From the classics of past centuries to the present - the formation of the female image in world literature. Such different destinies, such complex destinies

Luchko Victoria Vladimirovna

Women... who and when could understand them! They were admired, they were hated, they were loved, they were despised. But they didn’t understand! No one could understand the logic of their actions. Do you think the phrase “female logic” appeared just like that? No. About it strange phenomenon Pundits have been arguing for years. Among them were writers, poets, and simply talented people. This is, of course, Griboyedov, Pushkin, Lermontov, Dostoevsky. Many Russian writers tried to create perfect image women. Among them was I.S. Turgenev.

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State budgetary educational institution

secondary vocational education

Gulkevichi Construction College of the Krasnodar Territory

Research

“Female images in the works of I.S. Turgenev”

Prepared

student of group 1SEZ

Luchko Victoria

Teacher

Luchko I.V.

2013

Introduction

1. Art world I.S. Turgenev

2. Female images in the stories of I.S. Turgenev

3. The image of Turgenev’s girl in the novel “The Noble Nest”

4. Female images in the novel "Fathers and Sons"

Conclusion

I agree with the opinions expressed in Russian literary studies by leading Turgenev scholars, in particular Lebedev, that “ main feature Each Turgenev heroine is a delightful femininity. His heroines combine seemingly incompatible traits, such as timidity and strength of character, dreaminess and determination, manifested in everything. A Turgenev woman has self-esteem and is able to patiently and smoothly build relationships with people. And all these are the qualities of character that from time immemorial have constituted the ideal of beauty of a Russian woman in a variety of class societies.”

According to Turgenev, a woman is as close as possible to nature, to its beginnings. She is a phenomenon of a special order, as if a personified manifestation of nature. In her actions, she does not fit into the usual rational framework, guided not by logical conclusions, but by extra-rational natural laws. Impulsiveness and unpredictability are precisely the charm of Turgenev’s girl. Just like nature, woman is constant, but constant in her continuous variability.

Thus, we can say with confidence that Turgenev’s female images are much more complex and deeper than it might seem at first glance. Turgenev's girl is capable of deep and strong love and selflessness for the sake of your loved one.

The female characters in Turgenev's works are deeply psychological, they are written excellently by the author, they are the key to revealing the image of the main character and the holistic concept of the novel. They are different, but by talking about their destinies, the author shows what is especially dear and valuable to him in any woman. I think this is modesty, decency, accuracy, the ability to love, to be a good wife and mother. Such women have been loved at all times.

List of used literature

Batyuto A.I. Turgenev and Goncharov. // Batyuto A.I. Turgenev is a novelist. - L.: Science, 1972
Lebedev Yu. V. Roman I. S. Turgenev “Fathers and Sons.” – M, 1982.
Markovich V.M. Man in the novels of I.S. Turgenev. – M.: Education, 2000
Pospelov G.N. Russian history literature of the 19th century century: (1840-1860). - 2nd ed., rev. and additional - M.: graduate School, 1992.
Pustovoit P. G. Roman I. S. Turgenev “Fathers and Sons”: Commentary: Book. for the teacher. – M.: Education, 1983
Pustovoit P.G. I.S. Turgenev is an artist of words. – M.: Education, 1980.
Shatalov S.E. The artistic world of I.S. Turgenev. - M.: Nauka, 1979.
Yakushina N.I. I.S. Turgenev. Life and art. – M.: Nauka, 1996

Composition

All the heroes and heroines of A. N. Ostrovsky can be divided into those who have power over others and those without rights. IN later plays Ostrovsky, the first acquire the traits of “tyrant”, and the second become victims of these “tyrants”.

As usually happens in life, tyrants have significantly fewer victims. Thus, among the female characters of “The Thunderstorm”, only Kabanikha has power. In “The Forest,” the role of the sovereign mistress of the destinies of her relatives and servants is given to Gurmyzhskaya.

In principle, victims of tyranny can also be divided into two groups: among them there are those who obediently accept their fate and do not try to escape from under oppression, and those who fight for their happiness and freedom. The first group includes Katerina, and the second group includes Varvara and Aksyusha. Nevertheless, such a division is conditional, since a person’s moral and ethical dependence is also determined by his social dependence. Therefore, it seems to me that Katerina should not be condemned for some fatality in her attitude to life, because she was more dependent in legal terms. Serfs and master's servants were in almost the same position, for whom obedience was the only way salvation from poverty

The emerging division allows us to compare the images of the main heroines of A. N. Ostrovsky’s plays “The Thunderstorm” and “The Forest”.

By social status Kabanikha and Gurmyzhskaya are comparable. Despite belonging to different social classes, They have a lot in common. First of all, this concerns the inconsistency of their characters with the Christian ideals that existed in provincial Russia. This incompatibility of the actual with the desired became the reason for pretense, falsehood. Both Kabanikha and Gurmyzhskaya wear “masks”. However, for Kabanikha this is a common necessity, and for Gurmyzhskaya it is not only a forced measure, but also a manner of behavior elevated to the level of art. Gurmyzhskaya gets so used to the “theatrical” image she created for those around her that there is a real danger for her to “play too much” and do something that she would later regret. About Kabanikha, Kuligin says: “He gives money to the poor, but completely eats up his family,” thereby emphasizing her duality. “Charity” also unites Kabanikha and Gurmyzhskaya. This charity is not aimed at doing good to people, which they do not need, but at shaping public opinion. “But do relatives alone have the right to our compassion?” - Gurmyzhskaya declares to her neighboring landowners, and a few days later she denies her relative a dowry.

The consequence of this duality can be considered dictatorship in family matters and suppression, subordination of household members to their interests. This is required by both selfish nature and elementary caution, since a frightened person is easier to control. To avoid disclosure of features family life, Kabanikha practically isolates Katerina. Family is “a secret, secret matter.” Gurmyzhskaya apparently follows the same principle. It is natural that those who pay a lot of attention public opinion, leading a largely traditional way of life, Kabanikha and Gurmyzhskaya sometimes think in the same traditional way. This is manifested in the fact that Kabanikha expects betrayal from Katerina in advance and even almost forces her to do something indecent and shameful in order to once again confirm her infallibility. Just like Kabanikha, Gurmyzhskaya cannot believe Aksyusha when she says that she is not interested in Bulanov.

So, tyranny and conservatism, insincerity and hypocrisy - these are the components of the image of a “tyrant” woman who does not live, but “just blissed out.”

It seems to me that with psychological point view image of Gurmyzhskaya more complete than the image Aksyusha, whose main quality is “soul... life, fire.” This is why Aksyusha’s personality is valuable for Neschastlivtsev and, possibly, for the author. The will and desire to achieve happiness through conscious sacrifices, through meaningful struggle, brings Gurmyzhskaya’s ward and Kabanikha’s daughter closer together. Varvara also dared to go against her mother’s will and ran away with her beloved. She is only distinguished by her great independence and initiative. In comparison, Aksyusha is less energetic.

The image of Katerina is perhaps the most complex of the female images of these two plays. The criticism discussed the question: can Katerina be considered a tragic heroine? Of course, she was not perfect in every way: she had serious flaws. We can talk about her weakness of will, isolation from life. She often acts unconsciously and impulsively. But many of its qualities, which are shortcomings in practical life, are perceived by people as having been lost during their lives positive traits and are assessed as merits. Of course, Katerina is an emotionally and spiritually intact person, and the fact that she has not changed under the influence of the world around her should inspire respect.

Other female characters, found in the plays, are not so interesting, although some of them, such as Feklusha, are remembered for a long time for their originality.

Of course, two plays are not enough to analyze creative quest Ostrovsky in order to trace his development feminine ideal. Most likely, this does not even exist in his plays, since the ideal image is completely unrealistic, and Ostrovsky is a follower of realism. Perhaps the images of Aksyusha and Varvara were the most progressive. Katerina would have been less viable, but perhaps it is in her childishness, spiritual and emotional purity that the uniqueness and charm of her image lies.

Regarding the patriarchal way of life and the “tyranny” arising from it, one can add: Ostrovsky in his early plays idealized the life of the Russian hinterland, but he also showed the decomposition of the patriarchal way of life of the Russian province.

Two capacious artistic symbol strengthen the meaning of "Thunderstorm". The first is the main, powerful cataclysm that swept through not only nature, but also the human community and broke the heroine’s soul, exhausted from an excess of unclaimed love. Second - great river, into which the unfortunate woman threw herself, her cradle and her grave.

General value of these images-symbols - freedom. Freedom and love are the main things that were in Katerina’s character. She believed in God freely, not under pressure. By her own free will she sinned, and when she was denied repentance, she punished herself. Note that suicide for a believer is an even more terrible sin, but Katerina agreed to it. The impulse for freedom, for freedom, turned out to be stronger in her than the fear of torment beyond the grave, but, probably, her hope for God’s mercy was also reflected here, for Katerina’s God is undoubtedly kindness and forgiveness incarnate.

Katerina is a truly tragic heroine. The hero of a tragedy is always a violator of some order or law. It would seem that subjectively he does not want to violate anything, but objectively his act turns out to be exactly that.

Katerina had no thought of protesting against the world in which she lived (and what, in my opinion, Dobrolyubov groundlessly attributed to her). But, freely surrendering to the free feeling that visited her for the first time, she violated his patriarchal peace and immobility. She had no conflict with the world or with those around her. The cause of her death was internal conflict her hearts. The world of Russian patriarchal life (and Katerina is the highest, full expression the best, most poetic and living in this world) in the heroine himself exploded from the inside, because freedom began to leave him, in other words, life itself. Katerina Kabanova is often compared to Larisa Ogudalova from “The Dowry”. The basis for their comparison is love suffering, indifference and cruelty of others and, most importantly, death in the finale. But that's all. In essence, the characters of Katerina and Larisa are rather antipodes. Larisa does not have the main thing that Katerina has - integrity of character, the ability to take decisive action. In this sense, Larisa is certainly part of the world in which she lives. But the world of “The Dowry” is different from that in “The Thunderstorm”: in 1878, when the play was written, capitalism had already established itself in Russia (in “The Thunderstorm” only the beginning of its formation is shown).

Larisa is also a victim (like Katerina) of deception and hypocrisy, but she still has different life values. She is looking for sublimely beautiful love and the same life. For this she needs wealth. Of course, Karandyshev is not a match for her in all respects. But her idol, the embodiment of her ideals, the brilliant master Paratov, ultimately turned out to be not at all what she needed.

The inexperience of youth and adherence to destructive values attract Larisa into his arms, like a butterfly to the flame of a candle. But there is no strength of character, no integrity of nature. It would seem that the educated and cultured Larisa should have expressed at least some kind of protest. But no, she is a weak nature in all respects, weak even in order not to be a toy in the hands of others, dirty hands. Beautiful, as Karamzin said about his poor Liza (by the way, it’s not for nothing that Larisa dresses up in the second act as a shepherdess, the heroine, alas, of a failed idyll), in soul and body Larisa herself turns out to be an expression of emptiness surrounding life, spiritual chill hiding behind a spectacular external shine.

Spring Tale"Snow Maiden" due to its folklore form removed from social reality Russian society times of both Katerina and Larisa, but due to this same circumstance, the play explains a lot in Ostrovsky’s ideas about the nature of female characters, feelings, and the meaning of love. In "The Snow Maiden" there are two heroines, both experience the pangs of love, but in different ways, because the Snow Maiden and Kupava embody different types female characters.

The main thing for both is love, in which they can only show their free will. For the sake of love they are ready to do anything. But Kupava’s chosen one, trade guest Mizgir, cheats on her (saying modern language), and only with the shepherd Lelem Kupava finds solace and happiness in marriage.

The Snow Maiden is a different matter. The daughter of the old man Frost and the flighty beauty Vesna does not know love, “her soul is virginally pure,” it is strange to her that “all the guys fought over her.” When Kupava reproaches the heroine for separating her from her fiancé, Mizgir, Snegurochka utters the key phrase for her character: “Snegurochka is a stranger to you.” She is a stranger not only to her loving girlfriend and her fickle lover, but also to the whole world of careless Berendeys, for whom love is main value, meaning and purpose of life.

Of course, in a fairy tale all this receives a fantastic motivation. And just as fabulously, from her mother, the mistress of the spring awakening of nature, the Snow Maiden receives a great gift of love and literally throws herself on the neck of Mizgir, who used to frighten her with the power of his passion. But her girlish happiness is short-lived, mythological power again intervenes, and under the scorching rays of the Sun-Yarila, who has long been trying to gain the favor of the windy Spring, the Snow Maiden melts. Her last monologue is full deep meaning: the great gift of nature - the ability to love - is dual: it brings Kupava to the pinnacle of the fullness of life, but for the Snow Maiden it turns into death.

Introduction

The female characters in the novel “A Hero of Our Time” were a great success for Lermontov. This is how he described this feature of the writer’s novel famous critic that time V.G. Belinsky.

Belinsky noted that the author created such monumental images of girls and women that they could compete only with the heroines of novels and stories by A.S. Pushkin. These women are smart, capable, beautiful in soul and body, they have strong will, strive to realize themselves in society. However, all the heroines of the novel are unhappy in their own way, although it should be recognized that their unhappiness is derived from the unhappiness of the main character, Grigory Aleksandrovich Pechorin.

It is the image of Pechorin that unites all the female images of the novel.

The work presents several central female characters. This is Vera - a secular married lady who is associated with Pechorin love story back in the days when the young hero lived in St. Petersburg. This is Princess Mary Ligovskaya, a relative of Vera, whom Pechorin meets in Kislovodsk and, out of boredom, falls in love with her. This is the daughter of the Circassian prince Bel, kidnapped by her brother and given to Pechorin as a concubine. And finally, this is the girl whom Pechorin himself called Ondine (“mermaid”) - the beloved of the smuggler Yanko, a casual acquaintance of the protagonist of the novel.

Let us briefly characterize the main female characters from this work.

Bela

The image of the proud Circassian woman Bela, whom Pechorin, with the help of her brother, kidnapped from her parents' house, aroused the ardent participation of the reading public even at the first publication of the novel.
Among the female images in “Hero of Our Time,” the image of Bela is one of the most touching. Bela was not to blame for what happened to her, and, nevertheless, she accepted all the blows of fate courageously. Betrayed her brother Having given her for the horse Kazbich, she was betrayed by the kidnapper Pechorin, whom she loved with all her heart, but did not find reciprocity in his soul. She ended up being killed by a man who was also secretly in love with her.

Only Maxim Maksimovich understood Bela’s subtle and sensitive soul, however, he did not know how to help her and secretly rejoiced at her death, realizing that nothing good was in store for this girl in life.
Bela's love could not awaken Pechorin's soul to life from selfish egoism. Main character The novel soon lost interest in the young Circassian woman, and the heroine, without reproaching her lover for anything, meekly followed to the grave, regretting before her death only that she and Grigory Alexandrovich belonged to different faiths, so they would not be able to meet in heaven.

It should be admitted that Lermontov was completely successful in the image of Bela, later L.N. Tolstoy in his story " Prisoner of the Caucasus"will present to the reading public the image of a young Chechen girl Dina, and in this image there will be features of Bela - such as devotion and moral purity.

Princess Ligovskaya

The image of women in the novel “A Hero of Our Time” significantly complements the image of Princess Mary - a proud and beautiful Russian noblewoman who fell in love with Pechorin and confessed her feelings to him, which in those days was considered unacceptable behavior on the part of a girl from a noble family.

Pechorin felt that Mary was an unusual girl from those he knew. He saw in her intelligence, character and mental strength. And although Pechorin declared to Grushnitsky that Mary is a classic example of a Russian girl who, with all her pride and intelligence, will eventually marry an insignificant man, following the will of her mother, nevertheless, Grigory Alexandrovich himself decided to play with the feelings of this proud beauty.

It is difficult to say how sincerely Pechorin courted Mary, however, it should be noted that he humiliated her not out of anger, but rather, obeying some rough inner instinct.
Pechorin felt Mary’s spiritual strength and purity, so he tried to subjugate her to himself, although he did not find much meaning for himself in this subordination.

As a result, Mary also (like Bela later) deeply experienced the story with Pechorin and suffered from his actions and his spiritual coldness towards her.

Faith

The role of female characters in “A Hero of Our Time” is quite large. In fact, Pechorin's personality is revealed to us through the prism of his relationships with women who are presented in the novel.
Of great importance in this is the image of Vera, a secular married lady, with whom Pechorin was familiar back in St. Petersburg. In Kislovodsk, where the story “Princess Mary” takes place, Pechorin again met with Vera. Grigory Alexandrovich remembered his feelings for this woman, it seems that Vera did not forget her former lover.

Many readers of the novel have noticed that the image of Vera is one of the most controversial in the novel. On the one hand, the heroine strove for Pechorin and better than anyone understood his soul, full of contradictions, pride and selfishness, but on the other hand, it was Vera who became “ evil genius"Pechorin, in fact, pushing him into a duel with Grushnitsky. That night, when Grushnitsky, full of jealousy, was guarding Pechorin at Mary’s house, he saw Pechorin going on a date with Vera, but young hero decided that Grigory Alexandrovich was trying to seduce Mary Ligovskaya, with whom he himself was in love.

The fatal duel between Pechorin and Grushnitsky led to Vera telling her husband the truth about her relationship with Pechorin, and her husband took her away from Kislovodsk forever. Pechorin rushed after him, but could not do anything.

"Undine"

The characterization of female characters in “A Hero of Our Time” would be incomplete if we did not mention the name of another heroine whom Pechorin met in Taman.

Pechorin himself called her “Ondine,” that is, a mermaid. The image of this girl is mysterious. She was the mistress of the smuggler Yanko, whom Pechorin actually took by surprise. Fearing that Pechorin might report Yanko to the authorities, Ondine lured Pechorin onto a boat, inviting him to ride with her, and then tried to drown her companion. She, however, failed to do the latter: Pechorin threw Ondine overboard.

The hero himself explained Ondine’s act as a feeling of love for the young smuggler, but such terrible love seemed unpleasant even to Pechorin himself, who was accustomed to bringing misfortune to those he loved.

All women in the novel “A Hero of Our Time” are unique and bright personalities. In fact, in many ways they anticipate the famous female characters of Turgenev's novels. These women are beautiful, smart, strong-willed, strong-willed and sensitive. kind hearts. However, none of them could keep Pechorin from falling into the moral abyss, most likely because the hero himself, looking for female love, could not fully understand the hearts of those women whom he loved.

Given brief characteristics women and a description of their role in the novel will be useful for 9th grade students when collecting information for an essay on the topic “Female characters in the novel “A Hero of Our Time”.”

Work test

Adolescence is an intolerant time for every growing person. This time external changes, internal development of personality, attempts to comprehend in Once again the world and find your place in it. Very rarely does this stage of life go smoothly for the teenagers themselves and those around them. By this age, parents have already invested a lot in their child, and their carefully planted seeds should bear the expected fruits. But you can also unobtrusively give guidelines leading to the goal.

It's about education through books. If your child is accustomed to reading, then this is a good alternative to long conversations about what is best and what is worst for him.
For teenage girls, we can recommend books in which the female image is the main or significant one. It doesn't matter modern book or from past centuries. Problems and values are always eternal.

Elizabeth Bennett

1. Elizabeth Bennet - shining example self-control, feminine dignity, erudition, devotion to family and loyalty to oneself. We meet her on the pages of the novel "Pride and Prejudice" by Jane Austen. At this age it is good travel companion. The qualities inherent in the main character were not brought up in her by her family or instilled in her by a teacher, which once again proves: everything is in our hands. Her self-education and ability to behave made her stand out from the rest of her family and environment.

The novel reveals relationships in the family, the problem of responsibility of each family member to others, belief in the nobility of actions, the importance of understanding fateful decisions and responsibility for them. And of course, love is sincere, inspiring actions and conquering even the proudest hearts.

This is a good adviser on how to choose a friend and who to give your heart to.

Fermina Daza

2. Fermina Daza is a symbol of love, fidelity in whose soul was carried throughout her life in the novel Gabriel Marquez Garcia "Love in the Time of Plague". The main female character on the pages of the book grows up, makes important decisions, lives and ages. And all this time teaches you to be happy. She is before the reader both a teenager in love, and a sensible, powerful wife, and good mom, and the first lady open to innovation and challenges, and the mysterious lover. But at the same time, she is always a confident woman, loved and firm in making her decision.

The novel tells a life-long story. Shows the vicissitudes of fate from which no one is ever immune. There are many heroes, many well-written instructive scenarios.

Love in the Time of Plague is not only the title of the novel, it is a contradictory solution to the problem, which is the ability to live happily in your own world.

Bathsheba Everden

3. Bathsheba Everden - a sweet, extraordinary girl who inherited a fortune and shouldered the management of the estate and household on her fragile shoulders. The mental agility of the heroine of the novel Thomas Hardy's "Far from the Madding Crowd" teaches you to be independent in making decisions. Deviation from accepted rules, the ability to beautifully and boldly express oneself suggests that one should not be afraid to express oneself. Her inexperience in love and sometimes reckless actions once again prove that even innocent jokes can have irreversible consequences. Experiencing her ups and downs with Bathsheba, you grow up with her, think about responsibility and the importance of choice.

From reading a book you get wise advice, how to look for friends, who to trust and who can be a true support in life.

Bella, Princess Mary, Princess Ligovskaya

4. Bella, Princess Mary, Princess Ligovskaya- female characters in the novel M. Yu. Lermontov “Hero of Our Time”. They are not the main ones, but they are indicative. The main character - Grigory Aleksandrovich Pechorin - is handsome, smart, mysterious. His attitude towards the female sex is courteous, gallant, but cold. Its principle is play. Creating three types different images women is a wonderful approach to demonstrating the influence women can have on the same man. What is his attitude towards them, how does this relate to their behavior and his willingness to let them into his heart.

Novel - good guide to extract the moral that we build all relationships ourselves and their duration or outcome depend only on our ability to understand, accept and give. It is important to preserve yourself, your principles and positions, without completely dissolving in your partner.

Cecile

5. Cecil from the story Françoise Sagan "Hello, sadness"- an image of a girl who clearly demonstrates that one’s own selfish desires and goals at a young age are a real threat to the happiness and lives of others. The image of the heroine is modern and subject to all the temptations of the twentieth century. On the pages of the story we observe inner world heroes, their desire to be happy and the search for paths that can lead them to happiness.

main character lives for today, selfishly playing with the feelings of others, without thinking about true values. The way she plays leads to disappointment and pain for those around her. Repentance for the wrongdoing comes, but it’s too late to even apologize. Time and the irreversibility of fate intervened. The place of fun and carefree was taken by constant sadness.

The story reveals an internal conflict when, due to the internal victory of fear and selfishness, real possible happiness gave way to disappointment and melancholy.

Hazel

6. Hazel - not only modern look, but also truly tragic. John Green in the novel portrayed a girl who had been ill since childhood and was accustomed to the idea of expected death. Her parents live her life, everything is subject to strict order and its preservation. Real love- an unexpected gift from life. The ability of cancer patients to have true feelings, heightened by the hope of recovery and possible sudden death, penetrates the reader and forces you to rethink the categories of your own values. The world of people with cancer, through an invisible web, sifts out things that fade in the face of death. Only the true remains, worthy of attention and the remaining time.

No matter what happens in life, no matter how hard it is, we should not forget that everything can be solved while a person is alive.

Miranda Gray

7. Miranda Gray from John Fowles' The Collector- an instructive image. The girl has a strong will, self-confidence and tirelessly tries to find a way to escape from the kidnapper. The atmosphere of the book, recreated by the two main characters through their diaries, draws you in and gives you the opportunity to penetrate into the inner world of each of them.

Roman is an indispensable teacher that danger can be very close. And trust strangers just because in a difficult moment they were nearby with words of understanding, and not one of the family members, is not worth it.
Relatives and friends can always show their care more sincerely than anyone else, perhaps not always skillfully, but reliably!

Scarlet Ohara

8. Scarlet Ohara - a controversial but consistently optimistic character from the novel Margaret Mitchell " gone With the Wind» . Beautiful girl with a strong character and unshakable faith in yourself and your strengths. More than one year of her life passes before the reader. The main character goes through difficulties, loses everything, she is left with literally nothing, but thanks to her perseverance, fortitude and responsibility for her family and those who are weaker than her, she returns everything. She rises up, following her word and her dream. A little eccentric, but true to herself and her duty. The love in her life is separate chapter on the study of the capriciousness of human relationships and a guide to taming hearts.

Scarlet’s sayings, which have become popular, make you think and take them into account: “Once you go all the way down, the road can only lead up.”

from novel of the same name Charlotte Bronte. Man is subject to the eternal internal struggle of good and evil, love and hatred, selfishness and altruism... Life path- this is a series of trials that cause this choice. The main character went through many trials, feeling evil, humiliation and betrayal. But no matter how hard it was for her, she always made a choice in favor of the bright side of her soul. She was lucky, she inherited material well-being, but she found peace of mind and happiness herself - thanks to her love and the power of forgiveness, which is characteristic of strong people.

Kindness and the ability to forgive - good companions in life. It is always easier to walk away from betrayal than to forgive the culprit and give another chance. Anyone can stumble, but the power of forgiveness is not common to everyone.

Daria

10. Daria - a modest, dreamy, naive and hardworking heroine of the novel Oksana Robski “About Luboof / on”. The image of Cinderella and her ideal life absorbed with a fairy tale early childhood. And when in real life the girl meets someone similar to the image of the prince she created, everything else is unconsciously completed by the imagination. Having a dream is having a goal. But you always need to look at things realistically. Good example different class relations from the inside view from both sides. She is an idealistic speech therapist, and he is a cynic businessman.

IN adolescence everything is exaggerated, especially the feeling of love. And for those who hope for a fairy tale in life, it is useful to read about the possible modern version plot development. To be aware means to be warned and careful.

All books are very different, as are their heroines and storylines. The list can be continued and you can continue to draw on the good, the eternal, the wise, so that all these qualities appear in your heart and soul for yourself, your family and friends.

In the first two novels, the heroines are clearly opposed to each other: Natalya Lasunskaya and her mother Daria Mikhailovna; Lisa Kalitina and her mother Marya Dmitrievna.

In the novel "Rudin" Daria Mikhailovna Lasunskaya is portrayed as a person completely occupied with herself. Turgenev writes that in a conversation with Rudin “Daria Mikhailovna spoke casually, listened absentmindedly...”. “However, Daria Mikhailovna soon stopped questioning him: she began to tell him about herself, about her youth, about the people she knew. Rudin listened to her ranting with sympathy, although - strange thing! “No matter what face Daria Mikhailovna spoke about, she still remained in the foreground, she was alone, otherwise that face was somehow hidden and disappeared.” The author's irony increases with every word: “Judging by Daria Mikhailovna’s stories, one might think that everything wonderful people last decade They only dreamed of how to see her, how to earn her favor...” And further: “She (Daria Mikhailovna) talked about them, and, like a rich frame around gemstone, their names formed a shiny border around the main name - around Daria Mikhailovna.” Elsewhere, Lezhnev says about Daria Mikhailovna: “Daria Mikhailovna, firstly, is selfish and lives for herself.”

Similar to Daria Mikhailovna is the mother of Liza Kalitina, about whom Turgenev writes at her first introduction to the reader: “... she spoiled herself, was easily irritated and even cried when her habits were violated; but she was very affectionate and kind, when all her wishes were fulfilled and no one contradicted her.” Elsewhere, the writer directly calls her an egoist: “Marya Dmitrievna, like a true egoist, did not suspect anything.”

In both the first and second novels, Natalya and Lisa are contrasted with their mothers, as if marking a new generation.

In contrast to Daria Mikhailovna, her daughter Natalya usually “said little, listened and looked attentively.” Turgenev with this one phrase emphasizes Natalya’s attention to the world around her. In her first conversation with Rudin, she states that people like him should “try to be useful.” Natalia is attracted to him, first of all, by his ideas. “She (Natalya), writes Turgenev, kept thinking - not about Rudin himself, but about some word he said, and was completely immersed in her thoughts.”

In Lisa Kalitina, the writer also emphasizes her appeal to people: “All imbued with feeling duty, fear of offending anyone, with a kind and meek heart,” this is how the author paints it.

In his third novel, Turgenev even more clearly emphasized in the heroine her altruistic beginning, strength and ability to serve people. This is a curious fact. It is known that the novel “On the Eve” was not very well received by critics. As Annenkov noted, the “secular part” of the Russian reading public “was alarmed..., horrified by the author’s mood” and generally reacted negatively to the novel. One of the critics, M.I. Daragan, wrote that Elena is Don Quixote in a skirt. Surely he was right. Turgenev talks in emphatic detail about Elena’s special thirst for active good: “... from childhood she thirsted for activity, active good; the poor, the hungry, the sick occupied her, worried her, tormented her; she saw them in a dream; I asked all my friends about them; She gave alms carefully, with involuntary importance, almost with excitement. All oppressed animals, yard dogs, kittens condemned to death, sparrows that fell from the nest, even insects and reptiles found patronage and protection in Elena...” It is no coincidence that the writer even draws several comic situation when Elena runs to her father’s ironic call: “Helen, come quickly, the spider is sucking a fly, free the unfortunate thing!” . This should really be associated with the exploits of Don Quixote, especially if we take into account that the novel appeared in February 1860, and the article in January of the same year.

However, it should be said that in this novel Turgenev does not contrast Elena with any female character the same way it was done in the first two novels. But in the two subsequent novels, on the contrary, we will not meet the character who is usually called the “Turgenev girl”. The focus is now on the already complicated image of the same selfish woman as in “Rudin” and “The Noble Nest”.