Fathers and children are the highlights. Fathers and Sons

The most important feature of the amazing talent of I.S. Turgenev - sharp feeling of his time, which is the best test for the artist. The images created by him continue to live, but in a different world, whose name is the grateful memory of the descendants who learned love, dreams and wisdom from the writer.

The clash of two political forces, liberal nobles and raznochintsy revolutionaries, has found artistic embodiment in a new work, which is being created in a difficult period of social confrontation.

The idea of ​​"Fathers and Sons" is the result of communication with the staff of the Sovremennik magazine, where the writer for a long time have worked. The writer was very worried about leaving the magazine, because the memory of Belinsky was associated with him. Dobrolyubov's articles, with whom Ivan Sergeevich constantly argued and sometimes disagreed, served as a real basis for depicting ideological differences. The radical young man was not on the side of gradual reforms, like the author of Fathers and Sons, but firmly believed in the path of revolutionary transformation of Russia. The editor of the magazine, Nikolai Nekrasov, supported this point of view, so the classics left the editorial office. fiction— Tolstoy and Turgenev.

The first sketches for the future novel were made at the end of July 1860 on the English Isle of Wight. The image of Bazarov was defined by the author as the character of a self-confident, hard-working, nihilist person who does not recognize compromises and authorities. Working on the novel, Turgenev involuntarily imbued with sympathy for his character. In this he is helped by the diary of the protagonist, which is kept by the writer himself.

In May 1861, the writer returns from Paris to his Spasskoe estate and makes the last entry in the manuscripts. In February 1862, the novel was published in Russkiy Vestnik.

Main problems

After reading the novel, you understand its true value, created by the "genius of measure" (D. Merezhkovsky). What did Turgenev like? What did you doubt? What did you dream about?

1. Central to the book are moral problem intergenerational relationships. "Fathers" or "children"? The fate of everyone is connected with the search for an answer to the question: what is the meaning of life? For the new people, it consists in work, but the old guard sees it in reasoning and contemplation, because crowds of peasants work for them. In this principled position there is a place for an irreconcilable conflict: fathers and children live differently. In this divergence we see the problem of misunderstanding of opposites. The antagonists cannot and do not want to accept each other, especially this impasse can be traced in the relationship between Pavel Kirsanov and Evgeny Bazarov.
2. Just as acute is the problem of moral choice: on whose side is the truth? Turgenev believed that the past cannot be denied, because only thanks to it the future is being built. In the image of Bazarov, he expressed the need to preserve the continuity of generations. The hero is unhappy because he is lonely and understood, because he himself did not strive for anyone and did not want to understand. However, changes, whether the people of the past like it or not, will come anyway, and we must be ready for them. This is evidenced by the ironic image of Pavel Kirsanov, who lost his sense of reality, putting on ceremonial tailcoats in the village. The writer urges to be sensitive to changes and try to understand them, and not indiscriminately scold, like Uncle Arkady. Thus, the solution to the problem is in a tolerant attitude. different people each other and an attempt to know the opposite life concept. In this sense, the position of Nikolai Kirsanov won, who was tolerant of new trends and was never in a hurry to judge them. His son also found a compromise solution.
3. However, the author made it clear that there is a high purpose behind the tragedy of Bazarov. It is these desperate and self-confident pioneers who are paving the way for the world forward, so the problem of recognizing this mission in society also occupies an important place. Eugene repents on his deathbed that he feels unnecessary, this realization destroys him, and he could become a great scientist or a skilled doctor. But the cruel mores of the conservative world push him out, because they feel threatened in him.
4. The problems of the "new" people, the raznochintsy intelligentsia, difficult relationships in society, with parents, in the family are also obvious. Raznochintsy do not have profitable estates and position in society, therefore they are forced to work and become hardened, seeing social injustice: they work hard for a piece of bread, and the nobles, stupid and mediocre, do nothing and occupy all the upper floors of the social hierarchy, where the elevator simply does not reach. Hence the revolutionary sentiments and the moral crisis of an entire generation.
5. Problems of eternal human values: love, friendship, art, attitude to nature. Turgenev knew how to reveal the depths of human character in love, to check true essence human love. But not everyone passes this test, an example of this is Bazarov, who breaks down under the onslaught of feelings.

All the interests and ideas of the writer were entirely focused on the most important tasks of the time, went towards the most burning problems of everyday life.

Characteristics of the heroes of the novel

Evgeny Vasilyevich Bazarov- comes from the people. The son of a regimental doctor. Grandfather from the father's side "plowed the land." Eugene himself makes his way in life, receives a good education. Therefore, the hero is careless in clothes and manners, no one brought him up. Bazarov is a representative of the new revolutionary-democratic generation, whose task is to destroy the old way of life, to fight against those who slow down community development. A complex, doubting person, but proud and adamant. How to fix society, Yevgeny Vasilyevich is very vague. Denies old world, accepts only what is confirmed by practice.

• The writer displayed in Bazarov the type young man who believes exclusively in scientific activity and denies religion. The hero has a deep interest in the natural sciences. From childhood, his parents instilled in him a love of work.
• He condemns the people for illiteracy and ignorance, but is proud of his origin. The views and beliefs of Bazarov do not find like-minded people. Sitnikov, a talker and a phrase-monger, and the "emancipated" Kukshina are useless "followers".
• In Yevgeny Vasilyevich, a soul unknown to him rushes about. What should a physiologist and an anatomist do with it? It is not visible under a microscope. But the soul hurts, although it - scientific fact- No!
• Turgenev spends most of the novel exploring the "temptations" of his hero. He torments him with the love of old people - parents - what to do with them? And love for Odintsova? Principles are in no way compatible with life, with the living movements of people. What remains for Bazarov? Only die. Death is his last test. He accepts her heroically, does not comfort himself with the spells of a materialist, but calls for his beloved.
• The spirit conquers the enraged mind, overcomes the delusions of the schemes and postulates of the new teaching.

Pavel Petrovich Kirsanov - bearer of noble culture. Bazarov is disgusted by Pavel Petrovich's "starched collars", "long nails". But the hero's aristocratic manners are an inner weakness, a secret consciousness of his inferiority.

• Kirsanov believes that self-respect means taking care of your appearance and never losing your dignity, even in the countryside. He composes his daily routine in the English manner.
• Pavel Petrovich retired, indulging in love experiences. This decision of his became a "resignation" from life. Love does not bring joy to a person if he lives only by its interests and whims.
• The hero is guided by principles taken "on faith" that correspond to his position as a feudal lord. Honors the Russian people for patriarchy and obedience.
• In relation to a woman, the strength and passion of feelings are manifested, but he does not understand them.
• Pavel Petrovich is indifferent to nature. The denial of her beauty speaks of his spiritual limitations.
• This man is deeply unhappy.

Nikolai Petrovich Kirsanov father of Arkady brother Pavel Petrovich. Do military career failed, but he did not despair and entered the university. After the death of his wife, he devoted himself to his son and the improvement of the estate.

• The characteristic features of the character are gentleness, humility. The intelligence of the hero causes sympathy and respect. Nikolai Petrovich is a romantic at heart, loves music, recites poetry.
• He is an opponent of nihilism, he tries to smooth out any emerging differences. Live in harmony with your heart and conscience.

Arkady Nikolaevich Kirsanov- a person who is not independent, deprived of his life principles. He is completely subordinate to his friend. He joined Bazarov only out of youthful enthusiasm, since he did not have his own views, so in the final there was a gap between them.

• Subsequently, he became a zealous owner and started a family.
• “A nice fellow,” but “a soft, liberal barich,” Bazarov says about him.
• All Kirsanovs are "more children of events than fathers of their own actions."

Odintsova Anna Sergeevna- an "element" "related" to Bazarov's personality. On what basis can such a conclusion be drawn? The firmness of the outlook on life, "proud loneliness, intelligence - make it" close "to the protagonist of the novel. She, like Eugene, sacrificed personal happiness, so her heart is cold and fearful of feelings. She herself trampled on them, having married by calculation.

The conflict of "fathers" and "children"

Conflict - “collision”, “serious disagreement”, “dispute”. To say that these concepts have only a "negative connotation" means to completely misunderstand the processes of development of society. “Truth is born in a dispute” - this axiom can be considered a “key” that opens the veil on the problems posed by Turgenev in the novel.

Disputes - the main compositional technique, allowing the reader to determine his point of view and take a certain position in his views on a particular social phenomenon, area of ​​development, nature, art, moral concepts. Using the "reception of disputes" between "youth" and "old age", the author affirms the idea that life does not stand still, it is multifaceted and many-sided.

The conflict between "fathers" and "children" will never be resolved, it can be described as a "constant". However, it is the conflict of generations that is the engine of development of everything earthly. On the pages of the novel, there is a burning controversy caused by the struggle of the revolutionary democratic forces with the liberal nobility.

Main Topics

Turgenev managed to saturate the novel with progressive thought: protest against violence, hatred for legalized slavery, pain for the suffering of the people, the desire to found their happiness.

The main themes in the novel "Fathers and Sons":

1. Ideological contradictions of the intelligentsia during the preparation of the reform on the abolition of serfdom;
2. "Fathers" and "children": relationships between generations and the theme of the family;
3. "New" type of man at the turn of two epochs;
4. Immeasurable love for the motherland, parents, woman;
5. Human and nature. The world around: workshop or temple?

What is the meaning of the book?

Turgenev's work sounds like an alarming tocsin over all of Russia, calling on fellow citizens to unite, to reason, to fruitful activity for the good of the Motherland.

The book explains to us not only the past, but also the present day, reminds us of eternal values. The title of the novel means not older and younger generation, not family relationships, but people of new and old views. "Fathers and Sons" is valuable not so much as an illustration to history, many moral problems are raised in the work.

The basis of the existence of the human race is the family, where everyone has their own duties: the elders (“fathers”) take care of the younger ones (“children”), pass on the experience and traditions accumulated by their ancestors, educate them in moral feelings; the younger ones honor adults, adopt from them everything important and best that is necessary for the formation of a person new formation. However, their task is also the creation of fundamental innovations, which is impossible without some denial of past delusions. The harmony of the world order lies in the fact that these “ties” do not break, but not in the fact that everything remains the same.

The book has great educational value. To read it at the time of the formation of one's character means to think about important life problems. "Fathers and Sons" teach serious attitude to the world active position, patriotism. They teach from a young age to develop firm principles, engaging in self-education, but at the same time honor the memory of their ancestors, even if it does not always turn out to be right.

Criticism about the novel

• After the publication of Fathers and Sons, a fierce controversy erupted. M.A. Antonovich in the Sovremennik magazine interpreted the novel as "merciless" and "destructive criticism of the younger generation."
• D. Pisarev in the "Russian Word" highly appreciated the work and the image of the nihilist created by the master. The critic emphasized the tragedy of character and noted the firmness of a person who does not back down before trials. He agrees with other critiques that "new" people can be resented, but "sincerity" cannot be denied. The appearance of Bazarov in Russian literature is a new step in the coverage of social - public life countries.

Is it possible to agree with the critic on everything? Probably no. He calls Pavel Petrovich "Pechorin of small sizes." But the dispute between the two characters gives reason to doubt this. Pisarev claims that Turgenev does not sympathize with any of his heroes. The writer considers Bazarov to be his "favorite brainchild."

What is "nihilism"?

For the first time, the word "nihilist" sounds in the novel from the lips of Arkady and immediately attracts attention. However, the concept of "nihilist" is in no way connected with Kirsanov Jr.

The word "nihilist" was taken by Turgenev from N. Dobrolyubov's review of a book by the Kazan philosopher, conservative-minded professor V. Bervi. However, Dobrolyubov interpreted it in a positive sense and assigned it to the younger generation. Ivan Sergeevich introduced the word into wide use, which became synonymous with the word "revolutionary".

The "nihilist" in the novel is Bazarov, who does not recognize authorities and denies everything. The writer did not accept the extremes of nihilism, caricaturing Kukshina and Sitnikov, but sympathized with the main character.

Evgeny Vasilievich Bazarov still teaches us with his destiny. Every person has a unique spiritual image, whether he is a nihilist or a simple man in the street. Respect and reverence for another person is made up of respect for the fact that in him there is the same secret flicker of a living soul as in you.

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Ivan Sergeevich Turgenev in February 1862 publishes his novel entitled "Fathers and Sons". In it, he tried to show the reader of that time the tragic nature of the growing social conflicts.

In this article, we will conduct "Fathers and Sons", find out what problems are raised in this novel, what is the author's thought.

Before us appear economic troubles, the decomposition of traditional life, the impoverishment of the people, the destruction of ties with the land of the peasant. The helplessness and stupidity of all classes threatens every now and then to develop into chaos and confusion. Against this background, a dispute is unfolding about how to save Russia, which is being waged by heroes representing the two main groups of the Russian intelligentsia.

family conflict

Domestic literature has always tested the strength and stability of society family relationships, which should be noted when analyzing the work "Fathers and Sons". The novel begins with a depiction of the conflict in the Kirsanov family between son and father. Turgenev goes even further, to a clash of a political, social nature.

The main relationships of the characters are revealed mainly in terms of ideas. This is also reflected in the way the novel is built, in which the main characters' disputes, their painful reflections, and passionate speeches play a big role. Ivan Sergeevich did not turn the characters of the work into spokesmen for the author's ideas. The achievement of this writer is the ability to organically connect the movement of even the most abstract ideas of the characters with their life positions.

Attitude to the present of the main characters

The analysis of the work "Fathers and Sons" should also include the attitude of its various characters to the present. One of the main criteria in determining human personality for the writer was how she relates to surrounding life, current events. The first thing that catches our eye, if we pay attention to the "fathers" - Nikolai Petrovich and Pavel Petrovich Kirsanov, is that, in essence, they are not such old people, but at the same time they do not accept and do not understand what is happening around. Analysis of the novel by I.S. Turgenev's "Fathers and Sons" confirms this idea.

Pavel Petrovich believes that the principles he learned in his youth favorably distinguish him from those who listen to the present. But Ivan Sergeevich Turgenev shows that in such a stubborn desire to express contempt for modernity, this hero is simply comical. He plays a certain role, from the outside looking funny.

Nikolai Petrovich, unlike his older brother, is not so consistent. He even notes that he likes youth. But, as it turns out, he understands in modernity only that which interferes with his peace. For example, he decided to sell the forest for a log house only because it was supposed to go to the peasants in a few months.

The position of a major personality in relation to modernity

Ivan Sergeevich believed that any great personality is always in a natural relationship with his time. This is Bazarov. Non-independent, petty people live in an eternal sense of discord with their time. Pavel Petrovich Kirsanov accepts this disharmony as the wrongness of modernity, that is, he denies the very course of time, thereby freezing in his conservatism, and people of a different type (we will write about them separately below) are trying to catch up with him.

Sitnikov and Kukshina

In his novel, Turgenev brought out several such images that tend to rush to the rapidly changing course of time, which must certainly be noted when analyzing the work "Fathers and Sons". These are Sitnikov and Kukshina. In them, this feature is expressed unambiguously and very clearly. With them, Bazarov usually speaks disparagingly. With Arkady it is more difficult for him.

He is not as petty and stupid as Sitnikov. Talking with his uncle and father, Arkady explained to them quite accurately such a complex concept as a character is interesting already because he does not recognize Bazarov as "his brother". This attitude brought the latter closer to him, made him treat him more gently, more condescendingly than towards Sitnikov and Kukshina. Arkady, however, still has a desire to catch something in nihilism, to approach it somehow, and he clings only to external signs.

Irony in the work

It should be noted the most important quality of Ivan Sergeevich's style, which is also present in the novel "Fathers and Sons". An analysis of the work shows that in it, as well as from the very beginning of its literary activity, this writer widely used the technique of irony.

In the novel "Fathers and Sons", he awarded this quality to Bazarov, who uses it in a very diverse way: irony for this hero is a means of separating himself from another, whom he does not respect, or serves to "correct" a person who has not yet indifferent. Such are his ironic methods when communicating with Arkady.

Eugene also owns another kind of irony - self-irony. He treats ironically both his behavior and his actions. Let us recall, for example, the scene of the duel between Pavel Petrovich and Bazarov. In it, he ironically over his opponent, but no less evil and bitter - over himself. An analysis of the duel scene in "Fathers and Sons" allows us to better understand the character of Bazarov. At such moments, the charm of this character is fully revealed. No selfishness, no complacency.

Nihilism Bazarov

Turgenev leads this young man through the circles of difficult life trials, which with real objectivity and completeness reveal the degree of rightness and wrongness of this hero of the novel "Fathers and Sons". An analysis of the work shows that denial, "complete and merciless", can be justified as the only possible attempt to change the world, while doing away with contradictions. But for the creator of the novel, it is also indisputable that the logic present in nihilism inevitably leads to freedom without any obligations, to searches without faith, to action without love. The writer cannot find creative, creative power in this movement: the changes that the nihilist provides for really existing people are, in fact, tantamount to their destruction, as the analysis carried out by the writer shows. "Fathers and Sons" reveals these contradictions by the very nature of the hero representing this movement.

Having survived love and suffering, Bazarov can no longer be a consistent and integral destroyer, unshakably self-confident, ruthless, breaking other people simply by right. But this hero is also incapable of subordinating his life to self-denial, to reconcile, to seek solace in a sense of duty, in art, in love for a woman - he is too proud, angry, unbridled free for this. Death is the only way out.

Conclusion

Concluding our analysis of "Fathers and Sons", we note that this novel caused a fierce controversy in the literature of the 19th century. Turgenev believed that his creation would help unite various social forces, that society would heed the writer's warnings. But the dream of a friendly and united Russian society never came true.

This concludes our analysis of the work "Fathers and Sons". It can be continued by noting other points. Let the reader think about this novel for themselves.

On a hot spring day, May 20, 1859, a "gentleman of about forty" comes out onto the porch of the inn. This is Nikolai Petrovich Kirsanov. He is waiting for his son Arkady, who graduated from the university in St. Petersburg and received the title of candidate - which means that Arkady graduated with honors and, upon entering the service, could receive the rank of 10th grade.

The novel begins with a remark by Nikolai Petrovich: “What, Peter, can’t you see yet?” - and we immediately feel anxiety, impatience of the father in anticipation of his beloved son. Peter is a servant, a man of "the newest, improved generation." He condescendingly answers the questions of the master, smokes a pipe behind his back. Already in this seemingly insignificant episode, Ivan Sergeevich Turgenev touches on the topic of generational conflict. The younger generation is condescending towards the elderly, confident in its superiority. It is also a hint of the changes that are taking place in public life. After all, it is no coincidence that Turgenev transfers the action of his novel to 1859. For Russia, this was a turbulent time, characterized by unrest in society, revolutionary movements, peasant riots, economic crisis. It was a time on the eve of the reforms to free the peasants. All sections of Russian society were in an unstable position, going through a difficult time. The old, noble era collides with the new, revolutionary-democratic. It was at such a time that we met Nikolai Petrovich Kirsanov, who “sits with his legs bent under him and looks around thoughtfully,” waiting for his son. The word "legs" perfectly conveys Turgenev's attitude to us: he feels pity, sympathy, sympathy for the hero. Let's get to know Nikolai Petovich better.

Nikolai Petrovich Kirsanov - a landowner, the owner of an estate of two hundred souls or "two thousand acres of land." He is forty-four years old, Nikolai Petrovich's father was a military general in 1812. Nikolai Petrovich was born in the south of Russia, was brought up, like his older brother Pavel, at home until the age of 14 by "cheap tutors" and "cheeky, but obsequious adjutants." Mother, Agathoklea Kuzminishna, belonged to the number of "mother commanders", lived for her own pleasure, did not particularly engage in raising children. Nikolai Petrovich, as a general's son, was prepared military fate, but the case changed everything - on the very day when the news of his determination came, he broke his leg. And Nikolai, unlike Pavel, did not differ in courage. “Father waved his hand at him and let him go in civilian clothes. He took him to Petersburg as soon as he was eighteen years old and placed him at the university. Brother Pavel at that time entered the service as an officer in the Guards Regiment. The brothers began to live together under the supervision of a cousin. After the resignation of his father, his parents also came to St. Petersburg, but, unable to get used to life in the capital, they died early. Some time later, when the period of mourning expired, Nikolai Petrovich married the daughter of the former owner of the apartment where he lived. "The couple lived very well and quietly" in the countryside. Their life was like an idyll: music, reading, flowers, hunting, solitude. Son Arkady quietly grew up. So ten years passed unnoticed. But in 47, the wife of Nikolai Petrovich died. Grief knocked him down, he turned gray in a few weeks, he thought about going abroad to disperse, but the revolution of 48 prevented: it is known that at that time Nicholas I imposed a strict ban on leaving the country. Nikolai Petrovich was forced to engage in economic transformations. In 1955, like himself once, he took his son to St. Petersburg, to the university, lived with him for three winters. And now, in 1859, he was already waiting for the return of Arkady - the candidate.

In the story about Nikolai Petrovich, Turgenev's obvious sympathy for the hero is felt. It is no coincidence that in one of the letters Turgenev wrote: "Nikolai Petrovich is me ...". For Nikolai Petrovich, the main thing in life is family, son. His life passes as if in isolation from the history of the country. He has no social aspirations, goals. He is generally not a social person, and therefore military service would not suit him. In its own way life position he is passive, lives with the flow, quietly, peacefully, limited only by the interests of the family. But such a way of life does not cause condemnation in the author and in the reader, rather, other feelings: empathy, sympathy. We empathize with him when he keeps looking at the road in anticipation of his son. We are sad with him when he remembers dead wife not expecting this have a good day– the return of the son from the university. "Son ... candidate ... Arkasha ... I did not wait!" - he whispered dejectedly ... "

But finally, "his ear ... caught the sound of approaching wheels." In a few words, in sparing details, Turgenev makes us feel the joy of his father: Nikolai Petrovich “jumped up”, “fixed his eyes”, “shouted” and “ran”, “waved his arms”. From the very first words of Arkady, we feel the carelessness inherent in youth, enthusiasm, lightness, a certain swagger - for example, in the way Arkady addresses his father: "daddy." Nikolai Petrovich joyfully meets his son, from the fullness of feelings he is even shy in front of him. From this timidity and excessive troublesomeness. He "as if lost a little, as if shy."

Arkady did not come alone - with a friend, Yevgeny Bazarov, a student at the medical faculty. The son introduces his father to a friend. And in the way Nikolai Petrovich “quickly turned around” and “strongly squeezed” Bazarov’s hand, one can see his openness to the guest, his readiness to unconditionally accept the person whom his son loves and respects. Nikolai Petrovich is hospitable. Bazarov does not immediately give him a "naked red hand." He is not as friendly as Nikolai Petrovich. "Eugene Vasiliev" - this is how Bazarov appears. It seems that it is no coincidence that he chooses the colloquial version of the patronymic Vasilyev, instead of Vasilyevich, thereby opposing himself, a simple man, to Nikolai Petrovich - a gentleman, a landowner. The “red” hand is also an important detail, telling us that Bazarov is a man of labor. In all the behavior of Bazarov, in the way he speaks (lazy, calmly), some kind of negligence is visible. He answers briefly, behaves somewhat condescendingly (“Thin lips moved a little; but he did not answer anything and only raised his cap”). In general, it is noticeable that Bazarov is laconic, speaks only to the point, but at the same time his speech is accurate and figurative: it is enough to recall what apt epithet he gave to the coachman - "thick-bearded." Evgeny’s appearance is not remarkable: “Long and thin, with a broad forehead, flat top, pointed nose, large greenish eyes and drooping sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence.” Arkady immediately warns his father: “You are with him, please do not stand on ceremony. He's a wonderful fellow, so simple, you'll see." Arkady is sincerely happy to return home, he is excited, he is overwhelmed with joyful emotions, but he seems to be ashamed of his "childish" joy, he wants to look like an adult, he is impatient to "quickly transfer the conversation from an excited mood to an ordinary one."

On the way home, Arkady learns a lot of new things. The father shares with him his worries about the household. Not all is well, it turns out, on the estate. The peasants “do not pay dues”, the hired workers “have no real diligence”, “the harness is spoiled”, the clerk had to be changed and a new one was hired - free, from the philistines. There is also sad news: Arkady's nanny, Egorovna, has died. Arkady enthusiastically interrupts his father's story:

What is the air here! How nice it smells! Indeed, it seems to me that nowhere in the world smells so much as in these parts! And the sky is here...

And suddenly he cuts himself off in mid-sentence, throwing an "indirect look back." Back - that is, to the tarantass in which Bazarov rides. Obviously, Bazarov would not like such sentimentality. Arkady restrains himself in front of a friend, afraid of his condemnation. He speaks and acts with an eye on Bazarov. Nikolai Petrovich replies: "... you were born here, everything should seem to you something special here." But the former enthusiasm of Arkady is replaced by a prosaic remark: "Well, dad, it doesn't matter where a person is born." Nikolai Petrovich "looked sideways at his son," but said nothing. He senses, as yet vaguely, that there has been a change in Arcadia.

The conversation resumed after a while. Nikolai Petrovich, obviously embarrassed, reveals to his son an important and delicate circumstance. He talks about the changes in his life, about the girl ... Nikolai Petrovich switches to French so that the servants do not understand. He does not even dare to name the girl's name, and Arkady deliberately cheekily asks: "Fenechka?" Behind this swagger, Arkady, perhaps, hides his embarrassment, a sense of awkwardness. And at the same time, he condescendingly smiles at his father, not understanding what his father is apologizing for. Arkady feels a "secret superiority" in himself, he is aware of his own development and freedom. Arkady and Bazarov - "above all this" - that is, above the moral issues that torment Nikolai Petrovich.
Nikolai Petrovich is surprised at his son's judgments, "something pierced his heart." Yes, Arkady has changed, but his father delicately and wisely looks at this "from under the fingers of his hand."

Further, a sad landscape unfolds in front of us: Nikolai Petrovich and Arkady drive through their fields and forests (however, the forest had to be sold: “the money was needed”). This is what we see: small forests, sparse and low shrubs, dug riverbanks, tiny ponds with thin dams, villages with low huts, crooked threshing sheds, empty threshing floors, churches with ruined cemeteries, with peeled plaster or leaning crosses. All adjectives reveal a picture of wretchedness and poverty. And nouns with diminutive suffixes evoke a feeling of pity. In the description of the villagers and animals, the signs of ruin appear even sharper, more expressively: the peasants met "shabby", the cows - "emaciated", "as if gnawed". From the harsh, mournful landscape, "Arkady's heart gradually sank." After all, this is his homeland, he cannot remain indifferent at the sight of such poverty. Turgenev masterfully, in a few phrases, described the life of the Russian village in the fifties of the nineteenth century. The reader, like Arkady, involuntarily asks the question: “No, this region is not rich, it does not impress either with contentment or hard work; it’s impossible, it’s impossible for him to stay like this, transformations are necessary ... but how to fulfill them, how to start?

But Arkady is young. Life and youth take their toll. After all, no matter how dull the picture of nature, spring is still around. “Everything around was golden green, everything was wide and softly agitated and shiny under the quiet breath of a warm breeze,” the birds sang merrily, shouted, running over the bumps. Arkady looked at all this, and his heart gradually softened, his anxiety dissipated. Spring has won. No matter how sad the reality is, it is difficult to resist beauty, youth, when you so want to live and enjoy life. “He threw off his overcoat and looked at his father so cheerfully, such a young boy, that he hugged him again.” Arkady is full of life: “what a wonderful day today!” Nikolai Petrovich recalls Pushkin's lines from "Eugene Onegin". Arkady listens to his father with amazement and sympathy. For him, obviously, it seems strange to listen to his father read poetry. Unexpectedly, Bazarov interrupts the poetic lines: “Arkady! - Bazarov's voice came from the tarantass, - send me a match, there is nothing to light a pipe with. From poetry to prose - such is the sharp contrast that drew another imperceptible, at first glance, line between the younger generation and the generation of fathers.

Arkady also lit a cigarette - and this surprised Nikolai Petrovich, "who never smoked." But Nikolai Petrovich - such a soft, tactful person that he does not want to offend his son with a remark, delicately turns away. From the first pages he shows himself exceptionally intelligent person trying to avoid conflicts, smooth out sharp corners in a relationship.

The action of Turgenev's novel "Fathers and Sons" takes place before the abolition of serfdom. It reveals many problems, one of them is the conflict of different age generations. Appears new type dissident people who deny both state orders and moral values. We offer brief analysis works, the material of which can be used for work in literature lessons in grade 10 according to the plan, and in preparation for the exam.

Brief analysis

Year of writing- 1860 - 1861

History of creation– The writer worked for a long time in the Sovremennik magazine. He often had disagreements with Dobrolyubov, which formed the basis of the novel.

Subject – main topic"Fathers and Sons" - ideological differences, generational problems, the emergence of a new type of people, love, the world nature.

Composition– The composition of the novel is built on oppositions, on the principles of contrast.

Genre- Novel.

Direction- A reliable and historically accurate depiction of reality, which is observed in the novel "Fathers and Sons", belongs to the direction of critical realism.

History of creation

In "Fathers and Sons" the analysis of the work follows from the definition of the meaning of the title "Fathers and Sons". From the title it becomes clear what the story will be about, it will be about family relationships, but not just about relationships, but about the eternal conflict between generations. About the difference in their views and concepts about life.

The history of the creation of "Fathers and Sons" is quite fascinating. The first ideas for the novel came from the writer in 1860, when he was in England. By chance, Ivan Sergeevich was forced to spend the whole night at the railway station, where he met the young doctor. The writer and the new acquaintance talked all night, it was his ideas that Ivan Sergeevich put into the speeches of his future protagonist of the novel, Bazarov.

In the same year, the writer returned to Paris, where he began writing the first chapters of the work. In the summer of 1861, already in Russia, work on the work was completed. It was a novel written in the shortest possible time, only about two years passed from conception to the year of writing, and in 1862 the novel was already published.

The writer reflected his ideological disagreements with the critic Dobrolyubov in the relations of the heroes of the novel, in their disputes among themselves.

Subject

The problems of the novel- is global. The author touches on the eternal problems of fathers and children.

Meaning“Fathers and sons” are not only family relationships, fathers and sons are adherents of new and old views, who judge current events from their point of view, the course of all life depends on the conflicts of these worldviews.

A new type of person is emerging, thinking progressively, with firm and resolute convictions, calling for the destruction of the old. Bazarov is typical representative a new generation that denies the old world, whose antagonist is Pavel Kirsanov. Kirsanov is an ardent adherent of old views, a hereditary nobleman. Patriarchal foundations are close and understandable to him, in them he sees the meaning of life, and tries to live up to his convictions.

The main idea of ​​the book- put the reader in front of a serious choice, understand what is important and the main thing for further development life, lazy contemplation of what is happening, or the struggle for a new, progressive future.

After a violent reaction from Katkov's critic to the original manuscript, the writer made some changes to the text, and completely redid some fragments of the episode where Bazarov and Kirsanov argued, making significant cuts.

Composition

Composition of the novel determined in the construction of the struggle of ideological differences. The action of the narrative is built in chronological order, but all this is built on contrast.

Antithesis used when comparing the characters of the novel with each other. The contrast is observed when comparing the urban life of bureaucracy and the world of the noble estate.

Parallel description of opposing views give the novel great emotionality, it collides bright personalities, each of which is convinced of its correctness.

Composition of the novel, which describes two circles of Bazarov and Kirsanov's journey along the same route, complete the work. In the second journey, there is a break with the whole past, new sides of the characters of Bazarov and Arkady are revealed.

Whole the plot of the novel is built around Bazarov, he is compared with each of the characters, the character of each is given in comparison with a comparison with him. All this suggests that the author opposes to him not individual heroes, but his whole life, against whose patriarchal views Bazarov is fighting.

Main characters

Genre

"Fathers and Sons" refers to the genre of the novel. Taking it into account genre originality, can be considered his social and psychological novel.

The psychological coloring of the novel is given by a detailed depiction of the characters' experiences, their feelings and moods. At the same time, the author uses such a feature of psychologism, in which the experiences and reasoning of the characters themselves are not described, but only their result.

A special psychologism is shown to the reader on the example of the feelings of Arkady Kirsanov. He is only capable of ordinary actions both in life and in love, he cannot do more, his personality is too ordinary.

Bazarov's disputes with Pavel Kirsanov reflect the socio-ideological direction of the novel, the struggle of opposing views, ideological disagreement, different perception peace. All this leads to a misunderstanding of each other, to the complete opposite of their opinions.

In the novel by Ivan Sergeevich, the type of a new person, a nihilist, is defined - this is a new trend of the times in the middle of the nineteenth century, which appeared major event of that era.

Artwork test

Analysis Rating

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Analysis of the novel by I.S. Turgenev "Fathers and Sons"

In February 1862, I.S. Turgenev published the novel Fathers and Sons. The author tried to show the Russian society the tragic nature of the growing conflicts. The reader discovers economic troubles, the impoverishment of the people, the decay of traditional life, the destruction of the centuries-old ties between the peasant and the land. The stupidity and helplessness of all classes threatens to develop into confusion and chaos. Against this background, a dispute is unfolding about the ways of saving Russia, which is being waged by heroes representing the two main parts of the Russian intelligentsia.

Russian literature has always tested the stability and strength of society by family and family relationships. Starting the novel with the depiction of a family conflict between father and son Kirsanov, Turgenev goes further, to a social, political clash. Relationships between characters conflict situations are revealed mainly from an ideological point of view. This was reflected in the peculiarities of the construction of the novel, in which the disputes of the characters, their painful reflections, passionate speeches and outpourings play such a large role. But the author did not turn his characters into spokesmen for his own ideas. Turgenev's artistic achievement is his ability to organically connect the movement of even the most abstract ideas of his heroes and their life positions.

For the writer, one of the decisive criteria in determining the personality was how this person relates to the present, to the life around her, to the current events of the day. If you look closely at the "fathers" - Pavel Petrovich and Nikolai Petrovich Kirsanov, then the first thing that catches your eye is that they, in fact, are not very old people, do not understand and do not accept what is happening around them.

It seems to Pavel Petrovich that the principles that he learned in his youth favorably distinguish him from people who listen to the present. But Turgenev at every step, without much pressure, quite unambiguously shows that in this stubborn desire to show his contempt for modernity, Pavel Petrovich is simply comical. He plays a certain role, which from the outside is simply ridiculous.

Nikolai Petrovich is not as consistent as his older brother. He even says that he likes young people. But in fact, it turns out that in modern times he understands only that which threatens his peace. He sold the forest for a log cabin only because in a few months he was supposed to go to the peasants.

Turgenev believed that a great personality always stands by its time in a natural relationship. Such is Bazarov. Small, dependent people live in an eternal subconscious feeling of discord with time. Pavel Petrovich accepts this discord as the wrongness of time, that is, he denies the passage of time, freezes in his conservatism, and people of a different sort are trying to catch up with time. And since they cannot understand it, they usually take fashion as an expression of time.

Turgenev brought out in his novel several people striving to keep up with the times. This is Kukshina and Sitnikov. In them, this desire is expressed very clearly and unambiguously. Bazarov usually speaks to them in a dismissive tone. It's harder for him with Arkady. He is not as stupid and petty as Sitnikov. In a conversation with his father and uncle, he quite accurately explained to them such a complex concept as a nihilist. He is already good because he does not consider Bazarov "his brother." This brought Bazarov closer to Arkady, made him treat him softer, more condescendingly than Kukshina or Sitnikov. But Arkady still has a desire to grasp something in this new phenomenon, to somehow approach it, and he grasps only at external signs.

Arkady tends to say "nice". The point is not that Bazarov does not like to speak beautifully, but that “beautiful” words denote such complex phenomena that it is simply impossible to talk about often and casually. In a conversation with Bazarov about Odintsova, Arkady again spoke "beautiful", but other people's words. Bazarov perfectly understood this, and, of course, he could not support such conversations. He had only to say that Odintsova had such shoulders that he "hadn't seen for a long time."

And here we are faced with one of essential qualities Turgenev style. From the first steps of his literary activity, he widely used irony. In the novel “Fathers and Sons”, he awarded this quality to one of his heroes - Bazarov, who uses it in a very diverse way: irony for Bazarov is a means of separating himself from a person whom he does not respect, or “correcting” a person whom he does not yet waved his hand. Such are his ironic antics with Arkady. Bazarov also owns another type of irony - irony directed at himself. He is ironic about both his actions and his behavior. Suffice it to recall the scene of the duel between Bazarov and Pavel Petrovich. He is ironic here at Pavel Petrovich, but no less bitterly and evilly at himself. At such moments, Bazarov appears in all the power of his charm. No self-satisfaction, no self-love.

Turgenev leads Bazarov through the circles of life's trials, and it is they who reveal with real completeness and objectivity the measure of the hero's rightness and wrongness. "Complete and merciless denial" proves to be justified as the only serious attempt to change the world by putting an end to contradictions. However, for the author, it is also indisputable that the internal logic of nihilism inevitably leads to freedom without obligations, to action without love, to searches without faith. The writer does not find a creative creative force in nihilism: the changes that the nihilist envisages for really existing people, in fact, are tantamount to the destruction of these people. And Turgenev reveals the contradictions in the very nature of his hero.

Bazarov, who survived love, suffering, can no longer be an integral and consistent destroyer, ruthless, unshakably self-confident, breaking others simply by the right of the strong. But Bazarov also cannot reconcile himself by subordinating his life to the idea of ​​self-denial, or seek solace in art, in a sense of accomplishment, in selfless love for a woman - for this he is too angry, too proud, too unbridled, wildly free. The only possible solution to this contradiction is death.

Turgenev created a character so complete and internally independent that the only thing left for the artist was not to sin against the internal logic of character development. There is not a single significant scene in the novel in which Bazarov would not participate. Of the twenty-eight chapters, only two do not have it, while some characters (Kukshina, Sitnikov, dignitary Kolyagin, governor, etc.) appear only occasionally, while others (the Odintsov sisters, Bazarov's parents, Fenechka, etc.) for a rather long time disappear from the reader's field of vision. Bazarov passes away, and the novel ends. In one of the letters, Turgenev admitted that when he "wrote Bazarov, he ultimately felt not dislike for him, but admiration. And when he wrote the scene of Bazarov's death, he sobbed bitterly. These were not tears of pity, these were the tears of an artist who saw tragedy huge man in which part of his own ideal was embodied.

"Fathers and Sons" caused fierce controversy throughout the history of Russian literature XIX century. Yes, and the author himself, with bewilderment and bitterness, stopped before the chaos of contradictory judgments: greetings from enemies and slaps from friends. In a letter to Dostoevsky, he wrote with chagrin: “No one seems to suspect that I tried to present a tragic face in him - and everyone is interpreting - why is he so bad? Or why is he so good?

Turgenev believed that his novel would serve the cause of rallying the social forces of Russia, that Russian society heed his warnings. But the dream of a united and friendly all-Russian cultural stratum of society did not come true.