A long and thin face with a wide face. Bazarov's attitude to love and romance

Evgeny Vasilyevich Bazarov is the main character of I. S. Turgenev’s novel “Fathers and Sons”, he is one of brightest characters Russian literature of the 19th century century. Bazarov is the son of a simple doctor, a future doctor himself and the elder friend of another character in the novel - Arkady Kirsanov.

Evgeny Bazarov has an attractive appearance, despite the sharpness and coldness of his facial features:

Long and thin, with a wide forehead, a flat nose at the top, a pointed nose at the bottom, large greenish eyes and drooping sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence...

Bazarov's thin lips symbolize his secretive nature, and his wide, flat forehead symbolizes his extraordinary mind. The hero’s gait is firm and bold, through it other heroes feel Eugene’s inner confidence and the strength of his spirit.

Bazarov is a smart, ironic and mocking person, those around him are uncomfortable with his directness and causticity. And even in his voice one can feel a slight mockery of those around him:

It is difficult for the people around him to keep their face in front of Bazarov, because they know that every mistake they make can become a reason for ridicule from the young man.

Many even condemn him for such firmness of his character and see in it a sign of pride or insensitivity...

While teasing as usual, he entered into a conversation with some guy...

His views on life and human principles are unusual for Bazarov’s contemporaries. Eugene’s nihilism is not understood and is condemned by those around him.

He is a nihilist who views everything from a critical point of view...

“We act because of what we recognize as useful,” said Bazarov. – At the present time, the most useful thing is denial - we deny...

Bazarov’s soul is not characterized by excessive romanticism; he is cynical about everything: friendship, his profession as a doctor, love:

And what is this mysterious relationship between a man and a woman? We physiologists know what this relationship is. Study the anatomy of the eye: where does that mysterious look come from, as you say? This is all romanticism, nonsense, rot, art...

For all his pomposity, his vanity, Bazarov is a simple man, he is not a nobleman, so he gets along with the peasants very easily.

The servants also became attached to him, although he made fun of them: they felt that he was still their brother, not a master...

This hero is distinguished by his willpower, he is not afraid of difficulties, and instead of endless reasoning, he prefers decisive actions. But this determination, together with the audacity of character, leads Bazarov to his death. Eugene accepts death bravely, but before his death he shows that love and affection for loved ones is not alien to him. He asks Anna Sergeevna to take care of his father and mother:

People like them in your big world you can't find it during the day...

This is what Bazarov says about his parents, which reveals to the reader the ambiguity of his character, so cold, but at the same time capable of high feelings deep down.

Option No. 453548

The answer to tasks 1-7 is a word, or a phrase, or a sequence of numbers. Write your answers without spaces, commas or other additional characters; do not copy the answer words from the browser, enter them by typing them from the keyboard. For tasks 8-9, give a coherent answer in 5-10 sentences. When completing task 9, select two works of different authors for comparison (in one of the examples, it is permissible to refer to the work of the author who owns original text); indicate the titles of the works and the names of the authors; justify your choice and compare the works with the proposed text in a given direction of analysis.

Performing tasks 10-14 is a word, or phrase, or sequence of numbers. When completing task 15-16, rely on author's position, if necessary, express your point of view. Justify your answer based on the text of the work. When completing task 16, select two works by different authors for comparison (in one of the examples, it is permissible to refer to the work of the author who owns the source text); indicate the titles of the works and the names of the authors; justify your choice and compare the works with the proposed text in a given direction of analysis.

For task 17, give a detailed, reasoned answer in the genre of an essay of at least 200 words (an essay of less than 150 words is scored zero points). Analyze literary work, relying on the author’s position, drawing on the necessary theoretical and literary concepts. When giving an answer, follow the norms of speech.

If the option is given by the teacher, you can enter the answers to the assignments in Part C or upload them to the system in one of the graphic formats. The teacher will see the results of completing assignments in Part B and will be able to evaluate the uploaded answers to Part C. The scores assigned by the teacher will appear in your statistics.

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Indicate the genre to which I. S. Turgenev’s work “Fathers and Sons” belongs.

()

Answer:

What is the name of Nikolai Petrovich and his son Arkady.

Read the fragment of the work below and complete tasks 1–9.

“Let me shake myself off, dad,” Arkady said in a somewhat hoarse, but sonorous youthful voice, cheerfully responding to his father’s caresses, “I’ll get you all dirty.”

“Nothing, nothing,” Nikolai Petrovich repeated, smiling tenderly, and struck his hand twice on the collar of his son’s overcoat and on his own coat. “Show yourself, show yourself,” he added, moving away, and immediately walked with hasty steps towards the inn, saying: “Here, here, and hurry up the horses.”

Nikolai Petrovich seemed much more alarmed than his son; he seemed a little lost, as if he was timid. Arkady stopped him.

“Daddy,” he said, “let me introduce you to my good friend, Bazarov, about whom I wrote to you so often.” He was so kind that he agreed to stay with us.

Nikolai Petrovich quickly turned around and, approaching the man tall in a long robe with tassels, which had just crawled out of the tarantass, tightly squeezed his naked red hand, which he did not immediately give to him.

“I’m sincerely glad,” he began, “and grateful for the good intention to visit us; I hope... may I ask your name and patronymic?

“Evgeny Vasiliev,” answered Bazarov in a lazy but courageous voice and, turning away the collar of his robe, showed Nikolai Petrovich his entire face. Long and thin, with a wide forehead, a flat nose at the top, a pointed nose at the bottom, large greenish eyes and drooping sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence.

“I hope, my dear Evgeny Vasilich, that you will not get bored with us,” continued Nikolai Petrovich.

Bazarov’s thin lips moved slightly; but he did not answer and only raised his cap. His dark blond hair, long and thick, did not hide the large bulges of his spacious skull.

“So, Arkady,” Nikolai Petrovich spoke again, turning to his son, “should we pawn the horses now, or what?” Or do you want to relax?

- Let's rest at home, dad; ordered to lay it down.

“Now, now,” the father picked up. - Hey, Peter, do you hear? Give orders, brother, quickly.

Peter, who, as an improved servant, did not approach the barich’s handle, but only bowed to him from afar, again disappeared under the gate.

“I’m here with a stroller, but there’s also a three for your carriage,” Nikolai Petrovich said busily, while Arkady drank water from an iron ladle brought by the owner of the inn, and Bazarov lit a pipe and went up to the coachman unharnessing the horses, “only a stroller.” double, and I don't know how your friend...

Nikolai Petrovich's coachman led the horses out.

(I. S. Turgenev. "Fathers and Sons")

Answer:

What is the name of the means of characterizing a hero, based on a description of his appearance (see description of Bazarov’s appearance)?

Read the fragment of the work below and complete tasks 1–9.

“Let me shake myself off, dad,” Arkady said in a somewhat hoarse, but sonorous youthful voice, cheerfully responding to his father’s caresses, “I’ll get you all dirty.”

“Nothing, nothing,” Nikolai Petrovich repeated, smiling tenderly, and struck his hand twice on the collar of his son’s overcoat and on his own coat. “Show yourself, show yourself,” he added, moving away, and immediately walked with hasty steps towards the inn, saying: “Here, here, and hurry up the horses.”

Nikolai Petrovich seemed much more alarmed than his son; he seemed a little lost, as if he was timid. Arkady stopped him.

“Daddy,” he said, “let me introduce you to my good friend, Bazarov, about whom I wrote to you so often.” He was so kind that he agreed to stay with us.

Nikolai Petrovich quickly turned around and, approaching a tall man in a long robe with tassels, who had just climbed out of the carriage, tightly squeezed his naked red hand, which he did not immediately give to him.

“I’m sincerely glad,” he began, “and grateful for the good intention to visit us; I hope... may I ask your name and patronymic?

“Evgeny Vasiliev,” answered Bazarov in a lazy but courageous voice and, turning away the collar of his robe, showed Nikolai Petrovich his entire face. Long and thin, with a wide forehead, a flat nose at the top, a pointed nose at the bottom, large greenish eyes and drooping sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence.

“I hope, my dear Evgeny Vasilich, that you will not get bored with us,” continued Nikolai Petrovich.

Bazarov’s thin lips moved slightly; but he did not answer and only raised his cap. His dark blond hair, long and thick, did not hide the large bulges of his spacious skull.

“So, Arkady,” Nikolai Petrovich spoke again, turning to his son, “should we pawn the horses now, or what?” Or do you want to relax?

- Let's rest at home, dad; ordered to lay it down.

“Now, now,” the father picked up. - Hey, Peter, do you hear? Give orders, brother, quickly.

Peter, who, as an improved servant, did not approach the barich’s handle, but only bowed to him from afar, again disappeared under the gate.

“I’m here with a stroller, but there’s also a three for your carriage,” Nikolai Petrovich said busily, while Arkady drank water from an iron ladle brought by the owner of the inn, and Bazarov lit a pipe and went up to the coachman unharnessing the horses, “only a stroller.” double, and I don't know how your friend...

Nikolai Petrovich's coachman led the horses out.

(I. S. Turgenev. "Fathers and Sons")

Answer:

Match the three characters in Fathers and Sons with their actions. For each position in the first column, select the corresponding position from the second column. Write your answer in numbers in the table.

Write down the numbers in your answer, arranging them in the order corresponding to the letters:

Read the fragment of the work below and complete tasks 1–9.

“Let me shake myself off, dad,” Arkady said in a somewhat hoarse, but sonorous youthful voice, cheerfully responding to his father’s caresses, “I’ll get you all dirty.”

“Nothing, nothing,” Nikolai Petrovich repeated, smiling tenderly, and struck his hand twice on the collar of his son’s overcoat and on his own coat. “Show yourself, show yourself,” he added, moving away, and immediately walked with hasty steps towards the inn, saying: “Here, here, and hurry up the horses.”

Nikolai Petrovich seemed much more alarmed than his son; he seemed a little lost, as if he was timid. Arkady stopped him.

“Daddy,” he said, “let me introduce you to my good friend, Bazarov, about whom I wrote to you so often.” He was so kind that he agreed to stay with us.

Nikolai Petrovich quickly turned around and, approaching a tall man in a long robe with tassels, who had just climbed out of the carriage, tightly squeezed his naked red hand, which he did not immediately give to him.

“I’m sincerely glad,” he began, “and grateful for the good intention to visit us; I hope... may I ask your name and patronymic?

“Evgeny Vasiliev,” answered Bazarov in a lazy but courageous voice and, turning away the collar of his robe, showed Nikolai Petrovich his entire face. Long and thin, with a wide forehead, a flat nose at the top, a pointed nose at the bottom, large greenish eyes and drooping sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence.

“I hope, my dear Evgeny Vasilich, that you will not get bored with us,” continued Nikolai Petrovich.

Bazarov’s thin lips moved slightly; but he did not answer and only raised his cap. His dark blond hair, long and thick, did not hide the large bulges of his spacious skull.

“So, Arkady,” Nikolai Petrovich spoke again, turning to his son, “should we pawn the horses now, or what?” Or do you want to relax?

- Let's rest at home, dad; ordered to lay it down.

“Now, now,” the father picked up. - Hey, Peter, do you hear? Give orders, brother, quickly.

Peter, who, as an improved servant, did not approach the barich’s handle, but only bowed to him from afar, again disappeared under the gate.

“I’m here with a stroller, but there’s also a three for your carriage,” Nikolai Petrovich said busily, while Arkady drank water from an iron ladle brought by the owner of the inn, and Bazarov lit a pipe and went up to the coachman unharnessing the horses, “only a stroller.” double, and I don't know how your friend...

Nikolai Petrovich's coachman led the horses out.

(I. S. Turgenev. "Fathers and Sons")

Answer:

What term denotes a small detail that serves as a means of characterizing the hero (for example, Bazarov’s robe with tassels)?

Read the fragment of the work below and complete tasks 1–9.

“Let me shake myself off, dad,” Arkady said in a somewhat hoarse, but sonorous youthful voice, cheerfully responding to his father’s caresses, “I’ll get you all dirty.”

“Nothing, nothing,” Nikolai Petrovich repeated, smiling tenderly, and struck his hand twice on the collar of his son’s overcoat and on his own coat. “Show yourself, show yourself,” he added, moving away, and immediately walked with hasty steps towards the inn, saying: “Here, here, and hurry up the horses.”

Nikolai Petrovich seemed much more alarmed than his son; he seemed a little lost, as if he was timid. Arkady stopped him.

“Daddy,” he said, “let me introduce you to my good friend, Bazarov, about whom I wrote to you so often.” He was so kind that he agreed to stay with us.

Nikolai Petrovich quickly turned around and, approaching a tall man in a long robe with tassels, who had just climbed out of the carriage, tightly squeezed his naked red hand, which he did not immediately give to him.

“I’m sincerely glad,” he began, “and grateful for the good intention to visit us; I hope... may I ask your name and patronymic?

“Evgeny Vasiliev,” answered Bazarov in a lazy but courageous voice and, turning away the collar of his robe, showed Nikolai Petrovich his entire face. Long and thin, with a wide forehead, a flat nose at the top, a pointed nose at the bottom, large greenish eyes and drooping sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence.

“I hope, my dear Evgeny Vasilich, that you will not get bored with us,” continued Nikolai Petrovich.

Bazarov’s thin lips moved slightly; but he did not answer and only raised his cap. His dark blond hair, long and thick, did not hide the large bulges of his spacious skull.

“So, Arkady,” Nikolai Petrovich spoke again, turning to his son, “should we pawn the horses now, or what?” Or do you want to relax?

- Let's rest at home, dad; ordered to lay it down.

“Now, now,” the father picked up. - Hey, Peter, do you hear? Give orders, brother, quickly.

Peter, who, as an improved servant, did not approach the barich’s handle, but only bowed to him from afar, again disappeared under the gate.

“I’m here with a stroller, but there’s also a three for your carriage,” Nikolai Petrovich said busily, while Arkady drank water from an iron ladle brought by the owner of the inn, and Bazarov lit a pipe and went up to the coachman unharnessing the horses, “only a stroller.” double, and I don't know how your friend...

Nikolai Petrovich's coachman led the horses out.

(I. S. Turgenev. "Fathers and Sons")

Answer:

What is the name of the method of depicting the hero’s internal, mental state through his external behavior (“Bazarov’s thin lips moved slightly; but he did not answer anything and only raised his cap”)?

Read the fragment of the work below and complete tasks 1–9.

“Let me shake myself off, dad,” Arkady said in a somewhat hoarse, but sonorous youthful voice, cheerfully responding to his father’s caresses, “I’ll get you all dirty.”

“Nothing, nothing,” Nikolai Petrovich repeated, smiling tenderly, and struck his hand twice on the collar of his son’s overcoat and on his own coat. “Show yourself, show yourself,” he added, moving away, and immediately walked with hasty steps towards the inn, saying: “Here, here, and hurry up the horses.”

Nikolai Petrovich seemed much more alarmed than his son; he seemed a little lost, as if he was timid. Arkady stopped him.

“Daddy,” he said, “let me introduce you to my good friend, Bazarov, about whom I wrote to you so often.” He was so kind that he agreed to stay with us.

Nikolai Petrovich quickly turned around and, approaching a tall man in a long robe with tassels, who had just climbed out of the carriage, tightly squeezed his naked red hand, which he did not immediately give to him.

“I’m sincerely glad,” he began, “and grateful for the good intention to visit us; I hope... may I ask your name and patronymic?

“Evgeny Vasiliev,” answered Bazarov in a lazy but courageous voice and, turning away the collar of his robe, showed Nikolai Petrovich his entire face. Long and thin, with a wide forehead, a flat nose at the top, a pointed nose at the bottom, large greenish eyes and drooping sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence.

“I hope, my dear Evgeny Vasilich, that you will not get bored with us,” continued Nikolai Petrovich.

Bazarov’s thin lips moved slightly; but he did not answer and only raised his cap. His dark blond hair, long and thick, did not hide the large bulges of his spacious skull.

“So, Arkady,” Nikolai Petrovich spoke again, turning to his son, “should we pawn the horses now, or what?” Or do you want to relax?

- Let's rest at home, dad; ordered to lay it down.

“Now, now,” the father picked up. - Hey, Peter, do you hear? Give orders, brother, quickly.

Peter, who, as an improved servant, did not approach the barich’s handle, but only bowed to him from afar, again disappeared under the gate.

“I’m here with a stroller, but there’s also a three for your carriage,” Nikolai Petrovich said busily, while Arkady drank water from an iron ladle brought by the owner of the inn, and Bazarov lit a pipe and went up to the coachman unharnessing the horses, “only a stroller.” double, and I don't know how your friend...

Nikolai Petrovich's coachman led the horses out.

(I. S. Turgenev. "Fathers and Sons")

Answer:

What is the name and patronymic of one of the leading characters in the novel “Fathers and Sons” - Arkady Kirsanov’s uncle.

Read the fragment of the work below and complete tasks 1–9.

“Let me shake myself off, dad,” Arkady said in a somewhat hoarse, but sonorous youthful voice, cheerfully responding to his father’s caresses, “I’ll get you all dirty.”

“Nothing, nothing,” Nikolai Petrovich repeated, smiling tenderly, and struck his hand twice on the collar of his son’s overcoat and on his own coat. “Show yourself, show yourself,” he added, moving away, and immediately walked with hasty steps towards the inn, saying: “Here, here, and hurry up the horses.”

Nikolai Petrovich seemed much more alarmed than his son; he seemed a little lost, as if he was timid. Arkady stopped him.

“Daddy,” he said, “let me introduce you to my good friend, Bazarov, about whom I wrote to you so often.” He was so kind that he agreed to stay with us.

Nikolai Petrovich quickly turned around and, approaching a tall man in a long robe with tassels, who had just climbed out of the carriage, tightly squeezed his naked red hand, which he did not immediately give to him.

“I’m sincerely glad,” he began, “and grateful for the good intention to visit us; I hope... may I ask your name and patronymic?

“Evgeny Vasiliev,” answered Bazarov in a lazy but courageous voice and, turning away the collar of his robe, showed Nikolai Petrovich his entire face. Long and thin, with a wide forehead, a flat nose at the top, a pointed nose at the bottom, large greenish eyes and drooping sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence.

“I hope, my dear Evgeny Vasilich, that you will not get bored with us,” continued Nikolai Petrovich.

Bazarov’s thin lips moved slightly; but he did not answer and only raised his cap. His dark blond hair, long and thick, did not hide the large bulges of his spacious skull.

“So, Arkady,” Nikolai Petrovich spoke again, turning to his son, “should we pawn the horses now, or what?” Or do you want to relax?

- Let's rest at home, dad; ordered to lay it down.

“Now, now,” the father picked up. - Hey, Peter, do you hear? Give orders, brother, quickly.

Peter, who, as an improved servant, did not approach the barich’s handle, but only bowed to him from afar, again disappeared under the gate.

“I’m here with a stroller, but there’s also a three for your carriage,” Nikolai Petrovich said busily, while Arkady drank water from an iron ladle brought by the owner of the inn, and Bazarov lit a pipe and went up to the coachman unharnessing the horses, “only a stroller.” double, and I don't know how your friend...

Nikolai Petrovich's coachman led the horses out.

(I. S. Turgenev. "Fathers and Sons")

Answer:

How can we explain Nikolai Petrovich’s confusion and timidity in the scene of the meeting with his son and his friend?

Read the fragment of the work below and complete tasks 1–9.

“Let me shake myself off, dad,” Arkady said in a somewhat hoarse, but sonorous youthful voice, cheerfully responding to his father’s caresses, “I’ll get you all dirty.”

“Nothing, nothing,” Nikolai Petrovich repeated, smiling tenderly, and struck his hand twice on the collar of his son’s overcoat and on his own coat. “Show yourself, show yourself,” he added, moving away, and immediately walked with hasty steps towards the inn, saying: “Here, here, and hurry up the horses.”

Nikolai Petrovich seemed much more alarmed than his son; he seemed a little lost, as if he was timid. Arkady stopped him.

“Daddy,” he said, “let me introduce you to my good friend, Bazarov, about whom I wrote to you so often.” He was so kind that he agreed to stay with us.

Nikolai Petrovich quickly turned around and, approaching a tall man in a long robe with tassels, who had just climbed out of the carriage, tightly squeezed his naked red hand, which he did not immediately give to him.

“I’m sincerely glad,” he began, “and grateful for the good intention to visit us; I hope... may I ask your name and patronymic?

“Evgeny Vasiliev,” answered Bazarov in a lazy but courageous voice and, turning away the collar of his robe, showed Nikolai Petrovich his entire face. Long and thin, with a wide forehead, a flat nose at the top, a pointed nose at the bottom, large greenish eyes and drooping sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence.

“I hope, my dear Evgeny Vasilich, that you will not get bored with us,” continued Nikolai Petrovich.

Bazarov’s thin lips moved slightly; but he did not answer and only raised his cap. His dark blond hair, long and thick, did not hide the large bulges of his spacious skull.

“So, Arkady,” Nikolai Petrovich spoke again, turning to his son, “should we pawn the horses now, or what?” Or do you want to relax?

- Let's rest at home, dad; ordered to lay it down.

“Now, now,” the father picked up. - Hey, Peter, do you hear? Give orders, brother, quickly.

Peter, who, as an improved servant, did not approach the barich’s handle, but only bowed to him from afar, again disappeared under the gate.

“I’m here with a stroller, but there’s also a three for your carriage,” Nikolai Petrovich said busily, while Arkady drank water from an iron ladle brought by the owner of the inn, and Bazarov lit a pipe and went up to the coachman unharnessing the horses, “only a stroller.” double, and I don't know how your friend...

Nikolai Petrovich's coachman led the horses out.

(I. S. Turgenev. "Fathers and Sons")

What works of Russian literature depict the relationship between fathers and children, and in what ways can their heroes be compared with the characters in “Fathers and Sons”?

Read the fragment of the work below and complete tasks 1–9.

“Let me shake myself off, dad,” Arkady said in a somewhat hoarse, but sonorous youthful voice, cheerfully responding to his father’s caresses, “I’ll get you all dirty.”

“Nothing, nothing,” Nikolai Petrovich repeated, smiling tenderly, and struck his hand twice on the collar of his son’s overcoat and on his own coat. “Show yourself, show yourself,” he added, moving away, and immediately walked with hasty steps towards the inn, saying: “Here, here, and hurry up the horses.”

Nikolai Petrovich seemed much more alarmed than his son; he seemed a little lost, as if he was timid. Arkady stopped him.

“Daddy,” he said, “let me introduce you to my good friend, Bazarov, about whom I wrote to you so often.” He was so kind that he agreed to stay with us.

Nikolai Petrovich quickly turned around and, approaching a tall man in a long robe with tassels, who had just climbed out of the carriage, tightly squeezed his naked red hand, which he did not immediately give to him.

“I’m sincerely glad,” he began, “and grateful for the good intention to visit us; I hope... may I ask your name and patronymic?

“Evgeny Vasiliev,” answered Bazarov in a lazy but courageous voice and, turning away the collar of his robe, showed Nikolai Petrovich his entire face. Long and thin, with a wide forehead, a flat nose at the top, a pointed nose at the bottom, large greenish eyes and drooping sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence.

“I hope, my dear Evgeny Vasilich, that you will not get bored with us,” continued Nikolai Petrovich.

Bazarov’s thin lips moved slightly; but he did not answer and only raised his cap. His dark blond hair, long and thick, did not hide the large bulges of his spacious skull.

“So, Arkady,” Nikolai Petrovich spoke again, turning to his son, “should we pawn the horses now, or what?” Or do you want to relax?

- Let's rest at home, dad; ordered to lay it down.

“Now, now,” the father picked up. - Hey, Peter, do you hear? Give orders, brother, quickly.

Peter, who, as an improved servant, did not approach the barich’s handle, but only bowed to him from afar, again disappeared under the gate.

“I’m here with a stroller, but there’s also a three for your carriage,” Nikolai Petrovich said busily, while Arkady drank water from an iron ladle brought by the owner of the inn, and Bazarov lit a pipe and went up to the coachman unharnessing the horses, “only a stroller.” double, and I don't know how your friend...

Nikolai Petrovich's coachman led the horses out.

(I. S. Turgenev. "Fathers and Sons")

Solutions to long-answer tasks are not automatically checked.
The next page will ask you to check them yourself.

Indicate the type of literature to which Yu. I. Vizbor’s poem belongs.

Answer:

What is the name of a means of artistic expression based on the transfer of the properties of some objects and phenomena to others (for example, “military blizzards”)?

Read the work below and complete tasks 10-15.

Bibliographic description:

Nesterova I.A. Bazarov's character [ Electronic resource] // Educational encyclopedia website

Artistic characteristics of Bazarov and the incompatibility of the elements of his image.

In 1862, Turgenev's novel "Fathers and Sons" was published. Central location The image of Bazarov occupies the composition of the work.

Overall rating The image of Bazarov is a doctor by training, a nihilist by way of thinking. He is not attracted to poetry and painting. Bazarov believes that

a decent chemist is twenty times more useful than any poet

I cannot agree with this and I believe that Bazarov himself thought so because he was young. In fact, he is a romantic at heart. Turgenev emphasized this in the scene of the death of the main character.

The appearance of the hero is quite unusual.

Bazarov is tall, dressed in a long robe with tassels, his face is long and thin with a wide forehead, a flat upward, pointed downward nose, large green eyes and hanging sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence.

Evgeny Bazarov is very smart. Evidence of this is his passion for science. Main character knows how to analyze the problems of modern society.

Bazarov is a working man. This can be seen in his "red naked hand". During his stay in Maryino, Bazarov did not forget his work: every morning he woke up before everyone else and got to work.

Evgeny Vasilyevich Bazarov is proud. He is in no hurry to bow to aristocrats.

Nikolai Petrovich quickly turned around and, approaching a man in a long robe who had just climbed out of the carriage, tightly squeezed his naked red hand, which he did not immediately offer to him.

Bazarov's character perfectly combines intelligence, hard work, pride, resourcefulness, and wit. He doesn't mince words. For any remark during an argument with Pavel Petrovich, Bazarov has a witty retort. Bazarov is confident in the correctness of his thought.

Bazarov despises the conventions and rules of etiquette established by aristocratic society. However, he treats without any arrogance ordinary people. When Nikolai Petrovich became worried that Bazarov would treat his love for Fenechka with contempt, Arkady said:

Please don't worry about Bazarov. He is above all this.

The village men treat Bazarov well, as they consider him simple and smart person, however, they perceive him as a fool. He is a stranger to them because he is not familiar with their way of life.

Bazarov was a great lover of women and female beauty.

But Bazarov's soul is looking for a real high feeling. Cynicism and belief in materialism prevent him from understanding people correctly. When he fell in love with Odintsova, it seemed that this love would be happy. But here Turgenev emphasized the incompatibility between romanticism and nihilism. During his declaration of love, it seemed to Odintsova that his romanticism burst out, but no, this did not happen. Bazarov turned and left with the firm intention of conquering his feelings. Later he says to Arkady:

I already noticed in the clinic that those who are angry with their pain will certainly overcome it.

Turgenev endowed his hero with nobility. Not everyone would help a person who hated him. During the duel, Bazarov wounded Pavel Petrovich, but immediately put aside his hostility and provided him with first aid.

Bazarov's main tragedy is that he cannot find permanent like-minded people, but only temporary travel companions. It is as alien to the nobility as it is to the peasantry.

Turgenev says through Katya’s lips that Bazarov is alien to the aristocracy:

Well, I’ll tell you that he... it’s not that I don’t like him, but I feel that he’s a stranger to me, and I’m a stranger to him, and you’re a stranger to him.

Having analyzed the personality traits of Bazarov, I came to the conclusion that the author created true hero of its time. In Bazarov’s soul there was a struggle between romanticism and materialism. He tried to solve the most difficult problems of life and consciousness. No matter how much Bazarov valued the past, all his thoughts and efforts were directed towards the present. Bazarov was lonely. I completely agree with Pisarev’s words:

Bazarov's personality closes in on itself, because outside of it, around it, there are almost no elements related to it.

Turgenev allowed his hero to die because he believed that Bazarov’s ideas would not lead to anything good. Before his death, Bazarov says the key phrase:

Russia needs me... No, apparently I don’t.

Getting ready to write. Topic 121

Getting ready to write
Topic 121

Artyom MALYKH,
10th grade,
gymnasium No. 1514,
Moscow
(teacher - R.A. Khramtsova)

The image of Evgeny Bazarov - a critically thinking person with progressive views, created by I.S. Turgenev in the novel “Fathers and Sons” (1861), stands apart in the gallery of images of heroes of Russian literature of the 19th century. He became a natural product of Russian reality. Turgenev painted a portrait of a type of people that was just emerging in Russia in the 60s, who were distinguished by efficiency, sober mind and cold calculation, internal freedom, denial and rejection of norms and dogmas.

Bazarov first appears before the reader in the second chapter of the novel: Arkady introduces him to his father. “Long and thin, with a wide forehead, a flat upward, pointed nose downwards, large greenish eyes and hanging sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence” - this is how Turgenev portrays Bazarov in one of the first scenes of Fathers and Sons .

“Self-confidence and intelligence” - the traits that Turgenev highlights in the appearance of the main character - Bazarov will carry throughout his entire life; they will largely determine the inevitability of Bazarov’s future tragedy. He goes through his life path alone, not focusing on anyone, he is “his own highest court,” the greatest evil and good. The label “nihilist”, hung on Bazarov, from which he disowns in every possible way, defines his inner essence and external behavior. Bazarov denies norms, schemes and dogmas, perceiving the world dialectically, since most of all he values ​​his inner freedom, despising fanaticism and doctrinaireism that fetters and limits the human mind: “And then we realized that chatting, just chatting about our ulcers is not worth the trouble “that this only leads to vulgarity and doctrinaire”; “In these times, the most useful thing is denial - we deny.”

But Bazarov, relying on materialistic laws, reduces the perception of the world to a simplified formula. He denies any phenomenon that tries to give a shade of ambiguity, versatility and complexity to life, therefore he organically does not understand and does not accept poetry and art. For Bazarov, “nature is not a temple, but a workshop, and man is a worker in it,” nature is a flexible and pliable material with which one can and should work. Bazarov's tragedy lies in his worldview and worldview: he considers himself the center of the universe, and the Universe - a material at hand, a form of inanimate matter.

Compositionally, ideologically and artistically, the episode of Pavel Petrovich’s dispute with Bazarov in the tenth chapter of Turgenev’s novel is important in the novel. In this episode, the author confronts a representative of the liberal nobility, aristocrat P.P. Kirsanov, with an adherent of democratic views - Bazarov, showing the dead end of both positions: a simplified materialistic understanding of the world and outdated aristocracy. During the dispute between Bazarov and Pavel Petrovich, the socio-philosophical concepts of both heroes are revealed. Pavel Petrovich gravitates towards Anglo-Saxonism, the English way of life, and the external pretentiousness of manners and aristocratic behavior replace his inner essence. Lifting a rhetorical question about the historical path of Russia, both heroes, far from the people, with particular audacity and zeal prove the correctness of their position. Behind Pavel Petrovich is the cultural experience of generations, a worldview that has been formed over centuries, and tradition. Bazarov is alone in his struggle and his life path: he has no ground under his feet, the experience of predecessors and followers; he is as distant and incomprehensible to the people as the aristocrat Pavel Petrovich. Bazarov renounces centuries-old traditions, wanting to change the natural course of history, to encroach on the immutable laws of existence in order to swim against the tide. Bazarov's meta-idea is to change the natural foundations on which the world is based, according to one's views and ideals, although, as is known, for a nihilist there is nothing ideal. In the context of Russian literature of the 19th century, Bazarov can be classified as a type of “superfluous people.” In his struggle, he is alone and sometimes on a subconscious level he understands that this road will inevitably lead him to the abyss, because a person is not able to change the laws of the world order. Bazarov's opposition to the natural laws of life will lead him to inevitable death.

Throughout the novel, Bazarov conflicts with others and himself. He is not able to compromise: having freed himself from the power of ideas and principles, Bazarov subordinated himself to the power of denial. The collision of Bazarov's theory with life, which cannot be absolutely known and explained using a formula, will lead to deep internal contradictions in the soul of the hero. Having previously rejected feelings and viewed love only as a natural phenomenon from a physiological point of view, Bazarov becomes dependent on his love for Odintsova. He understands well that love will bind and limit his free state, will force him to be responsible and dependent on it, but a deep feeling is much more stronger than will Bazarova. Bazarov, internally aware of his detachment from the cultural experience of generations, from tradition, aware of the unyielding radical maximalism of his aspirations and way of thinking, is drawn to Odintsova. Bazarov and Anna Sergeevna Odintsova exist on different planes; different worldviews explain the value systems of these heroes. Bazarov understands his internal contradictions and, submitting to the power of strong feelings, retreats in front of his views. Bazarov was attracted to Odintsova by “the freedom and independence of her thoughts”, her strong and free character. Perhaps he realized that the further development of their relationship would lead to a disastrous limit for both, because it would be difficult for two such strong and bright personalities to be in a limited and constrained state. And yet, the feelings from which Bazarov fenced himself off, demonstrating external coldness to those around him, take over him: “So know that I love you stupidly, madly...” - and in these words one can hear Bazarov’s sadness, melancholy and deep melancholy, which he hid from people.

An emotional outburst, seemingly internally contradictory to Bazarov’s character and soul, determined further development plot of the novel, largely predetermined tragic ending Bazarov's life. This ideologically and artistically important episode showed Bazarov from a different angle and revealed qualities that were not previously inherent in him. Internal contradictions, which Bazarov will discover throughout the novel, will predetermine the tragic outcome of his life. With his love for Odintsova, Turgenev, as it were, tests Bazarov, tests his mental fortitude. Having discovered the hero from another side, previously inaccessible to him, the reader turns with close attention and special interest to Bazarov, who has shown the versatility of both his character and his soul.

Bazarov consciously renounces the past, forcibly pulls himself out of the conditions in which life has placed him, denying everything that binds him to the earth, that prevents him from soaring high in free flight, neglecting relationships with his parents, family, rejecting the natural way of life, tradition, challenging the entire existing world order, with which he fundamentally disagrees. The outward coldness of Bazarov's behavior with his truly wonderful parents is due, first of all, to his special manner of behavior, which is determined by harshness, carelessness and some rudeness that hide Bazarov's true essence. Bazarov's cynicism hides his restless soul, violent temper and his internal contradictions. The existing nature of Bazarov’s relationship with his parents frees him in some way from responsibility and dependence on them, but does not completely free him, which is only possible for an impersonal, cold and internally empty person, which Bazarov is not. Deep down in his soul, he loves his parents and understands them (“You see what kind of parents I have. The people are not strict... - I love you, Arkady!”), but he fences himself off from them, left alone with himself, because he believes that no one can fully understand him. Moving away from his parents, Bazarov breaks away from the path destined for him by the past of his ancestors and the continuity of generations. He wants to be the only and true creator of his destiny. The idea is born that Bazarov’s external severity, harshness and rudeness, his organic rejection of poetry and sensitivity are caused by loneliness and his isolation in himself. Bazarov is alone in his struggle: there is not yet a person who could understand him. Bazarov, as a socio-psychological type, is ahead of the era in which he lives. Perhaps that is why he lost faith in people, in understanding between people, and lost hope of salvation in the bosom of this world. Bazarov's daring challenge to reality, the denial of unyielding natural foundations is a flight from the impending catastrophe that threatens him.

Bazarov, as a rebel who rebels against the natural laws of the universe, is contrasted with nature in Turgenev’s novel. While Bazarov fights against her laws, she rejects him from herself. If in the landscape that follows the story of Bazarov’s dispute with Pavel Petrovich Kirsanov, Nikolai Petrovich, immersed in his thoughts, becomes, as it were, part of nature, merging with it into a single whole, then Bazarov cannot be found in the novel “inscribed” in the landscape. Nature is a master for him; he does not bow to it or admire it, but studies and reveals the incomprehensible mechanisms of its existence. Bazarov, who does not have faith in the absolute and fear of higher powers, crosses the line, a kind of border that a person is not allowed to cross. This is the limit separating people from the mysterious and unknowable world, and any attempt to step over it will be stopped, like a new frantic desire to build the Tower of Babel, to equal the gods, encroaching on the foundations of the universe.

Reading “Fathers and Sons” by Turgenev, it is important to note how Bazarov’s philosophical worldview changes - from the idea of ​​perceiving himself as the center of the universe, who has the power to change the immutable laws of existence, to the idea that he is just a small particle, limited by the time of his existence, in infinite space, which, when charging, tries to transfer the charge, stir up other particles in order to give them a general chaotic movement on the edge of the abyss certain meaning, but whose capabilities and powers are limited by the will of the Creator or the system of the universe itself: “...The narrow place that I occupy is so tiny in comparison with the rest of the space where I am not and where no one cares about me; and the part of time that I manage to live is so insignificant before eternity, where I have not been and will not be... But in this atom, at this mathematical point, the blood circulates, the brain works, it also wants something... What an outrage! What nonsense!” Bazarov, freeing himself from the power and influence of ideas and principles, traditions, feelings, does not free himself and does not escape death, because he, like any other person on earth, is mortal, his time in this world is strictly limited. Bazarov lives and is guided by the laws he himself created, forgetting about one thing: no matter how free he is, he is subject to the same law for everyone - death.

Bazarov's fate is tragic: the cause of his death was a banal carelessness during the autopsy, which caused blood poisoning. Carelessness, not uncommon in the medical practice of that time, was not chosen by Turgenev as the cause of Bazarov’s death by chance: the hero, who rebelled against the laws of the universe, who challenged the whole world, dies a banal, unheroic death, becoming a victim of chance. An accident crosses out the life path of a frantic rebel. Dying, approaching the final limit of his life, Bazarov glances at the years he has lived and the deeds done and once again understands his detachment from the world: “Russia needs me... No, apparently, I don’t.” Last words Bazarova is a confession, a bitter reflection on one’s place in this world: “I’m finished. Got under a wheel. And it turns out that there is nothing to think about the future. The old thing is death, but it’s new for everyone... And I also thought: I’ll screw up a lot of things, I won’t die, no matter what! There is a task, because I am a giant! And now the giant’s whole task is to die decently, although no one cares about this...” At the end of his life, Bazarov reveals his essence to the reader: he asks Odintsova to love and caress his parents, the only ones on this earth who have always been sincerely devoted to him.

The last landscape of the novel, depicting the rural cemetery where Yevgeny Bazarov is buried, is designed in sad colors. And only Bazarov’s grave stands out against the background of shifted gravestones and rickety wooden crosses. Nature, previously opposed to Bazarov, accepted and pacified his “passionate, sinful, rebellious heart,” calmed his soul forever and buried him forever in the black earth, subordinating him to her eternal and all-pacifying will.

“The strength of Turgenev’s portrait lies in the changeability of all its diverse details. But this is also his weakness: one detail does not create in Turgenev a sufficient impression of the hero’s appearance. It depends on others - like a color in the spectrum sunbeam: take one away - white won't work. Unlike the prose of Leo Tolstoy, in Turgenev’s prose it is not mental life that determines appearance, but rather inner life"- wrote E.I. Shatalov.

Turgenev's portraits are detailed, the writer gives detailed description height, physique of the hero, costume, hairstyle, facial expression, eyes, etc. With this detail, Turgenev's portrait reminds us of Lermontov's portrait, however, in Lermontov, every detail of appearance is accompanied by a certain conclusion - the author's comment, while Turgenev has no such comment - as G. B. Kurlyandskaya notes, the reader here must independently draw conclusions about the character and habits of the hero. Turgenev's description of appearance only outlines the socio-psychological traits of the character, but does not name them.

Here, for example, is a portrait of Pavel Petrovich Kirsanov. This is “a man of average height, dressed in a dark English suit, a fashionable low tie and patent leather ankle boots... He looked about forty-five; his short hair White hair shone with a dark shine, like new silver; his face, bilious, but without wrinkles, unusually regular and clean, as if carved with a thin and light chisel, showed traces of remarkable beauty; The light, black, oblong eyes were especially beautiful. The whole appearance of Arkady’s uncle, graceful and thoroughbred, retained youthful harmony and that desire upward, away from the earth, which for the most part disappears after the twenties.”

In this description, Turgenev emphasizes the sophistication and sophistication of Pavel Petrovich, his panache and sleekness. All these features reveal the breed in this hero, his aristocratic origin. The external attractiveness and grace of the hero are emphasized by comparisons (“the hair shone with a dark shine, like new silver”, “the face was unusually regular and clean, as if carved with a thin and light chisel”). Moreover, the writer here uses special welcome characteristics (through the particular, the concrete, the general, conceptual is transmitted (“that desire upward, away from the earth, which for the most part disappears after the twenties"). This kind of characterization is a favorite technique of L.N.’s style. Tolstoy. Thus, describing Natasha’s rapprochement with Pierre (“War and Peace”) after her breakup with Bolkonsky, Tolstoy notes: “it never occurred to her that not only love could come out of her relationship with Pierre... but even that kind of tender, self-recognizing, poetic friendship between a man and a woman, of which she knew several examples.”

For morning breakfast, Pavel Petrovich comes out in an elegant morning suit, with a small fez on his head. Tight shirt collars and an immaculately shaved chin speak of his rigor, conservatism, and adherence to tradition, which Kirsanov himself later stated in a conversation with Bazarov.

Researchers have repeatedly noted that the external impeccability and beauty of Pavel Petrovich - “beautiful dark eyes”, “beautiful head”, “ beautiful hand with long pink nails” (during the narration, Turgenev persistently uses these epithets) - contrasts with a certain spiritual limitation of Kirsanov, with his “unromanticism.” Pavel Petrovich is dry and rational, in his “Anglomanism”, in his strict adherence to principles, in his inability to share the feelings of another person, there is something ossified, dead, motionless, opposing living Russian life. And Turgenev also notes this in the portrait. So, in the “beautiful dark eyes"Pavel Petrovich reflects only pictures of the external world, but not his own feelings. His “beautiful, emaciated” head looks like a “dead man’s head.”

According to G. B. Kurlyandskaya, in the description of the appearance of Turgenev’s heroes there is a leitmotif that reflects the dominant character trait. In the portrait of Kirsanov, this is his “fragrant mustache”, reflecting the “aristocratism”, external gloss and impeccability of the hero. With this constantly recurring detail, the portrait of Pavel Petrovich reminds us of the portraits created by Tolstoy in the novel “War and Peace.” Such details there are the scar on Kutuzov’s temple, the young, brilliant eyes of Nikolai Andreevich Bolkonsky, the short upper lip of Liza Bolkonskaya.

A.G. Tseitlin notes that in the portraits created by Turgenev, there is a certain dominant, “the idea of ​​a portrait.” For example, in describing Bazarov’s appearance, the writer emphasizes the hero’s self-confidence and intelligence. Bazarov is “tall”, with “dark blond hair, long and thick”, wearing a long robe with tassels. His face, “long and thin, with a wide forehead, a flat upward, pointed nose downward, large greenish eyes and hanging sand-colored sideburns... was enlivened by a calm smile and expressed self-confidence and intelligence.”

Bazarov is smart and inquisitive, the author emphasizes the hero’s intelligence with such details as broad forehead, “large bulges of a spacious skull.” Another characteristic detail of Bazarov’s appearance - the “naked red hand”, speaks of his democracy, disregard for the rules of good manners, and his habit of work.

Another characteristic detail of the hero’s appearance is the “large greenish eyes" - testifies to Bazarov’s impressionability. And this trait is really present in him. After meeting Odintsova, Bazarov “indignantly” discovers the romance in himself: his heart is breaking, he hears the mysterious whispering of the night, his imagination imagines “proud lips” and “intelligent eyes” stopping at his eyes...

In the novel "Fathers and Sons" there are remarkable and female portraits. In these portraits there are no bright, saturated colors, clear, complete lines: halftones and light strokes are character traits Turgenev style. Distinctive feature Turgenev's female portraits are airy and watercolor. However, in the reader's imagination female images, created by a writer, always grow “to truly artistic completeness.”

The portrait of Fenechka is magnificent in its picturesqueness. She is a sweet, shy and simple-minded young woman, neat and tidy. These features are emphasized in the description of her appearance. The necessary completeness to the portrait of Fenechka here is given by the impression that her appearance makes on those present. “It was a young woman of about twenty-three, all white and soft, with dark hair and eyes, with red, childishly plump lips and tender hands. She was wearing a neat cotton dress; her new blue scarf lay lightly on her round shoulders. She was carrying a large cup of cocoa and, placing it in front of Pavel Petrovich, she became all ashamed: hot blood spread like a scarlet wave under the thin skin of her pretty face. 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.”

Turgenev uses emotional epithets here, words with diminutive suffixes that convey author's attitude to the heroine: “all white and soft”, “childishly plump lips and tender hands”, “pretty face”.

Odintsova’s calmness and rationality, her simplicity and dignity, subtlety and aristocracy are emphasized in the description of her appearance. “Arkady looked around and saw a tall woman in a black dress stopping at the door of the hall. She struck him with the dignity of her bearing. Her naked arms lay beautifully along her slender figure; light fuchsia branches fell beautifully from shiny hair onto sloping shoulders; calmly and intelligently, precisely calmly, and not thoughtfully, the bright eyes looked from under a slightly overhanging white forehead, and the lips smiled a barely noticeable smile. Some kind of gentle and soft power wafted from her face.”

It is worth noting that Turgenev usually gives one large portrait of the hero in a novel. In the future, the writer notes changes in hairstyle, costume, and in short, spare phrases describes the facial expressions and gestures of the character in a given, specific situation. It turns out that the hero’s appearance is still given in dynamics, but these changes are shallow and situational. In general, Turgenev’s portrait of the hero remains unchanged. In this way, Turgenev's portraits are similar to Dostoevsky's portraits and differ from Tolstoy's portraits.

Thus, the novel repeatedly describes Odintsova’s appearance. First, the writer gives one large portrait, then several small sketches. This is what the heroine looks like when she receives friends in Nikolskoye: “She was wearing a light barezh dress; her hair combed smoothly behind her ears gave a girlish expression to her clean and fresh face.”

Anna Sergeevna looks different when she returns from a walk with Bazarov. “She walked through the garden with a somewhat tired gait; Her cheeks turned red and her eyes shone brighter than usual under her round straw hat. She twirled a thin stalk of a wildflower in her fingers, a light mantilla fell over her elbows, and the wide light ribbons of her hat clung to her chest.” Here the heroine’s embarrassment and awkwardness are conveyed, which are mixed with her “sense of acute curiosity” that draws her to Bazarov.

Odintsova appears completely different during her evening meetings with Bazarov. Here the impression of the hero is conveyed, Odintsova is depicted in his perception, “seen” through the eyes of a man in love. Anna Sergeevna appears mysterious and romantic here. “He looked at her. She threw her head back on the chair and crossed her arms over her chest, bare to the elbows. She seemed paler in the light of a single lamp, hung with a cut-out paper grid. Wide White dress covered her all with its soft folds; the tips of her legs, also crossed, were barely visible.”

Katya’s appearance is also given in dynamics in the novel. Her first portrait is general description appearance. “A beautiful greyhound dog with a blue collar ran into the living room, knocking its nails on the floor, and after her came a girl of about eighteen, black-haired and dark-skinned, with a somewhat round but pleasant face and small dark eyes.”

Then, almost immediately, Turgenev gives another portrait of the heroine, where Katya’s manners and facial expressions are described. Here the writer seems to convey Bazarov’s impressions of the girl’s appearance. “When Katya spoke, she smiled very sweetly, shyly and frankly, and looked somehow funny and stern, from bottom to top. Everything about her was still young-green: her voice, the fluff all over her face, her pink hands with whitish circles on their palms, and her slightly compressed shoulders... She blushed constantly and quickly took a breath.”

This young girl appears completely different, sitting at the piano: “She played very well, although a little strictly and dryly. Without taking her eyes off the notes and clenching her teeth tightly, she sat motionless and straight, and only towards the end of the sonata her face flared up, and a small strand of hair fell on her dark eyebrow.”

Sometimes Katya “withdraws into herself,” “hides,” and then her face completely changes, acquiring “a stubborn, almost stupid expression.” These descriptions emphasize the heroine’s mistrust, her awkwardness, and “wildness” generated by life’s circumstances.

In the novel “Fathers and Sons,” the writer also presents us with “a satirical portrait, close to Gogol’s style, using the technique of indirect characterization or gradual, concentric disclosure of the image.” This is the portrait of the “emancipated woman” Evdoksia Kukshina in the novel.

Turgenev begins his story about this “provincial nihilist” with a description of her home. Here the writer draws our attention to many expressive details: “crookedly nailed business card“,” “papers, letters, thick numbers of Russian magazines, mostly uncut, were scattered on dusty tables,” “scattered cigarette butts were white everywhere.” As noted by P.G. Pustovoit, just from these details of the situation the reader can form a very definite idea of ​​Kukshina’s character.

The reader's first impression is reinforced by the direct description of the heroine's appearance. “On a leather sofa there was a lady reclining, still young, blond, somewhat disheveled, in a silk, not entirely neat dress, with large bracelets on her short hands and a lace scarf on her head.” This portrait is at the same time psychological. A disheveled, unkempt dress speaks of Kukshina’s sloppiness, carelessness, and carelessness, her desire to be a truly “emancipated” woman, which in her mind apparently excludes concern for her appearance.

Turgenev's Kukshina is demonstratively ugly: she has “round eyes”, between which a “tiny upturned nose” blushes forlornly; when she laughs, her upper gum is exposed above her teeth.

And then Bazarov’s impression is added to the author’s general description. “Bazarov winced. There was nothing ugly in the small and inconspicuous figure of the emancipated woman; but the expression on her face had an unpleasant effect on the viewer. I couldn’t help but want to ask her: “Are you hungry?” Or are you bored? Or are you timid? Why are you tense?" And like Sitnikov, her soul was always scratching. She spoke and moved very loosely and at the same time awkwardly... everything with her came out, as children say, on purpose, that is, not just , not natural." Here Turgenev again uses the technique of characterizing a character by generalizing her traits and behavior (“everything with her came out, as the children say, on purpose, that is, not simply, not naturally”).

The awkward swagger of Kukshina’s manners and the unnaturalness of her behavior reflect the uncertainty of this heroine, her nervousness generated by a lack of feminine charm. And Turgenev speaks directly about this in the ball scene. When Arkady and Bazarov did not pay any attention to Kukshina, she “nervously angrily... laughed after them: her pride was deeply wounded...”.

Turgenev uses a satirical portrait to describe Sitnikov’s appearance. The portrait of this hero is given in the perception of Arkady Kirsanov. “Arkady looked at Bazarov’s student. An alarming and dull tension was evident in the small, however, pleasant features of his sleek face; his small, sunken eyes looked intently and restlessly, and he laughed restlessly: with a kind of short, wooden laugh.”

Thus, the portraits in the novel are detailed and detailed, characterized by great content and psychological depth. Subtly noticing the slightest changes in the character’s appearance, the impression he made, Turgenev appears before us true master portrait painting.