INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 09,2025
Journal:
https://www.academicpublishers.org/journals/index.php/ijai
page 224
PORTRAIT AND IMAGE OF THE HEROINE IN RUSSIAN PROSE
Bozorova Nigora Khakimovna
Bukhara State University
Abstract:
It is well known that the description of external, pictorial phenomena of life is an
important component of a literary and artistic work: portraits of characters, landscapes, the
interior where events unfold - all together lead the reader to an understanding of how the writer
solves social, moral, aesthetic, spiritual, philosophical problems of his time by figurative means.
Some cultural eras and literary trends make one or another component of the descriptive
"complex" more preferable for depiction, for example, a portrait, its various forms and types,
others build a work on the dynamics of the landscape, on its special role, allowing us to judge
both the people depicted, and the nature of the problems, and the ways of their resolution.
Keywords:
dynamics of the landscape, predecessor writers, fiction, portrait of a temptress,
antithetical.
I.S. Turgenev masters the experience of his predecessors, Russian and European, and
contemporary writers, whom the aspiring writer valued highly. However, the nature of his
priorities can be used to judge the peculiarities of a writer's style, his belonging to a
corresponding literary environment or time. I.S. Turgenev takes his first literary steps,
comprehending how Russian prose "grows out of romanticism", how a special Russian realism
is formed with its gravitation towards documentary, essay-like, and depiction of a person in his
fullness in the "natural school". The philosopher Turgenev undoubtedly understands that one
era does not cancel out another, that realism and realism are not in conflict with the experience
mastered by the writer, who understood romanticism as a phenomenon both in the West and in
Russia. This is the experience of the early A.I. Herzen, N.V. Gogol, M.N. Zagoskin, M.Yu.
Lermontov, V.F. Odoevsky, A.S. Pushkin, etc. Actually, M. N. Zagoskin's "The Tempter"
opens with a portrait of the hero, who is sixteen years old, and it turns out that the one indulging
in memories is a completely settled gentleman, who, looking at his wife, remembers her as a
young woman: "Is this the same Mashenka, fresh as a spring flower after the morning dew,
beautiful as a model
~ 12 Dfcueomicifa, who wants to create his Madonna?" The comparison of beloved Mashenka
with a model for an artist who must paint the Madonna points to the ideal, to the "genius of
pure beauty" that the enthusiastic young man sees in her.
There is no factual or photographic specificity in the description of her appearance: no
description of her clothes, no complexion, hairstyle, shape, color, and expression of her eyes,
only a general dreamy impression. At the same time, throughout the novel, the author does not
resort to detailed portraits and descriptions, since the author emphasizes the development of the
hero, who overcomes temptations and seems to emerge victorious from all hopeless situations,
of course, not without the help of a kind angel, who turns out to be the scribe Lutsky.
INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 09,2025
Journal:
https://www.academicpublishers.org/journals/index.php/ijai
page 225
And here is the temptress Dneprovskaya, presented precisely as a temptation to the young man
by Count Cagliostro: “The black velvet spencer, trimmed like a hussar’s dolman, with gold
laces, immediately reminded me of my first meeting with Dneprovskaya.
- So it’s you? - I cried.
- Did you recognize this dress?
- At first sight. Is it really that one?
- Yes! - Dneprovskaya answered in a low voice. - I took care of it. I was wearing it when we
met for the first time”13. The author recreates the portrait of the temptress not without irony,
the mysterious mask at the ball turns out to be an equally mysterious married lady, but in the
description of the appearance in detail, especially the dress, the author not only contains the
attributes of temptation, but ironically conveys the features of female psychology. The external
similarity of the techniques was subsequently used by I.S. Turgenev should not be deceived:
they function differently for him, although they indicate “recognizability.”
As we see, literature and artistic literature entered the consciousness of the young writer
together with the experience of accepting painting and music, and the talent of a verse writer,
poet and prose writer, striving to capture Russian life in its indivisibility, allowed him to create
works in which there is always a vital substratum and fundamental principle, giving the writer
guidelines for the truth of life and freedom of poetic interpretation of this truth. I.S. Turgenev is
a skillful painter in his works, a subtle lyricist, an artist-philosopher, perhaps that is why he is
so attentive to what was created by F.I. Tyutchev, so not indifferent to the poetic experience of
Russian contemporaries and predecessors. The experience of M.N. Zagoskin with his
"Temptor" and V.F. Odoevsky with "Cosmorama" in the recreation of the female image and
female portrait in this case is very indicative, since in both works, portraits of women that are
antithetical in spiritual content are found, both contrast creative, chaste beauty and the beauty of
temptation15, which will be recreated by I.S. Turgenev in a number of works, including
"Spring Waters", "Klara Milich", "The Steppe King Lear", etc.
Literature:
1. Al-Qaisi Ayat Yusef. Women's portrait in the novels of I.S. Turgenev. Russian language
abroad. Educational and methodological illustrated magazine. N0 6 / 2014 (247). P. 100 - 103.
2. Al-Qaisi Ayat Yusef, Mineralova I.G. Portrait of the heroine in the prose of A.S. Pushkin and
I.S. Turgenev. // SEARCH: Politics. Social science. Art. Sociology. Culture. // Moscow:
Moscow State University of Railways (MIIT), 2014. - Issue. No. 5 (46). - 145 p. 132-136.
3. 168. Shimanova, E. Women's portrait in the semiotics of death: "Living relics" and "After
death". // Literature of the 11th-21st centuries. National-artistic thinking and picture of the
world. Ulyanovsk, 2006. —4.1.—P. 78—84.
