I.S. Turgenev. "Fathers and Sons". The artistic power of the novel's final scenes. What is the meaning of the ending of the novel "Fathers and Sons"

Why did I.S.Turgenev not complete the novel with the death of Bazarov, this most powerful scene from an artistic point of view? After all, it would seem that everything has been said about the main character, for which the writer needed to create a kind of epilogue - the 28th chapter?

First, let's take a closer look at her composition. The chapter is framed by two landscapes. Opens a marvelous, purely Russian, winter: “Stood white winter with cruel silence ... ”. Sounds like music, as if foreshadowing the melody and rhythmic structure of prose poems. The second landscape, which concludes the chapter and the novel as a whole, is permeated through and through with lyricism and elegiac sadness about the fleeting time, the thought of an all-reconciling eternity, the immortal power of love and “endless life”.

So, a third of the text of the epilogue is occupied by pictures of nature, which, as usual in Turgenev, harmonize with the feelings and experiences of the heroes or shade them. Nature becomes the main thing actor in that moral and psychological collision, which the heroes come to in the epilogue.

Throughout the novel, now dying down, now growing, as if arguing among themselves, two motives sound - ironic and lyrical. On the final pages of the novel, lyrical motives grow and culminate.

Before drawing a small rural cemetery and the lonely grave of Bazarov, Turgenev, sometimes strengthening, then weakening the irony, talks about further destiny heroes: Madame Odintsova, who will live with her husband, "perhaps to happiness ... perhaps to love"; in the same vein, it is reported about Princess X… oh, forgotten “on the very day of her death”, and about Peter, completely numb “from stupidity and importance”.

“A little sad and, in fact, very well” describes the family idyll of the Kirsanovs - father and son - and the happy motherhood of Fenichka and Katerina Sergeevna.

Along with irony, sad notes burst into the story of Pavel Petrovich's life abroad, and attentive reader will notice not only a silver ashtray in the form of a peasant bast shoe, but also his tragic loneliness: “it's hard for him to live ... harder than he himself suspects ... It is worth looking at him in the Russian church, when, leaning to the side against the wall, he thinks and does not move for a long time , clenching his lips bitterly, then suddenly comes to his senses and begins to cross himself almost imperceptibly ... "

The gentle humor with which Turgenev narrates about his heroes is replaced by harsh irony and even sarcasm when he writes about the further fate of the “followers of Bazarov” - Sitnikov and Kukshina. Here and in the author's speech, the word “irony” sounds satirically: “They say that someone recently beat him (Sitnikov), but he did not remain in debt: in one dark article, embossed in one dark magazine, he hinted that the one who beat him - coward. He calls it irony ... "

And suddenly the intonation changes dramatically. Turgenev paints Bazarov's grave solemnly, sadly and majestically. The finale is reminiscent of Beethoven's powerful, passionate music. The author seems to argue with someone passionately, passionately and tensely reflects on the rebellious man, to whose grave he brought the reader, about his inconsolable parents: “Are their prayers, their tears, fruitless? Isn't love, holy, devoted love, omnipotent? .. "

Repetitions, exclamations, questions - all this conveys the drama of the author's thoughts, the depth and sincerity of his feelings. So you can write only about dear and very close person... You can interpret the final lines of the novel in different ways, but one thing is certain - Turgenev, saying goodbye to his heroes, once again clearly expressed his attitude towards them and emphasized the main idea of ​​the novel, which, in my opinion, was most accurately captured by the critic N.N. Strakhov: “Be that as it may, Bazarov is still defeated; defeated not by the faces and not the accidents of life, but by the very idea of ​​this life. Such an ideal victory over him was possible only on condition that all kinds of justice were given to him ... Otherwise, there would be no strength and meaning in the victory itself ”.

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What is the meaning of the ending of Fathers and Sons?

Can we talk about the victory or defeat of the main character of the work?

At the beginning of the novel, Bazarov asserts fresh, original ideas: to destroy the world to the ground, which is useless to rebuild, to abandon not only the outdated social forms, but also everything that nourished and supported them: from romantic ideas about love, from art, senseless admiration for nature, from family values... Natural science is opposed to all this. But later, irreconcilable contradictions grow in the soul of the protagonist. There are no people equal in personality scale next to him.

Most and most of all, those around him, even Arkady, conquered by Bazarov, were amazed by his judgments about love. Here for him, too, there is no secret - physiology. It was in love that, according to the author's plan, the hidden inclinations and contradictions of the created character were to manifest. Bazarov's emerging feeling for Madame Odintsova frightened: “Here you go! Baba got scared! " He suddenly felt that the soul, and not physiology, spoke in him, made him worry, suffer. The hero gradually realizes how many mysteries there are in the world, the answers to which he does not know.

Bazarov's ostentatious democracy is also gradually debunked. He turns out to be no closer to the peasants, the people with whom he "knew how to talk," than the aristocrats. After all, men for him, as it turns out, were just a means for carrying out social projects. Honest Bazarov admits with bitterness that he is essentially indifferent to the fate of the peasants in the face of the eternal and formidable questions of life and death that have opened up to him through tossing and suffering. Bazarov's struggle is increasingly becoming a struggle with his own growing and developing soul, the existence of which he so decisively rejected.

In the novel's finale, the hero remains completely alone. It is obvious to him that all his previous views were untenable in the face of life, projects and hopes failed. It was important for the writer to find a stroke, the ending of fate, which would demonstrate a significant human potential hero, securing his right to be called tragic. Bazarov suffered many defeats in life, but he played a fight with death, did not break down and did not despair, seeing its inevitability. Moreover, the best, for the time being, for various reasons of a proud mind, the hidden and suppressed properties of the soul were revealed in the last days and the hero's life hours. It has become simpler, more human, more natural. Remembered suffering parents, saying goodbye to Madame Odintsova, speaks almost like romantic poet: "Blow on the dying lamp and let it go out."

Perhaps, better performance the hero of the novel was given by the author himself. Turgenev wrote: "I dreamed of a gloomy, wild, large figure, half grown on the soil, strong, evil, honest - and yet doomed to perish - because she still stands on the threshold of the future."

Why did I.S.Turgenev not complete the novel with the death of Bazarov, this most powerful scene from an artistic point of view? After all, it would seem that everything has been said about the main character, for which the writer needed to create a kind of epilogue - the 28th chapter? First, let's take a closer look at her composition.

The chapter is framed by two landscapes. It opens with a marvelous, purely Russian, winter: “It was a white winter with cruel silence ...

“Sounds like music, as if heralding the melody and rhythmic structure of prose poems. The second landscape, which concludes the chapter and the novel as a whole, is permeated through and through with lyricism and elegiac sadness about the fleeting time, the thought of an all-reconciling eternity, the immortal power of love and “endless life”. So, a third of the text of the epilogue is occupied by pictures of nature, which, as usual in Turgenev, harmonize with the feelings and experiences of the heroes or shade them. Nature, as it were, becomes the main character in the moral and psychological collision that the heroes come to in the epilogue. Throughout the novel, now dying down, now growing, if we bear in mind the tonality of the narrative, as if arguing with each other, two motives sound - ironic and lyrical.

On the final pages of the novel, lyrical motives grow and culminate. Before drawing a small rural cemetery and the lonely grave of Bazarov, Turgenev, sometimes strengthening, then weakening the irony, talks about the further fate of the heroes: Odintsova, who will live with her husband, “perhaps to happiness… perhaps to love”; in the same vein, it is reported about Princess X ... oh, forgotten “on the very day of her death”, and about Peter, completely numb “from stupidity and importance”. “A little sad and, in fact, very well” describes the family idyll of the Kirsanovs - father and son - and the happy motherhood of Fenichka and Katerina Sergeevna. Along with irony, sad notes burst into the story of Pavel Petrovich's life abroad, and an attentive reader will notice not only a silver ashtray in the form of a peasant bast shoe, but also his tragic loneliness: “It's hard for him to live ... harder than he himself suspects ...

It is worth looking at him in the Russian church, when, leaning to the side against the wall, he thinks and does not move for a long time, clenching his lips bitterly, then suddenly comes to his senses and begins to cross himself almost imperceptibly ... irony and even sarcasm when he writes about the further fate of “followers of Bazarov” - Sitnikov and Kukshina. Here and in the author's speech, the word “irony” sounds satirically: “They say he (Sitnikov) Someone recently beat him, but he did not remain in debt: in one dark article, embossed in one dark magazine, he hinted that the one who beat him was a coward ... He calls it irony ... ”And suddenly the intonation changes dramatically. Turgenev paints Bazarov's grave solemnly, sadly and majestically.

The finale is reminiscent of Beethoven's powerful, passionate music. The author seems to argue with someone passionately, passionately and tensely reflects on the crumpled, lazy man, to whose grave he brought the reader, about his inconsolable parents: “Are their prayers, their tears, fruitless?

Is love, holy, devoted love not omnipotent? .. ”Repetitions, exclamations, questions - all this conveys the drama of the author's thoughts, the depth and sincerity of his feelings.

So you can write only about a dear and very close person. You can interpret the final lines of the novel in different ways, but one thing is certain - Turgenev, saying goodbye to his heroes, once again clearly expressed his attitude towards them and emphasized the main idea of ​​the novel, which, in our opinion, was most accurately captured by the critic N.N. Strakhov: “Be that as it may, Bazarov is still defeated; defeated not by the faces and not the accidents of life, but by the very idea of ​​this life.

Such an ideal victory over him was possible only on condition that all kinds of justice were given to him ... Otherwise, there would be no strength and meaning in the victory itself ”.

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Text analysis - Final chapter the novel "Fathers and Sons"

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When you read works, you often think about the meaning of this or that ending, and today you need to answer the question, what is the meaning of the ending of the novel Fathers and Sons.

As you know from the material read, the hero of the novel Fathers and Sons dies of typhus, which he contracted while practicing on the corpse of a typhoid patient. It would seem a common occurrence, death by negligence. But in the case of Turgenev's novel, everything is different. The meaning of the ending Fathers and Sons lies in something else, and you begin to understand this when you penetrate deeper into the work of the writer and thoughtfully read the work.

Fathers and children: the meaning of the ending

For a century, readers, including the contemporaries of the author of the novel, have been wondering about the meaning of the finale of the Fathers and Children. Everyone wanted to know why he chose such an ending for his work. Many have written about it, but for some reason it is the character of the novel Fathers and Sons who dies. And the answer is not long in coming, because the writer looked at the problem. extra people from the side of nihilism. Bazarov was just a nihilist who rejected all values ​​that exist in the world. He is a cynic, a fan of science, new person that rejects the old. The hero takes on a great responsibility, believing that he can do anything, and assigns a huge role material assets... He placed himself above nature, considering love and art to be nothing in this world.

As it turned out, such people were superfluous, and he understands this, claiming that the country does not need him. In addition, the author put into death the meaning that only the approach of the end opens the eyes to many things. Only the days of death allow people to open up and show who they really are. And here we understand that Bazarov is not only a nihilist, but also a man. He can think, feel subtly, he is not alien human feelings... Maybe that's why in his last days the main character the novel becomes kinder, he wants to meet his beloved woman, he becomes softer in relation to his parents.

As you can see, Bazarov devoted himself to science, devoted himself to the desire to become useful, but his death became symbolic and could mean only one thing. The country does not need such people, and this realization of their uselessness comes at the last moment to the hero, becoming the epilogue of Bazarov's views.

Death, this most artistically powerful scene? After all, it would seem that everything has been said about the main character, for which the writer needed to create a kind of epilogue - the 28th chapter?

First, let's take a closer look at her composition. The chapter is framed by two landscapes. It opens with a marvelous, purely Russian, winter: "It was white with a cruel silence ..." It sounds like music, as if foreshadowing the melody and rhythmic structure of poems in prose. The second landscape, which concludes the chapter and the novel as a whole, is permeated through and through with lyricism and elegiac sadness about the fleeting time, the thought of an all-reconciling eternity, the immortal power of love and “endless life”.

So, a third of the text of the epilogue is occupied by pictures of nature, which, as usual in Turgenev, harmonize with the feelings and experiences of the heroes or shade them. Nature, as it were, becomes the main character in the moral and psychological collision that the heroes come to in the epilogue.

Throughout the novel, now dying down, now growing, if we bear in mind the tonality of the narrative, as if arguing with each other, two motives sound - ironic and lyrical. On the final pages of the novel, lyrical motives grow and culminate.

Before drawing a small rural cemetery and the lonely grave of Bazarov, Turgenev, sometimes strengthening, then weakening the irony, talks about the further fate of the heroes: Odintsova, who will live with her husband, "perhaps to happiness ... perhaps to love"; in the same vein, it is reported about Princess X ... oh, forgotten "on the very day of her death," and about Peter, completely numb "from stupidity and importance." "A little sad and, in fact, very well" described the family idyll of the Kirsanovs - father and son - and the happy motherhood of Fenichka and Katerina Sergeevna.

Along with irony, sad notes burst into the story of Pavel Petrovich's life abroad, and an attentive reader will notice not only a silver ashtray in the form of a peasant bast shoe, but also his tragic loneliness: “It's hard for him to live ... harder than he himself suspects ... It is worth looking at him in the Russian church, when, leaning to the side against the wall, he thinks and does not move for a long time, clenching his lips bitterly, then suddenly comes to his senses and begins to cross himself almost imperceptibly ... "

The soft humor with which Turgenev narrates about his heroes is replaced by harsh irony and even sarcasm when he writes about the further fate of the “followers of Bazarov” - Sitnikov and Kukshina. Here and in the author's speech, the word “irony” sounds satirically: “They say he (Sitnikov) Someone recently beat him, but he did not remain in debt: in one dark article, embossed in one dark magazine, he hinted that the one who beat him was a coward ... He calls it irony ... "

And suddenly the intonation changes dramatically. Turgenev paints Bazarov's grave solemnly, sadly and majestically. The finale is reminiscent of Beethoven's powerful, passionate music. The author seems to argue with someone passionately, passionately and tensely reflects on the crumpled, lazy man, to whose grave he brought the reader, about his inconsolable parents: “Are their prayers, their tears, fruitless? Isn't love, holy, devoted love, omnipotent? .. "

Repetitions, exclamations, questions - all this conveys the drama of the author's thoughts, the depth and sincerity of his feelings. So you can write only about a dear and very close person. You can interpret the final lines of the novel in different ways, but one thing is certain - Turgenev, saying goodbye to his heroes, once again clearly expressed his attitude towards them and emphasized the main idea of ​​the novel, which, in our opinion, was most accurately captured by the critic N.N. Strakhov: “Be that as it may, Bazarov is still defeated; defeated not by the faces and not the accidents of life, but by the very idea of ​​this life. Such an ideal over him was possible only on condition that all kinds of justice were given to him ... Otherwise, there would be no strength and meaning in the victory itself. "