Art is a reflection of life. The main subject of study and depiction in all its spheres is a person, his inner experiences and external features, actions and behavior.
The concept of a portrait
A description of a person's appearance with sufficiently accurate details is called a portrait. The word came to us from the Old French language and is translated literally as "reproducing the devil in the devil." The image can be both real and fictional, both living now and once existing. In addition, the portrait depicts one person or a group of people. It makes it different artistic means, because the portrait genre exists in such art forms as painting, graphics, sculpture, engraving, photography, literature, cinema. Each of them has its own set of "working tools". The term "portrait" has a broad and narrow meaning. The narrow one involves the transfer of only the external data of the individual, and the wide one includes the image of character traits, emotional mood, models.
Portrait in literature
Virtually no epic literary work does not do without actors - heroes. And even if the writer does not tell us what color Onegin's eyes are, according to other, quite expressive details, we imagine his face in our imagination. When creating a portrait, the task of the writer is to reveal not only the individual, but also the typical features of the characters. Another function of describing the appearance is the expression of the author's attitude towards the hero, the transfer of the ideological and semantic shades of the work (for example, Bazarov's appearance from Turgenev's novel). Therefore, in literary portrait consists of such details: figure, gestures, clothes, manner of moving, speaking, etc. Writers use either static or dynamic portraits. In relation to Turgenev's novel "Fathers and Sons", the images of Kukshina, Sitnikov, Fenechka are static. And dynamic, i.e. developing in time - Bazarov.
Portrait at Turgenev
Turgenev is rightfully considered a master. Describing this or that actor, he picks up such telling details that almost a cinematic effect is achieved. The means of representation is, of course, the word. Vocabulary of different stylistic layers, expressive means (epithets, metaphors, special speech constructions, syntactic models) - this is the writer's toolkit, with which he manages truly masterfully. We will prove this by analyzing the appearance of Bazarov.
Appearance and origin
Evgeny Vasilyevich Bazarov is the main character of the novel "Fathers and Sons", a significant and controversial work that caused the writer to break with the Sovremennik magazine. The serious controversy that unfolded around the figure of the young nihilist proved how relevant the novel and its characters turned out to be. So, what is remarkable about Bazarov's appearance? First, she directly points to his by no means noble origin. The hero's hands are not gloved, but naked, weather-beaten, with red rough skin. It is clear that he does not mind physical labor, "dirty" work. Where is the hero up to the esthete Pavel Petrovich Kirsanov with his snow-white cuffs, the purest perfumed hands and polished nails! "Plebeism" betrays not only the appearance of Bazarov, but also his clothes. More precisely, "clothing", as he himself calls his summer hoodie. Considering that Turgenev's portrait characteristics are often given indirectly, it is enough to recall with what disdainful air Prokofich, the old servant of the Kirsanovs, who adopted their views and ideology, takes him. Thus, the appearance of Yevgeny Bazarov once again emphasizes, on the one hand, his heterogeneity, and on the other, the alienness of everything that makes up everyday life inhabitants of the "nest of aristocrats".
The originality of the hero
Creating a portrait of his hero, Turgenev tries in every possible way to emphasize his ambiguity, peculiarity. Yevgeny Vasilievich is not handsome, but anyone who sees him cannot but pay attention. This is what makes it interesting. Appearance emphasizes its advantages, without hiding, however, its shortcomings. So, how does the author draw it? Yevgeny's tall stature is striking, a clear physical strength. Long, sparse hair does not hide the irregularities of the spacious skull. Sand sideburns emphasize thinness. Green eyes are large and expressive. The voice is lazy, but courageous. The face, calm and somewhat gloomy, is illuminated by a smile and expresses intelligence and self-confidence. As we see, in portrait characteristic the writer uses the technique of contrast, and a truly outstanding person comes to life before us, “special”, as Arkady Kirsanov speaks of him. The non-noble appearance, the origin of Bazarov - everything is interconnected here. Democracy, strength of character, will and determination, however, well restrained - that's what we read between the lines in the character's portrait.
Soul movements
As already mentioned, the portraits in the works of I.S. Turgenev are psychological, dynamic. The author, through changes, conveys the most secret movements of the soul, emotional shades. Here are the disputes of the antagonist heroes in the novel. Evgeny is alien to the Kirsanovs, especially Pavel Petrovich. The aristocratic habits of the latter greatly annoy the young nihilist. But, realizing that no one here shares his convictions, Yevgeny Bazarov tries to behave very restrained. The description of his appearance, facial movements and changes in body position during conversations reflect the gradual intensity of passions, anger and other emotions. So, Turgenev often notes that Evgeny speaks or answers "impudently", with "special impudence". His face takes on a "copper and rough color". He often flashes a contemptuous smile. But the movements of the hero's soul are especially strongly reflected when the author describes his internal conflict.
Love story and portraiture
Those who have carefully read the novel, certainly paid attention to this feature. Evgeny Vasilyevich seems to us a rather severe, sharp person, who hides his innermost feelings well. He laughs at everything that even slightly goes beyond rationalism. Physician, physiologist, chemist, i.e. follower natural sciences, the hero sees only physiological processes in human relationships. He does not recognize love as a manifestation of higher spirituality. Struck by the beauty of Odintsova, he declares: “What a rich body, even in an anatomical theater.” However, experiencing a sincere and deep passion for Anna Sergeevna, Evgeny lost weight, his profile became sharper, his movements became restless. Particularly saturated with emotions was the scene of the explanation of the characters. Yes, and their last meeting, when the Base
the moat says goodbye to Odintsova, is also very touching and picturesque. His face is "dead", "inflamed", his eyes are "cloudy". They reflect the "shudder of horror."
Comparison of Pavel Petrovich Kirsanov and Evgeny Bazarov
Bazarov (appearance, origin, upbringing) will become much clearer to readers of the novel if we compare them with the main opponent of the hero, Pavel Petrovich. For the aristocrat Kirsanov, his nephew's friend is "this hairy", "plebeian and cynic". He is indignant at the guest's demeanor: Pavel Petrovich suspects that Evgeny, the "doctor's son", does not respect him! The way it is. And at the reception of contrast, the writer shows how different the characters are.
As we have seen, the portrait is an important means of characterization.
Turgenev plays a huge role in creating the image psychological picture hero. We can immediately get an idea of the character of Bazarov by his appearance. He is dressed extremely unpretentiously - in a "long hoodie with tassels." His face is “long and thin, with a broad forehead, flat top, pointed nose, large greenish eyes and drooping whiskers. sand color, 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.” Before us is not only a finished portrait, but already almost Full description character: a plebeian origin and at the same time pride and calm self-confidence, strength and harshness, an extraordinary mind and at the same time something bestial, predatory, which affected the nose pointed down and greenish eyes. The hero has not yet uttered a word (“Bazarov’s thin lips moved a little; but he didn’t answer anything” - this is how we are immediately given an idea of his taciturnity, coming both from the mind and from the constant neglect of the interlocutor), but all his main traits.
In a completely different way, but also through the portrait, Turgenev describes the character of Pavel Petrovich Kirsanov: “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 correct and clean, as if drawn with a thin and light chisel, showed traces of remarkable beauty: his eyes were especially good. Turgenev notices even such an elusive detail: “The whole appearance of Arkadiev’s uncle, graceful and thoroughbred, retained youthful harmony and that aspiration upwards, which for the most part disappears after the twenties.”
The image of Kirsanov is created primarily through the description of his clothes, unusually detailed and eloquent, which is felt slight irony the author in relation to the hero: “But he had an elegant morning, in the English style, suit; on his head was a small fez. This fez and carelessly tied tie hinted at freedom village life; but the tight collars of the shirt, however, not white, but motley, as it should be for morning dress, rested with the usual inexorability on the shaved chin. To characterize the hero, Turgenev even uses the syntax of the phrase, emphasizing the smoothness and slowness of the hero’s movements with a long, complicated, but irreproachably correct period: lone large opal, and gave it to his nephew. It is easy to see that the hand is described here as if it were some kind of expensive piece of fine workmanship. Soon Bazarov directly implements this comparison with a sarcastic remark: “What panache in the countryside, just think! Nails, nails, at least send them to the exhibition!”
But nothing, perhaps, so vividly characterizes the characters as their language. Various intonation shades recreate the complex range of characters' experiences, and the choice of vocabulary characterizes them. social status, the circle of occupations and even the era to which they belong. For example, when he gets angry, Pavel Petrovich uses “efto” instead of “it” in his speech, and “the rest of the legends of Alexander's time were reflected in this whim. The then aces, in rare cases, when they spoke their native language, used, some - efto, others - echto: we are supposedly native Russians, and at the same time we are nobles who are allowed to be neglected school rules". Or another example: the word “principle” Pavel Petrovich “pronounced softly, in the French manner”, as “prinmp”, and “Arkady, on the contrary, pronounced “principle”, leaning on the first syllable”, from which it becomes clear that the heroes, belonging to different generations, perceive this word in completely different cultural contexts and therefore unlikely to come to an understanding. It is no coincidence that after a dispute with Bazarov, Pavel Petrovich excitedly says to his brother: “... you and I are much more right than these gentlemen, although we may express ourselves in a somewhat outdated language, vieilli ...”
Each of the characters has his own unique and easily recognizable way of expressing himself, immediately revealing his personality. So, at the very first conversation with Pavel Petrovich, Bazarov insults the latter not even by the very meaning of the words, which is completely neutral, but by the abruptness of intonation and the “short yawn” with which they were uttered: “He ... answered abruptly and reluctantly, and in his sound voice was something rude, almost defiant. Bazarov speaks little, but is unusually weighty, so his speech tends to be aphoristic (“Rafael is not worth a damn”, “I don’t share anyone’s opinions; I have my own”, “A Russian person is good only because he has a bad opinion about himself” and etc.). To defeat the enemy, he likes to put his phrases in a reduced context, as if trying them on. real life: “I hope you don't need logic to put a piece of bread in your mouth when you're hungry. Where are we before these abstractions!” Or: “She is so cold and strict about herself.<...>This is where the taste is. You like ice cream, don't you?" (That is, he resorts in a dispute to classical form parables, traditional rhetorical figure approaching the gospel type. This is also not accidental, since Bazarov loves to take on the role of a sage and discoverer of a new life teaching). He often resorts to folk expressions: “Only the grandmother said in two more”, “From a penny candle ... Moscow burned down”, “The Russian peasant will gobble up God”, which he wants to emphasize his democracy and closeness to the people.
Pavel Petrovich always expresses himself with exquisite politeness, even when he hates his interlocutor: “This is a completely different question. I don’t have to explain to you now why I sit idly by, as you please express yourself.” Or: "You continue to joke ... but after the kind readiness shown by you, I have no right to be against you in a claim." With this "chilling politeness" he can destroy anyone except Bazarov.
Bazarov’s father, when he wants to show off his education in front of Arkady, expresses himself pompously and uncontrollably old-fashioned, falling into the prose style of the beginning of the century: “You, I know, are used to luxury, pleasures, but the greats of this world did not disdain to spend a short time under the roof of the hut.
Arkady is constantly trying to get into the tone of Bazarov, but Bazarov only frowns at his pseudo-nihilistic phrases: they exude “philosophy, that is, romanticism” for him. Indeed, due to his romantic, poetic nature, Arkady loves a sonorous, beautiful phrase; even proclaiming "terrible" denials, he is unable to restrain himself from naive narcissism. But especially he “spreads his wings” when he starts talking about poetry or about nature: “Look ... a dry maple leaf has come off and falls to the ground; its movements are similar to the flight of a butterfly. Isn't it strange? The saddest and most dead is similar to the most cheerful and lively, ”which gives Bazarov, who considers any sonorous phrase empty, a reason for a mocking parody:“ Oh my friend, Arkady Nikolaich! - Bazarov exclaimed, - I ask you about one thing: do not speak beautifully ... To speak beautifully is indecent. This dispute over language was the first serious disagreement, which then led to the rupture of the two friends.
The speech of ordinary peasants in the novel is deliberately grammatically incorrect and almost meaningless, which should expose the complete inability of the people to play a positive role in the ongoing historical turning point: “Two peasants in hats stood at the first hut and cursed. “You are a big pig,” one said to another, but worse than a small pig.” “And your wife is a witch,” objected another.” In another place, in response to Bazarov’s request to state his views on life: “After all, in you, they say, all the strength and future of Russia ... you will give us both the real language and the laws,” the peasant replies: “But we can .. ... too, therefore, it means ... what kind of aisle we have, approximately.” In general, in the course of the historical dispute between the nobles and the raznochintsy, the people are still “silent”.
The use of foreign language vocabulary is also of particular importance. Pavel Petrovich constantly switches to French, in which it would be clearly easier for him to express himself (“public ... bien public ... public building”) and occasionally into English (“Be happy, my friends! Farewell!”). Bazarov, despite his knowledge foreign languages, never resorts to them in conversation, only once, in response to a French phrase by Pavel Petrovich, he inserts into speech with emphatic irony latin expression(“... I intend to fight seriously. A bon entendeur, salut! (he who has ears, let him hear!) Oh, I have no doubt that we have decided to exterminate each other; but why not laugh and combine utile dulci (useful with pleasant )? That's it: you tell me in French, and I tell you in Latin"). Bazarov's father is also trying to insert into speech foreign words, while mercilessly distorting them due to ignorance of languages: “volatu”, “anamater”, “ommfe”, “vertestergerr colleague”, etc. On the other hand, both father and son, being doctors, speak Latin equally well, but in the end this “dead” language begins to sound truly ominous when the dying Bazarov coolly asks to conduct a consultation not in Latin; I understand what it means: jam moritur (already dying)”.
In the speech of the nobles, in general, such “European” words as aristocracy, liberalism, progress, principles are found in abundance, in which Bazarov sees a sign not of their enlightenment, but of their uselessness: “Just think, how many foreign ... and useless words! The Russian people don’t need them for nothing.” In addition, the very pronunciation of these fashionable “new” words can serve as a distinction between “educated nobles, speaking now with chic, now with melancholy about mancipation (pronouncing en in the nose)”, and “uneducated nobles, unceremoniously scolding “euta muncipation””. Thus, at the level of the characters' language, we see in Turgenev a brilliant and organic combination of the personal and the social, on which all his novels are built.
Roman I.S. Turgenev "Fathers and Sons" is a work that accurately reflects the essence of the era. The noble class was a thing of the past, it was pressed by the raznochintsy intelligentsia. The conflict of two generations is depicted on the pages of the novel on the example of the Kirsanov family and the nihilist Bazarov.
The image and characterization of Yevgeny Bazarov will become the starting point, which will help to better understand the idea of the novel by I.S. Turgenev.
Turgenev's idea
In Evgeny Bazarov I.S. Turgenev embodied the image young representative a trend that has recently emerged in society, nihilism. The prototype of the protagonist of the novel "Fathers and Sons" was the district doctor, whom Turgenev met while traveling through railway. In this man, Ivan Sergeevich saw great inner strength, his socio-political views struck the writer. Turgenev hatches the idea of creating a new work and recalls this meeting with a young doctor.First meeting
For the first time, the reader meets Bazarov at the post station, he arrives with his friend and follower, Arkady Kirsanov. His appearance immediately attracts him. increased attention:“Long and thin (face), with a wide forehead, flat top, pointed nose, large greenish eyes and drooping sandy sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence.”
Bazarov's manner of communicating with people around him is slightly cheeky. Not claiming luxury, he agrees to give up his comfort and sets off after the Kirsanovs on a tarantass.
Bazarov and Pavel Petrovich
Bazarov's meeting with Pavel Petrovich Kirsanov symbolizes the very clash of two generations, liberals and democrats. He is very sarcastic about everything that goes beyond his views, but at the same time he is a simple person and independent of other people's opinions. Denying love, art and beauty, he prefers real work. The famous phrase is put into his mouth:"A decent chemist is twenty times more useful than any poet ...".
Entering into a debate with Pavel Petrovich about the role of art and science in human life, he firmly defends and argues the position. Senior Kirsanov and Bazarov become irreconcilable opponents. Eugene does not understand Pavel Petrovich's desire for beauty and convenience; the work of ordinary courtyard people is much closer to him. After a duel in which he wounds Uncle Arkady, Bazarov treats Kirsanov's wound and leaves Maryino forever.
love test
To show how wrong Bazarov was in his absolute denial of all that is beautiful, the author takes him through a test of feelings. Having met Anna Sergeevna Odintsova, Evgeny realizes that he has a unique woman in front of him, a perfect example. Over time, love for her flares up in his soul, but Odintsova is frightened by Bazarov's passion. Anna Sergeevna gives him a stern rebuke. It hits him like a whiplash. Realizing that love is still strong feeling, and even he is subject to it, he suffers internally and goes home to his parents.Bazarov and parents
Evgeny Bazarov's relationship with his parents is very cool. He loves his old people, but their way of life is mortally depressing. He always wants to go somewhere home. His mother is a little afraid of him and tries not to bother him with her questions. The father is immensely proud of his son, arguing that there is no other such person on earth:“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. In contrast to the prose of Leo Tolstoy, in Turgenev's prose it is not the mental life that determines appearance, but rather 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 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, 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 traits betray the breed in this hero, his aristocratic background. 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 special reception characteristics (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 L.N. Tolstoy’s style. Thus, describing Natasha’s rapprochement with 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 kind of tender, self-recognizing, 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. The tight collars of the shirt, the immaculately 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" (in the process of narration, Turgenev persistently uses these epithets) - contrasts with Kirsanov's certain spiritual limitations, 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 Pavel Petrovich's "beautiful dark eyes" only pictures of the outside world are reflected, but not own feelings his. 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 Liza 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 " 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 good manners about the 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, “proud lips” and “ smart looking eyes", stopping before his eyes ...
In the novel "Fathers and Sons" female portraits are also remarkable. In these portraits there are no bright, saturated colors, clear, finished lines: halftones and light touches are character traits Turgenev style. A distinctive feature of Turgenev's female portraits is airiness, 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 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. A wide white dress covered her 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: “crookedly nailed business 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 small, however, pleasant features 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 true master portrait painting.
Bibliographic description:
Nesterova I.A. The character of Bazarov [Electronic resource] // Educational encyclopedia site
Artistic characteristics of Bazarov and the incompatibility of the elements of his image.
In 1862, Turgenev's novel "Fathers and Sons" was published. The central place in the composition of the work is occupied by the image of Bazarov.
Overall score Bazarov's image is a doctor by education, 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 believe that Bazarov himself thought so because he was young. In fact, he is a romantic at heart. Turgenev emphasized this in the death scene of the protagonist.
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 broad forehead, flat top, pointed nose, large green eyes and drooping sandy sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence.
Evgeny Bazarov is very smart. Evidence of this is the passion for science. Main character able to analyze the problems of modern society.
Bazarov is a man of labor. This can be seen from his "red bare hand". During his stay in Maryino, Bazarov did not forget things: every morning he woke up before everyone else and got to work.
Evgeny Vasilyevich Bazarov is proud. He is in no hurry to bow before the aristocrats.
Nikolai Petrovich quickly turned around and, going up to a man in a long robe, who had just climbed out of the carriage, tightly squeezed his bare red hand, which he did not immediately give him.
The character of Bazarov perfectly combines intelligence, diligence, pride, resourcefulness, wit. He doesn't mince words. For any remark during a dispute with Pavel Petrovich, Bazarov has a witty retort. Bazarov is sure of the correctness of his thought.
Bazarov despises the conventions and rules of etiquette established by aristocratic society. However, he is not arrogant about ordinary people. When Nikolai Petrovich became worried that Bazarov would scorn his love for Fenechka, Arkady said:
As for Bazarov, please don't worry. He is above all this.
Village peasants treat Bazarov well, as they consider him simple and smart person, however, they perceive him as a pea jester. He is a stranger to them, because he is not familiar with their way of life.
Bazarov was a great hunter of women and female beauty.
But the soul of Bazarov 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 to Odintsova, it seemed that his romanticism broke out, but no, this did not happen. Bazarov turned and left with the firm intention of conquering his feelings. Later he tells Arkady:
I already noticed in the clinic who is angry at his pain - he will certainly overcome it.
Turgenev endowed his hero with nobility. Not everyone would help a person who hates him. During the duel, Bazarov wounded Pavel Petrovich, but immediately cast aside his hostility and gave him first aid.
The main tragedy of Bazarov is that he cannot find permanent like-minded people, but only temporary companions. It is as alien to the nobility as it is to the peasantry.
The fact that Bazarov is alien to the aristocracy, Turgenev says through Katya:
Well, then I'll tell you that he ... not that I don't like it, but I feel that he is a stranger to me, and I am a stranger to him, and you are a stranger to him.
After analyzing the personality traits of Bazarov, I came to the conclusion that the author created a true hero of his 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 to the present. Bazarov was alone. 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 at all.
Turgenev allowed his hero to die, as 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 not needed.
