Composition
Each writer strives to reflect in his works "the spirit and pressure of the times", to create a vivid and memorable type of hero of his era. Therefore, the images of Chatsky, Onegin, Pechorin became the artistic embodiment of the most characteristic features and ideas of people of the first half of the 19th century. Turgenev, who was always very sensitive to the slightest changes in public life, was persistently looking for his hero, in whom the century would be reflected. And the reality of the early 1960s provided the writer with abundant material for creating the image of a "new man," a commoner, a democrat, a nihilist. Turgenev collaborated with people of this type in the editorial office of the Sovremennik magazine. He was familiar with atheists and materialists, who were distinguished by their directness and harshness of judgment, were fond of the natural sciences, and denied the cultural heritage of the past. In terms of the novel "Fathers and Sons," Turgenev even names three prototypes of his future hero - Dobrolyubov, Pavlov and Preobrazhensky, representatives of the new raznochinny intelligentsia.
The noble aristocrat Turgenev did not share their views, but tried to understand them. The writer embodied his idea of revolutionary democrats in the image of the protagonist Yevgeny Bazarov. The author's relationship to the hero was complex. He certainly appreciated many of his qualities: an independent mind, honesty, hard work, democracy, willpower. No wonder he wrote about his hero that he "suppresses the rest of the faces of the novel." Indeed, when you read Turgenev's novel, you perceive Bazarov as a beteller who triumphs over the "fathers." But after carefully reading the disputes between Bazarov and Pavel Petrovich Kirsanov, you find in his statements many contradictions, commonplaces and frankly absurd statements such as "Raphael is not worth a dime." In the words of Pisarev, "Bazarov lies", that is, he denies things that he does not know or does not understand - poetry, music, art, love. Endowing his hero with a sharp critical mind, Turgenev deprives him of the breadth of his horizons. Its development is sinful of one-sidedness. Bazarov recognizes only natural sciences, which, in his opinion, clearly and clearly explain all life phenomena. For example, the hero reduces love to a natural physiological need. Art denies because it is useless. Thus, Bazarov narrows to the limit all the diversity, beauty and charm of life, in which there is no place for emotions, enjoyment of the beauty of nature, poetry, music. That is, he impoverishes life with his practical rationalism. It is on this point that the author disagrees with his hero. He considers unacceptable such aspects of Bazarov's worldview as rationality, lack of understanding of the huge role of feelings in human life, a negative attitude towards art.
The question of how Turgenev relates to his heroes and their ideas was very interesting for Pisarev in his article "Bazarov". In my opinion, he very accurately noticed that the author is not satisfied with either fathers or children. Although Turgenev does not like merciless denial, the personality of the denier himself became the strongest and brightest in the novel, inspiring the reader with involuntary respect. Indeed, none of the heroes "can compare with Bazarov either in the strength of the mind or in the strength of character." However, wanting to show the inconsistency of the hero's views, Turgenev transfers him to new conditions, forcing him to endure the test of love. A situation arises in which Bazarov is forced to act in complete contradiction with his views. An arrogant nihilist who denies love, is possessed by a passion for a beautiful, intelligent, cold woman, completely alien to him both in social status and in worldview. The first meeting with Anna Sergeevna Odintsova makes a strong impression on Eugene, which he tries to destroy with cynical remarks about her. But love turns out to be stronger than his rationalism and nihilism. She remains with Bazarov until his death. The image of the beloved woman turns out to be the last that he sees in earthly life. Hence, the hero is wrong in his denial. Life is much more complex and multifaceted than he imagined. She remains a mystery to him, a mystery, just like his own soul.
In the episode of Bazarov's death, Turgenev shows his hero as a persistent, strong man, capable of feeling love, beauty, and pity. He courageously resists illness to the last, trying to spare the grief-stricken old people. Bazarov here seems to be clearing himself of everything superficial, getting rid of his self-confidence, swagger, callousness, nihilism. He appears in the finale of the novel as a titanic person who could not realize his enormous powers. Here Turgenev pays just respect to his hero.
Why does the author "kill" his hero, forcing him to die from an accidental cut on his finger? Probably because he has no one to love, no one to be friends with, because everything around him is shallow and vulgar. Therefore, his remarkable strength is wasted on a verbal skirmish with Pavel Petrovich and on experiments with frogs. One gets the impression that Turgenev's hero is endlessly lonely, reminiscent of Gulliver in the land of the Lilliputians. Pisarev was right when he said that he had "nowhere to turn, nothing to breathe, nowhere to put his gigantic strength." Therefore, death becomes a test in which the best qualities of Bazarov should be revealed. And the hero withstands it with dignity, inspiring deep respect and admiration. But at the same time, you also feel a feeling of regret that the life of this strong, bright and gifted personality has passed so fruitlessly because of the narrowness and one-sidedness of nihilistic theories.
The image of Bazarov is still perceived as a warning to those who understand the new as a complete denial and destruction of the old, not knowing how to take care of the spiritual heritage of the past, violating the natural continuity of generations. After all, a plant without roots is not viable.
The events that are described in the novel by I. S. Turgenev "Fathers and Sons" on the eve of the peasant reform. The progressive public was divided into liberals and revolutionary democrats. Some welcomed the reform, while others were against such a reform.
Evgeny Bazarov appears in the center of the novel. And Turgenev's novel begins with Bazarov's arrival at the Kirsanovs' estate. Bazarov was the son of a doctor, he also went through a harsh school, then studied at the university for a pittance, was fond of various sciences, knew botany, agricultural technology, geology well, never refused medical assistance to people, in general, he is proud of himself. But he caused rejection and interest in people by his appearance: tall, old cloak, long hair. The author also emphasized his intelligence, pointing to the skull and face, expressing self-confidence. But the Kirsanovs were the best of the nobles. Bazarov's views evoke different feelings in them.
The characterization of Bazarov in the novel "Fathers and Sons" sounds in one word: he is a nihilist, he vividly defends his position of denying everything. He speaks badly about art. Nature is not an object of admiration for the hero, she is not a temple for him, but a workshop, and a person is a worker in it. And Bazarov calls love an unnecessary feeling. Bazarov's views are not typical of representatives of the radical nobility.
The author leads his hero through many trials, as well as through trials of love. When he had a meeting with Madame Odintsova, Bazarov was sure that there was no love, and there would not be at all. He looks at women indifferently. Anna Sergeevna for him is only a representative of one of the categories of mammals. He said that her rich body was worthy of a theater, but he did not think about her as a person. Then, unexpectedly for him, a feeling flares up, which brings him into a state of absent-mindedness. The longer he was visiting Madame Odintsova, the closer he gets to her, the more he becomes attached to her.
A person who strongly believed in his theory of nihilism, accepting it 100%, breaks down at the very first real life situation. True love overtakes the hero of Bazarov's novel and he does not know what to do and how to do the right thing. He does not lose pride because of an unrequited feeling, he just steps aside.
Bazarov's attitude to others is different. He tries to captivate Arcadia with his theory. He hates Pavel Petrovich Kirsanov, and considers Nikolai Petrovich a kind, but already obsolete man. Inside him, a feeling of internal confrontation with himself grows. Trying to build his life on the basis of nihilism, he cannot subordinate it to all these dry canons.
Denying the existence of honor, he, at the same time, accepts the challenge to a duel, as he considers it right. Despising the principle of nobility, he behaves in a noble manner, which Pavel Kirsanov himself admits. Actions requiring a certain analysis of Bazarov are frightening and he does not always understand how to act.
As Bazarov does not try, he fails to hide his tender feelings for his parents. This is especially evident when Bazarov's death is approaching. Saying goodbye to Madame Odintsova, he asks not to forget the old people. The realization that the bazaars are a nihilist, but he believes in the existence of love, is painful and painful for him.
The beginning of the sixties of the 19th century. A difficult, transitional era for Russia. This was a turning point, marked by the emergence of a new type of people - commoners. They had no means of subsistence and were forced to get an education, and then earn a living with their knowledge. The raznochintsy, as a rule, went to the natural sciences, were carried away by materialism, and in its lowest manifestation, vulgar. Bazarov in Fathers and Children is one of the representatives of the nihilists of the sixties. I. S. Turgenev does not accept his views, proves
The fallacy of his theory.
Bazarov is a convinced nihilist. And, as it turns out, this is not a tribute to a new fashion trend. The hero fully believes in his theory. Thoroughly thinking over and feeling his ideas, he translates them into reality. So who is a nihilist? The best definition is given by Arkady, a student of Evgeny: "A nihilist is a person who does not bow before any authorities, who does not take a single principle for granted." But the formation of a new ideology could not do without extremes. Bazarov believes that only natural sciences are capable of leading to progress. Therefore, he is mainly engaged in chemistry, physics, biology. Conducts experiments with frogs, observes amoebas, collects samples of flora and fauna. But this is where his interests end. The hero thinks that art and other manifestations of the spirituality of people's lives slow down the movement forward. In this, in fact, he differs from true materialists, who assert the primacy of matter and the secondary nature of consciousness. What are, for example, Bazarov's arguments that “Raphael is not worth a dime,” and “a decent chemist is twenty times more useful than any poet”. The hero's ignorance is not limited to this. Bazarov cannot understand the great Russian poet A.S. Pushkin. It even comes to the point that he insults him, laughs at his poetry. The nihilist mocks Nikolai Petrovich Kirsanov's addictions to playing the violin and reading poetry in every possible way. The life of such people, in Bazarov's understanding, is useless for society. He also denies love and romanticism. During a conversation with Arkady, the "materialist scientist" mocks his friend's speeches about "mysterious views" and advises him to better study the anatomy of the eye.
In the past decades, the younger generation recognized the traits of their characters in the Onegin, Pechorin, Ore and Chatsky. The Pechorins had will without knowledge, the ore ones had knowledge without will. "The bazaars have both knowledge and will, thought and deed merge into one solid whole." Indeed, Bazarov is a man of life, a man of action. He spends his days at work, in studies. He even has red hands from work, emphasizes Turgenev. Bazarov cannot live without not giving his brain work on a regular basis and benefiting from it. So, as a guest of Arkady, he spends all the time in his laboratory at a microscope. Of course, such energetic people could make a great contribution to the development of science.
Bazarov is the son of a district doctor with two dozen souls. Therefore, the hero has little means of subsistence. The grace of life is alien to him. Finding himself in the company of the refined aristocrat Pavel Petrovich Kirsanov, Bazarov never ceases to make fun of him. The hero does not get tired of being ironic over his collars, perfumes, and English clothes. Hatred of the “damned barchuk” is in Yevgeny's blood. But it is mutual and soon turns into a heated argument. Some wild ideas of Bazarov are being clarified. Yes, the hero denies everything, refutes everything, seeks to destroy everything. But what does he want to build in return? Nothing. As the hero says, his task is only to clear the place. And to create something new is no longer his concern. What a resemblance to barbarians! Destroying Rome was all they could do.
But Bazarov's ideas are not viable. His theory baffles him, he becomes her slave. A hero who denies all feelings suddenly falls in love. The passion that gripped him breaks a hole in his theory. Love for Odintsova makes Bazarov look at the world differently. And now Eugene sees that life does not want to fit into a nihilistic scheme. Therefore, Bazarov, who has suffered through his theory, sees apostasy from it as his weakness, as a collapse of life. All its foundations are crumbling. Gradually, he begins to notice that he is doing things that are impermissible for himself. This is participation in a duel, a "knightly duel", which the hero so vehemently denied. This is also a noble deed committed during a duel. By succumbing to feeling, Eugene saves the life of his opponent. Bazarov's internal conflict does not find its solution and as a result leads the disillusioned hero to a tragic ending.
An irreversible blow of fate overtakes Bazarov - he dies. There is something fatal in the fact that a brave “anatomist” and “physiologist” becomes infected from an autopsy. In the face of death, the pillars that once supported Bazarov turn out to be weak. “Yes, go and try to deny death. She denies you, and that's it! " - Evgeny admits. But the hero suddenly displays qualities that he once denied. The death of Bazarov is amazing. As he dies, he thinks not of himself, but of his parents and Madame Odintsova. Having weakened control over himself, Bazarov becomes better and more human. But this is not a sign of weakness, but a natural manifestation of feelings. And "it serves as an energetic proof of the wholeness, completeness and natural richness of nature."
Bazarov is no longer there. But life goes on. Those heroes who studied nature, understood its beauty, obeyed the mysterious forces acting in it, find happiness in love, in life. And the story continues with them. But Bazarov was not completely defeated. After death, they continue to remember and love him. The Bazarovs with such knowledge and skills are needed by society. Materialism, in their understanding, is doomed to ruin.
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Fathers and Sons (1862). Evgeny Bazarov is in many ways the programmatic image of Turgenev. This is a representative of the new, raznochno-democratic intelligentsia. Bazarov calls himself a nihilist: he denies the foundations of his contemporary social order, opposes admiration for any authorities, rejects principles taken on faith, does not understand admiration for art and the beauty of nature, explains the feeling of love from the point of view of physiology. Bazarov's complex of convictions is not an artistic exaggeration; the character of the hero reflects the characteristic features of representatives of democratic youth of the 60s. In this context, the question of the prototype of Turgenev's hero is important. Turgenev himself, in his article "Concerning Fathers and Children" (1869), calls the prototype of Bazarov a certain doctor D., a young provincial doctor who represented for the writer a new type of Russian person. The modern researcher N. Chernov refutes the traditional hypothesis that Dr. D. is the district doctor Dmitriev, a casual acquaintance of Turgenev. According to Chernov, Bazarov's prototype was Turgenev's neighbor on the estate of V.I. Yakushkin, physician and researcher, democrat associated with the revolutionary organizations of the time. But the image of Bazarov is collective, so his probable prototypes include those public figures whom Turgenev considered "true deniers": Bakunin, Herzen, Dobrolyubov, Speshnev and Belinsky. The novel "Fathers and Sons" is dedicated to the memory of the latter. The complexity and inconsistency of Bazarov's views does not allow us to recognize the source of the image as a certain person: only Belinsky or only Dobrolyubov.
The author's attitude to Bazarov is ambiguous. Turgenev's position manifests itself gradually, as the image itself unfolds, in the hero's monologues, his disputes with other characters: with his friend Arkady Kirsanov, with his father and uncle Pavel Petrovich. At first, Bazarov is confident in his abilities, in the business that he is doing; he is a proud, determined person, a daring experimenter and denier. Under the influence of various reasons, his views undergo significant changes; Turgenev confronts his hero with serious life trials, as a result of which Bazarov has to give up a number of beliefs. It exhibits traits of skepticism and pessimism. One of these tests is the hero's love for Anna Sergeevna Odintsova. The commoner Bazarov feels uncomfortable in front of the aristocrat Odintsova; gradually he discovers in himself a feeling, the existence of which he had previously denied.
Turgenev's hero is defeated in love. Ultimately, he remains alone, his spirit is almost broken, but even then Bazarov does not want to open himself to simple, natural feelings. He is cruel and demanding of his parents, as well as of everyone around him. Only in the face of death does Bazarov begin to vaguely understand the value of such manifestations of life as poetry, love, and beauty.
An important means of creating the image of Bazarov is speech characteristics. Bazarov speaks clearly and logically, his speech is characterized by aphorism. His expressions became catchphrases: "A decent chemist is twenty times more useful than any poet"; "You study the anatomy of the eye: where does it come from ... a mysterious look?"; “Nature is not a temple, but a workshop, and man is a worker in it”; "People that are trees in the forest, no botanist will take care of each individual birch."
The complex and contradictory image of Bazarov caused controversy in criticism, which continues to this day. After the release of the novel, even in democratic magazines, disagreements arose over the interpretation of the image of Bazarov. On behalf of Sovremennik, M.A. Antonovich. In his articles "Asmodeus of Our Time", "Misses", "Modern Novels", he interpreted the image of the hero as a caricature of modern youth in the guise of a glutton, a talker and a cynic. D.I. Pisarev. In the article "Bazarov" the critic reveals the historical significance of this type. Pisarev believed that at this stage Russia needs exactly people like Bazarov: they are critical of everything that has not been tested by their personal experience, they are used to relying only on themselves, they have both knowledge and will. A similar controversy unfolded in the 1950s and 1960s. of our century. Antonovich's point of view was supported by researcher V.A. Arkhipov ("To the creative history of the novel by IS Turgenev" Fathers and Sons ""). The image of Bazarov was repeatedly embodied on stage and on the screen. However, the dramatizations and film adaptations, performed too academically, remained within the textbook reading of this image.
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Evgeny Bazarov is the protagonist of Ivan Turgenev's novel "Fathers and Sons", "Russian Hamlet", the exponent of the new and very strong convictions of intellectual Russia in the middle of the 19th century - a nihilist. He denies the high spiritual principle, and with it - poetry, music, love, but preaches knowledge and on its basis - the reorganization of the world. Bazarov is a commoner, a medical student, although he is already about 30 years old. He is so-called. An “eternal student” who studies for years, getting ready for real activity, but will never get down to it.
Eugene came on vacation with his friend Arkady Kirsanov to his estate. The first meeting with Eugene takes place at the station, where Arkady's father meets the young men. The portrait of Bazarov at this moment is eloquent and immediately gives the attentive reader some idea of the hero: red hands - he conducts a lot of biological experiments, is intensively engaged in practice; a hoodie with tassels - everyday freedom and neglect of the outside, besides, poverty, alas. Bazarov speaks a little arrogantly ("lazily"), on his face there is an ironic smile of superiority and condescension to everyone.
The first impression does not deceive: Bazarov really considers everyone he meets with us on the pages of the novel below himself. They are sentimental - he is a practitioner and a rationalist, they love beautiful words and grandiloquent statements, they give loftiness to everything - he speaks the truth and everywhere sees the true reason, often low and "physiological".
All this is especially evident in the disputes with Pavel Petrovich Kirsanov - the "Russian Englishman", the uncle of Arkady. Pavel Petrovich speaks of the high spirit of the Russian people, Yevgeny counters with a reminder of sleepwalking, drunkenness, and laziness. For Kirsanov, art is divine, but for Bazarov “Raphael is not worth a dime”, because he is useless in a world where some people have hunger and infection, others have snow-white cuffs and morning coffee. His resume to art: "A decent chemist is twenty times more useful than any poet."
But the hero's beliefs are literally ruined by life itself. At the provincial ball, Bazarov meets Anna Odintsova, a rich and beautiful widow, whom he first characterizes in her own manner: "She does not look like other women." It seems to him (Eugene wants it to be so) that he has an exclusively carnal attraction to Madame Odintsova, "the call of nature." But it turns out that an intelligent and beautiful woman has become a necessity for Bazarov: one wants to not only kiss her, but talk to her, look at her ...
Bazarov turns out to be "infected" with romanticism - something that he vehemently denied. Alas, for Madame Odintsova, Evgeny became something like those frogs that he himself cut for experiments.
Running away from feelings, from himself, Bazarov leaves for his parents in the village, where he treats the peasants. Opening a typhoid corpse, he wounds himself with a scalpel, but does not cauterize the cut and becomes infected. Soon Bazarov dies.
Characteristics of the hero
The death of a hero is the death of his ideas, convictions, the death of everything that gave him superiority over others, in which he so believed. Life gave Eugene, as if in a fairy tale, three tests to increase the complexity - duel, love, death ... He - more precisely, his convictions (and this is he, because he "made himself") - do not withstand a single one.
What is a duel if not a product of romanticism, and certainly not a healthy life? And yet Bazarov agrees to her - why? After all, this is utter nonsense. But something prevents Eugene from refusing to challenge Pavel Petrovich. Probably an honor, which he scoffs at as much as art.
("Bazarov and Odintsova", artist Ratnikov)
The second defeat is love. She rules over Bazarov, and the chemist, biologist and nihilist cannot do anything with her: "His blood caught fire as soon as he remembered her ... something else got into him, which he never allowed ..."
The third defeat is death. After all, she did not come by the will of old age, of chance, but almost intentionally: Bazarov knew perfectly well what the threat of a cut on a typhoid corpse was. But he didn’t burn the wound. Why? Because at that moment he was driven by the lowest of the "romantic" desires - to end it all at once, to surrender, to admit defeat. Eugene suffered so much from mental torment that reason and critical calculation were powerless.
Bazarov's victory is that he has enough intelligence and strength to admit the collapse of his convictions. This is the greatness of the hero, the tragedy of the image.
The image of the hero in the work
At the end of the novel, we see all the heroes somehow arranged: Odintsova got married according to calculation, Arkady is happy in a philistine, Pavel Petrovich leaves for Dresden. And only Bazarov's "passionate, sinful, rebellious heart" disappeared under the cold ground, in a rural cemetery overgrown with grass ...
But he was the most honest of them, the most sincere and strong. Its "scale" is many times larger, its capabilities are greater, and its strengths are immeasurable. But such people live a little. Or a lot, if they shrink to the size of Arcadia.
(V. Perov illustration for Turgenev's novel "Fathers and Sons")
The death of Bazarov is also a consequence of his false beliefs: he was simply not ready for the "blow" by love and romance. He did not have the strength to resist what he considered to be fiction.
Turgenev creates a portrait of another "hero of the time", over whose death many readers are crying. But the “heroes of the time” - Onegin, Pechorin, others - are always superfluous and heroes only because they express the imperfection of this time. Bazarov, according to Turgenev, "stands on the threshold of the future", his time has not come. But it seems that it did not come for such people, and now it is not known whether it will be ...
