Centrally Turgenev’s novel “Fathers and Sons” is the image of the nihilist and rebel Yevgeny Bazarov. Already from the beginning of the novel, the reader has the opportunity to get to know him, and Bazarov’s appearance in the novel “Fathers and Sons” is described by the author with his usual genius.
External description of the hero
When meeting his son’s friend for the first time, Nikolai Petrovich is perplexed by his appearance: he sees young man, dressed in an incomprehensible robe. It would seem that what is remarkable here? But the brilliant master of creating portraits, I. S. Turgenev, creates precisely a remarkable image.
First of all, the reader immediately sees noble origin hero. weathered redder than your hands without gloves, ugly face, tousled hair. "Long, thin, with wide forehead…” his face became animated very rarely, only when he saw his superiority and could take advantage of it.
The author attaches particular importance to Bazarov’s hands. Their unkempt appearance indicates that the owner of the hands is not afraid of work and pays a lot of attention not only to mental but also to physical labor. The hero’s tall stature and even visually noticeable physical strength do not go unnoticed. Turgenev draws attention to the extraordinary nature of Bazarov’s portrait: “the large protuberances of the spacious skull...” give the right to believe that the hero has a remarkable mind and abilities. The hair is long, thin, sandy sideburns. On such an expressionless face, the hero’s eyes stand out very much - large, expressive, piercingly green.
In describing Bazarov, the author uses such a common example as contrast: non-noble appearance, but origin from the nobility, democracy and determination, strength of character and the will to live. All features are opposed to each other.
Reading the novel carefully, between the lines one can assume the following thought: on the one hand, Bazarov is a nihilist revolutionary who cares for the people, on the other, the people are alien to him, he sees his superiority over the simple peasant.
Work test
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, unwillingness to follow the rules 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 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, for the first time we become witnesses of Bazarov’s communication with the men. “Well, turn around, fat beard!” - Bazarov turned to the coachman. However, this apt, 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, from which, as Fenechka aptly remarks, “it 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 humble 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, Fenechka, 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, even though 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 national peculiarity. “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. “In a few minutes” he 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 from the owner of the house himself, but pushed his friend to do it, 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, in our eyes? inherent in man doing 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 authority, 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: principles natural selection, 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 empirically, 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 harsh, 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 person, who, even in his extremes, was the embodiment of typical traits of 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 having encountered the philosophy and practice of nihilism, I 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 it does throughout the novel main character. This is largely why Bazarov for his creator is a “tragic”, “wild”, “gloomy” figure.
I.S. Turgenev had amazing intuition. The genius of the writer lies in the fact that he knew how to listen sensitively to Russian life and find in it the sprouts of the new, the most relevant. So in the late 50s and early 60s he saw in Russia new type a hero who replaced the hero-nobleman.
The image of Bazarov is a new hero of Russian literature
The first hero in the gallery of such images in the writer’s work was Evgeny Bazarov.
The hero-nobleman is replaced by the hero-commoner
I.S. Turgenev wrote in the article “About “Fathers and Sons”:
In this wonderful person(the prototype of Bazarov) was embodied... a barely born, still fermenting principle, which later received the name of nihilism. The impression this personality made on me was very strong and at the same time not entirely clear.
Bazarov's childhood
We know very little about the hero’s childhood. We learn that his grandfather was a serf
"My grandfather plowed the land"
the hero proudly declares.
His parents' marriage was not based on love. But, reading the portraits of Arina Vlasyevna and Vasily Ivanovich, we understand that they respect each other, madly love their Evgeniy, therefore we can assume that everything that was necessary to give their son an education, to raise him, Bazarov’s parents did.
The hero's father is a former regimental doctor. Evgeniy is studying medicine at the university, which means Vasily Ivanovich also had some influence on this. In general, Turgenev talks a lot and willingly about the past of other heroes, but we know little about the past of this character. Maybe because it is not the past that determines the essence of the hero, but the present. We know that he is studying at the university, but all the characters in the novel, even the hero’s opponents, are aware that medicine will not be the subject of his future outstanding activity.
Bazarov - commoner
And that, perhaps, says it all. He is a self-made man. He is a man of action. It’s not for nothing that Turgenev writes about spending time in Maryino:
“Arkady was sybaritizing, Bazarov was working.”
Evgeniy is first of all very strong man. All the heroes of the novel feel this new power. His strength is manifested in all his actions: in unhappy love, in categorical statements, in his attitude towards other people and, of course, in death. No wonder he wrote:
“To die the way Bazarov died means to accomplish a great feat.”
The image of Evgeny Bazarov as a man of action
He is kind in his own way. Let us at least remember the scene of the first meeting of the hero and Arkady with Fenechka. She, the mother, first of all notes how calmly the child walked into Evgeniy’s arms. Children really feel the essence of a person. He is a doctor. And this essence of the doctor is manifested in everything in his image:
- in relation to the inhabitants of Maryino,
- in how he helps Pavel Petrovich, wounded in a duel,
- The fact is that he dies, having become infected during the autopsy of a typhoid corpse.
Evgeny is proud. His relationship with Madame Odintsova, after the explanation, evokes respect for him. He can be touching with his parents, it is about them that he thinks about before his death (respecting their attitude towards religion, he asks Odintsova to console Arina Vlasyevna). He, who rejects all feelings, is capable of great love. He, who rejects all moral standards, essentially lives by high moral laws. But in everything where and how the hero manifests himself, his commitment to the theory of nihilism is reflected.
Bazarov is a nihilist
Therefore, Turgenev is extremely interested in the ideas that his character preaches. Bazarov calls himself a nihilist, that is, a person who does not recognize anything. In the novel, he preaches the ideas of the positivists of the mid-nineteenth century, who proclaimed the primacy of practice over speculation. One can feel the influence of the aesthetic concept in Evgeniy’s attitude to art
(“Beautiful is what is useful”).
The hero rejects, first of all, what is not amenable to experimental research.
There are no feelings, there is physiology. There is no love, but there is physical attraction. There is no “mysterious look”, there is a lens, a cornea, refraction of light... and that’s all.
For Bazarov, practice is the criterion of truth
Practice is for him the criterion of truth. Experiment is the only way to study nature. At the same time, art and beauty turn out to be unnecessary concepts. The practicality of the position in the image of Bazarov is expressed in his words:
“Nature is not a temple, but a workshop, and man is a worker in it.”
Evgeny Bazarov as a man of ideas
This is why it is interesting to both the writer and the reader. But his ideas are fruitless, their basis is destruction, this is where the hero sees his purpose (“to clear the place,” which recalls the words of the Russian translation of “The International” - “to the ground”). The position of the main character of the novel is unacceptable for Turgenev.
Bazarov's strength of character is evident in his death scenes
The strength of character of Bazarov the man is manifested in the death scenes. First of all, death is something that cannot be denied. So eternal nature argues with human theories. Secondly, in death Eugene becomes a person, sensitive, gentle, poetic, courageous. The phrase he said before his death is noteworthy:
“Russia needs me... No, apparently, I don’t.”
This is how the hero himself answers the eternal question of Russian reality and Russian literature - the question of the hero of the time. In the epilogue of the novel, Turgenev, describing Bazarov’s grave, speaks of the eternity of nature and the vanity of human life.
Our presentation
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 in different ways artistic means, because the portrait genre exists in such forms of art as painting, graphics, sculpture, engraving, photography, literature, 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, a 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's obvious that he doesn't shy away from it 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 origins - 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 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.
Ivan Sergeevich Turgenev is a wonderful master literary portrait. The heroes of his works are often described so vividly and figuratively that even a painter could envy him. The most striking, in my opinion, work, saturated with rich portrait characteristics, is the novel "Fathers and Sons".
On the very first page of the novel, the author introduces us to Nikolai Petrovich Kirsanov. The writer needed one sheet of paper, a few bright and rich colors, and we already know everything about the middle-aged, ordinary, but kind landowner waiting on the porch of the inn for his son. We know that he is in his forties, but he looks older: “very gray, plump and a little hunched over.” Turgenev does not write anything about his spinelessness, but from the way he speaks, he sits “with his legs tucked under him,” he cannot restrain his emotions: “he ran and waved his arms,” we conclude that this is so. He is sentimental, timid, not very smart, touchingly loves his son and is proud of him. “Finally, you are a candidate and have arrived home. Finally!"
The author paints a completely different portrait, describing Nikolai Petrovich’s more handsome and successful brother, Pavel Petrovich. “His face was bilious, but without wrinkles, unusually regular and clean, as if carved with a thin and light incisor, showing traces of remarkable beauty.” Unlike his brother, he served quite successfully: at the age of twenty-eight he was already a captain; a brilliant career awaited him. But he fell in love passionately and ruined both his life and his career. Pavel Petrovich is drawn by the writer in detail: the details of his wardrobe, his manners and habits are described with obvious pleasure. We understand that he is a dandy, an egoist and a conservative.
Turgenev also describes the beloved women of the Kirsanov brothers very accurately. They have never known each other and have never even seen each other, and just like the brothers, they are completely different. They are all different: social status, appearance, fate. Fenechka, that’s the name of Nikolai Petrovich’s woman, “one of the simple ones,” the daughter of Kirsanov’s housekeeper. She is simple and beautiful: “He kept imagining this pure, gentle, fearfully raised face.” Timid and gentle, she personifies folk beauty and simplicity. Fenechka loves Nikolai Petrovich very much, she is a devoted wife and caring mother.
The portrait of a woman masterfully described by the writer conveys precisely these spiritual qualities. “The door opened and Fenechka came in with Mitya in her arms. She put on him a red shirt with a braid at the collar, combed his hair and wiped his face: he was breathing heavily, thrashing all over his body and twitching his little hands, as all healthy children do; but the smart shirt apparently had an effect on him: an expression of pleasure was reflected throughout his plump figure. Fenechka put her hair in order and put on a better scarf.”
Princess R., whom Pavel Petrovich loved so madly, “was reputed to be a frivolous coquette, enthusiastically indulged in all kinds of pleasures, danced until she dropped, laughed and joked with the young people whom she received before dinner in the twilight of the living room, and at night she cried and prayed.” . And now the reader imagines this woman: “she was amazingly built; her braid was golden in color and heavy as gold, falling below her knees, but no one would call her a beauty; The only good thing about her whole face was the eyes, and not even the eyes themselves - they were not large and gray - but their gaze, quick and deep, careless to the point of daring and thoughtful to the point of despondency - a mysterious look.” The described portrait leaves no doubt: Pavel Petrovich could not help but fall in love with such a woman.
Another beautiful one female image Turgenev draws Anna Sergeevna Odintsova.
“Her naked arms lay beautifully along her slender figure; light fuchsia branches fell beautifully from shiny hair onto sloping shoulders; calmly and intelligently, precisely calmly, and not thoughtfully, the bright eyes looked from under a slightly overhanging white forehead, and the lips smiled with a barely noticeable smile. What a gentle and soft power radiated from her face.” Later, when the novel is read, it will become clear to us what this calmness meant: it was the inability to feel and the inability to love.
The author paints the portrait of the main character of the novel, Yevgeny Bazarov, in deliberately sparing colors. This is how he describes his face: “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.” Already from this first description we can conclude that this ugly young man is smart, stubborn and strong. From terse phrases like: “he said almost nothing, but ate a lot,” “Bazarov, sitting in a dressing gown near his bed and sucking on a short straw,” we understand that the young man deliberately neglects his manners, that he is, to put it mildly, cheeky, and more The author himself doesn’t really like it. Much can be understood by looking into the eyes of the hero.
Thus, the role of the portrait in revealing the characters of the characters in the novel “Fathers and Sons” is difficult to overestimate. Everything matters here: the color of the eyes and their expression, the hero’s voice and his manner of speaking, his dress and the condition of his nails. The writer Turgenev did not forget a single detail, he is, in general, a master of detail, so the heroes of his novel are still interesting to our contemporaries.
Tasks and tests on the topic “The role of the portrait in revealing the characters of the heroes of the novel by I.S. Turgenev. (Based on the novel “Fathers and Sons” or “The Noble Nest.”)”
- The role of soft and hard signs - Spelling of vowels and consonants in significant parts of words, grade 4
Lessons: 1 Assignments: 9 Tests: 1
- Nominative case of nouns. Role in the sentence of nouns in the nominative case - Noun 3rd grade