Good and bad characters from the comedy ignorant. Images of the positive heroes of the comedy “Minor”

Answer:
In the relationships of Evgeny Bazarov with other heroes of the novel, his image is most clearly revealed. So, for example, in Bazarov’s relationship with his parents we see another facet of a person - a nihilist.
Bazarov’s father, Vasily Ivanovich Bazarov, tries to keep up with his son, although the father perfectly feels that there is a huge gap between them: “Of course, you, gentlemen, know better; where can we keep up with you? After all, you have come to replace us.”
Bazarov's mother, Arina Vlasevna, is a good-natured woman who loves her son with all her heart. But at the same time she is afraid of her son. Afraid of what he has become. Perhaps she realizes that Bazarov’s fate is tragic fate.
Evgeniy is bored with his parents in the village. He doesn't know what to talk to them about. He shares his thoughts and feelings with closest friend Arkady: “Boring; I want to work, but I can’t do it here. I'll go back to your village. At least you can lock yourself in. And here my father is not a step away from me.” But in fact, Evgeny Bazarov loves his parents very much. Despite the fact that the life that Vasily Ivanovich and Arina Vlasevna lead seems deaf to the young man, he cannot help but love them. And when, being on his deathbed, Evgeny Bazarov completely opens up and has a sincere conversation with Anna Sergeevna Odintsova, he tells her about his parents: “After all, there are people like them in your big world you can’t find it during the day with fire.” Even before his death, he thinks about the fate of his family, about the people who love him with all their hearts.
Thus, it seems to me that Evgeny Bazarov very much loves and respects his parents, Vasily Ivanovich and Arina Vlasevna. He speaks of them with warmth, he cares about their happiness and does not want to harm them. However, lack of spiritual kinship, nihilism, denial of all attachment, pride separate young man from his elders. It is only at the very end that the young nihilist and his parents are finally reunited. Bazarov conducts his last days in the family.

Evgeny Bazarov - the main thing actor Turgenev's novel "Fathers and Sons". Bazarov's character is a young man, a convinced nihilist, contemptuous of art and respecting only natural sciences, a typical representative of the new

generation of thinking youth. The main plot of the novel is the conflict between fathers and children, the bourgeois lifestyle and the desire for change.

IN literary criticism Much attention is paid to the confrontation between Bazarov and Pavel Petrovich, the personality of Arkady Nikolaevich (Bazarov’s friend), but very little is said about the relationship of the protagonist with his parents. This approach is very unfounded, because without studying his relationship with his parents it is impossible to fully understand his character.

Bazarov's parents are simple, good-natured old men who love their son very much. Vasily Bazarov (father) is an old district doctor, leading the boring, colorless life of a poor landowner, who at one time spared nothing for the good upbringing of his son.

Arina Vlasyevna (mother) is a noblewoman who “should have been born in the era of Peter the Great,” a very kind and superstitious woman who knows how to do only one thing - cook excellent food. The image of Bazarov's parents, a kind of symbol of ossified conservatism, is contrasted with the main character - inquisitive, intelligent, sharp in his judgments. However, despite such different worldviews, Bazarov’s parents truly love their son; in the absence of Evgeny, all of them free time pass in thoughts about him.

Bazarov, on the other hand, treats his parents outwardly rather dryly; he certainly loves them, but is not used to open outpourings of feelings; he is burdened by constant obsessive attention. He cannot find either his father or his mother mutual language, he cannot even have discussions with them, like with Arkady’s family. This makes it hard for Bazarov, but he can’t help himself. under one roof, he agrees only on the condition that he will not be disturbed from studying natural sciences in his office. Bazarov’s parents understand this very well and try to please him in everything only child, but such an attitude, of course, is extremely difficult for them to tolerate.

Perhaps Bazarov's main trouble was that he was not understood by his parents, due to the big difference in intellectual development and level of education, and did not receive moral support from them, which is why he was such a harsh and emotionally cold person, which often pushed people away from him.

However, in parental home we are shown a different Evgeny Bazarov - softer, more understanding, full of tender feelings that he will never outwardly show due to internal barriers.

The characteristics of Bazarov’s parents baffle us: how could a person of such progressive views grow up in such a patriarchal environment? Turgenev once again shows us what a person can do on his own. However it also shows main mistake Bazarov is his alienation from his parents, because they loved their child for who he is, and suffered greatly from his attitude. Bazarov's parents survived their son, but with his death the meaning of their existence ended.

Youth is the time to acquire wisdom, old age is the time to apply it.
J.-J. Rousseau

Arkady Kirsanov, having spent a day at the Bazarovs' estate, asks his older teacher friend if he loves his parents, and receives a direct answer: “I love you, Arkady” (XXI). Bazarov is telling the truth. He feels sorry for his parents simply because “he never took an extra penny” (XXI). In terrible moments of his life, he thinks about them. So, before the duel with Pavel Petrovich, he sees his mother in a delirious dream, and before his death, understanding the state of his parents, he no longer hides his love for them. He constantly remembers his “old people”, for, driving around the *** province with Arkady, he always keeps in mind that his ultimate goal is summer trip- his parents’ estate, where - he knows for sure - they are impatiently waiting for him: “No, I need to go to my father. (...)he is thirty miles from ***. I haven’t seen him for a long time, and neither has my mother; we need to amuse the old people. I like them well, especially my father: he’s very funny. I’m the only one they have” (XI). However, Arkady did not ask his question by chance. Bazarov’s relationship with his parents, when viewed from the outside, seems cold, even hostile: there is too little tenderness in these relationships.

In literary analyzes of Fathers and Sons, the main character is usually reproached for neglect, and sometimes even contempt, for his parents. But how fair are these reproaches?

First reproach: Bazarov is in no hurry to go home, where, by the way, he hasn’t been for three years, but goes first to the Kirsanovs’ estate, then to provincial town, then to Odintsova’s estate. Having finally reached his parents' estate, he endures home only three days and leaves again. So Bazarov shows, to put it mildly, inattention to his elderly parents. But the same actions of the hero can be explained in another way. Poverty is the reason why the hero did not visit his parents for three years. It can be assumed that he simply did not have money for the long journey home or to summer holidays he earned (in the clinic, for example) funds for the next academic year- after all, he considers it unworthy to beg money from his parents.

Bazarov is a sociable, inquisitive and independent person by nature. Despite his poverty, he achieved respect among university students, as evidenced by his relationship with Arkady and reviews of Sitnikov (XII). Therefore, life in a secluded parental house seems boring to the young nihilist: here, except for Father Alexei, there is no one to talk to. And the anxious parental concerns about “feather feathers” and “beef” are difficult for his beloved Enyushenka. So he complains to Arkady: “It’s boring; I want to work, but I can’t do it here. (...) ...my father repeats to me: “My office is at your service - no one will disturb you”; and he himself is not a step away from me. Yes, and it’s a shame to somehow shut yourself out from him. Well, so does the mother. I hear her sigh behind the wall, and if you go out to her, there’s nothing to say to her” (XXI). Meanwhile, Bazarov will have a serious final exam at the university in a year, and he, unlike other heroes of the novel, intends not to rest, but to work hard all summer. Because of this, obviously, while still in St. Petersburg, he accepts the invitation of Arkady, his admirer and university friend, to stay in Maryino - this way Bazarov will ensure a calm, well-fed summer for himself and will not be a burden to his parents.

Second reproach: main character shows outright selfishness towards parents, not paying enough attention to them. However, we should not forget that the young nihilist comes to his parents immediately after a difficult explanation with Odintsova. Experiencing failure in love, he seeks solitude and some kind of distraction, so now he can’t bear to endure parental affection. He leaves for Maryino, where, as a guest, he has the right not to interfere in any “everyday squabbles” (XXII), and completely devotes himself to his work. Despite these considerations, the reproach of selfishness addressed to Bazarov is fair.

Which of the “children” in the novel behaves differently? In Odintsova’s house lives an old aunt, Princess X...ya, to whom “they did not pay attention, although they treated her respectfully” (XVI). Arkady, having returned with Bazarov to his father in Maryino, cannot forget the beautiful Odintsova: “...before he would have only shrugged his shoulders if someone had told him that he could get bored under the same roof with Bazarov, and under what other ! - under his parents’ roof, but he was definitely bored and wanted to get out” (XXII). The “rude son” Bazarov stayed with his parents for three days and became bored; the “tender son” Arkady, also yearning for love, stayed a little longer: “Ten days had not passed since his return to Maryino, when he again, under the pretext of studying the mechanism Sunday schools, rode to the city, and from there to Nikolskoye” (ibid.). And today’s worthy “fathers,” when solving their own everyday problems, treated their parents very carelessly. Nikolai Petrovich Kirsanov recalls: “Once I quarreled with my deceased mother: she screamed, did not want to listen to me... I finally told her that you, they say, cannot understand me; We supposedly belong to two different generations. She was terribly offended...” (XI). Of course, the similar behavior of other heroes of the novel does not justify Bazarov, but it shows that in relation to their “ancestors,” respectable “children” are not much different from a determined nihilist. And in modern literary analyzes it is customary to praise them and set them up as an example to the main character.

Third reproach: Bazarov shows disrespect for his parents, because he does not see them as individuals. Lying under a haystack on his father’s estate, Bazarov reasons: “... they, my parents, that is, are busy and don’t worry about their own insignificance, it doesn’t stink to them...” (XXI). The image of the “little man”, so variously presented in Russian literature, completely refutes such views of Bazarov. Pushkin in the story " Stationmaster", Gogol in the story "The Overcoat", Turgenev himself in the story " County doctor" etc. prove that " small man"only seems primitive, but if you look closely at him, he is a man with his own complex inner world, with deep feelings, high life principles.

Proving that his son’s opinion about the old Bazarovs is completely wrong, Turgenev cites facts that the nihilist knows, but for some reason does not consider significant. The younger Bazarov affectionately and ironically calls his father Vasily Ivanovich “a very funny old man” (XX), and meanwhile the elder Bazarov, being the son of a sexton, made it into the people thanks to his perseverance and abilities - he learned to be a doctor. The son himself admits that Vasily Ivanovich “was a strong Latinist in his time, and was awarded a silver medal for his composition” (XXI). The elder Bazarov has a completely heroic biography: he participated in Patriotic War 1812, “felt the pulse” of Field Marshal Wittgenstein, and the poet Zhukovsky, and the future Decembrists; for his services to the state (he actively fought the plague epidemic in Bessarabia) he received the Order of St. Vladimir (ibid.) and, consequently, the title of nobility for himself and future offspring. The younger Bazarov frivolously considers this achievement of his father to be a trifle, as if he does not understand that the rank of nobility greatly facilitates his own life in Russia.

In Arina Vlasyevna - his mother - Bazarov sees only a good housewife. She has read one book in her life - French sentimental novel“Alexis, or the Cabin in the Woods,” so the student son does not know what to talk about with this simple-minded old woman. But Arkady is right, personal experience I understood what it was like to live without maternal care and affection: “You don’t know your mother, Evgeny. She not only great woman, she’s very smart, really” (XXI). Bazarov has no idea that his busy mother is his father’s wise friend and comforter. When, after staying for three days, his son leaves, Vasily Ivanovich cries from resentment and loneliness, but Arina Vlasyevna finds words to support her husband in a desperate moment, although she is also bitter about her son’s neglect: “What to do, Vasya! The son is a cut off piece. (...) Only I will remain unchanged for you forever, just as you are for me” (ibid.).

Grandfather Vlasiy, a second major who participated in Suvorov’s Italian campaign, was not awarded Bazarov’s respect either. True, such disdain could appear in Bazarov, a democrat in spirit, in defiance of the noble admiration for a long pedigree. Only the second grandfather - Ivan Bazarov - escaped a critical showdown: in a dispute with Pavel Petrovich, the nihilist grandson proudly says about him: “My grandfather plowed the land” (X).

Fourth reproach: Bazarov is contemptuous and condescending towards the life principles of his parents, and these principles, by the way, stem from philosophy ancient Greek Epicurus (341-270 BC), originally developed in the poetry of the Roman poet Horace (65-8 BC). Horace in his poems presented the philosophy of the poor, but cultured person who seeks happiness in the “golden mean”, that is, in contentment with little, in mastery over passions, in calm and moderate enjoyment of the blessings of life. Moderation and peace, according to Horace, allow a person to maintain internal independence. It is easy to notice that the old Bazarovs live exactly like this: content with little and bowing to no one. Arina Vlasyevna takes care of her husband, takes care of food and order in her house, and Vasily Ivanovich treats peasants and cultivates his garden, enjoying nature and reflecting on life: “In this place I like to philosophize, looking at the setting of the sun: it befits a hermit . And there, further away, I planted several trees that Horace loved” (XX), he tells Arkady.

Difference life philosophy“fathers” and “children” is manifested in the attitude towards the world - contemplative-conciliatory in Horatianism, active-offensive in nihilism: “Yes,” Bazarov began, “man is a strange creature. When you look from the side and from a distance at the deaf life that the “fathers” lead here, it seems: what’s better? Eat, drink and know that you are acting in the most correct, most reasonable manner. But no: the melancholy will overcome. I want to mess with people, even scold them, and mess with them” (XXI).

The nihilist Bazarov is obviously more mature than his parents, thanks to his powerful intellect, intense inner life, but parents, according to Turgenev, are wiser than their son, since they know how to live in harmony with the world. In the famous dispute with Pavel Petrovich, Bazarov declares: “... then I will be ready to agree with you when you present me with at least one resolution in our modern life, in family or social life, that would not cause complete and merciless denial” (X) . And now life (and, according to Turgenev, it is richer and more varied than any theory) brings the young nihilist face to face with such a “decree.” Family and family life his own parents are worthy of respect and have the highest strength, so that even a terrible blow cannot destroy them - the death of their only son, the nihilist himself.

So, the relationships in the Bazarov family illustrate the conflict of successive generations, as eternal as the world. The old parents adore and are afraid of their highly learned and self-confident son. Before his arrival, Vasily Ivanovich even tore the order ribbon off his coat and sent away the boy who usually used a branch to ward off flies during lunch from the dining room. In the presence of their son, old people are embarrassed to say an awkward word (what if he doesn’t like it), to show their feelings (“... he doesn’t like this. He is the enemy of all outpourings” - XXI). Bazarov’s attitude towards his parents combines love and care (he doesn’t “extort” money from old people), alienation and hasty assessments.

Bazarov's dry and harsh attitude towards his parents may be a consequence of either an intolerant, selfish character, or youth. In the case of Bazarov, there is, rather, a second reason. After the self-confident nihilist said goodbye forever to his friend-student Arkady Kirsanov, caused trouble in Maryino (he wounded Pavel Petrovich in a duel), and most importantly, experienced true, but unrequited love, Bazarov came to his parents. Because there was nowhere else to go, and because here he was expected and loved, despite all his shortcomings and mistakes.

Now his attitude towards his parents becomes softer, and during a short fatal disease his restrained love for his father and mother is revealed. He does not complain of pain, so as not to frighten the old people, agrees to take communion for them, and asks Odintsova to console them after his death: “After all, people like them in (...) the big world cannot be found during the day” (XXVII ). At the end of the novel, the generational conflict in the Bazarov family is exhausted both in the moral and physical sense, and the last lines of the novel are perceived as a “hymn parental love"(Herzen), all-forgiving and unchanging.

TO negative characters The “undergrowth” includes Mrs. Prostakova, Taras Skotinin and Mitrofan Prostakov.

Prostakova is a noblewoman, the mother of Mitrofanushka and the sister of Taras Skotinin. Her surname indicates the heroine's lack of education and ignorance, as well as the fact that at the end of the play she gets into trouble.

This heroine is a cruel serfdom. She considers it completely normal to own human souls, mock the people under her control. What is worth the treatment of this heroine with the old nanny Eremeevna, who was devoted to Prostakov with all her soul.

The little girl's mother is extremely uneducated. She doesn't know the simplest things. But, worse than that, Prostakova believes that education is completely unnecessary, because something completely different helps you advance in life: money, connections. How can I not remember life principles Famusov and the entire Moscow society from A. S. Griboedov’s comedy “Woe from Wit.”

Prostakova is rude, ignorant, dishonest. But main feature in Prostakova’s character there is an insane, some kind of animal love for her son. She believes that everything that is beneficial for Mitrofan is good, and that everything that is unprofitable is bad. In this case, the way in which the benefit is achieved does not matter. This heroine can grab her brother’s neck, etc. We can say that her moral and ethical concepts are completely distorted, they simply do not exist. P.A. Vyazemsky wrote about Prostakova: “A mixture of arrogance and baseness, cowardice and malice, vile inhumanity towards everyone and tenderness, equally vile, towards his son, with all this ignorance from which ... all these properties flow ...”

It seems to me that D.I. Fonvizin sees two reasons for the heroine’s “evil character”. The first reason is Prostakova’s ignorance, not refined by her upbringing. The second is the decree of Catherine II “On the freedom of the nobles,” which the ignorant nobles understood as complete power over their serfs.

At the end of the play, Prostakova is defeated. She loses everything: power over the serfs, her estate, her son. Her defeat is the defeat of the entire previous system of education, the entire way of life of the nobles of the 18th century.

Prostakova's brother, Taras Skotinin, matches his sister. This is very ignorant and foolish man. The only interest in his life was the pigs, which he was breeding. For the sake of money, Skotinin wanted to marry Sophia, Starodum’s niece. Therefore, he competed with his nephew Mitrofan and constantly quarreled with Mrs. Prostakova: “When it comes to breaking, I’ll bend it, so you’ll crack.”

In my opinion, this hero is a “worthy” representative of his family: he has morally and ethically degraded, turned into an animal, as his last name indicates. The reason for Skotinin’s fall is ignorance and lack of proper upbringing. “If it weren’t for that Skotinin, he would want to learn something,” he declares.

Mrs. Prostakova’s son, Mitrofanushka, is the head of his family. They are trying to give him a good education, because in modern times there is nowhere without it. But the undergrowth has no desire to learn. He is such a “dark” person that it becomes both funny and bitter when you read his “exam” answers to teachers.

Mitrofan is rude and cruel. He does not value his father at all, mocks teachers and serfs. He takes advantage of the fact that his mother dotes on him and spins her around as she wants.

I believe that Mitrofan has stopped in his development. Sophia, Mrs. Prostakova’s pupil, says this about him: “Even though he is 16 years old, he has already reached the last degree of his perfection and will not go further.”

The undergrowth combines the traits of a tyrant and a slave. When Mrs. Prostakova's plan to marry her son to Sophia fails, Mitrofan behaves like a slave. He humbly asks for forgiveness and humbly accepts “his sentence” from Starodum - to go to serve. “For me, wherever they say,” he says, hanging his head. It seems to me that a slave upbringing was instilled in the hero and his serf nanny Eremeevna, and the whole world of the Prostakov-Skotinins, whose concepts of honor are completely distorted.

I think that through the image of Mitrofan, Fonvizin shows the degradation of the Russian nobility: from generation to generation, its ignorance increases, people are gradually turning into animals. No wonder Skotinin calls Mitrofan “damned pig.”

Thus, in Fonvizin’s comedy “The Minor” there are both features of comedy and features of tragedy. Through the funny, the playwright shows us vices noble society 18th century, all their terrible and destructive power, detrimentally affecting the development of society in general and individuals in particular.

The comedy by D. I. Fonvizin “The Minor” is a work of the 18th century. In it, the heroes are clearly divided into two groups: positive and negative. Here the funny and the sad, the comic and the tragic are combined and mixed. In negative characters, those traits that the author condemns are vivid: ignorance, rudeness, meanness, rudeness, dishonesty. The positive characters condemn these vices, expressing the thoughts of the writer himself. The negative characters in “The Minor” include Mrs. Prostakova, Taras Skotinin and Mitrofan Prostakov. Prostakova is a noblewoman, the mother of Mitrofanushka and the sister of Taras Skotinin. Her surname indicates the heroine's lack of education and ignorance, as well as the fact that at the end of the play she gets into trouble. This heroine is a cruel serfdom. She considers it completely normal to own human souls and mock the people under her control. Consider the treatment of this heroine with the old nanny Eremeevna, who was devoted to Prostakov with all her soul. The little girl’s mother is extremely uneducated. She doesn't know the simplest things. But, worse than that, Prostakova believes that education is completely unnecessary, because something completely different helps you advance in life: money, connections. How can one not recall the life principles of Famusov and the entire Moscow society from A. S. Griboedov’s comedy “Woe from Wit.” Prostakova is rude, ignorant, and dishonest. But the main feature in Prostakova’s character is an insane, some kind of animal love for her son. She believes that everything that is beneficial for Mitrofan is good, and that everything that is unprofitable is bad. In this case, the way in which the benefit is achieved does not matter. This heroine can grab her brother’s neck, etc. We can say that her moral and ethical concepts are completely distorted, they simply do not exist. P.A. Vyazemsky wrote about Prostakova: “A mixture of arrogance and baseness, cowardice and malice, vile inhumanity towards everyone and tenderness, equally vile, towards his son, with all this ignorance from which ... all these properties flow...” It seems to me that D.I. Fonvizin sees two reasons for the heroine’s “evil character”. The first reason is Prostakova’s ignorance, not refined by her upbringing. The second is the decree of Catherine II “On the freedom of the nobles,” which the ignorant nobles understood as complete power over their serfs. At the end of the play, Prostakova is defeated. She loses everything: power over the serfs, her estate, her son. Her defeat is the defeat of the entire previous system of education, the entire way of life of the nobles of the 18th century. Prostakova’s brother, Taras Skotinin, is a match for his sister. This is a very ignorant and stupid person. The only interest in his life was the pigs, which he was breeding. For the sake of money, Skotinin wanted to marry Sophia, Starodum’s niece. Therefore, he competed with his nephew Mitrofan and constantly quarreled with Mrs. Prostakova: “When things come to a breaking point, I’ll bend you and you’ll crack.” In my opinion, this hero is a “worthy” representative of his family: he has morally and morally degraded, turned into an animal, what does his last name say? The reason for Skotinin’s fall is ignorance and lack of proper upbringing. “If it weren’t for that Skotinin, he would want to learn something,” he declares. Mrs. Prostakova’s son, Mitrofanushka, is the head of his family. They are trying to give him a good education, because in modern times there is nowhere without it. But the undergrowth has no desire to learn. He is such a “dark” person that it becomes both funny and bitter when you read his “exam” answers to teachers. Mitrofan is rude and cruel. He does not value his father at all, mocks teachers and serfs. He takes advantage of the fact that his mother dotes on him and spins her around as she wants. I believe that Mitrofan has stopped in his development. Sophia, Mrs. Prostakova’s pupil, says this about him: “Even though he is 16 years old, he has already reached the last degree of his perfection and will not go further.” The underage combines the traits of a tyrant and a slave. When Mrs. Prostakova's plan to marry her son to Sophia fails, Mitrofan behaves like a slave. He humbly asks for forgiveness and humbly accepts “his sentence” from Starodum - to go to serve. “For me, wherever they say,” he says, hanging his head. It seems to me that a slave upbringing was instilled in the hero and his serf nanny Eremeevna, and the whole world of the Prostakov-Skotinins, whose concepts of honor are completely distorted. I think through the image of Mitrofan, Fonvizin shows the degradation of the Russian nobility: from generation to generation, its ignorance increases, people gradually turn into animals. No wonder Skotinin calls Mitrofan “damned pig.” Thus, in Fonvizin’s comedy “The Minor” there are both features of comedy and features of tragedy. Through the funny, the playwright shows us the vices of the noble society of the 18th century, all their terrible and destructive power, detrimentally affecting the development of society in general and individuals in particular.