About ideological content In Fathers and Sons, Turgenev wrote: “My whole story is directed against the nobility as an advanced class. Look into the faces of Nikolai Petrovich, Pavel Petrovich, Arkady. Sweetness and lethargy or narrowness. Aesthetic feeling made me take exactly good representatives nobility, in order to prove my theme all the more correctly: if the cream is bad, then milk? .. They are the best of the nobles - and that is why I have been chosen by me to prove their failure.
Pavel Petrovich Kirsanov is depicted as an aristocratic gentleman with excellent manners, carefully monitoring his appearance and the execution of noble etiquette. He is the son of a general, served in the capital as a guards officer, could do brilliant career. tragic love to an empty secular beauty turned his life upside down, he left for the estate, where he lives with his brother Nikolai Petrovich.
In the views of Pavel Petrovich, Westernism and Slavophilism were mixed. In his youth, he considered himself a liberal. Kirsanov considers the Russian people to be patriarchal. The people, in his opinion, "honor the traditions", "cannot live without faith", but, talking with the peasants, Pavel Petrovich "grimaces and sniffs the cologne." Love for the people is symbolized for him by an ashtray in the form of a peasant's bast shoes, standing on the table. Turgenev depicts an aristocrat admiring himself, active life which in the past. The author clarifies: "Yes, and he was a dead man."
The appearance of Bazarov, a man of opposing views and aspirations, brought anxiety and irritation into the quiet, serene life of the "fathers". Bazarov despises the values of the noble class, lives by his own laws. Even the lackey Prokofich, accustomed to the habits of "real gentlemen", is indignant at the rude manners of the guest brought by Arkady. Bazarov calls his unthinkable hoodie with tassels "clothes", being at a party, behaves defiantly with the hosts.
At first glance, the elder Kirsanov “had hated Bazarov with all the strength of his soul: he considered him proud, impudent, cynic, plebeian; he suspected that Bazarov did not respect him, that he almost despised him - him, Pavel Kirsanov! Kirsanov is convinced that he lives right and deserves respect. He warmly treats his brother, Fenechka, nephew Arkady. He is capable of great feeling, honest and noble. After the duel, Kirsanov recognizes the strength of Bazarov's character and notes the courage with which he held on.
Bazarov's statements cross out his whole life. It turns out that, according to the young nihilist, Pavel Petrovich is a “feudal lord”, an “archaic phenomenon”, his life is “emptiness and licentiousness”, his “principles” are the empty words of a person who “sits idly by”. In response, Kirsanov rushes to defend the aristocrats and the nobility in general. He still finds weakness V life philosophy Bazarov, who proposes to destroy everything old. Kirsanov quite rightly remarks: "You deny everything ... Why, you need to build." Bazarov replies: "This is no longer our business ... First we need to clear the place." This is how Turgenev defines the essence of nihilism - to destroy without caring about the future. Bazarov puts it this way: “We ... decided not to take any for ɥҭó ... And to swear ... And this is called nihilism.”
Pavel Petrovich is struck by Bazarov's blasphemous statements about the uselessness of culture, art, poetry, and faith. For him, as for Turgenev, these were saints for reasonable person concepts. In this, Pavel Petrovich is absolutely right. A dispute between two representatives of different "historical" types reveals the inner emptiness of the beliefs of one and the other. There is nothing behind their words. The “fathers” have already lost everything, the “children” have not found anything positive.
The representative of the generation of "fathers" is Nikolai Petrovich Kirsanov. He is kind-hearted by nature, a calm, balanced person, a lover of playing the cello. Around him are people who love him, happiness with Fenechka and a child, good son Arkady. But in general, his life is spent in petty everyday troubles. Nikolai Petrovich resists the collapse of the noble system, tries to equip the estate, keep up with life, but “his song is sung”, he is a “retired man”. He, like a true gentleman, in all his undertakings demonstrates a complete inability to live. He treats Bazarov's harsh statements with bewilderment. How can you not love music, nature? Nikolai Petrovich doubts in his heart that Bazarov does not really feel the charms of the world around him, he is inclined to be tolerant of his delusions.
Arkady Kirsanov, despite his youth, also belongs to the generation of "fathers" in his views. Bazarov's rebellious speeches captured him, he respects purposefulness and steadfastness in a friend, but his character is kind, flexible, he cannot be a leader, only a follower. Arkady, with his mother's milk, absorbed the ideology and life principles of the nobility, he is accustomed to luxury, peace and serene life nobleman. He loves Katenka Odintsova, is happy with his family, he is quite satisfied with the life of the landowner. Arkady did not succeed in trying to imitate Bazarov. He becomes disillusioned with the ideas of nihilism.
The most touching in the novel are the old Bazarovs. They are simple good people, humble great workers. They adore their son, they are proud of him, they are ready to do everything for him. Bazarov's father is a staff doctor, he served during Patriotic War 1812. He was familiar with the participants in the December uprising, remembers them, speaks of them with respect. His whole life is creative work. In the garden, he “planted every tree himself”, in the morning he already has a shovel in his hands. Father Bazarov spent to his own detriment progressive reforms and gave the land to the peasants, which he did not regret, but, on the contrary, was proud of this act. Turgenev describes Bazarov's mother with great sympathy: "a real Russian noblewoman." She “treated her subordinates affectionately and meekly, did not let a single beggar through without handouts and never condemned anyone, although she sometimes gossiped.” Bazarov loves old people very much, although he does not show it. Before his death, he asks Odintsova to take care of the elderly, because “... people like them in our big light not to be found in the daytime with fire. The family laid in Bazarovo the true moral values that no new trends can change. Turgenev, with great power of talent, depicts the grief of parents who have lost a young, full of strength son. The author emphasizes how important the connection between generations is and how important it is to maintain it.
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In his novel "Fathers and Sons" I. S. Turgenev displayed social processes in Russia 59-60s 19th century. At that time, the main question was the question of the future of Russia, about what transformations should be in order to improve the life of the people, because everyone came to understand the need to change the existing and obsolete orders. In relation to this issue, society was divided into two camps: revolutionary democrats and liberals in alliance with conservatives.
In the novel, I. S. Turgenev presented these two camps as the world of “fathers” and “children”. The only representative of the generation of “children” is Evgeny Bazarov, a young man who graduated from the university, who is fond of medicine and natural sciences. The opposite camp includes the Kirsanov brothers - Nikolai Petrovich and Pavel Petrovich, Bazarov's parents, as well as Arkady Kirsanov, a representative younger generation nobility.
Pavel Petrovich Kirsanov, retired military man, former socialite, is an antagonist of Bazarov, his ideological opponent. If Evgeny is a nihilist, that is, a person who does not believe in authorities and rejects principles, then Pavel Petrovich, on the contrary, cannot imagine his life without “principles” and authorities. “We, the people of the old age, we believe that without principles ... you can’t take a step, you can’t breathe,” he says. Pavel Petrovich is a representative of the liberal movement, leaning toward conservatism. Most of all, he bows before the English aristocracy. For him, the ideal state is England. Pavel Petrovich considers himself useful person: he sometimes stands up for the peasants in front of his brother, several times he lent him money when the estate was on the verge of ruin. But Bazarov reproaches him that, speaking about the people, Pavel Petrovich is not able to act, he “sits with his hands folded”, and the mask of an unfortunate person with broken fate covers up its inconsistency and inaction. However, Pavel Petrovich in his own way worthy person: he loves his brother and nephew, respects Fenechka, is noble in his actions, impeccably polite. Unfortunately, practicality is not a distinctive quality of this nobleman: seeing that his brother's innovations only upset the estate, he cannot do anything to improve things. Pavel Petrovich does not agree that “his song is sung”, he is convinced that the “children” are wrong and that his ideas are much more correct than theirs. Pavel Petrovich's speech is peculiar. He often uses foreign words, Russians speak in the French manner, instead of the generally accepted “this” and “this”, they say “eftim” and “efto”. His speech is replete with expressions such as “I consider it my duty”, “would you please ...”, etc.
The brother of Pavel Petrovich, Nikolai Petrovich, a nobleman, father of the family and a liberal, is also a representative of the “fathers”. He is a liberal and proud of it. “It seems that I am doing everything to keep up with the times: I arranged for peasants, started a farm ...; I read, I study, I try to keep up with modern requirements...” But all his fashionable transformations only upset the estate. Turgenev shows a picture of poverty, backwardness of the people: “ponds with thin dams”, villages with “half-swept roofs”, peasants, “shabby, on bad nags” ... Overhearing Bazarov’s words that “his song is sung”, Nikolai Petrovich agrees to this without protesting. He willingly believed that the ideas of youth were more modern and useful. Nikolai Petrovich is wonderful, caring and loving father, attentive brother, sensitive and tactful person. The fact that at the age of forty he plays the cello, reads Pushkin and admires nature, does not cause us indignation and misunderstanding, like Bazarov, but only a smile of tenderness. Nikolai Petrovich is a man created for family happiness, for quiet life on his estate.
His son Arkady, who has just graduated from the university, as they say, is the son of his father. At first, he was carried away by the ideas of Bazarov, but, in the end, we see that he was only a temporary companion of a young nihilist and would later repeat the fate of his father.
So, on the example of the images of the Kirsanovs, Turgenev shows the position in which the nobility of post-reform Rus' was, their inability to adapt to new conditions, the futility of their activities. Turgenev himself wrote that he showed "cream" noble society. If the best of the nobles cannot survive in the new conditions, then what can we say about all the rest ...
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In his novel “Fathers and Sons”, I. S. Turgenev depicted social processes in Russia in the 59-60s XIX years centuries. At that time, the main question was the question of the future of Russia, about what transformations should be in order to improve the life of the people, because everyone came to understand the need to change the existing and obsolete orders. In relation to this issue, society was divided into two camps: revolutionary democrats and liberals in alliance with conservatives.
In the novel, I. S. Turgenev presented these two camps as the world of “fathers” and “children”. The only representative of the generation of “children” is Evgeny Bazarov, a young man who graduated from the university, who is fond of medicine and the natural sciences. The opposite camp includes the Kirsanov brothers - Nikolai Petrovich and Pavel Petrovich, Bazarov's parents, as well as Arkady Kirsanov, a representative of the younger generation of the nobility.
Pavel Petrovich Kirsanov, a retired military man, a former secular lion, is Bazarov's antagonist, his ideological opponent. If Evgeny is a nihilist, that is, a person who does not believe in authorities and rejects principles, then Pavel Petrovich, on the contrary, cannot imagine his life without “principles” and authorities. “We, the people of the old age, we believe that without principles ... you can’t take a step, you can’t breathe,” he says. Pavel Petrovich is a representative of the liberal movement, leaning toward conservatism. Most of all, he bows before the English aristocracy. For him, the ideal state is England. Pavel Petrovich considers himself a useful person: he sometimes stands up for the peasants before his brother, several times he lent him money when the estate was on the verge of ruin. But Bazarov reproaches him that, talking about the people, Pavel Petrovich is not able to act, he “sits idly by”, and covers his insolvency and inaction with the mask of an unsuccessful person with a broken fate. However, Pavel Petrovich is a worthy person in his own way: he loves his brother and nephew, treats Fenechka with respect, is noble in his actions, and impeccably polite. Unfortunately, practicality is not a distinctive quality of this nobleman: seeing that his brother's innovations only upset the estate, he cannot do anything to improve things. Pavel Petrovich does not agree that “his song is sung”, he is convinced that the “children” are wrong and that his ideas are much more correct than theirs. Pavel Petrovich's speech is peculiar. He often uses foreign words, while Russians speak in the French manner, instead of the generally accepted “this” and “this”, he says “eftim” and “efto”. His speech is replete with expressions such as “I consider it my duty”, “would you please ...”, etc.
The brother of Pavel Petrovich, Nikolai Petrovich, a nobleman, father of the family and a liberal, is also a representative of the “fathers”. He is a liberal and proud of it. “It seems that I am doing everything to keep up with the times: I arranged for the peasants, started a farm ...; I read, I study, I try to keep up with modern requirements…” But all his fashionable transformations only upset the estate. Turgenev shows a picture of poverty, backwardness of the people: “ponds with thin dams”, villages with “half-swept roofs”, peasants, “shabby, on bad nags” ... Having overheard Bazarov’s words that “his song is sung”, Nikolai Petrovich agrees with it without protesting. He willingly believed that the ideas of youth were more modern and useful. Nikolai Petrovich is a wonderful, caring and loving father, an attentive brother, a sensitive and tactful person. The fact that at the age of forty he plays the cello, reads Pushkin and admires nature, does not cause us indignation and misunderstanding, like Bazarov, but only a smile of tenderness. Nikolai Petrovich is a man created for family happiness, for a quiet life on his estate.
His son Arkady, who has just graduated from the university, as they say, is the son of his father. At first, he was carried away by the ideas of Bazarov, but, in the end, we see that he was only a temporary companion of a young nihilist and would later repeat the fate of his father.
So, on the example of the images of the Kirsanovs, Turgenev shows the position in which the nobility of post-reform Rus' was, their inability to adapt to new conditions, the futility of their activities. Turgenev himself wrote that he showed the "cream" of the noble society. If the best of the nobles cannot survive in the new conditions, then what can we say about all the rest ...
Comparisons play an important role in the language of the novel. Based on oral tradition poetic creativity people, Turgenev draws most of the comparisons from the world around man, for example: “thin, rough, as if gnawed, cows greedily plucked the grass along the ditches”; “we are now hungry like wolves”; “Vaska, a boy of about seven, with a head as white as flax…”; “Her scythe (Princess R.), golden in color and heavy as gold, fell below her knees”; Fenechka “looked out like an animal”; “Dunyasha ... looked at him as she ran past like a quail”; “The yard boys ran after the “dokhtur” like little dogs.”
Using this technique, the author gives psychological characteristic heroes, including Vasily Ivanovich Bazarov, the father of the main character. The interior of his “house”, consisting of “six tiny rooms”, suggests that we have a “small” person, obviously not rich, who does not pretend to be important, loves comfort. The interior also helps to characterize business qualities Vasily Ivanovich. And indeed, “a thick-legged table littered with papers blackened from ancient dust” indicates that Vasily Ivanovich is busy with work, but does it from time to time. Bazarov’s father is a sloppy person, he doesn’t even keep order in his office (“books, boxes, bird stuffed animals, a jar, vials crowded on the shelves in disorder”). The fact that Vasily Ivanovich is interested in the natural sciences and physical experiments is said by the “broken electric machine”, but this hobby has remained in the past, since it has not yet been repaired. The weapons hung on the walls indicate that the owner was related to the army, to the war. Indeed, he was a military doctor. In general, the whole interior is stamped with time, all things are second-hand, old, all this speaks of the passing of life, the time of withering and rest. But the owner does not want to put up with it. And indeed, in a small room there is large furniture, which shows the desire of Bazarov, the elder, to break out of this small world. Here the reader sees the inconsistency of Vasily Ivanovich's character. The interior of the cabinet is dominated by black and white colors (“monogram of hair in a black frame”, “cabinet of Karelian birch”), strict and quite compatible, which indicates the harmony of the owner’s inner world. The fact that Vasily Ivanovich reads the magazine "Friend of Health" for 1855 (although it is 1859) indicates that Bazarov Sr. is trying to keep up with the times, but still he is not able to keep up with modernity.
The interior is also used by the author to compare the characters. For example, in one of the chapters, the author shows the interior of two heroes at once: Fenechka and Pavel Petrovich Kirsanov. The interior of Fenechka's room contrasts sharply with the interior of Pavel Petrovich's office. And indeed, Fenechka's room breathes prostate, comfort, freshness, love. The reader understands that simple, but nevertheless sincere people live in this room. The icon of Nikolai Ugodnik, a portrait of Nikolai Petrovich, jars with his favorite jam and with the signatures “circle”, speak of sincere feeling Baubles to Nikolai Petrovich. In contrast to Fenechka's room, Pavel Petrovich's study impresses with its sophistication, monumentality and, at the same time, lack of warmth. Everything in it bears the stamp of artificiality: the “renaissance” library, and the bronze figurines “on a magnificent writing table”, and the fireplace, and “heavy window curtains” with which Pavel Petrovich tries to protect himself from sunlight. The reader understands the desperation with which Kirsanov Sr. “threw himself on the sofa”. The hero is aware of his inability to love and be loved, and the comparison of the interiors helps the reader to understand this. In assessing the character, an important role is also played by the detail of the interior. Turgenev actively uses the details of the interior, the environment of the hero, showing with their help the features of his character.
So, we already have a certain idea about Kukshina, even before her appearance. “Crookedly nailed business card”, “thick numbers of Russian magazines, for the most part uncut” – all this points to the “progressive aspirations of the hostess”, but progress, in fact, is not visible. A great desire to be an advanced woman, to seem modern, makes Kukshina funny, unnatural, devoid of feeling. dignity, which is immediately noted by both Bazarov and Arkady. However, there are characters in the novel who have no description of the rooms at all. First of all, these are Bazarov, Arkady and Nikolai Petrovich Kirsanov. And this is no coincidence, if Bazarov does not have a home at all, does not have his own hearth, support in life, he even feels like a guest in his parents' house, then the descriptions of the rooms by Arkady and Nikolai Petrovich are connected, in my opinion, with the worldview of the author himself . As you know, I. S. Turgenev rejected extremes, a one-sided attitude to life, which he so vividly showed in the images of Bazarov and Pavel Petrovich.
It is no coincidence that both of these heroes die: one physically, the other morally. It is Nikolai Petrovich and his son who remain to live a full life. And their double wedding is the moral climax of the novel. According to Turgenev, one can cognize the harmony of life only by dissolving in it, perceiving it in all its manifestations. The absence of a description of the rooms by the father and son just speaks of this ability, gives them typical features and, albeit indirectly, indicates who, in the author's opinion, is the future of Russia.
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