Fathers and children critical articles briefly. The attitude of critics to the novel "Fathers and children

Many people reading the article of any criticism about a particular work, expect to hear negative statements to the plot of works, his heroes and the author. But after all, the criticism itself implies not only negative judgments and instructions of the shortcomings, but also the analysis of the work itself, its discussion in order to evaluate. So the work of I. S. Turgenev was subjected to literary criticism. The novel "Fathers and Children" appeared in the "Russian Bulletin" in March 1862, after which the rapid discussions of this work began in the press. Opinions were different

One of the most critical points of vision was put forward by M. A. Antonovich, publishing his article "Asmodener of our time" in the Martov book of "Contemporary". In it, the critic denied "fathers and children" in any artistic advantages. He was very dissatisfied with Roman Turgenev. The critic accused the author in a slander for the younger generation, said that the novel was written in the reproach and teaching the young generation, and also rejoiced that the writer was finally opened his true face - the face of the oppression of progress. As N. N. Strakhov wrote, "the entire article detects only one thing - that the critic is very unhappy with Turgenev and considers his sacred duty of his and every citizen not to find both in his new work, and in all the former anything good."

N. N. Prachi himself belongs to the novel "Fathers and Children" from a positive side. He suggests that "Roman is read with greed and excites such interest as it can be said to say, not a single work of Turgenev was not excited." Also, the critic notes that "the novel is so good that pure poetry is a victorious to the fore, and not extraneous thought and precisely because it remains poetry, can actively serve society." In assessing the author's authorities itself, notes: "I. S. Turgenev presents a sample of a writer, gifted by perfect mobility and deeply with deepness, deeply love to the modern life of Turgenev remained faithful to his artistic gift: he does not invent, but it creates, does not distort, but only illuminates his figures he gave flesh and blood What obviously already existed in the form of thoughts and beliefs. He gave an outdoor manifestation of what was already like an internal basis. " The outdoor shift of the Roman critic sees the change of generations. He says, "If Turgenev portrayed not all fathers and children or not those fathers and children, which I would like others, then in general, the fathers and in general children and the attitude between these two generations he portrayed excellent."

Another critics who gave their assessment of Roman Turgenev was N. M. Katkov. He published his opinion in the May issue of the magazine "Russian Bulletin" in the article entitled "Roman Turgenev and his criticism." Noting the "ripe strength of the first-class talent" Ivan Sergeyevich, he sees the special advantage of the novel in that the author managed to "catch the current moment", the modern phase of the Russian educated society.

The most positive assessment of the Roman Dmitred Dmitry I. Pisarev. His article was one of the first critical reviews on the novel "Fathers and Children" and appeared after his publication in the magazine "Russian Bulletin". Critic wrote: "Reading Roman Turgenev, we see in it the types of this minute and at the same time we are aware of those changes that have experienced the phenomena of reality, passing through the consciousness of the artist." Pisarev notes: "In addition to his artistic beauty, the novel is desired with the fact that he moves the mind, leads to reflections, although in itself does not allow any question and even illuminates the bright light not so much revealing phenomena, how much the author's attitude towards these phenomena" also He says that all the work is imbued with sampling full of full, sickness touching sincerity.

In turn, the author of the novel "Fathers and Children", Ivan Sergeevich Turgenev, in the article "Regarding fathers and children" notes: "By the grace of this story, it stopped - and it seems forever - the favorable location of the Russian young generation to me." After reading in critical articles that he "leaves idea" in his works "or" holds the idea, "for his part, Turgenev confesses," What has never attempted to "create an image", if it did not have an idea, but a living The person who gradually mixed up and applied suitable elements. " Throughout the article, Ivan Sergeevich communicates only with his reader - his listener. And at the end of the narrative, he gives them a very good advice: "My friends, do not justify anyone, whatever we have to slander; Do not try to clarify misunderstandings, do not want to tell me or hear the "last word". Do your job - and then everything is swear. "

But the discussion was not over only the discussion of the novel as a whole. Each of the critics in his article considered one very meaningful part of the work, without which there was no point in writing the socio-psychological novel "Fathers and Children". And this part was still the main character of the work of Evgeny Vasilyevich Bazarov remains.

D. I. Pisarev characterized him as a person's strong in the mind and by the nature that constitutes the center of the whole novel. "Bazarov is a representative of our young generation; In his personality, those properties that are minimally scattered in the masses are grouped; And the image of this person is bright and clearly evaporated before the reader's imagination, "the critic wrote. Pisarev believes that bazaars, like empiric, recognizes only what can be spoken by their hands, see their eyes, put in the tongue, in a word, only what can be certified by one of five senses. The critic claims that "Bazarov does not need anyone in anyone, no one is afraid, no one loves and, as a result, does not spare anyone." Dmitry Ivanovich Pisarev speaks about Evgenia Bazarov, as a man, mercilessly and with a complete conviction of all that others recognize high and beautiful.

Nikolai Nikolayevich fears calls the main character "apple of discord." "He is not a walking type, everyone familiar and only captured by the artist and exposed to them" on the national eyes "," the critic notes. "Bazarov is a type, ideal, a phenomenon," erected to the Pearl of creation ", it costs the actual phenomena of the Baurest." And the bazarovshchina, in turn, is, as Pisarev said, illness, the disease of our time, and it has to be lined up, in spite of any palliatives and amputations. "Treat the Bazarekom as you like - this is your business; but stop - do not stop; this is the same Cholera ". Driving the thought of insurance, it can be said that" Bazarov Realist, not a contemplate, and a leader who recognizes some valid phenomena and denying ideals ". He does not want to put up with life at all. As Nikolai Nikolayevich Pershers," Bazarov represents a live embodiment of one From the parties of the Russian Spirit, he "more Russian than all the rest of the novel". "His speech is easy, the accuracy; mockery and a completely Russian warehouse," said the critic. Also, the bazers noticed that There is a first strong person, the first one-piece character, which was in Russian literature from the environment of the so-called educated society. "In the end of the novel," Bazarov dies perfect hero, and his death makes a stunning impression. Until the very end, until the last outbreak of consciousness, he does not change in a single word, nor a single sign of failing. It is broken, but not defeated, "says critic.

But of course it was not and without charges of Bazarov. Many critics condemned Turgenev for portraying the main hero in the Ukrainian generation. So Maksim Alekseevich Antonovich assures us that the poet puts his hero by a clue, a drunken and a gambler.

The author himself claims that, drawing a figure of Bazarov, he excluded all the artistic of his sympathy from the circle of his sympathy, gave him sharpness and unceremoniousness of tone - not from a ridiculous desire to insult the young generation, but only because he had to draw his figure just like that. Turgenev himself realized: "The trouble" was that the Bazarovskaya type reproduced by him did not have time to pass through the gradual phases through which the literary types usually pass.

Another major issues in the discussion of the critics of Roman I. S. Turgenev was the attitude of the author himself to his hero.

Nikolai Nikolayevich fears first argued that "Turgenev understands the bazaaries at least as much as they understand themselves," but then he proved that Ivan Sergeevich "understands them much better than they understand themselves."

The editor of one of the journal wrote: "To what came out of his hands, it is exactly in the same relationship as all others; it can have a sympathetic or antipathetic feeling for a living person who has arisen in his fantasy, but he will have to commit Exactly the same analysis of the analysis, as well as any other, in order to convey the essence of his feeling in judgment. "

The Katkov also accused Turgenev in the fact that he tried to show the Bazarov in the most advantageous light. Mikhail Nikiforovich does not miss the case to reproach the writer in his pemer sympathies: "In" fathers and children ", the author's desire to give the main type of possibly favorable conditions. The author, apparently, as if feared to seem guy. He seemed to be impartial<.>. It seems to us that if there were no effort to this effort, then his work would have won even more in its objectivity. "

D. I. Pisarev, in turn, says that Turgenev, obviously, does not favor his hero. The critic notes: "Creating Bazarov, Turgenev wanted to break him in the dust and instead of giving him a complete tribute to fair respect. He wanted to say: our young generation goes on a false road, and said: in our young generation, our whole hope. "

Turgenev also expresses its attitude to the main hero with such words: "I share almost all of his beliefs. And I assure me that I am on the side of the fathers. I, who in Figure Paul Kirsanova even sick against the artistic truth and reasured, brought his flaws to the cartoon, made it funny! ". "At the very moment of the appearance of a new person - Bazarov - the author treated him critically. objectively". "The author himself does not know if he loves or not being exposed (as it happened with me in relation to the Bazarov)," says Turgenev about himself in the third person.

So, now we definitely understand that the opinions of all critics are very different from each other. Everyone has their own point of view. But, despite many negative statements in the address I. S. Turgenev and his works, the novel "Fathers and Children" to this day remains relevant for us, because the problem of different generations was and will be. As Dmitry Ivanovich Pisarev said already said, "this is a disease", and it is incurable

Write a novel with a progressive or retrograde direction another thing is not difficult. Turgenev had a claim and audacity to create a novel having all sorts of directions; the fan of the eternal truth, eternal beauty, he had a proud goal in temporary pointing to eternal and wrote a novel not progressive and not retrograde, but so to speak always.

N.N.Strakhov "I.S.Turgenev. "Fathers and Sons"

Edition 1965.

Roman I.S. Turgenev "Fathers and Children" is definitely declared critics with a landmark product both in the work of the Great Russian Writer and in the overall context of the era of the 60s of the XIX century. In the novel, they reflected all the modern author socio-political contradictions; Vividly represented both the topical incoming and the eternal problems of the relationship between generations of "fathers" and "children".

In our opinion, the position of I.S. Turgenev in relation to the two opposing camps presented in the novel looks quite unequivocally. The copyright attitude to the main hero of Bazarov also leaves no doubt. Nevertheless, with a light hand of critics-radicals, Turgenev's contemporaries built in many ways the grotescale, the schematic image of the Nigilist of Bazarov on the head of the hero, making it from him a real idol generation of the 1860-80s.

Unreasonably enthusiastic attitude towards the Bazarov, which established in the Wednesday of the Democratic Intelligentsia of the XIX century, smoothly moved to Soviet literary criticism. Of the variety of works of the Great Romanist I.S. For some reason, Turgenev, for some reason, only the novel "Fathers and Children" with his heroes-schemes firmly established in the school program. For many years, teachers of literature, referring to the authoritative opinions of Pisarev, Herzen, the insurance was tried to explain to schoolchildren than the "new man" Evgeny Bazarov, the preparing frogs, better than the beautiful romance of Nikolai Petrovich Kirsanov, playing cello. Contrary to any common sense, these explanations about the "class" superiority of democrats over aristocrats, primitive division on "ours" and "not ours" continue to this day. It is worth only to take a look at the collection of the tasks of the EGE on literature for 2013: from the examination, it is still necessary to determine the "socio-psychological types" of the heroes of the novel, to explain their behavior of the "struggle of the nobility ideologies and the discharge intelligentsia", etc., etc. .

For an hour and a half, we are blindly trusted by the subjective opinion of the critics of the flame era, which sincerely believed in Bazarov, as in their future and rejected Turgenev's thinker as a false prophet idealizing the talked past. Otch and the people of the XXI century, we will humiliate the greatest humanist writer, Russian Classic I.S. Turgenev clarifying his "class" position? To pretend that we believe in a long time already passing in practice, irrevocably erroneous "Bazarovsky" way? ..

For a long time, it should be admitted that the modern reader Roman Turgenev can be interesting not so much by clarifying the author's position regarding the main heroes of the work, how many of them raised in it with general immunitarian, eternal problems.

"Fathers and children" - a novel about misconceptions and insights, about finding an eternal meaning, about the close relationship and at the same time the tragic discrepancy between the past, the present and future of humanity. Ultimately, it is a novel about each of us. After all, we are all someone's fathers and someone's children ... in a different way, it simply does not happen.

Background creating a novel

Roman "Fathers and Children" was written by I.S. Turgenev shortly after his departure from the editorial office of the contemporary magazine and the rupture of many years of friendly relations with N.A. Nekrasov. Nekrasov, getting up before the decisive choice, made a bet on young radicals - Dobrolyubov and Chernyshevsky. Thus, the editor significantly raised the commercial rating of his socio-political publication, but lost a number of leading authors. Following the Turgenev "Contemporary" left L. Tolstoy, A. Druzhinin, I. Thrusharov and other writers who stood on moderately liberal positions.

The topic of the split "Contemporary" was deeply studied by numerous literary review researchers. Starting from the second half of the XIX century, in the chapter of this conflict, it was customary to put purely political motives: the discrepancy in the views of the Democrats-Merchants and Liberal landowners. "Class" version of the split quite arranged Soviet literary criticism, and for almost a day she continues to be presented as the only confirmed eyewitness memories and other documentary sources. Only a few researchers, relying on the creative and epistolar heritage of Turgenev, Nekrasov, Dobrolyubov, Chernyshevsky, as well as other persons close to the publication of the magazine, paid attention to the implicit, deeply hidden personal conflict of the participants of those long past events.

In the memoirs of N.G. Chernyshevsky has direct guidelines on the hostility N. Dobrolyubov to Turgenev, whom young critic contemptively called the "literary aristocrat". Nobody, the unknown provincial-dismissal of Dobrolyov came to St. Petersburg with an ambitious intention by anything to make himself a journalistic career. Yes, he worked a lot, disagreened, hungry, undermined his health, but he noticed all-powerful Negrasov, took a novice criticism to the editor of the contemporary ", settled in the house of Kraevsky, almost in his apartment. Randomly or not, the Dobrolyubs seemed to repeat the fate of the young Nekrasov, sometime the tiered and clusted Panayev's spouses.

S I.S. Turgenev Nekrasov tied a long-term personal friendship and close business cooperation. Turgenev, who had no housing in St. Petersburg, always stayed and for a long time lived in the apartment of Nekrasov and Panayev during his arrival in the capital. In the 1850s, he held the place of the leader's leader's "Contemporary" and sincerely believed that the editor of the magazine listens to his opinion values \u200b\u200bthem.

ON THE. Nekrasov, despite all its business activity and good luck as a non-literature, retained the Sibarite Habits of the Russian Barin. He slept almost before lunch, often fell into unfortunate depression. Usually, in the first half of the day, the publisher of the "contemporary" received visitors directly in his bedroom, and all important questions on the publication of the magazine solved Lözh in bed. Dobrolyubov on the rights of the nearest "neighbor" soon turned out to be the most regular visitor of the Nekrasovskaya bedroom, surviving Turgenev, Chernyshevsky, and almost putting me to the door A.Ya. Panayev. Selection of materials for the next number, the size of the fees to the authors, feeding the magazine to political events in the country - all this necracis often discussed with the Dobrolyubov with an eye on the eyes. An unofficial editorial alliance arose, in which the tone was asked, of course, Nekrasov, and Dobrolyubs, as a talented performer, embodied his ideas, submitting them to the reader in the form of bold, fascinating journalistic articles and critical essays.

Members of the editorial board could not not notice the increasing influence of Dobrolyubov on all parties to the publication of the "contemporary". From the end of 1858, the departments of criticism, bibliography, modern notes are combined into one - "Modern Review", in which the publicistic principle turned out to be the leading, and the selection, the grouping of materials was carried out by Dobrolyubov almost solely.

For his part, I.S. Turgenev has repeatedly tried to establish contact with the young employees of the Contemporary Chernyshevsky and Dobrolyubov, but met only cold alienation, complete misunderstanding and even arrogant contempt of journalists to the "literary aristocrat". And the chief conflict was not at all that Dobrolyubov and Turgenev did not shake the place in the Nekrasov bedroom, trying to influence the editor in matters of the policy of publishing the magazine. Although this is what is presented to their confrontation in the literary memoirs A.Ya. Panayana. With her light hand, domestic literary criticians considered the main reason to split the editorial board of the contemporary article Dobrolyubov about the Roman Turgenev "On the eve". The article was called "when will the real day come?" and contained pretty bold political forecasts with which I.S. Turgenev, as the author of the novel, did not categorically agree. According to Panayeva, Turgenev has sharply objected to the printing of this article, putting ultimatum Nekrasov: "Choose, or I, or Dobrolyubov." Nekrasov chose the latter. The same version adheres to its memoirs and N.G. Chernyshevsky, noting that Turgenev is extremely offended by the criticism of his last novel.

Meanwhile, the Soviet researcher A. B. Muratov in their article "Dobrolyubov and a gap I.S. Turgenev with the magazine "Contemporary", based on the materials of Turgenev's correspondence in 1860, thoroughly proves the fallacy of this widespread version. The Dobrolyubov article on the "Evening" was published in the Martov Book "Contemporary". Turgenev accepted it without any insult, continuing cooperation with the magazine, as well as personal meetings and correspondence with Nekrasov, until the fall of 1860. In addition, Ivan Sergeevich promised Nekrasov to publish a conceived and started by them then "the big story" (Roman "Fathers and Children"). Only at the end of September, after reading a completely different article Dobrolyubov in the June issue of the "Contemporary", Turgenev wrote P. Annenkov and I. Panayev about his refusal to participate in the journal and decision to give "fathers and children" in Russian Bulletin, M.N. Katkova. In the article mentioned (reviews on the book N. Gota, "Meeting of Miracles, a story borrowed from mythology") Dobrolyubov in the open text called Roman Turgenev "Rudin" "by registered" novel, written in favor of tastes of rich readers. Muratov believes that Turgenev has indeed insulted not even bile attacks of Dobrolyubov, whom he unequivocally ranked for the generation of "unreasonable children", and the fact that the opinion of the author offensive for him was the opinion of Nekrasov - a representative of the Fathers generation, his personal friend . Thus, in the center of the conflict, the editorial office was not conflict with the political, and not conflict of senior and younger generations of "fathers" and "children". It was a conflict deeply personal, because Turgenevs did not forgive the end of his life to Nekrasov's betrayal of their common ideals, the ideals of the "fathers" generation in favor of "reasonable egoism" and the confusion of the new generation of the 1860s.

The position of Nekrasov in this conflict was even more difficult. As he could, he tried to soften the Dobrolyuby "claws", constantly clinging the pride of Turgenev, but Turgenev was dear to him as an old friend, and the Dobrolyubs are necessary as an employee who depended on the next issue of the magazine. And a businessman of Nekrasov, sacrificing personal sympathies, chose a matter. Purvating with the old editors, as with an irrevocable past, he led his "contemporary" on a revolutionary radical path, which seemed to be very promising.

Communication with young radicals - employees of the Nekrasovsky "Contemporary" - did not pass for the Writer Turgenev. All the critics of the novel saw the portrait of Dobrolyubov in Bazarov, and the most closest left to the novel "Fathers and Children" pamphlet against the recently deceased journalist. But it would be too simple and unworthy of the feather of the Great Master. Dobrolyubov, he did not suspect, helped Turgenev to find the topic for deeply philosophical, timeless, the work of the work.

History of the creation of the novel

The idea of \u200b\u200b"fathers and children" originated by I.S. Turgenev in the summer of 1860, immediately after his visit to St. Petersburg and the incident with the article Dobrolyubov about the novel "On the eve". Obviously, it happened even before his final gap with the "contemporary", since in the summer correspondence of 1860, Turgenev had no thoughts to give the new thing in Nekrasovsky magazine. The first mention of the novel is contained in a letter to the Countess Lambert (summer of 1860). Later, Turgenev himself dates back to work on the novel August 1860: "I took sea baths in a revolne, a small town on the island of the island," the case was in August 1860, "when I had the first idea of" fathers and children ", this story, for the grace of which it stopped - and it seems Forever - a favorable location of the Russian young generation ... "

It was here, on the island of White, a "formular list of acting persons of the new story" was drawn up, where, under the heading "Eugene Bazarov", Turgenev sketched a preliminary portrait of the chief hero: "Nihilist. Self-confident, says abruptly and a little, workers. (A mixture of Dobrolyubov, Pavlova and Preobrazhensky.) Lives small; The doctor does not want to be, waiting for the case. - It can speak with the people, although in his soul he despises. The art element does not have and does not recognize ... knows quite a lot - energetic, can like his unins. In essence, a befreight subject - the antipode of Rudina - for without any enthusiasm and faith ... Independent soul and pride of the first hand. "

Dobrolyubov as a prototype here, as we see, is indicated first. Ivan Vasilyevich Pavlov, a doctor and writer, familiar Turgenev, an atheist and materialist goes. Turgenev treated him friendly, although it was often confused by the straight and sharpness of the judgments of this person.

Nikolai Sergeyevich Preobrazhensky - Buddy Dobrolyubov on the pedagogical institute with original appearance - small growth, long nose and hair standing on end, despite all the efforts of the ridge. It was a young man with high immense, with the unceremoniousness and freedom of judgments, which caused admiration even from Dobrolyubov. He called the Preobrazhensky "Guy is not a timid one".

In a word, all the "bearer subjects", which I.S. Turgenev has been observed in real life, merged into the collective image of the "new person" of Bazarov. And at the beginning of the novel, this hero, no matter how cool, really, resembles an unable caricature.

In the replicas of Bazarov (especially in his disputes with Pavel Petrovich), the thoughts set forth the Dobrolyubov in his critical articles of 1857-60 are almost literally reported. In the mouth of this character, the words of the Military Dobrolyubov of German Materialists, for example, the city of Fogt, whose works of Turgenev were styled while working on a novel.

Turgenev continued to write "fathers and children" in Paris. In September 1860, he reports P. V. Annenkov: "I intends to work with all my might. The plan of my new story is ready to the slightest details - and I thirst for it. Something comes out - I do not know, but Botkin, which is here ... It makes it extremely approves the thought that is laid in the base. I would like to finish this thing for the spring, by April the month, and bring it to Russia yourself. "

During the winter, the first chapters were written, but the work was slower than expected. The letters of this time constantly sound requests to report on the news of the public life of Russia, raging on the eve of the greatest event in its history - the abolition of serfdom. To get the opportunity to directly get acquainted with the problems of modern Russian reality, I. S. Turgenev comes to Russia. Started before the reform of 1861, the affair finishes after her in his beloved Spassky-Lutovinov. In the letter, P. V. Annenkov, he informs about the end of the novel: "My work is finally over. On July 20, I wrote a blissful last word. "

In the fall, on return to Paris, I. S. Turgenev reads his novel V. P. Botkin and K. K. Slaphevsky, whose opinion he really treasured. Agreeing and arguing with their judgments, the writer, according to his own expression, "praises" the text makes numerous changes and amendments. Mostly amendments concerned the image of the chief hero. Friends pointed to the excessive passion of the author's "rehabilitation" of Bazarov at the end of the work, approaching his image to the Russian Hamlet.

When the work on the novel was completed, the writer had deep doubts about the feasibility of his publication: the historical moment turned out to be too unsuitable. In November 1861, Dobrolyubov died. Turgenev sincerely regretted his death: "I regretted Dobrolyubov's death, although I didn't share his views," Turgenev wrote to his friends, "the man was gratifying - a young ... sorry the dead, in vain spent strength!" Non-promoters of Turgenev, the publication of a new novel could seem to be the desire to "be in the bones" of who has already been taught. By the way, that is how it was assessed in the editorial office of the contemporary. In addition, the revolutionary situation was brewing in the country. Basaler's prototypes went to the streets. Poet-Democrat M. L. Mikhailov was arrested for the distribution of proclamation to the junior. Students of the St. Petersburg University rebelled against the new charter: two hundred people were arrested and enclosed in the Petropavlovsk fortress.

For all these reasons, Turgenev wanted to postpone the printing of the novel, but a very conservative publisher of rinks, on the contrary, did not see anything provocative in the "fathers and children". Having received correction from Paris, he persistently demanded a "spotted goods" for a new number. Thus, the "fathers and children" were printed in the midst of government persecution for the younger generation, in the February book of the Russian Bulletin for 1862.

Criticism about the novel "Fathers and Children"

I barely overlook, the novel caused a real flurry of critical articles. None of the public camps took the new creation of Turgenev.

The editor of the conservative "Russian Bulletin" M. N. Katkov in the articles "Roman Turgenev and his criticism" and "On our nihilism (about the Roman Turgenev)" argued that NiGilism is a public disease with which it is necessary to fight by strengthening protective conservative principles; And the "fathers and children" are no different from a variety of anti-drug novels of other writers. A peculiar position in the assessment of the Turgenev novel and the image of his main character was taken by F. M. Dostoevsky. For Dostoevsky, Bazarov is a "theorist", which is in the disadvantage with "Life", is a victim of its own, dry and distracted theory. In other words, this is a hero close to Skolnikov. However, Dostoevsky avoids a specific consideration of the Bazar's theory. He faithfully claims that every disturbed, the reason the theory is divided into life and brings a person of suffering and torment. According to Soviet critics, Dostoevsky drew all the problems of the novel to the ethical and psychological complex, whose socially universal, instead of opening the specifics of the other.

Liberal criticism, on the contrary, was too fascinated by a social aspect. She could not forgive the writer of ridicule over the representatives of the aristocracy, offacarious nobles, his irony against the "moderate noble liberalism" of the 1840s. A low-speed, rude "plebey" of the bazaars is mocking over their ideological opponents and morally turns out to be higher.

Unlike a conservative-liberal camp, democratic magazines dealt with the assessment of the problems of Turgenevsky Roman: "Contemporary" and "Spark" saw in it slander on the Democrats, the desires of which the author is deeply alien and incomprehensible to the author; "Russian Word" and "Case" occupied the opposite position.

The critic of the "contemporary" A. Antonovich in the article with the expressive name "Asmodener of our time" (that is, the "devil of our time") noted that Turgenev "the main character and his buddies despises and hates from his whole soul." An Antonovich's article is full of sharp attacks and disappointing accusations against the author "fathers and children." The critic suspected Turgenev in collusion with the reactionaries, allegedly "ordered" the writer knowingly slanderous, an accusatory novel, accused of departing from realism, indicated a gross schematics, even caricature of images of the main characters. However, Antonovich's article fully corresponds to a common tone, which was taken by the employees of the contemporary after leaving a number of leading writers. Personally, Turgenev and his work became hardly the responsibility of the Nekrasov magazine.

DI. Pisarev, editor of the Russian Word, on the contrary, saw the truth of life in the novel "Fathers and Children", taking the position of a consistent apologist of the Bazarov's image. In the article "Bazarov" he wrote: "Turgenev does not like a merciless denial, and meanwhile the personality of a merciless negative is the person of strong and inspires respect for the reader"; "... no one can in the novel neither by the strength of mind, neither by the power of character to compare with the bazaarov."

Pisarev was one of the first to remove the accusation of caricature from Bazarov, erected by Antonovich, explained the positive meaning of the main character of "fathers and children", stressing the vital importance and innovation of such a character. As a representative of the generation of "children", he took everything in Bazarov: and dismissive attitude to art, and a simplified look at the spiritual life of a person, and an attempt to comprehend love through the prism of natural scannesses. Negative features of the baza carriage under the pen of criticism unexpectedly for readers (and for the author's author himself) acquired a positive assessment: Frank rudeness to the inhabitants of Maryina was issued for an independent position, ignorance and lack of education - for a critical view of things, excessive self-confidence - for the manifestation of strong nature and etc.

For Pisareva Bazarov - a man of business, natural source, materialist, experimental. He "recognizes only what can be commemorated with his hands, to see the eyes, put in the tongue, in a word, only what can be certified by one of five feelings." Experience became for the Bazarov the only source of knowledge. It was in this Pisarev that saw the difference between the new man of the Bazarov from "extra people" of Rudine, Onegin, Pechorins. He wrote: "... Pechorins have the will without knowledge, Rudina - knowledge without will; Basarearov has knowledge and will, thought and things merge into one solid whole. " Such interpretation of the image of the chief hero was to taste the revolutionary-democratic youth, who made his "new man" with his intelligent egoism, contempt for authorities, the traditions established by the world order.

Turgenev is now looking at the present from the height of the past. He does not go for us; He calmly looks for us, describes our gait, tells us how we accelerate the steps, as jumping through the pivots, as sometimes stumble on uneven places of the road.

In the tone of its description, irritation is not heard; He is just tired of going; The development of his personal world ended, but the ability to observe the movement of someone else's thought, to understand and reproduce all its bends remained in all its freshness and completeness. Turgenev himself will never be bazaarov, but he thought of this type and understood him so true, as none of our young realists will not understand ...

N.N. Straars in their article about "fathers and children" continues the thought of Pisarev, arguing about realism and even "typical" of Bazarov as a hero of his time, a person of the 1860s:

"Bazarov Nimalo does not excite disgust in us and it doesn't seem to us Mal Eleve nor Mauvais Ton. With us, it seems, all the actors of the novel agrees. The simplicity of appeal and the figures of the Bazarov excite in them not disgust, but rather inspire respect for him. He is welcome in the living room Anna Sergeyevna, where even some kind of bad princess meeting ... "

The judgments of Pisarev about the novel "Fathers and the Children" shared Herzen. He wrote about the article "Bazarov": "This article confirms my point of view. In his one-sidedness, she is more or wonderful than her opponents thought about her. " Here, Herzen notes that Pisarev "In Bazarov, he learned himself and added himself and added what was lacking in the book" that the bazaars "for Pisarev - more than their own" that the critic "knows the heart of his baza carriage, he confesses him."

Roman Turgenev stuck all the layers of Russian society. The controversy of nihilism, about the image of the natural source, the Bazar's Democrat continued for a decade on the pages of almost all magazines of that time. And if in the XIX century there were still opponents of apologetic assessments of this image, then by the XX century they were not left at all. Bazarov was raised on the shield as a forerunner of the coming storm, as the banner of everyone who wanted to destroy, not giving anything in return ("... no longer our business ... first you need to clear the place.")

In the late 1950s, on the wave of Khrushchev "thaw", a discussion caused by Article V. A. Arkhipov "To the creative history of Roman I.S. Turgenev "fathers and children." In this article, the author tried to develop an earlier point of view of M. Antonovich's criticized. V.A. Arkhipov wrote that the novel appeared as a result of Turgenev's collusion with Katkovoy - the editor of the Russian Bulletin ("Credit was evident") and the transaction of the same Katkova with the advice of Turgenev P. V. Annenkov ("In the Cabinet of Katkova in Leontyevsky Lane, as expected , a transaction of liberal with a reactionary ") was held. Against the vulgar and unfair interpretation of the history of the novel "Fathers and Children" in 1869, Turgenev himself strongly observed in his essay "Regarding" fathers and children ": "I remember, one critic (Turgenev meant M. Antonovich) in strong and eloquent expressions, directly to me turned to me, introduced me together with Mr. Katkov in the form of two conspirators, in the silence of a secluded Cabinet to plot his vile, slander on Young Russian forces ... The picture came out spectacular! "

Attempt by V.A. Arkhipov to reanimate the point of view, ridiculous and refuted by Turgenev himself, caused a lively discussion, which included Russian literature magazines, "Literature Questions", "New World", "Rise", "Neva", "Literature at School", as well "Literary newspaper." The results of the discussion were summed up in the article G. Friedlander "To disputes on" fathers and children "and in the editorial article" Literary criticism and modernity "in" literature issues ". They have the universal value of the novel and its main character.

Of course, there could be no "collusion" of Liberal Turgenev with guardians. In the novel "Fathers and Children", the writer expressed what thought. It happened so that at that moment his point of view partly coincided with the position of the conservative camp. So do not please all! But on which "collision" Pisarev and other zealous apologists of Bazarov started the campaign to exalt this quite unambiguous "hero" - it is unclear so far ...

The image of Bazarov in the perception of contemporaries

Contemporaries I.S. Turgenev (and "fathers", and "Children") it was difficult to talk about the formation of the Bazarov for the simple reason that they did not know how to treat him. In the 60s of the XIX century, no one could assume that the type of behavior and dubious truths that were written by "new people will ultimately lead.

However, Russian society has already been sick with an incurable self-destruction disease, which, in particular, in sympathies of the created Turgenev "Hero".

Democratic allocating young people ("Children") impressed the unavailable preferabity, rationalism, practicalism of the Bazarov, his confidence in their own forces. Quality as external asceticism, uncompromising, priority useful on the beautiful, lack of adolescence before the authorities and old truths, "Reasonable Egoism", the ability to manipulate others were perceived by the young people of the time as an example for imitation. Paradoxically, but it was in such a factory caricature form that they found their reflection in the worldview of ideological followers of Bazarov - future theorists and the practitioners-practitioners of the "People's Will", the ECOMOV-Maximists and even the Bolsheviks.

The older generation ("fathers"), feeling its inconsistency, and often helplessness in the new conditions of the Foreign Russia, also frantically looking for the exit from the current situation. Some (guardians and reactionaries) turned in their search for the past, others (moderate liberals), disappointed in the present, decided to make a bet on an unknown, but a promising future. That is what N.A. tried to do Nekrasov, providing the pages of his magazine under the revolutionary and provocative works of Chernyshevsky and Dobrolyubov, rejoicing by poetic pamphletes and feuilletes on the evil day.

The novel "Fathers and the Children" to some extent was the attempted Liberal Turgenev attempted to keep up with new currents, to fit into the incomprehensible era of rationalism, grab and display the spirit of frightening his confusion, difficult time.

But we, distant descendants, for which the political struggle in the Boreframe Russia has long gained the status of one of the pages of the national history or one of its cruel lessons, should not forget that I.S. Turgenev has never been a topical publicist or an engaged society by the house. The novel "Fathers and Children" is not a feuethmon, not a parable, not an artistic embodiment by the author of fashionable ideas and trends in the development of the modern society to him.

I.S. Turgenev - the name is unique even in the Golden Pleiad of the Classics of Russian Prose, the writer, whose immaculate literary skills relate to the same impeccable knowledge and understanding of the human soul. The problems of his works are sometimes wider and diverse than it could seem other unlucky criticism in the era of great reforms. The ability to creatively rethink about the events occurring, look at them through the prism of the "eternal" for all mankind of philosophical, moral and ethical, and simple, everyday life distinguishes the artistic prose of Turgenev from the topical "creations" of the Lord Chernyshev, Nekrasov, etc.

In contrast to the authors-journalists, thirsty of immediate commercial success and rapid glory, the "literary aristocrat" of Turgenev had a happy opportunity not to flirt with the reading public, not to go on the fashion editors and publishers, but to write as he considered it. Turgenev honestly talks about her bazaareas: "And if it is called a nihilist, then you need to read: revolutionar."But whether Russia needs such "Revolutionaries"? Each, reading the novel "Fathers and Children", must decide for himself.

At the beginning of the novel, Bazarov little resembles a living character. Nihilist, who does not accept anything on faith, denying everything that cannot be fascinated, he rents his disembodied, completely intangible idol, whose name is "nothing", i.e. Emptiness.

Having no positive program, the bazaars puts one of the main task only destruction ( "We need to break others!" ; "At first it is necessary to clear the place", etc.). But why? What does he want to create in this void? "There is no longer our business,"responsible to the bazaars on a completely legitarious question of Nikolai Petrovich.

The future clearly showed that ideological followers of Russian nihilists, the revolutionaries-janitors of the century XX, did not interest the question of who, how and what will be created on the cleared, devastated space. It was on these "rakes" in February 1917, the first temporary government came, then a fiery Bolsheviks who cleared their place for the bloody totalitarian regime were repeatedly attacked them ...

Ingenious artists, as providers, truths are sometimes open, reliably covered for the circumstances of future mistakes, disappointment, ignorance. Perhaps unconsciously, but Turgenev is already then, in the 60s of the XIX century, an hopelessness foresee was foreseeing, even the destruction of the path of purely materialistic, poor progress leading to the destruction of the foundations of human existence.

Destroyers like Turgenev Bazarov, sincerely deceive themselves, and deceive others. As bright, attractive personalities, they can become ideological leaders, leaders, can lead people, manipulate them, but ... if the blind will lead the blind, then sooner or later both will fall into the pit. Famous truth.

Consistency to prove such people the inconsistency of the chosen path can only life itself.

Bazarov and Odintova: Test Love

In order to deprive the image of the basar of caricature schematics, give him alive, realistic features, the author of "fathers and children" deliberately exposes his hero to the traditional test of love.

Love for Anna Sergeyevna Odsely, as a manifestation of the true component of human life, "breaks" the theory of Bazarov. After all, the truth of life is stronger than any artificially created "systems".

It turned out that the "Superman" of Bazarov, like all people, is not waited for their feelings. Featuring a disgust for aristocrats in general, he falls in love at all in the peasant, and in proud, knowing the price of a secular lady, an aristocrat to the brain of bones. "Plebeja", which brought himself the owner of his own destiny, subordinate such a woman is not able to subordinate. The brutal struggle begins, but the struggle is not with the subject of his passion, but with himself, with its own nature. Thesis Bazarov "Nature is not a temple, but a workshop, but a man in it worker" Spread in fluff and dust. Like any death, bazaars are susceptible to jealousy, passion, it is able to "lose their head" from love, experience the whole range of previously denied feelings, to reach a completely different level of awareness of themselves as a person. Evgeny Bazarov is able to love, and this previously denied by a convinced materialist "Metaphysics" hardly drives him crazy.

However, the "alignment" of the hero does not lead to his spiritual reincarnation. Love Bazarov is selfish. He perfectly understands all the deceitfulness of rumors, dissolved about the alone provincial gossip, but does not make it difficult to understand and take it true. Turgenev does not accidentally contact the past Anna Sergeyevna in detail. Odenty is even more inexperienced in love than the Bazarov himself. He loved for the first time, she never loved. Young, beautiful, very lonely woman disappointed in love relationships, even without learning. She willingly replaces the concept of happiness with the concepts of comfort, order, peace of mind, because she is afraid of love, as every person is afraid of something unfamiliar and unexplored. At the time of dating, Odintova does not bring Bazarov and does not push him. Like any woman, ready to love, she is waiting for the first step from the potential lover, but the unbridled, almost animal passion of Bazarov even more frightened Anna Sergeevna, forcing the rescue in ordering and tranquility of the former life. Bazarov does not have any experience nor everyday wisdom to act differently. He "the case should be done", and not to dig in the tricks of someone else's soul.

Shielding novel

Oddly enough, but the most philosophical, completely nekinatographic Roman I.S. Turgenev "Fathers and Children" was subjected to a film writing in our country five times: in 1915, 1958, 1974 (TVVESPEXT), 1983, 2008.

Almost all directories of these productions went to the same ungrateful path. They tried to transfer the event and ideological components of the novel in all details, forgetting about its main, philosophical subtext. In the film A. Bergunker and N.Rashevskaya (1958), the main focus was made, naturally, at socio-class contradictions. Against the background of the caricature types of the provincial nobility of the Kirsanov and Odsery Bazaarov, it looks completely positive, "eliminated" the hero-democrat, a harbinger of the great socialist future. In addition to Bazarov, there is not a single sympathetic character of the character in 1958. Even the "Turgenev Girl" Katya Lokteva is represented by a round (literal sense of the word) a fool, talking clever things.

The four-seater version of V. Nikiforova (1983), despite the excellent constellation of actors (V. Bogin, V.Konkin, B. Khimichev, V.Samulov, N. Danilova), with his appearance, disappointed the viewer with uncomplicated hiking, expressing, first of all, literally following the text of the Turgenev novel. Examines in "prolongedness", "dryness", "nekinatographicness" continue to pour on his creators from the mouth of the current viewer who does not represent a movie without Hollywood "action" and humor "below the belt". Meanwhile, it is in concerning the text of Turgenev, in our opinion, consists of the main advantage of the screening of 1983. Classical literature is because it is called classic, that it does not need later proofreaders or original interpretations. In the novel "Fathers and Children" is important. It is impossible to throw anything from it or add without prejudice to understanding the meaning of this work. Consciously abandoning the selection of texts and unjustified "backwards", the creators of the film managed to completely transfer the Turgenev mood to the viewer, to reveal to the extensive events and heroes, to reveal almost all the verses, all the "layers" of a difficult, highly artistic creation of the Russian classic.

But in the sensational serial version of A. Smirnova (2008), unfortunately, the Turgenev mood went completely. Despite the field filming in Spassky-Lutovinov, a good selection of actors to the main roles, "fathers and children" of Smirnova and "Fathers and Children" I.S. Turgenev is two different works.

Cute young villains of Bazarov (A. Offion), created in contrast with a "positive hero" of the 1958 film, enters into an intellectual duel with a charming senior Pavel Petrovich (A. Smirnov). However, it is impossible to understand the essence of this conflict in the movie Smirnova with all the desire. The insignificantly trimmed text of Turgenev dialogues is more reminiscent of devoid of true drama, granted sports of current children with the current fathers. As a 19th century, only the lack of modern youth jargon in the speech of the characters, and the spoken time from time to time is French, not English words. And if in the film of 1958, the explicit repartition of the author's sympathy in the direction of "children" is visible, then the reverse situation is clearly traced in the 2008 film. The beautiful duet of the Bazavar Parents (Jurassic - Teniakova), touching in his insult Nikolai Petrovich (A. Vasilyev), not even suitable by age for the role of Senior Kirsanova A. Smirnov "Replay" Bazarov in the acting plan and thereby leave no doubt from the viewer In its right.

Anyone who will not be lazy to thoughtfully reread Turgenev text, it becomes clear that such a interpretation of "fathers and children" has nothing to do with the novel himself. The work of Turgenev is concluded "eternal", "always" (by definition of N. Insurance) that there are no "pluses", nor "minuses" or a sharp condemnation, nor a complete excuse of heroes. The novel makes us think and choose, and the creators of the film 2008 Total removed remake of the statement of 1958, adjusting the signs "minus" and "plus" to the physiognomy of other characters.

It is also sad that the absolute majority of our contemporaries (judging by the reviews on the Internet forums and critical articles in the press) such a director's approach was fully established: glamorly, not quite banal, besides, it is perfectly adapted for the mass consumer of the Hollywood "Delijah." What else is needed?

"He is predatory, and we are hand with you," - noticed Katya, thereby designating the deep abyss between the main hero and other characteristics of the novel. To overcome the "interspecific difference", to make Bazarov with a common "doubting intelligent" - county lackere, a teacher or the Zemsky leader would already be too in Chekhovsky. In the ideas of the author of the novel, such a move was not included. Turgenev only sowed in his soul doubt, and life was dealt with the bazaareas.

The impossibility of rebirth, the spiritual staticity of the Bazarov, the author emphasizes the ridiculous accident of his death. To happen a miracle, the hero was required mutual love. But Anna Sergeyevna could not love him.

N.N. Fraars wrote about Bazarov:

"He dies, but until the last moment he remains alien to this life, with whom it was so strangely faced, which alarmed him with such trifles, forced him to make such nonsense and, finally, destroyed it due to such an insignificant reason.

Bazarov dies perfect hero, and his death produces a stunning impression. Until the very end, until the last outbreak of consciousness, he does not change in a single word, nor a single sign of failing. It is broken, but not defeated ... "

Unlike the criticism of insurance and the like, I.S. In 1861, Turgenev has been perfectly obvious and the historical doomes of "new people", which worshiped the progressive public of the time.

The cult of destruction in the name of only the destruction of alien to the living start, the manifestation of the fact that later L.N. Tolstoy in his novel "War and Peace" marked the term "Roy Life". Andrey Bolkonsky, like bazaars, is not capable of reincarnation. Both author kill their heroes, because they refuse them in the conclusion of true, real life. And Turgenev bazaars to the end "Does not change yourself" And, unlike Bolkonsky, at the time of its not heroic, ridiculous death does not cause pity. Sincerely, it's a pity of his unfortunate parents, because they are alive. Bazarov - "Dead" to a much greater extent than the living "dead" Pavel Petrovich Kirsanov. He is still able to cling to life (for loyalty to his memories, for love for Fencake). Bazaas staffold by definition. He does not save even love.

"Nor fathers nor children

"Nor fathers nor children," one witty lady told me on reading my book, "the present title of your story - and you yourself nagist."
I.S.Turgennev "Regarding" fathers and children "

If you go along the path of critics of the XIX century and re-start finding out the author's position in relation to the social conflict of the generations of "fathers" and "children" of the 1860s, then with confidence you can only say one thing: neither fathers nor children.

Today it is impossible to disagree with the same Pisarev and Insurance - the difference between generations is never so great and tragic, as in turning point, key points of history. The 1860s for Russia were just the moment when "The big chain broke out, broke out - jumped by one end of Barina, another man! .."

Large-scale state reforms carried out from above, and associated liberalization of society was late for half a century. "Children" of the 60s, who were waiting for too much from the inevitably future change, turned out to be too closely in a narrow cafanic of moderate liberalism of their who had not yet had time to compile fathers. They wanted to be real freedom, Pugachev Volnitsa, so that the fire was smelled, completely all the old, hateful. The generation of revolutionaries-arsonies was born, thoughtlessly deny the entire previous experience gained by humanity.

Thus, the conflict of fathers and children in the Roman Turgenev - not a family conflict. The conflict of Kirsanov Bazarov is also far beyond the public conflict of the old noble aristocracy with a young revolutionary-democratic intelligentsia. This conflict of two historical eras, accidentally spiked with each other in the house of Kirsanov's landowners. Pavel Petrovich and Nikolai Petrovich symbolize an irrevocably left past, with which everything is clear, bazaars - still indefinable, wandering, as if dough in Kadushka, a mysterious present. What will come out of this test - only the future will show. But there is neither the Bazar's future, neither of his ideological opponents.

Turgenev is equally ironic and over the "children", and over the "fathers". However, he puts in the form of self-confidently selfish false prophets, others give out the features of offended righteous, and then Most Maundes "dead". And the richish "plebey" of the bazaars with his "progressive" views, and the exquisite aristocrat Pavel Petrovich, packed in the lats of moderate liberalism of the 1840s - are equally funny. In their ideological collision, not so much a collision of beliefs, how much is the collision of tragic delusions of both generations. By and large, they are nothing to argue and there is nothing to oppose each other, because they bring together much more than disconnecting them.

Bazarov and Pavel Petrovich - to the extreme schematic characters. They are both alien lives, but there are living people around them: Arkady and Katya, Nikolai Petrovich and Fuenus, touching, loving old people - Bazar's parents. None of them is capable of creating something fundamentally new, but no one is also capable of mindless destruction.

That is why they all remain to live, and the bazaars dies, interrupting all the author's assumptions on the topic of its further development.

However, Turgenev still takes over the courage to open the veil over the future generation of "fathers". After a duel with Bazarov, Pavel Petrovich calls his brother to marry a versatile fugenic, to which he himself, contrary to all its rules, is far from indifferent. This is manifested by the loyalty of the "fathers" generation in relation to the almost accomplishment of the future. And although the Duel Kirsanov with Bazarov is presented by the author as a very comic episode, it can be called one of the strongest, even key scenes in the novel. Turgenev deliberately reduces the conflict social, ideological, age-related to purely domestic insult and faces the heroes in the duel not for the belief, but for honor.

The innocent scene in the gazebo could seem to appear (and it seemed) Paul Petrovich offensive to his brother's honor. In addition, it says Jealousy: Fuenus is not indifferent to the old aristocrat. He takes a cane, like a knight of a spear, and goes to call the offender to a duel. Bazarov understands that the refusal will entail a direct threat to his personal honor. He takes a challenge. The eternal notion of "honor" turns out to be higher than his controversial beliefs, above the poses of Nihilista-negative.

For the sake of unshakable moral truths, the bazarov plays according to the rules of "old people", thereby proving the continuity of both generations at the universal level, the prospect of their productive dialogue.

The possibility of such a dialogue, in the separation of social and ideological contradictions of the era, is the main component of human life. Ultimately, only the eternal, non-lubricant temporary changes, real values \u200b\u200band eternal truths are the basis for the continuity of generations of "fathers" and "children".

In Turgenev, "fathers", even if they were not right, then they tried to understand the younger generation, manifesting readiness for the future dialogue. "Children" just have to go through this difficult path. The author wants to believe that the path of Arcadia Kirsanov, who passed through the disappointment in the previous ideals, who found his love and true purpose - more faithful than the path of Bazarov. But Turgenev, as a wise thinker, avoids dictate to contemporaries and descendants of his personal opinion. He leaves the reader at the crossroads: everyone should choose ...

Roman I. S. Turgenev
"Fathers and children" in Russian criticism

"Fathers and children" caused a whole storm in the world of literary criticism. After the revenue of the novel, a huge number of critical responses and articles appeared in their charge, which indirectly testified to the simplicity and innocence of the Russian reading public. Criticism reacted to the artistic work as a journalistic article, to the political pamphlet, not wanting to reconstruct the point of view of the author. With the exit of the novel begins a lively discussion of it in print, which immediately acquired an acute polemical character. Almost all Russian newspapers and magazines responded to the appearance of the novel. The work gave rise to disagreements both between ideological opponents and in the environment of like-minded people, for example, in democratic magazines "Contemporary" and "Russian Word". The dispute essentially walked about the type of a new revolutionary figure of Russian history.
"Contemporanik" responded to Roman Article M. A. Antonovich "Asmodener of our time." Circumstances associated with the departure of Turgenev from the "contemporary", pre-faced the fact that the novel was evaluated by criticism negatively.
Antonovich saw in him the "fathers" and slander on the younger generation.
In addition, it was argued that the novel is very weak in artistic attitude, that Turgenev, who puts on the purpose of defining the Bazarov, resorts to the caricature, depicting the main character of the monster "with a tiny head and a giant mouth, with a small face and a pendant nose." Antonovich is trying to protect the female emancipation and aesthetic principles of the young generation from the attacks of Turgenev, trying to prove that "Kukshin is not so empty and limited as Pavel Petrovich." Regarding the denial of bazaar art
Antonovich stated that it was the purest lie that the younger generation denies only "pure art", whose representatives, however, counted Pushkin and Turgenev himself. According to Antonovich from the very first pages, to the greatest amazement of the reading, they mastering some kind of boredom; But, of course, you do not confuse this and continue to read, hoping that it will be better that the author will enter his role that the talent will take its own and involuntarily passive your attention. Meanwhile, when the effect of the novel is deployed in front of you, your curiosity will not move, your feeling remains untouched; Reading produces some kind of unsatisfactory impression on you, which is not reflected in the feeling, and what is most amazing - on the mind. You give out some kind of dead cold; You do not live with the actors of the novel, do not penetrate their lives, and begin to argue coldly with them, or, more precisely, to follow their reasoning. You forget that you are a talented artist in front of you, and imagine that you are reading the moral and philosophical path, but the bad and superficial, which, without satisfying the mind, thereby produces an unpleasant impression on your feeling. This shows that the new product of Turgenev is extremely unsatisfactory for artistic terms. Turgenev refers to their heroes, not the favorites of it, completely different. He nourishes some personal hatred and hostility to them, as if they personally made him any offense and dirtyness, and he tries to doubt them at every step, as a person personally insulted; He with inner pleasure finds the weakness and disadvantages in them, about which he speaks to ill-concealed gloating and only to humiliate the hero in the eyes of readers: "Look, they say, what kind of scoundrels are my enemies and opponents." He is rejoicing when he manages to prick with any unloved hero, to make him to make him in a funny or vulgar and vague form; Each slip, every odnumed step of the hero nicely tickles his pride, causes a smile of complacent that detects the proud, but small and inhuman consciousness of his own superiority. This vitality comes to funny, has the appearance of school pliers, discovering in trifles and trifles. The main character of the novel with pride and ambitiousness speaks of his art in the cartoon game; And Turgenev makes him constantly lose. Then Turgenev tries to expose the main hero of the incineration, which only thinks about how to eat and drink, and this is not done again with a good nature and a community, but everyone with the same vitality and the desire to humiliate the hero; From different places of Roman Turgenev, it is clear that his man's main character is not stupid, - on the contrary, very capable and historic, inquisitive, diligently engaged in a lot of knowledgeable; Meanwhile, in disputes, he is completely lost, I makes nonsense and preachs absurdity, unforgivable to the most limited mind. There is nothing to say about the moral character and moral qualities of the hero; This is not a person, but some terrible creature, just the devil, or, expressing more poetic, asmode. He systematically hates and pursues everything since his good parents, whom he cannot tolerate, and, ending the frogs, which he cuts with merciless cruelty. Never have a single feeling in his cold heart; not visible in it and trace of any passion or passion; He the most hatred is designed calculated by granas. And notice, this hero is a young man, a young man! It seems to be some poisonous being, which poisons everything to anything will touch; He has a friend, but he also despises him and does not have the slightest location to him; He has followers, but he also hates them. The novel is nothing but a merciless and also destructive criticism of the younger generation. In all modern issues, mental movements, the senses and ideals that occupy the younger generation, Turgenev does not find any sense and makes it clear that they only lead to debauchery, emptiness, prosaic vulgarity and cynicism.
What conclusion can be derived from this novel; Who will be right and guilty, who is worse, and who is better - "fathers" or "children"? The Roman Turgenev has the same one-sided meaning. Sorry, Turgenev, you did not know how to determine your task; Instead of the image of the relationship between the "fathers" and "children", you wrote panegirik "fathers" and the glory "Children"; Yes, and "children" you did not understand, and instead of the decoration you got slander. Distributors of common concepts between the younger generation, you wanted to imagine union browsers, sounders of discord and evil hated by good, - in a word, asmodeus. This attempt is not the first and repeats very often.
The same attempt was made, several years ago, in one novel, which was the "phenomenon missing our criticism," because it belonged to the author, at that time a stringent and did not have that handsome famous, what he enjoys now. This novel is the "asmode of our time", op.
Askochensky, who emerged in 1858, the last roman Turgenev alone reminded us of this "Asmodeus", there is a general thought, with its trends, their personalities, and especially its main character.

In the magazine "Russian Word" in 1862 an article Dmitry I. Pisarev appears
"Bazarov". Critic notes some bias of the author in relation to
Bazarov, says that in some cases Turgenev "does not favor his hero," that he is experiencing a "involuntary antipathy to this direction of thought."
But the general conclusion about the novel is not reduced to this ^. D. I. Pisarev finds in the form of the Bazarov the artistic synthesis of the most essential parties to the worldview of the disintegral democracy depicted truthfully, despite the initial intent of Turgenev. The critic is openly sympathized by Bazarov, its strong, honest and harsh nature. He believed that Turgenev understood this new human type for Russia "so true how not one of our young realists will not understand." The author's critial attitude to the Bazarov is perceived by criticism as dignity, since "from the side of the vidity and disadvantages", but " A strictly critical glance ... so for a minute it turns out fruitful than unfounded admiration or rival adoration. " Bazarov's tragedy, according to Pisarev, is that for the present case there is no favorable conditions, and therefore "without having to show us how to live and acts Bazarov, I. S.
Turgenev showed us how he dies.
In his article, D. I. Pisarev confirms the social sensitivity of the artist and the aesthetic significance of the novel: "New Roman Turgenev gives us everything that we used to enjoy in his works. The artistic finish is immaculately good ... And these phenomena are very close to us, so close that all our young generation with their aspirations and ideas can know ourselves in the actors of this novel. " Even before the immediate controversy D.
I. Pisarev actually predicts the position of Antonovich. About scenes with
Sitnikov and Kukshina he notes: "Many of the literary opponents
"Russian Messenger" will throw on Turgenev for these scenes. "
However, D. I. Pisarev is convinced that a real nihilist, a democrat-dispenser, as well as the bazaars, should deny art, do not understand Pushkin, to be sure that Rafael is not worth a copper. " But it is important for us that
Bazarov, perishing in the novel, "RESJUSTE" on the last page of the Pisarev article: "What to do? Live, while still living, there is dry bread, when there is no roast beef, to be with women, when you can not love a woman, but do not dream of orange trees and palm trees, when under your feet snow drifts and cold tundra. " Perhaps, we can consider the Pisarev article with the brightest novel interpretation in the 60s.

In 1862, in the fourth book of the magazine "Time", published by F. M. and M.
M. Dostoevskiy, comes out interesting article N. N. Insurance, which is called "I. S. Turgenev. "Fathers and Sons". Fares are convinced that the novel is the wonderful achievement of the Turgenev-artist. The image of the Bazarov critic considers extremely typical. "Bazarov is a type, ideal, a phenomenon raised to the Pearl of Creation." Some traits of a marketplace character are explained by insurance more precisely than Pisarev, for example, denial of art. The fact that Pisarev considered a random misunderstanding explained by the individual development of the hero
("He dedicates the things that he does not know or does not understand ..."), fears perceived a significant feature of the nature of the Nihilist: "... Art always carries the nature of reconciliation, while Bazarov does not want to reconcile with life at all. Art has idealism, contemplation, abolition from life and worship ideals; Bazarov is a realist, not a contemplator, and the leader ... "However, if D. I. Pisareva Bazarov - a hero, who has a word and things merge into one whole, then the initial nihist is still a hero
"Words", albeit with the thirst for activities brought to extremely.
Frakhov caught the timeless meaning of the novel, sowing to rise above ideological disputes of his time. "Write a novel with a progressive and retrograde direction - another thing is not difficult. Turgenev had a claim and audacity to create a novel having all sorts of directions; The fan of the eternal truth, eternal beauty, he had a proud target in temporary pointing to eternal and wrote a novel not progressive and not retrograde, but, so to speak, always, "wrote a critic.

Liberal critic P. V. Annenkov responded to the Turgenev Roman.
In his article, "Bazarov and Oblomov" he is trying to prove that, despite the external difference between the Bazarov from Oblomov, "the grain is the same in both nature."

In 1862, an article of an unknown author comes out in the magazine "Century"
"NiHist Bazarov". It is primarily dedicated primarily by the analysis of the personality of the main character: "Bazarov - NiHist. To the environment in which it is delivered, it refers is certainly negative. Friendship does not exist for him: he suffers his buddy, as strong tolerates weak. Related relationships for him the habit of parents to him. He understands love as a materialist. The people look at the disregard of an adult on small guys. There is no activity remaining for Bazarov. " As for Nihilism, an unknown critic claims that the denial of the Bazarov does not have the foundations, "there is no reason for him."

In the work of A. I. Herzen "Once than the Bazaarov", the main object of the controversy is not the Turgenev Hero, but the bazaars created in the articles of D. I.
Pisarev. "It is true that the Pisuses of the Turgenev Bazararov understood, before that I do not care. It is important that he learned himself in Bazarov and added what was lacking in the book, "the critic wrote. In addition, Herzen compares
Bazarov with Decembrists and comes to the conclusion that "Decembrists - our great fathers, bazaars - our prodigal children." Nihilism in the article is called "logic without structures, science without dogmas, humiliary."

At the end of the decade, Turgenev himself is included in the controversy around the novel. In the article "Regarding the" fathers and children ", he tells the story of his plan, the stages of the publication of the novel, stands up with its judgments about the objectivity of reproduction of reality:" ... accurately and strongly reproduce the truth, the reality of life is the highest happiness for the writer, even If this truth does not coincide with its own sympathies. "

The work considered in the abstract is not the only responses of the Russian public on the Roman Turgenev "Fathers and Children". Almost every Russian writer and critic expressed his attitude towards problems raised in the novel in one form or another. Is it not this present recognition of the relevance and significance of the work?

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DI. Pisarev "Bazarov"

To people standing in their mental forces above the general level, the disease of the eyelid is most often. Bazarov obsessed with this disease. It is distinguished by a wonderful mind and as a result, it makes a strong impression on people encountered with him. "A true person," he says, "the one that has nothing to think about, and which it is necessary to obey or hate." It is the Bazarov himself suitable for the definition of this person. He immediately mastering the attention of others; Only he fighters and repels, others subordinate to their direct strength, simplicity and integrity of his concepts. "When I meet a man who would not be saved in front of me," he said with the arrangement, "then I bet my opinion about myself." From this statement of Bazarov, we understand that he has never met a person equal to himself.

He looks at the people from top to bottom and rarely hides his semi-carrying, attitude towards people who hate him, and to those who are listening. He does not love anyone.

He comes in this way because he considers it overly to constrain his individual in whatever it is, on the same impulse, according to which the Americans dial legs on the backs of the chairs and smeared parquet floors of lush hotels with tobacco juice. Bazarov does not need any in whom, and therefore, it does not spare anyone. As Diogen, he is ready to live almost in a barrel and for it gives himself the right to tell people in the eye sharp truths, because he likes it. In the cynicism of the Bazarov, two sides can be distinguished - inner and outer: cynicism of thoughts and feelings, and cynicism of manner and expressions. Ironic attitude towards the feeling of all kinds. The coarse expression of this irony, unprepaid and aimless sharpness in circulation belong to an external cynicism. The first depends on the warehouse of the mind and from the total worldview; The second is determined by the properties of the Company in which the subject under consideration lived. Bazarov not only empiric - he, in addition, the bustled Bursh, who does not know another life, except the homeless, labor, life of a poor student. Among the admirers of Bazarov, there are probably such people who will admire his gross manners, traces of Bursatsky life, will imitate these manners that make up its lack of. Among the haters Bazarov there are such people who will deal with particular attention to these features of his personality and put them in the pan. Those and others will be mistaken and will detect only deep misunderstanding of the present case.

Arkady Nikolayevich is a young man, a slightly, but devoid of mental orientation and constantly in need of someone intellectual support. In comparison with Bazarov, it seems at a completely uninterrupted chick, despite the fact that he is about twenty-three years old and that he ended the course at the university. Arkady with pleasure denies authorities, awe in his teacher. But he does it from someone else's voice, not noticing the inner contradiction in his behavior. It is too weak to keep independently in the atmosphere, in which the bazaaros is so raised. Arkady belongs to the category of people, forever guarded and always do not notice the guardianship. Bazarov refers to it is a patronage and almost always mockingly. Arkady often argues with him, but as a rule does not achieve anything. He does not like his friend, and somehow involuntarily obeys the influence of a strong person, and, moreover, it imagines that he deeply sympathizes to the Barosar world. It can be said that Arcadia's relations to the bazaarov are made to order. He met him somewhere in the student circle, became interested in the worldview, conquered him strength and imagined himself that he deeply respects him and he loves him from the soul.

Arkady Father, Nikolai Petrovich - a man of years of forty with a little; In a warehouse of character, he is very similar to his son. As a man is soft and sensitive, Nikolai Petrovich is not rummaged to rationalism and calms down on such a world, which gives food to his imagination.

Pavel Petrovich Kirsanova, you can call the peopling of small sizes; He was thinking about his century, and finally he was tired of everything; He could not be attached, but it was not in his character; Reaching until then, when, regretful looks like hopes and hopes look like regret, the former Lion retired to his brother in the village surrounded himself with elegant comfort and turned his life into calm stagnation. An outstanding memories of the former noisy and brilliant life of Pavel Petrovich was a strong feeling towards one large-life woman who gave him a lot of pleasures and, after what happens almost always, a lot of suffering. When Pavel Petrovich's relations were cut off to this woman, then his life was completely empty. As a person with a flexible mind and strongly, Pavel Petrovich is sharply different from his brother and from the nephew. He is not amenable to someone else's influence. He himself subordinates to himself the surrounding personality and hates those people in whom he will rebuff. He does not have beliefs, but there are habits that he is very valuable. He interprets about the rights and responsibilities of the aristocracy and proves the need for principles in disputes. He was accustomed to the ideas that society holds, and stands for these ideas, as for its comfort. He cannot tolerate, so that someone refuted these concepts, although, in essence, it does not feed any heart attachment to them. He is much more energetic than his brother argues with bazaarov. In the depths of the soul Pavel Petrovich the same skeptic and empiric, as well as the Bazarov himself. In life, he always received and acts, as he flies out, but he does not know how to confess to him in front of himself and therefore supports such doctrines in words, which are constantly contrary to his actions. The uncle and the nephew should have changed between his beliefs, because the first mistakes attributes to his faith in principles, the second in the same way mistakenly imagines himself with a bold rationalist. Pavel Petrovich begins to feel the strongest antipathy from the first acquaintance. Plebea Bazar's manners are outraged by the retired dandy. Self-confidence and not the ceremoniality of him annoy Pavel Petrovich. He sees that the bazaars will not give way to him, and this excites him in him a feeling of annoyance, for which he grasped as for entertainment among deep rustic boredom. Hateing the Bazarov himself, Pavel Petrovich is indignant by all his opinions, quit him, forcibly causes him to a dispute and argue with that kind of hobby, which people are usually found idle and bored.

Whose side lie sympathy of the artist? Who does he sympathize? This question can be answered like this: Turgenev does not sympathize with any of their acting persons. No weak or ridiculous trait will slip away from its analysis. We see how the bazaars sneak in their denial, as Arkady enjoys its development, as Nikolai Petrovich Robets, like a fifteen-year-old young man, and how Pavel Petrovich draws and angry, why he does not admire the bazaars, the only person he respects himself in the hate .

Bazarov freezes - this is unfortunately fair. He denies things that do not know or does not understand. Poetry, in his opinion, nonsense. Read Pushkin - Lost time; Music - funny; Enjoy nature - ridiculous. He is a man, lighted by labor life.

Passion for bazarova science naturally. It is explained: first, one-sidedness of development, secondly, the common nature of the era in which they had to live. Eugene knowsly knows natural and medical sciences. With their assistance, he knocked out all prejudices from his head, then he remained extremely uneducated by a person. He heard something about poetry, something about art, but did not bother to think and the sparehold said a sentence of strank items.

The Bazarova has no friend, because he has not yet met a person, "who would not be saved in front of him." He does not feel the need for some other person. When he comes to mind some thought, he simply speaks, not paying attention to the reaction of the audience. Most often, he does not even feel the need to speak: thinking about himself and occasionally drops a raggy remark, which with respectfully greed picks up chicks like Arkady. The identity of Bazarov closes in itself, because it is almost no elements related to it around it. This closure of the Bazarov is hard on those people who want tenderness and reports from him, but there is nothing artificial and intentional in this closet. People surrounding baza carriages are insignificant in mental terms and can not stir up it, so he is silent, or says fragmentary aphorisms, or breaks the argument, feeling his funny uselessness. The bazaars do not matter before others, does not consider himself a brilliant person, he is just forced to look down on his acquaintances from top to bottom, because these acquaintances fall on his knee. What to do? After all, not to get to him on the floor in order to compare with them in growth? He involuntarily remains in privacy, and this privacy is not hard for him because he is busy cycling with his own thought. The process of this work remains in the shade. I doubt that Turgenev is able to give us a description of this process. To portray it, it is necessary to be bazar himself, and with Turgenev it did not happen. The writer we see only the results to which the bazaars came, the external side of the phenomenon, i.e. I hear what Bazarov says, and find out how he comes in life, as drawn with different people. We do not find the psychological analysis of the thoughts of Bazarov. We can only guess what he thought and how his beliefs themselves formulated before himself. Not devoting the reader in the secrets of the mental life of Bazarov, Turgenev can initiate bewilderment in the part of the public, which is not accustomed to the work of his own thought to complement what is not agreeened or not articulated in the work of the writer. The inattentive reader might think that the Bazarov has no internal content, and that all its nihilism consists of the plexus of bold phrases, caught from the air and not developed by independent thinking. Turgenev himself does not understand his hero, and only because it does not follow the gradual development and ripening of his ideas. The thoughts of Bazarov are expressed in his actions. They are shifted, and they are not difficult to see them, if only read carefully, grouping facts and giving themselves a report in their causes.

By depicting the relationship of Bazarov to the old men, Turgenev does not turn into a prosecutor, deliberately selecting the dark paints. He remains still a sincere artist and depicts a phenomenon as it is, not sweeten and does not seek it in its arbitrariness. Turgenev himself may, in nature, comes to compassionate people. He sometimes fonds with sympathy to the naive, almost no sensation of the old women of the mother and to the restrained, shameful feeling of the old man's father. It is fond of such an extent that it is almost ready to bore and blame Bazarov. But in this hobby, it is impossible to look for anything preliminary and calculated. It affects only the loving nature of Turgenev itself, and in this property of his character it is difficult to find anything reprehensible. Turgenev is not to blame for the fact that he regrets the poor old people and even sympathizes their irreparable grief. The writer does not why hide its sympathies in favor of a particular psychological or social theory. These sympathies do not force him to crush the soul and urge reality, therefore, they do not harm the novel, nor the personal character of the artist.

Arkady, according to the expression of Bazar, got into the daws and directly from under the influence of his friend switched to the soft power of his young spouse. But be that as it may, Arkady fed to himself the nest, found his happiness, and the bazaars remained homeless, not a warmed skeleton. This is not a random circumstance. If you, gentlemen, you understand the character of the Bazar, then you will be forced to agree that such a person is very difficult to attach and that he cannot, without changing, to become a virtuous family man. Bazarov can only love a woman very smart. Favoring a woman, he will not subordinate his love to any conditions. He will not restrain himself and in the same way will not artificially warm his feeling when it cools after complete satisfaction. He takes the location of the woman when it gives him a completely voluntarily and definitely. But intelligent women can usually be careful and calculating. Their dependent position causes them to be afraid of public opinion and not to give will their entreprenences. They are afraid of an unknown future, and therefore a rare intelligent woman will decide to rush on the neck to his beloved man, without tilling him with a strong promise in the face of society and the Church. When dealing with Bazarov, this smart woman will understand very soon that no promise will connect the unbridled will of this wayward man and that it cannot be obliged to be a good husband and the gentle father of the family. She will understand that the bazaars or will not give any promise at all, or, by giving him a minute of complete enthusiasm, will break it when it is dispelled. In short, she will understand that the feeling of Bazarov freely and will remain free, in spite of any swirls and contracts. Arkadia is much more likely to like a young girl, despite the fact that the bazaars are incomparably smarter and wonderful than their young comrade. A woman who can appreciate Bazarov, will not give up to him without prior conditions, because such a woman knows life and pays his reputation for the settlement. A woman who is able to get involved in feeling as a creature naive and meditated little, will not understand Bazarov and will not love him. In short, there are no women for Bazarov able to cause a serious feeling in it and for their part it is warmly answered by this feeling. If the bazarow dealt with ASE, or with Natalia (in Rudine), or with faith (in Fausta), then he would certainly have not retreated at a decisive moment. But the fact is that women like Asse, Natalia and faith are fond of sweet phrasers, and before strong people, like Bazarov, only a timidity close to antipathy feel. Such women need to be closed, but I can't caress anyone to caress. But at present, a woman cannot surrender directly, because a formidable question always put forward behind this pleasure: what then? Love without guarantees and conditions is not consumed, but love with guarantees and conditions of bazarov does not understand. Love is so love, he thinks, bargaining so bargaining, "And these two crafts", in his opinion, is inconvenient and unpleasant.

Consider now three circumstances in the Roman Turgenev: 1) the attitude of the Bazarov to the simple people; 2) Clamping Bazar for Fencheck; 3) Duel Bazarov with Pavel Petrovich.

In the relations of Bazarov to the simple people, first of all, it is necessary to notice the absence of any sweetness. The people like it, and therefore Bazarov loves the servants, they love the children, despite the fact that he does not tasit them either money or gingerbread. Mentering in one place that the Bazarov love ordinary people, Turgenev says that men look at him as a fool's jester. These two testimony do not contradict each other. Bazarov keeps himself with men simply: he does not find any Baria, no urban desire to fake them in touch and teach them to mind, and therefore men, speaking with him, do not robe and do not hesitate. But, on the other hand, bazaars and appeal, and in the language, and according to the concepts, both with them, and with those landowners who are used to see and listen to the guys. They look at him as a strange, exceptional phenomenon, nor the same, and will look in this way on the Lords like Bazarov, until they are divided into more and while they do not have time to look. The guys lies with the heart to Bazarov, because they see a simple and intelligent person in it, but at the same time this person is someone else's for them, because he does not know their life, their needs, their hopes and fears, their concepts, beliefs and Prejudice.

After his failed novel, from the same Bazarov again comes to the village to Kirsanov and begins to fuck with Fencing, the mistress of Nikolai Petrovich. He likes Fuenus as a chubby, a young woman. He likes her as kind, simple and cheerful man. In one fine July morning, he managed to finish on her fresh sponge a full kiss. It resists weak, so he managed to "resume and extend his kiss." At this place, his love conventions are broken. He, as can be seen, was not visible at all that summer, so that no intrigue was brought to a happy ending, although they all began at the most favorable omens.

Following the fact that Bazarov leaves from the village of Kirsanov, and Turgenev subsided for his following words: "He never came to mind that he had violated all the rights of hospitality in this house."

Seeing that bazaars kissed Fenzka, Pavel Petrovich, who had long already had a hatred for Nigilist and, moreover, it was not indifferent to Fencake, which for some reason reminds him of his old beloved woman, causes our hero on a duel. Bazarov shoots him with him, wounds him in his leg, then he gave him the wound himself and is leaving for another day, seeing that he is inconvenient to stay in the house of Kirsanov after this story. Duel, according to the concepts of Bazar, absurdity. Asks, did the bazarov, making the challenge of Pavel Petrovich well? This question comes down to a more general question: "Does it be allowed to retreat from their theoretical beliefs in life?". As for the concept of conviction, various opinions can be reduced to two main shades. Idealists and fanatics scream about beliefs without analyzing this concept, and therefore do not strongly want and do not know how to get in a sense that a person is always more expensive than brainwear, due to the simple mathematical axiom, speaking to us that the whole is always more than part. The idealists and fanatics will say, so that to retreat in life from theoretical beliefs is always shameful and criminal. This will not prevent many idealists and fans with the case of join and empty, and then reproach yourself in practical insolvency and engage in remorse. There are other people who do not hide from themselves that they sometimes have to do absurdity, and they do not even want to draw their lives in a logical calculation. To the number of such people belongs to bazaars. He tells himself: "I know that a duel is absurd, but in this minute I see that I will refuse it decisively uncomfortable from her. In my opinion, it is better to make absurdness than, remaining prudent to the last degree, get a blow from hand or from Cost of Pavel Petrovich. "

At the end of the novel bazaars dies from a small cut made during the dissection of the corpse. This event does not follow from previous events, but it is necessary for the artist to draw the character of his hero. Such people like bazaars are not determined by one episode, grated from their lives. Such an episode gives us only a vague concept that tremendous forces fall in these people. What are these forces express? Only the biography of these people can answer this question, and it is known to be written after the death of the figure. From the bazers, under certain circumstances, great historical figures are produced. These are not workers. Deliching into careful research of special issues of science, these people never lose sight of the world, which accommodates their laboratory and their themselves, with all their scientific, tools and devices. The bazaars will never be done by the fanatics of science, will never erect it in the idol: constantly keeping skeptical attitude to the science itself, he will not give her to acquire an independent meaning. He will be engaged in partly to transmitting time, partly like bread and healthy craft. If another occupation is presented, more interesting, - he will leave medicine, just like Veniamin Franklin 10 left the typographic machine.

If the desired changes will occur in consciousness and in the life of society, then people like Bazarov will be ready, because the constant work of thoughts will not give them to bother, rusty, and constantly awake skepticism will not allow them to become fanatics specialty or sluggish followers of the unilateral doctrine. Without the opportunity to show us how to live and acts the bazaars, Turgenev showed us how he dies. This is pretty for the first time pretty to make yourself a concept of the forces of the Bazarov, who could only be referred to as life, struggle, actions and results. In Bazarov, there is power, independence, energy that does not happen in phrases and imitators. But if someone wanted not to notice and do not feel in him the presence of this force if someone wanted to undergo her doubt, then the only fact, solemnly and daily refuting this ridiculous doubt would be the death of Bazarov. The influence of him on the surrounding people does not prove anything. After all, Rudin had an impact on people like Arkady, Nikolai Petrovich, Vasily Ivanovich. But to look into the eyes of death does not weaken and not to join - this is a matter of a strong character. Die to die as the bazaries died, it is like to make a great feat. Because the bazaarov died firmly and calmly, no one felt either relief, no benefit, but such a person who knows how to die quietly and firmly, will not retreat before the obstacle and does not bewit before danger.

Starting to the construction of the character of Kirsanov, Turgenev wanted to present him great and instead made him ridiculous. Creating a Bazarov, Turgenev wanted to break him in the dust and instead he gave him a complete tribute to fair respect. He wanted to say: Our young generation goes on a false road, and said: in our young generation, our whole hope. Turgenev is not a dialectic, not a sophist, he is primarily an artist, a person unconsciously, unwitting sincere. His images live their life. He loves them, he is fond of them, he is tied to them during the process of creativity, and it becomes impossible to wave them in his whim and turn the picture of life into an allegory with a moral purpose and with a virtuous junction. Honest, the clean nature of the artist takes its own, breaks the theoretical fences, triumphes over the misconceptions of the mind and its instincts will buy everything - and the infidelity of the main idea, and one-sidedness of development, and the outdatedness of concepts. Looking at your Bazarov, Turgenev, as a person and as an artist, grows in his novel, grows on our eyes and grows up to the right understanding, before the fair assessment of the created type.

MA Antonovich "Asmodener of our time." Sad I look at our generation ...

There is nothing intricate in the concept of the novel. Its action is also very simple and occurs in 1859. The main acting person, a representative of the young generation, is Evgeny Vasilyevich Bazarov, Medic, the young man, intelligent, diligent, who knows his work, self-confidently, but stupid, loving strong drinks, imbued with the wildest concepts and unprotected before everything fools, even Simple peasants. He does not have hearts at all. He is insensitive as a stone, cold as ice and fierce as a tiger. He has a friend, Arkady Nikolayevich Kirsanov, Candidate of St. Petersburg University, - the young man is sensitive, kind, with an innocent soul. Unfortunately, he submitted to the influence of his friend Bazarov, who tries to fully fit the sensitivity of his heart, kill his soul's noble movements and inspire him a contemptive coldness to everything. As soon as he detects any sublime gust, the friend immediately will be aspired by his contemptuous irony. Bazarov has a father and mother. Father, Vasily Ivanovich, the old Medic, lives with his wife in a small imeniac; Good old people love their Egypt to infinity. Kirsanov also has a father, a significant landowner living in the village; He died his wife, and he lives with Fuenus, a cute creation, his tender his key. In the house he lives his brother, it became uncle Kirsanova, Pavel Petrovich, a man of idol, in his youth of the capital lion, and under the old age - the village Fat, to infinity, immersed in the care of the amateur, but an invincible dialectic, at every step, strikes Bazarov and his nephew.

We will get acquainted closer with the trends, try to find out the intimate qualities of fathers and children. So what are the fathers, the old generation? Fathers in the novel are presented in the best. We are not talking about those fathers and about the old generation, which represents the inflated Princess X ... Aya, who did not tolerate young people and swallowed on the "new debris", Bazarov and Arkady. Kirsanova's father, Nikolai Petrovich, an approximate person in all respects. He himself, despite his general origin, was brought up at the university and had a degree of candidate and his son gave a higher education. Looking for almost old years, he did not cease to take care of the addition of his own education. All the forces used to keep up with the century. He wanted to get close to the young generation, to penetrate his interests to be together with him, together, hand in hand, to go to the common goal. But the younger generation roughly pushed him away from himself. He wanted to go with her son to start his rapprochement from him to start his rapprochement with the young generation, but Bazarov prevented this. He tried to humiliate his father in the eyes of his son and stopped all moral connection between them. "We," the father said to his son, "we will heal with you to glory, Arcasha. We are needed to closely closely with each other, to know each other good, is not it?" But what they would be spoken among themselves, Arkady always begins to sharply contradict the Father, who attributes it - and is completely true - the influence of the Bazarov. But the son still loves his father and does not lose hope ever close to him. "Father I have," he says Bazarov, is a golden man. " "An amazing thing," the one answers, "these old romance! They will develop a nervous system to irritation, well, equilibrium and violated." In Arcadia, Syan Love spoke, he joined his father, says that a friend is not enough to know him. But the bazaars killed in it and the last rest of the sons of love with the following contemptuous review: "Your father is kind small, but he is a retired man, his song Spet. He reads Pushkin. Clear him that it is not good. After all, he is not a boy: it's time to quit this nonsense. Give him something a little, even the Büchner of Stoff Und Kraft5 for the first case. " The son fully agreed with the words of a friend and felt regret and contempt for the Father. The father accidentally overheard this conversation, which struck him in the heart, insulted to the depths of the soul, killed in it all energy, every hunt for rapprochement with the younger generation. "Well," he said after that, - maybe bazaars and rights; but it hurts me one thing: I hoped closely and friendly with Arkady, and it comes out that I stayed behind, he went ahead, and we don't understand each other We can. It seems I do everything to keep up with the century: the peasants arranged, the farm began, so I am in the whole of the province of red. I read, I study, I generally try to be in the level with modern needs, and they say that the song is my sung. Yes, I myself begin to think so. "This harmful action is acclaimed and intolerance of the younger generation. One fence of a boy worried the giant, he doubted his strength and saw the infertility of his efforts to keep up with the century. Thus, the young generation was lost in his own fault. Assistance and support from a person who could be a very useful figure, because it was a good wonderful qualities that lack young people. Young people are cold, selfish, does not have poetry and therefore hates it everywhere, does not have higher moral beliefs. Then As this man had a soul poetic and, despite the fact that he knew how to arrange a farm, retained poetic heat to old years, and most importantly, he was imbued with the most firm moral convictions.

Father and Bazarov's mother even better, even kinder than the parent of Arcadia. Father also definitely does not want to fall behind the century, and the mother only lives that love for his son and the desire to please him. Their common, gentle attachment to Yenyushenka is depicted by the city of Turgenev very exciting and alive; There are the best pages in the whole novel. But the more disgusting seems to us that the contempt for which Yenyushenka pays for their love, and that irony, with what he belongs to their gentle caress.

That's what fathers! They, in contrast to children, imbued with love and poetry, they are moral people, modestly and secretly doing good deeds. They do not want to fall behind the century.

So, the high advantages of the old generation before young are undoubted. But they will still be undoubtedly when we look at the quality of the "children". What are the "children"? Of those "children", which are bred in the novel, only one bazaarov seems to be a person independent and non-unheard. As the influences there was a nature of the Bazarov, it is not visible from the novel. It is also not known where he borrowed his beliefs and what conditions conducive to the development of his way of thinking. If Mr. Turgenev thought about these issues, he would certainly change his concepts about the fathers and children. The writer said nothing about the participation, which could take the study of the natural sciences in the development of the Hero, who made up his specialty. He says that the hero accepted the famous direction in the form of thoughts due to the sensation. What it means - it is impossible to understand, but so as not to insult the author's philosophical insight, we see only the poetic sharpness in this feeling. Be that as it may, the thoughts of Bazarov are independent, they belong to him, his own activity of the mind. He is a teacher, other "children" of the novel, foolish and empty, listen to him and only meaninglessly repeating his words. In addition to Arkady, such, for example, sickniks. He considers himself a disciple of Bazarov and obliged to him: "Believe it," he said, - that when Yevgeny Vasilyevich said, he said that he should not recognize the authorities, I felt such a delight ... As if I was clear! That's, I thought I was finally I found a person! " Sitnikov told the teacher about Mrs. Cushina, a sampling of modern daughters. The bazaars then only agreed to go to her when the student assured him that she would have a lot of champagne.

Bravo, the younger generation! Excellent hurt for progress. And what is the comparison with smart, good and morally powerful "fathers"? Even the best representative it turns out to be a dormant Mister. But still he is better than others, he speaks with consciousness and expresses his own judgments, not borrowed from anyone, as it turns out from the novel. We are now doing this best instance of the younger generation. As mentioned above, he seems to be a cold, incapable of love, nor even the most ordinary attachment. Even a woman he cannot love with poetic love, which is so attractive in the old generation. If, at the request of an animal feeling, he will love a woman, he will love one body alone. He even hates soul in a woman. He says, "That she doesn't need to understand a serious conversation at all and that it is free to think between women only freaks."

You, the city of Turgenev, raise the desires that would deserve encouragement and approval by any blowing person - we do not have here in mind the desire for champagne. And without that many thorn and obstacles meet young women who wish to learn more seriously. And without the malicious sisters, they knock them their eyes with "blue stockings". And without you we have a lot of stupid and dirty gentlemen who, too, like you, reinforce them for the dishevement and lack of crinolines, mock their unclean collars and above their nails that do not have the crystal transparency, which brought his nails with your cute Paul Petrovich. It would be rather that, and you still strain your wit for inventing new offensive nicknames for them and want to go into the course of Mrs. Cushin. Or do you really think that emancipated women are close only about champagne, cigarettes and students or about several one-time husbands, how imagines your fellow in the art of the union? It's even worse, because it snaps out the disadvantageous shadow on your philosophical intelligence. But the other - ridicule - is also good, because it makes doubt your sympathy to everything intelligent and just. We personally are located in favor of the first assumption.

The young male generation we will not protect. It is really so, how is it depicted in the novel. So exactly, we agree that the old generation is not at all decorated, but is represented as it is actually with all its accurate qualities. We just do not understand why the city of Turgenev gives preference to the old generation. The young generation of his novel is not at all inferior to the old one. Qualities they are different, but the same in degree and dignity; What are fathers, such and children. Fathers \u003d Children - Traces of Baria. We will not protect the younger generation and attack the old, but we will try to prove the loyalty of this formula of equality.

Young people pushes the old generation from themselves. It is quite bad, harmful to business and does not honor youth. But why the old generation, more prudent and experienced, does not take action against this repulsion and why doesn't it try to attract young people? Nikolai Petrovich Man Solid, Smart, wished to close up with the younger generation, but hearing how the boy called him a retired, he smashed, began to mourn his backwardness and immediately aware of the uselessness of his efforts to keep up with the century. What kind of weakness is? If he was aware of his justice, if he understood the aspirations of young people and sympathized with them, it would be easy for him to attract her son. Basarov prevented? But as a father connected with his son, he could easily defeat the influence of Bazarov, if it had hunting and decrease. And in the Union with Pavel Petrovich, an invincible dialectic, he could even turn the Besakar himself. After all, only old people learn and move it difficult, and youth is very susceptible and mobile, and you can not think that the bazaars refused the truth if she was shown to him and proven! Mr. Turgenev with Pavel Petrovich depleted all their wit in disputes with bazaarov and did not bother with sharp and offensive expressions. However, Bazarov did not understand, did not embarrass and remained with his opinions, despite all the objections of opponents. It must be because objections were bad. So, the "fathers" and "children" are equally right and to blame for mutual repulsion. "Children" repel fathers, and these passively depart from them and do not know how to attract them to themselves. Equality Full!

Nikolai Petrovich did not want to marry Fenzheka due to the influence of the traces of Baria, because she was a nervous and, most importantly, because she was afraid of her brother, Pavel Petrovich, who had even more traces of Baria and which, however, also had views of Fenuceka. Finally, Pavel Petrovich decided to destroy the traces of Baria and demanded that the brother would marry. "Fear on Fenoicke ... She loves you! She is the mother of your son." "You say that, Paul?" You, whom I considered the opponent of such marriages! But don't you know that the only respect for you I did not fulfill what you really called my duty. " "In vain, you respected me in this case," Paul answered, "I start thinking that Bazarov was right when I reproached me in aristocratic. No, we fully break and think about the light, it's time to postpone all the bustle, then There are traces of Baria. Thus, the "fathers" were aware, finally, their drawback and postponed him aside than and destroyed the only difference that existed between them and children. So, our formula is modified like this: "Fathers" - Sand Baria \u003d "Children" - Sand Baria. Related from equal values \u200b\u200bof equal, we get: "Fathers" \u003d "Children", which was required to prove.

By this, we commit the personalities of the novel, with the fathers and children, and turn to the philosophical side. To the topics and directions that are depicted in it and which make up belonging not to the younger generation only, but are separated by the majority and express the total modern direction and movement. As can be seen, all over, Turgenev took the then period of mental life and literature for the image, and this features opened in it. From different places of the novel, we will collect them together. First, you see, there were hegelists, and now, nihilists appeared. Nihilism is a philosophical term having different meanings. The writer determines it as follows: "A nihylist is called the one who does not recognize anything that does not respect anything, which is from a critical point of view, which does not inclined any authorities, which does not accept any principle for faith, whatever respect It was not surrounded by this principle. Formerly, without prinons adopted on faith, they could not stand step. Now they do not recognize any principles: they do not recognize the art, they do not believe in science and they even say that there is no science at all. Now everyone deny, but to build Do not want. They say: "It's not our business, first you need to clear."

Here is a collection of modern views embedded in the facility. What are they? Caricature, lattern and nothing more. The author directs the arrows of his talent against that, in the essence of which he is not penetrated. He heard a variety of votes, he saw new opinions, watched lively disputes, but could not get to their inner meaning, and therefore in his novel he touched the tops alone, some words that were uttered around him. The concepts connected to these words remained for him. All his attention is drawn to fascinating the image of Fennica and Kati, describe the dreams of Nikolai Petrovich in the garden, depict "looking, uncertain, sad trouble and unfortunate tears." The case would be thumbightly if he had just limited himself. Artistically disassemble the modern image of thoughts and characterized the directions to him should not be. He or not at all understands them, or understands in his own way, in artistic, superficially and incorrectly and from the personification of them is a novel. Such art really deserves if not denial, then the censure. We have the right to demand that the artist understand what he depicts that in his images, in addition to artisticity, it is true, and what he is not able to understand, for not be accepted. Mr. Turgenev is perplexed, as can be understood as nature, to study it and at the same time admire it and enjoy poetically, and therefore says that the modern young generation, passionately devotional to the study of nature, denies the poetry of nature, cannot admire it. Nikolai Petrovich loved nature, because he looked at her without it, "indulging in a sorting and pleasant game of lonely doom," and felt only anxiety. Bazarov could not admire nature, because he did not play indefinite Duma, and the thought worked in nature; He walked around the swamps not with the "seeking anxiety", but in order to collect frogs, beetles, infusories, then to cut them and view them under the microscope, and this killed all poetry in it. But meanwhile, the most hosted and reasonable enjoyment of nature is possible only when it is understood when they look at it not with scoreless thinks, but with clear thoughts. This was convinced of "children", sciences by the "fathers" and authorities themselves. There were people who understood the meaning of her phenomena, knew the movement of waves and herbs. Laboze, read the star book and were great poets10. But for true poetry, it is also necessary that the poet portrayed nature is true, not fantastically, and as it is, the poetic personification of nature is a special kind of article. "Pictures of Nature" can be the most accurate, the most scientist description of nature and can produce a poetic action. The picture may be artistic, although it is drawn before it is true that the botany can study on it the location and shape of leaves in plants, the direction of their veins and types of colors. The same rule applies to the artworks depicting the phenomena of human life. It is possible to compose a novel, to present in it "children" similar to the frogs and "fathers" similar to Osin. Convert modern directions, to overtake other people's thoughts, take a little bit from different views and make a porridge from all this and vinaigrette called "Nihilism". Submit this porridge in the faces so that each person represented the Vinaigrette from the most opposite, incomparable and unnatural actions and thoughts; And at the same time, it is impressive to describe a duel, a pretty picture of love dates and a touching picture of death. For anyone, he can admire this novel, finding artist in it. But this artisticity disappears, herself denies itself at the first touch of thought, which opens the lack of truth.

In times calm, when the movement is performed slowly, the development is gradually on the basis of old principles, the disagreement of the old generation with new things relate to things of unimportant, contradictions between the "fathers" and "children" can not be too cutting, therefore the wrestling between them has the nature of calm And does not go beyond the well-known limited limits. But during the times lively when the development makes a brave and significant step forward or cool turns aside when the old principles turn out to be untenable and there are completely different conditions and requirements of life on the spot, "then this struggle takes significant volumes and is sometimes expressed sometimes in the most tragic way. New doctrine is in the form of an unconditional denial of all the old. It declares an implacable struggle with old views and legends, moral rules, habits and lifestyles. The difference between the old and new so dramatically, that at least at the first time between them is impossible agreement and reconciliation. At such times, related links as it were to weaken, brother rises to his brother, son on his father. If the father remains with the old one, and the Son appeals to a new one, or vice versa, the discord is inevitable between them. Son can not hesitate between love for his father and his conviction. A new teaching with apparently cruelty demands that he leave his father, mother, brothers and sisters and was faithful to himself, his beliefs, his calling and the rules of the new teaching, and followed these rules steadily.

Sorry, Turgenev, you did not know how to determine your task. Instead of the image of relations between the "fathers" and "children", you wrote panechnic "fathers" and the guys of "children", and yes and "children" you did not understand, and instead of chopping, you got slander. Distributors of common concepts between the younger generation, you wanted to imagine union browsers, sounders of discord and evil hated by good, - in a word, asmodeus.

N.N. Strakhov I.S. Turgenev. "Fathers and Sons"

With the appearance of criticism of any work, everyone is waiting for some lesson or teaching. Such a requirement is impossible to reveal more clearly when the new Roman Turgenev appears. Suddenly began to be launched with feverish and urgent issues: whom he praises, who condemns who he has a sample to imitate, who is the subject of contempt and indignation? What is this novel - progressive or retrograde?

And now they rose countless senses. It came to the smallest detail, to the most subtle details. Bazarov drink champagne! Bazarov plays cards! The bazaars carelessly dress! What does it mean, ask in bewilderment. Should it, or should not? Everyone decided in his own way, but everyone considered it necessary to bring moraling and sign it under the mystery bas. Decisions, however, came out completely different. Some found that the "fathers and children" have satire for the younger generation that all the sympathies of the author on the side of the fathers. Others say they are ridiculous and disgraced in the novel fathers, and the younger generation, on the contrary, is extomed. Some find that the bazarov himself is to blame for his unhappy relations to the people with whom he met. Others argue that, on the contrary, these people are to blame for the fact that Bazarov is so hard to live in the world.

Thus, if you bring all these disgraceful opinions, it should come to the conclusion that there is no moraling in the bass or not at all, or that moraling is not so easy to find that it is not at all where it is looking for it. Despite the fact that the novel is read with greed and excites such interest, which one can say, not an alone product of Turgenev was not excited. Here is a curious phenomenon that costs full attention. The novel, apparently, was not in time. It seems to not meet the needs of society. He does not give him what it is looking for. Meanwhile, it produces a strongest impression. G. Turgenev, in any case, can be pleased. His mysterious goal is fully achieved. But we must give yourself a report in the sense of his work.

If Roman Turgenev turns readers in bewilderment, this happens on a very simple reason: he leads to consciousness what has not been consciously, and reveals what has not yet been noticed. The main character of the novel is bazaars. It is now an apple of discord. Bazarov has a new face that we saw sharp features for the first time. It is clear that we are thinking about it. If the author brought us again the landowners of former time or other persons, for a long time more acquaintances, then, of course, he would not give us any reason to amazement, and all the loyalty and skill of his image would have been divided. But in the present case, it has a different appearance. Even questions are constantly being heard: yes where is the bazaarovs? Who saw the bazers? Which of us bazaars? Finally, is there really people like bazaars?

Of course, the best proof of the reality of Bazarov is the most novel. The bazaars in it are so faithful to himself, so generously equipped with flesh and blood that it is not possible to call him ancient man. But he is not a walking type, everyone familiar and only captured by the artist and exposed to them "On the Nightly Writing eyes. Bazarov, in any case, there is a face created, and not reproduced, predocked, but only exposed. So it should have been for the task itself, which excited the work of the artist. Turgenev, as it has long been known, there is a writer, diligently follow the movement of Russian thought and Russian life. Not only in the "fathers and children", but in all the former works he constantly grabbed and portrayed relations between fathers and Children. The last thought, the last wave of life is that all the more faced his attention. He represents a sample of a writer, gifted by perfect mobility and deeply with deepness, deeply love to modern life.

That is he and in his new novel. If we do not know complete bazaaries in reality, then, however, we all meet many Bazarovsk damns, people know everyone, then with one, then on the other side resembling Bazarov. Everyone heard the same thoughts by one, fragmentary, incoherently, awkwardly. Nearby, Turgenev's opinions embodied in Bazarov.

Hence the deep enormity of the novel, and then the bewilderment that it produces. Bazarovs are half, bazaars for one quarter, bazaars for one hundredth share do not recognize themselves in the novel. But these are their grief, not Mount Turgenev. It is much better to be complete bazaarov, than to be his ugly and incomplete similarity. Opponents of the same Baurers rejoice, thinking that Turgenev deliberately distorted the case that he wrote a caricature for the younger generation: they do not notice how much of the greatness puts the depth of his life at Bazarov, his finishes, his adamant and consistent peculiarity taken by them for disgrace.

Vain accusation! Turgenev remained faithful to his artistic gift: he does not invent, but creates, does not distort, but only illuminates his figures.

Let's go closer to business. The circle of thoughts, whose representative is bazaars, more or less expressed in our literature. The main rules were the two magazines: "Contemporary", for several years, who has already held these aspirations, and the "Russian word", recently declared them with a very sharpness. It is difficult to doubt that from here, from these purely theoretical and abstract manifestations of a well-known way of thoughts taken by Turgenev's mind warehouse embodied by them in Bazarov. Turgenev took a well-known view of things that had claims to dominate, the championship in our mental movement. He consistently and slightly developed this view before his extreme conclusions and - since the artist's case is not a thought, but life - he embodied him in live forms. He gave the flesh and blood to what clearly existed in the form of thoughts and beliefs. He gave an outdoor manifestation of what was already like an internal basis.

From here, of course, it should explain the reproach, made by Turgenev, which he portrayed in the bazer not one of the representatives of the younger generation, but rather, the chapter of the mug, the use of our wandering and torn off the literature.

The reproach would be fair if we did not know that thought, sooner or later, to a greater or lesser extent, but it certainly goes into life. If the Bazarovsk direction was powerful, had fans and preachers, it could certainly be generated by bazaaries. So there is only one question: is the Bazarovsk direction come true?

In this regard, the reviews of the most magazines that are directly interested in the case are very important for us, which is "contemporary" and "Russian word". From these reviews should be completely discovered how true Turgenev understood their spirit. Are they satisfied or unhappy, they understood the Bazarov or did not understand, each trait here is characteristic.

Both journals hurried to respond to large articles. In the March book "Russian Word" was the article of the city of Pisarev, and in the Martov book "Contemporary" - article by Antonovich. It turns out that the "contemporary" is very dissatisfied with Roman Turgenev. He thinks that the novel is written in reproach and teaching the young generation that he represents slander on the younger generation and can be delivered along with the "Asmode of our time", op. Askochensky.

It is quite obvious that the "contemporary" wants to kill the city of Turgenev in the opinion of readers, killed, without any pity. It would be very scary if it were only so easy to do it, as the "contemporary" imagines. His Terrible Book did not have time to go out, as the article was the article of Pisarev, which is such a radical antidote to the evil intentions of the "contemporary", which is better not to be desired. "Contemporary" hoped that he would believe in the word in this matter. Well, maybe there are such as doubting. If we began to protect Turgenev, we would also suspect us in the rear thoughts. But who doubts Pisarev? Who will not believe him?

If what is known for the city of Pisarev in our literature, this is exactly the directness and frankness of its presentation. The straightformers of the city of Pisarev consists of illegal and no limited to conducting his convictions to the edge, to the last conclusions. G. Pisarev never delays with readers. He agrees his thought to the end. Thanks to this precious property, Roman Turgenev received a brilliant confirmation, which one could have been expected.

G. Pisarev, a young generation man, indicates that the bazaars have a valid type of this generation and that it is depicted quite right. "All our generation," says G. Pisarev, "with his aspirations and ideas, can know himself in the actors of this novel." "Bazarov is a representative of our younger generation. In his personality, those properties that were scattered in the masses in the masses, and the image of this person is bright and clearly evaporated before the readers' imagination." "Turgenev was thinking about Bazarov and understood it so true, as none of the young realists will not understand." "He did not shove the soul in his last work." "The common relations of Turgenev to those phenomena of life that make up the canvas of his novel, so calm and impartial, so free from the worship of one or another theory that the bazar himself would not find anything timid or fake in this relationship."

Turgenev has a "sincere artist, not a urtising reality, but depicting it as it is." As a result of this "honest, clean nature of the artist" "His images live their lives. He loves them, he is fond of them, he is tied to them during the process of creativity, and it becomes impossible to wave them in their whim and turn the picture of life into an allegory with a moral purpose And with a virtuous decoupling. "

All these reviews are accompanied by a subtle analysis of the actions and opinions of the Bazarov, showing that the critic understands them and quite sympathize. After that, it is clear to what conclusion was to come G. Pisarev as a member of the young generation.

"Turgenev," he writes, "Bazarov justified and appreciated him. Bazarov came out from his test clean and strong." "The meaning of the novel came out like this: the current young people are fond of and falling into extremes, but in the most hobbies, fresh strength and incorruptible mind are affected. This power and this mind give themselves to know in a minute of heavy tests. This power and this mind without any extraneous benefits and influences Let's bring young people on a straight road and support them in life.

Who read in the Roman Turgenev's novel this beautiful thought, he can't not to express deep and hot appreciation to him as a great artist and a honest Russian citizen! "

Here is sincere and irrefutable testimony of how the poetic instinct of Turgenev is faithful, this is the full celebration of the all-level and all-grateful power of poetry! In the imitation of the city of Pisarev, we are ready to exclaim: the honor and glory to the artist who waited for such a recall from those whom he portrayed!

The delight of G. Pisarev fully proves that bazaars exist, if not in reality, then in the possibility, and that they are understood by the city of Turgenev, at least to the extent that they themselves understand. To prevent misunderstandings, we note that absolutely inappropriateness, with which some look at Roman Turgenev. Judging by his title, they demand that everything is fully depicted in it and all the new generation. Why so? Why not be pleased with the image of some fathers and some children? If there are really one of the representatives of the younger generation, the other representatives should be as a relationship with this representative.

Proving the facts that Turgenev understands the bazers, we will now go further and show that Turgenev understands them much better than they understand themselves. There is nothing surprising and extraordinary: Such is the privilege of poets. Bazarov has an ideal, phenomenon; It is clear that it is above the real phenomena of the Baurers. Our bazaars - only bazaars are partly, while Turgenev bazaars have bazaars for superiority, by the advantage. And, consequently, when they will be judged by those who did not grow to him, they will not understand it in many cases.

Our critics, and even the city of Pisarev, are dissatisfied with bazaarov. People of the negative direction can not be recalled with the fact that Bazarov reached the denial to the end. In fact, they are unhappy with the hero for denies 1) the grace of life, 2) aesthetic pleasure, 3) science. We will analyze these three denials in more detail, so we understand the bazaars itself.

The figure of Bazarov has something gloomy and sharp. There is nothing soft and beautiful in its oustomy. His face had another, not exterior beauty: "It was animated calmly smile and expressed self-confidence and mind." He takes little care of his outfit and dresses carelessly. In the same way, in his appeal, he does not like any unnecessary courtesy, empty, having values \u200b\u200bof forms, external lacques, which does not cover anything. The bazaars are simple to the highest degree, and from this, by the way, it depends on the ease with which he converges with people, ranging from the courtyard boys to Anna Sergeyevna Odentova. So the Bazarov himself is determined by the young friend of his Arkady Kirsanov: "You are with him, please do not ceremony," he says to his father, - he is wonderful small, so simple, you will see. "

To raise the simplicity of Bazar, Turgenev opposed her sophistication and scrupulousness of Pavel Petrovich. From the beginning to the end of the story, the author does not forget to be frowning over his collars, spirits, mustes, nails and all other signs of gentle courting for their own special. No less humor is depicted by the appeal of Pavel Petrovich, his touch of mustes instead of a kiss, his unnecessary delicacy, etc.

After that, it is very strange that Bazarov's admirers are unhappy with his image in this regard. They find that the author gave him rude manners that he put it in urgent, foolishly brought up, which cannot be used to a decent living room.

The arguments about the grace of the manner and the subtlety of the appeal, as is known, the subject is very difficult. Since we know little sense in these things, it is clear that the bazaars Nimalo does not excite disgust in us and it doesn't seem to us Mal Eleve nor Mauvais Ton. With us, it seems, all the actors of the novel agrees. The simplicity of appeal and the figures of the Bazarov excite in them not disgust, but rather inspire respect for him. He is welcome in the living room Anna Sergeyevna, where even some kind of bad princess met.

Elegant manners and a good toilet, of course, the essence of things are good, but we doubt that they are to face Basarov and walked to his character. A man, deeply devoted to one case, who intended himself, as he himself says, for the "life of bitter, tart," he could not play the role of a sophisticated gentleman, could not be a kind of interlocutor. It is easy to converge with people. He is intersecting everyone who knows it, but this interest is not at all in the subtlety of the appeal.

Deep asceticism penetrates all the identity of the Bazarov. This feature is not random, but essentially necessary. The character of this asceticism is special, and in this respect should strictly hold a real point of view, that is, the very one with which Turgenev looks. Bazarov reverses the benefits of this world, but it makes a strict difference between these goods. He willingly eating delicious dinners and drinks champagne, he is not averse to even play cards. The city of Antonovich in the "contemporary" sees here also the cunning intent Turgenev and assures us that the poet puts his hero by a clue, a drunken and a gambler. The case, however, is not at all this kind, in which it seems to be the chastity of Antonovich. Bazarov understands that simple or purely bodily pleasures are much more and more excuse to pleasure a different kind of pleasure. Bazarov understands that there are temptations more disastrous, more fastening the soul than, for example, a bottle of wine, and he is going on not what can destroy the body, and what the soul goes away. The enjoyment of vanity, gentlemen, mental and heart depravity of all kinds for him is much definition and hateful than berries with cream or a bullet in the preference. Here from which temptations he saves himself. Here is the highest asceticism, which is devoted to bazaars. He does not chase for sensual pleasures. It enjoys them only on occasion. He is so deeply busy with his thoughts that it will never be difficult for him to abandon these pleasures. In a word, he is because it is indulging in this simple pleasure that he is always above them that they can never take possession of them. But the stubborn and severe, he refuses such pleasures that could be higher than him and take possession of his soul.

This is where the detention facility comes from and that Bazarov denies the aesthetic pleasures that he does not want to admire nature and does not recognize the art. Both of our critics, this denial of art led to great bewilderment.

Bazarov rejects art, that is, does not recognize him of the present meaning. He directly denies art, but denies it because he understands it deeper. Obviously, Music for Bazarov is not a purely physical lesson, and reading Pushkin is not like to drink vodka. In this regard, the hero of Turgenev is incomparably higher than its followers. In the melody of Schubert and in verses of Pushkin, he clearly hears a hostile start. He deepes their all-incursive strength and therefore it is armed against them.

What is this power of art, hostile bazaarov? It can be said that art always carries an element of reconciliation, while Bazarov does not want to reconcile with life at all. Art has idealism, contemplation, rejection from life and worship ideals. Bazarov is a realist, not contemplator, and a leader recognizing some valid phenomena and denying ideals.

Enhea to the art is an important phenomenon and there is no passing misconception. On the contrary, it is deeply rooted in the spirit of the present. Art has always been and will always be an eternal area: from here it is clear that the priests of art, like forever priests, easily begin to look contemptuously to look at all temporary. At the very least, they sometimes consider themselves right when they indulge in eternal interests, without taking any participation in temporary. And, therefore, those that value temporary, which require the concentration of all activities on the needs of the present minute, on urgent affairs, should be in a hostile attitude to art.

What does it mean, for example, Schubert melody? Try to explain what an artist did, creating this melody, and what business do those who listen to it? Art, say other, there is a surrogate of science. It indirectly contributes to the dissemination of information. Try to consider which knowledge or minimize is contained and distributed in this melody. Something one of two: or the one who indulges to music is engaged in perfect trifles, a physical sensation; Or his delight refers to something distracted, general, boundless and, however, living and fully mastered the human soul.

Delight - here evil, against which there is bazaars and which he does not have the reasons to fear from a glass of vodka. Art has an attraction and the strength to become much higher than the pleasant irritation of visual and listened nerves: this is the attraction and this power does not recognize legitimate bazaars.

As we said, the denial of art is one of the modern aspirations. Of course, art is invincible and contains inexhaustible, ever-renewed power. Nevertheless, the edge of the new spirit, which was revealed in the denial of art, has of course, in-depth.

It is especially clear for us, Russians. Bazarov in this case represents a living embodiment of one of the parties to the Russian spirit. We generally are small to elegant. We are too sober for this, too practical. It can be completely different between us people, for whom poems and music seem to be something or apparent, or childish. Establishness and high polity we are not at the partition. We love the simplicity, caustic humor, mockery. And on this account, as can be seen from the novel, the Bazarov himself great artist.

"The course of natural and medical sciences, listened to Bazarov," says G. Pisarev, "developed his natural mind and reassured him to take on faith, whatever the concepts and beliefs. It became a clean empiric. The experience became the only source of cognition, Personal feeling - the only and latest convincing proof. I adhere to the negative direction, "he says," by virtue of sensations. I am pleased to deny, my brain is so arranged - and Basta! Why do I like chemistry? Why do you like apples? Also because of the sensation - This is all one. Deeper this people will never penetrate. Not everyone will say it, and I will not tell you another time. " "So," the critic concludes, "no regulator does not recognize any regulator, no moral law, no (theoretical) principle.

As for Antonovich, such a mental mood of Bazarov, he considers something very ridiculous and shameful. It is quite a pity that, as he enhances, he cannot show anything in any way, what this absurdity is.

"Disassemble," he says, the above-mentioned views and thoughts issued by the novel for modern: Don't they go to porridge? (But let's see!) Now there are no principles, that is not a single principle for faith. "Yes This decision is not to take anything to faith and there is a principle! "

Of course. However, what kind of tricky person, Antonovich, found a contradiction from the Bazarov! He says that he has no principles - and suddenly it turns out that there is!

"And this principle is not good?" - continues G. Antonovich. - The energetic person will have to defend and implement what he took from outside from another, for faith, and what does not meet all his mood and its development? "

Well, that's strange. Against whom you say, G. Antonovich? After all, you obviously defend the principle of Bazarov, and you have gathered to prove that he has a porridge in his head. What does this mean?

"And even - the critic writes, - when the principle is taken on faith, this is done not unfortunately (who said that there is no?), And as a result of some reason lying in the same person. There are many principles for faith, but recognize One or another of them depends on the personality, from its location and development. It means that everything comes down to authority, which is a person's personality (i.e., as the city of Pisarev says, the personal feeling is the only and last convincing evidence?). He himself determines both external authorities, and their meaning for themselves. And when the younger generation does not accept your principles, it means that they do not satisfy its nature. Internal motivations (sensations) are in favor of other principles. "

Clear the day that all this is the essence of Bazarovsk ideas. G. Antonovich, obviously, against someone is tasty, but against whom is unknown. But everything he says serves as a confirmation of the opinions of Bazarov, but not proof that they represent porridge.

And, however, almost immediately after these words G. Antonovich says: "Why does the novel trying to present the case as if denials due to sensations: nice to deny, the brain is so arranged - and Basta. Denies - the taste: one like it Just like other apples like

What do you mean why? After all, you yourself say that this is, and the novel and was aimed at portraying a person who divorces such opinions. The difference between the words of Bazarov and your only that he says simply, and you are a high syllable. If you love apples and you would ask you why you would love them, you probably would answer like this: "I accepted this principle for faith, but this is not for reason: apples satisfy my nature; I have my internal motives for me" . And the bazaarov answers simply: "I love apples as a result of a pleasant taste for me."

Mr. Antonovich himself felt, finally, that from his words is not exactly what is needed, and therefore it concludes this: "What does not matter in the science and non-recognition of science in general, - this is needed to ask for the very city of Turgenev . Where he observed such a phenomenon and what it is found, it is impossible to understand from his novel. "

Thus, believing in itself, bazaars is undoubtedly confident in the powers that part of it is. "We are not so little as you think."

From such an understanding of itself, another important feature in the mood and activities of true bazaaries follows. Two times the hot Pavel Petrovich starts his opponent with the strongest objection and receives the same expressive answer.

"- Materialism," says Pavel Petrovich, - which you preach, was already in the go, and more than once turned out to be untenable ...

Again a foreign word! - interrupted the bazaars. - First, we do not preach anything. It is not in our habits ... "

After some time, Pavel Petrovich again falls on the same topic.

"" For what, "he says," Did you even honor the same accusers? "Don't you dangle like everyone else?

Than others, and this sin is not sinful, "said the teeth of the bazaars."

To be completely and to the end of consecutive, bazaars refuses preaching, as from idle chatter. And in fact, the sermon would not have anything other than the recognition of the rights of thought, the power of ideas. The sermon would be the justification that, as we saw, for Bazarz is too much. Putting the importance of preaching would mean to recognize mental activity, recognize that people manage not sensations and needs, as well as the thought and lifting word. He sees that it is impossible to take a lot of logic. He tries to act more by a personal example, and I am confident that the bazaarovs themselves are peaked in abundance, as famous plants are born where there are their seeds. Perfectly understands this glance of Pisarev. For example, he says: "Remarking against nonsense and meanness is generally clear, but, however, it is also fruitful as indignation against autumn dampness or winter cold." In the same way, he also judges the direction of Bazarov: "If the bazaarovshchina is a disease, then it is a disease of our time, and it has to be lined up, in spite of any palliatives and amputations. Treat the Basasonry as you like - this is your business, but stop do not stop. This is the same cholera. "

From here it is clear that all bazaars-talkers, bazaars-preachers, bazaarovy, engaged in the case, but only their bazaarovshchi, they go along the false path, which leads them to continuous contradictions and absurdities that they are much inconsistent and standing much lower than this Bazar.

This is the strict mood of the mind, what a solid warehouse of thoughts embodied Turgenev in his bazaarov. He endowed this mind to flesh and blood and fulfilled this task with amazing skill. Bazarov came out by a man simple, alien to any rundoonness, and together strong, mighty soul and body. Everyone in it unusually goes to his strong nature. It is wonderful that he, so to speak, more Russian than all the rest of the novel. Its speech is characterized by simplicity, accuracy, mockery and a completely Russian warehouse. In the same way between the people of the novel, he is easier to come closer to the people, everyone knows how to keep himself with him.

All this is not better consistent with the simplicity and directness of the look that is confessable to bazaarov. A man deeply imbued with famous beliefs that constitutes their complete embodiment, it must be necessary to go out and natural, therefore, close to his nation, and together with a strong man. That is why Turgenev, who has created so far, so to speak, split faces (Hamlet Schigrovsky County, Rudin, Lavretsky) reached, finally, in Bazarov to the type of a whole person. Bazarov is the first strong person, the first one-piece character, which was in Russian literature from the environment of the so-called educated society. Whoever does not appreciate who does not understand all the importance of such a phenomenon, that is better not judging by our literature. Even the city of Antonovich remarked this, and stated his insightfulness to the strange phrase: "Apparently, the city of Turgenev wanted to portray in his hero, as they say, demonic or bayronic nature, something like Gamlet." Hamlet-Demonic Nature! As you can see, our sudden Goethe fan is content with very strange concepts about Bairon and Shakespeare. But indeed, Turgenev came out something in the family of demonic, that is, a nature rich in force, although this power is not clean.

What is the effect of the novel?

Bazarov, together with their friend, Arkady Kirsanov, both students who have just killed a course - one at the Medical Academy, the other at the university, - come from St. Petersburg to the province. Bazarov, however, a person is no longer the first youth. He had already made some fame, managed to declare his way of thinking. Arkady is the perfect young man. All the effect of the novel occurs in one vacation, maybe for both the first holidays after the end of the course. The guests of the guest will be more part together, then in the family of Kirsanov, then in the family of bazers, then in the provincial city, then in the village of Widow, Odentova. They are found with many persons with whom or see only for the first time, or have not been seen for a long time. It was the bazaars that did not go home for two years. Thus, there is a varied clash of their new views taken from St. Petersburg, with the views of these individuals. In this collision consists of all the interest of the novel. Events and actions in it are very small. Under the end of the vacation, the bazaars almost accidentally dies, infected from the purulent corpse, and Kirsanov marries, falling in love with her sister. The same novel ends.

Bazarov is the true hero, despite the fact that it does not seem to be nothing brilliant and affecting it. From the first step to him, the reader's attention is faced with him, and all other faces begin to rotate around him, like near the main center of gravity. He is only less interested in other persons, but the other faces are interested in them. It is not imposed on anyone and does not suggest. And, however, wherever he is, initiates the strongest attention, is the main subject of feelings and reflections, love and hatred. Going away from the relatives and buddies, the bazaars did not mean any particular purpose. He is not looking for anything, nothing is waiting for this trip. He just wanted to relax, flew. Many, a lot that he wants to sometimes see people. But with the superiority that he has over the people around him, these persons themselves suggest a closer attitude towards him and confuse him into the drama, which he did not want and did not even foresee.

As soon as he appeared in the Kirsanov family, as he immediately excites me in Pavel Petrovic. Subsequently, it comes to the fact that he himself is keen on a minute and kisses Fengetics, and Pavel Petrovich causes him a duel. "Ecu stupidity! Eka Stupidity!", - Repeats the bazaars, did not expect such events.

A trip to the city, which had the goal of watching the people, is also nothing to do with it. Near him, various faces begin to spin. Sitnikov and Kukshin, masterfully depicted faces of the false progressist and fake emancipated woman are careful. They certainly do not confuse Bazarov. He belongs to them with contempt, and they only serve as a contrast, from which his mind and strength, its complete genuine, are still sharper and the relief. But immediately the stumbling block is also found - Anna Sergeevna Odintova. Despite all its composure, bazaars begins to fluctuate. To the greatest surprise of his fan of Arkady, he even once confused, and finally blushed. Not suspecting, however, no danger, firmly hoping for himself, Bazarov goes to sit to Odintova, in Nikolskoye. And indeed, he owns it excellent. And Odenty, like all other persons, are incorporated by him as probably, nobody was interested in all his life. The case ends, but the same, bad. There is too much passion in the bazaas market, and the person's passion does not reach this love. Bazarov leaves almost rejected and again begins to divide yourself and scold himself: "Damn knows what kind of nonsense! Every man hanging on a string, the abyss under it can immediately express themselves, and he himself comes up with himself all sorts of trouble, spoils his life."

But despite these wise arguments, bazaars still continue to unwitting their lives. Already after this lesson, already during the secondary visit to Kirsanov, he encounters on the sponges of the phenchka and on a duel with Pavel Petrovich.

Obviously, Bazarov does not want and does not wait for the novel, but the novel is performed besides his iron will. Life over which he thought to consist of the Lord, captures his wife's wide wave.

Under the end of the story, when Bazarov offers her father and mother, he, obviously, was somewhat lost after all the shocks made. It was not so lost so that he could not get better, could not rise after a short time in full strength, but still the shadow of longing, which was at the very beginning lying on this iron man, becomes thicker at the end. He loses the hunt to do, losing weight, begins to work over the men no longer friendly, but rather. From this and it turns out that this time he and the man are not understanding each other, whereas before the mutual understanding was to a certain extent possible. Finally, the bazaars will be sent somewhat and is fond of medical practice. Infection from which he dies, after all, as if indicating a lack of attention and dexterity, about the random distraction of spiritual forces.

Death is that the last sample of life, the last chance that the bazaars did not expect. He dies, but until the last moment he remains alien to this life, with whom it was so strangely encountered, which alarmed him with such trifles, forced him to make such nonsense and, finally, destroyed him due to such an insignificant reason.

Bazarov dies perfect hero, and his death produces a stunning impression. Until the very end, until the last outbreak of consciousness, he does not change in a single word, nor a single sign of failing. It is broken, but not defeated.

Thus, despite the short term of the novel and, despite the rapid death, he managed to speak quite, quite show his power. Life did not destroy him, "this conclusion cannot be withdrawn from the novel," but for us only gave him the reasons to discover my energy. In the eyes of readers, bazaar comes out of temptation by the winner. Every person will say that people like bazaars are capable of making a lot that with these power it is possible to expect a lot.

The bazaars are shown only in a narrow frame, and not in full width of human life. The author almost does not mean anything about how he developed his hero, how could the face could have formed. In the same way, the rapid end of the novel leaves the question I breathe in a mystery: whether the bazaars would have the same bazaarov, or at all, - what development is destined to him ahead. And, however, the other default has, as it seems to us, our reason, its significant foundation. If the gradual development of the hero is not shown, then without a doubt, because the bazaars were formed not by slow accumulation of influences, but, on the contrary, a quick, steep fracture. Bazarov for three years was not at home. He studied these three years, and here he suddenly be consumed to all what he managed to learn. At another morning, after arrival, he is already sent behind the frogs, and in general it continues the training life at each other case. He is a man of the theory, and his theory created him, created unnoticed, without events, without all such that it would be possible to tell, created one mental coup.

The ambulance of Bazarov was needed by the artist for simplicity and clarity of the painting. In its present, the intense mood of the bazaars will not stop for a long time. Sooner or later, he must change, must stop being bazar. We have no right to complain about the artist for the fact that he has not taken a broader task and limited himself narrower. Nevertheless, at this stage of development, we were the whole person, and not his fragmentary traits. In relation to the completeness of the face, the artist's task is performed excellent. Alive, one-piece person captured by the author in each action, in every movement of Bazarov. Here is the great dignity of the novel that contains the main meaning in itself and which did not notice our hasty morals. Basaars is a strange man, one-sided-sharp. He preaches extraordinary things. It comes eccentrically. As we said - he is a man, alien life, that is, he himself alien to life. But under all these external forms, a warm jet of life is poured.

From what point of view, you can rather estimate the actions and events of the novel. Because of all roughness, uglies, fake and intake forms, hear the deep vitality of all phenomena and persons derived from the scene. If, for example, the bazaars seizes the attention and sympathy of the reader, it is not at all because every word of his word is holy and every action is true, but precisely because in essence all these words and actions leak out of the living soul. Apparently, the bazaars are proud man, terribly proud and insulting others with his pride, but the reader is reconciled with this pride, because at the same time there is no complacency in the baza market. Pride does not bring him any happiness. Bazarov is negligible and dry by their parents, but no one can see him in graduating with a sense of her own superiority or a sense of their power over them. Even less, it can be reproached to the abuse of this superiority and this power. He simply refuses a gentle relationship to parents, and it is not completely refused. Something strange comes out: he is not surrendering with his father, it is frightened over him, it snaps up dramatically either in ignorance, or in tenderness, and meaning his father is not only not offended, but glad and satisfied. "Bazarov's ridicule did not confuse Vasily Ivanovich; they even comforted him. Holding her salted fur coil with two fingers on the stomach, and smoking the tube, he listened to the Bazarov with pleasure, and the more angry it was in his tricks, the more good-natured laugh, showing all his black Teeth, his desperable father. " These are the wonders of love! Never mild and good-natured Arkady could not make her father, as the bazaars made his own. Bazarov, of course, he feels very well and understands it. Why was he still neggling with his father and change his adamant sequence!

It is clear that it can be seen what difficult task I took and fulfilled Turgenev in my last novel. He portrayed life under the dead effect of the theory. He gave us a living person, although this person, apparently, himself without a residue embodied in an abstract formula. From this novel, if it is judged superficially, little is clear, it represents a little sympathetic and as if everything consists of an unclear logical construction, but, in essence, in fact, he is greatly clear, unusually fascinated and trembles his soul from his life.

Almost no need to explain why the bazaarov came out and was supposed to exit theorist. Everyone knows that our living representatives that carriers of the Duma of our generations have been refused to be practitioners from a long time ago that active participation in their surrounding life has been impossible for them. In this sense, there are direct, immediate follower of Onegin, Pechorins, Rudiny, Laurets. In fact, as they, he lives while in the mental sphere and spends soulful forces on it. But it has already reached the last, extreme extent. His theory all consists in direct demand of the case. His mood is such that he will inevitably grab up for this matter at the first convenient case.

The image of the Bazarov for us is: it is not a hate creature, repelling with its shortcomings, on the contrary, his gloomy figure of magnicity and attractive.

What is the point of the novel? - Associate lovers of bare and accurate conclusions. Is it, in your opinion, the market for imitation? Or rather, its failures and roughness should teach bazaars, do not fall in mistakes and the extremes of this Bazarov? In a word, did the novel written for the younger generation or against him? Is it progressive or retrograde?

If it is so urgent about the intentions of the author, about what he wanted to teach and from what to wean, then these questions should be answered, as it seems to be answered: Indeed, Turgenev wants to be instructive, but at the same time he chooses the tasks that much Above and harder than you think. Write a novel with a progressive or retrograde direction another thing is not difficult. Turgenev had an attraction and the audacity to create a novel having all sorts of directions. The fan of eternal truth, eternal beauty, he had a proud target in time to point out eternal and wrote a novel not progressive and not retrograde, but, so to speak, always.

Changing generations - Here is the outer theme of the novel. If Turgenev portrayed not all fathers and children or not those fathers and children, what would be like others, then in general, fathers and children, and the relationship between these two generations, he portrayed excellent. Maybe the difference between generations was never so great, as at present, and therefore their attitude was discovered particularly sharply. Be that as it may, in order to measure the difference between the two items, you need to use the same measure for both. To draw a picture, you need to take depicted objects from one point of view, common to all of them.

This identical measure, this common view of Turgenev has human life, in the widest and complete value. The reader of his novel feels that the mirage of external actions and scenes pour such a deep, such an inexhaustible stream of life, that all these actions and scenes, all the faces and events are insignificant before this flow.

If we understand the romance of Turgenev, then maybe we will be more clearly revealed to the moraling that we achieve. There is no moralization, and even very important, because truths and poetry are always instructive.

We will not speak here about the description of nature, that Russian nature, which is so difficult to describe and the description of which Turgenev is such a master. In the new novel, he is the same as before. Heaven, air, fields, trees, even horses, even chickens - everything fell picturesquely and for sure.

Take straight people. What could be weaker and minor than the young buddy of Bazarov, Arkady? It seems to be obeying every oncoming influence. He is an ordinary death. Meanwhile, he is Mil extremely. The generous excitement of his young senses, his nobility and purity are notified by the author with the big subtlety and are distinctly outlined. Nikolai Petrovich is a real father of his son. It does not have a single bright feature and good only one thing that he is a man, although the simplest person. Next, what can be empty of the phenichk? "It was charming," the author says, "the expression of her eyes, when she looked like improving, but she laughed gently and slightly stupid." Pavel Petrovich himself calls it an empty creature. And, however, this stupid Fuenus is gaining, almost more fans than the clever of Odintsova. She not only loves Nikolai Petrovich, but Pavel Petrovich, and Bazarov himself fall in love with her. And, however, this love and this love is the essence of the true and expensive human feelings. Finally, what Pavel Petrovich is - Schiegol, Frant with gray hair, all immersed in concerns about the toilet? But in it, despite the visible perversion, there are lively and even energetic sounding heart strings.

The further we go to the novel, the closer to the end of the drama, the greatest and intense the figure of the Bazarov becomes more tense, but at the same time the picture of the paintings becomes everything is brighter. The creation of such persons as a father and mother of Bazarov, there is a true triumph of talent. Apparently, what can be insignificant and more unforgettable these people who have narrated their age and with all the prejudices of the antiquity of the ugly flushing among the new life? And meanwhile, what is the wealth of ordinary human feelings! What depth and width of spiritual phenomena - among everyday life, not rising and on the hair above the lowest level!

When the bazaars are ill when he burns alive and adversely withstands the cruel struggle with the disease, life, its surrounding, becomes even more intense and brighter than the gloomy himself. Odintsova comes to say goodbye to Bazarov; Probably nothing generous she did not and will not make life. As for the father and mother, it is difficult to find something more touching. Their love flashes with some lightning, instantly stunning readers; From their simple hearts as if infinitely plaintive hymns are broken, some infinitely deep and gentle cries, irresistibly grabby for the soul.

Among this light and this warmth dies bazaars. For a minute in the soul of his father, a storm boils, worse than whom can not be anything. But she quickly subsides, and again everything becomes light. The most grave of Bazarov is illuminated by light and the world. Poultry singing above, and tears pour it ...

So, here it is, this is the mysterious moraling that has invested Turgenev in his work. Bazarov turns away from nature. It's not a cinne for it to Turgenev, but only draws nature in all beauty. Bazarov does not value a friend and reverses romantic love. It will not flock him for this author, but only depicts Arkady's friendship to the Bazarov himself and his happy love for Kate. Bazarov denies close ties between parents and children. Does not reproach him for this author, but only deploys a picture of parental love before us. Bazarov is alien to life. It does not expose his author for this villain, but only shows us life in its entire beauty. Bazarov rejects poetry. Turgenev does not make it for this fool, but only depicts it with all the luxury and insight of poetry.

In short, Turgenev showed us how the strengths of life in Bazarov are embodied, in the very bazar, which they denies them. He showed us, if not more powerful, then more open, more pronounced embodiment in those ordinary people who surround the Bazarov. Bazarov is Titan that rushed against his mother-Earth21. No matter how great his strength, it only testifies to the magnitude of the strength, which has brewed and nourishing, but does not equal to Maternaius.

Be that as it may, the bazaars are still defeated. Run not by persons and no accidents of life, but the very idea of \u200b\u200bthis life. Such an ideal victory over him was possible only under the condition that he was given to all sorts of justice, so that he was aligned as much as he was characteristic of greatness. Otherwise, in the victory, there would be no strength and meaning.

In the "fathers and children", Turgenev showed that in all other cases that poetry, remaining poetry, can actively serve society.

Article N. N. Insurance is devoted to Roman I. S. Turgenev "Fathers and Children". Problems of critical material concerns:

• the meaning of the most literary-critical activity (the author does not seek to teach the reader, but he thinks that the reader himself wants it);
• style in which literary criticism should be written (it should not be too dry and attract human attention);
• the disclaiming between the creative person and the expectations of others (so, according to insurance, it was with Pushkin);
• the roles of a particular work ("fathers and children" of Turgenev) in Russian literature.

The first thing that marks the critic - that the "lesson and teachings" was also expected from Turgenev. He puts the question of progressiveness or retrogradity of the novel.

He notes that card games, the negligent style of clothing and the love of champagne Bazarov - this is some challenge to society, the reason for bewilderment of the reader audience. The fears also noticed: the work itself has different views. Moreover, people argue, to whom the author himself sympathizes - "fathers" or "children", guilty of the Bazarov himself in their troubles.

Of course, it is impossible to disagree with criticism that this novel is a special event in the development of Russian literature. Moreover, the article states that the work may have a mysterious goal and it is achieved. It turns out that the article does not claim 100% of truth, but trying to figure out the features of the "fathers and children."

The main characters of Roman - Arkady Kirsanov and Evgeny Bazarov, young friends. Bazarov has parents, Kirsanova has a father and a young illegal stepmother of Fencake. Also, in the course of the novel, friends get acquainted with the sisters of the elbow - Anna, in marriage, in marriage, at the time of unfolding events - widow and young Katya. Bazarov falls in love with Anna, and Kirsanov - Katya. Unfortunately, at the end of the work of Bazarov dies.

However, the question is open to the public and literary criticism - do people similar to Bazarov exist in reality? According to I. S. Turgenev, it is quite a real type, although rare. But for insurance of bazaars is still the fruit of the author's imagination. And if for Turgenev "fathers and children" - reflection, own vision of Russian reality, then for criticism, the author of the article himself writer himself - watches "the movement of Russian thought and Russian life." He notes the realism and vitality of the book of Turgenev.

An important point is the comments of the criticism regarding the image of Bazar.

The fact is that fears noted an important point: the Bazarovs are attached to the features of different people, so every real person is like something like that, according to insurance.

The article notes the sensitivity and understanding of the writer of his era, deep love for life and the people around. Moreover, the critic protects the writer from accusations in fiction and distortion of reality.

Most likely, the purpose of Roman Turgenev was generally in general and generally highlight the conflict of generations, show the tragedy of human life. That is why bazaarov became nationally, was not written off with a specific person.

According to the criticism, many people unfairly consider Bazarov as the head of the youth mug, but also such a position is erroneous.

Also, fears believe that in "fathers and children" need to appreciate poetry, not paying unnecessary attention to "rear thoughts". In essence, the novel is not created for teaching, but for pleasure, the critic believes. However, I. S. Turgenev was still no wonder described the tragic death of his hero - apparently, in the novel, there was still an instructive moment. Evgeny had old parents who walked on his son - maybe a writer wanted to recall that you need to appreciate your loved ones - and parents of children, and children - parents? This novel could be an attempt not only to describe, but also to soften or even overcome the eternal and modern conflict of generations.