How the bazaars are represented in the first pages of the novel. Love line in the novel
IN this fragment we see Bazarov from the other side, previously hidden to us. The hero changes, which makes his friend, Arkady, surprised.
In the above episode we see how Bazarov’s principles and beliefs begin to crumble. What appears before the readers is not a person who denies everyone and everything, but a person who is capable of feeling and experiencing powerful emotions, a real pleasure in conversation.
Under the influence of his feelings, although the hero tries, he fails to fully control himself: he becomes embarrassed, even blushes, which greatly surprises his friend, Arkady.
In a conversation with Odintsova, he shows obvious attention to her, trying to interest her, which he does not do either in a conversation with Kukshina and Sitnikov, or in communication with Arkady’s relatives, which is not at all similar to the hero’s usual manner of behavior: “He said, contrary to usual, quite He obviously tried a lot to keep his interlocutor busy.”
It is worth noting that despite the fact that Bazarov, noting the beauty of Anna Sergeevna, admires her rather with scientific interest, he still cannot deny her, which again contradicts his principles: “Such a rich body! ...At least now to the anatomical theater.”
Thus, based on the above episode, we can conclude that inner world much deeper than it seems at first glance. Bazarov is characterized, despite denial, by a unique vision of beauty, genuine attention and interest. He is not as invulnerable as not only the reader initially sees him, but also as he wants to appear to himself. And he, like every person, is characterized by doubts and self-doubt, from which you cannot escape even if you are a nihilist.
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Updated: 2017-05-02
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Bazarov's inner world and its external manifestations. Turgenev paints a detailed portrait of the hero upon his first appearance. But strange thing! The reader almost immediately forgets individual facial features and is hardly ready to describe them after two pages. The general outline remains in the memory - the author imagines the hero’s face as repulsively ugly, colorless in color and defiantly irregular in sculptural modeling. But he immediately separates the facial features from their captivating expression (“It was enlivened by a calm smile and expressed self-confidence and intelligence”). The first thing that catches your eye in Bazarov’s behavior can be interpreted as a manifestation of self-confidence. He is distinguished by a certain rudeness of behavior, unwillingness to follow the rules good manners and even basic standards of decency. His behavior contrasts with the sincere, affable manner of the good-natured Nikolai Petrovich, the exquisite, coldish courtesy of his brother, or the enthusiastic verbosity of Arkady. Here the hero meets his friend’s father, the future owner of the house where he has a place to stay: “Nikolai Petrovich<…>squeezed him tightly<...>hand,” Bazarov “immediately gave him his,” and “answered kind questions in a lazy but courageous voice.” The casual manner of communication he adopts extends to representatives of all classes. Here, at the inn, for the first time we become witnesses of Bazarov’s communication with the men. “Well, turn around, fat beard!” - Bazarov turned to the coachman. However, this apt, rude description did not offend the men at all: “Listen, Mityukha,” picked up another coachman standing right there.<…>, - What did the master call you? Thickbeard is." Those around him are attracted by Bazarov’s stern simplicity more than by Pavel Petrovich’s aristocratic courtesy, from which, as Fenechka aptly remarks, “it will give you the cold.” Nikolai Petrovich, although “afraid of the young nihilist,” nevertheless “readily listened to him, willingly attended his physical and chemical experiments.” The servants “attached” to him, not excluding Peter, who was limited in complacency. Bazarov is followed “like little dogs” by peasant children. He also became friends with Fenechka. At first, the young nihilist allowed himself an ironic remark addressed to Nikolai Petrovich. But when he approached the shy Fenechka, he behaved with all courtesy. “Allow me to introduce myself,” he began with a polite bow, “Arkady Nikolaevich is a friend and a humble person.” The stern doctor unmistakably touched a weak string in the mother’s heart - he showed attention to her child. Even little Mitya recognized Bazarov’s charm: “Children feel who loves them.” Subsequently, Bazarov more than once, as a doctor, will come to Mitya’s aid. And all this with constant jokes and banter. Behind this lies a desire so that Fenechka does not feel obligated to him. Here, in this house, Fenechka, an unofficial wife and mother of an illegitimate child, sometimes has a hard time already - Bazarov understands this. On a human level, he sympathizes with Fenechka, but prefers not to interfere in a difficult family situation. “She’s a mother—well, she’s right.”
The disputes between Bazarov and Pavel Petrovich are presented social side conflict in Turgenev's novel "Fathers and Sons". It’s not just that they collide here different views representatives of two generations, but also two fundamentally different political points of view. Bazarov and Pavel Petrovich find themselves different sides barricades in accordance with all parameters. Bazarov is a commoner, coming from a poor family, forced to make his own way in life. Pavel Petrovich is a hereditary nobleman, guardian of family ties and [...]
The events described in I. S. Turgenev’s novel “Fathers and Sons” take place on the eve of the peasant reform, which caused a sharp resonance in public opinion. The progressive public was divided into liberals who welcomed the reform, and revolutionary democrats who believed that a radical change would still not give the peasants the desired liberation. This division was reflected in Turgenev’s novel.
The novel "Fathers and Sons" caused heated debate and conflicting assessments.
The generation of “fathers”, liberals, is represented in it by the Kirsanov brothers, and the generation of “children” is represented by the democrat commoner Yevgeny Bazarov.
At the center of the novel is the figure of Bazarov. The novel begins with Bazarov's arrival at the Kirsanovs' estate. His appearance truly shook up the Kirsanovs’ usual way of life.
Bazarov is the son of a doctor, he went through a harsh life school, studies at the university on copper pennies, is interested in natural sciences, knows botany, agricultural technology, geology, never refuses medical care to people, is proud of his origin. "My grandfather plowed the land!" - the hero says with arrogant pride. He immediately aroused rejection and interest just by his appearance: tall, hoodie with tassels, bare red arm, long hair. The author focuses on the hero's hands. He repeatedly emphasizes his intelligence, pointing out his spacious skull and face, expressing self-confidence.
The Kirsanovs are the best of the nobles. Bazarov's views evoke different feelings in them. The most acute clash occurs between Evgeniy and Pavel Petrovich.
Bazarov is a nihilist, and he fiercely defends his position of denying everything. He speaks coldly and contemptuously about art: “A decent chemist is twenty times more useful than any poet,” he says. Raphael, a recognized genius all over the world, according to Bazarov, is not worth a penny. Nature is not an object of admiration for Turgenev’s hero; for him, it is “not a temple, but a workshop, and a person is a worker in it.” Bazarov calls love nonsense, unforgivable nonsense.
The author takes his hero through a series of tests, including the test of love. Having met Odintsova, Bazarov is sure that there is no love and cannot be. He looks at women very skeptically. For him, Anna Sergeevna is only a representative of one of the categories of mammals. He notes her rich body, quite worthy of an anatomical theater, and does not think about her as a person, as a person. However, gradually in the hero’s soul, unexpectedly for him, those feelings awaken that lead him into a state of complete confusion. The longer he is visiting Madame Odintsova, the closer he gets to know her, the more attached he becomes to her, and the hotter his feelings flare up. A person who is confident in his beliefs breaks down at the first meeting with true life. unrequited love does not deprive Bazarov of pride. “I’m a poor man, but I still haven’t accepted alms,” he tells Odintsova.
The hero has a conflict with himself. He tried to build his existence on the basis of the theory of nihilism, but life cannot be subordinated to a dry idea. Denying the principle of honor, Bazarov accepts a challenge to a duel from Pavel Petrovich. Despising aristocrats, he sorts things out according to their rules and behaves nobly in a duel. Pavel Petrovich himself tells him about this.
Bazarov cannot hide his affection and tender attitude towards his parents, whose care and love, at first glance, he is burdened by. Feeling the approach of death, he asks Odintsova not to forget his old people, because “people like them are... big world you can’t find it during the day with fire...” Critic D.I. Pisarev considers Bazarov’s death heroic. “To die the way Bazarov died is the same as having accomplished a great feat...” he writes.
Discovering the ability to love in oneself becomes very painful and difficult for the hero. However, this ability enriches it, makes it more understandable and close to the reader.
The author sympathizes with his hero, respects and pities him, although he himself professed the idea of liberalism. In his memoirs, Turgenev wrote: “To accurately and powerfully reproduce the truth, the reality of life, is the highest happiness for a writer, even if this truth does not coincide with his own sympathies.”