Lesson #1.
NOVEL BY I. S. TURGENEV “FATHERS AND CHILDREN”.
HISTORY OF CREATION.
CHARACTERISTICS OF THE ERA OF THE 60S OF THE XIX CENTURY
Goals: remind students of the writer’s position in the literary and social struggle while working on the novel; to emphasize the peculiarities of Turgenev’s talent to “catch” modernity, to respond to everything new that was just emerging in Russian life; talk about the history of writing the novel, find out the meaning of the title, exchange initial impressions of the work you read; using the material of the novel “Fathers and Sons” to characterize the era of the 60s of the 19th century.
Progress of lessons
1. What is the significance of the Sovremennik magazine for I. S. Turgenev?
2. What is the reason for the writer’s break with Sovremennik and N.A. Nekrasov?
3. Tell us about Russian public life 60s of the XIX century.
(In the 60s of the 19th century, a new era of Russian life began. The warring forces of society were identified: conservatives defending the old order, liberals , advocating gradual changes in the socio-political life of Russia (Turgenev himself is a supporter of gradual reformist changes in the country), and democrats , determined to immediately destroy the old and establish new orders (Turgenev’s hero, Bazarov, belongs to these forces.)
I. S. Turgenev witnessed the triumph of revolutionary democrats over liberals. He admired the courage of the Russian revolutionaries, but didn't believe it into the prospects of their activities, therefore I was especially acutely aware of the shortcomings and extremes revolutionary movement sixties, who received the name “nihilism” in the novel “Fathers and Sons”. The nihilists, according to the modern literary critic N.I. Prutsky, were indeed “ready to deny the beautiful, art, aesthetics... The nihilists called themselves “terrible realists,” supporters of merciless analysis, fans of the exact sciences, experiment.”
The novel “Fathers and Sons” is a topical novel that largely explains the life of Russian society. Turgenev “caught and developed” in the novel the main conflict of the crisis era - the uncompromising struggle of liberals with revolutionary democrats. In the book, Turgenev reflects on the change of generations, on eternal struggle old and new, oh careful attitude To cultural heritage. These eternal problems found a capacious formulation in the title of the novel “Fathers and Sons” - this is a “universal coverage of reality” in its entirety: from the past through the present to the future.)
II. Implementation of an individual task.
Student message.
history of writing a novel
“Fathers and Sons” was created in a troubled era. The novel was conceived in 1860 in England, during Turgenev's summer vacation. The writer continued working on the novel in Paris. But judging by the letters to friends, things were moving slowly. In May 1861, Turgenev arrived in Russia, in Spasskoye-Lutovinovo. Under the influence of immediate impressions, the work went well.
The novel "Fathers and Sons" was completed by August 1861.
While working on the book, Turgenev suffered disappointments. Breaks with people he valued followed one after another.
After the novel “On the Eve” and N. Dobrolyubov’s article “When will the real day come?” Turgenev broke with Sovremennik, with which he had many connections; he was its employee for fifteen years.
Then a conflict arose with I. A. Goncharov, which led to a breakdown in relations, followed by a quarrel with L. N. Tolstoy in the summer of 1861, which almost ended in a duel.
Turgenev's faith in friendly feelings collapsed.
The novel “Fathers and Sons” was published in the magazine “Russian Messenger” in February 1862, dedicated to V. G. Belinsky, and directed “against the nobility as an advanced class.”
I. S. Turgenev: “The main figure, Bazarov, was based on the personality of a young provincial doctor who struck me (he died shortly before 1860). In that wonderful person embodied... that barely born, still fermenting principle, which later received the name of nihilism. The impression made on me by this person was very strong and at the same time not entirely clear: I... listened intently and looked closely at everything that surrounded me... I was embarrassed by the following fact: in not a single work of our literature did I even see a hint of what seemed to me everywhere..."
Turgenev wrote about the prototypes: “Nikolai Petrovich [Kirsanov] is me, Ogarev and thousands of others; Pavel Petrovich [Kirsanov] – Stolypin, Esakov, Rosset, also our contemporaries.”
In the character of Nikolai Petrovich, Turgenev captured a lot of autobiography, the writer’s attitude towards this hero is sympathetic.
Pavel Petrovich Kirsanov had prototypes: Alexey Arkadyevich Stolypin, officer, friend and relative of M. Yu. Lermontov; brothers Alexander, Arkady and Klimenty Rosset, guards officers, close acquaintances of Pushkin.
III. Analysis of the content of the novel “Fathers and Sons”.
Questions and tasks:
1. When do the events take place? Read the beginning of the novel.
2. Who comes with Arkady?(Nikolai Petrovich Kirsanov is expecting his son’s arrival, but Arkady arrives with Bazarov, a commoner democrat, a hero new era.)
3. Analysis of the landscape (described in the 3rd chapter of the novel) that appeared to the eyes of Arkady and Bazarov on the road to Maryino.
Reading from the words: “The places they passed through could not be called picturesque...”
4. What is the situation of the peasants? What details of the landscape indicate this?
5. Why, in your opinion, does Turgenev avoid bright epithets that depict the life of nature?(Before us is the social function of the landscape. The author selects in nature only that which is directly or indirectly related to the living conditions of the peasants. Poverty, poverty in everything. Ponds with “thin dams”, “villages with low huts”, ruined cemeteries: living people crushed by poverty they forgot about the dead... “Arkady’s heart gradually sank.”)
6. Analysis of the second part of the landscape (Chapter 3). Reading from the words: “And while he was thinking, spring took its toll...” What feelings arise after reading?(The writer is full of optimism. The landscape is beautiful! The life of nature is captivating. There is not a single detail that darkens the mood!)
7. Using the material from the novel, tell us about the relationship between peasants and landowners.(“Forest... only I sold it”, “... the land goes to the peasants...”, “... quitrents are not paid...”, “dissociated from the peasants...” Nikolai Petrovich transfers peasants from corvée to quitrents, takes them for himself good lands, uses the labor of civilian workers, cuts down forests that should go to the peasants, does everything to protect their interests. The peasants resist in their own way - they refuse to fulfill their lordly duties.)
8. Who will carry out the necessary changes?(Of course, new people of the new era, such as Bazarov, are commoners by origin and beliefs.)
Homework.
1. Reading a novel (chapters 11–15).
2. Write a profile of N.P. Kirsanov.
3. Analysis of E. Bazarov’s behavior at a party. His relationship with Arkady and P.P. Kirsanov.
Lesson #2.
E. BAZAROV AMONG THE KIRSANOVS. IDEOLOGICAL
AND SOCIAL DIFFERENCES OF HEROES
Goals: work on the content of the novel, analysis of chapters II, IV, X; draw students' attention to the origins of E. Bazarov, his behavior at a party, his attitude towards the Kirsanov brothers; Based on the text, highlight the main lines of the dispute between Bazarov and Pavel Petrovich Kirsanov, determine the “winner” in these disputes.
Progress of lessons
I. Student survey.
Questions:
1. Tell us about the history of the creation of the novel “Fathers and Sons.” To whom did Turgenev dedicated his work?
2. Do the heroes of the novel have prototypes? Who are they?
3. What social conflict is at the heart of the novel “Fathers and Sons”?
4. What is the writer’s position in the dispute between liberal nobles and commoner democrats?
5. What is the essence of the main conflict of the novel? How is this reflected in the work?
6. How do you understand the meaning of the title of the novel?
7. Tell us about the era of the 60s of the 19th century (based on the novel).
II. Analysis of the content of Chapter II of the novel. Meeting of Evgeny Bazarov with Nikolai Petrovich Kirsanov(reading in faces).
Questions:
1. How is Evgeny Bazarov dressed? What does “hoodie with tassels” mean?(Hoodie - loose clothing. The appearance of Bazarov in such a robe among the Kirsanovs is a challenge to aristocratic conventions.)
2. Bazarov’s appearance. What did Nikolai Petrovich pay attention to?(“Bazarov’s Naked Red Hand” is the hand of a man accustomed to physical labor.)
3. How did Bazarov introduce himself?(“Evgeny Vasiliev” is a common form. This is how the peasants introduced themselves.)
4. Why, when meeting Nikolai Petrovich, did not Bazarov immediately shake his hand?(What if his hand hangs in the air? After all, the aristocrat Nikolai Petrovich might not have given his hand.)
III. Analysis of the content of Chapter IV of the novel. Bazarov's arrival in Maryino.
Questions:
1. What impression does the Maryino estate make?
2. How does Bazarov behave? Nikolai Petrovich?(Nikolai Petrovich tries not to notice the guest’s cheeky manners.)
3. Pavel Petrovich Kirsanov. His appearance, manners.(The appearance is striking in its sophistication.)Does Turgenev sympathize with the hero or is he ironic about him?
4. What assessment did Bazarov give to the Kirsanov brothers?
5. What did Evgeniy Bazarov do in Maryino? Arkady?(“Arkady sybaritized, Bazarov worked.” The life of the nobles is spent in idleness, and the content of Bazarov’s life is work; even when visiting, he continues his natural science studies.)
6. What is the attitude of Pavel Petrovich Kirsanov towards Bazarov?(“Pavel Petrovich hated Bazarov with all the strength of his soul: he considered him proud, impudent, cynic, plebeian.”)
7. How do ordinary people feel about Bazarov?
8. Bazarov is a “nihilist.” How does Arkady explain the meaning of this word? What is the essence of Bazarov's nihilism?(Treat everything from a critical point of view, not taking anything for granted. Nihilism is a special worldview, which is based on the denial of social norms, rules, principles.)
Bazarov and Kirsanov Nikolai Petrovich and Pavel Petrovich are different people. Bazarov is a “nihilist” and a democrat, a man who has gone through a harsh school of labor and hardship. The Kirsanovs are people of the “old century”. There can be no reconciliation or unity between them. A collision is inevitable.
(The chapter is dominated by dialogue. Turgenev is a master of dialogue.)
Plan:
1. Expressive reading of the dialogues of the characters in their faces.
2. Keep track of what the characters say and how they say it. (How do you understand the word “principle” and why do the heroes argue so fiercely about principles? Explain the point of view of those arguing. What is behind the principles: the demands of life or tradition? Is P. Kirsanov right in reproaching young people for being unprincipled? How do the heroes feel about the existing system? Can Bazarov be considered a revolutionary? What is the weak side of Bazarov’s political views? Do those arguing convince each other?)
3. Views on nature and art. Revealing author's position. Does Turgenev join Bazarov’s statement that nature is not a temple, but a workshop? Does he completely deny Bazarov's credo? What description of nature does the author end the novel with and why?
The fight between Pavel Petrovich and Bazarov takes place over evening tea. The heroes argue about the Russian people, about the principles and activities of the nihilists, about art and nature, about the nobility and aristocracy. Every remark of Bazarov is directed against any generally accepted principle. (P. Kirsanov talks about the need to follow authorities, to believe in them. E. Bazarov denies the rationality of both. Pavel Petrovich argues that one cannot live without principles, Bazarov replies: “Aristocracy, liberalism, progress, principles, just think how many foreign and ... useless words!” Pavel Petrovich is touched by the backwardness of the Russian people and reproaches Bazarov for contempt for the people, the nihilist counters the reproach: “Well, if he deserves contempt!” The hero sees trouble in all areas of Bazarov. folk life. Kirsanov talks about Schiller and Goethe, Bazarov exclaims: “A decent chemist is twenty times more useful than any poet!” The 60s of the 19th century were the years of new discoveries in the field of natural science, chemistry, and medicine. Many leading figures of that era were interested in these sciences. Thus, during this period of rapid development of science and technical thought, an underestimation of art was often observed among part of society. Such extremes were also characteristic of Bazarov. Bazarov recognized only what was useful to his cause. The criterion of benefit is the starting position from which the hero approached various phenomena life and art.)
In the fights between E. Bazarov and P. Kirsanov, the truth was not born. The participants in the dispute were driven not by a desire for it, but by mutual intolerance. Both heroes were not entirely fair to each other.
Homework.
2. Answer the questions:
1) The attitude of the heroes towards love, women in general.
2) E. Bazarov and Anna Sergeevna Odintsova.
3) The love story of P. P. Kirsanov for Princess R.
4) Are Arkady and Katya happy?
Lesson No. 3 FRIENDSHIP AND LOVE IN THE LIFE OF HEROES
(BASED ON THE NOVEL “FATHERS AND CHILDREN” BY I. S. TURGENEV)
Goals: analyze the relationship between Bazarov and Arkady Kirsanov, try to understand the inevitability of the gap between the heroes, “catch” the social conditioning of the gap; find out what place love occupies in the lives of the characters in the novel, whether they are capable of strong feelings, whether they will withstand the tests of love; show the deep internal differences between Bazarov and Odintsova with some similarity in their natures; reveal (in the clash between Bazarov and Odintsova) Bazarov’s superiority over the nobles in the sphere of feelings.
During the classes
I. Conversation with students on the topic “The relationship between Evgeny Bazarov and Arkady Kirsanov.”
Questions:
1. Reading and analysis of the text from the words: “...We say goodbye forever... you were not created for our bitter, tart, filthy life. You have neither insolence nor anger, but only youthful courage..."
2. How does Bazarov characterize the life of revolutionaries in these words?
3. Why did Arkady join the nihilists?(“Young courage and youthful enthusiasm”; Bazarov is pushed to fight by “insolence” and “anger.”)
4. Does A. Kirsanov sincerely share Bazarov’s views at first?
5. Why, despite the desire, Arkady cannot become “strong, energetic”?
6. Why did the friends split up? Does Bazarov have followers?(Educated and wealthy liberal nobles strive for comfort (moral and physical). They want to feel that they are progressive people. But when they have to act, narcissism and selfishness make them incapable of consistent struggle (“... you involuntarily admire yourself, you feel good about yourself scold..." Bazarov says to Arkady). Arkady, Bazarov's temporary travel companion, Arkady Kirsanov was not used to difficulties, in the struggle against which character is developed; Bazarov's ideas were not deeply felt by him.)
7. What is the role of Kukshina and Sitnikov in revealing the ideas of nihilism?
II. A debate or conversation with students on the topic “Love in the lives of heroes.”
For Turgenev, a person’s ability to love is a criterion of his worth. The writer necessarily puts his heroes through this test.
Sample questions for discussion:
2. How do you evaluate Pavel Petrovich’s love story?(In the memory of Pavel Petrovich, Princess R. was imprinted as an “incomprehensible, almost meaningless ... image.” Turgenev emphasizes her “small mind” and hysterical behavior. Pavel Petrovich failed in love. He was “tormented and jealous, did not give her “peace, dragged around following her everywhere..." Where did his self-respect and pride go?)
3. One of the problems of the novel is Bazarov’s conflict with the world of the nobility. The hero’s relationship with Odintsova is just a ramification of this conflict. What are Bazarov's views on love and women in general?(Bazarov has a predominantly cynical consumerist view of a woman. Before meeting Anna Sergeevna Odintsova, Bazarov did not love anyone, so he had a wrong idea about this feeling.)
4. What attracted Evgeny Bazarov to Odintsova? How is he behaving?(Anna Sergeevna charmed Bazarov with her beauty, feminine charm, and ability to behave with dignity. But real love arose when Bazarov saw in Odintsova an intelligent interlocutor and a person capable of understanding him. Bazarov needs spiritual communication! Evgeny Bazarov's feelings are deep.)
5. Odintsova’s purpose in life? What is her attitude towards Bazarov?(The goal of Anna Sergeevna’s life is material security, comfort and tranquility. Odintsova does not respond to Bazarov’s love. She just wanted to see at her feet an interesting, intelligent person, not like others. Politically, Bazarov was a person who did not believe in those fundamentals of life , which seemed familiar to her. social status Bazarov is a poor man, a future doctor, in best case scenario- scientist. By nature, Turgenev's hero is sharp and straightforward. Bazarov’s love for Odintsova is an event that shakes the foundations of his beliefs, calling into question his philosophical system.)
6. Could the fate of Bazarov and Odintsova have been happy? Could Anna Sergeevna change, go with Bazarov into his “bitter, tart, noble” life?(She would never have followed him, even if she had fallen in love.)
Conclusions. Bazarov is capable of love, of great and deep feeling. According to M. M. Zhdanov, the comparison of Bazarov with Odintsova and Pavel Petrovich Kirsanov allows us to see the internal unity of the work, the connection of the love affair with the main conflict of the novel, and proves the “triumph of democracy over aristocracy” in the field of feelings.
Bazarov loves Odintsova and at the same time despises himself for not being able to cope with the feeling. The hero's loneliness is growing. Trying to fight his love for Anna Sergeevna, he immerses himself in work, but this does not save him. The complex web of contradictory feelings can no longer be unraveled or cut.
7. Was Dostoevsky right when he saw in Bazarov “a sign of a great heart”?
8. Are Arkady and Katya happy?(Their feelings are natural and therefore beautiful.)
9. How should we understand Turgenev’s words about love in the epilogue of the novel?
Homework.
2. Answer the questions:
1) Bazarov’s attitude towards his parents.
2) Analyze the scene of Bazarov’s illness and death. What qualities of the hero appeared in the last hours of his life?
3) Reflect on the fate of Bazarov if he had remained alive. Why didn't the novel end with the hero's death?
Lesson No. 4. THE ARTISTIC POWER OF THE LAST SCENES OF A NOVEL
I. S. TURGENEV “FATHERS AND CHILDREN” (CHAPTER 27 AND EPILOGUE)
Goals: show emotional impact last chapters novel; help students imagine the hopeless situation in which Bazarov found himself, whether the hero’s illness and death were accidental, what is Turgenev’s attitude towards his hero; reveal the positive qualities of Bazarov, which manifested themselves with particular force in the last hours of his life (courage, willpower, loyalty to his convictions, love of life, woman, parents, mysterious Motherland).
During the classes
I. Individual messages from students on the topic “Bazarov and Parents” or a conversation on the following questions:
1. Parents of E. Bazarov. Who are they?(The old Bazarovs are simple people, living out their lives in a small house under a thatched roof. They idolize their son and are proud of him. Vasily Ivanovich Bazarov is a tall “thin man with tousled hair.” He is a commoner, the son of a sexton, who became a doctor. For the fight against awarded an order during the plague epidemic. She tries to keep up with the times, to get closer to the younger generation. Arina Vlasyevna is a “round old lady” with “chubby hands.” She is sensitive and pious, the author paints her image: “a real Russian noblewoman of the past. ”, who should have lived “for two hundred years.” The arrival of dear “Enyusha” excited her, filled her entire being with love and care.)
2. What role did the parents play in raising their son? How do they look at his activities now?(They helped Evgeniy in any way they could, they felt his uniqueness.)
3. How does Bazarov relate to his parents?(Bazarov understands that it is impossible to “remake” his parents. He loves them as they are (although the difference in views is obvious). Bazarov contrasts his parents high light: “...People like them in your big world You can’t find it during the day,” he tells Odintsova. But nevertheless, in communication with his mother and father, the son is “angular and helpless”: neither caress nor calms down. He is often silent and does everything possible to hide away and suppress the feeling of filial love. After all, love, both filial and parental, according to Bazarov’s concepts, is a “feigned” feeling.
II. Expressive reading of a passage about the death of Bazarov(with minor abbreviations).
III. Conversation with students on the following questions:
1. What thoughts and feelings does Bazarov evoke in the death scene?(Admiration for strength of character, mental fortitude, courage, ability to hold on until the end.)
2. Establish the cause of the hero’s illness and death.(It seems that infection during an autopsy is an accident; in fact, this is not the case. At work, in the pursuit of knowledge of the not yet known, Bazarov overtakes death.)
3. D. I. Pisarev: “The whole interest, the whole point of the novel lies in the death of Bazarov... The description of Bazarov’s death isbest place in the novelTurgenev; I even doubt that there is anything remarkable in all the works of our artist.”
A. P. Chekhov: “What a luxury - “Fathers and Sons”! Just at least shout guard. Bazarov’s illness was so severe that I became weak, and it felt as if I had become infected from him. And the end of Bazarov?.. It’s the devil knows how it was done. Simply brilliant."
Do you agree with these statements by Chekhov and Pisarev?
4. What is Turgenev’s attitude towards his hero?
I. S. Turgenev: “I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, evil, honest - and yet doomed to destruction - because it still stands on the threshold of the future.”
The writer’s attitude towards Bazarov was not entirely clear: Bazarov was his “enemy”, for whom he felt"involuntary attraction". The writer did not believe that people of Bazarov’s type would “find a way to renew Russia”(D.K. Motolskaya).
I. S. Turgenev: “If the reader does not fall in love with Bazarov with all his rudeness, heartlessness, ruthless dryness and harshness, if he does not love him... it's my fault and did not achieve his goal." In these words, in my opinion, the writer’s love for his hero.
5. Tell us how Bazarov’s loneliness gradually grows in clashes with the people around him.(According to M. M. Zhdanov, Turgenev, depicting Bazarov’s superiority over others, psychologically very subtly and convincingly shows his loneliness. The break with the Kirsanovs occurred due to ideological differences, with Anna Sergeevna - on the basis of unrequited love, the hero despises Kukshina and Sitnikov, Arkady by their nature they are not capable of big things, the old Bazarovs and their son are people of different generations, and the difference in their development is great, with ordinary people - alienation.
6. D. I. Pisarev considers Bazarov’s death heroic, akin to a feat. He writes: “To die the way Bazarov died is the same as accomplishing a great feat.” “...But looking into the eyes of death, foreseeing its approach, without trying to deceive it, remaining true to yourself until the last minute, not weakening and not becoming cowardly is a matter of strong character.” Is Pisarev right in assessing Bazarov’s death as a feat?
7. How might his fate have turned out?
8. What qualities of Bazarov manifested themselves with particular force in the last hours of his life? For what purpose did he ask his parents to send for Odintsova?(We can probably say that Bazarov is dying of loneliness. Being in a state of deep mental crisis, he is negligent in autopsying the corpse and does not take action in time Nothing to reduce the possibility of infection. The courage with which Turgenev's hero meets his death testifies to the true originality of his nature. Everything superficial and external disappears in Bazarov, and a person with a loving and even poetic soul is revealed to us. Bazarov admired Odintsova, with a feeling of love he already Not considers it necessary to fight.
In the image of Bazarov, Turgenev typifies such wonderful qualities of new people as will, courage, depth of feelings, readiness for action, thirst for life, tenderness.)
9. Why doesn’t the novel end with the death of the hero?
10. Does bazaarism exist these days?(In the epilogue, I. S. Turgenev writes: “No matter what passionate, sinful, rebellious heart hides in the grave, the flowers growing on it serenely look at us with their innocent eyes; they tell us not only about eternal peace, about that great the calmness of an “indifferent” nature; they also speak of eternal reconciliation and endless life...”
Excited voice of the author! Turgenev talks about the eternal laws of existence that do not depend on man. The writer convinces us that going against these laws is madness. In the novel, what is natural wins: Arkady returns to his parents’ home, families are created... And the rebellious, tough, prickly Bazarov, even after his death, is still remembered and loved by his aging parents.)
Homework.
2. After reading the article, answer the questions:
1) What are the fundamental properties of the Bazarov type?
2) What, according to Pisarev, is the author’s attitude towards the Bazarov type in general and towards the death of the hero in particular?
3) What, from Pisarev’s point of view, controls Bazarov’s behavior?
4) How does Bazarov compare with the heroes of the previous era?
3. Written response ( individual task): Why is I. S. Turgenev’s novel “Fathers and Sons” and its hero interesting to today’s reader?
4. Write down interesting statements about the novel by literary critics N. N. Strakhov, V. Yu. Troitsky. Which of them, in your opinion, are closer to Turgenev’s point of view on his hero? Which ones should you argue with?
Lesson No. 5.
CONTROVERSY AROUND I. S. TURGENEV’S NOVEL “FATHERS AND CHILDREN”.
CONTEMPORARIES ABOUT “FATHERS AND CHILDREN”
Goals: introduce assessments of Turgenev’s novel by Russian critics; consider the main provisions of the article by D. I. Pisarev “Bazarov”; find out why the novel is interesting to today’s reader, what is outdated and what is modern in the work; determine your attitude towards Turgenev’s novel and its characters.
During the classes
I. Repetition of what has been learned.
Sample questions:
1. Let us remember how the novel was created, where it was published, to whom it was dedicated, and against whom it was directed.(The novel was conceived in 1860 in England, completed in Russia in 1861, published in Russky Vestnik in 1862, dedicated to V. G. Belinsky, directed against the nobility.)
2. What events of the novel do you consider the main ones?
3. What is the essence of the main conflict?
4. For what purpose does I. S. Turgenev pit Bazarov against other heroes of the novel? What is “psychological couple reception”? Which characters in the novel are involved?
5. What is “nihilism”?
6. What is the essence of Bazarov’s nihilism?
7. What is Odintsova’s role in identifying the main conflict of the novel?
8. Why did Turgenev “force” his hero to die? Did Bazarov believe in the immortality of the soul?
9. What do you think is outdated and what is modern in the novel?
10. What is your attitude towards Turgenev’s novel and its characters?
II. Discussion of statements by Russian critics about the novel “Fathers and Sons.”
I. S. Turgenev after the publication of “Fathers and Sons,” he wanted to leave literary activity forever and even said goodbye to readers in the story “Enough.”
“Fathers and Sons” made a splash in a way the author did not expect. With bewilderment and bitterness, he stopped before the “chaos of contradictory judgments”(Yu. V. Lebedev).
In a letter to A. A. Fet, Turgenev remarked in confusion: “Did I want to scold Bazarov or extol him? I don’t know this myself, because I don’t know anymore whether I love him or hate him!”
1. D. I. Pisarev wrote two brilliant articles “Bazarov” (1862) and “Realists” (1864), in which he expressed his attitude towards Turgenev’s novel and the main character. The critic saw his task as “outlining Bazarov’s personality in broad strokes,” showing his strong, honest and stern character, and protecting him from unfair accusations.
Pisarev's article "Bazarov". (2–4, 10, 11th chapters.)
Conversation with students on the following questions:
1) What are the fundamental properties of the Bazarov type and what determines them?(Pisarev, with his characteristic aphoristic precision, reveals the essence of the Bazarov type, which was generated by the harsh school of labor. It was labor that developed energy... Pisarev explained the rudeness and harshness of Bazarov by the fact that “from harsh labor, hands become coarse, manners become coarser, feelings become coarser.”)
2) What, according to D.I. Pisarev, controls Bazarov’s actions?
(The reasons for active activity, according to Pisarev, are “personal whim or personal calculations.” The critic, having overlooked Bazarov’s revolutionary spirit, could not clearly explain what “personal calculations” means. Pisarev also impoverished the concept of “personal whim” without filling it with revolutionary content.)
3) How does Bazarov compare with the heroes of the previous era?
(D.I. Pisarev wrote about the attitude towards Bazarov and his predecessors in Russian literature: “... the Pechorins have will without knowledge, the Rudins have knowledge without will, the Bazarovs have both knowledge and will, thought and deed merge into one solid whole.")
4) What does the critic say about Turgenev’s attitude towards the Bazarov type in general? What does he think about the death of the hero in particular?(For Turgenev, his hero stands “on the threshold of the future.” Bazarov dies, and his lonely grave makes one think that the democrat Bazarov has no followers or successors.
Pisarev seems to agree with Turgenev, since he believes that Bazarov “has no activity.” Well, what if “he has no reason to live; So we have to see how he will die.” The critic analyzes in detail the chapter about Bazarov’s illness and death, admires the hero, and shows what gigantic strengths and capabilities this new type has. “To die the way Bazarov died is the same as having accomplished a great feat.”)
5) What statements of the Russian critic seem interesting to you?
2. D. D. Minaev 1 . The poem “Fathers or Sons? Parallel" (1862).
For many years without fatigue
Two generations are waging war,
Bloody war;
And these days in any newspaper
“Fathers” and “Children” enter the battle.
These and those smash each other,
As before, in the old days.
We carried out as best we could
Two generations parallel
Through the darkness and through the fog.
But the steam of fog scattered:
Only from Turgenev Ivan
Waiting for a new novel -
Our dispute was resolved by the novel.
And we exclaimed in enthusiasm:
“Who can stand in an unequal dispute?”
Which of the two?
Who has won? Who has the best rules?
Who forced himself to respect:
Bazarov, Pavel Kirsanov,
Caressing our ears?
Take a closer look at his face:
What tenderness and fineness of the skin!
The hand is white as light.
In speeches, in receptions - tact and measure,
The greatness of the London "Sir" -
After all, without perfume, without a toiletry case 2
And life is hard for him.
And what kind of morality! Oh Gods!
He is worried about Fenechka,
Like a high school student, he trembles;
Standing up for a man in a dispute,
Sometimes he's in front of the whole office,
Showing off with my brother in conversation,
"Calm, calm!" - he insists.
Nurturing your body,
He does things without doing anything,
Captivating old ladies;
Sits in the bath, goes to bed,
Fears a new race,
Like a lion on the Brulevskaya terrace
Walking in the morning.
Here is a representative of the old press.
Will you compare Bazarov with him?
Hardly, gentlemen!
The hero can be seen by signs,
And in this gloomy nihilist
With his medicines, with his lancet,
There is no trace of heroism.
* * *
Like the most exemplary cynic,
He is madame de Odintsova
He pressed it to his chest.
And even - what audacity -
Hospitality rights without knowing
One day, hugging Fenya,
Kissed me in the garden.
Who is dearer to us: old man Kirsanov,
Lover of frescoes and hookahs,
Russian Togenburg 3 ?
Or he, a friend of the mob and the bazaars,
Reborn Insarov, -
Bazarov cutting frogs,
A slob and a surgeon?
The answer is ready: it’s not for nothing that we
We have a weakness for Russian bars –
Bring them crowns!
And we, deciding everything in the world,
These issues have been resolved...
Who is dearer to us - fathers or children?
Fathers! Fathers! Fathers!
Conversation with students on the following questions:
2) What are the features of the form of the poem?(Minaev’s ironic poem is reminiscent of Lermontov’s “Borodino”. The poet sees in the novel “Fathers and Sons” Turgenev’s attacks on the younger generation. Turgenev’s sympathies, according to Minaev, are on the side of the fathers: “Who is dearer to us - fathers or children? Fathers! Fathers! Fathers !")
3. M. A. Antonovich “Asmodeus 4” of our time" (1862).
Maxim Alekseevich Antonovich - publicist, literary critic and natural scientist, belonged to the revolutionary-democratic camp, was a student of N. A. Dobrolyubov and N. G. Chernyshevsky. He carried his reverent attitude towards Chernyshevsky and Dobrolyubov throughout his life. Antonovich had a difficult relationship with Nekrasov.
According to his daughter’s recollections, Antonovich had a very proud and intolerant character, which aggravated the drama of his fate in journalism.
In the article “Asmodeus of Our Time,” Antonovich spoke negatively about I. S. Turgenev’s novel “Fathers and Sons.” The critic saw in the novel the idealization of fathers and slander of children. In Bazarov, Antonovich found immorality and a “mess” in his head. Evgeny Bazarov is a caricature, slander against the younger generation.
Some excerpts from the article.
“From the very first pages... You are overwhelmed with some kind of deadening cold; you don't live with actors novel, you are not imbued with their life, but begin to coldly reason with them or, more precisely, follow their reasoning... This shows that the new work of Mr. Turgenev is extremely unsatisfactory in artistic terms... in the new work there is no... psychological analysis, no... artistic images of nature paintings...
...in the novel... there is not a single living person or living soul, but all are just abstract ideas and different directions... He [Turgenev] despises and hates his main character and his friends with all his heart...
In disputes, he [Bazarov] is completely lost, expresses nonsense and preaches absurdities that are unforgivable to the most limited mind...
About moral character and moral qualities there is nothing to say about the hero; this is not a person, but some kind of terrible creature, just a devil, or, to put it more poetically, an asmodeus. He systematically hates and persecutes everyone, from his kind parents, whom he cannot stand, to the frogs, whom he slaughters with merciless cruelty. No feeling ever creeps into his cold heart; not a trace of any hobby or passion is visible in him...
[Bazarov] is not a living person, but a caricature, a monster with a tiny head and a giant mouth, with a small face and a large nose, and, moreover, the most malicious caricature...
How does the modern young generation of Turgenev imagine itself? He is apparently not disposed towards him, and is even hostile towards children; he gives full priority to fathers...
The novel is nothing more than a merciless and destructive criticism of the younger generation...
Pavel Petrovich [Kirsanov], a single man... endlessly immersed in worries about dandyism, but an invincible dialectician, amazes Bazarov and his nephew at every step...”
Some statements from Antonovich’s article are written down on the board, and students are asked to challenge the critic’s opinion.
- “Mr. Turgenev’s new work is extremely unsatisfactory artistically.”
- Turgenev “despises and hates his main character with all his heart,” and “gives full advantage to his fathers and tries to elevate them...”
- Bazarov “is completely lost, expresses nonsense and preaches absurdities.” Pavel Petrovich “amazes Bazarov at every step.”
- Bazarov “hates everyone”... “not a single feeling creeps into his cold heart.”
4. Nikolai Nikolaevich Strakhov- literary critic, author of the article “I. S. Turgenev. "Fathers and Sons"". The article is devoted to exposing nihilism as a theory supposedly divorced from Russian life.
The critic believed that Bazarov is an image of a man trying to subjugate the “forces of life” that gave birth to him and dominate him. Therefore, the hero denies love, art, the beauty of nature - these are the forces of life that reconcile a person with the world around him. Bazarov hates reconciliation, he thirsts for struggle. Strakhov emphasizes the greatness of Bazarov. Turgenev’s attitude, according to Strakhov, is the same towards both fathers and children. “This identical measure, this common point of view in Turgenev is human life, in its broadest and fullest meaning.”
III. Implementation of individual homework assignments.
Reading a written answer to the question “Why is Turgenev’s novel “Fathers and Sons” and its hero interesting to today’s reader?”
Homework.
1. An essay based on Turgenev’s novel “Fathers and Sons.” (Writing time is a week).
Sample topics:
1) The meaning of the title of Turgenev’s novel “Fathers and Sons.”
2) Russian nobility as portrayed by Turgenev.
3) What is the strength and artistic appeal of Bazarov?
4) What do I like and what do I not accept in Bazarov?
5) “So you deny everything?” (Bazarov and Pavel Petrovich Kirsanov.)
6) The attitude of the novel’s heroes towards women.
7) The role of landscape in Turgenev’s novel “Fathers and Sons.”
8) “Extra people” in XIX literature century and " new hero"I. S. Turgeneva.
9) Analysis of an episode from I. S. Turgenev’s novel “Fathers and Sons” (students’ choice).
2. Biography of the poet F.I. Tyutchev.
3. Reading the poet's poems.
Famusov
That's it, you are all proud!
Would you ask what the fathers did?
We should learn by looking at our elders...
A. S. Griboyedov
In the 60s of the 19th century, a new type of hero appeared in Russian literature, which is usually called the “new man.” This hero replaced the “superfluous man”, the main character of the works of the first half of the 19th century century. “Superfluous people”, smart, educated, are not satisfied with the life around them and the ideals of their contemporary society. All of them are dissatisfied with their life without meaning, but cannot find a serious goal that would capture them and give meaning to their lives. That’s why they are called “extra people.” A convincing description of “superfluous people” is given by N.A. Dobrolyubov in the article “What is Oblomovism?”
The life position of the “superfluous people” was more or less clear for its time: the heroes demonstratively opposed themselves to the surrounding society and thereby were a living reproach to this society: why do young, educated, capable people turn out to be “superfluous”? But during the first revolutionary situation and later, the position of withdrawal from public life no longer becomes sufficient. We must do things in new historical conditions. New active heroes began to be called “new people” following N.G. Chernyshevsky, who so called the positive heroes of his social novel"What to do?".
The novel “Fathers and Sons” presents “ new person" - Bazarov. True, Turgenev calls him a “nihilist” and explains in detail what he means by this foreign word. Having heard it for the first time, Nikolai Petrovich says: “This is from the Latin nihil - nothing... this word means a person who does not recognize anything” (V). Arkady immediately clarifies: “A nihilist is a person who does not bow to any authority, who does not accept a single principle on faith, no matter how much respect this principle is surrounded by” (ibid.). In other words, it is not true that Bazarov does not believe in anything, he trusts “experience”, “practical truth”, that is, he does not believe in “principles”, but believes in frogs. D.I. Pisarev, who, according to his socio-political views, should be classified as a real (and not literary) nihilist, approves of Bazarov’s similar beliefs: “It is precisely here, in the frog itself, that the salvation and renewal of the Russian people lies” (“ Motives of Russian drama", X). In the natural sciences, the critic explains his thought, phrases and authorities mean nothing; experimental evidence is needed here, and only the scientist who “will live a full mental life and look at things judiciously and seriously” can find them (ibid.).
The conversation about nihilists ends with a caustic remark from Pavel Petrovich: “Yes. Before there were Hegelists, and now there are nihilists. Let's see how you will exist in emptiness, in airless space" (V). There is a reason for this causticism: no matter what Bazarov and his like-minded people say, they cannot escape the knowledge and achievements of previous generations, that is, “fathers.” This reveals one of the laws of dialectics (the transition from quantity to quality), formulated, among other things, by G. Hegel.
Bazarov as a “new man” is contrasted in the novel with the main ideological opponent, Pavel Petrovich Kirsanov, who, both in his beliefs and in his life history, is very reminiscent of “superfluous people”; it is not for nothing that Bazarov without ceremony calls him an “archaic phenomenon” (IV). In turn, Pavel Petrovich did not like the long-haired nihilist with bad manners and enormous pride at first sight. Bazarov’s bad manners, carefully noted by the writer (careless answers through clenched teeth, stomping on flower beds, sitting on the table, a careless pose “lounging” in a chair, yawning during a conversation), can be regarded as a conscious challenge to the aristocrats on the part of the “medical son”: Bazarov neglects rules of decency and demonstratively mocks the sleek hands and tight collars of the slacker Pavel Petrovich.
Both of them argue a lot in the novel and thus reveal their philosophical beliefs, political views, and life position. Turgenev cites in detail the statements of each of them about the people, state power, political struggle, the social structure of Russia, about Russian history, science, art, etc. Bazarov wins these disputes, which proves the thoughtfulness, thoroughness of his beliefs and at the same time the vulnerability of many of the views of Pavel Petrovich, who, due to his age and long rural solitude, fell behind life. The former socialite does not understand that a new time is coming and it requires decisive action, and not just beautiful, albeit fair, reasoning. Bazarov says about the new time in the novel: “Before, in a more recent time, we said that our officials take bribes, that we have no roads, no trade, no proper court... And then we realized that we were talking, that’s all just chatting about our ulcers is not worth the trouble (...)” (X). Repeating this thought, Bazarov turns to Arkady: “Your brother, a nobleman, cannot go further than noble humility or noble boiling, and this is nothing. You, for example, don’t fight—and you already imagine yourself to be great—but we want to fight” (XXVI).
Thus, the reader is presented with two fundamentally different life positions. Bazarov is a democrat both by origin (his grandfather plowed the land, and his father was a regimental doctor), and by conviction (“Our dust will eat your eyes, our dirt will stain you, and you have not grown up to us...” (XXVI), - speaks main character Arkady), and by working lifestyle. Pavel Petrovich is an aristocrat, proud of his family, taking advantage of the fortune of his ancestors and demanding respect for himself “for the fact that he generally dined well, and once even dined with Wellinggon at Louis Philippe’s” (VII). Bazarov's behavior proves that he is a purposeful, efficient, strong-willed person. Turgenev's hero is a poor student, just like Rodion Raskolnikov, but he does not despair, withstands all the difficulties (lack of money, neglect of rich fellow students, enormous physical stress) that broke Raskolnikov, continues to study and is engaged in social activities. Bazarov is characterized by a materialistic worldview and serious studies in the natural sciences. The businesslike attitude of a nihilist is to the liking of the author, who, however, does not forget that Bazarov formulated his main goal very clearly: to break everything old, “to clear the place” (X).
Turgenev, of course, does not like such “destructive” sentiments, but, being an honest writer, he shows that even during the holidays in Maryino the nihilist continues to work persistently, cuts up frogs, treats little Mitya. And Pavel Petrovich in the same Maryino great attention devotes his time appearance, manners, but at the same time does not interfere in the management of the estate, leaving this prosaic care to his brother, he himself consoles his broken heart, looking for in Fenechka’s face features of similarity with the princess R. Bazarov quite reasonably asks the elder Kirsanov his caustic question: “Excuse me, Pavel Petrovich , you respect yourself and sit back; What good is this for the bien public?” (X).
Turgenev portrayed Bazarov as a man with strong character, which manifested itself, for example, in the hero’s love story for Odintsova. Although the nihilist confidently declares at the beginning of the novel that there is no love, but only a physiological attraction between the sexes, he falls in love quite romantically and is rejected by the “lady of his heart.” Thus, the story of Bazarov and Odintsova essentially repeats the story of Pavel Petrovich and Princess R. However, unhappy love “breaks” Kirsanov (“the extra person”): he loses interest in life, leaves for the village, where he completely surrenders to his sad memories and experiences. Unhappy love inflicts a severe mental wound on Bazarov (“the new man”), but cannot break him: he consciously seeks distraction in his work, helps his father treat peasants, etc.
Despite these serious differences, the two antipodean heroes are similar in some ways, for example, both know and understand poorly life problems men, although both are convinced of the opposite. Aristocrat Pavel Petrovich “always stands up for the peasants; True, when talking to them, he winces and sniffs cologne” (VII); democrat Bazarov “didn’t even suspect that in the eyes of the peasants he was still something like a fool” (XXVII). Turgenev cites a conversation between a young nihilist and a man who cannot answer the master’s abstruse questions: the interlocutors do not understand each other at all. Having listened to the absurdity that the earth stands on three fish, and the village world lovingly obeys the strict master, Bazarov “shrugged his shoulders contemptuously and turned away, and the man wandered off,” reasoning that the master “was chattering something; I wanted to scratch my tongue. It is known, master; does he really understand? (XXVII).
To summarize, it should be said that Turgenev made an attempt to truthfully describe the new hero of Russian public life at a time when the ideological and psychological “portrait” of revolutionary democrats had not yet fully formed. And yet, many aspects of Bazarov’s character, as history has shown, were so correctly noted by the writer that they were repeated in the characters of real Russian revolutionary democrats (Dobrolyubov, Pisarev and others).
Portraying the “new man,” Turgenev contrasted him with the hero of the previous era—the “superfluous man.” The author showed that Bazarov has a stronger character than Pavel Petrovich: efficiency, determination, will, desire for action for the common good, breadth of life views and tasks favorably distinguish the young nihilist from the sophisticated gentleman, selfish, immersed in personal experiences, subordinate to external circumstances .
At the same time, the writer is frightened by the too radical beliefs of the “new people,” their contempt for universal human values (family relationships, love), and disregard for the cultural and scientific traditions developed by their “fathers and grandfathers.” Difficult attitude to the “new man” allowed Turgenev to create a multifaceted, interesting image Main character.
I. A. Turgenev’s novel “Fathers and Sons” was published on the eve of the peasant reform and caused heated debate. In the image of the key character, the author showed a “new man”, endowing him with merits and negative character traits.
Already from the beginning of the story, through the dialogue in the Kirsanovs’ house, it becomes clear that Evgeny Bazarov belongs to the nihilists who deny traditional foundations, art and everything that cannot be verified scientifically.
In further episodes, Turgenev reveals the strong and weak sides a person with extraordinary thinking who firmly defends his position. A clear negative trait in the image of Bazarov is a skeptical attitude towards love. He sincerely considers the bright feeling insignificant, but nature subjects Evgeni to the test of love for Anna Odintsova. He is trying to fight the emotions that unexpectedly aroused internal conflict. Only before his death does Bazarov realize the utopian nature of the theory of nihilism. The author shows that a person is not able to deny emotional feelings, therefore he condemns this character trait of the hero.
TO positive qualities Bazarov refers to sincerity and openness. Servants and peasant children are drawn to him. Unlike Pavel Kirsanov, he is not arrogant and is capable of mercy, as evidenced by the scene with the treatment of little Mitya. Fenechka’s child sits calmly in his arms, although he had previously refused to go to Arkady. Turgenev emphasizes the hero’s kindness: “children feel who loves them,” he clearly welcomes this character trait of Bazarov.
At the same time, the author condemns Eugene’s cold attitude towards his parents and denial of affection for them. Bazarov rarely visited native home, was burdened by communicating with old people, although they always looked forward to him. The father literally did not leave his son a single step. It is obvious that Evgeny himself has tender feelings for his loved ones, but his character does not allow him to openly show affection. In the episode of Bazarov’s departure with Arkady, the old people are shown to be deeply unhappy, which indicates the condemnation of the culprit of their sadness.
Thus, through the hero’s behavior in various situations, the author shows his own attitude towards him. Turgenev does not approve of nihilism, denial of obvious things and feelings, neglect parental love. At the same time, he accepts the sincerity, unselfishness and nobility in the character of the “new man”. The author does not share Bazarov's views, but clearly respects and sympathizes with his hero.
Updated: 2017-02-01
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Work on the main novel “Fathers and Sons” was completed by Turgenev in July 1861. By this time, something had happened in his creative destiny bitter event- a break with Sovremennik, due to the writer’s disagreement with the article “When will the real day come?” N. A. Dobrolyubova about the novel “On the Eve”.
The time has come for the 60s. Turgenev saw that a lot was changing in the balance of social forces in Russian society, and observed the reflection of this process in the editorial life of the magazine, with which he was associated for many years, the development of which he contributed and where the star of his own literary fame rose.
He understood that the liberal nobles were being replaced by a younger generation of revolutionary democrats, one of whom was Dobrolyubov, who appeared in Sovremennik together with Chernyshevsky in the late 50s. And although the article itself contained a flattering review of the novel, Turgenev could not agree with its revolutionary conclusions. Dobrolyubov wrote that Russia also has its own enslavers, but not external ones (like the home country of the hero of the novel), but internal ones. And therefore she needs “Russian Insarovs” to fight the “internal Turks”. “When will they finally appear? When will the real day come? - the meaning of the article boiled down to such questions.
Turgenev strongly disagreed with similar interpretation of your novel. Moreover, he, being a supporter not of social revolution, but of reforms, could not share the radical sentiments of the young critic. And therefore Turgenev asks Nekrasov “not to publish this article.” He hesitates. Seeing this, Turgenev declares: “Choose: me or Dobrolyubov.” Nekrasov takes the side of a person ideologically close to himself, Dobrolyubov, and thereby predetermines Turgenev’s departure from the magazine.
“The connection of times has broken down...” - Even Turgenev, who assumed a caring attitude towards his novel, did not count on the boiling of passions around Fathers and Sons. But most of all, he was discouraged by the desire that appeared in printed publications for a one-sided interpretation of the essence of the conflict and the character of the main character of the novel.
Russia in the late 50s lived on the eve of a huge social event - the abolition of serfdom, which for the country was supposed to be a turning point in all spheres of public life, including the breaking of the worldview of the advanced social strata.
As expected, time “split”, separating the liberal nobles and the “new” people of Russia - common democrats, fathers and sons - on opposite sides of the historical barrier.
This has happened more than once in Russian history. Russian literature also knew the problem of fathers and children. Let us recall the moral split in the Russian nobility of the 20s of the 19th century, depicted by Griboyedov, or the noble spiritual opposition of the 30s - central problem in "A Hero of Our Time".
However, as for Turgenev’s novel, here we were talking not only about a dispute between generations, but also about a break in the connection of times, so obvious to the writer. Therefore, the conflict in “Fathers and Sons” was overtly dramatic.
"Fathers and children." “Retired people” - and “heirs”. In the novel, people of the 40s and 60s of the 19th century found themselves face to face. It was belonging to time that was the source of the conflict between Pavel Petrovich Kirsanov and Evgeny Bazarov.
The 1840s were, at times, liberal nobles. Then the concept of “liberal,” according to Turgenev, meant “protest against everything dark and oppressive, meant respect for science and education, love for poetry and art, and, finally, most of all, love for the people, who, while still under the yoke of serfdom without rights, needed the active help of his happy sons.” Liberal-minded people, filled with faith in progress, humanity, and civilization, were often called idealists and romantics. In general, the 40s are associated with an atmosphere of high spirituality in Russian society. This is the time of Belinsky, Stankevich, Turgenev, and the Kirsanov brothers.
Like Turgenev, Nikolai Petrovich graduated from St. Petersburg University and “came out... as a candidate.” He, like Turgenev, could have ended up in Paris if not for 1848, which, as we know, the writer witnessed. Like Turgenev, he loves Pushkin and music. In a word, these are people of the same blood. And Pavel Petrovich for the author is not only the embodiment of comme il faut and the personification of the guards-noble ideal, but a man capable of sacrificing his great ambition and all important career considerations as a sacrifice to all-consuming love-passion and, along with the loss of his beloved woman, losing all meaning of existence.
Behind the noble heroes in Turgenev’s novel there is a historically formed cultural tradition, which determined a very specific type of spirituality with its norms and values - what we call noble aristocracy.
In the 60s, a new culture appeared on the cultural scene. social group- various intelligentsia.
The main “target” for the young, assertive generation of commoners was the aristocratic nobility. They refused to see in aristocracy higher form the culture of that time. Linking noble aristocracy with the social consequences of the serfdom system - poverty and lack of rights of the people, lack public rights man, the commoners categorically did not accept everything that was inherent in him, right down to the aristocratic manner of dressing and behavior in society. That is why Turgenev’s Bazarov is so disgusted by Pavel Petrovich’s well-groomed nails, neatly shaved chin and “stone” collars.
As an ideological challenge to aristocracy, young people of all ranks cultivated carelessness and even untidiness in their clothing. Therefore, a long robe with tassels, red hands, cheap tobacco, and the swagger of Bazarov’s behavior are quite significant, ideologically significant signs in the portrait of the sixties.
From the first pages of the novel, Turgenev strives to show the mutual rejection of the old and new generations. So, Bazarov is in no hurry to greet Father Arkady: “not immediately” he gave him his hand. Pavel Petrovich, when meeting the guest, “did not shake his hand at all and even put it back in his pocket.” And by the way, Bazarov noticed this.
Both sides are pointedly impolite in their assessments of each other. “Is this one hairy?” - this is Pavel Kirsanov’s first review of Bazarov. Bazarov does not skimp on his characterizations, calling Uncle Arkady an “archaic phenomenon” and Nikolai Petrovich a “retired man.”
Frank disdain is heard in Pavel Petrovich’s question addressed to his nephew: “Well, what exactly is Mr. Bazarov himself?” - as if we are talking about an inanimate object, and also to Bazarov regarding frogs: “Do you eat them or breed them?” Bazarov’s behavior is also emphatically discourteous when, yawning, he lazily answers Pavel Petrovich.
Turgenev, despite the fact that he was accused of being biased towards the heroes, tried to rise above the impending “battle.” He is equally ironic in his description of the rustic panache of Pavel Kirsanov, all his fezzes, “motley” morning shirts, dark English suits, Chinese red shoes, patent leather ankle boots, fragrant mustaches and in the portrait description of “Mr. Nihilist”, with a bag of frogs, in a hat entwined a tenacious marsh plant striding through the flower beds.
In Turgenev’s novel, the aristocratic arrogance of Kirsanov (“the doctor’s son” and “does not shy”) and the painful pride of the commoner (“Trash, aristocrat”) are self-evident. In a word, Turgenev was ready to talk about the main conflict of his time without prejudice.
On the left - M. Gorky and M. Andreeva posing for Repin. Finland, 1905. On the right is I. Repin. Portrait of M. F. Andreeva, 1905
Ilya Repin was one of the greatest portrait painters in world art. He created a whole gallery of portraits of his outstanding contemporaries, thanks to which we can draw conclusions not only about what they looked like, but also what kind of people they were - after all, Repin is rightfully considered a subtle psychologist who captured not only the external features of those posing, but also the dominant features their characters. At the same time, he tried to distract himself from own attitude to the poser and capture the inner, deep essence of the personality. It is interesting to compare photographs of the artist’s famous contemporaries with their portraits.
Actress Maria Fedorovna Andreeva | Photo
Maria Andreeva was not only one of the most famous actresses of the early twentieth century, but also one of the most beautiful and captivating women - among those who are called fatales. She was a fiery revolutionary and the common-law wife of Maxim Gorky; Lenin called her “comrade phenomenon.” They said that she was involved in the death of industrialist and philanthropist Savva Morozov. However, Repin managed to resist the charms of the actress - after all, she was the wife of his friend. They were both frequent guests in his estate and posed for portraits for the artist. 
M. Gorky and M. Andreeva pose for Repin. Finland, 1905 | Photo
The writer Kuprin witnessed the creation of this portrait, and when the artist asked his opinion, he hesitated: “The question took me by surprise. The portrait is unsuccessful, it does not look like Maria Fedorovna. This big hat casts a shadow on her face, and then he (Repin) gave her face such a repulsive expression that it seems unpleasant.” However, many contemporaries saw Andreeva exactly like this. 
I. Repin. Portrait of the composer M. P. Mussorgsky, 1881. M. P. Mussorgsky, photo
Ilya Repin was a fan of the work of composer Modest Mussorgsky and was his friend. He knew about the composer’s alcohol addiction and the consequences for his health that it led to. When the artist heard that Mussorgsky was hospitalized in in serious condition, he wrote to the critic Stasov: “I read again in the newspaper that Mussorgsky is very sick. What a pity for this brilliant force, who disposed of himself physically so stupidly.” Repin went to Mussorgsky in the hospital and within 4 days created a portrait that became a real masterpiece. 10 days after this, the composer died. 
I. Repin. Portrait of Leo Tolstoy, 1887, and photo of the writer
The friendship between Repin and Leo Tolstoy lasted 30 years, until the death of the writer. Although their views on life and art often differed, they treated each other very warmly. The artist painted several portraits of Tolstoy's family members and created illustrations for his works. Repin depicted the willpower, wisdom, kindness, and calm greatness of the writer - the way he saw him. Been to the artist's house eldest daughter Tolstoy Tatyana Sukhotina, who also became the artist’s model. 
Tatyana Sukhotina, Tolstoy’s daughter, in the photo and portrait by Repin
One day, the mother of the aspiring artist Valentin Serov approached Repin with a request to see her son’s work. In this powerful woman, Repin saw the features of the unyielding and proud princess Sofia Alekseevna. He had long been fascinated by the historical theme and wanted to paint Princess Sophia in prison, but he could not find a model, and then she found him herself. 
Valentina Serova, the artist’s mother, photo. On the right is I. Repin. Princess Sophia in the Novodevichy Convent, 1879
Valentina Serova in the photo and portrait of Repin
It took Repin a very long time to convince his friend Pavel Tretyakov to sit for his portrait - the gallery owner was a very reserved and reserved person, he liked to remain in the shadows and did not want to be known by sight. Lost in the crowd of visitors to his exhibitions, he could, while remaining unrecognized, hear their sincere feedback. Repin, on the contrary, believed that everyone should know Tretyakov as one of the most outstanding cultural figures of the era. The artist depicted the gallery owner in his usual pose, absorbed in his thoughts. Closed hands indicate his usual isolation and detachment. Contemporaries said that in life Tretyakov was as modest and extremely restrained as Repin portrayed him. 
I. Repin. Portrait of P. M. Tretyakov, 1883, and photo of the gallery owner
Everyone who was personally acquainted with the writer A.F. Pisemsky argued that Repin managed to very accurately capture the defining traits of his character. It is known that he was quite caustic and sarcastic towards his interlocutor. But the artist also caught other important details, he knew that the writer was sick and broken by the tragic circumstances of his life (one son committed suicide, the second was terminally ill), and he managed to capture traces of pain and melancholy in the writer’s gaze. 
I. Repin. Portrait of A. F. Pisemsky, 1880, and photo of the writer
Repin painted portraits of his loved ones with particular warmth. The portrait of his daughter Vera in the painting “Autumn Bouquet” is imbued with genuine tenderness. 
I. Repin. Autumn bouquet. Portrait of Vera Ilyinichna Repina, 1892, and photo of the artist’s daughter