As we remember, in the previous two novels Turgenev convinces both himself and the reader that the nobility in Russia is doomed to quietly and ingloriously leave the stage, since they bear a great guilt before the people. Therefore, even the best representatives of the nobility are doomed to personal misfortune and the inability to accomplish anything for the Motherland. But the question remains open: where can we find a hero-activist capable of carrying out radical changes in Russia? In the novel “On the Eve” Turgenev tried to find such a hero. This is not a nobleman and not a Russian. This is the Bulgarian student Dmitry Nikanorovich Insarov, who is enormously different from previous heroes: Rudin and Lavretsky.
Rice. 2. Elena and Insarov (Ill. G.G. Filippovsky) ()
He will never live at the expense of others, he is decisive, effective, not prone to chatter, and speaks with enthusiasm only when he talks about the fate of his unfortunate homeland. Insarov is still a student, but his life’s goal is to lead an uprising against Turkish rule. It would seem that the ideal hero has been found, but this is not exactly that hero, because he is Bulgarian and will fight against the enemies of Bulgaria. At the very end of the novel, when many die, including Insarov and his beloved Elena (Fig. 2), some characters wonder whether there will be such Insarovs in Russia.
Now let us turn to Turgenev’s novel “Fathers and Sons,” written between 1860 and 1861. (Fig. 3).
Rice. 3. Title page of the second edition of the novel “Fathers and Sons”, 1880 ()
At the very beginning of the work we see a question from one of the characters: “What, Peter, haven’t you seen it yet?” Of course, the situation in the novel is quite specific: Nikolai Petrovich Kirsanov (Fig. 4)
Rice. 4. Nikolai Petrovich Kirsanov (Artist D. Borovsky) ()
is waiting for her son Arkasha, a candidate who has just graduated from university. But readers understand: the search for a hero continues. « No way, sir, not to be seen", - the servant answers. Then the same question and the same answer follow again. And so, over the course of three pages, we expect not just Arkasha the candidate, but a hero, significant, intelligent, active. Thus, we are faced with a certain author’s technique that is easy to read. Finally the hero appears. Evgeny Bazarov arrives with Arkady (Fig. 5)
Rice. 5. Bazarov (Artist D. Borovsky, 1980) ()
who is distinguished by honesty, clarity, masculinity, he despises ordinary prejudices: he comes to a noble family, but is dressed completely differently from what is appropriate in such cases. At our first meeting we learn that Bazarov is a nihilist. Let us recall that in the first three novels Turgenev persistently searches for a hero-activist, but new people from the noble class and intelligentsia were not suitable for this role. Insarov was not suitable for this role either. Bazarov, in turn, is also not entirely suitable, since he is not a hero-doer, but a hero-destroyer who preaches all-round destruction.
« Nihilist- this is from Latin word nihil, Nothing; This a person who does not bow to any authority, does not accept a single principle on faith, no matter how much respect this principle may be surrounded by..."
Bazarov's nihilism is impressive. He denies God, because he is a convinced atheist, he denies all the laws of contemporary Russia, the customs of the people, he also has a nihilistic attitude towards the people, because he is convinced that the people are at a low stage of development and are the object of the actions of people like Bazarov. Bazarov is skeptical about art, does not know how to appreciate nature and its beauty, for him “nature is not a temple, but a workshop, and man is a worker in it”. Bazarov is also skeptical about friendship. His devoted, albeit slightly narrow-minded friend is Arkady. But as soon as Arkady tries to talk to Bazarov about something intimate, Bazarov cuts him off quite harshly: "AboutI ask you one thing: don’t speak beautifully...» . Bazarov loves his parents, but he is rather ashamed of this love, because he is afraid of “falling apart,” so he pushes them away too. And finally, love, the world of feelings. Bazarov believes that if you can get some sense from a woman, then you need to act, and if not, then you should look elsewhere. He completely denies the possibility of a mysterious look: « We, physiologists, know […] the anatomy of the eye: where does […] the mysterious look come from?» Thus, Bazarov’s nihilism is striking in its scale, it is comprehensive.
Modern researchers point out that Bazarov's nihilism is not similar to the real manifestations of the nihilists, Bazarov's contemporaries, because the nihilists did not even recognize themselves in this portrait. There were indignant responses. Young critic Antonovich (Fig. 6)
Rice. 6. M.A. Antonovich ()
even wrote an article “Asmodeus of our time”, Bazarov seemed to him a small devil. Nihilists denied a lot in life, but not everything. Turgenev objected to his young opponents and said that he wanted to depict the figure in all its scale. And indeed, Bazarov is such a significant personality that he has neither friends nor enemies in the novel. He is tragically alone. Is it possible to seriously talk about his friendship with Arkady? Arkady is a kind, friendly, handsome person, but he is small and not independent, he literally glows with the reflected light of Bazarov. However, as soon as he gains more serious authority, a young and determined girl, Katya, (Fig. 7)
Rice. 7. "Fathers and Sons." Chapter 25. Arkady and Katya (Artist D. Borovsky, 1980). ()
Arkady leaves Bazarov's influence. Bazarov, in turn, seeing this, himself breaks off their friendly relationship.
There are two people in the novel, Sitnikov and Kukshina, who consider themselves Bazarov's students. These are anecdotal personalities: stupid, fashion-conscious, for them nihilism is fashionable entertainment. Pavel Petrovich Kirsanov can be considered Bazarov’s enemy (Fig. 8),
Rice. 8. Pavel Petrovich Kirsanov (Artist E. Rudakov, 1946-1947) ()
He is the only person who objects to Bazarov. As we remember, Nikolai Petrovich does not always agree with Bazarov, but he is afraid to object, is embarrassed, or does not consider it necessary. And Pavel Petrovich from the first minutes felt a sharp antipathy towards Bazarov, and quarrels broke out almost from the very beginning of their acquaintance (Fig. 9).
Rice. 9. "Fathers and Sons." Chapter 10. Bazarov’s dispute with Pavel Petrovich (Artist D. Borovsky) ()
If you do not delve into the essence of the dispute, you will notice that Pavel Petrovich fusses, swears, and quickly turns to anger, while Bazarov is calm and self-confident. But if you look closely, it turns out that Kirsanov is not so wrong. He accuses Bazarov of denying everything moral, and yet the people are conservative, they live by these principles. Is it possible in a country inhabited a huge amount call illiterate serfs to take violent action? Wouldn't this be ruinous for the country? Turgenev himself nurtured these thoughts. Bazarov, in response, says some rather strange things: at first we only wanted to criticize, then we realized that it was useless to criticize, we needed to change the entire system. They accepted the idea of the complete destruction of everything that exists. But who will build? Bazarov is not thinking about this yet; his job is to destroy. This is precisely the tragedy of the novel. Bazarov is most likely wrong. We already have historical experience: we remember what a disaster the desire to destroy turned into in 1905, 1917.
But Pavel Petrovich himself cannot compete ideologically with Bazarov, if only because he has wasted his life: he lives in the village, professes the principles of liberalism, aristocracy, but does nothing. Kirsanov devoted his entire life to mad love for Princess R. (Fig. 10),
Rice. 10. Princess R. (Artist I. Arkhipov) ()
who died, and Pavel Petrovich shut himself up in the village.
How did Turgenev himself feel about nihilistic youth? He knew people in whom he was struck by a certain untidiness, their type of education, and most importantly, their attitude towards the fate of Russia. Turgenev was against the revolution, which he believed could lead to disaster. An objective attitude towards such youth, the author’s disagreement with their position formed the basis of the image of Bazarov.
This is how Turgenev himself defines the idea of the novel: “If the reader does not fall in love with Bazarov with all his rudeness, dryness, and harshness, then I, as a writer, have not achieved my goal.” That is, the hero is ideologically alien to the author, but at the same time he is a very serious person and worthy of respect.
Now let's see if there is dynamics in the image of Bazarov. At first, he is absolutely confident in himself, he is a total nihilist and considers himself above all those phenomena that he denies. But then Turgenev sets tests for the hero, and this is how he passes them. The first test is love. Bazarov does not immediately understand that he has fallen in love with Odintsova (Fig. 11),
Rice. 11. Anna Sergeevna Odintsova (Artist D. Borovsky) ()
smart, beautiful, deeply significant woman. The hero does not understand what is happening to him: he is losing sleep, appetite, he is restless, pale. When Bazarov realizes that this is love, but a love that is not destined to come true, he receives a heavy blow. Thus, Bazarov, who denied love and laughed at Pavel Petrovich, himself found himself in a similar situation. And the unshakable wall of nihilism begins to crumble a little. Suddenly Bazarov feels a general melancholy, he does not understand why he is bothering, denies himself everything, lives a strict life, depriving himself of all pleasures. He doubts the meaning of his own activities, and these doubts eat away at him more and more. He is surprised by the carefree life of his parents, who live without thinking (Fig. 12).
Rice. 12. Bazarov’s parents - Arina Vlasevna and Vasily Ivanovich (Artist D. Borovsky) ()
And Bazarov feels that his life is passing, that his great ideas will turn into nothing and he himself will disappear without a trace. This is what Bazarov's nihilism leads to.
Modern researchers are of the opinion that not only students and commoners of that time served as the prototype for Bazarov, but also, to some extent, L.N. Tolstoy (Fig. 13),
Rice. 13. L.N. Tolstoy ()
who in his youth was a nihilist, which infuriated Turgenev. But after 10 years, Tolstoy will also experience the horror that life is finite and death is inevitable. In his novel, Turgenev seems to predict what nihilism can lead to.
Thus, Bazarov’s nihilism does not stand up to scrutiny, and the very first test of life begins to destroy this theory. The second test is the proximity of death. In the hardest state of mind Bazarov lives with his old parents, helps his father, and one day they go to open the body of a peasant who died of typhus. Bazarov cuts himself, there is no iodine, and the hero decides to rely on fate: whether there will be blood poisoning or not. When Bazarov finds out that the infection has occurred, he is faced with the question of death. Now we see that as a person Bazarov can withstand this test. He does not lose courage, does not change his basic beliefs, but before his death he turns out to be more humane, more gentle than before. He knows that if he dies without communion, it will bring suffering to his parents. And he agrees: when he loses consciousness, let his parents do what they think is right. Before his death, he is not ashamed to show love and care for his parents, not ashamed to admit that he loved Odintsova, not ashamed to call her and say goodbye to her. Thus, if at the beginning of the novel we had a nihilist hero, similar to Lermontov’s demon, then at the end of the work Bazarov becomes a real person. His death is reminiscent of the departure of Shakespeare's Hamlet, who also accepts it courageously.
Why did Turgenev condemn his hero to death? On the one hand, as Turgenev said: “Where I write “nihilist,” I mean “revolutionary”.” But Turgenev could not portray a revolutionary both because of censorship and because of ignorance of this circle of people. On the other hand, doubts, torment and heroic death enormously increase the figure of Bazarov in the reader’s mind. Turgenev wanted to say that he categorically disagrees with what the new young generation is trying to offer as salvation for their country. But at the same time, he pays tribute to these people who have high spiritual qualities, who are selfless and ready to give their lives for their beliefs. It was in this that Turgenev’s high writing skills and his high spiritual freedom were manifested.
References
- Sakharov V.I., Zinin S.A. Russian language and literature. Literature (basic and advanced levels) 10. - M.: Russian Word.
- Arkhangelsky A.N. and others. Russian language and literature. Literature (advanced level) 10. - M.: Bustard.
- Lanin B.A., Ustinova L.Yu., Shamchikova V.M. / ed. Lanina B.A. Russian language and literature. Literature (basic and advanced levels) 10. - M.: VENTANA-GRAF.
- Litra.ru ().
- Online store of the publishing house "Lyceum" ().
- Turgenev.net.ru ().
Homework
- Reveal the author's attitude towards Bazarov.
- Compose comparative characteristics images of Insarov and Bazarov
- * After analyzing the images of Rudin, Lavretsky, Insarov and Bazarov, derive perfect image a new hero-activist.
That’s why it’s called that, because the value of each work included in its fund has been tested by time. The tragedies of Shakespeare, the paintings of da Vinci, the music of Schnittke, the sculptures of Rodin - one can list for a long time, because the list of achievements of mankind created during its existence and development is truly long and rich. And representatives of Russian culture can be proud that their great compatriot, Ivan Sergeevich Turgenev, occupies one of the first places of honor among the recognized authors of the world and
Creator of the Russian novel
Yes, that's right. Of course, even before Turgenev Russian literature there were many talented novelists. “The Encyclopedia of Russian Life” in verse, written by Pushkin, an entire generation, created by Lermontov in his “Hero...”, and many other wonderful works gave food to the mind and heart of the Russian person, educated, developed, explained, contributed to the formation of spiritually mature individuals, patriots of their homeland. But it was Turgenev who brought the Russian novel to the expanses of world literature and introduced foreign readers to the uniqueness of our culture, way of life, and history. Brevity, extraordinary expressiveness of the language, intense plot, reflection of the most important socio-political moments in the life of society, ideological struggle characteristic of Russian reality, deep psychologism and amazing skill true artist- these are distinctive features Turgenev the novelist and his best works. Thanks to Ivan Sergeevich, foreign audiences and critics learned about this amazing phenomenon - “Russian literature”, “Russian novel”. The author’s most important and beloved creation was “Fathers and Sons.” The meaning of the work reflected not only the complexity of family, social, civil and generally human relations, but also Turgenev’s points of view on these issues.
Why fathers and sons
The author's position in the novel is not directly indicated. But it is quite easy to determine if you look closely at the composition of the work, analyze the language of the characters, the system of images, and identify the role of individual elements, such as landscape, in the novel. This, by the way, is what makes “Fathers and Sons” very interesting. The meaning of the work is already contained in the title, and the main artistic technique oppositions, or antitheses, can be traced throughout the novel.
So why fathers and why children? Because the family is a small cross-section of the entire society, and in it, as in a mirror, those most complex, sometimes dramatic collisions are reflected that shake and fever. By the time the idea was born and the novel itself was written, life, in the words of the critic Belinsky, “scattered into depth and width" in the huge variety of its elements. This variety of forms allows us to see and understand “Fathers and Sons.” The meaning of the work is revealed in the conflict between generations, in views on politics, religion, science, art, social order and world order. No less glaring is the class conflict, which has intensified against the backdrop of harsh confrontation between social forces and problems. An attentive reader, moving from chapter to chapter, understands more and more clearly the metaphorical nature of the title “Fathers and Sons.” The meaning of the work is not only to show the continuity and divisions of generations (a universal human aspect), but also to reveal the confrontation between established views and opinions and new ones that replace the old ones.
Family thought
Let's first analyze the “family thought” in the novel. It is worth noting that the theme of family is generally characteristic of Turgenev. All my independent life the writer lived “on the edge of someone else’s nest,” and he had a rather complicated relationship with his mother. That is probably why Ivan Sergeevich valued so much the warmth of the hearth and the harmony of relationships between the older and younger generations. The work “Fathers and Sons” affirms those eternal values, without which, in fact, progress cannot move forward. This is shown by the example of the Kirsanov family. Arkady, a representative of the young and advanced generation, although under the influence of Bazarov, is still closely connected with his family. Even upon arriving in his father’s land, he exclaims that here the air is sweeter and more and more expensive and closer than in the capital. Making an excursion into the past of his heroes, Turgenev says that Kirsanov the father constantly tried to get closer to his son, share his interests, live what Arkady lives, met his friends, tried to understand the new generation coming to replace his peers. The work “Fathers and Sons,” as already mentioned, is an antithesis novel. But, although Bazarov is an ardent opponent of the entire past, including “fathers,” although he is outwardly rude with his father and mother and openly ridicules and despises the “old Kirsanovs,” the feeling of kinship is not alien to him. Thus, bonds are sacred for Turgenev. Welcoming the new time, the writer believes that one cannot completely erase the achievements of past eras, including
New and old
The meaning of the novel “Fathers and Sons” is broader and deeper than the question outlined above. Yes, indeed, the younger generation, with its inherent maximalism, often considers itself smarter, more progressive, more talented, more capable of significant actions and useful for the country than those whose age is approaching decline. Alas, but by and large this is true. Both Nikolai Petrovich and Pyotr Petrovich Kirsanov, educated and modern-minded people, still in many ways lagged behind the age that was uncontrollably flying forward. New scientific thoughts, technical achievements, political ideas are difficult for them to understand and difficult to accept into their everyday life. But does this mean that the past should be completely destroyed, forgotten, abandoned, “cleared,” as Bazarov puts it? What then to build in a new place, on an empty one? Nihilist Evgeniy cannot draw detailed picture- Apparently, he himself doesn’t know, doesn’t imagine her. And the author himself rightly saw the meaning of the novel “Fathers and Sons” not only to criticize the ugliness of Russian reality, the rotten system of social and often human relations, but also to prove that one cannot completely abandon the past. Human civilizations succeeded one another, and each was based on the achievements of the previous one.
Ideological and aesthetic concept of the novel
What else is the novel “Fathers and Sons” about? written in 3 stages. The first dates back to 1860-1861, when the main text was created, the plot was formed and figurative system. The second dates back to the autumn of 1861 - early winter of 1862. At this time, the writer is actively reworking the text, making plot and compositional amendments, expanding the range of issues covered in accordance with political changes in the country. And finally, in the period from February to September 1862, the final edits and the first publication of the work “Fathers and Sons” in the Russian Bulletin. The novel's problematics are a vivid picture of the rise of the movement of commoners, revolutionary democrats; showing a new, just emerging type of nihilist public figure, questioning all foundations Russian state. On 238 sheets of Turgenev’s neat handwriting there is space for the life story of the rebel Bazarov, criticism of the immorality of nihilism, the conflict between conservative liberals and revolutionary progressives, the disclosure of philosophical, spiritual, religious, ethical and aesthetic, moral conflicts.
What did the author want to say and what affected him?
It is impossible to understand the meaning of the novel “Fathers and Sons” without revealing the image of the main character - the nihilist Evgeny Bazarov. The author himself noted that he saw a strong, evil, wild and indomitable figure, honest, coming from the people, but doomed to death, because the time of the bazaars had not yet come. He admitted that he did not know whether he loved or hated the image he created. After all, the writer sought first of all to criticize the nobility as a once advanced, but now moribund, conservative class, hindering the economic and political development of the country. But Bazarov came to the fore, and it was about this hero that controversy developed in domestic criticism. Some thought main character an evil caricature, a pamphlet on the younger generation. Others, picking up Turgenev’s word “nihilist”, began to call it all sorts of outrages, political unrest, produced by the students. And the name Bazarov became synonymous with one of the names of the devil - Asmodeus. Still others, having picked up revolutionary ideas, elevated Evgeny Vasilyevich to the rank of their spiritual leader. Turgenev did not share the ideas of either one, or the second, or the third. This was one of the reasons for the ideological split between the writer and the Sovremennik staff.
The victory of life over ideology
Yes, Ivan Sergeevich, with all his sincere sympathy for the nobility and compassion for Bazarov, condemned both one and the other. In the novel, he proved that life is more complex and diverse than all ideologies and political disputes, and it cannot be put into just one. Nature, love, sincere affection, the reviving and ennobling power of art, patriotism will triumph over any “passionate, sinful, rebellious heart.” And to this day, the fates of the heroes of the work interest and excite us, give rise to disputes, encourage us to try to understand as deeply as possible and teach everyone to be Human. And this is the main feature of great classical works.
The problem of fathers and children can be called eternal. But it is especially aggravated at turning points in the development of society, when the older and younger generations become exponents of the ideas of two different eras. It is precisely this time in the history of Russia - the 60s of the 19th century - that is shown in I. S. Turgenev’s novel “Fathers and Sons”. The conflict between fathers and children depicted in it goes far beyond family boundaries - it is a social conflict between the old nobility and aristocracy and the young revolutionary-democratic intelligentsia.
The problem of fathers and children is revealed in the novel in the relationship between the young nihilist Bazarov and the representative of the nobility Pavel Petrovich Kirsanov, Bazarov with his parents, as well as through the example of relationships within the Kirsanov family.
Two generations are contrasted in the novel, even their external description. Evgeny Bazarov appears before us as a person cut off from the outside world, gloomy and at the same time possessing a huge inner strength and energy. Describing Bazarov, Turgenev focuses on his mind. The description of Pavel Petrovich Kirsanov, on the contrary, consists mainly of external characteristics. Pavel Petrovich is an outwardly attractive man; he wears starched white shirts and patent leather ankle boots. A former socialite who had once made a splash in metropolitan society, he maintained his habits while living with his brother in the village. Pavel Petrovich is always impeccable and elegant.
Pavel Petrovich leads the life of a typical representative of an aristocratic society - he spends his time in idleness and idleness. In contrast, Bazarov brings real benefits to people and deals with specific problems. In my opinion, the problem of fathers and children is most deeply shown in the novel precisely in the relationship between these two characters, despite the fact that they are not directly related. The conflict that arose between Bazarov and Kirsanov proves that the problem of fathers and children in Turgenev’s novel is both a problem of two generations and a problem of the collision of two different socio-political camps.
These heroes of the novel occupy directly opposite positions in life. In the frequent disputes between Bazarov and Pavel Petrovich, almost all the main issues were touched upon on which common democrats and liberals disagreed (about the ways of further development of the country, about materialism and idealism, about knowledge of science, understanding of art and about attitude towards the people). At the same time, Pavel Petrovich actively defends the old foundations, and Bazarov, on the contrary, advocates their destruction. And to Kirsanov’s reproach that you are destroying everything (“But you also need to build”), Bazarov replies that “first you need to clear the place.”
We also see a generational conflict in Bazarov’s relationship with his parents. The main character has very contradictory feelings towards them: on the one hand, he admits that he loves his parents, on the other hand, he despises the “stupid life of his fathers.” What alienates Bazarov from his parents is, first of all, his beliefs. If in Arkady we see superficial contempt for the older generation, caused more by the desire to imitate a friend, and not coming from within, then with Bazarov everything is different. This is his position in life.
With all this, we see that it was to the parents that their son Evgeniy was truly dear. The old Bazarovs love Evgeny very much, and this love softens their relationship with their son, the lack of mutual understanding. It is stronger than other feelings and lives even when main character dies.
As for the problem of fathers and children within the Kirsanov family, it seems to me that it is not deep. Arkady looks like his father. He has essentially the same values - home, family, peace. He prefers such simple happiness to caring for the world's good. Arkady is only trying to imitate Bazarov, and this is precisely the reason for the discord within the Kirsanov family. The older generation of Kirsanovs doubts “the benefits of his influence on Arkady.” But Bazarov leaves Arkady’s life, and everything falls into place.
At the same time, he so fully reveals the life positions of the main characters of the novel, shows their positive and negative sides, that he gives the reader the opportunity to decide for himself who was right. It is not surprising that Turgenev’s contemporaries reacted sharply to the appearance of the work. The reactionary press accused the writer of currying favor with young people, while the democratic press accused the author of slandering the younger generation.
Problems of the novel “Fathers and Sons”
The novel “Fathers and Sons” was created by Turgenev at a difficult time for Russia. The growth of peasant uprisings and the crisis of the serfdom system forced the government to abolish serfdom. In Russia it was necessary to carry out peasant reform. Society split into two camps: in one there were revolutionary democrats, ideologists of the peasant masses, in the other - the liberal nobility who stood for the reformist path. The liberal nobility did not tolerate serfdom, but feared a peasant revolution.
The great Russian writer shows in his novel the struggle between the worldviews of these two political trends. The plot of the novel is based on the contrast of the views of Pavel Petrovich Kirsanov and Evgeny Bazarov, who are prominent representatives of these directions. The novel also raises other questions: how to treat the people, work, science, art, what transformations are necessary in the Russian village.
The title already reflects one of these problems - the relationship between two generations, fathers and children. Disagreements on various issues have always existed between the youth and the older generation. Same here, representative. younger generation Evgeny Vasilyevich Bazarov cannot, and does not want to, understand the “fathers”, their life credo, principles. He is convinced that their views on the world, on life, on relationships between people are hopelessly outdated. “Yes, I will spoil them... After all, this is all pride, lionish habits, foppishness...”. In his opinion, the main purpose of life is to work, to produce something material. That is why Bazarov disrespects art and sciences that do not have a practical basis; to “useless” nature. He believes that it is much more useful to deny what, from his point of view, deserves denial, than to watch indifferently from the outside, not daring to do anything. “At the present time, the most useful thing is denial - we deny,” says Bazarov.
For his part, Pavel Petrovich Kirsanov is sure that there are things that cannot be doubted (“Aristocracy... liberalism, progress, principles... art...”). He values habits and traditions more and does not want to notice the changes taking place in society.
The disputes between Kirsanov and Bazarov reveal the ideological concept of the novel.
These heroes have a lot in common. Both Kirsanov and Bazarov have highly developed pride. Sometimes they cannot calmly argue. Both of them are not subject to the influence of others, and only what they themselves have experienced and felt makes the heroes change their views on certain issues. Both the democrat commoner Bazarov and the aristocrat Kirsanov have enormous influence on those around them, and strength of character cannot be denied to either one or the other. And yet, despite such similarities in nature, these people are very different, which is due to the difference in origin, upbringing and way of thinking.
Discrepancies already appear in the portraits of the heroes. The face of Pavel Petrovich Kirsanov is “unusually correct and clean, as if carved with a thin and light chisel.” And in general, the whole appearance of Uncle Arkady “...was elegant and thoroughbred, his hands were beautiful, with long pink nails.” Bazarov’s appearance is the complete opposite of Kirsanov. He is dressed in a long robe with tassels, he has red hands, his face is long and thin , with a wide forehead and a not at all aristocratic nose. The portrait of Pavel Petrovich is a portrait " socialite“, whose manners match his appearance. The portrait of Bazarov undoubtedly belongs to “a democrat to the very end,” which is confirmed by the behavior of the hero, independent and self-confident.
Evgeny's life is full hectic activity, he devotes every free minute to natural science studies. In the second half of the 19th century natural sciences were experiencing an upsurge; materialist scientists appeared who, through numerous experiments and experiments, developed these sciences, for which there was a future. And Bazarov is the prototype of such a scientist. Pavel Petrovich, on the contrary, spends all his days in idleness and groundless, aimless thoughts and memories.
The views of those arguing about art and nature are opposite. Pavel Petrovich Kirsanov admires works of art. He is capable of admiring starry sky, enjoy music, poetry, painting. Bazarov denies art (“Raphael is not worth a penny”) and approaches nature with utilitarian standards (“Nature is not a temple, but a workshop, and man is a worker in it”). Nikolai Petrovich Kirsanov also does not agree that art, music, nature are nonsense. Going out onto the porch, “...he looked around, as if wanting to understand how one could not sympathize with nature.” And here we can feel how Turgenev expresses his own thoughts through his hero. The beautiful evening landscape leads Nikolai Petrovich to a “sorrowful and joyful game of lonely thoughts,” brings back pleasant memories, reveals to him “ magical world dreams.” The author shows that by denying admiration for nature, Bazarov impoverishes his spiritual life.
But the main difference between a democrat commoner who finds himself on the estate of a hereditary nobleman and a liberal lies in his views on society and the people. Kirsanov believes that aristocrats - driving force social development. Their ideal is “English freedom,” that is, a constitutional monarchy. The path to the ideal lies through reforms, openness, progress. Bazarov is confident that aristocrats are incapable of action and there is no benefit from them. He rejects liberalism, denies the ability of the nobility to lead Russia to the future.
Disagreements arise over nihilism and the role of nihilists in public life Pavel Petrovich condemns nihilists for the fact that they “respect no one”, live without “principles”, considers them unnecessary and powerless: “There are only 4-5 of you.” To this Bazarov replies: “Moscow burned down from a penny candle.” Speaking about the denial of everything, Bazarov means religion, the autocratic serfdom system, and generally accepted morality. What do nihilists want? First of all, revolutionary actions. And the criterion is the benefit for the people.
Pavel Petrovich glorifies the peasant community, family, religiosity, and patriarchy of the Russian peasant. He claims that “the Russian people cannot live without faith.” Bazarov says that the people do not understand their own interests, are dark and ignorant, that there is no honest people, that “a man is happy to rob himself just to get drunk on dope in a tavern.” However, he considers it necessary to distinguish popular interests from popular prejudices; he claims that the people are revolutionary in spirit, therefore nihilism is a manifestation of the national spirit.
Turgenev shows that, despite his tenderness, Pavel Petrovich does not know how to talk to ordinary people, “He winces and sniffs the cologne.” In a word, he is a real gentleman. And Bazarov proudly declares: “My grandfather plowed the land.” And he can win over the peasants, although he makes fun of them. The servants feel “that he is still his brother, not a master.”
This is precisely because Bazarov had the ability and desire to work. In Maryino, on the Kirsanov estate, Evgeniy worked because he could not sit idle, “some kind of medical-surgical smell” was established in his room.
In contrast, representatives of the older generation did not differ in their ability to work. So, Nikolai Petrovich is trying to manage things in a new way, but nothing works out for him. About himself he says: “I am a soft, weak person, I spent my life in the wilderness.” But, according to Turgenev, this cannot serve as an excuse. If you can't work, don't do it. And the biggest thing that Pavel Petrovich did was help his brother with money, not daring to give advice, and “not jokingly imagining himself as a practical person.”
Of course, most of all a person manifests himself not in conversations, but in deeds and in his life. Therefore, Turgenev seems to lead his heroes through various trials. And the strongest of them is the test of love. After all, it is in love that a person’s soul reveals itself fully and sincerely.
And here it's hot and passionate nature Bazarova swept away all his theories. He fell in love, like a boy, with a woman whom he valued highly. “In conversations with Anna and Sergeevna, he expressed his indifferent contempt for everything romantic even more than before, and when left alone, he was indignantly aware of the romanticism in himself.” The hero is experiencing severe mental discord. “... Something... took possession of him, which he never allowed, which he always mocked, which outraged all his pride.” Anna Sergeevna Odintsova rejected him. But Bazarov found the strength to accept defeat with honor, without losing his dignity.
And Pavel Petrovich, who also loved deeply, could not leave with dignity when he became convinced of the woman’s indifference to him: “.. he spent four years in foreign lands, now chasing her, now with the intention of losing sight of her... and already I couldn’t get into the right groove.” And in general the fact that he seriously fell in love with a frivolous and empty society lady, says a lot.
Bazarov is a strong character, this new person in Russian society. And the writer carefully considers this type of character. The last test he offers his hero is death.
Anyone can pretend to be whoever they want. Some people do this all their lives. But in any case, before death a person becomes what he really is. All pretense disappears, and the time comes to think, perhaps for the first and last time, about the meaning of life, about what good you have done, whether they will remember or forget as soon as they are buried. And this is natural, because in the face of the unknown, a person discovers something that he may not have seen during his lifetime.
It’s a pity, of course, that Turgenev “kills” Bazarov. Such a brave, strong man should live and live. But perhaps the writer, having shown that such people exist, did not know what to do with his hero next... The way Bazarov dies could be an honor to anyone. He feels sorry not for himself, but for his parents. He is sorry to leave life so early. Dying, Bazarov admits that he “fell under the wheel,” “but is still bristling.” And Odintsova says bitterly: “And now the giant’s whole task is to die decently... I won’t wag my tail.”
Bazarov is a tragic figure. It cannot be said that he defeats Kirsanov in an argument. Even when Pavel Petrovich is ready to admit defeat, Bazarov suddenly loses faith in his teaching and doubts his personal need for society. “Does Russia need me? No, apparently I don’t,” he reflects. Only the proximity of death restores Bazarov's self-confidence.
Whose side is the author of the novel on? This question cannot be answered unequivocally. Being a liberal by conviction, Turgenev felt the superiority of Bazarov, moreover, he asserted: “My whole story is directed against the nobility as an advanced class.” And further: “I wanted to show the cream of society, but if the cream is bad, then what about the milk?”
Ivan Sergeevich Turgenev loves his new hero and in the epilogue gives him high praise: “... a passionate, sinful, rebellious heart.” He says he doesn't ordinary person lies in the grave, but really the person Russia needs, smart, strong, with non-stereotypical thinking.
It is known that I.S. Turgenev dedicated the novel to Belinsky and argued: “If the reader does not fall in love with Bazarov with all his rudeness, heartlessness, ruthless dryness and harshness, it is my fault that I did not achieve my goal. Bazarov is my favorite child.”
Turgenev wrote the novel “Fathers and Sons” in the last century, but the problems raised in it are still relevant in our time. What to choose: contemplation or action? How to relate to art, to love? Is the generation of fathers right? These questions have to be addressed by each new generation. And perhaps it is precisely the inability to solve them once and for all that drives life.
The main conflict of the novel
The conflict between fathers and children has lasted from the beginning of time to this day. It is felt especially acutely during periods of change in social life, when the generation of the past acts as a conservative, and young people stand up for innovation. This situation is typical for Russia in the 60s. 19th century, it was reflected in the novel by I.S. Turgenev "Fathers and Sons". The collision of old and younger generation overcomes the framework of family conflict and affects the socio-political structure of the country - the Social Democrats take up the fight against the liberal aristocrats.
Bazarov and Pavel Petrovich
The young nihilist Evgeny Vasilyevich Bazarov confronts the nobleman aristocrat Pavel Petrovich Kirsanov. The generation difference is already expressed in the appearance of the heroes.
Bazarov is a man enormous power will, a man of his word, a little detached from people. Turgenev special attention pays attention to the living mind of the hero. But Kirsanov is described only externally: he wears white underwear, starched collars, and patent leather ankle boots. Being in the past a famous socialite, Pavel Petrovich retained his habits in his brother’s village estate - impeccability and elegance of the image.
Kirsanov does nothing, has no responsibilities or aspirations, lives for his own pleasure. Bazarov is active, everything he does is useful for society, for science, for the people.
The life positions of the heroes are extremely opposite. They argue constantly and argue about everything in the world: about how to further develop Russia, about the real and the irrational, about the usefulness of science and art, about the patriarchy of the people. Bazarov claims that everything old must be destroyed, and Pavel Petrovich is sure that all this must be preserved for future generations. Kirsanov is also outraged by the fact that Bazarov and his followers do not have a specific plan for transforming the world order. They only call for destruction, but are not going to create. In response to the reproach for this, Bazarov says that first you need to “clear the place.”
Bazarov and his parents
In Bazarov's relationship with his parents, a generational conflict is also clearly visible. Bazarov loves his father and mother, but at the same time feels contempt for their stupid, aimless life. Despite their misunderstandings, the parents love Evgeniy. Love does not cease to exist even after the death of the hero. In the end, it turns out that only Bazarov was truly dear to his parents.
Arkady and family
In the Kirsanov family, the confrontation between generations is not so obvious. Arkady Kirsanov is gradually turning into a copy of his father. In life, he values the same thing that he does: home, family life, peace. For him, this is much more important than the fight for global well-being. Arkady just imitated Bazarov, and this caused minor discord in the family. And when Bazarov leaves Arkady’s sight, the conflicts fade away.
The theme of “fathers” and “children” in Russian literature
The relationship between fathers and children is one of the primary and most significant in Russian literature. This problem is reflected in the comedy by A.S. Griboyedov “Woe from Wit”, in the drama “The Thunderstorm” by A.N. Ostrovsky, in the works of A.S. Pushkin and many others. etc. The authors, as creative people, stand on the side of the younger generation. However, Turgenev does not take a definite position, and gives the reader the opportunity to choose the right ideology for himself. I think it was important for Turgenev to show that only in peace and harmony will society be able to develop correctly in the future.
