The novel "Fathers and Sons" was created by Turgenev in a hot time for Russia. The growth of peasant uprisings and the crisis of the serf system forced the government to abolish serfdom in 1861. In Russia, it was necessary to carry out a peasant reform. The society split into two camps: in one were revolutionary democrats , the ideologists of the peasant masses, in another - the liberal nobility, who stood for the reformist path.The liberal nobility did not put up with serfdom, but feared a peasant revolution.
The great Russian writer shows in his novel the struggle between the worldviews of these two political trends. The plot of the novel is built on the opposition of the views of Pavel Petrovich Kirsanov and Evgeny Bazarov, who are the brightest representatives of these trends. Other questions are also raised in the novel: how one should treat the people, work, science, art, what transformations are necessary for the Russian countryside.
The title already reflects one of these problems - the relationship between two generations, fathers and children. Disagreements on various issues have always existed between the youth and the older generation. So here, a representative of the younger generation, Evgeny Vasilyevich Bazarov, cannot, and does not want to understand the “fathers”, their life credo, principles. He is convinced that their views on the world, on life, on relations between people are hopelessly outdated. “Yes, I will spoil them ... After all, this is all pride, lion's habits, folly ...”. In his opinion, the main purpose of life is to work, to produce something material. That is why Bazarov has a disrespectful attitude to art, to sciences that do not have a practical basis; to "useless" nature. He believes that it is much more useful to deny what, from his point of view, deserves to be denied, than to watch indifferently from the side, not daring to do anything. “At the present time, denial is most useful - we deny,” says Bazarov.
For his part, Pavel Petrovich Kirsanov is sure that there are things that cannot be doubted (“Aristocracy ... liberalism, progress, principles ... art ...”). He values 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 intent of the novel.
These characters have a lot in common. Both in Kirsanov and in Bazarov pride is highly developed. Sometimes they can not calmly argue. Both of them are not subject to other people's influences, and only experienced and felt by them themselves makes the heroes change their views on some issues. Both the commoner democrat Bazarov and the aristocrat Kirsanov have a huge influence on those around them, and neither one nor the other can 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.
Differences already appear in the portraits of the heroes. Pavel Petrovich Kirsanov's face is "unusually correct and clean, as if drawn with a thin and light chisel." And in general, the whole appearance of Uncle Arkady "... was graceful and thoroughbred, his hands were beautiful, with long pink nails." Bazarov's appearance is the complete opposite of Kirsanov. He is dressed in a long robe with tassels, he has red hands, his face is long and thin , with a wide forehead and not at all an aristocratic nose. The portrait of Pavel Petrovich is a portrait of a "secular lion" whose manners match his appearance. The portrait of Bazarov undoubtedly belongs to a "democrat to the end of his nails", which is also confirmed by the behavior of the hero, independent and self-confident.
Eugene's life is full of vigorous activity, he devotes every free minute of his time to natural science studies. In the second half of the 19th century, the natural sciences were on the rise; materialistic scientists appeared who developed these sciences, behind which there was a future, by numerous experiments and experiments. And Bazarov is the prototype of such a scientist. Pavel Petrovich, on the contrary, spends all his days in idleness and groundless, aimless reflections-memories.
The views of those arguing on 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 (“Rafael is not worth a penny”), approaches nature with utilitarian standards (“Nature is not a temple, but a workshop, and man is a worker in it”). Nikolai Petrovich Kirsanov also does not agree that art, music, nature are nonsense. Coming out onto the porch, "... he looked around, as if wanting to understand how one can not sympathize with nature." And here we can feel how Turgenev expresses his own thoughts through his hero. A beautiful evening landscape leads Nikolai Petrovich to the “sorrowful and gratifying game of lonely thoughts”, brings back pleasant memories, reveals to him the “magic world of dreams”. The author shows that by denying admiring nature, Bazarov impoverishes his spiritual life.
But the main difference between a raznochint-democrat, who found himself on the estate of a hereditary nobleman, and a liberal lies in his views on society and the people. Kirsanov believes that aristocrats are the driving force behind 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 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.
Disagreements arise about nihilism and the role of nihilists in public life. Pavel Petrovich condemns nihilists because they "respect no one", live without "principles", considers them unnecessary and powerless: "You are only 4-5 people." To this, Bazarov replies: "Moscow burned down from a penny candle." Speaking of the denial of everything, Bazarov has in mind religion, the autocratic-feudal system, generally accepted morality. What do the nihilists want? First of all, revolutionary action. 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 “a man is happy to rob himself just to get drunk on dope in a tavern.” However, he considers it necessary to distinguish between popular interests and popular prejudices; he argues that the people are revolutionary in spirit, therefore nihilism is a manifestation of precisely the people's spirit.
Turgenev shows that, despite his tenderness, Pavel Petrovich does not know how to talk with ordinary people, “grimaces and sniffs cologne.” In a word, he is a real gentleman. And Bazarov proudly declares: "My grandfather plowed the land." And he can win over the peasants, although he teases them. The servants feel "that he is still his brother, not a gentleman."
This is precisely because Bazarov possessed the ability and desire to work. In Maryino, on the Kirsanov estate, Evgeny worked because he could not sit idle, “some kind of medical and surgical smell” was established in his room.
Unlike him, representatives of the older generation did not differ in their ability to work. So, Nikolai Petrovich tries to manage in a new way, but nothing works out for him. He says about himself: “I am a soft, weak person, I spent my life in the wilderness.” But, according to Turgenev, this cannot serve as an excuse. If you can't work, don't take it. And the biggest thing that Pavel Petrovich did was to help his brother with money, not daring to give advice, and “not jokingly imagined himself to be a practical person.”
Of course, most of all a person is manifested 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 then the hot and passionate nature of Bazarov 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 left alone, he indignantly recognized the romance in himself.” The hero is going through a severe mental breakdown. “…Something…was possessed by him, which he never allowed, over which he always mocked, which revolted 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: couldn't get in the right track." And in general, the fact that he seriously fell in love with a frivolous and empty secular lady says a lot.
Bazarov is a strong person, he is a new person in Russian society. And the writer carefully considers this type of character. The last test 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. All pretense disappears, and it is time to think, maybe for the first and last time, about the meaning of life, about what good you did, 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 discovers something that he may not have seen during his lifetime.
It is a pity, of course, that Turgenev "kills" Bazarov. Such a brave, strong man 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 honor to anyone. He does not pity himself, but his parents. He is sorry to leave life so early. Dying, Bazarov admits that he "fell under the wheel", "but still bristles." And bitterly he says to Odintsova: “And now the whole task of the giant is how to die decently .., I won’t wag my tail.”
The novel "Fathers and Sons" was written by I. S. Turgenev during the revolutionary situation in Russia (1859-1862) and
the abolition of serfdom. The writer revealed in the novel a turning point in the public consciousness of Russia, when a nobleman
liberalism was supplanted by revolutionary democratic thought. This division of society is reflected in
novel in the person of Bazarov, a raznochinets-democrat (“children”) and the Kirsanov brothers, the best of the liberal nobles (“fathers”).
Turgenev himself ambivalently perceived the image he created. He wrote to A. A. Fet: “Did I want to scold Bazarov or exalt him? I don’t know this myself, for I don’t know whether I love him or hate him!” And in a note about "Fathers and Sons" Turgenev writes: "Bazarov is my favorite brainchild ... This is the prettiest of all my figures."
The personality of Bazarov, the spokesman for the ideas of revolutionary democracy, is of interest to Turgenev, because he is a hero of the time, who has absorbed the distinctive features of the era of social change. Turgenev singles out democracy in Bazarov, manifested in the noble habit of work, which is developed from childhood. On the one hand, the example of parents, on the other - a harsh school of life, studying at the university for copper pennies. This feature distinguishes him from the Kirsanovs and for Bazarov is the main criterion for evaluating a person. The Kirsanovs are the best of the nobles, but they do nothing, they do not know how to get down to business. Nikolai Petrovich plays the cello, reads Pushkin. Pavel Petrovich carefully monitors his appearance, changes clothes for breakfast, lunch, dinner. Arriving to his father, Bazarov says: "I want to work." And Turgenev constantly. emphasizes that the "fever of work" is characteristic of the hero's active nature. A feature of the generation of Democrats of the 60s is a passion for the natural sciences. After graduating from the Faculty of Medicine, Bazarov, instead of rest, “cuts frogs”, preparing himself for scientific activity. Bazarov does not confine himself only to those sciences that are directly related to medicine, but reveals extensive knowledge in botany, and in agricultural technology, and in geology. Realizing the limitations of his abilities due to the deplorable state of medicine in Russia, Bazarov still never refuses to help those in need, regardless of his employment: he treats both Fenichka's son and the peasants of the surrounding villages, helps his father. And even his death was due to infection at autopsy. Bazarov's humanism is manifested in his desire to benefit the people, Russia.
Bazarov is a man with a great sense of his own dignity, in no way inferior to aristocrats in this respect, and in some ways even surpasses them. In the story of the duel, Bazarov showed not only common sense and intelligence, but nobility and fearlessness, even the ability to make fun of himself at the moment of mortal danger. Even Pavel Petrovich appreciated his nobility: “You acted nobly ...” But there are things that Turgenev denies in his hero - this is Bazarov’s nihilism in relation to nature, music, literature, painting, love - everything that makes up the poetry of life that elevates a person. Everything that is devoid of a materialistic explanation, Bazarov denies.
He considers the entire political system of Russia to be rotten, therefore he denies "everything": autocracy, serfdom, religion - and what is generated by the "ugly state of society": popular poverty, lack of rights, darkness, ignorance, patriarchal antiquity, family. However, Bazarov does not put forward a positive program. When P.P. Kirsanov tells him: “... You are destroying everything ... Why, you need to build,” Bazarov replies: “This is no longer our business ... First we need to clear the place.”
When Bazarov stigmatizes exaggerated, abstract "principles" with mockery, he wins. And the author shares his position. But when Bazarov enters the sphere of refined experiences, which he never accepted, not a trace of his confidence remains. The harder it is for Bazarov, the more tangible is the author's empathy for him.
In love for Odintsova, Bazarov’s ability to have a strong feeling and respect for a woman, her mind and character were expressed - after all, he shared his most cherished thoughts with Odintsova, filling his feeling with reasonable content.
Love for Odintsova helped Bazarov reconsider his views, rethink his convictions. There is a complex reassessment of values. Boundless Russia with its dark, dirty villages becomes the subject of his close attention. But he never acquires the ability to "talk about the affairs and needs" of the peasants and only helps the rural population in the medical practice of his father. Turgenev showed the greatness of Bazarov during his illness, in the face of death. In the speech of the dying, pain from the consciousness of the near inevitable end. Each remark addressed to Odintsova is a clot of spiritual suffering: “Look, what an ugly sight: a half-crushed worm” and also bristles. And after all, I would also think: I’ll break off my grandfather a lot, I won’t die, where! There is a task, because I am a giant!.. Russia needs me... No, apparently, it is not needed. And who is needed? Knowing that he will die, he consoles his parents, shows sensitivity to his mother, hiding the danger that threatens him from her, makes a dying request to Odintsova to take care of the old people: “After all, people like them cannot be found in your big world during the day with fire. ..” The courage and steadfastness of his materialistic and atheistic views were manifested in his refusal to confess, when, yielding to the entreaties of his parents, he agreed to take communion, but only in an unconscious state, when a person is not responsible for his actions. Pisarev noted that in the face of death, "Bazarov becomes better, more humane, which is proof of the integrity, completeness and natural richness of nature." Having not had time to realize himself in life, Bazarov only in the face of death gets rid of his intolerance and for the first time truly feels that real life is much wider and more diverse than his ideas about it. This is the main point of the ending. Turgenev himself wrote about this:
“I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, vicious, honest - still doomed to death - because it still stands on the eve of the future.”
The events that I. S. Turgenev describes in the novel take place in the middle of the 19th century. This is the time when Russia was going through another era of reforms. The idea contained in the title of the novel is revealed very widely, since it is not only about the originality of different generations, but also about the confrontation between the nobility, leaving the historical stage, and the democratic intelligentsia, moving into the center of the social and spiritual life of Russia, representing its future.
Philosophical reflections on the change of generations, on the eternal movement of life and the eternal struggle of the old and the new sounded more than once in the works of Russian writers even before Turgenev (“Woe from Wit” by A. S. Griboyedov). Similar thoughts and feelings, along with disputes about the peasant community, about nihilism, about art, about aristocracy, about the Russian people, sound in Turgenev's novel. But there are also universal human problems that the author reflects on.
In the center of the novel is the figure of the commoner Bazarov, embodying the type of a person of the newest generation. "Fathers" are represented by the Kirsanov brothers and Bazarov's parents.
The antagonism of the views of Pavel Petrovich and Bazarov is revealed in heated disputes between them. But in disputes with Bazarov, Pavel Petrovich cannot defeat the nihilist, cannot shake his moral principles, and then he resorts to the last means of resolving the conflict - to a duel.
39. The genre of the novel in the work of I.S. Turgenev. Features of the artistic structure and problems of the writer's novels. Analysis of one novel of your choice. Analysis of the novel "Fathers and Sons". Turgenev 1817-1883. T. created and developed a special kind of novel, which reflected the new and special trends of the era. A characteristic feature of the writer's appearance of T: the more acutely he perceives the world in the individual uniqueness of transient phenomena, the more disturbing and tragic becomes his love for life, for its fleeting beauty. T-artist is endowed with a special sense of time. His inexorable and rapid pace. After all, he lived in an era of intensive, accelerated development of Russia, when "in a few decades, transformations took place that took whole centuries in some old European countries." The writer had a chance to witness the crisis of the noble revolutionary spirit of the 1920s and 1930s, he saw the struggle of two generations of the revolutionary democratic intelligentsia of the 1960s and 1970s, a struggle that each time brought not the joy of victory, but the bitterness of defeat. All six novels of T not only fell into the “present moment” of the life of society, but also anticipated it in their own way. The writer was especially sensitive to what stood "on the eve", what was just hovering in the air. His novels turned into a kind of chronicle of the change of various mental currents in the cultural stratum of Russian society: an idealist-dreamer, an “extra person” of the 30s and 40s in the novel RUDIN; nobleman Lavretsky striving to merge with the people in The Noble Nest; the "new man" revolutionary raznochinets - first Dmitry Insarov in "ON THE EVE", and then Yevgeny Bazarov in "O i d"; the era of ideological off-road in "SMOKE"; a new wave of public upsurge of the 70s in NOVI. “The physiognomy of Russian people of the cultural layer” in the era of T changed very quickly - and this introduced a special shade of drama into novels that are distinguished by a swift plot and unexpected denouement, “tragic, as a rule, finals.” The novels of T are strictly timed to a narrow period of historical time, accurate chronology plays an essential role in them. The life of the hero is extremely limited in comparison with the heroes of the novels of Pushkin, Lermontov, Goncharov. The characters of Onegin, Pechorin, Oblomov "reflected a century", in Rudin, in Lavretsky or Bazarov - the mental currents of several years. The life of Turgenev's heroes is like a brightly flashing, but quickly fading spark. History, in its inexorable movement, measures out a tense, but too short fate for them. All Turgenev's novels are subject to the rigid rhythm of the annual natural cycle. The action in them starts, as a rule, in early spring, culminates in the hot days of summer, and ends under the “whistle of the autumn wind” or “in the cloudless silence of the January frosts.” T shows his heroes in the happy moments of the maximum rise and flowering of their vitality. But these moments turn out to be tragic: Rudin dies on the Prague barricades, Insarov's life suddenly ends on a heroic rise, and then Bazarov, Nezhdanov. The heroes were "superfluous" and "new" people, i.e. noble and raznochinka-democratic intelligentsia, which predetermined the moral and ideological and political level of the Russian. society. The heroes differed not only in their belonging to different social types, but also in their inclination to a certain type of relationship with the surrounding world. 3 types of heroes in the novels of T. 1) "lower" - the relationship between man and society. Represented by various types of opportunists and careerists (Pandonevsky, Ibasov). 2) "medium" - honest and decent people, hostile to the world of self-interest and vanity, endowed with a high idea of duty, limited by ready-made norms and traditions, moderate in desires (Valintsev, Basistov, Mikhalevich, Kirsanov brothers). 3) "higher" - spiritually free people whose goal is to rebuild the world. The national meaning of the life and activity of the human person is concentrated. T.'s love has many faces. The “lower” type experiences a passion that can capture a person as a whole. With T, not only in literature, but also in life, the poetic image of the companion of the Russian hero, the Turgenev girl - Natalia Lasunskaya, Lisa Kalitina, Elena Stakhova, Marianna entered. The writer depicts in his novels and short stories the most flourishing period in women's destiny, when the woman's soul blossoms in anticipation of the chosen one, all its potentialities awaken to a temporary triumph. The "medium" type carries high aspirations. The condition for the realization of love is reciprocity. Mutual love and happiness compensate for spiritual narrowness. “Testing with love replaces social practice in novels with epic. The test of love in relation to nature is connected with the specifics of the philosophy of T., which goes back to the philosophy of Schopenhauer and Pascal. For T., nature is eternal, and human life is a brief moment among infinite and eternal nature . The plot of the works of T.: the hero arrives somewhere, enters a circle of people new to him, whom he does not know, with whom he has different relationships. With the departure or death of the hero, the novel ends. The philosophical tone enlarges the characters and brings the problems of the works beyond the limits of narrow interests.. "Fathers and Sons" was begun in 1860, in early August, and completed in July 1861. The novel takes place in 1869, and the epilogue tells about the actions of 1861, those. after the fall of serfdom. The disputes of "fathers" and "children", representatives of two cultures - the old, outgoing noble, and the new, democratic, are vividly conveyed. The bleak fate of the serfs, the darkness and ignorance of the people are shown. The deep basis of the content was the question of the fate of Russia, the Russian people, the ways of its further development. In P.P. Kirsanov T. portrays a gentleman-aristocrat. His life has been reduced to love for a woman and regret about the past. Uselessness and inability to live is also shown in Nikolai Petrovich Kirsanov. This is also a type of outgoing nobility. Arkady Kirsanov, a representative of the young noble generation, is also critically described in the novel, quickly turning into an ordinary landowner, busy with his family and his household. The positive hero of the novel is Bazarov. T. wanted to understand and truthfully show the features of a new person, to get used to his image, and therefore kept a diary on behalf of Bazarov. Bazarov is a representative of a diverse democratic youth, an independent nature, not bowing to any authorities. With him, everything is subject to the judgment of thoughts. In this regard, Bazarov was a typical representative of the commoners of the sixties. In nihilism (nihilism is a complete denial of everything, complete skepticism; nihilist - in the 60s of the 19th century in Russia: a supporter of the democratic movement, denying the foundations and traditions of a noble society, serfdom) Bazarova T. saw manifestations of revolutionism. Depicting the clash of "fathers" and "children", the writer showed the triumph of democracy over the aristocracy, but the mental and moral superiority of the democrat and materialist Bazarov over Pavel Petrovich meant the defeat of those principles and foundations on which the life of the "fathers" was based. Among the contradictory features are contradictory statements about love and a great feeling that flared up in him for Odintsova. T. assigns a secondary place to the love plot. Bazarov carries more positive than negative traits, and this brings him closer to that part of the raznochinno-democratic youth of the 60s, which then embodied the progress of science. The novel "Fathers and Sons" is the pinnacle of T.'s artistic creativity. Two environments appear here with their established ideas and interests as two compositional centers. The very composition of the novel reflects Russian reality during the period of the fall of serfdom, the struggle of two historical trends, two possible ways of social development. The action of the novel is led by Bazarov; he appears in almost all scenes of the novel in the foreground, and not the noble environment and its heroes. With the death of Bazarov, "O and D" ends. In the composition and in the plot conflicts and situations, the peculiarity of the time of exacerbation of the class struggle was reflected. In the mentality and character of Turgenev's hero, the features and appearance of all the progressive democratic youth of the 60s were reflected. But in the physiology of Bazarov, in his passion for natural science, the features of the youth of the 60s were reflected. Bazarov's attitude to questions of art and aesthetics is connected with the direction of materialistic thought of the 60s. T. portrayed the type of young man who believes exclusively in science and is contemptuous of art and religion. Bazarov, with his views and interests, represented that part of the democratic youth of the 60s who followed the Russian Word, Pisarev. An inevitable blow of fate is read in the final episode of the novel: there is, no doubt, something symbolic in the fact that the brave "anatomist" and "physiologist" of Russian life destroys himself during the autopsy of the corpse of a peasant. In the face of death, the pillars that once supported Bazarov's self-confidence turned out to be weak: medicine and the natural sciences, having discovered their impotence, retreated, leaving B. alone with himself. And then the forces came to the aid of the hero, once denied by him, but stored at the bottom of his soul. It is they who he mobilizes to fight death, and they restore the integrity and stamina of his spirit in the last test. Dying B is simple and human: there is no need to hide his "romanticism", and now the hero's soul is freed from the flesh, boils and foams like a full-flowing river. Love for a woman, the love of sons for father and mother merge in the consciousness of the dying B with love for the motherland, for the mysterious Russia, which remained an unsolved mystery for B. T created the image of a man who did not exist in life, but ideally possible and alive. B is a hero on a grand scale, who by his fate paid all the costs of nihilistic theories. T showed what consequences the righteous force of anger, contempt and destruction can bring to a revolutionary if it takes nihilistic forms, if the class struggle is not based on the foundation of a living theory that takes into account the real complexity of life. The creation of such an image of a nihilist revolutionary can be considered the creative discovery of a great artist who did not stand guard over culture.
The problem of fathers and children can be called eternal. But it is especially aggravated at turning points in the development of society, when the older and younger generations become spokesmen for the ideas of two different eras. It is precisely such a time in the history of Russia - the 60s of the XIX century - that is shown in the novel by I. S. Turgenev "Fathers and Sons". The conflict between fathers and children depicted in it goes far beyond family boundaries - it is a social conflict between the old nobility and aristocracy and the young revolutionary democratic intelligentsia.
The problem of fathers and children is revealed in the novel in the relationship of the young nihilist Bazarov with the representative of the nobility Pavel Petrovich Kirsanov, Bazarov with his parents, as well as on the example of relations within the Kirsanov family.
Two generations are contrasted in the novel even by their external description. Yevgeny Bazarov appears before us as a person cut off from the outside world, gloomy and at the same time possessing great inner strength and energy. Describing Bazarov, Turgenev focuses on his mind. The description of Pavel Petrovich Kirsanov, on the contrary, consists mainly of external characteristics. Pavel Petrovich is an outwardly attractive man, he wears starched white shirts and patent leather ankle boots. A former secular lion, once noisy in the society of the capital, he retained his habits, living with his brother in the village. Pavel Petrovich is always impeccable and elegant.
Pavel Petrovich leads the life of a typical representative of an aristocratic society - he spends time in idleness and idleness. In contrast, Bazarov brings real benefits to people, deals with specific problems. In my opinion, the problem of fathers and children is most deeply shown in the novel precisely in the relationship of these two characters, despite the fact that they are not connected by direct family relations. The conflict that arose between Bazarov and Kirsanov proves that the problem of fathers and children in Turgenev's novel is both a problem of two generations and a problem of a clash of two different socio-political camps.
These heroes of the novel occupy directly opposite positions in life. In the frequent disputes between Bazarov and Pavel Petrovich, almost all the main issues on which the democrats-raznochintsy and liberals differed in their views (about the ways of the country's further development, about materialism and idealism, about knowledge of science, understanding of art and about the attitude towards the people). At the same time, Pavel Petrovich actively defends the old foundations, while Bazarov, on the contrary, advocates their destruction. And to Kirsanov's reproach that you, they say, are destroying everything ("But you need to build it too"), Bazarov replies that "first you need to clear the place."
We also see the conflict of generations in the relationship between Bazarov and his parents. The protagonist has very conflicting feelings towards them: on the one hand, he admits that he loves his parents, on the other hand, he despises "the stupid life of fathers." First of all, his convictions are alienated from Bazarov's parents. If in Arkady we see superficial contempt for the older generation, caused more by a desire to imitate a friend, and not coming from within, then with Bazarov everything is different. This is his position in life.
With all this, we see that it was to the parents that their son Eugene was truly dear. The old Bazarovs love Yevgeny very much, and this love softens their relationship with their son, the lack of mutual understanding. She is stronger than other feelings and lives even when the main character dies.
As for the problem of fathers and children within the Kirsanov family, it seems to me that it is not deep. Arkady is like his father. He has essentially the same values - home, family, peace. He prefers such simple happiness to concern for the world's good. Arkady is only trying to imitate Bazarov, and this is precisely the cause of contention within the Kirsanov family. The older generation of the Kirsanovs doubts "the usefulness of his influence on Arkady." But Bazarov leaves the life of Arkady, and everything falls into place.
At the same time, he so fully reveals the life positions of the main characters of the novel, shows their positive and negative sides, which gives the reader the opportunity to decide for himself who was right. It is not surprising that Turgenev's contemporaries reacted sharply to the appearance of the work. The reactionary press accused the writer of currying favor with the youth, while the democratic press reproached the author for slandering the younger generation.
Most often, the title of a work is the key to its content and understanding. This is what happens with the novel by I. S. Turgenev “Fathers and Sons”. Only two simple words, but so many concepts that divided the characters into two opposite camps. Such a simple title reveals the essence of the novel "Fathers and Sons" in a complex issue.
The main problem 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 the way out of the current situation. The confrontation between the two camps can be seen as a struggle between old and new, radicals and liberals, between democracy and aristocracy, purposefulness and confusion.
The author believes that the time has come for change and tries to show it in the novel. The old representatives of the nobility are being replaced by the young and restless, searching and fighting. The old system has already outlived its usefulness, but the new one has not yet been formed, has not appeared, and the meaning of the novel "Fathers and Sons" clearly indicates the inability of society to live either in the old way or in the new way. This is a kind of transitional time, the border of eras.
New Society
The representative of the new generation is Bazarov. It is he who is assigned the main role that creates the conflict of the novel "Fathers and Sons". He represents a whole galaxy of young people who have taken the form of complete denial for faith. They reject everything old, but they bring nothing to replace this old one.
A very clearly conflicting worldview is shown between Pavel Kirsanov and Evgeny Bazarov. Straightforwardness and rudeness against manners and sophistication. The images of the novel "Fathers and Sons" are multifaceted and contradictory. But, the system of his values \u200b\u200bclearly indicated by Bazarov does not make him happy. He himself outlined his purpose for society: to break the old. But how to build something new on the ruined 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 the emancipe is given unsightly, 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 that has been 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 may change in a different direction and become a sharply negative phenomenon.
Krasnogorsk MOU secondary school No. 8.
Subject: literature.
Topic: "Actual problems of fathers and children"
(Based on the novel "Fathers and Sons" by Turgenev I.S.)
10th grade student
Bulygin Dmitry.
Teacher
Khokhlova Zoya Grigorievna
2003-2004 academic year.
Introduction "Fathers and Sons"
Bazarov and Arkady.
Vasily Vasilyevich Golubkov about Turgenev's Fathers and Sons.
G.A. Bely "Fathers and Sons" by Turgenev is a modern novel.
“To accurately and strongly reproduce the truth, the reality of life, is the highest happiness for a writer, even if this truth does not coincide with his own sympathies”
Ivan Sergeevich Turgenev.
Fathers and Sons.
The writing of the novel "Fathers and Sons" coincided with the most important reforms of the 19th century, namely the abolition of serfdom. The century marked the development of industry and the natural sciences. Expanded ties with Europe. In Russia, the ideas of Westernism began to be accepted. "Fathers" adhered to old views.
The younger generation welcomed the abolition of serfdom and reform. A series of episodes that begins the novel by I.S. Turgenev “Fathers and Sons” is the return of Arkady Nikolaevich Kirsanov to the estate of his father Maryino.
The very situation of "returning home after a long absence" predetermines the reader's attitude to what is happening as a new stage in the life of a young man. Indeed, Arkady Nikolayevich graduated from the university and, like any young person, is faced with a choice of a further life path, understood very broadly: this is not only and not so much a choice of social activity, but rather a definition of one's own life position, one's attitude to the moral and aesthetic values \u200b\u200bof the elder generations.
The problem of relations between “fathers” and “children”, which is reflected in the title of the novel and constitutes its main conflict, is a timeless, vital problem.
Therefore, Turgenev notes the typical “small awkwardness” that he feels
Arkady at the first “family dinner” after separation and “which usually takes possession of a young man when he has just ceased to be a child and returned to a place where they are used to seeing and considering him a child. He unnecessarily dragged out his speech, avoided the word "daddy" and even once replaced it with the word "father", uttered, however, through his teeth ... "
Bazarov, a nihilist, represents the "new people", Pavel Petrovich Kirsanov is opposed to him as the main opponent. Pavel Petrovich is the son of a military general in 1812. Graduated from the Corps of Pages. He had a nasty handsome face, youthful slenderness. An aristocrat, an Angloman, was funny, self-confident, spoiled himself. Living in the village with his brother, he retained aristocratic habits. Bazarov is the grandson of a deacon, the son of a county doctor.
Materialist, nihilist. He speaks in a "lazy but courageous voice", his gait is "solid and swiftly bold". Speaks clearly and simply. Important features of Bazarov's worldview are his atheism and materialism. He
"possessed a special ability to arouse confidence in the lower people, although he never indulged them and treated them casually." The views of the nihilist and
Kirsanov were completely opposite.
What is the essence of Bazarov's nihilism?
What is the essence of Bazarov's nihilism? The novel "Fathers and Sons" is directed against the nobility. This is not the only work of Turgenev written in this spirit (remember, for example, "Notes of a Hunter"), but it is especially distinguished by the fact that in it the writer denounced not individual nobles, but the entire class of landowners, proved his inability to lead Russia forward, completed his ideological rout. Why did this work appear in the early 60s of the 19th century? The defeat in the Crimean War, the predatory reform of 1861 confirmed the decline of the nobility, its failure to govern Russia.
In "Fathers and Sons" it is shown that the old, degenerate morality is giving way, albeit with difficulty, to a new, revolutionary, progressive one. The bearer of this new morality is the protagonist of the novel, Evgeny Vasilyevich Bazarov.
This young man from the commoners, seeing the decline of the ruling classes and the state, takes the path of nihilism, that is, negation. What does Bazarov deny? "Everything," he says. And everything is what relates to the minimum needs of man and to the knowledge of nature through personal experience, through experiments. Bazarov looks at things from the point of view of their practical benefits. His motto: "Nature is not a temple, but a workshop, and man is a worker in it." Eugene does not recognize authorities, conventions, love, religion, autocracy. But he does not look for followers and does not fight against what he denies. This, in my opinion, is a very important feature of Bazarov's nihilism. This nihilism is directed inward, Eugene does not care whether he is understood and recognized or not. Bazarov does not hide his convictions, but he is not a preacher either. One of the features of nihilism in general is the denial of spiritual and material values.
Bazarov is very unpretentious. He cares little about the fashion of his clothes, about the beauty of his face and body, he does not seek to get money in any way.
What he has is enough for him. The opinion of society about his material condition does not bother him. Bazarov's disregard for material values elevates him in my eyes. This trait is a sign of strong and intelligent people.
The denial of spiritual values by Yevgeny Vasilyevich is disappointing.
Calling spirituality "romanticism" and "nonsense", he despises people - its bearers. "A decent chemist is twenty times more useful than a high poet," says Bazarov. He mocks Arkady's father, who plays the cello and reads Pushkin, Arkady himself, who loves nature, and Pavel
Petrovich, who threw his life at the feet of his beloved woman. It seems to me,
Bazarov denies music, poetry, love, beauty out of inertia, not really understanding these things. He reveals a complete ignorance of literature (“Nature evokes the silence of a dream,” Pushkin said, and so on) and inexperience in love.
Love for Odintsova, most likely the first in his life, was in no way consistent with the ideas of Eugene, which infuriated him. But, despite what happened to him, Bazarov did not change his former views on love and took up arms against her even more. This is proof of stubbornness
Eugene and his commitment to his ideas. So, there are no values for Bazarov, and this is the reason for his cynicism. Bazarov likes to emphasize his adamance to authorities. He believes only in what he saw and felt himself. Although Eugene claims that he does not recognize other people's opinions, he says that German scientists are his teachers. I don't think this is a contradiction. The Germans, of whom he speaks, and Bazarov himself are like-minded, and he and others do not recognize authorities, so why should not Yevgeny trust these people? The fact that even a person like him has teachers is natural: it is impossible to know everything on your own, you need to rely on the knowledge already acquired by someone. The Bazarovsky mindset, constantly searching, doubting, inquiring, can be a model for a person striving for knowledge.
Bazarov is a nihilist, and we respect him for this as well. But in the words of the hero of another Turgenev's novel, Rudin, "skepticism has always been marked by futility and impotence." These words are applicable to Evgeny Vasilyevich. - Yes, it is necessary to build. - It's none of our business... First we need to clear the place. Bazarov's weakness is that, while denying, he does not offer anything in return. Bazarov is a destroyer, not a creator. His nihilism is naive and maximalist, but nevertheless it is valuable and necessary. It is generated by the noble ideal of Bazarov - the ideal of a strong, intelligent, courageous and moral person. Bazarov has such a feature that he belongs to two different generations. The first is the generation of the time in which he lived. Eugene is typical of this generation, like any smart commoner, striving for knowledge of the world and confident in the degeneration of the nobility. The second is the generation of a very distant future. Bazarov was a utopian: he called for living not according to principles, but according to feelings. This is an absolutely true way of life, but then, in the 19th century, and even now it is impossible. Society is too corrupt to produce uncorrupted people, that's all. "Fix society and there will be no disease."
Bazarov is absolutely right in this, but he did not think that it was not so easy to do this. I am sure that a person who lives not according to someone's invented rules, but according to his natural feelings, according to his conscience, is a person of the future. That's why
Bazarov and belongs to some extent to the generation of his distant descendants.
Bazarov gained fame among readers due to his unusual views on life, the ideas of nihilism. This nihilism is immature, naive, even aggressive and stubborn, but it is still useful as a means of making society wake up, look back, look ahead and think where it is going.
Bazarov and Pavel Petrovich Kirsanov.
In order to understand the conflict of the novel in its entirety, one should understand all the shades of disagreement between Evgeny Bazarov and Pavel Petrovich Kirsanov. "Who is Bazarov?" - the Kirsanovs ask and hear Arkady's answer: "Nihilist".
According to Pavel Petrovich, nihilists simply do not recognize anything and do not respect anything. The views of the nihilist Bazarov can only be determined by ascertaining his position. The question of what to recognize, on what, on what grounds to build one's convictions, is extremely important for Pavel Petrovich. This is what the principles of Pavel Petrovich Kirsanov represent: the aristocrats won the right to a leading position in society not by origin, but by moral virtues and deeds ("The aristocracy gave freedom to England and supports it"), i.e. moral norms worked out by aristocrats are the backbone of the human personality. Only immoral people can live without principles.
After reading Bazarov's statements about the futility of big words, we see that
Pavel Petrovich's "principles" have nothing to do with his activities for the benefit of society, and Bazarov accepts only what is useful ("They will tell me the case, I agree." "At the present time, denial is most useful, we deny"). Eugene also denies the political system, which leads Paul
Petrovich was confused (he "turned pale"). Attitude towards the people of Paul
Petrovich and Bazarov are different. To Pavel Petrovich, the religiosity of the people, life according to the orders established by their grandfathers, seem to be the original and valuable features of the people's life, they touch him. Bazarov, however, hates these qualities: "The people believe that when thunder rumbles, it is Elijah the prophet in a chariot driving around the sky. Well? Do I agree with him?" One and the same phenomenon is called differently, and its role in the life of the people is assessed differently. Pavel Petrovich: "He (the people) cannot live without faith." Bazarov: "The grossest superstition is choking him."
The disagreements between Bazarov and Pavel Petrovich in relation to art and nature are visible. From Bazarov's point of view, "reading Pushkin is a waste of time, making music is ridiculous, enjoying nature is ridiculous." Paul
Petrovich, on the contrary, loves nature, music. The maximalism of Bazarov, who believes that one can and should rely in everything only on one's own experience and one's own feelings, leads to the denial of art, since art is just a generalization and artistic interpretation of someone else's experience. Art (and literature, and painting, and music) softens the soul, distracts from work. All this is "romanticism", "nonsense". Bazarov, for whom the main figure of the time was the Russian peasant, crushed by poverty, "gross superstitions", it seemed blasphemous to "talk" about art,
"unconscious creativity" when "it's about daily bread." So, in Turgenev's novel "Fathers and Sons" two strong, vivid characters collided. According to his views, convictions, Pavel Petrovich appeared before us as a representative of the "fettering, chilling power of the past", and Yevgeny Bazarov - as part of the "destructive, liberating power of the present."
Bazarov and Arkady.
After the publication in 1862, Turgenev's novel "Fathers and Sons" caused
literally a flurry of critical articles. None of the public
The camps did not accept Turgenev's new creation. liberal criticism.
could forgive the writer that the representatives of the aristocracy,
hereditary nobles are depicted ironically that the "plebeian" Bazarov
all the time mocks them and is morally superior to them.
Democrats perceived the protagonist of the novel as an evil parody.
The critic Antonovich, who collaborated in the Sovremennik magazine, called
Bazarov "asmodeus of our time".
But all these facts, it seems to me, just speak in favor of
I.S. Turgenev. Like a real artist, creator, he managed to guess
the trends of the era, the emergence of a new type, the type of democrat-raznochinets,
who replaced the advanced nobility. The main problem,
set by the writer in the novel, already sounds in its title: "Fathers and
children". This name has a double meaning. On the one hand, this
the problem of generations is the eternal problem of classical literature, with
the other is the conflict of two socio-political forces acting in
Russia in the 60s: liberals and democrats.
The characters in the novel are grouped according to
to which of the socio-political camps can we attribute them.
But the fact is that the main character Evgeny Bazarov turns out to be
the only representative of the camp of "children", the camp of democrats-
raznochintsev. All other heroes are in a hostile camp.
The central place in the novel is occupied by the figure of a new man -
Evgenia Bazarova. He is presented as one of those young men
who want to fight. Others are older people who
do not share the revolutionary-democratic convictions of Bazarov.
They are depicted as small, weak-willed people with narrow,
limited interests. The novel features nobles and
commoners of 2 generations - "fathers" and "children". Turgenev shows how a raznochinets democrat operates in an environment alien to him.
In Maryina, Bazarov is a guest who is distinguished by his
democratic appearance from the landlords. And with Arkady he
diverges in the main thing - in the idea of life, although at first they
are considered friends. But their relationship still cannot be called
friendship, because friendship is impossible without mutual understanding, friendship
cannot be based on the subordination of one to the other. On the
throughout the novel, the subordination of a weak nature is observed
stronger: Arcadia - Bazarov. But still, Arkady gradually
acquired his own opinion and already ceased to blindly repeat for
Bazarov's judgments and opinions of a nihilist. He can't handle arguments.
and expresses his thoughts. One day, their argument came close to a fight.
The difference between the heroes is visible in their behavior in the "empire" of Kirsanov.
Bazarov is engaged in work, studying nature, and Arkady
sybaritizes, does nothing. The fact that Bazarov is a man of action is evident
right over his red bare arm. Yes, indeed, he is in any
environment, in any home tries to do business. His main business
Natural sciences, the study of nature and the testing of theoretical
discoveries in practice. Passion for science is a typical feature
cultural life of Russia in the 60s, which means that Bazarov keeps pace with
time. Arkady is the complete opposite. He is nothing
is engaged, none of the serious cases really captivates him.
For him, the main thing is comfort and peace, but for Bazarov - not to sit idly by,
work, move.
They have completely different opinions about
art. Bazarov denies Pushkin, and unreasonably. Arkady
trying to prove to him the greatness of the poet. Arkady is always neat,
neat, well dressed, he has aristocratic manners. Bazarov is not
considers it necessary to observe the rules of good manners, so important in
noble life. This is reflected in all his actions, habits,
manners, speech, appearance.
A major disagreement arose between the "friends" in a conversation about the role
nature in human life. Here you can already see the resistance of Arcadia
Bazarov's views, gradually the "student" is getting out of control
"teachers". Bazarov hates many, but Arkady has no enemies. "You,
tender soul, a weakling," says Bazarov, realizing that Arkady is already
cannot be his companion. The "student" cannot live without
principles. In this he is very close to his liberal father and Pavel
Petrovich. But Bazarov appears before us as a man of the new
generation that replaced the "fathers" who were unable to decide
the main problems of the era. Arkady is a man belonging to the old
generation, generation of "fathers".
Pisarev very accurately assesses the causes of disagreements between
"student" and "teacher", between Arkady and Bazarov: "Attitude
Bazarov to his comrade throws a bright streak of light on his character; at
Bazarov has no friend, because he has not yet met a person who
would not have succumbed to him. Bazarov's personality closes in on itself,
because outside of it and around it there are almost no relatives at all
elements".
Arkady wants to be the son of his age and puts on ideas
Bazarov, who definitely cannot grow together with him. He
belongs to the category of people who are always guarded and never
noticing guardianship. Bazarov treats him patronizingly and
almost always mockingly, he realizes that they will go their separate ways.
The main problem in the novel by I.S. Turgenev becomes the problem of "fathers and children", which has always existed. Children cannot obey and indulge their parents in everything, because it is so inherent in all of us. Each of us is an individual and each has his own point of view. We cannot copy anyone, including parents. The most we can do to become more like them is to choose the same path in life as our ancestors. Some, for example, serve in the army, because their father, grandfather, great-grandfather, etc. were military, and some treat people, just like their father and like Evgeny Bazarov. The problem of "father and children" in the novel is only a cause for conflict, and the reason is that fathers and children were representatives of different ideas. Already describing the heroes, Turgenev contrasts Bazarov's dirty hoodie, which the owner himself calls "clothes", Pavel Petrovich's fashionable tie and half boots. It is generally accepted that in communication between Pavel Petrovich and Bazarov, a complete victory remains with the latter, and meanwhile a very relative triumph falls to the lot of Bazarov. And
Bazarov and Pavel Petrovich can be accused of arguing.
Kirsanov talks about the need to follow authorities and believe in them. BUT
Bazarov denies the reasonableness of both. Pavel Petrovich claims that only immoral and empty people can live without principles. And Eugene believes that the principle is an empty and non-Russian word. Kirsanov reproaches
Bazarov in contempt for the people, and he says that "the people deserve contempt." And if traced throughout the work, then there are many areas in which they do not agree. So, for example, Bazarov believes: "A decent chemist is twenty times more useful than any poet."
Golubkov about "Fathers and Sons" by Turgenev I.S.
The socio-political situation in which Turgenev's novel "Fathers and Sons" was created and published was extremely difficult.
Only five years have passed since Turgenev published the novel
"Rudin", but these five years (1856-1861) were marked by very big changes in the life of Russian society. During these years, the muffled unrest associated with the expectation of "freedom" has become extremely intensified among the masses of the people, cases of peasant uprisings have become more frequent, and even the tsarist government, after the Crimean defeat, began to understand the need to eliminate the old, feudal relations.
Great shifts also took place in the cultural strata of society: among the magazines, Sovremennik and Russkoye Slovo occupied the dominant place, the voices of Chernyshevsky, Dobrolyubov, Pisarev,
Nekrasov, their influence on young people became wider and deeper. In the country, according to contemporaries, a revolutionary situation was being created. With each passing year, the social struggle intensified. The former like-minded people, who had recently stood side by side in the struggle against serfdom, now, when it was necessary to decide on the future economic and political path of Russia, dispersed in different directions and generally split into two camps: on the one side stood the revolutionary democrats, and on the other - defenders of antiquity and liberals, supporters of moderate reforms.
Before Turgenev, who always reflected, in his own words, "the spirit and pressure of the time", this time the question arose of the artistic display of the brewing social conflict.
Turgenev approached this task not as an outside observer, but as a living participant in the events, who played an active role in public life.
All the main events of the novel take place within just two months:
Bazarov arrives at the Kirsanovs' estate at the end of May, and at the end of July he dies. Everything that happened to the heroes before or after these two months is told in biographical digressions (this is how we learn about the past of the Kirsanovs and Odintsova) and in the epilogue: this gives the reader the impression that he has become acquainted with the whole life of the hero.
The main events are distributed evenly between the three main centers of action: the estate of the Kirsanovs, Odintsova and Bazarovs; the fourth scene of action, the provincial town, is of secondary importance in the development of the plot.
In “Fathers and Sons” there are 30 characters (including such third-rate characters as General Kirsanov, Nikolai Petrovich’s father), many of them are spoken of in just a few words, but the reader has a very clear idea about each of them. For example, Katya, Anna's sister
Sergeevna Odintsova does not belong to the main characters: she
Turgenev devotes only 5 pages: about a page in chapter 16 (the first day of Bazarov and Arkady's stay at the Odintsova estate) and several pages in chapter 25 (Arkady's explanation with Katya) ...
With the same extremely sparse, but expressive artistic means, Turgenev draws in Fathers and Sons the image of the modern Russian village, the peasantry. This collective image is created in the reader through a series of details scattered throughout the novel. In general, the village during the transitional period of 1859-1860, on the eve of the abolition of serfdom, is characterized in the novel by three features. This is poverty, poverty, lack of culture of the peasants, as a terrible legacy of their centuries-old slavery. On the way of Bazarov and Arkady to
Maryino came across “villages with low huts under dark, often half-swept roofs, and crooked threshing sheds with walls woven from brushwood and yawning gates near the empty humens ...
A special feature of the peasantry, shown in the novel, is the complete alienation of the peasants from the masters and distrust of them, in whatever guise the masters appear before them. This is the meaning of Bazarov's conversation with the peasants in Chapter 27, which sometimes confused readers.
G.A. Byaly "Fathers and Sons" by Turgenev.
It is difficult to name such a literary work, which would be argued so much and fiercely, as about "Fathers and Sons". These disputes began even before the publication of the novel. As soon as a select circle of the first readers got acquainted with the manuscript of Fathers and Sons, heated fights immediately arose.
Editor of the magazine "Russian Messenger" M.N. Katkov, a fierce enemy of the democratic movement, became indignant: “What a shame it was
Turgenev to lower the flag in front of the radical and salute him as before a well-deserved warrior ... "
One could think that in the democratic camp they would meet a novel
Turgenev with respect and gratitude, but this did not happen either. In any case, there was no unanimity there. M. Antonovich, a critic of Sovremennik, after reading the novel, was no less angry than Katkov. “He despises and hates his main character and his friends with all his heart,” Antonovich wrote about
Turgenev.
DI. Pisarev, unlike Antonovich, on the pages of another democratic journal, Russkoye Slovo, ardently argued that Bazarov was not only not a caricature, but, on the contrary, a correct and profound embodiment of the type of modern progressive youth. Under the influence of all these rumors and disputes, Turgenev himself was confused: “Did I want to scold Bazarov or exalt him? I do not know this myself, for I do not know whether I love him or hate him.
In the article “About “Fathers and Sons” (1869), explaining “what happens in the soul of the author”, “what exactly are his joys and sorrows, his aspirations, successes and failures.”
It is not surprising that "Fathers and Sons" had a great influence both on literature and, more broadly, on the life of Russian society in different periods of its development.
The meaning of "Fathers and Sons" has not been lost even today. Turgenev's novel lives a new life, excites, awakens thought, gives rise to controversy. The intelligent and courageous Bazarov cannot but attract us with his stern, albeit somewhat gloomy honesty, his impeccable directness, his ardent enthusiasm for science and work, his aversion to empty phrases, to all sorts of lies and falsehood, and the indomitable temperament of a fighter.
Turgenev's novel arose in the midst of the "present", in an atmosphere of political struggle, it was saturated with the living passions of its era and therefore became the undying past for our time.
"To the 150th anniversary of the birth of I.S. Turgenev."
“To accurately and strongly reproduce the truth, the reality of life, is the highest happiness for a writer, even if this truth does not coincide with his own sympathies,” wrote Turgenev. In Bazarov, the most important, the most interesting was "real life", although in this case it did not quite coincide with the writer's sympathies. Some emphasis on the extremes, vulgar features of Bazarov's materialism was caused by the fact that Turgenev disagreed with the revolutionary democrats, with Nekrasov,
Chernyshevsky and, as you know, with a group of other writers left
"Contemporary". And yet, even the extremes of Bazarov are not fabricated, but merely sharpened by the writer, perhaps in some places excessively. Bazarov - strong, irrepressible, bold, although straight-line thinking - was a typical and mostly positive figure, although Turgenev himself was critical of him and, of course, not by accident.
The democratic movement of the 1960s was very broad and varied.
Pisarev correctly noted that Bazarov was an early forerunner of the movement of the raznochintsy democratic intelligentsia, when its revolutionary activities had not yet been decided with complete clarity.
According to the whole warehouse of his character, Bazarov, in contrast to people, is an active person, striving for business. But due to censorship conditions and the fact that the events of the novel refer to the summer of 1859, Turgenev could not show his hero in revolutionary activities, in revolutionary connections.
Pisarev noted that Bazarov's readiness for action, his fearlessness, the strength of his will, his ability to sacrifice were clearly manifested in the scene of his tragic death. “Bazarov did not blunder and the meaning of the novel came out like this,” Pisarev pointed out, “today young people are carried away and go to extremes, but fresh strength and an incorruptible mind are reflected in the very impulses; this strength and this mind, without any extraneous aids and influences, will lead young people to a straight path and support them in life.
Whoever read this wonderful life in Turgenev's novel cannot but express deep and ardent gratitude to him, as a great artist and an honest citizen of Russia.
Bibliography.
1. "Schoolchild's Brief Reference Book" publishing house "Olma Press".
2. V.V. Golubkov “Fathers and Sons” by Ivan Sergeevich Turgenev.
3. G.A. Byaly "Fathers and Sons"
4. To the 150th anniversary of the birth of Ivan Sergeevich Turgenev.
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