Roman I.S. Turgenev "Fathers and Sons" is a novel relevant for its time. He touched on issues that worried the Russian public in the 60s of the 19th century. Turgenev showed the advantages and disadvantages of the new trend that dominated the minds of young people of that time. But the novel of this great writer would not have been included in the golden fund of Russian classical literature if it had been limited only to issues of the present.
In "Fathers and Sons" Turgenev solved eternal problems: the problem of relationships between different generations, the problem of happiness, the problem of love.
The love theme is very widely deployed in the novel. She is the measure of the vitality of heroes. This feeling tests them “for strength”, reveals the true essence of a person. According to Turgenev, love in life plays a colossal role. This feeling is the meaning of life, without it life is meaningless. The ability of heroes to experience love is for the writer one of the main qualities in a person and in his heroes.
The main love line of the novel is connected with the images of Evgeny Bazarov and Anna Sergeevna Odintsova. The nihilist Bazarov denied love as a relation of souls. He sincerely believed that love was an invention of romantics. Between people there is only habit, mutual sympathy and the relationship of bodies. In my opinion, this attitude of the protagonist to love is connected with his attitude towards women. All his life, Yevgeny Vasilyevich believed that a woman is a creature of the second order. It was created for the entertainment of men. And although the hero preached, along with others, the ideas of women's feminism, it seems to me that he still did not take women seriously.
Thus, Bazarov's life was subject to reason, rationalism. But everything in his life changed in an instant. In order to test his hero and show the absurdity of his beliefs, Turgenev puts an obstacle in the hero's life path - love. Bazarov, convinced of the strength of his nature, of his difference from others, suddenly ... fell in love. He fell in love passionately and furiously, how passionate and furious his nature was: “Odintsova stretched out both hands forward, and Bazarov rested his forehead against the glass of the window. He was out of breath; his whole body seemed to tremble. But it was not the fluttering of youthful timidity, not the sweet horror of the first confession that seized him: it was a passion that beat in him, strong and heavy - a passion similar to malice and, perhaps, akin to it ... "
As you can see, Bazarov's love is contradictory. It is mixed with anger at oneself: I fell in love like a fool, like a simple little man! But the hero can't help himself. He will carry his feelings for Odintsova until the end of his life and, before his deathbed, he will want to see Anna Sergeevna dear to him: “Goodbye,” he said with sudden force, and his eyes flashed with the last brilliance. - Farewell ... Listen ... I didn’t kiss you then ... Blow on the dying lamp, and let it go out ... "
It is interesting how his beloved, Anna Sergeevna Odintsova, behaves at the last meeting with Bazarov. She is afraid of getting infected from Yevgeny Vasilyevich, and only a sense of decency makes her come closer to him. Well, this woman did not love Bazarov? But it might seem that it was she who first began to show signs of attention to the hero. Yes, indeed, it is. But first, Odintsova became interested in Bazarov as an interesting and intelligent person. Then, feeling more than just sympathy for him, Anna Sergeevna became frightened. She did not want to exchange her calmness and authority in society for strong, but unknown to her feelings. With her heart, Odintsova understands that she wants love, but her cold and impassive mind stops the heroine. Therefore, Odintsova is so unhappy. In the epilogue, we learn that this heroine remarried, but again for convenience, and not for love. Well, Odintsova made her choice in life.
Unhappy in love and antipode, and in many ways, Bazarov's double - Pavel Petrovich Kirsanov. His whole life went to dust because of the unfortunate, fatal love that Kirsanov can never forget. Unrequited passion withered the hero, turned him into a dead man, filling his life with "principles" and dogmas.
Another type of relationship is represented in the novel by the couple Arkady - Katya. Arkady, as a "disciple of Bazarov" and a "nihilist", should also have denied love. But his nature and upbringing take their toll. Arkady is a simple person who sees his ideal in the family, children, household. He is a little soft, easily influenced. From under one firm hand (Bazarov), Arkady falls into others (Katya). But the hero is happy, however, like his wife. The scene of their declaration of love is beautiful. Turgenev wants to tell us: these are the moments for which life is worth living. And woe to those who have never experienced them: “He grabbed her big, beautiful hands and, choking with delight, pressed them to his heart. He could hardly stand on his feet and only repeated: "Katya, Katya ...", and she somehow innocently began to cry, herself quietly laughing at her own tears. Whoever has not seen such tears in the eyes of a beloved being has not yet experienced to what extent, fading all over with gratitude and shame, a person can be happy on earth.
Happy in family life and the father of Arkady, Nikolai Petrovich. He adored his first wife, and after her death he met Fenechka and fell in love with the girl with all his heart. Turgenev shows that true love is above all prejudices. Despite the fact that Fenechka is a commoner and much younger than Nikolai Petrovich, these heroes are happy together. And there is direct proof of this - their son Mitenka.
Turgenev draws in his novel not only unhappy men in love, but also women. If a man “dries up” without love, goes into social activities or science, then a woman becomes unhappy and ridiculous. She lives her life in vain, not fulfilling her natural destiny. An example of this is the image of the feminist Kukshina in the novel. This ugly and ridiculous woman was abandoned by her husband. She "shines" with her progressive views, but in fact she is looking for love, which she lacks so much.
The love theme is one of the leading themes of I.S. Turgenev "Fathers and Sons". All the heroes of the writer experience this feeling to one degree or another, as they can or can. It is love that becomes for them the measure that reveals the true essence of the heroes, gives them the meaning of life or makes them unhappy.
The novel "Fathers and Sons" by I.S. Turgenev was written in 1961. This is a time of conflict between the liberal noble intelligentsia and the raznochintsy-nihilists. The sixty-first year is approaching - the abolition of serfdom, and changes are already being felt in the country, passions are heating up, everyone is waiting for something to happen. Ivan Sergeevich Turgeneva in his novel managed to highlight not only the social antagonism of aristocrats and raznochintsy, but also to show the usual conflict of "fathers" and "children", to identify age-related problems of generations. He managed to do this through a feeling that awakens in the heart of any person, regardless of his beliefs and social status. This feeling is love, and at different times it visited both the "fathers" (the Kirsanov brothers) and the "children" (Arkady Kirsanov and Evgeny Bazarov), leaving their own special, inimitable mark in each of them.
In the novel we see four couples, four love stories: this is the love of Nikolai Kirsanov and Fenichka, Pavel Kirsanov and Princess G., Arkady and Katya, Bazarov and Odintsova. In the life of Nikolai Petrovich Kirsanov, love has always been a support and a driving force. At first - an endless, touching, tender and deep feeling for his wife Masha, with whom they almost never parted: "ten years have passed like a dream." But happiness ended, Nikolai Petrovich's wife died. "He barely took the blow, turned gray in a few weeks," and began to learn to live anew. Together, with my son Arkady, in the village of Maryino, named after his wife. Ten years passed before the heart of Nikolai Petrovich, drawn to family life, was able to contain one more love, not equal either in age or social status. Fenichka, the mother of Kirsanov's second son, the daughter of his former housekeeper, managed to light up life and fill the house with joy. Quite different was the fate of the second brother Kirsanov - Pavel Petrovich. Young and energetic, women liked him in his youth, but his heart was given at one moment to Princess R. - a married woman, an empty and frivolous coquette. Clever and active Pavel Petrovich could not cope with his feelings and subsequently ruined, because of unhappy love, not only his brilliant career as an officer, but his whole subsequent life. This love could never be satisfied, it deprived Kirsanov of business, took away rich opportunities, brought torment and despair. Arkady Kirsanov grew up with a living example of the tender and deep love of his parents before his eyes. That is why he was so indignant when his friend, the nihilist Bazarov, ridiculed human feelings, the mystery of the relationship between a man and a woman, the "mysteriousness" of a woman's gaze. As soon as he moved away from Eugene, the need for a close and loving person became the leading one, and Katya entered his life as a long-awaited light. In the relationship between Arkady and Katya Odintsova, I.S. Turgenev exposes the nihilist views of Arkady. Katya declares that she will remake it and puts her words into practice. Kirsanov abandons his past ideology. In fact, Arkady's love for Katya is the result of the subordination of a weak nature to a stronger one. The most vivid love story happened in the novel by Yevgeny Bazarov. Smart, reasonable, living with his head, not his heart, he did not leave room for feelings in his life, because he considered them nonsense, fiction, inability to follow his convictions. That is why love took him by surprise, crushed, led to despair. How could he, Bazarov, fall for this bait, if he always laughed at this feeling, which he simply did not give the right to exist! But it came and made the image of Bazarov tragic, because, having elevated him, not only made him doubt his attitudes and beliefs, but also made him more human. In the company of Odintsova, he is sharp, mocking, and alone with himself he discovers romance. He is irritated by his own feelings. And when they finally pour out, they bring only suffering. The chosen one rejected Bazarov, frightened by his animal passion and lack of culture of feelings. She cannot sacrifice her order, she needs quiet love. Turgenev gives a cruel lesson to his hero. But love did not ruin Bazarov, due to his character, he did not give up, life did not end there.
Love is an eternal feeling, it comes without asking and leaves without warning. The pages of the novel are literally permeated with the spirit of love. And it is during the test of love that the character of people is most fully revealed, as shown in the wonderful novel by I. S. Turgenev "Fathers and Sons".
Turgenev's novel is structured in such a way that it reflects eternal types: "heroes of time" and ordinary people. The Kirsanov brothers make up just such a psychological couple. It is no coincidence that Pavel Petrovich was called Pisarev "little Pechorin". He really not only belongs to the same generation, but also is a "Pechorinsky" type. “Note that Pavel Petrovich is not a father at all, and for a work with such a name, this is far from being indifferent. Pavel Petrovich is a single soul, nothing can be “born” from him; this is exactly what it is
The whole purpose of his existence is in Turgenev's novel,” comments A. Zhuk.
Compositionally, Turgenev's novel is built on a combination of direct, consistent narrative and biographies of the main characters. These stories interrupt the flow of the novel, take us to other eras, turn to the origins of what is happening in modern times. The biography of Pavel Petrovich Kirsanov emphatically "drops out" of the general course of the narrative, it is even stylistically alien to the novel. And, although the reader learns about the story of Pavel Petrovich from the story of Arkady addressed to Bazarov, the language of this story does not in any way resemble the style of communication
Young nihilists.
Turgenev is as close as possible to the style and imagery of the novels of the 30s and 40s of the 19th century, creating a special style of romantic narration. In it, everything leads away from the real, mundane everyday life. We will never know the real name of Pavel Petrovich's mysterious lover: she appears under the conditional literary name Nelly, or under the mysterious "Princess R". We will not know what tormented her, what made her rush about all over Europe, go from tears to laughter and from carelessness to despondency. Much of it will not be unraveled by the reader.
Yes, it doesn't matter. The main thing is to understand what attracted Pavel Kirsanov so much in her, what is his unearthly passion based on? But this is just quite clear: Nelly's very mysteriousness, her significant emptiness, her obsession with "her most unknown forces", her unpredictability and inconsistency, make up her charm for Kirsanov.
Love and friendship are also present in the life of Bazarov.
All people are different, and everyone understands love and friendship in their own way. For some, finding a loved one is the purpose and meaning of life, and friendship is an essential concept for a happy existence. These people are in the majority. Others consider love a fiction, "rubbish, unforgivable nonsense"; in friendship they are looking for a like-minded person, a fighter, and not a person with whom they can be frank on personal topics. There are few such people, and Evgeny Vasilyevich Bazarov belongs to such people.
His only friend is Arkady - a naive, unformed youth. He became attached to Bazarov with all his soul and heart, deifies him, catches every word. Bazarov feels this and wants to raise a man like himself out of Arkady, who denies the social system of his day, bringing practical benefits to Russia. Not only Arkady wants to maintain friendly relations with Bazarov, but also some of the so-called "progressive nobles". For example, Sitnikov and Kukshina. They consider themselves modern young people and are afraid to fall behind fashion. And since nihilism is a fashion trend, they accept it; but they partially accept and, I must say, the most unattractive sides of it: slovenliness in dress and conversation, the denial of what they have no idea about. And Bazarov is well aware that these people are stupid and fickle - he does not accept their friendship, he places all his hopes on the young Arkady. He sees in him his follower, like-minded person.
Bazarov and Arkady often talk, discuss a lot. Arkady inspired himself that he agreed with Bazarov in everything, shared all his views. However, there are more and more disagreements between them. Arkady realizes that he cannot accept all of Bazarov's judgments. In particular, he cannot deny nature and art. Bazarov believes that "nature is not a temple, but a workshop, and a person in it is a worker." Arkady believes that nature should be enjoyed, and from this enjoyment draw strength for work. Bazarov laughs at the "old romantic" Nikolai Petrovich when he plays the cello; Arkady does not even smile at his joke, and despite the disagreements that have arisen, he continues to love and respect his "teacher".
Bazarov does not notice the change in Arcadia, and therefore his marriage completely unbalances Yevgeny. And Eugene decides to part with Arkady, part forever. Arkady did not justify his hopes, he let him down. It is bitter for Bazarov to realize this and it is difficult to renounce a friend, but he decides to do so. And he leaves with these words: “... you acted smart; for our bitter, bean life you are not created. There is neither impudence nor anger in you, but there is young courage and young enthusiasm, this is not suitable for our business ... You are a nice fellow; but you are still a soft, liberal barich. Arkady does not want to part with Bazarov, he tries to stop his friend, but he is unshakable in his cruel decision.
So, the first loss of Bazarov is the loss of a friend, and, consequently, the destruction of a psychological gift. Love is a romantic feeling, and since nihilism rejects everything that does not bring practical benefits, it also rejects love. Bazarov accepts love only from the physiological side of the relationship between a man and a woman: “If you like a woman, try to make sense, but you can’t - well, don’t, turn away: the earth has not converged like a wedge.” Love for A. S. Odintsova breaks into his heart suddenly, without asking his consent: and without pleasing him with his appearance.
Even at the ball, Odintsova attracted the attention of Bazarov: “What kind of figure is this? She doesn't look like other women." Anna Sergeevna seemed to him a very beautiful young woman. He accepts with curiosity her invitation to stay at her Nikolsky estate. There he discovers a very smart, cunning, worldly noblewoman. Odintsova, in turn, met an extraordinary person; and a beautiful, proud woman wanted to bewitch him with her charms. Bazarov and Odintsova spend a lot of time together: they walk, talk, argue, in a word, get to know each other. And both are changing. Bazarov struck the imagination of Odintsova, he occupied her, she thought a lot about him, she was interested in his company. “She seemed to want to test him and test herself.”
And what happened in the Bazarovs He finally fell in love! This is a real tragedy! All his theories and arguments collapse. And he tries to push this obsessive, unpleasant feeling away from himself, "indignantly recognizes romance in himself." Meanwhile, Anna Sergeevna continues to flirt in front of Bazarov: she invites him for solitary walks in the garden, calls him to a frank conversation. She seeks his declaration of love. This was her goal - the goal of a cold, calculating coquette. Bazarov does not believe in her love, but hope for reciprocity glimmers in his soul, and in a fit of passion he rushes to her. He forgets everything in the world, he only wants to be with his beloved, never to part with her. But Odintsova refuses him. “No, God knows where it would lead, you can’t joke with this, calmness is still the best thing in the world.” So he is rejected. This is the second loss - the loss of a beloved woman. Bazarov is very hard going through this blow. He leaves home, frantically looking for something to do, and finally calms down with his usual work. But Bazarov and Odintsova were destined to meet again - for the last time.
Suddenly, Bazarov falls ill and sends a messenger to Odintsova: "Tell me that you ordered to bow, nothing else is needed." But he only says that “nothing else is needed”, in fact, he timidly, but hopes to see his beloved image, hear a gentle voice, look into beautiful eyes. And Bazarov's dream comes true: Anna Sergeevna arrives and even brings a doctor with her. But she does not come out of love for Bazarov, she considers it her duty as a well-bred woman to pay her last debt to a dying man. At the sight of him, she did not rush to his feet with tears, as they rush to a loved one, "she was simply frightened by some kind of cold and weary fright." Bazarov understood her: “Well, thank you. It's royal. They say that kings also visit the dying.” Having waited for her, Yevgeny Vasilyevich Bazarov dies in his beloved arms - he dies strong, strong-willed, not giving up his judgments, not despairing in life, but lonely and rejected.
The main psychological couple of the novel is Bazarov and Pavel Petrovich Kirsanov. The views of the nihilist Bazarov and Kirsanov were completely opposite. From the first meeting they felt each other enemies. Pavel Petrovich, having learned that Evgeny would be visiting them, asked: “This hairy one?”. And Bazarov noticed Arkady in the evening: "And your uncle is eccentric." There have always been contradictions between them. “We will still have a fight with this doctor, I foresee it,” says Kirsanov. And it happened. The nihilist unreasonably argued the need for denial as a way of life and, naturally, due to his low philosophical culture, he came across the logically correct conclusions of his opponent. This was the basis of the hostility of the heroes. The youth came to destroy and denounce, and someone else will take care of the building. “You deny everything, or, to put it more correctly, you destroy everything. Why, it is necessary to build,” says Yevgeny Kirsanov. “It's not our business anymore. First you need to clear the place, ”Bazarov answers.
They argue about poetry, art, philosophy. Bazarov amazes and irritates Kirsanov with his cold-blooded thoughts about the denial of personality, everything spiritual. But, nevertheless, no matter how correctly Pavel Petrovich thought, to some extent his ideas were outdated. Of course, the principles of the ideals of the fathers are a thing of the past. This is especially clearly shown in the scene of the duel between Kirsanov and Yevgeny. "The duel," wrote Turgenev, "was introduced to demonstrate the emptiness of the elegantly noble chivalry, which was exaggeratedly comical." But one cannot agree with the thoughts of the nihilist either.
The attitude towards the people of Pavel Petrovich and Bazarov is torn. To Pavel Petrovich, the religiosity of the people, life according to the rules established by grandfathers, seem to be primordial and valuable features of people's life, they touch him. To Bazarov, these qualities are hateful: “The people believe that when the thunder rumbles, this is Elijah the prophet in a chariot driving around the sky. Well? Should I agree with him?" Pavel Petrovich: "He (the people) cannot live without faith." Bazarov: "The grossest superstition is choking him." The disagreements between Bazarov and Pavel Petrovich in relation to art and nature are visible. From the point of view of Bazarov, "reading Pushkin is a waste of time, making music is ridiculous, enjoying nature is ridiculous."
Pavel Petrovich, on the contrary, loves nature, music. The maximalism of Bazarov, who believes that one can and should rely in everything only on one's own experience and one's own feelings, leads to the denial of art, since art is just a generalization and artistic interpretation of someone else's experience. Art (and literature, and painting, and music) softens the soul, distracts from work. All this is "romanticism", "nonsense". Bazarov, for whom the main figure of the time was the Russian peasant, crushed by poverty, "gross superstitions", it seemed blasphemous to "talk" about art, "unconscious creativity" when "it's about daily bread."
In Turgenev's novel "Fathers and Sons" two strong, vivid characters collided. According to his views, convictions, Pavel Petrovich appeared before us as a representative of the "fettering, chilling power of the past", and Evgeny Bazarov - as part of the "destructive, liberating power of the present."
The value of the concept of a "psychological couple" in Turgenev's novel, in my opinion, is that it allows not only to observe the characters and be passive spectators, but helps to compare, contrast the characters, pushes the reader to the right conclusions. The heroes of Turgenev live in relationships with each other.
Love, as in life and in the novel "Fathers and Sons" plays a significant role. It both destroys and creates, love is a test that everyone cannot pass. All people go through this test in their own way, and in the same way, love swept through the characters of the novel in different ways.
I would like to first talk about mutual, bright love, for example, like Arkady and Catherine. This story is simple, somewhat banal.
Romantic Arkady, who stopped hiding his self under the mask of nihilism, imitating Bazarov, began to open up precisely from the beginning of this relationship. Perhaps, if not for Catherine, he would have walked in the shadow of Bazarov for a long time and would have been afraid to open up to this world the way he wanted to see himself.
Whether it's Peter Petrovich and Princess R, the story is completely opposite. Pyotr Petrovich was so in love that after losing this feeling, he lost himself. This is the case when love broke a person, no matter how strong he was. And even a heartthrob and an aristocrat with high "principles" and a strong nature could not return to the rut of a past life. Perhaps he thought that in his former life there was nothing in comparison with what he experienced with the Princess, on a subconscious level, he did not want so much, did not strive to return to his former rut.
V differs from his brother Nikolai Petrovich, who, after the death of his beloved, was still able to find meaning, he found meaning in his son, Arkash. For him, parting with his beloved was a really strong blow, which can be understood from his early gray hair. But this character has another love line, with Fenechka. He knew her from childhood, and I think he was more attracted to her just the same youth and freshness, a pretty face.
And finally, we moved on to the most controversial and interesting story, the story of Odintsova and Bazarov. A nihilist who denies feelings, calling fools those who are possessed by them. It was love that crossed out all his theories, it destroyed everything that he believed in for so long, it destroyed him. Perhaps everything would not be so tragic if the love story itself turned out to be happy, if they both wanted this love. Odintsova is smart, beautiful, interesting, unusual, like Bazarov, but she didn’t need these relationships, she wouldn’t sacrifice her calm and measured life for the sake of such a contradictory, denying everything Bazarov. He, perhaps from the unexpected strength of these feelings, could not cope with them.
As a result, I can say that love is probably one of the main characters of this work. I think Bazarov would not have had any other fate, since Turgenev disposed of it, the man for whom love never became something permanent and happy, something mutual and unforgettable. Bazarov, being the character of Turgenev, was doomed to an unfortunate fate, to an unfortunate end to his sudden and such a new love.
Turgenev's novel is structured in such a way that it reflects eternal types: "heroes of time" and ordinary people. The Kirsanov brothers make up just such a psychological couple. It is no coincidence that Pavel Petrovich was called Pisarev "little Pechorin". He really not only belongs to the same generation, but also is a "Pechorinsky" type. “Note that Pavel Petrovich is not a father at all, and for a work with such a name, this is far from being indifferent. Pavel Petrovich is a single soul, nothing can be “born” from him; this is precisely the purpose of his existence in Turgenev's novel,” comments A. Zhuk.
Compositionally, Turgenev's novel is built on a combination of direct, consistent narrative and biographies of the main characters. These stories interrupt the flow of the novel, take us to other eras, turn to the origins of what is happening in modern times. The biography of Pavel Petrovich Kirsanov emphatically "drops out" of the general course of the narrative, it is even stylistically alien to the novel. And, although the reader learns about the story of Pavel Petrovich from the story of Arkady addressed to Bazarov, the language of this story does not in any way resemble the communication style of young nihilists.
Turgenev is as close as possible to the style and imagery of the novels of the 30s and 40s of the 19th century, creating a special style of romantic narration. In it, everything leads away from the real, mundane everyday life. We will never know the real name of Pavel Petrovich's mysterious lover: she appears under the conditional literary name Nelly, or under the mysterious "Princess R". We will not know what tormented her, what made her rush about all over Europe, go from tears to laughter and from carelessness to despondency. Much of it will not be unraveled by the reader.
Yes, it doesn't matter. The main thing is to understand what attracted Pavel Kirsanov so much in her, what is his unearthly passion based on? But this is just quite clear: Nelly's very mysteriousness, her significant emptiness, her obsession with "her most unknown forces", her unpredictability and inconsistency, make up her charm for Kirsanov.
Love and friendship are also present in the life of Bazarov.
All people are different, and everyone understands love and friendship in their own way. For some, finding a loved one is the goal and meaning of life, and friendship is an essential concept for a happy existence. These people are in the majority. Others consider love a fiction, "rubbish, unforgivable nonsense"; in friendship they are looking for a like-minded person, a fighter, and not a person with whom they can be frank on personal topics. There are few such people, and Evgeny Vasilyevich Bazarov belongs to such people.
His only friend is Arkady - a naive, unformed youth. He became attached to Bazarov with all his soul and heart, deifies him, catches every word. Bazarov feels this and wants to raise a man like himself out of Arkady, who denies the social system of his day, bringing practical benefits to Russia. Not only Arkady wants to maintain friendly relations with Bazarov, but also some of the so-called "progressive nobles". For example, Sitnikov and Kukshina. They consider themselves modern young people and are afraid to fall behind fashion. And since nihilism is a fashion trend, they accept it; but they partially accept and, I must say, the most unattractive sides of it: slovenliness in dress and conversation, the denial of what they have no idea about. And Bazarov is well aware that these people are stupid and fickle - he does not accept their friendship, he places all his hopes on young Arkady. He sees in him his follower, like-minded person.
Bazarov and Arkady often talk, discuss a lot. Arkady inspired himself that he agreed with Bazarov in everything, shared all his views. However, there are more and more disagreements between them. Arkady realizes that he cannot accept all of Bazarov's judgments. In particular, he cannot deny nature and art. Bazarov believes that "nature is not a temple, but a workshop, and a person in it is a worker." Arkady believes that nature should be enjoyed, and from this enjoyment draw strength for work. Bazarov laughs at the "old romantic" Nikolai Petrovich when he plays the cello; Arkady does not even smile at his joke, and despite the disagreements that have arisen, he continues to love and respect his "teacher".
Bazarov does not notice the change in Arcadia, and therefore his marriage completely unbalances Yevgeny. And Eugene decides to part with Arkady, part forever. Arkady did not justify his hopes, he let him down. It is bitter for Bazarov to realize this and it is difficult to renounce a friend, but he decides to do so. And he leaves with these words: “... you acted smart; for our bitter, bean life you are not created. There is neither impudence nor anger in you, but there is young courage and young enthusiasm, this is not suitable for our business ... You are a nice fellow; but you are still a soft, liberal barich. Arkady does not want to part with Bazarov, he tries to stop his friend, but he is unshakable in his cruel decision.
So, the first loss of Bazarov is the loss of a friend, and, consequently, the destruction of a psychological gift. Love is a romantic feeling, and since nihilism rejects everything that is not of practical use, it also rejects love. Bazarov accepts love only from the physiological side of the relationship between a man and a woman: “If you like a woman, try to make sense, but you can’t - well, don’t, turn away: the earth has not converged like a wedge.” Love for A. S. Odintsova breaks into his heart suddenly, without asking his consent: and without pleasing him with his appearance.
Even at the ball, Odintsova attracted the attention of Bazarov: “What kind of figure is this? She doesn't look like other women." Anna Sergeevna seemed to him a very beautiful young woman. He accepts with curiosity her invitation to stay at her Nikolsky estate. There he discovers a very smart, cunning, worldly noblewoman. Odintsova, in turn, met an extraordinary person; and a beautiful, proud woman wanted to bewitch him with her charms. Bazarov and Odintsova spend a lot of time together: they walk, talk, argue, in a word, get to know each other. And both are changing. Bazarov struck the imagination of Odintsova, he occupied her, she thought a lot about him, she was interested in his company. “She seemed to want to test him and test herself.”
And what happened in the Bazarovs He finally fell in love! This is a real tragedy! All his theories and arguments collapse. And he tries to push this obsessive, unpleasant feeling away from himself, "indignantly recognizes romance in himself." Meanwhile, Anna Sergeevna continues to flirt in front of Bazarov: she invites him for solitary walks in the garden, calls him to a frank conversation. She seeks his declaration of love. That was her goal - the goal of a cold, calculating coquette. Bazarov does not believe in her love, but hope for reciprocity glimmers in his soul, and in a fit of passion he rushes to her. He forgets everything in the world, he only wants to be with his beloved, never to part with her. But Odintsova refuses him. “No, God knows where it would lead, you can’t joke with this, calmness is still the best thing in the world.” So he is rejected. This is the second loss - the loss of a beloved woman. Bazarov is very hard going through this blow. He leaves home, frantically looking for something to do, and finally calms down with his usual work. But Bazarov and Odintsova were destined to meet again - for the last time.
Suddenly, Bazarov falls ill and sends a messenger to Odintsova: "Tell me that you ordered to bow, nothing else is needed." But he only says that “nothing else is needed”, in fact, he timidly, but hopes to see his beloved image, hear a gentle voice, look into beautiful eyes. And Bazarov's dream comes true: Anna Sergeevna arrives and even brings a doctor with her. But she does not come out of love for Bazarov, she considers it her duty as a well-bred woman to pay her last debt to a dying man. At the sight of him, she did not rush to his feet with tears, as they rush to a loved one, "she was simply frightened by some kind of cold and weary fright." Bazarov understood her: “Well, thank you. It's royal. They say that kings also visit the dying.” Having waited for her, Yevgeny Vasilievich Bazarov dies in his beloved arms - he dies strong, strong-willed, not giving up his judgments, not despairing in life, but lonely and rejected.
The main psychological couple of the novel is Bazarov and Pavel Petrovich Kirsanov. The views of the nihilist Bazarov and Kirsanov were completely opposite. From the first meeting they felt each other enemies. Pavel Petrovich, having learned that Evgeny would be visiting them, asked: “This hairy one?”. And Bazarov noticed Arkady in the evening: "And your uncle is eccentric." There have always been contradictions between them. “We will still have a fight with this doctor, I foresee it,” says Kirsanov. And it happened. The nihilist unreasonably argued the need for denial as a way of life and, naturally, due to his low philosophical culture, he came across the logically correct conclusions of his opponent. This was the basis of the hostility of the heroes. The youth came to destroy and denounce, and someone else will take care of the building. “You deny everything, or, to put it more correctly, you destroy everything. Why, it is necessary to build,” says Yevgeny Kirsanov. “It's not our business anymore. First you need to clear the place, ”Bazarov answers.
They argue about poetry, art, philosophy. Bazarov amazes and irritates Kirsanov with his cold-blooded thoughts about the denial of personality, everything spiritual. But, nevertheless, no matter how correctly Pavel Petrovich thought, to some extent his ideas were outdated. Of course, the principles of the ideals of the fathers are a thing of the past. This is especially clearly shown in the scene of the duel between Kirsanov and Yevgeny. “The duel,” Turgenev wrote, “was introduced to demonstrate the emptiness of the elegantly noble chivalry, exhibited as exaggeratedly comical.” But one cannot agree with the thoughts of the nihilist either.
The attitude towards the people of Pavel Petrovich and Bazarov is torn. To Pavel Petrovich, the religiosity of the people, life according to the rules established by grandfathers, seem to be primordial and valuable features of people's life, they touch him. To Bazarov, these qualities are hateful: “The people believe that when the thunder rumbles, this is Elijah the prophet in a chariot driving around the sky. Well? Should I agree with him?" Pavel Petrovich: "He (the people) cannot live without faith." Bazarov: "The grossest superstition is choking him." The disagreements between Bazarov and Pavel Petrovich in relation to art and nature are visible. From the point of view of Bazarov, "reading Pushkin is a waste of time, making music is ridiculous, enjoying nature is ridiculous."
Pavel Petrovich, on the contrary, loves nature, music. The maximalism of Bazarov, who believes that one can and should rely in everything only on one's own experience and one's own feelings, leads to the denial of art, since art is just a generalization and artistic interpretation of someone else's experience. Art (and literature, and painting, and music) softens the soul, distracts from work. All this is "romanticism", "nonsense". Bazarov, for whom the main figure of the time was the Russian peasant, crushed by poverty, "gross superstitions", it seemed blasphemous to "talk" about art, "unconscious creativity" when "it's about daily bread."
In Turgenev's novel "Fathers and Sons" two strong, vivid characters collided. According to his views, convictions, Pavel Petrovich appeared before us as a representative of the "fettering, chilling power of the past", and Evgeny Bazarov - as part of the "destructive, liberating power of the present."
The value of the concept of a "psychological couple" in Turgenev's novel, in my opinion, is that it allows not only to observe the characters and be passive spectators, but helps to compare, contrast the characters, pushes the reader to the right conclusions. The heroes of Turgenev live in relationships with each other.
