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Fathers to Children is the main conflict of the novel's title. The main conflict of the novel "Fathers and Sons" by Turgenev I.S.

Fathers to Children is the main conflict of the novel's title. The main conflict of the novel "Fathers and Sons" by Turgenev I.S.

19.03.2019

Humanity is in constant motion, developing, generation after generation accumulate experience, knowledge and strive to pass on everything accumulated to the next, as all this will not only allow us to survive in the conditions of reality, but also to achieve success and happiness. The new time gives birth to a new generation, which already looks at the world in a different way, sets itself other goals. Much of the experience of the ancestors really becomes unacceptable in the new reality, but a huge part should serve as a support for further development.

What to leave, and what to take with you on the life path of the new generation? That's what it's all about eternal problem two generations: the older one, striving to pass on all knowledge, all experience, and the new one, sweeping away everything in its path. Naturally, such a problem could not but worry writers and poets. different eras. In the novel "Fathers and Sons" by I. S. Turgenev, the characters of representatives of the 40s and 60s of the XIX century collide. To the camp of the 40s - "fathers" - he refers Pavel Petrovich Kirsanov, and to the camp of the 60s - "children" - belongs to Evgeny Bazarov. Both of them are completely opposite people. Each of them was brought up in his era and therefore has his own views on life.

At the first meeting, the future enemies felt hostility towards each other: Kirsanov was struck by Bazarov's outfit with long tassels, as well as his arrogance; Bazarov did not even begin to greet this aristocrat.

Soon, even without this, the tense situation escalated even more, and an argument ensues between them. It reveals the characters, ideological positions of these people.

Pavel Petrovich, who "was only waiting for an excuse to pounce on the enemy," misunderstands Bazarov's statement about aristocrats. He regards the words "rubbish and aristocratic" as an insult to aristocrats and begins to defend their rights. He himself tries to imitate the English aristocrats in everything: he dresses fashionably, he always smells of oolon.

Bazarov at first has a strong ideological position. He does not want to argue with Pavel Petrovich, but is gradually drawn into the argument. “You deny everything, or, to be more precise, you destroy everything: Why, you must also build,” Kirsanov says in confusion, completely stunned by Bazarov’s short and clear answers. "It's none of our business: First we need to clear the place." He still does not know himself who after him "will build", and "whether he will build".

Bazarov, unlike Pavel Petrovich, is a nihilist. In his dispute with Kirsanov, he, as it were, defines nihilism: "We: decided not to take on anything: And this is called nihilism." Turgenev, on the other hand, defined the meaning of this word as follows: “And if he is called a nihilist, then it should be read: “revolutionary”.

Pavel Petrovich and Bazarov are completely different people in their views: one is an idealist, the other is a materialist and democrat. Their clash in the novel quite logically ends with a duel.

The difference in the ideological positions of these people is so great that they become irreconcilable enemies. Bazarov, about whom Turgenev says: “He is honest and truthful and a democrat to the end of his nails,” and Pavel Petrovich Kirsanov will never be able to understand each other, because they are people of different generations, they have opposite views on life.

The problem of "fathers" and "children" is not limited to literature. The conflict of generations is real in today's society.

The main conflict of the novel by I. S. Turgenev "Fathers and Sons" lies in the ideological clash of two "generations" of Russian society: the noble and the raznochin-democratic. The representative of the younger generation in the novel is the commoner Yevgeny Bazarov, who preaches nihilism - the doctrine of the denial of all principles taken for granted. His ideological opponent in ideological dispute are the Kirsanov brothers, who, according to the author himself, are the best part nobility of that time.

We meet Nikolai Petrovich Kirsanov on the first page of the novel. “A gentleman of about forty years old, in a dusty coat and plaid trousers ...” - this is how its author draws. Nikolai Petrovich has an estate of two hundred souls, which he calls a "farm." He turned out to be an unimportant landowner, despite the fact that he runs a household on new way and "disengaged from the peasants." He is gentle and loving father, sincerely rejoices at the arrival of his son. “For once, I waited for Arka-shi ... I haven’t had time to see enough of him since yesterday.” During his life with his son in St. Petersburg, the father tries to make acquaintances with young comrades, but he does not understand the hobbies of Arkady Bazarov and his ideas. “But reject poetry? he thought again. - Do not sympathize with art, nature?

Nikolai Petrovich loves to dream, reads Pushkin, plays the cello and admires nature - in a word, he lives with feelings. And Bazarov makes fun of this: “An amazing thing ... - these old romantics! They will develop the nervous system in themselves to the point of irritation ... well, the balance is disturbed. Nikolai Petrovich, unlike his brother Pavel Petrovich, has a gentle character, he forgives Bazarov a lot and even defends him: “No, brother, don’t say that: Bazarov is smart and knowledgeable.”

Pavel Petrovich is in many ways the opposite of his brother. He, former socialite, also lives by feelings. But if love gives Nikolai Petrovich happiness and the meaning of life, then in the fate of Pavel Petrovich love for Princess R. played a fatal role. Distinguish him from his brother and such qualities as arrogance, self-confidence and mockery. Pavel Petrovich is an aristocrat to the core. He is always impeccably dressed and shaved, perfumed with magnificent cologne. The author describes Kirsanov's elder brother as follows:

“... A man of medium height, dressed in a dark English suit, a fashionable low tie and patent leather boots ... He looked to be forty-five years old; his beautifully cut gray hair shone with a dark sheen, like new silver; his face, bilious, but without wrinkles, unusually attractive and clean, as if drawn with a thin and light chisel, showed traces of remarkable beauty ... "

Pavel Petrovich takes Slavophile positions, but at the same time he dresses in an English suit, and when talking with the peasants, he “grimaces and sniffs cologne.” In the neighborhood, he is considered proud, but respected for his magnificent manners. Pavel Petrovich teases "old-style landlords with liberal antics" and does not get close to the representatives of the younger generation. In disputes, Bazarov easily defeats the Kirsanovs, who cannot give a worthy rebuff to the young generation in the person of Bazarov, energetic and knowing person, which ironically refers to the "old Kirsanovs". He considers Uncle Arkady an "archaic phenomenon", and Nikolai Petrovich a "retired person".

Bazarov’s views do not stand the test of love, he indignantly feels that the “romance” he had previously denied is taking over in him. The hero dies by a stupid accident, having gone through a crisis of his previously so strong worldview.

Who won the dispute? Who will Arkady, a young member of the nobility, follow?

But he chose a life like his father's. Blood ties were stronger than any nihilism. He marries, manages the estate, continuing the work of his father.

Turgenev in the novel "Fathers and Sons" showed that the nobility ceases to be an advanced class in society. Born in Russia new strength whose name is nihilism. But the author does not see anything positive in this force, but only destruction and denial, which lead to nothing good. At the same time, Bazarov is sympathetic to both the author and the reader with his energy, diligence, determination, devotion to his convictions. 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 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, talking 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” ... 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 "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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THE MAIN CONFLICT OF THE NOVEL I.S. TURGENEV "FATHERS AND CHILDREN" AND THE MEANS OF ITS EXPRESSION

INTRODUCTION

3. Strength and weakness of the nihilist. Ideas about Bazarov as one of the main characters of the controversy

CONCLUSION

INTRODUCTION

Ivan Sergeevich Turgenev is our outstanding classic who created a truthful, unforgettable gallery of images of Russian people. The writer always went ahead of his time, saw further than his contemporaries, and therefore was often subjected to fierce criticism from both the right and the left. Society did not like the merciless truth with which Turgenev showed his heroes: inactive and idle talkers, stilted and with feigned aristocracy. genius writer sees the need for change in Russian society. Most are afraid of change, even the smallest change. The writer truthfully and figuratively showed this situation in his novel “Fathers and Sons” Life of Turgenev // Zaitsev B. Dalekoe. - M., 1991 ..

The novel "Fathers and Sons" remains for us a clear example of its time, a mirror reflecting the era with its conflicts and achievements. Reading the novel, we empathize with the characters, disagree with them, enter into disputes, but never remain indifferent, and this is the main merit of the writer. Turgenev created a classic novel that for more than a hundred years has been awakening the imagination, the desire to think, to find one's own path in life, not to remain indifferent. This is the main merit of the novel and the classics in general.

Reading Turgenev's novel "Fathers and Sons", we constantly meet the author's characteristics and descriptions of the characters, the author's remarks and various comments. Following the fate of the characters, we feel the presence of the author himself. The author deeply experiences everything he writes about. However, his attitude to what is happening in the novel is ambiguous and not as simple as it might seem at first glance Shatalov S.E. Art world I.S. Turgenev. - M.: 2003. - 212 p.. .

The author's position in the novel is manifested in descriptions, direct author's characteristics, comments on the characters' speech, in the construction of dialogues and remarks. So, the author of the novel “Fathers and Sons” - Turgenev - does not impose his point of view on what is happening in the work, he invites readers to take this philosophically. The whole novel is perceived not as an ideological guide or praise to one of the characters, but as material for reflection.

1. Roman Turgenev "Fathers and Sons"

Turgenev fathers children

The action of the novel by I. S. Turgenev "Fathers and Sons" takes place in the summer of 1859, on the eve of the abolition of serfdom. At that time in Russia there was an acute question: who can lead the society? On the one hand, on the leading social role the nobility claimed, which consisted of both fairly free-thinking liberals and aristocrats who thought the same way as at the beginning of the century. At the other extreme of society were revolutionaries - democrats, the majority of whom were raznochintsy. The main character novel "Fathers and Sons" is close to the most radical representatives of the second group. The thoughts he expressed provoked a strong reaction from the reading public. The views of the nihilist were discussed in many critical articles Life and work of Turgenev: lit. biogr. / A.N. Redkin. - M.: Friendship of peoples, 2000. - 221 p. .

Bazarov is unhappy in his life. It's probably for everyone outstanding person. Yes, and Bazarov himself does not strive to please people, rather the opposite. In his own words, " real man the one about which there is nothing to think about, but which one must listen to or hate.

His associates, recognizing Bazarov strong personality, capable only of worship, not claiming more. And this is exactly what Bazarov despises in people. He is constantly looking for a person equal to himself in strength, and does not find him. The only one who dares to resist this stormy onslaught is Pavel Petrovich Kirsanov. In his disputes with Bazarov, Kirsanov defends his historical roots, spiritual values, a life that he does not think of another, and this gives him strength in the "fight" with the enemy, who can only oppose him with his powerful personality.

Throughout the novel, Bazarov's personality is more and more respected, it is clear that the author himself bows to the fortitude of the young nihilist. However, in a dispute with life, Bazarov was forced to retreat, reality was unable to accept such a stormy, active nature. This was the cause of the tragedy that played out in the fate of Bazarov.

Life does not immediately show the nihilist all the shortcomings of his ideology; the reader gradually comes to the conclusion that Bazarov's ideas cannot be realized in modern conditions. The clashes of Bazarov's views with reality begin in Maryin, the Kirsanovs' estate, during disputes with Pavel Petrovich. It would seem that it is clearly shown that the age of aristocrats has long passed, that Pavel Petrovich's "principles" do not allow society to develop freely, but at the same time we see certain weaknesses in the positions of nihilism. For example, the imperfection of the theory becomes obvious: nihilists only "clear the place", but offer nothing in return. The next test turned out to be more serious for Bazarov. Arkady and Evgeny meet a local celebrity, Anna Sergeevna Odintsova, at a ball in a provincial town.

Anna Sergeevna is a widow in the prime of her life, who received the entire fortune of a rich husband, whom she married at one time by calculation. She lived quietly on her estate, occasionally going to balls in the provincial town, each time striking her with her extraordinary beauty and subtle minds. Bazarov notices the attractiveness of Odintsova, but believes that she is quite ordinary woman, among which "only freaks think freely." Starting a conversation with Anna Sergeevna, Bazarov is gradually disillusioned with this and gladly accepts an invitation to stay in Nikolskoye, the name day of Odintsova. There, Bazarov’s conversations with Anna Sergeevna continue, and the nihilist is surprised to notice behind him new, previously unknown sensations. He is aware that these feelings are "romanticism", "nonsense", as he himself calls them, but he cannot help himself. Bazarov the man enters into a confrontation with Bazarov the nihilist. For a moment, the man wins, and Bazarov declares his love to Odintsova, but after the mind of the nihilist takes everything under control, and Evgeny apologizes for his impulse and soon leaves for the village with his parents.

Again, Bazarov the nihilist was not defeated, in the end he managed to control his soul and suppressed all its external manifestations. In relations with Odintsova, his vulnerability is manifested. Bazarov fell in love with the landowner Anna Sergeevna Odintsova. He experienced the same feeling that he had previously laughed mercilessly at. Eugene realized that a person is not a soulless "frog". He suddenly realized that living nature would never submit to any theories. Odintsova expects mature feelings from him, she needs serious love, not fleeting passion. In her life there is no place for upheavals, without which Bazarov cannot imagine himself. He does not understand that an indispensable condition for achieving spiritual and moral ideals is stability.

After the failure with Odintsova, Bazarov became more withdrawn and embittered. He began to criticize himself, to blame for the betrayal of his own principles. He began to move away from Arkady, or rather, Arkady began to move away from him, since since Kirsanov fell in love with Katya, he began to gradually abandon the principles of Bazarov, becoming softer, kinder, more romantic. Bazarov found himself face to face with his rebellious soul and its overwhelming consciousness. He takes it even more bitterly to deny all authority and sentiment; it comes to the point that he denies the love of his parents and treats them so indifferently or even with irritation that the parents fall into despair, trying to get their son back.

From Nikolsky, Evgeny goes to the village to his parents. Over the years lived outside the native walls, differences appeared between Eugene and his parents, and so significant that these people could not freely communicate with each other: they simply did not understand each other.

Bazarov leaves his village for Maryino, where he finally realizes the doom of his ideas. After a duel with Pavel Petrovich, Bazarov understood: if in order to force one district aristocrat to change his “principles”, it takes as much effort and time as it takes to break the resistance of the entire nobility. Bazarov realized that he alone did not mean anything, and decided to live quietly with his parents and do what he loved - the natural sciences.

He didn't give up on his ideas, he just realized that their time hadn't come yet and was forced to give up the fight. However, the bright, "rebellious" heart of Bazarov could not live a quiet, calm life, therefore, if the accident that caused him to die had not happened, then "it should have been invented." The nihilist Bazarov was not broken by life, but, nevertheless, left the "battlefield" forever, albeit against his will Turgenev I. S. Selected. Novels. - M.: Synergy. - 2002. - 528 p. .

And Bazarov is smart enough to realize his mistakes, even on his deathbed. He admits his powerlessness before death, which means that not everything can be overcome with the help of force. Bazarov returns to nature, which during his lifetime he perceived so materialistically (“I will die, and burdock will grow out of me”, “nature is not a temple, but a workshop, and man is a worker in it”).

In the face of nature, in the face of the universe, even such a titan as Bazarov seems like a miserable grain of sand. It is precisely in the fact that Bazarov, who did not give up a single position "in battle", leaving each time with his head held high, was forced to admit his weakness before being, lies the eye tragedy of his life.

He does not feel himself a part of this world, even after death the iron fence surrounding the grave, as it were, separates him from the world. He lived " mighty hero who had nowhere to turn around, nowhere to put gigantic forces, no one to love with true love. From this point of view, his death was inevitable.

2. The conflict of generations in the novel

Much attention in the novel is given to Turgenev's philosophical and artistic reflections on the change of generations, on eternal struggle old and new, about careful attitude to cultural heritage. The author seeks to overcome the established stereotype of perception of the novel. It can only be overcome creative attitude to the classics, which allows, without deviating from the historicism and nationality of art, to pose and solve problems that have not gone into the past along with the era that gave rise to them, and continue to excite modern youth. Note that these problems, in essence, represent the core of Turgenev's novel "Fathers and Sons". The novel highlights in detail the moral side that deeply worried Turgenev in the relationship between the younger and older generations, talks about false and true friendship and camaraderie, many pages are devoted to love conflict Bazarov with Odintsova, insufficiently covered in the literature about the novel.

A number of statements made by the author are of a debatable nature, but he deliberately goes to such "costs", opening up the opportunity for the teacher to use in the lessons the most acceptable options for interpreting a work that is very multifaceted in its content. In polishing socially honed thinking and in education high culture human feelings Turgenev's novel "Fathers and Sons" opens up almost limitless possibilities, and the success of his study will depend on the extent to which the teacher will be able to use them.

The problem of fathers and children has existed and, most likely, will exist at all times. Obviously, this is why the novel by I.S. Turgenev's "Fathers and Sons" is still relevant. The two generations depicted by the writer differ not so much in age as in opposing views and worldviews: the old nobility, the aristocracy and the young revolutionary-democratic intelligentsia.

The problem of fathers and children is revealed in the novel in the relationship of the young nihilist Bazarov with the representative of the nobility Pavel Petrovich Kirsanov, Bazarov with his parents, as well as on the example of relations within the Kirsanov family.

In the novel Fathers and Sons, the harmony of the national elements of Russian life explodes into social conflict. Arkady, in the eyes of the democrat Bazarov, is a weakling, a soft liberal barich. The definition is very precise: there is nobility in the character of Arkady. But Bazarov does not want to accept and recognize another - that which is hidden, in addition to the nobility, in the depths of his soul. After all, the soft-heartedness of Arkady and the dove-like meekness of Nikolai Petrovich are also a consequence of the artistic talent of their natures, poetic-melodious, dreamy, sensitive to music and poetry.

Turgenev considers these qualities not specifically lordly, but deeply Russian, national; he endowed with them in the "Notes of a Hunter" Kalinich, Kasyan, Kostya, famous singers from Prytynny zucchini; they are just as natural and just as organically connected with people's life as the impulses of Bazarov's negation. But in "Fathers and Sons" the unity between them disappeared, there was a tragic discord that affected not only the political and social, but also the innermost, personal foundations of human life. In the ability of a Russian person it is easy to “break” oneself, to renounce the age-old cultural property Turgenev saw not only our great advantage, but also the danger of a break in the connection of times, a threat to the enduring values of national life and culture. Fathers and children - M .: Children's literature, 1990. - 160 p. .

In the exaggeration of this danger, the limited social views of the writer undoubtedly affected. But, as we shall see later, such a danger did exist. It is generally accepted that the family conflict in Turgenev's novel does not play a significant role, since it is mainly about the clash of various forces, revolutionary democrats with liberals.

However, Turgenev called his novel not "Two Forces", for example, but "Fathers and Sons", and therefore, I think, social conflict it is not necessary to oppose in it the family, universal. On the contrary, the crisis of family foundations completely clarifies the entire depth of the socio-political conflict. The classics of Russian literature in their novels often verified the stability and strength of social, political and state unions with family and family relations.

Tolstoy in the novel "Anna Karenina" with one phrase - "everything was mixed up in the Oblonskys' house" - recorded the amazing disintegration that took place in Russia in the 1870s, where "everything turned upside down." And Dostoevsky wrote about the fate of the "random family" of the Karamazovs, the measure of destruction family ties defining the entire shattering of the all-Russian life foundations. Turgenev was one of the first in Russian literature to explore this topic in his own way Alekseev MP Turgenev and his contemporaries. - M., 2000. .

Starting the novel with the depiction of a family conflict between father and son Kirsanov, Turgenev goes further, to clashes of a public, social nature. But family theme in the novel gives him a special humanistic perspective. In the 1850s and 1860s, the concepts of "young generation" and "old generation", "fathers" and "children" often replaced more refined, but also narrower political definitions.

Even Dobrolyubov used them in the article "Literary little things of the past year." They gave the understanding of the social struggle a very special shade, capturing the universal basis. social relations. After all, the moral content of family life is not destroyed by civilization, no social, political, state and other, more complex shapes human hostels do not absorb, but only complicate it. It is from the beginning that the strength and durability of broader human communities are verified. Internal link between original cell human society and a broad political organization is clearly expressed in the words homeland, fatherland, by which the national state union is designated in many languages of the world Alekseev MP Turgenev and his contemporaries. - M., 2000. .

The conflict depicted by Turgenev in the novel Fathers and Sons, of course, does not end in family spheres. But the social crisis in the village community, in the circles of the intelligentsia, in Russian statehood, in fact, is verified by the violation of "family" in ties between people. The crack went so deep that it touched the natural foundations of being, confirming the seriousness of the split that happened in Russia.

In the finale of "Fathers and Sons", both antagonists die in their own way: Pavel Petrovich - spiritually, Yevgeny Bazarov - physically. It is known that not every dying person is tragic. Tragic is the death of a person or phenomenon that has not lost its spiritual or social significance. From this point of view, both a new and an obsolete social phenomenon can be tragic.

“The new experiences tragedy if the need for its struggle against the forces of the old comes into conflict with the impossibility of victory at this historical stage of development...,” writes Yu. can only be the death of the new.

The tragedy of the old class is possible, for example, if it perishes in the struggle against the emerging class, before it has had time to completely lose its internal possibilities of development, before it has completely outlived itself ... Finally, the tragedy of the brightest representatives of the old class is possible. social order who understood the historical failure and doom of their class, but who did not find the strength to break with it or did not find the way to a new life "Borev Yu. B. On the tragic. - M., 1961. .

Yu.B. Borev rightly warns researchers against a simplified understanding of the question of the death of obsolete historical forces, which excludes the possibility of a tragedy of the old. In life and art, there can be such tragic situations in which the perishing but triumphant new does not exclude sympathy for the old that is leaving the historical arena. Something similar happens in Turgenev's novel Fathers and Sons.

The outcome of Turgenev's novel does not look like a purely moral denouement, where the evil are punished and the virtuous are rewarded.

With regard to "Fathers and Sons", the legitimacy of the typical formulation of the question of which side is on the writer's unconditional sympathies or equally unconditional antipathies is no longer valid: here the tragic state of the world is depicted, giving rise to a special moral situation, in relation to which these categorical questions lose their meaning. Pushkin spoke about the need to judge the writer according to the laws he himself recognized over himself Lebedev Yu. V. Turgenev / Yu.V. Lebedev. - M.: Mol. guard, 1990. - 607 p. - (Life wonderful people: ser. biogr. ; 706). .

In relation to Turgenev's novel, this principle, as a rule, was violated. Modern writer criticism, not taking into account the qualitative nature of the conflict, inevitably strayed into one or another subjective one-sidedness. Since Turgenev's "fathers" remained right to a certain extent, it became possible to focus on proving their correctness, losing sight of its relativity.

3. Strength and weakness of the nihilist. Ideas about Bazarov as one of the main characters of the controversy

In the first part of the novel, Bazarov is a relatively integral person. He is confident that he knows the fundamental needs of the people and that his retreat serves popular interests. "You blame my direction," he says to Pavel Petrovich, "and who told you that it is in me by chance, that it is not caused by this folk spirit, in whose name are you advocating like that?". And in a conversation with Arkady Bazarov bluntly declares: "A Russian person is good only because he has a bad opinion of himself" Turgenev Fathers and children. - M .: Children's literature. - 2002. - 302 p.

In the Bazarov mindset, the typical qualities of a folk character really appear: distrust of excessive enthusiasm, which in the eyes of the Russian people has always been ridiculous and sugary, a tendency to sharp critical self-esteem.

In the hero of Turgenev's novel, this side of the Russian soul is most fully and consistently embodied. But taken to the extreme, it turns into its opposite. Bazarov, for example, is not at all embarrassed that a significant part of the Russian peasants will not understand his views. He is ready for the benefit of the people, as he himself understands it, to go against these peasants, and maybe even get along with the whole people. The heroic strength of Bazarov's denials does not exclude despotic arbitrariness.

Bazarov loves the people and the Motherland. In Bazarov there is already this readiness to go against not only the will of the nobility, but also the will of the people, a readiness to lead the people to freedom by despotic means if they do not show the expected revolutionary strength and consciousness. “Finally, remember, strong gentlemen,” Pavel Petrovich reasoned with the nihilists, “that there are only four and a half of you, and there are millions of those who will not allow you to trample underfoot your most sacred beliefs, which will crush you!” - "If they crush, the road is there," Bazarov said. "Only my grandmother said in two more." Turgenev Fathers and Sons. - M.: Children's literature. - 2002. - 302 p. .

When Kukshina accuses Sitnikov of Domostroy's sympathies: "You should have a whip in your hands," Bazarov responds for a reason: "A whip is a good thing." Recall that in a conversation with Arkady Bazarov encourages similar actions of his father: "... He recently ordered to flog one of his quitrent peasants - and he did very well; but don't look at me with such horror, ... because a thief and a drunkard he's scary." “In the carved subject,” Pisarev clarified the logic of Turgenev’s hero, not without humor, “the process of thought really takes place ... It refines the sense of self-preservation,” which “is the first reason for all human progress” Kurlyandskaya G. B. Turgenev’s method and style as a novelist . - Tula: 2004.

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Thus, in Bazarov's critical attitude towards the people, devoid of beautiful-hearted idealization, there is, in turn, a certain despotism, but not of a feudal, but of a nihilistic kind. This despotism is the reverse side of love, accompanied by a feeling of deep bitterness over the backwardness and resignation of the people.

In the strong hands of the plebeian Bazarov there is also a heroic "club" - natural science knowledge. The hero believes in their crushing and renewing power. Pavel Petrovich uses irony in vain: "He doesn't believe in principles, but he does believe in frogs." Bazarov would not take his irony to heart. Bazarov's defender Pisarev will pick up Kirsanov's words and utter the famous paradox about "the deepest respect and ardent love for the flattened frog." "It is precisely here, in the frog itself, that the salvation and renewal of the Russian people lies."

The truths of natural science were in the hands of raznochintsy powerful weapon in the fight against idealistic philosophy and official ideology, a healthy antidote to both lordly daydreaming and peasant ignorance and superstition. Relying on them, the revolutionary youth overturned ideological foundations state power, the authority of the official church, which sanctified serfdom. In disputes with Pavel Petrovich, the materialist Bazarov denies what the aristocrat Kirsanov is even afraid to say - faith in God. The successes of the natural sciences supported the pathos of revolutionary negation.

AT mid-nineteenth century, the progress of natural science knowledge was stunning. At that time, it seemed to many that with their help it was possible to finally solve all questions not only of the natural order, but also of social, moral, and aesthetic ones. In the denials of the physician Bazarov triumphed sober look a democrat-raznochinets, who saw in abstract philosophizing and poetic fantasies something redundant, lordly, aristocratic.

At the beginning of the novel, Bazarov speaks of the Germans with undisguised reverence: "The local scientists are efficient people," "the Germans are our teachers in this." And then the life of the people, through the mouth of a peasant boy in a swamp near an aspen grove, asks Bazarov a bewildered question: "What do you need frogs for, master?" - "But what," Bazarov answered him ... what is happening inside us" Turgenev Fathers and Sons. - M.: Children's literature. - 2002. - 302 p. .

Usually in this scene they see the triumphant democracy of Bazarov, his ability to converge with ordinary people, an enviable talent for an intelligible presentation of the truths of modern natural science. But the meaning of the scene is deeper and covertly ironic. Peasant children do not agree with Bazarov: something in his intelligibility and simplicity alarms them. "Vaska, listen, the master says that you and I are the same frogs. Wonderful." - "I'm afraid of them, frogs," remarked Vaska, a boy of about seven, with a head as white as flax, in a gray Cossack coat with a standing collar and barefoot. "What to be afraid of? do they bite?" - "Well, get into the water, philosophers," said Bazarov "Turgenev Fathers and Sons. - M .: Children's Literature. - 2002. - 302 p.

. And the kids really turned out to be little wise men. The "philosopher", a smart and sober little boy, felt the strangeness of Bazarov's reasoning about the resemblance of people to frogs. And Vaska, an impressionable kid, expressed his disagreement emotionally.

The gross mistake of the vulgar materialists was a simplified idea of the nature of human consciousness, of the essence of mental processes, which was reduced to elementary, physiological ones: the brain secretes thought, like the liver - bile. In full accordance with the laws of physiology, the origin and essence of aesthetic, social, moral phenomena, philosophical and ideological concepts were considered. In the hands of the commoner, this was a reliable scourge against refined feelings and abstract philosophizing, against "pure art" and idealism in science.

In the utilitarian view of Bazarov, which denies art, not everything is nonsense. The fact that a narrow guild attitude towards literature did not take root on Russian soil, and that the passion for formal experimentation was considered empty fun among us, is a considerable merit of the Russian Bazarovs. In the nihilistic approach to art there was a dose of healthy protest against the aestheticism of Russian liberals, who denied the connection of literature with the topic of the day, with the practice of the social life of mankind. In Bazarov's attacks against the "art of making money" there is a challenge to fruitless aestheticism, especially immoral in an era of deep social upheavals taking place in a country without rights, impoverished, illiterate, but obsessed with the search for righteous ways of life.

All this is so. But the blows of natural science scourges in the hands of nihilistically minded youth turned out to be so devastating that many vital cultural phenomena were called into question. Thus, it is wrong to reproach Turgenev for ascribed to democracy too rude attitude towards art and thereby caricatured the image of a raznochintsy.

Why does Bazarov despises the "old men" Kirsanovs? Obviously, he, a businesslike and practical man, a democrat to the end of his nails, is disgusted by the lordly effeminacy, excessive cultural refinement, internal flabbiness of characters, the illusory nature of interests, devoid of connections with the practical needs of life. There is some sober social truth in Bazarov's anger at the "damned barchuks", especially since these "barchuks" not only do not meet Bazarov halfway, not only do not spare his plebeian pride, but deliberately pour salt on an open wound. Pavel Petrovich's rude jokes (are there leeches in Bazarov's bag and does he eat frogs) humiliate the hero.

Bazarov does not remain in debt. He treats the older Kirsanovs' traits of nobility as a pathological phenomenon, as a physiological inferiority: "They develop the nervous system in themselves to the point of irritation ... well, the balance is disturbed." Moreover, Bazarov despises the Kirsanov brothers, not only because in his eyes they are physically degenerate barchuks, but also because they are "old men". In general, "old people", from his point of view, - retired people, their "song is sung". Having decided to "mow down everything", Bazarov "rolls himself on his feet", he approaches his parents with this measure: "Remarkable vitality!" "A funny old man and kind ... He talks a lot." Where does Bazarov get this arrogance in dealing with "fathers", a pat on the shoulder from above, dismissive approval - "survivability"?

Disrespect for old age is the result of Bazarov's narrow anthropological view of human nature; a phenomenon of the same order with the denial of the mysterious eyes of a loved one, the "mysterious relationship" between a man and a woman. Such a view of human morality and culture led to the biologization of social phenomena, to the erasure of qualitative differences between physiology and social psychology Byaly G.A. Turgenev and Russian realism. - M.-L.: Soviet writer, 1962.

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Bazarov is ready to call not only respect for old age a prejudice, he does not want to "get wet" not only with his parents. He considers the spiritual refinement of love feelings to be romantic nonsense: “No, brother, this is all licentiousness, emptiness! .. We physiologists know what kind of relationship this is. You study the anatomy of the eye: where does a mysterious look come from, as you say? It's all romanticism, nonsense, rot, art."

Often, even these extremes of Bazarov's views are attributed to Turgenev's liberalism, the deliberate coarsening of a system of views alien to the writer.

And, nevertheless, despite the obvious nihilistic and vulgar-materialistic costs in his worldview, Bazarov was so close to the author that in the article “Regarding“ Fathers and Sons ”Turgenev wrote:“ With the exception of Bazarov’s views on art, I share almost all of his beliefs "Turgenev I.S. Collected Works. - M .: Goslitizdat. - 1961.

. Turgenev was attracted in the character of a democrat by the creative freedom with which he spoke out against the hardened official dogmas and authorities, a critical attitude towards people's life, alien to one-sided idealization, heroic courage and consistency in defending his convictions.

But there was much in it that alarmed the writer. Self-confident, proud and daring, Bazarov showed obvious signs of the social disease that a part of the Russian revolutionary democracy would be ill with. "Scientism" is an outwardly progressive, but essentially dogmatic belief in science, which can replace worldview, ethics, philosophy and art. The transfer of vulgar-materialistic conclusions from natural science to humanitarian and social studies can lead far. "Innocent at first glance, the denial of spiritual facts in human life is only the beginning in that logical chain that inevitably leads to tragic consequences, for example, the denial of art unexpectedly, but naturally, turns into destructive primitivism in other areas of human existence."

And so it happened with Turgenev's Bazarov: denying art and poetry, neglecting the spiritual life of a person, the hero fell into such one-sidedness that he provoked a tragic catastrophe.

Bazarov at the beginning of the novel is a man of truly universal knowledge: for him there are no secrets and mysteries, neither in love, nor in poetry, nor in nature, nor among the people, nor in historical life Russia. He claims here the role of an epic hero, not without reason in the text of the novel there is a distant allusion to ancient Greek myth about Oedipus - the hero who solved the riddles of the Sphinx and saved the city of Thebes from inevitable death. Bazarov simply denies the mysteries and secrets of the "sphinx" of love, art, nature, people, Russia and life in general with its mysterious, unknown meaning. Only after a duel with Pavel Petrovich does he seem to doubt the unshakable correctness of his denials: "The Russian peasant is the same mysterious stranger about whom Mrs. Radcliffe once talked so much." But then, recollecting himself, he will add: "Who will understand him? He does not understand himself" Turgenev Fathers and children. - M.: Children's literature. - 2002. - 302 p.

. As we can see, Bazarov is still indifferent and ironic to the secrets of people's life. The reference to Mrs. Radcliffe with her poetry of romantic horrors is not accidental. Romanticism, as you know, is in Bazarov on a par with nonsense, rottenness, art.

It is here that the line separating the views of Turgenev and Evgeny Bazarov passes. Turgenev was also far from idealizing the community and the socialist instincts of the peasant. Like Yevgeny Bazarov, Turgenev believed that "revolution in the true and living sense of the word ... exists only in a minority of the educated class - and this is enough for its triumph, if we only do not exterminate ourselves." But unlike his hero, Turgenev never considered his critical judgments final, he always admitted that an unforeseen and unexpected result is possible in life. As a sensitive artist, he was opposed to the absolutization of scientific truths, frozen philosophical systems.

Turgenev the artist, of course, did not convict his Bazarov of cold dogmatism and even the lack of poetic talent. If this were the case, Bazarov would not have become a tragic hero and his personality would have faded. The tragedy of Bazarov is not in deafness to the mysteries of life, but in attempts to suppress the spiritual forces that latently live in him, to subordinate them to a limitedly understood truth. At first, Bazarov succeeds easily: there is a verbal tournament with "aristocrats", the hero is young and bold, fate did not bring him to the secrets of life. But the more the hero boasts of his strength, the more often in the novel there are dull threats, fatal warnings to the arrogant Bazarov.

The story of Pavel Petrovich's unhappy love is not a false episode, and only a superficial glance will regard it as "cheap infantilism", in which Turgenev supposedly convicts the aristocracy. This story is not only truly deep and serious, but also projected into the future. A typical property of Turgenev's prose is artistic parallelism in the characters and destinies of various heroes. The youth of Pavel Petrovich is somewhat reminiscent of Bazarov's, but only in a different environment and at other times.

In his youth, Pavel Petrovich is as self-confident and mocking as Evgeny Bazarov. A glorious future awaited him, a brilliant career. But life has its own reasons, suddenly everything changed, fatal love swooped in like a whirlwind, swept away hopes and plans. She appeared to the antagonist heroes in mysterious and strange images. For Princess R., the glory of a frivolous coquette was strengthened, gossip crawled about Odintsova around the city. Behind the deceptive appearance of both heroines, there was a bottomless depth. The cold aristocrat fell in love with a woman in whom the passionate forces of life rage. To a rebellious democrat, a man with an anxious heart, fate sends Odintsov: her cold soul is in deep peace of life.

The mystery of these two completely different women is one: both Princess R. and Odintsova are people of the element of the heart, the mind has no power over their actions, their individual "I" is a toy in the hands of the vital forces that own them. "They played with her as they wanted; her small mind could not cope with their whim," it is said about Princess R. "Her doubts never subsided to forgetfulness and never grew to anxiety ... Actually, she did not want anything, although it seemed to her that she wanted everything," said Odintsova.

The characters of Princess R. and Odintsova go back to the eternal natural qualities of the female soul. These are not only "private" persons; in the novel they are given social characteristics, but they do not cover all the complexity inner world heroines. Sociality covers only outer life Princesses R. and Odintsova: the secular carefreeness of one and the aristocratic stiffness of the other.

Love in Turgenev's description is the first and perhaps the deepest secret of life. Her charm and tragedy - in the poetic feeling of incomprehensible, inaccessible beauty, Pavel Petrovich's Love - is an unsatisfied, languishing desire to know her riddle. The hero succeeds in many things, "accustomed to victories, he soon reached his goal here too; but the ease of triumph did not cool him down.

On the contrary, he became even more painfully, even more firmly attached to this woman, in whom even when she gave herself irrevocably, there still seemed to be something cherished and inaccessible, where no one could penetrate.

The tragic irony of Bazarov's life lies in the fact that the elements that the hero ridicules and rejects, the more decisively take possession of his own soul, the more passionate and merciless his denial. But the hero does not want to reckon with any obstacles or with the voice of prudence, he brings all the decisions made to the end, no matter what they threaten him with. This intolerance is the source of tragic guilt.

Before fate begins to test Yevgeny Bazarov, reproaches of his straightforwardness will once again be heard in the novel, on behalf of Nikolai Petrovich, who has a rare sense of nature and poetry. As we have already said, Nikolai Petrovich throughout the first part of the novel is trying to reason with Pavel Petrovich, to keep him from extreme attacks against Bazarov and Arkady.

He recalls his own quarrel with the late mother, wants to assure himself and his brother that quarrels between "fathers" and "children" are inevitable and eternal: "... What to do? The pill is bitter - but you need to swallow it. Now it's our turn, and our heirs can tell us: you, they say, are not of our generation, swallow the pill. Bitter as it may seem, Nikolai Petrovich generously admits that there is an unconditional social advantage for children: “Youth? No: not only youth. Turgenev Fathers and Sons. - M.: Children's literature. - 2002. - 302 p. .

But, admitting conflicts between generations as a sad inevitability of life, Nikolai Petrovich cannot recognize as fair the denial of poetry, indifference to art, to the beauty of nature. "And he looked around, as if wishing to understand how one could not sympathize with nature. It was already evening; the sun had disappeared 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 dark narrow path along the grove itself; he was all clearly visible, all up to the patch on his shoulder, even though he was riding in the shade; the horse’s legs flickered pleasantly distinctly. The sun’s rays from their side climbed into the grove and, breaking through the thicket, poured with such a warm light that they became like pine trunks, and their foliage almost turned blue and above it rose a pale blue sky, slightly flushed with dawn. The swallows flew high; a pillar over a lone far-stretched branch. "How good, my God!" thought Nikolai Petrovich, and his favorite verses came to his lips; he remembered Arkady - and fell silent, but continued to sit, continued to betray to play the sad and joyful game of lonely thoughts" Turgenev Fathers and Sons. - M.: Children's literature. - 2002. - 302 p. .

In Bazarov's aphorism, "nature is not a temple, but a workshop, and man is a worker in it" is the truth of an active, masterly attitude to life, directed against noble romantic exaltation. But this truth turns into a blatant one-sidedness, when the laws that operate at the lower natural levels (chemistry, physiology, principles natural selection), are absolutized and turn into a universal master key, with the help of which Bazarov can easily deal with all sorts of riddles and secrets of being.

There is no love, but only a physiological attraction, there is no beauty in nature - there is only an eternal cycle of chemical processes of a single substance that everything consists of: stones, plants, animals, and humans. Evgeny Bazarov, denying romantic attitude to nature as to a temple, falls into slavery to the lower elemental forces of a soulless natural workshop: “Hey! there’s a good ant dragging a half-dead fly. Drag it, brother, drag it! as an animal, you have the right not to recognize the feelings of compassion, not like our brother, self-broken!" Turgenev Fathers and Sons. - M.: Children's literature. - 2002. - 302 p. .

In a bitter moment of life, Bazarov is inclined to consider the feeling of compassion that lives in a person as cowardice, weakness, denied by the natural laws of nature. And here he is deeply mistaken. After all, besides the truth of physiological laws, there is another truth - the truth of human spiritualized naturalness. And if a person wants to be a worker in the workshop of nature, he must reckon with the fact that nature at its highest levels is a temple, not a workshop.

The dreams of Nikolai Petrovich, the woeful and gratifying game of lonely thoughts - a direct challenge to the earthiness of Bazarov's view of man and nature. Dreams are not just fun, but a natural human need, no matter how romantically daring they may seem, no matter how far fantasy flies to sky-high heights. The very inclination to dream is one of the mighty manifestations of the creative power of the human spirit, inspiring one to work in the temple of nature, to the practical realization of the most fantastic at first glance hopes.

Isn't nature's power amazing human memory, in the hours of solitude resurrecting the past with amazingly tangible visibility and fullness of life?! Isn’t it just, isn’t it legitimate that a person’s deep dissatisfaction with the transience of each separate life"But," thought Nikolai Petrovich Kirsanov, "those sweet, first moments, why shouldn't they live an eternal, undying life?" He did not try to make his thought clear to himself, but felt that he wanted to hold on to that blissful time with something stronger than memory; he wanted to again feel the closeness of his Mary, to feel her warmth and breath ... "Turgenev Fathers and children. - M .: Children's literature. - 2002. - 302 p.

So the mighty forces of beauty and harmony, artistic fantasy, love, art stand in the way of Bazarov. In the eleventh chapter of Turgenev's novel, these forces give Bazarov last warning: "Oh, how Bazarov would have laughed at him if he had known what was going on in him then! Arkady himself would have condemned him. He, a forty-four-year-old man, an agronomist and a landlord, had tears welling up, causeless tears; it was a hundred times worse than the cello." "What you laugh at is what you serve - the bitter cup of this life wisdom Evgeny Bazarov is destined to drink in full Lebedev Yu. V. Turgenev / Yu. V. Lebedev. - M .: Mol. Guard, 1990. - 607 p. people: series biogr.; 706).

CONCLUSION

“Fathers and Sons” by Turgenev is a socio-psychological novel, in which the main place is given to social conflicts. The work is built on the opposition of the protagonist - the commoner Bazarov and other characters. In clashes between Bazarov and other characters, the main character traits of the hero, his views are revealed.

The main antagonist of Bazarov is Pavel Petrovich Kirsanov. The conflict between them begins immediately after Bazarov arrives at the Kirsanovs' house. Already portrait characteristic indicates that it is completely different people. When describing the appearance of Bazarov and Pavel Petrovich, the author uses a detailed portrait, designed mainly for the viewer's impression of Byaly G.A. Turgenev and Russian realism. - M.-L.: Soviet writer, 1962. .

In the novel "Fathers and Sons" the main role is played by political disputes, revealed through dialogue. It was with the help of dialogue that the author managed to reflect the ideological struggle, to highlight the urgent problems of his time from different points of view. Dialogue is also an important means of characterizing the protagonist. In dialogues with Pavel Petrovich, Arkady, Odintsova, the views of the hero and his character are revealed.

So everything artistic means of the novel are subordinated to its genre originality and aimed at revealing its ideological content. The attitude of the author to his characters is not easy at all. It has already been noted that, wanting to punish the children, Turgenev flogged the fathers. But the main thing that he remarkably managed to show is the replacement of obsolete forms of consciousness by new ones, the tragic situation of people who are the first to utter the word: "Forward!"

LIST OF USED LITERATURE

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4. Borev Yu. B. On the tragic. - M., 1961.

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7. Life of Turgenev // Zaitsev B. Far. - M., 1991.

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