Evaluation of contemporaries of Turgeneev's novel "fathers and sons" in literary criticism. Turgenev, "Fathers and Sons": criticism of the work Literary critical article fathers and sons

The article by N. N. Strakhov is devoted to the novel by I. S. Turgenev "Fathers and Sons". The issue of critical material concerns:

• the meaning of the literary-critical activity itself (the author does not seek to instruct the reader, but thinks that the reader himself wants this);
• the style in which literary criticism should be written (it should not be too dry and attract the attention of a person);
• discord between the creative personality and the expectations of others (as, according to Strakhov, it was with Pushkin);
• the role of a particular work ("Fathers and Sons" by Turgenev) in Russian literature.

The first thing the critic notes is that "a lesson and teaching" was also expected from Turgenev. He raises the question of whether the novel is progressive or retrograde.

He notes that card games, casual clothing style and Bazarov's love for champagne are some kind of challenge to society, a cause of bewilderment among the readership. Strakhov also noted that there are different views on the work itself. Moreover, people argue about who the author himself sympathizes with - "fathers" or "children", whether Bazarov himself is guilty of his troubles.

Of course, one cannot but agree with the critic that this novel is a special event in the development of Russian literature. Moreover, the article says that the work may have a mysterious goal and it has been achieved. It turns out that the article does not claim to be 100% true, but tries to understand the features of "Fathers and Sons".

The main characters of the novel are Arkady Kirsanov and Yevgeny Bazarov, young friends. Bazarov has parents, Kirsanov has a father and a young illegal stepmother, Fenechka. Also in the course of the novel, friends get acquainted with the Loktev sisters - Anna, in the marriage of Odintsova, at the time of the unfolding events - a widow, and young Katya. Bazarov falls in love with Anna, and Kirsanov falls in love with Katya. Unfortunately, at the end of the work, Bazarov dies.

However, the question is open to the public and literary criticism - are there people similar to Bazarov in reality? According to I. S. Turgenev, this is a very real type, although rare. But for Strakhov, Bazarov is still the product of the author's imagination. And if for Turgenev "Fathers and Sons" is a reflection, his own vision of Russian reality, then for a critic, the author of the article, the writer himself follows "the movement of Russian thought and Russian life." He notes the realism and vitality of Turgenev's book.

An important point is the critic's comments regarding the image of Bazarov.

The fact is that Strakhov noticed an important point: Bazarov is given the features of different people, so every real person is somewhat similar to him, according to Strakhov.

The article notes the sensitivity and understanding of the writer of his era, a deep love for life and the people around him. Moreover, the critic defends the writer from accusations of fiction and distortion of reality.

Most likely, the purpose of Turgenev's novel was, in general and as a whole, to highlight the conflict of generations, to show the tragedy of human life. That is why Bazarov became a collective image, was not written off from a specific person.

According to the critic, many people unfairly consider Bazarov as the head of the youth circle, but this position is also erroneous.

Strakhov also believes that poetry should be appreciated in "fathers and children", without paying too much attention to "back thoughts". In fact, the novel was created not for teaching, but for enjoyment, the critic believes. However, I. S. Turgenev nevertheless described the tragic death of his hero not without reason - apparently, there was still an instructive moment in the novel. Yevgeny had old parents who yearned for their son - maybe the writer wanted to remind you that you need to appreciate your loved ones - both parents of children and children - parents? This novel could be an attempt not only to describe, but also to soften or even overcome the eternal and contemporary conflict of generations.

ROMAN I. S. TURGENEV
“FATHERS AND CHILDREN” IN RUSSIAN CRITICISM

"Fathers and Sons" caused a storm in the world of literary criticism. After the release of the novel, a huge number of critical responses and articles that were completely opposite in their charge appeared, which indirectly testified to the innocence and innocence of the Russian reading public. Criticism treated the work of art as a journalistic article, a political pamphlet, not wanting to reconstruct the author's point of view. With the release of the novel, a lively discussion of it in the press begins, which immediately acquired a sharp polemical character. Almost all Russian newspapers and magazines responded to the appearance of the novel. The work gave rise to disagreements both between ideological opponents and among like-minded people, for example, in the democratic magazines Sovremennik and Russkoye Slovo. The dispute, in essence, was about the type of a new revolutionary figure in Russian history.
Sovremennik responded to the novel with M.A. Antonovich’s article “Asmodeus of Our Time”. The circumstances connected with the departure of Turgenev from Sovremennik predisposed to the fact that the novel was assessed negatively by the critic.
Antonovich saw in it a panegyric to the “fathers” and a slander on the younger generation.
In addition, it was argued that the novel was very weak artistically, that Turgenev, who set out to discredit Bazarov, resorted to caricature, depicting the protagonist as a monster "with a tiny head and a giant mouth, with a small face and a big nose." Antonovich is trying to defend women's emancipation and the aesthetic principles of the younger generation from Turgenev's attacks, trying to prove that "Kukshina is not as empty and limited as Pavel Petrovich." Regarding the denial of art by Bazarov
Antonovich declared that this was a pure lie, that the younger generation denies only "pure art", among whose representatives, however, he ranked Pushkin and Turgenev himself. According to Antonovich, from the very first pages, to the greatest amazement of the reader, he is overcome by a kind of boredom; but, of course, you are not embarrassed by this and continue to read, hoping that it will be better further, that the author will enter into his role, that talent will take its toll and involuntarily captivate your attention. And meanwhile, and further, when the action of the novel unfolds completely before you, your curiosity does not stir, your feeling remains untouched; reading makes some unsatisfactory impression on you, which is reflected not in the feeling, but, most surprisingly, in the mind. You are covered with some kind of deadly cold; you don't live with the characters in the novel, you don't get imbued with their life, but you begin to talk coldly with them, or, more precisely, follow their reasoning. You forget that you have a novel by a talented artist in front of you, and you imagine that you are reading a moral-philosophical tract, but bad and superficial, which, not satisfying your mind, thereby makes an unpleasant impression on your feelings. This shows that Turgenev's new work is extremely unsatisfactory artistically. Turgenev treats his heroes, not his favorites, in a completely different way. He harbors some kind of personal hatred and hostility towards them, as if they personally did him some kind of insult and dirty trick, and he tries to take revenge on them at every step, like a person personally offended; he with inner pleasure looks for weaknesses and shortcomings in them, about which he speaks with ill-concealed gloating and only in order to humiliate the hero in the eyes of readers: "look, they say, what scoundrels my enemies and opponents are." He rejoices as a child when he manages to prick an unloved hero with something, to joke about him, to present him in a funny or vulgar and vile form; every mistake, every thoughtless step of the hero pleasantly tickles his vanity, causes a smile of complacency, revealing a proud, but petty and inhumane consciousness of his own superiority. This vindictiveness reaches the ridiculous, has the appearance of school tweaks, showing up in trifles and trifles. The protagonist of the novel speaks with pride and arrogance of his skill in the card game; and Turgenev makes him constantly lose. Then Turgenev tries to present the protagonist as a glutton who only thinks about how to eat and drink, and this is again done not with good nature and comedy, but with the same vindictiveness and desire to humiliate the hero; From various places in Turgenev's novel it is clear that the main character of his man is not stupid, - on the contrary, he is very capable and gifted, inquisitive, diligently studying and knowing a lot; meanwhile, in disputes, he is completely lost, expresses nonsense and preaches absurdities that are unforgivable to the most limited mind. There is nothing to say about the moral character and moral qualities of the hero; this is not a man, but some terrible creature, just a devil, or, more poetically, asmodeus. He systematically hates and persecutes everything from his kind parents, whom he cannot stand, to frogs, which he cuts with merciless cruelty. Never had a feeling crept into his cold heart; there is not a trace of any infatuation or passion in him; he releases the very hatred calculated, by grains. And mind you, this hero is a young man, a young man! He appears as some kind of poisonous creature that poisons everything he touches; he has a friend, but he despises him too and has not the slightest disposition towards him; he has followers, but he also hates them. The novel is nothing but a merciless and also destructive criticism of the younger generation. In all modern questions, mental movements, rumors and ideals that occupy the younger generation, Turgenev does not find any meaning and makes it clear that they lead only to depravity, emptiness, prosaic vulgarity and cynicism.
What conclusion can be drawn from this novel; who will be right and wrong, who is worse, and who is better - "fathers" or "children"? Turgenev's novel has the same one-sided meaning. Excuse me, Turgenev, you did not know how to define your task; instead of depicting the relationship between "fathers" and "children", you wrote a panegyric for "fathers" and a rebuke for "children"; and you didn’t understand the “children” either, and instead of denunciation, you came up with slander. You wanted to present the spreaders of sound concepts among the younger generation as corrupters of youth, sowers of discord and evil, who hate goodness - in a word, asmodeans. This attempt is not the first and is repeated quite often.
The same attempt was made, a few years ago, in a novel which was "a phenomenon missed by our criticism" because it belonged to an author who at that time was unknown and did not have the loud fame that he now enjoys. This novel is Asmodeus of Our Time, Op.
Askochensky, which appeared in 1858. Turgenev's last novel vividly reminded us of this "Asmodeus" with its general thought, its tendencies, its personalities, and especially its main character.

In the journal "Russian Word" in 1862, an article by D. I. Pisarev appears
"Bazarov". The critic notes some bias of the author in relation to
Bazarov, says that in a number of cases Turgenev "does not favor his hero," that he experiences "an involuntary antipathy to this line of thought."
But the general conclusion about the novel does not boil down to this^. D. I. Pisarev finds in the image of Bazarov an artistic synthesis of the most significant aspects of the worldview of raznochintsy democracy, depicted truthfully, despite Turgenev's original intention. The critic openly sympathizes with Bazarov, his strong, honest and stern character. He believed that Turgenev understood this new human type for Russia "as truly as none of our young realists would understand." a strictly critical look ... at the present moment turns out to be more fruitful than unfounded admiration or servile adoration. The tragedy of Bazarov, according to Pisarev, is that there are actually no favorable conditions for the present case, and therefore, “not being able to show us how Bazarov lives and acts, I.S.
Turgenev showed us how he dies.
In his article, D. I. Pisarev confirms the social sensitivity of the artist and the aesthetic significance of the novel: “Turgenev's new novel gives us everything that we used to enjoy in his works. The artistic finish is irreproachably good... And these phenomena are very close to us, so close that our entire young generation, with their aspirations and ideas, can recognize themselves in the characters of this novel.” Even before the start of the direct controversy, D.
I. Pisarev actually foresees Antonovich's position. About the scenes
Sitnikov and Kukshina, he remarks: “Many of the literary opponents
"Russian Messenger" will attack Turgenev with bitterness for these scenes.
However, D. I. Pisarev is convinced that a real nihilist, a democrat-raznochinets, just like Bazarov, must deny art, not understand Pushkin, be sure that Raphael is “not worth a penny”. But it is important for us that
Bazarov, who is dying in the novel, “resurrects” on the last page of Pisarev’s article: “What to do? Live while you live, eat dry bread when there is no roast beef, be with women when you cannot love a woman, and generally not dream of orange trees and palm trees, when there are snowdrifts and cold tundras under your feet. Perhaps we can consider Pisarev's article the most striking interpretation of the novel in the 60s.

In 1862, in the fourth book of the Vremya magazine published by F. M. and M.
M. Dostoevsky, an interesting article by N. N. Strakhov is published, which is called “I. S. Turgenev. "Fathers and Sons". Strakhov is convinced that the novel is a remarkable achievement of Turgenev the artist. The critic considers the image of Bazarov to be extremely typical. "Bazarov is a type, an ideal, a phenomenon elevated to the pearl of creation." Some features of Bazarov's character are explained more precisely by Strakhov than by Pisarev, for example, the denial of art. What Pisarev considered an accidental misunderstanding, explained by the individual development of the hero
(“He bluntly denies things that he doesn’t know or doesn’t understand ...”), Strakhov perceived Strakhov as an essential feature of the nihilist’s character: “... Art always has the character of reconciliation, while Bazarov does not at all want to reconcile with life. Art is idealism, contemplation, renunciation of life and worship of ideals; Bazarov is a realist, not a contemplator, but a doer ... ”However, if D.I. Pisarev Bazarov is a hero whose word and deed merge into one, then Strakhov’s nihilist is still a hero
“words”, albeit with a thirst for activity, brought to an extreme degree.
Strakhov captured the timeless meaning of the novel, managing to rise above the ideological disputes of his time. “Writing a novel with a progressive and retrograde direction is not a difficult thing to do. Turgenev, on the other hand, had the pretensions and audacity to create a novel that had all sorts of directions; an admirer of eternal truth, eternal beauty, he had the proud goal of pointing the temporal to the eternal, and wrote a novel that was neither progressive nor retrograde, but, so to speak, everlasting,” the critic wrote.

The liberal critic P. V. Annenkov also responded to Turgenev's novel.
In his article “Bazarov and Oblomov” he tries to prove that, despite the outward difference between Bazarov and Oblomov, “the grain is the same in both natures”.

In 1862, an article by an unknown author was published in the Vek magazine.
"Nihilist Bazarov". It is devoted primarily to the analysis of the personality of the protagonist: “Bazarov is a nihilist. To that environment in which it is put, it concerns unconditionally negatively. Friendship does not exist for him: he endures his friend as the strong endures the weak. Kinship for him is a habit of his parents towards him. He understands love as a materialist. The people look with disdain for the adult on the little guys. There is no field of activity left for Bazarov.” As for nihilism, an unknown critic claims that Bazarov's denial has no basis, "there is no reason for him."

In the work of A. I. Herzen “Once again Bazarov”, the main object of controversy is not Turgenev’s hero, but Bazarov, created in the articles of D. I.
Pisarev. “Whether Pisarev correctly understood Turgenev’s Bazarov, I don’t care about that. The important thing is that he recognized himself and his people in Bazarov and added what was missing in the book, ”wrote the critic. Moreover, Herzen compares
Bazarov with the Decembrists and comes to the conclusion that “the Decembrists are our great fathers, the Bazarovs are our prodigal children.” Nihilism is called “logic without structures, science without dogma, submission to experience” in the article.

At the end of the decade, Turgenev himself joins the controversy around the novel. In the article “About“ Fathers and Sons ”he tells the story of his idea, the stages of the publication of the novel, speaks with his judgments about the objectivity of reproducing reality: “... Accurately and strongly reproduce the truth, the reality of life - there is the highest happiness for a writer, even if this truth does not coincide with his own sympathies.”

The works considered in the abstract are not the only responses of the Russian public to Turgenev's novel Fathers and Sons. Almost every Russian writer and critic expressed in one form or another his attitude to the problems raised in the novel. But isn't this a real recognition of the relevance and significance of the work?

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The most important feature of the amazing talent of I.S. Turgenev - a keen sense of his time, which is the best test for the artist. The images created by him continue to live, but in a different world, whose name is the grateful memory of the descendants who learned love, dreams and wisdom from the writer.

The clash of two political forces, liberal nobles and raznochintsy revolutionaries, has found artistic embodiment in a new work, which is being created in a difficult period of social confrontation.

The idea of ​​"Fathers and Sons" is the result of communication with the staff of the Sovremennik magazine, where the writer worked for a long time. The writer was very worried about leaving the magazine, because the memory of Belinsky was associated with him. Dobrolyubov's articles, with whom Ivan Sergeevich constantly argued and sometimes disagreed, served as a real basis for depicting ideological differences. The radical young man was not on the side of gradual reforms, like the author of Fathers and Sons, but firmly believed in the path of revolutionary transformation of Russia. The editor of the magazine, Nikolai Nekrasov, supported this point of view, so the classics of fiction - Tolstoy and Turgenev - left the editorial office.

The first sketches for the future novel were made at the end of July 1860 on the English Isle of Wight. The image of Bazarov was defined by the author as the character of a self-confident, hard-working, nihilist person who does not recognize compromises and authorities. Working on the novel, Turgenev involuntarily imbued with sympathy for his character. In this he is helped by the diary of the protagonist, which is kept by the writer himself.

In May 1861, the writer returns from Paris to his Spasskoe estate and makes the last entry in the manuscripts. In February 1862, the novel was published in Russkiy Vestnik.

Main problems

After reading the novel, you understand its true value, created by the "genius of measure" (D. Merezhkovsky). What did Turgenev like? What did you doubt? What did you dream about?

1. Central to the book is the moral problem of relationships between generations. "Fathers" or "children"? The fate of everyone is connected with the search for an answer to the question: what is the meaning of life? For the new people, it consists in work, but the old guard sees it in reasoning and contemplation, because crowds of peasants work for them. In this principled position there is a place for an irreconcilable conflict: fathers and children live differently. In this divergence we see the problem of misunderstanding of opposites. The antagonists cannot and do not want to accept each other, especially this impasse can be traced in the relationship between Pavel Kirsanov and Evgeny Bazarov.
2. Just as acute is the problem of moral choice: on whose side is the truth? Turgenev believed that the past cannot be denied, because only thanks to it the future is being built. In the image of Bazarov, he expressed the need to preserve the continuity of generations. The hero is unhappy because he is lonely and understood, because he himself did not strive for anyone and did not want to understand. However, changes, whether the people of the past like it or not, will come anyway, and we must be ready for them. This is evidenced by the ironic image of Pavel Kirsanov, who lost his sense of reality, putting on ceremonial tailcoats in the village. The writer urges to be sensitive to changes and try to understand them, and not indiscriminately scold, like Uncle Arkady. Thus, the solution to the problem lies in the tolerant attitude of different people to each other and an attempt to learn the opposite life concept. In this sense, the position of Nikolai Kirsanov won, who was tolerant of new trends and was never in a hurry to judge them. His son also found a compromise solution.
3. However, the author made it clear that there is a high purpose behind the tragedy of Bazarov. It is precisely such desperate and self-confident pioneers who pave the way for the world forward, so the problem of recognizing this mission in society also occupies an important place. Eugene repents on his deathbed that he feels unnecessary, this realization destroys him, and he could become a great scientist or a skilled doctor. But the cruel mores of the conservative world push him out, because they feel threatened in him.
4. The problems of the "new" people, the raznochintsy intelligentsia, difficult relationships in society, with parents, in the family are also obvious. Raznochintsy do not have profitable estates and position in society, therefore they are forced to work and become hardened, seeing social injustice: they work hard for a piece of bread, and the nobles, stupid and mediocre, do nothing and occupy all the upper floors of the social hierarchy, where the elevator simply does not reach . Hence the revolutionary sentiments and the moral crisis of an entire generation.
5. Problems of eternal human values: love, friendship, art, attitude to nature. Turgenev knew how to reveal the depths of human nature in love, to test the true essence of a person with love. But not everyone passes this test, an example of this is Bazarov, who breaks down under the onslaught of feelings.

All the interests and ideas of the writer were entirely focused on the most important tasks of the time, went towards the most burning problems of everyday life.

Characteristics of the heroes of the novel

Evgeny Vasilyevich Bazarov- comes from the people. The son of a regimental doctor. Grandfather from the father's side "plowed the land." Eugene himself makes his way in life, receives a good education. Therefore, the hero is careless in clothes and manners, no one brought him up. Bazarov is a representative of the new revolutionary-democratic generation, whose task is to destroy the old way of life, to fight against those who hinder social development. A complex, doubting person, but proud and adamant. How to fix society, Yevgeny Vasilyevich is very vague. Denies the old world, accepts only what is confirmed by practice.

• The writer displayed in Bazarov the type of a young man who believes exclusively in scientific activity and denies religion. The hero has a deep interest in the natural sciences. From childhood, his parents instilled in him a love of work.
• He condemns the people for illiteracy and ignorance, but is proud of his origin. The views and beliefs of Bazarov do not find like-minded people. Sitnikov, a talker and a phrase-monger, and the "emancipated" Kukshina are useless "followers".
• In Yevgeny Vasilyevich, a soul unknown to him rushes about. What should a physiologist and an anatomist do with it? It is not visible under a microscope. But the soul hurts, although it - a scientific fact - does not exist!
• Turgenev spends most of the novel exploring the "temptations" of his hero. He torments him with the love of old people - parents - what to do with them? And love for Odintsova? Principles are in no way compatible with life, with the living movements of people. What remains for Bazarov? Only die. Death is his last test. He accepts her heroically, does not comfort himself with the spells of a materialist, but calls for his beloved.
• The spirit conquers the enraged mind, overcomes the delusions of the schemes and postulates of the new teaching.

Pavel Petrovich Kirsanov - bearer of noble culture. Bazarov is disgusted by Pavel Petrovich's "starched collars", "long nails". But the hero's aristocratic manners are an inner weakness, a secret consciousness of his inferiority.

• Kirsanov believes that self-respect means taking care of your appearance and never losing your dignity, even in the countryside. He composes his daily routine in the English manner.
• Pavel Petrovich retired, indulging in love experiences. This decision of his became a "resignation" from life. Love does not bring joy to a person if he lives only by its interests and whims.
• The hero is guided by principles taken "on faith", corresponding to his position as a master - a feudal lord. Honors the Russian people for patriarchy and obedience.
• In relation to a woman, the strength and passion of feelings are manifested, but he does not understand them.
• Pavel Petrovich is indifferent to nature. The denial of her beauty speaks of his spiritual limitations.
• This man is deeply unhappy.

Nikolai Petrovich Kirsanov- father of Arkady and brother of Pavel Petrovich. It was not possible to make a military career, but he did not despair and entered the university. After the death of his wife, he devoted himself to his son and the improvement of the estate.

• The characteristic features of the character are gentleness, humility. The intelligence of the hero causes sympathy and respect. Nikolai Petrovich is a romantic at heart, loves music, recites poetry.
• He is an opponent of nihilism, he tries to smooth out any emerging differences. Live in harmony with your heart and conscience.

Arkady Nikolaevich Kirsanov- a person who is not independent, deprived of his life principles. He is completely subordinate to his friend. He joined Bazarov only out of youthful enthusiasm, since he did not have his own views, so in the final there was a gap between them.

• Subsequently, he became a zealous owner and started a family.
• “A nice fellow,” but “a soft, liberal barich,” Bazarov says about him.
• All Kirsanovs are "more children of events than fathers of their own actions."

Odintsova Anna Sergeevna- an "element" "related" to Bazarov's personality. On what basis can such a conclusion be drawn? The firmness of the outlook on life, "proud loneliness, intelligence - make it" close "to the protagonist of the novel. She, like Eugene, sacrificed personal happiness, so her heart is cold and fearful of feelings. She herself trampled on them, having married by calculation.

The conflict of "fathers" and "children"

Conflict - “collision”, “serious disagreement”, “dispute”. To say that these concepts have only a "negative connotation" means to completely misunderstand the processes of development of society. “Truth is born in a dispute” - this axiom can be considered a “key” that opens the veil on the problems posed by Turgenev in the novel.

Disputes are the main compositional technique that allows the reader to determine his point of view and take a certain position in his views on a particular social phenomenon, area of ​​development, nature, art, moral concepts. Using the "reception of disputes" between "youth" and "old age", the author affirms the idea that life does not stand still, it is multifaceted and many-sided.

The conflict between "fathers" and "children" will never be resolved, it can be described as a "constant". However, it is the conflict of generations that is the engine of development of everything earthly. On the pages of the novel, there is a burning controversy caused by the struggle of the revolutionary democratic forces with the liberal nobility.

Main Topics

Turgenev managed to saturate the novel with progressive thought: protest against violence, hatred for legalized slavery, pain for the suffering of the people, the desire to found their happiness.

The main themes in the novel "Fathers and Sons":

1. Ideological contradictions of the intelligentsia during the preparation of the reform on the abolition of serfdom;
2. "Fathers" and "children": relationships between generations and the theme of the family;
3. "New" type of man at the turn of two epochs;
4. Immeasurable love for the motherland, parents, woman;
5. Human and nature. The world around: workshop or temple?

What is the meaning of the book?

Turgenev's work sounds like an alarming tocsin over all of Russia, calling on fellow citizens for unity, sanity, and fruitful activity for the good of the Motherland.

The book explains to us not only the past, but also the present day, reminds us of eternal values. The title of the novel does not mean the older and younger generations, not family relationships, but people of new and old views. "Fathers and Sons" is valuable not so much as an illustration to history, many moral problems are raised in the work.

The basis of the existence of the human race is the family, where everyone has their own duties: the elders (“fathers”) take care of the younger ones (“children”), pass on the experience and traditions accumulated by their ancestors, educate them in moral feelings; the younger ones honor adults, adopt from them everything important and best that is necessary for the formation of a person of a new formation. However, their task is also the creation of fundamental innovations, which is impossible without some denial of past delusions. The harmony of the world order lies in the fact that these “ties” do not break, but not in the fact that everything remains the same.

The book has great educational value. To read it at the time of the formation of one's character means to think about important life problems. "Fathers and Sons" teaches a serious attitude to the world, an active position, patriotism. They teach from a young age to develop firm principles, engaging in self-education, but at the same time honor the memory of their ancestors, even if it does not always turn out to be right.

Criticism about the novel

• After the publication of Fathers and Sons, a fierce controversy erupted. M.A. Antonovich in the Sovremennik magazine interpreted the novel as "merciless" and "destructive criticism of the younger generation."
• D. Pisarev in the "Russian Word" highly appreciated the work and the image of the nihilist created by the master. The critic emphasized the tragedy of character and noted the firmness of a person who does not back down before trials. He agrees with other critiques that "new" people can be resented, but "sincerity" cannot be denied. The appearance of Bazarov in Russian literature is a new step in the coverage of the social and public life of the country.

Is it possible to agree with the critic on everything? Probably no. He calls Pavel Petrovich "Pechorin of small sizes." But the dispute between the two characters gives reason to doubt this. Pisarev claims that Turgenev does not sympathize with any of his heroes. The writer considers Bazarov to be his "favorite brainchild."

What is "nihilism"?

For the first time, the word "nihilist" sounds in the novel from the lips of Arkady and immediately attracts attention. However, the concept of "nihilist" is in no way connected with Kirsanov Jr.

The word "nihilist" was taken by Turgenev from N. Dobrolyubov's review of a book by the Kazan philosopher, conservative-minded professor V. Bervi. However, Dobrolyubov interpreted it in a positive sense and assigned it to the younger generation. Ivan Sergeevich introduced the word into wide use, which became synonymous with the word "revolutionary".

The "nihilist" in the novel is Bazarov, who does not recognize authorities and denies everything. The writer did not accept the extremes of nihilism, caricaturing Kukshina and Sitnikov, but sympathized with the main character.

Evgeny Vasilievich Bazarov still teaches us with his destiny. Any person has a unique spiritual image, whether he is a nihilist or a simple layman. Respect and reverence for another person is made up of respect for the fact that in him there is the same secret flicker of a living soul as in you.

The problem of fathers and children can be called eternal. But it is especially aggravated at critical moments in the development of society, when the older and younger generations become spokesmen for the ideas of two different eras. It is such a time in the history of Russia - the 60s of the XIX century ...

Bazarov's personality closes in on itself, because outside of it and around it there are almost no elements related to it at all. DI. Pisarev I wanted to make a tragic face out of him ... I dreamed of a gloomy, wild, big figure, half grown out of the soil, ...

Philosophical views of Bazarov and their tests by life In the novel by I.S. Turgenev's "Fathers and Sons" depicts Russia in the late fifties of the nineteenth century, a time when the democratic movement was just gaining strength. And the result is...

The constraint of the intrigue by collisions, in turn, was reflected in the placement of its individual parts, contributed to the convergence of the plot with the climax and the climax with the denouement. Strictly speaking, in the novel "Fathers and Sons" the climax of the intrigue almost coincides with the denouement...

I. S. Turgenev, according to his contemporaries, had a special flair for guessing the movement that was emerging in society. In the novel "Fathers and Sons" Turgenev showed the main social conflict of the 60s of the XIX century - the conflict between the liberal nobles and the democrats of the common people. ...

In the second half of the 19th century, Russia again faces the problem of modernizing the country, which means the need for urgent reforms. Rapid changes are taking place in the structure of society, new strata are emerging (the proletariat, raznochintsy), the Russian public ...

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Lesson Objectives:

• educational
- generalization of knowledge gained in the study of the work. To reveal the position of critics about the novel by I.S. Turgenev "Fathers and Sons", about the image of Evgeny Bazarov; Having created a problem situation, encourage students to express their own point of view. To form the ability to analyze the text of a critical article.
• Educational
- help students develop their own point of view.
• Educational
- the formation of group work skills, public speaking, the ability to defend one's point of view, the activation of students' creative abilities.

Turgenev had no pretension and audacity
create a novel
all kinds of directions;
admirer of eternal beauty,
he had a proud goal in the temporal
point to eternity
and wrote a novel not progressive
and not retrograde, but,
so to speak, always.

N. Strakhov

Today we, completing work on Turgenev’s novel “Fathers and Sons”, must answer the most important question that always confronts us, the readers, how deeply we penetrated the author’s intention, were we able to understand his attitude both to the central character and to beliefs young nihilists.

Consider different points of view on Turgenev's novel.

The appearance of the novel became an event in the cultural life of Russia, and not only because it was a wonderful book by a wonderful writer. Passions boiled around her, by no means literary. Shortly before publication, Turgenev broke off relations with Nekrasov and decisively parted ways with the editors of Sovremennik. Each speech of the writer in the press was perceived by his recent comrades, and now opponents as an attack against the Nekrasov circle. Therefore, fathers and children found many particularly picky readers, for example, in the democratic magazines Sovremennik and Russkoe Slovo.

Speaking about the attacks of criticism on Turgenev about his novel, Dostoevsky wrote: “Well, he got it for Bazarov, the restless and yearning Bazarov (a sign of a great heart), despite all his nihilism.”

Work is carried out in groups, using a case for the lesson. (see Attachment)

1 group works with the case on the article Antonovich M.A. "Asmodeus of our time"

Among the critics was the young Maxim Alekseevich Antonovich, who worked in the editorial office of Sovremennik. This publicist became famous for not writing a single positive review. He was a master of devastating articles. One of the first evidence of this extraordinary talent was a critical analysis of "Fathers and Sons"

The title of the article is taken from Askochensky's novel of the same name, published in 1858. The protagonist of the book - a certain Pustovtsev - a cold and cynical villain, the true Asmodeus - an evil demon from Jewish mythology, seduced Mari, the main character, with his speeches. The fate of the protagonist is tragic: Marie dies, Pustovtsev shot himself and died without repentance. According to Antonovich, Turgenev treats the younger generation with the same ruthlessness as Askochensky.

2 group works with a case according to the article D. I. Pisarev "Fathers and Sons", a novel by I. S. Turgenev.

Introductory speech by the teacher before the performance of the students.

Simultaneously with Antonovich, Dmitry Ivanovich Pisarev responded to Turgenev's new book in the Russian Word magazine. The leading critic of the Russian Word rarely admired anything. He was a true nihilist - the overthrower of shrines and foundations. He was just one of those young people (only 22 years old) who in the early 60s renounced the cultural traditions of their fathers and preached useful, practical activity. He considered it indecent to talk about poetry, music in a world where many people are experiencing the pangs of hunger! In 1868 he absurdly died: he drowned while swimming, never having had time to become an adult, like Dobrolyubov or Bazarov.

Group 3 works with a case made up of excerpts from Turgenev's letters to Sluchevsky, Herzen.

The youth of the mid-19th century were in a position much like yours today. The older generation tirelessly engaged in self-disclosure. Newspapers and magazines were full of articles that Russia was in crisis and needed reforms. The Crimean War was lost, the army was put to shame, the landlord economy fell into decay, education and legal proceedings needed to be updated. Is it any wonder that the younger generation has lost confidence in the experience of their fathers?

Conversation on:

Are there any winners in the novel? Fathers or children?

What is a marketplace?

Does it exist today?

From what Turgenev warns the individual and society?

Does Russia need the Bazarovs?

On the board are the words, when do you think they were written?

(Only we are the face of our time!
The horn of time blows us in verbal art!
The past is tight. The Academy and Pushkin are more incomprehensible than hieroglyphs!
Throw Pushkin, Dostevsky, Tolstoy and so on. and so on. from the steamer of modern times!
Whoever does not forget his first love will not know his last!

This is 1912 part of the manifesto “Slap in the face of public taste”, so the ideas that Bazarov expressed found their continuation?

Summing up the lesson:

“Fathers and Sons” is a book about the great laws of being that do not depend on man. We see little ones in her. Uselessly fussing people against the backdrop of eternal, regal-calm nature. Turgenev does not seem to prove anything, he convinces us that going against nature is madness and any such rebellion leads to trouble. A person should not rebel against those laws that are not determined by him, but dictated ... by God, by nature? They are immutable. This is the law of love for life and love for people, first of all for your loved ones, the law of striving for happiness and the law of enjoying beauty ... In Turgenev’s novel, what is natural wins: “Prodigal” Arkady returns to his parental home, families are created, based on love, and the rebellious, cruel, prickly Bazarov, even after his death, is still remembered and selflessly loved by aging parents.

An expressive reading of the final passage from the novel.

Homework: Preparing to write a novel.

Literature for the lesson:

1. I.S. Turgenev. Selected writings. Moscow. Fiction. 1987
2. Basovskaya E.N. “Russian literature of the second half of the 19th century. Moscow. "Olympus". 1998.
3. Antonovich M.A. "Asmodeus of our time" http://az.lib.ru/a/antonowich_m_a/text_0030.shtml
4. D. I. Pisarev Bazarov. "Fathers and Sons", novel by I. S. Turgenev http://az.lib.ru/p/pisarew_d/text_0220.shtml