Why does the author say that Tatyana is a Russian soul. Presentation on theme: "And Tatyana has a wonderful dream...

Tatyana (Russian soul,
I don't know why.)
With her cold beauty
I loved the Russian winter.

Russian winter is a special phenomenon, and it is impossible not to love it. The first frost, the first snow is delightful. The drawings on the windows that frost creates, the uniqueness of snowflakes, finally, the New Year and sleigh rides - all this can only be compared with something fabulous. Life from Pushkin's novel "Eugene Onegin" (and these lines refer to the work), unlike most modern provincial young ladies, was still filled with Christmas fortune-telling, unusual signs and tales of her nanny.

Why did Tatyana remain Russian in her soul, despite reading French novels and French education? With all her heart, she was attached to folk culture. And even the one that became prophetic for her and foreshadowed trouble was not about French knights and musketeers, but about forest evil spirits, and a bear protector.

This phrase - "Tatyana, Russian soul" - added to the collection of Russian aphorisms and folk sayings. In every Russian person, at the genetic level, his belonging, attachment to the Russian land is laid down. Who even, living in the south (where there are actually no winters) survived the Russian winter at least once, he retained love for her forever.

Tatyana (Russian soul,
I don't know why.)
With her cold beauty
I loved Russian winter
In the sun it's blue on a frosty day,
And the sleigh, and the late dawn
Shine of pink snows,
And the darkness of Epiphany evenings.
Celebrated in the old days
In their house these evenings:
Servants from all over the court
They wondered about their young ladies
And they were promised every year
Husbands of the military and campaign.

The writing

A. S. Pushkin created in the novel "Eugene Onegin" a captivating image of a Russian girl, which he called his "true ideal." He does not hide his love for the heroine, his admiration for her. The author is worried and sad 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 attraction and poetry of her image, associated with the common people's culture, lurking in the bowels of the Russian nation. It develops in the novel in parallel with the noble culture, oriented towards 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 be quickly mistaken for a German "with a soul directly Goettingen", who "brought the fruits of learning from foggy Germany." Clothing, speech and demeanor of Onegin make him look like an Englishman, then a Frenchman. The poet calls Tatyana "Russian soul". Her childhood and youth passed 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 the love of nature, the image of which, as it were, completes her inner portrait, giving special spirituality and poetry.

Tatyana (Russian soul,
I don't know why.)
With her cold beauty
I loved the Russian winter.

For a "tender dreamer" nature is full of secrets and mysteries. Even before the "deceptions of Richardson and Russo" begin to occupy her mind, Tatyana easily and naturally enters the magical world of Russian folklore. She shunned the noisy children's amusements, since "terrible stories in the winter in the darkness of nights captivated her heart more." Tatyana is inseparable from the national folk element with its beliefs, rituals, divination, divination, prophetic dreams.

Tatyana believed the legends
of common antiquity,
And dreams, and card fortune-telling,
And the predictions of the moon.

Even Tatyana's dream is all woven from the images of old Russian fairy tales. Thus, Tatyana'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, her morality takes place under the influence of folk culture, life, mores and customs. But the formation of her mental interests is significantly influenced by books - first sentimental love stories, then romantic poems found in Onegin's library. This leaves an imprint on the spiritual appearance of Tatyana. It is the enthusiasm for 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 Yevgeny 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 characters again lead her to an erroneous conclusion, forcing her to see in her beloved a "Muscovite in Harold's cloak", that is, a miserable imitator of literary patterns. In the future, Tatyana has to gradually get rid of these airy romantic dreams in herself, to overcome the idealistic bookish attitude to life. And it helps her in this healthy vital basis, which she absorbed along with the way of life, customs and culture of the Russian people, with her native nature. In one of the most difficult moments in her life, tormented by 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 for a meeting with Onegin, she hears the artless folk "Song of the Girls", which, as it were, expresses her feelings.

Pictures of native nature, dear to Tatiana's heart, remain with her in cold high-society St. Petersburg. Forced to hide her feelings, Tatyana sees with her inner eye the familiar rural landscape, devoid of exoticism, but fanned with unique charm.

Tatyana looks and does not see
The excitement of the world hates;
She's stuffy here... she's a dream
Strives for the life of the field,
To the village, to the poor villagers
To a secluded corner. This means that the mask of the "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, success in the world "rags of a masquerade", because "this brilliance, and noise, and fumes" cannot hide the emptiness and inner squalor of metropolitan life.

All Tatyana's actions, all her thoughts and feelings are colored by folk morality, which she absorbed from 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, transgressing the conventions of noble morality. Under the influence of folk traditions that inspire children with respect and reverence for their parents, Tatyana marries, obeying the will of her mother, who wants to arrange her life.

Forced to live according to 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 answer to Eugene, which is also sustained in the spirit of folk morality:

I love you (why lie?),
But I am 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 refuse 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 connect with a loved one. If Tatyana had responded to Onegin's love, then 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. In her image, the best aspects of the noble and common people's culture were harmoniously combined.

Among all the characters in the novel by A.S. Pushkin "Eugene Onegin" Tatyana occupies a special place. The author calls her a sweet ideal, admits that he singles her out: “Forgive me: I love my dear Tatyana so much!” Pushkin explains this by the fact that she is higher than many other representatives of the noble society in her spiritual qualities, character, mind. Brought up against the backdrop of rural nature, she harmoniously developed her inner world. Tatyana read a lot, meditated in solitude, communicated with kind people, listened to folk songs and nurse's tales, learned to love nature.

The main character is distinguished not only by her good disposition, excellent upbringing, but also by her gullibility, sincerity, above all. And these are not provincial features, but the qualities of the Russian soul, which are difficult to preserve in a noisy light, where the young ladies have well learned the lessons of French and European etiquette in general. In naturalness and simplicity, in the ability to behave with dignity, but without arrogance, we see the main difference between Tatyana and coquettes from the capital, capable of playing, hypocrisy, intrigue or slander. "Russian in soul", she will remain true to her dear habits in high society, longing for the world of provincial life dear to her, if possible, to communicate with her native nature.

Tatyana, as was customary in those days, reads and writes not in Russian, but in French, but this does not prevent her from remaining Russian in observing traditions, in love for folk songs, for Russian culture, for nature. Probably, Pushkin wanted to emphasize that not only life in the countryside, but also proximity to the people allows preserving originality, loyalty to the national character. After all, Tatyana communicates with the nanny, whose peasant wisdom and talent could have influenced the upbringing of the best qualities in the character of the heroine. Hence Tatyana's confidence in the need for an honest conversation with the person to whom she would like to "entrust" her fate. Yes, she knew life mainly from books, had no experience, did not imagine the difficulties that await her in the capital society, but she wanted to build a future family life out of love, and not by calculation. In the letter, she reports that it was exactly like this, similar to Onegin, that she saw her betrothed:

You appeared to me in dreams
Invisible, you were already sweet to me ...

Her heart lived with the expectation of meeting with that person who will understand, appreciate, love, become a friend for life. And, having met Onegin in the wilderness, feeling an unusual person in him, Tatyana unconditionally, unrestrainedly surrenders to her first and, as it turns out later, only love. Her letter to Onegin strikes with the strength of feeling, the courage of a young provincial woman who is able to confess her love, become the initiator in a love relationship, which was considered unacceptable for women in the nineteenth century. The author does not condemn his heroine, but regrets, sympathizes with her, explaining her impulse with inexperience, sincerity, gullibility of a girl who fell in love with a man who did not appreciate her main virtues: the absence of falsehood and the ability to love selflessly, deeply, strongly and forever.

The image of Tatyana throughout the novel is subject to evolution, becoming more and more attractive and significant. Once in the highest aristocratic society, Tatiana in the depths of her soul remains the same. She is ready to exchange the "rags of a masquerade" for rural solitude, for the simplicity of human relations. She is tired of the unbearable nonsense that occupies secular ladies. Shine, tinsel and the emptiness of an idle life oppress Tatyana, she would like to break out of this circle.

To err is human, and Tatyana is no exception. She was wrong twice in her conclusions about Onegin, but in the main she remains true to herself: she cannot betray a person, hurt him. In response to Onegin's confession, Pushkin's beloved heroine replies: "I am given to another and I will be faithful to him for a century."
In the image of Tatyana Larina, Pushkin embodied the best features of his contemporaries: integrity, honesty, sincerity, nobility, kindness, high spirituality - all that is valued in a person at all times. The distinctive features of this image appeared as a result of the artistic discovery of the author. The very name of the heroine speaks of her closeness to the people: noblewomen were not called Tatyana, commoners could have such a name. Pushkin in the novel "Eugene Onegin" more than once showed sympathy for the main character, who retained her national roots, did not forget her native language, traditions and customs of her people. The author notes that "Tatyana (Russian soul) loved the Russian winter" and winter holidays. She, like many girls,

I believed the legends
of common antiquity,
And dreams, and card fortune-telling,
And the predictions of the moon.

Proximity to the people contributed to the formation of an original national character, the features of which Pushkin painted with such admiration. Creating the image of Tatyana, Pushkin expressed his opinion that the best among the nobles can be those who are faithful to the spiritual values ​​of the Russian people, who have preserved national traits, traditions, culture and language. That is why Tatyana, with her Russian soul, is the beloved, ideal heroine of A.S. Pushkin.

Reviews

Zoya, good evening.

Thanks a lot for the great article.

When I read "Eugene Onegin", I remember that I caught myself thinking that Pushkin was very fond of his heroine Tatyana. This attitude, this love was felt in the lines. (I caught a similar attitude of the author from Leo Tolstoy in relation to Natasha Rostova in "War and Peace").

The image of Tatyana is written by Pushkin with love and very clearly, masterfully.

After reading your article on Tatyana Larina, I saw the details of the explanation of such an attitude towards the heroine: what Pushkin singled out, what was dear to him, what he wanted to show.

And after all, this is the real beauty of the Russian soul, the female soul that knows how to love, believe sincerely in feelings, is faithful to the traditions of its people, and at the same time is educated, kind, understands other cultures (knows how to communicate in French, understands this culture). It is constructive, not destructive. Yes, and just sweet.

You get into it, and it's wonderful. Here she is - a great and sweet, not protruding, but worthy, creative and kind, Russian female soul. What a beauty in her! And how she is sung!

Thanks a lot, Zoya. Just great. At one time, I knew a lot from Onegin by heart, much more than they were asked at school. This is the song of songs!

Good Saturday to you, good mood and all the best.

Igor, good evening!
You made me very happy with your perception of the image of Tatyana. It is especially great that they learned a lot by heart! I, too, in my school years (and later) knew about half of the novel by heart, since everything was easy to remember and I wanted to speak in Pushkin's poems.
Thanks for the kind words.
All the best, Igor!

"Tatyana Russian soul..."

Sample essay text

A. S. Pushkin created in the novel "Eugene Onegin" a captivating image of a Russian girl, which he called his "true ideal." He does not hide his love for the heroine, his admiration for her. The author is worried and sad 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 attraction and poetry of her image, associated with the common people's culture, lurking in the bowels of the Russian nation. It develops in the novel in parallel with the noble culture, oriented towards 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 be quickly mistaken for a German "with a soul directly Goettingen", who "brought the fruits of learning from foggy Germany." Clothing, speech and demeanor of Onegin make him look like an Englishman, then a Frenchman. The poet calls Tatyana "Russian soul". Her childhood and youth passed 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 the love of nature, the image of which, as it were, completes her inner portrait, giving special spirituality and poetry.

Tatyana (Russian soul,

I don't know why.)

With her cold beauty

I loved the Russian winter.

For a "tender dreamer" nature is full of secrets and mysteries. Even before the "deceptions of Richardson and Russo" begin to occupy her mind, Tatyana easily and naturally enters the magical world of Russian folklore. She shunned the noisy children's amusements, since "terrible stories in the winter in the darkness of nights captivated her heart more." Tatyana is inseparable from the national folk element with its beliefs, rituals, divination, divination, prophetic dreams.

Tatyana believed the legends

of common antiquity,

And dreams, and card fortune-telling,

And the predictions of the moon.

Even Tatyana's dream is all woven from the images of old Russian fairy tales. Thus, Tatyana'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, her morality takes place under the influence of folk culture, life, mores and customs. But the formation of her mental interests is significantly influenced by books - first sentimental love stories, then romantic poems found in the Onegin library. This leaves an imprint on the spiritual appearance of Tatyana. It is the enthusiasm for 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 Yevgeny 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 characters again lead her to an erroneous conclusion, forcing her to see in her beloved a "Muscovite in Harold's cloak", that is, a miserable imitator of literary patterns. In the future, Tatyana has to gradually get rid of these airy romantic dreams in herself, to overcome the idealistic bookish attitude to life. And it helps her in this healthy vital basis, which she absorbed along with the way of life, customs and culture of the Russian people, with her native nature. In one of the most difficult moments in her life, tormented by 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 for a meeting with Onegin, she hears the artless folk "Song of the Girls", which, as it were, expresses her feelings.

Pictures of native nature, dear to Tatiana's heart, remain with her in cold high-society St. Petersburg. Forced to hide her feelings, Tatyana sees with her inner eye the familiar rural landscape, devoid of exoticism, but fanned with unique charm.

Tatyana looks and does not see

The excitement of the world hates;

She's stuffy here... she's a dream

Strives for the life of the field,

To the village, to the poor villagers

To a secluded corner.

This means that the mask of the "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, success in the world "rags of a masquerade", because "this brilliance, and noise, and fumes" cannot hide the emptiness and inner squalor of metropolitan life.

All Tatyana's actions, all her thoughts and feelings are colored by folk morality, which she absorbed from 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, transgressing the conventions of noble morality. Under the influence of folk traditions that inspire children with respect and reverence for their parents, Tatyana marries, obeying the will of her mother, who wants to arrange her life.

Forced to live according to 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 answer to Eugene, which is also sustained in the spirit of folk morality:

I love you (why lie?),

But I am 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 refuse 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 connect with a loved one. If Tatyana had responded to Onegin's love, then 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. In her image, the best aspects of the noble and common people's culture were harmoniously combined.

Sample essay text

A. S. Pushkin created in the novel "Eugene Onegin" a captivating image of a Russian girl, which he called his "true ideal." He does not hide his love for the heroine, his admiration for her. The author is worried and sad 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 attraction and poetry of her image, associated with the common people's culture, lurking in the bowels of the Russian nation. It develops in the novel in parallel with the noble culture, oriented towards 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 be quickly mistaken for a German "with a soul directly Goettingen", who "brought the fruits of learning from foggy Germany." Clothing, speech and demeanor of Onegin make him look like an Englishman, then a Frenchman. The poet calls Tatyana "Russian soul". Her childhood and youth passed 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 the love of nature, the image of which, as it were, completes her inner portrait, giving special spirituality and poetry.

Tatyana (Russian soul,

I don't know why.)

With her cold beauty

I loved the Russian winter.

For a "tender dreamer" nature is full of secrets and mysteries. Even before the "deceptions of Richardson and Russo" begin to occupy her mind, Tatyana easily and naturally enters the magical world of Russian folklore. She shunned the noisy children's amusements, since "terrible stories in the winter in the darkness of nights captivated her heart more." Tatyana is inseparable from the national folk element with its beliefs, rituals, divination, divination, prophetic dreams.

Tatyana believed the legends

of common antiquity,

And dreams, and card fortune-telling,

And the predictions of the moon.

Even Tatyana's dream is all woven from the images of old Russian fairy tales. Thus, Tatyana'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, her morality takes place under the influence of folk culture, life, mores and customs. But the formation of her mental interests is significantly influenced by books - first sentimental love stories, then romantic poems found in the Onegin library. This leaves an imprint on the spiritual appearance of Tatyana. It is the enthusiasm for 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 Yevgeny 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 characters again lead her to an erroneous conclusion, forcing her to see in her beloved a "Muscovite in Harold's cloak", that is, a miserable imitator of literary patterns. In the future, Tatyana has to gradually get rid of these airy romantic dreams in herself, to overcome the idealistic bookish attitude to life. And it helps her in this healthy vital basis, which she absorbed along with the way of life, customs and culture of the Russian people, with her native nature. In one of the most difficult moments in her life, tormented by 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 for a meeting with Onegin, she hears the artless folk "Song of the Girls", which, as it were, expresses her feelings.

Pictures of native nature, dear to Tatiana's heart, remain with her in cold high-society St. Petersburg. Forced to hide her feelings, Tatyana sees with her inner eye the familiar rural landscape, devoid of exoticism, but fanned with unique charm.

Tatyana looks and does not see

The excitement of the world hates;

She's stuffy here... she's a dream

Strives for the life of the field,

To the village, to the poor villagers

To a secluded corner.

This means that the mask of the "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, success in the world "rags of a masquerade", because "this brilliance, and noise, and fumes" cannot hide the emptiness and inner squalor of metropolitan life.

All Tatyana's actions, all her thoughts and feelings are colored by folk morality, which she absorbed from 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, transgressing the conventions of noble morality. Under the influence of folk traditions that inspire children with respect and reverence for their parents, Tatyana marries, obeying the will of her mother, who wants to arrange her life.

Forced to live according to 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 answer to Eugene, which is also sustained in the spirit of folk morality:

I love you (why lie?),

But I am 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 refuse 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 connect with a loved one. If Tatyana had responded to Onegin's love, then 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. In her image, the best aspects of the noble and common people's culture were harmoniously combined.

Bibliography

For the preparation of this work, materials from the site http://www.kostyor.ru/

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