Long and thin with a wide forehead. Characteristics of Bazarov in the novel “Fathers and Sons” by Turgenev in quotes: a description of the personality and character of Evgeny Bazarov

Turgenev plays a huge role in creating an image. psychological portrait hero. We can immediately get an idea of ​​Bazarov’s character from his appearance. He is dressed extremely unpretentiously - in a “long robe with tassels.” His face is “long and thin, with wide forehead, with a flat top, pointed nose down, large greenish eyes and drooping sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence.” “His dark blond hair, long and thick, did not hide the large bulges of his spacious skull.” Before us is not only a completed portrait, but already almost full description character: plebeian origin and at the same time pride and calm self-confidence, strength and sharpness, extraordinary intelligence and at the same time something animalistic, predatory, expressed in the pointed nose and greenish eyes. The hero has not yet uttered a word (“Bazarov’s thin lips moved slightly; but he did not answer anything” - this is how we are immediately given an idea of ​​​​his taciturnity, coming both from his intelligence and from his constant disdain for his interlocutor), but all his main traits.

Quite differently, but also through a portrait, Turgenev depicts the character of Pavel Petrovich Kirsanov: “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 drawn with a thin and light incisor, showed traces of remarkable beauty: his eyes were especially good.” Turgenev even notices such an elusive detail: “The whole appearance of Arkady’s uncle, graceful and thoroughbred, retained youthful harmony and that upward striving that for the most part disappears after the twenties.”

The image of Kirsanov is created primarily through the description of his clothes, unusually detailed and eloquent, in which one feels slight irony the author in relation to the hero: “But he was wearing an elegant morning suit, in English taste; There was a small fez on his head. This fez and casually tied tie hinted at freedom village life; but the tight collars of the shirt, though not white, but mottled, as it should be for morning dressing, rested with the usual inexorability on the shaved chin.” To characterize the hero, Turgenev even uses the syntax of the phrase, emphasizing the smoothness and slowness of the hero’s movements with a long, complicated, but impeccably correct period: “Pavel Petrovich took his trousers out of his pocket beautiful hand with long pink nails, a hand that seemed even more beautiful from the snowy whiteness of the sleeve, fastened with a single large opal, and handed it to his nephew.” It is easy to see that the hand is described here as if it were some kind of expensive, finely crafted product. Soon Bazarov directly implements this comparison with a sarcastic remark: “What panache in the village, just think! Nails, nails, at least send them to the exhibition!”

But nothing, perhaps, characterizes the heroes as clearly as their language. Various intonation shades recreate the complex range of experiences of the characters, and the choice of vocabulary characterizes their social status, range of activities and even the era to which they belong. For example, Pavel Petrovich uses “efto” instead of “this” in his speech when he is angry, and “this quirk reflected the rest of the legends of Alexander’s time. The aces of that time, in rare cases when they spoke their native language, used, some - efto, others - ehto: we, they say, are native Russians, and at the same time we are nobles who are allowed to neglect school rules.” Or another example: Pavel Petrovich “pronounced the word “principle” softly, in the French manner,” as “prinsmp,” and “Arkady, on the contrary, pronounced “principle,” leaning on the first syllable,” from which it becomes clear that the heroes, belonging to different generations, perceive this word in completely different cultural contexts and therefore are unlikely to come to mutual understanding. It is no coincidence that after an argument with Bazarov, Pavel Petrovich excitedly says to his brother: “... you and I are much more to the right than these gentlemen, although we express ourselves, perhaps, in a somewhat outdated language, vieilli...”

Each of the characters has his own unique and easily recognizable manner of expression, which immediately reveals his individuality. Thus, at the very first conversation with Pavel Petrovich, Bazarov insults the latter not even with the very meaning of the words, which is completely neutral, but with the abruptness of intonation and the “short yawn” with which they were pronounced: “He... answered abruptly and reluctantly, and in his sound there was something rough, almost impudent in the voice.” Bazarov says little, but is unusually weighty, so his speech tends to be aphoristic (“Raphael is not worth a penny,” “I don’t share anyone’s opinions; I have my own,” “The only good thing about a Russian person is that he has a bad opinion of himself,” and etc.). To defeat the enemy, he likes to put his phrases in a reduced context, as if trying them on real life: “You, I hope, do not need logic to put a piece of bread in your mouth when you are hungry. Where do we care about these distractions!” Or: “She behaves so coldly and strictly.<...>This is where the taste lies. After all, you love ice cream?” (That is, in the dispute he resorts to the classical form of a parable, a traditional rhetorical figure, similar in type to the Gospel ones. This is also not accidental, since Bazarov loves to take on the role of a sage and discoverer of a new life teaching). Very often he also resorts to popular expressions: “Only the grandmother said in two,” “From a penny candle... Moscow burned down,” “The Russian peasant will eat God,” thereby wanting to emphasize his democracy and closeness to the people.

Pavel Petrovich always expresses himself with exquisite politeness, even when he hates his interlocutor: “That’s a completely different question. I don’t have to explain to you now why I’m sitting with my hands folded, as you deign to put it.” Or: “You continue to joke... but after the kind willingness you have shown, I have no right to make a claim against you.” With this “chilling politeness” he can destroy anyone except Bazarov.

Bazarov’s father, when he wants to show off his education in front of Arkady, expresses himself pompously and uncontrollably in an old-fashioned way, falling into the style of the prose of the beginning of the century: “You, I know, are accustomed to luxury, to pleasures, but even the great ones of this world did not hesitate to spend short time under the roof of the hut.”

Arkady constantly tries to get into Bazarov’s tone, but Bazarov only winces at his pseudo-nihilistic phrases: for him they reek of “philosophy, that is, romanticism.” Indeed, due to his romantic, poetic nature, Arkady loves the sonorous, beautiful phrase; even proclaiming “terrible” denials, he is unable to resist naive narcissism. But he especially “spreads his wings” when he begins to talk about poetry or nature: “Look... a dry maple leaf has come off and is falling to the ground; its movements are similar to the flight of a butterfly. Isn't it strange? The saddest and deadest is similar to the most cheerful and alive,” which gives Bazarov, who considers every sonorous phrase empty, a reason for a mocking parody: “Oh, my friend, Arkady Nikolaich! - exclaimed Bazarov, “I ask you one thing: do not speak beautifully... To speak beautifully is indecent.” This dispute about language was the first serious disagreement, which then led to the separation of the two friends.

The speech of ordinary men in the novel is deliberately grammatically incorrect and almost meaningless, which should expose the complete inability of the people to play a positive role in the ongoing historical turning point: “At the first hut stood two men in hats and scolded. “You’re a big pig,” one said to the other, but worse than a little pig.” “And your wife is a witch,” another objected.” Elsewhere, in response to Bazarov’s request to state his views on life: “After all, in you, they say, all the strength and future of Russia... you will give us both a real language and laws,” the man replies: “And we can... ., too, because that means... what kind of aisle we have, approximately.” In general, during the historical dispute between the nobles and commoners, the people are still “silent.”

The use of foreign language vocabulary is also particularly significant. Pavel Petrovich constantly switches to French, in which it would obviously be easier for him to express himself (“public... bien public... public building”) and occasionally into English (“Be happy, my friends! Farewell!”). Bazarov, despite his knowledge foreign languages, never resorts to them in conversation, only once, in response to Pavel Petrovich’s French phrase, he inserts into speech with emphasized irony Latin expression(“...I intend to fight seriously. A bon entendeur, salut! (he who has ears, let him hear!) Oh, I have no doubt that we decided to exterminate each other; but why not laugh and combine utile dulci (useful with pleasant )? That’s it: you speak French to me, and I speak Latin to you”). Bazarov’s father also tries to insert foreign words into his speech, mercilessly distorting them due to ignorance of languages: “volatu”, “anamater”, “ommfe”, “vertesterherr colleague”, etc. But both father and son, being doctors, speak Latin equally well, but in the end this “dead” language begins to sound truly ominous when the dying Bazarov coldly asks to conduct the consultation not in Latin; I understand what it means: jam moritur (already dying).”

In the speech of nobles, in general, such “European” words as aristocracy, liberalism, progress, principles are found in abundance, in which Bazarov sees a sign not of their enlightenment, but of their uselessness: “Just think, how many foreign... and useless words! Russian people don’t need them for nothing.” In addition, the very pronunciation of these fashionable “new” words can serve as a distinction between “educated nobles, speaking sometimes with chic, sometimes with melancholy about mancipation (pronouncing an in their nose)”, and “uneducated nobles, unceremoniously scolding “the muncipation””. Thus, at the level of the characters’ language, we see in Turgenev a brilliant and organic combination of the personal and the social, on which all his novels are built.

Bazarov's inner world and its external manifestations. Turgenev paints a detailed portrait of the hero upon his first appearance. But strange thing! The reader almost immediately forgets individual facial features and is hardly ready to describe them after two pages. The general outline remains in the memory - the author presents the hero’s face as repulsively ugly, colorless in color and defiantly irregular in sculptural modeling. But he immediately separates the facial features from their captivating expression (“It was enlivened by a calm smile and expressed self-confidence and intelligence”).

The first thing that catches your eye in Bazarov’s behavior can be interpreted as a manifestation of self-confidence. He is distinguished by a certain rudeness of behavior, an unwillingness to follow the rules of good manners and even basic standards of decency. His behavior contrasts with the sincere, affable manner of the good-natured Nikolai Petrovich, the exquisite, coldish courtesy of his brother, or the enthusiastic verbosity of Arkady. Here the hero meets his friend’s father, the future owner of the house where he has a place to stay: “Nikolai Petrovich<…>squeezed him tightly<...>hand,” Bazarov “immediately gave him his,” and “answered his kind questions in a lazy but courageous voice.” The casual manner of communication he adopts extends to representatives of all classes. Here, at the inn, we first witness Bazarov’s communication with the men. “Well, turn around, fat beard!” - Bazarov turned to the coachman. However, this well-aimed, rude description did not offend the men at all: “Listen, Mityukha,” picked up another coachman standing right there.<…>, - what did the master call you? Thickbeard is."

Those around him are attracted by Bazarov’s stern simplicity more than by Pavel Petrovich’s aristocratic courtesy, which, as Fenechka aptly remarks, “will give you the cold.” Nikolai Petrovich, although “afraid of the young nihilist,” nevertheless “readily listened to him, willingly attended his physical and chemical experiments" The servants “attached” to him, not excluding Peter, who was limited in complacency. Bazarov is followed “like little dogs” by peasant children. He also became friends with Fenechka. At first, the young nihilist allowed himself an ironic remark addressed to Nikolai Petrovich. But when he approached the shy Fenechka, he behaved with all courtesy. “Allow me to introduce myself,” he began with a polite bow, “Arkady Nikolaevich is a friend and a meek person.” The stern doctor unmistakably touched a weak string in the mother’s heart - he showed attention to her child. Even little Mitya recognized Bazarov’s charm: “Children feel who loves them.” Subsequently, Bazarov more than once, as a doctor, will come to Mitya’s aid. And all this with constant jokes and banter. Behind this lies a desire so that Fenechka does not feel obligated to him. Here, in this house, Fenichka, an unofficial wife and mother of an illegitimate child, sometimes has a hard time already - Bazarov understands this. On a human level, he sympathizes with Fenechka, but prefers not to interfere in a difficult family situation. “She’s a mother - well, she’s right.”

Household members, servants, children - all of them are truly interesting to him as a human being. And he himself - interesting personality, which irresistibly attracts people of all classes. Arkady imitates Bazarov in the artless simplicity of his behavior. It turns out, however, that being simple and democratic with everyone is very difficult. For Arkady, this comes out deliberately, and despite all the sincerity of his intentions, it is unnatural. He wants to meet Fenechka and without warning goes to her room. Left in the living room with his heart beating, it occurs to the father “that Arkady would have shown him almost more respect if he had not touched this matter at all.” Arkady was delighted to meet his stepmother and the presence of his little brother in the world. But behind the impulse of generosity hides an arrogance hidden from oneself. Secretly, the young man admires the breadth of his own views. It doesn’t occur to Arkady that such generosity humiliates his father, although he is pleased with the sincerity of his eldest son’s feelings. About the ensuing scene of a kindred embrace, the author notes: “...There are touching situations from which you still want to get out of it as soon as possible.”

There is a gradation in the rudely uninhibited manners of Kirsanov’s guest. In some cases they mask subtle delicacy, as with Fenechka. In others, they are an open response to disguised rudeness. So on the day of his arrival, he “took off” after Arkady, even though he had no intention of leaving for a minute. But he preferred an unceremonious departure to pointed disregard on the part of Pavel Petrovich (“He didn’t shake hands<…>, put it back in my pocket"). Later we see how Bazarov’s external severity helps him hide his inner embarrassment and even timidity (in his relationship with Anna Sergeevna). In any case, the author interprets Bazarov’s behavior to us not only as a feature of his character, but also as a national feature. “The only good thing about a Russian person is that he has a very bad opinion of himself,” Bazarov casually but meaningfully drops in a conversation with Arkady.

Another feature of Bazarov, which cannot but arouse respect for him, is “a noble habit of work.” This is the organic impossibility of an idle existence. It is noted that Bazarov woke up “earlier than anyone else” in the Kirsanovs’ house the next day after a tiring journey. When “about two weeks” had passed since his arrival, as a matter of course, the author says: “Life in Maryino went on in its own order: Arkady was sybaritizing, Bazarov was working.” Carrying out scientific experiments and observations, the hero is not afraid to get his hands dirty: “His linen coat and trousers were stained with mud; a tenacious marsh plant entwined the crown of his old round hat...”

The “enlightened mind” becomes the support for innate hard work. With knowledge of the matter, Bazarov “explains” to his friend which trees, based on the state of the soil, should be planted in the garden instead of the dead oaks. He "in a few minutes" penetrated weaknesses farms of Nikolai Petrovich. In everything related to applied, experienced, scientific knowledge Bazarov shows broad education, observation and intelligence. At the same time, knowledge was not easy for him. The son of a doctor, the owner of a village and twenty-two souls of peasants probably had a more difficult time than his friend. Subsequently, Bazarov’s father proudly reveals to Arkady a family secret: “...If someone else in his place would have pulled and pulled from his parents; and with us, believe me? He never took an extra penny!..” Absolute selflessness, a man’s desire to rely solely on his own strengths distinguishes Bazarov. “...The Rudins have knowledge without will; the Bazarovs have both knowledge and will...” - the critic rightly pointed out. With good reason, one can apply to Bazarov the definition that Rudin did not receive - “a genius.”

It was the writer’s task to show his human attractiveness in the hero. “The “contemporary” will probably shower me with contempt for Bazarov,” he wrote in his diary, “and will not believe that during the entire time of writing I felt an involuntary attraction to him.” In one of his letters, Turgenev directly stated: “...If the reader does not fall in love with Bazarov with all his rudeness, heartlessness, ruthless dryness and harshness<...>“I am guilty and did not achieve my goal.”

But as in the case of Rudin, the dissonant notes in the hero’s appearance are becoming increasingly stronger. “Thought and deed merge into one,” the radical critic D.I. wrote with delight about Bazarov. Pisarev. No sooner said than done. Bazarov noticed the “disorder” - the owner of the house, Nikolai Petrovich, “Pushkin is reading<…>. This is no good. After all, he’s not a boy: it’s time to give up this nonsense.” Bazarov recognizes as useful reading"something useful." And on the same day, Arkady “silently, with such gentle regret on his face,” “like a child,” took the ill-fated book from his father. Instead, on the advice of a friend, I “placed” a brochure by a German naturalist. Stop... We see how in Bazarov’s nature, at first glance, open, simple and whole, aspirations appear that the moral sense cannot accept. And they arise as a kind of continuation of attractive traits. We said that Bazarov’s charm attracts everyone with whom life encounters him. A few days after his arrival, he is already the focus of interest at home. The hero knows this and uses it, forcing those around him to live as he sees fit. External simplicity hides the need to skillfully manipulate others. After all, he didn’t take the book himself from the owner of the house, but pushed his friend to do this, knowing that Arkady would be happy to demonstrate his open-mindedness, and Nikolai Petrovich would not object to his son. But, subordinating the interests of others, Bazarov considers himself free from all the responsibilities of the hostel. Turgenev makes us witnesses how the hero violates all the rules of hospitality, respect for elders and even moral norms. In the same episode with the book, Bazarov’s actions clearly lead to a quarrel between father and son. The guest allows himself rude attacks against Uncle Arkady, in his presence and behind his back. The attentive reader will notice that this is done demonstratively. The hero is obviously convinced that he has every right to do this. But what about his democracy, his intelligence, which in our eyes is inherent in a person engaged in science?

The simpler and more democratic Bazarov behaves, the more sharply his dissimilarity from those around him appears. It is clear to anyone that this is an extraordinary person. Odintsova, to whom he introduces himself as “the future county doctor”, objected with liveliness: “You yourself don’t believe it<…>. Is it possible for you to be satisfied with such modest activities?<…>! Bazarov’s father, Vasily Ivanovich, asks Arkady: “...After all, he will not achieve in the medical field<…>fame?..”

Of course, not in medicine, although in this respect he will be one of the first scientists.

On what<…>?

It's hard to say now, but he will be famous.

Does Bazarov know what hopes are placed on him? He knows. Bazarov casually reminds Arkady that he is the “grandson of a sexton.” And he adds: “Like Speransky.” Mikhail Mikhailovich Speransky (1772-1839), born into a poor spiritual family, thanks solely to his intelligence and talents, made a dizzying career - to count and minister of the court. Speransky was the closest adviser to two emperors - Alexander I and Nicholas I. Irritated by his independent character, frightened by the radicalism of the proposed reforms, Alexander sent Speransky into exile. Subsequently, Nicholas, who was claiming the throne, and the Decembrists agreed on one thing - the future government could not manage without Speransky’s experience and knowledge...

A comparison thrown as if by the way reveals to us the boundaries of Bazarov’s ambition. He is obviously preparing himself for the future of a statesman. The only difference is that Speransky agreed to climb the steps of the existing social ladder. Bazarov is a nihilist. A special episode is devoted to an explanation of this social term and its meaning in the novel. Bazarov does not participate in it, although it is primarily about him. Arkady “with a grin” (how can one not know such simple things!) explains to his father and uncle: “... This word means a person who...” “Who does not recognize anything?” - Nikolai Petrovich guesses. Pavel Petrovich strengthens the negative connotation of the meaning of “nihil” - “nothing”: “...Who does not respect anything.” But this turns out to be too weak. “Who treats everything from a critical point of view...” “A nihilist,” Arkady formulates, clearly from Bazarov’s words, “is a person who does not bow to any authorities, who does not take a single principle for granted, no matter how respectful he may be.” principle". But this definition does not sufficiently reflect Bazarov’s radicalism. It is not without reason that the most common verbs in the speeches of young people are “not to believe,” “to deny,” “to break,” and “to destroy.” “First we need to clear the place,” Bazarov says about the task of himself and his like-minded people. "Turgenev's hero rejects<…>really everything - all really existing forms of social structure, economic life, culture, everyday life and even human psychology<…>. Russia is in a dead end with no way out in sight<…>. The existing world must be destroyed completely, to the ground..."

Bazarov, as a statesman, thinks in all-Russian categories. We have little doubt that he is ready to take on national responsibilities. For now, his weapon is science. Natural science knowledge is useful not only as a means of revealing the secrets of nature and helping a suffering person. The main opponent of nihilism, critic and writer Mikhail Nikiforovich Katkov was the first to understand this: “He is engaged in these sciences (natural) because, in his opinion, they directly lead to the solution of questions about these first causes,<…>a weapon for destroying prejudices and for bringing people to their senses.” “To enlighten people,” Bazarov is convinced, the book of German materialists is most suitable. No wonder he almost forces the unreasonable Nikolai Petrovich to read Buchner’s popular pamphlet. Ludwig Büchner (1824-1899) - German doctor, naturalist and philosopher, convinced materialist. He was one of the propagandists of the theory of “social Darwinism”. It was proposed to transfer Charles Darwin’s discoveries in the field of natural sciences to the structure of human society: the principles of natural selection, the struggle for existence, survival of the fittest as determining factors public life. “The Germans are our teachers in this,” Bazarov says with gratitude.

But he goes further than his teachers. The Russian nihilist is inclined to interpret the title of Buchner's brochure “Matter and Force”, omitting one letter, as “Matter - Force”. Everything that is intangible, that cannot be touched, measured, tested experimentally, is a prejudice. Culture, art, the power of nature, respect for the elderly - these are prejudices that must be destroyed in the name of the common good. Bazarov the nihilist offers this as a scientist and as public figure. The scientist Bazarov doubts the existence of these unreal concepts. The leader of the Bazaars denies their need, based on their belonging to the old world. Old world bad - isn't it the fault of culture? If he is to be swept away, his attributes will inevitably fall. This is what the “hero of his time” thinks. But there is also Bazarov, a man who should be familiar with feelings and experiences?

“The religion of denial is directed against all authorities, and is itself based on the crudest worship of authority<…>she has her own merciless idols,” the same Katkov venomously noted. The youth of the 1860s, contemporaries of Chernyshevsky, Dobrolyubov, Pisarev, built their lives according to strict laws, deliberate, developed by reading books and conversations with friends. It is not for nothing that the word “principles” sounds sharp, rude, and categorical from their lips. And if for the sake of ideas it is necessary to abandon previous attachments, to step over feelings - well, it’s not scary. The hero proudly calls himself “self-made.” Subsequently, Bazarov will tell his friend that to succumb to feelings for him means to “fall apart.” In return, they are given the proud consciousness that they themselves, from beginning to end, build their own destiny: “Upbringing? ...Every person must educate himself - well, at least like me, for example<…>. As for time, why will I depend on it? It’s better to let it depend on me.”

It is important for the author that Bazarov is precisely a Russian man, who, even in his extremes, was the embodiment of typical traits national character. It was not for nothing that Ivan Sergeevich saw in him a “pendant” (parallel) to the national hero, the rebel Pugachev. Even in “Notes of a Hunter,” Turgenev noted that “the Russian man is so confident in his strength and strength that he is not averse to breaking himself: he pays little attention to his past and boldly looks forward. What<…>it’s reasonable - give him that, and where it comes from - he doesn’t care.” Then the writer was inclined to evaluate this quality as unconditionally positive. But when he encountered the philosophy and practice of nihilism, he was alarmed. After all, the goals of nihilism are sublime and beautiful - the happiness of humanity. But is it not too much to give up in the name of “reasonable”? First of all, enter into battle with your own soul, as the main character does throughout the novel. This is largely why Bazarov for his creator is a “tragic”, “wild”, “gloomy” figure.

Art is a reflection of life. Main subject studying and depicting in all its spheres - a person, his internal experiences and external features, actions and behavior.

Portrait concept

A description of a person's appearance with fairly accurate details is called a portrait. The word came to us from the Old French language and is translated literally as “reproduction of the devil to the devil.” An image can be either real or fictitious, both living and once existing. In addition, a portrait depicts one person or a group of people. This is done using various artistic means, which is why the portrait genre exists in such forms of art as painting, graphics, sculpture, engraving, photography, literature, and cinema. Each of them has its own set of “working tools”. The term "portrait" has broad and narrow meanings. The narrow one involves the transfer of only the external data of the individual, while the wide one includes the depiction of character traits, emotional mood, and models.

Portrait in literature

Almost nothing epic literary work cannot do without characters - heroes. And even if the writer does not tell us what color Onegin’s eyes are, based on other, quite expressive details, we imagine his face in our imagination. When creating a portrait, the writer’s task is to reveal not only the individual, but also the typical features of the characters. Another function of describing appearance is expression author's attitude to the hero, conveying the ideological and semantic shades of the work (for example, the appearance of Bazarov from Turgenev’s novel). Therefore in literary portrait consists of the following details: figure, gestures, clothing, manner of moving, speaking, etc. Writers use either static or dynamic portraits. In relation to Turgenev’s novel “Fathers and Sons,” the images of Kukshina, Sitnikov, and Fenechka are static. And dynamic, i.e. developing in time - Bazarova.

Turgenev's portrait

Turgenev is rightfully considered a master Describing this or that character, he selects such telling details that an almost cinematic effect is achieved. The medium of representation is, naturally, the word. Vocabulary of different stylistic layers, means of expression(epithets, metaphors, special speech structures, syntactic models) - these are the writer’s tools, which he uses truly masterfully. Let's prove this by analyzing Bazarov's appearance.

Appearance and origin

Evgeny Vasilyevich Bazarov is the main character of the novel “Fathers and Sons,” a significant and controversial work that caused the writer’s break with the Sovremennik magazine. The serious controversy surrounding the figure of the young nihilist proved how relevant the novel and its characters were. So, what is remarkable about Bazarov’s appearance? Firstly, it directly points to his by no means noble origin. The hero’s hands are not gloved, but bare, weathered, with red, rough skin. It is clear that he does not shy away from physical labor, “dirty” work. What difference does the hero have to the esthete Pavel Petrovich Kirsanov with his snow-white cuffs, clean perfumed hands and polished nails! “Plebeianism” is revealed not only by Bazarov’s appearance, but also by his clothes. More precisely, “clothes,” as he himself calls his summer robe. If we consider that Turgenev’s portrait characteristics are often given indirectly, then it is enough to remember with what disdainful expression Prokofich, the old servant of the Kirsanovs, who adopted their views and ideology, receives him. Thus, Evgeny Bazarov’s appearance once again emphasizes, on the one hand, his diversity of ranks, and on the other, his alienness to everything that constitutes daily life inhabitants of the “nest of aristocrats”.

The hero's originality

Creating a portrait of his hero, Turgenev tries in every possible way to emphasize his ambiguity and peculiarity. Evgeniy Vasilyevich is ugly, but anyone who sees him cannot help but pay attention. This is what makes him interesting. His appearance emphasizes his advantages, without hiding, however, his shortcomings. So, how does the author paint it? Evgeniy’s tall stature and obvious physical strength are striking. Long, sparse hair does not hide the irregularities of a spacious skull. Sandy sideburns emphasize thinness. Greenish eyes are large and expressive. The voice is lazy, but courageous. The face, calm and somewhat gloomy, is illuminated by a smile and expresses intelligence and self-confidence. As we see, in the portrait characterization the writer uses the technique of contrast, and before us a truly extraordinary person comes to life, “special”, as Arkady Kirsanov speaks of him. Non-noble appearance, Bazarov's origin - everything is interconnected here. Democracy, strength of character, will and determination, however, well restrained - this is what we read between the lines in the portrait description of the character.

Movements of the soul

As already mentioned, the portraits in the works of I.S. Turgenev are psychological and dynamic. The author, through changes, conveys the most secret movements of the soul, emotional shades. These are the disputes between the antagonistic heroes in the novel. The Kirsanovs are alien to Evgeniy, especially Pavel Petrovich. The latter's aristocratic manners greatly irritate the young nihilist. But, realizing that no one here shares his beliefs, Evgeny Bazarov tries to behave very restrained. The description of his appearance, facial movements and changes in body position during conversations reflect the gradual intensity of passions, anger and other emotions. Thus, Turgenev often notes that Evgeny speaks or answers “boldly”, with “special insolence.” His face takes on a "copper and rough color." He often flashes a contemptuous smile. But the movements of the hero’s soul are especially strongly reflected when the author describes his internal conflict.

Love plot and portrait characterization

Those who carefully read the novel probably noticed this feature. Evgeniy Vasilyevich seems to us to be a rather stern, harsh person who hides his innermost feelings well. He laughs at everything that goes even a little beyond the boundaries of rationalism. Physician, physiologist, chemist, i.e. a follower of natural sciences, a hero, and in human relationships he sees only physiological processes. He does not recognize love as a manifestation of the highest spirituality. Amazed by Odintsova’s beauty, he declares: “What a rich body, it could go to the anatomical theater.” However, experiencing a sincere and deep passion for Anna Sergeevna, Evgeniy lost weight, his profile became sharper, and his movements became restless. The scene of the characters' explanation was especially rich in emotions. And their last meeting, when Base

The ditch says goodbye to Odintsova, which is also very touching and picturesque. His face is “dead”, “inflamed”, his eyes are “cloudy”. They reflect a “shudder of horror.”

Comparison of Pavel Petrovich Kirsanov and Evgeny Bazarov

Readers of the novel will understand Bazarov (appearance, origin, upbringing) much more clearly if they are compared with the main opponent of the hero, Pavel Petrovich. For the aristocrat Kirsanov, his nephew’s friend is “that hairy one,” “a plebeian and a cynic.” He is outraged by the guest’s behavior: Pavel Petrovich suspects that Evgeny, the “doctor’s son,” does not respect him! That's how it is. And using the technique of contrast, the writer shows how different the characters are.

As we have seen, a portrait is an important means of characterizing characters.

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The image of Evgeny Bazarov is unique in that he combines the features of boundless intelligence and recklessness. Bazarov is the herald of new orders and new philosophy.

Biography and family of Evgeny Bazarov

Social status Bazarov is very difficult. It is not related to the type of activity young man, but with its origin. Evgeny Bazarov was born into the family of a retired “headquarters doctor” and a noblewoman. This fact turns out to be disastrous for the young man - he is on the border between the world of ordinary men and the aristocracy. High society does not accept him because of his father’s humble origins, and ordinary people consider him a step above themselves. And although the men treat him favorably, his appearance brings less embarrassment into their lives than an aristocrat, they do not feel the usual constraint and embarrassment, while the men do not consider Bazarov absolutely their own in “their eyes, he was still something of a clown.” "

The father early noticed his son's passion for natural sciences and contributed to the development of his knowledge in this area. Later, Evgeniy continues his father’s work and becomes a doctor. “I, the future doctor,” says Bazarov.

He doesn't have much love for medicine, but the opportunity to do research saves the situation. Thanks to his experiments and endless hours behind a microscope, Bazarov achieves impressive results and becomes a pitcher high hopes in the development of medicine and natural sciences as a young person.

Evgeniy’s parents dote on him - he is the only child in the family, and he is also very talented and smart - a reason to be proud.

The mother misses her son very much, but Bazarov is in no hurry to reciprocate - he loves his parents, but his love is not like the generally accepted one, it is devoid of tenderness and affection, more like respect. Parents are saddened by this attitude towards themselves, but they are not able to change it. The father believes that this is a necessary measure in Eugene’s life - he must be in society, and only then will he be able to achieve something in life.

Appearance of Evgeny Bazarov

Evgeny Bazarov is a very charming person. He is young and handsome. Tall and slender build.

His face was “Long and thin, with a wide forehead, a flat upward, pointed downward nose, large greenish eyes and drooping sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence.” Thin lips, dark eyebrows and gray eyes - his face is attractive. His hair was “dark blond”, thick and long.

His hands were like the hands of musicians—refined, with long fingers.

Bazarov did not follow fashion. His clothes are not new. It is already quite worn and is far from in perfect condition. This fact does not bother Evgeniy. He doesn't express displeasure with his suit.

Attitude towards other people

Bazarov is not known for his friendliness, but at the same time he is not initially hostile towards others. He does not tend to become attached to other people; he easily breaks up with them.

Difficult relationships He gets along with Pavel Petrovich Kirsanov, his friend’s uncle. Pavel Petrovich is a classic representative of high society. He is an aristocrat from the roots of his hair to his toes - his manner of demeanor in society, dressing, taking care of his appearance - everything corresponds to the ideal. Evgeny Bazarov considers aristocratic existence in its classical manifestation to be empty and useless, so the conflict between these heroes was predictable.

Bazarov is confident that he is right and behaves rather reservedly and arrogantly. Pavel Petrovich is outraged by the young man’s behavior and breaks down from time to time. The climax of their conflict is a duel. Based on the official version, the cause was ideological differences. In fact, this is just an excuse - Kirsanov witnessed the kiss of Feni (the lover and mother of Nikolai Petrovich’s son - his brother) and Yevgeny Bazarov. Evgeniy does not feel remorse for his actions. For him this is a meaningless action. For Pavel Petrovich this is an insult. His brother received this man into his house, and he repaid him with ingratitude.

In a duel, Bazarov behaves calmly, he jokes a lot, and shoots at his opponent without aiming at him. After the duel, Evgeniy realizes that he should no longer be on the Kirsanov estate and leaves.

He also has a difficult relationship with Arkady Kirsanov, his friend. At the beginning of the novel, Arkady is in admiration for his acquaintance, he is his unspoken teacher. Life on my parents' estate opened my eyes to many negative aspects friend. Evgeny is ready to sharply criticize everyone, no matter what, when it comes to his acquaintances - this did not affect Arkady, but when his relatives - his father and uncle - became the objects of criticism, the attitude in Bazarov begins to gradually change for the worse. On Bazarov’s part, such behavior was extremely ill-mannered and intolerant.

For Arkady, family has always been something sacred, but Bazarov took on the forbidden. Kirsanov gently defends his family, trying to convince them that both father and uncle good people, they have changed a lot under the influence of certain life tragedies. “A person is ready to give up everything, he will part with every prejudice; but to admit that, for example, a brother who steals other people’s scarves is a thief is beyond his strength,” Bazarov concludes. This state of affairs shocks Arkady. Eugene’s authority melts like snow in the sun. Bazarov is a rude and cruel person, he is ready to step over everyone, even those whom he called his friends just yesterday.

Evgeniy treats women with disdain and does not even try to hide it. “You despise us all,” Odintsova tells him, and this is the absolute truth.

Regardless of social status and position in society, Bazarov calls all women the rude word “baba”.

The young man believes that women are needed only from a physiological point of view - they are not good for anything else: “It is better to break stones on the pavement than to allow a woman to take possession of even the tip of a finger.” Men who glorify women and allow them to dominate themselves are not worth a damn.

Philosophy of Evgeny Bazarov

Evgeny Bazarov is a representative of a unique philosophical movement - nihilism. He, like all nihilists, vehemently opposes everything connected with the aristocracy and high society. “We act because of what we recognize as useful,” says Bazarov, meaning the debunking of generally accepted principles and postulates. “Denial” becomes the key concept of his worldview. “At the present time, the most useful thing is denial - we deny...”

Bazarov denies any principles: “There are no principles at all... but there are sensations. Everything depends on them.”

He considers usefulness to society to be a measure of integrity - than more benefits the person brings to those around him, the better.

Based on this position, Bazarov rejects the need for any type of art: “Raphael is not worth a penny, and Russian artists are even less.” He considers scientists to be much more important than writers, artists and sculptors: “A decent chemist is twenty times more useful than any poet.”

He has an unusual view on the problems of morality and human upbringing. He compares negative qualities to diseases. “Moral illnesses come from bad upbringing, from all sorts of trifles that fill people’s heads from childhood, from the ugly state of society, in a word. Correct society, and there will be no diseases,” he says.

Personality characteristics

In the novel, from time to time the characters call Bazarov " a simple person" This connotation looks very strange due to the fact that Eugene has a complex character. In fact, the epithet that has become permanent for Evgeniy concerns the everyday part of life. When people around him say that Bazarov is a simple man, they mean that Bazarov does not like ceremonies, he is not used to luxury, and calmly accepts the lack of comfortable conditions. The explanation for this is very simple - Evgeniy has always lived poorly, he is indifferent to luxury and does not strive to begin to get used to excessive comfort.

Bazarov does not like tenderness in him, “all kinds of “explanations” and “statements” constantly aroused an impatient feeling.”

In difficult situations, Bazarov knows how to quickly put his thoughts in order and not fall face down in the dirt: “he was not timid, he even answered abruptly and reluctantly.”

Evgeniy denies rhetoric; for him, the ability to speak beautifully becomes a negative characteristic of a person. “I find it rude to speak beautifully,” he says.

Along with the denial of art, Bazarov also rejects the romance of relationships. He claims that there are no loving glances - it’s all nonsense and nonsense. “And what is this mysterious relationship between a man and a woman? We physiologists know what these relationships are.”

Relationship between Evgeny Bazarov and Anna Odintsova

It was easy to deny any affection and love when I myself had not experienced such a feeling. Bazarov's meeting with Odintsova was like a bolt from the blue. Eugene felt the influence of love for the first time. Anna Sergeevna completely captivated the thoughts of the young doctor. No matter how hard Evgeniy tried not to think about her, he couldn’t. Bazarov sees that his feelings are mutual and, in the end, decides to confess: “Bazarov stood with his back to her. - So know that I love you stupidly, madly. This is what you have achieved." Anna Sergeevna does not dare to reciprocate - she is in love, but is not ready to bring changes into her life.

Death of Bazarov

By the end of the novel, Evgeny Bazarov finds himself in an extremely difficult situation - he finally quarreled with Arkady Kirsanov, Odintsova rejected him.

He has no friends left to whom he could go, so Evgeniy returns to his parents on his estate.

There he is quite bored, and then begins to help his father and soon succeeds as a doctor.
An accident determined his future - he became infected from a typhoid patient.

Bazarov realizes that his death is not far off. “In a few days you will bury me,” he says to his father. “By evening he fell into complete unconsciousness, and the next day he died.”

Thus, the personality of Yevgeny Bazarov is deeply sympathetic to both the author of the novel and the readers. Turgenev depicts before us ordinary person who made himself. And this is inspiring. We take into account that no one is perfect - everyone has their own bright and dark side. Bazarov is aware of his shortcomings, and that is why his image is attractive and sweet.

Characteristics of Bazarov in the novel “Fathers and Sons” by Turgenev in quotes: a description of the personality and character of Evgeny Bazarov

Evgeny Bazarov is one of the main characters in I. Turgenev’s novel “Fathers and Sons.” It is with the help of this image that the author actively reveals the problem of relationships between different generations of people.

Appearance of Evgeny Bazarov

Evgeny Bazarov is a man of “tall stature”. His face was “long and thin, with a wide forehead, a flat upward, pointed nose downward, large greenish eyes and drooping sand-colored sideburns; it was enlivened by a calm smile and expressed self-confidence and intelligence.” His age borders on the 30-year mark - Bazarov is in the prime of his strength, both mental and physical.

He does not pay due attention to clothes and his appearance. His suit is old and shabby, he looks unkempt. Bazarov does not neglect personal hygiene, but he is also not as diligent about his toilet as, for example, Pavel Kirsanov.

Family of Evgeny Bazarov

Bazarov has a small family - it consists of a mother and father. Bazarov's father's name is Vasily Ivanovich. He is a retired staff captain. Bazarov the father often helps his fellow villagers and provides them with medical care. Vasily Ivanovich is a simple person by birth, but he is quite educated and diversified. His mother Arina Vlasyevna, a noblewoman by birth. She is the owner of a small estate in the province, “fifteen souls, I remember.” His father is in charge of the estate's affairs. Arina Vlasyevna herself is very educated and knows a little French (which was the privilege of the nobles). Evgeny Bazarov is the only child in their family, so his parents’ attitude towards him is quite reverent. They often allow him to have a cool attitude towards them.

Origin and occupation

Evgeny Bazarov is a student. He followed in the footsteps of his father and in the future will connect his activities with medicine. “I, the future doctor, and the doctor’s son, and the sexton’s grandson,” is what he says about himself.

His father tried to give it to his son good education and upbringing, encouraged his curiosity and love of research: “he knew how to figure it out early and spared nothing for his upbringing.” This significantly helped Bazarov become successful in his profession.

He is not of noble birth, but this does not prevent him from taking advantageous position in society and acquire good friends. His friends and acquaintances believe that Bazarov will be able to achieve significant results in the field of medicine and natural sciences.

Lifestyle and habits

Bazarov leads an active lifestyle. He wakes up early and goes to bed late most days. He spends most of his time conducting experiments on frogs - such research will make him more competent as a doctor: “Bazarov brought a microscope with him and spent hours fiddling with it.”

We invite you to read Ivan Turgenev’s novel “Fathers and Sons”

Evgeniy does not shy away from society either. He willingly pays visits to different people. He behaves there depending on the situation. In the company of aristocrats (unless it is a dinner in a narrow circle), he is generally reserved and rarely interferes in the course of the conversation. In dealing with nobles of “lower rank” or with people related to him in social status Evgeniy behaves actively and often at ease. Sometimes his liberties are so provocative that they seem indecent.

Evgeniy loves to eat hearty and tasty food. Does not deprive himself of the pleasure of drinking wine, mainly in large quantities.

The essence of nihilism by Evgeny Bazarov

Bazarov's position in society is unusual and contradictory. He is an adherent of nihilism, a philosophical movement of the 60s of the 19th century, widespread in Russia. At its core, this movement contained an extremely negative attitude towards all manifestations of bourgeois-noble traditions and principles. Bazarov explains the essence of his philosophy as follows: “We act by virtue of what we recognize as useful,” said Bazarov. “At the present time, the most useful thing is denial - we deny.”

Personal qualities

The first thing that catches the reader’s eye is Eugene’s simplicity. About this distinctive feature we learn from the very first pages of the novel that his friend Arkady repeatedly draws his father’s attention to this fact during their trip to the family estate. “A simple man,” says Kirsanov the son. Nikolai Petrovich’s first impressions of the meeting with Bazarov were blurred by joyful experiences - after a long separation, he finally waited for his son, but still a certain precipitate towards Evgeny firmly settled in the mind of Kirsanov the father.

Bazarov has an extraordinary mind. This applies not only to the medical field, but also to other fields of activity. This state of affairs became the reason for the development of such negative quality like self-confidence. Evgeny is clearly aware of his mental superiority in relation to most of the people around him and cannot resist harsh comments and criticism. An accompanying quality to this extremely unattractive bouquet is also added pride. In Pavel Petrovich, such qualities seem incompatible with Bazarov’s type of activity. Uncle Arkady claims that a person with such a character cannot be a full-fledged district doctor.

Evgeniy thinks that he is “a positive, uninteresting person.” In fact, he is quite an attractive person. His views are non-standard, they are not much like the generally accepted ones. At first glance, it seems that he acts on the principle of opposition and opposition - Eugene contradicts virtually any thought, but if you look carefully, this is not just a whim. Bazarov can explain his position, give arguments and evidence indicating that he is right. He is quite a conflicted person - he is ready to start an argument with a person of any age and position in society, but meanwhile, he is ready to listen to his opponent, analyze his arguments, or pretend to make them. In this regard, Bazarov’s position lies in the following thesis: “Prove to me that you are right and I will believe you.”

Despite Evgeny’s readiness for discussion, he is very stubborn, it is difficult to convince him; throughout the novel, no one managed to completely change his attitude towards certain things: “When I meet a person who would not give up in front of me, then I will change my opinion about myself "

Folklore elements in the image of Bazarov

Evgeny Bazarov does not have the gift of eloquence. He does not like the refined manner of speaking of aristocrats. “I ask you one thing: don’t speak beautifully,” he says to his friend Kirsanov. In his manner of conversation, Evgeniy adheres to the principles common people- a little rude speech with many inclusions of folklore - proverbs and sayings.

Bazarov's proverbs and sayings reflect the position of the young doctor in society.

Many of them relate to the condition of the people and their ignorance. “The only good thing about a Russian person is that he has a very bad opinion of himself.” In this case, the situation is aggravated by the fact that Evgeniy has an ambivalent attitude towards ordinary people. On the one hand, he despises men for their lack of education and excessive religiosity. He does not miss the opportunity to ridicule this fact: “The people believe that when thunder roars, it is Elijah the prophet in a chariot driving around the sky. Well? Should I agree with him? On the other hand, in terms of his origin, Eugene is closer to ordinary people than to the aristocracy. He sincerely sympathizes with the men - their position in society is extremely difficult, many are on the brink of poverty.

Bazarov rejects the existence of man in harmony with nature. He believes that man has the right to dispose of all available resources of nature, and not to revere it: “Nature is not a temple, but a workshop, and man is a worker in it.”

He believes that sometimes the desire for education goes beyond all the boundaries of common sense and people fill their heads with information they don’t need at all: “There was an empty space in the suitcase, and I put hay in it; It’s the same in our life’s suitcase: no matter what they fill it with, as long as there is no emptiness.”

Bazarov's attitude to love and romance

Being a cynic and a pragmatist, Bazarov completely rejects feelings of love and sympathy. “Love is rubbish, unforgivable nonsense,” he says. In his eyes, a man who allows love to take over his mind is not worthy of respect.

"The man who put his whole life on the line female love and when this card was killed for him, he became limp and sank to the point that he was not capable of anything, such a person is not a man, not a male.”

First of all, this is due to Bazarov’s disdainful attitude towards women in general. In his opinion, women are very stupid creatures. “If a woman can hold a conversation for half an hour, that’s a good sign.” He is considering love affair with a woman only from a physiological standpoint, other manifestations are unfamiliar to him, which is why he rejects them.

In this regard, Bazarov admits contradictions. Despite statements about the uselessness of women for society, he prefers their company, especially if representatives of the opposite sex have an attractive appearance.

The love story of Bazarov and Odintsova

Evgeny Bazarov was very cynical about any manifestations of tenderness and love. He sincerely did not understand people who lose their heads from love - it seemed to him something indecent, and such behavior was unworthy of a self-respecting person. “Here you go! I was scared of the women!” - he thought.

At one point, Evgeniy meets Anna Sergeevna Odintsova, a young widower, and falls into the web of love ties. At the beginning, Evgeniy did not realize that he was in love. When he and Arkady Kirsanov visited Odintsova in her room, Bazarov felt an incomprehensible, unusual confusion for him.

Odintsova invites her friends to stay at her estate. Arkady, unlike Evgeny, does not hide his admiration for the girl, the trip will be in a good way improve relationships and gain the girl’s favor.

However, the opposite happens - a trip to Odintsova’s estate became disastrous for Kirsanov’s love, but gave hope for Bazarov.

At the beginning, Evgeniy tries to hide his feelings. He begins to behave too freely and cheekily. However, this does not last long - love experiences increasingly take possession of Bazarov: “His blood caught fire as soon as he remembered her; he could easily cope with his blood, but something else took possession of him, which he never allowed, which he always mocked, which outraged all his pride.”

The resulting feeling of shame and dissatisfaction gradually goes away - Bazarov decides to confess his feelings, but does not achieve reciprocity. He notices that Odintsova is also not breathing smoothly towards him, so her disregard for her feelings has a depressing effect on him. Evgeny does not know the exact reason for the refusal, and does not dare to find out about it from his beloved.

Thus, Evgeny Bazarov is a very controversial character in Turgenev’s novel. He is talented and smart, but his rudeness and cynicism cancel out all his advantages. Bazarov does not know how to find a compromise in communicating with people; he is outraged by the fact of disagreement with his point of view. He is ready to listen to his opponent, but in practice everything looks different - this is just a tactical move - for Bazarov everything is decided, he is not interested in other positions.

The image of Evgeny Bazarov in the novel “Fathers and Sons”: a description of personality, character and appearance in quotes