Turgenev's novel "Fathers and Sons" reveals several problems at once. One reflects the conflict of generations and clearly demonstrates a way to get out of it, preserving the main thing - the value of the family. The second one demonstrates the processes taking place in the society of that time. Through dialogues and skillfully crafted images of heroes, a type of public figure that has barely begun to emerge is presented, denying all the foundations of the existing statehood and ridiculing such moral and ethical values as love feelings and sincere affection.
Ivan Sergeevich himself does not take sides in the work. As an author, he condemns both the nobility and representatives of new social and political movements, clearly showing that the value of life and sincere affection is much higher than rebelliousness and political passions.
History of creation
Of all the works of Turgenev, the novel "Fathers and Sons" was the only one written in a short time. From the moment the idea was born to the first publication of the manuscript, only two years passed.
The first thoughts about the new story came to the writer in August 1860 during his stay in England on the Isle of Wight. This was facilitated by Turgenev's acquaintance with a provincial young doctor. Fate pushed them in bad weather on the railway and under the pressure of circumstances, they talked with Ivan Sergeevich all night. New acquaintances were shown those ideas that the reader could later observe in Bazarov's speeches. The doctor became the prototype of the main character.
(The Kirsanov estate from the film "Fathers and Sons", the location of the filming is the Fryanovo estate, 1983)
In the autumn of the same year, upon his return to Paris, Turgenev worked out the plot of the novel and began writing chapters. Within six months, half of the manuscript was ready, and he finished it after his arrival in Russia, in the middle of the summer of 1861.
Until the spring of 1862, reading his novel to friends and giving the manuscript for reading to the editor of the Russian Messenger, Turgenev made corrections to the work. In March of the same year, the novel was published. This version was slightly different from the edition that was published six months later. In it, Bazarov was presented in a more unsightly light and the image of the main character was a bit repulsive.
Analysis of the work
Main plot
The protagonist of the novel, the nihilist Bazarov, together with the young nobleman Arkady Kirsanov, arrives at the Kirsanovs' estate, where the protagonist meets his friend's father and uncle.
Pavel Petrovich is a refined aristocrat who absolutely does not like either Bazarov or the ideas and values he shows. Bazarov also does not remain in debt, and no less actively and passionately, he speaks out against the values and morals of the old people.
After that, young people get acquainted with the recently widowed Anna Odintsova. They both fall in love with her, but temporarily hide it not only from the object of adoration, but also from each other. The protagonist is ashamed to admit that he, who spoke vehemently against romanticism and love affection, now suffers from these feelings himself.
The young nobleman begins to be jealous of the lady of the heart for Bazarov, there are omissions between friends and, as a result, Bazarov tells Anna about his feelings. Odintsova prefers him a quiet life and a marriage of convenience.
Gradually, relations between Bazarov and Arkady deteriorate, and Arkady himself is fond of Anna's younger sister Ekaterina.
Relations between the older generation of the Kirsanovs and Bazarov are heating up, it comes to a duel, in which Pavel Petrovich is injured. This puts a bullet between Arkady and Bazarov, and the main character has to return to his father's house. There he becomes infected with a deadly disease and dies in the arms of his own parents.
At the end of the novel, Anna Sergeevna Odintsova marries for convenience, Arkady and Ekaterina, as well as Fenechka and Nikolai Petrovich, marry. They play their weddings on the same day. Uncle Arkady leaves the estate and goes to live abroad.
Heroes of Turgenev's novel
Evgeny Vasilyevich Bazarov
Bazarov is a medical student, by social status, a simple man, the son of a military doctor. He is seriously interested in the natural sciences, shares the beliefs of nihilists and denies romantic attachments. He is self-confident, proud, ironic and mocking. Bazarov does not like to talk much.
In addition to love, the protagonist does not share admiration for art, has little faith in medicine, regardless of the education he receives. Not referring to himself as a romantic nature, Bazarov loves beautiful women and, at the same time, despises them.
The most interesting moment in the novel is when the hero himself begins to experience those feelings, the existence of which he denied and ridiculed. Turgenev clearly demonstrates the intrapersonal conflict, at the moment when the feelings and beliefs of a person diverge.
Arkady Nikolaevich Kirsanov
One of the central characters of Turgenev's novel is a young and educated nobleman. He is only 23 years old and barely graduated from university. Due to his youth and temperament, he is naive and easily falls under the influence of Bazarov. Outwardly, he shares the beliefs of the nihilists, but in his heart, and further in the story it is clear, he appears as a generous, gentle and very sentimental young man. Over time, the hero himself understands this.
Unlike Bazarov, Arkady likes to speak a lot and beautifully, he is emotional, cheerful and values affection. He believes in marriage. Despite the conflict between fathers and children shown at the beginning of the novel, Arkady loves both his uncle and his father.
Odintsova Anna Sergeevna is an early widowed rich person who at one time married not out of love, but out of calculation in order to save herself from poverty. One of the main characters of the novel loves peace and her own independence. She never loved anyone and never became attached to anyone.
For the main characters, she looks beautiful and inaccessible, because she does not reciprocate with anyone. Even after the death of the hero, she remarries, and again by calculation.
The younger sister of the widow Odintsova, Katya, is very young. She is only 20 years old. Catherine is one of the most endearing and pleasant characters in the novel. She is kind, sociable, observant and at the same time demonstrates independence and obstinacy, which only paint a young lady. She comes from a family of poor nobles. Her parents died when she was only 12 years old. Since then, she has been raised by her older sister, Anna. Ekaterina is afraid of her and feels uncomfortable under the gaze of Odintsova.
The girl loves nature, thinks a lot, she is direct and not flirtatious.
Father of Arkady (brother of Pavel Petrovich Kirsanov). Widower. He is 44 years old, he is a completely harmless person and an undemanding owner. He is soft, kind, attached to his son. By nature, he is a romantic, he likes music, nature, poetry. Nikolai Petrovich loves a quiet, calm, measured life in the countryside.
At one time he married for love and lived happily in marriage until his wife died. For many years he could not come to his senses after the death of his beloved, but over the years he found love again and she became Fenechka, a simple and poor girl.
Refined aristocrat, 45 years old, uncle of Arkady. At one time he served as an officer of the guard, but because of Princess R. his life changed. A secular lion in the past, a heartthrob who easily won the love of women. All his life he built in the English style, read newspapers in a foreign language, conducted business and life.
Kirsanov is a clear adherent of liberal views and a man of principles. He is self-confident, proud and mocking. Love at one time knocked him down, and from a lover of noisy companies, he became an ardent misanthrope who in every possible way avoided the company of people. In his heart, the hero is unhappy and at the end of the novel he finds himself far from his loved ones.
Analysis of the plot of the novel
The main plot of Turgenev's novel, which has become classic, is Bazarov's conflict with the society in which he found himself by the will of fate. A society that does not support his views and ideals.
The conditional plot of the plot is the appearance of the main character in the Kirsanovs' house. In the course of communication with other characters, conflicts and clashes of views are demonstrated, which test Evgeny's beliefs for stamina. This also happens within the framework of the main love line - in the relationship between Bazarov and Odintsova.
Contradiction is the main technique that the author used when writing the novel. It is reflected not only in its title and is demonstrated in the conflict, but also reflected in the repetition of the protagonist's route. Bazarov ends up twice on the Kirsanovs' estate, visits Odintsova twice, and also returns twice to his parents' house.
The denouement of the plot is the death of the protagonist, with which the writer wanted to demonstrate the collapse of the thoughts expressed by the hero throughout the novel.
In his work, Turgenev clearly showed that in the cycle of all ideologies and political disputes there is a large, complex and diverse life, where traditional values, nature, art, love and sincere, deep affections always win.
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TURGENEV- FATHERSAndCHILDREN
turgenev fathers children novel
Introduction
2. Bazarov is one of the main characters of the controversy
Conclusion
List of used literature
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. The brilliant writer sees the need for changes in Russian society and the unwillingness of this society to do something new. 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. The artistic world of 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.
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.
1. Roman Turgenev "Fathers and Sons"
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, the leading social role was claimed by the nobility, 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 protagonist of the 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 remarkably strong, but at the same time infinitely unhappy. Probably, this is the lot of any outstanding person. Yes, and Bazarov himself does not strive to please people, rather the opposite. According to his own remark, "a real person is one about whom there is nothing to think about, but whom one must listen to or hate." His like-minded people, recognizing Bazarov as a strong personality, are only capable of worship, not claiming more. And this Bazarov just 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 cannot imagine otherwise, and this gives him strength in the “fight” with the enemy, who can only oppose him with his powerful personality. But despite the obviousness that Bazarov is wrong, his uncompromising struggle is admirable.
Over the course of the novel, Bazarov's personality is more and more respected, it is clear that the author himself bows to the strength of the spirit 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 do not offer anything in return, hoping for the Russian "maybe".
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 an ordinary woman, among whom "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 stability is an indispensable condition for achieving spiritual and moral ideals.
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, where he again suffers a blow of fate. 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 "a 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. Bazarov one from major heroes controversy
The novel by I.S. Turgenev "Fathers and Sons" caused a lot of articles, poetic and prose parodies, epigrams, caricatures. The main object of disagreement was the hero of Turgenev - Yevgeny Bazarov. The disputes continued for many years, and their passion did not weaken. Obviously, the problems of the novel remained topical for subsequent generations Lebedev Yu. V. Turgenev / Yu.V. Lebedev. - M.: Mol. guard, 1990. - 607 p. - (Life of remarkable people: ser. biogr.; 706). .
In the novel, a characteristic feature of Turgenev's talent, who, according to his contemporaries, had a special flair for guessing the emerging movement in society, was expressed with exceptional sharpness. The topicality of the novel consisted not only in the depiction of a new person, but also in the fact that Turgenev captured pictures of the sharp, uncompromising struggle of social camps hostile to each other - "fathers" and "children". In fact, it was a struggle between liberals and revolutionary democrats.
The breath of the era, its typical features are felt in the central images of the novel and in the historical background against which the action unfolds. The period of preparation for the peasant reform, the deep social contradictions of that time, the struggle of social forces in the era of the 60s - this is what was reflected in the images of the novel, made up its historical background and the essence of its main conflict.
The amazing laconism of Turgenev's style is striking: all this huge material fits within the framework of a very small novel. The writer does not give extended canvases, broad pictures, does not introduce a large number of actors. He selects only the most characteristic, the most essential.
The image of Bazarov occupies a central place in the novel. Of the 28 chapters, Bazarov does not appear in only two, in the rest he is the main character. All the main characters of the novel are grouped around him, revealed in their relationship with him, sharper and more prominently set off certain features of his appearance. At the same time, the story of the hero's life is not covered in the novel. Only one period of this history is taken, only its turning points are shown.
An artistic detail - accurate, impressive - helps the writer to briefly and convincingly tell about people, about the life of the country in one of the turning points in its history. With well-aimed strokes, using meaningful details, Turgenev depicts the crisis of serfdom. Having introduced us to his heroes, the writer sketches a picture of the life of the people. We see "villages with low huts under dark, often up to half-scattered roofs" ("villages", "huts" - the very form of these words speaks of a meager, beggarly life). It can be assumed that hungry cattle have to be fed with straw from the roofs. The following comparison speaks volumes: "like beggars in rags, roadside willows with peeled bark and broken branches stood." Peasant cows, "thin, rough, as if gnawed," greedily nibble on the first grass. And here are the men themselves - "shabby, on bad nags." Their economy is meager, beggarly - "crooked threshing sheds", "empty threshing floors" ...
Turgenev will no longer depict the poverty of the people, but the picture of a hungry pre-reform village that appeared before us at the beginning of the novel makes such a strong impression that there is nothing to add to it. And immediately a bitter reflection arises: “No ... this poor region, it does not strike either with contentment or hard work; it is impossible, it is impossible for it to remain like this, transformations are necessary ... but how to fulfill them, how to start? ..”
This question worries the heroes of the novel. Nikolai Petrovich Kirsanov talks about "the forthcoming government measures, about committees, about deputies, about the need to start cars ...". Pavel Petrovich Kirsanov places his hopes on the wisdom of the government and on the patriarchal morals of the people's community.
But we feel that the people themselves do not trust the landowners, they are hostile to them, rebellious forces are accumulating in them, and the gulf between serfs and serf-owners is deepening. How typical are Nikolai Petrovich's complaints about hired workers, about employees from the freedmen, about peasants who do not want to pay dues; and how aloof, unfriendly they meet a young gentleman in Maryino (“the crowd of courtyards did not pour out onto the porch”).
The picture of pre-reform Russia is completed by the author's bitter, as if inadvertently dropped remark: "Nowhere does time run so fast as in Russia; in prison, they say, it runs even faster."
And against the background of this poverty, a slavish, unsettled life, the mighty figure of Bazarov looms. This is a man of a new generation, who replaced the "fathers" who were unable to solve the main problems of the era of Byaly G. Turgenev's novels // Turgenev I.S. Fathers and children - M .: Children's literature, 1990. - 160 p. .
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 a portrait characteristic indicates that these are 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. .
Despite the fact that social conflicts occupy the main place in the work, there is also a love affair in it, but, compressed by political disputes, it fits into five chapters. The constraint of love intrigue by collisions was also reflected in the placement of its individual parts, contributed to the convergence of the plot with the climax, and the climax with the denouement. The climax of the love affair is shown in chapter XIII. Here is an explanation of Bazarov and Odintsova, after which the author separates them until the end of the novel. However, despite the compactness of the love affair, it will play an important role in characterizing the hero. Already in the fact that Turgenev forced his hero to fail in love, there is an intention of the writer to debunk Bazarov.
The hero begins to express pessimistic thoughts, loses self-confidence, even his habits and manners change: “... the fever of work jumped off him and was replaced by dreary boredom and deaf anxiety. A strange fatigue was noticed in all his movements, even his gait, firm and swiftly bold, changed. The author, as it were, leads the hero down the line, gradually depriving him of self-confidence, in the need for his activity. The hero seems to be fading away, his convictions are melting. In the scene of Bazarov's death, an image of a fading lamp appears, which acts as an allegory of the hero's fate. In the epilogue of the novel, the author places a landscape that, according to Herzen, resembles a requiem.
Here Turgenev sums up the final result of Bazarov's life, showing how his personality dissolves against the backdrop of eternal nature: “No matter how passionate, sinful, rebellious the heart is hidden in the grave, the flowers growing on it serenely look at us with their innocent eyes; they tell us not only about eternal tranquility, about that great tranquility of “indifferent” nature, they also speak about eternal reconciliation and endless life ... ”Thus, the landscape in the novel is an important means of reflecting the author's position. With the help of the landscape, Turgenev also expresses his attitude to Bazarov's statement that nature is not a temple, but a workshop, contrasting him with a poetic picture of a summer evening.
It should be noted that in the novel "Fathers and Sons" there are much fewer descriptions of nature and lyrical digressions than in Turgenev's other works. This is explained by the very genre of the socio-psychological novel, in which 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.
The author also uses a speech characteristic. In a conversation, Bazarov is always brief, but his remarks are filled with deep meaning, they testify to the erudition and wit of the hero. Bazarov often uses proverbs and sayings, for example: “He burned himself with his own milk, he blows on someone else’s water”, “A Russian peasant will devour God.” Bazarov's speech, as well as his portrait, testifies to the hero's democracy. No less important is the speech characteristic for revealing the image of Pavel Petrovich Kirsanov. In the speech of Pavel Petrovich there are many specific words and expressions characteristic of the estate-landowner lexicon of the 19th century.
The author himself explains the peculiarities of his speech: “This quirk reflected the remainder of the legends of Alexander's time. The aces of that time, in rare cases, when they spoke their native language, used one - efto, others - ehto: we, mine, are native Russians, and at the same time we are nobles who are allowed to neglect school rules ... ”Turgenev I.S. . Collected works. - M .: Goslitizdat. - 1961. The speech characteristic of Pavel Petrovich suggests that he is a man of the "old age".
Thus, all the artistic means of the novel are subordinate to its genre originality and are aimed at revealing its ideological content.
List of used literature
1. Batyuto A.I. I.S. Turgenev is a novelist. L.: 1999. 122 p.
2. Byaly G. Turgenev's novels // Turgenev I.S. Fathers and Sons. M.: Children's literature, 1990. 160 p.
4. Life of Turgenev // Zaitsev B. Far. M., 1991.
5. Life and work of Turgenev: lit. biogr. / A.N. Redkin. M.: Friendship of peoples, 2000. 221 p.
6. Clement M. K. Chronicle of the life and work of I. S. Turgenev. M.; L., 1934.
7. Lebedev Yu. V. Turgenev / Yu.V. Lebedev. M.: Mol. guard, 1990. 607 p. (Life of remarkable people: ser. biogr.; 706).
8. Chronicle of the life and work of I. S. Turgenev (1818-1858) / Comp. N. S. Nikitina. SPb., 1995.
9. Turgenev I.S. Collected works. Moscow: Goslitizdat. 1961.
10. Turgenev Fathers and children. M.: Children's literature. 2002. 302 p.
11. Turgenev I. S. Favorites. Novels. Moscow: Synergy. 2002. 528 p.
12. Shatalov S.E. The artistic world of I.S. Turgenev. M.: 2003. 212 p.
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Biography of I.S. Turgenev. The novel "Rudin" is a dispute about the attitude of the noble intelligentsia to the people. The main idea of the "Noble Nest". Turgenev's revolutionary moods - the novel "On the Eve". "Fathers and Sons" - a controversy about the novel. The value of Turgenev's work.
abstract, added 06/13/2009
Ivan Sergeevich Turgenev wanted to reunite Russian society with his novel Fathers and Sons. But I got exactly the opposite result. Discussions began: is Bazarov bad, good? Insulted by these discussions, Turgenev left for Paris.
That is why it is called so because the value of each work included in its fund is time-tested. Shakespeare's tragedies, da Vinci's paintings, Schnittke's music, Rodin's sculptures can be listed for a long time, because the list of mankind's achievements created during its existence and development is really long and rich. And representatives of Russian culture can be proud that their great compatriot, Ivan Sergeevich Turgenev, occupies one of the first places of honor among the recognized authors of the world and
Russian novel creator
Yes exactly. Of course, even before Turgenev, there were many talented novelists in Russian literature. The “Encyclopedia of Russian Life” in verse, written by Pushkin, of a whole generation, created by Lermontov in his “Hero ...”, and many other wonderful works gave food to the mind and heart of a Russian person, educated, developed, explained, contributed to the formation of spiritually mature personalities, patriots of their homeland. But it was Turgenev who brought the Russian novel into the open spaces of world literature, introduced foreign readers to the uniqueness of our culture, way of life, and history. Brevity, extraordinary expressiveness of the language, intensity of the plot, reflection of the most important socio-political moments in the life of society, the ideological struggle characteristic of Russian reality, the deepest psychologism and the amazing skill of a true artist - these are the distinguishing features of Turgenev the novelist and his best creations. Thanks to Ivan Sergeevich, the foreign public and critics learned about this amazing phenomenon - “Russian literature”, “Russian novel”. The author's most important and favorite brainchild was Fathers and Sons. The meaning of the work reflected not only the complexity of family, social, civil and human relations in general, but also Turgenev's point of view on these issues.
Why fathers and children
The position of the author in the novel is not directly stated. But it is quite easy to determine if you carefully look at the composition of the work, analyze the language of the characters, the system of images, and identify the role of individual elements, such as landscape, in the novel. By the way, this is what Fathers and Sons is very interesting for. The meaning of the work is already in the title, and the main artistic device of opposition, or antithesis, can be traced throughout the entire novel.
So why fathers and why children? Because the family is a small cross-section of the whole society, and it, like in a mirror, reflects those most complex, sometimes dramatic collisions that shake and fever By the time the idea was born and the novel itself was written, life, according to the critic Belinsky, “ran into depth and width" in a huge variety of its elements. This variety of forms allows us to see and understand "Fathers and Sons". The meaning of the work is revealed in the conflict between generations, in views on politics, religion, science, art, social world order and world order. No less striking is the class conflict, which escalated against the backdrop of a tough confrontation between social forces and problems. The attentive reader, passing from chapter to chapter, more and more clearly understands the metaphorical nature of the title "Fathers and Sons". The meaning of the work is not only to show the continuity and division of generations (the universal aspect), but also to reveal the opposition of established views and opinions and new ones that replace the old ones.
Family thought
Let's analyze first the "family thought" in the novel. It is worth noting that the theme of the family is generally characteristic of Turgenev. Throughout his independent life, the writer lived "on the edge of someone else's nest", and he had a rather complicated relationship with his mother. That is probably why Ivan Sergeevich cherished the warmth of the hearth, the harmony of relationships between older and younger generations. The work "Fathers and Sons" affirms those eternal values, without which, in fact, progress cannot move forward. This is shown on the example of the Kirsanov family. Arkady, a representative of the young and progressive generation, although he is under the influence of Bazarov, is still closely connected with his relatives. Even upon arrival in his father's land, he exclaims that here the air is sweeter and more and more expensive and closer than in the capital. Making an excursion into the past of his heroes, Turgenev says that Kirsanov the father constantly tried to get close to his son, share his interests, live what Arkady lives, get to know his friends, try to understand the new generation that is coming to replace his peers. The work "Fathers and Sons", as already mentioned, is a novel-antithesis. But, although Bazarov is an ardent opponent of the whole past, including “fathers”, although he is outwardly rude with his father and mother and openly ridicules and despises the “old Kirsanovs”, the feeling of kinship is not alien to him. Thus, the bonds are sacred for Turgenev. Welcoming the new time, the writer believes that it is impossible to completely negate the achievements of past eras, including
New and old
The meaning of the novel "Fathers and Sons" is wider and deeper than the above question. Yes, indeed, the younger generation, with its inherent maximalism, often considers itself smarter, more progressive, more talented, more capable of significant deeds and more useful for the country than those whose age is nearing its end. Alas, but by and large it is. Both Nikolai Petrovich and Petr Petrovich Kirsanov, educated people and thinking in a modern way, nevertheless, in many respects, lagged behind the age uncontrollably flying forward. New scientific thoughts, technical achievements, political ideas are difficult for them to understand and difficult to accept in their everyday life. But does this mean that the past should be completely destroyed, forgotten, abandoned, “cleared out,” as Bazarov puts it? And what then to build in a new place, on an empty one? The nihilist Yevgeny cannot draw a detailed picture - apparently he does not know it himself, does not imagine it. And the author rightly saw the meaning of the novel “Fathers and Sons” not only in criticizing the ugliness of Russian reality, the rotten system of social, and often human relations, but also in proving that it is impossible to completely abandon the past. Human civilizations succeeded one another, and each was based on the achievements of the previous one.
The ideological and aesthetic concept of the novel
What else is Fathers and Sons about? written in 3 stages. The first one dates back to 1860-1861, when the main text was created, the plot and figurative system were formed. The second refers to the autumn of 1861 - the beginning of the winter of 1862. At this time, the writer is actively reworking the text, making plot and compositional corrections, expanding the range of issues covered in accordance with the political changes in the country. And, finally, in the period from February to September 1862, the final revisions and the first publication in the Russkiy Vestnik of the work Fathers and Sons. The problematics of the novel is a vivid picture of the rise of the movement of raznochintsy, revolutionary democrats; showing a new, just emerging type of nihilist public figure, questioning all the foundations of the Russian state. The story of the life of the rebel Bazarov, criticism of the immorality of nihilism, the conflict between conservative liberals and revolutionary-minded progressives, the disclosure of philosophical, spiritual, religious, ethical and aesthetic, moral conflicts fit on 238 sheets of neat Turgenev's handwriting.
What did the author want to say and what effect did he have?
It is impossible to understand what the meaning of the novel "Fathers and Sons" is without revealing the image of the main character - the nihilist Yevgeny Bazarov. The author himself noted that he saw a figure strong, vicious, wild and indomitable, honest, coming out of the people, but doomed to death, because the time of the Bazarovs had not yet come. He admitted that he did not know whether he loved or hated the image he had created. After all, the writer sought to criticize, first of all, the nobility as a once advanced, and now obsolete, conservative class, hindering the economic and political development of the country. But Bazarov came to the fore, and it was about this hero that controversy unfolded in domestic criticism. Some considered the main character an evil caricature, a pamphlet on the younger generation. Others, picking up Turgenev's word "nihilist", began to call them all kinds of atrocities, political unrest, produced by the students. And the name of Bazarov became synonymous with one of the names of the devil - Asmodeus. Still others, picking up revolutionary ideas, elevated Yevgeny Vasilyevich to the rank of their spiritual leader. Turgenev did not share the ideas of either one, or the second, or the third. This was one of the reasons for the ideological split between the writer and the staff of Sovremennik.
The victory of life over ideology
Yes, Ivan Sergeevich, with all his sincere sympathy for the nobility and compassion for Bazarov, condemned both one and the other. In the novel, he proved that life is more complex and diverse than all ideologies, political disputes, and it cannot be put into one. Nature, love, sincere affection, the regenerating and ennobling power of art, patriotism will triumph over any "passionate, sinful, rebellious heart." And to this day, the fate of the heroes of the work interests and excites us, gives rise to disputes, encourages us to try to understand as deeply as possible and teach everyone to be a Human. And this is the main sign of the great classical works.
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 revolts, and an 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 destined for a military fate, but the case changed everything - on the very day when the news of his appointment 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. In general, he is not a public person, and therefore military service would not suit him. In his 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 his dead wife, who did not wait for such a happy day - the return of her 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 very first pages, he shows himself to be an exceptionally intelligent person, trying to avoid conflicts and smooth out sharp corners in relationships.
He tried, following the times, to reflect new social types and new prevailing interests, tasks and goals of life. Himself a man of the 1840s, with strong sympathies towards the idealism that his peers were imbued with, Turgenev tried to portray new people who were alien to him in spirit, but who interested him as an artist and aroused sympathy in him. The images of “superfluous people” characteristic of the recent past have now finally been replaced by our Russian practitioner and businessman, ardently rushing to work and fiercely struggling with obstacles to work. New socio-political trends, the proximity of reforms stirred up society. Broad plans were outlined, huge tasks were set. The moods of past years and the daydreaming, pessimism, contemplation, bifurcation, love of poetry and abstract philosophy associated with them - now, at the turn of the 1850s and 60s, were ready to be cursed as a means of distraction from pressing tasks. They went from one extreme to the other. This was a natural reaction to the exclusivity of the bookish and literary interests of the previous era.
Fathers and Sons. Feature film based on the novel by I. S. Turgenev. 1958
Era features. Now they preached the necessity of only immediate vital affairs, tasks, the solution of which immediately brings external benefits. They ardently professed utilitarianism - the doctrine of the primacy among vital motives of the principle of utility. From the abstract heights of poetry and philosophy, they hastened to descend to the earth, to its immediate tasks and ordinary needs. It was then fashionable to show contempt for poetry and music as subjects of sentimental amusements. This attitude was justified by the fact that such important, enormous and urgent tasks were opened before the young Russian cultural society, such pictures of ignorance, suffering, arbitrariness, bribery, helplessness of the dark masses of the people, which was recognized as an unaffordable luxury to deal with questions of poetry and philosophy in view of such terrible needs of the people. life. This mood was expressed by Nekrasov in his famous poems:
Even more ashamed in the hour of grief
The beauty of heaven, valleys and sea
And sweet sing of affection.
Negation. In order to cope with such a mass of urgent matters, it was necessary to simplify, narrow down your task, limit it to the most important. This is what the people of the 1860s tried to do, introducing the principle of asceticism into life, preaching the renunciation of much that is necessary for a person’s personal life, in the name of fulfilling a severe duty. Poetry and speculative philosophy were persecuted. In connection with the general sober rationalistic spirit of the era, interest in the natural sciences and in the philosophy of materialism and positive. All the views and sympathies of the old cultured Russian man of the 1830s and 1840s - his aestheticism, dreaminess, idealism - all this was reassessed and denied.
Turgenev's attitude. An aesthete and an artist at heart, who worshiped beauty, who considered it one of the main forces in arranging the best forms of life, Turgenev could not sympathize with the new direction entirely and had to meet with some horror this “destruction of aesthetics”, “overthrow of Pushkin”, etc. But as an artist, Turgenev studied the new type that entered Russian life, treated him impartially and, reproducing him in his novel, demonstrated respect and sympathy for some aspects of the personality of his harsh hero. He portrayed this type in the face of Bazarov.
But, apparently, it was precisely the fact that this type was not a phenomenon of the past, but of current days, that here the writer touched on the sincere ideals and traits of a contemporary who had not yet been ill with all this content of life, was the reason for such a passionate attitude towards the novel. An attempt to portray objectively what was the ideal of its time for the younger generation was recognized as blasphemy. And although the appearance of Bazarov is drawn seriously and artistically, criticism saw in him a caricature of the younger generation and indignantly fell upon Turgenev. The attacks were so numerous, so violent, that they made a great impression on the novelist, who was already thinking of giving up his pen. However, later Pisarev saw in Bazarov the true embodiment of the ideal type of his time.
Bazarov. Bazarov is a type of denier of the former moral and mental foundations. He wants to serve society, science, and takes into account the tasks and interests of his simple and rough life, denying the whole way of the nobility. He preaches a "sober" attitude to life, denying poetry, religion, love, reducing everything to physiology. His principle of equality of all people is based precisely on the simplification of life, on the reduction of everything in it to physiology. And its requirements in relation to a person consist in one thing: do a useful, real work, contribute to the solution of the immediate problems of material life.
Reverently treating Bazarov as a teacher, Arkady Kirsanov introduces into the confession of his ideas that enthusiasm and that youthful idealism that Bazarov denies. But he himself does not withstand the predetermined program and falls into contradiction with himself. He gets entangled in the nets of that very "romance" - love - to which he treated so contemptuously. Having fallen in love with Odintsova, Bazarov, against his will, experiences everything that he rejected, as a whim of the nobility, as “nonsense” and “rotten”. Denying love for his parents in theory, he suppresses with all his might the reciprocal feeling to the selfless devotion and love of the old people for him.
Here Turgenev clearly reveals the lies of the Bazarov theorist. In general, despite the integrity and strength of his nature, Bazarov often seems to lose ground under himself, because he vaguely feels that the youthful extreme of his views, his paradoxes, contradicts the simple and eternal logic of life itself. Taking up arms against idealism in human life, against beauty, poetry, against higher speculation, against love, he tries to fight the eternal laws of reality, which forces him to obey them.
