Why Tatyana is a Russian soul excerpt. “Tatyana (Russian in soul, without knowing why) with her cold beauty loved the Russian winter. Sample essay text
"Tatiana is Russian in soul..."
Sample essay text
A. S. Pushkin created a captivating image of a Russian girl in the novel “Eugene Onegin,” which he called his “true ideal.” He does not hide his love for the heroine, his admiration for her. The author worries and is sad together with Tatyana, accompanies her to Moscow and St. Petersburg.
Drawing in the novel the images of Onegin and Lensky as the best people of the era, he, however, gives all his sympathy and love to this provincial young lady with a discreet appearance and the common name Tatyana.
Perhaps this is the special attractiveness and poetry of her image, associated with the common culture hidden in the depths of the Russian nation. It develops in the novel in parallel with noble culture, focused on Western European literature, philosophy, and science. Therefore, both the external and internal appearance of Onegin and Lensky does not make it possible to see Russian people in them. Vladimir Lensky can most likely be mistaken for a German “with a soul straight from Göttingen,” who “brought the fruits of learning from foggy Germany.” Onegin's clothes, speech and behavior make him look like either an Englishman or a Frenchman. The poet calls Tatiana “Russian soul.” Her childhood and youth were spent not among the cold stone masses of St. Petersburg or Moscow cathedrals, but in the bosom of free meadows and fields, shady oak forests. She early absorbed a love for nature, the image of which seemed to complete her inner portrait, imparting special spirituality and poetry.
Tatiana (Russian soul,
Without knowing why)
With her cold beauty
I loved Russian winter.
For the “tender dreamer,” nature is full of secrets and mysteries. Even before the “deceptions of Richardson and Rousseau” begin to occupy her mind, Tatiana easily and naturally enters the magical world of Russian folklore. She shunned noisy children's amusements, since "terrible stories in the winter in the dark of night captivated her heart more." Tatyana is inseparable from the national element of the common people with its beliefs, rituals, fortune-telling, divination, and prophetic dreams.
Tatyana believed the legends
Of common folk antiquity,
And dreams, and card fortune-telling,
And the predictions of the moon.
Even Tatiana’s dream is entirely woven from images of ancient Russian fairy tales. Thus, Tatiana’s personality was shaped by the environment in which she grew up and was brought up not under the guidance of a French governess, but under the supervision of a serf nanny. The development of Tatyana's soul and her morality occurs under the influence of folk culture, life, morals and customs. But books have a significant influence on the formation of her mental interests - first sentimental love novels, then romantic poems found in the Onegin library. This leaves an imprint on Tatyana’s spiritual appearance. It is the fascination with the fictional life of the works of English and French authors that develops in the heroine a bookish idea of reality. This does Tatiana a disservice. Seeing Onegin for the first time, she falls in love with him, mistaking Eugene for the enthusiastic hero of her favorite books, and declares her love to him. And after her illusions and dreams disappear, she again tries to understand Onegin’s character with the help of the books he read. But Byron’s romantic poems with his gloomy, embittered and disappointed heroes again lead her to the wrong conclusion, forcing her to see in her lover a “Muscovite in Harold’s cloak,” that is, a pathetic imitator of literary models. In the future, Tatyana has to gradually get rid of these airy romantic dreams in herself and overcome her idealistic bookish attitude towards life. And she is helped in this by a healthy basis of life, which she absorbed along with the way of life, customs and culture of the Russian people, with her native nature. At one of the most difficult moments in her life, tormented by her love for Onegin, Tatyana turns for help and advice not to her mother or sister, but to an illiterate peasant woman who was the closest and dearest person to her. While waiting to meet Onegin, she hears the artless folk “Song of Girls,” which seems to express her experiences.
The pictures of her native nature, dear to Tatiana’s heart, remain with her in the high-society, cold Petersburg. Forced to hide her feelings, Tatyana sees with her inner gaze a familiar village landscape, devoid of exoticism, but covered in unique charm.
Tatyana looks and doesn’t see,
He hates the excitement of the world;
She's stuffy here... she's a dream
Strives for life in the field,
To the village, to the poor villagers
To a secluded corner.
This means that the mask of an “indifferent princess” hides the face of a “simple maiden” with the same aspirations. The world of moral values has not changed. She calls the splendor of a luxurious living room and success in society “the rags of a masquerade,” because “this shine, and noise, and fumes” cannot hide the emptiness and inner squalor of metropolitan life.
All of Tatyana’s actions, all of her thoughts and feelings are colored by folk morality, which she has absorbed since childhood. In accordance with folk traditions, Pushkin endows his beloved heroine with exceptional spiritual integrity. Therefore, having fallen in love with Onegin, she is the first to declare her love to him, breaking the conventions of noble morality. Under the influence of folk traditions, which instill in children respect and reverence for their parents, Tatyana gets married, obeying the will of her mother, who wants to arrange her life.
Forced to live by the hypocritical laws of secular society, Tatyana is honest and frank with Onegin because she loves him and trusts him. The moral purity of the heroine is especially clearly manifested in her response to Eugene, which is also in the spirit of folk morality:
I love you (why lie?),
But I was given to another;
I will be faithful to him forever.
These words reflected all the best features of the heroine: nobility, honesty, a highly developed sense of duty. Tatyana's ability to abandon the only person she loves and will love speaks of her strong will and moral purity. Tatyana is simply not capable of lying to a person who is devoted to her, or dooming him to shame in order to unite with her loved one. If Tatyana had responded to Onegin’s love, the integrity of her image would have been violated. She would cease to be Tatyana Larina, turning into Anna Karenina.
Thus, Tatyana appears in the novel “Eugene Onegin” as the embodiment of the national Russian spirit and Pushkin’s ideal. Her image harmoniously combined the best aspects of noble and common culture.
Tatyana (Russian in soul, Without knowing why) With its cold beauty She loved the Russian winter, In the sun on a frosty day, And the sleigh, and the late dawn The glow of pink snows, And the darkness of Epiphany evenings. In the old days, these evenings were celebrated in their house: Maids from all over the yard wondered about their young ladies And they were promised every year Military husbands and a campaign.
The night is frosty, the whole sky is clear; The heavenly luminaries, a wondrous choir, Flows so quietly, so in harmony... Tatiana comes out into the wide courtyard in an open dress, Points the mirror at the month; But in the dark mirror, the sad moon trembles alone... Chu... the snow crunches... a passerby; The maiden flies towards him on tiptoe, And her voice sounds more tender than a pipe tune: What is your name? He looks and answers: Agathon.
Tatyana looks with a curious gaze at the sunken wax: With a wonderfully poured pattern, it says something wonderful to her; As if at an annoying separation, Tatyana grumbles about the stream; She doesn’t see anyone who would give her a hand from the other side; But suddenly the snowdrift began to move. And who came from under it? A big, disheveled bear; Tatyana ah! and he roared, And extended his paw with sharp claws to Her; She braced herself with a trembling hand and with timid steps crossed the stream; I went and so what? the bear is behind her!
Fell into the snow; the bear quickly grabs her and carries her; She is insensitively submissive, does not move, does not breathe; He rushes her along the forest road; Suddenly, between the trees there is a wretched hut; All around is wilderness; from everywhere it is covered with desert snow, and the window is shining brightly, and in the hut there is a cry and noise; The bear said: “My godfather is here: Warm up with him a little!” And he goes straight into the hallway and puts her on the threshold.
...There are monsters sitting around the table: One with horns with a dog's face, Another with a rooster's head, Here is a witch with a goat's beard, Here is a prim and proud frame, There is a dwarf with a ponytail, and here is a Half-crane and a half-cat... Even more terrible, even more wonderful: Here is a crab riding on a spider, Here is a skull on a goose neck, Spinning in a red cap, Here is a mill dancing in a crouch, And cracking and flapping its wings; Barking, laughter, singing, whistling and clapping, People's rumors and horse tramping! But what did Tatyana think when she recognized among the guests the One who is dear and scary to her, the Hero of our novel! Onegin sits at the table and looks at the door furtively.
My! Eugene said menacingly, And the whole gang suddenly disappeared; The young maiden remained with him as a friend in the frosty darkness; Onegin quietly drags Tatiana into a corner and lays her down on a shaky bench and bows his head on her shoulder; suddenly Olga enters, Lensky follows her; the light flashed; Onegin waved his hand, And his eyes wander wildly, And he scolds the uninvited guests; Tatyana lies barely alive. The argument is louder, louder; suddenly Evgeniy grabs a long knife, and Lensky is instantly defeated; terribly the shadows thickened; an unbearable scream was heard... the hut shook... And Tanya woke up in horror...
He lay motionless, and the languid peace of his brow was strange. He was wounded right through the chest; Blood flowed smoking from the wound. One moment ago, inspiration was beating in this heart, Enmity, hope and love, Life was playing, blood was boiling, Now, as in an empty house, Everything in it is quiet and dark; It fell silent forever. The shutters are closed, the windows are whitewashed with chalk. There is no owner. And where, God knows. There was no trace.
In the anguish of heartfelt remorse, with his hand clutching the pistol, Evgeniy looks at Lensky. "Well? killed,” the neighbor decided. Killed!.. Smitten by this terrible exclamation, Onegin walks away with a shudder and calls people. Zaretsky carefully places the frozen corpse on the sleigh; He is carrying a terrible treasure home. Smelling the dead, they snore And the horses fight, White foam Wet the steel bits, And they fly like an arrow.
So, a word-symbol in the context of a dream is a multi-valued semantic structure, the meanings of which are determined, firstly, by the pagan symbolism of Russian folklore, secondly, by the macro-context of the work, and thirdly, by the function of a dream to reveal the mental state and future of the dreamer.
Tatyana’s dream is Pushkin’s heroine’s awareness of her helplessness in the face of circumstances, an intuitive understanding of the destructiveness of her feelings for Onegin, a “terrible dream,” an anticipation of salvation. Getting rid of the influence of dark and incomprehensible forces at the cost of the death of a pure, inexperienced, immaculate soul.
"Tatiana is Russian in soul..."
Sample essay text
A. S. Pushkin created a captivating image of a Russian girl in the novel “Eugene Onegin,” which he called his “true ideal.” He does not hide his love for the heroine, his admiration for her. The author worries and is sad together with Tatyana, accompanies her to Moscow and St. Petersburg.
Drawing in the novel the images of Onegin and Lensky as the best people of the era, he, however, gives all his sympathy and love to this provincial young lady with a discreet appearance and the common name Tatyana.
Perhaps this is the special attractiveness and poetry of her image, associated with the common culture hidden in the depths of the Russian nation. It develops in the novel in parallel with noble culture, focused on Western European literature, philosophy, and science. Therefore, both the external and internal appearance of Onegin and Lensky does not make it possible to see Russian people in them. Vladimir Lensky can most likely be mistaken for a German “with a soul straight from Göttingen,” who “brought the fruits of learning from foggy Germany.” Onegin's clothes, speech and behavior make him look like either an Englishman or a Frenchman. The poet calls Tatiana “Russian soul.” Her childhood and youth were spent not among the cold stone masses of St. Petersburg or Moscow cathedrals, but in the bosom of free meadows and fields, shady oak forests. She early absorbed a love for nature, the image of which seemed to complete her inner portrait, imparting special spirituality and poetry.
Tatiana (Russian soul,
Without knowing why)
With her cold beauty
I loved Russian winter.
For the “tender dreamer,” nature is full of secrets and mysteries. Even before the “deceptions of Richardson and Rousseau” begin to occupy her mind, Tatiana easily and naturally enters the magical world of Russian folklore. She shunned noisy children's amusements, since "terrible stories in the winter in the dark of night captivated her heart more." Tatyana is inseparable from the national element of the common people with its beliefs, rituals, fortune-telling, divination, and prophetic dreams.
Tatyana believed the legends
Of common folk antiquity,
And dreams, and card fortune-telling,
And the predictions of the moon.
Even Tatiana’s dream is entirely woven from images of ancient Russian fairy tales. Thus, Tatiana’s personality was shaped by the environment in which she grew up and was brought up not under the guidance of a French governess, but under the supervision of a serf nanny. The development of Tatyana's soul and her morality occurs under the influence of folk culture, life, morals and customs. But books have a significant influence on the formation of her mental interests - first sentimental love novels, then romantic poems found in the Onegin library. This leaves an imprint on Tatyana’s spiritual appearance. It is the fascination with the fictional life of the works of English and French authors that develops in the heroine a bookish idea of reality. This does Tatiana a disservice. Seeing Onegin for the first time, she falls in love with him, mistaking Eugene for the enthusiastic hero of her favorite books, and declares her love to him. And after her illusions and dreams disappear, she again tries to understand Onegin’s character with the help of the books he read. But Byron’s romantic poems with his gloomy, embittered and disappointed heroes again lead her to the wrong conclusion, forcing her to see in her lover a “Muscovite in Harold’s cloak,” that is, a pathetic imitator of literary models. In the future, Tatyana has to gradually get rid of these airy romantic dreams in herself and overcome her idealistic bookish attitude towards life. And she is helped in this by a healthy basis of life, which she absorbed along with the way of life, customs and culture of the Russian people, with her native nature. At one of the most difficult moments in her life, tormented by her love for Onegin, Tatyana turns for help and advice not to her mother or sister, but to an illiterate peasant woman who was the closest and dearest person to her. While waiting to meet Onegin, she hears the artless folk “Song of Girls,” which seems to express her experiences.
The pictures of her native nature, dear to Tatiana’s heart, remain with her in the high-society, cold Petersburg. Forced to hide her feelings, Tatyana sees with her inner gaze a familiar village landscape, devoid of exoticism, but covered in unique charm.
Tatyana looks and doesn’t see,
He hates the excitement of the world;
She's stuffy here... she's a dream
Strives for life in the field,
To the village, to the poor villagers
To a secluded corner.
This means that the mask of an “indifferent princess” hides the face of a “simple maiden” with the same aspirations. The world of moral values has not changed. She calls the splendor of a luxurious living room and success in society “the rags of a masquerade,” because “this shine, and noise, and fumes” cannot hide the emptiness and inner squalor of metropolitan life.
All of Tatyana’s actions, all of her thoughts and feelings are colored by folk morality, which she has absorbed since childhood. In accordance with folk traditions, Pushkin endows his beloved heroine with exceptional spiritual integrity. Therefore, having fallen in love with Onegin, she is the first to declare her love to him, breaking the conventions of noble morality. Under the influence of folk traditions, which instill in children respect and reverence for their parents, Tatyana gets married, obeying the will of her mother, who wants to arrange her life.
Forced to live by the hypocritical laws of secular society, Tatyana is honest and frank with Onegin because she loves him and trusts him. The moral purity of the heroine is especially clearly manifested in her response to Eugene, which is also in the spirit of folk morality:
I love you (why lie?),
But I was given to another;
I will be faithful to him forever.
These words reflected all the best features of the heroine: nobility, honesty, a highly developed sense of duty. Tatyana's ability to abandon the only person she loves and will love speaks of her strong will and moral purity. Tatyana is simply not capable of lying to a person who is devoted to her, or dooming him to shame in order to unite with her loved one. If Tatyana had responded to Onegin’s love, the integrity of her image would have been violated. She would cease to be Tatyana Larina, turning into Anna Karenina.
Thus, Tatyana appears in the novel “Eugene Onegin” as the embodiment of the national Russian spirit and Pushkin’s ideal. Her image harmoniously combined the best aspects of noble and common culture.
Sample essay text
A. S. Pushkin created a captivating image of a Russian girl in the novel “Eugene Onegin,” which he called his “true ideal.” He does not hide his love for the heroine, his admiration for her. The author worries and is sad together with Tatyana, accompanies her to Moscow and St. Petersburg.
Drawing in the novel the images of Onegin and Lensky as the best people of the era, he, however, gives all his sympathy and love to this provincial young lady with a discreet appearance and the common name Tatyana.
Perhaps this is the special attractiveness and poetry of her image, associated with the common culture hidden in the depths of the Russian nation. It develops in the novel in parallel with noble culture, focused on Western European literature, philosophy, and science. Therefore, both the external and internal appearance of Onegin and Lensky does not make it possible to see Russian people in them. Vladimir Lensky can most likely be mistaken for a German “with a soul straight from Göttingen,” who “brought the fruits of learning from foggy Germany.” Onegin's clothes, speech and behavior make him look like either an Englishman or a Frenchman. The poet calls Tatiana “Russian soul.” Her childhood and youth were spent not among the cold stone masses of St. Petersburg or Moscow cathedrals, but in the bosom of free meadows and fields, shady oak forests. She early absorbed a love for nature, the image of which seemed to complete her inner portrait, imparting special spirituality and poetry.
Tatiana (Russian soul,
Without knowing why)
With her cold beauty
I loved Russian winter.
For the “tender dreamer,” nature is full of secrets and mysteries. Even before the “deceptions of Richardson and Rousseau” begin to occupy her mind, Tatiana easily and naturally enters the magical world of Russian folklore. She shunned noisy children's amusements, since "terrible stories in the winter in the dark of night captivated her heart more." Tatyana is inseparable from the national element of the common people with its beliefs, rituals, fortune-telling, divination, and prophetic dreams.
Tatyana believed the legends
Of common folk antiquity,
And dreams, and card fortune-telling,
And the predictions of the moon.
Even Tatiana’s dream is entirely woven from images of ancient Russian fairy tales. Thus, Tatiana’s personality was shaped by the environment in which she grew up and was brought up not under the guidance of a French governess, but under the supervision of a serf nanny. The development of Tatyana's soul and her morality occurs under the influence of folk culture, life, morals and customs. But books have a significant influence on the formation of her mental interests - first sentimental love novels, then romantic poems found in the Onegin library. This leaves an imprint on Tatyana’s spiritual appearance. It is the fascination with the fictional life of the works of English and French authors that develops in the heroine a bookish idea of reality. This does Tatiana a disservice. Seeing Onegin for the first time, she falls in love with him, mistaking Eugene for the enthusiastic hero of her favorite books, and declares her love to him. And after her illusions and dreams disappear, she again tries to understand Onegin’s character with the help of the books he read. But Byron’s romantic poems with his gloomy, embittered and disappointed heroes again lead her to the wrong conclusion, forcing her to see in her lover a “Muscovite in Harold’s cloak,” that is, a pathetic imitator of literary models. In the future, Tatyana has to gradually get rid of these airy romantic dreams in herself and overcome her idealistic bookish attitude towards life. And she is helped in this by a healthy basis of life, which she absorbed along with the way of life, customs and culture of the Russian people, with her native nature. At one of the most difficult moments in her life, tormented by her love for Onegin, Tatyana turns for help and advice not to her mother or sister, but to an illiterate peasant woman who was the closest and dearest person to her. While waiting to meet Onegin, she hears the artless folk “Song of Girls,” which seems to express her experiences.
The pictures of her native nature, dear to Tatiana’s heart, remain with her in the high-society, cold Petersburg. Forced to hide her feelings, Tatyana sees with her inner gaze a familiar village landscape, devoid of exoticism, but covered in unique charm.
Tatyana looks and doesn’t see,
He hates the excitement of the world;
She's stuffy here... she's a dream
Strives for life in the field,
To the village, to the poor villagers
To a secluded corner.
This means that the mask of an “indifferent princess” hides the face of a “simple maiden” with the same aspirations. The world of moral values has not changed. She calls the splendor of a luxurious living room and success in society “the rags of a masquerade,” because “this shine, and noise, and fumes” cannot hide the emptiness and inner squalor of metropolitan life.
All of Tatyana’s actions, all of her thoughts and feelings are colored by folk morality, which she has absorbed since childhood. In accordance with folk traditions, Pushkin endows his beloved heroine with exceptional spiritual integrity. Therefore, having fallen in love with Onegin, she is the first to declare her love to him, breaking the conventions of noble morality. Under the influence of folk traditions, which instill in children respect and reverence for their parents, Tatyana gets married, obeying the will of her mother, who wants to arrange her life.
Forced to live by the hypocritical laws of secular society, Tatyana is honest and frank with Onegin because she loves him and trusts him. The moral purity of the heroine is especially clearly manifested in her response to Eugene, which is also in the spirit of folk morality:
I love you (why lie?),
But I was given to another;
I will be faithful to him forever.
These words reflected all the best features of the heroine: nobility, honesty, a highly developed sense of duty. Tatyana's ability to abandon the only person she loves and will love speaks of her strong will and moral purity. Tatyana is simply not capable of lying to a person who is devoted to her, or dooming him to shame in order to unite with her loved one. If Tatyana had responded to Onegin’s love, the integrity of her image would have been violated. She would cease to be Tatyana Larina, turning into Anna Karenina.
Thus, Tatyana appears in the novel “Eugene Onegin” as the embodiment of the national Russian spirit and Pushkin’s ideal. Her image harmoniously combined the best aspects of noble and common culture.
Bibliography
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Just to say that even the names “Tatiana” and “Diana” are consonant, which makes their connection closer. And here Tatyana embodies the main artistic feature of “Eugene Onegin” - this is the direct connection of the past, antiquity with the present. The Greeks even said that Pushkin stole the belt of Aphrodite. The ancient Greeks, in their religious worldview, full of poetry and life, believed that the goddess...
One has only to say that even the names “Tatiana” and “Diana” are consonant, which makes their connection closer. And here Tatyana embodies the main artistic feature of “Eugene Onegin” - this is the direct connection of the past, antiquity with the present. The Greeks even said that Pushkin stole the belt of Aphrodite. The ancient Greeks, in their religious worldview, full of poetry and life, believed that the goddess...
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