The works of I. S. Turgenev are among the most lyrical and poetic works in Russian literature. Female images give them a special charm. “Turgenev's woman” is some kind of special dimension, a certain ideal that embodies beauty, both external and internal. “Turgenev’s women” are characterized by poetry, integrity of nature, and incredible strength of spirit. I.S. Turgenev, in relation to women, reveals everything good or bad that is in his heroes.

Often it is the heroines in his works who are forced to make decisions, do moral choice, determine your destiny.

The novel “Fathers and Sons” presents a whole gallery of female images - from the simple peasant woman Fenechka to the high society lady Anna Sergeevna Odintsova.

I would like to start my essay with a story about Fenechka. Fenechka’s first appearance leaves in the soul a feeling of something soft, warm and very natural: “She was a young woman of about twenty-three, all white and soft, with dark hair and eyes, with red, childishly plump lips and delicate hands. She was wearing a neat chintz dress, a new blue scarf lay lightly on her round shoulders.”

It should be noted that Fenechka did not appear in front of Arkady and Bazarov on the first day of their arrival. That day she said she was sick, although, of course, she was healthy. The reason is very simple: she was terribly shy.

The duality of her position is obvious: a peasant woman whom the master allowed to live in the house, but he himself was ashamed of this. Nikolai Petrovich committed an act that seemed noble. He settled with him a woman who gave birth to a child from him, that is, he seemed to recognize certain of her rights and did not hide the fact that Mitya was his son. But he behaved in such a way that Fenichka could not feel free and coped with her situation only thanks to her natural naturalness and dignity.

This is how Nikolai Petrovich tells Arkady about her: “Please don’t call her loudly... Well, yes... she lives with me now. I placed her in the house... there were two small rooms. However, all this can be changed.” About little son He didn’t say anything at all - he was so embarrassed.

But then Fenechka appeared in front of the guests: “She lowered her eyes and stopped at the table, leaning lightly on the very tips of her fingers. It seemed that she was ashamed that she had come, and at the same time she seemed to feel that she had the right to come.”

It seems to me that Turgenev sympathizes with Fenechka and admires her. It’s as if he wants to protect her and show that in her motherhood she is not only beautiful, but also above all rumors and prejudices: “And in fact, is there anything in the world more captivating than a young beautiful mother with healthy child on hands?"

Bazarov, living with the Kirsanovs, happily communicated only with Fenechka: “Even his face changed when he talked to her. It took on a clear, almost kind expression, and some kind of playful attentiveness was mixed in with its usual carelessness.” I think the point here is not only in Fenechka’s beauty, but precisely in her naturalness, the absence of any affectation and attempts to pretend to be a lady.

Bazarov liked Fenechka, he once kissed her firmly on her open lips, thereby violating all the rights of hospitality and all the rules of morality. Fenichka also liked Bazarov, but she would hardly have given herself to him.

Pavel Petrovich was even in love with Fenechka, came to her room several times “for nothing,” and was alone with her several times, but he was not so low as to kiss her. On the contrary, because of the kiss, he fought a duel with Bazarov and, in order not to be further tempted by Fenechka, he went abroad.

The image of Fenechka is like a delicate flower, which, however, has unusually strong roots. It seems to me that of all the heroines of the novel, she is closest to the “Turgenev women”.

The direct opposite of Fenechka is Eudoxia, or rather Avdotya Nikitichna Kukshina. The image is quite interesting and rather caricatured, but not accidental. Probably in mid-19th centuries, emancipated women appeared more and more often, and this phenomenon not only irritated Turgenev, but aroused burning hatred in him. This is confirmed by the description of Kukshina’s life: “Papers, letters, thick issues of Russian magazines, mostly uncut, were scattered on dusty tables. There were scattered cigarette butts everywhere,” as well as her appearance and manners: “There was nothing ugly in the small and inconspicuous figure of the emancipated woman, but the expression of her face had an unpleasant effect on the viewer,” she walks “somewhat disheveled, in a silk, not entirely neat dress , her velvet coat is lined with yellowed ermine fur.” At the same time, he reads something from physics and chemistry, reads articles about women, albeit with half a sin, but still talks about physiology, embryology, marriage and other things. All her thoughts are turned to objects more serious than ties, collars, potions and baths. She subscribes to magazines and communicates with students abroad. And to emphasize her complete opposite to Fenechka, I will quote the following quote: “...no matter what she did, it always seemed to you that this was exactly what she did not want to do. Everything with her came out, as children say, on purpose, that is, not simply, not naturally.”

In the image of Kukshina we see the young female generation of that time, emancipated, with progressive aspirations. Although Turgenev ridicules her aspirations, which would deserve encouragement and approval from every right-thinking person.

Bazarov’s reaction to Kukshina was also completely different than to Fenechka; when he saw her, he winced. The nonsense that Kukshina spouted was quite consistent with her appearance and manners. Perhaps, Bazarov’s meeting with Kukshina is significant only because in their conversation for the first time the name of Anna Sergeevna Odintsova was heard - a woman who later plunged Bazarov into the abyss of passions and torment.

They met Bazarov at the governor’s ball, and Odintsova immediately made an indelible impression on him: “What kind of figure is this? - he said. “She’s not like other women.” It must be said that in the mouth of Bazarov (that is, this man as he was at the time of their meeting) this is the highest praise. Bazarov, in a conversation with the owner of the estate, is confused, embarrassed, pressed, trying to overcome the feeling of love that is beginning to arise in his heart. Anna did not dare to fall in love with Bazarov, an extraordinary man who would hardly make her life calm.

Every stroke in Odintsova’s portrait indicates that she is a lady from high society. Anna Sergeevna Odintsova amazed with her dignified posture, smooth movements, intelligent and calmly looking eyes. Her face exuded soft and gentle strength. It was not only her movements and gaze that were calm. Life on her estate was distinguished by luxury, tranquility, coldness, lack of interesting people. Regularity and constancy are the main features of the way of life on Odintsova’s estate.

When Bazarov and Arkady arrived at her estate, they saw how measured and monotonous her whole life was. Everything here turned out to be “put on rails.” Comfort and serenity formed the basis of Odintsova’s existence. She had suffered enough in life (“grated kalach”) and now it was as if she only wanted to take a break from her past. More than once in conversations with Bazarov she called herself old.

When I read the novel, at first I thought that she was being flirtatious in this way - after all, she is only 28 years old! But then I realized: this young woman has the soul of an old woman. How else can we explain her desire to do her best to drown out the love that has arisen within herself, just so that it does not interfere with her measured way of life.

The author writes about her: “Her mind was inquisitive and indifferent at the same time. Her doubts never subsided to the point of forgetfulness and never grew to the point of anxiety. If she weren’t independent, she might have rushed into battle, would have recognized passion...’’ Odintsova herself knows this quality of her nature well, she says to Bazarov: “I love what you call comfort.”

But at the same time, Anna Sergeevna is capable of noble deeds, sympathy, and high sadness. She comes to say goodbye to the dying Eugene, although he only asked his father to inform him that he was ill and dying.

At the end of the novel, we learn that Anna Odintsova married “not out of love, but out of conviction, to one of the future Russian leaders...” Coldness of reason in her is, unfortunately, combined with some coldness of soul.

At Odintsova's a strong character, and she even suppressed her to some extent younger sister Katya.

Katya is a nice girl, and although at first she is perceived as a pale shadow of Odintsova, she still has character. A dark brunette with large features and small, thoughtful eyes. As a child she was very ugly, but by the age of 16 she began to get better and became interesting. Meek, quiet, poetic and bashful. Milo blushes and sighs, is afraid to speak, and notices everything around him. Musician. Loves flowers and makes bouquets of them. Her room is amazingly tidy. Patient, undemanding, but at the same time stubborn. Her individuality is gradually revealed, and it becomes clear that in an alliance with Arkady she will be the main one.

Odintsova’s image is interesting precisely because of its ambiguity. She cannot be called either a positive or negative heroine without sinning against the truth. Anna Sergeevna is alive and bright man, with its own advantages and disadvantages.

It’s difficult for me to unequivocally answer the question: how does Turgenev feel about Odintsova? Maybe my personal perception is interfering with me - Odintsova is not very attractive to me. But one thing is obvious: Turgenev nowhere allows irony in relation to this heroine. He considers her enough smart woman(“A woman with a brain,” according to Bazarov), but I don’t think he’s very fascinated by her.

“Turgenev women” - strong women. Perhaps they are much stronger in spirit the men around them. Perhaps Odintsova’s merit lies in the fact that she, unwittingly, helped Bazarov throw off the mask that so hindered him, and contributed to the development of the personality of this extraordinary man. Which of these women turns out to be sweeter and closer to the writer’s heart? Of course, Fenechka. It was her that Turgenev bestowed with the happiness of love and motherhood. And emancipated women, in their worst manifestations, are deeply unsympathetic to him. Odintsov is repulsive with his coldness and selfishness. Turgenev's ideal of a woman lies in the ability to love and sacrifice herself for the sake of her beloved. All these heroines, of course, are very different, each of them has their own life, their own experiences, but they are all united by love and the desire to be happy.

The works of I. S. Turgenev are among the most lyrical and poetic works in Russian literature. Female images give them a special charm. “Turgenev's woman” is some kind of special dimension, a certain ideal that embodies beauty, both external and internal. “Turgenev’s women” are characterized by poetry, integrity of nature, and incredible strength of spirit. These are Elena (“On the Eve”), Natalya (“Rudin”), Lisa (“ Noble Nest”).
The novel “Fathers and Sons” presents a whole gallery of female images - from the simple peasant woman Fenechka to the high society lady Anna Sergeevna Odintsova.
I would like to start my essay with a story about Fenechka, because of all the heroines in the novel, she is the dearest to me. Fenechka’s first appearance leaves in the soul a feeling of something soft, warm and very natural: “She was a young woman of about twenty-three, all white and soft, with dark hair and eyes, with red, childishly plump lips and delicate hands. She was wearing a neat cotton dress; her new blue scarf lay lightly on her round shoulders.” It should be noted that Fenechka did not appear in front of Arkady and Bazarov on the first day of their arrival. That day she said she was sick, although, of course, she was healthy. The reason is very simple: she was terribly shy. The duality of her position is obvious: a peasant woman whom the master allowed to live in the house, but he himself was ashamed of this. Nikolai Petrovich committed an act that seemed noble. He settled with him a woman who gave birth to a child from him, that is, he seemed to recognize certain of her rights and did not hide the fact that Mitya was his son. But he behaved in such a way that Fenichka could not feel free and coped with her situation only thanks to her natural naturalness and dignity. This is how Nikolai Petrovich tells Arkady about her: “Please don’t call her loudly... Well, yes... she lives with me now. I placed her in the house... there were two small rooms. However, all this can be changed.” He didn’t even mention his little son—he was so embarrassed. But then Fenechka appeared in front of the guests: “She lowered her eyes and stopped at the table, leaning lightly on the very tips of her fingers. It seemed that she was ashamed that she had come, and at the same time she seemed to feel that she had the right to come.” It seems to me that Turgenev sympathizes with Fenechka and admires her. It’s as if he wants to protect her and show that in her motherhood she is not only beautiful, but also above all rumors and prejudices: “And really, is there anything in the world more captivating than a young beautiful mother with a healthy child in her arms? ” Bazarov, living with the Kirsanovs, happily communicated only with Fenechka: “Even his face changed when he talked to her: it took on a clear, almost kind expression, and some kind of playful attentiveness was mixed in with his usual carelessness.” I think the point here is not only in Fenechka’s beauty, but precisely in her naturalness, the absence of any affectation and attempts to pretend to be a lady. The image of Fenechka is like a delicate flower, which, however, has unusually strong roots. It seems to me that of all the heroines of the novel, she is closest to the “Turgenev women”.
The direct opposite of Fenechka is Eudoxia, or rather Avdotya, Nikitichna Kukshina. The image is quite passable and, rather, caricatured, but not accidental. Probably, in the middle of the 19th century, emancipated women appeared more and more often, and this phenomenon not only irritated Turgenev, but aroused burning hatred in him. This is confirmed by the description of Kukshina’s everyday life (“Papers, letters, thick issues of Russian magazines, mostly uncut, were scattered on dusty tables; cigarette butts were scattered everywhere”), as well as her appearance and manners (“In the small and inconspicuous figure of an emancipated woman there was no there was nothing ugly; but the expression on her face had an unpleasant effect on the viewer. I couldn’t help but want to ask her: “Are you hungry? Or are you bored? Or are you timid? Why are you fussing?” And to emphasize her complete opposite to Fenechka, I will quote the following quote: “...no matter what she did, it always seemed to you that this was exactly what she didn’t want to do; Everything with her came out, as children say, on purpose, that is, not simply, not naturally.” Bazarov’s reaction to Kukshina was also completely different than to Fenechka: when he saw her, he winced. The nonsense that Kukshina spoke was quite consistent with her appearance and manners. Perhaps, Bazarov’s meeting with Kukshina is significant only because in their conversation for the first time the name of Anna Sergeevna Odintsova was heard - a woman who later plunged Bazarov into the abyss of passions and torment.
They met Bazarov at the governor’s ball, and Odintsova immediately made an indelible impression on him: “What kind of figure is this? - he said. “She’s not like other women.” It must be said that in the mouth of Bazarov (that is, this man as he was at the time of their meeting) this is the highest praise. Every stroke in Odintsova’s portrait indicates that this is a lady from high society: “dignified posture,” a calm look, a barely noticeable smile: “Some kind of gentle and soft force wafted from her face.” It was not only her movements and gaze that were calm. When Bazarov and Arkady arrived at her estate, they saw how measured and monotonous her whole life was. All here it turned out to be “put on rails.” Comfort and serenity formed the basis of Odintsova’s existence. She had suffered enough in life (“grated kalach”) and now it was as if she only wanted to take a break from her past. More than once in conversations with Bazarov she called herself old. When I I read the novel, and at first I thought that she was flirting in this way - after all, she is only 28 years old! But then I realized: this young woman has the soul of an old woman. How else can we explain her desire to do her best to drown out the love that has arisen within herself, just so that it does not interfere with her measured way of life. Odintsova has a strong character, and she even suppressed her younger sister Katya in some ways. Katya is a nice girl, and although at first she is perceived as a pale shadow of Odintsova, she still has character. Her individuality is gradually revealed, and it becomes clear that in an alliance with Arkady she will be the main one.
It’s difficult for me to unequivocally answer the question: how does Turgenev feel about Odintsova? Maybe my personal perception is interfering with me - Odintsova is not very attractive to me. But one thing is obvious: Turgenev nowhere allows irony in relation to this heroine. He considers her a fairly smart woman (“A woman with a brain,” according to Bazarov), but I don’t think he’s very fascinated by her.
“Turgenev women” are strong women. Perhaps they are much stronger in spirit than the men around them. Perhaps Odintsova’s merit lies in the fact that she, unwittingly, helped Bazarov throw off the mask that so hindered him, and contributed to the development of the personality of this extraordinary man. Which of these women turns out to be sweeter and closer to the writer’s heart? Of course, Fenechka. It was her that Turgenev bestowed with the happiness of love and motherhood. And emancipated women, in their worst manifestations, are deeply unsympathetic to him. Odintsov is repulsive with his coldness and selfishness. Turgenev's ideal of a woman lies in the ability to love and sacrifice herself for the sake of her beloved.

/ / / Women's images in Turgenev's novel "Fathers and Sons"

All creative works I.S. Turgenev were always rich in female images. The author described them with extraordinary love. He made his heroines gorgeous, both inside and out. The novel “Fathers and Sons” includes many female characters, who were both simple peasant women and arrogant ladies.

My attention was attracted by the simplest, softest and kindest heroine of the novel - Fenechka. The author conveys to readers her natural appearance. She was young, with red, plump lips, and black hair. Fenechka was dressed in a cotton dress that fit her neatly. The girl was unusually shy. After Evgeniy and Arkady arrived at the estate, Fenechka initially hid, saying that she was sick. Although, the girl was just shy.

Nikolai Petrovich accepted her as his own and allowed her to live in his house after Fenichka had a child from him. He did not deny this fact and performed a noble manly act. However, Nikolai Petrovich did not particularly like to talk about the girl, and he didn’t even tell Arkady about his little son.

Because of this behavior, Fenechka could not feel free. But the girl did not hide in the room for a long time. She gathered her strength and went out to the guests. The girl was beautiful. After all, what could be more beautiful than a young mother and her child.

He treated the heroine very well. It seemed that only she evoked warm, sincere emotions in him. When communicating with Fenechka, he smiled, kind, warm features appeared on his face. The image of the heroine once again emphasizes her spontaneity and naturalness. She looks like beautiful flower, which made everyone around happy.

In complete contrast, Kukshina Eudoxia, or rather Avdotya, enters the novel. The author does not like her image. He classifies Kukshina as one of the emancipated women who were not distinguished by neatness and diligence. Her image is unpleasant to the viewer; outwardly she is not at all attractive.

The woman constantly does her work reluctantly, as if forcing herself with every step, with every movement. Evgeny Bazarov reacts to Kukshina accordingly. At the first sight of the heroine, he winced.

Also, in the novel “Fathers and Sons” there is another female character - this is the image of Anna Odintsova. It was she who caused such torment and such passions in Bazarov’s soul. Anna was a lady of high society. She was surrounded by complete calm. Her life was measured and planned. Peace and comfort reigned in the estate. She often called herself an old woman.

I cannot agree with this, because the author describes her as a woman of about twenty-eight. But, despite her age, Anna’s soul was worn out by events old life. That's why she didn't want to join love relationship with Bazarov and drowned out all mutual sympathies within herself.

This depressed perception of Anna's life also influenced her sister Katerina. She comes across as a pale shadow of Anna. But, with the development of events in the novel, the girl reveals her character and her personality.

I don’t have a very good attitude towards Odintsova, she doesn’t evoke my sympathy. However, the author never uses irony in describing his heroine. He calls her self-confident and smart. It was Anna Odintsova who influenced the fate of the main character, Evgeny Bazarov. She opened his soul, she made him believe in love. However, the heroine did not allow her soul to do this.

The novel "Fathers and Sons" is filled with a whole gallery female characters. They are diverse, not similar to each other. And each heroine has its own characteristics, its own charms.

The works of I. S. Turgenev are among the most lyrical and poetic works in Russian literature. Female images give them a special charm. “Turgenev's woman” is some kind of special dimension, a certain ideal that embodies beauty, both external and internal. “Turgenev’s women” are characterized by poetry, integrity of nature, and incredible strength of spirit. I.S. Turgenev, in relation to women, reveals everything good or bad that is in his heroes.

Often it is the heroines in his works who are forced to make decisions, make moral choices, and determine their destiny.

The novel “Fathers and Sons” presents a whole gallery of female images - from the simple peasant woman Fenechka to the high society lady Anna Sergeevna Odintsova.

I would like to start my essay with a story about Fenechka. Fenechka’s first appearance leaves in the soul a feeling of something soft, warm and very natural: “She was a young woman of about twenty-three, all white and soft, with dark hair and eyes, with red, childishly plump lips and delicate hands. She was wearing a neat chintz dress, a new blue scarf lay lightly on her round shoulders.”

It should be noted that Fenechka did not appear in front of Arkady and Bazarov on the first day of their arrival. That day she said she was sick, although, of course, she was healthy. The reason is very simple: she was terribly shy.

The duality of her position is obvious: a peasant woman whom the master allowed to live in the house, but he himself was ashamed of this. Nikolai Petrovich committed an act that seemed noble. He settled with him a woman who gave birth to a child from him, that is, he seemed to recognize certain of her rights and did not hide the fact that Mitya was his son. But he behaved in such a way that Fenichka could not feel free and coped with her situation only thanks to her natural naturalness and dignity.

This is how Nikolai Petrovich tells Arkady about her: “Please don’t call her loudly... Well, yes... she lives with me now. I placed her in the house... there were two small rooms. However, all this can be changed.” He didn’t even mention his little son—he was so embarrassed.

But then Fenechka appeared in front of the guests: “She lowered her eyes and stopped at the table, leaning lightly on the very tips of her fingers. It seemed that she was ashamed that she had come, and at the same time she seemed to feel that she had the right to come.”

It seems to me that Turgenev sympathizes with Fenechka and admires her. It’s as if he wants to protect her and show that in her motherhood she is not only beautiful, but also above all rumors and prejudices: “And really, is there anything in the world more captivating than a young beautiful mother with a healthy child in her arms? ”

Bazarov, living with the Kirsanovs, happily communicated only with Fenechka: “Even his face changed when he talked to her. It took on a clear, almost kind expression, and some kind of playful attentiveness was mixed in with its usual carelessness.” I think the point here is not only in Fenechka’s beauty, but precisely in her naturalness, the absence of any affectation and attempts to pretend to be a lady.

Bazarov liked Fenechka, he once kissed her firmly on her open lips, thereby violating all the rights of hospitality and all the rules of morality. Fenichka also liked Bazarov, but she would hardly have given herself to him.

Pavel Petrovich was even in love with Fenechka, came to her room several times “for nothing,” and was alone with her several times, but he was not so low as to kiss her. On the contrary, because of the kiss, he fought a duel with Bazarov and, in order not to be further tempted by Fenechka, he went abroad.

The image of Fenechka is like a delicate flower, which, however, has unusually strong roots. It seems to me that of all the heroines of the novel, she is closest to the “Turgenev women”.

The direct opposite of Fenechka is Eudoxia, or rather Avdotya Nikitichna Kukshina. The image is quite interesting and rather caricatured, but not accidental. Probably, in the middle of the 19th century, emancipated women appeared more and more often, and this phenomenon not only irritated Turgenev, but aroused burning hatred in him. This is confirmed by the description of Kukshina’s life: “Papers, letters, thick issues of Russian magazines, mostly uncut, were scattered on dusty tables. There were scattered cigarette butts everywhere,” as well as her appearance and manners: “There was nothing ugly in the small and inconspicuous figure of the emancipated woman, but the expression of her face had an unpleasant effect on the viewer,” she walks “somewhat disheveled, in a silk, not entirely neat dress , her velvet coat is lined with yellowed ermine fur.” At the same time, he reads something from physics and chemistry, reads articles about women, albeit with half a sin, but still talks about physiology, embryology, marriage and other things. All her thoughts are turned to objects more serious than ties, collars, potions and baths. She subscribes to magazines and communicates with students abroad. And to emphasize her complete opposite to Fenechka, I will quote the following quote: “...no matter what she did, it always seemed to you that this was exactly what she did not want to do. Everything with her came out, as children say, on purpose, that is, not simply, not naturally.”

In the image of Kukshina we see the young female generation of that time, emancipated, with progressive aspirations. Although Turgenev ridicules her aspirations, which would deserve encouragement and approval from every right-thinking person.

Bazarov’s reaction to Kukshina was also completely different than to Fenechka; when he saw her, he winced. The nonsense that Kukshina spoke was quite consistent with her appearance and manners. Perhaps, Bazarov’s meeting with Kukshina is significant only because in their conversation for the first time the name of Anna Sergeevna Odintsova was heard - a woman who later plunged Bazarov into the abyss of passions and torment.

They met Bazarov at the governor’s ball, and Odintsova immediately made an indelible impression on him: “What kind of figure is this? - he said. “She’s not like other women.” It must be said that in the mouth of Bazarov (that is, this man as he was at the time of their meeting) this is the highest praise. Bazarov, in a conversation with the owner of the estate, is confused, embarrassed, pressed, trying to overcome the feeling of love that is beginning to arise in his heart. Anna did not dare to fall in love with Bazarov, an extraordinary man who would hardly make her life calm.

Every stroke in Odintsova’s portrait indicates that she is a lady from high society. Anna Sergeevna Odintsova amazed with her dignified posture, smooth movements, intelligent and calmly looking eyes. Her face exuded soft and gentle strength. It was not only her movements and gaze that were calm. Life on her estate was characterized by luxury, calm, coldness, and the absence of interesting people. Regularity and constancy are the main features of the way of life on Odintsova’s estate.

When Bazarov and Arkady arrived at her estate, they saw how measured and monotonous her whole life was. Everything here turned out to be “put on rails.” Comfort and serenity formed the basis of Odintsova’s existence. She had suffered enough in life (“grated kalach”) and now it was as if she only wanted to take a break from her past. More than once in conversations with Bazarov she called herself old.

When I read the novel, at first I thought that she was being flirtatious in this way - after all, she is only 28 years old! But then I realized: this young woman has the soul of an old woman. How else can we explain her desire to do her best to drown out the love that has arisen within herself, just so that it does not interfere with her measured way of life.

The author writes about her: “Her mind was inquisitive and indifferent at the same time. Her doubts never subsided to the point of forgetfulness and never grew to the point of anxiety. If she weren’t independent, she might have rushed into battle, would have recognized passion...’’ Odintsova herself knows this quality of her nature well, she says to Bazarov: “I love what you call comfort.”

But at the same time, Anna Sergeevna is capable of noble deeds, sympathy, and high sadness. She comes to say goodbye to the dying Eugene, although he only asked his father to inform him that he was ill and dying.

At the end of the novel, we learn that Anna Odintsova married “not out of love, but out of conviction, to one of the future Russian leaders...” Coldness of reason in her is, unfortunately, combined with some coldness of soul.

Odintsova has a strong character, and she even suppressed her younger sister Katya in some ways.

Katya is a nice girl, and although at first she is perceived as a pale shadow of Odintsova, she still has character. A dark brunette with large features and small, thoughtful eyes. As a child she was very ugly, but by the age of 16 she began to get better and became interesting. Meek, quiet, poetic and bashful. Milo blushes and sighs, is afraid to speak, and notices everything around him. Musician. Loves flowers and makes bouquets of them. Her room is amazingly tidy. Patient, undemanding, but at the same time stubborn. Her individuality is gradually revealed, and it becomes clear that in an alliance with Arkady she will be the main one.

Odintsova’s image is interesting precisely because of its ambiguity. She cannot be called either a positive or negative heroine without sinning against the truth. Anna Sergeevna is a lively and bright person, with her own advantages and disadvantages.

It’s difficult for me to unequivocally answer the question: how does Turgenev feel about Odintsova? Maybe my personal perception is interfering with me - Odintsova is not very attractive to me. But one thing is obvious: Turgenev nowhere allows irony in relation to this heroine. He considers her a fairly smart woman (“A woman with a brain,” according to Bazarov), but I don’t think he’s very fascinated by her.

“Turgenev women” are strong women. Perhaps they are much stronger in spirit than the men around them. Perhaps Odintsova’s merit lies in the fact that she, unwittingly, helped Bazarov throw off the mask that so hindered him, and contributed to the development of the personality of this extraordinary man. Which of these women turns out to be sweeter and closer to the writer’s heart? Of course, Fenechka. It was her that Turgenev bestowed with the happiness of love and motherhood. And emancipated women, in their worst manifestations, are deeply unsympathetic to him. Odintsov is repulsive with his coldness and selfishness. Turgenev's ideal of a woman lies in the ability to love and sacrifice herself for the sake of her beloved. All these heroines, of course, are very different, each of them has their own life, their own experiences, but they are all united by love and the desire to be happy.

All essays on literature for grade 10 Team of authors

30. Female images in Turgenev’s novel “Fathers and Sons”

The most outstanding female figures in Turgenev's novel "Fathers and Sons" are Anna Sergeevna Odintsova, Fenechka and Kukshina. These three images are extremely different from each other, but nevertheless we will try to compare them.

Turgenev was very respectful of women, which is perhaps why their images are described in detail and vividly in the novel. These ladies are united by their acquaintance with Bazarov. Each of them contributed to changing his worldview. The most significant role was played by Anna Sergeevna Odintsova. It was she who was destined to turn the world familiar to Bazarov upside down. Love, the existence of which he did not believe, came to him. Internal conflict Bazarov's story begins precisely from the moment when he meets Anna Sergeevna Odintsova.

With his eccentricity, Bazarov naturally arouses the keen interest of the cold lady Odintsova. But this love simultaneously attracts and frightens her. Since this is not a completely familiar feeling for a young nihilist, he, accordingly, does not know how to behave. On the one hand, he allegedly does not believe in love, and on the other, he does not know what to call the longing that he experiences. The scene where his confession to Odintsova is described very vividly conveys his torment. His love is more like anger at her, at himself for his weakness. Anna Sergeevna is always calm, dignified and unperturbed. There is something primordially Russian about her. She real woman, which requires attention, respect and even some admiration for one’s person. But at the same time, she is not capable of all-consuming passion. She needs the same restraint, a certain coldness that is inherent in herself. Odintsova is unable to respond to Bazarov’s feelings, he frightens her, his love is more like hatred, at her, at himself for weakness. And Bazarov himself cannot give what she needs - peace, comfort and harmony. They are forced to part, although it is Odintsova that Bazarov wants to see before his death.

The image of Kukshina is completely different. This “nihilist” is deeply unhappy, and precisely as a woman. Her husband left her, and now behind the modern mask of an emancipated lady she hides her personal dissatisfaction with the current situation. Her manners are affected and false, but even she evokes sympathy when at the ball, abandoned by her male acquaintances, she unsuccessfully tries to attract their attention. Cheeky behavior often hides a feeling of inferiority. This happened in the case of Kukshina. Forced to play a role that is not her own, she, unlike Odintsova, who always feels at ease, behaves extremely unnaturally.

Fenechka is a real Russian woman. She does not have the majesty and spoiledness of Odintsova, and even more so she does not have the pretentiousness and falsehood of Kukshina. However, she also rejects Bazarov. He is drawn to Fedosya Nikolaevna, he seeks in her some confirmation of his theory of love as a simple sensual attraction. But this attitude offends Fenechka, and Bazarov hears a sincere reproach from her lips. Her morality, deep spirituality and purity are insulted. If for the first time the hero can explain Anna Sergeevna’s refusal by lordly effeminacy and caprice, then the refusal of Fenechka, a simple woman, suggests that the high spirituality and beauty despised by Bazarov are initially inherent in feminine nature itself. Women subconsciously feel aggression and hostility, and rarely can anything make them respond to contempt with love.

Self-esteem, spirituality and moral beauty unite Odintsova and Fenechka. In the future, Turgenev will use some of their character traits to create the image of a “Turgenev girl.” IN this work their role is to show the reader the author’s concept of the beauty of the Russian soul.