The artistic power of the novel fathers and sons. The ideological and artistic originality of the novel “Fathers and Sons”
To the question Artistic originality novel Fathers and Sons given by the author Ildar Rizatdinov the best answer is Socio-historical context
Reflected in the novel "Fathers and Sons" historical process generational change.
40s years XIX centuries in Russia were the 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.
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.
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).
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a representative of the older generation, Pavel Petrovich Kirsanov, speaks in the language of Alexander’s time, using outdated words“efto” (instead of “this”), “princip” (instead of “principle”), and also uses florid phrases: “But if you please listen”, “I am deeply obliged to you”,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. 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 psychological characteristics heroes, 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).
Picture of an abandoned rural cemetery in chapter 28 (sets the reader up for philosophical reflections) .
“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, deep research human characters - psychological, and lighting philosophical problems– philosophical.
The genre “Fathers and Sons” is defined as a socio-psychological novel.
The genre of the novel “Fathers and Sons” can be defined as socio-philosophical.
Its action dates back to 1859, when a revolutionary situation arose in Russia. In Russian society, ideological disputes about the ways further development countries. And the genre of the novel itself is subject to their disclosure - the plot is based on disputes reflecting the social mood of the generation of the 1860s. During this era, common democrats advocated a revolutionary path of development for Russia; they believed peasant revolution the main source of fundamental changes in the life of the country. The liberals proposed a path of gradual reforms that would limit autocratic power, freeing peasants from serfdom, but preserving landownership. Thus, Turgenev shows possible ways transformations of Russia. This main question formulated through the mouth of Arkady Kirsanov. He says: “... this poor region, it does not amaze with either its contents or its diligence, it cannot, it cannot remain like this, transformations are necessary... but how to carry them out, how to begin?..”
Note that acute socio-political problems distinguish Turgenev's novels from his stories. In novels, a person appears in social existence, and in stories problems are brought to the fore. personal life hero. In novels, the action usually takes place dynamically, over several months and sometimes weeks. The reader's attention is occupied by the main character alone, who is surrounded by a small number of minor ones. The author shows him at critical moments in his life, which form the basis of the story. This is the “novella” nature of the novel.
But main force Turgenev’s novel is represented by the “rendez-vous” situation, that is, the test of the hero by love. The novel "Fathers and Sons" is no exception. Pavel Petrovich Kirsanov's love for Princess R. emphasizes that this is a man of the era of the 40s, a romantic, living in a world of his own invention. The relationship between Nikolai Petrovich Kirsanov and Fenechka has a completely different coloring. This love for a timid, defenseless creature reveals the depth of the hero’s soul. But the main love affair shifted to the second part of the novel, and the first is occupied by the ideological disputes of the heroes, reflecting the relationship of Kirsanov and Bazarov to the people.
Let's look at the main participants in the dispute and its main aspects.
Pavel Petrovich Kirsanov is an aristocrat both by origin and by conviction. “His aristocratic nature was compensated by Bazarov’s perfect swagger,” writes Turgenev. Since childhood, he was not accustomed to work and led an idle lifestyle. He tried not to spend a single evening at home; he was pleased to be in a society in which he was “carried in their arms.”
Evgeny Vasilyevich Bazarov is the complete opposite of Pavel Kirsanov. He is proud that he, the son of a regimental doctor, made his own way in life and achieved some results. Bazarov is occupied with natural sciences, mainly medicine. According to Arkady, he “wants to stick to the doctor.”
Let us now turn to the main topics of debate. First, pay attention to philosophical aspect. Here Kirsanov appears as a convinced idealist and defender of religion. He notes with horror that Bazarov denies God. He does not understand the materialistic beliefs of the enemy. The basis of Bazarov’s philosophical beliefs are natural sciences; he is a supporter of vulgar materialism, which reduces spiritual life to material life. For him, all highly moral subjects appear to be the prejudices of romanticism, which he does not recognize. In his opinion, “a decent chemist is twenty times more useful than any poet.”
Such heroes look at socio-political issues differently. Kirsanov is a conservative liberal who advocates a reformist path of development for the country. His idea is English parliamentarism, that is, classical constitutional monarchy. He has boundless admiration for the English lords. Kirsanov claims that “the aristocracy gave freedom to England and supports it.” Bazarov stands for a revolutionary path of development of the country. For censorship reasons, Turgenev could not put revolutionary slogans into the hero’s mouth, but individual statements one can judge his belligerent mood; he “wants to fight.” But Bazarov does not have a positive transformation program social order because he is a nihilist. “You deny everything, or, to put it more precisely, you destroy everything... But you also need to build,” says Kirsanov. We see that in present moment main goal Bazarov - to destroy the old system of life of Russian society, and it does not matter what the new one will be.
And the relationships of the heroes to the people are close to each other. In Kirsanov’s position we notice features of Slavophilism. He says that the people “piously honor traditions, they are patriarchal, they cannot live without faith.” Bazarov considers the people dark, rude, ill-mannered, but this causes him pain.
Portraits and landscapes occupy a special place in the composition of the novel. Turgenev appears here as a master portrait characteristics character. He introduces all his heroes, showing them in full height. In the description of appearance important role details, manners, gestures, glances play.
For example, according to the description of Fenechka’s appearance (“A young woman of about twenty-three, all white and soft, with dark hair and eyes, with red, childishly plump lips and tender hands”) we can judge her character. She is sweet, simple-minded and kind.
Pavel Petrovich, a pedant and a true aristocrat, is characterized by such clothing details as “a dark English suit, a fashionable low tie and patent leather ankle boots.”
Landscape plays an equally important role in the novel.
The description of nature in Chapter III has a social connotation. Turgenev shows the poverty, wretchedness and unattractiveness of nature, thereby emphasizing the state of Russia as a whole at the moment.
Giving a description of a summer evening in Chapter XI, Turgenev clearly entered into an argument with Bazarov’s statements that “nature is not a temple, but a workshop.” This landscape made many memories come back to life in Nikolai Petrovich’s mind. past life. He again imagined his first acquaintance with Arkady’s mother, and remembered the time spent with his son. Thus, the author showed enormous power the influence of nature on a person, awakening all the best that is in his soul.
Painting a picture of a rural cemetery, Turgenev affirms the idea that nature, like life itself, is eternal. He writes: “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 peace of “indifferent” nature; they also talk about eternal reconciliation and endless life..."
And the last thing I would like to note, speaking about the originality of the novel, is the “secret psychologism” of Turgenev, who believed that “a writer should be a psychologist, but a secret one.” In "Fathers and Sons" we will not find branched internal monologues characters, the author shows their condition through details and gestures. For example, after Odintsova’s conversation with Bazarov, her internal tension and excitement are felt. The author writes: “She brought her stuck fingers to her lips, blew on them and, suddenly, impulsively rising from her chair, walked with quick steps towards the door, as if wanting to bring Bazarov back.”
Thus, in the novel we see a masterfully drawn portrait and landscape. Turgenev appears before us in the role of a “secret psychologist.” This determines the genre and, as a consequence, compositional features novel.
Ivan Sergeevich Turgenev’s novel “Fathers and Sons” very vividly and reliably reflected the character of the era, those significant changes in Russian social life that occurred in the early sixties of the last century, when the revolutionary-democratic ideology made its way to replace the noble ideology and culture, or miscellaneous.
Turgenev showed the struggle of two social groups: the old liberal noble intelligentsia and the common intelligentsia. Moreover, the novel has a pronounced anti-noble orientation, as the author himself pointed out: “My whole story is directed against the nobility as an advanced class... This is the triumph of democracy over the aristocracy.”
The basic principle of constructing a novel is antithesis. This is already stated in its title, which contrasts father and children, two generations of people. Opposition in the family gives rise to a universal conflict - family conflict. But in Turgenev's novel, the misunderstanding between fathers and children is not based on differences in characters. Their incompatibility occurs due to ideological differences. In this situation, a violation of the continuity of generations may occur, and this, in the opinion of the jam, threatens the death of humanity.
Evgeny Bazarov, the exponent of the ideas of the revolutionary democratic intelligentsia, and Pavel Petrovich Kirsanov, the main defender of the liberal nobility, are perceived as antipodes in the novel. Their clashes and disputes, which form the basis of the plot of the novel, give rise to another conflict - a socio-political one.
The ways to save Russia are the main question around which the nihilist Bazarov and the liberal Kirsanov are fiercely arguing. The commoner's denials are based on public interests, dictated by time and are purposeful. By his own admission, “at the present time” it is most useful to deny and destroy. For what? Bazarov’s answer sounds like an axiom that does not require proof: “The place needs to be cleared in order to build later.” All the foundations of autocratic-noble Russia are subject to merciless denial: autocracy and the church, noble culture. His passion for nihilism takes Bazarov to the extreme: he tries to throw out of life what he cannot do without: art and literature, love, the beauty of nature. For him, “a decent chemist is twenty times more useful than any poet,” “Raphael is not worth a penny,” “Nature is not a temple, but a workshop, and man is a worker in it.”
Naturally, Pavel Petrovich, brought up on high and noble ideals, whose life is not conceivable without such concepts as dignity and personal rights, self-respect, honor, freedom, Christian morality and humility, who in the novel acts as the guardian and accumulator of all cultural values. Bazarov's nihilism is alien, absurd, and unacceptable.
Two friends are also shown in the novel as antipodes - Evgeny Bazarov and Arkady Kirsanov. Bazarov is a convinced nihilist, while Arkady, under the influence of a friend, is only carried away by the idea of denial. But those extremes of nihilism to which Bazarov reached are alien to him. The friendship of two wonderful people in their own way ends in failure, and the blame for this lies not only on Arkady’s conscience.
The author contrasted his main character with life itself, which, in his opinion, cannot be reduced to any theoretical formula. He shows Bazarov’s willingness to act in the spirit of his democratic convictions, that is, to destroy in order to clear a place for those who will build. But Turgenev does not give him the opportunity to act because, from his point of view, Russia does not need such destruction. While sympathizing with his hero, he does not recognize the cause for which Bazarov was preparing himself, so he forces him to die.
By showing a picture of the tragic confrontation of Russian society, Turgenev hoped with his work to mark the beginning of the unification and unification of the best forces of Russia for the sake of the saving nullification of the Motherland, which he loved so passionately.
Artistic features. Art form"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 are 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 - magnificent master speech characteristics. The speech of the characters conveys not only thoughts, but also characters, habits, and unique human identity. The political convictions of 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, and an abundance of 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 “arm with long pink nails", snow-white cuffs, fastened with a large opal, a 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 portrayed 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.”
