In the analysis of the work of art it is worth remembering that it is impossible with absolute to disclose accuracy an author's plan in view of especially individual device of thinking of any person, and it is only possible to get closer to him on the most short distance on condition of detection of author's "hints" in the text.
It is required to you
- Text of the work
Instruction
1. Address the name of the novel. Ideally the name of the work of art in many respects determines its ideological content, it is even possible to tell that the name concentrates in summary form what will appear subsequently before the reader on pages of the book. However it is not necessary to reduce everything to the name in view of possible "game" of the author with the reader.
2. Define the main character of the work. In this case Bazarov will be this hero (Arkady and to Odintsovo needs to be included in this list though the role them and is not so strong as Bazarova, but the realistic novel, and that and is the novel by Turgenev, it cannot be limited to only one main character). However, having again addressed the name, it is visible that generation of "fathers", if it appears in the title, plays not the last role in the work. So the list of the main characters joins both Pavel Petrovich and Nikolay Petrovich. Time the main action will be started on the specified heroes (main characters), that and ideological contents the work will reveal by means of their participation in a plot.
3. Define the main "oppositional points" of the work. As works of art are under construction on the basis of contrasts, contradictions, their detection and definition of their nature will allow to approach disclosure of an author's plan. Certainly that "oppositionists" will be heroes. First, one of oppositions is stated already in the name. For disclosure of its essence (two) need to address scenes in Kirsanov' house, namely episodes of disputes of Pavel Petrovich and Bazarov on the statement of own vital reference points. Secondly, the collision of relationship of Bazarov and Odintsova shows the following opposition before the reader. There is also the third opposition, not always obvious thanks to the fact that one of its parties is only Bazarov in absence of heroes who higher were recognized along with it the main. It is the line of so-called imaginary nihilists, Sitnikov and Kukshina. They as spongers of new ideological trends create contrast couple with the Bazarovy, true spokesman of the nigilistic concept (further, of course, it will turn out that this quite disputable definition of Bazarov, however in this specific case it is necessary to understand its image quite so).