The great Russian writer Ivan Sergeevich Turgenev created a large number of wonderful images of Russian women. The writer's attitude towards the fair half of humanity was special. In his immortal works, Turgenev showed what treasures are hidden in the heart and mind of a woman, her readiness for self-sacrifice, courage and spiritual strength.

The novel “Fathers and Sons” presents several bright female portraits, each of them in its own way complements and reveals the character of the main character Bazarov.

Anna Sergeevna Odintsova is the main female character of the work. The reader sees high beautiful woman with smart eyes. She carries herself with great dignity, despite all the unflattering rumors. Wealth and independence made her life easy and measured. Odintsova does not know how to love and does not know what he wants.

Bazarov struck Anna Sergeevna’s imagination with his original thinking. She thought about him, although she did not miss him in his absence. This woman awakens a burning passion in the main character. He forgets how just recently he spoke with contempt about the high feeling of love.

Bazarov's experiences are deep and serious, passion surrounds him with an aura of sublimity. However, Odintsova does not reciprocate, although she seeks confessions young man. She remains calm, indifferent, there is only emptiness in her soul. In the finale, Anna Sergeevna marries for the second time and again not for love.

With much more warmth and sympathy, Turgenev talks about the other two heroines of the novel, Fenechka and Katya Lokteva.

Fedosya Nikolaevna is a young woman who lives with Nikolai Petrovich and gave birth to his son. Motherhood makes her very beautiful. Fenechka has a clean, gentle face and a plump figure. She is characterized by sedateness, prudence and a love of order, inherited from her mother. The woman is extremely shy, her position in the house is uncertain. This does not prevent everyone around her from liking her; at some point Bazarov even tries to hit on this sweet person. At the end of the novel, Fenechka deservedly finds quiet family happiness, officially becoming Kirsanov’s wife.

Odintsova’s younger sister Katya Lokteva is a real “Turgenev girl”. She is pretty, shy, completely different from cold Anna Sergeevna. She loves nature, poetry and plays the piano beautifully. Kirsanov the younger gradually falls in love with the young beauty, he feels at ease and calm with her, they have a lot in common.

The novel of Arkady Kirsanov and Katya is one of love lines works. After Bazarov's death, the young people get married and have a son.

A completely untypical female image for Turgenev is Avdotya Nikitichna Kukshina. Her small, homely figure and unpleasant expression on her face arouse hostility in the reader. She moves awkwardly and cheekily, although she strives to look enlightened and emancipated.

Turgenev did not introduce the caricatured nihilist into the novel in order to discredit Bazarov’s ideas. On the contrary, her clumsy imitation only enhances the sincerity and depth of the views of a true nihilist. The writer does not depict modern woman, she and her friend Sitnikov present a vivid parody of people who borrow progressive ideas only externally. Bazarov and Arkady treat them with obvious contempt.

Women's images in the novel “Fathers and Sons” help to understand the character of the main character, to penetrate into the depths of his soul. Turgenev was very concerned about tragic moments in love; this topic was close to the writer. He feels sorry for Bazarov and sympathizes with him, rejected by his beloved woman.

Turgenev is a singer of sublime love. For the writer, this feeling was a force capable of resisting selfishness and even death.

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From what I heard, I realized that the forest has the power to cleanse the human body.

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 it. 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 Fenechka 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 in fact, is there anything in the world more captivating than a young beautiful mother with healthy child in your 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 the dignity of her 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, 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” - 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.

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 it. 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 Fenechka 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.

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, 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.

It is impossible to imagine the history of Russian literature without the name of Ivan Sergeevich Turgenev. His literary heritage quite extensively: Turgenev wrote poetry, prose, drama. The writer's talent manifested itself most clearly in his major works - novels and stories. It was in them that the artist comprehensively reflected the features of his time, the spiritual image of his contemporaries. Turgenev’s enormous merit also lies in the fact that in his work he touched upon universal human and philosophical problems that worried people at all times.
One of the fundamental themes of Turgenev's work is the theme of love. It is important to note that the author often tests his characters with love. And this is no coincidence, for Turgenev himself went through the same test.
Back in 1843, an event occurred that left an indelible mark on Turgenev’s entire life. He met an outstanding singer, a person of high culture, an intelligent and attractive woman, Pauline Viardot. The woman she loved could not become Turgenev’s wife: she had children and a husband. And their relationship retained the purity and charm of true friendship, behind which lay a high feeling of love. It is impossible to read the lines from Turgenev’s letter to Viardot without excitement: “Next Tuesday it will be seven years since I was with you for the first time. And so we remained friends, and it seems to me good friends. And I am happy to tell you after seven years that I have not seen anything in the world better than you, that meeting you on my way was the greatest happiness of my life, that my devotion and gratitude to you has no limits and will die only with me.”
As can be seen from all of the above, Turgenev treated his beloved and women in general with great respect and awe. In each of his works, the author gave a special place to female images, sometimes making them the main ones in revealing the main theme. The novel “Fathers and Sons” was no exception. The entire work is full of female images, each of which is interesting, original and carries its own special symbolic meaning.
Roman I.S. Turgenev's "Fathers and Sons" is a multifaceted and very deep work. It examines a variety of issues, from socio-political to deeply personal issues of love and friendship.
The theme of love is one of the main themes of this work. In this regard, the novel contains many female characters. With their help, the author not only reveals many problems, but also expresses his attitude to the problems of a woman’s destiny, expresses his point of view on female character, women's destiny.
The novel features women of different generations. The “elders” include Bazarov’s mother Arina Vlasyevna, Arkady’s mother Masha, Arkady’s grandmother Agathoklea Kuzminishna, Anna Sergeevna and Katya’s aunt. All these heroines, with the exception of the old and, in my opinion, already out of her mind auntie, are positive characters. They, despite the difference in character, fulfilled their feminine duty with honor and followed their feminine destiny. These heroines had strong families, loving husbands and beloved children. It’s not for nothing that they raised worthy, good children: the Kirsanov brothers, and Bazarov, and Arkady.
TO to the younger generation in “Fathers and Sons” include Katya, Fenechka, Kukshina. The fates of these women are different. If Fenechka is happy with her fate, then doubts already arise about Katya: she strives for a different life, interesting and active, but chooses the rather mediocre Arkady. What lies ahead for her? We can only guess.
Avdotya Nikitishna Kukshina is both a funny and dramatic character. This is a deeply unhappy woman who failed to find her feminine happiness. She is trying to turn into an emancipated, independent lady. Kukshina rejects her feminine nature, turning into a funny and pitiful creature. She still hopes to arrange her destiny, dreams of a husband and children. But, in my opinion, she is unlikely to succeed.
The characters of Princess R. and Anna Sergeevna Odintsova stand out in the novel. They are similar in many ways and form a parallel of the older and younger generations. These heroines are calm family life prefer something else. Princess R. chooses a life full of passions and excitement, Odintsova - a complete absence of emotions, but material well-being. Both heroines are unhappy. It seems to me that the author sees the reason for this in their rejection of family, love for their husband, and raising children. It is in this, in my opinion, that Turgenev sees the purpose of a woman, her sacred duty and her happiness.