How close are Bazarov and Pavel Petrovich. Turgenev and

Disputes between Bazarov and Pavel Petrovich. Complexity and versatility. And what about the eternal theme - "fathers and sons"? And it is in the novel, but it is more complicated than the line of Alexander and Peter Aduev.

Already in the introduction, the question was raised: “Transformations are necessary<…>, but how to fulfill them, how to proceed? .. ”Two heroes claim to know the answer. And they believe that their ideas will bring prosperity to Russia. In addition to Bazarov, this is the uncle of Arkady Kirsanov, Pavel Petrovich. Their “party” affiliation is already declared in their clothes and manners. The reader recognized the raznochinets democrat by his "naked red hand", by the peasant simplicity of his speeches ("Vasilyev", instead of "Vasilyevich"), by the deliberate carelessness of the costume - "a long hoodie with tassels." In turn, Bazarov instantly guessed in Uncle Arkady's "graceful and thoroughbred appearance" an "archaic phenomenon" inherent in aristocracy. “What panache in the village, just think! Nails, nails, at least send them to the exhibition!<…>».

The peculiarity of the positions of "democrat" and "aristocrat" is emphasized by symbolic details. With Pavel Petrovich, the whirling smell of cologne becomes such a detail. Meeting his nephew, he touched his cheeks three times with a "fragrant mustache", in his room he "ordered to smoke cologne", entering into a conversation with the peasants, "grimaces and sniffs cologne." The addiction to an elegant smell betrays the desire to squeamishly move away from everything low, dirty, everyday that only occurs in life. Go to a world accessible to few. On the contrary, Bazarov, in his habit of “cutting frogs”, demonstrates a desire to penetrate, to take possession of the slightest secrets of nature, and at the same time, the laws of life. “... I will flatten the frog and see what is happening inside it; and the one like us<…>the same frogs<...>I will know what is going on inside of us.” The microscope is the strongest proof of his correctness. In it the nihilist sees a picture of a general struggle; the strong inevitably and without repentance devours the weak: "... The ciliate swallowed a green speck and chewed it troublesomely."

Thus, we are presented with antagonistic heroes, whose worldview is determined by irreconcilable fundamental contradictions. A clash between them is a foregone conclusion and inevitable.

Social contradictions. We mentioned how they manifested themselves in clothing. They are no less striking in behavior. Previously, a raznochinets entered the noble estate as an employee - tutor, doctor, steward. Sometimes - a guest who was shown such a favor and could be deprived at any moment - which happened to Rudin, who dared to look after the daughter of the hostess. Pavel Petrovich is outraged by the visitor, listing the signs of his social humiliation: “He considered him proud, impudent<...>, plebeian. But the most offensive for the aristocrat - "he suspected that Bazarov did not respect him<…>, almost despises him - him, Pavel Kirsanov! The pride of the nobility is now opposed by the pride of the plebs. Bazarov can no longer be expelled with outward politeness, like Rudin. You can not force to obey the established rules in dress, manners, behavior. The raznochinets realized his strength. Poverty of clothes, lack of social gloss, ignorance of foreign languages, inability to dance, etc. - everything that distinguished him from the nobles and put him in a humiliated position, he began to diligently cultivate as an expression of his ideological position.

Ideological contradictions. Disputes break out between Pavel Petrovich and Bazarov. A controversy familiar from the Ordinary History. Here and there, inner and personal urges become a reflection of grandiose social changes. "Topical<…>Turgenev's novel is full<…>polemical hints that do not allow to forget the volcanic situation in the country on the eve of the reform of 1861 ... "

Pavel Petrovich saw in Bazarov’s words “rubbish, aristocratic” an insult not only to himself personally. But the future path of Russia, as he presents it. Pavel Petrovich suggests taking an example from parliamentary Great Britain: "The aristocracy gave freedom to England and supports it." The aristocracy, therefore, should become the main social force: “... Without a sense of dignity, without respect for oneself - and in an aristocrat these feelings are developed - there is no solid foundation<…>public building." Bazarov brilliantly retorts: “... You respect yourself and sit back; what is the use of this? .. "

On the contrary, Bazarov sees the same nihilist democrats as himself at the head of the future Russia. “My grandfather plowed the land,” he says proudly, which means that the people will rather believe him and “recognize his compatriot”, appreciate his tireless work.

So the key concept appears in the novel - the people. “The present state of the people requires this<…>, we should not indulge in the satisfaction of personal egoism, ”says an enthusiastic student of Bazarov, Arkady. This statement repels the stern teacher with its form (reminiscent of Rudin's ardent speeches), but it is true in content - Bazarov "did not consider it necessary to refute his young student." The proposed reforms depend on who the people will follow. The only time the opponents agree is in their observation of people's life. Both agree that the Russian people "revere traditions, they are patriarchal, they cannot live without faith ...". But for Bazarov, this "proves nothing." In the name of the bright future of the people, it is possible to destroy the foundations of its worldview (“The people believe that when thunder rumbles, it is Elijah-vice in a chariot driving around the sky ... Should I agree with him?”). Pavel Petrovich exposes in the democrat Bazarov no less arrogance towards the people than in himself:

You and talk to him man) do not know how ( says Bazarov).

And you talk to him and despise him at the same time.

Well, if he deserves contempt!

Pavel Petrovich defends centuries-old cultural values: “Civilization is dear to us, yes, sir.<…>we cherish its fruits. And do not tell me that these fruits are insignificant ... ”But this is exactly what Bazarov thinks. "Aristocracy, liberalism, progress, principles" and even "the logic of history" are just "foreign words", useless and unnecessary. However, as well as the concepts that they name. He resolutely sweeps aside the cultural experience of mankind in the name of a new, useful direction. As a practitioner, he sees the immediate tangible goal. His generation belongs to an intermediate, but noble mission - "to clear the place": "At the present time, denial is most useful - we deny." The same struggle, natural selection, should become an indicator of their correctness. Or the nihilists, armed with the latest theory, will "deal with the people" in the name of their own interests. Or "crush" - "there and the road." Everything, as in nature - natural selection. But on the other hand, if these few noble personalities win (“Moscow burned from a penny candle”), they will destroy everything, right down to the foundations of the social world order: “name at least one decision in our modern life<...>, which would not cause a complete and merciless denial. Bazarov declares this “with inexpressible calmness”, enjoying the horror of Pavel Petrovich, who is “terrified to say”: “How? Not only art, poetry ... but also ... "

For Turgenev, the topic of culture is so important that he devotes independent episodes to it. Opponents discuss what is more important, science or art? Bazarov, with his usual frankness, declares that "a decent chemist is more useful than any poet." And to timid remarks about the need for art, he answers with a snarky remark: “The art of making money, or there is no more hemorrhoids!” Subsequently, he will explain to Odintsova that art plays a subsidiary, didactic role: “Drawing ( art) will visually represent to me what is in the book ( scientific) is set out on ten pages. For his part, Pavel Petrovich recalls how his generation cherished literature, the creations of "...well, there is Schiller, or something, Goethe ...". Indeed, the generation of the forties, and among them Turgenev himself, worshiped art. But not without reason the writer highlighted the words of the hero in italics. Although Pavel Petrovich considers it necessary to stand up for his abstract "principles", for him the questions of belles-lettres are not so important. Throughout the novel, we see only a newspaper in his hands. Bazarov's position is much more complicated - sincere conviction is felt in his sharpness. About Pavel Petrovich, the author reports that in his youth he "read only five or six French books" so that he had something to show off at the evenings "with Mrs. Svechina" and other secular ladies. Bazarov, on the other hand, has read and knows these romantics so despised by him. The remark suggesting that "Toggenburg with all his mennisingers and troubadours" be sent to a lunatic asylum betrays that the hero once read Zhukovsky's ballads. And he didn’t just read, but singled out (albeit with a minus sign) one of the best - about sublime love - “Knight Toggneburg”. The inspirational quote “How sad your appearance is to me ...” from the lips of Nikolai Petrovich Bazarov interrupts somehow surprisingly “on time”. He obviously remembers that further lines will follow about the grief that the arrival of spring brings to people who have experienced a lot:

Perhaps, in our thoughts comes Amidst a poetic dream Another, old spring, And makes our hearts tremble ...

Just look, Nikolai Petrovich will remember his dead wife, he will be deeply moved ... Well, him! And Bazarov decisively interrupts the inspired monologue with a prosaic request for matches. Literature is another area where the hero "broke himself" in preparation for a great mission.

Turgenev considered tragic such clashes in which "both sides are right to a certain extent." Bazarov is right in exposing Pavel Petrovich's inaction. (“I wish Bazarov hadn’t suppressed “a man with a fragrant mustache,” Turgenev remarked). The writer conveyed to his hero his own conviction that nihilistic negation is “caused by the same folk spirit…”, on behalf of which he speaks. But his opponent also has reasons when he talks about the "satanic pride" of the nihilists, about their desire to "get along with the whole people", "despising" the peasant. He asks his antagonist the question that comes to the mind of the reader: "You deny everything<...>, you are destroying everything ... Why, you need to build.” Bazarov evades an answer, not wanting to seem like an idealist and talker. Further, “it’s not our business anymore ... First we need to clear the place.”

Subsequently, in a conversation with Odintsova, Bazarov mentioned in part his plans for the future reorganization of society. As a naturalist, Bazarov puts an equal sign between physical and moral illnesses. The difference "between good and evil" is "as between the sick and the healthy." Those and other ailments are subject to treatment from the outside, the most severe methods are allowed. "Fix society and there will be no disease." A similar point of view, although in a milder form, was held then by many. It was promoted by the idol of youth, N.G. Chernyshevsky. “The most inveterate villain,” the critic argued, “is still a man, i.e. creature, by nature, inclined to respect and love the truth, goodness<…>that can violate the laws of goodness and truth only through ignorance, delusion, or under the influence of circumstances<…>but never able<…>prefer evil to good. Remove harmful circumstances, and the mind of a person will quickly brighten up and his character will be ennobled. But it would be wrong to look for a real prototype in Bazarov. The writer strengthened and brought to its logical conclusion those ideas that were "floating in the air." In this case, Turgenev acted as a brilliant visionary: “The reader of the early 60s could perceive Bazarov’s denial as<…>sharply exaggerated, the reader of our time can see here an early harbinger of the extremist radicalism of the twentieth century ... ". It is also wrong to see in Bazarov's statements the views of only one era. Turgenev brilliantly expresses here the essence of the philosophy of all revolutionaries. And not only expresses, but warns of the terrible danger that the humanist writer guessed in the theories designed to improve the life of mankind. The worst thing is in practice, and we, armed with the historical experience of the twentieth century, understand it. In order to make everyone equally happy, it is necessary to oblige everyone to become the same. The happy people of the future must give up their individuality. In response to the question of the amazed Anna Sergeevna: “... When society is corrected, will there be neither stupid nor evil people?” - Bazarov paints a picture of a wonderful future: "... With the right arrangement of society, it will absolutely make no difference whether a person is stupid or smart, evil or kind." So - "... to study individuals is not worth the trouble."

Rivals and brothers in fate. The longer the confrontation between Bazarov and Pavel Petrovich lasts, the clearer it becomes to the reader that, in hostile beliefs, they are paradoxically similar in personality type. Both are leaders by nature, both are smart, talented and conceited. Pavel Petrovich, like Bazarov, puts feelings low. After a furious argument, he went out into the garden, "thought, and<…>raised his eyes to the sky. But his beautiful dark eyes reflected nothing but the light of the stars. He was not born a romantic, and his smartly dry and passionate<...>soul ... ”For Pavel Petrovich, nature, if not a workshop, then clearly is not a temple. Like Bazarov, Pavel Petrovich is inclined to explain spiritual unrest with purely physiological causes. “What is the matter with you? .. you are pale as a ghost; Are you unwell?.. ”- he asks his brother, excited by the beauty of the summer evening, shaken by memories. Having learned that these are “only” emotional experiences, he retires, reassured. Sudden impulses and spiritual outpourings, if not completely rejected, then tolerated condescendingly. When the next day, upon arrival, Arkady again rushes into the arms of his father. ""What is it? Are you hugging again?" - Pavel Petrovich's voice came from behind them.

Composition on the topic: The essence of the conflict between Bazarov and Pavel Petrovich (Based on the novel by I. S. Turgenev "Fathers and Sons")

The conflict in the novel is built on disputes between the representative of the old, noble culture, Pavel Petrovich Kirsanov, and the representative of the new, democratic trend, Yevgeny Bazarov.

Pavel Petrovich is an aristocrat to the core. Even having settled in the village, he does not want to part with his aristocratic habits, with his refined manners and gloss, which do not fit well into the simple rural environment. Bazarov is completely different. Some readers did not even like that 1urgenev endowed his hero with a not very attractive appearance. He is hairy, with red hands, his face is long and thin, with a broad forehead. However, this face "was enlivened with a calm smile and expressed self-confidence and intelligence ..."

So, they met - the aristocrat Kirsanov and the democrat-raznochinets Bazarov. It should be noted that they did not like each other at first sight. From the short question that Pavel Petrovich asked his brother: “Who is this?”, One can judge that he immediately sensed something foreign and unpleasant in Bazarov, Pavel Petrovich Bazarov’s outward gloss is not to his liking. And Pavel Petrovich, when Arkady told him that Bazarov was a nihilist, that is, a person who treats everything from a critical point of view, perceived Bazarov as a person who "respects nothing." And so the duel began not just between two different people, but between two completely different positions in life, two generations and entire eras. Interestingly, while Pavel Petrovich lost his temper, Bazarov remained completely calm. Pavel Petrovich was irritated by everything in Bazarov: “His aristocratic nature was outraged by Bazarov’s perfect swagger. This doctor's son was not only not shy, he even spoke abruptly and reluctantly, and there was something rude, almost impudent, in the sound of his voice. Bazarov, on the other hand, was not at all ashamed of his origin, and was even proud of him. “My grandfather plowed the land,” he said, clearly feeling superior to the white-handed nobles. Gradually, Pavel Petrovich developed an active feeling of enmity and hatred for this plebeian. no clan, no tribe. In addition, the nihilist Bazarov self-confidently denied all those principles on which the very existence of the elder Kirsanov was based. Pavel Petrovich saw in Bazarov a class enemy whom he passionately wanted to destroy. Bazarov, for his part, was imbued with ever greater contempt for the liberal "aristocrat". To the worker Bazarov, the empty existence of Pavel Petrovich is deeply unpleasant, completely devoid of any kind of activity. A two-way ideological and psychological process began, first hostility, and then enmity. The instigator of the clashes was always Pavel Petrovich. Bazarov answered him instantly and confidently. He ridiculed the views of Pavel Petrovich, which were a mixture of Anglophilism and Slavophilism. Bazarov's statements about beauty, nature, love, art cannot but irritate Pavel Petrovich. Bazarov's judgments offend his aesthetic feelings, and a certain amount of mockery present in these judgments humiliates his human dignity.

The duel that took place between Kirsanov and Bazarov is not accidental. The reason was found (precisely the reason, not the reason), and here on one side of the barrier are “fathers”, and on the other - “children”. This duel had begun earlier, as soon as they saw each other, and pistols appeared when words were no longer enough. The very fact of Bazarov's consent to participate in the duel and the dignity with which he participated in it again betray the presence of natural aristocracy and even romanticism in him. Did Bazarov fight with Pavel Petrovich or with something that was in himself and that he definitely wanted to eradicate? After all, “children did not appear on their own, they were raised by “fathers”, and therefore when they begin to fight with “fathers”, they unwittingly (or consciously) kill a part of themselves.

These fights do not subside even today. Children”, growing up, become “fathers”, and everything repeats from the beginning. The struggle could not be so sharp if people knew how to listen and hear other people. Bazarov and Kirsanov, for example, could appreciate the nobility and decency in each other, but there were a lot of divisive and annoying moments on which they focused their attention. I would like the problem of different generations to gradually lose its acuteness and that "children" and "fathers" live in peace and harmony.

About Times and Mores Turgenev I.S. described in his novel the clash of interests of the young and the elderly generations "Fathers and Sons". The work is full of vital and relevant issues both in those times and in our modern world. From century to century, they are irreconcilable in the views of generations of different times. It is possible that at one time Pavel Petrovich Kirsanov (the hero of the novel) also opposed the "fathers" of his youth, as at the time of the work, he cannot understand the views of Evgeny Bazarov (another of the important characters of the "children")

Kirsanov is an aristocratic, well-groomed man, sustained in a liberal style. There are traditions in his family, a craving for beauty, morality, respect, and education of ethics are developed.

Bazarov is attractive and strict, cold-blooded (initially), gives all his energy to work and self-improvement. He is fascinated by science hopelessly and thoughts about the beautiful are alien to him - they do not excite the nihilist. Romance Eugene considers nonsense.

Through long conversations between Evgeny and Pavel Petrovich, the author perfectly showed the difference in views and a complete misunderstanding of how one can live with such views on life. The interlocutors deny each other's worldview, but at the same time there are a lot of similarities between them. Two characters have strong willpower, have a certain, specifically masculine character, they are able to explain and defend their opinion. Both love conversations and discussions on topics that are not related to a personal plan. And both, arguing, do not take certain steps to action, in other words, their speech and desires with behavior in public differ.

The picture of the world in the eyes of Eugene changes radically after he realizes the feeling of attraction to Anna Odintsova. Now Bazarov begins to understand the impulses of Pavel Petrovich in explaining why it is impossible to be a full-fledged person without feeling in love. Here the author reveals the one-sidedness and superficiality of the mind, in proving his and only his rightness, by the way, not depending on age and time. In the same way, Bazarov could have conflicting conversations with his peers (anyone), but those who already loved and (God forbid) were loved. Young people simply could not understand each other. In Bazarov's theory, if he closes his eyes, it is dark for everyone and he is right, and his point of view is correct like no other, however, like Pavel Petrovich's theory.

In this situation (in the theme of the novel itself) it is ethical education that is involved. Evgeny is drawn to science, Pavel Petrovich understands that without spiritual development human society will fall mentally, however, the world of the novel’s modernity is overflowing with the young generation following Bazarov’s thoughts, which is also shown in the character of Anna, who, alas, never comprehended the wisdom of love, which Can't say more about Eugene.

Following the fashionable liberal trend in immature young minds in the 19th century gave a great resonance and was reflected in Russian culture and literature as well. The concept of ethics and the perception of beauty was distorted, one might say simplified to the realization of the goal of developing science and comfort, but not feelings, for the rights and existence of which Pavel Petrovich fought. However, it is hardly possible to build a new system on the decline of the old one only in words in theory. After all, it is the factor of feelings that determines a person as a person, as a living separate kind of not a primitive being, but a thinking and feeling, compassionate one.

The immaturity of thoughts and actions is perfectly and clearly expressed in one of the dialogues, when Pavel Petrovich conveys to Evgeny that it is easy to break the system, but building is another matter, to which Evgeny dismisses the phrase "It's your business." It is shown here that subconsciously the younger generation, nevertheless, realizes for themselves that the "fathers" can fix everything for them ... there would be time for correction.

Ivan Sergeevich Turgenev was a man of a certain era, in which he was able to see positive and negative features and objectively show them on the pages of his works. The theme of many of the writer's creations was the tragedy of the Russian intelligentsia. The same theme is revealed by the author in the novel “Fathers and Sons”.

At the heart of the work is a clash between raznochintsy-democrats (“children”) and liberal nobles (“fathers”). The representatives of this generation in the novel are Pavel Petrovich Kirsanov and Evgeny Bazarov.

Their difference is manifested not only in their convictions, in their views on Russian reality, but also in their external characteristics. The reader gets acquainted with Bazarov already in the second chapter of the novel, where the hero appears to the eyes of Nikolai Petrovich Kirsanov as "a tall man, in a long robe with tassels." The red hand that Bazarov gives to Arkady's father is a sign of democracy, moreover, plebeianism. The fact that he does not shake hands first characterizes him as a person who does not want to keep up appearances.

Pavel Petrovich Kirsanov, on the contrary, appears to the reader as an “elegant and thoroughbred” aristocrat who has retained “youthful harmony and aspiration upward, from the earth.” In contrast to Yevgeny Bazarov, the hand of Kirsanov Sr. is “beautiful, with long pink nails.”

The main irritant of Pavel Petrovich is the impolite behavior of Bazarov. Based on this, Pavel Petrovich deduces his theory, according to which the Turgenev nihilist is a creature of the lowest grade. Yevgeny Bazarov in the eyes of Pavel Petrovich appears as an immoral person, while for the latter aristocracy and morality are synonymous. Moreover, morality appears here as a sign of social, not psychological.

Turgenev supports Pavel Petrovich in that morality is one of the first human qualities. But despite this, the author shows his hero deprived of life, guarding his space even from his closest relatives, thereby “facilitating” morality for himself. In this man there are only attempts to seize on this concept and establish himself in an aristocratic circle.

Pavel Petrovich Kirsanov is selfish and selfish. The claim to morality, coming from the lips of the Turgenev aristocrat, who has only an external gloss that allows the hero to stay in the eyes of others, has no basis.

For Bazarov, everything in life comes from material foundations. However, such an attitude to life is not so much a sign of fashion as his conviction. After all, Turgenev's nihilist appeared at the moment when the natural sciences began to develop with particular force. And Bazarov denies what hinders their development: unshakable truths and authorities. And he does science only to help people.

Nevertheless, much of what he denies is potentially present in him: the ability to love, and romanticism, and the folk principle, and family feeling, and even the ability to appreciate the beauty of poetry. In his real practical life, he always denies this. It is no coincidence that, referring to Arkady, he will once say: “I studied the anatomy of the eye, where does the mysterious look come from. It's all romantic nonsense, rot, art."

Eugene is frightened that everything goes against his ideas about life. The hero's personality seems to be bifurcated: on the one hand, a strong feeling for Odintsova, on the other, nihilism, which turns out to be untenable when tested by love, nature, art. The philosophical tone of the last pages brings us back to the beginning of the novel and makes us remember the origins of Bazarov's path. Much has changed in the views of the hero. In the face of death, those pillars that supported Bazarov's self-confidence turned out to be weak: medicine, the natural sciences, showed their complete impotence.

They retreat and leave Bazarov alone with himself and death. At this moment, those forces that he denied, but which were preserved at the bottom of his soul, come to his aid.

And turning to Odintsova, Turgenev's character spoke in the poet's language about love and forgiveness. And only at this moment, and not in disputes with Pavel Petrovich, did the true Bazar scale manifest itself.

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1. The disputes between Bazarov and Pavel Petrovich represent the social side of the conflict in Turgenev's novel Fathers and Sons. Here, not just different views of representatives of two generations collide, but also two fundamentally different political ...
2. The ability to sensitively guess the problems and contradictions that have matured in Russian society is an important distinguishing feature of Turgenev as a novelist. In the work “Fathers and Sons” (1861), the era preceding the abolition of serfdom is recreated. In an environment...
3. “Fathers and Sons” is one of the eternal works of Russian literature. And not only because new generations of readers perceive the difficult position of the author differently, but also because the novel captures ...
4. How does Bazarov allegorically emphasize the difference between himself and Arkady Kirsanov (based on I. S. Turgenev’s novel “Fathers and Sons”)? To build a reasoning on the proposed topic, refer to the observations of researchers on parallels ...
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6. The novel “Fathers and Sons” recreates the era that preceded the abolition of serfdom. In the context of the crisis, the disputes of different generations about the people, the social system, art, religion sharply intensified ... The image of Yevgeny Bazarov turned out to be very ...
7. The novel by I. S. Turgenev “Fathers and Sons” reflected the social atmosphere that had developed on the eve of the peasant reform of 1861, when a diverse intelligentsia appeared in Russia. These were people who came from poor strata of society: ...
8. Every person must educate himself. I. S. Turgenev Turgenev's novel "Fathers and Sons" was created in the 60s of the XIX century. This time is reflected in the novel. How did it happen and...
9. FROM THE RUSSIAN LITERATURE OF THE XIX CENTURY I. S. Turgenev D. I. Pisarev, from the article “Bazarov” About the novel as a whole: “... In the novel there is neither a plot, nor a denouement, nor a strictly deliberate plan; there is...
10. Turgenev's novel "Fathers and Sons" is a very significant creation of the writer. In the center of the plot is Yevgeny Vasilievich Bazarov, a representative of the revolutionary-minded youth, who caused a versatile attitude towards his figure among literary critics...
11. “If we can be Rudins, Bazarovs, if we tirelessly propagate the idea of ​​destroying the old, then in the future people of real business will appear or we ourselves will gain a lot of experience.” Fatih Amirkhan. Here...
12. The connection of the novel with the era (50s of the 19th century) is the recent defeat in the war with Turkey, the change of reign. A camp of raznochintsy appears, who proclaim the need to get a profession in order to be able to have the means to ...
13. I. S. Turgenev reflected in his novel “Fathers and Sons” the conflict that arose between the two socio-political camps in Russia in the 60s of the XIX century. The writer Yevgeny Bazarov became the spokesman for the ideas of the raznochintsy-democrats ....
14. The work of the remarkable writer Ivan Sergeevich Turgenev is a hymn to high, inspired, poetic love. It is enough to recall the works “Rudin” (1856), “Asya” (1857), “First Love” (1860), and you understand that love ...
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16. The structure of a work of art The composition of a work of art is the arrangement and correlation of components in an art form, that is, the construction of a work, due to its content and genre. The main components of the composition: 1. Exposition - part, ...
17. The main character of the novel by I. S. Turgenev “Fathers and Sons” Yevgeny Bazarov is one of the most controversial, but the most liked heroes by readers. Many called him a man of the modern generation, a reformer. So why...
18. After its publication in 1862, Turgenev's novel "Fathers and Sons" caused a flurry of critical articles. None of the public camps accepted Turgenev's new work. Liberal criticism is not...
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20. Each writer, creating his work, whether it be a fantasy novel or a multi-volume novel, is responsible for the fate of the characters. The author tries not only to tell about a person's life, depicting its most striking moments, ...
21. The problem of lack of understanding between representatives of different generations is as ancient as the world. "Fathers" condemn and do not understand their own "children". And those trying to defend their own positions at any cost, completely rejecting everything positive, ...
22. An important distinguishing feature of Turgenev as a novelist was his ability to sensitively guess the problems and contradictions that had matured in Russian society. This fully applies to the novel "Fathers and Sons" (1861). Action...
23. The meaning of the title of the novel by I. S. Turgenev “Fathers and Sons” I. “Fathers and Sons” is the first ideological novel in Russian literature, a novel-dialogue about the social prospects of Russia. 1. Artistic and moral insight ...
I. S. Turgenev Ideological and artistic originality of the novel “Fathers and Sons” Interpretations of both the main characters of the novel and Turgenev’s own plan were different. That is why one should be critical of these interpretations, and ...
24. In 1862, Turgenev wrote the novel Fathers and Sons. During this period, a final break is outlined between the two social camps: the liberal and the revolutionary-democratic. In his work, Turgenev showed a man of a new era....
25. Regarding the ideological content of the novel “Fathers and Sons”, Turgenev wrote: “My whole story is directed against the nobility as an advanced class. Look into the faces of Nikolai Petrovich, Pavel Petrovich, Arkady. Sweetness and dullness...
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27. WHY IS BAZAROV ALONE? (based on the novel by I. S. Turgenev “Fathers and Sons”) And the part of the time that I will be able to live is so insignificant before eternity, where I have not been and will not be ... And ....

The novel by I.S. Turgenev's "Fathers and Sons" gave rise to many disputes and critics, and readers, and other writers. Until now, this work excites the minds, forcing them to think about its idea, to try to unravel the images of the characters...

The author of the novel for the first time uses on the pages of the book a word that would later become a household word and become widely used: nihilism. As an experienced and subtly feeling everything that is happening around, it is I. Turgenev who so keenly feels the changes that are taking place in the society of that time. He notes not only intergenerational changes, forcing "children" to seek pleasure and satisfaction of needs not in traditional activities for a person of that time, but in new trends; "freethinking" is one such trend.

At the same time, social antagonism in society is clearly observed in the novel; this is the time when the "plebeians" stood up to their full height and realized that they also have pride, that they are no worse than the "barichi", as Bazarov ironically calls his friend Arkady. This complex and multifaceted contradiction is embodied in one of the most intense and interesting lines of the novel "Fathers and Sons" - the line about the relationship between Evgeny Vasilyevich Bazarov and Pavel Petrovich Kirsanov.

Turgenev himself, creating these images, admitted that, belonging to the same class as Kirsanov, he, the author, sympathizes more with the rude, harsh and active Bazarov. In one of the letters, he honestly and sincerely stated that, with the exception of Eugene's attitude to everything artistic, creative, he shares almost all of his views. Turgenev takes a middle, "golden" position, balancing the completely opposite opinions of his heroes.

Bazarov, as a representative of the class of “heroes of time”, a type of characters discovered by A.S. Pushkin in the novel "Eugene Onegin", is depicted by the artist honestly, without embellishment: this is an evil and strong figure, "half grown out of the earth", not devoid of truly Russian features - hard work, simplicity, heartfelt ardor. With his sincerity and openness, Eugene attracts attention and amazes the imagination. Kirsanov, the elder, was created as an image hypertrophied, hyperbolized and ironic in many respects - however, his figure, in his dissimilarity to the main character, arouses the deepest interest - as well as interest in the conflict between him and Bazarov.

For the first time, the heroes - antagonists collide upon the arrival of Arkady, who graduated from the university, home. Despite the fact that they are still far from frank verbal clashes, both heroes, both the mannered Pavel Petrovich and the deliberately untidy Bazarov, are wary, not accepting each other. Even in the appearance of the characters, there is a surprising contradiction, which seems to exclude any possibility of their friendly attitude towards each other. So, Kirsanov, who brought from Europe "a passion for everything English", dresses deliberately elegantly, which makes him stand out not only among the servants, but also among many other provincial nobles. He, like Onegin, thinks "about the beauty of nails", and their accuracy irritates Bazarov. The aristocratic habits of Pavel Petrovich Turgenev emphasizes with the help of one detail: he is constantly accompanied by the smell of cologne. When embracing his nephew, he touches his cheeks three times with a "perfumed mustache"; the hero orders to smoke his room with fragrant water, frowns and sniffs cologne, etc.

Bazarov, who in every possible way emphasizes his connection with the people, with the farmers, flaunts his humble origin. He does not pursue fashion and shuns sophistication, on the contrary, his life is an extremely simple life, negligence bordering on untidiness, contempt for luxury. Pavel Petrovich is embarrassed by Bazarov's red hand, betraying the young doctor's unfamiliarity with gloves, a modest hoodie, and long untidy hair. It is Kirsanov Sr. who first expresses his dissatisfaction with communication with his opponent. When meeting, the aristocrat does not shake hands with Yevgeny Vasilyevich and even puts it back in his pocket. This detail symbolizes the beginning of future ideological clashes.

A special difference in the attitude of the characters to each other. Despite the fact that both of them had an unattractive first impression of each other, it was Kirsanov who was the first to make attempts to “get rid” of the commoner-Bazarov. For some reason, real hatred for this stranger woke up in his soul, while Evgeny for a long time avoids reacting to Pavel Petrovich's barbs; he treats Kirsanov coolly, indifferently, and not negatively. In the very first dispute, he does not discuss at all, but expresses in thesis all his convictions, which contradict the opinions of Kirsanov.

Eugene immediately ranks Pavel Petrovich among the galaxy of "romantics", whom he considers completely useless for society. He considers himself to be nihilists, realists, people who are ready to “make room” for everything new, to those who will destroy old principles. He is a practitioner who does not tolerate anything meaningless, in his opinion, useless. Bazarov is a man who irritates Pavel Petrovich with his cheeky manner of speaking and treating him, an aristocrat. The denial of decency and etiquette is a manifestation of the very “plebeian pride” that surprises Kirsanov. If earlier a raznochinets enjoyed the favor of a nobleman and could enter his house, now this is a ubiquitous phenomenon; there is no longer that trepidation and ... subservience, or something, that were so characteristic before. These changes taking place in society irritate the old secular lion, who is not ready to accept the gradual loss of noble authority. This becomes one of the reasons for his hatred of his antagonist.

However, despite the apparent confrontation, Bazarov and Kirsanov do not have so many mutually exclusive opinions. First of all, they relate to the attitude to life and to love. So, Pavel Petrovich considers himself a man of principle; he clings to these limits of decency, norms. In many ways, it is these frameworks that hold him back and do not allow him to “lose face”. Bazarov, on the other hand, denies any authority; his thesis is that respect must be earned, earned by one's own labor.

Love is an extremely controversial phenomenon, radically different in the views of the characters. Pavel Petrovich was once in love - strongly, courageously, desperately, but due to circumstances he lost this love, but retained that reverent awe for a woman, for a feeling. Evgeny Vasilyevich, on the other hand, opposes love as a feeling that can only create trouble, a feeling that makes any person vulnerable. Not to let a woman take possession of the conic of the finger - that's his conviction.

With all this, both the fates and the tragedy of the personalities of the characters are actually very similar. Turgenev deliberately brings the characters closer together, despite their seeming denial of each other, demonstrating the inconsistency of both types of thinking, two worldviews.

One of the critics claimed that Bazarov could not find friends because he did not meet a person as strong as himself - and he did not want to be content with the role of "master" in friendly relations, so he preferred not to get close to anyone. At the same time, Pavel Petrovich is a person comparable in strength to Bazarov. It is likely that it was from them that real friends could have turned out, if not for the tragic ending of the fates of both.

So, as mentioned above, in fact, the characters and their beliefs are not as opposite as it might seem. These are equally strong personalities, capable of subordinating other people to their will and not wanting to use this ability. Kirsanov and Bazarov are surprisingly proud, proud, which also unites them. Both heroes are mysteriously drawn to Fenechka, and both understand that these desires are selfish, vicious and meaningless. The fates of the heroes will turn out to be surprisingly similar: denying love, “killing the romance in himself”, Bazarov completely repeats the tragic story of Pavel Petrovich, falling in love with an intoxicating woman - the sphinx, puts everything on the map of this love and, having broken down, can not stand the defeat.

A special similarity is observed in the views of the heroes on art and in relation to the people. So, Kirsanov defends the beautiful - but he himself is absolutely indifferent to creativity. Bazarov denies the use of art - and at the same time demonstrates an amazing knowledge of the works of Zhukovsky, and other romantics.

Both Pavel Petrovich and Yevgeny Vasilyevich have the same attitude towards the people: they communicate with them and see their strength, but at the same time they equally despise the peasantry for its "darkness". The only difference is that Bazarov does not hide his contempt, while Pavel Petrovich seeks to hide behind a mask of virtue.

The duel of Bazarov and Kirsanov is a tragic attempt to resolve an unresolvable contradiction. Unable to take the side of the other, the complete denial of another's opinion leads to the need for deliverance. The ardent heart of Bazarov is clearly manifested in this episode. The nihilist, who perfectly understands the senselessness of the duel, agrees to this exclusively secular, aristocratic custom, thereby stepping on the throat of his own convictions. This actually kind and sensitive person helps the opponent and even helps him find a plausible pretext for a duel in order to hide his true reason and protect Arkady and Nikolai Petrovich from unrest.

Before his death, Bazarov, unexpectedly for himself, admits: Russia does not need him, he did not give her anything. Perhaps the same words can describe the fate of Pavel Petrovich: it is not for nothing that after the wedding of his brother and nephew he leaves the estate and goes to Dresden, far from his homeland, realizing that he, like Bazarov, is unable to give her anything. Turgenev, as a skilled psychologist, reveals the inconsistency and hopelessness of the maximalist attitudes of both Pavel Petrovich and Evgeny Bazarov, demonstrating the need to find a "golden mean" between pragmatism and a kind of dogmatism.