It would seem that I. S. Turgenev's novel "Fathers and Sons" could complete the scene of Bazarov's departure from life. The author brought his hero to its logical conclusion - death. Living life destroys the views of Eugene. He tried not to notice the beauty of the surrounding world, not to succumb to the charm of music, art, but he could not help falling in love. Love destroys all Bazarov's previous ideas, he indignantly notices romance in himself, but he cannot do anything with himself. I also couldn't get lost at work. Exhausted by an unrequited feeling, Bazarov does not look like his former self, which is probably why Turgenev leads his hero to death. This is another test that befell Bazarov, because without thinking about death there is no understanding of the meaning of life.II. Analysis of the final episode of the novel “Fathers and Sons.” - Lying in the shade of a haystack, Bazarov will tell Arkady: “Well, he (the man) will live in a white hut, and burdock will grow out of me ...” - What did the hero come to? Answer. Bazarov, exaggerating, very accurately expresses his thought: we fuss, achieve something, but man is insignificant in the face of eternity, in the face of endless life. It is this idea that is the main one in the episode describing the rural cemetery and Bazarov's grave. Why didn't Turgenev end the novel with the scene of his hero's death? Answer. Because life goes on without this strong personality. - Where does the passionate, rebellious heart of Bazarov rest? What does the author say about this? Answer. "... in a small rural cemetery in one of the remote corners of Russia." - Why did he deliberately alienate his hero from the capital centers? Answer. Because here, in crowding, in the bustle, only insane theories (Raskolnikov) can be born, where a person is “spoiled” by education (Onegin and Pechorin). One can argue about the role of cities, but Russian writers spoke about their negative impact on people. - So, far from the bustle, in the depths of Russia, Bazarov now rests. The picture painted by Turgenev is in contrast to the life that his hero led. What is the symbol of this life in the final episode? Answer. Sheep that "wander freely over the graves ..." Isn't it true that a man, a lost sheep, roams the world, through life, tramples on the past (the cemetery and the graves on it are the past), plucks trees (a symbol of life, knowledge)? - Why do sheep pluck trees and not grass? Answer. Trees are a symbol of life, and leaves are knowledge. A person does not see the only way, the way to God, according to Turgenev, endless life. - The author says that “man does not touch Bazarov’s grave. Why? Answer. Because "an iron fence surrounds it." Stupid sheep can't get to her, don't disturb Yevgeny's peace. - And what does the "iron fence" on the grave say about? Answer. As Bazarov lived his short life apart, so now he is alone. - Who goes to the grave of Eugene? - And only parents can touch the dumb stone, but birds fly, free, free, not knowing worries and sorrows, feeding on what God sent, rejoicing at every minute of life. - What do the songs of birds mean? Answer. This is romanticism, which Bazarov denied, and part of the living life that defeated this hero.
The problem of fathers and children can be called eternal. But it is especially aggravated at turning points in the development of society, when the older and younger generations become spokesmen for the ideas of two different eras. It is such a time in the history of Russia - the 60s of the XIX century ...
The novel “Fathers and Sons” is one of the best works of the wonderful Russian writer I.O. Turgenev. Written in the second half of the nineteenth century, this work remains popular and read in our time. There are many reasons for this: and eternal themes ...
The title of the novel "Fathers and Sons" is often understood in a very simplified way: a change in the social ideology of generations, a conflict between aristocrats and raznochintsy. But Turgenev's novel is not limited to the social sphere alone, it also has a psychological ...
One of the most important features of Turgenev's work is the desire to understand everything that is happening in the country. A vivid novel that reflected a whole stage in the historical development of Russia in the second half of the 19th century was the novel Fathers and Sons. The title of the piece...
Despite the undoubted originality of the novel "Fathers and Sons", we cannot but pay attention and draw parallels with the works of other authors, and also note the connection of the novel with the entire world mythology. Turgenev's novel is extremely symbolic. For example,...
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The ideas of nihilism have no future;
Let later, but the epiphany of the hero, awakening: human nature prevails over an erroneous idea;
Bazarov seeks not to show his suffering, to console his parents, to prevent them from seeking solace in religion.
The mention of Sitnikov and Kukshina is a confirmation of the absurdity of the ideas of nihilism and its doom;
The life of Nikolai Petrovich and Arkady is an idyll of family happiness, far from public disputes (a variant of the noble path in future Russia);
The fate of Pavel Petrovich – the result of a life ruined by empty love affairs (without a family, without love, away from the Motherland);
The fate of Odintsova is a variant of a fulfilled life: the heroine marries a man who is one of the future public figures of Russia;
The description of Bazarov's grave is a declaration of the eternity of nature and life, the temporality of empty social theories that claim to be eternal, the futility of the human desire to know and change the world, the greatness of nature compared to the vanity of human life.
Evgeny Vasilyevich Bazarov is the protagonist of the novel. Initially, the reader only knows about him that he is a medical student who has come to the village for the holidays. First, Bazarov visits the family of his friend Arkady Kirsanov, then he goes with him to the provincial city, where he meets Anna Sergeevna Odintsova, lives for some time in her estate, but after an unsuccessful declaration of love he is forced to leave and, finally, ends up in his parents' house, where he was heading from the beginning. He does not live long in his parents' estate, longing drives him away and makes him repeat the same route once again. In the end, it turns out that there is no place for him anywhere. Bazarov returns home again and soon dies.
The basis of the actions and behavior of the hero is his commitment to ideas. nihilism. Bazarov calls himself a “nihilist” (from the Latin nihil, nothing), that is, a person who “recognizes nothing, respects nothing, treats everything from a critical point of view, does not bow to any authorities, does not accept a single principle faith, no matter how much respect this principle may be surrounded by. He categorically denies the values of the old world: its aesthetics, social order, the laws of life of the aristocracy; love, poetry, music, the beauty of nature, family ties, such moral categories as duty, right, duty. Bazarov acts as a merciless opponent of traditional humanism: in the eyes of the “nihilist”, humanistic culture turns out to be a refuge for the weak and timid, creating beautiful illusions that can serve as their justification. The "nihilist" opposes the humanistic ideals with the truths of natural science, which affirm the cruel logic of life-struggle.
Bazarov is shown outside the environment of like-minded people, outside the sphere of practical work. Turgenev speaks of Bazarov's readiness to act in the spirit of his democratic convictions - that is, to destroy in order to make room for those who will build. But the author does not give him the opportunity to act, because, from his point of view, Russia does not yet need such actions.
Bazarov fights against the old religious, aesthetic and patriarchal ideas, mercilessly ridicules the romantic deification of nature, art and love. He affirms positive values only in relation to the natural sciences, based on the conviction that man is a “worker” in the workshop of nature. A person appears to Bazarov as a kind of bodily organism and nothing more. According to Bazarov, society is to blame for the moral shortcomings of individuals. With the right organization of society, all moral diseases will disappear. Art for the hero is a perversion, nonsense.
Bazarov's test of love for Odintsova."Romantic nonsense" considers Bazarov and the spiritual refinement of love feelings. The story of Pavel Petrovich's love for Princess R. is not introduced into the novel as an interstitial episode. He is a warning to the arrogant Bazarov
In a love collision, Bazarov's beliefs are tested for strength, and it turns out that they are imperfect, cannot be accepted as absolute. Now Bazarov's soul is splitting into two halves - on the one hand, we see the denial of the spiritual foundations of love, on the other hand, the ability to passionately and spiritually love. Cynicism is being replaced by a deeper understanding of human relationships. A rationalist who denies the power of true love, Bazarov is seized by a passion for a woman who is alien to him both in social status and in character, so seized that failure plunges him into a state of depression and longing. Rejected, he won a moral victory over a selfish woman from the noble circle. When he sees the complete hopelessness of his love, nothing causes him love complaints and requests. He painfully feels the loss, leaves for his parents in the hope of being healed of love, but before his death he says goodbye to Odintsova as to the beauty of life itself, calling love a "form" of human existence.
The nihilist Bazarov is capable of truly great and selfless love, striking us with depth and seriousness, passionate tension, integrity and strength of heartfelt feelings. In a love conflict, he looks like a large, strong personality, capable of a real feeling for a woman.
Bazarov and Pavel Petrovich Kirsanov. Pavel Petrovich Kirsanov - aristocrat, Angloman, liberal. In essence, the same doctrinaire as Bazarov. The very first difficulty - unrequited love - made Pavel Petrovich incapable of anything. A brilliant career and secular successes are interrupted by tragic love, and then the hero finds a way out in giving up hopes for happiness and in fulfilling moral and civic duty, Pavel Petrovich moves to the village, where he tries to help his brother in his economic transformations and advocates liberal government reforms. Aristocracy, according to the hero, is not a class privilege, but a high social mission of a certain circle of people, a duty to society. An aristocrat should be a natural supporter of freedom and humanity.
Pavel Petrovich appears in the novel as a convinced and honest man. but clearly limited. Turgenev shows that his ideals are hopelessly far from reality, and his position in life does not provide peace of mind even to himself. In the reader's mind, the hero remains lonely and unhappy, a man of unfulfilled aspirations and an unfulfilled destiny. This, to a certain extent, brings him closer to Bazarov. Bazarov is a product of the vices of the older generation, his philosophy is the denial of the life attitudes of the "fathers". Turgenev shows that absolutely nothing can be built on denial, because the essence of life lies in affirmation, not denial.
Duel of Bazarov and Pavel Petrovich. For the insult inflicted on Fenechka, Pavel Petrovich challenged Bazarov to a duel. This is also the conflict node of the work. The duel completed and exhausted his social conflict, for after the duel Bazarov would forever part with both the Kirsanov brothers and Arkady. She, putting Pavel Petrovich and Bazarov in a situation of life and death, thereby revealed not separate and external, but the essential qualities of both. The true reason for the duel is Fenechka, in whose features Kirsanov Sr. found similarities with his fatal beloved Princess R. and whom he also secretly loved. It is no coincidence that both antagonists have feelings for this young woman. Unable to wrest true love from their hearts, they try to find some kind of surrogate for this feeling. Both heroes are doomed people. Bazarov is destined to die physically. Pavel Petrovich, having settled the marriage of Nikolai Petrovich with Fenechka, also feels like a dead man. The moral death of Pavel Petrovich is the departure of the old, the doom of the obsolete.
Arkady Kirsanov. In Arkady Kirsanov, the unchanging and eternal signs of youth and youth, with all the advantages and disadvantages of this age, are most openly manifested. Arkady's "nihilism" is a lively play of young forces, a youthful feeling of complete freedom and independence, an ease of attitude towards traditions and authorities. The Kirsanovs are equally far from both the noble aristocracy and the raznochintsy. Turgenev is interested in these heroes not from a political, but from a universal point of view. The ingenuous souls of Nikolai Petrovich and Arkady retain their simplicity and worldly unpretentiousness in the era of social storms and catastrophes.
Pseudonihilists Kukshin and Sitnikov. Bazarov is alone in the novel, he has no true followers. It is impossible to consider the successors of the work of the hero of his imaginary comrades-in-arms: Arkady, who, after his marriage, completely forgets about his youthful passion for fashionable free-thinking; or Sitnikova and Kukshina - grotesque images, completely devoid of the charm and conviction of the "teacher".
Kukshina Avdotya Nikitishna is an emancipated landowner, a pseudo-nihilist, cheeky, vulgar, frankly stupid. Sitnikov is a pseudo-nihilist, recommended to everyone as a "student" of Bazarov. He is trying to demonstrate the same freedom and harshness of judgments and actions as Bazarov's. But the resemblance to the "teacher" turns out to be parodic. Next to a truly new man of his time, Turgenev put his caricatured “double”: Sitnikov’s “nihilism” is understood as a form of overcoming complexes (he is ashamed, for example, of his father-farmer, who profits from soldering the people, at the same time he is burdened by his human insignificance ).
The worldview crisis of Bazarov. Denying art and poetry, neglecting the spiritual life of a person, Bazarov falls into one-sidedness, without noticing it himself. By challenging the "damned barchuks", the hero goes too far. The denial of "your" art develops in him into a denial of art in general; the denial of "your" love - into the assertion that love is a "feigned feeling", explicable only by the physiology of the sexes; the denial of sentimental noble love for the people - in contempt for the peasant. Thus, the nihilist breaks with the eternal, enduring values of culture, placing himself in a tragic situation. Failure in love led to a crisis in his worldview. Two riddles arose before Bazarov: the mystery of his own soul and the riddle of the world around him. The world, which seemed simple and understandable to Bazarov, becomes full of secrets.
So is this theory necessary for society and do you need to him this type of hero like Bazarov? The dying Yevgeny tries to meditate on this with bitterness. “Russia needs me... no. apparently not needed,” and he asks himself the question: “Yes, and who is needed?” The answer is unexpectedly simple: we need a shoemaker, a butcher, a tailor, because each of these inconspicuous people does their job, working for the good of society and without thinking about lofty goals. Bazarov comes to this understanding of truth on the verge of death.
The main conflict in the novel is not the dispute between "fathers" and "children", but internal conflict experienced by Bazarov, the demands of living human nature are incompatible with nihilism. Being a strong personality, Bazarov cannot renounce his convictions, but he is not able to turn away from the demands of nature either. The conflict is unresolvable, and the hero is aware of this.
Bazarov's death. Bazarov's convictions come into tragic conflict with his human essence. He cannot give up his convictions, but he cannot stifle the awakened person in himself. For him there is no way out of this situation, and that is why he dies. The death of Bazarov is the death of his doctrine. The suffering of the hero, his untimely death is the necessary payment for his exclusivity, for his maximalism.
Bazarov dies young, without having time to start the activity for which he was preparing, without completing his work, alone, without leaving behind children, friends, like-minded people, not understood by the people and far from him. His great power is wasted. The gigantic task of Bazarov remained unfulfilled.
In the death of Bazarov, the political views of the author were manifested. Turgenev, a true liberal, a supporter of the gradual, reformist transformation of Russia, an opponent of all revolutionary outbursts, did not believe in the promise of revolutionary democrats, could not place great hopes on them, perceived them as a great force, but transient, believed that they would very soon come down from historical arena and will give way to new social forces - gradualist reformers. Therefore, the democratic revolutionaries, even if they were smart, attractive, honest, like Bazarov, seemed to the writer tragic loners, historically doomed.
The death scene and the scene of Bazarov's death is the most difficult exam for the right to be called a person and the most brilliant victory of the hero. “To die as Bazarov died is the same as doing a great feat” (D. I. Pisarev). Such a person who knows how to die calmly and firmly will not retreat in the face of an obstacle and will not flinch in the face of danger.
The dying Bazarov is simple and humane, there is no need to hide his feelings, he thinks a lot about himself, about his parents. Before his death, he calls Odintsova to tell her with sudden tenderness: “Listen, I didn’t kiss you then ... Blow on the dying lamp and let it go out.” The very tone of the last lines, the poetic rhythmic speech, the solemnity of the words that sound like a requiem, emphasize the author's loving attitude towards Bazarov, the moral justification of the hero, regret for a wonderful person, the thought of the futility of his struggle and aspirations. Turgenev reconciles his hero with eternal existence. Only nature, which Bazarov wanted to turn into a workshop, and the parents who gave him life, surround him.
The description of Bazarov's grave is a statement of the eternity and grandeur of nature and life in comparison with the vanity, temporality, futility of social theories, human aspirations to know and change the world, and human mortality. Turgenev is characterized by subtle lyricism, this is especially evident in the descriptions of nature. In the landscape, Turgenev continues the traditions of the late Pushkin. For Turgenev, nature as such is important: aesthetic admiration for it.
Critics of the novel.“Did I want to scold Bazarov or exalt him? I don’t know this myself, because I don’t know whether I love him or hate him!” "My whole story is directed against the nobility as an advanced class." “The word “nihilist” that I issued was then used by many who were only waiting for an opportunity, a pretext to stop the movement that had taken possession of Russian society ...”. “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). Conclusion. Turgenev shows Bazarov inconsistently, but he does not seek to debunk him, to destroy him.
In accordance with the vectors of the struggle of social movements in the 60s, points of view on Turgenev's work were also lined up. Along with the positive assessments of the novel and the protagonist in Pisarev's articles, negative criticism was also heard from the ranks of the Democrats.
Position M.A. Antonovich (article "Asmodeus of our time"). A very harsh position that denies the social significance and artistic value of the novel. In the novel "... there is not a single living person and living soul, but all are only abstract ideas and different directions, personified and called by their own names." The author is not disposed towards the younger generation and "he gives full preference to fathers and always tries to elevate them at the expense of children." Bazarov, according to Antonovich, is both a glutton, a talker, a cynic, a drunkard, a braggart, a pitiful caricature of youth, and the whole novel is a slander of the younger generation. Dobrolyubov had already died by this time, and Chernyshevsky was arrested, and Antonovich, who had a primitive understanding of the principles of "real criticism", took the original author's intention for the final artistic result.
The novel was more deeply perceived by the liberal and conservative part of society. Even here, however, there are extreme judgments.
The position of M.N. Katkov, editor of the Russky Vestnik magazine.
“What a shame it was for Turgenev to lower the flag in front of the radical and salute him as before a well-deserved warrior.” “If Bazarov is not elevated to apotheosis, then one cannot but admit that he somehow accidentally landed on a very high pedestal. He really suppresses everything around him. Everything in front of him is either rags or weak and green. Was such an impression to be desired? Katkov denies nihilism, considering it a social disease that must be combated by strengthening protective conservative principles, but notes that Turgenev puts Bazarov above all.
The novel in the assessment of D.I. Pisarev (article "Bazarov"). Pisarev gives the most detailed and detailed analysis of the novel. “Turgenev does not like merciless denial, and meanwhile the personality of a merciless denier comes out as a strong personality and inspires involuntary respect in every reader. Turgenev is inclined towards idealism, and meanwhile, none of the idealists bred in his novel can be compared with Bazarov either in strength of mind or in strength of character.
Pisarev explains the positive meaning of the protagonist, emphasizes the vital importance of Bazarov; analyzes Bazarov's relationship with other heroes, determines their attitude to the camps of "fathers" and "children"; proves that nihilism got its start precisely on Russian soil; defines the originality of the novel. D. Pisarev's thoughts about the novel were shared by A. Herzen.
The most artistically adequate interpretation of the novel belongs to F. Dostoevsky and N. Strakhov (Vremya magazine). The views of F.M. Dostoevsky. Bazarov is a "theorist" who is at odds with "life", a victim of his dry and abstract theory. This is a hero close to Raskolnikov. Without considering the theory of Bazarov, Dostoevsky believes that any abstract, rational theory brings suffering to a person. Theory is broken against life. Dostoevsky does not talk about the reasons that give rise to these theories. N.Strakhov noted that I.S. Turgenev "wrote a novel that was neither progressive nor retrograde, but, so to speak, everlasting." The critic saw that the author "stands for the eternal principles of human life," and Bazarov, who is "alienated from life," meanwhile, "lives deeply and strongly."
The point of view of Dostoevsky and Strakhov is quite consistent with the judgments of Turgenev himself in his article “On the occasion of Fathers and Sons”, where Bazarov is called a tragic person.
NOVEL CRIME AND PUNISHMENT (1866)
Genre originality. Dostoevsky's novel can be defined as both psychological and philosophical. All plots are depicted realistically, the social background is clearly marked, the inner world of the characters and their psychological conflicts are recreated in detail. This polyphonic novel. The principle of "polyphonism" (polyphony) or "dialogue" is that each character has his own independent inner world.
Issues. The hero of Dostoevsky acts as a "man of the idea", he is defenseless before the power of the idea. The idea is the central object of the author's image. The problem of "restoration of a dead person" in the epilogue of the novel.
Dispute of ideas in the novel. Dostoevsky's novel is a "novel of ideas".
1. Raskolnikov's ideology is set forth in the article "On Crime", the content of which we learn from Raskolnikov's dialogue with Porfiry Petrovich. The theory is painstaking, honest, it is merciless and true in its own way. The whole world is criminal, therefore there is no concept of crime. One class of people - "material", others - the elite, heroes or geniuses, they lead the crowd, fulfilling a historical necessity. To the question of Porfiry Petrovich, to which category he considers himself. Raskolnikov does not want to answer. All the events that preceded the murder (a letter from his mother, Sonya's story, reflections on "senseless victims", Raskolnikov's overheard conversation between a student and an officer about an old pawnbroker, meetings on the streets) serve to confirm the correctness of his theory for Raskolnikov.
2. The ideology of Svidrigailov. Svidrigailov preaches extreme individualism. Cruelty is inherent in man by nature, he is predisposed to commit violence against other people to satisfy his desires. This is the ideology of Raskolnikov, but without "humanistic" rhetoric (according to Raskolnikov, the mission of the "Napoleons" is to do good to humanity). It should not be forgotten that Svidrigailov's crimes are reported only in the form of "rumors", while he himself categorically denies most of them. The reader does not know for sure whether Svidrigailov committed them, this remains a mystery and gives the image of the hero a partly romantic (“demonic”) flavor. On the other hand, Svidrigailov performs almost more specific "good deeds" throughout the entire action of the novel than the rest of the characters. Thus, the author shows another facet of Svidrigailov's character, in support of the Christian idea that in any person there is both good and evil, and there is freedom of choice between good and evil.
3. The ideology of Porfiry Petrovich. Investigator Porfiry Petrovich acts as the main ideological antagonist and "provocateur" of Raskolnikov. He tries to refute the theory of the protagonist, but upon closer examination it turns out that Porfiry himself builds his relationship with Raskolnikov precisely according to the principles of this very theory: it was not for nothing that he became so interested in it. Porfiry seeks to psychologically destroy Raskolnikov, to achieve complete power over his soul. He calls Raskolnikov his victim. In the novel, he is compared to a spider chasing a fly. Porfiry belongs to the type of "psychologist provocateur" that is sometimes found in Dostoevsky's novels.
4. Luzhin's ideology. Luzhin represents the type of "acquirer" in the novel. The sanctimonious bourgeois morality embodied in Luzhin seems to Raskolnikov misanthropic. The meeting with Luzhin in a certain way affects the internal psychological process of Raskolnikov, it gives another impetus to the metaphysical rebellion of the hero: “Should Luzhin live and do abominations, or should Katerina Ivanovna die?”
The ideological and compositional role of Sonya's image. Sonya is almost the only non-ideological hero in the novel. She doesn't have any "theories" other than belief in God, but that's just a belief, not an ideology. Sonya never argues with Raskolnikov. Sonya suffers, but does not complain, suicide is also impossible for her. At first, she makes an impression on Raskolnikov as "holy fool", "strange". Many researchers believe that Sonya is the embodiment of the author's ideal of Christian love, sacrificial suffering and humility. By her example, she shows the way to Raskolnikov - to restore lost ties with people through gaining faith and love.
Crime and Punishment Raskolnikov. The protagonist of Dostoevsky's novel Crime and Punishment, half-educated student Rodion Romanovich Raskolnikov, commits a terrible crime - taking the life of another person - under the influence of theories popular among young people in the 60s of the XIX century. Dostoevsky in his novel depicts the collision of theories with the logic of life. You can't live by theory.
Rodion Romanovich Raskolnikov is a kind person and sensitive to the suffering of other people, a sympathetic, kind person by nature, painfully perceiving someone else's pain. Risking his life, he saves children from the flames, shares his meager pennies with the father of a deceased comrade, and gives the last money to the Marmeladov family. This is a gifted and honest young man, endowed with a sharp, inquisitive mind. But he is proud, unsociable, lonely, convinced of his exclusivity. His pride is wounded at every step - he hides from the hostess, whom he owes for a room, eats leftovers, appears on the street in rags, causing ridicule. Being "crushed by poverty" and not being able to help loved ones. Raskolnikov is looking for a way out and "falls ill with the idea" of transforming the world and society. Under the low ceiling of a beggar's kennel, a monstrous theory of crime was born in the mind of a hungry man. The world appears to Raskolnikov as imperfect, and the hero considers himself capable of correcting it. He dreams of protecting all the weak and disadvantaged, restoring the rights of the downtrodden and disenfranchised.
Thinking hard about the reasons for the unjust structure of society, Raskolnikov creates a theory according to which All mankind is divided into two categories: on ordinary people, who make up the majority and are forced to submit to force (“a trembling creature” is a crowd that is not able to change its position), and on extraordinary people (such as Napoleon), who are called upon to command the rest, the world moves through their efforts, progress . If it is necessary to remove interfering obstacles to achieve harmony, then a special person can allow himself to violate the moral law and "step over the corpse, through the blood." Such people are “allowed to bleed according to their conscience”, for them there are special criteria for good and evil. Dividing people into two categories, Raskolnikov refers the old woman to the “trembling creatures”, accepting silently and meekly any order of things. To the second, "the powers that be," to whom nothing is worth violating any moral norms, he refers not only Napoleon, Mohammed, but also himself. Going on a crime, he wanted to figure out what category of people he belongs to: “.. Am I a louse, like everyone else, or a man?”. “Here’s what: I wanted to become Napoleon, that’s why I killed,” Raskolnikov admits.
Vina Raskolnikov lies in the fact that he crosses those moral boundaries that a person, if he wants to remain a man, under no circumstances can cross. Raskolnikov could easily be acquitted if he killed because of poverty. Poverty pushed him to crime, the hero himself admits this. But Dostoevsky clearly showed Raskolnikov's desire to rise above the crowd. Money is not important to him, the main thing is to prove to yourself that you, like Napoleon and Mohammed, are able to rise above the crowd by killing. The main mistake of Rodion and his fault is that he forgot the most important thing: no one is given the right to take the lives of others. You can’t solve your problems at the expense of others, it’s better to suffer yourself than to make others suffer - this is the great moral meaning of the novel.
Rodion Raskolnikov is a man who, according to Christian concepts, is deeply sinful. This does not mean the sin of murder, but pride, dislike for people. The sin of murder, according to Dostoevsky, is secondary. Raskolnikov's crime is ignoring Christian commandments, and a person who, in his pride, managed to transgress, is capable of anything according to religious concepts. So, according to Dostoevsky, Raskolnikov commits the first, main crime before God, the second - murder - before people.
In the first part In the novel, Raskolnikov checks whether he can transcend generally accepted human laws, in particular, whether he is able to transcend someone else's life. Life facts, it would seem, confirm the correctness of his ideas (the fate of the Marmeladov family, the situation of mother and sister, street scenes, etc.). Raskolnikov commits a crime, by chance killing not only the "malicious louse" - the old pawnbroker, but also the innocent Lizaveta, and himself, as he himself later says.
Second part is like a disaster. Of all the sensations experienced by Raskolnikov after the murder (from animal joy that he had not been caught to despair, had he left any evidence, had he spilled the beans?), the most excruciatingly strong, sudden and unforeseen was the feeling of "endless solitude and alienation." He experienced this feeling in the police office, on the Nikolai bridge, and was especially acute when he met his mother and sister. Raskolnikov felt that by his crime he "as if with scissors" cut himself off from everyone and everything. When meeting with his relatives, an unbearable sudden consciousness hit him, "like thunder." He could not hug his mother and Dunechka: "the hands did not rise."
Scary Raskolnikov's dream about a horse being tortured by drunken men. This creature that he saw in a dream, beaten to death, innocent of anything, personified the soul of Raskolnikov, trampled by him, crippled by his own evil decisions. The mind, detached from the heart, destroys a person. Waking up from a terrible dream, Raskolnikov felt that he had thrown off the dead burden of criminal fabrications. The dream of a horse managed to reason with Raskolnikov only for a moment.
Raskolnikov's human nature does not accept alienation from people. It turns out that a person cannot live without communication, the hero's mental struggle is becoming more and more intense. Raskolnikov still believes in the infallibility of his idea and despises himself for his weakness, now and then calling himself a scoundrel. Dostoevsky proves that the very theory of "two categories" is criminal. This theory is not even a justification for the crime, but the crime itself, because from the very beginning it predetermines who will live and who will not live.
Plot and composition. The compositional ratio of the parts proves the secondary importance of the detective plot (one part is devoted to the commission of a crime, the rest to the search for truth and the problems of retribution).
First part– preparation and commission of a crime (correlation of parts: six chapters on the development of Raskolnikov's theory, the last chapter is devoted to the murder itself):
hero's life social prerequisites for the emergence of Raskolnikov's theory; Marmeladov's confession; drunk girl on the boulevard; a conversation between a student and an officer; mother's letter Raskolnikov's first dream is about killing a horse; committing a crime: the double murder of an old pawnbroker and her sister; the death of the innocent Lizaveta is the first "crack" in Raskolnikov's theory.
Second part– analysis of the state of the hero after the commission of the crime, acquaintance with the main characters:
morbid state of the hero: fear, suspicion. The culmination is a visit to the office, fainting; acquaintance with the "double" - Luzhin. Luzhin's repulsive theory elevated to a lifestyle; the death of Marmeladov; first meeting with Sonya; the second dream - about beating the landlady - is a reflection of Raskolnikov's state of mind.
The third part- discussions around Raskolnikov's theory, its confirmation and refutation:
the story of Raskolnikov's mother and sister about Svidrigailov. The image of the second "double" is a vice raised to the principle of life; the beginning of an intellectual duel with Porfiry Petrovich; the third dream is the re-experiencing of the murder, the appearance of the victim; the extreme strain of Raskolnikov's mental strength.
Fourth part- meetings and conversations that refute the theory of the hero:
discussions with Svidrigailov (confrontation between the devilish and the divine principles); Luzhin's theory - the theory of the master of life; Sonya and Raskolnikov: the proximity of destinies and the polarity of worldviews; the significance of the biblical story "The Resurrection of Lazarus" in the evolution of the views of the hero; dialogue-struggle with Porfiry Petrovich; Mikolka's confession is the formal release of the hero from suspicion.
Fifth part- life refutes Raskolnikov's theory:
the tragedy of the situation and the spiritual strength of Sonya; the tragedy of the fate of Katerina Ivanovna and children; recognition of Raskolnikov to Sonya (the soul could not stand it and is awaiting trial); Sonya is a judge and a savior.
Sixth part- the last struggle of a living soul and a dead theory:
meeting with Porfiry Petrovich in Raskolnikov's apartment. The conviction of the investigator in the guilt of the suspect, the refusal of the hero to come with a confession; Svidrigailov's suicide: a soul given to hell cannot live; recognition of Raskolnikov, lack of remorse.
The meaning of the epilogue- the resurrection of the soul of Raskolnikov, the final victory of the divine over the devilish:
life in hard labor; the fourth dream is the world embodiment of the theory in life; rebirth to a new life, love for Sonya, return to people.
The system of images in relation to Raskolnikov's theory:
images of the humiliated and offended, confirming the injustice of this world (Marmeladov, Katerina Ivanovna);
Raskolnikov's twin images - in practical life they are guided by the theory "everything is permitted" (Svidrigailov, Luzhin);
images that refute Raskolnikov's theory (Dunechka, Razumikhin, Porfiry Petrovich, Sonechka Marmeladova).
The meaning of the image of Sonya Marmeladova in the fate of the hero and the conflict of the novel:
the proximity of the fate of Sonya and Raskolnikov (both crossed the line - a murderer and a harlot);
fundamental difference: ideological confrontation (Sonya, becoming a prostitute, saved her soul, the basis of her fall is sacrifice; Raskolnikov, having killed the old woman and Lizaveta, “killed himself”, the basis of his crime is pride and spiritual fall);
Sonya's role in Raskolnikov's repentance: her attitude to life, dialogues with Raskolnikov help the hero see the world anew, understand that dividing people into two categories is immoral, criminal, move the hero to repentance and repentance.
Means of revealing the image:
portrait: “He was so poorly dressed that another, even a decent person, would be ashamed to go out into the street in such rags during the day”;
speaking name and surname (Rodion - family and he, Raskolnikov - split);
actions (helping other people, killing);
description of the psychological state of the hero (Raskolnikov's illness, feeling "cut off from the whole world", illogical actions);
dreams Raskolnikov - a reflection of his inner life;
monologues and dialogues of the hero;
relationships with other characters.
The image of Raskolnikov is a prototype of all kinds of "anti-heroes" and ideas of the 20th century, who proclaimed the idea of the possibility for selected individuals to decide the fate of people and humanity.
It is a pity for the lost, wasted strength ...
I. S. Turgenev
In 1874, Vasily Grigorievich Perov painted the painting “At the Rural Cemetery”. Anyone who has read Turgenev's Fathers and Sons will recognize in it the tragic scene at the end of the novel: “There is a small rural cemetery in one of the remote corners of Russia ... An iron fence surrounds the grave; two young Christmas trees are planted at both ends: Yevgeny Bazarov is buried in this grave ... The flowers growing on it look serenely ... at us with their innocent eyes ... they talk ... about the eternal
Reconciliation and endless life…”
The picture was written 12 years after Turgenev's novel, but it seems that it was inspired by a direct fresh impression from reading Fathers and Sons. The lonely figures of two old men, frozen at the grave of their son, seem to be written off from the parents of Bazarov - Vasily Ivanovich and Arina Vlasyevna. And the grave in the picture is so similar to the one that Turgenev described!
Looking at this picture, I cannot help but think about the fate of Yevgeny Bazarov, about his such a short life and death ...
At the end of the novel, Bazarov speaks with pain about the brevity of human existence: “The narrow place that I occupy is so tiny in comparison with the main space ... and the part of the time that I manage to live is so insignificant before eternity.” Bazarov has not yet uttered the words about "eternal reconciliation", but they are already felt in the "Bazarov" longing, in his "strange fatigue", homelessness. Everything is directed towards one center - the disclosure of Bazarov's melancholy.
Bazarov suddenly responds to his father's proposal to heal the peasants, in a speech about the "imminent liberation of the peasants." The long-established critical view of the backward Russian countryside torments the former “denier”. Bazarov strives, although not without irony, to understand the peasants, their attitude to the “future of Russia”, to the “new era of history”.
But to no avail: the peasants did not recognize him as their own.
Not without reason, it seems that Bazarov is losing faith in the future that he saw. True, his reasoning is still a little bit, but similar to the speeches of the “maximalist Bazarov”: “... take yourself by the crest and pull yourself out like a radish from a garden ...” And he pulls himself out of an environment alien to him, first internally separates, then leaves for his parents house. He is finally disappointed in the "soft" Arcadia, he is looking everywhere for "real people", but does not find them. Loneliness leads Bazarov to tragic doubts.
As a result, that judgment of the hero arises, which for a long time could not be forgiven to the author of the novel: “But I hated this last man, for whom I have to climb out of my skin and who won’t even thank me ... and why should I thank him ?!” Each replica of Bazarov is a bunch of mental suffering: “... I fell under the wheel. The old joke is death, but it’s new for everyone ... After all, I ... 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 ... "
In the face of death, the best qualities of Bazarov are manifested: courage, tenderness for parents, hidden under external severity; poetic love for Odintsova; thirst for life, work, heroism, willpower ... D. I. Pisarev considered the scene of Bazarov's death to be the strongest in the novel. It seems to most clearly express the attitude of the author to the hero: admiration for his mental stamina, mournful feelings caused by the death of such a wonderful person.
In the face of death, the pillars that once supported Bazarov's self-confidence turned out to be weak. The dying Bazarov is simple and humane, he atones for the one-sidedness of his life program with death. Bazarov is a man who, by his fate, has embodied all the costs of nihilistic theories.
As D. I. Pisarev wrote: “Unable to show us how Bazarov lives and acts, Turgenev showed how he dies ...” This type of person only took shape and could only be completed by time. “To die the way Bazarov died is the same as accomplishing a great feat ...” Pisarev rightly noted.
Two great loves consecrate Bazarov's grave - parental and national. The memory of the deceased Bazarov, as it were, is concentrated in the ever-living, “endless life”. A more refined form of farewell to Bazarov and bequeathing his experience to future generations probably does not exist.
Bazarov’s reconciliation with life did not come, at the end of the path calm came, but the rebellious spirit continued to live in Bazarov until his last breath ...
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It is a pity for the lost, wasted strength ...
I. S. Turgenev
In 1874, Vasily Grigorievich Perov painted the painting "At the Rural Cemetery". Anyone who has read Turgenev's novel Fathers and Sons will recognize in it the tragic scene at the end of the novel: “There is a small rural cemetery in one of the remote corners of Russia... An iron fence surrounds the grave; two young Christmas trees are planted at both ends: Yevgeny Bazarov is buried in this grave... The flowers growing on it look serenely... at us with their innocent eyes... they speak... of eternal reconciliation and endless life. ..”
The picture was written 12 years after Turgenev's novel, but it seems that it was inspired by a direct fresh impression from reading Fathers and Sons. The lonely figures of two old men, frozen at the grave of their son, seem to be written off from the parents of Bazarov - Vasily Ivanovich and Arina Vlasyevna. And the grave in the picture is so similar to the one that Turgenev described! Looking at this picture, I cannot help but think about the fate of Yevgeny Bazarov, about his such a short life and death ...
At the end of the novel, Bazarov speaks with pain about the brevity of human existence: “The narrow place that I occupy is so tiny in comparison with the main space ... and the part of the time that I manage to live is so insignificant before eternity.” Bazarov has not yet uttered the words about "eternal reconciliation", but they are already felt in the "Bazarov" longing, in his "strange fatigue", homelessness. Everything is directed towards one center - the disclosure of Bazarov's melancholy. Bazarov suddenly responds to his father's proposal to heal the peasants, in a speech about the "imminent liberation of the peasants." The long-established critical view of the backward Russian countryside torments the former "denier". Bazarov strives, although not without irony, to understand the peasants, their attitude to the “future of Russia”, to the “new era of history”. But to no avail: the peasants did not recognize him as their own.
Not without reason, it seems that Bazarov is losing faith in the future that he saw. True, his reasoning is still a little, but similar to the speeches of the “maximalist Bazarov”: “... take yourself by the crest and pull yourself out like a radish from a garden ...” And he pulls himself out of an environment alien to him, first internally separates, then he goes to his parents' house. He was finally disappointed in the "soft" Arcadia, he is looking everywhere for "real people", but does not find them. Loneliness leads Bazarov to tragic doubts. As a result, that judgment of the hero arises, which for a long time could not be forgiven to the author of the novel: “But I hated this last peasant, for whom I have to climb out of my skin and who won’t even thank me ... and why should I thank him ?! » Each replica of Bazarov is a bunch of mental suffering: “... I fell under the wheel. The old joke is death, but it’s new for everyone ... I did ... think: 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 ... "
In the face of death, the best qualities of Bazarov are manifested: courage, tenderness for parents, hidden under external severity; poetic love for Odintsova; thirst for life, work, heroism, willpower ... D. I. Pisarev considered the scene of Bazarov's death to be the strongest in the novel. It seems to most clearly express the attitude of the author to the hero: admiration for his mental stamina, mournful feelings caused by the death of such a wonderful person. material from the site
In the face of death, the pillars that once supported Bazarov's self-confidence turned out to be weak. The dying Bazarov is simple and humane, he atones for the one-sidedness of his life program with death. Bazarov is a man who, by his fate, has embodied all the costs of nihilistic theories. As D. I. Pisarev wrote: “Unable to show us how Bazarov lives and acts, Turgenev showed how he dies ...” This type of person only took shape and could only be completed by time. “To die the way Bazarov died is the same as accomplishing a great feat ...” Pisarev rightly noted.
Two great loves consecrate Bazarov's grave - parental and national. The memory of the deceased Bazarov, as it were, is concentrated in the ever-living, "endless life." A more refined form of farewell to Bazarov and bequeathing his experience to future generations probably does not exist. Bazarov’s reconciliation with life did not come, at the end of the path calm came, but the rebellious spirit continued to live in Bazarov until his last breath ...
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