We chose Turgenev's novel "Fathers and Sons", and in it the scene of Bazarov's death.
In order to do this job, you need to define what an episode is. According to the explanatory dictionary of the Russian language by S. I. Ozhegov and N. Yu. Shvedova, an episode is "a part of a literary work that has relative independence and completeness." The scene of Bazarov's death fully meets this criterion. Let us also refer to the corresponding article of the literary encyclopedic dictionary, which interprets the term "episode" as "a relatively independent unit of action" of a work, "fixing what happened within the easily visible boundaries of space and time."
Since this article divides actions in a work of art into "external" and "internal", the proposed episode can be considered as an independent unit of internal action, when "the hero's mentality is more subject to change" than his behavior. In the selected episode, the last stage of the storyline associated with the main character, the illness and death of Bazarov, is developed and completed. The time frame of the selected episode is three days (the last stage of Bazarov's illness), the scene is Bazarov's room in his father's house. Thus, the passage we have chosen about the death of Bazarov is quite suitable for the analysis of the episode.
This episode begins with the words: "The doctor, the same county doctor who did not have a hellish stone, came and, having examined the patient, advised to adhere to the methods of waiting and immediately said a few words about the possibility of recovery," and ends with the words: "And that's enough! - he said and sank down on the pillow. - Now ... darkness ... ". We defined the boundaries of the episode in this way, because the text limited to these phrases is completely devoted to the extinction of Bazarov: from the moment when he began to take possession of unconsciousness to the last word spoken in consciousness.
We chose several phrases that, in our opinion, reflect the deep feelings of the hero, his state of mind.
Bazarov "suddenly grabbed the leg of a heavy table that stood near the sofa, shook it and moved it from its place." Bazarov is aware of his powerlessness before death, is indignant that in the prime of life and full of physical strength, he is forced to resign himself to the inevitability and recognize a more powerful force that "denies" himself - death.
"I don't want to rave," he whispered, clenching his fists, "what nonsense!" Bazarov is still struggling, trying to resist the disease.
"He asked Arina Vlasyevna to comb his hair, kissed her hand ....." It is no coincidence that Bazarov shows uncharacteristic tenderness for his mother: inwardly he has already realized the inevitability of death and, in the face of eternal parting, does not want to hide his true feelings for his mother - love, respect.
When his father invites him to take communion, "...something strange crawled across his son's face, although he continued to lie with his eyes closed." This is "strange", as can be seen from the following phrases, consent to communion. He, who denied religion, has changed so much inwardly that he is ready to accept a religious rite.
"Farewell," he said with sudden force, and his eyes flashed with a last gleam.
The last flash of consciousness revealed the power of his love.
Thus, we see what deep emotional experiences and changes occur to the hero in the last moments of his life.
In the episode, the central figure is the protagonist himself, Yevgeny Bazarov, and although there are other characters in the novel (Bazarov's parents, Odintsova), they are only a background for the full disclosure of Bazarov's character. In the selected episode, the main character is revealed from a new, unexpected side. In it, he appears as a tragic figure, as Turgenev himself wrote: "The death of Bazarov (...) should, in my opinion, put the last line on his tragic figure."
In order to understand the meaning of this scene, it is important to remember what the image of Bazarov in the novel is. This is a strong, active, purposeful nature, and at first glance, nature is whole. He sees the meaning of his life in the destruction of the old foundations of society, in serving the new society. He denies all the basic foundations of the former society, both social and moral-philosophical, believing that denial is his main task, believing that he has enough strength to carry it out. But in the episode of death, the hero realizes that he is powerless, denial is impossible and meaningless: "Yes, go and try to deny death. It denies you, and that's it!" He believed that he was the master of his own life and destiny, that he could make grandiose plans and strive for their implementation. But now he finds himself in a situation that at once crossed out all his confidence with a simple and indisputable fact: he fell ill and will inevitably die. "And I also thought: I'll break off a lot of things, I won't die, where! There is a task, because I'm a giant! And now the whole task of a giant is how to die decently, although no one cares about this ...." Not only that, his plans not destined to come true, the main principle of life is nonsense, so he also understands how lonely he is and, perhaps, is not needed by the new society for which he wanted to work. "Russia needs me ... No, apparently, it is not needed. And who is needed? A shoemaker is needed, a tailor is needed, a butcher ... he sells meat ... a butcher ... wait, I'm confused ...". The internal split he feels is exposed: somewhere in the depths of his soul, Bazarov has doubts about the usefulness and expediency of his activities for the benefit of society. And immediately the revelations of Bazarov come to mind, which he shares with Arkady: "I hated this last peasant. Well, he will live in a white hut, and burdock will grow out of me (...)". It was to this inner tragedy of his hero, revealed in his dying insights, that Turgenev led the reader throughout the entire novel. The suffering of the nihilist and the destroyer is laid bare in the scene of his death. It is no coincidence that this trait of Bazarov's character was noticed by F.M. Dostoevsky, calling the hero of Turgenev "yearning Bazarov".
According to the literary encyclopedia, the climax is "the moment of the highest tension of the action in the work, when the plot conflict, the goals of the characters, their inner qualities are especially clearly revealed. In a work of a large form, where several storylines are intertwined, two or more culminations are possible." Of course, in the novel by I. S. Turgenev "Fathers and Sons" several climaxes can be distinguished. One of them is the duel scene (the storyline of Bazarov's relationship with Pavel Petrovich). The other is the scene of Bazarov's explanation with Odintsova (the storyline of Bazarov's love for Odintsova).
However, in our opinion, in the novel, all these events, one after another, serve another purpose - to reveal the character of the protagonist Bazarov more and more vividly and versatile. And we believe that it is the episode of the death of the protagonist that fully reveals his contradictory nature, being thus the culmination of the development of the image of the protagonist.
The work was done by students of grade 10-1 Mikhail Ignatiev and Igor Khmelev.
Plan of work on the analysis of an episode of a literary work. 1. Set the boundaries of the episode 2. Determine the main content of the episode and which characters are involved in it. 3. Track the change of moods, feelings of the characters, the motivation for their actions. 4. Consider the compositional features of the episode, its plot. 5. Follow the logic of the development of the author's thought. 6. Note the artistic means that create its emotional atmosphere in this episode. 7. Show the role of the episode in the work, how it is linked to other episodes, the role in revealing the author's intention 8. How the general ideological intent of the entire work is reflected in this episode.
Something to remember!!! 1. The main danger is the replacement of analysis by retelling 2. The analysis of an episode is an essay-reasoning that requires special attention to the text of the work. 3. The analysis of the episode involves attention to details, understanding their role, meaning for the image as a whole. 4. At the end of the analysis, there must be a synthesis, i.e. summary of the above.
The ideological concept of the novel "Fathers and Sons" In April 1862, Turgenev wrote to the poet K.K. Sluchevsky: "I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, vicious, honest - and yet doomed to death." And indeed, the writer carried out this plan - endowed Bazarov at the end of the novel with gloomy pessimism, skeptical attitudes towards peasants, and even forced him to say the phrase: “Russia needs me ... No, apparently not needed.” At the end of the novel, Bazarov’s “sinful, rebellious heart” is contrasted by Turgenev with “great calmness” of “indifferent nature”, “eternal reconciliation and endless life”.
We are writing an essay ... Set the boundaries of the episode The episode of the death of Yevgeny Bazarov is included in the penultimate chapter of the novel. It is important for revealing the image of the protagonist, since a completely different Bazarov appears before us, humane, weak, exalted, loving. The scene of Bazarov's death is the finale of the novel. Bazarov gradually remains alone (the Kirsanovs are the first to fall away, then Odintsova, Fenechka, Arkady. Bazarov goes to the village to his parents in order to be closer to the people. But the scene of a conversation with a peasant separates him from the people (he realizes that for a peasant he is like a jester pea )
To determine the main content of the episode and which characters participate in it Bazarov, being in the village with his parents, begins to help his father in medical practice, he examines the patients, makes them dressings. Once Yevgeny was not at home for three days, he went to the neighboring village, from where they brought a typhoid peasant, for an autopsy, explaining his absence by the fact that he had not practiced this for a long time. At the autopsy, Bazarov cut himself. On the same day, Bazarov becomes ill, both (both father and son) understand that it is typhus, that Yevgeny's days are numbered. Bazarov asks his father to go to Odintsova and invite her to him. Odintsova arrives on the very eve of Yevgeny's death with a German doctor, who states the inevitable death of Bazarov. Bazarov confesses his love for Odintsova and dies.
Track the change of moods, feelings of the characters, the motivation of their actions. To die the way Bazarov died is the same as accomplishing a feat: at the moment of death, and the expectation of death, willpower and courage were manifested in him. Feeling the inevitability of the end, he did not get scared, did not try to deceive himself, and most importantly, remained true to himself and his convictions. He gets closer before death. The mood of Yevgeny's parents, of course, changes: at first, the father was frightened when he learned about his son's cut, but then he was seized by a feeling of fear, making sure that Yevgeny was definitely sick with typhus, "... and collapsed on his knees in front of the images." Turgenev, depicting the behavior of all the participants in the episode, is trying to prove to us that a person is such a creature that is afraid to die and lose his life at any moment. But at the same time, he contrasts the behavior of the protagonist: we understand that Bazarov is ready for death, he is not afraid of it, he accepts it as something inevitable, due, only regretting a little “And I also thought: I’ll break off a lot of things, I won’t die, where ! There is a task, because I am a giant! And now the whole task of the giant is how to die decently.
Consider the compositional features of the episode, the plot. Bazarov's disease is made so strong that sometimes it seems that you yourself can get infected from it. And the end of Bazarov's life? This is so skillfully done ... You are seized by a feeling of pity, an internal contradiction: but why did he die, why did Bazarov not succeed, because in essence he is a positive hero, capable of much in life? All this is possible thanks to the skillful construction (composition) of the episode.
Composition of the episode: Exposure: bringing a patient with typhus, unconscious, quick death in a cart on the way home. The plot: Yevgeny was not at home for three days, he opened a man who had died of typhus. Development of the action: the father finds out that Yevgeny cut his finger, Bazarov becomes ill, crisis, a short improvement in his condition, the arrival of a doctor, typhus, the arrival of Odintsova Climax: a farewell meeting with Odintsova, Bazarov's death The denouement: Bazarov's funeral, moaning parents.
Follow the logic of the development of the author's thought. Bazarov dies from an accidental cut on his finger, but his death, from the author's point of view, is natural. Turgenev defines the figure of Bazarov as tragic and "doomed to perish". That's why he "killed" the hero. Two reasons: loneliness and internal conflict of the hero. The author shows how Bazarov becomes lonely. New people, who is Bazarov, look lonely compared to the bulk of a huge society. Bazarov is a representative of an early revolutionary raznochinets, he is one of the first in this matter, and it is always difficult for the first. Bazarov does not have a positive program: he only denies everything. "What's next?". This is the main reason for the death of Bazarov in the novel. The author failed to predict the future. The second reason is the internal conflict of the hero. Turgenev believes that Bazarov died because he became a romantic. Turgenev wins bazaars as long as he is a fighter, as long as there is no romance in him, no sublime feeling for nature, female beauty.
Note the artistic means that create its emotional atmosphere in this episode. To clearly reflect the train of thought of the protagonist, Turgenev uses connecting constructions in the text: "... even if something like ... infection", "well, what can I tell you ... I loved you!" The use of a question-answer form in Bazarov’s speech (“Who is crying? Mother! Poor!”) is one of the ways to show the hero’s thoughts about the meaning of life, death, and human destiny. I would especially like to note Turgenev's metaphors, the author preferred uncomplicated verbal metaphors, which naturally arise from direct observations of life (“I won’t wag my tail”, “the worm is half-crushed, but still bristles”). They give Bazarov’s speech a certain ease, simplicity, help win over the hero, believe that he is not afraid of the approach of death, it is she (death) who should be afraid of him.
Conclusion Thus, death gave Bazarov the right to be what, perhaps, he always was - doubting, not afraid to be weak, exalted, able to love ... will doom itself not the only possible, fatal, tragic - Bazarov - fate. However, Turgenev completed his novel with an enlightened picture of a quiet rural cemetery, where Bazarov’s “passionate, sinful, rebellious heart” rested and where “two already decrepit old men often come from a nearby village - a husband and wife - Bazarov’s parents”
Figurative and expressive means of language Anaphora - places accents. Epiphora - places accents. Antithesis - opposition. Oxymoron - based on unique, unexpected semantic associations; shows the complexity of the phenomenon, its multidimensionality, attracts the reader's attention, enhances the expressiveness of the image. Gradation - specifies the concept in the direction of increasing or decreasing Ellipse - shows the emotional state of the speaker (excitement), accelerates the pace. Silence - makes you think about what the author does not say. Rhetorical appeal - emphasizes the emotionality of the author's speech, directed to the subject of the artistic image. Rhetorical question - emphasizes the emotionality of the author's speech (the question does not require an answer) Polyunion - gives solemnity to the speech, slows down the pace. Non-union - makes speech more dynamic, excited. Lexical repetition - highlights the most significant keyword of the text.
Lesson 9 Bazarov in the face of death
The purpose of the lesson: bring students to the answer to the question: why does Turgenev end the novel with the scene of the death of the protagonist?
During the classes
I. opening talk
We analyzed Bazarov's relationship with all the main characters: Kirsanov, Odintsova, his parents and partly with the people. Each time, the objective superiority of Bazarov over the rest of the heroes was clarified. It would seem that the theme of the novel is exhausted. Nevertheless, from the 22nd chapter, the second cycle of the hero’s wanderings begins to repeat in plot and composition: Bazarov first gets to the Kirsanovs, then to Odintsova, and again to his parents.
(Bazarov makes the second circle changed: life forced him to accept his romance. This is the new Bazarov, who has known doubts, painfully trying to maintain his theory. Bazarov is faced with the need to know himself and the world. It is important for Turgenev to show whether this will make Bazarov change in his relations with people whether the people, the environment have changed.)
Has anything changed in Maryino, have the Kirsanovs changed their minds after the disputes with Bazarov? (chapter 22-23).
(The same disorder reigns on the Kirsanov estate. Pavel Petrovich's dislike for Bazarov has not diminished. Bazarov returns to the Kirsanovs because it is more convenient for him to work there. But even without ideological disputes, their stay together is impossible. Pavel Petrovich comes to a knightly resolution of the conflict - to a duel .)
Did the duel resolve the dispute in favor of Pavel Petrovich? How do we see him after the duel? (ch. 24)
(Pavel Petrovich was not only wounded, but also morally killed in this duel. Pavel Petrovich is shown comically, the emptiness of elegant noble chivalry is emphasized. After the duel, Bazarov faces not an arrogant aristocrat, not an idiot uncle, but a physically and morally suffering elderly man).
How, in connection with what is the break between Bazarov and Arkady? What has changed in their relationship? (Ch. 21, 22, 25)
(Bazarov and Arkady are in Maryino for the second time, the split begins when Bazarov is nervous, annoyed by relations with Odintsova. Arkady was seized by a desire to test his strength alone, without patronage. That is why Arkady goes to Nikolskoye: “before he would only shrug his shoulders, if only someone told him that he could get bored under the same roof with Bazarov ... "Earlier, Arkady cherished friendship with Bazarov, made sure that he was well received in Maryina, extolled Bazarov's knowledge and simplicity. Youth always chooses its idols. Arkady it is flattering to be a friend of such a person. He repeats his statements with pleasure. Moreover, Arkady far from agrees with his friend in everything. He is embarrassed to talk about the beauty of nature under Bazarov. He does not feel equal in friendship, he only submits to the influence of Bazarov, imitates him in behavior, and in ideas. Therefore, it is not surprising that he returned to the “bosom of his fathers.” As soon as he met Katya, the feeling of love ousted all traces of nihilism from him. No wonder Katya calls him tame.")
Why is Bazarov sure that they are saying goodbye forever? (ch. 25)
(Even earlier, Bazarov felt the difference in their views with Arkady. The scene under the stack ends in a quarrel. Even then he told him that he was a “tender soul.” Seeing Arkady upon arrival in Nikolskoye, Bazarov immediately understood everything. Read: “you have already parted with me ... a liberal barich". With these words, Bazarov summed up Arkady's short-term passion for nihilism. It is not easy for Bazarov to lose Arkady, which is why he bitterly utters his farewell words: "I expected a completely different direction from you." This is how relations with Arkady and the Kirsanovs in general end , since if the tame Arkady leaves Bazarov, then he can no longer have rapprochement with the rest.)
Exercise.
Why did Turgenev oppose these representatives of the nobility to Bazarov? These are the best representatives of the nobility, compare them with the provincial society: “if cream is bad, what about milk?”
II. Analysis of Bazarov's death scene
Let's turn to the last pages of the novel. What feeling do the last pages of the novel evoke?
(A feeling of pity that such a person is dying. A.P. Chekhov wrote: “My God! What a luxury “Fathers and Sons”! Just shout at the guard. as if I had been infected by him. And the end of Bazarov? It's the devil knows how it's done (Read excerpts from chapter 27).
What do you think Pisarev meant when he wrote: “To die the way Bazarov died is the same as doing a great feat”?
(At that moment, Bazarov’s willpower and courage appeared. Feeling the inevitability of the end, he did not get scared, did not try to deceive himself, and most importantly, remained true to himself and his convictions. Bazarov’s death is heroic, but attracts not only Bazarov’s heroism, but also the humanity of his behavior ).
Why does Bazarov become closer to us before his death?
(Romance was clearly revealed in him, he finally uttered the words that he used to be afraid of: “I love you! Farewell ... because I didn’t kiss you then ... Blow on the dying lamp and let it go out ...” Bazarov becomes more humane .)
Why, after all, does Turgenev end the novel with the scene of the death of the hero, despite his superiority over other heroes?
(Bazarov dies from an accidental cut of his finger, but his death, from the author's point of view, is natural. Turgenev will define the figure of Bazarov as tragic and "doomed to death." That is why he "killed" the hero. Two reasons: loneliness and internal conflict of the hero.
The author shows how Bazarov remains lonely. The Kirsanovs are the first to fall away, then Odintsova, then the parents, Fenechka, Arkady, and the last cut off of Bazarov - from the people. The new people look lonely compared to the vast mass of the rest of society. Bazarov is a representative of an early revolutionary raznochinets, he is one of the first in this matter, and it is always difficult for the first. They are alone in the small estate and urban noble environment.
But Bazarov dies, but like-minded people remain who will continue the common cause. Turgenev did not show Bazarov's like-minded people and thus deprived his business of prospects. Bazarov does not have a positive program, he only denies it, since Bazarov cannot answer the question: “What next?” What to do after destroyed? This is the futility of the novel. This is the main reason for the death of Bazarov in the novel, the main reason that the author could not chart the future.
The second reason is the internal conflict of the hero. Turgenev believes that Bazarov died because he became a romantic, since he did not believe in the possibility of a harmonious combination of romance and the strength of a civil spirit in new people. That is why Turgenev's Bazarov wins as a fighter, as long as there is no romance in him, no sublime feeling for nature, female beauty.)
(Turgenev loved Bazarov very much and repeated many times that Bazarov was a “clever man” and a “hero.” Turgenev wanted the reader to love Bazarov (but by no means Bazarovism) with all his rudeness, heartlessness, ruthless dryness.)
III. teacher's word
Literary critics have repeatedly called the lack of solid ground under their feet as the main cause of Bazarov's death. In confirmation of this, his conversation with a peasant was cited, in which Bazarov turns out to be "something like a pea jester." However, what Turgenev sees as the doom of his hero does not come down to Bazarov's inability to find a common language with the peasant. Can Bazarov's tragic dying phrase: "... Russia needs me ... No, apparently, it is not needed ..." - can be explained by the above reason? And most importantly, "the story of the hero is included in the writer's common theme of the death of a person in the crucible of natural forces beyond his control", "elemental forces - passion and death."
Turgenev did not put up with the metaphysical insignificance of man. It was his unceasing pain, growing out of the awareness of the tragedy of human fate. But he is looking for support for a person and finds it in the "dignity of the consciousness of his insignificance." That is why his Bazarov is convinced that in the face of a blind force that destroys everything, it is important to remain strong, as he was in life.
It is painful for the dying Bazarov to recognize himself as a “half-crushed worm”, to be an “ugly spectacle”. However, the fact that he managed to achieve a lot on his way, managed to touch the absolute values of human existence, gives him the strength to adequately look into the eyes of death, to adequately live up to the moment of unconsciousness.
The poet is talking to Anna Sergeevna, who, completing his earthly journey, found for himself the most accurate image - the “dying lamp”, whose light symbolized the life of Bazarov. Always despising a beautiful phrase, now he can afford it: "Blow on the dying lamp and let it go out ..."
On the threshold of death, Turgenev's hero, as it were, draws a line under his disputes with Pavel Petrovich about whether such, as Kirsanov ironically remarked, are needed, "deliverers, heroes" of Russia. "I need Russia?" - Bazarov, one of the "deliverers", asks himself, and does not hesitate to answer: "No, apparently, it is not needed." Perhaps he was aware of this while still arguing with Pavel Kirsanov?
Thus, death gave Bazarov the right to be what, perhaps, he always was - doubting, not afraid to be weak, exalted, able to love ... The uniqueness of Bazarov lies in the fact that through the whole novel he will pass in many ways not like that person and thereby dooming himself to the only possible, fatal, tragic - Bazarov - fate.
However, Turgenev completed his novel with an enlightened picture of a quiet rural cemetery, where Bazarov’s “passionate, sinful, rebellious heart” rested and where “two already decrepit old men often come from a nearby village - a husband and wife” - Bazarov’s parents.
IV. Preparing to write an essay. Topic selection
Approximate topics for writing a home essay based on the novel by I. S. Turgenev "Fathers and Sons":
E. Bazarov and P. P. Kirsanov;
- “Damned barchuks” (N. P., P. P., Arkady, Kirsanovs, Odintsova);
- "Rebellious Heart" (image of E. Bazarov);
Why does Russia need the Bazarovs?
Bazarov and the Russian people;
- “To die the way Bazarov died is the same as doing a great feat” (Pisarev);
The meaning of the title of the novel by I. S. Turgenev "Fathers and Sons";
The problem of "fathers" and "children" in the image of Turgenev;
Is the problem of "fathers" and "children" obsolete today?
What does Turgenev criticize in the "fathers" and in what way does he disagree with the "children"?
What makes Bazarov a hero of his time?
Homework
1. Write an essay on one of the proposed topics.
2. Prepare to test knowledge on the work of I. S. Turgenev.
Additional material for the teacher
The image of the central character of the novel "Fathers and Sons" is unique. In a letter to A. Fet, Turgenev made an important confession: “Did I want to scold Bazarov or exalt him? I do not know this myself, for I do not know whether I love him or hate him. And no matter how the author assures of sympathy for his hero: “Bazarov is my favorite brainchild,” no matter how much he sympathizes with him, one cannot help but see how alien the very “Bazarov type” is to Turgenev.
“... the main figure, Bazarov, was based on one personality of a young provincial doctor that struck me ... - Turgenev wrote in the article “About“ Fathers and Sons ”. - In this remarkable person, a barely born, still fermenting beginning was embodied, which later received the name of nihilism. The impression made on me by this person was very strong and at the same time not entirely clear ... "
The writer, having begun work on the novel, even began to write a diary on behalf of Bazarov in order to delve into the essence of the hero, to understand him.
Bazarov is “a hero of the time when the social forces of death and rebirth, old and new” oppose each other, act simultaneously. Such eras give rise to unpredictable personalities built on internal conflict. Therefore, it is impossible to unambiguously determine Turgenev's attitude to his "beloved brainchild", to the hero of the novel "Fathers and Sons" Yevgeny Bazarov.
The author not only does not share Bazarov's nihilistic convictions, but throughout the course of the novel consistently debunks them. And at the same time, the writer has a great interest in his hero, who reflected the era in all its contradictions. No matter how sweet Nikolai Petrovich was to Turgenev, you cannot explore the era in his personality. Arkady is even less interesting to him - a weak copy of his father. The hero of time becomes, first of all. strong, socially active personality. And such individuals cannot but be interested in literature. The very personality of Bazarov attracts the author. Indeed, Turgenev, in an effort to love and understand Bazarov, creates an image that is not flawless, but humanly very interesting, causing curiosity at first, and compassion by the end of the novel. Bazarov will not leave anyone indifferent for a second. It causes hatred or love, but there is nothing in it that gives rise to boredom.
The moment of social reconstruction necessarily presupposes the actions of people-destroyers. But what is the actual interaction of such heroes with the era? What does their nihilism bring to society and what does it give to the nihilists themselves? Turgenev sought to answer these questions.
What turns Turgenev away from nihilism? Why didn't the author act for a second as an ideological supporter of Bazarov? From his point of view, nihilism is doomed, because it does not have an ultimate positive goal. Here it is, Turgenev's first accusation. The author does not cling to the dilapidated "principles" that have become the armor of Pavel Petrovich. He is looking for something new in the coming times. But what is new about Bazarov? His ideas, in essence, are as old as the world: destruction, annihilation. What is new and unprecedented in this? The Romans had already destroyed the culture of Ancient Hellas; Peter I had already destroyed patriarchal Rus'... And then, on the scorched ashes, the seeds of the former culture germinated for a long, hard time. But how much was lost in the process! True humanism consists in the rejection of such reckless destruction for the sake of the obscure utopias of a brighter future. Therefore, Turgenev could not sympathize with the ideas of Russian nihilism.
Nihilism is based on the philosophy of vulgar materialism. Everything is sacrificed for momentary practical benefit. In the words of Mayakovsky, they are only interested in what is "weighty, rude, visible." From this point of view, Pushkin is nonsense, Rafael is worth a penny, any decent scientist is better than a poet. Love for nihilists turns out to be only a physiological attraction of males and females, nature is a workshop, and all people are the same, like trees in a forest, Bazarov scoffs at the speeches about the “mysterious looks” of Pavel Petrovich’s beloved and recommends Arkady to study the “anatomy of the eye: where does it come from, as you say, a mysterious look? Therefore, the proverb lies, arguing that the eyes are the mirror of the soul. Where is the mirror at the intersection of the optic nerves? And no soul. And there is only what you can take in your hands and put to work. How simple and clear the world is becoming! Nature turns out to be just a workshop, meaningless and dead without a human master. But then this "worker" came. What will he do with nature? In pursuit of immediate gain, such a worker will turn back rivers, destroy the ozone layer, destroy entire plant species and animal populations. We, the people of the end of the 20th century, know about these results of the activity of vulgar materialists. Turgenev did not know about them. With the ingenious perspicacity of an artist, he saw in Bazarov's convictions the germ of future tragedies.
Turgenev is a great psychologist. His Bazarov, being cynical and shameless in words, is a moral person at heart. He preaches the following theory to Arkady: “Do you like a woman ... try to get the point; but you can’t - well, don’t, turn away - the earth hasn’t converged like a wedge. But he will not be able to put these views into practice; according to the Bazarov theory, Arkady, who was indignant at it, would act like this: having understood; that Odintsova is not interested in him, he will insensitively “switch” to the more accessible Katya.
Without realizing it, Bazarov lives by fairly high moral principles. But these principles and nihilism are incompatible, something will have to be abandoned.
Turgenev tries in the novel to show the failure of nihilistic philosophy, since, while denying spiritual life, it also denies moral principles. Love, nature, art are not just high words. These are the fundamental concepts underlying human morality. Blind admiration for authorities is stupid, but their blind denial is no smarter. Life is too short for each person to start building the world from scratch, rejecting everything that was discovered and created by their ancestors.
You can not love Pushkin and Raphael: there is no crime in the fact that their work is alien to you. But in general to deny them on the grounds that you do not know them, do not understand them, is a sign of a small mind. Therefore, Pavel Petrovich was not so far from the truth, throwing a reproach to Bazarov: “Before, young people had to study; they did not want to pass for ignoramuses, so they involuntarily worked. And now they should say: everything in the world is nonsense! - and it's in the hat. The young people rejoiced. And in fact, before they would have been just blockheads, and now they have suddenly become nihilists. This is a portrait of the "disciples and followers" of Bazarov, Kukshina and Sitnikov. The images of these heroes become an indirect means of exposing nihilism. Philosophy, which has such stupid and ignoble followers as Kukshina and Sitnikov, a thinking person cannot but raise doubts: apparently, there is something in nihilism that is attractive specifically for them - simplicity, accessibility, optional mind, education, honor, immorality.
So consistently the author debunks the beliefs of the protagonist; beliefs that Turgenev himself did not accept. “I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, vicious, honest - and yet doomed to death, because it still stands on the eve of the future,” Turgenev wrote about Bazarov, arguing that Bazarov is "a tragic face." What is the tragedy of this hero? From the point of view of the author, first of all, that the time of the Bazarovs has not come.
Turgenev's Bazarov himself feels this: dying, he utters bitter words: "Russia needs me ... No, apparently, it is not needed."
With special force, Bazarov as a “tragic face” is revealed in the chapter depicting his death. In the face of death, the best properties of Bazarov are manifested: tenderness for parents, hidden under external severity, poetic love for Odintsova; thirst for life, work, achievement, social cause; willpower, courage in the face of the threat of inevitable death. We hear words so unusual for Bazarov, full of poetry: “Blow on a dying lamp, and let it go out ...” We also hear words full of love and pity about parents: “After all, people like them are in your great light in the afternoon with fire can’t be found ... "We hear his frank confessions:" And I also thought: I’ll break off a lot of things, I won’t die, where! There is a task, because I am a giant!”
The pages depicting Bazarov’s illness and death perhaps most clearly express the author’s attitude towards his hero: admiration for his courage, mental fortitude, mournful feelings caused by the death of such an original, strong person.
The death of Bazarov makes his image truly tragic. The tragedy increases in the epilogue, from which we learn that Bazarov died without leaving any followers. Arkady became a landowner; with two or three chemists, unable to distinguish oxygen from nitrogen, but full of denial. Sitnikov hangs around in St. Petersburg and, according to his assurances, continues Bazarov's "work".
Turgenev did not believe that the people of the Bazarov warehouse would find a way to renew Russia. But he accepted their moral strength and great social significance.
“... If the reader does not fall in love with Bazarov with all his rudeness, heartlessness, ruthless dryness and harshness,” wrote Turgenev, “if he does not fall in love with him, I repeat, I am to blame and did not achieve my goal.”
In the 60s of the XIX century, Russia was embraced by a new trend of "nihilists" and J.S. Turgenev studies its foundations, its directions with interest. He creates a wonderful novel "Fathers and Sons", the main character of which is an ardent representative of the nihilists.
Appears before readers. Throughout the novel, the author tries to reveal the features of his character, demeanor, habits and life principles.
Eugene was a hardworking person who studied natural sciences, devoted all his time to research. The hero is of the opinion that society needs only useful sciences, such as physics, mathematics or chemistry. They can be much more useful than ordinary poetry and poems.
Bazarov is blind in relation to the surrounding beauties of nature, he does not perceive art, does not believe in religion. According to the principles of the nihilists, he is trying to destroy everything that the ancestors left and handed over. In his opinion, it is necessary to clear the place in order to create something new. But, creation is no longer his concern.
The main character is extremely smart and witty. He is independent and independent. However, such a position in life is quite dangerous, because it fundamentally contradicts the normal laws of human existence.
Deep changes take place in the soul of the hero after he falls in love with Anna Odintsova. Now Eugene understands what feelings are, what romance is. And most importantly, the emotions that have appeared are absolutely not subject to reason, they are difficult to manage. Everything that Eugene lived before is destroyed. All the life theories of the nihilists are dispelled. Bazarov does not know how to live on.
To put things in order in his thoughts, the hero leaves for his parents' house. And then misfortune befalls him. At the autopsy of a typhoid patient, Eugene becomes infected with a virus. Now, he will die! But, the desire to live in it flared up more and more. He understood that neither chemistry nor medicine would save him from death. And at such a moment, Bazarov thinks about the existence of a real God, who could miraculously correct the whole situation.
He asks his parents to pray for him. Right now, just before his death, Eugene understands the value of life. He looks differently at his parents, who were madly in love with their son. He rethinks his love for Anna. He calls Odintsova to him, goodbye and the woman fulfills the request of Eugene. It is in moments of communication with his beloved that Bazarov reveals the true essence of his soul. Only now he realizes that he lived his life completely senselessly, that he left nothing behind.
Turgenev's hero was endowed with intelligence, strength, and diligence. He was a good man who fell under the influence of nihilism. And what happened in the end? It was nihilism that killed all human impulses in his soul, destroyed all the bright dreams that a person can aspire to.
Reading the novel by Turgenev I. S. “Fathers and Sons”, we are watching with awe a man named Yevgeny Vasilyevich Bazarov. What is special about it? In appearance, this is a simple district doctor who received the profession as an inheritance from his father. He is hardworking and close to the people. But, nevertheless, there is something unusual in it.
This is his nihilism.
Bazarov always stood out from the crowd in that he denied everything. Things close to many of us, such as nature, love, religion, were alien to him. Even in himself, he constantly noticed that the further he went, the less he felt for family and friends.
But, in no case, you can not criticize him. Another characteristic feature of Bazarov was perseverance. He enjoyed working. Occupying the position of a doctor, he was constantly connected with people, which allowed him to enjoy universal respect. He was loved by children, workers, and those around him. He seemed to them simple and understandable.
One way or another, the novel brings us to a key moment - the death of Bazarov. According to history, we see that Eugene dies from blood poisoning.
But, in fact, everything connected with this tragedy carries a deeper meaning.
Turgenev sees in his hero a doomed man. There are two main reasons here: Bazarov's loneliness and inner feelings.
The peculiarity of the last days of the hero was that he gradually began to realize all those things that he so diligently resisted. He confesses his love to his beloved, begins to treat his parents in a new way. Bazarov finally realized how important parents are in life and that they really deserve respect and attention from their son.
This man had extraordinary willpower. He firmly looked death in the eyes and was not afraid. Eugene was able to fully evaluate his life and draw all conclusions. As a result, he is the simplest person who has his own life and his own fears.
It was probably difficult for him to come to terms with the fact that science, in which he firmly believed, became the cause of his incurable disease. Medicine could not save him.
I like how passionate he was. It cannot be called weak or unnecessary. He tried his best to be helpful. But at the end of his life, he thinks about the fact that he could not serve his Motherland. He reproaches himself for it. But we see in him a hero who courageously, steadfastly, stubbornly achieves his goal.
Bazarov is an example of a person who needs neither support nor compassion. He alone is able to overcome any obstacles. He is fine alone. Yes, he is alone, but he does not feel it.
When we hear about people who are on the verge of death, we often notice that they begin to ask for help, pray to God and people to save them. But our hero did not flatter himself with foolish hopes, but steadfastly looked ahead. There is no fear in him, only regret. Probably everyone feels this way. Throughout life, we have many plans, but in the bustle we miss a lot. And so, in the end, we understand that we lost a lot and did not do it.
The author shows interesting moments where the hero experiences new feelings that were previously unknown to him. He thinks about forests, about nature, even about religion. Bazarov understands how much he has lost and that nothing can be returned. There is something more here. It was as if everything he denied was about to take him to another world.
Another question that confronts us is why did Turgenev kill the hero. The main reason, in my opinion, is the state of society at that time. The people were not ready to accept the new democratic reforms. So the symbol of the Hero simply could not last longer.
For me, Evgeny Vasilyevich Bazarov is a person who tirelessly adhered to his principles, which deserves respect and memory.
