mask behind which hid the emptiness of her inner world. She knew neither fidelity, nor devotion, nor self-sacrifice for the sake of love. Olga was no less to blame for Lensky’s death than Onegin:
Coquette, flighty child!
She knows the trick,
I've learned to change!
She was a typical heroine of the sentimental novels that were so popular at that time. Pushkin admits that he himself used to love such empty beauties, but he soon got tired of them:
Everything in Olga... but any romance
Take it and you will find it, right,
Her portrait: he is very cute,
I used to love him myself,
But he bored me immensely.
The author says that there were many such frivolous girls, that their actions were the same, and their feelings were fickle. So Olga, not suffering for long after the death of Lensky, soon married a passing uhlan and found her happiness. Onegin gives an exact description of Olga:
Olga has no life in her features.
Exactly in Vandik's Madona:
She's round and red-faced,
Like this stupid moon
On this stupid sky.
The complete opposite of her sister is Tatyana Larina - Pushkin’s “sweet ideal”. Her character, worldview, and harmony of nature were influenced by the environment in which she was brought up: closeness to folk life with its morals and customs, fairy tales and legends, to nature.
So, she was called Tatyana.
Not your sister's beauty,
Nor the freshness of her ruddy
She wouldn't attract anyone's attention.
If Olga had external beauty, then Tatyana had internal beauty. She had a beautiful soul, a rich imagination and inner peace. She was taller than all the people around her. Thoughtfulness, loneliness and daydreaming were her companions from early childhood:
Thoughtfulness, her friend
From the most lullabies of days,
The flow of rural leisure
Decorated her with dreams.
Closeness to folk traditions and roots, to nature played a big role in the development of Tatiana’s character:
Tatiana (Russian soul,
Without knowing why)
With her cold beauty
I loved Russian winter.
In the provincial wilderness, among the conversations “about haymaking, about wine, about the kennel and her relatives,” Tatyana’s only occupation was sentimental novels. It was they who created in her imagination the ideal hero whom she saw in Onegin:
She liked novels early on;
They replaced everything for her
She fell in love with deceptions
And Richardson and Russo.
Another trait that sets her apart from her sister is her consistency. Once having fallen in love, she turns out to be faithful to her love, despite the fact that she receives a cold, selfish refusal from Onegin. Tatyana submits to her fate: she is given in marriage, as they once did to her mother. And in marriage she shows the nobility of her soul. Loving Onegin, she remains faithful to her marital duty:
I love you (why lie?),
But I was given to another;
I will be faithful to him forever.
Tatyana from a provincial young lady turned into an “indifferent princess” who learned to “control herself,” as Onegin once taught her, but in her soul she remained the same, ready to give everything for the fields, forests, and villages dear to her heart:
Now I'm glad to give it away
All this rags of a masquerade,
All this shine, and noise, and fumes
For a shelf of books, for a wild garden,
For our poor home,
For those places where for the first time,
Onegin, I saw you...
V. Belinsky highly appreciated Pushkin’s contribution to Russian literature, who created the image of a truly Russian woman: “Tatiana’s nature is not complex, but deep and strong... Tatyana was created as if all from one solid piece, without any adjuncts or impurities.” Her life is harmonious, filled with meaning, unlike Onegin’s life.
And finally, the last image, which plays an important role in the novel, is Tatyana’s nanny, Filipyevna. It was she who put the Russian soul into her pupil, brought her closer to Russian nature, Russian life, and introduced her to the “traditions of common folk antiquity.” She was the only person spiritually close to Tatyana. This is what the heroine remembers in social life:
Yes for the humble cemetery,
Where is the cross and the shadow of the branches today?
Over my poor nanny.
To summarize, it must be said that Pushkin “was the first to poetically sing, in the person of Tatyana, the Russian woman...”, his endeavors were continued by prominent classics of Russian literature: Lermontov, Tolstoy, Turgenev, Dostoevsky.

1. The image of Tatyana Larina.
2. Images of the main character’s mother and sister.
3. Tatiana's nanny.
4. Moscow aunt and society ladies.

In the novel “Eugene Onegin” A.S. Pushkin shows several female images. Of course, the main one among them is the image of Tatyana Larina, the author’s favorite heroine. It is noteworthy that her character is given in development: at first we see Tatyana as a rural young lady, dreamy and silent, and after a few years - a married lady, a brilliant socialite. Pushkin, describing his heroine, begins with her childhood. The poet points out the dissimilarity between the characters of Tatyana and her sister Olga. Tatyana stands out among her peers by her penchant for solitude and thoughtfulness. Games common among children of her age, noisy fussing, did not attract the girl. She is not particularly sociable either among her peers or among her family:

She didn't know how to caress
To your father, nor to your mother;
Child herself, in a crowd of children
I didn’t want to play or jump...

Pushkin constantly emphasizes the dreaminess of his heroine: she liked “scary stories” in the evenings, romance novels that gave food to her imagination. Drawing a portrait of his heroine, the author immediately points out that

Not your sister's beauty,
Nor the freshness of her ruddy
It wouldn't attract anyone's eyes.

At the same time, Tatiana’s appearance undoubtedly has a lot of discreet attractiveness. Onegin, seeing her for the first time, immediately noticed the uniqueness of this girl, which is why he said to Lensky “... I would choose another if I were a poet like you.” In her love for Onegin, Tatiana's character is revealed: the integrity of her nature, determination, constancy, depth and strength of feelings. Tatyana herself confessed her love - according to the concepts of her era, an act was not only brave, but contrary to the requirements of decency. However, the natural, living movements of Tatyana’s soul turn out to be stronger than conventions. In addition, the girl believes in her ideal so much that she is ready to trust him completely:

But your honor is my guarantee,
And I boldly entrust myself to her...

The enthusiastic tone of Tatyana’s letter can be attributed to the influence of novels, some incoherence to the heroine’s mental turmoil, but the sincerity and spontaneity of her feelings emerges in artless lines.

Majestic simplicity, naturalness and noble restraint - these are the characteristics of Tatiana the Princess. Her manners have changed, now they meet all the requirements of secular decency, Tatyana has learned to “control herself.” Tatyana's outward coldness and equanimity shock Onegin, but deep down Tatyana is the same, she treasures the memories of her youth. She is faithful to her love, but also true to herself, so she will not cheat on her husband. Tatyana was and remained a sincere, noble person who could be relied on - it was no coincidence that her future husband, a prince and a brilliant general, paid attention to her when she appeared at the ball, accompanied by her aunts.

Not only the character of Tatiana is shown by Pushkin in development. The poet, with a few strokes, was able to describe the heroine’s mother and the changes that took place in this woman’s life. “Larina is simple, but a very sweet old lady,” - this is how Onegin speaks about Tatyana and Olga’s mother in a conversation with Lensky. The fate of this woman is quite typical: in her youth she was a romantic young lady, whose main interests were fashion and novels, and she herself did not read them, but heard about them from her cousin. She was in love, but she was married off to someone else. Her “souls of inexperienced excitement” quickly calmed down: in the village where her husband took her, she became interested in farming and found herself in this. She lived peacefully with her husband, raised two daughters, completely forgetting about her youthful hobby. When her cousin mentions this man during a meeting, Larina does not immediately remember who she is talking about. Her youngest daughter Olga is apparently similar in character to her mother: cheerful, a little frivolous, easily carried away, but also quickly forgetting her previous hobbies - after all, she forgot Lensky. Describing Olga, Pushkin ironically notes that her portrait can be found in any fashionable novel. In other words, Olga is a typical phenomenon among rural young ladies, and those in the capital too. Perhaps we can say that she, like her mother, have a happier destiny than Tatyana. They find happiness in the life that is destined for them, do not experience too painful experiences, and if they do, it is not for long. And Tatyana has an exalted, noble nature. Is she happy, despite a successful marriage, if she says that she would be glad to exchange the pomp of metropolitan life for her former, inconspicuous existence in the village?

But the images of Tatiana, her mother and sister are not the only female images in the novel. The image of the nanny, of course, is depicted very sparingly: she appears only in the scene of the conversation with Tatyana, when she cannot fall asleep. However, the nanny, apparently, was a dear and close person to Tatyana. It is no coincidence that the princess mentions

...Humble Cemetery,
Where is the cross and the shadow of the branches now?
Over my poor nanny...

The fate of the nanny, like the fate of “old lady Larina” and her daughter Olga, is typical of that time and the social group to which this woman belonged. In peasant families, daughters were married off early, often to grooms who were younger than their brides. The severity and harshness of peasant life can be seen in the words of the nanny:

— That’s it, Tanya! These summers
We haven't heard about love;
Otherwise I would have driven you away from the world
My deceased mother-in-law.

A thirteen-year-old peasant girl cried “out of fear” on the eve of her wedding to a boy who was younger than her. However, in the nanny’s story about her youth, there is a conviction that “apparently, God ordered it this way.” Pushkin did not describe her married life - it was probably the same as that of millions of other peasant women: hard work, children, reproaches to her mother-in-law. A simple Russian woman, a serf, who nursed the landowner's daughters, patiently and steadfastly endured these trials. The nanny is sincerely attached to Tatyana: although the old woman does not understand her torment, she tries to help as much as she can.

Pushkin did not pay much attention to the image of the Moscow aunt: she is the first link in a series of relatives and relatives of Larina. With a few strokes, the poet draws a crowd of society young ladies, Tatyana’s peers, among whom she stands out just as much as she did in childhood among the playful mischief-makers. They “chant the secrets of the heart, the secrets of the virgins,” wanting to hear Tatyana’s “heartfelt confession.” But she is silent - Pushkin again and again points out how different Tatyana is from the representatives of her circle. For these girls, “secrets of the heart” in most cases are a child’s prank. They will easily forget their hobbies if necessary, as Tatyana’s mother or Olga did. Pushkin contrasts the innocent “pranks” of Moscow young ladies and Tatyana’s “cherished treasure of tears and happiness,” “the secret of the heart.” Thus, the author emphasizes the dissimilarity and bright individuality of Tatyana, who stands out against the background of female images that represent typical phenomena.

In the novel “Eugene Onegin” by A. S. Pushkin, two female images are most fully presented - Tatyana and Olga Larin, who correspond to two female types.

Tatyana, the eldest daughter of a provincial nobleman, was distinguished from childhood by her dreaminess, seriousness, isolation and tendency to think. She was never interested in children's pranks and amusements, dolls, games with burners, conversations about fashion, and “scary stories in the winter in the dark of night captivated her heart more.” Growing up in the lap of nature and in harmony with it, the girl “loved to warn the sunrise on the balcony”, loved to listen to singing

village girls, believed in fortune telling at Christmas.

Tatiana cannot be called a beauty:

Not your sister's beauty,

Nor the freshness of her ruddy

She wouldn't attract anyone's attention.

Dick, sad, silent,

Like a forest deer is timid,

She is in her own family

The girl seemed like a stranger. But there was something in her that could not be overlooked, much less appreciated: intelligence and spiritual wealth that illuminated the girl’s appearance; She had a personality in her, painfully and tirelessly searching for her place in life.

Tatyana’s father, who considered books “an empty toy,” whom the author ironically calls “a kind fellow belated in the last century,” was never interested in his daughter’s reading and “didn’t care about what secret volume her daughter had dozing under her pillow until the morning.” And, left to her own devices, Tatyana early became interested in novels, the heroes of which captivated the girl’s heart and made it beat faster. The young people whom Tatyana often saw in her house were not like romantic heroes: they were most interested in everyday life, and they valued external beauty in a woman. And therefore Onegin, who visited his neighbors on the estate for the first time, found that Tatyana was “sad and silent, like Svetlana.” But already on the evening of meeting Onegin, thanks to the insight of her nature, she understood and never again doubted that he - handsome, smart, so unlike others, detached from vanity - he was her hero. The heart, frozen with expectations, melted - Tatyana fell in love.

Love reveals to us new features of Tatiana: nobility, loyalty, constancy, openness, tenderness... Not accustomed to flirting and flirting, choking with love and burning with shame, Tatiana reveals herself in a letter to Onegin. The poet conveys in an amazingly touching way the depth of the girl’s experiences; her confidence in the strength of her feelings is impressive:

Another!.. No, I wouldn’t give my heart to anyone in the world!

Now it is destined in the highest council... Now it is the will of heaven: I am yours; My whole life has been a guarantee of a faithful meeting with you; I know you were sent to me by God, You are my keeper until the grave... After the explanation, when the main character refused Tatyana, according to him, for her own good, the girl found the strength not to lose her dignity, did not cry, did not beg to respond to love, the desperate cry of the heart was not allowed to break out. But to the words said in the letter: “No, I would not give my heart to anyone in the world!” - Tatyana remained faithful. We are convinced of this when the heroine says to Onegin on the last date: “I love you (why lie?).”

Neither her high position in society nor the prince’s wealth could change Tatiana’s integral nature. She calls the social life, to which so many aspired, “the hateful life of tinsel” and admits that she is ready to give

All this rags of a masquerade, All this glitter, and noise, and fumes For the shelf of books, for the wild garden, For our poor home... Tatyana, who has absorbed the foundations of folk morality since childhood, is not capable of betraying the person who believes her and loves her. Duty, honor, virtue are higher for her than personal happiness. “But I was given to another; I will be faithful to him forever,” was her answer to Onegin.

The complete opposite of Tatyana is her younger sister. Olga is a real beauty, with all the traditional attributes:

Eyes, like the sky, blue, Smile, flaxen curls, Movements, voice, light figure... Olga’s inner world is cozy and conflict-free: she is “always modest, always obedient, always cheerful like the morning, Like the life of a poet, simple-minded...”. She seems to be perfection, it is impossible not to fall in love with her. Speaking about the portrait of Olga, Pushkin admits that “before he loved it himself,” but immediately adds: “But I was immensely tired of it.”

who, barely recognizing Olga, immediately noted her main flaw:

Olga has no life in her features. Exactly like Vandice's Madonna; She is round and red-faced, like this stupid moon in this stupid sky. Olga is spiritually poor. There is no harmony between her appearance and inner world. Her attractiveness is not illuminated by the light of the soul. Olga has no principles; due to her spiritual limitations, she is not capable of strong feelings, like her sister, who, having once fallen in love, remained faithful to her love. After Lensky’s death, Olga did not cry for long, she was sad, she soon became interested in another young man, a lancer:

And now with him in front of the altar She stands bashfully under the crown with her head bowed, With fire in downcast eyes, With a light smile on her lips, IF Tatyana Larina embodied Pushkin’s ideal of female beauty: smart, meek, noble, spiritually rich nature, - then in the image of Olga he showed a different type of woman, one that occurs quite often: beautiful, carefree, flirtatious, but spiritually limited and incapable of strong, deep feelings.