Ideological duel of Bazarov and Kirsanov (based on Turgenev's novel "Fathers and Sons")

The novel "Fathers and Sons" was written in 1861 by Ivan Sergeevich Turgenev. This novel shows the relationship of generations in a special historical period- on the eve of the abolition of serfdom. At this time, Russia is divided into two ideological and political camps. The conflict of generations acquires a particularly acute character: “fathers” and “children” turn out to be irreconcilable ideological rivals. The main representatives of the warring camps in the novel are Pavel Petrovich Kirsanov (“fathers”) and Evgeny Vasilyevich Bazarov (“children”).

In Pavel Petrovich Kirsanov, an aristocrat is immediately guessed. He is always carefully shaved, perfumed, dressed. Even while living in the countryside, Pavel retains his secular habits. He comes out to meet guests dressed in “a dark English suit, a fashionable low tie and patent leather ankle boots.” Turgenev emphasizes the beauty of Pavel Petrovich's face: "His face ... unusually correct and clean, as if drawn with a thin and light chisel, showed traces of remarkable beauty."

In Bazarov, one feels a man from the people. He does not look after his appearance, wears "hanging sideburns sand color” and “a long hoodie with tassels.” There is no particular beauty in his face, it is “long and thin, with a wide forehead, flat top, pointed nose, large greenish eyes ... it was enlivened by a calm smile and expressed self-confidence and intelligence.”

Turgenev pays special attention to the hands of these characters. Bazarov arrives without gloves and holds out to Nikolai Petrovich a “naked red hand”, which speaks of a habit of hard work. And Pavel Petrovich holds out Arkady " beautiful hand with long pink nails." With Bazarov, the aristocrat avoids shaking hands, immediately feeling an ideological enemy in him.

Bazarov does not like Pavel Petrovich. He ridicules his aristocracy, secular habits: “Yes, I will spoil them, these county aristocrats! After all, this is all pride, lion's habits, fatness. Arkady is trying to somehow protect his uncle, telling Yevgeny the story of the unhappy love of Pavel and Princess R. But Bazarov scoffs at this too: “No, brother, this is all licentiousness, emptiness, romanticism ... rot, art.”

This mutual rejection of the characters develops into an ideological conflict.

Pavel Petrovich considers himself advanced man. He adheres to liberal views, supports the upcoming reforms. Therefore, he is very surprised when young people do not take his ideas seriously and call him an “archaic phenomenon”. As soon as Pavel learns that Arkady's friend is a nihilist, he has a desire to challenge this nihilist to a dispute. But, unfortunately for Pavel Petrovich, Evgeny does not like verbal debate and brushes them off like an annoying fly. For Bazarov, the main thing is to take actions that are beneficial, and everything else is a waste of time.

Still, Pavel Petrovich manages to challenge Bazarov twice. But for the first time, he is lost from the categorical nature of Bazarov. Kirsanov, trying to offend the nihilist, declares that he gives more preference to German scientists than Russian ones. But Bazarov retorts with the fact that it does not matter to him nationality, he does not recognize any authorities: “But why should I recognize them? … They will tell me the case, I will agree, that’s all.” Bazarov generally rejected all art: "A decent chemist is twenty times more useful than any poet." With this step of his, Evgeny Vasilyevich puzzled Pavel Petrovich.

The decisive “ideological duel” took place a few days later. Bazarov dismissively treated one of the neighboring landowners, calling him “rubbish, aristocratic,” which seriously offended the feelings of Pavel Petrovich, who considered himself an aristocrat. Kirsanov begins to prove that the aristocrats are the stronghold of world liberalism, they support the “principles” on which society is based. But Bazarov rejects all these judgments at once. He considers all aristocrats idlers: “... You respect yourself and sit back; what good is it for the bien public?” Pavel is trying to name some foundations of society: progress, liberalism. But Yevgeny Vasilievich rudely denies everything: “At the present time, denial is the most useful of all - we deny it.” “You deny everything, or, to be more precise, you destroy everything ... Why, you need to build,” Pavel Petrovich is surprised. But even to this, the nihilist has an answer that, they say, this is not his business, “first you need to clear the place.”

The opinions of two generations regarding the Russian people also do not coincide. Pavel Petrovich begins to prove that "the Russian people are not like that", "he honors traditions, he is patriarchal." Bazarov contemptuously declares that the people "deserve contempt."

A complete misunderstanding of the "fathers" and "children" is also manifested in their views on art. "Fathers" read Pushkin, play the cello. Yevgeny Vasilievich denies art itself: “Raphael is not worth a penny,” which irritates Kirsanov. The aristocrat believes that such "nihilists" are not needed at all.

This is where the “ideological duel” of “fathers” and “children” ends. And only in the second part of the novel, the ideological intransigence between the characters turns into a real duel.

I believe that in these “ideological” debates, Turgenev still gives his preference to the “fathers”. However, he sees that, unfortunately, the aristocrats do not go beyond empty talk. Despite the fact that the writer does not agree with the "denial" of Bazarov, he portrayed him as active, strong, intelligent and educated person seeking to benefit the Fatherland. The duel of heroes, although it is portrayed somewhat comically, as an anachronism, one can also see a prophecy in it: ideological conflicts can turn into bloodshed.

The first "duel" is a verbal duel in chapter 6. This is more likely not a dispute, but a kind of preparation, Pavel Petrovich's intelligence. He raises several topics: 1) about the successes of the Germans in natural sciences, 2) about authorities, 3) about poets and chemists, 4) about the non-recognition of art, 5) about faith in authorities (almost secondary). Bazarov objects very reluctantly and sluggishly, and Nikolai Petrovich, as always, intervenes in the conversation, when he "smells of fried", he acts as a softener, a buffer.

Before the main ideological battle (Chapter X) in the previous chapter, Turgenev specifically places the episode with Fenechka and the child. Here, for the first time, some of Bazarov's true qualities are revealed, which, however, as always, are hidden behind harsh and cynical rhetoric. Bazarov speaks enthusiastically and lovingly about plants, and most importantly, a child willingly goes into his arms, which indicates the hero’s healthy gut: children always behave calmly with kind, strong and loving people.

Chapter X is the main ideological duel of heroes. All disputes are started by Pavel Petrovich, for whom everything in Bazarov is unacceptable - from appearance and habits to character, lifestyle and views. Bazarov does not rush into battle, but only briefly parries Kirsanov's blows, but only until the time when he touched him to the quick, offending his filial feelings.

Pavel Petrovich and Bazarov disagree on the following issues:

on the issue of changing society for the better (Pavel Petrovich - for gradual, minor reforms, Bazarov wants to break everything at once);

On the question of the principles and meaning of life (Bazarov laughs at Kirsanov's "principles" and denies the very phenomenon of principles;

on the question of attitude towards the people (Pavel Petrovich honors his patriarchy, adherence to antiquity, faith, humility, and Bazarov despises him for the same and considers the peasant’s consent to slavery, drunkenness and ignorance to be a vice);

On the issue of patriotism (Pavel Petrovich considers himself a patriot and loves the people theoretically, Bazarov is somewhat closer to the people, easier to deal with the peasant, but no less alien and incomprehensible to the peasant - his name is “pea jester”, since the work of a naturalist is not capable of accepting work.

Bazarov does not want to recognize any authorities, because he believes that everything created thanks to these authorities is subject to demolition, destruction. Bazarov's trust extends only to the knowledge and experience gained by him during experiments and research.

Gradually, even before the duel, with all Turgenev’s sympathy, with all the sympathy for the Kirsanovs who are closer in spirit to him, and with all the limitations of the nihilist Bazarov, a certain superiority of the nihilist over the “fathers” is more and more clearly revealed. This superiority hurts the author's heart, and it is objectively not good in everything. The author, for example, highly appreciates the dignity, nobility and will of Pavel Petrovich, the sensitivity, kindness, aesthetics of Nikolai Petrovich, the emotionality, delicacy and goodwill of Arkady.

Finally, the reader begins to fully understand Bazarov's "self-indulgence", the peculiar sacrifice of his figure, and after that his painful split and loneliness. Hiding behind the usual cynical mask of the destroyer, his feelings begin to burst the shell of the mask from the inside. He is infuriated by the fact that he cannot explain his sympathy for Fenichka in the usual way - only by physiological needs; that during and after the duel (romantic absurdity!) he is forced to show nobility towards the enemy; that he feels in himself a desire to see next to him a more serious friend and follower than Arkady; finally, he is overtaken by a real feeling of love for Odintsova - that is, exactly what he denied in every possible way and over which he frankly teased.

Analysis of the episode of the pre-duel explanation of Bazarov and Pavel Petrovich (Chapter XXIV)

Between the ideological duel in Chapter X and the pre-duel explanation, a whole series of events take place in Bazarov's life, significantly softening the harsh image of the beginning of the novel. The following contributes to this:

· a dispute with Arkady in a haystack, where Bazarov, perhaps for the first time, acutely felt his loneliness and admitted his self-loathing;

a visit to the parents, which highlighted the new, soft facets of the hero's soul, his careful attitude to parents, habitually hidden under a rudely ironic mask;

· a meeting with Odintsova and an absurd scene of a declaration of love, which for the first time showed Bazarov to helplessly passionate and not entirely understood;

· the scene in the pavilion with Fenechka, reflecting the process of intensifying the hero's struggle with his nature.

What makes this scene special? It is interestingly built compositionally: the characters seem to seize the initiative from each other several times. In addition, it is here that, after a long break, “fathers” and “children” clash with even greater sharpness. More clearly than before, in this episode, the characters of the two heroes appear. Not like before, this last of the psychological duels ends, and the heroes suddenly find themselves on the verge of real, physical bloodshed.

Before this duel, the heroes feel differently. Bazarov is in an unusual state of confusion for him, regular work doesn't go well. He is annoyed with himself after two clumsy actions in a row in relation to two women - to Odintsova in the scene of a declaration of love and to Fenechka in the scene with a kiss in the gazebo. However, as before, he is completely indifferent to Pavel Petrovich and does not seek further quarrels with him. At the same time, Pavel Petrovich's indignation against Bazarov reached its highest point, and the last straw was a kiss in the arbor.

However, unlike past disputes that arose spontaneously, Kirsanov is preparing for this duel, and this is his initial advantage.

At the beginning of the scene, Bazarov is unusually unsure of himself. After Bazarov's first remark, the author's words come: "... answered Bazarov, in whom something ran across his face as soon as Pavel Petrovich crossed the threshold of the door." Previously, Turgenev did not characterize the state of Bazarov (according to the laws of "secret psychology") with indefinite pronouns.

And further - when Pavel Petrovich spoke about the duel, the author writes: "Bazarov, who stood up to meet Pavel Petrovich, sat down on the edge of the table and folded his arms." Half-gestures “got up”, “sat down” are also not typical for Yevgeny. Immediately after being challenged to a duel: "Bazarov's eyes widened."

Bazarov's confusion at this moment is reflected in his speech. He usually spoke rudely, abruptly, abruptly. And here are the usual turns of the type “yes, no matter what!” are accompanied by phrases more characteristic of Kirsanov: "Very well, sir", "You have a fantasy to test your chivalrous spirit on me."

In turn, Pavel Petrovich tries to restrain his excitement, firstly, by excessively emphasized politeness and formality of tone. Secondly, a “beautiful cane” specially taken for such an occasion, a symbol of aristocratic superiority, helps him not to throw off this mask and maintain the set tone. cane like symbolic detail, went through the whole episode. Bazarov called it a "stick" - an instrument of possible violence.

After Kirsanov's confession, "I despise you," the quarrel culminated: "Pavel Petrovich's eyes sparkled ... They also flared up at Bazarov." It is at this moment that Bazarov takes control of himself and uses the usual weapon of irony, starting to mimic his opponent, repeating almost verbatim the endings of each of Kirsanov's remarks. It doesn't go unnoticed. Kirsanov says: "You keep joking..." But this time Pavel Petrovich won't lose his temper, as he used to. Why? Bazarov, although joking, did not overstep the bounds of what was permitted. In addition, the cane that was present nearby helped - a kind of reminder of aristocracy, a symbol of patience, support.

Each of the characters throughout the scene diligently hides his true feelings from the other. Kirsanov behind a screen of politeness hides resentment, jealousy, indignation, and Bazarov behind a screen of irony - confusion and irritation with himself.

It seems that this psychological duel is won by Pavel Petrovich, who has achieved his goal on almost all counts. And Bazarov, after his departure, even more lost his inherent inner calm, dissatisfied with himself, experiencing remorse and moral feelings that were not inherent in him, having discovered Pavel Petrovich's secret love for Fenechka.

During the duel itself, after the shots, both opponents behave with dignity. Bazarov fulfills his medical and human duty, showing the nobility that he had recently hated, and Pavel Petrovich courageously and even with humor endures pain and loses all resentment towards Bazarov.

The first "duel" is a verbal duel in chapter 6. This is more likely not a dispute, but a kind of preparation, Pavel Petrovich's intelligence. He raises several topics: 1) about the success of the Germans in the natural sciences, 2) about authorities, 3) about poets and chemists, 4) about the non-recognition of art, 5) about faith in authorities (almost secondary). Bazarov objects very reluctantly and sluggishly, and Nikolai Petrovich, as always, intervenes in the conversation, when he "smells of fried", he acts as a softener, a buffer.

Before the main ideological battle (Chapter X) in the previous chapter, Turgenev specifically places the episode with Fenechka and the child. Here, for the first time, some of Bazarov's true qualities are revealed, which, however, as always, are hidden behind harsh and cynical rhetoric. Bazarov speaks enthusiastically and lovingly about plants, and most importantly, a child willingly goes into his arms, which indicates the hero’s healthy gut: children always behave calmly with kind, strong and loving people.

Chapter X is the main ideological duel of heroes. All disputes are started by Pavel Petrovich, for whom everything in Bazarov is unacceptable - from appearance and habits to character, lifestyle and views. Bazarov does not rush into battle, but only briefly parries Kirsanov's blows, but only until the time when he touched him to the quick, offending his filial feelings.

Pavel Petrovich and Bazarov disagree on the following issues:

on the issue of changing society for the better (Pavel Petrovich - for gradual, minor reforms, Bazarov wants to break everything at once);

on the question of the principles and meaning of life (Bazarov laughs at Kirsanov's "principles" and denies the very phenomenon of principles;

on the question of attitude towards the people (Pavel Petrovich honors his patriarchy, adherence to antiquity, faith, humility, and Bazarov despises him for the same and considers the peasant’s consent to slavery, drunkenness and ignorance to be a vice);

on the question of patriotism (Pavel Petrovich considers himself a patriot and loves the people theoretically, while Bazarov is somewhat closer to the people, easier to deal with the peasant, but no less alien and incomprehensible to the peasant - his name is "pea jester", since the people are not capable of working as a naturalist take for work.

Bazarov does not want to recognize any authorities, because he believes that everything created thanks to these authorities is subject to demolition, destruction. Bazarov's trust extends only to the knowledge and experience gained by him during experiments and research.

Gradually, even before the duel, with all Turgenev’s sympathy, with all the sympathy for the Kirsanovs who are closer in spirit to him, and with all the limitations of the nihilist Bazarov, a certain superiority of the nihilist over the “fathers” is more and more clearly revealed. This superiority hurts the author's heart, and it is objectively not good in everything. The author, for example, highly appreciates the dignity, nobility and will of Pavel Petrovich, the sensitivity, kindness, aesthetics of Nikolai Petrovich, the emotionality, delicacy and goodwill of Arkady.

Finally, the reader begins to fully understand Bazarov's "self-indulgence", the peculiar sacrifice of his figure, and after that his painful split and loneliness. Hiding behind the usual cynical mask of the destroyer, his feelings begin to burst the shell of the mask from the inside. He is infuriated by the fact that he cannot explain his sympathy for Fenichka in the usual way - only by physiological needs; that during and after the duel (romantic absurdity!) he is forced to show nobility towards the enemy; that he feels in himself a desire to see next to him a more serious friend and follower than Arkady; finally, he is overtaken by a real feeling of love for Odintsova - that is, exactly what he denied in every possible way and over which he frankly teased.

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The episode of the duel between the two main characters Evgeny Vasilyevich Bazarov and Pavel Petrovich Kirsanov is a key moment in the novel "Fathers and Sons", since it is this scene that represents the culmination of the main conflict of the work: the confrontation between the "fathers" represented by the old generation and the "children" representing the young people who are progressive and deny all the values ​​of the "fathers". This is the culmination of not only a conflict of generations, but also a conflict between new and old values, principles and foundations of the worldview.

The prerequisite for the conflict was not only the ideological confrontation and personal hostility between Bazarov and Kirsanov, but also a very specific reason. The fact is that Eugene, who does not consider it his duty to respect Pavel just because he is older than him and belongs to the noble aristocratic class, is courting Fenechka, with whom Kirsanov is secretly in love. Having become an accidental witness to a kiss between them, Pavel Petrovich becomes furious and challenges the hated nihilist to a duel. Bazarov calmly agrees to a duel, behaves relaxedly and even finds a place for jokes and irony in the conversation.

Despite the fact that outwardly the young man looks confident, in the depths of his soul he is very worried and, moreover, succumbing to fear, he begins to write a letter to his father, which would be his farewell to his relatives before his death. However, reason prevails over all worries, Bazarov tears up the letter and decides that he will “loom” in the world for a long time to come. It is worth noting here that Turgenev chose precisely to “loom”, and not “to live”. This makes us wonder if the existence of the nihilist Bazarov, who has renounced feelings and emotions, is real life.

Finally, the day of the duel arrives. Both opponents are at a predetermined place. Pavel Petrovich hides his excitement under the mask of confidence and seriousness, while the young man hides fear behind jokes and irony. However, Kirsanov's mask falls off as soon as Yevgeny's pistol is fired. From a rather minor injury, Pavel Petrovich faints, while Bazarov abruptly forgets about his former hostility and runs to the aid of his opponent.

After the duel, relations between them outwardly become a little better, Kirsanov, keeping on young man deep resentment, embarrassed by his former arrogance, so he decides to hide his dislike and unusually talks a lot and jokes with Bazarov. When Eugene leaves their estate, they coldly shake hands in farewell.

An analysis of this key episode makes us understand that it is the denouement of the conflict of the entire work and at the same time serves as a prelude to further events that will give an unambiguous answer, what is the opinion of Ivan Sergeevich Turgenev himself on main question his novel "Fathers and Sons": Can a person live in the mind, forever rejecting all human feelings, emotions and experiences?

Option 2

The novel by Ivan Sergeevich Turgenev is a world classic in literature. The novel describes the conflict of generations and life principles.

The young and purposeful student Evgeny, when meeting with the aristocrat and conservative Pavel Petrovich, already showed some dislike for each other. They did not even shake hands, because Kirsanov considered it below his dignity to extend his hand to a man who was dressed as a simpleton.

Bazarov was invited to visit by his friend Arkady, only he could understand the ambitious and arrogant young man. The guy immediately entered into an argument with Kirsanov Sr., he did not like that Pavel Petrovich was trying to impose his idea.

Kirsanov Sr. even treated Bazarov with some disdain. He did not like nihilists, and Bazarov did not like aristocrats. Being in the same room, they always found a reason to quarrel with each other. Each of them strongly expressed his opinion in relation to the other.

Pavel Petrovich Kirsanov was a refined person, and he liked to surround himself with spiritual things. Bazarov, on the contrary, rude and self-contained, had more hopes for science. Bazarov liked to offend rich Kirsanov, who now and then inserted English words into his speech.

These two characters directly, hated each other and never hid their dislike. They always found a reason to argue. After some time, their ardor subsided, but the tension between Kirsanov Sr. and Bazarov still remained. At one fine moment it had to find a way out and it did.

Pavel Petrovich was deeply in love with Fenechka, but he was embarrassed to talk about his feelings for her on the show. One day, Kirsanov Sr. sees the kiss of his inveterate enemy Bazarov and beloved Fenechka. Then for Kirsanov came the peak of their conflict. He was indignant with anger and therefore, grabbing a stick, told Bazarov that he would beat him severely if he did not agree to a duel with him.

Bazarov tried to calm the jealous man, telling him that the duel is nonsense and there is absolutely no point in holding it. Kirsanov did not retreat, and Bazarov, still afraid that he would be beaten, agreed to a duel.

They did not tell anyone that they were going to duel early in the morning. They took only Peter with them, and when the duel took place, Bazarov wounded Kirsanov. Pavel Petrovich was wounded in the leg, and Bazarov showed his disrespect here too, coming to the aid of Kirsanov, he regarded this as helping the old man. Bazarov asked for help, and when help was provided, the two decided not to reveal the main reason for their duel. They all said that their views differed in politics, because it was hard for Pavel Petrovich to admit that this was because of jealousy and love for Fenechka.

Their such stupidity did not lessen the hostility between themselves, but calmed them a little. The tactics chosen good relationship or complete disregard for each other. It is impossible to say that Bazarov was the absolute winner in this duel, most likely luck smiled at him.

After all these events, they began to behave towards each other better, but each remained with his own opinion and his principles.

Analysis of the duel scene between Evgeny Bazarov and Pavel Petrovich Kirsanov

"Fathers and Sons" is one of the most significant works Russian literature. Each page of this novel is filled to the brim with various philosophical questions and moral and moral instructions. But apart in the novel is the theme of the relationship of people from different generations. The theme of fathers and children.

Ivan Sergeevich Turgenev reveals this topic by pushing two people who are completely different in worldview - Pavel Petrovich Kirsanov and Evgeny Bazarov.

and disliked each other from the first meeting. The reason for this was the pronounced nihilism of Bazarov, about which Pavel Petrovich was not better opinion. After all, Pavel Petrovich was a conservative aristocrat and was faithful to the old order. Throughout the novel, conflicts constantly flared up between the characters. And this is natural, because their conflict is a struggle of ideologies. The faces of these characters were presented completely different points view of the world, and such disagreements are not so easy to eliminate.

The culmination of this struggle was their duel. Casus belli which was the kiss of Bazarov with Fenechka seen by Pavel Kirsanov. The real reason for the duel was their mutual dislike and political differences. The result of this duel was the injury of Pavel Petrovich - a bullet entered his thigh. It must be said that Bazarov immediately bandaged Pavel Petrovich's leg and called others for help. Strictly speaking, there was no winner in this duel - after all, their dispute was mental, and it was impossible to solve it by physical means. When the heroes realize how stupid their duel was, and what consequences their childish undertaking could lead to, they become more restrained towards each other, a note of mutual respect appears in their conversations. But in the end, everyone has their own opinion.

The denouement of the conflict between Fathers and children was the forced departure of Yevgeny Bazarov.

In conclusion, it is worth noting that the conflict described by Turgenev has existed for more than one millennium, and that it will never exhaust itself. After all, always, from century to century, people of the older generation will argue with people younger generation. And this conflict will be relevant at all times.

Essay 4

The duel between the characters is prepared by the development of the conflict between the generations of "fathers" and "children", which is described in the novel. It is indicative that the duel takes place between the characters standing at the extreme positions, each in his own camp.

The nihilist Bazarov, who devoted his whole life without a trace to building a new society, retains his external equanimity in this episode of the novel. Even in front of possible death he still maintains his posture and destroys the letter to his father in which he expresses normal human feelings.

Pavel Petrovich Kirsanov has a hatred for worst enemy his world. The kiss of Bazarov and Fenechka is just an excuse that a retired guards officer decided to use to destroy the virus that is corrupting society.

During the duel, both opponents show their inner weakness. The bravado of the nihilist does not help him completely hide his inner tension from those around him. On the other hand, the guardsman, having received a wound from Bazarov, loses consciousness, although the wound is not dangerous and should not cause such an effect.

Turgenev emphasizes that neither ideological fanaticism, nor an aristocratic code of honor and a military past turned duelists into machines ready to go to the end. Yevgeny Bazarov, in obedience to his medical duty, rushes to the aid of a wounded enemy (although he refuses it). Kirsanov's pride takes over and he does not want reconciliation in the future, although he is somewhat ashamed of the harshness of his behavior.

It is significant that, despite the personal hostility and deep antagonism of Pavel Petrovich and Bazarov, the case ends in nothing. Of course, both were at mortal risk, reconciliation did not take place, but they simply shake hands coldly at parting.

The writer here figuratively shows that the tension between the old and the new at that time had not yet reached its extreme point and everything was limited to attacks that were tolerable in the nobility, from which both come. It is clear why Kirsanov is not ready to break the accepted norms of behavior, it was in defending them that he ran into Bazarov. However, his opponent, who personifies nihilism, has not completely renounced the values ​​of the old world, does not believe that the enemy must be destroyed without fail, provoking a duel again.

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• Ideological duel of Bazarov and Kirsanov Test duel. Bazarov and his friend again pass through the same circle: Maryino - Nikolskoye - parental home. Outwardly, the situation almost literally reproduces the one on the first visit. Arkady enjoys summer vacation and, having barely found an excuse, returns to Nikolskoye, to Katya. Bazarov continues natural science experiments. True, this time the author expresses himself in a different way: "The fever of work came upon him." New Bazarov abandoned tense ideological disputes with Pavel Petrovich. Only occasionally throws enough […]
• The conflict of theory and life in Turgenev's novel "Fathers and Sons" The novel by I. S. Turgenev "Fathers and Sons" contains a large number of conflicts in general. These include love conflict, the clash of worldviews of two generations, social conflict And internal conflict Main character. Bazarov - main character novel "Fathers and Sons" - a surprisingly bright figure, a character in which the author intended to show the entire young generation of that time. It should not be forgotten that this work is not just a description of the events of that time, but also deeply felt quite real […]
• Comparative characteristics of Bazarov and Kirsanov in the table Bazarov E.V. Kirsanov P.P. Appearance Tall young man long hair. Clothes are poor and unkempt. Pays no attention to his own appearance. Handsome man middle-aged. Aristocratic, "thoroughbred" appearance. Carefully looks after himself, dresses fashionably and expensively. Origin Father - a military doctor, not rich simple family. Nobleman, son of a general. In his youth he led a noisy metropolitan life, built military career. Education Very educated person. […]
• The death of Bazarov is the result of his life path Roman I.S. Turgenev's "Fathers and Sons" ends with the death of the protagonist. Why? Turgenev felt something new, saw new people, but could not imagine how they would act. Bazarov dies very young, without having time to start any activity. With his death, he seems to redeem the one-sidedness of his views, which the author does not accept. Dying, the protagonist did not change either his sarcasm or his directness, but became softer, kinder, and speaks differently, even romantically, that […]
• The history of the creation of the novel "Fathers and Sons" by Turgenev The idea of ​​the novel arises from I. S. Turgenev in 1860 in the small seaside town of Ventnor, in England. “... It was in August 1860, when the first thought of “Fathers and Sons” came to my mind ...” It was a difficult time for the writer. He had just broken with Sovremennik magazine. The reason was an article by N. A. Dobrolyubov about the novel “On the Eve”. I. S. Turgenev did not accept the revolutionary conclusions contained in it. The reason for the gap was deeper: rejection revolutionary ideas, "peasant democracy […]
• Bazarov's letter to Odintsova Dear Anna Sergeevna! Let me turn to you personally and express my thoughts on paper, since saying some words aloud is an insurmountable problem for me. It is very difficult to understand me, but I hope that this letter will clarify my attitude towards you a little. Before meeting you, I was an opponent of culture, moral values, human feelings. But numerous life tests made me look at things differently the world and reevaluate your life principles. For the first time I […]
• The generation of "fathers" in Turgenev's novel "Fathers and Sons" ideological content In 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 lethargy or narrowness. Aesthetic feeling made me take exactly good representatives nobility, in order to prove my theme all the more correctly: if cream is bad, what about milk? .. They are the best of the nobles - and that is why I have chosen me to prove their failure. Pavel Petrovich Kirsanov […]
• Strong and weak sides nihilism of Bazarov In I.S. Turgenev’s novel “Fathers and Sons”, the main character is Yevgeny Bazarov. He proudly says that he is a nihilist. The concept of nihilism means a kind of belief based on the denial of all cultural and scientific experience accumulated over many centuries, all traditions and ideas about social norms. The history of this social movement in Russia is connected with the 60-70s. 19th century, when there was a turning point in society in traditional social views and […]
• Comparative characteristics of Nikolai and Pavel Kirsanov (table) Kirsanov N.P. Kirsanov P.P. Appearance A short man in his early forties. After an old fracture of the leg, he limps. Facial features are pleasant, the expression is sad. Beautiful well-groomed man middle-aged. He dresses smartly, in the English manner. Ease in movements betrays a sporty person. Marital status Widower for over 10 years, very happily married. There is a young mistress Fenechka. Two sons: Arkady and six-month-old Mitya. Bachelor. Has been popular with women in the past. After […]
• Bazarov and Odintsova in the novel "Fathers and Sons" Turgenev's "Fathers and Sons", did not work out for a variety of reasons. The materialist and nihilist of the bazaars denies not only art, the beauty of nature, but also love as a human feeling. Recognizing physiological relationship men and women, he believes that love "is all romanticism, nonsense, rottenness, art." Therefore, he first evaluates Odintsova only from the point of view of her external data. “Such a rich body! Even now to the anatomical theater, […]
• Bazarov and parents (composition) Two mutually exclusive statements are possible: “Despite Bazarov’s outward callousness and even rudeness in dealing with his parents, he dearly loves them” (G. Byaly) and “Isn’t it manifested in Bazarov’s attitude towards parents that mental callousness which cannot be justified." However, in the dialogue between Bazarov and Arkady, the dots over the i are dotted: “- So you see what kind of parents I have. The people are not strict. - Do you love them, Eugene? - I love you, Arkady! Here it is worth recalling the scene of the death of Bazarov, and his last conversation With […]
• Bazarov's test of love (composition) In "Fathers and Sons" Turgenev applied the already worked out in previous stories("Faust" 1856, "Asya" 1857) and novels are a way of revealing the character of the protagonist. First, the author depicts the ideological convictions and the complex spiritual and mental life of the hero, for which he includes conversations or disputes of ideological opponents in the work, then he creates a love situation, and the hero passes the “test of love”, which N.G. Chernyshevsky called “a Russian person on rendez- vous. That is, a hero who has already demonstrated the significance of his […]
• The image of Bazarov (composition) Inner world Bazarov and his external manifestations. Turgenev draws a detailed portrait of the hero at the first appearance. But strange thing! The reader almost immediately forgets individual facial features and is hardly ready to describe them in two pages. The general outline remains in memory - the author presents the hero's face as repulsively ugly, colorless in colors and defiantly wrong in sculptural modeling. But he immediately separates facial features from their captivating expression (“Livened up with a calm smile and expressed self-confidence and […]
• Illness and death of Bazarov The novel "Fathers and Sons" was created in an extremely difficult and conflict period. The sixties of the nineteenth century had several revolutions at once: the spread of materialistic views, the democratization of society. The impossibility to return to the past and the uncertainty of the future became the reason for the ideological, value crisis. The positioning of this novel as an "acutely social" Soviet literary criticism influences today's readers. Of course, this aspect is necessary […]

Duel of Bazarov and Pavel Petrovich *Fathers and Sons*.

1. 1. Chapter XXIV (24)
   2. Here is the main thing in a duel:
   "I will fight seriously," Pavel Petrovich repeated, and went to his place. Bazarov, for his part, counted ten steps from the barrier and stopped.
   - You are ready? asked Pavel Petrovich.
   - Absolutely.
   - We can get together.
   Bazarov quietly moved forward, and Pavel Petrovich went at him, laying left hand in his pocket and gradually raising the muzzle of the pistol ... "He's aiming right at my nose," thought Bazarov, "and how diligently he squints, the robber! However, this is an unpleasant feeling. I’ll look at the chain of his watch ... ”Something sang sharply near Bazarov’s very ear, and at the same moment a shot rang out. "I heard, so nothing," managed to flash through his head. He took another step and, without aiming, crushed the spring.
   Pavel Petrovich trembled slightly and clutched his thigh with his hand. A trickle of blood ran down his white trousers.
   Bazarov threw the pistol aside and approached his opponent.
   - Are you injured? he said.
   "You had the right to call me to the barrier," Pavel Petrovich said, "but that's nothing." According to the condition, everyone has one more shot.
   "Well, excuse me, that's until another time," answered Bazarov, and embraced Pavel Petrovich, who was beginning to turn pale. “Now I am no longer a duelist, but a doctor, and first of all I must examine your wound.

   3. Duel between Pavel Petrovich and Evgeny Bazarov. The duel was conceived by the PP, he called B to defend the honor and the old, obsolete orders of aristocratic society. B agreed only because of pride, he considered the duel stupidity and a relic of the past. Reasons: this is a generational conflict, negative emotions that gradually accumulated, and the reason (the reason and the reason is different concepts! this is important, do not confuse what is where) - the fact that Bazarov kissed Fenechka, the beloved of Nikolai Petrovich.
   By the way, by that time duels were already banned and it was illegal.

The episode of the duel between Bazarov and Pavel Petrovich Kirsanov takes important place in the novel. The duel takes place after the return of Bazarov from Odintsova. After unrequited love Bazarov returned to Anna Sergeevna a different person. He withstood this test of love, which consisted in the fact that he denied this feeling, did not believe that it affects a person so much and does not depend on his will. Returning to the Kirsanov estate, he becomes close to Fenechka and even kisses her in the gazebo, not knowing that Pavel Petrovich is watching them. This incident is the reason for the duel, because it turns out that Fenechka is not indifferent to Kirsanov. After the duel, Bazarov is forced to leave for the estate with his parents, where he dies.

Bazarov believes that “from a theoretical point of view, a duel is absurd; but from a practical point of view - this is another matter, "he would not allow himself to be insulted without demanding satisfaction." This is his attitude to duels in general, and he treats the duel with Kirsanov ironically.

In this episode, as in the previous ones, Bazarov's great pride is manifested. He is not afraid of a duel, a grin can be heard in his voice.

Pavel Petrovich in this episode shows his inborn aristocracy. When challenging Bazarov to a duel, he spoke snobbishly and officially, using long pompous phrases. Pavel Petrovich, unlike Bazarov, takes the duel seriously. He stipulates all the conditions of the duel and is even ready to resort to "violent measures" in order, if necessary, to force Bazarov to accept the challenge. Another detail confirming the decisiveness of Kirsanov's intentions is the cane with which he came to Bazarov. Turgenev remarks: "He used to walk without a cane." After the duel, Pavel Petrovich appears before us not as an arrogant aristocrat, but as a physically and morally suffering elderly man.

Pavel Petrovich Kirsanov from the very beginning did not like his nephew's friend Bazarov. According to both, they belonged to different class groups: Kirsanov did not even shake hands with Bazarov when they first met. They had different views on life, they did not understand each other, opposed each other in everything, despised each other. Often there were clashes and quarrels between them. After a while, they began to communicate, and, consequently, quarrel less, but the spiritual confrontation remained, and it inevitably had to lead to an open clash. The incident with Fenechka became the reason for it. Pavel Petrovich was jealous of Fenechka for Bazarov when he saw them kissing in the arbor, and the next day challenged him to a duel. As for the reason, he said this: “I think ... it is inappropriate to delve into the real reasons for our collision. We can't stand each other. What more? Bazarov agreed, but called the duel "stupid", "extraordinary". It happens the next day early in the morning. They had no seconds, there was only a witness - Peter. While Bazarov measured out steps, Pavel Petrovich loaded pistols. They dispersed, took aim, fired. Bazarov wounded Pavel Petrovich in the leg ... Although they were supposed to shoot again according to the condition, he ran up to the enemy and bandaged his wound, sent Peter for the droshky. They decided to tell Nikolai Petrovich, who had arrived with Peter, that they had quarreled over politics.

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