What about Tatiana Larina? How is it that a young country girl, whose appearance is barely remarkable and whose intelligence and judgment are suspect, has captivated literary culture and come to be regarded as "the Mona Lisa of the Russians” according to an eminent specialist in Russian literature (Hasty, 1999). ) ? Any sane reader should object to his impulsive, mismatched love, but there is something irresistibly endearing and engaging about his innocent desire that tugs at the heart strings of even the most callous cynic. How is this achieved? It is the charming eloquence of Pushkin's most delicate love poetry in CHAPTER III, STANZAS dearest to our heroine and helps explain the unwarranted attraction that is inherent to our heroine. felt towards her. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay In STANZA XV, Pushkin offers Tatiana his fateful warning; the stanza opens with an ominous plea “Tatiana, dear Tatiana!” I now shed tears with you (Pushkin, Eugene Onegin, 1964). The reader gets the feeling that Pushkin’s appeal is doomed to failure as he continues: “My dear, you will perish; but first, In dazzling hope, You invoke dark happiness, You learn the sweetness of life…” (CHAPTER III, XV, 5-8 (Pushkin, Eugene Onegin, 1964)) Pushkin continues his helpless petition to Tatiana's senses , using a series of sinister juxtapositions: perishing in dazzling hope, dark happiness and dulcitude (derived from the Russian negu which connotes "dangerous euphoria" (Pushkin, Eugene Onegin: Commentary One to Five, 1964)). Pushkin's masterful contrasts serve not only as a premonition of Tatiana's fate, but also as a commentary on youthful love in general and on the two sides of the infatuation coin. A certain idealistic feeling of dazzling hope, happiness and euphoria consumes every young lover, but the sad reality – that love is a dangerous pursuit, especially when its bet is not fully understood – can surprise a lover without distrust and leave him defeated. , broken and perishing. Pushkin concludes his warning by emphasizing how Tatiana remained vulnerable and consumed by her love for Onegin: “everywhere, everywhere before you; is your fateful seducer (Pushkin, Eugene Onegin, 1964). Tatiana's burning passion can no longer be extinguished by her optimistic reflections; her beloved is essential in her eyes, but that has ceased to satisfy her. She craves concrete interaction and a tangible relationship to replace her imaginative optimism. Tatiana retires to a moonlit garden to dwell on her sorrow before finally confiding to her nurse the "passionate anguish", the "painful love" which keeps her awake (CHAPTER III, STANZA XIV, LINES 9 -10 (Pushkin, Eugene Onegin, 1964)).The setting of STANZA XVI is remarkably effective in encouraging the reader to root for Tatiana's unhappy fantasies. Immediately following his plea for her to reconsider an impulsive and doomed love affair, Pushkin follows Tatiana into a romanticized garden where "the nightingale sings sonorous songs" and "the moon patrols the distant vault of the sky." (Pushkin, Eugene Onegin, 1964). ). The inspiring presence of the picturesque moon inspires the reader to accept Tatiana's desires, against our better judgment. After all, isn't it right to be rooted in the love of youth? Pushkin continues by alluding to theTatiana's innocent and fervent sexuality, as well as her recklessness in lines 5 to 9: "...her chest heaved, her cheeks are covered with an instantaneous flame, her breath died on her lips, and there has a song. in his ears, a flashBefore his eyes…” (CHAPTER III, XVI, 5-9 (Pushkin, Eugene Onegin, 1964)) Nobokov, in his commentary on Eugene Onegin, reminds us that the “flash” evokes “a well-known photomatic » typical phenomenon of the slight madness of adolescence. So here is another insight into the nature of Tatiana's reckless and fanciful love; and the double meaning of the word, as a kind of celestial illumination or illumination of the stars, further suggests the romanticized nature of the setting. By creating such a dramatic and sexualized scene, set against the backdrop of an Edenic and almost clichéd garden, Pushkin arouses sympathy towards Tatiana's innocent naivety. Indeed, the garden scene seems contrived in its resemblance to a fairy tale garden, where animals, trees and celestial bodies all cry out in unison for the heroine to act on her impulses – no matter how misguided. -they. . Pushkin's poetry pushes his agenda so skillfully that, despite the reader's foreknowledge of the impossible fate of his senseless and hasty fantasies, we cannot help but support them. Moreover, even if Pushkin presents and defines Tatiana as: "lacking fresh and rosy tone/a wild, sad, pensive/and shy creature (CHAPTER III, STANZA XXV (Pushkin, Eugene Onegin, 1995))", the reader is ready to compromise. all these pathetic characteristics and instead focus on the traits we admire like his courageous initiative, his imagination, his innocence and his self-determination. Finally, after a solitary walk in the garden, Tatiana confides her feelings to the senile man, but well-” Filatievna intended, which sparks an uncomfortable reminiscence of her nurse's past. Indeed, Filatievna spends much more time speaking in this exchange and, as her story unfolds, she lends to the suspense that the reader shares with Tatiana – who has allowed herself to dream about her own perceptions of love, rather than those of elderly people in love. non-idealized notions presented by his nurse. The dialogue ends in STANZA XX, with some of Pushkin's most touching love poetry. "'Oh, I'm in love,' she begged once more to her old friend. 'My little dove, you're just not well, you've overheated.' 'Oh, leave me alone now...I'm in love.' »(CHAPTER III, XX, 1-4 (Pushkin, Eugene Onegin, 1995))Tatiana's insistent independence is accentuated in this exchange. The same goes for his innocent idealism. She repeats the phrase "I'm in love" twice in this stanza (and once in the previous stanza), which suggests that she is trying to reinforce the legitimacy of her love, while also trying to convince herself that she is truly in love. lover. Furthermore, the reader gets the feeling that Tatiana loves the prospect of being in love as much as the act of actually loving; in her adolescent state, the word "love" seems to roll off her tongue with mature connotations, it dignifies her. As she begins to understand the meaning of love, she sinks deeper and deeper into it. This is reflected in his reiteration of his love. Here, the first declaration of love seems to be its realization; the second, its defense; and the last, her conclusion, by which she is certain of being in love, her decision is made and there is no turning back. It is also interesting to note in STANZA XX Pushkin's second mention of the moonlit setting. This familiar context suggests a feeling of enchantment and comfort for Tatiana,..