home
Psychology of love
The origins of the tragedy of Bazarov's love. Bazarov as a tragic hero (based on the novel by I

The origins of the tragedy of Bazarov's love. Bazarov as a tragic hero (based on the novel by I

16.04.2019

Already the first acquaintance with Bazarov convinces: in his soul there are feelings that the hero hides from others. The self-confident and sharp Turgenev raznochinets is very, very not simple in appearance. An anxious and vulnerable heart beats in his chest. The extreme harshness of his attacks on poetry, on love, on philosophy makes one doubt the complete sincerity of the denial. There is a certain duality in Bazarov's behavior, which will turn into a breakdown and anguish in the second part of the novel. In Bazarov, Dostoevsky's heroes are foreseen with their typical complexes: malice and bitterness as a form of manifestation of love, as a polemic with the good that latently lives in the soul of a denier. Much of what he denies is potentially present in the soul of the hero: the ability to love, and "romanticism", and the folk principle, and family feeling, and the ability to appreciate beauty and poetry. It is no coincidence that Dostoevsky highly praised Turgenev's novel and the tragic figure of "the restless and yearning Bazarov (a sign of a great heart), despite all his nihilism." But the antagonist of Bazarov, Pavel Petrovich, is not completely sincere with himself. In reality, he is far from being the self-confident aristocrat that he plays out of himself in front of Bazarov. underlined aristocratic manners Pavel Petrovich are caused by inner weakness, a secret consciousness of his inferiority, which Pavel Petrovich, of course, is afraid to admit even to himself. But we know his secret, his love is not for the mysterious Princess R., but for the sweet simpleton - Fenechka.
Thus, the mutual social hostility that flares up between rivals immeasurably exacerbates the destructive aspects of Kirsanov's conservatism and Bazarov's nihilism.
At the same time, Turgenev shows that Bazar's denial has democratic origins and is nourished by the spirit of popular discontent. It is no coincidence that in a letter to Sluchevsky, the author pointed out that in the person of Bazarov he "dreamed of some strange person with Pugachev." The character of Bazarov in the novel is clarified by a wide panorama provincial life, deployed in the first chapters: strained relations between masters and servants; the “farm” of the Kirsanov brothers, popularly nicknamed the “Vobyl farm”; rollicking peasants in sheepskin coats wide open; symbolic picture centuries of venerable desolation: “small forests, rivers with steep banks, tiny ponds with thin dams, villages with low huts under dark, half-swept roofs, crooked threshing sheds with yawning gates near the empty humens”, “churches, then brick, with fallen off here and there plastered, sometimes wooden, with leaning crosses and devastated cemeteries...”. It was as if an elemental force swept like a tornado over this god-forsaken land, sparing nothing, up to churches and graves, leaving behind only deaf grief, desolation and devastation.
The reader is presented with a world on the brink of a social catastrophe; against the backdrop of a restless sea folk life and the figure of Yevgeny Bazarov appears in the novel. This democratic, peasant background enlarges the character of the hero, gives him an epic monumentality, connects his nihilism with popular discontent, with the social ill-being of all of Russia. In the Bazarov mindset, typical aspects of the Russian folk character: for example, a tendency to sharply critical self-assessment. Bazarov keeps in his strong hands and the "heroic club" - natural science knowledge that he idolizes - a reliable weapon in the fight against idealistic philosophy, religion and the official ideology of the Russian autocracy based on them, a healthy antidote to both lordly dreaminess and peasant superstition. In his temper it seems to him that with the help of natural sciences can easily resolve all issues related to difficult problems public life, art, philosophy.
But Turgenev, who knew the works of German naturalists, the idols of the revolutionary sixties, first-hand, personally acquainted with Karl Vogt, draws attention not only to the strong, but also to weak sides the vulgar materialism of Vogt, Büchner and Moleschott. He feels that an uncritical attitude towards them can lead to far-reaching negative results. The gross mistake of the vulgar materialists was a simplified idea of the nature of human consciousness, of the essence of mental processes, which were reduced to elementary, physiological ones. Let us note that art, from the point of view of Bazarov, is a painful perversion, nonsense, romanticism, rot, that the hero despises the Kirsanovs not only because they are “barchuks”, but also because they are “old men”, “retired people "," Their song is sung. He approaches his parents with the same yardstick. All this is the result of a narrow anthropological view of human nature, a consequence of the biologization of social and spiritual phenomena, which led to the erasure of qualitative differences between physiology and social psychology. Following Vogt, Russian democrats argued that in the process of human aging, the brain is depleted and mental capacity become inferior. Respect for the life experience and wisdom of the "fathers", a sense of paternity that had been formed for centuries, was thus put into question.
Romantic nonsense considers Bazarov and spiritual refinement love feeling: “No, brother, all this is licentiousness and emptiness! .. We, physiologists, know what kind of relationship these are. You study the anatomy of the eye: where does it come from, as you say, to a mysterious look. It's all romanticism, nonsense, rottenness, art." The story of Pavel Petrovich's love for Princess R. is not introduced into the novel as an interstitial episode. He appears in the novel as a warning to the arrogant Bazarov.
A big flaw is also palpable in Bazarov's aphorism "nature is not a temple, but a workshop." The truth of an active, masterly attitude towards nature turns into a blatant one-sidedness, when the laws that operate at the lower natural levels are absolutized and turn into a universal master key, with the help of which Bazarov easily deals with all the mysteries of life. There is no love, but there is only a physiological attraction, there is no beauty in nature, but there is only an eternal cycle of chemical processes of a single substance. Denying romantic attitude to nature as to a temple, Bazarov falls into slavery to the lower elemental forces of the natural "workshop". He envies the ant, which, as an insect, has the right "not to recognize the feeling of compassion, not like our self-broken brother." In a bitter moment of life, Bazarov is inclined to consider even a feeling of compassion a weakness denied by the natural laws of nature.
But besides the truth of physiological laws, there is the truth of human, spiritualized naturalness. And if a person wants to be a "worker", he must take into account the fact that nature is on higher levels- "temple", and not just "workshop". Yes, and the tendency of the same Nikolai Petrovich to daydreaming is not rotten and not nonsense. Dreams are not simple fun, but a natural need of a person, one of the mighty manifestations of the creative power of his spirit. Isn't the natural power of Nikolai Petrovich's memory amazing when, during his hours of solitude, he resurrects the past?

Is not the amazingly beautiful picture of a summer evening, which this hero admires, not worthy of admiration?
So the mighty forces of beauty and harmony, artistic fantasy, love, art stand in the way of Bazarov. Against Buechner's "Stoff und Kraft" are Pushkin's "Gypsies" with their warning aphorism: "And fatal passions are everywhere. And there is no protection from the fates ”; against a mundane view of love - the romantic feelings of Pavel Petrovich; against the neglect of art, dreaminess, the beauty of nature - thoughts and dreams of Nikolai Petrovich. Bazarov laughs at everything ethical. But "what you laugh at, you will serve" - the bitter cup of this life wisdom Bazarov is destined to drink to the bottom.
From the thirteenth chapter, a turn is brewing in the novel: irreconcilable contradictions will be revealed with all their sharpness in the character of the hero. The conflict of the work from the external (Bazarov and Pavel Petrovich) is translated into the internal plane (“the fatal duel” in the soul of Bazarov). These changes in the plot of the novel are preceded by parodic and satirical chapters, where vulgar provincial "aristocrats" and provincial "nihilists" are depicted. Comic decline has been a constant companion of the tragic genre since Shakespeare. Parody characters, emphasizing with their baseness the significance of the characters of the two antagonists, grotesquely sharpen, bring to the limit those contradictions that are hidden in central characters. From the comedy "bottom" the reader becomes more aware of both the tragic height and the internal inconsistency of the parodied phenomenon.
It is no coincidence that it was after meeting Sitnikov and Kukshina in Bazarov himself that the features of self-delusion rarely begin to appear. The culprit of these changes is Anna Sergeevna Odintsova. “Here you go! the women are scared! - thought Bazarov and, lounging in an armchair no worse than Sitnikov, he spoke with exaggerated cheekiness. Love for Odintsova is the beginning of a tragic retribution for the arrogant Bazarov: it splits his soul into two halves. From now on, two people live and work in it. One of them is a staunch opponent of romantic feelings, a denier of the spiritual nature of love. The other is passionate and soulful loving person, faced with the true mystery of this lofty feeling: “He could easily cope with his blood, but something else entered into him, which he did not allow, which he always mocked, which outraged all his pride.” The “natural-science” convictions dear to his mind are turning into a principle, which he, a denier of all kinds of principles, now serves, secretly feeling that this service is blind, that life has turned out to be more complicated than what the “physiologists” know about it.

Pavel Petrovich Kirsanov was brought up at first at home, just like younger brother his Nicholas, then in the page corps. From childhood he was distinguished by remarkable beauty; besides, he was self-confident, a little mocking and somehow amusingly bilious he could not help but like. He began to appear everywhere as soon as he became an officer. He was carried in his arms, and he spoiled himself, even fooled around, even broke down; but it also came to him. Women went crazy over him, men called him a fagot and secretly envied him. He lived, as already mentioned, in the same apartment with his brother, whom he loved sincerely, although he did not at all resemble him. Nikolai Petrovich limped, had small, pleasant, but somewhat melancholy features, small black eyes and soft, thin hair; he was willingly lazy, but he also read willingly and was afraid of society. Pavel Petrovich did not spend a single evening at home, was famous for his courage and dexterity (he introduced gymnastics into fashion among secular youth) and read only five, six French books. At the age of twenty-eighth he was already a captain; brilliant career expected him. Suddenly everything changed. At that time, a woman occasionally appeared in St. Petersburg society, who has not been forgotten to this day, Princess R. She had a well-bred and decent, but stupid husband and had no children. She suddenly went abroad, suddenly returned to Russia, generally led strange life. She was reputed to be a frivolous coquette, enthusiastically indulged in all kinds of pleasures, danced until she dropped, laughed and joked with young people, whom she received before dinner in the twilight of the living room, and at night she cried and prayed, did not find peace anywhere, and often rushed about until morning. room, wringing her hands sadly, or sat, all pale and cold, over the psalter. The day came, and she again turned into a society lady, again went out, laughed, chatted and seemed to rush towards everything that could give her the slightest entertainment. She was amazingly built; her braid, golden in color and heavy as gold, fell below her knees, but no one would call her a beauty; in her whole face, the only good thing was that her eyes, and not even the very eyes they were small and gray, but their look, quick, deep, careless to the point of daring and thoughtful to the point of despondency, a mysterious look. Something extraordinary shone in him even when her tongue babbled the most empty speeches. She dressed elegantly. Pavel Petrovich met her at a ball, danced a mazurka with her, during which she did not say a single sensible word, and fell passionately in love with her. Accustomed to victories, he soon reached his goal here too; but the ease of triumph did not cool him. On the contrary: he became even more painfully, even more firmly attached to this woman, in whom, even when she gave herself irrevocably, there still seemed to be something cherished and inaccessible, where no one could penetrate. What nested in this soul God knows! She seemed to be in the grip of some secret forces, unknown to herself; they played it as they pleased; her small mind could not cope with their whim. Her whole behavior presented a series of inconsistencies; the only letters that could arouse the just suspicions of her husband, she wrote to a man who was almost a stranger to her, and her love resounded with sadness; she no longer laughed and joked with the one she chose, and listened to him and looked at him in bewilderment. Sometimes, mostly suddenly, this bewilderment turned into cold horror; her face assumed a deathly and wild expression; she locked herself in her bedroom, and the maid could hear her, with her ear to the lock, her muffled sobs. More than once, returning to his home after a tender meeting, Kirsanov felt in his heart that tearing and bitter annoyance that rises in his heart after a final failure. "What else do I want?" he asked himself, and his heart ached. He once gave her a ring with a sphinx carved on a stone. What is it? she asked, sphinx? Yes, he replied, and that sphinx you. Me? she asked and slowly raised her enigmatic gaze to him. Do you know that this is very flattering? she added with a slight smile, and her eyes looked just as strange. It was hard for Pavel Petrovich even when Princess R. loved him; but when she cooled off towards him, and this happened quite soon, he nearly went mad. He was tormented and jealous, did not give her peace, dragged her everywhere; she was tired of his persistent persecution, and she went abroad. He retired, despite the requests of his friends, the exhortations of his superiors, and went after the princess; he spent four years in foreign lands, now chasing her, now deliberately losing sight of her; he was ashamed of himself, he was indignant at his cowardice... but nothing helped. Her image, this incomprehensible, almost meaningless, but charming image, has penetrated too deeply into his soul. In Baden he somehow got on with her again, as before; it seemed that she had never loved him so passionately... but a month later it was all over: a fire flared up in last time and gone forever. Anticipating the inevitable separation, he wanted at least to remain her friend, as if friendship with such a woman were possible ... She quietly left Baden and since then constantly avoided Kirsanov. He went back to Russia, tried to heal old life, but could no longer fall into the old rut. As if poisoned, he wandered from place to place; he still traveled, he retained all the habits of a man of the world; he could boast of two or three new victories; but he no longer expected anything special either from himself or from others, and did nothing. He grew old, turned gray; to sit in the evenings in a club, to be bored bitterly, to argue indifferently in a bachelor society became a need for him, a bad sign, as you know. Of course, he did not even think about marriage. Ten years passed in this way, colorless, fruitless and fast, terribly fast. Nowhere does time run so fast as in Russia; in prison, they say, it runs even faster. Once, at dinner, in a club, Pavel Petrovich found out about the death of Princess R. She died in Paris, in a state close to insanity. He got up from the table and walked for a long time through the rooms of the club, stopping in his tracks near the card players, but did not return home earlier than usual. After some time, he received a package addressed to him: it contained the ring he had given to the princess. She drew a cruciform line on the sphinx and told him to say that the cross is the key. This happened at the beginning of 1948, at the very time when Nikolai Petrovich, having lost his wife, came to St. Petersburg. Pavel Petrovich had scarcely seen his brother since he had settled in the village: Nikolai Petrovich's wedding coincided with the very first days of Pavel Petrovich's acquaintance with the princess. Returning from abroad, he went to him with the intention of staying with him for two months, to admire his happiness, but survived only one week with him. The difference in position between the two brothers was too great. In 1948 this difference diminished: Nikolai Petrovich lost his wife, Pavel Petrovich lost his memories; after the death of the princess, he tried not to think about her. But Nikolai had a sense of a well-spent life, his son grew up before his eyes; Pavel, on the other hand, a lonely bachelor, entered that vague, twilight time, the time of regrets, similar to hopes, hopes, similar to regrets, when youth had passed, and old age had not yet come. This time was more difficult for Pavel Petrovich than for anyone else: having lost his past, he lost everything. I don’t call you to Maryino now, Nikolai Petrovich once told him (he named his village by this name in honor of his wife), you missed the deceased there, and now you, I think, will disappear with longing. I was still stupid and fussy then, answered Pavel Petrovich, since then I have calmed down, if I have not wised up. Now, on the contrary, if you let me, I am ready to live with you forever. Instead of answering, Nikolai Petrovich embraced him; but a year and a half passed after this conversation before Pavel Petrovich decided to carry out his intention. On the other hand, once he settled in the village, he no longer left it even during the three winters that Nikolai Petrovich spent in St. Petersburg with his son. He began to read, more and more in English; in general, he arranged his whole life for the English taste, rarely saw his neighbors and went out only to the elections, where he for the most part kept quiet, only occasionally teasing and frightening the old-fashioned landlords with liberal antics and not getting close to the representatives of the new generation. Both considered him proud; both of them respected him for his excellent, aristocratic manners, for rumors about his victories; because he dressed beautifully and always stayed at best room the best hotel; for the fact that he dined well in general, and once even dined with Wellington at Louis Philippe's; for the fact that he carried everywhere with him a real silver travel bag and a camp bath; for the fact that he smelled of some unusual, surprisingly "noble" perfume; for being a master at whist and always losing; finally, he was also respected for his impeccable honesty. The ladies found him a charming melancholic, but he did not know the ladies... You see, Eugene, said Arkady, finishing his story, how unfairly you judge your uncle! I'm not talking about the fact that he more than once helped his father out of trouble, gave him all his money, the estate, you may not know, they are not divided, but he is happy to help anyone and, by the way, always stands up for the peasants; True, when speaking to them, he frowns and sniffs the cologne... A well-known case: nerves, interrupted Bazarov. Maybe only he has a kind heart. And he's far from stupid. What did he give me helpful tips... especially... especially about relationships with women. Aha! He burned himself in his own milk, he blows on someone else's water. We know it! Well, in a word, continued Arkady, he is deeply unhappy, believe me; to despise him is a sin. Who despises him? objected Bazarov. But I still say that a person who put his whole life at stake 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. You say that he is unhappy: you should know better; but not all the crap came out of it. I'm sure he's not jokingly imagining himself efficient person, because he reads Galinyashka and once a month he will save the peasant from execution. Yes, remember his upbringing, the time in which he lived, remarked Arkady. Education? picked up Bazarov. Every person must educate himself well, at least like me, for example... And as for the time why will I depend on it? Let it better depend on me. No, brother, this is all licentiousness, emptiness! And what is the 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, rot, art. Let's go better watch beetle. And both friends went to Bazarov's room, in which some kind of medical-surgical smell, mixed with the smell of cheap tobacco, had already managed to establish itself.

I. Repetition of theoretical information.

1. How does work on an essay-reasoning begin?

(From a logical analysis of the formulation of the topic.)

2. What types of topic formulation do we know?

(Theme-concept, topic-question, topic-judgment.)

3. Determine how these topic formulations differ.

1) Why is A.N. Ostrovsky's play "Thunderstorm" bears such a name?

2) The main conflict of the drama by A.N. Ostrovsky "Thunderstorm".

3) " Cruel morals» of the city of Kalinov in the drama of A.N. Ostrovsky "Thunderstorm".

4. What is the order of work on the main part of the essay-reasoning? (Push forward a thesis, pick up evidence, expand it on the text.)

5. What types of introductions do we know?

(Factual, analytical, terminological.)

6. What are the types of conclusions.

(Conclusion-conclusion, conclusion-consequence.)

II. Message theoretical material on the subject of the lesson.

The essay can be built as a reasoning-proof,

Are there Bazarov's statements in I.S. Turgenev's novel that you would like to refute?

For example: According to Bazarov, love is "romanticism, nonsense, rot, art, rubbish ..."

How can you build a reflection-refutation?

This thinking can be built in two ways:

1. Refutation of the thesis.

1) Put forward an antithesis.

2) Pick up the arguments.

4) Make a conclusion about the falsity of the thesis.

1) Formulate a consequence that follows from this thesis.

2) Pick up the arguments of the refutation.

3) Expand each argument on the text.

4) Make a conclusion about the falsity of the investigation and thesis.

III. Practical work.

Is Bazarov right when he claims that love is “unforgivable nonsense, rubbish”?

1. Antithesis: Love is a feeling of selfless heartfelt affection. Love is inspiration, love is a state of mind, illuminating with radiant light surrounding a person world. Love creates, it wins, it is ready for self-sacrifice for the sake of mother, friend, beloved, Motherland. "Love stronger than death and fear of death. Only it, only love holds and moves life ”(I.S. Turgenev)

Love is happiness that lasts even for a moment.

Arguments:

1) From the 13th chapter in the novel "Fathers and Sons" a turn is shown: the conflict of the work from the external (Bazarov and Pavel Petrovich) is translated into the internal plan ("fateful duel" in Bazarov's soul).

Bazarov hides his anxious, loving, rebellious heart in nihilism throughout the novel. Hidden love for parents lives in him, keeps him on the ground.

2) In Bazarov, the features of "self-indulgence" began to appear more sharply

after meeting Anna Sergeevna Odintsova.

“Here you go! Baba was scared!” thought Bazarov and spoke

"exaggeratedly cheeky." Love for Odintsova - the beginning

tragic retribution to the arrogant Bazarov: she splits

the soul of the hero into two halves.

There are obvious contradictions: two people now live in it and

act. One is a romantic, the other is a denier

Love. Denying love and the influence of nature on human feelings

Bazarov, carried away by Odintsova, unwillingly, protesting

against a new anxious state of mind, I suddenly felt in myself

metamorphosis.

Turgenev - master psychological analysis and landscape

sketches: “A dark, soft night looked into the room ...”

It was through the perception of Bazarov that Turgenev showed

"irritable freshness of the night." Precisely Bazarov

"I heard her mysterious whisper."

3) And now Bazarov, strange even to think, declares his love,

sincere, strong and passionate:

“So know that I love you, stupidly, madly ...” “He was suffocating, his whole body apparently trembled ... It was a passion that beat in him, strong and heavy - a passion similar to malice and, perhaps, akin to it ... "

4) Bazarov experiences in his soul tenderness and timidity before beauty

Odintsova.

Conclusion: So, in the finale, Bazarov's love flares up for the last time with a bright flame to fade forever.

The dying Bazarov is simple and human: there is no need to hide his "romanticism". Almost like Pushkin, in the language of a poet, he says goodbye to his beloved woman: "Blow on the dying lamp, and let it go out."

Love for a woman, filial love for father and mother merge in the mind of the dying Bazarov with love for mysterious Russia. Life itself gave a refutation to the superficial views of the protagonist, and it was for him

The discovery - this is how the principle was established, in the name of which he wanted to cope with his "romanticism". Therefore, love cannot be denied, and the author himself, having shown the contradictions of the hero, led him through the “test of love”.

2. Establishing the falsity of the investigation.

Consequence: suppose that Bazarov denies love, considering it

"rubbish". Then why did he love so passionately and sincerely

Odintsov?

Rebuttal Arguments.

1) The first glance at Odintsova Bazarov was cynical: “Such

Rich body! It is said - the first grade. But, having lived for several days on the estate of Anna Sergeevna, Bazarov began to notice some kind of anxiety in himself, “he was easily irritated, looked angrily ...”

2) “Do you like a woman,” said Bazarov, “try to achieve

sense; but you can’t - well, don’t, turn away - the earth is not a wedge

agreed." But, communicating with Odintsova, he experienced a feeling that

he was "tormented and infuriated", which he would have refused with a cynical

scolding, if someone hinted to him that in him

happened.

3) “Something else entered into him, which revolted all his pride,”

writes Turgenev. No matter how hard he tried to show his indifference

contempt for everything romantic, left alone, "he

indignantly recognized romance in himself.

4) The natural feeling of love captured the whole being of Bazarov: he

my soul dreamed now, wondering at this, of the meeting of their eyes, and of

dizzy from the excess of feelings that overwhelmed him.

5) We see how Bazarov, this strong, strong-willed personality, could not resist

before the romance of the mysterious whisper of the night. And so the consequence of this is a declaration of love. Like a boy, Bazarov, gasping for breath, said: “I love you, stupidly, madly ...”

6) The charm of nature, female love, once denied

Bazarov, help him in last test: they give him

peace of mind: without thinking about himself, he prepares his parents for

terrible end, he speaks in the language of a poet to his beloved: “Blow on

dying lamp, and let it go out.

Conclusion: therefore, love is a natural state of the human soul. According to Turgenev, “love is stronger than death and the fear of death,” which means that love cannot be denied, as Bazarov did.

Bazarov as a 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." Raphael, 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’ll say that a person who has staked a woman’s love all his life and when this card was killed for him, became limp and sank to the point that he was not capable of anything, such a person is not a man, not a male.” Just as surprising is his other statement: “And what is this 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 "rottenness" in the same row, for him it is as if they are 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. To confess 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 day with fire can not be found ... "

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, but even more so, 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.