Fathers and sons in modern Russian literature. Lesson topic: The problem of “fathers” and “children” in works of Russian literature. Student message “The Rostov Family”

The problem of relationships between generations is considered one of the eternal issues of morality. Time accelerates, but people cannot keep up with it. Social institutions, codes, norms preserve the traditions of the past. The trends of today, not to mention the future, turn into a storm in the musty crypt of the past.

In this article we will try to highlight not only the relationship between generations, but also the elaboration of this issue in the works of Russian writers.

The essence and origins of the problem

Today, in our fast-paced world, in the conditions of total intergenerational relationships, it becomes noticeably acute. It seems that children move away from their parents not by one, but by several steps at once.

The peculiarity of the struggle between the new and the old is that the former does not always emerge victorious. Adults have more leverage, confidence in their unshakable rightness, and the need to be an authority and leader for the child.

Next, we will look at this problem from the point of view of psychological scientists, and also find out how writers in the nineteenth and twentieth centuries saw it. The material will be especially interesting for schoolchildren who are preparing for exams. Often one of the topics is the following: “Problems of relationships between generations.” You can easily write an essay on this task after reading this article.

Today, the emphasis has shifted from the experience of older generations to the achievements of peers. The child receives almost all knowledge from his parents in an “outdated” form. These days, the lifespan of an innovation sometimes varies within a few days or hours.

In adolescence, boys and girls are forced to go through a kind of initiation stage. They need to learn to control their emotions, become reasonable and wise. This is called "growing up." The difficulty is that with the acceleration of the pace of life, parents themselves have often not yet fully formed into a holistic, mature personality. Or their image is only suitable for the heroes of a nineteenth-century novel.

The problem is that often parents cannot even tell their offspring what to do correctly in a given situation. After all, they never spent their youth in the conditions of the present time. What was previously considered revolutionary, today young people attribute to the Stone Age.

Let's look at the issue of disagreements between parents and children. How do psychologists and writers see him?

What psychologists say

If the task concerns the problem of relationships between generations, the essay can begin with the opinion of experts on this topic.

Now we will talk about some studies conducted by scientists to study the psychology of the adult generation. They believe that the main problem lies in the inability of elders to understand their failure in matters of education.

It turns out that complacency and the belief that past life experiences are the standard by which a child’s “correctness” should be measured serves as the foundation for discord. It turns out that adults speak one language, and children speak a completely different one.

Moreover, from the point of view of psychologists, the problem of intergenerational relationships often comes from the parents. The most common complaint from children is: “They don’t want to hear me.”

Experiments were conducted to confirm this hypothesis. We will provide a description and results of one of them.

The school asked tenth grade students to rate themselves on a five-point scale. It was necessary to measure internal qualities, such as kindness, sociability, initiative and others. The second task was to determine how their parents would evaluate these same qualities. The older generation was asked to rate their children and then predict their self-esteem.

As a result, it turned out that children understand exactly what their parents think about them, and fathers and mothers, in turn, know absolutely nothing about their offspring.
Other studies have proven, in addition to this point, a number of difficulties in relationships between children and adults. Thus, it was found that the child is more frank with his mother than with his father. The second unpleasant point is that many things that interest a teenager are not usually discussed in our society.

Themes of feelings, openness, and sexuality create an insurmountable barrier between generations in the family. This turn of events leads to formal communication and routinization of relationships.

Turgenev, "Fathers and Sons"

According to many critics, the problem of relationships between generations is most fully illuminated in the novel “Fathers and Sons.” In principle, the greatest attention is paid to it here, but you will soon see that there are other works that touch on this issue.

Ivan Sergeevich in his novel shows not just the confrontation between father and son in a single family. This depicts the problem of relationships between generations, since Kirsanov and Bazarov are not relatives.

The first is young, nihilist, democrat and revolutionary. Pavel Petrovich is shown to be a monarchist and an aristocrat to the core. The clash of their worldviews forms the basis of the plot.

We see that Evgeny Bazarov is inclined to deny everything, putting science above all other values. The image of the landscape of Switzerland, for example, is interesting to him only from a geological point of view. He is pragmatic, trying to prove the advantage of new views. However, in the end, Evgeniy dies with the thought that Russia did not accept him.

Bazarov's antagonist is Kirsanov. He loves to talk about the “Russian idea”, the simplicity of peasant life. But in reality, all his words turn out to be an illusion. He is inclined to only talk about it, but by his actions he shows the opposite.

Like many other writers of the nineteenth century, Ivan Sergeevich Turgenev finds himself on the side of the younger generation. Through the prism of the novel, he shows the agony of the old worldview and the birth in the throes of a new philosophy of society.

Tolstoy, "War and Peace"

Next, we will consider the problem of relationships between generations in the novel “War and Peace.” Here Tolstoy, being a keen expert on human souls and motives of behavior, shows three different families. They have different social status, values ​​and traditions. Using the example of the Bolkonskys, Kuragins and Rostovs, we see almost the entire palette of Russian townspeople of the nineteenth century.

However, the novel shows not only the relationships between different generations, but also the tensions between different layers of society. Bolkonsky, for example, raises children as part of serving the Fatherland. He places honor and benefit for other people above all else. This is how Andrei and Maria grow up. However, the old prince often went too far in his upbringing, which he laments on his deathbed.

Kuragins are shown as the complete opposite of Bolkonsky. These are careerists who put social position above all else. Their example illustrates the cold attitude of parents towards children. The lack of sensuality and trust becomes natural for Helen and Anatole.

In fact, Tolstoy shows with the help of empty people who are interested exclusively in material values ​​and external splendor.

The Rostovs are the complete opposite. The parents are shown here fully supporting Nikolai and Natasha. Children can always turn to them for help when they need it. This family is completely different from the aristocratic Bolkonskys and the careerists Kuragins.

Thus, in the first two works we mentioned, the problem of relationships between generations is most fully revealed. It would be best to write an essay (Unified State Exam) based on these novels.

Paustovsky, “Telegram”

When discussing the problem of relationships between generations, arguments from real life will be the best. The story will touch the most painful strings of the human soul. It highlights the situation when children forget their parents.

This is the second extreme to which a family can go. Often the reason is not so much as harmful moments of social influence.

Sometimes teenagers, unprepared for the aggression of the real world, find themselves caught in a whirlpool of other people's goals. They live by other people's ideals and lose themselves. If parents have failed since childhood to accustom their child to the fact that he will be accepted at home in any condition, then the young man will distance himself.

Thus, we are faced with a multifaceted problem of intergenerational relationships. Arguments in favor of proper education and others can be made, but it is better to show the terrible consequences of the deepening abyss.

It is precisely such examples that we see in the works of many writers. In Telegram, in particular, the daughter was late. When the girl came to her senses and came to visit her mother in the village, she found only a grave mound and a simple tombstone.

Paustovsky shows that pride, hidden anger and other barriers that prevent warm relations between relatives always lead to the tragedy of the “offended”. Therefore, the best way to solve the problem of relationships between generations is forgiveness and a sincere desire to understand the interlocutor.

Gogol, Taras Bulba

The problem of relationships between generations in Russian literature also arises quite acutely in Gogol’s work. He addresses the unexpected and terrible side of the realization of this moment.

The story illustrates the father's murder of his child for the sake of his own sense of honor and pride. Taras Bulba could not forgive and survive the betrayal of ideals on the part of Andrei. He takes revenge on him for the fact that the young man did not grow up to be the person he was raised to be.

On the other hand, he punishes the Poles for the death of their youngest son, Ostap.

Thus, in this work we see the bitter truth of reality. Fathers rarely strive to understand their children. They just want to realize their concept of an “ideal life” in them.

That is why the eternal problem of relationships between generations is. You will find the arguments of Russian writers in favor of the impossibility of solving it in our article. Next we will look at different areas of this issue.

But after reading most of the works and studies, the impression remains that along with age, the ideals of house-building awaken at the genetic level in people.

"Eldest Son" - play and film

We are currently discussing the problem of relationships between generations (the Unified State Exam often includes it in the list of tasks). Let's look at Vampilov's comedy "The Eldest Son". It was written in the late sixties of the twentieth century.

The significance of the work is that several generations are intertwined here. We see relationships between three: fathers, adults and younger children.

The essence of the comedy lies in an innocent joke that develops into a significant stage in the life of an entire family. Two friends (Busygin and Silva) stay late in a strange city and are late for transport. They are looking for a place to stay for the night.

In the city they meet Sarafanov's family. Silva tells their new acquaintance that Busygin is his son. The man takes the message at face value because he “had a sin of his youth.”

The essence of the work is that Busygin has to become a link between his father and children, who do not value their parent at all.

We see the already quite mature “youngest” Vasenka, who burns Natalya’s house out of jealousy. Nina, Busygin's sworn sister, wants to run away with her fiancé to the Far East, but her new brother is holding her back.

Obeying an impulse of feelings, the deceiver confesses everything. Everything in the story ends well. But the main emphasis is still set. The situation is created in a comic form for easy perception and a comfortable introduction of the “family friend” into the comedy.

It is through the prism of an outsider’s view of the family that the problem of intergenerational relationships is revealed. Vampilov’s work is fundamentally different from similar works of the nineteenth and eighteenth centuries. It is here that we see the picture that exists in our time.

The traditions of home building have actually become obsolete, but the gentleness and thoughtless love of many parents plays a cruel joke on them when their children grow up.

Griboyedov and Fonvizin

The problem of relationships between generations in “Woe from Wit” is revealed through the example of Famusov and Chatsky. Let's take a closer look at these symbolic images.

The old generation is characterized by worship of rank, wealth and position in society. It is afraid, does not understand and hates new trends. Famusov was stuck in the petty-bourgeois worldview of the last century. His only desire is to find a son-in-law for his daughter with ranks and stars on his chest.

Chatsky is the complete opposite of Pavel Afanasyevich. He not only verbally denounces the Domostroevsky foundations of the past, but with all his behavior he shows the depravity of the old and the power of the new worldview.

Molchalin is Chatsky’s peer, but contrasts with him in thoughts, goals and behavior. He is pragmatic, two-faced and hypocritical. Above all for him is a warm and financial place. That is why the young man pleases Famusov in everything, is quiet and modest with Sophia.

Chatsky has drama in his personal life. The girl he loves calls him crazy and pushes him away, preferring a “servant with rank.” But, despite this, the outcome of the comedy is shown openly to readers. It is the “carbonaris” and rebels who will replace the traditional servility and mossy behavior of the old nobles.

“Nedorosl” also highlights the problem of intergenerational relationships. The essay is a stunning decoding of the saying: “The apple doesn’t fall far from the tree.” Here we see a separate aspect of the relationship between parents and children. Education, which is not intended to help the child find himself in life and realize himself, but to reflect the mother’s outdated picture of the world.

So, in the comedy “The Minor” we see the result that Mrs. Prostakova received. She did her best to protect the child from the “hateful” world and a corrupt society. Teachers were hired for him only because Peter the Great “bequeathed it so.” And Mitrofanushka’s teachers were not distinguished by their learning.

The comedy is written in the vein of classicism, so all the names in it speak. Teachers Tsifirkin, Kuteikin, Vralman. Son Mitrofan, which in Greek means “resembling a mother,” and Prostakova herself.

We see the disappointing results of blindly following dead dogmas without the slightest attempt to comprehend them.

Starodum, Pravdin and some other characters oppose the old traditions. They reflect the desire of the new society to see a soul in a person, and not an empty gilded shell.

As a result of the conflict, we get a completely merciless, greedy and stupid “undergrowth.” “I don’t want to study, but I want to get married,” this is the most accurate reflection of his essence.

Coverage of the problem in the works of Pushkin

One of the eternal moral issues is the problem of relationships between generations. Arguments from the life of modern society rarely fully correspond to literary images. The closest situation is mentioned in "The Eldest Son", which we talked about earlier.

The works of the classics of the nineteenth century are often useful to young people only in a global sense. The general ethical and moral themes raised in them will be relevant for centuries to come.

Problems of relationships between generations are highlighted many times in Pushkin’s works. Examples include the following: “The Captain’s Daughter”, “The Station Agent”, “Boris Godunov”, “The Stingy Knight” and some others.

Alexander Sergeevich, most likely, did not set himself the goal of reflecting precisely this conflict, like Tolstoy and Turgenev. The clash of generations has been a part of everyday life since the times of primitive people. It’s just that over time the gap between parents and children becomes wider. This is influenced by progress, changes in social values, globalization and many other factors.

In particular, in “The Station Agent” the situation is similar to the one that Paustovsky later illuminated (we talked about this above). Here Samson's daughter Vyrina escapes from her father's house with a hussar. She finds herself in city society and becomes a rich and respectable lady.

When her father finds her, he does not recognize her and does not want to accept his daughter’s new image. Samson returns to the station, where he becomes an alcoholic and dies. Here the conflict is formed due to the different meanings that the characters attach to the concept of “happiness”.

In "The Captain's Daughter" we see a completely different picture. Here Pyotr Grinev firmly remembered the traditional teachings of his father. Following these rules helped him save face and honor in difficult situations.

The old baron in The Miserly Knight loses his own son because he is committed to the old bourgeois principles. He does not want to change his ossified worldview, feudal views. In this essay we see too great a gap between father and son. As a result, the final severance of ties occurs.

Ostrovsky, "The Thunderstorm"

As you have already seen, if the essay should touch on the problem of relationships between generations, arguments (literary, life and others) can easily help to do this.

To conclude our article, we will give one more example, which perfectly corresponds to the task at hand. Now we will talk about Ostrovsky’s drama “The Thunderstorm”.

This stunning work very clearly shows the clash between the old Domostroevsky and Of all the characters, only the main character, Katerina, decides to resist the ossified tyranny of her elders.

There is a saying that Russia is a country of facades. It is in this play that this phrase is deciphered in frightening nakedness. Behind the apparent prosperity and piety of an ordinary Volga town, we discover the true evil hidden in the souls of people.

The problem is not only the cruelty, stupidity and hypocrisy of the older generation. Kabanikha and Wild tyrannize young people only when society does not see them. With such actions they are just trying to “guide” their unlucky children on the true path. However, the difficulty is that all the knowledge and traditions inherent in house-building have long ago turned from norms of behavior into an unnecessary burden.

The downside of this issue is the lack of will, weakness and bestial obedience of the younger ones, as well as the indifference of the rest of the townspeople to what is happening before their eyes.

The problems of relationships between generations in the drama are shown in parallel with the approaching storm. Just as nature strives to free itself from what it has accumulated, sending life-giving rain onto the petrified soil, so Katerina’s suicide makes the indifferent souls of people tremble.

Thus, we have examined the relationship between generations using examples from life, the origins and manifestations of this problem. In addition, we became acquainted with the works of many Russian writers who accurately, sharply and frighteningly truthfully illuminated this issue.

Good luck to you, dear readers! Try to find the strength to be better so as not to become boars, simpletons and other house-builders.

One of the most difficult tasks in the school curriculum. It is very difficult to talk about this topic, because everyone looks at life in their own way. Misunderstanding and even lack of desire to understand each other leads to conflicts. Perhaps the confrontation between generations is provoked by the changing spirit of eras. Every family has its own “fathers and sons,” and every family sooner or later faces a similar problem.

As I. S. Turgenev believed

In the essay “The Problem of Fathers and Sons” I would like to mention the works of classics of Russian literature. The novel of the same name by I. S. Turgenev reveals the conflict between “fathers and sons” using the example of representatives of different generations. It does not manifest itself in everyday conflicts, but is hidden much deeper - at the cultural level of perception.

Bazarov is a representative of the new, younger generation. He acts in accordance with his desires, does what seems convenient or profitable to him. He does not accept music, literature and art, considering them a useless waste of time. Only what can be touched and seen matters to him. The Kirsanovs seem to him to be real eccentrics, whose lives are absolutely useless to society. Will people like them be able to improve the lives of their people? And yet, without such eccentrics, poetry, music, and art would have sunk into oblivion long ago.

Wall of misunderstanding

The Kirsanovs like Pushkin's poetry, but Bazarov does not understand it, since he does not recognize the poet's ideals. In this simple example lies the main conflict of generations, the eternal problem of fathers and sons, they do not understand each other. This is how a wall of misunderstanding grows between people, about which there will be a lot of talk in an essay on the topic “The Problem of Fathers and Sons.”

Each person is a bearer of the cultural and normative principles of his era. But not everyone is able to keep up with the times and absorb “fashionable” trends. The formation of a person as an individual occurs at the beginning of his life’s journey, and after that he simply follows the already learned rules of behavior. Personality development is influenced not only by family, but also by school, friends and the media. And the greater the age gap, the higher the wall of misunderstanding between “fathers and children.”

Occurrence of a problem

If we move away from the origins of literature and plunge into real life, then the problem under consideration most often arises at school, between teacher and student. For the essay “The Problem of Fathers and Sons,” such an example would come in handy.

Schools are still taught by old-school teachers who were brought up in the harsh post-war years. They have long formed their own values, rules of behavior and views on life, which they cannot challenge. Often such teachers cannot accept a liberal attitude towards life and begin to show the student what they think is the correct path. The student’s opinion itself is practically not taken into account. And it’s good if a student, as a sign of respect for elders, makes concessions, but this does not always happen. Modern children tend to put their individuality above the opinions of their elders, and this is how a generational conflict arises, where two sides cannot accept someone else’s opinion.

Are parents always right?

By the same principle, conflicts arise in the family. Lost in thinking about the problem of fathers and sons, in the essay I certainly want to mention one phrase that everyone has probably heard. "Adults are always right." It doesn’t matter under what circumstances, but the child will one day hear this fatal sentence: “Father (or mother) is always right.” But adults are people too, and people tend to make mistakes. And the main mistake of the “fathers” lies in the fact that they are confident that they are right. Trying to give good, from their point of view, advice, they do not even notice how they begin to impose their thoughts, ideals and behavior, which no longer keep up with the times. “Children” suffer from this. Not noticing anything bad in themselves, the “fathers” stubbornly insist on how to act, thereby breaking the individuality of the “children”, destroying them as individuals.

Perhaps for a simple school essay “The Problem of Fathers and Sons” the described phenomenon will seem too exaggerated, but this will be yet another proof that all difficult situations arise due to misunderstandings.

Hear, not listen

Modern “fathers” do not understand the desire of “children” to leave a stable job for the sake of what they love. They don’t understand the desire to develop as a person, and not to bury themselves in a dull life. They were simply raised differently, and they firmly believe that the way they acted was right.

They listen to each other, but do not hear. Everyone is confident that they are right and tries with all their might to prove it. This is how the problem arises. The latter eventually develops into a conflict that can last for many years.

Different generations

Discussion about the problem of fathers and sons - whether in writing or in real life - is an eternal topic. And it worries people of different generations. Moreover, opposition to life positions arises not only in the family, but in all forms of human life. Each generation lives in its own time, which shapes its core values ​​and belief system that it is ready to defend.

Once upon a time, the opinions and life principles of elders were considered the foundations of human existence. But children, learning from life experience, very often want to free themselves from the onslaught of adults, creating their lives differently. It seems to them that they can build it much better, paint it with bright colors and show their older comrades a different world. Noble, isn't it? But the “fathers” don’t think so; the relationship with the “other” generation seems problematic to them. Not even that. The new generation is a complete, incomprehensible and insoluble problem.

Conflict of interest

But if we consider the essay on the problem of fathers and sons from a scientific point of view, we can conclude that the problem is not at all that “Soviet” people look at the world differently. And even the era has nothing to do with it. The problem of the relationship between fathers and children has been relevant at all times; its main reason was a conflict of interests.

In the essay “The Problem of Fathers and Sons” it is difficult to describe all the nuances of this issue, so we will consider the conflict of interest only from the point of view of family relationships. Parents worry about their child and want to protect him from problems. Therefore, they are not allowed to go out late at night, they force me to study and constantly tell me what to do and how to do it. They do this for humane reasons, but the child does not understand this. He tries to explore the world and strive for something new, but his parents not only don’t give him this new thing, they also try to protect him from him (no matter for what reasons they do this). How can a conflict not arise here?!

At first, this is an internal conflict: the child does not want to cause pain to his parents, but he strives for something new and does not want to lag behind his peers. Over time, a gap appears between fathers and children. "Fathers" are behind the times and think that their children are still children. Meanwhile, the “children” are already ready to be independent, but parental care pulls them down. As a result, dialogue between fathers and children disappears, a problem arises that at any moment can develop into a conflict.

Is it possible to improve the situation?

This is exactly how the problem of fathers and children arises, it can be looked at from different angles, but the essence remains the same: at some point, fathers and children simply begin to speak different languages.

Reflecting on the problem of relationships between fathers and children, in an essay I would like to write a universal way to solve it. It's a pity that such a magic potion doesn't exist. Sociologists and educators are sure that it’s all about education. It should be aimed at creating an independent, active and sensible person who strives for development and is not afraid to make decisions. And also has moral guidelines that will help overcome ignorance. But ordinary “non-scientific” people are sure that you just need to be able to make concessions to each other, hear each other and understand, while creating the kind of bonds that both fathers and children will need.

The theme of the relationship between “fathers and children” is an eternal theme in world and Russian literature. It was widely developed in the works of Russian writers of the 19th century.

Thus, in A. S. Pushkin’s novel “Eugene Onegin” the theme of “fathers and sons” is interpreted, first of all, as a theme of education. The father of the main character of the novel Onegin was a St. Petersburg rake, a brilliant military man and a brilliant player. He led the usual wild life of “debt” for his circle and paid little attention to his child. However, the father took care of his son’s upbringing as best he could: he hired French tutors who taught the child “a little bit of everything.” However, this is how all the children of St. Petersburg high society were brought up.

Onegin became a “product” of such an upbringing. He saw the example of his father, knew what was valued in high circles, what was fashionable and commendable. The hero tried to live up to all this, which led him to “emptying” his soul, spleen and melancholy.

The theme of “fathers and sons” in the novel continues in the story about the Larin family. Particular attention is paid to the “female half” of this family: the mother and two daughters – Tatyana and Olga. Pushkin describes the “history of development” of Larina’s mother. She was in love with the heroes of French novels and looked for similar traits in her fans. Tatyana's mother was carried away by one glorious dandy, "a player and a guard sergeant." But, against her will, she was married to someone else. After grieving, the woman reconciled herself, took up housekeeping and turned into a provincial mother hen, who was more concerned about supplies for the winter and the health of her children than anything else.

Olga, Tatyana's younger sister, took after her mother in everything. She was just as shallow, frivolous, flighty, dreaming of outfits and grooms. Her mother fully conveyed her life ideals to her. Tatyana was completely different in nature, nature: deeper, more serious, more spiritual. Therefore, on the one hand, she seemed like a stranger in her family, but, on the other, her mother’s influence also affected Tatyana - she was also fond of French novels, dreamed of their heroes, and looked for ideal traits in every real person.

The theme of “fathers and sons” continued its development in I. A. Goncharov’s novel “Oblomov”. It is in the hero’s childhood, in his upbringing, that the writer looks for the origins of his character. The chapter “Oblomov’s Dream” reveals to us the life ideal of Ilya Ilyich, instilled from childhood. Oblomov’s parents were patriarchal nobles: they lived their whole lives on their estate, never leaving, cared, first of all, about satisfying physiological needs (to be well-fed, warm, comfortable), and tried to make as few movements as possible - both physical and mental. The main support of the Oblomovs were servants, who did literally everything for their masters.

They took care of little Ilyusha, they loved him, cared for him and cherished him, but they suppressed any independence and manifestation of will. Oblomov seemed to live in a cotton cocoon, not seeing or knowing real life. Therefore, it is not surprising that, having arrived in St. Petersburg, he did not find himself and was disappointed in life. Oblomov all the time strived to Oblomovka of his childhood, where everyone is kind, generous, calm, satisfied with life, happy; where they don’t know what care, trouble, misfortune, grief are.

Of course, the theme of “fathers and sons” becomes the leading one in I. S. Turgenev’s novel “Fathers and Sons.” Here this issue develops from a personal, family issue into a social, socio-political one. Turgenev interprets the relationship between “fathers and sons” as a conflict of generations that find it difficult to find a common language.

The textbook conflict of the work is played out between Pavel Petrovich Kirsanov, a representative of the liberal nobility, and Yevgeny Bazarov, a nihilist commoner. Bazarov denies all the values ​​of traditional noble and human culture in general; he seeks to destroy everything old so that subsequent generations can build something new. Pavel Petrovich’s nephew, Arkady, also joins Bazarov. But his passion for nihilism refuses to be temporary: in the end he returns to his “roots”, becomes a good landowner and family man.

The most difficult conflict is the gap between Bazarov and his parents. Evgeniy's feelings for his father and mother are contradictory. In a fit of frankness, he admits that he loves his parents. But his words very often show contempt for the “stupid life of our fathers.”

Towards the end of his life, Bazarov, having gone through many trials, realizes the true meaning of life and true values. Turgenev debunks his theory, showing that the most effective solution to the conflict between “fathers and sons” is the continuity of generations, building a new one on the basis of the old.

Municipal budgetary educational institution

"Secondary educational school No. 2"

Executor:

9b grade student

Supervisor:

I. Introduction

I chose this topic because I think it is still relevant today. The relationship between fathers and children is still a pressing issue for us today. The relationship between “fathers and children” is, it seems to me, a lack of understanding of each other, or perhaps even a reluctance to understand. And this leads to disagreement and disputes. This is due to serious changes in the life of the country, sometimes leading to discord and misunderstanding between generations.

During rapid changes in any area of ​​a person’s life, this problem arises with a vengeance: fathers are conservatives who are alien to any changes, and children are “engines of progress” seeking to overthrow foundations and traditions and bring their ideas to life.

“Fathers” and “sons” have always looked at the world from different points of view. “Children,” according to the “fathers,” are leading humanity to disaster (cultural, environmental, etc.). But catastrophes, like utopias, were predicted by many, but so far there has been no catastrophe that threatens the existence of humanity. Over time, “children” become “fathers”. There is a cyclical nature in this regard. The entire history of mankind consists of such cycles.

In my opinion, there is no problem, but the phenomenon of “fathers and sons”. This phenomenon may cause local conflicts, but overall it is an integral part of human existence.

In my work I would like to show how the relationship between fathers and children has changed over time and the changing eras and how global this topic is in its significance.

My goal: To trace the relationships of different generations (fathers and children) in connection with the historical era, sociocultural views and literature.

To achieve this goal, I set myself the following tasks:

1.Select material for preparing an abstract.

2. Connect the plots with history.

3.Study the theme in works of fiction.

4.Prove the relevance of this topic.

This problem must be solved, because the longer the period of time it goes unnoticed, the more difficult it will be to change the attitude of children towards their parents and vice versa.

Literature has always been one of the main components in the formation of a person’s worldview. But any plot is based on a specific historical situation. Therefore, I decided to trace how the relationships of different generations are reflected in works of Russian culture.

II. Main part.

1. The first mention of the theme of fathers and sons is found in fairy tales. Unquestioning obedience to the will of their parents also became entrenched among the people. Folklore creativity was passed on from mouth to mouth and has survived to this day, which indicates the origin of the theme of fathers and sons. Unquestioningness and complete submission were the main things at that time between parents and children.

“In a certain kingdom, in a certain state, there lived a king and a queen, he had three sons - all young, single, the kind of daredevils that could neither be depicted in a fairy tale nor written with a pen; the youngest was called Ivan Tsarevich.

The king says this to them:

“My dear children, take an arrow for yourself, draw tight bows and shoot them in different directions; In whose yard the arrow will fall, make your match there.”

The elder brother shot an arrow - it fell on the boyar's yard, right opposite the maiden's mansion; The middle brother fired - the arrow flew to the merchant's yard and stopped at the red porch, and on the porch there stood the soul-maiden, the merchant's daughter, the younger brother fired - the arrow hit the dirty swamp, and was picked up by a frog frog.

Ivan Tsarevich says:

“How can I take the frog for myself? The frog is no match for me!

- “Take it!” - the king answers him. “You know, this is your fate.”

Ivan Tsarevich was rewarded with the happiness and love of his clever and beautiful wife for sincere obedience to his father’s will.

2. With the emergence of Christianity in Rus', Christ’s teaching about forgiveness and love for one’s neighbor spread. In my opinion, the “Parable of the Prodigal Son” tells about the relationship between fathers and children. The father, despite his son’s sin, forgives him and accepts him into the house. The main theme of this work is the repentance of children before their parents and the merciful attitude of fathers, teaching them not through punishment, but through forgiveness. Thus, the Bible affirms the main value of human life - the blood connection of generations.

One man had two sons. The youngest of them said to his father: “Father, give me the part of the estate that is due to me.” The father fulfilled his request. After a few days, the youngest son, having collected everything, went to a distant country and there, living dissolutely, squandered all his property. When he had lived through everything, a great famine arose in that country, and he began to be in need. And he went and joined (that is, joined) one of the inhabitants of that country; and he sent him to his fields to feed pigs. From hunger, he would be glad to eat the horns that the pigs ate; but no one gave it to him. Then, having come to his senses, he remembered his father, repented of his act and thought: “How many hired servants (workers) of my father eat bread in abundance, and I am dying of hunger! I will get up, go to my father, and say to him: “Father ! I have sinned against heaven and before you, and am no longer worthy to be called your son; accept me as one of your hired servants."

So he did. He got up and went home to his father. And when he was still far away, his father saw him and took pity on him. The father himself ran towards his son, fell on his neck, and kissed him. The son began to say: “Father, I have sinned against heaven and before you, and I am no longer worthy to be called your son”...

And the father said to his servants: “Bring the best clothes and dress him; give him a ring on his hand and shoes on his feet; and kill the fatted calf; let us eat and be merry! For this son of mine was dead and is alive again; he was lost and is found.” And they started having fun."

An excellent illustration of this parable is the painting by the Dutch artist Hamrmens van Rijn Rembrandt 1 “The Return of the Prodigal Son”

The meeting of father and son takes place as if at the junction of two spaces: in the distance one can discern a porch and behind it a cozy father’s house. In front of the picture there is implied and invisibly present the boundless space of roads traveled by the son, an alien world that turned out to be hostile to him.

The figures of father and son form a closed group; under the influence of the feelings that gripped them, they seemed to merge into one. Towering over his kneeling son, the father touches him with soft hand movements. His face, hands, posture - everything speaks of peace and happiness, found after many years of painful waiting. The father's forehead seems to radiate light, and this is the brightest place in the picture.

Nothing breaks the concentrated silence. Those present watch the meeting between father and son with intense attention. Among them stands out the man standing on the right in a red cloak, whose figure seems to connect the main characters with the people around them.

This idea is continued by A. A. ANIKIN2, researcher, in an article devoted to another work regulating the relationship between fathers and children:

“Domostroy” is the everyday embodiment of Christian morality, and is written in the form of “edification from father to son”: this is a covenant for organizing life according to the word of God. Here father and son are united precisely in the face of God, which in no way detracts from the earthly, parental connection. The father is primarily responsible for the family before God; he is not at all the tyrant of the family, as out of ignorance they often say about “Domostroy”.

3. Let us trace the development of this topic in another historical era.

The reign of Vladimir Monomakh, son of Prince Vsevolod Yaroslavich. In 1078 his father became the prince of Kyiv, and Vladimir Monomakh received Chernigov. The 11th century is one of the most tragic for the Russian state. Internecine wars depleted the Russian land, and the princes, striving for power, wealth and independence from the influence of their fathers and brothers, turned their weapons against those closest to them. The thread connecting generations of fathers and sons was breaking.

In 1093, after the death of his father, Grand Duke Vsevolod, Vladimir had the opportunity to take the Kiev throne, but, not wanting new strife, he voluntarily ceded this right to his cousin Svyatopolk, saying: “His father was older than mine and reigned in Kyiv before me.” He himself took the Chernigov throne.

Driven by the impulse to stop the fratricidal war, Monomakh creates a work in which he tries to instill in the younger generation the idea of ​​the value of blood ties.

Here is an excerpt from “The Teachings of Vladimir Monomakh”:

“For, as Vasily taught, having gathered young men: to have a pure and immaculate soul, a thin body, meek conversation and to keep the word of the Lord: “Eat and drink without great noise, be silent with the old, listen to the wise, submit to the elders, love with equals and younger to have, speaking without guile, but to understand more; do not rage with words, do not blaspheme in conversation, laugh a little, be ashamed of your elders, do not talk to unlucky women and avoid them, keeping your eyes down and your soul up, do not shy away from teaching those who are carried away by power, to place universal honor at nothing.”

E. Y. MEKHNO3 in the article “Education and training in the Old Russian state of the 11th-15th centuries” comes to the following conclusion:

“Lesson to Children” or “Testament” of Prince Vladimir Monomakh was written by him in 1117. This work ended the third edition
"Tales of Bygone Years". In general, the “Instruction” tries to influence the reader with simple, but strong in medieval (and not only medieval) concepts, episodes, events from the author’s own life experience. Dramatic in themselves, these facts belonging to the history of Rus', at the same time constitute episodes of the biography of the author himself, passed through life through his fate and soul.
That is why the personal and the universal are intertwined so closely in the Instruction, making it a brilliant human document. And this can always excite the soul, especially a child’s.”

4. The time of the Ukrainian-Polish war. Ukraine is trying to win back its independence. He writes about this time in the story “Taras Bulba”.

Children who were torn away from their father's home from an early age, returning as mature youths, went with their father to the Zaporozhye Sich, where young Cossacks were raised as warriors and defenders of the Fatherland.

Ostap and Taras Bulba are fighting for their people, for the idea, for everything that is dear to them...

Son Andriy falls in love with a Polish girl and renounces everything: his homeland, father, brother...

"... tell your father, tell your brother, tell the Cossacks, tell the Cossacks, tell everyone that my father is no longer my father, my brother is not my brother, my comrade is not my comrade, and that I will fight them all. I will fight them all! »

The meeting of Taras Bulba and Andriy was fatal, the father kills his son because he became a traitor and broke his oath to the memory of his ancestors. And he himself is tormented by the thought that he could not raise his descendant properly.

“Well, what are we going to do now? - said Taras, looking straight at him

But Andriy didn’t know anything to say and stood with his eyes fixed on the ground.

What, son, did your Poles help you?

Andriy was unresponsive.

So sell? sell faith? sell yours? Stop, get off your horse!

Obediently, like a child, he got off his horse and stopped, neither alive nor dead.

in front of Taras.

Stop and don't move! I gave birth to you, I will kill you! - said Taras and,

Taking a step back, he took the gun off his shoulder.

Andriy was as pale as a sheet; you could see how quietly his lips moved

and how he pronounced someone's name; but it was not the name of the fatherland, or mother, or

brothers - it was the name of a beautiful Polish girl. Taras fired."

Literary critic 4 said: “...The stories that Gogol first spoke with are a series of truly beautiful paintings depicting the customs and nature of Little Russia - paintings full of gaiety, grace, liveliness and love. The story “Taras Bulba” is included in Gogol’s collection called “Mirgorod”. “In Mirgorod, he pitted the norm, the high possibility of folk heroism, against the terrible social reality that prevents this possibility from being realized and vulgarizes a person created, according to Gogol, for great deeds,” wrote the literary critic.5

The historicism of the story “Taras Bulba” is close to folklore: when creating such a historical work, Gogol not only carefully studied documentary historical materials (chronicles, memoirs, studies), but also folklore works. Without downplaying the role of historical materials, primacy should still be given to folklore sources.

Taras Bulba is a strong, courageous and brave “Cossack” who gave his life and the lives of his sons for the freedom and independence of Ukraine from Polish and Lithuanian feudal lords. He did not spare his own son, killing him with his own hands for betrayal. with faith in the triumph of freedom and “comradeship.”

A. A. ANIKIN 6 interprets the theme of Gogol’s story:

“Yes, the happiness of a father who sees a worthy Cossack in his son is intoxicating, the father is not a rival for his son and not an enemy, he is even happy precisely because his son “hey, he’ll be a good colonel, and even one that will take his father by the waist.” will shut up,” the valor and glory of his sons for Bulba is his own glory and valor. Actually, it is for the sake of this valor that he embarks, at first even very insidiously and treacherously, on a military campaign. The ideal of a father, according to Gogol, is seen as a model of valor; this is the right to both lead children and test their characters. Another thing is, will Taras be an ideal father?

Complete trust in the relationship between father and son is not overshadowed by the famous fight at the very first meeting of Taras with his sons: to fight not seriously means to avoid real enmity. For Gogol, the love of father and son is unconditional, but at the same time not so sovereign as to remove all spiritual and moral criteria: Ostap is seriously hurt by his father’s ridicule and threatens to beat him: “Yes, even if he’s a dad. . - Good, son! Beat everyone like you beat me." “And it will come to your mind that your own child will beat your father!” - the mother will exclaim, thinking that this scene is just absurdity. But then Taras’s other son, Andriy, will no longer seriously fight against the Cossacks, which is symbolically equated to a battle with his father. Therefore, there is a hidden prophecy in the first scene.

In our opinion, Gogol does not see the fullness of fatherhood in his hero: he is an unusually colorful, strong-willed personality who does not carry Christian love so rich in meaning. Yes, he wishes only the good for the children, but he sees the good itself so narrowly that it cannot satisfy any hero who is more spiritually developed or more demanding of life. And this is exactly how Andriy will be presented. The Cossacks have their own aesthetics, they have their own attractiveness, but the whole depth of the Christian worldview is not here. In the end, there is no other beauty here except the beauty of a military feat, and this is not enough to resist even the beauty of a woman.

Cossack Taras is a father to the highest degree, but an imperfect father. Taras kills his son not thanks to military skill, but only by his own will, before which the son is powerless, like an ear of corn before a sickle or a helpless lamb (these are the comparisons given by Gogol in this episode). Note that even during his escape, Andriy, having stumbled upon his sleeping father, completely loses his composure: “Andriy stood neither alive nor dead, not having the courage to look his father in the face.”

So, in the story, Taras as a father is unconvincing for Andriy, but strong. In the Christian world, not everything is measured by strength; this is not yet synonymous with righteousness. Yes, the unity of father and son, according to Gogol, is ideal. The depth of the tragedy in Taras Bulba lies precisely in the imperfection and therefore unattractiveness of this unity for Andriy. The father’s strength must be convincing in everything.”

5. Civil wars in Russia (1917 - 1923) - a chain of armed conflicts between various political, ethnic and social groups on the territory of the former Russian Empire. An integral part of the civil war was the armed struggle of the national “outskirts” of the former Russian Empire for their independence and the insurrectionary movement of broad sections of the population against the troops of the main warring parties - the “Reds” and the “Whites”.

With each era, society interfered more and more with personal relationships. The already tense relationship between fathers and children becomes even more vulnerable.

Often the closest people found themselves on opposite sides of the barricades: husband and wife, brothers, father and son. The public drowned out the personal, blood. The struggle for the idea was placed higher than the “eternal” relationship between fathers and children. This is exactly the situation in which the heroes of the story “Mole” found themselves. Man is a biosocial being. Unfortunately, no person develops without the influence of public opinion. The main thing is how he can decide what is more important for him: blood, personal or ideological, social.

The hero of the story, Nikolka, is a Cossack on his father’s side. At a young age he was left without a mother; his father died in the German war. From his father, Nikolka inherited a mole on his left leg above the ankle. The son served in the Reds.

For three days the gang evaded pursuit of Nikolka Koshevoy’s detachment. There was a battle in which Nikolka’s father and Nikolka’s commander met, but on opposite sides of the barricades. A father kills his son during a battle. Seeing the mole, he realizes that he has made a fatal mistake and killed a loved one. Realizing that the meaning of life is lost, he kills himself.

L. G. SATAROVA 7 in the article “Brother against brother, son against father” explores the problem of fathers and children during the civil war:

The discovery of M. Sholokhov’s Don cycle was that he showed the criminality of the civil war, its disastrous destructive consequences both for fate and for Russia as a whole. Don writers before Sholokhov did not have this soul-shattering senselessness and sinfulness of fratricide. The writer begins to realize that both sides are wrong in this war. One can feel the writer's understanding of the depth of the dramatic split within the Donets.

The main characters are the father and son Koshevy, whom the revolution placed on opposite sides of the barricade. Nikolka hardly remembered his Cossack father; he grew up an orphan, not knowing the unique beauty of Cossack life.

Father and son, unrecognized, meet on the battlefield. Their duel is painted in epic tones, sending us back to ancient times. After his death, he recognized his son by his birthmark and realized that he had committed a mortal sin. And he passed his sentence on himself.

One of the publicists of this environment rightly believed that Sholokhov was not so much interested in the vicissitudes of the struggle between the Reds and Whites, as in the fact that both Reds and Whites could be both animals and people.

Sholokhov closely examines a conflict of generations unprecedented in scope, when a son, in the name of an idea, went against his father, although reverence for elders and law-abidingness were in the blood of the Don people.

Fierce zealots sensed from him this stream of morally cleansing suffering, making its way through all barriers, to which representatives of all classes and villages fighting in the civil war are exposed.

The main theme of “Don Stories” can be defined as follows: the dehumanization of both the Reds and the Whites during the war and rare moments of triumph of a very difficult reverse process - inhumanization.”

L. P. EGOROVA, P. K. CHEKALOV 8 in the article “Don Stories” continue the thought:

“In the final scene of the story, one cannot help but feel the strength and sincerity of the father’s grief. It was enough for the ataman to recognize in the murdered son how not only the behavior of the hero changed, but also the tone of the story: before that - “he pulled, cursed angrily, tore off his boot with a stocking...”, but: “... Slowly, as if afraid to wake him up, He turned his cold head face up, smeared his hands with blood that crawled out of his mouth in a wide shaft, looked closely, and only then awkwardly hugged the angular shoulders and said dully:

Son!.. Nikolushka!.. Dear!.. My little blood...

Blackening, he shouted:

Yes, say at least a word! How is this possible, huh? He fell, looking into the fading eyes; eyelids, stained with blood, lifted, shaking the limp, pliable body...

Pressing the chieftain to his chest, he kissed his son’s freezing hands and, squeezing the sweaty steel of the Mauser with his teeth, shot himself in the mouth..."

Deviation from the norm of human relations, from the generic essence of man, is punished by the apostate himself. Sholokhov, developing a “family” collision, interprets artistic reality in its most diverse relationships to the ideal and, with his aesthetic criteria, reveals to the reader the diversity of human connections and relationships in a historically specific era, introducing him in “Mole” to true humanism.

Today, literary works (and first of all, Sholokhov’s) make the events of the civil war visible for us, helping us understand the tragedy of the people.

III. Conclusion.

Having connected the plots with history, having studied the theme in works of art, I traced how the era influences the work, and how the relationship between fathers and children changes with historical events. The more the family begins to conform to society, the more alienated they become from each other.

Having studied my topic, I came to the following conclusions: in literature the topic seems to be one of the most meaningful and will be developed in a variety of aspects: religious, moral, psychological, social. Literature conveys the fidelity of the Christian ideal in the relationship between fathers and children, but also its tragic unattainability. The literature of the middle of the Golden Age already shows the reality in the unity of fathers and sons, removing contradictions that seemed to be an insoluble conflict, although this requires significant personal experience, maturity and an appeal to the spiritual dowry - to Christianity. The end of the golden age will bring about a fading of the theme into creativity. But unlike the themes of a small or superfluous person, the theme of fathers and sons will not be exhausted in its Christian aspect and will begin to clearly sound in the literature of the 21st century - if not in direct, then in associative connection with commandments and parables.

Now is the 21st century, but the problem has still not lost its relevance. Having become interested in this topic, I began to relate somewhat differently to my parents, to people of the generation of “developed socialism.”

Children who openly oppose their fathers’ generation must remember that only tolerance towards each other, mutual respect and, of course, love for one’s neighbor will help avoid serious clashes. It is necessary to think and try to arrange the world in such a way that “youth” and “old age” in it mutually balanced each other: old age restrained the impulses of inexperienced youth, youth overcame the excessive caution and conservatism of old people, and pushed life forward.

1 Remmbrändt Hamrmens van Rijn (Dutch Rämbrändt Hbrmenszoon van Rijn, 1606-1669) was a Dutch artist, draftsman and engraver, a great master of chiaroscuro, the largest representative of the golden age of Dutch painting. He painted the famous painting “The Return of the Big Son.”

2 Anton Andreevich Anikin - candidate of philological sciences, associate professor at Moscow State Pedagogical University, author of the article “The theme of “fathers and sons” in Russian classics”, no. 1.M., 1995.

Article 3 “Education and training in the Old Russian state of the 11th-15th centuries.”

4 - Russian writer, publicist, philosopher, revolutionary. Article: Style hierarchy in the relationship between the author and the hero as a principle of internal form. Author and hero in Russian literature. M. 1981. p. 76-120.

5 - Soviet literary scholar, philologist, critic. Article: Style hierarchy in the relationship between the author and the hero as a principle of internal form. Author and hero in Russian literature. M. 1981. p. 76-120.

6 Anton Andreevich Anikin - Candidate of Philological Sciences, Associate Professor at Moscow State Pedagogical University, author of the article: “The theme of “fathers and sons” in Russian classics” no. 1.M., 1995.

7 Brother against brother, son against father... // Literature at school. 1993. No. 4. P. 34.

Russian classics often addressed the problem of fathers and sons in their works. It is not surprising, because this topic has not lost its relevance to this day. While people live on earth, there is a conflict between fathers and children, because time passes and generations change. The clash of completely different ideas influenced by the era often provides food for thought. Let's look at how some writers explore the topic of fathers and sons.

Talks about the conflict of generations I.S. Turgenev. His novel “Fathers and Sons” is probably the most classic example of the clash of views of people of different generations. The novel clearly traces the line of relationship between Evgeny Bazarov and Pavel Kirsanov, opposed to each other. The young man claims that: “nature is not a temple, but a workshop, and man is a worker in it,” while Kirsanov, a representative of the previous generation, denies Bazarov’s nihilistic views.

Pavel Petrovich passionately defends his point of view, trying to prove to Bazarov the illogicality and incorrectness of his judgments. In such relationships, heated to the limit through a challenge to a duel, one can see a reflection of the conflict of generations. Thus, the interaction between Pavel Kirsanov and Evgeny Bazarov becomes an illustration of the problem of generations - the reluctance to hear and listen to each other.

In what other works does misunderstanding occur between heroes of different generations? For example, in Griboedov’s play “Woe from Wit”. The lifestyle and worldview of Alexander Chatsky is contrasted with the “Famus society”, whose representatives live by the foundations of the past. Chatsky says: “I would be glad to serve, but it’s sickening to be served,” with this phrase he characterizes the values ​​of the “Famus society” and expresses his non-acceptance of this life principle. People of the past generation in the work “Woe from Wit” see the goal in life only in veneration of rank, with the help of which they can achieve high status. Chatsky is even called “mad” when he demonstrates his morals, which are different from the generation that has left. Thus, the reader observes a clash between the outdated model of behavior of the “Famus society” and new trends, presented in the image of Alexander Chatsky.

The problem of fathers and children is also touched upon by Sholokhov in his novel Quiet Don. You can observe a generational conflict in a certain episode. Pantelei Prokofievich forces Grandfather Grishaka to remove the military insignia issued during the times of Imperial Russia, because “Under Soviet power it is impossible, the law forbids it.” However, Grandfather Grishak does not succumb to the universal fear of the Red Army men and remains true to his truth: “I did not swear allegiance to the peasants.” Pantelei Prokofievich does not approve of such an act of his grandfather at all; for him, such moral principles are outdated and have no weight. And it is impossible to judge who is right and who is wrong: both people defend what is important to them: honor and dignity, life. One thing is certain. Sholokhov in this episode perfectly shows the difference between the morals of generations.

Many more authors addressed the problem of fathers and children: Pushkin, Ostrovsky, Fonvizin and others. And each approached the topic differently, highlighting aspects that were important to each of them. But the essence of the generational conflict remained unshakable. Alas, representatives of certain ideas almost always remain unconvinced, which cannot but sow discord between them. The only way we can prevent this problem in the future is to try to understand people of another generation and avoid the sad outcome of the conflict, as in most works of Russian fiction writers.