The image of a bauble in the work of fathers and sons. Love in the lives of heroes in the novel Fathers and Sons: attitude to love, the love story of Nikolai Petrovich and Fenechka, Kirsanov's attitude to love (Turgenev I.S.). Oblique weaving of baubles

All creative work I.S. Turgenev have always been rich in female images. The author described them with extraordinary love. He made his heroines gorgeous, both inside and out. The novel "Fathers and Sons" includes many female personas who were both simple peasant women and arrogant ladies.

My attention was drawn to the simplest, softest and kindest heroine of the novel - Fenechka. The author conveys to readers her natural appearance. She was young, with red plump lips, with black hair. Fenechka is dressed in a cotton dress that sat neatly on her. The girl was unusually shy. After Yevgeny and Arkady arrived at the estate, Fenechka at first hid, saying that she was sick. Although, the girl was just shy.

Nikolai Petrovich took her for his own, allowed her to live in his house after Fenechka had a child from him. He did not deny this fact and committed a noble man's deed. However, Nikolai Petrovich did not particularly like to talk about the girl, and he did not tell Arkady at all about his little son.

Because of this behavior, Fenechka could not feel free. But, the girl did not hide in the room for a long time. She gathered her strength and went out to the guests. The girl was wonderful. After all, what could be more beautiful than a young mother and her child.

He was very good with the heroine. It seemed that only she evoked warm, sincere emotions in him. When communicating with Fenechka, he smiled, kind, warm features appeared on his face. The image of the heroine once again emphasizes her immediacy and naturalness. She looks like beautiful flower who delighted everyone around.

Kukshina Evdoksia, more precisely Avdotya, enters the novel as a completely contrasting opposite. The author does not like her image. He classifies Kukshina as an emancipated woman who was not distinguished by neatness and diligence. Her image is unpleasant to the viewer, outwardly she is completely unattractive.

A woman constantly does her work reluctantly, as if forcing herself with every step, with every movement. Yevgeny Bazarov reacts to Kukshina accordingly. At the first sight of the heroine, he winced.

Also, in the novel "Fathers and Sons" there is another female character - this is the image of Anna Odintsova. It was she who caused such torment, such passions in Bazarov's soul. Anna was a lady of high society. She was surrounded by complete calm. Her life was measured and planned. Peace and comfort reigned in the estate. She often referred to herself as an old woman.

I cannot agree with this, because the author describes her as a woman of about twenty-eight. But, despite her age, Anna's soul was worn out by the events of her former life. That's why she didn't want to join love relationship with Bazarov and drowned out all mutual sympathy.

This repressed perception of Anna's life affected her sister Katerina as well. She gives the impression of a pale shadow of Anna. But, with the development of events in the novel, the girl reveals her character and her personality.

I don’t have a very good relationship with Odintsova, she doesn’t arouse my sympathy. However, the author never uses irony in describing his heroine. He calls her self-confident and smart. It was Anna Odintsova who influenced the fate of the protagonist - Evgeny Bazarov. She opened his soul, she made him believe in love. However, the heroine did not allow her soul to do this.

The novel "Fathers and Sons" is filled with a whole gallery of female characters. They are different, they are not the same. And each heroine has her own characteristics, her charms.

Fenechkaya is one of the minor heroines of the novel Fathers and Sons.

This article presents the quotation image and characterization of Fenechka in the novel "Fathers and Sons": a description of the appearance and character of the heroine in quotations.

Brief description of Baubles in the novel "Fathers and Sons"

Fenechka, or Fedosya Nikolaevna - the unofficial wife of the landowner. Fenechka is 23 years old. By origin, she is a peasant woman (probably a civilian peasant woman).

Fenechka is a good housewife and caring mother. She loves order and cleanliness. Fenechka is poorly educated, stupid and empty, but at the same time she is pretty and sweet.

One day, Fenechka and her mother get a job with the landowner Nikolai Petrovich Kirsanov. A relationship develops between him and Fenechka. Kirsanov is 20 years older than Fenechka. He is a nobleman, and she is a peasant woman, but this does not prevent them from being together.

Fenechka and Kirsanov have a son, Mitya. After 3 years of marriage, Kirsanov marries Fenechka.

The image and characteristics of Baubles in the novel "Fathers and Sons"

Fenechka's age is about 23 years old:

"... It was a young woman of about twenty-three..."

The full name of the heroine is Fedosya Nikolaevna:

"... Fedosya Nikolaevna..."

Fenechka - a peasant woman by origin :
"... "Kiss the master's hand, silly," Arina told her ... (the peasants kissed the master's hand)

Fenichka is an orphan:
"... Her husband died a long time ago ..." (we are talking about Fenechka's father)
"... mother, Arina, died of cholera ..." (Fenechka's mother died of cholera when her daughter was about 20 years old)

Fenechka is a beautiful young woman:
"... And really, is there anything in the world more captivating than a beautiful young mother with a healthy child in her arms? .."
"... How pretty!.."
"... It is known about whom: only one pretty one ..."
"... Your father, apparently, has a good lip..."

Fenechka's appearance in quotes:
"... Fenechka. She was a young woman of about twenty-three, all white and soft, with dark hair and eyes, with red, childishly plump lips and delicate hands. She was wearing a neat cotton dress; a blue new scarf easily lay on her round shoulders..."
"... a young woman's face flashed..."
"... in a blue jacket and with a white scarf thrown over her dark hair, a young woman, Fenechka ..."

"... a soft mass of black, shiny, slightly disheveled hair appeared..."
"...hot blood spilled in a scarlet wave under the thin skin of her pretty face..."
"...quietly went out. She walked a little waddling, but even this stuck to her..."
"... Fenechka put her hair in order, and put on a better scarf, but she could have remained as she was ..."
"... put his lips to Fenechka's hand, white as milk, on Mitya's red shirt..."
"...Fenechka's face glided before him so pale and small..."
"... Fenechka became prettier every day. There is an era in the life of young women when they suddenly begin to bloom and bloom like summer roses; such an era has come for Fenechka. Everything contributed to this, even the July heat that was then. Dressed in light white dress, she herself seemed whiter and lighter: sunburn did not stick to her, and the heat, from which she could not protect herself, slightly blushed her cheeks and ears and, pouring quiet laziness into her whole body, was reflected by drowsy languor in her pretty eyes "She was almost unable to work; her hands slipped to her knees. She could hardly walk, and kept groaning and complaining with amusing impotence..."
"... She was sitting on a bench, throwing her usual white scarf over her head..."

Fenechka has "pretty eyes":
"... Fenechka looked up at her eyes, which seemed even darker from the whitish reflection that fell on the upper part of her face..."
"... The expression of her eyes was charming when she looked, as it were, from under her brows and laughed affectionately and a little stupidly ..."
"...in her pretty eyes..."

Fenechka is a shy girl:
"...she assumes...she is ashamed..."
"... In vain is she ashamed ..."
"... putting it in front of her, she was all ashamed..."
"... 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..."

Fenechka is a worthy woman:
"... if you let her live under the same roof with you, then she deserves it ..."
"...Of course, if this girl wasn't worth it... It's not a frivolous whim..."

Fenechka is a polite girl:
"... Fenechka told everyone in the house..."

Fenechka is a quiet and modest girl:
"... rare saw her: she lived quietly, modestly ..."

Fenechka is a stupid, empty girl:
“…Ah, how I love this empty creature…!”

"... laughed affectionately and a little stupidly..."

Fenechka loves order:
"... She inherited from her mother a love of order..."

Fenechka is a reasonable and sedate girl:
"... She inherited from her mother<...>prudence and prudence..."

Fenechka is an illiterate girl:
"... on their paper covers, Fenechka herself wrote in large letters "circle" ... "

Fenechka and Nikolai Petrovich Kirsanov

At the beginning of the novel, Fenechka is an unofficial wife:

"...this girl you've probably already heard about<...>she now lives with me. I placed it in the house ... there were two small rooms ... "

Fenechka and Nikolai Petrovich have a son Mitya :

"... Fenechka came in with Mitya in her arms..."
"... - How many months, I mean, is he?" asked Pavel Petrovich.
- Six months; the seventh will come soon, on the eleventh..."

Fenechka loves Nikolai Petrovich:
"... I love Nikolai Petrovich with all my heart<...>I don’t love Nikolai Petrovich - and after that I don’t even need to live!<...>I love Nikolai Petrovich alone in the world, and I will love forever! .. "

At the end of the novel, Nikolai Petrovich marries Fenechka, despite the fact that she is a peasant woman, and he is a master:
"... A week ago, in a small parish church, quietly and almost without witnesses, two weddings took place: with Katya and Nikolai Petrovich with Fenechka ..."

Direct weaving baubles

bauble- a thing useful and versatile, and most importantly - easy to manufacture. In order to weave it, you do not need to have a special gift or super abilities. All you need is a little free time and desire. And the rest will help our site, where you can learn everything about baubles from A to Z.

	This category is entirely devoted to patterns of baubles with direct weaving with images of musical groups and performers.
	Here are direct weaving patterns on the theme of music and everything connected with it.
	We all love brands and logos of our favorite companies. So dedicating one of your baubles to your favorite symbol is quite logical.
	Cats, dogs, mice and chanterelles - that's far from full list diagrams you can find here.
	In this section you will find patterns of baubles with Slavic patterns with straight weave.
	So this section is completely devoted to cartoons, their characters, logos and other elements of the industry.
	Here you can find not only the names of the cartoons themselves, but also the main characters, as well as just various drawings in the style of Japanese animation.
	This section contains schemes for various font variations of alphabets. With their help, you can collect a scheme of any name and bring it to life.
	Many different schemes for holiday themes.
	In this section you will find not only classics computer games, their logos and heroes, but also something that appeared quite recently and has already managed to win the hearts of gamers.
	What could be better than watching your favorite movie or series at your leisure? Perhaps nothing. That's just really cool when you have a bauble with the logo of your favorite film.

Oblique weaving of baubles

If you don’t know where to start your career as a fennec weaver, but have already mastered the basics of this business, and learned what a bauble is, what it happens to be, etc., then you are here. Bias is a great start. Just follow the instructions and you will be fine. And then you can already fantasize, create unique works and give them to your loved ones.

Baubles straight weave

A bauble is an original hand-woven thread bracelet. Throughout their history, such accessories have been not only exclusive decorations, but also symbols of friendship, mutual love and fidelity. There are two main techniques for weaving bracelets - oblique and straight. The first method is simpler, but the variety of patterns for it is limited. Baubles with direct weaving, on the contrary, can be made with drawings of any complexity, including inscriptions and even portraits.

Features of direct weaving bracelets

The basis of the direct technique, as well as the oblique technique, is the right and left knots. In this case, the rows of nodes are arranged horizontally, and their direction changes in each row.

The process of weaving baubles

Using the straight weave technique, you can create amazing patterns ...

... as well as baubles with names

All threads for direct weaving of baubles can be divided into 3 categories:

• The main (leading) thread is the longest and matches the background of the pattern. It is attached to the weave without cutting it off from the ball, and it is recommended to take 5 m or more in length.
• Warp or background threads. Their number depends on how many cells are in the row of the scheme you have chosen (according to the width of the product). They should not be very long, on average, it is 40-80 cm, but the consumption depends on the pattern. The color of the base is chosen the one that is most often found in the pattern - as a pattern, inscription or outline. If the bauble consists of two colors, this will be the color of the inscription or drawing itself. If it is difficult to distinguish the second most important tone in a multicolor scheme, choose the one that occurs first in weaving.
• Auxiliary threads. These include all other shades in multicolor schemes (3 or more colors). They are introduced into the pattern as needed and cut off the ends at the end of the work.

Baubles straight weave

Instructions for weaving baubles with a straight weave differ depending on how many colors are used in the pattern - 2 or more.

How to weave a two-color bauble with a straight weave

In addition to the threads of two colors, for this work you will need patterns of baubles with direct weaving, adhesive tape, a pin or other convenient fixture to secure threads.

Scheme for a two-color baubles

Scheme "Panda"

Scheme "Panda2"

Baubles with direct weaving according to the "Panda" pattern

Most often, the schemes are small, so the pattern can be repeated on the bauble several times or made in the middle.

monochrome bauble

Consider how to weave a straight weave bauble in more detail.

Advice:

If you want to weave a small pattern exactly in the center of the bracelet, you need to count the number of single-color rows before and after the pattern.

First, we calculate the length of the pattern itself: divide the number of rows in the pattern by 5 (the approximate number of rows in 1 centimeter of weaving). Having previously measured the girth of the wrist, subtract the resulting number from it. The remaining centimeters will need to be woven without a pattern. If we multiply them by 5, we get the number of rows (round up to a whole number if necessary). Half of the empty rows will be before the pattern, the second half after it. Let us consider in detail how to weave two-color bracelets with direct weaving:

1. We fix the threads with any convenient way. With a working thread located on the left, we tie right-sided knots on each of the main threads in turn.
2. We align the row, pressing the nodes with a ruler, do the same with each new row.
3. In the second row we tie left-hand knots, moving from right to left. In the future, the directions alternate in the same order. Weave to the row in which the pattern begins.
4. For example, we need to make 4 knots with a working thread and switch to a different shade. To do this, we braid the working thread with a warp thread, tying a knot in the opposite direction. The working thread moves along the knots.
5. In the same way, we continue weaving the bracelet in 2 colors, tying the knots of the background and pattern in different directions.

How to weave baubles with straight weave

Having mastered the technique of direct weaving, you will be able to create bracelets of any complexity.

How to weave multicolor baubles according to patterns

Weaving a baubles according to a pattern in which 3 or more colors is somewhat different from two-color weaving. Before work, we select in the scheme the main color (working thread), the second most important color (warp threads) and auxiliary threads.

Paired bauble of three colors, scheme

In another version, any, even unnecessary, threads can become the basis, and we perform the entire pattern as auxiliary ones. Let's analyze in detail how to weave baubles with a large number of flowers:

1. We fix the warp threads and the working thread, weave required amount single color rows. We weave to the place in the diagram when you need to attach an auxiliary thread.
2. We fix the new thread together with the hank on the working surface. We bring it to the place of weaving, grab the working thread and braid the warp thread. It is imperative to capture the leading thread each time, otherwise gaps will form between the knots. We tie the knots of the picture in the same direction in which we tied the background ones. Enter the rest of the colors in the same way.
3. If the color at the end of the row and at the beginning of the next one does not match, we bring the desired thread to the edge of the baubles, grab the last working thread and braid the warp.
4. We carry out the pattern according to the scheme, again we finish the work with “empty” rows of the background.
5. We cut the auxiliary threads, leaving the tips of about 3 mm on the wrong side of the baubles.

Straight weave in multiple colors

Weaving pattern

Having mastered this simple technique, you can make baubles from threads of any complexity with any number of colors.

Handmade bauble, will be a great gift for your loved one

Place the straight weave patterns on the cross stitch patterns. You can draw them yourself, use the pattern generator or ready-made patterns on our website, including for embroidery.

By direct weaving, you can create real paintings

Baubles in the Slavic style

Boho bauble

A straight knot (flat knot) is one of the fundamental knots for weaving bracelets. It must be mastered in order to make various simple jewelry for girls. With its help, one of the most fashionable bracelets to date is made - the Shamballa bracelet. In this article, we will consider only baubles from some straight knots without adding beads and beads.

If you alternate the colors of the threads, you can get different options for baubles for girls, which we will discuss in our article.
Macrame also uses this knot, but it is called the square knot.

How to weave a straight knot (flat knot) for bracelets.

To weave bracelets with straight knots, two types of thread are needed: the warp thread and the working thread.
The warp thread in the diagram is shown by the numbers 2 and 3. Any number of threads, including one, can be the basis. The working thread in the diagram is 1 and 4. If you have a one-color bauble, then these are threads of the same color. The working thread is about 4 times longer than the warp thread.
The scheme of weaving a straight knot for bracelets.

One-color bauble with straight knots.

For the warp thread, we take 60 cm for a working thread of 2 meters.
We bend one of the threads in half and make a loop.

We fix the beginning of the bracelet on the table with adhesive tape or fasten it to the trousers with a pin. The second way is more convenient.
We fix the second thread by threading it through the loop and begin to weave straight knots.
We draw one edge thread under the two central warp threads and put it on top of the second edge thread.
We put the second edge thread on top of the warp threads and thread it through the loop of the first edge thread from top to bottom.
We tighten the knot.
The second and first edge threads are reversed. Now things are the same, only on the other side.
We continue to weave knots to the desired length of the baubles. Keep in mind that the loop at the beginning of the bracelet is also included in the length.
We make out the second tie of the bracelet. The first is a loop at the very beginning of our bracelet. We make two ponytails. We have two ropes for each tail - we will twist them with each other. To do this, stretch two ropes of the same tie in different directions and twist them in opposite directions.
Then connect the ends of the ropes and release the bracelet. The ropes will twist with each other. Make a knot at the end and singe the ends of the string if you have synthetic thread.
Do the same for the second tie.
The bauble with straight knots is ready. Put a bauble on your hand. Pass one tie through the loop at the beginning of the bracelet and tie the ties together.

Baubles from straight knots two-color

Your two working threads should be of different colors.
First option: Start making a bauble, as in the previous version, just distribute the threads differently: two multi-colored warp threads and two multi-colored working threads.
Second option: If you have the warp threads of the same color, and the working threads are single, then glue the ends of the single threads to the loop.
You can also finish weaving the knots by cutting the working thread near the knots and glue or burn the ends of the working thread with glue.

Baubles from straight knots with alternating colors

Take the cord for the warp threads and the working thread of the same length.
In the process of working through the same number of nodes, change the working and main threads in places.

Two-color weaving with flat knots.

Unlike the other shown bracelets, two-color weaving uses four working threads, two threads of each color.
On the main thread, we first tie a working thread of one (red) color in the center, then we tie another thread of a different (gray) color from below. On each side of the warp threads, you should get two threads of different colors.
Next, we begin to knit straight knots. We draw red working threads under black threads and tie a straight (flat) knot. (We cross the threads twice).
Then we draw the gray working threads under the red ones and again tie a flat knot.
We continue weaving alternating red and gray threads.
Look at more design options for the beginning and end of the baubles: a four-strand bracelet with a button clasp, a shambhala bracelet made of a chain with rhinestones with a straight knot clasp.

After seeing Arkady off with mocking regret and letting him know that he was not at all deceived about the real purpose of his trip, Bazarov retired completely: the fever of work had come upon him. He no longer argued with Pavel Petrovich, especially since in his presence he took on an overly aristocratic air and expressed his opinions more in sounds than in words. Only once did Pavel Petrovich set off in a competition with nihilist about the then fashionable question of the rights of the Baltic nobles, but he himself suddenly stopped, saying with cold politeness: However, we cannot understand each other; I, at least, do not have the honor of understanding you. Of course! exclaimed Bazarov. A person is able to understand everything and how the ether trembles, and what happens in the sun; and how another person can blow his nose differently than he himself blows his nose, this he is not able to understand. What, is it witty? Pavel Petrovich uttered inquiringly and stepped aside. However, he sometimes asked permission to be present at Bazarov’s experiments, and once he even brought his face, perfumed and washed with an excellent drug, closer to the microscope in order to see how the transparent infusoria swallowed a green speck and busily chewed it with some very agile fists that were with it. in the throat. Nikolai Petrovich Bazarov visited his brother much more often; he would come every day, as he put it, "to study," if the household chores had not distracted him. He did not constrain the young naturalist: he would sit somewhere in a corner of the room and gaze intently, occasionally allowing himself a cautious question. During lunches and dinners, he tried to direct his speech to physics, geology or chemistry, since all other subjects, even economic ones, not to mention political ones, could lead, if not to clashes, then to mutual displeasure. Nikolai Petrovich guessed that his brother's hatred for Bazarov had not diminished in the least. An unimportant incident, among many others, confirmed his hunches. Cholera began to appear in some places around the neighborhood and even “pulled out” two people from Maryin itself. During the night, Pavel Petrovich had a rather severe seizure. He suffered until the morning, but did not resort to the art of Bazarov and, seeing him the next day, to his question: “Why didn’t he send for him?” answered, still pale, but already carefully combed and shaved: “After all, you yourself, remember, said that you did not believe in medicine?” So the days passed. Bazarov worked stubbornly and sullenly ... Meanwhile, in the house of Nikolai Petrovich there was a creature with whom he not only took his soul away, but willingly talked ... This creature was Fenechka. He met her for the most part in the morning, early, in the garden or in the yard; he did not visit her room, and she only once went to his door to ask him whether she should bathe Mitya or not? She not only trusted him, not only was not afraid of him, she behaved more freely and freely in his presence than under Nikolai Petrovich himself. It is difficult to say why this happened; perhaps because she unconsciously felt in Bazarov the absence of everything of the nobility, of everything that was higher, which both attracts and frightens. In her eyes, he was both an excellent doctor and a simple man. Not embarrassed by his presence, she was busy with her child, and one day, when she suddenly felt dizzy and had a headache, she took a spoonful of medicine from his hands. Under Nikolai Petrovich, she seemed to shun Bazarov: she did this not out of cunning, but out of some sense of decency. She was more afraid of Pavel Petrovich than ever; for some time now he began to watch her and suddenly appeared, as if growing out of the earth behind her back in his suite, with a motionless vigilant face and hands in pockets. “So it will give you cold,” Fenichka complained to Dunyasha, and she sighed in response and thought about another “insensible” person. Bazarov, without suspecting it himself, became cruel tyrant her soul. Fenechka liked Bazarov; but he liked her too. Even his face changed when he talked to her: it took on a clear, almost kind expression, and a sort of jocular attentiveness was mingled with his usual carelessness. Fenechka was getting prettier every day. There is an epoch in the life of young women when they suddenly begin to bloom and bloom like summer roses; such an era has come for Fenechka. Everything contributed to this, even the July heat, which was then. Dressed in a light white dress, she herself seemed whiter and lighter: the tan did not stick to her, and the heat, from which she could not protect herself, slightly blushed her cheeks and ears and, pouring quiet laziness into her whole body, was reflected by drowsy languor in her pretty eyes. She almost could not work; her hands slipped to her knees. She could hardly walk, and kept groaning and complaining with amusing impotence. You should swim more often, Nikolai Petrovich told her. He made a large, linen-covered pool in one of his ponds, which is not yet completely gone. Oh, Nikolai Petrovich! Yes, until you reach the pond you die, and you go back you die. After all, there is no shade in the garden. It's for sure that there is no shadow, answered Nikolai Petrovich and rubbed his eyebrows. One day, at about seven o'clock in the morning, Bazarov, returning from a walk, found Fenechka in a long-faded, but still dense and green lilac arbor. She was sitting on a bench, with her usual white kerchief thrown over her head; beside her lay a bunch of red and white roses still wet with dew. He greeted her. Ah! Yevgeny Vasilyevich! she said and lifted the edge of the handkerchief a little to look at him, and her arm was bared to the elbow. What are you doing here? ' said Bazarov, sitting down beside her. Do you knit a bouquet? Yes; on the breakfast table. Nikolai Petrovich loves it. But breakfast is still far away. What an abyss of flowers! I have now picked them up, otherwise it will become hot and it will be impossible to go out. Only now you breathe. I am completely relaxed from this heat. Am I afraid that I will get sick? What a fantasy! Let me feel your pulse. Bazarov took her hand, found an evenly beating vein and did not even begin to count her blows. You will live a hundred years, he said, releasing her hand. Oh, God save! she exclaimed. What? Don't you want to live long? Why, a hundred years! Our grandmother was eighty-five years old, so what a martyr she was! Black, deaf, humpbacked, she kept coughing; only to burden yourself. What a life this is! Is it better to be young? And then how? But why is it better? Tell me! How than? Yes, now I’m young, I can do everything and I’ll go, and I’ll come, and I’ll bring it, and I don’t need to ask anyone ... What is better? But I don't care if I'm young or old. How do you say anyway? it's impossible what you say. Judge for yourself, Fedosya Nikolaevna, what do I need my youth for? I live alone, bean ... It always depends on you. Something that is not from me! If only someone would take pity on me. Fenechka looked sideways at Bazarov, but said nothing. What is your book? she asked after a while. This one? This is a scholarly book. Are you all studying? And aren't you bored? You already do, I'm tea, you all know. Apparently, not all. Try to read a little. Yes, I don’t understand anything here. Is she Russian? Fenechka asked, taking a heavily bound volume in both hands. How fat! Russian. I still don't understand anything. Yes, and I'm not so that you understand. I want to see you as you read. When you read, the tip of your nose moves very nicely. Fenechka, who was about to sort out in an undertone the article "on creosote" that came across to her, laughed and threw down the book... she slid off the bench to the ground. I love it too when you laugh, said Bazarov. Fullness! I love when you talk. Just like a brook murmurs. Fenechka turned her head away. What are you! she said, fingering the flowers. And why should you listen to me? You had a conversation with such smart ladies. Oh, Fedosya Nikolaevna! believe me: all the smart ladies in the world are not worth your elbow. Well, here's what they came up with! Fenechka whispered and folded her hands. Bazarov picked up a book from the ground. This is a medical book, why are you throwing it away? Medical? Fenechka repeated and turned to him. Do you know what? After all, since you gave me those drops, remember? how well Mitya sleeps! I can't think of a way to thank you; you are so kind, right. But for real, you need to pay doctors, Bazarov remarked with a grin. Doctors, you know yourself, people are mercenary. Fenechka raised her eyes to Bazarov, which seemed even darker from the whitish reflection that fell on the upper part of her face. She didn't know if he was joking or not. If you like, we'll be happy to... We'll have to ask Nikolai Petrovich... Do you think I want money? Bazarov interrupted her. No, I don't need money from you. What is it? said Fenechka. What? repeated Bazarov. Guess. What a guesser I am! So I'll tell you; I need... one of those roses. Fenechka laughed again and even threw up her hands—so much so that Bazarov's desire seemed amusing to her. She laughed and at the same time felt flattered. Bazarov looked at her intently. If you please, if you please, she finally said, and, bending down to the bench, began to sort out the roses. What do you like, red or white? Red, and not too big. She straightened up. Here, take it, she said, but immediately pulled back her outstretched hand and, biting her lips, looked at the entrance of the arbor, then lowered her ear. What is? asked Bazarov. Nikolai Petrovich? No ... They left for the field ... and I'm not afraid of them ... but Pavel Petrovich ... It seemed to me ... What? It seemed to me that They they walk here. No... there is no one. Take. Fenechka gave Bazarov a rose. Why are you afraid of Pavel Petrovich? They all scare me. To speak they do not speak, and so they look intricately. Well, you don't like him either. Remember, before you all argued with him. I don't know what you are arguing about; and I see that you are twirling it like that, and like that ... Fenechka showed with her hands how, in her opinion, Bazarov was turning Pavel Petrovich. Bazarov smiled. And if he began to defeat me, he asked, would you intercede for me? Where can I intercede for you? no, you can't get along. Do you think? And I know a hand that wants to, and knocks me down with a finger. What is this hand? Don't you know? Smell how nice the rose you gave me smells. Fenechka stretched out her neck and brought her face closer to the flower... The handkerchief rolled from her head onto her shoulders; a soft mass of black, shiny, slightly disheveled hair appeared. Wait, I want to sniff with you, uttered Bazarov, bent down and kissed her hard on her parted lips. She trembled, rested both hands on his chest, but rested weakly, and he could resume and prolong his kiss. A dry cough resounded behind the lilacs. Fenechka instantly moved to the other end of the bench. Pavel Petrovich showed himself, bowed slightly, and, saying with a kind of spiteful despondency: "You are here," went away. Fenechka immediately picked up all the roses and went out of the arbor. "It's a sin for you, Yevgeny Vasilyevich," she whispered as she left. Genuine reproach was heard in her whisper. Bazarov remembered another recent scene, and he felt ashamed, and contemptuously annoyed. But he immediately shook his head, ironically congratulated himself "on formal admission to the Celadons" and went to his room. And Pavel Petrovich came out of the garden and, walking slowly, reached the forest. He stayed there for quite some time, and when he returned to breakfast, Nikolai Petrovich thoughtfully asked him if he was well? before that his face darkened. You know, I sometimes suffer from an overflow of bile, Pavel Petrovich answered him calmly. Which love story is closer, more understandable to me, and why in I.S. Turgenev's novel "Fathers and Sons"? Options: 1. The love story of Bazarov and

Odintsova

2. The love story of Pavel Petrovich and Princess R.

3. Love story of Katya and Arkady

Half an hour later Nikolai Petrovich went into the garden, to his favorite pavilion. Sad thoughts were found on him. For the first time he was clearly aware of his separation from his son;

he foresaw that every day it would grow larger and larger. Therefore, it was in vain that he used to spend whole days sitting in the winter in St. Petersburg over the latest compositions; in vain he listened to the conversations of young people; he rejoiced in vain when he managed to insert his own word into their ebullient speeches. "Brother says we're right," he thought, "and, putting all selfishness aside, it seems to me that they are further from the truth than we are, and at the same time I feel that there is something behind them. what we don't have, some kind of advantage over us... Youth? No: not only youth. Doesn't this advantage consist in the fact that they have fewer traces of nobility than we do?" Nikolai Petrovich lowered his head and passed his hand over his face. "But to reject poetry?" he thought again, "not to sympathize with art, nature?.." And he looked around, as if wishing to understand how one could not sympathize with nature. It was already evening; the sun hid behind a small aspen grove that lay half a verst from the garden: its shadow stretched endlessly across the motionless fields. The peasant was trotting on a white horse along a dark narrow path along the very grove; he was clearly visible all over, up to the patch on his shoulder, despite the fact that he was riding in the shade; the horse's legs flickered pleasantly distinctly. Sun rays from their side they climbed into the grove and, breaking through the thicket, doused the aspen trunks with such a warm light that they became like pine trunks, and their foliage almost turned blue and a pale blue sky rose above it, slightly reddened by the dawn. The swallows flew high; the wind stopped completely; belated bees buzzed lazily and drowsily in the lilac flowers; midges huddled in a column over a lonely, far-stretched branch. "How good, my God!" thought Nikolai Petrovich, and his favorite verses came to his lips; he remembered Arkady, Stoff und Kraft, and fell silent, but continued to sit, continued to indulge in the sorrowful and gratifying game of solitary thoughts. He liked to dream; country life developed this ability in him. How long had he dreamed the same way, waiting for his son at the inn, but since then a change had already taken place, relations had already been determined, then still unclear ... and how!

C1. Formulate the main idea of ​​the fragment and briefly comment on the critic's statement: "Bazarov is still defeated; defeated not by persons and not by the accidents of life, but by the very idea of ​​\u200b\u200bit is life."

The novel "Fathers and Sons" Chapter One: For what purpose does the author tell about the life story of Nikolai Petrovich and the history of their family?

Fenichka - is one of the main female characters in the novel by I. S. Turgenev "Fathers and Sons". She is an ordinary peasant girl, orphaned early. Fenechka's mother Arina Savishna worked as a housekeeper on the estate of Nikolai Petrovich Kirsanov. When she died, he took care of the young Fenechka, with whom he later fell in love. She is a kind of female ideal and belongs to the Turgenev type of women. From one of her appearances, it becomes warm and calm. She is like the embodiment of something light, soft and natural.

Fenechka was twenty-three years old, and she was distinguished by a pretty appearance: dark eyes and hair, soft white skin, delicate hands, childishly plump scarlet lips. She wore neat cotton dresses, and covered her shoulders with a light scarf. At first she was very shy of the guests, since her position in the house was ambivalent. Fenechka had a son, Mitya, born of the owner, but Nikolai Petrovich behaved a little stiffly. On the one hand, having settled them on the estate, he, as it were, recognized her certain rights, on the other hand, she was not his official wife, which introduced some ambiguity into their relationship. Only the natural naturalness in Fenechka's behavior smoothed out this situation. When she arrived, she behaved awkwardly, although it was felt that she could afford to be here.

In communication, Fenechka was quite simple and courteous. Loved talking to her main character novel - outcast and not understood by anyone Bazarov. She was well treated even by a progressive aristocrat