Roman I.S. Turgenev "Fathers and Sons" tells about the ideological contradictions between the liberal nobility and the emerging democracy. The main character is Yevgeny Bazarov, a "nihilist", as he calls himself. The word "nihilist" comes from the Latin word "nugul", that is, "nothing", negation. Arkady Kirsanov explains that a nihilist is "a person who treats everything from a critical point of view", and his uncle Pavel Petrovich believes that this is "a person who does not bow to any authorities, does not take a single principle on faith." And what is the meaning of Bazarov himself in this definition?
The main thing in his life is the study of natural sciences. He chose the profession of a doctor for himself, therefore, even while staying in the Kirsanovs' house, he constantly conducts various experiments. Bazarov is a real materialist, besides, he denies art, arguing that "a decent chemist is twenty times more useful than any poet," and "Rafael is not worth a penny." He denies painting, music, poetry, the beauty of nature - everything that is connected with the spiritual world of man. Even such, as it seems, not alien to anyone, a high manifestation of human feeling like love, Bazarov tries to explain only from a physiological point of view. However, even Bazarov himself fails to be consistent in his own principles. He himself finds himself hopelessly entangled in the nets of love that he denied.
And at the same time, the hero of Turgenev is a smart, strong, self-confident person, incapable of pretending and hypocrisy. He is ready to enter into heated arguments with anyone, defending his beliefs. Bazarov is outraged by the social injustice and inequality prevailing in society, he understands that serfdom in Russia has become obsolete, and changes are simply necessary. For him, there are no social classes and estates. Bazarov speaks with disdain about the aristocratic gloss of Pavel Petrovich, and communicates on an equal footing with serfs, considering himself a native of the people. Bazarov is not only not ashamed of the fact that his parents were poor nobles, and his "grandfather dug the earth", on the contrary, he speaks about it with undisguised pride.
Pavel Petrovich becomes Bazarov's ideological opponent in the novel. He does not accept the nihilistic point of view and does not understand it, entering into an argument with Bazarov. This controversy reaches its apogee at the moment when, to the question of p.p. does Bazarov really deny everything, the latter consciously answers: "Everything", realizing that by this word he meant pp. Religion, the political and social system, generally accepted morality ... Perhaps Bazarov’s goals, the goals of transformation, change are worthy of recognition of their rationality, but you can come to the same result in different ways, Bazarov chose the path of denial, the path of more destruction than creation, although the ultimate goal he still considers the creation of something new, which, in his opinion, should be striven for.
Bazarov's nihilism, manifesting itself in various areas of life, can carry both positive ideas,
aimed at improvement, creation, and negative, destructive. Therefore, we can say that Bazarov's nihilism has its strengths and weaknesses.
Ticket 72
The theme of love in the prose of I.S. Turgenev. (According to the novel "Fathers and Sons" or "The Nest of Nobles".)
Lessons of love led for
with grave consequences in the fate of Bazarov. They led to a crisis of his one-sided, vulgar materialistic outlook on life. Two abysses opened before the hero: one is the mystery of his own soul, the other is the mystery of the world that surrounds him. From the microscope the hero was drawn to the telescope, from the ciliates to the starry sky above his head.
Much more ambiguous
love story of Pavel Petrovich Kirsanov. For the sake of love, Pavel Petrovich abandoned everything, crossed out his entire career, which led him to spiritual death. His love for Princess R. is a painful and humiliating feeling. The story of Pavel Petrovich's love for Princess R. It is not introduced as an inserted episode. He appears in the novel as a warning to the arrogant Bazarov.
Love for Odintsova
- the beginning of the tragic retribution of the arrogant Bazarov, who considers love romantic nonsense: it splits his soul into two halves. From now on, two people live and work in it. One of them is a staunch opponent of romantic feelings, a denier of the spiritual nature of love. The other is a passionately and spiritually loving person who has come across the true mystery of this lofty feeling. The “natural-science” convictions dear to his mind are turning into a principle, which he, a denier of all kinds of principles, now serves, secretly feeling that his service is blind, that life has turned out to be more complicated than what the “physiologists” know about it. Refuting the views of the hero of the novel on love, the writer makes him experience what Bazarov himself rejected. The difficult internal process of knowing true love makes Bazarov feel nature in a new way.
In his feelings for Odintsova
he reveals himself as a strong, passionate and deep nature. And here his superiority over the surrounding people is manifested: his feeling is unlike the love relationships of other characters. Bazarov saw in Odintsova a smart, outstanding person, distinguishing her from the circle of provincial ladies: "She is unlike the rest of the women." Odintsova is in many ways worthy of him, and this circumstance also elevates Bazarov. If he fell in love with an empty woman, his feeling would not command respect.
Cheeky behavior of Bazarov
- this is his embarrassment and timidity. Odintsova understood this and was flattered. She is royally beautiful, restrained and majestic, requires special attention and respect. Bazarov wants to fall in love with Odintsova, but cannot do this, so he runs away from his love due to the power of nihilism. Usually, the origins of the tragedy of Bazarov's love are sought in the character of Odintsova, a pampered lady, an aristocrat who is unable to respond to Bazarov's feelings, shy and succumbs to him. But Odintsova wants and cannot fall in love with Bazarov, not only because this democrat, having fallen in love, does not want love and runs away from it. "Incomprehensible fright" that separates Bazarov's declaration of love from hatred towards the woman he loves? The element of a cruelly suppressed feeling broke through in him at last, but with a destructive force in relation to this feeling. Bazarov willingly shares his thoughts with Odintsova, and from their conversations she understands that for the sake of nihilism he will not make concessions.
From Turgenev's point of view,
love is mysterious and omnipotent, and its denial leads to tragedy. Unhappy love leads Bazarov to a spiritual crisis and a terrible tragedy. There is something similar in the love of Pavel Petrovich and Bazarov. But Bazarov fights, he did not become limp and did not humiliate himself, like Pavel Petrovich. Turgenev showed that Bazarov was also superior in love to the district aristocrats, including the smart, but cold and selfish Odintsova. “Both sides are right up to a certain point” - this principle of constructing an ancient tragedy runs through the entire novel, and in a love story it ends with Turgenev bringing together the aristocrat Kirsanov and the democrat Bazarov in a heartfelt attraction to Fenichka and her simplicity, folk instinct reconciles both hero.
Pavel Petrovich is attracted
there is simplicity and spontaneity in Fenechka, but his love for Fenechka is too transcendent and incorporeal. Bazarov, on the contrary, instinctively seeks in Fenechka a vital confirmation of his view of love as a simple and clear sensual attraction. But this simplicity turns out to be worse than theft: it deeply offends Fenechka, and a moral reproach, sincere, genuine, is heard from her lips. Bazarov explained the failure with Odintsova for himself by the lordly effeminacy of the heroine, but in relation to Fenechka, what kind of “nobility” can we talk about? Obviously, in the very female nature (it does not matter, peasant or noble) spirituality and moral beauty rejected by the hero are laid down.
In the novel "Fathers and Sons" Turgenev
depicted several love lines, thanks to which the character traits of the protagonist are fully revealed, giving the reader the opportunity to look into the most hidden corners of his soul. At the same time, the love story of Bazarov becomes the brighter, the more ironically the relationships of other heroes of the novel are described. Take, for example, Nikolai Petrovich's love for Dunyasha. This is the calmest, most ordinary version of love, in which we do not observe either raging passions or any strong and passionate emotions. Or Arkady's love for Odintsova: before us is an unrequited feeling, a slight youthful passion, while for Katya he already feels a pure and tender feeling. However, as in friendship, so in love, the younger Kirsanov is subject to the will of a stronger nature than himself.
Ticket 67.42 The problem of fathers and children in the novel by I. S. Turgenev
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 precisely such a time in the history of Russia - the 60s of the XIX century - that is shown in the novel by I. S. Turgenev “Fathers and Sons”. The conflict between fathers and children depicted in it goes far beyond family boundaries - it is a social conflict between the old nobility and aristocracy and the young revolutionary democratic intelligentsia.
The problem of fathers and children is revealed in the novel in the relationship of the young nihilist Bazarov with the representative of the nobility Pavel Petrovich Kirsanov, Bazarov with his parents, as well as on the example of relations within the Kirsanov family.
Two generations opposed in novel even by their external description. Yevgeny Bazarov appears before us as a person cut off from the outside world, gloomy and at the same time possessing great inner strength and energy. Describing Bazarov, Turgenev focuses on his mind. The description of Pavel Petrovich Kirsanov, on the contrary, consists mainly of external characteristics. Pavel Petrovich is an outwardly attractive man, he wears starched white shirts and patent leather ankle boots. A former secular lion, once noisy in the society of the capital, he retained his habits, living with his brother in the village. Pavel Petrovich is always impeccable and elegant.
This man leads the life of a typical representative of an aristocratic society - spends time in idleness and idleness. In contrast, Bazarov brings real benefits to people, deals with specific problems. In my opinion, the problem of fathers and children is most deeply shown in the novel precisely in the relationship of these two characters, despite the fact that they are not connected by direct family relations. The conflict that arose between Bazarov and Kirsanov proves that the problem of fathers and children in Turgenev's novel is both a problem of two generations and a problem of a clash of two different socio-political camps.
These characters in the novel are directly opposite attitudes. In the frequent disputes between Bazarov and Pavel Petrovich, almost all the main issues on which the democrats-raznochintsy and liberals differed in their views (about the ways of the country's further development, about materialism and idealism, about knowledge of science, understanding of art and about the attitude towards the people). At the same time, Pavel Petrovich actively defends the old foundations, while Bazarov, on the contrary, advocates their destruction. And to Kirsanov’s reproach that you, they say, are destroying everything (“But you need to build it too”), Bazarov replies that “first you need to clear the place.”
We are a generation gap we also see in the relationship of Bazarov with his parents. The main character has very conflicting feelings towards them: on the one hand, he admits that he loves his parents, on the other hand, he despises the “stupid life of fathers”. First of all, his convictions are alienated from Bazarov's parents. If in Arkady we see superficial contempt for the older generation, caused more by a desire to imitate a friend, and not coming from within, then with Bazarov everything is different. This is his position in life.
With all this we see that their son Eugene was truly dear to the parents. The old Bazarovs love Yevgeny very much, and this love softens their relationship with their son, the lack of mutual understanding. She is stronger than other feelings and lives even when the main character dies. “There is a small rural cemetery in one of the remote corners of Russia ... It shows a sad look: the ditches surrounding it have long been overgrown; gray wooden crosses are drooping and rotting under their once-painted roofs... But between them there is one (grave) that no man touches, no animal tramples on: only birds sit on it and sing at dawn... Bazarov is buried in this grave... Two already decrepit old men come to her...”
As for the problem of fathers and children within the Kirsanov family, it seems to me that it is not deep. Arkady is like his father. He has essentially the same values - home, family, peace. He prefers such simple happiness to concern for the world's good. Arkady is only trying to imitate Bazarov, and this is precisely the cause of contention within the Kirsanov family. The older generation of the Kirsanovs doubts "the usefulness of his influence on Arkady." But Bazarov leaves the life of Arkady, and everything falls into place
. The problem of fathers and children
- one of the most important in Russian classical literature. The clash of the “current century” with the “past century” was reflected in his wonderful comedy “Woe from Wit” by A. S. Griboedov, this topic is revealed in all its sharpness in Ostrovsky’s drama “Thunderstorm”, we meet its echoes in Pushkin and many other Russian classics . Being people looking to the future, writers, as a rule, stand on the side of the new generation. Turgenev, in his work “Fathers and Sons”, does not openly speak on either side. At the same time, he so fully reveals the life positions of the main characters of the novel, shows their positive and negative sides, which gives the reader the opportunity to decide for himself who was right. It is not surprising that Turgenev's contemporaries reacted sharply to the appearance of the work. The reactionary press accused the writer of currying favor with the youth, while the democratic press reproached the author for slandering the younger generation.
Be that as it may, Turgenev's novel "Fathers and Sons" has become one of the best classical works of Russian literature, and the topics covered in it remain relevant today.
Roman I.S. Turgenev's "Fathers and Sons" tells about the ideological contradictions between the liberal nobility and the emerging democracy. The main character is Yevgeny Bazarov, a “nihilist”, as he calls himself. The word "nihilist" comes from the Latin word "nugul", that is, "nothing", negation. Arkady Kirsanov explains that a nihilist is “a person who treats everything from a critical point of view”, and his uncle Pavel Petrovich believes that this is “a person who does not bow to any authorities, does not take a single principle on faith”. And what is the meaning of Bazarov himself in this definition?
The main thing in his life is the study of natural sciences. He chose the profession of a doctor for himself, therefore, moreover, while staying in the Kirsanovs' house, he constantly conducts various experiments. Bazarov is a real materialist, besides, he denies art, arguing that "a decent chemist is twenty times more useful than any poet," and "Rafael is not worth a penny." He denies painting, music, poetry, the beauty of nature - everything that is connected with the spiritual world of man. Even such, as it seems, not alien to anyone, a high manifestation of human feeling like love, Bazarov tries to explain only from a physiological point of view. However, moreover, Bazarov himself fails to be consistent in his own principles. He himself finds himself hopelessly entangled in the nets of love that he denied.
And at the same time, the hero of Turgenev is a smart, strong, self-confident person, incapable of pretending and hypocrisy. He is ready to enter into heated arguments with anyone, defending his beliefs. Bazarov is outraged by the social injustice and inequality prevailing in society, he understands that serfdom in Russia has become obsolete, and changes are simply necessary. For him, there are no social classes and estates. Bazarov speaks with disdain about the aristocratic gloss of Pavel Petrovich, and communicates on an equal footing with serfs, considering himself a native of the people. Bazarov is not only not ashamed of the fact that his parents were poor nobles, and his “grandfather dug the earth”, on the contrary, he speaks about it with undisguised pride.
Bazarov's ideology undoubtedly has both positive and negative aspects. It is impossible to judge exactly, because for each person his own "bad" and "good", but we can draw conclusions based on the story of Yevgeny, told in I. S. Turgenev's novel "Fathers and Sons".
What is the theory of nihilism itself? Nihilism is a belief in nothing, a denial of everything that exists, as well as any human values, disbelief in religion. People "professing" nihilism rely only on science, they see the point only in the fact that everything old must be destroyed in order to be able to build something new later. Bazarov, who is the most striking example of this ideology in Russian classical literature, vividly demonstrates his theory to readers from all sides.
The best examples of his advocacy of nihilism are the disputes with Pavel Petrovich Kirsanov. Pavel Petrovich speaks on behalf of the liberal nobles, and Bazarov, in turn, on behalf of his ideology. In these same disputes, the strengths and weaknesses of nihilism are revealed, but let's consider everything in order.
Kirsanov believes that the nobles are the driving force behind the development of society, to which Bazarov counters: the aristocrats are not capable of action, they cannot lead Russia into a brighter future. One cannot but agree with this position of Eugene, because at the time of the action, the nobility really could hardly lead Russia to the future it needed.
Their views are also opposite in relation to the people. Although Pavel Petrovich glorifies the peasant peasants, in fact, he treats them as something unacceptable, frowns when he meets them and "smells the cologne." And Bazarov says that the people do not know their interests, but at the same time their interests must be distinguished from prejudices. He also claims that the people are revolutionary, which is why nihilism is a manifestation of the people's spirit. It is also difficult to disagree with this opinion, because the Russian people are ignorant, do not understand what they want at all, do not understand the problem of serfdom.
And, speaking of the ideology itself, Kirsanov Sr. condemns the nihilists for living without "principles."
Listing such correct thoughts and ideas expressed by Bazarov within the framework of the theory of nihilism, one cannot fail to mention the main drawback - the rejection of feelings. The theory itself denies any spiritual emotions, but a person cannot live in abstraction from them. Eugene suffers from this. He cannot accept his love for Anna Sergeevna, and the result is a situation that is called "minds with hearts out of tune." The same thing happens with Bazarov's parents. Outwardly, the nihilist treats them rather coldly, but remembers his happy childhood in his parents' house. Only on his deathbed does he allow himself to show the true love of his son.
Thus, we can conclude that at first glance, the theory of Yevgeny Bazarov has only positive aspects, because it adheres to such correct positions in relation to the nobility, to people, but at the same time, its biggest drawback should not be overlooked - lack of feelings. More precisely, their denial. No one can live without showing their feelings and emotions, living like a doll.
"Fathers and Sons". Bazarov. Artist D. Borovsky. 1980
The action of the novel by I.S. Turgenev's "Fathers and Sons" takes place in the summer of 1859, on the eve of the abolition of serfdom. At that time in Russia there was an acute question: who can lead the society? On the one hand, the leading social role was claimed by the nobility, which consisted of both fairly free-thinking liberals and aristocrats who thought the same way as at the beginning of the century. At the other extreme of society were revolutionaries - democrats, the majority of whom were raznochintsy. The protagonist of the novel "Fathers and Sons" is close to the most radical representatives of the second group. The thoughts he expressed provoked a strong reaction from the reading public. The views of the nihilist were discussed in many critical articles, the author himself in letters (the famous letter to K. Sluchevsky) explained that he wanted to show the image of Bazarov, "wild, half grown out of the soil."
Over the course of the novel, Bazarov's personality is more and more respected, it is clear that the author himself bows to the strength of the spirit of the young nihilist. However, in a dispute with life, Bazarov was forced to retreat, reality was unable to accept such a stormy, active nature. This was the cause of the tragedy that played out in the fate of Bazarov.
What is the nihilism of the hero? What does he express? Bazar's nihilism, which denied authority, was born in an era of a turning point in public consciousness. It is associated with the assertion of a materialistic worldview, with the development of science, primarily natural science. A feature of Bazarov's nihilism was that the hero did not take anything on faith, he strove to check everything with life and practice. A distinctive feature was also the complete denial of art, music and other manifestations of the spiritual life of people. But this peculiarity of views gave rise to contradictions. Bazarov experiences for himself what he despised, what he called "romanticism, nonsense, rottenness, art."
Life does not immediately show the nihilist all the shortcomings of his ideology; the reader gradually comes to the conclusion that Bazarov's ideas cannot be realized in modern conditions. The clashes of Bazarov’s views with reality begin in Maryino, the Kirsanov estate, during disputes with Pavel Petrovich. It would seem that it is clearly shown that the age of aristocrats has long passed, that Pavel Petrovich’s “principles” do not allow society to develop freely, but at the same time we see individual weaknesses in the positions of nihilism. For example, the imperfection of the theory becomes obvious: nihilists only "clear the place", but do not offer anything in return, hoping for the Russian "maybe".
The next test turned out to be more serious for Bazarov, Arkady and Evgeny, at a ball in the provincial town, get acquainted with a local celebrity, Anna Sergeevna Odintsova.
The author constantly reminds the reader that Bazarov is not a monster, not an evil genius, but, above all, an unfortunate person, lonely and, despite all the strength of mind and energy, defenseless against the simplest human feelings. In relations with Odintsova, his vulnerability is manifested. Bazarov fell in love with the landowner Anna Sergeevna Odintsova. He experienced the same feeling that he had previously laughed mercilessly at. Eugene realized that a person is not a soulless "frog". He suddenly realized that living nature would never submit to any theories. Odintsova expects mature feelings from him, she needs serious love, not fleeting passion. In her life there is no place for upheavals, without which Bazarov cannot imagine himself. He does not understand that stability is an indispensable condition for achieving spiritual and moral ideals.
In Bazarov's chest beats the heart of a romantic, to whom both love and tenderness are available, who understands what sincerity and devotion to a loved one are. And to no one, not even to himself, Bazarov admits this. His soul sometimes breaks out, but Bazarov immediately suppresses it with an effort of will, while becoming tougher and sharper. It is from these jumps in behavior that one can judge how much his heart is subject to romantic impulses. This is the tragedy of Bazarov's position. With his soul and heart, he desires to love, while with his consciousness he suppresses this “desire. And most clearly these contradictions of the soul and consciousness are manifested in the scenes in Odintsova's house. It is here that the soul gains freedom for a brief moment, in order to be immediately buried to the very bottom by consciousness. This happens during a declaration of love by Bazarov Odintsova. This proud nihilist found himself in the grip of a feeling he denied; the soul burst out, but with such destructive force that it turned out to be fatal for this very feeling, for strong love is akin to hatred. During the confession, Bazarov was trembling, but it was not the voluptuous trembling of the first confession; passion stormy and uncontrollable beat in him. And Odintsova was afraid of him; the feeling that had begun to appear in her turned out to be broken, because one cannot love a person whom one is afraid of. Bazarov lost his only love because he held back his soul for too long, and this soul took revenge on him, depriving him of the woman he loved. Of course, the “test of love” is the most difficult test that Bazarov had to endure, but the test of the views of the nihilist did not end there. From Nikolsky, Evgeny goes to the village to his parents, where he again suffers a blow of fate. Over the years lived outside the native walls, differences appeared between Eugene and his parents, and so significant that these people could not freely communicate with each other: they simply did not understand each other.
Bazarov leaves his village for Maryino, where he finally realizes the doom of his ideas. After a duel with Pavel Petrovich, Bazarov understood: if in order to force one district aristocrat to change his “principles”, it takes as much effort and time as it takes to break the resistance of the entire nobility. Bazarov realized that he alone did not mean anything, and decided to live quietly with his parents and do what he loved - the natural sciences.
He didn't give up on his ideas, he just realized that their time hadn't come yet and was forced to give up the fight. However, the bright, "rebellious" heart of Bazarov could not live a quiet, calm life, therefore, if the accident that caused him to die had not happened, then "it should have been invented." Nihilist Bazarov was not broken by life, but nevertheless left the "battlefield" forever, albeit against his will.
It is in the fact that Bazarov, who did not give up a single position “in battle”, leaving each time with his head held high, was forced to admit his weakness before being, “the eye tragedy of his life turns on. This is probably what Turgenev had in mind when he wrote to Sluchevsky that Bazarov was "a tragic face."
- Each writer, creating his work, whether it be a fantasy novel or a multi-volume novel, is responsible for the fate of the characters. The author tries not only to tell about a person's life, depicting its most striking moments, but also to show how the character of his hero was formed, in what conditions he developed, what features of the psychology and worldview of this or that character led to a happy or tragic denouement. The finale of any work in which the author draws a peculiar line under a certain […]
- Turgenev's novel "Fathers and Sons" appears in the February book of the Russkiy Vestnik. This novel, obviously, constitutes a question ... addresses the younger generation and loudly asks them the question: "What kind of people are you?" This is the true meaning of the novel. D. I. Pisarev, Realists Yevgeny Bazarov, according to I. S. Turgenev’s letters to friends, “the cutest of my figures”, “this is my favorite brainchild ... on which I spent all the paints at my disposal.” "This smart girl, this hero" appears before the reader in kind […]
- Tolstoy in his novel "War and Peace" presents us with many different heroes. He tells us about their life, about the relationship between them. Already almost from the first pages of the novel, one can understand that of all the heroes and heroines, Natasha Rostova is the writer's favorite heroine. Who is Natasha Rostova, when Marya Bolkonskaya asked Pierre Bezukhov to talk about Natasha, he replied: “I don’t know how to answer your question. I absolutely do not know what kind of girl this is; I can't analyze it at all. She is charming. And why, […]
- The disputes between Bazarov and Pavel Petrovich represent the social side of the conflict in Turgenev's novel Fathers and Sons. Here, not just different views of representatives of two generations collide, but also two fundamentally different political points of view. Bazarov and Pavel Petrovich find themselves on opposite sides of the barricades in accordance with all parameters. Bazarov is a raznochinets, a native of a poor family, forced to make his own way in life on his own. Pavel Petrovich is a hereditary nobleman, keeper of family ties and […]
- The image of Bazarov is contradictory and complex, he is torn apart by doubts, he is experiencing mental trauma, primarily due to the fact that he rejects the natural principle. The theory of life of Bazarov, this extremely practical person, physician and nihilist, was very simple. There is no love in life - this is a physiological need, there is no beauty - this is just a combination of the properties of the body, there is no poetry - it is not needed. For Bazarov, there were no authorities, and he weightily proved his point of view until life convinced him. […]
- The most prominent female figures in Turgenev's novel "Fathers and Sons" are Anna Sergeevna Odintsova, Fenechka and Kukshina. These three images are extremely unlike each other, but nevertheless we will try to compare them. Turgenev was very respectful of women, perhaps that is why their images are described in detail and vividly in the novel. These ladies are united by their acquaintance with Bazarov. Each of them contributed to changing his worldview. The most significant role was played by Anna Sergeevna Odintsova. She was destined to […]
- Yevgeny Bazarov Anna Odintsova Pavel Kirsanov Nikolai Kirsanov Appearance An oblong face, a wide forehead, huge greenish eyes, a nose that is flat on top and pointed below. Long blond hair, sandy sideburns, a self-confident smile on thin lips. Bare red hands Noble posture, slender figure, high growth, beautiful sloping shoulders. Bright eyes, shiny hair, a slightly noticeable smile. 28 years old Average height, thoroughbred, 45 years old. Fashionable, youthfully slender and graceful. […]
- The novel by I. S. Turgenev “Fathers and Sons” contains a large number of conflicts in general. These include a love conflict, a clash of worldviews of two generations, a social conflict and an internal conflict of the protagonist. Bazarov - the main character of the novel "Fathers and Sons" - is a surprisingly bright figure, a character in which the author intended to show the entire young generation of that time. It should not be forgotten that this work is not just a description of the events of that time, but also deeply felt quite real […]
- Roman I.S. Turgenev's "Fathers and Sons" ends with the death of the protagonist. Why? Turgenev felt something new, saw new people, but could not imagine how they would act. Bazarov dies very young, without having time to start any activity. With his death, he seems to redeem the one-sidedness of his views, which the author does not accept. Dying, the protagonist did not change either his sarcasm or his directness, but became softer, kinder, and speaks differently, even romantically, that […]
- Bazarov E. V. Kirsanov P. P. Appearance A tall young man with long hair. Clothes are poor and unkempt. Pays no attention to his own appearance. Handsome middle aged man. Aristocratic, "thoroughbred" appearance. Carefully looks after himself, dresses fashionably and expensively. Origin The father is a military doctor, a poor simple family. Nobleman, son of a general. In his youth, he led a noisy metropolitan life, built a military career. Education Very educated person. […]
- Dueling test. Bazarov and his friend again pass through the same circle: Maryino - Nikolskoye - the parental home. Outwardly, the situation almost literally reproduces the one on the first visit. Arkady is enjoying his summer vacation and, having barely found an excuse, returns to Nikolskoye, to Katya. Bazarov continues natural science experiments. True, this time the author expresses himself in a different way: "The fever of work came upon him." The new Bazarov abandoned intense ideological disputes with Pavel Petrovich. Only occasionally throws enough […]
- Dear Anna Sergeevna! Let me turn to you personally and express my thoughts on paper, since saying some words aloud is an insurmountable problem for me. It is very difficult to understand me, but I hope that this letter will clarify my attitude towards you a little. Before meeting you, I was an opponent of culture, moral values, human feelings. But numerous life trials made me take a different look at the world around me and reevaluate my life principles. For the first time I […]
- Regarding the ideological content of the novel Fathers and Sons, Turgenev wrote: “My whole story is directed against the nobility as an advanced class. Look into the faces of Nikolai Petrovich, Pavel Petrovich, Arkady. Sweetness and lethargy or narrowness. An aesthetic feeling made me take just good representatives of the nobility in order to prove my topic all the more correctly: if cream is bad, what about milk? .. They are the best of the nobles - and that is why I have chosen me to prove their failure. Pavel Petrovich Kirsanov […]
- Dueling test. Perhaps there is no more controversial and interesting scene in I.S. Turgenev's novel "Fathers and Sons" than the duel between the nihilist Bazarov and the Angloman (actually an English dandy) Pavel Kirsanov. The very fact of a duel between these two men is an odious phenomenon, which cannot be, because it can never be! After all, a duel is a struggle between two people who are equal in origin. Bazarov and Kirsanov are people of different classes. They do not belong to one, common layer. And if Bazarov frankly does not care about all these […]
- Kirsanov N.P. Kirsanov P.P. Appearance A short man in his early forties. After an old fracture of the leg, he limps. Facial features are pleasant, the expression is sad. Handsome well-groomed middle-aged man. He dresses smartly, in the English manner. Ease in movements betrays a sporty person. Marital status Widower for over 10 years, very happily married. There is a young mistress Fenechka. Two sons: Arkady and six-month-old Mitya. Bachelor. Has been popular with women in the past. After […]
- Two mutually exclusive statements are possible: “Despite Bazarov’s outward callousness and even rudeness in dealing with his parents, he dearly loves them” (G. Byaly) and “Is not that spiritual callousness that cannot be justified manifested in Bazarov’s attitude towards his parents.” However, in the dialogue between Bazarov and Arkady, the dots over the i are dotted: “- So you see what kind of parents I have. The people are not strict. - Do you love them, Eugene? - I love you, Arkady! Here it is worth recalling the scene of Bazarov's death, and his last conversation with […]
- What is actually the conflict between Bazarov and Pavel Petrovich Kirsanov? The eternal dispute of generations? Opposition of supporters of different political views? A catastrophic disagreement between progress and stability bordering on stagnation? Let us classify the disputes that later developed into a duel into one of the categories, and the plot will become flat, lose its sharpness. At the same time, the work of Turgenev, in which the problem was raised for the first time in the history of Russian literature, is still relevant today. And today they demand changes and [...]
- The inner world of Bazarov and its external manifestations. Turgenev draws a detailed portrait of the hero at the first appearance. But strange thing! The reader almost immediately forgets individual facial features and is hardly ready to describe them in two pages. The general outline remains in memory - the author presents the hero's face as repulsively ugly, colorless in colors and defiantly wrong in sculptural modeling. But he immediately separates facial features from their captivating expression (“Livened up with a calm smile and expressed self-confidence and […]
- The relationship between Evgeny Bazarov and Anna Sergeevna Odintsova, the heroes of the novel by I.S. Turgenev's "Fathers and Sons", did not work out for a variety of reasons. The materialist and nihilist of the bazaars denies not only art, the beauty of nature, but also love as a human feeling. Recognizing the physiological relationship between a man and a woman, he believes that love "is all romanticism, nonsense, rot, art." Therefore, he first evaluates Odintsova only from the point of view of her external data. “Such a rich body! Even now to the anatomical theater, […]
- The novel "Fathers and Sons" was created in an extremely difficult and conflict period. The sixties of the nineteenth century had several revolutions at once: the spread of materialistic views, the democratization of society. The impossibility of returning to the past and the uncertainty of the future have become the cause of an ideological and value crisis. The positioning of this novel as “acutely social”, characteristic of Soviet literary criticism, also affects today's readers. Of course, this aspect is necessary […]
A young man named Yevgeny Bazarov was a clear adherent of nihilism, he denied all the existing orders of any authorities. But all the events that were the consequences of his turbulent personal life, over time, forced him to abandon some of his views.
The power of Bazarov's nihilism.
Nihilism - this word was fashionable, and denoted the philosophical trend of the XIX century.
It was described in the literature with the following words: "This word means a person ... who does not recognize anything ... respects anything ...".
Bazarov was a medical student, and did not honor any authorities, all the achievements and conclusions made by people who lived in the world before his appearance meant nothing.
“But why should I admit it? And what exactly do I need to believe? They tell me the case, I accept it, that's all, ”this is how Bazarov expressed his point of view.
Most often, such reasoning and statements of his put all Bazarov's opponents to a standstill, no one could answer his sometimes ruthless and unprincipled questions. Bazarov considered himself smarter and "higher" than everyone he dealt with. He justified such thoughts by the fact that he was not interested and not important those things that others considered valuable and important for humanity. He tried to assert his independence from any conventions, and even from reasonable boundaries. He was a complete materialist, and this trait of his knew no bounds: "Raphael is not worth a penny, and Russian artists are even less."
As a result of his worldviews, he stopped even recognizing love, although he was a young, attractive and cheerful man. And his attitude towards women, very contemptuous, he expressed in the following words: "only freaks think freely among women."
But Bazarov's nihilism also had its vulnerable sides.
It became important that no matter how Bazarov denied high matters, they did not cease to exist. And after meeting Anna Odintsova, Bazarov’s whole life “turned around abruptly”, as love was revealed to him. And with what passion, ardor and unbridledness he plunged into this feeling, proved to Anna that she did not want to allow such an unpredictable person into her life. And with his actions, he destroyed this feeling, which he had just begun to know. As a result, Bazarov had to learn to live by the rules dictated by society.
Eugene realized that everything he believed in for so long collapsed, his theory turned out to be wrong. He realized that feelings, emotions and moral principles cannot be deleted from life, that they are necessary for a person at the same level as the application of skills acquired in practice.
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