Genre and compositional features of the novel by I.S. Turgenev “Fathers and Sons. Genre and compositional features of the novel "Fathers and Sons"

...since the time of ancient tragedy, we already know that real clashes are those in which both sides are to a certain extent right.
I. S. Turgenev

The genre of “Fathers and Sons” (1861) is a novel, but if we reveal the genre uniqueness of this work, then it is social (ideological) and psychological novel.

The theme of the novel “Fathers and Sons” is a depiction of the socio-political situation on the eve of the abolition of serfdom. In 1859-1861, the first revolutionary situation arose in Russia, which ended with the abolition of serfdom “from above.” Revolutionary situation was characterized, on the one hand, by peasant unrest throughout the country and, on the other hand, by a special intensity of socio-political struggle. Turgenev closely followed the political clashes in society (on the pages of magazines, in books) and reflected in his novel the ideological struggle of liberals and revolutionary democrats.

“Fathers and Sons” presents the struggle between the main social forces Russia on the eve of the reform of 1861, which makes the novel social. Pavel Petrovich Kirsanov, discussing the fashionable topic of liberal reforms, in fact defends the interests of the most conservative landed nobility, which is afraid of real social transformation. Nikolai Petrovich Kirsanov and Arkady belong to real noble liberals and are waiting for reforms from the authorities, since personal experience they see that changes in the economic life of the country are necessary, that serfdom hinders the development of Russia. Evgeny Bazarov is a representative of the most determined part of Russian society - the democrats, who advocate the most radical changes in all areas of Russian life with the help of revolution. Bazarov, a second-generation nobleman, due to his poverty, did not have time to learn noble virtues and prejudices. It would be more correct to call him an intellectual, and not of the nobility, but of commoners. Bazarov can be classified as a type of hero who has received the name “new people” in Russian literary criticism; it is thanks to this hero that the novel “Fathers and Sons” is of serious historical and literary interest.

Conventionally, the novel can be divided into two parts. In the first, the author reveals the image of Bazarov in a clash with ideological opponents. Turgenev describes in detail the disputes between Pavel Petrovich and Bazarov, which are expressed different opinions on the same issues; this allows us to clarify the genre uniqueness of the novel: it is not only social, but also ideological. A.S. Griboyedov’s comedy “Woe from Wit” is structured in a similar way: ideological opponents - Chatsky and representatives Famusov society- they argue about different things public issues(about noble service, about education, about family relationships, about patriotism, etc.). In “Fathers and Sons,” ideological opponents discuss the most pressing issues of their time: the need for reforms, the mood of the people, the rural community, the role of the nobility in society, nihilists, Russian history, art, etc. You can compare, for example, the attitude of ideological opponents to the people. Pavel Petrovich declares that he loves the people, but Turgenev reports that the aristocrat is talking with the men with his nose buried in a scented handkerchief (VII). In the epilogue, the author venomously remarks that Pavel Petrovich’s love for the people is manifested in one thing: in Dresden, on his table there is a silver ashtray in the shape of a peasant’s bast shoe. Bazarov, for his part, proudly says that he himself came from the people: “My grandfather plowed the land” (X). At the same time, the young nihilist does not hide the fact that he looks at the peasant rather contemptuously, but the peasant himself has a very bad opinion of himself. In fairness, it should be noted that Bazarov looks at his own person just as soberly, without sentimentality.

In all disputes with Pavel Petrovich, Bazarov wins: the village aristocrat cannot object to the comprehensive criticism of the Russian order given by the nihilist. In these clashes, Turgenev draws attention to the evidential power and fairness of Bazarov’s views, but in some matters (regarding art, love, nature, family relations) the writer cannot agree with his decisive hero, although he diligently cites his bold statements that there is no love, but only a physiological attraction of the sexes; that Raphael is “not worth a penny” (X); that nature is nothing, that parental love is an annoying feeling.

The second part of the novel, according to the writer, should prove to both the readers and the hero himself how wrong he was in his nihilistic attitude towards universal human values. At a ball in the provincial town, Bazarov meets Anna Sergeevna Odintsova and a little later truly falls in love with her. So Bazarov learns from personal experience that ideal love does exist - he himself suffers from unrequited love. If in the first part of the novel a young nihilist declares to Arkady: “Nature is not a temple, but a workshop, and man is a worker in it” (IX), then now he understands how important nature-temple is for a person, where he can take a break from everyday bustle and calm down. nerves, without hindrance to think through your ideas and problems. Bazarov in love walks in the far corners of the park, in the forest, in the field. The first part of Bazarov’s explanation with Odintsova takes place in a poetic setting (at a window open to the garden, into which a fresh and mysterious summer night peers in). In other words, Turgenev demonstrates that the erroneous views of the protagonist are still very young man, break when confronted with real life.

The writer treats his hero with both obvious sympathy and prejudice. The author recognizes the strength of Bazarov's personality. This is manifested, firstly, in the fact that in ideological disputes the nihilist always prevails over the liberal nobles. Secondly, Bazarov’s death, depicted in the finale, confirms the strength of his character, which D.I. Pisarev rightly pointed out in his analysis of the novel. Bazarov, even before his death, does not change his life principles and bravely meets his end. Thirdly, next to the main character are depicted two more “nihilistic progressives” - Kukshina and Sitnikov, who are an evil caricature of the progressive people of their time.

But Turgenev, a man of liberal convictions, while recognizing the strength of the hero, cannot agree with his nihilistic views on human feelings, art, cannot approve radical statements about the old way of life, created by the efforts of entire generations, but Bazarov calmly declares to Pavel Petrovich: “First the place needs to be cleared, and others will build” (X). These aspects of the young nihilist's personality evoke in the writer negative attitude, therefore, Bazarov is portrayed tendentiously in the novel, that is, the author deliberately sharpens and strengthens some character traits and some controversial statements of the hero.

First of all, tendentiousness is manifested in the description of the main character’s appearance given at the beginning of the novel: a long face, long hair sand-colored, strange sideburns, red hands without gloves, an old coat-hoodie. No wonder Pavel Petrovich’s valet called the guest “a real pig in the bush” (X). In addition, the portrait shows that, firstly, Bazarov is a poor man and that, secondly, he despises the manners of nobles such as the socialite Pavel Petrovich and deliberately pays little attention to clothing. Turgenev's prejudice was also manifested in the fact that his hero, contrary to his strong convictions, participates in a duel, which is depicted as a parody of a real duel. Bazarov, wanting to recover from his unhappy love for Odintsova, flirts with Fenechka. He deservedly despises the insignificant Sitnikov, but at the same time cynically declares that he needs such boobies for dirty deeds: “It’s not for the gods (...) to burn pots” (XIX). Finally, Bazarov, by the will of the author, dies due to a stupid accident, having never accomplished anything in his life.

“Fathers and Sons” is a psychological novel because Turgenev pays great attention to depicting the feelings and experiences of his heroes. At the same time, the peculiarity of psychologism (“the iceberg principle”) of the writer is to give the reader the opportunity to guess, from a few hints, about the feelings of the characters. The actions of Turgenev's heroes are not accompanied by long, painful thoughts, as in the novels of F.M. Dostoevsky; Turgenev's heroes do not solve their own ideological problems in long internal monologues, like the heroes of Leo Tolstoy. According to Turgenev, a writer should not spend psychological analysis before the reader: he does all this with the characters in advance, and presents the reader only with the results of the characters’ experiences and thoughts.

An example of Turgenev's psychologism can be the love story of Arkady Kirsanov. The young man very accurately comprehends his life impressions - observations of nature, the characters of the people he met (the Loktev sisters, Bazarov’s parents, Bazarov himself). Arkady follows the romance between Odintsova and Bazarov with sadness and jealousy, and he imperceptibly falls in love with quiet, shy Katya, who seems to him a simple and sweet girl. Both in life and in love, he is only capable of ordinary actions, and Arkady is not capable of loving a woman like Odintsova, much less loving hopelessly.

So, at the center of the socio-psychological novel “Fathers and Sons” is new hero era - " new person" - Bazarov. The appearance of people of this type in Russian life became the most important social phenomenon of the 50s and 60s of the 19th century. Many Russian writers tried to understand and portray them.

N.G. Chernyshevsky saw them, one might say, from the inside, because he himself belonged to such people. In the novel “What to do?” “new people” are described as heroes of their time: they have found a philosophical “golden mean” in life, work both for themselves and for the public good, defend their human dignity without humiliating someone else. N.S. Leskov assessed the “new people” from the outside and very critically, therefore, in the novel “Nowhere” he portrayed them as unscrupulous functionaries who dream of power over the “anthill” (later Rodion Raskolnikov will talk about this), and power will bring them and material well-being.

Turgenev, determining his place in the political struggle of the 60s, chose to stay with the “fathers”. In other words, Turgenev looked at the “new people” from the outside, but as a wise “ancestor” who notes both the strong and weak sides younger generation. Such a balanced and friendly approach to “new people” makes the novel “Fathers and Sons” especially interesting, and the image of Bazarov bright and convincing.

Genre and compositional features novel "Fathers and Sons"

“Fathers and Sons” by Turgenev is a socio-psychological novel in which the main place is given to social conflicts. The work is built on the opposition of the main character, the commoner Bazarov, and the rest of the characters.

In the clashes between Bazarov and other characters, the main character traits of the hero and his views are revealed. Bazarov's main antagonist is Pavel Petrovich Kirsanov. A conflict between them begins immediately after Bazarov arrives at the Kirsanovs’ house. Already portrait characteristic indicates that this is completely different people. When describing the appearance of Bazarov and Pavel Petrovich, the author uses a detailed portrait, designed mainly for the viewer's impression. Bazarov's appearance and demeanor reveal a true democrat in him. Before us is a man “tall in a long robe with tassels,” his face “long and thin, with a wide forehead, a flat upward, pointed nose downwards, large greenish eyes and hanging sand-colored sideburns... enlivened by a calm smile and expressing self-confidence and mind". Bazarov does not take into account the conditions accepted in noble families; he behaves simply, relaxedly and in a way that is more convenient for him.

speaks of his aristocracy: “The whole appearance of Arkadyev’s uncle, elegant and thoroughbred, retained youthful stamina and that desire upward, away from the earth, which for the most part disappears after twenty years.” Characterizing the manners of Pavel Petrovich, the author reveals his views. So, during a meeting with Arkady, Pavel Petrovich, “having performed a preliminary European “shake hands” ... kissed him three times in Russian.” In this case, the author emphasizes Pavel Petrovich’s Anglicanism and at the same time his commitment to noble views.

To characterize his heroes, Turgenev uses different kinds portrait. Thus, to reveal the images of Kukshina and Sitnikov, the author resorts to the technique of a satirical portrait. “An alarming and dull expression,” Turgenev writes about Sitnikov, “was reflected in the small, however pleasant, features of his sleek face; his small, sunken eyes looked intently and restlessly, and he laughed restlessly: with a kind of short, wooden laugh.”

One of the most important conflicts of the novel develops in Chapter X. The author called the dialogue contained in this chapter a “fight” between Pavel Petrovich and Bazarov. During the dialogue, Bazarov behaves confidently and calmly, while Pavel Petrovich behaves like a hot-tempered person who cannot restrain his emotions. The culmination of the relationship between Pavel Petrovich and Bazarov occurs in Chapter XXIV, during a duel, from which Bazarov emerges victorious. The author himself wrote that “the duel with Pavel Petrovich was precisely introduced to clearly demonstrate the emptiness of elegant noble chivalry, presented in an almost exaggerated comic manner.” Despite the fact that the main place in the work is occupied by social conflicts, there is also a love affair, but, compressed by political disputes, it fits into five chapters. The constraint of a love affair by collisions was also reflected in the placement of its individual parts and contributed to the convergence of the beginning with the climax, and the climax with the denouement. The culmination of the love affair is shown in Chapter XIII. Here there is an explanation between Bazarov and Odintsova, after which the author separates them until the end of the novel. However, despite the compactness of the love affair, it will play an important role in characterizing the hero. The very fact that Turgenev forced his hero to fail in love is the writer’s intention to debunk Bazarov. The hero begins to express pessimistic thoughts, loses self-confidence, even his habits and manners change: “... the fever of work left him and was replaced by dreary boredom and dull anxiety. A strange fatigue was noticeable in all his movements; even his gait, firm and swiftly bold, changed.” The author, as it were, leads the hero along a descending line, gradually depriving him of self-confidence and the necessity of his activities. The hero seems to be fading away, his convictions are melting. In the scene of Bazarov's death, the image of a dying lamp appears, which acts as an allegory of the hero's fate. In the epilogue of the novel, the author places a landscape that, according to Herzen, resembles a requiem. Here Turgenev sums up the final outcome of Bazarov's life, showing how his personality dissolves against the background eternal nature: “No matter what passionate, sinful, rebellious heart is hidden in the grave, the flowers growing on it serenely look at us with their innocent eyes; Not only do they tell us about eternal peace, about that great peace of “indifferent” nature, they also talk about eternal reconciliation and endless life...” Thus, the landscape in the novel is an important means of reflecting author's position. With the help of the landscape, Turgenev also expresses his attitude to Bazarov’s statement that nature is not a temple, but a workshop, contrasting him with a poetic picture of a summer evening. It should be noted that in the novel “Fathers and Sons” there is much less descriptions nature and lyrical digressions than in other works of Turgenev. This is explained by the very genre of the socio-psychological novel, in which main role play political disputes that are revealed through dialogue. It was with the help of dialogue that the author was able to reflect the ideological struggle, illuminate actual problems of his time from different points of view. Dialogue is also an important means of characterizing the main character. In dialogues with Pavel Petrovich, Arkady, Odintsova, the hero’s views and character are revealed.

The author also uses speech characteristics. In conversation, Bazarov is always brief, but his remarks are full deep meaning, they testify to the hero’s erudition and wit. Bazarov often uses proverbs and sayings, for example: “He burned himself on his own milk, he blows on someone else’s water,” “The Russian peasant will eat God.” Bazarov's speech, like his portrait, testifies to the hero's democracy. Speech characteristics are no less important for revealing the image of Pavel Petrovich Kirsanov. In Pavel Petrovich's speech there are many specific words and expressions characteristic of the estate-landlord vocabulary of the 19th century. The author himself explains the peculiarities of his speech: “This quirk reflected the remainder of the legends of Alexander’s time. The then aces, on rare occasions when they spoke native language, some used - efto, others - ehto: we, my, are the indigenous Rusaks, and at the same time we are nobles who are allowed to neglect school rules...” Speech characteristics Pavel Petrovich says that this is a man of the “old century”.

So everything artistic media the novel is subordinated to him genre originality, aimed at revealing it ideological content.

Bibliography

To prepare this work, materials from the site http://*****/ were used

Creativity of I.S. Turgenev made a huge contribution to the development of Russian literature. Many of his works are well known to readers different ages. But the most popular was and remains Turgenev’s novel “Fathers and Sons,” which became the answer to many of the writer’s contemporary questions. The history of the creation of the novel “Fathers and Sons” began in 1860, with the idea that visited Ivan Sergeevich.

First stage

Thoughts about creating a new work describing the surrounding reality arose in Turgenev when he was in England on the Isle of Wight. Then he conceives a major story, the hero of which should be a young doctor. The prototype of Bazarov was accidentally met by Turgenev while traveling around railway young doctor. In him he saw the beginnings of nihilism, which was just emerging at that time. This amazed Ivan Sergeevich. He was simply fascinated by the views of this young man.

Beginning of work

Turgenev began work directly in 1860. He leaves with his daughter for Paris, settles there and plans to finish work with a new work in a short time. During the first year of working on Fathers and Sons, the writer completes the first half of the novel. He feels great satisfaction from his work. He is madly attracted to the image of Yevgeny Bazarov. But over time, he feels that he can no longer work in Paris. The writer returns to his homeland.

Completion of the novel

Returning to Russia gives Turgenev the opportunity to plunge into the atmosphere of modern social movements. This helps him complete the novel. Shortly before the end of work on “Fathers and Sons” in Russia, significant event- abolition of serfdom. Latest chapters the works were completed by Ivan Sergeevich in his native village of Spassky.

First publications and disputes

For the first time, “Fathers and Sons” appeared to the world on the pages of the popular literary publication"Russian Messenger". As Turgenev feared, ambiguous image Bazarov caused a strong reaction in literary circles. Its discussion gave rise to a lot of controversy in the press. Many excellent critics devoted their articles to analyzing the ideological content of the novel and characterizing the main character. The appearance of a new image, denying everything familiar and beautiful, became a kind of hymn to the young nihilistic movement.

Latest edition of the novel

After the novel appeared in the Russian Messenger, Turgenev was engaged in a slight reworking of the text of the work. It smoothes out some particularly harsh character traits of the main character, and makes the image of Bazarov more attractive than in the original version. In the fall of 1862, an edited version of the novel was published. On title page There is a dedication to Vissarion Grigorievich Belinsky. Turgenev and Belinsky were very close friends, and thanks to the influence of Vissarion Grigorievich, some public views Ivan Sergeevich.

Roman I.S. Turgenev’s “Fathers and Sons” became a unique work, reflecting the eternal confrontation between two generations not only within a single family, but also at the level of socio-political life of an entire country.

The novel became iconic for its time, and the image of the main character Evgeniy Bazarov was perceived by young people as an example to follow. Ideals such as uncompromisingness, lack of admiration for authorities and old truths, the priority of the useful over the beautiful were perceived by the people of that time and were reflected in Bazarov’s worldview.

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  The action in the novel takes place in the summer of 1859, that is, on the eve of the peasant reform of 1861.

  Evgeny Bazarov and Arkady Kirsanov come to Maryino and spend some time staying with the Kirsanovs (father Nikolai Petrovich and uncle Pavel Petrovich). Tensions with the elder Kirsanovs force Bazarov to leave Maryino and go to the provincial town ***. Arkady goes with him. Bazarov and Arkady spend time in the company of local “progressive” youth - Kukshina and Sitnikov. Then, at the governor’s ball, they meet Odintsova. Bazarov and Arkady go to Nikolskoye, Odintsova’s estate, and Mrs. Kukshina, wounded by them, remains in the city. Bazarov and Arkady, infatuated with Odintsova, spend some time in Nikolskoye. After an unsuccessful declaration of love, Bazarov, who frightened Odintsova, is forced to leave. He goes to his parents (Vasily and Arina Bazarov), and Arkady goes with him. Bazarov and Arkady are visiting his parents. Tired of manifestations parental love, Bazarov leaves his discouraged father and mother, and together with Arkady goes back to Maryino. On the way, they accidentally stop at Nikolskoye, but, having met a cold reception, they return to Maryino. Bazarov lives for some time in Maryino. A surge of passion spills out into a kiss with Fenechka, her mother. illegitimate son Nikolai Petrovich Kirsanov, and because of her he shoots himself in a duel with Pavel Petrovich. Arkady, having returned to Maryino, leaves alone for Nikolskoye and stays with Odintsova, becoming more and more carried away by her sister Katya. Having completely ruined relations with the older Kirsanovs, Bazarov also goes to Nikolskoye. Bazarov apologizes to Odintsova for his feelings. Odintsova accepts the apology, and Bazarov spends several days in Nikolskoye. Arkady declares his love to Katya. Having said goodbye to Arkady forever, Bazarov returns to his parents. Living with his parents, Bazarov helps his father treat the sick and dies from blood poisoning, accidentally cutting himself during an autopsy of a man who died of typhus. Before death last time sees Odintsova, who comes to him at his request. Arkady Kirsanov marries Katya, and Nikolai Petrovich marries Fenechka. Pavel Petrovich is leaving abroad forever.

  Main characters

  • Evgeny Vasilievich Bazarov- nihilist, student, studying to become a doctor. In nihilism, he is Arkady's mentor, protests against the liberal ideas of the Kirsanov brothers and the conservative views of his parents. Revolutionary-democrat, commoner. By the end of the novel, he falls in love with Odintsova, changing his nihilistic views on love. Love turned out to be a test for Bazarov, he understands that there is an obvious romantic in him - he even declares his love to Odintsova. At the end of the book he works as a village doctor. Opening up a man who died of typhus, he himself becomes infected through carelessness. After death, a religious ceremony is performed over him.
  • Nikolai Petrovich Kirsanov- landowner, liberal, father of Arkady, widower. Loves music and poetry. Interested in progressive ideas, including in agriculture. At the beginning of the novel, he is ashamed of his love for Fenechka, a woman from common people, but then marries her.
  • Pavel Petrovich Kirsanov- Nikolai Petrovich’s older brother, a retired officer, an aristocrat, proud, self-confident, an ardent supporter of liberalism. He often argues with Bazarov about love, nature, aristocracy, art, and science. Lonely. In my youth I experienced tragic love. He sees in Fenechka Princess R., with whom he was in love. He hates Bazarov and challenges him to a duel, in which he is slightly wounded in the thigh.
  • Arkady Nikolaevich Kirsanov- son of Nikolai Petrovich’s first wife, Maria. Recent candidate of science at St. Petersburg University and friend of Bazarov. He becomes a nihilist under the influence of Bazarov, but then abandons these ideas.
  • Vasily Ivanovich Bazarov- Bazarov’s father, a retired army surgeon. Not rich. Manages his wife's estate. Moderately educated and enlightened, he feels that rural life left him isolated from modern ideas. He holds generally conservative views, is religious, and loves his son immensely.
  • Arina Vlasevna- Bazarov's mother. It is she who owns the village of the Bazarovs and 15 souls of serfs. Devout follower of Orthodoxy. Very superstitious. She is suspicious and sentimentally sensitive. She loves her son and is deeply concerned about his renunciation of faith.
  • Anna Sergeevna Odintsova- a rich widow who welcomes nihilistic friends to her estate. He sympathizes with Bazarov, but after his confession he does not reciprocate. Counts quiet life without worries, everything is more important, including love.
  • Katerina (Ekaterina Sergeevna Lokteva) - Anna Sergeevna Odintsova’s sister, a quiet girl, invisible in her sister’s shadow, plays the clavichord. Arkady spends a lot of time with her, languishing in love with Anna. But later he realizes his love for Katya. At the end of the novel, Catherine marries Arkady.

  Other heroes

  • Victor Sitnikov- an acquaintance of Bazarov and Arkady, an adherent of nihilism. He belongs to that category of “progressives” who reject any authority, chasing the fashion for “free thinking.” He doesn’t really know anything and doesn’t know how to do anything, but in his “nihilism” he leaves both Arkady and Bazarov far behind him. Bazarov openly despises Sitnikov.
  • Evdoksiya Kukshina- an acquaintance of Sitnikov, who, like him, is a pseudo-adherent of nihilism.
  • Fenechka(Fedosya Nikolaevna) - daughter of Nikolai Petrovich’s housekeeper, Arina Savishna. After the death of her mother, she became the master's mistress and the mother of his child. It becomes the reason for a duel between Bazarov and Pavel Petrovich Kirsanov, since Bazarov, finding Fenechka alone, kisses her deeply, and Pavel Petrovich becomes an accidental witness to the kiss, who is deeply outraged by the act of “this hairy guy”, he is especially indignant also because and he himself is not completely indifferent to his brother’s beloved. In the end, Fenechka became the wife of Nikolai Petrovich Kirsanov.
  • Dunyasha- maid under Fenechka.
  • Peter- servant of the Kirsanovs.
  • Princess R. (Nelly)- beloved of Pavel Petrovich Kirsanov.
  • Matvey Ilyich Kolyazin- an official in the City ***.
  • Sergei Nikolaevich Loktev- father of Anna Sergeevna Odintsova and Katerina. The famous swindler and gambler, after 15 years of living in Moscow and St. Petersburg, “lost to dust” and was forced to settle in the village.
  • Princess Avdotya Stepanovna- Anna Sergeevna Odintsova’s aunt, an angry and arrogant old woman. After the death of her father, Anna Sergeevna settled her with her. At the end of the novel she dies, “forgotten on the very day of death.”
  • Timofeich- clerk of Vasily Ivanovich Bazarov, former uncle of Evgeny Bazarov. A shabby and agile old man with faded yellow hair.