Half an hour later, Anna Sergeevna, accompanied by Vasily Ivanovich, entered the office. The doctor managed to whisper to her that there was no point in thinking about the patient's recovery.
She glanced at Bazarov ... and stopped at the door, so much struck by this inflamed and at the same time deathly face with dull eyes fixed on her. She was simply frightened by some cold and painful fright; the thought that she would not have felt the same if she had loved him, instantly flashed in her head.
Fathers and Sons. A feature film based on the novel by Ivan Turgenev. 1958
“Thank you,” he said intensely, “I didn’t expect that. This is a good deed. So we saw each other again, as you promised.
- Anna Sergeevna was so kind ... - Vasily Ivanovich began.
- Father, leave us. Anna Sergeevna, will you allow me? It seems now ...
He pointed with his head to his outstretched, powerless body.
Vasily Ivanovich went out.
“Well, thanks,” repeated Bazarov. - This is royal ... They say that kings also visit the dying.
- Evgeny Vasilich, I hope ...
- Eh, Anna Sergeevna, let's start telling the truth. It's over with me. Hit the wheel. And it turns out that there was nothing to think about the future. The old joke is death, but it's new to everyone. I still don’t worry ... and then unconsciousness will come, and fuit! (He waved his hand weakly.) Well, what can I tell you ... I loved you! it hadn't made any sense before, and even more so now. Love is a form, and my own form is already decaying. I'd rather say that how glorious you are! And now here you are, so beautiful ...
Anna Sergeevna involuntarily shuddered.
- Nothing, do not worry ... sit there ... Do not come near me: my disease is contagious.
Anna Sergeevna quickly crossed the room and sat down on an armchair near the sofa on which Bazarov was lying.
- Generous! He whispered. - Oh, how close, and how young, fresh, clean ... in this disgusting room! .. Well, goodbye! Live long, this is best, and use while the time. Look, what an ugly sight: a worm half-crushed, and still bristling. And after all, I also thought: I will break off a lot of cases, I will not die, where! there is a task, because I am a giant! And now the whole task of the giant is how to die decently, although no one cares about this ... All the same: I will not wag my tail.
Bazarov fell silent and began feeling his glass with his hand. Anna Sergeevna gave him a drink, without removing her gloves and breathing fearfully.
“You will forget me,” he began again. “A dead man is not a friend to a living. Your father will tell you that, they say, what kind of person Russia is losing ... This is nonsense; but do not discourage the old man. Whatever the child is having fun ... you know. And caress your mother. After all, people like them cannot be found in your big light in the daytime with fire ... Russia needs me ... No, apparently, it is not needed. And who is needed? A shoemaker is needed, a tailor is needed, a butcher ... he sells meat ... a butcher ... wait, I'm confused ... There is a forest here ...
Bazarov put his hand on his forehead.
Anna Sergeevna leaned over to him.
- Evgeny Vasilich, I'm here ...
He immediately took his hand and raised himself.
“Goodbye,” he said with sudden force, and his eyes flashed with the last sparkle. - Farewell ... Listen ... I didn't kiss you then ... Blow on the dying lamp and let it go out ...
Anna Sergeevna pressed her lips to his forehead.
- And that's enough! - he said and sat down on the pillow. “Now… darkness…
Anna Sergeevna went out quietly.
- What? - Vasily Ivanovich asked her in a whisper.
“He fell asleep,” she answered, barely audible.
Bazarov was no longer destined to wake up. By evening he fell into complete unconsciousness, and the next day he died. Father Alexei performed religious rites on him. When he was unctioned, when the holy myrrh touched his chest, one of his eyes opened, and, it seemed, at the sight of a priest in vestments, a smoking censer, a candle in front of the image, something like a shudder of horror instantly reflected on his dead face. When, at last, he let out his last breath and a general groaning arose in the house, Vasily Ivanovich was seized by a sudden frenzy. “I said that I would complain,” he shouted hoarsely, with a flaming, distorted face, shaking his fist in the air, as if threatening someone, “and I will complain, I will complain!” But Arina Vlasyevna, all in tears, hung around his neck, and both fell prostrate together. “So,” Anfisushka told later in the human room, “side by side and bowed their heads like sheep at noon…”
Bazarov's illness and death seemed to be caused by an absurd accident - a fatal infection that accidentally entered the bloodstream. But in the works of Turgenev, this cannot be accidental.
The wound itself is an accident, but there is also a grain of regularity in it, since during this period Bazarov lost his vital balance and became less attentive, more absent-minded in work.
The pattern is also in the author's position, since Bazarov, who always challenged nature in general and human nature (love) in particular, had to, according to Turgenev, be avenged by nature. The law is cruel here. Therefore, he dies, infected with bacteria - natural organisms. Simply put, it dies by nature.
In addition, unlike Arkady, Bazarov was not fit to "build his own nest." He is lonely in his beliefs and devoid of family potential. And this is a dead end for Turgenev.
And one more circumstance. Turgenev could feel the premature, uselessness of the Bazarovs for contemporary Russia. If on the last pages of the novel Bazarov looked unhappy, the reader would certainly feel sorry for him, and he is worthy not of pity, but of respect. And it was in his death that he showed his best human features, with the last phrase about the "dying lamp" finally coloring his image not only with courage, but also with bright romance, which, as it turned out, lived in the soul of a seemingly cynical nihilist. This was the whole point of the novel in the end.
By the way, if the hero dies, then it is not at all necessary that the author denies him something, punishes or takes revenge for something. Turgenev's best heroes always die, and from this his works are colored with a bright, optimistic tragedy.
Epilogue of the novel.
The epilogue can be called the last chapter of the novel, which tells in a concise form about the fate of the heroes after the death of Bazarov.
The future of the Kirsanovs turned out to be quite expected. The author writes especially sympathetically about the loneliness of Pavel Petrovich, as if the loss of Bazarov, a rival, finally deprived him of the meaning of life, of the opportunity to at least apply his vitality to something.
The lines about Madame Odintsova are significant. Turgenev, in one phrase: “I did not marry for love, but for conviction”, completely discredits the heroine. And the last author's characterization already looks simply sarcastic and destructive: "... perhaps they will live to be happy ... perhaps to love." It is enough to understand Turgenev at least a little to guess that love and happiness do not "live on".
The most Turgenev's is the last paragraph of the novel - a description of the cemetery where Bazarov is buried. The reader has no doubts that he is the best in the novel. To prove this, the author merged the departed hero with nature into a single harmonious whole, reconciled him with life, with parents, with death, and still managed to say about "the great tranquility of indifferent nature ...".
The novel "Fathers and Sons" in Russian criticism.
In accordance with the vectors of the struggle between social trends and literary views, points of view on Turgenev's novel were also lined up in the 60s.
The most positive assessments of the novel and the main character were given by DI Pisarev, who had already departed from Sovremennik at that time. But from the depths of Sovremennik itself, negative criticism sounded. Here was published an article by M. Antonovich "Asmodeus of Our Time", which denied the social significance and artistic value of the novel, and Bazarov, called a talker, cynic and glutton, was interpreted as a pitiful slander against the young generation of democrats. NA Dobrolyubov had already died by this time, and NG Chernyshevsky was arrested, and Antonovich, who quite primitively perceived the principles of "real criticism", took the original author's plan for the final artistic result.
Oddly enough, the liberal and conservative part of society took the novel more deeply and fairly. Although here it was not without extreme judgments.
M. Katkov wrote in the Russkiy Vestnik that Fathers and Sons is an anti-nihilistic novel, that the occupation of the “new people” in the natural sciences is a frivolous and idle affair, that nihilism is a social disease that must be treated by strengthening conservative protective principles.
The most artistically adequate and deep interpretation of the novel belongs to FM Dostoevsky and N. Strakhov - the magazine "Time". Dostoevsky interpreted Bazarov as a "theoretician" who was at odds with life, as a victim of his own dry and abstract theory, which broke down on life and brought suffering and torment (almost like Raskolnikov from his novel Crime and Punishment).
N. Strakhov noted that I.S. Turgenev "wrote a novel not progressive and not retrograde, but, so to speak, everlasting." The critic saw that the author "stands for the eternal principles of human life," and Bazarov, who "shuns life," meanwhile, "lives deeply and strongly."
The point of view of Dostoevsky and Strakhov is fully consistent with the judgments of Turgenev himself in his article "Concerning the" Fathers and Children ", where Bazarov is called a tragic person.
The episode of Bazarov's death is one of the most important in the work. Being the denouement of the idea of \u200b\u200bthe work, this episode plays a key role in the novel, being an answer to the question: "Is it possible to live, rejecting all human feelings and recognizing only reason?"
Bazarov returns home to his parents as a person different from what he was before. He begins to avoid the loneliness that used to be an integral part of his life and helped him work.
He is always looking for company: drinking tea in the living room, walking in the woods with his father, because it becomes unbearable for him to be alone. Alone, his thoughts are seized by Odintsova, the woman he loves, who has destroyed his unshakable faith in the absence of romantic feelings. Because of this, Bazarov becomes less attentive and less focused on work. And, due to this very inattention, he receives a slight cut, which later became fatal for him.
Bazarov, as an experienced doctor, is well aware that he has little to live. Understanding the imminent inevitable death tears from him the mask of insensibility. He worries about his parents and tries to protect them from worries, hiding the disease from them to the last. When Bazarov's condition deteriorates completely, and he stops getting out of bed, it does not even occur to him to complain of pain. He reflects on life, sometimes inserting his characteristic ironic jokes.
Realizing that he has very little time left, Bazarov asks to send Odintsova to see her for the last time before his death. She arrives dressed completely in black, as if to a funeral. Seeing the dying Bazarov, A. S. finally realizes that he does not love him. Bazarov tells her everything about what is in his soul. He still does not complain, but only talks about life and his role in it. When EB asks Odintsov to give him a glass of water, she does not even take off her gloves and fearfully breathes in fear of infection. This once again proves the absence of romantic feelings in her in relation to Bazarov. The dying Bazarov nevertheless has a small spark of hope for the reciprocity of love, and he asks for her kiss. A. S. fulfills his request, but kisses him only on the forehead, that is, in the same way as usually kiss the dead. For her, the death of Bazarov is not an important event, and she has already mentally said goodbye to him.
Analyzing this episode, we see that illness and understanding of imminent death finally transforms Bazarov from an independent nihilist into an ordinary person with his own weaknesses. In his last days, he no longer harbors any feelings and opens his soul. And he dies a strong man without complaining or showing pain. Madame Odintsova's behavior shows her lack of love for Bazarov. Her visit to the dying man is just a courtesy, but not a desire to see the hero for the last time and say goodbye.
This episode is inextricably linked with others in this work. It is the denouement of the main conflict of the work, logically continuing the whole idea of \u200b\u200bthe novel, and especially chapter 24. In this chapter, a duel takes place between Kirsanov and Bazarov, because of which the latter has to go back home to his parents.
From all of the above, we can conclude that this episode plays one of the key roles in the work. As a denouement, he brings to an end the story of a man who rejected all feelings, and shows that it is still impossible to live, denying human joys and guided only by reason.
The question of why Turgenev killed his hero of the novel "Fathers and Sons" - Yevgeny Bazarov, interested many. Herzen said on this occasion that the author of the novel wanted to kill his hero with "lead", that is, with a bullet, but finished off with typhus, because he did not accept much in him. Is it so? Maybe the reason goes much deeper? So why did Bazarov die?
Why Turgenev killed Bazarov
And the answer lies in life itself, in the political and social situation of that time. The social conditions of those years did not provide opportunities for realizing the aspirations of the commoners for democratic transformations. In addition, they remained cut off from the people to whom they were drawn and for which they fought. They were not able to carry out the titanic task that they set for themselves. They could fight, but they could not win. They were stamped with doom. It turns out that Eugene was doomed to death and defeat, to the fact that his deeds would not come true. Turgenev was sure that the Bazarovs had come, but their time was not yet.
Death of the main character "Fathers and Sons"
Answering the question of what Bazarov died from, we can say that the cause was blood poisoning. He injured his finger when he opened the corpse of a typhus patient whom he was treating. But most likely, the reasons lie much deeper. How did the hero accept his death, how did he feel about it? How did Bazarov die?
First, Bazarov tried to fight the disease, asking for this from his father a hellish stone. Realizing that he is dying, he stops clinging to life and gives himself up in the hands of death rather passively. It is clear to him that it is in vain to comfort himself and others with the hope of healing. Now the main thing is to die with dignity. And this means not to relax, not to whimper, not to despair, not to panic, and to do everything to alleviate the suffering of old parents. Such care for loved ones before death elevates Bazarov.
He himself has no fear of death, he is not afraid to part with life. During these hours he is very courageous, which is confirmed by his words that he will not wag his tail anyway. But his resentment does not leave him for the fact that his heroic forces are in vain dying. He demonstrates his power. Picking up a chair by the leg, weakened and dying out, he says, "Strength, the strength is still here, but we must die!" He overcomes his half-oblivion and speaks about his titanism.
The way Bazarov died looks random and ridiculous. He is young, himself a doctor and an anatomist. Therefore, his death looks symbolic. Medicine and natural sciences, on which Bazarov so hoped, turn out to be insufficient for life. His love for the people turned out to be incomprehensible, because he dies just because of an ordinary man. His nihilism is also inexplicable, because now life denies him.
Death of Bazarov
The protagonist of Ivan Turgenev's novel "Fathers and Sons" - Evgeny Vasilyevich Bazarov - dies in the finale of the work. Bazarov is the son of a poor district doctor who continues the work of his father. Evgeny's position in life is that he denies everything: views on life, feelings of love, painting, literature and other types of art. Bazarov is a nihilist.
At the beginning of the novel, there is a conflict between Bazarov and the Kirsanov brothers, between a nihilist and aristocrats. Bazarov's views differ sharply from those of the Kirsanov brothers. In disputes with Pavel Petrovich Kirsanov, Bazarov wins. Therefore, there is a gap for ideological reasons.
Evgeny meets Anna Sergeevna Odintsova, an intelligent, beautiful, calm, but unhappy woman. Bazarov falls in love, and, having fallen in love, realizes that love appears before him not as "physiology", but as a real, sincere feeling. The hero sees that Odintsova highly values \u200b\u200bher own calmness and measured order of life. The decision to part with Anna Sergeevna leaves a heavy mark in Bazarov's soul. Unrequited love.
Bazarov's "imaginary" followers include Sitnikov and Kukshina. In contrast to them, for whom denial is just a mask that allows them to hide their inner vulgarity and inconsistency, Bazarov confidently defends the views that are close to him. Vulgarity and insignificance.
Bazarov, having arrived to his parents, notices that he is getting bored with them: neither with his father nor with his mother Bazarov can speak the way he talks with Arkady, even argue the way he argues with Pavel Petrovich, so he decides to leave. But soon he comes back, where he helps his father to treat sick peasants. People of different generations, different development.
Bazarov likes to work, for him work is satisfaction and self-respect, so he is close to the people. Bazarov is loved by children, servants and peasants, because they see him as a simple and intelligent person. The people are their understanding.
Turgenev considers his hero doomed. Bazarov has two reasons: loneliness in society and internal conflict. The author shows how Bazarov remains alone.
The death of Bazarov was the result of a small cut he received while opening the body of a peasant who had died of typhus. Eugene is waiting for a meeting with his beloved woman in order to once again confess his love to her, he also becomes softer with his parents, deep down, probably still realizing that they have always occupied a significant place in his life and deserve a much more attentive and sincere attitude. Before his death, he is strong, calm and imperturbable. The death of the hero gave him time to evaluate what he had done and realize his life. His nihilism turned out to be incomprehensible - after all, he himself is now denied by both life and death. We feel for Bazarov not pity, but respect, and at the same time we remember that we are facing an ordinary person with his own fears and weaknesses.
Bazarov is a romantic at heart, but he believes that romanticism has no place in his life now. But still, fate made a revolution in Yevgeny's life, and Bazarov begins to understand what he once rejected. Turgenev sees him as an unrealized poet, capable of strong feelings, possessing the strength of the spirit.
DI. Pisarev claims that “it is still bad for the Bazarovs to live in the world, even though they hum and whistle. There is no activity, there is no love - therefore, there is no pleasure either. The critic also argues that one must live "while one lives, eat dry bread, when there is no roast beef, be with women, when you cannot love a woman, and generally not dream of orange trees and palms when there are snowdrifts and cold tundra under your feet."
The death of Bazarov is symbolic: medicine and natural sciences, in which Bazarov so hoped, turned out to be insufficient for life. But from the author's point of view, death is natural. Turgenev defines the figure of Bazarov as tragic and “doomed to death”. The author loved Bazarov and said many times that he was a "clever" and "hero". Turgenev wanted the reader to fall in love with Bazarov with his rudeness, callousness, and pitiless dryness.
He regrets his unspent strength, the unfulfilled task. Bazarov devoted his entire life to striving to benefit the country and science. We imagine him as an intelligent, reasonable, but at the bottom of our souls, a sensitive, attentive and kind person.
According to his moral convictions, Pavel Petrovich challenges Bazarov to a duel. Feeling uncomfortable and realizing that he is compromising his principles, Bazarov agrees to shoot with Kirsanov Sr. Bazarov slightly wounds the enemy and himself gives him first aid. Pavel Petrovich holds up well, even makes fun of himself, but at the same time he and Bazarov are embarrassed / Nikolai Petrovich, from whom the true reason for the duel was hidden, also behaves in the most noble way, finding justification for the actions of both opponents.
"Nihilism", according to Turgenev, challenges the enduring values \u200b\u200bof the spirit and the natural foundations of life. This is seen as the tragic guilt of the hero, the reason for his inevitable death.
Yevgeny Bazarov can by no means be called a "superfluous person." Unlike Onegin and Pechorin, he does not get bored, but works a lot. Before us is a very active person, he has "immense strength in his soul." One job is not enough for him. In order to really live, and not drag out a miserable existence like Onegin and Pechorin, such a person needs a philosophy of life, its purpose. And he has it.
The worldviews of the two political trends of the liberal nobles and the revolutionary democrats. The plot of the novel is based on the opposition of the most active representatives of these trends, the commoner Bazarov and the nobleman Pavel Petrovich Kirsanov. According to Bazarov, aristocrats are incapable of action, they are of no use. Bazarov rejects liberalism, denies the ability of the nobility to lead Russia to the future.
The reader understands that Bazarov has no one to convey that little, but the most precious thing he has - his convictions. He has no close and dear person, and therefore, no future. He does not think of himself as a district doctor, but he also cannot be reborn, become like Arkady. He has no place in Russia, and perhaps abroad, too. Bazarov dies, and with him dies his genius, his wonderful, strong character, his ideas and convictions. But true life is endless, flowers on the grave of Eugene confirm this. Life is endless, but only true ...
Turgenev could show how Bazarov would gradually abandon his views, he did not do this, but simply “killed” his protagonist. Bazarov dies of blood poisoning and, before his death, recognizes himself as unnecessary for Russia. Bazarov is still alone, therefore he is doomed, but his fortitude, courage, fortitude, persistence in achieving his goal make him a hero.
Bazarov does not need anyone, he is alone in this world, but he does not feel his loneliness at all. Pisarev wrote about this: "Bazarov alone, by himself, stands at the cold height of sober thought, and it is not hard for him from this loneliness, he is completely absorbed in himself and work."
In the face of death, even the most powerful people begin to deceive themselves, indulge unrealizable hopes. But Bazarov boldly looks inevitable in the eye and is not afraid of it. He only regrets that his life was useless, because he did not bring any benefit to the Motherland. And this thought gives him a lot of suffering before his death: “Russia needs me ... No, apparently, it is not needed. And who is needed? A shoemaker is needed, a tailor is needed, a butcher ... "
Let us recall the words of Bazarov: "When I meet a person who would not pass up in front of me, then I will change my opinion about myself." There is a cult of strength. "Hairy" - this is how Pavel Petrovich said about Arkady's friend. He is clearly jarred by the appearance of a nihilist: long hair, a hoodie with tassels, red unkempt hands. Of course, Bazarov is a man of labor who does not have time to take care of his appearance. It seems to be so. Well, what if this is "deliberate shock of good taste"? And if this is a challenge: I dress and comb my hair as I want. Then it is bad, immodest. The disease of swagger, irony over the interlocutor, disrespect ...
Reasoning purely humanly, Bazarov is wrong. At a friend's house he was greeted cordially, although Pavel Petrovich did not shake hands. But Bazarov does not stand on ceremony, he immediately enters into a heated argument. His judgment is uncompromising. "Why would I begin to recognize authorities?"; "A decent chemist is twenty times more useful than a poet"; he reduces high art to "the art of making money." Later, Pushkin and Schubert and Raphael will get it. Even Arkady remarked to a friend about his uncle: "You insulted him." But the nihilist did not understand, did not apologize, did not doubt that he behaved too impudently, but condemned: "Imagines himself as a sensible person!", Stooped to put "his life on the card of female love", "we, physiologists, know, what kind of relationship is it "between a man and a woman ...
In Chapter X of the novel, during a dialogue with Pavel Petrovich, Bazarov managed to speak out on all the fundamental issues of life. This dialogue deserves special attention. Here Bazarov asserts that the social system is terrible, and one cannot but agree with this. Further: God as the highest criterion of truth does not exist, which means, do what you want, everything is permitted! But not everyone will agree with this.
There is a feeling that Turgenev himself was at a loss, examining the character of a nihilist. Under the pressure of Bazarov's strength and firmness, the writer was somewhat embarrassed and began to think: "Maybe this is necessary? Or maybe I am an old man who has ceased to understand the laws of progress?" Turgenev clearly sympathizes with his hero, and already treats the nobles condescendingly, and sometimes even satirically.
But the subjective view of the characters is one thing, the objective thought of the whole work is another. What is it about? About the tragedy. The tragedies of Bazarov, who, in a thirst for "doing a long time," in his enthusiasm for his God-science, trampled on universal values. And these values \u200b\u200bare love for another person, the commandment "Thou shalt not kill" (fought in a duel), love for parents, indulgence in friendship. He is cynical in relation to a woman, mocks Sitnikov and Kukshina, people who are narrow-minded, greedy for fashion, poor, but still people. Eugene excluded from his life lofty thoughts and feelings about the "roots" that feed us, about God. He says: "I look up to the sky when I want to sneeze!"
The tragedy of the hero is also completely alone, both among his own people and among strangers, although Fenichka and the emancipated servant Peter sympathize with him. He doesn't need them! The peasants who called him "the jester of peas" feel his inner contempt for them. His tragedy lies in the fact that he is inconsistent in his attitude to the people, whose name he hides behind: "... I hated this last man, Philip or Sidor, for whom I have to get out of my skin and who will not even thank me ... And why should I thank him? Well, he will live in a white hut, and a burdock will grow out of me - well, and then? "
Interestingly, before his death, Bazarov remembers the forest, that is, the natural world that he essentially denied earlier. Even religion now he calls for help. And it turns out that the hero of Turgenev in his short life passed by everything that is so beautiful. And now these manifestations of genuine life seem to triumph over Bazarov, around him and rise in him.
First, the hero of the novel makes a feeble attempt to fight the disease and asks his father for a hell stone. But then, realizing that he is dying, he ceases to cling to life and rather passively gives himself up into the hands of death. It is clear to him that it is in vain to comfort himself and others with the hope of healing. The main thing now is to die with dignity. This means not to whine, not to relax, not to panic, not to despair, to do everything to ease the suffering of old parents. Without in the least deceiving his father's hopes, reminding him that everything now depends only on the time and pace of the disease, he nevertheless invigorates the old man with his own perseverance, conducting a conversation in a professional medical language, advice to turn to philosophy or even religion. And for the mother, Arina Vlasyevna, her assumption about her son's cold is supported. This concern before death for loved ones greatly elevates Bazarov.
The hero of the novel has no fear of death, no fear of parting with life, he is very courageous during these hours and minutes: "It doesn't matter: I won't wag my tail," he says. But he does not leave the insult for the fact that his heroic forces are dying in vain. In this scene, the motive of Bazarov's strength is especially emphasized. At first, it is conveyed in the exclamation of Vasily Ivanovich, when Bazarov pulled out a tooth from a visiting peddler: "Such a force in Evgeny!" Then the hero of the book himself demonstrates his power. Weakened and fading away, he suddenly lifts the chair by the leg: "The strength, the strength is still here, but we must die!" He overcame his semi-oblivion imperiously and speaks of his titanism. But these forces are not destined to prove themselves. "I will break off a lot of things" - this task of the giant remained in the past as an unrealized intention.
The farewell meeting with Madame Odintsova is also very expressive. Eugene no longer restrains himself and utters the words of delight: "glorious", "so beautiful", "generous", "young, fresh, clean." He even talks about his love for her, about kissing. He indulges in a kind of "romanticism" that would have previously made him indignant. And the highest expression of this is the hero's last phrase: "Blow on the dying lamp and let it go out."
Nature, poetry, religion, parental feelings and filial affection, the beauty of a woman and love, friendship and romanticism - all this takes over, wins.
And here the question arises: why does Turgenev "kill" his hero?
But the reason is much deeper. The answer lies in life itself, in the social and political environment of those years. Social conditions in Russia did not provide an opportunity for the implementation of the aspirations of commoners for democratic transformations. In addition, their isolation from the people, to whom they were drawn and for whom they fought, remained. They could not fulfill the titanic task that they set for themselves. They could fight, but not win. Doom was stamped on them. It becomes clear that Bazarov was doomed to the impracticability of his affairs, to defeat and destruction.
Turgenev is deeply convinced that the Bazarovs have come, but their time has not yet come. What is left for an eagle when it cannot fly? Think about doom. Yevgeny often thinks about death in the midst of his everyday life. He unexpectedly compares the infinity of space and the eternity of time with his short life and comes to the conclusion about his "own insignificance." It is striking that the author of the novel cried when he finished his book with the death of Bazarov.
According to Pisarev, "to die as Bazarov died is the same as to do a great feat." And this last feat is performed by Turgenev's hero. Finally, we note that in the scene of death the thought of Russia arises. Tragically, the homeland is losing its big son, a real titan.
And here I recall the words of Turgenev, said about the death of Dobrolyubov: "It is a pity for the lost, wasted power." The same author's regret is felt in the scene of Bazarov's death. And the fact that powerful opportunities were wasted make the death of the hero especially tragic.
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