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 nature. 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 his 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.
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The topic of the lesson is “Analysis of an episode from the novel “Fathers and Sons”.
Today in the lesson, in preparation for the exam, we will analyze an excerpt from the novel, prepare for the tasks of parts B and C, and find out the author's attitude to the main character of the novel.
On the screen and on the tables is an excerpt from the novel. Expressive reading of the passage by the teacher.
What is this passage? What is its place in the overall structure of the work?
(This is the epilogue of the novel. The last page of the novel. It is preceded by pages dedicated to the death of Bazarov and pages telling about the further fate of other heroes of the novel.)
What is the basis of the epilogue?
(A picture of a rural cemetery. 1/3 of the epilogue is occupied by pictures of nature.)
What is the usual role of landscape in art. work?
(Pictures of nature harmonize with the feelings and experiences of the hero or shade them.) Turgenev ends his novel with a philosophical description of nature. He had a philosophical education and even defended his dissertation.
In the artistic world of Turgenev, nature is often cruel to a person, capable of destroying his happiness or life.
Let's return to the text. Before us is a picture of a rural cemetery.
What is the tone of this passage? Is she changing?
(A description of a sad picture of a rural cemetery opens, but gradually the tone changes, from dreary notes the author gradually raises his voice to solemn pathos. Then again a mournful picture is a description of the suffering of the lonely old people of the Bazarovs.
What means of expression help convey the mood at the beginning of the passage?
Epithets: eternal peace reigns here, the view is sad.
Which conveys a feeling of neglect, abandonment?
Verbs: ditches are overgrown, wooden crosses are drooping and rotting, sheep roam freely over the graves, 2-3 plucked trees give a meager shade.
The description of the abandoned cemetery is interrupted by an ellipsis…. And here before our eyes is the grave of Bazarov.
Contrast.
What role does contrast play?
What other means of expression does the author use when drawing Bazarov's grave?
(Personification: “the flowers look at us serenely with their innocent eyes.” This technique allows the author to create an image of nature that lives its own life.
In addition to lexical ones, what other means of expression does the author use when describing Bazarov's grave?
(Means of syntax. Various types of constructions. SPP with one-way subordinate clauses: “But between them there is one that a person does not touch, which an animal does not trample on.” SBP: “An iron fence surrounds it; two young Christmas trees are planted at both ends: Yevgeny Bazarov is buried in this grave.) Thanks to these syntactic constructions, the tone changes, the lines begin to sound solemn.
Find another expression. a syntax tool that enhances the emotional sound of the text and helps to understand the author's thought.
(Rhetorical question: "Are their prayers, their tears fruitless? Isn't love, holy, devoted love, all-powerful?")
And then comes the exclamation - Oh no! No matter how passionate, sinful, rebellious the heart is hidden in the grave, the flowers growing on it serenely look at us with their innocent eyes: they tell us not only about eternal calmness, about that great calmness of “indifferent” nature; they also speak of eternal reconciliation and endless life.
In this last sentence there is another expressive device, which is a chain of definitions with a gradual increase in significance. Which?
(Gradation: Passionate, sinful, rebellious heart.)
In the same last sentence, we again observe a contrast. Where?
(On the one hand, a passionate, sinful, rebellious heart, and on the other, indifferent nature and flowers that look at us with their innocent eyes. They speak of eternal reconciliation and endless life.
But what kind of life? And about the reconciliation of whom with whom?
(Probably about the endless continuation of the life of nature. Man is mortal, and nature is eternal. Maybe about the eternity of human values. Or maybe the disputes between fathers and children are eternal, it is from these disputes and clashes that life consists.
About the reconciliation of man and nature, man with the world, with himself)
The epilogue is filled with deep philosophical meaning. It must be said that Turgenev does not give us an answer, he invites his readers to reflect.
Why do the last lines of the novel sound sad and at the same time majestic, solemn?
(In the last lines, the penetrating voice of the author sounds. This can only be said about a dear person. The author does not speak about the struggle, not about Bazarov’s rebellion, but about reconciliation. At the end of the novel, Turgenev loves his hero, sympathizes with him, mourns for him. “When I wrote the final lines, I was forced to tilt my head so that tears would not fall on the manuscript, ”wrote Turgenev.
262. Expressively read the description of the rural cemetery in the novel "Fathers and Sons" by I. Turgenev, determine the position of the author in relation to the protagonist of the novel. What is it expressed in? Write an essay about the internal connection of this scene with the painting by V. Perov "Old parents at the grave of their son." (The picture can be found either in the artist's album of reproductions, or on the Internet.)
Prepare to write this text from dictation.
There is a small rural cemetery in one of the remote corners of Russia. Like almost all our cemeteries, it shows a sad look: the ditches surrounding it have long been overgrown; the gray wooden crosses are drooping and rotting under their once-painted5 roofs; the stone slabs are all shifted, as if someone is pushing them from below; two or three plucked trees barely give a meager shade; sheep roam freely over the graves... But between them there is one that a man does not touch, that an animal does not trample on: only birds sit on it and sing at dawn. An iron fence surrounds it; two young Christmas trees are planted at both ends: Yevgeny Bazarov is buried in this grave. To her, from a nearby village, two already decrepit old men often come - a husband and wife. Supporting each other, they walk with a heavy gait; they will approach the fence, fall down and kneel, and weep long and bitterly, and look long and attentively at the mute stone, under which their son lies; they exchange a short word, they brush off the dust from the stone and straighten the branch of the tree, and they pray again, and they cannot leave this place, from where they seem to be closer to their son, to the memories of him ... Are their prayers, their tears fruitless? Isn't love, holy, devoted love, all-powerful? Oh no! No matter how passionate, sinful6, rebellious heart is hidden in the grave, the flowers growing on it serenely look at us with their innocent eyes: they tell us not only about eternal calmness, about that great calmness of “indifferent” nature; they also speak of eternal reconciliation and endless life...
The relationship of the cemetery scene with the painting by V.G. Perov "Old parents at the grave of their son"
Perov's painting was painted in the 2nd half of the 19th century. Its plot is dedicated to two old men who came to the grave of their son. In the painting, one can clearly see the sadness and sadness that the elderly couple feels.
The very tone of the picture is gloomy, minor. The sky is almost completely covered with dense clouds, as if symbolizing the severity of the loss. The grass on the ground is yellow and withered, just like the leaves left on the trees. As if nature is aware of all the tragedy of the grief of the characters in the picture and also strives for death.
The figures of the old people are drawn in very dark, sometimes even black, colors. They are bent with grief, it can be assumed that they are crying.
Looking at the picture, as if you see the final scene from I.S. Turgenev's novel "Fathers and Sons", where Bazarov's parents come to his grave. Probably, the picture was inspired by this particular scene, because it was written 12 years after the release of the novel.
The cemetery itself seems to be similarly written off from the description in the novel “the ditches surrounding it have long been overgrown; gray wooden crosses drooped, two or three plucked trees barely give a meager shade.
The picture makes a very strong emotional impression. It can be seen that the old people loved their son very much, they are heartbroken, they probably spend a lot of time at his grave. The only thing that moves the picture away from Turgenev's novel is the clothes of the elderly couple in the picture. After all, as we know from the novel, Bazarov's parents had a rather low origin. At the same time, the couple depicted on the canvas is dressed very elegantly. The man has a bowler hat and cane umbrella. And these are elements of the wardrobe of a fairly wealthy person. Most likely, inspired by a scene from the novel, Perov decided to take only the inner content from it, excluding other elements of the narrative from his artistic embodiment.
