Bazarov and the author’s attitude towards Bazarov. How does Turgenev relate to Bazarov?

Moreover, he constantly contrasts Bazarov’s reasoning with vivid pictures from the life around him. So, for example, after Bazarov’s words that nature is not a temple, but a workshop, Turgenev describes a beautiful landscape. The author makes it clear that he does not agree with the theories of nihilists, that it is impossible to live normally and fully, rejecting everything around.

Throughout the entire novel, Bazarov proves to those around him, to the readers, that matter should come first. That is, something that you can see and touch with your hands. Everything else: feelings, experiences, is nothing more than nonsense invented by people. The main character is well versed in natural sciences and medicine, but remains completely ignorant in terms of literature, poetry, and art. Bazarov, rejects any human manifestations, be they tears of tenderness or love experiences. It is almost impossible to offend him, because he is above trifles. He is self-sufficient, but is not averse to philosophizing in front of a grateful listener like Arkady. Bazarov is too busy with himself, with his unknown, but certainly great mission. He acts, according to Pisarev, “only as he wants or as it seems beneficial and convenient to him.” This one is completely devoid of any selfish goals, but he has no plans for the future at all. We can say that his powerful forces are generally wasted, since Bazarov has no desire for anything. However, be that as it may, the main character is not able to resist his nature, to turn into an insensitive idol, for whom everything is subordinated exclusively to reason. Bazarov's internal conflict begins to brew during the period of his acquaintance with Anna Sergeevna Odintsova. The main character spoke rather cynically about women. Lecturing Arkady, Bazarov says that the physiology of the eye does not allow the gaze to acquire a special shape, that it is immediately important to understand whether a woman will be of any use or not. If the answer is negative, do not waste time. At first glance, he appreciates Odintsova’s “rich body,” which would look good in an anatomical theater. However, pretty soon Bazarov falls in love with Anna Sergeevna. No matter how much he resists his feelings, he has to admit that the romance he despises is present in him. Suffering from unrequited love, the main character without a goal climbs into the most remote corners of the forest. That is, nature, against his will, helps him to forget, to distract himself from what he thinks is a senseless, all-consuming passion. That is, the workshop suddenly turns into a temple. Intellectually, the main character understands perfectly well that Odintsova is not able to reciprocate his feelings. However, feelings take over, and he confesses his love to this woman. Contradicting himself, he cannot indifferently turn away from the one who is “of no use.” The hope of meeting a gentle gaze and feeling the tenderness of his beloved suddenly flares up in him. Unperturbed and rejecting everything, Bazarov, condescending and contemptuous of those unfortunates who fall down because of a woman, himself becomes bilious and irritable. Contrary to his convictions, he even experiences a certain amount of jealousy when Arkady finds an excuse and already visits Odintsova’s estate alone. Bazarov has enough strength to leave his beloved, but he is no longer able to completely free himself from the feeling that suddenly overtook him. Realizing that he is acting stupidly, he nevertheless visits Anna Sergeevna for the second time. Having met the unfriendly reception of the hostess, even more irritated, he and Arkady return to Maryino, where he tries to lose himself in work. I think that it is failure in love that pushes the main character to flirt with Fenechka. Bazarov tries to forget Odintsova, but cannot kill the love in himself. This clearly proves the desire of the protagonist to definitely see his beloved woman before his death. The contradiction of his own theory can also be traced in Bazarov’s relationship with the people around him.

He despises the peasants, but they quickly accept him as one of their own and find common ground with him. Evgeniy, in turn, provides them with medical assistance. He quickly becomes friends with Fenechka, who trusts him as a good doctor and person. Condescending towards his parents, Bazarov nevertheless speaks with tenderness about his mother and father. He is tormented by remorse when he suddenly leaves home after only staying for three days. All this suggests that no matter how a person tries to follow the theory of nihilists, he will never be able to suppress simple human feelings.

Bazarov's death at the end of the novel is not accidental. The main character, like any strong woman, cannot give up her beliefs. On the other hand, he is no longer able to suppress his awakened feelings. Bazarov once again confirms that the romantic is alive in him. For the main character, a completely hopeless situation arises, the result of which can only be death. With his life and death, Bazarov proves that man is not a soulless machine, that he cannot live guided solely by reason. I think, having experienced an unrequited feeling, the main character himself, to some extent, understands the inconsistency of his theory, but it is too late for him to retreat.

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That manner of describing life that Russian writers of this era developed under the influence of the prosperity of the natural sciences. Using the techniques of a natural scientist studying various types of plants or animals, Turgenev peers into Russian life, into Russian people, classifies them into groups, characterizes the most typical “individuals”; examines their inner world in detail, without leaving aside their appearance, determining the environment of their life, finding out the causes and consequences of their existence. Of all the writers of his time, Turgenev was the one who mastered the art of “seizing the moment” and understanding life best.

Fathers and Sons. Feature film based on the novel by I. S. Turgenev. 1958

“Bazarov suppresses all the other characters in the novel [“Fathers and Sons”], Turgenev wrote in one letter. – The qualities given to him are not accidental. I wanted to make him a tragic face, and there was no time for tenderness. He is honest, truthful and a democrat to the core. Bazarov, in my opinion, constantly breaks Pavel Petrovich, and not vice versa. My whole story is directed against the nobility, as the advanced class.”

What Turgenev says here about his hero could not be more confirmed when reading the novel. Bazarov in the novel is endowed with a strong, clear mind, extraordinary willpower, and knowledge. “His failure” is explained not only by the falsity of his ideas, but also by the fact that he defended these ideas too passionately. His position in the novel is combative, as was, for example, Chatsky’s position in Moscow society. Bazarov, with his nature, with his worldview, cannot help but wage a struggle (at least verbally) with the life around him; everything in it, according to his conviction, should go down the drain, everything should be destroyed; he is constantly overwhelmed by polemical fervor and in the heat of it reaches the point of ridiculousness in his denial, and in the second half of the novel he makes a directly tragic impression with the inner hell that is revealed to the reader and his soul.

Outstanding pre-revolutionary critic N. N. Strakhov writes:

“The further we go in the novel, the closer to the end of the drama, the darker and more intense the figure of Bazarov becomes, but at the same time, the background of the picture becomes brighter and brighter. The creation of such persons as Bazarov's father and mother is a true triumph of talent. Apparently, what could be more insignificant than these people, who have outlived their time and with all the prejudices of old people, ugly decrepit among the new life? And yet, what a wealth of simple human feelings! What depth and breadth of spiritual phenomena - among the most ordinary life, which does not rise a hair above the lowest level!

When Bazarov falls ill, when he rots alive and adamantly endures a brutal fight against the disease, the life around him becomes more intense and brighter, the gloomier Bazarov himself is. Odintsova comes to say goodbye to Bazarov; She probably has never done anything more generous and will never do anything more generous in her entire life. As for the father and mother, it is difficult to find anything more touching. Their love flashes with some kind of lightning, instantly stunning the reader; From their simple hearts, endlessly plaintive hymns seem to burst forth, some infinitely deep and tender cries that irresistibly grab the soul.

Among this light and this warmth, Bazarov dies. For a minute, a storm boils in his father’s soul, nothing more terrible than which can be. But it quickly calms down, and everything becomes light again. Bazarov’s very grave is illuminated with light and peace. Birds sing over her and tears fall on her.

So, here it is, here is the mysterious moral teaching that Turgenev put into his work. Bazarov turns away from nature - Turgenev does not reproach him for this, but only paints nature in all its beauty. Bazarov does not value friendship and renounces romantic love; The author does not discredit him for this, but only depicts Arkady’s friendship for Bazarov himself and his happy love for Katya. Bazarov denies close ties between parents and children; The author does not reproach him for this, but only unfolds before us a picture of parental love. Bazarov shuns life; The author does not make him a villain for this, but only shows us life in all its beauty. Bazarov rejects poetry; Turgenev does not make him a fool for this, but only portrays him himself with all the luxury and insight of poetry.

In a word, Turgenev stands for the eternal principles of human life, for those basic elements that can endlessly change their forms, but in essence always remain unchanged. What did we say? It turns out that Turgenev stands for the same thing that all poets stand for, for which every true poet necessarily stands. And, therefore, Turgenev in the present case placed himself above any reproach for second thoughts; whatever the particular phenomena that he chose for his work, he considers them from the most general and highest point of view.

The general forces of life are where all his attention is directed. He showed us how these forces are embodied in Bazarov, in the very Bazarov who denies them; he showed us, if not a more powerful, then a more open, more clear embodiment of them in those ordinary people who surround Bazarov. Bazarov is a titan who rebelled against his mother earth; no matter how great his strength, it only testifies to the greatness of the force that gave birth to and nourishes him, but is not equal to his mother’s strength.

Be that as it may, Bazarov is still defeated; defeated not by the faces and not by the accidents of life, but by the very idea of ​​​​this life. Such an ideal victory over him was possible only on the condition that all possible justice was given to him, so that he was exalted to the extent that greatness was inherent in him. Otherwise, there would be no power or meaning in the victory itself.

Gogol said about his “The Inspector General” that it has one honest face - laughter; so exactly about “Fathers and Sons” we can say that in them there is a face that stands above all faces and even above Bazarov - life.”

Bazarov's reflections on life

nor death, about eternity and humanity

A.I. Batyuto

Reading the novel by the outstanding Russian writer I.S. Turgenev's "Fathers and Sons", we understand from the very first pages how complex and ambiguous the author's attitude towards the main character, Evgeny Bazarov, actually is. Before us is not an ideal person and at the same time not a negative hero. Giving in to the writer’s feelings, we also begin to either condemn Eugene or feel sincere sympathy for him. Turgenev himself wrote about the image he created: “Did I want to scold Bazarov or extol him? I don’t know that myself, because I don’t know whether I love him or hate him!” And yet it seems to me that now we can say quite definitely that there is absolutely no hatred in the author’s attitude towards his hero. Condemnation - yes, sometimes - misunderstanding. But not hatred, not anger. And this is confirmed by other words of the writer: “...When writing Bazarov, I not only was not angry with him, but I felt an “attraction to him, a kind of illness.” And this is understandable, because as we become more familiar with Turgenev’s novel, we ourselves begin to feel sympathy for to the main character.

Compromises are alien to Evgeny Bazarov; he does not experience an egoistic sense of self-preservation. Selflessly speaking out against spiritual stagnation and susceptibility to established principles, Bazarov dreams of a completely new type of culture, new social relations. And isn’t every person captivated and delighted by such a lofty idea - to remake the world, to revive the human soul, to breathe living energy into it. This idea inspires the author himself. Together with his hero, he protests against the ideology of conservatism and liberalism, against lordly despotism, slave psychology, and naive ideals. In this regard, Turgenev admires Bazarov - a man who decided to single-handedly confront his entire environment. Evgeniy poses a unique challenge to society, denying all traditions and foundations. It is no coincidence that he is called a nihilist. “A nihilist is a person who does not bow to any authorities, who does not take a single principle on faith,” says Arkady, reflecting the very essence of Bazarov’s image. Yes, Turgenev’s hero does not recognize authorities. Moreover, he considers life imperfect and strives to destroy outdated ideals, to overthrow the selfishly closed “lordly” culture and outdated moral dogmas. “Correct society, and there will be no diseases,” asserts Bazarov, explaining all the moral differences of mankind by the “ugly state of society.” And the author largely agrees with the hero; Eugene’s views are close to him. Although not all of Bazarov’s beliefs are completely shared by Turgenev.

Let us remember the conversation between Evgeny Bazarov and Odintsova. “You don’t assume that I have artistic sense - yes, I really don’t have it, but these views could interest me from a geological point of view,” says Turgenev’s hero, looking at the album of Saxon Switzerland. That is, for him there is no art if it is not of material, scientific interest. And the statement that “Raphael is not worth a penny”, that “Nature is not a temple, but man is a worker in it”! Yes, such thoughts cause not only condemnation, but also indignation! Bazarov openly laughs at his passion for music, he considers reading Pushkin nonsense, even love for him is nothing more than “romanticism, nonsense, rot, art.” Isn’t it monstrous to compare romanticism and art with “rotten”?! Of course, Evgenia Turgenev cannot understand, accept, or justify such beliefs. The author is deeply alien to utilitarian ideas about art. Meanwhile, he consciously endows his hero with similar qualities. The fact is that the writer sought to create a truthful image of a young man of that time, and among some of the commoners (to which Bazarov belongs) there was often a negative attitude not only towards artistic creativity, art, but also towards many romantic feelings natural to humans .

Emphasizing his rejection of this aspect of Bazarov’s image, the author forces the hero himself to come to an understanding of the fallacy of his judgments. It is for this purpose that the novel shows the love story of Evgeny for Odintsova, and the tragedy of their breakup. Bazarov, who denied love in general, suddenly finds himself seriously overwhelmed by this feeling. In a passionate outburst, he admits: “So know that I love you stupidly, madly.” All the hero’s experiences are ambiguous. There is still a struggle going on within him between beliefs and new, unknown sensations. And yet, in a love conflict, Bazarov is transformed. The passionate intensity, strength and integrity of his feelings make us, like the author himself, bow to the hero.

Eugene's moral victory over a selfish woman opens up new facets of his soul. We see Bazarov’s ability for deeply critical introspection and rethinking of past beliefs. Now Turgenev again admires the spiritual strength of his hero.

But there is another side to the author’s attitude towards Evgeny Bazarov. The writer speaks with regret about the ingloriousness, uselessness of the hero’s vitality and energy. This idea is most expressed in the last eyes of the novel. “It’s a pity for the lost, wasted strength,” these words of Turgenev, spoken after the death of Dobrolyubov, fully apply to the hero of “Fathers and Sons.” “Look at the roots! Eugene has such strength!” - exclaims Vasily Ivanovich Bazarov. But after this follows the story of Eugene’s infection during the autopsy and pictures of the inglorious extinction of this power. The author's empathy for the hero is especially clearly manifested when describing Bazarov's last days. Old parents walk around like crazy; freshness and beauty stand in sharp contrast. Odintsova is next to Evgeniy, with “an inflamed and at the same time dead face with dull eyes.” A. how much pain; and suffering in the words of the hero himself, aware of the proximity of his own death and the uselessness of his life: “I fell under a wheel. And it turns out that there was nothing to think about the future”; “Russia needs me... No, apparently I don’t. And who needs me?”

Yes, the writer’s attitude towards the main character of the novel “Fathers and Sons” is not very simple. The author shares his views where Bazarov stigmatizes abstract, outdated, empty “principles.” And in this case the hero wins. But when it comes to refined experiences and the perception of beauty, which Evgeny does not want to understand, Turgenev condemns him and dooms him to failure. But still, the creator of “Fathers and Sons” gives the hero a chance to realize the error of his views and beliefs, to revive in his soul everything high and bright that it undoubtedly contains. To do this, the author subjects Bazarov to severe trials and even leads to tragic death. For what? Perhaps so that people like Eugene, before it is too late, see their delusions as deeply and sharply as possible and hasten to draw conclusions...

I.S. Turgenev is a great Russian writer. In the novel “Fathers and Sons” the author touches on

A well-known problem: conflict between fathers and children. Moreover, there is not only a conflict between two generations, but also between two camps with different political views. The children's camp is revolutionary-democratic, and the fathers' camp is liberal-serfdom.

The central place in the composition of the novel is occupied by the image of Yevgeny Bazarov. It seems to me that Bazarov is a very interesting person, so I want to write about him and about my attitude towards this man.

Bazarov was a commoner democrat, a staunch opponent of the noble-serf system, a materialist in his worldview, having gone through the school of labor and deprivation,

Independent thinker and independent. I really respect all these qualities in Bazarov.

I like the fact that Evgeniy works hard and achieves everything himself. When he was studying at

University, he didn’t take a penny from his parents. Bazarov earned his own living

Life and at the same time managed to study well. In general, Bazarov is very smart and strong

Human. But it seems to me that Bazarov’s negative feature is that he

Denies what he cannot understand. He doesn't like or understand art and poetry, so

How he doesn’t see any point in them. Bazarov recognizes only the natural experience of life. I don’t agree with him on this: after all, art makes our drab life richer, and I believe

That Bazarov should at least respect the work and talent of other people. Also Evgeniy does not appreciate

The beauty of nature. He says: “Nature is not a temple, but a workshop, and man is a worker in it.”

He uses it as a workshop. In the mornings, Bazarov walks a lot through forests and swamps, but does not see any charm in it. He is simply observing and looking for material for

Your experiences. But a person’s life is too short to spend it all working in this “workshop” and not noticing anything beautiful around him.

Bazarov attracts me as a person. He does not seek to imitate anyone, he is not afraid

To be different from everyone else. I think this is wonderful. After all, there are very few such people. Bazarov sincerely believes in what he does. That is, he is a true nihilist, not because it is fashionable, but because he is convinced of the correctness of this movement. The people surrounding Bazarov are much weaker than him mentally. He treats everyone with indifference and even slight contempt. He respects no one, denies aristocratic principles, and does not understand the high meaning of love. Love for Odintsova, an intelligent and educated woman, helps me see Bazarov’s character from a different perspective. A special place in the novel is occupied by the scene of Evgeny Bazarov’s dying explanation with Anna Sergeevna. How much strength and feeling there is in this man. But he is lonely, misunderstood, unable to fully reveal his moral potential and bring his ideas to life.

Bazarov is a bright personality. I believe that Bazarov can rightfully be considered the hero of his

Time.
Evgeny Bazarov is my opposite. In his character there seemed to be much of what one can respect a person for and admire in a literary hero: intelligence,

Originality, physical strength, self-confidence, great performance. This

The nihilist beats the aristocrat Pavel Petrovich Kirsanov in a dispute, knows how to force

Listen to others and respect your point of view. What's the matter, why is he like this?

Unpleasant to me? And only then did I clearly understand what repels me in this Turgenev hero: selfishness and pride, lack of pity and kindness towards others.

Evgeny Bazarov is not like other literary heroes I know created by writers of the 19th century. I cannot place Onegin and Pechorin next to him. Perhaps only Chernyshevsky’s heroes Lopukhov and Kirsanov partly resemble nihilists, but even they and the “gloomy monster” Rakhmetov seem to me more humane.

Bazarov is also not like other Turgenev characters. The writer himself admits this fact. The hero of “Fathers and Sons” cannot be compared with Rudin and Insarov.

Bazarov's personality closes in on itself, because outside of it and around it there are almost no related elements at all.

He is unable to maintain a relationship with a woman; his sincere and integral nature does not give in to compromise and does not make concessions; he does not buy a woman's affection with known obligations. But our smart women are usually careful and prudent... In a word, for Bazarov there are no women who can evoke a serious feeling in him and, for their part, respond ardently to it.

“A man must be fierce,” Bazarov answers in a conversation with Kirsanov. And he's all about it. Turgenev repeatedly emphasizes his uncontrollable, rough, harsh nature. Even love, passion, beats “strong and heavy” in him, similar to malice, and perhaps akin to malice. It’s not for nothing that he inspires fear and respect even in Madame Odintsova. Was Evgeny Bazarov born with such a strong nature, inclined to command people, keep them in moral subordination, accept their services as if doing them a favor, or was it due to the fact that he was “self-made” and achieved everything on his own? But, be that as it may, this is the son of a military doctor - a very strong and outstanding personality in all respects. Bazarov recognizes only what can be felt with his hands, seen with his eyes, put on his tongue, in a word, only what can be witnessed by one of the five senses. He reduces all other human feelings to the activity of the nervous system; As a result, the enjoyment of the beauties of nature, music, painting, poetry, the love of a woman does not seem at all higher and purer to him than the enjoyment of a hearty dinner or a bottle of good wine... Bazarov thoroughly knows the natural and

Medical Sciences; with their help he knocked all prejudices out of his head; but at the same time he remained an extremely uneducated man: he had heard something about poetry, something about

Art, did not bother to think and spoke from the shoulder over strangers

Items.

Turgenev shows that Bazarov is a democrat, a commoner, a man of labor, alien

Aristocratic etiquette and conventions.

What is his strength? The fact is that he is a representative of the new time. Aristocrats, like Pavel Petrovich, have outlived their usefulness. New people and new ideas were needed. Evgeny Bazarov shows us this new idea throughout the entire novel. If you look closely, you can see the similarities between the time that Turgenev describes and ours. Today, old ideas, and with them the leaders of the Communist Party, are a thing of the past. We need to carry out reforms and pull the country out of the swamp. There are endless debates about how to do this.

The main place in the novel is occupied by scenes of disputes. Turgenev's heroes reveal their worldview in direct statements, in clashes with their ideological opponents. Bazarov is an independent nature, not bowing to any aristocrats, but putting thoughts on trial.

What is Bazarov's weakness? In my opinion, his main weakness is that he only denies, he does not bring anything positive. How can people live in denial alone? Today, too, you can meet people who perfectly criticize the old, perfectly prove that a lot needs to be changed, but cannot offer anything worthwhile, much less do. And Evgeny Bazarov appropriated to himself the “title” of a nihilist and denies everything: religion, science, family, morality. It becomes especially creepy when you think about the fact that he denies such things as art and love. Of course, life is richer than his ideas, and the “theorist” himself falls in love “stupidly, madly.” While Evgeny Bazarov is talking about this in the Kirsanovs’ dining room or in Odintsova’s living room, this is his business, his whim. But what if he comes to power? And these are the ones who are eager to get to her... Turgenev tests Bazarov first with love, then with death. And if love for Odintsova, an intelligent, proud, strong woman, equal to Bazarov himself, defeats the principles of nihilism, then in the dying scene Bazarov believes his ideals to the end, he is not broken, he proudly looks death in the eye.

“To die the way Bazarov died is the same as having accomplished a great feat.” Reasonability

Bazarova was a forgivable and understandable extreme in him: this extreme, which forced him to be wise about himself and break himself, would have disappeared from the action of time and life; she disappeared as death approached. He became a man instead of being the embodiment of the theory of nihilism, and he expressed his desire to see the woman he loved. Bazarov had to die in order to remain Bazarov. Maybe some people like such heroes. But for me, a gardener cultivating his little garden;

The illiterate old woman looking after the kids is much more “heroic” than Bazarov. After all, they create to the best of their ability, but he only destroys. How can you break it without even knowing why? Pavel Petrovich cannot understand this. And Bazarov’s “young student” Arkady answers him: “We break because we are strong.” And force, in his opinion, does not give an account. I would really not like the old rulers to be replaced by new ones who consider their main duty only to “clear the place” and not to build a new one. After all, this is where you and I live... And I have nothing to add to Pavel Petrovich’s thought that the last musician, who is given five kopecks for the evening, is more useful than people like Bazarov, because he is a representative of civilization, and not brute Mongolian force . Studying the literature of the first half of the 19th century, we talk about special literary heroes - “superfluous people”: Onegin, Pechorin. As is known, Turgenev’s Rudin is also included among them. But if you think about it, then Bazarov also belongs to the same “category”. After all, besides destruction, he has nothing else to do...

I believe that no matter how many critical articles there are about the hero of “Fathers and Sons,” and no matter how the image of the hero of his time, Evgeniy Bazarov, is interpreted, he spoke best about

His “most beloved child” himself

I dreamed of a gloomy, wild, large figure, half grown out of the soil,

Strong, angry, honest - and yet doomed to death, because she still stands on the threshold of the future.”
Turgenev is one of the best writers of the last century. His novel “Fathers and Sons” begins with an exact date. This allows the reader to remember the events that took place during this time. During these years, after the Crimean War, Russian social life somewhat revived, the crisis of the serfdom system was exposed, and the struggle between democratic revolutionaries and liberals intensified. Turgenev shows the conflict of generations. He appears to us as a master of detail, portraits and landscapes.

The novel takes place in the summer of one thousand eight hundred and sixty-two. The young candidate, Arkady Nikolaevich Kirsanov, comes to the village to visit his father along with Yevgeny Vasilyevich Bazarov. Bazarov has a strong influence on his friend. The village they arrived in belongs to Arkady's father and uncle. His father is a gentle, kind, sensitive man. Uncle is sharply different from his brother and nephew. And he hates those people in whom he meets rebuff.

Bazarov is the son of a poor district doctor. The father loves his son very much. He is proud that he never took an extra penny from his parents. At the university, the course he took in natural and medical sciences developed his natural intelligence. He is a man of great intelligence and strong character. He only acts as he wants. He tries to pay less attention to the Kirsanov family and spends most of his time at work. Walks around the neighborhood, collects plants, insects, and cuts frogs.

Bazarov is a nihilist, that is, he denies everything and does not recognize authorities. His denials have positive and negative sides. He seeks to change the social system, or rather, only to clear the ground for a new way of life. Bazarov believes in the progressive role of the noble class, denies religion and patriarchy.

In his relations with the common people, Evgeny is simple, although he condemns their patriarchy and humility. The servants love him, the children love him. When talking to him, they are not timid or embarrassed. Bazarov is proud that he came from the common people, that his grandfather plowed the land. And when you meet him, he introduces himself as a simple man. Bazarov has a wide range of knowledge; he is interested in medicine, chemistry, physics, botany, zoology. Despite all this, he is lonely. Evgeny has no friend, because he has not yet met a person who would not give in to him. Bazarov's personality closes in on itself.

He likes to visit Arkady, since he can work there calmly. But with his parents, he cannot do his favorite thing. He can neither speak nor argue with them.

Bazarov denied love, but when he met an intelligent and beautiful woman, he fell in love with her.

However, he could not subject his love to any conditions. He shares his thoughts with Anna Sergeevna and sees her as an intelligent interlocutor. Dying, he wants to look at his beloved woman for the last time. This speaks of Bazarov's ability to have deep feelings.

Bazarov is a man of a new type. Turgenev ends the novel with the death of Bazarov, because he does not know what his hero should do next.

Many classics of that time admired his novel, and now it has not lost its relevance.
A new thought,

Striving for the harsh truth

His hot work breathed.

N. Nekrasov

Roman I.S. Turgenev reflected the struggle between two socio-political camps that had developed in Russia by the 60s of the 19th century. I.S. Turgenev reflected in the novel a typical

The conflict of the era raised a number of pressing problems, in particular, the question of the character and

The roles of the “new man”, a figure during the revolutionary situation in Europe in the 60s.

The exponent of the ideas of revolutionary democracy was Yevgeny Bazarov, the hero who is contrasted in the novel with the liberal nobility.

The image of Bazarov occupies a central place in the composition of the novel. Of the twenty-eight chapters, Bazarov does not appear in only two; in the rest, he is the main character.

All the main characters of the novel are grouped around him, revealed in their relationships with him, highlighting certain features of his personality more sharply and brightly.

They emphasize his superiority, intelligence, spiritual strength, and testify to his loneliness among the district aristocrats. Let us recall that the hero of the era of the 60s was a democrat-commoner, a staunch opponent of the noble-serf system, a materialist in his worldview, who went through the school of labor and hardship, independently thinking and independent. This is exactly what Bazarov is like as depicted by the author.

The plot of the novel is based on Bazarov’s clash with the world of aristocrats. Turgenev immediately shows that Bazarov is a man of labor, he is alien to aristocratic etiquette and

Conventions. In a clash with the “cursed barchuks” his appearance is fully revealed. The novel widely uses the technique of contrast: Bazarov is contrasted

To Pavel Petrovich, the democracy of one to the aristocracy of another. Bazarov's consistency, conviction, will and determination contrast with Arkady's duality, with his random beliefs, softness and lack of a conscious goal.

It is in the clash with various characters opposed to him that Bazarov’s remarkable traits are revealed: in disputes with Pavel Petrovich - maturity of mind, depth of judgment and irreconcilable hatred of lordship and slavery; in relationships with Arkady - the ability to attract young people to one’s side, to be a teacher, educator, honest and irreconcilable in friendship; in relation to Odintsova - the ability to deeply and truly love, integrity of nature, willpower and self-esteem.

The main place in the composition of the novel is occupied by scenes of disputes. Turgenev's heroes reveal their worldview in direct statements, in clashes with their ideological opponents. Bazarov is an independent nature, not bowing to any aristocrats, but subject to the judgment of thought. Bazarov’s interest in the natural sciences was also typical of the sixties, although neither the career of a scientist nor the career of a doctor

Would be his destiny.

Turgenev takes his hero through a series of tests (and this is generally typical for Turgenev’s novels). He tests Bazarov first with love, then with death. Turgenev, as if from the outside, observes how his hero behaves in these situations. And if love is

Odintsova, a smart, proud, strong woman, a match for Bazarov himself, wins

Principles of nihilism - (after all, Bazarov called love “garbage”, contemptuously

He related to ideal, romantic feelings, recognized only physiological love: “You like a woman... try to get some sense...” Having fallen in love, he suddenly felt romance in himself) - then in the dying scene Bazarov was faithful to his ideals to the end, he is not broken, he proudly looks death in the eye. Many critics consider this scene to be the most powerful, lively and touching. Because it is here that this “sinful, rebellious heart” is fully revealed.

Bazarov's death is justified in its own way. Just as in love it was impossible to bring Bazarov to the “silence of bliss,” so in his intended business he had to remain at the level of not yet realized, nurtured and therefore limitless aspirations. Bazarov must

Was to die to remain Bazarov.

I believe that in the image of Bazarov the main features of his social image appear, and the main idea of ​​the novel is revealed - the conflict of “fathers” and “children”, between whom there can be no reconciliation and unity.
Turgenev's novel appeared in print in those years when new trends began to replace the old way of life, when among Russian youth, dissatisfied

With the life attitudes of the “fathers”, a reassessment of values ​​is ripe. Finally, when in

Literature has replaced the hero of yesteryear, the nobleman, with the commoner hero.

The novel begins with the fact that his friend, Yevgeny Bazarov, arrives at the Kirsanovs’ estate with Nikolai Petrovich’s son, Arkady. His unusual appearance (robe, sideburns) and “cheeky” demeanor alarm the inhabitants of the estate. And when

Bazarov declares that he is a nihilist; hidden hostility on the part of his older brother, Pavel Petrovich Kirsanov, turns into open confrontation. This is how the conflict in the novel begins.

With the light hand of “democratic” criticism (Pisarev), it is generally accepted that the main balance of power in the novel is reflected precisely in the confrontation between Bazarov and Pavel Petrovich,

Because they debate on various topics. However, as is easy to see, Pavel

Petrovich turns out to be an untenable opponent to Bazarov. All words of Paul

Petrovich - only “words”, since they are not supported by any action, so

The reproach regarding idleness thrown by Bazarov to Pavel Petrovich, of course,

Fair.

As Pisarev rightly notes, Pavel Petrovich has no convictions; as convictions, he tries to “smuggle in” principles, and principles understood in his own way. All of Pavel Petrovich’s “principles” boil down to observing external decency. And also to efforts to be considered a gentleman. Form without content - that is the essence of Pavel Petrovich. Thus, Pavel Petrovich turns out to be a completely untenable opponent to Bazarov. However, as we know, opposites converge. Despite the external confrontation, Bazarov and Pavel Petrovich are very similar. Kirsanov is essentially the same doctrinaire as Bazarov. Pavel Petrovich is only interested in the external side of things in everything - he talks about Schiller, about Goethe, although he hardly bothered to read them, his judgments are arrogant and superficial. But the same can be said about Bazarov! The same predilection for “external effects”, the same “inorganicity” with the world around him.

The real opponent of the leader of the nihilists (as well as the “district gentleman”) is Nikolai Petrovich Kirsanov, although he does not enter into verbal battles with Bazarov. His entire worldview, behavior devoid of outward pretentiousness, but at the same time spiritual breadth, opposes the nihilists’ denial of everything. Nikolai Petrovich could argue with Bazarov, but he understands perfectly well that his arguments will not be convincing either for Bazarov or for his brother.

Showing the initial depravity of Bazarov's ideas, Turgenev introduces two more characters into the fabric of the narrative - Sitnikov and Kukshina. It is no coincidence that after Bazarov’s death he no longer has any followers. In the barren soil of nihilism, only such parodies of people as Kukshina and Sitnikov grow.

However, Bazarov is not Kukshina or Sitnikov. He is a strong personality. His personality is capable of self-development, and this is precisely why Turgenev is interested in him. Bazarov's entire path described in the novel is a refutation of his ideas. Bazarov denies art, poetry,

Because he doesn’t see any use in them. It is Bazarov who ridicules Nikolai Petrovich’s cello playing and condemns Arkady for admiring the beauty of nature. He's not in

Able to understand all of this.

However, all is not lost for him, and this is manifested in his love for Odintsova. Bazarov turns out to be a man, and not a soulless machine that is only capable of making

Experiments and cutting frogs. Bazarov's beliefs come into tragic conflict with his

Human essence. He cannot renounce his convictions, but he cannot

Suffocate the person inside you. For Bazarov there is no way out of this situation, and it is precisely

That's why he dies.

The death of Bazarov is the death of his ideas. In the face of inevitable death, Bazarov sweeps away everything unimportant in order to leave the most important thing. And this main thing turns out to be the human thing that is in him - love for Madame Odintsova. It is noteworthy that Turgenev leads his opponent-double, Pavel Petrovich, in the same way - putting him on the brink of life and death (duel with Bazarov), forcing him to discard all dogmas, “principles” and leave what is human, true - love for his brother, Fenechka, desire do something for others.

Turgenev refutes the judgments of both Bazarov and Pavel Petrovich at every step. Bazarov

Declares that “nature is not a temple, but a workshop,” and a magnificent landscape immediately follows. The pictures of nature that fill the novel latently convince the reader of the completely opposite. It turns out that Pushkin and playing the cello in absolute terms are much more important than all the useful activities of Bazarov and the aristocratic principles of Pavel Petrovich.

In the last scene - a description of a rural cemetery and parents coming to their son's grave - eternal nature, the tranquility of which Bazarov encroached, gives the “nihilist”

Last reassurance. Everything unimportant that a person came up with remains aside.

Only nature, which Bazarov wanted to turn into a workshop, and his parents, who gave him life, surround him.

So, by the internal evolution of the main character, Turgenev shows the failure and

The initial depravity of the ideas of nihilism proves that on barren soil

Nothing positive can grow from denial. And, bringing his hero to universal human values, he asserts the primacy of humanistic ideas in life

Any person.
I. S. Turgenev’s novel “Fathers and Sons” clearly reflected the character of the era, the changes in Russian social life that occurred in the early 60s of the 19th century, when the revolutionary-democratic ideology replaced the noble ideology and culture.

I.S. Turgenev showed the struggle of two social groups: the old liberal noble

The intelligentsia, to which the “fathers” belong, and the heterogeneous intelligentsia, to which

Refers to “children”. This is a struggle between two generations. What is the difference between the views of revolutionary democrats (the generation of “children”) and liberals (the generation of “fathers”)? Which one is right? These are the main questions posed by I.S. Turgenev in the novel.

Bazarov is the main character of the novel “Fathers and Sons” - the son of a modest district doctor, a “new man”, a nihilist. He has casual manners, even his appearance reflects the character of the hero: firm, rebellious. Bazarov’s face is “long, thin, with a wide forehead, a flat upward, pointed nose downward, large greenish eyes and drooping sand-colored sideburns; it was enlivened by a calm smile and expressed self-confidence and intelligence.” He speaks briefly and abruptly, does not force himself to

Courtesy, harsh and rude, he says about himself that he is “not a soft creature”, that “the graceful side of life” is inaccessible to him. He asks his father “not to be gentle,” and his friend

Arcadia - “not to speak beautifully.” Evgeny denies not only poetry, but also music,

Art, love of nature.

Bazarov is a doctor by training. Natural sciences attract him precisely because they are based on accurate experimental data. Bazarov believes that “a decent

A chemist is twenty times more useful than any poet,” “nature is not a temple, but a workshop, and man is a worker in it.” And at the same time, our hero is a man of sharp mind, strong-willed and honest nature. Bazarov is incapable of pretending or being a hypocrite. His hatred for the “ugly state of society” is deep and sincere. He is an enemy of chatter, quite cynical and prone to jokes. Hidden under external indifference, the great love for his parents is obvious, although he does not show it. Despite his attitude towards love, and Bazarov considers this stupidity, he still falls in love. In his feelings for Odintsova, the hero reveals himself as a very strong nature: he managed to overcome himself in a moment of passion.

The main ideological opponent of Evgeny Bazarov in the camp of the “fathers” is Pavel Petrovich Kirsanov, a “county aristocrat”, because, even living in the village, Pavel Petrovich retained all the stiffness of aristocratic habits.

From the very first days of Bazarov’s arrival in Maryino, Kirsanov began to hate Evgeny. He felt in this nihilist a strong and intelligent opponent. All the principles of Pavel Petrovich come down to one thing - to protect the old order. Bazarov seeks to destroy these principles. According to Kirsanov, aristocracy is the driving force of social development, its ideal is a constitutional monarchy; The path to the ideal is liberal, that is, through reforms and openness. Pavel Petrovich condemns nihilists for the fact that they “respect no one,” live without principles, consider them unnecessary and powerless: “You are only four and a half people.” Due to differences of opinion

Bazarov and Pavel Petrovich often quarrel and argue, and cannot find a compromise.

The duel is proof of the depth of their differences. After the duel, Kirsanov is ready

Admit that Evgeniy behaved well.

My personal attitude towards Bazarov is ambivalent. On the one hand, I like him: he is smart, educated, honest, and has great willpower. All these qualities in a person attract. But on the other hand, I believe that we must first build something new and then destroy the old, and not vice versa. Otherwise, it may turn out that, having broken everything that was, we will not be able to create something new. It also seems absurd to me to deny everything: nature, art, music, love, even what you don’t know. How can you deny something you don't know? I don't understand this. I feel sorry for Bazarov, who dies at the end of the novel. The ideas he spoke about die along with him. And yet... By placing the dispute between Bazarov and Kirsanov at the center of the novel, Turgenev made it clear which of them belongs to the future. Bazarov defeats Pavel Petrovich Kirsanov, thereby proving the superiority of the new over the old. “This is the triumph of democracy over aristocracy” - this is how I.S. assesses. Turgenev's meaning of the situation he depicted.