Turgenev fathers and sons - problematics of the work. Problematics and poetics of Turgenev’s novel “Fathers and Sons” by I.S.

The conflict between fathers and children has lasted from the beginning of time to this day. It is especially acute during periods of change. public life, when the generation of the past acts as a conservative, and the youth stands up for innovation. This situation is typical for Russia in the 60s. 19th century, it was reflected in the novel by I.S. Turgenev "Fathers and Sons". The collision of old and younger generation overcomes boundaries family conflict and affects the socio-political structure of the country - the Social Democrats stand up to fight the liberal aristocrats.

Bazarov and Pavel Petrovich

The young nihilist Evgeny Vasilyevich Bazarov confronts the nobleman aristocrat Pavel Petrovich Kirsanov. The generation difference is already expressed in the appearance of the heroes.

Bazarov is a man enormous power will, a man of his word, a little detached from people. Turgenev Special attention pays attention to the living mind of the hero. But Kirsanov is described only externally: he wears white underwear, starched collars, and patent leather ankle boots. Being in the past a famous socialite, Pavel Petrovich retained his habits in his brother’s village estate - impeccability and elegance of the image.

Kirsanov does nothing, has no responsibilities or aspirations, lives for his own pleasure. Bazarov is active, everything he does is useful for society, for science, for the people.

The life positions of the heroes are extremely opposite. They argue constantly and argue about everything in the world: about how to further develop Russia, about the real and the irrational, about the usefulness of science and art, about the patriarchy of the people. Bazarov claims that everything old must be destroyed, and Pavel Petrovich is sure that all this must be preserved for future generations. Kirsanov is also outraged by the fact that specific plan Bazarov and his followers do not transform the world order. They only call for destruction, but are not going to create. In response to the reproach for this, Bazarov says that first you need to “clear the place.”

Bazarov and his parents

In Bazarov's relationship with his parents, a generational conflict is also clearly visible. Bazarov loves his father and mother, but at the same time feels contempt for their stupid, aimless life. Despite their misunderstandings, the parents love Evgeniy. Love does not cease to exist even after the death of the hero. In the end, it turns out that only Bazarov was truly dear to his parents.

Arkady and family

In the Kirsanov family, the confrontation between generations is not so obvious. Arkady Kirsanov is gradually turning into a copy of his father. In life, he values the same things as he does: home, family life, peace. For him, this is much more important than the fight for global well-being. Arkady just imitated Bazarov, and this caused minor discord in the family. And when Bazarov leaves Arkady’s sight, the conflicts fade away.

The theme of “fathers” and “children” in Russian literature

The relationship between fathers and children is one of the primary and most significant in Russian literature. This problem is reflected in the comedy by A.S. Griboyedov “Woe from Wit”, in the drama “The Thunderstorm” by A.N. Ostrovsky, in the works of A.S. Pushkin and many others. etc. The authors, as creative people, stand on the side of the younger generation. However, Turgenev does not take a definite position, and gives the reader the opportunity to choose the right ideology for himself. I think it was important for Turgenev to show that only in peace and harmony will society be able to develop correctly in the future.

The problem of fathers and children can be called eternal. But it is especially aggravated at turning points in the development of society, when the older and younger generations become exponents of the ideas of two different eras. It is precisely this time in the history of Russia - the 60s of the 19th century - that is shown in I. S. Turgenev’s novel “Fathers and Sons”. The conflict between fathers and children depicted in it goes far beyond family boundaries - it is social conflict the old nobility and aristocracy and the young revolutionary-democratic intelligentsia.

The problem of fathers and children is revealed in the novel in the relationship between the young nihilist Bazarov and the representative of the nobility Pavel Petrovich Kirsanov, Bazarov with his parents, as well as through the example of relationships within the Kirsanov family.

Two generations are contrasted in the novel even by their external description. Evgeny Bazarov appears before us as a person cut off from the outside world, gloomy and at the same time possessing a huge inner strength and energy. Describing Bazarov, Turgenev focuses on his mind. The description of Pavel Petrovich Kirsanov, on the contrary, consists mainly of external characteristics. Pavel Petrovich is an outwardly attractive man; he wears starched white shirts and patent leather ankle boots. A former socialite who had once made a splash in metropolitan society, he maintained his habits while living with his brother in the village. Pavel Petrovich is always impeccable and elegant.

Pavel Petrovich leads the life of a typical representative of an aristocratic society - he spends his time in idleness and idleness. In contrast, Bazarov brings real benefits to people and deals with specific problems. In my opinion, the problem of fathers and children is most deeply shown in the novel precisely in the relationship between these two heroes, despite the fact that they are not directly related. The conflict that arose between Bazarov and Kirsanov proves that the problem of fathers and sons in Turgenev’s novel is both a problem of two generations and a problem of the collision of two different socio-political camps.

These heroes of the novel occupy directly opposite positions in life. In the frequent disputes between Bazarov and Pavel Petrovich, almost all the main issues were touched upon on which common democrats and liberals disagreed (about the ways of further development of the country, about materialism and idealism, about knowledge of science, understanding of art and about attitude towards the people). At the same time, Pavel Petrovich actively defends the old foundations, and Bazarov, on the contrary, advocates their destruction. And to Kirsanov’s reproach that you are destroying everything (“But you also need to build”), Bazarov replies that “first you need to clear the place.”

We also see a generational conflict in Bazarov’s relationship with his parents. The main character has very contradictory feelings towards them: on the one hand, he admits that he loves his parents, on the other, he despises the “stupid life of his fathers.” What alienates Bazarov from his parents is, first of all, his beliefs. If in Arkady we see superficial contempt for the older generation, caused more by the desire to imitate a friend, and not coming from within, then with Bazarov everything is different. This is his position in life.

With all this, we see that it was to the parents that their son Evgeniy was truly dear. The old Bazarovs love Evgeny very much, and this love softens their relationship with their son, the lack of mutual understanding. It is stronger than other feelings and lives even when main character dies.

As for the problem of fathers and children within the Kirsanov family, it seems to me that it is not deep. Arkady looks like his father. He has essentially the same values - home, family, peace. He prefers such simple happiness to caring for the world's good. Arkady is only trying to imitate Bazarov, and this is precisely the reason for the discord within the Kirsanov family. The older generation of Kirsanovs doubts “the benefits of his influence on Arkady.” But Bazarov leaves Arkady’s life, and everything falls into place.

At the same time, he so fully reveals the life positions of the main characters of the novel, shows their positive and negative sides, that he gives the reader the opportunity to decide for himself who was right. It is not surprising that Turgenev’s contemporaries reacted sharply to the appearance of the work. The reactionary press accused the writer of currying favor with young people, while the democratic press accused the author of slandering the younger generation.

The novel “Fathers and Sons” was written by I. S. Turgenev at a time when Russia was torn apart by severe social contradictions between representatives different generations, between political camps. All these conflicts are reflected in the novel, the title of which is revealed in its content. It's about about an acute, irreconcilable conflict not so much between representatives of different generations, but between aristocrats and democrats, between liberals and commoner revolutionaries. The meaning of the title must be considered in two aspects: firstly, as the socio-historical beginning of a new generation, and secondly, as universal human relations between people of two generations.

The writer brings out the main problem of the work in the title, using the example of “fathers and sons” to test the stability and strength of the social foundations of society by family and family relationships. Beginning the novel with a depiction of a family conflict between father and son Kirsanov, Turgenev goes further to clashes of a public and social nature. But family theme in the novel it gives social conflict special humanistic overtones. After all, no social, political, or state forms of human relations absorb the moral content family life. The attitude of sons to their fathers is not limited only to family feelings, but extends further to the filial attitude towards the past and present of their fatherland, to those historical and moral values which children inherit. Paternity in in a broad sense The words also presuppose the love of the older generation for those replacing the younger ones, tolerance and wisdom, reasonable advice and condescension.

The conflict of the novel “Fathers and Sons” in family spheres, of course, is not confined to family spheres, but its tragic depth is verified by the violation of “family life”, in connections between generations. The contradictions went so deep that they touched the natural foundations of existence.

In the work, not only two generations collide, but also two ideologies: the conservative Kirsanovs and the radical common democrats represented by Bazarov. The collision between Bazarov and the elder Kirsanov turned out to be inevitable. Pavel Petrovich was only waiting for an excuse to “pounce on the enemy.” Bazarov considered it useless to waste gunpowder on verbal battles, but still could not avoid the fight. Thus, in the tenth chapter, the author confronts the worldviews of two generations.

However, the conflict between representatives of different generations is not only ideological, but also cultural in nature: in the person of Bazarov and the Kirsanovs, two cultures collide, aristocratic and democratic, and the first has a much richer past. The difference between the two cultures is also evident in external description heroes. Compare at least impeccable appearance Pavel Petrovich, his coffee and cocoa at the appointed hour, mannerisms inherent in secular people, and Bazarov, who is careless in his clothes, does not take too much care of himself, behaves simply and naturally at the table.

Bazarov denies the previous culture, believing that poetry and music were created “out of nothing to do” by “damned aristocrats.” He calls art nonsense, romantic nonsense. The culture of commoners is characterized by a passion for natural sciences: in the sixties, all young people were interested in them. Therefore, Turgenev gives Bazarov his due in knowledge, the logic of his mind, hard work and perseverance. Bazarov is a materialist who values only materialistic philosophy and does not recognize Hegel’s idealistic philosophy. He is a supporter of crude materialism, which directly derived spirit from matter: “the buildings are the same and the people are the same.” Such a philosophy denied the existence of an ideal beginning in life, which neither Turgenev himself nor the “old men” Kirsanovs could disagree with. Bazarov is an atheist who denies God and religion, and neither the author nor the majority of readers can support this extreme manifestation of nihilism.

It is also observed different attitude two generations and cultures towards love and women. In the life of the nobles, love occupied almost the main place, as evidenced by the fate of Pavel Petrovich Kirsanov. Bazarov ridicules the “old romantics” for their exaggerated attention to love issues. But Turgenev proves Bazarov wrong by making him fall in love with him.

The conflict between two generations can also be seen in the example of Bazarov’s relationship with his parents. Using the example of the Bazarov family, Turgenev showed the conflict of generations at the change of eras, the conflict between kind and honest parents and denier sons who follow their own path not because they have personal indignation against their parents, but because they are more sensitive to the demands of life . Bazarov does not want to live like his parents, but they cannot understand his vague soul. Hence the tragedy between “fathers and sons.” Bazarov loves his parents and suffers because there is no mutual understanding between them. This is a conflict that can and should be smoothed out, but cannot be removed. In his house, Bazarov is constantly silent, not knowing how to announce his departure from home. He mercilessly crushes filial love within himself. His indifference to his parents speaks of spiritual devastation; as a result, Bazarov runs away from parental love. At the same time, the author emphasizes the unnaturalness of such an act in relation to relatives. The tragedy of the parents who lost their spiritual connection with their son and their inconsolable grief after his death are depicted with stunning force

Thus, we have before us a novel in which new spiritual possibilities are tested through the collision of two generations. noble intelligentsia and new people. The conflict of the novel lies in the confrontation between lordly and democratic Russia, the passing and emerging eras, the generation of “fathers” and the “young, unfamiliar tribe.”

Tasks and tests on the topic "The meaning of the title and problems of the novel by I.S. Turgenev. (Based on the novel "Fathers and Sons" or "Nest of Nobles.")"

Paronyms and their use - Vocabulary. Phraseology. Lexicography 10th grade
Lessons: 1 Assignments: 7 Tests: 1
Spelling adjectives with a capital letter - Adjective 3rd grade

The meaning of the title and problems of I. S. Turgenev’s novel “Fathers and Sons”

The title of the novel by Ivan Sergeevich Turgenev reflects the main problematic of the entire work - the conflict of generations of “fathers” and “children”, the eternal insoluble conflict of the past and the future that is replacing it. In the novel, this conflict is expressed in the clash of two ideological positions: the position of absolute denial of any authority, which is occupied by Evgeny Bazarov, and the position of “principle,” which is occupied by Pavel Petrovich Kirsanov.
The essence of P. P. Kirsanov’s position is difficult to formulate in a few words. Firstly, Pavel Petrovich is a representative of the generation of “fathers”, he is a nobleman, a gentleman “to the core”, a retired military man, with impeccable manners and delicate taste. Pavel Petrovich is one of those who prefers the old to the new, he loves England and English style life for the fact that they know how to preserve traditions. Traditionality, constancy are those qualities that provide the illusion of the inviolability of existence, and this confirms his, Pavel Petrovich, right to occupy the place in life that he has. The fear of novelty is explained by the fear of losing everything, partly this is the aristocracy’s fear of the plebeians, who would destroy its civilization, based on the laws of hierarchy. But this is only one of all possible explanations for Pavel Petrovich’s sharp hostility towards his nephew’s young friend.
Bazarov’s “nihilism” is not only an outright disrespect for Kirsanov, it is also a position of aesthetic deafness. In one of the disputes, Pavel Petrovich is indignant about whether Bazarov’s denial really extends to nature and poetry, and “it’s scary to say anything else,” Bazarov calmly replies: to “everything.” It is this calmness, unshakable confidence in his own rightness that confuses Pavel Petrovich, subject to doubt and a certain kind of indecision. Fear of being under the power of such new people who would bring aesthetic rich life, built according to the laws of high morality and honor, strictly hierarchical from the beginning, destructive, in in this case, the principle of equality, forces Pavel Petrovich to get involved in discussions in order to defend old world"fathers".
However, Bazarov is in no hurry to dissuade old Kirsanov of the incorrectness of his position, he does not try to win anyone over to his side, he even “reluctantly” responds to Pavel Petrovich’s attacks. All this provokes Kirsanov even more, who feels an unaccountable fear of this conviction, still unknown to him. Bazarov acts by the right of force, which, in his opinion, decides everything. In Bazarov’s denial there is no revolutionary spirit as such; only faith, the fundamental possibility of believing in anything, is denied here. Its equality is not brotherhood, but the opportunity for everyone to make decisions based on their own experience, guided only your own desires and needs. Perhaps subconsciously the hero demands more freedom choice in a strictly deterministic world. But nihilism in this case is not some kind of political program, not a plan of action to change the world. Bazarov is as idealistic and romantic as he despises idealism and romanticism.
There is nothing in the hero’s actions that specifically concerns Pavel Petrovich, and his apparent neglect is just inattention to an absolutely unnecessary “subject”, which is Kirsanov for Bazarov. Evgeniy is much more interested in frogs, because from them more benefits. It is the degree of usefulness that the nihilist proposes to evaluate and motivate all actions. This is after a spiritual breakdown, after the tragedy of his unhappy love, Bazarov admits that a person acts by virtue of “sensation.” But in a dispute with Pavel Petrovich, he proposes to pay attention only to facts, the material side of life, rejecting stupid “romanticism.”
Bazarov's desire for a new life is justified by both his origin and his character. A rebel by nature, he rebels against any imperfection in the world; not forgiving the ugliness of the present and not reconciling with it, Bazarov, however, has a very modest idea of the future.
He knows one thing for sure: the old world is so ugly that it is impossible to build anything new without completely destroying the old. The famous “first we need to clear the place” is not a frivolous statement in this case. Bazarov really has no idea what will happen next, he simply believes that someone will be able to create a wiser and more beautiful world, a world in which there will be no place for either stupidity or anger, these “diseases of society,” a world in which differences will simply not important.
It is impossible to say with certainty whether Bazarov renounces his beliefs at the end of the novel, whether the new generation is losing to the old in the ability to live. Pavel Petrovich lost in life just like Bazarov. And the winners were the father and son Kirsanovs, who managed to accept the rules of this strange world, organically coinciding with him in the pursuit of love. Finding the meaning of life in family happiness, in a quiet, prosperous existence, they are not tormented by eternal questions, do not solve global problems being. The life of a “jackdaw” does not disgust them with its apparent spiritual limitations. Perhaps it is precisely this kind of life that is much richer than life according to theory, since it makes it possible to find a harmonious version of coexistence with the world.
So, the novel sets at least two perspectives on the problem of generational conflict. On the one hand, we can consider the clash of nihilism and traditionalism, the essence of the confrontation of which is revealed in the disputes between Bazarov and Pavel Petrovich. On the other hand, and this deepens the problems of the novel, we can say that in every generation there are those who rebel against the existing order of life, who violate the rules established from above and invariably lose. Rebellion against life, therefore, is characteristic of all generations, and this rebellion ends with the invariable victory of life. However, in every generation there will be those who will offer the only correct version of a harmonious existence, who will submit to their nature, surrender to their feelings and in this apparent defeat will win and turn out to be stronger. Fathers and sons - is there so much difference between them, is the gap between generations so great, is the boundary between old and new so clearly drawn? When you read Turgenev's novel, this difference seems much smaller, despite the obvious insurmountable differences.

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