Bazarov's disputes with Pavel Petrovich: who is right?
The novel "Fathers and Sons", according to the definition of the Russian writer Vladimir Nabokov, is "not only best novel Turgenev, but also one of the most brilliant works of the XIX century."
The central place here is occupied by long disputes between the young raznochinsky nihilist Yevgeny Bazarov and the aging aristocrat Pavel Petrovich Kirsanov. These characters differ from each other in everything: age, social status, beliefs, appearance. Here is a portrait of Bazarov: “tall in a long robe with tassels,” his face “long and thin with a wide forehead, a flat upward, pointed nose downward, large greenish eyes and hanging sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence”; the hero has thin lips, and “his dark-blond hair, long and thick, did not hide the large bulges of his spacious skull.” And here is a portrait of Bazarov's main opponent: "... a man of average height, dressed in a dark English suit, a fashionable low tie and patent leather ankle boots, Pavel Petrovich Kirsanov, entered the living room. He looked about forty-five years old; his short hair White 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, showed traces of remarkable beauty; The light, black, oblong eyes were especially beautiful. The whole appearance... graceful and thoroughbred, retained youthful harmony and that desire upward, away from the earth, which for the most part disappears after the twenties."
Pavel Petrovich is twenty years older than Bazarov, but, perhaps, even in to a greater extent, than he, retains signs of youth in his appearance. The elder Kirsanov is a man who is extremely concerned about his appearance in order to look as young as possible for his age. So befits a socialite, an old heartthrob. Bazarov, on the contrary, appearance doesn't care at all. In the portrait of Pavel Petrovich, the writer highlights the correct features and strict order, the sophistication of the costume and the desire for light, unearthly materials. This hero will defend order in the dispute against Bazarov’s transformative pathos. And everything in his appearance indicates adherence to the norm. Even Pavel Petrovich’s height is average, so to speak, normal, while Bazarov’s tall height symbolizes his superiority over those around him. And Evgeniy’s facial features are distinctly irregular, his hair is unkempt, instead of Pavel Petrovich’s expensive English suit, he has some kind of strange robe, his hand is red, rough, while Kirsanov’s - beautiful hand"with long pink nails." But broad forehead and Bazarov’s convex skull betray his intelligence and self-confidence. But Pavel Petrovich has a bilious face, and increased attention to the toilet reveals in him a carefully hidden lack of confidence in his own abilities.
We can say that this is Pushkin’s Onegin, twenty years older, living in a different era, in which there will soon be no place for this type of people. What position does Bazarov defend in the dispute? He claims that “nature is not a temple, but a workshop, and man is a worker in it.” Evgeniy is deeply convinced that achievements modern natural science in the future they will solve all the problems public life. He denies beauty - art, poetry - in love he sees only the physiological, but does not see the spiritual principle. Bazarov “approaches everything from a critical point of view”, “does not accept a single principle on faith, no matter how much respect this principle is surrounded.” Pavel Petrovich proclaims that “aristocratism is a principle, and in our time only immoral or empty people can live without principles.”
However, the impression of an inspired ode to principles is noticeably weakened by the fact that Bazarov’s opponent puts in first place the “principle” of aristocracy that is closest to himself. Pavel Petrovich, brought up in a comfortable estate existence and accustomed to the St. Petersburg secular society It is no coincidence that he puts poetry, music, and love in first place. He had never done anything in his life practical activities, except for a short and easy service in the guards regiment, he was never interested in the natural sciences and understood little about them.
Bazarov, the son of a poor military doctor, accustomed from childhood to work and not to idleness, graduated from university, interested in natural sciences, experimental knowledge, very little in his short life dealt with poetry or music, maybe didn’t really read Pushkin. Hence the harsh and unfair judgment of Evgeniy Vasilyevich about the great Russian poet: “... He must be in military service served... on every page: To the battle, to the battle! for the honor of Russia!”, by the way, almost verbatim repeating the opinion about Pushkin expressed in a conversation with Turgenev by the raznochinsky writer N.V. Uspensky (the author of “Fathers and Sons” called him a “hater of men”).
Apr 15 2016
Bazarov's disputes with Pavel Petrovich: who is right? (I. S. Turgenev “Fathers and Sons”) The novel “Fathers and Sons,” according to the definition of the Russian writer Vladimir Nabokov, is “not only Turgenev’s best novel, but also one of the most brilliant works of the 19th century.” The central place here is occupied by long disputes between the young raznochinsky nihilist Yevgeny Bazarov and the aging aristocrat Pavel Petrovich Kirsanov. ‘ ‘ These heroes differ from each other in everything: age, social status, beliefs, appearance.
Here is a portrait of Bazarov: “tall in a long robe with tassels,” his face “long and thin with a wide forehead, a flat upward, pointed downward nose, large greenish eyes and hanging sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence”; he had thin lips, and “his dark blond hair, long and thick, did not hide the large bulges of his spacious skull.” And here is a portrait of Bazarov’s main opponent: “... Pavel Petrovich Kirsanov entered the living room of average height, dressed in a dark English suit, a fashionable low tie and patent leather ankle boots. He 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, showed traces of remarkable beauty; The light, black, oblong eyes were especially beautiful. The whole look...
graceful and thoroughbred, he retained his youthful slenderness and that desire upward, away from the earth, which for the most part disappears after the twenties.” Pavel Petrovich is twenty years older than Bazarov, but, perhaps even more than he, retains the signs of youth in his appearance. The elder Kirsanov is a man who is extremely concerned about his appearance in order to look as young as possible for his age. So befits a socialite, an old heartthrob.
Bazarov, on the contrary, does not care at all about appearance. In the portrait of Pavel Petrovich, he highlights the correct features and strict order, the sophistication of the costume and the desire for light, unearthly materials. This hero will defend order in the dispute against Bazarov’s transformative pathos. And everything in his appearance indicates adherence to the norm.
Even Pavel Petrovich’s height is average, so to speak, normal, while Bazarov’s tall height symbolizes his superiority over those around him. And Evgeniy’s facial features are not emphasized. regular, unkempt hair, instead of Pavel Petrovich’s expensive English suit, he has some kind of strange robe, his hand is red, rough, while Kirsanov has a beautiful hand “with long pink nails.” But Bazarov’s wide forehead and convex skull reveal his intelligence and self-confidence. But Pavel Petrovich has a bilious face, and increased attention to the toilet reveals in him a carefully hidden lack of confidence in his own abilities.
We can say that he has aged twenty years. Kin's Onegin, living in a different era, in which there will soon be no place for this type of people. What position does Bazarov defend in the dispute? He claims that “nature is not a temple, but a workshop, and man is a worker in it.” Evgeniy is deeply convinced that the achievements of modern natural science will in the future make it possible to solve all the problems of social life. Beautiful art, he denies poetry, in love he sees only the physiological, but does not see the spiritual principle.
Bazarov “treats everything from a critical point of view”, “does not accept a single principle on faith, no matter how much respect this principle is surrounded.” Pavel Petrovich proclaims that “aristocratism is a principle, and in our time only immoral or empty people can live without principles.” However, the impression of an inspired ode to principles is noticeably weakened by the fact that Bazarov’s opponent puts in first place the “principle” of aristocracy that is closest to himself. It is no coincidence that Pavel Petrovich, brought up in an atmosphere of comfortable estate existence and accustomed to the St. Petersburg secular society, puts poetry, music, and love in first place.
He had never been involved in any practical activity in his life, with the exception of a short and easy service in the guards regiment, he was never interested in the natural sciences and understood little about them. Bazarov, the son of a poor military doctor, accustomed from childhood to work and not to idleness, graduated from university, interested in natural sciences, experimental knowledge, had very little to do with poetry or music in his short life, maybe even Pushkin really do not read. Hence Evgeniy Vasilyevich’s harsh and unfair judgment about the great Russian poet: “... He must have served in military service... on every page he has: To the battle, to the battle! for the honor of Russia!
“, by the way, almost verbatim repeating the opinion about Pushkin expressed in a conversation with Turgenev by the raznochinsky writer N.V. Uspensky (“Fathers and Sons” called him “a man-hater”). Bazarov does not have as much experience in love as Pavel Petrovich, and therefore is inclined to treat this feeling too simplistically. The elder Kirsanov had already experienced love suffering; it was an unsuccessful romance with Princess R. that prompted him to long years settled in the village with his brother, and the death of his beloved aggravated his state of mind. Bazarov's love pangs and equally unsuccessful romance with Anna Sergeevna Odintsova are still ahead. That's why at the beginning of the novel he is so
Need a cheat sheet? Then save - "Bazarov's disputes with Pavel Petrovich: who is right? (Novel by I. S. Turgenev “Fathers and Sons”). Literary works!“Fathers and Sons,” according to the Russian writer Vladimir Nabokov, is “not only Turgenev’s best novel, but also one of the most brilliant works of the 19th century.” The central place here is occupied by long disputes between the young raznochinsky nihilist Yevgeny Bazarov and the aging aristocrat Pavel Petrovich Kirsanov. " "
These heroes differ from each other in everything: age, social status, beliefs, appearance. Here is a portrait of Bazarov: “tall in a long robe with tassels,” his face “long and thin with a wide forehead, a flat upward, pointed nose downward, large greenish eyes and hanging sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence”; the hero has thin lips, and “his dark-blond hair, long and thick, did not hide the large bulges of his spacious skull.” And here is a portrait of Bazarov’s main opponent: “...a man of average height, dressed in a dark English suit, a fashionable low tie and patent leather ankle boots, Kirsanov, entered the living room. He 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, showed traces of remarkable beauty; The light, black, oblong eyes were especially beautiful. The whole appearance... graceful and thoroughbred, retained youthful harmony and that desire upward, away from the earth, which for the most part disappears after the twenties.”
Pavel Petrovich is twenty years older than Bazarov, but, perhaps even more than he, retains the signs of youth in his appearance. The elder Kirsanov is a man who is extremely concerned about his appearance in order to look as young as possible for his age. So befits a socialite, an old heartthrob. Bazarov, on the contrary, does not care at all about appearance. In the portrait of Pavel Petrovich, the writer highlights the correct features
And strict order, sophistication of the costume and a desire for light, unearthly materials. This hero will defend order in the dispute against Bazarov’s transformative pathos. And everything in his appearance indicates adherence to the norm. Even Pavel Petrovich’s height is average, so to speak, normal, while Bazarov’s tall height symbolizes his superiority over those around him. And Evgeniy’s facial features are emphatically not - . regular, unkempt hair, instead of Pavel Petrovich’s expensive English suit, he has some kind of strange robe, his hand is red, rough, while Kirsanov has a beautiful hand “with long pink nails.” But Bazarov’s wide forehead and convex skull reveal his intelligence and self-confidence. But Pavel Petrovich has a bilious face, and increased attention to the toilet reveals in him a carefully hidden lack of confidence in his own abilities. We can say that this is Pushkin’s Onegin, twenty years older, living in a different era, in which there will soon be no place for this type of people
What position does Bazarov defend in the dispute? He claims that “nature is not a temple, but a workshop, and man is a worker in it.” Evgeniy is deeply convinced that the achievements of modern natural science will in the future make it possible to solve all the problems of social life. He denies beauty - art, poetry - in love he sees only the physiological, but does not see the spiritual principle. Bazarov “approaches everything from a critical point of view”, “does not accept a single principle on faith, no matter how much respect this principle is surrounded.” Pavel Petrovich proclaims that “aristocratism is a principle, and in our time only immoral or empty people can live without principles.” However, the impression of an inspired ode to principles is noticeably weakened by the fact that Bazarov’s opponent puts in first place the “principle” of aristocracy that is closest to himself. It is no coincidence that Pavel Petrovich, brought up in an atmosphere of comfortable estate existence and accustomed to the St. Petersburg secular society, puts poetry, music, and love in first place. He had never been involved in any practical activity in his life, with the exception of a short and easy service in the guards regiment, he was never interested in the natural sciences and understood little about them. Bazarov, the son of a poor military doctor, accustomed from childhood to work and not to idleness, graduated from university, interested in natural sciences, experimental knowledge, had very little to do with poetry or music in his short life, maybe even Pushkin really do not read. Hence Evgeniy Vasilyevich’s harsh and unfair judgment about the great Russian poet: “...He must have served in military service... on every page he has: To the battle, to the battle! for the honor of Russia!”, by the way, almost verbatim repeating the opinion about Pushkin expressed in a conversation with Turgenev by the raznochinsky writer N.V. Uspensky (the author of “Fathers and Sons” called him “a man-hater”).
Bazarov does not have as much experience in love as Pavel Petrovich, and therefore is inclined to treat this feeling too simplistically. The elder Kirsanov had already experienced love suffering; it was an unsuccessful romance with Princess R. that prompted him to settle in the village with his brother for many years, and the death of his beloved further aggravated his state of mind. Bazarov's love pangs - an equally unsuccessful romance with Anna Sergeevna Odintsova is yet to come. That is why, at the beginning of the novel, he so confidently reduces love to certain physiological relationships, and calls the spiritual in love “romantic nonsense.”
Bazarov is a realist, and Pavel Petrovich is a romantic, focused on the cultural values of romanticism of the first thirds of the XIX century, on the cult of beauty. And he, of course, is offended by Bazarov’s statements about the fact that “a decent chemist is twenty times more useful than any poet” or that “Raphael is not worth a penny.” Here Turgenev certainly disagrees with Bazarov’s point of view. However, he does not give victory on this point of the dispute to Pavel Petrovich. The trouble is that the refined Anglomaniac aristocrat does not have not only Raphael’s abilities, but no creative abilities at all. His discussions about art and poetry, as well as about society, are empty and trivial, often comical. Pavel Petrovich cannot possibly be a worthy opponent for Bazarov. And when they part, the eldest of the Kirsanov brothers “was dead,” of course, in a figurative sense. Disputes with a nihilist at least somehow justified the meaning of his existence, introduced a certain “fermentation”, awakened thoughts. Now Pavel Petrovich is doomed to a stagnant existence. This is how we see him abroad at the end of the novel.
Bazarov’s victory over the aristocrat Kirsanov fully corresponded to Turgenev’s plan. In 1862, in one of his letters regarding Fathers and Sons, Ivan Sergeevich especially emphasized that “my whole story is directed against the nobility, as the advanced class... Aesthetic sense forced me to take precisely good representatives of the nobility in order to prove my theme all the more accurately: if cream is bad, what about milk? - I am guilty and did not achieve my goal. But I didn’t want to “become scattered,” to use his words, although through this I would probably immediately have young people on my side. I didn’t want to buy into popularity with this kind of concession. It's better to lose a battle... than to win it with a trick. I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, evil, honest - and yet doomed to death - because
The novel “Fathers and Sons,” according to the Russian writer Vladimir Nabokov, is “not only Turgenev’s best novel, but also one of the most brilliant works of the 19th century.” The central place here is occupied by long disputes between the young raznochinsky nihilist Yevgeny Bazarov and the aging aristocrat Pavel Petrovich Kirsanov.
These heroes differ from each other in everything: age, social status, beliefs, appearance. Here is a portrait of Bazarov: “tall in a long robe with tassels,” his face “long and thin with a wide forehead, a flat upward, pointed downward nose, large greenish eyes and hanging sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence”; the hero has thin lips, and “his dark-blond hair, long and thick, did not hide the large bulges of his spacious skull.” And here is a portrait of Bazarov’s main opponent: “...a man of average height, dressed in a dark English suit, a fashionable low tie and patent leather ankle boots, Pavel Petrovich Kirsanov, entered the living room. He 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, showed traces of remarkable beauty; The light, black, oblong eyes were especially beautiful. The whole appearance... graceful and thoroughbred, retained youthful harmony and that desire upward, away from the earth, which for the most part disappears after the twenties.”
Pavel Petrovich is twenty years older than Bazarov, but, perhaps even more than he, retains the signs of youth in his appearance. The elder Kirsanov is a man who is extremely concerned about his appearance in order to look as young as possible for his age. So befits a socialite, an old heartthrob. Bazarov, on the contrary, does not care at all about appearance. In the portrait of Pavel Petrovich, the writer highlights the correct features and strict order, the sophistication of the costume and the desire for light, unearthly materials. This hero will defend order in the dispute against Bazarov’s transformative pathos. And everything in his appearance indicates adherence to the norm. Even Pavel Petrovich’s height is average, so to speak, normal, while Bazarov’s tall height symbolizes his superiority over those around him. And Evgeniy’s facial features are distinctly irregular, his hair is unkempt, instead of Pavel Petrovich’s expensive English suit, he has some kind of strange robe, his hand is red, rough, while Kirsanov has a beautiful hand “with long pink nails.” But Bazarov’s wide forehead and convex skull reveal his intelligence and self-confidence. And Pavel Petrovich has a bilious face, and increased attention to the toilet reveals in him a carefully hidden lack of confidence in his own abilities. We can say that this is Pushkin’s Onegin, twenty years older, living in a different era, in which this type of people will soon have no place.
What position does Bazarov defend in the dispute? He claims that “nature is not a temple, but a workshop, and man is a worker in it.” Evgeniy is deeply convinced that the achievements of modern natural science will in the future make it possible to solve all the problems of social life. He denies beauty - art, poetry - in love he sees only the physiological, but does not see the spiritual principle. Bazarov “treats everything from a critical point of view”, “does not accept a single principle on faith, no matter how much respect this principle is surrounded.” Pavel Petrovich proclaims that “aristocratism is a principle, and in our time only immoral or empty people can live without principles.” However, the impression of an inspired ode to principles is noticeably weakened by the fact that Bazarov’s opponent puts in first place the “principle” of aristocracy that is closest to himself. It is no coincidence that Pavel Petrovich, brought up in an atmosphere of comfortable estate existence and accustomed to the St. Petersburg secular society, puts poetry, music, and love in first place. He had never been involved in any practical activity in his life, with the exception of a short and easy service in the guards regiment, was never interested in the natural sciences and had little in the way of
understood them. Bazarov, the son of a poor military doctor, accustomed from childhood to work and not to idleness, graduated from university, interested in natural sciences, experimental knowledge, had very little to do with poetry or music in his short life, maybe even Pushkin really do not read. Hence Evgeniy Vasilyevich’s harsh and unfair judgment about the great Russian poet: “... He must have served in military service... on every page he has: To the battle, to the battle! for the honor of Russia!”, by the way, almost verbatim repeating the opinion about Pushkin expressed in a conversation with Turgenev by the raznochinsky writer N.V. Uspensky (the author of “Fathers and Sons” called him “a man-hater”).
Bazarov does not have as much experience in love as Pavel Petrovich, and therefore is inclined to treat this feeling too simplistically. The elder Kirsanov had already experienced love suffering; it was an unsuccessful romance with Princess R. that prompted him to settle in the village with his brother for many years, and the death of his beloved further aggravated his state of mind. Bazarov's love pangs - an equally unsuccessful romance with Anna Sergeevna Odintsova is yet to come. That is why, at the beginning of the novel, he so confidently reduces love to certain physiological relationships, and calls the spiritual in love “romantic nonsense.”
Bazarov is a realist, and Pavel Petrovich is a romantic, focused on the cultural values of romanticism of the first third of the 19th century, on the cult of beauty. And he, of course, is offended by Bazarov’s statements about the fact that “a decent chemist is twenty times more useful than any poet” or that “Raphael is not worth a penny.” Here Turgenev certainly disagrees with Bazarov’s point of view. However, he does not give victory on this point of the dispute to Pavel Petrovich. The trouble is that the refined Anglomaniac aristocrat does not have not only Raphael’s abilities, but no creative abilities at all. His discussions about art and poetry, as well as about society, are empty and trivial, often comical. Pavel Petrovich cannot possibly be a worthy opponent for Bazarov. And when they part, the eldest of the Kirsanov brothers “was a dead man,” of course, in a figurative sense. Disputes with a nihilist at least somehow justified the meaning of his existence, introduced a certain “fermentation”, awakened thoughts. Now Pavel Petrovich is doomed to a stagnant existence. This is how we see him abroad at the end of the novel.
Bazarov’s victory over the aristocrat Kirsanov fully corresponded to Turgenev’s plan. In 1862, in one of his letters regarding “Fathers and Sons,” Ivan Sergeevich especially emphasized that “my entire story is directed against the nobility, as an advanced class... An aesthetic feeling forced me to take precisely good representatives of the nobility in order to prove my theme all the more accurately: if cream is bad, what about milk?.. if the reader does not fall in love with Bazarov with all his rudeness, heartlessness, ruthless dryness and harshness - if he does not fall in love, I repeat, - I am guilty and have not achieved my goal. But I didn’t want to “become scattered,” to use his words, although through this I would probably immediately have young people on my side. I didn’t want to buy into popularity with this kind of concession. It's better to lose a battle... than to win it with a trick. I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, evil, honest and yet doomed to death - because she still stands on the threshold of the future...” Turgenev himself was a representative of the same generation, like Pavel Petrovich, but of the heroes of his novel he felt the greatest sympathy for the young nihilist Bazarov. In 1869, in a special article dedicated to “Fathers and Sons,” the writer directly stated: “I honestly, and not only without prejudice, but even with sympathy, reacted to the type I had drawn... When drawing the figure of Bazarov, I excluded from the circle of his sympathies all artistic, I gave it a harsh and unceremonious tone - not out of an absurd desire to offend the younger generation (!!!)... “This life turned out this way,” experience again told me, “perhaps erroneous, but, I repeat, conscientious... My personal inclinations mean nothing here; but, probably, many of my readers will be surprised if I tell them that, with the exception of Bazarov’s views on art, I share almost all of his beliefs. And they assure me that I am on the side of the “Fathers”... I, who in the figure of Pavel Kirsanov even sinned against artistic truth and overdid it, brought his shortcomings to the point of caricature, made him funny!” Turgenev was honest as an artist to the same extent that he was honest as a person, a character created by his imagination. The writer did not want to idealize Bazarov and endowed his hero with all those shortcomings that his prototypes from the radical heterodox youth possessed in abundance. However, Turgenev did not deprive Eugene of his Russian roots, emphasizing that half the hero grows from Russian soil, the fundamental conditions of Russian life, and half is formed under the influence of new ideas brought from Europe. And in a dispute with Pavel Petrovich, Bazarov, according to the conviction of the writer, and any thoughtful reader, is right in his main positions: the need to question established dogmas, to work tirelessly for the good of society, to be critical of surrounding reality. Where Bazarov is wrong, in utilitarian views on the nature of beauty, on literature, on art, victory still does not remain on the side of Pavel Petrovich.