In A. S. Pushkin’s novel “Eugene Onegin,” each of the heroes is faced with the need to defend their idea of honor. So, Tatyana decides to be the first to confess her love to Onegin, although she understands that if her reputation is made public, irreparable damage will be caused.
According to the ethical standards of Pushkin’s contemporary era, a love letter from an unmarried girl to an unfamiliar man should have been regarded as a dangerous and immoral act. However, the author ardently stands up for his heroine, speaks of the depth and sincerity of her experiences, of the innocence of her soul:
Why is Tatyana more guilty?
Because in sweet simplicity
She knows no deception
And believes in his chosen dream?
Because he loves without art...
Defending Tatyana's honor, Pushkin places the heroine at a height unattainable for secular beauties. On her side is authenticity of feeling, inner purity, readiness to sacrifice herself for the sake of her beloved.
For Tatyana, honor is, first of all, inner truth and loyalty to oneself (remember that already as a child the heroine avoided demonstrative displays of feelings - “she didn’t know how to caress”). Having become a princess, Tatiana rejects the advances of Onegin, whom she still loves, since fidelity is consistent with her spiritual structure, is her internal need, and not a rule imposed from the outside:
I love you (why lie?),
But I was given to another;
I will be faithful to him forever.
If the plot situations associated with Tatyana contain only the presumptive possibility of the heroine losing “honor,” then in the events associated with the duel between Onegin and Lensky, the problem of honor comes to the fore and acts as the main driving force determining the actions of the heroes. Onegin's act (courting Olga at the ball) seems to Vladimir to be a black betrayal. By challenging his yesterday's friend to a duel, the young man believes that he is defending his own honor and the honor of his bride:
He thinks: “I will be her savior.
I will not tolerate the corrupter
Fire and sighs and praises
Tempted a young heart...
The hero's nobility and ardor are aimed at the wrong goals. Firstly, nothing threatens Olga’s honor (Onegin had no idea of seriously courting Olga), and secondly, the episode at the ball revealed not so much Onegin’s deceit as Olga’s feminine vanity, her infidelity and lack of deep
feelings for the groom. But Vladimir stubbornly views what happened through the prism of literary cliches familiar to him: Olga (“two-morning flower”) is an innocent victim of the insidious “corrupter” - Onegin. The lesson that Onegin intended to teach his young friend was not learned by him. Having never parted with his romantic illusions, Lensky dies in vain, but the hero’s willingness to defend his ideals at the cost of his own life cannot but arouse sympathy. Lensky, with all his naivety, certainly personifies the best features of the noble youth of Pushkin’s time (including uncompromisingness in matters of honor).
The author puts the main character of the novel, Onegin, in the face of a tragically insoluble situation: on the one hand, Eugene, “loving the young man with all his heart,” does not want his friend to die, but, on the other hand, Onegin’s refusal to duel would forever dishonor him in the opinion of “the world.” “, would make him a laughing stock in the eyes of the “fools.”
Onegin, unlike Lensky, considers the conflict that has arisen from the position of a sensible and experienced person. He blames himself for everything and regrets that because of a momentary outburst of anger, “he played such a careless joke on timid, tender love.” However, both for the hero and for the reader - a contemporary of Pushkin - it is obvious that there is no turning back, refusing a duel is unthinkable:
The old duelist intervened;
He is angry, he is a gossip, he is loud...
Without removing responsibility from Onegin for the death of Lensky (Eugene “had to disarm the young heart”), the author points out the real culprits of the tragedy - Zaretsky, the secular “fools”.
In Pushkin's romance, the idea of honor in its traditional interpretation is correlated with the moral content of what is happening, with real life, and it turns out that this fundamental (in the system of ethics of Russian noble society) concept needs a serious reassessment. The author does not reduce the ideal of honor to the level of “practical expediency,” but by all means (through the development of the plot, through the internal monologues of the characters, through the author’s direct commentary) he proves: the true dignity of a person cannot be assessed through formal criteria of honor; it should not be devalued because for philistine prejudices or “the chatter of fools.” The ideal of honor makes sense only in the context of an integral system of moral values, going back to folk ethical principles, otherwise this ideal turns into a mechanical rule of behavior and kills all the best in a person.
11 In A. S. Pushkin’s novel “Eugene Onegin,” any of the heroes is faced with the need to defend their idea of honor. So, Tatyana decides to be the first to confess her love to Onegin, although she understands that if her reputation is made public, there will be irreparable damage. According to the ethical standards of Pushkin’s contemporary era, a love letter from an unmarried girl to an unfamiliar man should have been regarded as a dangerous and immoral act. However, the author ardently stands up for his heroine, speaks of the depth and sincerity of her experiences, of the innocence of her soul: Why is Tatyana more guilty? Is it because in sweet simplicity She knows no deception And believes in her chosen dream? Because he loves without art: Defending Tatyana’s honor, Pushkin puts the heroine at a height unattainable for secular beauties.
On her side is authenticity of feeling, inner purity, readiness to sacrifice herself for the sake of her loved one. For Tatyana, honor is, first of all, internal and loyalty to oneself; let us remember that already as a child the heroine avoided demonstrative displays of feelings - “she didn’t know how to caress.” Having become a princess, Tatiana rejects the advances of Onegin, whom she still loves, since fidelity is consistent with her spiritual structure, is her internal need, and not a rule imposed from the outside: I love you, why lie?, But I am given to another; I will be faithful to him forever. If the plot situations associated with Tatyana contain only the presumptive probability of the heroine losing her “honor,” then in the events associated with the duel between Onegin and Lensky, the problem of honor comes to the fore and acts as the main driving force determining the actions of the heroes.
Onegin's act of courting Olga at the ball seems to Vladimir to be a black betrayal. Challenging his yesterday's friend to a duel, the young man believes that he is defending his own honor and the honor of his bride: He thinks: “I will be her savior. I will not tolerate the corrupter tempting my young heart with fire and sighs and praise... The nobility and ardor of the hero are aimed at the wrong goals. Firstly, Olga’s honor is not threatened by Onegin and he had no thoughts of seriously courting Olga, and secondly, the moment at the ball revealed not so much Onegin’s deceit as Olga’s feminine vanity, infidelity and lack of deep feelings for the groom.
But Vladimir stubbornly views what happened through the prism of literary cliches familiar to him: Olga “two-morning flower” is the innocent victim of the insidious “corrupter” - Onegin. The lesson that Onegin intended to teach his young friend was not learned by him. Having never parted with his romantic illusions, Lensky dies in vain, but the hero’s readiness not to let his ideals be insulted at the cost of his own life cannot but begin to sympathize. Lensky, with all his naivety, certainly personifies the best features of the noble youth of Pushkin’s time, which include uncompromisingness in matters of honor. The author puts the main character of the novel - Onegin - in the face of a tragically insoluble situation: on the one hand, Eugene, “loving the young man with all his heart,” does not want the death of his friend, but, on the other hand, Onegin’s refusal would forever dishonor him in the opinion of “the world” , would make him a laughing stock in the eyes of the “fools.” Onegin, unlike Lensky, considers the conflict that has arisen from the position of a sane and experienced person.
He blames himself for everything and regrets that because of a momentary outburst of anger, “he played such a careless joke on timid, tender love.” However, both for the hero and for the reader - Pushkin's contemporary - it is obvious that there is no turning back, abandoning the duel is unthinkable: An old duelist intervened; He is angry, he is a gossip, he is talkative: Without removing responsibility from Onegin for the death of Lensky, Eugene “had to disarm the young heart,” the author points out the real culprits of the tragedy - Zaretsky, the secular “fools.” In Pushkin's romance, the idea of honor in its traditional interpretation is correlated with the moral content of what is happening, with real life, and it turns out that this concept, fundamental in the system of ethics of Russian noble society, needs a serious reassessment. The author does not reduce the ideal of honor to the level of “practical expediency,” but by all means, through the development of the plot, through the internal monologues of the characters, through the direct author’s commentary, he proves: the true dignity of a person cannot be assessed through formal criteria of honor, it should not be devalued because philistine prejudices or "the chatter of fools." The ideal of honor makes sense only in the context of an integral system of moral values, going back to folk ethical principles, otherwise that same ideal turns into a mechanical rule of behavior and kills all the best in a person.
In A. S. Pushkin’s novel “Eugene Onegin,” each of the heroes is faced with the need to defend their idea of honor. So, Tatyana decides to be the first to confess her love to Onegin, although she understands that if her reputation is made public, irreparable damage will be caused.
According to the ethical standards of Pushkin’s contemporary era, a love letter from an unmarried girl to an unfamiliar man should have been regarded as a dangerous and immoral act. However, the author ardently stands up for his heroine, speaks of the depth and sincerity of her experiences, of the innocence of her soul:
Why is Tatyana more guilty?
Because in sweet simplicity
She knows no deception
And believes in his chosen dream?
Because he loves without art...
Defending Tatyana's honor, Pushkin places the heroine at a height unattainable for secular beauties. On her side is authenticity of feeling, inner purity, readiness to sacrifice herself for the sake of her beloved.
For Tatyana, honor is, first of all, inner truth and loyalty to oneself (remember that already as a child the heroine avoided demonstrative displays of feelings - “she didn’t know how to caress”). Having become a princess, Tatiana rejects the advances of Onegin, whom she still loves, since fidelity is consistent with her spiritual structure, is her internal need, and not a rule imposed from the outside:
I love you (why lie?),
But I was given to another;
I will be faithful to him forever.
If the plot situations associated with Tatyana contain only the presumptive possibility of the heroine losing “honor,” then in the events associated with the duel between Onegin and Lensky, the problem of honor comes to the fore and acts as the main driving force determining the actions of the heroes. Onegin's act (courting Olga at the ball) seems to Vladimir to be a black betrayal. By challenging his yesterday's friend to a duel, the young man believes that he is defending his own honor and the honor of his bride:
He thinks: “I will be her savior.
I will not tolerate the corrupter
Fire and sighs and praises
Tempted a young heart...
The hero's nobility and ardor are aimed at the wrong goals. Firstly, nothing threatens Olga’s honor (Onegin had no idea of seriously courting Olga), and secondly, the episode at the ball revealed not so much Onegin’s deceit as Olga’s feminine vanity, her infidelity and lack of deep
Feelings for the groom. But Vladimir stubbornly views what happened through the prism of literary cliches familiar to him: Olga (“two-morning flower”) is an innocent victim of the insidious “corrupter” - Onegin. The lesson that Onegin intended to teach his young friend was not learned by him. Having never parted with his romantic illusions, Lensky dies in vain, but the hero’s willingness to defend his ideals at the cost of his own life cannot but arouse sympathy. Lensky, with all his naivety, certainly personifies the best features of the noble youth of Pushkin’s time (which include uncompromisingness in matters of honor).
The author puts the main character of the novel, Onegin, in the face of a tragically insoluble situation: on the one hand, Eugene, “loving the young man with all his heart,” does not want his friend to die, but, on the other hand, Onegin’s refusal to duel would forever dishonor him in the opinion of “the world.” “, would make him a laughing stock in the eyes of the “fools.”
Onegin, unlike Lensky, considers the conflict that has arisen from the position of a sensible and experienced person. He blames himself for everything and regrets that because of a momentary outburst of anger, “he played such a careless joke on timid, tender love.” However, both for the hero and for the reader - Pushkin’s contemporary - it is obvious that there is no turning back, refusing a duel is unthinkable:
The old duelist intervened;
He is angry, he is a gossip, he is loud...
Without removing responsibility from Onegin for the death of Lensky (Eugene “had to disarm the young heart”), the author points out the real culprits of the tragedy - Zaretsky, the secular “fools”.
In Pushkin's romance, the idea of honor in its traditional interpretation is correlated with the moral content of what is happening, with real life, and it turns out that this fundamental (in the system of ethics of Russian noble society) concept needs a serious reassessment. The author does not reduce the ideal of honor to the level of “practical expediency,” but by all means (through the development of the plot, through the internal monologues of the characters, through the author’s direct commentary) he proves: the true dignity of a person cannot be assessed through formal criteria of honor; it should not be devalued because for philistine prejudices or “the chatter of fools.” The ideal of honor makes sense only in the context of an integral system of moral values, going back to folk ethical principles, otherwise this ideal turns into a mechanical rule of behavior and kills all the best in a person.
The theme of honor in A. S. Pushkin’s novel “Eugene Onegin”
In A. S. Pushkin’s novel “Eugene Onegin,” each of the heroes is faced with the need to defend their idea of honor. So, Tatyana decides to be the first to confess her love to Onegin, although she understands that if her reputation is made public, irreparable damage will be caused.
According to the ethical standards of Pushkin’s contemporary era, a love letter from an unmarried girl to an unfamiliar man should have been regarded as a dangerous and immoral act. However, the author ardently stands up for his heroine, speaks of the depth and sincerity of her experiences, of the innocence of her soul:
Why is Tatyana more guilty?
Because in sweet simplicity
She knows no deception
And believes in his chosen dream?
Because he loves without art...
Defending Tatyana's honor, Pushkin places the heroine at a height unattainable for secular beauties. On her side is authenticity of feeling, inner purity, readiness to sacrifice herself for the sake of her beloved.
For Tatyana, honor is, first of all, inner truth and loyalty to oneself (remember that already as a child the heroine avoided demonstrative displays of feelings - “she didn’t know how to caress”). Having become a princess, Tatiana rejects the advances of Onegin, whom she still loves, since fidelity is consistent with her spiritual structure, is her internal need, and not a rule imposed from the outside:
I love you (why lie?),
But I was given to another;
I will be faithful to him forever.
If the plot situations associated with Tatyana contain only the presumptive possibility of the heroine losing “honor,” then in the events associated with the duel between Onegin and Lensky, the problem of honor comes to the fore and acts as the main driving force determining the actions of the heroes. Onegin's act (courting Olga at the ball) seems to Vladimir to be a black betrayal. By challenging his yesterday's friend to a duel, the young man believes that he is defending his own honor and the honor of his bride:
He thinks: “I will be her savior.
I will not tolerate the corrupter
Fire and sighs and praises
Tempted a young heart...
The hero's nobility and ardor are aimed at the wrong goals. Firstly, nothing threatens Olga’s honor (Onegin had no idea of seriously courting Olga), and secondly, the episode at the ball revealed not so much Onegin’s deceit as Olga’s feminine vanity, her infidelity and lack of deep
feelings for the groom. But Vladimir stubbornly views what happened through the prism of literary cliches familiar to him: Olga (“two-morning flower”) is an innocent victim of the insidious “corrupter” - Onegin. The lesson that Onegin intended to teach his young friend was not learned by him. Having never parted with his romantic illusions, Lensky dies in vain, but the hero’s willingness to defend his ideals at the cost of his own life cannot but arouse sympathy. Lensky, with all his naivety, certainly personifies the best features of the noble youth of Pushkin’s time (including uncompromisingness in matters of honor).
The author puts the main character of the novel, Onegin, in the face of a tragically insoluble situation: on the one hand, Eugene, “loving the young man with all his heart,” does not want his friend to die, but, on the other hand, Onegin’s refusal to duel would forever dishonor him in the opinion of “the world.” “, would make him a laughing stock in the eyes of the “fools.”
Onegin, unlike Lensky, considers the conflict that has arisen from the position of a sensible and experienced person. He blames himself for everything and regrets that because of a momentary outburst of anger, “he played such a careless joke on timid, tender love.” However, both for the hero and for the reader - a contemporary of Pushkin - it is obvious that there is no turning back, refusing a duel is unthinkable:
The old duelist intervened;
He is angry, he is a gossip, he is loud...
Without removing responsibility from Onegin for the death of Lensky (Eugene “had to disarm the young heart”), the author points out the real culprits of the tragedy - Zaretsky, the secular “fools”.
In Pushkin's romance, the idea of honor in its traditional interpretation is correlated with the moral content of what is happening, with real life, and it turns out that this fundamental (in the system of ethics of Russian noble society) concept needs a serious reassessment. The author does not reduce the ideal of honor to the level of “practical expediency,” but by all means (through the development of the plot, through the internal monologues of the characters, through the author’s direct commentary) he proves: the true dignity of a person cannot be assessed through formal criteria of honor; it should not be devalued because for philistine prejudices or “the chatter of fools.” The ideal of honor makes sense only in the context of an integral system of moral values, going back to folk ethical principles, otherwise this ideal turns into a mechanical rule of behavior and kills all the best in a person.
- A person who betrayed his loved one can be called dishonest
- True personality traits are revealed in difficult life situations
- Sometimes actions that seem dishonest at first glance turn out to be necessary
- A man of honor will not betray his moral principles even in the face of death
- War brings out dishonest people
- Actions done out of anger and envy are always dishonorable
- Honor must be defended
- A dishonest person sooner or later receives retribution for his actions
- A person who betrays his moral principles is dishonest
Arguments
A.S. Pushkin "The Captain's Daughter". In the work we see two completely opposite heroes: Pyotr Grinev and Alexey Shvabrin. For Petr Grinev, the concept of honor is key when making important decisions. He does not betray his principles even when he is threatened with execution: the hero refuses to swear allegiance to Pugachev. He decides to rescue Masha Mironova from the Belogorsk fortress, captured by the enemy, although this is very dangerous. When Pyotr Grinev is arrested, he tells the whole truth, but does not mention Marya Ivanovna, so as not to spoil her already miserable life. Alexey Shvabrin is a cowardly person, capable of doing vile things, looking for more favorable conditions for himself. He takes revenge on Masha Mironova for refusing to marry him, at the first opportunity he goes over to Pugachev’s side, and in a duel with Pyotr Grinev he shoots in the back. All this suggests that he is a dishonest person.
A.S. Pushkin "Eugene Onegin". Evgeny Onegin does not perceive Tatyana Larina’s letter telling about her feelings as something serious. After the duel with Lensky, the hero leaves the village. Tatyana’s feelings do not subside; she thinks about Evgeniy all the time. Time passes. At one of the social evenings, Evgeny Onegin appears, to whom society is still alien. There he sees Tatiana. The hero explains himself to her, Tatyana also confesses her love for Onegin, but she cannot betray her husband. In this situation, Tatyana maintains her honor and dignity, respecting not her own desires, but high moral principles.
A.S. Pushkin "Mozart and Salieri". The great composer Mozart was given a gift from above. Salieri is a hard worker who has achieved success through many years of work. Out of envy, Salieri decides to do not only a dishonest, but also an inhumane act - he throws poison into Mozart's glass. Left alone, Salieri comprehends Mozart’s words about the incompatibility of villainy and genius. He cries, but does not repent. Salieri is glad that he fulfilled his “duty.”
L.N. Tolstoy "War and Peace". Speaking of dishonor, it is impossible not to turn to the Kuragin family. All members of this family are immoral, devoted only to money, and only outwardly seem to be patriots. Trying to get at least part of Pierre Bezukhov's inheritance, Prince Vasily decides to marry him to his daughter Helen. She cheats on the honest, devoted, good-natured Pierre, without feeling any remorse. Anatol Kuragin commits an equally disgusting act: being married, he attracts the attention of Natasha Rostova and prepares an escape attempt, which ends in failure. Reading the work, we understand that such dishonest people cannot be truly happy. Their successes are temporary. True happiness comes from heroes like Pierre Bezukhov: moral, true to their word, truly loving their Motherland.
N.V. Gogol "Taras Bulba". Andriy, the son of Taras Bulba, betrays his father and homeland: unable to resist the power of love for a Polish woman, he goes over to the side of the enemy and fights against those whom he only recently considered comrades. Old Taras kills his son because he cannot forgive him for this dishonorable act. Ostap, the eldest son of Taras Bulba, shows himself completely differently. He fights the enemy to the last, dies in terrible agony, but remains true to his moral principles.
A.N. Ostrovsky "Thunderstorm". Katerina, who grew up in an atmosphere of love and care, cannot live well with a weak-willed husband and a wayward Kabanikha. The girl falls in love with Boris, this brings her both happiness and sorrow. Katerina's betrayal is a betrayal that she cannot survive as a moral person. The heroine decides to commit suicide, knowing that she has committed a grave sin that an already terrible society will not forgive. It is unlikely that Katerina can be called a dishonest person, despite the act she committed.
M. Sholokhov “The Fate of Man.” Andrei Sokolov, the main character of the work, is not without reason called a man of honor. His best moral qualities were revealed during the war, in captivity of the Germans. The hero told the truth about the work that the prisoners do. Someone reported on Andrei Sokolov, which is why Mueller called him. The German wanted to shoot the hero, but before his death he offered to drink “to the victory of German weapons.” Andrei Sokolov is a person incapable of such a dishonorable act, so he refused. He drank to his death, but did not eat, showing the strength of spirit of the Russian people. He refused to eat even after the second glass. Muller called Sokolov a worthy soldier and sent him back with bread and a piece of lard. For Andrei Sokolov, it was a matter of honor to share the food among everyone, despite the fact that he himself was very hungry.
N. Karamzin “Poor Liza.” Erast, a man of noble origin, falls in love with Lisa, an ordinary peasant woman. At first, the young man dreams of leaving his society for the sake of their future happiness. Lisa cannot help but believe him, she is so overcome by love that she without a doubt gives herself to Erast. But the flighty young man loses a large sum of money at cards and loses his entire fortune. He decides to marry a rich widow, and Liza says that he is going to war. Isn't this a dishonorable act? When Lisa finds out about the deception, Erast tries to pay her off. The poor girl doesn’t need money, she doesn’t see the point in living and eventually dies.
V. Rasputin “French Lessons”. The young teacher Lidia Mikhailovna teaches French and is the class teacher of the main character of the work. When the boy comes to school beaten, the traitor Tishkin reveals that he is playing for money. The teacher is in no hurry to scold the hero. Little by little, Lidia Mikhailovna learns how difficult life is for the child: his home is far away, there is little food, and there is not enough money. The teacher tries to help by inviting the boy to play for money with her. On the one hand, her action is unacceptable. On the other hand, it cannot be called bad, because it was committed for a good purpose. The director finds out that Lidiya Mikhailovna is playing with a student for money and fires her. But it is clear that there is nothing to condemn the teacher for: a seemingly dishonest act actually brings goodness.
A.P. Chekhov "The Jumper". Olga Ivanovna is married to doctor Osip Ivanovich Dymov. Her husband loves her very much. He works hard to pay for his wife's hobbies. Olga Ivanovna meets the artist Ryabovsky and cheats on her husband. Dymov guesses about the betrayal, but does not show it, but tries to work even harder and harder. The relationship between Olga Ivanovna and Ryabovsky reaches a dead end. At this time, Dymov becomes infected with diphtheria while fulfilling his medical duty. When he dies, Olga Ivanovna understands how dishonest and immoral her behavior was. She admits that she has lost a truly worthy person.