Bazarov as tragic hero(based on the novel by I. S. Turgenev "Fathers and Sons")
The hero of the era of the 60s of the XIX century was a raznochinets-democrat, a staunch opponent of the nobility-serf system, a materialist, a man who went through the school of labor and deprivation, independently thinking and independent. Such is Evgeny Bazarov. The writer is very serious in assessing his character. He presented the fate and character of Bazarov in truly dramatic colors. Turgenev understood that the fate of his hero could not have been otherwise.
I consider Evgeny Bazarov the most romantic of all literary heroes. His personal tragedy lies in himself, since a person cannot exist being in constant conflict with himself. Throughout the novel, he argues with Pavel Petrovich Kirsanov on a variety of topics. But no matter what they talk about - whether about art or about Slavophilism - for some reason it seems to me that he is arguing not with Kirsanov, but with himself. He seems to be trying hard to eradicate from himself some character traits that make him look like the very aristocrats "against whom he rebels.
There are, however, features that distinguish him favorably from the Kirsanov family and the like. Bazarov is a hard worker, and he considers labor necessary condition to gain independence, which he values above all. He does not recognize authorities and subjects everything to the strict judgment of his own thought.
However, many of his statements sound wild, I mean his arguments about poetry, art, nature and love. He declares: "A decent chemist is twenty times more useful than any poet." Rafael, from his point of view, "is not worth a penny." He is not inclined to admire the beauty of nature: "Nature is not a temple, but a workshop, and man is a worker in it." What does he say about love? "Still, I will say that the man who staked his whole life female love and when this card was killed for him, he became limp and sank to the point that he was not capable of anything, such a person is not a man, not a male. " Equally surprising is his other statement: "And what kind of mysterious relationship between a man and a woman? We physiologists know what these relationships are. You study the anatomy of the eye: where does the mysterious look come from, as you say? It's all romanticism, nonsense, rottenness, art.' He puts the words 'romanticism' and 'rotten' in the same row, for him they seem to be synonyms. kindest soul a person, subtle and sensitive, by all means wants to seem cynical and insensitive. Meanwhile, Fenechka's six-month-old child easily goes into his arms, and Bazarov is not at all surprised: he says that all the children go to him, because he knows such a "thing". I must say, only such a "thing" is known exceptional people, and Bazarov is one of them. He could have been a gentle husband and father, had fate disposed of it differently. After all, how loving son he was, although he tried to hide his love behind the same carelessness in his manner, behind which he hid all his sincere feelings, for example attachment to Arcadia. There was only one feeling he couldn't control. It turned out to be no less an element than nihilism, which distorted his whole life. Love absorbed him so much that there was no trace of his cynicism and the calm confidence of a materialist and physiologist. He no longer "dissects the eye", although he tries to fight his passion - a clear refutation of all his artificial theories. Confessing love to a woman like Anna Sergeevna Odintsova can only be desperate. romantic. Knowing the character of this lady, realizing that peace is more important for her strong feelings He still opens his heart to her. He receives a refusal, and this grief, as well as love, remain with him until his last breath.
Before his death, he wants to say goodbye to his beloved woman, and his farewell words are filled with such tenderness and sadness that you involuntarily wonder if this is the person who tried with all his might to assure himself and those around him that love does not exist. He asks Odintsova to console his parents: "After all, people like them in your big light in the daytime with fire you can’t find ... "
Turgenev describes the departure of the protagonist from life in truly tragic tones. Bazarov - rebellious, passionate and strong personality. Even on the edge of the grave, he does not stop the hard work of the mind and heart for a minute. Last words Bazarov are filled with true drama: "Russia needs me ... No, apparently not needed. And who is needed?" The tragedy of Bazarov's fate can be explained not only by his personal qualities but also by the fact that he is one of the first, of those who pave the way for others. Turgenev wrote that this is "a figure doomed to perish, even though it still stands on the eve of the future." And I want to believe that someday Russia will need all the people and they will not have to break their souls and minds in order to become useful to her.
December twenty-seventh.
The writing.
Bazarov - " new person».
(based on the novel by I. S. Turgenev "Fathers and Sons").
The novel by I. S. Turgenev “Fathers and Sons” was created at a time when the question of the abolition of serfdom was raised, when there were contradictions between liberals and democrats. Just at this time - time political reforms and social upheavals, a new bourgeois-capitalist layer is emerging in Russia, and the ideology of nihilism is spreading among student youth. The novel reflected the struggle of two socio-political camps that had developed in Russia by the 60s of the XIX century. The writer showed a typical conflict of the era and put a series of actual problems, in particular, the question of the nature and role of the “new man” - a figure in the period of the revolutionary situation of the 60s.
Yevgeny became the spokesman for the ideas of revolutionary democracy Bazarov is a hero, which is opposed in the novel to the liberal nobility. He is the main and only exponent of democratic ideology. Bazarov is a new person, a representative of those young leaders who “want to fight”, “nihilists”. He is for new life and remains true to his convictions to the end.
Turgenev wrote: “At the basis of the main figure, Bazarov, lay one personality of a young provincial doctor that struck me. In that wonderful person that barely born, still fermenting principle was embodied, which later received the name of nihilism. The impression made on me by this person was very strong and at the same time not entirely clear. And so, in the new Turgenev novel, the main character was a representative of those “new people”. Turgenev's attitude to the "new man" was, in his own words, not entirely clear: Bazarov was his "enemy", to whom he felt "an involuntary attraction." Explaining his work, Turgenev wrote: "My whole story is directed against the nobility as an advanced class." "This is the triumph of democracy over the aristocracy."
Bazarov is shown by Turgenev as a supporter of the most "complete and merciless denial". Bazarov denies everything - and first of all autocracy, serfdom and religion. All that is generated by the ugly state of society. Turgenev said about Bazarov: “He is honest, truthful and a democrat to the end of his nails ... if he is called a nihilist, then it must be read: a revolutionary”
How is Bazarov drawn - "a new man". A man from the people, the grandson of a deacon who plowed the land, the son of a poor county doctor, a student, Bazarov "possessed a special ability to arouse confidence in the lower people, although he never indulged them and treated them carelessly."
Bazarov's democracy is clearly reflected in his speech, activities, character traits and worldview. Turgenev painted a memorable portrait of the commoner Bazarov: his face, “long and thin, with a wide forehead, ... big greenish eyes and hanging sideburns sand color... enlivened with a calm smile and expressed self-confidence and intelligence. His gait is "solid and swiftly bold", his long and thick dark-blond hair "did not hide the large bulges of a spacious skull". He dresses simply and, unlike the aristocrat Pavel Petrovich, who “was very busy with the toilet”, he is emphatically careless about his “clothing”. He comes to the village to the Kirsanovs “in a long robe with tassels”; greeting Arkady's father, he holds out to him a "naked red hand", apparently never knowing gloves.
Bazarov speaks clearly and simply: "Evgeny Vasiliev," he greets Arkady's father; expresses his thoughts with severe and courageous frankness, without any evasiveness, without forcing himself to feigned courtesy. This is clearly seen from the assessments that he gives to the people of the hostile camp, the “feudal lords”: Pavel Petrovich is a dandy, an “archaic phenomenon”, an “idiot”; Nikolai Petrovich - "good-natured", but "his song is sung"; He says to Arkady: "You tender soul, scum…”; "... yes, you have not grown up to us ..."
His interests are generally similar to those of the enlightened youth of that time: he is fond of natural sciences, reads the writings of the German "vulgar materialists" - keeps up with the times. Bazarov is a nihilist, that is, a person who does not take anything on faith and rejects authorities and principles. He denies Pushkin, and unreasonably. In particular, he gets a romantic attitude from him: "nonsense, rottenness, art", "you study the anatomy of the eye: where does this ... mysterious look come from." According to Bazarov, all human troubles occur due to the unfair structure of society, and he denied the role of the individual, individual psychology at all, believing that one human specimen is enough to judge everyone.
Bazarov went through a harsh, difficult life school that hardened him. Bazarov graduated from the university, but he did not take “an extra penny” from his parents for his education. With his knowledge, and they are very extensive, Bazarov owes himself. That is why he proudly declares: “Every person must educate himself, - well, at least like me, for example ...”
Bazarov does not pursue comfort, material wealth: “You are with him ... do not stand on ceremony. He is a wonderful fellow, so simple ... ”, Arkady says about him.
Bazarov is an enemy of abstract science, divorced from life. He is for a science that would be understandable to the people. Bazarov is a worker of science, he is tireless in his experiments, completely absorbed in his beloved profession. Labor, unceasing activity - his "element". Arriving on vacation at the Kirsanovs' estate, he immediately gets to work: he collects herbariums, engages in physical and chemical experiments. To those who live without doing anything, Bazarov treats with undisguised contempt.
The plot of the novel is based on the collision of Bazarov with the world of aristocrats. Turgenev immediately shows that Bazarov is a man of labor, he is alien to aristocratic etiquette and conventions. It is in a collision with various characters opposed to him that the remarkable features of Bazarov are revealed: in disputes with Pavel Petrovich - maturity of mind, depth of judgment and implacable hatred of nobility and slavery; in relations with Arkady - the ability to attract young people to their side, to be a teacher, educator, honest and implacable in friendship; in relation to Odintsova - the ability to deeply and truly love, the integrity of nature, willpower and feeling dignity.
Turgenev tests Bazarov first with love, then with death. He watches from the outside how his hero behaves in these situations. Love for Odintsova, a smart, proud, strong woman, to match Bazarov himself, defeats the principles of nihilism (and he called love “rubbish”, contemptuously treated romantic feelings, recognized love only physiological, but, having fallen in love, he suddenly felt romance in fear yourself). In the dying scene, Bazarov is faithful to his ideals to the end, he is not broken, he proudly looks death in the eyes - he came only to "make room for others."
Bazarov's death is justified in its own way. Just as in love it was impossible to bring Bazarov to the “silence of bliss”, so in his proposed business he had to remain at the level of not yet realized, nurtured and therefore limitless aspirations. Bazarov had to die in order to remain Bazarov. So Turgenev conveys the loneliness of his forerunner hero. Bazarov's death is his end tragic life. Outwardly, this death seems accidental, but, in essence, it was the logical conclusion of the image of Bazarov. It is prepared by the whole course of the story. Fatigue, loneliness and melancholy of the hero could not get a different outcome. Bazarov dies all alone. And for "small rural cemetery” Only “two already decrepit old men come - a husband and wife.”
The tragic meaning of the image is created by the author in Bazarov: his loneliness, rejection of the world around him, spiritual discord - all this is combined by one hero. This is a heavy burden that not everyone can carry with the self-esteem that is inherent in Bazarov. In the novel, Bazarov does not have a single like-minded person. Only the caricature figures of Sitnikov and Kukshina, and even Arkady, unusual ideas. Bazarov is lonely in his personal life. Old parents are almost afraid of him; in relations with Odintsova, he fails. Once Bazarov said to Arkady: "When I meet a person who would not give in to me, then I will change my mind about myself." And such a person was found - this is Odintsova.
How real artist, the creator, Turgenev managed to guess the mood of his time, the emergence of a new type, the type of democrat-raznochinets, who replaced the noble intelligentsia. With the help of skillfully selected details, Turgenev creates appearance one of the "new people". Bazarov is an independent nature, not bowing to any authorities, but judging everything by thoughts. A revolution in Bazarov's soul occurs under the influence tragic love to Odintsova - he begins to realize the presence of romance in his soul, which was previously unthinkable for him. Bazarov is capable of spiritual evolution, which demonstrates his feelings for Odintsova, as well as the death scene. In Bazarov's scenes of declarations of love, emotions prevail over reason.
Answer left Guest
"Fathers and Sons" by I. S; Turgenev is a work that reflected all aspects of Russian life in the 50s of the XIX century, character traits previous decades. The background of any of the heroes of the novel, his portrait adds the necessary details to the description of the era. However, not all characters make the same impression on the reader. Main character novel - Bazarov. It was this person who caused the most controversy in society and literary criticism XIX century. “Bazarov” is also the name of the article by D. I. Pisarev, who was better than anyone in his time who was able to understand the complex character created by Turgenev. The definition given by the critic to the hero “tragic face” is still one of the most used in articles about Bazarov. But the content of the tragedy is understood differently. The first thing we pay attention to when reading a novel is the opposition between the hero and the surrounding society. Bazarov is a nihilist, that is, a person bursting into the world of everyday life with views that are completely unusual for interlocutors, for example, for the Kirsanov brothers, with a desire to destroy the foundations of the existing world order. The positions of the raznochinets and the noble landlords are irreconcilable. Their difference is the source of constant disputes between Bazarov and Pavel Petrovich, the reason for Nikolai Petrovich's unsuccessful attempts to understand the youth. But Eugene is not only far from the Kirsanovs. No lesser abyss separates him from Kukshina and Sitnikov, those who shout about their adherence to nihilism. These are people who inevitably vulgarize any ideas preaching them for the sake of fashion. They are not like Bazarov either in intelligence, or in spiritual depth, or in moral strength. Evgeny did not become like-minded and the “soft, liberal barich” Arkady. Even at the beginning of the novel, speaking of nihilism, he more often evaluates Bazarov, less often talks about his convictions. The fate of young Kirsanov is the best proof that Arkady is just a copy of his father. He “made a nest”, abandoning the “bitter, tart, bean life.” Bazarov is completely alone. At first glance, his participation in social conflict era may be sufficient reason to speak of him as a “tragic face”! But the hero himself does not feel unhappy. “We are not as few as you think,” he throws Pavel Petrovich in a dispute. In fact, Bazarov is pleased that he did not meet “a person who would not give in” in front of him. Eugene is confident. He understands the complexity of solving the problem of “clearing the place”, but he also considers his strength sufficient to “break off a lot of things”. He does not need understanding and support. The tragedy of Bazarov is different. He's really strong outstanding personality. His philosophical views not borrowed from popular book. Rejecting the experience of centuries, Eugene himself built his own theory, which explained the world and gave him a purpose in life. He suffered the right to unlimited faith in the universality of his concept. Among other things, Bazarov denied the existence of a “mysterious look”, love, “principles”, or moral standards, human soul, the beauty of nature, the value of art. But life did not fit into the framework proposed to her, and the depth of Bazarov's personality lies in the fact that he could not help but notice this. Having met Odintsova, Bazarov saw romance in himself, noticed “something special” in Anna Sergeevna’s expression, let “dark, soft night” into the room, finally admitted that he loves, and did not follow his slogan: “You like a woman .. . - try to get some sense, but you can’t - well, don’t, turn away - the earth has not converged like a wedge. Eugene saw what nihilism couldn't explain real life. The hero faced the problem of reassessment of values, a difficult problem always, and especially when a person believed so much in what he now had to reject, when it was necessary to abandon the consciousness of oneself as a “god”, to recognize the entire non-material side of life. The tragedy of Bazarov's personality lies in the fact that, being a nihilist and at the same time extraordinary person, he inevitably had to come to the painful consciousness of the need to break much of what had been built over the years.
"Fathers and Sons" by I. S; Turgenev is a work that reflects all aspects of Russian life in the 50s of the XIX century, the characteristic features of previous decades. The background of any of the heroes of the novel, his portrait adds the necessary details to the description of the era. However, not all the characters make the same impression on the reader.The protagonist of the novel is Bazarov.It was this person who caused the most controversy in society and the literary criticism of the XIX century. “Bazarov” is also the name of the article by D. I. Pisarev, who was better than anyone in his time who was able to understand the complex character created by Turgenev. The definition given by the critic to the hero “tragic face” is still one of the most used in articles about Bazarov. But the content of the tragedy is understood differently. The first thing we pay attention to when reading a novel is the opposition between the hero and the surrounding society. Bazarov is a nihilist, that is, a person bursting into the world of everyday life with views that are completely unusual for interlocutors, for example, for the Kirsanov brothers, with a desire to destroy the foundations of the existing world order. The positions of the raznochinets and the noble landowners are irreconcilable. Their difference is the source of constant disputes between Bazarov and Pavel Petrovich, the reason for Nikolai Petrovich's unsuccessful attempts to understand the youth. But Eugene is not only far from the Kirsanovs. No lesser abyss separates him from Kukshina and Sitnikov, those who shout about their adherence to nihilism. These are people who inevitably vulgarize any ideas preaching them for the sake of fashion. They are not like Bazarov either in intelligence, or in spiritual depth, or in moral strength. Evgeny did not become like-minded and the “soft, liberal barich” Arkady. Even at the beginning of the novel, speaking of nihilism, he more often evaluates Bazarov, less often talks about his beliefs. The fate of young Kirsanov is the best proof that Arkady is just a copy of his father. He “made a nest”, abandoning the “bitter, tart, bean life.” Bazarov is completely alone. At first glance, his participation in the social conflict of the era may be reason enough to speak of him as a “tragic person”! But the hero himself does not feel unhappy. “We are not as few as you think,” he throws Pavel Petrovich in a dispute. In fact, Bazarov is pleased that he did not meet “a person who would not give in” in front of him. Eugene is confident. He understands the complexity of solving the problem of “clearing the place”, but he also considers his strength sufficient to “break off a lot of things”. He does not need understanding and support. The tragedy of Bazarov is different. He is really a strong, outstanding personality. His philosophical views are not borrowed from a popular book. Rejecting the experience of centuries, Eugene himself built his own theory, which explained the world and gave him a purpose in life. He suffered the right to unlimited faith in the universality of his concept. Among other things, Bazarov denied the existence of a “mysterious look”, love, “principles”, or moral norms, the human soul, the beauty of nature, the value of art. But life did not fit into the framework proposed to her, and the depth of Bazarov's personality lies in the fact that he could not help but notice this. Having met Odintsova, Bazarov saw romance in himself, noticed “something special” in Anna Sergeevna’s expression, let “dark, soft night” into the room, finally admitted that he loves, and did not follow his slogan: “You like a woman .. . - try to get some sense, but you can’t - well, don’t, turn away - the earth has not converged like a wedge. Eugene saw that nihilism could not explain real life. The hero faced the problem of reassessment of values, a difficult problem always, and especially when a person believed so much in what he now had to reject, when it was necessary to abandon the consciousness of oneself as a “god”, to recognize the entire non-material side of life. The tragedy of Bazarov's personality lies in the fact that, being a nihilist and at the same time an extraordinary person, he inevitably had to come to the painful consciousness of the need to break much of what had been built over the years.
