What was the intention of the novel "Fathers and Sons"? How did it reflect the socio-political struggle of the 60s of the XIX century? Did the intentions of the writer and the objective meaning of his work coincide in this case?
"My whole story is directed against the nobility as an advanced class," I. S. Turgenev argued. In Bazarov, he was drawn to an outstanding, titanic figure, grown out of the people's soil, but lonely and therefore doomed to death. The author conceived the main conflict of the novel as a conflict of ideologies: the moderate-liberal position of the "fathers" and the extreme left views of the nihilists (read, revolutionaries, the author notes). The writer wanted to show the triumph of democracy over the aristocracy, but he was sure of the defeat of the revolutionaries. Therefore, he categorically objected to the revolutionary conclusions drawn by Dobrolyubov after reading Fathers and Sons, and because of this he broke with his dear Sovremennik. The writer, who served "the revolution as the heartfelt meaning of his works" (from the proclamation of the People's Will), turned out to be wrong: the objective meaning of his novel outgrew the plan, turned out to be broader and more convincing than Turgenev had supposed.
What is the main conflict in "Fathers and Sons"? Is the struggle of two generations or two ideologies shown in the novel? Which of the characters in the novel immediately attracts attention, evokes sympathy? Who can be called a hero of his time? Why do you think so? What does the generation of "fathers" look like in Turgenev's image (Kirsanov brothers, Vasily Ivanovich Bazarov)? What do you think about their attitude towards the younger generation? Does the author sympathize with them or despises them? What is the essence of the ideological disputes between "fathers" and "children"? Whose side is Turgenev on? Why do you think it was Pavel Petrovich Kirsanov who became Bazarov's main opponent? What does the duel scene give to characterize each of them? What are the views of Bazarov? What attracts (or repels) you? Why does Turgenev show him lonely not only in the camp of "fathers", but also among "children"? Prove that Bazarov is a fighter and a thinker. What is the essence of Bazar's nihilism? Does he have the moral right to call himself self-broken?
Bazarov has the character of a fighter. He never retreats in disputes with ideological opponents, does not change his convictions, most often developed by experience. His aphorisms, often controversial, are the result of great mental work. Bazarov's nihilism is not a denial for the sake of denial, but a firm conviction that "science" in general "does not exist at all," that everything must be looked at critically, the results of one's research in the laboratory must be checked, etc. Bazarov is sure that "everyone a person must educate himself, "and cites himself as an example. He has the right to call himself "self-broken", because he never gives in to his weaknesses, fearlessly defends what he considers true.
How does Bazarov feel about his parents? Why can't there be spiritual intimacy between them? It is known that the test of love is a difficult test for Turgenev's heroes. How does Bazarov reveal himself in love? How does Turgenev show the sincerity and strength of his hero's feelings? Is Anna Sergeevna Odintsova worthy of his love? "To die the way Bazarov died is the same as doing a great feat." Do you agree with this opinion of D. I. Pisarev? Why do you think the novel ends with the picture of Bazarov's death? How does D. I. Pisarev answer this question? Why did Turgenev call Bazarov a "tragic face"? What is the role of landscape in "Fathers and Sons"? Why does Arkady belong to the camp of "fathers"?
Arkady in the epilogue "became a zealous master", his "farm brings a significant income." This means that the influence
How are the ideological views of the characters revealed in the novel "Fathers and Sons" by I. S. Turgenev?
Bazarov quickly disappeared - after all, Arkady, despite the search for a social ideal outside the noble ideology, remained a "liberal gentleman." He is the guardian of the traditions of the "fathers" not only in relation to culture. The ideological views of the heroes of I. S. Turgenev are most fully revealed in the disputes between the Kirsanovs and Bazarov.
Describe the portrait of Pavel Petrovich Kirsanov.
Pavel Petrovich Kirsanov is an aristocrat, which is emphasized by his beautiful white hands "with long pink nails", "English suite, fashionable low ties", "amazing collars". He speaks with accentuated refined courtesy, tilting his head slightly.
What principles of Bazarov do not withstand a dispute with life?
Bazarov's nihilistic attitude towards love is broken by his own feeling for Odintsova. For the first time, he realizes that he is powerless to give up love for the sake of reason, that he becomes dependent on a woman whose words, look, manners cause a storm of irresistible passions in him. After losing a love match, Bazarov loses optimism, comes to gloomy arguments about the insignificance of man in the face of eternity.
How do you understand the meaning of the word "nihilist"?
I. S. Turgenev introduced the concept of "nihilism" into the Russian language as a designation for the system of views of "new people" who entered Russian public life from the late 50s of the 19th century. Nihilism is a simplified, grossly materialistic understanding of life, in which rational, experimental knowledge through the natural sciences comes to the fore, religion, art, beauty, morality are denied as useless in society. "We act by virtue of what we recognize as useful. At the present time, denial is most useful - we deny."
What is the weakness of Bazarov's position?
The weakness of Bazarov's position is in the total denial of everything that goes beyond empirical knowledge: art, the beauty of nature, love, religion. Life itself breaks his rejection of love. His materialism is superficial and crude, identifying physiology and morality (“each of us has a brain, spleen, heart, and lungs are the same,” which means that everyone has the same “moral qualities”). Bazarov has no devoted supporters, he is lonely, therefore, doomed.
Why does I. S. Turgenev end Bazarov's line with the death of a hero?
I. S. Turgenev believed that the "Russian Insarovs" had come, but their time had not come. Bazarov is a premature person who does not have a close social perspective, which is why he had to die.
What is the meaning of the title of the novel "Fathers and Sons" by I. S. Turgenev?
The name has a double meaning: the opposition of two social forces - liberal nobles ("fathers") and democrats-raznochintsev ("children"); eternal contradiction of generations.
What details of the portrait emphasize Bazarov's democracy?
I. S. Turgenev emphasized the democratism of Bazarov in appearance. His face "long and thin, with a broad forehead, flat top, pointed nose, large greenish eyes and drooping sandy sideburns, was enlivened by a calm smile and expressed self-confidence and intelligence." He dresses simply and emphatically casually - in a "long robe with tassels", and his hands are "red and naked", never wearing gloves.
The novel Fathers and Sons was started by I.S. Turgenev in 1860 on about. White in England and completed in Russia in 1862. The entire creative process of creating this work took only two years and took place in Paris. The prototype of the protagonist was a certain provincial doctor, whose name the writer does not name. The novel was published in 1861 in the journal Rossiyskiy vestnik.
The action of the novel itself covers the period from 1855 to 1861, when Russia shamefully lost the war with Turkey, there is a change of power: Alexander II ascended the throne, during whose reign various reforms are being carried out, including the abolition of serfdom and reform in the field of education.
The novel shows the growth of the authority of educated commoners-revolutionaries in society, and, conversely, the loss of their social positions by aristocrats. The writer artistically depicted in this novel the turning point in the public consciousness of Russia, in which noble liberalism was supplanted by revolutionary democratic thought. Bazarov, being a spokesman for the ideas of revolutionary democracy, is contrasted in the work with the Kirsanov brothers, the best representatives of the liberal nobility.
The plot is based on an acute social conflict, the ideological struggle of Bazarov's worldview with the views of the Kirsanovs. The generation of the 60s of the XIX century opposes itself to the older generation - people of the 40s. the same century. The development of capitalist relations, the urgent need for an urgent solution to the peasant question created a pre-revolutionary situation in the country.
The new hero of the era at this turning point for Russia was a raznochinets-democrat, presented by the writer in the novel as a strong personality, an energetic, whole person, confident in his views and beliefs, a man of action. Turgenev did not write out the image of the protagonist as positive or negative, without sharing his views, he simply objectively reproduced the "new man" of his era.
In addition to the social conflict, the title of the work also reflects the eternal conflict of generations, “fathers and children”, when the younger generation strives for independence, defends its views and seeks to separate itself from the older generation. The conflict of "fathers" and "children" in the ideological sense is reflected through the images of the Kirsanovs and Bazarov, and the psychological conflict is shown through the relationship of the younger Kirsanov - Arkady to the representatives of the older generation - the father and uncle of the Kirsanovs, Nikolai Petrovich and Pavel Petrovich.
The novel "Fathers and Sons" is the author's reflections on contemporary events, a statement of the historical realities of that time, thoughts about the fate of the older generation that is fading into the past, and anxiety for the future generation of enlightened Russian people who will live in a new era, in a new Russian society.
As we remember, in the previous two novels, Turgenev convinces both himself and the reader that the nobility in Russia is doomed to quietly and ingloriously leave the stage, since he bears great guilt before the people. Therefore, even the best representatives of the nobility are doomed to personal misfortune and to the inability to do anything for the Motherland. But the question remains open: where can we find a hero-doer capable of carrying out cardinal transformations in Russia? In the novel "On the Eve" Turgenev tried to find such a hero. This is not a nobleman and not a Russian. This is a Bulgarian student Dmitry Nikanorovich Insarov, who is vastly different from the previous heroes: Rudin and Lavretsky.
Rice. 2. Elena and Insarov (Ill. G.G. Filippovsky) ()
He will never live at the expense of others, he is resolute, efficient, not inclined to chatter, speaks with enthusiasm only when he talks about the fate of his unfortunate homeland. Insarov is still a student, but the goal of his life is to lead an uprising against Turkish rule. It would seem that the ideal hero has been found, but this is not quite the hero, because he is Bulgarian and will fight against the enemies of Bulgaria. At the very end of the novel, when many people die, including Insarov and his beloved Elena (Fig. 2), some characters wonder if there will be such Insarovs in Russia.
Now let's turn to Turgenev's novel "Fathers and Sons", written in the period from 1860 to 1861. (Fig. 3).
Rice. 3. Title page of the second edition of the novel "Fathers and Sons", 1880 ()
At the very beginning of the work, we see the question of one of the characters: "What, Peter, can't you see yet?" Of course, the situation in the novel is quite specific: Nikolai Petrovich Kirsanov (Fig. 4)
Rice. 4. Nikolai Petrovich Kirsanov (Artist D. Borovsky) ()
is waiting for her son Arkasha, a candidate who has just graduated from the university. But readers understand: the search for a hero continues. « No way, sir, you can’t see it”, the servant answers. Then the same question and the same answer follow. And now, for three pages, we are waiting not just for Arkasha the candidate, but for a hero, significant, intelligent, active. Thus, we are faced with a certain author's technique, which is easy to read. Finally the hero appears. Together with Arkady, Evgeny Bazarov arrives, (Fig. 5)
Rice. 5. Bazarov (Artist D. Borovsky, 1980) ()
who is distinguished by honesty, clarity, masculinity, he despises ordinary prejudices: he comes to a noble family, but is dressed in a completely different way, as it should be on such occasions. At the first meeting, we learn that Bazarov is a nihilist. Recall that in the first three novels, Turgenev persistently searches for a hero-doer, but new people from the nobility and intelligentsia did not fit this role. Not suitable for this role and Insarov. Bazarov, in turn, is also not quite suitable, since he is not a hero-doer, but a destroyer hero who preaches all-round destruction.
« Nihilist- This is from the Latin word nihil, Nothing; This a man who does not bow before any authorities, does not take a single principle on faith, no matter how respect this principle is surrounded by ... "
Bazarov's nihilism is impressive. He denies God, because he is a convinced atheist, he denies all the laws of contemporary Russia, the customs of the people, he also treats the people nihilistically, because he is convinced that the people are at a low stage of development and are the object of action of people like Bazarov. Bazarov is skeptical about art, does not know how to appreciate nature and its beauty, for him “Nature is not a temple, but a workshop, and man is a worker in it”. Bazarov is also skeptical about friendship. His devoted, albeit a little narrow-minded friend is Arkady. But as soon as Arkady tries to talk to Bazarov about something sincere, Bazarov cuts him off quite harshly: "AboutI ask you one thing: do not speak beautifully ...» . Bazarov loves his parents, but he is rather ashamed of this love, because he is afraid of “getting wet”, therefore he repels them too. And finally, love, the world of feelings. Bazarov believes that if you can get some sense from a woman, then you need to act, and if not, then you should look elsewhere. He completely denies the possibility of a mysterious look: « We physiologists know […] the anatomy of the eye: where does the […] mysterious look come from?» Thus, Bazarov's nihilism is striking in its scale, it is comprehensive.
Modern researchers point out that Bazarov's nihilism is not similar to the real manifestations of the nihilists, Bazarov's contemporaries, because the nihilists did not even recognize themselves in this portrait. There were angry responses. Young critic Antonovich (Fig. 6)
Rice. 6. M.A. Antonovich ()
even wrote an article "Asmodeus of our time", Bazarov seemed to him a petty devil. Nihilists in life denied a lot, but not everything. Turgenev objected to his young opponents and said that he wanted to portray the figure in all its scale. Indeed, Bazarov is such a significant person that he has neither friends nor enemies in the novel. He is tragically alone. Can we seriously talk about his friendship with Arkady? Arkady is a kind, friendly, handsome man, but he is small and not independent, he literally glows with the reflected light of Bazarov. However, as soon as he has a more serious authority, the young and determined girl Katya, (Fig. 7)
Rice. 7. "Fathers and sons." Chapter 25. Arkady and Katya (Artist D. Borovsky, 1980). ()
Arkady leaves from under the influence of Bazarov. Bazarov, in turn, seeing this, he himself breaks off their friendly relations.
There are two people in the novel, Sitnikov and Kukshina, who consider themselves students of Bazarov. These are anecdotal personalities: stupid, fashion-conscious, nihilism for them is fashionable entertainment. Pavel Petrovich Kirsanov can be considered an enemy of Bazarov (Fig. 8),
Rice. 8. Pavel Petrovich Kirsanov (Artist E. Rudakov, 1946-1947) ()
he is the only person who objects to Bazarov. As we remember, Nikolai Petrovich does not always agree with Bazarov, but he is afraid to object, he is embarrassed or does not consider it necessary. And Pavel Petrovich from the first minutes felt a sharp antipathy for Bazarov, and quarrels flare up almost from the very beginning of their acquaintance (Fig. 9).
Rice. 9. "Fathers and sons." Chapter 10. Dispute between Bazarov and Pavel Petrovich (Artist D. Borovsky) ()
If you do not delve into the essence of the dispute, then you can see that Pavel Petrovich fusses, swears, quickly turns to anger, while Bazarov is calm and self-confident. But if you delve into it, it turns out that Kirsanov is not so wrong. He accuses Bazarov of denying everything moral, but meanwhile the people are conservative, they live by these principles. Is it possible in a country inhabited by a huge number of illiterate serfs to call for violent action? Wouldn't that be the death of the country? These thoughts were nurtured by Turgenev himself. Bazarov, in response, says rather strange things: at first we only wanted to criticize, then we realized that it was useless to criticize, we need to change the whole system. They accepted the idea of total destruction of everything that is. But who will build? Bazarov is not thinking about this yet, his job is to destroy. This is precisely the tragedy of the novel. Bazarov is most likely wrong. We already have historical experience: we remember what a catastrophe the desire to destroy turned out to be in 1905, 1917.
But Pavel Petrovich himself cannot compete ideologically with Bazarov, if only because he wasted his life: he lives in the countryside, professes the principles of liberalism, aristocracy, but does nothing. Kirsanov devoted his whole life to insane love for Princess R. (Fig. 10),
Rice. 10. Princess R. (Artist I. Arkhipov) ()
who died, and Pavel Petrovich shut himself up in the village.
How did Turgenev himself relate to nihilistic youth? He was familiar with such people in whom he was struck by a certain untidiness, their type of education, and most importantly, their attitude towards the fate of Russia. Turgenev was against the revolution, which, he believed, could lead to disaster. An objective attitude towards such youth, the author's disagreement with their position formed the basis of the image of Bazarov.
This is how Turgenev himself defines the idea of the novel: "If the reader does not fall in love with Bazarov with all his rudeness, dryness, harshness, then I, as a writer, have not achieved my goal." That is, the hero is ideologically alien to the author, but at the same time he is a very serious personality and worthy of respect.
Now let's see if there is a dynamic in the image of Bazarov. At first, he is absolutely confident in himself, he is a total nihilist and he considers himself above all those phenomena that he denies. But then Turgenev puts tests before the hero, and this is how he passes them. The first test is love. Bazarov does not immediately understand that he has fallen in love with Odintsova (Fig. 11),
Rice. 11. Anna Sergeevna Odintsova (Artist D. Borovsky) ()
smart, beautiful, deeply significant woman. The hero does not understand what is happening to him: he loses sleep, appetite, he is restless, pale. When Bazarov realizes that this is love, but love that is not destined to come true, he receives a heavy blow. Thus, Bazarov, who denied love, laughed at Pavel Petrovich, himself found himself in a similar situation. And the unshakable wall of nihilism begins to crumble a little. Suddenly, Bazarov feels a general melancholy, he does not understand why he is busy, denies himself everything, lives a strict life, depriving himself of all kinds of pleasures. He doubts the meaning of his own activity, and these doubts corrode him more and more. He is surprised by the carefree life of his parents, who live without thinking (Fig. 12).
Rice. 12. Bazarov's parents - Arina Vlasyevna and Vasily Ivanovich (Artist D. Borovsky) ()
And Bazarov feels that his life is passing, that his great ideas will turn into nothing, and he himself will disappear without a trace. This is what Bazarov's nihilism leads to.
Modern researchers have an opinion that not only students and raznochintsy of that time served as the prototype of Bazarov, but also to some extent L.N. Tolstoy (Fig. 13),
Rice. 13. L.N. Tolstoy ()
who in his youth was a nihilist, which infuriated Turgenev. But in 10 years Tolstoy will also experience the horror of the fact that life is finite and death is inevitable. In his novel, Turgenev seems to predict what nihilism can lead to.
Thus, Bazarov's nihilism does not stand up to scrutiny; the very first test of life begins to destroy this theory. The second test is the nearness of death. In a difficult state of mind, Bazarov lives with old parents, helps his father, and one day they go to open the body of a peasant who died of typhus. Bazarov inflicts a cut on himself, there is no iodine, and the hero decides to rely on fate: there will be blood poisoning or not. When Bazarov finds out that the infection has occurred, then the question of death arises before him. Now we see that, as a personality, Bazarov survives this test. He does not lose courage, does not change his basic convictions, but before death he turns out to be more humane, more gentle than before. He knows that if he dies without communion, it will bring suffering to his parents. And he agrees: when he loses consciousness, let the parents do what they think is right. Before his death, he is not ashamed to show love and care for his parents, not ashamed to admit that he loved Odintsova, not ashamed to call her and say goodbye to her. Thus, if at the beginning of the novel we had a nihilist hero, similar to Lermontov's demon, then at the end of the work Bazarov becomes a real person. His death is reminiscent of the departure of Shakespeare's Hamlet, who also accepts it courageously.
Why did Turgenev doom his hero to death? On the one hand, as Turgenev said: "Where I write 'nihilist', I mean 'revolutionary'." And Turgenev could not portray a revolutionary both because of censorship and because of ignorance of this circle of people. On the other hand, doubts, torment and heroic death enormously increase the figure of Bazarov in the mind of the reader. Turgenev wanted to say that he categorically disagrees with what the new young generation is trying to offer as salvation for their country. But at the same time, he pays tribute to these people who have high spiritual qualities, who are selfless and ready to give their lives for their beliefs. It was in this that Turgenev's high writing skills, his high spiritual freedom, were manifested.
Bibliography
- Sakharov V.I., Zinin S.A. Russian language and literature. Literature (basic and advanced levels) 10. - M.: Russian Word.
- Arkhangelsky A.N. etc. Russian language and literature. Literature (advanced level) 10. - M.: Bustard.
- Lanin B.A., Ustinova L.Yu., Shamchikova V.M. / ed. Lanina B.A. Russian language and literature. Literature (basic and advanced levels) 10. - M.: VENTANA-GRAF.
- Litra.ru ().
- Online store of the publishing house "Lyceum" ().
- Turgenev.net.ru ().
Homework
- Expand the author's attitude to Bazarov.
- Make a comparative description of the images of Insarov and Bazarov
- * After analyzing the images of Rudin, Lavretsky, Insarov and Bazarov, derive the ideal image of a new hero-actor.
What was the intention of the novel "Fathers and Sons"? How did it reflect the socio-political struggle of the 60s of the XIX century? Did the intentions of the writer and the objective meaning of his work coincide in this case?
"My whole story is directed against the nobility as an advanced class," I. S. Turgenev argued. In Bazarov, he was drawn to an outstanding, titanic figure, grown out of the people's soil, but lonely and therefore doomed to death. The author conceived the main conflict of the novel as a conflict of ideologies: the moderate-liberal position of the "fathers" and the extreme left views of the nihilists (read, revolutionaries, the author notes). The writer wanted to show the triumph of democracy over the aristocracy, but he was sure of the defeat of the revolutionaries. Therefore, he categorically objected to the revolutionary conclusions drawn by Dobrolyubov after reading Fathers and Sons, and because of this he broke with his dear Sovremennik. The writer, who served "the revolution as the heartfelt meaning of his works" (from the proclamation of the People's Will), turned out to be wrong: the objective meaning of his novel outgrew the plan, turned out to be broader and more convincing than Turgenev had supposed.
What is the main conflict in "Fathers and Sons"? Is the struggle of two generations or two ideologies shown in the novel? Which of the characters in the novel immediately attracts attention, evokes sympathy? Who can be called a hero of his time? Why do you think so? What does the generation of "fathers" look like in Turgenev's image (the Kirsanov brothers, Vasily Ivanovich Bazarov)? What do you think about their attitude towards the younger generation? Does the author sympathize with them or despises them? What is the essence of the ideological disputes between "fathers" and "children"? Whose side is Turgenev on? Why do you think it was Pavel Petrovich Kirsanov who became Bazarov's main opponent? What does the duel scene give to characterize each of them? What are the views of Bazarov? What attracts (or repels) you? Why does Turgenev show him lonely not only in the camp of "fathers", but also among "children"? Prove that Bazarov is a fighter and a thinker. What is the essence of Bazar's nihilism? Does he have the moral right to call himself self-broken?
Bazarov has the character of a fighter. He never retreats in disputes with ideological opponents, does not change his convictions, most often developed by experience. His aphorisms, often controversial, are the result of great mental work. Bazarov's nihilism is not a denial for the sake of denial, but a firm conviction that "science" in general "does not exist at all," that everything must be looked at critically, the results of one's research in the laboratory must be checked, etc. Bazarov is sure that "everyone a person must educate himself, "and cites himself as an example. He has the right to call himself "self-broken", because he never gives in to his weaknesses, fearlessly defends what he considers true.
How does Bazarov feel about his parents? Why can't there be spiritual intimacy between them? It is known that the test of love is a difficult test for Turgenev's heroes. How does Bazarov reveal himself in love? How does Turgenev show the sincerity and strength of his hero's feelings? Is Anna Sergeevna Odintsova worthy of his love? "To die the way Bazarov died is the same as doing a great feat." Do you agree with this opinion of D. I. Pisarev? Why do you think the novel ends with the picture of Bazarov's death? How does D. I. Pisarev answer this question? Why did Turgenev call Bazarov a "tragic face"? What is the role of landscape in "Fathers and Sons"? Why does Arkady belong to the camp of "fathers"?
Arkady in the epilogue "became a zealous master", his "farm brings a significant income." This means that the influence
How are the ideological views of the characters revealed in the novel "Fathers and Sons" by I. S. Turgenev?
Bazarov quickly disappeared - after all, Arkady, despite the search for a social ideal outside the noble ideology, remained a "liberal gentleman." He is the guardian of the traditions of the "fathers" not only in relation to culture. The ideological views of the heroes of I. S. Turgenev are most fully revealed in the disputes between the Kirsanovs and Bazarov.
Describe the portrait of Pavel Petrovich Kirsanov.
Pavel Petrovich Kirsanov is an aristocrat, which is emphasized by his beautiful white hands "with long pink nails", "English suite, fashionable low ties", "amazing collars". He speaks with accentuated refined courtesy, tilting his head slightly.
What principles of Bazarov do not withstand a dispute with life?
Bazarov's nihilistic attitude towards love is broken by his own feeling for Odintsova. For the first time, he realizes that he is powerless to give up love for the sake of reason, that he becomes dependent on a woman whose words, look, manners cause a storm of irresistible passions in him. After losing a love match, Bazarov loses optimism, comes to gloomy arguments about the insignificance of man in the face of eternity.
How do you understand the meaning of the word "nihilist"?
I. S. Turgenev introduced the concept of "nihilism" into the Russian language as a designation for the system of views of "new people" who entered Russian public life from the late 50s of the 19th century. Nihilism is a simplified, grossly materialistic understanding of life, in which rational, experimental knowledge through the natural sciences comes to the fore, religion, art, beauty, morality are denied as useless in society. "We act by virtue of what we recognize as useful. At the present time, denial is most useful - we deny."
What is the weakness of Bazarov's position?
The weakness of Bazarov's position is in the total denial of everything that goes beyond empirical knowledge: art, the beauty of nature, love, religion. Life itself breaks his rejection of love. His materialism is superficial and crude, identifying physiology and morality (“each of us has a brain, spleen, heart, and lungs are the same,” which means that everyone has the same “moral qualities”). Bazarov has no devoted supporters, he is lonely, therefore, doomed.
Why does I. S. Turgenev end Bazarov's line with the death of a hero?
I. S. Turgenev believed that the "Russian Insarovs" had come, but their time had not come. Bazarov is a premature person who does not have a close social perspective, which is why he had to die.
What is the meaning of the title of the novel "Fathers and Sons" by I. S. Turgenev?
The name has a double meaning: the opposition of two social forces - liberal nobles ("fathers") and democrats-raznochintsev ("children"); eternal contradiction of generations.
What details of the portrait emphasize Bazarov's democracy?
I. S. Turgenev emphasized the democratism of Bazarov in appearance. His face "long and thin, with a broad forehead, flat top, pointed nose, large greenish eyes and drooping sandy sideburns, was enlivened by a calm smile and expressed self-confidence and intelligence." He dresses simply and emphatically casually - in a "long robe with tassels", and his hands are "red and naked", never wearing gloves.
The idea of the novel arises from I. S. Turgenev in 1860 in the small seaside town of Ventnor, in England. “... It was in August 1860, when the first thought of “Fathers and Sons” came to my mind ...” It was a difficult time for the writer. He had just broken with Sovremennik magazine. The reason was an article by N. A. Dobrolyubov about the novel “On the Eve”. I. S. Turgenev did not accept the revolutionary conclusions contained in it. The reason for the gap was deeper: the rejection of revolutionary ideas, "the muzhik democracy of Dobrolyubov and Chernyshevsky" and their intentions "to call Rus' to the ax." The novel "Fathers and Sons" was an attempt to comprehend the nature and direction of the "new people", the type of which had just begun to emerge in Russian society. “... At the base of the main figure, Bazarov, lay one personality of a young provincial doctor that struck me. (He died shortly before 1860.) In this remarkable person, incarnated - before my eyes - that barely born, still fermenting principle, which later received the name of nihilism. The impression this person made on me was very strong and at the same time not entirely clear; at first, I myself could not give myself a good account of it - and listened intently and looked closely at everything that surrounded me, as if wanting to check the veracity of my own sensations. I was embarrassed by the following fact: in not a single work of our literature did I even meet a hint of what seemed to me everywhere; Involuntarily, a doubt arose: am I chasing a ghost? - I. S. Turgenev wrote in an article about "Fathers and Sons".
Work on the novel was continued in Paris. In September 1860, Turgenev wrote to P. V. Annenkov: “I intend to work with all my might. The plan for my new story is ready to the smallest detail - and I'm eager to get down to it. Something will come out - I don’t know, but Botkin, who is here ... highly approves of the idea that is the basis. I would like to finish this thing by the spring, by April, and bring it to Russia myself.
During the winter, the first chapters are written, but the work is slower than expected. In the letters of this time, requests are constantly heard to report on the news of the social life of Russia, which is seething on the eve of the greatest event in its history - the abolition of serfdom. To get the opportunity to directly get acquainted with the problems of modern Russian reality, I. S. Turgenev comes to Russia. The novel, begun before the reform of 1861, the writer finishes after it in his beloved Spassky. In a letter to the same P. V. Annenkov, he announces the end of the novel: “My work is finally over. On July 20 I wrote the blessed last word.
In the autumn, upon his return to Paris, I. S. Turgenev read his novel to V. P. Botkin and K. K. Sluchevsky, whose opinion he greatly valued. Agreeing and arguing with their judgments, the writer, in his own words, "plows" the text, makes numerous changes and amendments to it. “Something corrected, supplemented, and in March 1862, “Fathers and Sons” appeared in the “Russian Bulletin” (I. S. Turgenev. “About “Fathers and Sons”).
So, a year and a half after the idea arose, on the pages of the February issue of the Russky Vestnik magazine, the novel Fathers and Sons saw the light of day. I. S. Turgenev dedicated it to V. G. Belinsky.
Actions in the novel take place in the summer of 1859, that is, on the eve of the peasant reform of 1861.
Title of the novel - textbook pp. 238-240
