LITERARY QUIZ

1. The name of which bird is the city in which I. S. Turgenev was born? ( Eagle)
2. To which story did Turgenev take the words of Tyutchev as an epigraph:

• "The land of the native long-suffering -
• The land of the Russian people!”?(To the story "Living relics")

3. In what work, the name of which is composed of two identical syllables, Turgenev especially vividly portrayed his landowner mother? (In the work "Mumu")
4. How female name What was the name of Turgenev's first book? ("Parasha", a story in verse)
5. What was the pretext and the true reason for the exile of I. S. Turgenev to the village of Spasskoe? ( The pretext for arrest and exile was the publication of an obituary on the death of N.V. Gogol. The true reason was the government's dissatisfaction with Turgenev's book "Notes of a Hunter" in 1847.)
6. Name the first printed story in the Hunter's Notes series.
7. Which gentleman "stands up for the peasants", but "speaking, he frowns and sniffs cologne"? ( Pavel Petrovich Kirsanov, novel "Fathers and Sons")
8. Which forester took pity on the thief, the poor peasant who stole the master's forest, and let him go? ( Foma, nicknamed "Biryuk", "Biryuk")
9. Who and to whom gave such a description: “You were not created for our bitter, tart, bean life. There is neither impudence nor anger in you, but there is young courage and young enthusiasm. Your brother, nobleman, cannot go further than noble humility or noble effervescence, and this is nothing... You are a nice fellow; but you're still a soft, liberal barich...”? ( Bazarov to Arkady Kirsanov, novel "Fathers and Sons")
10. Who gave such a characterization to Bazarov: “... he chatted something like that, he wanted to scratch his tongue. It is known, master; does he understand?" ( One of the peasants
11. Who has a silver ashtray in the form of a bast shoe on his desk - as a memory of his homeland? ( Pavel Petrovich Kirsanov's last years his life abroad)
12. Which bride "refused two good suitors just because they didn't have a watch" and married someone who "not only had a watch - he had patent leather ankle boots"? ( Bride of Peter, servants of Kirsanov)
13. Who served Turgenev as a prototype for the image of Bazarov? ( provincial doctor)
14. The name of which hero is the name of a small animal? ( Khor, the story "Khor and Kilinych")
15. Who called his dog a word meaning the name of the profession? ( The landowner Polutykin called his dog Astronomer. The story "Khor and Kalinich")
16. What hero was named after an insect? ( The peasant Kasyan was nicknamed Flea. The story "Kasyan with a Beautiful Sword")
17. What landowner, having learned that the cart with the cook had collapsed and that the cook's stomach was crushed, “was frightened in earnest and immediately ordered to ask: are his hands intact? Having received an affirmative answer, he immediately calmed down ”? ( Arkady Pavlovich Penochkin)

DO YOU KNOW THE HEROES OF THE NOVEL "FATHERS AND CHILDREN"?
WHOSE PORTRAIT IS THIS?

1. "... a combat general of 1812, a semi-literate, rude, but not an evil Russian man, pulled the strap all his life, commanded a division and constantly lived in the provinces, where, by virtue of his rank, he played a rather significant role." ( Father of Nikolai Petrovich Kirsanov)
2. “... a gentleman of about forty years old, in a dusty coat and checkered trousers ... we see him in the month of May 1859, already completely gray-haired, plump and slightly hunched, he is waiting for his son, who received, as he once did, title of candidate. (Nikolai Petrovich Kirsanov)
3. "... a tall man in a long robe with tassels ... a naked red hand ... a lazy but courageous voice", a face "long and thin, with a broad forehead, flat upwards, downwards pointed nose, large greenish eyes and sandy sideburns, it was animated by a calm smile and expressed self-confidence and intelligence ... His dark blond hair, long and thick, did not hide the large bulges of a spacious skull. ( Evgeny Vasilyevich Bazarov)
4. “... a man of medium height, dressed in a dark English suit, a fashionable low tie and patent leather ankle boots ... He looked to be forty-five years old: his short-cropped gray hair shone with a dark sheen, like new silver; his face is bilious, butwithout wrinkles, unusually regular and clean, as if drawn with a thin and light chisel, showed traces of remarkable beauty; the light, black, oblong eyes were especially good. The whole appearance ... graceful and thoroughbred, retained youthful harmony and that aspiration upwards, away from the earth, which for the most part disappears after the twenties. (Pavel Petrovich Kirsanov)

5. “It was” a young woman of about twenty-three, all white and bright, with dark hair and eyes, with red, childlike plump lips and delicate hands. She was wearing a neat cotton dress; her new blue kerchief lay lightly on her round shoulders. She was carrying a large cup of cocoa and, putting it down ... she was all ashamed: hot blood spread like a scarlet wave under the thin skin of her pretty face. She lowered her eyes and stood 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. (Fenichka, wife of Nikolai Petrovich during his second marriage)
6. He was always fussing and in a hurry; in the morning he put on a tight uniform and an extremely tight tie, ate and did not drink enough, he ordered everything. (city ​​governor)
7. “... a man of small stature, in a Slavophile Hungarian coat... Anxious and dull tension was reflected in the small, however, pleasant features of his sleek face; small, as if sunken eyes, stared intently and uneasily, and he laughed uneasily: some kind of short, wooden laugh. (The son of the farmer Sitnikov)
8. “A lady was reclining on a leather sofa, still young, blond, somewhat disheveled, in a silk, not quite neat dress, with large bracelets on her short arms, with a lace scarf on her head. She got up from the sofa and, casually pulling a velvet coat with yellowed ermine fur over her shoulders, lazily said: "Hello ..." (Avdotya Nikitishna Kukshina)
9. “Arkady looked around and saw a tall woman in a black dress, stopping at the door of the hall. She impressed him with the dignity of her posture. Her naked hands lay beautifully along a slender figure; light branches of fuchsia fell beautifully from shiny hair onto sloping shoulders; calmly and intelligently, precisely calmly, and not thoughtfully, bright eyes looked out from under a slightly overhanging white forehead, and his lips smiled a barely perceptible smile. Some gentle and soft power emanated from her face.(Landowner Anna Sergeevna Odintsova)
10. “...a girl of about eighteen, black-haired and swarthy, with a somewhat round but pleasant face, with small dark eyes. She was holding a basket filled with flowers in her hands ... she smiled very sweetly, shyly and frankly, and looked somehow amusingly sternly from the bottom up. Everything in her was still young and green: her voice, and fluff all over her face, and pink hands with whitish circles on the palms, and slightly compressed shoulders ... She constantly blushed and quickly took a breath. (Katya, Odintsova's sister)
11. “... a shabby and agile old man, with faded yellow hair, a weathered, red face and tiny tears in his shriveled eyes, suddenly appeared before Bazarov in his short coat of thick gray-lilac cloth, belted with a scrap of belt, and in tar boots ". (Timofeich, Bazarov's father's clerk)
12. “... a tall, thin man, with disheveled hair and a thin aquiline nose, dressed in an old military frock coat unbuttoned. He stood with his legs spread, smoking a long pipe and squinting from the sun. (Vasily Ivanovich Bazarov)
13. "... a round, short old woman in a white cap and a short motley blouse." (Arina Vasilievna, his wife)

WHICH OF THE HEROES OF "THE HUNTER'S NOTES"...-

1. ... "Wooed all the rich brides in the province and - having been refused by the hand and from the house, with a contrite heart he entrusted his grief to all friends and acquaintances"? ( Landowner Polutykin. "Khor and Kalinich")
2. ... cooked food in such a way that “meat ... responded with fish, fish with mushrooms, pasta with gunpowder; but not a single carrot got into the soup without taking the form of a rhombus or a trapezoid? ( chef of the French cuisine of the landowner Polutykin)
3. ... brought a bunch of strawberries to his friend, since he could not give anything else: was he poor? (peasant Kalinich to his friend Khoryu. "Khor and Kalinich")
4. ... talks about the fact that there is a goblin near the dam and that one day a lamb, picked up on the grave of a drowned man, suddenly spoke in a human voice? (Boy Ilyusha. "Bezhin meadow")
5. ... "without a twig in his hand, at night, without any hesitation, he galloped alone at the wolf"? (Boy Pavlusha. "Bezhin Meadow»)
6. ... claimed that the axle of the cart broke only because they were carrying the deceased towards?(the coachman who drove the author of the story "Kasian with a Beautiful Sword")
7. ... was considered educated and cultured person, but calmly, without raising his tone, gave the order to flog this or that servant, calling it "troubles village life»? (Landowner Penochkin. "Burmister")
8. ... “he does not work on land alone: ​​he works on horses, and cattle, and tar, and oil, and hemp, and something ... Smart, painfully smart, and rich, the beast. Yes, that's what's bad - fighting. The beast is not a man; it is said: dog, dog, as it is, dog? (Sofron. "Burmister")
9. ... loves to play cards, “but only with people of lower rank ... When he happens to play with the governor or with some official, an amazing change takes place in him: he smiles and nods his head, and looks into their eyes... He even loses and does not complain”? ( Khvalynsky. "Two Landlords"
10 ... "a kind man", a hospitable person, but he acted with the peasants, in his words, "in the old way" and, having heard Vasya the barman being punished, he echoes with pleasure the blows of the rod: "Chuk-chuki-chuk! Chuck-chook!"? (Mardary Stegunov. "Two Landlords"
11. ... by the capricious will of the lord, he held many positions and, finally, became a fisherman on a river where there is no fish? ( Serf peasant Suchok. "Lgov".

Participant drawings used Russian festival children's artistic creativity- "I.S. Turgenev is a great Russian writer." 190th anniversary of the birth of I.S. Turgenev.

After listening to the story of Pavel Petrovich, Bazarov told Arkady that a person who had devoted his whole life to unrequited love, who had not achieved anything in his life, was "not a man, but a male ..., not all of the nonsense came out of him." To Arkady’s objections that such was the upbringing of his uncle, Bazarov says that “every person must educate himself,” a person does not depend on the surrounding people and circumstances. Bazarov calls the elevated feelings between a man and a woman romanticism, art and nonsense.

From the point of view of Bazarov, you can agree by saying that any person should be able to cope with himself, even when it comes to unrequited love. Bazarov believes that every person should be independent, find his calling, do something important in life. A person cannot be strong if own feelings closed for him all the opportunities that fate provides us.

But you can treat the point of view of Bazarov in a different way. He denies any feelings, thereby questioning the natural human need for love and sympathy. Bazarov has the right to reject love, but at the same time he is an absolutely lonely person, a loner by conviction. Is it good for him? Is it pleasant for Bazarov to condemn Pavel Petrovich? Of course, it's nice, because Bazarov, criticizing someone, feels better, higher and smarter than this person. Bazarov does not know how or does not want to understand and accept the suffering of other people, he does not recognize the right to make a mistake for anyone. But then he must be prepared for the fact that no one recognizes his weaknesses, his mistakes. Is Bazarov ready to live a life during which no one will pity him, not a single mistake will be forgiven him?

Bazarov meets Fenechka. Bazarov likes the girl, but he does not understand why Fenechka is shy about her relationship with Nikolai Petrovich. It turns out that Arkady in his heart still condemns his father for having a relationship with a young girl. Bazarov does not agree with him, because he believes that people should never be ashamed of their feelings.

In a conversation with Arkady Bazarov, he remarks that "the only good thing about a Russian person is that he has a bad opinion of himself," that "nature is not a temple, but a workshop, and man is a worker in it."

These phrases of Bazarov must be analyzed in an essay or in an oral answer, since they have importance to develop the idea of ​​the novel. You can base your reasoning on one of the two points of view that we present to you below.

1. Bazarov is partly right, he criticizes not the desire for beauty, not love for nature, but such an attitude to life when, having a good attitude towards the same nature, a person does not want to do anything to improve and preserve this world. In this case our main character does not oppose everything beautiful, but against people who believe that if they admire the beautiful, then they can already be considered spiritual people. Due to natural pride, Bazarov criticizes very sharply, without going into explanations, but, if you think about it, there is deep meaning. Bazarov speaks against those who sincerely believe that, admiring Pushkin's works, they become equal to Pushkin himself. From the point of view of Bazarov, a person who reads great writers, who understands them, but does not apply this understanding in any way in life, is an empty person, which our hero informs Pavel Petrovich and Nikolai Petrovich Kirsanov about.

2. Bazarov is devoid of a sense of beauty, he is unable to understand the meaning of art, the beauty of nature, therefore he treats everything as objects for work, evaluating them from the point of view of usefulness-uselessness. In addition, our hero is trying to prove to others that he is better and smarter than them. The older generation calls such a position childishness, that is, the desire to assert itself at any cost, while having nothing for the soul. From this point of view, Bazarov’s words that nature is not a temple, but a workshop are the words of a person who is ready to destroy and destroy everything that he does not understand, simply because he is angry with his own inability to comprehend the meaning of some phenomena of life.

Two weeks passed. Pavel Petrovich hated Bazarov, believing that he despises him. Nikolai Petrovich fears that Bazarov will have a bad influence on his son. Fenechka treats Bazarov with sympathy, she once even asked him to look at the sick Mitya. The servants also treat Bazarov well, considering him theirs, that is, not a master.

Nikolai Petrovich accidentally overheard the conversation between Arkady and Bazarov when young people were talking about him. Bazarov called Arkady's father a good man, but doing nonsense. Bazarov considered reading Pushkin nonsense. Arkady agrees that Nikolai Petrovich's views on life are hopelessly outdated, "his song is sung." Nikolai Petrovich told his brother about what he had heard and was very upset: “Maybe Bazarov is right; but, I confess, one thing hurts me: I was hoping right now to get close and friendly with Arkady, but it turns out that I stayed behind, he left forward, and we cannot understand each other ... It seems that I am doing everything in order to keep up with the century: I arranged for the peasants, started a farm, ... I read, I study, in general I try to become in line with modern requirements, - and they say that my song has been sung. Why, brother, I myself am beginning to think that it has definitely been sung. Pavel Petrovich does not agree with his brother: "Well, I will not give up so soon. We will still have a fight with this doctor, I foresee it."

A serious dispute, which aggravated the mutual hostility between Pavel Petrovich and Bazarov, soon took place.

Excuse me, Pavel Petrovich, - said Bazarov: - you respect yourself and sit with folded hands; what is the benefit of this for the public good? You would not respect yourself and you would do the same.

Pavel Petrovich turned pale.
“... I don’t have to explain to you now why I’m sitting idly by ... I just want to say that aristocracy is a principle, and only immoral and empty people can live without principles in our time.
“Aristocratism, liberalism, progress, principles,” Bazarov was saying meanwhile, “just think how many foreign ... and useless words! Russian people do not need them for nothing.
“We act by virtue of what we recognize as useful,” said Bazarov, “At the present time, denial is most useful, we deny.
- All?
"That's it," Bazarov repeated with inexpressible calmness.
- However, allow me, - Nikolai Petrovich began to speak. - You deny everything, or, to put it more precisely, you destroy everything ... Why, you must also build.
- It's none of our business... First we need to clear the place.
Pavel Petrovich and Bazarov begin to argue about which of them knows the Russian people more, and Bazarov remarks with pride that his grandfather was a peasant, he himself is from the people, and Pavel Petrovich doesn’t even know how to talk to peasants.

Bazarov:
- ... We guessed that chatting, just chatting about our ulcers is not worth the trouble, that this only leads to vulgarity and doctrinairism; we saw that even our wise men, the so-called progressive people and accusers, are good for nothing, that we are engaged in nonsense ...
"So," Pavel Petrovich interrupted, "so: have you convinced yourself of all this and have made up your mind not to take anything seriously?"
"And they made up their minds not to undertake anything," repeated Bazarov gloomily.
- And only to swear?
- And swear.
- And this is called nihilism?
“And this is called nihilism,” Bazarov repeated again, this time with particular impudence.
"To act, to break..." continued Pavel Petrovich. - Well, how can you break it, not even knowing why?
“We break because we are strong,” Arkady remarked.
- Force! Finally, remember, strong gentlemen, that there are only four and a half of you, and there are millions of those who will not allow you to trample underfoot your sacred beliefs, which will crush you!
“If they crush you, that’s where the road is,” said Bazarov. - Only the grandmother said in two. We are not as few as you think.

Pavel Petrovich:
- So-so. At first almost satanic pride, then mockery. That's what the youth is fond of, that's what the inexperienced hearts of boys submit to! And this infection has already spread far.
Bazarov:
- Our dispute has gone too far ... It seems that it is better to stop it.
After this conversation, Nikolai Petrovich was depressed, and Pavel Petrovich
deeply offended and sure of his innocence. At the same time, Bazarov recalls that Arkady's father received an invitation to come to visit from a noble relative. Bazarov invites a friend to go on a visit, as the older Kirsanovs refused to go. The next day they leave for the city.

Arkady Kirsanov went to visit Matvey Ilyich Kolyazin, an old friend of Nikolai Petrovich, although Kolyazin "was also from the" young ", that is, he had recently passed forty years." Matvey Ilyich was an official, a vain man, he read a lot, but he was arrogant about literature. The young people stopped at a tavern, got to a short meeting with the governor, where the governor invited them to a ball. A young man named Sitnikov, a student of Bazarov, meets Arkady and Bazarov and invites them to visit an interesting woman. Friends accept the invitation. They meet with an emancipated woman Evdoxia Kukshina. In a conversation with her, Bazarov finds out that there is a pretty lady named Odintsova in the city, however, she is considered a strange woman.

At the governor's ball, young people meet Odintsova (see the portrait of Odintsova). Arkady instantly falls in love with Anna Sergeevna, Bazarov also likes her. Odintsova invites young people to visit her estate. Bazarov and Arkady meet her younger sister Katya at a party. Katya - "a girl of about eighteen, black-haired and swarthy, with a somewhat round, but pleasant face, with small dark eyes ... When Katya spoke, she smiled very sweetly, shyly and frankly, and looked somehow funny-sternly, from the bottom up Everything in her was still young-green: her voice, and fluff all over her face, and pink hands with whitish circles on the palms, and slightly compressed shoulders ... "

Bazarov talks to Odintsova as an equal, which surprises Arkady very much. Arkady is in love and feels like a complete boy next to Anna Sergeevna.

Question: DO PZH I NEED TODAY TILL 18 00 I CRY 64 B PZh Write off, placing signs of application. , write out sentences with a separate definition. The conversation lasted for three hours (not) hurried, varied, lively. A beautiful greyhound dog with a blue collar ran into the living room banging its nails on the floor, and after it came a girl of about 18, black-haired and swarthy, with a somewhat round but pleasant face with (not) large dark eyes. Soon Odintsova herself appeared in a simple morning dress. A man of about 60, white-haired and swarthy, entered in a brown tailcoat with copper buttons and a pink handkerchief around his neck. A crystal heavy wave licked the foot of the cliff. Varvara Dmitrievna turned out to be a sensitive and delicate woman. The ruffled (not) washed Nejdanov looked wild and strange. Natasha's face, leaning out of the carriage, shone with a mocking caress. It is impossible for a young man in love not to talk,

DO PZH I NEED TODAY TILL 18 00 I CRY 64 B PZh Write off, placing signs of application. , write out sentences with a separate definition. The conversation lasted for three hours (not) hurried, varied, lively. A beautiful greyhound dog with a blue collar ran into the living room banging its nails on the floor, and after it came a girl of about 18, black-haired and swarthy, with a somewhat round but pleasant face with (not) large dark eyes. Soon Odintsova herself appeared in a simple morning dress. A man of about 60, white-haired and swarthy, entered in a brown tailcoat with copper buttons and a pink handkerchief around his neck. A crystal heavy wave licked the foot of the cliff. Varvara Dmitrievna turned out to be a sensitive and delicate woman. The ruffled (not) washed Nejdanov looked wild and strange. Natasha's face, leaning out of the carriage, shone with a mocking caress. It is impossible for a young man in love not to talk,

Answers:

The conversation lasted for three hours, unhurried, varied, lively. A beautiful greyhound dog with a blue collar ran into the living room, tapping its nails on the floor, and after it came a girl of about 18 years old, black-haired and swarthy, with a somewhat round but pleasant face, with not large dark eyes. Soon Odintsova herself appeared in a simple morning dress. A man of about 60 entered, white-haired and swarthy, in a brown tailcoat with copper buttons and a pink handkerchief around his neck. A wave, crystal, heavy, licked the foot of the cliff. Varvara Dmitrievna turned out to be a sensitive and delicate woman. Disheveled, unwashed, Nejdanov looked wild and strange. Natasha's face, leaning out of the carriage, shone with a mocking caress. It is impossible for a young man in love not to talk. Sentences with isolated definitions: The conversation lasted for three hours, unhurried, varied, lively (isolation). A beautiful greyhound dog with a blue collar ran into the living room, tapping her nails on the floor, and after her came a girl of about 18, black-haired and swarthy, with a somewhat round but pleasant face, with not large dark eyes (separation). . A man of about 60 entered, white-haired and swarthy, (separation) in a brown tailcoat with copper buttons and a pink scarf around his neck. A wave, crystal, heavy, (separation) licked the foot of the cliff. Disheveled, unwashed (separation), Nejdanov looked wild and strange. It is impossible for a young man who is in love (separation) not to talk.

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“The strength of the Turgenev portrait is 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 external appearance of the hero. It depends on others - like a color in the spectrum of a sunbeam: to remove one - white will not work. Unlike the prose of Leo Tolstoy, in Turgenev's prose it is not the mental life that determines the outward appearance, but rather the inner life,” wrote E. I. Shatalov.

Turgenev's portraits are detailed, the writer gives detailed description character's height, physique, costume, hairstyle, facial expressions, eyes, etc. With this detail, Turgenev's portrait reminds us of Lermontov's portrait, however, with Lermontov, each detail of appearance is accompanied by a certain conclusion - the author's comment, while Turgenev does not have such a comment - as G. B. Kurlyandskaya notes, the reader here must independently draw conclusions about the character, habits of the hero. The description of Turgenev's appearance only outlines the socio-psychological features of the character, but does not name them.

Here, for example, is a portrait of Pavel Petrovich Kirsanov. This is “a man of medium height, dressed in a dark, English suit, a fashionable low tie and patent leather boots ... He looked to be forty-five years old; his short-cropped gray hair shone with a dark sheen, like new silver; his face, bilious, but without wrinkles, unusually regular and clean, as if drawn with a thin and light chisel, showed traces of remarkable beauty; the light, black, oblong eyes were especially good. The whole appearance of Arkadiev's uncle, elegant and thoroughbred, retained youthful harmony and that aspiration upwards, 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 betray the breed in this hero, his aristocratic origin. The external attractiveness, the grace of the hero are emphasized by comparisons (“the hair shone with a dark sheen, like new silver”, “a face unusually correct and clean, as if drawn with a thin and light chisel”). In addition, the writer here uses a special technique of characterization (through the particular, the concrete, the general, conceptual is conveyed (“that aspiration upwards, away from the earth, which mostly disappears after the twenties”). This kind of characterization is a favorite technique of Leo Tolstoy’s style So, describing the rapprochement between Natasha and Pierre (War and Peace) after her break with Bolkonsky, Tolstoy remarks: “it never occurred to her that not only love could come out of her relationship with Pierre ... but even that a kind of tender, self-recognising, poetic friendship between a man and a woman, of which she knew several examples.

By morning breakfast, Pavel Petrovich comes out in an elegant morning suit, on his head is a small fez. Tight shirt collars, a perfectly shaved chin speak of his strictness, conservatism, adherence to traditions, which Kirsanov himself later declares in a conversation with Bazarov.

Researchers have repeatedly noted that the outward impeccability, handsomeness of Pavel Petrovich - “beautiful dark eyes”, “beautiful head”, “beautiful hand with long pink nails” (Turgenev persistently uses these epithets in the process of narration) - contrasts with a certain spiritual limitation of Kirsanov, with his "non-romanticism". 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 stubborn, dead, motionless, opposed to living Russian life. And Turgenev also notes this in the portrait. So, in the "beautiful dark eyes" of Pavel Petrovich, only pictures are reflected outside world but not his own feelings. His “handsome, 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, these are his “scented mustaches”, reflecting the “aristocratism”, external gloss and impeccability of the hero. With this constantly repeating detail, the portrait of Pavel Petrovich reminds us of the portraits created by Tolstoy in the novel War and Peace. Such details are the scar on Kutuzov's temple, the young, shining eyes of Nikolai Andreevich Bolkonsky, the short upper lip of Lisa Bolkonskaya.

A. G. Zeitlin 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", in a long robe with tassels. His face, “long and thin, with a broad forehead, flat top, pointed nose, large greenish eyes and drooping sand-colored whiskers ... was enlivened with a calm smile and expressed self-confidence and intelligence.”

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

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

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

The portrait of Fenechka is magnificent in its picturesqueness. This 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 of the portrait of Fenechka here is given by the impression that her appearance makes on those present. “She was a young woman of about twenty-three, all white and soft, with dark hair and eyes, with red, childlike plump lips and delicate hands. She was wearing a neat cotton dress; her new blue kerchief lay lightly on her round shoulders. She was carrying a large cup of cocoa, and placing it in front of Pavel Petrovich, she felt ashamed: hot blood spilled in a crimson wave under the thin skin of her pretty face. She lowered her eyes and stood 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 the author's attitude to the heroine: "all white and soft", "childishly puffy lips and delicate hands", "pretty face".

Calmness and rationality of Odintsova, 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 impressed him with the dignity of her posture. Her naked hands lay beautifully along a slender figure; light branches of fuchsia fell beautifully from shiny hair onto sloping shoulders; calmly and intelligently, precisely calmly, and not thoughtfully, the bright eyes looked out from under a slightly overhanging white forehead, and the lips smiled a barely perceptible smile. Some gentle and soft power emanated from her face.

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

So, in the novel, the appearance of Odintsova is repeatedly described. 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 barege 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 weary gait; her cheeks reddened, and her eyes shone brighter than usual under her round straw hat. She twirled a thin stalk of a wild flower in her fingers, a light mantilla went down to her elbows, and the wide light ribbons of her hat clung to her chest. Here the embarrassment and awkwardness of the heroine are conveyed, which are mixed with her "feeling of acute curiosity", which attracts 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 here appears mysterious and romantic. “He looked at her. She threw her head back on the chairs and folded her arms across her chest, bare to the elbows. She seemed paler in the light of a single lamp hung with cut-out paper netting. wide White dress covered it all with its soft folds; the tips of her legs, also crossed, were barely visible.

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

Then, almost immediately, Turgenev gives another portrait of the heroine, which describes Katya's manners, her facial expressions. 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 sternly, from bottom to top. Everything in her was still young and green: her voice, and fluff all over her face, and pink hands with whitish circles on the palms, and slightly compressed shoulders ... She constantly blushed and quickly took a breath.

This young girl, sitting at the piano, appears completely different: “She played very well, although a little strict and dry. Without taking her eyes off the music and tightly clenching her teeth, 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 a 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 incredulity, her awkwardness, "wildness", generated by life circumstances.

In the novel "Fathers and Sons" the writer presents us with "a satirical portrait, close to Gogol's manner, using the technique of indirect characterization or a gradual, concentric disclosure of the image." Such is the portrait of the “emancipated woman” Evdoxia Kukshina in the novel.

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

The first impression of the reader is already reinforced by a direct description of the appearance of the heroine. “A lady was reclining on a leather sofa, still young, blond, somewhat disheveled, in a silk, not quite neat dress, with large bracelets on her short arms and a lace scarf on her head.” This portrait is also psychological. The disheveled, untidy dress speaks of Kukshina's sloppiness, carelessness, carelessness, her desire to be a truly "emancipated" woman, which, in her view, apparently excludes concern for her appearance.

Turgenev's Kukshina is defiantly 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 the impression of Bazarov joins the general author's description. “Bazarov grimaced. There was nothing ugly in the small and nondescript figure of an emancipated woman; but the expression of her face had an unpleasant effect on the viewer. Involuntarily I wanted to ask her: “What are you, hungry? Or are you bored? Or are you shy? What are you doing?" And she, like Sitnikov, always had a scrape in her soul. She spoke and moved very casually and at the same time awkwardly ... everything came out of her, as the children say, on purpose, that is, not just , not natural". Here Turgenev again uses the technique of characterizing the character by generalizing her traits, behavior ("everything came out of her, as the children say, on purpose, that is, not simply, not naturally").

The awkward swagger of Kukshina's manners, 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 ...".

A satirical portrait is used by Turgenev when describing Sitnikov's appearance. The portrait of this hero is given in the perception of Arkady Kirsanov. “Arkady looked at the Bazarov student. Anxious and dull tension showed itself in the small, however, pleasant features of his sleek face; small, as if sunken eyes, stared intently and uneasily, and he laughed uneasily: some kind of short, wooden laugh.

Thus, the portraits in the novel are detailed and detailed, they are distinguished by great content and psychological depth. Subtly noticing the slightest changes in the appearance of the character, the impression he made, Turgenev appears before us as a true master of portraiture.

The estate where Anna Sergeevna lived stood on a gentle open hill, not far from a yellow stone church with a green roof, white columns and al fresco paintings over the main entrance, representing the "Resurrection of Christ" in the "Italian" style. Particularly remarkable for its rounded contours was a swarthy warrior in a shishak prostrate in the foreground. Behind the church stretched in two rows a long village with here and there flickering chimneys over thatched roofs. The master's house was built in the same style as the church, in the style that is known to us under the name of Aleksandrovsky; this house was also painted yellow, and had a green roof, and white columns, and a pediment with a coat of arms. The provincial architect erected both buildings with the approval of the late Odintsov, who did not tolerate any empty and spontaneous, as he put it, innovations. The dark trees of the old garden adjoined the house on both sides, and an alley of trimmed fir trees led to the entrance. Our friends were met in the hall by two tall footmen in livery; one of them immediately ran after the butler. The butler, a fat man in a black frock coat, immediately appeared and directed the guests up the carpeted stairs to a special room, where there were already two beds with all toilet accessories. Order apparently reigned in the house: everything was clean, everywhere smelled of some decent smell, as if in ministerial reception rooms. Anna Sergeevna ask you to come to them in half an hour, reported the butler. Will there be any orders from you for the time being? There will be no orders, most respected, answered Bazarov, unless you deign to bring a glass of vodka. Listen, sir, said the butler, not without bewilderment, and retired, creaking his boots. What a grunge! remarked Bazarov, it seems to be what you call it? Duchess, yes, and completely. Good duchess, objected Arkady, from the first time she invited such strong aristocrats as we are with you. Especially I, the future doctor, and the doctor's son, and the deacon's grandson ... You know that I am the deacon's grandson? .. Like Speransky, Bazarov added after a short silence and curling his lips. And yet she spoiled herself; oh, how this lady spoiled herself! Shall we put on tailcoats? Arkady only shrugged his shoulder... but he, too, felt a little embarrassed. Half an hour later Bazarov and Arkady went into the living room. It was a spacious, high room, decorated quite luxuriously, but without much taste. Heavy, expensive furniture stood in its usual prim order along the walls, upholstered in brown wallpaper with gold streaks; the late Odintsov ordered her from Moscow through his friend and commission agent, a wine merchant. Above the middle sofa hung a portrait of a flabby, fair-haired man and seemed to be looking unfriendly at the guests. "Must be myself, Bazarov whispered to Arkady and, wrinkling his nose, added: Al to run away? But at that moment the hostess entered. She was wearing a light barege dress; her hair, combed smoothly behind her ears, gave a girlish expression to her clean and fresh face. Thank you for keeping your word, she began, stay with me: here, really, it’s not bad. I'll introduce you to my sister, she plays the piano well. To you, Monsieur Bazarov, it's all the same; but you, Monsieur Kirsanov, seem to love music; in addition to my sister, an old aunt lives with me, and a neighbor sometimes comes over to play cards: that's our whole society. Now let's sit down. Odintsova delivered this whole little speech with particular distinctness, as if she had learned it by heart; then she turned to Arkady. It turned out that her mother knew Arkadiev's mother and was even the confidant of her love for Nikolai Petrovich. Arkady spoke passionately about the dead woman; and Bazarov, meanwhile, began to examine the albums. “What a meek little fellow I have become,” he thought to himself. A beautiful greyhound dog with a blue collar ran into the living room, tapping its nails on the floor, and after it came a girl of about eighteen, black-haired and swarthy, with a somewhat round but pleasant face, with small dark eyes. She was holding a basket filled with flowers. Here's my Katya, said Odintsova, pointing at her with a movement of her head. Katya crouched down slightly, placed herself next to her sister, and began to sort out the flowers. The greyhound dog, whose name was Fifi, approached, wagging his tail, in turn to both guests and poked each of them with his cold nose in the hand. Did you narwhal everything yourself? asked Odintsova. Herself, answered Katya. Will auntie come to tea? Will come. When Katya spoke, she smiled very sweetly, shyly and frankly, and looked somehow amusingly sternly, from bottom to top. Everything in her was still young and green: her voice, and the fluff all over her face, and her pink hands with whitish circles on the palms, and her slightly clenched shoulders... She constantly blushed and quickly caught her breath. Odintsova turned to Bazarov. You look at the pictures out of decency, Yevgeny Vasilyich, she began. You are not interested. Move closer to us, and let's argue about something. Bazarov approached. What do you order, sir? he said. Whatever you want. I warn you that I am a terrible debater. Are you? I. It seems to surprise you. Why? Because, as far as I can tell, you have a calm and cold disposition, and passion is needed to argue. How did you manage to recognize me so soon? First of all, I am impatient and persistent, you better ask Katya; and secondly, I get carried away very easily. Bazarov looked at Anna Sergeevna. Maybe you should know better. So, you want to argue, if you please. I was looking at the views of Saxon Switzerland in your album, and you noticed that this cannot occupy me. You said this because you do not suppose in me artistic sense, yes, I really do not have it; but these species could interest me from a geological point of view, from the point of view of mountain formation, for example. Sorry; as a geologist, you are more likely to resort to a book, to a special essay, and not to a drawing. The drawing will visually represent to me what is presented in the book for ten whole pages. Anna Sergeevna was silent. And so you don’t have a bit of artistic sense? she uttered, leaning on the table and with this very movement she brought her face closer to Bazarov. How do you manage without it? And what is it for, may I ask? Yes, at least to be able to recognize and study people. Bazarov chuckled. First, there is life experience; and, secondly, I will tell you, it is not worth the trouble to study individuals. All people are similar to each other both in body and soul; each of us has a brain, a spleen, a heart, and lungs are arranged in the same way; and the so-called moral qualities are the same in all: small modifications mean nothing. One human specimen is enough to judge all others. People that trees in the forest; no botanist will deal with every single birch. Katya, who, unhurriedly, was picking up flower after flower, raised her eyes in bewilderment to Bazarov, and, meeting his quick and careless glance, flushed up to her ears. Anna Sergeyevna shook her head. Trees in the forest, she repeated. So, in your opinion, there is no difference between stupid and smart person between good and evil? No, there is: as between the sick and the healthy. The lungs of a consumptive person are not in the same position as yours and mine, although they are arranged in the same way. We know approximately what causes bodily ailments; and moral illnesses come from bad education, from all sorts of trifles with which people's heads are stuffed from childhood, from the ugly state of society, in a word. Fix society and there will be no disease. Bazarov said all this with an air as if at the same time he was thinking to himself: “Believe me or not, it’s all the same to me!” He slowly ran his long fingers over his sideburns, and his eyes darted around the corners. And do you think, Anna Sergeevna said, that when society improves, there will no longer be either stupid or evil people? At least, with the right structure of society, it will be absolutely the same whether a person is stupid or smart, evil or good. Yes, I understand; everyone will have the same spleen. Exactly so, sir. Odintsova turned to Arkady. And what is your opinion, Arkady Nikolaevich? I agree with Eugene, he answered. Katya looked at him furtively. You surprise me, gentlemen, Odintsova said, but we will still talk with you. And now, I hear my aunt is coming to drink tea; we must spare her ears. Anna Sergeevna's aunt, Princess X...I, a thin and small woman with a face compressed into a fist and fixed angry eyes under a gray overlay, entered and, barely bowing to the guests, sank into a wide velvet chair, on which no one but her had the right to sit. Katya put a bench under her feet; The old woman did not thank her, did not even look at her, only moved her hands under the yellow shawl that covered almost all of her frail body. Princess loved yellow: she had bright yellow ribbons on her cap. How did you sleep, auntie? Odintsova asked, raising her voice. That dog is here again, the old woman grumbled in response and, noticing that Fifi took two hesitant steps in her direction, exclaimed: Hurry, shy! Katya called Fifi and opened the door for her. Fifi joyfully rushed out, hoping that they would take her for a walk, but, left alone outside the door, she began to scratch and squeal. The princess frowned, Katya wanted to go out ... I think the tea is ready? said Odintsova. Gentlemen, let's go; Auntie, please have some tea. The princess silently got up from her chair and was the first to leave the drawing room. Everyone followed her into the dining room. The Cossack in livery noisily pushed away from the table a chair, lined with pillows, also cherished, into which the princess sank; Katya, pouring tea, was the first to give her a cup with a painted coat of arms. The old woman put honey into her cup (she found it sinful and expensive to drink tea with sugar, although she herself did not spend a penny on anything) and suddenly asked in a hoarse voice: And what does Prince Ivan write? Nobody answered her. Bazarov and Arkady soon realized that no one paid any attention to her, although they treated her with respect. " For sake important things are kept, because they are princely offspring, thought Bazarov ... After tea, Anna Sergeevna suggested that we go for a walk; but it began to rain, and the whole company, with the exception of the princess, returned to the drawing room. A neighbor arrived, a lover of the card game, named Porfiry Platonych, a plump, gray-haired man with short, finely chiselled legs, very polite and funny. Anna Sergeevna, who was talking more and more with Bazarov, asked him if he wanted to fight them in the old-fashioned way in preference. Bazarov agreed, saying that he needed to prepare in advance for the position of county doctor that was coming to him. Beware, Anna Sergeevna noticed, Porfiry Platony and I will smash you. And you, Katya, she added, play something for Arkady Nikolayevich; he loves music, we'll listen by the way. Katya reluctantly approached the piano; and Arkady, although he seemed to love music, reluctantly followed her: it seemed to him that Odintsova was sending him away, and in his heart, like in any young man at his age, some kind of vague and tormenting feeling was already boiling, similar to a premonition of love . Katya lifted the lid of the piano and, without looking at Arkady, said in an undertone: What do you play? Whatever you want, answered Arkady indifferently. What kind of music do you like more? Katya repeated without changing her position. Classical, Arkady answered in the same voice. Do you like Mozart? I love Mozart. Katya took out Mozart's zemolny sonata-fantasy. She played very well, although a little strict and dry. Without taking her eyes off the music, her lips tightly pressed together, she sat motionless and upright, and only towards the end of the sonata her face flared up and a small strand of developed hair fell on a dark eyebrow. Arkady was especially struck by the last part of the sonata, that part in which, in the midst of the captivating gaiety of a careless chant, impulses of such sorrowful, almost tragic grief suddenly arise ... But the thoughts aroused in him by the sounds of Mozart did not relate to Katya. Looking at her, he only thought: "But this young lady plays well, and she herself is not bad." Having finished the sonata, Katya, without taking her hands with the keyboard, asked: "Enough?" Arkady announced that he did not dare to trouble her any more, and spoke to her about Mozart; asked her did she choose this sonata herself, or who recommended it to her? But Katya answered him in monosyllables: she hid, went into itself. When this happened to her, she did not go out soon; her very face then assumed a stubborn, almost stupid expression. She was not only timid, but distrustful and a little intimidated by her sister who had raised her, which, of course, she did not suspect. Arkady ended by calling Fifi, who had returned, to keep her, with a benevolent smile, stroking her head. Katya took up her flowers again. And meanwhile Bazarov went into remission and remission. Anna Sergeevna played cards masterfully, Porfiry Platonych could also stand up for himself. Bazarov remained at a loss, although insignificant, but still not entirely pleasant for him. At dinner, Anna Sergeevna again started talking about botany. Let's go for a walk tomorrow morning, she told him, I want to learn from you the Latin names of field plants and their properties. What are Latin names for you? asked Bazarov. Everything needs order, she answered. What a wonderful woman Anna Sergeyevna is, exclaimed Arkady, left alone with his friend in the room allotted to them. Yes, answered Bazarov, a woman with a brain. Well, she saw the views. In what sense do you say this, Yevgeny Vasilyich? In good sense, in good, you are my father, Arkady Nikolaevich! I'm sure she manages her estate very well. But the miracle is not her, but her sister. How? is this skinny? Yes, this one is dark. It's fresh, and untouched, and timid, and silent, and whatever you want. Here's who you can do. From this, whatever you want, then you will do; and that grated kalach. Arkady did not answer Bazarov, and each of them went to bed with special thoughts in his head. And Anna Sergeevna thought about her guests that evening. She liked Bazarov for his lack of coquetry and the very harshness of his judgments. She saw something new in him that she had never encountered, and she was curious. Anna Sergeevna was pretty strange creature. Having no prejudices, not even having any strong beliefs, she did not back down from anything and did not go anywhere. She saw many things clearly, many things occupied her, and nothing completely satisfied her; indeed, she hardly wanted complete satisfaction. Her mind was inquisitive and indifferent at the same time: her doubts never subsided to forgetfulness and never grew to anxiety. If she weren’t rich and independent, she might have thrown herself into battle, she would have known passion ... But her life was easy, although she sometimes got bored, and she continued to see off day after day, slowly and only occasionally worrying. Rainbow colors sometimes lit up before her eyes, but she rested when they faded away, and did not regret them. Her imagination was even carried away beyond the limits of what, according to the laws of ordinary morality, is considered permissible; but even then her blood still rolled quietly in her charmingly slender and calm body. Sometimes, coming out of a fragrant bath, all warm and soft, she dreamed about the insignificance of life, about her grief, work and evil ... Her soul would be filled with sudden courage, boil with noble aspiration; but a through wind will blow from the half-closed window, and Anna Sergeevna will shrink all over, and complain, and almost become angry, and at that moment there is only one thing she needs: that this nasty wind not blow on her. Like all women who failed to fall in love, she wanted something without knowing what it was. Actually, she wanted nothing, although she seemed to want everything. She could hardly bear the late Odintsov (she married him by calculation, although she probably would not have agreed to become his wife if she had not considered him good man) and received a secret disgust for all men, whom she imagined to be nothing more than untidy, heavy and lethargic, impotently annoying creatures. Once, somewhere abroad, she met a young, handsome Swede with a chivalrous expression, with honest blue eyes under an open forehead; he made a strong impression on her, but this did not prevent her from returning to Russia. “Is this doctor a strange person?” she thought, lying in her magnificent bed, on lace pillows, under a light silk blanket ... Anna Sergeevna inherited from her father a particle of his penchant for luxury. She loved her sinful but kind father very much, and he adored her, joked with her in a friendly way, as with an equal, and completely trusted her, consulted with her. She barely remembered her mother. "This doctor is strange!" she repeated to herself. She stretched, smiled, threw her hands behind her head, then skimmed through the pages of two stupid French novel, dropped the book and fell asleep, all clean and cold, in clean and fragrant linen. The next morning, Anna Sergeevna immediately after breakfast went to botanize with Bazarov and returned just before dinner; Arkady did not leave anywhere and spent about an hour with Katya. He was not bored with her, she herself volunteered to repeat to him yesterday's sonata; but when Odintsova finally returned, when he saw her, his heart sank instantly... She walked through the garden with a somewhat weary gait; her cheeks reddened and her eyes shone brighter than usual under her round straw hat. She twirled a thin stalk of a wild flower in her fingers, a light mantilla fell to her elbows, and the wide gray ribbons of her hat clung to her chest. Bazarov walked behind her, self-confidently and casually, as always, but the expression on his face, although cheerful and even affectionate, did not please Arkady. Muttering through his teeth: "Hello!" Bazarov went to his room, and Odintsova absentmindedly shook hands with Arkady and also walked past him. "Hello," thought Arkady... "Haven't we seen each other today?"