Roman I.S. Turgenev "Fathers and Sons" was published in 1862. It immediately attracted the attention of broad public circles in Russia and since then continues to arouse great interest among readers both by the severity of the questions posed in it and by its artistic merits. In this work, Turgenev managed to raise deep political, philosophical and aesthetic problems, capture real life conflicts, reveal the essence of the ideological struggle between the main social forces in Russia in the late 50s and early 60s of the XIX century.
The image of Yevgeny Bazarov - the main character of the novel - shocked the imagination of the entire reading public. In Russian literature, a raznochinets-democrat was depicted for the first time - a man of great willpower and strong convictions. K. A. Timiryazev, an outstanding naturalist, compared him in terms of social significance with the historical personality of Peter the Great: “The one and the other were, first of all, the embodiment of the“ eternal worker ”, anyway“ on the throne ”or in the workshop of science ... Both created, destroying ". The main conflict between the democratic hero and the liberals is formulated in the words of Bazarov addressed to Arkady Kirsanov: “You have neither impudence nor anger, but there is young courage and young enthusiasm; this is not suitable for our cause. Your noble brother is further than noble humility or it can't reach a noble boil, and that's nothing. You, for example, don't fight—and you already imagine yourself doing fine—but we want to fight." What are the views of this hero, who so takes up arms against the "noble humility" of the nobles and calls on his future like-minded people to "fight"? Turgenev endowed Bazarov with a peculiar attitude to philosophy, politics, science, and art. Only by clarifying this originality, one can understand all the actions of the hero, his inconsistency, his relationship with other characters in the novel.
Bazarov is a nihilist, a denier, a destroyer. In his denial, he stops at nothing. Why did Turgenev see the hero of his time in Bazarov? He began to work on the novel at a time when the abolition of serfdom had not yet taken place, when revolutionary sentiments were still growing and, above all, the ideas of denial and destruction in relation to the old order, old authorities and principles were striking. It should be noted that Bazarov's nihilism is not absolute. Bazarov does not deny what has been verified by experience and life practice. So, he is firmly convinced that labor is the basis of life and the vocation of man, that chemistry is a useful science, that the main thing in a person's worldview is a natural-scientific approach to everything. Bazarov says that he is preparing himself to do "a lot of things", however, what kind of things these are and what exactly Bazarov is striving for remains unclear. "At the present time, it is most useful to deny - we deny," he says. Bazarov is the spokesman for the ideas of the advanced democratic movement, which took shape and developed under the sign of the denial of everything historically associated with the nobility-serf society, with the noble culture, with the old world. In those years, in the circles of advanced student youth, it was primarily about the destruction of the old, that is, everything that formed the basis of life in pre-reform Russia. Herzen wrote: "We do not build, we break, we do not return a new revelation, but eliminate the old lie." Bazarov also declares the same.
How does the hero's nihilistic views affect his relationships with other characters in the novel?
When Arkady informed his uncle and father that Bazarov was a nihilist, they tried to give their own definition of this word. Nikolai Petrovich said: "Nihilist ... this is from the Latin nihil, nothing, as far as I can tell; therefore, this word means a person who ... who does not recognize anything?" Pavel Petrovich immediately picked up: "Say: who respects nothing." Arkady explained to them: "A nihilist is a person who does not bow to any authorities, who does not accept a single principle on faith, no matter how respected this principle may be." However, Pavel Petrovich remained of his opinion: a nihilist is a person "who respects nothing." At first, he did not attach serious importance to Bazarov's convictions, considering him an empty critic. However, he soon lost his calmness and self-confidence. Bazarov turned out to be not as empty and safe as he first thought, since he denied just everything that was close and dear to Pavel Petrovich and that was the essence of his existence, and this nihilist, judging by his statements, "was going to act." Bazarov, on the other hand, was imbued with ever greater contempt and irony towards the liberal "aristocrat". In this carefully traced ideological and psychological process of accumulation and growth, first of deep hostility and antipathy, and then of direct hostility, the very reality of that time was reflected. If in the relations between democrats and liberals in the late 1840s hostility, irony, polemical clashes prevailed, then by the end of the 1850s these relations became irreconcilably hostile. Their meetings in the same environment immediately gave rise to disputes and conflicts. According to eyewitnesses, such disputes arose between Turgenev himself and democratic critics. Turgenev was infuriated by the sight of the always calm and confident Dobrolyubov, and he tried to provoke a dispute with him, not recognizing his principles. Dobrolyubov, in turn, said that he was bored with Turgenev, and rejected his views on life. The psychology of these disputes, their essence and form, perhaps in a somewhat exaggerated form, Turgenev transferred to the pages of his novel.
Thus, placing a man from the democratic camp at the center of the novel and recognizing his strength and importance, Turgenev did not sympathize with him in many ways. He endowed his hero with a nihilistic attitude towards art and made it clear that he did not share his views. At the same time, the writer did not begin to find out the reasons for Bazarov's negative attitude towards art. However, it is not difficult to guess what these reasons are. Bazarov and his like-minded people (in reality, and not in the novel, since he does not have them in the novel) denied art because in the 1850s and 1860s it was placed by some poets and critics above those urgent civil, political tasks that, from their point of view, should have been resolved in the first place. They objected to people seeking to put art above socio-political problems even when it came to the works of such geniuses as Raphael or Shakespeare. This is what Bazarov does, declaring: "Rafael is not worth a penny"; "A decent chemist is twenty times more useful than any poet," etc. He does not want to admire the beauty of nature: "Nature is not a temple, but a workshop, and man is a worker in it." Of course, Turgenev cannot support his hero here. Indeed, in the history of Russian literature there was, perhaps, no other such a major writer who would have loved nature so sincerely, selflessly and tenderly and so fully, versatilely reflected its beauty in his work.
Apparently, the problem of nihilism was not just of interest to the writer, it was suffered by him, since the adherents of this direction denied a lot of what was dear to him. However, the appearance of such a direction should have indicated that a crisis was ripe in the social system of Russia, and for many, the fascination with nihilistic views became a desperate attempt to find a way out of it. Perhaps Turgenev exaggerated somewhat, conveying the essence of this direction, but thanks to this, the problem of nihilism became even more acute. The writer showed the inconsistency of nihilistic views, forcing the protagonist now and then to enter into an argument with himself. Bazarov in many ways contradicted his convictions: in romantic love for Odintsova, in a duel with Pavel Petrovich, etc. The emotional throwing of the protagonist should have prompted the reader to think: should he join the ranks of nihilists or try to find some other way out of the situation .
Yevgeny Bazarov is the most attractive, most significant, but also the most controversial hero of Turgenev's novel Fathers and Sons. He, unlike the "not real nihilist", his friend Arkady Kirsanov, is the most real nihilist. What is nihilism? Bazarov's constant opponent, the aging aristocrat Pavel Petrovich Kirsanov, reproaching the young raznochintsy - an admirer of natural scientific methods and an opponent of all and sundry authorities - of nihilism, means by this word an indiscriminate denial of the achievements of modern (in the conditions of Russia - noble) civilization, non-recognition of established norms of behavior in society. Bazarov, in a dispute with Pavel Petrovich, proclaims: “We act by virtue of what we recognize as useful ... At the present time, denial is most useful - we deny. - Everything? - Everything. - How? Not only art, poetry ... but also... "Everything," Bazarov repeated with inexpressible calm. "But allow me," Nikolai Petrovich began. "You deny everything, or, to put it more precisely, you destroy everything... Why, "It's not our business anymore... First we need to clear the place." The protagonist of "Fathers and Sons" actually calls for a revolution, for the destruction of the existing social order, so that in the cleared place it would be more convenient to build a beautiful new world in accordance with socialist ideals. At the same time, Bazarov believes in the creative power of science and denies any significance to poetry and art. He asserts that "a decent chemist is twenty times more useful than any poet," that "Rafael is not worth a penny," that Pushkin is "nonsense." Bazarov does not believe in words, he is entirely a man of action and ironically declares to Pavel Petrovich: "Aristocratism, liberalism, progress, principles ... just think how many foreign ... and useless words! A Russian person does not need them for nothing." Turgenev sympathizes with his hero, but, as an honest artist, he also shows the unattractive features of the "new people". Bazarov is convinced that he is working for the good of the people. But he never manages to find a common language with a man. Bazarov teases him, treats him with obvious irony: "Well, tell me your views on life, brother, because in you, they say, all the strength and future of Russia, a new era in history will begin from you ..." Nihilists to the people, like independent strength, they do not believe and rely mainly on themselves, they hope that the peasants will later be carried away by the positive example of the raznochintsy revolutionaries. The writer called Bazarov "an expression of our latest modernity." Later, people of this type, who appeared in Russia on the eve of the abolition of serfdom, were called not only "nihilists", but also "sixties" - by the time they began their activities, which coincided with the decade of reforms. However, the Bazarovs did not like the reformist path, they wanted more radical and faster changes. At the same time, there was no reason to doubt their personal disinterestedness. Turgenev himself testified in one of his letters: “All the true deniers whom I knew, without exception (Belinsky, Bakunin, Herzen, Dobrolyubov, Speshnev, etc.), came from relatively kind and honest parents. And this is great meaning: this takes away from the figures, from the deniers, every shadow of personal indignation, personal irritability. They follow their own path only because they are more sensitive to the demands of people's life. " True, Bazarov’s instinct for people’s life is just not enough. However, the conviction that he knows how the peasants should live for their happiness is certainly present in Turgenev's hero. Turgenev, in one of his letters, described his vision of Bazarov's image as follows: "I dreamed of a gloomy, wild, large figure, half out of the soil, strong, vicious, honest, - and yet doomed to death, - because she is all - still stands on the eve of the future ... "The author of "Fathers and Children" believed that Bazarov's time had not yet come, although he had little doubt that sooner or later such people would triumph in Russia. And another great Russian writer, Vladimir Nabokov, more than a hundred years after the publication of Turgenev's novel, when the descendants of the former nihilists had long ruled in his homeland, highly appreciated the image of the first nihilist in Russian literature: "Turgenev was able to realize his plan: to create a male character young Russian man, not at all like a journalistic doll of a socialist type and at the same time devoid of any introspection... Needless to say, Bazarov is a strong man, and if he crossed the thirty-year milestone ... he could certainly become a great thinker, a famous doctor or an active revolutionary." Turgenev managed to create a living character, and not a stilted character illustrating some kind of stilted idea. Bazarov is also familiar with the feeling of love, somewhat softening his rough soul. However, Odintsova, Bazarov's beloved, nevertheless renounced him: "She forced herself to reach a certain line, forced herself to look beyond her - and saw behind her not even an abyss, but emptiness ... or disgrace." The writer left readers with a choice: what is still lurking in Bazarov's soul - is it only immunity to beauty or indifference to the lives of other people in general. But Bazarov is clearly not indifferent to death. He realizes: "Yes, go and try to deny death. It denies you, and that's it!" There is something in the protagonist of "Fathers and Sons" besides his nihilism and faith in practical reason, which attracts the sympathy of readers to Bazarov. At the same time, the extremes of Bazarov's nihilism in the novel are opposed by living life itself, given by Turgenev with amazing psychological depth. Critic N.N. Strakhov: "Looking at the picture of the novel more calmly and at some distance, we can easily notice that, although Bazarov is head and shoulders above all other persons, although he majestically passes across the stage, triumphant, worshiped, respected, loved and mourned, there is, however, that - something that, on the whole, is higher than Bazarov. What is it? Looking more closely, we will find that this is the highest - not some faces, but the life that inspires them. Higher than Bazarov is that fear, that love, those tears that he inspires.Above Bazarov is the stage on which he passes.
The charm of nature, the charm of art, women's love, family love, parental love, even religion, all this - living, full, powerful - forms the background against which Bazarov is drawn ... The further we go in the novel ... the the figure of Bazarov becomes gloomier and more intense, but at the same time the background of the picture becomes brighter and brighter. "Bazarov, like many other representatives of his generation, is impatient. He strives for quick changes, even during his lifetime. Eugene does not delve into the soul of an individual , being convinced that people are all the same. In order to benefit them, you only need to correct society - and people will stop suffering. Bazarov says to his friend Arkady Kirsanov: "How do you look from the side and from afar at the deaf life that the "fathers" lead here" , it seems: what is better? Eat, drink, and know that you are doing the right thing, the most reasonable way. But no: longing will overcome. I want to mess with people, at least scold them, but mess with them. "The last sentence, one might say, is the creed of Russian nihilism (or, what is the same, revolutionaries - after all, Turgenev pointed out in one of his letters that if Bazarov "is called nihilist, it should be read: revolutionary"). Nihilists are ready to sharply criticize not only the authorities, but also the people: for darkness, humility, inertia. And at the same time they are ready to mess with the peasants - but only in the mass, with all at once. In the same conversation with Arkady, Bazarov sharply places himself above everyone, including the people, for the good of which he himself and his comrades are working: “When I meet a person who would not give in to me ... then I will change my mind about to himself. Hate! Yes, for example, you said today, passing by the hut of our elder Philip, - it is so nice, white, - now, you said, Russia will then reach perfection when the last peasant has the same room, and each of us must contribute to this ... And I began to hate this last peasant, Philip or Sidor, for whom I have to climb out of my skin and who won’t even thank me ... and why should I thank him? Well, he will live in a white hut, and burdock will grow out of me; Well, what's next?" In Turgenev's novel, Bazarov concentrates both the best and worst features of the Russian revolutionary youth of the late 50s - early 60s of the XIX century - the very eve of the era of the Great Reforms. Then the question of the abolition of serfdom was already a foregone conclusion and it was only about the terms and conditions of the peasant reform.The youth of the heterogeneous Bazarov generation advocated radical transformations and hoped to rely on the peasantry, to raise it to fight for their pria, Bazarov attracts with his energy, determination, passion for exploring nature, for everyday work. Not without reason, at the beginning of the novel, the writer emphasized that while Arkady was idly spending time, Bazarov was working. However, the protagonist repels with his intolerance, denial of poetry, art, everything that relates to the spiritual life of a person, tries to reduce it to natural physiological processes. Turgenev shows the superiority of Bazarov even over the best representatives of the old noble generation, but still, perhaps subconsciously, he fears that over time such people will dominate society. To some extent, he connects his hopes with "fake" nihilists like Arkady Kirsanov. In terms of strength of character, intellectual pressure and polemical art, he is certainly inferior to his friend Bazarov. However, in the finale of "Fathers and Sons" it was Arkady who "became a zealous owner" and the "farm" (Kirsanov's estate) began to bring "a rather significant income." Young Kirsanov has all the chances to successfully fit into the Russian post-reform reality, and the well-being of the owner should gradually lead to a happier life for his employees. To gradual, to a slow but sure improvement in the conditions of people's life due to economic progress and "small deeds", which should be carried out for the benefit of the bulk of the population by representatives of the educated classes, including the nobility, who are not adjacent to either the government or the revolutionary camp , Turgenev pinned his hopes.
The image of Bazarov continues the tradition of depicting "superfluous people", begun by Pushkin in the early 19th century. Onegin, Pechorin, Oblomov are smart, educated people who have their own point of view, but do not know how to practically apply their knowledge. They are bright representatives of their time, reflecting the political and social changes taking place in society. Bazarov is one of them, a “new man”, a rebel, a raznochinets, who set his task “first ... to clear the place”, and “build” later.
The prototype of the protagonist was a young provincial doctor who impressed the writer with his mind and spiritual strength.
The action of the novel begins on May 20, 1859. A young man, Arkady Kirsanov, returns home after school and brings his friend, who introduces himself as "Evgeny Vasilyev", to stay with him. Soon we learn that Bazarov is the son of a district doctor and a noblewoman. He is not only not ashamed of his position in society, but even rejects his noble roots. “The devil knows. Some kind of second-major,” he says with disdain about his mother’s father.
From the very first description, we see that Bazarov is smart and self-confident. He devoted his life entirely to the natural sciences and medicine. The hero recognizes as truth only what can be seen and felt, and all other feelings are “nonsense” and “romanticism”. Bazarov is an ardent materialist who goes to extremes in his convictions. He rejects music, poetry, painting, art in general. In the surrounding nature, he sees only the workshop of man and nothing more. “What is Bazarov?” we ask in the words of Pavel Petrovich.
It is interesting that the description of the hero’s appearance already tells us about the extraordinary nature of his nature: tall, bare red hand, “a long, thin face with a wide forehead, flat top, pointed nose”, “large greenish eyes and drooping sand-colored sideburns”, face "enlivened with a calm smile and expressed self-confidence and intelligence." You can also see the attitude of the author to the hero. It is not read directly, but if compared with how ironically Turgenev says about the appearance of Pavel Petrovich, then one can notice some respect and sympathy for such an unusual appearance of Bazarov. From this description, we can draw conclusions about Bazarov: his red bare hand speaks of the absence of panache, simplicity and "plebeianism", and the slowness, or rather, the reluctance of actions creates a certain feeling of tactlessness, even ignorance.
Bazarov has special views on life: he is a nihilist, that is, "a person who does not bow to any authorities, who does not accept a single principle on faith, no matter how respect this principle is surrounded." Bazarov's life credo is built on denial: "At the present time, denial is most useful - we deny."
Bazarov is shown by Turgenev as a supporter of the most "complete and merciless denial". “We act by virtue of what we recognize as useful,” says Bazarov ... “At the present time, denial is most useful, we deny.” What does Bazarov deny? To this question, he himself gives a short answer: "Everything." And, first of all, what Pavel Petrovich is “terrified to say” is autocracy, serfdom and religion. Bazarov denies everything that is generated by the "ugly state of society": popular poverty, lack of rights, darkness, patriarchal antiquity, the community, family oppression, etc.
Such a denial was undoubtedly revolutionary in nature and was characteristic of the revolutionary democrats of the 1960s. Turgenev himself understood this very well, in one of his letters about Fathers and Sons he 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.”
More than once, Bazarov expresses his ideas: “a decent chemist is twenty times more useful than any poet”, “nature is nothing ... Nature is not a temple, but a workshop, and a person is a worker in it”, “Raphael is not worth a penny.” This hero denies even love.
He denies the principles of liberals, and English aristocracy, and the logic of history, and authorities, and parliamentarism, and art, and the community with mutual responsibility - in a word, everything that the liberals believed in - "fathers". He laughs at the "mysterious relationship between a man and a woman", puts in one row the words: romanticism, art, nonsense, rot.
Bazarov denied the possibility of enjoying the beauty of nature, "love in the sense of the ideal, or, as he put it, romantic, he called rubbish, unforgivable nonsense." However, it would be wrong to say that Bazarov cuts off the shoulder, completely rejecting everything. Denying abstract science, Bazarov advocates concrete, applied sciences; denying authorities for the sake of authorities, he takes into account the opinion of “efficient” people.
Turgenev could not, of course, see in the nihilist Bazarov his positive hero. But he wanted the reader to "love" Bazarov "with all his rudeness, heartlessness, ruthless dryness and harshness." The writer did not want to give his hero an unnecessary “sweetness”, to make him an “ideal”, but wanted to “make him a wolf” and still “justify him”. In Bazarov, “a gloomy, wild, large figure rushed about to him, half grown out of the soil, strong, vicious, honest and still doomed to death, because she still stands on the eve of the future ...” That is, Turgenev considered that Bazarov's time has not yet come, but it is thanks to such individuals that society is moving forward.
The image of Bazarov was continued in the literary tradition in the work of Chernyshevsky "What is to be done?".
The novel "Fathers and Sons" has a complex structure and a multi-level conflict. Outwardly, it represents a contradiction between two generations of people. But this eternal is complicated by ideological and philosophical differences. Turgenev's task was to show the pernicious influence of certain philosophical currents on modern youth, in particular nihilism.
What is nihilism?
Nihilism is an ideological and philosophical trend, according to which there are no and cannot be authorities, none of the postulates should be taken on faith. (as he himself notes) is a merciless denial of everything. German materialism served as the philosophical basis for the formation of the nihilistic doctrine. It is no coincidence that Arkady and Bazarov offer Nikolai Petrovich instead of Pushkin to read Buechner, in particular his work Matter and Force. Bazarov's position was formed not only under the influence of books, teachers, but also from live observation of life. Bazarov's quotes about nihilism confirm this. In a dispute with Pavel Petrovich, he says that he would gladly agree if Pavel Petrovich would present him "at least one decision in our modern life, in family or public life, which would not cause complete and merciless denial."
Basic nihilistic ideas of the hero
Bazarov's nihilism is manifested in his attitude to various spheres of life. In the first part of the novel, two ideas collide, two representatives of the older and younger generations - Evgeny Bazarov and Pavel Petrovich Kirsanov. They immediately feel dislike for each other, and then sort things out in polemics.
Art
Bazarov speaks most sharply about art. He considers it a useless sphere that does not give a person anything but stupid romanticism. Art, according to Pavel Petrovich, is a spiritual sphere. It is thanks to him that a person develops, learns to love and think, understand another, learn about the world.
Nature
Bazarov's review looks somewhat blasphemous, not a temple, but a workshop. And the person is a worker in it. "The hero does not see her beauty, does not feel harmony with her. In contrast to this review, Nikolai Petrovich walks through the garden, admires the beauty of spring. He cannot understand how Bazarov does not see all this, how he can remain so indifferent to God's creation.
The science
What does Bazarov appreciate? After all, he cannot have a sharply negative attitude towards everything. The only thing the hero sees value and benefit in is science. Science as the basis of knowledge, human development. Of course, Pavel Petrovich, as an aristocrat and a representative of the older generation, also appreciates and respects science. However, for Bazarov, the ideal is the German materialists. For them, there is no love, affection, feelings, for them a person is just an organic system in which certain physical and chemical processes take place. The protagonist of the novel "Fathers and Sons" tends to the same paradoxical thoughts.
Bazarov's nihilism is called into question, he is tested by the author of the novel. Hence, an internal conflict arises, which no longer takes place in the Kirsanovs' house, where Bazarov and Pavel Petrovich argue every day, but in the soul of Yevgeny himself.
The future of Russia and nihilism
Bazarov, as a representative of the advanced direction of Russia, is interested in its future. So, according to the hero, in order to build a new society, first you need to "clear the place." What does this mean? Of course, the expression of the hero can be interpreted as a call for revolution. The development of the country must begin with cardinal changes, with the destruction of everything old. Bazarov, at the same time, reproaches the generation of liberal aristocrats for their inaction. Bazarov speaks of nihilism as the most effective direction. But it is worth saying that the nihilists themselves have not yet done anything. Bazarov's actions are manifested only in words. Thus, Turgenev emphasizes that the characters - representatives of the older and younger generations - are very similar in some ways. Eugene's views are very frightening (this is confirmed by Bazarov's quotes about nihilism). After all, on what is any state built in the first place? On traditions, culture, patriotism. But if there are no authorities, if you do not appreciate art, the beauty of nature, if you do not believe in God, then what is left for people? Turgenev was very afraid that such ideas could come true, that Russia would then have a very hard time.
internal conflict in the novel. love test
There are two key characters in the novel who supposedly play a cameo role. In fact, they reflect Turgenev's attitude towards nihilism, they debunk this phenomenon. Bazarov's nihilism begins to be comprehended by him a little differently, although the author does not directly tell us this. So, in the city, Evgeny and Arkady meet Sitnikov and Kukshina. They are progressive people who are interested in everything new. Sitnikov is an adherent of nihilism, he expresses his admiration for Bazarov. At the same time, he himself behaves like a jester, he shouts out nihilistic slogans, it all looks ridiculous. Bazarov treats him with obvious contempt. Kukshina is an emancipated woman, simply slovenly, stupid and rude. That's about all there is to say about the characters. If they are representatives of the nihilism on which Bazarov has such high hopes, then what is the future of the country? From that moment on, doubts appear in the soul of the hero, which intensify when he meets Odintsova. The strength and weakness of Bazarov's nihilism manifest themselves precisely in the chapters that speak of the hero's love feelings. He strongly opposes his love, because it's all stupid and useless romanticism. But his heart tells him something else. Odintsova sees that Bazarov is smart and interesting, that there is some truth in his ideas, but their categorical nature betrays the weakness and dubiousness of his convictions.
Turgenev's attitude towards his hero
Not without reason around the novel "Fathers and Sons" a stormy controversy unfolded. First, the topic was very topical. Secondly, many representatives of literary criticism were, like Bazarov, passionate about the philosophy of materialism. Thirdly, the novel was bold, talented and new.
There is an opinion that Turgenev condemns his hero. That he slanders the younger generation, seeing only the bad in them. But this opinion is wrong. If you look at the figure of Bazarov more closely, then you can see a strong, purposeful and noble nature in him. Bazarov's nihilism is only an outward manifestation of his mind. Turgenev, rather, feels disappointed that such a talented person has become obsessed with such an unjustified and limited teaching. Bazarov cannot but arouse admiration. He is bold and bold, he is smart. But other than that, he's also kind. It is no coincidence that all peasant children are drawn to him.
As for the author's assessment, it is most fully manifested in the finale of the novel. Bazarov's grave, to which his parents come, is literally immersed in flowers and greenery, birds sing over it. It is unnatural for parents to bury their children. The beliefs of the protagonist were also unnatural. And nature, eternal, beautiful and wise, confirms that Bazarov was wrong when he saw in it only material for achieving human goals.
Thus, Turgenev's novel "Fathers and Sons" can be seen as a debunking of nihilism. Bazarov's attitude to nihilism is not just a philosophy of life. But this teaching is questioned not only by representatives of the older generation, but also by life itself. Bazarov, in love and suffering, dies from an accident, science is unable to help him, and over his grave Mother Nature is still beautiful and calm.
Bazarov differs from them primarily in his exceptional energy and masculinity, firmness of character and independence, developed in the fight against everyday difficulties. “At the basis of the main figure, Bazarov,” Turgenev later wrote, “one struck me the personality of a young provincial doctor (he died shortly before 1860). This remarkable man embodied - before my eyes - that, barely born, still fermenting principle, 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...” to death - because it still stands on the eve of the future, I dreamed of some strange pendant with Pugachev.
It is significant that Bazarov, the only one of all the heroes, does not have a backstory in which Turgenev usually gives the key to the character's character, which he clearly does not want to do in the case of Bazarov (perhaps without knowing for certain how such characters develop). Unlike all nobles, Bazarov has the nature of a figure and a fighter. Through tireless work he acquired fundamental knowledge in the natural sciences. Accustomed to relying only on his own mind and energy, Bazarov developed a calm self-confidence. The feeling of his strength is involuntarily transmitted to others, even if it does not manifest itself outwardly. He immediately puts himself in opposition to all people: "When I meet a person who would not give in to me, then I will change my mind about myself." He does not care at all what others think of him: “A real person should not care about this; a real person is one about whom there is nothing to think about, but whom one must obey or hate. No cordial ties connect him with people (his relationship with his parents is typical in this regard, for whom he has neither pity nor affection, although he tells Arkady that he “loves” them). This is the source of Bazarov's "sharpness and unceremoniousness of tone." He reduces the relationship between a man and a woman to physiology, art - to “the art of making money or no more hemorrhoids”, i.e. the whole world of beauty is completely alien to him, as well as the noble refined culture of feelings, which he, together with religion and philosophy, calls “romanticism, nonsense, rottenness, art” (what is this synonymous series alone!).
From such an attitude to life, as well as from “immeasurable pride”, his life philosophy originates, bold, terrible and paradoxical, consisting in the total denial of all the foundations on which society is based, as well as in general all beliefs, ideals and norms of human life. life, when only bare scientific facts are accepted as truth. “A nihilist is a person who does not bow to any authority, who does not accept a single principle on faith, no matter how respected this principle is,” Arkady formulates in the novel, obviously from the words of his teacher. Such a philosophy is a natural product of the crisis state of society. According to the exact definition of V.M. Markovich, "for Bazarov, it is indisputable that there is not a single" resolution "in our modern life, in family or public life, which would not cause complete and merciless denial." For Bazarov, the possibility of unlimited freedom of the individual is indisputable: the “nihilist” is convinced that in his decisions aimed at remaking life, a person is not morally bound by anything. The logic of history, "popular opinion", traditions, beliefs, authorities - all this should not have any power over individual consciousness and individual will. Thus, Bazarov's nihilism extends to the social, personal and philosophical spheres.
Bazarov's social nihilism finds its fullest expression in a dispute with Pavel Petrovich. These two worthy adversaries, staunch adherents of each of their own ideology, could not but collide, like two opposite charges. It is characteristic at the same time that Pavel Petrovich is nervous and himself challenges Bazarov to an argument, while the latter, full of consciousness of his own strength and superiority, argues as if unwillingly, so as not to "talk in vain."
On the question of the nature of the transformations in Russia, Bazarov stands for a decisive break in the entire state and economic system. “There is not a single civil decree in Russia that does not deserve criticism,” he said. However, he offers nothing in return. In addition, Bazarov is not shown in any way in public activities and we do not know if he has real plans to put his views into practice. Pavel Petrovich Kirsanov, like a real liberal, is also convinced of the need for transformations, but against the senseless destruction of everything. He stands for "civilization" and "progress", i.e. for the path of reform.
When arguing about the leading social force, Pavel Petrovich points to the aristocracy, because only in it is self-esteem developed to the highest degree, without which there can be no real citizen who respects the rights of others. "The aristocracy gave freedom to England and supports her." And the new people, the “nihilists” (at this word to Pavel Petrovich every time “changes his self-esteem” and he breaks into abuse), are ignorant “idiots” who do not have support among the people, carriers of “brute Mongolian strength”, the number of which, fortunately, only "four and a half." Bazarov, in response, calls the nobles backward people, all of whose merits are in the past. Now they “sit with their hands folded”, like Pavel Petrovich, in whom all “principles” and “self-esteem” have been reduced to demonstrative preoccupation with their toilet, which is why it is not much to expect benefits for bien public (public good).
On the question of nationality and attitude towards the people, Pavel Petrovich unexpectedly turns out to be a devout Slavophile and proclaims that the Russian people are “patriarchal,” “revere traditions sacredly,” and “cannot live without faith,” and that therefore the nihilists do not express their needs and are completely alien to them. Bazarov, in response, calmly agrees with the statement about the patriarchal nature of the people, but for him this is not at all the sacred foundation of national Russian life, but, on the contrary, evidence of the backwardness and ignorance of the people, their failure either as a social force or even as an engine of the economy: “The very freedom , which the government is busy with, will hardly serve us for the future, because our peasant is glad to rob himself, just to get drunk on dope in a tavern. As for the fact that he is a stranger to the people, Bazarov remarks with "arrogant pride" that his "grandfather plowed the land." In any case, he considers himself closer to the people than Pavel Petrovich: “You condemn my trend, but who told you that it is in me by accident, that it was not caused by the very Russian spirit in whose name you advocate so?” - which does not prevent him from despising the people at the same time, "if he deserves contempt."
To the legitimate objection of Nikolai Petrovich: “You deny everything, or, to be more precise, destroy everything. Why, it’s necessary to build, too, ”Bazarov coolly remarks:“ This is no longer our business ... First we need to clear the place. This phrase separates Bazarov from the Narodniks of the 1960s, who also had a positive program, and makes his political position extremely vague and strange. “His mind opposes any final decisions ... Therefore, rejecting the old theories, Bazarov does not intend to trust the new ones: will they not turn into dogmas that require obedience?” It is also not clear that Bazarov, like the Narodniks, thought of winning over the people to his side: it seems that “cursing” is enough for him. So, he bears little resemblance to a revolutionary, and yet Turgenev captured in him the very spirit of the revolutionary populism of those years, with its hatred of the existing order of things and the renunciation of all social and civic benefits. Bazarov appears before us as a kind of embodiment of the very negative energy that moves and feeds every revolutionary movement.
In the personal sphere, Bazarov's nihilism lies in his denial of the entire culture of feelings and all ideals. “Bazarov rejects ... not only certain social institutions and cultural traditions, but everything - everything that people live today, everything that connects and brings them together, everything that moves them, that gives their lives justification and meaning. Bazarov needs a different life and other people - Turgenev leaves no doubt about this.” Bazarov generally denies the spiritual principle in man. He treats a person as a biological organism: “All people are similar to each other both in body and soul; each of us has a brain, a spleen, a heart, and lungs are arranged in the same way; and the so-called moral qualities are the same in all: small modifications mean nothing. One human specimen is enough to judge all others. People are like trees in the forest; not a single botanist will deal with every single birch.” Just as Bazarov judges the structure of human organs by a frog, so he thinks to judge a person in general and, moreover, human society as a whole, according to the data of the natural sciences: with the correct organization of society, it will not matter whether a person is evil or kind, stupid or smart. These are all just "moral diseases" similar to "bodily diseases" and caused by the "ugly state of society." "Fix society and there will be no disease."
The word nihilism is familiar to many people, but only a few know its true designation. Literally translated, nihilists are “nothing” from the Latin language. From here you can understand who the nihilists are, that is, people in a certain subculture and movement who deny norms, ideals and generally accepted norms. Such people can often be found in the crowd or among creative individuals with non-standard thinking.
Nihilists are ubiquitous, in numerous literary publications and sources of information they are spoken of as a complete denial, a special mentality and a socio-moral phenomenon. But historians say that for each era and time period, nihilists and the concept of nihilism denoted somewhat different currents and concepts. Few people know, for example, that Nietzsche was a nihilist, as well as a large number of well-known writers.
The word nihilism comes from the Latin language, where nihil is translated as "nothing". It follows that a nihilist is a person who is in a stage of complete denial of the concepts, norms and traditions imposed by society, in addition, he can show a negative attitude towards some and even all aspects of public life. Each cultural and historical epoch implied a special manifestation of nihilism.
History of occurrence
For the first time, people encountered such a current of culture as nihilism back in the Middle Ages, then nihilism was presented as a special doctrine. Its first representative was Pope Alexander III in 1179. There is also a false version of the doctrine of nihilism, which was attributed to the scholastic Peter, this semblance of a subculture denied the human nature of Christ.
Later, nihilism also touched Western culture, for example, in Germany it was called the term Nihilismus, it was first used by the writer F. G. Jacobi, who later became known as a philosopher. Some philosophers attribute the emergence of nihilism to the crisis of Christianity, accompanied by denial and protest. Nietzsche was also a nihilist, recognizing the current as an awareness of the failure and even the illusory nature of the Christian transcendental God, as well as the idea of progress.
Expert opinion
Viktor Brenz
Psychologist and self-development expert
Nihilists have always based themselves on several assertions, for example, there is no substantiated proof of higher powers, a creator and a ruler, there is no objective morality in society as well as truth in life, and no human action can be preferable to another.
Varieties
As mentioned earlier, the meaning of the word nihilist in different times and eras could be somewhat different, but in any case, it was a question of a person’s denial of objectivity, the moral principles of society, traditions and norms. As the doctrine of nihilism arises, develops, its modifications over epochs and different cultures, today experts share several varieties of nihilism, namely:
- worldview philosophical position that doubts or completely denies generally accepted values, morals, ideals and norms, as well as culture;
- mereological nihilism, denying objects consisting of particles;
- metaphysical nihilism, which considers the presence of objects in reality not at all necessary;
- epistemological nihilism, which completely denies any teachings and knowledge;
- legal nihilism, that is, the denial of a person's duties in active or passive manifestation, the same denial of established laws, norms and rules by the state;
- moral nihilism, namely a metaethical idea that denies moral and immoral aspects in life and society.
Based on all varieties of nihilism, we can conclude that people with such concepts and principles deny any norms, stereotypes, morality and rules. According to most experts and specialists, this is the most controversial and sometimes conflicting worldview position that takes place, but does not always receive approval from society and psychologists.
Nihilist Preferences
In fact, the nihilist of today is a person based on spiritual minimalism and a special theory of awareness. Nihilist preferences are based on the rejection of any meaning, rules, norms, social rules, traditions and morality. Such people do not tend to worship any rulers, they do not recognize authorities, do not believe in higher powers, deny the laws and demands of the public.
Do you consider yourself a nihilist?
YesNo
Psychologists note that nihilism is actually a close trend to realism, but at the same time it relies solely on a factual basis. This is a kind of skepticism, thinking at a critical point, but in the form of an extended philosophical interpretation. Experts also note the reasons for the emergence of nihilism - a heightened sense of self-preservation and human egoism, nihilists recognize only the material, denying the spiritual.
Nihilists in Literature
A well-known literary work that touched on the concept of nihilism is the story "The Nihilist" from the author Sophia Kovalevskaya about the Russian revolutionary movement. The denunciation of "nihilism" in the form of gross caricature can be traced in such well-known literary works as "The Cliff" by Goncharov, "On the Knives" by Leskov, "The Troubled Sea" by Pisemsky, "The Haze" by Klyushnikov, "The Fracture" and "The Abyss" by Markevich and many other works .
"Fathers and Sons"
Nihilists in Russian literature are, first of all, heroes from Turgenev's books that everyone remembers, for example, the reflective nihilist Bazarov, and Sitnikov and Kukushkin followed his ideology. The atypical worldview position of Bazarov can already be seen in dialogues and disputes with Pavel Petrovich Kirsanov, showing a different attitude towards the common people. In the book "Fathers and Sons" the nihilist shows a pronounced rejection of art and literature.
Nietzsche
It is also known that Nietzsche was a nihilist, his nihilism was the depreciation of high values. Philosopher and philologist, Nietzsche linked the nature of man and values, but immediately emphasized that man himself devalues everything. The famous philosopher insisted that compassion is a destructive quality, even when it comes to close people. His nihilism is nothing but the idea of a superman and a Christian ideal that is free in every sense.
Dostoevsky
In the works of Fyodor Mikhailovich Dostoevsky, there are also nihilist characters. In the understanding of the writer, a nihilist is a type of tragic thinker, a rebel and a denier of social norms, as well as an opponent of God himself. If we consider the work "Demons", the character Shatov, Stavrogin and Kirillov became a nihilist. This also includes Dostoevsky's book "Crime and Punishment", where nihilism has reached the brink of murder.
What kind of nihilist is he today?
Many philosophers are inclined to the idea that modern man is already a nihilist in himself to some extent, although the modern trend of nihilism has already branched into other subspecies. Many people, not even knowing about the essence of nihilism, sail a ship during their lives, which is called nihilism. The modern nihilist is a person who does not recognize any values, generally accepted norms and morality, does not bow to any will.
List of notable nihilists
For a clear example of behavior, experts conducted research, after which they compiled a list of the most memorable personalities from different eras who promote nihilism.
Famous nihilists list:
- Nechaev Sergey Gennadievich - Russian revolutionary and author of the Revolutionary Catechism;
- Erich Fromm is a German philosopher, sociologist and psychologist who considers the term nihilism;
- Wilhelm Reich - Austrian and American psychologist, the only student of Freud who analyzes nihilism;
- Nietzsche is a nihilist who denied the existence of material and spiritual values.
- Søren Kierkegaard was a nihilist and Danish religious philosopher and writer.
- O. Spengler - promoted the idea of the decline of European culture and forms of consciousness.
Based on all interpretations and currents, it is difficult to clearly characterize the essence of nihilism. In each era and time interval, nihilism proceeded differently, denying either religion, or the world, or humanity, or power.
Conclusion
Nihilism is a radical movement that denies everything of value in the world, from the spiritual to the material goods of mankind. Nihilists adhere to absolute freedom from power, the state, prosperity, faith, higher powers and society. Today, the modern nihilist differs significantly from those who appeared in the Middle Ages.
