Artistic merits of fathers and sons. Ideological and artistic features of the novel “Fathers and Sons”
... from the time of ancient tragedy We already know that real conflicts 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 you open genre originality 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.” The 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 political clashes in society (on the pages of magazines, in books) and reflected them in his novel ideological struggle liberals and revolutionary democrats.
“Fathers and Sons” presents the struggle of the main social forces of 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 see that changes in economic life countries need that serfdom slows down Russia's development. 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, who express 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 various social issues (about noble service, about education, about family relationships, about patriotism, etc.). In "Fathers and Sons" ideological opponents discuss the most current issues of his time: about the need for reforms, about the mood of the people, the rural community, the role of the nobility in society, about 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- 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 the ball in provincial town Bazarov meets Anna Sergeevna Odintsova and a little later truly falls in love with her. So Bazarov learns from personal experience that perfect love still exists - 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 two more “nihilistic progressives” are depicted - Kukshina and Sitnikov, who are an evil caricature of advanced people of its 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 personality young nihilist cause a negative attitude in the writer, therefore Bazarov is portrayed in the novel tendentiously, that is, the author deliberately sharpens and strengthens some character traits and some controversial statements of the hero.
First of all, bias is manifested in the description of the appearance of the main character given at the beginning of the novel: 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 devotes great attention depicting the feelings and experiences of their characters. 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 has become the most important social phenomenon 50-60s of the XIX 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 people like this. 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 the dignity of others. 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.
Compositional features novel by I.S. Turgenev "Fathers and Sons"
Composition is the construction, arrangement and relationship of parts, images, episodes work of art. This is the most important structural principle of organizing a work as an artistic whole. Let's try to consider the compositional features of the novel by I.S. Turgenev "Fathers and Sons".
At the center of the novel's character system is one main character- Bazarov. The composition of “Fathers and Sons” is based on the principle of symmetry and parallelism. The events of the first conventional part of the novel (social conflict) are symmetrical in relation to the events of the love conflict. So, in the first part of the novel we have a duel of the views of Bazarov and Pavel Petrovich (which ended in a duel in the literal sense), in the second part - a duel of the characters of Bazarov and Odintsova. Bazarov emerges victorious from the first duel, and defeated from the second.
Turn out to be symmetrical life stories two Hero-antagonists. Yes, tragic fatal love Pavel Petrovich to Princess R. repeats itself in history unhappy love Bazarov to Odintsova. Symmetry can also be seen in the consequences of this feeling for both characters. After the story with Nellie, Pavel Petrovich becomes a spiritual dead man (a person indifferent to life), while Bazarov, having parted with Anna Sergeevna, literally dies. Here the theme of the Sphinx arises, which researchers have repeatedly noted. Neither Kirsanov nor Bazarov were able to solve the riddle of the woman they loved. Let us recall that according to Greek myth, the sphinx devoured everyone who could not guess his riddle.
The first impressions of these heroes from each other are absolutely symmetrical. So, Pavel Petrovich clearly did not like Bazarov. At the first meeting, he did not shake his hand. In a conversation with his brother, he speaks very contemptuously of their guest: “this one,” “hairy one.” In the same way, Evgeniy Vasilyevich, in a conversation with Arkady, immediately draws attention to Kirsanov’s panache and eccentricities.
Both the first and second heroes have their own admirers in the Kirsanov estate: Prokofich imitates Pavel Petrovich, while Pyotr and Dunyasha become Bazarov’s “admirers.” Living in Maryino, both heroes are attracted to Fenechka. Finally, at the end of the novel, both heroes are left completely alone: Bazarov breaks off his previous connections and lives in solitude in parental home(where he dies), Pavel
Petrovich goes abroad, where he lives alone and will probably live until death.
Parallelism is also noticeable in the development love theme novel. The Kirsanov brothers' beloved women die, and both of them are trying to find a kind of replacement in the person of Fenechka. The tragic “duel” of Bazarov and Odintsova is depicted against the backdrop of Arkady’s bright, serene love for Katya. The authenticity of Bazarov’s views is shaded by the chatter of the “progressive” Sitnikov, while the beauty and naturalness of Odintsova’s behavior is depicted against the backdrop of Kukshina’s repulsive appearance and antics. The parallelism is obvious in the destinies of father and son Kirsanov: Nikolai Petrovich and Arkady get married and have families and children.
The plot of "Fathers and Sons" is based on two conflicts - social and love. Accordingly, we can distinguish two storylines. Description of the background stories of the Kirsanov brothers, first acquaintance with Bazarov, short story about him Arcadia is an exposition of noble heroes and a commoner hero in the first storyline. Bazarov's acquaintance with Pavel Petrovich - the beginning social conflict. It is worth noting that the ideological confrontation between the heroes is mixed with personal hostility and conflict at a formal level. Meetings of the antagonist heroes at the dinner table (occurring three times), their arguments, rejection of each other's views, a feeling of mutual contempt - the development of the action. The duel scene is the culmination of the ideological confrontation between the hero-democrat and the heroes-nobles and at the same time the culmination and denouement (defeat of Pavel Petrovich) of the personal conflict of the heroes. The denouement of the social conflict is Bazarov’s complete break with the Kirsanov family and his farewell to Arkady. The story about the fate of the Kirsanov family in the finale serves as an epilogue to the first storyline of the novel.
Let's consider the love conflict of the novel. Bazarov's acquaintance with Odintsova - the beginning love conflict. Evgeny’s life in Nikolskoye, his meetings and conversations with Anna Sergeevna are the development of the action. The climax is the explanation of the characters. The denouement is the separation of the heroes. The epilogue here is a mention of future fate Odintsova and a description of the rural cemetery and Bazarov’s grave.
Artistic originality novel by I.S. Turgenev "Fathers and Sons"
The purpose of the lesson: to consider the artistic originality of the novel “Fathers and Sons” and determine what the innovation of I.S. Turgenev was. Lesson plan. 1. The history of the creation of the novel. 2. Socio-historical context. 3. Composition. 4. Speech characteristics 5. Landscape. 6. Genre. 7. Evaluation of the novel in Russian criticism.
The idea for the novel “Fathers and Sons” arose from I.S. Turgenev in 1860 in England during summer holiday on the Isle of Wight. Work on the work continued in next year in Paris. The figure of the main character captivated I.S. Turgenev so much that he kept a diary on his behalf for some time. The history of the creation of the novel.
In May 1861, the writer returned home to Spasskoye-Lutovinovo. By August 1861, the novel was largely completed, and in February 1862 it was published in the next issue of the Russian Messenger magazine.
Reflected in the novel "Fathers and Sons" historical process generational change. The 40s of the 19th century in Russia were a time of liberal-minded nobles. They respected science and art, sympathized with the Russian people and believed in natural progress. Later they began to be called “idealists”, “romantics”. In the 50s and 60s, commoners appeared in the public arena. These were educated people non-noble origins, who did not recognize class differences and through their labor paved the way to life. They categorically did not accept everything that was associated with noble aristocracy. Socio-historical context
The composition of the novel “Fathers and Sons” is monocentric: the main character is in the center, and all the “formal” elements of the work are aimed at revealing his character. During his “wanderings,” Bazarov visits the same places twice: Maryino, Nikolskoye, Bazarova. Thus, we first get acquainted with the hero, and then we witness how, under the influence of circumstances (a duel with Pavel Petrovich Kirsanov, a quarrel with Arkady, love for Anna Sergeevna Odintsova, etc.) his views and beliefs change. COMPOSITION
Ring composition Maryino (Kirsanov estate) Bazarov’s parents (small house of small nobles) Nikolskoye (Odintsova’s estate)
The conflict in the novel is two-dimensional: external and internal. External conflict is found at the level of the characters’ relationships: between his nihilistic beliefs (theory) and the demands of nature (life). CONFLICT
I.S. Turgenev pays great attention speech characteristics heroes. So, for example, a representative of the older generation, Pavel Petrovich Kirsanov, speaks in the language of Alexander’s time, using outdated words“efto” (instead of “this”), “princip” (instead of “principle”), and also uses florid phrases: “But if you please listen,” “I am deeply obliged to you,” “It is advisable for you to joke.” A representative of the younger generation, Bazarov, on the contrary, speaks simply, sometimes even rudely: “The scientists there are efficient people,” “Every person should educate himself - well, at least like me, for example,” “Trash, aristocrat.” In addition, being a physician by training, he often uses medical terms and Latin expressions. Speech characteristics
Landscape in literature is primarily an image of a person’s natural environment (although there may also be a city landscape). As a rule, it expresses not only the author’s aesthetic attitude towards the reproduced object, but also serves as a means psychological characteristics heroes, helps to reveal the social and philosophical problems posed in the work. What is landscape in literature?
Compared to other novels by I.S. Turgenev, “Fathers and Sons” is much poorer in landscapes. The exception is the description of the area near Maryino in Chapter 3 (the landscape serves as proof of Arkady’s thought: “transformations are necessary”). Evening landscape in Chapter 11 (shows the one-sided views of Bazarov, who believes that “nature is not a temple, but a workshop,” and N.P. Kirsanov, who, admiring nature, does not pay attention to the poverty of the peasants). The picture of an abandoned rural cemetery in chapter 28 (sets the reader up for philosophical reflections). The originality of the landscape in the novel “Fathers and Sons”
“Fathers and Sons” is a multifaceted novel in terms of genre. The presence of a family-beat theme allows us to call it family, the use of a socio-historical conflict as a concept - social, a deep study of human characters - psychological, and the lighting philosophical problems– philosophical. Most often, given the degree of development of these aspects, the genre “Fathers and Sons” is defined as a socio-psychological novel. GENRE
The novel "Fathers and Sons" caused mixed assessment contemporaries of I.S. Turgenev. Critic M.A. Antonovich called Bazarov a talker, a cynic and accused Turgenev of slandering the younger generation, whereas, in fact, ““fathers and sons” are equally right and wrong.” D.I. Pisarev in the article “Bazarov (1865)” defended the main character of the novel. He noted that this is “a man of strong mind and character,” although extremely proud. Bazarov’s problem, according to Pisarev, is that he outright denies those things that he does not know or does not understand. Evaluation of the novel in Russian criticism
"Fathers and Sons" not only best novel Turgenev, but one of the most brilliant works of the XIX century. The novel reflects not only social, but also universal human problems. It was in “Fathers and Sons” that I.S. Turgenev managed for the first time to create a positive type of figure. Conclusion
The artistic form of Fathers and Sons is closely related to the content of the novel. Its plot is built on gradually increasing ideological disputes two warring groups. The conflict between them ends in a complete break. The inner world and character of the heroes are revealed in disputes and dialogues, from which the views, thoughts and tastes of opponents become obvious. Old, receding Rus' does not give up without a fight; the new, young Russia not only does not shy away from it, but invariably emerges victorious. “Bazarov, in my opinion, constantly breaks Pavel Petrovich, and not vice versa,” wrote Turgenev.
Turgenev is a magnificent master of speech characteristics. The speech of the characters conveys not only thoughts, but also characters, habits, and unique human identity. Political beliefs Pavel Petrovich and Bazarov are clearly manifested primarily in disputes and in speech. The speech of Kirsanov Sr. is distinguished by strict logic, abstraction from reality, abundance foreign words. Often he can't pick up the right word in Russian and replaces it with French or English. He speaks with emphasized, “exquisite courtesy.” Courtesy, gentleness, caution are manifested in the speech of Nikolai Petrovich.
Bazarov's language reflects wit, courage, sharpness of judgment, and some rudeness. In a dispute with Pavel Petrovich, he calmly but boldly generalizes: “Aristocracy, liberalism, progress, principles... so many foreign... and useless words! Russian people don’t even need them for nothing.” The basis of the speech of the “plebeian” Bazarov is the language of the people. He often uses proverbs and sayings, sometimes rude words and expressions: “we heard this song”, “the devil pulled me”, “I was upset”, etc. Many of his judgments sound categorical: “A decent chemist is twenty times more useful than any poet”, “ If you get under a wheel, that’s where the road goes,” “Raphael isn’t worth a penny.”
Portraits of heroes help to understand their essence. Turgenev carefully describes the appearance of Pavel Petrovich, his costume, noting his beautiful “hand with long pink nails,” snow-white cuffs, fastened with a large opal, fragrant mustache, “beautiful white teeth.”
In the portrait of Eugene, his face is highlighted, “long and thin,” which was enlivened by a smile and expressed self-confidence and intelligence, a red hand, dark blond hair, long and thick. These details of the portrait emphasized his hard work, pampering, constant and intense work of thought.
Significantly complements the characteristics of the characters and their surroundings. Turgenev depicted representatives of various social groups. The things around them, clothes, personal items help to get to know their owners more deeply. The furnishings of Pavel Petrovich's office clearly confirm his refined aristocratic taste. Bazarov’s workroom immediately turned into a laboratory, filled with various smells, bottles, jars with frogs for experiments. This is the room of a scientist, a worker devoted to his profession. Bazarov’s father’s “bivouac,” as he called his house, is the house of a poor provincial doctor.
Fenechka’s room was clean and cozy. Everything was simple, neat, it smelled of chamomile and lemon balm, there were jars of jam on the windows, and a siskin lived in a cage. The furnishings of Fenechka’s room are very modest, everything breathes peace and quiet. Kukshina, an emancipated woman, has a completely different room. The chaotic, unkempt, tasteless furnishings testified to poor aesthetic taste, to some kind of licentiousness and sloppiness of its owner.
The landscape of the novel helps to understand the moods and experiences of the characters. The democrat Bazarov is attracted not by the aroma of forests and fields, but by swamps with frogs. Even for the lyrically minded landowner Nikolai Petrovich, the first place is not the poetry of nature, but economic concerns. The impoverishment of noble estates is emphasized by the poverty of the landscape. The view of a wretched and sad Russian village “with low huts under dark, often half-swept roofs”, empty threshing floors, “peasants on bad nags” merge with the hero’s experiences.
The absurdity and absurdity of the duel started by Pavel Petrovich is set off by the description of the “glorious, fresh” morning, the dew that “shone like silver on the cobwebs,” the sky from which “the songs of the larks rained down.”
The description of the rural cemetery where Bazarov is buried is filled with lyrical sadness; the flowers growing on his grave “speak... of eternal reconciliation and endless life.”
Turgenev's prose is musical and rhythmic. According to the fair remark of the foreign writer Yu. Schmidt, “reading his novels, it seems as if you hear the accompaniment of singing.”
The problem of fathers and children can be called eternal. But it is especially aggravated in turning points development of society, when the older and younger generations become exponents of the ideas of two different eras. This is exactly the time in the history of Russia - the 60s of the 19th century...
Youth is the time to acquire wisdom, old age is the time to apply it. J.-J. Rousseau Arkady Kirsanov, having spent a day at the Bazarovs' estate, asks his older teacher friend if he loves his parents, and receives a direct answer: “I love you, Arkady”...
Philosophical views Bazarov and their trials by life In the novel by I.S. Turgenev's "Fathers and Sons" depicts Russia in the late fifties of the nineteenth century, a time when the democratic movement was just gaining strength. And as a result of this there is...
Eugene Bazarov is a nihilist, which means a materialist who does not recognize dogmas, testing everything only by experience. He is a physician and is interested in natural sciences. Every day is filled with work and new searches. He constantly finds something to do. "Bazarov got up...
To the question “The artistic originality of the novel Fathers and Sons” asked by the author Ildar Rizatdinov the best answer is Socio-historical context
The novel “Fathers and Sons” reflects the historical process of generational change.
The 40s of the 19th century in Russia were a time of liberal-minded nobles.
They respected science and art, sympathized with the Russian people and believed in natural progress. Later they began to be called “idealists”, “romantics”. In the 50s and 60s, commoners appeared in the public arena.
These were educated people of non-noble origins who did not recognize class differences and through their labor made their way into life. They categorically did not accept everything that was associated with noble aristocracy.
The composition of the novel “Fathers and Sons” is monocentric: the main character is in the center, and all the “formal” elements of the work are aimed at revealing his character. During his “wanderings,” Bazarov visits the same places twice: Maryino, Nikolskoye, Bazarova. Thus, we first get acquainted with the hero, and then we witness how, under the influence of circumstances (a duel with Pavel Petrovich Kirsanov, a quarrel with Arkady, love for Anna Sergeevna Odintsova, etc.) his views and beliefs change.
Ring composition: Maryino (Kirsanov estate) Bazarov’s parents (small house of small nobles) Nikolskoye (Odintsova’s estate)
The conflict in the novel is two-dimensional: external and internal.
External conflict is revealed at the level of the characters’ relationships: between his nihilistic beliefs (theory) and the demands of nature (life).
I. S. Turgenev pays great attention to the speech characteristics of the heroes.
So, for example, a representative of the older generation, Pavel Petrovich Kirsanov, speaks in the language of Alexander’s time, using outdated words “efto” (instead of “this”), “princip” (instead of “principle”), and also uses ornate phrases: “But if you please listen” , “I am deeply obliged to you”, “It is advisable for you to joke.” A representative of the younger generation, Bazarov, on the contrary, speaks simply, sometimes even rudely: “The scientists there are efficient people,” “Every person should educate himself - well, at least like me, for example,” “Trash, aristocrat.” In addition, being a physician by training, he often uses medical terms and Latin expressions in his speech. Speech characteristics
Slide 10
Landscape in literature is primarily an image of a person’s natural environment (although there may also be a city landscape). As a rule, it expresses not only the author’s aesthetic attitude towards the reproduced object, but also serves as a means of psychological characterization of the characters and helps to reveal the social and philosophical problems posed in the work.
Compared to other novels by I. S. Turgenev, “Fathers and Sons” is much poorer in landscapes. The exception is the description of the area near Maryino in Chapter 3 (the landscape serves as proof of Arkady’s thought: “transformations are necessary”). Evening landscape in chapter 11 (shows the one-sided views of Bazarov, who believes that “nature is not a temple, but a workshop,” and N.P. Kirsanov, who, admiring nature, does not pay attention to the poverty of the peasants).
A picture of an abandoned rural cemetery in chapter 28 (sets the reader up for philosophical reflection).
“Fathers and Sons” is a multifaceted novel in terms of genre.
The presence of a family-beat theme allows us to call it family, the use of a socio-historical conflict as a concept - social, a deep study of human characters - psychological, and the coverage of philosophical problems - philosophical.
The genre “Fathers and Sons” is defined as a socio-psychological novel.
