From the very beginning of his work, with the “Notes of a Hunter”, Turgenev became famous as a master of landscape. Critics unanimously noted that Turgenev's landscape is always detailed and true, he looks at nature not just with the eyes of an observer, but of a knowledgeable person ....

“In depicting nature, Turgenev went further than Pushkin. He perceives his accuracy and fidelity in descriptions of natural phenomena... But compared to Pushkin's, Turgenev's landscape is more psychological. Turgenev's nature itself lives, breathes, changes in everyone...

Youth is the time to learn wisdom, old age is the time to apply it. J.-J. Rousseau Arkady Kirsanov, having spent a day at the Bazarovs' estate, asks his older teacher friend if he loves his parents, and receives a direct answer: "I love you, Arkady" ...

Lesson objectives: Educational - deepening students' knowledge about the character of the protagonist by comparing him with other characters in the novel through the disclosure of their complex relationships; Educational - education of a culture of feelings, a serious attitude ...

The central place in Turgenev's novel "Fathers and Sons" is occupied by Evgeny Vasilyevich Bazarov. It is the focus of the novel. Bazarov is the son of a county doctor, a nihilist who studied the exact sciences and medicine. The father could not fully provide for his son, ...

1. New!

   Already in the first episode of Turgenev's novel "Fathers and Sons" the most important themes, ideas, artistic techniques of Turgenev are outlined; an attempt to analyze them is the first step towards comprehending the artistic world of a work in its systemic integrity. One of the episodes...

Each generation considers itself
smarter than the previous one, and
wiser than the next.

D. Orwell

Plan

  The novel by I.S.Turgenev is truly a masterpiece of Russian literature. The work is distinguished by the formulation of the most important social, philosophical, ethical issues of its time. The central position in the novel is occupied by Evgeny Bazarov. The novel shows a new type of progressive raznochinets, democrat Bazarov, "a man of deeds, not words." He is a representative of the new young generation. This is a practical person, ideals and authorities do not exist for him, because he does not meet his equals and has his own convictions for everything. “I don’t support anyone’s opinions, I have my own,” Bazarov says semi-contemptuously. In terms of his mental merits, Bazarov is much higher than his environment. Passion for science, the desire to get to the bottom of the truth, a broad outlook and a critical attitude to reality, self-esteem - these are the characteristic features of Yevgeny Bazarov. This is a person from another world, from another environment. Turgenev showed his hero as a loner, who later understands that his "nihilism" is a pathetic imitation of a strong personality. The author himself was not satisfied with either the camp of "fathers" or "children". He could not love Bazarov, but he recognized his strength and paid him a tribute full of respect. Turgenev does not fully sympathize with any of his characters. Representatives of the past generation are depicted with merciless fidelity. They are good people, but Russia will not regret these good people.

  People like Bazarov are adamant, true to their ideals, self-confident, energetic and active, honest and sincerely devoted to their work, irreplaceable in any society. Neither Pushkin's Onegins, nor Lermontov's Pechorins, striving for self-affirmation, realizing their capabilities, but not seeing them worthy of application, namely the Bazarovs, who know what needs to be changed in society at the moment, contribute to social development, the movement of life forward. Bazarov himself says that Russia needs a shoemaker, a tailor, a butcher, that is, people doing specific, necessary things, and not “sitting idly by and respecting themselves for it,” like Pavel Petrovich. But doesn’t Bazarov, who sees that “talking about the ulcers of society is not worth the trouble,” does not strive to benefit society by his activities, does this hero “deal with nonsense,” like most “advanced people and accusers”? Undoubtedly, Russia needs Bazarov, the owner of such rare and valuable qualities.

  But, according to Turgenev, Bazarov came to life early, he could do a lot, but "dies without doing anything." It also has negative features. Bazarov mindlessly denies all things that he does not even know and does not understand. Poetry, in his opinion, is nonsense, reading Pushkin is a waste of time, making music is ridiculous, enjoying nature is ridiculous. Love for Eugene is just a physiological need. Life makes adjustments to his views on love. Bazarov suffers deeply after the refusal of Odintsova. After that, he enters into the realm of subtle experiences, which he had not accepted before. Not a trace remains of his confidence. Passion completely captures the hero, but he finds the strength, unlike Pavel Petrovich, to break with a selfish woman, despite the tragedy of this break. Bazarov is capable of deep critical introspection and rethinking of past beliefs. And this is his strength. Rejected, he still won a moral victory. Bazarov’s farewell words contain the main meaning of his life finale: “Russia needs me? ... No, apparently, I don’t need it ...” Thus, the origins of Bazarov’s suffering are premature appearance, lack of allies and painful loneliness.

  In the stories of heroes, opposition of generations is constantly outlined. So, Bazarov says about his parents: “I think: it’s good for my parents to live in the world! Father is busy at sixty; and my mother is well: her day is so crammed with all sorts of activities, aahs and oahs, that she has no time to come to her senses, but I ... ”Nikolai Petrovich’s reflections are especially significant when he clearly realized his separation from his son. “Brother says that we are right,” he thought, “and it seems to me that they are further from the truth than we are, but at the same time I feel that there is something behind them that we do not have, some that advantage over us... Youth? No, not only youth.”

  As for the problems that arose in the novel, we can say that in society there will always be disagreements between generations. Be it matters related to nature, culture, or love. But, in my opinion, the novel deals with problems not as relations between generations, but as a whole problems of society. After all, a person who thinks in a new way, is fond of science, could not find his destiny in society. This person is Evgeny Bazarov. Yes, he was wrong, denying everything: love, art, feelings. I think, on his part, it was still youthful maximalism, for which he paid in life.

  I believe that the title of the novel "Fathers and Sons" can be interpreted in different ways. First: it is the relationship between generations. But it is also the relationship of people of different views and social status. Nobles, aristocrats, who considered themselves above all, can be attributed to one camp. On the other hand, they are opposed by one person, in the person of Evgeny Bazarov. Thus, the Kirsanovs, and Odintsova, and even the follower of Bazarov, Arkady, can be attributed to the “fathers”. In the end, he realized that it was much more convenient not to change anything, to remain in the environment of his fathers. And only one person belongs to the generation of “children”. This is Evgeny Bazarov, the image of a new generation. He found no allies and was left alone. This character died because the author himself did not know how Bazarov's life would have developed in the future. Perhaps the time has not yet come for such people. This is the main problem of society.

  Is the novel modern? Undoubtedly, because people like Bazarov will always appear, trying to somehow change the world, but society will not accept such people who are not like the rest. 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.

  A contemporary of Turgenev, the critic Pisarev saw in the novel “the deduced phenomena of life” as very close to himself, so close “that all our young generation with their aspirations and ideas can recognize themselves in the characters of this novel.” Because of what the work of I.S. Turgenev “Fathers and Sons” remains relevant today.

"Fathers and Sons" by Turgenev is a socio-psychological novel, in which the main place is given to social conflicts. The novel is set in 1859.

The novel "Fathers and Sons" was created by Turgenev in a hot time for Russia. The growth of peasant uprisings and the crisis of the serf system forced the government to abolish serfdom in 1861. In Russia, it was necessary to carry out a peasant reform. The society split into two camps: in one were revolutionary democrats , the ideologists of the peasant masses, in another - the liberal nobility, who stood for the reformist path.The liberal nobility did not put up with serfdom, but feared a peasant revolution.

The great Russian writer shows in his novel the struggle between the worldviews of these two political trends. The plot of the novel is built on the opposition of the views of Pavel Petrovich Kirsanov and Evgeny Bazarov, who are the brightest representatives of these trends. Other questions are also raised in the novel: how one should treat the people, work, science, art, what transformations are necessary for the Russian countryside.

The title already reflects one of these problems - the relationship between two generations, fathers and children. Disagreements on various issues have always existed between the youth and the older generation. So here, a representative of the younger generation, Evgeny Vasilyevich Bazarov, cannot, and does not want to understand the "fathers", their life credo, principles. He is convinced that their views on the world, on life, on relations between people are hopelessly outdated. “Yes, I will spoil them ... After all, this is all pride, lion's habits, foppery ...”. In his opinion, the main purpose of life is to work, to produce something material. That is why Bazarov has a disrespectful attitude to art, to sciences that do not have a practical basis; to "useless" nature. He believes that it is much more useful to deny what, from his point of view, deserves to be denied, than to watch indifferently from the side, not daring to do anything. “At the present time, denial is most useful - we deny,” says Bazarov.

Turgenev wrote the novel "Fathers and Sons" in the last century, but the problems raised in it are relevant in our time. What to choose: contemplation or action? How to relate to art, to love? Is the generation of fathers right? These questions must be addressed by each new generation. And, perhaps, it is the impossibility of solving them once and for all that drives life.

13. Oblomov and Oblomovka.

Goncharov's novel "Oblomov" has become part of humanity's solution to the problems of moral content. Already at the beginning of the novel, the author drew attention to the main feature of his hero: "The soul shone so openly and clearly in the eyes, in the smile, in every movement of the head and hands."

Indeed, Oblomov is a spiritually rich person. A nobleman of noble blood, handsome, clean. He is smart, although in him "more than any mind: an honest, faithful heart!" He endowed many heroes of the novel with his nobility. But it seems to me that the tragic significance of the novel lies in the fact that, having awakened so many people to the consciousness of spiritual beauty, the hero himself is crushed by Russian Oblomovism.

The first time we learn about Oblomovism is from a dream that Oblomov sees once again, falling asleep on his sofa. "Oblomov's Dream" is a magnificent episode that will remain in my memory for a long time. He poeticized the appearance of the hero, in this respect, "The Dream" in itself has undoubted merits as an independent work of art. It is very clear that the novel without The Dream would have been an unfinished work. "Sleep" explained a lot in the image of the main character, reconciled us with many things. Onisim Suslov, whose porch could only be reached by grasping the grass with one hand and the roof of the hut with the other, immediately became dear to the reader's heart. And a sleepy servant, blowing awake on kvass, in which flies are moving strongly, and a dog recognized as rabid only because it rushed to run from people who threatened it with pitchforks and axes. A nanny who falls asleep after a fat dinner with a premonition that Ilyusha will go to tease the goat and climb the gallery, and many other charming details.

Little Ilyusha all the time wanted to be free, take a walk on the street, play snowballs with the guys. But he never succeeds, because the entire "staff and retinue" of the Oblomov house immediately picked him up, began to shower him with worries and caresses. The day in Oblomovka passed meaninglessly, in petty worries and conversations. But the main concern of the day was the kitchen and dinner. The whole house conferred about dinner. After dinner, everyone and everything went into hibernation.
It was this life that made Oblomov the way he is. If not for Oblomovism, then maybe he grew up as a normal person, had a goal in life and would have been a full-fledged person. But at the end of his journey, Oblomov answered the question of his chosen one: “What ruined you? There is no name for this evil ... "- answers:" There is - Oblomovism!

So the hero himself determined the exceptional topicality and importance of his moral problem. Having put this confession into the hero's mouth, Goncharov was not mistaken. He found one of the most painful points of contemporary society - Oblomovism. In those same years, Russian critics rated Goncharov's novel as a work that would have a long life. And I am sure that interest in this work will not weaken as long as a person strives for moral perfection, and, alas, it is still far from it.

14. Disputes around the novel "Oblomov"

The sharp statement of N.A. Dobrolyubova about the novel "Oblomov": "The essence of Oblomov's character is in his complete inertia, which comes from apathy towards everything that is done in the world, in complete isolation from life, in lack of will, leading to the fact that he becomes the slave of every woman, every swindler who wants to take over him." In order to understand the intensity of the controversy around the novel, let us pay attention to the remark of the critic A.V. Druzhinina: "It is impossible to recognize Oblomov and not love him deeply ... Oblomov is beloved by all of us and worth boundless love ... His creator himself is infinitely devoted to Oblomov ... "Oblomov's Dream" not only illuminated, clarified and reasonably poeticized the whole face of the hero , but with a thousand invisible bonds connected him with the heart of every Russian reader. Where are the roots of this so contradictory image? The first part of the novel ends with Oblomov's question: "Why am I like this?" The answer to it is given in the wonderful "Oblomov's Dream". In it, the author himself, in a vivid picture of Oblomovka's life, explained the origin of Oblomov's character. In general, the first chapter is unusually perfect. Its extraordinary and unconstrained saturation is such that twelve pages, in essence, anticipate and exhaust the entire content of a voluminous book.

From the first lines, the portrait of Ilya Ilyich expresses not only the idea of ​​the novel, but all its shades. “The thought walked like a free bird across the face, fluttered in the eyes, settled on half-open lips, hid in the folds of the forehead, then completely disappeared, and then an even light of carelessness glimmered all over the face.” "Oblomov's Dream" is distinguished by a deep poetic feeling, despite the fact that the author's negative attitude towards the way of life and mores of Oblomovism is undoubted. What is the reason for this "contradiction"? Of course, first of all, in the fact that the narration on these pages is conducted from the point of view of Oblomov: it is in his imagination that pictures of the past so dear to him arise, it is he who evaluates the people dear to him. It is difficult to disagree with the opinion of the critic A.V. Druzhinin, a contemporary of Goncharov, that Oblomov's Dream reflected the memories of the writer's childhood, which he carried through his whole life. Goncharov himself, talking about the prototypes of the novel, spoke of the sweet feeling that seized him in his youth upon his arrival home, in Simbirsk, from Moscow: “We had a house, as they say, a full bowl of our horses, a cow, even goats and rams, chickens and ducks - all this inhabited both yards. Barns, cellars, glaciers were overflowing with stocks of flour, various millet and all kinds of provisions for food for our and extensive domestics. In a word, a whole estate, a village. " And one more thing: "and upon arrival to mine, at the end of the university course, I was doused with the same" Oblomovism "which I observed in childhood." "Dream" is a figurative and semantic key to understanding the whole work, the ideological and artistic center of the novel. The reality depicted by Goncharov extends far beyond Oblomovka, but the true capital of the "sleepy kingdom" is, of course, the family estate of Ilya Ilyich... Oblomovka's "sleepy kingdom" can be graphically depicted as a closed circle. By the way, the circle is directly related to the name of Ilya Ilyich and, consequently, to the name of the village where he spent his childhood. As you know, one of the archaic meanings of the word "oblo" is a circle, a circle.

But another meaning emerges even more clearly in the name of Ilya Ilyich, and, in our opinion, this is what the author had in mind in the first place. This is the value of the wreckage. Indeed, what is Oblomov's existence, if not a fragment of a once full and all-encompassing life? And what is Oblomovka, if not forgotten by everyone by a miracle, the surviving "blissful corner" - a fragment of the Garden of Eden? The main reason for such a loving attitude of the writer to the depicted life should be seen in the creative nature of the writer, in his understanding of literature. He conveyed to Oblomov some of his own traits ("For example, the lazy image of Oblomov in myself and in others rushed to me first of all"). However, the main thing, according to Goncharov, is that the artist's heart is always present in the creation of art: he must experience love for the layer of life that he depicts. “Goncharov attempted to put into his Ilya Ilyich the weaknesses and ailments of every person, each of us, weaknesses excusable, little excused and inexcusable. In a whole image, many good inclinations, sweet and pretty properties, also inherent in every person, were organically combined with them. And therefore Oblomov touches, worries and worries every person." In these words of the modern critic Yu. Loshchitsa - the key to understanding the enduring significance of the image of Oblomov.

"Oblomov's dream" ends the first part of the novel. In the way it is written, we see Goncharov's deep connection with the principles of the natural school. Complete alienation from the interests of the big world, "primitive laziness", conservatism - such is Oblomov's being. "Care for food was the first and main concern of life in Oblomovka," the writer emphasizes. Separation from real life, the power of a fairy tale, miracle and imagination in a fantastic plan, the perception of life as an eternal holiday - such is the inner world of the Oblomovites. Goncharov emphasizes that the Oblomovites did not know the real worries, the "hard life", they did not know "why life is given." Their ideal of life is "peace and inaction." They "demolished labor ... as a punishment." The whole pathos of their existence was concentrated in three acts of life (birth - wedding - funeral), and in the intervals between them they plunged into ordinary apathy. Any other concerns - changes and innovations - Oblomov met with stoic immobility. And therefore, nothing could break the monotony of their life, the omnipotent power over them of traditional norms of life, rituals and customs, they would have turned away with horror from another life-existence. In this atmosphere, the boy turned into a cherished, greenhouse "exotic flower", and "just like the last one under glass, he grew slowly and listlessly. Seeking manifestations of strength turned inward and drooped, withering." The novelist constantly shows how the "inquisitive attention" of a gifted boy does not miss "not a single detail, not a single feature" in the picture of domestic life. They are "indelibly cut" into his soul. "His soft mind" is saturated with "living examples and unconsciously draws a program of his life from the life around him."

How does Goncharov achieve such poetry and generalizing breadth in the image of "Sleep"? He is a master of accurate and plastic reproduction of household items, all kinds of details, postures, glances, gestures, and furnishings. He immerses his stories in a dense fabric of things, petty everyday habits, deeds and thoughts. With all this connection with the everyday details of life, he remains an invariably inspired poet, able to discover the general meaning of life in small things, find expression in them of the character of the hero and the whole social order. Every little detail in the description of the "Dream" becomes poetically palpable. It harmoniously enters the fabric of his novel, serves to reveal the idea and characters.

End of work -

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A hero of his time or an "extra man" of his era (based on I. Turgenev's novel "Fathers and Sons")

Russian literature of the 19th century had a huge impact on Russian public life, being practically the only expression of its social troubles and aspirations. The quintessence of social problems, the bearer of new ideas and trends in Russian life becomes the protagonist of literary works - the hero of his time, he, as a rule, is the “extra person” of his era.

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Endless and difficult thoughts arise in Bazarov’s head, and these “damned” questions make him more humane and spiritually richer. The “notorious” romanticism wakes up in him. His last words sound truly poetic: "Blow on the dying lamp and let it go out." So the “nihilist” Bazarov says goodbye to mortal life. Flowers on his grave call us to “eternal reconciliation and to endless life”, to faith in the omnipotence of holy devoted love.

With his novel, in that difficult time, S. Turgenev tried to reconcile two warring camps - liberals and democrats. He didn't succeed. "Fathers and Sons" deepened the gulf even further. And only time revealed all the prophetic wisdom and amazing intuition of the author. The novel, written on the topic of the day, has become an enduring value of Russian literature.