In Fathers and Sons, Turgenev applied the method of revealing the character of the protagonist, already worked out in previous stories (Faust, 1856, Asya, 1857) and novels. First, the author depicts the ideological convictions and the complex spiritual and mental life of the hero, for which he includes conversations or disputes of ideological opponents in the work, then he creates a love situation, and the hero passes the “test of love”, which N.G. Chernyshevsky called “a Russian person on rendez- vous. That is, the hero, who has already demonstrated the significance of his character and ideas, Turgenev places in life circumstances that require character and the application of ideas in practice - to overcome specific life obstacles. At the same time, the circumstances of the “test by love” are not repeated in any of Turgenev's works.

So, Dmitry Rudin in the novel of the same name (1855) fell in love with a wonderful girl Natalya Lasunskaya. She is the first to confess her love, and then Rudin, who is in love himself, retreats. He is not sure that he can arrange a decent life for Natalia, he is afraid to take responsibility for her fate, therefore he advises her to submit to the will of an aristocratic mother who will never agree to the marriage of her daughter and the impoverished philosopher Rudin. "Submit! So this is how you apply in practice your interpretations about freedom, about victims ... ”(IX), - Natalya sums up Rudin’s lofty appeals. The scene of the last explanation at an abandoned pond proves the failure of Rudin, an excellent speaker and a self-doubt, helpless person in real circumstances.

Fyodor Lavretsky in the novel "The Nest of Nobles" (1858) is depicted as a mature man who has seen a lot (Russia and France, capitals and provinces), has changed his mind a lot (ideas of Westerners and Slavophiles, relations between the nobility and the people), experienced a lot (love for his wife and her betrayal ). Lavretsky meets Liza Kalitina, who is distinguished by her extraordinary spiritual and moral sensitivity. He falls in love with Lisa at first hopelessly, and after the news of his wife's death, he begins to dream of personal happiness. But the sudden arrival of his wife (the news of her death turned out to be false) crushes all his hopes. The hero does not even try to do anything in this situation, he immediately resigns himself to his tragic fate, as evidenced by the last meeting-farewell of the main characters (XLII). Lisa goes to a monastery, and Lavretsky remains a lonely, restless person.

The main character of the novel "On the Eve" (1859) becomes a poor student of Moscow University, a Bulgarian by nationality, Dmitry Insarov, a man with a strong character, purposeful, inspired by the great idea of ​​\u200b\u200bfighting for the freedom of the motherland. This hero opposes "rodents, hamletists, samoyeds" - Russian noblemen-intellectuals, the heroes of Turgenev's first novels. A young noblewoman Elena Stakhova falls in love with Insarov, subdued by the heroic personality of the Bulgarian, his passionate love and at the same time proud modesty, self-confidence (which was not in Lavretsky), lack of posturing (which Rudin sinned). In the scene of a declaration of love, Insarov declares that he cannot give up the main goal of his life - the struggle for the liberation of Bulgaria from the Turkish yoke, but Elena, approving this lofty and noble goal, is ready to share with him all the difficulties of a dangerous heroic struggle (XVIII). So Insarov and Elena find happiness without opposing their love to another important goal - the struggle for the freedom of Bulgaria.

So, the main characters of the reviewed novels by Turgenev, except for the Bulgarian patriot Insarov, did not pass the “test of love”. What can be said about Bazarov in this respect?

Before meeting with Odintsova, Bazarov generally had a poor understanding of what love is. Hearing from Arkady the story of Pavel Petrovich and Princess R., the young nihilist sarcastically asks: “And what is this mysterious relationship between a man and a woman? We physiologists know what these relationships are. (…) This is all romanticism, nonsense, rottenness, art” (VII). In other words, in love, he assumes pure physiology, and denies spiritual intimacy, the heartfelt attraction of lovers to each other. While in women he is attracted only by external beauty. Having met Fenechka in the garden, he immediately asks Arkady: “Who is this? What a pretty one! (IX); having heard from Sitnikov about the emancipation of Kukshina, he clarifies: “Is she pretty?” (XII); having seen the beautiful Odintsova at the ball, he summarizes his impression: “Whoever she is - whether it’s just a provincial lioness, or an “emancipe” like Kukshina, only she has such shoulders that I haven’t seen for a long time” (XIV).

But now, having lived for two weeks in Odintsova's estate, he feels that he has fallen in love in earnest, and now he appreciates not only beautiful shoulders, but also a strong character, tactful behavior, intelligence, caring for his younger sister Katya, that is, the spiritual qualities of Anna Sergeevna . He, contrary to his theoretical convictions, succumbed to that very romantic feeling of love, which he “called rubbish, unforgivable foolishness” (XVII). It is not easy for the proud, self-confident Bazarov to abandon his former views on love, but the young nihilist did not rush about for long with his resentment of life, which refuted his beliefs about love. “Ideal” (that is, spiritual) love exists, and Bazarov, without spending much time on romantic hesitation and fruitless languor (as the heroes of Turgenev’s previous works in love did), explains Odintsova in love. So, thanks to his determination, Bazarov adequately withstood the first, but not the main "test of love."

He fulfills everything he has planned. It seems that it is no accident that Arkady listens to the following reasoning of Bazarov: “... in my opinion, it is better to beat stones on the pavement than to let a woman take possession of at least the tip of her finger. (...) A man has no time to deal with such trifles ”(XIX). After staying with Arkady for three days with his parents, Bazarov returns to Maryino, where he left "all his drugs" (XXI) and where he can continue his real work without interference - research experiments. In the same place, the young nihilist is trying to "get some sense" (XVII) from Fenechka, who was affectionate with him and seemed to him simple and undemanding in amorous affairs. However, here, too, he was mistaken: the kiss in the gazebo offended Fenechka: “It’s a sin for you, Evgeny Vasilyevich,” she whispered as she left. Genuine reproach was heard in her whisper. Bazarov remembered another recent scene, and he felt ashamed, and contemptuously vexed" (XXIII).

To defeat his unhappy love, the hero needs not only personal determination, but also time, which, as you know, heals everything. But Turgenev does not give the young nihilist time: about a month after the explanation with Odintsova, Bazarov becomes infected with ptomaine and, after being ill for a week, dies. Only after understanding the circumstances of the hero’s illness, one can decide whether Bazarov passed the “test of love” or not. If, during the autopsy of a typhoid corpse, the hero accidentally cut himself, then it is logical to assume that he could overcome his love for Anna Sergeevna in his soul, not “turn sour” for the rest of his life, like Pavel Petrovich, but do more important business for which he was preparing himself. Since he had the spiritual strength to resist a fatal illness, he would have been able to defeat unhappy love in time.

But there are strange details in the circumstances of Bazarov's infection. The hero cut himself, although he constantly dissected frogs and, therefore, maintained his surgical skills. In addition, when the district doctor did not have a hellish stone, for some reason Bazarov did not use another saving remedy - he did not cauterize the cut with iron. There is a suspicion that the hero deliberately became infected and preferred to die so as not to be tormented by mental anguish due to unrequited love. Therefore, he did not pass the "test of love."

So, in Fathers and Sons, Turgenev used his favorite plot device - revealing the character of the hero (his moral and business qualities) through a love story. For the literary heroes of the 30-40s of the XIX century - "superfluous people" (Rudin and Lavretsky belong to this type of heroes) - "the science of tender passion" (A.S. Pushkin "Eugene Onegin", 1, VIII) was the main , if not the only, interest in life. For the heroes of the 60s - "new people" - in addition to love, and sometimes in addition to it, there are other tempting goals in life: social and entrepreneurial activities, science, artistic creativity, etc. Contrary to these differences between former and modern heroes, Turgenev persuades Bazarov, a staunch democrat, to "omnipotent love." The writer even shows how a romantic feeling for the beautiful aristocrat Odintsova shook not only the hero's views on love, but also his social and philosophical convictions.

Bazarov already doubted whether he should spend his energy on the peasants Philip or Sidor, who someday will live in white huts, and Bazarov will not even be remembered (XXI). He begins to think about death (“Every person hangs by a thread, the abyss can open up under him every minute ...” - XIX), about the insignificance of a person (“... the part of the time that I manage to live is so insignificant before eternity, where I was not and will be ... "- ibid.).

For all that, Turgenev understood the difference between “superfluous” and “new people”, therefore Bazarov, unlike Rudin and Lavretsky, is trying to adequately withstand the “test of love”, to defeat his romantic feelings, since they are unrequited. True, he tries unsuccessfully, because, perhaps, the writer gave the hero too little time. Thus, Bazarov, in comparison with the former Turgenev's heroes, is presented as a more courageous, strong-willed person, more recently he is tragically doomed, as, indeed, Insarov, although the latter certainly withstood his "test of love." This is how the complex attitude of the author towards the nihilist Bazarov manifested itself - respect for his personal qualities and rejection of his social program.

• 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. […]
• 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 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 […]
• 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 […]
• 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. […]
• 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 […]
• 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 […]
• 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. […]
• 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 […]
• The idea of ​​the novel arises from I. S. Turgenev in 1860 in the small seaside town of Ventnor, in England. “... It was in August 1860, when the first thought of “Fathers and Sons” came to my mind ...” It was a difficult time for the writer. He had just broken with Sovremennik magazine. The reason was an article by N. A. Dobrolyubov about the novel “On the Eve”. I. S. Turgenev did not accept the revolutionary conclusions contained in it. The reason for the gap was deeper: the rejection of revolutionary ideas, “peasant democracy […]
• 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 […]

love test

The real reason for all the changes in Bazarov and at the same time a life test was the feeling that Bazarov had for Anna Sergeevna Odintsova, although later M.A. Antonovich will say that Bazarov did not have love for Odintsova, “but something else, not like a real sublime love” ** Collection of articles. M. A. Antonovich. Asmodeus of our time. With. 439. So, on his deathbed, the hero says to her: “Well, what can I tell you ... That I loved you? It didn't make any sense before, and even more so now. Love is a form, and my own form is already decaying.”

Acquaintance with Odintsova takes place in the fourteenth chapter of the novel. She is intelligent, independent, proud, determined, but cold and has a "secret disgust" for men." But Bazarov struck her imagination, forcing her to think a lot about him. She also interested the hero of the novel with her calmness, erudition, originality, intelligence. Although when he first met Odintsova, he at first spoke of her rudely and cheekily: “Such a rich body! ... even now to the anatomical theater”, “this lady, oh-oh-oh.” He speaks cynically about his new acquaintance: "a woman with a brain", "she has such shoulders that I have not seen for a long time." Her coldness fascinates him, although Bazarov talks cheekily about this: “Look how she froze herself!” But it gradually becomes clear that behind Bazarov’s feigned cynicism there is a desire “not to get sick”. Bazarov, who previously denied beauty, is fascinated by her. Only recently, having rejected love, does he unexpectedly discover “romanticism” in his experiences and behavior, he realizes the futility of fighting with himself.

Bazarov can no longer maintain his usual restraint, self-control, he catches himself on “all sorts of shameful thoughts, as if the demon teased him”, introduces into his lexicon such a thing as beauty (“Why are you, with your mind, with your beauty, do you live in the countryside?"

In general, the hero’s behavior becomes strange: he “went into the forest and walked along it with long steps, breaking branches that came across and scolding both her and himself in an undertone ...”, “climbed into the hayloft, into the barn, and, stubbornly closing his eyes, forced himself to sleep ... ". Bazarov often began to daydream: he imagined how her hands would “wrap around his neck,” how her “proud lips ... would answer his kisses.” At the same time, he pushed these thoughts away from himself. Soon the time comes for the main test in Bazarov's romantic love, which takes place in the twenty-eighth chapter of the novel.

The conversation, to which Anna Sergeevna calls Bazarov, leads to the end of their relationship. A strange scene takes place between them. Bazarov confesses his love for Odintsova with his characteristic directness and harshness: "... I love you, stupidly, madly ... That's what you have achieved." But the aristocratic mind of Odintsova is frightened by his "strong and heavy" feeling, "similar to malice." The author focuses on the fact that Odintsova "became scared." She assures Bazarov that he misunderstood her. Antonovich believes that Anna Sergeevna “getting to know him closer, turns away from him with horror and disgust, spitting and “wiping herself with a handkerchief” ** Collection of articles. M.A. Antonovich. Asmodeus of our time. With. 438.

Turgenev makes it clear that the strong-willed and strong Bazarov gave in to failure on the love front. Starting from the twenty-eighth chapter, the reader can follow the hero’s evolution towards pessimism and skepticism: “Every person hangs on a thread, the abyss can open up under him every minute”, self-confidence disappears in him, anger arises, the hero comes to the conclusion that “stones are better to beat on the pavement than to allow a woman to take possession of even the tip of her finger.

Unsuccessful love became a difficult life test for Bazarov, who denied the concept of "love". He tries to suppress romantic feelings in himself, to pull himself together, but he feels his powerlessness, "boredom and anger." The hero even comes to mind comparing himself with an ant that drags a half-dead fly. Even, it would seem, Bazarov’s outlet is science (“... he set about his frogs, ciliates, chemical compounds and fiddled with them”) does not occupy him enough to get rid of melancholic thoughts.

According to Pustovoit, although Turgenev gives Odintsova and Bazarov the opportunity to meet at the end of the novel, it is only to sum up their relationship. Both heroes understand that failed love cannot be returned, but it should be given the opportunity to develop into reconciliation and friendship, which Odintsova says: “Whoever remembers the old, out of his eyes ... One word: we will be friends as before. That was a dream, wasn't it? And who remembers dreams? ** P. G. Pustovoit. Roman I.S. Turgenev "Fathers and Sons". Comment. With. 87.

Frankly speaking, the writer is not inclined to believe the words of his characters. For him, the psychology of human sympathies is understandable, and therefore it is absolutely clear that people's thoughts do not always coincide with their statements. The author himself comments on the explanation of Anna Sergeyevna and Bazarov in this way: “This is how Anna Sergeyevna expressed herself, and this is how Bazarov expressed himself; they both thought they were telling the truth. Was there truth, full truth, in their words? They themselves did not know this, and the author even more so.

Despite all the efforts of Bazarov to overcome the feeling of anger, Bazarov remains with a feeling of emptiness, longing, generated by failure in love, although the hero himself does not want to realize this. He tries to hide behind the mask of that former Bazarov, wishing Arkady happiness, at the same time he makes “an effort on himself so as not to show a malicious feeling”, in a conversation with Odintsova there is a smile on his face, although at that moment “he was not at all cheerful and I didn't feel like laughing at all."

In the end, Bazarov comes to the idea of ​​​​the empty place of a person “in our life suitcase”, that happiness is impossible for a person leading a “tart, bitter, bean life”. Turgenev describes Bazarov’s condition in a completely different way in the twenty-seventh chapter: “The fever of work jumped off him and was replaced by dreary boredom and deaf anxiety. A strange fatigue was noticed in all his movements, even his gait, firm and swiftly bold, changed.

This state of the hero was the result of his unhappy love, the reason for which the critic Pisarev is inclined to look for in the inability of women to “seriously respond to a serious feeling” of such a type as Bazarov, “and as long as the woman is in her current dependent position, as long as she and she will be watching her every step herself, and tender parents, and caring relatives, and what is called public opinion, until then the Bazarovs will live and die as beans, until then the warming tender love of an intelligent and developed woman will be known to them only by rumors and novels.

Being in a dejected state, the hero nevertheless decides to participate in his father's medical practice, which becomes the cause of his infection, and subsequently death.

As we can see, Turgenev used the technique of debunking a nihilist hero, a winner and a person who captivates the reader with his strength, ability to lead people, superiority of mind and progressive views in science. He makes him fall in love, and then retreat before the romance denied by the nihilist, proving that a love collapse can break such a strong person.

Meanwhile, the critic Pustovoit notes that “the means resorted to in this case by Turgenev to debunk the new hero not only did not seem universal and sufficient, but in general seemed to be something like a cardboard sword in a duel” for real raznochintsy. First of all, the real commoner of those times was “a spiritually strong person, able to quickly suppress his grief and sacrifice personal joys and pleasures in the name of a public cause. In his article about the novel, Pustovoit gives an example about N.A. Dobrolyubov, who survived the death of his parents. “The young critic is dependent on seven younger brothers and sisters. But grief did not break the strong-willed and energetic young man. In his diary on December 18, 1855, he wrote: "A terrible misfortune befell me - the death of my father and mother - but it finally convinced me of the rightness of my cause ...". Of course, it was about the revolutionary convictions of the critic** PG Pustovoit. Roman I.S. Turgenev "Fathers and Sons". Comment. With. 89.

An essay on the work on the topic: “Love in the life of Bazarov and the Kirsanovs” (based on the novel by I.S. Turgenev “Fathers and Sons”)

The work of the remarkable writer Ivan Sergeevich Turgenev is a hymn to high, inspired, poetic love. It is enough to recall the works "Rudin" (1856), "Asya" (1857), "First Love" (1860), and you understand that love in the eyes of Turgenev is primarily mysterious. At the same time, Turgenev considered the ability to love a measure of human value. In full measure, this conclusion applies to the novel "Fathers and Sons" (1861).

Love plays an essential role in the life of Nikolai Petrovich Kirsanov. Having married immediately after the death of his parents, Nikolai Petrovich completely surrenders to the peaceful flow of village life. The death of his wife is a terrible blow to him. Nikolai Petrovich's relationship with Fenechka is much calmer. “... She was so young, so lonely; Nikolai Petrovich himself was so kind and modest ... there is nothing else to prove ... ”Fenechka attracts Kirsanov precisely with her youth and beauty.

Turgenev also leads Pavel Petrovich Kirsanov through trials of love. Meeting at the ball with Princess R. dramatically changed the life of the hero. Pavel Petrovich is unable to resist his feelings. Unrequited love finally unsettles him. The news of the death of Princess R. makes Pavel Petrovich give up everything and settle in the family estate. The duel with Bazarov because of Fenechka speaks, of course, not about the strength of Kirsanov's feelings, but about petty jealousy and a desire to avenge the defeat in the dispute. But is it possible to say that the "old men" Kirsanovs did not pass the test of love? It seems to me that it is impossible. Too much of a strong and complex feeling!

In Arkady Kirsanov's judgments about love, the influence of Bazarov is felt. Like his "teacher", the younger Kirsanov considers love "nonsense". However, real life quickly puts everything in its place. Acquaintance with Anna Sergeevna Odintsova makes Arkady feel like a "student" next to her. “On the contrary, with Katya Arkady was at home ...” Young Kirsanov, in the words of Bazarov, was not created for a “tart, bean life.” The fate of Arkady is typical. Having married Katerina Sergeevna, he becomes a "zealous master".

Now let's try to find out what love means in Bazarov's life, because the young nihilist denies all "romantic feelings." Fenechka attracts Bazarov in the same way as the Kirsanov brothers - youth, purity. The duel with Pavel Petrovich takes place at the moment when Bazarov is passionate about Odintsova. Turgenev draws his inner struggle with himself. This is precisely the explanation for Bazarov's ostentatious cynicism. “Such a rich body!” He says about Odintsova. Meanwhile, Arkady notices an unusual excitement in his friend and teacher. Bazarov's feelings are not only physical passion, they are love.

Bazarov's struggle with his feelings is initially doomed to failure. With his novel, the writer affirms the eternal values ​​of love. During a meeting with Odintsova, Bazarov suddenly feels the stunning beauty of a summer night ... "Love" and "romanticism", at which Bazarov laughed so caustically, enter his soul. Eugene sees perfectly well that Odintsova has "frozen" herself too much, that she very much appreciates her own calmness and measured order of life. The decision to part with Anna Sergeevna leaves a heavy mark on Bazarov's soul.

Saying goodbye to Odintsova before his death, Turgenev's hero speaks of his high destiny, of tragic loneliness, of Russia.

Thus, both in the life of the Kirsanov brothers and in the life of the nihilist Bazarov, love plays a tragic role. And yet the strength and depth of Bazarov's feelings do not disappear without a trace. At the end of the novel, Turgenev draws the grave of the hero and "two already decrepit old men" who come to visit it. But this is love!

The main result of Bazarov's life lies in the fact that the hero managed, albeit for a short time, to awaken immediate feelings in those who are cold by nature, like Odintsova. Bazarov leaves love in the world, not hatred or nihilism. Therefore, Turgenev's words "On eternal reconciliation and on endless life ..." are so appropriate in the finale of the novel.

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"Fathers and Sons" is a novel about confrontation, mutual misunderstanding of two generations. Eternal theme. The very idea of ​​the novel is always relevant, but the work is still written about people - Turgenev's contemporaries. It must be taken into account that the political situation in Russia has changed since then, and there are no more bazaar ones (although there are similar types). But at that moment the main character was a living representative of the time. In this perspective, he is the only representative of the "children" in the novel.

The character of Bazarov is complex and contradictory. His views are subject to change under the influence of various reasons. At the beginning of the novel, Bazarov is a convinced nihilist. He denies literally everything: liberal principles, English aristocracy, the logic of history, authorities, art. Having confronted his hero with serious life trials, the author forced him to give up a number of beliefs, to come to skepticism and pessimism. But at first, before meeting with Odintsova, Bazarov emerged victorious from all clashes (with Pavel Petrovich, Nikolai Petrovich, Arkady). Shortly before the historic meeting, Yevgeny Bazarov is a man of a sober and deep mind, confident in his abilities and in the work to which he devoted himself, proud, purposeful, with the ability to influence other people and even suppress them. What happened to him?

After the meeting with Odintsova in Bazarovo, the changes generated by the internal struggle slowly begin to mature. At first, the hero covers up his nascent feeling with feigned swagger with careless - sometimes cynical - remarks about Odintsova.

Arrival at Odintsova's estate is another step towards the fall of Bazarov's conviction. Feelings begin to appear in the hero that were not previously characteristic of him. For example, timidity. He can no longer maintain his usual restraint and composure. Anxiety sets in. Realizing himself that the feeling denied by him and the “romanticism” so hated by him wakes up in him, he tries in every possible way to fight with himself. He always considered love to be something like a disease. And then he contracted the disease himself. He would have refused all this with contemptuous laughter and cynicism ... And he could not. This is what depresses Bazarov. This makes him, when he confesses his feelings to Odintsova, call his feeling "stupid, insane." Odintsova was frightened by this heavy feeling and recoiled from Nazarov. For a proud man like him, that was enough to understand the truth without words.

No one is immune from defeat in love. But in this test, will, endurance, stamina are tested. But where did Bazarov's stamina go? He gave up before life's failure, before what he did not believe in at all. Having fallen into the power of romance, which he called nothing but "rubbish", Bazarov begins to give up many of his beliefs and views. They are seized by melancholy, despondency, apathy. He is trying to be brave, there is a complex internal struggle going on in him. Melancholy forces the protagonist to do science. He goes to the Kirsanovs' estate.

The sudden relationship between Bazarov and Fenechka was needed by the author as a pretext for a duel with Pavel Petrovich. The challenge to a duel, like everything that Pavel Petrovich did, was full of pathos and eternal English aristocracy. The most surprising thing is that Bazarov accepted this challenge. Although it was easiest for him to refuse, because he always laughed at such customs, and he did not care how they looked at him. Bazarov himself compares the two duelists with "learned dogs" dancing on their hind legs. Yet he accepts the challenge.

Bazarov wounds Pavel Petrovich, but at the same time behaves like a truly noble person. He takes care of the wounded, forgetting both his convictions and his dislike for Pavel Petrovich. And this makes Bazarov attractive in the eyes of the reader. If you look at the duel as another test, then Bazarov passed it with honor, showing himself to be a brave and honest person.

And finally, the last test. Death. After a failure with Odintsova, Bazarov returns to the estate to his parents (see essay). There he is overwhelmed by gloomy thoughts about life, about the impossibility of happiness, about the futility of human activity. When Bazarov becomes infected and realizes that he will die, he comes to a very simple thought. This thought lies in the fact that it is impossible to deny death, for it itself denies everything and everyone. Late, but still Bazarov manages to realize the falsity of many of his beliefs. Not only death is impossible to deny, but also love, and traditions, and much more. The fact that Bazarov comes to such a conviction does not speak of weakness, but rather of strength of character. It's hard to admit your mistakes. Bazarov, in the face of death, nevertheless managed to do this. But with his stubbornness, such a step was very difficult.

Anyone who attended literature classes with pleasure while studying at school will definitely remember the work of I. S. Turgenev “Fathers and Sons” and its main character, Evgeny Bazarov. Surely most readers, when asked who he is, will answer that this character is a nihilist. However, in order to remember what it was like for most of us, it will take some time to retrieve from memory what was read. Someone got acquainted with this work five years ago, and someone - twenty-five. Well, let's try to remember together what Bazarov says about love.

Love and nihilism

Anna Sergeevna Odintsova

All Eugene's ideas about love change after he meets the feeling for this woman breaks into his heart and takes precedence over the mind. It contradicts all of his attitude to Bazarov's love runs counter to his ideas about how it should be.

Anna Sergeevna attracts the attention of Yevgeny at the ball, he admires the beauty and the article of this beautiful woman, but asks about her with mock negligence.

Relations between Bazarov and Odintsova

Anna Sergeevna also became slightly interested in Yevgeny. She invites him to visit Nikolskoye, her estate. Bazarov accepts this invitation, this woman interests him. In Nikolskoye they spend a lot of time walking around the neighborhood. They talk a lot with each other, argue. Evgeny Bazarov in the eyes of Odintsova is a very interesting interlocutor, she sees him as an intelligent person.

And what about our hero? I must say that after a trip to Nikolskoye, love in Bazarov's life ceases to be only something that does not rise above the level of physiology. He truly fell in love with Odintsov.

The tragedy of the nihilist

So, in the soul of Bazarov there was a change that refutes all his theories. His feeling for Anna Sergeevna is deep and strong. He initially tries to brush it off. However, Odintsova calls him to a frank conversation while walking in the garden and receives a declaration of love.

Bazarov does not believe that Anna Sergeevna's feelings for him are mutual. Nevertheless, love in Bazarov's life instills in his heart the hope of her disposition towards him. All his thoughts, all aspirations are now connected with a single woman. Bazarov wants to be only with her. Anna Sergeevna prefers not to give him hope for reciprocity, choosing peace of mind.

The rejected Bazarov is going through hard. He goes home, trying to forget himself in work. It becomes clear that the former attitude towards Bazarov's love is forever in the past.

Last meeting

The main character was destined to meet his beloved one more time. Being mortally ill, Eugene sends a messenger for Anna Sergeevna. Odintsova comes to him with a doctor, but she does not rush into his arms. She was just scared for Bazarov. Eugene dies in her arms. By the end of his life, he remains completely alone. Bazarov is rejected by everyone, only elderly parents continue to selflessly love their son.

So, we see how much the attitude towards Bazarov's love changed when he met his female ideal in the person of Anna Sergeevna. The tragedy of this hero turned out to be very similar to the love disappointments that, probably, everyone experienced. We meet a person whom we consider ideal, but he turns out to be out of reach for some reason. We suffer from a lack of attention, not noticing that loved ones are ready to give a lot for us. Towards the end of his life, Bazarov finally begins to understand the power of parental love: “People like them cannot be found in our light during the day with fire.” However, such an important understanding comes to him too late.