Composition conflict of generations in the novel fathers and children of turgenev. The younger generation in the novel by I. S. Turgenev "Fathers and Sons" Fathers and Sons what is the conflict of generations

The main problem in the novel by I.S. Turgenev's "Fathers and Sons" is the problem of the contradiction of generations, the relationship between fathers and children. Turgenev considers this contradiction from two sides: from the social (conflict between aristocrats and nihilists) and from the philosophical (direct conflict between fathers and children).

Social conflict consists in the confrontation between various strata of society: the nobility, defending the existing order, and the followers of the theory of nihilism, who deny authority, principles and values. Turgenev reveals this confrontation with the help of the images of Pavel Petrovich Kirsanov, a representative of the aristocracy, and Evgeny Vasilyevich Bazarov, a typical nihilist.

Pavel Petrovich was a nobleman, in the past a brilliant officer who enjoyed great success in society. Everything was changed by his tragic love for Princess R.

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After her death, he lost hope for happiness and moved to his brother in Maryino, where he retained "all the habits of a secular lion" and aristocratic manners not typical for the countryside: reading English, the habit of dressing in the latest fashion, careful care of his appearance, etc. For Pavel Petrovich, aristocracy, principles and foundations of the last century, culture - that which was valuable to ancestors - are of great value.

Evgeny Bazarov is the absolute opposite of Pavel Petrovich. He is smart, educated, interested in natural sciences; has a thirst for activity, seeks to accomplish something great in his life, is capable of development. But at the same time, Eugene is a materialist, proud, arrogant, cynical, disdainful of people, selfish, immoral. Denial of past experience, reduction of human relations to physiological instincts, unprincipledness (in accordance with the theory of nihilism) emphasize the disadvantages of Bazarov and exacerbate them. Everything spiritual that has always been important for humanity: art, love, friendship, goodness - has no meaning for him.

It is precisely because of the differences in views of the world, in values, in ideas that collisions of these characters, and, consequently, aristocrats and nihilists, occur. What is considered by aristocrats to be the basis of life is denied by nihilists as obsolete, no longer true and hindering progress.

By philosophical conflict, Turgenev means directly the conflict of generations, older and younger. In the relationship between Arkady and his father, Nikolai Petrovich Kirsanov, there are almost no significant contradictions, there is mutual understanding and warmth between them. Although at the beginning of the novel Arkady is presented as a like-minded person of Bazarov, as events unfold, we see that he is much more like his father in his way of thinking, and his adherence to nihilism is nothing more than an attempt to seem more mature, more confident and independent. Just like for Nikolai Petrovich, for Arkady, love, family, friendship are important - what makes a person happy.

Bazarov's relationship with his parents is much more complicated: on the one hand, Evgeny loves them, although he rarely shows his feelings; on the other hand, Bazarov is bored with them, he cannot understand and accept their way of life. Both father and mother of Bazarov adhere to a traditional lifestyle. Eugene wanted the closest people to share his views and thoughts, and they really tried to do it, albeit unsuccessfully. Hence the problem of the generations' misunderstanding of each other arose.

Thus, Turgenev, himself belonging to the generation of "fathers", nevertheless stands on the side of Bazarov. "Turgenev did not like merciless denial, and yet the personality of a merciless denier turns out to be a strong personality, and inspires every reader with involuntary respect," D. Pisarev said.

Updated: 2017-08-09

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One of the problems of society, which is relevant at any time, is the conflict between different generations. A striking example of a work of fiction that reveals this problem is Turgenev's novel Fathers and Sons.

The key character of the work is Evgeny Bazarov, a representative of a new generation that preaches a nihilistic ideology. He is presented as a vivid adherent of this trend; his friend Arkady Kirsanov, on the contrary, tries to imitate the nihilists, but eventually abandons this philosophy. In the novel, they are opposed by representatives of the older generation: this is Arkady's father and uncle, who adhere to liberal views, as well as Yevgeny's more conservative parents.

The main character's worldview is based on the rejection of generally accepted ideals: he does not like to share someone's point of view (“I don’t share anyone’s opinions; I have mine”); he denies the past ("You cannot turn back the past ...") and does not tolerate delays ("There is no need to hesitate; only fools and clever people are hesitating"). His ideology is aimed at destroying the existing system, since he is extremely dissatisfied with it, but at the same time Bazarov offers practically nothing to replace the destroyed ideals.

The Kirsanov brothers, on the other hand, are actively promoting the idea of ​​preserving the current order. They are also not satisfied with the current situation, but this is due to the presence of young nihilists, who, in their opinion, talk a lot (“The young people were delighted. And indeed, before they were just idiots, but now they suddenly became nihilists”). So, Nikolai Petrovich does not give up on himself after the death of his wife, but continues to seek his happiness in love for Fenechka.

The parents of the protagonist are represented by more calm and conservative people, their worldview is more connected with religion. Their images are closely related both with the common people (superstition, simplicity) and with the upper class (medical education with Vasily Ivanovich, serf souls in the possession of Arina Vlasyevna).

In the novel, Turgenev pays special attention to contrasts: they are manifested not only in the opposition of the ideas of Bazarov, the younger and older generations, but also in the descriptions of the characters themselves. Thus, the tall and sullen Yevgeny argues with the short, cheerful Nikolai Petrovich; the basis of the description of Bazarov is his inner world, the Kirsanovs are his appearance. There is also a contrast within the nihilists themselves: Anna Odintsova, with whom Yevgeny falls in love, rejects him and love in general, while Arkady Kirsanov rejects nihilism itself due to his innocence and love for poetry.

At the same time, one cannot fail to note the similarities between the characters. Bazarov and the Kirsanov brothers are ardent defenders of their ideas (although in the end, Odintsova turns out to be the main defender of nihilism). The Bazarov family, despite the obvious differences in approaches to life, builds relationships on love, which Evgeny himself confirms.

The final images of all the characters, except Bazarov, turn out to be clearly defined: they either deviate from their previous ideas (Arkady), or continue to bend their line (the older Kirsanovs, Odintsov). Bazarov, on the other hand, finds himself captive to his philosophy: he denies love, but at the same time is unable to resist his feelings for Madame Odintsova. It is symbolic that the main character turns out to be the only one who dies in the work: only he alone could not find his place in society due to internal contradictions.

The conflict between fathers and children in the novel of the same name by Turgenev ends with the victory of the ideology of the older generation. Nevertheless, it is in such a struggle of interests that a person as a person is formed, since it is not always important to be absolutely right in an argument - it is important to be able to listen to others and, if necessary, use someone else's experience.

1. Social and political sentiments.
2. Innovation in the product.
3. The similarities and differences between Bazarov and Pavel Petrovich.
4. The character of Nikolai Petrovich.
5. The life position of Arkady.

I. S. Turgenev, as a creative and sensitive nature, perfectly saw and understood what was happening in the social life of his contemporaries. The novel "Fathers and Sons" was completed in 1862, when the confrontation between the two political parties of liberal aristocrats and revolutionary democrats was clearly traced in society. Of course, this could not but be reflected in the novel of the writer, where the conflicting sides are represented by the nihilist Yevgeny Bazarov and the nobleman Pavel Petrovich Kirsanov.

As a nobleman, Ivan Sergeevich could not share the views of Bazarov, who, according to the author, was the bearer of revolutionary democratic ideas. On the other hand, Turgenev as an artist was interested in these people and their characters. His attitude towards his hero is far from unambiguous, as evidenced by the fact that Eugene "suppresses all the other faces of the novel." When writing his novel, Ivan Sergeevich showed some innovation in terms of building the plot and the very idea of ​​the work. This was a new trend in fiction at the time. Turgenev's novel is completely devoid of the usual traditional elements of any other work of art. It is difficult to find a denouement or plot of the plot here, there is no strict plan that determines the course of action. On the other hand, in the work you can see well-drawn strong characters, observations and pictures from the everyday life of landowners and peasants. The absence of strictly verified artistic components does not at all detract from the value of this work, since here a thorough psychological analysis of the human personality is carried out, the author's attitude towards his heroes is manifested.

From the first acquaintance with the main characters of the novel, Yevgeny Bazarovs and Pavel Petrovich Kirsanov, it becomes clear that these people cannot but confront each other. The author emphasizes this even more, giving a detailed description of the appearance of his characters. The "graceful and thoroughbred" Kirsanov could not but irritate the nihilist with his frankly aristocratic manners, classic facial features, snow-white collars, beautiful hands with long pink nails. And Pavel Petrovich looked with obvious hostility at the wide plebeian forehead, "large bulges of a spacious skull", long hair and wide clothes of an unexpected guest. Already at the first acquaintance with each other, a fire of hostility flared up between these people, which subsequently grew into a real conflict between the older and younger generations. A nihilist, accustomed to work and from a practical point of view, to approach any phenomenon of the surrounding life, of course, could not understand the aristocrat who was imprisoned in the village and talked about subtle matters. Evgeny annoyed Kirsanov with his limitations regarding not material, but spiritual values.

On the other hand, these protagonists of the novel are incredibly close to each other. Both are fiercely loyal to their once established views and are not ready to make even the slightest compromise. The nihilist stands up for free thought, rejecting everything that does not fit into the boundaries of material reality, and the aristocrat with no less zeal is conservative in everything, feeling like a real gentleman. Both cannot deviate one iota from their "principles", although one of them, in particular a young man, is sure that he is completely devoid of any principles: "A nihilist is a person who does not bow before any authorities, who does not accept not a single principle on faith. " Despite the ideological differences, the character of Kirsanov and Bazarov are very similar. Both use their physical appearance to showcase their views. Hence the robes instead of clothes, long hair, Evgeny's sideburns, an impeccable suit, starched thin shirts, Pavel Petrovich's polished nails. Reproaching his rival for laziness and the absence of any attempts to do something useful for society, Bazarov, by and large, has not yet defined a clear goal for himself, has not found his purpose in this life. That is why, acting in the role of an accuser, Yevgenia hesitates to answer Kirsanov's question: "You deny everything, or, to put it more precisely, you destroy everything ... But you must also build."

Arkady stands up for him, arguing that the task of the nihilists is only to destroy everything old, to free up a new place. It was not only Kirsanov who felt the slack in Bazarov's reasoning. Odintsova also quickly felt the absence of the main life goal of her new acquaintance. Possessing incredible insight, she cannot believe that Eugene, endowed with such a high degree of pride, is able to be content with the activities of an ordinary district doctor. To which the main character replies: “And, besides, what kind of desire is there to talk and think about the future, which for the most part does not depend on us? There will be a chance to do something - fine, but it will not work out - at least you will be pleased with that that you didn’t talk in vain beforehand. ” Kirsanov is sincerely convinced that Bazarov is nothing more than a poser, and with his theory he covers up his ignorance and bad manners: “... before it was necessary to study ... and now they should be told that everything in the world is nonsense ... and it's in the bag. .. before they were just idiots, but now they suddenly become nihilists. " If at the beginning of the novel the reader clearly feels an abyss; separating the younger and older generations, then in the course of the development of the action it becomes clear that it as such does not exist at all. Despite the fact that young people, talking among themselves about the Kirsanov brothers, do not call them other than "old men", the author accurately indicates the age of Nikolai Petrovich and Pavel Petrovich.

As a result, it becomes clear that they are not such old years to write them down as old people, and even more so by modern standards. His young wife and infant son brings Father Arkady even closer to the new generation, the family, as it were, indicates to the reader that Nikolai Petrovich is in his prime. It is he who, to a greater extent, opposes the nihilistic ideas of his son and his friend. Pavel Petrovich hates Bazarov, entering into debates with him, he defends his point of view exclusively in words, but only Nikolai Petrovich is engaged in business without further ado. He does not feel strongly negative emotions towards Eugene, like his brother. Moreover, he respects the opinion of this person, deservedly considering him smart and well-read. Kirsanov is keenly interested in the scientific chemical experiments of his guest, like a sponge, absorbing everything new and interesting. At the same time, it is Nikolai Petrovich, the only one who is engaged in practical activity, who can resist the nihilist, question his arguments about the materiality of everything that happens. Kirsanov does not just reason, but tries to change something in the life around him, for which he creates a farm, gives part of the land to the peasants. With his seemingly imperceptible work, he achieves much greater results than all the nihilists put together, who stand up for freedom and reject ideals for the sake of a better life. Nikolai Petrovich is very worried about his disagreements with his son.

He is the first to take a step forward and try to understand the new generation. Sometimes he feels that in some way he is lagging behind the advanced youth, that something is already unattainable for him. However, this realization spurs Kirsanov even more with a triple zeal to engage in practical activities. Only work allows him to prove to those around him and to himself that he is still alive and young, that while he can benefit his family and the state, it is too early to write him off. With regret, Nikolai Petrovich recalls his delusions of young years, about his disputes with his mother, whom, due to inexperience, he considered lagging behind life and too old to perceive new trends and views. Now his own son treats him with the same pill.

The conflict that flared up on the first pages dies down in the work as if by itself. After the departure of the nihilist, calm reigns in the Kirsanov family. Arkady gradually moves away from his friend and falls under the influence of the smart and practical Katya. Irritation against Eugene, which originated in the soul of a young man during the period of friendship with his unwitting mentor. It grows to such an extent that it ruins all friendships. Arkady, also not devoid of insight, begins to notice that the words of a friend do not always correspond to his actions. Evgeny’s sharp and not always harmless statements about Kirsanov Jr.’s relatives and acquaintances cause discontent.

As a result, Bazarov leaves for his father's estate, where he soon becomes infected and dies. Arkady, on the other hand, adopts the experience of his father, drawing closer to him more and more. He likes to engage in economic activities, nihilistic inclinations fade into the background, until they generally remain somewhere far in the past. A young man with a creative nature, loving music and poetry, realizes the inconsistency of his friend's theory and quickly abandons it.

1. Social and political sentiments.
2. Innovation in the product.
3. The similarities and differences between Bazarov and Pavel Petrovich.
4. The character of Nikolai Petrovich.
5. The life position of Arkady.

I. S. Turgenev, as a creative and sensitive nature, perfectly saw and understood what was happening in the social life of his contemporaries. The novel "Fathers and Sons" was completed in 1862, when the confrontation between the two political parties of liberal aristocrats and revolutionary democrats was clearly traced in society. Of course, this could not but be reflected in the novel of the writer, where the conflicting sides are represented by the nihilist Yevgeny Bazarov and the nobleman Pavel Petrovich Kirsanov.

As a nobleman, Ivan Sergeevich could not share the views of Bazarov, who, according to the author, was the bearer of revolutionary democratic ideas. On the other hand, Turgenev as an artist was interested in these people and their characters. His attitude towards his hero is far from unambiguous, as evidenced by the fact that Eugene "suppresses all the other faces of the novel." When writing his novel, Ivan Sergeevich showed some innovation in terms of building the plot and the very idea of ​​the work. This was a new trend in fiction at the time. Turgenev's novel is completely devoid of the usual traditional elements of any other work of art. It is difficult to find a denouement or plot of the plot here, there is no strict plan that determines the course of action. On the other hand, in the work you can see well-drawn strong characters, observations and pictures from the everyday life of landowners and peasants. The absence of strictly verified artistic components does not at all detract from the value of this work, since here a thorough psychological analysis of the human personality is carried out, the author's attitude towards his heroes is manifested.

From the first acquaintance with the main characters of the novel, Yevgeny Bazarovs and Pavel Petrovich Kirsanov, it becomes clear that these people cannot but confront each other. The author emphasizes this even more, giving a detailed description of the appearance of his characters. The "graceful and thoroughbred" Kirsanov could not but irritate the nihilist with his frankly aristocratic manners, classic facial features, snow-white collars, beautiful hands with long pink nails. And Pavel Petrovich looked with obvious hostility at the wide plebeian forehead, "large bulges of a spacious skull", long hair and wide clothes of an unexpected guest. Already at the first acquaintance with each other, a fire of hostility flared up between these people, which subsequently grew into a real conflict between the older and younger generations. A nihilist, accustomed to work and from a practical point of view, to approach any phenomenon of the surrounding life, of course, could not understand the aristocrat who was imprisoned in the village and talked about subtle matters. Evgeny annoyed Kirsanov with his limitations regarding not material, but spiritual values.

On the other hand, these protagonists of the novel are incredibly close to each other. Both are fiercely loyal to their once established views and are not ready to make even the slightest compromise. The nihilist stands up for free thought, rejecting everything that does not fit into the boundaries of material reality, and the aristocrat with no less zeal is conservative in everything, feeling like a real gentleman. Both cannot deviate one iota from their "principles", although one of them, in particular a young man, is sure that he is completely devoid of any principles: "A nihilist is a person who does not bow before any authorities, who does not accept not a single principle on faith. " Despite the ideological differences, the character of Kirsanov and Bazarov are very similar. Both use their physical appearance to showcase their views. Hence the robes instead of clothes, long hair, Evgeny's sideburns, an impeccable suit, starched thin shirts, Pavel Petrovich's polished nails. Reproaching his rival for laziness and the absence of any attempts to do something useful for society, Bazarov, by and large, has not yet defined a clear goal for himself, has not found his purpose in this life. That is why, acting in the role of an accuser, Yevgenia hesitates to answer Kirsanov's question: "You deny everything, or, to put it more precisely, you destroy everything ... But you must also build."

Arkady stands up for him, arguing that the task of the nihilists is only to destroy everything old, to free up a new place. It was not only Kirsanov who felt the slack in Bazarov's reasoning. Odintsova also quickly felt the absence of the main life goal of her new acquaintance. Possessing incredible insight, she cannot believe that Eugene, endowed with such a high degree of pride, is able to be content with the activities of an ordinary district doctor. To which the main character replies: “And, besides, what kind of desire is there to talk and think about the future, which for the most part does not depend on us? There will be a chance to do something - fine, but it will not work out - at least you will be pleased with that that you didn’t talk in vain beforehand. ” Kirsanov is sincerely convinced that Bazarov is nothing more than a poser, and with his theory he covers up his ignorance and bad manners: “... before it was necessary to study ... and now they should be told that everything in the world is nonsense ... and it's in the bag. .. before they were just idiots, but now they suddenly become nihilists. " If at the beginning of the novel the reader clearly feels an abyss; separating the younger and older generations, then in the course of the development of the action it becomes clear that it as such does not exist at all. Despite the fact that young people, talking among themselves about the Kirsanov brothers, do not call them other than "old men", the author accurately indicates the age of Nikolai Petrovich and Pavel Petrovich.

As a result, it becomes clear that they are not such old years to write them down as old people, and even more so by modern standards. His young wife and infant son brings Father Arkady even closer to the new generation, the family, as it were, indicates to the reader that Nikolai Petrovich is in his prime. It is he who, to a greater extent, opposes the nihilistic ideas of his son and his friend. Pavel Petrovich hates Bazarov, entering into debates with him, he defends his point of view exclusively in words, but only Nikolai Petrovich is engaged in business without further ado. He does not feel strongly negative emotions towards Eugene, like his brother. Moreover, he respects the opinion of this person, deservedly considering him smart and well-read. Kirsanov is keenly interested in the scientific chemical experiments of his guest, like a sponge, absorbing everything new and interesting. At the same time, it is Nikolai Petrovich, the only one who is engaged in practical activity, who can resist the nihilist, question his arguments about the materiality of everything that happens. Kirsanov does not just reason, but tries to change something in the life around him, for which he creates a farm, gives part of the land to the peasants. With his seemingly imperceptible work, he achieves much greater results than all the nihilists put together, who stand up for freedom and reject ideals for the sake of a better life. Nikolai Petrovich is very worried about his disagreements with his son.

He is the first to take a step forward and try to understand the new generation. Sometimes he feels that in some way he is lagging behind the advanced youth, that something is already unattainable for him. However, this realization spurs Kirsanov even more with a triple zeal to engage in practical activities. Only work allows him to prove to those around him and to himself that he is still alive and young, that while he can benefit his family and the state, it is too early to write him off. With regret, Nikolai Petrovich recalls his delusions of young years, about his disputes with his mother, whom, due to inexperience, he considered lagging behind life and too old to perceive new trends and views. Now his own son treats him with the same pill.

The conflict that flared up on the first pages dies down in the work as if by itself. After the departure of the nihilist, calm reigns in the Kirsanov family. Arkady gradually moves away from his friend and falls under the influence of the smart and practical Katya. Irritation against Eugene, which originated in the soul of a young man during the period of friendship with his unwitting mentor. It grows to such an extent that it ruins all friendships. Arkady, also not devoid of insight, begins to notice that the words of a friend do not always correspond to his actions. Evgeny’s sharp and not always harmless statements about Kirsanov Jr.’s relatives and acquaintances cause discontent.

As a result, Bazarov leaves for his father's estate, where he soon becomes infected and dies. Arkady, on the other hand, adopts the experience of his father, drawing closer to him more and more. He likes to engage in economic activities, nihilistic inclinations fade into the background, until they generally remain somewhere far in the past. A young man with a creative nature, loving music and poetry, realizes the inconsistency of his friend's theory and quickly abandons it.

1. Social and political sentiments.

2. Innovation in the product.

3. The similarities and differences between Bazarov and Pavel Petrovich.

4. The character of Nikolai Petrovich.

5. The life position of Arkady.

The conflict of generations in the work of I. S. Turgenev "Fathers and Sons". I. S. Turgenev, as a creative and sensitive nature, perfectly saw and understood what was happening in the social life of his contemporaries. The novel "Fathers and Sons" was completed in 1862, when the confrontation between the two political parties of liberal aristocrats and revolutionary democrats was clearly traced in society. Of course, this could not but be reflected in the novel of the writer, where the conflicting sides are represented by the nihilist Yevgeny Bazarov and the nobleman Pavel Petrovich Kirsanov.

As a nobleman, Ivan Sergeevich could not share the views of Bazarov, who, according to the author, was the bearer of revolutionary democratic ideas. On the other hand, Turgenev as an artist was interested in these people and their characters. His attitude towards his hero is far from unambiguous, as evidenced by the fact that Eugene "suppresses all the other faces of the novel." When writing his novel, Ivan Sergeevich showed some innovation in terms of building a plot and this idea of ​​\ u200b \ u200bthe work. This was a new trend in fiction at the time. Turgenev's novel is completely devoid of the usual traditional elements of any other work of art. It is difficult to find a denouement or plot of the plot here, there is no strict plan that determines the course of action. On the other hand, in the work you can see well-drawn strong characters, observations and pictures from the everyday life of landowners and peasants. The absence of strictly verified artistic components does not at all detract from the value of this work, since here a thorough psychological analysis of the human personality is carried out, the author's attitude towards his heroes is manifested.

From the first acquaintance with the main characters of the novel, Yevgeny Bazarovs and Pavel Petrovich Kirsanov, it becomes clear that these people cannot but confront each other. The author emphasizes this even more, giving a detailed description of the appearance of his characters. The "graceful and thoroughbred" Kirsanov could not but irritate the nihilist with his frankly aristocratic manners, classic facial features, snow-white collars, beautiful hands with long pink nails. And Pavel Petrovich looked with obvious hostility at the wide plebeian forehead, "large bulges of a spacious skull", long hair and wide clothes of an unexpected guest. Already at the first acquaintance with each other, a fire of hostility flared up between these people, which subsequently grew into a real conflict between the older and younger generations. A nihilist, accustomed to work and from a practical point of view, to approach any phenomenon of the surrounding life, of course, could not understand the aristocrat who was imprisoned in the village and talked about subtle matters. Evgeny annoyed Kirsanov with his limitations regarding not material, but spiritual values.

On the other hand, these protagonists of the novel are incredibly close to each other. Both are fiercely loyal to their once established views and are not ready to make even the slightest compromise. The nihilist stands up for free thought, rejecting everything that does not fit into the boundaries of material reality, and the aristocrat with no less zeal is conservative in everything, feeling like a real gentleman. Both cannot deviate one iota from their "principles", although one of them, in particular a young man, is sure that he is completely devoid of any principles: "A nihilist is a person who does not bow before any authorities, who does not accept not a single principle on faith. " Despite the ideological differences, the character of Kirsanov and Bazarov are very similar. Both use their physical appearance to showcase their views. Hence the robes instead of clothes, long hair, Evgeny's sideburns, an impeccable suit, starched thin shirts, Pavel Petrovich's polished nails. Reproaching his rival for laziness and the absence of any attempts to do something useful for society, Bazarov, by and large, has not yet defined a clear goal for himself, has not found his purpose in this life. That is why, acting in the role of an accuser, Yevgenia hesitates to answer Kirsanov's question: "You deny everything, or, to put it more precisely, you destroy everything ... But you must also build."

Arkady stands up for him, arguing that the task of the nihilists is only to destroy everything old, to free up a new place. It was not only Kirsanov who felt the slack in Bazarov's reasoning. Odintsova also quickly felt the absence of the main life goal of her new acquaintance. Possessing incredible insight, she cannot believe that Eugene, endowed with such a high degree of pride, is able to be content with the activities of an ordinary district doctor. To which the main character replies: “And, besides, what kind of desire is there to talk and think about the future, which for the most part does not depend on us? There will be a chance to do something - great, but it will not work - at least you will be pleased with that that you didn’t talk in vain in advance ”. Kirsanov is sincerely convinced that Bazarov is nothing more than a poser, and with his theory he covers up his ignorance and bad manners: “... before you had to learn ... but now they should say that everything in the world is nonsense ... and it's in the bag ... before they were just fools, and now they have suddenly become nihilists. " If at the beginning of the novel the reader clearly feels the abyss separating the younger and older generations, then in the course of the development of the action it becomes clear that it as such does not exist at all. Despite the fact that young people, talking among themselves about the Kirsanov brothers, do not call them other than "old men", the author accurately indicates the age of Nikolai Petrovich and Pavel Petrovich.

As a result, it becomes clear that they are not such old years to write them down as old people, and even more so by modern standards. His young wife and infant son brings Father Arkady even closer to the new generation, the family, as it were, indicates to the reader that Nikolai Petrovich is in his prime. It is he who, to a greater extent, opposes the nihilistic ideas of his son and his friend. Pavel Petrovich hates Bazarov, entering into debates with him, he defends his point of view exclusively in words, but only Nikolai Petrovich is engaged in business without further ado. He does not feel strongly negative emotions towards Eugene, like his brother. Moreover, he respects the opinion of this person, deservedly considering him smart and well-read. Kirsanov is keenly interested in the scientific chemical experiments of his guest, like a sponge, absorbing everything new and interesting. At the same time, it is Nikolai Petrovich, the only one who is engaged in practical activity, who can resist the nihilist, question his arguments about the materiality of everything that happens. Kirsanov does not just reason, but tries to change something in the life around him, for which he creates a farm, gives part of the land to the peasants. With his seemingly imperceptible work, he achieves much greater results than all the nihilists put together, who stand up for freedom and reject ideals for the sake of a better life. Nikolai Petrovich is very worried about his disagreements with his son.

He is the first to take a step forward and try to understand the new generation. Sometimes he feels that in some way he is lagging behind the advanced youth, that something is already unattainable for him. However, this realization spurs Kirsanov even more with a triple zeal to engage in practical activities. Only work allows him to prove to those around him and to himself that he is still alive and young, that while he can benefit his family and the state, it is too early to write him off. With regret, Nikolai Petrovich recalls his delusions of young years, about his disputes with his mother, whom, due to inexperience, he considered lagging behind life and too old to perceive new trends and views. Now his own son treats him with the same pill. The conflict that flared up on the first pages dies down in the work as if by itself. After the departure of the nihilist, calm reigns in the Kirsanov family. Arkady gradually moves away from his friend and falls under the influence of the smart and practical Katya. Irritation against Eugene, which originated in the soul of a young man during the period of friendship with his unwitting mentor. It grows to such an extent that it ruins all friendships. Arkady, also not devoid of insight, begins to notice that the words of a friend do not always correspond to his actions. Evgeny’s sharp and not always harmless statements about Kirsanov Jr.’s relatives and acquaintances cause discontent.

As a result, Bazarov leaves for his father's estate, where he soon becomes infected and dies. Arkady, on the other hand, adopts the experience of his father, drawing closer to him more and more. He likes to engage in economic activities, nihilistic inclinations fade into the background, until they generally remain somewhere far in the past. A young man with a creative nature, loving music and poetry, realizes the inconsistency of his friend's theory and quickly abandons it.