Compositional features of fathers and sons. Plot and compositional features of I. S. Turgenev’s novel “Fathers and Sons”

City*** (Chapter XII)

Plot 1 (X chapter)

Semicircle I:

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

Semicircle II:

Bazarov's parents' house— Nikolskoye — city *** — Maryino

Semicircle III:

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 parents' house), and separately from Arkady (the last meeting of friends takes place in Nikolskoye).

It is characteristic that when describing the “reverse” movement of friends (from Bazarov’s parental home), Turgenev does not focus the 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.

Exhibit 1

Exhibit 2

Tie 1

Peripeteia 1

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.

Peripeteia 2

Tie 2

Peripeteia 2

Chapters fifteen, sixteen, seventeen - the development of the action: the friends' trip to Nikolskoye, Bazarov's unexpected feelings. The culmination of internal conflict -explanation of the hero with Odintsova(chapter eighteen). Denouement -Bazarov's departure.

Peripeteia 2.1

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

Peripeteia 1. Peripeteia 2.1

Continues here development of external conflict(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 Nellie, but Bazarov begins to “actively” look after her, feeling great resentment towards Anna Sergeevna and wanting to assert himself.

Climax 1

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

Junction 1

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 life philosophy

Peripeteia 2.1

because it turned out to be insolvent. 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.”

Peripeteia 2.1

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 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” - what 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's trying to keep himself busy medical practice

, helping Vasily Ivanovich, but nothing else pleases him in life.

. 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).

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 moves. 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.

The plot of "Fathers and Sons"

Exposition: chapters I– IX

Meeting: Chapters I – III . Exposition of expositions

Maryino: chapters IV – VI . Exposition: balance of power

Fenechka: chapters VIII – IX

Tie:chapterX– “FIGHT”

"Exit" N.P.: chapter XI

City***: Chapter XII

Herr Sitnikov and Evdoksia Kukshina: chapter XIII

Governor's Ball: Chapter XIV

Plot 2: chapterXV. Meeting Odintsova

” suggests that it is built on an antithesis. In the novel, a large role is played by the disputes of the heroes, conflicts between the characters, their painful thoughts, tense 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. System characters is structured in such a way that the characters’ relationships with Bazarov reveal to the reader their inner essence, at the same time, the comparison of each of them with Bazarov introduces some new touch to the character of the main character. 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, doubtful, 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 completely 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 before perpetual motion life and the majestic tranquility of “indifferent” nature.

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 in which Bazarov would not participate. Of the twenty-eight chapters, he does not appear in only two. Bazarov dies, and the novel ends. The system of characters is 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 - 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 - Fenechka, etc. But I think the main comparison is 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 experiencing a love drama, trying to isolate himself from the real complexity of life with his nihilistic philosophy. Even my favorite science doesn’t bring relief now. 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 testing him 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 completely 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.

(No ratings yet)

Other writings:

1. “Fathers and Sons” by Turgenev is a socio-psychological novel in which the main place is given to social conflicts. The work is built on the opposition of the 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, his Read More ......
2. The idea of ​​the novel. Controversy about him. Turgenev’s fourth novel, “Fathers and Sons,” summed up a long period in creative activity writer and at the same time opened up new perspectives artistic comprehension turning point Russian life. The appearance of the novel in print caused unprecedented Read More ......
3. After its publication, the novel “Fathers and Sons” became the subject of fierce controversy and gained world fame. Most likely, this happened due to the fact that “the sensitive hand of the artist felt a sore spot in society, exposed a phenomenon that unconsciously worried everyone, but had not yet been clearly formulated by anyone.” This Read More......
4. Ivan Sergeevich Turgenev is one of the most remarkable writers of the 19th century century. His works reflect the most important questions political and public life. The writer himself did not join either the commoner revolutionaries or the conservatives. Turgenev stood closest to the liberals, but one Read More ......
5. Turgenev’s novel “Fathers and Sons” opens with the arrival of Arkady Kirsanov together with his “friend” Bazarov at the Kirsanov estate - Maryino. Arkady's father, Nikolai Petrovich, meets his friends. He hasn’t seen his son for a long time - his Arkasha is returning after studying at the university Read More ......
6. “Fathers and Sons” is a socio-psychological novel in which the main place is given to social conflicts. The work is built on the opposition of the 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. Read More......
7. The novel “Fathers and Sons” was written in 1861. Its genre can be defined as a socio-psychological novel. This work discusses important social problems the second half of the 19th century, which worried Turgenev. The writer puts the nihilist Bazarov at the center of his novel and Read More......
8. Throughout the entire novel “Fathers and Sons,” I. A. Turgenev systematically leads the main character, Evgeny Bazarov, through many tests that debunk his nihilistic theory. The most serious and painful thing for the hero was the “test of love,” which turned his whole life upside down and forced Read More ......

“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 arises between them immediately after he arrives at the Kirsanovs’ house. 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, designed mainly for the viewer's impression. Appearance Bazarov and his demeanor reveal a true democrat in him.

Before us is a man " tall in a long robe with tassels,” his face was “long and thin, with a wide forehead, a flat upward, pointed nose downward, large greenish eyes and hanging sand-colored sideburns... enlivened by a calm smile and expressing self-confidence and intelligence.” Bazarov does not take into account the conditions accepted in noble families; he behaves simply, uninhibitedly and in a way that is more convenient for him. The portrait of Pavel Petrovich speaks of his aristocracy: “The whole appearance of Arkadyev’s uncle, elegant and thoroughbred, retained youthful stamina and that desire upward, away from the earth, which for the most part disappears after twenty years.” Characterizing the manners of Pavel Petrovich, the author reveals his views. So, during a meeting with Arkady, Pavel Petrovich, “having performed the preliminary European “snake hands” ... kissed him three times in Russian.” IN in this case the author emphasizes Pavel Petrovich's Anglicanism and at the same time his commitment to noble views.

To characterize his heroes he uses different kinds portrait. Thus, to reveal the images of Kukshina and Sitnikov, the author resorts to the technique satirical portrait. “An anxious and dull expression,” Turgenev writes about Sitnikov, “was reflected in the small, however pleasant, features of his sleek face; his small, sunken eyes looked intently and restlessly, and he laughed restlessly: with a kind of short, wooden laugh.”

One of the most important conflicts of the novel develops in Chapter X. The author called the dialogue contained in this chapter a “fight” between Pavel Petrovich and Bazarov. During the dialogue, Bazarov behaves confidently and calmly, while Pavel Petrovich behaves like a hot-tempered person who cannot restrain his emotions. The culmination of the relationship between Pavel Petrovich and Bazarov occurs in Chapter XXIV, during a duel, from which Bazarov emerges victorious.

The author himself wrote that “the duel with Pavel Petrovich was precisely introduced to clearly demonstrate the emptiness of elegant noble chivalry, presented in an almost exaggerated comic manner.” 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 constraint of a love affair by collisions was also reflected in the placement of its individual parts and contributed to the convergence of the beginning with the climax, and the climax with the denouement. The culmination of the love affair is shown in Chapter XIII. 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 will play an important role in characterizing the hero. The very fact that Turgenev forced his hero to fail in love is the writer’s intention to debunk Bazarov. The hero begins to express pessimistic thoughts, loses self-confidence, even his habits and manners change: “... the fever of work left him and was replaced by dreary boredom and dull anxiety. A strange fatigue was noticeable in all his movements; even his gait, firm and swiftly bold, changed.” The author, as it were, leads the hero along a descending line, gradually depriving him of self-confidence and the necessity of his activities. The hero seems to be fading away, his convictions are melting. 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 how passionate, sinful, rebellious the heart is hidden 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 the landscape, Turgenev also expresses his attitude to Bazarov’s statement that it is not a workshop, but a workshop, contrasting him a poetic picture summer evening. It should be noted that in the novel “Fathers and Sons” there is much less descriptions nature and lyrical digressions than in other works of Turgenev. This is explained by the very genre of the socio-psychological novel, in which main role play political disputes that are revealed through dialogue. It was with the help of dialogue that the author was able to reflect the ideological struggle, illuminate actual problems of his time from different points of view. Dialogue is also an important means of characterizing the main character.

In dialogues with Pavel Petrovich, Arkady, Odintsova, the hero’s views and character are revealed. The author also uses speech characteristics. In conversation, Bazarov is always brief, but his remarks are full deep meaning, they testify to the hero’s erudition and wit. Bazarov often uses proverbs and sayings, for example: “I got burned on my own milk, I blow on someone else’s water,” “The Russian peasant will eat God.” Bazarov's speech, like his portrait, testifies to the hero's democracy. Speech characteristics are no less important for revealing the image of Pavel Petrovich Kirsanov. In Pavel Petrovich's speech there are many specific words and expressions characteristic of the estate-landowner vocabulary of the 19th century. The author himself explains the peculiarities of his speech: “This quirk reflected the remainder of the legends of Alexander’s time. The then aces, on rare occasions when they spoke native language, some used - efto, others - ehto: we, my, are the indigenous Rusaks, and at the same time we are nobles who are allowed to neglect school rules…» Speech characteristics Pavel Petrovich says that this is a man of the “old century”.

Bazarov's main antagonist is Pavel Petrovich Kirsanov. A conflict between them immediately ensues. 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. Bazarov's appearance and 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, uninhibitedly 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 reflecting the 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 are much fewer descriptions of nature and lyrical digressions than in other works of Turgenev. This is explained by the very genre of the socio-psychological novel, in which the main role is played by political disputes that are revealed through dialogue. It was with the help of dialogue that the author was able to reflect the ideological struggle and highlight the current problems of his time from different points of view. Dialogue is an important means of revealing the worldview of the characters.

The author also uses speech characteristics. In conversation, Bazarov is always brief, but his remarks are filled with deep meaning, they testify to the hero’s erudition and wit. Bazarov often uses proverbs and sayings, which, like his portrait, testifies to the hero’s democracy. Speech characteristics are no less important for revealing the image of Pavel Petrovich Kirsanov. Pavel Petrovich's speech contains many specific words and expressions characteristic of the landowner vocabulary of the 19th century. The author himself explains the peculiarities of his speech: when the hero is angry, he deliberately says “efto” and “eftim”, deliberately neglecting grammatical norms, with the arrogance of a nobleman. “This quirk reflected the remainder of Alexander’s time.” The speech characteristics of Pavel Petrovich indicate that he is a man of the “old century.”

So everything artistic media the novel is subordinated to him genre originality, aimed at revealing its ideological content.

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 the entire artistic canvas of the work. 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 Maryin and city scenes, where, with the help of parodic images, the main positions of ideological opponents are clarified, but the main thing is that this is where a new plot knot is tied, connected with love line Bazarov - Odintsova (Chapter XV). From this moment on, the concrete historical line of plot development is replaced by a moral and philosophical one, and ideological disputes are replaced by questions posed by life itself.

The peculiarity of the development of the novel’s conflict is that two opposing positions- Bazarov and Kirsanov - in the second part, where it develops love story, begin to converge and, as a result, turn out to be comparable in the degree of their deviation from the natural norm human life. This “norm” is given through a comparison carried out across several storylines. It is embodied in the idea of ​​a connection between generations (the line Nikolai Petrovich - Arkady Kirsanov), the affirmation of the enduring values ​​of human life - love and family (the lines Arkady - Katya, Nikolai Petrovich - Fenechka). Material from the site

The conflict node of the work - the duel between Bazarov and Pavel Petrovich - is located strictly in the middle between the main plot episodes. He distinguishes the socio-political conflict (the dispute between the nihilist and the liberal was finally resolved by Bazarov’s victory) from the one that is addressed to eternal problems: after all, both of them are placed here in a situation of life and death. From this point of view, they are both opposed to the inhabitants of Maryin and Nikolskoye, immersed in a different sphere of interests and feelings than they are. For both heroes, the aspirations for the fullness of existence end in failure: they are destroyed by dull, hostile forces standing above man - the force of Fate. “I'm finished. “I fell under a wheel,” says Bazarov before his death. Pavel Petrovich is living out his life far from his homeland, without family, without relatives, without friends. The ending of the novel has a tragic overtones, main character dies. And yet we can say that the ending is open: the picture depicting Bazarov’s death follows short epilogue, which reports on how the fates of other heroes of the work are arranged. This means that life goes on and the conflict outlined in the novel is still waiting to be resolved.