What is Bazarov’s tragic loneliness? Why is Bazarov lonely? (based on the novel by I.S.

Essays on literature: The tragic loneliness of Bazarov

My God! What a luxury “Fathers and Sons”!..

Bazarov's illness is made so strong,

That I was weak and there was a feeling like

It's like I got infected from him.

A. P. Chekhov

In the image of Bazarov, I. S. Turgenev depicted the type of new person who arose in conditions of social conflict, the replacement of one system by another. This hero reflects all the positive and negative traits of a representative of progressive youth; in him we see the triumph of the new, just emerging, over the old, passing. However, in the image we also clearly see the tragedy of a man, Bazarov, who is not yet fully aware of all the mistakes and delusions of the new ideology.

From the first acquaintance with the hero, we see that he is a complex, largely contradictory nature. This outwardly self-confident person is actually not so simple and straightforward. An anxious and vulnerable heart beats in his chest. He is quite harsh in his judgments about poetry, love, philosophy. Bazarov denies all this, but in his denial there is some kind of duality, as if he is not entirely sincere in his assessments. And closer to the end of the novel we will see that this is so. The hero himself will understand and repent of his mistakes, and reveal to himself his true nature.

In the meantime, we have before us a convinced nihilist who denies everything except exact science and verified facts. He does not accept art, considering it a painful perversion, nonsense, romanticism, rottenness. He sees the spiritual sophistication of a love feeling as the same romantic nonsense: “No, brother, all this is licentiousness and emptiness! - he says. “We, physiologists, know what kind of relationship this is...” His view of nature as a workshop is one-sided and, undoubtedly, erroneous. Thus, this is the worldview of Turgenev’s hero: there is no love, but only physiological attraction, there is no beauty in nature, but there is only the eternal cycle of chemical processes of a single substance. Denying the romantic attitude towards nature as a temple, Bazarov falls into slavery to the lower elemental forces of the natural “workshop”. He envies the ant, who has the right “not to recognize the feeling of compassion, unlike our self-destructive brother.” In a bitter moment of life, he is inclined to consider even a feeling of compassion as a weakness, denied by the natural laws of nature.

However, the truth of life is that in addition to physiological laws, there is the nature of human, spiritual feelings. And if a person wants to be a “worker,” he must take into account the fact that nature at the highest levels is still a “temple.”

We see how Bazarov's denial gradually encounters the powerful forces of beauty and harmony, artistic imagination, love, and art. The hero cannot escape them; he can no longer ignore their existence. His down-to-earth view of love is debunked by the romantic love story of Pavel Petrovich for Princess R. Disregard for art, daydreaming, and the beauty of nature collides with the thoughts and dreams of Nikolai Petrovich. Bazarov laughs at all this. But this is the law of life - “what you laugh at, you will serve.” And the hero is destined to drink this cup to the bottom.

Tragic retribution comes to Bazarov through his love for Odintsova. This feeling splits his soul into two halves. On the one hand, he remains a staunch opponent of romantic feelings, a denier of the spiritual nature of love. On the other hand, a spiritually loving person awakens in him, faced with the true mystery of this lofty feeling: “He could easily cope with his blood, but something else took possession of him, which he never allowed, which he always mocked at, which outraged him. all his pride." He is now beginning to realize that his service to previous principles is turning out to be blind; that life is, in fact, much more complex than what physiologists know about it. The lessons of love led to dire consequences in the fate of the hero. His one-sided, vulgar materialistic views on life failed. From their position, he could not solve the two main mysteries that arose before him: the riddle of his own soul, which turned out to be deeper and more bottomless than he had imagined, and the riddle of the surrounding world. He was irresistibly drawn to the highest manifestations of life, to its secrets, to the starry sky above his head.

Bazarov's tragic situation is further aggravated in his parents' home, where his isolation and coldness are opposed by the enormous power of selfless, sincere parental love. And dreaminess, and poetry, and love of philosophy, and class pride - all that Bazarov saw as a manifestation of aristocratic idleness, appears before him in the life of his plebeian-0tTsa. This means that both poetry and philosophy turn out to be an eternal property of human nature, an eternal attribute of culture. The hero can no longer escape from the questions that surround him, he cannot break living ties with the life that surrounds and awakens within him. Hence his tragic end, in which something symbolic is seen: the brave “anatomist” and “physiologist” ruins Russian life

Himself during the autopsy of a man's corpse. And only death gives him a way out of tragic loneliness; it seems to atone for the erroneous one-sidedness of his life position.

Thus, Turgenev in his novel makes it clear that Bazarov’s tragedy lies in the futility of his desire to suppress human aspirations in himself, in the doom of his attempts to oppose his mind to the spontaneous and imperious laws of life, the uncontrollable power of feelings and passions.

Bazarov belongs to the generation of “new people”. He is a hero of his time. But this hero not only turned out to be misunderstood by society and not accepted by it, he was doomed to disappointment in his principles and ultimately to death. Is he himself to blame for this? Or is it the fault of a turning point, unstable, full of contradictions time? It is difficult to give a definite answer. Society needed people like him. New ideas were also needed. And Evgeniy became the spokesman for these ideas. The only problem was that these ideas turned out to be wrong, the ideals failed. Bazarov is the central image of Turgenev's novel. All the other characters are grouped around him; in their relationships with him, the essence of all the heroes of the work is revealed, only emphasizing his strength, intelligence, depth of judgment, will, and character. “Bazarov still suppresses all the other characters in the novel,” wrote the author of “Fathers and Sons.” Bazarov's integrity and honesty, his irreconcilability towards lordship and slavery, his ability to be a leader and lead, his self-esteem, independence are revealed to us. But still, the main basis of the plot is the gradual increase in the loneliness of the young nihilist among the district aristocrats. What is the reason for this tragic loneliness? Evgeniy is a strong character, he is a purposeful, intelligent, strong-willed young man who firmly believes in his ideals. And his ideals are exact sciences and a logical approach to everything that happens on earth. But at the same time he is very unhappy. Perhaps this is the lot of any outstanding, extraordinary person, an extraordinary personality who has not found a worthy use for his strengths and knowledge. Of course, he has adherents and admirers. But their role comes down mainly to parodying and imitating Bazarov’s manners and behavior. And it is precisely these qualities that Evgeniy himself despises in people. He strives to find a kindred spirit, a person who would sincerely share his views and believe in his ideals. But there are no such people around him. The hero's tragedy manifests itself not only in relationships with the people around him, not only in ideological disputes with the aristocratic classes. The deepest conflict matures in Bazarov's soul. Deep down, he is looking for love, but turns out to be incapable of real serious feeling. The love that suddenly flared up in his heart seems to divide his soul into two parts that are in constant struggle. Now two opposite people begin to live in him: one is a convinced opponent of romantic feelings, a denier of the spiritual component of love; the other is a passionate and spiritualized nature, a man faced with the mystery of this high feeling: “He could easily cope with his blood, but something else took possession of him, which he never allowed, which he always mocked, which outraged all his pride ". He suffers from the lack of ideals, but cannot consciously approach their search, achieve stability and harmony in his own life. The “natural scientific” beliefs dear to his mind turn into a principle, which he, who denies any principles, now faithfully serves. He gradually begins to understand that life is much more complicated than what “physiologists” know about it. But he was sure that he knew the answers to any questions, that everything in life could be subordinated simply.

Essay text:

In the novel Fathers and Children, the image of the new man Evgeny Vasilyevich Bazarov turned out to be complex, contradictory, and, of course, very interesting. He cannot leave indifferent the reader of both the last century and our contemporary.
From the moment the novel was published, a sea of ​​criticism fell upon the author and his main character, and a fierce controversy unfolded around the image of Bazarov. Conservative circles of the nobility, horrified by his strength and power, feeling in him a threat to their way of life, hated the main character. But at the same time, Bazarov was not accepted in the revolutionary-democratic camp, to which he himself belonged. His image was considered a caricature of the younger generation.
In many ways, this assessment of the main character is due to the author himself. I. S. Turgenev himself was undecided in his attitude towards Bazarov. On the one hand, he justifies and appreciates Bazarov, quite sincerely admiring his intelligence, firmness, ability to defend his ideals and achieve what he wants; endows this image with traits that it does not possess. But, on the other hand, the reader feels (there is no direct indication of this in the text, but it slips by itself, against the will of the author) that Bazarov is alien to the author, incomprehensible, Turgenev sincerely wants to force himself to love his hero, to be fired up by his idea, but to no avail. The author and his main character remain on opposite sides.
This is precisely what suggests the idea of ​​Bazarov’s monstrous loneliness. He is titanic, remarkably strong, but at the same time endlessly unhappy and lonely. This is probably the lot of any outstanding person. And Bazarov himself does not strive to please people, rather the opposite. According to his own remark, a real person is one about whom there is nothing to think, but whom one must obey or hate.
His like-minded people, recognizing Bazarov as a strong personality, are only capable of worship and parody, without claiming more. And this is precisely what Bazarov despises in people. He is constantly looking for a person equal to himself in strength, and does not find him. The only one who decides to resist this stormy onslaught is Pavel Petrovich Kirsanov, but not at all because he is such a titan, but because his principles, unlike Bazarov’s, which hang in the air and feed exclusively on the energy of their author, grow into century. Pavel Petrovich perceived these spiritual values, historical roots, and way of life as a child. In his disputes with Bazarov, P.P. Kirsanov defends his past, his life, which he cannot imagine otherwise, and this gives him strength in the battle with the titan, who can oppose only himself, his powerful personality in this battle. But despite the obvious fact that Bazarov is wrong, his uncompromising struggle is admirable.
The author constantly reminds the reader that Bazarov is not a monster, not an evil genius, but above all an unhappy man, lonely and, despite all the strength of his mind and energy, defenseless against the simplest human feelings. His vulnerability with Odintsova is revealed. Subconsciously, Bazarov is looking for love, but real, high love is inaccessible to him, because he is unspiritual and immoral. Odintsova expects mature feelings from him; she needs serious love, not fleeting passion. In her life there is no place for shocks, without which Bazarov cannot imagine himself. He does not understand that an indispensable condition for achieving spiritual and moral ideals is stability. And these ideals are inaccessible to him (although he suffers from their absence without realizing it), since, being a pragmatist, he must probe and touch everything.

And it turns out to be some kind of vicious circle. Bazarov rushes about in this circle, lonely and desperate. He is contradictory to the point of absurdity. Bazarov denies romance, but in his own way he is a romantic, he renounces his parents, the stupid life of his fathers, but he himself, in a fit of revelation, confesses to Arkady his love for them, he does everything, in his opinion, for the well-being of his homeland, but he himself asks the question: Does Russia need me? No, apparently not needed. It is scary to feel in such a vicious circle of contradictions, and this is difficult even for such a strong and independent person as Bazarov. How terrible it is, when dying, to realize the uselessness, meaninglessness, uselessness of the life lived. After all, nothing can be fixed. And Bazarov, in my opinion, is smart enough to realize his mistakes, even on his deathbed. He admits his powerlessness before death, which means that not everything can be overcome with the help of force. Bazarov returns to nature, which during his life he perceived so materialistically (I will die, and a burdock will grow out of me, nature is not a temple, but a workshop, and man is a worker in it). In the face of nature, in the face of the universe, even such a titan as Bazarov seems like a pitiful grain of sand. This is his tragic loneliness, he does not feel part of this world, even after death the iron fence surrounding his grave separates him from the world. After death, he remains alone as before.

The rights to the essay “The Tragic Loneliness of Bazarov” belong to its author. When quoting material, it is necessary to indicate a hyperlink to

In the novel Fathers and Sons, the image of the new man Evgeny Vasilyevich Bazarov turned out to be complex, contradictory, and, of course, very interesting. He cannot leave indifferent the reader of both the last century and our contemporary.
Since the publication of the novel, a sea of ​​criticism has fallen on the author and his main character, and a fierce controversy has developed around the image of Bazarov. Conservative circles of the nobility, horrified by his strength and power, feeling in him a threat to their way of life, hated the main character. But at the same time, Bazarov was not accepted in the revolutionary-democratic camp, to which he himself belonged. His image was considered a caricature of the younger generation.
In many ways, this assessment of the main character is due to the author himself. I. S. Turgenev himself was undecided in his attitude towards Bazarov. On the one hand, he justifies and appreciates Bazarov, quite sincerely admiring his intelligence, firmness, ability to defend his ideals and achieve what he wants; endows this image with traits that it does not possess. But, on the other hand, the reader feels (there is no direct indication of this in the text, but it slips by itself, against the will of the author) that Bazarov is alien to the author, incomprehensible, Turgenev sincerely wants to force himself to love his hero, to be fired up by his idea, but to no avail.
This is precisely what suggests the idea of ​​Bazarov’s monstrous loneliness. He is titanic, remarkably strong, but at the same time endlessly unhappy and lonely. This is probably the lot of any outstanding person. And Bazarov himself does not strive to please people, rather the opposite. According to his own remark, a real person is one about whom there is nothing to think, but whom one must obey or hate. His like-minded people, recognizing Bazarov as a strong personality, are only capable of worship and parody, without claiming more. And this is precisely what Bazarov despises in people. He is constantly looking for a person equal to himself in strength, and does not find him. The only one who decides to resist this stormy onslaught is Pavel Petrovich Kirsanov, but not at all because he is such a titan, but because his principles, unlike Bazarov’s, which hang in the air and are fed exclusively by the energy of their author, grow into century. Pavel Petrovich perceived these spiritual values, historical roots, and way of life as a child. In his disputes with Bazarov, P.P. Kirsanov defends his past, his life, which he cannot imagine being different, and this gives him strength in the battle with the titan, who can oppose only himself, his powerful personality in this battle. But despite the obvious fact that Bazarov is wrong, his uncompromising struggle is admirable.
The author seems to constantly remind the reader that Bazarov is not a monster, not an evil genius, but above all an unhappy man, lonely and, despite all the strength of his mind and energy, defenseless against the simplest human feelings. His vulnerability with Odintsova is revealed. Subconsciously, Bazarov is looking for love, but real, high love is inaccessible to him, because he is unspiritual and immoral. Odintsova expects mature feelings from him; she needs serious love, not fleeting passion. In her life there is no place for shocks, without which Bazarov cannot imagine himself. He does not understand that an indispensable condition for achieving spiritual and moral ideals is stability. And these ideals are inaccessible to him (although he suffers from their absence, without realizing it), since, being a pragmatist, he must probe and touch everything.
And here it turns out to be some kind of vicious circle. Bazarov rushes about in this circle, lonely and desperate. He is contradictory to the point of absurdity. Bazarov denies romanticism, but at his core is a romantic, he renounces his parents, the stupid life of his fathers, but he himself, in a fit of revelation, confesses to Arkady his love for them, he does everything, in his opinion, for the well-being of his homeland, but he himself asks the question: Does Russia need me? No, apparently not needed. It is scary to feel in such a vicious circle of contradictions, and it is difficult even for such a strong and independent person as Bazarov. How terrible it is, when dying, to realize the uselessness, meaninglessness, uselessness of the life lived. After all, nothing can be fixed. And Bazarov, in my opinion, is smart enough to realize his mistakes, even on his deathbed. He admits his powerlessness before death, which means that not everything can be overcome with the help of force. Bazarov returns to nature, which during his life he perceived so materialistically (I will die, and a burdock will grow out of me, nature is not a temple, but a workshop, and man is a worker in it). In the face of nature, in the face of the universe, even such a titan as Bazarov seems like a pitiful grain of sand. This is his tragic loneliness, he does not feel part of this world, even after death the iron fence surrounding his grave separates him from the world. After death he remains alone as before.

Essay on literature on the topic: The tragic loneliness of Bazarov

Other writings:

1. My God! What a luxury “Fathers and Sons” is! Bazarov's illness was so severe that I weakened, and it felt as if I had become infected from him. A. P. Chekhov In the image of Bazarov, I. S. Turgenev portrayed the type of new person who Read More ......
2. At different levels (in personal communication, in the actions of people, in nature, in social relations), the reader, following the author, observes phenomena (of different colors, tonality and strength): verbal battles at the Kirsanov table - the duel of Pavel Petrovich and Bazarov - class ideological enmity Read More ......
3. Personality in the process of self-knowledge, self-incarnation, development is the main theme of the work of M. Yu. Lermontov. The character of most of his poems of the early period is very indicative: these are lyrical sketches, excerpts from a diary - it is not for nothing that he often titles them, like diary entries - by date or Read More ......
4. The theme of friendship is one of the leading ones in Russian literature of the 19th century. “My friends, our union is wonderful! “He, like a soul, is indivisible and eternal,” - this is how A.S. Pushkin characterized true friendship. The theme of friendship is also presented in I. S. Turgenev’s novel “Fathers Read More ......
5. I. S. Turgenev himself claimed that his Bazarov was a “tragic face.” What is the tragedy of this hero? From the writer’s point of view, first of all, the Bazarovs’ time has not come. Turgenevsky Bazarov himself feels this - when dying, he utters bitter Read More ......
6. Once, in a conversation with Flaubert, Turgenev said: “I believe that only love causes such a flowering of the whole being that nothing else can give.” Love, according to the writer, makes a person reveal his best sides. Why didn’t Bazarov’s meeting with Odintsova Read More......
7. Bazarov learns about the existence of Anna Odintsova from Kukshina, an acquaintance of his friend Sitnikov. The first time he sees her is at a ball hosted by the head of the regional administration, where he arrived together with Arkady. “What kind of figure is this? - he said. – The rest of the women don’t Read More......
8. The main character of I. S. Turgenev’s novel “Fathers and Sons” is Evgeny Vasilyevich Bazarov. He is a nihilist, a man who proclaims the idea of ​​“complete and merciless negation,” without recognizing any limits that could limit its implementation. He denies love, poetry, music, the beauty of nature, philosophical Read More......

Description of the presentation by individual slides:

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Teacher of Russian language and literature Shipitsina Veronika Nikolaevna, municipal budgetary educational institution “Secondary school No. 19”, Nizhnevartovsk

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... one of those rare novelists who almost never lies. Andre Maurois With such knowledge of languages, with such extensive, versatile education and development of the mind, with enormous memory and talent, and with such an understanding of people's life, not a single Russian writer had entered literature before Turgenev. V.P Ostrogorsky I.S. Turgenev. Drawing by E.K. Lipgart. 1882

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I.S. Turgenev. Photo by A.I. Denier. 1865 ON THE. Dobrolyubov. Steel engraving. 1862 What will Mr. Turgenev create now? N. Dobrolyubov. It was in August 1860 when the first thought of “Fathers and Sons” came to my mind. I. Turgenev Turgenev attached very great importance to this novel: he wanted to sum up in it all his disagreements with Dobrolyubov - all the disputes between liberals and democrats.

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I felt then that something new had been born; I saw new people, but I couldn’t imagine how they would act, what would come of them. I could either remain completely silent or write only what I know. I chose the latter. I.S. Turgenev (according to the memoirs of N.A. Ostrovskaya) “Fathers and Sons.” Title page of the first edition (with dedication to V.G. Belinsky) 1862. I dreamed of a gloomy, large, wild figure, half grown out of the soil, strong, evil, honest - and yet doomed to destruction... I.S. Turgenev - K.K. Sluchevsky. April 14 (26), 1862. The theme of the novel is the depiction of the ideological struggle between the liberal nobility and revolutionary democracy on the eve of the abolition of serfdom.

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"Fathers and Sons". Pavel Petrovich Kirsanov. Watercolor P.M. Boklevsky 1870 He [Pavel Petrovich] looked about forty-five years old: his short-cropped gray hair shone with a dark shine, like new silver; his face, bilious, but without wrinkles; unusually regular and clean, as if carved with a thin and light chisel, revealed a wonderful environment; The light, black, oblong eyes were especially beautiful. The uncle's entire appearance, graceful and thoroughbred, retained youthful harmony. I. Turgenev “Fathers and Sons.” Pavel Petrovich, can be called a small-sized Pechorin; he had chewed and fooled around in his time, and finally got tired of everything; he failed to settle down, and this was not in his character... the former lion retired to his brother in the village, surrounded himself with elegant comfort and turned his life into a calm vegetation. DI. Pisarev “Bazarov” 1862 Pavel Petrovich Kirsanov

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"Fathers and Sons". Nikolai Petrovich Kirsanov. Watercolor P.M. Boklevsky 1870 Nikolai Petrovich Kirsanov is a man in his forties; in character he is very similar to his son, but Nikolai Petrovich has much more correspondence and harmony between his mental beliefs and natural inclinations than Arkady. As a gentle, sensitive and even sentimental person, Nikolai Petrovich does not rush towards rationalism and settles down to a worldview that gives food to his imagination and pleasantly tickles his moral sense. DI. Pisarev “Bazarov” 1862 Nikolai Petrovich Kirsanov. My whole story is directed against the nobility as an advanced class. I.S. Turgenev - K.K. Sluchevsky. April 14 (26), 1862.

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"Fathers and Sons". Bazarov. Illustration by P.M. Boklevsky 1870 Long and thin [Bazarov’s face], with a wide forehead, a flat upward, pointed nose downward, large greenish eyes and drooping sand-colored sideburns... enlivened by calmness, a smile and expressed self-confidence and intelligence... I.S. Turgenev “Fathers and Sons” Drawing the figure of Bazarov, I excluded everything artistic from the circle of his sympathies, I gave him harshness and unceremonious tone... I.S. Turgenev... A decent chemist is twenty times more useful than any poet... ...Raphael is not worth a penny... ...Nature is not a temple, but a workshop, and a person is a worker in it... Evgeniy Vasilyevich Bazarov

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Bazarov “had a special ability to arouse confidence in himself in lower people, although he never indulged them and treated them carelessly.” I. Turgenev “My grandfather plowed the land,” Bazarov answered with arrogant pride. - Ask any of your men which of us - you or me - he would rather recognize as a compatriot. You don’t even know how to talk to him. I. Turgenev “Fathers and Sons.” From Bazarov's dispute with Pavel Petrovich Postal station. Watercolor by an unknown artist. "Fathers and Sons". Bazarov on a walk and village children. Drawing by P. Kovalevsky 1898 “Fathers and Sons”. Arrival of Arkady Kirsanov and Bazarov. Drawing by P. Kovalevsky 1898

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What kind of heart did Turgenev endow his hero with - passionate or “cold and indifferent”? Anna Sergeevna Odintsova Evgeny Bazarov You want to fall in love... but you can’t love: that’s your misfortune Bazarov “Fathers and Sons” No, God knows where this would lead, you can’t joke about this, calmness is still the best thing in the world... Odintsova "Fathers and Sons"

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... You won’t find people like them in your big world during the day. Bazarov about parents. "Fathers and Sons". Vasily Ivanovich Bazarov. "Fathers and Sons". Illustration by K.I. Rudakov. 1946-47 Arina Vlasyeva Bazarova. "Fathers and Sons". Illustration by K.I. Rudakov. 1946-47 You see what my parents are like. The people are not strict. Do you love them, Evgeny? I love you, Arkady. They love you so much! Bazarov to Arkady “Fathers and Sons” ... The people around Bazarov suffer not from the fact that he treats them badly, and not from the fact that they themselves are bad people; on the contrary, he does not do a single bad thing towards them, and they, for their part, are also very good-natured and honest people.. D. Pisarev

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To die the way Bazarov died is the same as accomplishing a great feat. Old men and parents at the grave of their son, painting by V.G. Perova. Based on the novel by I.S. Turgenev “Fathers and Sons” of 1874. - Russia needs me... no, apparently, I don’t. And who is needed? - Farewell, farewell... Blow on the dying lamp and let it go out... Bazarov “Fathers and Sons.” There is a small rural cemetery in one of the remote corners of Russia... sheep wander freely through the graves... But between them there is one that is not touched by man, which is not trampled by animals: only birds sit on it and sing at dawn... Evgeny Bazarov is buried in this grave . Two already decrepit old men often come to her... - a husband and wife. Supporting each other, they walk with a heavy gait. They will approach the fence, fall to their knees, and cry long and bitterly... I.S. Turgenev “Fathers and Sons” I wanted to make him [Bazarov] a tragic face - there was no time for tenderness. He is honest, truthful and a democrat through and through... If he is called a nihilist, then it should be read: a revolutionary. I.S. Turgenev - K.K. Sluchevsky. April 14 (26), 1862. DI. Pisarev “Bazarov” 1862