Genre and compositional features of I. Turgenev’s novel “Fathers and Sons”.
“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 main character - commoner Bazarov - and the rest of the characters. In Bazarov's clashes with other characters, the main character traits of the hero and his views are revealed.
Bazarov's main antagonist is Pavel Petrovich Kirsanov. A conflict between them immediately ensues. Already portrait characteristic indicates that this is completely different people. When describing the appearance of Bazarov and Pavel Petrovich, the author uses a detailed portrait. Appearance Bazarov and his demeanor reveal a true democrat in him. In his robe with tassels, one senses a disregard for social norms, perhaps a challenge. In describing the face, the author emphasizes “self-confidence and intelligence.” Bazarov does not take into account the conditions accepted in noble families; he behaves simply, relaxedly and in a way that is more convenient for him. The portrait of Pavel Petrovich speaks of his aristocracy: his appearance is “elegant and thoroughbred”, the desire, even in the village, to dress as befits in high society. While characterizing Kirsanov's manners, the author simultaneously reveals his views. So, during a meeting with Arkady, Pavel Petrovich “having performed a preliminary European “shake hands”... three times, in Russian, kissed him.” In this case, the author emphasizes the bizarre combination of Anglomanism and patriarchy.
One of the most important conflicts of the novel develops in the 10th chapter. The author called the dialogue contained in it a “fight” between Pavel Petrovich and Bazarov. During the dialogue, Bazarov behaves confidently and calmly, while his opponent behaves like a hot-tempered person who cannot restrain his emotions. The culmination of the relationship between Pavel Petrovich and Bazarov occurs in the 24th chapter, during a duel, from which Bazarov emerges victorious. Turgenev himself wrote about the role of this scene in the novel that it clearly proves the emptiness of elegant noble chivalry, since it exposes it in a comic form.
Despite the fact that the main place in the work is occupied by social conflicts, there is also a love affair, but, compressed by political disputes, it fits into five chapters. The culmination of the love affair is shown in the 18th chapter. Here there is an explanation between Bazarov and Odintsova, after which the author separates them until the end of the novel. However, despite the compactness of the love affair, it plays an important role in characterizing the character. Perhaps the fact that Turgenev forced his main character to fail in love is the writer’s intention to debunk Bazarov. The hero begins to express pessimistic thoughts, loses self-confidence, energetic activity is replaced by dreary boredom, the author notes that even his gait changes. Turgenev, as it were, leads the hero along a descending line, gradually depriving him of self-confidence and the necessity of his activities. In the scene of Bazarov’s death, the image of a dying lamp appears, which acts as an allegory of the hero’s fate.
In the epilogue of the novel, the author places a landscape that, according to Herzen, resembles a requiem. Here Turgenev sums up the final outcome of Bazarov's life, showing how his personality dissolves against the backdrop of eternal nature. “No matter what passionate, sinful, rebellious heart hides in the grave, the flowers growing on it serenely look at us with their innocent eyes: they tell us not only about eternal peace, about that great peace of “indifferent” nature; they also talk about eternal reconciliation and endless life...”
Thus, the landscape in the novel is an important means of reflection author's position. With the help of a landscape, for example, Turgenev expresses his attitude to Bazarov’s statement that nature is not a temple, but a workshop, contrasting him with a poetic picture of a summer evening.
It should be noted that in the novel “Fathers and Sons” there is much less descriptions nature and lyrical digressions, h
The composition of I. S. Turgenev’s novel “Fathers and Sons” can be called a slow-motion circular one. The movement of the heroes in the novel is concentrated between five points: Khokhlovsky settlements - Maryino - town *** - Nikolskoye - the village of Bazarov’s parents. A secondary point is the Khokhlovsky settlements (this place is only mentioned in the novel, but no events take place here). In the Khokhlovsky settlements, at the inn, Nikolai Petrovich Kirsanov meets his son at the beginning of the novel, and here Bazarov and Arkady harness their horses when moving from Nikolskoye to the village of Bazarov’s parents. Therefore, we will not include the Khokhlov settlements in the main path of the heroes.
More important point is the city ***. Here Bazarov meets Odintsova, the images of Sitnikov and Kukshina appear. Therefore, the city of *** is an important point of movement for the heroes in the novel, along with Maryin, Nikolsky and the village of Bazarov’s parents.
The immediate plot of the action takes place in Maryino, on the Kirsanov estate. And at the beginning the action seems to be moving in the same semicircle - first forward, then to the end in the opposite direction, then again to the end forward: Maryino (Kirsanov estate) - city *** - Nikolskoye (Odintsova's estate) - house of Bazarov's parents - Nikolskoye - city *** - Maryino - city *** - Nikolskoye - home of Bazarov’s parents.
Bazarov makes the first two semicircles (movement “forward and backward”) together with Arkady. Arkady makes the last semicircle partially (from Maryino through the city to Nikolskoye), while Bazarov makes it completely (from Maryino through Nikolskoye to his parents’ house), and separately from Arkady (the last meeting of the 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 readers’ attention 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 stopped only on the road and in four hours they will go further to the city.” But this mention is important: thanks to this, the unity of the novel movement is preserved.
The first chapter of the novel is an exposition of the Kirsanovs - the life story of Nikolai Petrovich is given here. The second and third chapters can be called Bazarov’s exposition (here is a portrait of the hero and his first characteristics: Arkady tells his father that his friend is “a wonderful fellow, so simple”).
Things are happening in Maryino external conflict- Bazarov’s acquaintance with Pavel Petrovich Kirsanov. The development of the action is the arguments of the heroes, their mutual antipathy, Bazarov’s contempt, Pavel Petrovich’s hatred. Turgenev depicts all this in chapters four to eleven.
The twelfth and thirteenth chapters prepare the development of the internal conflict in the novel - the struggle of feelings and worldview in Bazarov’s soul. These chapters, depicting “provincial nihilists,” are emphatically parodic. As Yu. V. Lebedev notes, “comic decline is a constant companion tragic genre, starting with Shakespeare. Parody characters, highlighting with their baseness the significance of the characters of the two antagonists, grotesquely sharpen and bring to the limit those contradictions that are latently inherent in the main characters. From the comedic “bottom” the reader becomes more aware of both the tragic heights and the internal inconsistency of the phenomenon being parodied.”
The fourteenth chapter (description of the governor’s ball) is the beginning of the internal conflict in the novel. Here Bazarov meets Anna Sergeevna Odintsova. Chapters fifteen, sixteen, seventeen - the development of the action: the friends' trip to Nikolskoye, Bazarov's unexpected feelings. The culmination of the internal conflict is the hero’s explanation with Odintsova (chapter eighteen). The denouement is Bazarov’s departure.
Then the friends go to Bazarov’s parental house, 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.
Here the development of the external conflict continues (chapters twenty-two and twenty-three). Bazarov and Pavel Petrovich already seem to be avoiding sharp clashes. Both of them behave with restraint as long as their feelings are not hurt.
But Turgenev again brings the heroes together in their interest in Fenechka. She reminds Pavel Petrovich of Nelly, but Bazarov begins to “actively” look after her, feeling great resentment towards Anna Sergeevna and wanting to assert himself. The culmination of ideological disputes and mutual hostility between Bazarov and Pavel Petrovich is their duel (chapter twenty-four). Then follows the denouement of the external, personal conflict of the heroes - Kirsanov is slightly wounded, Evgeniy Vasilyevich leaves Maryino. The severity of mutual hostility is dulled: both Bazarov and Kirsanov feel the absurdity of everything that is happening, experience a feeling of shame and awkwardness. It is characteristic that here the ideological confrontation of the heroes is also dulled: personal hostility and jealousy now dominate in Pavel Petrovich, while Bazarov no longer “flaunts” his philosophy of life, since it turned out to be untenable. And the very ideological confrontation of the heroes here is already comically reduced. So, as the reason for the duel (to explain with his brother), Pavel Petrovich comes up with a witty version - “Bazarov spoke disrespectfully about Sir Robert Peel.”
Then Bazarov again travels through the city *** to Nikolskoye (chapters twenty-five and twenty-six). He tells Anna Sergeevna that he came to his senses a long time ago, because he doesn’t want her to remember him with disgust, but he feels “pretty dirty.” As Yu. V. Lebedev notes, “The second circle of the hero’s life’s 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 fails.
Bazarov's internal conflict worsens within the walls of his parents' home. In the father's house, the memory of childhood is alive, here a person feels most free and natural, here the naturalness and spontaneity of feelings “comes out” - something that the hero tried to suppress in himself, armed with the “latest theories.” Is this why Bazarov did not like to be in home? And now he experiences “dreary boredom and dull anxiety” here. He tries to occupy himself with medical practice, helping Vasily Ivanovich, but nothing else pleases him in life.
The internal conflict here is resolved by the death of the hero. During one of the operations (an autopsy of a man who died of typhus), Bazarov becomes infected and soon dies. This becomes the outcome of the internal conflict of an insoluble situation (chapter twenty-seven).
In the last chapter, the action moves to Maryino, to the Kirsanov estate, we learn about the happy changes that have taken place in their family, about the fate of Pavel Petrovich. And in the same chapter we are transported to the village where Bazarov’s parents live. Turgenev ends the novel with a description of the rural cemetery where Bazarov is buried. This chapter is an epilogue to both the image of Bazarov and the image of Pavel Petrovich and the entire Kirsanov family.
The conventional circle closes: from Bazarov’s parental home, the action in the last chapter is again transferred to Maryino. But here we no longer observe the movements of the heroes. The action is further transferred at the will of the author. From Maryino, Turgenev again leads us to the village of Bazarov’s parents, to the rural cemetery. The “described semicircle” is repeated here twice, first moving forward, and then to its starting point: Bazarov’s parental home - Maryino - the village of Bazarov’s parents.
Let's try to combine both semicircles (direct movement of the characters and transfer to one or another point of action at the will of the author): Maryino (Kirsanov estate) - city *** - Nikolskoye (Odintsova's estate) - village of Bazarov's parents - Nikolskoye - city *** - Maryino - city *** - Nikolskoye - village of Bazarov’s parents - Maryino (here two semicircles join into a single circle) - village of Bazarov’s parents. This is how we get a single conventional circle in which the entire action of the novel moves1. Formally, we cannot call the composition circular (for the first time we meet the heroes at the Khokhlovsky settlements, and part at the cemetery where Bazarov is buried, next to the village of his parents), however, the movement of the heroes and the author’s transition to one or another point of action form a single, integral circle .
Thus, in its simplicity, clarity, harmony and proportionality, the composition of Turgenev’s novel is close to the compositions of Pushkin’s works.
Essay plan
1. Introduction. Slow-motion ring composition in Turgnenev’s novel.
2. Main part. The plot and compositional structure of the novel.
— Movement of heroes in the novel.
— Two expositions.
— The beginning of an external conflict and the development of action.
— The significance of chapters 12 and 13 for the emergence of internal conflict in the novel.
— The hero’s internal conflict and the development of a love conflict.
— Development of action, culmination and denouement of external conflict in the novel.
— The second round of the hero’s wanderings. Breaks in friendships.
— Resolution of internal conflict.
- Epilogue.
— The originality of the composition of the novel.
3. Conclusion. And . Mastery of plotting.
The composition of the novel by I.S. Turgenev can conditionally be called a slow-motion ring. The movement of the heroes in the novel is concentrated between five points: Khokhlovsky settlements - Maryino - town *** - Nikolskoye - the village of Bazarov’s parents. A secondary point is the Khokhlovsky settlements (this place is mentioned in the novel, but no plot events take place here significant events, except for the first meeting of heroes). In the Khokhlovsky settlements, at the inn, Nikolai Petrovich Kirsanov meets his son at the beginning of the novel, and here Bazarov and Arkady harness their horses when moving from Nikolskoye to the village of Bazarov’s parents. A more important point is the city ***. Here Bazarov meets Odintsova, the images of Sitnikov and Kukshina appear. Therefore, the city*** is an important point of movement for the heroes in the novel, along with Maryin, Nikolsky and the village of Bazarov’s parents.
The immediate plot of the action takes place in Maryino, on the Kirsanov estate. And at the beginning the action seems to move in the same semicircle - first forward, then to the end in the opposite direction, then again to the end forward: Maryino (Kirsanov estate) - city *** - Nikolskoye (Odintsova's estate) - house of Bazarov's parents - Nikolskoye - city *** - Maryino - city *** - Nikolskoye - home of Bazarov’s parents. Bazarov makes the first two semicircles (movement “forward and backward”) together with Arkady. Arkady makes the last semicircle partially (from Maryino through the city to Nikolskoye), while Bazarov makes it completely (from Maryino through Nikolskoye to his parents’ house), and separately from Arkady (the last meeting of the 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 readers’ attention 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 stopped only on the road and in four hours they will go further to the city.” But this mention is important: thanks to this, the unity of the novel movement is preserved.
The first chapter of the novel is an exposition of the Kirsanovs - the life story of Nikolai Petrovich is given here. The second and third chapters can be called Bazarov’s exposition (here is a portrait of the hero and his first characteristics: Arkady tells his father that his friend is “a wonderful fellow, so simple”).
In Maryino, an external conflict begins - Bazarov meets Pavel Petrovich Kirsanov. The development of the action is the arguments of the heroes, their mutual antipathy, Bazarov’s contempt, Pavel Petrovich’s hatred. Turgenev depicts all this in chapters four to eleven.
The twelfth and thirteenth chapters prepare the development of the internal conflict in the novel - the struggle of feelings and worldview in Bazarov’s soul. These chapters, depicting “provincial nihilists,” are emphatically parodic. As Yu.V. notes Lebedev, “comic decline is a constant companion of the tragic genre, starting with Shakespeare. Parody characters, highlighting with their baseness the significance of the characters of the two antagonists, grotesquely sharpen and bring to the limit those contradictions that are latently inherent in the main characters. From the comedic “bottom” the reader becomes more aware of both the tragic heights and the internal inconsistency of the phenomenon being parodied.”
The fourteenth chapter (description of the governor’s ball) is the beginning of the internal conflict in the novel. Bazarov meets Anna Sergeevna Odintsova. At the same time, we can consider this scene to be the beginning love story. Chapters fifteen, sixteen, seventeen - the development of action in a love affair and in internal conflict: friends' trip to Nikolskoye, Bazarov's unexpected feelings. The culmination of the internal conflict and relationships between the characters is Evgeny’s explanation with Odintsova (chapter eighteen). The denouement of the love story is Bazarov’s departure.
Then the friends go to Bazarov’s parental house, 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. And here the development of the external conflict continues (chapters twenty-two and twenty-three). Bazarov and Pavel Petrovich already seem to be avoiding sharp clashes. Both of them behave with restraint as long as their feelings are not hurt. But Turgenev again brings the heroes together in their interest in Fenechka. She reminds Pavel Petrovich of Nelly, but Bazarov begins to “actively” look after her, feeling great resentment towards Anna Sergeevna and wanting to assert himself. The culmination of disputes and mutual hostility between Bazarov and Pavel Petrovich is their duel (chapter twenty-four). Then follows the denouement of the external personal conflict of the heroes - Kirsanov is slightly wounded, Evgeniy Vasilyevich leaves Maryino. The severity of mutual hostility is dulled: both Bazarov and Kirsanov feel the absurdity of everything that is happening, experience a feeling of shame and awkwardness. It is characteristic that here the ideological confrontation of the heroes is also dulled: personal hostility and jealousy now dominate in Pavel Petrovich, while Bazarov no longer “flaunts” his philosophy of life, since it turned out to be untenable. And the very ideological confrontation of the heroes here is already comically reduced. So, as the reason for the duel (to explain with his brother), Pavel Petrovich comes up with a witty version - “Bazarov spoke disrespectfully about Sir Robert Peel.”
Then Bazarov again travels through the city *** to Nikolskoye (chapters twenty-five and twenty-six). He tells Anna Sergeevna that he came to his senses a long time ago, because he doesn’t want her to remember him with disgust, but he feels “pretty dirty.” As Yu.V. notes Lebedev, “the second circle of the hero’s life’s 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 fails.
Bazarov's internal conflict worsens within the walls of his parents' home. In the father's house, the memory of childhood is alive, here a person feels most free and natural, here the naturalness and spontaneity of feelings “come out” - something that the hero tried to suppress in himself, armed with the “latest theories.” Is this why Bazarov did not like to be in his own home? And now he experiences “dreary boredom and dull anxiety” here. He tries to occupy himself with medical practice, helping Vasily Ivanovich, but nothing else pleases him in life. The internal conflict here is resolved by the death of the hero. During one of the operations (an autopsy of a man who died of typhus), Bazarov becomes infected and soon dies. This becomes the denouement of the hero’s internal, insoluble conflict (chapter twenty-seven).
In the last chapter, the action moves to Nikolskoye, to the Kirsanov estate, we learn about the happy changes that have occurred in their family, about the fate of Pavel Petrovich. And in the same chapter we are transported to the village where Bazarov’s parents live. Turgenev ends the novel with a description of the rural cemetery where Bazarov is buried. This chapter is an epilogue at the same time to the image of Bazarov, and the image of Pavel Petrovich, and the entire Kirsanov family.
So, the conventional circle is closed: from Bazarov’s parental home, the action in the last chapter is again transferred to Maryino. But here we no longer observe the movements of the heroes. The action is further transferred at the will of the author. From Maryino, Turgenev again leads us to the village of Bazarov’s parents, to the rural cemetery. The “described semicircle” is repeated here twice, first moving forward, and then to its starting point: Bazarov’s parental house - Maryino - the village of Bazarov’s parents. Let's try to combine both semicircles (the direct movement of the characters and the transfer of readers to one point or another at the will of the author): Maryino (Kirsanovs' estate) - city *** - Nikolskoye (Odintsova's estate) - village of Bazarov's parents - Nikolskoye - city *** - Maryino – city *** – Nikolskoye – village of Bazarov’s parents – Maryino (here two semicircles join into a single circle) – village of Bazarov’s parents. This is how we get a single conventional circle in which the entire action of the novel moves. Formally, we cannot call the composition a ring (we first meet the characters at the Khokhlovskie settlements, and part at rural cemetery, where Bazarov is buried), however, the movement of the heroes and the author’s transition to one or another point of action form a single, integral circle.
Thus, in its simplicity, clarity, harmony and proportionality, the composition of Turgenev’s novel is close to the compositions of Pushkin’s works.
Algorithm plan
1. The plot of I. S. Turgenev’s novel “Fathers and Sons” is based on the conflict of generations, transferred from the plane family relations into the plane of socio-philosophical debates. The composition of the novel helps to determine the positions of the heroes, on the one hand, and the position of the author in relation to the heroes, on the other hand.
P. Plot and composition of I.S. Turgenev’s novel “Fathers and Sons.”
1. Contrast is the main compositional technique.
The contrast is set by the title - “Fathers and Sons”, by the images of the main characters - Bazarov and Pavel Petrovich, Bazarov and other heroes of the novel. The contrast is manifested in the repetition of Bazarov’s “route” (Bazarov twice visits the estates of the Kirsanovs and Odintsova, twice returns to his parents’ roof).
2. The conflict between the “fathers” (liberals) and “children” (democratic revolutionaries) appears in the beginning of the novel - a description of the appearance of Bazarov and Pavel Petrovich (Bazarov’s red, weathered hand - the white aristocratic hand of Pavel Petrovich, robe...
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Natalya Mudrets (14118) 7 years ago
The device (composition) of antithesis is used by Turgenev already in the title of the work - “Fathers and Sons”, thereby showing that he is rising eternal problem relationships between fathers and children. Children and parents live in different times, and new times give birth to new values, ideas, worldviews that cannot be accepted by people of the previous generation. The misunderstanding of children and fathers is considered by the author using the example of the Kirsanov family and the Bazarov family. In both families, parents are unable to understand their children.
With the help of antithesis, the author emphasizes the character traits of the hero that may be hidden in ordinary life, but they emerge clearly during an external or internal conflict (the antithesis reveals the conflict) in contrast with the opposite character traits of the same hero, but at a different period of time, or in another hero. The antithesis highlights those problems that are relevant at any time. The novel is based on...
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Lesson topic: Roman I.S. Turgenev "Fathers and Sons".
The history of the creation of the novel.
Plot and composition
Lesson objectives: - to introduce students to the history of the creation of the novel, to introduce them to the era during which the novel was created; - to explain the meaning of the title of the novel; - introduce students to the plot of the novel; - talk about the composition of the novel; - to cultivate in students a respectful attitude towards the older generation, an understanding that the novel is relevant in our time
Lesson progress:
1. Org. moment
2. Communicating the topic and objectives of the lesson
3. Checking homework
4. Explanation of a new topic
I.S. Turgenev wrote: “My whole story is directed against the nobility as an advanced class. Look into the faces of Nikolai Petrovich, Pavel Petrovich, Arkady. Aesthetic...
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Plot and compositional features. Its plot and composition are organized in accordance with the problematics and ideological and thematic uniqueness of the novel. In its center is the image of Bazarov, which unites everything artistic canvas works. Its significance is obvious: out of the 28 chapters of the novel, it does not appear in only two. The plot, limited to a fairly narrow time frame, develops clearly and dynamically. With the arrival of Arkady and his friend in Maryino, a sharp clash immediately arises between two heroes - Bazarov and Pavel Petrovich Kirsanov. The composition of the novel is based on the principle of antithesis, associated with the main conflict - the nihilist Bazarov and his ideological antipode Pavel Petrovich, the defender of liberal ideals. In the first part, this conflict, expressed mainly in the form of dialogues, gradually grows and turns into open struggle in the scene of the dispute between Bazarov and Pavel Petrovich (Chapter X). This is followed by the departure of Bazarov and Arkady from Marya to the city scenes, where, with the help of parody images...
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Compositional features novel by I.S. Turgenev "Fathers and Sons"
Composition is the construction, arrangement and relationship of parts, images, episodes 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 conventional part of the novel ( social conflict) are symmetrical with respect to the events of a love conflict. So, in the first part of the novel we have a duel of the views of 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. Bazar comes out victorious from the first duel, and defeated from the second.
Turn out to be symmetrical life stories two Hero-antagonists. Yes, tragic fatal love Pavel Pet...
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The very title "Fathers and Sons" suggests that the novel is built on an antithesis - big role The characters' arguments, conflicts between characters, their painful reflections, and tense dialogues play a role. At the center of the story is the figure of Bazarov, and there is not a single significant episode in the novel in which he does not participate; and in twenty-eight chapters he does not appear in only two. Bazarov dies - the novel ends. Chain of comparisons: Bazarov - Pavel Petrovich, Bazarov - Nikolai Petrovich, Bazarov - Arkady, Bazarov - Odintsova, Bazarov - parents, Bazarov - Sitnikov and Kukshina, Bazarov - servants in Maryino, Bazarov - men in his own village, Bazarov and Fenechka - reveal heroes and add new touches to the portrait of Bazarov. But in the novel, the image of Bazarov turns out to be larger than any of the characters, and as a result, Turgenev contrasts Bazarov not with any heroes or group of heroes, but with life itself. Turgenev leads Bazarov in a circle twice: Maryino (Kirsanovs), Nikolskoye...
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Lesson topic:>. The history of the creation of the novel. Plot and composition
Lesson objectives: 1. to acquaint students with the history of the creation of the novel, to acquaint them with the era during which the novel was created
2.explain the meaning of the title of the novel
3. introduce students to the plot of the novel
4.tell us about the composition of the novel
5. to instill in students a respectful attitude towards the older generation, an understanding that the novel is relevant in our time
Lesson progress:
1.Org. moment
2.Communication of the topic and objectives of the lesson
3.Checking homework
4. Explanation of a new topic
I. Teacher's introductory talk
What is your first impression of the piece? What problems of the novel are contemporary for us?
(attitude to nature, relationship between fathers and children.)
I.S. Turgenev wrote: “My whole story is directed against the nobility as an advanced class. Look into the faces of Nikolai Petrovich, Pavel Petrovich, Arkady....
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“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 main character, the commoner Bazarov, and the rest of the characters. In the clashes between Bazarov and other characters, the main character traits of the hero and his views are revealed. Bazarov's main antagonist is Pavel Petrovich Kirsanov. A conflict between them begins immediately after Bazarov arrives at the Kirsanovs’ house. Already the portrait characteristics indicate that these are completely different people. When describing the appearance of Bazarov and Pavel Petrovich, the author uses a detailed portrait, designed mainly for the viewer's impression. Bazarov's appearance and demeanor reveal a true democrat in him.
Before us is a man " tall in a long robe with tassels,” his face is “long and thin, with a wide forehead, a flat upward, pointed nose downwards, large greenish...
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The composition of I. S. Turgenev’s novel “Fathers and Sons” can be called a slow-motion circular one. The movement of the heroes in the novel is concentrated between five points: Khokhlovsky settlements - Maryino - city *** - Nikolskoye - the village of Bazarov’s parents. A secondary point is the Khokhlovsky settlements (this place is only mentioned in the novel, but no events take place here). In the Khokhlovsky settlements, at the inn, Nikolai Petrovich Kirsanov meets his son at the beginning of the novel, and here Bazarov and Arkady harness their horses when moving from Nikolskoye to the village of Bazarov’s parents. Therefore, we will not include the Khokhlov settlements in the main path of the heroes.
A more important point is the city ***. Here Bazarov meets Odintsova, the images of Sitnikov and Kukshina appear. Therefore, the city of *** is an important point of movement for the heroes in the novel, along with Maryin, Nikolsky and the village of Bazarov’s parents.
The immediate plot of the action takes place in Maryino, on the Kirsanov estate. AND...
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10
The interpretation of both the main characters of the novel and the plan of Turgenev himself varies. That is why one should be critical of these arguments, and in particular, of Pisarev’s interpretation.
It is generally accepted that the main balance of power in the novel is reflected in the confrontation between Bazarov and Pavel Petrovich Kirsanov, since it is they who conduct polemics on various topics - about nihilism, aristocracy, practical benefits, and so on. However, Pavel Petrovich turns out to be an untenable opponent for Bazarov. All the words of Pavel Petrovich are just “words”, since they are not supported by any action. He is essentially the same doctrinaire as Bazarov. His entire previous life was a straight path of continuous success, given to him by birthright, but the very first difficulty - unrequited love - made Pavel Petrovich incapable of anything. As Pisarev rightly notes, Pavel Petrovich has no convictions; as convictions, he tries to “smuggle in” principles, understood in his own way. All...
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The very name “Fathers and Sons” suggests that it is built on an antithesis. In the novel, a large role is played by the arguments of the heroes, conflicts between the characters, their painful reflections, and intense dialogues. The plot is based on a combination of a direct and sequential narrative with a biography of the main characters. The life stories of the characters disrupt the flow of the novel's narrative, take the reader to other times, and return to the origins of what is happening in modern times. Thus, the biography of Pavel Petrovich Kirsanov interrupts the general flow of the narrative. His biography is even stylistically alien to the novel. Turgenev, telling the life story of Pavel Petrovich, deliberately approaches the style and imagery of the novels of the 30-40s of the 19th century (the hero’s youth falls at this time), recreates a special style of romantic storytelling, leading away from real, mundane everyday life. At 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...
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Novel "Fathers and Sons"
Features of the genre. Composition
In 1879, retrospectively characterizing his novelistic work in a special preface to separate publication six novels, I. S. Turgenev wrote: “The author of “Rudin,” written in 1855, and the author of “Novi,” written in 1876, are one and the same person. During all this time, I strove, as far as I had the strength and skill, to conscientiously and impartially portray and embody in the proper types both what Shakespeare calls “the very image and pressure of time,” and that rapidly changing physiognomy of the Russian people of the cultural stratum that primarily served subject of my observations." Thus, to summarize, I. S. Turgenev himself believed that the basis of his novel had already been formed in “Rudin” and that its essence was the expression of the characteristics of the time through typical characters. The writer considers it necessary to note the speed of changes taking place in the “cultural layer”, reflecting historical movement Russian society in...
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” suggests that it is built on an antithesis. In the novel, a large role is played by the arguments of the heroes, conflicts between the characters, their painful reflections, and intense dialogues. The plot is based on a combination of a direct and sequential narrative with a biography of the main characters. The life stories of the characters disrupt the flow of the novel's narrative, take the reader to other times, and return to the origins of what is happening in modern times. Thus, the biography of Pavel Petrovich Kirsanov interrupts the general flow of the narrative. His biography is even stylistically alien to the novel. Turgenev, telling the life story of Pavel Petrovich, deliberately approaches the style and imagery of the novels of the 30-40s of the 19th century (youth falls at this time), recreates a special style of romantic storytelling, leading away from real, mundane everyday life.
At the center of the story is a figure. 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 it ends. The system of characters is structured in such a way that the characters’ relationships with Bazarov reveal their inner essence to the reader, 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 -, Bazarov - Nikolai Petrovich, Bazarov -, Bazarov - Odintsova, Bazarov - parents, Bazarov - Sitnikov and Kukshina, Bazarov - servants in Maryino, Bazarov - men in his own village, Bazarov - Fenechka and etc. But I think the main comparison is between Bazarov and the author. In the novel, Bazarov turns out to be larger, larger-scale than any of the characters, and only the power of the author’s talent, his worship of eternal truth and eternal beauty triumph over Bazarov. Turgenev contrasts Bazarov not with any heroes or group of heroes, but with life itself.
To accomplish this task, I. S. Turgenev chooses a very unique composition.
He takes Bazarov around the circle twice: Maryino (Kirsanovs), Nikolskoye (Odintsova), his parents’ village. The result is a stunning effect. In the same environment, in similar situations, to the same people in the second part of the novel, a different Bazarov comes: suffering, doubting, painfully worried love drama, trying to isolate himself from the real complexity of life with his nihilistic philosophy. Even my beloved science no longer brings relief.
The second half of the novel is built on the destruction of Bazarov's previous connections with other heroes. “The author guides his hero through the book, consistently giving him exams in all areas of life - friendship, enmity, love, family ties. And Bazarov consistently fails everywhere. The series of these exams makes up the plot of the novel” (Weil, A. Genis. “The Beetle Formula”).
Gradually Bazarov remains in all alone, alone with death, which “try to deny,” it itself “denies you.” The epilogue of the novel reveals the complete failure of Bazarov’s nihilism in front of the eternal movement of life and the majestic calm of “indifferent” nature.
