Turgenev fathers and children problematics. Problems and poetics of Turgenev's novel "Fathers and Sons" by I.S.

* This work is not a scientific work, is not a final qualifying work and is the result of processing, structuring and formatting the collected information intended for use as a source of material for self-preparation of educational work.

Moral problems in the works of Russian literature of the 2nd half of the 19th century. (Based on one or several works of Russian literature of the 2nd half of the 19th century).

The work has caused many articles, epigrams, cartoons. The main object of the controversy was the image of the central character of the novel by Yevgeny Vasilyevich Bazarov. AI Herzen spoke most correctly about the essence of the controversy surrounding the novel and remarked: "Krutoy Bazarov carried Turgenev away, and instead of whipping his son, he whipped the fathers." The novel shows the most pressing problem not only of the 60s of the 19th century, but of all times - this is the moral problem of the dissimilarity of generations. Being an aristocrat, admirer of beauty, esthete, admirer of the revolution, the great Russian writer portrayed in his work the uselessness, worthlessness, spiritual mortification of the nobles. Here is how he formulated the author's intention: “My whole story is directed against the nobility as an advanced class. Look into the faces of Nikolai Petrovich, Pavel Petrovich, Arkady. Weakness and lethargy or limitation. Aesthetic feeling made me take just good representatives of the nobility, in order to prove my theme all the more faithfully: if the cream is bad, what is the milk? .. ”Consequently, Ivan Sergeevich Turgenev claims that his sympathies are not on the side of the aristocrats. Strange as it may seem, he respected the nihilist, destroyer, revolutionary, and the author himself has repeatedly stated that, firstly, “Bazarov is my favorite child”, and secondly, “if he is called a nihilist, then you have to read - a revolutionary. "

Other moral problems of the Turgenev era, which are popular even now, at the beginning of the 21st century, follow from the problem of the dissimilarity of generations. This is thinking about friendship and about love and their role in people's lives, thinking about whether people like Bazarov are needed.

This means that it is these moral problems that should interest us in the novel by Ivan Sergeevich Turgenev, since they are "eternal" and are always relevant. AV Lunacharsky is right when he wrote: "Fathers and Sons" is still a living novel, and all the disputes that were waged around it find a certain response in our thoughts. " These words can be repeated at any time, since I.S. Turgenev has a remarkable trait - the ability to guess the movement that is just emerging in society.

The amazing laconicism of Turgenev's style is striking: a small work contains a huge amount of material, although the writer does not provide detailed pictures in Russian life, does not introduce a large number of characters - he selects the most characteristic, the most significant.

With the help of artistic details and "secret psychology" the writer was able to briefly but convincingly tell about people, about the life of Russia in one of the turning points of its history.

From the very first pages of the book, Ivan Sergeevich Turgenev convinces us that "transformations are necessary", first of all, these are transformations in agriculture, since the author worries about the fate of the people, the creators of all spiritual and material values, but they are in extreme poverty. A bitter meditation arises in the author and reader: “No, this is not a rich land, it does not amaze with either contentment or diligence. He can't, he can't stay like that, transformations are necessary, but how can they be accomplished? how to start? " This question worries the heroes of the novel: Nikolai Kirsanov talks about "forthcoming government measures, committees, deputies, the need to start cars, etc."; Pavel Petrovich places his hopes on "the wisdom of the government and on the people's community"; Arkady proclaims the principles of nihilism, understanding nothing in a revolutionary democratic regime. Against the background of the unsettled life of the country, the mighty figure of Bazarov, a man of a new generation, a fighter, a revolutionary who replaced the “fathers”, who is unable to solve the main problems of the era, looms.

Ivan Sergeevich Turgenev sharply opposes Evgeny Vasilievich to the world of aristocrats. The first thing that catches our eye when we meet a young nihilist is the features of democracy inherent in this character. The clothes, which he casually called "clothes", consisted of "a long robe with tassels" and an old dirty hat, "to the crown of which some marsh plant was attached." Let us recall the costume in which the aristocrat Pavel Petrovich came out for morning tea: “he was wearing an elegant morning suit, in the English style; there was a small fez on his head. " All the details of the costume were elegantly selected by the owner, who apparently had nothing else to do. We understand: we are faced with two people with different manners, tastes, convictions, leading different lifestyles.

Evgeny Vasilievich is a naturalist, he is engaged in the study of medicine, zoology, botany, which is a feature of the cultural life of Russia in the 60s of the 19th century. However, it is not in this field that he will achieve the fame that is prophesied to him. It is not hard to guess that the talent of a nihilist will unfold in revolutionary activity. Ivan Sergeevich Turgenev wrote about his beloved character in the following way: “I dreamed of a gloomy, wild, large, half-grown out of the soil, strong, evil, honest - and yet doomed to perish…” Evgeny Bazarov nature is independent, not bowing to either what authorities, but subjecting everything to the judgment of thought. And if love for Anna Sergeevna Odintsova overcomes the principles of nihilism, then in the deathbed scene Bazarov is faithful to his ideals to the end, but not broken, proudly looks death in the eye. He had to die to remain Bazarov. What is the tragedy of the hero and how is Bazarov's desperate situation portrayed? From the point of view of the writer, in the fact that “the time of the bazaars” we remember in what costume the aristocrat Pavel Petrovich came out for morning tea: “a man of a new generation, a fighter, a revolutionary, has not come yet, the Turgenev character himself feels it: dying, he says : “Russia needs me ... No, apparently not needed.” Therefore, Ivan Sergeevich emphasizes the tragic loneliness of a nihilist not only among the “fathers”, not only with an imaginary friend (Arkady), but also in the most important thing for him - in relations with the people. But Bazarov's relationship with the people is very complex. On the one hand, the peasants see him not as a master, but as “their brother.” On the other hand, they call him “a pea buffoon.” However, there are episodes in the novel that may cause bewilderment to the reader.

In the beginning, the reader learns that “Bazarov had a special ability to arouse confidence in himself in the people of the people,” and at the end of the book the attitude of the people to Yevgeny and his view of the peasants is revealed in a completely different way.

The death of Bazarov makes his image deeply tragic, Dmitry Ivanovich Pisarev correctly remarks: "to die like Bazarov died is like doing a great feat." On the last pages of the novel all the best human things that were in Bazarov appear: tenderness for parents, poetry of love for Madame Odintsova, thirst for labor and heroism in the name of his native country; willpower, courage in the face of the threat of imminent death. To Madame Odintsova's question whether he could completely surrender to the feeling of love, he honestly replies: “I don’t know, I don’t want to brag.” From his words, she could conclude that this man, no matter how he loved, would not sacrifice his convictions in the name of love. For him, convictions are dearer than love, and for Madame Odintsova, peace and comfort are dearer than love.

We hear words, unusual for Bazarov, full of romantic feelings and poetry, addressed to the woman he loves: “Blow on the dying lamp and let it go out ...” We hear words full of love and pity about parents when he asks Anna Sergeevna to take care of them: “ After all, people like them cannot be found in your big light in the daytime with fire ... "

Bazarov died young, not having time to start the activity for which he was preparing, but we are sure that if it were needed, he would be able to give his life in the name of the cause.

The novel ends with a picture of an abandoned rural cemetery where Evgeny Vasilyevich is buried. Peace and quiet reign here. The novel ends with such thoughts of the author: “No matter how passionate, sinful, rebellious heart is hidden in the grave, the flowers growing on it, serenely look at us with their innocent eyes; they tell us about eternal reconciliation and endless life ... ”Bazarov died, and with him died his wonderful, strong character, his ideas and convictions. Flowers on Eugene's grave confirm that true life is endless.

Ivan Sergeevich Turgenev solved moral problems in the novel "Fathers and Sons", telling us, people of the 21st century, about the "eternity" of such concepts as love for parents, for the Motherland, for nature, as the high romantic love of a man and a woman, as immortality of those people who are true to their duty.

Bazarov is a man of a new type. Dying, he wants to take one last look at his beloved woman. This speaks of Eugene's ability to deep feelings. Ivan Sergeevich Turgenev ends the novel with the death of Bazarov, because he does not know what his hero should do next, and also because he does not want Eugene to commit any mistakes or crimes in the future.

More often than not, the title of a work is the key to its content and understanding. This is the case with Ivan Turgenev's novel Fathers and Sons. There are only two simple words, but so many concepts that have contained within themselves, which have divided the heroes into two opposite camps. Such a simple title reveals the essence of the novel "Fathers and Sons" in a complex problematic.

The main problematic of the novel

In his work, the author not only raises the problem of the collision of two opposite generations, but also tries to find a solution, to indicate an entrance from the current situation. The confrontation between the two camps can be seen as a struggle between the old and the new, radicals and liberals, between democracy and aristocracy, determination and confusion.

The author believes that the time has come for a change and is trying to show in the novel. The old representatives of the nobility are being replaced by young and restless, seeking and struggling. The old system has already outlived its usefulness, but the new one has not yet formed, the meaning of the novel "Fathers and Sons" clearly indicates the inability of society to live neither in the old nor in the new way. This is a kind of transitional time, the border of epochs.

New society

Bazarov is a representative of the new generation. It is he who is assigned the main role that creates the conflict in the novel "Fathers and Sons". He represents a whole galaxy of young people who have taken the form of complete denial for faith. They deny everything old, but they bring nothing to replace this old.

A very vividly conflicting worldview is shown between Pavel Kirsanov and Yevgeny Bazarov. Straightforwardness and rudeness versus manners and sophistication. The images of the novel "Fathers and Sons" are multifaceted and contradictory. But the system of his values ​​clearly outlined by Bazarov does not make him happy. He himself outlined his mission for society: to break the old. But how to build something new on the destroyed foundation of ideas and views is no longer his business.
The problem of emancipation is considered. The author shows this as a possible alternative to the patriarchal system. But only the female image of emancipation is given an unattractive one, completely different from the usual Turgenev girl. And, again, this was not done by chance, but with a clear intention to show that before destroying something established, it is necessary to find a replacement for it. If this does not happen, then the changes will not succeed, even what was clearly intended for a positive solution to the problem can change in a different direction and become a sharply negative phenomenon.

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

The great Russian writer shows in his novel the struggle between the worldviews of these two political trends. The plot of the novel is based on the opposition of the views of Pavel Petrovich Kirsanov and Yevgeny Bazarov, who are the outstanding representatives of these trends. The novel also raises other questions: how to relate to the people, to work, science, art, what transformations are needed in the Russian countryside.

The name already reflects one of these problems - the relationship between two generations, fathers and children. Disagreements on various issues have always existed between the youth and the older generation. So here too, a representative of the younger generation, Evgeny Vasilyevich Bazarov, cannot, and does not want to understand the "fathers", their credo, principles. He is convinced that their views on the world, on life, on relations between people are hopelessly outdated. "Yes, I will pamper them ... After all, this is all pride, lion habits, fadness ...". In his opinion, the main purpose of life is to work, to produce something material. That is why Bazarov is disrespectful to art, to sciences that have no practical basis; to "useless" nature. He believes that it is much more useful to deny what, from his point of view, deserves denial, than to indifferently observe from the outside, not daring to do anything. "At the present time, denial is most useful - we deny," says Bazarov.

For his part, Pavel Petrovich Kirsanov is sure that there are things that cannot be doubted ("Aristocracy ... liberalism, progress, principles ... art ..."). He appreciates habits and traditions more and does not want to notice the changes taking place in society.

The disputes between Kirsanov and Bazarov reveal the ideological concept of the novel.

These characters have a lot in common. Self-esteem is highly developed in both Kirsanov and Bazarov. Sometimes they cannot calmly conduct disputes. Both of them are not subject to other people's influences, and only what they themselves experienced and felt makes the heroes change their views on some issues. Both the commoner democrat Bazarov and the aristocrat Kirsanov have a tremendous influence on those around them, and neither one nor the other cannot be denied strength of character. And yet, despite such a similarity of natures, these people are very different, due to the difference in origin, upbringing and way of thinking.

Discrepancies are already evident in the portraits of the heroes. The face of Pavel Petrovich Kirsanov is "unusually regular and clean, as if drawn with a thin and light incisor." And in general, the whole appearance of Uncle Arkady "... was graceful and thoroughbred, his hands were beautiful, with long pink nails." , with a wide forehead and not at all an aristocratic nose. Portrait of Pavel Petrovich is a portrait of a "secular lion" whose manners match his appearance. Portrait of Bazarov, undoubtedly, belongs to a "democrat to the end of his nails", which is confirmed by the behavior of the hero, independent and self-confident.

Evgeny's life is full of vigorous activity, he devotes every free minute to natural science studies. In the second half of the 19th century, the natural sciences experienced an upsurge; Materialist scientists appeared who, by numerous experiments and experiments, developed these sciences, for which there was a future. And Bazarov is the prototype of such a scientist. Pavel Petrovich, on the contrary, spends all his days in idleness and groundless, aimless thoughts and memories.

The views of those arguing about art and nature are opposite. Pavel Petrovich Kirsanov admires works of art. He is able to admire the starry sky, enjoy music, poetry, painting. Bazarov, on the other hand, denies art ("Raphael is not worth a dime"), approaches nature with utilitarian standards ("Nature is not a temple, but a workshop, and a person is a worker in it"). Nikolai Petrovich Kirsanov also disagrees that art, music, nature are nonsense. Going out onto the porch, "... he looked around, as if wishing to understand how it is possible not to sympathize with nature." And here we can feel how Turgenev, through his hero, expresses his own thoughts. The beautiful evening landscape leads Nikolai Petrovich to the "woeful and gratifying play of lonely thoughts", evokes pleasant memories, opens up to him the "magical world of dreams". The author shows that by denying admiration for nature, Bazarov impoverishes his spiritual life.

But the main difference between a common democrat who found himself in the estate of a hereditary nobleman and a liberal lies in his views on society and people. Kirsanov believes that aristocrats are the driving force of social development. Their ideal is "English freedom", that is, a constitutional monarchy. The path to the ideal lies through reforms, glasnost, progress. Bazarov is sure that the aristocrats are incapable of action and there is no benefit from them. He rejects liberalism, denies the ability of the nobility to lead Russia to the future.

Controversy arises over nihilism and the role of nihilists in public life. Pavel Petrovich condemns nihilists for the fact that they "do not respect anyone", live without "principles", considers them unnecessary and powerless: "You are only 4-5 people." To this Bazarov replies: "Moscow burned out from a penny candle." When speaking of the denial of everything, Bazarov means religion, the autocratic-serf system, and generally accepted morality. What do nihilists want? First of all, revolutionary actions. And the criterion is the benefit to the people.

Pavel Petrovich glorifies the peasant community, family, religiosity, patriarchy of the Russian peasant. He claims that "the Russian people cannot live without faith." Bazarov, on the other hand, says that the people do not understand their own interests, are dark and ignorant, that there are no honest people in the country, that "the peasant is glad to rob himself just to get drunk in a tavern." However, he considers it necessary to distinguish popular interests from popular prejudices; he claims that the people are revolutionary in spirit, therefore nihilism is a manifestation of the people's spirit.

Turgenev shows that, despite his affection, Pavel Petrovich does not know how to talk to ordinary people, "frowns and smells cologne." In a word, he is a real master. And Bazarov proudly declares: "My grandfather plowed the land." And he can win over the peasants, although he makes fun of them. The servants feel "that he is still his brother, not a master."

This is precisely because Bazarov had the ability and desire to work. In Maryino, in the Kirsanovs' estate, Yevgeny worked because he could not sit idle, “some kind of medical and surgical smell” was established in his room.

In contrast, representatives of the older generation did not differ in their ability to work. So, Nikolai Petrovich tries to manage in a new way, but he does not succeed. About himself he says: "I am a soft, weak man, spent my century in the wilderness." But, according to Turgenev, this cannot be an excuse. If you can't work, don't take it. And the greatest thing that Pavel Petrovich did was help his brother with money, not daring to give advice, and "without joking imagined himself to be an efficient person."

Of course, most of all a person manifests itself not in conversations, but in deeds and in his life. Therefore, Turgenev, as it were, leads his heroes through various trials. And the strongest of them is the test of love. After all, it is in love that the soul of a person is revealed fully and sincerely.

And here Bazarov's hot and passionate nature swept away all his theories. He fell in love, like a boy, with a woman whom he highly valued. "In conversations with Anna Sergeevna, he expressed even more than before his indifferent contempt for everything romantic, and when left alone, he indignantly recognized the romantic in himself." The hero is going through a strong mental breakdown. "... Something ... got into him, which he did not allow in any way, about which he always mocked, which outraged all his pride." Anna Sergeevna Odintsova rejected him. But Bazarov found the strength to accept defeat with honor, without losing his dignity.

And Pavel Petrovich, who also loved very much, could not leave with dignity when he became convinced of the woman's indifference to him: “... he spent four years in foreign lands, then chasing her, then with the intention of losing sight of her ... and already I couldn't get into the right track. " And in general, the fact that he seriously fell in love with a frivolous and empty society lady says a lot.

Bazarov is a strong person, he is a new person in Russian society. And the writer takes a close look at this type of character. The last test that he offers his hero is death.

Anyone can pretend to be whoever they want. Some people do this all their lives. But in any case, before death, a person becomes what he really is. Everything that is putative disappears, and the time comes to think, perhaps for the first and last time, about the meaning of life, about what good he has done, whether they will remember or forget as soon as they are buried. And this is natural, because in the face of the unknown, a person opens up what he, perhaps, did not see during his lifetime.

It is a pity, of course, that Turgenev "kills" Bazarov. Such a brave, strong person would live and live. But perhaps the writer, having shown that such people exist, did not know what to do with his hero further ... The way Bazarov dies could do credit to anyone. He does not feel sorry for himself, but for his parents. He is sorry to leave life so early. While dying, Bazarov admits that he "got under the wheel," "but he is still bristling." And with bitterness she says to Madame Odintsova: "And now the whole task of the giant is how to die decently, I won't wag my tail."

Bazarov is a tragic figure. It cannot be said that he defeats Kirsanov in an argument. Even when Pavel Petrovich is ready to admit his defeat, Bazarov suddenly loses faith in his teaching and doubts his personal need for society. “Does Russia need me? No, apparently, it is not needed,” he muses. Only the nearness of death restores Bazarov's self-confidence.

Whose side is the author of the novel on? This question cannot be answered unequivocally. Being a liberal by conviction, Turgenev felt the superiority of Bazarov, moreover, he argued; "My whole story is directed against the nobility as an advanced class." And further: "I wanted to show the cream of society, but if cream is bad, then what about milk?"

Ivan Sergeevich Turgenev loves his new hero and in the epilogue gives him a high assessment: "... a passionate, sinful, rebellious heart." He says that it is not an ordinary person who is lying in the grave, but really a person that Russia needs, smart, strong, with non-stereotypical thinking.

It is known that IS Turgenev dedicated the novel to Belinsky and stated: "If the reader does not fall in love with Bazarov with all his rudeness, heartlessness, ruthless dryness and harshness, it is my fault that I did not achieve my goal. Bazarov is my favorite brainchild."

Turgenev wrote the novel "Fathers and Sons" in the last century, but the problems raised in it are still relevant in our time. Which to choose: contemplation or action? How to relate to art, to love? Is the generation of fathers right? Each new generation has to solve these issues. And, perhaps, it is precisely the impossibility of solving them once and for all that drives life.

That is why it is called that the value of each work included in its fund is time-tested. Shakespeare's tragedies, Da Vinci's paintings, Schnittke's music, Rodin's sculptures - you can list for a long time, because the list of human achievements created during its existence and development is really long and rich. And representatives of Russian culture can be proud that their great compatriot, Ivan Sergeevich Turgenev, occupies one of the first places of honor among the recognized authors of the world and

Creator of the Russian novel

Yes exactly. Of course, even before Turgenev, there were many talented novelists in Russian literature. "Encyclopedia of Russian life" in verse, written by Pushkin, of a whole generation, created by Lermontov in his "Hero ..." homeland. But it was Turgenev who brought the Russian novel to the vastness of world literature, introduced foreign readers to the originality of our culture, everyday life, and history. The brevity, the extraordinary expressiveness of the language, the tension of the plot, the display of the most important socio-political moments in the life of society, the ideological struggle characteristic of Russian reality, the deepest psychologism and the amazing skill of a true artist - these are the distinguishing features of Turgenev the novelist and his best creations. Thanks to Ivan Sergeevich, the foreign public and critics learned about this amazing phenomenon - "Russian literature", "Russian novel". The author's most important and beloved brainchild was Fathers and Sons. The meaning of the work reflected not only the complexity of family, social, civil and general human relations in general, but also Turgenev's point of view on these issues.

Why fathers and children

The position of the author in the novel is not directly indicated. But it is quite easy to determine if you look closely at the composition of the work, analyze the language of the characters, the system of images, and identify the role of individual elements, such as a landscape, in a novel. By the way, this is what makes Fathers and Sons very interesting. The meaning of the work is already laid down in the title, and the main artistic method of opposition, or antithesis, can be traced throughout the entire novel.

So why fathers and why children? Because the family is a small section from the whole society, and in it, as in a mirror, those most complex, sometimes dramatic collisions that shake and fever are reflected. depth and width ”in a huge variety of its elements. It is this diversity of forms that allows us to see and understand Fathers and Sons. The meaning of the work is revealed in the conflict between generations, in views on politics, religion, science, art, social world order and world order. The class conflict, aggravated against the background of tough confrontation between social forces and problems, is no less vivid. The attentive reader, moving from chapter to chapter, more and more clearly understands the metaphorical nature of the title "Fathers and Sons." The meaning of the work is not only to show the continuity and delimitation of generations (universal aspect), but also to reveal the opposition of established views and opinions and new ones that replace the old ones.

Family thought

Let's analyze first the "family thought" in the novel. It is worth noting that the theme of the family is generally characteristic of Turgenev. The writer lived his entire independent life "on the edge of someone else's nest," and he had a rather complicated relationship with his mother. That is probably why Ivan Sergeevich treasured the warmth of the hearth, the harmony of relationships between the older and younger generations. The work "Fathers and Sons" affirms those eternal values, without which, in fact, progress cannot move forward. This is shown on the example of the Kirsanov family. Arkady, a representative of the young and advanced generation, although he is under the influence of Bazarov, is still closely connected with his relatives. Even upon arriving in his fatherland, he exclaims that here the air is sweeter and more expensive and closer than in the capital. Making an excursion into the past of his heroes, Turgenev says that Kirsanov, the father, constantly tried to get closer to his son, to share his interests, to live what Arkady lives, got to know his friends, tried to understand the new generation coming to replace his peers. The work "Fathers and Sons", as already mentioned, is an antithesis novel. But, although Bazarov is an ardent opponent of the whole past, including the "fathers", although he is outwardly rude to his father and mother and openly ridicules and despises the "old Kirsanovs", the feeling of kinship is not alien to him either. Thus, the bonds are sacred for Turgenev. Welcoming the new time, the writer believes that it is impossible to completely negate the achievements of past eras, including

New and old

The meaning of the novel "Fathers and Sons" is broader and deeper than the above question. Yes, indeed, the younger generation, with its inherent maximalism, often considers itself smarter, more progressive, more talented, more capable of significant deeds and useful for the country than those whose century is drawing to a close. Alas, but by and large it is so. Both Nikolai Petrovich and Petr Petrovich Kirsanovs, educated people with modern thinking, nevertheless in many ways lagged behind the uncontrollably flying forward century. New scientific ideas, technical achievements, political ideas are difficult for them to understand and difficult to accept into their everyday life. But does this mean that the past should be completely destroyed, forgotten, abandoned, "cleaned up", as Bazarov puts it? And what, then, to build in a new place, on an empty one? The nihilist Eugene cannot paint a detailed picture - apparently, he himself does not know, does not imagine it. And the author himself rightly saw the meaning of the novel "Fathers and Sons" not only in criticizing the ugliness of Russian reality, the rotten system of social and often human relations, but also to prove that it is impossible to completely abandon the past. Human civilizations replaced one another, and each was based on the achievements of the previous one.

Ideological and aesthetic concept of the novel

What else is Fathers and Sons about? was written in 3 stages. The first dates back to 1860-1861, when the main text was created, the plot and the figurative system were formed. The second refers to the fall of 1861 - the beginning of the winter of 1862. At this time, the writer is actively revising the text, making plot and compositional amendments, expanding the range of issues covered in accordance with the political changes in the country. And, finally, in the period from February to September 1862, the final revisions and the first edition in the "Russian Bulletin" of the work "Fathers and Sons". The problematic of the novel is a vivid picture of the rise of the movement of commoners, revolutionary democrats; showing a new, just emerging type of public figure-nihilist, questioning all the foundations of the Russian state. The 238 pages of Turgenev's thin handwriting fit the life story of the rebel Bazarov, criticism of the immorality of nihilism, the conflict between liberal conservatives and revolutionary-minded progressives, the disclosure of philosophical, spiritual, religious, ethical and aesthetic, moral and moral conflicts.

What did the author want to say and what did he have?

It is impossible to understand what is the meaning of the novel "Fathers and Sons" without revealing the image of the main character - the nihilist Yevgeny Bazarov. The author himself noted that he saw a strong, spiteful, wild and indomitable, honest figure who had emerged from the people, but doomed to perish, for the time of the bazaars had not yet come. He admitted that he did not know whether he loved or hated the image he had created. After all, the writer strove primarily to criticize the nobility as the once advanced, and now obsolete, conservative class, hindering the economic and political development of the country. But Bazarov came to the fore, and it was about this hero that the controversy unfolded in domestic criticism. Some considered the main character to be an evil caricature, a pamphlet on the younger generation. Others, picking up on Turgenev's word "nihilist", began to call it all sorts of atrocities, political unrest, produced by the student body. And the name Bazarov became synonymous with one of the names of the devil - Asmodeus. Still others, having picked up revolutionary ideas, elevated Yevgeny Vasilyevich to the rank of their spiritual leader. Turgenev did not share the ideas of either one, or the second, or the third. This was one of the reasons for the ideological split between the writer and the staff of Sovremennik.

The victory of life over ideology

Yes, Ivan Sergeevich, for all his sincere sympathy for the nobility and compassion for Bazarov, condemned both one and the other. In the novel, he proved that life is more complex and diverse than all ideologies, political disputes, and it cannot be put into any. Nature, love, sincere affections, the reviving and ennobling power of art, patriotism will triumph over any "passionate, sinful, rebellious heart." And to this day, the fate of the heroes of the works interests and excites us, gives rise to disputes, encourages us to try to understand as deeply as possible and teach everyone to be a Human. And this is the main feature of the great classical works.

The main conflict of the novel

The conflict between fathers and children lasts from the beginning of time to the present day. It is especially acutely felt during periods of changes in social life, when the generation of the past acts as a conservative, and young people stand up for novelty. This situation is typical for Russia in the 60s. 19 century, she found her reflection in the novel by I.S. Turgenev "Fathers and Sons". The clash between the old and young generations overcomes the framework of family conflict and affects the socio-political structure of the country - the social democrats rise to fight the liberal aristocrats.

Bazarov and Pavel Petrovich

Young nihilist Yevgeny Vasilyevich Bazarov confronts the nobleman aristocrat Pavel Petrovich Kirsanov. The generational difference is already expressed in the appearance of the heroes.

Bazarov is a man of great willpower, a man of his word, a little aloof from people. Turgenev pays special attention to the living mind of the hero. And Kirsanov is described only externally: he wears white linen, starched collars, lacquered ankle boots. Being a well-known socialite in the past, Pavel Petrovich kept his habits in his brother's country estate - the impeccability and elegance of the image.

Kirsanov does nothing, has no responsibilities and aspirations, lives for his own pleasure. Bazarov is active, everything he does is useful for society, for science, for the people.

The life positions of the heroes are extremely opposite. They argue constantly and argue about everything in the world: about how to develop Russia further, about the real and the irrational, about the usefulness of science and art, about the patriarchy of the people. Bazarov argues that everything old must be destroyed, and Pavel Petrovich is sure that all this must be preserved for future generations. Kirsanov is also outraged by the fact that Bazarov and his followers do not have a concrete plan for transforming the world order. They only call for destruction, but they are not going to create. In response to the reproach for this, Bazarov says that first you need to "clear the place."

Bazarov and his parents

In Bazarov's relationship with his parents, a generational conflict is also clearly visible. Bazarov loves his father and mother, but at the same time feels contempt for their stupid aimless life. Despite the misunderstanding of each other, the parents love Eugene. Love does not cease to exist even after the death of the hero. In the end, it turns out that only his parents Bazarov was really dear.

Arkady and family

In the Kirsanov family, the confrontation between generations is not so obvious. Arkady Kirsanov is gradually turning into a copy of his father. In life, he values ​​the same thing that he does: home, family life, peace. For him, this is much more important than the struggle for global well-being. Arkady only imitated Bazarov, and this caused small strife in the family. And when Bazarov leaves Arkady's field of vision, the conflicts come to naught.

The theme of "fathers" and "children" in Russian literature

The relationship between fathers and children is one of the paramount and significant in Russian literature. This problem is reflected in the comedy A.S. Griboyedov "Woe from Wit", in the drama "The Thunderstorm" by A.N. Ostrovsky, in the works of A.S. Pushkin and many others. other Authors as creative people are on the side of the younger generation. However, Turgenev does not occupy a definite position, and allows the reader to choose the correct ideology for himself. I think it was important for Turgenev to show that only in peace and harmony will society be able to develop correctly in the future.