The collision of theory with life (based on the novel by I. Bazarov’s collision with his own theory (based on the novel by I. S. Turgenev “Fathers and Sons”)

1. Tradition of the image extra people.
2. The image of Bazarov in the novel “Fathers and Sons.”
3. What is the essence of Bazarov’s conflict with himself.
4. The novel as an anticipation of futurism.
5. Perception of the work by critics.

...I involuntarily ask myself: why did I live? For what purpose was I born?.. And, it’s true, it existed, and, it’s true, I had a high purpose, because I feel immense strength in my soul... But I didn’t guess this purpose, I was carried away by the lures of empty and ungrateful passions ...
M. Yu. Lermontov

These thoughts torment Pechorin, an extra person, on the eve of his duel with Grushnitsky. Russian literature has given many examples of superfluous people - sufficiently developed, intelligent, strong internally, decisive, but not fitting into this life, and therefore reflective, suffering and destroying themselves and others with their actions. At the same time, they understand everything and suffer: Chatsky, Onegin, Pechorin, Rudin, Oblomov and others. Bazarov from the novel “Fathers and Sons” was conceived not so much as extra hero, as much as a hero whose time has not yet come. But, as happens with great writers, the problems of the work and the image of Bazarov itself turned out to be brighter and richer than just the image of a commoner democrat, a nihilist, a radical person.

I. S. Turgenev himself, who sympathizes, but does not blindly trust people of this type, devotes a lot of space in his work to understanding this phenomenon in public life. In one of his letters, speaking about “deniers,” he said: “they follow their own path only because they are more sensitive to the demands folk life" This is their big advantage. And if Bazarov evokes sympathy among the author himself and among readers, then more later works“New”, “Smoke” we encounter much more sharply defined images of such people - from satirical to grotesque.

Bazarov, in my opinion, is one of the most integral and tragic heroes Russian literature. There is more about him that is attractive than repulsive; what is especially attractive is his intelligence, determination, masculinity, and constant passion for his activities. On the one hand, he is truly an extraordinary person, and these thoughts, contained in the epigraph of the essay, are characteristic of him to one degree or another.

On the other hand, unlike other “superfluous” people in Russian literature, Bazarov, on the contrary, conquered all passions and weaknesses. He constantly overcomes himself, he is ideologically steadfast and firm. At first, the hero appears as a confident and even self-confident person who does not take into account the opinions of others. The harshness and quarrelsomeness of his nature are emphasized from the first lines of the story dedicated to him. Turgenev constantly talks about his “red” hands, which indicates constant work, about his democratic origin - his grandfather plowed the land, about his ordinary appearance - a long and thin face, but at the same time “ broad forehead" This is a man who made himself, achieved independence and independence with his hard work, intellect, and will. And at least for this reason it commands the respect of the author.

An ambiguous reaction is caused by his statements about the denial of culture and ethical principles, excessive enthusiasm for the natural sciences, reaching the point of a consumerist attitude towards nature, unceremoniousness in manners, reasoning about human relationships, including an explanation of love as a purely physiological manifestation.

But as the novel progresses, sympathy and sympathy for the hero grows. Behind the feigned indifference and rudeness lies a nature capable of sincerely and strongly loving, understanding and feeling. Turgenev generally likes to test his heroes' strength with strong temptations, including love - this is his favorite artistic technique. However, not all heroes pass the test successfully. Moreover, in this way he often shows weakness human nature. In “Fathers and Sons”, the test of love does not reveal a person’s weakness - Bazarov understands everything and passes this stage with dignity. Here, the test of love removes the external superficial impression of the main character.

It turns out that not only Arkady, well-mannered, intellectually developed, but dependent, driven, internally weak person tries on a role unusual for him. And Bazarov himself doesn’t know himself well enough. The one-sidedness and peremptory nature of his views conflict with his more complexly organized and internally rich nature. Real life turns out to be richer and more complex than the denial and explanation of everything from the point of view of materialism and human physiological inclinations. Bazarov reveals himself from the other side - as a person who knows how to deeply love and suffer, while not losing common sense, like a caring son who is very worried about his parents.

The novel “Fathers and Sons” is considered one of the most studied and ideologically transparent works. Perhaps because Turgenev himself wrote a lot and in detail about his plans, about his understanding of the heroes. In general, the prototypes of the “collective image” of Evgeny Bazarov were many of Turgenev’s contemporaries - Belinsky, Dobrolyubov, Herzen, Bakunin. By the way, they reacted negatively to the created image of a democrat commoner, considering his image one-sided and unfair. Turgenev wrote a lot about Bazarov, considered him a tragic figure, standing “at a crossroads.” This is a man who did not accept the past and fought against its remnants, and is still superfluous in Russia. For this reason, he leaves untimely.

I. S. Turgenev created the image of a person “who did not exist in life, but ideally possible and alive,” wrote Yu. V. Lebedev. Indeed, Bazarov is a hero of enormous proportions, his fate and death as payment for the inconsistency and one-sidedness of the theory of nihilism. Turgenev, back in the second half of the 19th century, clearly showed what consequences the force of contempt and destruction can lead to for a revolutionary if it does not take into account real life, full of difficulties and problems. The creation of such an image of a nihilist revolutionary, in essence, is a creative discovery of Turgenev as an artist.

Despite harsh criticism, it is this novel by Turgenev that anticipates the birth of a real phenomenon that appeared in Russia several decades later. And this phenomenon is futurism, which gathered under its banner many young people of the early 20th century in Russia, who thought and felt like Bazarov. In addition, this phenomenon had a very specific embodiment in people. I mean the tragic figure of the great poet and man V.V. Mayakovsky. On the one hand, there is a clear desire to throw off everything superfluous from the ship of modernity (Bazarov argued something similar: “Pushkin is not worth a penny”). On the other hand, there is a subtle nature, boundless unique talent and a lack of fear of being oneself. Bazarov is shown the same way. It’s surprising that Turgenev guessed the type so accurately. Only unlike Bazarov, who did not “fit” into the era, Mayakovsky is a clear indication of the coincidence of personality traits, talent and the era in which he lived. His talent was revealed fully and on a full scale. The paradox is different - it was expected tragic ending and untimely departure. In the life of Mayakovsky, the same dramatic clash with his own views occurred, which led to the death of the poet.

I think it is precisely for the reason that Turgenev wrote so much and openly about the essence of his hero and the problems of the entire novel “Fathers and Sons” that it is still perceived somewhat simplistically. After all, the essence of the novel is not only in the dispute between fathers and sons, but, above all, in the dispute about what kind of hero Russia needs. As shown further events in our country, this issue is still relevant. Last words Bazarov, addressed to Odintsova, are full of tragic bitterness: “Father will tell you that this is what kind of person Russia is losing... this is nonsense... Russia needs me... no, apparently, I don’t. And who is needed?

These words are akin to the age-old debate about the features national character and search true hero time. Yu. V. Lebedev, a researcher of the work of I. S. Turgenev, absolutely accurately wrote: “The sympathies of the readers remain with the democrat Bazarov, not because he is absolutely triumphant, and the “fathers” are undoubtedly put to shame. Bazarov is significant as a titanic personality who did not realize the enormous opportunities given to her by nature and history.” This thought is consonant with the statement of V. G. Belinsky, who considered the true tragedy of the Russian man to be “the Russian scale, into which all the force intended for the blow is spent.”

Bazarov - winner or loser

In Turgenev’s novel “Fathers and Sons,” the title itself contains the antithesis of a clash of eras, a contradiction of generations. But the plot is not built on this. Conflict also arises due to the choice of life path of the new generation of “children”. So what opportunities do the “sons” have in the novel and what will they lead to?

The heroes representing the new generation are Arkady and Bazarov. They are united by common life values ​​and views characteristic of their era. However, both of them, having started their life journey from one point, went to different directions. At the beginning of the novel they arrive at the Kirsanovs' house. Both of them are followers of the trend that was fashionable at that time - nihilism. This is practicalism, elevated to an absolute principle, based on vulgar materialism, simplifying materialist philosophy, reducing it to a set of supposedly self-evident truths. “A nihilist is a person who does not bow to any authority, who does not accept a single principle on faith, no matter how respectful this principle may be.” From this point of view, Pushkin is nonsense, Raphael is “not worth a penny,” and “a decent chemist is 20 times more useful than any poet.” Nihilism denies the spiritual and moral aspects of life.

Because of this trend, Bazarov immediately comes into conflict with Pavel Petrovich, who defends his “principles.” Arkady strongly supports Bazarov in this dispute, but his remarks are not as logically harmonious and not as weighty as those of his comrade. “We break because we are strong,” he notes in response to Pavel Petrovich’s question, “But how can we break it without even knowing why?”

Here some difference is outlined between the two characters. Bazarov is fully aware of his theory, and Arkady seems to be learning from him. Their paths run parallel, but Arkady lags behind Bazarov. This subsequently gave him the opportunity to get rid of the nihilistic theory, since, without realizing it, he did not find himself dependent on it. Bazarov preaches to Arkady the theory “if you like a woman... try to make sense; but you can’t - well, don’t, turn away - the earth is not a wedge.” Arkady did just that, realizing that Odintsova was not interested in him, he insensitively “switched” to the accessible Katerina, although he internally did not agree with this approach to the matter.

Bazarov himself begins to realize the inferiority of his theory. Fenechka’s refusal and sudden love for Odintsova brought down Bazarov’s idea that love is only a physiological attraction between males and females. Bazarov discovers the romantic in himself and hates it. His consciousness, which is based on nihilistic ideas, cannot explain the existence of the spiritual side of life, which splits his being, personality, Bazarov. He sees manifestations of nihilism, brought to the point of absurdity by Kukshin and Sitnikov, as blind and stupid followers whom nihilism was attracted by its simplicity, sketchiness, accessibility, and the optionality of intelligence, education, conscience and morality.

On the other hand, he experienced love and accepted it as a fact in people's lives, which brought down the nihilistic theory. But at the same time, Bazarov feels unable to change himself. He realized the value of the spiritual side of life and the insignificance of the material things for which he lived, which meant that his entire life was spent aimlessly in pursuit of visible gain. This insight was terrible for him. Losing ground under his feet, Bazarov begins to hate the world around him and suspect everyone of deceit.

However, realizing the disastrous nature of the theory, Bazarov tries to save Arkady from it. Here the final break in the direction of their life paths oriented towards different values ​​and principles. Saying goodbye to Arkady, Bazarov said “...you acted smartly; You were not created for our bitter, miserable life.” “And you should get married as soon as possible; Yes, get your own nest, and have more children.” Bazarov regrets that he cannot create his own home. Soon, returning to his parents' house, he dies. Arkady, forgetting about nihilism, married Katya.

This is the path of the “sons” in the novel “Fathers and Sons”. They have two alternatives: either live based on the experience of the previous generation, using established moral and spiritual principles, as Arkady later did, or go in search of something new, rebel against the unshakable foundations, leave the beaten path and die, like Bazarov. Thus, the author showed the triumph of spiritual ideals over material values, the purposelessness of destruction and the indisputability of moral principles.

The novel “Fathers and Sons” was written by I.S. Turgenev in 1862, a year after the abolition of serfdom. The action of the novel takes place in 1859 on the eve of the reform. It is quite natural that the main active hero stands new hero of Russian literature - a nihilist revolutionary, a democrat commoner.

Origin of Bazarov

Evgeny Vasilyevich Bazarov comes from a simple peasant family. His grandfather “plowed the land,” his father and mother live modestly and simply, and at the same time they took care of their son’s future - they gave him an excellent medical education. Knowing first-hand about peasant life, Bazarov understands perfectly well that significant changes are coming. A plan for reconstruction has matured in his mind public order, consisting in the absolute destruction of the past and the construction of a new world.

Bazarov's Nihilism

Bazarov – new person. He is a nihilist, a materialist, not subject to illusions, testing everything experimentally. Bazarov is interested in natural sciences; he works all day, looking for something new.

A personality, according to Bazarov, is a person with knowledge. He is sure that it is work that makes a person out of a person. Evgeniy Vasilyevich always finds himself where his knowledge will be useful. It's profitable

He learns it from other heroes and “extra” people, as well as from people of a new formation.

Bazarov is often rude and harsh in his statements: about women, about the past, about feelings. It seems to him that all this interferes with building a healthy society of the future. Everyone who does not know how to work is not needed by humanity. In many ways he can be considered wrong. What is the cost of just denying basic values? human existence: love, respect, principles, nature as a temple, the human soul.

The importance of a hero for society

Probably, Russian society needed such people to shake it up and force it to look at everything that was happening from the outside. New people appear in society only during periods of historical upheaval; they have special spiritual power, perseverance and steadfastness, the ability not to hide from the truth and to be honest with themselves even on the verge of death.

Bazarov the nihilist understands perfectly well that life will never be easy, sacrifices will be required from any person. And he is ready for them, without changing his convictions even an ounce. This makes it most attractive both for contemporaries and for the current reader.

Love in Bazarov's life

The strength of his spirituality also extends to Bazarov’s love feeling for Anna Odintsova, a strong and independent woman. He was captivated by her intelligence and her unique views on current events. Realizing that she cannot sacrifice everything for him, he confesses his feelings to her. Unrequited love for Anna Sergeevna seems to knock him out of his usual way of life. But it seems to me that if death had not interfered, Bazarov would have been able to overcome himself and his unhappy feelings, which he considered to be the weakness of his own personality.

Debunking Bazarov's theory

Sometimes strange and unusual, the hero I.S. Turgeneva delights readers with a set of qualities of a “perfect person”: fortitude, determination, perseverance, ability to persuade, etc., although it is impossible to agree with Bazarov on everything. His theory fails, and the hero realizes this - beauty, love and kindness become an integral part of his soul. And with them he dies, having found no application for his beliefs.

The failure of Bazarov's theory of nihilism

1st circle of Bazarov's wanderings

Maryino Nikolskoye Parents' house

(Kirsanov estate) (Odintsova’s estate) (small house)

Conflict with Dispute with Odintsova Conflict with parents,

Pavel Petrovich Kirsanov reassessment of views

2 round

Maryino Nikolskoye Parents' house

Duel with Pavel Petrovich Declaration of love by Odintsova Disappointment in nihilism

(attempt to check (Odintsova’s refusal) (Loneliness, death)

nihilistic views)

The ideological content of the novel “Fathers and Sons” determines the composition of the novel. Turgenev chose a circular composition: he takes Bazarov twice in a circle “Maryino - Nikolskoye - parental home.” For the first time, appearing in Maryino, at the Kirsanovs’ estate, Bazarov appears before us as a true nihilist, denying everything: moral principles, nature, art, love, and religion. Bazarov and Pavel Petrovich Kirsanov are people who are completely opposite in their views on the way of life. They belong to different social strata society: one is a nobleman, the other came from common people, and even with all the restraint between them there must be a serious clash. Bazarov has a highly developed sense of self-esteem; he is not used to succumbing to other people’s influences, but, on the contrary, knows how to subjugate others, as happened with Arkady. Pavel Petrovich Kirsanov is also a proud, principled person and knows how to defend his point of view. Both characters are strong individuals with self-esteem.

Their opinions diverge in all four main directions: about the role of the nobility (aristocracy), about the essence of nihilism, about their attitude towards the Russian people, about their views on art and nature. Pavel Petrovich sees the main driving force in society, and Bazarov accuses the aristocrats of “doing nothing,” that they are of no use. Kirsanov “turned pale” and no longer started talking about aristocracy. This means the defeat of Pavel Petrovich. In a dispute about the principles of nihilism, Kirsanov accuses nihilists of being unprincipled. To which Bazarov confidently replies that nihilists act from the principle of usefulness to society. For them, denial is usefulness. Pavel Petrovich is against the destruction of everything social order, he advocates the preservation of the old order. Arguing about the people, Pavel Petrovich claims that the Russian people are patriarchal, sacredly honor traditions, and religious. In his opinion, the backwardness of the people is the key to the salvation of society. And Bazarov is outraged by the backwardness of the people. He soberly assesses the plight of the peasants and opposes the lack of education and backwardness of the people. Question about art - weak point for Bazarov. He doesn't recognize art at all, most likely because he doesn't know it. Art does not bring any benefit, unlike science. Kirsanov mainly appreciates traditional art, starting with Raphael. Bazarov looks at nature as a workshop, seeing in it neither a source of inspiration nor beauty that has a beneficial effect on the human soul.

Thus, Bazarov emerges victorious from the ideological conflict. His arguments look more convincing and weighty. He behaves confidently and calmly in an argument with Pavel Petrovich. This self-confidence infuriates Kirsanov, and it seems that he was defeated in a verbal duel.

There is little in common between Bazarov and Odintsova: Anna Sergeevna is an aristocrat, a serene, cold, educated “duchess,” and Bazarov is a “doctor,” cynical on the outside and caring, as it turned out later, on the inside. Bazarov frightens Odintsova with his unbridledness and rudeness. The basis of her life is calm, constancy, an established routine, and there is no place for Bazarov in her life. Bazarov understands that he fell in love with Odintsova like a boy. At the same time, he realizes that Anna Sergeevna cannot reciprocate his feelings: they are too different. During a conversation with Odintsova in Nikolskoye, Bazarov felt defeated for the first time. Bazarov was powerless against love. Bazarov has no choice but to go to his parents. He says that he loves his parents, and comes to them last. And even then, it may be that he was offended at Nikolskoye. Somewhere in the subconscious, Bazarov is looking for support from his parents, knowing that he is loved and expected here. But the paths of the old parents and the adult nihilist son diverged long ago. Bazarov, as a true nihilist, cannot accept his father’s views, and Vasily Ivanovich is far from the modern views of young people. They undoubtedly have different goals in life. Bazarov’s goal is to destroy everything old, which means the patriarchal way of life of his parents. But parents cannot and do not want to change anything in their lives, their time has passed. So, a conflict is brewing with parents.

Bazarov makes the second circle greatly changed: he has learned doubt, known love, and is trying painfully to preserve his theory, which would allow him to maintain his superiority over other people. It is important for Turgenev to show whether Bazarov has changed in his relationships with people, whether the people with whom he argued, defending his nihilistic principles, have changed. If on Bazarov’s first visit to Maryino it ended in an ideological duel, then on his second visit the conflict resulted in a real duel. Pavel Petrovich Kirsanov also has a hostile attitude towards Bazarov, and in the end he challenges the nihilist to a duel. But even the duel did not resolve the dispute in favor of Kirsanov. Bazarov remained adamant in the face of Pavel Petrovich’s aristocracy, and the nobleman Kirsanov now looks even more ridiculous in his eyes. Soon Bazarov realizes that Arkady does not share his views and cannot be like-minded. Arkady is as much an aristocrat as the older Kirsanovs. Therefore, Bazarov hurries to leave Maryino and goes again to Nikolskoye, to Odintsova, in the hope that she suddenly changed her attitude towards him and was able to accept him as he is. But the miracle did not happen: Odintsova remained a cold, calculating “queen.” Having been defeated by a woman, Bazarov’s wounded pride seeks consolation again under the parental roof. Now he goes home to the elderly to lick the wounds received as a result of unrequited love. Thus, absolutely confident in the correctness of his views, a strong, powerful man, faced with love for a woman, “nonsense,” became convinced of the inconsistency of the theory of nihilism. The more he analyzes his principles, the more he thinks about his actions, the greater his disappointment. He no longer seems to himself to be the former giant; his principles of denial have been shattered by the foundations of life and the eternal laws of nature. Thus, the logical chain shows that, having passed the test of nihilism, Bazarov is left alone and is convinced of his uselessness and the inadequacy of the principles of denial. It couldn’t have been any other way, because in Bazarov the rational principle predominates, while in a person there should be equal parts of the soul and the rational. And only the scene of death could preserve in Bazarov a strong, unshakable personality, whose time has not yet come, the program for them has not yet worked out. Despite the tragic ending, such a hero was needed in the literature of pre-reform Russia. Turgenev set an example of a future democratic revolutionary capable of influencing public economic situation Russia. (A logical chain is compiled as the novel is studied, and the second part of the chain completes the analysis last scene. The entire diagram can be used in the final lesson.)

Comparative characteristics of Bazarov and Pavel Kirsanov

Ideological duel between Bazarov and Kirsanov