What qualities does love reveal in Tatyana Larina. I

Plan and brief explanations.

1) Tatyana’s place in the novel “Eugene Onegin”.

(The image of Tatyana is important for revealing ideological meaning works. The image of Tatyana is associated with Pushkin’s conviction that a person always has access to an understanding of lofty goals and the opportunity to rise above a spiritless environment.)

2) Who is she, Pushkin’s heroine?

(Rich inner world. Mental strength is not wasted. Tatyana is smart, original, original. She is gifted by nature: with intelligence, the originality of nature, she stands out among the landowners and secular society. She understands the vulgarity, idleness, and emptiness of life in village society. She dreams of a person who would bring high content into her life and would be like the heroes of her favorite novels).

a) Conditions of education in a landowner environment. (“They kept in life the peaceful habits of peaceful antiquity...”; Together with family upbringing, she acquired the foundations of folk morality and purity).

b) Originality of character in childhood and early adolescence. (Character formation from the very beginning early childhood occurs in nature, it develops freely, without experiencing any foreign influences. She pushed away everything vulgar that did not correspond to her romantic perception of the world).

c) Reasons that influenced the formation of her character:

Communication with people, love for the nanny;

Russian nature;

Patriarchal family structure.

d) The harmony of Tatyana’s nature:

Extraordinary mind;

Moral purity;

Depth of feelings;

Loyalty to duty.

3) Belinsky about Tatyana Larina.

(Pushkin loves his heroine for her integrity, nobility, simplicity of character, for her intelligence, fiery and tender feeling, for her faith in her chosen dream, living will. In Pushkin’s understanding, Tatyana is the ideal of a Russian woman. Pushkin “was the first to reproduce, in the person of Tatyana, the Russian woman").

II. Evgeny Onegin - “ extra person»

Plan.

1) The era of the creation of the novel “Eugene Onegin”.

2) Evgeny Onegin - “an extra person.”

a) The origin of Onegin.

b) Education of Onegin:

Level of knowledge;

Inability to work;

Refined manners;

Hypocrisy;

Pastime.

c) Onegin’s disappointment and its reasons.

d) The search for satisfaction of spiritual needs

Reading books;

Attempts to write;

Trips;

Transformations in the village.

e) The main character traits of Onegin:

Sharp chilled mind;

Truthfulness;

Knowledge and understanding of people;

Dissatisfaction with life.

f) Onegin’s attitude towards others:

To Tatyana;

To Lensky;

To the local nobility.

3) The tragedy of Onegin’s image.

As a voluminous novel of morals and characters, therefore, female characters in it are the most important component. And the image of Tatyana is not just a plot-forming one, but is also a “favorite” for the author himself.

At the beginning of her appearance in the novel, Tatyana receives from Pushkin a rather brief but apt portrait description. The poet portrays her as pale, thoughtful, dreamy,

“timid as a forest deer.”

At the end of the novel, the image of the heroine also receives a brief portrait characteristic, where she appears as a leisurely, silent, but not cold woman.

The image of Tatyana - character, development of the heroine in the novel

According to Pushkin himself, this is his aesthetic and ethical female ideal, the most beautiful type of the author’s contemporary. , in turn, Onegin emphasizes the integrity and “purity” of her character.

Larina's life in the village, Tatyana's upbringing

Larina's sisters are provincial girls living on their parents' estate, away from the bustle of the capital. The measured traditional way of life, closeness to nature, to the people’s environment made their own “adjustments” to the formation and formation of the characters of Tatiana and Olga. According to Pushkin’s descriptions, life in such a province retained both the features of the last century and “the legends of deep antiquity.”

The activity for the young sisters, as well as for their mother, was reading. Sentimental novels “replaced everything for them.” Through them, our heroine comprehended life, feelings and the world.

The destiny of all such young ladies was romantic girlhood and marriage. Nothing was more real or more desirable for them. The Russian woman lived like this, replacing the notebook of “sensitive poems” with the master’s “cap,” getting married and having children.

This awaited both Tatyana and Olga.

However, Pushkin, in contrast to the simple-minded and frivolous younger sister, emphasizes the elder’s modesty, morality, purity, cordiality and the search for disturbing thoughts.

The upbringing of the girl “gray-haired Filippevna”, moreover, instilled in her a deep spiritual and emotional connection with everything folk, uniquely Russian, cultivating in the girl inner poetry and responsiveness to natural, folk manifestations.

Pushkin notes that his Tatyana did not shine external beauty, like Olga, did not participate in children's games, did not get carried away with secular gossip. It was as if she was a “stranger” in her own family. Meanwhile, all this “inconsistency” with the then “standards” did not prevent the heroine from standing out in the eyes of. When meeting, the “guest of the capital” immediately noted the elder Larina, and not the energetic but beautiful Olga.

The heroine's love for Onegin

When Onegin “disturbed” this provincial peace with his appearance in the Larins’ house, the time came for Tatyana to fall in love. And here the girl does something that at that time was completely unthinkable for secular society. She declares her love to a young stranger.

This is the act of an internally free person, an extraordinary girl who sincerely and purely trusted, avoiding vulgarity and arrogant coquetry.

She defined the feeling that arose in her soul as the main thing, as the meaning for which she could sacrifice cutesy “public opinion” and even her reputation. Her gift to Onegin was filled with such purity, openness and strength that it really could not help but evoke in the recipient a noble, albeit cold, murderous response for her love. But both Onegin’s refusal and the hero’s arrogant rebuke, as it will become clear later, did not uproot love from her soul. She fell in love forever.

Duty and honor as Tatyana’s qualities

The heroine subsequently gets married, taking upon herself to fulfill her marital duty, and devotes herself entirely to her husband - as has been the case in Russian traditions for a long time.

The reappearance of Onegin, of course, will greatly alarm the heroine; it will reveal her passionate and direct nature. Tatyana admits that she loves her.

But! Neither moral betrayal of a husband’s honor, nor desecration of one’s pure love, nor acceptance of the falsity of social mores - this is impossible for Larina. An affair in this case would kill both love and the very soul of the heroine.

Having become a “sweet ideal” for Pushkin, showing the reader the level of spiritual responsiveness, moral impeccability, internal integrity and beauty, the image of Tatyana became our faithful friend and guide for girls and opened a large gallery female images in domestic literature.

The metropolitan aristocrat Onegin is contrasted in the novel by Tatyana Larina, the keeper of the precepts of “common antiquity.”
Three aspects of Tatyana’s image attract attention when reading the novel: 1) the originality of her character and behavior in childhood; 2) awakening love for Onegin; 3) her principled position in the scene of the break with Onegin.

How to explain the silence, thoughtfulness and loneliness of Tatyana the child? How to understand the so unexpectedly flared up feeling of love from Tatiana the girl for the almost unknown Onegin? How to evaluate the behavior of Tatiana the Princess in the scene of her last explanation with Onegin, when she again confesses her love for him and, at the same time, asks him to leave her? The correct answer to these questions will help us understand the complex image of Tatyana.
The character of Tatyana the child is depicted in the novel as follows:

Dick, sad, silent,
She is in her own family
Like a forest deer is timid,
The girl seemed like a stranger.

What created such alienation from Tatyana in the family? We have no reason to assume that the reason for this was the girl’s illness or family oppression: Tatyana grew up as a healthy girl who was not afraid to run out into the cold in a light dress, and in her family she enjoyed complete freedom. The answer to Tatyana’s behavior in childhood must be sought elsewhere - in her uniqueness. inner world.

The spiritual life of an impressionable, thoughtful girl was formed under the influence of two external influences: the environment of serf life and the books she read. They basically determined her views and moods. The life of the Larin family was patriarchal:

They kept life peaceful
On Trinity Day, when people
Habits of a dear old man;
Yawning, listens to the prayer service,
At their Shrovetide
Touchingly on the beam of dawn
There were Russian pancakes;
They shed three tears;
Twice a year they fasted;

Such family life, bearing the imprint of ancient Russian customs and folk traditions, was in itself a favorable soil on which Tatiana’s sympathy for the people could grow and mature. The nanny’s stories in the quiet of the night, which introduced Tatyana to the legends of “common antiquity,” friendships with the courtyard girls and Tatyana’s impressionability cemented her sympathies. But she went much further than her family in her closeness to the people, and, while her parents’ patriarchal way of life was expressed mainly in fidelity folk customs Tatyana sincerely fell in love with the people themselves - the serf peasantry.

Tatiana's sympathetic attitude towards the serfs is a very important feature of her mental makeup. It is reflected in her attachment to the nanny, and in her closeness to the courtyard girls, and in her worries about the poor, and in her thoughts about the “poor villagers.” The impressionable girl, obviously, already from childhood, was extremely painfully aware of the contrast between the life of her “poor villagers” and the mores of the noble environment of the Pustyakovs, Gvozdins, and Buyanovs. Before her eyes, scenes of reprisals against serfs took place: the peasants “had their foreheads shaved”, her mother “beat the serfs out of anger.” Tatyana's democratic sympathies, inspired by her closeness to the common people and to nature, are what could have caused her alienation in her own family.

Great influence on the formation of the inner world
Tatiana also provided books. Pushkin vividly described their significance in Tatyana’s life:
She liked novels early on:
She fell in love with deceptions
They replaced everything for her;
Both Richardson and Russo.
What books “replaced everything for her”? In the novel, the names of the characters outline the range of Tatyana’s literary interests and hobbies. Tatiana’s “beloved creators” are Richardson, Rousseau and Madame de Staël, the heroines of their novels are especially close to her:
Imagining a heroine
Tatyana in the silence of the forests
Your beloved creators,
One wanders around with a dangerous book...
Clarissa, Julia, Delphine,

It is necessary to at least briefly dwell on the content of Tatyana’s favorite novels in order to understand in what direction they shaped her mood. Novel "Clarice Garlow" English writer Richardson appeared in Russian translation in 1791. The plot of the novel is as follows. Her family wants to marry a young girl, Clarice Garlow, to a man she doesn’t like. A young aristocrat, Lovelas, comes to Clarice’s aid, with whom she flees from her parents’ house. Lovelace takes advantage of Clarice's defenselessness and, with the help of opium, takes possession of her. Clarice falls ill, Lovelace, fearing retribution for his action, invites the girl to marry him. Clarice proudly refuses to marry the man who deceived and disgraced her, although marriage with them would have brought her wealth and nobility. Her family rejects her. Clarice's life turns into torture. Finally, she dies, having drunk the cup of suffering to the bottom. The family realized their mistake, but it was too late.

Roman J.-J. Rousseau's "New Heloise" was published in 1760. The main character his name is Julia D'Emange, and her marriage is Volmar. Julia's tragedy is that she, a rich aristocrat, fell in love with Saint-Preux, a home teacher, a plebeian by birth. Having learned that Julia was dishonored, her mother dies of grief. Fearing to kill her father with her behavior, Julia agrees to his demand to marry the noble aristocrat Volmar. Her life is outwardly happy. She respects Volmar and is faithful to him, although she continues to love Saint-Preux. An accidental cold brings her death, which she greets joyfully. as a deliverer from a painful dual state.

The action in the novel “Delphine” by Madame de Stael (1766-1817) takes place in France during the French Revolution of the 18th century. Del Fina Albemar, the heroine of the novel, loves the aristocrat Leon Mondoville, but, fearing to cause misfortune to his wife through her relationship with Leon, she leaves France and becomes a nun in one of the monasteries. Learning of the death of Leon's wife, she leaves the convent to flee to France, where revolutionary laws allowed nuns to marry. But for Leon, marriage to a nun seems impossible. He joins the ranks of the emigrant army, fights for the king, is captured by the Republicans, and is shot as a traitor. Delphine commits suicide.

The heroines of these three novels could have captured Tatiana not only with their tragic fate. Clarice could not help but impress her with her proud independence and steadfastness in the struggle, Julia with her freedom of feeling and democratic sentiments (Julia also found happiness in helping the peasant population), Delphine with her independence of character and disdain for social prejudices. All of Tatiana's favorite heroines thus have common features - the cult of deep, free feelings, independence of behavior and a critical attitude towards the traditional views of society.

Imagine: I'm here alone.
My mind is exhausted
Nobody understands me
And I must die in silence, -
she complained in a letter to Onegin.
Now it’s easy for us to reveal the secret of Tatyana’s suddenly flared up love for Onegin. Tatyana’s feelings were long ago prepared by reading her favorite novels:
Long-time heartache
Her young breasts were tight;
The soul was waiting... for someone...
The appearance of Onegin was, as it were, a response to Tatiana's expectations. She remembered the heroes of familiar novels - Volmar, Malek-Adele, de Linard, Werther, Grandison, and all of them were now embodied in the person of Onegin.

Onegin struck the provincial Tatyana not only with his beauty, sophistication of manners and the mystery of his behavior. Arriving in the village, Onegin committed an act that immediately turned the local nobility against him.
He is the yoke of the ancient corvée
I replaced it with a light quitrent.

This humane act could, apparently, especially endear Tatiana to Onegin. His nobility and courage fully corresponded to her hidden views and democratic sentiments. Thus, Tatyana’s books and democratic-humane sentiments easily explain the mystery of her unexpected love for Onegin. Onegin seemed to her the realization of her ideal of a noble hero.

Onegin did not accept Tatyana's love and after a duel with Lensky left the province. the girl took care of her feelings. But Onegin did not remind him of himself in any way... Tatyana got married.
IN last chapter In the novel, Tatyana appears before us as a noble St. Petersburg lady, the wife of a general, a princess. From a modest provincial girl, she turned into a “legislator of the hall.” Tatyana's intelligence and character made this transformation natural.
Returning after a three-year journey to the capital, Onegin again meets Tatyana and falls in love with her. The scene of Tatyana's final explanation with Onegin takes place. How to explain Tatyana's behavior in this scene? On the one hand, she confesses her love to Onegin for the second time, on the other, she firmly and decisively breaks with him:
I love you (why lie?),
But I was given to someone else;
I will be faithful to him forever.

There is no contradiction in Tatyana's behavior. She continued to love Onegin, as women like her love deeply and sincerely. And yet Tatyana answers Onegin with a firm refusal. She was guided by high honesty and a sense of duty. This act contains the beauty of Tatyana’s moral character, who embodied both the best folk ideals that have developed over centuries and the noble feelings of her beloved heroines. This is how the main aspects of Tatyana’s character are revealed in the novel.
The image of Tatiana is a charming image of a Russian woman. The source of this charm is the extraordinary harmony of the image. Summarizing Tatyana’s characteristics, Pushkin indicates that she was gifted:

With a rebellious imagination,
And wayward head,
Alive in mind and will,
And with a fiery and tender heart...

The harmonious combination of mind, will and feelings creates the integrity and completeness of Tatyana’s appearance. This alone puts her above other heroes of the novel, in whose character one side predominates: Onegin has the mind, Lensky has feeling.
Tatyana's character with all the richness of her spiritual powers is revealed gradually in the novel. Before our eyes, Tatyana’s gradual spiritual growth is taking place, the flowering of her rich spiritual powers.
We observe the gradual evolution of the image, in particular, in Tatyana’s language: her letter still sounds uncertainty and reticence caused by excitement, in last explanation with Onegin - confidence, authority of tone.

Tatyana Larina is a type of beautiful Russian woman who embodies the best features national character. Her noble origin and upbringing are only features of the times, that historical shell that is needed to reveal her character. The main thing about her is her “Russian soul”. It was for this Russian soul that Pushkin loved his “sweet Tatyana.”

Along with the image of Onegin, the image of Tatiana is the most significant in the novel. It performs an important plot and compositional function, being a counterweight to the image of Onegin in the ideological and artistic structure of the novel. The relationship between Onegin and Tatyana forms the main plotline of Pushkin's novel in verse. Tatyana is an exception from her environment. “She seemed like a stranger in her own family,” and Tatyana painfully feels this: “Imagine: I’m here alone, no one understands me.” Tatyana fell in love with Onegin because, as the poet says, “the time has come,” but it is no coincidence that she fell in love with Onegin. At the same time, Tatiana’s character developed in a completely different social environment than Onegin’s character. Tatyana, according to the poet, is “Russian in soul, without knowing why.” Tatyana (whose name, first “willfully” introduced by Pushkin into great literature, entails associations of “old times or maidenhood”) grew up, in complete contrast to Onegin, “in the wilderness of a forgotten village.” The childhood, adolescence and youth of Tatiana and Evgeny are directly opposite. Evgeniy has foreign tutors; Tatyana has a simple Russian peasant nanny, the prototype of which was his own nanny Arina Rodionovna. Tatyana dreams of a real one, great love . These dreams, as well as the formation of Tatiana’s entire spiritual world, were significantly influenced by the novels of Richardson and Rousseau. The poet tells us that his heroine “explained herself with difficulty in her native language”; She writes a letter to Onegin in French. Tatyana is a highly positive, “ideal” image of a Russian girl and woman. At the same time, the poet, with the help of a subtle artistic and psychological technique, reveals Tatiana’s “Russian soul”: the heroine’s dream, thoroughly permeated with folklore, is introduced into the novel. In the image of Tatyana, Pushkin put all those features of a Russian girl, the totality of which represents an undoubted ideal for the author. These are the character traits that make Tatyana a truly Russian, and not a secular young lady. The formation of these traits occurs on the basis of the “tradition of common folk antiquity,” beliefs, and tales. Tatyana Larina for Dostoevsky was the personification of everything Russian, national, an “ideal”, an expression of spiritual and moral strength. National poetry is included in the novel along with the image of Tatyana. In connection with it, stories about customs, “habits of dear old times,” fortune telling, and fairy-tale folklore are introduced. They contain a certain morality associated with folk philosophy. Thus, the fortune telling scene reveals the philosophy of the female soul, the Russian soul. The very idea of ​​a betrothed is associated with the idea of ​​duty; a betrothed is thought of as destined by fate. Folklore motifs also appear in Tatiana’s dreams; folk art and philosophy are presented as organically connected with her personality. Two cultures - national Russian and Western European - are harmoniously combined in her image. In the depiction of the image of Tatyana, which is so dear to the poet, no less than in the image of Onegin, one can feel Pushkin’s desire to be completely faithful to the truth of life. Tatiana, unlike Onegin, grew up “in the wilderness of a forgotten village,” in the atmosphere of Russian folk tales, “legends of common folk antiquity,” told by her nanny, a simple Russian peasant woman. The author says that Tatyana was reading foreign novels, had difficulty expressing herself in her native language, but at the same time, with the help of a subtle psychological technique, reveals her “Russian soul” (Under Tanya’s pillow there is a French book, but she sees Russian “common people” dreams). Tatyana is a poetic, deep, passionate person, thirsty for real, great love. Having become a trendsetter in the world, she not only did not lose the best features of her spiritual appearance - purity, spiritual nobility, sincerity and depth of feelings, poetic perception of nature - but also acquired new valuable qualities that made her irresistible in the eyes of Onegin. Tatyana is the ideal image of a Russian girl and woman, but an image not invented by Pushkin, but taken from real life . Tatyana can never be happy with an unloved person; she, like Onegin, became a victim of the world. “Nature created Tatyana for love, society recreated her,” wrote V.G. Belinsky. One of the key events of the novel is the meeting of Onegin with Tatyana. He immediately appreciated her originality, poetry, her sublimely romantic nature and was quite surprised that the romantic poet Lensky did not notice any of this and preferred his much more earthly and ordinary younger sister. Tatyana is strikingly different from the people around her. “A district young lady,” she, however, like Onegin and Lensky, also feels lonely and misunderstood in a provincial-local environment. “Imagine, I’m alone here, No one understands me,” she admits in a letter to Onegin. Even “in her own family” she “seemed like a stranger” and avoided playing with her peers. The reason for such alienation and loneliness is the unusual, exclusive nature of Tatiana, gifted “from heaven” with “a rebellious imagination, a living mind and will, and a wayward head, and a fiery and tender heart.” In Tatiana’s romantic soul, two principles were uniquely combined. Akin to Russian nature and folk-patriarchal life, habits and traditions of the “dear old days”, she lives in another - a fictional, dreamy world. Tatyana is a zealous reader of foreign novels, mainly moralizing and sentimental, where ideal heroes act and good triumphs in the end. She prefers to wander through the fields “with a sad thought in her eyes, with a French book in her hands.” Accustomed to identifying herself with the virtuous heroines of her favorite authors, she is ready to accept Onegin, so unlike those around her, as a “model of perfection,” as if straight from the pages of Richardson and Rousseau, the hero she had long dreamed of. The “literary” nature of the situation is enhanced by the fact that Tatyana’s letter to Onegin is filled with reminiscences from French novels. However, book borrowings cannot obscure the immediate, sincere and deep feeling with which Tatyana’s letter is imbued. And the very fact of sending a message to a man she barely knows speaks of the heroine’s passion and reckless courage, resorting to fears of being compromised in the eyes of others. This letter, naive, tender, trusting, finally convinced Onegin of Tatiana’s unusualness, of her spiritual purity and inexperience, of her superiority over cold and calculating social coquettes; it revived in him the best, long-forgotten memories and feelings. And yet, to Tatyana’s passionate message, “where everything is outside, everything is free,” Onegin responds with a cold rebuke. Why? First of all, of course, because Onegin and Tatyana are at different stages of spiritual and moral development and are unlikely to understand each other. Tatyana actually fell in love not with Onegin, but with a certain image she composed, which she mistook for Onegin. During his explanation with Tatyana in the garden, he did not dissemble at all and directly, honestly, revealed everything to her as it was. He admitted that he liked Tatyana, but he was not ready for marriage, did not want and could not limit his life to the “home circle”, that his interests and goals were different, that he was afraid of the prosaic side of marriage and that family life he'll get bored. “It was not the first time that he showed the Soul direct nobility here.” Tatyana's dream is "the key to understanding her soul, her essence." Replacing a direct and detailed characterization of the heroine, it allows you to penetrate into the most intimate, unconscious depths of her psyche, her mental makeup. However, it also plays another important role - prophecies about the future, for the heroine’s “wonderful dream” is a prophetic dream. In the symbolic ritual and folklore images here, almost all the main events of the subsequent narrative are predicted, foreseen: the heroine’s exit beyond the boundaries of “her” world (crossing a stream is a traditional image of marriage in folk wedding poetry). the upcoming marriage (the bear is the yuletide image of the groom), the appearance in a forest hut - the house of a betrothed or lover and recognition of his true, hitherto hidden essence, a gathering of "hellish ghosts" so reminiscent of guests at Tatiana's name day, a quarrel between Onegin and Lensky, which ended in the murder of the young poet The main thing is that the heroine intuitively perceives the demonic beginning in the soul of her chosen one (Onegin as the head of a host of hellish monsters), which is soon confirmed by his “strange behavior with Olga” on name day and the bloody outcome of the duel with Lensky. Tatiana's dream thereby signifies a new step in her comprehension of Onegin's character. If earlier she saw in him an ideally virtuous hero, similar to the characters in her favorite novels, now she almost goes to the opposite extreme. Finding herself in Onegin’s house after the owner’s departure, Tatyana begins reading books in his village study. Unlike the novels of Richardson and Rousseau, the heroes here were cold and devastated, disappointed and selfish, heroes who commit crimes, do evil and enjoy evil. The meeting with Tatiana, the princess, makes a strong impression on Onegin. Her new appearance, manners, and style of behavior meet the strictest requirements of good taste, the highest tone and do not at all resemble the habits of the former provincial young lady. Onegin sees: she has learned noble restraint, knows how to “control herself,” he is amazed at the change that has happened to her, which seems to him absolute, complete: Although he could not have looked more diligently, But Onegin could not find traces of the former Tatyana. Onegin persistently seeks meetings with Tatyana, writes passionate love confessions to her one after another, and having lost hope of reciprocity, he becomes seriously ill and almost dies of love (in the same way, Tatyana at one time turned pale, faded and withered). Belinsky severely condemned Tatyana for the fact that she, while continuing to love Onegin in her soul, chose to remain faithful to patriarchal morals and rejected his feelings. According to the critic, family relationships“those who are not sanctified by love are extremely immoral.” Dostoevsky regarded this act of Tatyana as sacrificial. In the finale, Onegin takes Tatyana by surprise and makes an incredible discovery that amazed him so much. It turns out that Tatyana has changed only externally, internally she has remained in many ways the “old Tanya”! And such women are not capable of adultery. It is this sudden insight of Eugene that gives the final scene acute drama and bitter hopelessness. Just as Onegin until that moment did not suspect that the “old Tanya” lived in the princess, so Tatyana could not know what happened to Onegin after the duel. She believed that she had solved Onegin once and for all. For her, he is still a cold, devastated, selfish person. This explains Tatyana’s harsh rebuke, which mirrors Onegin’s cold rebuke. But Tatiana’s monologue sounds different notes. The offended woman's reproaches imperceptibly turn into a confession, striking in its frankness and fearless sincerity. Tatyana admits that success “in a whirlwind of light” weighs on her, that she would prefer her former inconspicuous existence in the wilderness of the village to her current tinsel life. Not only that: she directly tells Onegin that she acted “carelessly” by deciding to marry without love, that she still loves him and is sadly experiencing the missed opportunity for happiness. Tatyana's nature is not complex, but deep and strong. Tatyana does not have these painful contradictions that plague too complex natures; Tatyana was created as if from one solid piece, without any additions or impurities. Her whole life is imbued with that integrity, that unity, which in the world of art constitutes the highest dignity of a work of art.

Lesson topic: “Tatiana Larina’s Reading Circle” Lesson objectives:

Determine the place and role of books read in the formation of a person’s personality.

Continue work on developing cultural, communicative, and informational competencies of students.

Continue work on developing students’ monologue speech, cultivating attention to speech culture, accuracy of words and expressions.
Lesson objectives:

Individual assignments for the lesson:

Research projects, dedicated to the works of J. J. Rousseau and S. Richardson.

Messages about the main heroines of the novels: Richardson "Clarissa Garlow"; Rousseau's "New Heloise"; Madame de Stael "Delphine" - and expressive reading of excerpts from these novels.

H O D U R O K A.

A book is a vessel that fills us, but does not empty itself.

A. Decourcel

Organizational moment(preparation for the lesson)

Teacher's word. A.S. Pushkin called his novel “Eugene Onegin.” But throughout the entire novel, the author did not hide his sympathy for Tatyana Larina, emphasizing her sincerity, depth of feelings and experiences, innocence and devotion to love, calling her a “sweet ideal.” You cannot pass by Tatiana indifferently. No wonder Evgeny Onegin, having visited the Larins’ house for the first time, says to Lensky:

“Are you really in love with the smaller one?”
- And what? - “I would choose another,
If only I were like you, a poet.
Olga has no life in her features.

What kind of person does Tatyana Larina appear to us at the beginning of the novel? ( implementation homework ) (The introduction of Tatyana to Larina will reveal her internal inconsistency: genuine feelings and sensitivity coexist in her).

What influenced the formation of Tatyana’s character?

(Communication with nature;

way of life on the Larins' estate;

influence of the nanny;

reading novels.

Indeed, Pushkin himself, characterizing his heroine, emphasizes that novels “replaced everything for her.” Tatyana, dreamy, alienated from her friends, so unlike Olga, perceives everything around her as an unwritten novel, imagines herself as the heroine of her favorite novels. Therefore, today in class we will get acquainted with Tatyana Larina’s reading circle.

Announcing the topic of the lesson, setting goals and objectives.

Conversation on the topic of the lesson.

Who are they, Tatyana’s favorite heroines?

Imagining a heroine

Your beloved creators,

Clarissa, Julia, Delphine,

Tatyana in the silence of the forests

One wanders with a dangerous book,

She searches and finds in her

Your secret heat, your dreams,

The fruits of heart fullness,

Sighs and, taking it for himself

Someone else's delight, someone else's sadness,

Whispers into oblivion by heart

A letter for a dear hero...

Brief messages students based on their individual research about the listed heroines

(Clarissa- the heroine of Richardson’s novel “Clarissa Garlow” (1749); Julia- the heroine of Rousseau’s novel “New Heloise” (1761); Delphine- the heroine of Madame de Staël’s novel “Delphine” (1802)) and expressive reading of passages from these novels.

Why does Pushkin call the books that Tatyana reads “dangerous”?

She liked novels early on;

They replaced everything for her;

She fell in love with deceptions

And Richardson and Russo...

(Tatyana perceives the surrounding reality as just another novel; she builds her behavior according to novel models known to her. Students note the key words: “appropriating someone else’s delight, someone else’s sadness”, “they replaced everything for her”, “deceptions”)

(Defense of projects dedicated to the works of J. J. Rousseau and S. Richardson

Features of sentimentalism as literary direction.

What attracts Tatyana in their novels?

(First of all, sincerity of feelings, Tatyana is close to the idea of ​​sentimentalism about the moral equality of people (“And peasant women know how to love!” N.M. Karamzin “ Poor Lisa"). Tatyana imagines herself as the heroine of her favorite novels and sees in Onegin the hero of such a novel. But Pushkin is ironic: “But our hero, whoever he was, was certainly not Grandinson”).

A completely different world opens up for Tatyana when she visits his estate.

Then I started reading books.
At first she had no time for them,
But their choice appeared
It's strange to her. I indulged in reading
Tatiana is a greedy soul;
And a different world opened up to her.

Working with text:

in groups, the material of chapter VII, stanzas XII - XIV of the novel “Eugene Onegin” is studied. Whose works did Eugene read? What attracts him to books?

One of the groups presents the results of their work, the rest complement it.

6. Summing up.

What attracts Tatyana in books, and what attracts Evgeniy?

Why are the books they read so different?

7. Homework.

Compare Tatiana's letter (chapter III) and Tatiana's monologue (chapter VIII, stanzas XLII - XLVII). How do they reflect the heroine’s internal state?

8. Reflection.

Complete the sentences.

Today in class

I found out......

I thought about...

I wanted...