The first thoughts about writing the novel "Fathers and Sons" appeared to the writer during his stay in England in 1860. Turgenev had to spend the whole night at the railway station. It was there that he met a young doctor, with whom he talked all night. This conversation became fundamental for writing the conversation of the protagonist of the novel, Bazarov.

At the same time, after returning to France, Turgenev begins to write the initial chapters of the novel. Upon arrival in his native country, in the summer months of 1861, the writer completes work on the novel. In the spring of 1862, the novel "Fathers and Sons" is published in the "Russian Bulletin".

From the title of the novel "Fathers and Sons" you can immediately understand that the main idea of ​​​​the work is family relations, or rather, the long-known conflict of generations. Different views, different concepts of life - all this for many times causes controversy among adherents of one or another point of view. When writing a work, the author, as it were, inclines the reader to choose what is more important for the subsequent development of life, inactive contemplation of what is happening or the struggle for a developed modern future.

The conclusion suggests itself that the work has an educational character, the main thing is to understand the essence, because everyone has freedom of choice, and the author only directs to the right one, without imposing his personal opinion.

Turgenev depicts in detail the experiences of the characters, their emotions, mood and feelings. This gives the novel a psychological coloring.

The main character of the novel "Fathers and Sons" is Bazarov, a young student at a medical university, the son of a military doctor. Bazarov is an adherent of the natural sciences. He is laconic, self-confident, not devoid of irony and pride. Of the 28 chapters of the novel, he is absent from only two.

When writing a work, the author uses the principle of opposition. It matches the main character with the character of each character. Turgenev opposes to Bazarov not individual heroes, but life in its full extent, the patriarchal foundations that the main character is trying to fight. Even the first appearance of Bazarov demonstrates how clearly he differs from the nobles around him. Well-groomed nails of Petr Petrovich Kirsanov against the red hands of a young student.

The very plot of the novel "Fathers and Sons" revolves around Bazarov's conflict with society, which refutes his views and ideals.

The main point of the story is the arrival of Bazarov, along with Andrei Kirsanov, a young nobleman, to the Kirsanov family estate, where the main character meets Andrei's father and uncle. When communicating with other characters, there is a clash of opinions and points of view that test the strength of Bazarov's convictions. This also happens during the love relationship of the protagonist with Odintsova.

The end of the novel "Fathers and Sons" is the death of Bazarov. Thus, Turgenev wanted to show the collapse of the thoughts expressed by the main character in the plot of the work.

The novel "Fathers and Sons" has become an indicator that in addition to political differences and ideologies, there is another life in which traditions, real and deep feelings are a priority.

Analysis 2

The novel "Fathers and Sons" takes the reader to the times of serfdom. The story takes place in 1859 and ends in 1869. And this was not done by the author by chance, since it was during this period that an acute crisis of the feudal system took place in Russia and relations between the “fathers”, that is, liberals, and “children”, that is, revolutionaries, escalated with particular force.

At that time, a new type of people emerged - raznochintsev-democrats. And the main character of the novel, Yevgeny Bazarov, is from this circle. Initially, Bazarov is a contrast to all other heroes of the work, because he is different from them, he is completely different from the environment. Bazarov proudly says about his grandfather: "My grandfather plowed the land." The origin of the character is manifested literally in everything - in his views, judgments, relationships with loved ones and loved ones.

In the scene of the very first appearance of Bazarov, we understand that he is not like the nobles around him. Seeing the nails of Kirsanov Jr., and comparing them with his red hands, Bazarov sarcastically remarks that these nails can even be sent to an exhibition. Nikolai Kirsanov, being a delicate person, pretends not to notice the plebeian behavior of the guest, although such behavior confuses him somewhat.

A sharp dispute arises between Kirsanov Sr. and Bazarov. The young man calls that his opponent has long been out of work, and his song, unfortunately or fortunately, has long been sung. But Pavel Petrovich tears and mosques, because it was because of Bazarov that the whole life of Kirsanov Sr. went downhill. Having given everything he has to Princess R., he also loses everything and is left with nothing. But the younger brother, who nevertheless dared to go against the will of his parents and marry a simple girl, is absolutely happy in marriage and has a beloved son.

Let's move on to the image of Bazarov. The character is unhappy not only because of loneliness, but also because of unhappy love. Bazarov is endlessly in love with Anna Sergeevna, but his love is rejected. Before the fatal meeting with this woman, Bazarov did not take love seriously, for him it was something at the level of physiology, just an excuse to procreate.

Anna Sergeevna commands respect by the fact that she not only became an interlocutor and, in some way, an adviser to Bazarov, she managed to make him look at many things that are ordinary for the hero in a completely different way. Bazarov, with indignation and even disgust, begins to see romance in himself.

The life of the hero ends stupidly and tragically. Suffering from unrequited love for Odintsova, Bazarov completely goes to work, and during the next autopsy of the dead body of a peasant, he injures himself with a scalpel and becomes infected with typhus. This death of Bazarov shocked many readers. But Turgenev, with such an ending, tells us that the time for such people has not yet come, and the best, the only way out for the hero, is a dignified death in the parental home, surrounded by loved ones.

Option 3

In Ivan Sergeevich Turgenev's novel "Fathers and Sons" there is a reflection on the eternal contradictions of the new and old generations. It often happens that in a family, children contradict their parents in their views. Ivan Sergeevich Turgenev tried to analyze and highlight this topic in his novel.

Being in England in 1860, the writer had to spend the whole night at the station, where he met a young surgeon. Their conversation was so exciting that they sat like that for the rest of the night. It was this meeting that subsequently prompted Ivan Sergeevich to write the work. The character of the surgeon moved to the pages of the book in the form of the protagonist of the future masterpiece - Bazarov. The antagonist is a certain critic Dobrolyubov, whose constant disputes with the writer became the prototype of the dispute between Bazarov and Kirsanov. For almost two years, "Fathers and Sons" were written and printed.

The protagonist of the novel, Bazarov, is a typical youth who rejects the old order and despises the established order of life. He does not like it, and he wants to fight for his, as he sees, a bright future. Pavel Kirsanov, on the other hand, is a bright representative of a hereditary nobleman who saw the old foundations as the only correct and possible for this country.

The author tried not to make a choice for the reader, showing his point of view. He carefully provides evidence of the correctness of both one and the other hero. The book acts only as a guiding guide on this issue, the route and end point of which the reader must choose for himself.

The work is made in the genre of the novel, but far from the usual ordinary man in the street. This is a psychological novel, which indicates the experiences on each side. Moreover, the author does not write in detail about the experiences themselves, he speaks only about the final result of such experiences.

For example, this is clearly expressed in the feelings of Arkady Kirsanov. This person is little inclined to hard efforts both in life and in love. Using his example, the author tried to reveal the overly ordinary personalities of people who are not ready for change and are hard on them.

Yet the main theme is the opposing sides of Bazarov and Kirsanov. The struggle of their views on life leads to complete contradiction and misunderstanding of each other.

The novel "Dubrovsky" is one of the most striking and original works of Alexander Sergeevich Pushkin. It masterfully depicts the typical characters of his time.

The history of the Don Cossacks goes back into the mists of time. During the time of Ivan the Terrible, the Cossacks fought with the Crimean Khan, Tsarina Catherine loved the Cossacks, they enjoyed great privileges

He tried, following the times, to reflect new social types and new prevailing interests, tasks and goals of life. Himself a man of the 1840s, with strong sympathies towards the idealism that his peers were imbued with, Turgenev tried to portray new people who were alien to him in spirit, but who interested him as an artist and aroused sympathy in him. The images of “superfluous people” characteristic of the recent past have now finally been replaced by our Russian practitioner and businessman, ardently rushing to work and fiercely struggling with obstacles to work. New socio-political trends, the proximity of reforms stirred up society. Broad plans were outlined, huge tasks were set. The moods of past years and the daydreaming, pessimism, contemplation, bifurcation, love for poetry and abstract philosophy associated with them - now, at the turn of the 1850s and 60s, were ready to be cursed as a means of distracting from urgent tasks. They went from one extreme to the other. This was a natural reaction to the exclusivity of the bookish and literary interests of the previous era.

Fathers and Sons. Feature film based on the novel by I. S. Turgenev. 1958

Era features. Now they preached the necessity of only immediate vital affairs, tasks, the solution of which immediately brings external benefits. They ardently professed utilitarianism - the doctrine of the primacy among vital motives of the principle of utility. From the abstract heights of poetry and philosophy, they hastened to descend to the earth, to its immediate tasks and ordinary needs. It was then fashionable to show contempt for poetry and music as subjects of sentimental amusements. This attitude was justified by the fact that such important, enormous and urgent tasks were opened before the young Russian cultural society, such pictures of ignorance, suffering, arbitrariness, bribery, helplessness of the dark masses of the people, which was recognized as an unaffordable luxury to deal with questions of poetry and philosophy in view of such terrible needs of the people. life. This mood was expressed by Nekrasov in his famous poems:

Even more ashamed in the hour of grief
The beauty of heaven, valleys and sea
And sweet sing of affection.

Negation. In order to cope with such a mass of urgent matters, it was necessary to simplify, narrow down your task, limit it to the most important. This is what the people of the 1860s tried to do, introducing the principle of asceticism into life, preaching the renunciation of much that is necessary for a person’s personal life, in the name of fulfilling a severe duty. Poetry and speculative philosophy were persecuted. In connection with the general sober rationalistic spirit of the era, interest in the natural sciences and in the philosophy of materialism and positive. All the views and sympathies of the old cultured Russian man of the 1830s and 1840s - his aestheticism, dreaminess, idealism - all this was reassessed and denied.

Turgenev's attitude. An aesthete and an artist at heart, who worshiped beauty, who considered it one of the main forces in arranging the best forms of life, Turgenev could not sympathize with the new direction entirely and had to meet with some horror this “destruction of aesthetics”, “overthrow of Pushkin”, etc. But as an artist, Turgenev studied the new type that entered Russian life, treated him impartially and, reproducing him in his novel, demonstrated respect and sympathy for some aspects of the personality of his harsh hero. He portrayed this type in the face of Bazarov.

But, apparently, precisely the fact that this type was not a phenomenon of the past, but of current days, that here the writer touched on the sincere ideals and traits of a contemporary who had not yet recovered from all this content of life, was the reason for such a passionate attitude towards the novel. An attempt to portray objectively what was the ideal of its time for the younger generation was recognized as blasphemy. And although the appearance of Bazarov is drawn seriously and artistically, criticism saw in him a caricature of the younger generation and indignantly fell upon Turgenev. The attacks were so numerous, so violent, that they made a great impression on the novelist, who was already thinking of giving up his pen. However, later Pisarev saw in Bazarov the true embodiment of the ideal type of his time.

Bazarov. Bazarov is a type of denier of the former moral and mental foundations. He wants to serve society, science, and takes into account the tasks and interests of his simple and rough life, denying the whole way of the nobility. He preaches a "sober" attitude to life, denying poetry, religion, love, reducing everything to physiology. His principle of equality of all people is based precisely on the simplification of life, on the reduction of everything in it to physiology. And its requirements in relation to a person consist in one thing: do a useful, real work, contribute to the solution of the immediate problems of material life.

Reverently treating Bazarov as a teacher, Arkady Kirsanov introduces into the confession of his ideas that enthusiasm and that youthful idealism that Bazarov denies. But he himself does not withstand the predetermined program and falls into contradiction with himself. He gets entangled in the nets of that very "romance" - love - to which he treated so contemptuously. Having fallen in love with Odintsova, Bazarov, against his will, experiences everything that he rejected, as a whim of the nobility, as “nonsense” and “rotten”. Denying love for his parents in theory, he suppresses with all his might the reciprocal feeling to the selfless devotion and love of the old people for him.

Here Turgenev clearly reveals the lies of the Bazarov theorist. In general, despite the integrity and strength of his nature, Bazarov often seems to lose ground under himself, because he vaguely feels that the youthful extreme of his views, his paradoxes, contradicts the simple and eternal logic of life itself. Taking up arms against idealism in human life, against beauty, poetry, against higher speculation, against love, he tries to fight the eternal laws of reality, which forces him to obey them.

Analysis of the novel by I.S. Turgenev "Fathers and Sons"

In February 1862, I.S. Turgenev published the novel Fathers and Sons. The author tried to show the Russian society the tragic nature of the growing conflicts. The reader discovers economic troubles, the impoverishment of the people, the decay of traditional life, the destruction of the centuries-old ties between the peasant and the land. The stupidity and helplessness of all classes threatens to develop into confusion and chaos. Against this background, a dispute is unfolding about the ways of saving Russia, which is being waged by heroes representing the two main parts of the Russian intelligentsia.

Russian literature has always tested the stability and strength of society by family and family relationships. Starting the novel with the depiction of a family conflict between father and son Kirsanov, Turgenev goes further, to a social, political clash. The relationship of the characters, the main conflict situations are revealed mainly from an ideological point of view. This was reflected in the peculiarities of the construction of the novel, in which the disputes of the characters, their painful reflections, passionate speeches and outpourings play such a large role. But the author did not turn his characters into spokesmen for his own ideas. Turgenev's artistic achievement is his ability to organically connect the movement of even the most abstract ideas of his heroes and their life positions.

For the writer, one of the decisive criteria in determining the personality was how this person relates to the present, to the life around her, to the current events of the day. If you take a closer look at the "fathers" - Pavel Petrovich and Nikolai Petrovich Kirsanov, then the first thing that catches your eye is that they, in fact, are not very old people, do not understand and do not accept what is happening around them.

It seems to Pavel Petrovich that the principles that he learned in his youth favorably distinguish him from people who listen to the present. But Turgenev at every step, without much pressure, quite unambiguously shows that in this stubborn desire to show his contempt for modernity, Pavel Petrovich is simply comical. He plays a certain role, which from the outside is simply ridiculous.

Nikolai Petrovich is not as consistent as his older brother. He even says that he likes young people. But in fact, it turns out that in modern times he understands only that which threatens his peace. He sold the forest for a log cabin only because in a few months he was supposed to go to the peasants.

Turgenev believed that a great personality always stands by its time in a natural relationship. Such is Bazarov. Small, dependent people live in an eternal subconscious feeling of discord with time. Pavel Petrovich accepts this discord as the wrongness of time, that is, he denies the passage of time, freezes in his conservatism, and people of a different sort are trying to catch up with time. And since they cannot understand it, they usually take fashion as an expression of time.

Turgenev brought out in his novel several people striving to keep up with the times. This is Kukshina and Sitnikov. In them, this desire is expressed very clearly and unambiguously. Bazarov usually speaks to them in a dismissive tone. It's harder for him with Arkady. He is not as stupid and petty as Sitnikov. In a conversation with his father and uncle, he quite accurately explained to them such a complex concept as a nihilist. He is already good because he does not consider Bazarov "his brother." This brought Bazarov closer to Arkady, made him treat him softer, more condescendingly than Kukshina or Sitnikov. But Arkady still has a desire to grasp something in this new phenomenon, to somehow approach it, and he grasps only at external signs.

Arkady tends to say "nice". The point is not that Bazarov does not like to speak beautifully, but that “beautiful” words denote such complex phenomena that it is simply impossible to talk about often and casually. In a conversation with Bazarov about Odintsova, Arkady again spoke "beautiful", but other people's words. Bazarov perfectly understood this, and, of course, he could not support such conversations. He had only to say that Odintsova had such shoulders that he "hadn't seen for a long time."

And here we are faced with one of the most important qualities of Turgenev's style. From the first steps of his literary activity, he widely used irony. In the novel "Fathers and Sons", he awarded this quality to one of his heroes - Bazarov, who uses it in a very diverse way: irony for Bazarov is a means of separating himself from a person whom he does not respect, or "correcting" a person whom he does not yet waved his hand. Such are his ironic antics with Arkady. Bazarov also owns another type of irony - irony directed at himself. He is ironic about both his actions and his behavior. Suffice it to recall the scene of the duel between Bazarov and Pavel Petrovich. He is ironic here at Pavel Petrovich, but no less bitterly and evilly at himself. At such moments, Bazarov appears in all the power of his charm. No self-satisfaction, no self-love.

Turgenev leads Bazarov through the circles of life's trials, and it is they who reveal with real completeness and objectivity the measure of the hero's rightness and wrongness. "Complete and merciless denial" proves to be justified as the only serious attempt to change the world by putting an end to contradictions. However, for the author, it is also indisputable that the internal logic of nihilism inevitably leads to freedom without obligations, to action without love, to searches without faith. The writer does not find a creative creative force in nihilism: the changes that the nihilist envisages for really existing people, in fact, are tantamount to the destruction of these people. And Turgenev reveals the contradictions in the very nature of his hero.

Bazarov, who survived love, suffering, can no longer be an integral and consistent destroyer, ruthless, unshakably self-confident, breaking others simply by the right of the strong. But Bazarov also cannot reconcile himself by subordinating his life to the idea of ​​self-denial, or seek solace in art, in a sense of accomplishment, in selfless love for a woman - for this he is too angry, too proud, too unbridled, wildly free. The only possible solution to this contradiction is death.

Turgenev created a character so complete and internally independent that the only thing left for the artist was not to sin against the internal logic of character development. There is not a single significant scene in the novel in which Bazarov would not participate. Of the twenty-eight chapters, only two do not have it, while some characters (Kukshina, Sitnikov, dignitary Kolyagin, governor, etc.) appear only occasionally, while others (the Odintsov sisters, Bazarov's parents, Fenechka, etc.) for a rather long time disappear from the reader's field of vision. Bazarov passes away, and the novel ends. In one of the letters, Turgenev admitted that when he "wrote Bazarov, he ultimately felt not dislike for him, but admiration. And when he wrote the scene of Bazarov's death, he sobbed bitterly. These were not tears of pity, these were the tears of an artist who saw the tragedy of a huge man in whom a part of his own ideal was embodied.

"Fathers and Sons" caused fierce controversy throughout the history of Russian literature of the 19th century. Yes, and the author himself, with bewilderment and bitterness, stopped before the chaos of contradictory judgments: greetings from enemies and slaps from friends. In a letter to Dostoevsky, he wrote with chagrin: “No one seems to suspect that I tried to present a tragic face in him - and everyone is interpreting - why is he so bad? Or why is he so good?

Turgenev believed that his novel would serve to rally the social forces of Russia, that Russian society would heed his warnings. But the dream of a united and friendly all-Russian cultural stratum of society did not come true.

The action of the novel Fathers and Sons takes place in 1859, on the eve of the abolition of serfdom in Russia. Turgenev seeks to show changes in society on the example of the image of the protagonist - Evgeny Vasilyevich Bazarov.

He is a medical student studying to be a surgeon. Cuts frogs, preparing to cut living people. The profession of a doctor automatically puts him above other people: he does not hover in the clouds, does not indulge in philosophy, but is engaged in strictly practical business. In fact, this is another typical hero of his time- the time when there are shifts in human consciousness. Bazarov - nihilist(he doesn't believe in anything). This is due to the fact that the old values ​​that the generation of their fathers lived by have already lost their relevance. The new ones haven't arrived yet. Thus, a generation arose that was only capable of destroying the old principles, without creating anything in return. Bazarov denies aesthetics, lofty manifestations of love, poetry...

But Turgenev shows that the ideas of nihilists can collapse under the influence of strong emotions. Bazarov falls in love with Anna Odintsova, although he despises himself for it. As a result, Bazarov dies almost because of his love: thinking about Odintsova during the operation, he cut his hand and became infected. But in fact, he dies because of his uselessness: he, like other nihilists, is not needed by Russia. Therefore, there is no reason to live. Bazarov - another superhuman who eventually becomes redundant.

One of the main ideas of the novel is the reconciliation of all classes and all generations. Turgenev believes that Russia can become happy only in this case, otherwise endless conflicts will begin.

The problem of fathers and children in the novel

Such an example in the novel: Bazarov's disputes with the Kirsanov brothers, the conflict of heroes of the 1830s and 1850s. Here we can see a reference to the Hero of our time: Pavel Petrovich Kirsanov- this is a kind of survivor, aged Pechorin, whose ideals are of no interest to anyone in the new era. They cannot have reconciliation with Bazarov, but it is still not clear who will win this dispute. But Bazarov becomes a romantic hero, participates in a duel with Kirsanov. It turns out that somewhere deep in him still lives the romantic culture of the past generation, which makes itself felt.

Another character in the novel Arkady Kirsanov, a friend of Bazarov. He considers himself a follower of him and also a nihilist, but in Arcadia nihilism is feigned. It turns out that they are not on the way. Arkady is not ready to die in the name of denials and ideals, he is a liberal person. He wants simple personal happiness, which he receives in an affair with Katenka Lokteva.

Nihilist woman Anna Odintsova- an extraordinary person. She looks like Bazarov - an egoist, she also considers herself superior to others. But she does not love him, although she is interested in an interesting person. The purpose of her life is to maintain her own peace of mind, and Bazarov can disturb her. And Odintsova is used to living the way only she likes. None of them is ready to make concessions, so there can be no question of an alliance.

The main idea of ​​the novel, as mentioned above, is that it is impossible to live in general enmity. It is necessary to develop a new ideology that is convenient for everyone, otherwise only death awaits people.

Ideological and artistic originality of the novel "Fathers and Sons".

Interpretations of both the main characters of the novel, and Turgenev's own intention, were different. That is why one should be critical of these interpretations, and in particular, the interpretation of Pisarev.
It is generally accepted that the main balance of power in the novel is reflected in the confrontation between Pavel Petrovich Kirsanov, since it is they who are arguing on various topics - about nihilism, aristocracy, practical benefits, and so on. However, Pavel Petrovich turns out to be an untenable opponent for. All the words of Pavel Petrovich are only “words”, since they are not backed up by any action. He is essentially the same doctrinaire as Bazarov. His entire previous life was a direct path of continuous success given to him by birthright, but the very first difficulty - unrequited love - made Pavel Petrovich incapable of anything. As Pisarev rightly notes, Pavel Petrovich has no convictions; as convictions, he is trying to “smuggle” principles, and principles understood in his own way. All the "principles" of Pavel Petrovich come down to the observance of external propriety and efforts aimed at being considered a gentleman. Form without content is the essence of Pavel Petrovich (this is clearly seen in the description of his office, and then in the fact that, as a symbol of Russia, Pavel Petrovich keeps an ashtray in the form of a “muzhik bast shoe” on the table). Thus, Pavel Petrovich turns out to be a completely untenable opponent. The real opponent of the leader of the nihilists is Nikolai Petrovich Kirsanov, although he does not enter into verbal battles with. All his worldview, behavior devoid of external pretentiousness, but at the same time spiritual breadth resists the nihilists' all-denial. Pavel Petrovich is only interested in the external side of things - he talks about Schiller, about Goethe, although he hardly bothered to read them, his judgments are presumptuous and superficial. But the same can be said about! The same addiction to "external effects" (whiskers, hoodie, cheeky manners, etc.) and the same "inorganic" with the world around him. The connection between Pavel Petrovich and Pavel Petrovich is not only external, but also genetic: Bazarov denies everything that is ugly and incompetent that is in Pavel Petrovich, but in this denial he goes to extremes, and extremes, as you know, converge, and that is why between Pavel Petrovich and much in common. Thus, Bazarov is a product of the vices of the older generation, philosophy is the denial of the life attitudes of the “fathers”, which they managed to fairly discredit, Bazarov is the same Pavel Petrovich, only exactly the opposite. Turgenev shows that absolutely nothing can be built on denial, including philosophy - life itself will inevitably refute it, because the essence of life lies in affirmation, not in denial. Nikolai Petrovich Kirsanov could argue with, but he is well aware that his arguments will not be convincing either for or for his brother. The weapon of the latter in the dispute is logic, sophistry, scholasticism. The knowledge that Nikolai Petrovich possesses cannot be expressed in words, a person must feel it himself, suffer through it. What he could say about a harmonious existence, about unity with nature, about poetry, is an empty phrase for and for Pavel Petrovich, because in order to understand all these things you need to have a developed soul, which neither the "county aristocrat" nor There is no "leader of the nihilists". This is able to understand the son of Nikolai Petrovich, Arkady, who eventually comes to the conclusion that ideas are untenable. To a large extent, Bazarov himself contributes to this: Arkady understands that Bazarov not only does not respect authorities, but also those around him, that he does not love anyone. Katya's sober worldly mind is more to his heart than cold scholasticism. The whole further path described in the novel is a refutation of his nihilistic doctrine. Bazarov denies art, poetry, because he does not see any use in them. But after he falls in love with Odintsova, he realizes that this is not so. On his advice, Arkady takes away a volume of Pushkin from his father and slips a German materialistic book. It is Bazarov who ridicules the playing of Nikolai Petrovich on the cello, Arkady's admiration for the beauties of nature. A one-sidedly developed personality is not able to understand all this. However, not everything is lost for him, and this is manifested in his love for Odintsova. Bazarov turns out to be a man, and not a soulless machine that is only capable of experimenting and cutting frogs. Beliefs come into tragic conflict with his human essence. He cannot give up his convictions, but he cannot stifle the awakened person in himself. For there is no way out of the situation, and that is why he dies. Death is the death of his doctrine. In the face of inevitable death, Bazarov sweeps aside everything superficial, secondary, in order to leave the most important thing. And this main thing turns out to be the human that is in him - love for Odintsova. Turgenev refutes at every step. Bazarov declares that nature is not a temple, but a workshop, and a magnificent landscape immediately follows. The pictures of nature with which the novel is saturated implicitly convince the reader of the exact opposite, namely, that nature is a temple, not a workshop, and that only life in harmony with the outside world, and not violence against it, can bring happiness to a person. It turns out that Pushkin and playing the cello in absolute terms is much more important than all "useful" activity. In addition, Turgenev was able to show in the image very dangerous tendencies - extreme egocentrism, morbid pride, unshakable confidence in his own rightness, a claim to possess absolute truth and a readiness to carry out violence for the sake of his idea (Pavel Petrovich's conversation with when the latter declares that he is ready to go against their people, that there are not so few of them, nihilists, that if they are crushed, then “there is a road for us”, but only “grandmother said in two”, etc.). Turgenev saw in his hero that “devilry” about which Dostoevsky (“Demons”) would later write, but nevertheless led him to a universal beginning, and the ideas of nihilism to debunking. It is no coincidence that after death he does not have followers. On the barren soil of nihilism, only such parodies of people as Kukshina and Sitnikov grow. In the last scene - a description of the village cemetery and parents coming to the grave of their son - the eternal nature, on the tranquility of which Bazarov encroached, gives the "nihilist" the last peace. Everything secondary that the restless and ungrateful son of nature, man, came up with, remains aside. Only nature, which Bazarov wanted to turn into a workshop, and his parents, who gave him life, with which he treated so unreasonably, surround him.
D. I. Pisarev FATHERS AND CHILDREN
Bazarov
About the novel in general:
“... In the novel there is no plot, no denouement, no strictly considered plan; there are types and characters; there are scenes and pictures, and, most importantly, through the fabric of the story, the author’s personal, deeply felt attitude to the derived phenomena of life shines through ... Reading Turgenev’s novel, we see in it types of the present moment and at the same time we are aware of those changes who experienced the phenomena of reality, passing through the consciousness of the artist.
ABOUT :
“In his personality are grouped those properties that are scattered in small shares in the masses.”
“As an empiricist, Bazarov recognizes only what can be felt with the hands, seen with the eyes, put on the tongue, in a word, only what can be witnessed by one of the five senses. He reduces all other human feelings to the activity of the nervous system; as a result of this enjoyment of the beauties of nature, music, painting, poetry, love, women do not at all seem to him higher and purer than enjoying a hearty dinner or a bottle of good wine ... You can be indignant at people like that to your heart's content, but recognizing their sincerity is absolutely necessary ... He does not aim at the provincial aces: if the imagination sometimes draws a future for him, then this future is somehow indefinitely wide; he works without a goal, to get his daily bread or out of love for the process of work, but meanwhile he vaguely feels from the amount of his own strength that his work will not remain without a trace and will lead to something. Bazarov is extremely proud, but his pride is imperceptible precisely because of its immensity. He is not interested in those little things that make up ordinary human relations; he cannot be offended by obvious neglect, he cannot be pleased with signs of respect; he is so full of himself and stands so unshakably high in his own eyes that he becomes completely indifferent to the opinions of other people.
“Bazarov, everywhere and in everything, does only as he wants or as it seems to him profitable and convenient. It is controlled only by personal whim or personal calculations. He does not recognize any moral law, any principle, either above himself or within himself. Ahead - no lofty goal; in the mind - no lofty thought, and with all this - enormous forces!
“If Bazarovism is a disease, then it is a disease of our time, and you have to suffer for it ... Treat Bazarovism in any way you like - this is your business; and stop - do not stop; it's the same cholera."
“Bazarov is lying - this, unfortunately, is fair. He flatly denies things he does not know or understand; poetry, in his opinion, is nonsense; reading Pushkin is a waste of time; making music is funny; to enjoy nature is absurd... To cut other people to the same standard as oneself means to fall into narrow mental despotism... Fascination is very natural; it is explained, firstly, by the one-sidedness of development, and secondly, by the general character of the era in which we had to live. Bazarov thoroughly knows the natural and medical sciences; with their assistance, he knocked out all prejudices from his head; then he remained an extremely uneducated man; he heard something about poetry, something about art, did not bother to think, and shruggedly pronounced a sentence on objects unfamiliar to him.
“The personality closes in on itself, because outside of it and around it there are almost no elements related to it at all.”
“He is not capable of maintaining a binding relationship with a woman; his sincere and whole nature does not give in to compromises and does not make concessions; he does not buy a woman's favor by certain obligations; he takes it when it is given to him completely voluntarily and unconditionally. But smart women are usually cautious and prudent in our country ... In a word, there are no women capable of arousing a serious feeling in him and, for their part, warmly responding to this feeling.
“To die the way Bazarov died is the same as to accomplish a great feat ... Rationalism was in him a forgivable and understandable extreme; this extreme, which forced him to be wiser with himself and break himself, would disappear from the action of time and life; she disappeared in the same way at the approach of death. He became a man, instead of being the embodiment of the theory of nihilism, and, as a man, he expressed a desire to see the woman he loved.

About the continuity of the image:
“... colder than Pechorin, and therefore he fools much more than Onegin, rushes to the Caucasus for impressions, looks for them in Bela's love, in a duel with Grushnitsky, in battles with the Circassians, while languidly and lazily carries his beautiful disappointment around the world . A little bit of Onegin, a little bit of Pechorin has been and still is with us any more or less intelligent person who owns a wealthy fortune, who grew up in an atmosphere of nobility and did not receive a serious education. Next to these bored drones there were and still are crowds of sad people, yearning from an unsatisfied desire to be useful ... Society is deaf and inexorable; the ardent desire of the Rudins and Beltovs to settle into practical activities and see the fruits of their labors and donations remains fruitless ... It seemed that the end of rudinism was coming, and even Mr. Goncharov himself buried his Oblomov and announced that many Stoltsev were hiding under Russian names. But the mirage dissipated - the Rudins did not become practical figures: because of the Rudins, a new generation came forward, which treated its predecessors with reproach and mockery ... They are aware of their dissimilarity with the masses and boldly separate from it by actions, habits, the whole way of life. Whether society will follow them, they don't care. They are full of themselves, their inner life and do not constrain it for the sake of accepted customs and ceremonies. Here the person achieves complete self-liberation, complete individuality and independence. In a word, the Pechorins have a will without knowledge, the Rudins have knowledge without a will; the Bazarovs have both knowledge and will, thought and deed merge into one solid whole.

Turgenev's attitude to:
“Turgenev, obviously, does not favor his hero. His soft, loving nature, striving for faith and sympathy, warps with corrosive realism; his subtle aesthetic sense, not devoid of a significant dose of aristocracy, is offended by even the slightest glimpses of cynicism ... "
“Unable to show us how Bazarov lives and acts, Turgenev showed us how he dies. This is enough for the first time to form an idea about the forces, about those forces whose full development could be indicated only by life ... " /
“The meaning of the novel came out like this: today's young people get carried away and go to extremes, but fresh strength and an incorruptible mind are reflected in the very hobbies; this strength and this mind, without any extraneous aids and influences, will lead young people to a straight path and support them in life.
Arkady:
“Bazarov treats him patronizingly and almost always mockingly ... Arkady does not love his friend, but somehow involuntarily submits to the irresistible influence of a strong personality.”
"Arkady ... puts on ideas that absolutely cannot grow together with him."
Pavel Petrovich:
“Uncle Arkady, Pavel Petrovich, can be called Pechorin of small size ... He has no convictions, to tell the truth, but he does have habits that he cherishes very much ... Deep down, Pavel Petrovich is the same skeptic and empiricist, like Bazarov himself.
Sitnikov and Kukshina:
“The young man Sitnikov and the young lady Kukshina represent a superbly executed caricature of a brainless progressive and emancipated woman in Russian... The Sitnikovs and Kukshins will always remain ridiculous personalities: not a single prudent person will rejoice that he stands with them under the same banner...”
1. The meaning of the title of the novel "Fathers and Sons".
2. The nature of the conflict in the novel.
3. Bazarov - "a tragic face."
4. Artistic skill of Turgenev.

The title of Turgenev's novel has nothing to do with the opposition of the characters in terms of family and age. In the novel, the ideological struggle of the era is artistically comprehended: the antagonism of the positions of liberal nobles (“fathers”) and raznochintsi-democrats (“children”).
As early as 1859, Dobrolyubov, reflecting on the social situation in Russia, ironically characterized the generation of the forties as "a wise lot of older people ... with lofty, but somewhat abstract aspirations." “When we say “older,” noted a democrat critic, “everywhere we mean people who have outlived their youthful strength and are no longer able to understand the modern movement and the needs of the new time; such people are found even between twenty-five years. In the same place, Dobrolyubov also reflects on the representatives of the “new” generation. They refuse to worship lofty but abstract principles. “Their final goal is not perfect slavish fidelity to abstract higher ideas, but bringing “the greatest possible benefit to mankind,” writes the critic. The polarity of ideological attitudes is obvious, the confrontation between "fathers" and "children" is ripe in life itself. Sensitive to modernity, Turgenev the artist could not but respond to him. The clash of Pavel Petrovich Kirsanov as a typical representative of the generation of the 40s with Evgeny, the bearer of new ideas, is inevitable. Their main life and worldview positions are revealed in the dialogues-disputes.
Dialogues occupy a large place in the novel: their compositional dominance emphasizes the ideological, ideological nature of the main conflict. Turgenev, as already noted, was a liberal in his convictions, which did not prevent him from showing in the novel the inconsistency of the heroes - liberal nobles in all spheres of life. The writer definitely and rather harshly assessed the generation of "fathers". In a letter to Sluchevsky, he noted: “My whole story is directed against the nobility as an advanced class. Look into the faces of Nikolai Petrovich, Pavel Petrovich, Arkady. Weakness and lethargy or limitation. Aesthetic feeling compelled me to take precisely good representatives of the nobility in order to prove my theme all the more correctly: if cream is bad, what about milk? They are the best of the nobles - and that is why I have chosen them to prove their failure. The father of the Kirsanov brothers was a military general in 1812, a simple, even rude man, "pulling his webbing all his life." The life of his sons is different. Nikolai Petrovich, who left the university in 1835, began his service under the patronage of his father in the "Ministry of appanages". However, he left her shortly after his marriage. Laconically, but succinctly, the author tells about his family life: “The spouses lived very well and quietly, they almost never parted. Ten years have passed like a dream ... And Arkady grew and grew - also well and quietly. The narration is colored with soft author's irony. Nikolai Petrovich has no public interests. The university youth of the hero took place in the era of the Nikolaev reaction, and the only sphere of application of his forces was love, family. Pavel Petrovich, a brilliant officer, left his career and the world because of his romantic love for the mysterious Princess R. The lack of social activity, social tasks, lack of housekeeping skills leads the heroes to ruin. Nikolai Petrovich, not knowing where to get the money, sells the forest. Being a gentle man by nature, of liberal convictions, he is trying to reform the economy, to alleviate the position of the peasants. But his "farm" does not give the expected income. The author notes on this occasion: "Their economy creaked like an unoiled wheel, cracked like home-made furniture made of raw wood." Expressive and meaningful is the description of the wretched villages that the characters pass by at the beginning of the novel. Nature is a match for them: "Like beggars in tatters stood roadside willows with peeled bark and broken branches ...". A sad picture of Russian life arose, from which "the heart contracted." All this is a consequence of the unfavorable social structure, the failure of the landlord class, including the subjectively very attractive Kirsanov brothers. Relying on the strength of the aristocracy, high principles, so dear to Pavel Petrovich, will not help to change the socio-economic situation in Russia. The disease has gone far. We need strong means, revolutionary transformations, Bazarov, a "democrat to the end of his nails," believes.
Bazarov is the central character in the novel, it is he who is the hero of time. This is a man of action, a naturalist materialist, a democrat-educator. Personality in all respects antagonistically opposed to the Kirsanov brothers. He is from the generation of "children". However, the contradictions of Turgenev's worldview and creativity were more pronounced in the image.
Political views contain some features inherent in the leaders of the revolutionary democracy of the 60s. He denies social foundations; hates "damned barchuks"; seeks to "clear a place" for a future properly arranged life. But still, nihilism, which Turgenev identified as revolutionary, was decisive in his political views. In a letter to Sluchevsky, he wrote like this: "... and if he is called a nihilist, then it must be considered: a revolutionary." Nihilism was an extreme trend in the revolutionary democratic movement and did not define it. But absolute nihilism in relation to art, love, nature, emotional experiences was the author's exaggeration. There was no such degree of denial in the outlook of the sixties.
Bazarov attracts with his desire for practical activities, he dreams of "breaking off a lot of cases", however, we do not know which ones. His ideal is a man of action. In the Kirsanov estate, he is constantly engaged in natural science experiments, and having arrived at his parents, he begins to treat the surrounding peasants. For the essence of life is important, therefore he is so dismissive of its external side - his clothes, appearance, demeanor.
The cult of deeds, the idea of ​​utility sometimes turn into naked utilitarianism. In terms of the direction of his worldview, he is closer to Pisarev than to Chernyshevsky and Dobrolyubov.
Contradictory relations with the common people. Undoubtedly, he is closer to him than the perfumed, prim Pavel Petrovich, but the peasants do not understand either his behavior or his goals.
Bazarov is shown by Turgenev in an environment alien to himself, he, in fact, has no like-minded people. Arkady is a temporary companion who fell under the influence of a strong friend, his convictions are superficial. Kukshina and Sitnikov are epigones, a parody of the "new man" and his ideals. Bazarov is alone, which makes his figure tragic. But there is in his personality and internal dissonance. Bazarov proclaims integrity, but in his nature it just does not exist. At the heart of his worldview lies not only the denial of recognized authorities, but also confidence in the absolute freedom of his own feelings and moods, beliefs. It is this freedom that he demonstrates in a dispute with Pavel Petrovich after evening tea, in the tenth chapter of the novel. But a meeting with Odintsova and love for her unexpectedly show him that he does not have this kind of freedom. He is powerless to cope with that feeling, the very existence of which he so easily and boldly denied. Being an ideological maximalist, Bazarov is not able to give up his convictions, but he is not able to win his heart either. This duality causes him great suffering. His own feelings, the life of his heart dealt a terrible blow to his harmonious worldview system. Before us is no longer a self-confident person, ready to destroy the world, but, as Dostoevsky said, "restless, yearning Bazarov." His death is accidental, but it manifested a vital pattern. Courage in death confirms the originality of his nature and even the heroic beginning in him. “To die the way Bazarov died is the same as to accomplish a feat,” wrote Pisarev.

Turgenev's novel about the hero of time, the "new man" is written with impeccable skill. First of all, it manifested itself in the creation of images of characters. The analytical portrait of the hero gives him a capacious socio-psychological description. So, “a beautiful hand with long pink nails, a hand that seemed even more beautiful from the delicate whiteness of a mitten buttoned with a single large opal ...” emphasizes the aristocracy of Pavel Petrovich, along with other details of the portrait, indicates the romantic nature of this character. “A long hoodie with tassels” and “a naked red hand”, which Bazarov does not immediately give to Nikolai Petrovich, these portrait details speak eloquently of democracy and its independence.
With great skill, the author conveys the originality of the speech of the characters. The smooth and kind speech of Nikolai Petrovich speaks of his gentleness, of the delicacy of nature. Pavel Petrovich's speech is arrogant, deliberately archaic, and when he talks about something alien and even hostile to him, it is contemptuous and rude. Rich and varied speech. So, in a conversation with Pavel Petrovich, "this doctor's son was not only not shy, but even answered curtly and reluctantly, and in the sound of his voice there was something rude, almost impudent." In a different way, very carefully and intelligently, he talks to Odintsova. There are many natural scientific terms in his speech, he is used to calling a spade a spade.
A special role in the novel is played by the landscape, which, as always with Turgenev, is unusually expressive. Realistic pictures of nature in the novel are connected with the action, sometimes making up its background, sometimes creating the mood. The landscape of the cemetery in the epilogue of the novel conveys a certain mood and evokes philosophical reflections. It is psychological and philosophical.
In the manner of narration, Turgenev strove for conciseness, but the compressed form of the narration did not prevent the author from revealing the deep and large-scale problems of his time. The novel "Fathers and Sons" is one of the best works of I.S. Turgenev.