Let's turn to the last pages of the novel. What feeling do the last pages of the novel evoke?
(A feeling of pity that such a person is dying. A.P. Chekhov wrote: “My God! What a luxury “Fathers and Sons”! Just shout at the guard. as if I had been infected by him. And the end of Bazarov? It's the devil knows how it's done (Read excerpts from chapter 27).
What do you think Pisarev meant when he wrote: “To die the way Bazarov died is the same as doing a great feat”?
(At that moment, Bazarov’s willpower and courage appeared. Feeling the inevitability of the end, he did not get scared, did not try to deceive himself, and most importantly, remained true to himself and his convictions. Bazarov’s death is heroic, but attracts not only Bazarov’s heroism, but also the humanity of his behavior ).
Why does Bazarov become closer to us before his death?
(Romance was clearly revealed in him, he finally uttered the words that he used to be afraid of: “I love you! Farewell ... because I didn’t kiss you then ... Blow on the dying lamp and let it go out ...” Bazarov becomes more humane .)
Why, after all, does Turgenev end the novel with the scene of the death of the hero, despite his superiority over other heroes?
(Bazarov dies from an accidental cut of his finger, but his death, from the author's point of view, is natural. Turgenev will define the figure of Bazarov as tragic and "doomed to death." That is why he "killed" the hero. Two reasons: loneliness and internal conflict of the hero.
The author shows how Bazarov remains lonely. The Kirsanovs are the first to fall away, then Odintsova, then the parents, Fenechka, Arkady, and the last cut off of Bazarov - from the people. The new people look lonely compared to the vast mass of the rest of society. Bazarov is a representative of an early revolutionary raznochinets, he is one of the first in this matter, and it is always difficult for the first. They are alone in the small estate and urban noble environment.
But Bazarov dies, but like-minded people remain who will continue the common cause. Turgenev did not show Bazarov's like-minded people and thus deprived his business of prospects. Bazarov does not have a positive program, he only denies it, since Bazarov cannot answer the question: “What next?” What to do after destroyed? This is the futility of the novel. This is the main reason for the death of Bazarov in the novel, the main reason that the author could not chart the future.
The second reason is the internal conflict of the hero. Turgenev believes that Bazarov died because he became a romantic, since he did not believe in the possibility of a harmonious combination of romance and the strength of a civil spirit in new people. That is why Turgenev's Bazarov wins as a fighter, as long as there is no romance in him, no sublime feeling for nature, female beauty.)
(Turgenev loved Bazarov very much and repeated many times that Bazarov was a “clever man” and a “hero.” Turgenev wanted the reader to love Bazarov (but by no means Bazarovism) with all his rudeness, heartlessness, ruthless dryness.)
III. teacher's word
Literary critics have repeatedly called the lack of solid ground under their feet as the main cause of Bazarov's death. In confirmation of this, his conversation with a peasant was cited, in which Bazarov turns out to be "something like a pea jester." However, what Turgenev sees as the doom of his hero does not come down to Bazarov's inability to find a common language with the peasant. Can Bazarov's tragic dying phrase: "... Russia needs me ... No, apparently, it is not needed ..." - can be explained by the above reason? And most importantly, "the story of the hero is included in the writer's common theme of the death of a person in the crucible of natural forces beyond his control", "elemental forces - passion and death."
Turgenev did not put up with the metaphysical insignificance of man. It was his unceasing pain, growing out of the awareness of the tragedy of human fate. But he is looking for support for a person and finds it in the "dignity of the consciousness of his insignificance." That is why his Bazarov is convinced that in the face of a blind force that destroys everything, it is important to remain strong, as he was in life.
It is painful for the dying Bazarov to recognize himself as a “half-crushed worm”, to be an “ugly spectacle”. However, the fact that he managed to achieve a lot on his way, managed to touch the absolute values of human existence, gives him the strength to adequately look into the eyes of death, to adequately live up to the moment of unconsciousness.
The poet is talking to Anna Sergeevna, who, completing his earthly journey, found for himself the most accurate image - the “dying lamp”, whose light symbolized the life of Bazarov. Always despising a beautiful phrase, now he can afford it: "Blow on the dying lamp and let it go out ..."
On the threshold of death, Turgenev's hero, as it were, draws a line under his disputes with Pavel Petrovich about whether such, as Kirsanov ironically remarked, are needed, "deliverers, heroes" of Russia. "I need Russia?" - Bazarov, one of the "deliverers", asks himself, and does not hesitate to answer: "No, apparently, it is not needed." Perhaps he was aware of this while still arguing with Pavel Kirsanov?
Thus, death gave Bazarov the right to be what, perhaps, he always was - doubting, not afraid to be weak, exalted, able to love ... The uniqueness of Bazarov lies in the fact that through the whole novel he will pass in many ways not like that person and thereby dooming himself to the only possible, fatal, tragic - Bazarov - fate.
However, Turgenev completed his novel with an enlightened picture of a quiet rural cemetery, where Bazarov’s “passionate, sinful, rebellious heart” rested and where “two already decrepit old men often come from a nearby village - a husband and wife” - Bazarov’s parents.
The ending of each work, whether it be a novel or a play or a short story, always draws a line, as it were, sums up the whole book. And the way the finale of a single book turns out is of great importance in understanding the whole work. Fathers and Sons is no exception. I. Turgenev “kills” the protagonist, Evgeny Vasilievich Bazarov, not out of pure fantasy. The last chapters, describing his death throes, carry a huge ideological meaning.
Throughout the novel, Yevgeny Bazarov presented himself as a nihilist, a man
Denying everything. But the nihilists are still only the seed of the revolutionary movement that is emerging in Russia. Their time had not yet come, they anticipated their own revolutionary era. This is the tragedy of the work itself and the fate of the protagonist.
Bazarov dies from an accidental cut on his finger during an autopsy of a man who died of typhus. Bazarov himself becomes infected with this deadly disease, and he has only a few days left to live.
However, the protagonist in the face of death shows willpower and courage. Even when he reports the infection to his father, he seems to casually talk about it: “Well, so I asked
County doctor [to open a typhoid peasant]; Well, he cut himself."
Bazarov feels the approach of the inevitable end: "If I got infected, it's too late now." But he was not afraid, he did not try to deceive himself, he remained true to his convictions. The death of Bazarov is heroic, but it attracts not only the heroism and stamina of Yevgeny, but also the humanity of his behavior. He becomes closer to us before his death: a romantic is clearly revealed in him, and he utters a phrase that he was afraid to utter before: “I love you!”
Despite the fact that Bazarov dies by accident, his very death is the natural end of the novel. I. Turgenev himself defines his main character as "doomed to perish."
There are two reasons for this: loneliness and internal conflict.
Bazarov is doomed to loneliness. Neither the parents, nor the Kirsanovs, nor Odintsova are close, understanding people. Bazarov is lonely, if only because he denies everything. But it is precisely this denial that confuses him when he asks: “What next?” But there is no answer to this question. Therefore, the beliefs of the hero himself are hopeless.
Bazarov dies because he was driven into a dead end by his theory. His return to his parental home looks like an escape from himself, from his own soul. On the one hand, Bazarov is confident in his views. But on the other hand, he understands that he cannot cope with all the complexity of feelings. Therefore, Turgenev leads to death not so much Bazarov as a person, but his ideas. He shows that nihilism has no future.
Before the very end in Bazarov, he is freed from nihilism, which constitutes his valuable picture of the world almost until his death. He acquires courageous features, so Eugene can boldly face death. He did not flinch before this last test that fell to his lot. Unable to fully reveal himself during his lifetime, Bazarov showed everything he was capable of in the face of death. A heavy, senseless death does not embitter Bazarov, but on the contrary, he tries not to show his suffering, he consoles his parents, takes care of them before his death, and finally finds peace.
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Essays on topics:
- Throughout the novel “Fathers and Sons”, the author tries to show the full-length figure of the protagonist Yevgeny Bazarov from all sides. AND...
- In 1861, the year of the abolition of serfdom, Turgenev wrote his best novel Fathers and Sons, which he dedicated to the memory of the great...
Plan of work on the analysis of an episode of a literary work. 1. Set the boundaries of the episode 2. Determine the main content of the episode and which characters are involved in it. 3. Track the change of moods, feelings of the characters, the motivation for their actions. 4. Consider the compositional features of the episode, its plot. 5. Follow the logic of the development of the author's thought. 6. Note the artistic means that create its emotional atmosphere in this episode. 7. Show the role of the episode in the work, how it is linked to other episodes, the role in revealing the author's intention 8. How the general ideological intent of the entire work is reflected in this episode.
Something to remember!!! 1. The main danger is the replacement of analysis by retelling 2. The analysis of an episode is an essay-reasoning that requires special attention to the text of the work. 3. The analysis of the episode involves attention to details, understanding their role, meaning for the image as a whole. 4. At the end of the analysis, there must be a synthesis, i.e. summary of the above.
The ideological concept of the novel "Fathers and Sons" In April 1862, Turgenev wrote to the poet K.K. Sluchevsky: "I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, vicious, honest - and yet doomed to death." And indeed, the writer carried out this plan - endowed Bazarov at the end of the novel with gloomy pessimism, skeptical attitudes towards peasants, and even forced him to say the phrase: “Russia needs me ... No, apparently not needed.” At the end of the novel, Bazarov’s “sinful, rebellious heart” is contrasted by Turgenev with “great calmness” of “indifferent nature”, “eternal reconciliation and endless life”.
We are writing an essay ... Set the boundaries of the episode The episode of the death of Yevgeny Bazarov is included in the penultimate chapter of the novel. It is important for revealing the image of the protagonist, since a completely different Bazarov appears before us, humane, weak, exalted, loving. The scene of Bazarov's death is the finale of the novel. Bazarov gradually remains lonely (the Kirsanovs are the first to fall away, then Odintsova, Fenechka, Arkady. Bazarov goes to the village to his parents in order to be closer to the people. But the scene of a conversation with a peasant separates him from the people (he realizes that for a peasant he is like a jester pea )
To determine the main content of the episode and which characters participate in it Bazarov, being in the village with his parents, begins to help his father in medical practice, he examines the patients, makes them dressings. Once Yevgeny was not at home for three days, he went to the neighboring village, from where they brought a typhoid peasant, for an autopsy, explaining his absence by the fact that he had not practiced this for a long time. At the autopsy, Bazarov cut himself. On the same day, Bazarov becomes ill, both (both father and son) understand that it is typhus, that Yevgeny's days are numbered. Bazarov asks his father to go to Odintsova and invite her to him. Odintsova arrives on the very eve of Yevgeny's death with a German doctor, who states the inevitable death of Bazarov. Bazarov confesses his love for Odintsova and dies.
Track the change of moods, feelings of the characters, the motivation of their actions. To die the way Bazarov died is the same as accomplishing a feat: at the moment of death, and the expectation of death, willpower and courage were manifested in him. Feeling the inevitability of the end, he did not get scared, did not try to deceive himself, and most importantly, remained true to himself and his convictions. He gets closer before death. The mood of Yevgeny's parents, of course, changes: at first, the father was frightened when he learned about his son's cut, but then he was seized by a feeling of fear, making sure that Yevgeny was definitely sick with typhus, "... and collapsed on his knees in front of the images." Turgenev, depicting the behavior of all the participants in the episode, is trying to prove to us that a person is such a creature that is afraid to die and lose his life at any moment. But at the same time, he contrasts the behavior of the protagonist: we understand that Bazarov is ready for death, he is not afraid of it, he accepts it as something inevitable, due, only regretting a little “And I also thought: I’ll break off a lot of things, I won’t die, where ! There is a task, because I am a giant! And now the whole task of the giant is how to die decently.
Consider the compositional features of the episode, the plot. Bazarov's disease is made so strong that sometimes it seems that you yourself can get infected from it. And the end of Bazarov's life? This is so skillfully done ... You are seized by a feeling of pity, an internal contradiction: but why did he die, why did Bazarov not succeed, because in essence he is a positive hero, capable of much in life? All this is possible thanks to the skillful construction (composition) of the episode.
Composition of the episode: Exposure: bringing a patient with typhus, unconscious, quick death in a cart on the way home. The plot: Yevgeny was not at home for three days, he opened a man who had died of typhus. Development of the action: the father finds out that Yevgeny cut his finger, Bazarov becomes ill, crisis, a short improvement in his condition, the arrival of a doctor, typhus, the arrival of Odintsova Climax: a farewell meeting with Odintsova, Bazarov's death The denouement: Bazarov's funeral, moaning parents.
Follow the logic of the development of the author's thought. Bazarov dies from an accidental cut on his finger, but his death, from the author's point of view, is natural. Turgenev defines the figure of Bazarov as tragic and "doomed to perish". That's why he "killed" the hero. Two reasons: loneliness and internal conflict of the hero. The author shows how Bazarov becomes lonely. New people, who is Bazarov, look lonely compared to the bulk of a huge society. Bazarov is a representative of an early revolutionary raznochinets, he is one of the first in this matter, and it is always difficult for the first. Bazarov does not have a positive program: he only denies everything. "What's next?". This is the main reason for the death of Bazarov in the novel. The author failed to predict the future. The second reason is the internal conflict of the hero. Turgenev believes that Bazarov died because he became a romantic. Turgenev wins bazaars as long as he is a fighter, as long as there is no romance in him, no sublime feeling for nature, female beauty.
Note the artistic means that create its emotional atmosphere in this episode. To clearly reflect the train of thought of the protagonist, Turgenev uses connecting constructions in the text: "... even if something like ... infection", "well, what can I tell you ... I loved you!" The use of a question-answer form in Bazarov’s speech (“Who is crying? Mother! Poor!”) is one of the ways to show the hero’s thoughts about the meaning of life, death, and human destiny. I would especially like to note Turgenev's metaphors, the author preferred uncomplicated verbal metaphors, which naturally arise from direct observations of life (“I won’t wag my tail”, “the worm is half-crushed, but still bristles”). They give Bazarov’s speech a certain ease, simplicity, help win over the hero, believe that he is not afraid of the approach of death, it is she (death) who should be afraid of him.
Conclusion Thus, death gave Bazarov the right to be what, perhaps, he always was - doubting, not afraid to be weak, exalted, able to love ... will doom itself not the only possible, fatal, tragic - Bazarov - fate. However, Turgenev completed his novel with an enlightened picture of a quiet rural cemetery, where Bazarov’s “passionate, sinful, rebellious heart” rested and where “two already decrepit old men often come from a nearby village - a husband and wife - Bazarov’s parents”
Figurative and expressive means of language Anaphora - places accents. Epiphora - places accents. Antithesis - opposition. Oxymoron - based on unique, unexpected semantic associations; shows the complexity of the phenomenon, its multidimensionality, attracts the reader's attention, enhances the expressiveness of the image. Gradation - specifies the concept in the direction of increasing or decreasing Ellipse - shows the emotional state of the speaker (excitement), accelerates the pace. Silence - makes you think about what the author does not say. Rhetorical appeal - emphasizes the emotionality of the author's speech, directed to the subject of the artistic image. Rhetorical question - emphasizes the emotionality of the author's speech (the question does not require an answer) Polyunion - gives solemnity to the speech, slows down the pace. Non-union - makes speech more dynamic, excited. Lexical repetition - highlights the most significant keyword of the text.
Bazarov's death
The protagonist of I. S. Turgenev's novel "Fathers and Sons" - Yevgeny Vasilyevich Bazarov - dies at the end of the work. Bazarov is the son of a poor district doctor, continuing his father's work. Eugene's life position is that he denies everything: views on life, a feeling of love, painting, literature and other forms 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 the beliefs of the Kirsanov brothers. In disputes with Pavel Petrovich Kirsanov, Bazarov wins. Therefore, there is a gap for ideological reasons.
Eugene meets Anna Sergeevna Odintsova, a smart, beautiful, calm, but unhappy woman. Bazarov falls in love, and, having fallen in love, he understands that love appears to him no longer as “physiology”, but as a real, sincere feeling. The hero sees that Odintsova highly appreciates her own calmness and measured order of life. The decision to part with Anna Sergeevna leaves a heavy mark on Bazarov's soul. Unrequited love.
The "imaginary" followers of Bazarov include Sitnikov and Kukshina. Unlike them, for whom denial is just a mask that allows them to hide their inner vulgarity and inconsistency, Bazarov, with confidence in his abilities, defends the views close to him. Vulgarity and insignificance.
Bazarov, having arrived at his parents, notices that he is getting bored with them: neither with his father nor with his mother Bazarov can talk like he talks with Arkady, even argue like he argues with Pavel Petrovich, so he decides to leave. But soon he comes back, where he helps his father 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 his understanding.
Turgenev considers his hero doomed. Bazarov has two reasons: loneliness in society and internal conflict. The author shows how Bazarov remains lonely.
Bazarov's death was the result of a small cut that he received while opening the body of a peasant who 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 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, both life and death now deny him. We do not feel pity for Bazarov, but respect, and at the same time we remember that before us is 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 nevertheless, fate made a revolution in the life of Eugene, and Bazarov begins to understand what he once rejected. Turgenev sees him as an unrealized poet, capable of the strongest feelings, possessing fortitude.
DI. Pisarev claims that “It’s 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 claims that one must live, “as long as one lives, eat dry bread when there is no roast beef, be with women when one cannot love a woman, and not dream of orange trees and palm trees at all, when there are snowdrifts and cold tundras underfoot.”
The death of Bazarov is symbolic: for life, medicine and the natural sciences, on which Bazarov relied so much, turned out to be insufficient. But from the author's point of view, death is natural. Turgenev defines the figure of Bazarov as tragic and "doomed to perish." The author loved Bazarov and repeatedly said that he was “clever” and “hero”. Turgenev wanted the reader to fall in love with Bazarov with his rudeness, heartlessness, ruthless dryness.
He regrets his unspent power, his unfulfilled task. Bazarov devoted his whole life to the desire to benefit the country, science. We imagine him as a smart, reasonable, but deep down, sensitive, attentive and kind person.
According to his moral convictions, Pavel Petrovich challenges Bazarov to a duel. Feeling embarrassed and realizing that he is sacrificing his principles, Bazarov agrees to shoot with Kirsanov Sr. Bazarov slightly wounds the enemy and gives him first aid himself. Pavel Petrovich keeps well, even makes fun of himself, but at the same time both 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 an excuse for the actions of both opponents.
"Nihilism", according to Turgenev, challenges the enduring values of the spirit and the natural foundations of life. This is seen as the tragic guilt of the hero, the cause of his inevitable death.
Evgeny Bazarov can by no means be called an "extra person". Unlike Onegin and Pechorin, he does not get bored, but works hard. 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 goal. And he has it.
The worldviews of the two political directions of the liberal nobles and the revolutionary democrats. The plot of the novel is built 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 not capable 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 to anyone what little, but the most precious thing he has - his convictions. He does not have a close and dear person, and therefore, there is no future. He does not think of himself as a district doctor, but he cannot be reborn, become like Arkady either. He has no place in Russia, and perhaps abroad, too. Bazarov dies, and with him his genius dies, his wonderful, strong character, his ideas and convictions. But true life is endless, the flowers on the grave of Eugene confirm this. Life is endless, but only true...
Turgenev could have shown how Bazarov would gradually abandon his views, he did not do this, but simply “killed” his main character. Bazarov dies from blood poisoning and before his death recognizes himself as an unnecessary person for Russia. Bazarov is still alone, therefore doomed, but his fortitude, courage, stamina, perseverance in achieving the 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 a sober thought, and it’s not hard for him from this loneliness, he is completely absorbed in himself and work”
In the face of death, even the strongest people begin to deceive themselves, to entertain unrealistic hopes. But Bazarov boldly looks into the eyes of inevitability 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 is needed ... "
Let us recall the words of Bazarov: "When I meet a person who would not give in to me, then I will change my mind about myself." There is a cult of power. “Hairy,” 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 working man who does not have time to take care of his appearance. It seems to be so. Well, what if it's a "deliberate shocking of good taste"? And if this is a challenge: as I want, I dress and comb my hair. Then it's stupid, immodest. The disease of swagger, irony over the interlocutor, disrespect ...
Speaking purely humanly, Bazarov is wrong. In the house of a friend he was greeted cordially, however, Pavel Petrovich did not shake hands. But Bazarov does not stand on ceremony, he immediately enters into a heated argument. His judgments are uncompromising. "Why should I 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 had behaved too boldly, but condemned: "Imagine himself a sensible person!" What is the relationship between a man and a woman...
In the X chapter of the novel, during a dialogue with Pavel Petrovich Bazarov, he managed to speak out on all the fundamental issues of life. This dialogue deserves special attention. Here Bazarov claims that the social system is terrible, and one cannot but agree with this. Further: there is no God as the highest criterion of truth, 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, exploring the nature of the nihilist. Under the pressure of Bazarov's strength and firmness, the writer was somewhat embarrassed and began to think: "Maybe it's necessary? Or maybe I'm an old man who has ceased to understand the laws of progress?" Turgenev clearly sympathizes with his hero, and treats the nobles condescendingly, and sometimes even satirically.
But one thing is a subjective view of the characters, another thing is the objective thought of the whole work. What is it about? About tragedy. The tragedies of Bazarov, who, in his thirst for "long work", in his enthusiasm for his god-science, trampled on universal values. And these values are love for another person, the commandment "Thou shalt not kill" (shot in a duel), love for parents, indulgence in friendship. He is cynical about a woman, mocks Sitnikov and Kukshina, narrow-minded people, greedy for fashion, miserable, but still people. Eugene excluded from his life lofty thoughts and feelings about the "roots" that feed us, about God. He says: "I look at the sky when I want to sneeze!"
The tragedy of the hero is also in complete solitude, both among his own and among strangers, although both Fenechka and the emancipated servant Peter sympathize with him. He doesn't need them! The peasants, who called him "pea jester", feel his inner contempt for them. His tragedy lies in the fact that he is also inconsistent in relation to the people whose name he hides behind: “... I hated this last peasant, Philip or Sidor, for whom I have to climb out of my skin and who won’t even thank me ... And why should I thank him? Well, he will live in a white hut, and burdock will grow out of me - well, and then?
Interestingly, before his death, Bazarov recalls the forest, that is, the world of nature, which he had previously essentially denied. 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 true 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 quite passively gives himself into the hands of death. It is clear to him that comforting himself and others with hopes of healing is a waste of time. The main thing now is to die with dignity. And this means - do not whine, do not relax, do not give in to panic, do not give in to despair, do everything to alleviate the suffering of old parents. Not at all deceiving his father, reminding him that everything now depends only on the time and pace of the course of the disease, he nonetheless invigorates the old man with his own stamina, speaking in professional medical language, advising him to turn to philosophy or even religion. And for the mother, Arina Vlasyevna, her assumption about her son's cold is supported. This concern for loved ones before death greatly elevates Bazarov.
The hero of the novel has no fear of death, no fear of parting with his life, he is very courageous in these hours and minutes: "It's all the same: I won't wag my tail," he says. But resentment does not leave him for the fact that his heroic forces are dying in vain. In this scene, the motive of Bazarov's strength is especially emphasized. First, it was conveyed in the exclamation of Vasily Ivanovich, when Bazarov pulled out a tooth from a visiting peddler: "Eugene has such strength!" Then the hero of the book himself demonstrates his power. Weakened and fading away, he suddenly lifts the chair by the leg: "Strength, strength, that's all there is, but you have to die!" He authoritatively overcomes his semi-forgetfulness and speaks of his titanism. But these forces are not destined to manifest themselves. "I'll break off a lot of things" - this task of the giant has remained in the past as an unrealized intention.
The farewell meeting with Odintsova is also very expressive. Eugene no longer restrains himself and utters words of delight: "glorious", "so beautiful", "generous", "young, fresh, pure". He even talks about his love for her, about kisses. He indulges in such "romanticism" that would have led him to indignation before. And the highest expression of this is the last phrase of the hero: "Blow on the dying lamp, and let it go out."
Nature, poetry, religion, parenthood 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 situation of those years. The social conditions in Russia did not provide an opportunity for the realization of the aspirations of the raznochintsy for democratic reforms. In addition, they remained isolated from the people to whom they were drawn and for whom they fought. They could not carry out the titanic task that they set for themselves. They could fight, but not win. The seal of doom lay on them. It becomes clear that Bazarov was doomed to the impracticability of his affairs, to defeat and death.
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 death. Eugene among his everyday life often thinks about death. 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 amazing that the author of the novel wept when he ended his book with the death of Bazarov.
According to Pisarev, "to die the way Bazarov died is like doing 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. It is tragic that the motherland loses its big son, a real titan.
And here we recall the words of Turgenev, spoken about the death of Dobrolyubov: "It is a pity for the lost, wasted strength." The same author's regret is felt in the scene of Bazarov's death. And the fact that powerful opportunities turned out to be wasted makes the death of the hero especially tragic.
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Question
How did you react to the last pages of the novel? What feelings did Bazarov's death cause in you?
Answer
The main feeling that the last pages of the novel evoke in readers is a feeling of deep human pity that such a person is dying. The emotional impact of these scenes is great. A.P. Chekhov wrote: "My God! What a luxury “Fathers and Sons”! Just at least shout the guard. Bazarov's illness was made so strong that I became weak and there was a feeling as if I had contracted it from him. And the end of Bazarov?.. The devil knows how it's done. It's just brilliant."
Question
How did Bazarov die? (Ch. XXVII)
“Bazarov was getting worse every hour; the disease took on a rapid course, which usually happens with surgical poisons. He had not yet lost his memory and understood what was said to him; he was still fighting.
“I don’t want to rave,” he whispered, clenching his fists, “what nonsense!” And then he said: “Well, subtract ten from eight, how much will it come out?” Vasily Ivanovich walked around like a madman, offering one remedy, then another, and doing nothing but covering his son's legs. “Wrap in cold sheets... vomit... mustard plasters to the stomach... bloodletting,” he said with tension. The doctor, whom he begged to stay, agreed with him, gave the patient lemonade to drink, and for himself he asked for tubes, then “strengthening-warming”, that is, vodka. Arina Vlasyevna sat on a low stool near the door, and only from time to time went out to pray; a few days ago the dressing-mirror had slipped out of her hands and shattered, which she had always considered a bad omen; Anfisushka herself could not tell her anything. Timofeich went to Odintsova.
“The night was not good for Bazarov ... The cruel fever tormented him. By morning he felt better. He asked Arina Vlasyevna to comb his hair, kissed her hand and drank two sips of tea.
“The change for the better did not last long. The attacks of the disease have resumed.
“It's over with me. Got hit by a wheel. And it turns out that there was nothing to think about the future. The old thing is death, but new for everyone. Until now, I'm not afraid ... and then unconsciousness will come, and fuit! (He waved his hand weakly.)
“Bazarov was no longer destined to wake up. By evening, he fell into complete unconsciousness, and the next day he died.
Question
Why D.I. Pisarev said: “To die the way Bazarov died is the same as doing a great feat ...”?
Answer
Bazarov's fatal illness is his last test. In the face of the inevitable force of nature, courage, strength, will, nobility, humanity are fully manifested. This is the death of a hero, and a heroic death.
Not wanting to die, Bazarov struggles with illness, with unconsciousness, with pain. Until the last minute, he does not lose his clarity of mind. He shows willpower and courage. He made himself an accurate diagnosis and calculated the course of the disease almost by the hour. Feeling the inevitability of the end, he did not get scared, did not try to deceive himself and, most importantly, remained true to himself and his convictions.
“... now, for real, and the hellish stone is not needed. If I've been infected, it's too late now."
“Old man,” Bazarov began in a hoarse and slow voice, “my business is lousy. I am infected, and in a few days you will bury me.”
“I didn't expect to die so soon; this is an accident, very, to tell the truth, unpleasant.
“Strength, strength,” he said, “all is still here, but you have to die! .. The old man, at least, managed to wean himself from life, and I ... Yes, go and try to deny death. She denies you, and that's it!
Question
According to the ideas of believers, those who took communion were forgiven all their sins, and those who did not take communion fell into eternal torment in hell. Does Bazarov agree or not to take communion before his death?
Answer
In order not to offend his father, Bazarov "finally said": "I do not refuse, if this can console you." And then he adds: “... but it seems to me that there is still nothing to rush. You yourself say that I'm better." This phrase is nothing more than a polite refusal to confess, because if a person is better, then there is no need to send for a priest.
Question
Does Bazarov himself believe that he is better off?
Answer
We know that Bazarov himself accurately calculated the course of the disease. The day before, he tells his father that “tomorrow or the day after tomorrow his brain will resign.” “Tomorrow” has already arrived, there is still a maximum of a day left, and if you wait longer, the priest will not have time (Bazarov is accurate: on that day “by evening he fell into complete unconsciousness, and the next day he died”). It cannot be understood otherwise than as a clever and delicate refusal. And when the father insists on “doing the duty of a Christian,” he becomes harsh:
"No, I'll wait," Bazarov interrupted. - I agree with you that the crisis has come. And if you and I are wrong, well! after all, even the memoryless are communed.
- Have mercy, Eugene ...
- I'll wait. And now I want to sleep. Do not disturb me".
And in the face of death, Bazarov rejects religious beliefs. It would be convenient for a weak person to accept them, to believe that after death he can go to "paradise", Bazarov is not deceived by this. And if he is still communed, then he is unconscious, as he foresaw. Here his will is not: this is an act of parents who find consolation in this.
Answering the question why Bazarov's death should be considered heroic, D.I. Pisarev wrote: “But to look into the eyes of death, to foresee its approach, not trying to deceive yourself, to remain true to yourself until the last minute, not to weaken and not be afraid - this is a matter of a strong character ... such a person who knows how to die calmly and firmly, will not retreat in front of an obstacle and will not afraid of danger".
Question
Did Bazarov change before his death? Why did he become closer to us before his death?
Answer
The dying Bazarov is simple and human: there is no need to hide his "romanticism". He thinks not of himself, but of his parents, preparing them for a terrible end. Almost like Pushkin, the hero says goodbye to his beloved and speaks in the language of a poet: “Blow on the dying lamp, and let it go out.”
He finally uttered “other words” that he had been afraid of before: “... I loved you! .. Goodbye ... Listen ... I didn’t kiss you then ...” “And caress your mother. After all, people like them cannot be found in your big world during the day with fire ... ". Love for a woman, filial love for father and mother merge in the mind of the dying Bazarov with love for the motherland, for mysterious Russia, which remained an unsolved riddle for Bazarov: “There is a forest here.”
Bazarov became better before his death, more humane, softer.
Question
In life, Bazarov dies from an accidental cut on his finger, but is the death of the hero in the composition of the novel accidental?
Why, after all, does Turgenev end his novel with the scene of the death of the protagonist, despite his superiority over other characters?
Answer
About his departure, Bazarov says: “Russia needs me ... No, apparently not needed. And who is needed?
Any plot-compositional device reveals the ideological intent of the writer. The death of Bazarov, from the author's point of view, is natural in the novel. Turgenev defined Bazarov as a tragic figure, "doomed to perish."
There are two reasons for the hero's death - his loneliness and internal conflict. Both of these interrelated reasons were part of the author's intention.
Question
How does Turgenev show the hero's loneliness?
Answer
Consistently, in all Bazarov's meetings with people, Turgenev shows the impossibility of relying on them. The Kirsanovs are the first to fall away, then Odintsova, then the parents, then Fenechka, he has no true students, Arkady leaves him, and, finally, the last and most important clash occurs with Bazarov before his death - a clash with the people.
“Sometimes Bazarov went to the village and, bantering as usual, entered into a conversation with some peasant.
- What were you talking about?
- It is known, master; does he understand?
- Where to understand! - answered the other peasant, and, shaking their hats and pulling down their sashes, they both began to talk about their affairs and needs. Alas! Bazarov, who contemptuously shrugged his shoulders and knew how to talk to the peasants (as he boasted in an argument with Pavel Petrovich), this self-confident Bazarov did not even suspect that in their eyes he was still something like a pea jester ...
The new people look lonely compared to the vast mass of the rest of society. Of course, there are few of them, especially since these are the first new people. Turgenev is right, showing their loneliness in the local and urban noble environment, right, showing that here they will not find helpers for themselves.
The main reason for the death of Turgenev's hero can be called socio-historical. The circumstances of Russian life in the 1960s did not yet provide an opportunity for fundamental democratic changes, for the implementation of the plans of Bazarov and others like him.
"Fathers and Sons" caused a fierce controversy throughout the history of Russian literature of the XIX century. Yes, and the author himself, with bewilderment and bitterness, stops before the chaos of contradictory judgments: greetings from enemies and slaps from friends.
Turgenev believed that his novel would serve to rally the social forces of Russia, that Russian society would heed his warnings. But his dreams did not come true.
“I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, vicious, pure, but still doomed to death, because it still stands on the eve of the future.” I.S. Turgenev.
Exercise
1. Share your feelings about the novel.
2. Did the hero cause you sympathy or antipathy?
3. Do such assessments and definitions coexist in your idea of him: clever, cynic, revolutionary, nihilist, victim of circumstances, “genius nature”?
4. Why does Turgenev lead Bazarov to death?
5. Read your thumbnails.
