Fenechka is the embodiment of youth and naturalness. Female images in the novel "Fathers and Sons": semantic and artistic significance Several interesting essays

The novel "Fathers and Sons" is always considered as an anti-nihilistic novel or a novel about a generational dispute. At the same time, the images of Arkady Kirsanov, Pavel Petrovich and Bazarov are drawn to the analysis. Few people consider female images. In Turgenev's novel "Fathers and Sons" their role is quite significant. In total, in the novel we see five main characters: Fenechka, Odintsova, her sister, Bazarova’s mother Arina Vlasevna and Kukshina.

Evdoksiya Kukshina

Women's images in the novel "Fathers and Sons" perform different functions. Evdoksiya Kukshina at first glance cannot evoke anything but antipathy. Firstly, she is casually dressed, unkempt, with disheveled hair. Secondly, she behaves provocatively. She seems to know nothing about decency. But what is most indignant is her desire to seem advanced and cutting-edge. She pretends to be knowledgeable in all areas modern science and philosophy. In fact, her knowledge is superficial. Bazarov sees this immediately. Her friend Sitnikov is as pathetic as she is. These two heroes are pseudo-nihilists. Turgenev uses the image of Kukshina to reduce the level of perception of nihilism as a trend. If these are his representatives, will they go far? Even Bazarov himself begins to doubt the correctness of his beliefs. People like Kukshina and Sitnikov can undermine the authority of any teaching. How powerfully the image of the omnipresent, babbling nonsense Kukshina contrasts with the noble figure of Odintsova.

Anna Odintsova

Yevgeny Bazarov met her at a ball in the city. If we classify female images in the novel "Fathers and Sons" by importance, then the image of Odintsova should take first place. She amazes with her grace and calmness, her gaze is full of intelligence. That is why Bazarov immediately pays attention to her. However, subsequently the reader becomes convinced that Odintsova’s coldness is not only external, she is also too rational in reality. So, Bazarov, a cynic who denies all attachments between people, falls in love. He talks for a long time with Odintsova, finds in her speeches that he is truly interested in this woman. Odintsova allows us to identify the internal conflict in the soul of the protagonist; from this point of view, her image is very significant. Bazarov's mind comes into conflict with his feelings. Nihilism does not justify itself; ideas turn out to be erroneous.

Why didn't their relationship work out? All female characters in the novel by I.S. Turgenev's "Fathers and Sons" are interesting and mysterious. In general, Turgenev paid special attention to the depiction of psychology and in response to Bazarov’s confession, Odintsova states that he misunderstood her. And then he thinks to himself: “God knows where this could lead.” Her peace of mind is more valuable to her. She turned out to be too reasonable, afraid of feelings. And Bazarov, in turn, was afraid of feelings.

Arina Vlasevna

The idyll of Bazarov's parents also clearly shows the inconsistency of his idea. The mother loves her “Enyusha” excessively and tries in every possible way to surround him with love. The image of this elderly woman seems very touching. She is afraid that her son will be offended by her warmth, she does not know how to behave with him, she is careful with every word, but sometimes a mother’s heart cannot be appeased and Arina Vlasevna begins to lament near her smart and talented son, of whom she is sincerely proud. Perhaps Evgeny cannot stay at home for a long time precisely because of Arina Vlasyevna’s love. Always uncompromising and tough, he is afraid that he will melt from his mother’s caresses and will indulge in unnecessary romanticism.

Fenechka

Female images in the novel "Fathers and Sons" are opposite to each other. I can’t believe that Fenechka can be in the same space as Kukshina and Odintsova. She is modest, quiet and timid. She is a caring mother. Without wanting it, Fenechka becomes a grain of discord between Pavel Petrovich and Bazarov, the last straw of patience. The scene in the gazebo becomes the reason that Pavel Petrovich challenges Evgeniy to a duel. And the duel demonstrates the author’s assessment: the heroes are similar, and because of the similarity they hate each other. Therefore, their duel is comical and looks like a farce.

Katya Odintsova

This is Odintsova's younger sister. Compared to Anna, she seems less interesting, overly modest and inconspicuous. However, over time, spiritual strength is discovered in this sweet girl. She gives vital energy to Arkady, he can finally express his opinion and act as his heart tells him. Together, Arkady and Katya create a family, the kind of relationship that both dreamed of. After all, Arkady was initially too different from Evgeny, he was simply seduced by his intelligence, knowledge, and strength of character. Katya is a female image that confirms the author’s original thought.

Female images in the novel "Fathers and Sons" (conclusions)

The author involves several heroines in order to express his assessment. For example, Kukshina shows how Turgenev treated nihilism. In his opinion, mostly useless and empty people were carried away by this direction. The female characters in Turgenev's "Fathers and Sons" also complicate the conflict by adding action to it. Here, first of all, we should name Fenechka. As for Irina Vlasyevna and Anna Odintsova, they are called upon to reflect the internal conflict in Bazarov’s soul. Katya, among other Turgenev heroines, is the embodiment of beauty and simplicity. In general, all the female characters in the novel give it artistic completeness and integrity.

Fenechkaya is one of the minor heroines of the novel Fathers and Sons.

This article presents the quotation image and characterization of Fenechka in the novel “Fathers and Sons”: a description of the appearance and character of the heroine in quotes.

Brief description of Baubles in the novel "Fathers and Sons"

Fenechka, or Fedosya Nikolaevna, is the unofficial wife of the landowner. Fenichka is 23 years old. She is a peasant by origin (probably a civilian peasant).

Fenechka is a good housewife and a caring mother. She loves order and cleanliness. Fenechka is poorly educated, stupid and empty-headed, but at the same time she is pretty and sweet.

One day, Fenechka and her mother get a job with the landowner Nikolai Petrovich Kirsanov. A relationship begins between him and Fenechka. Kirsanov is 20 years older than Fenechka. He is a nobleman, and she is a peasant, but this does not prevent them from being together.

Fenechka and Kirsanov have a son, Mitya. After 3 years of marriage, Kirsanov marries Fenechka.

The image and characteristics of Fenechka in the novel "Fathers and Sons"

Fenechka's age is about 23 years:

"...It was a young woman of about twenty-three..."

The full name of the heroine is Fedosya Nikolaevna:

"...Fedosya Nikolaevna..."

Fenichka is an orphan:
“...Her husband died a long time ago...” (we are talking about Fenechka’s father)
“...mother, Arina, died of cholera...” (Fenechka’s mother died of cholera when her daughter was about 20 years old)

Fenechka is a beautiful young woman:
“...And in fact, is there anything in the world more captivating than a young beautiful mother with a healthy child in her arms?..”
"...So pretty!.."
"...It is known about whom: only one is pretty..."
"...Your father apparently has a pretty good lip..."

Fenechka's appearance in quotes:
"... Fenechka. 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..."
"...a young woman's face flashed..."
"...in a blue jacket and with a white scarf thrown over her dark hair, a young woman, Fenechka..."

"...a soft mass of black, shiny, slightly disheveled hair appeared..."
"...hot blood spread like a scarlet wave under the thin skin of her pretty face..."
"... came out quietly. She walked a little with a waddle, but that also stuck to her..."
"...Fenechka put her hair in order and put on a better headscarf, but she could have stayed as she was..."
“... he put his lips to Fenichka’s hand, which was white as milk on Mitya’s red shirt...”
"... Fenechka's face slid before him, so pale and small..."
"... Fenechka became prettier every day. There is an era in the life of young women when they suddenly begin to bloom and bloom like summer roses; such an era has come for Fenechka. Everything contributed to this, even the July heat that was then. Dressed in light white dress, she herself seemed whiter and lighter: the tan did not stick to her, and the heat, from which she could not protect herself, slightly blushed her cheeks and ears and, pouring quiet laziness into her whole body, was reflected in a drowsy languor in her pretty eyes "She almost couldn't work; her hands just slipped onto her knees. She could barely walk and kept groaning and complaining with amusing impotence..."
"...She was sitting on a bench, throwing a white scarf over her head as usual..."

Fenechka has “pretty eyes”:
"... Fenechka looked up at her eyes, which seemed even darker from the whitish glow falling on the upper part of her face..."
"...The expression in her eyes was charming when she looked as if from under her brows and chuckled affectionately and a little stupidly..."
"...in her pretty eyes..."

Fenichka is a shy girl:
"...she assumes...she is ashamed..."
"...She shouldn't be ashamed..."
"...putting her in front, I was all ashamed..."
“...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...”

Fenechka is a worthy woman:
"...if you allowed her to live with you under the same roof, then she deserves it..."
"... Of course, if this girl weren't worth it... This is not a frivolous whim..."

Fenechka is a polite girl:
"...Fenechka told everyone in the house you..."

Fenechka is a quiet and modest girl:
"...rarely saw her: she lived quietly, modestly..."

Fenechka is a stupid, empty girl:
"...Oh, how I love this empty creature!.."

"...laughed affectionately and a little stupidly..."

Fenechka loves order:
"...She inherited from her mother a love of order..."

Fenechka is a sensible and sedate girl:
"...She inherited from her mother<...>prudence and sedateness..."

Fenechka is an illiterate girl:
“...on their paper lids Fenechka herself wrote “laceberry” in large letters...”

Fenechka and Nikolai Petrovich Kirsanov

"...this girl you've probably already heard of<...>she now lives with me. I placed her in the house... there were two small rooms..."

Fenechka and Nikolai Petrovich have a son, Mitya :

"...Fenechka came in with Mitya in her arms..."
“... – How many months is he, I mean? – asked Pavel Petrovich.
- Six months; the seventh will be coming soon, on the eleventh..."

Fenechka loves Nikolai Petrovich:
"...I love Nikolai Petrovich with all my heart<...>I don’t like Nikolai Petrovich - and after that I don’t even need to live!<...>I love Nikolai Petrovich alone in the world and will love him forever!..”

At the end of the novel, Nikolai Petrovich marries Fenechka, despite the fact that she is a peasant and he is a gentleman:
“...A week ago, in a small parish church, quietly and almost without witnesses, two weddings took place: with Katya and Nikolai Petrovich with Fenechka...”

Straight weaving of baubles

Fenechka– a useful and versatile thing, and most importantly – easy to make. In order to weave it, you do not need to have a special gift or super abilities. All you need is a little free time and desire. For the rest, our website will help, where you can learn everything about baubles from A to Z.

	This category is entirely devoted to patterns of straight-weave baubles with images of musical groups and performers.
	Here are direct weaving patterns on the theme of music and everything connected with it.
	We all love brands and logos of our favorite companies. So dedicating one of your baubles to your favorite symbol is quite logical.
	Cats, dogs, mice and foxes - this is not a complete list of patterns that you can find here.
	In this section you will find patterns of baubles with Slavic patterns in straight weaving.
	So this section is entirely devoted to cartoons, their characters, logos and other elements of the industry.
	Here you can find not only the names of the cartoons themselves, but also the main characters, as well as simply various drawings in the style of Japanese animation.
	This section contains diagrams of various font variations of alphabets. With their help, you can put together a diagram of any name and bring it to life.
	A lot of different scheme on holiday themes.
	In this section you will find not only the classics of computer games, their logos and heroes, but also what appeared quite recently and has already managed to win the hearts of gamers.
	What could be better than watching your favorite movie or TV series in your spare time? Probably nothing. It’s just really cool when you have a bauble with the logo of your favorite film.

Oblique weaving of baubles

If you don’t know where to start your bauble-plaiting career, but have already mastered the basics of this business, and learned what a bauble is, what it comes in, etc., then this is the place for you. Bias weaving is a great start. Just follow the instructions and you will succeed. And then you will be able to fantasize, create unique works and give them to your loved ones.

Straight weave bauble

A bauble is an original bracelet made of threads, woven by hand. Throughout their history, such accessories have been not only exclusive decorations, but also symbols of friendship, mutual love and fidelity. There are two main techniques for weaving bracelets - oblique and straight. The first method is simpler, but the variety of patterns for it is limited. Straight weave baubles, on the contrary, can be made with designs of any complexity, including inscriptions and even portraits.

Features of direct weaving bracelets

The basis of the direct technique, just like the oblique one, is the right and left knots. In this case, the rows of nodes are located horizontally, and their direction changes in each row.

The process of weaving a bauble

Using the direct weaving technique, you can create amazing patterns...

...and also baubles with names

All threads for direct weaving of baubles can be divided into 3 categories:

• The main (leading) thread is the longest and matches the background of the pattern. It is attached to the weaving without cutting it off from the ball, and it is recommended to take 5 m or more in length.
• Warp or background threads. Their number depends on how many cells are in the row of the pattern you have chosen (according to the width of the product). They should not be very long, on average it is 40-80 cm, but the consumption depends on the pattern. The base color is chosen to be the one that is most often found in the pattern - as a drawing, inscription or outline. If the bauble consists of two colors, this will be the color of the inscription or design. If it is difficult to identify the second most important tone in a multi-color scheme, choose the one that occurs first in the weave.
• Auxiliary threads. These include all other shades in multi-color schemes (3 or more colors). They are introduced into the pattern as needed and the ends are cut off when finished.

Straight weave bauble

Instructions for weaving baubles with straight weave differ depending on how many colors are used in the pattern - 2 or more.

How to weave a two-color bauble with straight weaving

In addition to threads of two colors, for this work you will need patterns of baubles with straight weaving, tape, a pin or other convenient device for securing the threads.

Scheme for a two-color bauble

"Panda" scheme

Scheme "Panda2"

Bauble straight weave according to the “Panda” pattern

Most often, the patterns are small, so the design can be repeated on the bauble several times or made in the middle.

Monochrome bauble

Let's look at how to weave a straight weave bauble in more detail.

Advice:

If you want to weave a small pattern exactly in the center of the bracelet, you need to count the number of same-color rows before and after the pattern.

First, let's calculate the length of the pattern itself: divide the number of rows in the pattern by 5 (approximate number of rows in 1 centimeter of weaving). Having previously measured the circumference of the wrist, subtract the resulting number from it. The remaining centimeters will need to be woven without a pattern. If we multiply them by 5, we get the number of rows (rounded to a whole number if necessary). Half of the empty rows will be before the pattern, the other half will be after it. Let's take a closer look at how to weave two-color bracelets with straight weaving:

1. We fasten the threads in any convenient way. Using the working thread located on the left, we tie right-handed knots on each of the main threads in turn.
2. We align the row, pressing the nodes with a ruler, and do the same with each new row.
3. In the second row we tie left-hand knots, moving from right to left. In the future, the directions alternate in the same order. We weave to the row in which the pattern begins.
4. For example, we need to make 4 knots with a working thread and switch to a different shade. To do this, we braid the working thread with the warp thread, tying a knot in the opposite direction. The working thread moves along the knots.
5. In the same way, we continue weaving the bracelet in 2 colors, tying the background and pattern knots in different directions.

How to weave baubles with straight weave

Having mastered the technique of direct weaving, you will be able to create bracelets of any complexity

How to weave multicolor baubles according to patterns

Weaving a bauble according to a pattern in which there are 3 or more colors is somewhat different from two-color weaving. Before work, select in the pattern the main color (working thread), the second most important color (warp threads) and auxiliary threads.

Paired bauble of three colors, diagram

In another version, any, even unnecessary, threads can become the basis, and the entire pattern is made with auxiliary ones. Let's look in detail at how to weave baubles with a large number of flowers:

1. We fasten the warp threads and the working thread, weave the required number of single-color rows. We weave to the point in the pattern where we need to attach the auxiliary thread.
2. We fix the new thread together with the skein on the working surface. We bring it to the place of weaving, grab the working thread and braid the warp thread. It is imperative to grab the leading thread each time, otherwise gaps will form between the knots. We tie the knots of the pattern in the same direction in which the background ones were tied. We introduce the remaining colors in the same way.
3. If the color at the end of the row and at the beginning of the next does not match, we bring the desired thread to the edge of the bauble, grab the outermost working thread and braid the base.
4. We carry out the pattern according to the diagram, again finishing the work with “empty” rows of the background.
5. We cut off the auxiliary threads, leaving tips of about 3 mm on the wrong side of the baubles.

Straight weave in several colors

Weaving pattern

Having mastered this simple technique, you can make baubles from threads of any complexity with any number of colors.

A handmade bauble will be an excellent gift for a loved one.

Place the straight weaving patterns on the cross stitch patterns. You can draw them yourself, use a pattern generator or ready-made patterns on our website, including for embroidery.

Direct weaving, you can create real pictures

Bauble in Slavic style

Bauble in boho style

A straight knot (flat knot) is one of the fundamental knots for weaving bracelets. It is absolutely necessary to master it in order to make various simple jewelry for girls. With its help, one of the most fashionable bracelets today is made - the Shambhala bracelet. In this article we will consider only baubles made from straight knots alone without adding beads or beads.

If you alternate the colors of the threads, you can get different versions of baubles for girls, which we will talk about in our article.
This knot is also used in macrame, but it is called a square knot.

How to weave a straight knot (flat knot) for bracelets.

To weave bracelets with straight knots, you need two types of thread: a warp thread and a working thread.
The warp thread in the diagram is shown as numbers 2 and 3. The warp thread can contain any number of threads, including one. The working thread in the diagram is 1 and 4. If you have a one-color bauble, then these are threads of the same color. The working thread is approximately 4 times longer than the warp thread.
Straight knot weaving pattern for bracelets.

Single-color bauble with straight knots.

For the warp thread we take 60cm for the working thread 2 meters.
We bend one of the threads in half and make a loop.

We fix the beginning of the bracelet on the table with tape or fasten it to the trousers with a pin. The second method is more convenient.
We secure the second thread by threading it through the loop and begin weaving straight knots.
We draw one edge thread under the two central warp threads and place it on top of the second edge thread.
Place the second edge thread on top of the warp threads and thread it through the loop of the first edge thread from top to bottom.
Tighten the knot.
The second and first marginal threads swapped places. Now things are the same, only on the other side.
We continue to weave knots until the desired length of the bauble. Keep in mind that the loop at the beginning of the bracelet is also included in the length.
We make the second tie of the bracelet. The first is the loop at the very beginning of our bracelet. We make two ponytails. We have two ropes for each ponytail - we will intertwine them with each other. To do this, stretch two ropes of the same tie in different directions and twist them in opposite directions.
Then connect the ends of the ropes and release the bracelet. The ropes will twist among themselves. Make a knot at the end and singe the ends of the rope if you have synthetic thread.
Make the second tie in the same way.
The bauble is ready with straight knots. Place the bauble on your hand. Pass one string through the loop at the beginning of the bracelet and tie the strings together.

Two-color straight knot bauble

Your two working threads should be of different colors.
First option: Start making a bauble as in the previous option, just distribute the threads differently: two multi-colored warp threads and two multi-colored working threads.
Second option: If your warp threads are the same color and your working threads are single, then glue the ends of the single threads to the loop.
To finish weaving the knots, you can also cut the working thread near the knots and glue or singe the ends of the working thread.

Bauble made of straight knots with alternating colors

Take the cord for the warp and working threads of the same length.
While working through the same number of knots, swap the working and main threads.

Two-color weaving with flat knots.

Unlike the other bracelets shown, the two-color weave uses four working threads, two threads of each color.
We first tie a working thread of one (red) color in the center onto the main thread, then tie another thread of a different (gray) color from below. On each side of the warp threads you should have two threads of different colors.
Next, we begin to knit straight knots. We draw red working threads under black threads and tie a straight (flat) knot. (Cross the threads twice).
Then we draw the gray working threads under the red ones and again tie a flat knot.
We continue weaving alternating red and gray threads.
Look at other design options for the beginning and end of the baubles: a bracelet with four threads - a clasp with a button, a shamballa bracelet made of a chain with rhinestones and a clasp with straight knots.

* Fenechka came to Nikolai Petrovich as a little girl with her mother. One day, ash from the stove got into her eye and her mother took her to Nikolai Petrovich, he treated her eye and liked Fenechka’s cute baby face. From then on, he began to watch her often; she hid from him. When her mother died, Nikolai Petrovich took Fenechka to live with him. They fell in love with each other and Fenechka gave birth to Nikolai’s son Mitya. Pavel Petrovich (brother) did not want their wedding, they did not get married.

* Nikolai Petrovich's relationship with Fenechka is much calmer than that of other heroes of the novel, with the exception of Arkady and Katya. “...She was so young, so lonely; Nikolai Petrovich himself was so kind and modest... There is nothing else to say..." Fenechka's youth, beauty and freshness are exactly what attracted Nikolai Kirsanov to her. And for him it is “not a frivolous whim.” But even after an explanation with Arkady, he feels embarrassed and uncomfortable. Their love is like a candle that burns evenly and calmly.

Nikolai Petrovich adored his first wife, and after her death he met Fenechka and fell in love with the girl with all his soul. Turgenev shows that true love is above all prejudices. Despite the fact that Fenechka is a commoner and much younger than Nikolai Petrovich, these heroes are happy together. And there is direct evidence of this - their son Mitenka. Fenechka loves Nikolai Petrovich: “...I love Nikolai Petrovich with all my heart. I don’t love Nikolai Petrovich - and after that I don’t even need to live! I love Nikolai Petrovich alone in the world and will love forever!..”

In his marriage to Fenechka, Nikolai Petrovich also finds family happiness. A wonderful picture of a family dinner in the Kirsanovs’ house, drawn by Turgenev warmly and with love: Nikolai Petrovich, Fenechka and Mitya sitting next to him, Pavel Petrovich, Katya and Arkady... “Everyone was a little awkward, a little sad and, in essence, very good. Each served the other with amusing courtesy... Katya was the calmest of all: she looked around her trustingly, and one could notice that Nikolai Petrovich had already fallen in love with her.” With this scene, the writer once again reminds us that love, family, respect and trust are the eternal values ​​for which life is worth living.

I would like to begin my work by thinking about Fenechka. And it is no coincidence that Fenichka’s very 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 tender handles. 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 a seemingly noble act. 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. A nihilist who falls in love and then is rejected painfully experiences his failure. And quickly and almost without difficulty “compensates” for Odintsova’s defeat with success at Fenechka’s. She also liked Bazarov, he knows how to approach her, cleverly plays on their mutual antipathy towards Pavel Petrovich, but she is morally pure, she does not notice Bazarov’s “male” gaze and treats him in a friendly manner. Pretty, affectionate, but rustic Fenechka (“kitty”) resembles Bazarov’s mother in her youth. The role of the district doctor's wife would be quite suitable for her, a role that fate prepares for the young nihilist and which he strives with all his might to avoid.

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”. Fenechka could give Nikolai Petrovich love, kindness, care, respect, which he undoubtedly deserved, being a kind and decent person. In turn, Nikolai Petrovich gave Fenichka reliable protection, respect, and love.

Fenechka cannot be classified as a “Turgenev woman,” but she is deeply attractive to both the author and, I think, the readers, since she is very natural and charming.

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 a seemingly noble act. 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 it's not just about beauty
Baubles, namely 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 got into a fight with
Bazarov in a duel and so as 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
When he saw Fenichka, he winced. The nonsense that Kukshina spoke was quite consistent with her appearance and manners. Perhaps Bazarov's meeting with
Kukshina is significant only in that in their conversation the name was first heard
Anna Sergeevna Odintsova - a woman who subsequently 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.” I must say that in the mouth
Bazarov (that is, this person as he was at the time of their meeting) 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 turned out to be here
“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 is difficult for me to unequivocally answer the question: how does Turgenev relate to
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, without meaning to, helped Bazarov throw off the mask that was so disturbing to 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.

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