Marina VOZNESENSKAYA,
10th grade,
school at the Russian Embassy
in the Republic of Cyprus
(literature teacher -
Evgeniy Vasilyevich Vasilenko)

Bazarov's philosophical views and their test by life

Turgenev in the novel “Fathers and Sons” wanted to understand and show the image of the new man of his time.

Bazarov, the main character of the novel, is a nihilist. He resolutely and mercilessly denies everything: the social order, idle talk, love of the people, as well as art and love. The subject of his “worship” is practical benefit.

Bazarov differs from the Kirsanovs in his energy, masculinity, strength of character and independence. Turgenev wrote: “I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, evil, honest - and yet doomed to destruction, because it still stands on the threshold of the future, I dreamed of some kind of strange pendant with Pugachev.”

It should be noted that the novel does not show Bazarov's childhood. But it is known that a person’s character is formed in the first years of his life. Maybe Turgenev had no idea how such characters were formed? Bazarov is interested in natural sciences. Every day is filled with work and new searches. “Bazarov got up very early and went two or three miles away, not to walk - he couldn’t stand walks without a purpose - but to collect herbs.” He admitted to Arkady that his passion for work made him a man. “You only need to achieve your goal with your own work.” Accustomed to relying only on his own mind and energy, Bazarov developed a calm self-confidence. He is not at all concerned about what others think of him: “A real person should not care about this; real person one about whom there is nothing to think, but whom one must obey or hate.”

He reduces the relationship between a man and a woman to physiology, art to “the art of making money, or no more hemorrhoids,” that is, the whole world of beauty is completely alien to him, which he calls “romanticism, nonsense, rot, art.”

His philosophy of existence originates from a similar attitude to life and consists in the complete denial of all the foundations of society, all beliefs, ideals and norms of human life. “A nihilist is a person who does not bow to any authorities, who does not accept a single principle on faith, no matter how respected this principle may be,” says Arkady in the novel, apparently in the words of his teacher (Bazarov). But denying everything is also a principle.

In the dispute with Pavel Petrovich, Bazarov’s views are even more clearly expressed. All of Pavel Petrovich’s principles boil down to preserving the old order in Russia. Bazarov seeks to destroy this order. “There is not a single civil resolution in Russia that does not deserve criticism,” he believes. However, Bazarov is not shown in any way in public activities, and we do not know whether he has real plans to put his views into practice.

When the dispute touches on the question of attitude towards the people, Pavel Petrovich says that the Russian people are “patriarchal”, “sacredly honor traditions” and “cannot live without faith” and that therefore the nihilists do not express their needs and are completely alien to them. Bazarov agrees with the statement about patriarchy, but for him this is only evidence of the backwardness of the people (“The people believe that when thunder roars, it is Elijah the prophet who rides across the sky in a chariot”), its failure as a social force (“... freedom itself , which the government is busy with, is unlikely to be of any use to us, because our peasant is happy to rob himself just to get drunk on dope in a tavern.” Bazarov considers himself closer to the people than Pavel Kirsanov: “My grandfather plowed the land. Ask any of your own peasants which of us - you or me - he would rather recognize as a compatriot,” although this does not prevent him from despising the people, “if they deserve contempt.”

Bazarov does not recognize the spiritual principle either in nature (“Nature is not a temple, but a workshop, and man is a worker in it”), or in man. He treats a person as a biological organism: “All people are similar to each other, both in body and soul... One human specimen is enough to judge all the others. People are like trees in a forest, not a single botanist will study each individual birch tree.”

After Bazarov has presented his views quite thoroughly, testing them with life begins.

When friends arrive in the city, they encounter Kukshina and Sitnikov, who clearly appear as caricatures of Bazarov, nihilists. Bazarov treats them ironically, but nevertheless is forced to endure them so as not to lose his supporters. The words of Pavel Petrovich are very suitable for them: “Before, young people had to study; I didn’t want to be branded as ignorant, so they toiled unwillingly. And now they should say: everything in the world is nonsense! - and the trick is in the bag. And in fact, before they were just idiots, but now they suddenly became nihilists.”

It becomes clear that the nihilist Bazarov is alone in the public arena, although he himself asserted: “There are not as few of us as you think.”

Next in the novel comes the most, in my opinion, important test of the hero: Bazarov suddenly finds himself under the power of a “natural element,” which is called love. The nihilist claims that romanticism is nonsense, nonsense, and he himself is tested by the feeling of love and turns out to be powerless before this feeling. Turgenev is convinced that nihilism is doomed to destruction, if only because it is powerless in the face of the nature of human feelings. According to the precise remark of G.B. Kurlyandskaya, “Turgenev deliberately presented Bazarov as a deeply emotional person, carrying the fullness of sensations, in order to put her in clear contradiction with false beliefs that eliminate romance and poetry from life.”

At the beginning of the novel, Bazarov laughs at Pavel Petrovich, who was touched by the “mysterious look” of Princess R.: “And what is this mysterious relationship between a man and a woman? We physiologists know what this relationship is. Just study the anatomy of the eye: where does that mysterious look come from, as you say?” But a month later he already says to Madame Odintsova: “Maybe you’re right; Maybe, for sure, every person is a mystery. Yes, although you, for example...”

Life turns out to be much more complicated than Bazarov’s constructions. He sees that his feelings are not limited to “physiology,” and with anger he finds in himself that very “romanticism” that he so ridiculed in others, calling him “foolishness” and weakness.

Unrequited love leaves its mark on Bazarov: he falls into depression, cannot find a place for himself anywhere, reconsiders his views and finally realizes the hopelessness of his position in the world.

“Here I am lying here under a haystack... the narrow place that I occupy is so tiny in comparison with the rest of the space where I am not and where no one cares about me; and the part of time that I manage to live is so insignificant before eternity, where I am not and will not be... And in this atom, at this mathematical point, the blood circulates, the brain works, it wants something too. What a disgrace! What nonsense!”

Further, one can trace a certain vicious circle in Bazarov’s thoughts: “...you said today, passing by the hut of our elder Philip, - it is so nice, white, so, you said, Russia will then reach perfection when the last man has the same room , and each of us should contribute to this... And I hated this last guy, for whom I have to bend over backwards and who won’t even say thank you to me... and why should I thank him? Well, he will live in a white hut, and a burdock will grow out of me; Well, what next?” This means, from Bazarov’s point of view, his theory becomes meaningless, since Russia will not achieve perfection if he and everyone are not going to do something for its good. “To understand the tragedy of Bazarov, you need to remember that he is a maximalist, that he would be satisfied with the resolution of human issues<...>immediately and completely. Immediately and completely - this means nowhere and never” (Yu. Mann).

Even in his last conversation with Pavel Petrovich, Bazarov abandons his previous view of the people and admits that it is difficult to understand him: “The Russian peasant is that same mysterious stranger about whom Mrs. Radcliffe once talked so much. Who will understand him? He doesn’t understand himself.” And we see that he still remains alien to the people: “Alas! Shrugging his shoulder contemptuously, knowing how to talk to the peasants, Bazarov (as he boasted in a dispute with Pavel Petrovich), this self-confident Bazarov did not even suspect that in their eyes he was still something of a fool...” Left without supporters, Having broken up with Arkady without regret (“You are a nice fellow, but you are still a soft, liberal gentleman”), having received the refusal of his beloved woman and having lost faith in the correctness of his worldview, tested by life, Bazarov ceases to value his life. Therefore, his death can be regarded not only as an accident or suicide, but also as a logical consequence of his spiritual crisis.

Twenty-seventh of December.

Composition.

Bazarov – “ new person».

(based on the novel by I. S. Turgenev “Fathers and Sons”).

I. S. Turgenev’s novel “Fathers and Sons” was created at a time when the question of the abolition of serfdom was raised, when there were contradictions between liberals and democrats. Just at this time - time political reforms and social upheavals, a new bourgeois-capitalist layer is emerging in Russia, and the ideology of nihilism is spreading among student youth. The novel reflected the struggle of two socio-political camps that had developed in Russia by the 60s of the 19th century. The writer showed a typical conflict of the era and set a series current problems, in particular, the question of the character and role of the “new man” - a figure during the revolutionary situation of the 60s.

Evgeniy became the spokesman for the ideas of revolutionary democracy Bazarov is a hero, which is contrasted in the novel with the liberal nobility. He is the main and only exponent of democratic ideology. Bazarov is a new person, a representative of those young leaders who “want to fight,” “nihilists.” He's for new life and remains true to his convictions to the end.

Turgenev wrote: “The main figure, Bazarov, was based on one personality of a young provincial doctor that struck me. In this wonderful person that barely born, still fermenting principle, which later received the name of nihilism, was embodied. The impression this personality made on me was very strong and at the same time not entirely clear.” And in Turgenev’s new novel, the main character was a representative of those “new people”. Turgenev’s attitude towards the “new man” was, in his own words, not entirely clear: Bazarov was his “enemy”, to whom he felt an “involuntary attraction”. Explaining his work, Turgenev wrote: “My whole story is directed against the nobility as an advanced class.” "This is the triumph of democracy over aristocracy."

Bazarov is shown by Turgenev as a supporter of the most “complete and merciless denial.” Bazarov denies everything - and first of all autocracy, serfdom and religion. Everything that is generated by the ugly state of society. Turgenev said about Bazarov: “He is honest, truthful and a democrat to the core... if he is called a nihilist, then it should be read: revolutionary”

How Bazarov is depicted - the “new man”. A man of the people, the grandson of a sexton who plowed the land, the son of a poor man district doctor, a student, Bazarov “possessed a special ability to arouse confidence in himself in lower people, although he never indulged them and treated them carelessly.”

Bazarov's democracy is clearly reflected in his speech, activities, character traits and worldview. Turgenev painted a memorable portrait of the commoner Bazarov: his face, “long and thin, with a wide forehead,... large greenish eyes and hanging sand-colored sideburns... was enlivened by a calm smile and expressed self-confidence and intelligence.” His gait is “firm and swiftly bold,” his long and thick dark-blond hair “did not hide the large bulges of his spacious skull.” He dresses simply and, unlike the aristocrat Pavel Petrovich, who “fiddled a lot with the toilet,” is pointedly careless about his “clothes.” He comes to the village to the Kirsanovs “in a long robe with tassels”; greeting Arkady’s father, he extends to him a “naked red hand,” which apparently has never seen gloves.

Bazarov speaks clearly and simply: “Evgeny Vasiliev,” he greets Arkady’s father; expresses his thoughts with stern and courageous directness, without any evasiveness, without forcing himself into feigned politeness. This is clearly evident from the assessments that he gives to the people of the hostile camp, the “feudal lords”: Pavel Petrovich is a dandy, an “archaic phenomenon”, an “idiot”; Nikolai Petrovich is a “good man”, but “his song is sung”; He says to Arkady: “You gentle soul, weakling..."; “...you haven’t even reached us yet...”

His interests are generally similar to the interests of the enlightened youth of that time: he is interested in natural sciences, reads the works of German “vulgar materialists” - keeps up with the times. Bazarov is a nihilist, that is, a person who does not take anything for granted and rejects authorities and principles. He denies Pushkin, and unfoundedly. In particular, he gets it from the romantic worldview: “nonsense, rottenness, artistry,” “just study the anatomy of the eye: where does this ... mysterious look come from?” According to Bazarov, all human troubles occur due to the unjust structure of society, and he completely denied the role of personality and individual psychology, believing that one human specimen is enough to judge everyone.

Bazarov went through a harsh, difficult school of life, which strengthened him. Bazarov graduated from the university, but he did not take “an extra penny” from his parents for his education. Bazarov owes his knowledge, and he has very extensive knowledge, to himself. That is why he proudly declares: “Every person must educate himself, well, at least like me, for example...”

Bazarov does not pursue comfort or material wealth: “You and him... don’t stand on ceremony. He’s a wonderful guy, so simple...”, says Arkady about him.

Bazarov is the enemy of abstract science, divorced from life. He is for science that would be understandable to the people. Bazarov is a worker of science, he is tireless in his experiments, completely absorbed in his favorite profession. Labor, constant activity is his “element”. Having arrived on vacation at the Kirsanov estate, he immediately gets to work: collecting herbariums, doing physical and chemical experiments. Bazarov treats those who live without doing anything with undisguised contempt.

The plot of the novel is based on Bazarov’s clash with the world of aristocrats. Turgenev immediately shows that Bazarov is a working man, he is alien to aristocratic etiquette and conventions. It is in clashes with various characters opposed to him that Bazarov’s remarkable traits are revealed: in disputes with Pavel Petrovich - maturity of mind, depth of judgment and irreconcilable hatred of lordship and slavery; in relationships with Arkady - the ability to attract young people to one’s side, to be a teacher, educator, honest and irreconcilable in friendship; in relation to Odintsova - the ability to deeply and truly love, integrity of nature, willpower and self-esteem.

Turgenev tests Bazarov first with love, then with death. He observes from the outside how his hero behaves in these situations. Love for Odintsova, an intelligent, proud, strong woman, a match for Bazarov himself, defeats the principles of nihilism (but he called love “garbage”, was contemptuous of romantic feelings, recognized only physiological love, but having fallen in love, he suddenly felt with fear the romance in yourself). In the dying scene, Bazarov is faithful to his ideals to the end, he is not broken, he proudly looks death in the eye - he came only to “clear a place for others.”

Bazarov's death is justified in its own way. Just as in love it was impossible to bring Bazarov to the “silence of bliss,” so in his intended business he had to remain at the level of not yet realized, nurtured and therefore limitless aspirations. Bazarov had to die in order to remain Bazarov. This is how Turgenev conveys the loneliness of his hero-forerunner. Bazarov's death is his end tragic life. Outwardly, this death seems accidental, but, in essence, it was the logical conclusion of Bazarov’s image. It is prepared by the entire course of the narrative. The hero's fatigue, loneliness and melancholy could not have had any other outcome. Bazarov dies in all alone. And only “two already decrepit old men - a husband and wife” come to the “small rural cemetery.”

The author creates the tragic meaning of the image in Bazarov: his loneliness, rejection of the world around him, mental discord - all this is combined in one hero. This is a heavy burden that not everyone can carry with the self-esteem that is inherent in Bazarov. In the novel, Bazarov does not have a single like-minded person. Only the caricatured figures of Sitnikov and Kukshina, and even Arkady, who in his youth was carried away by unusual ideas. Bazarov is lonely in his personal life. His old parents are almost afraid of him; in his relationship with Odintsova, he fails. Bazarov once told Arkady: “When I meet a person who would not give up in front of me, then I will change my opinion about myself.” And such a person was found - this is Odintsova.

As a true artist and creator, Turgenev was able to guess the mood of his time, the emergence of a new type, the type of democrat-commoner, who replaced the noble intelligentsia. With the help of skillfully selected details, Turgenev creates the appearance of one of the “new people”. Bazarov is an independent nature, not bowing to any authority, but subjecting all thoughts to judgment. The revolution in Bazarov's soul occurs under the influence tragic love to Odintsova - he begins to realize the presence of a romantic in his soul, which was previously unthinkable for him. Bazarov is capable of spiritual evolution, which is demonstrated by his feelings for Odintsova, as well as the death scene. In Bazarov's scenes of declaration of love, emotions prevail over reason.

Turgenev’s reflection of the relationships between generations in a special historical period - on the eve of the abolition of serfdom. Representatives of the warring camps. The discrepancy between the opinions of two generations regarding aristocrats and the Russian people. Views on art.

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Ideological duel between Bazarov and Kirsanov.

The novel “Fathers and Sons” was written in 1861 by Ivan Sergeevich Turgenev. This novel shows the relationship between generations in a special historical period- on the eve of the abolition of serfdom. At this time, Russia is divided into two ideological and political camps. The generational conflict becomes particularly acute: “fathers” and “sons” turn out to be irreconcilable ideological rivals. The main representatives of the warring camps in the novel are Pavel Petrovich Kirsanov (“fathers”) and Evgeny Vasilyevich Bazarov (“children”).

An aristocrat is immediately recognizable in Pavel Petrovich Kirsanov. He is always carefully shaved, perfumed, and dressed. Even living in the village, Pavel maintains his secular habits. He comes out to greet guests dressed in “a dark English suit, a fashionable low tie and patent leather ankle boots.” Turgenev emphasizes the beauty of Pavel Petrovich’s face: “His face... unusually regular and clean, as if carved with a thin and light chisel, showed traces of remarkable beauty.”

In Bazarov, you can feel a man from the people. He does not take care of his appearance, wears “dangling sand-colored sideburns” and “a long robe with tassels.” His face is not particularly beautiful, it is “long and thin, with a wide forehead, a flat upward, pointed nose downwards, large greenish eyes... it was enlivened by a calm smile and expressed self-confidence and intelligence.”

Turgenev pays special attention to the hands of these characters. Bazarov arrives without gloves and extends his “naked red hand” to Nikolai Petrovich, which speaks of a habit of hard work. And Pavel Petrovich hands Arkady “ beautiful hand with long pink nails.” The aristocrat avoids shaking hands with Bazarov, immediately sensing an ideological enemy in him.

Bazarov doesn't like Pavel Petrovich. He ridicules his aristocracy and secular habits: “Yes, I will spoil them, these district aristocrats! After all, this is all pride, lionish habits, folly.” Arkady tries to somehow protect his uncle, telling Eugene the story of the unhappy love of Pavel and Princess R. But Bazarov mocks this too: “No, brother, this is all debauchery, emptiness, romanticism... rottenness, art.”

This mutual rejection of the heroes develops into an ideological conflict.

Pavel Petrovich considers himself a progressive person. He sticks to liberal views, supports the upcoming reforms. Therefore, he is very surprised when young people do not take his ideas seriously and call him an “archaic phenomenon.” As soon as Pavel finds out that Arkady's friend is a nihilist, he has a desire to challenge this nihilist to an argument. But, unfortunately for Pavel Petrovich, Evgeny does not like verbal debates and brushes them off like an annoying fly. For Bazarov, the main thing is to perform actions that bring benefit, and everything else is a waste of time.

Still, Pavel Petrovich manages to challenge Bazarov to an argument twice. But for the first time he is lost from Bazarov’s categoricalness. Kirsanov, trying to offend the nihilist, declares that he gives greater preference to German scientists than to Russian ones. But Bazarov counters with the fact that nationality does not matter to him; he does not recognize any authorities: “Why would I recognize them? … They’ll tell me the case, I’ll agree, that’s all.” Bazarov generally rejected all art: “A decent chemist is twenty times more useful than any poet.” With this step, Evgeniy Vasilyevich confused Pavel Petrovich.

The decisive “ideological duel” took place a few days later. Bazarov disdainfully treated one of the neighboring landowners, calling him “rubbish, aristocrat,” which seriously offended the feelings of Pavel Petrovich, who considered himself an aristocrat. Kirsanov begins to prove that aristocrats are the stronghold of world liberalism and support the “principles” on which society rests. But Bazarov immediately rejects all these judgments. He considers all aristocrats to be slackers: “...You respect yourself and sit with your hands folded; What good is that for the bien public?” Pavel is trying to name some foundations of society: progress, liberalism. But Evgeniy Vasilyevich rudely denies everything: “In the present time, denial is the most useful thing - we deny.” “You deny everything, or, to put it more precisely, you destroy everything... But you also need to build,” Pavel Petrovich is surprised. But even to this, the nihilist has an answer that, they say, this is not his business, “first the place needs to be cleared.”

The opinions of the two generations regarding the Russian people also do not coincide. Pavel Petrovich begins to prove that “the Russian people are not like that,” “they honor traditions, they are patriarchal.” Bazarov contemptuously declares that the people “deserve contempt.”

A complete misunderstanding of “fathers” and “sons” is also manifested in their views on art. “Fathers” read Pushkin and play the cello. Evgeny Vasilyevich denies art itself: “Raphael is not worth a penny,” which irritates Kirsanov. The aristocrat believes that such “nihilists” are not needed at all.

This is where the “ideological duel” of “fathers” and “children” ends. And only in the second part of the novel does ideological irreconcilability between the characters result in a real duel.

I believe that in these “ideological” debates Turgenev still gives his preference to the “fathers”. However, he sees that, unfortunately, aristocrats do not go beyond empty talk. Despite the fact that the writer does not agree with Bazarov’s “denial,” he portrayed him as an active, strong, intelligent and educated person seeking to benefit the Fatherland. The duel of heroes, although portrayed somewhat comically, as an anachronism, can also be seen in it as a prophecy: ideological conflicts can turn into bloodshed.

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The problem of relationships between fathers and children in literature is not a new topic. However, Turgenev is the first to create the image advanced person of its time. The writer has an ambivalent attitude towards the main character of the work “Fathers and Sons”.

Pavel Petrovich Kirsanov and Bazarov are representatives of different generations. Let's try to compare and analyze in what aspects these two characters differ.

Writer about the work

Turgenev says about his novel that it is directed against the aristocracy, which was considered the advanced class in Russia.

Bazarov and Kirsanov are two characters whose contrasting views formed the basis of the plot of the work. The specifics of the worldview and position in society of these heroes can be presented in the form of a table. This form allows you to see the main aspects of their contradictions most clearly.

Bazarov and Pavel Petrovich. Comparative characteristics. Table

Attitude to the aristocracy

Kirsanov believes that the aristocracy is key driving force The ideal, in his opinion, is a constitutional monarchy, which can be achieved through liberal reforms.

Bazarov notes the aristocrats’ inability to act; they cannot bring any benefit, unable to lead Russia to the future.

This is how Bazarov and Pavel Petrovich relate to the aristocracy. (the table presented above) reflects this and gives an idea of ​​how different their understanding of what the driving force of social development is is.

Attitude towards nihilism

The next question on which the two heroes argue concerns nihilism and its role in the life of society.

Pavel Petrovich defines representatives of this worldview as impudent and cynics who do not respect or recognize anything. He is glad that there are few of them in society.

Nihilists note the need for revolutionary changes. Bazarov believes that the people are ignorant, but revolutionary in spirit. Evgeniy sees meaning only in what is useful; he does not consider it necessary to say big words.

This is how they look at Pavel Petrovich. Comparative characteristics(the table is in the article) displays at the moment, shows how different the heroes’ attitude to this ideological position.

Attitude towards ordinary people

Pavel Petrovich is far from the people, but at the same time he is touched by patriarchy and religiosity. Bazarov considers the peasants dark, ignorant, and ignorant of their rights.

Kirsanov believes that life ordinary people according to the rules established by our great-grandfathers, it is correct. Bazarov despises the ignorance of the peasants.

Pavel Petrovich and Bazarov (the table records this point) perceive the position of the common people in society differently.

By his origin, Evgeniy is closer to ordinary people. He is a commoner. Consequently, he understands the peasants more. Pavel Petrovich comes from a noble family, he is absolutely far from understanding the life of ordinary people. What Kirsanov considers faith, Bazarov calls superstition.

A compromise between these heroes is impossible, which is confirmed by the duel between Bazarov and Pavel Petrovich.

Attitude to art, nature

The views of Bazarov and Kirsanov differ even in the perception of art. They treat nature differently. According to Bazarov, reading fiction- an empty matter, and he values ​​nature solely as a resource. Kirsanov is the complete opposite of him. On the contrary, he loves the world around him, art, music.

Bazarov believes that it is necessary to rely in life only on personal experience and sensations. Based on this, he denies art, since it is only a generalized and figurative understanding of experience, distracting from the matter. He denies the world's cultural achievements.

Bazarov and Pavel Petrovich look at nature and art differently. Comparative characteristics (the table shows this) in once again shows the practicality of Eugene’s views.

Biography of heroes, attitude to life

Pavel Petrovich Kirsanov and Bazarov are two opposite characters. The author makes this clear to us. Kirsanov hated Evgeny because he showed Pavel Petrovich the uselessness of his existence. Before meeting him, Kirsanov believed that he was noble and worthy of respect. When Evgeny appears, Pavel Petrovich comes to the realization of the emptiness and meaninglessness of his own life.

Kirsanov is undoubtedly a worthy representative of the nobility. He is the son of a general, an officer who squandered best years life in an effort to win the woman he loves. The elder Kirsanov is, of course, honest, decent, and loves his family.

Turgenev notes that, having described the best representatives of the nobility in the novel, he wanted to emphasize the failure and futility of this class.

Bazarov's parents are very pious people. His father is a zemstvo doctor, his mother, as the author writes about her, should have been born two hundred years ago.

In his own way, Bazarov is a commoner who loves work. He is a man with a strong mind and character, who raised himself.

Pavel Petrovich and Bazarov (the table clearly reflects this) are two completely different people in their views and origins.

In the novel "Fathers and Sons" the author contrasts two very bright characters. Pavel Petrovich's beliefs characterize him as a representative of the past. Bazarov's views are too advanced and progressive, extremely materialistic, which may be responsible for the death of this hero at the end of the work.

Duel test. Bazarov and his friend again drive along the same circle: Maryino - Nikolskoye - parental home. The situation outwardly almost literally reproduces that on the first visit. Arkady enjoys summer vacation and, barely finding an excuse, returns to Nikolskoye, to Katya. Bazarov continues his natural science experiments. True, this time the author expresses himself differently: “the fever of work came over him.” The new Bazarov abandoned intense ideological disputes with Pavel Petrovich. Only occasionally throws enough flat sharpness, which bears little resemblance to the former mental fireworks. He is confronted by the familiar “cold politeness” of his uncle. Both opponents, without admitting to each other and to themselves, were a little tired. Hostility gave way to mutual interest. Pavel Petrovich “...once he even brought his scented<…>face to the microscope in order to see how a transparent ciliate swallowed a green speck of dust...” The word “even” is quite appropriate here. For the first time, he decided to be curious about what his opponent was basing his arguments on. And yet, this time, Bazarov’s stay in the Kirsanovs’ house ends in a duel. “I believe that you could not avoid this duel, which ... to some extent can be explained only by the constant antagonism of your mutual views,” Nikolai Petrovich says, confused in his words, at the end of the duel. Involuntarily pronounces the most important things. “Antagonism of views” was involved “to some extent” and was unlikely to lead to a duel. If not... Fenechka.

“Fenechka liked Bazarov,” but he also liked her. He behaved with her “more freely and freely,” they were brought together by “the absence of everything noble.” The visits, conversations, and medical care described at the beginning of the chapter are evidence of an ever-increasing mutual sympathy. Sympathy, which would inevitably develop into feeling. If it were explained by objective reasons, and did not fall, sometimes to spite us, from the sky; a “disease” from which there is no escape. So Fenechka sincerely fell in love with the middle-aged Nikolai Petrovich. And it was completely by chance that I found myself at the meeting place in the garden, in the very gazebo where I once met a courteous, delicate guest. As a result of this meeting, Bazarov has reason to ironically congratulate himself “on formally entering the Celadons.” Now the hero is simply behaving dishonestly, rudely, flirting like a lackey. In the magazine version of the novel, the reserved Turgenev said directly: “He ( Bazarov) and it didn’t even occur to me that in this very house he had violated all the rules of hospitality.” Literary scholars have revealed the psychological background here - having lost with the aristocrat Odintsova, he wants to check whether it is easier to win the feelings of poor, simple-minded Fenechka. It turns out that love just doesn't happen. “It’s a sin for you, Evgeny Vasilich,” the woman says with “genuine reproach.”

Pavel Petrovich demanded a duel. He even grabbed a stick to make the duel inevitable by any means possible. By the very fact of the call, the elder Kirsanov had already moved away from his aristocratic “principles.” Turgenev conveys a remark from an old servant who was “in his own way an aristocrat, no worse than Pavel Petrovich.” It was not the bloody duel that struck Prokofich: he “interpreted that in his time noble gentlemen fought.” The scrupulous guardian of the foundations did not like the choice of his opponent: “only noble gentlemen fought among themselves.” A true aristocrat should not have condescended to be a commoner: “and such scoundrels for their rudeness<…>They ordered me to tear it off at the stables.”

“How beautiful and how stupid! What a comedy we have pulled off!” - Bazarov is indignant after the door slams behind his opponent. “...This is what it means to live with feudal lords. You yourself will become a feudal lord and will participate in knightly tournaments,” he tries to explain himself in a conversation with Arkady. Irritation, as usual with the hero, masks internal bewilderment and confusion. He, in turn, had to become convinced of the limitations of his own “principles.” It turns out that there are situations when only a duel can defend one’s dignity: “It was impossible to refuse; After all, he would have hit me even then (Bazarov turned pale at this very thought; all his pride reared up) ... "

In the middle of the century, the duel was already moving into the category of anachronisms, partly even funny. Turgenev's pen paints many humorous details. The duel begins with the invitation to Peter the valet as a second, who “is certainly an honest fellow,” but has become a coward to the extreme. And it ends with a tragicomic wound “in the thigh” of Pavel Petrovich, who put on, as if on purpose, “white trousers.” Meanwhile, the episode of the duel is the most important in ideological development novel. The important thing is not that Bazarov “wasn’t a coward,” just like Pavel Petrovich. Turgenev noted earlier the strength of spirit inherent in both heroes. A duel helps to overcome internal limitations. During the duel, when mutual rejection seemed to reach its limit, simple human relationships arise between the duelists. Bazarov addresses Pavel Petrovich as a good friend: “And you must agree, Pavel Petrovich, that our fight is unusual to the point of ridiculous. Just look at the face of our second.” Kirsanov suddenly agrees: “You’re right... What a stupid face.”

We remember how heatedly they discussed the peasant question. Each of them was convinced that only he knew thoroughly what the Russian peasant needed and thought about. Before the duel begins, Bazarov notices a man walking past him and Peter without bowing. A moment after the duel he returns. This time the peasant takes off his hat with an outwardly submissive look, confirming the idea that he is “patriarchal.” Previously, Pavel Petrovich would have been satisfied with this. But now he suddenly asks his eternal opponent an interested question: “What do you think this man thinks about us now?” Bazarov’s answer sounds completely sincere bewilderment: “Who knows!” The young nihilist gives up his monopoly on truth not only for himself. He is ready to admit that the “dark” man also has a complex spiritual world: “Who will understand him? He doesn't understand himself." "Understanding" in general keyword of this episode: “Each of them was aware that the other understood him.”

After the duel, the heroes seem to change places. Bazarov no longer wants to think about Fenechka’s fate. Seeing her upset face in the window, “she’ll probably disappear,” he said to himself.<…>, “Well, he’ll pull through somehow!” On the contrary, Pavel Petrovich shows democracy that was previously alien to him. “I’m starting to think that Bazarov was right when he reproached me for aristocracy,” he declares to his brother, demanding that he finally legitimize his relationship with Fenechka. “Are you saying this, Pavel? you I thought<…>an adamant opponent of such marriages! - Nikolai Petrovich is amazed. He does not know that this request was preceded by a heartfelt scene between his brother and Fenechka, reminiscent of a chapter of a chivalric novel. "This is overcoming one's late love and refusal of her: refusal, devoid of egoism, raising the simple Fenechka to the heights of a Beautiful Lady, whom they believe without doubt, whom they serve without hoping for reciprocity.”