How We Are Dictated From Childhood By The Standards Of Beauty Through Literature - Rambler / Female

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How We Are Dictated From Childhood By The Standards Of Beauty Through Literature - Rambler / Female
How We Are Dictated From Childhood By The Standards Of Beauty Through Literature - Rambler / Female

Video: How We Are Dictated From Childhood By The Standards Of Beauty Through Literature - Rambler / Female

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In many ways, a person's worldview and his self-image are formed in childhood and adolescence - this is influenced by completely different factors: for example, parents, educators, school teachers, as well as cinema and literature. In Russian fairy tales, positive female characters, as a rule, were distinguished by their beauty, which cannot be described with a pen. Later, the standards in literature began to change - Tatyana Larina was not as attractive as her blonde sister Olga, and the Turgenev girl could well have a large nose and thin lips. T&R tells how ideas about female beauty have changed in Russian literature.

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Beauties from Russian fairy tales

Female images in children's fairy tales were close to ideals - innocent stepdaughters, obedient wives, wise girls with magical powers. As a rule, there were no detailed descriptions of the appearance of the heroines, and the highest degree of beauty was designated as follows: "not to say in a fairy tale, nor describe with a pen." The girls were also characterized by names: Vasilisa the Wise, Elena the Beautiful. In this way, the most striking personality traits were immediately distinguished from them.

Nastenka in "Morozko" showed patience and was kind to her cruel stepmother. Alyonushka from "The Scarlet Flower" Aksakov loved her sisters, despite their envy and reproaches, took care of her father and was ready to make a sacrifice to save him. “That merchant had three daughters, all three beauties were painted, and the youngest was the best of all. He loved the younger daughter more, because she was better than everyone else and was more affectionate towards him,” Alyonushka was distinguished from everyone not by her appearance, but by her father character. In particular, the girl showed modesty. While the eldest asked to bring a mirror, thanks to which she could become "more beautiful", Alyonushka only wished for a scarlet flower.

The standard of beauty in Russian fairy tales was determined not by appearance, but by character traits, such as hard work, wisdom, fortitude, kindness

Nevertheless, readers could catch the similarities: white hands and face, ruddy cheeks, long braids, swan posture and eyes "like stars". In the movements, lightness was traced (for example, in the fairy tale "The Frog Princess"), and sometimes timidity ("Frost").

Shot from the film "The Frog Princess"

In contrast to such traits as humility, compassion, kindness, sacrifice were greed, envy, deceit. Negative characters, namely, villains have always been ugly - hump, gray hair, long nose. The technique of reincarnation into animals was used in plots where there were curses - the Princess became a frog. And in the fairy tale "The White Duck" - the princess was punished for breaking the ban and turned into a duck. The images of slender tall beauties were formed thanks to book illustrations and cartoons - the fairy tales themselves did not talk about the height, size and individual facial features of the heroines.

Female images in Russian classics

One of the most familiar images of Russian literature is Tatyana Larina. She, according to the author's description, does not have a blush, bright eyes, stately posture, Alexander Pushkin describes his heroine differently, comparing her with his sister Olga:

"Neither her sister's beauty, / Nor her ruddy freshness / She would not attract eyes"

Tatyana Larina / still from the film "Eugene Onegin"

Olga's beauty was manifested in her full face, blush, blond curly hair: "She is round, she is red in her face." Dmitry Bykov, writer, literary critic, publicist, notes that Tatiana is the first real woman in Russian literature, the personification of purity, honesty, and duty.At the same time, the heroine does not meet the standard beauty criteria, unlike Olga.

And here's what I would venture to say: Russian writers prefer a self-portrait in a female form. Why? Firstly, then they will definitely not think of you. Secondly, because it is a portrait of the soul. And very many (of course, except for those for whom a woman plays a purely service role), they left one such self-portrait of a woman. Of course, Tatiana is to a great extent a self-portrait of Pushkin. And the letter, which betrays the intonation of many Pushkin's texts, and romantic, this fatalistic attitude, and superstition, and the aristocratic idea of ​​duty, which is higher than choice, is Pushkin.

Dmitry Bykov in his program on "Echo of Moscow"

In Russian literature, the collective image of the "Turgenev girl" is widely known - a sensual, modest, well-read girl who, as a rule, was born in a remote estate and did not see social life. She is shy in communication - in modern society, she would most likely be called an introvert.

The appearance of the ideal girl in Turgenev's novels is completely different. The heroines had some of the features of typical Russian girls - a long braid, white skin, light brown hair. But together, these traits were not embodied in one character. Girls could be swarthy, stooped, with a big nose.

Natalia Lasunskaya from the novel "Rudin":

She was thin, dark, kept a little stooped. But her features were beautiful and regular, although too large for a seventeen-year-old girl. Especially good was her clean and even forehead over her thin, as if broken in the middle of the eyebrows.

Marina Sinetskaya from the novel "Nov":

Compared to her aunt, Marianne could seem almost ugly. She had a round face, a large, aquiline nose, gray, also large and very light eyes, thin eyebrows, thin lips. She cut her brown, thick hair and looked with beech. But from her whole being there was something strong and bold, something impetuous and passionate.

Elena Astakhova from the novel "On the Eve":

She was tall, her face was pale and dark, large gray eyes under round eyebrows surrounded by tiny freckles, her forehead and nose were perfectly straight, her mouth was compressed, and her chin was rather pointed. Her dark blond braid descended low to a slender neck. Her hands were narrow, pink, with long fingers, her legs were also narrow; she walked quickly, almost swiftly, leaning slightly forward.

In the works of Mikhail Lermontov, the female image had some mythical features. For example, in the chapter "Taman" Pechorin perceives the heroine as a mermaid and calls her "Undine". She has a regular nose, "white figure", "long blond hair." At the same time, the author himself notes that she could not be called a beauty. Pechorin is in many ways attracted by "her breed", and descriptions of facial features in many ways paint a psychological portrait: "expressive eyes and a naughty look." Nevertheless, even in the belligerent smuggler, the typical features of the Russian beauty can be traced.

Tamara from "The Demon", who becomes the beloved of the protagonist, had "silk curls", "black eyebrows". The author himself emphasizes its beauty: "Since the world lost paradise, // I swear, such a beauty // Under the sun of the south has not bloomed."

Tamara / "The Demon"

The writer Dmitry Bykov suggests that Tamara was a self-portrait of Mikhail Lermontov: “That is, a self-portrait in a female image is such a way, firstly, to divert all suspicions from oneself, and secondly, to capture your infinitely beautiful soul. Not everyone does it. But if a person resorts to this, then it turns out, as a rule, remarkably accurately."

The appearance of women in Russian literature was largely associated with their character traits. Nevertheless, if in fairy tales beauty was manifested in long braids, white skin and blush, then the Russian classics, painting psychological portraits, did not follow these criteria and could distort the usual ideas.

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