The conflict of fathers and children in the novel by I.Theneghev fathers and children (school works). Turgenev I.S.
The world is so designed that "youth" and "old age" in it mutually balance each other: old age is constrained by the gusts of inexperienced youth, youth overcomes excessive caution and conservatism of old people, pushes life ahead. Such is the ideal harmony of being and in the representation of Turgenev. It is present, of course, "shot", overcomed by the drama of the conflict between the fathers and children. The creature of this conflict lies in the very nature of things, and there is no doubt, the well-thought-out move of Turgenev, who begins the first acquaintance with Nihilism not through Bazarov, but through his student - Arkady. In Arkady Kirsanov, the most openly manifests the constant and eternal signs of youth and youth with all the advantages and disadvantages of this age. "Nihilism" Arkady is a live game of young strength, the young sense of complete freedom and independence, ease of attitude towards traditions, legends, authorities. Arcadia's conflict with Nikolai Petrovich at the beginning of the novel is also cleared of political and social complications: represented unchanged and eternal, genericity. Both heroes admire in spring. It would seem here that they come together! But at the first moment the dramatic incompatibility of their feelings is found. Arkady is a young, youthful admiration for the spring: in it the premonition of not yet implemented in the future of hopes. And Nikolai Petrovich has its own sense of spring, typical of an experienced experience, much experienced in Pushkin's mature man. Bazarov rudely interrupted Pushkin's poems about the spring in the mouths of Nikolai Petrovich, but Turgenev is confident that the readers of his novel are these verses from Evgenia Onegin on a hearing: or not rejoicing the return of those who died in the fall of sheets, we remember the bitter loss, while leasing a new noise of forests. It is clear that the thoughts of the Father are all in the past that his "spring" is far from similar to the "spring" Arkady. The resurrection of nature awakens memories of the irrevocable spring of his youth, about the mother of Arkady, who is not destined to survive the joy of meeting with his son, about the guise of life and the short-term human happiness on Earth. Nicholas Petrovich wants the Son to share these thoughts and feelings with him, but in order to seriously understand them, you must first survive them. The youth is deprived of the spiritual experience of adults and is not guilty that she is as follows. It turns out that the most intimate and intimate remains lonely in the paternal soul, incomprehensible and unrequited cheerful, inexperienced adolescence. What is the summary of the meeting? The son stayed with his delights, father - with undeveloped memories, with a bitter sense of deceived hopes. It would seem, between the Father and the Son there is an impassable abyss, which means that there is the same abyss between the "fathers" and "children" in a broad sense. And this abyss arises due to the nature of human consciousness. The drama of historical development is that human progress is made through the change of generations excluding each other. But Nature also softens this drama, and overcomes the tragic character of his mighty power of sons and parental love. Son (110) feelings imply a reverent attitude to parents who have passed a difficult life path. The feeling of sown limits the intrinsicity of egoism.
The main problem in the Romana I.S. Turgenev "Fathers and Children" is the problem of contradiction of generations, relationships between fathers and children. Turgenev considers this contradiction on both sides: with social (conflict of aristocrats and nihilists) and with philosophical (directly conflict fathers and children).
Social conflict lies in the confrontation of various layers of society: a noble class, defending existing procedures, and followers of the theory of nihilism, denying authorities, principles and values. Turgenev reveals this confrontation with the help of the images of Pavel Petrovich Kirsanova, the representative of the aristocracy, and Evgenia Vasilyevich Bazarov, a typical Nigilista.
Pavel Petrovich is a nobleman, in the past, a brilliant officer who enjoyed tremendous success in society. Everything changed his tragic love for Princess R.
After her death, he lost her hopes for happiness and moved to his brother in Marino, where he retained "all the habits of a secular lion" and aristocratic manners, not characteristic of the countryside: reading in English, habit to dress in the last fashion, careful care for appearance, etc. . For Pavel Petrovich, the aristocracy, principles and foundations of the last century, culture - what was valuable for ancestors.
Evgeny Bazarov is the absolute opposite of Pavel Petrovich. He was a smart, educated, wondered by natural sciences; It has thirst for activity, seeks to accomplish something great for his life, is capable of development. But at the same time, Eugene - the materialist, proud, is arrogant, zinicic, dismissively relates to people, an egoist, immoral. The denial of past experience, the reduction of human relations to physiological instincts, unprincipled (in accordance with Nihilism theory) emphasizes the minuses of Bazarov and aggravates them. All that spiritual, which has always been important for humanity: art, love, friendship, good, does not matter for him.
It is because of differences in views on the world, in values, in ideas, and there are clashes of these characters, and therefore aristocrats and nihilists. What is considered the aristocrats of the basis of life, nihilists are denied as an adhesive, no longer faithful and preventing progress.
Under the philosophical conflict, Turgenev implies directly conflict of generations, senior and younger. In the relations of Arkady and his father, Nikolai Petrovich Kirsanov, there are almost no significant contradictions, there is mutual understanding between them. Although at the beginning of the novel, Arkady is represented as a like-minded Bazarov, as the events develop, we see that it is much more like the father of thoughts, and his commitment to Nigilism is nothing more than an attempt to seem adext, more confident and independent. As well as for Nikolai Petrovich, love, family, friendship is important for Arkady - what makes a man happy.
Bazarov's relationship with parents is much more confusing: on the one hand, Eugene loves them, although it infrequently shows her feelings; On the other hand, Bazarov is bored with them, he cannot understand and take their lifestyle. And the Father, and the mother of Bazarov adhere to the traditional lifestyle. Eugene wanted the closest people to share his views and thoughts, and they really tried to do it, although unsuccessfully. Hence, there was a problem of misunderstanding by generations of each other.
Thus, Turgenev, who refers to the generation of "fathers", nevertheless stands on the side of the Bazar. "Turgenev did not like a merciless denial, and meanwhile, the personality of a merciless negative is a strong personality, and inspires involuntary respect for each reader," said D. Pisarev.
Updated: 2017-08-09
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The essence of the conflict in the novel
"Fathers and Sons"
In the novel " Fathers and Sons"I. S. Turgenev brightly and reliably reflected the nature of the era and those changes in Russian life, which occurred on the eve of the reforms of the 60s. The writer has shown in the work of the main public conflict of this time - he showed Essence of conflict Between the Liberals Liberals and Democratic Miscories.
The main principle of building a novel - antithesis; And this can be seen from the name of the novel, in which two generations are opposed to: the older and the youngest. But in the novel Essence of conflict It is not age-related, but ideological character, that is, not in the conflict of two generations, but in the collision of two worldviews. As antipodes are perceived in the novel by Evgeny Bazarov (the expressant of the ideas of the Democrats-Merchants) and Pavel Petrovich Kirsanov (the main defender of the worldview and the lifestyle of the liberal nobility). Their clashes and disputes constituting the basis of the scene of the novel make it possible to understand the essence of their views.
The views of Bazarov are based on nihilism, that is, denial of all that, in his opinion, is outdated or does not bring practical benefit. But the passion for nihilism brings the Bazarov to the extreme: he denies the art and literature, love and friendship, the beauty of nature and scientific theory. For him, "a decent chemist is twenty times more useful than any poet"; "Raphael is not worth a copper"; "Nature is not a temple, but a workshop, and a person in it worker." But this denial starts the hero in a dead end: it does not have a positive program, can not create anything new, he does not have real supporters and followers. Although Arkady Kirsanov also calls himself at the beginning of the novel by a nihylist, he still belongs to the camp of the "fathers" and is only under the influence of the identity of the Bazar, and then, marrying the Kate Oblovo, finally parting with his own previous beliefs. They are not true nihilists of sicks and Kukshin: they grabbed "fashionable" ideas and in fact only rejected real nihilism. Bazarov before death feels their loneliness; His early death is natural: Turgenev did not see the future for nihilists, he had other ideas about the development of Russian society.
But the main ideological opponent of Bazarov - Pavel Petrovich is also not an ideal for a writer. It is clearly ironically shown: Turgenev is ridiculed by the tendency of Senior Kirsanov to beautiful "liberal" phrases, his aristocratic sprues and noble chunge, his Englishman and reasoning about the Russian God-Russian people. Pavel Petrovich suffers a defeat not only in disputes with the bazaarov, but even on a duel, to which he himself called him. Turgenev speaks of Pavel Petrovich: "Yes, he was the dead." At the end of the novel, we learn that he lives in Germany and that the Germans themselves accept him for the Englishman; And from his love to Russia, about which he loved to speak, only an ashtray in the form of Men's Napty on his writing desk remained.
A completely different Turgenev refers to Nikolay Petrovich Kirsanov. Although the author is frightened over its "softness" and sentimentality, but sympathizes him for the love of Pushkin's poetry, understanding the music and beauty of Russian nature, goodwill and lack of a dismissive attitude towards people. He is also attracted to the fact that Nikolai Petrovich also divided his land with peasants before the reform; He started a "farm", began to use hired work and even steam mechanisms. The writer believed that the future was for such farms similar to European. Nikolai Petrovich is happy by Meino: he has a wife, loved children ... He is undoubtedly caused by our sympathies.
The writing: The essence of the conflict in the novel "Fathers and Children"
The tragic nature of the conflict in the novel "Fathers and Children"
Yu.V. Lebedev
Central Thought of "Hunter's Notes" - the harmonic unity of the viable forces of Russian society. The purpose of the Korean and the romantic mood of Kalina - these qualities of the Russian national nature are not conflict in the Turgenev book. Inspired by the thought of the unity of all the living forces of the nation, Turgenev proudly wrote about the ability of a Russian person to break himself easily: "He is engaged in little on his past and boldly looks forward. What is good - he likes himself that it is reasonable - to him and come from It goes, "he doesn't care." Essentially, the grain of the future Bazarovsk program and even the Bazav train of their sensations has already sprought here. But the Turgenevian chorine, to which this characteristic was treated, was not deprived of a heart understanding of the lyric-singing soul of Kalinic; This busy man was not alien to heart gusts, "soft like wax" poetic souls.
In the novel "Fathers and Children" the unity of the living forces of national life is exploded by the social conflict. Arkady in the eyes of the Bazarov radical - the smelter, the mismarland liberal baric. Bazarov can no longer and do not want to recognize that the soft-grateful Arcadia and the pigeon meekness of Nikolai Petrovich - also a consequence of the artistic gifting of their natures, romantic, dreamy, prone to music and poetry. These qualities of Turgenev considered the deep Russians, they endowed Kalinich, Kasyan, a cost center, famous singers in the "Hunter's Notes". They are just as organically connected with the folk life, as well as the gusts of the Bazarovsky denial. But in the "fathers and children" the unity between them disappeared, a split arose, which touched not only the political, social, but also irreversive, eternal cultural values. In the ability of the Russian person, it is easy to "break itself" Turgenev now saw not so much a great advantage as the risk of breaking the time. Therefore, the political struggle of revolutionaries-democrats with liberals, he attached wide humanistic lighting. It was about cultural continuity during the historical change of one generation to others.
Russian literature has always united the stability and strength of society with family and family relationships. Starting an affair from the image of a family conflict between the Father and the son of Kirsanov, Turgenev goes on, to clashes of a public, political nature. But the family topic in the novel persists and gives it a conflict a special depth. After all, no social, political, state forms of the human dormitory do not absorb the moral content of the family principle. On the contrary, the family began turns out to be grain and the first-axis of all complex forms of the public. It is not by chance that we live in, we call the mother-in-mother or fatherland. Relationship Fathers and Son is not closed only in blood relations, but further apply to the "sown" attitude to the past, the present and the future of the Fatherland, to those historical and moral values \u200b\u200bthat children inherit. The "paternity" in the broad sense of the word also suggests the love of the older generation to the shifting of young people, tolerance and wisdom, reasonable advice and condescension. The world is so designed that "youth" and "old age" in it mutually balance each other: old age is constrained by the gusts of inexperienced youth, youth overcomes excessive caution and conservatism of old people, pushes life ahead. Such is the ideal harmony of being and in the representation of Turgenev. It is present, of course, "shot", overcomed by the drama of the conflict between the fathers and children.
The creature of this conflict lies in the very nature of things, and there is no doubt, the well-thought-out move of Turgenev, who begins the first acquaintance with Nihilism not through Bazarov, but through his student - Arkady. In Arkady Kirsanov, the most openly manifests the constant and eternal signs of youth and youth with all the advantages and disadvantages of this age. "Nihilism" Arkady is a live game of young strength, the young sense of complete freedom and independence, ease of attitude towards traditions, legends, authorities.
Arcadia's conflict with Nikolai Petrovich at the beginning of the novel is also cleared of political and social complications: represented unchanged and eternal, genericity. Both heroes admire in spring. It would seem here that they come together! But at the first moment the dramatic incompatibility of their feelings is found. Arkady is a young, youthful admiration for the spring: in it the premonition of not yet implemented in the future of hopes. And Nikolai Petrovich has its own sense of spring, typical of an experienced experience, much experienced in Pushkin's mature man. Bazarov rudely interrupted Pushkin's poems about the spring in the mouths of Nikolai Petrovich, but Turgenev is confident that the readers of his novel are these verses from Evgeny Onegin on a hearing: or not rejoicing the return of those who died in the fall of the sheets, we remember the bitter loss, looking for a new noise of forests .. .
It is clear that the thoughts of the Father are all in the past that his "spring" is far from similar to the "spring" Arkady. The resurrection of nature awakens memories of the irrevocable spring of his youth, about the mother of Arkady, who is not destined to survive the joy of meeting with his son, about the guise of life and the short-term human happiness on Earth. Nicholas Petrovich wants the Son to share these thoughts and feelings with him, but in order to seriously understand them, you must first survive them. The youth is deprived of the spiritual experience of adults and is not guilty that she is as follows. It turns out that the most intimate and intimate remains lonely in the paternal soul, incomprehensible and unrequited cheerful, inexperienced adolescence. What is the summary of the meeting? The son stayed with his delights, father - with undeveloped memories, with a bitter sense of deceived hopes.
It would seem, between the Father and the Son there is an impassable abyss, which means that there is the same abyss between the "fathers" and "children" in a broad sense. And this abyss arises due to the nature of human consciousness. The drama of historical development is that human progress is made through the change of generations excluding each other. But Nature also softens this drama, and overcomes the tragic character of his mighty power of sons and parental love. Son (* 110) feelings imply a reverent attitude towards parents who have passed a difficult life path. The feeling of sown limits the intrinsicity of egoism. But if it happens sometimes that the child's arrogant crosses the feature of the nature allowed by her, Lyubov Fathers and Maternal with her defense and forgiveness rises to meet this arrogancy. Recall how Nikolai Petrovich behaves, facing the youth tactlessness of Arkady: "Nikolai Petrovich looked at him from under his fingers ... and something crushed him into his heart ... But he immediately accused him." Parental dedicated love is on guarding the harmony of father-sown relations.
Turgenev is because he begins his novel with a description of the clashes between the Father and the son of Kirsanov, that a certain eternal life rate is triumphant here, the usual, ordinary vital move. Kirsanov stars from the sky are not enough, this is released by him. They are equally far from the noble aristocracy and the differences. Turgenev these heroes are not interested in political, but from a universal point of view. The infertility souls of Nikolai Petrovich and Arkady retain the simplicity and everyday unassumature in the era of social storms and disasters. With their relationships at the family level, they clarify the depth of the deviation of life from the norm, from the pedestrian veins of the centuries, when this life came out of his shores.
Ruthless fights of Bazarov with Pavel Petrovich are constantly completed by the peaceful arcadic disputes with Bazarov: Arkady has been trying to cut it in the edge of a friend. The same role in Pavel Petrovich plays his brother Nicholas. He tries to soften the excessive arrogance of the county aristocrat to their everyday goodness and tolerance. The efforts of the father and son of Kirsanov prevent the flared conflict are helpless. But their presence is indisputly clarifying, highlights the tragedy of the situation.
The conflict of the novel "Fathers and Children" in family spheres, of course, does not closes. But the tragism of the social and political collision is verified by the violation of the "primary" existence - "family relationship" in relations between people. And if the "notes of the hunter" tried the epic as a live form of expression of national community, then in the "fathers and children" the tragedy is triumphant as an expression of a nationwide crisis and the decay of human ties between people.
Exactly two months before the end of the Roman Turgenev (* 111) wrote: "Since the time of the ancient tragedy, we already know that these clashes are those in which both parties are up to a certain extent right." This principle of an ancient tragedy is based on "fathers and children." Two parties of Russian society claim to be a complete knowledge of the people's life, to a complete understanding of her true needs. Both of them suffer from exclusive carriers of truth and therefore extremely intolerant to each other. Both unwittingly fall into the despotism of one-sidedness and provoke a catastrophe tragically permitted in the final of the novel. Turgenev shows the mutual legitimacy of the parties fighting against each other and during the resolution of the conflict "removes" their one-sidedness.
Bibliography
To prepare this work, materials from the site http://turgenev.org.ru/ were used
The tragic nature of the conflict in the novel "Fathers and Children"
Yu.V. Lebedev
Central Thought of "Hunter's Notes" - the harmonic unity of the viable forces of Russian society. The purpose of the Korean and the romantic mood of Kalina - these qualities of the Russian national nature are not conflict in the Turgenev book. Inspired by the thought of the unity of all the living forces of the nation, Turgenev proudly wrote about the ability of a Russian person to break himself easily: "He is engaged in little on his past and boldly looks forward. What is good - he likes himself that it is reasonable - to him and come from It goes, "he doesn't care." Essentially, the grain of the future Bazarovsk program and even the Bazav train of their sensations has already sprought here. But the Turgenevian chorine, to which this characteristic was treated, was not deprived of a heart understanding of the lyric-singing soul of Kalinic; This busy man was not alien to heart gusts, "soft like wax" poetic souls.
In the novel "Fathers and Children" the unity of the living forces of national life is exploded by the social conflict. Arkady in the eyes of the Bazarov radical - the smelter, the mismarland liberal baric. Bazarov can no longer and do not want to recognize that the soft-grateful Arcadia and the pigeon meekness of Nikolai Petrovich - also a consequence of the artistic gifting of their natures, romantic, dreamy, prone to music and poetry. These qualities of Turgenev considered the deep Russians, they endowed Kalinich, Kasyan, a cost center, famous singers in the "Hunter's Notes". They are just as organically connected with the folk life, as well as the gusts of the Bazarovsky denial. But in the "fathers and children" the unity between them disappeared, a split arose, which touched not only the political, social, but also irreversive, eternal cultural values. In the ability of the Russian person, it is easy to "break itself" Turgenev now saw not so much a great advantage as the risk of breaking the time. Therefore, the political struggle of revolutionaries-democrats with liberals, he attached wide humanistic lighting. It was about cultural continuity during the historical change of one generation to others.
Russian literature has always united the stability and strength of society with family and family relationships. Starting an affair from the image of a family conflict between the Father and the son of Kirsanov, Turgenev goes on, to clashes of a public, political nature. But the family topic in the novel persists and gives it a conflict a special depth. After all, no social, political, state forms of the human dormitory do not absorb the moral content of the family principle. On the contrary, the family began turns out to be grain and the first-axis of all complex forms of the public. It is not by chance that we live in, we call the mother-in-mother or fatherland. Relationship Fathers and Son is not closed only in blood relations, but further apply to the "sown" attitude to the past, the present and the future of the Fatherland, to those historical and moral values \u200b\u200bthat children inherit. The "paternity" in the broad sense of the word also suggests the love of the older generation to the shifting of young people, tolerance and wisdom, reasonable advice and condescension. The world is so designed that "youth" and "old age" in it mutually balance each other: old age is constrained by the gusts of inexperienced youth, youth overcomes excessive caution and conservatism of old people, pushes life ahead. Such is the ideal harmony of being and in the representation of Turgenev. It is present, of course, "shot", overcomed by the drama of the conflict between the fathers and children.
The creature of this conflict lies in the very nature of things, and there is no doubt, the well-thought-out move of Turgenev, who begins the first acquaintance with Nihilism not through Bazarov, but through his student - Arkady. In Arkady Kirsanov, the most openly manifests the constant and eternal signs of youth and youth with all the advantages and disadvantages of this age. "Nihilism" Arkady is a live game of young strength, the young sense of complete freedom and independence, ease of attitude towards traditions, legends, authorities.
Arcadia's conflict with Nikolai Petrovich at the beginning of the novel is also cleared of political and social complications: represented unchanged and eternal, genericity. Both heroes admire in spring. It would seem here that they come together! But at the first moment the dramatic incompatibility of their feelings is found. Arkady is a young, youthful admiration for the spring: in it the premonition of not yet implemented in the future of hopes. And Nikolai Petrovich has its own sense of spring, typical of an experienced experience, much experienced in Pushkin's mature man. Bazarov rudely interrupted Pushkin's poems about the spring in the mouths of Nikolai Petrovich, but Turgenev is confident that the readers of his novel are these verses from Evgeny Onegin on a hearing: or not rejoicing the return of those who died in the fall of the sheets, we remember the bitter loss, looking for a new noise of forests .. .
It is clear that the thoughts of the Father are all in the past that his "spring" is far from similar to the "spring" Arkady. The resurrection of nature awakens memories of the irrevocable spring of his youth, about the mother of Arkady, who is not destined to survive the joy of meeting with his son, about the guise of life and the short-term human happiness on Earth. Nicholas Petrovich wants the Son to share these thoughts and feelings with him, but in order to seriously understand them, you must first survive them. The youth is deprived of the spiritual experience of adults and is not guilty that she is as follows. It turns out that the most intimate and intimate remains lonely in the paternal soul, incomprehensible and unrequited cheerful, inexperienced adolescence. What is the summary of the meeting? The son stayed with his delights, father - with undeveloped memories, with a bitter sense of deceived hopes.
It would seem, between the Father and the Son there is an impassable abyss, which means that there is the same abyss between the "fathers" and "children" in a broad sense. And this abyss arises due to the nature of human consciousness. The drama of historical development is that human progress is made through the change of generations excluding each other. But Nature also softens this drama, and overcomes the tragic character of his mighty power of sons and parental love. Son (* 110) feelings imply a reverent attitude towards parents who have passed a difficult life path. The feeling of sown limits the intrinsicity of egoism. But if it happens sometimes that the child's arrogant crosses the feature of the nature allowed by her, Lyubov Fathers and Maternal with her defense and forgiveness rises to meet this arrogancy. Recall how Nikolai Petrovich behaves, facing the youth tactlessness of Arkady: "Nikolai Petrovich looked at him from under his fingers ... and something crushed him into his heart ... But he immediately accused him." Parental dedicated love is on guarding the harmony of father-sown relations.
Turgenev is because he begins his novel with a description of the clashes between the Father and the son of Kirsanov, that a certain eternal life rate is triumphant here, the usual, ordinary vital move. Kirsanov stars from the sky are not enough, this is released by him. They are equally far from the noble aristocracy and the differences. Turgenev these heroes are not interested in political, but from a universal point of view. The infertility souls of Nikolai Petrovich and Arkady retain the simplicity and everyday unassumature in the era of social storms and disasters. With their relationships at the family level, they clarify the depth of the deviation of life from the norm, from the pedestrian veins of the centuries, when this life came out of his shores.
Ruthless fights of Bazarov with Pavel Petrovich are constantly completed by the peaceful arcadic disputes with Bazarov: Arkady has been trying to cut it in the edge of a friend. The same role in Pavel Petrovich plays his brother Nicholas. He tries to soften the excessive arrogance of the county aristocrat to their everyday goodness and tolerance. The efforts of the father and son of Kirsanov prevent the flared conflict are helpless. But their presence is indisputly clarifying, highlights the tragedy of the situation.
The conflict of the novel "Fathers and Children" in family spheres, of course, does not closes. But the tragism of the social and political collision is verified by the violation of the "primary" existence - "family relationship" in relations between people. And if the "notes of the hunter" tried the epic as a live form of expression of national community, then in the "fathers and children" the tragedy is triumphant as an expression of a nationwide crisis and the decay of human ties between people.
Exactly two months before the end of the Roman Turgenev (* 111) wrote: "Since the time of the ancient tragedy, we already know that these clashes are those in which both parties are up to a certain extent right." This principle of an ancient tragedy is based on "fathers and children." Two parties of Russian society claim to be a complete knowledge of the people's life, to a complete understanding of her true needs. Both of them suffer from exclusive carriers of truth and therefore extremely intolerant to each other. Both unwittingly fall into the despotism of one-sidedness and provoke a catastrophe tragically permitted in the final of the novel. Turgenev shows the mutual legitimacy of the parties fighting against each other and during the resolution of the conflict "removes" their one-sidedness.
Bibliography
Materials from the site were used to prepare this work. http://turgenev.org.ru/