The conflict between Kirsanov and Bazarov underlies the entire novel by I. S. Turgenev “Fathers and Sons.” This article presents the table “Dispute between Bazarov and Pavel Petrovich.”

Political Views

The different views of Bazarov and Kirsanov come from their social status.

Pavel Petrovich Kirsanov is a prominent representative of aristocratic society. He is a hereditary nobleman.

Evgeny Bazarov is a commoner. His mother was noble origin, and my father was an ordinary doctor. This allows us to talk about Bazarov’s intermediate position: he does not consider himself a nobleman, but he does not consider himself to be one of the simple men either.

Due to this difference in origin, Bazarov and Kirsanov have different socio-political views.

Philosophical views

The main disputes between Pavel Petrovich Kirsanov and Bazarov arise from different attitudes towards nihilism.

Moral values

This article, which will help you write the essay “Table “The Dispute between Bazarov and Pavel Petrovich”,” will examine the political, philosophical and moral views of the representatives of “fathers and sons” from the novel by I. S. Turgenev.

Useful links

Check out what else we have:

Work test

I.S.TURGENEV. "FATHERS AND CHILDREN"
Topic: “The triumph of democracy over aristocracy.” Duel of Bazarov and Pavel Petrovich.
Goal: complete consideration of the conflict between Bazarov and P.P. Kirsanov.
Lesson Plan
1.Poll.
2. Commented reading.
3.Homework.
SURVEY
Compare life path Bazarov and Pavel Petrovich. Why is it inevitable that these people will clash?
COMMENTED READING
Consider the duel scene. This scene is extremely important for the revelation ideological content novel, especially for proper understanding storyline Bazarov - P.P. Kirsanov.
As a result of Bazarov’s continuous ridicule, Pavel Petrovich felt that he was an “archaic phenomenon” and realized how ridiculous he was in his pedantic adherence to the outdated requirements of noble ethics, but his attitude towards Bazarov did not change. “Nikolai Petrovich guessed that his brother’s hatred for Bazarov had not diminished.”
-Why did the duel between the heroes take place?
-Do you feel the tragedy of the situation - after all, the heroes may die? Let's find out: on whose side Turgenev's sympathies lie and where can this be seen from?
Reading Chapter 24 to the words “and put the cane in the corner.”
-What are Pavel Petrovich’s intentions?
-Why does he take a cane?
-What is the nature of Pavel Petrovich’s speech when explaining and what does this indicate?
-How does Bazarov behave?
(Pavel Petrovich - emphasized politeness, stilted turns of speech. He adheres to a ceremonial and overly polite tone, which, in his opinion, is necessary as component ritual accompanying a challenge to a duel. But at the same time he says “seminary rat,” hinting at Bazarov’s spiritual origin, and does it deliberately rudely.
Bazarov is amazed, does not notice these words, but sees P.P.’s face, feels insulted and accepts the challenge; He behaves coolly, but his words ring with a restrained threat. Pavel Petrovich is satisfied - his goal was achieved, everything happened like a gentleman, no cane was needed).
Reading until “Bazarov said as he saw off the guest.”
-How do the heroes continue to behave? Pay attention to the repetitions of Pavel Petrovich's words from Bazarov - what does this mean, why is Bazarov doing this, what is his attitude to what is happening?
Pavel Petrovich - pompous solemnity. Bazarov - comedy, buffoonery.
- Why is Pavel Petrovich hurt when it comes to Peter?
Let us remember the description of Peter in chapters 1 and 10 - a man of the newest, improved generation, i.e. parallelism between Pavel Petrovich and Peter: increased attention to one’s appearance; commitment to foreign words; narcissism, etc.
Reading from “Morning...” to “under the arm.”
-How does the author show his attitude to what is happening in this passage?
-What does Turgenev emphasize with the picture of a beautiful morning and the comic figure of Peter?
-Why is the image of a man introduced?
Reading a passage describing a duel.
-Why did Pavel Petrovich, who considered it beneath his dignity to shake hands with Bazarov at the first meeting with him, bowed to Peter before the duel?
-Is there any sense of tragedy when describing the duel?
-What gives a scene a comic sound, depriving it of tragedy?
(Bazarov’s caustic mockery all the time violates the solemnity and tragedy of the moment, emphasizes the meaninglessness of what is happening; he tries to awaken Pavel Petrovich’s sense of humor, but he maintains the accepted tone to the end, and this emphasizes the COMEN side of what is happening).
-What thoughts of Bazarov just before the shot make you laugh and why?
How do events develop next? How does Bazarov behave after the duel?
How - Pavel Petrovich?
(If time permits: WATCHING THE EPISODE with the duel from the movie.
How successful was the adaptation of the episode?)
The doctor’s natural desire to help the patient, but when he sees the frivolity of the wound - surprise and contempt, a description of the state of the heroes.
-What is the meaning of comparing Bazarov and Pavel Petrovich?
I.S. Turgenev: “If cream is bad, what about milk?”
HOMEWORK
Prepare answers for chapter 27:
1.Which scenes from this chapter do you find most vivid and memorable?
2. How does Bazarov appear in the dying scenes?

I.S. Turgenev: the truth of double mirrors

LET'S READ IT AGAIN

Yuliy KHALFIN

I.S. Turgenev: the truth of double mirrors

Turgenev doubles

- Do you have a high opinion of Shakespeare?..

Yes. He was a man born happily - and with talent. He knew how to see both white and black at the same time, which is very rare... (I.S. Turgenev)

There is an episode in the novel “On the Eve” that, it seems to me, can be taken as a kind of model of Turgenev’s vision of the world of phenomena and people.

The artist Shubin shows his friend two sculptural portraits of Insarov.

On one of them the expression: “glorious: honest, noble, and brave” ( Turgenev I.S. Full collection cit.: In 28 vols. M.–L., 1962. T. 8. P. 99. Further quotations are given from this edition with page indication. - Yu.H.).

On another, “a young Bulgarian was represented by a ram, rising on its hind legs and bending its horns to strike. Dull importance, enthusiasm, stubbornness, awkwardness, and limitations are all imprinted on the face of the same hero (ibid.).

About the first portrait it is said: “the facial features were captured correctly... down to the slightest detail.” However, about the second it is said: “the similarity was... amazing.”

Which image is more true?

This feature of Turgenev’s talent was often (and remains) the cause of many bewilderments among readers and critics.

“- Where is the truth? Which side?

Where? I’ll answer you like an echo: where?” (p. 324)

An echo can respond to the same sound twice, three times, repeatedly and in different ways.

So Turgenev’s mirrors play with many-sided images of the same phenomena, throw this image to each other, crush it in different ways, reflect from different sides and, as it seems to the reader, distort it in different ways.

Pisarev believed that the “mirror” of Turgenev’s novel “Fathers and Sons” changed colors a little, but correctly captured the features, ideas, and aspirations of the younger generation. In Bazarov, the younger generation, he says, can recognize themselves, “despite the errors of the mirror” ( Pisarev D.I. Full collection op. M., 1955. T. 2. P. 7).

To Pisarev's contemporary Antonovich, Turgenev's novel seemed like a kingdom of distorting mirrors. He saw Bazarov as a disgusting monster “with a tiny head and a giant mouth, with a small face and a huge nose” (p. 591).

Where is the truth? Where is the truth?

Where? - the echo responds sadly.

Is it not because Turgenev loved Shakespeare so much that the English poet had a jester next to the king - his double, his parody, and perhaps his naked essence.

His shadow moves next to Bazarov, his funny parody - Arkady. He, too, is lounging in his chair (“like Bazarov”). “Tender soul, weakling” (p. 324), he puffs up and utters downright “Bazarov’s” words: “We break because we are strength” (p. 246). However, having played his role as a double in the novel, he will eventually stop “breaking” the nobles’ nests, but, on the contrary, will begin to build his own very cozy nest.

In another place, “a short man in a Slavophile Hungarian jacket” (p. 256) - Bazarov’s jester, Bazarov’s double “Herr Sitnikov” - will jump onto the stage, like a jack from under the bench. And Bazarov’s harsh, critical (empirical, as Pisarev puts it) attitude towards the world will turn into an absurd clownery. For example, Bazarov’s restrained “And why will I believe? They will tell me the matter, I I agree” will turn into a pompous one for the first double: “I already told you, uncle, that we do not recognize authorities” (p. 243), and for the second it will turn into a stupid repetilovsky vaudeville: “Would you believe it... that when I have Evgeniy Vasilyevich in the first Once I said that I shouldn’t recognize authorities, I felt such delight... as if I had seen the light!” (p. 257). And finally, for the third time this thought will appear in completely slapstick attire. Through the steam of champagne, vying with the funny monkey Kukshina (the female version of the double of Bazarovism), the tipsy Sitnikov yells: “Down with the authorities!” The absurdity of this scene is aggravated by the fact that he denies authority “in the presence of the person to whom he was subservient” (p. 262).

Bazarov's nihilistic views on marriage amusingly materialize in the image of the emancipated Kukshina.

It is interesting that at the end of the novel, before moving on to the last lines about the grave in which the “passionate, sinful, rebellious heart” of the great nihilist hid, the author in the previous paragraph (that is, nearby) talks about two “continuers” of Bazarov’s “cause”: about Kukshina, who hobnobs with “chemists” who cannot distinguish oxygen from nitrogen, and Herr Sitnikov, whom someone beat and whom his own wife considers “a fool... and a writer” (p. 401).

So comedic jesters accompany the tragic figure of Bazarov until the very end.

And this sad novel begins with a description of a funny figure of a man opening a gallery of Turgenev’s jesters. Anticipating the appearance of the son of a new generation in front of the reader in a robe with tassels, the author describes a cheeky fellow with dull eyes, “in whom everything: the turquoise earring in his ear, the pomaded multi-colored hair, and courteous body movements - in a word, everything exposed a man of the newest, improved generation.” (p. 195).

This is Nikolai Petrovich’s immensely stupid servant, Peter.

However, aren’t modern ideas for the Kukshin-Sitnikovs just like an earring in an ear and a painted multi-colored wig?

Peter’s entire improvement lies in the fact that he has forgotten how to answer questions like a human being, and only knows how to “answer condescendingly.” In the epilogue it is said about him that “he has become completely numb from stupidity and importance,” he has completely forgotten how to pronounce words normally, and now says “obyuspyuchun” instead secured and the like.

However, it is interesting to note that Peter, more than all the servants, became attached to Bazarov and sobs on his shoulder when he drives away. He is a “second” in Bazarov’s duel. He is connected with the main character in some way.

Peter is also a double of his master - Nikolai Petrovich Kirsanov.

The “lame” Nikolai Petrovich is in a hurry to follow the passing time. His servant Peter does not lag behind the century.

Literally everything in the novel is double.

The master who strives to be modern is parodied by his equally modernized servant.

The double of the frozen Pavel Petrovich, left in the past, is the faithful lackey Prokofich.

Pavel Petrovich is devoted to the idea of ​​aristocracy. “Prokofich, in his own way, was an aristocrat no worse than Pavel Petrovich.”

Pavel Petrovich calls Bazarov a “charlatan” (p. 239), “a blockhead” (p. 238), “a doctor,” and a “seminar rat.” Prokofich calls him a “rogue,” “a flayer,” “a pig in the bush” (p. 238).

Their reaction to Bazarov is the same. At his first appearance, Prokofich kissed Arkady’s hand, but not only did not approach Bazarov, but, on the contrary, “bowed to the guest, retreated to the door and put his hands behind his back” (p. 207).

Across the page, the author paints a similar picture: Pavel Petrovich kissed Arkady. Having been introduced to Bazarov, he only slightly bent his flexible figure and smiled slightly, but did not offer his hand or even “put it back in my pocket”(p. 208).

What is interesting here is the deliberate juxtaposition of similar actions.

Prokofich grinned, then kissed Arkady’s hand, then bent down and hid his hand.

Pavel Petrovich kissed Arkady, then smiled slightly, then bowed and also hid his hand.

Both heroes equally observe and honor the ancient rituals of noble life. Both are strict in their dress. Pavel Petrovich wears either a dark English suit or an elegant English morning suit. Prokofich wears either “a brown tailcoat with copper buttons” (p. 207) or “a black tailcoat and white gloves” (p. 397). Some kind of tie will certainly adorn Pavel Petrovich’s neck. Prokofich has “a pink scarf around his neck” (p. 207).

The author's thought always lives in echo, reflection, doubling.

Not one, but two sisters await their fate on Odintsova’s estate.

Not one, but two fathers are waiting for their sons in a novel where the problem of fathers and children is at the center. This thought doubles again when, in Nikolai Petrovich’s memoirs, next to the scene of a brutal argument with children, the image of another argument between people of a different generation appears. Then Nikolai Petrovich told his mother: “... you... cannot understand me; we... belong to two different generations,” “... now it’s our turn” (p. 248), he thinks.

Next to the central dispute - the dispute between the “fathers” - autocrats, liberals and the “children” - commoners, democrats - the eternal problem of generational change arises. Turgenev's solution is again double: the Bazarovs are father and son, the Kirsanovs are father and son.

Here the natural counterparts are the brothers Pavel and Nikolai Kirsanov. Two solutions will receive a single topic “ retired man”, whose “song is finished” (p. 238).

For one of the brothers, this sad swan song will appear in the first pages of the novel. He immediately recognizes the inevitability of the triumph of the new force: “Why, brother, I myself am beginning to think that it is definitely sung” (p. 239); “... apparently it’s time to order a coffin and fold the arms in a cross” (p. 240).

Another brother, a faithful knight of antiquity, first tries to blow the horn, to call the new to battle: “Well, I won’t give up so soon... We will still have a fight with this doctor, I have a presentiment of it” (p. 240).

There is no need to have a presentiment at all. He himself continuously attacks Bazarov. And only in the end, having suffered complete defeat, will he sing the same “song”: “No, dear brother, it’s enough for us to break down and think about the world: we are already old and humble people...” (p. 362).

The attitude of the twin brothers towards the ideas of the new century is opposite.

Pavel Petrovich has left his time, has become petrified in it and does not want to know anything about the new (even if not for the sake of an agreement with him, but for a conscious attack against him). He doesn’t accept anything and that’s it. The new is bad because it is new, because it encroaches on the laws of antiquity by which it lives.

Nikolai Petrovich, on the contrary, is trying to understand both new people and new trends. He is proud that his “in the whole province red dignified” (p. 239). He studies, reads, tries to manage the farm new way. The cruel irony is that he “lame”, trying to keep up with the running century, with the light-footed youth.

In terms of the idea of ​​duality, it is extremely interesting Fenechka's image. It’s not entirely clear why this sweet, simple bourgeois girl in some sense occupies a central, key place in the novel. Her storyline intersects with the lines of all the main characters. Maybe this is due to the fact that “Fathers and Sons” - the only novel Turgenev, where the bright, heroic female character, such as Elena Stakhova, Lisa Kalitina or Marianna. There is no heroic female love either. Odintsova is cold, selfish, indifferent. The heroine of Pavel Petrovich, although shrouded in some mystery, is an eccentric social coquette. The main thing is that her image is, so to speak, “off-stage” - she is described briefly, briefly, the plot of her life is in the background.

The author says very ironically about Nikolai Petrovich’s wife that she was, “as they say, a developed girl”: “she read serious articles in the Science department,” and after the wedding “she planted flowers and watched the poultry yard” (p. 198). Something reminiscent of mother Larina, with the only advantage that even after the wedding she did not completely leave the womb of culture, but sang duets with her husband and read books.

Arkady and Katenka chirp sweetly in harmony, making a nest.

Fenechka somehow replaces this vacuum or, rather, embodies it. She passes through the book like a kind of “shadow of a shadow.” Moreover, in reality, Fenechka is given as a clear, sober, completely unromantic being. The author always emphasizes only her physical properties, completely depriving her of any spiritual principle (a hand as white as milk, a fresh blush, and the like).

However, despite this (or maybe because of this?), each of the heroes sees something of their own in her. She is the double of Nikolai Petrovich's first wife. The descriptions of both heroines and Nikolai Petrovich’s perception of them are so similar that it seems that at times they could replace each other. About Fenechka it is said: “clean, gentle... face”, “innocent, slightly parted lips”, “pearly teeth” (p. 232); about Maria - “an innocently inquisitive look” and “a tightly twisted braid over a child’s neck.” “She looked at him, took on a serious look and blushed” (p. 250) - it was also said about Maria, but it could have been said about Fenichka (“blushed” - her usual state). And although Fenechka is illiterate and writes “laceberry” (p. 220), the main thing in both heroines is quiet tenderness and household worries.

For Pavel Petrovich, Fenechka is a kind of embodiment of Princess R.

The two images in his mind strangely merge. Right after Pavel Petrovich’s words to his brother: “Isn’t it true, Nikolai, Fenechka has something in common with Nellie?” - follows: “Oh, how I love this empty creature! - Pavel Petrovich groaned, sadly throwing his hands behind his head. “I won’t tolerate any insolent person daring to touch...” he whispered a few moments later” (p. 357).

The last words are clearly about Fenechka. This can be seen from what follows: “Nikolai Petrovich just sighed: he didn’t even suspect to whom did these words apply?” (ibid.). Or rather, I had no doubt that to Nellie - Princess R.

Who is this about: “how I love”? After all, Pavel Kirsanov remained faithful to his mysterious princess and his past to the end. This is the knowledge that Lermontov wrote about, when the image of her double appears through the image of the heroine.

...I love the past suffering in you
And my lost youth.

When sometimes I look at you,
Looking into your eyes with a long gaze:
I'm busy talking mysteriously
But I’m not talking to you with my heart.

I'm talking to a friend from my younger days,
I'm looking in your features other features,
In the mouths of the living, lips that have long been mute,
In the eyes there is a fire of faded eyes.

And although Lermontov has two heroines, there is only one truth: “No, not you I love so passionately.” (We deliberately skipped these lines.) Pavel Petrovich loves “this empty creature.” Why is he looking for “different features in her features, in the mouths of the living, lips that have long been mute”?

Which one does he like?

Where is the truth?

Where is the answer to the questions that, like the passionate final chords of a sonata, rush to us from the last pages of the novel?

“Are their prayers, their tears, fruitless?

Isn’t love, holy, devoted love, omnipotent?” (p. 402)

Really?..

“To every sound you suddenly give birth to your response in the empty air.”

We leave these questions for now. We only want to say that in Turgenev’s novel there seems to be no thought or image that would not double, would not bifurcate, would not find a pair, parallel, correspondence, parody or opposite. It is simply amazing that in order to comprehend the mysterious depths of human relationships, connections, characters, Turgenev absolutely needs to have a thoroughbred aristocrat reflected in a footman, so that a secular beauty turns into a provincial simpleton.

For Nikolai Petrovich, who lives by today’s feelings, the bauble is a real repetition of his happiness. For Pavel Petrovich, who lives in a dream of the past, she embodies a certain shadow of the past.

And for Bazarov?

With Bazarov, everything is different. Fenechka in no way occupies an equal place with Odintsova in Bazarov’s heart. But on the other hand, it seems to touch some other, moreover, the bright half of his being. Precisely light, because his feelings for Odintsova were painted by Turgenev in dark colors. Bazarov is gloomy and tense all the time with her (not only after the explanation). Bazarov’s confession to Odintsova itself is depicted not as a triumphant song of love, not as a bright insight, in the description of which Turgenev is an unsurpassed master - “this passion beat within him, a strong and heavy passion, like malice and, perhaps, akin to it” (p. 299).

Odintsova sees, observing herself, “not even an abyss, but emptiness... or ugliness” (p. 300).

The vocabulary and tone of their conversations is somehow harsh and deadly.

“A life for a life. You took mine, give yours, and then without regret, without return” (p. 294). Bazarov’s satanic pride encountered “emptiness... or ugliness.” His passion is demonic, devastating.

The only kiss that Odintsova gives to Bazarov at the end is not a symbol of life, but a seal of death: “Blow on the dying lamp and let it go out” (p. 396).

In the entire image of Fenechka, the author emphasizes the light, angelic, shining principle. “Fenechka liked Bazarov,” writes Turgenev, “and he liked her. Even his face changed when he talked to her: it took on the expression clear, almost good, and his usual carelessness was mingled with some kind of playful attentiveness” (p. 341).

We said at the beginning that the image of Fenechka is a kind of shadow of a shadow.

Perhaps precisely because she is so light, laconic, reflective and mirror-like in a feminine way, she makes it possible for the two main characters to see the shadow of a deceased beloved, and the third - the shadow of unfulfilled, bright happiness.

And again it is curious that, having given Bazarov the sweet friendship of this heroine, Turgenev immediately doubles the image with an ironic parody. In Fenechka’s relationship with Bazarov, Dunyasha becomes a double, sighing about the “insensitive” person. Bazarov, without suspecting it himself, became cruel tyrant her soul” (p. 341).

At the center of the entire narrative are antipodean doubles - Pavel Kirsanov and Evgeny Bazarov.

There is a difference between the concepts “different” and “opposite”. “Different” means incomparable, heterogeneous. Opposites can be very similar, similar, like an inverse, mirror image. This similarity between the characters was immediately noted by Pisarev. Attributing Pavel Petrovich to the Pechorin type, the critic writes: “The Pechorins (that is, Pavel Kirsanovs) and the Bazarovs made from the same material”(vol. 3, p. 28). “The Pechorins and the Bazarovs are completely different from each other in the nature of their activities, but they are completely similar to each other in terms of the typical characteristics of nature: both are very smart and completely consistent egoists, both of them choose for themselves everything from life that at this moment you can choose the best, and, having collected for yourself as many pleasures as it is possible to obtain and as much as the human body can accommodate, both remain unsatisfied, because their greed is exorbitant, and also because modern life is not very rich in pleasures in general” ( vol. 3, pp. 28–29).

We are now leaving aside some of the extremeness and paradoxical nature of Pisarev’s formulations and the meaning he puts into the concept of “egoist”; it is important that the critic immediately felt the similarity, resemblance, sameness of the “material” from which the double heroes were created.

One is a hereditary nobleman. The other is from the people (“my grandfather plowed the land”).

Pavel Kirsanov is the general's son (rich), Bazarov is the son of the regimental doctor (poor).

Kirsanov’s appearance is “elegant and thoroughbred”; facial features show “traces of remarkable beauty.” The hair shines with a silver shine.

If, so to speak, the geometry of forms here is dominated by smooth, rounded lines (“flexible figure, oblong eyes”, etc.), then Bazarov’s appearance is sharp geometric lines, sharp angles, fractures (thin and long face, wide forehead, pointed nose) .

Pavel Petrovich’s clothes are elegant; both the hero and the author pay a lot of attention to them. Bazarov is dressed casually. His waders are contrasted with Kirsanov's patent leather ankle boots, his robe is contrasted with English suits, just as his red hands of a worker are contrasted with the white, graceful hands of a master.

Kirsanov's whole life is complete idleness, just as Bazarov's whole life is work.

Kirsanov’s beliefs are dead, frozen “principles” in which they have petrified and turned into museum anachronisms of the idea of ​​the past.

Bazarov's beliefs are created by the living experience of a scientist-observer.

Pavel Petrovich is a defender of antiquity: old is beautiful because it is old. He, too, in a certain sense, is a “nihilist” - a nihilist in relation to the new: he does not want to accept or even recognize anything new.

The nihilist Bazarov denies dead antiquity and authorities. But I am ready to accept any living argument (“if they say it’s true, I will agree”), to take seriously any proposed system of views (“I am ready to sit down at the table with any person”).

Having failed in love, Pavel Petrovich moved away from everything, became isolated, and lives only in memories.

After his failure, Bazarov threw himself into work. And then, at my father’s, he experiments again, works with patients and the like.

Pavel Petrovich is alien to the people - he sniffs a scented handkerchief while talking to a man. The peasants, servants, Fenechka are afraid of him and do not like him. But in the assembly of the nobility he (the liberal) defends the interests of the peasant.

Bazarova ordinary people they feel like one of their own, even the timid Fenechka is not afraid of him, the servants love him, the peasant children adore him, although he does not spoil them, and talks mockingly with the peasants.

Bazarov’s teachers are Germans (“the scientists there are efficient people”). Pavel Petrovich “a century with the English, the whole English fold - and he also speaks through his teeth, and also has his hair cut short for order” (A.S. Griboedov. “Woe from Wit”).

Pavel Petrovich's speech is replete with foreign words; it is long, pretentious and verbose. Bazarov speaks Russian, bitingly, figuratively and briefly.

One considers it obligatory for himself to express himself flowerily and beautifully; another is convinced that “to speak beautifully is indecent” (p. 326).

One hopes to protect the inviolability of the ancient way of life. The other one claims to be that very “penny candle” that will burn down the centuries-old way of life.

Let us not forget, however, that they are similar. They are both consistent opponents, and therefore both equally understand the inconsistency and inconsistency of the intermediate position of people like Arkady and his father.

And one more thing. Both of them are lonely. Both date a woman who rejects their love. Both (strange!) seek solace in Fenechka.

They are undoubtedly doubles. In some ways, they even see their own reverse image. Young people like Bazarov seem to Pavel Petrovich “just idiots” (p. 243). Bazarov calls Uncle Arkady “that idiot” (p. 332). What an exact reverse reflection: a young fool and an old idiot!

This parallel can be continued again and again. However, we are occupied with another question: if two opposing positions are so accurately verified, then which one is closer to the author - the aristocrat, liberal Ivan Sergeevich Turgenev? Where is the truth, on what side is it, in his opinion?

Collision of two ideas

Which side is the truth for the artist who angrily attacked Fet for posing the question in such a way? Turgenev’s view seems narrow and wretched: “here everything is white - everything is black there” - “the truth is all seen on one side.” “And we, sinful people, believe,” he writes, “that by swinging an ax from your shoulder you only amuse yourself... However, it is, of course, easier; otherwise, having recognized that the truth is both there and here, that nothing can be determined by any sharp definition, - you have to bother, weigh both sides and so on” (Letters. T. IV. P. 330).

This thought appears dozens of times on the pages of Turgenev’s books. He affirms it in letters to friends, it is affirmed in his works of art, speeches and articles. It is precisely for the completeness and versatility of his vision of the world that Shakespeare is dear to him. A creator cannot have a mind that is precisely and unilinearly directed, as narrow as a sword, Turgenev believes.

In one of his letters, Turgenev, in connection with the conflict between Russia and Poland, says: “... since the time of the ancient tragedy, we already know that the real clashes are those in which both sides are right to a certain extent”(Vol. IV. P. 262). It is interesting that in the same letter Turgenev reports that his work on the novel “Fathers and Sons” is nearing its end.

Of course, the Russian-Polish conflict is not connected with the conflict that Turgenev was thinking about at that time with his heroes (by the way, it will soon be connected in life: the right and left camps will begin to rebuild, or, more precisely, consolidate in the days of suppression by tsarism revolted Warsaw). However, we want to show in the bosom of which worldview the author interpreted the conflict between fathers and children. The situation here is no less tragic and requires revealing one’s attitude towards the fighting parties. And Turgenev will choose his side in the days of the atrocities of the Muravyov hangers. He will take the side of the Poles, because, according to him, the homeland of an honest man is, first of all, freedom.

And with all this, we note that he still believes that to a certain extent both sides are right.

We will return to whose side Turgenev will choose in the conflict we are considering, but for now one thing is indisputable for us: when depicting the heroes of conflict situations, Turgenev will avoid purely white or purely black tones. He will “fuss around, weigh” the rightness of each side, and not swing an ax from the shoulder.

One-sidedness of view, he believes, can spoil even “wonderful poetic talent, depriving him of freedom of vision... An artist who is deprived of the ability to see white and black- both to the right and to the left - he is already standing on the brink of death” (Letters. Vol. VIII. P. 200).

Perceiving an object and phenomenon simultaneously in dark and light colors leads Turgenev to the fact that he sees the colors themselves and other properties in a fresh and unexpected way. Those concepts (synonyms) that we are accustomed to put in the same row (say, light, clear, blue; or daring, bold, cheeky), the writer arranges unusual pairs, boldly connecting antonyms: in Pavel Petrovich light, black eyes, Bazarov's dark blond hair. Sparrows jump in front of the hero with cowardly insolence. Arkady holds himself in front of Katya with shy swagger.

The idea of ​​doubling penetrates into all corners of Turgenev’s artistic consciousness and becomes the formative system of many constructions.

Painters sometimes like to introduce a mirror into the subjects of their paintings, which gives them the opportunity to reflect the second, invisible side of objects and images. This is how the poet, in the words of our contemporary, “inserts a mirror into a line to fill the volume” ( Kushner A. Signs. L., 1969. P. 78).

Instead of responding to the interlocutor’s remark, Turgenev’s hero often only holds up his mirror to it or, in Bazarov’s words, answers “like an echo.”

What is the visual meaning of this technique?

Let's start with the well-known for clarification. We often use seemingly tautological phrases like “war is war.” However, each of us feels that they are not identical to Chekhov’s ironic: “This cannot be, because this can never be,” from a letter from a Don landowner.

The second part of the judgment about war actually reveals the content of the first, that is, war involves difficulties, cruelty, endurance, and the like.

What is the meaning of replicas and repetitions in Turgenev’s novel?

“-...Not in sight yet? - Nikolai Petrovich asks the servant. (This opens the novel.)

“Not to be seen,” answers Peter.

Can't see it? - the master repeated.

“Not to be seen,” the servant answered a second time” (p. 195).

It is quite obvious that this four times repeated “not to see” carries four different semantic loads, and even what is naturally contained in them is also not equal to itself, but depicts an increase in feeling.

The first “not to be seen” seems to still be equal to itself, although it already contains an element of anxiety, paternal impatience.

The second “not to be seen” already reveals a whole side of the character of the footman Peter and the nature of his relationship with the master. Nikolai Petrovich is a gentle, liberal gentleman. Peter is a pompous and stupid lackey. He doesn’t answer at all: “Not to be seen.” He condescendingly “answers”, as if saying: “Well, why fuss, why ask in vain, just bother a respectable, responsible person, who is on duty and will cope with his work: if he sees the baric, he will report, well, why bother, like a little child!”

The third “not visible” does not have any direct meaning at all. Nikolai Petrovich misheard first answer. This is weakness, hope (when you know that there is nothing). This may be an unconscious thirst for complicity, a thirst to hear (even if it’s not Peter): “Nothing, just be patient a little, well, a little more... you’ll see, and they’ll come. Well, of course they will come, don’t worry so much.” Or: “So you still can’t see it? How so? But there should already be. Did something happen, God forbid?”

As with any work of fiction, the subtext is rich, verbose, and a number of other variations can be offered.

The fourth “not to be seen”, not even accompanied by the word “condescending”, but still repeated “responsible”, carries even greater disdain (more than if the words that we proposed in the second case had been said). Like, your question is so ridiculous that I don’t consider it necessary to talk about this topic. After all, in Russian it was said that you can’t see, but no... Really, even a small child could be interpreted, but here I won’t talk...

A Turgenev remark or a word thrown onto the mirror of another consciousness becomes unusually capacious, playing with multifaceted meaning.

“...We agreed with you...”, Odintsova will say to Bazarov, explaining this by the similarity of natures.

“We have agreed...” Bazarov said dully.”

Oh, this “we agreed” is about something completely different! There is also bitter irony in it: they say, a good “got it together!” Or: “Do you think you got along?” And one more thing: “What a couple - a peasant’s grandson, a “hard worker,” and an idle lady!” And the main thing in this: “I got along with you to my own misfortune. And my theory turned out to be good... I love you, and you “got along”...

How amazingly, tragically, multifacetedly Turgenev plays the thrice repeated “well” in Bazarov’s dialogue with his father. "Well?" the worried father, who learned with horror that Bazarov had cut himself and did not want to believe the evidence; Bazarov’s ironically repeated “well” (about the district doctor); and his third “well” is “well, he cut himself,” sounding like the news of a death sentence received with arrogant calm (p. 386).

Bazarov's ironic doubling of Pavel Petrovich's remarks is another mirror in the line - a penetrating mirror, as if directed to the essence of a thing and revealing a different meaning of concepts behind the same words.

“I respect the human being in me” (p. 242), says Pavel Petrovich, proving the need for aristocratic principles and habits as following a cultural, sacred tradition, without which there is nothing human personality, no durable public building.

“You respect yourself and sit with your hands folded...” says Bazarov and shows that the public building and human well-being are of no use to the idle master (ibid.). All “principles” and habits, just filled with so much content, immediately turn into dummies, into an absurd pose, into a beautiful cloak covering nothing.

Now Pavel Petrovich repeats Bazarov’s words: “I sit with my hands folded...” - and tries in vain to return the former high meaning to the words standing next to him. But there is a feeling that the last semblance of clothes has already been pulled off the naked king and he is again trying in vain to pull on something ghostly, non-existent.

Or let’s remember Bazarov’s famous “everything”, repeated after Pavel Petrovich. The first “everything” is a dashing skewer with which the keeper of antiquities wants to defeat Bazarov (that is, is it possible to deny everything? It’s absurd, nonsense!). And in response: “That’s it,” Bazarov repeated with inexpressible calm.” And what tragic power blows over us from this lonely titan, who dared to rebel against the structure of the universe, against the morality of society, against all social institutions.

Almost all of Bazarov’s dialogues with Pavel Petrovich during the duel and the challenge to it are a continuous transfer of the same concepts from the mirror of one consciousness to another, in which they immediately acquire a different, often directly opposite, meaning.

Thus, the very first words of Pavel Petrovich, which are nothing more than a completely empty form: “Give me five minutes of your time,” turn in Bazarov’s mouth into an ironic one, but with a literal content: “ All my time is at your service” (p. 346).

Of course, the meaning is just the opposite: “It seems like you and I have absolutely nothing to talk about, and there’s no need to talk about it.” I, they say, am sitting here, working, and again some lordly whim has occurred to you... “But, as you can see, I can’t completely neglect politeness.”

Or about the reasons for the duel.

“-...We can’t stand each other. What more?

What more? - Bazarov repeated ironically” (p. 348).

And this is a mockery of the completely absurd formula put forward as the reason for the most absurd action. There is an abyss of humor in this: look how sweet it is, we didn’t like each other and for this reason let’s put bullets in each other. In your opinion, this is obviously gentlemanliness?

“...The barrier is ten steps away,” suggests Pavel Petrovich.

Ten paces? That's true. We hate each other at this distance.

“You can have eight,” noted Pavel Petrovich.

It’s possible, why!” (p. 348)

One mirror behind the same words reflects a number of noble concepts sanctified by tradition, the beauty, the fullness of the content of the ancient ritual, more than once sung both in prose and in poetry (“...here gunpowder pours onto the shelf in a grayish stream,” enemies with a beautiful step... pass through “mortal stages” and so on).

Another mirror paints the same picture, like a most absurd circus (“learned dogs dance like that on their hind legs” - p. 349). Therefore, “eight” or “ten” are equally wild and meaningless. Mocking Pavel Petrovich, Bazarov answers (repeats) “eight” as if it is not a question of distance in a duel (stages of death), but of a pleasant treat.

Almost all repetitions in the dialogue about the duel are constructed according to this type.

There is also an example of reverse doubling. If we looked at how mirrors of identical words reflect different ideas about the world, then there is something else nearby - identical concepts are defined by different words. But in essence it is the same thing, because the point is not in the mirrors of words, but in the mirrors of different consciousnesses on which images of objects fall.

Pavel Petrovich hopes that Bazarov will agree to the fight and will not force him to resort to violent measures.

“That is, speaking without allegories, to this stick,” Bazarov noted coolly” (p. 347).

Here the same phenomenon is doubled in the mirrors of different words (both mean the same thing: Pavel Petrovich will hit Bazarov). Again, the mirror of Pavel Petrovich’s consciousness reflects the world, elegantly covered with an ancient veil. Bazarov throws away the veil and sharply reveals the essence of the phenomenon.

But since this is not just a game and a dive between two opponents, but a reflection in the word of the very essence of their characters and life positions, then the author’s speech when describing the hero and the hero’s internal monologue will flow in the same two channels.

Here is a description of the moment of the duel.

“Are you ready? - asked Pavel Petrovich.

Absolutely” (p. 352).

Pavel Petrovich “plays” by the rules. He asks a completely traditional question. Bazarov, instead of a formal answer: “Ready,” answers something inappropriate - alive, vital - “perfectly,” as if he was really preparing to accept this sweet surprise and is now completely ready. However, this is similar to what was shown above.

This is followed by: “We can converge” (p. 352) - again the words established by the canon. (Let us remember from Pushkin: “Now come together.” But then the poet also had an image of the beauty of this canon. “Cold-bloodedly, without yet aiming, two enemies walked four steps with a firm gait, quietly, evenly.”)

In a similar style it will be about Kirsanov: “Pavel Petrovich walked towards him, putting his left hand in his pocket and gradually raising the barrel of the pistol” (p. 352).

And Bazarov’s thoughts are described as if he were undergoing a medical operation or observing a strange experiment, and not playing a deadly game.

“He’s aiming right at my nose,” thought Bazarov, “and how diligently he squints, the robber!” However, this is an unpleasant feeling. I’ll start looking at his watch chain...” (p. 352–353).

“Squints”, “aims at the nose” and this, full of humor, is a “robber”. (Really, who else can kill a person just like that, in broad daylight?)

However, oddly enough, sometimes Bazarov doubles the live action with his dummy double. It’s as if he snatches his light verbal skewer from the tender hands of Pavel Petrovich and takes it into his rough hands to show its toy value.

“By the way: how many steps should each of us move away from the barrier? This is also an important question. There was no discussion about this yesterday” (p. 352).

He calls the line drawn by his boot a “barrier.” He says “there was no discussion” instead of “they forgot to agree.”

All this is clearly Pavel Petrovich’s vocabulary. But since for Bazarov all this is a stupid booth, a circus, he acts as sometimes happened in the booth, when a jester or a child came out after the strongman and lifted the same huge weights, which turned out to be empty and cardboard. At the verbal level, this is the same jester parody next to the king, which we considered above at the character level.

The jester either pretends to be serious and begins to imitate the hero, or grimaces and ridicules him outright.

“- If you please... - Pavel Petrovich says importantly.

“I deign it,” repeats Bazarov” (p. 352).

And next to it is a joke about Peter’s “funny face”, a proposal to combine “the useful (it’s about murder!) with the pleasant” and have fun.

Since we said that the idea of ​​doubling, double reflection dominates throughout Turgenev’s world, it, of course, can be shown not only by the example of the novel “Fathers and Sons.”

Two peasants (a romantic and a realist) are considered by the author in the story that opens the book “Notes of a Hunter” (“Khor and Kalinich”). “Two Landowners” is the title of a story in the same book about two serf owners. Two Russian people of “second number” (those to whom the heroic Russian girl preferred the revolutionary Insarov) are compared in the novel “On the Eve”.

Turgenev has a double not only of another hero, but a double of the main artistic idea of ​​the novel, the dynamics of its development. This is the musician Lemm in the novel “The Noble Nest”.

In parallel with tragic story The love story between Lavretsky and Lisa tells the story of the tragic fate of a lonely, sad romantic, musician Lemm and his music. Both the music of the lonely German and his very life are like an echo of the life and love of the main characters.

Lavretsky’s relationship with Liza is difficult, and Lemm’s words and melody of the new work are difficult. With Lavretsky, Lemm speaks “about music and about Lisa, then again about music” (vol. VII, p. 194).

“Stars, pure stars, love,” the old man whispered.

“Love,” Lavretsky repeated to himself, became thoughtful, and his soul became heavy” (ibid., p. 195).

Lavretsky feels his thoughts about Lisa as unrealistic dreams. “Empty dreams,” Lemm echoes him. “His song will not work out, because he is not a poet.” “And I’m not a poet,” Lavretsky repeats after Lemm.

The stars in the sky are turning pale, the nightingale sings “her last pre-dawn song.” Lavretsky remembers Lisa’s eyes. ““Pure girl... pure stars,” he whispers” (ibid., p. 196).

And in the next room it seems to Lem that “an unprecedented, sweet melody was about to visit him.”

Lavretsky falls asleep with a smile, maybe the bright joy of love will visit him too? But the end of the chapter is like a sad omen: Lemme’s melody does not visit him. “Not a poet or a musician,” he whispers in despair” (ibid., p. 196).

But here is the night of a happy date, an explanation. Lavretsky kisses Liza. It seems that a victorious song of love has flown over the world.

The enamored, enthusiastic Lavretsky is ready to leave doubts and believe that the “dark ghost” will disappear. “Suddenly it seemed to him that some wondrous, triumphant sounds filled the air above his head... all his happiness seemed to be speaking and singing in them” (ibid., p. 237).

The majestic, transformed Lemm met Lavretsky in the room. “The old man cast an eagle gaze at him, tapped his hand on his chest and said, slowly, in his native language: “I did this, because I - great musician"". A lonely loser suddenly turned into a genius illuminated by greatness, “the poor little room seemed like a sanctuary, and the old man’s head rose high and inspired in the silvery semi-darkness” (ibid., p. 238).

But a blow of fate will be heard above the head of the book’s hero: instead of this inspired melody, duets of the empty careerist and amateur Panshin and Lavretsky’s insolent, depraved wife, who arrived from France, will sound in the living rooms. Liza will forever go to the monastery, Lavretsky meets his old age alone.

And all this seems to be reflected in Lemm’s fate. “Everything died, and we died,” he says to Lavretsky.

In the epilogue it is known that Lemm has died. What about the music? His great music? Did she stay? “Hardly,” they answer Lavretsky.

Life rang. And its echo sounded.

Why did Turgenev need this strange, lonely German with his sad fate? Why did this strange double pass through the story of two Russian people and seem to carry a mirror of their fate? “Who's to say? There are such moments in life, such feelings... You can point to them and pass by” (ibid., p. 294).

Perhaps these sad and echo-like Turgenev questions that crown the novel contain the explanation of why this strange artist so loves to endlessly double and double the image of objects?

Life, playing with all its facets in all the mirrors, seems to him the only, most truthful answer to eternal and insoluble questions.

By the way, these questions themselves, which so often complete Turgenev’s narratives, are so similar to an echo that “suddenly gives birth to its response in the empty air,” but itself has no echo.

These questions are an echo of a life that has died down. They sound either in the last lines of Turgenev’s books, or just before the epilogue, or shortly before it.

“Are their prayers, their tears, fruitless? Isn’t love, holy, devoted love, omnipotent?” (p. 402). This is at the end of the novel "Fathers and Sons".

“How has life passed so quickly? How did death come so close?” (Vol. VIII, p. 166). This is the novel "On the Eve". And a few pages earlier, these questions shake the heart of the main character: “...Why death, why separation, illness and tears? Or why this beauty and sweet feeling of hope?..” We see how the image again begins to double. “What does this smiling, blessing sky mean, this happy, resting earth? Is it really all just in us, and outside of us is eternal cold and silence?” (ibid., p. 156).

In the finale of “Rudin” (before the epilogue) there are no questions, but the same collision of two principles: the ominous howl of a cold wind, angrily hitting the ringing glass. “It’s good for the one who sits under the roof of the house on such nights, who has a warm corner... And may the Lord help all homeless wanderers!” (Vol. VI, p. 368).

Cold and warmth, light and darkness, hopelessness and hope - the impulses of the restless human spirit are directed towards these eternal principles. Turgenev's questions sound like an echo of this eternal struggle of man with fate. But they sound in the midst of silence, in the midst of eternal silence.

Turgenev’s question, even if it does not contain, like Elena’s questions, an appeal to two principles, is still binary by its very nature. Typically, a rhetorical question is an emotional and unambiguous statement. “Are we few? - writes Pushkin. “Or is the Russian unaccustomed to victories?” The question contains an indisputable answer: there are many of us... Russians are used to winning. When Lermontov asks: “Sons of the Slavs... why have you lost your courage?” - this is a clear call: “Don’t lose heart! Rise up!”

Let's think about the meaning of Turgenev's questions at the end of the novel "Fathers and Sons."

“Are their prayers, their tears, fruitless? Isn’t love, holy, devoted love, omnipotent?”

The answer here is two-fold: perhaps omnipotent... and perhaps not omnipotent at all. What is the fruit of their tears and prayers? Are they there? Or maybe not?

The last lines of the novel will bring together the eternally rebellious, sinful, irreconcilable human heart and the eternal, all-reconciling harmony of nature.

The study of life by doubling the same ideas, images, concepts, situations is a characteristic feature not only of Turgenev’s work, but also of Turgenev’s creativity as a whole. In this sense, all of Turgenev’s books are like endless variations on several favorite themes or, in the language of the comparison chosen above, a huge hall where countless mirrors of different shapes, volumes, angles, reliefs multiply and multiply the same objects, then throw them around reflection of one mirror into another.

Touching, sweet, devoted old men - a version of the ancient Philemon and Bakvida - appear in the novel “Fathers and Sons” in the form of Bazarov’s parents, and then repeat themselves in the novel “Nov” (Fimushka and Fomushka), devoid of the tragic overtones of the first, but still more similar to the heroes of an ancient idyll, even more touching, but also funnier, almost puppet-like.

From novel to novel, from story to story, the image of a Russian aristocrat, an Anglomaniac, more or less liberal, and often with Slavophile views, which is fashionable in high society, varies (Ivan Petrovich Lavretsky is the father of the hero “ Noble nest", Sipyagin from "Novi", Pavel Kirsanov).

How familiar is the situation for Turgenev’s narrative: the dying hero whispers the name of his beloved (Yakov Pasynkov, Insarov, Nezhdanov). The usual plot is unrequited, unfulfilled love, the inability to connect.

“Rudin”, “On the Eve”, “Fathers and Sons”, “New” end with the death of the main character. The ending of the novel “Smoke” first repeats the ending of “The Noble Nest”: the hero comes to terms with a sad, lonely life and broken love. But then the hero (the author, of course) decides to replay this option - to choose a happy fate with a faithful friend.

Quite common for Turgenev is the collision of commoner-aristocrat (and more broadly: the peasant, powerful, “earthly” principle) and the noble: Yakov Pasynkov and the nobles (“Yakov Pasynkov”); Insarov and the nobles (“On the Eve”); commoner Nezhdanov in Sipyagin’s house (“Nov”); Bazarov and Kirsanov; in Fyodor Lavretsky, his grandfather’s peasant blood rebels when he finds out about his wife’s betrayal; Litvinov feels plebeian pride among aristocrats just like Bazarov (“Smoke”).

Not only literary heroes, but Turgenev, in his speech about Hamlet and Don Quixote, divided all the people of the earth into two types. But even here he will not at all present right or wrong, white or black, on only one side.

We began this chapter with a reflection on Shakespeare, who knew how to see the rightness of different sides, and with Turgenev’s thought about an ancient (ancient) tragedy, which built a conflict on this clash of two truths. However, both Shakespeare and the ancients whom Turgenev speaks of expressed their thoughts in the form of dialogue. We are talking about a play - a drama, a tragedy.

Therefore, I would like to note, in conclusion of all of the above, that it is no coincidence that the main, dominant form of revealing the struggle between two truths in the novel “Fathers and Sons” was dialogue. Turgenev was a faithful student, heir, and faithful follower of ancient culture. “I grew up on the classics and lived and will die in their camp,” he said. The remarkable literary researcher Mikhail Mikhailovich Bakhtin says about Socrates’ dialogues: “The genre is based on the Socratic idea of ​​the dialogical nature of truth and human thought about it... Truth is not born and is not in the head individual person, it is born between people jointly seeking the truth, in the process of dialogic communication” ( Bakhtin M. Problems of Dostoevsky's poetics. M., 1963. P. 146).

Dialogues of Pavel Petrovich with Bazarov, Bazarov with Arkady, the Kirsanov brothers, dialogues of the hero with the man he meets and with Odintsova. The author’s mental dialogue with his characters, the reader’s dialogical communication with Turgenev’s heroes and endless doubles - this is the complex, diverse process as a result of which, when reading Turgenev’s novel, we have an image of a living and infinitely complex truth.

Doubles of Tolstoy and Dostoevsky

And in order for Turgenev’s originality to appear more clearly, and in order to avoid confusion of concepts, I would like to compare Turgenev’s doubles with a similar form of image among his contemporaries - Dostoevsky and Tolstoy.

The concept of “double” is most often considered when studying Dostoevsky’s work. So, when the novel “Crime and Punishment” was published, one of his contemporaries saw Rodion Raskolnikov approximately the way Shubin sees Insarov. In the feuilleton “The Double,” the critic asserted that the novel was written by two people: one Raskolnikov is a democrat and a person who sympathizes with the suffering of people, and the other is an evil killer and a “shaggy nihilist” ( I.R. The adventures of Fyodor Strizhov. Villainy and retribution // Iskra. 1866. No. 12. P. 162).

Next to Raskolnikov in the novel there are indeed his doubles. But everything here is different than with Turgenev. The subject of the image of the author of “Fathers and Sons” is a person, a character.

The main subject of research and depiction in Dostoevsky is the idea.

Each of its doubles is another experiment, another form of testing an idea. He and his hero must first of all “resolve the thought.” And his images double in the bosom of thought. Raskolnikov’s idea that in the name of a big idea one can transgress the moral law, “cross the line,” is parodied in the image of Svidrigailov: if one can cross this line in the name of experiment, then why not go further and try to move freely in both directions? this side of the line. Svidrigailov is a free experimenter: both ideas of good and ideas of evil. Once again Raskolnikov will meet “his” idea, born of love for people, sympathy for the humiliated and insulted in the reasoning of the well-fed bourgeois, the smug egoist Luzhin. Luzhin’s idea that in the name of progress one must acquire, and acquire exclusively for oneself, according to Raskolnikov, with logical development leads to the fact that “people can be cut.” “The same idea” becomes completely different, being immersed in the system of other worldviews, of a different nature: Raskolnikov’s fiery ideals can turn into a kind of “jar with spiders” in Svidrigailov’s imagination.

Dostoevsky’s heroes still need to develop general ideas of good and evil, eternity, and God.

In Turgenev’s world, the circle of these ideas is given and unchanged, the author’s attention is only on human characters, he is worried about new and endless manifestations of living life.

It may seem that Turgenev also explores the idea of ​​​​Bazarov, the principles of Pavel Petrovich. However, this is not true. The hero, not the author, experiments with this idea. The author does not intend to deny art or love. It is clear to him that Pavel Petrovich is a dead man, that his “principles” are dead. Turgenev is convinced not only of the end point, but also of the starting point of the novel: “Try to deny death...” Nature is omnipotent. Man, like any creature, is just a spark in the ocean of eternity (this is discussed in all Turgenev’s stories, novels, dozens of letters).

The subject of the image in Tolstoy, like in Turgenev, is a person. But the hero must still find his idea in the trials of fate.

In Tolstoy's world, doubles are so clearly visible and clearly compared that it is somehow not even customary to call them doubles.

Pierre Bezukhov and Andrei Bolkonsky in the novel “War and Peace” are like two halves of a single manifestation of life. They are created on the principle of complementarity. One is such that its properties and character traits seem to make up for what is missing in the other. Both heroes are one. Their beginning is the author with his cherished idea of ​​​​searching for the meaning of life, universal happiness, man’s place on earth, social justice. They may just be the two halves of his soul. The doubling here is two forms and two ways of knowledge.

Pierre is large, clumsy, absent-minded, weak-willed; Andrey is short, collected, smart, strong-willed. Pierre soars in the skies and seeks universal justice. Andrey sees the world soberly, does not try to change it and is looking for places to express his “I” in this world.

Their journey through the four volumes of the novel is a clear parallel. The stripes of their life are like two adjacent stripes of a chessboard: each dark cell corresponds to a light one in the adjacent stripe. Joyful, full of faith in life and in his own strengths, Pierre meets a disappointed, irritated Andrei. The inspired Prince Andrei, in love with his “Toulon,” will be matched by the desperate one, who has reached a dead end after his marriage to Helene Pierre. The enthusiastic Pierre the Mason will be met by Prince Andrei, who has lost faith in life, in the sense of any activity, and the like. And it will be like this until the end of the novel. And the most amazing thing is at the end. Pierre seems to already be living for two. He absorbs the traits he lacks: will, purposefulness. In the dream of Nikolenka, the son of Prince Andrei, the image of his father merges with the image of Pierre.

Tolstoy's doubles are designed to more fully reflect the author's thought: a person matures in suffering, matures, and acquires the idea of ​​high moral service to people.

Turgenev's hero appears into the world - and already with his own idea. The author's attention is not on her, but on the hero himself. The author's thought endlessly doubles up heroes and phenomena in order to examine them more carefully, more objectively, more fully.

Insarov comes with the idea of ​​serving his homeland, and with this idea he will die. Bersenev will stick to his idea of ​​“number two.” Elena Insarova is completely in the bosom of the idea of ​​unchanging, heroic love. Rudin was and remains a beautiful speaker and lonely wanderer.

In the novel “Fathers and Sons,” not all Bazarov’s beliefs survived the clash with life, and Pavel Petrovich’s “principles” turned out to be completely powerless in the fight against new trends in life. However, Bazarov came into the world of rebels and leaves it as a rebel. The author writes about the heart of even the dead Bazarov: “a passionate, sinful and rebellious heart.”

In Tolstoy, Andrei Bolkonsky passes away completely different from how we saw him at the beginning. The Pierre of the epilogue is not like the Pierre of the first volume.

Neither Tolstoy's doubling of paths, nor Dostoevsky's doubling on the plane of ideas are similar to Turgenev's mirrors. Their doubles are not reflections of the same hero.

Since in the previous chapter a lot was said about two truths, about Turgenev’s reluctance to see on the one hand only black or only white, then, it seems to me, in connection with the widespread dissemination of M. Bakhtin’s theory about Dostoevsky’s polyphonic novel, a fundamental reservation is necessary in this regard: all of the above does not in any way make Turgenev’s novel polyphonic. All the various ideas of the heroes are included in the circle of the author’s consciousness, depicted with a completely definite author's position. Just like Tolstoy’s complex world, Turgenev’s two-sided, multilateral world is subjective and monological. All this diverse play of mirrors is the action of a single cognizing subject.

Between the ideological duel in Chapter X and the pre-duel explanation, a whole series of events take place in Bazarov’s life, significantly softening the harsh image of the beginning of the novel. This is facilitated by the following:

· an argument with Arkady in a haystack, where Bazarov, perhaps for the first time, acutely felt his loneliness and admitted his self-delusion;

· a visit to his parents, which highlighted new, soft facets of the hero’s soul, his careful attitude to parents, usually hidden under a rudely ironic mask;

· meeting with Odintsova and an absurd scene of declaration of love, which for the first time showed Bazarov helplessly passionate and not entirely understood;

· the scene in the gazebo with Fenechka, reflecting the process of intensifying the hero’s struggle with his nature.

What makes this particular scene different? It is interestingly structured compositionally: the characters seem to seize the initiative from each other several times. In addition, it is here that, after a long break, the “fathers” and “sons” clash with even greater severity. The characters of the two heroes are revealed more clearly than before in this episode. This last of the psychological duels ends differently than before, and the heroes suddenly find themselves on the verge of real, physical bloodshed.

Before this fight, the heroes feel differently. Bazarov is in an unusual state of confusion for him; his usual work is not going well. He feels annoyed with himself after two consecutive clumsy actions towards two women - to Odintsova in the scene of a declaration of love and to Fenechka in the scene with a kiss in the gazebo. However, as before, he is completely indifferent to Pavel Petrovich and is not looking for further quarrels with him. At the same time, Pavel Petrovich's indignation against Bazarov reached highest point, and the last straw was the kiss in the gazebo.

However, unlike past disputes that arose spontaneously, Kirsanov is preparing for this fight, and this is his initial advantage.

At the beginning of the scene, Bazarov is unusually unsure of himself. After Bazarov’s first remark come the author’s words: “... answered Bazarov, who had something running across his face as soon as Pavel Petrovich crossed the threshold of the door.” Previously, Turgenev did not characterize Bazarov’s state (according to the laws of “secret psychology”) with indefinite pronouns.

And further - when Pavel Petrovich spoke about the duel, the author writes: “Bazarov, who stood up to meet Pavel Petrovich, sat down on the edge of the table and crossed his arms.” The semi-gestures “got up” and “sat down” are also not typical for Evgeniy. Immediately after the challenge to a duel: “Bazarov’s eyes widened.”

Bazarov's confusion at this moment is reflected in his speech. Usually he spoke rudely, sharply, abruptly. And here are the usual turns of phrase like “that’s all right!” are accompanied by phrases more typical of Kirsanov: “Very good, sir,” “You have the fantasy of testing your knightly spirit on me.”

In turn, Pavel Petrovich tries to contain his excitement, firstly, by excessively emphasized politeness and formality of tone. Secondly, a “beautiful cane” specially taken for this occasion, a symbol of aristocratic superiority, helps him not to drop this mask and maintain the given tone. The cane, as a symbolic detail, ran through the entire episode. Bazarov called it a “stick” - an instrument of possible violence.

After Kirsanov’s confession, “I despise you,” the quarrel reached its climax: “Pavel Petrovich’s eyes sparkled... They flared up in Bazarov’s too.” It is at this moment that Bazarov gains control of himself and uses the usual weapon of irony, beginning as if to imitate his opponent, repeating almost verbatim the endings of each of Kirsanov’s remarks. This does not go unnoticed. Kirsanov says: “You continue to joke…” But this time Pavel Petrovich will not lose his temper, as happened before. Why? Bazarov, although he was joking, did not cross the boundaries of what was permitted. In addition, the cane that was present nearby helped - a kind of reminder of aristocracy, a symbol of patience, a support.

Each of the characters diligently hides their true feelings from the other throughout the scene. Kirsanov hides resentment, jealousy, and indignation behind a screen of politeness, and Bazarov hides confusion and irritation with himself behind a screen of irony.

It seems that this psychological duel is won by Pavel Petrovich, who has achieved his goal on almost all counts. And after his departure, Bazarov even more lost his inherent inner calm, is dissatisfied with himself, experiences remorse and moral feelings that are not inherent to him, having discovered Pavel Petrovich’s secret love for Fenechka.

During the duel itself, after the shots are fired, both opponents behave with dignity. Bazarov fulfills his medical and human duty, showing the nobility that he had recently hated, and Pavel Petrovich courageously and even humorously endures pain and loses all indignation towards Bazarov.

What are Bazarov and Pavel Petrovich Kirsanov arguing about?

“Nine times out of ten disputes

ends with each of its participants still

becomes more convinced that he is absolutely right.”

Dale Carnegie.

In the novel by I.S. Turgenev's "Fathers and Sons" the eternal conflict of two generations develops into social conflict, the conflict of two ideologies. The main dispute is between the two main characters: Evgeny Bazarov and Pavel Petrovich Kirsanov, although everyone participates in the dispute, directly or indirectly characters the novel and the author himself.

The dispute between Evgeny Bazarov and Pavel Petrovich Kirsanov reflects the struggle between liberal and democratic forces in Russia. This struggle became especially fierce in 1859. The conflict between the heroes is based on the discussion of a significant part of the main issues of Russian life. The characters express their attitude towards the people, towards cultural heritage In Russia, to art, they argue about moral standards, about love, about faith and unbelief.

What are the main opponents of the dispute? Pavel Petrovich Kirsanov was born and raised in a noble family, hence his aristocratic manners.

Bazarov's father was a poor doctor. Evgeniy is proud of his democratic origins. He says that his grandfather plowed the land. Their backgrounds are different and therefore they have different views.

Pavel Petrovich and Bazarov are already arguing with their appearance. Kirsanov’s exquisite toilet and polished nails, completely unnecessary in such a rural wilderness, are already insulted by the dusty robe with tassels that Evgeny is wearing. His cheeky and rude speech, his incredible sideburns and red bare hand shock Pavel Petrovich, who does not even want to say hello to Bazarov, because, as he believes, this is beneath his dignity and he will not give Evgeni his hand in a snow-white sleeve with an opal.

The heroes of the novel have different attitudes towards both science and art. They often argue about these topics. Kirsanov believes that art is a useful thing, but Bazarov completely denies this, saying that “Raphael is not worth a penny” and “a decent chemist is twenty times more useful than any poet.” He also denies science “in general,” although he “believes in frogs.”

They also have different views on the people. Bazarov says about Pavel Petrovich that he will never shake hands with a simple peasant, will never approach him without covering his nose with a handkerchief. But, according to Kirsanov, Evgeny despises the common people, if only because the men believe in Elijah the prophet, who rides across the sky when thunder roars.

Pavel Petrovich is an adherent of “principles” taken on faith. He believes that if it is so accepted, then it is true. And Bazarov is a nihilist, he intends to break everything. Evgeny wants to clear the place first, and only then think about what to do next. By the word “everything” he also means the political system of that time.

The heroes also have different attitudes towards love. Pavel Petrovich believes that there are sublime feelings, but his love for a certain princess R. turns into an earthly love for Fenechka. Bazarov generally denies love and says. That if you study the anatomy of the eye, then it is unknown where the mysterious look will come from. But Evgeny falls in love with Odintsova and finds in her face both a mysterious smile and a mysterious look. He denies sublime feelings and calls them sensations, but he contradicts himself.

Evgeny Bazarov and Pavel Petrovich Kirsanov argue on different topics, and Turgenev uses argument as a device to reveal the views of his heroes. Formally, Bazarov wins the argument: he is cooler, but Kirsanov begins to lose his temper and gets excited. But in an argument with the author, Evgeniy loses. The men call him “a fool” and think that the master cannot understand them, and they do not understand him either.

“Bazarovshchina” was defeated, but Bazarov, capable of questioning the correctness of his views, won. Before his death, he says: “Russia needs me... but no, apparently I don’t. And who is needed? the nihilist Bazarov, a lone hero, dies, and with him dies everything that is unfair and wrong in the new theories of that time. By this, Turgenev shows that new forces, having gotten rid of the incorrect and superficial, will yet take the road of change and will still say their last word.