Brief artistic features of the novel Fathers and Sons. Artistic features of “Fathers and Sons”
The artistic originality of I. S. Turgenev’s novel “Fathers and Sons”
Objective of the lesson: consider artistic originality 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: in the center is main character, and all the “formal” elements of the work are aimed at revealing its 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 of the characters. 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.” Representative younger generation Bazarov, on the contrary, speaks simply, sometimes even rudely: “The scientists there are efficient people,” “Every person must 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
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 reflection). 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 19th 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
Artistic Features. 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. Inner world and the character of the heroes is revealed in disputes-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 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.
Artistic features, 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 better. 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 hard worker, devoted to his profession. Fenechka’s room was clean and comfortable. 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.
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 sight of a wretched and sad Russian village “with low huts under dark, often half-swept roofs”, empty threshing floors, “men on bad nags” merge with the hero’s experiences.
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.”
Artistic features of the novel "Fathers and Sons".
The novels of I. S. Turgenev are a kind of artistic chronicle of the 60-70s of the 19th century. Their ideas, themes and images are inextricably linked with the time in which the writer lived and worked.
A number of artistic features of the novel “Fathers and Sons” can be identified. This novel is short in length. Its action unfolds without side plots. Trying to capture in artistic form the rapidly successive stages of the development of Russian public life, Turgenev relates the action of the novel to a precisely designated time. Thus, the plot events in it begin on a certain date: May 20, 1859.
The biography of the heroes of “Fathers and Sons” is described either in detail and in detail (Pavel Petrovich, Nikolai Petrovich), or briefly and fluently (the reader knows little about the past of Bazarov, Fenichka, Odintsova). The hero of the novel is a typical and best representative of his social group. Turgenev has a special place for Evgeny Bazarov. The novel has 28 chapters. Bazarov does not appear in only two of them. He strives to understand what the meaning of life is, what is worth living for, working for, and finally, loving. But his search fails. The conditions of Russian life doom him to failure. Bazarov dies - the novel ends. And Turgenev dedicates his last, deeply felt lines to Bazarov: “No matter what passionate, sinful, rebellious heart hides in the grave, the flowers growing on it serenely look at us with their innocent eyes: they tell us not only about eternal peace, about that great the tranquility of “indifferent” nature; they also talk about eternal reconciliation and endless life..."
The ideological position of Turgenev's hero is especially clearly manifested in disputes. In them. we're talking about about an acute, irreconcilable conflict not so much between representatives different generations, how much between aristocrats and democrats, between liberals and commoner revolutionaries.
The landscape is very symbolic and significant in the novel “Fathers and Sons”. Thus, at the beginning of the novel, the landscape reflects poverty, misery, desolation: “Rivers with dug-up banks, and tiny ponds with thin dams, and villages with low huts...” It seems to lead to the idea of the need to destroy the orders that gave rise to these poverty and desolation.
The landscape in the last lines of the novel is permeated with lyricism and sadness. In the description of the rural cemetery where Bazarov is buried, the writer put a genuine feeling of loss, sincere pain. And at the same time, he claims that his hero’s “passionate, sinful, rebellious heart” beat in the name of temporary goals.
Compositional role The landscape is very varied. Sometimes he frames the action, giving the reader only an idea of where and when this action takes place.
The absurdity and absurdity of the duel started by Pavel Petrovich with Bazarov is set off by the description of the “glorious, fresh” morning, the dew that “shone with silver on the cobwebs,” the sky from which “the songs of the larks rained down,” and the figure of a peasant driving “two tangled horses.” This is how Turgenev begins his description of this event: “The morning was glorious, fresh; small motley clouds stood like lambs on the pale clear azure; fine dew fell on the leaves and grass, shining silver on the cobwebs..."
Sometimes the landscape is drawn by Turgenev in contrast with the mood and experiences of the hero. Thus, the picture of an evening day puts Nikolai Petrovich in a dreamy mood, awakens sad memories in him, makes him empathize and sympathize with nature. Sympathizing, Nikolai Petrovich submits to her charm, his favorite poems come to his mind, peaceful, calmed, he thinks: “How good, my God!”
The language of the characters in the novel “Fathers and Sons” is sharply individual and reflects their spiritual world. In the speech of Kirsanov Sr. we see strict logic, abstractness in judgments, an abundance of foreign words pronounced in Russian and French, and sharp polemics. In Arkady’s speech one can feel, on the one hand, youthful enthusiasm, imitation of the “nihilist”, the desire to somewhat elevate oneself; on the other - talkativeness, imbalance, passion for beautiful phrase. “They keep it for the sake of importance,” he said about Aunt Odintsova.
Bazarov’s language displays wit, courage, sharpness of judgment, some rudeness, “almost insolence.” In a tough argument, when Pavel Petrovich, referring to the past, tried to convince Bazarov of the error of his views, the latter calmly but boldly said, generalizing:
“Aristocracy, liberalism, progress, principles... so many foreign... and useless words! Russian people don’t need them for nothing.”
So, the language of Turgenev’s characters reflects their bright individuality, breadth or, conversely, weakness spiritual development, their interests, inclinations.
Turgenev's prose is musical and rhythmic. “Fathers and Sons” is a highly artistic work of the 19th century.
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Artistic features. Turgenev defines the main feature of his creative method: “Our time requires us to capture modernity in its transitory images.” It determines the emergence in the writer’s work special type realistic novel, called cultural-historical. Such a novel is characterized by the presentation of topical problems, new ideas and heroes of the time, characterized through special type culture, which can rightfully be attributed to the novel “Fathers and Sons”. This work has another quality of a cultural-historical novel: it becomes a kind of self-report of Russian society for a specific time period (the novel “Fathers and Sons,” completed in 1861, tells about the events of 1859).
Another distinctive quality of the novel is its saturation with ideological polemics, which was reflected in the entire system of used artistic means. The main one is dialogue, developing in the form of an ideological dispute. The characters' characters are revealed in the dialogue. Bazarov's dialogues with Pavel Petrovich, with Arkady, with Sitnikov and Kukshina, with Odintsova characterize the hero more fully and comprehensively than his actions, which sometimes seem very contradictory. Unlike his opponents, Bazarov is brief in the dispute, does not strive to speak beautifully, but at the same time he is very convincing (for example, the dispute between Bazarov and Pavel Petrovich in Chapter X). He comes out victorious in almost all disputes.
The most important means of characterizing heroes is their language. Various intonation shades recreate the most complex range of experiences of the characters, and the choice of vocabulary characterizes their social status, range of activities and even the era to which they belong. For example, Pavel Petrovich uses “efto” instead of “this” in his speech and “this quirk reflected the remainder of the legends of Alexander’s time.” Or another example: Pavel Petrovich “pronounced the word “principle” softly, in the French manner,” as “princip”, and “Arkady, on the contrary, pronounced “principle”, leaning on the first syllable,” from which it becomes clear that the heroes, belonging Different generations perceive this word differently.
Contrast is also characteristic of other artistic means, since antithesis is the ideological and structural basis of the entire work. This applies to the parts used. So, Bazarov and Pavel Petrovich, opposed by origin and social status(aristocrat-democrat), are characterized by various details of behavior (inactive life in the village, led by Pavel Kirsanov - Full time job, which Bazarov is busy with, even while visiting his friend Arkady), speech (florid turns of speech, Kirsanov’s mannerism - simplicity, precision of phrase, Bazarov’s aphorism), portrait details. Thus, the complete antithesis of the portrait of Bazarov, drawn in the 1st chapter, is the portrait of Pavel Petrovich: Evgeny has a “long” face, a “wide” forehead, “long and thick” hair, Pavel Petrovich’s features seem to be drawn with a “thin and light chisel” , hair “short-cropped”; Bazarov’s hand is “red”, and Pavel Petrovich’s is “beautiful... with long pink nails”; Bazarov is dressed in “a long robe with tassels,” and Pavel Petrovich is in “a dark English suit, a fashionable low tie and patent leather ankle boots.”
Thanks to all these means of characterization, Turgenev appears in the novel as an objective narrator, expressing his position through the development of the plot, comparison of characters, and the results of their actions. Turgenev’s psychologism is also special: according to the writer himself, he is a “secret psychologist.” This means that Turgenev is hinting at hidden reasons states or behavior of the characters, without directly analyzing them, but involving the reader in the analytical process. Without directly depicting the feelings and thoughts of his characters, the writer allows the reader to guess them by their external manifestations. For example, by the way Odintsova “with a forced laugh” tells Bazarov about the proposal made by Arkady to Katya, and then in the course of the conversation “laughs again and quickly turns away,” her feelings become clear: confusion and annoyance, which she tried to hide behind laughter .
But the objectivity of the narrative does not interfere with the expression of the author’s lyricism, which manifests itself in descriptions of the beauty of art and nature, sharply opposed to Bazarov’s emphasized anti-aestheticism (“Nature is not a temple, but a workshop”; “Raphael is not worth a penny”). Thus, disagreement with Bazarov’s views is expressed in the description of Nikolai Petrovich’s playing on the cello: “Someone played with feeling, albeit with an inexperienced hand, Schubert’s “Waiting,” and a sweet melody spread through the air like honey.”
