What did death do to Bazarov. The symbolic meaning of Bazarov's death

Literature lesson summary

The theme of the lesson is "Trial by death". Illness and death of Bazarov. Analysis of the episode of death.

The purpose of the lesson: to reveal the strength of the spirit of the protagonist of the novel "Fathers and Sons", his inner world, by analyzing the episode "Bazarov in the face of death."

Tasks: literature Roman Turgenev

• 1. Educational:
• 1. Systematization of the studied material.
• 2. Developing:
• 1. Development of skills in analyzing an episode of a work of art.
• 2. Systematization of knowledge on the theory of literature.
• 3. Educational:
• 1. Education of love for the native word.
• 2. Education of a competent, thoughtful, attentive reader.

Equipment: the text of the novel, a video fragment from the film "Fathers and Sons" (screen adaptation of the novel by I.S. Turgenev. Director V. Nikiforov. Film Studio "Belarusfilm", 1984).

During the classes

• 1. Organizing moment. Greeting. Recording the date and working (preliminary) topic of the lesson.
• 2. Teacher's words:

How do you remember the main character of Turgenev's novel? (Students name the characteristics of the main character and write them down in notebooks). Educated, Sacredly believes in nihilism, Strong convictions, Inner core, Flint, Wu is convincing in a dispute, Undeniable, irrefutable arguments, Brutal, Negligence in clothes, The material side does not bother him, Strives to be closer to the people, Raised himself, "Wonderful fellow, so simple", Mysterious, etc.

Teacher: What is He, Bazarov? On the one hand, a firm and implacable, denying everything and everything nihilist. On the other hand, he is a “raw” romantic, struggling with a strong feeling that has come over him - love. What qualities of Bazarov's character appear in scenes with Odintsova?

Bazarov in love - capable of compromise, suffering, spiritually beautiful, admits his defeat. Bazarov's individualism - exclusivity - romanticism

Teacher: How has the reader's opinion about Bazarov changed?

Students: He has changed. Recognize the romance. He is tormented by doubts. Bazarov is trying to resist, to remain faithful to his nihilism. The reader feels sorry for Bazarov, because love brings him suffering and mental pain. His feelings and behavior command respect.

3. Analysis of the episode "Death of Bazarov".

Teacher: How does Bazarov appear before death?

Before reading the episode, students should be told about Turgenev's attitude to death (briefly), and also pay attention to the statements of famous people about this scene in the novel "Fathers and Sons".

A.P. Chekhov: "My God! What a luxury "Fathers and Sons"! Just though the guards shout. 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? It's the devil knows how it's done."

DI. Pisarev: "To die the way Bazarov died is like doing a great feat."

Teacher: What do these statements have in common?

Pupils: The novel "Fathers and Sons" is written very talentedly and strongly. Bazarov's death is not weakness, but his greatness.

Reread the scene of the meeting of the dying Bazarov and Odintsova (Thank you, he spoke intensely ... ch.27)

Teacher: What means of expression did Turgenev use to describe Bazarov in the death scene?

We make a table.

Teacher: Do you agree with the words of Pisarev and Chekhov? What new things did you discover in the image of Bazarov?

Students: He is sincere, as in confession. Open and honest. Real. There is no need to save face, to defend your position. Death doesn't care. And he is afraid of death, which denies everything, even himself. Feelings are mixed: and pity, and respect, and pride. Bazarov in this scene is an ordinary person, not at all an unbending giant, but a soft, sensitive, loving son (how amazingly he speaks of his parents!), A loving person.

Teacher: Surprisingly, many writers foresee their death. So in the novel "A Hero of Our Time" M.Yu. Lermontov very accurately described his death in the scene of Pechorin's duel with Grushnitsky. Turgenev also foresaw his own death. Such insights in art are not so rare. Read some quotes.

Prince Meshchersky: “Then his speeches became incoherent, he repeated the same word many times with increasing effort, as if expecting someone to help him finish his thought and falling into some irritation when these efforts turned out to be fruitless, but we, unfortunately couldn't help him at all."

V. Vereshchagin: “Ivan Sergeevich was lying on his back, his arms were stretched out along his body, his eyes looked a little, his mouth was terribly open, and his head, strongly thrown back, slightly to the left, was thrown up with every breath; it is clear that the patient is choking, that he does not have enough air - I confess, I could not stand it, I cried.

Ivan Turgenev, describing the death of his hero, according to his confession, also cried. There are striking coincidences between romance and life. “Bazarov was not destined to wake up. By evening, he fell into complete unconsciousness, and the next day he died.

In the mouth of his hero, Turgenev put the very words that he himself could not pronounce: "And now the whole task of the giant is how to die decently." The giant did the job.

4. Conclusions. Summarizing. Homework.

What is the novel about? About life. And the ending is life-affirming. The scene of Bazarov's death is not the denouement, but the culmination of the novel. It is in this scene that we see the true greatness and sincere simplicity and humanity of Bazarov. In the death scene, he is real, without feigned negligence, rudeness and brutality. Another quote to think about.

Michel Montaigne: “If I were a writer of books, I would compile a collection describing various deaths, providing it with comments. Who teaches people to die, teaches them to live.

At the end of the lesson, watching an episode from the film adaptation of the novel by I.S. Turgenev (4 series).

Homework: compose a message on the biography and work of F.I. Tyutchev.

The episode of Bazarov's death is one of the most important in the work. Being the denouement of the idea of ​​the work, this episode plays a key role in the novel, being the answer to the question: “Is it possible to live, rejecting all human feelings and recognizing only reason?”

Bazarov returns home to his parents 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 to work.

He is always looking for company: he drinks tea in the living room, walks in the forest with his father, because being alone becomes unbearable for him. Alone, his thoughts are taken over by Odintsova, the woman he loves, who 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 time left to live. Understanding the imminent inevitable death tears off the mask of insensibility from him. He worries about his parents and tries to protect them from worries, hiding the disease from them to the last.

When Bazarov’s condition worsens completely, and he stops getting out of bed, it doesn’t even occur to him to complain about the pain. He reflects on life, sometimes inserting his characteristic ironic jokes.

Realizing that he had very little time left, Bazarov asks to send Odintsova to see her for the last time before his death. She arrives dressed all in black, as if to a funeral. Seeing the dying Bazarov, AS 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 E.V. asks Odintsova to give him a glass of water, she does not even take off her gloves and timidly breathes in fear of getting infected. This once again proves the lack of romantic feelings in her towards Bazarov. The dying Bazarov still has a small spark of hope for reciprocity of love, and he asks for her kiss. AC fulfills his request, but kisses him only on the forehead, that is, in the way that the dead are usually kissed. 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 the illness and understanding of imminent death finally turns 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. Odintsova's behavior shows her lack of love for Bazarov. Her visit to the dying man is only politeness, but not the 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 ​​the novel, and especially chapter 24. In this chapter, a duel takes place between Kirsanov and Bazarov, which is why 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. Being a denouement, it 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 being guided only by reason.

We chose Turgenev's novel "Fathers and Sons", and in it the scene of Bazarov's death.

In order to do this job, you need to define what an episode is. According to the explanatory dictionary of the Russian language by S. I. Ozhegov and N. Yu. Shvedova, an episode is "a part of a literary work that has relative independence and completeness." The scene of Bazarov's death fully meets this criterion. Let us also refer to the corresponding article of the literary encyclopedic dictionary, which interprets the term "episode" as "a relatively independent unit of action" of a work, "fixing what happened within the easily visible boundaries of space and time."
Since this article divides actions in a work of art into "external" and "internal", the proposed episode can be considered as an independent unit of internal action, when "the hero's mentality is more subject to change" than his behavior. In the selected episode, the last stage of the storyline associated with the main character, the illness and death of Bazarov, is developed and completed. The time frame of the selected episode is three days (the last stage of Bazarov's illness), the scene is Bazarov's room in his father's house. Thus, the passage we have chosen about the death of Bazarov is quite suitable for the analysis of the episode.

This episode begins with the words: "The doctor, the same county doctor who did not have a hellish stone, came and, having examined the patient, advised to adhere to the methods of waiting and immediately said a few words about the possibility of recovery," and ends with the words: "And that's enough! - he said and sank down on the pillow. - Now ... darkness ... ". We defined the boundaries of the episode in this way, because the text limited to these phrases is completely devoted to the extinction of Bazarov: from the moment when he began to take possession of unconsciousness to the last word spoken in consciousness.

We chose several phrases that, in our opinion, reflect the deep feelings of the hero, his state of mind.

Bazarov "suddenly grabbed the leg of a heavy table that stood near the sofa, shook it and moved it from its place." Bazarov is aware of his powerlessness before death, is indignant that in the prime of life and full of physical strength, he is forced to resign himself to the inevitability and recognize a more powerful force that "denies" himself - death.

"I don't want to rave," he whispered, clenching his fists, "what nonsense!" Bazarov is still struggling, trying to resist the disease.

"He asked Arina Vlasyevna to comb his hair, kissed her hand ....." It is no coincidence that Bazarov shows uncharacteristic tenderness for his mother: inwardly he has already realized the inevitability of death and, in the face of eternal parting, does not want to hide his true feelings for his mother - love, respect.

When his father invites him to take communion, "...something strange crawled across his son's face, although he continued to lie with his eyes closed." This is "strange", as can be seen from the following phrases, consent to communion. He, who denied religion, has changed so much inwardly that he is ready to accept a religious rite.

"Farewell," he said with sudden force, and his eyes flashed with a last gleam.

The last flash of consciousness revealed the power of his love.

Thus, we see what deep emotional experiences and changes occur to the hero in the last moments of his life.

In the episode, the main character himself, Yevgeny Bazarov, is the central figure, and although there are other characters in the novel (Bazarov's parents, Odintsov's parents), they are only a background for the full disclosure of Bazarov's character. In the selected episode, the main character is revealed from a new, unexpected side. In it, he appears as a tragic figure, as Turgenev himself wrote: "The death of Bazarov (...) should, in my opinion, put the last line on his tragic figure."

In order to understand the meaning of this scene, it is important to remember what the image of Bazarov in the novel is. This is a strong, active, purposeful nature, and at first glance, nature is whole. He sees the meaning of his life in the destruction of the old foundations of society, in serving the new society. He denies all the basic foundations of the former society, both social and moral-philosophical, believing that denial is his main task, believing that he has enough strength to carry it out. But in the episode of death, the hero realizes that he is powerless, denial is impossible and meaningless: "Yes, go and try to deny death. It denies you, and that's it!" He believed that he was the master of his own life and destiny, that he could make grandiose plans and strive for their implementation. But now he finds himself in a situation that at once crossed out all his confidence with a simple and indisputable fact: he fell ill and will inevitably die. "And I also thought: I'll break off a lot of things, I won't die, where! There is a task, because I'm a giant! And now the whole task of a giant is how to die decently, although no one cares about this ...." Not only that, his plans not destined to come true, the main principle of life is nonsense, so he also understands how lonely he is and, perhaps, is not needed by the new society for which he wanted to work. "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 ...". The internal split he feels is exposed: somewhere in the depths of his soul, Bazarov has doubts about the usefulness and expediency of his activities for the benefit of society. And immediately the revelations of Bazarov come to mind, which he shares with Arkady: "I hated this last peasant. Well, he will live in a white hut, and burdock will grow out of me (...)". It was to this inner tragedy of his hero, revealed in his dying insights, that Turgenev led the reader throughout the entire novel. The suffering of the nihilist and the destroyer is laid bare in the scene of his death. It is no coincidence that this trait of Bazarov's character was noticed by F.M. Dostoevsky, calling the hero of Turgenev "yearning Bazarov".

According to the literary encyclopedia, the climax is "the moment of the highest tension of the action in the work, when the plot conflict, the goals of the characters, their inner qualities are especially clearly revealed. In a work of a large form, where several storylines are intertwined, two or more culminations are possible." Of course, in the novel by I. S. Turgenev "Fathers and Sons" several climaxes can be distinguished. One of them is the duel scene (the storyline of Bazarov's relationship with Pavel Petrovich). The other is the scene of Bazarov's explanation with Odintsova (the storyline of Bazarov's love for Odintsova).

However, in our opinion, in the novel, all these events, one after another, serve another purpose - to reveal the character of the protagonist Bazarov more and more vividly and versatile. And we believe that it is the episode of the death of the protagonist that fully reveals his contradictory nature, being thus the culmination of the development of the image of the protagonist.

The work was done by students of grade 10-1 Mikhail Ignatiev and Igor Khmelev.

Bazarov's death

1. Bazarov is an untimely person.

2. The internal state of Bazarov at the end of the novel.

3. The non-random departure of Bazarov from life.

Many writers of the 19th century addressed the problem of the "superfluous person". This category of "superfluous people" can include such literary heroes as Eugene Onegin, Pechorin, Rudin. Writers in their works aimed to understand what makes these people so outstanding, how such people interact with the surrounding reality and people. And every time it turns out that at a certain moment there are loners who cannot find their place in life. They preach extravagant ideas, obscure to the average man in the street. As a result, such people are usually rejected by the society to which they belong.

So, Eugene Onegin, who kills his friend in a duel for the stupidest reason, is cut off from the circle in which he rotated. Why is he killing Lensky? But because, not being able to find a worthy occupation for himself, he begins to actively interfere in the lives of others. Pechorin unwittingly destroys the lives of "peaceful smugglers", dooming several people to starvation. Boredom pushes them to ill-conceived actions, for which quite often completely strangers have to pay.

The hero of Turgenev's novel "Fathers and Sons" Evgeny Bazarov also, to some extent, is an "extra person". But what distinguishes him from Onegin and Pechorin is that he is unusually hardworking, persistent in achieving<ении цели. Он прекрасно разбирается в естественных науках и медицине, много работает над повышением своего профессионализма. Но кроме его нигилистической теории, которая в финале романе терпит крах, у него нет никаких жизненных целей и планов. Убежденный материалист пускает на самотек свою деятельность, а также не справляется с чувством, которое прежде отвергал - с любовью к Одинцовой.

And after all life's trials Bazarov came to his native village to his parents. Immediately after his arrival, the hero firmly told his parents not to interfere with him, and immediately plunged into work. His father and mother reverently looked at their son, did not contradict him in anything and did not interfere. But here it already became noticeable that Yevgeny seemed to have begun to lose interest in work, and it seems that a breakdown occurred in him, which somewhere inside planted doubts that everything that the hero had previously firmly believed in was so unshakable.

“... The fever of work jumped off him and was replaced by dreary boredom and deaf anxiety. A strange weariness was noticeable in all his movements, even his gait, firm and swiftly bold, changed. He stopped walking alone and began to seek company; drank tea in the drawing room, wandered around the garden with Vasily Ivanovich and smoked with him "in silence"; once inquired about Father Alexei. At first, his father was delighted with this change in his son's mood and behavior, but his joy was short-lived, because he realized that Bazarov's behavior was caused by some kind of deep, inner sadness. “Enyusha crushes me,” he said secretly to his wife, “he is not only dissatisfied or angry, that would be nothing; he's sad, he's sad - that's terrible. Everything is silent, even if he scolded us with you; losing weight, the complexion is so bad.

The state of depression is natural, because Bazarov, rejecting everything and everything, destroying everything old, does not know what can be erected in a cleared place, and hopes for other people. Activity devoid of purpose soon becomes boring. That's why soon enough Bazarov abandons his scientific work, falls into a deep depression. Boredom and despondency force him to help his father in his medical practice. Faced with ordinary people, peasants, helping them, Bazarov tries to at least to some extent fill the inner emptiness created as a result of the rejection of everything human in himself.

The author seems to be preparing the reader for the fact that very soon the finale of the hero’s life should happen, a man clearly “superfluous” for society, a man whose life theory could not withstand the collision with reality. And indeed, quite by accident Bazarov contracted a deadly disease. He is a doctor and is well aware that his days are numbered, about which he speaks to his father: “Old man,” Bazarov began in a hoarse and slow voice, “my wretched business. I am infected, and in a few days you will bury me.”

It is absolutely clear to the reader that Eugene is very sorry for his parents, but such is the hero that he cannot openly feel sorry for them, somehow console them. Resorting to irony Bazarov advises his father to turn to religion, although he himself has always denied faith in higher powers. He also feels sorry for his own life, which, in fact, has just begun: “The power, the power,” he said, “is still here, but you have to die! ... The old man, at least he managed to wean himself from life, and I... Yeah, go try denying death. She denies you, and that's it! The hero admitted his powerlessness before what was destined from above. He realized that there is something that will deny his views and beliefs, and he, for all his position as a nihilist, will only have to put up with it.

Bazarov, before dying, before falling into an unconscious state, asks for a meeting with Odintsova. He is overjoyed to see her. It seems that at this moment he is quite sincere with the one who awakened the feeling of love in the nihilist who denies high feelings. His parting words to Odintsova are really touching: “Generous! he whispered. - Oh, how close, and how young, fresh, clean ... in this nasty room! ... Well, goodbye! Live long, that's the best, and use it while it's time. Just look at what an ugly sight: a half-crushed worm, but still bristling. And after all, 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, although no one cares about this ... All the same: I won’t wag my tail. He really managed to "die decently", he behaved truly courageously. And it is difficult to say whether he finally lost faith in much of what he believed before, but he agreed to take communion before his death. Maybe he allowed the priest to come in order to reassure his parents, who asked him to take communion, but I still think that in the mortally ill Bazarov the question could not help but arise about what awaits him there, beyond the life line. And, like any person, he felt the fear of the unknown, and therefore did not reject the priest.

In a chapter telling about the last days of the hero's life and his death, Turgenev portrayed Bazarov as a very courageous person and, for all his outward severity, very loving to his loved ones. But the death of the hero is not accidental - I think that only by “killing” the hero could the writer prove the inconsistency of the theory of denying everything that is dear to almost all people and often makes up the meaning of life for most people.

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 generally not dream of orange trees and palm trees, 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 "to do for a long time", in his enthusiasm for his god-science, trampled down 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!"