Essay on literature. Comparative characteristics of heroes. Bazarov and Arkady. Comparative characteristics

05.04.2019

Bazarov and Arkady. Comparative characteristics.

In 1862, Turgenev wrote the novel “Fathers and Sons.” During this period, a final break was outlined between two social camps: liberal and revolutionary-democratic. In his novel, Turgenev showed a man of a new era. This is the democrat commoner Bazarov.

Throughout the entire novel, his friend Arkady is shown next to Bazarov. According to their beliefs and origins, they belong to different social classes. According to his convictions, Bazarov is “a democrat to the core.” Friends study together at the medical faculty of the university. They are connected by several years of friendship.

Arkady falls under the influence of Bazarov and wants to be like him. He sincerely shares his views.

Arkady is forced to join the nihilists by “young courage and youthful enthusiasm.” But he is not guided by Bazarov’s ideas in life. They do not become an organic part of him, which is why he will so easily abandon them later. Bazarov says to Arkady: “Our dust will eat your eyes, our dirt will stain you.” That is, Arkady is not ready for the “tart, bitter botanical life” of a revolutionary. Bazarov, assessing the life of a revolutionary, is both right and wrong. Breaking existing foundations, traditions, and views always causes fierce resistance, and it’s hard for the progressive fighters. The revolutionary democratic ideal of happiness is revolutionary activity for the benefit of the people, despite personal adversity.

Arkady is not ready for this, since he is a “soft liberal baric.” In their “youthful enthusiasm,” liberals do not go beyond noble ebullience, but for Bazarov this is “nonsense.” Liberals do not “fight,” but “imagine themselves to be great; revolutionaries want to fight.” Giving an assessment of Arkady, Bazarov identifies him with the entire liberal camp. Spoiled by life in a noble estate, Arkady “involuntarily admires himself”; he enjoys “scolding himself.” This is boring for Bazarov, he “needs to break others.” Arkady just wanted to seem like a revolutionary; he had a lot of youthful pomp in him, but at heart he always remained a “liberal gentleman.”

Arkady appreciates Bazarov for his willpower, energy, and ability to work. At the Kirsanov estate, Bazarov is received cordially. Arkady asks his family to take care of Bazarov. But Bazarov’s revolutionary democracy does not at all fit in with the liberal aristocracy of the Kirsanov house. He does not fit into their life, full of idleness. And here, as a guest, Bazarov continues to work. The lifestyle of friends on the estate is expressed in the phrase: “Arkady was a sybaritist, Bazarov worked.” Bazarov conducts experiments, reads special books, collects collections, and treats village peasants. In the eyes of revolutionaries, work is a necessary condition of life. Arkady is never seen at work. Here, on the estate, Bazarov’s attitude to both nature and the people is revealed.

Bazarov considers nature not a temple but a workshop, and a person in it as a worker. For Arkady, as for all the Kirsanovs, nature is an object of admiration and contemplation. For Bazarov this means lordship. He objects to prayerful contemplation of nature, lordly enjoyment of its beauty. He requires an active attitude towards her. He himself treats nature as a caring owner. Nature pleases him when he sees the fruits of active intervention in it. And here, too, the points of view of Arkady and Bazarov diverge, although Arkady does not talk about this.

The attitudes of Bazarov and Arkady to love and to women are different.

Bazarov is skeptical about love. He says that only a fool can feel free with a woman. But meeting Odintsova changes his views on love. She impresses Bazarov with her beauty, charm, and ability to behave with dignity and tact. Feelings for her arise when spiritual communication begins. She is smart, able to understand him. Bazarov, despite external cenism, discovers in love and aesthetic feeling, and high spiritual needs, and respect for the woman you love. But Odintsova is an epicurean young lady. Peace is above all for her. Therefore, she extinguishes the feeling that appears for Bazarov. And here Bazarov behaves with dignity, does not become limp and continues to work. The mention of love for Odintsova causes Bazarov to confess that he is “broken,” and he does not want to talk about it.

Arkady's acquaintance with Katya reveals that his ideal is “closer,” that is, in the family, on the estate. He himself says that he is “no longer that arrogant boy”, that he still “set himself tasks that were beyond his strength,” that is, Arkady admits that the life of a revolutionary is not for him. And Katya herself says that Bazarov is “predatory”, and Arkady is “tame”.

Bazarov is close to serfs. For them he is “a brother, not a master.” This is confirmed by Bazarov’s speech, in which there is a lot folk proverbs and the saying and its simplicity. Although the peasants on his estate treat Bazarov as a master, throughout the novel he is “one of their own” for the people. For people, Arkady remains a gentleman, a master.

Bazarov is too demanding of himself. He tells Arkady that “every person must educate himself.” His nihilism leads him to become ashamed of natural human feelings. He seeks to suppress their manifestations in himself. Hence Bazarov’s dryness even towards people close to him. But when asked by Arkady whether Bazarov loves his parents, he answers simply and sincerely: “I love you, Arkady!” But Bazarov's parents were hopelessly behind him. They cannot not only keep up with him, but also follow him. Arkady also loves his loved ones. Bazarov gives an apt, comprehensive description of Arkady’s relatives, to which Arkady does not object. By this, he seems to express the point of view of Bazarov, who believes that a nihilist should not express his feelings.

Bazarov's nihilism leads to the denial of old and new art. For him, “Raphael is not worth a penny, and they are no better than him.” He believes that “at 44 years old it’s stupid to play the cello,” and reading Pushkin “is no good.” He considers art a form of making money. For him, “a decent chemist is more useful than any poet,” and art is not capable of changing anything in life. This is the extreme of Bazarov's nihilism. Bazarov emphasizes the importance of scientists for Russia, since Russia then lagged behind the West in science. Arkady loves poetry. He would read Pushkin if not for Bazarov.

Arkady and Bazarov seem to oppose each other, and this is the conflict of the novel, expressed by the technique of contrast.

Thus, the breakup between Bazarov and Arkady is inevitable. Arkady is not ready for the “tart, bitter, bourgeois life” of a democrat. Bazarov and Arkady say goodbye forever. Bazarov breaks up with Arkady without saying a single friendly word to him. Bazarov says that he has different words for Arkady, but to express them is romanticism for Bazarov. Arkady found his ideal in the family. Bazarov dies, remaining true to his worldview. It is before death that the strength of his convictions is tested. Nihilistic beliefs did not take root in Arkady. He understands that the life of a revolutionary democrat is not for him. Bazarov dies a nihilist, and Arkady remains a “liberal gentleman.”

Bazarov and Arkady. Comparative characteristics.

Arkady falls under the influence of Bazarov and wants to be like him. He sincerely shares his views.

The attitudes of Bazarov and Arkady to love and to women are different.

Bazarov is skeptical about love. He says that only a fool can feel free with a woman. But meeting Odintsova changes his views on love. She impresses Bazarov with her beauty, charm, and ability to behave with dignity and tact. Feelings for her arise when spiritual communication begins. She is smart, able to understand him. Bazarov, despite external cenism, discovers in love an aesthetic feeling, high spiritual needs, and respect for the woman he loves. But Odintsova is an epicurean young lady. Peace is above all else for her. Therefore, she extinguishes the feeling that appears for Bazarov. And here Bazarov behaves with dignity, does not become limp and continues to work. The mention of love for Odintsova causes Bazarov to confess that he is “broken,” and he does not want to talk about it.

Bazarov is close to serfs. For them he is “a brother, not a master.” This is confirmed by Bazarov’s speech, which contains many folk proverbs and sayings and his simplicity. Although the peasants on his estate treat Bazarov as a master, throughout the novel he is “one of their own” for the people. For people, Arkady remains a gentleman, a master.

Arkady and Bazarov seem to oppose each other, and this is the conflict of the novel, expressed by the technique of contrast.

Thus, the breakup between Bazarov and Arkady is inevitable. Arkady is not ready for the “tart, bitter, bourgeois life” of a democrat. Bazarov and Arkady say goodbye forever. Bazarov breaks up with Arkady without saying a single friendly word to him. Bazarov says that he has other words for Arkady, but to express them is romanticism for Bazarov. Arkady found his ideal in the family. Bazarov dies, remaining true to his worldview. It is before death that the strength of his convictions is tested. Nihilistic beliefs did not take root in Arkady. He understands that the life of a revolutionary democrat is not for him. Bazarov dies a nihilist, and Arkady remains a “liberal gentleman.”

References

To prepare this work, materials were used from the site http://sochinenia1.narod.ru/

In 1862, Turgenev wrote the novel “Fathers and Sons”

During this period, a final break was outlined between two social camps: liberal and revolutionary-democratic.

In his novel, Turgenev showed a man of a new era. This is the democrat commoner Bazarov.

Arkady falls under the influence of Bazarov and wants to be like him. He sincerely shares his views.

Arkady is forced to join the nihilists by “young courage and youthful enthusiasm.” But he is not guided by Bazarov’s ideas in life. They do not become an organic part of him, which is why he will so easily abandon them later. Bazarov says to Arkady: “Our dust will eat your eyes, our dirt will stain you.” That is, Arkady is not suited to the “tart, bitter, bourgeois life” of a revolutionary.
Bazarov, assessing the life of a revolutionary, is both right and wrong. Breaking up existing foundations, traditions, and views always causes fierce resistance, and it’s hard for the progressive fighters. The revolutionary democratic ideal of happiness is revolutionary activity for the benefit of the people, despite personal adversity.

Arkady is not ready for this, since he is a “soft liberal barich”

In “youthful enthusiasm,” liberals do not go beyond noble ebullience, but for Bazarov this is “nonsense.” Liberals do not “fight,” but “imagine themselves to be great; revolutionaries want to fight.” Giving an assessment of Arkady, Bazarov identifies him with the entire liberal camp. Spoiled by life in a noble estate, Arkady “involuntarily admires himself,” he enjoys “scolding himself.” This is boring for Bazarov, he “needs to break others.” Arkady just wanted to seem like a revolutionary; he had a lot of youthful pomp in him, but in his soul he always remained a “liberal gentleman.”

Arkady appreciates Bazarov for his willpower, energy, and ability to work

At the Kirsanov estate, Bazarov is received cordially. Arkady asks his family to take care of Bazarov. But Bazarov’s revolutionary democracy does not at all fit in with the liberal aristocracy of the Kirsanov house. He does not fit into their life, full of idleness. And here, as a guest, Bazarov continues to work. The lifestyle of friends on the estate is expressed in the phrase: “Arkady was sybaritic, Bazarov worked.” Bazarov conducts experiments, reads special books, collects collections, treats village peasants

In the eyes of revolutionaries, work is a necessary condition of life. Arkady is never seen at work. Here, on the estate, Bazarov’s attitude to both nature and the people is revealed.

Bazarov considers nature not a temple but a workshop, and a person in it as a worker. It is important to understand that for Arkady, as for all the Kirsanovs, nature is an object of admiration and contemplation. It is important to understand that for Bazarov this means lordship. He objects to prayerful contemplation of nature, lordly enjoyment of its beauty. He requires an active attitude towards her. He himself treats nature as a caring owner. Nature pleases him when he sees the fruits of active intervention in it. And here, too, the points of view of Arkady and Bazarov diverge, although Arkady does not talk about this.

The attitudes of Bazarov and Arkady to love and to women are different.

Bazarov is skeptical about love. He says that only a fool can feel free with a woman. But meeting Odintsova changes his views on love. She impresses Bazarov with her beauty, charm, and ability to behave with dignity and tact. Feelings for her arise when spiritual communication begins. She is smart, able to understand him. Bazarov, despite external cenism, discovers in love an aesthetic feeling, high spiritual needs, and respect for the woman he loves. But Odintsova is an epicurean young lady. Peace is above all for her. For this reason, she extinguishes the feeling that appears for Bazarov. And here Bazarov behaves with dignity, does not become limp and continues to work. The mention of love for Odintsova causes Bazarov to admit that he is “broken,” and he does not want to talk about it.

Arkady's acquaintance with Katya reveals that his ideal is “closer,” that is, in the family, on the estate. He himself says that he is “no longer that arrogant boy,” that he still “asked himself tasks that were beyond his strength,” that is, Arkady admits that the life of a revolutionary is not for him. And Katya herself says that Bazarov is “predatory”, and Arkady is “tame”.

Bazarov's nihilism leads to the denial of old and new art. It is important to understand that for him “Raphael is not worth a penny, and they are no better than him.” He believes that “at 44 years old it’s stupid to play the cello,” and reading Pushkin “is no good.” He considers art a form of making money. It is important to understand that for him “a decent chemist is more useful than any lyricist,” and art is not capable of changing anything in life. This is the extreme of Bazarov's nihilism. Bazarov emphasizes the importance of scientists for Russia, given that in science Russia then lagged behind the West. Arkady loves poetry. He would read Pushkin if not for Bazarov.

Arkady and Bazarov seem to oppose each other, and this is the conflict of the novel, expressed by the technique of contrast.

Based on the above, we come to the conclusion that the breakup between Bazarov and Arkady is inevitable. Arkady is not ready for the “tart, bitter bourgeois life” of a democrat. Bazarov and Arkady say goodbye forever. Bazarov breaks up with Arkady without saying a single friendly word to him. Bazarov says that he has other words for Arkady, but to express them is romanticism for Bazarov. Arkady found his ideal in the family. Bazarov dies, remaining true to his worldview. It is before death that the strength of his convictions is tested. Nihilistic beliefs did not take root in Arkady. Information from the site Bigreferat.ru / site He understands that the life of a revolutionary democrat is not for him. Bazarov dies a nihilist, and Arkady remains a “liberal gentleman.”

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What was unclear to Bazarov

incomprehensible to Bazarov Joseph Goldfain Bazarov, the hero of I. S. Turgenev’s novel “Fathers and Sons,” looks very modern. His mocking attitude towards all “sentimentality”, his conviction that every person should be engaged in “serious” work and not be distracted by “trifles”, his reluctance to attach any importance to human feelings seem more characteristic of our time than of the middle of the last century ....

Comparative characteristics of Bazarov and Pavel Petrovich Kirsanov

Speaking about the plan and purpose of his future work, Turgenev admitted: “I was embarrassed by the following fact: in not a single work of our literature did I encounter even a hint of what I saw everywhere.” The merit of the writer is that he was the first in Russia to raise this topic in literature and for the first time tried to create the image of a “new man”, a representative of the commoners. The author's ambivalent attitude towards his hero was reflected in the novel, but Turgenev, despite the inconsistency of the depicted image, believed that the future was opening up behind these people. “My whole story is directed against the aristocracy as an advanced class,” he wrote. ...

Disputes between E. Bazarov and P.P. Kirsanov in the novel "Fathers and Sons"

Disputes between E. Bazarov and P.P. Kirsanov in the novel “Fathers and Sons” The writer’s eternal desire to understand everything that is happening in a given period in his country is also inherent in I.S. Turgenev. A vivid novel that reflected an entire era in the historical development of Russia, the second half of the 19th century century the novel "Fathers and Sons" appeared. In the book, the writer reflected not only the contradictions of different generations, but also, in to a greater extent, - the struggle of two socio-political camps that had developed in Russia by the 60s of the 19th century. ...

Bazarov's disputes with Pavel Petrovich: who is right?

The novel "Fathers and Sons", according to the definition of the Russian writer Vladimir Nabokov, is "not only best novel Turgenev, but also one of the most brilliant works of the 19th century." The central place here is occupied by the long disputes of the young raznochinsky nihilist Evgeny Bazarov and the aging aristocrat Pavel Petrovich Kirsanov. These heroes differ from each other in everything: age, social status, beliefs, appearance. Here is a portrait of Bazarov: “tall in a long robe with tassels,” his face “long and thin with a wide forehead, a flat upward, pointed nose downwards, large greenish eyes and hanging sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence”; the hero has thin lips, and “his dark-blond hair, long and thick, did not hide the large bulges of his spacious skull.” And here is a portrait of Bazarov's main opponent: "... a man of average height, dressed in a dark English suit, a fashionable low tie and patent leather ankle boots, Pavel Petrovich Kirsanov, entered the living room. He looked about forty-five years old; his short hair gray hair shone with a dark shine, like new silver; his face, bilious, but without wrinkles, unusually regular and clean, as if carved with a thin and light chisel, showed traces of remarkable beauty; The light, black, oblong eyes were especially beautiful. The whole appearance... graceful and thoroughbred, retained youthful harmony and that desire upward, away from the earth, which for the most part disappears after the twenties." ...

The meaning of the conflict between Bazarov and the Kirsanov brothers

One of the most important features of Ivan Sergeevich Turgenev’s work is the desire to understand everything that is happening in the country. A striking work that reflected an entire stage in the historical development of Russia in the second half of the 19th century was the novel “Fathers and Sons.” The title of the work suggests that it will resolve the eternal issue - the contradictions between generations, and it is raised by the author, but in fact the writer is concerned about something else. Fathers and sons are those who live in the thoughts of the passing generation, and representatives of new ideas, directions, thoughts, new people born of a new time. In the novel, Turgenev tries to understand, comprehend the purpose of life, the worldview of this new man, a commoner by birth, a democrat by birth. political views. The novel “Fathers and Sons” shows the struggle between the worldviews of two political directions - liberal nobles and democratic revolutionaries. The plot of the novel is built on the opposition of the most active representatives of these directions - the commoner Bazarov and the nobleman Pavel Petrovich Kirsanov. In addition to this main problem, Turgenev raises a number of other issues related to the moral, cultural, socio-economic development of Russia in the 60s of the 19th century. ...

The novel “Fathers and Sons” was created at a time when the question of the abolition of serfdom was raised, when the contradictions between liberals and democrats intensified. As a true artist and creator, Turgenev was able to guess the mood of his time, the emergence of a new type, the type of democrat-commoner, who replaced the noble intelligentsia.

Main problem, put by the writer in the novel, is already heard in the title, which has a double meaning. On the one hand, this is a generational problem, on the other, a conflict between two socio-political forces operating in Russia in the 60s 19th century: liberals and democrats. Evgeny Bazarov and Arkady Kirsanov, due to their age, should belong to the same camp, but this is not so.

Bazarov - new person, a representative of those young leaders who “want to fight,” nihilists. He is for new life and remains true to his convictions to the end. He is the main and only exponent of democratic ideology. But Arkady, in his views on life, certainly belongs to the “fathers”, although he is sincerely carried away by the unusual views of his “teacher”, strives to imitate him and passes himself off as a similar nihilist. However, often forgetting about his “nihilism”, about his new role, Arkady shows ideological kinship with the older generation. It is no coincidence that he defends them every now and then, trying to convince Bazarov that Pavel Petrovich is a good man, and Nikolai Petrovich is a “golden” man.

When characterizing characters, Turgenev most often uses dialogue and portraits. Dialogue is the most suitable form for conveying the essence of the political and philosophical debates taking place in the novel. In an unusually sharp dialogue, the main conflict between Bazarov and Arkady Kirsanov is revealed. “Your brother, a nobleman, cannot go further than noble humility or noble boiling, and this is nothing. For example, you don’t fight - and you already imagine yourself to be great - but we want to fight.” He disagrees with Arkady in the main thing - in his ideas about life, about the purpose of man. Their relationship cannot be called friendship, because friendship is impossible without mutual understanding, friendship cannot be based on the subordination of one to the other. Throughout the entire novel, the subordination of a weak nature to a stronger one is observed: Arkady to Bazarov. Over time, Arkady acquires his own opinion, stops blindly repeating the judgments and opinions of the nihilist and expresses his thoughts.

The difference between the heroes is visible in their behavior on the Kirsanov estate. Bazarov is busy with work, studying nature, and Arkady is idle. Bazarov is the enemy of abstract science, divorced from life. He is for science that would be understandable to the people. Bazarov is a worker of science, he is tireless in his experiments, completely absorbed in his favorite profession. Arkady is completely different, we feel that this person is somehow sluggish, weak, limited. The image of Arkady reveals the failure of liberals. Arkady does not do anything; none of the serious matters really captivates him. For him, the main thing is comfort and peace.

Turgenev gradually reveals to us the difference in the worldviews of his friends - in their views on the fundamental values of life: love, poetry, nature. Arkady's resistance to Bazarov's views is obvious: gradually the “student” leaves the power of the “teacher.” The essence of the differences between them, in my opinion, is in their attitude towards people. Bazarov (by his own admission) hates many, but Arkady has no enemies. One is too harsh, categorical, the second is too soft, “spineless”. "You gentle soul, a weakling,” says Bazarov, realizing that Arkady can no longer be his associate. The “disciple” cannot live without principles. In this way he is very close to his liberal father and Pavel Petrovich. Arkady is a man belonging to the old generation, the generation of “fathers”.

I am far from making moral assessments of “fathers” and “sons”: there is too much good and bad, too much contradictory in each generation. The essence of my essay is different: being representatives of the same generation, Evgeny Bazarov and Arkady Kirsanov ultimately cannot find a common language. The turning point of the era is difficult, dividing people into “fathers” and “children”, regardless of age.

The novel “Fathers and Sons” was created at a time when the question of the abolition of serfdom was raised, when there were contradictions between liberals and democrats. After the release of the novel, a flurry of critical articles fell upon him.

As a true artist and creator, Turgenev was able to guess the mood of his time, the emergence of a new type, the type of democrat-commoner, who replaced the noble intelligentsia.

The main problem posed by the writer in the novel is already heard in the title “Fathers and Sons”. This name has a double meaning. On the one hand, this is a generational problem, an eternal problem classical literature, on the other hand, there is a conflict between two socio-political forces operating in Russia in the 60s of the 19th century: liberals and democrats. In the novel by I.S. Turgenev's “Fathers and Sons” the main characters are Bazarov and Arkady Kirsanov.

The characters are grouped depending on which socio-political grouping we classify them as.

But the point is that main character Evgeny Bazarov turns out to be the only representative of the commoner democrat camp. All other heroes are in the opposite camp. Bazarov is a new person, a representative of those young leaders who “want to fight,” “nihilists.” He is for a new life and remains true to his convictions to the end. He is the main and only exponent of democratic ideology.

Arkady Kirsanov also belongs to the political camp of the “fathers” in his views on life. True, he is sincerely interested in Bazarov’s theory, strives to imitate him and presents himself as a nihilist like his friend. However, often forgetting about his “nihilism”, about his new role, Arkady reveals an ideological kinship with the “fathers”. It is no coincidence that he defends them every now and then: in one chapter he tries to convince Bazarov that Pavel Petrovich - “ good man”, and Nikolai Petrovich is a “golden man”.

Bazarov is the enemy of abstract science, divorced from life. He is for science that would be understandable to the people. Bazarov laughs at his father’s medicine because it is behind the times. Bazarov is a worker of science, he is tireless in his experiments, completely absorbed in his favorite profession.

Arkady is completely different, we feel that this person is somehow sluggish, weak, limited. The image of Arkady reveals the failure of liberals. Arkady discovers his blood and ideological kinship with the liberals in a number of other places in the novel.

In an unusually sharp dialogue, the main conflict between Bazarov and Arkady Kirsanov is revealed. “Your brother, a nobleman,” says Bazarov to Arkady, “cannot go beyond noble humility or noble boiling, and this is nothing. For example, you don’t fight—and you already imagine yourself to be great—but we want to fight.”

He disagrees with Arkady on the main thing - his idea of life, the purpose of man. Their relationship cannot be called friendship, because friendship is impossible without mutual understanding, friendship cannot be based on the subordination of one to the other. Throughout the entire novel, the subordination of a weak nature to a stronger one is observed: Arkady to Bazarov.

Over time, Arkady acquires his own opinion and no longer blindly repeats Bazarov’s judgments and opinions of the nihilist, and expresses his thoughts.

The difference between the heroes is visible in their behavior in the “empire” of the Kirsanovs. Bazarov is busy with work, studying nature, and Arkady is idle. Yes, indeed, in any setting, in any home, he is engaged in business - the natural sciences, the study of nature and testing theoretical discoveries in practice. Bazarov keeps up with the times. Arkady does not do anything; none of the serious matters really captivates him. For him, the main thing is comfort and peace.

They form completely different judgments in relation to art. Bazarov denies Pushkin, and unfoundedly. Arkady is trying to prove to him the greatness of the poet. Arkady is always neat, tidy, well dressed, and has aristocratic manners. Bazarov does not consider it necessary to follow the rules good manners, so important in noble life. This is reflected in all his actions, habits, manners, speeches, and appearance.

A major disagreement arose between “friends” in a conversation about the role of nature in human life. Here Arkady’s resistance to Bazarov’s views is already visible; gradually the “student” emerges from the power of the “teacher.” Bazarov hates many, but Arkady has no enemies. “You are a gentle soul, a weakling,” says Bazarov, realizing that Arkady can no longer be his associate. The “disciple” cannot live without principles. In this way he is very close to his liberal father and Pavel Petrovich. Arkady is a man belonging to the old generation, the generation of “fathers”.

“Bazarov’s attitude towards his comrade casts a bright streak of light on his character; Bazarov has no friend, because he has not yet met a person who would not give in to him. Bazarov’s personality closes in on itself, because outside of it and around it there are almost no elements related to it at all” (D. Pisarev) - this is the main thing in the disagreements of the heroes.

Arkady wants to be the son of his century, trying to adapt Bazarov's ideas for this.

Bazarov dies completely alone. And for a “small rural cemetery“only “two already decrepit old men - a husband and wife” come. Arkady does not become a continuer of his views, he finds his own peace of mind with Katya Odintsova.

Bazarov learns about the existence of Anna Odintsova from Kukshina, an acquaintance of his friend Sitnikov. The first time he sees her is at the governor’s ball, where he came with Arkady. “What kind of figure is this? - he said. “She’s not like other women.” There he meets her. She invites her and Arkady to her place. While visiting Odintsova, Bazarov is clearly trying to keep his interlocutor busy. She invites them to her place in Nikolskoye.

“What a rich body! - Bazarov said on the way. “At least now to the anatomical theater.” In Nikolskoye, Bazarov became interested in Anna, spent all his time with her, felt that he loved her. One morning she called him into her room and asked him to tell him what was happening to him - he confessed his love to her. That afternoon, he apologizes to her and says he is leaving. “We’ll see each other again, won’t we?” - she said. “As you order... In that case, we will see each other,” answered Bazarov.

After that, they did not meet for a long time, until Bazarov decided to stop by her on the way to his parents. He apologizes again and hopes that she will not remember him with disgust. Anna Sergeevna says that the reason for their quarrel was that they did not need each other and, most importantly, there was too much... homogeneity in them. She asks him to stay, but he leaves: “Farewell, sir, and be healthy.” After some time, he fell mortally ill, when he felt really bad, he sent a messenger to Odintsova, just before her death she kissed him, and he died.

Love seemed like a test for Bazarov, for Turgenev it is one of the meaning-forming values. Love conquers selfishness, enlightens the world, this feeling turned out to be not physiological, as the hero assumed, this feeling is shocking and traumatic. In words he denied love, but in reality life forced him to admit it. Neither Bazarov nor Pavel Petrovich wins a dispute with life.

I. S. Turgenev, according to his contemporaries, had a special instinct for guessing the emerging movement in society.

In the novel “Fathers and Sons” Turgenev showed the main social conflict of the 60s of the 19th century - the conflict between liberal nobles and democratic commoners.

The basic principle of constructing a novel is antithesis; and this is already evident from the title of the novel, in which two generations seem to be contrasted: the older and the younger. But in the novel itself, the conflict is not age-related, but ideological character, i.e. this is not a conflict of two generations, but a conflict of two worldviews. How antipodes are perceived in the novel by Evgeny Bazarov (exponent of the idea of democrats-raznochintsy) and Pavel Petrovich Kirsanov (the main defender of the worldview and lifestyle of the liberal nobility). The clashes and disputes that form the basis of the novel's plot make it possible to understand the essence of their views.

So, in Turgenev’s novel “Fathers and Sons,” two strong, vibrant characters collided. According to his views and convictions, Pavel Petrovich appeared before us as a representative of the “binding, chilling force of the past,” and Evgeny Bazarov as part of the “destructive liberating force of the present.”

Pavel Petrovich is about forty-five years old, he is always shaven, wears a strict English suit, the collar of his shirt is always white and starched. Pavel Petrovich's face is correct and clean, but bilious. “Pavel Petrovich’s entire appearance, elegant and thoroughbred, retained youthful harmony and that desire upward, away from the earth, which for the most part disappears after the twenties.” In appearance and in his convictions, Pavel Petrovich is an “aristocrat to the core.” True, as Pisarev writes, “to tell the truth, he has no convictions, but he does have habits that he values very much” and “out of habit, he proves the necessity of principles in disputes.” What are these “principles”?

First of all, Kirsanov’s “principles” include his view of government structure. A nobleman and aristocrat himself, he holds the same views as most nobles of that time. Pavel Petrovich stands up for the established order; according to his convictions, he is a monarchist who does not tolerate dissent and fiercely defends doctrines that “his actions constantly contradicted.” He loves to talk about Russian peasants, but when he meets them, he “wrinkles and sniffs cologne.” Kirsanov talks about Russia, about the “Russian idea,” but uses a huge amount of foreign words. He speaks with pathos about the public good, about serving the fatherland, but he himself sits with folded hands, satisfied with a well-fed and calm life.

“Who is Bazarov?” - the Kirsanovs ask and hear Arkady’s answer: “Nihilist.” What is this new generation of nihilists? For younger generation“children” nihilism is a certain political and life position. Some perceive it as a fashionable fad (Sitnikov, Kukshina, Arkady) and deny everything: authorities, science, art, the experience of previous generations - and do not listen to anything. But they will all grow up, start families and remember their beliefs as the mistakes of their youth. And now they are only trivializing the ideas that Bazarov preaches.

In fact, only Bazarov can be called a real nihilist who is aware of his thoughts and his beliefs. He is interested in natural sciences and plans to continue his father's work. district doctor. By conviction, he is a nihilist and scoffs at the “principles” of Pavel Petrovich, considering them unnecessary and simply ridiculous. Bazarov accepts only what is useful: “If they tell me the case, I will agree.” “In these times, the most useful thing is denial—we deny.” Evgeny denies and political system, which confuses Pavel Petrovich. According to Bazarov, aristocrats are not capable of action, they are of no use, and he rejects liberalism, denying the ability of the nobility to lead Russia to the future.

Kirsanov glorifies the peasant community, family, religiosity, and patriarchy of the Russian peasant. Bazarov claims that the people do not understand their own interests, are dark and ignorant, but considers it necessary to distinguish people's interests from popular prejudices. Bazarov hates the blind faith of the people: “The people believe that when thunder roars, it is Elijah the prophet who rides across the sky in a chariot. Well? Should I agree with him? Pavel Petrovich answers this: “They (the people) cannot live without faith.” “The grossest superstition is strangling him,” comments Bazarov. But he sincerely believes that the people are revolutionary in spirit, therefore nihilism is a manifestation of the people’s spirit.

There are differences between Bazarov and Pavel Petrovich in relation to art and nature. From Bazarov’s point of view, “reading Pushkin is a waste of time, playing music is ridiculous, enjoying nature is absurd.” Pavel Petrovich, on the contrary, loves nature and music. The maximalism of Bazarov, who believes that one can and should rely in everything only on own experience and one’s own feelings leads to the denial of art, since art is precisely a generalization and artistic comprehension someone else's experience. Art (and literature, and painting, and music) softens the soul and distracts from business. All this is “romanticism”, “nonsense”. Looking at the album Saxon Switzerland, Bazarov says to Odintsova: “You don’t assume in me artistic meaning“Yes, I really don’t have it in me, but these species could interest me from a geological point of view.” Bazarov tries to debunk ineffective “principles”, does not accept illusory daydreaming, rejecting the achievements of culture (“Raphael is not worth a penny”) and perceiving nature in a utilitarian way. Bazarov, for whom the main figure of the time was the Russian peasant, crushed by poverty, “gross superstitions”, It seemed blasphemous to talk about art, “unconscious creativity,” when it comes to daily bread.

Pavel Petrovich, realizing that he cannot defeat a nihilist in an argument, cannot shake his moral principles, or rather the lack of them, resorts to the last means of resolving conflicts of this kind - a duel. Evgeniy accepts the challenge, although he considers it an act of a crazy “aristocrat”. They shoot, Evgeniy wounds Kirsanov, but this does not solve the problem. By using satirical image the author emphasized the absurdity of Pavel Petrovich’s behavior, the senselessness of his belief that it is possible to force the younger generation to think the same way as the generation of “fathers”. Kirsanov and Bazarov each remain with their own opinion.

Bazarov did not manage to live long. He dies with the words: “Russia needs me... No, apparently he doesn’t need me. And who is needed?” This is the tragic outcome of Evgeniy’s life.

The author's attitude towards his characters is not at all simple. Wanting to punish the “children,” Turgenev flogged the “fathers.” But the main thing that he remarkably managed to show is the replacement of obsolete forms of consciousness with new ones, the tragic situation of people who are the first to utter the word: “Forward!”

The breath of the era, its typical features are palpable in central images the novel and the historical background against which the action takes place. The period of preparation for peasant reform, deep social contradictions of that time, the struggle of social forces in the era of the 60s - this is what was reflected in the images of the novel, constituted its historical background and the essence of the main conflict.

After all, the problems of the novel remained topical for subsequent generations.

On May 20, 1859, at an inn, a gentleman in his early forties, Nikolai Petrovich Kirsanov, was waiting for his son Arkady, who was coming to visit him. Nikolai Petrovich was the son of a military general in 1812. Like his older brother Pavel, he was raised at home, then had to enter the military service, but on the day when the news was sent about which unit he was assigned to, he broke his leg, lay in bed for two months and remained “lame” for the rest of his life. Nikolai Petrovich studied at the university in St. Petersburg, while his parents were still alive, much to their chagrin, he fell in love with the daughter of an official, the owner of his former apartment. He married her as soon as the period of mourning for his parents expired, and went with his Masha, first to a dacha near the Forestry Institute, then lived with her in the city, then moved to the village, where their son Arkady was born. The couple lived in love and harmony, ten years passed “like a dream,” then Kirsanov’s wife died, he barely survived this blow, and only economic worries and the need to take care of his son saved him. He took his son to the university in St. Petersburg, lived with him there for three winters, tried to make friends with his son’s young comrades, but was unable to come the last winter and only in May awaits his son to visit him on the porch of the inn. Arkady comes not alone, but with a friend - Evgeny Vasilyevich Bazarov. Portrait of Bazarov: “Long and thin face with a wide forehead, a flat nose at the top, a pointed nose at the bottom, large greenish eyes and drooping sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence.” Arkady met Bazarov recently, since his father, who visited his son in St. Petersburg last winter, did not know him.

The father shares his economic problems with his son, tells him that his nanny Yegorovna has died, and then proceeds to the most sensitive issue: the fact is that now a young woman Fenechka lives in his house, and Nikolai Petrovich does not know how his son will react to this news. “The places they passed through could not be called picturesque. The fields, all the fields, stretched all the way to the sky, now rising, then falling again; here and there small forests could be seen and, dotted with sparse and low bushes, ravines twisted, reminding the eye of their own image on the ancient plans of Catherine’s time... Arkady’s heart gradually sank. As if on purpose, the peasants were all shabby; roadside willows with stripped bark and broken branches stood on bad nags, like beggars in rags; emaciated, rough, as if gnawed, cows greedily nibbled grass in the ditches... “No,” thought Arkady, “this is not a rich region, it does not amaze with either contentment or hard work, it cannot, it cannot remain like this, transformations are necessary. But how to fulfill them, how to start?..” While they are traveling to the Kirsanovs’ estate, Nikolai Petrovich, sitting with his son in a cart, tries to read Pushkin’s poems about spring, but this does not arouse the approval of Bazarov, who cuts Nikolai Petrovich off mid-sentence.

Upon arrival at the estate, Kirsanov offers to have dinner immediately. Nikolai Petrovich's brother appears - Pavel Petrovich Kirsanov, an Anglomaniac, dressed in a dark English suit, tie and patent leather ankle boots. “He looked about forty-five years old; his short-cropped gray hair shone with a dark shine, like new silver; his face was bilious, but without wrinkles, unusually regular and clean, as if carved with a thin, light incisor, showing traces of remarkable beauty; The light, elongated black eyes were especially beautiful; the whole appearance of Arkady’s uncle, graceful and thoroughbred, retained youthful harmony and that desire upward, away from the earth, which for the most part disappears after the 20s.” Pavel Petrovich shakes hands with his nephew, Bazarov simply nods. The young people leave the room, and Pavel Petrovich immediately expresses his negative attitude towards the fact that “this hairy guy” will be visiting the house. At dinner, Bazarov says practically nothing, but eats a lot.

Nikolai Petrovich says different cases From his life in the village, Arkady reports several St. Petersburg news. After dinner everyone leaves. Bazarov tells Arkady that his uncle is an eccentric because he walks around the village like such a dandy. However, Bazarov speaks of Kirsanov’s father with praise, although he notes: “He reads poetry in vain and hardly understands housekeeping, but he is a good-natured person.” Pavel Petrovich visits Fenechka in her room and asks to show him the child. Fenechka is unusually embarrassed and feels very uncomfortable in the company of Pavel Tsetrovich. Nikolai Petrovich appears, and Pavel Petrovich immediately disappears. He “returned to his elegant office, the walls covered with beautiful wallpaper wild color, with weapons hanging on a colorful Persian carpet, with walnut furniture upholstered in dark green tripe, with a renaissance library made of old black oak, with bronze figurines on a magnificent desk, with a fireplace.” Nikolai Petrovich met Fenechka three years ago, when he spent the night at an inn in county town. He really liked the clean room in which he stayed, and Nikolai Petrovich met the owner, “a Russian woman of about fifty.” She had a daughter, Fenechka, and Nikolai Petrovich assigned the hostess to be his housekeeper.

One day she asked him to help her daughter, who had a spark from the stove hit her eye. Nikolai Petrovich treats Fenechka, he is struck by the girl’s beauty, her innocence, and charm. Soon her mother died, and Fenechka had nowhere to go. During a walk in the garden, Bazarov himself introduces himself to Fenechka, helps her baby, who is teething, and thereby wins the favor of the young woman. In a conversation with Arkady, Bazarov touches on this topic, and Arkady passionately says that he considers his father wrong in relation to Fenechka only in the sense that he should have married her because she loves him and has a child from him. Bazarov notices to Arkady that on Nikolai Petrovich’s farm, “the cattle are bad and the horses are broken... on Nikolai Petrovich’s farm, “the cattle are bad and the horses are broken. The buildings have also deteriorated, and the workers look like notorious sloths; and the manager is either a fool or a rogue... Good men will definitely cheat your father. You know the saying: “The Russian man will eat God up.”

In response to Arkady’s response that Pavel Petrovich is right that Bazarov “has a decidedly bad opinion of Russians,” Bazarov replies: “The only good thing about a Russian person is that he has a very bad opinion of himself. The important thing is that two and two equal four, and the rest is all nonsense.” Arkady asks: “And nature is nothing?” Bazarov: “And nature is nothing in the sense in which you understand it. Nature is not a temple, but a workshop, and man is a worker in it.” Suddenly they hear music - someone is playing Schubert's "Waiting" on the cello. Bazarov asks in amazement who is playing, and, learning that Nikolai Petrovich, laughs loudly, since he considers it unworthy for a respectable man, the father of a family, to play the cello. Several days pass, Bazarov continues to visit the Kirsanovs and wins the favor of the entire courtyard. Nikolai Petrovich is a little afraid of him, but Pavel Petrovich hated the guest with all the strength of his soul. One day, in a friendly conversation, Bazarov declares to Arkady that his father is a “kind fellow,” but “a retired man” and “his song is over.” Bazarov says that the other day he saw Nikolai Petrovich reading Pushkin. In his opinion, it’s high time to give up this “nonsense” and read something useful.

Advises Arkady to give his father “Matter and Force” by Buchner in German. Nikolai Petrovich hears this conversation and bitterly shares his insult with his brother. Pavel Petrovich is indignant and says that he hates “this doctor,” who, in his opinion, is a charlatan and is not far behind in physics “with all his frogs.” Nikolai Petrovich objects that Bazarov is smart and knowledgeable, complains that he himself is trying his best to keep up with “modern requirements” - he started a farm, organized peasants, but such things are said about him. He shows his brother Buchner the book that his son slipped him, having taken away the volume of Pushkin. The “fight” between Bazarov and Pavel Petrovich takes place already at evening tea. Pavel Petrovich, in response to Bazarov’s remark about the neighboring landowner “rubbish, aristocrat,” stands up for the aristocrats: “Remember the English aristocrats. They do not give up an iota of their rights, and therefore they respect the rights of others; they demand the fulfillment of duties in relation to them, and therefore they themselves fulfill their duties.

The aristocracy gave freedom to England and maintains it... Without self-esteem, without self-respect - and in an aristocrat these feelings are developed - there is no solid foundation for the public good... public building" Bazarov says that regardless of whether Pavel Petrovich respects himself or not, he sits with folded hands and does not bring any benefit to society. “Aristocracy, liberalism, progress, principles, just think, how many foreign and... useless words! Russian people don’t need them for nothing!” To Pavel Petrovich’s question in the name of what they, that is, the nihilists, act, Bazarov says: “Because we recognize it as useful. At the present time, the most useful thing is denial—we deny.” Having heard that absolutely everything is being denied, Pavel Petrovich notes that “it is necessary to build,” and not just destroy. Bazarov: “This is no longer our business. First we need to clear the place." Pavel Petrovich argues that the Russian people are not what Bazarov imagines them to be, that they are patriarchal and cannot live without faith. Bazarov agrees. Pavel Petrovich exclaims: “So, you are going against your people?” Bazarov: “If only so. The people believe that when thunder roars, it is Elijah the prophet in a chariot driving around the sky.” To the accusation that he is “not Russian,” Bazarov replies: “My grandfather plowed the land. Ask any of your men which of us - you or me - he would rather recognize as a compatriot. You don’t even know how to talk to him.” Pavel Petrovich: “And you say and despise him at the same time.” Bazarov: “Well, if he deserves contempt!

You condemn my direction, but who told you that it is accidental in me, that it is not caused by this folk spirit, in whose name you advocate so much? Bazarov says that they do not preach anything, that before they “said that officials take our bribes, that we have neither roads, nor trade, nor proper justice... And then we realized that we should talk... about our ulcers it is not worth the trouble that this only leads to vulgarity and doctrinaire, we have seen... that the so-called advanced people and it is no good for the accusers that we are engaged in nonsense, talking about some kind of art, unconscious creativity, about parliamentarism, about the legal profession and God knows what else, when it comes to our daily bread, when the grossest superstition is strangling us, when all our joint stock societies collapse solely because there is a lack of honest people, when the very freedom that the government is fussing about will hardly benefit us, because our peasant is happy to rob himself just to get drunk on dope in a tavern.” Pavel Petrovich reasonably notes that breaking does not build. Arkady enters the conversation and says that they break because they are force, and force does not give an account. Pavel Petrovich loses his temper, shouts that there is strength in both the wild Kalmyk and the Mongol, and he and other enlightened people value civilization and its fruits. He reminds that “there are only four and a half of you, and there are millions of those who will not allow you to trample under your feet their most sacred beliefs, they will crush you.” Bazarov replies that if they crush him, then that’s the way to go, but “here my grandmother said in two,” “there are not as few of us as you think,” “Moscow burned down from a penny candle.” Pavel Petrovich says that this is “satanic pride” and mockery. Bazarov invites Pavel Petrovich to give examples of “decisions” in modern life, family or social, that would not deserve complete and merciless denial...

The main problem posed by the writer in the novel is already expressed in the title, which has a double meaning. On the one hand, this is a problem of generations, on the other, a conflict between two socio-political forces operating in Russia in the 60s of the 19th century: liberals and democrats. Evgeny Bazarov and Arkady Kirsanov, due to their age, should belong to the same camp, but this is not so.

Bazarov is a new person, a representative of those young leaders who “want to fight,” nihilists. He is for a new life and remains true to his convictions to the end. He is the main and only exponent of democratic ideology. But Arkady, in his views on life, certainly belongs to the “fathers”, although he is sincerely carried away by the unusual views of his “teacher”, strives to imitate him and passes himself off as a similar nihilist. However, often forgetting about his “nihilism”, about his new role, Arkady betrays ideological kinship with the older generation. It is no coincidence that he defends them every now and then, trying to convince Bazarov that Pavel Petrovich is good, and Nikolai Petrovich is a “golden” man.

When characterizing characters, Turgenev most often uses dialogue and portraits. Dialogue is the most suitable form for conveying the essence of the political and philosophical debates taking place in the novel. In an unusually sharp dialogue, the main conflict between Bazarov and Arkady Kirsanov is revealed. “Your brother, a nobleman, cannot go further than noble humility or noble boiling, and this is nothing. For example, you don’t fight—and you already imagine yourself to be great—but we want to fight.” He disagrees with Arkady on the main thing - in ideas about life, about the purpose of man. Their relationship cannot be called friendship, because friendship is impossible without mutual understanding, friendship cannot be based on the subordination of one to the other. Throughout the entire novel, the subordination of a weak nature to a stronger one is observed: Arkady to Bazarov. Over time, Arkady acquires his own opinion, stops blindly repeating the judgments and opinions of the nihilist and expresses his thoughts.

Turgenev gradually reveals to us the difference in the worldviews of his friends - in their views on the fundamental values of life: love, poetry, nature. Arkady's resistance to Bazarov's views is obvious: gradually the “student” leaves the power of the “teacher.” The essence of the differences between them, in my opinion, is in their attitude towards people. Bazarov (by his own admission) hates many, but Arkady has no enemies. One is too harsh, categorical, the second is too soft, “spineless.” “You are a gentle soul, a weakling,” says Bazarov, realizing that Arkady can no longer be his associate. The “disciple” cannot live without principles. In this way he is very close to his liberal father and Pavel Petrovich. Arkady is a man belonging to the old generation, the generation of “fathers”.

I am far from making moral assessments of “fathers” and “sons”: there is too much good and bad, too much contradictory in each generation. The essence of my essay is suddenly: being representatives of the same generation, Evgeny Bazarov and Arkady Kirsanov ultimately cannot find a common language. The turning point of the era is difficult, dividing people into “fathers” and “children”, regardless of age.

In the novel “Fathers and Sons,” the image of a new man, Evgeny Vasilyevich Bazarov, appears complex, contradictory and, of course, very interesting. It cannot leave indifferent both the reader of the last century and our contemporary.

At the very beginning of work on the novel, I. S. Turgenev was undecided in his attitude towards Bazarov. On the one hand, he appreciates the hero, quite sincerely admiring his intelligence, firmness, and ability to defend his ideals and achieve what he wants. But, on the other hand, the reader feels that Bazarov is alien to the author, incomprehensible - Turgenev sincerely wants to force himself to love his hero, to “catch fire” with his idea, but to no avail.

This causes Bazarov's deep loneliness. He is remarkably strong, but at the same time infinitely unhappy. This is probably the lot of any outstanding person. And Bazarov himself does not strive to please people, rather the opposite. According to his own remark, “ real person the one about whom there is nothing to think, but who must be listened to or hated.” His like-minded people, recognizing Bazarov as a strong personality, are only capable of worship, without claiming more. And this is precisely what Bazarov despises in people. He is constantly looking for a person equal to himself in strength, and does not find him. The only one who dares to resist this stormy onslaught is Pavel Petrovich Kirsanov. In his disputes with Bazarov, Kirsanov defends his historical roots, spiritual values, a life that he cannot imagine otherwise, and this gives him strength in the “battle” with an enemy who can only oppose him with his powerful personality. But despite the obviousness that Bazarov is wrong, his uncompromising struggle is admirable.

All beliefs need to be tested, and Turgenev introduces a test of love into the life of his hero.

The author constantly reminds the reader that Bazarov is not a monster, not an evil genius, but above all an unhappy man, lonely and, despite all the strength of his mind and energy, defenseless against the simplest human feelings. His vulnerability with Odintsova is revealed. Bazarov fell in love with the landowner Anna Sergeevna Odintsova. He experienced the same feeling that he had previously laughed at mercilessly. Evgeniy realized that man is not a soulless “frog”. He suddenly realized that wildlife will never submit to any theories. Odintsova expects mature feelings from him, she needs serious love, not fleeting passion. In her life there is no place for shocks, without which Bazarov cannot imagine himself. He does not understand that an indispensable condition for achieving spiritual and moral ideals is stability.

In Bazarov’s chest beats the heart of a romantic, to whom both love and tenderness are available, who understands what sincerity and devotion to a loved one are. And Bazarov does not admit this to anyone, not even himself. His soul sometimes breaks out, but Bazarov immediately suppresses it with an effort of will, at the same time becoming tougher and harsher. It is by these jumps in behavior that one can judge how susceptible his heart is to romantic impulses. This is the tragedy of Bazarov’s situation. With his soul and heart he desires to love, while with his consciousness he suppresses this desire. And most clearly these contradictions of soul and consciousness are manifested in the scenes in Odintsova’s house. It is here that the soul gains freedom for a brief moment, only to be immediately buried to the very bottom by consciousness. This happens during Bazarov's declaration of love to Odintsova. This proud nihilist found himself in the grip of a feeling he denied: the soul burst out, but with such destructive force that it turned out to be fatal for this very feeling, because strong love akin to hatred. During the confession, Bazarov trembled, but it was not the voluptuous trembling of the first confession: a violent and uncontrollable passion beat in him. And Odintsova was afraid of him; the feeling that began to appear in her turned out to be broken, because you cannot love a person you are afraid of. Bazarov lost his only love due to the fact that he held back his soul for too long, and this soul took revenge on him by depriving him of the woman he loved.

After the failure with Odintsova, Bazarov became more withdrawn and embittered. He began to criticize himself, to blame for betraying his own principles. He began to move away from Arkady, or, more accurately, Arkady began to move away from him, because since Kirsanov fell in love with Katya, he began to gradually abandon Bazarov’s principles, become softer, kinder, more romantic. Bazarov found himself alone with his rebellious soul and his overwhelming consciousness. He begins to deny all authority and feelings even more fiercely: it comes to the point that he denies the love of his parents and treats them so indifferently or even with irritation that the parents fall into despair, trying to regain their son.

And here a vicious circle is formed. Bazarov rushes about in it, lonely, desperate. He is contradictory: Bazarov denies romanticism, but in essence is a romantic, he renounces the “stupid life of his fathers,” but he himself, in a fit of revelation, confesses to Arkady his love for them. He does everything, in his opinion, for the well-being of his homeland, but he himself asks the question: “Does Russia need me? No, apparently not needed.” It is scary to feel in such a vicious circle of contradictions, and it is difficult even for such a strong personality as Bazarov. How hard it is, when dying, to realize the futility of a life lived! After all, nothing can be fixed.

And Bazarov, in my opinion, is smart enough to realize his mistakes, even on his deathbed. He admits his powerlessness before death, which means that not everything can be overcome with the help of force. Bazarov returns to nature, which during his life he perceived so materialistically (“I will die, and a burdock will grow out of me,” “nature is not a temple, but a workshop, and man is a worker in it”). In the face of nature, in the face of the Universe, even such a titan as Bazarov seems like a pitiful grain of sand. This is his tragic loneliness. He does not feel part of this world; even after death, the iron fence surrounding the grave seems to separate him from the world. He lived “as a mighty hero, who had nowhere to turn around, nowhere to put his gigantic forces, no one to love true love" From this point of view, his death was inevitable.

Evgeny Bazarov is the most attractive, most significant, but also the most controversial hero of Turgenev’s novel “Fathers and Sons.” He, unlike the “not a real nihilist”, his friend Arkady Kirsanov, is the most real nihilist. What is nihilism? Bazarov's constant opponent, the aging aristocrat Pavel Petrovich Kirsanov, reproaching the young commoner - a fan of natural scientific methods and an opponent of all and sundry authorities - with nihilism, means by this word an indiscriminate denial of the achievements of modern (in Russian conditions - noble) civilization, non-recognition of established norms of behavior in society. Bazarov, in a dispute with Pavel Petrovich, proclaims: “We act by virtue of what we recognize as useful... At the present time, the most useful thing is denial - we deny.

-- All?
--All.
-- How? Not only art, poetry... but also...
“That’s it,” Bazarov repeated with inexpressible calm.
“But excuse me,” Nikolai Petrovich spoke. “You deny everything, or, to put it more precisely, you destroy everything... But you also need to build.”
“This is no longer our business... First we need to clear the place.”

The main character of "Fathers and Sons" actually calls for revolution, for the destruction of the existing public order so that it would be more convenient to build a beautiful new world in accordance with socialist ideals. At the same time, Bazarov believes in the creative power of science and denies any significance of poetry and art. He claims that “a decent chemist is twenty times more useful than any poet,” that “Raphael is not worth a penny,” that Pushkin is “nonsense.” Bazarov does not believe in words, he is entirely a man of action and ironically declares to Pavel Petrovich: “Aristocracy, liberalism, progress, principles... just think how many foreign... and useless words! Russian people don’t need them for nothing.” Turgenev sympathizes with his hero, but, as an honest artist, he also shows the unattractive features of the “new people”. Bazarov is convinced that he is working for the benefit of the people. But find common language He never succeeds with a man. Bazarov makes fun of him, addresses him with obvious irony: “Well, tell me your views on life, brother, because in you, they say, all the strength and future of Russia will begin.” new era in history...” Nihilists do not believe in the people as an independent force and rely mainly on themselves, hoping that the peasants will then be carried away by the positive example of the common revolutionaries.

The writer called Bazarov “an expression of our newest modernity.” Later people This type, who appeared in Russia on the eve of the abolition of serfdom, began to be called not only “nihilists”, but also “sixties” - after the start of their activities, which coincided with the decade of reforms. However, the bazaars were not satisfied with the reformist path; they wanted more radical and rapid changes. At the same time, there was no reason to doubt their personal selflessness. Turgenev himself testified in one of his letters: “All the true deniers I knew, without exception (Belinsky, Bakunin, Herzen, Dobrolyubov, Speshnev, etc.), came from relatively kind and honest parents. And this is the great meaning: it takes away from the activists, from the deniers, every shadow of personal indignation, personal irritability. They follow their own path only because they are more sensitive to the demands of people’s life.” True, Bazarov just lacks a flair for people’s life. However, Turgenev's hero certainly has the conviction that he knows how peasants should live for their happiness.

Turgenev, in one of his letters, described his vision of the image of Bazarov as follows: “I dreamed of a gloomy, wild, large figure, half out of the soil, strong, evil, honest - and yet doomed to death - because she is all “Still stands on the threshold of the future...” The author of “Fathers and Sons” believed that Bazarov’s time had not yet come, although he had little doubt that sooner or later such people should triumph in Russia. And another great Russian writer, Vladimir Nabokov, a hundred years later extra years after the publication of Turgenev’s novel, when his homeland had long been ruled by the descendants of former nihilists, he very highly appreciated the image of the first nihilist in Russian literature: “Turgenev was able to realize his plan: to create male character a young Russian man, not at all like a socialist-style journalistic doll and at the same time devoid of any self-analysis. Needless to say, Bazarov - strong man, and if he had crossed the thirty-year mark... he could certainly have become a great thinker, a famous doctor or an active revolutionary.” Turgenev managed to create a living character, and not a stilted character illustrating some stilted idea. Bazarov is also familiar with the feeling of love, which somewhat softens his rough soul. However, Odintsova, Bazarov’s beloved, still renounced him: “She forced herself to reach a certain line, forced herself to look beyond it - and behind it she saw not even an abyss, but emptiness... or ugliness.” The writer left readers with a choice: what really lurks in Bazarov’s soul - is it just insensitivity to beauty or indifference to the lives of other people in general. But Bazarov is clearly not indifferent to death. He realizes: “Yes, go and try to deny death. She denies you, and that’s it!”

There is something in the main character of Fathers and Sons, besides his nihilism and faith in practical reason, that attracts the sympathies of readers to Bazarov. At the same time, the extremes of Bazarov's nihilism in the novel are opposed by living life, given by Turgenev with amazing psychological depth. The critic N.N. drew attention to this important circumstance among Turgenev’s contemporaries. Strakhov: “Looking at the picture of the novel calmer and at some distance, we will easily notice that although Bazarov is head taller than all other persons, although he majestically walks across the stage, triumphant, worshiped, respected, loved and mourned, there is, however, that -which in general stands higher than Bazarov. What is this? Looking more closely, we will find that this highest thing is not some faces, but the life that inspires them. Above Bazarov is that fear, that love, those tears that he inspires. Above Bazarov is the stage along which he passes. The charm of nature, the beauty of art, woman's love, family love, parental love, even religion, all this - living, full, powerful - forms the background against which Bazarov is drawn... The further we go in the novel... the darker and more intense the figure of Bazarov becomes, but At the same time, the background of the picture is becoming brighter and brighter.”

Bazarov, like many other representatives of his generation, is impatient. He strives for quick changes, even during his lifetime. Eugene does not delve into the soul of an individual person, being convinced that people are all the same. In order to benefit them, you only need to correct society - and people will stop suffering. Bazarov says to his friend Arkady Kirsanov: “When you look from the side and from a distance at the deaf life that the “fathers” lead here, it seems: what’s better? Eat, drink and know that you are acting in the most correct, most reasonable manner. AN no: the melancholy will overcome. I want to mess with people, even scold them, and mess with them.” The last sentence, one might say, represents the credo of Russian nihilism (or, what is the same, of revolutionaries - after all, Turgenev pointed out in one of his letters that if Bazarov “is called a nihilist, then it should be read: revolutionary”). Nihilists are ready to sharply criticize not only the authorities, but also the people: for darkness, humility, inertia. And at the same time they are ready to mess with men - but only in large numbers, with all of them at once. And in the same conversation with Arkady, Bazarov sharply puts himself above everyone, including the people, for whose benefit he and his comrades work: “When I meet a person who would not give up in front of me... then I will change my opinion about oneself. Hate! Yes, for example, you said today, passing by the hut of our elder Philip, - it is so nice, white, - now, you said, Russia will then reach perfection when the last peasant will have the same room, and each of us should contribute to this... And I hated this last guy, Philip or Sidor, for whom I have to bend over backwards and who won’t even say thank you to me... and why should I thank him? Well, he will live in a white hut, and a burdock will grow out of me; Well, what next?”

In Turgenev's novel, Bazarov concentrates in himself both the best and worst traits Russian revolutionary youth of the late 50s - early 60s of the 19th century - the very eve of the era of the Great Reforms. Then the question of the abolition of serfdom was already a foregone conclusion and the discussion was only about the terms and conditions for carrying out the peasant reform. The youth of Bazarov's generation of commoners advocated radical reforms and hoped to rely on the peasantry, to rouse them to fight for their rights; Bazarov attracts with his energy, determination, passion for exploring nature, for everyday work. It is not for nothing that at the beginning of the novel the writer emphasized that while Arkady was idle, Bazarov was working. However, the main character repels with his intolerance, denial of poetry, art, everything that relates to the spiritual life of a person, trying to reduce it to natural physiological processes. Turgenev shows Bazarov's superiority even over the best representatives of the old noble generation, but still, perhaps subconsciously, he fears that over time such people will dominate society.

To some extent, he pins his hopes on “fake” nihilists like Arkady Kirsanov. In terms of strength of character, intellectual drive and polemical art, he is certainly inferior to his friend Bazarov. However, in the finale of Fathers and Sons, it was Arkady who “became a zealous owner” and the “farm” (Kirsanovskoe estate) began to generate “quite significant income.” Young Kirsanov has every chance to successfully fit into Russian post-reform reality, and the owner’s welfare should gradually lead to more happy life and his employees. For gradualism, for a slow but sure improvement in the conditions of people's life through economic progress and “small things”, which should be carried out for the benefit of the bulk of the population by representatives of the educated classes, including the nobility, who are not affiliated with either the government or the revolutionary camp , Turgenev placed his hopes.

I.S. Turgenev reflected in his novel “Fathers and Sons” the conflict that arose between two socio-political camps in Russia in the 60s of the 19th century. The writer Yevgeny Bazarov became the spokesman for the ideas of the raznochintsy-democrats. He is contrasted in the novel with the liberal nobility, the most prominent representative of which is Pavel Petrovich Kirsanov. In order to reflect the conflict of a turning point in the life of Russia in its entirety, Turgenev pits these two heroes against one another.

“Who is Bazarov?” - the Kirsanovs ask Arkady and hear the answer: “Nihilist.” The views of the “nihilist” and Pavel Petrovich Kirsanov were completely opposite. From the very first meeting they felt hostility towards each other. Pavel Petrovich, having learned that Evgeny would be visiting them, asked: “This hairy one?” And Bazarov remarked to Arkady in the evening: “Your uncle is eccentric.” There were always contradictions between them. “We will still have a fight with this doctor, I have a presentiment of it,” says Kirsanov.

Let's take a closer look at the main characters of the novel. Pavel Petrovich Kirsanov is the son of a military general in 1812. Graduated from the page corps. Outwardly, this is a man with beautiful face, youthfully slender. An aristocrat, an Anglomaniac, he was self-confident and indulged himself. Living in the village with his brother, Pavel Petrovich retained his aristocratic habits (he wore an English suit and patent leather ankle boots). Bazarov is the grandson of the sexton, the son of the district doctor. You can feel strength and energy in this person. He speaks in a “manly voice,” clearly and simply. Bazarov’s gait is “firm and swiftly bold.” In general, in Bazarov’s appearance, Turgenev emphasizes his intellectual beginning.

What is the worldview of these heroes of the novel? Pavel Petrovich Kirsanov is deeply convinced that aristocrats won the right to a leading position in society not by origin, but by moral virtues and deeds (“The aristocracy gave freedom to England and supports it”), that is, the moral standards developed by aristocrats are the support of the human personality .

Kirsanov believes that only immoral people can live without principles. At the same time, we see that Pavel Petrovich’s principles do not correlate in any way with his deeds - the life of a typical representative of an aristocratic society passes in idleness.

In contrast, Bazarov accepts only what is useful (“They will tell me the case - I will agree.” “At the present time, denial is the most useful thing - we deny”). Continuous work for the benefit of society is the content of Bazarov's life. Turgenev reveals the nature of his work: “Bazarov brought a microscope with him and spent hours fiddling with it,” he carried out “physical and chemical experiments”, that is, he continues his natural science studies in Maryino. Important features of Bazarov's worldview are his atheism and materialism.

In disputes with Pavel Petrovich, Bazarov argued for the need to deny the way of life. When asked what he was denying, a short answer followed: “Everything.” Kirsanov did not recognize this life position, which was the basis of the heroes’ hostility. The youth came to destroy and expose, but someone else will do the building. “You deny everything, or, to put it more correctly, you destroy everything. But we need to build,” Kirsanov says to Evgeniy. “This is no longer our business. First we need to clear the place,” answers Bazarov.

Despite some external similarity in the views of Pavel Petrovich and Bazarov on the people, in the main they diverge. To Pavel Petrovich, the religiosity of the people, life according to the rules established by their grandfathers seem to be primordial and valuable features of people's life, they touch him. Bazarov hates these qualities: “The people believe that when thunder roars, it is Elijah the prophet riding in a chariot across the sky. Well? Should I agree with him? The same features inherent in folk life are called differently by the heroes of the novel and are assessed differently. Pavel Petrovich says: “They (the people) cannot live without faith.” Bazarov believes that “the grossest superstition is strangling him.”

They also argue about poetry, art, philosophy. Bazarov amazes and irritates Kirsanov with his cold-blooded thoughts about the denial of personality and everything spiritual. From Bazarov’s point of view, “reading Pushkin is a waste of time, playing music is ridiculous, enjoying nature is absurd.” As a true materialist, he perceives nature as a “workshop”, and “man is a worker in it.” “I’ll die, and a burdock will grow out of me,” says Bazarov pragmatically. Pavel Petrovich, on the contrary, admires nature and loves art.

Bazarov’s maximalism, which believes that one can and should rely in everything only on one’s own experience and one’s own feelings, leads to the denial of art, since art is precisely a generalization and artistic understanding of someone else’s experience. The nihilist believes that art (and literature, painting, and music) softens the soul and distracts from business. All this is “romanticism”, “nonsense”. It seemed blasphemous to Bazarov to “talk” about art, “unconscious creativity” when “it’s about our daily bread.”

In the disputes between Pavel Petrovich Kirsanov and Bazarov, I want to take the side of one or the other. It seems to me that both of these Turgenev heroes were right in some ways, but wrong in others. But in general, Bazarov, who personifies the younger generation, has advantages: he is characterized by novelty of thoughts, high efficiency, and dedication. To ordinary people he is closer, because the courtyard people are drawn to him. (Bazarov “possessed a special ability to arouse trust in himself among inferior people, although he never indulged them and treated them carelessly,” writes Turgenev). The principles and ideals of the fathers are becoming a thing of the past. This is especially clearly shown in the scene of the duel between Kirsanov and Bazarov. “The duel,” wrote Turgenev, “was introduced to clearly demonstrate the emptiness of elegant noble chivalry, presented as exaggeratedly comic.”

Both Pavel Petrovich Kirsanov and Bazarov are shown by Turgenev as extraordinary personalities. Due to circumstances, they became exponents of the ideas of two different eras, as well as different social camps - aristocratic and revolutionary-democratic. That is why the conflict that arose between them is so deep. Using his example, Turgenev clearly shows us the burning problems of the 60s of the 19th century. The skill of the author of the novel “Fathers and Sons” allows us to feel the atmosphere of this turning point in the life of Russia.