The relationship between parents (fathers) and children - the arguments of the USE. "Fathers and Sons": characters

In the novel “ Captain's daughter A. Pushkin realistically reflected the problem of honor and duty widespread in Russian literature. The fact that this question will be key in the work can be understood by reading the epigraph to the book: "Take care of honor from your youth." In my opinion, thinking about the image of the main character, Pyotr Grinev, will help me better understand the originality of the author's approach to this problem.

So, the novel begins with a description of the childhood of Petrusha, who was brought up in an atmosphere of piety and morality. Parents passed on their best moral qualities to their son: mother - kindness and cordiality, and father - honesty, frankness and courage. Also, a great influence on the younger Grinev was exerted by his devoted servant Savelich, who taught the boy "Russian literacy" and gave important advice. In my opinion, by joint efforts these people raised a worthy and honest nobleman.

Childhood unexpectedly ends when Peter's father, who does not accept easy and dishonest ways career growth, decides to teach her child a life lesson. As a result, his son is sent to serve not in St. Petersburg, but in Orenburg, in active army so that he could smell gunpowder and be "a soldier, not a chamaton." Saying goodbye to Peter, his father instructs him to serve "faithfully, to whom you swear", obey the bosses, but not chase after their affection, and most importantly, remember the proverb: "... take care of your dress again, and honor from a young age!"

Unfortunately, the first inept life steps of Grinev spoke only of his failure: the young man got drunk with the first officer he met and lost to that large amount of money. But even then, for the first time, nobility prevailed over pettiness. Hero returned card debt despite Savelich's persuasions to evade calculation.

The kindness and selflessness of Pyotr Grinev have no boundaries. For example, once, in spite of Savelich's displeasure, he presented an unknown tramp with a hare sheepskin coat, thereby thanking him for his service. This act in the future saved their lives: after all, the leader of the popular revolt, Emelyan Pugachev, turned out to be a stranger.

But best qualities the main character will appear during the Pugachev uprising... When the impostor captures the Belgorod fortress, Grinev will find himself in a critical situation. This moment will become a turning point in the process of the formation of his personality: yesterday's noble minor in a short period of time grows spiritually and morally. Therefore, Grinev, realizing that he, like all other officers, faces death, refuses the oath to Pugachev. The young officer prefers death to the slightest violation of the laws of duty and honor and adequately declares to the villain: "I have sworn allegiance to the Empress. I cannot swear to you." And only the appearance of Savelich's faithful servant, whom Pugachev recognizes, saves the hero from the gallows.

Grinev also behaves with dignity in relation to his beloved Masha Mironova. He put in place Shvabrin, who defamed the girl, and then defended her honest name in a duel. And when Masha was captured by this scoundrel, Grinev did not leave his beloved, He, realizing the illegality of his actions, went with Pugachev to save the girl. Accused of treason for this, the hero “was subjected to everything that befell him. And if he did not justify himself before the court, it is only because he did not want to confuse the beloved in the matter. Here he is, a man of honor!

In the second half of the 18th century in European literature there is a particular interest in the genre of the educational novel. In the 19th century, both in Europe and in Russia, this interest did not weaken, but on the contrary, the problem of the family, the relationship between adults and children, becomes a favorite topic of many writers, it seems to break out of the circle of everyday life and becomes central in the works of Goethe, Dickens , Hugo, Pushkin, Balzac. Dostoevsky was well acquainted with the work of these writers, echoes of their works are heard in the novels, stories, stories and journalism of the writer.

All authors approach the problem of "fathers and children" in different ways. In addition to the novel by I.S. Turgenev's "Fathers and Sons", the very title of which shows that this theme is the most important in the novel, this problem exists in almost all works: in some it is presented more vividly, in others it appears only as hints for a more complete disclosure of the hero's image. It is difficult to say who was the first to raise the problem of fathers and children. It is so vital that it seems to have always existed on the pages of literary works.

Turgenev personally encountered this problem in the Sovremennik magazine. The new worldviews of Dobrolyubov and Chernyshevsky were alien to the writer. Turgenev had to leave the editorial office of the magazine.

In the novel "Fathers and Sons" the main opponents and antagonists are Yevgeny Bazarov and Pavel Petrovich Kirsanov. The conflict between them is considered from the point of view of the problem of "fathers and children", from the point of view of their social, political and social disagreements. I must say that Bazarov and Kirsanov differ in their own way. social background, which was reflected in their formation of views. Bazarov's ancestors were serfs. All that he achieved was the result of hard mental work. Eugene became interested in medicine and natural sciences, conducted experiments, collected various beetles and insects.

Pavel Petrovich grew up in an atmosphere of prosperity and prosperity. At the age of eighteen he was assigned to the page corps, and at twenty-eight he received the rank of captain. Having moved to the village with his brother, Kirsanov observed secular decency here as well. Great importance Pavel Petrovich gave appearance... He was always well-shaven and wore heavily starched collars, which Bazarov ironically ridicules: "Nails, nails, at least send them to the exhibition! .." Eugene, on the other hand, does not care at all about his appearance or what people think of him. Bazarov was a great materialist. For him, only what could be touched, put on the tongue mattered. The nihilist denied all spiritual pleasures, not realizing that people get pleasure when they admire the beauties of nature, listen to music, read Pushkin, admire Raphael's paintings. Bazarov only said: "Rafael is not worth a copper penny ...". Pavel Petrovich certainly did not accept such views of a nihilist. Kirsanov was fond of poetry and considered it his duty to observe the noble traditions.

The disputes between Bazarov and Kirsanov play a huge role in revealing the main contradictions of the era. In them, we see many areas and issues on which representatives of the younger and older generations do not agree. A.A. Faustov "Philological Notes", Bulletin of Literary Studies and Linguistics, issue 23, Voronezh, 2005

The disagreements that have arisen between our heroes are serious. Bazarov, whose life is built on "total negation," cannot understand Pavel Petrovich. The latter does not understand Eugene. Their personal animosities and differences of opinion culminated in a duel. But the main reason duels are not contradictions between Kirsanov and Bazarov, but the hostile relationship that arose between them at the very beginning of their acquaintance with each other.

Therefore, the problem of "fathers and children" is personal bias towards each other, because it can be solved peacefully, without resorting to extreme measures, if the older generation will be more tolerant of the younger generation, somewhere, perhaps, agreeing with it, and the generation of "children" will show more respect for their elders.

Turgenev studied the age-old problem of "fathers and children" from the standpoint of his time, his life. He himself belonged to the galaxy of "fathers" and, although the author's sympathies were on Bazarov's side, he advocated philanthropy and the development of the spiritual principle in people. Having included a description of nature in the narrative, testing Bazarov with love, the author imperceptibly joins in an argument with his hero, in many respects disagreeing with him.

A.S. Griboyedov, describing in the comedy "Woe from Wit" the struggle between "the present century" and the "past century", did not ignore difficult problem"fathers and children". The very idea of ​​the work - the struggle between the old and the new - is the same problem, taken more broadly. In addition, Famusov's relationship with his daughter Sophia is also traced here. Famusov, of course, loves his daughter and wishes her happiness. But he understands happiness in his own way: happiness for him is money. He accustom his daughter to the idea of ​​profit and by this he commits a real crime, because Sophia can become like Molchalin, who has adopted only one principle from her father: to look for profit wherever possible. The fathers tried to teach the children about life, in their instructions they conveyed to them what was most important and significant for them. As a result, for Chichikov "kopeck" became the meaning of life, and in order to "protect and save" it, he is ready for any meanness, betrayal, flattery and humiliation. And Pyotr Grinev, following the instruction of his father, remained an honest and noble man in all situations in which he had to get honor and conscience for his whole life remained above all for him. How can you not remember the proverb: "What is the father, so are the children." literature writer youth family

But, while this adage is often right, sometimes the opposite is true. Then there is a problem of misunderstanding. Parents do not understand their children, and children do not understand their parents. Parents impose on their children their morality, principles of life (not always worthy of imitation), and children do not want to accept them, but they can not and do not always want to resist. Such is the Kabanikha from Ostrovsky's "Thunderstorm". She imposes her opinion on children (and not only them), orders them to act only as she wants. Kabanikha considers herself a keeper old customs without which the whole world will collapse. This is the real embodiment of the "past century"! And her children, although they do not at all like this attitude of their mother towards them, do not want to correct the situation. And here, sad as it may seem, the "past century", with all its prejudices, triumphs over the new.

One of the most important facets of the father-child problem is gratitude. Are children grateful to their parents who love them, raised and raised them? The topic of gratitude is raised in the story by A.S. Pushkin " Stationmaster". The tragedy of a father who tenderly loved his only daughter appears before us in this story. Of course, Dunya did not forget her father, she loves him and feels her guilt before him, but still the fact that she left, leaving her father alone, turned out for him with a big blow, so strong that he could not bear it. The old caretaker forgave his daughter, he does not see her guilt in what happened, he loves his daughter so much that he wishes her better to die than to survive the shame that may await and And Dunya feels both gratitude and guilt before her father, she comes to him, but no longer finds him alive. Only at her father's grave all her feelings break out. "She lay here and lay for a long time."

Another problem is raised in many works, the problem of upbringing and education.

A poor Frenchman

So that the child is not exhausted,

I taught him everything in jest,

I did not bother with strict morality,

Slightly scolded for pranks

And in Summer garden took him for a walk, - wrote A.S. Pushkin about the upbringing of the protagonist of his novel "Eugene Onegin", and then remarked:

We all learned a little

Something and somehow

So education, thank God,

It's no wonder we shine.

"Something" and "somehow" all the children learned in different works... But to what and how? This mainly depended on the attitude towards education of their parents. Some of them, recognizing the need for education only from the point of view of fashion and prestige, treated it in general negatively, such as Famusov from "Woe from Wit" and Mrs. Prostakova from "Minor." But Sophia, unlike Mitrofanushka, still received some kind of education, but Mitrofanushka did not receive any knowledge, and he did not want to receive it. The attitude of Famusov and Prostakova themselves to education is expressed in their own words. Famusov says: "If you stop evil, you would take all the books and burn them," and also: "Learning is the plague." And Prostakova: "Only you are tormented, and everything, I see, is emptiness."

But not all the heroes of the works of Russian classics consider education to be "emptiness". A striking example to that - Prince Volkonsky from "War and Peace" by L.N. Tolstoy. Bolkonsky believed in the need for education. Being educated and well-read person, he himself taught his daughter, Princess Mary. Bolkonsky's views are completely opposite to those of Famusov and Prostakova. Education cannot be a tribute to fashion, and in this Bolkonsky is absolutely right.

The problem of "fathers and children" is relevant at all times, because it is deep moral problem... All that is sacred for a person is passed on to him by his parents. The progress of society, its development gives rise to disagreements between the older and younger generations, disagreements, so well known to us from "Woe from Wit" or "Fathers and Children".

The problem of fathers and children is one of the most important problems in Russian classics. Very often in literary works the new, younger generation turns out to be more moral than the older one. It sweeps aside the old morality, replacing it with a new one. But we still don't need to become Ivans who do not remember kinship, it's awful when the younger generation is less moral than the previous one. Therefore, the problem of "fathers and children" lives on now, acquiring a somewhat different direction.

­ Honor and dishonor

The protagonist of Ivan Turgenev's "Fathers and Sons", Evgeny Bazarov, is a man who promotes "new" social foundations and denies everything old. For a more correct description of his hero, the author came up with a new stable expression - nihilism. This concept entered Russian literature immediately with the appearance of the novel, that is, in the second half of the 19th century. Having become winged, it signified a new trend that denies all the foundations and traditions that had developed in society earlier. This is exactly how Bazarov was uncompromising, straightforward and did not recognize the former nobility.

This inveterate liberal and nihilist studied to be a doctor, and in his free time, he promoted "new" views and ideas. He was an ardent opponent of conservatism and at every opportunity he emphasized the priority of the useful over the beautiful. It would not be superfluous to note that love for him as a feeling was of no value. Much has changed in his views when he met Odintsova Anna Sergeevna, who was tired of loneliness, was ready to open up to meet him. However, Bazarov, not wanting to burden himself with all sorts of attachments, refused this opportunity.

The author himself was ambiguous about his hero. On the one hand, he showed that in the depths of his soul Bazarov is a kind and kind person. On the other hand, due to its controversial, arrogance and excessive self-confidence, he loses everything that is dear to him, except for the love of his parents. Along with the problem of the collision of two generations, Turgenev raised the issue of honor. This is most pronounced in the scene of his fleeting embrace with Fenechka and the subsequent duel with Pavel Petrovich. The latter did not like Bazarov so much, and after such a challenge he decided to act uncompromisingly.

In this duel we see Bazarov's victory, but is this a victory? In fact, Kirsanov Sr. is a man with a brilliant career behind him and a lot of experience. Yes, he experienced mental disappointment, having experienced an unrequited love for the secular lady Princess R., but this did not make him worse, but simply learned a valuable lesson. Bazarov, unlike him, was not capable of even a short relationship with the opposite sex. He was afraid of any attachments and expressions of love. For this reason, the hero dies at the end of the work, alone and abandoned by almost everyone.

Undoubtedly, he realized his mistakes. He began to appreciate and love his parents even more, looked differently at Odintsova and the Kirsanovs, but it was too late. Their true feelings he opened it in a farewell letter to Madame Odintsova. Then it only became clear that he was not so bad man, just too principled and withdrawn. In his work, the author showed that all people are capable of making mistakes, but not everyone knows how to admit them in time.

Honor and dishonor

The protagonist of Ivan Turgenev's book "Fathers and Sons" Yevgeny Bazarov is a man who promotes "new" social foundations and denies everything old. For a more correct description of his hero, the author came up with a new stable expression - nihilism. This concept entered Russian literature immediately with the appearance of the novel, that is, in the second half of the 19th century. Having become winged, it signified a new trend that denies all the foundations and traditions that had developed in society earlier. This is exactly how Bazarov was uncompromising, straightforward and did not recognize the former nobility.

This inveterate liberal and nihilist studied to be a doctor, and in his free time he promoted "new" views and ideas. He was an ardent opponent of conservatism and at every opportunity he emphasized the priority of the useful over the beautiful. It would not be superfluous to note that love for him as a feeling was of no value. Much has changed in his views when he met Odintsova Anna Sergeevna, who was tired of loneliness, was ready to open up to meet him. However, Bazarov,

not wanting to burden himself with all kinds of attachments, he refused this opportunity.

The author himself was ambiguous about his hero. On the one hand, he showed that in the depths of his soul Bazarov is a kind and kind person. On the other hand, due to his contradictory nature, arrogance and excessive self-confidence, he loses everything that is dear to him, except for the love of his parents. Along with the problem of the collision of two generations, Turgenev raised the issue of honor. This is most acutely noticeable in the scene of his fleeting embrace with Fenechka and the subsequent duel with Pavel Petrovich. The latter did not like Bazarov so much, and after such a challenge he decided to act uncompromisingly.

In this duel we see Bazarov's victory, but is this a victory? In fact, Kirsanov Sr. is a man with a brilliant career behind him and a lot of experience. Yes, he experienced mental disappointment, having experienced an unrequited love for the secular lady Princess R., but this did not make him worse, but simply learned a valuable lesson. Bazarov, unlike him, was not capable of even a short relationship with the opposite sex. He was afraid of any attachments and expressions of love. For this reason, the hero dies at the end of the work, alone and abandoned by almost everyone.

Undoubtedly, he realized his mistakes. He began to appreciate and love his parents even more, looked differently at Odintsova and the Kirsanovs, but it was too late. He revealed his true feelings in a farewell letter to Madame Odintsova. Then it only became clear that he was not such a bad person, just too principled and withdrawn. In his work, the author showed that all people are capable of making mistakes, but not everyone knows how to admit them in time.

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Intellectuals-nobles in the novel by I. S. Turgenev "Fathers and children"

Here you respect yourself and sit back. I. S. Turgenev The action of I. S. Turgenev's novel "Fathers and Sons" dates back to 1859, and the writer completed the work on it in 1861. The time of action and creation of the novel is separated by only two years. That was one of the most intense epochs in Russian history. In the late 1850s, the entire country lived in conditions revolutionary situation, under the sign of a loved one sharp turn in the fate of the people and society - the impending liberation of the peasants. Once again, for the umpteenth time, Russia was "rearing up" over an unknown abyss, and its future for some was lit up with hope, for others it was dying in the horror of the unknown. The abolition of serfdom was proclaimed in February 1861. This event is grandiose in its significance. However, the reform not only failed to solve the social and political problems, but posed new, no less painful questions for society. (The peasants were liberated without land, they could buy it out.) turning points the conflict of generations makes itself felt especially acutely, painfully, and sometimes even threateningly. And it could not have been done more precisely than I. S. Turgenev in the novel "Fathers and Sons." But before we start talking about Bazarov, about “children”, let us turn in seniority to the generation of “fathers”. Fathers. Nobles. The predominant theme of all Russian literature is the first half of the XIX century. How many sides did not depict the life of the nobility! What controversy she did not generate! Now, in new era, Turgenev, always especially sensitive to all changes social life Russia, with severe righteousness, pronounced a merciless conviction of the generation of "fathers", affirming the idea of ​​decomposition, degeneration, and social bankruptcy of the nobility. “My whole story is directed against the nobility as an advanced class,” he wrote to the poet K. K. Sluchevsky. This idea in the novel is primarily associated with the images of the brothers Nikolai Petrovich and Pavel Petrovich Kirsanov. It should be noted that the writer chose a very simple way to prove it. Yes, the Kirsanov brothers are people who are quite worthy of respect or at least sympathy on the part of the reader, and at first glance there can be no question of any degeneration here. But the author deliberately reveals his thought on the example of the best and most worthy representatives of the nobility. Behind the external attractiveness of the Kirsanovs - "weakness and lethargy", their complete unfitness for life. "If the cream is so bad, what about the milk?" The development of the images of Nikolai Petrovich and Pavel Petrovich Kirsanovs reflected in the novel two different sides of a single process of decomposition of the noble class. Nikolai Petrovich Kirsanov and all of him economic activity- a kind of illustration of the economic failure of the nobility. Over the course of a long period of serfdom, this class was placed in an exceptional position: the nobles actually had the opportunity and the right not to engage in any work and not to take care of tomorrow... Livelihoods and, in general, all the blessings of life were delivered for them by the peasants. And now the forthcoming reform doomed the nobles to heavy thoughts about a piece of bread, called for work, albeit not physical, but mental. Very soon the landowner will hear the appeal addressed to him (N. A. Nekrasov will write about this in the poem "Who lives well in Russia"): Wake up, sleepy landowner! Get up! - learn! work hard! The landowner Obolt-Obolduev, one of the characters in the poem, answers in perplexity [cleverly: Work! Who do you have in mind to Read such a sermon! I am not a peasant-lapotnik - I am by the grace of God Russian nobleman! The same Obolt-Obolduev innocently declares his understanding of the mania of the appointment of the nobility (and the majority thought so): ... the name is ancient, The dignity of the nobility To support with hunt, Feasts, with all the luxury And live by someone else's labor ... And yet the most far-sighted of the landowners in on the eve of changes, they took up a difficult task for themselves: they began to manage. Among them is Nikolai Petrovich Kirsanov. He "does everything to keep up with the century." He is called "red" for this throughout the province and is called. He carried out a demarcation (division of land) with the peasants on his estate, but even before the reform he started a capitalist-type economy, and employed hired workers, not serfs, in his work. Nikolai Petrovich follows all the achievements of agricultural science, subscribes latest machines, but ... "Recently started on new way the household creaked like an unlubricated wheel, cracked like homemade furniture made of raw wood ... Life did not develop very nicely in Maryino, and the owner had a bad time. The troubles for the reform grew every day - the troubles are joyless, stupid. " In fact, the author of "Fathers and Sons" predicted the long and painful process of "impoverishment of the nobility" that began after the 1861 reform. Pavel Petrovich in his reasoning demonstrates the collapse of the noble ideology. According to him, the nobles are the bearers of high moral principles on which the inviolability of the life of the whole society is based. "Without dignity, without respect for oneself," he says, "there is no foundation for a public building." The idea itself is a good one, and one cannot but agree with Pavel Petrovich. However, he limits these principles to narrow class boundaries, associates "self-esteem" exclusively with the nobility, or rather, even already: with the aristocracy. But it was in the noble environment that these principles just lost their social content. Bazarov wittily remarks in his dispute with Kirsanov: “You respect yourself and sit with folded hands; what is the benefit to society? You wouldn’t respect yourself and do the same. ” Bazarov here is not just laughing at his opponent - he rejects Pavel Petrovich's claims to the social significance of his principles. Kirsanov really noble man, in the highest degree dignified. But the highest principles, not backed up by action, do not have any value for society, do not bear any benefit. Sitting "with folded hands" Kirsanov may or may not respect himself - for public life it doesn't matter. The individualistic isolation, which Turgenev constantly explores in his work, here acquires a completely definite social characteristic. Turgenev angrily laughed at Kirsanov in the scene of Pavel Petrovich's duel with Bazarov. A duel has always been not only the duty of a nobleman to defend his honor, but also his high exclusive right. Recognizing the right to a duel was tantamount to recognizing the honor and dignity of a person. And vice versa. In the novel, the high content and tragic solemnity of Jauel is destroyed by its truly parodic character, first of all by the comic figure of the “second” - the lackey Peter, whose absurdity Pavel Petrovich himself admits. “But you must agree, Pavel Petrovich, that our duel is ridiculously unusual. Just look at the face of our second, ”says Bazarov. The noble hero, what Kirsanov would like to look like, has been relegated to the level of the rabble he despises. By wounding Pavel Petrovich in the leg, Bazarov rendered medical assistance to his opponent and soon left the Kirsanovs' house. When he leaves, he sees their estate for the last time. What are his feelings? "He just spat and, muttering:" Damned Barchuk, "- wrapped himself in his greatcoat more tightly." At this time, “Pavel Petrovich moistened his forehead with cologne and closed his eyes. Illuminated by bright daylight, his beautiful, emaciated head lay on a white pillow, like the head of a dead man ... And he was a dead man ... ”These words of the author are symbolic. The dead, of course, is not the man Pavel Petrovich - the nobleman Kirsanov is dead. And this is the best of the nobles. An aristocrat, a gentleman, a man of undoubted inner dignity. And - a dead man. "But if the cream is bad, then what about the milk?" And “milk” is people who have long lost their former high principles and replaced them with empty hypocrisy. The nobility is dead. The time of noble revolutionism is long past. The most that they are capable of is good impulses, which they have neither the strength nor the energy to carry out. The best proof of this is the fate of Arkady Kirsanov, who at first was "fascinated" by the ideas of his friend Bazarov, but essentially belonged to the camp of the "fathers". Precisely the “fathers”, although by age and immaturity of thought he is still a perfect “child”. But in this case, “fathers” and “children” are not age-related concepts, but ideological ones. According to Pisarev's witty remark, Arkady "is in a state of transition from adolescence to old age." The brilliant work of I. S. Turgenev has not lost its significance for many decades, because in Russia there are always crisis situations, and hence, a conflict between generations of "fathers" and "children".