Turgenev. Plot and compositional features of the novel "Fathers and Sons"

Compositional features of the novel "Fathers and Sons". Composition is the construction, arrangement and interconnection of parts, images, episodes of a work of art. This is the most important structural principle of organizing a work as an artistic whole. Let's try to consider the compositional features of the novel by I.S. Turgenev "Fathers and Sons".

At the center of the novel's character system is one main character - Bazarov. The composition of "Fathers and Sons" is based on the principle of symmetry and parallelism. The events of the first conditional part of the novel (the social conflict) are symmetrical with respect to the events of the love collision. So, in the first part of the novel we have a duel of views between Bazarov and Pavel Petrovich (which ended in a duel in the literal sense), in the second part - a duel of the characters of Bazarov and Odintsova. Bazarov emerges victorious from the first duel, and defeated from the second.

The life stories of the two antagonist characters turn out to be symmetrical. So, the tragic, fatal love of Pavel Petrovich for Princess R. is repeated in the history of Bazarov's unhappy love for Odintsova. Symmetry can also be traced in the consequences of this feeling for both characters. After the story with Nelly, Pavel Petrovich becomes a spiritual dead man (a person indifferent to life), Bazarov, having parted with Anna Sergeevna, literally dies. Here the theme of the sphinx arises, which has been repeatedly noted by researchers. Neither Kirsanov nor Bazarov could solve the riddle of the beloved woman. Recall that according to Greek myth, the sphinx devoured everyone who could not guess his riddle.

The first impressions of these heroes from each other are completely symmetrical. So, Pavel Petrovich clearly did not like Bazarov. At the first meeting, he did not shake hands with him. In a conversation with his brother, he speaks very contemptuously about their guest: "this", "hairy". In the same way, Evgeny Vasilyevich, in a conversation with Arkady, immediately draws attention to the panache and eccentricities of Kirsanov.

Both the first and the second hero have their admirers on the Kirsanov estate: Prokofich imitates Pavel Petrovich, while Peter and Dunyasha become Bazarov's "admirers". Living in Maryino, both heroes are attracted to Fenechka. Finally, at the end of the novel, both characters remain completely alone: ​​Bazarov breaks his former ties and lives alone in his parents' house (where he dies), Pavel

Petrovich goes abroad, where he lives alone and is likely to live until his death.

Parallelism is noticeable in the development of the love theme of the novel. The beloved women of the Kirsanov brothers are dying, and both of them are trying to find a kind of replacement in the person of Fenechka. The tragic "duel" of Bazarov and Odintsova is depicted against the background of Arkady's bright, serene love for Katya. The authenticity of Bazarov's views is set off by the chatter of the "progressive" Sitnikov, while the beauty and naturalness of Odintsova's behavior is depicted against the backdrop of Kukshina's repulsive appearance and antics. Parallelism is also evident in the fates of the father and son of the Kirsanovs: Nikolai Petrovich and Arkady get married and have families and children.

The plot of "Fathers and Sons" is based on two conflicts - social and love. Accordingly, we can distinguish two storylines. A description of the background stories of the Kirsanov brothers, the first acquaintance with Bazarov, a brief story about him by Arkady - these are expositions of noble heroes and a raznochintsy hero in the first storyline. Bazarov's acquaintance with Pavel Petrovich is the beginning of a social conflict. It is worth noting that personal hostility, a conflict at the formal level, is mixed with the ideological confrontation of the characters. Meetings of antagonist heroes at the dinner table (occurring three times), their disputes, rejection of each other's views, a feeling of mutual contempt - the development of the action. The duel scene is the culmination of the ideological confrontation between the hero-democrat and the heroes-nobles, and at the same time the climax and denouement (the defeat of Pavel Petrovich) of the personal conflict of the heroes. The denouement of the social conflict is Bazarov's complete break with the Kirsanov family, his farewell to Arkady. The story about the fate of the Kirsanov family in the final acts as an epilogue to the first storyline of the novel.

Consider the love conflict of the novel. Bazarov's acquaintance with Odintsova is the beginning of a love conflict. Yevgeny's life in Nikolskoye, his meetings and conversations with Anna Sergeevna - the development of the action. The climax is the explanation of the characters. The denouement is the parting of the heroes. The epilogue here is a mention of the further fate of Odintsova and a description of the rural cemetery and the grave of Bazarov.

It is worth noting that an internal conflict arises parallel to the love conflict in the novel (Bazarov's conflict with himself, with his own convictions). The outcome of this conflict is the death of Bazarov. It was the presence of this internal conflict, which was resolved by the death of the hero, that allowed researchers to compare the novel by I.S. Turgenev with ancient tragedy.

Thus, the composition of the novel is distinguished by simplicity, clarity and proportion, which also determined the artistic merit of the work and the constant reader's interest.

The Russian reality of that time was imprinted in its own way in the composition of the novel "Fathers and Sons" by Turgenev. Its construction is determined by the struggle of two historical trends in social development, the dominance of Bazarov as a hero of the time, his portrayal in the foreground of the narrative, and the relationship of other characters in the novel with him.

The composition of the novel "Fathers and Sons" by Turgenev is based on the principle of contrast. The antithesis is used when comparing Bazarov and Arkady, when opposing the "nihilist" and Pavel Petrovich, Bazarov and Odintsova, the central character of the novel, and Sitnikov and Kukshina. The world of a noble estate and the life of a provincial city with its bureaucracy are contrasting. Another principle of composition is the strict chronology of the narrative, which Turgenev is an adherent of. This feature of the novel is due to the fact that the writer reflects reality in the form of a kind of chronicle of time, for which the succession and sequence of life facts is organic. Therefore, the novel, whose action began in May, after several weeks full of disturbing events, ends at the end of July of the same year, when Bazarov dies. True, the clarity of the chronology is temporarily broken when Turgenev introduces the backstories of individual characters (Pavel and Nikolai Kirsanov, Odintsova), but these digressions only emphasize the author's loyalty to the principle of the irreversibility of time.

The architectonics of the work was created by strict selection of scenes subordinated to the central character. The first two scenes - Bazarov's meeting and his arrival in Maryino - provide an opportunity to get acquainted with the appearance, habits, manners and views of Bazarov; the next three scenes - a stay in the provincial town, on the estate of Odintsova and in the village of parents - give the reader an in-depth knowledge of the hero's daily practice, about his attitude towards "progressives" and "emancipators", about the power of love experiences inherent in the "nihilist", suppressing these feelings, about the complex relationship of the son with his "old men". The final scenes associated with Bazarov's illness and death reveal the latter's "great heart" and his courageous heroism on the edge of the abyss.

The composition of the novel "Fathers and Sons" by Turgenev is also remarkable for the reproduction of two circles of wanderings of Bazarov and his friend. They first visit Maryino (Kirsanov's estate), then Nikolskoye (Odintsova's estate), the village where their parents live. The second part of the book follows the same path: Maryino - Nikolskoye - the father's house. A noticeable symmetry of episodes arises and Gogol's traditions are resurrected (the story of the hero's tour of the landowners' estates in order to reveal the images of the hosts and the guest). But this is not a simple reproduction of the same "remote corners of Russia": new facets of the personalities of Bazarov and Arkady are revealed, old ties and relationships with the Kirsanovs, Odintsova, Arkady, and life itself are torn. One can speak of the true perfection of the thoughtful composition of the novel, the beauty of architectonics, which Turgenev had not yet achieved in his previous creations.

City*** (XII chapter)

Tie 1 (X chapter)

Semicircle I:

Maryino (Kirsanov's estate) - the city of *** - Nikolskoye (Odintsova's estate) - the house of Bazarov's parents

Semicircle II:

House of Bazarov's parents- Nikolskoye - city *** - Maryino

Semicircle III:

Maryino - the city of *** - Nikolskoye - the house of Bazarov's parents.

The first two semicircles (forward and backward movement) are done by Bazarov together with Arkady. Arkady makes the last semicircle partially (from Maryin through the city to Nikolskoye), Bazarov does it completely (from Maryin through Nikolskoye to the parental home), and moreover, separately from Arkady (the last meeting of friends takes place in Nikolskoye).

It is characteristic that when describing the "reverse" movement of friends (from Bazarov's parental home), Turgenev does not focus the attention of readers on the fact that the heroes are visiting the city, but only briefly mentions it. Noticing Anna Sergeevna's bad mood, Arkady and Bazarov inform Odintsova that "we only stopped by on the road and in four hours they will go further into the city." But this mention is important: thanks to this, the unity of the novel movement is preserved.

Exposure 1

Exposure 2

Tie 1

Peripetia 1

The development of the action is the disputes of the characters, their mutual antipathy, the contempt of Bazarov, the hatred of Pavel Petrovich. All this Turgenev depicts in chapters four through eleven.

Peripetia 2

Tie 2

Peripetia 2

The fifteenth, sixteenth, seventeenth chapters are the development of the action: a trip of friends to Nikolskoye, unexpected feelings of Bazarov. Culmination of internal conflictexplanation of the hero with Odintsova(eighteenth chapter). Interchange -departure of Bazarov.

Peripetia 2.1

Then friends go to Bazarov's parental home, where they spend three days(the twentieth and twenty-first chapters) and again return to Nikolskoye, where they spend no more than four hours, and then they go to Maryino.

Ups and downs 1. Ups and downs 2.1

Here goes on development of external conflict(chapters twenty-two and twenty-three). Bazarov and Pavel Petrovich already seem to be avoiding sharp clashes. Both behave with restraint until their feelings are hurt.

But Turgenev again pushes the heroes in their interest in Fenechka. She reminds Pavel Petrovich of Nelly, while Bazarov begins to “actively” look after her, feeling great resentment towards Anna Sergeevna and wanting to assert herself.

Climax 1

The culmination of ideological disputes and mutual hostility between Bazarov and Pavel Petrovich is their duel.(chapter twenty-four).

Interchange 1

Then follows the denouement of the external, personal conflict of the heroes - Kirsanov is slightly injured, Evgeny Vasilyevich leaves Maryin. The sharpness of mutual hostility is dulled: both Bazarov and Kirsanov feel the absurdity of everything that is happening, they feel a sense of shame and embarrassment. It is characteristic that here the ideological confrontation of the heroes is also blunted: personal hostility and jealousy now dominate in Pavel Petrovich, while Bazarov no longer “flaunts” his life philosophy, since it turned out to be untenable. And the very ideological confrontation of the heroes here is already comically reduced. So, as a reason for the duel (for an explanation with his brother), Pavel Petrovich comes up with a witty version - "Bazarov spoke disrespectfully about Sir Robert Peel."

Peripetia 2.1

Then Bazarov, through the city of ***, again goes to Nikolskoye (chapters twenty-five and twenty-six). He tells Anna Sergeevna that he has come to his senses for a long time, because he does not want her to remember him with disgust, but he feels "dirty". As Yu. V. Lebedev notes, "The second round of the hero's life wanderings is accompanied by the last breaks." This is a break with the Kirsanov family, with his only friend, Arkady; a break with his love, parting with Odintsova - Bazarov understands that it is useless to tempt fate; finally, a monstrous break with himself - the hero tries to maintain the integrity of his personality and worldview, but he does not succeed.

Peripetia 2.1

Bazarov's internal conflict is aggravated within the walls of the parental home. In the father's house, the memory of childhood is alive, here a person feels most free and natural, here the naturalness and immediacy of feelings "comes out" - what the hero tried to suppress in himself, armed with "the latest theories." Isn't that why Bazarov didn't like being in his own home so much? And now he is experiencing here "dreary boredom and deaf anxiety." He tries to occupy himself with medical practice, helping Vasily Ivanovich, but nothing more pleases him in life.

Interchange 2.1

Epilogue 1, 2

Let's try to combine both semicircles (the direct movement of the characters and transfer to one or another point of action at the will of the author): Maryino (Kirsanov's estate) - the city *** - Nikolskoye (Odintsova's estate) - the village of Bazarov's parents - Nikolskoye - the city *** - Maryino - the city *** - Nikolskoye - the village of Bazarov's parents - Maryino (here two semicircles merge into a single circle) - the village of Bazarov's parents. So we get a single conditional circle in which the entire action of the novel moves. Formally, we cannot call the composition circular (for the first time we meet the characters in Khokhlovsky settlements, and we part in the cemetery where Bazarov is buried, next to the village of his parents), however, the movement of the characters and the author's transition to one or another point of action form a single, solid circle .

Thus, in its simplicity, clarity, harmony and proportion, the composition of Turgenev's novel is close to the compositions of Pushkin's works.

The plot of "Fathers and Sons"

Exposition: chapters I– IX

Encounter: Chapters I – III . Exposition of exposures

Maryino: chapters IV–VI . Exposition: alignment of forces

Fenechka: chapters VIII - IX

Tie:chapterX- "BATTLE"

"Exit" N.P.: chapter XI

City***: chapter XII

Herr Sitnikov and Evdoksia Kukshina: chapter XIII

Governor's Ball: Chapter XIV

Tie 2: chapterXV. Acquaintance with Odintsova

The very name “Fathers and Sons” suggests that it is built on antithesis. In the novel, the disputes of the characters, the conflicts between the characters, their painful reflections, tense dialogues play an important role. The plot is built on the combination of a direct and consistent narrative with the biographies of the main characters. The life stories of the characters break the flow of the novel narrative, take the reader to other times, return to the origins of what is happening in modern times. So, the biography of Pavel Petrovich Kirsanov interrupts the general course of the story. His biography is even stylistically alien to the novel. Turgenev, telling the story of the life of Pavel Petrovich, deliberately approaches the style and imagery of the novels of the 30-40s of the 19th century (the youth of the hero falls at this time), recreates a special style of romantic narration, leading away from real, mundane everyday life. In the center of the story is the figure of Bazarov. All plot threads are drawn to him. There is not a single significant episode in the novel in which Bazarov would not participate. Of the twenty-eight chapters, he does not appear in only two. Bazarov dies, and the novel ends. The system of characters is built in such a way that the relationship of the characters with Bazarov reveals to the reader their inner essence, at the same time, the comparison of each of them with Bazarov introduces some new touch to the character of the protagonist. You can build a whole chain of such comparisons: Bazarov - Pavel Petrovich, Bazarov - Nikolai Petrovich, Bazarov - Arkady, Bazarov - Odintsova, Bazarov - parents, Bazarov - Sitnikov and Kukshina, Bazarov - courtyards in Maryino, Bazarov - peasants in his own village, Bazarov - Fenechka, etc. But I think the main comparison is Bazarov and the author. In the novel, Bazarov turns out to be larger, larger than any of the characters, and only the strength of the author's talent, his worship of eternal truth and eternal beauty triumph over Bazarov. Turgenev opposes to Bazarov not any heroes or a group of heroes, but life itself. To accomplish this task, I. S. Turgenev chooses a very peculiar composition.
He twice walks Bazarov in a circle: Maryino (Kirsanovs), Nikolskoye (Odintsova), his parental village. The result is a striking effect. In the same environment, in similar situations, to the same people in the second part of the novel, another Bazarov comes: suffering, doubting, painfully experiencing a love drama, trying to isolate himself from the real complexity of life with his nihilistic philosophy. Even beloved science now does not bring relief. The second half of the novel is built on the destruction of Bazarov's former ties with other characters. “The author guides his hero through the book, consistently arranging exams for him in all spheres of life - friendship, enmity, love, family ties. And Bazarov consistently fails everywhere. A series of these exams constitutes the plot of the novel” (Weil, A. Genis. “Beetle Formula”). Gradually, Bazarov remains completely alone, alone with death, which “try to deny”, she herself “denies you”. The epilogue of the novel reveals the complete failure of Bazarov's nihilism in the face of the eternal movement of life and the majestic calm of "indifferent" nature.

Essay on literature on the topic: The plot and composition of the novel “Fathers and Sons”

Other writings:

1. “Fathers and Sons” by Turgenev is a socio-psychological novel, in which the main place is given to social conflicts. The work is built on the opposition of the protagonist - the commoner Bazarov and other characters. In clashes between Bazarov and other characters, the main character traits of the hero are revealed, his Read More ......
2. The idea of ​​the novel. controversy about him. Turgenev's fourth novel "Fathers and Sons" summed up a long period in the writer's creative activity and at the same time opened up new perspectives for the artistic understanding of the turning point in Russian life. The appearance of the novel in print caused Read More......
3. The novel "Fathers and Sons" after the publication became the subject of fierce controversy and gained worldwide fame. Most likely this happened due to the fact that “the sensitive hand of the artist found a sore spot in society, exposed a phenomenon that unconsciously worried everyone, but had not yet been clearly formulated by anyone.” This Read More ......
4. Ivan Sergeevich Turgenev is one of the most remarkable writers of the 19th century. His works reflected the most important issues of political and social life. The writer himself did not join either the raznochintsy revolutionaries or the conservatives. Turgenev was closest to the liberals, but one Read More ......
5. Turgenev's novel "Fathers and Sons" opens with the arrival of Arkady Kirsanov, together with his "friend" Bazarov, in the Kirsanovs' estate - Maryino. Friends are met by Arkady's father, Nikolai Petrovich. He has not seen his son for a long time - his Arkasha returns after studying at the university Read More ......
6. "Fathers and Sons" is a socio-psychological novel in which the main place is given to social conflicts. The work is built on the opposition of the protagonist - the commoner Bazarov - and other characters. In Bazarov's clashes with other characters, the main character traits of the hero, his views are revealed. Read More ......
7. The novel "Fathers and Sons" was written in 1861. Its genre can be defined as a socio-psychological novel. This work deals with important social problems of the second half of the 19th century that worried Turgenev. The writer puts the nihilist Bazarov at the center of his novel and Read More ......
8. Throughout the novel "Fathers and Sons" I. A. Turgenev systematically leads the main character - Evgeny Bazarov - through many trials that debunk his nihilistic theory. The most serious and painful for the hero was the “test of love”, which turned his whole life upside down, made Read More ......

The action of Turgenev's novel "Fathers and Sons" takes place before the abolition of serfdom. It reveals many problems, one of them is the conflict of different age generations. A new type of dissident people appears, denying both state orders and moral values. We offer a brief analysis of the work, the material of which can be used to work in literature lessons in grade 10 according to the plan, and in preparation for the exam.

Brief analysis

Year of writing- 1860 - 1861

History of creation– The writer worked for a long time in the Sovremennik magazine. He often had disagreements with Dobrolyubov, which formed the basis of the novel.

Topic– The main theme of “Fathers and Sons” is ideological differences, problems of generations, the birth of a new type of people, love, the natural world around.

Composition– The composition of the novel is built on oppositions, on the principles of contrast.

Genre- Novel.

Direction- A reliable and historically accurate depiction of reality, which is observed in the novel "Fathers and Sons", belongs to the direction of critical realism.

History of creation

In "Fathers and Sons" the analysis of the work follows from the definition of the meaning of the title "Fathers and Sons". From the title it becomes clear what the story will be about, it will be about family relationships, but not just about relationships, but about the eternal conflict between generations. About the difference in their views and concepts about life.

The history of the creation of "Fathers and Sons" is quite fascinating. The first ideas for the novel came from the writer in 1860, when he was in England. By chance, Ivan Sergeevich was forced to spend the whole night at the railway station, where he met the young doctor. The writer and the new acquaintance talked all night, it was his ideas that Ivan Sergeevich put into the speeches of his future protagonist of the novel, Bazarov.

In the same year, the writer returned to Paris, where he began writing the first chapters of the work. In the summer of 1861, already in Russia, work on the work was completed. It was a novel written in the shortest possible time, only about two years passed from conception to the year of writing, and in 1862 the novel was already published.

The writer reflected his ideological disagreements with the critic Dobrolyubov in the relations of the heroes of the novel, in their disputes among themselves.

Topic

The problems of the novel- is global. The author touches on the eternal problems of fathers and children.

Meaning“Fathers and Sons” is not only family relationships, fathers and sons are adherents of new and old views, who judge current events from their point of view, the course of all life depends on the conflicts of these worldviews.

A new type of person is emerging, thinking progressively, with firm and resolute convictions, calling for the destruction of the old. Bazarov is a typical representative of a new generation that denies the old world, whose antagonist is Pavel Kirsanov. Kirsanov is an ardent adherent of old views, a hereditary nobleman. Patriarchal foundations are close and understandable to him, in them he sees the meaning of life, and tries to live up to his convictions.

The main idea of ​​the book- to put the reader before a serious choice, to understand what is important and main for the further development of life, lazy contemplation of what is happening, or the struggle for a new, progressive future.

After a violent reaction from Katkov's critic to the original manuscript, the writer made some changes to the text, and completely redid some fragments of the episode where Bazarov and Kirsanov argued, making significant cuts.

Composition

Composition of the novel determined in the construction of the struggle of ideological differences. The action of the narrative is built in chronological order, but all this is built on contrast.

Antithesis used when comparing the characters of the novel with each other. The contrast is observed when comparing the urban life of bureaucracy and the world of the noble estate.

Parallel description of opposing views give the novel great emotionality, bright personalities collide in it, each of whom is convinced that he is right.

Composition of the novel, which describes two circles of Bazarov and Kirsanov's journey along the same route, complete the work. In the second journey, there is a break with the whole past, new sides of the characters of Bazarov and Arkady are revealed.

Whole the plot of the novel is built around Bazarov, he is compared with each of the characters, the character of each is given in comparison with a comparison with him. All this suggests that the author opposes to him not individual heroes, but his whole life, against whose patriarchal views Bazarov is fighting.

main characters

Genre

"Fathers and Sons" refers to the genre of the novel. Taking into account its genre originality, it can be considered a social and psychological novel.

The psychological coloring of the novel is given by a detailed depiction of the characters' experiences, their feelings and moods. At the same time, the author uses such a feature of psychologism, in which the experiences and reasoning of the characters themselves are not described, but only their result.

A special psychologism is shown to the reader on the example of the feelings of Arkady Kirsanov. He is only capable of ordinary actions both in life and in love, he cannot do more, his personality is too ordinary.

Bazarov's disputes with Pavel Kirsanov reflect the socio-ideological direction of the novel, the struggle of opposing views, ideological disagreement, and different perceptions of the world. All this leads to a misunderstanding of each other, to the complete opposite of their opinions.

In the novel by Ivan Sergeevich, the type of a new person, a nihilist, is defined - this is a new trend of the time in the middle of the nineteenth century, which was the most important event of that era.

Artwork test

Analysis Rating

Average rating: 4.4. Total ratings received: 6401.